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Today, we're at Herstmonceux Castle in Sussex. | 0:00:08 | 0:00:10 | |
Now this is the stuff that fairy tales are made of. | 0:00:10 | 0:00:13 | |
Just look at that! | 0:00:13 | 0:00:14 | |
And just look at that amazing crowd we've got today. | 0:00:14 | 0:00:18 | |
People have come from far and wide, laden with bags and boxes | 0:00:18 | 0:00:21 | |
and all sorts of treasures for our experts to see. | 0:00:21 | 0:00:24 | |
Welcome to Flog It! | 0:00:24 | 0:00:26 | |
Even though it was built in 1441, this magnificent castle, | 0:00:50 | 0:00:54 | |
circled by a moat, | 0:00:54 | 0:00:56 | |
has weathered the centuries in remarkably good condition. | 0:00:56 | 0:00:59 | |
That's because it was built as a grand home, | 0:00:59 | 0:01:02 | |
rather than a military castle, | 0:01:02 | 0:01:04 | |
and for hundreds of years, it's been home to wealthy owners. | 0:01:04 | 0:01:07 | |
These days, it's a university campus, | 0:01:07 | 0:01:09 | |
with students coming from all over the world to study | 0:01:09 | 0:01:12 | |
in the unique surroundings of a medieval castle. | 0:01:12 | 0:01:16 | |
Today, our Flog It! faithful are gathered outside, | 0:01:16 | 0:01:18 | |
like a mighty army laying siege to a castle. | 0:01:18 | 0:01:21 | |
Only, they're armed with their bags | 0:01:21 | 0:01:23 | |
and boxes full of antiques and treasures. | 0:01:23 | 0:01:25 | |
They're here to see our experts, to get a valuation. | 0:01:25 | 0:01:27 | |
And, if you're happy with that valuation, what are you going to do? | 0:01:27 | 0:01:30 | |
Flog It! | 0:01:30 | 0:01:31 | |
Welcome to the show. | 0:01:31 | 0:01:33 | |
And today, ready to inspect the items brought in by this happy horde | 0:01:36 | 0:01:40 | |
of Flog It! fans, we've recruited two of our finest antiques experts, | 0:01:40 | 0:01:44 | |
-..Jonathan Pratt... -I'll give you one of these stickers. | 0:01:44 | 0:01:46 | |
It means that we will have a look at them in a bit. | 0:01:46 | 0:01:48 | |
..and James Lewis. | 0:01:48 | 0:01:49 | |
-What have we got in there? -It's a Model T Ford. | 0:01:49 | 0:01:51 | |
-Have you got a real one? -No! | 0:01:51 | 0:01:53 | |
They'll be battling it out, to find the owners with the best objects | 0:01:53 | 0:01:56 | |
to take off to auction. | 0:01:56 | 0:01:57 | |
I've sat on that railway, eating croissants, drinking coffee. | 0:01:57 | 0:02:01 | |
Oh, hard life. Hard life. | 0:02:01 | 0:02:03 | |
Wow! Don't bicker, boys. | 0:02:04 | 0:02:06 | |
There's plenty of antiques for everyone. | 0:02:06 | 0:02:08 | |
And there's not a moment to lose. | 0:02:10 | 0:02:11 | |
We've got many items to look through, | 0:02:11 | 0:02:13 | |
so, as everyone gets settled in in the colourful ballroom, | 0:02:13 | 0:02:16 | |
here's a sneak preview of what's coming up later on in the show. | 0:02:16 | 0:02:20 | |
Jonathan discovers one collection isn't to everyone's taste. | 0:02:20 | 0:02:23 | |
He tends to be a bit of a Womble for collections. | 0:02:23 | 0:02:26 | |
-But Wombles pick up rubbish, don't they? -Well, yes. | 0:02:26 | 0:02:29 | |
James tries to make off with one of his finds. | 0:02:30 | 0:02:33 | |
The best place for that... | 0:02:33 | 0:02:34 | |
And I get the chance to ride on a steam train with a big difference. | 0:02:38 | 0:02:42 | |
Well, as you can see, | 0:02:44 | 0:02:45 | |
everybody is now safely seated inside the ballroom, | 0:02:45 | 0:02:48 | |
so let's get on with that first valuation. | 0:02:48 | 0:02:50 | |
It's straight over to Jonathan Pratt's table | 0:02:50 | 0:02:52 | |
and I know he's spotted something | 0:02:52 | 0:02:53 | |
which could give us a real surprise in the auction room. | 0:02:53 | 0:02:55 | |
Let's take a closer look at what he's talking about. | 0:02:55 | 0:02:58 | |
So, Sally... welcome to Herstmonceux Castle. | 0:03:00 | 0:03:04 | |
You've brought a great bunch of stuff along. | 0:03:04 | 0:03:06 | |
-Yeah. -Where has it all come from? | 0:03:06 | 0:03:08 | |
My husband's aunt had them and... | 0:03:08 | 0:03:11 | |
..they've just been in the family forever. | 0:03:12 | 0:03:15 | |
OK. I spotted these in the queue. | 0:03:15 | 0:03:17 | |
-Yes. -And I spotted that to start with. | 0:03:17 | 0:03:18 | |
That's right. A nice cigarette case. | 0:03:18 | 0:03:21 | |
-Beautiful, isn't it? -Gold, black enamel... | 0:03:21 | 0:03:24 | |
It's hallmarked 14K on the inside of the lid, | 0:03:24 | 0:03:27 | |
and that's often a purity that you associate with American gold work. | 0:03:27 | 0:03:32 | |
The front here, this little rectangle, is set with diamonds. | 0:03:32 | 0:03:35 | |
I wondered whether that was, yes. | 0:03:35 | 0:03:37 | |
There is a lot of workmanship involved. | 0:03:37 | 0:03:39 | |
But it didn't look like this when I saw it. | 0:03:39 | 0:03:41 | |
What happened? | 0:03:42 | 0:03:43 | |
Well, you saw it in the queue, | 0:03:43 | 0:03:46 | |
and then I took it out of the box and it just had a life of its own. | 0:03:46 | 0:03:49 | |
-Oh, no! -And it just shattered onto the floor and I'm absolutely gutted. | 0:03:49 | 0:03:53 | |
It's difficult to restore, because you have to get the... | 0:03:53 | 0:03:58 | |
The refractive indices of the glass has to match. | 0:03:58 | 0:04:00 | |
It's a real shame. | 0:04:00 | 0:04:01 | |
Yes, it is. It just flew out of the box. | 0:04:01 | 0:04:05 | |
But a fabulous piece of '20s history, OK. | 0:04:05 | 0:04:09 | |
-Yes. -And then, moving on, maybe a slightly later date. | 0:04:09 | 0:04:11 | |
This is about 1930, still with the Art Deco feel. | 0:04:11 | 0:04:15 | |
This is silver and black enamel again. | 0:04:15 | 0:04:16 | |
-Yes. -And... | 0:04:16 | 0:04:18 | |
Ka-ching! Oh, gosh, look at that! You've got the marks on here, | 0:04:18 | 0:04:21 | |
which are import marks, silver import marks. | 0:04:21 | 0:04:23 | |
But it's circa 1930. | 0:04:23 | 0:04:24 | |
-Yeah. -That's a really cool thing. | 0:04:24 | 0:04:27 | |
-Yeah. -It ticks many boxes. -Yeah. | 0:04:27 | 0:04:28 | |
-The collectors of Art Deco, the collectors of sewing... -Yeah. | 0:04:28 | 0:04:31 | |
And then you've brought... | 0:04:31 | 0:04:32 | |
You've brought a whole bunch of goodies along. | 0:04:32 | 0:04:34 | |
And then, these three here. | 0:04:34 | 0:04:35 | |
This is a very well-known picture by Thomas Gainsborough. | 0:04:35 | 0:04:38 | |
-The Blue Boy, isn't it? -The Blue Boy, yes. | 0:04:38 | 0:04:40 | |
Silver and enamel, again. | 0:04:40 | 0:04:41 | |
-It didn't get dropped. -It didn't get dropped. | 0:04:41 | 0:04:43 | |
-No. -Not by you, anyway. -No. -But you've got engine turning, | 0:04:43 | 0:04:46 | |
so that you get the pattern of the silver and the glass laid over. | 0:04:46 | 0:04:49 | |
So, a really nice thing. | 0:04:49 | 0:04:50 | |
People call them patch boxes, | 0:04:50 | 0:04:52 | |
but it might have been a little powder box, perhaps. | 0:04:52 | 0:04:54 | |
-Yeah. -The same thing again. Nice traditional shape. | 0:04:54 | 0:04:58 | |
Basket of flowers. It's nice. | 0:04:58 | 0:05:00 | |
-Pretty. -Mid-early century, last century. | 0:05:00 | 0:05:02 | |
And then, finally, you've got this one, which is French silver, | 0:05:02 | 0:05:05 | |
19th-century, slightly different. | 0:05:05 | 0:05:08 | |
So, I've purposely put them in these little areas. | 0:05:08 | 0:05:10 | |
I see them as three distinct... | 0:05:10 | 0:05:12 | |
-Lots. -Collectors' areas. | 0:05:12 | 0:05:14 | |
-I'll start with this one. -Be gentle with that one. | 0:05:14 | 0:05:17 | |
Yeah, you know, I think, in the way it is at the moment, | 0:05:17 | 0:05:20 | |
I think it's sensible to price it at £200-300. | 0:05:20 | 0:05:23 | |
And what would it have been valued at, had it not have been that? | 0:05:23 | 0:05:26 | |
-Come on. -I would say, probably £600-£800. -Oh, my goodness. | 0:05:26 | 0:05:29 | |
Yeah, and maybe a little bit more. I haven't done the research, | 0:05:29 | 0:05:32 | |
but I think a collector will be put off. | 0:05:32 | 0:05:34 | |
The dealer will then take it on as a restoration job, perhaps. | 0:05:34 | 0:05:37 | |
It's 14 carat gold and there's quite a lot of it there. | 0:05:37 | 0:05:40 | |
So, that's the first lot, £200-£300. | 0:05:40 | 0:05:42 | |
Collectors love sewing, silver, it's Art Deco. | 0:05:42 | 0:05:47 | |
£100 to £150, thereabouts. | 0:05:47 | 0:05:50 | |
And then, this little group here, £200 to £300. | 0:05:50 | 0:05:53 | |
-OK. -And reserves will fix just below the lower estimate, I would say, | 0:05:53 | 0:05:57 | |
with what we call discretion. | 0:05:57 | 0:05:59 | |
-Are you happy with that? -Yes, that's fine. | 0:05:59 | 0:06:01 | |
Fabulous. Well, I really love them | 0:06:01 | 0:06:03 | |
and I hope we do really well for you. | 0:06:03 | 0:06:04 | |
I hope so, too. | 0:06:04 | 0:06:05 | |
It's such a shame Sally damaged one of the cases here today, | 0:06:08 | 0:06:12 | |
but it's still a lovely collection. | 0:06:12 | 0:06:14 | |
Next up is James and it looks like he's struck gold. | 0:06:14 | 0:06:17 | |
Well, there's one thing you know will always sell well at auction | 0:06:20 | 0:06:23 | |
and that is gold. | 0:06:23 | 0:06:24 | |
Lorraine, why are you selling it? | 0:06:24 | 0:06:26 | |
I'm selling it because I've just bought a new house. | 0:06:26 | 0:06:29 | |
And I think it would be quite nice to put it towards the new house, | 0:06:29 | 0:06:32 | |
with the family together, especially as I inherited it from my nan. | 0:06:32 | 0:06:35 | |
So I think that's what she would like, really. | 0:06:35 | 0:06:37 | |
-What do you know about it? -I know it's 1904. | 0:06:37 | 0:06:40 | |
It is a 20 gold coin, | 0:06:40 | 0:06:41 | |
which my grandfather bought from a jeweller's in the Strand in London. | 0:06:41 | 0:06:46 | |
He used to have a business in Covent Garden. | 0:06:46 | 0:06:48 | |
He used to purchase a few items there for my nan | 0:06:48 | 0:06:51 | |
and, hence, why I inherited it, really. | 0:06:51 | 0:06:53 | |
Brilliant. Well, it's a great coin. | 0:06:53 | 0:06:57 | |
On the front of the coin here, we've got Liberty. | 0:06:57 | 0:07:00 | |
Let's have a look on the back. | 0:07:00 | 0:07:01 | |
There we've got United States of America, | 0:07:03 | 0:07:07 | |
20, and the US eagle in the centre there. | 0:07:07 | 0:07:12 | |
It's just under pure gold. | 0:07:12 | 0:07:14 | |
It's 21.6 carat. | 0:07:14 | 0:07:17 | |
Our gold sovereigns in this country are 22 carats. | 0:07:17 | 0:07:19 | |
-OK. -So just a slightly better quality. | 0:07:19 | 0:07:23 | |
Known as the Double Eagle. | 0:07:23 | 0:07:25 | |
Designed by James Barton in 1849. | 0:07:25 | 0:07:29 | |
And produced all the way through until 1907. | 0:07:29 | 0:07:33 | |
James Barton was an engraver and a designer for the mint in America. | 0:07:33 | 0:07:38 | |
And this is one of his most famous coins. | 0:07:38 | 0:07:40 | |
I think that might do very, very nicely. | 0:07:40 | 0:07:44 | |
-It's a good coin. -Really? | 0:07:44 | 0:07:46 | |
So, almost all the values of these | 0:07:46 | 0:07:48 | |
fluctuate with the international gold price. | 0:07:48 | 0:07:51 | |
At the moment, that's worth about 700. | 0:07:51 | 0:07:54 | |
-OK. -So 700-900, as an estimate, and I think it'll do jolly well. | 0:07:54 | 0:07:59 | |
-OK. -Is that all right for you, that sort of price? | 0:07:59 | 0:08:03 | |
I was hoping it would be a little bit more. | 0:08:03 | 0:08:05 | |
-Go on, then. What...? -I did a little bit of research on the internet. | 0:08:05 | 0:08:08 | |
I know it could go up to about 1,500. | 0:08:08 | 0:08:10 | |
The internet prices vary. | 0:08:10 | 0:08:13 | |
They're trying to get significantly more than the gold value. | 0:08:13 | 0:08:17 | |
It does have a chance of selling to a coin collector, | 0:08:17 | 0:08:21 | |
rather than a bullion dealer, | 0:08:21 | 0:08:22 | |
Because the coin itself is in really lovely condition. | 0:08:22 | 0:08:25 | |
It's not worn, it's not rubbed, it's not been drilled for a pendant. | 0:08:25 | 0:08:30 | |
So it's got a chance. | 0:08:30 | 0:08:31 | |
Where would you be happy? This is your coin and it's your inheritance, | 0:08:31 | 0:08:35 | |
so you've got to be happy with it. | 0:08:35 | 0:08:37 | |
If I said something along the lines of 1,000, | 0:08:37 | 0:08:39 | |
would that be too much, or... What do you think? | 0:08:40 | 0:08:43 | |
Would that put bidders off? | 0:08:43 | 0:08:45 | |
You can try it, if you want to. | 0:08:45 | 0:08:46 | |
Shall we go for 1,000 and see how it goes? | 0:08:46 | 0:08:48 | |
Let's go for 1,000. Do you want that firm? | 0:08:48 | 0:08:51 | |
-Yes. -Yeah? -Yes. | 0:08:52 | 0:08:53 | |
-Let's go for it. -Let's do it. | 0:08:53 | 0:08:55 | |
-Let's try it. -OK. Let's give it a go | 0:08:55 | 0:08:57 | |
and, hopefully, somebody will buy it | 0:08:57 | 0:09:00 | |
for the history and for the coin, as a coin, not the gold. | 0:09:00 | 0:09:03 | |
Definitely. Lovely. Let's give it a go. | 0:09:03 | 0:09:05 | |
Thanks very much. Thank you. | 0:09:05 | 0:09:06 | |
Fingers crossed. | 0:09:06 | 0:09:07 | |
There are still plenty of antiques for our experts to sift through | 0:09:10 | 0:09:13 | |
and it looks like Jonathan has found a colourful little collection. | 0:09:13 | 0:09:17 | |
I think you've brought | 0:09:18 | 0:09:20 | |
a fascinating object along with you. | 0:09:21 | 0:09:23 | |
I absolutely love it. | 0:09:23 | 0:09:25 | |
A collection of postcards from the Swiss Alps. | 0:09:25 | 0:09:29 | |
Brian, where did you get them from? | 0:09:29 | 0:09:30 | |
Well, I bought them at a charity auction about 30 years ago. | 0:09:30 | 0:09:34 | |
-Oh, OK. -And they were all to a family called Carr | 0:09:34 | 0:09:37 | |
and my father was a wholesale grocer and I remember vaguely going to this | 0:09:37 | 0:09:42 | |
Carr's water biscuit factory in Portsmouth years and years ago. | 0:09:42 | 0:09:47 | |
So you think they might have been associated to that family? | 0:09:47 | 0:09:49 | |
I think they could well be, but they all come from a chap | 0:09:49 | 0:09:52 | |
called Arnold Bally, | 0:09:52 | 0:09:53 | |
who wrote these hundreds of cards and sent them to the Carr family | 0:09:53 | 0:09:58 | |
between the period of 1910 and 1912. | 0:09:58 | 0:10:01 | |
So, all of them are written by this chap. | 0:10:01 | 0:10:04 | |
-All of them, yes. -I mean, | 0:10:04 | 0:10:05 | |
it's nice to see a collection that are from one person. | 0:10:05 | 0:10:08 | |
-Yes. -With a theme. At this date, | 0:10:08 | 0:10:11 | |
the climbing centres were becoming really popular. | 0:10:11 | 0:10:14 | |
-Yes. -It kind of pre-dates, it really pre-dates skiing, | 0:10:14 | 0:10:17 | |
so this was the Alpine sport of the day. | 0:10:17 | 0:10:20 | |
And you've got images here of people summiting, you know, | 0:10:20 | 0:10:23 | |
roping up and climbing up the side here. | 0:10:23 | 0:10:26 | |
They would carry a picnic with them. | 0:10:26 | 0:10:28 | |
You know, nowadays it's all about having lightweight gear and there, | 0:10:28 | 0:10:33 | |
they were wearing tweed, with hemp ropes. | 0:10:33 | 0:10:35 | |
-Absolutely. -It's a fascinating collection of the 1900, 1912 period. | 0:10:35 | 0:10:40 | |
The Romantic poets and the Romantic writers of the 19th century created | 0:10:40 | 0:10:44 | |
a lot of interest in Switzerland. I mean, there was a lot of people | 0:10:44 | 0:10:47 | |
interested in travelling out to Switzerland and holidaying | 0:10:47 | 0:10:50 | |
and seeing the mountains. | 0:10:50 | 0:10:51 | |
It's well written about, funnily enough. | 0:10:51 | 0:10:53 | |
But you know, each one of these tells a story. | 0:10:53 | 0:10:55 | |
I could just pore through this. | 0:10:55 | 0:10:57 | |
-Keep going through it. -Yes. | 0:10:57 | 0:10:58 | |
But, Dee, what do you think of your husband's collecting? | 0:10:58 | 0:11:02 | |
Well, he tends to be a bit of a Womble for collections. | 0:11:02 | 0:11:05 | |
Wombles pick up rubbish, don't they? | 0:11:05 | 0:11:07 | |
Well, yes, I didn't class this as rubbish, | 0:11:07 | 0:11:10 | |
but I didn't really think it was anything of note, | 0:11:10 | 0:11:13 | |
so it sat in the back of our cupboard for the last 30 years | 0:11:13 | 0:11:18 | |
and then, we were coming today and I said to Brian, | 0:11:18 | 0:11:20 | |
"What do you think we should take?" | 0:11:20 | 0:11:22 | |
He said, "Well, you can see what they think of the cards." | 0:11:22 | 0:11:25 | |
I really like them. I think a lot of people will like them, as well. | 0:11:25 | 0:11:29 | |
I would have thought at the moment an estimate of sort of £60 to £80. | 0:11:29 | 0:11:33 | |
-Yes. -Maybe a little auctioneer's discretion somewhere around the £50 | 0:11:33 | 0:11:36 | |
-mark. -Yes. -I have great hopes. I really love it. | 0:11:36 | 0:11:38 | |
Thank you very much for bringing it along. | 0:11:38 | 0:11:41 | |
Many thanks, indeed. Well done. | 0:11:41 | 0:11:43 | |
Well, there you are, you've just seen them. Our experts have now | 0:11:47 | 0:11:51 | |
found their first three items to take off to auction. | 0:11:51 | 0:11:53 | |
This is where it gets exciting. | 0:11:53 | 0:11:54 | |
You've heard what they've had to say, | 0:11:54 | 0:11:56 | |
you've probably got your own opinions, but, right now, | 0:11:56 | 0:11:58 | |
it's down to the bidders. | 0:11:58 | 0:11:59 | |
Let's find out what they think. Let's find out exactly | 0:11:59 | 0:12:02 | |
what it's worth as we go over to the sale room. | 0:12:02 | 0:12:05 | |
Here's a quick re-cap of all the items we're taking with us. | 0:12:05 | 0:12:08 | |
We're auctioning Sally's silver cases as three separate lots, | 0:12:10 | 0:12:14 | |
but can they achieve one big pay-out for her? | 0:12:14 | 0:12:17 | |
Lorraine's gold coin might only be 20, but will it be worth a mint? | 0:12:17 | 0:12:23 | |
And can those Swiss postcards make enough to open a Swiss bank account? | 0:12:23 | 0:12:27 | |
We'll find out very soon. | 0:12:27 | 0:12:29 | |
We're off to the picturesque town of Rye. | 0:12:32 | 0:12:35 | |
In medieval times, | 0:12:35 | 0:12:36 | |
it was a key part of England's coastal defences in the south. | 0:12:36 | 0:12:40 | |
These days, the warships have been | 0:12:40 | 0:12:42 | |
replaced by fishing and sailing boats. | 0:12:42 | 0:12:45 | |
Our sale room is Rye Auction Galleries. | 0:12:45 | 0:12:48 | |
The man on the rostrum is Kevin Wall. | 0:12:48 | 0:12:51 | |
Remember, if you're selling at auction, there's commission to pay | 0:12:52 | 0:12:55 | |
and here today, it's 15% plus VAT. | 0:12:55 | 0:12:59 | |
Our first lot is Lorraine's 20 gold coin. | 0:12:59 | 0:13:02 | |
Will it fetch the £1,000 she wants? | 0:13:02 | 0:13:05 | |
I've just been joined by Lorraine and is it heads or tails? | 0:13:05 | 0:13:08 | |
-Heads, I think. -Or two eagles? | 0:13:08 | 0:13:11 | |
-Maybe. -That 20 gold coin. | 0:13:11 | 0:13:13 | |
I'd never seen one before until the valuation day, | 0:13:13 | 0:13:16 | |
so thank you for bringing that in. | 0:13:16 | 0:13:17 | |
-You're welcome. -I've learned a lot from that. | 0:13:17 | 0:13:20 | |
What a lot of money, as well. | 0:13:20 | 0:13:21 | |
-I know, I can't wait to see... -What a lucky girl! | 0:13:21 | 0:13:24 | |
It's a rare thing, but at the same time, there's a lot of gold in it, | 0:13:24 | 0:13:28 | |
-as well. There were two... I'm just hoping... -Two schools of thought. | 0:13:28 | 0:13:32 | |
-Yeah. -OK. -I'm hoping that it will make more than the gold value and | 0:13:32 | 0:13:35 | |
survive the week, otherwise it's straight into a pot, | 0:13:35 | 0:13:37 | |
probably to the Birmingham Jewellery Quarter, | 0:13:37 | 0:13:39 | |
melted down and you'll never see it again, | 0:13:39 | 0:13:41 | |
so I'm just hoping it'll go at this value. | 0:13:41 | 0:13:44 | |
OK. It's time to find out what the bidders think. | 0:13:44 | 0:13:46 | |
The 1904 gold 20 American Liberty Double Eagle coin, | 0:13:46 | 0:13:51 | |
designed by James B Longacre. | 0:13:51 | 0:13:54 | |
At 750. | 0:13:54 | 0:13:55 | |
Do I see 800 now? | 0:13:55 | 0:13:57 | |
At 750. 800. 850. 900. | 0:13:57 | 0:14:01 | |
Come on, come on, we need a bit more. | 0:14:01 | 0:14:03 | |
-950. 1,000. -Yes. | 0:14:03 | 0:14:05 | |
-You've done it, you've done it. -At 1,000, do I see 1,050? | 0:14:05 | 0:14:10 | |
At 1,000. It's on the net. I can sell it. | 0:14:10 | 0:14:12 | |
At £1,000. Are we all finished here? | 0:14:12 | 0:14:15 | |
At £1,000. | 0:14:15 | 0:14:17 | |
Gone. £1,000. | 0:14:18 | 0:14:21 | |
-Good result. -Phew! | 0:14:21 | 0:14:24 | |
-Well, you're happy. -Yeah. I'm glad. | 0:14:24 | 0:14:26 | |
I'm really pleased Lorraine got the price she wanted. | 0:14:27 | 0:14:30 | |
Next up are Brian and Dee's postcards and there's only one word | 0:14:30 | 0:14:34 | |
to describe these. | 0:14:34 | 0:14:36 | |
Lovely, lovely! And the fact that they're all from one family, really. | 0:14:36 | 0:14:39 | |
One person sending back, I think that's really nice. | 0:14:39 | 0:14:43 | |
-Quite amazing, isn't it? -Yeah. | 0:14:43 | 0:14:45 | |
-300-odd cards sent to the Carr family in Portsmouth. -Yes. | 0:14:45 | 0:14:48 | |
Exploration is really popular. | 0:14:48 | 0:14:51 | |
I really hope they do well. | 0:14:51 | 0:14:52 | |
OK. This is getting exciting. | 0:14:52 | 0:14:54 | |
Whatever you do, don't go away, anchor yourself in your armchair | 0:14:54 | 0:14:58 | |
right now, because this is going under the hammer. | 0:14:58 | 0:15:00 | |
Here we go. Good luck, Dee. | 0:15:00 | 0:15:02 | |
Lot number 250 is an early 20th century and later postcard album, | 0:15:03 | 0:15:09 | |
mainly depicting scenic views of the Swiss Alps. | 0:15:09 | 0:15:13 | |
42 I've got. 42. | 0:15:13 | 0:15:14 | |
Do I see 45? At 42 now. | 0:15:14 | 0:15:18 | |
At £42. | 0:15:20 | 0:15:21 | |
Still here with me at 42. | 0:15:21 | 0:15:23 | |
Nothing on the net. Nothing in the room? | 0:15:23 | 0:15:25 | |
No? No? | 0:15:25 | 0:15:27 | |
I'm afraid I'm going to have to | 0:15:27 | 0:15:30 | |
pass on those. They're not going to sell, I'm afraid. | 0:15:30 | 0:15:32 | |
Well, thank goodness you put a reserve on there. | 0:15:32 | 0:15:34 | |
-I'm gobsmacked. -So am I. | 0:15:34 | 0:15:36 | |
You know, if I were allowed, I would have bought them myself. | 0:15:36 | 0:15:38 | |
-But I'm not allowed. -Do your own research, OK? | 0:15:38 | 0:15:41 | |
Contact the families, if you can, | 0:15:41 | 0:15:42 | |
because that belongs back with the family somewhere. | 0:15:42 | 0:15:45 | |
-I think it does. -Yeah. -Yes. | 0:15:45 | 0:15:47 | |
Ah, the mysteries of auctions. | 0:15:48 | 0:15:50 | |
On another day, those cards would have been fought over by the buyers. | 0:15:50 | 0:15:55 | |
Finally, it Sally's cases, which we're selling as | 0:15:55 | 0:15:59 | |
three separate lots. | 0:15:59 | 0:16:00 | |
Going up first, we've got that lovely Art Deco sewing case, | 0:16:00 | 0:16:03 | |
that's the first one up. Oh, it's beautiful! | 0:16:03 | 0:16:05 | |
Why are you selling this? | 0:16:05 | 0:16:06 | |
Because it was Flog It! and I was here. | 0:16:06 | 0:16:08 | |
Oh, no, you just went, "Oh, it is nice, isn't it? | 0:16:08 | 0:16:10 | |
"What am I doing?" Good luck with this, Sally. | 0:16:10 | 0:16:12 | |
-What's with the boxing gloves? -My husband was a boxer. -Oh, was he? | 0:16:12 | 0:16:15 | |
-Yes. -As a professional? | 0:16:15 | 0:16:16 | |
-No, amateur. -But a good boxer? | 0:16:16 | 0:16:18 | |
-Very, very good. Very good, yes. -OK, well, let's hope we can deliver | 0:16:18 | 0:16:21 | |
a sucker punch to the bidders right now. | 0:16:21 | 0:16:23 | |
-Absolutely. -This is it. | 0:16:23 | 0:16:24 | |
One of the best items in the auction today, I believe, | 0:16:26 | 0:16:28 | |
the Art Deco miniature silver sewing case in black enamel. | 0:16:28 | 0:16:32 | |
And I start it at 65. | 0:16:33 | 0:16:36 | |
At 65. 70 are we now? | 0:16:36 | 0:16:38 | |
75. | 0:16:38 | 0:16:40 | |
85. | 0:16:40 | 0:16:41 | |
95. | 0:16:41 | 0:16:43 | |
100. 100 with you, sir. | 0:16:43 | 0:16:45 | |
110, is it now? 110. 120. 130. 140. 150. | 0:16:45 | 0:16:51 | |
-I love this. -At 140, in the middle of the room. | 0:16:51 | 0:16:55 | |
150. 160. 150, with the young lady on the right now. | 0:16:55 | 0:16:59 | |
At 150. Do I see 160 now? | 0:16:59 | 0:17:02 | |
At £150. | 0:17:02 | 0:17:04 | |
-Hey! -Oh, it gone. -Thank you. | 0:17:04 | 0:17:07 | |
That's going to a good home. | 0:17:07 | 0:17:10 | |
-She looks pleased. -One down, two to go. | 0:17:10 | 0:17:12 | |
The Art Deco cigarette case set with diamond chips to the front | 0:17:12 | 0:17:18 | |
and I've got to start this one at £130. | 0:17:18 | 0:17:22 | |
At 130. 140. 150. | 0:17:22 | 0:17:25 | |
160. 170. 180. 180 is here in the room. I'm out. | 0:17:25 | 0:17:31 | |
At 180. Have we all done here? | 0:17:31 | 0:17:33 | |
And finished at £180. | 0:17:33 | 0:17:36 | |
-180. -That's fine. -One more to go. | 0:17:36 | 0:17:38 | |
-That's good. Yes, OK. -Here we go. | 0:17:38 | 0:17:40 | |
So, three boxes. There they are. | 0:17:42 | 0:17:43 | |
And I can start you at £130. | 0:17:43 | 0:17:46 | |
At 130. Do I see 140 now? | 0:17:46 | 0:17:49 | |
Beautiful little boxes here. At 130. | 0:17:49 | 0:17:52 | |
140, is it, now? | 0:17:52 | 0:17:53 | |
140. 150. 160. 170. 180 at the back. | 0:17:53 | 0:17:59 | |
I'm out. At 180. | 0:17:59 | 0:18:00 | |
Do I see 190 now? | 0:18:00 | 0:18:02 | |
At £180. | 0:18:02 | 0:18:03 | |
Have we all finished here? | 0:18:03 | 0:18:06 | |
At £180, the gentleman there at 180. | 0:18:06 | 0:18:10 | |
Brilliant! I have to say it like they say in the darts. | 0:18:10 | 0:18:12 | |
"180!" And it's sold. | 0:18:12 | 0:18:15 | |
And if my maths are right, 510. Is that right, Jonathan? | 0:18:15 | 0:18:17 | |
-Yeah, I would say so. -510, Sally. | 0:18:17 | 0:18:19 | |
-Lovely. -That's a good day's work here in Rye. | 0:18:19 | 0:18:22 | |
-Wonderful. -You're going home with a big smile on your face. -I am. | 0:18:22 | 0:18:25 | |
What a day we're having here in the auction room. It's so exciting. | 0:18:28 | 0:18:32 | |
Things are flying out. We're getting some great results. | 0:18:32 | 0:18:35 | |
I'm losing my voice, but more importantly, the owners are happy. | 0:18:35 | 0:18:38 | |
I love auctions. Things come in all shapes and sizes. | 0:18:38 | 0:18:40 | |
Now, before we go back to our valuation day, | 0:18:40 | 0:18:42 | |
to find some more treasures, | 0:18:42 | 0:18:43 | |
I'm taking a trip up the coastline, to have a look at a unique piece | 0:18:43 | 0:18:47 | |
of British history. It's a familiar shape, | 0:18:47 | 0:18:49 | |
but it's a rather unusual size. You'll love this. | 0:18:49 | 0:18:52 | |
In the south of Kent, the Romney, | 0:19:00 | 0:19:02 | |
Hythe & Dymchurch Railway has been running regular services along | 0:19:02 | 0:19:07 | |
13 miles of coastline between Hythe and Dungeness since 1927. | 0:19:07 | 0:19:12 | |
But this is a railway with a big difference. | 0:19:12 | 0:19:16 | |
They look like perfectly-maintained vintage steam engines, | 0:19:16 | 0:19:19 | |
but in fact, they're one-third normal size, | 0:19:19 | 0:19:22 | |
with carriages and 15-inch track. | 0:19:22 | 0:19:25 | |
But just look at them. | 0:19:25 | 0:19:26 | |
They are beautiful working machines in miniature. | 0:19:26 | 0:19:29 | |
The level of detail is absolutely superb and the workmanship | 0:19:29 | 0:19:33 | |
is fantastic. They are a joy to look at. | 0:19:33 | 0:19:38 | |
But this isn't just a tourist attraction, | 0:19:42 | 0:19:44 | |
it's a timetabled daily rail service used by commuters and travellers, | 0:19:44 | 0:19:49 | |
making it the smallest public railway in the world. | 0:19:49 | 0:19:53 | |
The Romney, Hythe & Dymchurch railway owes its existence to two | 0:19:58 | 0:20:03 | |
quite remarkable men - Captain John Howie and Count Louis Zborowski. | 0:20:03 | 0:20:08 | |
These two friends, who lived near each other in Kent, | 0:20:10 | 0:20:13 | |
were amongst the richest men in the country, | 0:20:13 | 0:20:15 | |
but what really united Howie and Zborowski was they both loved | 0:20:15 | 0:20:20 | |
miniature railways. So much so, | 0:20:20 | 0:20:22 | |
each one had one built on the vast grounds of their Kent homes. | 0:20:22 | 0:20:26 | |
Zborowski used his trains to make his own Hollywood-style movies, | 0:20:26 | 0:20:30 | |
complete with damsels in distress, starring himself in the lead role. | 0:20:30 | 0:20:35 | |
But what both men really dreamed of | 0:20:35 | 0:20:37 | |
was creating a fully working public railway, but in miniature. | 0:20:37 | 0:20:42 | |
So they recruited Henry Greenly, | 0:20:42 | 0:20:44 | |
the greatest railway designer of the day, | 0:20:44 | 0:20:47 | |
and they commissioned two of the finest locomotives | 0:20:47 | 0:20:49 | |
to be custom-built. | 0:20:49 | 0:20:50 | |
Sadly, the dream was brought to a sudden and tragic halt. | 0:20:53 | 0:20:56 | |
In 1924, Count Zborowski was killed in a racing accident, aged just 29. | 0:20:56 | 0:21:03 | |
However, Howie wasn't daunted. | 0:21:06 | 0:21:08 | |
He was determined to complete the project and he continued with their | 0:21:08 | 0:21:11 | |
plans. He decided to build the line from here in New Romney to Hythe, | 0:21:11 | 0:21:16 | |
which is nine miles up the coastline. | 0:21:16 | 0:21:19 | |
In July 1927, the Romney, Hythe & Dymchurch Railway was born | 0:21:21 | 0:21:27 | |
and it was an instant hit, with people coming from all over | 0:21:27 | 0:21:31 | |
the world to ride on this special little railway. | 0:21:31 | 0:21:34 | |
All went very well for the next 12 years, until 1939, | 0:21:34 | 0:21:38 | |
when the Second World War arrived. | 0:21:38 | 0:21:40 | |
With the country under attack from enemy planes, | 0:21:43 | 0:21:45 | |
Captain Howie's railway was requisitioned by the army | 0:21:45 | 0:21:49 | |
and given a very special role. One entire train was fully | 0:21:49 | 0:21:54 | |
armour-plated and fitted with anti-aircraft guns, | 0:21:54 | 0:21:57 | |
helping to defend this stretch of the English coastline | 0:21:57 | 0:22:01 | |
in its own unique way. | 0:22:01 | 0:22:03 | |
Unfortunately, being part of the war effort, | 0:22:06 | 0:22:09 | |
the line and the locomotives were left in a bit of a sorry state, | 0:22:09 | 0:22:12 | |
with large parts of the line completely unusable. | 0:22:12 | 0:22:15 | |
But Captain Howie soon got it all fixed up again and the rolling stock | 0:22:15 | 0:22:19 | |
operational. He even recruited two of the biggest names of the day | 0:22:19 | 0:22:23 | |
to launch the grand re-opening in 1947 - | 0:22:23 | 0:22:26 | |
Laurel and Hardy. | 0:22:26 | 0:22:28 | |
There's one man who knows all about Captain Howie. | 0:22:30 | 0:22:33 | |
After a career driving full-size trains for British Rail, | 0:22:33 | 0:22:36 | |
Andy Nash now works here, as the archivist. | 0:22:36 | 0:22:40 | |
He knows what a tough character Howie was. | 0:22:40 | 0:22:43 | |
He once sacked a driver because he saw him from a distance, | 0:22:43 | 0:22:47 | |
there wasn't a puff of steam from the whistle at the level crossing, | 0:22:47 | 0:22:50 | |
and he'd beat the train to Hythe | 0:22:50 | 0:22:52 | |
and he took the driver off and sacked him | 0:22:52 | 0:22:54 | |
and he drove the train the rest of the day himself. | 0:22:54 | 0:22:56 | |
That sounds like he was a formidable character. | 0:22:56 | 0:22:58 | |
-He must've been a hard man to work for. -He could be, if you... | 0:22:58 | 0:23:00 | |
Got on the wrong side. | 0:23:00 | 0:23:01 | |
Yes, if you got on the wrong side of him or if he took a dislike to you, | 0:23:01 | 0:23:05 | |
but equally, he would run the train service on his own. | 0:23:05 | 0:23:08 | |
What, to give staff time off? | 0:23:08 | 0:23:10 | |
To give staff time off and he would put a show on, | 0:23:10 | 0:23:12 | |
maybe get people down from London, | 0:23:12 | 0:23:14 | |
and they would put a show on in the social club and he would work | 0:23:14 | 0:23:17 | |
the train service in the evening on his own. | 0:23:17 | 0:23:19 | |
So that is a man really playing with his railway set? | 0:23:19 | 0:23:22 | |
Playing is... an extension of it, but, yeah. | 0:23:22 | 0:23:26 | |
-The railway came first. -Yeah. -Trains came first. | 0:23:26 | 0:23:28 | |
And it was running a public service. | 0:23:28 | 0:23:30 | |
We still do to this day. | 0:23:30 | 0:23:31 | |
So, if we publicise a train, it has to run. | 0:23:31 | 0:23:34 | |
Well, you've driven full-sized trains and you've driven these. | 0:23:34 | 0:23:37 | |
What is the attraction with these? | 0:23:37 | 0:23:39 | |
These have more spirit to them. | 0:23:39 | 0:23:42 | |
A modern electric or a diesel train is fun to drive, | 0:23:42 | 0:23:45 | |
I'm not saying it's not a thrill, but these are the top-notch. | 0:23:45 | 0:23:49 | |
-Absolutely fantastic. -Is there something quite rewarding | 0:23:49 | 0:23:52 | |
about being there, you know, open to the elements? | 0:23:52 | 0:23:55 | |
Absolutely. The smells, the feel of the engine. | 0:23:55 | 0:23:58 | |
-It is alive. -It's the atmosphere? | 0:23:58 | 0:23:59 | |
Absolutely fantastic. | 0:23:59 | 0:24:01 | |
It's something that got in my blood when I was four years old. | 0:24:01 | 0:24:04 | |
This is the greatest place to be. | 0:24:04 | 0:24:06 | |
You never grow up, do you...? | 0:24:06 | 0:24:08 | |
Little boys never grow up. | 0:24:08 | 0:24:09 | |
The Romney, Hythe & Dymchurch Railway has continued | 0:24:19 | 0:24:22 | |
to run smoothly and gracefully up and down | 0:24:22 | 0:24:25 | |
this stretch of the Kent coastline. | 0:24:25 | 0:24:27 | |
The likes of Walt Disney, Her Majesty the Queen, Prince Philip | 0:24:27 | 0:24:30 | |
and countless other famous people have ridden on these rails. | 0:24:30 | 0:24:34 | |
Today, it's my turn. | 0:24:34 | 0:24:36 | |
This marvellous railway and its trains may be small, | 0:24:40 | 0:24:43 | |
but I think they're as exciting as the full-sized variety. | 0:24:43 | 0:24:47 | |
And I think that's the thing about things in miniature, | 0:24:48 | 0:24:51 | |
they bring out the inner child in us and I think that's what helped | 0:24:51 | 0:24:54 | |
build this railway in the first place and why thousands of people | 0:24:54 | 0:24:58 | |
each year keep coming back, nearly a century later. | 0:24:58 | 0:25:02 | |
Back at Herstmonceux Castle, | 0:25:16 | 0:25:17 | |
the valuation day is still in full swing. | 0:25:17 | 0:25:20 | |
There are plenty of visitors arriving with their treasures | 0:25:20 | 0:25:23 | |
for us to enjoy and James is ready to paint a picture | 0:25:23 | 0:25:26 | |
of a miniature antique on his table. | 0:25:26 | 0:25:29 | |
Let's go back to the 1830s - 1820s, 1830s. | 0:25:29 | 0:25:34 | |
You are somebody who is a salesman for your company's furniture | 0:25:34 | 0:25:39 | |
and you travel with your samples. | 0:25:39 | 0:25:43 | |
This is the sort of thing that a furniture salesman | 0:25:43 | 0:25:47 | |
would have taken with him from one place to another. | 0:25:47 | 0:25:50 | |
It's also the sort of thing | 0:25:50 | 0:25:53 | |
that a trainee cabinet-maker would have made, as an apprentice piece. | 0:25:53 | 0:25:58 | |
Let's just say I arrived at your home and I said, "Julia, | 0:25:59 | 0:26:03 | |
"look at the wonderful pieces of furniture that we could make." | 0:26:03 | 0:26:07 | |
And you looked at that. Would you be totally impressed? | 0:26:07 | 0:26:10 | |
I can see there are a few faults. | 0:26:10 | 0:26:12 | |
-Yeah. -Yeah. -And it's not good enough, for that reason. | 0:26:12 | 0:26:16 | |
But if I were a student and I said, "Look what my apprentice piece is", | 0:26:16 | 0:26:21 | |
-then you'd be far more impressed, wouldn't you? -Yes. | 0:26:21 | 0:26:24 | |
And that's why I like to think it's probably that. | 0:26:24 | 0:26:27 | |
But the colour is wonderful and it's a lovely little thing. | 0:26:27 | 0:26:32 | |
It dates to about 1820, 1840 | 0:26:32 | 0:26:37 | |
and it's a linen press. | 0:26:37 | 0:26:39 | |
It's all in mahogany. | 0:26:39 | 0:26:41 | |
Kite-shaped boxwood escutcheons, | 0:26:41 | 0:26:45 | |
even working locks in there. | 0:26:45 | 0:26:48 | |
Then, at the top, a pair of doors and what you'd expect in a full-size | 0:26:48 | 0:26:52 | |
model, it would have sliding trays for you to put your linen out. | 0:26:52 | 0:26:56 | |
We open this one out... | 0:26:56 | 0:26:57 | |
..and there we've got another wonderful interior. | 0:27:00 | 0:27:03 | |
So, again in mahogany, but we see the difference of the colour. | 0:27:03 | 0:27:07 | |
Now, that's the same wood as that. | 0:27:07 | 0:27:10 | |
Oh, is it? | 0:27:10 | 0:27:11 | |
But this has got what we call patination. | 0:27:11 | 0:27:14 | |
It's years of dirt and polish and grime. | 0:27:14 | 0:27:17 | |
You see around the handle, it's slightly darker. | 0:27:17 | 0:27:21 | |
-Lighter here, lighter here, darker there. -Yes. | 0:27:21 | 0:27:25 | |
And that is just oil from 150 years of fingers doing that, | 0:27:25 | 0:27:30 | |
and that's the sort of thing that you cannot fake | 0:27:30 | 0:27:33 | |
on a piece of furniture | 0:27:33 | 0:27:34 | |
and that's why I love antiques. | 0:27:34 | 0:27:36 | |
How did you come to have it? | 0:27:36 | 0:27:38 | |
Well, it's been in my life all my life. | 0:27:38 | 0:27:41 | |
It was inherited through my mother's family. | 0:27:41 | 0:27:44 | |
Her uncle, who she was adopted by, because her mother died, | 0:27:44 | 0:27:49 | |
was an antiques collector... | 0:27:49 | 0:27:50 | |
-OK. -..and it was always by my bedside... | 0:27:50 | 0:27:54 | |
-Oh, really? -..and so my father gave it to me when we had our own house. | 0:27:54 | 0:27:58 | |
-Oh, wow. -In these drawers were some miniature books... -Yeah. | 0:27:58 | 0:28:01 | |
..which aren't there today. | 0:28:01 | 0:28:03 | |
So, I was always fascinated by opening the little drawers | 0:28:03 | 0:28:07 | |
and the little drawers that are inside. | 0:28:07 | 0:28:09 | |
So, it's great sentimental value to me. | 0:28:09 | 0:28:13 | |
So, what's it doing here? Why are you selling it? | 0:28:13 | 0:28:15 | |
Well, I actually did bring it originally because of the little | 0:28:15 | 0:28:18 | |
-books in the drawers... -OK. | 0:28:18 | 0:28:20 | |
..thinking they would be of far more interest. | 0:28:20 | 0:28:22 | |
So, it's, sort of, here by default, really. | 0:28:22 | 0:28:25 | |
Oh. | 0:28:25 | 0:28:26 | |
But... | 0:28:26 | 0:28:28 | |
Are you sure you want it to go? | 0:28:28 | 0:28:29 | |
I'm not absolutely sure. | 0:28:29 | 0:28:31 | |
I suppose I have to... | 0:28:31 | 0:28:32 | |
I'd have to be convinced that it would be worth me selling. | 0:28:33 | 0:28:36 | |
If that was a full-size cabinet on stand, in today's auction market... | 0:28:36 | 0:28:42 | |
..you would put an auction estimate of £200 to £300 on it. | 0:28:43 | 0:28:47 | |
And, you know, as a miniature, | 0:28:47 | 0:28:49 | |
as something that is made as an apprentice piece, | 0:28:49 | 0:28:52 | |
it's probably worth about the same, 200 or 300. | 0:28:52 | 0:28:55 | |
And I'd recommend a reserve of £200. | 0:28:55 | 0:28:58 | |
What do you think? Would you like it to go? | 0:28:58 | 0:29:01 | |
-Probably. -Good. | 0:29:01 | 0:29:03 | |
I'm glad you said that, because I actually genuinely wasn't sure. | 0:29:03 | 0:29:07 | |
Why was it so dependent on the value? | 0:29:07 | 0:29:09 | |
Well, I'm soon to take early retirement... | 0:29:09 | 0:29:12 | |
-OK. -..and I've got a few plans, | 0:29:12 | 0:29:15 | |
one of which is to realise a dream from the age of 18, | 0:29:15 | 0:29:19 | |
is to learn to play the oboe. | 0:29:19 | 0:29:21 | |
-Really? -So I thought, well, whatever I get for this, | 0:29:23 | 0:29:26 | |
my father would be really pleased if I put it towards an oboe. | 0:29:26 | 0:29:30 | |
-Wow! -So I could replace something special with something special. | 0:29:30 | 0:29:33 | |
Brilliant. You'll have to send us a little CD of your oboe playing | 0:29:33 | 0:29:38 | |
in a couple of years and see how you get on! | 0:29:38 | 0:29:40 | |
-Thank you so much. -Thank you. -Thank you. | 0:29:40 | 0:29:42 | |
Let's hope that cabinet does well. | 0:29:43 | 0:29:45 | |
It would be nice to know Flog It! helped launch a new musical career. | 0:29:45 | 0:29:50 | |
After the thrill of riding that miniature railway earlier, | 0:29:50 | 0:29:53 | |
I found an even smaller train in the ballroom. | 0:29:53 | 0:29:56 | |
Take a look at this. Father and son team. | 0:29:56 | 0:29:58 | |
-What are your name is? -Bernard. -And? -Neil. -And Neil. | 0:29:58 | 0:30:01 | |
-Who made this? -Ernie Marshall. -And whose Ernie Marshall? | 0:30:01 | 0:30:05 | |
-My uncle. -He made it on his little lathe in the kitchen at home. | 0:30:05 | 0:30:08 | |
It took him about five or six years or so. | 0:30:08 | 0:30:11 | |
He made all the bits himself, put it together himself. | 0:30:11 | 0:30:14 | |
Very, very clever. The Flying Scotsman, and it's to scale. | 0:30:14 | 0:30:17 | |
It's incredibly detailed. | 0:30:17 | 0:30:18 | |
-It is. -Yes. -And what an iconic locomotive, as well. | 0:30:18 | 0:30:22 | |
You know, in terms of value, something like this, | 0:30:22 | 0:30:25 | |
if it came up for auction, | 0:30:25 | 0:30:27 | |
I think you're looking at around £3,500 to £5,000. | 0:30:27 | 0:30:30 | |
It doesn't sound a lot of money for the man-hours that have gone into | 0:30:30 | 0:30:33 | |
that, that's for sure. That was a labour of love, | 0:30:33 | 0:30:35 | |
but it's really hard to put a value on a scratch-built item like that. | 0:30:35 | 0:30:38 | |
But, I think that's kind of like the ballpark figure. | 0:30:38 | 0:30:40 | |
Do you know what, one of my dreams is to go on a little journey | 0:30:40 | 0:30:43 | |
on the Flying Scotsman. I'd love to do that one day. | 0:30:43 | 0:30:46 | |
-I really would. -It'd be nice, wouldn't it? | 0:30:46 | 0:30:50 | |
Well, that train's not going off to the saleroom, | 0:30:50 | 0:30:52 | |
but over on Jonathan's table, | 0:30:52 | 0:30:54 | |
there's a couple of statues that we will be selling at auction. | 0:30:54 | 0:30:58 | |
Well, ladies, you brought two really, really lovely things today. | 0:30:58 | 0:31:02 | |
Who do they belong to, out of the two of you? | 0:31:03 | 0:31:05 | |
Right, OK. Where do they come from? | 0:31:05 | 0:31:07 | |
I inherited them from my father... | 0:31:07 | 0:31:10 | |
-OK. -..and probably from his father, cos he had the money. | 0:31:10 | 0:31:13 | |
OK. I mean, you've got two very different objects here. | 0:31:13 | 0:31:17 | |
You've got this, which is Japanese, late 19th century bronze. | 0:31:17 | 0:31:23 | |
The casting's very good. | 0:31:23 | 0:31:25 | |
It's like in the golden age, really, in Japanese bronze making, | 0:31:25 | 0:31:29 | |
of this seated... | 0:31:29 | 0:31:31 | |
-Boy. -..boy. | 0:31:33 | 0:31:34 | |
Yeah, I'll start with the boy, thank you! | 0:31:34 | 0:31:36 | |
On the back of a seated... | 0:31:36 | 0:31:38 | |
..cow. For want of a better word. | 0:31:40 | 0:31:42 | |
Sorry about the dust on the top. | 0:31:42 | 0:31:44 | |
You don't have to apologise about the dust. | 0:31:44 | 0:31:46 | |
One thing I noticed straightaway, this little chap here | 0:31:46 | 0:31:49 | |
-is missing something. -Yes. | 0:31:49 | 0:31:51 | |
Oh. | 0:31:51 | 0:31:53 | |
Either he's eating a baguette... | 0:31:53 | 0:31:55 | |
-A little pipe. -..or he's playing a pipe, yes. | 0:31:55 | 0:31:57 | |
-Oh, dear. -Whether that was made of bronze, probably was. | 0:31:57 | 0:32:00 | |
-I'd forgotten about that. -So he is missing something. | 0:32:00 | 0:32:03 | |
Yes, that's a shame. | 0:32:03 | 0:32:05 | |
My feeling is he's probably worth between £400 and £600. | 0:32:05 | 0:32:08 | |
-Right. -And if you wanted to sell it at £400 to £600, | 0:32:08 | 0:32:11 | |
I would suggest a reserve around the lower estimate. | 0:32:11 | 0:32:14 | |
My favourite object is this one. | 0:32:14 | 0:32:16 | |
Again, a late 19th century bronze, | 0:32:16 | 0:32:19 | |
but this is what we call cold-painted bronze | 0:32:19 | 0:32:21 | |
and it's from Austria, | 0:32:21 | 0:32:22 | |
with a bird of prey perched on the side of a nest. | 0:32:22 | 0:32:25 | |
And this is beautifully constructed. | 0:32:25 | 0:32:27 | |
I've not seen the bird of prey on the side of a nest like this before, | 0:32:27 | 0:32:30 | |
so I'm really drawn to it. | 0:32:30 | 0:32:32 | |
I'm not sure whether there might have been something in the middle. | 0:32:32 | 0:32:35 | |
Never while I've had it. | 0:32:35 | 0:32:36 | |
No. But it has got a mark and the place you'd normally look, anyway... | 0:32:36 | 0:32:39 | |
Oh, well done. | 0:32:39 | 0:32:41 | |
There is a mark on the base of the tail here, on the tail feather, | 0:32:41 | 0:32:44 | |
which actually says depose - D-E-P-O-S-E, | 0:32:44 | 0:32:48 | |
which I believe is a French word for "made by". | 0:32:48 | 0:32:51 | |
-Oh. -Oh? -So, it's like French-made or handmade. | 0:32:51 | 0:32:55 | |
I don't know what the bit underneath says. | 0:32:55 | 0:32:57 | |
I still think it's Austrian. | 0:32:57 | 0:32:59 | |
But it's great quality, nice condition and it's a great subject, | 0:32:59 | 0:33:02 | |
so, my feeling for this is, at auction, | 0:33:02 | 0:33:05 | |
it's worth between £300 and £500. | 0:33:05 | 0:33:08 | |
OK. | 0:33:08 | 0:33:10 | |
And I would suggest a reserve at the lower estimate. | 0:33:10 | 0:33:12 | |
I really think it's a lovely object. | 0:33:12 | 0:33:13 | |
I think they're both really lovely, but I prefer that one. | 0:33:13 | 0:33:16 | |
-I agree. -That's the one I'd take home! | 0:33:16 | 0:33:17 | |
We like that one, don't we? | 0:33:17 | 0:33:18 | |
-Have faith. -OK. -300 to 500, firm three reserve. | 0:33:18 | 0:33:21 | |
-OK. -And watch it fly. | 0:33:21 | 0:33:22 | |
Things are ticking along nicely in the ballroom and we've got time | 0:33:26 | 0:33:29 | |
for just one more item, so take it away, James. | 0:33:29 | 0:33:32 | |
Now, Rosemary, Robert, this is an 18-carat, full hunter pocket watch, | 0:33:33 | 0:33:37 | |
good big size, as well. | 0:33:37 | 0:33:39 | |
The sort of thing that you would expect a big man to have. | 0:33:39 | 0:33:42 | |
It's far from a lady's watch. | 0:33:42 | 0:33:44 | |
It's lovely. A really good example. | 0:33:44 | 0:33:47 | |
Tell me, what's the history? | 0:33:47 | 0:33:49 | |
It belonged to my great grandfather, who was a baker in Scotland, | 0:33:49 | 0:33:53 | |
and he obviously thought it would be nice to treat himself to a really | 0:33:53 | 0:33:57 | |
-good watch. -And he did. | 0:33:57 | 0:33:58 | |
-Yeah. -It's a really lovely, lovely pocket watch. | 0:33:58 | 0:34:02 | |
Let's have a look. There we go. | 0:34:02 | 0:34:05 | |
We've got 18, which obviously means 18-carat. | 0:34:05 | 0:34:09 | |
We've got the wheatsheaves, for Chester, | 0:34:09 | 0:34:11 | |
and we've got the date letter there for 1905. | 0:34:11 | 0:34:15 | |
So it's in the first ten years of the 20th century, | 0:34:15 | 0:34:18 | |
which is when these top wind watches started to be used, until the 1930s, | 0:34:18 | 0:34:24 | |
-when wristwatches started to become fashionable. -Oh, right. | 0:34:24 | 0:34:27 | |
-Yes. -But, until this point, | 0:34:27 | 0:34:29 | |
you would have had a key to wind with it and you would open the back, | 0:34:29 | 0:34:33 | |
take your key, insert it and wind it up. | 0:34:33 | 0:34:36 | |
But this is good, because it is a stopwatch, | 0:34:36 | 0:34:38 | |
and we've got a little bar here, | 0:34:38 | 0:34:40 | |
and if you watch the second hand going round, | 0:34:40 | 0:34:42 | |
if we just move that bar at the bottom... | 0:34:42 | 0:34:44 | |
There we go, that stops it. | 0:34:46 | 0:34:48 | |
Now, we should see that in the back, so let's turn it over, | 0:34:48 | 0:34:52 | |
and you can see there the balance wheel. | 0:34:52 | 0:34:54 | |
The reason why it's called a Hunter is because it's got a solid piece | 0:34:54 | 0:34:57 | |
back and front, so if you're riding your hunter horse and you fall off, | 0:34:57 | 0:35:01 | |
there's no glass to get damaged. | 0:35:01 | 0:35:04 | |
So, everything's good about it. | 0:35:04 | 0:35:05 | |
It's got an alarm, it's in great condition, it's a lovely clean dial, | 0:35:05 | 0:35:09 | |
the gold's good, it's 18-carat. | 0:35:09 | 0:35:12 | |
It's everything you look for, really. | 0:35:12 | 0:35:14 | |
Now, family thing, been in the family a long time, | 0:35:14 | 0:35:18 | |
-you know what I'm going to ask. -Yeah! | 0:35:18 | 0:35:20 | |
Why? | 0:35:20 | 0:35:22 | |
Well, you get to a certain age and you think you might as well | 0:35:22 | 0:35:25 | |
-enjoy life to the full. -Yes. | 0:35:25 | 0:35:28 | |
As much as we love our boys, we're going to have the benefit of it. | 0:35:28 | 0:35:32 | |
What do you think it's worth? | 0:35:34 | 0:35:35 | |
I have an indication, | 0:35:35 | 0:35:36 | |
because it was valued a while back and the indication was £1,000. | 0:35:36 | 0:35:42 | |
OK, now that was probably four, five years ago? | 0:35:42 | 0:35:46 | |
Yeah, a bit more recent, but... | 0:35:46 | 0:35:48 | |
Maybe three? | 0:35:48 | 0:35:49 | |
We've lost about... | 0:35:49 | 0:35:51 | |
..30% on the gold value in that period. | 0:35:53 | 0:35:56 | |
So, I would say its gold value is about £550, £600, | 0:35:57 | 0:36:04 | |
and I think, as a pocket watch, it's about 600, 620. | 0:36:04 | 0:36:07 | |
So I would put 600-900 on it as an estimate, and a reserve - | 0:36:07 | 0:36:11 | |
firm reserve - of 600. | 0:36:11 | 0:36:14 | |
How do you feel? Do you want...? | 0:36:14 | 0:36:15 | |
-Now I can see, I can see... -Yeah. -Go on, go on. | 0:36:15 | 0:36:18 | |
Can we not put the reserve higher? | 0:36:18 | 0:36:20 | |
Of course you can, it's your watch. | 0:36:20 | 0:36:21 | |
Perhaps a fixed reserve at 800 and run it from there? | 0:36:21 | 0:36:24 | |
-Absolutely fine. -Would that be all right? | 0:36:24 | 0:36:26 | |
-So we'll put 8-9 and a reserve of eight. -Excellent. | 0:36:26 | 0:36:28 | |
Lovely. All right. It's a lovely watch, lovely. | 0:36:28 | 0:36:32 | |
-In fact, best place for that... -THEY LAUGH | 0:36:32 | 0:36:34 | |
It's a good one. | 0:36:35 | 0:36:36 | |
-Had a good time, everyone? ALL: -Yes! | 0:36:39 | 0:36:42 | |
Yeah, and so have I, so thank you so much for turning up. | 0:36:42 | 0:36:45 | |
The people of Sussex have given us such a warm welcome | 0:36:45 | 0:36:48 | |
and we've found some fantastic treasures | 0:36:48 | 0:36:50 | |
worthy of such a magnificent host location. | 0:36:50 | 0:36:53 | |
So, now it's time to say goodbye to Herstmonceux Castle, as we go over | 0:36:53 | 0:36:56 | |
to the auction room, for the very last time, | 0:36:56 | 0:36:59 | |
and here's a quick recap of all the items | 0:36:59 | 0:37:01 | |
that are going under the hammer. | 0:37:01 | 0:37:03 | |
Julia's cabinet may be small, | 0:37:05 | 0:37:07 | |
but we are hoping it will fetch a big price at auction. | 0:37:07 | 0:37:10 | |
We're selling these two bronzes as two separate lots, | 0:37:11 | 0:37:14 | |
but they should definitely appeal to the eagle-eyed collectors. | 0:37:14 | 0:37:18 | |
And the gold watch is sure to be a hit, | 0:37:18 | 0:37:21 | |
if we can get it out of James' pocket. | 0:37:21 | 0:37:23 | |
It's back to Rye now and the auction is still going strong. | 0:37:28 | 0:37:32 | |
Kevin Wall is still in full flow and he's nearly at our lots. | 0:37:32 | 0:37:36 | |
Julia, it's good to see you again. | 0:37:36 | 0:37:38 | |
-Thank you. -We're going to be talking about this wonderful little | 0:37:38 | 0:37:40 | |
miniature cabinet. It's gorgeous, it's an apprentice piece. | 0:37:40 | 0:37:43 | |
And I saw this at the valuation day. | 0:37:43 | 0:37:45 | |
We need 200-300. Fingers crossed you sell this. | 0:37:45 | 0:37:47 | |
-This is your first auction, isn't it? -It is, it's very exciting. Yes. | 0:37:47 | 0:37:51 | |
There we are, it's an apprentice miniature regency style mahogany | 0:37:51 | 0:37:55 | |
and satinwood strong linen press. | 0:37:55 | 0:37:57 | |
A lovely piece of furniture there. | 0:37:57 | 0:37:59 | |
And I can start it at 120. 130, I've got. | 0:37:59 | 0:38:02 | |
At 130. Do I see 140 now? | 0:38:02 | 0:38:04 | |
At 130. | 0:38:04 | 0:38:06 | |
At 130, 140, 150, 160, 170. | 0:38:06 | 0:38:08 | |
170, 180, 190. | 0:38:11 | 0:38:13 | |
I've got 195 here. | 0:38:15 | 0:38:17 | |
200. We've got new bidders. | 0:38:19 | 0:38:20 | |
-200. 210. -Yeah, there's a chap in the room, | 0:38:20 | 0:38:24 | |
-bidding just there. -260. | 0:38:24 | 0:38:25 | |
250 on my left. | 0:38:25 | 0:38:28 | |
-At 250. -Come on, one more. | 0:38:28 | 0:38:30 | |
At 250. At £250. | 0:38:30 | 0:38:33 | |
Have we all finished? | 0:38:33 | 0:38:34 | |
At £250... | 0:38:34 | 0:38:36 | |
GAVEL BANGS | 0:38:36 | 0:38:38 | |
-We got it right. -The heart was going! | 0:38:38 | 0:38:40 | |
THEY LAUGH | 0:38:40 | 0:38:41 | |
Oh. It was a good moment. | 0:38:43 | 0:38:45 | |
-Good. -And somebody tells me you want to learn to play the oboe. | 0:38:45 | 0:38:48 | |
Yes, I do. It's been a childhood dream since I was 18, | 0:38:48 | 0:38:51 | |
so I'm going to put this towards one. | 0:38:51 | 0:38:53 | |
Good luck with that. And James, I gather, | 0:38:53 | 0:38:55 | |
is going to learn to play the bagpipes. | 0:38:55 | 0:38:57 | |
You never know, in a couple of years' time, we could have a duet. | 0:38:57 | 0:38:59 | |
-A little duet. -Let's meet up at a valuation day. | 0:38:59 | 0:39:02 | |
Oh, dear, I doubt I'll get there. | 0:39:02 | 0:39:04 | |
And who knows, we might end up with Flog It! - The Musical. | 0:39:06 | 0:39:09 | |
OK, maybe not. | 0:39:09 | 0:39:11 | |
Next up, those bronze sculptures | 0:39:11 | 0:39:13 | |
which we're selling as two separate lots. | 0:39:13 | 0:39:15 | |
Mary, we've got two lots going under the hammer. | 0:39:17 | 0:39:19 | |
It's good to see you again. Where's Sally today? | 0:39:19 | 0:39:22 | |
-In Budapest. -She's on holiday, is she? | 0:39:22 | 0:39:25 | |
Yes. Unfortunately. She would rather have come here. | 0:39:25 | 0:39:28 | |
Ah. | 0:39:28 | 0:39:30 | |
Where all the action is. Standing next to Jonathan and myself. | 0:39:30 | 0:39:33 | |
Well, look, we're in the auction room, it's really exciting, | 0:39:33 | 0:39:35 | |
things are flying out today. | 0:39:35 | 0:39:37 | |
I love this Austrian bronze, I think it's beautiful. | 0:39:37 | 0:39:39 | |
-It's unusual. -It's very unusual. | 0:39:39 | 0:39:42 | |
Why are you selling this? | 0:39:42 | 0:39:43 | |
-So, I can give my daughter some money. -OK. Good for you. | 0:39:43 | 0:39:47 | |
Good for you, good for you. | 0:39:47 | 0:39:49 | |
Right, let's find out what the bidders think. | 0:39:49 | 0:39:50 | |
This is the first to go under the hammer. Here it is. | 0:39:50 | 0:39:54 | |
The 19th-century, cold-painted bronze of a hawk. | 0:39:54 | 0:39:57 | |
There it is, showing now. | 0:39:57 | 0:39:59 | |
I've got 100, 150, 160, I'm bid. | 0:39:59 | 0:40:02 | |
At 160. Do I see 170? | 0:40:02 | 0:40:04 | |
180, 190, 200. | 0:40:04 | 0:40:06 | |
220, 230, 240. | 0:40:06 | 0:40:09 | |
-It's flying. -250, 260. | 0:40:09 | 0:40:10 | |
270, 280, 290. | 0:40:10 | 0:40:12 | |
Oh, this is lovely. | 0:40:12 | 0:40:14 | |
300 here. 310, 320. | 0:40:14 | 0:40:16 | |
310 on the net. | 0:40:16 | 0:40:17 | |
At 310, at 310. | 0:40:17 | 0:40:19 | |
320 at the back. | 0:40:19 | 0:40:20 | |
330, 340, | 0:40:20 | 0:40:22 | |
350, 360. | 0:40:22 | 0:40:25 | |
At 350. 360 now. | 0:40:25 | 0:40:27 | |
At 370. 380. | 0:40:27 | 0:40:29 | |
At 390. 400. | 0:40:29 | 0:40:32 | |
At 400. Still on the net. | 0:40:32 | 0:40:33 | |
At £400. Are we all done and finished now? | 0:40:34 | 0:40:37 | |
Selling on the net at 410... | 0:40:37 | 0:40:40 | |
-GAVEL BANGS One down. -Fantastic. | 0:40:40 | 0:40:42 | |
-Good. -That is fantastic, isn't it? | 0:40:42 | 0:40:44 | |
Well done, Mary. Thank you for bringing that in. | 0:40:44 | 0:40:46 | |
Right, here's the next one. | 0:40:46 | 0:40:47 | |
The 19th-century, Chinese bronze model of a recumbent oxen. | 0:40:49 | 0:40:53 | |
The flute is actually missing, but I can start you here at... | 0:40:53 | 0:40:56 | |
280, 300, | 0:40:57 | 0:40:59 | |
320, 340. | 0:40:59 | 0:41:01 | |
360, 380, 400, | 0:41:01 | 0:41:03 | |
420, 440 here. At 440 now. | 0:41:03 | 0:41:07 | |
-£440! -I have 440. Do I see 460? | 0:41:07 | 0:41:09 | |
At 440. | 0:41:09 | 0:41:10 | |
Looking for 460 now. | 0:41:10 | 0:41:11 | |
At £440. | 0:41:14 | 0:41:15 | |
Are we all done? At £440... | 0:41:15 | 0:41:18 | |
GAVEL BANGS That's a great result. £440. | 0:41:20 | 0:41:22 | |
That makes 850 in total. | 0:41:22 | 0:41:25 | |
-Good. -And that's going Sally's way. | 0:41:25 | 0:41:27 | |
So, well done, you. | 0:41:27 | 0:41:29 | |
So far, so good. | 0:41:29 | 0:41:30 | |
Two happy owners and our experts have been right on the money. | 0:41:30 | 0:41:35 | |
Will the gold watch help give us a hat-trick? | 0:41:35 | 0:41:37 | |
We've just been joined by Rosemary and Robert in the nick of time. | 0:41:39 | 0:41:42 | |
This is your lot, in a moment going under the hammer. | 0:41:42 | 0:41:45 | |
Good luck. In fact, it's your grandfather's gold pocket watch. | 0:41:45 | 0:41:48 | |
It is, yes. | 0:41:48 | 0:41:49 | |
Are you nervous about selling this? | 0:41:49 | 0:41:51 | |
I am nervous. I don't know why, because it's got to go. | 0:41:51 | 0:41:55 | |
Time's ticking. It's going under the hammer right now. This is it. | 0:41:55 | 0:41:58 | |
An Edwardian 18-carat gold full hunter pocket watch stopwatch. | 0:42:00 | 0:42:04 | |
And I can start it out 550. 600. 650. | 0:42:04 | 0:42:08 | |
At 650, 700, 750, | 0:42:08 | 0:42:10 | |
800. 800 is here. | 0:42:10 | 0:42:13 | |
850, 900. | 0:42:13 | 0:42:15 | |
Spot on. | 0:42:15 | 0:42:16 | |
Come on, let's have a bit more. | 0:42:16 | 0:42:18 | |
950. 1,000. | 0:42:18 | 0:42:19 | |
And 50, sir? | 0:42:19 | 0:42:20 | |
1,100. | 0:42:20 | 0:42:22 | |
1,150. 1,200. | 0:42:23 | 0:42:25 | |
1,250. 1,300. | 0:42:27 | 0:42:29 | |
At 1,250. | 0:42:32 | 0:42:33 | |
New bidder. 1,300 at the back now. | 0:42:33 | 0:42:36 | |
1,350? | 0:42:36 | 0:42:37 | |
1,300 for the gentleman at the back. | 0:42:37 | 0:42:39 | |
-1,350. 1,400. -THEY GASP | 0:42:41 | 0:42:44 | |
1,450? | 0:42:44 | 0:42:45 | |
GAVEL BANGS Yes. £1,400. | 0:42:46 | 0:42:49 | |
Well done, you two, and well done, James. | 0:42:49 | 0:42:51 | |
-Thank you, James. -Brilliant. | 0:42:51 | 0:42:52 | |
You were right, weren't you, you were right to push that reserve up? | 0:42:52 | 0:42:55 | |
-Well done. -Way, way over gold value, as well, | 0:42:55 | 0:42:58 | |
-which is great news. -Exactly. -They're not going to melt it down. | 0:42:58 | 0:43:01 | |
-No, they're not. No, they're not. -I don't mind it going now. | 0:43:01 | 0:43:04 | |
Well, you said you were going to treat yourself. What comes to mind? | 0:43:04 | 0:43:07 | |
Well, we've got lots of things on our tick list. | 0:43:07 | 0:43:09 | |
Yeah? | 0:43:09 | 0:43:11 | |
We saved the best till last. | 0:43:11 | 0:43:12 | |
I hope you enjoyed that one. | 0:43:12 | 0:43:14 | |
We certainly did. See you again next time for many more surprises | 0:43:14 | 0:43:17 | |
on Flog It! | 0:43:17 | 0:43:18 |