Browse content similar to War. Check below for episodes and series from the same categories and more!
Line | From | To | |
---|---|---|---|
This is the show that aims | 0:00:02 | 0:00:03 | |
to give you the inside track | 0:00:03 | 0:00:05 | |
on buying and selling antiques and collectables. | 0:00:05 | 0:00:08 | |
We've got over ten years of 'Flog It!' behind us | 0:00:08 | 0:00:10 | |
That's hundreds of programmes and thousands | 0:00:10 | 0:00:12 | |
of your antiques valued and sold. | 0:00:12 | 0:00:14 | |
I have an automatic gold detector | 0:00:14 | 0:00:16 | |
in my fingertips. | 0:00:16 | 0:00:18 | |
So stand by for some top tips, | 0:00:18 | 0:00:20 | |
this is Trade Secrets. | 0:00:20 | 0:00:22 | |
On today's show we'll be exploring a theme - | 0:00:50 | 0:00:52 | |
where it's the weight of history or the personal stories | 0:00:52 | 0:00:55 | |
behind an item which determine its value. | 0:00:55 | 0:01:00 | |
'And, like it or not, there is a lot of interest | 0:01:00 | 0:01:04 | |
'in collectables associated with conflict, | 0:01:04 | 0:01:06 | |
'so today we have the market for war memorabilia firmly in our sights. | 0:01:06 | 0:01:11 | |
'Coming up... | 0:01:11 | 0:01:13 | |
'our experts tell you how to value weapons of war.' | 0:01:13 | 0:01:16 | |
Whether or not you know the culture where an object's come from, | 0:01:16 | 0:01:20 | |
the one thing that is consistent is patination. | 0:01:20 | 0:01:24 | |
And we'll learn about the wartime surgical instruments | 0:01:24 | 0:01:27 | |
that have become collectables. | 0:01:27 | 0:01:29 | |
-And this is actually -the amputation saw? -Yes. | 0:01:29 | 0:01:31 | |
That's the type of saw that would have been used. | 0:01:31 | 0:01:34 | |
At almost every valuation day, people turn up with weapons | 0:01:38 | 0:01:42 | |
of some kind - bullets, guns, | 0:01:42 | 0:01:44 | |
shields, spears, war clubs, | 0:01:44 | 0:01:46 | |
this is where our experts really do need to know | 0:01:46 | 0:01:49 | |
their stuff. | 0:01:49 | 0:01:50 | |
When is an object a beautiful antique and collectable weapon, | 0:01:50 | 0:01:54 | |
or when is it just an illegal and dangerous weapon? | 0:01:54 | 0:01:58 | |
In Cirencester, | 0:01:58 | 0:02:00 | |
we were fortunate enough to have one of these things that sometimes | 0:02:00 | 0:02:03 | |
does turn up on 'Flog It!' - a wonderful Polynesian war club. | 0:02:03 | 0:02:07 | |
My father initially bought it at a house sale, way before the war. | 0:02:07 | 0:02:12 | |
So I've always known it. | 0:02:12 | 0:02:14 | |
Your father was very forward-thinking | 0:02:14 | 0:02:16 | |
because, before the war, this sort of tribal art wasn't at all popular. | 0:02:16 | 0:02:19 | |
'Tribal arts are much sought-after now because the indigenous nations' | 0:02:19 | 0:02:23 | |
that it was originally taken from have achieved a level of wealth | 0:02:23 | 0:02:27 | |
and maturity that they want to reclaim these items. | 0:02:27 | 0:02:31 | |
But also major institutional European and American collections | 0:02:31 | 0:02:35 | |
want to buy these for their own collections. | 0:02:35 | 0:02:38 | |
Now, I will always be corrected by an expert in their field, | 0:02:38 | 0:02:41 | |
but I've always regarded these as Oceanic. | 0:02:41 | 0:02:44 | |
So, basically, Fijian war clubs. | 0:02:44 | 0:02:47 | |
Especially when they're this paddle form. | 0:02:47 | 0:02:50 | |
'Whether or not you know the culture where an object's come from, | 0:02:50 | 0:02:54 | |
'the one thing that is consistent is patination' | 0:02:54 | 0:02:58 | |
and that's what we look for, the build-up of grease and dirt | 0:02:58 | 0:03:02 | |
and polish and wear and handling that shows that an item is either | 0:03:02 | 0:03:06 | |
18th or 19th or 20th-century. | 0:03:06 | 0:03:09 | |
The club certainly wasn't a tourist-made piece, | 0:03:09 | 0:03:11 | |
it was an authentic, early, tribal club. | 0:03:11 | 0:03:15 | |
I've had a look at it, I like the surface patination at the end | 0:03:15 | 0:03:18 | |
and on the handle. | 0:03:18 | 0:03:20 | |
So I'm quite happy to say that this is... | 0:03:20 | 0:03:24 | |
early to mid 19th-century. | 0:03:24 | 0:03:26 | |
The class of wares that people want are those that are original | 0:03:26 | 0:03:30 | |
to the culture, not made when Europeans went over | 0:03:30 | 0:03:33 | |
for the tourist trade. | 0:03:33 | 0:03:35 | |
And the club was 18th-century that we saw at Cirencester, | 0:03:35 | 0:03:39 | |
so that's, you know, it was carved for decorative pieces | 0:03:39 | 0:03:42 | |
but also for bashing somebody's brains out. | 0:03:42 | 0:03:45 | |
We'd be safe putting this in at, I think, £400-600. | 0:03:45 | 0:03:51 | |
-Yes. -I'll be interested to see myself what it makes. -You'll be at auction? | 0:03:51 | 0:03:56 | |
Oh, I will. Within a club's distance! | 0:03:56 | 0:03:58 | |
So I will be sweating furiously. | 0:03:58 | 0:04:01 | |
Did anyone at the auction also recognise that the club | 0:04:01 | 0:04:05 | |
was a unique antique piece? | 0:04:05 | 0:04:06 | |
We know these things are really hot right now | 0:04:06 | 0:04:09 | |
because they're going back to their countries of origin. | 0:04:09 | 0:04:12 | |
Museums are buying them up and they're paying top money, which is good news for you. | 0:04:12 | 0:04:16 | |
Watch this, watch this, see what happens. | 0:04:16 | 0:04:18 | |
Fijian carved wood tribal club. Super looking piece there. | 0:04:19 | 0:04:24 | |
-Got to be one of my favourite pieces in the sale. -Oh, that's nice! | 0:04:24 | 0:04:27 | |
Who will start me? 500 to get on. | 0:04:27 | 0:04:30 | |
520. 540. | 0:04:30 | 0:04:33 | |
560. 580. | 0:04:33 | 0:04:35 | |
600. | 0:04:35 | 0:04:36 | |
620. | 0:04:36 | 0:04:38 | |
640. 660. | 0:04:38 | 0:04:40 | |
680. 700. | 0:04:40 | 0:04:42 | |
720. | 0:04:42 | 0:04:43 | |
750. | 0:04:43 | 0:04:45 | |
780. 800. | 0:04:45 | 0:04:47 | |
820. | 0:04:47 | 0:04:48 | |
850. | 0:04:48 | 0:04:50 | |
880. 900. | 0:04:50 | 0:04:52 | |
950. 1,000. | 0:04:53 | 0:04:55 | |
-At 1,000. -The magic number. | 0:04:55 | 0:04:57 | |
1,000. | 0:04:57 | 0:04:59 | |
And 50 if you like, on the phone. 1,050. | 0:04:59 | 0:05:01 | |
1,100. At 1,100. | 0:05:01 | 0:05:04 | |
1,150, if you like now. 1,150 on the phone now. | 0:05:04 | 0:05:07 | |
At 1,150. | 0:05:07 | 0:05:08 | |
It's on the phone now. At 1,150... | 0:05:08 | 0:05:12 | |
-I'm happy with that. -£1,150. | 0:05:14 | 0:05:17 | |
Of course you're happy with that! | 0:05:17 | 0:05:19 | |
Collectors should look out for me | 0:05:20 | 0:05:22 | |
and not take my advice when they're selling tribal clubs. | 0:05:22 | 0:05:26 | |
Well, thank you, Michael. | 0:05:26 | 0:05:28 | |
But I can tell you, if you have an old weapon, look at its patina | 0:05:28 | 0:05:31 | |
and the materials to date it. But be aware, these can be copied | 0:05:31 | 0:05:36 | |
so you should get some expert advice. | 0:05:36 | 0:05:38 | |
Our expert Charlie Ross knew exactly what he was looking at. | 0:05:39 | 0:05:43 | |
Nick, you look absolutely terrifying. | 0:05:44 | 0:05:47 | |
Fancy coming into the Sheldonian in Oxford with these! | 0:05:47 | 0:05:51 | |
When I saw the Zulu spear and shield, | 0:05:51 | 0:05:54 | |
I immediately thought back to Rorke's Drift. | 0:05:54 | 0:05:58 | |
-My grandfather went to the Sudan in the 1880s, 1890s. -Yeah. | 0:05:58 | 0:06:03 | |
-He wasn't in the Services, so... -Was he not? -No. | 0:06:03 | 0:06:06 | |
So he didn't win it as a trophy at Rorke's Drift. | 0:06:06 | 0:06:10 | |
Not as far as I know! He never mentioned it. | 0:06:10 | 0:06:13 | |
It's from South Africa. | 0:06:13 | 0:06:15 | |
It's a Zulu shield and I think that dates from 1880, 1890, | 0:06:15 | 0:06:19 | |
which of course is the time pre-World War, the Zulu wars. | 0:06:19 | 0:06:23 | |
It's an extraordinary part of history, really. | 0:06:23 | 0:06:26 | |
And in remarkable condition. | 0:06:26 | 0:06:28 | |
I thought, in a rather whimsical way, that perhaps this had come back | 0:06:28 | 0:06:32 | |
from Rorke's Drift, one of the great battles in British history. | 0:06:32 | 0:06:37 | |
More VCs won at the Battle of Rorke's Drift than in any other battle in history. | 0:06:37 | 0:06:42 | |
About 150 British and colonial soldiers withstood an attack | 0:06:42 | 0:06:47 | |
by over 3,000 Zulu warriors at the Battle of Rorke's Drift in 1879. | 0:06:47 | 0:06:53 | |
I'm intrigued by the latticework of weaving more skin into it, | 0:06:54 | 0:06:57 | |
which also has a functional purpose. | 0:06:57 | 0:07:00 | |
It provides the handle, doesn't it? | 0:07:00 | 0:07:02 | |
Which is really interesting. | 0:07:02 | 0:07:03 | |
Just leaving out a couple of notches forms a handle. | 0:07:03 | 0:07:07 | |
-It's incredibly hard, isn't it? -It is. | 0:07:07 | 0:07:10 | |
You think, all right, it wouldn't have stopped a bullet going through | 0:07:10 | 0:07:13 | |
there, but I think if you chucked a spear at it, | 0:07:13 | 0:07:15 | |
it would have to be thrown pretty hard to get through that. | 0:07:15 | 0:07:18 | |
'It was a zebra-skin shield. I hadn't picked that up.' | 0:07:18 | 0:07:21 | |
When I first saw it, I thought, "It's a shield. | 0:07:21 | 0:07:24 | |
"It's a Zulu shield." | 0:07:24 | 0:07:26 | |
But it was a zebra-skin shield, which I was told afterwards. | 0:07:26 | 0:07:31 | |
It meant that it was ceremonial, so it was a rare shield. | 0:07:31 | 0:07:34 | |
All the other shields were made out of cowhide, | 0:07:34 | 0:07:37 | |
so this was a particularly... | 0:07:37 | 0:07:39 | |
It was the Rolls-Royce of shields, if you could use that expression. | 0:07:39 | 0:07:43 | |
And it was quite obviously over 100 years old | 0:07:43 | 0:07:46 | |
and I think we can accept what happened 100 years ago. | 0:07:46 | 0:07:50 | |
Had that shield represented the killing, for example, | 0:07:50 | 0:07:53 | |
of a zebra last week or the week before, we certainly, | 0:07:53 | 0:07:57 | |
in no way, would countenance that. | 0:07:57 | 0:07:59 | |
The spear is also Zulu. Beautifully made, actually. | 0:07:59 | 0:08:04 | |
And look at the age on it, it's amazing, isn't it? | 0:08:04 | 0:08:07 | |
And it's become rock, rock solid hard. Value - any ideas? | 0:08:07 | 0:08:12 | |
-You hoped it was worth something when you brought it in. -Of course. | 0:08:12 | 0:08:15 | |
-Yes. -I think you've got a value here of between £100-200. | 0:08:15 | 0:08:18 | |
-Really? -Yeah. -That has surprised me. -Has it? -Yes. -That's good. -Yes. | 0:08:18 | 0:08:23 | |
Because sometimes we get people on the programme who almost hit me | 0:08:23 | 0:08:26 | |
when I tell them what things are worth! | 0:08:26 | 0:08:29 | |
Watch out, Charlie, few of those people were armed. | 0:08:29 | 0:08:32 | |
Will he be any safer at the auction? | 0:08:32 | 0:08:35 | |
-I've checked with the auctioneer. -Yeah. | 0:08:35 | 0:08:37 | |
-He said it could do a little bit better. -Oh, really? | 0:08:37 | 0:08:40 | |
-Just a little bit. -That would be pleasant. -That would be. | 0:08:40 | 0:08:43 | |
The zebra-skin shield. Zulu one. | 0:08:45 | 0:08:48 | |
And what can we say for that - | 0:08:48 | 0:08:49 | |
a couple of hundred pounds start me for it. | 0:08:49 | 0:08:51 | |
500 I am bid. 550 anywhere? | 0:08:51 | 0:08:54 | |
£500. 550. 6. | 0:08:54 | 0:08:57 | |
650. 7. 750. 8. | 0:08:57 | 0:09:01 | |
850. 850. At £800, then. | 0:09:01 | 0:09:03 | |
Coming to you now, Pat, at 850. | 0:09:03 | 0:09:06 | |
£850. | 0:09:06 | 0:09:08 | |
-I can't believe it! -850. | 0:09:08 | 0:09:11 | |
850. | 0:09:11 | 0:09:13 | |
900. 950. | 0:09:14 | 0:09:16 | |
1,000. | 0:09:18 | 0:09:20 | |
1,100 I'm bid. 1,150. | 0:09:22 | 0:09:25 | |
Oh, no. | 0:09:25 | 0:09:26 | |
£1,100 then, with Alan. | 0:09:28 | 0:09:30 | |
All done. then? It's with Alan at £1,100, | 0:09:32 | 0:09:34 | |
are you all done at £1,100? | 0:09:34 | 0:09:36 | |
All finished? | 0:09:36 | 0:09:38 | |
Yes! £1,100! | 0:09:38 | 0:09:41 | |
I told you something fabulous was going to happen today, didn't I? | 0:09:41 | 0:09:45 | |
Not 100-200, but 1,100. | 0:09:46 | 0:09:49 | |
How do you guys manage it? | 0:09:49 | 0:09:51 | |
'I was absolutely astonished by the sale price.' | 0:09:51 | 0:09:55 | |
I think if somebody had pointed out to me that it was | 0:09:55 | 0:09:57 | |
a particularly rare ceremonial shield, then I might have put | 0:09:57 | 0:10:01 | |
400-600 on it, but £1,100 seemed to me a huge amount of money. | 0:10:01 | 0:10:04 | |
Authentic tribal items dating from before they were produced | 0:10:04 | 0:10:08 | |
for tourists are highly sought-after. | 0:10:08 | 0:10:11 | |
But be careful. There are subtleties in this specialist field | 0:10:11 | 0:10:14 | |
that can stump even our most enthusiastic experts, | 0:10:14 | 0:10:17 | |
so get some advice. | 0:10:17 | 0:10:19 | |
But sometimes the expertise we are looking for can come | 0:10:21 | 0:10:24 | |
from those of you who appear on Flog It! | 0:10:24 | 0:10:26 | |
I have to be frank with you. | 0:10:27 | 0:10:29 | |
Whenever I see weapons on the show, I'm terrified. | 0:10:29 | 0:10:33 | |
As I have very little knowledge of them. | 0:10:34 | 0:10:37 | |
Fortunately, when this Smith and Wesson revolver came in | 0:10:37 | 0:10:41 | |
to Herne Bay, the owner knew all about it. | 0:10:41 | 0:10:46 | |
It's a Smith and Wesson. | 0:10:46 | 0:10:48 | |
It's a .310-calibre rim-fire. | 0:10:48 | 0:10:52 | |
It's what is also called a lock-up. | 0:10:52 | 0:10:55 | |
So rather than me educating him, he actually educated me. | 0:10:55 | 0:10:59 | |
-Explain that. Can you show us what that is? -Certainly. | 0:10:59 | 0:11:03 | |
What you do is you cock the gun, take out the barrel... | 0:11:03 | 0:11:06 | |
You then push out the old cartridges with that piece, reload. | 0:11:06 | 0:11:11 | |
Put it back in again, lock it up. | 0:11:11 | 0:11:14 | |
And it's got what they call the hidden trigger as well, | 0:11:14 | 0:11:16 | |
-so it's safe in somebody's pockets. -So you don't blow your leg off. | 0:11:16 | 0:11:19 | |
-Exactly. -Smith and Wesson are a very iconic American gun manufacturers. | 0:11:19 | 0:11:24 | |
Started in the mid-19th century, they were very inventive | 0:11:24 | 0:11:28 | |
throughout that time in the manufacturing | 0:11:28 | 0:11:30 | |
and design of weaponry, which really puts them up there | 0:11:30 | 0:11:34 | |
with Colt for well-known gun collectables. | 0:11:34 | 0:11:37 | |
Where did you get it from? | 0:11:37 | 0:11:39 | |
I had a very good friend, he was ex-Navy, same as I was. | 0:11:39 | 0:11:42 | |
And when he left the Navy after the war, he became a bookmaker, | 0:11:42 | 0:11:46 | |
a London bookmaker, | 0:11:46 | 0:11:47 | |
and he got friendly with another bookmaker | 0:11:47 | 0:11:50 | |
who was quite older than him. | 0:11:50 | 0:11:52 | |
He asked him if he would like this when this bookmaker was retiring, | 0:11:52 | 0:11:56 | |
and he said that he was issued with it by the Pinkerton Detective Agency. | 0:11:56 | 0:12:01 | |
-Really? -Yes. For his own protection. He carried money. | 0:12:01 | 0:12:04 | |
And that was in the 1890s. | 0:12:04 | 0:12:06 | |
-HE GASPS -Straight out of Agatha Christie. | 0:12:06 | 0:12:09 | |
I think a sensible estimate is £300-500. | 0:12:10 | 0:12:13 | |
-Is that something you'd be happy with? -Oh, yes. | 0:12:13 | 0:12:16 | |
-It's better than being in the safe. -Of course. | 0:12:16 | 0:12:18 | |
The Smith and Wesson lock-up patent five-shot calibre revolver. | 0:12:23 | 0:12:27 | |
Good thing, this. Several bids. Starting at £360. | 0:12:27 | 0:12:31 | |
I'm looking for 380. 380. 400. | 0:12:31 | 0:12:34 | |
And 20. | 0:12:34 | 0:12:35 | |
-440. 460. -This is good. | 0:12:36 | 0:12:40 | |
480. 500. | 0:12:40 | 0:12:41 | |
No? It's at £480 on my right now. Any further offer? | 0:12:44 | 0:12:47 | |
Any further bid in the room? | 0:12:47 | 0:12:48 | |
If not, I'll sell at £480, the bid is on my right. At 480. | 0:12:48 | 0:12:52 | |
If we're all done, at 480... | 0:12:52 | 0:12:55 | |
-Top end of the estimate. -We're happy with that. -We're very happy. | 0:12:55 | 0:12:57 | |
-Thank you very much. -Are you, Ted? -Yeah, not half! -Good. | 0:12:57 | 0:13:01 | |
The thing that helped us | 0:13:04 | 0:13:05 | |
make such a good price at auction was the fact that it had | 0:13:05 | 0:13:08 | |
never been fired, therefore it was in pristine condition. | 0:13:08 | 0:13:12 | |
What do we always say whenever you are buying? | 0:13:12 | 0:13:15 | |
Condition, condition, condition. | 0:13:15 | 0:13:17 | |
An iconic name like Smith and Wesson will always secure a good price. | 0:13:18 | 0:13:22 | |
And, as Mark says, condition is everything, | 0:13:22 | 0:13:26 | |
so let's have a look at some of those trade secrets in detail. | 0:13:26 | 0:13:29 | |
Weaponry really is a very specialist field, | 0:13:29 | 0:13:33 | |
with complicated laws around its use. So listen carefully. | 0:13:33 | 0:13:37 | |
Authentic tribal pieces have much greater value, | 0:13:37 | 0:13:40 | |
so try to date it from the materials. | 0:13:40 | 0:13:42 | |
By all means do some research. | 0:13:42 | 0:13:44 | |
But get expert help to be sure and look out for classic names | 0:13:44 | 0:13:48 | |
and great condition for a sure-fire piece. | 0:13:48 | 0:13:51 | |
As far as guns go, you don't need a licence to buy an antique, | 0:13:51 | 0:13:55 | |
but as antique isn't defined by law, how can you tell what you've got? | 0:13:55 | 0:14:00 | |
One rule of thumb is that if you can get modern ammunition for it, | 0:14:00 | 0:14:04 | |
it's not an antique. | 0:14:04 | 0:14:06 | |
And make sure you only keep it as a curio | 0:14:06 | 0:14:09 | |
and never use it as a firearm. | 0:14:09 | 0:14:11 | |
It's always a good idea to buy from a reputable dealer | 0:14:11 | 0:14:14 | |
and make sure you have the paperwork describing the weapon, | 0:14:14 | 0:14:18 | |
but it's always best to check the law with a firearms specialist | 0:14:18 | 0:14:21 | |
or the police before parting with your money. | 0:14:21 | 0:14:24 | |
As we saw with the Zulu shield made from zebra skin, there are items | 0:14:28 | 0:14:33 | |
that come to us on 'Flog It!' that can seem distasteful today. | 0:14:33 | 0:14:36 | |
Some of these are made from ivory. | 0:14:36 | 0:14:38 | |
In a moment, we'll be giving you some tips about how to spot | 0:14:39 | 0:14:42 | |
the real thing, when it is and isn't OK to buy it. | 0:14:42 | 0:14:46 | |
But first, here's a little bit about its murky history. | 0:14:46 | 0:14:50 | |
It became popular in Europe | 0:14:50 | 0:14:52 | |
when 19th-century colonialists made their way deep into Africa. | 0:14:52 | 0:14:57 | |
There, they became enamoured with the smooth, | 0:14:57 | 0:14:59 | |
creamy coloured tusks of elephants, which they called white gold | 0:14:59 | 0:15:04 | |
and which came to be known as ivory. | 0:15:04 | 0:15:07 | |
Soon, demand exploded, as rich westerners enjoyed the trend | 0:15:07 | 0:15:11 | |
of all sorts of carved ivory trinkets. | 0:15:11 | 0:15:15 | |
The repercussions were disastrous - | 0:15:15 | 0:15:17 | |
a brutal trade in which human life was cheap, | 0:15:17 | 0:15:21 | |
as local people were hounded to capture and kill elephants. | 0:15:21 | 0:15:25 | |
Finally, in the late 1980s, there was a worldwide ban | 0:15:26 | 0:15:30 | |
on the ivory trade, | 0:15:30 | 0:15:32 | |
with a few exceptions made for stockpiled ivory. | 0:15:32 | 0:15:35 | |
Here in Europe, the law says it's illegal to buy or sell ivory | 0:15:35 | 0:15:39 | |
if it was carved after 1947, | 0:15:39 | 0:15:41 | |
but whatever you think of it there's still a market for ivory | 0:15:41 | 0:15:44 | |
carved before this date, like this beautifully carved box | 0:15:44 | 0:15:47 | |
which appeared on 'Flog It!', having been turfed out of an attic. | 0:15:47 | 0:15:52 | |
-So, do you like it? -Yeah. It's different. I like it. | 0:15:52 | 0:15:55 | |
It's very intricate, isn't it? It's amazing carving, actually. | 0:15:55 | 0:15:59 | |
-It's carved from ivory. -Yeah. | 0:15:59 | 0:16:01 | |
And it dates from the end of the 19th century, so over 100 years old, | 0:16:01 | 0:16:05 | |
and it's Cantonese, made for export, export ware. | 0:16:05 | 0:16:09 | |
-Any idea what that's worth? -No. -20 quid? | 0:16:09 | 0:16:12 | |
-Higher. -£50? | 0:16:12 | 0:16:14 | |
-Higher. -£100? | 0:16:14 | 0:16:17 | |
I'm not sure. | 0:16:19 | 0:16:21 | |
I think that's where I'd put the reserve, about 100, 80-100. | 0:16:21 | 0:16:25 | |
And I think it'll make 100-150. | 0:16:25 | 0:16:27 | |
So, how did it do at auction? | 0:16:29 | 0:16:32 | |
460, 480. | 0:16:34 | 0:16:35 | |
-500. -Well... -500. | 0:16:37 | 0:16:40 | |
-520. 550. -THEY LAUGH | 0:16:40 | 0:16:43 | |
-£550! Megan, they love this. -Oh, my God. | 0:16:43 | 0:16:45 | |
-600. -My goodness me. | 0:16:45 | 0:16:47 | |
-680. -Didn't you find it in a house? | 0:16:47 | 0:16:49 | |
-Yeah. -What is Auntie going to say? -She'll go absolutely mental. | 0:16:49 | 0:16:53 | |
780, on Jocelyn's phone. 780. | 0:16:53 | 0:16:56 | |
Would anyone else like in at £780? | 0:16:56 | 0:16:59 | |
She has just put the hammer down at £780. | 0:16:59 | 0:17:05 | |
£780 is an incredible price. | 0:17:05 | 0:17:07 | |
If ivory is old, at least pre-1947, collectors won't be put off, | 0:17:07 | 0:17:13 | |
sometimes paying big money to enjoy a piece of exquisite | 0:17:13 | 0:17:16 | |
craftsmanship and artistry. | 0:17:16 | 0:17:19 | |
So, if you come across a piece of ivory, | 0:17:19 | 0:17:21 | |
what should you be looking out for? | 0:17:21 | 0:17:23 | |
One of the things ivory can be mistaken for | 0:17:23 | 0:17:25 | |
is the less valuable bone, | 0:17:25 | 0:17:28 | |
but there are ways to tell which you have, | 0:17:28 | 0:17:31 | |
as our expert, Michael Baggott, explains. | 0:17:31 | 0:17:34 | |
-As you might know, most of these are ivory. -Yes. | 0:17:34 | 0:17:37 | |
They're actually all from Japan. | 0:17:37 | 0:17:40 | |
-Right. -And the earliest one is this one here, | 0:17:40 | 0:17:43 | |
and funnily enough, he isn't ivory. | 0:17:43 | 0:17:46 | |
He's bone. | 0:17:46 | 0:17:49 | |
And you can tell that because you've got that very coarse | 0:17:49 | 0:17:52 | |
open-work grain. | 0:17:52 | 0:17:54 | |
Plastic is used as a cheap modern copy. Try sticking a hot pin in it. | 0:17:54 | 0:17:58 | |
If it's ivory, the pin won't penetrate. | 0:17:58 | 0:18:02 | |
And some people might try to fake the age, so in this minefield | 0:18:02 | 0:18:06 | |
find an expert to help you make sure your ivory dates from before 1947. | 0:18:06 | 0:18:12 | |
We've all got something at home, that one special item | 0:18:18 | 0:18:20 | |
that we're particularly attached to | 0:18:20 | 0:18:22 | |
but I want to know what's the one thing our experts would | 0:18:22 | 0:18:26 | |
rescue from a burning building? | 0:18:26 | 0:18:28 | |
If there was a fire, | 0:18:29 | 0:18:30 | |
apart from my children and my husband, | 0:18:30 | 0:18:33 | |
it would be my great-grandfather's war medals, definitely. | 0:18:33 | 0:18:37 | |
He was in the Somme from 1914 to 1916. | 0:18:37 | 0:18:42 | |
It must have just been the most unimaginable hell | 0:18:42 | 0:18:44 | |
and my granny, God bless her, is 102, | 0:18:44 | 0:18:46 | |
his daughter, and still around today. | 0:18:46 | 0:18:50 | |
She only has the very, very briefest of memories of him | 0:18:50 | 0:18:54 | |
but that he sacrificed so much for us to be here today, really, | 0:18:54 | 0:19:00 | |
is just a daily reminder that we shouldn't take everything for granted that we do. | 0:19:00 | 0:19:05 | |
I think it's important for us to remember the past | 0:19:06 | 0:19:10 | |
and what people have given and sacrificed so we can be here today. | 0:19:10 | 0:19:15 | |
Our team of experts can tackle most things you put in front of them | 0:19:25 | 0:19:29 | |
at a valuation day | 0:19:29 | 0:19:30 | |
but they also have their own individual specialisms and passions. | 0:19:30 | 0:19:34 | |
Now, Catherine Southon has a keen passion for the tools of war | 0:19:34 | 0:19:38 | |
and navigation instruments. | 0:19:38 | 0:19:40 | |
Not everyone's cup of tea, I know, but it is hers. | 0:19:40 | 0:19:42 | |
So she jumped at the chance of killing two birds with one stone. | 0:19:44 | 0:19:47 | |
HMS Victory, one of our most famous ships in British naval history, | 0:19:49 | 0:19:54 | |
commanded by the great war hero, Admiral Lord Horatio Nelson. | 0:19:54 | 0:19:58 | |
In 1805, he successfully drove Napoleon's French forces away | 0:19:58 | 0:20:03 | |
in the Battle of Trafalgar and lost his life on board his great ship. | 0:20:03 | 0:20:07 | |
What a perfect setting for Catherine to indulge her passions. | 0:20:07 | 0:20:13 | |
I think my interest with the sea probably stems from my father | 0:20:13 | 0:20:17 | |
being in the Navy. | 0:20:17 | 0:20:19 | |
I've always had an interest in ships, | 0:20:19 | 0:20:21 | |
not so much because of the construction but I think, | 0:20:21 | 0:20:25 | |
really, because of what really went on on ships, the adventure. | 0:20:25 | 0:20:29 | |
I started working at Sotheby's as a junior | 0:20:33 | 0:20:35 | |
and I was just helping out doing the filing | 0:20:35 | 0:20:38 | |
and writing all the letters, but I was actually drawn towards | 0:20:38 | 0:20:42 | |
the maritime items and the scientific instruments. | 0:20:42 | 0:20:45 | |
I was absolutely fascinated by this area and I went on to | 0:20:45 | 0:20:49 | |
become head of maritime works of art and scientific instruments. | 0:20:49 | 0:20:53 | |
Today is such a treat for me | 0:20:54 | 0:20:56 | |
because I'm coming to visit HMS Victory, Nelson's flagship. | 0:20:56 | 0:21:01 | |
Well, last time I came here, I was armed with a clipboard and a pencil. | 0:21:01 | 0:21:06 | |
I was about 11 and I was on a school trip. | 0:21:06 | 0:21:10 | |
But, just coming and looking around now, | 0:21:10 | 0:21:12 | |
what really would have gone on here during the Battle of Trafalgar? | 0:21:12 | 0:21:15 | |
Can you just paint the picture for me? | 0:21:15 | 0:21:17 | |
This would've been a hive of activity. | 0:21:17 | 0:21:19 | |
You could imagine during a battle, all the men manning the guns. | 0:21:19 | 0:21:23 | |
You would have men up in the rigging, OK, sailing the ship | 0:21:23 | 0:21:26 | |
cos the ship still has to manoeuvre, even during the battle. | 0:21:26 | 0:21:30 | |
It would have been organised chaos. | 0:21:30 | 0:21:32 | |
There would have been smoke, musket fire, splinters flying everywhere. | 0:21:34 | 0:21:39 | |
As you can imagine, not a very... | 0:21:39 | 0:21:41 | |
The noise, the blood everywhere and just these figures, | 0:21:41 | 0:21:44 | |
just dancing around. | 0:21:44 | 0:21:47 | |
-We're now standing on the poop deck? -Yes. | 0:21:47 | 0:21:50 | |
And officers would have been up here? | 0:21:50 | 0:21:52 | |
You would have had officers up here. | 0:21:52 | 0:21:53 | |
This is like the bridge on a modern-day ship. | 0:21:53 | 0:21:55 | |
But the senior officers would have been down on the quarterdeck, | 0:21:55 | 0:21:59 | |
like Lord Nelson and Captain Hardy, | 0:21:59 | 0:22:02 | |
because there was a lot more protection down there. | 0:22:02 | 0:22:04 | |
In fact, down on the quarterdeck is actually where he was shot | 0:22:04 | 0:22:07 | |
and you can see it's marked by the brass plaque on the deck. | 0:22:07 | 0:22:09 | |
So he actually fell here? | 0:22:11 | 0:22:13 | |
-Yes. Yes. -And then afterwards, down... | 0:22:13 | 0:22:15 | |
He was carried down below to the orlop deck, where he died | 0:22:15 | 0:22:18 | |
about three hours later. | 0:22:18 | 0:22:20 | |
-And the orlop deck is where I'm heading next. -OK. -See you later. | 0:22:20 | 0:22:23 | |
Thanks, Alan. Thank you. | 0:22:23 | 0:22:25 | |
Today I'm meeting Mick Crumplin, who is a retired surgeon | 0:22:28 | 0:22:31 | |
and curator of the Royal College of Surgeons' collection. | 0:22:31 | 0:22:35 | |
-Mick, hi. -Hello, Catherine. -Good to meet you. | 0:22:37 | 0:22:40 | |
So, when the casualties were brought down from the upper deck, | 0:22:40 | 0:22:44 | |
this is what they were faced with. All these gruesome instruments. | 0:22:44 | 0:22:48 | |
Well, of course, they had gruesome wounds, that's the problem. | 0:22:48 | 0:22:51 | |
Here on the cockpit on the orlop deck was where they all congregated | 0:22:51 | 0:22:55 | |
and, as you can see, we're very cramped in our operating style. | 0:22:55 | 0:22:58 | |
I've got this vision of these casualties literally being... | 0:22:58 | 0:23:03 | |
coming down the steps with their arms all bleeding. What was it like? | 0:23:03 | 0:23:08 | |
Absolutely horrendous. | 0:23:08 | 0:23:09 | |
You've got to remember, there were three surgeons, two juniors | 0:23:09 | 0:23:13 | |
and the main surgeon of the ship, William Beatty, | 0:23:13 | 0:23:15 | |
to do all these procedures on the patients who had been injured. | 0:23:15 | 0:23:18 | |
Some of them would bleed out and die and were discharged dead | 0:23:18 | 0:23:21 | |
before they could be treated, because they just overwhelmed the surgeon. | 0:23:21 | 0:23:25 | |
So what are the most common injuries that the sailors had? | 0:23:25 | 0:23:29 | |
Well, the commonest type of wound was an injured limb | 0:23:29 | 0:23:33 | |
or a body cavity penetration by round shot or a shard of wood. | 0:23:33 | 0:23:37 | |
So the men, when they were brought down bleeding and in pain, | 0:23:37 | 0:23:40 | |
would need the bleeding controlled, the wounds trimming and dressed | 0:23:40 | 0:23:44 | |
and perhaps closing up the wounds with needle and thread | 0:23:44 | 0:23:48 | |
or adhesive or sticky plasters - we still use those today. | 0:23:48 | 0:23:52 | |
We would then think about limbs that were so badly smashed | 0:23:52 | 0:23:56 | |
that they had to be removed. | 0:23:56 | 0:23:57 | |
But one of the things you did learn was how to control bleeding. | 0:23:57 | 0:24:00 | |
10% of Nelson's crews were trained in the use | 0:24:00 | 0:24:03 | |
of the field tourniquet, which was just a strap you put on the limb. | 0:24:03 | 0:24:06 | |
So what you do is, you put the tourniquet on, | 0:24:06 | 0:24:09 | |
having sat your patient on the end of a table. | 0:24:09 | 0:24:12 | |
And you have people to restrain the poor fellow, | 0:24:12 | 0:24:14 | |
and then you make an incision with a capital knife, | 0:24:14 | 0:24:19 | |
which means a large knife, to... | 0:24:19 | 0:24:22 | |
..go right round the limb to divide the muscle, the fat and the skin. | 0:24:23 | 0:24:28 | |
Right down to bone, and then you use a tenon saw to divide the bone | 0:24:28 | 0:24:33 | |
and that leg has to be steady during the procedure. | 0:24:33 | 0:24:36 | |
-And this is actually the amputation saw? -Yes. | 0:24:36 | 0:24:39 | |
That's the type of saw that would've been used. | 0:24:39 | 0:24:42 | |
-Really? -It's just really like a carpenter's saw. | 0:24:42 | 0:24:44 | |
That's the thing. Looking at it, that's exactly what you think. | 0:24:44 | 0:24:48 | |
-It's the sort of thing you'd have in your tool box today. -Absolutely. | 0:24:48 | 0:24:51 | |
Then you've got to stop the bleeding | 0:24:51 | 0:24:53 | |
and then close the wound over the skin with adhesive tapes or stitches | 0:24:53 | 0:24:58 | |
and bind it up in a linen bandage | 0:24:58 | 0:25:01 | |
and put the patient down to rest and perhaps give him a cordial afterwards, | 0:25:01 | 0:25:05 | |
some wine and water dilute. | 0:25:05 | 0:25:07 | |
I think he'd probably need more than some cordial! | 0:25:07 | 0:25:09 | |
-I'm sure he would think that, yes! -Something very stiff. | 0:25:09 | 0:25:13 | |
When Nelson was brought down here, and presumably brought down | 0:25:17 | 0:25:21 | |
to William Beatty because he was the senior surgeon, | 0:25:21 | 0:25:24 | |
what would he have been faced with? | 0:25:24 | 0:25:27 | |
I mean, there wasn't an awful lot they could do for him, obviously. | 0:25:27 | 0:25:30 | |
No, I think he... Lord Nelson and William Beatty knew | 0:25:30 | 0:25:34 | |
that his spine had been shot through and he had a severe chest wound | 0:25:34 | 0:25:38 | |
and Beatty didn't spend all that long, he would have looked at him, | 0:25:38 | 0:25:41 | |
looked for an exit wound, had him undressed. | 0:25:41 | 0:25:43 | |
And as far as I know, he wasn't even given painkiller at that time, | 0:25:43 | 0:25:47 | |
which is amazing. | 0:25:47 | 0:25:48 | |
And he took him three and a quarter hours to die | 0:25:48 | 0:25:51 | |
with his spinal cord divided and he had paraplegia, of course. | 0:25:51 | 0:25:55 | |
So, Beatty and he agreed that his wound was mortal | 0:25:55 | 0:25:58 | |
and nothing more could be done. | 0:25:58 | 0:26:00 | |
Have you built up all this collection over a number of years? | 0:26:10 | 0:26:13 | |
Yes, probably over about 40 years. | 0:26:13 | 0:26:16 | |
But the thing is, the collection is not for hoarding and value. | 0:26:16 | 0:26:20 | |
The value of a collection is using it | 0:26:20 | 0:26:22 | |
so that you can teach people what it was really like. | 0:26:22 | 0:26:25 | |
Right. But we have to say how beautifully some of them are made. | 0:26:25 | 0:26:30 | |
I'm particularly focusing on this little shagreen set here | 0:26:30 | 0:26:34 | |
-of the little lancets. -The thumb lancets. -I mean, that's just... | 0:26:34 | 0:26:38 | |
For quite a gory little set of instruments, it's just... Oh! | 0:26:38 | 0:26:43 | |
Oh! Beautifully made. It's lovely. | 0:26:43 | 0:26:46 | |
Why do you think they're so important, though? | 0:26:46 | 0:26:49 | |
It's not everyone's cup of tea. | 0:26:49 | 0:26:50 | |
I like them because what we can do is teach people how surgery | 0:26:50 | 0:26:55 | |
has developed, and it wasn't as crude as people thought, | 0:26:55 | 0:26:58 | |
-given the time that we're working in... -Not at this time, no. | 0:26:58 | 0:27:01 | |
The results at the end of this war that poor old Victory was involved in | 0:27:01 | 0:27:05 | |
were absolutely amazing, | 0:27:05 | 0:27:07 | |
with mortality rates around 11% in one hospital | 0:27:07 | 0:27:10 | |
after a big battle, which is phenomenal. | 0:27:10 | 0:27:12 | |
89% of patients walking out of hospital, | 0:27:12 | 0:27:16 | |
so they must have known something and it was using instruments | 0:27:16 | 0:27:19 | |
like these that contributed to that success. | 0:27:19 | 0:27:21 | |
Well, it's been... | 0:27:21 | 0:27:22 | |
..just fantastic. Absolutely brilliant. | 0:27:24 | 0:27:26 | |
I could talk all day long about every single instrument, | 0:27:26 | 0:27:30 | |
-but sadly we haven't got time. Thank you very much, Mick. -Not at all. | 0:27:30 | 0:27:33 | |
-Lovely to meet you. -And you. | 0:27:33 | 0:27:35 | |
What a fascinating, if gruesome, collection | 0:27:36 | 0:27:39 | |
and a vital part of our maritime history. | 0:27:39 | 0:27:42 | |
If you find one of these instruments and you're too faint-hearted | 0:27:42 | 0:27:45 | |
or squeamish to keep it, as the professor says, | 0:27:45 | 0:27:49 | |
there will be someone out there to take it off your hands. | 0:27:49 | 0:27:52 | |
Well, Catherine's voyage of discovery | 0:27:58 | 0:28:00 | |
proves that war memorabilia | 0:28:00 | 0:28:02 | |
is about so much more than guns and medals. | 0:28:02 | 0:28:05 | |
There are all kinds of items out there | 0:28:05 | 0:28:08 | |
with a connection to conflict, | 0:28:08 | 0:28:10 | |
and each one has a fascinating story to tell. | 0:28:10 | 0:28:13 | |
So if you think you have something which might interest the collectors, | 0:28:13 | 0:28:17 | |
dig it out and take it to your local auction house | 0:28:17 | 0:28:20 | |
or, better still, | 0:28:20 | 0:28:21 | |
bring it along to one of our valuation days. | 0:28:21 | 0:28:25 | |
I hope you enjoyed the show. | 0:28:25 | 0:28:26 | |
Join me again soon for many more trade secrets. | 0:28:26 | 0:28:30 |