0:00:06 > 0:00:09This magnificent building is Dulwich College in south London,
0:00:09 > 0:00:12and the architect was Charles Barry Jr.
0:00:12 > 0:00:15His father designed the Houses of Parliament but it's what's on the
0:00:15 > 0:00:19inside that interests me, because today, it's our valuation day.
0:00:19 > 0:00:21Welcome to "Flog It!".
0:00:43 > 0:00:47This magnificent school was founded in 1619 by Edward Alleyn,
0:00:47 > 0:00:49one of the most famous actors of the day.
0:00:49 > 0:00:52Originally, it was to educate just 12 pupils -
0:00:52 > 0:00:53poor scholars, as they were known -
0:00:53 > 0:00:57but despite Dulwich College's humble beginnings, it's now grown to
0:00:57 > 0:01:01be one of the most successful independent schools in the country.
0:01:01 > 0:01:03And I'll tell you what else keeps on growing,
0:01:03 > 0:01:05is this magnificent queue here.
0:01:05 > 0:01:07Hundreds of people have turned up to get their items
0:01:07 > 0:01:10valued by our experts. They want to know what it's worth.
0:01:10 > 0:01:14It's our job to tell them, so let's get on with the show.
0:01:14 > 0:01:16This London crowd can't wait to put our "Flog It!" experts
0:01:16 > 0:01:19through their paces, and who knows what treasures lie in all those
0:01:19 > 0:01:22bags and boxes, just waiting to be unearthed?
0:01:28 > 0:01:31Heading up the experts today is the lovely Kate Bateman.
0:01:33 > 0:01:35That's quite cool, isn't it?
0:01:35 > 0:01:38- They're rather nice. - They're pretty, aren't they?
0:01:38 > 0:01:42And the distinguished Michael Baggott.
0:01:42 > 0:01:44A thing you might be thinking of parting with?
0:01:44 > 0:01:45I think that might be a no.
0:01:45 > 0:01:48But coming up on today's show, Michael gets philosophical...
0:01:48 > 0:01:51- Well, it's got the peach of immortality in it.- Yeah, I know.
0:01:51 > 0:01:54Maybe the buyer thinks he's going to live forever. I don't know.
0:01:54 > 0:01:57..Kate's lost for words...
0:01:57 > 0:02:01- What do you think it's worth? - Erm, I thought about 200-400.
0:02:01 > 0:02:03Oh... Oh...
0:02:03 > 0:02:06..and as always, the tension of the auction.
0:02:06 > 0:02:08- 65, 70...- Fingers crossed.
0:02:10 > 0:02:13The crowds are pouring in, the heat is rising
0:02:13 > 0:02:18and first up on Michael's table are Christina and her beautiful brooch.
0:02:18 > 0:02:21- Christina, thank you for bringing along this...- Yes, you're welcome.
0:02:21 > 0:02:23- ..very intriguing little brooch. - Is it really?
0:02:23 > 0:02:25Can you tell me where did you get it from?
0:02:25 > 0:02:28It was my wedding present in 1965.
0:02:28 > 0:02:30- Good grief.- Yes,
0:02:30 > 0:02:33I come from Italy, you see, so that was...from Italy.
0:02:33 > 0:02:36And a friend of the family, she give it to me
0:02:36 > 0:02:38and she said it belonged to her grandmother.
0:02:38 > 0:02:39That's all I know.
0:02:39 > 0:02:41Oh, that's marvellous, so it's come all the way
0:02:41 > 0:02:45- from Rome to Dulwich...- Yes, yes.
0:02:45 > 0:02:46..to be on "Flog It!".
0:02:46 > 0:02:49- It's actually, it's come further than that, you know?- Really?
0:02:49 > 0:02:51- Do you know where it was made? - No idea.
0:02:51 > 0:02:55- This is in fact a Chinese brooch. - Oh, my goodness.
0:02:55 > 0:02:56And there are certain factors.
0:02:56 > 0:03:01Chinese jewellery is heavily influenced with filigree work...
0:03:01 > 0:03:07- Yeah.- ..and all of this, this ground, the little flowers and scrolls,
0:03:07 > 0:03:11it's all very fine lines of wire that have worked
0:03:11 > 0:03:14and soldered together to form these decorative motifs.
0:03:14 > 0:03:18Amazingly difficult, technically demanding,
0:03:18 > 0:03:21and you can imagine the time it takes to do something like this.
0:03:21 > 0:03:23- Yeah.- But if you didn't know,
0:03:23 > 0:03:25because there are no marks on it, apart from
0:03:25 > 0:03:28- a little silver mark... - No, the silver, yeah, that's right.
0:03:28 > 0:03:30If you didn't know it was Chinese from that,
0:03:30 > 0:03:32you can bet you know it's Chinese from what's in the middle of it.
0:03:32 > 0:03:37- Oh... - And that is a little immortal peach.
0:03:37 > 0:03:41- So the gods would eat these peaches and become immortal.- Yeah...
0:03:41 > 0:03:43Oh, it's got a lot of history.
0:03:43 > 0:03:46And that, I think, is earlier than the brooch.
0:03:46 > 0:03:50I think the brooch is about 1890-1900,
0:03:50 > 0:03:54- but this little carving, which is out of amethyst...- Oh.
0:03:54 > 0:03:59..I think is probably late 18th, early 19th century.
0:03:59 > 0:04:02- It isn't of marvellous quality... - No.
0:04:02 > 0:04:05..but it's, you know, a rare little precious item on its own.
0:04:05 > 0:04:07- Yeah, wow.- I mean, fantastic journey, to have something
0:04:07 > 0:04:10- from China to Italy to...- I know, and I thought she just give me
0:04:10 > 0:04:12something like she wanted to get rid of it!
0:04:12 > 0:04:16Well, you might be forgiven for thinking it's costume jewellery,
0:04:16 > 0:04:17- at a glance...- Yeah.
0:04:17 > 0:04:20- ..but it's got all of this history tied up with it...- Mmm.
0:04:20 > 0:04:23..and all of this craftsmanship.
0:04:23 > 0:04:27- The sad thing is, it's not dramatically valuable.- Yeah.
0:04:27 > 0:04:31That, I think, just as a pretty brooch, is worth £30-£50
0:04:31 > 0:04:33- of anybody's money.- OK, yeah.
0:04:33 > 0:04:36And I think, because of its sentimental attachments to you...
0:04:36 > 0:04:38- Yeah.- ..as a wedding gift,
0:04:38 > 0:04:42- I think we've got to put a reserve of £30 on it.- Yeah.
0:04:42 > 0:04:45But who knows, two people might see as much in it as I do
0:04:45 > 0:04:47and, you know, it might go on from there.
0:04:47 > 0:04:50- Well...- But you're happy to sell it? - Yeah, quite happy.
0:04:50 > 0:04:53And why NOW have you decided to part with it?
0:04:53 > 0:04:55Don't know, I just look at it, it's always in the...
0:04:55 > 0:04:58inside the jewellery box, I never do anything with it.
0:04:58 > 0:05:01- That's the sad thing with brooches today.- I know, I know.
0:05:01 > 0:05:04Erm, but I think something of that craftsmanship might just
0:05:04 > 0:05:08- prompt someone to feel, "I'll buy it and wear it."- Well, you never know.
0:05:08 > 0:05:09Even if it's just to go to
0:05:09 > 0:05:11- the supermarket on a Saturday. - That's right.- Who knows?
0:05:11 > 0:05:14But it's a lovely thing and we'll just see on the day.
0:05:14 > 0:05:16- Lovely, I look forward to it. - Thank you.- Thank you.
0:05:16 > 0:05:19Well, let's hope Christina's brooch catches the eye of someone
0:05:19 > 0:05:20who will wear it with pride.
0:05:24 > 0:05:29Now, over on Kate's table, Karen has brought in an unusual bronze figure.
0:05:29 > 0:05:31You've brought this fantastic figurine in for me.
0:05:31 > 0:05:33What can you tell me about it?
0:05:33 > 0:05:37- That it belonged, or belongs to my mother...- Mm-hmm.
0:05:37 > 0:05:40..and she's had it since the late 1920s,
0:05:40 > 0:05:44and it came from a gentleman that used to be a doctor,
0:05:44 > 0:05:48and my mum used to go and visit him with her mother,
0:05:48 > 0:05:51and he knew that she liked it, he used to let her play with it,
0:05:51 > 0:05:53- and then he gave it to her.- Right. - And it's always sat,
0:05:53 > 0:05:56as I've been a kid, it's sat on the side, indoors.
0:05:56 > 0:05:58- Just on a shelf somewhere? - Just on a shelf somewhere.
0:05:58 > 0:06:01We were always told not to touch it, it's very heavy.
0:06:01 > 0:06:05- It's an interesting thing. I mean, do you like it?- Erm...yes and no.
0:06:05 > 0:06:08- Yeah, it's a funny thing. - It's...I don't know...
0:06:08 > 0:06:11There's something about it, but I'm not quite sure that I...
0:06:11 > 0:06:13- I'd give it house room, myself.- OK. - KAREN GIGGLES
0:06:13 > 0:06:16Well, do you know who made it, first of all?
0:06:16 > 0:06:18I know it's Bergmann but only because of the programme,
0:06:18 > 0:06:21- and having seen...- Ah-ha! We've popularised Franz Bergmann!
0:06:21 > 0:06:23- Yeah.- Excellent. Well, it is exactly that,
0:06:23 > 0:06:26chap called Franz Bergmann, and on the bottom, you've got the mark,
0:06:26 > 0:06:29- the B inside a little urn, which is the mark for Franz Bergmann.- Yeah.
0:06:29 > 0:06:31Erm, he did various things,
0:06:31 > 0:06:36he's known for his slightly risque, sort of, naughty erotic ladies,
0:06:36 > 0:06:39so bronze, very Art Nouveau, Art Deco kind of ladies.
0:06:39 > 0:06:41This is not one of those ones.
0:06:41 > 0:06:44He did a series of, sort of, North African, Arab type scenes
0:06:44 > 0:06:47and this is one of those. It's somebody like a Berber tribesman,
0:06:47 > 0:06:50or somebody like that, a North African.
0:06:50 > 0:06:52Basically, with his camel gun
0:06:52 > 0:06:55- or something like that.- Yeah, like a rifle, isn't it?- And his...
0:06:55 > 0:06:57- his dirk or his curved sword behind him.- Yeah.
0:06:57 > 0:06:59- And traditional dress.- Mm-hmm.
0:06:59 > 0:07:02It's quite fun. I mean, it's not going to be everyone's taste.
0:07:02 > 0:07:05- No.- You don't particularly like it. Your mum obviously liked it.
0:07:05 > 0:07:08- Yeah.- And was drawn to it as a child. - She's probably got memories, yeah.
0:07:08 > 0:07:11- OK.- How old do you think it is? - Oh, about 1920s.- Right, OK.
0:07:11 > 0:07:13About the same time as the naughty figurines,
0:07:13 > 0:07:15but a completely different thing,
0:07:15 > 0:07:17and he was a sculptor, you can tell that in the really...
0:07:17 > 0:07:20- There's a lot of detail in it, isn't it?- Yeah, it's very well done.
0:07:20 > 0:07:24I mean, that's why he's very collectable, because he is the best.
0:07:24 > 0:07:27- Basically, condition-wise, I'm going to have a moan at this point.- Yeah.
0:07:27 > 0:07:29And say, you know, obviously,
0:07:29 > 0:07:31he's got a bit of a wonky barrel of his gun.
0:07:31 > 0:07:33And also, you can see it's a cold-painted bronze,
0:07:33 > 0:07:36- so effectively, it was a cast bronze...- Yeah.
0:07:36 > 0:07:38..that then they let cool, they painted and all of these chips
0:07:38 > 0:07:41and this wear is where the original paint over the top
0:07:41 > 0:07:43- has chipped back to the bronze underneath.- Right, right.
0:07:43 > 0:07:46That's why it's so heavy, as well, because it is a bronze,
0:07:46 > 0:07:48- and it's a very dense thing. - It's solid, right.
0:07:48 > 0:07:51So do you have any idea price-wise what you think it is worth?
0:07:51 > 0:07:54I thought about 200-400.
0:07:54 > 0:07:56Oh... Oh...
0:07:56 > 0:07:59That's fairly, that's fairly...
0:07:59 > 0:08:00That's fairly good.
0:08:00 > 0:08:03I think the condition might be a bit of an issue for this one.
0:08:03 > 0:08:05- Yeah? No, that's fair enough. - Because...it can...
0:08:05 > 0:08:07This can be straightened out but there's always a chance
0:08:07 > 0:08:09- it's going to break if somebody does it.- It'll snap.
0:08:09 > 0:08:12You've got to be fairly gutsy to try to undo it,
0:08:12 > 0:08:14- and I think that's what's going to affect the buying of this.- Right.
0:08:14 > 0:08:18- Erm...I would have said maybe the lower end of your estimate.- OK.
0:08:18 > 0:08:21- So maybe 200-300 is doable in this condition.- OK.
0:08:21 > 0:08:24- Reserve, though, I would put a reserve of 150.- OK.
0:08:24 > 0:08:26- Just to protect it.- Yeah. - So that if it doesn't make it,
0:08:26 > 0:08:28- we'll make it a firm reserve at 150. - Yeah, OK.
0:08:28 > 0:08:30Hopefully, between 200 and 300.
0:08:30 > 0:08:32Yeah, that would be good.
0:08:35 > 0:08:36It's time for a bit of art,
0:08:36 > 0:08:39and I found a curious painting brought in by Pat.
0:08:40 > 0:08:43Pat, I don't know who Clifford Frost was,
0:08:43 > 0:08:45but I think he had a jolly good sense of humour.
0:08:45 > 0:08:47- I think so as well. - Don't you?- Yes, I do.
0:08:47 > 0:08:52He sums up the very Englishness about the, sort of, 1930s and 1940s,
0:08:52 > 0:08:55of early British 20th-century modern. Don't you think so?
0:08:55 > 0:08:56Yes, I do, yeah.
0:08:56 > 0:08:58It's sort of three guys in the pub, with their pints,
0:08:58 > 0:09:00looking at the marrow, saying...
0:09:00 > 0:09:03"Hmm...mine's bigger than yours." That kind of thing.
0:09:03 > 0:09:06- All gardeners, probably.- Sorry? All gardeners, yes.- All gardeners.
0:09:06 > 0:09:09And look at this chap, looking down, going...
0:09:09 > 0:09:12- HE LAUGHS - I think it's fabulous,
0:09:12 > 0:09:14absolutely fabulous.
0:09:14 > 0:09:19It's just such a shame there's no relative works that have sold.
0:09:19 > 0:09:23I can't find any form on the artist, I don't know any information, so...
0:09:23 > 0:09:27I really think he's a very, very competent amateur...
0:09:28 > 0:09:32- Very possibly.- ..which does devalue it slightly.- Yes, yes.
0:09:32 > 0:09:34Where did the painting come from?
0:09:34 > 0:09:36It belonged to my father, actually,
0:09:36 > 0:09:41and he was a collector, actually, of the 1930s, '40s paintings, and...
0:09:41 > 0:09:44I don't know where he got it from before that.
0:09:44 > 0:09:46When you talk about early 20th-century modern,
0:09:46 > 0:09:48you look at artists with humour, British School.
0:09:48 > 0:09:50You're looking at people like Stanley Spencer and...
0:09:50 > 0:09:52- you know, from the guy from Cookham. - Yeah.
0:09:52 > 0:09:55- And you see, he paints people in his local pub, in his village.- Right.
0:09:55 > 0:09:58And there's a sense of humour with a sense of religion.
0:09:58 > 0:10:00I think what you've got here is a sense of humour with
0:10:00 > 0:10:03a sense of gardening, but still with real people down your local pub.
0:10:03 > 0:10:06- Yeah, yeah.- It's brilliant, absolutely brilliant.
0:10:06 > 0:10:10- Any idea of value, though? - Maybe about £20.
0:10:10 > 0:10:12Ha! Oh, I think it's worth an awful lot more than that.
0:10:12 > 0:10:16There's nothing on the back, absolutely nothing on the back.
0:10:16 > 0:10:19I think it's one of those classic 80-120s,
0:10:19 > 0:10:20- and see what happens.- Right, OK.
0:10:20 > 0:10:22But if we put a reserve on at £60,
0:10:22 > 0:10:25- we know we're going to sell it. - Yup, right, OK.
0:10:25 > 0:10:27It could struggle, and get away at the bottom end,
0:10:27 > 0:10:30or it could surprise us all and get away at the top end
0:10:30 > 0:10:33- and do 120-160 or 180. - That would be nice, yeah.
0:10:33 > 0:10:35Well, I'm up for it if you are.
0:10:35 > 0:10:37Yes, definitely, yeah, I'd be very happy.
0:10:39 > 0:10:41Now, I've found something really special
0:10:41 > 0:10:43and I want to take it somewhere quiet to have a closer look.
0:10:43 > 0:10:45Come with me, Annette.
0:10:45 > 0:10:49We've left the hustle and bustle of the valuation in the next room.
0:10:49 > 0:10:52I've brought Annette into the library because...
0:10:52 > 0:10:53You brought in a book to show me,
0:10:53 > 0:10:56so I thought I'd show you several thousand.
0:10:56 > 0:11:00- Wonderful.- But I bet there's not a book like that in here.- No.
0:11:00 > 0:11:02So tell me all about this autograph album.
0:11:02 > 0:11:06- I saw Paul McCartney quite often, as I lived close by...- Uh-huh.
0:11:06 > 0:11:10- ..and I was a big Beatle fan and still am.- Were you?
0:11:10 > 0:11:11- Can I have a look?- Yes.
0:11:11 > 0:11:15Oh, look at this, this is lovely.
0:11:15 > 0:11:16Oh, look, there's Jane Asher.
0:11:16 > 0:11:19- She was engaged to Paul McCartney, wasn't she?- She was, yes.
0:11:19 > 0:11:21- So you've got all The Beatles. - I have.
0:11:21 > 0:11:23- All on separate pages, though. - Yes.
0:11:23 > 0:11:26But it's the photographs, did you take all these photographs?
0:11:26 > 0:11:28I did take all the photographs.
0:11:28 > 0:11:30- So you actually got behind the scenes.- Yes.
0:11:30 > 0:11:32Lots of hanging around, lots and lots of hours' worth
0:11:32 > 0:11:35- of just waiting and waiting.- Yes, it was, yes, but he was worth it.
0:11:35 > 0:11:38- But what a reward, what a reward! - I know.- Not just Paul McCartney
0:11:38 > 0:11:42- but John Lennon, George Harrison and Ringo.- John and...yeah.
0:11:42 > 0:11:45- Yes.- And the wives.- That's right.
0:11:45 > 0:11:47- You're a good photographer, as well. - Thank you.
0:11:47 > 0:11:51I mean, you've captured the image, a moment back in time in the 1960s,
0:11:51 > 0:11:54- which is, it's just so evocative, isn't it?- Hmm.
0:11:54 > 0:11:56- It's so rock and roll, it really is.- Yeah.
0:11:56 > 0:11:58Is this something you're thinking of selling?
0:11:58 > 0:12:01- No.- I couldn't twist your arm, could I?- No, you couldn't.
0:12:01 > 0:12:04Look, Ringo Starr, the drummer.
0:12:04 > 0:12:06This, this is priceless.
0:12:06 > 0:12:10This is a wonderful piece of Beatles memorabilia and in ten years
0:12:10 > 0:12:13of doing "Flog It!", we've seen a lot of Beatles memorabilia.
0:12:13 > 0:12:17Lots of autographs but nothing as comprehensive as this.
0:12:17 > 0:12:20And those four autographs on one sheet of paper, you're going
0:12:20 > 0:12:23to fetch around two grand for, with provenance, £3,000,
0:12:23 > 0:12:25but what you've got here...
0:12:25 > 0:12:28What do you think this is worth?
0:12:28 > 0:12:30Don't know.
0:12:30 > 0:12:32If I said to you around £4,000-£5,000,
0:12:32 > 0:12:33would you be really happy?
0:12:33 > 0:12:36- I would be very happy. - Yeah, well, that's what it would be.
0:12:36 > 0:12:38- Make sure you get this insured, won't you?- I will.
0:12:38 > 0:12:41- Whatever you do, don't lose it. - I know, I won't.- Oh, gosh.
0:12:41 > 0:12:44- It's not just that, it's all your memories.- It's so old, as well.
0:12:44 > 0:12:47I'm ever so pleased you're not selling it. Do you have kids?
0:12:47 > 0:12:50- I do, yeah.- So that's going to be their inheritance.- That's right.
0:12:50 > 0:12:53Well, thank you very much for bringing that in today.
0:12:53 > 0:12:54Thank you very much.
0:12:54 > 0:12:55That was such a treat.
0:12:55 > 0:12:58I'm so pleased Annette is hanging onto that book
0:12:58 > 0:12:59for her kids to enjoy.
0:13:00 > 0:13:02Back in the hall,
0:13:02 > 0:13:06and Michael's honed in on some silver that Josephine's brought in.
0:13:06 > 0:13:10Always delighted to see a bit of silver on "Flog It!".
0:13:10 > 0:13:12- Good.- These are wonderful.
0:13:12 > 0:13:15It's a christening bowl and spoon, so... Are they yours, or...?
0:13:15 > 0:13:19- Yes, yes, they're mine, yeah. - When were they given to you?
0:13:19 > 0:13:21Erm...when I was christened.
0:13:21 > 0:13:25- It's indiscreet of me to ask, isn't it? I know...- It's...
0:13:25 > 0:13:29So you were given them for your christening, so it's
0:13:29 > 0:13:32strange that they don't have more of a sentimental attachment to you.
0:13:32 > 0:13:36Well, it's just that my daughter and son are not terribly keen.
0:13:36 > 0:13:40So I just thought I would come and see what it was worth,
0:13:40 > 0:13:42and see if I could sell it.
0:13:42 > 0:13:45Very sensible. Well, what we've got, it's unusual,
0:13:45 > 0:13:49because they were obviously bought second-hand for you,
0:13:49 > 0:13:52and what we've got is we've got an earlier spoon with a later bowl.
0:13:52 > 0:13:55- Oh, right. - So if we look at the spoon, first,
0:13:55 > 0:13:59this might have been from a three-piece christening set,
0:13:59 > 0:14:02- so it's usual to get the spoon, knife and fork.- All right.
0:14:02 > 0:14:04And because it's a very elaborate pattern,
0:14:04 > 0:14:07normally the hallmarks would be struck
0:14:07 > 0:14:10towards the top of the stem, but that would damage the design,
0:14:10 > 0:14:12so what we've done in this case
0:14:12 > 0:14:15- is marked it on the edge of the back of the bowl.- Oh, right.
0:14:15 > 0:14:18And if I huff on it, and I only do that to reduce the glare
0:14:18 > 0:14:25when I look at the marks, we can see that it was made in London in 1878.
0:14:25 > 0:14:27And there's a maker's mark
0:14:27 > 0:14:30that's always good to see on a spoon, "GA" -
0:14:30 > 0:14:32George Adams for Chawner & Company.
0:14:32 > 0:14:36And they're one of the best silversmiths producing
0:14:36 > 0:14:39- flatware in the 19th century. - Oh, I see.
0:14:39 > 0:14:44This is somewhat later, and from a different assay office,
0:14:44 > 0:14:47- and that's got the mark of Atkin Brothers...- Oh.
0:14:47 > 0:14:51- ..and that was made in Sheffield in 1901.- Oh, I see.
0:14:51 > 0:14:56- So Victorian and just, JUST Victorian, early Edwardian.- Yeah.
0:14:56 > 0:14:58Really, they're two separate items.
0:14:58 > 0:15:02We'll put them in together but they don't relate to one another.
0:15:02 > 0:15:06- Oh, right. - That spoon is worth £15-£25.
0:15:06 > 0:15:11- Oh, right.- Probably in its silver weight alone, actually, these days.
0:15:11 > 0:15:13The bowl is the more commercial thing,
0:15:13 > 0:15:18and I think the two together would be £100-£150 at auction.
0:15:18 > 0:15:21- Yeah.- And I think we have a little bit of discretion,
0:15:21 > 0:15:23just a little bit on the reserve,
0:15:23 > 0:15:26and, say, put a reserve of £90. Would that be OK?
0:15:26 > 0:15:29Erm...well, I'd like, really, to put it a bit higher
0:15:29 > 0:15:31because they do take commission as well,
0:15:31 > 0:15:33- don't they?- So you'd like it at the 100, would you?
0:15:33 > 0:15:35Oh, yes, I wouldn't like it to go for less than 100.
0:15:35 > 0:15:37Right, no, I hear what you're saying.
0:15:37 > 0:15:39- Well, we'll put 100 fixed on it. - Yeah.
0:15:39 > 0:15:41And we'll hope that somebody else is looking,
0:15:41 > 0:15:44well, two people are looking for christening gifts at the auction.
0:15:44 > 0:15:47- Yeah.- And we won't know, we might do very much better than that.
0:15:47 > 0:15:49- OK.- So you're happy to do that?
0:15:49 > 0:15:51- Yes, I am.- That's marvellous, we'll put them into the auction
0:15:51 > 0:15:53and hope for a marvellous result.
0:15:53 > 0:15:55- OK, thank you.- Thank you.- Thanks.
0:15:55 > 0:15:58Some level-headed thinking there from Josephine,
0:15:58 > 0:16:01and I think she made a good call with that reserve.
0:16:25 > 0:16:27This isn't going to be a silent film,
0:16:27 > 0:16:31and, yes, today we are filming in glorious colour and high-definition.
0:16:31 > 0:16:34I'm also proud to say that I've been part of the British film industry.
0:16:34 > 0:16:36For a couple of years after leaving college,
0:16:36 > 0:16:39I worked at Pinewood Studios in the prop and set department,
0:16:39 > 0:16:42so I know what goes on, all the hard work behind the scenes.
0:16:42 > 0:16:45That's why I'm pleased to say that this creative work,
0:16:45 > 0:16:48produced by the major production companies and the independent
0:16:48 > 0:16:52filmmaker, is appreciated by the British Film Institute.
0:16:52 > 0:16:55But firstly, I should explain what it does and why I'm here.
0:16:57 > 0:17:00In 1933, the British Film Institute was launched,
0:17:00 > 0:17:04followed two years later by an archive that would save films,
0:17:04 > 0:17:06and years later, television programmes,
0:17:06 > 0:17:09as an important part of our cultural heritage.
0:17:12 > 0:17:16A large hi-tech cinema was built on London's Southbank,
0:17:16 > 0:17:19to show films for 1951's Festival of Britain,
0:17:19 > 0:17:21and when the temporary cinema was demolished,
0:17:21 > 0:17:27a new one was built in 1957, under Waterloo Bridge.
0:17:27 > 0:17:29It was visited over the years by famous names
0:17:29 > 0:17:32like director John Ford, and actor Sir Laurence Olivier.
0:17:36 > 0:17:41In 2007, a revamped BFI Southbank building threw open its doors,
0:17:41 > 0:17:45revealing a state-of-the-art treasure house of cinema.
0:17:45 > 0:17:48And because of all the famous connections in the film world,
0:17:48 > 0:17:52it's inevitable that other media memorabilia is going to
0:17:52 > 0:17:55end up here, being archived at the BFI.
0:17:55 > 0:17:58Things like this, what I've got in front of me -
0:17:58 > 0:18:00promotional packages, scripts, film posters.
0:18:00 > 0:18:02You name it, they've got it.
0:18:02 > 0:18:03This is a nice selection.
0:18:03 > 0:18:06Look, The 39 Steps, that's one of my mother's favourite films,
0:18:06 > 0:18:09and I've actually watched that in black and white with her.
0:18:09 > 0:18:11Here is a promotional package from one of Alfred Hitchcock's
0:18:11 > 0:18:15silent movies, and all this stuff, in general,
0:18:15 > 0:18:17is what people would have just thrown away.
0:18:35 > 0:18:37Over 1,000 films a year are screened here.
0:18:37 > 0:18:41It's also the location of the BFI's London Film Festival.
0:18:41 > 0:18:44Now, there are a team of projectionists that work here,
0:18:44 > 0:18:47and they're skilled in using real film reels, as well as
0:18:47 > 0:18:50the newer digital technology - projectionists like Russ here.
0:18:50 > 0:18:52- Russ, hello.- Hiya.
0:18:52 > 0:18:54- Pleased to meet you. - Nice to meet you.- What are you up to?
0:18:54 > 0:18:58- You lacing up a projector?- Yes, yeah, just running a film, 1930s.
0:18:58 > 0:19:01All of these films are shot in 35mm?
0:19:01 > 0:19:02Most of the stuff we run is 35,
0:19:02 > 0:19:05- sometimes we get the larger 70mm. - Yeah.
0:19:05 > 0:19:07And also we get a 16mm sometimes,
0:19:07 > 0:19:10which is a rarity, but it's more the arthouse kind of...
0:19:10 > 0:19:14- Is it always as noisy as this? - Yeah, sometimes noisier.
0:19:14 > 0:19:16Sometimes you have two projectors going, maybe more,
0:19:16 > 0:19:18and it can actually be louder than that.
0:19:18 > 0:19:21- So it's a noisy job, but you get used to it.- Yeah, I bet you do.- Yeah.
0:19:24 > 0:19:25Are some of the films dangerous?
0:19:25 > 0:19:28Yes, we do run seasons with nitrate, and certain things like that.
0:19:28 > 0:19:31Nitrate is a flammable substance that the light itself
0:19:31 > 0:19:34of the projector can make it catch fire and burn the building down,
0:19:34 > 0:19:36- so we have to be very cautious. - Are they kept here?
0:19:36 > 0:19:38No, they're kept in Berkhamsted,
0:19:38 > 0:19:41where the BFI has an external, sort of, vault that looks after them
0:19:41 > 0:19:42and has them in chilled temperatures
0:19:42 > 0:19:45and a better environment for films in general.
0:19:45 > 0:19:46- I'll let you get back to work. - All right,
0:19:46 > 0:19:48thank you, nice to meet you.
0:19:50 > 0:19:54We've seen how the films are shown, but to find out how films
0:19:54 > 0:19:58are selected, I'm meeting up with Simon McCallum, one of the curators.
0:20:00 > 0:20:02Simon, what's your role here?
0:20:02 > 0:20:04What my role is is Mediatheque Curator,
0:20:04 > 0:20:06one of which we've got here at BFI Southbank,
0:20:06 > 0:20:09and we look after nearly a million films
0:20:09 > 0:20:12and TV programmes in the archive, so a big aim for us is to get
0:20:12 > 0:20:16more of those accessible to, sort of, a wider variety of audiences.
0:20:16 > 0:20:20- How do you go about choosing what goes on the archive?- It's tricky.
0:20:20 > 0:20:23It's a very complex process, because the curators will
0:20:23 > 0:20:26work together with their individual specialisms to decide what
0:20:26 > 0:20:29the particular gaps might be in our collections, for instance.
0:20:29 > 0:20:31We actively acquire new material, as well,
0:20:31 > 0:20:35so it's not just caring for, sort of, past films and TV programmes.
0:20:35 > 0:20:38So we'll actively acquire all new British feature films,
0:20:38 > 0:20:41- for instance, so... - That's absolutely marvellous.
0:20:41 > 0:20:43- Now, you've got a few clips to show me, haven't you?- Yeah, we have.
0:20:43 > 0:20:45The first one's actually one of
0:20:45 > 0:20:47the earliest British films in the archive,
0:20:47 > 0:20:50and it's a film of Blackfriars Bridge in 1896.
0:20:50 > 0:20:53So this is only...only, sort of, a year or so after the...
0:20:53 > 0:20:55after, sort of, cinema really came about.
0:21:01 > 0:21:03What we're seeing here is people making their way to work.
0:21:03 > 0:21:08So you can see the advertising on the...on the side of the trams.
0:21:08 > 0:21:10Look at the people looking into the camera, thinking,
0:21:10 > 0:21:11"What's that chap doing?"
0:21:11 > 0:21:14One of the things I find interesting is that people are...
0:21:14 > 0:21:16It's a novelty for them to be seeing this big clunky movie camera.
0:21:16 > 0:21:18Even today, if you think...
0:21:18 > 0:21:20They still stop and stare when we're filming.
0:21:20 > 0:21:23- Exactly, people see a film crew, things like that.- That's marvellous.
0:21:23 > 0:21:25- That's our heritage captured.- It is.
0:21:25 > 0:21:27And it's so much more...visual and...
0:21:27 > 0:21:28Yeah, you're there, aren't you?
0:21:28 > 0:21:31Yeah, indeed, it's really important for social history to see
0:21:31 > 0:21:34what people were wearing and actually coming to life like that.
0:21:34 > 0:21:36- Yes, yeah. What's next? - The next clip,
0:21:36 > 0:21:40we're heading into the heroic age of polar exploration, so we've got
0:21:40 > 0:21:43one of our major new restorations called The Great White Silence.
0:21:48 > 0:21:50Now, this was footage shot by Herbert Ponting
0:21:50 > 0:21:54- of the British Antarctic Expedition in 1910 to 1913...- Right.
0:21:54 > 0:21:58..led, of course, by Captain Scott, who came to a tragic end.
0:21:58 > 0:22:00And the footage was finally, sort of,
0:22:00 > 0:22:02edited together into a feature film in the '20s,
0:22:02 > 0:22:06and, sort of, with added lovely tinting and tonings.
0:22:06 > 0:22:08So what we're seeing here is the, sort of, before shots,
0:22:08 > 0:22:11before the tinting was recreated.
0:22:11 > 0:22:13There we go.
0:22:13 > 0:22:16So the colour's actually been restored from the original notes
0:22:16 > 0:22:20left by Ponting, so it's sort of been recreated as per his...
0:22:20 > 0:22:22you know, his instructions.
0:22:22 > 0:22:23God, look at this, it's fascinating.
0:22:23 > 0:22:26It's been a huge boost for us
0:22:26 > 0:22:28to be able to get this film back out there to people,
0:22:28 > 0:22:30cos this is such an iconic part of
0:22:30 > 0:22:33- British heritage, British history. - It's incredible, incredible.
0:22:35 > 0:22:39Lots of penguins. They're very popular.
0:22:44 > 0:22:47And finally, you've got a bit of comedy to show us.
0:22:47 > 0:22:48Yes, we've got some light relief now.
0:22:48 > 0:22:51- It's one of my favourite titles in the...- What is it?
0:22:51 > 0:22:53..the whole archive, actually. It's called Daisy Doodad's Dial,
0:22:53 > 0:22:55- from 1914.- OK.
0:22:55 > 0:22:59Starring and written and directed by a lady, Florence Turner,
0:22:59 > 0:23:03who was a Hollywood star and came over to Britain in the 1910s,
0:23:03 > 0:23:05and it's basically a girning competition.
0:23:05 > 0:23:09- Obviously, dial is slang for the face, so, as we will see...- OK.
0:23:26 > 0:23:28She was really quite a pioneer, Florence Turner, as well,
0:23:28 > 0:23:32because she went on to work with Buster Keaton back in Hollywood,
0:23:32 > 0:23:34- too. She was quite a big star. - Those are big stars.
0:23:37 > 0:23:40- You can learn so much from these archives, so much.- You really can,
0:23:40 > 0:23:43and it's still funny 100 years later, something like that.
0:23:43 > 0:23:44Well, can I say, thank you very much
0:23:44 > 0:23:47- for my own private viewing. - Oh, my pleasure.
0:23:51 > 0:23:53Well, what a privilege to see those pieces of British cinema.
0:23:53 > 0:23:55It just goes to show imagination
0:23:55 > 0:23:59and creativity have always been strong, it's just technology
0:23:59 > 0:24:02and what it allows us to do that's constantly changing,
0:24:02 > 0:24:04pushing those creative boundaries.
0:24:04 > 0:24:07For me, British film has always been close to my heart and it's
0:24:07 > 0:24:11been a real treat to see what the British Film Institute has to offer.
0:24:22 > 0:24:25We've got our first four items.
0:24:25 > 0:24:27Now we're taking them off to the sale.
0:24:32 > 0:24:33Our items are going under the hammer
0:24:33 > 0:24:36at Greenwich Auctions in South East London.
0:24:38 > 0:24:42Right, it's auction time. I'm getting excited - I hope you are.
0:24:43 > 0:24:46The saleroom is already filling up with eager bidders.
0:24:46 > 0:24:50I met up with auctioneer Robert Dodd on the preview day
0:24:50 > 0:24:54'and asked him what he thought about Josephine's bowl and spoon.'
0:24:54 > 0:24:56Josephine's family silver.
0:24:56 > 0:24:58Now, she's selling this because her son and her daughter
0:24:58 > 0:25:00don't really want it.
0:25:00 > 0:25:05Erm, we've got £100-£150 on the two, as one lot.
0:25:05 > 0:25:06Well, I spoke to the lady again,
0:25:06 > 0:25:09and I said I'm going to split them up,
0:25:09 > 0:25:12- only because they are two completely different eras.- Mmm.
0:25:12 > 0:25:16- Also, I've got people who are collectors of spoons...- Yes.
0:25:16 > 0:25:19- ..who I don't think would pay £100 for that spoon.- No.
0:25:19 > 0:25:22And I've also got people who collect Edwardian silver,
0:25:22 > 0:25:23or whatever it might be,
0:25:23 > 0:25:28erm, and I think it gives the vendor more of a chance
0:25:28 > 0:25:30of it hitting that reserve and hopefully going over,
0:25:30 > 0:25:32by just simply separating them.
0:25:32 > 0:25:34- Mmm.- And so, I'm confident in these two.
0:25:34 > 0:25:36So am I. I'm confident about that one.
0:25:36 > 0:25:39- I think you've done the right thing. - Thank you.
0:25:39 > 0:25:42Well, we'll find out in a bit what the bidders think.
0:25:42 > 0:25:45Auctioneer Robert has tweaked the estimates on our items,
0:25:45 > 0:25:47to give them the best chance of selling.
0:25:47 > 0:25:49Gone! Selling for £100.
0:25:49 > 0:25:51And now it's our first item...
0:25:51 > 0:25:54Going under the hammer right now, we've got a Chinese brooch,
0:25:54 > 0:25:56Canton period, it belongs to Christina
0:25:56 > 0:25:58and it was a wedding present.
0:25:58 > 0:26:00- Long time ago.- 1965.- Yes.
0:26:00 > 0:26:02- That's what I read in my notes! - Yeah, correct.
0:26:02 > 0:26:05Fingers crossed we get the top end, and a little more.
0:26:05 > 0:26:06Well, I know brooches are out of fashion
0:26:06 > 0:26:08- but it's just so much work. - I know.- Yeah.
0:26:08 > 0:26:10- You never know, might be lucky day.- No, no.
0:26:10 > 0:26:13We might be lucky, yeah. Fingers crossed, here we go. Let's find out.
0:26:15 > 0:26:20Lot 355, late Victorian Chinese filigree brooch,
0:26:20 > 0:26:24and the bid's with me, straight away at £40.
0:26:24 > 0:26:26- Christina, we're straight in. - Oh, good.- Looking for 42 on this,
0:26:26 > 0:26:28I've got 40 on it.
0:26:28 > 0:26:30Looking for 42, 45, 48.
0:26:30 > 0:26:3150. 5, I need.
0:26:31 > 0:26:3355. 60, with me.
0:26:33 > 0:26:36It's the quality of it, it's just... Screams it.
0:26:36 > 0:26:37Looking for 70 on the brooch,
0:26:37 > 0:26:39I've got 65, are we all done?
0:26:39 > 0:26:40£70, there, right now.
0:26:40 > 0:26:42- They like it.- Oh, yeah, that's good.
0:26:42 > 0:26:45Are we all done? Last time on this brooch.
0:26:45 > 0:26:47Selling at £70...
0:26:47 > 0:26:50- Oh, good, I'm pleased. - Yes, £70, that's good, isn't it?
0:26:50 > 0:26:52- Thank you very much. - It was worth every penny of that.
0:26:52 > 0:26:55- Lovely, thank you.- It's got the peach of immortality in it.- I know.
0:26:55 > 0:26:58Maybe the buyer thinks he's going to live forever. I don't know.
0:26:58 > 0:27:00- Thanks for coming in.- Thanks.
0:27:00 > 0:27:02- Thoroughly enjoyed meeting you. - Nice to meet you.
0:27:02 > 0:27:04What a great result for Christina.
0:27:04 > 0:27:08Let's see if Josephine's silver items could do as well.
0:27:08 > 0:27:11Next up, we've got some silver - a christening bowl and the spoon.
0:27:11 > 0:27:12They came in as one lot,
0:27:12 > 0:27:14and they belonged to Josephine, who's right next to me.
0:27:14 > 0:27:16- Hello, Josephine.- Hello.
0:27:16 > 0:27:18Look, the auctioneer has split the lot, so the christening bowl
0:27:18 > 0:27:22- is coming out first and then the spoon afterwards.- Yes.
0:27:22 > 0:27:24Hopefully, going to get all the money in the first lot.
0:27:24 > 0:27:26- Yes, hope so.- We've got £100 reserve.
0:27:26 > 0:27:28- Ready?- Yes, sure.- This is it.
0:27:29 > 0:27:33Lot 310 is the early 20th-century hallmarked silver bowl.
0:27:33 > 0:27:34Fingers crossed.
0:27:34 > 0:27:38And the bid's with me at £100, on this.
0:27:38 > 0:27:41- Straight in.- Straight in, we've gotten our reserve.- Yeah.
0:27:41 > 0:27:45And I'll take that bid at 100, looking for 110. Are we all done?
0:27:45 > 0:27:47Last time, on this silver pot.
0:27:47 > 0:27:49At £100...
0:27:49 > 0:27:52- Sold.- I hate to say it, but it's down to the scrap, I'm afraid.
0:27:52 > 0:27:56- It is, that one is, isn't it?- Yup. - OK, and now the spoon.
0:27:57 > 0:28:02Lot 311, Victorian hallmarked silver Art-Nouveau-style tablespoon
0:28:02 > 0:28:05with a fine relief. Lovely little lot. Bid's with me at £12.
0:28:05 > 0:28:07Looking for 15, 18, 20 with me.
0:28:07 > 0:28:09Looking for 22. Are we all done?
0:28:09 > 0:28:11Selling at £20...
0:28:11 > 0:28:13£120. Got to be happy with that.
0:28:13 > 0:28:16- OK, yes, that's fine.- Yes, yes.
0:28:16 > 0:28:19Silver of the 20th century, now, it lacks a bit of excitement
0:28:19 > 0:28:21- cos we can value it almost so precisely.- Yeah.
0:28:21 > 0:28:25So, well, you know, the reserve was its price, and it's met that.
0:28:25 > 0:28:27- Yeah.- Got a little bit more for the spoon, that's the upside.
0:28:27 > 0:28:30- Yes, yes, yeah.- OK, that's fine.
0:28:30 > 0:28:34And now for my favourite lot of the entire day,
0:28:34 > 0:28:35it has to be Pat's oil painting -
0:28:35 > 0:28:38the three gentlemen with the big marrow.
0:28:38 > 0:28:43- The auctioneer gave me a wink on it and he said he liked it.- Very good.
0:28:43 > 0:28:47- And he said somebody in America was interested.- Really?- Yeah.- Wow.
0:28:47 > 0:28:50So hopefully we get the top end and a bit more. This is it.
0:28:52 > 0:28:56Lot 200. Absolutely stunning oil painting, this.
0:28:56 > 0:28:57Stunning.
0:28:57 > 0:29:00He's selling things really well for us, though. Bless him, he's good.
0:29:00 > 0:29:06Typical 1930s, three guys in a pub talking about a marrow.
0:29:06 > 0:29:09LAUGHTER
0:29:09 > 0:29:12I'm not being funny, where you going to get another one?
0:29:12 > 0:29:14That's true, isn't it?
0:29:14 > 0:29:17And the bid's with me at £60 on this.
0:29:17 > 0:29:19Looking for 65. I've got 60.
0:29:19 > 0:29:22- 5, 70 here. - Good, it's a bid in the room.
0:29:22 > 0:29:255, I need. 80, here. 85.
0:29:25 > 0:29:2890, here. 95, 100.
0:29:28 > 0:29:31And 10. 120, here.
0:29:31 > 0:29:34130, 140, here. Looking for 150.
0:29:34 > 0:29:36150, 160, here.
0:29:36 > 0:29:37Looking for 170.
0:29:37 > 0:29:39Are we all done? Last time.
0:29:41 > 0:29:45On the three guys and a marrow. At £160...
0:29:45 > 0:29:48- Yes!- So, 160, yes, that's a good result.- That's fantastic.
0:29:48 > 0:29:50- That's good, isn't it?- Really good.
0:29:50 > 0:29:54Yeah, and I think someone's got themselves a lovely piece of art.
0:29:58 > 0:30:02190, 200, 210, 220, 230...
0:30:03 > 0:30:05Karen's up next with her tribesman figurine.
0:30:05 > 0:30:06Karen, good luck with this.
0:30:06 > 0:30:09We've seen many Franz Bergmann bronzes on the show,
0:30:09 > 0:30:11as you know, and they never let us down.
0:30:11 > 0:30:13- Yeah.- It's quality. OK, here we go, good luck.
0:30:16 > 0:30:21Lot 280, painted bronze sculpture of Middle Eastern warrior,
0:30:21 > 0:30:24attributed to Franz Bergmann,
0:30:24 > 0:30:31and it's got to start with a bid with me of £120.
0:30:31 > 0:30:34Looking for 130, 140, here.
0:30:34 > 0:30:38Looking for 150 on this cold-painted bronze.
0:30:38 > 0:30:41- 150.- Oh, fabulous.- Oh, yes.
0:30:41 > 0:30:44Looking for 160.
0:30:44 > 0:30:47160... 170 at the back of the room, looking for 180.
0:30:47 > 0:30:51180 on the phone, 190 at the back of the room. Looking for 200.
0:30:51 > 0:30:53There's somebody in the room,
0:30:53 > 0:30:55- so that's always good, that they've seen it as well.- Yes.
0:30:55 > 0:30:58210 at the back of the room, looking for 220.
0:30:58 > 0:31:01£210, 220, I need.
0:31:01 > 0:31:04Are we all done? £220 on the second phone.
0:31:04 > 0:31:10£230 at the back of the room, looking for 240. £240...
0:31:10 > 0:31:12- See, it doesn't let us down. - That's good.- Phew.
0:31:12 > 0:31:14- It is Bergmann, you know.- Yeah.
0:31:14 > 0:31:17270 at the back of the room, looking for 280.
0:31:17 > 0:31:19280, I need.
0:31:19 > 0:31:22280 on... 290 at the back of the room, looking for 300.
0:31:22 > 0:31:24£300, I want.
0:31:24 > 0:31:26£300 on the phone. 310...
0:31:26 > 0:31:29- We're getting a bit more now, look. - Yeah.
0:31:29 > 0:31:31320, 330 at the back of the room.
0:31:31 > 0:31:33Looking for 340.
0:31:33 > 0:31:35340, 350, I need.
0:31:35 > 0:31:38350, I've got. Looking for 360.
0:31:38 > 0:31:41£360, 360 on the telephone,
0:31:41 > 0:31:44looking for 370, are we all done?
0:31:44 > 0:31:47At £360 on the telephone...
0:31:47 > 0:31:51- Yes.- Yes.- Yes.- Doesn't that hammer go down with a lot of force? Crack!
0:31:51 > 0:31:53It's just like a carpenter's mallet, isn't it?
0:31:53 > 0:31:56- Bosh!- Really pleased with that. - Look, that's a really good result,
0:31:56 > 0:31:59- top end and a bit more.- Yeah. - Brilliant.- Thank you very much.
0:31:59 > 0:32:02Things are sailing along nicely at the auction, and we'll be back
0:32:02 > 0:32:06later on in the programme with more items to go under the hammer,
0:32:06 > 0:32:08but first, I want to tell you about a dilemma
0:32:08 > 0:32:11of astronomical proportions.
0:32:20 > 0:32:25Life at sea in the 15th and 16th centuries was extremely dangerous.
0:32:25 > 0:32:27Sailors had started exploring the high seas,
0:32:27 > 0:32:31in search of new worlds, but had no accurate way
0:32:31 > 0:32:34of knowing their longitude - their position east or west.
0:32:34 > 0:32:37Maps were useless without being sure of your location,
0:32:37 > 0:32:41and ships often hit rocks, causing thousands of deaths.
0:32:45 > 0:32:48But when King Charles II realised how serious the problem was,
0:32:48 > 0:32:51he decided something must be done.
0:32:51 > 0:32:55And by 1674, he was convinced the solution lay in astronomy,
0:32:55 > 0:32:58so he set up the Royal Observatory in Greenwich to try
0:32:58 > 0:33:02and solve the longitude problem, and he made John Flamsteed
0:33:02 > 0:33:04the first Astronomer Royal.
0:33:06 > 0:33:09The first building here was completed in 1675.
0:33:12 > 0:33:14Flamsteed moved in the following year
0:33:14 > 0:33:17and started recording star positions, hoping navigators
0:33:17 > 0:33:21at sea could use this information to work out their longitude.
0:33:24 > 0:33:26But despite all of Flamsteed's hard work to find
0:33:26 > 0:33:30an astronomical solution, more awful tragedies at sea
0:33:30 > 0:33:33put pressure on the government to find a quicker answer.
0:33:33 > 0:33:36They appointed a panel of experts called the Longitude Board,
0:33:36 > 0:33:40who offered a £20,000 prize reward to anybody who could solve
0:33:40 > 0:33:44the problem of longitude at sea within half a degree.
0:33:44 > 0:33:47The prize attracted a lot of interest,
0:33:47 > 0:33:50and people throughout the world tried to crack it.
0:33:50 > 0:33:53Many thought the answer lay in a device that told you how far
0:33:53 > 0:33:56you were from a set point in terms of time.
0:33:57 > 0:34:03This is because the earth rotates at 360 degrees every 24 hours,
0:34:03 > 0:34:08so an hour of time is equal to 15 degrees difference in longitude.
0:34:08 > 0:34:12So if you knew what the time was at your original home port,
0:34:12 > 0:34:14you could work out your position,
0:34:14 > 0:34:18but no clock existed that could keep accurate time at sea.
0:34:18 > 0:34:20The treacherous conditions affected
0:34:20 > 0:34:24the workings of all clocks in existence.
0:34:24 > 0:34:27It was actually a carpenter who finally solved the problem.
0:34:27 > 0:34:31John Harrison dedicated his life to designing a timepiece
0:34:31 > 0:34:33that could withstand the rocking motions of a ship,
0:34:33 > 0:34:37and the constant changes in temperature without losing any time.
0:34:37 > 0:34:42And after decades of research, finally, in 1772, one of Harrison's
0:34:42 > 0:34:46timepieces was successfully trialled and approved by the Board.
0:34:46 > 0:34:49Now, that clock that finally nailed it, and you could say is
0:34:49 > 0:34:54possibly the greatest timepiece ever to be designed, is right here.
0:34:54 > 0:34:56That's it there, look.
0:34:56 > 0:34:59Harrison's masterpiece solved the longitude problem,
0:34:59 > 0:35:02and his invention saved countless lives.
0:35:05 > 0:35:08Important astronomical work continued here at Greenwich,
0:35:08 > 0:35:11with each Astronomer Royal studying the sky at night,
0:35:11 > 0:35:15using telescopes along a meridian - a north-south line -
0:35:15 > 0:35:18and by comparing thousands of other observations
0:35:18 > 0:35:21along the same meridian, they pieced together
0:35:21 > 0:35:23essential information for navigators,
0:35:23 > 0:35:26astronomers and cartographers.
0:35:26 > 0:35:28Every time a better telescope was developed,
0:35:28 > 0:35:31it was placed on a new meridian line.
0:35:31 > 0:35:34Essentially, a meridian line can be wherever you choose,
0:35:34 > 0:35:37so there's a number of old meridian lines here.
0:35:40 > 0:35:43Now, up until the mid-19th century,
0:35:43 > 0:35:46towns and cities around the world kept local time.
0:35:46 > 0:35:48Now, the discrepancy in time didn't really matter
0:35:48 > 0:35:50until the advent of the railways.
0:35:50 > 0:35:53Once the rail network system linked all these places together,
0:35:53 > 0:35:56trying to write a timetable that made any sense
0:35:56 > 0:35:58was virtually impossible.
0:35:58 > 0:36:01So in 1884, an international conference was set up, where
0:36:01 > 0:36:04delegates discussed which of the half a dozen or so meridians
0:36:04 > 0:36:07currently being used could be recommended to their governments,
0:36:07 > 0:36:09and eventually, Greenwich was picked
0:36:09 > 0:36:12for its widespread use of data being produced here.
0:36:12 > 0:36:16So not only am I standing on the east and western hemispheres
0:36:16 > 0:36:19right now, I'm also at the very start of time.
0:36:21 > 0:36:25So this is what the meridian line looks like at night.
0:36:25 > 0:36:28It's projected via a laser into the capital's night sky,
0:36:28 > 0:36:32and you can see it as far as ten miles away on a clear night.
0:36:34 > 0:36:37And there's something else here that can be seen from afar,
0:36:37 > 0:36:39and it's that, the big red time ball.
0:36:39 > 0:36:42It was used to help sailors along the River Thames
0:36:42 > 0:36:44during the 19th century, because they could see it.
0:36:44 > 0:36:47And every day, that big red ball would rise up the mast
0:36:47 > 0:36:49and then at 1pm, it would drop down.
0:36:49 > 0:36:54So the navigators aboard the ships could calibrate their chronometers
0:36:54 > 0:36:55before setting out to sea.
0:36:55 > 0:37:00It was first used in 1833, and it still drops every day.
0:37:00 > 0:37:03The sailors would have seen something like this.
0:37:05 > 0:37:08But of course, I couldn't visit the Royal Observatory without showing
0:37:08 > 0:37:12you its most impressive telescope, and it is a bit of a whopper.
0:37:12 > 0:37:16It's a refracting telescope, and it uses a lens rather than
0:37:16 > 0:37:20a mirror to focus and gather light from the object being observed.
0:37:20 > 0:37:22It's the largest refracting telescope
0:37:22 > 0:37:26in the United Kingdom, and it's the seventh largest in the world.
0:37:32 > 0:37:35The 28-inch lens weighs 200lbs,
0:37:35 > 0:37:37and it was so complicated to produce,
0:37:37 > 0:37:41there were only two glassmakers in the world capable of making it.
0:37:41 > 0:37:44The telescope itself took eight years to make,
0:37:44 > 0:37:47and it was finally completed in 1893.
0:37:48 > 0:37:52The telescope was used for research into double star systems -
0:37:52 > 0:37:55that's stars that share a common centre of gravity -
0:37:55 > 0:37:58but nowadays, this remarkable piece of technology is
0:37:58 > 0:38:01used as an educational tool for visitors.
0:38:03 > 0:38:05By the late-19th century,
0:38:05 > 0:38:08light pollution from the city and vibration from trains
0:38:08 > 0:38:11started to affect the good work being done here at the observatory.
0:38:11 > 0:38:15Plans were afoot to relocate in the early part of the 20th century,
0:38:15 > 0:38:17and again in the 1930s,
0:38:17 > 0:38:20but that was interrupted because of the Second World War.
0:38:20 > 0:38:24The last observation to be done here was made in 1954.
0:38:24 > 0:38:27Further astronomical work continued to flourish
0:38:27 > 0:38:30at Herstmonceux Castle in Sussex,
0:38:30 > 0:38:33but today, the Royal Observatory is open to the public
0:38:33 > 0:38:36and it's a fascinating insight into early science,
0:38:36 > 0:38:39and I hope my little visit today has inspired you
0:38:39 > 0:38:42to come and take a look for yourself at this remarkable place.
0:38:49 > 0:38:54We're at Dulwich College in London, and our valuation day is bustling.
0:38:56 > 0:39:01Kate's with Sue, who wants to find out more about her childhood toy.
0:39:01 > 0:39:03- Sue, welcome to "Flog It!". - Thank you.
0:39:03 > 0:39:07You've brought a really pretty doll in. Now, what do you know about her?
0:39:07 > 0:39:11Well, she was given to me in the 1950s, when I was a child,
0:39:11 > 0:39:16- by the wife of one of my father's Army pals.- OK.
0:39:16 > 0:39:20Her name was Audrey Smith, and she worked at Chad Valley
0:39:20 > 0:39:24- in Wellington, Shropshire, in the 1930s.- Really?- So I...
0:39:24 > 0:39:28With hindsight, I think she probably dates from the 1930s
0:39:28 > 0:39:35rather than the '50s, and she was so beautiful I couldn't play with her.
0:39:35 > 0:39:38- What?- I just displayed her and looked at her.
0:39:38 > 0:39:40And the name I chose for her was Caroline,
0:39:40 > 0:39:43because it was the nicest name I could think of.
0:39:43 > 0:39:46Oh, well, she's lovely, and she is, as you say, Chad Valley.
0:39:46 > 0:39:48- Yes.- And when we take her shoe off,
0:39:48 > 0:39:51- she has the little Chad Valley label on the bottom.- She does, yes.
0:39:51 > 0:39:54She's really pretty, I can see why you liked her.
0:39:54 > 0:39:57She's got, basically, the Norah-Wellings-type face,
0:39:57 > 0:40:02so this felt, hand-painted over the top of felt face,
0:40:02 > 0:40:06and then she's got this really lovely little dress, little flowers.
0:40:06 > 0:40:08She looks a bit wartime-bride, doesn't she, I suppose?
0:40:08 > 0:40:11She looks a bit more, you know, I can see why 1950s,
0:40:11 > 0:40:13- but I think she is dating a bit earlier, as you say.- Yes, yes.
0:40:13 > 0:40:17- And you've got her original box. - I have, yes.
0:40:17 > 0:40:19And she's velvet or velveteen body,
0:40:19 > 0:40:22and then other composite parts, so calico and things.
0:40:22 > 0:40:24- Yes.- And rather sweet little dress.
0:40:24 > 0:40:27Yeah, she's an interesting thing. And it's brilliant to have it from
0:40:27 > 0:40:30- somebody that worked at the factory. - Yes, yes.
0:40:30 > 0:40:33Chad Valley basically started out as printers in the 19th century,
0:40:33 > 0:40:35so they produced all kinds of printed matter,
0:40:35 > 0:40:37publishing things, middle of the 19th century,
0:40:37 > 0:40:39and then, basically, these...
0:40:39 > 0:40:41They started producing soft toys in the First World War,
0:40:41 > 0:40:43because there was a ban on soft toys,
0:40:43 > 0:40:45who were mainly made in Germany and the Continent,
0:40:45 > 0:40:47- coming into Britain. - Right, right, OK.
0:40:47 > 0:40:50So, that sparked off their turning to the soft toy market.
0:40:50 > 0:40:52And they did a great job, I mean,
0:40:52 > 0:40:56- they had artists like Norah Wellings and people producing them.- Yes, yes.
0:40:56 > 0:41:00- You loved her.- I did, I thought she was very special and I still do,
0:41:00 > 0:41:04but she's been up in the loft for 50 years and she has been chewed.
0:41:04 > 0:41:07- I don't know whether you can see she's been nibbled.- Some little mice.
0:41:07 > 0:41:10Well, she's obviously had this fantastic bright pink dress
0:41:10 > 0:41:12but it is a little, sort of,
0:41:12 > 0:41:14- foxed, I suppose, and a bit faded. - It's faded, yes, yes.
0:41:14 > 0:41:16- But overall, condition's really good.- Yes.
0:41:16 > 0:41:18- I mean, considering how old she is. - For the age, yes.
0:41:18 > 0:41:21There are lots of collectors and her face is pretty good. Her hair...
0:41:21 > 0:41:23She's got little mohair bits of hair, here.
0:41:23 > 0:41:25- That is falling out a little bit. - Yes.
0:41:25 > 0:41:29- But generally, she's pretty good. So in terms of value...- Yes.
0:41:29 > 0:41:33I was thinking maybe, sort of, £50-£100, something like that.
0:41:33 > 0:41:35Is that the sort of figure you'll be happy with?
0:41:35 > 0:41:39I think 100 is probably a better... a better bet. Can we...?
0:41:39 > 0:41:42- Can we go for 100? - Well, 100's always better than 50.
0:41:42 > 0:41:44- I know. - OK, well, you want it a bit higher.
0:41:44 > 0:41:46Well, if we put a slightly higher estimate,
0:41:46 > 0:41:48- so 100-150?- Yes, yes, I think so.
0:41:48 > 0:41:51And maybe a fixed reserve just below, so 80 fixed reserve.
0:41:51 > 0:41:53Yes, I think that's absolutely fine, yes.
0:41:53 > 0:41:56- And you'd be happy to let it go at that, if it went.- I would, yes.
0:41:56 > 0:41:58OK, sweet Caroline. We hope she sells well at auction,
0:41:58 > 0:42:01- I'm sure she'll do well. - Yes, thank you. Thank you very much.
0:42:01 > 0:42:03I hope we can find Caroline a new owner
0:42:03 > 0:42:06who will admire her as much as Sue did.
0:42:06 > 0:42:09Now, what on earth has Michael got on his table?
0:42:09 > 0:42:13Ian, thank you for coming, well, struggling in today with this
0:42:13 > 0:42:16massive heavy beast of a candlestick.
0:42:16 > 0:42:19Can you tell me, where did you get it from?
0:42:19 > 0:42:23What it is, basically, is 20 years ago, my flatmate died
0:42:23 > 0:42:24and he actually was left...
0:42:24 > 0:42:27He was left, and I thought it was out of character of the house,
0:42:27 > 0:42:30so I've decided to get rid of it.
0:42:30 > 0:42:34Well, if you're going to have something in an Orientalist taste,
0:42:34 > 0:42:36I mean, this is bells and whistles, isn't it?
0:42:36 > 0:42:40We've got this wonderful Indonesian detailing.
0:42:40 > 0:42:43We've got these dragon mouths with the scrolls coming out,
0:42:43 > 0:42:45forming the three tripod feet.
0:42:45 > 0:42:51But if you move up, we've got this lovely formal knop, and this vase
0:42:51 > 0:42:54with these petals coming out, and possibly a lotus flower.
0:42:54 > 0:42:59It's not everybody's taste but if you like the design of this,
0:42:59 > 0:43:01it's got everything going for it.
0:43:01 > 0:43:03What century would you say it was?
0:43:03 > 0:43:08These aren't marked in any way so we have to go by the patination,
0:43:08 > 0:43:11and certainly, the colour around these knops,
0:43:11 > 0:43:13and the detailing here,
0:43:13 > 0:43:20make me think that it's mid to late 19th century, so 1850 up to 1900.
0:43:20 > 0:43:24Erm, there's been a little bit of work, but we can forgive that.
0:43:24 > 0:43:26The one thing we can't forgive
0:43:26 > 0:43:29is we haven't got another one to go with it,
0:43:29 > 0:43:34because there's nothing sadder than a single candlestick, so...
0:43:34 > 0:43:37They are sometimes quite difficult things to sell.
0:43:37 > 0:43:40- Any idea what the value might be? - I haven't a clue.
0:43:42 > 0:43:44I think, had we had a pair of them...
0:43:44 > 0:43:50£150-£250, £200-£300, with no difficulty at all.
0:43:50 > 0:43:53But of course, a single one, I think we're in the region of 50...
0:43:53 > 0:43:57Let's be generous and say £50-£100.
0:43:57 > 0:44:00- Yeah.- But I would certainly set the reserve
0:44:00 > 0:44:03with a little bit of discretion, at, say, 40 fixed.
0:44:03 > 0:44:06And I think that's sensible, and I think, if we proceed
0:44:06 > 0:44:09along those lines, it's an attractive purchase to somebody.
0:44:09 > 0:44:13So... But why now have you decided to part with it?
0:44:13 > 0:44:17I need to get some money to get married.
0:44:17 > 0:44:18Oh, that's marvellous.
0:44:18 > 0:44:22- Oh, it's going to good cause, then. - It's going to a good cause.
0:44:22 > 0:44:25Well, let's hope it does really well on the day for you, in that case.
0:44:25 > 0:44:28- Thanks.- Thank you very much indeed.
0:44:28 > 0:44:30That's a lovely way to spend the proceeds.
0:44:30 > 0:44:34I hope Ian gets a great result to go towards his special day.
0:44:34 > 0:44:37What a fabulous turnout we have here today.
0:44:37 > 0:44:40I think that's because it's half term, it's the school holidays,
0:44:40 > 0:44:43but hang on a minute, what are you two doing back at school?
0:44:43 > 0:44:46- Are you brother and sister? - Yeah.- Yeah.- What's your name?
0:44:46 > 0:44:47- Phoebe.- Phoebe.- Luke.- Luke.
0:44:47 > 0:44:50Right, well, I guess you're obviously into antiques, are you?
0:44:50 > 0:44:53We're just here with my grandmother, over there.
0:44:53 > 0:44:56- You're here with Grandma, she's into the antiques, isn't she?- Yeah.
0:44:56 > 0:44:58- But this is quite a fine school, isn't it?- Yeah.
0:44:58 > 0:45:01- You going to come here one day? - Maybe.- Maybe.
0:45:01 > 0:45:06It's all go here, both in front of and behind the cameras.
0:45:06 > 0:45:10Kate's up next with Alan, who's come along with something a bit fishy.
0:45:10 > 0:45:13- Alan.- Yeah, Kate.- You have brought a table lighter in.- Yeah.
0:45:13 > 0:45:16- What you know about it? - It's a Dunhill.
0:45:16 > 0:45:18Because it says Dunhill on the front.
0:45:18 > 0:45:21Yeah, exactly that, and it's called an aquarium lighter.
0:45:21 > 0:45:24- For obvious reasons. - Yeah, cos it's a fish lighter.
0:45:24 > 0:45:27Yup, OK, so where did you get it?
0:45:27 > 0:45:31Belgium or Amsterdam in the middle of the '70s.
0:45:31 > 0:45:33Mid-'70s, so you just saw it at an antiques fair or a store?
0:45:33 > 0:45:36Yeah, on the old flea market things, I think they call them.
0:45:36 > 0:45:39- OK, and do you collect lighters, or do you just...?- No, no, no, no, no.
0:45:39 > 0:45:41- No, it just caught my eye. - You just liked it?
0:45:41 > 0:45:43- Didn't come to a lot. - And so since you've had it,
0:45:43 > 0:45:44have you just had it on the table,
0:45:44 > 0:45:46- or you've used it? - No, no, just on a shelf.
0:45:46 > 0:45:50Right, well, it's a fairly collectable lighter as lighters go.
0:45:50 > 0:45:54- Yeah.- It is 1950s and it's probably by a chap who worked for Dunhill
0:45:54 > 0:45:56called Ben Shillingford, and the reason we know this is
0:45:56 > 0:45:59- because he pioneered this use of what they call Lucite.- Yeah.
0:45:59 > 0:46:02- Which is like the American version of our Bakelite.- Right, yeah.
0:46:02 > 0:46:04But Lucite - probably cos it's clear, it's lucid -
0:46:04 > 0:46:05so it's a clear plastic, basically,
0:46:05 > 0:46:07- an early sort of plastic polymer. - Yeah, yeah.
0:46:07 > 0:46:10And what he did was, these are single panels,
0:46:10 > 0:46:12- so you've got front, back and the two sides.- Yeah.
0:46:12 > 0:46:15Erm, and you've got this fantastic, looking at it, aquarium scene,
0:46:15 > 0:46:19- and he's basically carved it from the back.- Yeah.- And then painted.
0:46:19 > 0:46:21- Effective, isn't it? - Now, it's quite fun,
0:46:21 > 0:46:23it's not going to be everyone's type of thing.
0:46:23 > 0:46:26- I mean, have you done any research on it yourself?- I have.
0:46:26 > 0:46:28- Right.- I've seen them on the internet.- Right.
0:46:28 > 0:46:30Right, and I've seen them going for
0:46:30 > 0:46:35- 9 to 15, up to 1,600 quid. - £1,600.- Yeah.
0:46:35 > 0:46:38- For this type of lighter? - Yeah, yeah, yeah.- Right.
0:46:38 > 0:46:40There are collectors out there. Obviously Dunhill is
0:46:40 > 0:46:43a very good maker of luxury goods, as well,
0:46:43 > 0:46:44starting from the 1900s onwards.
0:46:44 > 0:46:46Erm... I'm not sure,
0:46:46 > 0:46:49I think that might be a bit punchy for auction.
0:46:49 > 0:46:50- Right.- I was thinking 600-800
0:46:50 > 0:46:52but it sounds like you might be a bit gutted with that.
0:46:52 > 0:46:55- Oh, without a doubt, yeah. - Well, how if we compromise,
0:46:55 > 0:46:59if we put a slightly higher estimate, maybe 800-1,000?
0:46:59 > 0:47:00Well, that sounds a lot better, yeah.
0:47:00 > 0:47:02- Which will be inviting for potential buyers.- Yeah.
0:47:02 > 0:47:05- But put a reserve that's fixed at £800.- Yeah.
0:47:05 > 0:47:07- Would you be OK with that? - Yeah, that sounds OK.
0:47:07 > 0:47:09- I think it will...it will find its own level.- Right.
0:47:09 > 0:47:12- It'll make at least 800 or it won't sell.- Yeah.
0:47:12 > 0:47:15So let's have fingers crossed, firm reserve at 800,
0:47:15 > 0:47:18- estimate 800-1,000.- Right, right. - All right?- That sounds all right.
0:47:18 > 0:47:22- Brilliant, well, we'll give it a go. - OK.- Thanks for bringing it in.- OK.
0:47:22 > 0:47:25I bet that'll be snapped up by someone at the auction,
0:47:25 > 0:47:27and we've just got time for one more item,
0:47:27 > 0:47:31and it's right up Michael's street - a glass vase brought in by Jean.
0:47:32 > 0:47:36Jean, where did you get this darling little vase from?
0:47:36 > 0:47:39- Jumble sale.- Not recently.
0:47:39 > 0:47:41- 1980-ish.- 1980.
0:47:41 > 0:47:43Now, I'm going to say, "How much did you pay for it?"
0:47:43 > 0:47:45but I'm going to brace myself.
0:47:45 > 0:47:47Well, they originally were going to charge me 50p.
0:47:47 > 0:47:51- Originally?- Originally, but then they decided to charge me 25p.
0:47:51 > 0:47:53Was that under duress or did they just...?
0:47:53 > 0:47:55No, no, they just changed their mind.
0:47:55 > 0:47:58- Oh, sometimes you wish you had a time machine, Jean.- Hmm.
0:47:58 > 0:48:00I wish I could build one. Did you...?
0:48:00 > 0:48:02Did you buy it because you liked it or...?
0:48:02 > 0:48:05- Something told me that it was something special.- Oh, really?
0:48:05 > 0:48:09Almost looked Chinese-y decorations, but I didn't think it was Chinese.
0:48:09 > 0:48:12- So you just had a feeling about it? - Mmm, it just felt right.
0:48:12 > 0:48:15I think that you've actually bought, to my eyes,
0:48:15 > 0:48:19a really beautiful little glass vase.
0:48:19 > 0:48:21And if we look at it more carefully,
0:48:21 > 0:48:24sadly, not marked or inscribed in any way,
0:48:24 > 0:48:28but you could say that this glass was marked all over,
0:48:28 > 0:48:30- in the way that it's executed. - Right.
0:48:30 > 0:48:35We've got this beautiful, almost satin...glass ground,
0:48:35 > 0:48:38which has then been dipped in white glass,
0:48:38 > 0:48:42and then the whole thing has been carved back on a wheel.
0:48:42 > 0:48:45And you've just got to take just enough off, just enough,
0:48:45 > 0:48:48cos that's a very smooth, even surface.
0:48:48 > 0:48:50That's a phenomenal bit of work.
0:48:50 > 0:48:54Now, it could have been made in France
0:48:54 > 0:48:58by a firm such as Emile Galle, or Daum,
0:48:58 > 0:49:02but if this vase spoke, it would speak with my native accent.
0:49:02 > 0:49:04- IN WEST MIDLANDS ACCENT: - It would say, "Hello, Jean."
0:49:04 > 0:49:07- Because this is actually from Stourbridge...- Right.
0:49:07 > 0:49:10..which is just outside, on the outskirts of Birmingham,
0:49:10 > 0:49:13and it was a major centre for glass working.
0:49:13 > 0:49:17This is almost certainly from the workshop of Thomas Webb,
0:49:17 > 0:49:23who specialised in this immaculate quality cameo glass.
0:49:23 > 0:49:26The design we've got, actually, is... When you first said you
0:49:26 > 0:49:27thought it was a bit Chinese,
0:49:27 > 0:49:30- it's actually inspired by Chinese design...- Mm-hmm.
0:49:30 > 0:49:33- Ah.- ..and they're called the Three Friends,
0:49:33 > 0:49:39and you've got cherry blossom, prunus and bamboo.
0:49:39 > 0:49:43- Ooh.- And they're all together emblematic of long life.
0:49:43 > 0:49:49I think in terms of date, we're possibly as early as 1880,
0:49:49 > 0:49:52possibly as late as 1890, 1895.
0:49:52 > 0:49:56And it's survived in miraculously good condition.
0:49:56 > 0:50:01Well, has your 25p been a good investment?
0:50:01 > 0:50:03I'd like to know.
0:50:03 > 0:50:05I think we should be sensible
0:50:05 > 0:50:08and put an estimate of £600-£800 on it.
0:50:08 > 0:50:11- Really? - And put a fixed reserve of £600.
0:50:12 > 0:50:17- All right.- Webb's cameo glass is extremely collectable.
0:50:17 > 0:50:21But can I ask you now, after living with it for 30 years,
0:50:21 > 0:50:24why have you decided to sell?
0:50:24 > 0:50:26I took early retirement in January,
0:50:26 > 0:50:32and I've got a house full of things that I've got to start sorting out.
0:50:32 > 0:50:35It's a small step towards it.
0:50:35 > 0:50:39- It's a small step in terms of size...- Mm-hmm.
0:50:39 > 0:50:42..but a big step financially, I hope.
0:50:42 > 0:50:45- That'd be lovely.- So let's hope for lot of bidders at the sale,
0:50:45 > 0:50:46and that it really does well.
0:50:46 > 0:50:48- Thank you.- Thank you so much.
0:50:48 > 0:50:50And now for my favourite part of the show -
0:50:50 > 0:50:54let's head straight to the auction and see what the bidders think,
0:50:54 > 0:50:56and this is what we're taking.
0:50:59 > 0:51:03And that pretty doll that belongs to Sue is about to go under the hammer.
0:51:03 > 0:51:05Well, we have the doll. Unfortunately, we don't have
0:51:05 > 0:51:08the owner, Sue, but we do have Sue's husband, Steve,
0:51:08 > 0:51:09who's right next to me.
0:51:09 > 0:51:11So, you're obviously not a doll fan,
0:51:11 > 0:51:13- otherwise this would be staying in the house, wouldn't it?- Yes.
0:51:13 > 0:51:16- Well, yeah, quite possibly, yes, yes. - OK, happy with the valuation?
0:51:16 > 0:51:19- Oh, absolutely, yeah, yeah.- Spot on, I think. Spot on.- Well, I hope so.
0:51:19 > 0:51:21I mean, there might be collectors here today,
0:51:21 > 0:51:24- you just can't tell, so...- No.- Yeah. - We're going to find out right now.
0:51:26 > 0:51:31Lot 141 is the vintage Chad Valley textile doll
0:51:31 > 0:51:33- with original clothing...- Come on.
0:51:33 > 0:51:34..and it's got to start
0:51:34 > 0:51:37with a bid with me of £72.
0:51:37 > 0:51:40Looking for 75 on the Chad Valley doll,
0:51:40 > 0:51:43it's worth more than that, 5, 8, with me. Looking for 80.
0:51:43 > 0:51:46- I'm looking for £80... - We're struggling a bit, aren't we?
0:51:46 > 0:51:47Oh, I don't know.
0:51:47 > 0:51:50Last time, at £78...
0:51:50 > 0:51:53- Oh, no.- No, no, thank goodness we put a reserve on.
0:51:53 > 0:51:56- You protected it.- Well...- So... - You did the right thing.- Yes.
0:51:56 > 0:51:59- It can go into another sale another day, so, yeah.- Yeah, yeah.
0:51:59 > 0:52:01Well, that's a real shame for Sue,
0:52:01 > 0:52:03but let's hope for better luck next time.
0:52:03 > 0:52:07It just goes to show, you never know what's going to happen at auction.
0:52:07 > 0:52:11Let's see how Ian gets on with an unusual candlestick.
0:52:12 > 0:52:15Well, all the money for this lot is going towards Ian's wedding,
0:52:15 > 0:52:16and he's right next to me.
0:52:16 > 0:52:18He's really excited, excited about the wedding,
0:52:18 > 0:52:21- but probably nervous about this auction.- Correct.
0:52:21 > 0:52:23Yes, yeah, yeah, we've got that sort of carved single metal
0:52:23 > 0:52:26candlestick going under the hammer, £50-£100.
0:52:26 > 0:52:28It's got all the flavours of the Orient.
0:52:28 > 0:52:30It's got so much detail to it.
0:52:30 > 0:52:33- It has, and that whole period is in vogue right now.- It is.
0:52:33 > 0:52:35That whole look, so hopefully, Ian,
0:52:35 > 0:52:38you've hit that market at the right time.
0:52:38 > 0:52:41It's a chance, all you need is two people interested.
0:52:41 > 0:52:44He knows the score. Well, let's find out what the bidders think.
0:52:44 > 0:52:46It's now down to them, here we go...
0:52:47 > 0:52:50Oriental cast-metal bronzed and gilt effect candleholder.
0:52:50 > 0:52:54Great lot, this. Bid's with me straight away at £45.
0:52:54 > 0:52:57- Brilliant.- Straight in. - That's good.
0:52:57 > 0:53:0045, 48, £50. 55, £60.
0:53:00 > 0:53:0265, £70.
0:53:02 > 0:53:0475, 80, with me.
0:53:04 > 0:53:08- Looking for 85. 90, with me.- This is very, very good. They love it.
0:53:08 > 0:53:10Looking for 110 on this. Are we all done?
0:53:10 > 0:53:12Last time, at £100...
0:53:12 > 0:53:16- Yes. A nice £100.- That'll be good. - Got to be happy with that.
0:53:16 > 0:53:18- What's the good lady called? - Rosella.
0:53:18 > 0:53:20And how long have you know her?
0:53:20 > 0:53:23About a year-and-a-half, but we were friends for six months before,
0:53:23 > 0:53:25and then she went back to Florida and we're just together again.
0:53:25 > 0:53:29- Aw, love is in the air. Have a great day, won't you?- Thanks.
0:53:29 > 0:53:31- And well done, Michael.- Thank you.
0:53:33 > 0:53:36Let's watch Jean's piece of cameo glass.
0:53:36 > 0:53:38Will it find the right buyer here?
0:53:38 > 0:53:40It's Jean's turn next.
0:53:40 > 0:53:43Let's talk about that cameo glass vase at £600-800.
0:53:43 > 0:53:45Had a chat to the auctioneer yesterday,
0:53:45 > 0:53:47he said he agrees with the value
0:53:47 > 0:53:49but possibly at the lower end, not at the top end.
0:53:49 > 0:53:51Right, that's fine, but, I mean,
0:53:51 > 0:53:55it is that great name Thomas Webb - a great name in English glass.
0:53:55 > 0:53:56Yeah, and the great thing is,
0:53:56 > 0:53:59- it only cost 25p, didn't it? - This is true.
0:53:59 > 0:54:02So let's do some recycling, shall we? Right now, here we go...
0:54:04 > 0:54:06And the cameo glass bud vase
0:54:06 > 0:54:09with a white raised plant and foliage relief,
0:54:09 > 0:54:14attributed to Thomas Webb, dated around 1880s,
0:54:14 > 0:54:19and it's got a start with a bid with me of £150 on this vase.
0:54:19 > 0:54:22- Ooh, that's low, isn't it? - Looking for 160, 70 with me.
0:54:22 > 0:54:23Looking for 180.
0:54:23 > 0:54:25- No commission bids, then.- No.
0:54:25 > 0:54:26190 with me.
0:54:26 > 0:54:29200, 210 here. Looking for 220.
0:54:31 > 0:54:36Are we all done? Last time, at £210...
0:54:36 > 0:54:39- No. I'm ever so sorry about that. - Oh, it doesn't matter.
0:54:39 > 0:54:42- I'm glad to take it home. - Can you hear that?
0:54:42 > 0:54:44It's Thomas Webb collectors that didn't know
0:54:44 > 0:54:47it was coming up for sale, screaming at their television screens.
0:54:47 > 0:54:51There are specialist sales for glass in the Stourbridge area.
0:54:51 > 0:54:53And if you want to sell it -
0:54:53 > 0:54:56if you decide now that you love it, you keep it - but if you
0:54:56 > 0:54:58want to sell it, take it to one of those specialist sales.
0:54:58 > 0:55:01It's £600 to £800 - I know I say this a lot - all day long.
0:55:01 > 0:55:04Yeah, good, sound advice there.
0:55:04 > 0:55:08And now it's our final item in today's sale.
0:55:08 > 0:55:12It's the Dunhill lighter, the aquarium lighter, belonging to Alan.
0:55:12 > 0:55:14We've got a valuation of £800 to £1,000.
0:55:14 > 0:55:18We're going to find out what the bidders think right now.
0:55:19 > 0:55:22It's lot 510, it's the early to mid-20th-century
0:55:22 > 0:55:24Dunhill aquarium table lighter,
0:55:24 > 0:55:30and it's got to start with a bid with me of £550 on this lighter.
0:55:30 > 0:55:32Looking for 600.
0:55:32 > 0:55:3550 with me, 700. 750.
0:55:35 > 0:55:37800, I'm out.
0:55:37 > 0:55:39820 on the telephone.
0:55:39 > 0:55:41850 in the room.
0:55:41 > 0:55:42880 I want.
0:55:42 > 0:55:45- 880 I have. - Ooh, there's a phone bidder, Alan.
0:55:45 > 0:55:47- Yes.- Come on, 900.
0:55:47 > 0:55:49910 I want.
0:55:49 > 0:55:51910, and 20 in the room.
0:55:51 > 0:55:54930, 940 in the room.
0:55:54 > 0:55:55- 950 I want.- It's moving, isn't it?
0:55:55 > 0:55:57It's moving, yep.
0:55:57 > 0:55:59950 on the telephone, 960 in the room.
0:55:59 > 0:56:00Looking for 970.
0:56:00 > 0:56:02970 I've got.
0:56:02 > 0:56:05- 980 in the room. - Let's get that magic £1,000.
0:56:05 > 0:56:09- £1,000. - Yes!- It's done it.- Come on!
0:56:09 > 0:56:11Take 1,010.
0:56:11 > 0:56:14£1,010, 1,020.
0:56:14 > 0:56:171,030 I've got - have I?
0:56:17 > 0:56:201,030, 1,040.
0:56:20 > 0:56:22Looking for 1,050.
0:56:22 > 0:56:251,050, 1,060,
0:56:25 > 0:56:281,070, 1,080.
0:56:28 > 0:56:30I love it when a plan comes together.
0:56:30 > 0:56:32- Good lighter, isn't it, eh? - £1,100.
0:56:32 > 0:56:341,110 I want.
0:56:34 > 0:56:37£1,110, 1,120.
0:56:37 > 0:56:40- 1,130, 1,140.- He doesn't look like he's stopping either,
0:56:40 > 0:56:42he's just going for it.
0:56:42 > 0:56:451,170, 1,180,
0:56:45 > 0:56:491,190, 1,200. And ten.
0:56:49 > 0:56:521,220, 1,230,
0:56:52 > 0:56:541,240, 1,250,
0:56:54 > 0:56:571,260, 1,270,
0:56:57 > 0:56:591,280, 1,290.
0:56:59 > 0:57:011,300, and ten I need.
0:57:01 > 0:57:03This is a great result, 13.
0:57:03 > 0:57:071,320, 1,330, 1,340.
0:57:07 > 0:57:101,350, 1,360,
0:57:10 > 0:57:141,370, 1,380, 1,390.
0:57:14 > 0:57:171,400, and ten I need.
0:57:17 > 0:57:18£1,410
0:57:18 > 0:57:21- Alan, that's very good, isn't it?- Well, yeah.
0:57:21 > 0:57:241,440, 1,450,
0:57:24 > 0:57:271,460, 1,470,
0:57:27 > 0:57:301,480, 1,490.
0:57:30 > 0:57:321,500, and ten.
0:57:32 > 0:57:341,510, looking for 1,520.
0:57:34 > 0:57:39Are we all done? Last time, on the telephone at £1,510.
0:57:39 > 0:57:41Yes!
0:57:41 > 0:57:43- £1,510!- Oh, right.
0:57:43 > 0:57:47Alan, that is tops! Tops, tops, tops!
0:57:47 > 0:57:50I remember saying to you when I saw that at the valuation day,
0:57:50 > 0:57:52- 1,200 quid, didn't I?- Yeah, yeah.
0:57:52 > 0:57:54Wow. Wow, Kate, isn't that a fabulous result?
0:57:54 > 0:57:57- Six to eight, you said, Kate. - What was I?- Six to eight.- Did I?
0:57:57 > 0:58:00Well, that's good - you've got to start somewhere.
0:58:00 > 0:58:03I like to keep expectations low and build the suspense.
0:58:03 > 0:58:08Exactly, exactly. What a lovely result. I hope you enjoyed that.
0:58:08 > 0:58:09We certainly have.
0:58:09 > 0:58:11Sadly, we've run out of time here today,
0:58:11 > 0:58:13but do join us again for many more surprises.
0:58:13 > 0:58:17So, from Greenwich, until the next time, it's goodbye.