Dulwich Flog It!


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Dulwich

Paul Martin, Kate Bateman and Michael Baggott visit Dulwich College in south London, where Michael finds an unusual candlestick and Kate has a big surprise in the saleroom.


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This magnificent building is Dulwich College in south London,

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and the architect was Charles Barry Jr.

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His father designed the Houses of Parliament but it's what's on the

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inside that interests me, because today, it's our valuation day.

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Welcome to "Flog It!".

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This magnificent school was founded in 1619 by Edward Alleyn,

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one of the most famous actors of the day.

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Originally, it was to educate just 12 pupils -

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poor scholars, as they were known -

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but despite Dulwich College's humble beginnings, it's now grown to

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be one of the most successful independent schools in the country.

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And I'll tell you what else keeps on growing,

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is this magnificent queue here.

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Hundreds of people have turned up to get their items

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valued by our experts. They want to know what it's worth.

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It's our job to tell them, so let's get on with the show.

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This London crowd can't wait to put our "Flog It!" experts

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through their paces, and who knows what treasures lie in all those

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bags and boxes, just waiting to be unearthed?

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Heading up the experts today is the lovely Kate Bateman.

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That's quite cool, isn't it?

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-They're rather nice.

-They're pretty, aren't they?

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And the distinguished Michael Baggott.

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A thing you might be thinking of parting with?

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I think that might be a no.

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But coming up on today's show, Michael gets philosophical...

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-Well, it's got the peach of immortality in it.

-Yeah, I know.

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Maybe the buyer thinks he's going to live forever. I don't know.

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..Kate's lost for words...

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-What do you think it's worth?

-Erm, I thought about 200-400.

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Oh... Oh...

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..and as always, the tension of the auction.

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-65, 70...

-Fingers crossed.

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The crowds are pouring in, the heat is rising

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and first up on Michael's table are Christina and her beautiful brooch.

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-Christina, thank you for bringing along this...

-Yes, you're welcome.

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-..very intriguing little brooch.

-Is it really?

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Can you tell me where did you get it from?

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It was my wedding present in 1965.

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-Good grief.

-Yes,

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I come from Italy, you see, so that was...from Italy.

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And a friend of the family, she give it to me

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and she said it belonged to her grandmother.

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That's all I know.

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Oh, that's marvellous, so it's come all the way

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-from Rome to Dulwich...

-Yes, yes.

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..to be on "Flog It!".

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-It's actually, it's come further than that, you know?

-Really?

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-Do you know where it was made?

-No idea.

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-This is in fact a Chinese brooch.

-Oh, my goodness.

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And there are certain factors.

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Chinese jewellery is heavily influenced with filigree work...

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-Yeah.

-..and all of this, this ground, the little flowers and scrolls,

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it's all very fine lines of wire that have worked

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and soldered together to form these decorative motifs.

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Amazingly difficult, technically demanding,

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and you can imagine the time it takes to do something like this.

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-Yeah.

-But if you didn't know,

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because there are no marks on it, apart from

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-a little silver mark...

-No, the silver, yeah, that's right.

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If you didn't know it was Chinese from that,

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you can bet you know it's Chinese from what's in the middle of it.

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-Oh...

-And that is a little immortal peach.

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-So the gods would eat these peaches and become immortal.

-Yeah...

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Oh, it's got a lot of history.

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And that, I think, is earlier than the brooch.

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I think the brooch is about 1890-1900,

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-but this little carving, which is out of amethyst...

-Oh.

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..I think is probably late 18th, early 19th century.

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-It isn't of marvellous quality...

-No.

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..but it's, you know, a rare little precious item on its own.

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-Yeah, wow.

-I mean, fantastic journey, to have something

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-from China to Italy to...

-I know, and I thought she just give me

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something like she wanted to get rid of it!

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Well, you might be forgiven for thinking it's costume jewellery,

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-at a glance...

-Yeah.

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-..but it's got all of this history tied up with it...

-Mmm.

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..and all of this craftsmanship.

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-The sad thing is, it's not dramatically valuable.

-Yeah.

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That, I think, just as a pretty brooch, is worth £30-£50

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-of anybody's money.

-OK, yeah.

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And I think, because of its sentimental attachments to you...

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-Yeah.

-..as a wedding gift,

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-I think we've got to put a reserve of £30 on it.

-Yeah.

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But who knows, two people might see as much in it as I do

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and, you know, it might go on from there.

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-Well...

-But you're happy to sell it?

-Yeah, quite happy.

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And why NOW have you decided to part with it?

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Don't know, I just look at it, it's always in the...

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inside the jewellery box, I never do anything with it.

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-That's the sad thing with brooches today.

-I know, I know.

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Erm, but I think something of that craftsmanship might just

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-prompt someone to feel, "I'll buy it and wear it."

-Well, you never know.

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Even if it's just to go to

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-the supermarket on a Saturday.

-That's right.

-Who knows?

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But it's a lovely thing and we'll just see on the day.

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-Lovely, I look forward to it.

-Thank you.

-Thank you.

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Well, let's hope Christina's brooch catches the eye of someone

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who will wear it with pride.

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Now, over on Kate's table, Karen has brought in an unusual bronze figure.

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You've brought this fantastic figurine in for me.

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What can you tell me about it?

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-That it belonged, or belongs to my mother...

-Mm-hmm.

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..and she's had it since the late 1920s,

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and it came from a gentleman that used to be a doctor,

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and my mum used to go and visit him with her mother,

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and he knew that she liked it, he used to let her play with it,

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-and then he gave it to her.

-Right.

-And it's always sat,

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as I've been a kid, it's sat on the side, indoors.

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-Just on a shelf somewhere?

-Just on a shelf somewhere.

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We were always told not to touch it, it's very heavy.

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-It's an interesting thing. I mean, do you like it?

-Erm...yes and no.

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-Yeah, it's a funny thing.

-It's...I don't know...

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There's something about it, but I'm not quite sure that I...

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-I'd give it house room, myself.

-OK.

-KAREN GIGGLES

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Well, do you know who made it, first of all?

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I know it's Bergmann but only because of the programme,

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-and having seen...

-Ah-ha! We've popularised Franz Bergmann!

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-Yeah.

-Excellent. Well, it is exactly that,

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chap called Franz Bergmann, and on the bottom, you've got the mark,

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-the B inside a little urn, which is the mark for Franz Bergmann.

-Yeah.

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Erm, he did various things,

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he's known for his slightly risque, sort of, naughty erotic ladies,

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so bronze, very Art Nouveau, Art Deco kind of ladies.

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This is not one of those ones.

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He did a series of, sort of, North African, Arab type scenes

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and this is one of those. It's somebody like a Berber tribesman,

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or somebody like that, a North African.

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Basically, with his camel gun

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-or something like that.

-Yeah, like a rifle, isn't it?

-And his...

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-his dirk or his curved sword behind him.

-Yeah.

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-And traditional dress.

-Mm-hmm.

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It's quite fun. I mean, it's not going to be everyone's taste.

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-No.

-You don't particularly like it. Your mum obviously liked it.

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-Yeah.

-And was drawn to it as a child.

-She's probably got memories, yeah.

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-OK.

-How old do you think it is?

-Oh, about 1920s.

-Right, OK.

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About the same time as the naughty figurines,

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but a completely different thing,

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and he was a sculptor, you can tell that in the really...

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-There's a lot of detail in it, isn't it?

-Yeah, it's very well done.

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I mean, that's why he's very collectable, because he is the best.

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-Basically, condition-wise, I'm going to have a moan at this point.

-Yeah.

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And say, you know, obviously,

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he's got a bit of a wonky barrel of his gun.

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And also, you can see it's a cold-painted bronze,

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-so effectively, it was a cast bronze...

-Yeah.

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..that then they let cool, they painted and all of these chips

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and this wear is where the original paint over the top

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-has chipped back to the bronze underneath.

-Right, right.

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That's why it's so heavy, as well, because it is a bronze,

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-and it's a very dense thing.

-It's solid, right.

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So do you have any idea price-wise what you think it is worth?

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I thought about 200-400.

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Oh... Oh...

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That's fairly, that's fairly...

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That's fairly good.

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I think the condition might be a bit of an issue for this one.

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-Yeah? No, that's fair enough.

-Because...it can...

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This can be straightened out but there's always a chance

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-it's going to break if somebody does it.

-It'll snap.

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You've got to be fairly gutsy to try to undo it,

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-and I think that's what's going to affect the buying of this.

-Right.

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-Erm...I would have said maybe the lower end of your estimate.

-OK.

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-So maybe 200-300 is doable in this condition.

-OK.

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-Reserve, though, I would put a reserve of 150.

-OK.

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-Just to protect it.

-Yeah.

-So that if it doesn't make it,

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-we'll make it a firm reserve at 150.

-Yeah, OK.

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Hopefully, between 200 and 300.

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Yeah, that would be good.

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It's time for a bit of art,

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and I found a curious painting brought in by Pat.

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Pat, I don't know who Clifford Frost was,

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but I think he had a jolly good sense of humour.

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-I think so as well.

-Don't you?

-Yes, I do.

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He sums up the very Englishness about the, sort of, 1930s and 1940s,

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of early British 20th-century modern. Don't you think so?

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Yes, I do, yeah.

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It's sort of three guys in the pub, with their pints,

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looking at the marrow, saying...

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"Hmm...mine's bigger than yours." That kind of thing.

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-All gardeners, probably.

-Sorry? All gardeners, yes.

-All gardeners.

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And look at this chap, looking down, going...

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-HE LAUGHS

-I think it's fabulous,

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absolutely fabulous.

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It's just such a shame there's no relative works that have sold.

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I can't find any form on the artist, I don't know any information, so...

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I really think he's a very, very competent amateur...

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-Very possibly.

-..which does devalue it slightly.

-Yes, yes.

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Where did the painting come from?

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It belonged to my father, actually,

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and he was a collector, actually, of the 1930s, '40s paintings, and...

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I don't know where he got it from before that.

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When you talk about early 20th-century modern,

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you look at artists with humour, British School.

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You're looking at people like Stanley Spencer and...

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-you know, from the guy from Cookham.

-Yeah.

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-And you see, he paints people in his local pub, in his village.

-Right.

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And there's a sense of humour with a sense of religion.

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I think what you've got here is a sense of humour with

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a sense of gardening, but still with real people down your local pub.

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-Yeah, yeah.

-It's brilliant, absolutely brilliant.

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-Any idea of value, though?

-Maybe about £20.

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Ha! Oh, I think it's worth an awful lot more than that.

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There's nothing on the back, absolutely nothing on the back.

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I think it's one of those classic 80-120s,

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-and see what happens.

-Right, OK.

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But if we put a reserve on at £60,

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-we know we're going to sell it.

-Yup, right, OK.

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It could struggle, and get away at the bottom end,

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or it could surprise us all and get away at the top end

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-and do 120-160 or 180.

-That would be nice, yeah.

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Well, I'm up for it if you are.

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Yes, definitely, yeah, I'd be very happy.

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Now, I've found something really special

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and I want to take it somewhere quiet to have a closer look.

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Come with me, Annette.

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We've left the hustle and bustle of the valuation in the next room.

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I've brought Annette into the library because...

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You brought in a book to show me,

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so I thought I'd show you several thousand.

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-Wonderful.

-But I bet there's not a book like that in here.

-No.

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So tell me all about this autograph album.

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-I saw Paul McCartney quite often, as I lived close by...

-Uh-huh.

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-..and I was a big Beatle fan and still am.

-Were you?

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-Can I have a look?

-Yes.

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Oh, look at this, this is lovely.

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Oh, look, there's Jane Asher.

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-She was engaged to Paul McCartney, wasn't she?

-She was, yes.

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-So you've got all The Beatles.

-I have.

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-All on separate pages, though.

-Yes.

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But it's the photographs, did you take all these photographs?

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I did take all the photographs.

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-So you actually got behind the scenes.

-Yes.

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Lots of hanging around, lots and lots of hours' worth

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-of just waiting and waiting.

-Yes, it was, yes, but he was worth it.

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-But what a reward, what a reward!

-I know.

-Not just Paul McCartney

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-but John Lennon, George Harrison and Ringo.

-John and...yeah.

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-Yes.

-And the wives.

-That's right.

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-You're a good photographer, as well.

-Thank you.

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I mean, you've captured the image, a moment back in time in the 1960s,

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-which is, it's just so evocative, isn't it?

-Hmm.

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-It's so rock and roll, it really is.

-Yeah.

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Is this something you're thinking of selling?

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-No.

-I couldn't twist your arm, could I?

-No, you couldn't.

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Look, Ringo Starr, the drummer.

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This, this is priceless.

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This is a wonderful piece of Beatles memorabilia and in ten years

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of doing "Flog It!", we've seen a lot of Beatles memorabilia.

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Lots of autographs but nothing as comprehensive as this.

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And those four autographs on one sheet of paper, you're going

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to fetch around two grand for, with provenance, £3,000,

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but what you've got here...

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What do you think this is worth?

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Don't know.

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If I said to you around £4,000-£5,000,

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would you be really happy?

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-I would be very happy.

-Yeah, well, that's what it would be.

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-Make sure you get this insured, won't you?

-I will.

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-Whatever you do, don't lose it.

-I know, I won't.

-Oh, gosh.

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-It's not just that, it's all your memories.

-It's so old, as well.

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I'm ever so pleased you're not selling it. Do you have kids?

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-I do, yeah.

-So that's going to be their inheritance.

-That's right.

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Well, thank you very much for bringing that in today.

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Thank you very much.

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That was such a treat.

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I'm so pleased Annette is hanging onto that book

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for her kids to enjoy.

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Back in the hall,

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and Michael's honed in on some silver that Josephine's brought in.

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Always delighted to see a bit of silver on "Flog It!".

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-Good.

-These are wonderful.

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It's a christening bowl and spoon, so... Are they yours, or...?

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-Yes, yes, they're mine, yeah.

-When were they given to you?

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Erm...when I was christened.

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-It's indiscreet of me to ask, isn't it? I know...

-It's...

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So you were given them for your christening, so it's

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strange that they don't have more of a sentimental attachment to you.

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Well, it's just that my daughter and son are not terribly keen.

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So I just thought I would come and see what it was worth,

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and see if I could sell it.

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Very sensible. Well, what we've got, it's unusual,

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because they were obviously bought second-hand for you,

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and what we've got is we've got an earlier spoon with a later bowl.

0:13:490:13:52

-Oh, right.

-So if we look at the spoon, first,

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this might have been from a three-piece christening set,

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-so it's usual to get the spoon, knife and fork.

-All right.

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And because it's a very elaborate pattern,

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normally the hallmarks would be struck

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towards the top of the stem, but that would damage the design,

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so what we've done in this case

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-is marked it on the edge of the back of the bowl.

-Oh, right.

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And if I huff on it, and I only do that to reduce the glare

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when I look at the marks, we can see that it was made in London in 1878.

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And there's a maker's mark

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that's always good to see on a spoon, "GA" -

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George Adams for Chawner & Company.

0:14:300:14:32

And they're one of the best silversmiths producing

0:14:320:14:36

-flatware in the 19th century.

-Oh, I see.

0:14:360:14:39

This is somewhat later, and from a different assay office,

0:14:390:14:44

-and that's got the mark of Atkin Brothers...

-Oh.

0:14:440:14:47

-..and that was made in Sheffield in 1901.

-Oh, I see.

0:14:470:14:51

-So Victorian and just, JUST Victorian, early Edwardian.

-Yeah.

0:14:510:14:56

Really, they're two separate items.

0:14:560:14:58

We'll put them in together but they don't relate to one another.

0:14:580:15:02

-Oh, right.

-That spoon is worth £15-£25.

0:15:020:15:06

-Oh, right.

-Probably in its silver weight alone, actually, these days.

0:15:060:15:11

The bowl is the more commercial thing,

0:15:110:15:13

and I think the two together would be £100-£150 at auction.

0:15:130:15:18

-Yeah.

-And I think we have a little bit of discretion,

0:15:180:15:21

just a little bit on the reserve,

0:15:210:15:23

and, say, put a reserve of £90. Would that be OK?

0:15:230:15:26

Erm...well, I'd like, really, to put it a bit higher

0:15:260:15:29

because they do take commission as well,

0:15:290:15:31

-don't they?

-So you'd like it at the 100, would you?

0:15:310:15:33

Oh, yes, I wouldn't like it to go for less than 100.

0:15:330:15:35

Right, no, I hear what you're saying.

0:15:350:15:37

-Well, we'll put 100 fixed on it.

-Yeah.

0:15:370:15:39

And we'll hope that somebody else is looking,

0:15:390:15:41

well, two people are looking for christening gifts at the auction.

0:15:410:15:44

-Yeah.

-And we won't know, we might do very much better than that.

0:15:440:15:47

-OK.

-So you're happy to do that?

0:15:470:15:49

-Yes, I am.

-That's marvellous, we'll put them into the auction

0:15:490:15:51

and hope for a marvellous result.

0:15:510:15:53

-OK, thank you.

-Thank you.

-Thanks.

0:15:530:15:55

Some level-headed thinking there from Josephine,

0:15:550:15:58

and I think she made a good call with that reserve.

0:15:580:16:01

This isn't going to be a silent film,

0:16:250:16:27

and, yes, today we are filming in glorious colour and high-definition.

0:16:270:16:31

I'm also proud to say that I've been part of the British film industry.

0:16:310:16:34

For a couple of years after leaving college,

0:16:340:16:36

I worked at Pinewood Studios in the prop and set department,

0:16:360:16:39

so I know what goes on, all the hard work behind the scenes.

0:16:390:16:42

That's why I'm pleased to say that this creative work,

0:16:420:16:45

produced by the major production companies and the independent

0:16:450:16:48

filmmaker, is appreciated by the British Film Institute.

0:16:480:16:52

But firstly, I should explain what it does and why I'm here.

0:16:520:16:55

In 1933, the British Film Institute was launched,

0:16:570:17:00

followed two years later by an archive that would save films,

0:17:000:17:04

and years later, television programmes,

0:17:040:17:06

as an important part of our cultural heritage.

0:17:060:17:09

A large hi-tech cinema was built on London's Southbank,

0:17:120:17:16

to show films for 1951's Festival of Britain,

0:17:160:17:19

and when the temporary cinema was demolished,

0:17:190:17:21

a new one was built in 1957, under Waterloo Bridge.

0:17:210:17:27

It was visited over the years by famous names

0:17:270:17:29

like director John Ford, and actor Sir Laurence Olivier.

0:17:290:17:32

In 2007, a revamped BFI Southbank building threw open its doors,

0:17:360:17:41

revealing a state-of-the-art treasure house of cinema.

0:17:410:17:45

And because of all the famous connections in the film world,

0:17:450:17:48

it's inevitable that other media memorabilia is going to

0:17:480:17:52

end up here, being archived at the BFI.

0:17:520:17:55

Things like this, what I've got in front of me -

0:17:550:17:58

promotional packages, scripts, film posters.

0:17:580:18:00

You name it, they've got it.

0:18:000:18:02

This is a nice selection.

0:18:020:18:03

Look, The 39 Steps, that's one of my mother's favourite films,

0:18:030:18:06

and I've actually watched that in black and white with her.

0:18:060:18:09

Here is a promotional package from one of Alfred Hitchcock's

0:18:090:18:11

silent movies, and all this stuff, in general,

0:18:110:18:15

is what people would have just thrown away.

0:18:150:18:17

Over 1,000 films a year are screened here.

0:18:350:18:37

It's also the location of the BFI's London Film Festival.

0:18:370:18:41

Now, there are a team of projectionists that work here,

0:18:410:18:44

and they're skilled in using real film reels, as well as

0:18:440:18:47

the newer digital technology - projectionists like Russ here.

0:18:470:18:50

-Russ, hello.

-Hiya.

0:18:500:18:52

-Pleased to meet you.

-Nice to meet you.

-What are you up to?

0:18:520:18:54

-You lacing up a projector?

-Yes, yeah, just running a film, 1930s.

0:18:540:18:58

All of these films are shot in 35mm?

0:18:580:19:01

Most of the stuff we run is 35,

0:19:010:19:02

-sometimes we get the larger 70mm.

-Yeah.

0:19:020:19:05

And also we get a 16mm sometimes,

0:19:050:19:07

which is a rarity, but it's more the arthouse kind of...

0:19:070:19:10

-Is it always as noisy as this?

-Yeah, sometimes noisier.

0:19:100:19:14

Sometimes you have two projectors going, maybe more,

0:19:140:19:16

and it can actually be louder than that.

0:19:160:19:18

-So it's a noisy job, but you get used to it.

-Yeah, I bet you do.

-Yeah.

0:19:180:19:21

Are some of the films dangerous?

0:19:240:19:25

Yes, we do run seasons with nitrate, and certain things like that.

0:19:250:19:28

Nitrate is a flammable substance that the light itself

0:19:280:19:31

of the projector can make it catch fire and burn the building down,

0:19:310:19:34

-so we have to be very cautious.

-Are they kept here?

0:19:340:19:36

No, they're kept in Berkhamsted,

0:19:360:19:38

where the BFI has an external, sort of, vault that looks after them

0:19:380:19:41

and has them in chilled temperatures

0:19:410:19:42

and a better environment for films in general.

0:19:420:19:45

-I'll let you get back to work.

-All right,

0:19:450:19:46

thank you, nice to meet you.

0:19:460:19:48

We've seen how the films are shown, but to find out how films

0:19:500:19:54

are selected, I'm meeting up with Simon McCallum, one of the curators.

0:19:540:19:58

Simon, what's your role here?

0:20:000:20:02

What my role is is Mediatheque Curator,

0:20:020:20:04

one of which we've got here at BFI Southbank,

0:20:040:20:06

and we look after nearly a million films

0:20:060:20:09

and TV programmes in the archive, so a big aim for us is to get

0:20:090:20:12

more of those accessible to, sort of, a wider variety of audiences.

0:20:120:20:16

-How do you go about choosing what goes on the archive?

-It's tricky.

0:20:160:20:20

It's a very complex process, because the curators will

0:20:200:20:23

work together with their individual specialisms to decide what

0:20:230:20:26

the particular gaps might be in our collections, for instance.

0:20:260:20:29

We actively acquire new material, as well,

0:20:290:20:31

so it's not just caring for, sort of, past films and TV programmes.

0:20:310:20:35

So we'll actively acquire all new British feature films,

0:20:350:20:38

-for instance, so...

-That's absolutely marvellous.

0:20:380:20:41

-Now, you've got a few clips to show me, haven't you?

-Yeah, we have.

0:20:410:20:43

The first one's actually one of

0:20:430:20:45

the earliest British films in the archive,

0:20:450:20:47

and it's a film of Blackfriars Bridge in 1896.

0:20:470:20:50

So this is only...only, sort of, a year or so after the...

0:20:500:20:53

after, sort of, cinema really came about.

0:20:530:20:55

What we're seeing here is people making their way to work.

0:21:010:21:03

So you can see the advertising on the...on the side of the trams.

0:21:030:21:08

Look at the people looking into the camera, thinking,

0:21:080:21:10

"What's that chap doing?"

0:21:100:21:11

One of the things I find interesting is that people are...

0:21:110:21:14

It's a novelty for them to be seeing this big clunky movie camera.

0:21:140:21:16

Even today, if you think...

0:21:160:21:18

They still stop and stare when we're filming.

0:21:180:21:20

-Exactly, people see a film crew, things like that.

-That's marvellous.

0:21:200:21:23

-That's our heritage captured.

-It is.

0:21:230:21:25

And it's so much more...visual and...

0:21:250:21:27

Yeah, you're there, aren't you?

0:21:270:21:28

Yeah, indeed, it's really important for social history to see

0:21:280:21:31

what people were wearing and actually coming to life like that.

0:21:310:21:34

-Yes, yeah. What's next?

-The next clip,

0:21:340:21:36

we're heading into the heroic age of polar exploration, so we've got

0:21:360:21:40

one of our major new restorations called The Great White Silence.

0:21:400:21:43

Now, this was footage shot by Herbert Ponting

0:21:480:21:50

-of the British Antarctic Expedition in 1910 to 1913...

-Right.

0:21:500:21:54

..led, of course, by Captain Scott, who came to a tragic end.

0:21:540:21:58

And the footage was finally, sort of,

0:21:580:22:00

edited together into a feature film in the '20s,

0:22:000:22:02

and, sort of, with added lovely tinting and tonings.

0:22:020:22:06

So what we're seeing here is the, sort of, before shots,

0:22:060:22:08

before the tinting was recreated.

0:22:080:22:11

There we go.

0:22:110:22:13

So the colour's actually been restored from the original notes

0:22:130:22:16

left by Ponting, so it's sort of been recreated as per his...

0:22:160:22:20

you know, his instructions.

0:22:200:22:22

God, look at this, it's fascinating.

0:22:220:22:23

It's been a huge boost for us

0:22:230:22:26

to be able to get this film back out there to people,

0:22:260:22:28

cos this is such an iconic part of

0:22:280:22:30

-British heritage, British history.

-It's incredible, incredible.

0:22:300:22:33

Lots of penguins. They're very popular.

0:22:350:22:39

And finally, you've got a bit of comedy to show us.

0:22:440:22:47

Yes, we've got some light relief now.

0:22:470:22:48

-It's one of my favourite titles in the...

-What is it?

0:22:480:22:51

..the whole archive, actually. It's called Daisy Doodad's Dial,

0:22:510:22:53

-from 1914.

-OK.

0:22:530:22:55

Starring and written and directed by a lady, Florence Turner,

0:22:550:22:59

who was a Hollywood star and came over to Britain in the 1910s,

0:22:590:23:03

and it's basically a girning competition.

0:23:030:23:05

-Obviously, dial is slang for the face, so, as we will see...

-OK.

0:23:050:23:09

She was really quite a pioneer, Florence Turner, as well,

0:23:260:23:28

because she went on to work with Buster Keaton back in Hollywood,

0:23:280:23:32

-too. She was quite a big star.

-Those are big stars.

0:23:320:23:34

-You can learn so much from these archives, so much.

-You really can,

0:23:370:23:40

and it's still funny 100 years later, something like that.

0:23:400:23:43

Well, can I say, thank you very much

0:23:430:23:44

-for my own private viewing.

-Oh, my pleasure.

0:23:440:23:47

Well, what a privilege to see those pieces of British cinema.

0:23:510:23:53

It just goes to show imagination

0:23:530:23:55

and creativity have always been strong, it's just technology

0:23:550:23:59

and what it allows us to do that's constantly changing,

0:23:590:24:02

pushing those creative boundaries.

0:24:020:24:04

For me, British film has always been close to my heart and it's

0:24:040:24:07

been a real treat to see what the British Film Institute has to offer.

0:24:070:24:11

We've got our first four items.

0:24:220:24:25

Now we're taking them off to the sale.

0:24:250:24:27

Our items are going under the hammer

0:24:320:24:33

at Greenwich Auctions in South East London.

0:24:330:24:36

Right, it's auction time. I'm getting excited - I hope you are.

0:24:380:24:42

The saleroom is already filling up with eager bidders.

0:24:430:24:46

I met up with auctioneer Robert Dodd on the preview day

0:24:460:24:50

'and asked him what he thought about Josephine's bowl and spoon.'

0:24:500:24:54

Josephine's family silver.

0:24:540:24:56

Now, she's selling this because her son and her daughter

0:24:560:24:58

don't really want it.

0:24:580:25:00

Erm, we've got £100-£150 on the two, as one lot.

0:25:000:25:05

Well, I spoke to the lady again,

0:25:050:25:06

and I said I'm going to split them up,

0:25:060:25:09

-only because they are two completely different eras.

-Mmm.

0:25:090:25:12

-Also, I've got people who are collectors of spoons...

-Yes.

0:25:120:25:16

-..who I don't think would pay £100 for that spoon.

-No.

0:25:160:25:19

And I've also got people who collect Edwardian silver,

0:25:190:25:22

or whatever it might be,

0:25:220:25:23

erm, and I think it gives the vendor more of a chance

0:25:230:25:28

of it hitting that reserve and hopefully going over,

0:25:280:25:30

by just simply separating them.

0:25:300:25:32

-Mmm.

-And so, I'm confident in these two.

0:25:320:25:34

So am I. I'm confident about that one.

0:25:340:25:36

-I think you've done the right thing.

-Thank you.

0:25:360:25:39

Well, we'll find out in a bit what the bidders think.

0:25:390:25:42

Auctioneer Robert has tweaked the estimates on our items,

0:25:420:25:45

to give them the best chance of selling.

0:25:450:25:47

Gone! Selling for £100.

0:25:470:25:49

And now it's our first item...

0:25:490:25:51

Going under the hammer right now, we've got a Chinese brooch,

0:25:510:25:54

Canton period, it belongs to Christina

0:25:540:25:56

and it was a wedding present.

0:25:560:25:58

-Long time ago.

-1965.

-Yes.

0:25:580:26:00

-That's what I read in my notes!

-Yeah, correct.

0:26:000:26:02

Fingers crossed we get the top end, and a little more.

0:26:020:26:05

Well, I know brooches are out of fashion

0:26:050:26:06

-but it's just so much work.

-I know.

-Yeah.

0:26:060:26:08

-You never know, might be lucky day.

-No, no.

0:26:080:26:10

We might be lucky, yeah. Fingers crossed, here we go. Let's find out.

0:26:100:26:13

Lot 355, late Victorian Chinese filigree brooch,

0:26:150:26:20

and the bid's with me, straight away at £40.

0:26:200:26:24

-Christina, we're straight in.

-Oh, good.

-Looking for 42 on this,

0:26:240:26:26

I've got 40 on it.

0:26:260:26:28

Looking for 42, 45, 48.

0:26:280:26:30

50. 5, I need.

0:26:300:26:31

55. 60, with me.

0:26:310:26:33

It's the quality of it, it's just... Screams it.

0:26:330:26:36

Looking for 70 on the brooch,

0:26:360:26:37

I've got 65, are we all done?

0:26:370:26:39

£70, there, right now.

0:26:390:26:40

-They like it.

-Oh, yeah, that's good.

0:26:400:26:42

Are we all done? Last time on this brooch.

0:26:420:26:45

Selling at £70...

0:26:450:26:47

-Oh, good, I'm pleased.

-Yes, £70, that's good, isn't it?

0:26:470:26:50

-Thank you very much.

-It was worth every penny of that.

0:26:500:26:52

-Lovely, thank you.

-It's got the peach of immortality in it.

-I know.

0:26:520:26:55

Maybe the buyer thinks he's going to live forever. I don't know.

0:26:550:26:58

-Thanks for coming in.

-Thanks.

0:26:580:27:00

-Thoroughly enjoyed meeting you.

-Nice to meet you.

0:27:000:27:02

What a great result for Christina.

0:27:020:27:04

Let's see if Josephine's silver items could do as well.

0:27:040:27:08

Next up, we've got some silver - a christening bowl and the spoon.

0:27:080:27:11

They came in as one lot,

0:27:110:27:12

and they belonged to Josephine, who's right next to me.

0:27:120:27:14

-Hello, Josephine.

-Hello.

0:27:140:27:16

Look, the auctioneer has split the lot, so the christening bowl

0:27:160:27:18

-is coming out first and then the spoon afterwards.

-Yes.

0:27:180:27:22

Hopefully, going to get all the money in the first lot.

0:27:220:27:24

-Yes, hope so.

-We've got £100 reserve.

0:27:240:27:26

-Ready?

-Yes, sure.

-This is it.

0:27:260:27:28

Lot 310 is the early 20th-century hallmarked silver bowl.

0:27:290:27:33

Fingers crossed.

0:27:330:27:34

And the bid's with me at £100, on this.

0:27:340:27:38

-Straight in.

-Straight in, we've gotten our reserve.

-Yeah.

0:27:380:27:41

And I'll take that bid at 100, looking for 110. Are we all done?

0:27:410:27:45

Last time, on this silver pot.

0:27:450:27:47

At £100...

0:27:470:27:49

-Sold.

-I hate to say it, but it's down to the scrap, I'm afraid.

0:27:490:27:52

-It is, that one is, isn't it?

-Yup.

-OK, and now the spoon.

0:27:520:27:56

Lot 311, Victorian hallmarked silver Art-Nouveau-style tablespoon

0:27:570:28:02

with a fine relief. Lovely little lot. Bid's with me at £12.

0:28:020:28:05

Looking for 15, 18, 20 with me.

0:28:050:28:07

Looking for 22. Are we all done?

0:28:070:28:09

Selling at £20...

0:28:090:28:11

£120. Got to be happy with that.

0:28:110:28:13

-OK, yes, that's fine.

-Yes, yes.

0:28:130:28:16

Silver of the 20th century, now, it lacks a bit of excitement

0:28:160:28:19

-cos we can value it almost so precisely.

-Yeah.

0:28:190:28:21

So, well, you know, the reserve was its price, and it's met that.

0:28:210:28:25

-Yeah.

-Got a little bit more for the spoon, that's the upside.

0:28:250:28:27

-Yes, yes, yeah.

-OK, that's fine.

0:28:270:28:30

And now for my favourite lot of the entire day,

0:28:300:28:34

it has to be Pat's oil painting -

0:28:340:28:35

the three gentlemen with the big marrow.

0:28:350:28:38

-The auctioneer gave me a wink on it and he said he liked it.

-Very good.

0:28:380:28:43

-And he said somebody in America was interested.

-Really?

-Yeah.

-Wow.

0:28:430:28:47

So hopefully we get the top end and a bit more. This is it.

0:28:470:28:50

Lot 200. Absolutely stunning oil painting, this.

0:28:520:28:56

Stunning.

0:28:560:28:57

He's selling things really well for us, though. Bless him, he's good.

0:28:570:29:00

Typical 1930s, three guys in a pub talking about a marrow.

0:29:000:29:06

LAUGHTER

0:29:060:29:09

I'm not being funny, where you going to get another one?

0:29:090:29:12

That's true, isn't it?

0:29:120:29:14

And the bid's with me at £60 on this.

0:29:140:29:17

Looking for 65. I've got 60.

0:29:170:29:19

-5, 70 here.

-Good, it's a bid in the room.

0:29:190:29:22

5, I need. 80, here. 85.

0:29:220:29:25

90, here. 95, 100.

0:29:250:29:28

And 10. 120, here.

0:29:280:29:31

130, 140, here. Looking for 150.

0:29:310:29:34

150, 160, here.

0:29:340:29:36

Looking for 170.

0:29:360:29:37

Are we all done? Last time.

0:29:370:29:39

On the three guys and a marrow. At £160...

0:29:410:29:45

-Yes!

-So, 160, yes, that's a good result.

-That's fantastic.

0:29:450:29:48

-That's good, isn't it?

-Really good.

0:29:480:29:50

Yeah, and I think someone's got themselves a lovely piece of art.

0:29:500:29:54

190, 200, 210, 220, 230...

0:29:580:30:02

Karen's up next with her tribesman figurine.

0:30:030:30:05

Karen, good luck with this.

0:30:050:30:06

We've seen many Franz Bergmann bronzes on the show,

0:30:060:30:09

as you know, and they never let us down.

0:30:090:30:11

-Yeah.

-It's quality. OK, here we go, good luck.

0:30:110:30:13

Lot 280, painted bronze sculpture of Middle Eastern warrior,

0:30:160:30:21

attributed to Franz Bergmann,

0:30:210:30:24

and it's got to start with a bid with me of £120.

0:30:240:30:31

Looking for 130, 140, here.

0:30:310:30:34

Looking for 150 on this cold-painted bronze.

0:30:340:30:38

-150.

-Oh, fabulous.

-Oh, yes.

0:30:380:30:41

Looking for 160.

0:30:410:30:44

160... 170 at the back of the room, looking for 180.

0:30:440:30:47

180 on the phone, 190 at the back of the room. Looking for 200.

0:30:470:30:51

There's somebody in the room,

0:30:510:30:53

-so that's always good, that they've seen it as well.

-Yes.

0:30:530:30:55

210 at the back of the room, looking for 220.

0:30:550:30:58

£210, 220, I need.

0:30:580:31:01

Are we all done? £220 on the second phone.

0:31:010:31:04

£230 at the back of the room, looking for 240. £240...

0:31:040:31:10

-See, it doesn't let us down.

-That's good.

-Phew.

0:31:100:31:12

-It is Bergmann, you know.

-Yeah.

0:31:120:31:14

270 at the back of the room, looking for 280.

0:31:140:31:17

280, I need.

0:31:170:31:19

280 on... 290 at the back of the room, looking for 300.

0:31:190:31:22

£300, I want.

0:31:220:31:24

£300 on the phone. 310...

0:31:240:31:26

-We're getting a bit more now, look.

-Yeah.

0:31:260:31:29

320, 330 at the back of the room.

0:31:290:31:31

Looking for 340.

0:31:310:31:33

340, 350, I need.

0:31:330:31:35

350, I've got. Looking for 360.

0:31:350:31:38

£360, 360 on the telephone,

0:31:380:31:41

looking for 370, are we all done?

0:31:410:31:44

At £360 on the telephone...

0:31:440:31:47

-Yes.

-Yes.

-Yes.

-Doesn't that hammer go down with a lot of force? Crack!

0:31:470:31:51

It's just like a carpenter's mallet, isn't it?

0:31:510:31:53

-Bosh!

-Really pleased with that.

-Look, that's a really good result,

0:31:530:31:56

-top end and a bit more.

-Yeah.

-Brilliant.

-Thank you very much.

0:31:560:31:59

Things are sailing along nicely at the auction, and we'll be back

0:31:590:32:02

later on in the programme with more items to go under the hammer,

0:32:020:32:06

but first, I want to tell you about a dilemma

0:32:060:32:08

of astronomical proportions.

0:32:080:32:11

Life at sea in the 15th and 16th centuries was extremely dangerous.

0:32:200:32:25

Sailors had started exploring the high seas,

0:32:250:32:27

in search of new worlds, but had no accurate way

0:32:270:32:31

of knowing their longitude - their position east or west.

0:32:310:32:34

Maps were useless without being sure of your location,

0:32:340:32:37

and ships often hit rocks, causing thousands of deaths.

0:32:370:32:41

But when King Charles II realised how serious the problem was,

0:32:450:32:48

he decided something must be done.

0:32:480:32:51

And by 1674, he was convinced the solution lay in astronomy,

0:32:510:32:55

so he set up the Royal Observatory in Greenwich to try

0:32:550:32:58

and solve the longitude problem, and he made John Flamsteed

0:32:580:33:02

the first Astronomer Royal.

0:33:020:33:04

The first building here was completed in 1675.

0:33:060:33:09

Flamsteed moved in the following year

0:33:120:33:14

and started recording star positions, hoping navigators

0:33:140:33:17

at sea could use this information to work out their longitude.

0:33:170:33:21

But despite all of Flamsteed's hard work to find

0:33:240:33:26

an astronomical solution, more awful tragedies at sea

0:33:260:33:30

put pressure on the government to find a quicker answer.

0:33:300:33:33

They appointed a panel of experts called the Longitude Board,

0:33:330:33:36

who offered a £20,000 prize reward to anybody who could solve

0:33:360:33:40

the problem of longitude at sea within half a degree.

0:33:400:33:44

The prize attracted a lot of interest,

0:33:440:33:47

and people throughout the world tried to crack it.

0:33:470:33:50

Many thought the answer lay in a device that told you how far

0:33:500:33:53

you were from a set point in terms of time.

0:33:530:33:56

This is because the earth rotates at 360 degrees every 24 hours,

0:33:570:34:03

so an hour of time is equal to 15 degrees difference in longitude.

0:34:030:34:08

So if you knew what the time was at your original home port,

0:34:080:34:12

you could work out your position,

0:34:120:34:14

but no clock existed that could keep accurate time at sea.

0:34:140:34:18

The treacherous conditions affected

0:34:180:34:20

the workings of all clocks in existence.

0:34:200:34:24

It was actually a carpenter who finally solved the problem.

0:34:240:34:27

John Harrison dedicated his life to designing a timepiece

0:34:270:34:31

that could withstand the rocking motions of a ship,

0:34:310:34:33

and the constant changes in temperature without losing any time.

0:34:330:34:37

And after decades of research, finally, in 1772, one of Harrison's

0:34:370:34:42

timepieces was successfully trialled and approved by the Board.

0:34:420:34:46

Now, that clock that finally nailed it, and you could say is

0:34:460:34:49

possibly the greatest timepiece ever to be designed, is right here.

0:34:490:34:54

That's it there, look.

0:34:540:34:56

Harrison's masterpiece solved the longitude problem,

0:34:560:34:59

and his invention saved countless lives.

0:34:590:35:02

Important astronomical work continued here at Greenwich,

0:35:050:35:08

with each Astronomer Royal studying the sky at night,

0:35:080:35:11

using telescopes along a meridian - a north-south line -

0:35:110:35:15

and by comparing thousands of other observations

0:35:150:35:18

along the same meridian, they pieced together

0:35:180:35:21

essential information for navigators,

0:35:210:35:23

astronomers and cartographers.

0:35:230:35:26

Every time a better telescope was developed,

0:35:260:35:28

it was placed on a new meridian line.

0:35:280:35:31

Essentially, a meridian line can be wherever you choose,

0:35:310:35:34

so there's a number of old meridian lines here.

0:35:340:35:37

Now, up until the mid-19th century,

0:35:400:35:43

towns and cities around the world kept local time.

0:35:430:35:46

Now, the discrepancy in time didn't really matter

0:35:460:35:48

until the advent of the railways.

0:35:480:35:50

Once the rail network system linked all these places together,

0:35:500:35:53

trying to write a timetable that made any sense

0:35:530:35:56

was virtually impossible.

0:35:560:35:58

So in 1884, an international conference was set up, where

0:35:580:36:01

delegates discussed which of the half a dozen or so meridians

0:36:010:36:04

currently being used could be recommended to their governments,

0:36:040:36:07

and eventually, Greenwich was picked

0:36:070:36:09

for its widespread use of data being produced here.

0:36:090:36:12

So not only am I standing on the east and western hemispheres

0:36:120:36:16

right now, I'm also at the very start of time.

0:36:160:36:19

So this is what the meridian line looks like at night.

0:36:210:36:25

It's projected via a laser into the capital's night sky,

0:36:250:36:28

and you can see it as far as ten miles away on a clear night.

0:36:280:36:32

And there's something else here that can be seen from afar,

0:36:340:36:37

and it's that, the big red time ball.

0:36:370:36:39

It was used to help sailors along the River Thames

0:36:390:36:42

during the 19th century, because they could see it.

0:36:420:36:44

And every day, that big red ball would rise up the mast

0:36:440:36:47

and then at 1pm, it would drop down.

0:36:470:36:49

So the navigators aboard the ships could calibrate their chronometers

0:36:490:36:54

before setting out to sea.

0:36:540:36:55

It was first used in 1833, and it still drops every day.

0:36:550:37:00

The sailors would have seen something like this.

0:37:000:37:03

But of course, I couldn't visit the Royal Observatory without showing

0:37:050:37:08

you its most impressive telescope, and it is a bit of a whopper.

0:37:080:37:12

It's a refracting telescope, and it uses a lens rather than

0:37:120:37:16

a mirror to focus and gather light from the object being observed.

0:37:160:37:20

It's the largest refracting telescope

0:37:200:37:22

in the United Kingdom, and it's the seventh largest in the world.

0:37:220:37:26

The 28-inch lens weighs 200lbs,

0:37:320:37:35

and it was so complicated to produce,

0:37:350:37:37

there were only two glassmakers in the world capable of making it.

0:37:370:37:41

The telescope itself took eight years to make,

0:37:410:37:44

and it was finally completed in 1893.

0:37:440:37:47

The telescope was used for research into double star systems -

0:37:480:37:52

that's stars that share a common centre of gravity -

0:37:520:37:55

but nowadays, this remarkable piece of technology is

0:37:550:37:58

used as an educational tool for visitors.

0:37:580:38:01

By the late-19th century,

0:38:030:38:05

light pollution from the city and vibration from trains

0:38:050:38:08

started to affect the good work being done here at the observatory.

0:38:080:38:11

Plans were afoot to relocate in the early part of the 20th century,

0:38:110:38:15

and again in the 1930s,

0:38:150:38:17

but that was interrupted because of the Second World War.

0:38:170:38:20

The last observation to be done here was made in 1954.

0:38:200:38:24

Further astronomical work continued to flourish

0:38:240:38:27

at Herstmonceux Castle in Sussex,

0:38:270:38:30

but today, the Royal Observatory is open to the public

0:38:300:38:33

and it's a fascinating insight into early science,

0:38:330:38:36

and I hope my little visit today has inspired you

0:38:360:38:39

to come and take a look for yourself at this remarkable place.

0:38:390:38:42

We're at Dulwich College in London, and our valuation day is bustling.

0:38:490:38:54

Kate's with Sue, who wants to find out more about her childhood toy.

0:38:560:39:01

-Sue, welcome to "Flog It!".

-Thank you.

0:39:010:39:03

You've brought a really pretty doll in. Now, what do you know about her?

0:39:030:39:07

Well, she was given to me in the 1950s, when I was a child,

0:39:070:39:11

-by the wife of one of my father's Army pals.

-OK.

0:39:110:39:16

Her name was Audrey Smith, and she worked at Chad Valley

0:39:160:39:20

-in Wellington, Shropshire, in the 1930s.

-Really?

-So I...

0:39:200:39:24

With hindsight, I think she probably dates from the 1930s

0:39:240:39:28

rather than the '50s, and she was so beautiful I couldn't play with her.

0:39:280:39:35

-What?

-I just displayed her and looked at her.

0:39:350:39:38

And the name I chose for her was Caroline,

0:39:380:39:40

because it was the nicest name I could think of.

0:39:400:39:43

Oh, well, she's lovely, and she is, as you say, Chad Valley.

0:39:430:39:46

-Yes.

-And when we take her shoe off,

0:39:460:39:48

-she has the little Chad Valley label on the bottom.

-She does, yes.

0:39:480:39:51

She's really pretty, I can see why you liked her.

0:39:510:39:54

She's got, basically, the Norah-Wellings-type face,

0:39:540:39:57

so this felt, hand-painted over the top of felt face,

0:39:570:40:02

and then she's got this really lovely little dress, little flowers.

0:40:020:40:06

She looks a bit wartime-bride, doesn't she, I suppose?

0:40:060:40:08

She looks a bit more, you know, I can see why 1950s,

0:40:080:40:11

-but I think she is dating a bit earlier, as you say.

-Yes, yes.

0:40:110:40:13

-And you've got her original box.

-I have, yes.

0:40:130:40:17

And she's velvet or velveteen body,

0:40:170:40:19

and then other composite parts, so calico and things.

0:40:190:40:22

-Yes.

-And rather sweet little dress.

0:40:220:40:24

Yeah, she's an interesting thing. And it's brilliant to have it from

0:40:240:40:27

-somebody that worked at the factory.

-Yes, yes.

0:40:270:40:30

Chad Valley basically started out as printers in the 19th century,

0:40:300:40:33

so they produced all kinds of printed matter,

0:40:330:40:35

publishing things, middle of the 19th century,

0:40:350:40:37

and then, basically, these...

0:40:370:40:39

They started producing soft toys in the First World War,

0:40:390:40:41

because there was a ban on soft toys,

0:40:410:40:43

who were mainly made in Germany and the Continent,

0:40:430:40:45

-coming into Britain.

-Right, right, OK.

0:40:450:40:47

So, that sparked off their turning to the soft toy market.

0:40:470:40:50

And they did a great job, I mean,

0:40:500:40:52

-they had artists like Norah Wellings and people producing them.

-Yes, yes.

0:40:520:40:56

-You loved her.

-I did, I thought she was very special and I still do,

0:40:560:41:00

but she's been up in the loft for 50 years and she has been chewed.

0:41:000:41:04

-I don't know whether you can see she's been nibbled.

-Some little mice.

0:41:040:41:07

Well, she's obviously had this fantastic bright pink dress

0:41:070:41:10

but it is a little, sort of,

0:41:100:41:12

-foxed, I suppose, and a bit faded.

-It's faded, yes, yes.

0:41:120:41:14

-But overall, condition's really good.

-Yes.

0:41:140:41:16

-I mean, considering how old she is.

-For the age, yes.

0:41:160:41:18

There are lots of collectors and her face is pretty good. Her hair...

0:41:180:41:21

She's got little mohair bits of hair, here.

0:41:210:41:23

-That is falling out a little bit.

-Yes.

0:41:230:41:25

-But generally, she's pretty good. So in terms of value...

-Yes.

0:41:250:41:29

I was thinking maybe, sort of, £50-£100, something like that.

0:41:290:41:33

Is that the sort of figure you'll be happy with?

0:41:330:41:35

I think 100 is probably a better... a better bet. Can we...?

0:41:350:41:39

-Can we go for 100?

-Well, 100's always better than 50.

0:41:390:41:42

-I know.

-OK, well, you want it a bit higher.

0:41:420:41:44

Well, if we put a slightly higher estimate,

0:41:440:41:46

-so 100-150?

-Yes, yes, I think so.

0:41:460:41:48

And maybe a fixed reserve just below, so 80 fixed reserve.

0:41:480:41:51

Yes, I think that's absolutely fine, yes.

0:41:510:41:53

-And you'd be happy to let it go at that, if it went.

-I would, yes.

0:41:530:41:56

OK, sweet Caroline. We hope she sells well at auction,

0:41:560:41:58

-I'm sure she'll do well.

-Yes, thank you. Thank you very much.

0:41:580:42:01

I hope we can find Caroline a new owner

0:42:010:42:03

who will admire her as much as Sue did.

0:42:030:42:06

Now, what on earth has Michael got on his table?

0:42:060:42:09

Ian, thank you for coming, well, struggling in today with this

0:42:090:42:13

massive heavy beast of a candlestick.

0:42:130:42:16

Can you tell me, where did you get it from?

0:42:160:42:19

What it is, basically, is 20 years ago, my flatmate died

0:42:190:42:23

and he actually was left...

0:42:230:42:24

He was left, and I thought it was out of character of the house,

0:42:240:42:27

so I've decided to get rid of it.

0:42:270:42:30

Well, if you're going to have something in an Orientalist taste,

0:42:300:42:34

I mean, this is bells and whistles, isn't it?

0:42:340:42:36

We've got this wonderful Indonesian detailing.

0:42:360:42:40

We've got these dragon mouths with the scrolls coming out,

0:42:400:42:43

forming the three tripod feet.

0:42:430:42:45

But if you move up, we've got this lovely formal knop, and this vase

0:42:450:42:51

with these petals coming out, and possibly a lotus flower.

0:42:510:42:54

It's not everybody's taste but if you like the design of this,

0:42:540:42:59

it's got everything going for it.

0:42:590:43:01

What century would you say it was?

0:43:010:43:03

These aren't marked in any way so we have to go by the patination,

0:43:030:43:08

and certainly, the colour around these knops,

0:43:080:43:11

and the detailing here,

0:43:110:43:13

make me think that it's mid to late 19th century, so 1850 up to 1900.

0:43:130:43:20

Erm, there's been a little bit of work, but we can forgive that.

0:43:200:43:24

The one thing we can't forgive

0:43:240:43:26

is we haven't got another one to go with it,

0:43:260:43:29

because there's nothing sadder than a single candlestick, so...

0:43:290:43:34

They are sometimes quite difficult things to sell.

0:43:340:43:37

-Any idea what the value might be?

-I haven't a clue.

0:43:370:43:40

I think, had we had a pair of them...

0:43:420:43:44

£150-£250, £200-£300, with no difficulty at all.

0:43:440:43:50

But of course, a single one, I think we're in the region of 50...

0:43:500:43:53

Let's be generous and say £50-£100.

0:43:530:43:57

-Yeah.

-But I would certainly set the reserve

0:43:570:44:00

with a little bit of discretion, at, say, 40 fixed.

0:44:000:44:03

And I think that's sensible, and I think, if we proceed

0:44:030:44:06

along those lines, it's an attractive purchase to somebody.

0:44:060:44:09

So... But why now have you decided to part with it?

0:44:090:44:13

I need to get some money to get married.

0:44:130:44:17

Oh, that's marvellous.

0:44:170:44:18

-Oh, it's going to good cause, then.

-It's going to a good cause.

0:44:180:44:22

Well, let's hope it does really well on the day for you, in that case.

0:44:220:44:25

-Thanks.

-Thank you very much indeed.

0:44:250:44:28

That's a lovely way to spend the proceeds.

0:44:280:44:30

I hope Ian gets a great result to go towards his special day.

0:44:300:44:34

What a fabulous turnout we have here today.

0:44:340:44:37

I think that's because it's half term, it's the school holidays,

0:44:370:44:40

but hang on a minute, what are you two doing back at school?

0:44:400:44:43

-Are you brother and sister?

-Yeah.

-Yeah.

-What's your name?

0:44:430:44:46

-Phoebe.

-Phoebe.

-Luke.

-Luke.

0:44:460:44:47

Right, well, I guess you're obviously into antiques, are you?

0:44:470:44:50

We're just here with my grandmother, over there.

0:44:500:44:53

-You're here with Grandma, she's into the antiques, isn't she?

-Yeah.

0:44:530:44:56

-But this is quite a fine school, isn't it?

-Yeah.

0:44:560:44:58

-You going to come here one day?

-Maybe.

-Maybe.

0:44:580:45:01

It's all go here, both in front of and behind the cameras.

0:45:010:45:06

Kate's up next with Alan, who's come along with something a bit fishy.

0:45:060:45:10

-Alan.

-Yeah, Kate.

-You have brought a table lighter in.

-Yeah.

0:45:100:45:13

-What you know about it?

-It's a Dunhill.

0:45:130:45:16

Because it says Dunhill on the front.

0:45:160:45:18

Yeah, exactly that, and it's called an aquarium lighter.

0:45:180:45:21

-For obvious reasons.

-Yeah, cos it's a fish lighter.

0:45:210:45:24

Yup, OK, so where did you get it?

0:45:240:45:27

Belgium or Amsterdam in the middle of the '70s.

0:45:270:45:31

Mid-'70s, so you just saw it at an antiques fair or a store?

0:45:310:45:33

Yeah, on the old flea market things, I think they call them.

0:45:330:45:36

-OK, and do you collect lighters, or do you just...?

-No, no, no, no, no.

0:45:360:45:39

-No, it just caught my eye.

-You just liked it?

0:45:390:45:41

-Didn't come to a lot.

-And so since you've had it,

0:45:410:45:43

have you just had it on the table,

0:45:430:45:44

-or you've used it?

-No, no, just on a shelf.

0:45:440:45:46

Right, well, it's a fairly collectable lighter as lighters go.

0:45:460:45:50

-Yeah.

-It is 1950s and it's probably by a chap who worked for Dunhill

0:45:500:45:54

called Ben Shillingford, and the reason we know this is

0:45:540:45:56

-because he pioneered this use of what they call Lucite.

-Yeah.

0:45:560:45:59

-Which is like the American version of our Bakelite.

-Right, yeah.

0:45:590:46:02

But Lucite - probably cos it's clear, it's lucid -

0:46:020:46:04

so it's a clear plastic, basically,

0:46:040:46:05

-an early sort of plastic polymer.

-Yeah, yeah.

0:46:050:46:07

And what he did was, these are single panels,

0:46:070:46:10

-so you've got front, back and the two sides.

-Yeah.

0:46:100:46:12

Erm, and you've got this fantastic, looking at it, aquarium scene,

0:46:120:46:15

-and he's basically carved it from the back.

-Yeah.

-And then painted.

0:46:150:46:19

-Effective, isn't it?

-Now, it's quite fun,

0:46:190:46:21

it's not going to be everyone's type of thing.

0:46:210:46:23

-I mean, have you done any research on it yourself?

-I have.

0:46:230:46:26

-Right.

-I've seen them on the internet.

-Right.

0:46:260:46:28

Right, and I've seen them going for

0:46:280:46:30

-9 to 15, up to 1,600 quid.

-£1,600.

-Yeah.

0:46:300:46:35

-For this type of lighter?

-Yeah, yeah, yeah.

-Right.

0:46:350:46:38

There are collectors out there. Obviously Dunhill is

0:46:380:46:40

a very good maker of luxury goods, as well,

0:46:400:46:43

starting from the 1900s onwards.

0:46:430:46:44

Erm... I'm not sure,

0:46:440:46:46

I think that might be a bit punchy for auction.

0:46:460:46:49

-Right.

-I was thinking 600-800

0:46:490:46:50

but it sounds like you might be a bit gutted with that.

0:46:500:46:52

-Oh, without a doubt, yeah.

-Well, how if we compromise,

0:46:520:46:55

if we put a slightly higher estimate, maybe 800-1,000?

0:46:550:46:59

Well, that sounds a lot better, yeah.

0:46:590:47:00

-Which will be inviting for potential buyers.

-Yeah.

0:47:000:47:02

-But put a reserve that's fixed at £800.

-Yeah.

0:47:020:47:05

-Would you be OK with that?

-Yeah, that sounds OK.

0:47:050:47:07

-I think it will...it will find its own level.

-Right.

0:47:070:47:09

-It'll make at least 800 or it won't sell.

-Yeah.

0:47:090:47:12

So let's have fingers crossed, firm reserve at 800,

0:47:120:47:15

-estimate 800-1,000.

-Right, right.

-All right?

-That sounds all right.

0:47:150:47:18

-Brilliant, well, we'll give it a go.

-OK.

-Thanks for bringing it in.

-OK.

0:47:180:47:22

I bet that'll be snapped up by someone at the auction,

0:47:220:47:25

and we've just got time for one more item,

0:47:250:47:27

and it's right up Michael's street - a glass vase brought in by Jean.

0:47:270:47:31

Jean, where did you get this darling little vase from?

0:47:320:47:36

-Jumble sale.

-Not recently.

0:47:360:47:39

-1980-ish.

-1980.

0:47:390:47:41

Now, I'm going to say, "How much did you pay for it?"

0:47:410:47:43

but I'm going to brace myself.

0:47:430:47:45

Well, they originally were going to charge me 50p.

0:47:450:47:47

-Originally?

-Originally, but then they decided to charge me 25p.

0:47:470:47:51

Was that under duress or did they just...?

0:47:510:47:53

No, no, they just changed their mind.

0:47:530:47:55

-Oh, sometimes you wish you had a time machine, Jean.

-Hmm.

0:47:550:47:58

I wish I could build one. Did you...?

0:47:580:48:00

Did you buy it because you liked it or...?

0:48:000:48:02

-Something told me that it was something special.

-Oh, really?

0:48:020:48:05

Almost looked Chinese-y decorations, but I didn't think it was Chinese.

0:48:050:48:09

-So you just had a feeling about it?

-Mmm, it just felt right.

0:48:090:48:12

I think that you've actually bought, to my eyes,

0:48:120:48:15

a really beautiful little glass vase.

0:48:150:48:19

And if we look at it more carefully,

0:48:190:48:21

sadly, not marked or inscribed in any way,

0:48:210:48:24

but you could say that this glass was marked all over,

0:48:240:48:28

-in the way that it's executed.

-Right.

0:48:280:48:30

We've got this beautiful, almost satin...glass ground,

0:48:300:48:35

which has then been dipped in white glass,

0:48:350:48:38

and then the whole thing has been carved back on a wheel.

0:48:380:48:42

And you've just got to take just enough off, just enough,

0:48:420:48:45

cos that's a very smooth, even surface.

0:48:450:48:48

That's a phenomenal bit of work.

0:48:480:48:50

Now, it could have been made in France

0:48:500:48:54

by a firm such as Emile Galle, or Daum,

0:48:540:48:58

but if this vase spoke, it would speak with my native accent.

0:48:580:49:02

-IN WEST MIDLANDS ACCENT:

-It would say, "Hello, Jean."

0:49:020:49:04

-Because this is actually from Stourbridge...

-Right.

0:49:040:49:07

..which is just outside, on the outskirts of Birmingham,

0:49:070:49:10

and it was a major centre for glass working.

0:49:100:49:13

This is almost certainly from the workshop of Thomas Webb,

0:49:130:49:17

who specialised in this immaculate quality cameo glass.

0:49:170:49:23

The design we've got, actually, is... When you first said you

0:49:230:49:26

thought it was a bit Chinese,

0:49:260:49:27

-it's actually inspired by Chinese design...

-Mm-hmm.

0:49:270:49:30

-Ah.

-..and they're called the Three Friends,

0:49:300:49:33

and you've got cherry blossom, prunus and bamboo.

0:49:330:49:39

-Ooh.

-And they're all together emblematic of long life.

0:49:390:49:43

I think in terms of date, we're possibly as early as 1880,

0:49:430:49:49

possibly as late as 1890, 1895.

0:49:490:49:52

And it's survived in miraculously good condition.

0:49:520:49:56

Well, has your 25p been a good investment?

0:49:560:50:01

I'd like to know.

0:50:010:50:03

I think we should be sensible

0:50:030:50:05

and put an estimate of £600-£800 on it.

0:50:050:50:08

-Really?

-And put a fixed reserve of £600.

0:50:080:50:11

-All right.

-Webb's cameo glass is extremely collectable.

0:50:120:50:17

But can I ask you now, after living with it for 30 years,

0:50:170:50:21

why have you decided to sell?

0:50:210:50:24

I took early retirement in January,

0:50:240:50:26

and I've got a house full of things that I've got to start sorting out.

0:50:260:50:32

It's a small step towards it.

0:50:320:50:35

-It's a small step in terms of size...

-Mm-hmm.

0:50:350:50:39

..but a big step financially, I hope.

0:50:390:50:42

-That'd be lovely.

-So let's hope for lot of bidders at the sale,

0:50:420:50:45

and that it really does well.

0:50:450:50:46

-Thank you.

-Thank you so much.

0:50:460:50:48

And now for my favourite part of the show -

0:50:480:50:50

let's head straight to the auction and see what the bidders think,

0:50:500:50:54

and this is what we're taking.

0:50:540:50:56

And that pretty doll that belongs to Sue is about to go under the hammer.

0:50:590:51:03

Well, we have the doll. Unfortunately, we don't have

0:51:030:51:05

the owner, Sue, but we do have Sue's husband, Steve,

0:51:050:51:08

who's right next to me.

0:51:080:51:09

So, you're obviously not a doll fan,

0:51:090:51:11

-otherwise this would be staying in the house, wouldn't it?

-Yes.

0:51:110:51:13

-Well, yeah, quite possibly, yes, yes.

-OK, happy with the valuation?

0:51:130:51:16

-Oh, absolutely, yeah, yeah.

-Spot on, I think. Spot on.

-Well, I hope so.

0:51:160:51:19

I mean, there might be collectors here today,

0:51:190:51:21

-you just can't tell, so...

-No.

-Yeah.

-We're going to find out right now.

0:51:210:51:24

Lot 141 is the vintage Chad Valley textile doll

0:51:260:51:31

-with original clothing...

-Come on.

0:51:310:51:33

..and it's got to start

0:51:330:51:34

with a bid with me of £72.

0:51:340:51:37

Looking for 75 on the Chad Valley doll,

0:51:370:51:40

it's worth more than that, 5, 8, with me. Looking for 80.

0:51:400:51:43

-I'm looking for £80...

-We're struggling a bit, aren't we?

0:51:430:51:46

Oh, I don't know.

0:51:460:51:47

Last time, at £78...

0:51:470:51:50

-Oh, no.

-No, no, thank goodness we put a reserve on.

0:51:500:51:53

-You protected it.

-Well...

-So...

-You did the right thing.

-Yes.

0:51:530:51:56

-It can go into another sale another day, so, yeah.

-Yeah, yeah.

0:51:560:51:59

Well, that's a real shame for Sue,

0:51:590:52:01

but let's hope for better luck next time.

0:52:010:52:03

It just goes to show, you never know what's going to happen at auction.

0:52:030:52:07

Let's see how Ian gets on with an unusual candlestick.

0:52:070:52:11

Well, all the money for this lot is going towards Ian's wedding,

0:52:120:52:15

and he's right next to me.

0:52:150:52:16

He's really excited, excited about the wedding,

0:52:160:52:18

-but probably nervous about this auction.

-Correct.

0:52:180:52:21

Yes, yeah, yeah, we've got that sort of carved single metal

0:52:210:52:23

candlestick going under the hammer, £50-£100.

0:52:230:52:26

It's got all the flavours of the Orient.

0:52:260:52:28

It's got so much detail to it.

0:52:280:52:30

-It has, and that whole period is in vogue right now.

-It is.

0:52:300:52:33

That whole look, so hopefully, Ian,

0:52:330:52:35

you've hit that market at the right time.

0:52:350:52:38

It's a chance, all you need is two people interested.

0:52:380:52:41

He knows the score. Well, let's find out what the bidders think.

0:52:410:52:44

It's now down to them, here we go...

0:52:440:52:46

Oriental cast-metal bronzed and gilt effect candleholder.

0:52:470:52:50

Great lot, this. Bid's with me straight away at £45.

0:52:500:52:54

-Brilliant.

-Straight in.

-That's good.

0:52:540:52:57

45, 48, £50. 55, £60.

0:52:570:53:00

65, £70.

0:53:000:53:02

75, 80, with me.

0:53:020:53:04

-Looking for 85. 90, with me.

-This is very, very good. They love it.

0:53:040:53:08

Looking for 110 on this. Are we all done?

0:53:080:53:10

Last time, at £100...

0:53:100:53:12

-Yes. A nice £100.

-That'll be good.

-Got to be happy with that.

0:53:120:53:16

-What's the good lady called?

-Rosella.

0:53:160:53:18

And how long have you know her?

0:53:180:53:20

About a year-and-a-half, but we were friends for six months before,

0:53:200:53:23

and then she went back to Florida and we're just together again.

0:53:230:53:25

-Aw, love is in the air. Have a great day, won't you?

-Thanks.

0:53:250:53:29

-And well done, Michael.

-Thank you.

0:53:290:53:31

Let's watch Jean's piece of cameo glass.

0:53:330:53:36

Will it find the right buyer here?

0:53:360:53:38

It's Jean's turn next.

0:53:380:53:40

Let's talk about that cameo glass vase at £600-800.

0:53:400:53:43

Had a chat to the auctioneer yesterday,

0:53:430:53:45

he said he agrees with the value

0:53:450:53:47

but possibly at the lower end, not at the top end.

0:53:470:53:49

Right, that's fine, but, I mean,

0:53:490:53:51

it is that great name Thomas Webb - a great name in English glass.

0:53:510:53:55

Yeah, and the great thing is,

0:53:550:53:56

-it only cost 25p, didn't it?

-This is true.

0:53:560:53:59

So let's do some recycling, shall we? Right now, here we go...

0:53:590:54:02

And the cameo glass bud vase

0:54:040:54:06

with a white raised plant and foliage relief,

0:54:060:54:09

attributed to Thomas Webb, dated around 1880s,

0:54:090:54:14

and it's got a start with a bid with me of £150 on this vase.

0:54:140:54:19

-Ooh, that's low, isn't it?

-Looking for 160, 70 with me.

0:54:190:54:22

Looking for 180.

0:54:220:54:23

-No commission bids, then.

-No.

0:54:230:54:25

190 with me.

0:54:250:54:26

200, 210 here. Looking for 220.

0:54:260:54:29

Are we all done? Last time, at £210...

0:54:310:54:36

-No. I'm ever so sorry about that.

-Oh, it doesn't matter.

0:54:360:54:39

-I'm glad to take it home.

-Can you hear that?

0:54:390:54:42

It's Thomas Webb collectors that didn't know

0:54:420:54:44

it was coming up for sale, screaming at their television screens.

0:54:440:54:47

There are specialist sales for glass in the Stourbridge area.

0:54:470:54:51

And if you want to sell it -

0:54:510:54:53

if you decide now that you love it, you keep it - but if you

0:54:530:54:56

want to sell it, take it to one of those specialist sales.

0:54:560:54:58

It's £600 to £800 - I know I say this a lot - all day long.

0:54:580:55:01

Yeah, good, sound advice there.

0:55:010:55:04

And now it's our final item in today's sale.

0:55:040:55:08

It's the Dunhill lighter, the aquarium lighter, belonging to Alan.

0:55:080:55:12

We've got a valuation of £800 to £1,000.

0:55:120:55:14

We're going to find out what the bidders think right now.

0:55:140:55:18

It's lot 510, it's the early to mid-20th-century

0:55:190:55:22

Dunhill aquarium table lighter,

0:55:220:55:24

and it's got to start with a bid with me of £550 on this lighter.

0:55:240:55:30

Looking for 600.

0:55:300:55:32

50 with me, 700. 750.

0:55:320:55:35

800, I'm out.

0:55:350:55:37

820 on the telephone.

0:55:370:55:39

850 in the room.

0:55:390:55:41

880 I want.

0:55:410:55:42

-880 I have.

-Ooh, there's a phone bidder, Alan.

0:55:420:55:45

-Yes.

-Come on, 900.

0:55:450:55:47

910 I want.

0:55:470:55:49

910, and 20 in the room.

0:55:490:55:51

930, 940 in the room.

0:55:510:55:54

-950 I want.

-It's moving, isn't it?

0:55:540:55:55

It's moving, yep.

0:55:550:55:57

950 on the telephone, 960 in the room.

0:55:570:55:59

Looking for 970.

0:55:590:56:00

970 I've got.

0:56:000:56:02

-980 in the room.

-Let's get that magic £1,000.

0:56:020:56:05

-£1,000.

-Yes!

-It's done it.

-Come on!

0:56:050:56:09

Take 1,010.

0:56:090:56:11

£1,010, 1,020.

0:56:110:56:14

1,030 I've got - have I?

0:56:140:56:17

1,030, 1,040.

0:56:170:56:20

Looking for 1,050.

0:56:200:56:22

1,050, 1,060,

0:56:220:56:25

1,070, 1,080.

0:56:250:56:28

I love it when a plan comes together.

0:56:280:56:30

-Good lighter, isn't it, eh?

-£1,100.

0:56:300:56:32

1,110 I want.

0:56:320:56:34

£1,110, 1,120.

0:56:340:56:37

-1,130, 1,140.

-He doesn't look like he's stopping either,

0:56:370:56:40

he's just going for it.

0:56:400:56:42

1,170, 1,180,

0:56:420:56:45

1,190, 1,200. And ten.

0:56:450:56:49

1,220, 1,230,

0:56:490:56:52

1,240, 1,250,

0:56:520:56:54

1,260, 1,270,

0:56:540:56:57

1,280, 1,290.

0:56:570:56:59

1,300, and ten I need.

0:56:590:57:01

This is a great result, 13.

0:57:010:57:03

1,320, 1,330, 1,340.

0:57:030:57:07

1,350, 1,360,

0:57:070:57:10

1,370, 1,380, 1,390.

0:57:100:57:14

1,400, and ten I need.

0:57:140:57:17

£1,410

0:57:170:57:18

-Alan, that's very good, isn't it?

-Well, yeah.

0:57:180:57:21

1,440, 1,450,

0:57:210:57:24

1,460, 1,470,

0:57:240:57:27

1,480, 1,490.

0:57:270:57:30

1,500, and ten.

0:57:300:57:32

1,510, looking for 1,520.

0:57:320:57:34

Are we all done? Last time, on the telephone at £1,510.

0:57:340:57:39

Yes!

0:57:390:57:41

-£1,510!

-Oh, right.

0:57:410:57:43

Alan, that is tops! Tops, tops, tops!

0:57:430:57:47

I remember saying to you when I saw that at the valuation day,

0:57:470:57:50

-1,200 quid, didn't I?

-Yeah, yeah.

0:57:500:57:52

Wow. Wow, Kate, isn't that a fabulous result?

0:57:520:57:54

-Six to eight, you said, Kate.

-What was I?

-Six to eight.

-Did I?

0:57:540:57:57

Well, that's good - you've got to start somewhere.

0:57:570:58:00

I like to keep expectations low and build the suspense.

0:58:000:58:03

Exactly, exactly. What a lovely result. I hope you enjoyed that.

0:58:030:58:08

We certainly have.

0:58:080:58:09

Sadly, we've run out of time here today,

0:58:090:58:11

but do join us again for many more surprises.

0:58:110:58:13

So, from Greenwich, until the next time, it's goodbye.

0:58:130:58:17

Presenter Paul Martin and experts Kate Bateman and Michael Baggott visit the impressive Dulwich College in south London, where Michael finds an unusual oriental candlestick and Kate has a big surprise in the saleroom.

A few miles away, Paul explores the Royal Observatory, Greenwich, and tells the remarkable story of how one of the timekeepers there saved countless lives.