0:00:05 > 0:00:09Where is this wonderful example of modernist architecture
0:00:09 > 0:00:11that looks like a horizontal skyscraper?
0:00:11 > 0:00:15It's in Bexhill-on-Sea and it's called De La Warr Pavilion.
0:00:15 > 0:00:17Welcome to Flog It!
0:00:42 > 0:00:45This incredible building is the result of a competition
0:00:45 > 0:00:48held by the town council in 1935.
0:00:48 > 0:00:50I'm hoping for a lot of competition here today,
0:00:50 > 0:00:54because there's hundreds of people, which means hundreds of antiques!
0:00:54 > 0:00:57We'll take the best to auction and hopefully have
0:00:57 > 0:00:59one or two surprises at the end of the show.
0:00:59 > 0:01:04This lot have come here to ask our experts that all-important question,
0:01:04 > 0:01:06- which is? - ALL: What's it worth?
0:01:06 > 0:01:08What will you do when you find out?
0:01:08 > 0:01:10ALL: Flog it!
0:01:10 > 0:01:14And our experts competing to provide all the answers today...
0:01:14 > 0:01:17are David Fletcher...
0:01:19 > 0:01:21..and Michael Baggott.
0:01:21 > 0:01:23On today's show, we have some one-offs
0:01:23 > 0:01:26that our experts have fallen in love with -
0:01:26 > 0:01:29a highly decorative exotic glass goblet...
0:01:32 > 0:01:35..a magnificent 19th century firearm...
0:01:35 > 0:01:39Michael, I like this. I seriously considered running away with this.
0:01:39 > 0:01:42..and an exceptionally fine piece of artwork.
0:01:42 > 0:01:43But the big question is,
0:01:43 > 0:01:48which one of these highly-prized items will reach the highest price?
0:01:48 > 0:01:52Stay with us to find out when we go off to auction.
0:01:52 > 0:01:55As you can see, everybody's safely seated inside the pavilion.
0:01:55 > 0:01:57It is lights, camera, action!
0:01:57 > 0:02:02There's a wonderful atmosphere here, so let's hand over to our experts.
0:02:02 > 0:02:05It looks like David Fletcher, who's recently got married,
0:02:05 > 0:02:06is first at the tables.
0:02:06 > 0:02:08- Hello.- Hello, David.
0:02:08 > 0:02:11Time for us to share a nice glass of white wine.
0:02:11 > 0:02:12SHE LAUGHS
0:02:12 > 0:02:16- Yeah, I guess it's a goblet. - It is, yeah.
0:02:16 > 0:02:19- It's a charming thing. - It looks good there.- It does, yeah.
0:02:19 > 0:02:23You don't sound convinced. Do you not like it yourself?
0:02:23 > 0:02:27I like '60s glass, so this is really not...
0:02:27 > 0:02:29I just saw it in a garden safari.
0:02:29 > 0:02:33What's a garden safari? I've never heard of such a thing.
0:02:33 > 0:02:38It's where you go to a school and to make money, they sell a map,
0:02:38 > 0:02:39- for £1.- Right.
0:02:39 > 0:02:42On the map is all the different garages.
0:02:42 > 0:02:46I walked down the drive and this was in the garage
0:02:46 > 0:02:49- and that was £1.- £1?!- £1.
0:02:49 > 0:02:53This would've been made - you said you liked 1960s glass -
0:02:53 > 0:02:56- I assume you meant 1960s...- Oh!
0:02:56 > 0:02:59- I meant 1960s.- This is about 1860.
0:02:59 > 0:03:04- Oh, wow!- So, this is about 100 years earlier from the glass you like.
0:03:04 > 0:03:09- It would've been made in Bohemia. - Yeah.- OK?
0:03:09 > 0:03:12Characterised, really, by very deep cutting.
0:03:12 > 0:03:17- Right.- In addition to that, you have a gilt banding,
0:03:17 > 0:03:23you have another band which has been etched and then hand-painted.
0:03:23 > 0:03:26So, every single decorative gizmo you can think of
0:03:26 > 0:03:29has gone into the manufacture of this.
0:03:29 > 0:03:34Made, really, for a very discerning, I suppose,
0:03:34 > 0:03:40upper middle class customer or client, who, if you like,
0:03:40 > 0:03:43probably characterises a slightly overblown taste.
0:03:43 > 0:03:48- It's a bit ostentatious...- Over the top.- Over the top, exactly that.
0:03:48 > 0:03:51- I think this is worth at least £100. - Oh, absolutely.
0:03:51 > 0:03:55- Um... But put a reserve just beneath that.- Yes.
0:03:55 > 0:03:59- Say, £80?- Yeah, fine. - Is that OK?- Thank you.
0:03:59 > 0:04:03I'm really more of a beer drinker than a wine drinker,
0:04:03 > 0:04:07so if it does sell for £100 or more,
0:04:07 > 0:04:12- perhaps you can buy me a pint in the pub after?- Absolutely, certainly.
0:04:12 > 0:04:13That's a date.
0:04:13 > 0:04:16Ooh, hang on a minute, he's only just got married!
0:04:19 > 0:04:22- Rod.- Hi, Paul.- Thank you for coming with this watercolour.- Pleasure.
0:04:22 > 0:04:25You're talking to a guy that grew up in Cornwall.
0:04:25 > 0:04:27That's why I was hoping you'd like this.
0:04:27 > 0:04:29I recognise it, put it that way!
0:04:29 > 0:04:31Do you know where this is in Cornwall?
0:04:31 > 0:04:33I thought it was St Ives Bay.
0:04:33 > 0:04:36No. I can tell you exactly where it is.
0:04:36 > 0:04:39It's, in fact, Port Isaac. You see that building there?
0:04:39 > 0:04:41That's the old schoolhouse.
0:04:41 > 0:04:44That's now converted to a hotel and I've stayed there.
0:04:44 > 0:04:45- Oh, really?- Yeah.
0:04:45 > 0:04:47It's a beautiful part of Cornwall.
0:04:47 > 0:04:51Do you know much about Pinder, the artist, Douglas Pinder?
0:04:51 > 0:04:55No, we looked him up on the internet and found out he was local born.
0:04:55 > 0:04:59Yes, he's Cornish, born in 1886 and he died in 1949.
0:04:59 > 0:05:04But he didn't actually take up a career as an artist until 1911.
0:05:04 > 0:05:05But he worked in watercolours
0:05:05 > 0:05:09and he tended to paint between St Ives and Newquay.
0:05:09 > 0:05:11All along that north coast
0:05:11 > 0:05:12- and stopover...- OK, yeah.
0:05:12 > 0:05:15..because he didn't drive a car.
0:05:15 > 0:05:17He rode a bike everywhere,
0:05:17 > 0:05:21- so he was very limited to where he painted in Cornwall!- Wow!
0:05:21 > 0:05:25So, looking at this, bearing in mind there's a bit of damage up here,
0:05:25 > 0:05:29- some foxing and staining, because it's been kept under glass?- Yes.
0:05:29 > 0:05:32The sun's got to it. You can see the outline of the frame.
0:05:32 > 0:05:35I think the Cornish collectors of Pinder will like this,
0:05:35 > 0:05:37- but it's definitely entry level.- OK.
0:05:37 > 0:05:43When I mean entry level, I think around about £80 to £120.
0:05:43 > 0:05:46- Yep, OK, that's fine. - With a reserve of 60.
0:05:46 > 0:05:47Yep, I'll go with it.
0:05:47 > 0:05:51- If that's what you say, I'm happy with that.- Are you sure?
0:05:51 > 0:05:55- Where's this been, anyway, in your life?- I'm selling it for a friend.
0:05:55 > 0:05:57She's emigrated to Turkey,
0:05:57 > 0:06:00so I think it was something she couldn't get in the case!
0:06:00 > 0:06:03- Thank you for bringing it in. - Pleasure.
0:06:03 > 0:06:05Rod will put the watercolour back in its frame,
0:06:05 > 0:06:08which should help with the sale.
0:06:10 > 0:06:12Michael has picked out a tea caddy,
0:06:12 > 0:06:15but Brian doesn't sound like a local.
0:06:17 > 0:06:22Brian, thank you for bringing this wonderful little pot in today.
0:06:22 > 0:06:25What do you know about it?
0:06:25 > 0:06:28Virtually nothing. I inherited it from my parents
0:06:28 > 0:06:32and I believe it belonged to my father's aunt before that.
0:06:32 > 0:06:36So, it's hopefully anywhere between 80 to 100 years old, I think.
0:06:36 > 0:06:40Do you know what it's for? Do you use it for anything at home?
0:06:40 > 0:06:44Odds and ends go into it, because we've never known what it's for.
0:06:44 > 0:06:46It's something that came down through the family
0:06:46 > 0:06:49and I liked the decoration on it, so I kept it.
0:06:49 > 0:06:53The decoration is lovely. All this applied relief work on it.
0:06:53 > 0:06:56- It's two materials.- Right.
0:06:56 > 0:06:59- Let's get that out of the way first. They didn't start life together.- No.
0:06:59 > 0:07:03If we're looking at the original item, we're looking at that,
0:07:03 > 0:07:05- without that cover.- Right.
0:07:05 > 0:07:10What we've got is basically a Wedgwood-style black basalt,
0:07:10 > 0:07:14- which is a ceramic body, tea caddy.- Right.
0:07:14 > 0:07:21When this was made, in about 1800, 1820, so 200 years old,
0:07:21 > 0:07:23at the height of the Regency,
0:07:23 > 0:07:25in Staffordshire,
0:07:25 > 0:07:27Wedgwood's designs were selling all over the place,
0:07:27 > 0:07:30the most popular ceramics you could buy.
0:07:30 > 0:07:32- And people copied him.- Yeah.
0:07:32 > 0:07:36If this were Wedgwood, it would be a bit crisper.
0:07:36 > 0:07:40These reliefs would be deeper and, most importantly,
0:07:40 > 0:07:43- it would be marked "Wedgwood" on the bottom!- That's the clue(!)
0:07:43 > 0:07:48This is unmarked, so we can't immediately put a factory to it.
0:07:48 > 0:07:51- But it's definitely from Staffordshire.- Oh, good.
0:07:51 > 0:07:55The interesting thing is it started life with a cover like this...
0:07:55 > 0:07:57- Ah, but not that one. - ..but in the same body.
0:07:57 > 0:07:59That's become damaged.
0:07:59 > 0:08:04I think what's interesting is that somebody valued this enough,
0:08:04 > 0:08:10maybe 150, 160 years ago, to have a cover made for it -
0:08:10 > 0:08:13cos that fits exactly - in solid silver.
0:08:13 > 0:08:14Oh!
0:08:14 > 0:08:18Not an inexpensive thing to do, but it's part of its history.
0:08:18 > 0:08:19It's part of its life.
0:08:19 > 0:08:22This is part of its life, in a way.
0:08:22 > 0:08:25I wasn't sure if that was with it or not.
0:08:25 > 0:08:30- This is a jam spoon.- Right. - That's Sheffield, 1920,
0:08:30 > 0:08:35so that's a fair bit later, but might as well keep it with that.
0:08:35 > 0:08:38- The bad news is the value! - Thank you, yeah(!)
0:08:38 > 0:08:40This cover makes it more interesting.
0:08:40 > 0:08:43This spoon and the story make it more interesting, but less valuable.
0:08:43 > 0:08:45- Less valuable, yeah.- So...
0:08:45 > 0:08:49We're going to have to think in terms of £30 to £50
0:08:49 > 0:08:51- and a fixed reserve of £30 on it. - Yep.
0:08:51 > 0:08:52We'll put it into the auction
0:08:52 > 0:08:56and I think it should brew up some interest on the day.
0:08:56 > 0:08:59- Terrible, isn't it?- That was bad! - I know, I know.
0:08:59 > 0:09:02Well, Michael got that one off to a T.
0:09:02 > 0:09:05Now, let's see what David has lined up.
0:09:06 > 0:09:07- Hello, Sarah.- Hello.
0:09:07 > 0:09:11Thank you very much for bringing these items in with you.
0:09:11 > 0:09:14- Have you been rummaging about in your attic?- Yes.
0:09:14 > 0:09:16I'm clearing out the family silver.
0:09:16 > 0:09:19You were literally clearing out the family silver, right.
0:09:19 > 0:09:23Talk me through them. Are any of them family pieces?
0:09:23 > 0:09:27The boxes were my grandmother's.
0:09:27 > 0:09:30- I just remember them sitting on the mantelpiece.- Right.
0:09:30 > 0:09:34- I don't remember where they came from prior to my grandmother.- OK.
0:09:34 > 0:09:37- And, I think it's a letter opener? - Yes.
0:09:37 > 0:09:39I remember it being in the cupboard at home.
0:09:39 > 0:09:41I don't know where that came from.
0:09:41 > 0:09:46I'm inclined to think of them really as potentially two lots.
0:09:46 > 0:09:51We have four boxes, I think, naturally make up one lot.
0:09:51 > 0:09:56Then the letter opener, another lot. Let's treat them in those terms.
0:09:56 > 0:10:01We'll start with the letter opener, which has been gilded.
0:10:01 > 0:10:04In places the gilding has worn through
0:10:04 > 0:10:09- but it's more or less still all over, silver gilt.- Yes.
0:10:09 > 0:10:11This is inscribed,
0:10:11 > 0:10:15"Madeleine to Percy for their golden wedding,
0:10:15 > 0:10:19"with love and blessing to him for all his unfailing love
0:10:19 > 0:10:23"and goodness to her through these 50 years.
0:10:23 > 0:10:26- "16th October, 1910."- Yes.
0:10:26 > 0:10:29Isn't that a lovely inscription? But you don't know those people?
0:10:29 > 0:10:31I don't know who they are.
0:10:31 > 0:10:37- It's actually hallmarked for London and the letter P tells us, 1910.- OK.
0:10:37 > 0:10:40It was actually assayed in the same year that it was bought.
0:10:40 > 0:10:46- In my view, it's worth between £50 and £80.- Right.
0:10:46 > 0:10:49- I would suggest you put a reserve of £50 on that.- Yes.
0:10:49 > 0:10:54Now, the boxes, what I think is particularly interesting about these
0:10:54 > 0:11:00is that they all date from the very late 19th, early 20th century.
0:11:00 > 0:11:05We have a London hallmark on this one
0:11:05 > 0:11:08for 1898.
0:11:09 > 0:11:13Then we have this box, which is also Victorian.
0:11:13 > 0:11:16- Curiously, I think London, 1900. - Right.
0:11:16 > 0:11:19That strikes me as being something that might have been made
0:11:19 > 0:11:21- in the 1920s, 1930s.- Right.
0:11:21 > 0:11:27It almost has an art deco appearance, doesn't it? Very simple.
0:11:27 > 0:11:31This item is a matchbox holder.
0:11:31 > 0:11:35Again, hallmarked, this time in Birmingham,
0:11:35 > 0:11:40and this little chap here, with a painted cover,
0:11:40 > 0:11:44an Alpine scene, bears hallmarks
0:11:44 > 0:11:48but doesn't have the assay office amongst the marks.
0:11:48 > 0:11:51That's not uncommon. This one is 1905.
0:11:51 > 0:11:56This little group here made within seven years of each other,
0:11:56 > 0:12:03which I would say, had a combined value of 100 to 150.
0:12:03 > 0:12:06- I would suggest a reserve of £100. - Yes, OK.
0:12:06 > 0:12:09Have you anything in mind to spend the money on?
0:12:09 > 0:12:12We have a family wedding coming up in Cornwall.
0:12:12 > 0:12:16- That's got to be paid for?- It has. - And petrol?- And the petrol.
0:12:16 > 0:12:17- And a nice wedding present?- Yes.
0:12:17 > 0:12:20You could always give them one of these.
0:12:20 > 0:12:22More wedding bells!
0:12:29 > 0:12:30Collecting is a real bug.
0:12:30 > 0:12:32Once you've got it, there's no stopping it.
0:12:32 > 0:12:34Believe me, it's so addictive.
0:12:34 > 0:12:36Of course, there is one major problem.
0:12:36 > 0:12:40Sooner or later, you're going to run out of space to store it all.
0:12:40 > 0:12:43It's precisely at this point, back in 1955,
0:12:43 > 0:12:47that antiques dealer and collector Dennis Eyre Bower decided to do
0:12:47 > 0:12:52something radical about housing his own personal collections.
0:12:52 > 0:12:57So, he borrowed £6,000 from the bank and bought himself a castle.
0:12:57 > 0:13:00And this is it. Chiddingstone Castle.
0:13:00 > 0:13:04Dennis hoped to finance the running of the castle
0:13:04 > 0:13:09and pay off his debt to the bank by charging visitors half a crown.
0:13:09 > 0:13:13He had antiques from his four areas of interest on display
0:13:13 > 0:13:14to the public.
0:13:14 > 0:13:16Buddhism.
0:13:20 > 0:13:21Egyptian art.
0:13:22 > 0:13:24Stuart and Jacobean artefacts.
0:13:28 > 0:13:31And the exquisite Japanese collection.
0:13:31 > 0:13:35His acumen for antique collecting being much better
0:13:35 > 0:13:38than his grasp of property management.
0:13:38 > 0:13:40It's true to say that his obsession with collecting had
0:13:40 > 0:13:44a disastrous effect on every other area of his life.
0:13:47 > 0:13:51In the 1920s, he was reprimanded by the Midland Bank,
0:13:51 > 0:13:55his then employer, for sending out runners to place bids for him
0:13:55 > 0:13:57in the local auction rooms.
0:13:57 > 0:14:00I'd like to show you a photo of him here.
0:14:00 > 0:14:02Look, there he is, with his bank colleagues.
0:14:02 > 0:14:04I bet he was a big hit with the ladies.
0:14:04 > 0:14:06He does look like trouble, doesn't he?
0:14:06 > 0:14:10It comes as no surprise, in 1943, at the age of 38,
0:14:10 > 0:14:14he quit the bank for his overriding passion, antiques,
0:14:14 > 0:14:16and he became an antique dealer.
0:14:18 > 0:14:22Dennis's relationship with women also suffered largely,
0:14:22 > 0:14:25taking second place to his passion for collecting.
0:14:25 > 0:14:28Although he had many girlfriends and lovers,
0:14:28 > 0:14:30neither of his two marriages lasted very long.
0:14:30 > 0:14:33The first was annulled after only one year.
0:14:38 > 0:14:41The second after only five weeks.
0:14:41 > 0:14:45So it seems that Dennis left a trail of disappointed women behind him.
0:14:47 > 0:14:52Well, to crown it all, not long after taking over the castle,
0:14:52 > 0:14:56Dennis met and fell in love with a beautiful young lady half his age.
0:14:56 > 0:14:58He was so in love with her, but one day,
0:14:58 > 0:15:02when she threatened to call off the romance, he was so besotted,
0:15:02 > 0:15:06he ran to see her, picked up one of his antique guns, took it with
0:15:06 > 0:15:09him, dramatically threatening to kill himself if she called it off.
0:15:09 > 0:15:13Well, don't ask me how, but somehow, accidentally,
0:15:13 > 0:15:15he managed to shoot her.
0:15:15 > 0:15:18He was so horrified by what he did,
0:15:18 > 0:15:20he turned the gun on himself and tried to kill himself.
0:15:20 > 0:15:23After waking up in hospital,
0:15:23 > 0:15:26he found he was under arrest for attempted murder,
0:15:26 > 0:15:30because the young lady survived, but also attempted suicide.
0:15:31 > 0:15:34Dennis was sentenced to life imprisonment and spent
0:15:34 > 0:15:39a number of years in Wormwood Scrubs before finally being freed in 1962,
0:15:39 > 0:15:42when he returned to live at Chiddingstone Castle
0:15:42 > 0:15:44among his collections.
0:15:44 > 0:15:47You could say that his eye for the ladies brought him nothing
0:15:47 > 0:15:51but trouble, but we should all be grateful for his eye for antiques.
0:15:51 > 0:15:54I have arranged to meet Julia Hart,
0:15:54 > 0:15:58curator of Japanese Art at the Victoria and Albert Museum
0:15:58 > 0:16:00and also a trustee of Chiddingstone Castle,
0:16:00 > 0:16:03to look at some of Dennis's Japanese collection.
0:16:07 > 0:16:10There is a wonderful collection of Japanese artefacts here.
0:16:10 > 0:16:11- Absolutely. - We're surrounded by them.
0:16:11 > 0:16:14- Was this Dennis's main passion, then?- Yes.
0:16:14 > 0:16:15His father had a collection of
0:16:15 > 0:16:18Chinese ceramics and Japanese swords.
0:16:18 > 0:16:22From that, really developed his love for Japanese art.
0:16:22 > 0:16:25- So this is his niche. - Yes. One of his niches.
0:16:25 > 0:16:27One of his niches. What a great collector.
0:16:27 > 0:16:28I mean, this is what
0:16:28 > 0:16:31I would normally associate Japanese lacquerware with.
0:16:31 > 0:16:34Things like the sake bowls there, with the typical reds.
0:16:34 > 0:16:36- And, of course, the little writing box there.- Yes.
0:16:36 > 0:16:41Lacquer is basically the sap from a tree that grows in East
0:16:41 > 0:16:42and South East Asia.
0:16:42 > 0:16:46By making incisions in the bark, the sap oozes out.
0:16:46 > 0:16:48- They can draw it off.- Yes.
0:16:48 > 0:16:51It's collected and then it's processed.
0:16:51 > 0:16:54After that, it's coloured.
0:16:54 > 0:16:56When you're talking about lacquer
0:16:56 > 0:16:59and the depth of coat in the build-up of the lacquer,
0:16:59 > 0:17:02it's normally about 20 to 30 different coats of lacquer?
0:17:02 > 0:17:06Yes, you normally have a thin wooden base and on top of that,
0:17:06 > 0:17:09you build it up with layers of lacquer, essentially.
0:17:09 > 0:17:12Then you start on the decorative layer. So, it's a long process.
0:17:12 > 0:17:14- And it's expensive work.- I bet.
0:17:14 > 0:17:18And the vessels themselves, let's look at this little box.
0:17:18 > 0:17:20Now, that's obviously made of wood to start with
0:17:20 > 0:17:23- and then covered with these lacquer processes.- Yes.
0:17:23 > 0:17:28Looking here, that geometric design is so mathematically correct.
0:17:28 > 0:17:30- Absolutely.- That's some discipline to achieve there.
0:17:30 > 0:17:35Yes. Really testing the lacquer skills to be able to work with these
0:17:35 > 0:17:37minute pieces and place them individually.
0:17:37 > 0:17:41- This is some of the best work I've ever seen in my life.- Yes.
0:17:41 > 0:17:43- Let's talk about the little sake cups.- Yes.
0:17:43 > 0:17:46They are little drinking vessels. The equivalent to our wine glasses.
0:17:46 > 0:17:50- Right.- What age are they? - They are 19th century.
0:17:50 > 0:17:56There are many examples of this type of work produced on sake cups.
0:17:56 > 0:17:59- Sake, of course, is clear. - So you can see the image through it.
0:17:59 > 0:18:00You can see the design.
0:18:00 > 0:18:04Sometimes, they have decoration on the back, so that when you drink,
0:18:04 > 0:18:08the other person would see the design on the back.
0:18:18 > 0:18:21Do you respect Dennis as a collector, a connoisseur?
0:18:21 > 0:18:24- Did he have a good eye? - Absolutely.- I agree with you.
0:18:24 > 0:18:27I think he was an English eccentric,
0:18:27 > 0:18:29who happened to be in the right place
0:18:29 > 0:18:32at the right time in the right period.
0:18:32 > 0:18:34He was buying Japanese art
0:18:34 > 0:18:38at a time when it was no longer especially popular.
0:18:38 > 0:18:41- It wasn't fashionable, so the prices were low.- The prices were low.
0:18:41 > 0:18:44He was buying on modest means.
0:18:44 > 0:18:49And, with a very good eye, he was able to buy some spectacular pieces.
0:19:06 > 0:19:09Well, old Dennis may have had a turbulent private life,
0:19:09 > 0:19:13but I tell you what, boy, was he a good collector and dealer!
0:19:13 > 0:19:19He had a fabulous eye for detail. He followed his own instincts.
0:19:19 > 0:19:21He bought items when they weren't fashionable,
0:19:21 > 0:19:24so they were affordable. There's a lesson for us all there.
0:19:24 > 0:19:28He bought only quality and items that weren't overly restored.
0:19:28 > 0:19:33And his legacy is here today for us to enjoy at Chiddingstone Castle.
0:19:50 > 0:19:53I think it's about time we put those items to the test, don't you?
0:19:53 > 0:19:56While we make our way to the auction room for the very first time today,
0:19:56 > 0:19:58here's a quick recap,
0:19:58 > 0:20:01just to jog your memory of all the items going under the hammer.
0:20:01 > 0:20:05First, Marilyn's highly decorative Bohemian glass goblet,
0:20:05 > 0:20:09which she bought for the princely sum of just £1.
0:20:11 > 0:20:13Watercolours of the sea are always popular,
0:20:13 > 0:20:15so this one should swim away.
0:20:17 > 0:20:20And Michael spotted the caddy.
0:20:20 > 0:20:22It's a bit of a marriage, with a new lid and spoon,
0:20:22 > 0:20:24but the collectors love them.
0:20:26 > 0:20:30The same is true of David's last lots. The silver letter opener...
0:20:31 > 0:20:33..and the collection of boxes.
0:20:41 > 0:20:43Well, the weather is lovely so let's take the chance
0:20:43 > 0:20:46to travel along the south coast.
0:20:48 > 0:20:50That sign says it all.
0:20:50 > 0:20:52Today we're guests of Eastbourne auction rooms
0:20:52 > 0:20:54and everything's going under the hammer.
0:20:54 > 0:20:56We're putting those valuations to the test.
0:20:56 > 0:20:59Let's get inside and hopefully find a room packed with bidders.
0:21:01 > 0:21:03And it is packed!
0:21:03 > 0:21:07And auctioneer Paul Achilleus is already on the rostrum.
0:21:07 > 0:21:10Bid, 70, 80...
0:21:12 > 0:21:15Right now the Bohemian cut glass is about to go under the hammer.
0:21:15 > 0:21:18I've been joined by David and Marilyn here.
0:21:18 > 0:21:22This was picked up for £1 at a garage safari.
0:21:22 > 0:21:24Going for £1, ridiculously cheap.
0:21:24 > 0:21:27- Are you going back to some more garage safaris?- I want '60s glass.
0:21:27 > 0:21:30- Hopefully, we can find you some. - Right, OK.
0:21:30 > 0:21:33There might be some in the saleroom but now we've got business to do.
0:21:33 > 0:21:36Let's put this under the hammer and see what happens. Here we go.
0:21:38 > 0:21:41Now we have the Bohemian ruby glass goblet, enamelled with flowers.
0:21:41 > 0:21:46There it is. Due to conflicting bids, we start this at 50 and 5.
0:21:47 > 0:21:52At £55, I'll take 60 from you. At £55 only, 60's bid.
0:21:52 > 0:21:545, I've got at 65. I'll take 70.
0:21:54 > 0:21:56At 65, only. 70 is bid.
0:21:56 > 0:22:005, at 75, 80? 80, sir. 80 bid in the seat. At £80.
0:22:00 > 0:22:03- We've done it, £80 now. - £80 only, seated at 80.
0:22:03 > 0:22:05Anyone else coming in, then?
0:22:05 > 0:22:08At £80 and you see it sell on that bid. Are we all done?
0:22:08 > 0:22:11Just, £80. The hammer has gone down.
0:22:11 > 0:22:13For a pound.
0:22:13 > 0:22:16That's not bad going, is it? That's really good going.
0:22:16 > 0:22:19I can't work out the percentage profit, but it's enormous!
0:22:19 > 0:22:22Marilyn should be able to get some staggering '60s glass
0:22:22 > 0:22:24for that money.
0:22:24 > 0:22:26Next up it's my choice, a Cornish artwork.
0:22:26 > 0:22:30But Rod, who thought it would appeal to me, sadly can't be here today.
0:22:31 > 0:22:34We've got a watercolour by Douglas Pinder.
0:22:34 > 0:22:37It's of Port Isaac, down in Cornwall.
0:22:37 > 0:22:42Let's see what we can do. We're looking at £80 to £120. Here we go.
0:22:45 > 0:22:48The watercolour of a harbour, possibly around Cornwall,
0:22:48 > 0:22:51signed and stamped on the reverse, mounted and framed.
0:22:51 > 0:22:53There it is. How do we see that?
0:22:53 > 0:22:56- Who's got £50 to start?- 50, come on.
0:22:56 > 0:23:00- Give me 40 for it, then. - I've a feeling it might struggle.
0:23:00 > 0:23:03Is there 5 bid, 50?
0:23:03 > 0:23:0655, 60? And 5? 60 has it.
0:23:06 > 0:23:08At £60, anyone else, then?
0:23:08 > 0:23:10Come on, people.
0:23:10 > 0:23:13At 65, any more in the room? £65 in the room.
0:23:13 > 0:23:14£65.
0:23:14 > 0:23:1765, do I see 70 anywhere? At £65, then...
0:23:17 > 0:23:2070's bid on the phone. Phone bidder now at 70.
0:23:20 > 0:23:24Do you want 5 on the net? 75, 80? Is it on the phone?
0:23:24 > 0:23:27£75, net bidder has it. 80 bid, phone.
0:23:27 > 0:23:29- At 80 bid, phone.- We've sold it.
0:23:29 > 0:23:30Is there 5 on the net?
0:23:30 > 0:23:32£80 on the phone, then. You're out on the net, now.
0:23:32 > 0:23:34At £80, you're also out in the room.
0:23:34 > 0:23:36£80.
0:23:36 > 0:23:38Are we all done?
0:23:38 > 0:23:41And, yes, it has. We've sold it, thank goodness for that.
0:23:41 > 0:23:44Hopefully, it's probably gone back down to Cornwall.
0:23:44 > 0:23:46Saved by the phones, that time.
0:23:48 > 0:23:52Well, it's Brian's turn to find out exactly what it's worth, right now.
0:23:52 > 0:23:54The black basalt tea caddy is going under the hammer.
0:23:54 > 0:23:59- It's no money at all, £30 to £40, is it?- It's entry level.
0:23:59 > 0:24:03The thing is, somebody thought so much of it when it was made,
0:24:03 > 0:24:04they had a silver cover made.
0:24:04 > 0:24:07- That's nice.- It's a lovely touch, isn't it?- Yes.
0:24:07 > 0:24:10Let's find out what it's worth. Good luck, Brian.
0:24:12 > 0:24:15The 19th century, black basalt tea caddy.
0:24:15 > 0:24:18Decorated in relief with classical females, shown to you there.
0:24:18 > 0:24:20Who'll start me at £30 for this lot?
0:24:21 > 0:24:2530? 20, then. £20, I'm bid.
0:24:25 > 0:24:2920, 2, 5, eight, Sir. 30? 2?
0:24:29 > 0:24:33- 30 has it seated. At 32 and five. - They're off.
0:24:33 > 0:24:3838, 40, 42, 45, 48? No, 45.
0:24:38 > 0:24:42Gentleman seated at £45. Any further bids then at £45?
0:24:42 > 0:24:45- You'll see it sell on that bid. - The hammer's gone down, £45.
0:24:45 > 0:24:48- We're happy?- Yes.- Just over the top end of the estimate.
0:24:48 > 0:24:52Wherever we go, there is always a caddy collector. Every sale.
0:24:52 > 0:24:55He is right, you know, caddies are a safe bet.
0:24:55 > 0:24:57Next, two lots of silver,
0:24:57 > 0:25:00a collection of boxes and the letter opener.
0:25:03 > 0:25:06We have those but we do not have their owner, Sarah.
0:25:06 > 0:25:09She couldn't make it today. She has to work, she's a nurse.
0:25:09 > 0:25:11I hope you're doing well there, Sarah,
0:25:11 > 0:25:13but we do have Brian, her father.
0:25:13 > 0:25:16- Hello. Thank you for standing in. - Not at all.
0:25:16 > 0:25:20- Where does Sarah work?- She works at East Grinstead Hospital.- Busy girl.
0:25:20 > 0:25:22We're going to find out what the first lot goes for, first.
0:25:22 > 0:25:25Here's the four little boxes, now.
0:25:26 > 0:25:31The silver matchbox case and three boxes including a circular example
0:25:31 > 0:25:36set with porcelain panel to the lid, hand-painted with an Alpine view.
0:25:36 > 0:25:39There we are. We're going to start this at 160.
0:25:39 > 0:25:42At 160, 170 on the net.
0:25:42 > 0:25:45180 with me, 190, 200 with me. 210, I'll take on the net.
0:25:45 > 0:25:51- 210, there. 220 with me. 230.- We like this.- I'm out.
0:25:51 > 0:25:54At 230, the back of the room at 230. 240, new place.
0:25:54 > 0:25:56250. 260, 270.
0:25:56 > 0:26:01- We like this.- The lady's bid. 260, I'll take 70 elsewhere.
0:26:01 > 0:26:06£260, then, with the lady, at the back. 270 back in. 270, 280.
0:26:06 > 0:26:10At 270, I'll give you a chance to change your mind, as well. At £270.
0:26:10 > 0:26:15- 270, it is.- £270 and the hammer went down really quickly.
0:26:15 > 0:26:17Here is the second of the lots,
0:26:17 > 0:26:19the silver letter opener.
0:26:20 > 0:26:24There it is, the silver gilt letter opener with engraved inscription.
0:26:24 > 0:26:27There it is. Where are we here?
0:26:27 > 0:26:31Silver gilt one, there it is at 40 and 5, I'll take 50 from you.
0:26:31 > 0:26:35At £45, where is 50 now? At £45 only. 50's bid now.
0:26:35 > 0:26:40At 50, I'll take 5 elsewhere. At £50 only, anybody else then at 50?
0:26:40 > 0:26:43- Done and selling it on that bid of 50.- It's gone, anyway.
0:26:43 > 0:26:46That's a grand total of £320.
0:26:46 > 0:26:49You'll have to get on the phone and tell her, won't you, Dad?
0:26:49 > 0:26:53Immediately I walk away from here, I shall be on the phone.
0:26:53 > 0:26:55It'll make her day, won't it? Cheer her up in hospital.
0:26:55 > 0:26:58- That's a good result, I'm thrilled. - Yes, thank you very much indeed.
0:26:58 > 0:27:03Remember, all the money is going towards the Cornish wedding.
0:27:05 > 0:27:06While we've been in the area filming,
0:27:06 > 0:27:10I had the opportunity to go off and explore a garden.
0:27:10 > 0:27:13In the world of gardens, this is up there with the very best.
0:27:13 > 0:27:15Take a look at this.
0:27:34 > 0:27:36I'm standing right on the top of Sissinghurst Castle,
0:27:36 > 0:27:39looking out at the most spectacular view.
0:27:39 > 0:27:41It really is breathtaking.
0:27:41 > 0:27:46Down on what is, arguably, one of the finest gardens in England.
0:27:46 > 0:27:49We're in deepest Kent, right in the heart of the countryside,
0:27:49 > 0:27:52surrounded by woods, streams, farmland and meadows.
0:27:52 > 0:27:54It's the perfect location for these gardens.
0:27:54 > 0:27:58It's as if they've always been here as nature intended.
0:27:58 > 0:28:02Their success is due to a marriage of formality and informality.
0:28:02 > 0:28:05The classical elegance of its planning, as you can see there,
0:28:05 > 0:28:09and the romantic profusion of its planting.
0:28:09 > 0:28:12All of this is only possible because of the vision of not one,
0:28:12 > 0:28:14but two people.
0:28:14 > 0:28:17So, who were the co-creators of this celebrated garden
0:28:17 > 0:28:22and why did they devote most of their lives to making it?
0:28:26 > 0:28:31The garden is a blend of the talents of husband and wife team
0:28:31 > 0:28:33Harold Nicolson, the diplomat,
0:28:33 > 0:28:36and Vita Sackville-West, the author and poet.
0:28:36 > 0:28:39Harold providing the structure and elegance of the garden
0:28:39 > 0:28:44and Vita, filling it in with her opulent and extravagant planting.
0:28:44 > 0:28:48They both wanted to create somewhere that spoke of the past.
0:28:52 > 0:28:54Vita was a wealthy aristocrat
0:28:54 > 0:28:58who just missed out on inheriting her beloved family home of Knole
0:28:58 > 0:29:02to her uncle because of her gender. That's the way things were done.
0:29:02 > 0:29:04In 1930, she bought Sissinghurst
0:29:04 > 0:29:09and she must have seen the potential in creating something so magical
0:29:09 > 0:29:13out of what was the ruins of an old Elizabethan palace.
0:29:13 > 0:29:17You can understand why a romantic vision of old England
0:29:17 > 0:29:20really sits comfortably with her.
0:29:23 > 0:29:25I always enjoy being given access
0:29:25 > 0:29:28to somewhere that usually is out of bounds.
0:29:28 > 0:29:31In this case, Vita's private workroom,
0:29:31 > 0:29:34which would sit quite comfortably in a tale of old England.
0:29:34 > 0:29:37Even the door's creaking away. It's full of books.
0:29:37 > 0:29:39We are surrounded by all of her possessions,
0:29:39 > 0:29:43exactly how she would have left it. A wonderful atmosphere in here.
0:29:43 > 0:29:46Obviously, she would be deep in thought in this room,
0:29:46 > 0:29:49putting pen to paper and writing novels, poems, diaries
0:29:49 > 0:29:54and also her gardening column for the Observer newspaper,
0:29:54 > 0:29:56which ran for 16 years.
0:29:56 > 0:29:59Something else was discovered in this room.
0:29:59 > 0:30:02Her son Nigel found a locked Gladstone bag,
0:30:02 > 0:30:03which gave a fascinating insight
0:30:03 > 0:30:07into his mother's unconventional private life.
0:30:07 > 0:30:10It contained a confession of Vita's love
0:30:10 > 0:30:14for this beautiful lady here, Violet Trefusis.
0:30:14 > 0:30:16A gorgeous oil painting on canvas.
0:30:18 > 0:30:21That's painted by Sir Frank Lavery. Quite incredible.
0:30:21 > 0:30:24Later on, Virginia Woolf became one of Vita's lovers
0:30:24 > 0:30:27and Virginia immortalised her as one of the main characters
0:30:27 > 0:30:29in her novel, Orlando. Just looking around,
0:30:29 > 0:30:31you can open up the books,
0:30:31 > 0:30:33and there's lots of scribbles in the margins
0:30:33 > 0:30:35and I've picked one out for you here.
0:30:35 > 0:30:37This is another novel by Virginia Woolf.
0:30:37 > 0:30:41Down the margin, written in pencil, by Vita, it says,
0:30:41 > 0:30:48"Rubbish. It was frankly a lesbian love. V told me so."
0:30:48 > 0:30:53Isn't that incredible? Lots of history here in these books.
0:30:53 > 0:30:56I love these little scribbles.
0:30:56 > 0:30:58And things underlined, the important things.
0:30:58 > 0:31:02"Protecting the love of a woman for a woman."
0:31:03 > 0:31:05Vita and Harold were an extraordinary couple
0:31:05 > 0:31:07who crossed a few boundaries.
0:31:07 > 0:31:09Harold was also known to be homosexual.
0:31:09 > 0:31:12They had an open marriage for years.
0:31:16 > 0:31:20Despite this, they were devoted to each other.
0:31:20 > 0:31:24The garden is testimony to their relationship.
0:31:26 > 0:31:29So, where shall we start in this magnificent ten-roomed
0:31:29 > 0:31:31Arts and Crafts garden?
0:31:31 > 0:31:35Well, I think right here, don't you, in this purple border?
0:31:35 > 0:31:38Originally planted up by Vita.
0:31:38 > 0:31:42It does look such a showstopper.
0:31:42 > 0:31:46But it's made even more effective because they've kept
0:31:46 > 0:31:50the rest of the courtyard, as you can see here, incredibly formal.
0:31:50 > 0:31:53It's a super idea, it really does work.
0:31:56 > 0:31:58Again and again throughout the garden,
0:31:58 > 0:32:01we see areas enhanced by this use of contrasts.
0:32:01 > 0:32:05Would Harold's long crossing vistas have so much impact
0:32:05 > 0:32:08without Vita's fullness of planting,
0:32:08 > 0:32:12what she called the "cram, cram, cram every chink and cranny" method?
0:32:13 > 0:32:15While I'm here enjoying the garden,
0:32:15 > 0:32:18I want to find out from head gardener Alexis Datta
0:32:18 > 0:32:23how she maintains Harold and Vita's vision in the garden.
0:32:26 > 0:32:29Alexis, how long did it take Harold and Vita to create
0:32:29 > 0:32:31and establish these gardens?
0:32:31 > 0:32:37They bought the place in 1930, and amazingly, by 1939,
0:32:37 > 0:32:38when the war broke out,
0:32:38 > 0:32:42they'd already really created the bones of what you see today,
0:32:42 > 0:32:44the hedges and paths and everything like that,
0:32:44 > 0:32:47- and cleared all the rubbish away. - A lot of hard work.
0:32:47 > 0:32:48An awful lot, and pretty impressive,
0:32:48 > 0:32:51considering they were not professional gardeners,
0:32:51 > 0:32:55- so they did all that whilst also working at other jobs.- Crikey.
0:32:55 > 0:32:58They did employ people, of course, but they really, really put
0:32:58 > 0:32:59a lot of work in. Amazing.
0:32:59 > 0:33:02Just to have that vision and that foresight to plant it up like this,
0:33:02 > 0:33:05because everywhere you turn, everywhere you walk,
0:33:05 > 0:33:09there's the most interesting vista, and different height levels,
0:33:09 > 0:33:11which is interesting, and wonderful perspectives.
0:33:11 > 0:33:13It's interesting, you mention
0:33:13 > 0:33:17the vistas like this one going up are quite unusual.
0:33:17 > 0:33:19And that was Harold Nicolson's part.
0:33:19 > 0:33:22He was classical straight lines, very neat sort of man,
0:33:22 > 0:33:25and she was the opposite. She liked to see the plants...
0:33:25 > 0:33:27En masse, as much as possible.
0:33:27 > 0:33:30Yeah, letting them go over the paths and over the grass.
0:33:30 > 0:33:34- I like that, though, don't you? - Yeah, I think it's really great.
0:33:34 > 0:33:37But that was like their two personalities working together.
0:33:37 > 0:33:39And actually, looking up here today,
0:33:39 > 0:33:42there's quite a good example of that.
0:33:42 > 0:33:45And then the clematis coming over the wall.
0:33:45 > 0:33:50The geometry of it and the actual design of it is terribly clever,
0:33:50 > 0:33:53cos it's not actually that big, but you get big, long vistas like that,
0:33:53 > 0:33:56which gives you the impression of size.
0:33:56 > 0:34:00And actually, it's only seven acres, which, obviously, to you and me,
0:34:00 > 0:34:02- that's a lot for your back garden... - Yeah.
0:34:04 > 0:34:06It is really, really stunning,
0:34:06 > 0:34:10and I guess your job now is to sort of conserve this.
0:34:10 > 0:34:12Exactly what we are trying to do.
0:34:12 > 0:34:15I've got a bit of a free rein to be allowed to change it,
0:34:15 > 0:34:18- but within the spirit of the place. - Yeah, yeah.
0:34:18 > 0:34:21For instance, in the rose garden, we've got a lot of roses
0:34:21 > 0:34:25which are old-fashioned shrub roses, which are very prone to disease.
0:34:25 > 0:34:29So, we have introduced some new ones that are less prone.
0:34:29 > 0:34:31But I'm also always very aware of the fact that
0:34:31 > 0:34:33the ones that Vita loved so much,
0:34:33 > 0:34:35which we know about, cos she wrote about,
0:34:35 > 0:34:39- if they do die, to replace with the same.- Yeah.
0:34:39 > 0:34:42- Have you learned a lot from this? - Oh, an awful lot, yeah.
0:34:42 > 0:34:46- I've been gardening 40 years, 20 of them here.- 20 years here?
0:34:46 > 0:34:49Yeah, but I've learned so much since I've been here.
0:34:49 > 0:34:51- You'll never know it all.- No.
0:34:54 > 0:34:59Well, I must say, Alexis and her team are doing a terrific job here.
0:34:59 > 0:35:02Once again, we're enjoying that juxtaposition
0:35:02 > 0:35:05of Harold's formality of his straight-line hedging
0:35:05 > 0:35:08with that lovely, sumptuous planting up by Vita.
0:35:08 > 0:35:10This was the last garden they created here,
0:35:10 > 0:35:12and it's called the White Garden,
0:35:12 > 0:35:15with its nostalgic view of the tower there in the background
0:35:15 > 0:35:18reminding us of how England used to be.
0:35:18 > 0:35:21And I think that's exactly what they wanted.
0:35:30 > 0:35:33People are still arriving at the pavilion in Bexhill
0:35:33 > 0:35:37to have their unwanted collectibles and antiques valued.
0:35:38 > 0:35:42Let's see who David is talking to at the table.
0:35:43 > 0:35:44- Hello, Dougie.- Hello.
0:35:44 > 0:35:48- What a wonderful lorry you've brought along here.- Yeah.
0:35:48 > 0:35:50- Do you collect these?- I do.
0:35:50 > 0:35:55I collect all sorts of different toys, tinkertoys mostly now.
0:35:55 > 0:35:57- But I've got a few of these larger ones.- OK.
0:35:57 > 0:36:00And when did you buy this?
0:36:00 > 0:36:04- Oh, about in the 1970s, the early 1970s.- OK.
0:36:04 > 0:36:06Tell me a bit about it.
0:36:06 > 0:36:09- I'm sure you know far more about these things than I do.- Oh, right.
0:36:09 > 0:36:12- It obviously has a clockwork motor. - It has a clockwork motor, yes.
0:36:12 > 0:36:14That's the key to wind it up.
0:36:14 > 0:36:16This is the key to take it all apart,
0:36:16 > 0:36:18because it is actually a kit.
0:36:18 > 0:36:20I've never taken it apart,
0:36:20 > 0:36:23I'm worried about not being able to put it back together again.
0:36:23 > 0:36:27- I don't think I would.- So, it came preassembled?- It came like that.
0:36:27 > 0:36:30- You bought it preassembled. - I bought it like that, yeah.- OK.
0:36:30 > 0:36:32It's very old, it's 1950s.
0:36:32 > 0:36:36The firm who made this, Shackleton, I've been told,
0:36:36 > 0:36:38made them for four years, from '48 to '52.
0:36:38 > 0:36:41- And then they went out of production for some reason.- Right.
0:36:41 > 0:36:45- They never made them after that. - OK. So, the Shackleton firm...
0:36:45 > 0:36:49- And I see you brought along here the maintenance instructions.- Yeah.
0:36:49 > 0:36:52- Also in good condition.- Yeah.
0:36:52 > 0:36:54Nice to have those, I think they add value.
0:36:54 > 0:36:57It's very good to have them. It's a pity the box is missing now.
0:36:57 > 0:37:01Yes, of course. But Shackleton were in business just for four years.
0:37:01 > 0:37:04That's right. So I've been told.
0:37:04 > 0:37:07- So that must add to the scarcity, obviously.- Oh, yes.
0:37:07 > 0:37:09I've never seen another one.
0:37:09 > 0:37:11- We need to think about what it might be worth.- Yes.
0:37:11 > 0:37:15Before we do that, if it's in your collection,
0:37:15 > 0:37:16why are you thinking of selling it?
0:37:16 > 0:37:19Well, I'm going on a holiday to Las Vegas after Christmas.
0:37:19 > 0:37:23- Las Vegas, right.- And I need as much spending money as I can get.- Right.
0:37:23 > 0:37:25And this goes towards that.
0:37:25 > 0:37:27I love your waistcoat, that'll go down well.
0:37:27 > 0:37:29- It's not bad, is it?- It's fantastic.
0:37:29 > 0:37:35Anyway, I think this is going to make between £100 and £150.
0:37:35 > 0:37:38- Yeah.- I'm being a bit conservative. - Yeah, I think so.
0:37:38 > 0:37:41Nevertheless, we'll keep the estimate down to 100 to 150.
0:37:41 > 0:37:43- That's fine.- We'll make the reserve £100.- That's fine.
0:37:43 > 0:37:47So, it won't sell for less than 100 and let's hope it makes a lot more.
0:37:47 > 0:37:50- Yep, that's fine.- I'll see you at the sale.- I'll be there.
0:37:50 > 0:37:54- Thanks very much.- And I can just picture Dougie in Las Vegas.
0:37:56 > 0:38:00For me, there's always a surprise at every valuation day and today, I've come across this.
0:38:00 > 0:38:03It's a box, but it's not full of paperwork.
0:38:03 > 0:38:05It's full of the French army...
0:38:07 > 0:38:11..circa early 1800s, fighting the Battle of Waterloo.
0:38:11 > 0:38:12Here's the French artillery.
0:38:12 > 0:38:17They're lead soldiers, hand-painted. It brings back lots of memories
0:38:17 > 0:38:21because I used to collect lead soldiers and paint them by hand.
0:38:21 > 0:38:25I belonged to the Kingston Military Modelling Society when I was 15
0:38:25 > 0:38:27and I played war games with these old colonel types.
0:38:27 > 0:38:30Aren't they beautiful?
0:38:30 > 0:38:33It looks like Michael has had a lucky find
0:38:33 > 0:38:35with a piece of jewellery.
0:38:35 > 0:38:38You're wearing a lovely chain today,
0:38:38 > 0:38:40but this really isn't for a gentleman.
0:38:40 > 0:38:42- It's more of a ladies' piece.- Yeah.
0:38:42 > 0:38:44Can you tell me, why have you got it?
0:38:44 > 0:38:46Yeah, actually, it's not mine, it's my sister's.
0:38:46 > 0:38:52She bought it back in '85, '86 at a charity auction.
0:38:52 > 0:38:57- Ooh. They can be expensive, can't they?- Yeah, they were.
0:38:57 > 0:38:59It's not been out of the drawer for 20 years,
0:38:59 > 0:39:02because she'd become allergic to gold.
0:39:02 > 0:39:04- Oh, no!- Yeah.
0:39:04 > 0:39:09- After she bought that in a charity auction?- Yeah. So she can't wear it.
0:39:09 > 0:39:11That's the height of irony, I think.
0:39:11 > 0:39:13So, why couldn't your sister come today?
0:39:13 > 0:39:16She was too embarrassed to come in front of the cameras,
0:39:16 > 0:39:18so me being me, I said I'd do it.
0:39:18 > 0:39:20- You're game!- I am.
0:39:20 > 0:39:22That's marvellous.
0:39:22 > 0:39:26It is, I think, a modern pendant when it was sold in '85.
0:39:26 > 0:39:28It would have been made then.
0:39:28 > 0:39:33What we've basically got is a high-carat chain and mount
0:39:33 > 0:39:37framing some of the main business part of it,
0:39:37 > 0:39:40which is this heart-shaped diamond.
0:39:40 > 0:39:43It's of a relatively large size.
0:39:43 > 0:39:47Because it's a peculiar shape, it's difficult to gauge the weight,
0:39:47 > 0:39:51- but it's between 1.1 and 1.2 carats. - Right.
0:39:51 > 0:39:54Normally, this would all be very good news,
0:39:54 > 0:39:59if you had a brilliant-cut or a square-cut stone.
0:39:59 > 0:40:04- Cos often, these things are broken up again and remounted.- Yeah.
0:40:04 > 0:40:05As a consequence,
0:40:05 > 0:40:10- this isn't going to be worth as much as if it were a brilliant.- Yeah.
0:40:10 > 0:40:13Have you got any idea of its value or expectation?
0:40:13 > 0:40:19What she was looking for was hopefully 900 - 1,000.
0:40:19 > 0:40:21£900 - £1,000...
0:40:21 > 0:40:24I would be much more conservative than that
0:40:24 > 0:40:26but given what your sister wants
0:40:26 > 0:40:28and the fact that it is a heavy stone,
0:40:28 > 0:40:34let's compromise in a way and let's say £700 - £1,000
0:40:34 > 0:40:37and put a fixed reserve of £700.
0:40:37 > 0:40:40So, John, let's hope that there are at least two courting couples
0:40:40 > 0:40:45at the auction that would like to buy a token for their sweetheart.
0:40:45 > 0:40:47Thank you.
0:40:47 > 0:40:50I've never heard of anyone being allergic to gold before!
0:40:52 > 0:40:55- Hello, Andrew.- Morning.
0:40:55 > 0:40:57I love this picture. What are they doing?
0:40:57 > 0:41:00I believe they're shrimping.
0:41:00 > 0:41:03Right, it's an etching.
0:41:03 > 0:41:08What I like about etchings is they have a sort of calmness.
0:41:08 > 0:41:11A good etching has a clarity that goes with the quality of the line.
0:41:11 > 0:41:15This is beautiful. It expresses those characteristics so well.
0:41:15 > 0:41:17What can you tell me about it?
0:41:17 > 0:41:19All I really know is
0:41:19 > 0:41:24that my mother passed it to my wife, Susan, before she died.
0:41:24 > 0:41:27- Right.- That's basically all I know about it.
0:41:27 > 0:41:31- When was your mother born? - 1908.- Right.
0:41:33 > 0:41:37The artist, Lionel Percy Smythe, was born in 1839
0:41:37 > 0:41:43and he died in 1918, so your mother would have been 10 when he died.
0:41:43 > 0:41:47It's most unlikely that your mother would have owned this from new.
0:41:47 > 0:41:51She would probably have acquired it at some stage in the 1920s or 1930s,
0:41:51 > 0:41:54perhaps when she had a bit of spending power, really.
0:41:54 > 0:41:58Let's have a little look at that label.
0:42:00 > 0:42:07Yes, this indeed confirms that the artist was Lionel Smythe.
0:42:07 > 0:42:09The subject is the Boulogne shrimpers,
0:42:09 > 0:42:12so they are shrimping and they're shrimping in Boulogne,
0:42:12 > 0:42:16so the artist obviously has travelled to France.
0:42:16 > 0:42:21It confirms it's an original etching and in fact, it's an artist's proof.
0:42:21 > 0:42:26That tells us this was pulled off very early in the print-making process
0:42:26 > 0:42:29for the artist to look at himself and to decide
0:42:29 > 0:42:33whether the quality was good enough for it to go into production.
0:42:33 > 0:42:38A lovely thing and it's as it should be, original frame, original mount.
0:42:40 > 0:42:44- I think it has a value of between £60 and £80.- OK.
0:42:44 > 0:42:47Just to make sure it doesn't get given away,
0:42:47 > 0:42:51- I suggest you put a reserve of £50 on it, just below the £60.- Yeah.
0:42:51 > 0:42:55- And we'll make that a fixed reserve. - OK, thank you very much.
0:42:55 > 0:43:00What a lovely picture and at that price, it's a real bargain.
0:43:00 > 0:43:05Next, Michael is impressed by what fellow Michael has brought in.
0:43:06 > 0:43:10To have one early firearm might be chance,
0:43:10 > 0:43:13to have two smacks of collecting.
0:43:13 > 0:43:15Can you tell me where you got them?
0:43:15 > 0:43:18That's the entirety of my collection.
0:43:18 > 0:43:20HE LAUGHS Right!
0:43:20 > 0:43:22I just bought them by chance.
0:43:22 > 0:43:24This one I saw, I think it was at an antiques fair,
0:43:24 > 0:43:2810, 12, 15 years ago, bit of an impulse buy.
0:43:28 > 0:43:33This particular one, I used to like clay-pigeon shooting...
0:43:33 > 0:43:37- Not with this, though? - Not with that. Definitely not.
0:43:37 > 0:43:41It had been on the shelf in the shop I used to use for years
0:43:41 > 0:43:44and I made him a silly offer and he accepted it.
0:43:44 > 0:43:47- Silly offer?- Yeah. - What's a silly offer these days?
0:43:47 > 0:43:51I can't rem... I think 150 quid or something like that for it.
0:43:51 > 0:43:54Let's deal with this musket first.
0:43:54 > 0:43:57Very accommodatingly, these are both flintlocks.
0:43:57 > 0:44:01This one's dated on the action, 1801.
0:44:01 > 0:44:03There's no problem there.
0:44:03 > 0:44:06This, I think you've done a bit of research on this?
0:44:06 > 0:44:09Only a little bit. What I've been told by various people,
0:44:09 > 0:44:12that this ended up in Afghanistan,
0:44:12 > 0:44:14which is where they used to decorate them like this
0:44:14 > 0:44:18- with the mother of pearl and the brass inlay.- Right.
0:44:18 > 0:44:22It's possible, although this is quite crude workmanship,
0:44:22 > 0:44:25often they're much more elaborate than this
0:44:25 > 0:44:28and you will actually have gold work in them, or silver,
0:44:28 > 0:44:31and they're almost of gem-like quality.
0:44:31 > 0:44:33Sadly, there are still lots of them about
0:44:33 > 0:44:35and it's really the finely worked ones
0:44:35 > 0:44:38that are worth a great deal of money and are collectible.
0:44:38 > 0:44:40However, we've got this.
0:44:40 > 0:44:46- This is a different kettle of fish. Michael, I like this.- Good.
0:44:46 > 0:44:50I seriously considered running away with this, that's how nice it is.
0:44:50 > 0:44:53We've got, again, a flintlock action.
0:44:53 > 0:44:57All you've got with a flintlock is a flint set into the head here,
0:44:57 > 0:45:00it strikes down on the strike plates,
0:45:00 > 0:45:04the sparks go in there, where you pop your black powder,
0:45:04 > 0:45:08the charge goes through the vent and off we go.
0:45:08 > 0:45:10It's a blunderbuss.
0:45:10 > 0:45:13It's stamped on the top of the barrel, London
0:45:13 > 0:45:16and then we've got the proof marks here for the London proof house.
0:45:16 > 0:45:20We've got, on the action here, the maker's name.
0:45:20 > 0:45:23It's a little faint, because it had a bit of wear,
0:45:23 > 0:45:26but we've got Moore and he was working
0:45:26 > 0:45:31around about 1790 to about 1800, 1802.
0:45:31 > 0:45:35You brought them in together, but I think it's very sensible
0:45:35 > 0:45:37that we split them and sell them separately.
0:45:37 > 0:45:41They're two different guns for two very different collecting markets.
0:45:41 > 0:45:46I think we should put that into auction at say 150-250,
0:45:46 > 0:45:49put a 150 reserve on it and see where it goes.
0:45:49 > 0:45:51This is a different kettle of fish.
0:45:51 > 0:45:54In this condition, let's say 500-800,
0:45:54 > 0:45:59because it's worth £500 all day long. It's a super piece.
0:45:59 > 0:46:02Let's put the reserve at 500 as well, if you're happy with that?
0:46:02 > 0:46:05I can drop it down, I don't want it back. It's there to sell.
0:46:05 > 0:46:09You don't want it back? If you don't want it back, I'll take it!
0:46:09 > 0:46:12- Let's put a discretionary reserve of £400 on it.- Yep, that's great.
0:46:12 > 0:46:14That's marvellous.
0:46:14 > 0:46:16We often get people arguing the price up,
0:46:16 > 0:46:18we never get them arguing it down.
0:46:18 > 0:46:21They're heavy, I don't want to carry them home.
0:46:21 > 0:46:23That is a practical approach!
0:46:23 > 0:46:26Let's get that and our other items wrapped up and sent off to auction.
0:46:26 > 0:46:30And here's a quick reminder of what we're taking.
0:46:30 > 0:46:33The question is, will the bidders be queuing up in Eastbourne
0:46:33 > 0:46:36to buy Dougie's flatbed lorry?
0:46:41 > 0:46:43Michael spotted the large diamond in the shape of a heart
0:46:43 > 0:46:46and what a whopper!
0:46:48 > 0:46:52Next, the sensitive etching of the shrimpers from Boulogne.
0:46:56 > 0:46:59Ending with a bang, we have the long barrel rifle...
0:46:59 > 0:47:02and the splendid blunderbuss.
0:47:06 > 0:47:0960's bid. 70, 80, 30.
0:47:09 > 0:47:1030, I'm bid... 70, I'm out.
0:47:10 > 0:47:12At 70...
0:47:12 > 0:47:15Seven years ago, he took that to the Antiques Roadshow
0:47:15 > 0:47:19and they valued it at £500 to £700.
0:47:19 > 0:47:22So, has it gone down that much in value?
0:47:22 > 0:47:25The market has dropped.
0:47:25 > 0:47:30- I mean, we did sell a boxed example. - Same lorry?- Same lorry.
0:47:30 > 0:47:32Boxed example. Nice clean box with it, as well.
0:47:32 > 0:47:36- I think it made around about 400 a couple of years ago.- Boxed?- Boxed.
0:47:36 > 0:47:39- So, the prices have really dropped. - They have dropped, yeah.
0:47:39 > 0:47:42That's incredible, isn't it? I mean, that's a rare little lorry.
0:47:42 > 0:47:43It is a rare little lorry, yes.
0:47:43 > 0:47:45I was rather hoping you would say,
0:47:45 > 0:47:47"Look, I think our experts are wrong,"
0:47:47 > 0:47:50and you've put the price back up to £400 to £600.
0:47:50 > 0:47:53- No, I think your experts are... - Bang on.- Bang on.
0:47:53 > 0:47:55Yeah they are, aren't they?
0:47:58 > 0:48:01Well, that was auctioneer Paul's view of it.
0:48:01 > 0:48:0460's bid. 70, 80, 30.
0:48:04 > 0:48:0530, I'm bid... 70, I'm out.
0:48:05 > 0:48:07At 70...
0:48:07 > 0:48:10Now for Dougie's flatbed lorry.
0:48:11 > 0:48:15Now, I had a chat with the auctioneer yesterday.
0:48:15 > 0:48:18We were talking about how dramatically in value
0:48:18 > 0:48:20this lorry has lost a lot of money in the last few years.
0:48:20 > 0:48:23- It has.- But you didn't want to sell it then.- I didn't.
0:48:23 > 0:48:26- You're still collecting. - I wouldn't have sold it then.
0:48:26 > 0:48:30- How many are in the collection? - In my collection indoors?- Yeah.
0:48:30 > 0:48:33- Oh, hundreds, hundreds of them. - Indoors? Is there more outdoors?- No.
0:48:33 > 0:48:34OK.
0:48:34 > 0:48:37I've got a massive collection of tinkertoys, yeah.
0:48:37 > 0:48:39I've been collecting them for years.
0:48:39 > 0:48:42What does the girlfriend think of all this?
0:48:42 > 0:48:43Not very impressed, I'm afraid.
0:48:43 > 0:48:46- She's not?- No.- But you're taking her to Vegas?- Oh, yeah.
0:48:46 > 0:48:48- She's going to be impressed by that. - She'll be impressed by that.
0:48:48 > 0:48:52The Shackleton. The scale model flatbed lorry,
0:48:52 > 0:48:54with the original instructions and tools.
0:48:54 > 0:48:57We'll start this at £100 with ten bids straight away.
0:48:57 > 0:49:03At 120 in the room. There at 120. 130. 140. 150. 160. 170. 180. 190.
0:49:03 > 0:49:07190, 200. 210. 220. 210 has it.
0:49:07 > 0:49:11- At 210. 220 in the room. - In the room.- 230. 240.
0:49:11 > 0:49:17250. 260. 270. 280. 290. 300. And 10. 320. 310 has it.
0:49:17 > 0:49:21At 310. At 310 in the room. 320 on the telephone.
0:49:21 > 0:49:24- Keep going, keep going. - 330 in the room.
0:49:24 > 0:49:29340 on the phone if you like. 340 is bid. 350 now. 360.
0:49:30 > 0:49:33360. 370. 380.
0:49:35 > 0:49:39390. 400? No. 390 in the room.
0:49:39 > 0:49:43You're out on the internet and you're also out on the phone.
0:49:43 > 0:49:45All done on that bid? 390.
0:49:45 > 0:49:47- Very good.- The hammer has gone down. You know what that means?
0:49:47 > 0:49:49- Yeah.- Ka-ching!
0:49:49 > 0:49:52Ka-ching, yeah, brilliant. Ka-ching, yeah. More spending money.
0:49:52 > 0:49:56- Good luck. Have a great time.- Yeah, I will. Thank you much for your help.
0:49:56 > 0:49:58This auction business has been a gamble as well.
0:49:58 > 0:49:59But that gamble paid off.
0:49:59 > 0:50:02I was always confident that it was going to fetch a good price.
0:50:02 > 0:50:04That's why I said I'm not worried about the reserve.
0:50:04 > 0:50:07You were right, Dougie.
0:50:07 > 0:50:10- Quality always sells. That's what you always say.- Yeah.
0:50:10 > 0:50:13- And it had it in abundance.- Yeah.
0:50:16 > 0:50:19It is a lot of money, £700 - £1,000 and hopefully, John,
0:50:19 > 0:50:21- we're sending you home with that top end.- Hopefully.
0:50:21 > 0:50:25As you know, you've been to auctions before, anything could happen.
0:50:25 > 0:50:29- It really could.- Well, John's sister wanted a reserve of 700.
0:50:29 > 0:50:33I felt, because it's a carat stone, it's worth giving it a go.
0:50:33 > 0:50:36The only thing against it is the unusual heart-shaped cut.
0:50:36 > 0:50:39The odds are now stacked against us.
0:50:39 > 0:50:41Let's find out what happens, John.
0:50:42 > 0:50:45The heart-shaped gold mounted diamond pendant,
0:50:45 > 0:50:49approximately 1.5 carats on a gilt metal chain.
0:50:49 > 0:50:51There it is at 500, I'm bid.
0:50:51 > 0:50:53At 500, 520, 550, 580.
0:50:53 > 0:50:56At 580, 600, 620.
0:50:56 > 0:50:57At 620, now, any more?
0:50:57 > 0:51:00At £620, 650 on the net, now.
0:51:00 > 0:51:03680 in the room. At 680, 700? Is it?
0:51:03 > 0:51:06700 on the net, 720 in the room.
0:51:06 > 0:51:08No, 700 on the net now.
0:51:08 > 0:51:10At £700 then, internet has it. At £700, then?
0:51:10 > 0:51:12Anyone else coming in at 700?
0:51:12 > 0:51:15Are we all done? And I sell it to you on the net.
0:51:15 > 0:51:17- Got to be happy with that. - Yeah, that's good.
0:51:17 > 0:51:20It's not everybody's taste, it's the way they were cut.
0:51:20 > 0:51:25It's not a trade lot and I have a feeling there was somebody at home looking for a present...
0:51:25 > 0:51:28- Fell in love with that. - ..hovering, and they got it.
0:51:28 > 0:51:30I think it's a good result.
0:51:30 > 0:51:33- Will your sister be happy? - I hope so!
0:51:33 > 0:51:37Well, there you are, love conquers all.
0:51:37 > 0:51:40Next, David's delightful choice.
0:51:40 > 0:51:43Going under the hammer right now, a lovely etching,
0:51:43 > 0:51:46the Boulogne Shrimpers by Lionel Smythe and it belongs to Andrew.
0:51:46 > 0:51:49£60 - £80, probably for not much longer.
0:51:49 > 0:51:53- Why have you decided to sell this? - The reason is, we've moved from
0:51:53 > 0:51:55a three-bedroom house to a two-bedroom bungalow.
0:51:55 > 0:51:57- Downsizing, are you? - Downsizing, and we haven't got
0:51:57 > 0:52:00- the space to hang it. - Fingers crossed.
0:52:00 > 0:52:05I love etchings. To me, an etching combines craft and art.
0:52:05 > 0:52:08When the artist designs the picture,
0:52:08 > 0:52:11he draws the original, and then he etches it.
0:52:11 > 0:52:13He's a craftsman and an artist.
0:52:13 > 0:52:16- Let's hope he fetches a good price. - He will.
0:52:16 > 0:52:17OK, let's find out, shall we?
0:52:19 > 0:52:21Lionel Smythe, Boulogne Shrimpers.
0:52:21 > 0:52:23The artist's proof etching,
0:52:23 > 0:52:25pencil signed to the margin, mounted and framed.
0:52:25 > 0:52:27There it is with me at 40.
0:52:27 > 0:52:29And five bid, at 45, I'll take 50 from you.
0:52:29 > 0:52:33At 45, 50 seated, sir. At £50, seated in front. At £50.
0:52:33 > 0:52:35We've got it away.
0:52:35 > 0:52:39At 55, 60. 60, and five on the telephone?
0:52:39 > 0:52:4265 and 70. And five?
0:52:42 > 0:52:4475, 80 and five?
0:52:44 > 0:52:4690 and five?
0:52:46 > 0:52:4995 on the phone, 110 on the phone.
0:52:51 > 0:52:53110 on the phone, 120, sir, 130 on the phone.
0:52:53 > 0:52:57140. 140 is bid, 150, will you?
0:52:57 > 0:53:01160, will you, sir? 170 now.
0:53:01 > 0:53:04180 now. 190.
0:53:04 > 0:53:07200. No? 190, on the telephone.
0:53:07 > 0:53:10- £190!- Anybody else coming in, then?
0:53:10 > 0:53:13At £190, I sell it to the telephone bidder.
0:53:13 > 0:53:15Are you all out in the room at 190?
0:53:15 > 0:53:18- Yes, fabulous result! Really, really good result.- I'm pleased with that.
0:53:18 > 0:53:22- I bet you are! More than what we thought as well.- Too right.
0:53:22 > 0:53:25That is a charming scene
0:53:25 > 0:53:29and I'm not surprised someone fell in love with it.
0:53:29 > 0:53:31It's now time to put those guns under the hammer
0:53:31 > 0:53:34and we're starting with the long-barrelled rifle.
0:53:34 > 0:53:35Let's hope we hit that target.
0:53:35 > 0:53:38I did have a chat to the auctioneer a bit earlier.
0:53:38 > 0:53:40He said there are two markets for these guns.
0:53:40 > 0:53:45The long-barrelled rifle, definitely the decorators market with all of the inlay
0:53:45 > 0:53:49and the second, the blunderbuss, militaria collectors.
0:53:49 > 0:53:53But right now, we're going to put the long-barrelled rifle under the hammer.
0:53:53 > 0:53:56What is all the money going towards? Why are we selling these?
0:53:56 > 0:53:59- For a new exhaust system on my car. - Is it? Is it a classic car?
0:53:59 > 0:54:02- Yeah.- Lovely, what is it? - It's an old Jag.
0:54:02 > 0:54:05- At least it's not one banger to another, is it?- No!
0:54:07 > 0:54:1119th century East India Company military long-barrelled rifle.
0:54:11 > 0:54:12There it is.
0:54:12 > 0:54:16And we are showing a telephone bidder here as well
0:54:16 > 0:54:19and straightaway we'll start this at 130.
0:54:19 > 0:54:22At 130. At 130, 140's bid on the internet.
0:54:22 > 0:54:26150, 160 on the internet. 200 on the internet. Internet bidding to 200.
0:54:26 > 0:54:31210 on the internet now. At £210, all on the internet now at 210.
0:54:31 > 0:54:34220, internet has it at 220.
0:54:34 > 0:54:37At 220, 230, internet bid at 230.
0:54:37 > 0:54:40- Internet bidding at 230, 240 on the telephone now.- Wonderful!
0:54:40 > 0:54:43At 240, telephone bidder has it now at 240. 250 on the internet.
0:54:43 > 0:54:46- Clicking all over the world for this now!- It's great.
0:54:46 > 0:54:49260, internet. You've missed your slot there.
0:54:49 > 0:54:52260, internet bidder has it now. Another internet, 270.
0:54:52 > 0:54:55This is lovely, on the phone, to the internet, to the phone.
0:54:55 > 0:54:59280, telephone now. 280, telephone. 280, telephone.
0:54:59 > 0:55:01290 on the net? You're out on the internet now.
0:55:01 > 0:55:05I'm selling it on the telephone. 290, back in. 290.
0:55:05 > 0:55:08On the net, 290. 300, may I say?
0:55:08 > 0:55:13At £290, internet bidding has it at £290.
0:55:13 > 0:55:15Anybody else coming in at 290?
0:55:15 > 0:55:17All done on that bid then? 290.
0:55:17 > 0:55:18The hammer's gone down, sold.
0:55:18 > 0:55:23First one, £290, well done, top end of that estimate.
0:55:23 > 0:55:25Here's the next one, the blunderbuss.
0:55:25 > 0:55:30We're looking at a revised estimate now of £400 - £600, but I'm confident it should breeze that.
0:55:32 > 0:55:3719th century brass and mahogany military blunderbuss rifle
0:55:37 > 0:55:40with chase decorations and mounted stock.
0:55:40 > 0:55:44There it is, nice example as you see it there. 320, 330, 340, 350.
0:55:44 > 0:55:46It's all in the room at the moment.
0:55:46 > 0:55:49The internet hasn't kicked in and no phones.
0:55:49 > 0:55:50Good, we're levelling.
0:55:50 > 0:55:56370 in the room has it, 370. 380, 390, sir, 390. 400.
0:55:56 > 0:55:59- 420.- We're getting there! - 420 bid on the net now.
0:55:59 > 0:56:01At 420, is there 40?
0:56:01 > 0:56:05At £420, internet bidder has it then. 440 at the back.
0:56:05 > 0:56:06440 is bid, at 440.
0:56:06 > 0:56:08- Good piece.- It is a good piece.
0:56:08 > 0:56:12Internet bidder then, 460, is there 80?
0:56:12 > 0:56:15At £460, in the room then at 460?
0:56:15 > 0:56:17Selling to the internet now, 460.
0:56:17 > 0:56:21£460, it's sold. Well done, well done.
0:56:21 > 0:56:22I'm really pleased with that
0:56:22 > 0:56:26although I thought it was the better of the two guns by a country mile,
0:56:26 > 0:56:30which shows that the decorative appeal is actually surpassing the militaria collectors.
0:56:30 > 0:56:35Interestingly enough, Paul yesterday, when I had a chat to him at the auction preview day
0:56:35 > 0:56:39said the decorators' market is really low at the moment,
0:56:39 > 0:56:41so just goes to show, no-one really knows.
0:56:41 > 0:56:45We can't judge it on a gun by gun basis, can we?
0:56:45 > 0:56:50But bang, it hit the target, and that's a total of £750.
0:56:50 > 0:56:53- That's a new exhaust system. - It is, yeah.
0:56:53 > 0:56:57£80, final bid 80, are you all done?
0:56:57 > 0:56:59GAVEL BANGS
0:56:59 > 0:57:01Well, that's it, it's all over.
0:57:01 > 0:57:04I don't know about you but I thoroughly enjoyed this auction.
0:57:04 > 0:57:07We had it all, some highs and some lows, will it, won't it?
0:57:07 > 0:57:09But that's auctions for you -
0:57:09 > 0:57:11you just cannot predict what's going to happen.
0:57:11 > 0:57:14Fasten your seatbelts for another ride soon,
0:57:14 > 0:57:16but until then, from Eastbourne, it's goodbye.