0:00:08 > 0:00:11Here in Lancashire, it's easy to indulge in the local delicacies,
0:00:11 > 0:00:14like the hotpot and the world-famous cheeses.
0:00:14 > 0:00:17But Preston is also the birthplace of the teetotaller, so I can
0:00:17 > 0:00:21assure you we'll all be keeping a clear head on today's show.
0:00:21 > 0:00:22Welcome to "Flog It!".
0:00:47 > 0:00:49Formerly known as Priest Town,
0:00:49 > 0:00:53Preston is named after the monks who originally settled here,
0:00:53 > 0:00:55so it's quite appropriate that our venue for today
0:00:55 > 0:00:58is the magnificent church of St John's.
0:00:58 > 0:01:00And there's a healthy crowd of people here,
0:01:00 > 0:01:03all snaking their way around the steps.
0:01:03 > 0:01:08Our experts today are James Lewis and David Fletcher.
0:01:08 > 0:01:10And they are already on the case delivering verdicts.
0:01:10 > 0:01:14But right now it's time to get the doors open.
0:01:14 > 0:01:16- Are you ready to go inside?- Yes! - That's a big yes.
0:01:16 > 0:01:18Let's get them in, come on.
0:01:18 > 0:01:21You're the first in the queue, aren't you? What's your name?
0:01:21 > 0:01:23- Anthony.- Anthony, well done.
0:01:25 > 0:01:27Today's show is a roller-coaster of emotions,
0:01:27 > 0:01:30with some priceless reactions from our owners.
0:01:30 > 0:01:32You will give me a heart attack!
0:01:32 > 0:01:36I'm amazed! I'm really amazed.
0:01:40 > 0:01:43But which of these items goes for over a grand?
0:01:43 > 0:01:46Is it this sparkling tea caddy?
0:01:47 > 0:01:49- You've got something...- Very old.
0:01:49 > 0:01:51Quite nice and very old.
0:01:51 > 0:01:54These Oriental carvings.
0:01:54 > 0:01:58This is around 1900, this is slightly earlier.
0:01:58 > 0:02:00This is about 1880, 1890.
0:02:00 > 0:02:03Or this Royal Doulton figurine.
0:02:03 > 0:02:06This figure was only in production for two years
0:02:06 > 0:02:09and as such is a rarity, really.
0:02:12 > 0:02:15Everybody is now safely seated inside.
0:02:15 > 0:02:19I think it's about time we found some treasures, don't you? And that's down to our experts.
0:02:19 > 0:02:22It looks like James Lewis has spotted a real gem.
0:02:22 > 0:02:26Let's take a closer look at what he's looking at. He's over there.
0:02:26 > 0:02:31Joan, I have to say of all the things I was expecting to see here in Preston,
0:02:31 > 0:02:35a pair of Japanese watercolours wasn't really on my list.
0:02:35 > 0:02:37Wasn't it? Oh, right.
0:02:37 > 0:02:41What are they doing here, how have they found their way to Preston
0:02:41 > 0:02:43and what do you know about them?
0:02:43 > 0:02:47I was given them about 30 years ago by an elderly lady.
0:02:47 > 0:02:50So I've had them on my wall at home for a number of years.
0:02:50 > 0:02:53Then they got put to the back of the cupboard.
0:02:53 > 0:02:56Then the other day I was cleaning my cupboards out,
0:02:56 > 0:02:58I came across these two pictures and I thought,
0:02:58 > 0:03:03really, I've got to downsize now and I'll throw them out.
0:03:03 > 0:03:07I put them in a plastic bag by the dustbin last week.
0:03:07 > 0:03:11Then I thought, just check that name on the side of the picture.
0:03:11 > 0:03:15I checked on the internet and he seems as though he's quite well known.
0:03:15 > 0:03:19- So what have you found out about them?- I found out that he was called Tadashi.
0:03:19 > 0:03:22Yes, Tadashi was his first name.
0:03:22 > 0:03:25I should think they were probably '40s, '50s.
0:03:26 > 0:03:29Looking at their style, this is something
0:03:29 > 0:03:33that would have been painted when Japanese art in the West
0:03:33 > 0:03:35was very out of fashion.
0:03:35 > 0:03:39But he hasn't done them for his own market in Japan
0:03:39 > 0:03:43because he's signed them T - for Tadashi - Nakayama,
0:03:43 > 0:03:46but he's signed them in the Western way.
0:03:46 > 0:03:48It would be interesting to know
0:03:48 > 0:03:52if maybe somebody in the Navy visited the Far East.
0:03:52 > 0:03:55Well, this lady who gave me these,
0:03:55 > 0:03:59she was a nurse and she travelled quite extensively.
0:03:59 > 0:04:02She probably worked over there as well.
0:04:02 > 0:04:06Whether she picked them up there and brought them back here,
0:04:06 > 0:04:08you know, I would imagine she did, really.
0:04:08 > 0:04:10When it comes to value,
0:04:10 > 0:04:16I reckon we should put an estimate of £100-£150 on them.
0:04:16 > 0:04:19They might make a shade more, they might make 180, 200.
0:04:19 > 0:04:21But I think that's a sensible figure.
0:04:21 > 0:04:25- My word, it's better than throwing them out, isn't it?- Absolutely, yes.
0:04:25 > 0:04:29I've stepped outside now to the peace and quiet of the courtyard,
0:04:29 > 0:04:33to look at a very special item Evelyn has brought along.
0:04:33 > 0:04:38- I pulled you out of the crowd because you're holding a little mother-of-pearl tea caddy.- Yes.
0:04:38 > 0:04:42- So how did you come by this? - Well, my mother had it and she gave it to me. It was her aunt's.
0:04:42 > 0:04:44I've had it 40 years now.
0:04:44 > 0:04:47And is it something you're considering selling?
0:04:47 > 0:04:50Well, I didn't think it was worth anything, really.
0:04:50 > 0:04:53I haven't told you yet, have I?
0:04:53 > 0:04:59No, because the lid's broke and a lot of pearl's missing from it.
0:04:59 > 0:05:04Let's have a look. Yes, you can see this wonderful repetitive geometric pattern.
0:05:04 > 0:05:08This is, believe it or not, very late Georgian.
0:05:08 > 0:05:10It's pre-Victorian.
0:05:10 > 0:05:16- I'd put this at around 1830, 1835. You've got something...- Very old.
0:05:16 > 0:05:20- Quite nice and very old, yes. - And to think what I've been putting in it, Paul.
0:05:20 > 0:05:24It's been through the wars! What have you put in it anyway?
0:05:24 > 0:05:27- What have you been putting in it? - Old keys.- Have you?- Hair grips.
0:05:27 > 0:05:32- Hair grips, elastic bands, drawing pins.- Yes, everything!
0:05:32 > 0:05:34- We all need boxes like that, don't we?- We do.
0:05:34 > 0:05:38- Do you know why there are two compartments?- No, not really.
0:05:38 > 0:05:41- One's for green tea and one's for black tea.- Right.
0:05:41 > 0:05:43And they're called tea caddies
0:05:43 > 0:05:46because of the weight of measure tea was sold in.
0:05:46 > 0:05:49Originally it's a Malay word for caddy. Kati.
0:05:49 > 0:05:52- Oh, very good.- Of course it was very valuable in its day.
0:05:52 > 0:05:55That's why tea caddies always had a lock on.
0:05:55 > 0:05:59- So the servants couldn't pinch it when you went to bed. - That's very good.
0:05:59 > 0:06:01That's true, honestly.
0:06:01 > 0:06:05Until it became more affordable, when everybody was drinking tea.
0:06:05 > 0:06:09But originally, in the 17th century, it was always the upper echelons,
0:06:09 > 0:06:12the Kings and Queens, and people at Royal Court.
0:06:12 > 0:06:15- All the posh people. - All the posh people, yeah.
0:06:15 > 0:06:17Now, are you sure you've got all the bits?
0:06:17 > 0:06:20Those are all that I've got left of it. I'm sorry.
0:06:20 > 0:06:23OK, because this is a restoration project.
0:06:23 > 0:06:25And you know what this is made of, mother-of-pearl?
0:06:25 > 0:06:28This is seashell, literally ground down and glued on.
0:06:28 > 0:06:32- And this is a pine carcass. - But it does shine, doesn't it?
0:06:32 > 0:06:36- That's why it's known as mother-of-pearl.- Beautiful.
0:06:36 > 0:06:39I think you could safely put this into auction
0:06:39 > 0:06:42with a value of around about £80-120.
0:06:42 > 0:06:44Really? So much?
0:06:44 > 0:06:51But we will put a reserve on at £60 fixed, if that's OK with you.
0:06:51 > 0:06:54- Happy to sell it?- Yes. - OK, well, I'll see you in the auction room.- Thank you.
0:06:54 > 0:06:57James is next with the golden clocks.
0:06:58 > 0:07:04Graham, you've brought along two totally contrasting examples of carriage clocks.
0:07:04 > 0:07:07Do you know the difference between a carriage clock
0:07:07 > 0:07:12- and a carriage timepiece?- I don't. - It's only a clock if it strikes or if it chimes.- OK.
0:07:12 > 0:07:15If it doesn't strike or chime, it's a timepiece.
0:07:15 > 0:07:21These have got gongs on the back. Normally they have a gong or a bell.
0:07:21 > 0:07:27Both are 19th-century, about 1870-ish, for this one,
0:07:27 > 0:07:30and 1890-ish, for that one.
0:07:30 > 0:07:35Both French. However, that one seems to have gone through the wars a little bit more.
0:07:35 > 0:07:38This case is as good as I've ever seen.
0:07:38 > 0:07:43A little button to push there on the side. That opens that up.
0:07:43 > 0:07:50And then the clock itself just sits in the velvet-lined interior.
0:07:50 > 0:07:54If you didn't want to have it out, you would literally just remove
0:07:54 > 0:07:59the sliding leather panel from the front,
0:07:59 > 0:08:02put it in the back and there we go.
0:08:02 > 0:08:03Nice and safe.
0:08:03 > 0:08:08The thing that makes this one so much better than that
0:08:08 > 0:08:13- is simply this little tiny button on the top.- OK.
0:08:13 > 0:08:17That's known as the repeater. That is a lovely quality clock.
0:08:17 > 0:08:21- Where did they come from? - They were passed down to me by my late father,
0:08:21 > 0:08:25- who by trade was an horologist.- OK.
0:08:25 > 0:08:28He had a passion for fixing clocks.
0:08:28 > 0:08:30Was this his favourite clock?
0:08:30 > 0:08:34I think he placed more value on that one, over that one.
0:08:34 > 0:08:35Why sell them?
0:08:35 > 0:08:39It's something, to be honest, that's neither my brother or myself are interested in.
0:08:39 > 0:08:43- They don't really hold sentiment. We've got lots of clocks in the house.- Yes.
0:08:43 > 0:08:46Basically, he said when I pass on, just sell the pair of them
0:08:46 > 0:08:50- and make use of the money the best you can.- Well...
0:08:50 > 0:08:55- When it comes to value, I would expect that to make somewhere between 70 and £100.- OK.
0:08:55 > 0:08:56This one, very different.
0:08:56 > 0:09:01I would say an auction estimate of £400 to £600
0:09:01 > 0:09:03and we ought to protect it with a reserve.
0:09:03 > 0:09:08- A reserve of 380.- OK.- It won't make that, it'll make more, I'm sure.
0:09:10 > 0:09:13Oh, James, you're putting your neck on the line there.
0:09:14 > 0:09:17David's been lured by Catherine and Rachel's gold.
0:09:17 > 0:09:21- And when did you inherit it? - I inherited it about ten years ago.
0:09:21 > 0:09:25My great-grandad's brother gave it to his wife and she made a bracelet.
0:09:25 > 0:09:29- The chain was actually a watch chain. - Yes, that's interesting.
0:09:29 > 0:09:33You can imagine that being worn as a watch chain.
0:09:33 > 0:09:35I wouldn't actually wear it myself.
0:09:35 > 0:09:38So we never got it out, which is a shame.
0:09:38 > 0:09:42Sometimes people say, oh, it's got to be worth more than its melt value,
0:09:42 > 0:09:45and I think generally speaking that's true.
0:09:45 > 0:09:49Particularly in the case of an item like this, which is wearable.
0:09:49 > 0:09:52So there is a value over and above its melt value.
0:09:52 > 0:09:58This, after it's been bought will be sold on by a dealer, if he buys it,
0:09:58 > 0:10:02or if it's bought by a private person, they will keep it to wear.
0:10:02 > 0:10:07And the chain itself weighs 45 grams, so at today's prices,
0:10:07 > 0:10:10that's worth about £360.
0:10:10 > 0:10:15- OK.- And we have in addition to that the two coins.
0:10:15 > 0:10:21Now, this is a sovereign, a gold sovereign, dated 1914.
0:10:21 > 0:10:23And this is a South African gold coin,
0:10:23 > 0:10:27and they will each be worth about £180.
0:10:27 > 0:10:33Now, these won't be hallmarked, but the chain of course is,
0:10:33 > 0:10:36and the hallmarks tell us that it's nine carat.
0:10:36 > 0:10:38So that's the little package.
0:10:38 > 0:10:43Now, given the component prices we've talked about,
0:10:43 > 0:10:47I would suggest that we sold it with an estimate of £600-800,
0:10:47 > 0:10:51which is realistic, competitive,
0:10:51 > 0:10:54and I'm confident that we'll sell it at that sort of figure.
0:10:54 > 0:10:58- And the reserve should be £600. OK? - Yeah, that's great.- Good.
0:11:09 > 0:11:11For the bright young dandies of the 18th century,
0:11:11 > 0:11:14the Grand Tour was the highlight of their cultural education.
0:11:14 > 0:11:17And if they were lucky enough they would bring home a painting
0:11:17 > 0:11:20by one of the Grand European Masters.
0:11:20 > 0:11:22But we had our own Masters, too.
0:11:22 > 0:11:26And one of them stood right here where I am some 200 years ago
0:11:26 > 0:11:28and painted that scene behind me.
0:11:30 > 0:11:33The building in the distance is Tabley House,
0:11:33 > 0:11:37and the artist who captured the scene was Joseph Mallord William Turner.
0:11:39 > 0:11:43Painted in 1808, and titled "Tabley, A Windy Day",
0:11:43 > 0:11:46It's the highlight of a unique collection of British art
0:11:46 > 0:11:51created by Sir John Fleming Leicester in the early 1800s.
0:11:51 > 0:11:54In a moment we'll be taking a closer look at it,
0:11:54 > 0:11:56plus a lot of other hidden masterpieces,
0:11:56 > 0:12:01hung here in the original rooms they were purchased for.
0:12:01 > 0:12:04Turner's prodigious talent was becoming the talk of the town,
0:12:04 > 0:12:08and his vigorous, romantic paintings were creating a real buzz.
0:12:08 > 0:12:13Back then, the current owner of Tabley House was a chap called Sir John Leicester.
0:12:13 > 0:12:18He was fast establishing himself as a collector and patron of British art.
0:12:18 > 0:12:22He was keen to nab himself a Turner or two for his collection.
0:12:24 > 0:12:26It was Sir John's father, Sir Peter Leicester,
0:12:26 > 0:12:29who built Tabley in the 1760s.
0:12:29 > 0:12:34He designed the house in the fashionable neo-Palladian style,
0:12:34 > 0:12:39with its impressive Doric portico and its elegant curved stairs.
0:12:39 > 0:12:43The local red sandstone of the columns and the stonework
0:12:43 > 0:12:49was originally painted a pale grey, giving a pleasing contrast to the brickwork.
0:12:51 > 0:12:55But it's Sir John's gallery of British art that is its unique legacy.
0:12:55 > 0:12:59Turner may be the most famous painter represented here,
0:12:59 > 0:13:02but there are many other paintings worth coming to see.
0:13:04 > 0:13:08To show me the highlights of this collection is art historian
0:13:08 > 0:13:10Peter Cannon Brookes.
0:13:10 > 0:13:15Peter, I've just walked around The Mere, but I couldn't quite make the view Turner had,
0:13:15 > 0:13:17so I think he's used artistic licence.
0:13:17 > 0:13:21He has indeed. He's moved the tower very substantially indeed.
0:13:21 > 0:13:24He's also made it rather grander than it is.
0:13:24 > 0:13:26But what a marvellous painting.
0:13:26 > 0:13:29Talk me through it. This is early, mature Turner.
0:13:29 > 0:13:31This is the early, mature Turner, yes.
0:13:31 > 0:13:34He is arguably our greatest English painter.
0:13:34 > 0:13:38And this wonderful response to the atmospheric conditions,
0:13:38 > 0:13:42to the park and the house in the background and the water,
0:13:42 > 0:13:44it's very remarkable indeed.
0:13:44 > 0:13:47He started off his life as a topographical watercolourist.
0:13:47 > 0:13:50But he really comes into his own just before 1800.
0:13:50 > 0:13:53There's a lot of foreground interest. I just love that choppiness.
0:13:53 > 0:13:56- I love the figures in the boat. - It includes the painter himself.
0:13:56 > 0:13:58And he has painted himself in there.
0:13:58 > 0:14:02- Because Turner came here basically to fish.- Did he really?
0:14:02 > 0:14:05- Not to paint, yes.- So obviously he was a client to start with.- Yes.
0:14:05 > 0:14:10- Was he a good friend of Sir John's or was it a working relationship? - It's a working relationship.
0:14:10 > 0:14:14I think that he was the best client of Sir John Leicester
0:14:14 > 0:14:17in the second decade of the 19th century.
0:14:17 > 0:14:18And at the peak period
0:14:18 > 0:14:22Turner had sold 11 paintings to Sir John Leicester.
0:14:22 > 0:14:25- That is a fine painting. - One of my favourites, certainly.
0:14:25 > 0:14:27And mine, I think.
0:14:27 > 0:14:30Talk to me about this one above the fireplace.
0:14:32 > 0:14:34This sumptuous painting is by William Dobson,
0:14:34 > 0:14:38Britain's finest baroque portraitist.
0:14:38 > 0:14:43This is one of his best and most ambitious portraits.
0:14:43 > 0:14:46It's powerful brushwork, strong colours.
0:14:46 > 0:14:49It's the English baroque as against Flemish baroque.
0:14:49 > 0:14:53Exactly. Talk me through the picture. What's going on and who is it?
0:14:53 > 0:14:56Here is the military commander, the first Lord Byron.
0:14:56 > 0:14:58He was the victor of the Battle of Roundway Down,
0:14:58 > 0:15:02one of the very few that the Royalists won in the early stages of the Civil War,
0:15:02 > 0:15:04holding his commander's staff.
0:15:04 > 0:15:06What's he pointing at?
0:15:06 > 0:15:10He's not really pointing at anything. This is a rhetorical gesture of command.
0:15:10 > 0:15:11And it goes with the costume.
0:15:11 > 0:15:15He's wearing his buff coat with his steel cuirass over it
0:15:15 > 0:15:19because he is a military man in command.
0:15:19 > 0:15:21His cavalry in the bottom right-hand corner,
0:15:21 > 0:15:26this is the notoriously ill-disciplined English Royalist cavalry
0:15:26 > 0:15:29commanded by Prince Rupert.
0:15:29 > 0:15:32- They tended to treat the cavalry charge like a fox hunt.- Did they?
0:15:32 > 0:15:34They were off!
0:15:34 > 0:15:37There's a bit of a double take then!
0:15:39 > 0:15:41With a growing collection of fine British art,
0:15:41 > 0:15:46Sir John needed somewhere equally impressive to display it.
0:15:46 > 0:15:50- Very nice space.- Generous space.
0:15:50 > 0:15:51Created out of three rooms.
0:15:51 > 0:15:57That was the drawing room. This was the octagonal library.
0:15:57 > 0:16:00And that was the bedroom with a little bit of closet alongside.
0:16:00 > 0:16:03- It's got a good feel about it, hasn't it?- Hmm.
0:16:03 > 0:16:07- Is that Sir John above the fireplace?- It is indeed.
0:16:07 > 0:16:09But thereby hangs a tale.
0:16:09 > 0:16:13Because Sir John's face was painted by Sir Joshua Reynolds,
0:16:13 > 0:16:16but the rest of the portrait was an absolute disaster area
0:16:16 > 0:16:20because Reynolds was going blind and he refused to take delivery of it.
0:16:20 > 0:16:21- Did he really?- Yes.
0:16:21 > 0:16:24When Reynolds died he bought it from the state sale
0:16:24 > 0:16:29and handed it over to James Northcote, who one of Reynolds' assistants.
0:16:29 > 0:16:32But within a few months before his death
0:16:32 > 0:16:34he was created the first Lord of Tabley
0:16:34 > 0:16:36and so he had repainted again.
0:16:36 > 0:16:39This time in his peers robes,
0:16:39 > 0:16:44by the studio of Sir Thomas Lawrence and by Simpson.
0:16:44 > 0:16:45What a lovely tale.
0:16:45 > 0:16:49And of course, facing him here at the other end of the room, that's his wife, isn't it?
0:16:49 > 0:16:53That's his wife. That's Georgiana, painted by Sir Thomas Lawrence.
0:16:53 > 0:16:56Absolutely marvellous example of his work.
0:16:56 > 0:16:58There she is floating in the clouds as hope.
0:16:58 > 0:17:01She was the granddaughter of Sir William Chambers.
0:17:01 > 0:17:05She was a member of the royal circle because Chambers was George III's favourite architect.
0:17:05 > 0:17:11- And one of Lawrence's masterpieces. - She's a beautiful lady.
0:17:11 > 0:17:14- Yes, she was very young. - Was she?- She was only 16.
0:17:14 > 0:17:17But then Sir John Leicester had a taste for young ladies.
0:17:17 > 0:17:22- Was that socially acceptable? - Amongst Regency rakes, yes.
0:17:22 > 0:17:24But this house was not a respectable house
0:17:24 > 0:17:28for about ten years in the beginning of the 19th century.
0:17:28 > 0:17:31Is that because respectable ladies wouldn't visit here...
0:17:31 > 0:17:34Because he had a string of mistresses residing.
0:17:34 > 0:17:37- And there wasn't a respectable lady to receive them.- Exactly.
0:17:37 > 0:17:42Thank you so much for talking to me. It's been a pleasure meeting you and showing me around.
0:17:42 > 0:17:45This is definitely well worth several more visits.
0:17:45 > 0:17:48Indeed, yes. There are many treasures to be found and enjoyed.
0:17:48 > 0:17:50The main thing is to enjoy them.
0:17:51 > 0:17:53And I certainly have.
0:17:59 > 0:18:02Do you know, I can just imagine some of the soirees
0:18:02 > 0:18:06that would have taken place in this magnificent building.
0:18:06 > 0:18:09Artists, patrons and poets all enjoying themselves
0:18:09 > 0:18:13to the sound of this wonderful early keyboard music,
0:18:13 > 0:18:17played here on this virginal beautifully by Charlotte Turner.
0:18:17 > 0:18:20Tabley House and its contents are a testament
0:18:20 > 0:18:23to home-grown creativity and the talent of our forbearers.
0:18:23 > 0:18:28And it shouts out loud and clear that Brit art is not a recent phenomenon.
0:18:28 > 0:18:31If you're serious about British art and British history,
0:18:31 > 0:18:34this place is definitely well worth a visit.
0:18:43 > 0:18:47Well, there you are. Our first three items found, and we're ready to go to auction.
0:18:47 > 0:18:49Don't go away. This is where it gets exciting.
0:18:49 > 0:18:51Let's put those valuations to the test.
0:18:51 > 0:18:57While we make our way over there, here's a recap to jog your memory of everything going under the hammer.
0:18:59 > 0:19:02Thank goodness Joan thought twice about throwing away
0:19:02 > 0:19:06these watercolours, which James valued at £100-150.
0:19:06 > 0:19:10Though damaged, Evelyn's tea caddy is still a collector's item,
0:19:10 > 0:19:12and worth £80-120.
0:19:12 > 0:19:16And it's time to cash in on the inheritance
0:19:16 > 0:19:18while gold prices are still high.
0:19:18 > 0:19:21David's valued the lot at £600-800.
0:19:22 > 0:19:27Graham's cashing in his clocks. James has split them into two lots
0:19:27 > 0:19:29valuing the first at £70 to £100
0:19:29 > 0:19:33and the earlier one at £400 to £600.
0:19:35 > 0:19:38Our sale today comes from Knutsford, a town steeped in history.
0:19:38 > 0:19:40And our auction is taking place
0:19:40 > 0:19:44in this wonderful red brick Victorian building, which was previously a school.
0:19:44 > 0:19:47Today, it's the saleroom courtesy of Frank Marshall.
0:19:47 > 0:19:50Let's go inside and catch up with our owners, and have a quick chat to Nick Hall,
0:19:50 > 0:19:54the man with all the local knowledge, the man with the gavel. See you inside.
0:19:56 > 0:19:59The sellers' commission here is 15%, including VAT.
0:19:59 > 0:20:03Auctioneer Nick Hall has more to reveal about these paintings.
0:20:06 > 0:20:10James believes they're by the Japanese artist Tadashi Nakayama.
0:20:10 > 0:20:13Well, he was close. It's actually Takashi Nakayama.
0:20:13 > 0:20:18- Right, OK.- One letter difference, but two completely different artists.
0:20:18 > 0:20:21OK, so does this put a little more value onto it?
0:20:21 > 0:20:22Well, there's another oddity.
0:20:22 > 0:20:26Actually, Tadashi, that James said it was, makes more money,
0:20:26 > 0:20:29and Takashi, that this is actually by, makes less money.
0:20:29 > 0:20:33- But the estimate is bang on.- I hope you're following this at home!
0:20:33 > 0:20:35This is very confusing.
0:20:35 > 0:20:38But he didn't have a lot to go by, because it is only signed T.
0:20:38 > 0:20:41Has there been much interest? That's what we want to know.
0:20:41 > 0:20:43After all that, not a lot.
0:20:48 > 0:20:51I'll break the news to James a bit later.
0:20:51 > 0:20:55But first, let's catch up with Evelyn, who's joined by her daughter-in-law, Alison.
0:20:55 > 0:20:58What have you been up to since I last saw you?
0:20:58 > 0:21:02- Much the usual things.- What's the usual?- You've been on holiday.
0:21:02 > 0:21:06- Holiday? Where have you been? - Only to Blackpool.
0:21:06 > 0:21:09- Hey, that's only down the road, isn't it?- It is!
0:21:09 > 0:21:10You don't go far, do you?
0:21:10 > 0:21:14The last time I was in Blackpool, I was walking along the seafront,
0:21:14 > 0:21:16and you're not going to believe this,
0:21:16 > 0:21:18but there were something like
0:21:18 > 0:21:21about 100 Elvis Presleys walking towards me.
0:21:21 > 0:21:22I'm not surprised.
0:21:22 > 0:21:26In all of their gear, because there was an Elvis convention going on.
0:21:26 > 0:21:28You could have seen worse.
0:21:30 > 0:21:31# I'm all shook up... #
0:21:31 > 0:21:33Look, fingers crossed, OK?
0:21:33 > 0:21:36Let's hope the bidders are as enthusiastic as we are about this.
0:21:36 > 0:21:38I'm looking forward to it.
0:21:38 > 0:21:40It's going under the hammer right now. Here we go.
0:21:40 > 0:21:45Lot number 51 is the Victorian chequered mother-of-pearl
0:21:45 > 0:21:47mounted rectangular two-division tea caddy.
0:21:47 > 0:21:50A pretty lot, where are we going to go? Not too dear, 80 for it?
0:21:50 > 0:21:54£80 anywhere? Somewhere? Where's 80? 70? 60, bid me, surely.
0:21:54 > 0:21:56Oh, we're going wrong way.
0:21:56 > 0:22:00Have a look at the screen. There we go. 60 only, who will start me?
0:22:00 > 0:22:03Where's 60? We've got to see a hand up somewhere. 60.
0:22:03 > 0:22:07And five online, we're up and running. 70, they're awake at last.
0:22:07 > 0:22:11- Come on, 75. 75, 80. At £80. - Thank goodness for that.
0:22:11 > 0:22:15Steadily, slowly, 85. All bids online at the moment. At £85.
0:22:15 > 0:22:20At 85, bidders online. Nothing in the room?
0:22:20 > 0:22:24It's online at 85, 90 at £90. 95.
0:22:24 > 0:22:27Slowly but surely, we're getting there. Round it up for me?
0:22:27 > 0:22:31Come on, it's 95 online. Make a round figure, one more.
0:22:31 > 0:22:34There's 95 bid online, 95 it is, nothing in the room.
0:22:34 > 0:22:39Going online, I'm selling if you're sure at 95. Yours online, thank you.
0:22:39 > 0:22:43- I'm going to take that. That was OK.- Thank you very much.
0:22:43 > 0:22:45I felt a little bit frightened.
0:22:45 > 0:22:47When you stick your neck on the block,
0:22:47 > 0:22:50and you say, yes, madam, it's going to be 80-120 or whatever,
0:22:50 > 0:22:54and it's always struggling, you feel really as if you've let you down.
0:22:54 > 0:22:58- Anyway, you've not. - I haven't, no, thank goodness.
0:22:58 > 0:23:02- I got it right for once.- You thought it wasn't going to sell at all.
0:23:02 > 0:23:06I did. In fact, I've left a place for it to go back.
0:23:08 > 0:23:12Now it's Graham's carriage clocks which has been split into two lots.
0:23:14 > 0:23:17Any surprises coming up for us, James, do you think?
0:23:17 > 0:23:19I don't think so, they're fairly standard auction fodder.
0:23:19 > 0:23:22- Obviously, the second one is much better than the first.- Yes.
0:23:22 > 0:23:25If the second one makes anything over £400, I think that's a great result.
0:23:25 > 0:23:27- Yes.- He'll be happy as well.
0:23:27 > 0:23:29Let's find out what the bidders think, shall we?
0:23:29 > 0:23:33Right now, it is down to this lot in this packed room. Watch this.
0:23:33 > 0:23:37Lot 25 is the early to mid-20th century carriage clock.
0:23:37 > 0:23:40A lot of interest in this. Where are we going to start, 80?
0:23:40 > 0:23:44Surely at £80. 70, 60, 50... Where is 50? Thank you, online at 50.
0:23:44 > 0:23:465, 60. We're climbing online.
0:23:46 > 0:23:4765, 70, 5, 80 now. 85, 90.
0:23:51 > 0:23:53All online at 90. 5, 100 110.
0:23:54 > 0:23:57We're getting there. Look the smile has come.
0:23:57 > 0:24:01120 online. At 125, 130 online.
0:24:01 > 0:24:04- We are there, we're done, at 130, I sell.- Gone!
0:24:04 > 0:24:07£130. We're happy with that result. Here is the second one.
0:24:07 > 0:24:10Hopefully, £400 plus.
0:24:10 > 0:24:13A nice little clock again, late 19th century, French.
0:24:13 > 0:24:15Brass, bamboo effect case.
0:24:15 > 0:24:17By Henri Jacot, this one, a good maker as well.
0:24:17 > 0:24:20I've got commission interest and starting at 280.
0:24:20 > 0:24:25280 only bid on the book. For 280. 290 is online. I've got 300.
0:24:25 > 0:24:28320, 340, 360, now.
0:24:28 > 0:24:33380. 400. 420... Phone bidder and Internet.
0:24:33 > 0:24:36We've got two people fighting it out at home.
0:24:36 > 0:24:39You can buy from the comfort of your sitting room.
0:24:39 > 0:24:46On the phone at 480, now. 500 here. 500. I have 500. Are you in?
0:24:46 > 0:24:51No, you're out. It 500 back online. Fresh blood at 520 now.
0:24:51 > 0:24:54A nice little clock, don't let it go for the sake of a bid. 540.
0:24:54 > 0:24:56- 560. It's a good one. - Graham is enjoying this.
0:24:56 > 0:25:00- You are, aren't you?- Are you finished? It's 560 in the room.
0:25:00 > 0:25:04All done, last call at 560. I sell. Yours sir, 560.
0:25:04 > 0:25:08You got to be happy. There is commission to pay, don't forget.
0:25:08 > 0:25:11It's 15%.
0:25:11 > 0:25:13Great result.
0:25:16 > 0:25:18Now it's the case of mistaken identity.
0:25:20 > 0:25:22Going under the hammer right now,
0:25:22 > 0:25:25two Japanese watercolours by Takashi - see? Here we go.
0:25:25 > 0:25:28We got it right, didn't we? The auctioneer put us right.
0:25:28 > 0:25:31James, unfortunately you failed on the Christian name,
0:25:31 > 0:25:33but I don't blame you - it is confusing.
0:25:33 > 0:25:38- What did I say?- Tadashi.- That's right.- And what is it?- Takashi.
0:25:38 > 0:25:41- Oh, it was close!- Very close. I wouldn't have known, either.
0:25:41 > 0:25:44But the good news is, it hasn't affected the value.
0:25:44 > 0:25:46Good, good, I hope not.
0:25:46 > 0:25:50But you have altered the value, because we had a fixed reserve at £100,
0:25:50 > 0:25:52and you had a chat to the auctioneer before the sale.
0:25:52 > 0:25:56Well, I just thought I really don't want to take them home this time.
0:25:56 > 0:25:58Because I have looked at them a long time,
0:25:58 > 0:25:59and I'm ready to let them go.
0:25:59 > 0:26:04- OK.- Ta-who?- Takashi.- Well, hopefully you'll be kashi-ing it in later.
0:26:04 > 0:26:08- Sorry, awful.- Hey, look, good luck. Good luck.
0:26:08 > 0:26:10A touch of the Orient has come to Cheshire.
0:26:10 > 0:26:12Let's find out what they think,
0:26:12 > 0:26:14because it's down to this lot here. Here we go.
0:26:14 > 0:26:17Lot number 460.
0:26:19 > 0:26:22A nice little pair of Japanese watercolours.
0:26:22 > 0:26:28- They are by TaKAshi Nakayama. - Oh, rub it in!
0:26:28 > 0:26:32Where are we going to go? £100 for them? 80? 60?
0:26:32 > 0:26:36- Nice pair of signed original Japanese watercolours.- See?
0:26:36 > 0:26:39- They would have made it if they were Tadashi.- 50? Someone, now.
0:26:39 > 0:26:42A nice period pair of original signed Japanese watercolours.
0:26:42 > 0:26:45- Where is £50? Thank you. 55.- We're in!
0:26:45 > 0:26:5060 seated. Five, Sir? 65. At £65.
0:26:50 > 0:26:53At 65, bidding, madam? 70.
0:26:53 > 0:26:56- It's a pair, not just one. 65 against you.- Go on!
0:26:56 > 0:26:59Pretty things. I've got 65, gent standing. Any advance?
0:26:59 > 0:27:07Any further bids? £65. All done, if you're sure. Selling at 65.
0:27:07 > 0:27:11- £65.- Not too bad.- Well, thank goodness you reduced the reserve.
0:27:11 > 0:27:15- We got it away.- We did, thank you. I didn't want to take them back.
0:27:15 > 0:27:19What a bargain. They are an authentic touch of the orient.
0:27:19 > 0:27:24Next, it's Grandad's gold. You were both at the valuation day.
0:27:24 > 0:27:28You're here today. But you're earning all the money. You're doing the hard work.
0:27:28 > 0:27:30I know you're splitting it all up between you.
0:27:30 > 0:27:35- We might not tell them how much we get!- You can't do that!
0:27:35 > 0:27:37Good luck, OK? This is it.
0:27:37 > 0:27:42Lot 667 is the Victorian nine carat rose gold curb link Albert chain.
0:27:42 > 0:27:46- We've got over 60 grams of gold there.- It's a lot.
0:27:46 > 0:27:47There's a lot of weight there.
0:27:47 > 0:27:51With interest, I can come straight in and start the bidding at £650.
0:27:51 > 0:27:57- 650, I have.- I was worrying unnecessarily!- 660, 680, 700.
0:27:57 > 0:28:04720, 740, 760, 780, 800, 820, 840, 860, 880. 900, 920.
0:28:04 > 0:28:09- That's good.- £920 of bids with me. On commission now. At 920.
0:28:09 > 0:28:13Any further bids? Nothing online. 920 I have, 920 I sell.
0:28:14 > 0:28:18- 920.- Yes! That was short and sweet. Somebody was really after that.
0:28:18 > 0:28:21- £920. Happy?- Yeah.- Got to be happy!
0:28:21 > 0:28:24What are you going to do with your share?
0:28:24 > 0:28:29I'm studying natural horsemanship. So I'm helping spend it toward the qualification.
0:28:29 > 0:28:31Brilliant. And what about you?
0:28:31 > 0:28:35- I'm going to spend it on some music, because I compose music.- Do you?
0:28:35 > 0:28:39- Do you play keyboards? - Piano.- Piano, OK.
0:28:39 > 0:28:44I'm a bit of a half glass empty man. I must try and be more optimistic.
0:28:50 > 0:28:53That's the end of our first visit to the auction room today.
0:28:53 > 0:28:56We are coming back later on in the programme, so don't go away.
0:28:56 > 0:28:58After all this excitement, I need some fresh air.
0:28:58 > 0:29:01There's nothing like a walk in the woods.
0:29:05 > 0:29:07Now, this is where my passion for woodwork
0:29:07 > 0:29:11and timber craftsmanship comes from, a walk through a small
0:29:11 > 0:29:14coppice or a wood amongst trees in their living, organic form.
0:29:14 > 0:29:17But let's face it. Where would we be without wood?
0:29:22 > 0:29:25Not only has it inspired craftsmen throughout history
0:29:25 > 0:29:28to construct magnificent pieces of furniture,
0:29:28 > 0:29:31but also fine buildings, bridges and ships.
0:29:31 > 0:29:32But if you want my opinion,
0:29:32 > 0:29:36it is the mighty oak tree that has put the Great in Britain.
0:29:36 > 0:29:38It's built this country.
0:29:38 > 0:29:42And here in Cheshire, the architects of the 15th century took it one stage further.
0:29:42 > 0:29:45Not only did they construct fine timber-framed buildings,
0:29:45 > 0:29:50but they decorated them internally and externally with timber elements
0:29:50 > 0:29:54in a style that's become very, very familiar.
0:29:54 > 0:29:57And here is a wonderful example.
0:29:58 > 0:30:02Bramall Hall in Cheshire is one of our finest
0:30:02 > 0:30:03black and white buildings.
0:30:03 > 0:30:06It's a style that shouts Tudor,
0:30:06 > 0:30:09though the heart of the building dates from the 14th century.
0:30:09 > 0:30:12What we see today is a mixture of additions
0:30:12 > 0:30:16and alterations spanning seven centuries.
0:30:16 > 0:30:19Each aspect presents a different stage in its evolution.
0:30:21 > 0:30:24Now, from this elevation, there is evidence of several different
0:30:24 > 0:30:27periods of history, shown through architecture.
0:30:27 > 0:30:30Looking up there, the oriel window, that dates back to the 1400s,
0:30:30 > 0:30:32a really important time for architecture.
0:30:32 > 0:30:35Here, 16th century, these two bay windows,
0:30:35 > 0:30:39leaded glass everywhere, that shows incredible wealth.
0:30:39 > 0:30:42But to top it off, up there, the gable ends, look at that.
0:30:42 > 0:30:44In a small coronet, like a crown.
0:30:44 > 0:30:48That is so over the top, that's showing off, it says, yes, 19th century.
0:30:48 > 0:30:53And moving around here, this wing was renovated in the 20th century.
0:30:53 > 0:30:54Sympathetically done,
0:30:54 > 0:30:59matching in with the theme of the black and white exterior.
0:30:59 > 0:31:02Now, up there is a rather interesting carving
0:31:02 > 0:31:04which you might miss, so I will point it out.
0:31:04 > 0:31:06An angel with outstretched wings.
0:31:06 > 0:31:09And she's holding a shield with a single lion.
0:31:09 > 0:31:13That's the coat of arms for the De Bromale family, the original owners of the hall.
0:31:13 > 0:31:17But if you notice, the angel is standing on a carved man's head with a large beard.
0:31:17 > 0:31:23Coming out of his mouth are sprigs of oak leaves. Beautifully carved.
0:31:23 > 0:31:26That symbolises the Green Man, the May King,
0:31:26 > 0:31:30which is the medieval festival of spring, rebirth and vitality.
0:31:41 > 0:31:44Now, this is the original front door, constructed of oak,
0:31:44 > 0:31:48sawn and quartered to three inches thick, that is incredibly heavy.
0:31:48 > 0:31:51But if you look carefully, you can see a door within a door.
0:31:51 > 0:31:54Now, this was used at night.
0:31:54 > 0:31:57The purpose being, if the house was being attacked,
0:31:57 > 0:32:00somebody was trying to force an entry, the person on the inside,
0:32:00 > 0:32:04let me just show you here, was at an advantage, because
0:32:04 > 0:32:08if you were attacking and had a sword, you were drawing it to strike
0:32:08 > 0:32:12somebody, you were at disadvantage, because you couldn't get your sword through.
0:32:12 > 0:32:16So, from the inside, somebody defending the property could thrust away.
0:32:16 > 0:32:18They had the upper hand.
0:32:19 > 0:32:22And here we are in the medieval great hall,
0:32:22 > 0:32:27which is the oldest part of house, dates back to the 14th century.
0:32:27 > 0:32:31This is where all the daily living would have taken place.
0:32:31 > 0:32:33It was the social heartbeat of the house.
0:32:33 > 0:32:38In 1370, Alice De Bromale married John Davenport,
0:32:38 > 0:32:43and their descendants owned Bramall for the next five centuries.
0:32:43 > 0:32:45The family didn't just make things in wood.
0:32:45 > 0:32:50They also created stone carvings to keep people out of their woods.
0:32:53 > 0:32:56Now, the Davenports had a rather gruesome family crest,
0:32:56 > 0:32:58and it's the felon's head.
0:32:58 > 0:33:02These chaps, criminals with ropes around their necks.
0:33:02 > 0:33:07It serves as a reminder of the family's wealth and power throughout the Middle Ages.
0:33:07 > 0:33:10Now, these stone heads were originally sat on the stone pillars
0:33:10 > 0:33:12of the main gate at the front of the house
0:33:12 > 0:33:17to ward off any would-be poachers or people with evil intentions
0:33:17 > 0:33:20to stay away, or else.
0:33:20 > 0:33:23I think the message is quite clear, don't you?
0:33:30 > 0:33:34This is the great chamber where all the entertainment took place.
0:33:34 > 0:33:39These remarkable wall paintings date from the early 1500s.
0:33:39 > 0:33:41And it's almost like a tapestry.
0:33:41 > 0:33:47The artists have painted directly onto the oak. Isn't it just marvellous?
0:33:47 > 0:33:50And here to tell me a little more about it and what it means
0:33:50 > 0:33:52is one of the guides here, Pat McCormick.
0:33:52 > 0:33:55- Hello.- How do you do? - What a fascinating place to work.
0:33:55 > 0:33:59- It's a wonderful place. - What do some of the images mean?
0:33:59 > 0:34:04Well, we believe this image demonstrates some of the folklore images that we have in the paintings,
0:34:04 > 0:34:09and if you look at it, you'll see it's a white horse, but in fact it's got a raven's head.
0:34:09 > 0:34:12- Oh, so it has.- And seated is a little figure with wings.
0:34:13 > 0:34:16We don't know where the image originated,
0:34:16 > 0:34:19but quite a lot of our visitors like to link it
0:34:19 > 0:34:23to the nursery rhyme Ride A Cock Horse To Banbury Cross,
0:34:23 > 0:34:26because there is a cross at the front.
0:34:26 > 0:34:28Now, this is a bit of fun. What's going on here?
0:34:28 > 0:34:30Well, we believe it's a bit of a visual joke,
0:34:30 > 0:34:33because it's a painting of a boar hunt.
0:34:33 > 0:34:38The Davenport men would have done a lot of boar hunting in the forests around here,
0:34:38 > 0:34:41and the painter has interpreted the boar hunt
0:34:41 > 0:34:46with the hunter, if you look, on the ground,
0:34:46 > 0:34:50mounted by two enormous fierce boars. So it would have been...
0:34:50 > 0:34:53On top of him, so it's been turned around, hasn't it?
0:34:53 > 0:34:57- It's been turned around.- The hunter has become the hunted.- Indeed.
0:34:57 > 0:35:02Look at this roof, as well. I mean, the craftsmen really had an understanding
0:35:02 > 0:35:05of how to work with wood in construction.
0:35:05 > 0:35:09These quatrefoils everywhere, lovely hammered beams.
0:35:09 > 0:35:11Very, very nice.
0:35:11 > 0:35:14And as you were spinning around and dancing and enjoying yourselves,
0:35:14 > 0:35:19you'd look up and notice all of this decoration, wouldn't you?
0:35:20 > 0:35:24You can see we have the image here of a 16th century woman
0:35:24 > 0:35:29and man who are all about the music and dance in the hall.
0:35:29 > 0:35:33- In full costume.- In full costume, with an instrument we think is a mandolin
0:35:33 > 0:35:37of some description, and the woman is reading from a musical score.
0:35:37 > 0:35:39Isn't that lovely? Marvellous, marvellous.
0:35:39 > 0:35:42- Thank you for showing me around. - It's my pleasure.
0:35:42 > 0:35:47Unbelievably, the paintings were later covered by panelling,
0:35:47 > 0:35:51which is probably the reason why they've survived so well.
0:35:51 > 0:35:53But there's more. Follow me.
0:35:57 > 0:36:00I am in the roof space right now, well behind the scenes.
0:36:00 > 0:36:03The general public do not come here,
0:36:03 > 0:36:06and like all good historic houses, there are bats in the belfry.
0:36:06 > 0:36:10I haven't seen any yet, but there is evidence of bat droppings everywhere.
0:36:10 > 0:36:14Originally, from the chapel, you'd have been able to look up
0:36:14 > 0:36:17and see this wonderful construction.
0:36:17 > 0:36:19So this whole space would have been decorated.
0:36:19 > 0:36:23Wonderful, bright, vivid colours, hues of reds, blues and golds,
0:36:23 > 0:36:26so that as you look up, you look up from the chapel and you say,
0:36:26 > 0:36:29yes, there really was a God, wasn't there?
0:36:35 > 0:36:40This is incredible. I am very lucky to be up here. And so are the bats!
0:36:40 > 0:36:42I hope they appreciate it.
0:36:50 > 0:36:54Taking a walk through Bramall Hall tells the tale of how
0:36:54 > 0:36:57craftsmen who used wood over the years in so many different ways
0:36:57 > 0:37:01and styles, and with 700 years of history behind it,
0:37:01 > 0:37:06it can only become an even more fascinating experience in the years to come.
0:37:18 > 0:37:22Welcome back to our valuation day, and to St John's Minster.
0:37:22 > 0:37:26Let's now catch up with our experts and see what else they can find.
0:37:26 > 0:37:30And first up, it's James.
0:37:30 > 0:37:34Only somebody called Bruce could possibly
0:37:34 > 0:37:36bring in a pair of boomerangs.
0:37:36 > 0:37:41- Don't tell me your wife is Sheila as well?- No, unfortunately!
0:37:41 > 0:37:44These are lovely. Tell me their story.
0:37:44 > 0:37:49My brother was in Australia, based at Woomera rocket range.
0:37:49 > 0:37:52Where did you say? He was working on a rocket range?
0:37:52 > 0:37:58- Woomera rocket range. They used to test the ballistic missile rockets there.- OK.
0:37:58 > 0:38:01- That was in the REME. - In where?- The REME.
0:38:01 > 0:38:04The Royal Electrical and Mechanical Engineers.
0:38:04 > 0:38:07Right, we're learning something today.
0:38:07 > 0:38:11And what he did, I don't know. But he was there for quite a few years.
0:38:11 > 0:38:15Unfortunately, he had an accident on New Year's Day - I can't
0:38:15 > 0:38:21remember the year - and died, and these were part of his possessions that came back to UK.
0:38:21 > 0:38:25- So approximately when was this?- The very early- '50s. The early '50s, OK.
0:38:27 > 0:38:30So, we know that they're 60 years old at least.
0:38:30 > 0:38:34The thing with tribal art is it's very, very difficult to age
0:38:34 > 0:38:37unless you're an absolute specialist.
0:38:37 > 0:38:41Everybody associates boomerangs with Australia.
0:38:41 > 0:38:46However, what most people don't realise is they were actually
0:38:46 > 0:38:48made throughout the world at some point.
0:38:48 > 0:38:50You actually get Indian boomerangs,
0:38:50 > 0:38:53you get the Native Americans with boomerangs.
0:38:53 > 0:38:56You also get the Egyptians using boomerangs.
0:38:56 > 0:39:02And one of the things discovered in Tutankhamen's tomb was a collection of boomerangs.
0:39:02 > 0:39:05And some of them are made in hardwood like these,
0:39:05 > 0:39:09some of them in bone and some of them in ivory.
0:39:09 > 0:39:11Some were designed for killing animals.
0:39:11 > 0:39:15Some were designed as scarers, so what they would do,
0:39:15 > 0:39:19they would throw the boomerang over the grass plains,
0:39:19 > 0:39:23and the little birds would think, it's a bird of prey,
0:39:23 > 0:39:26they would zoom off in the opposite direction, and they would
0:39:26 > 0:39:31raise a net and catch all the birds fleeing from the boomerang.
0:39:31 > 0:39:35But, also, they were used in hand-to-hand combat, as well.
0:39:35 > 0:39:37Now, the telltale signs on here, a picture of an emu.
0:39:39 > 0:39:44That almost looks like a whale, doesn't it? Strange, really.
0:39:44 > 0:39:48This one, much more geometrical, very stylised.
0:39:48 > 0:39:53If you turn it over, it's plain on the other side.
0:39:53 > 0:39:57Now, I would think that if that was designed as a true
0:39:57 > 0:40:01piece of tribal art, it would be carved on both sides.
0:40:01 > 0:40:02But I've been wrong in the past.
0:40:02 > 0:40:10My feeling is these are probably made for the tourist market, but early.
0:40:10 > 0:40:14Now, there is a massive market for any form of Aboriginal art,
0:40:14 > 0:40:16even modern stuff, in Australia.
0:40:16 > 0:40:23So when it comes to value, that has got to be worth £150, in my opinion.
0:40:23 > 0:40:27And that has got to be worth another 50-70, at least.
0:40:27 > 0:40:31If these are period, they could make considerably more than that.
0:40:31 > 0:40:33You've given me a heart attack!
0:40:35 > 0:40:36From boomerangs to Madonnas.
0:40:39 > 0:40:42I think she's beautiful. Just tell me what you know.
0:40:42 > 0:40:47Well, my mum was brought up by my nana and four sisters.
0:40:47 > 0:40:51I believe Auntie Kate, she collected a lot of items,
0:40:51 > 0:40:54and we think that that's one of them.
0:40:54 > 0:40:59It was made in about 1950 by the Royal Doulton factory.
0:40:59 > 0:41:05And we know that this figure was only in production for two years, from 1949 to 1951.
0:41:05 > 0:41:10And as such, she's a rarity, really.
0:41:10 > 0:41:12We'll just have a look underneath at the mark,
0:41:12 > 0:41:17which really tells us so much, and tells us all we need to know.
0:41:17 > 0:41:21The printed mark there tells us it was made in the Royal Doulton factory,
0:41:21 > 0:41:25and beneath that, there is the title, the Madonna of the Square.
0:41:25 > 0:41:31And although she looks like the Madonna, and she could easily be
0:41:31 > 0:41:37holding the infant Christ, I think she's probably a lavender seller.
0:41:37 > 0:41:40- Oh!- And that, I think, brings us back
0:41:40 > 0:41:44- to the fact that she is called the Madonna of the Square.- Right.
0:41:44 > 0:41:49So, she has this dignity which you'd associate with the Virgin Mary,
0:41:49 > 0:41:52but also, there is something everyday about her, isn't there?
0:41:52 > 0:41:55- Yes, there's something natural. - Exactly.
0:41:55 > 0:41:59It comes in various colourways. Green I think is amongst the rarest.
0:41:59 > 0:42:06Um...And she was modelled by one of Royal Doulton's best models,
0:42:06 > 0:42:09a lady called Phoebe Stabler.
0:42:09 > 0:42:12So that adds to her value, as well.
0:42:12 > 0:42:16- You're obviously not going to miss her.- No, I do like her. She's really pretty.
0:42:16 > 0:42:18But she is lying about the house,
0:42:18 > 0:42:21and we've four grandchildren visiting regularly,
0:42:21 > 0:42:25and I would be very worried that she might get broken.
0:42:25 > 0:42:30OK. Normally, a Doulton figure of this type might make
0:42:30 > 0:42:33between £20 and £50, but because she is so uncommon,
0:42:33 > 0:42:38I think we're going to get a figure of between £200-300 for her.
0:42:38 > 0:42:41- Is that OK?- Yes, that is!
0:42:41 > 0:42:45I suggest we put a reserve at the bottom end of the estimate, £200.
0:42:45 > 0:42:51- OK.- I gather you can't come to the auction, is that right?
0:42:51 > 0:42:54It's our ruby wedding, and we're going to Portugal.
0:42:54 > 0:43:00Unfortunately, we can't change it. But my son...
0:43:00 > 0:43:04my husband's rung my son, and he said he would be happy to come along.
0:43:04 > 0:43:07He knows the piece.
0:43:07 > 0:43:10And he's the lad who has the grandchildren who might break it.
0:43:10 > 0:43:12Archie and Eilish, yes.
0:43:19 > 0:43:23- How do you come by these? - They were left to my husband.
0:43:23 > 0:43:25Did he know somebody that was in the hunt?
0:43:25 > 0:43:29- Or did he take part in the hunt?- No, not really. He's there.- Oh, hello!
0:43:29 > 0:43:34- Separated by a Victorian sort of... - She usually talks to me like that.
0:43:34 > 0:43:37It's the best thing that's happened to us today.
0:43:37 > 0:43:41What are we doing? Where are we? I'll just say trees.
0:43:41 > 0:43:46OK, now, one's Chinese, one's Japanese. Which is which?
0:43:46 > 0:43:51- I haven't a clue.- Have a guess. - That's Chinese.- Oh, wrong way!
0:43:51 > 0:43:55You had a 50-50 chance. You should have phoned a friend. You're wrong.
0:43:55 > 0:43:57That's the Japanese, that the Chinese.
0:43:57 > 0:44:02Now, what's a Japanese figure and a Chinese plaque doing in your family?
0:44:02 > 0:44:05Well, my mum looked after a neighbour,
0:44:05 > 0:44:10and my mum was given it as a gift from the neighbour, so he gave it
0:44:10 > 0:44:12to us and then obviously we've kept it for this long.
0:44:12 > 0:44:17- Right, and they both came from the same place?- Yes.
0:44:17 > 0:44:22This is known as a Japanese okimono, and an okimono is basically
0:44:22 > 0:44:28a carving of a certain size normally made out of one section of ivory,
0:44:28 > 0:44:32and in the Meiji period, which is about 1900, 1910, when this was formed,
0:44:34 > 0:44:39there was a very different attitude to animal welfare.
0:44:39 > 0:44:45And if I ever saw a piece of modern ivory trying to be sold, I wouldn't sell it.
0:44:45 > 0:44:51But these things were done in times gone by, in both Japan and China.
0:44:51 > 0:44:55This is around 1900, this is slightly earlier. This is about 1880, 1890.
0:44:59 > 0:45:03And we've got a hard padauk wood stand.
0:45:03 > 0:45:05Padauk wood is rosewood family.
0:45:05 > 0:45:09We see figures and attendants in formal gardens with these
0:45:09 > 0:45:15building structures and very stylised trees.
0:45:15 > 0:45:17So this is an object just to be looked at
0:45:17 > 0:45:20and enjoyed for its artistic merit rather than ever to be used.
0:45:20 > 0:45:23We've got a tiny chip out of it on the bottom,
0:45:23 > 0:45:26but other than that, it's in relatively good condition.
0:45:26 > 0:45:32So, Japanese Meiji period ivory. That's going to be worth £80-120.
0:45:32 > 0:45:35Something like that. What do you think to the Chinese panel?
0:45:35 > 0:45:41- Would you be happy at £100-150? - Yeah.- Would you?
0:45:41 > 0:45:45I think you'd be very silly to be happy with that. I think it is worth a bit more.
0:45:45 > 0:45:49- How about 200-300? - Yes, I'd be happy with that, as well.
0:45:49 > 0:45:52Is that all right? Good. I reckon 300-500 is more to the mark.
0:45:52 > 0:45:55- Brilliant. - I think It'll do really well.
0:45:55 > 0:46:00And at the moment, the Chinese market is so buoyant,
0:46:00 > 0:46:02you can just see it racing away.
0:46:02 > 0:46:04That is a great thing.
0:46:05 > 0:46:09And now, Husnain has come along with a very British past time.
0:46:09 > 0:46:12You are far too young to have collected these.
0:46:12 > 0:46:16Yep, definitely. I found these when I moved house.
0:46:16 > 0:46:20And are you interested in this collection, or not?
0:46:20 > 0:46:23Um... not really, cos I don't know much about trains,
0:46:23 > 0:46:26and I don't really know to put them all together as well.
0:46:27 > 0:46:30When you say you found them in a house, what does that mean?
0:46:30 > 0:46:33- We decided to buy a new house.- OK.
0:46:33 > 0:46:36And we were cleaning out the attic and everything,
0:46:36 > 0:46:37and we found a train set.
0:46:37 > 0:46:40I asked the owner if he wanted it, if it belonged to him.
0:46:40 > 0:46:43He said it didn't belong to him, probably the person that had it before.
0:46:43 > 0:46:44Exactly.
0:46:44 > 0:46:46- And he goes, "You can keep it."- Yep.
0:46:46 > 0:46:50Just left it in the garage, and it's just been gathering dust.
0:46:50 > 0:46:52Right. It's not really a set.
0:46:52 > 0:46:55But we'll think of it in terms of being a group or a collection,
0:46:55 > 0:46:57really, of individual items,
0:46:57 > 0:47:00all of which were made by Meccano,
0:47:00 > 0:47:02using the brand name
0:47:02 > 0:47:05which everyone will be familiar with, I'm sure - "Hornby".
0:47:05 > 0:47:07The doyenne of British toymakers...
0:47:07 > 0:47:08Right, OK.
0:47:08 > 0:47:12..Really through the '20s and '30s, and up until the 1950s.
0:47:12 > 0:47:15This group would have been manufactured, probably,
0:47:15 > 0:47:18just before - or just after - the Second World War.
0:47:18 > 0:47:22We're looking at something which is 60, 70 years old.
0:47:22 > 0:47:25It's good to have two locomotives.
0:47:25 > 0:47:27- They're always worth more than the... - The carriages.
0:47:27 > 0:47:29..The carriages, exactly.
0:47:29 > 0:47:32This locomotive has a tender with it as well.
0:47:32 > 0:47:34It's good to have the buffers,
0:47:34 > 0:47:37and it's rather nice to have the signal here.
0:47:37 > 0:47:40But the item I like most, I think, really, is the carriage here,
0:47:40 > 0:47:43which is working in the sense that it tilts
0:47:43 > 0:47:45either way like that,
0:47:45 > 0:47:47and it has, best of all,
0:47:47 > 0:47:49the name "McAlpine" printed along the side.
0:47:49 > 0:47:53It's going to appeal to people who are interested in advertising items,
0:47:53 > 0:47:56as well as people who are interested in, you know,
0:47:56 > 0:47:57locomotives and rolling stock.
0:47:57 > 0:48:00Have you any idea what it might be worth?
0:48:01 > 0:48:02Umm... I was thinking about...
0:48:04 > 0:48:05..50-100 or something.
0:48:05 > 0:48:08I think it's worth a bit more than that, really.
0:48:08 > 0:48:11I think we're going to get the best part of 100,
0:48:11 > 0:48:12maybe even £150 for this.
0:48:12 > 0:48:14Yeah, yeah.
0:48:14 > 0:48:16Well, they can only make a profit.
0:48:19 > 0:48:23And now a quick reminder of what's going off to auction.
0:48:23 > 0:48:26Will Bruce's brother's boomerangs be returning home
0:48:26 > 0:48:31at James' estimate of £150-£250?
0:48:32 > 0:48:34This Madonna's far too valuable
0:48:34 > 0:48:36to risk when the grandkids come to stay.
0:48:36 > 0:48:40David's valued her at £200-£300.
0:48:40 > 0:48:45And James thinks the market is just right for these oriental carvings.
0:48:45 > 0:48:46Split into two separate lots,
0:48:46 > 0:48:50he's valued the figure at £80-£120,
0:48:50 > 0:48:54and the plaque at £300-£500.
0:48:54 > 0:48:58Husnain's train set was valued at £100-£150.
0:48:59 > 0:49:02We're back at Frank Marshall's in Knutsford
0:49:02 > 0:49:04with Nick Hall taking today's auction.
0:49:04 > 0:49:07Now, Bruce's indigenous artefacts.
0:49:07 > 0:49:11- Who have you brought along there? - This is my son, Zachary.- Hello.
0:49:11 > 0:49:14I have got to ask this question, and I expect you're thinking it as well.
0:49:14 > 0:49:18- Did you ever throw these? - No, I didn't.- Oh, you missed out!
0:49:18 > 0:49:21You should have gone to a park and had a throw. Did you?
0:49:21 > 0:49:24- No, I've never thrown them. - Do you know, I would have done that.
0:49:24 > 0:49:29I would have tried them. Zach can enjoy the money, can't he?
0:49:29 > 0:49:31- Well, Dad can.- Oh, it'll go on him.
0:49:31 > 0:49:35- A round of golf or two, and that'll be it.- You play golf, do you?
0:49:35 > 0:49:38- We do, yes. - What's your handicap, then?- Golf!
0:49:40 > 0:49:43- Spoils a good walk, doesn't it?- No!
0:49:43 > 0:49:45It just makes a good walk better.
0:49:45 > 0:49:48Hey, listen, let's find out what the bidders think, shall we?
0:49:48 > 0:49:53Because, at the end of the day, it is down to this lot and a few people on the phone and online.
0:49:53 > 0:49:55It's going under the hammer.
0:49:55 > 0:50:01Lot 165, the two South Australia 1940s boomerangs.
0:50:01 > 0:50:05I can come in with a bidding, I have got commission interest,
0:50:05 > 0:50:08and I can come in straight at 180.
0:50:08 > 0:50:15- At 180 with me now. - Yes!- 200, 210, 220, 230, 240.
0:50:15 > 0:50:22- There is someone bidding in the room.- 250, new bidder. 260, 270 280.
0:50:22 > 0:50:29290, 300, 310. 320. 320 with me. 320 now. Are you sure? I have got £320.
0:50:29 > 0:50:33Nothing online? The bid is with me at 320. Bidding on the phone?
0:50:33 > 0:50:39320 it is. Out at the back, but it's on the book at 320.
0:50:39 > 0:50:44All done, if you like. I am selling for sure at £320. They're sold, 320.
0:50:44 > 0:50:50- Happy?- Excellent.- You're thinking pound notes, now, aren't you, Zach?
0:50:50 > 0:50:53He's thinking rounds of golf.
0:50:54 > 0:50:57John and Colette's son Andrew is here to oversee the Madonna.
0:51:00 > 0:51:05- Did you grow up as a young lad looking at this figurine? - It's been in our family for 30 years.
0:51:05 > 0:51:08It was passed down from a great-great-aunt of my mum's.
0:51:08 > 0:51:11Unfortunately, she's got nowhere to store it that's safe.
0:51:11 > 0:51:16I've got children that are running round the house, and she's scared of it getting smashed.
0:51:16 > 0:51:19- How old are your children?- Three and one.- A dangerous age.- Absolutely.
0:51:19 > 0:51:24Fingers crossed. You never know what's going to happen. This is an auction. Here we go.
0:51:24 > 0:51:29Lot 329, the Royal Doulton figure, the Madonna of the Square.
0:51:29 > 0:51:31Who will bid me 150 to get the ball rolling? 150.
0:51:32 > 0:51:36Thank you, sir, 150 seated. Any advance on 150 now? 150, 160.
0:51:36 > 0:51:39160, now. A rare figure, this one. 170.
0:51:39 > 0:51:44It only had two years production. Are you still in? 180. 190 now.
0:51:44 > 0:51:47At 190. At 190 seated, still in, sir?
0:51:47 > 0:51:51For the sake of another tenner, don't lose it. 190.
0:51:51 > 0:51:55I have got 195 on the book against you, sir. Going 200? 200 seated.
0:51:55 > 0:52:00That gent seated at £200, third row. Any advance on £200? Nothing online.
0:52:00 > 0:52:06With you, sir, at 210. At 210 is the bid. In the room, standing, 210.
0:52:06 > 0:52:11Are you sure? At 210, all done? Yours at 210.
0:52:11 > 0:52:14- Oh, that was close!- Who said being an auctioneer was easy?
0:52:14 > 0:52:17- A knife edge, that one. - They'll be happy with that.
0:52:17 > 0:52:19I'm sure. It was within the estimate, so great.
0:52:19 > 0:52:23- Let them know, won't you?- Thank you. # I'm all shook up ...#
0:52:25 > 0:52:27Husnain's turn now with his lucky find.
0:52:29 > 0:52:33We're just about to put the train set under the hammer which was inherited, basically.
0:52:33 > 0:52:36- Found in a house that you moved into.- Yes.- A lovely story.
0:52:36 > 0:52:40- You're a student. What are you studying?- Accountancy at the University of Bradford.
0:52:40 > 0:52:43- So you have a good head for figures?- Hopefully.
0:52:43 > 0:52:46What did you think about David's figures of 100 and £150? Happy?
0:52:46 > 0:52:50Yes, I'm happy with that valuation. It's a reasonable price.
0:52:50 > 0:52:52It's not bad for finding something, let's face it!
0:52:52 > 0:52:55We'd all like that. Good luck.
0:52:55 > 0:53:01Lot 121 is a quantity of Hornby 'O' gauge clockwork railway items.
0:53:01 > 0:53:03Where can we start? £100?
0:53:03 > 0:53:07Surely £100. 80? 50? Where's 50?
0:53:07 > 0:53:12At 40, bid. 45, 50, 60, 60 I have.
0:53:12 > 0:53:15At £60. And five, 70.
0:53:15 > 0:53:17At £70. I need a bit more.
0:53:17 > 0:53:22Not quite there yet. I need more. At £70 only. Online has gone, OK.
0:53:22 > 0:53:26At £70, the highest we've got. I can't let it go at £70.
0:53:26 > 0:53:27All sure?
0:53:27 > 0:53:29Last chance.
0:53:29 > 0:53:31I'm afraid that's unsold, that lot, sorry.
0:53:31 > 0:53:37- No! That's it! It didn't sell. - Close but not close enough though.
0:53:37 > 0:53:40Where are the train spotters when you want them, eh?
0:53:41 > 0:53:43Now, up next, the Oriental carvings,
0:53:43 > 0:53:46and the first to go under the hammer is the Japanese ivory figure.
0:53:48 > 0:53:53- It's good to see you. Who's this? - This is my sister.- What's your name?
0:53:53 > 0:53:57- Lisa.- Lisa, how do you do? Right, OK, this is good.
0:53:57 > 0:54:00So, family heirlooms. These were Mother's.
0:54:00 > 0:54:05- What you do for a living? - I'm just at home with my children at the minute, a housewife.
0:54:05 > 0:54:08That's a full-time job. That's hard work. How many kids have you got?
0:54:08 > 0:54:13- Four.- That's hard work. That IS hard work. I wouldn't want four children.
0:54:13 > 0:54:17- You must be exhausted. - I get by. You have to.- How about you?
0:54:17 > 0:54:20- The same, I stay at home with my children.- Not with four?
0:54:20 > 0:54:24- No, three.- Not far behind me. - Are you going to have another?
0:54:24 > 0:54:27- No, three's my lot.- You've seen what four does, haven't you?
0:54:27 > 0:54:30Put me off for life!
0:54:30 > 0:54:35This sort of thing, ten years ago, would have been £50-80.
0:54:35 > 0:54:39But the market is so buoyant, if they want it, they just keep going.
0:54:39 > 0:54:42- And they do not stop. - That's good, really good.
0:54:42 > 0:54:46- That's what we want to hear. - An unstoppable roller-coaster ride.
0:54:46 > 0:54:48You've just heard it from James Lewis.
0:54:48 > 0:54:50If they want it. IF they want it.
0:54:50 > 0:54:54Sit back, fasten the seatbelts. Here we go. Good luck.
0:54:54 > 0:55:00Lot number 429 is the nicely carved ivory figure group.
0:55:00 > 0:55:05£80 anywhere? Surely, where's 80? 70? £60 bid me. 60, 70, 80 online.
0:55:05 > 0:55:09- Thank you.- This is good.- Getting there. At £80, the bid is online.
0:55:09 > 0:55:17Someone to open. 85, 90. We can see this interest coming in at £90.
0:55:17 > 0:55:20Five do I hear? 100. Still climbing slowly at £100.
0:55:20 > 0:55:25Any further bid, any advance? 110 now. 120, still going at 120.
0:55:25 > 0:55:32120 now. The bid is online at 120. 130, 140, keep going, don't slow up.
0:55:32 > 0:55:36140, 150. The bid is online.
0:55:36 > 0:55:39This is the one we thought just might struggle.
0:55:39 > 0:55:47The bid is online at 170. At £170. 175, 180. 190, 200. At £200.
0:55:47 > 0:55:49Still online at 200. Nothing in the room?
0:55:49 > 0:55:52The phones are all out, so it is online at £200. All sure?
0:55:52 > 0:55:56- Sold online for £200. - That's fantastic.
0:55:56 > 0:55:58Gosh, and here's the second one.
0:55:58 > 0:56:04Lot 430. Chinese carved ivory plaque. Nicely carved little thing.
0:56:04 > 0:56:08This plaque, I think this plaque is quite special, don't you?
0:56:08 > 0:56:13- This is the goodie.- £700 straight in on one of the phones. At £700.
0:56:13 > 0:56:16Any advance on £700?
0:56:16 > 0:56:24- Gosh.- 740, 60, 80, 800 online. 840, 860. I will come back. 900, 920.
0:56:24 > 0:56:29940. £1,000, the bid on the phone at 1,000. And 50. 1,100, 1,150.
0:56:29 > 0:56:33What's Mum going to say? I wish she was here.
0:56:33 > 0:56:351,300, 1,350,
0:56:35 > 0:56:391,400, 1,450. 1,500, 50, 1,600.
0:56:39 > 0:56:431,650, 1,700. 1,800. 1,850.
0:56:43 > 0:56:47- 1,900, 1,950, £2,000.- Oh, my God!
0:56:47 > 0:56:532,100, 2,200. At £2,200. 2,300, we're not there yet!
0:56:53 > 0:56:542,400. 2,500.
0:56:54 > 0:56:58- Still going. 2,600, 2,700. - You'll have to catch me in a minute.
0:56:58 > 0:57:03Come on, it's only money! 2,700, don't stop there. 2,700.
0:57:03 > 0:57:09At 2,700, back on the phone, do I hear? It's 2,700 online.
0:57:09 > 0:57:15No bidding in the room? 2,800, 2,900. 2,900. Come on, round it up.
0:57:15 > 0:57:17Give me three. I've got 2,900.
0:57:17 > 0:57:22£3,000! 3,100. 3,100, we're not there yet.
0:57:22 > 0:57:27At 3,100. Or are we? It's at 3,100. At £3,100...
0:57:27 > 0:57:293,200, 3,300.
0:57:29 > 0:57:32- I am amazed, you?- It's carrying on. I can't believe it.
0:57:32 > 0:57:37Very excited people in the far corner here. Congratulations to you.
0:57:37 > 0:57:41It's £3,300 online. Direct from Shanghai at £3,300.
0:57:41 > 0:57:45- He said in Shanghai, coming from Shanghai.- We're out in the room.
0:57:45 > 0:57:49The phones are all dead. £3,300 online. The hammer is up.
0:57:49 > 0:57:51We're selling at 3,300. Sold!
0:57:51 > 0:57:54£3,300!
0:57:54 > 0:57:57APPLAUSE
0:57:58 > 0:58:05- Oh, my gosh.- Wow. £3,300. - Oh, my goodness.- I'm in shock.
0:58:05 > 0:58:10- I'm lost for words. How about that? - Absolutely over the moon.
0:58:10 > 0:58:14Thank you so much for coming in. Well done, James.
0:58:14 > 0:58:17I told you there was going to be a surprise, didn't I?
0:58:17 > 0:58:21It doesn't get better than that. That's what auctions are about. Hope you've enjoyed the show.
0:58:21 > 0:58:23We'll see you next time. Take care.