0:00:04 > 0:00:08This is the programme where we take your unwanted antiques
0:00:08 > 0:00:10off to auction and make you a handful of cash
0:00:10 > 0:00:12but on today's show we are talking big money -
0:00:12 > 0:00:15not just hundreds of pounds but thousands of pounds
0:00:15 > 0:00:18for one lucky owner. Welcome to "Flog It!"
0:00:38 > 0:00:42Today's valuation day comes from the wonderful Henley-on-Thames
0:00:42 > 0:00:45in Oxfordshire, at their town hall. Lots of people have turned up
0:00:45 > 0:00:48with their treasures, and it's up to me and a team of valuers
0:00:48 > 0:00:51to spot the real gems in the crowd.
0:00:51 > 0:00:55Heading up the experts are Catherine Southon...
0:00:55 > 0:00:59- I bet you've had lots of fun with that.- Yes. Used to.
0:00:59 > 0:01:02..and Mark Stacey.
0:01:02 > 0:01:04I'm going to stick this on you, all right?
0:01:04 > 0:01:06And then I'm going to put you in my big pen.
0:01:06 > 0:01:11But there's no time to lose. Let's go inside and get cracking.
0:01:14 > 0:01:17Coming up - it's always good to see our old "Flog It!" favourites
0:01:17 > 0:01:19like Charlotte Rhead.
0:01:19 > 0:01:22What I really adore about her work is the tube lining.
0:01:22 > 0:01:25It's got that lovely texture to it, that wonderful relief.
0:01:25 > 0:01:27And Clarice Cliff.
0:01:27 > 0:01:29Do you see a lot of it on "Flog It!"?
0:01:29 > 0:01:31Good old Clarice Cliff!
0:01:31 > 0:01:36But sometimes we find something that really causes a stir,
0:01:36 > 0:01:38like this photograph.
0:01:38 > 0:01:42It's not the sitter I'm interested in. It's the photographer!
0:01:42 > 0:01:44That demands special attention.
0:01:44 > 0:01:47Whatever it brings, the students will be delighted.
0:01:47 > 0:01:50Good luck. Good luck, that's all I can say.
0:01:52 > 0:01:55The town hall is packed, and valuations are underway.
0:01:55 > 0:01:57Over at the table with Catherine,
0:01:57 > 0:01:59Ellen has brought in an elegant compact.
0:01:59 > 0:02:02The reason I was drawn to this very pretty little box
0:02:02 > 0:02:06was its colour, a very beautiful light blue.
0:02:06 > 0:02:08But I don't think it does it justice...
0:02:08 > 0:02:11- It's on the same background. - ..on the "Flog It!" tablecloth,
0:02:11 > 0:02:16so I'm going to lift it up. I think this is part of a dressing-table set.
0:02:16 > 0:02:18- Yes, probably. - If we just open this up here,
0:02:18 > 0:02:22we can see that perhaps it contained powder or something like that,
0:02:22 > 0:02:25and it was part of a big set where you would have had brushes
0:02:25 > 0:02:28and soap dishes, things like that, all different items
0:02:28 > 0:02:31which would have been kept on a dressing table.
0:02:31 > 0:02:36What I really love about this is the beautiful guilloche enamel,
0:02:36 > 0:02:38which is engine-turned. You can see there,
0:02:38 > 0:02:42all the tiny little lines there, how it's actually been worked,
0:02:42 > 0:02:46- and the lovely blue enamel. - Yes, it's pretty.
0:02:46 > 0:02:49And I think that's really where its value lies.
0:02:49 > 0:02:50Where did you get this from?
0:02:50 > 0:02:53Well, I used to look after elderly people,
0:02:53 > 0:02:57and this was one of the pieces amongst their possessions
0:02:57 > 0:03:00that I was left, so I've had it for about ten years now.
0:03:00 > 0:03:03You can just imagine that on a dressing table with other pieces.
0:03:03 > 0:03:07But in its own right it's still a very beautiful object,
0:03:07 > 0:03:10and it's very commercial, because you can put anything in there -
0:03:10 > 0:03:13- your hair clips or whatever. - Trinkets.
0:03:13 > 0:03:15It would sit very nicely on your dressing table.
0:03:15 > 0:03:19Looking at it more closely, we can see it's silver gilt,
0:03:19 > 0:03:21and it's got a couple of marks there...
0:03:21 > 0:03:24- I'd never noticed before. - ..which tell us that it's French.
0:03:24 > 0:03:27And then, moving around here, there's another mark.
0:03:27 > 0:03:31There we are. Very, very tiny little mark there,
0:03:31 > 0:03:33which is actually giving us the maker's initials.
0:03:33 > 0:03:36That's something we'll have to research.
0:03:36 > 0:03:39I've never seen it, all these years I've had the box!
0:03:39 > 0:03:41The only thing that worries me slightly
0:03:41 > 0:03:44- is that it does have a bit of wear. - Oh, right.
0:03:44 > 0:03:47Can you see? There's a bit of damage to the guilloche there,
0:03:47 > 0:03:50and then also on the underside there.
0:03:50 > 0:03:53These things do get damaged quite easily,
0:03:53 > 0:03:56but apart from that, it is in rather nice condition.
0:03:56 > 0:04:00So this was given to you. What have you done with it since then?
0:04:00 > 0:04:03It's just been in a little cabinet. It seems such a shame
0:04:03 > 0:04:06to leave it unused. It should be used.
0:04:06 > 0:04:09- The time's come to flog it? - Time's come, yes.
0:04:09 > 0:04:13Now, value-wise, it would be lovely if we had the entire set.
0:04:13 > 0:04:17- Yes.- Then we'd be looking at, perhaps, £300 to £500.
0:04:17 > 0:04:21But for this item alone, I'd say we should put a pre-sale estimate on
0:04:21 > 0:04:24- at £50 to £80...- Very nice! - ..and reserve on of 40.
0:04:24 > 0:04:27- Would you be happy to sell at that? - I would indeed.
0:04:27 > 0:04:30Thank you for bringing it along to "Flog It!",
0:04:30 > 0:04:33and let's hope that it makes some money at the auction.
0:04:33 > 0:04:36That vibrant blue enamel and silver-gilt detail
0:04:36 > 0:04:40is bound to appeal to some magpies at the auction room,
0:04:40 > 0:04:43and could even complete someone's dressing-table set.
0:04:43 > 0:04:48Another decorative object has landed on Mark's table, brought in by Steven.
0:04:48 > 0:04:51What's a chap like you doing with a parasol like this?
0:04:51 > 0:04:53Basically being very embarrassed. THEY LAUGH
0:04:53 > 0:04:56Don't be silly. It's lovely. Where did you get it from?
0:04:56 > 0:04:59It was inherited from an auntie, and her mother had it
0:04:59 > 0:05:02- when she was in India, as far as I know.- Oh, right. OK.
0:05:02 > 0:05:05Well, there's no surprise why we like it here on "Flog It!".
0:05:05 > 0:05:08It's because of this wonderful ivory handle,
0:05:08 > 0:05:12which is fantastically carved with these rather mischievous bears
0:05:12 > 0:05:15going all around it, which is really good fun.
0:05:15 > 0:05:18It's been very detailedly carved out and stained,
0:05:18 > 0:05:21and they've got little eyes and faces,
0:05:21 > 0:05:23- and it's really quite a quirky object.- Yes.
0:05:23 > 0:05:26There are a few problems, however.
0:05:26 > 0:05:29First of all, parasols are not as collectable as walking canes.
0:05:29 > 0:05:32Now, if this had been mounted onto a walking cane,
0:05:32 > 0:05:35it would be a lot more collectable. Secondly,
0:05:35 > 0:05:38- all this has been replaced.- Right.
0:05:38 > 0:05:42Originally it would have had a much more delicate, lacy fabric on it.
0:05:42 > 0:05:45- Right.- So you can imagine, in the Edwardian period -
0:05:45 > 0:05:48you know, 1900, 1910, 1920,
0:05:48 > 0:05:52fashionable young ladies would have been promenading
0:05:52 > 0:05:55with their parasols up, protecting them from the sun.
0:05:55 > 0:05:58- It would have been purely used for the sun?- Absolutely.
0:05:58 > 0:06:01It's not an umbrella. There is another interesting thing there.
0:06:01 > 0:06:03- Tell me.- It's the name.- Oh, yes.
0:06:03 > 0:06:06We'll have to be very careful how we open this.
0:06:06 > 0:06:10When we open it up there, like that,
0:06:10 > 0:06:14we can see the word Paragon, which is the retail name of this.
0:06:14 > 0:06:17- Right.- And then we can see the firm Fox & Co Limited.
0:06:17 > 0:06:21Now, I don't know who Fox & Co are, but it would have been retailed
0:06:21 > 0:06:24and sold through very fashionable shops
0:06:24 > 0:06:26in India, or maybe Delhi or Calcutta.
0:06:26 > 0:06:29- Right. Right, yeah. - So, knowing all that,
0:06:29 > 0:06:32and the fact that I think what somebody would probably do
0:06:32 > 0:06:37- is restore this, or turn this bit into a walking stick...- Yes.
0:06:37 > 0:06:39..how much do you think it might be worth?
0:06:39 > 0:06:41Haven't got a clue. That's what I'm here for.
0:06:41 > 0:06:44- That's what you're here for? I don't, either.- Oh, right.
0:06:44 > 0:06:48I can give a guesstimate, because I do think this makes it, actually.
0:06:48 > 0:06:52I would suggest maybe somewhere around £100 to £150.
0:06:52 > 0:06:55- Oh, right. That's good. - Would that be all right for you,
0:06:55 > 0:06:57- to put in for sale at that? - I think it's worth a try.
0:06:57 > 0:07:01- With a reserve of 100 with ten percent discretion.- Yes.
0:07:01 > 0:07:03Hopefully we'll get a bit more than that.
0:07:03 > 0:07:06- How do you feel with that estimate? - That would be fine with me.
0:07:06 > 0:07:09- Fantastic! I'll see you at the sale. - Thanks very much.
0:07:09 > 0:07:14All the pretty things have turned up at the Henley valuation day today.
0:07:14 > 0:07:18Catherine's been won over by Joyce's pastel pottery.
0:07:18 > 0:07:22Joyce, I always love to see a piece of Charlotte Rhead on "Flog It!".
0:07:22 > 0:07:27- Where did you get this bowl from? - It was given to us 40 years ago
0:07:27 > 0:07:30by an elderly neighbour when we lived in Somerset.
0:07:30 > 0:07:33- Given to you as a present? - Yes. That's all I know about it.
0:07:33 > 0:07:35- And did you know who it was by? - Oh, yes.
0:07:35 > 0:07:38- It's well marked, isn't it? - It is very well marked underneath,
0:07:38 > 0:07:42with her signature. We see there it's got "C Rhead".
0:07:42 > 0:07:45The very early pieces were marked "L Rhead",
0:07:45 > 0:07:47for Lottie, Lottie Rhead,
0:07:47 > 0:07:50so that will help us in trying to date this.
0:07:50 > 0:07:53We can also see there's a stamp on the back for Crown Ducal,
0:07:53 > 0:07:56- for when she worked at the factory Crown Ducal.- Right.
0:07:56 > 0:07:59So that would date this around 1925, 1930.
0:07:59 > 0:08:02- Right.- So, it's something you've had displayed in your home
0:08:02 > 0:08:05- for quite some time. - Yes.- Something that you've loved?
0:08:05 > 0:08:09- Oh, yes, I love it.- So why did you decide to bring it along today?
0:08:09 > 0:08:12Well, just something to bring, really,
0:08:12 > 0:08:15- because we were coming over anyway. - What I like about it
0:08:15 > 0:08:18is the colours. Now, with Charlotte Rhead,
0:08:18 > 0:08:22what we often find are oranges and yellows and greens,
0:08:22 > 0:08:26real Art Deco colours. Lovely to see these wonderful mauves
0:08:26 > 0:08:28- and sort of pinks. - More unusual.- Yeah.
0:08:28 > 0:08:32I think so. Lovely to see that, and I do really like that.
0:08:32 > 0:08:34But what we love about Charlotte Rhead,
0:08:34 > 0:08:38and what I really adore about her work, is the tube lining.
0:08:38 > 0:08:40If you feel it, it's got that lovely texture to it,
0:08:40 > 0:08:43that wonderful relief. And it's where the clay
0:08:43 > 0:08:46has been piped through like a liquid,
0:08:46 > 0:08:48giving it this wonderful texture,
0:08:48 > 0:08:50and something that I really love about it,
0:08:50 > 0:08:53and really makes her work so distinctive.
0:08:53 > 0:08:55So, time to sell it, do you think?
0:08:55 > 0:08:58I don't worry, really, whether I keep it or sell it,
0:08:58 > 0:09:01but may as well get rid of it. It'll probably get broken.
0:09:01 > 0:09:04So time to move on. Would you be happy if we put it in auction
0:09:04 > 0:09:09- with an estimate of £120 to £180? - That sounds fine, yeah.
0:09:09 > 0:09:12- With a reserve of £100?- Yes, fine.
0:09:12 > 0:09:16- Are you happy with that?- Fine, yeah. - I think it should do well.
0:09:16 > 0:09:19If it does do well, what would you do with the money?
0:09:19 > 0:09:22- Probably buy a bear, an old bear. - A teddy bear?
0:09:22 > 0:09:26- A teddy bear, yeah.- How many have you got in your collection?
0:09:26 > 0:09:29- About 100, I expect. - Wow! That IS a collection.- Yeah.
0:09:29 > 0:09:32Well, keep your eyes peeled at the auction,
0:09:32 > 0:09:35- and perhaps you can swap this for a bear.- Hopefully.
0:09:35 > 0:09:37- Sell this and buy a bear in its place.- Yes.
0:09:37 > 0:09:40- I'll see you at the auction in a couple of weeks.- Nice to see you.
0:09:40 > 0:09:43- And you. - I've seen you lots of times.
0:09:43 > 0:09:46Charlotte Rhead will hopefully turn into a furry friend
0:09:46 > 0:09:49for Joyce's collection. But now it's my turn.
0:09:49 > 0:09:53I've got to say, I'm very, very excited about my next find.
0:09:53 > 0:09:56Right now it belongs to Angela - well, Angela's school.
0:09:56 > 0:10:00- Yeah.- Tell me a little bit more about your school.
0:10:00 > 0:10:03Slough Grammar School is based in Slough, Berkshire,
0:10:03 > 0:10:07and we're looking at selling this because we need to do rebuilds,
0:10:07 > 0:10:10and this is an asset we can sell to help the school.
0:10:10 > 0:10:15- So the school needs the money. They're always under-funded.- Yeah.
0:10:15 > 0:10:18OK. This is the scientist, Herschel, who...
0:10:18 > 0:10:21There is some local connection, isn't there?
0:10:21 > 0:10:23He was born and brought up in Slough.
0:10:23 > 0:10:25Which is literally just down the river.
0:10:25 > 0:10:28Credited for pioneering and developing the telescope...
0:10:28 > 0:10:30- Yeah.- ..and optical lens.
0:10:30 > 0:10:33But it's not the subject, not the sitter, I'm interested in.
0:10:33 > 0:10:38It's the photographer. I've been to Julia Margaret Cameron's studios
0:10:38 > 0:10:41on the Isle of Wight, and this is an original by her -
0:10:41 > 0:10:44the greatest female photographer, possibly, in history,
0:10:44 > 0:10:47- definitely in the 19th century. - Yeah.
0:10:47 > 0:10:50There's a little description, isn't there, just down there,
0:10:50 > 0:10:53and I think it says "taken at the residence"
0:10:53 > 0:10:55of Herschel's own home, Collingwood,
0:10:55 > 0:11:00"by Julia Margaret Cameron, April 1867."
0:11:00 > 0:11:03Yeah. And signed by the portrait -
0:11:03 > 0:11:06Signed by Herschel himself.
0:11:06 > 0:11:08There is a little bit of damage to the image. Not a lot -
0:11:08 > 0:11:11- it's just lifting slightly, isn't it?- Yeah.
0:11:11 > 0:11:14But otherwise it's in very good condition.
0:11:14 > 0:11:17- And this was available to buy, around 1867.- Yeah.
0:11:17 > 0:11:19Judging by the catalogue we looked at,
0:11:19 > 0:11:23you could buy this print for around about £10, couldn't you?
0:11:23 > 0:11:25And that was expensive then. Yeah.
0:11:25 > 0:11:29So for this to turn up today is really, really exciting.
0:11:29 > 0:11:32You've done a little bit of research.
0:11:32 > 0:11:36- Yeah.- Because something like this sold at Sotheby's a few years ago,
0:11:36 > 0:11:38in auction...
0:11:38 > 0:11:40- For about 51,000.- £51,000!
0:11:40 > 0:11:43I said today, whatever you do, don't turn over,
0:11:43 > 0:11:47because somebody's going home with a lot of money. It could be Angela.
0:11:47 > 0:11:49- It really could be you. - Well, the school.
0:11:49 > 0:11:53Yes, for the school. That money would come in tremendously handy.
0:11:53 > 0:11:56We had so many meetings, talking about finance,
0:11:56 > 0:11:59and we said, "We're going to sell you one day,"
0:11:59 > 0:12:02- and now's the time to sell him. - You heard "Flog It!" was in town
0:12:02 > 0:12:05- and you thought you'd get a second opinion.- Yeah.
0:12:05 > 0:12:09This is so important to us, and we want to act in your best interests.
0:12:09 > 0:12:12I think it's really important that we take this away with us,
0:12:12 > 0:12:14we do a little more research,
0:12:14 > 0:12:17because if Sotheby's think it's worth 50-odd thousand pounds,
0:12:17 > 0:12:21or one like it has sold for that... They haven't actually seen it?
0:12:21 > 0:12:23- They sent a researcher out. - Oh, they did?
0:12:23 > 0:12:27And the researcher confirmed it was a Julia Margaret Cameron.
0:12:27 > 0:12:30I think we take this to a major saleroom in London,
0:12:30 > 0:12:33see what they think, and we get it put into a specialist sale,
0:12:33 > 0:12:36a photograph-and-print sale. Are you happy with that?
0:12:36 > 0:12:39- That's really good. - Thank you so much,
0:12:39 > 0:12:42Angela, for coming in. It's been a pleasure talking to you.
0:12:42 > 0:12:44- We'll look after this. - Thanks very much.
0:12:44 > 0:12:48'We're leaving Henley with some lovely items to sell for our owners,
0:12:48 > 0:12:51'but what made them special?'
0:12:51 > 0:12:53What drew me to this was the beautiful blue colour
0:12:53 > 0:12:57and the lovely guilloche enamel work.
0:12:57 > 0:12:59What I really hope is that we've got a couple of buyers
0:12:59 > 0:13:02who come to the auction who've got the matching set,
0:13:02 > 0:13:05and then we've got big money.
0:13:05 > 0:13:08This lovely ivory-handled parasol has all the "bear" necessities
0:13:08 > 0:13:11to make a healthy price at auction.
0:13:11 > 0:13:14I'm always drawn towards Charlotte Rhead,
0:13:14 > 0:13:16because I've got a few pieces at home.
0:13:16 > 0:13:19This is slightly different from the rest.
0:13:19 > 0:13:22What I like about this are the lovely pinks and the purple,
0:13:22 > 0:13:25which separate it from the others, and I hope that because of that,
0:13:25 > 0:13:28it will stand out at auction and it'll do well.
0:13:29 > 0:13:32And our fourth item, the Julia Margaret Cameron photo -
0:13:32 > 0:13:35well, that is going off to a specialist
0:13:35 > 0:13:38for further examination. More about that very soon.
0:13:44 > 0:13:47But for now let's get on with the sale,
0:13:47 > 0:13:49and we're at Midgham, at Cameo Auctioneers.
0:13:49 > 0:13:51I can feel the tension starting to build.
0:13:51 > 0:13:54I know our owners are really nervous right now.
0:13:54 > 0:13:56For you at home, you can sit back and enjoy this,
0:13:56 > 0:14:00but for the rest of us it's going to be a roller-coaster ride,
0:14:00 > 0:14:03so fasten your seatbelts, because anything can happen at auction.
0:14:03 > 0:14:09The standard seller's commission rate here is 20 percent plus VAT,
0:14:09 > 0:14:11including all fees.
0:14:11 > 0:14:14Let's start proceedings with Steven's ivory-handled parasol.
0:14:14 > 0:14:18Our experts are always saying, "If you want to invest in antiques,
0:14:18 > 0:14:21invest in quality." And this next lot has it in abundance!
0:14:21 > 0:14:23It belongs to Steven. Mark is our expert,
0:14:23 > 0:14:27and I'm absolutely in love with this, because it is sheer quality.
0:14:27 > 0:14:30£100 to £150. Steven, why are you selling this?
0:14:30 > 0:14:33It just sits in the umbrella stand doing nothing,
0:14:33 > 0:14:36so I'd rather it go to somebody that would benefit from it.
0:14:36 > 0:14:40- It's been in the family a long time. - Yeah. About...ooh, 75 years.
0:14:40 > 0:14:43Well, it's down to the bidders out there.
0:14:43 > 0:14:45Good luck. We got a fixed reserve at £100.
0:14:45 > 0:14:49Let's hope we get double that. Let's put a smile on your face. This is it.
0:14:49 > 0:14:53This is rather nice. This is an ivory-handled parasol
0:14:53 > 0:14:56with the handle decorated with bears and lions.
0:14:56 > 0:14:59Manufactured by Fox & Co, in super condition.
0:14:59 > 0:15:02It really is very nice indeed. Give me 100 for it, somebody, please.
0:15:02 > 0:15:06- 50, then, to start it, if I may. - There's two or three hands going up.
0:15:06 > 0:15:0960. 65. 70. 75.
0:15:09 > 0:15:1480. £80 I'm bid. 85. 90. 95.
0:15:14 > 0:15:17- 100. At £100, I'm bid.- A bit more.
0:15:17 > 0:15:19In the room, then, at £100 and away.
0:15:19 > 0:15:22- Are you all done at £100? - A bit more, a bit more.
0:15:23 > 0:15:27Sold! £100. Just got it away on the reserve. Happy?
0:15:27 > 0:15:30- Yeah, that's fine. - It's better than it perishing away,
0:15:30 > 0:15:34let's face it. Enjoy the rest of the day, and thank you for being on the show,
0:15:34 > 0:15:37because it's always lovely to hold and talk about quality.
0:15:37 > 0:15:40The parasol just made its money, so Mark was spot-on
0:15:40 > 0:15:43with his valuation.
0:15:43 > 0:15:47But will Joyce's bit of Charlotte Rhead find a new home?
0:15:47 > 0:15:50Joyce, good luck. You're squeezing my hand ever so hard.
0:15:50 > 0:15:53You're nervous, aren't you? You can let go now!
0:15:53 > 0:15:57Bless you! John, how you feeling, mate?
0:15:57 > 0:16:01- All right, thank you.- We've got the bowl going under the hammer now.
0:16:01 > 0:16:02- Right.- Happy?- Yeah.
0:16:02 > 0:16:06- Sad to see it go?- In a way, yes. I was afraid of breaking it.
0:16:06 > 0:16:09Nice example, isn't it? And I know you've got £120 to £180 on it.
0:16:09 > 0:16:12Yes, because you don't just want to give it away,
0:16:12 > 0:16:15so we've put a decent price on it, and we've protected it
0:16:15 > 0:16:18- with a good reserve. - Otherwise we can take it home again.
0:16:18 > 0:16:22- Yes. Did you ever use it at all? - Yes. I put potpourri in it.
0:16:22 > 0:16:26Well, it's in fabulous quality, that's the main thing.
0:16:26 > 0:16:28Let's find out what the bidders think, shall we?
0:16:28 > 0:16:34It's a great name in studio pottery, so hopefully that will get it away. Here we go.
0:16:34 > 0:16:37Charlotte Rhead, Crown Ducal signed bowl,
0:16:37 > 0:16:40in very good condition. £50 to start it, somebody, please.
0:16:40 > 0:16:43I'm bid £50. 55 anywhere, please, for the Charlotte Rhead?
0:16:43 > 0:16:4655 anywhere? At £50, I'm bid. 55 anywhere?
0:16:46 > 0:16:4855. 60.
0:16:48 > 0:16:51- 65. 70.- Struggling a bit.
0:16:51 > 0:16:55At £65. And £70 with me, and away.
0:16:55 > 0:16:58At £70 with me. Are you all done at £70?
0:16:58 > 0:17:01- And with no further bids and no interest...- No.
0:17:01 > 0:17:04- Not the day for Charlotte Rhead. - I don't mind taking it home.
0:17:04 > 0:17:06You do love it, don't you?
0:17:06 > 0:17:08So it's going home, which is not all bad news.
0:17:08 > 0:17:11- Put the pot-pourri back in it. - Yeah, and look after it.
0:17:11 > 0:17:15- It's been out for a day. - It's had a day out.- Exactly.
0:17:15 > 0:17:18It's not all bad news when things don't sell.
0:17:18 > 0:17:20I think Joyce was relieved to take it home.
0:17:20 > 0:17:24Now we've got something for the ladies - an enamelled blue compact
0:17:24 > 0:17:26belonging to Ellen, who sadly can't be with us.
0:17:26 > 0:17:30She's gone down to the south coast to get a bit of sea breeze.
0:17:30 > 0:17:33- But her son Mark is with us... - Hello.- ..flying the flag.
0:17:33 > 0:17:36- You've been feeling poorly, under the weather.- Yes.
0:17:36 > 0:17:39You've got out of bed for us today. We're really grateful,
0:17:39 > 0:17:42and I think Mum will be as well. Do you know where she got this?
0:17:42 > 0:17:44An old friend of hers left it to her.
0:17:44 > 0:17:47You picked up on it at the valuation day, didn't you?
0:17:47 > 0:17:49It's probably part of a big dressing-table set,
0:17:49 > 0:17:52but I liked it because of the blue enamel.
0:17:52 > 0:17:54It is quite eye-catching, isn't it?
0:17:54 > 0:17:57Hopefully it will catch somebody's eye here.
0:17:57 > 0:17:59- It's in good condition. - That's what it's all about.
0:17:59 > 0:18:03It's going under the hammer right now. Good luck.
0:18:03 > 0:18:07The nice French blue enamelled silver-gilt compact,
0:18:07 > 0:18:10circa 1920, in very good condition. I've got two bids.
0:18:10 > 0:18:16They're exactly the same. £60. £60 with me. 65. At £65 and away.
0:18:16 > 0:18:1970, anywhere? At 70, I'm bid. 75.
0:18:19 > 0:18:21- 80. 85. 90.- Brilliant!
0:18:21 > 0:18:2395. 100.
0:18:23 > 0:18:25- 105. 110.- Ooh, they like this!
0:18:25 > 0:18:29- They like this.- 125. 130. 135?
0:18:29 > 0:18:33130, then. At £130, I'm bid. 140.
0:18:33 > 0:18:35- 150. - It's so hard to see the bidders!
0:18:35 > 0:18:39£150 in the room. At 150 in the room.
0:18:39 > 0:18:43- 155. 160? At £155, I'm bid.- Yes!
0:18:43 > 0:18:48At £155 and selling. Are you all done? And sold.
0:18:48 > 0:18:51£155! You've got to get on the phone and tell her the good news.
0:18:51 > 0:18:53- I will do.- That's so unexpected!
0:18:53 > 0:18:56I thought maybe top end, so about 60.
0:18:56 > 0:18:58I thought that would be it, so that's brilliant.
0:18:58 > 0:19:01If she's got any more, tell her to bring them.
0:19:01 > 0:19:05- We want the rest of the set. - I'll make sure she's not on holiday next time.
0:19:05 > 0:19:07OK. Thank you.
0:19:09 > 0:19:1050 I'm bid.
0:19:10 > 0:19:13Well, a great start to the programme, but don't go away,
0:19:13 > 0:19:17because we've still got that wonderful Victorian photograph to sell.
0:19:17 > 0:19:19So, who was Julia Margaret Cameron,
0:19:19 > 0:19:22and why is her work so highly regarded?
0:19:22 > 0:19:25Well, back in 2005, when I was filming with "Flog It!"
0:19:25 > 0:19:27on the Isle of Wight, I had the pleasure of visiting
0:19:27 > 0:19:32her former home and studio. It's now a gallery and museum,
0:19:32 > 0:19:35dedicated to her life's work. Take a look at this.
0:19:38 > 0:19:41Being by the seaside is a fantastic opportunity
0:19:41 > 0:19:45of taking photographs. Photography dates back to the early 19th century
0:19:45 > 0:19:48and a famous person for taking photos of famous Victorians
0:19:48 > 0:19:51lived here on the Isle of Wight.
0:20:06 > 0:20:09Julia Margaret Cameron has been described
0:20:09 > 0:20:11as the greatest pictorial photographer
0:20:11 > 0:20:13of the 19th century.
0:20:15 > 0:20:18She was born in 1815 in Calcutta.
0:20:18 > 0:20:21Her first interest in photography started in 1855,
0:20:21 > 0:20:24when she was recovering from an illness in the Cape of Good Hope.
0:20:24 > 0:20:28She met Sir John Herschel, who had come up with the term "photography".
0:20:28 > 0:20:33But it was 27 years later, when she was given a camera as a present,
0:20:33 > 0:20:36that her interest really began to develop.
0:20:39 > 0:20:42Julia Margaret Cameron moved to the Isle of Wight in 1860,
0:20:42 > 0:20:45and she lived here in Freshwater, in this house, Dimbola Lodge.
0:20:45 > 0:20:47It was due to be knocked down in 1990,
0:20:47 > 0:20:51but luckily enough, a group of Cameron enthusiasts managed to save it.
0:20:54 > 0:20:56It's now a museum dedicated to her work,
0:20:56 > 0:20:59and the curator is Brian Hinton.
0:21:00 > 0:21:02Why did she come to the Isle of Wight?
0:21:02 > 0:21:05She was a great friend of Tennyson, the Poet Laureate,
0:21:05 > 0:21:09and when her husband went off to Ceylon to run the tea estates,
0:21:09 > 0:21:12she got rather lonely, so she'd come and stay at Farringford nearby,
0:21:12 > 0:21:16and she liked it more and more, so eventually she bought two cottages,
0:21:16 > 0:21:20one of which we're standing in, and put a big Gothic tower
0:21:20 > 0:21:24to link the two together, and turned the chicken shed at the back
0:21:24 > 0:21:26into a photographic studio.
0:21:26 > 0:21:30But I think there's something about the quality of the light here
0:21:30 > 0:21:34that really matters, and lots of painters and photographers
0:21:34 > 0:21:37have found it. I think she fell in love not just with Tennyson
0:21:37 > 0:21:40and all his friends, but with this place and the lovely scenery.
0:21:40 > 0:21:43It's gorgeous, and that is what attracts artists.
0:21:43 > 0:21:47- Why was she so renowned?- Because she was a great photographer.
0:21:47 > 0:21:50She was quite notorious. A lot of male photographers at the time
0:21:50 > 0:21:53thought she was unspeakable, because she didn't focus her camera.
0:21:53 > 0:21:56It was all fuzzy and artistic, and some people thought,
0:21:56 > 0:21:59"She can't do it." She was a brilliant artist.
0:21:59 > 0:22:02- Look at the results. - The work is absolutely superb.
0:22:02 > 0:22:05Did she find it hard, being a woman in a man's world
0:22:05 > 0:22:08- in the photography business? - She won prizes, but abroad,
0:22:08 > 0:22:11in Ireland and Germany. Never here. And she did get a lot of flak.
0:22:11 > 0:22:14It was becoming a profession, and all these people
0:22:14 > 0:22:17were starting their little photographic practices,
0:22:17 > 0:22:21and she was a lady, and she would only photograph who she chose to.
0:22:21 > 0:22:24So you can imagine what they thought of her - dilettante, you know?
0:22:24 > 0:22:28- So, yes, she got a lot of flak. - How can we identify her work?
0:22:28 > 0:22:32In terms of the subjects, she did two main things -
0:22:32 > 0:22:35well, three main things, actually. She did Madonnas,
0:22:35 > 0:22:38when she had her maids pretending to be the Virgin Mary,
0:22:38 > 0:22:42very holy and very beautiful and very spiritual,
0:22:42 > 0:22:45and again, usually just one person in shot.
0:22:45 > 0:22:47That classical composition.
0:22:47 > 0:22:49Very well trained in classical paintings.
0:22:49 > 0:22:52But also portraits of famous people, again just one person,
0:22:52 > 0:22:55head and shoulders. No-one had done that before.
0:22:55 > 0:22:59So almost like the personality portrait - she invented it.
0:22:59 > 0:23:02- Yeah.- And thirdly, she was very good at children.
0:23:02 > 0:23:05Wonderful examples here. Superb.
0:23:05 > 0:23:08Yeah. She would get some wings off a turkey or something,
0:23:08 > 0:23:11and stick them onto... The children weren't too happy.
0:23:11 > 0:23:14- They used to run away. - But... What techniques did she use?
0:23:14 > 0:23:17She took all the photographs here in an old chicken house,
0:23:17 > 0:23:21but her technique was to use roller blinds to control the light.
0:23:21 > 0:23:24She always photographed in daylight. She didn't use studio lights
0:23:24 > 0:23:28like photographers do today. So she would have the sitter
0:23:28 > 0:23:31sitting there for about five minutes.
0:23:31 > 0:23:34She would put a charged glass plate into the camera,
0:23:34 > 0:23:37and let the image, upside down, of course, work its way into the plate.
0:23:37 > 0:23:41After five minutes, the sitter would be dismissed.
0:23:41 > 0:23:45The glass plate would be treated with all kinds of chemicals and water,
0:23:45 > 0:23:48and it would be then put onto specially charged paper,
0:23:48 > 0:23:52paper made partly with albumen of egg,
0:23:52 > 0:23:55and the two would be put together in the sunlight,
0:23:55 > 0:23:58and gradually the image would come through onto the paper.
0:23:58 > 0:24:01You could do that endlessly from the same glass plate.
0:24:01 > 0:24:04- What a laborious process! - And only one in ten worked.
0:24:04 > 0:24:07- Tell me about some of her subjects. - Well, the main one is Tennyson.
0:24:07 > 0:24:11The one most famous is Tennyson, because he was the Poet Laureate.
0:24:11 > 0:24:15There's a lovely one where he looks like, as he describes it, "a dirty monk".
0:24:15 > 0:24:18You've also got people like Browning, Longfellow, the poet.
0:24:18 > 0:24:21Then you've got what she called her "beautiful maidens",
0:24:21 > 0:24:24so you've got her niece, the mother of Virginia Woolf,
0:24:24 > 0:24:26and you can really see the similarity.
0:24:26 > 0:24:30- Are her works collectable? - They weren't in the 1950s.
0:24:30 > 0:24:33You couldn't give them away. But now, highly collectable,
0:24:33 > 0:24:37and a lot of museums are still trying to build up collections of her work,
0:24:37 > 0:24:40so when they come for auction, you have private individuals
0:24:40 > 0:24:44fighting with institutions, especially in the States.
0:24:44 > 0:24:48Her work is absolutely stunning. She captures people so beautifully.
0:24:48 > 0:24:51What sort of prices are we talking about?
0:24:51 > 0:24:55We're talking about 1,000 to 20,000 for originals.
0:24:55 > 0:25:00Recently one went for £1,300, but not in very good condition.
0:25:00 > 0:25:03Condition, as in every kind of antique and artwork,
0:25:03 > 0:25:05is very important, and they have to be originals
0:25:05 > 0:25:08from the original glass plates, not copies,
0:25:08 > 0:25:11and you need an expert to actually tell the difference.
0:25:11 > 0:25:14These are all copies. Do you have originals?
0:25:14 > 0:25:17Yeah. We've got about 25 now, tucked away in a secret location.
0:25:17 > 0:25:21The trouble is, they are so susceptible to sunlight, humidity,
0:25:21 > 0:25:24that we can't put them on display. I wish we could,
0:25:24 > 0:25:27but it would just be a desecration. We do sometimes show them,
0:25:27 > 0:25:29but in very controlled conditions.
0:25:29 > 0:25:32Julia Margaret Cameron left the Isle of Wight
0:25:32 > 0:25:35to go and live in Sri Lanka, to join her sons who worked there.
0:25:35 > 0:25:37Although she took her equipment with her,
0:25:37 > 0:25:40she could never create the same style of work
0:25:40 > 0:25:42she'd produced here on the Isle of Wight.
0:25:46 > 0:25:49She died in 1879, and is buried in a tiny churchyard
0:25:49 > 0:25:51high in the mountains of Sri Lanka.
0:25:53 > 0:25:56So, will our Cameron photograph be in demand with the bidders?
0:25:56 > 0:26:01We're going to find out shortly. But first we have more antiques to find in Henley-on-Thames.
0:26:05 > 0:26:07Our team of experts are working flat-out
0:26:07 > 0:26:10to get everyone's items valued, and over with Catherine,
0:26:10 > 0:26:14it's Sue's turn to find out more about her spoon.
0:26:15 > 0:26:17Sue, welcome to "Flog It!".
0:26:17 > 0:26:19Thank you for bringing along your nice little spoon.
0:26:19 > 0:26:22Not an ordinary spoon, cos if we turn it over we can see
0:26:22 > 0:26:25that it's got this beautiful coloured enamel on the top.
0:26:25 > 0:26:28We'll talk about that in detail in a moment.
0:26:28 > 0:26:30But tell me, where did you get this from?
0:26:30 > 0:26:34Actually, it was in our family sugar bowl for many, many years.
0:26:34 > 0:26:38Growing up as a child, I would use it for the three spoons of sugar
0:26:38 > 0:26:41I used to have in my cups of tea in those days.
0:26:41 > 0:26:44- So it's very well used. - Yes, very well.
0:26:44 > 0:26:46It is in very good condition, considering that.
0:26:46 > 0:26:49- I know!- Do you know where it came from before then?
0:26:49 > 0:26:55As far as I can remember, my mother said it was a friend of her mother's,
0:26:55 > 0:26:58my grandmother, and that was about as much information
0:26:58 > 0:27:01- as she ever gave out. - But you've always known it.
0:27:01 > 0:27:03- It's always been in your family. - Yes.
0:27:03 > 0:27:06So, why did you bring it to us today?
0:27:06 > 0:27:09It's one of those items that I wanted very much when I was a child,
0:27:09 > 0:27:13because I thought it was so pretty, and I begged my mother,
0:27:13 > 0:27:16could I have it one day when she didn't want it any more,
0:27:16 > 0:27:19and I did have it on display at home for many years.
0:27:19 > 0:27:22Then we moved house, and it got put away in a box
0:27:22 > 0:27:26- and never brought out again. - It's a difficult thing to display.
0:27:26 > 0:27:28I mean, that's the way to display it,
0:27:28 > 0:27:31because this is what we call cloisonne enamel,
0:27:31 > 0:27:34where it's got - if you look very closely, you can see -
0:27:34 > 0:27:37there is wire that has been applied to the metal.
0:27:37 > 0:27:41This is actually silver, and the enamel has been put inside,
0:27:41 > 0:27:43so almost like little cells.
0:27:43 > 0:27:46But the colours are very beautiful, and you said, as a child,
0:27:46 > 0:27:50- you thought it was very pretty. - I did.- And I can see that.
0:27:50 > 0:27:53It dates from 1900, and it's actually Russian.
0:27:53 > 0:27:56So there's no Russian connection with your family,
0:27:56 > 0:28:00- or, you say, your family friends? - Not as far as I'm aware.
0:28:00 > 0:28:04Right. OK. But that's its history. That's where it's come from,
0:28:04 > 0:28:06as far as I'm concerned.
0:28:06 > 0:28:08But the beauty, as I say, is in this enamel.
0:28:08 > 0:28:12It's so pretty. I think I'd like to put it with an auction estimate
0:28:12 > 0:28:14- of £60 to £80.- Right.
0:28:14 > 0:28:16- It should make more than that.- OK.
0:28:16 > 0:28:20But I'll put £60 to £80, with a firm reserve of £60,
0:28:20 > 0:28:23to get some people excited and get the bidding up.
0:28:23 > 0:28:25It's really beautifully made. I love it, actually.
0:28:25 > 0:28:28The more I look at it, the more I love it.
0:28:28 > 0:28:30It's a very fine piece.
0:28:31 > 0:28:35I bet most of you watching at home will recognise Mark's next item.
0:28:36 > 0:28:38- Hello, May.- Hello, Mark.
0:28:38 > 0:28:41You've brought a "Flog It!" favourite in with you today.
0:28:41 > 0:28:44- You do see a lot of it on "Flog It!". - Good old Clarice Cliff!
0:28:44 > 0:28:47I really like it! It's slightly different, isn't it?
0:28:47 > 0:28:51I haven't seen one on "Flog It!" or any other show so far.
0:28:51 > 0:28:55- Where did you get it from? - Well, I bought it over 20 years ago
0:28:55 > 0:28:58- at a jumble sale. - So you didn't pay very much for it?
0:28:58 > 0:29:01I didn't pay hardly anything for it. Nobody wanted it.
0:29:01 > 0:29:04Strange, isn't it? Completely out of fashion then, you see.
0:29:04 > 0:29:07Have you had it valued in that 20-year period?
0:29:07 > 0:29:10About ten years ago I had it valued, yes.
0:29:10 > 0:29:13- Whereabouts? - It was the Antiques Roadshow.
0:29:13 > 0:29:16- Ooh!- It came to Henley, outside of Henley.
0:29:16 > 0:29:18And you took it along to one of their experts?
0:29:18 > 0:29:21- Yes, I did. - And what did they value it at?
0:29:21 > 0:29:25They said around 200 or 250 at the time.
0:29:25 > 0:29:27It's not too bad, is it?
0:29:27 > 0:29:30Clarice Cliff is one of those funny factories.
0:29:30 > 0:29:32It really does have a roller-coaster ride.
0:29:32 > 0:29:35I mean, sometimes the prices can be up there,
0:29:35 > 0:29:38sometimes they can be down there, and it depends on the shape,
0:29:38 > 0:29:41it depends on the pattern. I must admit,
0:29:41 > 0:29:44- I find this quite attractive. - I think it's a nice shape.
0:29:44 > 0:29:47- It's a very simple shape. - Simple, yeah.
0:29:47 > 0:29:51It's a very bold design. It's got that lovely summer-yellow colour
0:29:51 > 0:29:53with a lovely blue flower on it.
0:29:53 > 0:29:55And of course, when we look underneath,
0:29:55 > 0:29:59we can see the typical mark, Bizarre, by Clarice Cliff,
0:29:59 > 0:30:03and the pattern is Sungay. I don't think it's changed an awful lot.
0:30:03 > 0:30:07- No.- I think they probably got it right about ten years ago,
0:30:07 > 0:30:09and it's flattened out a bit since then,
0:30:09 > 0:30:13so I think the estimate is still probably around 200 to 300.
0:30:13 > 0:30:15What I don't know, because I haven't had time
0:30:15 > 0:30:17to research the pattern fully,
0:30:17 > 0:30:21but if the Sungay pattern turns out to be slightly rarer
0:30:21 > 0:30:25than I'm thinking, on the day, it might push the price up a little.
0:30:25 > 0:30:28Would you be happy to put it in at 200 to 300?
0:30:28 > 0:30:31- Yes, I would.- With a 200 reserve?
0:30:31 > 0:30:34- Yes, 200 reserve. - Fixed or discretionary?
0:30:34 > 0:30:37I don't want to give it away, but if we got up to 195 or something,
0:30:37 > 0:30:40- would you be happy to sell it? - Yes, I would.
0:30:40 > 0:30:42So we'll put a discretionary reserve.
0:30:42 > 0:30:48To me it looks as if it was made somewhere between 1930 and 1934,
0:30:48 > 0:30:51somewhere like that, so right in the heyday
0:30:51 > 0:30:54of Clarice Cliff's Art Deco period. Why are you selling it?
0:30:54 > 0:30:57I actually didn't like it when I bought it.
0:30:57 > 0:30:59I went to the jumble sale, and I thought,
0:30:59 > 0:31:03"I'm coming away with nothing," and it was sitting there all the time,
0:31:03 > 0:31:07- and nobody else wanted it!- You didn't want to leave empty-handed.
0:31:07 > 0:31:11- No, I didn't.- I bet you that all those other bits of bric-a-brac
0:31:11 > 0:31:15that were sold at that jumble sale won't be worth what this is now.
0:31:15 > 0:31:19So, come on. We're all dying to know. How much did you pay for it?
0:31:19 > 0:31:22Well, it was 10p. But I think they would have given it to me,
0:31:22 > 0:31:24because nobody else wanted it!
0:31:24 > 0:31:27I think we're going to make a good return on your 10p.
0:31:27 > 0:31:29That'd be good, yes.
0:31:29 > 0:31:32- It might be the best 10p you've ever spent, May.- Probably.
0:31:32 > 0:31:34HE LAUGHS
0:31:34 > 0:31:37'If only we could find such bargains!'
0:31:37 > 0:31:40Let's find out why those two items were chosen
0:31:40 > 0:31:42by Catherine and Mark.
0:31:42 > 0:31:44I can't believe this spoon has survived
0:31:44 > 0:31:47going in and out of Sue's sugar bowl.
0:31:47 > 0:31:49It's in great condition, and a very pretty piece.
0:31:49 > 0:31:52I think it's going to do all right at auction.
0:31:52 > 0:31:55Clarice Cliff vase. Love it or hate it,
0:31:55 > 0:31:59we should turn a good profit on 10p at a jumble sale!
0:31:59 > 0:32:01Don't you wish you'd found it? I do.
0:32:10 > 0:32:13Back at the auction, it's judgement time for Sue's spoon.
0:32:13 > 0:32:17Let's stir things up right now. I've just been joined by Sue,
0:32:17 > 0:32:19and that wonderful Russian enamelled spoon,
0:32:19 > 0:32:21which I think is absolutely delightful.
0:32:21 > 0:32:26- I know you used this a lot at home. - We did when I was a child, yes.
0:32:26 > 0:32:28So why do you want to sell this?
0:32:28 > 0:32:31Did you think, "Flog It!"'s in town, let's take it along?
0:32:31 > 0:32:33Partly, but also because I have two sons
0:32:33 > 0:32:36who probably are not that interested,
0:32:36 > 0:32:38but I have told them that if it does sell,
0:32:38 > 0:32:42- I will split the money between them. - Take them out for a beer or two.
0:32:42 > 0:32:46- Far more interested in that, yes. - They would be, wouldn't they,
0:32:46 > 0:32:50especially on the river at Henley, because that's the thing to do,
0:32:50 > 0:32:53- a bit of rowing and revelry. Yeah? - Yes, definitely.
0:32:53 > 0:32:55- Let's hope we get the top end. - Yeah. I like this
0:32:55 > 0:32:58because the enamel's intact, all in lovely condition,
0:32:58 > 0:33:01- and lovely bright colours. - Let's hope we've got some bidders
0:33:01 > 0:33:05in the room. It's going under the hammer right now. This is it.
0:33:05 > 0:33:08This Russian silver-gilt enamelled spoon,
0:33:08 > 0:33:11candy-twist stem, with a tsar's crown.
0:33:11 > 0:33:14There's two indistinct impression marks to the stem,
0:33:14 > 0:33:19and I'm bid £40 for it. £40 I'm bid for it, for this Russian spoon.
0:33:19 > 0:33:2145. 48. 50.
0:33:21 > 0:33:23£50 I'm bid. At £50, I'm bid.
0:33:23 > 0:33:2655 anywhere?
0:33:26 > 0:33:29- £50 I'm bid. 55 now. 60. - We've sold it.
0:33:29 > 0:33:34At £65 here now. At £65. 70 I'm bid.
0:33:34 > 0:33:37At £70, I'm bid. At £70, I'm bid on the machine.
0:33:37 > 0:33:40- Keep going. Don't stop. - At £70, I'm bid, and away.
0:33:40 > 0:33:43- You all done? Sold. - Yes, brilliant! Good valuation.
0:33:43 > 0:33:46- There we are. In the middle. - Are you pleased with that?
0:33:46 > 0:33:49- Yes, I am. - Great. The boys will be, as well.
0:33:49 > 0:33:54- Definitely.- Lunch! That's lunch. - Couple of beers.- Yeah.
0:33:54 > 0:33:57Not a bad return for such a small object.
0:33:57 > 0:34:01May's Clarice Cliff vase is ready to go under the hammer.
0:34:01 > 0:34:06- Hello, May. And who's this?- Cassie. - Cassie? What a gorgeous name!
0:34:06 > 0:34:08- So, you're off school. It's half term, yeah?- Yeah.
0:34:08 > 0:34:11- What do you think of Clarice Cliff? - It's OK.
0:34:11 > 0:34:14- Why is Grandma flogging this? - I don't know.
0:34:14 > 0:34:16- Come on, May! - Because I don't like it.
0:34:16 > 0:34:20Do you know, I don't really like Clarice Cliff,
0:34:20 > 0:34:23but I know someone who does. Mark, you like it.
0:34:23 > 0:34:26I do. This is a variation of the Gayday pattern.
0:34:26 > 0:34:30- It's called Sungay.- Let's see what the bidders think of this,
0:34:30 > 0:34:33- shall we? Here we go.- We'll see.
0:34:33 > 0:34:37This is nice. A Clarice Cliff Sungay hand-painted Bizarre-patterned vase,
0:34:37 > 0:34:40in very good condition. What may I say for this?
0:34:40 > 0:34:43100 for it, somebody, please? 100 I'm bid.
0:34:43 > 0:34:47- At 110. 120. 130. 140. 150. - Lots of bidding down on the front.
0:34:47 > 0:34:50160. 170. 160 here. 175.
0:34:50 > 0:34:53There's a couple of people waving their catalogues.
0:34:53 > 0:34:57185. 190 in the room. At 190 in the room.
0:34:57 > 0:35:01195. 200 in the room. At 200. 210. 220.
0:35:01 > 0:35:03- Sold it, haven't we?- Yeah.
0:35:03 > 0:35:06230. 240 in the room. At 250. 260?
0:35:06 > 0:35:09250 in the room. 260, if you want it.
0:35:09 > 0:35:12- 270. 280, if you want it. - 280. Oh, this is good.
0:35:12 > 0:35:15£280? 280 I'm bid.
0:35:15 > 0:35:17290. 300?
0:35:19 > 0:35:22At £290. Here on the machine at 290.
0:35:22 > 0:35:26- It's done the business, hasn't it? - Yeah, brilliant!- They love it.
0:35:26 > 0:35:28- Sold.- £290!
0:35:28 > 0:35:32Clarice rarely lets us down. It has done on the odd occasion,
0:35:32 > 0:35:34I've got to say. And you're glad it's gone.
0:35:34 > 0:35:38- You don't have to look at it. - I wasn't. It was hidden away.
0:35:38 > 0:35:41That may be why it got such a good price. Hidden away,
0:35:41 > 0:35:44it's protected. It was kept safe. It hadn't got any chips on there,
0:35:44 > 0:35:49hadn't got faded. You looked after it as best you could.
0:35:49 > 0:35:51I'm glad it's gone, though. CASSIE LAUGHS
0:35:55 > 0:35:59Well, that's it from the Cameo auction rooms in Midgham,
0:35:59 > 0:36:03but do stay with us, because it's not the end of the show. We're about to turn up the heat.
0:36:03 > 0:36:06We still have that fabulous photograph of Herschel to sell,
0:36:06 > 0:36:09taken by Victorian photographer Julia Margaret Cameron
0:36:09 > 0:36:12back in 1867.
0:36:12 > 0:36:15'Remember, it was brought in by Angela
0:36:15 > 0:36:18'on behalf of Slough Grammar School, who are hoping to raise funds
0:36:18 > 0:36:21'from its sale.'
0:36:21 > 0:36:24And we're selling our item at Christie's, in the heart of London.
0:36:24 > 0:36:27We've put our item into a specialist sale
0:36:27 > 0:36:29with 102 photographs, ranging from Victorian,
0:36:29 > 0:36:33contemporaries like ours, right through to the 1960s,
0:36:33 > 0:36:36and 1990s.
0:36:36 > 0:36:40We've come here to consult Christie's international head of photographs, Philippe Garner.
0:36:40 > 0:36:43He's going to be the auctioneer for today's sale.
0:36:43 > 0:36:46Yesterday, preview day, we caught up with him
0:36:46 > 0:36:50and asked him what he thought of our photograph.
0:36:50 > 0:36:52I gaze at it every time in admiration.
0:36:52 > 0:36:55It's a simple but compelling picture
0:36:55 > 0:36:57which has become one of the icons of photography.
0:36:57 > 0:37:01Julia Margaret Cameron's work has become increasingly scarce
0:37:01 > 0:37:04on the market, and it's a treat to have a picture such as this
0:37:04 > 0:37:07in our sale - one of her most celebrated images,
0:37:07 > 0:37:09and an image with a great story to it, as well.
0:37:09 > 0:37:13Prints of Herschel have survived in enough numbers
0:37:13 > 0:37:15to suggest it was one of her more popular subjects,
0:37:15 > 0:37:19but it remains today something very rare,
0:37:19 > 0:37:22scarce on the marketplace, hard to find.
0:37:22 > 0:37:26It's worth bearing in mind that Herschel introduced Mrs Cameron
0:37:26 > 0:37:28to photography. He sowed the seeds in her mind
0:37:28 > 0:37:32of taking up the camera. Fortunate coincidence,
0:37:32 > 0:37:34we have two other very interesting Camerons
0:37:34 > 0:37:39in the same sale - here, a head shot of a female subject
0:37:39 > 0:37:41who has been cast as Cassiopeia,
0:37:41 > 0:37:45and an intensely powerful portrait -
0:37:45 > 0:37:49that stare is so compelling, which is very uncommon for photography
0:37:49 > 0:37:52of this era, something we associate more
0:37:52 > 0:37:56with a 20th-century way of photographing,
0:37:56 > 0:38:00and really, I think, Mrs Cameron at her very best.
0:38:00 > 0:38:03The other picture, behind me, Mary Hillier and a child
0:38:03 > 0:38:06enacting the Madonna and Child.
0:38:06 > 0:38:09Mary Hillier was a member of Mrs Cameron's domestic staff.
0:38:09 > 0:38:13The Cassiopeia bears the highest estimate, at 20,000 to 30,000,
0:38:13 > 0:38:18which is a reflection both of the power of the subject matter,
0:38:18 > 0:38:21the rarity of that image,
0:38:21 > 0:38:25and the fact that it really is in excellent condition.
0:38:25 > 0:38:29That is something our "Flog It!" print didn't share,
0:38:29 > 0:38:32and unfortunately, Herschel's signature was a facsimile.
0:38:33 > 0:38:36A specialist process to restore the print,
0:38:36 > 0:38:39recommended by Philippe, cost £265,
0:38:39 > 0:38:43which will be taken from any final sale result.
0:38:43 > 0:38:45On a scale of one to ten for condition,
0:38:45 > 0:38:48how does our print rank?
0:38:48 > 0:38:51Whilst this is a respectable print of the image,
0:38:51 > 0:38:53it certainly isn't a ten,
0:38:53 > 0:38:57and I think that is reflected in our relatively prudent estimate.
0:38:57 > 0:39:01I sold a print of this same subject years ago
0:39:01 > 0:39:04for in the region of 50,000. That was a ten.
0:39:04 > 0:39:07Here we're quoting 4,000 to 6,000.
0:39:08 > 0:39:12So, exciting news for our owners and the school,
0:39:12 > 0:39:14all 1,100 pupils. Fingers crossed.
0:39:14 > 0:39:16- Hello, Mercedes! Hi, Angela!- Hi.
0:39:16 > 0:39:19- You've got to be excited. - We are both excited,
0:39:19 > 0:39:21and the whole school's excited, so, er...
0:39:21 > 0:39:24- So, you're the head teacher. - Yes, I am.
0:39:24 > 0:39:27- You've had Mr Herschel on your office wall...- For many years.
0:39:27 > 0:39:29- For many, many years? - Yes, many years.
0:39:29 > 0:39:33- Sad to see him go? - It is sad. It's a bit of history
0:39:33 > 0:39:37for the city, but the opportunity that it will bring for the school
0:39:37 > 0:39:40and the Sixth Form Centre is too good to miss.
0:39:40 > 0:39:45- I remember the moment we first met, and you were so excited.- Yeah.
0:39:45 > 0:39:47We were talking about valuations of £50,000.
0:39:47 > 0:39:50Obviously it's been catalogued at £4,000 to £6,000.
0:39:50 > 0:39:53We had a chat to the auctioneer yesterday.
0:39:53 > 0:39:55- It's due to a lot of damage. - If it didn't for sale,
0:39:55 > 0:39:58it would sit in a cupboard. It's going to benefit the school.
0:39:58 > 0:40:02Whatever it brings, the students will be delighted.
0:40:02 > 0:40:04Well, good luck. Good luck. That's all I can say.
0:40:04 > 0:40:07I can't wait for this moment. I really can't!
0:40:07 > 0:40:10You never know what's going to happen in an auction.
0:40:10 > 0:40:12We'll keep our fingers crossed.
0:40:12 > 0:40:15Standard seller's commission here is 15 percent plus VAT,
0:40:15 > 0:40:20up to the value of £3,000, and ten percent thereafter.
0:40:21 > 0:40:24The auction's just about to start. The bidders are in place.
0:40:24 > 0:40:28We are in place. We can't raise our voices too much in here
0:40:28 > 0:40:32because it's quite a small room, and there's only half a dozen or so...
0:40:32 > 0:40:35In fact there's about 20 bidders. Hopefully they'll bid on your lot.
0:40:35 > 0:40:38- I hope so.- I hope so, as well! I'm getting quite excited.
0:40:38 > 0:40:41We could see this do quite well.
0:40:41 > 0:40:43- Fingers crossed.- Yeah. Yeah.
0:40:43 > 0:40:46- Yeah. Fingers crossed. - Very exciting.
0:40:46 > 0:40:49The auction is just about to start. Here we go!
0:40:50 > 0:40:53First of the three lots by Julia Margaret Cameron,
0:40:53 > 0:40:56this one the portrait of Sir John Herschel.
0:40:56 > 0:40:58Three starts it. I have interest at three.
0:40:58 > 0:41:013,000 starts here. 3,000. 3,200.
0:41:01 > 0:41:033,500. 3,800.
0:41:03 > 0:41:064,000. At 4,000. Any more at four?
0:41:06 > 0:41:09We're at 4,000. 4,200, the telephone.
0:41:09 > 0:41:12- 4,500.- Great.- 4,500.
0:41:12 > 0:41:15Here with me at four five. Are you back in? 4,800.
0:41:15 > 0:41:185,000. At 5,000. Still my bidder at five.
0:41:18 > 0:41:22At 5,000. 5,500. 6,000.
0:41:22 > 0:41:25- 6,000. Here with me at 6,000. - Top end now.
0:41:25 > 0:41:27At 6,000.
0:41:27 > 0:41:30At 6,000. 6,500.
0:41:30 > 0:41:327,000 now. 7,000.
0:41:32 > 0:41:35At 7,000. Any more at seven? I have 7,000.
0:41:35 > 0:41:38I have seven five ahead of you. Will you go 8,000?
0:41:38 > 0:41:43We're at seven five now. At 7,500. It's with you. 8,000, the telephone.
0:41:43 > 0:41:46At 8,000 on the telephone now.
0:41:46 > 0:41:49My bidder's out. Last chance in the room.
0:41:49 > 0:41:53We're at £8,000, and selling, then, at 8,000...
0:41:53 > 0:41:55It's yours.
0:41:55 > 0:41:57- £8,000 on the hammer.- Really good.
0:41:57 > 0:42:00Well done, both of you. Fantastic!
0:42:00 > 0:42:04With the bidding going over the top estimate for our print,
0:42:04 > 0:42:07how did the other two Cameron photos in the sale get on?
0:42:07 > 0:42:12Well, pretty good, with the Madonna print making £13,000,
0:42:12 > 0:42:14and Philippe's favourite, Cassiopeia,
0:42:14 > 0:42:18selling for a whopping £45,000.
0:42:18 > 0:42:22Fantastic results all round for my favourite photographer's work.
0:42:22 > 0:42:25We can raise our voices now. We've left the saleroom.
0:42:25 > 0:42:28It's still going on behind us. But it's time to celebrate!
0:42:28 > 0:42:30- Yes, you did it! - We're very pleased.- £8,000!
0:42:30 > 0:42:32Yes, delighted.
0:42:32 > 0:42:35- And what a first auction experience for you!- I know!
0:42:35 > 0:42:37I'm looking forward to more.
0:42:37 > 0:42:40Is there anything else hiding in the school you might bring along?
0:42:40 > 0:42:43We'll be going into the cupboards when we get back.
0:42:43 > 0:42:45Send the pupils on a mission to look for things.
0:42:45 > 0:42:47- They'd be very good at it.- Yes.
0:42:48 > 0:42:51I'm absolutely thrilled with the result,
0:42:51 > 0:42:55absolutely delighted. Sales are always unknown quantities.
0:42:55 > 0:42:57Whatever the indications beforehand may be,
0:42:57 > 0:43:00until the moment of truth, you don't know what will happen,
0:43:00 > 0:43:04so there was terrific competition for our old friend Herschel.
0:43:04 > 0:43:06A great result, yes.
0:43:06 > 0:43:09What a marvellous way to end today's show!
0:43:09 > 0:43:11I'm ever so pleased for Angela and Mercedes,
0:43:11 > 0:43:14and all the pupils at Slough Grammar School.
0:43:14 > 0:43:16Certain items that turn up at our valuation day
0:43:16 > 0:43:19need a specialist sale to find the right buyer
0:43:19 > 0:43:22and the right price, and this certainly was the case today.
0:43:22 > 0:43:25Join us again for many more surprises,
0:43:25 > 0:43:28but until then, it's goodbye.
0:43:28 > 0:43:32Subtitles by Red Bee Media Ltd
0:43:32 > 0:43:36E-mail subtitling@bbc.co.uk
0:43:36 > 0:43:36.