0:00:02 > 0:00:07Today's show comes from Dulwich College in the suburbs of south London.
0:00:07 > 0:00:12I've got a great feeling about today's programme. Just look at the size of the queue!
0:00:12 > 0:00:15Welcome to Flog It!
0:00:36 > 0:00:38In the early part of the 17th century,
0:00:38 > 0:00:44a successful actor and businessman, Edward Alleyn, founded Dulwich College.
0:00:44 > 0:00:47One of the most famous students was Sir Ernest Shackleton.
0:00:47 > 0:00:50This is the very lifeboat he used to rescue several members
0:00:50 > 0:00:55of his stranded crew back in 1916. It's called the James Caird.
0:00:55 > 0:01:00Surely his achievements must inspire today's students.
0:01:00 > 0:01:06I'm wondering if anything of great historical note is going to turn up today.
0:01:07 > 0:01:10On the look-out for rare finds are our team of experts
0:01:10 > 0:01:13led today by Michael Baggott
0:01:13 > 0:01:15and Kate Bateman.
0:01:15 > 0:01:19Michael hails from Birmingham where he works as a consultant
0:01:19 > 0:01:23and sometimes a detective, identifying antique mysteries.
0:01:23 > 0:01:25It's a monkey teapot.
0:01:25 > 0:01:27That's what my mother calls me, an ugly monkey.
0:01:27 > 0:01:32- That's a dog, isn't it?- Is it? - That's a dog!- Right.
0:01:32 > 0:01:36Kate is from Stamford in Lincolnshire, where she's a valuer,
0:01:36 > 0:01:38asking all the important questions.
0:01:38 > 0:01:44- Where are they from? They're probably...- A boot sale. - Not from a boot sale!
0:01:47 > 0:01:51- Are you ready to go in, everyone? - Yes!- Let's do it.
0:01:53 > 0:01:58On today's show, straight talking is top of the agenda from Michael...
0:01:58 > 0:02:02You've made me break my golden Flog It rule -
0:02:02 > 0:02:04- I don't do Clarice Cliff. - That makes two of us!
0:02:04 > 0:02:06..from Kate...
0:02:06 > 0:02:08What did you pay back then?
0:02:08 > 0:02:10One would rather not say!
0:02:10 > 0:02:12..and even our auctioneer, Robert.
0:02:12 > 0:02:16Three guys in a pub talking about a marrow!
0:02:16 > 0:02:19Where are you going to get another one?
0:02:19 > 0:02:23Michael's already invited Hazel out of the queue
0:02:23 > 0:02:25with her teapot and over to his table.
0:02:27 > 0:02:30Hazel, what a curious little teapot. I was drawn to this
0:02:30 > 0:02:34- in the queue outside when you showed it to me. You said it was?- A monkey.
0:02:34 > 0:02:37A monkey. But I'm certain it's a little pug
0:02:37 > 0:02:42- which is good news because dogs are very collectable.- Yes.
0:02:42 > 0:02:45- Are you a dog lover?- I am, yes.
0:02:45 > 0:02:49- Is that how this got into your... - No, it was given to me by an employer years ago
0:02:49 > 0:02:52in a box of bits and pieces.
0:02:52 > 0:02:57- Good grief.- I always wondered from the marks on the back what it was.
0:02:57 > 0:03:00It's a good place to start with porcelain. Look at the marks.
0:03:00 > 0:03:08- In this case we've got the cover, and that's got a pattern number, 1261.- Right.
0:03:08 > 0:03:11If we look at the back of this now,
0:03:11 > 0:03:15there we've got 1261 on the base, so they do go together.
0:03:15 > 0:03:16Right.
0:03:16 > 0:03:21And we've got the factory mark there and the depose mark, the French patent mark.
0:03:21 > 0:03:23Right.
0:03:23 > 0:03:27- Sadly, I can't tell you which French factory it is.- Right.
0:03:27 > 0:03:34There are hundreds, if not thousands, of small factories working in and around Paris and Limoges.
0:03:34 > 0:03:37- It's good to know it's French. - We can't pin it down.
0:03:37 > 0:03:40But I can tell you the date.
0:03:40 > 0:03:44These little, amusing anthropomorphic pieces that you get
0:03:44 > 0:03:48tend to be about 1890, up to about 1900, 1910.
0:03:48 > 0:03:50But this is a charming little thing
0:03:50 > 0:03:56and to someone that has an interest in pugs and pug-type dogs,
0:03:56 > 0:03:58I'd imagine this is quite a rare little thing.
0:03:58 > 0:04:02So any idea, when you were given this, of how much it might be worth?
0:04:02 > 0:04:05Um, no, not at all.
0:04:05 > 0:04:09I think normally, if this wasn't in the form of a dog
0:04:09 > 0:04:13and was just an 1890s, French, thinly moulded teapot,
0:04:13 > 0:04:18- you might be looking at £1.- Right. - They're that common and of no value.
0:04:18 > 0:04:22The novelty factor always enhances the value of antiques.
0:04:22 > 0:04:29- So I think if we're sensible and say 20 to £40.- Right.
0:04:29 > 0:04:33And just hope there are two people that really love pugs there on the day
0:04:33 > 0:04:35- and decide they can't live without it.- Yes.
0:04:35 > 0:04:39- If you're happy, we'll put a reserve of £20 on it.- Right.
0:04:39 > 0:04:42- And keep our fingers crossed. - Lovely. Thanks.- Thank you.
0:04:42 > 0:04:46Now the animal teapot's identity has been verified,
0:04:46 > 0:04:48it's time for a bit of art.
0:04:48 > 0:04:51I've found a curious painting brought in by Pat.
0:04:51 > 0:04:57Pat, I don't know who Clifford Frost was, but he had a jolly good sense of humour!
0:04:57 > 0:05:01- I think so, too.- Don't you? He sums up the very Englishness
0:05:01 > 0:05:06about the 1930s and 1940s early British 20th-century modern.
0:05:06 > 0:05:09- Don't you think?- Yes, I do. - Three guys in the pub,
0:05:09 > 0:05:14with their pints, looking at the marrow, saying, "Mine's bigger than yours!"
0:05:14 > 0:05:17- Gardeners, probably. - All gardeners, yes.
0:05:17 > 0:05:20Look at this chap looking down, going...
0:05:22 > 0:05:25I think it's fabulous. Absolutely fabulous.
0:05:25 > 0:05:30It's such a shame there's no relative works that have sold.
0:05:30 > 0:05:33I can't find any form on the artist, I have no information.
0:05:33 > 0:05:38So I really think he's a very competent amateur.
0:05:38 > 0:05:43- Very possibly.- Which does devalue it slightly.- Yes.
0:05:43 > 0:05:47Where did the painting come from?
0:05:47 > 0:05:52It belonged to my father. He was a collector of 1930s, '40s paintings.
0:05:52 > 0:05:55I don't know where he got it from, before that.
0:05:55 > 0:05:59When you talk about early 20th-century modern, you look at artists with humour,
0:05:59 > 0:06:04British School, people like Stanley Spencer, the guy from Cookham,
0:06:04 > 0:06:07and he paints people in the local pub, in his village
0:06:07 > 0:06:10and there's a sense of humour with a sense of religion.
0:06:10 > 0:06:13Here is a sense of humour with a sense of gardening!
0:06:13 > 0:06:15But still with real people down the local pub.
0:06:15 > 0:06:18It's brilliant. Absolutely brilliant.
0:06:18 > 0:06:24- Any idea of value, though? - About £20!- It's worth a lot more than that.
0:06:24 > 0:06:26There's nothing on the back. Absolutely nothing.
0:06:26 > 0:06:30I think it's one of those classic 80 to 120s.
0:06:30 > 0:06:34- See what happens.- OK. - Put a reserve on of £60.- Yep.
0:06:34 > 0:06:39- We know we're going to sell it. - Right.- It could struggle and get away at the bottom end
0:06:39 > 0:06:44- or surprise us and get away at the top end and do 120 to 160. - That would be nice.
0:06:44 > 0:06:48- I'm up for it if you are!- Yes, definitely. I'd be very happy.
0:06:51 > 0:06:56Kate is joined by collector Mark, and his group of Stoke-made crested Goss china.
0:06:56 > 0:07:00- Mark, hello.- Hello. - You've brought some Goss in.
0:07:00 > 0:07:06- What do you know about this?- The lot on the table are pre-1920s.
0:07:06 > 0:07:08You've got a scent bottle,
0:07:08 > 0:07:11- you've got the...- The leek. I love the leek.
0:07:11 > 0:07:15An unusual combination. We've got a Welsh shape here
0:07:15 > 0:07:17and a Portuguese flag. That's cool.
0:07:17 > 0:07:21- And local interest. - Local interest in Lewisham.
0:07:21 > 0:07:26Excellent. And quite an unusual one down the front. What's this one?
0:07:26 > 0:07:32That's a Portland vase with the crest of HMS Bellerophon - you can say it better than me!
0:07:32 > 0:07:34Bellerophon, is it?
0:07:34 > 0:07:40Bellerophon. I happen to know that is a battleship in the Battle of Trafalgar.
0:07:40 > 0:07:43Obviously a very famous battle. And we are selling at Greenwich
0:07:43 > 0:07:48which has a fine naval and maritime history, with the Maritime Museum.
0:07:48 > 0:07:51That's quite an interesting piece. We've got local history,
0:07:51 > 0:07:52and some unusual bits.
0:07:52 > 0:07:55I like, of all of them, this bit.
0:07:55 > 0:08:00- It's such an unusual shape. - That's a butterfly-handled vase.
0:08:00 > 0:08:03- Because it has...- Butterfly handles!
0:08:03 > 0:08:05It's quite a weird one, actually.
0:08:05 > 0:08:09I quite like it. It looks more like Belleek or something like that.
0:08:09 > 0:08:12- Irish. But they are all Goss.- Yes.
0:08:12 > 0:08:18- Is this all of your collection? - No, I have 1,700 pieces.- 1,700?
0:08:18 > 0:08:21- 1,700 pieces.- So why these particular ones?
0:08:21 > 0:08:23Have you got doubles? Or don't like them?
0:08:23 > 0:08:26They're pieces that don't fit into my theme.
0:08:26 > 0:08:30The Welsh leek does, but it doesn't have a Welsh crest.
0:08:30 > 0:08:32So I'm not too worried about that.
0:08:32 > 0:08:34Any idea price-wise?
0:08:34 > 0:08:39- Price-wise, about 150 to 200. - For the whole lot?
0:08:39 > 0:08:44- Yes.- You've got nine items here. That doesn't seem bad. £10 apiece, something like that.
0:08:45 > 0:08:50I think you're about right. Would you have a reserve a bit lower,
0:08:50 > 0:08:52or a firm 150 reserve?
0:08:52 > 0:08:54- No, 120.- OK.
0:08:54 > 0:08:58A bit of leeway from the low estimate. I think that's do-able.
0:08:58 > 0:09:03Let's say fixed reserve of 120. Estimate of 150 to 200.
0:09:03 > 0:09:08What would you do with the money? Silly question, I'm guessing more Goss investment.
0:09:08 > 0:09:12More Goss, or I'll go out for a nice slap-up meal.
0:09:12 > 0:09:14Slap-up meal. OK.
0:09:14 > 0:09:19- You don't think there's a point where 1,700 is too much Goss?- No. Never.
0:09:19 > 0:09:20Never too much!
0:09:21 > 0:09:28Well, we're now half-way through our day with our first three items to take to auction.
0:09:28 > 0:09:32You could say this is where the talking stops and the action begins!
0:09:32 > 0:09:37Here's a quick reminder from our experts of the items we've found so far.
0:09:37 > 0:09:41It's a slightly psychotic-looking pug,
0:09:41 > 0:09:43but somebody will love this teapot.
0:09:43 > 0:09:47Mark has pared down his enormous collection of 1,700 items
0:09:47 > 0:09:49so he won't miss these nine!
0:09:49 > 0:09:55Hopefully we'll have a Welsh military Goss collector at the auction that might go for them. Hope they sell.
0:09:55 > 0:09:58If you're interested in fine art and you don't own any,
0:09:58 > 0:10:02to make an investment of around £100 to buy this
0:10:02 > 0:10:05is absolutely no money and a great starting point.
0:10:05 > 0:10:10That's why it's going into auction. Something like that will put a smile on your face.
0:10:10 > 0:10:13We're selling our items at Greenwich auctions
0:10:13 > 0:10:19where auctioneer Robert Dodd has adjusted our estimates to give them the best chance of selling.
0:10:19 > 0:10:21And now it's time to get cracking!
0:10:24 > 0:10:29Everybody at home is watching this, pouring a cup of tea and thinking what are we going to sell?
0:10:29 > 0:10:33Well, we're selling that pug dog teapot, with a blue glaze.
0:10:33 > 0:10:36Not a lot of money. 20 to £40. Hopefully, the top end.
0:10:36 > 0:10:42- Why are you selling it?- I'm starting to declutter. Starting small!
0:10:42 > 0:10:45They're all decluttering, Michael. Start small!
0:10:45 > 0:10:48In a very gradual way. A very small teapot.
0:10:48 > 0:10:52It's not of fantastic quality, but it leapt out at me in the queue.
0:10:52 > 0:10:54When do you see a pug wearing a French beret?
0:10:54 > 0:10:57- Not often!- There are plenty of teapot collectors about.
0:10:57 > 0:11:00You know who you are. And plenty of dog fanatics.
0:11:00 > 0:11:04Combine that and hopefully we'll have a good result. Let's find out.
0:11:06 > 0:11:08A nice lot, this.
0:11:08 > 0:11:10A nice early pug teapot.
0:11:10 > 0:11:12A nice little white hat cover.
0:11:12 > 0:11:15Absolutely superb, this.
0:11:15 > 0:11:19The bid's with me at £18 only. 20. Two. Five. I'm out.
0:11:19 > 0:11:21Looking for 28. 28. I'll be back.
0:11:21 > 0:11:24- Be patient. 28. £30. - The collectors are going mad.
0:11:24 > 0:11:2535.
0:11:25 > 0:11:2838. £40. 42.
0:11:28 > 0:11:3145. 48. 50. And five.
0:11:31 > 0:11:34- Very good.- 60. No? Are you coming in at 65?
0:11:34 > 0:11:36Are we all done?
0:11:36 > 0:11:41Last time. Are you sure? At £60 on the pug teapot.
0:11:41 > 0:11:45- Over top estimate. £60. Pugs away! How about that?- Very good.
0:11:45 > 0:11:48- Got to be happy?- Yes! - First experience a happy one!
0:11:48 > 0:11:53It's au revoir to the French teapot and hello to the English Goss collection.
0:11:55 > 0:12:00Next, I've been joined by Mark, selling nine pieces of Goss.
0:12:00 > 0:12:04- He's not too bothered, because at home you have?- 1,700 pieces.
0:12:04 > 0:12:091,700 pieces of Goss! He could be the definitive Goss expert!
0:12:09 > 0:12:11- There's plenty of us!- Are there?
0:12:11 > 0:12:14- You know your market.- We do, indeed.
0:12:14 > 0:12:17Are you confident about what we'll get here? Top end?
0:12:17 > 0:12:21- I would hope to get the fixed reserve.- Fixed reserve at least.
0:12:21 > 0:12:25- I'm pretty sure we'll do that. - I'm bowing to the expert knowledge
0:12:25 > 0:12:28cos he knows more about it than I do.
0:12:28 > 0:12:29Going under the hammer now.
0:12:31 > 0:12:34Nice collection of Goss. A good lot.
0:12:34 > 0:12:37And the bid's with me straightaway
0:12:37 > 0:12:39at £100.
0:12:39 > 0:12:44I'm looking for 110 on these items. I've got 100. 110.
0:12:44 > 0:12:46120. 130. 140.
0:12:46 > 0:12:48- Climbing.- Looking for 150.
0:12:48 > 0:12:52I've got 140. Are we all done on these Goss items? Last time.
0:12:52 > 0:12:54At £140.
0:12:54 > 0:12:57Hammer's gone down at 140.
0:12:57 > 0:13:01- I'm happy with that.- He's happy with that.- Sold.- Very, very happy.
0:13:01 > 0:13:04That was a great result for the Goss,
0:13:04 > 0:13:07but will the marrow painting do as well?
0:13:10 > 0:13:15Now for my favourite lot of the day, Pat's oil painting.
0:13:15 > 0:13:18Three gentlemen with the big marrow.
0:13:18 > 0:13:21The auctioneer gave me a wink on it. He liked it.
0:13:21 > 0:13:26- Very good.- He said somebody in America was interested in it. - Really?
0:13:26 > 0:13:30- Yeah.- Wow.- Hopefully we get the top end and more. This is it.
0:13:31 > 0:13:35Lot 200. Absolutely stunning oil painting, this.
0:13:35 > 0:13:40- Stunning!- He's selling things really well for us. Bless him, he's good!
0:13:40 > 0:13:44Typical 1930s, three guys in a pub
0:13:44 > 0:13:46talking about a marrow!
0:13:48 > 0:13:51Not being funny. Where would you get another one?
0:13:53 > 0:13:57And the bid's with me at £60 on this.
0:13:57 > 0:13:59Looking for 65. I've got 60.
0:13:59 > 0:14:02- Five. 70 here.- A bid in the room.
0:14:02 > 0:14:04Five I need. 80 here.
0:14:04 > 0:14:0985. 90 here. 95. 100. And ten.
0:14:09 > 0:14:12120 here. 130. 140.
0:14:12 > 0:14:14Looking for 150. 150.
0:14:14 > 0:14:15160 here.
0:14:15 > 0:14:19Looking for 170. Are we all done? Last time.
0:14:20 > 0:14:24On the three guys and a marrow. At £160.
0:14:24 > 0:14:29- 160, yes! That's a good result. - Fantastic.- Good, isn't it? - Really good.
0:14:29 > 0:14:32I think someone's got themselves a lovely piece of art work.
0:14:32 > 0:14:37It's been good news all round for our first three owners,
0:14:37 > 0:14:40but you can never second-guess a sale.
0:14:40 > 0:14:42Keep watching for more later.
0:15:09 > 0:15:15This isn't a silent film, and yes, we're filming in glorious colour and high definition.
0:15:15 > 0:15:18I'm also proud to say I've been part of the British film industry.
0:15:18 > 0:15:23For two years after leaving college, I worked at Pinewood Studios in the prop and set department.
0:15:23 > 0:15:27So I know what goes on, all the hard work, behind the scenes.
0:15:27 > 0:15:32I'm pleased to say that this creative work produced by the major production companies
0:15:32 > 0:15:36and the independent film-maker is appreciated by the British Film Institute.
0:15:36 > 0:15:40First, I should explain what it does and why I'm here.
0:15:41 > 0:15:44In 1933, the British Film Institute was launched,
0:15:44 > 0:15:48followed two years later by an archive that would save films
0:15:48 > 0:15:51and, years later, television programmes
0:15:51 > 0:15:53as an important part of our cultural heritage.
0:15:56 > 0:16:00A large hi-tech cinema was built on London's South Bank
0:16:00 > 0:16:03to show films for 1951's Festival of Britain.
0:16:03 > 0:16:10When the temporary cinema was demolished, a new one was built in 1957 under Waterloo Bridge.
0:16:10 > 0:16:16It was visited over the years by famous names like director John Ford and Sir Laurence Olivier.
0:16:19 > 0:16:25In 2007, a revamped BFI South Bank building threw open its doors
0:16:25 > 0:16:28revealing a state-of-the-art treasure house of cinema.
0:16:28 > 0:16:34And because of all the famous connections in the film world, it's inevitable
0:16:34 > 0:16:37that other media memorabilia is going to end up here,
0:16:37 > 0:16:40being archived at the BFI. Things like this.
0:16:40 > 0:16:46Promotional packages, scripts, film posters, you name it, they've got it.
0:16:46 > 0:16:50This is a nice selection. The 39 Steps, one of my mother's favourite films.
0:16:50 > 0:16:53I've watched that in black and white with her.
0:16:53 > 0:16:57Here, a promotional package from one of Alfred Hitchcock's silent movies.
0:16:57 > 0:17:01All this stuff, in general, is what people would have just thrown away.
0:17:11 > 0:17:14The BFI's archive is by no means full,
0:17:14 > 0:17:17even with 180,000 movies
0:17:17 > 0:17:21and 750,00 TV shows.
0:17:21 > 0:17:24But they are on the look-out for missing films,
0:17:24 > 0:17:27for reasons that production companies go into bankruptcy
0:17:27 > 0:17:32or the film gets destroyed. They're currently seen as lost to the nation.
0:17:33 > 0:17:39The search goes on. BFI have a list of the most wanted 75 films
0:17:39 > 0:17:42which they hope you, the general public, will help them find
0:17:42 > 0:17:46by looking in attics and cellars and turning out the cupboards.
0:17:46 > 0:17:51At the top of this list is a film called Mountain Eagle, shot in 1926.
0:17:51 > 0:17:54It was only the second movie Alfred Hitchcock directed.
0:17:54 > 0:17:58One of our most respected British film directors.
0:17:58 > 0:18:03For some reason, there's no known print of it. Unless you've got it at home.
0:18:07 > 0:18:10Luckily, there are plenty of prints for us to see here.
0:18:21 > 0:18:24Over 1,000 films a year are screened here.
0:18:24 > 0:18:28It's also the location of the BFI's London Film Festival.
0:18:28 > 0:18:31There are a team of projectionists that work here.
0:18:31 > 0:18:36They're skilled in using real film reels as well as the newer digital technology.
0:18:36 > 0:18:38Projectionists like Russ, here. Russ.
0:18:38 > 0:18:41- Hello.- Hiya.- Pleased to meet you.
0:18:41 > 0:18:44- What are you up to? Lacing up a projector?- Yes,
0:18:44 > 0:18:48- just running a film from the 1930s. - All these films are shot in 35mm?
0:18:48 > 0:18:51Most of the stuff we run is 35. Sometimes it's the larger 70mm.
0:18:51 > 0:18:56Also we get a 16mm sometimes, which is a rarity, more the art-house thing.
0:18:56 > 0:18:59Is it always as noisy as this?
0:18:59 > 0:19:03Yes, sometimes noisier if you have two projectors going or more.
0:19:03 > 0:19:08- It can be louder than that. It's a noisy job, but you get used to it. - I bet you do.
0:19:10 > 0:19:15- Are some of the films dangerous? - Yes, we run seasons with nitrate and so on.
0:19:15 > 0:19:20Nitrate is a flammable substance. The light off the projector can make it catch fire
0:19:20 > 0:19:23and burn a burning down, so you have to be cautious.
0:19:23 > 0:19:27- Are they kept here?- No, they're kept in Berkhamstead in an external vault.
0:19:27 > 0:19:32They're kept in chilled temperatures, a better environment for films.
0:19:32 > 0:19:34- I'll let you get on. - Thank you, nice to meet you.
0:19:37 > 0:19:42We've seen how the films are shown. To find out how they're selected,
0:19:42 > 0:19:45I'm meeting Simon McCallum, one of the curators.
0:19:47 > 0:19:53- Simon, what's your role?- I'm Mediatheque Curator, one of which we have at South Bank.
0:19:53 > 0:19:58We look after nearly a million films and TV programmes in the archive.
0:19:58 > 0:20:03So our aim is to get more of those accessible to wider audiences.
0:20:03 > 0:20:06How do you choose what's in the archive?
0:20:06 > 0:20:08It's tricky. It's a very complex process
0:20:08 > 0:20:12because the curators work together with their individual specialisms
0:20:12 > 0:20:16to decide what the gaps might be in our collections.
0:20:16 > 0:20:19We actively acquire new material as well,
0:20:19 > 0:20:22so it's not just caring for past films and TV programmes.
0:20:22 > 0:20:27- We'll actively acquire all new British feature films, for instance. - Marvellous.
0:20:27 > 0:20:30You've got a few clips to show me.
0:20:30 > 0:20:34Yes, the first one's one of the earliest British films in the archive.
0:20:34 > 0:20:37It's a film of Blackfriars Bridge in 1896.
0:20:37 > 0:20:42This is only a year or so after the cinema really came about.
0:20:47 > 0:20:50What we're seeing here is people making their way to work.
0:20:50 > 0:20:55You can see the advertising on the side of the trams.
0:20:55 > 0:20:58People are looking into the camera, thinking, "What's he doing?"
0:20:58 > 0:21:04One of the interesting things is that it's a real novelty for people to see a big clunky movie camera.
0:21:04 > 0:21:08- But today...- People stare when we're filming.- Exactly. The film crew.
0:21:08 > 0:21:14- Marvellous. That's our heritage captured.- And it's so much more visual.
0:21:14 > 0:21:18- You're there, aren't you?- It's really important for social history
0:21:18 > 0:21:23- to see what people were wearing. It comes to life.- What's next?
0:21:23 > 0:21:26The next clip is the heroic age of Polar exploration.
0:21:26 > 0:21:30This is one of our major restorations, The Great White Silence.
0:21:33 > 0:21:41This is footage shot by Herbert Ponting of the British Antarctic Expedition in 1910 to 1913.
0:21:41 > 0:21:45Led, of course, by Captain Scott, who came to a tragic end.
0:21:45 > 0:21:49The footage was finally edited into a feature film in the '20s
0:21:49 > 0:21:53with added tinting and toning.
0:21:53 > 0:21:59What we're seeing here is the before shots before the tinting was recreated.
0:21:59 > 0:22:03The colour's been restored from the original notes left by Ponting.
0:22:03 > 0:22:08So it's been recreated as per his instructions.
0:22:08 > 0:22:11This is fascinating.
0:22:11 > 0:22:15It's been a huge boost for us to get this film back out there to people.
0:22:15 > 0:22:20This is such an iconic part of British heritage and history.
0:22:20 > 0:22:21Incredible.
0:22:23 > 0:22:26Lots of penguins. They're very popular.
0:22:31 > 0:22:36- Finally, you've got a bit of comedy to show us.- Some light relief, now.
0:22:36 > 0:22:42It's one of my favourite titles in the archive. It's called Daisy Doodad's Dial, from 1914,
0:22:42 > 0:22:45starring, written and directed by a lady, Florence Turner,
0:22:45 > 0:22:50who was a Hollywood star who came to Britain in the 1910s.
0:22:50 > 0:22:56It's basically a gurning competition. Dial is slang for the face. As we will see!
0:23:13 > 0:23:16She was really quite a pioneer, Florence Turner.
0:23:16 > 0:23:21She went on to work with Buster Keaton in Hollywood, too. She was quite a big star.
0:23:24 > 0:23:27- You can learn so much from these archives.- You can.
0:23:27 > 0:23:30Still funny, 100 years on, something like that.
0:23:30 > 0:23:33- Thank you very much.- My pleasure. - My own private viewing!
0:23:38 > 0:23:41What a privilege to see those pieces of British cinema.
0:23:41 > 0:23:45It shows imagination and creativity have always been strong.
0:23:45 > 0:23:51It's technology and what it allows us to do, pushing those creative boundaries.
0:23:51 > 0:23:54British film has always been close to my heart
0:23:54 > 0:23:58and it's been a real treat to see what the British Film Institute has to offer.
0:24:10 > 0:24:12At Dulwich College, we had a fantastic turnout.
0:24:12 > 0:24:16Michael's been joined by Christina and surrounded by plates!
0:24:16 > 0:24:23Christina, what am I going to do with you? You've made me break my golden Flog It rule.
0:24:23 > 0:24:26- I don't do Clarice Cliff. - That makes two of us!
0:24:27 > 0:24:30Where on earth did all this come from?
0:24:30 > 0:24:32My father bought this in the mid-'50s.
0:24:32 > 0:24:35It's been in the family ever since.
0:24:35 > 0:24:39I've had this particular plate on my wall for 30, 35 years.
0:24:39 > 0:24:42But the rest has been in a cupboard.
0:24:42 > 0:24:45- Do you like it?- Not really, no.
0:24:45 > 0:24:48I must say, for your father to be buying this in the '50s,
0:24:48 > 0:24:54- he's really at the forefront, because people were throwing Clarice Cliff away.- I know.
0:24:54 > 0:24:59They weren't keeping it. You've had this, you've seen the mark. We need to see it.
0:24:59 > 0:25:06- This is the one.- There we go. That's a whopper of a mark. Bizarre by Clarice Cliff.
0:25:06 > 0:25:11I like that one best, with the orange. I like that much better.
0:25:11 > 0:25:14- This one is the same. - There's a slight variation there.
0:25:14 > 0:25:19With the orange centre and not as many points.
0:25:19 > 0:25:22I didn't realise that until I was packing things away
0:25:22 > 0:25:24and I saw the centres were different.
0:25:24 > 0:25:28- But you've had it over 30 years. - I know. But I didn't realise it.
0:25:28 > 0:25:32- It's two versions of the same pattern.- I thought it could be.
0:25:32 > 0:25:35What I did, interestingly, is look at the dates.
0:25:35 > 0:25:39Some of the cups, saucers and plates are dated 1930.
0:25:39 > 0:25:42These more vigorous ones
0:25:42 > 0:25:46we've got a ten there for October...
0:25:47 > 0:25:49- ..1928.- Oh.
0:25:49 > 0:25:541928 was the first year that Clarice Cliff introduced the Bizarre range.
0:25:54 > 0:25:56They're very early, then.
0:25:56 > 0:26:02They're very early and these are actually called the original Bizarre pattern.
0:26:02 > 0:26:05They are the first pattern that she produced.
0:26:05 > 0:26:13You can imagine what a breakaway it is when you think of all those chintzy designs and curves,
0:26:13 > 0:26:16to produce something like that.
0:26:16 > 0:26:18Even I, as a Clarice Cliff detester,
0:26:18 > 0:26:24can appreciate the thinking and imagination that's gone in to producing a pattern like this.
0:26:24 > 0:26:28Any idea what this set might be worth now?
0:26:28 > 0:26:32No, I don't. I think it's about 350-odd.
0:26:32 > 0:26:36We'll have to swap places. You'll have to be the expert!
0:26:36 > 0:26:39I think because it's two versions of the same pattern,
0:26:39 > 0:26:40two different dates,
0:26:40 > 0:26:44and we've got bits of a service, I think you're spot on.
0:26:44 > 0:26:49- Oh.- I think let's put 400 to £600 on it.
0:26:49 > 0:26:52- A fixed reserve of £350.- Right.
0:26:52 > 0:26:55And we'll see on the day how many people there are
0:26:55 > 0:26:59that, unlike me, do like Clarice Cliff and turn up to bid.
0:26:59 > 0:27:03- Thank you.- Thank you very much for bringing it in.- Thank you.
0:27:03 > 0:27:07There are still plenty of people to see and items to value.
0:27:07 > 0:27:09Kate's found an unusual case with John Eric.
0:27:10 > 0:27:14John, you've brought in a rather unprepossessing covered book.
0:27:14 > 0:27:16- Let's have a look inside.- Open it up.
0:27:16 > 0:27:19We have some Japanese writing.
0:27:19 > 0:27:22Not being fluent in Japanese, I don't know what it says,
0:27:22 > 0:27:25but the real gem is when we get a few pages in.
0:27:25 > 0:27:28Because... Look at this!
0:27:28 > 0:27:32Tell me about this book. Where did you get it? What do you know about it?
0:27:34 > 0:27:35I took a flutter on the internet
0:27:35 > 0:27:38with some very heavy research,
0:27:38 > 0:27:45having bought a few pieces of Japanese textiles - obis and an unfinished kimono.
0:27:45 > 0:27:48- The unfinished kimono I made into a waistcoat.- As you do!
0:27:48 > 0:27:54As one does. But what interested me was the overall artwork of the whole folio.
0:27:54 > 0:27:58It's absolutely brilliant. It's not hand-painted. It's wood block prints.
0:27:58 > 0:28:05- Date-wise, you thought early 20th century.- Yeah.
0:28:05 > 0:28:09- So 1912.- Thereabouts.- Right at the end of the major period in Japan.
0:28:09 > 0:28:13These are brilliant. It's like a catalogue of kimonos.
0:28:13 > 0:28:19- A kimono catalogue. I presume this was from a shop or dressmaker's?- Yes.
0:28:19 > 0:28:25- That's even embossed as well. - Yes, embossed paper. They've textured the paper.
0:28:25 > 0:28:29- Great.- From what I understand from the description I had on the internet,
0:28:29 > 0:28:32it was put together by a department store within Kyoto
0:28:32 > 0:28:33in order to sell kimonos.
0:28:33 > 0:28:38"I want three of these for Sunday and two of those for best."
0:28:38 > 0:28:44- Exactly.- The traditional blossom, the good luck cranes, a symbol of the emperor.
0:28:44 > 0:28:47They're absolutely beautiful.
0:28:47 > 0:28:51It puts catalogue shopping today to absolute shame!
0:28:51 > 0:28:56I think they're lovely. It's very hard to price. You bought this recently?
0:28:56 > 0:29:00No, it's going eight, ten years ago, thereabouts.
0:29:00 > 0:29:03What did you pay back then?
0:29:04 > 0:29:06One would rather not say.
0:29:06 > 0:29:10OK. Fair enough. You're being very cagey about it.
0:29:10 > 0:29:13All right. It's almost too good condition.
0:29:13 > 0:29:17I can see it broken up for prints, though that's heartbreaking.
0:29:17 > 0:29:22- That's exactly what I bought it for and I couldn't bring myself to it. - It's too nice.
0:29:22 > 0:29:26I think, working value out, that's kind of a way to do it.
0:29:26 > 0:29:32Probably if you're thinking 40 to £50 per thing when they're framed up.
0:29:32 > 0:29:36Maybe that's the sort of figure. 300, 400, £500, something like that.
0:29:36 > 0:29:39What price would you want to put on it as a reserve or estimate?
0:29:39 > 0:29:43- I would like to see about £400.- OK.
0:29:43 > 0:29:47- That being more than you paid for it.- Yes.- About what you paid?
0:29:47 > 0:29:51- We'll try 400 to 500.- Yeah.- Hopefully it'll be seen on the internet.
0:29:51 > 0:29:53And fingers crossed.
0:29:53 > 0:29:57- Thank you for bringing it in. It's gorgeous.- My pleasure.- Thank you.
0:29:57 > 0:30:02A beautiful book. I bet that'll be snapped up by someone at the auction.
0:30:02 > 0:30:07We've just got time for one more item, just up Michael's street.
0:30:07 > 0:30:10A glass vase brought in by Jean.
0:30:10 > 0:30:14Jean, where did you get this darling little vase from?
0:30:14 > 0:30:17- A jumble sale.- Not recently.
0:30:17 > 0:30:19- 1980-ish.- 1980.
0:30:19 > 0:30:23I'm going to say, "How much did you pay for it?" But I'm bracing myself.
0:30:23 > 0:30:25The were originally charging me 50p.
0:30:25 > 0:30:29- Originally?- But then they decided to charge me 25p.
0:30:29 > 0:30:32- Was that under duress? - No, they just changed their mind!
0:30:32 > 0:30:37Sometimes you wish you had a time machine, Jean. I wish I could build one.
0:30:37 > 0:30:42- Did you buy it because you liked it or..?- Something told me it was something special.
0:30:42 > 0:30:47- Really?- Almost looked Chinesey decorations, but I didn't think it was Chinese.
0:30:47 > 0:30:51- You just had a feeling about it. - It just felt right.
0:30:51 > 0:30:57You've actually bought, to my eyes, a really beautiful little glass vase.
0:30:57 > 0:31:01If we look at it more carefully, it's sadly not marked
0:31:01 > 0:31:02or inscribed in any way.
0:31:02 > 0:31:05But you could say that this glass was marked all over
0:31:05 > 0:31:07in the way that it's executed.
0:31:07 > 0:31:12We've got this beautiful, almost satin glass ground
0:31:12 > 0:31:15which has then been dipped in white glass.
0:31:15 > 0:31:19Then the whole thing has been carved back on a wheel.
0:31:19 > 0:31:23You've just got to take just enough off, just enough,
0:31:23 > 0:31:26because that's a very smooth, even surface.
0:31:26 > 0:31:28It's a phenomenal bit of work.
0:31:28 > 0:31:32Now, it could have been made in France
0:31:32 > 0:31:36by a firm such as Galle or Daum.
0:31:36 > 0:31:39But if this glass spoke, it would speak with my native accent.
0:31:39 > 0:31:44It would say, "Hello, Jean!" Because this is actually from Stourbridge,
0:31:44 > 0:31:48which is just outside, on the outskirts of Birmingham.
0:31:48 > 0:31:50It was a major centre for glassworking.
0:31:50 > 0:31:54This is almost certainly from the workshop of Thomas Webb
0:31:54 > 0:32:00who specialised in this immaculate quality cameo glass.
0:32:00 > 0:32:05The design we've got, when you first said you thought it was a bit Chinese,
0:32:05 > 0:32:07it's actually inspired by Chinese design.
0:32:07 > 0:32:11They're called The Three Friends.
0:32:11 > 0:32:16You've got cherry blossom, prunus and bamboo.
0:32:17 > 0:32:19They're, together, emblematic of long life.
0:32:19 > 0:32:23I think in terms of date,
0:32:23 > 0:32:26we're possibly as early as 1880
0:32:26 > 0:32:30possibly as late as 1890, 1895.
0:32:30 > 0:32:33It's survived in miraculously good condition.
0:32:34 > 0:32:37Well, has your 25p been a good investment?
0:32:37 > 0:32:40I'd like to know!
0:32:40 > 0:32:43I think we should be sensible
0:32:43 > 0:32:46and put an estimate of 600 to £800 on it.
0:32:46 > 0:32:49- Really?- With a fixed reserve of £600.
0:32:49 > 0:32:51Right.
0:32:51 > 0:32:54Webb's cameo glass is extremely collectable.
0:32:54 > 0:32:58But can I ask you now, after living with it for 30 years,
0:32:58 > 0:33:00why are you selling it?
0:33:00 > 0:33:04I took early retirement in January
0:33:04 > 0:33:09and I've got a houseful of things I've got to start sorting out.
0:33:09 > 0:33:16- It's a small step towards it. - It's a small step in terms of size.
0:33:16 > 0:33:19But a big step financially, I hope.
0:33:19 > 0:33:22Let's hope for lots of bidders at the sale
0:33:22 > 0:33:24and that it really does well.
0:33:24 > 0:33:26- Thank you.- Thank you so much.
0:33:26 > 0:33:28Right. Time's up for Dulwich.
0:33:28 > 0:33:32Let's hear why these three items caught Kate and Michael's attention.
0:33:34 > 0:33:38This Clarice Cliff service isn't exactly my cup of tea,
0:33:38 > 0:33:41but I think it will appeal to the bidders at the auction.
0:33:41 > 0:33:47I really like John's Japanese prints. They're brilliant. They look so modern, but they're 100 years old.
0:33:47 > 0:33:51I've come all the way down from Birmingham to London today
0:33:51 > 0:33:54but this Stourbridge glass vase has followed me!
0:33:54 > 0:33:59Over in Greenwich, I caught up with auctioneer Robert on the preview day
0:33:59 > 0:34:03to find out what he thought of Christina's Clarice Cliff collection.
0:34:04 > 0:34:10The Clarice Cliff. Christina's father got this in the mid-'50s.
0:34:10 > 0:34:14There's a lot of it. We've got ten separate lots here.
0:34:14 > 0:34:18You've split them into ten lots rather than keep them as one lot.
0:34:18 > 0:34:20I spoke to the lady concerned.
0:34:20 > 0:34:25I suggested what I would do if she'd come in and put it over the counter.
0:34:25 > 0:34:29There's no sets here. They're a different pattern, for a start.
0:34:29 > 0:34:32And in any case, I'm not being funny,
0:34:32 > 0:34:36I can't see anyone having a sandwich off one of these plates.
0:34:36 > 0:34:39- Bought to be viewed. - Go on the wall.- Absolutely.
0:34:39 > 0:34:44We've got a reserve on the whole lot of £350. How will you deal with that?
0:34:44 > 0:34:46Look at them as ten individual lots.
0:34:46 > 0:34:51The larger plate is 70 to £80. Cup and saucer, 30 to £40.
0:34:51 > 0:34:56I asked one of my staff what it added up to and they went, "£350". That's the reserve.
0:34:56 > 0:34:59- Separate numbers make up the sum total.- They make it up.
0:34:59 > 0:35:02So if we get a good run at it,
0:35:02 > 0:35:08we could see that reserve in three lots.
0:35:10 > 0:35:12He knows something!
0:35:13 > 0:35:17We'll see how that decision works out later.
0:35:17 > 0:35:20But now the moment our owners have been waiting for.
0:35:20 > 0:35:25First, will Jean's piece of cameo glass find the right buyer here?
0:35:25 > 0:35:30It's Jean's turn next. Let's talk about that cameo glass vase. 600 to £800.
0:35:30 > 0:35:33I had a chat to the auctioneer. He agrees with the value,
0:35:33 > 0:35:36but possibly the lower end, not top end.
0:35:36 > 0:35:41That's fine. But it's that great name Thomas Webb. A great name in English glass.
0:35:41 > 0:35:45- And the great thing is, it only cost 25p!- True.
0:35:45 > 0:35:48Let's do some recycling! Here we go!
0:35:50 > 0:35:53Amber glass cameo bud vase.
0:35:53 > 0:35:55A white raised plant and foliage relief.
0:35:55 > 0:35:57Attributed to Thomas Webb.
0:35:57 > 0:36:01Dated around 1880s.
0:36:01 > 0:36:07- It's got to start with a bid with me of £150 on this vase.- That's low.
0:36:07 > 0:36:09160. 70 with me. Looking for 180.
0:36:09 > 0:36:11- No commission bids, then.- No.
0:36:11 > 0:36:13190 with me.
0:36:13 > 0:36:16200. 210 here. Looking for 220.
0:36:17 > 0:36:20Are we all done? Last time.
0:36:20 > 0:36:23At £210.
0:36:23 > 0:36:26- I'm ever so sorry about that. - It doesn't matter.
0:36:26 > 0:36:28- I'm glad to take it home. - Can you hear that?
0:36:28 > 0:36:32It was Thomas Webb collectors didn't know it was for sale, screaming
0:36:32 > 0:36:33at their TV screens!
0:36:33 > 0:36:37There are specialist sales for glass in the Stourbridge area.
0:36:37 > 0:36:42I think that's... If you want to sell it. If you decide to keep it...
0:36:42 > 0:36:46But if you want to sell it, take it to a specialist sale. It's 600 to £800.
0:36:46 > 0:36:49- I know I say this a lot, all day long.- Sound advice.
0:36:49 > 0:36:52What a shame that didn't sell.
0:36:52 > 0:36:56But today was not the right day for the cameo vase.
0:36:56 > 0:37:01Another specialist item under scrutiny now, John's kimono book.
0:37:01 > 0:37:05Next, a really special lot. I like this. It's a folio of kimono samples.
0:37:05 > 0:37:09- It belongs to John Eric here. - Hi.- Hello.
0:37:09 > 0:37:15Quality item. Quality item. Why are you selling it? You bought it on the internet.
0:37:15 > 0:37:19I wanted to break it up originally, to frame them.
0:37:19 > 0:37:23That's quite a good idea. I mean, that is a good idea.
0:37:23 > 0:37:26But too costly because of the way it's put together.
0:37:26 > 0:37:31- Yes.- And I found I didn't have the heart to break them up.
0:37:31 > 0:37:35OK. I wonder if anybody else will?
0:37:35 > 0:37:39That's probably what a dealer would do, and they'd look good.
0:37:39 > 0:37:43- You could enjoy them.- But someone more hard-hearted.- I couldn't do it morally.
0:37:43 > 0:37:46- You won't have to live with that decision.- Yes.
0:37:46 > 0:37:50It's a quirky lot. It's a lovely thing, really.
0:37:50 > 0:37:53Let's find out what the bidders think.
0:37:55 > 0:37:56Stunning piece, this.
0:37:56 > 0:38:01Late 19th, early 20th-century hand-painted kimono sample folio
0:38:01 > 0:38:03with original linen-padded cover.
0:38:03 > 0:38:06Absolutely stunning piece of work.
0:38:06 > 0:38:08Really proud to get this.
0:38:08 > 0:38:11And it's got to start with me
0:38:11 > 0:38:15- at £370.- Close!
0:38:15 > 0:38:16Come on!
0:38:16 > 0:38:20- John Eric, that is just one bid away, isn't it?- Here we go.
0:38:20 > 0:38:24380. 390 here. 400. 410.
0:38:24 > 0:38:26420. 430. 440.
0:38:26 > 0:38:30- 450.- There are some hard-hearted people in the room!
0:38:30 > 0:38:34- They'll break it up.- Anywhere? I've got 450. Looking for 460.
0:38:34 > 0:38:38460. 470. 480. 490.
0:38:38 > 0:38:40500. 510 here.
0:38:40 > 0:38:43520. 530. 540. 550.
0:38:43 > 0:38:47Looking for 560 anywhere. Are we all done?
0:38:47 > 0:38:51Last time. At £550 on the sample book.
0:38:51 > 0:38:53- £550.- Wow!
0:38:53 > 0:38:57- I'm stunned! - That's a brilliant result!- So am I.
0:38:57 > 0:39:00I was dubious... I was happy with the value,
0:39:00 > 0:39:02but dubious we'd find a buyer here.
0:39:02 > 0:39:07It goes to show. If it's quality, people will always find it.
0:39:07 > 0:39:10And unusual. It's fired the imagination for somebody.
0:39:10 > 0:39:13- Well done, you.- Thank you very much.
0:39:13 > 0:39:20Get yourself comfortable, because Christina's group of Clarice Cliff is going under the hammer.
0:39:20 > 0:39:23Not just one lot. We've got ten.
0:39:23 > 0:39:27Christina's Clarice Cliff has been split into ten lots.
0:39:27 > 0:39:30I had a chat to the auctioneer, as you know.
0:39:30 > 0:39:35He thinks it's better to split them because people may be interested in the large plate
0:39:35 > 0:39:37or maybe just a cup and saucer.
0:39:37 > 0:39:41Fair enough. It gives more collectors a bite at having a piece.
0:39:41 > 0:39:44- Your father bought this in the '50s. - Yes.- Why are you selling now?
0:39:44 > 0:39:49- I don't need it and I don't like it. - No. There's a lot of people out there
0:39:49 > 0:39:51that really love it.
0:39:51 > 0:39:54It's going under the hammer now. This is it.
0:39:55 > 0:40:00Lot 525 is the first of ten -
0:40:00 > 0:40:04I'm not making apologies - collectors' lot, Clarice Cliff items.
0:40:04 > 0:40:10And the first one, lot 525, is an original Bizarre pattern nine-inch octagonal plate by Clarice Cliff.
0:40:10 > 0:40:13A blue circle centre. The bid's with me.
0:40:13 > 0:40:18At £180 on this plate. Looking for 190.
0:40:18 > 0:40:23I've got 180. 190. 200 here. Looking for 210 on this plate.
0:40:23 > 0:40:26210. 220. Looking for 230.
0:40:26 > 0:40:28240 here. Looking for 250.
0:40:28 > 0:40:31250. 260 here. Looking for 270.
0:40:31 > 0:40:37- 80 here.- Christina, this is ridiculously good for one item!
0:40:37 > 0:40:41Are we all done on this plate? At £300.
0:40:41 > 0:40:43£300. There's the first one.
0:40:43 > 0:40:46That's almost done my valuation for the lot!
0:40:46 > 0:40:52Late 1920s, early '30s Art Deco original Bizarre pattern...
0:40:52 > 0:40:55Brace yourselves! Fasten the seatbelts!
0:40:55 > 0:40:58The bid's with me straightaway at £35.
0:40:58 > 0:41:02Looking for 38 on this plate. Are we all done? 38.
0:41:02 > 0:41:06£40. 42. 44. 46. 48.
0:41:06 > 0:41:1050. Two. 52 with me. Looking for 55.
0:41:10 > 0:41:12All done on this plate? At £52!
0:41:12 > 0:41:18We've already met the reserve and we've only sold two. Eight more to go!
0:41:18 > 0:41:2142. 45. 48.
0:41:21 > 0:41:23- 50. Two I need. - You're causing a stir!
0:41:23 > 0:41:25£50. Are we all done?
0:41:25 > 0:41:28Last time. At £50.
0:41:28 > 0:41:31There's 50 on top of that.
0:41:31 > 0:41:35Let's have another go, eh? The bid is with me at £35.
0:41:35 > 0:41:3738. £40.
0:41:37 > 0:41:3942. 45. 48. 50 here.
0:41:39 > 0:41:4152.
0:41:41 > 0:41:4354 with me. Looking for 56.
0:41:43 > 0:41:4656. 58 with me.
0:41:46 > 0:41:49- It's pushing and pushing. - It's all going on in the room.
0:41:49 > 0:41:51- Wow.- Sold, 133.
0:41:51 > 0:41:55All done? With me, last time on this plate. £54.
0:41:55 > 0:41:58This was Michael's first valuation on Clarice.
0:41:58 > 0:42:00I know what you're thinking - "Not again!"
0:42:00 > 0:42:03I won't do it again. Not after this. Once is enough!
0:42:03 > 0:42:06Go on, have a go. This is a nice one.
0:42:06 > 0:42:1058. £60. 62.
0:42:10 > 0:42:13Michael's on edge because he's our specialist in metals.
0:42:13 > 0:42:17Lovely things from the 16th and 17th century.
0:42:17 > 0:42:19I weighed this tea set. I should have done it at scrap!
0:42:19 > 0:42:23- I don't know!- 45. 48. £50.
0:42:23 > 0:42:26I don't know why they love it so much.
0:42:26 > 0:42:28- But they do.- They do, don't they?
0:42:28 > 0:42:32All done? Last time. At £45.
0:42:32 > 0:42:36- Are you keeping a tally? - No.- No, nor am I!
0:42:36 > 0:42:38At 60.
0:42:38 > 0:42:42Looking for 62. Are we all done on the cup and saucer?
0:42:42 > 0:42:44At £60.
0:42:44 > 0:42:47Last one of the Clarice Cliff Bizarre cup and saucer.
0:42:47 > 0:42:48Bid's with me at £50.
0:42:48 > 0:42:50Five. £60 with me.
0:42:50 > 0:42:53I'll take 61. 62 with me.
0:42:53 > 0:42:56Looking at 63. 64. 65.
0:42:56 > 0:43:0166. All done at 66? Looking at 67. Have we all done?
0:43:01 > 0:43:04At £66 only on the cabinet cup and saucer.
0:43:04 > 0:43:08- Oh, that's a noise, Paul.- It is.- What do you think his gavel's made of?
0:43:08 > 0:43:11I don't think it's a gavel. It's a carpenter's mallet!
0:43:11 > 0:43:14- Christina, that's the end of it. - Wonderful!- That's all ten.
0:43:14 > 0:43:17And it's a grand total - I'm looking at a calculator here!
0:43:17 > 0:43:21- It's £802!- Wonderful!
0:43:21 > 0:43:23- I can't believe it!- Fantastic.
0:43:23 > 0:43:26Gosh, what a lovely surprise! What a lovely surprise!
0:43:26 > 0:43:29I hope that was a big surprise for you as well.
0:43:29 > 0:43:32It's rounded off a wonderful day here in Greenwich.
0:43:32 > 0:43:33Christina will go home happy.
0:43:33 > 0:43:35Lots of our owners will today.
0:43:35 > 0:43:40All credit to our experts and the man on the rostrum. He's done us proud. See you next time!
0:44:01 > 0:44:05Subtitles by Red Bee Media Ltd