0:00:05 > 0:00:11Where is this wonderful example of modernist architecture that looks like a horizontal skyscraper?
0:00:11 > 0:00:17It's in Bexhill-on-Sea and it's called De La Warr Pavilion. Welcome to Flog It!
0:00:42 > 0:00:48This incredible building is the result of a competition held by the town council in 1935.
0:00:48 > 0:00:50I'm hoping for a lot of competition here today,
0:00:50 > 0:00:54because there's hundreds of people, which means hundreds of antiques!
0:00:54 > 0:00:59We'll take the best to auction and hopefully have one or two surprises at the end of the show.
0:00:59 > 0:01:04This lot have come here to ask our experts that all-important question,
0:01:04 > 0:01:06- which is? - ALL: What's it worth?
0:01:06 > 0:01:08What will you do when you find out?
0:01:08 > 0:01:10ALL: Flog it!
0:01:10 > 0:01:14And our experts competing to provide all the answers today...
0:01:14 > 0:01:19are David Fletcher
0:01:19 > 0:01:21and Michael Baggott.
0:01:21 > 0:01:25On today's show, we have some one-offs that our experts have fallen in love with -
0:01:25 > 0:01:29a highly decorative exotic glass goblet...
0:01:32 > 0:01:34..a magnificent 19th century firearm...
0:01:34 > 0:01:39Michael, I like this. I seriously considered running away with this.
0:01:39 > 0:01:42..and an exceptionally fine piece of artwork.
0:01:42 > 0:01:48But the big question is which one of these highly-prized items will reach the highest price?
0:01:48 > 0:01:52Stay with us to find out when we go off to auction.
0:01:52 > 0:01:56As you can see, everybody's safely seated inside the pavilion.
0:01:56 > 0:01:58It is lights, camera, action!
0:01:58 > 0:02:02There's a wonderful atmosphere here, so let's hand over to our experts.
0:02:02 > 0:02:06It looks like David Fletcher, who's recently got married, is first at the tables.
0:02:06 > 0:02:08- Hello.- Hello, David.
0:02:08 > 0:02:11Time for us to share a nice glass of white wine.
0:02:11 > 0:02:12SHE LAUGHS
0:02:12 > 0:02:16- Yeah, I guess it's a goblet. - It is, yeah.
0:02:16 > 0:02:19- It's a charming thing. - It looks good there.- It does, yeah.
0:02:19 > 0:02:23You don't sound convinced. Do you not like it yourself?
0:02:23 > 0:02:27I like '60s glass, so this is really not...
0:02:27 > 0:02:29I just saw it in a garden safari.
0:02:29 > 0:02:33What's a garden safari? I've never heard of such a thing.
0:02:33 > 0:02:38It's where you go to a school and to make money, they sell a map,
0:02:38 > 0:02:39- for £1.- Right.
0:02:39 > 0:02:42On the map is all the different garages.
0:02:42 > 0:02:46I walked down the drive and this was in the garage
0:02:46 > 0:02:49- and that was £1.- £1?!- £1.
0:02:49 > 0:02:53This would've been made - you said you liked 1960s glass -
0:02:53 > 0:02:56- I assume you meant 1960s...- Oh!
0:02:56 > 0:02:59- I meant 1960s.- This is about 1860.
0:02:59 > 0:03:04- Oh, wow!- So, this is about 100 years earlier from the glass you like.
0:03:04 > 0:03:09- It would've been made in Bohemia. - Yeah.- OK?
0:03:09 > 0:03:12Characterised, really, by very deep cutting.
0:03:12 > 0:03:17- Right.- In addition to that, you have a gilt banding,
0:03:17 > 0:03:23you have another band which has been etched and then hand-painted.
0:03:23 > 0:03:26So, every single decorative gizmo you can think of
0:03:26 > 0:03:29has gone into the manufacture of this.
0:03:29 > 0:03:34Made, really, for a very discerning, I suppose,
0:03:34 > 0:03:37upper middle class customer or client,
0:03:37 > 0:03:43who, if you like, probably characterises a slightly overblown taste.
0:03:43 > 0:03:48- It's a bit ostentatious...- Over the top.- Over the top, exactly that.
0:03:48 > 0:03:51- I think this is worth at least £100. - Oh, absolutely.
0:03:51 > 0:03:55- Um... But put a reserve just beneath that.- Yes.
0:03:55 > 0:03:59- Say, £80?- Yeah, fine.- Is that OK? - Thank you.
0:03:59 > 0:04:03I'm really more of a beer drinker than a wine drinker,
0:04:03 > 0:04:07so if it does sell for £100 or more,
0:04:07 > 0:04:12- perhaps you can buy me a pint in the pub after?- Absolutely, certainly.
0:04:12 > 0:04:13That's a date.
0:04:13 > 0:04:16Ooh, hang on a minute, he's only just got married!
0:04:19 > 0:04:22- Rod.- Hi, Paul.- Thank you for coming with this watercolour.- Pleasure.
0:04:22 > 0:04:27- You're talking to a guy that grew up in Cornwall.- That's why I was hoping you'd like this.
0:04:27 > 0:04:29I recognise it, put it that way!
0:04:29 > 0:04:31Do you know where this is in Cornwall?
0:04:31 > 0:04:33I thought it was St Ives Bay.
0:04:33 > 0:04:36No. I can tell you exactly where it is.
0:04:36 > 0:04:39It's, in fact, Port Isaac. You see that building there?
0:04:39 > 0:04:44That's the old schoolhouse. That's now converted to a hotel and I've stayed there.
0:04:44 > 0:04:45- Oh, really?- Yeah.
0:04:45 > 0:04:47It's a beautiful part of Cornwall.
0:04:47 > 0:04:51Do you know much about Pinder, the artist, Douglas Pinder?
0:04:51 > 0:04:55No, we looked him up on the internet and found out he was local born.
0:04:55 > 0:04:59Yes, he's Cornish, born in 1886 and he died in 1949.
0:04:59 > 0:05:04But he didn't actually take up a career as an artist until 1911.
0:05:04 > 0:05:09But he worked in watercolours and he tended to paint between St Ives and Newquay.
0:05:09 > 0:05:11All along that north coast
0:05:11 > 0:05:12- and stopover...- OK, yeah.
0:05:12 > 0:05:15..because he didn't drive a car.
0:05:15 > 0:05:21- He rode a bike everywhere, so he was very limited to where he painted in Cornwall!- Wow!
0:05:21 > 0:05:25So, looking at this, bearing in mind there's a bit of damage up here,
0:05:25 > 0:05:29- some foxing and staining, because it's been kept under glass?- Yes.
0:05:29 > 0:05:33The sun's got to it. You can see the outline of the frame.
0:05:33 > 0:05:38- I think the Cornish collectors of Pinder will like this, but it's definitely entry level.- OK.
0:05:38 > 0:05:43When I mean entry level, I think around about £80 to £100.
0:05:43 > 0:05:46- Yep, OK, that's fine. - With a reserve of 60.
0:05:46 > 0:05:47Yep, I'll go with it.
0:05:47 > 0:05:51- If that's what you say, I'm happy with that.- Are you sure?
0:05:51 > 0:05:55- Where's this been, anyway, in your life?- I'm selling it for a friend.
0:05:55 > 0:06:00She's emigrated to Turkey, so I think it was something she couldn't get in the case!
0:06:00 > 0:06:03- Thank you for bringing it in. - Pleasure.
0:06:03 > 0:06:08Rod will put the watercolour back in its frame, which should help with the sale.
0:06:10 > 0:06:15Michael has picked out a tea caddy, but Brian doesn't sound like a local.
0:06:17 > 0:06:22Brian, thank you for bringing this wonderful little pot in today.
0:06:22 > 0:06:25What do you know about it?
0:06:25 > 0:06:27Virtually nothing.
0:06:27 > 0:06:32I inherited it from my parents and I believe it belonged to my father's aunt before that.
0:06:32 > 0:06:36So, it's hopefully anywhere between 80 to 100 years old, I think.
0:06:36 > 0:06:40Do you know what it's for? Do you use it for anything at home?
0:06:40 > 0:06:44Odds and ends go into it, because we've never known what it's for.
0:06:44 > 0:06:49It's something that came down through the family and I liked the decoration on it, so I kept it.
0:06:49 > 0:06:53The decoration is lovely. All this applied relief work on it.
0:06:53 > 0:06:59- It's two materials.- Right. - Let's get that out of the way first. They didn't start life together.- No.
0:06:59 > 0:07:03If we're looking at the original item, we're looking at that,
0:07:03 > 0:07:05- without that cover.- Right.
0:07:05 > 0:07:12What we've got is basically a Wedgwood-style black basalt, which is a ceramic body,
0:07:12 > 0:07:14- tea caddy.- Right.
0:07:14 > 0:07:21When this was made, in about 1800, 1820, so 200 years old,
0:07:21 > 0:07:23at the height of the Regency,
0:07:23 > 0:07:25in Staffordshire,
0:07:25 > 0:07:30Wedgwood's designs were selling all over the place, the most popular ceramics you could buy.
0:07:30 > 0:07:32- And people copied him.- Yeah.
0:07:32 > 0:07:36If this were Wedgwood, it would be a bit crisper.
0:07:36 > 0:07:40These reliefs would be deeper and, most importantly,
0:07:40 > 0:07:43- it would be marked "Wedgwood" on the bottom!- That's the clue(!)
0:07:43 > 0:07:48This is unmarked, so we can't immediately put a factory to it.
0:07:48 > 0:07:51- But it's definitely from Staffordshire.- Oh, good.
0:07:51 > 0:07:55The interesting thing is it started life with a cover like this...
0:07:55 > 0:07:57- Ah, but not that one. - ..but in the same body.
0:07:57 > 0:07:59That's become damaged.
0:07:59 > 0:08:04I think what's interesting is that somebody valued this enough,
0:08:04 > 0:08:10maybe 150, 160 years ago, to have a cover made for it -
0:08:10 > 0:08:13cos that fits exactly - in solid silver.
0:08:13 > 0:08:14Oh!
0:08:14 > 0:08:18Not an inexpensive thing to do, but it's part of its history.
0:08:18 > 0:08:19It's part of its life.
0:08:19 > 0:08:22This is part of its life, in a way.
0:08:22 > 0:08:25I wasn't sure if that was with it or not.
0:08:25 > 0:08:30- This is a jam spoon.- Right. - That's Sheffield, 1920,
0:08:30 > 0:08:35so that's a fair bit later, but might as well keep it with that.
0:08:35 > 0:08:38- The bad news is the value! - Thank you, yeah(!)
0:08:38 > 0:08:40This cover makes it more interesting.
0:08:40 > 0:08:43This spoon and the story make it more interesting, but less valuable.
0:08:43 > 0:08:45- Less valuable, yeah.- So...
0:08:45 > 0:08:49We're going to have to think in terms of £30 to £50
0:08:49 > 0:08:51- and a fixed reserve of £30 on it. - Yep.
0:08:51 > 0:08:52We'll put it into the auction
0:08:52 > 0:08:56and I think it should brew up some interest on the day.
0:08:56 > 0:08:59- Terrible, isn't it?- That was bad! - I know, I know.
0:08:59 > 0:09:02Well, Michael got that one off to a T.
0:09:02 > 0:09:05Now, let's see what David has lined up.
0:09:06 > 0:09:07- Hello, Sarah.- Hello.
0:09:07 > 0:09:11Thank you very much for bringing these items in with you.
0:09:11 > 0:09:14- Have you been rummaging about in your attic?- Yes.
0:09:14 > 0:09:16I'm clearing out the family silver.
0:09:16 > 0:09:19You were literally clearing out the family silver, right.
0:09:19 > 0:09:23Talk me through them. Are any of them family pieces?
0:09:23 > 0:09:27The boxes were my grandmother's.
0:09:27 > 0:09:30- I just remember them sitting on the mantelpiece.- Right.
0:09:30 > 0:09:34- I don't remember where they came from prior to my grandmother.- OK.
0:09:34 > 0:09:37- And, I think it's a letter opener? - Yes.
0:09:37 > 0:09:41I remember it being in the cupboard at home. I don't know where that came from.
0:09:41 > 0:09:46I'm inclined to think of them really as potentially two lots.
0:09:46 > 0:09:51We have four boxes, I think, naturally make up one lot.
0:09:51 > 0:09:56Then the letter opener, another lot. Let's treat them in those terms.
0:09:56 > 0:10:01We'll start with the letter opener, which has been gilded.
0:10:01 > 0:10:04In places the gilding has worn through
0:10:04 > 0:10:09- but it's more or less still all over, silver gilt.- Yes.
0:10:09 > 0:10:11This is inscribed,
0:10:11 > 0:10:15"Madeleine to Percy for their golden wedding,
0:10:15 > 0:10:19"with love and blessing to him for all his unfailing love
0:10:19 > 0:10:23"and goodness to her through these 50 years.
0:10:23 > 0:10:26- "16th October 1910."- Yes.
0:10:26 > 0:10:31- Isn't that a lovely inscription? But you don't know those people? - I don't know who they are.
0:10:31 > 0:10:37- It's actually hallmarked for London and the letter P tells us, 1910.- OK.
0:10:37 > 0:10:40It was actually assayed in the same year that it was bought.
0:10:40 > 0:10:46- In my view, it's worth between 50 and £80.- Right.
0:10:46 > 0:10:49- I would suggest you put a reserve of £50 on that.- Yes.
0:10:49 > 0:10:54Now the boxes, what I think is particularly interesting about these
0:10:54 > 0:11:00is that they all date from the very late 19th, early 20th century.
0:11:00 > 0:11:05We have a London hallmark on this one
0:11:05 > 0:11:09for 1898.
0:11:09 > 0:11:13Then we have this box which is also Victorian.
0:11:13 > 0:11:16- Curiously, I think London, 1900.- Right.
0:11:16 > 0:11:21- That strikes me as being something that might have been made in the 1920s, 1930s.- Right.
0:11:21 > 0:11:27It almost has an art deco appearance, doesn't it? Very simple.
0:11:27 > 0:11:31This item is a matchbox holder.
0:11:31 > 0:11:35Again, hallmarked, this time in Birmingham,
0:11:35 > 0:11:40and this little chap here, with a painted cover,
0:11:40 > 0:11:44and Alpine scene, bears hallmarks
0:11:44 > 0:11:48but doesn't have the assay office amongst the marks.
0:11:48 > 0:11:51That's not uncommon. This one is 1905.
0:11:51 > 0:11:56This little group here made within seven years of each other,
0:11:56 > 0:12:03which I would say, had a combined value of 100 to 150.
0:12:03 > 0:12:06- I would suggest a reserve of £100. - Yes, OK.
0:12:06 > 0:12:09Have you anything in mind to spend the money on?
0:12:09 > 0:12:12We have a family wedding coming up in Cornwall.
0:12:12 > 0:12:15- That's got to be paid for?- It has. - And petrol?
0:12:15 > 0:12:20- And the petrol.- And a nice wedding present?- Yes.- You could always give them one of these.
0:12:20 > 0:12:22More wedding bells!
0:12:25 > 0:12:29I think it's about time we put those items to the test, don't you?
0:12:29 > 0:12:32While we make our way to the auction room for the very first time today,
0:12:32 > 0:12:37here's a quick recap, just to jog your memory of all the items going under the hammer.
0:12:37 > 0:12:41First, Marilyn's highly decorative Bohemian glass goblet,
0:12:41 > 0:12:44which she bought for the princely sum of just £1.
0:12:46 > 0:12:49Watercolours of the sea are always popular,
0:12:49 > 0:12:51so this one should swim away.
0:12:53 > 0:12:56Michael spotted the caddie.
0:12:56 > 0:12:59It's a bit of a marriage with a new lid and spoon but collectors love them.
0:13:01 > 0:13:05The same is true of David's last lots. The silver letter opener...
0:13:07 > 0:13:09..and the collection of boxes.
0:13:17 > 0:13:21Well, the weather is lovely so let's take the chance to travel along the south coast.
0:13:23 > 0:13:25That sign says it all.
0:13:25 > 0:13:27Today we're guests of Eastbourne auction rooms
0:13:27 > 0:13:29and everything's going under the hammer.
0:13:29 > 0:13:32We're putting those valuations to the test.
0:13:32 > 0:13:35Let's get inside and hopefully find a room packed with bidders.
0:13:36 > 0:13:39And it is packed!
0:13:39 > 0:13:42And the auctioneer is already on the rostrum.
0:13:42 > 0:13:45Bid, 70, 80...
0:13:48 > 0:13:51Right now the Bohemian cut glass is about to go under the hammer.
0:13:51 > 0:13:53I've been joined by David and Marilyn here.
0:13:53 > 0:13:58This was picked up for £1 at a garage safari.
0:13:58 > 0:14:03- Going for £1, ridiculously cheap. - Are you going back to some more garage safaris?- I want '60s glass.
0:14:03 > 0:14:05- Hopefully, we can find you some. - Right, OK.
0:14:05 > 0:14:09There might be some in the saleroom but now we've got business to do.
0:14:09 > 0:14:12Let's put this under the hammer and see what happens. Here we go.
0:14:13 > 0:14:17Now we have the Bohemian ruby glass goblet, enamelled with flowers.
0:14:17 > 0:14:21There it is. Due to conflicting bids, we start this at 50 and 5.
0:14:23 > 0:14:27At £55, I'll take 60 from you. At £55 only, 60's bid.
0:14:27 > 0:14:305, I've got at 65. I'll take 70.
0:14:30 > 0:14:32At 65, only. 70 is bid.
0:14:32 > 0:14:365, at 75, 80? 80, sir. 80 bid in the seat. At £80.
0:14:36 > 0:14:39- We've done it, £80 now.- £80 only, seated at 80.
0:14:39 > 0:14:41Anyone else coming in, then?
0:14:41 > 0:14:43At £80 and you see it sell on that bid. Are we all done?
0:14:43 > 0:14:47Just, £80. The hammer has gone down.
0:14:47 > 0:14:48For a pound.
0:14:48 > 0:14:51That's not bad going, is it? That's really good going.
0:14:51 > 0:14:54I can't work out the percentage profit, but it's enormous!
0:14:54 > 0:14:59Marilyn should be able to get some staggering '60s glass for that money.
0:14:59 > 0:15:02Next up it's my choice, a Cornish artwork.
0:15:02 > 0:15:05But Rod, who thought it would appeal to me, sadly can't be here today.
0:15:07 > 0:15:09We've got a watercolour by Douglas Pinder.
0:15:09 > 0:15:12It's of Port Isaac, down in Cornwall.
0:15:12 > 0:15:17Let's see what we can do. We're looking at 80 to £120. Here we go.
0:15:20 > 0:15:23The watercolour of a harbour, possibly around Cornwall,
0:15:23 > 0:15:26signed and stamped on the reverse, mounted and framed.
0:15:26 > 0:15:28There it is. How do we see that?
0:15:28 > 0:15:31- Who's got £50 to start? - 50, come on.
0:15:31 > 0:15:36- Give me 40 for it, then. - I've a feeling it might struggle.
0:15:36 > 0:15:38Is there 5 bid, 50?
0:15:38 > 0:15:4155, 60? And 5? 60 has it.
0:15:41 > 0:15:45- At £60, anyone else, then? - Come on, people.
0:15:45 > 0:15:49- At 65, any more in the room? £65 in the room.- 65.
0:15:49 > 0:15:5365, do I see 70 anywhere? At £65, then...
0:15:53 > 0:15:5670's bid on the phone. Phone bidder now at 70.
0:15:56 > 0:15:59Do you want 5 on the net? 75, 80? Is it on the phone?
0:15:59 > 0:16:03£75, net bidder has it. 80 bid, phone.
0:16:03 > 0:16:05- At 80 bid, phone.- We've sold it. - Is there 5 on the net?
0:16:05 > 0:16:09£80 on the phone, then. You're out on the net, now.
0:16:09 > 0:16:11- At £80, you're also out in the room.- £80.
0:16:11 > 0:16:13Are we all done?
0:16:13 > 0:16:17And, yes, it has. We've sold it, thank goodness for that.
0:16:17 > 0:16:20Hopefully, it's probably gone back down to Cornwall.
0:16:20 > 0:16:22Saved by the phones, that time.
0:16:23 > 0:16:27Well, it's Brian's turn to find out exactly what it's worth, right now.
0:16:27 > 0:16:30The black basalt tea caddy is going under the hammer.
0:16:30 > 0:16:34- It's no money at all, £30 to £40, is it?- It's entry level.
0:16:34 > 0:16:38The thing is, somebody thought so much of it when it was made,
0:16:38 > 0:16:40they had a silver cover made.
0:16:40 > 0:16:43- That's nice.- It's a lovely touch, isn't it?- Yes.
0:16:43 > 0:16:45Let's find out what it's worth. Good luck, Brian.
0:16:47 > 0:16:50The 19th century, black basalt tea caddy.
0:16:50 > 0:16:53Decorated in relief with classical females, shown to you there.
0:16:53 > 0:16:55Who'll start me at £30 for this lot?
0:16:57 > 0:17:0030? 20, then. £20, I'm bid.
0:17:00 > 0:17:0420, 2, 5, eight, Sir. 30? 2?
0:17:04 > 0:17:08- 30 has it seated. At 32 and five. - They're off.
0:17:08 > 0:17:1338, 40, 42, 45, 48? No, 45.
0:17:13 > 0:17:17Gentleman seated at £45. Any further bids then at £45.
0:17:17 > 0:17:21- You'll see it sell on that bid. - The hammer's gone down, £45.
0:17:21 > 0:17:24- We're happy?- Yes.- Just over the top end of the estimate.
0:17:24 > 0:17:28Wherever we go, there is always a caddy collector. Every sale.
0:17:28 > 0:17:31He is right, you know, caddies are a safe bet.
0:17:31 > 0:17:35Next, two lots of silver, a collection of boxes and the letter opener.
0:17:39 > 0:17:41We have those but we do not have their owner, Sarah.
0:17:41 > 0:17:44She couldn't make it today. She has to work, she's a nurse.
0:17:44 > 0:17:49I hope you're doing well there, Sarah, but we do have Brian, her father.
0:17:49 > 0:17:51- Hello. Thank you for standing in. - Not at all.
0:17:51 > 0:17:55- Where does Sarah work?- She works at East Grinstead Hospital.- Busy girl.
0:17:55 > 0:18:00We're going to find out what the first lot goes for, first. Here are the four little boxes, now.
0:18:01 > 0:18:07The silver matchbox case and three boxes including a circular example
0:18:07 > 0:18:12set with porcelain panel to the lid, hand-painted with an Alpine view.
0:18:12 > 0:18:15There we are. We're going to start this at 160.
0:18:15 > 0:18:17At 160, 170 on the net.
0:18:17 > 0:18:21180 with me, 190, 200 with me. 210, I'll take on the net.
0:18:21 > 0:18:26- 210, there. 220 with me. 230.- We like this.- I'm out.
0:18:26 > 0:18:30At 230, the back of the room at 230. 240, new place.
0:18:30 > 0:18:32250. 260, 270.
0:18:32 > 0:18:37- We like this.- The lady's bid. 260, I'll take 70 elsewhere.
0:18:37 > 0:18:41£260, then, with the lady, at the back. 270 back in. 270, 280.
0:18:41 > 0:18:45At 270, I'll give you a chance to change your mind, as well. At £270.
0:18:45 > 0:18:51- 270, it is.- £270 and the hammer went down really quickly.
0:18:51 > 0:18:54Here is the second of the lots, the silver letter opener.
0:18:56 > 0:19:00There it is, the silver gilt letter opener with engraved inscription.
0:19:00 > 0:19:02There it is. Where are we here?
0:19:02 > 0:19:07Silver gilt one, there it is at 40 and 5, I'll take 50 from you.
0:19:07 > 0:19:10At £45, where is 50 now? At £45 only. 50's bid now.
0:19:10 > 0:19:15At 50, I'll take 5 elsewhere. At £50 only, anybody else then at 50?
0:19:15 > 0:19:19- Done and selling it on that bid of 50.- It's gone, anyway.
0:19:19 > 0:19:22That's a grand total of £320.
0:19:22 > 0:19:25You'll have to get on the phone and tell her, won't you, Dad?
0:19:25 > 0:19:28Immediately I walk away from here. I shall be on the phone.
0:19:28 > 0:19:31It'll make her day, won't it? Cheer her up in hospital.
0:19:31 > 0:19:35- That's a good result, I'm thrilled. - Yes, thank you very much indeed.
0:19:35 > 0:19:38Remember, all the money is going towards the Cornish wedding.
0:19:40 > 0:19:42While we've been in the area filming,
0:19:42 > 0:19:45I had the opportunity to go off and explore a garden.
0:19:45 > 0:19:49In the world of gardens, this is up there with the very best.
0:19:49 > 0:19:50Take a look at this.
0:20:09 > 0:20:12I'm standing right on the top of Sissinghurst Castle,
0:20:12 > 0:20:15looking out at the most spectacular view.
0:20:15 > 0:20:17It really is breathtaking.
0:20:17 > 0:20:21Down on what is, arguably, one of the finest gardens in England.
0:20:21 > 0:20:24We're in deepest Kent, right in the heart of the countryside,
0:20:24 > 0:20:27surrounded by woods, streams and farmland and meadows.
0:20:27 > 0:20:30It's the perfect location for these gardens.
0:20:30 > 0:20:33It's as if they've always been here as nature intended.
0:20:33 > 0:20:38Their success is due to a marriage of formality and informality.
0:20:38 > 0:20:41The classical elegance of its planning, as you can see there,
0:20:41 > 0:20:45and the romantic profusion of its planting.
0:20:45 > 0:20:50All of this is only possible because of the vision of not one, but two people.
0:20:50 > 0:20:53Who were the co-creators of this celebrated garden
0:20:53 > 0:20:58and why did they devote most of their lives to making it?
0:21:02 > 0:21:06The garden is a blend of the talents of husband and wife team,
0:21:06 > 0:21:12Harold Nicolson, the diplomat and Vita Sackville-West, the author and poet.
0:21:12 > 0:21:15Harold providing the structure and elegance of the garden
0:21:15 > 0:21:19and Vita, filling it in with her opulent and extravagant planting.
0:21:19 > 0:21:24They both wanted to create somewhere that spoke of the past.
0:21:28 > 0:21:34Vita was a wealthy aristocrat who just missed out on inheriting her beloved family home of Knole
0:21:34 > 0:21:37to her uncle because of her gender, that's the way things were done.
0:21:37 > 0:21:43In 1930, she bought Sissinghurst and she must have seen the potential in creating something
0:21:43 > 0:21:49so magical out of what was the ruins of an old Elizabethan palace.
0:21:49 > 0:21:53You can understand why a romantic vision of old England
0:21:53 > 0:21:55really sits comfortably with her.
0:21:58 > 0:22:04I always enjoy being given access to somewhere that usually is out of bounds.
0:22:04 > 0:22:06In this case, Vita's private workroom,
0:22:06 > 0:22:09which would sit quite comfortably in a tale of old England.
0:22:09 > 0:22:12Even the door's creaking away. It's full of books.
0:22:12 > 0:22:16We are surrounded by all of her possessions, exactly how she would have left it.
0:22:16 > 0:22:21A wonderful atmosphere in here. Obviously, she would be deep in thought in this room,
0:22:21 > 0:22:24putting pen to paper and writing novels, poems, diaries
0:22:24 > 0:22:32and also her gardening column for the Observer newspaper, which ran for 16 years.
0:22:32 > 0:22:34Something else was discovered in this room.
0:22:34 > 0:22:37Her son Nigel found a locked Gladstone bag,
0:22:37 > 0:22:43which gave a fascinating insight into his mother's unconventional private life.
0:22:43 > 0:22:45It contained a confession of Vita's love
0:22:45 > 0:22:49for this beautiful lady here, Violet Trefusis.
0:22:49 > 0:22:51A gorgeous oil painting on canvas.
0:22:53 > 0:22:56That's painted by Sir Frank Lavery. Quite incredible.
0:22:56 > 0:22:59Later on, Virginia Woolf became one of Vita's lovers
0:22:59 > 0:23:04and Virginia immortalised her as one of the main characters in her novel, Orlando.
0:23:04 > 0:23:09Just looking around, you can open up the books, and there's lots of scribbles in the margins
0:23:09 > 0:23:13and I picked one up for you. This is another novel by Virginia Woolf.
0:23:13 > 0:23:17Down the margin, written in pencil, by Vita it says,
0:23:17 > 0:23:24"Rubbish. It was frankly a lesbian love. V told me so."
0:23:24 > 0:23:28Isn't that incredible? Lots of history here in these books.
0:23:28 > 0:23:31I love these little scribbles.
0:23:31 > 0:23:34And things underlined, the important things.
0:23:34 > 0:23:37"Protecting the love of a woman for a woman."
0:23:38 > 0:23:42Vita and Harold were an extraordinary couple who crossed a few boundaries.
0:23:42 > 0:23:44Harold was also known to be homosexual.
0:23:45 > 0:23:48They had an open marriage for years.
0:23:52 > 0:23:56Despite this, they were devoted to each other.
0:23:56 > 0:23:59The garden is testimony to their relationship.
0:24:02 > 0:24:05So, where shall we start in this magnificent ten-roomed
0:24:05 > 0:24:06Arts and Crafts garden?
0:24:06 > 0:24:10Well, I think right here, don't you, in this purple border.
0:24:10 > 0:24:14Originally planted up by Vita.
0:24:14 > 0:24:17It does look such a showstopper.
0:24:17 > 0:24:21But it's made even more effective because they've kept
0:24:21 > 0:24:25the rest of the courtyard, as you can see here, incredibly formal.
0:24:25 > 0:24:28It's a super idea, it really does work.
0:24:31 > 0:24:34Again and again throughout the garden,
0:24:34 > 0:24:37we see areas enhanced by this use of contrasts.
0:24:37 > 0:24:40Would Harold's long crossing vistas have so much impact
0:24:40 > 0:24:43without Vita's fullness of planting,
0:24:43 > 0:24:47what she called the "cram, cram, cram every chink and cranny" method?
0:24:48 > 0:24:50While I'm here enjoying the garden,
0:24:50 > 0:24:54I want to find out from head gardener Alexis Datta
0:24:54 > 0:24:58how she maintains Harold and Vita's vision in the garden.
0:25:02 > 0:25:05Alexis, how long did it take Harold and Vita to create
0:25:05 > 0:25:07and establish these gardens?
0:25:07 > 0:25:12They bought the place in 1930, and amazingly, by 1939,
0:25:12 > 0:25:14when the war broke out,
0:25:14 > 0:25:17they'd already really created the bones of what you see today,
0:25:17 > 0:25:19the hedges and paths and everything like that,
0:25:19 > 0:25:22- and cleared all the rubbish away. - A lot of hard work.
0:25:22 > 0:25:26An awful lot, and pretty impressive, considering they were not professional gardeners,
0:25:26 > 0:25:31- so they did all that whilst also working at other jobs.- Crikey.
0:25:31 > 0:25:33They did employ people, of course, but they really, really put
0:25:33 > 0:25:35a lot of work in. Amazing.
0:25:35 > 0:25:38Just had that vision and that foresight to plant it up like this,
0:25:38 > 0:25:41because everywhere you turn, everywhere you walk,
0:25:41 > 0:25:44there's the most interesting vista, and different height levels,
0:25:44 > 0:25:46which is interesting, and wonderful perspectives.
0:25:46 > 0:25:48It's interesting you mention,
0:25:48 > 0:25:52the vistas like this one going up are quite unusual.
0:25:52 > 0:25:55And that was Harold Nicolson's part.
0:25:55 > 0:25:57He was classical straight lines, very neat sort of man,
0:25:57 > 0:26:00and she was the opposite. She liked to see the plants...
0:26:00 > 0:26:02En masse, as much as possible.
0:26:02 > 0:26:06Yeah, letting them go over the paths and over the grass.
0:26:06 > 0:26:10- I like that, though, don't you? - Yeah, I think it's really great.
0:26:10 > 0:26:13But that was like their two personalities working together.
0:26:13 > 0:26:18And actually, looking up here today, there's quite a good example of that.
0:26:18 > 0:26:21And then the clematis coming over the wall.
0:26:21 > 0:26:24The geometry of it and the actual design of it is terribly clever,
0:26:24 > 0:26:29cos it's not actually that big, but you get big, long vistas like that,
0:26:29 > 0:26:31which gives you the impression of size.
0:26:31 > 0:26:35And actually, it's only seven acres, which, obviously, to you and me,
0:26:35 > 0:26:37- that's a lot for your back garden...- Yeah.
0:26:39 > 0:26:42It is really, really stunning,
0:26:42 > 0:26:45and I guess your job now is to sort of conserve this.
0:26:45 > 0:26:47Exactly what we are trying to do.
0:26:47 > 0:26:51We've got a bit of a free range to be allowed to change it,
0:26:51 > 0:26:53- but within the spirit of the place. - Yeah, yeah.
0:26:53 > 0:26:57For instance, in the rose garden, we've got a lot of roses
0:26:57 > 0:27:01which are old-fashioned shrub roses, which are very prone to disease.
0:27:01 > 0:27:04So, we have introduced some new ones that are less prone.
0:27:04 > 0:27:06But I'm also always very aware of the fact that
0:27:06 > 0:27:08the ones that Vita loved so much,
0:27:08 > 0:27:10which we know about, cos she wrote about,
0:27:10 > 0:27:14- if they do die, to replace with the same.- Yeah.
0:27:14 > 0:27:17- Have you learned a lot from this? - Oh, an awful lot, yeah.
0:27:17 > 0:27:22- I've been gardening 40 years, 20 of them here.- 20 years here?
0:27:22 > 0:27:26Yeah, but I've learned so much since I've been here.
0:27:26 > 0:27:28- You'll never know it all.- No.
0:27:30 > 0:27:34Well, I must say, Alexis and her team are doing a terrific job here.
0:27:34 > 0:27:37Once again, we're enjoying that juxtaposition
0:27:37 > 0:27:40of Harold's formality of his straight-line hedging
0:27:40 > 0:27:44with that lovely, sumptuous planting up by Vita.
0:27:44 > 0:27:46This was the last garden they created here,
0:27:46 > 0:27:47and it's called the White Garden,
0:27:47 > 0:27:51with its nostalgic view of the tower there in the background
0:27:51 > 0:27:54reminding us of how England used to be.
0:27:54 > 0:27:56And I think that's exactly what they wanted.
0:28:05 > 0:28:09Back to the coast, where people are still streaming through the doors
0:28:09 > 0:28:11of Bexhill Pavilion.
0:28:15 > 0:28:20And the romantic theme continues with Michael's next choice.
0:28:20 > 0:28:22You're wearing a lovely chain today,
0:28:22 > 0:28:25but this really isn't for a gentleman.
0:28:25 > 0:28:27- It's more of a ladies' piece.- Yeah.
0:28:27 > 0:28:29Can you tell me, why have you got it?
0:28:29 > 0:28:31Yeah, actually, it's not mine, it's my sister's.
0:28:31 > 0:28:37She bought it back in '85, '86 at a charity auction.
0:28:37 > 0:28:42- Ooh. They can be expensive, can't they?- Yeah, they were.
0:28:42 > 0:28:44It's not been out of the drawer for 20 years,
0:28:44 > 0:28:47because she'd become allergic to gold.
0:28:47 > 0:28:49- Oh, no!- Yeah.
0:28:49 > 0:28:53- After she bought that in a charity auction?- Yeah. So she can't wear it.
0:28:53 > 0:28:56That's the height of irony, I think.
0:28:56 > 0:28:58So, why couldn't your sister come today?
0:28:58 > 0:29:01She was too embarrassed to come in front of the cameras,
0:29:01 > 0:29:03so me being me, I said I'd do it.
0:29:03 > 0:29:05- You're game!- I am.
0:29:05 > 0:29:07That's marvellous.
0:29:09 > 0:29:12It is, I think, a modern pendant when it was sold in '85.
0:29:12 > 0:29:14It would have been made then.
0:29:14 > 0:29:19What we've basically got is a high-carat chain and mount framing
0:29:19 > 0:29:25some of the main business part of it, which is this heart-shaped diamond.
0:29:25 > 0:29:28It's of a relatively large size.
0:29:28 > 0:29:32Because it's a peculiar shape, it's difficult to gauge the weight,
0:29:32 > 0:29:36- but it's between 1.1 and 1.2 carats.- Right.
0:29:36 > 0:29:39Normally, this would all be very good news,
0:29:39 > 0:29:44if you had a brilliant-cut or a square-cut stone.
0:29:44 > 0:29:49- Cos often, these things are broken up again and remounted.- Yeah.
0:29:49 > 0:29:50As a consequence,
0:29:50 > 0:29:55- this isn't going to be worth as much as if it were a brilliant.- Yeah.
0:29:55 > 0:29:58Have you got any idea of its value or expectation?
0:29:58 > 0:30:04What she was looking for was hopefully 900 - 1,000.
0:30:04 > 0:30:06£900 - £1,000...
0:30:06 > 0:30:08I would be much more conservative than that
0:30:08 > 0:30:11but given what your sister wants
0:30:11 > 0:30:13and the fact bet it is a heavy stone,
0:30:13 > 0:30:19let's compromise in a way and let's say £700 - £1,000
0:30:19 > 0:30:22and put a fixed reserve of £700.
0:30:22 > 0:30:25So, John, let's hope that there are at least two courting couples
0:30:25 > 0:30:30at the auction that would like to buy a token for their sweetheart.
0:30:30 > 0:30:31Thank you.
0:30:31 > 0:30:36I've never heard of anyone being allergic to gold before!
0:30:37 > 0:30:40- Hello, Andrew.- Morning.
0:30:40 > 0:30:42I love this picture. What are they doing?
0:30:42 > 0:30:44I believe they're shrimping.
0:30:44 > 0:30:48Right, it's an etching.
0:30:48 > 0:30:53What I like about etchings is they have a sort of calmness.
0:30:53 > 0:30:56A good etching has a clarity that goes with the quality of the line.
0:30:56 > 0:31:00This is beautiful. It expresses those characteristics so well.
0:31:00 > 0:31:02What can you tell me about it?
0:31:02 > 0:31:03All I really know is
0:31:03 > 0:31:09that my mother passed it to my wife, Susan, before she died.
0:31:09 > 0:31:12- Right.- That's basically all I know about it.
0:31:12 > 0:31:16- When was your mother born? - 1908.- Right.
0:31:18 > 0:31:22The artist, Lionel Percy Smythe, was born in 1839
0:31:22 > 0:31:28and he died in 1918, so your mother would have been 10 when he died.
0:31:28 > 0:31:32It's most unlikely that your mother would have owned this from new.
0:31:32 > 0:31:36She would probably have acquired it at some stage in the 1920s or 1930s,
0:31:36 > 0:31:39perhaps when she had a bit of spending power, really.
0:31:39 > 0:31:42Best have a little look at that label.
0:31:45 > 0:31:52Yes, this indeed confirms that the artist was Lionel Smythe.
0:31:52 > 0:31:54The subject is the Boulogne shrimpers,
0:31:54 > 0:31:57so they are shrimping and they're shrimping in Boulogne,
0:31:57 > 0:32:01so the artist obviously has travelled to France.
0:32:01 > 0:32:06It confirms it's an original etching and in fact, it's an artist's proof.
0:32:06 > 0:32:11That tells us this was pulled off very early in the print-making process
0:32:11 > 0:32:14for the artist to look at himself and to decide
0:32:14 > 0:32:17whether the quality was good enough for it to go into production.
0:32:17 > 0:32:23A lovely thing and it's as it should be, original frame, original mount.
0:32:25 > 0:32:29- I think it has a value of between £60 and £80.- OK.
0:32:29 > 0:32:32Just to make sure it doesn't get given away,
0:32:32 > 0:32:36- I suggest you put a reserve of £50 on it, just below the £60.- Yeah.
0:32:36 > 0:32:40- And we'll make that a fixed reserve. - OK, thank you very much.
0:32:40 > 0:32:45What a lovely picture and at that price, it's a real bargain.
0:32:45 > 0:32:50Next, Michael is impressed by what fellow Michael has brought in.
0:32:51 > 0:32:55To have one early firearm might be chance,
0:32:55 > 0:32:58to have two smacks of collecting.
0:32:58 > 0:33:00Can you tell me where you got them?
0:33:00 > 0:33:03That's the entirety of my collection.
0:33:03 > 0:33:05HE LAUGHS Right!
0:33:05 > 0:33:07I just bought them by chance.
0:33:07 > 0:33:09This one I saw, I think it was at an antiques fair,
0:33:09 > 0:33:1310, 12, 15 years ago, bit of an impulse buy.
0:33:13 > 0:33:18This particular one, I used to like clay-pigeon shooting...
0:33:18 > 0:33:22- Not with this, though? - Not with that. Definitely not.
0:33:22 > 0:33:26It had been on the shelf in the shop I used to use for years
0:33:26 > 0:33:29and I made him a silly offer and he accepted it.
0:33:29 > 0:33:32- Silly offer?- Yeah. - What's a silly offer these days?
0:33:32 > 0:33:35I can't rem... I think 150 quid or something like that for it.
0:33:35 > 0:33:39Let's deal with this musket first.
0:33:39 > 0:33:42Very accommodatingly, these are both flintlocks.
0:33:42 > 0:33:46This one's dated on the action, 1801.
0:33:46 > 0:33:47There's no problem there.
0:33:47 > 0:33:51This, I think you've done a bit of research on this?
0:33:51 > 0:33:54Only a little bit. What I've been told by various people,
0:33:54 > 0:33:55that this ended up in Afghanistan,
0:33:55 > 0:33:59which is where they used to decorate them like this
0:33:59 > 0:34:03- with the mother of pearl and the brass inlay.- Right.
0:34:03 > 0:34:07It's possible, although this is quite crude workmanship,
0:34:07 > 0:34:10often they're much more elaborate than this
0:34:10 > 0:34:13and you will actually have gold work in them, or silver,
0:34:13 > 0:34:16and they're almost of gem-like quality.
0:34:16 > 0:34:18Sadly, there are still lots of them about
0:34:18 > 0:34:20and it's really the finely worked ones
0:34:20 > 0:34:23that are worth a great deal of money and are collectible.
0:34:23 > 0:34:25However, we've got this.
0:34:25 > 0:34:31- This is a different kettle of fish. Michael, I like this.- Good.
0:34:31 > 0:34:34I seriously considered running away with this, that's how nice it is.
0:34:34 > 0:34:38We've got, again, a flintlock action.
0:34:38 > 0:34:42All you've got with a flintlock is a flint set into the head here,
0:34:42 > 0:34:45it strikes down on the strike plates,
0:34:45 > 0:34:49the sparks go in there, where you pop your black powder,
0:34:49 > 0:34:53the charge goes through the vent and off we go.
0:34:53 > 0:34:55It's a blunderbuss.
0:34:55 > 0:34:58It's stamped on the top of the barrel, London
0:34:58 > 0:35:01and then we've got the proof marks here for the London proof house.
0:35:01 > 0:35:05We've got, on the action here, the maker's name.
0:35:05 > 0:35:08It's a little faint, because it had a bit of wear,
0:35:08 > 0:35:10but we've got Moore and he was working
0:35:10 > 0:35:16around about 1790 to about 1800, 1802.
0:35:16 > 0:35:20You brought them in together, but I think it's very sensible
0:35:20 > 0:35:22that we split them and sell them separately.
0:35:22 > 0:35:26They're two different guns for two very different collecting markets.
0:35:26 > 0:35:31I think we should put that into auction at say 150-250,
0:35:31 > 0:35:34put a 150 reserve on it and see where it goes.
0:35:34 > 0:35:36This is a different kettle of fish.
0:35:36 > 0:35:39In this condition, let's say 500-800,
0:35:39 > 0:35:44because it's worth £500 all day long. It's a super piece.
0:35:44 > 0:35:47Let's put the reserve at 500 as well, if you're happy with that?
0:35:47 > 0:35:50I can drop it down, I don't want it back. It's there to sell.
0:35:50 > 0:35:54You don't want it back? If you don't want it back, I'll take it!
0:35:54 > 0:35:57- Let's put a discretionary reserve of £400 on it.- Yep, that's great.
0:35:57 > 0:35:59That's marvellous.
0:35:59 > 0:36:01We often get people arguing the price up,
0:36:01 > 0:36:03we never get them arguing it down.
0:36:03 > 0:36:06They're heavy, I don't want to carry them home.
0:36:06 > 0:36:08That is a practical approach!
0:36:08 > 0:36:11It's time now to bid farewell to Bexhill
0:36:11 > 0:36:13before we head over to the auction.
0:36:13 > 0:36:16Let's take another look at all of our items.
0:36:16 > 0:36:19Michael spotted the large diamond in the shape of a heart
0:36:19 > 0:36:21and what a whopper!
0:36:23 > 0:36:26Next, the sensitive etching of the shrimpers from Boulogne.
0:36:28 > 0:36:32Ending with a bang, we have the long barrel rifle...
0:36:34 > 0:36:35..and the splendid blunderbuss.
0:36:43 > 0:36:45And over in Eastbourne,
0:36:45 > 0:36:49auctioneer Paul Achilleous is still in the thick of it.
0:36:49 > 0:36:5117, 18... 30, 30 I'm bid...
0:36:51 > 0:36:5470, I'm out.
0:36:54 > 0:36:57It is a lot of money, £700 - £1,000 and hopefully, John,
0:36:57 > 0:36:59- we're sending you home with that top end.- Hopefully.
0:36:59 > 0:37:03As you know, you've been to auctions before, anything could happen.
0:37:03 > 0:37:07- It really could.- Well, John's sister wanted a reserve of 700.
0:37:07 > 0:37:11I felt, because it's a carat stone, it's worth giving it a go.
0:37:11 > 0:37:14The only thing against it is the unusual heart-shaped cut.
0:37:14 > 0:37:16The odds are now stacked against us.
0:37:16 > 0:37:18Let's find out what happens, John.
0:37:20 > 0:37:23The heart-shaped gold mounted diamond pendant,
0:37:23 > 0:37:26approximately 1.5 carats on a gilt metal chain.
0:37:26 > 0:37:28There it is at 500, I'm bid.
0:37:28 > 0:37:31At 500, 520, 550, 580.
0:37:31 > 0:37:33At 580, 600, 620.
0:37:33 > 0:37:35At 620, now, any more?
0:37:35 > 0:37:38At £620, 650 on the net, now.
0:37:38 > 0:37:41680 in the room. At 680, 700? Is it?
0:37:41 > 0:37:44700 on the net, 720 in the room.
0:37:44 > 0:37:45No, 700 on the net now.
0:37:45 > 0:37:48At £700 then, internet has it. At £700, then?
0:37:48 > 0:37:50Anyone else coming in at 700?
0:37:50 > 0:37:53Are we all done? And I sell it to you on the net.
0:37:53 > 0:37:55- Got to be happy with that. - Yeah, that's good.
0:37:55 > 0:37:58It's not everybody's taste, it's the way they were cut.
0:37:58 > 0:38:02It's not a trade lot and I have a feeling there was somebody at home looking for a present...
0:38:02 > 0:38:06- Fell in love with that. - ..hovering, and they got it.
0:38:06 > 0:38:08I think it's a good result.
0:38:08 > 0:38:11- Will your sister be happy? - I hope so!
0:38:11 > 0:38:15Well, there you are, love conquers all.
0:38:15 > 0:38:18Next, David's delightful choice.
0:38:18 > 0:38:21Going under the hammer right now, a lovely etching,
0:38:21 > 0:38:24the Boulogne Shrimpers by Lionel Smythe and it belongs to Andrew.
0:38:24 > 0:38:27£60 - £80, probably for not much longer.
0:38:27 > 0:38:29Why have you decided to sell this?
0:38:29 > 0:38:33The reason is, we've moved from a three-bedroom house to a two-bedroom bungalow.
0:38:33 > 0:38:37- Downsizing, are you? - Downsizing, and we haven't got the space to hang it.
0:38:37 > 0:38:38Fingers crossed.
0:38:38 > 0:38:43I love etchings. To me, an etching combines craft and art.
0:38:43 > 0:38:46When the artist designs the picture,
0:38:46 > 0:38:49he draws the original, and then he etches it.
0:38:49 > 0:38:53- He's a craftsman and an artist. - Let's hope he fetches a good price. - He will.
0:38:53 > 0:38:55OK, let's find out, shall we?
0:38:57 > 0:38:59Lionel Smythe Boulogne Shrimpers.
0:38:59 > 0:39:01The artist's proof etching,
0:39:01 > 0:39:03pencil signed to the margin, mounted and framed.
0:39:03 > 0:39:05There it is with me at 40.
0:39:05 > 0:39:07And five bid, at 45, I'll take 50 from you.
0:39:07 > 0:39:11At 45, 50 seated, sir. At £50, seated in front. At £50.
0:39:11 > 0:39:13We've got it away.
0:39:13 > 0:39:17At 55, 60. 60, and five on the telephone?
0:39:17 > 0:39:1965 and 70. And five?
0:39:19 > 0:39:2275, 80 and five?
0:39:22 > 0:39:2490 and five?
0:39:24 > 0:39:2795 on the phone, 110 on the phone.
0:39:28 > 0:39:31110 on the phone, 120, sir, 130 on the phone.
0:39:31 > 0:39:35140. 140 is bid, 150, will you?
0:39:35 > 0:39:38160, will you, sir? 170 now.
0:39:38 > 0:39:42180 now. 190.
0:39:42 > 0:39:44200. No? 190, on the telephone.
0:39:44 > 0:39:47- £190!- Anybody else coming in, then?
0:39:47 > 0:39:51At £190, I sell it to the telephone bidder.
0:39:51 > 0:39:52Are you all out in the room at 190?
0:39:52 > 0:39:57- Yes, fabulous result! Really, really good result.- I'm pleased with that.
0:39:57 > 0:40:00- I bet you are! More than what we thought as well.- Too right.
0:40:00 > 0:40:02That is a charming scene
0:40:02 > 0:40:06and I'm not surprised someone fell in love with it.
0:40:06 > 0:40:09It's now time to put those guns under the hammer
0:40:09 > 0:40:12and we're starting with the long-barrelled rifle.
0:40:12 > 0:40:13Let's hope we hit that target.
0:40:13 > 0:40:16I did have a chat to the auctioneer a bit earlier.
0:40:16 > 0:40:18He said there are two markets for these guns.
0:40:18 > 0:40:22The long-barrelled rifle, definitely the decorators market with all of the inlay
0:40:22 > 0:40:27and the second, the blunderbuss, militaria collectors.
0:40:27 > 0:40:30But right now, we're going to put the long-barrelled rifle under the hammer.
0:40:30 > 0:40:34What is all the money going towards? Why are we selling these?
0:40:34 > 0:40:37- For a new exhaust system on my car. - Is it? Is it a classic car?
0:40:37 > 0:40:40- Yeah.- Lovely, what is it? - It's an old Jag.
0:40:40 > 0:40:43- At least it's not one banger to another, is it?- No!
0:40:44 > 0:40:4819th century East India Company military long-barrelled rifle.
0:40:48 > 0:40:49There it is.
0:40:49 > 0:40:54And we are showing a telephone bidder here as well
0:40:54 > 0:40:57and straightaway we'll start this at 130.
0:40:57 > 0:41:00At 130. At 130, 140's bid on the internet.
0:41:00 > 0:41:04150, 160 on the internet. 200 on the internet. Internet bidding to 200.
0:41:04 > 0:41:09210 on the internet now. At £210, all on the internet now at 210.
0:41:09 > 0:41:12220, internet has it at 220.
0:41:12 > 0:41:14At 220, 230, internet bid at 230.
0:41:14 > 0:41:18- Internet bidding at 230, 240 on the telephone now.- Wonderful!
0:41:18 > 0:41:21At 240, telephone bidder has it now at 240. 250 on the internet.
0:41:21 > 0:41:24- Clicking all over the world for this now!- It's great.
0:41:24 > 0:41:27260, internet. You've missed your slot there.
0:41:27 > 0:41:30260, internet bidder has it now. Another internet, 270.
0:41:30 > 0:41:33This is lovely, on the phone, to the internet, to the phone.
0:41:33 > 0:41:36280, telephone now. 280 telephone. 280, telephone.
0:41:36 > 0:41:39290 on the net? You're out on the internet now.
0:41:39 > 0:41:42I'm selling it on the telephone. 290, back in. 290.
0:41:42 > 0:41:46On the net, 290. 300, may I say?
0:41:46 > 0:41:50At £290, internet bidding has it at £290.
0:41:50 > 0:41:52Anybody else coming in at 290?
0:41:52 > 0:41:55All done on that bid then? 290.
0:41:55 > 0:41:56The hammer's gone down, sold.
0:41:56 > 0:42:01First one, £290, well done, top end of that estimate.
0:42:01 > 0:42:02Here's the next one, the blunderbuss.
0:42:02 > 0:42:08We're looking at a revised estimate now of £400 - £600, but I'm confident it should breeze that.
0:42:11 > 0:42:1519th century brass and mahogany military blunderbuss rifle
0:42:15 > 0:42:18with chase decorations and mounted stock.
0:42:18 > 0:42:22There it is, nice example as you see it there. 320, 330, 340, 350.
0:42:22 > 0:42:24It's all in the room at the moment.
0:42:24 > 0:42:27The internet hasn't kicked in and no phones.
0:42:27 > 0:42:28Good, we're levelling.
0:42:28 > 0:42:34370 in the room has it, 370. 380, 390, sir, 390. 400.
0:42:34 > 0:42:37- 420.- We're getting there! - 420 bid on the net now.
0:42:37 > 0:42:39At 420, is there 40?
0:42:39 > 0:42:43At £420, internet bidder has it then. 440 at the back.
0:42:43 > 0:42:44440 is bid, at 440.
0:42:44 > 0:42:46- Good piece.- It is a good piece.
0:42:46 > 0:42:50Internet bidder then, 460, is there 80?
0:42:50 > 0:42:53At £460, in the room then at 460?
0:42:53 > 0:42:55Selling to the internet now, 460.
0:42:55 > 0:42:59£460, it's sold. Well done, well done.
0:42:59 > 0:43:00I'm really pleased with that
0:43:00 > 0:43:03although I thought it was the better of the two guns by a country mile,
0:43:03 > 0:43:08which shows that the decorative appeal is actually surpassing the militaria collectors.
0:43:08 > 0:43:13Interestingly enough, Paul yesterday, when I had a chat to him at the auction preview day
0:43:13 > 0:43:16said the decorators' market is really low at the moment,
0:43:16 > 0:43:19so just goes to show, no-one really knows.
0:43:19 > 0:43:23We can't judge it on a gun by gun basis, can we?
0:43:23 > 0:43:29But bang, it hit the target, and that's a total of £750.
0:43:29 > 0:43:32- That's a new exhaust system. - It is, yeah.
0:43:32 > 0:43:34£80, final bid 80, are you all done?
0:43:34 > 0:43:37GAVEL BANGS
0:43:37 > 0:43:39Well, that's it, it's all over.
0:43:39 > 0:43:42I don't know about you but I thoroughly enjoyed this auction.
0:43:42 > 0:43:45We had it all, some highs and some lows, will it, won't it?
0:43:45 > 0:43:47But that's auctions for you -
0:43:47 > 0:43:49you just cannot predict what's going to happen.
0:43:49 > 0:43:52Fasten your seatbelts for another ride soon,
0:43:52 > 0:43:54but until then, from Eastbourne, it's goodbye.
0:44:08 > 0:44:11Subtitles by Red Bee Media Ltd
0:44:11 > 0:44:14E-mail subtitling@bbc.co.uk