Preston Flog It!

The red telephone box is a great British icon. You could say it's a national treasure

but they are disappearing fast, but not here on the streets of Preston.

There's not just one, there's two, three, four, five, six, seven, eight

and there's one more further down.

There's nine in such a short section of pavement.

You could say here in Preston the street are literally lined with antiques.

Welcome to Flog It!

This part of south Lancashire

is one of the most densely populated regions in Europe.

So we should have a full house here today.

Judging by the size of this magnificent queue, we're halfway there.

Of course, all of these wonderful people have turned out to ask our experts that all-important question.

-Which is?

-What's it worth?

-And if you're happy with the valuation, what are you going to do?

-Flog it!

The experts charged with valuing today's valuables are the jubilant, James Lewis.

That's quite nice. 1895, 1910.

And the dapper, David Fletcher.

This could be worth £80 to £100.

Items are coming in two by two today.

In each case, one is worth considerably more than the other.

These clocks may look pretty similar, but when it comes to value they're in different leagues.

Both 19th-century, both French but for every 40 or 50 of those,

you will see one of these.

Of these three miniatures,

one is worth twice as much as the other two.

And do two diamonds equal twice the profit?

That is one heck of a size. It even fits me!

Stay tuned and all will be revealed.

Everybody is safely seated inside and in wonderful spirits.

You see this chap grinning away. I think you've got a real treasure in there.

-What have you brought?

-I've got the wife!

He's got his wife!

Let's find out who are the lucky ones going through to auction.

I'm going to grab this spare seat and watch our experts do the work

and it looks like David Fletcher's first at the blue Flog It tables.

Let's take a closer look at what he's spotted.

Well, he spotted Joan.

-You look to me as if you are someone about to give up smoking.

-No.

I've never smoked in my life. They certainly have no relation to me.

-Nothing to do with me, guv.

-No, no, no.

They come from a great aunt

-and I believe they were given to her by a gentleman friend.

-Really?

But we really don't know any more than that.

This is a Vesta case, as I'm sure you know.

Designed to store red-headed matches, which were called Vestas.

This, of course, is a cigarette case.

This little star, this gilt metal pendant is not really related

to the other two items, except it has the same monogram

as the cigarette case does.

Which is the fascinating thing about it.

There's something here, isn't there? Something going on here.

This Vesta case was hallmarked in Birmingham.

There's a little X, which is the date letter, which tells us that

it was assayed in 1897.

-We have a date on the badge of 1889.

-Yes.

They're very closely related.

-But, this cigarette case wasn't assayed until 1925.

-No.

-Nearly 30 years later.

-Yes.

-Grandly chased in the Rococo manner.

Very strange, something that was made in the 20th century,

-should have Georgian style decoration, but it does.

-Yes.

Let's put two and two together and hope that we don't come up with 15.

The gilt metal pendant, "presented to Dr Spencer

-"by the inhabitants of Medomsley Parish, County Durham."

-Mmm.

Let's say that Dr Spencer arrives in that village in 1889

and he is presented that by the villagers.

Let's assume that he retires in 1925

and is presented with this as a retirement present.

Not good that a doctor should be smoking but in those days they didn't worry about things like that!

And, this maybe was something that he wore

when he arrived in the parish, on his watch chain at that time.

I think, we've come up with some sort of relationship between these three items.

It fascinates me what the history of that is. There seems to be no way of finding out.

The monogram clearly says HC. That's not in dispute.

-The monogram on these two items is the same. They must belong to the same family.

-Yes.

-We have three items here, I think, with the total value of at least £40.

-Right.

And, depending on whether that tests as gold,

or depending on whether it comes up possibly as silver gilt,

I think it's just a gilt base metal, myself.

-We're going to be looking something in the region of £60.

-Right.

-We're not going to set the world alight.

-No.

-I think an estimate of £40 to £60.

I think we should put a reserve on them, say £40.

-That's absolutely fine.

-Good. OK, we'll go ahead on that.

-Thank you very much.

That's one down and several more to go.

It's that man again.

James is next with the golden clocks.

Graham, you've brought along two totally contrasting examples of carriage clocks.

Do you know the difference between a carriage clock

-and a carriage timepiece?

-I don't.

-It's only a clock if it strikes or if it chimes.

-OK.

If it doesn't strike or chime, it's a timepiece.

These have got gongs on the back. Normally they have a gong or a bell.

Both are 19th-century, about 1870-ish, for this one,

and 1890-ish, for that one.

Both French. However, that one seems to have gone through the wars a little bit more.

This case is as good as I've ever seen.

A little button to push there on the side. That opens that up.

The clock itself just sits in the velvet-lined interior.

If you didn't want to have it out, you would literally just remove

the sliding leather panel from the front,

put it in the back and there we go.

Nice and safe.

The thing that makes this one so much better than that

-is simply this little tiny button on the top.

-OK.

That's known as the repeater. That is a lovely quality clock.

-Where did they come from?

-They were passed down to me by my late father,

-who by trade was an horologist.

-OK.

He had a passion for fixing clocks.

Was this his favourite clock?

I think he placed more value on that one, over that one.

Why sell them?

It's something, to be honest, that's neither my brother or myself are interested in.

-They don't really hold sentiment. We've got lots of clocks in the house.

-Yes.

Basically, he said when I pass on, just sell the pair of them

-and make use of the money the best you can.

-Well...

-When it comes to value, I would expect that to make somewhere between 70 and £100.

-OK.

This one, very different.

I would say an auction estimate of £400 to £600

and we ought to protect it with a reserve.

-A reserve of 380.

-OK.

-It won't make that, it'll make more, I'm sure.

Oh, James, you're putting your neck on the line there.

Now, let's see what David's turned up or should I say, "tuned up".

-Have you been busking to the queue outside?

-I haven't, no.

-Are you a banjo player?

-I would like to learn to play the banjo.

-I got that as a gift off a friend of mine to learn to play it.

-Right.

But, I never got around to it.

I have since bought a new one, a five string one.

-OK, how are you getting on now?

-I'm still trying.

-You say this was given to you by a mate?

-Yes, by an old friend of mine, yes.

He was given it by a man that used to play it in an orchestra in New York, back in 1924.

-Really? It's got quite a pedigree then.

-It's quite an old one, yes.

I won't attempt to play it because I'm absolute rubbish, I'm afraid, at anything musical.

It was evidently made by a firm called Souza

and made expressly for Oliver Ditson,

who clearly were the retailers.

Now, Souza was a factory, I think, established, or a workshop I suppose,

rather than a factory in the late 19th century.

Of course, in the late 19th century into the early 20th century banjo bands were a big thing.

Popular entertainment in the days before TV.

There are many recordings that exist of banjo bands.

Sometimes, I think, making the most awful racket.

Do you have any idea what it might be worth, or do you want to sell it anyway?

-I just want to sell it really. I haven't a clue what it's worth, to be honest with you.

-OK.

I think that we could expect to get £50 or £60 for this.

I think we should estimate it at a bit less than that, £30 to £50.

I would really like to sell it without reserve,

if you are happy with that.

-Yes.

-If that's OK with you.

A rare bit of downtown New York, Speakeasy time.

Everybody has been working flat out, we have now found our first items to take off to auction.

Let's put those valuations to the test.

While we make our way over to the saleroom, here's a recap

just to jog your memory of the items going under the hammer.

David valued Joan's mixed silver at a good starter price of £40 to £60.

Graham's cashing in his clocks. James has split them into two lots

valuing the first at £70 to £100

and the earlier one at £400 to £600.

Tony's banjo is a bargain at David's estimate of £30 to £50.

Today's auction comes from the heart of Knutsford,

courtesy of Frank Marshall in this lovely old Victorian school building.

Now, it looks pretty deserted outside, where are all the people?

Let's hope it's rammed and packed inside, full of bidders, wanting our items.

Let's go inside and catch up with our owners.

# They call it Nutbush City limits... #

Our auctioneer today is Mr Nick Hall.

..at 95. Come on, make 100.

The room is packed waiting for the auction to begin.

Seller's commission here is 15%, including VAT.

And, going under the hammer right now,

a mixed lot of silver belonging to Joan.

Not a great deal of value, £40 to £60.

But, curios, interesting things. I like the Vesta.

-It's a classic collector's lot.

-Yes.

Going under the hammer, right now.

Lot number 555, the late Victorian hallmarked silver Vesta case

and two other items, nice little silverware.

Where are we going to go? £50? 45? 40, then.

Thank you, sir, 40 I'm bid. 45?

Well, they are sold.

I've got bids in the room, 50 here. 50 online and 5. 55, now.

-60, new bidder.

-That's good.

-Top estimate.

70 now. 70 bid. 75?

75, I've got. The final bidder at 75, on the left. Anyone else?

At £75, all done, if you're sure. Sold!

-We're very happy with that.

-That's brilliant. I didn't expect that.

-It's a nice starter lot for someone.

-It is.

And a nice little profit for Joan.

Now it's Graham's carriage clocks which has been split into two lots.

Any surprises coming up for us, James, do you think?

I don't think so, they're fairly standard auction fodder.

-Obviously, the second one is much better than the first.

-Yes.

If the second one makes anything over £400, I think that's a great result.

-Yes.

-He'll be happy as well.

Let's find out what the bidders think, shall we?

Right now, it is down to this lot in this packed room. Watch this.

Lot 25 is the early to mid-20th century carriage clock.

A lot of interest in this. Where are we going to start, 80?

Surely at £80. 70, 60, 50... Where is 50? Thank you, online at 50.

5, 60. We're climbing online.

65, 70, 5, 80 now. 85, 90.

All online at 90. 5, 100 110.

We're getting there. Look the smile has come.

120 online. At 125, 130 online.

-We are there, we're done, at 130, I sell.

-Gone!

£130. We're happy with that result. Here is the second one.

Hopefully, £400 plus.

A nice little clock again, late 19th century, French.

Brass, bamboo effect case.

By Henri Jacot, this one, a good maker as well.

I've got commission interest and starting at 280.

280 only bid on the book. For 280. 290 is online. I've got 300.

320, 340, 360, now.

380. 400. 420... Phone bidder and Internet.

We've got two people fighting it out at home.

You can buy from the comfort of your sitting room.

On the phone at 480, now. 500 here. 500. I have 500. Are you in?

No, you're out. It 500 back online. Fresh blood at 520 now.

A nice little clock, don't let it go for the sake of a bid. 540.

-560. It's a good one.

-Graham is enjoying this.

-You are, aren't you?

-Are you finished? It's 560 in the room.

All done, last call at 560. I sell. Yours sir, 560.

You got to be happy. There is commission to pay, don't forget.

It's 15%.

-Great result.

-It was a good result.

If you got anything like that and you want to sell it, we would love to see you.

Bring it into one of our valuation days.

You can pick up details on the website.

Log onto bbc.co.uk/flogit.

Follow the links, all the information will be there.

Come on, dust it down and bring it in.

James was spot-on there, let's see how David fares with Tony's banjo.

-Tell me, you did play this, didn't you?

-I did.

-I used to tinker about with it.

-It's been loved, it's been used a lot.

-Let's face it, hasn't it?

-Yes.

-We'll find out what it makes. There's no reserve, so fingers crossed.

Lot 145 is the 20th century Souza's make four-string banjo.

A nice little lot, an unusual lot. Fairly rare as well.

I'd like to start the bidding at £50. Straight in at £50.

50 bid, thank you. And five against you.

Still in, sir. 60. 5. 70. 5.

80. 5. 90. 5. 100. 5.

110 with you, sir, right at the back.

I've got a £120 online bidder. 130. Still climbing online at 130.

This has surprised me.

Don't stop now. At 140. Come on,

pluck another string, keep going at 140.

Very, very good.

160 online. Could go busking

at lunchtime and get your money back.

-160.

-160 against you.

If you're sure. Online. I'm selling. At £160.

Yes! How about that?! What a crescendo at the end. £160.

-Gosh, that was sweet music, wasn't it?

-Lovely.

Somebody, well, three or four people, really, really wanted that.

Duelling bidders bring us to the end of our first group of items.

We'll be back at Frank Marshall's later on in the program.

You know I love my fine art,

and the sign of a good painting is how long it grabs your attention for.

That's exactly what happened to me.

When I was up here filming, we went to a local country estate

and I came across one of the Great British Masters' works.

It literally had me staring for hours.

Transported me to the most beautiful places.

Take a look at this.

For the bright young dandies of the 18th century,

the Grand Tour was the highlight of their cultural education.

And if they were lucky enough they would bring home a painting

by one of the Grand European Masters.

But we had our own Masters, too.

And one of them stood right here where I am some 200 years ago

and painted that scene behind me.

The building in the distance is Tabley House,

and the artist who captured the scene was Joseph Mallord William Turner.

Painted in 1808, and titled "Tabley, A Windy Day",

It's the highlight of a unique collection of British art

created by Sir John Fleming Leicester in the early 1800s.

In a moment we'll be taking a closer look at it,

plus a lot of other hidden masterpieces,

hung here in the original rooms they were purchased for.

Turner's prodigious talent was becoming the talk of the town,

and his vigorous, romantic paintings were creating a real buzz.

Back then, the current owner of Tabley House was a chap called Sir John Leicester.

He was fast establishing himself as a collector and patron of British art.

He was keen to nab himself a Turner or two for his collection.

It was Sir John's father, Sir Peter Leicester,

who built Tabley in the 1760s.

He designed the house in the fashionable neo-Palladian style,

with its impressive Doric portico and its elegant curved stairs.

The local red sandstone of the columns and the stonework

was originally painted a pale grey, giving a pleasing contrast to the brickwork.

But it's Sir John's gallery of British art that is its unique legacy.

Turner may be the most famous painter represented here,

but there are many other paintings worth coming to see.

To show me the highlights of this collection is art historian

Peter Cannon Brookes.

Peter, I've just walked around The Mere, but I couldn't quite make the view Turner had,

so I think he's used artistic licence.

He has indeed. He's moved the tower very substantially indeed.

He's also made it rather grander than it is.

But what a marvellous painting.

Talk me through it. This is early, mature Turner.

This is the early, mature Turner, yes.

He is arguably our greatest English painter.

And this wonderful response to the atmospheric conditions,

to the park and the house in the background and the water,

it's very remarkable indeed.

He started off his life as a topographical watercolourist.

But he really comes into his own just before 1800.

There's a lot of foreground interest. I just love that choppiness.

-I love the figures in the boat.

-It includes the painter himself.

And he has painted himself in there.

-Because Turner came here basically to fish.

-Did he really?

-Not to paint, yes.

-So obviously he was a client to start with.

-Yes.

-Was he a good friend of Sir John's or was it a working relationship?

-It's a working relationship.

I think that he was the best client of Sir John Leicester

in the second decade of the 19th century.

And at the peak period

Turner had sold 11 paintings to Sir John Leicester.

-That is a fine painting.

-One of my favourites, certainly.

And mine, I think.

Talk to me about this one above the fireplace.

This sumptuous painting is by William Dobson,

Britain's finest baroque portraitist.

This is one of his best and most ambitious portraits.

It's powerful brushwork, strong colours.

It's the English baroque as against Flemish baroque.

Exactly. Talk me through the picture. What's going on and who is it?

Here is the military commander, the first Lord Byron.

He was the victor of the Battle of Roundway Down,

one of the very few that the Royalists won in the early stages of the Civil War,

holding his commander's staff.

What's he pointing at?

He's not really pointing at anything. This is a rhetorical gesture of command.

And it goes with the costume.

He's wearing his buff coat with his steel cuirass over it

because he is a military man in command.

His cavalry in the bottom right-hand corner,

this is the notoriously ill-disciplined English Royalist cavalry

commanded by Prince Rupert.

-They tended to treat the cavalry charge like a fox hunt.

-Did they?

They were off!

There's a bit of a double take then!

With a growing collection of fine British art,

Sir John needed somewhere equally impressive to display it.

-Very nice space.

-Generous space.

Created out of three rooms.

That was the drawing room. This was the octagonal library.

And that was the bedroom with a little bit of closet alongside.

-It's got a good feel about it, hasn't it?

-Hmm.

-Is that Sir John above the fireplace?

-It is indeed.

But thereby hangs a tale.

Because Sir John's face was painted by Sir Joshua Reynolds,

but the rest of the portrait was an absolute disaster area

because Reynolds was going blind and he refused to take delivery of it.

-Did he really?

-Yes.

When Reynolds died he bought it from the state sale

and handed it over to James Northcote, who one of Reynolds' assistants.

But within a few months before his death

he was created the first Lord of Tabley

and so he had repainted again.

This time in his peers robes,

by the studio of Sir Thomas Lawrence and by Simpson.

What a lovely tale.

And of course, facing him here at the other end of the room, that's his wife, isn't it?

That's his wife. That's Georgiana, painted by Sir Thomas Lawrence.

Absolutely marvellous example of his work.

There she is floating in the clouds as hope.

She was the granddaughter of Sir William Chambers.

She was a member of the royal circle because Chambers was George III's favourite architect.

-And one of Lawrence's masterpieces.

-She's a beautiful lady.

-Yes, she was very young.

-Was she?

-She was only 16.

But then Sir John Leicester had a taste for young ladies.

-Was that socially acceptable?

-Amongst Regency rakes, yes.

But this house was not a respectable house

for about 10 years in the beginning of the 19th century.

Is that because respectable ladies wouldn't visit here...

Because he had a string of mistresses residing.

-And there wasn't a respectable lady to receive them.

-Exactly.

Thank you so much for talking to me. It's been a pleasure meeting you and showing me around.

This is definitely well worth several more visits.

Indeed, yes. There are many treasures to be found and enjoyed.

The main thing is to enjoy them.

And I certainly have.

Do you know, I can just imagine some of the soirees

that would have taken place in this magnificent building.

Artists, patrons and poets all enjoying themselves

to the sound of this wonderful early keyboard music,

played here on this virginal beautifully by Charlotte Turner.

Tabley House and its contents are a testament

to home-grown creativity and the talent of our forbearers.

And it shouts out loud and clear that Brit art is not a recent phenomenon.

If you're serious about British art and British history,

this place is definitely well worth a visit.

Welcome back to our valuation day and to St John's Minster.

Let's now catch up with our experts and see what else they can find.

And continuing with our art theme, David's discovered some mini masterpieces.

-Hello, Aideen.

-Hello, David.

-That's a lovely name.

-Thank you.

-Which part of the world are you from?

-I come from County Tipperary in Ireland,

but I've been in England about 53 years.

-Have you? But you haven't lost that lovely accent.

-No, we don't, thank you.

Now, three lovely items here. They are all of wonderful quality.

Particularly the largest of the three.

A portrait of a young lady painted, I would have said, in about 1820,

at the beginning of the 19th century.

-There is something of Jane Austen about it.

-There is.

If we look at the back we can see two locks of hair beautifully arranged,

tied with simulated pearls and gold threads.

And I suspect that those will be locks of hair

taken from the subjects.

We can't be certain of that, of course,

but she has got lovely curly hair,

so it would make sense, wouldn't it?

Now, we don't know who this lady is,

but we do know who one of these chaps is.

And this is Colonel John Montgomery, MP.

-Ballyleck, is that?

-Yes, that's right.

-County Monaghan.

-Correct.

So, he would have come from Northern Ireland?

Unlike you?

-And he looks a very self-important man, doesn't he?

-He does.

As you'd expect.

He's an MP, so he is important.

-Scowling just a little bit.

-Yes.

But wearing a beautiful red coat,

and I think that is something which makes this picture very commercial.

This chap...

We don't know who he is, either.

But he appears to be an Army officer.

Again, resplendent in red, gold...

Hair just sort of slicked back a bit.

Very sophisticated young man.

These, I think, are both a little bit later than the female...

-Oh, are they?

-..Than the female portrait.

Tell me why, if your mother gave them to you, are you thinking of selling them?

-Well, it's just tucked away, and nobody sees them.

-No.

And I think she's absolutely beautiful,

and I think perhaps to sell it on,

because somebody else can appreciate that beauty.

-Yes, yes.

-And the military ones, again, I'm not a collector.

It would be lovely to think it went back to a member of the family.

I'd love to see that.

Let's think about values.

I would be inclined to place an estimate on this of £4,600.

Oh, right.

OK? And a reserve of 400.

Right, thank you.

Now, the auctioneers, I think,

should be asked to sell these as a separate lot,

and I would be inclined to go for

-£200-300...

-Yes.

..With a reserve of £200 on those.

And they're going to sell well, I'm sure.

These highly-valued miniature portraits allowed people

to keep images of loved ones on them at all times,

and they were popular right up until the late 19th century,

with the invention of photography.

Now over to James, who's found a box.

Let me take you back to the 19th century, when this was made.

Imagine you were a middle-class gentleman

in the 1860s, 1870s,

no television, no electricity.

This is the sort of thing that would have been the video player

or CD player of its day.

And it is a wonderful quality musical box,

made in Switzerland around 1860, 1870.

Is it something that's been in the family a long time?

Well, I've had it for about...

Getting on for 30 years.

-It was left to me from an uncle.

-OK.

He was a very Victorian-type person.

-He actually collected musical boxes like this...

-Ah, did he?

..Polythons, grandfather clocks.

In fact, he was so Victorian,

he wouldn't have an electric clock in the house!

Really?!

-He used to call them "slaves".

-Oh, really?!

So those were banned from the house. When he died, he left me two articles. This is one of them.

Is this something you've played and enjoyed?

No, not really. It's just stuck away in an attic.

If you look just in there,

you see there's a section of the steel comb

with those little teeth missing?

Yeah, at the top.

And, at some point, that's been damaged,

and that's not a cheap thing to put right.

It can be done, though.

So, whenever we're looking at one of these musical boxes,

the first thing is the more airs - or the more tunes - it plays,

the better.

So, here we have the list of airs,

and we can see that this plays eight.

Sometimes you get 12 or more.

So, it's not bad,

but it's not the very best.

This top is veneered in rosewood.

The crossbranding is in kingwood,

and then we have little boxwood stringing

flanking either side of the kingwood,

and that's what we call a "musical trophy".

And that would have been vibrant when it was new.

It would have been bright colours.

It would have been greens and reds, and browns as well.

Because the front isn't looked at quite so much as the top,

they've kept the rosewood,

but they've transfer printed instead of inlaid,

made it a bit cheaper. So, why do you want to sell it?

Basically, because it's just stored away.

I'm a bit afraid that it will deteriorate over the years,

and I would rather let it go to somebody

that's actually going to appreciate it or even do it up.

When it comes to value,

I would say an auction estimate of...

..250-£350...

and a reserve of 200.

-How does that strike you?

-I'd be happy with that, yes.

-Yeah?

Should have done this before I valued it, really!

MUSICAL BOX PLAYS

That's not bad.

As long as it strikes the right tone at the auction, I think we'll do well.

# I can hear music... #

And now, Husnain has come along with a very British past time.

You are far too young to have collected these.

Yep, definitely.

I found these when I moved house.

And are you interested in this collection, or not?

Umm... not really, cos I don't know much about trains,

and I don't really know to put them all together as well.

When you say you found them in a house, what does that mean?

-We decided to buy a new house.

-OK.

And we were cleaning out the attic and everything,

and we found a train set.

I asked the owner if he wanted it, if it belonged to him.

He said it didn't belong to him, probably the person that had it before.

Exactly.

-And he goes, "You can keep it".

-Yep.

Just left it in the garage, and it's just been gathering dust.

Right. It's not really a set.

But we'll think of it in terms of being a group or a collection,

really, of individual items,

all of which were made by Meccano,

using the brand name

which everyone will be familiar with, I'm sure - "Hornby".

The doyenne of British toymakers...

Right, OK.

..Really through the 20s and 30s, and up until the 1950s.

This group would have been manufactured, probably,

just before - or just after - the Second World War.

We're looking at something which is 60, 70 years old.

It's good to have two locomotives.

-They're always worth more than the...

-The carriages.

..The carriages, exactly.

This locomotive has a tender with it as well.

It's good to have the buffers,

and it's rather nice to have the signal here.

But the item I like most, I think, really, is the carriage here,

which is working in the sense that it tilts

either way like that,

and it has, best of all,

the name "McAlpine" printed along the side.

It's going to appeal to people who are interested in advertising items,

as well as people who are interested in, you know,

locomotives and rolling stock.

Have you any idea what it might be worth?

Umm... I was thinking about...

..50-100 or something.

I think it's worth a bit more than that, really.

I think we're going to get the best part of 100,

maybe even £150 for this.

Yeah, yeah.

Well, they can only make a profit.

Finally, James has been lured by some glittering rocks.

Well, Enid, they say that the diamonds are a girl's best friend,

-don't they?

-They do!

-Are you coming to sell your best friends?

-'Fraid so, yes.

What's the history behind this?

It was my aunt's, my mother's sister's.

It wasn't her original engagement ring.

They did get robbed,

and her husband bought her that to replace

her original engagement ring.

-Ah, OK. I bet it was nicer than the original!

-Yes.

There's not many first newlyweds can afford a ring like that!

I've always loved it. I think it's a beautiful ring,

but I've perhaps worn it once.

I'm always frightened of losing it,

so I've always kept it in a safe place, really.

It's a lovely ring.

Whenever we're looking at a diamond ring,

you look for the clarity of the stone,

the colour of the stone, and the size of the stone.

And those three things combine to make the value.

The colour is good.

It's nice and white.

It needs a bit of a clean, but not too bad.

A little bit of washing-up fluid,

and a very soft toothbrush would do that.

Gently, gently, gently.

-You see the little teeth there?

-That's right, yes.

Some of them are right over the diamond,

others are just wearing a little bit thin.

And sometimes you see a ring that's just held in by the grime,

and the teeth over the diamond have actually worn away completely.

Now, that one, look,

all the claws are really nice and proud,

and hold it in place,

but here,

only just touching the edge of the diamond.

So, that's been worn away quite a lot. But, my goodness!

I've got fingers like big, fat pork sausages and it even fits me!

That's one heck of a size.

Yes, she was a big lady when she was younger.

Now, there's a very basic... Now, where is it?

Somewhere here in one of my pockets is that. A very basic gauge.

You hold that over the stone.

It tells you that stone is over half a carat

but less than three quarters of a carat.

So, the two of them are about 1.25 carats.

Age wise, 1930s.

And a ring like that with good-sized diamonds, fashionable, made in platinum,

£600-£1000.

Are you happy with that?

Well, I'm really reluctant to see it go but I've decided. So, yes.

I wouldn't be 100% happy to see that sell at 600, I have to say.

-Why don't we up it a bit? Let's stick 800 on it.

-Right.

-A firm reserve, no discretion because when it's gone, it's gone. You know?

-Yes.

So, 800 reserve, 800-1,000 estimate so if it doesn't make 800 you have it back.

-That's fine.

-Brilliant!

So, it's off to auction we go and here's a quick rundown of what we're taking with us.

David split Aideen's miniatures into two lots

valuing the military men at £200-£300

and the unknown beauty at £400-£600.

James has put an estimate of £250-£350 on Alan's music box.

Husnain's train set was valued at £100-£150 and finally,

Enid's double diamond ring attracted an estimate

of £800-£1000 from James.

Let's find out what auctioneer Nick Hall thinks of Enid's ring.

This platinum diamond ring belongs to Enid. It was her aunt's.

It's too big for her.

She wants to sell it and we've got a valuation of £800-£1000.

It's a nice thing and we do very well with good jewellery here.

We're in the so-called Golden Triangle, a very wealthy area.

Our jewellery sales do exceptionally well. We have tweaked the estimate slightly.

We haven't changed the lower figure, just expanded the upper figure.

-We've put 800 -1,200 on it.

-You're expecting a bit more?

My feeling from selling a lot of rings of this type,

-it should just push over the thousand mark so we've reflected that in the estimate.

-That's good.

Two good-sized stones as well,

about a three quarter carat on each stone so that's what I would expect.

-Fingers crossed.

-Absolutely.

-We'll find out in a moment.

Whatever you're doing, don't go away. There could be one or two surprises.

55. Any online?

I can't bear the suspense.

Neither can Enid. It's coming up right now.

-Enid, are you getting excited?

-Very.

-So am I.

-It's been a long wait.

-It has.

-But it is now your moment.

We're about to put the diamond ring under the hammer. Who've you got with you?

-This is Tony, my husband.

-Pleased to meet you.

-How do you do.

The auctioneer agrees with your valuation and said we could get the top end

plus a little more and that's what it's about. A bit of sparkle in the sale room!

Lot 702, the diamond and platinum set two-stone crossover ring.

I'll start the bidding at it £800.

800 I have. The bid is with me. 850?

Thank you. 900, 950, 1,000.

This is exciting, it really is!

1,100. At £1,100. The bid's with me.

1,150, 1,200, 1,250.

At 1,250. 1,300.

At £1,300. The bid is online.

-That dazzling!

-At £1,300.

Make no mistake, selling online at 1,300.

-Yes! £1,300!

-That's wonderful!

-What do you think?

-Fantastic!

-That is fabulous, isn't it?

A great result. There is commission to pay.

15 %, OK? Nevertheless, there's still a lot of money to spend.

Are you going to treat yourselves?

A meal for the family, hopefully, yes.

The rest I will put towards my Graceland fund.

-Are you an Elvis fan? I'm a big Elvis fan. You as well?

-Yes.

# I'm all shook up ...#

And who isn't?

Husnain's turn now with his lucky find.

We're just about to put the train set under the hammer which was inherited, basically.

-Found in a house that you moved into.

-Yes.

-A lovely story.

-You're a student. What are you studying?

-Accountancy at the University of Bradford.

-So you have a good head for figures?

-Hopefully.

What did you think about David's figures of 100 and £150? Happy?

Yes, I'm happy with that valuation. It's a reasonable price.

It's not bad for finding something, let's face it!

We'd all like that.

Good luck.

Lot 121 is a quantity of Hornby 'O' gauge clockwork railway items.

Where can we start? £100?

Surely £100. 80? 50? Where's 50?

At 40, bid. 45, 50, 60, 60 I have.

At £60. And five, 70.

At £70. I need a bit more.

Not quite there yet. I need more. At £70 only. Online has gone, OK.

At £70, the highest we've got. I can't let it go at £70.

All sure?

Last chance.

I'm afraid that's unsold, that lot, sorry.

-No! That's it! It didn't sell.

-Close but not close enough though.

It lives for another day and another saleroom.

Where are the train spotters when you want them, eh?

Oh, well. Let's see if Alan's music box has more luck.

We've seen these on the show before. I'm talking to Alan and it's the lovely cylindrical musical box.

There are lots of collectors.

-Mechanical music always sells well, doesn't it?

-Yes.

-They've got a few in the sale today so fingers crossed.

-Good luck.

It's going under the hammer. What do the bidders think?

Lot number 134 is the 19th century, Swiss eight air music box.

A pretty one, this. I can start the commission at a low 145.

At 145.

-That's a bad start.

-Where is more? 150, 160 now. You bidding online?

170.

I have 190 against you. 200.

-The bid is online, commissions are out.

-200 is just sold.

Yes, just made it.

I'm selling at £200. It's going.

-At least it sold.

-No one in the room.

That's a shame but anyway, it's gone and we've sold it for £200.

There's commission to pay but it's a bit of spending money.

-It is.

-Good job we put that reserve on, wasn't it?

-It was.

-Yeah.

And that's just what they're for. A reserve protects your items from going for less than they're worth.

Now, who's this vision in pink?

Love what you're wearing. Love the colours. Look at this! All this season's, isn't it?!

-Aideen, it's great to see you.

-And you. Thank you.

We've got the miniatures coming up now. We split them into two lots.

The group of gentlemen going under the hammer first at £200-£400.

Then that beautiful lady, £400-£600.

You are in the right place at the right time to be selling miniatures

because they are in vogue right now.

The auctioneers have done some research and it turns out

that John Montgomery inherited his father's estate because

his brother was disinherited because he married an Englishwoman.

It so happens that that Englishwoman was Lady in Waiting to George II's wife.

-So, there's a lovely story there.

-I'm very excited.

Let's enjoy this moment, shall we? Here it is.

-Lot 101. Online interest and commission interest.

-That's great.

I can start straight in here at £200.

Thank you, 220, 240, 260, 280.

300, 320, 340, now.

Got 360 online. 380, 400.

-We're nearly at that top end.

-410 I have. 420 back online.

It's online at £420. Commission's out, you're out.

Online bidder it is selling, if you're all done, at £420.

Well done. Top end of the valuation. OK, that's the first one down.

Now the second one. We're looking at £400-£600.

Number 102. A nice little portrait miniature.

More commission interest.

I'll come in straight mid-estimate in at 500 with me here.

Where's the room? At 500,

20, I'll take. 540, 560. I've got 580.

Another online at 600 now.

-Yeah!

-We got the top end!

620, 640, 660.

She is worth it!

Online bidding at the moment at 680. 700. Still climbing.

Don't let it go.

At £700. Last chance.

I'm selling at £700. All done and dusted?

-It's yours!

-Wow! How about that?

£700. I knew we'd have a surprise today.

-That's a grand total of £1,120.

-I am amazed.

-Yes, so am I.

We knew there'd be a surprise! I hope you enjoyed it.

Sadly, that's the end of the show. I know you've had a wonderful day.

-Absolutely.

-I hope you enjoyed watching.

There's always something to learn in an auction room.

Join us next time. Until then, goodbye.

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