0:00:05 > 0:00:06Today we're in West Hertfordshire
0:00:06 > 0:00:10and I'm 108 feet up in the air on top of the Bridgewater Monument,
0:00:10 > 0:00:14which was built in 1832 as a tribute to Francis Egerton,
0:00:14 > 0:00:17the man who was also known as the Canal Duke
0:00:17 > 0:00:21for his pioneering work on the UK's inland waterways.
0:00:21 > 0:00:25Now, they say from up here you can actually see seven counties at once.
0:00:25 > 0:00:26I'm not sure about that today.
0:00:26 > 0:00:30One thing I am sure about, though, you can see Ashridge House,
0:00:30 > 0:00:33which was the Canal Duke's home during the 18th century.
0:00:33 > 0:00:37And today, for one day only, it's home to our valuation tables.
0:00:37 > 0:00:38Welcome to Flog It!
0:01:03 > 0:01:07Ashridge House is a real seat of innovation and change.
0:01:07 > 0:01:10During it's 700-year history this site has been a monastery,
0:01:10 > 0:01:12a royal residence and a war hospital.
0:01:12 > 0:01:16And it's not just the Canal Duke who achieve great feats here.
0:01:17 > 0:01:21Edward I held parliament here in 1291.
0:01:23 > 0:01:26But today it's inspiring and exciting antiques
0:01:26 > 0:01:29we are looking for, and this lot cannot wait to get inside
0:01:29 > 0:01:30so the fun can begin.
0:01:30 > 0:01:33Someone in this queue today has got something that's worth
0:01:33 > 0:01:36a great deal of money. It's our experts' job to find it.
0:01:36 > 0:01:39Now, if our experts pick on one or two of your treasures
0:01:39 > 0:01:40and you're happy with the valuations,
0:01:40 > 0:01:42what are you going to do?
0:01:42 > 0:01:43ALL: Flog It!
0:01:48 > 0:01:51And on the lookout for us today are a double act
0:01:51 > 0:01:53destined for great things.
0:01:53 > 0:01:56We've got pioneering Thomas Plant,
0:01:56 > 0:01:58and roaming roving Claire Rawle.
0:02:00 > 0:02:03It's all about 19th century innovation today.
0:02:03 > 0:02:06We'll be examining an articulated doll,
0:02:06 > 0:02:09a salt-fired pot, and this lovely brass microscope,
0:02:09 > 0:02:12but can you guess how much it sells for at auction?
0:02:18 > 0:02:21Today we're luck enough to be holding our valuations
0:02:21 > 0:02:23in two very inspiring places.
0:02:23 > 0:02:26Firstly the Lady Marian Alford room where Claire has already
0:02:26 > 0:02:31made herself at home engrossed in her first item. And Thomas Plant?
0:02:31 > 0:02:33He's gone out for a stroll in the sunshine.
0:02:35 > 0:02:39Are you pulling this? Are you doing some of the work?
0:02:39 > 0:02:40Let you do it all.
0:02:40 > 0:02:44All right, all right, stay here. I think this is fine.
0:02:44 > 0:02:49Mervyn, tell me, what on earth made you bring this?
0:02:49 > 0:02:51I mean, this is so heavy it's not going to go on the table.
0:02:51 > 0:02:54- Well, I've got to get rid of it somehow.- Where did it come from?
0:02:54 > 0:02:56How did you acquire it? I want to know the story.
0:02:56 > 0:02:59It was from a house that was bought
0:02:59 > 0:03:00and it was left in the garden by the pond.
0:03:00 > 0:03:02- Really?- Just left there.
0:03:02 > 0:03:07Now, before we start on poor old Cupid, cos that's what it is.
0:03:07 > 0:03:09- Is it, yeah?- It's Cupid sleeping.
0:03:09 > 0:03:14- The damage - did you do that? - No. It's all as it was.
0:03:14 > 0:03:15How long ago did you buy this house?
0:03:15 > 0:03:17- Ten years.- So ten years ago.
0:03:17 > 0:03:20- Why did they leave it?- Presumably they didn't want to move it.
0:03:20 > 0:03:24It's what I believe to be carved marble.
0:03:24 > 0:03:28The reason why I believe it to be carved marble is just here.
0:03:28 > 0:03:30We can see the marble coming through,
0:03:30 > 0:03:33and it's been very well-weathered.
0:03:33 > 0:03:36We've mentioned that it's Cupid. Cupid has wings.
0:03:36 > 0:03:42The bow has been discarded here, and his quiver of arrows is covered.
0:03:43 > 0:03:46So from an allegorical perspective
0:03:46 > 0:03:50I think the story is that Cupid is sleeping
0:03:50 > 0:03:53and the abandonment of pleasures in one's life, disappointment.
0:03:53 > 0:03:56- That's sad, isn't it?- It is sad.
0:03:56 > 0:04:02- I think 19th century.- OK. - Carved in 1860, I would say.
0:04:02 > 0:04:04Michelangelo carved Cupids in marble.
0:04:04 > 0:04:07You can see them all round Rome and Florence.
0:04:07 > 0:04:10Caravaggio painted them in the 17th century.
0:04:10 > 0:04:14- So this is definitely a 19th century copy of.- Hmm.
0:04:14 > 0:04:19- What the charm is behind it, now, is the weathering.- Indeed, yes.
0:04:19 > 0:04:22I love that. I love the fact it's weathered. It can be cleaned up.
0:04:22 > 0:04:24- We have got the issues with the damage.- Of course.
0:04:24 > 0:04:27I'm afraid the face has the face has been slightly missed off here.
0:04:27 > 0:04:29Yes, I'm not sure what happened to that.
0:04:29 > 0:04:30We've got an arm which is missing here.
0:04:30 > 0:04:34What's lovely is you've got the little sort of iron pins here
0:04:34 > 0:04:37where bits would've probably been restored onto.
0:04:37 > 0:04:40But this wing is beautiful. I like it very much.
0:04:40 > 0:04:41- Good.- Now.
0:04:42 > 0:04:46Have you got any idea of value?
0:04:46 > 0:04:49As long as it covers the cost of the petrol to get here.
0:04:49 > 0:04:51- Have you come from far? - Hemel Hempstead.
0:04:51 > 0:04:54- So not that far. - Four miles.- Four miles.
0:04:54 > 0:04:55We'll do more than cover the petrol.
0:04:55 > 0:05:01- I would put a value of 100 to £200. - Really?- At auction today.
0:05:01 > 0:05:03- How does that grab you? - Brilliant.- You're happy?
0:05:03 > 0:05:06- Absolute brilliant if that's the price that's the price.- Reserve...
0:05:06 > 0:05:08To be honest with you, you want rid, don't you?
0:05:08 > 0:05:11- No reserve, as far as I'm concerned. - I think that's the way forward.
0:05:11 > 0:05:15No reserve. Let's sell it. Let's find out what we get for it.
0:05:15 > 0:05:18Hopefully Cupid will wake up, strike a few people in the audience,
0:05:18 > 0:05:20- they'll fall in love with him. - Brilliant.
0:05:20 > 0:05:22- And we'll make you lots of money. - Fantastic, yeah.
0:05:22 > 0:05:24- Shall we get it to auction? - Sure.- Shall we?
0:05:24 > 0:05:25- Let's do it.- Come on.
0:05:25 > 0:05:27- OK, let's go. - I'm pushing, I'm pushing.
0:05:27 > 0:05:31That's it, Thomas, you'll get Cupid to the auction eventually.
0:05:31 > 0:05:33Now over to Claire who is talking to John
0:05:33 > 0:05:36about his 19th century stoneware pot.
0:05:36 > 0:05:41It was left to me by an aunt 30 years ago
0:05:41 > 0:05:46- whom I hadn't seen since 1944, would you believe?- Oh, yeah.
0:05:46 > 0:05:49I was the last surviving member of my father's side of the family
0:05:49 > 0:05:51and it suddenly came to me out of the blue.
0:05:51 > 0:05:54When I last saw her she lived in Hathersage...
0:05:54 > 0:05:58We believe with the name, the Cavendish name,
0:05:58 > 0:06:01- it's associated somehow with Chatsworth.- Oh, right.
0:06:01 > 0:06:04I think it's a great item. I love the shape of it.
0:06:04 > 0:06:06And the interesting thing is the banner along the front
0:06:06 > 0:06:10saying "Cavendish," and because your aunt lived close to Chatsworth
0:06:10 > 0:06:12- there's no reason to disbelieve it. - Yes.
0:06:12 > 0:06:16- Now, it should've had a top. Did you ever have a top?- Never.
0:06:16 > 0:06:18- It's one of those things, it's either got lost or...- Yes.
0:06:18 > 0:06:21- ..smashed, probably, cos it is a storage jar.- Right.
0:06:21 > 0:06:24- Do you use it for anything in particular?- Not really.
0:06:24 > 0:06:29It has holly in it at Christmas, glitter holly, but that's about all.
0:06:29 > 0:06:33Oh, right. Right. Well, it's salt-glazed stoneware.
0:06:33 > 0:06:37It's a tough old pot, this. They were very, very high fired
0:06:37 > 0:06:41which made the clay really strong, and then salt glaze.
0:06:41 > 0:06:44Literally, they throw salt into the kiln
0:06:44 > 0:06:47and you get this sort of sheen over it.
0:06:47 > 0:06:51It's not an uncommon type of item to find.
0:06:51 > 0:06:54You see a lot of stoneware around, a lot of it came from the continent.
0:06:54 > 0:06:56I like it because of its shape.
0:06:56 > 0:06:59It's nicely decorate. Very typical scenes,
0:06:59 > 0:07:01what you call Topa scenes.
0:07:01 > 0:07:04In other words gentlemen getting rather rowdy and drunk,
0:07:04 > 0:07:07and of course in the centre the royal coat of arms.
0:07:07 > 0:07:09I don't know whether we've looked into it enough
0:07:09 > 0:07:12to know if it's pre-Victoria or not. It does look slightly earlier.
0:07:12 > 0:07:13I believe it is pre-Victorian.
0:07:13 > 0:07:16So it's going to be sort of pre-1837,
0:07:16 > 0:07:21but it's definitely of that sort of period. I think it's just great.
0:07:21 > 0:07:23I don't know if this is going to make you a fortune.
0:07:23 > 0:07:27It's the type of thing that these days not a lot of people are buying,
0:07:27 > 0:07:30but I think this has a nice link.
0:07:30 > 0:07:32I think it's something that should go
0:07:32 > 0:07:35probably round about the £100 mark.
0:07:35 > 0:07:38- Right.- Maybe 100-150.
0:07:38 > 0:07:40If we used £100, a bit of discretion on it for the reserve,
0:07:40 > 0:07:43- say it came down to about 90, would that suit you?- Fine. Excellent.
0:07:43 > 0:07:46Well, I shall look forward to seeing you at the auction
0:07:46 > 0:07:48- and we'll keep our fingers crossed. - Thanks very much.
0:07:48 > 0:07:50Let's see if somebody else carries the story forward.
0:07:56 > 0:07:59As you look around the Ashridge Estate you can't help but marvel
0:07:59 > 0:08:02at all the striking architectural detail - it's everywhere,
0:08:02 > 0:08:04and the amount of work that's gone into building the place
0:08:04 > 0:08:07and maintaining it. Now, behind me you can see the chapel's spire.
0:08:07 > 0:08:11It's a cracking example, measuring 60 feet in height.
0:08:11 > 0:08:15The original spire was made of local stone from the Totternhoe Quarry.
0:08:15 > 0:08:19Now, that was taken down in 1922 because it became unsound.
0:08:19 > 0:08:24The spire that you see today is a replica and it's made in fibreglass.
0:08:24 > 0:08:28It was carefully lifted into place some 49 years later
0:08:28 > 0:08:33in a nail-biting operation by Royal Naval Wessex helicopter.
0:08:34 > 0:08:38This footage from the time shows how turbulent winds sent the spire
0:08:38 > 0:08:40swinging like a giant pendulum.
0:08:40 > 0:08:44It took several modifications to the spire before it was ready
0:08:44 > 0:08:48to be carefully guided down by hand onto the chapel.
0:08:49 > 0:08:51No spire is complete without a weather vane,
0:08:51 > 0:08:56and that too was carefully lifted into place by the same helicopter.
0:08:56 > 0:08:58Now, that's what I call inspiring.
0:08:58 > 0:09:01From helicopters to trains, it's back to Claire now
0:09:01 > 0:09:04and her chosen method of transport.
0:09:04 > 0:09:07- Hi, Steve and Katie.- Hello. - Father and daughter.
0:09:07 > 0:09:11Nice to meet you, especially cos you've brought something...
0:09:11 > 0:09:15I'm really fond of trains. I sound a bit anoraky now.
0:09:15 > 0:09:18But lovely Hornby Dublo,
0:09:18 > 0:09:22- I guess it was yours, was it? - It was mine, yes.- Yeah, OK.
0:09:22 > 0:09:24Which bit did you acquire first and how did it come into your hands?
0:09:24 > 0:09:29This was the first gift from Father Christmas about 58 years ago.
0:09:29 > 0:09:31Lucky you, Father Christmas.
0:09:31 > 0:09:34- And then you've added to it over the years...- Yes.- ..have you?
0:09:34 > 0:09:36Yes, and it's been in the loft since we moved into our present house
0:09:36 > 0:09:39- 20 years ago.- OK.- When I was born.
0:09:39 > 0:09:42- Oh, oh, right. - 21 years ago.- It's lovely.
0:09:42 > 0:09:45You've got all sorts of bits here, cos we've got the good set here,
0:09:45 > 0:09:48with a very attractive tank wagon in it.
0:09:48 > 0:09:52These are popular as single items these days, they're so attractive.
0:09:52 > 0:09:53And then, obviously, you've added to it.
0:09:53 > 0:09:56We've got another tank loco in there.
0:09:56 > 0:09:58Passenger coach, cable wagon, all sorts,
0:09:58 > 0:10:01- and the great thing is that you kept the boxes.- Yeah.
0:10:01 > 0:10:04I mean, it can add, you know, 30-40% to the value of the toy,
0:10:04 > 0:10:06if not more, if it has its box.
0:10:06 > 0:10:10And basically, they're not in bad condition. Nice, nice collection.
0:10:10 > 0:10:14Of course, these were all actual copies of locos that ran
0:10:14 > 0:10:17and rolling stock as well, it's all correct, isn't it?
0:10:17 > 0:10:21Yes, that's right. I think can remember seeing that one
0:10:21 > 0:10:22go past the bottom of our garden.
0:10:22 > 0:10:24Oh, right.
0:10:24 > 0:10:27Oh, excellent, yeah. So, have you plugged it in recently?
0:10:27 > 0:10:32- Do you know if they still work? - This one certainly runs, but I...
0:10:32 > 0:10:34- Not sure about that one. - Not sure about that one.- No.
0:10:34 > 0:10:36Collectors don't worry too much about that.
0:10:36 > 0:10:39A lot of these rarely go into cabinets, they very seldom run them.
0:10:39 > 0:10:43- So you've obviously decided to get them out of the loft.- Yeah.
0:10:43 > 0:10:46And part company with them, so you're not going to have a chance
0:10:46 > 0:10:49- to play with them then, Katie. - No, I'm probably all right there.
0:10:49 > 0:10:51- You think you can live without them. - Yeah, I think so.
0:10:51 > 0:10:54Yes, OK, and have you got something earmarked for the money
0:10:54 > 0:10:59- when you sell it?- I'll probably put it towards Katie's student loan.
0:10:59 > 0:11:02- Oh, right, right, cos you've just graduated...- Yes.- ..have you?
0:11:02 > 0:11:04Oh, right. Well, it's a nice collection,
0:11:04 > 0:11:07and I think probably as a presale estimate
0:11:07 > 0:11:11- we'd be looking at 150 to 200. That's good.- Good.
0:11:11 > 0:11:14That'll help a bit, won't it, with a massive loan.
0:11:14 > 0:11:17And I think, actually, put a reserve at the lower estimate,
0:11:17 > 0:11:21- at 150, does that sound good to you? - Yes.- Sounds good.
0:11:21 > 0:11:24I think collectors will really go for that. I certainly would.
0:11:24 > 0:11:29I think it's a nice collection. Start making a dent in your loan.
0:11:29 > 0:11:32SONG: "CHATTANOOGA CHOO CHOO" - THE GLENN MILLER ORCHESTRA
0:11:34 > 0:11:37We've got a 600-strong crowd at Ashridge today,
0:11:37 > 0:11:41and all of them have an opinion on what's going to sell well.
0:11:41 > 0:11:44Do we normally get these valuations right? Is it a bit iffy?
0:11:44 > 0:11:46Do you play the game at home?
0:11:46 > 0:11:48You've heard what our experts have had to say, you probably
0:11:48 > 0:11:50have your own opinions when you see it on the TV.
0:11:50 > 0:11:52"Oh, no, it's going to do a lot more."
0:11:52 > 0:11:53But right now it's down to the bidders.
0:11:53 > 0:11:55Let's find out what they think.
0:11:55 > 0:11:58We're taking everything over to the auction room and leaving you
0:11:58 > 0:12:00with a reminder of everything that's going under the hammer.
0:12:01 > 0:12:03He was a bit weather-beaten,
0:12:03 > 0:12:07but can Mervyn's marble Cupid still hit his target at auction?
0:12:07 > 0:12:10Also firing high, or should that be high-fired,
0:12:10 > 0:12:12is the fabulous pre-Victorian Cavendish pot.
0:12:13 > 0:12:17And finally the train set, on track to pay off
0:12:17 > 0:12:20some of Katie's student loan if it can steam ahead in the sale room.
0:12:26 > 0:12:29It's a fine art sale here at Tring Market Auctions today,
0:12:29 > 0:12:32and as you can see the room is absolutely packed full of bidders.
0:12:32 > 0:12:33What a wonderful atmosphere.
0:12:33 > 0:12:35Right now I'm going to catch up with our owners
0:12:35 > 0:12:38because I know they're feeling really nervous.
0:12:38 > 0:12:39Let's get on with the show.
0:12:42 > 0:12:45And it's seasoned "Flog It!" Auctioneer Stephen Hearn
0:12:45 > 0:12:47on the rostrum today.
0:12:47 > 0:12:50Let's hope we're on track with the post-war Dublo train set,
0:12:50 > 0:12:54all boxed, 17 items, a real gem, belonging to Steven,
0:12:54 > 0:12:56and Katie's with me right now.
0:12:56 > 0:12:59- Steven is on holiday in Rome, isn't he, with your mum.- Yes.
0:12:59 > 0:13:01- It's all right for some. - It is all right for some.
0:13:01 > 0:13:03- Is he spending the money in advance? - Yes.
0:13:03 > 0:13:05Or will you get some as you're here today?
0:13:05 > 0:13:07Well, he says he wants to put it towards my student loan,
0:13:07 > 0:13:09but hopefully we can get him to buy himself something nice.
0:13:09 > 0:13:12Fingers crossed they're going to go to a good home right now.
0:13:13 > 0:13:17The Hornby double tank goods train, box set. There we go.
0:13:17 > 0:13:19What about £180 for them. £100.
0:13:19 > 0:13:22£80, then. 80 I'm bid. 90, and 100 bid.
0:13:22 > 0:13:25100 I am bid then, and ten to you, sir.
0:13:25 > 0:13:27120. And 30, perhaps.
0:13:27 > 0:13:29Yes, 130. and 40.
0:13:29 > 0:13:31150 we have, and 60, is it?
0:13:31 > 0:13:33Yes, and 70 now.
0:13:33 > 0:13:35- They're selling. - Yes. It's good.
0:13:35 > 0:13:37We need more. We need a bit more, come on.
0:13:37 > 0:13:41It's going down, now. £170.
0:13:41 > 0:13:45Hammer's gone down. £170. That was short and sweet, actually.
0:13:45 > 0:13:47- It was good. - But I think Dad will be pleased.
0:13:47 > 0:13:49He'll be pleased. He'll be sad to miss it,
0:13:49 > 0:13:51but he'll be pleased with that.
0:13:51 > 0:13:55- Boys and their toys, eh? - Yeah. Certainly.
0:13:58 > 0:13:59Thank you.
0:14:02 > 0:14:05John's pot is just about to go under the hammer.
0:14:05 > 0:14:06Can you remember John's pot?
0:14:06 > 0:14:10That wonderful earthenware pot of balustrade form. I like this a lot.
0:14:10 > 0:14:15You were given this by an aunt you hadn't seen since 1944...
0:14:15 > 0:14:16Three. '43.
0:14:16 > 0:14:17- '43? - Yes.
0:14:17 > 0:14:21And why have you decided to sell this now?
0:14:21 > 0:14:24It's...fragile.
0:14:24 > 0:14:27It's been standing in the hall for a long time. We'll only break it.
0:14:27 > 0:14:30I like it, and of course the Cavendish bit on it
0:14:30 > 0:14:31makes it slightly more unusual.
0:14:31 > 0:14:36- It's just a nice thing, isn't it? - Yes, well decorated.- Yeah.
0:14:36 > 0:14:37- John, good luck.- Thank you.
0:14:37 > 0:14:39Let's find out what they think, shall we?
0:14:39 > 0:14:41Here we go, it's going under the hammer.
0:14:42 > 0:14:45Now, this is interesting. The early 19th century.
0:14:45 > 0:14:47The brown vase stoneware jar.
0:14:47 > 0:14:4980, 90, 100, 10.
0:14:49 > 0:14:50Are you 20, sir?
0:14:50 > 0:14:5430, 40. 50, 60.
0:14:54 > 0:14:57Any more? At 170. 170.
0:14:57 > 0:14:59Come on. A little bit more. That's what we'd like.
0:14:59 > 0:15:05180. I shall sell it, thank you very much, at £180. Thank you, sir.
0:15:05 > 0:15:10- That's a good result. That's a cracking result.- Excellent.
0:15:10 > 0:15:14Now, someone's told me a little trip to Switzerland is in order.
0:15:14 > 0:15:16Well, my daughter moved there a little while ago
0:15:16 > 0:15:19- and another trip wouldn't go amiss. - Oh, well, enjoy that, won't you?
0:15:19 > 0:15:21- Thank you.- Every penny helps towards the trip.
0:15:21 > 0:15:24- Yeah, indeed.- And well done as well. Good valuation.
0:15:24 > 0:15:26Thank you. Yeah. Pleased with that.
0:15:32 > 0:15:36Oh, dear, what has happened to Mervyn since the valuation day?
0:15:36 > 0:15:38Mervyn brought in that wonderful Cupid bust.
0:15:38 > 0:15:41- It's marble, and you didn't do that lifting the marble statue.- I didn't.
0:15:41 > 0:15:43What's happened to you?
0:15:43 > 0:15:46I'm afraid it's a very dangerous sport - tennis.
0:15:46 > 0:15:49I thought you were going to say tobogganing or something.
0:15:49 > 0:15:52- What have you done, actually? - Er, a gastrocnemius.
0:15:52 > 0:15:55- Gosh, is that painful? - Yeah. It's the calf muscle.
0:15:55 > 0:15:57- Oh, right.- Torn.
0:15:57 > 0:15:59- Are you a regular tennis player? - No, that's the trouble.
0:15:59 > 0:16:02Now, Mervyn is playing another dangerous game.
0:16:02 > 0:16:04Not tennis, not coming to auctions
0:16:04 > 0:16:07but putting something in a sale without a reserve.
0:16:07 > 0:16:10So you obviously don't want this, you don't like it
0:16:10 > 0:16:12and you don't care what it goes for.
0:16:12 > 0:16:15Well, do you think I could carry it back with a leg like this?
0:16:15 > 0:16:17Anyway, let's find out what the bidders think, shall we? Here we go.
0:16:17 > 0:16:19It's going under the hammer.
0:16:19 > 0:16:21Now we get to number 82
0:16:21 > 0:16:25I won't ask the porter to carry it. It's the lying marble figure.
0:16:25 > 0:16:27There it is. What about 150 for it?
0:16:27 > 0:16:31Yes. 150 I'm bid. 160, 70, 80.
0:16:31 > 0:16:34We'll help you carry it. 190.
0:16:34 > 0:16:37200 now. 210. And 20.
0:16:37 > 0:16:41And 30, perhaps. £220.
0:16:41 > 0:16:47230 in the room, then. I'm going to sell it for £230.
0:16:47 > 0:16:50A flurry of activity settling on £230. That's a good result.
0:16:50 > 0:16:54- It's a brilliant result.- Brilliant. Absolutely brilliant.
0:16:54 > 0:16:55Can't be more pleased than that.
0:17:03 > 0:17:06As we've just seen in the auction room antiques and fine art
0:17:06 > 0:17:09come in all shapes and sizes and working out how to display them
0:17:09 > 0:17:11can provide a few challenges.
0:17:11 > 0:17:14Now, I've been finding out how one of Britain's best-loved sculptors
0:17:14 > 0:17:18Henry Moore made and displayed his monumental works of art,
0:17:18 > 0:17:22and many of them are installed right here in Hertfordshire.
0:17:27 > 0:17:30Big, bold and hard to ignore.
0:17:30 > 0:17:33Art galleries and public spaces are full of works of art
0:17:33 > 0:17:37which are larger than life and part of our cultural landscape,
0:17:37 > 0:17:39like Antony Gormley's Angel Of The North.
0:17:44 > 0:17:48But how do the seeds of an idea grow from something so small
0:17:48 > 0:17:51to something as monumental and dynamic as this?
0:17:51 > 0:17:55The sculpture Henry Moore's Large Upright Internal/External Form.
0:17:57 > 0:17:59I've come to his former workshop and home in Hertfordshire
0:17:59 > 0:18:03to follow every stage of the creative process of making
0:18:03 > 0:18:05works of art of a large scale.
0:18:05 > 0:18:08From first sketch right through to final installation.
0:18:11 > 0:18:14This site is now the very fitting backdrop for the largest
0:18:14 > 0:18:17single collection of his life's work.
0:18:17 > 0:18:21Including not just the sculptures but the photos, the maquettes
0:18:21 > 0:18:26and the plaster casts from the time this was a very thriving workshop.
0:18:26 > 0:18:30Henry Moore and his wife Irena moved here in 1940.
0:18:30 > 0:18:32On site he established several studios
0:18:32 > 0:18:35and he drew inspiration from the gardens,
0:18:35 > 0:18:37the surrounding countryside and also little items
0:18:37 > 0:18:40that he found in the grounds.
0:18:40 > 0:18:43One of Moore's favourite additions to the site was his maquette studio
0:18:43 > 0:18:46where ideas for big bronze sculptures would be modelled
0:18:46 > 0:18:48first in miniature form.
0:18:52 > 0:18:56Gosh, I wasn't expecting so many maquettes.
0:18:56 > 0:18:58Maquette, meaning the French word for scale model.
0:18:58 > 0:19:03This is how everything starts out. Now, here's a very good example.
0:19:03 > 0:19:05Look at this.
0:19:05 > 0:19:10Mother and Child. Look how it started out life. Two bits of flint.
0:19:10 > 0:19:13Already you can see the shoulders, you can see the female form,
0:19:13 > 0:19:17you can see the curves starting to shape. Isn't that lovely?
0:19:17 > 0:19:19Initially it was a means to an end for a lot of artists.
0:19:19 > 0:19:23They had to make the model in plaster for it to be cast in bronze.
0:19:23 > 0:19:25Once the bronze was finished the model was broken up
0:19:25 > 0:19:29so no other bronzes could be cast. It kept the value of the bronze up.
0:19:29 > 0:19:31But after a while many artists, especially Henry Moore,
0:19:31 > 0:19:34realised the value in the little models made of plaster themselves
0:19:34 > 0:19:37and Henry Moore started to keep them.
0:19:37 > 0:19:39They became works of art in their own right.
0:19:39 > 0:19:44All the maquettes I make, more or less, in the same material.
0:19:44 > 0:19:49That is plaster, because plaster you can mix it and build on it
0:19:49 > 0:19:54and cut it down, and you can leave it alone for a month
0:19:54 > 0:19:55and it doesn't change.
0:19:55 > 0:20:01You can go back, wet it down and add to it and alter it. It is a erm...
0:20:01 > 0:20:04A sensible and useful, for me, material.
0:20:07 > 0:20:11But the process of translating maquettes to multiple times
0:20:11 > 0:20:16their size in bronze or marble was a painstaking and lengthy one.
0:20:16 > 0:20:19Now, for me, this is where all the magic starts to happen.
0:20:19 > 0:20:21Things come to life.
0:20:21 > 0:20:23It's a process called scaling up,
0:20:23 > 0:20:25and here is a very, very good example.
0:20:25 > 0:20:28You can see it's a mathematical methodical process.
0:20:28 > 0:20:31Here is the small scale model.
0:20:31 > 0:20:33Can you see the grid reference behind it?
0:20:33 > 0:20:36This is Henry Moore's draped, reclining Mother and Baby,
0:20:36 > 0:20:42and you can see how it's made ten times larger in plaster there.
0:20:42 > 0:20:45But things don't always go to plan mathematically,
0:20:45 > 0:20:46so Henry Moore has used his eye
0:20:46 > 0:20:51and his instinct to shape the figure so it's more pleasing to the eye.
0:20:56 > 0:20:59And once thee sculpture had been scaled up to its final size
0:20:59 > 0:21:02Moore then had to decide how and where to display it
0:21:02 > 0:21:04to its best effect.
0:21:08 > 0:21:12The Sheep Piece is a wonderful example of Henry Moore
0:21:12 > 0:21:16using the environment and the landscape to show off his art.
0:21:18 > 0:21:19He was fascinated by sheep.
0:21:19 > 0:21:22The way they'd wander up to his studio, curiously having a look
0:21:22 > 0:21:25at what he was doing and Henry Moore would tap on the glass.
0:21:25 > 0:21:29He decided that sheep were the perfect size to enhance the arts.
0:21:29 > 0:21:33A cow or a horse would take away the scale,
0:21:33 > 0:21:37the monumentality of the piece and in 1978 he brokered a deal
0:21:37 > 0:21:41with the local farmer that he could only graze sheep on the field.
0:21:41 > 0:21:45He was right as well, the sheep look absolutely perfect with this.
0:21:45 > 0:21:47And it's become their space now.
0:21:49 > 0:21:53Today Moore's work is installed across the globe in parks
0:21:53 > 0:21:55and galleries in 38 countries.
0:21:56 > 0:22:00As curator at the Henry Moore Foundation Sebastiano Barassi
0:22:00 > 0:22:02is one of several staff who make Moore's work available
0:22:02 > 0:22:06to international museums and public spaces.
0:22:08 > 0:22:11So how do you go about planning moving large scales of art like this
0:22:11 > 0:22:13on this proportion?
0:22:13 > 0:22:16It's a very complex task which involves a lot of people.
0:22:16 > 0:22:19It takes a lot of planning in terms of liaising with the venue
0:22:19 > 0:22:21where the works will be shown.
0:22:21 > 0:22:25We have to make sure that the journey to the venue is safe
0:22:25 > 0:22:28and we have to make sure that we pick the right place,
0:22:28 > 0:22:33the best place for the work in the venue, whether outdoors or indoors.
0:22:33 > 0:22:35And, quite crucially, if works are shown indoors
0:22:35 > 0:22:39- we have to make sure that they fit through the door and they...- Sure.
0:22:39 > 0:22:41You know, you don't get there and suddenly find...
0:22:41 > 0:22:43- Measure up before you leave home. - Pretty much, yes.
0:22:43 > 0:22:44As simple as that,
0:22:44 > 0:22:48but sometimes you'd be surprised how these things can be forgotten.
0:22:48 > 0:22:51Ultimately our priority is to have these works on show
0:22:51 > 0:22:52- as much as possible.- Sure.
0:22:52 > 0:22:55And to make sure that the widest possible audience is...
0:22:55 > 0:22:58Have you any particular favourite installations around the world
0:22:58 > 0:22:59that you're proud of?
0:22:59 > 0:23:04My favourite work by Moore is the Reclining Figure
0:23:04 > 0:23:09he made in the late 1950s for the UNESCO headquarters in Paris.
0:23:09 > 0:23:11It's a really beautiful piece.
0:23:11 > 0:23:15The other thing I quite like about it is the fact that UNESCO's remit
0:23:15 > 0:23:19is very much in keeping with and in tune with Moore's own humanism
0:23:19 > 0:23:24and desire for social engagement and to involve the public.
0:23:24 > 0:23:26Everybody can embrace it and touch it,
0:23:26 > 0:23:28which I think's a really important thing to do.
0:23:28 > 0:23:31It's quite a unique experience. In most places you would find,
0:23:31 > 0:23:34- "Please do not touch." - Exactly, and cordoned off.
0:23:34 > 0:23:36Or barriers, absolutely, but no,
0:23:36 > 0:23:41this is very much Moore wanted, how he wanted his work to be experienced.
0:23:47 > 0:23:50Now, this is a particularly special piece of sculpture
0:23:50 > 0:23:53titled Large Figure In A Shelter.
0:23:53 > 0:23:58It was Henry Moore's last piece he created, and it's his largest piece.
0:23:58 > 0:24:01Installed in 1987 shortly after his death.
0:24:01 > 0:24:05To give you some idea of how difficult it is to move works of art
0:24:05 > 0:24:10like this, this piece weighs the equivalent of ten male elephants.
0:24:10 > 0:24:13Can you imagine moving that around the world?
0:24:14 > 0:24:17In his later years Moore became increasingly concerned
0:24:17 > 0:24:20about how to protect his collection.
0:24:20 > 0:24:24He set up the Henry Moore Foundation in 1977 to encourage
0:24:24 > 0:24:27the public appreciation of visual arts.
0:24:27 > 0:24:31Today the foundation continues to promote sculpture in the UK
0:24:31 > 0:24:34and aboard through grants and exhibitions.
0:24:34 > 0:24:37Henry Moore produced over 800 sculptures during his lifetime,
0:24:37 > 0:24:41and his works can be seen in public places all over the world
0:24:41 > 0:24:43enjoyed by millions of people.
0:24:43 > 0:24:47For me, though, seeing the sculpture here installed in the place
0:24:47 > 0:24:50where they were made ticks all the boxes.
0:24:50 > 0:24:51They embrace nature,
0:24:51 > 0:24:53they sit in harmony with their surroundings,
0:24:53 > 0:24:56they show how an artist can work with his environment
0:24:56 > 0:24:59to create monumental pieces of art like this,
0:24:59 > 0:25:01and it's as if they've always been here.
0:25:12 > 0:25:16Welcome back to our valuation day at Ashridge House in Hertfordshire.
0:25:16 > 0:25:19The sun is still shining and everybody is still smiling.
0:25:19 > 0:25:21Plenty of work to do for our experts, though.
0:25:21 > 0:25:25We need to find three more items to take off to auction.
0:25:25 > 0:25:27And so over to Thomas who's found a dancing doll.
0:25:29 > 0:25:31- I'm quite enjoying myself.- Yes.
0:25:31 > 0:25:33So, what do you know about this?
0:25:33 > 0:25:37Well, it's come from my grandfather and he was a restorer
0:25:37 > 0:25:40and French polisher of pianos, and he said that it was
0:25:40 > 0:25:44an articulated doll that he used to play on top of pianos
0:25:44 > 0:25:46to the music that was played.
0:25:46 > 0:25:49- As I'm doing with a makeshift pencil?- Yes.
0:25:49 > 0:25:51Yeah, cos we're missing the pole at the back.
0:25:51 > 0:25:54- The pole, yes, there's no pole.- Where was this? Was this in his room?
0:25:54 > 0:25:58- Yeah, it actually was sitting on the mantelpiece.- Was it?
0:25:58 > 0:26:02Yeah, next to a big old black clock with a couple of horses alongside it.
0:26:02 > 0:26:04Did it intrigue you as a boy?
0:26:04 > 0:26:07It did intrigue me, yes, because it... Well, again, those...
0:26:07 > 0:26:10We didn't have many toys, so it was something that, you know,
0:26:10 > 0:26:13- you could play with...- And you were allowed to play with it?
0:26:13 > 0:26:16- Yes, we were allowed to play with it. - It really would be intriguing
0:26:16 > 0:26:18- as a young boy. You'd probably say, "what's that funny thing?"- Yes.
0:26:18 > 0:26:21- And so when he moved on from this earthly planet...- Yes.
0:26:21 > 0:26:23..did you then get to have him?
0:26:23 > 0:26:25My father then kept it
0:26:25 > 0:26:29and when my father died I was given it then as a keepsake.
0:26:29 > 0:26:33I think it's quite interesting from a sort of puppet point of view.
0:26:33 > 0:26:35- I think this is a Victorian toy. - Right.
0:26:35 > 0:26:38And I think toys in the Victorian period weren't only
0:26:38 > 0:26:41just for children, they were for adults as well.
0:26:41 > 0:26:44- This is well-articulated, isn't it? - Yes.
0:26:44 > 0:26:49The limbs and the arms, and the body is quite well decorated.
0:26:49 > 0:26:51- Is it continental? Is it British? I don't really know.- No.
0:26:51 > 0:26:53Have you any idea?
0:26:53 > 0:26:56To me it looks continental, but that's only by looking at,
0:26:56 > 0:27:00- you know, a lot of wooden toys. - He is rather nice.
0:27:00 > 0:27:02Why have you brought it along?
0:27:02 > 0:27:06I've got two children and I can't split it in half, so...
0:27:07 > 0:27:11If somebody... It might go to a museum or something
0:27:11 > 0:27:14that was a genuine collector of that type of article.
0:27:14 > 0:27:17I want to give you a strong valuation cos I don't think
0:27:17 > 0:27:18it's worth giving away.
0:27:18 > 0:27:22- I want to say between 70 and £100. - Right.- How does that grab you?
0:27:22 > 0:27:26- That's fine.- And we can reserve it at round about the £60 bracket.
0:27:26 > 0:27:28Yeah, I think I'd be quite happy with that, yes.
0:27:28 > 0:27:32Cos I think it's rather charming, and it has the naivety about it
0:27:32 > 0:27:35which will appeal to both decorators and collectors.
0:27:35 > 0:27:37Oh, right. I see.
0:27:37 > 0:27:40- So, you'll come along to the auction?- Of course, yes.
0:27:40 > 0:27:44And I hope, whatever his name is, will dance the merriest jig for us.
0:27:44 > 0:27:45Thanks very much indeed.
0:27:46 > 0:27:50Now let's catch up with Claire who's made a scientific discovery.
0:27:52 > 0:27:53- Well, hello, Florence.- Hello.
0:27:53 > 0:27:56Nice to meet you, and you've brought a really attractive polished
0:27:56 > 0:28:01- mahogany box here, haven't you? - Yes.- When it opens out - hey, presto.
0:28:01 > 0:28:04A rather magnificent-looking microscope there
0:28:04 > 0:28:06with a huge collection of objectives.
0:28:06 > 0:28:09So, quite a superior item. Nicely made.
0:28:09 > 0:28:12Has a very specialised market, though, microscopes,
0:28:12 > 0:28:14- they can be a bit tricky to sell. - Yes.
0:28:14 > 0:28:18So sometimes the value isn't huge.
0:28:18 > 0:28:23But you've also brought in a couple of rather nice boxes here of slides
0:28:23 > 0:28:27- to go with it. Botanical subjects, mainly, aren't they?- Yes.
0:28:27 > 0:28:30They've got all their little cards and things there.
0:28:30 > 0:28:33Nice sort of late 19th century ones. So...
0:28:33 > 0:28:36Quite an unusual object. You've lugged this quite a long way.
0:28:36 > 0:28:40It's very heavy. Tell me a bit about it. Where did it come from?
0:28:40 > 0:28:44Well, my husband bought it about 54 years ago,
0:28:44 > 0:28:47and he bought it off a very old gentleman then
0:28:47 > 0:28:51who was quite happy to sell it to him because he knew he was interested
0:28:51 > 0:28:54- in it and he'd look after it.- Yeah.
0:28:54 > 0:28:56So my husband bought it
0:28:56 > 0:28:59and he's had many, many years of happiness on it.
0:28:59 > 0:29:01- So he used it?- Yeah, he did use it. - Oh, right.
0:29:01 > 0:29:06- Yes, he used to go past puddles, do a few puddles.- Yeah?
0:29:06 > 0:29:09- Pick a little jar up... - Take it home and look at it?
0:29:09 > 0:29:11And then he'd come home and then he'd drop the water on the slide
0:29:11 > 0:29:14and look through it, and say to me, "Come and have a look at this,"
0:29:14 > 0:29:16- and he was so thrilled. - Oh, that's nice,
0:29:16 > 0:29:19cos very often these things are bought and people don't really know
0:29:19 > 0:29:21what to do with them. So the fact that it was used.
0:29:21 > 0:29:23But it's fascinating, and lovely to be able to look at
0:29:23 > 0:29:25all the sort of little creepy crawlies and things...
0:29:25 > 0:29:28It was, once you looked through it and see these things moving,
0:29:28 > 0:29:30- it was wonderful.- Gives you a different perspective
0:29:30 > 0:29:33- on what's going on in a puddle, doesn't it, really?- Oh, yes.
0:29:33 > 0:29:37And obviously it's a 19th century scope and 19th century slides,
0:29:37 > 0:29:40- so obviously he was using a collectable item then, really.- Yes.
0:29:40 > 0:29:42It already had age when he bought it.
0:29:42 > 0:29:44Yes, a very elderly gentleman who had it.
0:29:44 > 0:29:46It is more than just a student's instrument,
0:29:46 > 0:29:48- I mean, this is quite a specialised instrument.- Yes.
0:29:48 > 0:29:51With all these different objectives in here you can look at
0:29:51 > 0:29:53a whole range of things.
0:29:53 > 0:29:54It's a nice item, and I think especially
0:29:54 > 0:29:56because you've got the slides with it,
0:29:56 > 0:30:00because there are really keen collectors purely for the slides.
0:30:00 > 0:30:03- Really?- Especially if they've got little insects and bugs in them,
0:30:03 > 0:30:06cos some of them they're not even sure they're in existence now,
0:30:06 > 0:30:08- so it's a sort of historical interest.- Yes.
0:30:08 > 0:30:12- So, I guess we have to talk money. I think an estimate of 3-500.- Yes.
0:30:12 > 0:30:15- Nice broad estimate there.- Yeah. - Does that sound good to you?
0:30:15 > 0:30:18- I'm quite happy, yes.- Would you be happy with a £300 reserve on that?
0:30:18 > 0:30:23- Yes.- Happy with that? - Yeah.- Sure?- Just about.
0:30:23 > 0:30:26- Well, the thing is not to overcook it.- No.- Keep it sensible.
0:30:26 > 0:30:28- Make sure it's a price you're happy with.- Yes.
0:30:28 > 0:30:30And then hopefully you get them all there
0:30:30 > 0:30:33- and they get really excited and they spend a lot of money on it.- Good.
0:30:33 > 0:30:35- So, what are you going to put it towards?- Central heating.
0:30:35 > 0:30:38- Central heating? - Yes, it's packed up.- Oh, no!
0:30:38 > 0:30:41- So you really want to get on with that.- Yeah.- Yes, yeah.
0:30:41 > 0:30:44- Well, I shall look forward to seeing you at the auction.- Thank you.
0:30:44 > 0:30:47And we shall do our very best to get you a radiator or two fixed.
0:30:47 > 0:30:49Yes, that's what it'll buy.
0:30:50 > 0:30:54That was a well-preserved example of 19th century science.
0:30:54 > 0:30:56Let's hope it entices the botanists in the sale room
0:30:56 > 0:30:58so we can get Florence's heating fixed.
0:31:01 > 0:31:05So, here we are, this palatial mansion, huge,
0:31:05 > 0:31:07would've had many fireplaces.
0:31:07 > 0:31:11The tiles backing those fireplaces...
0:31:11 > 0:31:14would have no relationship to these ones here.
0:31:14 > 0:31:17These would be in far more modest accommodation.
0:31:17 > 0:31:21However, there's an interesting relation between the two.
0:31:21 > 0:31:22How did you come by them?
0:31:22 > 0:31:26Demolishing the fireplace that they were inserted inside.
0:31:26 > 0:31:30- And where was that?- Two fireplaces. In the last house I had.- Oh, really?
0:31:30 > 0:31:37- Built about 1860.- Yeah. These would be 1860s, 1870s, absolutely.
0:31:37 > 0:31:40The reason why I say there's a sort of relationship between
0:31:40 > 0:31:43the two things is that the house
0:31:43 > 0:31:48we see behind us is medieval, it has 19th century additions to it.
0:31:48 > 0:31:52These hark back to that medieval period.
0:31:52 > 0:31:54They hark back to that romantic time.
0:31:54 > 0:31:57They're by Minton, but more importantly these designs
0:31:57 > 0:32:00are by a person by John Moyr Smith.
0:32:00 > 0:32:05John Moyr Smith was a designer from that late 19th century period
0:32:05 > 0:32:11when it was terribly fashionable to look upon the allegorical stories
0:32:11 > 0:32:14of the past and design scenes around them.
0:32:14 > 0:32:16And here we have the seasons.
0:32:16 > 0:32:19So we have summer here with Celadon and Amelia,
0:32:19 > 0:32:24and this is a representation of a poem from the 18th century.
0:32:24 > 0:32:26I don't think Amelia was in love with Celadon,
0:32:26 > 0:32:29but Celadon got swept away in a storm, hence the lightning.
0:32:29 > 0:32:31But that's rather fun, isn't it?
0:32:31 > 0:32:34And then we've got autumn - Comes Jovial On.
0:32:34 > 0:32:38I don't know the story behind this one, but he is here with his scythe
0:32:38 > 0:32:43here, and he's sort of reaping the rewards of his harvest.
0:32:43 > 0:32:47Winter - looks like a Scottish gentleman in his tartan here
0:32:47 > 0:32:52- and almost like a Tam o'Shanter hat. - Yes, and the ginger hair.
0:32:52 > 0:32:55The Snow Storm. I think that's a rather attractive one.
0:32:55 > 0:32:57And then we've got spring with the ploughing of the land
0:32:57 > 0:33:00and the planting. Doesn't look like he's putting much effort in
0:33:00 > 0:33:02cos ploughing takes a bit more effort than that
0:33:02 > 0:33:04to drag that plough down.
0:33:04 > 0:33:06You don't just hold it one hand and the oxen in the other.
0:33:06 > 0:33:08This is the problem with Victorians,
0:33:08 > 0:33:10they had this romantic view of things.
0:33:10 > 0:33:12And here's one typically romantic.
0:33:12 > 0:33:15So tell me, you were very careful when you took these off.
0:33:15 > 0:33:18- I was, yes. - Did you know they had a value?
0:33:18 > 0:33:23- No, I was going to use them, but your taste changes.- Yes.
0:33:23 > 0:33:25They've been lying in the cupboard for about 20 years.
0:33:25 > 0:33:27Right, fair enough.
0:33:27 > 0:33:30Well, luckily for you there are tile collectors out there.
0:33:30 > 0:33:35- So, I would value them at 120... - Yes.- ..to £180.- Yes.
0:33:35 > 0:33:38- I'd put a reserve at £100.- Yeah.
0:33:38 > 0:33:41- I don't think there's any point giving them away.- Oh, no. No.
0:33:41 > 0:33:45I'd rather keep them and use them. Too nice to leave in the cupboard.
0:33:45 > 0:33:48- Absolutely. Well, see you at the auction.- OK. Thanks a lot.
0:33:53 > 0:33:55Thankfully we have now made our final choices
0:33:55 > 0:33:58inspired by our wonderful surroundings - Ashridge House.
0:33:58 > 0:34:01It's time to say goodbye to this magnificent venue as we head over
0:34:01 > 0:34:03to the sale room for the very last time.
0:34:03 > 0:34:05And here's a quick reminder of all the items
0:34:05 > 0:34:07that are going under the hammer.
0:34:08 > 0:34:12Ken's Victorian toy used to dance on top of his grandfather's piano.
0:34:12 > 0:34:15But will he find a new place to boogie?
0:34:15 > 0:34:18We're hoping that the botanists will bid it out for this beautiful
0:34:18 > 0:34:20brass microscope and collection of slides.
0:34:22 > 0:34:25And will it be a wintry reception or a summery breeze at the sale room
0:34:25 > 0:34:28for the fabulous four seasons tiles?
0:34:31 > 0:34:33We're back at the Tring Market Auctions,
0:34:33 > 0:34:36and like all auction houses sellers have to pay commission.
0:34:36 > 0:34:41Here it's 15% plus VAT on the hammer price.
0:34:41 > 0:34:44Just before we get under way here's what auctioneer Steven Hearn
0:34:44 > 0:34:47thinks about the value of the brass microscope.
0:34:48 > 0:34:51We've got a value of £300-£500.
0:34:51 > 0:34:53Now, I know you've changed that, haven't you?
0:34:53 > 0:34:56Yes, I moved that on, Paul, because I think it deserved
0:34:56 > 0:35:00- an estimate somewhere between £500 and £700.- I don't blame you.
0:35:00 > 0:35:02I mean, that's a good London maker within itself.
0:35:02 > 0:35:04And we've got to remember Swift and Son,
0:35:04 > 0:35:07they supplied the microscope for Captain Scott.
0:35:07 > 0:35:08They didn't, didn't they,
0:35:08 > 0:35:10but it's the boxes of slides that really interest me.
0:35:10 > 0:35:14It's that documentation that you don't see every day of the week
0:35:14 > 0:35:16come up for sale in auctions.
0:35:16 > 0:35:19And they have individual values, the slides.
0:35:19 > 0:35:22It's a bit like collecting stamps on occasions.
0:35:22 > 0:35:25There are certain parts of certain insects that are worth a lot more
0:35:25 > 0:35:28- than parts of an another insect. - I think they're fabulous.
0:35:28 > 0:35:31Has there been a lot of interest?
0:35:31 > 0:35:33There's been quite a lot of interest locally
0:35:33 > 0:35:36because the town itself has been connected in the past
0:35:36 > 0:35:40with entomology through the museum at Tring,
0:35:40 > 0:35:41the Natural History Museum.
0:35:41 > 0:35:43Let's hope there's a sting in the tail
0:35:43 > 0:35:45- at the end of the sale, shall we? - Yes, let's hope so.
0:35:53 > 0:35:55Introducing Kenneth, a man for all seasons.
0:35:55 > 0:35:58That's exactly what's going under the hammer right now.
0:35:58 > 0:36:01Four Minton tiles, the four seasons. Quality, quality, quality.
0:36:01 > 0:36:04Great ceramics. Why are you selling these?
0:36:04 > 0:36:07They've just been lying in my cupboard for over 20 years.
0:36:09 > 0:36:10I never found a use for them.
0:36:10 > 0:36:13I mean, they make good kettle stands and things like that.
0:36:13 > 0:36:16Good coasters and... A coaster on the dining table.
0:36:16 > 0:36:18We've seen these sets before sell on "Flog It!"
0:36:18 > 0:36:20and we've seen them separately as well.
0:36:20 > 0:36:22Thank goodness you've got all four.
0:36:22 > 0:36:24They sell well and they make great coasters.
0:36:24 > 0:36:26They do, and these are Minton John Moyr Smith,
0:36:26 > 0:36:29great Arts and Crafts designer.
0:36:29 > 0:36:32So if you love Arts and Crafts, you'll love these.
0:36:32 > 0:36:34They're going under the hammer right now.
0:36:34 > 0:36:36Number four - 104, now.
0:36:38 > 0:36:41We have some Art Nouveau Minton's pottery tiles.
0:36:41 > 0:36:44- They're in jolly good order. - Yeah, I love these.
0:36:44 > 0:36:4780 for them? 70 for them? 70. Five. 80. Five. 90.
0:36:47 > 0:36:48Are you going to be the five?
0:36:48 > 0:36:51100, thank you. £100.
0:36:51 > 0:36:52Come on, that's a good opener.
0:36:52 > 0:36:55Lady over there. There you go.
0:36:55 > 0:36:57130. 40? 140.
0:36:57 > 0:36:59150? 150. 160.
0:36:59 > 0:37:01No more?
0:37:01 > 0:37:06At 150, then, they're going. £150. Thank you.
0:37:07 > 0:37:08That's quite good.
0:37:08 > 0:37:11Gosh, that lady moved in, bidding, bidding, bidding,
0:37:11 > 0:37:14made sure she had them, didn't put her paddle down and walked out.
0:37:14 > 0:37:16- Literally, did you see that? - Just here for the tiles.
0:37:16 > 0:37:18If someone pushed her she'd have kept going.
0:37:18 > 0:37:21She was that determined and that's the beauty of auctions.
0:37:21 > 0:37:23- That's a good result.- Yes. - That's a very good result.
0:37:29 > 0:37:32Right, ready to do some dancing? Well, we are.
0:37:32 > 0:37:33I've just been joined by Ken.
0:37:33 > 0:37:36We've got that wonderful articulated doll going under the hammer.
0:37:36 > 0:37:40- I love this because it's naive. Really hard to put a value on.- Yes.
0:37:40 > 0:37:42So where has it been? I know it's been in the family a long time.
0:37:42 > 0:37:45It's been sitting in the cabinet, and because it's dark-coloured
0:37:45 > 0:37:47it's just in the corner and it doesn't really...
0:37:47 > 0:37:49- You just don't appreciate it. - No. No.
0:37:49 > 0:37:51- It's definitely continental, this.- Oh, yes.
0:37:51 > 0:37:53It's got the look of something Italian, maybe.
0:37:53 > 0:37:55I would say northern Italian, that sort of 19th century
0:37:55 > 0:37:57Punch creature.
0:37:57 > 0:38:00Something, you know, drawn from their myths, their legends,
0:38:00 > 0:38:02- their stories, isn't it? - Yeah.- I love it.
0:38:02 > 0:38:04It's a thing that puts a smile on your face and that's what it's
0:38:04 > 0:38:06all about. A nice thing to invest in.
0:38:06 > 0:38:08Let's find out what the bidders think.
0:38:09 > 0:38:13Lot number 141. There you are, the carved wood dolly.
0:38:13 > 0:38:16Carved and painted. 100 for that, or 50 for that one.
0:38:16 > 0:38:18What about £40 for dolly?
0:38:18 > 0:38:22Five, 50, 60, 70, 80 now.
0:38:22 > 0:38:26One more. 80... 90.
0:38:26 > 0:38:29- You're out, man. 90's got the dolly.- £90.
0:38:29 > 0:38:34At £90 I shall sell Dolly. £90 then, sir, thank you.
0:38:34 > 0:38:37- Yes.- Fantastic.- That's a good result £90. I'm happy with that.
0:38:37 > 0:38:38Really good.
0:38:38 > 0:38:41I'll take my wife to The Ritz and give her a cream tea, now.
0:38:44 > 0:38:46Well, it's the microscope up next
0:38:46 > 0:38:49and I think there will be a real enthusiasm for this.
0:38:49 > 0:38:52Remember, Tring has strong zoological connections,
0:38:52 > 0:38:55so finger crossed for a botanic bidding battle.
0:38:56 > 0:38:58- Good luck, Florence.- Thank you.
0:38:58 > 0:39:01I have been waiting for this moment ever since the valuation day
0:39:01 > 0:39:03cos I saw this and I said to you,
0:39:03 > 0:39:07- "Oh, I like that, I like that," and I know you spotted it as well.- Yeah.
0:39:07 > 0:39:10You did the valuation. I just think the cases of slides
0:39:10 > 0:39:14that go with this are so well documented.
0:39:14 > 0:39:16It's a lovely piece of history here, and I had a chat to Steven,
0:39:16 > 0:39:19the auctioneer, yesterday. He's happy with the valuation.
0:39:19 > 0:39:21He knows it's going to sell at what you said,
0:39:21 > 0:39:24- but he's upped it a little bit. - Oh, right, excellent.
0:39:24 > 0:39:27- So we're now looking at £500-£700. - Yeah, it's a nice lot.
0:39:27 > 0:39:30The slides are so decorative, apart from anything else.
0:39:30 > 0:39:31They're beautifully presented.
0:39:31 > 0:39:34I hadn't seen it for 20 years because it was put in the cupboard,
0:39:34 > 0:39:37and then I opened it a couple of days before I came to
0:39:37 > 0:39:40"Flog It!" and when I looked at it I thought, "Wow!" You know,
0:39:40 > 0:39:42so it even surprised me after 20 years.
0:39:42 > 0:39:43It's going under the hammer right now.
0:39:43 > 0:39:46Let's find out if there's any interest online or on the phones.
0:39:48 > 0:39:51Right, now lot number 106.
0:39:51 > 0:39:53There we are, a very fine microscope
0:39:53 > 0:39:58and also the two boxes of prepared slides with it.
0:39:58 > 0:40:00500 I'm bid for it now.
0:40:00 > 0:40:03520, I have it. And 50, 80, 600.
0:40:03 > 0:40:06And 20 and 50 and 80.
0:40:06 > 0:40:09700 we're bid. 720 and 50 and 80.
0:40:09 > 0:40:11Yes, 780.
0:40:11 > 0:40:13800 we're bid. 820, 850, 880.
0:40:13 > 0:40:16- This is very good.- £900.- £900.
0:40:16 > 0:40:17At £900 and we're bid for it.
0:40:17 > 0:40:20- 920, 950.- And there's more to come.
0:40:20 > 0:40:24980. £1,000.
0:40:24 > 0:40:27£1,050. £1,100 we're bid. And 50.
0:40:27 > 0:40:321,200. And 50. 1,300. And 50.
0:40:32 > 0:40:361,400. And 50. 1,500. And 50.
0:40:36 > 0:40:39This is what it's all about. This is a proper auction.
0:40:39 > 0:40:43- £1,650.- £1,650.
0:40:43 > 0:40:45I'm going to get you a chair in a minute.
0:40:45 > 0:40:471,800, perhaps?
0:40:47 > 0:40:49No, but 1,800 in the room.
0:40:49 > 0:40:521,850. New bidder.
0:40:52 > 0:40:54- Fresh legs.- 1,900.
0:40:54 > 0:40:58And 50. 2,000. And 50.
0:40:58 > 0:41:012,100. And 50.
0:41:01 > 0:41:042,200. And 50.
0:41:04 > 0:41:062,300. And 50.
0:41:06 > 0:41:08Slightly underestimated this item.
0:41:08 > 0:41:11- 2,400.- Yeah. It was.
0:41:11 > 0:41:13Yeah, it was, wasn't it?
0:41:13 > 0:41:172,500, sir. 2,500. And 50 now.
0:41:17 > 0:41:21At 2,500 I'm selling. 550.
0:41:21 > 0:41:26- 2,600.- £2,600.
0:41:26 > 0:41:28- I can't believe it.- Gosh.
0:41:28 > 0:41:322,800. And 50. 2,900.
0:41:32 > 0:41:34This is incredible.
0:41:34 > 0:41:35It's mad.
0:41:35 > 0:41:383,100. 3,200. 3,300.
0:41:38 > 0:41:433,400. 3,500. 3,600. No?
0:41:43 > 0:41:45At 3,600 in the room.
0:41:45 > 0:41:50I'm selling, then. It's going down at £3,600.
0:41:50 > 0:41:51Thank you, sir.
0:41:51 > 0:41:55That's a sold sound, isn't it?
0:41:55 > 0:41:58Florence, £3,600.
0:41:58 > 0:42:01Everybody is giving you a round of applause in the auction room.
0:42:02 > 0:42:04Wow. Wow.
0:42:04 > 0:42:07- It exceeded all our expectations. - It did, it really did.
0:42:07 > 0:42:11That is a great result. Oh, look, enjoy it, won't you?
0:42:11 > 0:42:14- Well done, Claire. - And thank you, Claire.- Oh, thank you.
0:42:14 > 0:42:18It's been an absolute pleasure. I'm so pleased for you.
0:42:18 > 0:42:19Thank you very much.
0:42:21 > 0:42:25Wow! We had two bidders going head-to-head, neither one wanting
0:42:25 > 0:42:26to lose the microscope
0:42:26 > 0:42:30which sold for over six times its reserve price.
0:42:30 > 0:42:34Let's see what they had to say about the final outcome.
0:42:34 > 0:42:39I feel I've paid a lot of money for them, but that's auctions for you.
0:42:39 > 0:42:41Sometimes you win, sometimes you lose,
0:42:41 > 0:42:44but I was obviously prepared to pay that amount.
0:42:44 > 0:42:48I'd calculated how much I wanted to pay, got a bit carried away
0:42:48 > 0:42:52and probably bid more than I intended to.
0:42:52 > 0:42:56Obviously I was disappointed, but the other bidder looked as if
0:42:56 > 0:43:00he was fairly determined and was going to carry on bidding.
0:43:00 > 0:43:04They're a good collection of quality microscope slides.
0:43:04 > 0:43:08Unusual to have such a good collection all in one go.
0:43:08 > 0:43:10I will probably save and collect some of them
0:43:10 > 0:43:12and trade a few of them, as well.
0:43:16 > 0:43:18What a wonderful way to end the show.
0:43:18 > 0:43:20We've had such a marvellous time here in Tring,
0:43:20 > 0:43:23and I know you have, haven't you? We've made your year, haven't we?
0:43:23 > 0:43:24You certainly have.
0:43:24 > 0:43:26If you've got something like that we want to see it,
0:43:26 > 0:43:30but until then join us for many more surprises. Well done, you, Florence.
0:43:30 > 0:43:31Thank you very much, Paul.
0:43:34 > 0:43:37Subtitles by Red Bee Media Ltd