Hertfordshire 54 Flog It!

Today we're in West Hertfordshire

and I'm 108 feet up in the air on top of the Bridgewater Monument,

which was built in 1832 as a tribute to Francis Egerton,

the man who was also known as the Canal Duke

for his pioneering work on the UK's inland waterways.

Now, they say from up here you can actually see seven counties at once.

I'm not sure about that today.

One thing I am sure about, though, you can see Ashridge House,

which was the Canal Duke's home during the 18th century.

And today, for one day only, it's home to our valuation tables.

Welcome to Flog It!

Ashridge House is a real seat of innovation and change.

During it's 700-year history this site has been a monastery,

a royal residence and a war hospital.

And it's not just the Canal Duke who achieve great feats here.

Edward I held parliament here in 1291.

But today it's inspiring and exciting antiques

we are looking for, and this lot cannot wait to get inside

so the fun can begin.

Someone in this queue today has got something that's worth

a great deal of money. It's our experts' job to find it.

Now, if our experts pick on one or two of your treasures

and you're happy with the valuations,

what are you going to do?

ALL: Flog It!

And on the lookout for us today are a double act

destined for great things.

We've got pioneering Thomas Plant,

and roaming roving Claire Rawle.

It's all about 19th century innovation today.

We'll be examining an articulated doll,

a salt-fired pot, and this lovely brass microscope,

but can you guess how much it sells for at auction?

Today we're luck enough to be holding our valuations

in two very inspiring places.

Firstly the Lady Marian Alford room where Claire has already

made herself at home engrossed in her first item. And Thomas Plant?

He's gone out for a stroll in the sunshine.

Are you pulling this? Are you doing some of the work?

Let you do it all.

All right, all right, stay here. I think this is fine.

Mervyn, tell me, what on earth made you bring this?

I mean, this is so heavy it's not going to go on the table.

-Well, I've got to get rid of it somehow.

-Where did it come from?

How did you acquire it? I want to know the story.

It was from a house that was bought

and it was left in the garden by the pond.

-Really?

-Just left there.

Now, before we start on poor old Cupid, cos that's what it is.

-Is it, yeah?

-It's Cupid sleeping.

-The damage - did you do that?

-No. It's all as it was.

How long ago did you buy this house?

-Ten years.

-So ten years ago.

-Why did they leave it?

-Presumably they didn't want to move it.

It's what I believe to be carved marble.

The reason why I believe it to be carved marble is just here.

We can see the marble coming through,

and it's been very well-weathered.

We've mentioned that it's Cupid. Cupid has wings.

The bow has been discarded here, and his quiver of arrows is covered.

So from an allegorical perspective

I think the story is that Cupid is sleeping

and the abandonment of pleasures in one's life, disappointment.

-That's sad, isn't it?

-It is sad.

-I think 19th century.

-OK.

-Carved in 1860, I would say.

Michelangelo carved Cupids in marble.

You can see them all round Rome and Florence.

Caravaggio painted them in the 17th century.

-So this is definitely a 19th century copy of.

-Hmm.

-What the charm is behind it, now, is the weathering.

-Indeed, yes.

I love that. I love the fact it's weathered. It can be cleaned up.

-We have got the issues with the damage.

-Of course.

I'm afraid the face has the face has been slightly missed off here.

Yes, I'm not sure what happened to that.

We've got an arm which is missing here.

What's lovely is you've got the little sort of iron pins here

where bits would've probably been restored onto.

But this wing is beautiful. I like it very much.

-Good.

-Now.

Have you got any idea of value?

As long as it covers the cost of the petrol to get here.

-Have you come from far?

-Hemel Hempstead.

-So not that far.

-Four miles.

-Four miles.

We'll do more than cover the petrol.

-I would put a value of 100 to £200.

-Really?

-At auction today.

-How does that grab you?

-Brilliant.

-You're happy?

-Absolute brilliant if that's the price that's the price.

-Reserve...

To be honest with you, you want rid, don't you?

-No reserve, as far as I'm concerned.

-I think that's the way forward.

No reserve. Let's sell it. Let's find out what we get for it.

Hopefully Cupid will wake up, strike a few people in the audience,

-they'll fall in love with him.

-Brilliant.

-And we'll make you lots of money.

-Fantastic, yeah.

-Shall we get it to auction?

-Sure.

-Shall we?

-Let's do it.

-Come on.

-OK, let's go.

-I'm pushing, I'm pushing.

That's it, Thomas, you'll get Cupid to the auction eventually.

Now over to Claire who is talking to John

about his 19th century stoneware pot.

It was left to me by an aunt 30 years ago

-whom I hadn't seen since 1944, would you believe?

-Oh, yeah.

I was the last surviving member of my father's side of the family

and it suddenly came to me out of the blue.

When I last saw her she lived in Hathersage...

We believe with the name, the Cavendish name,

-it's associated somehow with Chatsworth.

-Oh, right.

I think it's a great item. I love the shape of it.

And the interesting thing is the banner along the front

saying "Cavendish," and because your aunt lived close to Chatsworth

-there's no reason to disbelieve it.

-Yes.

-Now, it should've had a top. Did you ever have a top?

-Never.

-It's one of those things, it's either got lost or...

-Yes.

-..smashed, probably, cos it is a storage jar.

-Right.

-Do you use it for anything in particular?

-Not really.

It has holly in it at Christmas, glitter holly, but that's about all.

Oh, right. Right. Well, it's salt-glazed stoneware.

It's a tough old pot, this. They were very, very high fired

which made the clay really strong, and then salt glaze.

Literally, they throw salt into the kiln

and you get this sort of sheen over it.

It's not an uncommon type of item to find.

You see a lot of stoneware around, a lot of it came from the continent.

I like it because of its shape.

It's nicely decorate. Very typical scenes,

what you call Topa scenes.

In other words gentlemen getting rather rowdy and drunk,

and of course in the centre the royal coat of arms.

I don't know whether we've looked into it enough

to know if it's pre-Victoria or not. It does look slightly earlier.

I believe it is pre-Victorian.

So it's going to be sort of pre-1837,

but it's definitely of that sort of period. I think it's just great.

I don't know if this is going to make you a fortune.

It's the type of thing that these days not a lot of people are buying,

but I think this has a nice link.

I think it's something that should go

probably round about the £100 mark.

-Right.

-Maybe 100-150.

If we used £100, a bit of discretion on it for the reserve,

-say it came down to about 90, would that suit you?

-Fine. Excellent.

Well, I shall look forward to seeing you at the auction

-and we'll keep our fingers crossed.

-Thanks very much.

Let's see if somebody else carries the story forward.

As you look around the Ashridge Estate you can't help but marvel

at all the striking architectural detail - it's everywhere,

and the amount of work that's gone into building the place

and maintaining it. Now, behind me you can see the chapel's spire.

It's a cracking example, measuring 60 feet in height.

The original spire was made of local stone from the Totternhoe Quarry.

Now, that was taken down in 1922 because it became unsound.

The spire that you see today is a replica and it's made in fibreglass.

It was carefully lifted into place some 49 years later

in a nail-biting operation by Royal Naval Wessex helicopter.

This footage from the time shows how turbulent winds sent the spire

swinging like a giant pendulum.

It took several modifications to the spire before it was ready

to be carefully guided down by hand onto the chapel.

No spire is complete without a weather vane,

and that too was carefully lifted into place by the same helicopter.

Now, that's what I call inspiring.

From helicopters to trains, it's back to Claire now

and her chosen method of transport.

-Hi, Steve and Katie.

-Hello.

-Father and daughter.

Nice to meet you, especially cos you've brought something...

I'm really fond of trains. I sound a bit anoraky now.

But lovely Hornby Dublo,

-I guess it was yours, was it?

-It was mine, yes.

-Yeah, OK.

Which bit did you acquire first and how did it come into your hands?

This was the first gift from Father Christmas about 58 years ago.

Lucky you, Father Christmas.

-And then you've added to it over the years...

-Yes.

-..have you?

Yes, and it's been in the loft since we moved into our present house

-20 years ago.

-OK.

-When I was born.

-Oh, oh, right.

-21 years ago.

-It's lovely.

You've got all sorts of bits here, cos we've got the good set here,

with a very attractive tank wagon in it.

These are popular as single items these days, they're so attractive.

And then, obviously, you've added to it.

We've got another tank loco in there.

Passenger coach, cable wagon, all sorts,

-and the great thing is that you kept the boxes.

-Yeah.

I mean, it can add, you know, 30-40% to the value of the toy,

if not more, if it has its box.

And basically, they're not in bad condition. Nice, nice collection.

Of course, these were all actual copies of locos that ran

and rolling stock as well, it's all correct, isn't it?

Yes, that's right. I think can remember seeing that one

go past the bottom of our garden.

Oh, right.

Oh, excellent, yeah. So, have you plugged it in recently?

-Do you know if they still work?

-This one certainly runs, but I...

-Not sure about that one.

-Not sure about that one.

-No.

Collectors don't worry too much about that.

A lot of these rarely go into cabinets, they very seldom run them.

-So you've obviously decided to get them out of the loft.

-Yeah.

And part company with them, so you're not going to have a chance

-to play with them then, Katie.

-No, I'm probably all right there.

-You think you can live without them.

-Yeah, I think so.

Yes, OK, and have you got something earmarked for the money

-when you sell it?

-I'll probably put it towards Katie's student loan.

-Oh, right, right, cos you've just graduated...

-Yes.

-..have you?

Oh, right. Well, it's a nice collection,

and I think probably as a presale estimate

-we'd be looking at 150 to 200. That's good.

-Good.

That'll help a bit, won't it, with a massive loan.

And I think, actually, put a reserve at the lower estimate,

-at 150, does that sound good to you?

-Yes.

-Sounds good.

I think collectors will really go for that. I certainly would.

I think it's a nice collection. Start making a dent in your loan.

SONG: "CHATTANOOGA CHOO CHOO" - THE GLENN MILLER ORCHESTRA

We've got a 600-strong crowd at Ashridge today,

and all of them have an opinion on what's going to sell well.

Do we normally get these valuations right? Is it a bit iffy?

Do you play the game at home?

You've heard what our experts have had to say, you probably

have your own opinions when you see it on the TV.

"Oh, no, it's going to do a lot more."

But right now it's down to the bidders.

Let's find out what they think.

We're taking everything over to the auction room and leaving you

with a reminder of everything that's going under the hammer.

He was a bit weather-beaten,

but can Mervyn's marble Cupid still hit his target at auction?

Also firing high, or should that be high-fired,

is the fabulous pre-Victorian Cavendish pot.

And finally the train set, on track to pay off

some of Katie's student loan if it can steam ahead in the sale room.

It's a fine art sale here at Tring Market Auctions today,

and as you can see the room is absolutely packed full of bidders.

What a wonderful atmosphere.

Right now I'm going to catch up with our owners

because I know they're feeling really nervous.

Let's get on with the show.

And it's seasoned "Flog It!" Auctioneer Stephen Hearn

on the rostrum today.

Let's hope we're on track with the post-war Dublo train set,

all boxed, 17 items, a real gem, belonging to Steven,

and Katie's with me right now.

-Steven is on holiday in Rome, isn't he, with your mum.

-Yes.

-It's all right for some.

-It is all right for some.

-Is he spending the money in advance?

-Yes.

Or will you get some as you're here today?

Well, he says he wants to put it towards my student loan,

but hopefully we can get him to buy himself something nice.

Fingers crossed they're going to go to a good home right now.

The Hornby double tank goods train, box set. There we go.

What about £180 for them. £100.

£80, then. 80 I'm bid. 90, and 100 bid.

100 I am bid then, and ten to you, sir.

120. And 30, perhaps.

Yes, 130. and 40.

150 we have, and 60, is it?

Yes, and 70 now.

-They're selling.

-Yes. It's good.

We need more. We need a bit more, come on.

It's going down, now. £170.

Hammer's gone down. £170. That was short and sweet, actually.

-It was good.

-But I think Dad will be pleased.

He'll be pleased. He'll be sad to miss it,

but he'll be pleased with that.

-Boys and their toys, eh?

-Yeah. Certainly.

Thank you.

John's pot is just about to go under the hammer.

Can you remember John's pot?

That wonderful earthenware pot of balustrade form. I like this a lot.

You were given this by an aunt you hadn't seen since 1944...

Three. '43.

-'43?

-Yes.

And why have you decided to sell this now?

It's...fragile.

It's been standing in the hall for a long time. We'll only break it.

I like it, and of course the Cavendish bit on it

makes it slightly more unusual.

-It's just a nice thing, isn't it?

-Yes, well decorated.

-Yeah.

-John, good luck.

-Thank you.

Let's find out what they think, shall we?

Here we go, it's going under the hammer.

Now, this is interesting. The early 19th century.

The brown vase stoneware jar.

80, 90, 100, 10.

Are you 20, sir?

30, 40. 50, 60.

Any more? At 170. 170.

Come on. A little bit more. That's what we'd like.

180. I shall sell it, thank you very much, at £180. Thank you, sir.

-That's a good result. That's a cracking result.

-Excellent.

Now, someone's told me a little trip to Switzerland is in order.

Well, my daughter moved there a little while ago

-and another trip wouldn't go amiss.

-Oh, well, enjoy that, won't you?

-Thank you.

-Every penny helps towards the trip.

-Yeah, indeed.

-And well done as well. Good valuation.

Thank you. Yeah. Pleased with that.

Oh, dear, what has happened to Mervyn since the valuation day?

Mervyn brought in that wonderful Cupid bust.

-It's marble, and you didn't do that lifting the marble statue.

-I didn't.

What's happened to you?

I'm afraid it's a very dangerous sport - tennis.

I thought you were going to say tobogganing or something.

-What have you done, actually?

-Er, a gastrocnemius.

-Gosh, is that painful?

-Yeah. It's the calf muscle.

-Oh, right.

-Torn.

-Are you a regular tennis player?

-No, that's the trouble.

Now, Mervyn is playing another dangerous game.

Not tennis, not coming to auctions

but putting something in a sale without a reserve.

So you obviously don't want this, you don't like it

and you don't care what it goes for.

Well, do you think I could carry it back with a leg like this?

Anyway, let's find out what the bidders think, shall we? Here we go.

It's going under the hammer.

Now we get to number 82

I won't ask the porter to carry it. It's the lying marble figure.

There it is. What about 150 for it?

Yes. 150 I'm bid. 160, 70, 80.

We'll help you carry it. 190.

200 now. 210. And 20.

And 30, perhaps. £220.

230 in the room, then. I'm going to sell it for £230.

A flurry of activity settling on £230. That's a good result.

-It's a brilliant result.

-Brilliant. Absolutely brilliant.

Can't be more pleased than that.

As we've just seen in the auction room antiques and fine art

come in all shapes and sizes and working out how to display them

can provide a few challenges.

Now, I've been finding out how one of Britain's best-loved sculptors

Henry Moore made and displayed his monumental works of art,

and many of them are installed right here in Hertfordshire.

Big, bold and hard to ignore.

Art galleries and public spaces are full of works of art

which are larger than life and part of our cultural landscape,

like Antony Gormley's Angel Of The North.

But how do the seeds of an idea grow from something so small

to something as monumental and dynamic as this?

The sculpture Henry Moore's Large Upright Internal/External Form.

I've come to his former workshop and home in Hertfordshire

to follow every stage of the creative process of making

works of art of a large scale.

From first sketch right through to final installation.

This site is now the very fitting backdrop for the largest

single collection of his life's work.

Including not just the sculptures but the photos, the maquettes

and the plaster casts from the time this was a very thriving workshop.

Henry Moore and his wife Irena moved here in 1940.

On site he established several studios

and he drew inspiration from the gardens,

the surrounding countryside and also little items

that he found in the grounds.

One of Moore's favourite additions to the site was his maquette studio

where ideas for big bronze sculptures would be modelled

first in miniature form.

Gosh, I wasn't expecting so many maquettes.

Maquette, meaning the French word for scale model.

This is how everything starts out. Now, here's a very good example.

Look at this.

Mother and Child. Look how it started out life. Two bits of flint.

Already you can see the shoulders, you can see the female form,

you can see the curves starting to shape. Isn't that lovely?

Initially it was a means to an end for a lot of artists.

They had to make the model in plaster for it to be cast in bronze.

Once the bronze was finished the model was broken up

so no other bronzes could be cast. It kept the value of the bronze up.

But after a while many artists, especially Henry Moore,

realised the value in the little models made of plaster themselves

and Henry Moore started to keep them.

They became works of art in their own right.

All the maquettes I make, more or less, in the same material.

That is plaster, because plaster you can mix it and build on it

and cut it down, and you can leave it alone for a month

and it doesn't change.

You can go back, wet it down and add to it and alter it. It is a erm...

A sensible and useful, for me, material.

But the process of translating maquettes to multiple times

their size in bronze or marble was a painstaking and lengthy one.

Now, for me, this is where all the magic starts to happen.

Things come to life.

It's a process called scaling up,

and here is a very, very good example.

You can see it's a mathematical methodical process.

Here is the small scale model.

Can you see the grid reference behind it?

This is Henry Moore's draped, reclining Mother and Baby,

and you can see how it's made ten times larger in plaster there.

But things don't always go to plan mathematically,

so Henry Moore has used his eye

and his instinct to shape the figure so it's more pleasing to the eye.

And once thee sculpture had been scaled up to its final size

Moore then had to decide how and where to display it

to its best effect.

The Sheep Piece is a wonderful example of Henry Moore

using the environment and the landscape to show off his art.

He was fascinated by sheep.

The way they'd wander up to his studio, curiously having a look

at what he was doing and Henry Moore would tap on the glass.

He decided that sheep were the perfect size to enhance the arts.

A cow or a horse would take away the scale,

the monumentality of the piece and in 1978 he brokered a deal

with the local farmer that he could only graze sheep on the field.

He was right as well, the sheep look absolutely perfect with this.

And it's become their space now.

Today Moore's work is installed across the globe in parks

and galleries in 38 countries.

As curator at the Henry Moore Foundation Sebastiano Barassi

is one of several staff who make Moore's work available

to international museums and public spaces.

So how do you go about planning moving large scales of art like this

on this proportion?

It's a very complex task which involves a lot of people.

It takes a lot of planning in terms of liaising with the venue

where the works will be shown.

We have to make sure that the journey to the venue is safe

and we have to make sure that we pick the right place,

the best place for the work in the venue, whether outdoors or indoors.

And, quite crucially, if works are shown indoors

-we have to make sure that they fit through the door and they...

-Sure.

You know, you don't get there and suddenly find...

-Measure up before you leave home.

-Pretty much, yes.

As simple as that,

but sometimes you'd be surprised how these things can be forgotten.

Ultimately our priority is to have these works on show

-as much as possible.

-Sure.

And to make sure that the widest possible audience is...

Have you any particular favourite installations around the world

that you're proud of?

My favourite work by Moore is the Reclining Figure

he made in the late 1950s for the UNESCO headquarters in Paris.

It's a really beautiful piece.

The other thing I quite like about it is the fact that UNESCO's remit

is very much in keeping with and in tune with Moore's own humanism

and desire for social engagement and to involve the public.

Everybody can embrace it and touch it,

which I think's a really important thing to do.

It's quite a unique experience. In most places you would find,

-"Please do not touch."

-Exactly, and cordoned off.

Or barriers, absolutely, but no,

this is very much Moore wanted, how he wanted his work to be experienced.

Now, this is a particularly special piece of sculpture

titled Large Figure In A Shelter.

It was Henry Moore's last piece he created, and it's his largest piece.

Installed in 1987 shortly after his death.

To give you some idea of how difficult it is to move works of art

like this, this piece weighs the equivalent of ten male elephants.

Can you imagine moving that around the world?

In his later years Moore became increasingly concerned

about how to protect his collection.

He set up the Henry Moore Foundation in 1977 to encourage

the public appreciation of visual arts.

Today the foundation continues to promote sculpture in the UK

and aboard through grants and exhibitions.

Henry Moore produced over 800 sculptures during his lifetime,

and his works can be seen in public places all over the world

enjoyed by millions of people.

For me, though, seeing the sculpture here installed in the place

where they were made ticks all the boxes.

They embrace nature,

they sit in harmony with their surroundings,

they show how an artist can work with his environment

to create monumental pieces of art like this,

and it's as if they've always been here.

Welcome back to our valuation day at Ashridge House in Hertfordshire.

The sun is still shining and everybody is still smiling.

Plenty of work to do for our experts, though.

We need to find three more items to take off to auction.

And so over to Thomas who's found a dancing doll.

-I'm quite enjoying myself.

-Yes.

So, what do you know about this?

Well, it's come from my grandfather and he was a restorer

and French polisher of pianos, and he said that it was

an articulated doll that he used to play on top of pianos

to the music that was played.

-As I'm doing with a makeshift pencil?

-Yes.

Yeah, cos we're missing the pole at the back.

-The pole, yes, there's no pole.

-Where was this? Was this in his room?

-Yeah, it actually was sitting on the mantelpiece.

-Was it?

Yeah, next to a big old black clock with a couple of horses alongside it.

Did it intrigue you as a boy?

It did intrigue me, yes, because it... Well, again, those...

We didn't have many toys, so it was something that, you know,

-you could play with...

-And you were allowed to play with it?

-Yes, we were allowed to play with it.

-It really would be intriguing

-as a young boy. You'd probably say, "what's that funny thing?"

-Yes.

-And so when he moved on from this earthly planet...

-Yes.

..did you then get to have him?

My father then kept it

and when my father died I was given it then as a keepsake.

I think it's quite interesting from a sort of puppet point of view.

-I think this is a Victorian toy.

-Right.

And I think toys in the Victorian period weren't only

just for children, they were for adults as well.

-This is well-articulated, isn't it?

-Yes.

The limbs and the arms, and the body is quite well decorated.

-Is it continental? Is it British? I don't really know.

-No.

Have you any idea?

To me it looks continental, but that's only by looking at,

-you know, a lot of wooden toys.

-He is rather nice.

Why have you brought it along?

I've got two children and I can't split it in half, so...

If somebody... It might go to a museum or something

that was a genuine collector of that type of article.

I want to give you a strong valuation cos I don't think

it's worth giving away.

-I want to say between 70 and £100.

-Right.

-How does that grab you?

-That's fine.

-And we can reserve it at round about the £60 bracket.

Yeah, I think I'd be quite happy with that, yes.

Cos I think it's rather charming, and it has the naivety about it

which will appeal to both decorators and collectors.

Oh, right. I see.

-So, you'll come along to the auction?

-Of course, yes.

And I hope, whatever his name is, will dance the merriest jig for us.

Thanks very much indeed.

Now let's catch up with Claire who's made a scientific discovery.

-Well, hello, Florence.

-Hello.

Nice to meet you, and you've brought a really attractive polished

-mahogany box here, haven't you?

-Yes.

-When it opens out - hey, presto.

A rather magnificent-looking microscope there

with a huge collection of objectives.

So, quite a superior item. Nicely made.

Has a very specialised market, though, microscopes,

-they can be a bit tricky to sell.

-Yes.

So sometimes the value isn't huge.

But you've also brought in a couple of rather nice boxes here of slides

-to go with it. Botanical subjects, mainly, aren't they?

-Yes.

They've got all their little cards and things there.

Nice sort of late 19th century ones. So...

Quite an unusual object. You've lugged this quite a long way.

It's very heavy. Tell me a bit about it. Where did it come from?

Well, my husband bought it about 54 years ago,

and he bought it off a very old gentleman then

who was quite happy to sell it to him because he knew he was interested

-in it and he'd look after it.

-Yeah.

So my husband bought it

and he's had many, many years of happiness on it.

-So he used it?

-Yeah, he did use it.

-Oh, right.

-Yes, he used to go past puddles, do a few puddles.

-Yeah?

-Pick a little jar up...

-Take it home and look at it?

And then he'd come home and then he'd drop the water on the slide

and look through it, and say to me, "Come and have a look at this,"

-and he was so thrilled.

-Oh, that's nice,

cos very often these things are bought and people don't really know

what to do with them. So the fact that it was used.

But it's fascinating, and lovely to be able to look at

all the sort of little creepy crawlies and things...

It was, once you looked through it and see these things moving,

-it was wonderful.

-Gives you a different perspective

-on what's going on in a puddle, doesn't it, really?

-Oh, yes.

And obviously it's a 19th century scope and 19th century slides,

-so obviously he was using a collectable item then, really.

-Yes.

It already had age when he bought it.

Yes, a very elderly gentleman who had it.

It is more than just a student's instrument,

-I mean, this is quite a specialised instrument.

-Yes.

With all these different objectives in here you can look at

a whole range of things.

It's a nice item, and I think especially

because you've got the slides with it,

because there are really keen collectors purely for the slides.

-Really?

-Especially if they've got little insects and bugs in them,

cos some of them they're not even sure they're in existence now,

-so it's a sort of historical interest.

-Yes.

-So, I guess we have to talk money. I think an estimate of 3-500.

-Yes.

-Nice broad estimate there.

-Yeah.

-Does that sound good to you?

-I'm quite happy, yes.

-Would you be happy with a £300 reserve on that?

-Yes.

-Happy with that?

-Yeah.

-Sure?

-Just about.

-Well, the thing is not to overcook it.

-No.

-Keep it sensible.

-Make sure it's a price you're happy with.

-Yes.

And then hopefully you get them all there

-and they get really excited and they spend a lot of money on it.

-Good.

-So, what are you going to put it towards?

-Central heating.

-Central heating?

-Yes, it's packed up.

-Oh, no!

-So you really want to get on with that.

-Yeah.

-Yes, yeah.

-Well, I shall look forward to seeing you at the auction.

-Thank you.

And we shall do our very best to get you a radiator or two fixed.

Yes, that's what it'll buy.

That was a well-preserved example of 19th century science.

Let's hope it entices the botanists in the sale room

so we can get Florence's heating fixed.

So, here we are, this palatial mansion, huge,

would've had many fireplaces.

The tiles backing those fireplaces...

would have no relationship to these ones here.

These would be in far more modest accommodation.

However, there's an interesting relation between the two.

How did you come by them?

Demolishing the fireplace that they were inserted inside.

-And where was that?

-Two fireplaces. In the last house I had.

-Oh, really?

-Built about 1860.

-Yeah. These would be 1860s, 1870s, absolutely.

The reason why I say there's a sort of relationship between

the two things is that the house

we see behind us is medieval, it has 19th century additions to it.

These hark back to that medieval period.

They hark back to that romantic time.

They're by Minton, but more importantly these designs

are by a person by John Moyr Smith.

John Moyr Smith was a designer from that late 19th century period

when it was terribly fashionable to look upon the allegorical stories

of the past and design scenes around them.

And here we have the seasons.

So we have summer here with Celadon and Amelia,

and this is a representation of a poem from the 18th century.

I don't think Amelia was in love with Celadon,

but Celadon got swept away in a storm, hence the lightning.

But that's rather fun, isn't it?

And then we've got autumn - Comes Jovial On.

I don't know the story behind this one, but he is here with his scythe

here, and he's sort of reaping the rewards of his harvest.

Winter - looks like a Scottish gentleman in his tartan here

-and almost like a Tam o'Shanter hat.

-Yes, and the ginger hair.

The Snow Storm. I think that's a rather attractive one.

And then we've got spring with the ploughing of the land

and the planting. Doesn't look like he's putting much effort in

cos ploughing takes a bit more effort than that

to drag that plough down.

You don't just hold it one hand and the oxen in the other.

This is the problem with Victorians,

they had this romantic view of things.

And here's one typically romantic.

So tell me, you were very careful when you took these off.

-I was, yes.

-Did you know they had a value?

-No, I was going to use them, but your taste changes.

-Yes.

They've been lying in the cupboard for about 20 years.

Right, fair enough.

Well, luckily for you there are tile collectors out there.

-So, I would value them at 120...

-Yes.

-..to £180.

-Yes.

-I'd put a reserve at £100.

-Yeah.

-I don't think there's any point giving them away.

-Oh, no. No.

I'd rather keep them and use them. Too nice to leave in the cupboard.

-Absolutely. Well, see you at the auction.

-OK. Thanks a lot.

Thankfully we have now made our final choices

inspired by our wonderful surroundings - Ashridge House.

It's time to say goodbye to this magnificent venue as we head over

to the sale room for the very last time.

And here's a quick reminder of all the items

that are going under the hammer.

Ken's Victorian toy used to dance on top of his grandfather's piano.

But will he find a new place to boogie?

We're hoping that the botanists will bid it out for this beautiful

brass microscope and collection of slides.

And will it be a wintry reception or a summery breeze at the sale room

for the fabulous four seasons tiles?

We're back at the Tring Market Auctions,

and like all auction houses sellers have to pay commission.

Here it's 15% plus VAT on the hammer price.

Just before we get under way here's what auctioneer Steven Hearn

thinks about the value of the brass microscope.

We've got a value of £300-£500.

Now, I know you've changed that, haven't you?

Yes, I moved that on, Paul, because I think it deserved

-an estimate somewhere between £500 and £700.

-I don't blame you.

I mean, that's a good London maker within itself.

And we've got to remember Swift and Son,

they supplied the microscope for Captain Scott.

They didn't, didn't they,

but it's the boxes of slides that really interest me.

It's that documentation that you don't see every day of the week

come up for sale in auctions.

And they have individual values, the slides.

It's a bit like collecting stamps on occasions.

There are certain parts of certain insects that are worth a lot more

-than parts of an another insect.

-I think they're fabulous.

Has there been a lot of interest?

There's been quite a lot of interest locally

because the town itself has been connected in the past

with entomology through the museum at Tring,

the Natural History Museum.

Let's hope there's a sting in the tail

-at the end of the sale, shall we?

-Yes, let's hope so.

Introducing Kenneth, a man for all seasons.

That's exactly what's going under the hammer right now.

Four Minton tiles, the four seasons. Quality, quality, quality.

Great ceramics. Why are you selling these?

They've just been lying in my cupboard for over 20 years.

I never found a use for them.

I mean, they make good kettle stands and things like that.

Good coasters and... A coaster on the dining table.

We've seen these sets before sell on "Flog It!"

and we've seen them separately as well.

Thank goodness you've got all four.

They sell well and they make great coasters.

They do, and these are Minton John Moyr Smith,

great Arts and Crafts designer.

So if you love Arts and Crafts, you'll love these.

They're going under the hammer right now.

Number four - 104, now.

We have some Art Nouveau Minton's pottery tiles.

-They're in jolly good order.

-Yeah, I love these.

80 for them? 70 for them? 70. Five. 80. Five. 90.

Are you going to be the five?

100, thank you. £100.

Come on, that's a good opener.

Lady over there. There you go.

130. 40? 140.

150? 150. 160.

No more?

At 150, then, they're going. £150. Thank you.

That's quite good.

Gosh, that lady moved in, bidding, bidding, bidding,

made sure she had them, didn't put her paddle down and walked out.

-Literally, did you see that?

-Just here for the tiles.

If someone pushed her she'd have kept going.

She was that determined and that's the beauty of auctions.

-That's a good result.

-Yes.

-That's a very good result.

Right, ready to do some dancing? Well, we are.

I've just been joined by Ken.

We've got that wonderful articulated doll going under the hammer.

-I love this because it's naive. Really hard to put a value on.

-Yes.

So where has it been? I know it's been in the family a long time.

It's been sitting in the cabinet, and because it's dark-coloured

it's just in the corner and it doesn't really...

-You just don't appreciate it.

-No. No.

-It's definitely continental, this.

-Oh, yes.

It's got the look of something Italian, maybe.

I would say northern Italian, that sort of 19th century

Punch creature.

Something, you know, drawn from their myths, their legends,

-their stories, isn't it?

-Yeah.

-I love it.

It's a thing that puts a smile on your face and that's what it's

all about. A nice thing to invest in.

Let's find out what the bidders think.

Lot number 141. There you are, the carved wood dolly.

Carved and painted. 100 for that, or 50 for that one.

What about £40 for dolly?

Five, 50, 60, 70, 80 now.

One more. 80... 90.

-You're out, man. 90's got the dolly.

-£90.

At £90 I shall sell Dolly. £90 then, sir, thank you.

-Yes.

-Fantastic.

-That's a good result £90. I'm happy with that.

Really good.

I'll take my wife to The Ritz and give her a cream tea, now.

Well, it's the microscope up next

and I think there will be a real enthusiasm for this.

Remember, Tring has strong zoological connections,

so finger crossed for a botanic bidding battle.

-Good luck, Florence.

-Thank you.

I have been waiting for this moment ever since the valuation day

cos I saw this and I said to you,

-"Oh, I like that, I like that," and I know you spotted it as well.

-Yeah.

You did the valuation. I just think the cases of slides

that go with this are so well documented.

It's a lovely piece of history here, and I had a chat to Steven,

the auctioneer, yesterday. He's happy with the valuation.

He knows it's going to sell at what you said,

-but he's upped it a little bit.

-Oh, right, excellent.

-So we're now looking at £500-£700.

-Yeah, it's a nice lot.

The slides are so decorative, apart from anything else.

They're beautifully presented.

I hadn't seen it for 20 years because it was put in the cupboard,

and then I opened it a couple of days before I came to

"Flog It!" and when I looked at it I thought, "Wow!" You know,

so it even surprised me after 20 years.

It's going under the hammer right now.

Let's find out if there's any interest online or on the phones.

Right, now lot number 106.

There we are, a very fine microscope

and also the two boxes of prepared slides with it.

500 I'm bid for it now.

520, I have it. And 50, 80, 600.

And 20 and 50 and 80.

700 we're bid. 720 and 50 and 80.

Yes, 780.

800 we're bid. 820, 850, 880.

-This is very good.

-£900.

-£900.

At £900 and we're bid for it.

-920, 950.

-And there's more to come.

980. £1,000.

£1,050. £1,100 we're bid. And 50.

1,200. And 50. 1,300. And 50.

1,400. And 50. 1,500. And 50.

This is what it's all about. This is a proper auction.

-£1,650.

-£1,650.

I'm going to get you a chair in a minute.

1,800, perhaps?

No, but 1,800 in the room.

1,850. New bidder.

-Fresh legs.

-1,900.

And 50. 2,000. And 50.

2,100. And 50.

2,200. And 50.

2,300. And 50.

Slightly underestimated this item.

-2,400.

-Yeah. It was.

Yeah, it was, wasn't it?

2,500, sir. 2,500. And 50 now.

At 2,500 I'm selling. 550.

-2,600.

-£2,600.

-I can't believe it.

-Gosh.

2,800. And 50. 2,900.

This is incredible.

It's mad.

3,100. 3,200. 3,300.

3,400. 3,500. 3,600. No?

At 3,600 in the room.

I'm selling, then. It's going down at £3,600.

Thank you, sir.

That's a sold sound, isn't it?

Florence, £3,600.

Everybody is giving you a round of applause in the auction room.

Wow. Wow.

-It exceeded all our expectations.

-It did, it really did.

That is a great result. Oh, look, enjoy it, won't you?

-Well done, Claire.

-And thank you, Claire.

-Oh, thank you.

It's been an absolute pleasure. I'm so pleased for you.

Thank you very much.

Wow! We had two bidders going head-to-head, neither one wanting

to lose the microscope

which sold for over six times its reserve price.

Let's see what they had to say about the final outcome.

I feel I've paid a lot of money for them, but that's auctions for you.

Sometimes you win, sometimes you lose,

but I was obviously prepared to pay that amount.

I'd calculated how much I wanted to pay, got a bit carried away

and probably bid more than I intended to.

Obviously I was disappointed, but the other bidder looked as if

he was fairly determined and was going to carry on bidding.

They're a good collection of quality microscope slides.

Unusual to have such a good collection all in one go.

I will probably save and collect some of them

and trade a few of them, as well.

What a wonderful way to end the show.

We've had such a marvellous time here in Tring,

and I know you have, haven't you? We've made your year, haven't we?

You certainly have.

If you've got something like that we want to see it,

but until then join us for many more surprises. Well done, you, Florence.

Thank you very much, Paul.

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