0:00:04 > 0:00:10Today, we're in a place where the old meets the new and they sit together in perfect harmony.
0:00:10 > 0:00:15The Ashridge Estate started out life as a medieval monastery and industrious monks built this barn
0:00:15 > 0:00:18to teach scripture to passing pilgrims.
0:00:18 > 0:00:22Today, 700 years later, it's still a place of learning and pilgrimage.
0:00:22 > 0:00:25For one day only, it's home to Flog It.
0:00:47 > 0:00:51Our valuation venue today is in Berkhamsted in West Hertfordshire,
0:00:51 > 0:00:55nestled between the Dunstable Downs and the Chiltern Hills.
0:00:55 > 0:00:58You could say it's the real Watford Gap.
0:01:00 > 0:01:05Now, Ashridge House has played host to many distinguished guests over the years -
0:01:05 > 0:01:11Oscar Wilde, the Shah of Persia, and in the 16th century, it even belonged to Queen Elizabeth I.
0:01:11 > 0:01:14But for today, we're the ones with the keys to the door.
0:01:14 > 0:01:17Judging by this massive queue, it looks like
0:01:17 > 0:01:20we'll take over the whole house.
0:01:20 > 0:01:25Hundreds of people have turned up, laden with antiques and collectables, all after a valuation
0:01:25 > 0:01:32- and all eager to get inside. This is now the front of the queue. Ready to go in, everyone?- Yes!- Come on then.
0:01:37 > 0:01:44And taking up residence at the tables today are our trusty experts, lord of the manor Thomas Plant...
0:01:44 > 0:01:46Did you lift this in yourself?
0:01:46 > 0:01:50- You've got big muscles.- Not really. - No?- It's stupid.- What do you mean?
0:01:50 > 0:01:55- That's really chunky.- It is.- And the lady of the house, Claire Rawle.
0:01:55 > 0:01:57- Some seaside postcards.- Oh!
0:01:57 > 0:01:59I don't think you should see these.
0:02:03 > 0:02:10From the very small to art on an industrial scale, we've got something for everyone today.
0:02:10 > 0:02:14But can you guess whether it's this Tilley lamp or this gold ring
0:02:14 > 0:02:17that more than doubles its reserve price?
0:02:19 > 0:02:24That is the end of the queue and it's a good job we made an early start today
0:02:24 > 0:02:30because hundreds of people means hundreds of antiques to look at. Our experts do have their work cut out.
0:02:30 > 0:02:34Let's catch up with them and see who's first at the tables.
0:02:36 > 0:02:39Well, David, you have made my day today.
0:02:39 > 0:02:41I just love this stuff.
0:02:41 > 0:02:45Railway ephemera, some of it really quite early.
0:02:45 > 0:02:48Lovely, lovely selection here.
0:02:48 > 0:02:52- But this is the tip of the iceberg, I gather.- It certainly is.
0:02:52 > 0:02:57- Oh, wow! There's a whole load more to go with it.- Oh, yes.- Excellent.
0:02:57 > 0:03:03So tell me a bit about it, how you came by it and your connections with the railway, actually.
0:03:03 > 0:03:07I come from a long line of railway men going back to Great-grandfather.
0:03:07 > 0:03:10And then both grandfathers worked on the railway,
0:03:10 > 0:03:13both my parents, various uncles,
0:03:13 > 0:03:18and it was a natural progression for me to become a train driver.
0:03:18 > 0:03:23And I'm proud that I'm the first train driver in our family.
0:03:23 > 0:03:29- So this is all stuff that's come down through the family?- No, it's what I've collected over the years
0:03:29 > 0:03:32because I've always been interested in railways
0:03:32 > 0:03:37and various pieces I've picked up because they were of local interest.
0:03:37 > 0:03:42And there was a slight connection because Dad's first job was a telegraph boy
0:03:42 > 0:03:44on the London, Midland and Scottish.
0:03:44 > 0:03:50- And I managed to pick up an old telegraph.- Oh, yes.- That was LMS.
0:03:50 > 0:03:55- Then various places where I lived. This was the next station to where we lived.- Right.
0:03:55 > 0:04:00And this one dates from 1855 when the Liverpool and Manchester was only 25 years old.
0:04:00 > 0:04:04- So it's about the earliest piece you've got, that one?- It is, yes.
0:04:04 > 0:04:10It's quite interesting because here we have history of railways and what happened
0:04:10 > 0:04:15and we're sitting in a house that was built out of the fortune made through canals.
0:04:15 > 0:04:19- What did railways do? Saw off the canals, really.- They certainly did.
0:04:19 > 0:04:22So, yeah, historically, a really interesting connection.
0:04:22 > 0:04:26You've decided now that you'll part company with your collection?
0:04:26 > 0:04:32- Yes...- Right. - ..because I'm actually building a model railway.- Oh, are you?
0:04:32 > 0:04:36- Yes. - Now, what gauge are we talking?- N.
0:04:36 > 0:04:38Oh, right, fiddly!
0:04:38 > 0:04:43- It's tiny. Oh, right. It's not driven you mad yet then?- No.
0:04:43 > 0:04:47It's a very nice collection. I picked out a few things.
0:04:47 > 0:04:51Great Western is my sort of area, God's wonderful railway, of course.
0:04:51 > 0:04:58I had to show something from Taunton and Cullompton to Tiverton, all sort of areas I come from.
0:04:58 > 0:05:03- That's the great thing because there were stations everywhere.- There were.
0:05:03 > 0:05:07Nearly everyone has a connection somehow with where there used to be a station.
0:05:07 > 0:05:11Nearly every family had someone working on the railway at one time.
0:05:11 > 0:05:15- It was a big employer and it opened out the countryside.- Yes.
0:05:15 > 0:05:21Then Mr Beeching came along and there we are. A lot of people will think it's just tatty bits of paper.
0:05:21 > 0:05:25But you have tatty bits of paper that add up to quite a lot of money.
0:05:25 > 0:05:32- I think you should put it in at £100 to £150, £100 reserve. Are you happy with that?- I'm very happy.
0:05:32 > 0:05:36I'm guessing the money is going to our N-gauge?
0:05:36 > 0:05:40- It certainly is.- And it'll go on to other enthusiastic collectors,
0:05:40 > 0:05:44- so I shall see you in a few weeks' time. Thanks.- Thank you very much.
0:05:46 > 0:05:51From steam to smoke, Thomas has another classic collection outside.
0:05:51 > 0:05:57So, Diana, this little collection here has quite a bit of family history.
0:05:57 > 0:06:03Oh, yes, indeed. My dad was a managing director of Dunhill, so he kind of collected lighters.
0:06:03 > 0:06:09And this was a presentation they gave to him in 1978 when he left the firm.
0:06:09 > 0:06:14- Pipes?- Yes, all with spots on. - All with spots on. Absolutely. So was he a pipe smoker?
0:06:14 > 0:06:18Yes, indeed. You know, about half of those are smoked.
0:06:18 > 0:06:22Right, OK. And do you remember the smell?
0:06:22 > 0:06:29Yes, because he used to bring tarred ones in and it used to smell of the tar from the outside of the tobacco.
0:06:29 > 0:06:33To be quite honest, when they really got a fug up, no, thank you.
0:06:33 > 0:06:38- The fog...- I'm not a smoker. - No. You've never smoked?- No.
0:06:38 > 0:06:41So we're looking at smoking memorabilia.
0:06:41 > 0:06:46Smoking right now is probably not the most PC occupation
0:06:46 > 0:06:52and I think this harks back to a stage where smoking was something which people felt was glamorous,
0:06:52 > 0:06:55- felt was...- Film stars.- Film stars.
0:06:55 > 0:06:59- And people didn't realise the health risks to it.- Yeah.
0:06:59 > 0:07:01However, in saying that,
0:07:01 > 0:07:05smoking-related memorabilia, especially lighters,
0:07:05 > 0:07:07- hold a value.- Yeah.
0:07:07 > 0:07:12They hold a value, certainly, if they're made by certain houses.
0:07:12 > 0:07:18This house here, this tobacco house made fantastic lighters
0:07:18 > 0:07:20which work and are super quality.
0:07:20 > 0:07:24So the value, I have to say, lies in these.
0:07:24 > 0:07:26Yeah. Not in the new pipes?
0:07:26 > 0:07:30A little bit, but nowhere near as much as these.
0:07:30 > 0:07:34- Yeah, OK.- They very much like the ones with something else to it.
0:07:34 > 0:07:37- Yeah.- Like these here with the lapis on the top
0:07:37 > 0:07:41- and the enamel down the side of this one.- Uh-huh.
0:07:41 > 0:07:45- It's quite pretty, the textured one. - Yes, it's beautiful.
0:07:45 > 0:07:50And you've got the enamel on the side here, but, of course, what's good about Dunhill
0:07:50 > 0:07:53- is that everything was quality. - Yeah.
0:07:53 > 0:07:57- And still today does beautiful, beautiful things.- Yeah.
0:07:57 > 0:08:00I would say that each one of these
0:08:00 > 0:08:04- is worth between £50 and £80. - Very good.- And the cabinet as well.
0:08:04 > 0:08:08So I would suggest that if we were to offer this up at auction,
0:08:08 > 0:08:14saying that these were worth £50 to £80 each, the lot should be sold at between £400 and £600.
0:08:14 > 0:08:17- Jolly good.- As an auction estimate.
0:08:17 > 0:08:20- Will you come to the auction? - That'd be lovely. I'll enjoy that.
0:08:20 > 0:08:23- I look forward to seeing you there. - Thank you.
0:08:24 > 0:08:29Now, our valuation day venue has some fascinating collections of its own
0:08:29 > 0:08:34and Toby Roe from Ashridge House wants to show me one of their most precious items -
0:08:34 > 0:08:38an original lease signed by a very prestigious landlady.
0:08:38 > 0:08:44It's a fascinating document. Does it belong to the history of the house, Toby?
0:08:44 > 0:08:48Indeed. It's always been a part of the estate property
0:08:48 > 0:08:54and it's the lease to Richard Coombs, who was a gentleman farmer in Hemel Hempstead, by Elizabeth.
0:08:54 > 0:09:00It was two years before she became Queen that she leased Ashridge to Richard Coombs.
0:09:00 > 0:09:07- This is early 1550s?- Yeah, we believe 1556 which was two years before Elizabeth became Queen.
0:09:07 > 0:09:12- I believe it's signed by Elizabeth herself?- We believe so and that's the really exciting part.
0:09:12 > 0:09:17Ashridge has got a fascinating history with many royal connections
0:09:17 > 0:09:23and Elizabeth I is the most famous royal connection we've got, so to have her signature is amazing.
0:09:23 > 0:09:27I did look at it for about ten minutes. It is a hard read.
0:09:27 > 0:09:31It is indeed. It's written in a very old style of English,
0:09:31 > 0:09:35but when we have visitors to Ashridge, they are fascinated about it
0:09:35 > 0:09:40- because it is such an amazing link to the past.- It gives you a real sense of connection.
0:09:40 > 0:09:45I have seen documents signed by Elizabeth before at auction
0:09:45 > 0:09:51and they can vary from £10,000 to £20,000, depending on the subject matter, but this is priceless
0:09:51 > 0:09:54- and you would not want to part with that.- We certainly wouldn't.
0:09:55 > 0:09:58Now back to the valuations.
0:09:58 > 0:10:01Let's see what other historic treasures Claire has found.
0:10:01 > 0:10:07We're surrounded by classical art in here, a wonderful ceiling, wonderful paintings behind us,
0:10:07 > 0:10:13but Marian, we have a slightly different art here, much more cutting-edge and modern.
0:10:13 > 0:10:16- Tell me a bit about it. - It was done in the early 1960s.
0:10:16 > 0:10:21And my father, who is the artist here,
0:10:21 > 0:10:23worked for Bryant's, the builders.
0:10:23 > 0:10:27He was asked to design and paint these murals
0:10:27 > 0:10:33- in the first tower blocks that were built in the city of Birmingham in the '60s.- Oh, right.
0:10:33 > 0:10:37I believe the Queen opened it. It was quite a special occasion
0:10:37 > 0:10:40because at that time there were no tower blocks.
0:10:40 > 0:10:44Exactly. It was cutting-edge for architecture as well.
0:10:44 > 0:10:48They believed that these high-rise blocks were the new way to live -
0:10:48 > 0:10:53take people off the street, put them in the blocks and all the art that went with it...
0:10:53 > 0:10:56- Your father was Arthur Phillips. - That's right.
0:10:56 > 0:11:01These watercolours were the finished item, but then they would have been scaled up,
0:11:01 > 0:11:07- so the photographs are the finished...- The finished murals in the tower block building.
0:11:07 > 0:11:12Yes, for that one. That's the finished product, almost a building, an industry.
0:11:12 > 0:11:15This one, I have the photograph here.
0:11:15 > 0:11:20Yes, his brief was to represent the buildings that had been there
0:11:20 > 0:11:26- and with the changes and the new structures, the new tower blocks that took their place.- Yeah.
0:11:26 > 0:11:29They're wonderful. He was a gifted artist.
0:11:29 > 0:11:31He was a prolific artist.
0:11:31 > 0:11:34Watercolour was his passion.
0:11:34 > 0:11:36Have you got quite a lot of his art?
0:11:36 > 0:11:40I have a vast collection of his art.
0:11:40 > 0:11:45The walls of my house are absolutely lined with paintings.
0:11:45 > 0:11:49Presumably, you've decided to start thinning out the collection?
0:11:49 > 0:11:55Well, these were in a drawer and although I look at them occasionally, they're in a drawer.
0:11:55 > 0:12:00The thing with this is it's an unknown... Well, your father's an unknown quantity,
0:12:00 > 0:12:05so you're marketing the style as much as anything else.
0:12:05 > 0:12:07My feeling is that I love them
0:12:07 > 0:12:11because they're quite fashionable today.
0:12:11 > 0:12:17Obviously, in the 1960s, this was the sort of art that was about,
0:12:17 > 0:12:22- then it was all looked a bit down upon, but it's come back.- Yes.
0:12:22 > 0:12:28It would be nice perhaps to sell a little group and also to incorporate a bit of history about him.
0:12:28 > 0:12:31The nice thing is that's a photograph of him, isn't it?
0:12:31 > 0:12:37I believe that was taken on the day that the tower blocks were opened by the Queen. I think that's right.
0:12:37 > 0:12:41Sometimes when you're trying to build a market for a new artist,
0:12:41 > 0:12:48it's nice to have a bit of history, nice photographs, make a bit of a thing about it, then market them,
0:12:48 > 0:12:52- so I would suggest trying them at 100 to 150.- Mm-hm.
0:12:52 > 0:12:57Reserve, perhaps £100, £90 maybe, just pitch it under the lower estimate?
0:12:57 > 0:13:01Yes. I'm not actually bothered by a reserve as such.
0:13:01 > 0:13:04If you're relaxed about it, let's put a reserve of 70 on them.
0:13:04 > 0:13:10It gives them a very good chance. I wouldn't like to see them sell for less. I'm sure they'll do fine.
0:13:10 > 0:13:15I look forward to seeing you at the auction. Who knows what'll happen?
0:13:15 > 0:13:19- Thank you for coming in with them. - Thank you for looking at them.
0:13:19 > 0:13:23It's certainly been a busy and industrious morning for our experts,
0:13:23 > 0:13:28but they have now made their first choices of items to take off to auction.
0:13:28 > 0:13:33We're going to put those values to the test. It's all down to the bidders now.
0:13:33 > 0:13:39What do they think? We're about to find out. Here's a recap of all the items going under the hammer.
0:13:39 > 0:13:45Train driver David is hoping his wonderful memorabilia will be just the ticket for one lucky buyer.
0:13:47 > 0:13:51Aiming to spark a bit of interest from the collectors, it's Diana's cabinet
0:13:51 > 0:13:55of late 20th century, Dunhill pipes and lighters.
0:13:56 > 0:14:01And Marian's father painted these detailed tower block designs in the 1960s,
0:14:01 > 0:14:04but can we find them a contemporary home?
0:14:05 > 0:14:09We're leaving Ashridge now, but staying in Hertfordshire
0:14:09 > 0:14:13and heading eight miles west to the ancient market town of Tring
0:14:13 > 0:14:16to put our items under the hammer.
0:14:16 > 0:14:22Trade in Tring dates back to the medieval times and the town still holds a thriving Sunday market,
0:14:22 > 0:14:24as well as today's fine art auction.
0:14:31 > 0:14:35It's auction preview day before the big sale. This is the best time
0:14:35 > 0:14:41- to look around the saleroom and also chat to the auctioneer. Hello, Stephen.- Hello, Paul.
0:14:41 > 0:14:46How many fine art sales do you have a year and how long does it take to put together?
0:14:46 > 0:14:51There are six of these a year and it normally takes two months to put it together.
0:14:51 > 0:14:57- OK. So you have general sales throughout the year. One or two a month?- Two every month.
0:14:57 > 0:15:00- You really have your work cut out. - That's right.
0:15:00 > 0:15:03Although there's over 300 lots here,
0:15:03 > 0:15:08we've needed over 15,000 lots to come through this saleroom to get this 300.
0:15:08 > 0:15:11Just to select this. How many staff have you helping you?
0:15:11 > 0:15:14- Well, we've got ten permanent.- Right.
0:15:14 > 0:15:20Everyone's involved in virtually the whole of the activities that take place here.
0:15:20 > 0:15:26- Are they all aspiring to be on the rostrum later on? - People do move on, yes.
0:15:26 > 0:15:31- Do you give a few lessons on the rostrum, let them have a go? - No, I don't believe in that.
0:15:31 > 0:15:38An auctioneer is a person who learns his own trade. It's a gift that you pick up. Practice makes perfect.
0:15:38 > 0:15:42But you need to be given the chance to get on there.
0:15:42 > 0:15:46- It does happen.- Good.- It does happen. - Hopefully, it'll never stop.- Thanks.
0:15:46 > 0:15:49'The auction house is packed and ready to go,
0:15:49 > 0:15:53'but will these bidders give top marks to our Ashridge antiques?
0:15:53 > 0:15:55'Let's get moving and find out.'
0:15:55 > 0:16:01I've been joined by David, the owner of these wonderful early papers and railway tickets. Who's this?
0:16:01 > 0:16:04- My lovely wife Penny. - Lovely to meet you.
0:16:04 > 0:16:10I've been told that David was going to put the money towards a model railway, but plans have changed.
0:16:10 > 0:16:16- They certainly have. It's the MOT. - We've all got bills and MOTs. We need to be kept on the road.
0:16:16 > 0:16:20- But I have high hopes for this. - They're nice collections.
0:16:20 > 0:16:24- Some unusual things in there. - Here we go. This is it.
0:16:24 > 0:16:26There we go. How about those?
0:16:26 > 0:16:31The hand-written railway tickets and other ephemera related to it.
0:16:31 > 0:16:33100 for those? Or 50 for those?
0:16:33 > 0:16:3660. 70. 80. Sir? 90.
0:16:36 > 0:16:39Would probably still take them. 100. And 10?
0:16:39 > 0:16:42No. £100 then.
0:16:42 > 0:16:44Is that it? It's going to be.
0:16:44 > 0:16:48I shall sell them then for £100. Sir, thank you very much.
0:16:48 > 0:16:51That was quick, that was quick.
0:16:51 > 0:16:53- Never mind. They've gone.- It's gone.
0:16:53 > 0:16:56- That'll help with the MOT. - It certainly will.- Yes.
0:16:56 > 0:17:00'That was the express service, rather than the slow train.
0:17:00 > 0:17:03'Next, original art from Marian's dad.'
0:17:03 > 0:17:09I've just been joined by Marian in the nick of time because your lot is about to go under the hammer
0:17:09 > 0:17:15and we're talking about the 1960s watercolours, the murals for the proposed development in Birmingham.
0:17:15 > 0:17:18And I must say, an interesting piece of history.
0:17:18 > 0:17:23Absolutely. I believe they were the first tower blocks built in the city.
0:17:23 > 0:17:26I wonder if they'll find their way back home?
0:17:26 > 0:17:30I would like to think so because the city museum and art gallery
0:17:30 > 0:17:33already has some of my father's watercolour paintings.
0:17:33 > 0:17:39Let's find out what the bidders think. It's going under the hammer right now. Good luck.
0:17:39 > 0:17:44These architectural art paintings, there you are, centred on Birmingham.
0:17:44 > 0:17:46What about 150 for them?
0:17:46 > 0:17:48Shall we say £100 then?
0:17:48 > 0:17:50- You never know, do you?- 70.
0:17:50 > 0:17:54- I thought we might...- There they are, showing there.- Are you 90?
0:17:54 > 0:17:56Yes. 100. And 10.
0:17:56 > 0:17:5820. 30. 40.
0:17:58 > 0:18:01140. 50.
0:18:01 > 0:18:05Come along. You can take them home. 160. I thought we would...
0:18:05 > 0:18:08160 then... 70 I'm bid for them now.
0:18:08 > 0:18:10170.
0:18:10 > 0:18:13It's only 70 miles up the road.
0:18:13 > 0:18:18No more then? At 170 then. I shall sell them at £170...
0:18:18 > 0:18:22- Good result. They've gone for £170. - I'm very pleased with that.- Good.
0:18:22 > 0:18:25I can see those being put on the wall somewhere.
0:18:25 > 0:18:28- Hopefully, in Birmingham. You never know.- No.
0:18:28 > 0:18:34- I know the buyer is in the room, so maybe you could catch up with him later on.- I'd like to.
0:18:34 > 0:18:36- Thank you for bringing those in. - Thank you.
0:18:36 > 0:18:40'Job done. Marian is happy and the buyer has got a bargain
0:18:40 > 0:18:43'with that unique collection of artwork.'
0:18:43 > 0:18:47Going under the hammer right now, we have a Dunhill smoker's cabinet
0:18:47 > 0:18:52which is virtually complete with pipes and half a dozen lighters. A looker!
0:18:52 > 0:18:54Why are you selling this?
0:18:54 > 0:19:01Just simply because it's my dad's and I haven't got room to put it in my house any longer, really.
0:19:01 > 0:19:05- Happy with the valuation? - Yes, thank you.- 400 to 600?- Yeah.
0:19:05 > 0:19:08There's loads of smoking ephemera with this.
0:19:08 > 0:19:12- There's a lot.- There's lots of these very fine Dunhill lighters.
0:19:12 > 0:19:18- If somebody who's a dealer could buy all those lighters...- I think this lot will be split up.- Yeah.
0:19:18 > 0:19:22There's a lot of value there. It's going under the hammer right now.
0:19:22 > 0:19:24Dunhill cabinet
0:19:24 > 0:19:29with all the pipes and all the Dunhill lighters in it.
0:19:29 > 0:19:32What about that one? Will we get 500 for it?
0:19:32 > 0:19:37500? 400? We're going to get 400. Thank you, sir. 400. And 20...
0:19:37 > 0:19:39The lighters.
0:19:39 > 0:19:41500. And 20. And 50.
0:19:41 > 0:19:44580. 600.
0:19:44 > 0:19:47And 20. And 50. And 80.
0:19:47 > 0:19:52- 700.- I was about to say it'd be nice to see £700. There's a lot there.
0:19:52 > 0:19:54780? Yes. 780. 800?
0:19:54 > 0:19:56800 I'm bid.
0:19:56 > 0:19:59- Definitely a lot that's going to be split up.- Yeah.
0:19:59 > 0:20:02- 880.- That's good.- 900. - This is very good.
0:20:02 > 0:20:07You're out. At £900, you lose it.
0:20:07 > 0:20:09I sell away from you at £900...
0:20:09 > 0:20:13- That's more like it.- Brilliant. - The hammer's gone down. Bash!
0:20:13 > 0:20:15- Wow!- £900, yes.- Great.
0:20:15 > 0:20:18We doubled that little value, didn't we?
0:20:18 > 0:20:21- Well done, Thomas.- Yes, very good.
0:20:21 > 0:20:24Yeah, there was a lot there, a lot there.
0:20:26 > 0:20:30'Another great result, showing that good brands are always popular.'
0:20:30 > 0:20:34Great works of art, whether it's paintings, poetry or novels,
0:20:34 > 0:20:38draw inspiration from all kinds of things in life,
0:20:38 > 0:20:40so I was rather intrigued to find out
0:20:40 > 0:20:47that George Orwell had based not only one of his best-selling novels on a location here in Hertfordshire,
0:20:47 > 0:20:53but also some of the characters in the book, so I had to investigate what inspired him so much.
0:20:57 > 0:21:04The tiny, but picturesque village of Wallington in north-east Hertfordshire, 40 miles from London,
0:21:04 > 0:21:07and with its idyllic hill-top scenes,
0:21:07 > 0:21:13seemingly a million miles away from the dystopian backdrops of George Orwell's political writing.
0:21:14 > 0:21:19And yet it's that farm in this peaceful village with this stunning view
0:21:19 > 0:21:24that George Orwell had in his mind's eye for the setting for the first of his iconic novels -
0:21:24 > 0:21:29the allegorical critique of Stalinism, Animal Farm.
0:21:32 > 0:21:38Orwell wrote Animal Farm in 1944 amid the threat of invasion from Nazi Germany
0:21:38 > 0:21:42and the deteriorating state of political affairs in Soviet Russia.
0:21:42 > 0:21:45Set at Manor Farm in the fictional village of Willingdon,
0:21:45 > 0:21:51the novel charts the uprising of a group of animals against their belligerent owner, Farmer Jones.
0:21:51 > 0:21:55Eric Blair, George Orwell's real name, first cast his eyes
0:21:55 > 0:22:00on this picturesque setting for his best-selling novel in 1936.
0:22:00 > 0:22:04By this point in life, Orwell had already travelled the world
0:22:04 > 0:22:08and he knew he wanted to make political writing his focus,
0:22:08 > 0:22:11but he just needed somewhere to put pen to paper.
0:22:11 > 0:22:15So, armed with a £500 advance from the publishing company,
0:22:15 > 0:22:21he leased a cottage in the quiet village of Wallington without even seeing it and this is it.
0:22:21 > 0:22:27This picturesque little cottage is where he wrote The Road To Wigan Pier and two other novels.
0:22:27 > 0:22:33Having moved in, Eric Blair and his wife-to-be Eileen chose the little parish church
0:22:33 > 0:22:37as the venue for their wedding in the June of 1936.
0:22:39 > 0:22:42From the extensive diaries that he kept,
0:22:42 > 0:22:46we know that life here in Wallington was, for the best part,
0:22:46 > 0:22:51some of the happiest and most industrious years of both George and Eileen's life.
0:22:51 > 0:22:55They even reopened the village stores from their very own house,
0:22:55 > 0:22:59in fact, from this window, serving the schoolkids half-penny sweets
0:22:59 > 0:23:04and letting them use the phone box which would have been inside the house as well
0:23:04 > 0:23:08whilst attending their own brood of chickens and ducks and goats.
0:23:10 > 0:23:14Dan Pinnock's grandparents lived in the village at the time
0:23:14 > 0:23:17and owned the local store before Orwell took over.
0:23:18 > 0:23:20This end here is the stores.
0:23:20 > 0:23:24The room is 11 by 11 square.
0:23:24 > 0:23:26The ceiling height is six foot three.
0:23:26 > 0:23:32George Orwell was six foot four and the front door was three foot nine,
0:23:32 > 0:23:36so we're not really midgets in Wallington, but it helps.
0:23:36 > 0:23:39I think it suited him that Eileen managed the shop
0:23:39 > 0:23:41while he was busy writing.
0:23:41 > 0:23:46I wouldn't say that was why he married her, but it certainly helped his cause
0:23:46 > 0:23:49because he could devote his days to writing.
0:23:49 > 0:23:52But their simple life was about to change
0:23:52 > 0:23:55when political tensions in Spain reached boiling point.
0:23:57 > 0:24:02Impassioned by his socialist principles, Orwell felt compelled to go and join the revolution.
0:24:05 > 0:24:07It was a harrowing time for Orwell.
0:24:07 > 0:24:13He narrowly survived a bullet to the neck and he was forced to flee for his life.
0:24:13 > 0:24:19Within days of returning to Wallington, he started writing his next book, Homage To Catalonia,
0:24:19 > 0:24:23despite fierce opposition and a great deal of local suspicion.
0:24:23 > 0:24:27Certainly, as the war approached, they thought he was a spy
0:24:27 > 0:24:31because he was quite oblivious to any blackout when the war started,
0:24:31 > 0:24:35so the air warden would have to come up and knock on his door
0:24:35 > 0:24:40and he'd say, "Oh, not again," and draw his curtains.
0:24:44 > 0:24:48When war broke out in Europe the following year in 1939,
0:24:48 > 0:24:54Eileen took a job in London, working in the Censorship Department and only travelling home on the weekend.
0:24:54 > 0:25:00Despite all of these pressures, the couple managed to spend a few precious moments together,
0:25:00 > 0:25:03enjoying the garden and escaping the troubles of war.
0:25:05 > 0:25:09But Orwell, too, eventually made the move to London in 1940,
0:25:09 > 0:25:13leasing their cottage to friends and joining the Home Guard.
0:25:13 > 0:25:17There, he wrote political articles and produced BBC broadcasts
0:25:17 > 0:25:19to counter Nazi German propaganda.
0:25:19 > 0:25:25After all he'd seen, done and heard during the war and the Spanish revolution,
0:25:25 > 0:25:29the time had now come to write his critique of communism.
0:25:29 > 0:25:32In the autumn of 1943, George resigned from the BBC
0:25:32 > 0:25:36on the grounds of ill health and set about writing Animal Farm.
0:25:36 > 0:25:39Eileen would help him develop his ideas
0:25:39 > 0:25:45and it was her suggestion that he gave all the animals in the story names.
0:25:45 > 0:25:51This is Manor Farm. George Orwell could just about see this place from the driveway of his cottage
0:25:51 > 0:25:57and in his mind's eye, this is where the characters such as Old Major, Snowball and Napoleon would meet
0:25:57 > 0:26:02and plan their revolt in the great barn, and over there in the old yard, there was the dovecote.
0:26:02 > 0:26:08Architecturally, it was similar to a small windmill and maybe that was the seed of the idea
0:26:08 > 0:26:13for a windmill in the novel that the animals work so tirelessly to build.
0:26:13 > 0:26:19And while he changed the name of the village from Wallington to Willingdon in the book,
0:26:19 > 0:26:23villagers were left with no doubt that their home was his inspiration
0:26:23 > 0:26:28and some suspect he based his characters on some of the locals.
0:26:29 > 0:26:32Boxer was one of the main characters in Animal Farm,
0:26:32 > 0:26:35an easy-going, old carthorse
0:26:35 > 0:26:40that would do anything for anyone, really, if the cause was right and just,
0:26:40 > 0:26:44and we think the character is based on Mr H
0:26:44 > 0:26:48who was George Orwell's right-hand man, really.
0:26:48 > 0:26:51He lived about two doors away from him, dug his garden for him
0:26:51 > 0:26:55and also got his hay in and all that sort of thing.
0:26:55 > 0:26:58He'd dig all day for a pint of beer.
0:26:58 > 0:27:04"A little way down the pasture, there was a knoll that commanded a view of most of the farm.
0:27:04 > 0:27:08"The animals rushed to the top of it and gazed around them in the clear morning light.
0:27:08 > 0:27:12"Yes, it was theirs. Everything they could see was theirs."
0:27:12 > 0:27:16And I'd imagine that is the view George Orwell was talking about.
0:27:17 > 0:27:22The year of Animal Farm's publication was a bittersweet time for Orwell.
0:27:22 > 0:27:28His beloved Eileen, who had helped him so much with writing the novel, died suddenly
0:27:28 > 0:27:31and successive publishers had rejected his book
0:27:31 > 0:27:35which had been a hot potato in a country still reeling from war,
0:27:35 > 0:27:40but within several years of its publication, Animal Farm gained worldwide acclaim.
0:27:40 > 0:27:44It went on to become a multi-million best-seller
0:27:44 > 0:27:48and one of the most important novels of the 20th century.
0:27:48 > 0:27:54Orwell's last visit here was in April 1946 when he came to pick up a few of Eileen's belongings
0:27:54 > 0:28:00and say goodbye to a few familiar faces and no doubt have a final pint or two in the village pub
0:28:00 > 0:28:07before setting off to a remote part of Scotland to write his second iconic novel, 1984.
0:28:07 > 0:28:13Staying in Wallington without the love of his life Eileen proved a little too painful for him,
0:28:13 > 0:28:18but by then, he had already immortalised this idyllic backdrop for generations to come.
0:28:30 > 0:28:36Welcome back to Ashridge House where the crowd are enjoying the magnificent gardens
0:28:36 > 0:28:40and Thomas is also feeling inspired by his surroundings.
0:28:40 > 0:28:44- Amazing, isn't it?- It's lovely. - Beautiful carving on the front.
0:28:44 > 0:28:47Very ecclesiastical with those arches.
0:28:47 > 0:28:51But here we've got some very intricate carvings.
0:28:51 > 0:28:54These are ivory and these are Japanese.
0:28:54 > 0:28:59- We have to be very careful with ivory. Do you know when these were bought?- I don't.
0:28:59 > 0:29:05- Who did they belong to?- They used to belong to my mother.- Your mother's had them for some time?
0:29:05 > 0:29:07- The '70s.- '70s, she acquired them.
0:29:07 > 0:29:11The thing about ivory is it has to be older than 1947.
0:29:11 > 0:29:15These were carved in the late 19th century, very early 20th century.
0:29:15 > 0:29:20Obviously, we don't want to encourage the trade in modern carved ivory.
0:29:20 > 0:29:26So the CITES Agreement is there. That's where we establish ourselves with these. These are Japanese.
0:29:26 > 0:29:29They're carved in the Meiji period in Japan.
0:29:29 > 0:29:32Do you have any idea of what they are?
0:29:32 > 0:29:38- I understand that's probably a netsuke.- Yeah. Because you've seen these two holes?- Yes.
0:29:38 > 0:29:41- The two holes here... - Worn on a belt?- Absolutely.
0:29:41 > 0:29:48The netsuke was to go over the belt which is attached to your three-division purse called an inro.
0:29:48 > 0:29:52The cord would come in here, the two strands would go through the inro,
0:29:52 > 0:29:57meet at the ojime, which is the little bead which keeps the whole thing together,
0:29:57 > 0:30:01and this would go over your belt and it wouldn't sort of fall off.
0:30:01 > 0:30:08But this has never been on a Japanese man's belt. Made for our market, but beautifully carved.
0:30:08 > 0:30:12- So, value for that, have you any idea?- None at all, I'm afraid.
0:30:12 > 0:30:17- This piece I would value at between £150 and £250.- Really?- Yeah.
0:30:17 > 0:30:22- Would you be happy to sell that one? - Sure.- That one would go to auction at 150, 200.
0:30:22 > 0:30:26- This piece here... - I know it's been damaged.- It has.
0:30:26 > 0:30:31This is what we call an okimono and that's a free-standing figure carved purely as decoration,
0:30:31 > 0:30:37again carved in 1900 for our market in the west.
0:30:37 > 0:30:43- Right.- And this is depicting these mortals climbing up the ladder
0:30:43 > 0:30:46to have a look at the rest of the world,
0:30:46 > 0:30:53but as you so rightly say, the ladder has been damaged and it has had a bit of glue on it,
0:30:53 > 0:30:59- so I would suggest that this one here is only worth between £60 and £80.- Right.
0:30:59 > 0:31:04Now, my favourite... I love these. I think these are amazing.
0:31:04 > 0:31:08- So this is a clam. It's a carved clam in ivory.- Yeah.
0:31:08 > 0:31:13Again about the 1900s, but look at the intricate design.
0:31:13 > 0:31:18You just wonder how anybody could carve that and get inside to do it.
0:31:18 > 0:31:23You've got a little house in the background, a sort of prunus tree, a tree here,
0:31:23 > 0:31:29a couple of farm workers working in the foreground and a textured landscape.
0:31:29 > 0:31:32- It's just beautiful, isn't it? - Worth a bit more?
0:31:32 > 0:31:35- Well, £150, £250 as well.- Yeah.
0:31:35 > 0:31:38Maybe a little bit more, but let's be conservative.
0:31:38 > 0:31:40That's more than I thought.
0:31:40 > 0:31:44- Really?- Absolutely, yeah. - What were you thinking?
0:31:44 > 0:31:48- 50, 50, 50?- I knew that would be less because it's damaged.
0:31:48 > 0:31:51But it wouldn't have surprised me if you'd said 50 for these.
0:31:51 > 0:31:58- Oh, no, I think you'll be all right. They're rather good. Thank you very much. See you at the auction.- Yeah.
0:32:00 > 0:32:07'Now I've got my hands on something that is on a much larger scale, but just as clever in its design.'
0:32:07 > 0:32:12This is fabulous. I virtually jumped on you, Roo, when I saw you walking in with this.
0:32:12 > 0:32:14How did you come by this?
0:32:14 > 0:32:19It belonged to my grandparents. They passed away quite a while ago.
0:32:19 > 0:32:25My mother and I were clearing out their house and their garage and this was tucked away in a corner.
0:32:25 > 0:32:27- Can I have a look?- Certainly.
0:32:27 > 0:32:32- I can smell paraffin.- Yeah. That's the reservoir...- Just there.
0:32:32 > 0:32:34Yeah, it's a Tilley lamp,
0:32:34 > 0:32:39a traditional railway platform Tilley lamp from the 1930s right up to the '40s.
0:32:39 > 0:32:43- The fuel, as we know, paraffin - I can smell that.- Yeah.
0:32:43 > 0:32:49But it is known affectionately as the "doughnut" Tilley lamp because of the reservoir chamber there.
0:32:49 > 0:32:55- Isn't that such good design? - It is lovely.- It's cracking, absolutely beautiful.
0:32:55 > 0:32:59So many people buy these now because they convert them to electricity.
0:32:59 > 0:33:02If you had a study... If I had a study at home,
0:33:02 > 0:33:06I would have this hanging from the ceiling, even on a low ceiling.
0:33:06 > 0:33:11If you hang it so it's just short of the table, so you're using it as a task lamp,
0:33:11 > 0:33:17so when you stand, that's at eye height, then it becomes a good architectural detail.
0:33:17 > 0:33:20It's made in Hendon in London. There, look, you can see.
0:33:20 > 0:33:24- It's enamelled in black. The black is chipped.- Yeah.
0:33:24 > 0:33:30It is starting to scuff up. You can see it's been knocked around in the garage, can't you?
0:33:33 > 0:33:36But otherwise, look, the condition is very, very good.
0:33:36 > 0:33:42Everything here is complete. The original reflector, look, the white enamel.
0:33:42 > 0:33:45- Do you think it would work as paraffin still?- Yes, I do.
0:33:45 > 0:33:51- But it would be rather smelly and a little bit dangerous. - Yeah, health and safety.
0:33:51 > 0:33:55Outdoors on a railway platform, yes, it's OK, but not inside.
0:33:55 > 0:34:00Whoever buys this would like to buy it and convert it to an electric lamp.
0:34:00 > 0:34:06- I think if we put this into auction with a value of around £120 to £220...- Yeah.
0:34:06 > 0:34:10- Put a reserve on it of £100?- Yeah. - That's definitely going to sell.
0:34:10 > 0:34:15- Whether it goes at the lower end or the top end, I'm not sure. - Hopefully, the top end.
0:34:15 > 0:34:19I think that's one of the nicest things I've seen in a long time.
0:34:23 > 0:34:26So, Mairi, you've brought along this ring.
0:34:26 > 0:34:29- I have indeed. - Where did you get it from?
0:34:29 > 0:34:32- I got it at a car boot. - Run through the scenario.
0:34:32 > 0:34:35- What happened? - It was a long time ago.
0:34:35 > 0:34:41I think... I think I bought a pair of earrings with little stones in that I thought, "Ooh..."
0:34:41 > 0:34:45I think that was in the box as well
0:34:45 > 0:34:49and I picked them both up and I probably paid £1, £1.50.
0:34:49 > 0:34:52- No?- For the two.- Really?- Yeah.
0:34:52 > 0:34:56- Was this very early in the morning? - Not that early, no.
0:34:56 > 0:34:58Are you an early riser?
0:34:58 > 0:35:03Well, quite, but you see, with car boots, they charge to go in
0:35:03 > 0:35:10and I'm a bit on the tight side, so after nine o'clock, it's half price, so we normally go after nine.
0:35:11 > 0:35:15Listen, it's an extra bit in the pocket.
0:35:15 > 0:35:20- An extra bit in the pocket which you sort of then spent...- Absolutely.
0:35:20 > 0:35:24- ..on this fine ring. Can I look at it?- Yes.- What attracted you to it?
0:35:24 > 0:35:30- Do you know, I just picked it up. - You didn't even give it a moment's thought.- I didn't, I have to say.
0:35:30 > 0:35:34- And have you worn it?- Twice. - Many comments?
0:35:34 > 0:35:37- No, not really.- No.- No, not really.
0:35:37 > 0:35:42- Well, I can inform you that it is an 18-carat gold ring.- Right.
0:35:42 > 0:35:46It's 18-carat gold. White gold with little, yellow gold batons on there.
0:35:46 > 0:35:50It's marked "750" with the British hallmarks on.
0:35:50 > 0:35:53Then the stones here. You've got two, four, six, eight diamonds.
0:35:53 > 0:36:00They're probably 0.05 of a carat, so they're like "half a point", we call them.
0:36:00 > 0:36:05- So this was under a pound, you reckon, with the earrings? - I think, yes, yeah.
0:36:05 > 0:36:09- You've done rather well, haven't you?- Am I going to fall over?
0:36:09 > 0:36:11Are you going to fall over?
0:36:11 > 0:36:16I mean, your investment of a pound to get in,
0:36:16 > 0:36:18maybe a pound to buy it...
0:36:18 > 0:36:21- Yeah?- Yeah.- So £2 in total.
0:36:21 > 0:36:25We're definitely going to get you between £120 and £180.
0:36:25 > 0:36:29- Fine.- Fine? Is that all you're going to say?- That's very good.
0:36:29 > 0:36:32What's the rate? That's quite a good... Yeah.
0:36:32 > 0:36:36It's quite a good ratio. It's like 1,000%, isn't it, from £1?
0:36:36 > 0:36:39Thank you.
0:36:39 > 0:36:42Now, 120 to 180. A reserve? Let's not give it away.
0:36:42 > 0:36:45- No, OK then.- £100.- Right.
0:36:45 > 0:36:49- £100, bottom line.- OK, fine. - Yeah?- Absolutely, yes.
0:36:49 > 0:36:53- We'll do that.- OK. See you at the auction.- Mm-hm.- Lovely.
0:36:56 > 0:37:01That's it. Our experts have now made their final choice of items to go off to auction,
0:37:01 > 0:37:06so, sadly, it's time to say goodbye to our magnificent host location, Ashridge House.
0:37:06 > 0:37:09It has certainly inspired all of us.
0:37:09 > 0:37:12We've had a fun-packed day and it'll be sad to leave,
0:37:12 > 0:37:15but now we have to put those valuations to the test.
0:37:15 > 0:37:21Here's a quick recap, just to jog your memory, of all the items that are going under the hammer.
0:37:21 > 0:37:26Stuart's Japanese ivories may be miniature, but he's hoping to make a giant profit.
0:37:29 > 0:37:35I just adored Roo's Tilley lamp. Let's hope the buyers are switched on too.
0:37:37 > 0:37:43And finally, will the gold ring be the jewel in the crown for Mairi, our car boot queen?
0:37:49 > 0:37:54We're back at the Tring Market Auction Rooms where the sale is still in full swing
0:37:54 > 0:37:57and the buyers are picking up some quality fine art.
0:37:57 > 0:38:01If you're buying or selling in auction, there's commission to pay.
0:38:01 > 0:38:05Here it's 15% on the hammer price plus VAT, so factor that into your costs.
0:38:12 > 0:38:16It's my turn to be the expert now. Watch out.
0:38:16 > 0:38:21Connie, pleased to meet you. I met Roo at the valuation day with the Tilley lamp.
0:38:21 > 0:38:26- He told me it was yours, it was his parents'.- My dad's, yes. - It's been in the family a long time.
0:38:26 > 0:38:28Yes, and he used it.
0:38:28 > 0:38:32I'm not expecting too much, so whatever comes...
0:38:32 > 0:38:37We've got a reserve of £100, so, hopefully, we'll get that and a bit more.
0:38:37 > 0:38:41- It'll be your money, won't it?- No, it'll be the taxi driver's money.
0:38:41 > 0:38:44- That's what it cost to get here, did it?- Yes.
0:38:44 > 0:38:49OK, let's hope we can pay that fare and give him a tip. It's going under the hammer now.
0:38:49 > 0:38:52This is interesting, isn't it?
0:38:52 > 0:38:56This old, tiny railway station lamp.
0:38:56 > 0:38:59There you go. 150 for it? 100 for it? 80 for it?
0:38:59 > 0:39:01- Come on, come on.- Come on. 70, yes.
0:39:01 > 0:39:0470, we've got it. 80 now.
0:39:04 > 0:39:0790. 100. And 10. And 20. And 30.
0:39:08 > 0:39:13- Is that it? Oh, dear.- 130. Well, we've sold it, haven't we?
0:39:13 > 0:39:16It's going down. I sell for £130...
0:39:16 > 0:39:20- It's gone.- Lovely.- I'm pleased with that. That's a good result.
0:39:20 > 0:39:27- It means the taxi driver gets paid. - And you've got a wonderful day out on Flog It.- Oh, and I met you!
0:39:27 > 0:39:30Good start. Now let's see how the miniatures do.
0:39:31 > 0:39:35Three items going under the hammer right now, all belonging to Stuart,
0:39:35 > 0:39:39late 19th century, Japanese Meiji period, it's carved ivory.
0:39:39 > 0:39:44Some of these things fly through the roof if you can identify the carver and the right period.
0:39:44 > 0:39:50- This is a bit later. This is 19th century...- Yeah. - ..which is reflected in the value,
0:39:50 > 0:39:52which you've split into three lots.
0:39:52 > 0:39:57We'll hand it over to the bidders and, hopefully, we'll get a sale in the room.
0:39:57 > 0:40:00Perhaps we'll start at £50 for it?
0:40:00 > 0:40:03- 50 I'm bid, thank you. - We're hoping for around 80.
0:40:03 > 0:40:0660 and 70 and...
0:40:06 > 0:40:10- Surely not? No? At £70... - That's a good start.
0:40:10 > 0:40:12- That's a good start.- £70...
0:40:12 > 0:40:15- Brilliant.- I think that one's got a little bit of damage.
0:40:15 > 0:40:18That was damaged. Here's the second.
0:40:18 > 0:40:22This is a rather interesting one, the one with the eight immortals.
0:40:22 > 0:40:27There we go. A couple of hundred pounds for this one? 150? Yes.
0:40:27 > 0:40:29- 200.- Straight in, that's great.
0:40:29 > 0:40:32At £200, we're bid for it. At 200. And 10.
0:40:32 > 0:40:35That's the chap right next to us.
0:40:35 > 0:40:37And 80. 300, sir? 300 bid.
0:40:37 > 0:40:40320, I have it.
0:40:40 > 0:40:42This is more like it.
0:40:42 > 0:40:46It's going down then. I shall sell for 320...
0:40:46 > 0:40:49350? No more?
0:40:49 > 0:40:51At 320 then... 350.
0:40:51 > 0:40:53- Yes, on the phone.- At 350.
0:40:53 > 0:40:57350 on the phone. Back in the room at 360.
0:40:57 > 0:41:01380 now? Yes, you've got it. It's surprising what you can do with 10.
0:41:01 > 0:41:04- It's going at 360 then. - The hammer's gone down.
0:41:04 > 0:41:06That's two. One more to go.
0:41:06 > 0:41:10I believe we ought to be looking at £100 for this one.
0:41:10 > 0:41:13£50 I'm bid for that one. 60. 70. 80. 90.
0:41:13 > 0:41:16100. And 10. And 20.
0:41:16 > 0:41:19And 30. And 40. And 50.
0:41:19 > 0:41:22And 60. And 70. And 80.
0:41:22 > 0:41:25No. £180 then.
0:41:25 > 0:41:27I'm selling to "sir" for £180.
0:41:29 > 0:41:31£180. Three out of three.
0:41:31 > 0:41:36- Wow!- That was a pleasant surprise. That was great.- Good result.
0:41:36 > 0:41:39Quality, quality, quality. That's what it's all about.
0:41:41 > 0:41:46Going under the hammer right now, an 18-carat white gold, diamond ring.
0:41:46 > 0:41:50It's absolute class. It belongs to Mairi who's right next to me.
0:41:50 > 0:41:53Can't miss you in that. That is really stunning.
0:41:53 > 0:41:57But I tell you what, you bought this in a car boot for how much?
0:41:57 > 0:42:01It was either £1 or £1.50.
0:42:01 > 0:42:04Why doesn't that happen to you and I?
0:42:04 > 0:42:08I don't know, but I'm going to find out all the tips, so you and I can do this.
0:42:08 > 0:42:10So what are the tips? Come on.
0:42:10 > 0:42:15Go to a... As I said, a good car boot.
0:42:15 > 0:42:20- A posh car boot.- You get a better class of tut where we go.
0:42:20 > 0:42:23Some you go past and you think, "No, I'm not going there."
0:42:23 > 0:42:28Let's put it to the test. Let's put it under the hammer. Here we go.
0:42:28 > 0:42:30Diamond-set and gold ring.
0:42:30 > 0:42:34What about that one? £250 for it? 200? 150 for it?
0:42:34 > 0:42:3760. 70. 80. 90.
0:42:37 > 0:42:39200 I'm bid. At 200, I'm bid.
0:42:39 > 0:42:41210 now. 210.
0:42:41 > 0:42:45220? 220. And 30. And 40.
0:42:45 > 0:42:48250. 260 now.
0:42:48 > 0:42:50260 I have. 270? No.
0:42:50 > 0:42:55Sold then. It's going to be sold then at £260.
0:42:55 > 0:42:58- Well done.- £260!- That's very good.
0:42:58 > 0:43:02You have just turned £1.50 into £260. It can be done.
0:43:02 > 0:43:06I could start a little business, couldn't I?
0:43:08 > 0:43:12That's it. It's all over for our owners. Time has just flown by here in Tring.
0:43:12 > 0:43:16We've thoroughly enjoyed ourselves. I hope you've enjoyed today's show.
0:43:16 > 0:43:21Join us next time for many more surprises, but for now, it's goodbye.
0:43:42 > 0:43:45Subtitles by Red Bee Media Ltd