0:00:03 > 0:00:06I'm here in West Sussex at a site dedicated to the
0:00:06 > 0:00:09conservation of historic buildings and later on in the programme,
0:00:09 > 0:00:13I'll be getting hands-on restoring an 18th century house.
0:00:13 > 0:00:15Now, the bad news is it involves animal dung.
0:00:15 > 0:00:17So I better find some gloves.
0:00:17 > 0:00:18Welcome to "Flog It!"
0:00:38 > 0:00:41We'll be back in Sussex later on in the show.
0:00:41 > 0:00:45Today's valuations are taking place in the county town of Surrey,
0:00:45 > 0:00:47at Guildford Cathedral.
0:00:47 > 0:00:48It's one of only a very few cathedrals
0:00:48 > 0:00:51built in the 20th century.
0:00:51 > 0:00:53Construction started in the 1930s
0:00:53 > 0:00:58and the building eventually opened its doors in 1961.
0:00:58 > 0:01:01Some critics believed that building the cathedral away from the
0:01:01 > 0:01:03town centre, on the top of a hill,
0:01:03 > 0:01:04would be a crazy idea
0:01:04 > 0:01:07but soon they were proved wrong and the cathedral attracted
0:01:07 > 0:01:10large congregations and today it's still very much
0:01:10 > 0:01:12at the heart of the community here.
0:01:12 > 0:01:14And hundreds of people have turned up,
0:01:14 > 0:01:17clutching bags and boxes full of antiques and collectibles.
0:01:17 > 0:01:20And there's one question on your lips, which is?
0:01:20 > 0:01:21CROWD: What's it worth?
0:01:21 > 0:01:24And they're going to find out and so are you.
0:01:24 > 0:01:26And the two people with the answer to that question are the
0:01:26 > 0:01:31"Flog It!" experts and today they are the devilish Mark Stacey
0:01:31 > 0:01:34and the angelic Catherine Southon.
0:01:34 > 0:01:38Competition between them will be high, or should I say low?
0:01:38 > 0:01:41- Oh, that's pathetic.- There we are. - You've got to give it a bit of oomph.
0:01:41 > 0:01:45- Well, you have a go.- All right, go on, then. I don't want to break it.
0:01:45 > 0:01:48Come on. Oh, I'd love to see you fall over, Catherine Southon.
0:01:50 > 0:01:51Oh!
0:01:51 > 0:01:54That was awful, Catherine.
0:01:54 > 0:01:56So as the people of Guildford make their way inside,
0:01:56 > 0:01:59our experts prepare for a busy day of valuations.
0:01:59 > 0:02:03And here's what's coming up on today's programme.
0:02:03 > 0:02:06See if you can guess which of these items will do best
0:02:06 > 0:02:09when they go under the hammer later on in the show.
0:02:09 > 0:02:12Will it be this wooden shoe-shaped snuff holder?
0:02:12 > 0:02:14Or this Moorcroft bowl?
0:02:14 > 0:02:16Or this music box?
0:02:16 > 0:02:19All will be revealed later on in the show.
0:02:19 > 0:02:21Well, everyone is now safely seated inside the cathedral
0:02:21 > 0:02:24and this is what I love to see, hundreds of happy faces.
0:02:24 > 0:02:26Are you all having a good time?
0:02:26 > 0:02:27CROWD: Yes!
0:02:27 > 0:02:30And they're all hoping they're one of the lucky ones who've got
0:02:30 > 0:02:32something that's worth a small fortune.
0:02:32 > 0:02:34They've come from miles away, hundreds of them!
0:02:34 > 0:02:37Which means thousands of antiques to look at
0:02:37 > 0:02:39and this is where all the action's taking place.
0:02:39 > 0:02:41Look, it's lights, camera, action right here.
0:02:41 > 0:02:44Let's now catch up with Catherine Southon who has spotted
0:02:44 > 0:02:47a real classy gem and I love it.
0:02:49 > 0:02:54Anne, this is absolutely super. I love it in every shape or form.
0:02:54 > 0:02:58- It's a piece of WMF.- Yes. - Do you know what WMF stands for?
0:02:58 > 0:03:00- Well, I can't pronounce it. - Oh, go on.
0:03:00 > 0:03:02- It's always a giggle when we try. - No!
0:03:02 > 0:03:04You'd have to help me.
0:03:04 > 0:03:06Well, it's something along the lines of
0:03:06 > 0:03:12Wuttembergische Metallwarenfabrik, but don't quote me on that.
0:03:12 > 0:03:15Anyway, we've got something here which is rather charming.
0:03:15 > 0:03:20- It's something like a visitor's card tray.- A butler's tray, maybe.
0:03:20 > 0:03:26And it's stamped right on the back, quite clearly, WMF.
0:03:26 > 0:03:31- It's got the number here, 369, now that would be the shape.- OK.
0:03:31 > 0:03:37But what I love about it is the little doggie, the little dachshund.
0:03:37 > 0:03:41And I love the way he's looking down at the lizard crawling across.
0:03:41 > 0:03:43It's just divine.
0:03:43 > 0:03:44Where did you get it from, Anne?
0:03:44 > 0:03:49Well, I'm not exactly sure but there is a German connection.
0:03:49 > 0:03:53My brother lived in Germany
0:03:53 > 0:03:58and I assume he bought it in an antiques shop out there.
0:03:58 > 0:04:02- Yeah.- And gave it to my mother. - Right.
0:04:02 > 0:04:06And I've...then passed to my sister and she then passed it onto me
0:04:06 > 0:04:08because she wasn't all that keen on it.
0:04:08 > 0:04:11So, you think that your brother probably bought it in Germany?
0:04:11 > 0:04:12In Germany, yes.
0:04:12 > 0:04:15- Well, it's 1900 in date.- Is it?
0:04:15 > 0:04:17They made pieces in pewter and silver plate.
0:04:17 > 0:04:20This is definitely silver plate.
0:04:20 > 0:04:23The very early pieces had like an ostrich stamp on them
0:04:23 > 0:04:26but this is clearly marked with the initials WMF.
0:04:26 > 0:04:28But I really think it's around 1900...
0:04:28 > 0:04:30- Oh, I thought it would be later... - ..in date.- ..than that.
0:04:30 > 0:04:35I mean, it is quite typical of WMF because of the style of the time.
0:04:35 > 0:04:37The Art Nouveau, the Jugendstil, these kind of lines
0:04:37 > 0:04:40and these curves.
0:04:40 > 0:04:42But it's just the lizard for me.
0:04:42 > 0:04:46The way he's looking down, it's just really, really nice.
0:04:46 > 0:04:48A really special thing.
0:04:48 > 0:04:49And I think today,
0:04:49 > 0:04:52I could see antique dealers fighting for this at an auction.
0:04:52 > 0:04:53Oh, that would be good.
0:04:53 > 0:04:56And perhaps putting that in their shop,
0:04:56 > 0:04:59just to put their business cards on. I mean, I'd love to have that.
0:04:59 > 0:05:02If I was a dealer, I would love to put...
0:05:02 > 0:05:04- That's good.- Display it in my shop.
0:05:04 > 0:05:08- Do you have any idea of value on this?- Not really.
0:05:08 > 0:05:13- I'm going to put £100 to £150 on. - That's good.- Is that good?- Yes.
0:05:13 > 0:05:15Reserve of £90?
0:05:15 > 0:05:17£90 to £100?
0:05:17 > 0:05:20- To £100?- Yes.- Oh, all right, then. You want £100 fixed on it?
0:05:20 > 0:05:21That would be nice.
0:05:21 > 0:05:26OK, as it's a family piece, we'll put £100 fixed, £100 to £150.
0:05:26 > 0:05:29- Lovely.- Coming along to the auction? - Of course.
0:05:29 > 0:05:30Let's watch it fly.
0:05:30 > 0:05:34Yes, I've always wanted to go to an auction so...that would be great.
0:05:34 > 0:05:37- It'll be great fun. Thanks very much, Anne.- OK.- Thank you.
0:05:37 > 0:05:41So, let's hope Anne's first trip to an auction room is a successful one.
0:05:41 > 0:05:45But not everyone who comes along is laden with antiques.
0:05:45 > 0:05:48- What have you brought in today? - Ourselves.- Yourselves!
0:05:48 > 0:05:51OK, are you after a valuation?
0:05:53 > 0:05:57Back to Mark, who's also talking to some glamorous ladies.
0:05:57 > 0:05:59- Hello, Shirley, Susan. - Hello.- Hello there.
0:05:59 > 0:06:01Thank you so much for coming in.
0:06:01 > 0:06:04Looking very glamorous there in your outfits and the necklace.
0:06:04 > 0:06:07- Thank you very much.- Now, tell me about these watercolours.
0:06:07 > 0:06:11These watercolours, I bought them about...nearly 40 years ago,
0:06:11 > 0:06:14off of a friend and I've had them ever since.
0:06:14 > 0:06:16And you've liked them all that time?
0:06:16 > 0:06:18- My husband loved them.- Did he? - Mm-hm.
0:06:18 > 0:06:21And why have you decided now to bring them along to sell?
0:06:21 > 0:06:23Well, I've got some other pictures and we're changing all
0:06:23 > 0:06:25the decoration and things like that
0:06:25 > 0:06:27so we thought we'd just bring these along.
0:06:27 > 0:06:30- You've got too many pictures really, haven't you?- Well, quite a lot!
0:06:31 > 0:06:36- Well, they're by quite a well-known artist. F J Aldridge.- I never knew.
0:06:36 > 0:06:40Yes, he specialised in sort of marine scapes.
0:06:40 > 0:06:44Obviously these are Dutch marine scapes and you can see
0:06:44 > 0:06:48the windmill and the Dutch type houses in the background there.
0:06:48 > 0:06:50- Often painted in pairs.- Right.
0:06:50 > 0:06:55He died in 1933, born in 1850 and actually
0:06:55 > 0:06:58- he lived just up the road from where I live.- Oh, really?
0:06:58 > 0:07:00I live in Brighton, he lived in Worthing.
0:07:00 > 0:07:04- That's how you knew right away? - Well, I've had his work before.
0:07:04 > 0:07:07- Oh, I see.- Sneakily, I knew that.- Right.
0:07:07 > 0:07:10And they're in quite nice frames actually.
0:07:10 > 0:07:11They suit the picture very well.
0:07:11 > 0:07:14Yes, they've been in those frames all the time I've had them.
0:07:14 > 0:07:17They probably need rebacking. You see where the backing has faded.
0:07:17 > 0:07:19Yes, I did.
0:07:19 > 0:07:22And there's been a little, slight bit of fading around the pictures.
0:07:22 > 0:07:24I think they're charming, I think
0:07:24 > 0:07:26- they're very pleasant looking pictures.- Yes.
0:07:26 > 0:07:28The only downside, I suppose,
0:07:28 > 0:07:32- is the market is a bit more realistic for these.- Right, OK.
0:07:32 > 0:07:35Some people might consider them a little bit old-fashioned these days.
0:07:35 > 0:07:36Right, OK.
0:07:36 > 0:07:39I mean, although they're beautifully painted, and also I think the
0:07:39 > 0:07:42younger market, they're looking for things with a bit more cutting edge,
0:07:42 > 0:07:45- a little bit cleaner line.- Yes, yes.
0:07:45 > 0:07:47Susan, what do you think about them?
0:07:47 > 0:07:51I mean, I do think they're lovely and my dad always used to say,
0:07:51 > 0:07:53"Oh, I think these will be worth something".
0:07:53 > 0:07:55But I haven't got the room for them.
0:07:55 > 0:07:57I mean, houses are getting smaller and...
0:07:57 > 0:08:01- Have you thought about the value? - No, that's why I came here.
0:08:01 > 0:08:04And do you remember what you paid for them, then? All those years ago?
0:08:04 > 0:08:08- About £50.- £50 for the pair? Well, that's not bad, is it, really?
0:08:08 > 0:08:10I suspect actually that ten years or
0:08:10 > 0:08:14so ago they would been worth a little bit more than they are now.
0:08:14 > 0:08:15Right.
0:08:15 > 0:08:17I mean, as a pair of pictures now,
0:08:17 > 0:08:20we would estimate them at something like £200 to £300.
0:08:20 > 0:08:23- Right.- Something in that order.- Yes.
0:08:23 > 0:08:26- We'd have to think of a reserve, of course.- OK.
0:08:26 > 0:08:29Because we wouldn't want to put them into auction without a reserve.
0:08:29 > 0:08:34- No, no. OK.- I would suggest you to be a bit on the realistic side.- OK.
0:08:34 > 0:08:38And maybe put a fixed reserve of £150.
0:08:38 > 0:08:41- So we don't sell them below that figure.- OK.- Yes.
0:08:41 > 0:08:43- How would you feel about? - I'd feel fine, yes, that's OK.
0:08:43 > 0:08:44- Is that all right?- Yes, fine.
0:08:44 > 0:08:47And you're not going to put the money to more paintings, are you?
0:08:47 > 0:08:51- No more paintings!- No! - No more paintings.
0:08:51 > 0:08:54- You don't want any more paintings at home, do you?- Definitely not.
0:08:54 > 0:08:56Well, that's lovely.
0:08:56 > 0:08:58We'll sail along to the auction together
0:08:58 > 0:08:59and let's hope we get a good result.
0:08:59 > 0:09:02- Thank you. - Thank you very much indeed.
0:09:02 > 0:09:05Let's go back to Catherine Southon who's up on high
0:09:05 > 0:09:07for her next valuation.
0:09:07 > 0:09:11Elizabeth, we come to the cathedral to hear the sounds of the organ
0:09:11 > 0:09:12and the sounds of the choir,
0:09:12 > 0:09:17but also to hear the sounds of this beautiful musical box.
0:09:17 > 0:09:19As soon as I just see the lid of it,
0:09:19 > 0:09:23I know that that's actually a special musical box there.
0:09:23 > 0:09:27The detail of that marquetry is something very special.
0:09:27 > 0:09:32It's not just a bog-standard boxwood stringing or a transfer on the top.
0:09:32 > 0:09:35The marquetry is superb.
0:09:35 > 0:09:38Where did you get this little gem from?
0:09:38 > 0:09:42I had another musical box and it needed some work doing to it
0:09:42 > 0:09:46and I couldn't afford to get it done and somebody said
0:09:46 > 0:09:52"Well, I'll swap you for the old musical box for this musical box."
0:09:52 > 0:09:56So I have this one but it doesn't have the sentimental value for me.
0:09:56 > 0:09:59- So that's why I'm...- Right.- ..going to let it go.
0:09:59 > 0:10:02But it's very expensive to have something like that restored.
0:10:02 > 0:10:05- Well, can we take a little peek inside?- Please do.
0:10:05 > 0:10:09Well, it is a cylinder musical box and what we see straightaway
0:10:09 > 0:10:11when we open the lid is the
0:10:11 > 0:10:13magical name of Nicole Freres,
0:10:13 > 0:10:17who was like the Rolls-Royce of musical boxes and it tells us
0:10:17 > 0:10:19Nicole Freres, Geneva.
0:10:19 > 0:10:23This was made in Switzerland.
0:10:23 > 0:10:26Now, there's two different types of cylinder boxes which is
0:10:26 > 0:10:29essentially what this is, a cylinder musical box.
0:10:29 > 0:10:32There's the ones that are made with a lever wind
0:10:32 > 0:10:33and they are late 19th century.
0:10:33 > 0:10:36They're about 1880s,
0:10:36 > 0:10:411890s and then there's the earlier ones which are worked with a key.
0:10:41 > 0:10:46Now this one is worked with a key.
0:10:46 > 0:10:51So that means we can date it to about 1860, 1865.
0:10:51 > 0:10:54You would put this key in the side here.
0:10:57 > 0:11:00And turn that round and that is how it would work.
0:11:00 > 0:11:03Now this one is in fantastic condition, it really is
0:11:03 > 0:11:06because quite often these teeth get damaged
0:11:06 > 0:11:08and they need to be replaced and as you say,
0:11:08 > 0:11:12they're expensive to do, but it's just absolutely pristine.
0:11:12 > 0:11:15Yes, I mean, when you say the pins got damaged,
0:11:15 > 0:11:18- I think the other one was a bit squeaky in places...- Was it?
0:11:18 > 0:11:21..so that would indicate that the pins had been broken.
0:11:21 > 0:11:25- Do you have any idea on value? - No, not really, no.
0:11:25 > 0:11:29The market was stronger a while ago but now
0:11:29 > 0:11:32I would say a very conservative price would be £700 to £1,000.
0:11:32 > 0:11:35You might get a bit more, which would be nice.
0:11:35 > 0:11:38I think we should fix the reserve of £600, how does that sound to you?
0:11:38 > 0:11:40Yes, that's fine, thank you.
0:11:40 > 0:11:43But really, we have to have a listen, don't we?
0:11:43 > 0:11:46- Oh, it's beautiful.- We have to see what this really sounds like.
0:11:46 > 0:11:49So, I'm going to give it a wind up.
0:11:49 > 0:11:55MUSIC BOX PLAYS
0:11:55 > 0:12:00Away from the valuation tables, I've found a very different piece of art.
0:12:00 > 0:12:02Although this cathedral is relatively young,
0:12:02 > 0:12:05it's still full of historic and interesting items.
0:12:05 > 0:12:07Take this carpet, for instance,
0:12:07 > 0:12:11which lies between the oak altar rails and the altar itself.
0:12:11 > 0:12:15It depicts two angels supporting the diocese of Guildford.
0:12:15 > 0:12:20And there above here, a stag, which represents Stag Hill,
0:12:20 > 0:12:23the site which this cathedral's built on.
0:12:23 > 0:12:25Not only is this carpet famous for its symbolism
0:12:25 > 0:12:28but also for its historic content.
0:12:28 > 0:12:31It was made by the world famous Wilton factory in 1957
0:12:31 > 0:12:36and it's believed to be the last handmade carpet they ever made.
0:12:36 > 0:12:38# Not your stepping stone... #
0:12:38 > 0:12:40A fascinating piece of brass work there.
0:12:40 > 0:12:41Over to Catherine Southon,
0:12:41 > 0:12:44who's found something that's a long way from home.
0:12:44 > 0:12:49Karen, I love your silver purse.
0:12:49 > 0:12:52Your Russian silver purse, I should say.
0:12:52 > 0:12:54That little mark down on the bottom,
0:12:54 > 0:12:57that tells us that it's a Russian silver purse.
0:12:57 > 0:13:00It's so slim and elegant.
0:13:00 > 0:13:05There's not a huge amount to it, but I just think it's so stylish.
0:13:05 > 0:13:06Where did you get this from?
0:13:06 > 0:13:10I just found it in a box in the attic when we were clearing out one day.
0:13:10 > 0:13:13No idea where it came from. Must have been lurking.
0:13:13 > 0:13:16- So, a family piece?- Possibly, possibly. I don't really know.
0:13:16 > 0:13:17How can something like this,
0:13:17 > 0:13:21something as precious, something as beautiful, just be lurking?
0:13:21 > 0:13:23I don't know. It was very grubby when I found it.
0:13:23 > 0:13:25- Oh, really? - It wasn't nice and shiny.
0:13:25 > 0:13:27I never find anything lurking like this.
0:13:27 > 0:13:31Silk lined, really fine quality.
0:13:31 > 0:13:34So often these are frayed or dirty or damaged.
0:13:34 > 0:13:37The date of this is 1900.
0:13:37 > 0:13:41You can imagine this lovely slender shape, this is what I love -
0:13:41 > 0:13:45a lady putting this into her bag when she goes off,
0:13:45 > 0:13:47perhaps to the opera or something like that.
0:13:47 > 0:13:50I mean, it's quality in every single sense.
0:13:50 > 0:13:53It's not something that you would just leave in a box.
0:13:53 > 0:13:56It's something you'd probably want to shout about.
0:13:56 > 0:13:59I think you'd be quite proud to open it.
0:13:59 > 0:14:02I love the way that it's been engraved on the outside.
0:14:02 > 0:14:04Beautiful pattern here.
0:14:04 > 0:14:09And you've got a rather stylish cabochon jewel there,
0:14:09 > 0:14:11an amethyst jewel.
0:14:11 > 0:14:13- Karen, have you ever used it?- Never.
0:14:13 > 0:14:15- No? It's not really practical, is it?- Definitely not.
0:14:15 > 0:14:18- You couldn't get your credit cards in it today, could you? - You're right there.
0:14:18 > 0:14:20And to be honest,
0:14:20 > 0:14:22you couldn't get an awful lot of coinage in there, could you?
0:14:22 > 0:14:24You'd probably get a few little pennies in there
0:14:24 > 0:14:26and that's not going to buy you an awful lot today.
0:14:26 > 0:14:32- The value of it, I would suggest, £150 to £250.- OK.
0:14:32 > 0:14:35- How does that sound to you? - That sounds great, yes.
0:14:35 > 0:14:38- Would you be happy to sell it at that price?- Would be, yes.
0:14:38 > 0:14:41- Shall we say £130 reserve?- OK, OK.
0:14:41 > 0:14:43And 150 to 250 in the estimate.
0:14:43 > 0:14:45- Right.- And see what happens.- Yes.
0:14:45 > 0:14:48- Now, I understand you can't make it to the auction?- That's true.
0:14:48 > 0:14:51- I've just booked a holiday. - Oh, well.- Never mind.
0:14:51 > 0:14:53That's quite exciting.
0:14:53 > 0:14:54I will do my very best for you
0:14:54 > 0:14:58- and try and get a good price for you at the auction.- Thank you.
0:14:58 > 0:15:01- Thanks very much, Karen.- Thank you. - Super piece.- Lovely, thank you.
0:15:01 > 0:15:05- And it won't lurk at the auction. - Good, I'm pleased about that.
0:15:05 > 0:15:07While everyone's busy here,
0:15:07 > 0:15:10I'm off to do something completely different.
0:15:17 > 0:15:21The year was 1907. Edward VII was on the throne.
0:15:21 > 0:15:22Number Ten was occupied
0:15:22 > 0:15:25by the little-known Henry Campbell Bannerman
0:15:25 > 0:15:28and the upper classes of Great Britain had a new obsession -
0:15:28 > 0:15:30motorsport.
0:15:30 > 0:15:33- COMMENTARY:- 'Here come the cars.
0:15:36 > 0:15:38'And he wins the race!'
0:15:38 > 0:15:39I'm here at what was
0:15:39 > 0:15:43the world's first purpose-built motor racing circuit, Brooklands.
0:15:43 > 0:15:46It opened in the very same year, 1907,
0:15:46 > 0:15:50and for the next 30 years it was the venue for hundreds of races
0:15:50 > 0:15:54and the track was absolutely huge - 2.75 miles in length,
0:15:54 > 0:15:59100 feet in width and in sections it was banked, as you can see,
0:15:59 > 0:16:0230 feet in the air to allow the drivers
0:16:02 > 0:16:05to take these bends at even greater speeds.
0:16:05 > 0:16:07Scary stuff.
0:16:07 > 0:16:10The track's golden years were in the 1920s and '30s,
0:16:10 > 0:16:13when thousands of spectators would gather to watch
0:16:13 > 0:16:17the fastest cars of the day break record after record.
0:16:21 > 0:16:23'The track is now home to a museum
0:16:23 > 0:16:26'and I'm going to meet its director, Allan Winn.'
0:16:26 > 0:16:28So, why was Brooklands built and who came up with the idea?
0:16:28 > 0:16:31It was Hugh Locke King who actually owned this land,
0:16:31 > 0:16:35a very wealthy landowner who was a very keen motorist himself.
0:16:35 > 0:16:39He went to the Coppa Florio race in Sicily in 1905
0:16:39 > 0:16:42and he found there were no British cars competing, no British drivers.
0:16:42 > 0:16:45When he asked the question, it was simply that
0:16:45 > 0:16:47there was nowhere in the UK
0:16:47 > 0:16:52where you could legally develop and operate a fast motor car.
0:16:52 > 0:16:55So, he came back with the idea if he built a test track,
0:16:55 > 0:17:00the manufacturers could then develop fast cars capable of more than 20mph,
0:17:00 > 0:17:03which was the national speed limit at the time, and this was
0:17:03 > 0:17:05real ground-breaking stuff -
0:17:05 > 0:17:08running motor racing on a closed circuit.
0:17:08 > 0:17:10This was the first place in the world where it happened.
0:17:10 > 0:17:13So, they had to learn everything from scratch.
0:17:13 > 0:17:15And in fact, when they set up motor racing here,
0:17:15 > 0:17:17because there was no role model,
0:17:17 > 0:17:20they based everything on the rules of horse racing,
0:17:20 > 0:17:24which is why to this day you still have a clerk of the course
0:17:24 > 0:17:26in charge of a motor racing circuit
0:17:26 > 0:17:30and the cars get assembled in the paddock before they go out.
0:17:30 > 0:17:33- That all came direct from horse racing.- Gosh, I never knew that.
0:17:33 > 0:17:35And, indeed, before 1914,
0:17:35 > 0:17:39all the drivers wore their own coloured silks.
0:17:39 > 0:17:42You know, it proved to be a very inaccurate way of identifying
0:17:42 > 0:17:44cars going at high speed
0:17:44 > 0:17:48so they very quickly adopted big racing numbers as well.
0:17:48 > 0:17:51Back in its heyday you're looking at cars going round that track,
0:17:51 > 0:17:54I would say bombing around that track, at over 100mph,
0:17:54 > 0:17:58no power steering, no helmets, absolutely nothing.
0:17:58 > 0:18:01Dangerous stuff, surely? Lots of accidents?
0:18:01 > 0:18:04There were quite a few accidents,
0:18:04 > 0:18:08but over the 32 years that the track was open in total,
0:18:08 > 0:18:10there were about 15 people killed at the track.
0:18:10 > 0:18:13It was dangerous. It was bumpy. The cars were very fast.
0:18:13 > 0:18:15This car here, for instance,
0:18:15 > 0:18:21lapped at an average speed of 143mph in 1935.
0:18:21 > 0:18:23- Now, that is seriously fast. - Serious motoring.
0:18:23 > 0:18:26So, if you had a big accident, you would get seriously hurt or killed
0:18:26 > 0:18:29if you hit something going at that sort of speed.
0:18:29 > 0:18:31But it wasn't just the men
0:18:31 > 0:18:34who risked life and limb pushing the limits.
0:18:34 > 0:18:35The circuit was about to play
0:18:35 > 0:18:38another major part in the history of motorsport.
0:18:38 > 0:18:41A group of female drivers decided they, too,
0:18:41 > 0:18:44wanted a piece of the high-speed action
0:18:44 > 0:18:46and the Belles of Brooklands were born.
0:18:46 > 0:18:49Away from the track, the suffragette movement were campaigning
0:18:49 > 0:18:52for the right for women to vote, while here at Brooklands,
0:18:52 > 0:18:54the female drivers were finding it hard
0:18:54 > 0:18:57to be accepted behind the steering wheel.
0:18:57 > 0:19:00One male official commented, "Well, you don't see lady jockeys
0:19:00 > 0:19:04"so it would be wrong to see a lady behind a steering wheel."
0:19:04 > 0:19:06But despite all this, they carried on competing,
0:19:06 > 0:19:09although they were kept apart from their male counterparts.
0:19:11 > 0:19:13This is the ladies' reading room,
0:19:13 > 0:19:17and it's where they would prepare before races and relax between them.
0:19:17 > 0:19:21These comfy surroundings are a huge contrast to the girls
0:19:21 > 0:19:25who used these rooms, often covered in grease and dirt after a day's racing,
0:19:25 > 0:19:26like Kay Petre,
0:19:26 > 0:19:29one of the most successful female drivers of the era.
0:19:29 > 0:19:34She actually broke the lap speed record here at Brooklands three times.
0:19:35 > 0:19:37The Brooklands Belles were later banned from racing
0:19:37 > 0:19:40by the governing body at the racetrack.
0:19:40 > 0:19:43But that didn't stop them from taking part in the sport they loved.
0:19:43 > 0:19:46Undeterred, the Belles bypassed the ban
0:19:46 > 0:19:49by racing at other unofficial meetings.
0:19:49 > 0:19:51Their determination would eventually pay off
0:19:51 > 0:19:55and a whole new chapter of female motorsport would begin.
0:19:55 > 0:19:58By 1932, the Belles were reinstated and officially recognised.
0:19:58 > 0:20:01Not only were they back on track but this time,
0:20:01 > 0:20:03they were competing against the men.
0:20:03 > 0:20:06But despite all this, all eyes were on one competition -
0:20:06 > 0:20:08who could be crowned the queen of speed?
0:20:08 > 0:20:12By 1935, Kay Petre and her rival Gwenda Hawkes
0:20:12 > 0:20:15were both hardened drivers and seasoned racers.
0:20:15 > 0:20:16Both drove powerful machines
0:20:16 > 0:20:19and in a tit-for-tat battle to be the fastest,
0:20:19 > 0:20:22they each broke the speed record a number of times
0:20:22 > 0:20:29before Hawkes finally reached 135.95mph and won the title.
0:20:29 > 0:20:32It's a track record that still stands today.
0:20:32 > 0:20:33Unfortunately, that would be
0:20:33 > 0:20:36one of the last great battles to take place on the track.
0:20:36 > 0:20:38In 1939, World War II came along
0:20:38 > 0:20:42and an aircraft factory was built right on the finishing straight.
0:20:42 > 0:20:44As you can see, it's still here today.
0:20:44 > 0:20:46This is the finishing straight.
0:20:46 > 0:20:49Over the years, much of the track has been built over
0:20:49 > 0:20:51and it's really disappeared.
0:20:51 > 0:20:53But there are sections that are still open
0:20:53 > 0:20:57and I'm going to experience it today with a very special driver.
0:20:57 > 0:21:01She started racing go-karts aged just nine.
0:21:01 > 0:21:04She got her professional racing licence aged 13.
0:21:04 > 0:21:08And now, aged 19, she's a professional driver.
0:21:08 > 0:21:10This is Zoe Wenham,
0:21:10 > 0:21:14and she's one of the best female motor racers in the country.
0:21:14 > 0:21:16Thanks for meeting up with me here today.
0:21:16 > 0:21:18It's such a historic place of motorsport.
0:21:18 > 0:21:22- Look at this! What does it feel like for you?- It's incredible.
0:21:22 > 0:21:24In ten years of motorsport, I haven't been and visited yet.
0:21:24 > 0:21:27- I've read loads about it in the books.- So this is a first?
0:21:27 > 0:21:29Absolutely. It's great to stand on the ground.
0:21:29 > 0:21:31We've heard about the Brooklands Belles.
0:21:31 > 0:21:33Has their story inspired you?
0:21:33 > 0:21:37Yeah, they raced cars and their ABS traction control was very basic,
0:21:37 > 0:21:39and in skirts and silk tops.
0:21:39 > 0:21:43It's just incredible and it's such an inspiration with our modern-day cars.
0:21:43 > 0:21:45Well, we have a car from that era -
0:21:45 > 0:21:48a 1932 MG M-type Midget, and it feels warm.
0:21:48 > 0:21:50You've taken this out for a ride already, haven't you?
0:21:50 > 0:21:53- Just a little bit of practice.- What was it like?- It was incredible.
0:21:53 > 0:21:56Well, can we have a go around some of these bends? Do you mind?
0:21:56 > 0:21:59- We can try.- It's a two-seater. - We can try.- Let's go!
0:21:59 > 0:22:00Wow!
0:22:01 > 0:22:04Zoe currently competes in the GT Championship
0:22:04 > 0:22:08and this is a very different type of car to the one she's used to.
0:22:08 > 0:22:10She was given a lot of instruction earlier on
0:22:10 > 0:22:12and she got to grips with it in no time.
0:22:15 > 0:22:17So, what do you normally drive every day?
0:22:17 > 0:22:19- I've got the Volkswagen Polo. - Have you? Right, OK.
0:22:19 > 0:22:21And what do you normally race with?
0:22:21 > 0:22:23I've got a Ginetta G50, which is a modern-day car,
0:22:23 > 0:22:263.7 litre V6 engine.
0:22:26 > 0:22:29Wow, that's big. That's totally different to this.
0:22:29 > 0:22:32Is motorsport still considered a man's world?
0:22:32 > 0:22:35Slightly, yes.
0:22:35 > 0:22:41The mainstream people don't actually class it as a female sport.
0:22:41 > 0:22:45- So, how do you feel about that?- They treat us all the same, to be honest.
0:22:45 > 0:22:48What do you hope to achieve in your career?
0:22:48 > 0:22:51- Love to take part in Le Mans 24-hour race.- Wow, gritty stuff!
0:22:51 > 0:22:55- Yeah, lots of professional motorsport.- Well, good luck.
0:22:58 > 0:22:59There you are.
0:22:59 > 0:23:02Although racing here at Brooklands has since long gone,
0:23:02 > 0:23:03its spirit still remains,
0:23:03 > 0:23:06and the achievements of drivers from the past
0:23:06 > 0:23:11still continue to inspire a new generation to go faster and faster.
0:23:11 > 0:23:13And right now, I need to get back to Guildford Cathedral
0:23:13 > 0:23:14to join up with our experts
0:23:14 > 0:23:17to see what else can we find to take off to auction.
0:23:17 > 0:23:21- Any chance of a lift, Zoe? - Absolutely.- Let's go there in style!
0:23:28 > 0:23:30What a fabulous time we're having here at Guildford Cathedral.
0:23:30 > 0:23:33Hundreds of people have come through the doors
0:23:33 > 0:23:35to have their antiques and collectibles valued.
0:23:35 > 0:23:37But right now we are going to up the tempo.
0:23:37 > 0:23:40This is where it gets exciting, we're putting our first
0:23:40 > 0:23:42batch of antiques to the test in the saleroom.
0:23:42 > 0:23:44Don't go away, anything can happen
0:23:44 > 0:23:47and here's a quick recap of what we're taking with us.
0:23:48 > 0:23:50There's Anne's German silver plate.
0:23:52 > 0:23:56We've got that Russian plate brought along by Karen.
0:23:59 > 0:24:00A pair of watercolours.
0:24:02 > 0:24:08And let's hope the music box hits the right note at auction.
0:24:08 > 0:24:12We're in the neighbouring county of West Sussex for today's auction.
0:24:12 > 0:24:15And in charge of proceedings is auctioneer Rupert Toovey.
0:24:15 > 0:24:19At £350...
0:24:19 > 0:24:22Well, our next item has certainly been passed around the family
0:24:22 > 0:24:25- a few times, am I right, Anne?- Yes, that's right.- It was your brother's,
0:24:25 > 0:24:27- then your sister's and now yours.- That's right.
0:24:27 > 0:24:30We're talking about that little tray, the WMF tray with the dog
0:24:30 > 0:24:32on it looking at a lizard, and I'm so pleased you had
0:24:32 > 0:24:34a go at pronouncing it because I cannot pronounce it.
0:24:34 > 0:24:37- I just say WMF.- Oh, WMF, yes. - It's really difficult, isn't it?
0:24:37 > 0:24:40- It is, you say it very quickly. - I won't put you through it.
0:24:40 > 0:24:42You did it once, didn't you? You're very brave.
0:24:42 > 0:24:44But it is quality, it's absolute quality.
0:24:44 > 0:24:48It's beautiful. I just think the way that that little dog is
0:24:48 > 0:24:50looking down at the lizard... love it.
0:24:50 > 0:24:53Fingers crossed. It's going under the hammer right now.
0:24:53 > 0:24:56We're opening the bidding on this lot at £70. £70 here.
0:24:56 > 0:24:57£75, can I see?
0:24:57 > 0:25:00At £70 here. £75, can I see? £75.
0:25:00 > 0:25:02And 80. And 5, sir, centre?
0:25:02 > 0:25:04And 90, and 5, sir?
0:25:04 > 0:25:0695, and 100, sir. 110.
0:25:06 > 0:25:08110 now with you, sir, in the room.
0:25:08 > 0:25:11£110 centre now. £110.
0:25:11 > 0:25:15Is there any advance on £110?
0:25:15 > 0:25:17It's fair warning. 110.
0:25:17 > 0:25:21- 110.- Just over.- Just over!- Well...
0:25:21 > 0:25:23- They were sitting on their hands, weren't they, for that one?- Yes.
0:25:23 > 0:25:26- Thanks for bringing that in, anyway. - Thank you.- It's quality,
0:25:26 > 0:25:29- again you see that...- It's been a great day.- ..quality always sells.
0:25:29 > 0:25:30So, despite a slow start,
0:25:30 > 0:25:34that silver plate now has a new home and Anne was happy with the result.
0:25:34 > 0:25:38Let's see if those watercolours float the bidders' boat.
0:25:38 > 0:25:41Susan, Shirley, great to see you again. Fingers crossed.
0:25:41 > 0:25:45This is your moment. Let's hope we get the top end of that estimate.
0:25:45 > 0:25:47We're talking about those two framed watercolours,
0:25:47 > 0:25:48the sailing barges by Aldridge.
0:25:48 > 0:25:51- Wonderful, with little windmills in the background as well.- Yes.
0:25:51 > 0:25:54Gilt frames. You paid quite a lot of money for these, didn't you?
0:25:54 > 0:25:56- £50, quite a long time ago.- Yes. - Long time ago.
0:25:56 > 0:25:58That was a lot of money long time ago.
0:25:58 > 0:26:02- It was, but the market was better for them.- Yes.
0:26:02 > 0:26:04The market for these types of watercolours is very...
0:26:04 > 0:26:06Never the less, never the less, it's a pair.
0:26:06 > 0:26:09- It's always nice to have something original on the wall.- It is.
0:26:09 > 0:26:11- And these aren't a lot of money really.- They're not.
0:26:11 > 0:26:15And the interior decorators like pairs a lot because they match up.
0:26:15 > 0:26:17- Yes.- And they make the room symmetrical which is nice.
0:26:17 > 0:26:20Well, let's hope they sail away and they're going under the hammer
0:26:20 > 0:26:21right now. This is it!
0:26:21 > 0:26:23The Frederick James Aldridge,
0:26:23 > 0:26:25a pair of watercolours, both signed.
0:26:25 > 0:26:28Lovely, lovely things those and bids to match.
0:26:28 > 0:26:31We're opening the bidding on this lot at £250.
0:26:31 > 0:26:34- 250 is the lowest we've got. - That's good.- On commission at 250.
0:26:34 > 0:26:36250 here. 280, can I see?
0:26:36 > 0:26:41At £250. At £250, on commission at £250.
0:26:43 > 0:26:45250.
0:26:45 > 0:26:49- That's strange.- Blink and you'll miss it. £250, gone.- Fantastic.
0:26:49 > 0:26:52You've enjoyed them on the wall, haven't you? For quite a few years.
0:26:52 > 0:26:54- Somebody else can enjoy them. - Thank you very much.
0:26:58 > 0:26:59Going under the hammer right now
0:26:59 > 0:27:01we've got a Russian silver purse belonging to Karen.
0:27:01 > 0:27:04Unfortunately, she cannot make it to the auction today,
0:27:04 > 0:27:07but we do have Catherine Southon, our expert, and of course,
0:27:07 > 0:27:11that lovely silver purse with stylised foliate decoration.
0:27:11 > 0:27:13I mean, it's a nice piece. £150 to £250.
0:27:13 > 0:27:15It's lovely.
0:27:15 > 0:27:18It's beautiful, it's elegant, but it's not practical, is it?
0:27:18 > 0:27:20You can't get your cards in there today, Paul!
0:27:20 > 0:27:22No, no, but will we sell it, do you think?
0:27:22 > 0:27:24I hope so. I want to give her some really good news.
0:27:24 > 0:27:28OK, we're going to find out right now - it's going under the hammer.
0:27:28 > 0:27:30We have a multitude of conflicting bids
0:27:30 > 0:27:34and the lowest we can start here is £170.
0:27:34 > 0:27:36- We sold it.- We've sold it.
0:27:36 > 0:27:38£170? 180.
0:27:38 > 0:27:40190. 200?
0:27:40 > 0:27:42190 here. £190.
0:27:42 > 0:27:43190!
0:27:43 > 0:27:47£190, on commission at £190, and against the room. Fair warning.
0:27:47 > 0:27:50£190.
0:27:50 > 0:27:53- Great, it's gone. Karen will be so happy.- She will be really pleased.
0:27:53 > 0:27:55- £190.- She will be very pleased.
0:27:55 > 0:27:59I'm glad we sold it because I was a bit worried. But I'm very pleased.
0:27:59 > 0:28:00Job done.
0:28:03 > 0:28:05Next we've got that music box.
0:28:05 > 0:28:08Right, we're going to hit the high notes right now with this
0:28:08 > 0:28:10Swiss music box belonging to Elizabeth.
0:28:10 > 0:28:12It's got six airs, it's absolute quality
0:28:12 > 0:28:15- and I had a chat to Rupert before the sale started.- Oh, did you?
0:28:15 > 0:28:18We both went quality, quality, quality. Great maker. Nicole Freres.
0:28:18 > 0:28:21I mean, it doesn't get any better than that. Key wound,
0:28:21 > 0:28:24the inlay on the box, everything was divine about it.
0:28:24 > 0:28:25So, we're confident.
0:28:25 > 0:28:28There are plenty of collectors out there and we've seen them
0:28:28 > 0:28:30time and time again on "Flog It!" and I've interviewed quite
0:28:30 > 0:28:34a lot of them and they really are passionate about things like this.
0:28:34 > 0:28:36Anyway, let's put it to the test. Here we go.
0:28:36 > 0:28:39Late 19th century Swiss music box
0:28:39 > 0:28:42by Nicole Freres playing six airs.
0:28:42 > 0:28:45Beautifully inlaid case with honeysuckle sprays
0:28:45 > 0:28:48and opening the bidding here at £550.
0:28:48 > 0:28:50- 550 here, can I see the 600? - Oh, come on, we need 600.
0:28:50 > 0:28:52We need a bit more than that.
0:28:52 > 0:28:54550 here. Can I see the 600?
0:28:54 > 0:28:56£550 here. 600, can I see?
0:28:56 > 0:28:59At £550. Is there any advance on 550?
0:28:59 > 0:29:02And 600 now. £600.
0:29:02 > 0:29:05Can I see the 650? At £600 and selling!
0:29:05 > 0:29:07At £600.
0:29:07 > 0:29:09600.
0:29:09 > 0:29:12- It's gone! You didn't want to take it home, did you?- I didn't, no.
0:29:12 > 0:29:15- Thank goodness, it's too heavy. - Yeah, it's very heavy. Oh, well done.
0:29:15 > 0:29:18- Thank you very much.- That's OK. - Thank you.
0:29:21 > 0:29:24Auction rooms are great places to pick up items that you can admire
0:29:24 > 0:29:28and preserve to look after for future generations to enjoy.
0:29:28 > 0:29:30Now while we were in the area filming,
0:29:30 > 0:29:34I visited a museum where preservation is a key part of their
0:29:34 > 0:29:36work, but we're not talking about looking after paintings or
0:29:36 > 0:29:38furniture or porcelain.
0:29:38 > 0:29:40We're talking about looking after buildings.
0:29:40 > 0:29:42Take a look at this.
0:29:55 > 0:29:58The Weald & Downland Open Air Museum is located in the idyllic
0:29:58 > 0:30:00South Downs National Park.
0:30:00 > 0:30:03The museum originally opened in 1970
0:30:03 > 0:30:06and now it's home to around 50 traditional buildings which
0:30:06 > 0:30:10have been saved from destruction, carefully restored and rebuilt
0:30:10 > 0:30:16to bring back to life the story of the people who lived in them.
0:30:16 > 0:30:19The museum owes its existence to the devotion of one man,
0:30:19 > 0:30:21its founder Roy Armstrong.
0:30:21 > 0:30:23And as a local historian, Roy had an increasing
0:30:23 > 0:30:27passion in the conservation of buildings from the past.
0:30:27 > 0:30:30The eruption of modern housing estates threatened many
0:30:30 > 0:30:33traditional homes and buildings with demolition.
0:30:35 > 0:30:38Roy Armstrong feared that many historic buildings in the area
0:30:38 > 0:30:42were being destroyed as a consequence, even listed buildings.
0:30:42 > 0:30:45And he feared that without such structures, people's links
0:30:45 > 0:30:48to the past would be lost forever, so something had to be done
0:30:48 > 0:30:51and this place was born.
0:30:51 > 0:30:54The rescued buildings had been carefully dismantled
0:30:54 > 0:30:58and conserved but now the process of reassembling them could begin.
0:30:58 > 0:31:02And in 1969, the first building was erected on the site.
0:31:02 > 0:31:05In the first month of opening, thousands of visitors
0:31:05 > 0:31:08came through the door. The museum was officially a success.
0:31:08 > 0:31:11And some 40 years later, it's still a thriving visitor attraction.
0:31:11 > 0:31:13Now I'm here today to meet the museum's director,
0:31:13 > 0:31:16Richard Pailthorpe, to find out more about the work that's being
0:31:16 > 0:31:19done to continue Roy's vision for the museum.
0:31:23 > 0:31:26Richard, why is it so important to have a museum like this?
0:31:26 > 0:31:29Well, I think we have to put the clock back, sort of 40, 50 years.
0:31:29 > 0:31:31Back to the sort of 1950s, '60s,
0:31:31 > 0:31:35post-war Britain, where overnight, literally,
0:31:35 > 0:31:40these traditional buildings, barns, farm houses, etc were disappearing.
0:31:40 > 0:31:45- And being replaced by, you know, sorts of glass and steel...- Yes.
0:31:45 > 0:31:47..and everything else, you know.
0:31:47 > 0:31:49So, conservation is key to what you do here.
0:31:49 > 0:31:51How much work is involved in actually maintaining
0:31:51 > 0:31:54- the buildings once they're here on site?- Right.
0:31:54 > 0:31:57Well, like all buildings, they need to be, you know, conserved...
0:31:57 > 0:32:00- Bit of TLC.- ..and TLC, etc.
0:32:00 > 0:32:04And that's what we're having to do increasingly much more of.
0:32:04 > 0:32:07Thatched roofs, for example, are a major issue.
0:32:07 > 0:32:12Got a barn down there desperately in need now of having new thatch
0:32:12 > 0:32:14and so we'll be doing that this year.
0:32:14 > 0:32:17Now I hear you've got a cottage which is being
0:32:17 > 0:32:20- constructed at the moment or reconstructed I should say.- Yes.
0:32:20 > 0:32:22- Is it something I can get involved in and help?- Oh, very much so.
0:32:22 > 0:32:25- You've come at a, you know, just at the right time!- Wonderful!
0:32:25 > 0:32:27- Is that is over there? - Just over there.
0:32:27 > 0:32:30We're at the stage where we're about to do some wattle and daubing.
0:32:30 > 0:32:34- Here is...that's an opportunity for you to...- To get mucky!
0:32:34 > 0:32:35Absolutely, that's right.
0:32:35 > 0:32:37Thank you very much for talking to me, Richard.
0:32:37 > 0:32:40Shall I make my way down that path to the cottage?
0:32:40 > 0:32:42- That's right, there you are. Just down there.- OK.- Cheerio!
0:32:45 > 0:32:49Tindalls cottage was originally built in the early 18th century,
0:32:49 > 0:32:52probably as the home of a labourer.
0:32:52 > 0:32:56It remained in its original position in East Sussex until 1974
0:32:56 > 0:33:00when the construction of a reservoir threatened its survival.
0:33:00 > 0:33:02Rescued by the museum,
0:33:02 > 0:33:04the timber frame has been in storage ever since.
0:33:04 > 0:33:09But now it's in the process of being restored back to its former glory.
0:33:09 > 0:33:12And the man responsible for this precious restoration is
0:33:12 > 0:33:15carpenter in residence, Joe Thompson.
0:33:15 > 0:33:17Joe, you've got your work cut out.
0:33:17 > 0:33:21Yeah, we've got a bit to do but it's good you're here.
0:33:21 > 0:33:23It's essentially a timber frame building, isn't it?
0:33:23 > 0:33:26Apart from the brick fireplace and obviously the chimney breast.
0:33:26 > 0:33:29Once you get that working, you're going to keep warm.
0:33:29 > 0:33:31That's right, it'll be wonderful. You've got all mod cons here,
0:33:31 > 0:33:33there's a bread oven out the back,
0:33:33 > 0:33:36there's a copper and a furnace to brew beer through there
0:33:36 > 0:33:38so you can bake your bread, drink your beer, you've got your
0:33:38 > 0:33:42warm kitchen, hall in here and your storeroom's out the back.
0:33:42 > 0:33:46Today on a timber frame building with these oak uprights it'll all
0:33:46 > 0:33:48be dry lined with plasterboard,
0:33:48 > 0:33:50but obviously we're not going to do that, are we?
0:33:50 > 0:33:52No, this is wattle and daub.
0:33:52 > 0:33:54We're going back to the old ways, tried and tested.
0:33:54 > 0:33:58Yeah, talk me through the ingredients. You've got some buckets here.
0:33:58 > 0:34:01This is loam from the vicinity where the cottage came from.
0:34:01 > 0:34:04Then we've got the straw, a little bit of dung and we've got the water.
0:34:04 > 0:34:07So, we're going to basically mix them all together.
0:34:07 > 0:34:10Just looking at the little pot of poo, there.
0:34:10 > 0:34:12- What's that? Cow or horse? - That's cow.- Or pig?
0:34:12 > 0:34:14Traditionally it all would've been trodden by the cows.
0:34:14 > 0:34:16Well, I guess I need some gloves really, don't I?
0:34:16 > 0:34:19- Who's got the gloves?- Here we go, Paul.- Look at that, thank you.
0:34:21 > 0:34:23Here's our bucket of loam.
0:34:25 > 0:34:28We've got a bit of the cow dung, mixed in.
0:34:28 > 0:34:30Well, that's quite dry.
0:34:30 > 0:34:33- Yeah, this is some stuff I put aside the other week.- Right, OK.
0:34:33 > 0:34:36- Then mixing in the water.- But you could literally pick fresh stuff up,
0:34:36 > 0:34:38- couldn't you?- Yes, you could.
0:34:40 > 0:34:43- So, we've got to get this well mixed.- Well, it's certainly
0:34:43 > 0:34:46- doing the trick, look, it's sticking to your wellies.- Oh, yes.
0:34:46 > 0:34:49So if it sticks to those, it's definitely going to stick to this.
0:34:49 > 0:34:50That's right.
0:34:51 > 0:34:54If you wouldn't mind chucking bits and pieces of that in as we go.
0:34:54 > 0:34:55Lovely.
0:34:57 > 0:34:58Keeps you fit.
0:34:58 > 0:35:01I'm going to ask you to help me.
0:35:01 > 0:35:06We're going to unload this and we're going to put it into the bucket.
0:35:07 > 0:35:09- Look at that. What a sausage.- Yeah.
0:35:12 > 0:35:15Right, we've got a bucket full of it, Joe.
0:35:15 > 0:35:19- Let's put it on the wall.- Yeah, come on, then. Let's throw it on.
0:35:19 > 0:35:21Let's start at face height. Where would you normally start then?
0:35:21 > 0:35:23At the bottom and work up or...
0:35:23 > 0:35:26I think we'll start at the top and work our way down.
0:35:26 > 0:35:27I'd like to do this without gloves on.
0:35:27 > 0:35:30I think I'd like to feel it going in. I can't feel anything.
0:35:30 > 0:35:33- Do you mind if I take these off? - Please do.- They're quite tight.
0:35:33 > 0:35:36- I feel like I need to feel the material.- Excellent.
0:35:36 > 0:35:38Yeah, exactly. It's that sort of thing.
0:35:38 > 0:35:40I'm going to get myself what we call a cat.
0:35:40 > 0:35:42- So it's a piece about the size of an apple.- OK.
0:35:42 > 0:35:45- I'm going to squeeze it once or twice in my hands.- Yeah.
0:35:45 > 0:35:47- And then, we're going to slap it on the wall.- OK.
0:35:47 > 0:35:49So I've got about the right amount.
0:35:49 > 0:35:52- That's it, you've got yourself a cat there.- Gosh, that's sticky.- Yeah.
0:35:52 > 0:35:58So, push it on there and with your fingers,
0:35:58 > 0:36:00push it into there.
0:36:00 > 0:36:04- It wants to go through the gaps. - Yeah.
0:36:04 > 0:36:07That's perfect. Yeah, that's coming along nicely.
0:36:11 > 0:36:14Ah, do you know what? It makes you feel like a kid again,
0:36:14 > 0:36:16it makes you feel like playing with mud.
0:36:16 > 0:36:18It's so satisfying because at the end of the day,
0:36:18 > 0:36:20it's just clay really, isn't it?
0:36:21 > 0:36:24- Look at that. Look how sticky that is.- It's good fun.
0:36:24 > 0:36:25And what I'd do, after a couple of days,
0:36:25 > 0:36:28I'd come back and I'd give that another rub up just to
0:36:28 > 0:36:30sort of smooth out any little lumps and bumps.
0:36:30 > 0:36:32It's all pretty wet and sticky now. Let it go off for a bit.
0:36:32 > 0:36:34Come back again.
0:36:34 > 0:36:36And I guess with the air blowing through this building
0:36:36 > 0:36:40- because there are no windows or doors...- It'll dry nice and quickly.
0:36:40 > 0:36:45It's great. That's very satisfying. Joe, I'll shake your hand.
0:36:45 > 0:36:47- Thank you very much.- Thank you. - You're doing a great job.
0:36:47 > 0:36:50- I'm going to leave you to do the rest, I think.- That's great.
0:36:50 > 0:36:53Only one problem, have you got the sink fitted yet?
0:36:53 > 0:36:54No.
0:36:58 > 0:37:02Well, I've got great admiration for the work they're doing here today.
0:37:02 > 0:37:05Not only are they taking the responsibility of the preservation
0:37:05 > 0:37:08of these buildings through sheer hard work and determination but
0:37:08 > 0:37:12also they're using them to educate and inform us about our past.
0:37:12 > 0:37:14And that's what's so important. And who knows?
0:37:14 > 0:37:17Maybe some of the buildings we live in today will become
0:37:17 > 0:37:18exhibits of the future.
0:37:28 > 0:37:30Welcome back to Guildford Cathedral.
0:37:30 > 0:37:33Let's now catch up with our experts and see what other antiques
0:37:33 > 0:37:36and collectibles we can find to take off to auction.
0:37:36 > 0:37:38As you can see, there's still a lot of people here which means
0:37:38 > 0:37:41hundreds of antiques to sift through.
0:37:41 > 0:37:44Let's now catch up with Mark Stacey. He's found a real gem.
0:37:49 > 0:37:53Jane, Michael. I don't have to look underneath to tell you what this is.
0:37:53 > 0:37:56Because it screams Moorcroft, Moorcroft, Moorcroft, doesn't it?
0:37:56 > 0:38:00- Yes.- But I tell you what. They don't come much more impressive than this,
0:38:00 > 0:38:04- do they?- It's stunning, isn't it? I love it.- It's absolutely amazing.
0:38:04 > 0:38:08It's fabulous. I can't say any more than that. It's absolutely fabulous.
0:38:08 > 0:38:12One of these ones with so much pink in the actual glazing.
0:38:12 > 0:38:14- It really glows, doesn't it? - It really does.
0:38:14 > 0:38:18It really is a sort of very shepherd... What is it they say?
0:38:18 > 0:38:21Red sky at night, shepherd's delight.
0:38:21 > 0:38:23It's certainly Mark's delight today, I can tell you
0:38:23 > 0:38:25because it's wonderful.
0:38:25 > 0:38:29- How have you come to own it? - I've inherited it.
0:38:30 > 0:38:32And my husband, with courtesy of my husband,
0:38:32 > 0:38:35I'm allowed to keep all these things, or I have been.
0:38:35 > 0:38:38You've been very patient, have you, Michael?
0:38:38 > 0:38:39Yes.
0:38:39 > 0:38:41Very discreet and gentlemanly about it.
0:38:41 > 0:38:45- And, Michael, what do you think of it?- I think it's terrific, yeah.
0:38:45 > 0:38:48- It's an impressive piece, isn't it?- Oh, yes.
0:38:48 > 0:38:50Now, what pattern do you think it is?
0:38:50 > 0:38:53Erm...
0:38:53 > 0:38:54Well, I thought it was landscape.
0:38:54 > 0:38:57Well, it certainly is a landscape with those trees
0:38:57 > 0:39:00but the official pattern name is Hazeldene.
0:39:00 > 0:39:03- You see this pattern on vases, on other things.- Right.
0:39:03 > 0:39:06- And it's known as Hazeldene. - Hazeldene.
0:39:06 > 0:39:07- There's another one...- Now we know.
0:39:07 > 0:39:10- ..called Eventide which is very similar.- Right.
0:39:10 > 0:39:13And another one called Claremont which looks like big mushrooms.
0:39:13 > 0:39:17- And I love this jazzy pattern... - That's lovely.- ..on the outside
0:39:17 > 0:39:20- which, of course, helps to date it immediately.- Yes, does it?
0:39:20 > 0:39:23- Yes, because it's very Art Deco. - Oh, right.
0:39:23 > 0:39:26- So, we're looking at about 1925.- Oh.
0:39:26 > 0:39:29That would fit in with my mother's...could've been
0:39:29 > 0:39:32- a wedding present.- Oh, were they married around then?
0:39:32 > 0:39:35My mother and father were married in about 1927, I think.
0:39:35 > 0:39:37- Yes, so it could've been, couldn't it?- Yes.
0:39:37 > 0:39:41It's got a few flaws. There are a couple of chips on there.
0:39:41 > 0:39:43- Oh, yes.- There's a little bit of restoration.
0:39:43 > 0:39:47But it is a cracking item which I think the collectors would love.
0:39:47 > 0:39:51- Good.- The damage holds it back a little bit.
0:39:51 > 0:39:54I would want to put an estimate of £800 to £1,200 on it.
0:39:54 > 0:39:57- Really?- As much as that? - That's quite a sum.
0:39:57 > 0:40:01- It's more than you thought?- Yes, it is.- Oh, good. What did you think?
0:40:01 > 0:40:03Well, I sort of thought £500 to £800, maybe.
0:40:03 > 0:40:06No, I think it's a bit more impressive, even with the damage.
0:40:06 > 0:40:10You know, it wouldn't surprise me if it made a bit more than that
0:40:10 > 0:40:13- on the day...- Really?- ..but we'll protect it with an £800 reserve.
0:40:13 > 0:40:16- Right. Yes, I think...- If that's all right with you.- Yes.- Very good.
0:40:16 > 0:40:20- Perfect.- It's fine. - If we do get you, say...
0:40:21 > 0:40:23..the top end of the estimate, £1,200,
0:40:23 > 0:40:26would you put it towards anything in particular?
0:40:26 > 0:40:27Erm...
0:40:27 > 0:40:30- Not sure.- Ooh.
0:40:30 > 0:40:32- You've got ideas, Jane. - I've got ideas.- Go on, tell them.
0:40:32 > 0:40:35Well, I think we'd go and have a nice holiday in France.
0:40:35 > 0:40:38- Oh, wonderful!- Don't you think? - What a wonderful idea.
0:40:38 > 0:40:40- Well, I can't think of a better idea.- Well, there you are then.
0:40:40 > 0:40:42I think that would be wonderful
0:40:42 > 0:40:45- because then while you're sipping a nice bottle of red...- Right.
0:40:45 > 0:40:49..you could be thinking, "This is all on my chipped Moorcroft bowl."
0:40:49 > 0:40:51Fingers crossed that bowl will deliver
0:40:51 > 0:40:53when it goes under the hammer later on.
0:40:53 > 0:40:57Let's catch up with Catherine who's found one of her favourite things.
0:40:57 > 0:41:03Well, Juliet, it's wonderful to be up here at Guildford Cathedral
0:41:03 > 0:41:08and equally exciting to see something as delicious as this.
0:41:08 > 0:41:09Tell me a bit about it.
0:41:09 > 0:41:12I don't know anything about it, Catherine, I'm afraid.
0:41:12 > 0:41:16It came from my mother, who in turn would've got it from
0:41:16 > 0:41:18her father's antique shop.
0:41:18 > 0:41:20Not a family heirloom or anything like that.
0:41:20 > 0:41:23So, do you think this is something that perhaps somebody
0:41:23 > 0:41:26came in to sell to him one day in the antiques shop
0:41:26 > 0:41:29- and perhaps he saw that and thought...- I would say so.
0:41:29 > 0:41:32- ..I like that. I'm taking that home. - Yes, a bit like you, then, Catherine.
0:41:32 > 0:41:33Well, I'll tell you what.
0:41:33 > 0:41:35If I saw that, if I had an antiques shop and someone brought
0:41:35 > 0:41:38that in to me to sell, I would pick it up and take that straight home.
0:41:38 > 0:41:41- It is, it's a nice item.- Which is probably what he's done.
0:41:41 > 0:41:42- It's very tactile.- Absolutely,
0:41:42 > 0:41:45I mean, it's a great piece essentially of treen.
0:41:45 > 0:41:47- But...- Right.
0:41:47 > 0:41:50..it is a snuff box.
0:41:50 > 0:41:53- They're normally the smaller ones, the pocket sized ones.- Yes.
0:41:53 > 0:41:56But this is the sort of thing that you would have had on the table
0:41:56 > 0:41:59so, perhaps it would've been passed around the table
0:41:59 > 0:42:06but what makes this different from others is all this inlay.
0:42:06 > 0:42:08The mother of pearl and the ebony.
0:42:08 > 0:42:11There's an awful lot of work that's gone into this.
0:42:11 > 0:42:13It's absolutely super.
0:42:13 > 0:42:16It's head and shoulders above anything else I've seen.
0:42:16 > 0:42:18Well, let's have a look at this inscription and try
0:42:18 > 0:42:21and clarify what it says.
0:42:21 > 0:42:22A...
0:42:22 > 0:42:24Present...
0:42:24 > 0:42:28And then I love the way it's got the hand in mother of pearl with
0:42:28 > 0:42:33the word to, so "A present to", arrow up,
0:42:33 > 0:42:36"Miss C M Brae"
0:42:36 > 0:42:39and we know nothing about Brae. We don't know who she is.
0:42:39 > 0:42:41Nothing at all. No.
0:42:41 > 0:42:42The...
0:42:42 > 0:42:45sinner...sinners
0:42:45 > 0:42:47because what they've done here is they've forgotten the S.
0:42:47 > 0:42:52- So they've quickly studded it up the top.- I know. Very sort of...
0:42:52 > 0:42:53It's wonderful.
0:42:53 > 0:42:55- That's their mistake. - Yeah, wonderful.
0:42:55 > 0:42:58The sinners...earthly...friend.
0:42:58 > 0:43:00Sinners earthly friend, lovely.
0:43:00 > 0:43:04Then underneath, of course, you've got the important bit to me.
0:43:04 > 0:43:09- He died for me. And there's a little picture of her there.- Yeah.
0:43:09 > 0:43:14And they've got a name stamped in here of...H Lodge.
0:43:14 > 0:43:16That's possibly the maker.
0:43:16 > 0:43:19- Maker, would you think? I don't know.- Maybe the owner.
0:43:20 > 0:43:23What I love about it is there are all these questions over it.
0:43:23 > 0:43:25Who owned it? Who was Miss Brae?
0:43:25 > 0:43:28And I think that's what makes it interesting.
0:43:28 > 0:43:30I know. We've always wondered.
0:43:30 > 0:43:32- It's a shame we've got this split in front.- I know.
0:43:32 > 0:43:35- Have you always known it...? - Yes, it's always been like that.
0:43:35 > 0:43:36- Ever since I can remember.- Right.
0:43:36 > 0:43:39But only one piece, I think, after all those years!
0:43:39 > 0:43:41I don't know, but how old is it?
0:43:41 > 0:43:43- I would date it to 1860s.- Right.
0:43:43 > 0:43:48That sort of period. It's just pure class, isn't it?
0:43:48 > 0:43:50- It's absolutely super.- Thank you.
0:43:50 > 0:43:53Now, the question of flogging it,
0:43:53 > 0:43:55- that's what it all comes down to.- Yeah.
0:43:57 > 0:44:01I can see a lot of people getting excited about this in the same
0:44:01 > 0:44:03- way that I have.- OK.
0:44:03 > 0:44:05I would like to put
0:44:05 > 0:44:08a saleroom estimate on
0:44:08 > 0:44:10- of £150 to £250. - That is very nice.
0:44:10 > 0:44:12- Is that good?- Yes, that's great.
0:44:12 > 0:44:16- But I wouldn't be surprised if it went very high.- OK.
0:44:17 > 0:44:19Pure...
0:44:20 > 0:44:22- ..class. Thank you.- You really do like it, don't you?
0:44:22 > 0:44:24I really do like it.
0:44:24 > 0:44:28- Really, really do.- Oh, I'm really pleased. I'm glad you like it.
0:44:28 > 0:44:33# Hey, I put some new shoes on and suddenly everything's right... #
0:44:33 > 0:44:36I've found a quiet corner away from the valuation table to take
0:44:36 > 0:44:41a closer look at one of the many interesting items in the cathedral.
0:44:41 > 0:44:44Earlier on, I discovered a fascinating carpet
0:44:44 > 0:44:47here in the cathedral but the whole place is full of wonderful
0:44:47 > 0:44:49treasures and behind me there's another one.
0:44:49 > 0:44:50A crosier.
0:44:50 > 0:44:54Which resembles, as you can see here, a shepherd's staff.
0:44:54 > 0:44:58Normally carried by the abbot or the bishop as a symbol of office.
0:44:58 > 0:45:01Now this particular crosier was designed by one of the greatest
0:45:01 > 0:45:04craftsman and designers of the Art Nouveau period,
0:45:04 > 0:45:06Omar Ramsden.
0:45:06 > 0:45:09Born in Sheffield, he worked designing throughout his life
0:45:09 > 0:45:13on many church commissions, right up until his death in 1939.
0:45:13 > 0:45:17This was made for the first bishop of Guildford, sterling silver,
0:45:17 > 0:45:20it's all hallmarked with the London Assay office
0:45:20 > 0:45:25with the leopard's head and the date letter telling us 1927.
0:45:25 > 0:45:28I love this carved ivory ram here within the hook
0:45:28 > 0:45:32but look at this wonderful, wonderful enamel work.
0:45:32 > 0:45:35Something that you associate Omar Ramsden with.
0:45:35 > 0:45:38Glass, coloured glass fused at high temperatures.
0:45:38 > 0:45:41I particularly like this little image of the tree of life.
0:45:41 > 0:45:44It works perfectly well here in this cathedral.
0:45:44 > 0:45:48Sitting on a wonderful rosewood shaft.
0:45:48 > 0:45:50Now, isn't that a real treasure?
0:45:50 > 0:45:53And we come across Omar Ramsden's work a lot on the show
0:45:53 > 0:45:56and it's a big name to look out for.
0:45:56 > 0:45:58Well, right now, let's hook up with our experts
0:45:58 > 0:46:02and see what else we can find to take off to auction.
0:46:10 > 0:46:13Anne, where did this pocket watch come from?
0:46:13 > 0:46:16Well, I inherited it through my parents
0:46:16 > 0:46:18and it belonged to my great grandfather.
0:46:18 > 0:46:20And I really can't tell you that much more about it.
0:46:20 > 0:46:23It's for long service, it's inscribed in the back.
0:46:23 > 0:46:27- I think we should really see the inscription, don't you?- Yes.
0:46:27 > 0:46:28So, it says...
0:46:35 > 0:46:38For 46 years' service in 1938.
0:46:38 > 0:46:40Do you know what he did for ICI?
0:46:40 > 0:46:43- Well, I believe he worked in the salt mines.- Oh, wow.
0:46:43 > 0:46:46Because he always used to put loads of salt on everything.
0:46:46 > 0:46:50- I can just remember him. - So, he smothered his food with salt?
0:46:50 > 0:46:52- Absolutely. - It's that old adage, isn't it?
0:46:52 > 0:46:55When you did 25 years' service as a retirement gift you got
0:46:55 > 0:46:57a gold pocket watch.
0:46:57 > 0:46:59I don't think they do it quite so much today.
0:46:59 > 0:47:03No, well, because we don't use pocket watches like we used to.
0:47:03 > 0:47:04No, nobody does.
0:47:04 > 0:47:08The nice thing about it, in this case, it is actually a gold one.
0:47:08 > 0:47:12A lot of gold pocket watches we see are actually only gold plated.
0:47:12 > 0:47:14- But this one is hallmarked.- Yes.
0:47:14 > 0:47:16Nine carat gold and hallmarked in 1938,
0:47:16 > 0:47:18so it was brand-new at the time.
0:47:18 > 0:47:21But it's got a fairly straightforward movement on it.
0:47:21 > 0:47:23- Right.- And a fairly straightforward maker.
0:47:24 > 0:47:26It's nice that it's got its box.
0:47:26 > 0:47:30But sadly, the value lies in the fact that it is nine carat gold.
0:47:30 > 0:47:33- Yeah.- And it will probably end up being melted down
0:47:33 > 0:47:36- to be made into something else. - Yes, I expected that.
0:47:36 > 0:47:39- So, you're not worried about that? - Not at all, no.
0:47:39 > 0:47:41So, it just lives in a drawer at home?
0:47:41 > 0:47:44It lives in the loft with lots of other bits and bobs.
0:47:44 > 0:47:47Who do I give it to? Two sons, three grandsons.
0:47:47 > 0:47:49- Can't split it in three, can you? - They don't want it,
0:47:49 > 0:47:51- they'd rather have a phone.- Of course they would.
0:47:51 > 0:47:53That's absolutely right.
0:47:53 > 0:47:56Now, have you got an idea of how much it's worth?
0:47:58 > 0:48:01- A couple of hundred, I thought. - I think that's probably about right.
0:48:01 > 0:48:05I mean, we've weighed it as much as we can because obviously...
0:48:05 > 0:48:06Without the workings.
0:48:06 > 0:48:10And a sensible auction estimate is probably in the region
0:48:10 > 0:48:13- of £150 to £250. - Yeah.
0:48:13 > 0:48:16And it will fluctuate, of course, because when the auction comes up,
0:48:16 > 0:48:19it will be affected by the price of gold on that particular day.
0:48:19 > 0:48:22But I think we should put a fixed reserve of £150 on it.
0:48:22 > 0:48:24Yes, that's absolutely fine.
0:48:24 > 0:48:26- And then it protects it a little bit.- Yes.
0:48:26 > 0:48:29- And it's...really not a lot more one can say about it.- I know.
0:48:29 > 0:48:33Other than it's time for it to go and be turned into something else,
0:48:33 > 0:48:35- isn't it?- Yes, I think you're absolutely right.
0:48:35 > 0:48:38- Thank you, Anne. - Time to go.- Time to go.
0:48:39 > 0:48:43Robert, I don't know about you but I do like a glass of champagne.
0:48:43 > 0:48:46- Are you a champagne drinker? - I am and always have been.
0:48:46 > 0:48:50And you've brought me along a champagne swizzle stick
0:48:50 > 0:48:54for dipping in your champagne,
0:48:54 > 0:48:57giving a little swizzle and getting rid of your bubbles.
0:48:57 > 0:49:00I don't know about you, Robert, but I like bubbles in my champagne.
0:49:00 > 0:49:03I mean, that's the whole point of it, at the end of the day, isn't it?
0:49:03 > 0:49:05In many ways you're right.
0:49:05 > 0:49:08I agree with you, I prefer them.
0:49:08 > 0:49:12But I think the ladies of the 19th and 18th century,
0:49:12 > 0:49:14rather than get the champagne up their nose
0:49:14 > 0:49:16or going over their dresses,
0:49:16 > 0:49:20liked to disperse them somewhat and that became the style.
0:49:20 > 0:49:24- Not so much now.- Nowadays, it's just a novelty, isn't it?
0:49:24 > 0:49:27- Absolutely, yes, it is. - So, where did you get this from?
0:49:27 > 0:49:34From a friend who gave it to me in 1990, roughly.
0:49:34 > 0:49:40We'd rather enjoyed champagne, particularly Krug.
0:49:40 > 0:49:42Ohhh!
0:49:42 > 0:49:44But, of course, those were the days
0:49:44 > 0:49:46when I was working reasonably successfully.
0:49:46 > 0:49:49Right, OK, so you were a bit of a champagne drinker 20-odd years ago?
0:49:49 > 0:49:51I was, yes.
0:49:51 > 0:49:54It's a bit of fun, isn't it? It's a novelty piece, really.
0:49:54 > 0:49:57It's something you could have when you've got all your friends round,
0:49:57 > 0:50:01having a dinner party or a drink, cheese and wine, or what have you,
0:50:01 > 0:50:03and you have a glass of champagne.
0:50:03 > 0:50:05- It's a talking point, isn't it? - Very much so.
0:50:05 > 0:50:10This is nine-carat gold, as you may know.
0:50:10 > 0:50:14It's stamped here. And it's quite nice quality, it's engine turned.
0:50:14 > 0:50:16Quite a simple piece.
0:50:16 > 0:50:21- But, at the end of the day, it's a bit of class, isn't it?- Yeah, maybe.
0:50:21 > 0:50:26- Not for you any more?- I think not, no.- Time to move on. Well, ish.
0:50:26 > 0:50:27It must be quite sentimental to you.
0:50:27 > 0:50:30Quite special as a friend gave it to you.
0:50:30 > 0:50:34- Are you sure you're wanting to sell this?- Well, yes, I think so.
0:50:34 > 0:50:36It's not going to be a huge amount of money.
0:50:36 > 0:50:39I'm not going to dazzle you with a big figure.
0:50:39 > 0:50:43- I would say £70-£100, how's that? - Lovely, to buy a bottle of Krug.
0:50:43 > 0:50:46BOTH LAUGH
0:50:46 > 0:50:51I like your answer, that's perfect! OK, let's put it in the sale.
0:50:51 > 0:50:56£70-£100, with a £70 reserve because it was a gift,
0:50:56 > 0:51:00so I think we need to protect it. Are you happy with that?
0:51:00 > 0:51:04- I'm very happy with that.- And I tell you what, if you get your champagne,
0:51:04 > 0:51:08- can I have a glass as well? - Well, of course you can! THEY CHUCKLE
0:51:08 > 0:51:11An interesting and unusual find for Catherine there.
0:51:12 > 0:51:16What a fabulous turn out we've had here today at Guildford Cathedral.
0:51:16 > 0:51:19Such a memorable day. We've found some wonderful treasures as well.
0:51:19 > 0:51:22We're heading off to the auction room for the very last time
0:51:22 > 0:51:26so it's time for us to say goodbye to this magnificent venue
0:51:26 > 0:51:29and all of these wonderful people who have turned up today.
0:51:29 > 0:51:31Let's put those last valuations to the test
0:51:31 > 0:51:35and here's a quick recap of what we're taking with us.
0:51:35 > 0:51:38Mark was enthusiastic about the Moorcroft bowl
0:51:38 > 0:51:39but will the bidders feel the same?
0:51:41 > 0:51:43Time's definitely up for the gold pocket watch.
0:51:45 > 0:51:48And there's that fascinating snuff shoe.
0:51:50 > 0:51:53Let's hope the champagne swizzle stick will pop some corks.
0:51:57 > 0:52:00Welcome back to the auction room here in Washington.
0:52:00 > 0:52:02Auctioneer Rupert Toovey is on the rostrum
0:52:02 > 0:52:05and ready to sell our next item and the bidders are raring to go.
0:52:05 > 0:52:08Let's hope we see lots of action.
0:52:08 > 0:52:10I had a quick chat with Rupert before the auction started
0:52:10 > 0:52:13and he had some reservations about one of our items.
0:52:14 > 0:52:17Right, the Moorcroft bowl, the dawn landscape.
0:52:17 > 0:52:21It's got some damage. It's a lovely bowl, a generous size as well.
0:52:21 > 0:52:24Beautiful, that English interpretation of the Art Nouveau
0:52:24 > 0:52:27is wonderful and especially in these landscape patterns with Moorcroft,
0:52:27 > 0:52:29- don't you think?- And I love that colourway as well.
0:52:29 > 0:52:33- Without the damage, £2,000. - I think you're right.
0:52:33 > 0:52:36But with this restoration on the rim, I'm afraid, you know,
0:52:36 > 0:52:39we might struggle to get £800, you know.
0:52:39 > 0:52:42Is that because there hasn't been a lot of presale interest
0:52:42 > 0:52:43or is it your gut feeling?
0:52:43 > 0:52:47Huge amount of interest but real concerns about this nick on the rim.
0:52:47 > 0:52:50- As soon as they see it, they go... - Yeah.- .."that's put me off."
0:52:50 > 0:52:53Collectors are a fussy breed and I totally agree with them.
0:52:53 > 0:52:56If you want to invest in something, you invest in the best.
0:52:58 > 0:53:00And now it's the moment of truth for the bowl.
0:53:01 > 0:53:04Jane and Mike, it's good to see you again.
0:53:04 > 0:53:07- We've been talking about your large Moorcroft bowl.- Thank you.
0:53:07 > 0:53:10Oh, it's created all sorts of topic of conversation because
0:53:10 > 0:53:13- of that little bit of damage around the rim...- I know, it's a shame.
0:53:13 > 0:53:15- ..which has been restored.- Yes. - I think at the valuation day
0:53:15 > 0:53:17Mark probably said to you without the damage,
0:53:17 > 0:53:19you'd be looking at around £2,000.
0:53:19 > 0:53:22- That's why we have a value of around £800 on this.- That's right.
0:53:22 > 0:53:25It's really knocked it down a size or two.
0:53:25 > 0:53:28- Not in my time.- Not in your time it didn't happen, no.
0:53:28 > 0:53:30- It's still a lovely piece. - Oh, it's gorgeous, isn't it?
0:53:30 > 0:53:34We're going to find out right now exactly what damage matters
0:53:34 > 0:53:36- to a piece of Moorcroft. - Lovely.- Let's see.
0:53:36 > 0:53:38Large Moorcroft pottery lustre,
0:53:38 > 0:53:42glazed dawn landscape patterns, circular bowl. Circa 1928.
0:53:42 > 0:53:45It's beautifully decorated with a little restored chip.
0:53:45 > 0:53:50But I'm opening the bidding here at £700. At £700, can I see the 720?
0:53:50 > 0:53:52At £700. 720, can I see?
0:53:52 > 0:53:54At £700. Can I see the 720?
0:53:54 > 0:53:56Come on, we need one more hundred.
0:53:56 > 0:53:59At £700. Anything online?
0:53:59 > 0:54:00No, sir.
0:54:00 > 0:54:03No? At £700 then, all done.
0:54:03 > 0:54:07At £700 and we're passing it at 700.
0:54:09 > 0:54:12- It didn't sell, Jane.- Never mind. - That's such a shame.
0:54:12 > 0:54:16- I'm pleased you protected it with a reserve.- Yes, I shan't mind.
0:54:16 > 0:54:20Because I shall be able to...I actually took a photograph of it
0:54:20 > 0:54:23- so I had it if it did sell. Oh, well.- Sorry about that.- Sorry.
0:54:23 > 0:54:26We tried our hardest but, you know, the collectors are fussy,
0:54:26 > 0:54:28- aren't they?- Yes.
0:54:29 > 0:54:32Going under the hammer right now, something from the '70s
0:54:32 > 0:54:35and I wouldn't necessarily say '70s when I think of this.
0:54:35 > 0:54:38It's a champagne twizzle stick, belonging to Robert.
0:54:38 > 0:54:40Are you still knocking back the champagne?
0:54:40 > 0:54:42- A bit, but not quite as much as I was.- Not so much.
0:54:42 > 0:54:45- Right, well, let's put it to the test, shall we?- Absolutely.
0:54:45 > 0:54:47See what it makes.
0:54:47 > 0:54:50And we're opening the bidding here at...£85.
0:54:50 > 0:54:55£85, can I see the 90? Conflicting bids on the books here at £85.
0:54:55 > 0:55:01At £85, 90 going to see? At £85 and 90 and five for 100? 95 here?
0:55:01 > 0:55:03At 95 against the room?
0:55:03 > 0:55:05At 95, all done?
0:55:05 > 0:55:08- At 95! 95. - GAVEL BANGS
0:55:08 > 0:55:1095 and the hammer's gone down!
0:55:10 > 0:55:14- That's a good result. Are you happy with that?- I am.
0:55:14 > 0:55:18- And I'm going to enjoy a lunch on Worthing front.- Brilliant.
0:55:18 > 0:55:21- Very nice, with champagne.- Fish and chips.- Fish and chips and champagne.
0:55:21 > 0:55:25- Now, that...that is style, isn't it?- Yes!
0:55:25 > 0:55:27So, Robert's going home happy and hopefully,
0:55:27 > 0:55:30someone will be enjoying a glass or two with that swizzle stick.
0:55:30 > 0:55:33Fingers crossed for our next item, it belongs to Anne.
0:55:33 > 0:55:36We're selling a gold keyless wind open face pocket watch
0:55:36 > 0:55:37and this is quality.
0:55:37 > 0:55:40- We've got how much? £150 to £250?- Yes.
0:55:40 > 0:55:42Why are you selling this?
0:55:42 > 0:55:46I have three grandsons, two sons, who do you give it to?
0:55:46 > 0:55:48- Yeah.- And they don't want it.- No. Do you know something?
0:55:48 > 0:55:50- No-one uses them, do they? - Never.- No.
0:55:50 > 0:55:52The older they get, the more they'll want it, that's the problem.
0:55:52 > 0:55:55- Too late now.- It's too late. - Grandma's spending the money.
0:55:56 > 0:56:00- Going to spend it on yourself?- I'm going to buy something, yes, I am.
0:56:00 > 0:56:02Well, right, let's put this to the test,
0:56:02 > 0:56:04let's see if we can get the top end.
0:56:04 > 0:56:07A nine carat gold keyless wind, open face gentlemen's pocket watch.
0:56:07 > 0:56:09Opening the bidding here with conflicting bids.
0:56:10 > 0:56:13All the way up to £280.
0:56:13 > 0:56:15- £280!- £280.
0:56:15 > 0:56:17£280.
0:56:17 > 0:56:19All the bidding on the book at £280.
0:56:19 > 0:56:21Is there any more, anywhere?
0:56:21 > 0:56:24At £280.
0:56:24 > 0:56:26Selling then at 280. 280.
0:56:26 > 0:56:29- Good result.- Well done.- Top end of the estimate.- That's marvellous.
0:56:29 > 0:56:31- Fantastic.- That's great.
0:56:31 > 0:56:33Easy, wasn't it?
0:56:33 > 0:56:36So, Anne's going home happy with a bit more than she expected.
0:56:36 > 0:56:40Let's see if our final item can do just as well.
0:56:40 > 0:56:42We've seen them on the show before but not as good as this
0:56:42 > 0:56:45- and as big as this. - No, never.- Wow, wow, wow!
0:56:45 > 0:56:47- I know, it's pretty, isn't it? - Yes.- Lovely.
0:56:47 > 0:56:49This is a piece of social history and I think, you know,
0:56:49 > 0:56:53we should easily double, if not triple what you've put on it.
0:56:53 > 0:56:55- That's what I hope. - That's what I'd like to think.- Yes.
0:56:55 > 0:56:58- I knew you would like this. - Oh, I love it. Absolutely love it.
0:56:58 > 0:57:01- It's fab.- Yes, yes, yes. Great item of treen.- I know.
0:57:01 > 0:57:03And thank you for bringing it in, put a smile on all our faces.
0:57:03 > 0:57:06- Yes.- And I shall smile watching this as well.- I know.- Anyway, good luck!
0:57:06 > 0:57:10- I'm excited. Thank you.- Let's get that top end plus. Here we go.
0:57:10 > 0:57:1319th century mahogany snuff box in the form of a shoe.
0:57:13 > 0:57:16It's inlaid with mother of pearl and has the most wonderful
0:57:16 > 0:57:19presentation inscription inside it, lovely thing.
0:57:19 > 0:57:23And we're opening this lovely thing with conflicting bids at £320.
0:57:23 > 0:57:27- 320, commission bid. - Straight in!- Wow!
0:57:27 > 0:57:30£320. Can I see the 350?
0:57:30 > 0:57:32£320. Is there any advance?
0:57:32 > 0:57:34350, 380, 400.
0:57:34 > 0:57:36420. 450.
0:57:36 > 0:57:39- £420 here.- Well, I'm not surprised.
0:57:39 > 0:57:42£420. Can I see the 450?
0:57:42 > 0:57:45At £420 and fair warning then.
0:57:45 > 0:57:48At £420.
0:57:49 > 0:57:53- Wow!- £420.- You said so.- I did, I told you £400 to £500, didn't I?
0:57:53 > 0:57:57- Yes, you did.- Yeah, I told Catherine that as well back at the cathedral.
0:58:01 > 0:58:04Well, that's it. It's all over for our owners and what a day it's been.
0:58:04 > 0:58:07I hope you've enjoyed the show and do remember
0:58:07 > 0:58:10if you've got any antiques you think would do well in auction,
0:58:10 > 0:58:13we would love to see you at one of our valuation days.
0:58:13 > 0:58:16Details of up and coming dates and venues you can find on our
0:58:16 > 0:58:19BBC website, or check the details in your local press.
0:58:19 > 0:58:22We would love to see you but until then,
0:58:22 > 0:58:23from West Sussex, it's goodbye.