0:00:03 > 0:00:05Today, we're at the Oxford Union,
0:00:05 > 0:00:07one of the oldest debating chambers in the world.
0:00:07 > 0:00:10It occupies a unique place in world politics.
0:00:10 > 0:00:11It was here in 1979
0:00:11 > 0:00:15that Richard Nixon gave his first speech after Watergate.
0:00:15 > 0:00:18He admitted, "I screwed up and I've paid the price."
0:00:18 > 0:00:22Let's hope our experts are on the game today. Welcome to "Flog It!"
0:00:45 > 0:00:48The Oxford Union was created in 1823
0:00:48 > 0:00:50in response to the University's ban
0:00:50 > 0:00:54on any discussion of politics or religion.
0:00:54 > 0:00:57And since then, the union has gained a worldwide reputation
0:00:57 > 0:01:03as a place where no topic is out of bounds, no matter how controversial.
0:01:03 > 0:01:07One of the most famous names to address the chamber is Malcolm X.
0:01:07 > 0:01:10When a black man strikes back, he's an extremist.
0:01:10 > 0:01:13He's supposed to sit passively and have no feelings,
0:01:13 > 0:01:15be non-violent and love his enemy.
0:01:15 > 0:01:17No matter what kind of attack,
0:01:17 > 0:01:19be it verbal or otherwise, he is supposed to take it.
0:01:21 > 0:01:23The union has also played host to the likes of
0:01:23 > 0:01:27the then President of the USA, Ronald Reagan,
0:01:27 > 0:01:30the Dalai Lama and even Mother Teresa - hark at us,
0:01:30 > 0:01:33rubbing shoulders with the great and the good!
0:01:33 > 0:01:36It all starts right here, the door to the famous chamber.
0:01:36 > 0:01:39Many debates have been won or lost over this threshold
0:01:39 > 0:01:44and debates are decided by ayes to the left and noes to the right.
0:01:44 > 0:01:48Now, I wonder if our experts will be using this as a system
0:01:48 > 0:01:50to decide what goes off to auction?
0:01:50 > 0:01:54Stimulating the debate today are two people hoping to
0:01:54 > 0:01:57outdo each other on the antiques front. Mr Will Axon...
0:01:57 > 0:02:02- What have you brought along today? - A bracelet.- She brought you along?
0:02:02 > 0:02:03- Oi!- Thank you.
0:02:03 > 0:02:07- ..and Christina Trevanion. - They are gorgeous.
0:02:07 > 0:02:10- And where did they come from? - Admirers in the past.
0:02:10 > 0:02:13Oh, I wish I had admirers like that, who'd shower me with opals.
0:02:13 > 0:02:15A long time ago now.
0:02:15 > 0:02:19They're trawling the queue for antiques, unusual and elaborate.
0:02:20 > 0:02:23- Oh, that's rather pretty.- Christina, what have you found there?
0:02:23 > 0:02:25- It's mine!- Where's my stickers? - No, I've already done it.
0:02:25 > 0:02:28Oh, look, she's already been marked.
0:02:28 > 0:02:31So, without further ado, let's get everybody in.
0:02:35 > 0:02:38I'm standing in the same spot where famous names such as Malcolm X
0:02:38 > 0:02:41and Winston Churchill addressed this chamber.
0:02:41 > 0:02:46We've got a packed show ahead, so...let the debate commence.
0:02:50 > 0:02:52And coming up on today's show...
0:02:52 > 0:02:54Who have I discovered behind-the-scenes?
0:02:54 > 0:02:58He's instantly recognisable because of his mop of mad hair.
0:02:58 > 0:03:00I love that photograph.
0:03:00 > 0:03:04And whose salacious etchings has Will uncovered?
0:03:04 > 0:03:08It's basically a report on his life of vice and self-destruction
0:03:08 > 0:03:11after inheriting a fortune from his father.
0:03:15 > 0:03:18Now, I'm up here in what's known as the Strangers' Gallery.
0:03:18 > 0:03:21This would have been as far as non-members and ladies
0:03:21 > 0:03:24would have been allowed to go in the old days.
0:03:24 > 0:03:27Talking of ladies, we have the gorgeous Christina,
0:03:27 > 0:03:28who's just below me there.
0:03:28 > 0:03:31And it looks like she's found something incredibly interesting.
0:03:31 > 0:03:34Let's take a closer look.
0:03:34 > 0:03:37We're in one of the most famous debating chambers in the world...
0:03:37 > 0:03:39- Yes.- ..which has seen so many famous faces,
0:03:39 > 0:03:41- and you've brought some more in to us here.- Yes.
0:03:41 > 0:03:44- Tell me about this - this is your autograph book?- Yes.
0:03:44 > 0:03:48It came down from my great-uncle, who died a couple of years ago.
0:03:48 > 0:03:51He did all the lighting in the New Theatre round the corner,
0:03:51 > 0:03:54- which is the oldest theatre in Oxford.- In Oxford? Oh, wow.
0:03:54 > 0:03:57And he worked on a lot of the big productions, setting up
0:03:57 > 0:04:02the lighting for them, for operas and musicals and ballet, you name it.
0:04:02 > 0:04:03He worked long hours.
0:04:03 > 0:04:07Like, eight o'clock in the morning till midnight.
0:04:07 > 0:04:09- So it was more of a lifestyle? - It was, yeah.
0:04:09 > 0:04:11And this is one of his autograph albums?
0:04:11 > 0:04:14- Yeah.- I'd imagine you're quite familiar with it.- Yes.
0:04:14 > 0:04:17- So, this is Ray? That's your uncle? - That's my great-uncle, yes.
0:04:17 > 0:04:21- And New Theatre, Oxford. - New Theatre, Oxford, yes.- Brilliant.
0:04:21 > 0:04:22So, who have we got here?
0:04:22 > 0:04:26That's Coral Browne, who was a famous film star in the '50s.
0:04:26 > 0:04:29- And then we've got...?- Vincent Price, who she was married to.
0:04:29 > 0:04:32And Vincent Price was in the famous horror films.
0:04:32 > 0:04:36Looking very dapper there, isn't he? Very, very dapper.
0:04:36 > 0:04:40- At the back here, we've got Rex Harrison.- My Fair Lady, of course.
0:04:40 > 0:04:44And we've got Sean Connery and his first wife, Diane Cilento.
0:04:44 > 0:04:49- And I think she died two years ago. - Oh, right. Oh, gosh.
0:04:49 > 0:04:52- Oh, gosh, who's this? - That's Marlene Dietrich.
0:04:52 > 0:04:55Goodness me, that's a good one. That's a very good one.
0:04:55 > 0:05:00- So, really, these look like '60s. - '60s, '70s, '80s, '90s.
0:05:00 > 0:05:02So, how long was he working there?
0:05:02 > 0:05:07- A long time - 40 years, something like that.- Goodness me. Wow.
0:05:07 > 0:05:11I have to say, autographs are a bit of a tricky subject to value
0:05:11 > 0:05:15because, unless they are really, really big names
0:05:15 > 0:05:18like The Beatles, they don't command huge prices at auction.
0:05:18 > 0:05:22But it is quite important in the history of the New Theatre.
0:05:22 > 0:05:26This is a record of these people that came and performed.
0:05:26 > 0:05:29Really, I would be looking at offering it somewhere
0:05:29 > 0:05:35- maybe in the region of £60-£100.- OK. - Something like that.- That sounds OK.
0:05:35 > 0:05:39I mean, that would be brilliant, because I wouldn't expect, you know...
0:05:39 > 0:05:40It's very difficult.
0:05:40 > 0:05:44- I know it's packed full of all these wonderful people. - No, that's brilliant.
0:05:44 > 0:05:45But you have to think, well,
0:05:45 > 0:05:48how much of a market would there be for it?
0:05:48 > 0:05:50So, I think, if we put it at 60-100,
0:05:50 > 0:05:52- it gives it a fighting chance. - That sounds brilliant.
0:05:52 > 0:05:55I have a feeling that that Bond one, the Sean Connery one, might...
0:05:55 > 0:05:58- Especially since it's 50 years of Bond this year. - Exactly, yes, exactly.
0:06:00 > 0:06:03This building is no stranger to the A-list.
0:06:03 > 0:06:06Alongside the great and the good, expounding their theories,
0:06:06 > 0:06:10there have been plenty of guests to please the paparazzi.
0:06:11 > 0:06:14Reality TV stars like Katie Price and Kerry Katona,
0:06:14 > 0:06:19right through to amphibians, like Kermit the Frog, who proclaimed
0:06:19 > 0:06:22"If Ronald Reagan can do it, then so can I."
0:06:22 > 0:06:24There's certainly been an eclectic mix here.
0:06:26 > 0:06:28Our very own matinee idol, Will Axon,
0:06:28 > 0:06:31has managed to give the paparazzi the slip
0:06:31 > 0:06:33to meet another Christina in the courtyard.
0:06:33 > 0:06:37From the nice, warm golden plover of the winter sun behind us
0:06:37 > 0:06:39to this nice, warm golden glow on the table.
0:06:39 > 0:06:42It really caught my eye when this came out of your bag.
0:06:42 > 0:06:44Christina, is this something that belongs to you?
0:06:44 > 0:06:47- Or Lydia, is this yours? - No, it's mine.- Is it?- Yes.
0:06:47 > 0:06:49Lydia's just come along for a bit of moral support, has she?
0:06:49 > 0:06:50She has, yes.
0:06:50 > 0:06:53Well, it's a charm bracelet, in gold, of course.
0:06:53 > 0:06:58Mainly nine carat gold, as is common with charms and charm bracelets.
0:06:58 > 0:06:59Does every charm tell a story?
0:06:59 > 0:07:02Do you remember where each one came from?
0:07:02 > 0:07:06Not particularly each one, but a lot of them came from Cornwall.
0:07:06 > 0:07:08- As souvenirs? - We had holidays there, yes.
0:07:08 > 0:07:11Or, perhaps the odd birthday present, or a Christmas present.
0:07:11 > 0:07:14I always thought that, if you know someone who wore a charm bracelet,
0:07:14 > 0:07:17you knew what to get them for their birthday or Christmas.
0:07:17 > 0:07:19- Exactly, yes.- But of course, the trouble nowadays is,
0:07:19 > 0:07:21who do you know who does wear a charm bracelet?
0:07:21 > 0:07:23That's it, not very often these days.
0:07:23 > 0:07:25I mean, Lydia, is that something that catches your eye?
0:07:25 > 0:07:27Would you like to wear that?
0:07:27 > 0:07:30- No.- No?- Maybe.- There's some fun charms on here, aren't there?
0:07:30 > 0:07:33- There's a little steam train. - And then Aladdin.
0:07:33 > 0:07:36- You're right, and Aladdin's lamp. - And I like the little fishy thing.
0:07:36 > 0:07:38Oh, yes, look here, you've got little fish there as well.
0:07:38 > 0:07:43- And Noah's ark.- And it opens and you see some things.- Yeah?
0:07:43 > 0:07:45- The spaceman's legs move.- Do they?
0:07:45 > 0:07:49- The pump moves. - The little bellows, you're right.
0:07:49 > 0:07:51Look, they work, the little bellows are working.
0:07:51 > 0:07:55I mean, great fun, really, but in a practical sense,
0:07:55 > 0:07:57it's just not very wearable any more.
0:07:57 > 0:07:59So, you've brought it to "Flog It!"!,
0:07:59 > 0:08:01you obviously want to sell the piece,
0:08:01 > 0:08:03and it's all going to be down to what it weighs.
0:08:03 > 0:08:06It's that sort of scenario, I'm afraid.
0:08:06 > 0:08:07Nine carat as well,
0:08:07 > 0:08:10so it's not going to be as much as if it were a higher grade of gold,
0:08:10 > 0:08:12but I still think you should be looking somewhere in the
0:08:12 > 0:08:14region of say £600-£800,
0:08:14 > 0:08:17which, for a little bracelet that probably sits in a drawer
0:08:17 > 0:08:20- not doing a lot, it's a good amount of cash, isn't it?- It is.
0:08:20 > 0:08:22So, what's the money going to go towards?
0:08:22 > 0:08:24Divided up between the children and grandchildren.
0:08:24 > 0:08:28- Everyone's going to get a little slice of it?- Yes. - Well, I think that's rather nice.
0:08:28 > 0:08:31They'd rather nowadays probably prefer the cash than
0:08:31 > 0:08:33- they would an old charm, wouldn't they?- Exactly, yeah.
0:08:33 > 0:08:36Will you be able to make the auction, do you think, Lydia?
0:08:36 > 0:08:38- No, because I will be at school. - Oh, that's true.
0:08:38 > 0:08:41- We'll give you a wave, how's that, when we're at an auction?- OK.- OK.
0:08:41 > 0:08:44- It's been a pleasure meeting you both.- Thank you very much.
0:08:44 > 0:08:47- I'm sure we'll get this away for you.- OK, thank you.
0:08:47 > 0:08:49# Oxford town, Oxford town
0:08:49 > 0:08:51# Everybody's got their heads bowed down
0:08:51 > 0:08:53# The sun don't shine above the ground
0:08:53 > 0:08:56# Ain't a-going down to Oxford town. #
0:08:56 > 0:08:58And back inside, our very own Christina
0:08:58 > 0:09:01is slightly confused by her next item.
0:09:01 > 0:09:03- So, Hilary?- Yes, Christina.
0:09:03 > 0:09:07- You've brought us an egg. - I have. It's a nutmeg grater.- Ah!
0:09:07 > 0:09:11- Yes.- So, not an egg.- It's not an egg from the golden goose.
0:09:11 > 0:09:14- It would be nice, wouldn't it? - It's a nutmeg grater.
0:09:14 > 0:09:16It's a nutmeg grater. And where's it come from?
0:09:16 > 0:09:21It came from my uncle, and he's quite well known. Well, he was.
0:09:21 > 0:09:23His name is Hubert Noel Charles
0:09:23 > 0:09:27and he designed the very first MG motor car.
0:09:27 > 0:09:29Oh, wow! That's quite exciting.
0:09:29 > 0:09:33- Very exciting, yes.- So, do you have a large collection of MGs at home?
0:09:33 > 0:09:37No, unfortunately. That's one thing I ought to have.
0:09:37 > 0:09:40- Gosh. Wow-ee. Was this his? - That was his, yes.
0:09:40 > 0:09:42And I don't know whether it belonged to his parents,
0:09:42 > 0:09:44because it is fairly old, I believe.
0:09:44 > 0:09:47- And it's come through the family? - Come through the family.
0:09:47 > 0:09:49Well, we can tell it's a nutmeg grater, obviously,
0:09:49 > 0:09:52because if we have a little look on the inside,
0:09:52 > 0:09:55we've got this wonderful grate in here.
0:09:55 > 0:09:57Now, nutmeg graters are quite collectable
0:09:57 > 0:10:00and I believe you've already done quite a lot of research on this?
0:10:00 > 0:10:04- Yes, I have.- And you know it's by Samuel Meriton.- Yes.
0:10:04 > 0:10:07Unfortunately, we don't know the actual date that it was made.
0:10:07 > 0:10:10Often, small silver didn't have any duty payable on it,
0:10:10 > 0:10:13- so he didn't actually put the date mark.- Oh, I see.
0:10:13 > 0:10:17So, we've got this wonderful maker's stamp in the bottom, here,
0:10:17 > 0:10:20but sadly, no date.
0:10:20 > 0:10:26But we know that he was working in the 1800s, the late 19th century.
0:10:26 > 0:10:29After the establishment of the East India Company,
0:10:29 > 0:10:32spices and nutmeg were much more readily available,
0:10:32 > 0:10:35so you would grate your nutmeg into your wine
0:10:35 > 0:10:37to make it taste slightly more palatable.
0:10:37 > 0:10:41So, they weren't carried by the very most affluent members of society
0:10:41 > 0:10:45because, if you were affluent, frankly, you could afford good wine.
0:10:45 > 0:10:48They didn't put it on food, then, the nutmeg on food?
0:10:48 > 0:10:50- Sometimes, but more commonly it was in wine.- Oh, right.
0:10:50 > 0:10:54So, very, very pretty. Very collectable.
0:10:54 > 0:10:57- And I love the fact that it is just so simple.- Yes.
0:10:57 > 0:11:00And like you say, it's lovely and warm, because you've been holding it.
0:11:00 > 0:11:02I've been holding it - it's very tactile, isn't it?
0:11:02 > 0:11:05- You've kept it really toasty! - It's lovely, yes.
0:11:05 > 0:11:08It is hollow, so you would expect some sort of damage
0:11:08 > 0:11:11- and, sadly, this happened. - It's only a slight one.
0:11:11 > 0:11:14Only a slight dent, we'll just gloss over that.
0:11:14 > 0:11:15Yes, but they can be...
0:11:17 > 0:11:19Value wise, what are you expecting?
0:11:19 > 0:11:26Well, yes, I know a couple of years ago I was offered about £230 for it.
0:11:26 > 0:11:31- Oh, my goodness.- So, I should have sold it then, really. But never mind.
0:11:31 > 0:11:35They tend to be fetching in the region of £120-£180.
0:11:35 > 0:11:38So, I would hope that it would make in the middle of that at least.
0:11:38 > 0:11:41I would be comfortable at putting a firm reserve of 120.
0:11:41 > 0:11:44I think you'd be very disappointed if it went for any less than that.
0:11:44 > 0:11:50- If it went less than 150, really. - Oh, really?- Yes, I would.
0:11:50 > 0:11:54OK. If we put the reserve at 150, we'd have to put it at £150-£200.
0:11:54 > 0:11:57That sounds good, Christina. And keep our fingers crossed.
0:11:57 > 0:11:59- Keep our fingers very crossed!- Yes!
0:11:59 > 0:12:03Are you going to put the proceeds towards an MG?
0:12:03 > 0:12:06- No, I think a nice long holiday. - Oh, that sounds good!
0:12:10 > 0:12:13Next up, it's Will, who's high up in the ladies gallery,
0:12:13 > 0:12:16and he appears to have found quite a catch!
0:12:16 > 0:12:19Well, we've got a great birds-eye view of the valuation day
0:12:19 > 0:12:21below us, haven't we? Perched up here on the balcony.
0:12:21 > 0:12:24And what a great view we have of this wonderful piece of jade
0:12:24 > 0:12:25- you've brought in.- Isn't it?
0:12:25 > 0:12:27- Hannah, tell me...- A big lumpy thing!
0:12:27 > 0:12:29A big lumpy thing! I've seen... I've heard them
0:12:29 > 0:12:32described as certain... Never like that before!
0:12:32 > 0:12:36But tell me, how did a piece of Chinese jade come to be in Oxford?
0:12:36 > 0:12:40It was given to me a long time ago, about ten years ago,
0:12:40 > 0:12:45but I don't really remember by whom. I know more or less what...
0:12:45 > 0:12:47- Just a stranger, was it, who came up to you?- No, no, no, no!
0:12:47 > 0:12:51- It was one of my patients.- Oh, a patient? Are you in the medical...?
0:12:51 > 0:12:55- Physiotherapist.- Physiotherapy? So, a grateful patient...- Yeah.
0:12:55 > 0:12:57..who you worked your magic on,
0:12:57 > 0:13:00gave you this piece of carved jade as a thank you?
0:13:00 > 0:13:02- But a very long time ago.- OK.
0:13:02 > 0:13:06I mean, jade has always been very highly prized by the Chinese,
0:13:06 > 0:13:09- more so than even gold and silver.- Oh.
0:13:09 > 0:13:11- In the times of antiquity...- Yes?
0:13:11 > 0:13:14- ..it was very much a ceremonial material.- Mm-hm?
0:13:14 > 0:13:16There were connections with the afterlife,
0:13:16 > 0:13:19animals carved in jade, people thought they brought good luck.
0:13:19 > 0:13:23Occasionally, these were put in tombs and they helped people
0:13:23 > 0:13:26through the afterlife as a guide, that sort of thing.
0:13:26 > 0:13:29Is this only decorative or does it have any use?
0:13:29 > 0:13:33Well, I think, by the time we come to your piece of jade here, we are
0:13:33 > 0:13:35- looking at a decorative piece.- OK.
0:13:35 > 0:13:39It's really a carver showing off their skills.
0:13:39 > 0:13:42- You can notice that we've got the two colours of jade.- Yeah.
0:13:42 > 0:13:45- This is what we would call a piece of sort of green and russet jade.- Yeah.
0:13:45 > 0:13:49The early Chinese carvers of jade were using the natural formation
0:13:49 > 0:13:52of the stone to convey what they wanted, you know.
0:13:52 > 0:13:55Maybe the characteristics of the animal they were carving.
0:13:55 > 0:13:58- A lot of the time, you see horses and buffaloes and so on.- Yeah.
0:13:58 > 0:14:01- Do you like it?- No.- You don't? - I definitely don't like it.
0:14:01 > 0:14:05- I think it's lumpy and big. - Hmm, and what do you like, then?
0:14:05 > 0:14:08- Do you collect anything?- Small things. I like miniature things.
0:14:08 > 0:14:12- Ah, always popular, miniature items. - The smaller, the better.- Yes.
0:14:12 > 0:14:15- Well, we've got to come to value, haven't we?- Yeah.
0:14:15 > 0:14:18It's not going to be in the same sort of league as an ancient
0:14:18 > 0:14:22piece of carved jade, which is, of course, highly-prized by the Chinese.
0:14:22 > 0:14:24- Presently, they're buying a lot of it back.- Yeah.
0:14:24 > 0:14:27But I think it's still going to appeal to the market and I'd like
0:14:27 > 0:14:31to sort of put it in at a sort of slightly conservative estimate.
0:14:31 > 0:14:34- OK.- What do you feel like, if I put it in at £100,
0:14:34 > 0:14:36- would you be happy with that? - That's fine, yes.
0:14:36 > 0:14:38- You just want it away? - I just want it away.
0:14:38 > 0:14:40I'll tell you what, let's have a gamble.
0:14:40 > 0:14:43- Let's put it in at £100-150, with an estimate.- OK.
0:14:43 > 0:14:46- But let's not put a reserve on it, so...- No, I don't want a reserve.
0:14:46 > 0:14:48- You don't? - I want to get rid of it, really.
0:14:48 > 0:14:51You're my ideal client. We're going to be sure of a sale on the day.
0:14:51 > 0:14:54- I look forward...- You'll sell it for £10, yes.- No, I hope not.
0:14:54 > 0:14:57Look, the auctioneer's working in your interest.
0:14:57 > 0:15:00- The more you get, the more he gets. - Oh, OK.- So don't worry about that.
0:15:00 > 0:15:01Good, thank you very much.
0:15:09 > 0:15:10Before we head off to auction,
0:15:10 > 0:15:13there is something I would like to show you.
0:15:18 > 0:15:19Looking around this lido,
0:15:19 > 0:15:23it's hard to believe this was once the place to be seen!
0:15:26 > 0:15:30But rewind 40 years and Kings Meadow was once a teenage hang-out -
0:15:30 > 0:15:33the British version of the American drive-in.
0:15:36 > 0:15:40This place would be queued out of the door with keen swimmers,
0:15:40 > 0:15:43and the average cost to take a dip was just sixpence.
0:15:46 > 0:15:49Today, Kings Meadow is a shadow of its former self.
0:15:49 > 0:15:54It closed to the general public in 1974 and, since then,
0:15:54 > 0:15:58it's suffered damage, decay and even threat of demolition.
0:15:58 > 0:16:02As you can see, it is in a sorry state. It needs a lot of TLC.
0:16:02 > 0:16:07In fact, £1.5 million worth of TLC to be precise.
0:16:09 > 0:16:12If this goes, then so does a vital part of our heritage.
0:16:12 > 0:16:15So, can this lido make a big splash again?
0:16:18 > 0:16:20Kings Meadow Lido was built in 1902
0:16:20 > 0:16:23and, although it's a listed building,
0:16:23 > 0:16:26it is dependent on volunteers for support.
0:16:26 > 0:16:28With such a big amount to raise,
0:16:28 > 0:16:31the Kings Meadow campaigners have a long way to go.
0:16:31 > 0:16:34Leading the charge are Anne and Richard Jessel.
0:16:35 > 0:16:39When you think of it - it's 110 years old -
0:16:39 > 0:16:42it isn't looking so bad, to be honest.
0:16:42 > 0:16:43Anne was a high board diver,
0:16:43 > 0:16:47who spent many a day practising her backflips at the lido.
0:16:51 > 0:16:56I used to be a diver and my parents used to take me around the country
0:16:56 > 0:16:59and a lot of the lidos that I used to dive in, very sadly,
0:16:59 > 0:17:01they have now disappeared.
0:17:01 > 0:17:03I mean, just look at this pool.
0:17:03 > 0:17:08110 years old, built specifically for ladies, OK?
0:17:08 > 0:17:10Ladies had the priority here.
0:17:10 > 0:17:14Considering there was a gentleman's pool right opposite,
0:17:14 > 0:17:19they had the right idea when they built it, half-canopied like this,
0:17:19 > 0:17:25because, in those days, women bathers were very, very private.
0:17:25 > 0:17:26So, um... HE LAUGHS
0:17:26 > 0:17:31..I've always said that, the first month of bathing in this pool,
0:17:31 > 0:17:34nobody would be allowed in unless they were all wearing
0:17:34 > 0:17:36Edwardian bathing dress.
0:17:36 > 0:17:39That would be nice if, when we get to the point of restoring it
0:17:39 > 0:17:42back for everybody to use.
0:17:42 > 0:17:46Look at the way the quality of all the work, architecture,
0:17:46 > 0:17:50everything, is so nice! This must not disappear.
0:17:50 > 0:17:53Well, this is safe here for you, Anne - it's the shallow end.
0:17:53 > 0:17:55The diving board shouldn't be here.
0:17:55 > 0:17:58What do you mean it's safe for me at the shallow end?! I'm a diver!
0:18:02 > 0:18:05The golden age of lidos began in the 1930s,
0:18:05 > 0:18:08when outdoor swimming was all the rage.
0:18:08 > 0:18:12Over 150 lidos sprang up across the UK.
0:18:12 > 0:18:15They provided cheap public swimming and were part of a great
0:18:15 > 0:18:20and modernist movement to encourage health and fitness.
0:18:20 > 0:18:22If you couldn't afford to go abroad in the summer,
0:18:22 > 0:18:25the lido was the next best thing.
0:18:25 > 0:18:2996-year-old Charlie swam in this pool almost every day
0:18:29 > 0:18:32and he's still fighting fit.
0:18:32 > 0:18:34You feel alive in the open air!
0:18:34 > 0:18:36You feel refreshed!
0:18:36 > 0:18:43Even with rain, you get warm rain on you, er, when...in the summer.
0:18:43 > 0:18:45So it doesn't matter if it's raining!
0:18:45 > 0:18:48But, er, everything is lively.
0:18:49 > 0:18:52And people are so much happier!
0:18:52 > 0:18:55What was the lido like in its heyday?
0:18:55 > 0:18:58There was often queues to get in.
0:18:58 > 0:19:00It was a thoroughly enjoyable pool.
0:19:01 > 0:19:04But their popularity could not last for ever.
0:19:05 > 0:19:08Many were put out of business in the 1960s and '70s,
0:19:08 > 0:19:10when foreign travel became much cheaper
0:19:10 > 0:19:15and most people could afford to go abroad, and they shunned the lido.
0:19:15 > 0:19:18But in recent years, outdoor swimming has been enjoying something
0:19:18 > 0:19:21of a renaissance and the lido has been caught up in this wave.
0:19:32 > 0:19:35To see what the Kings Meadow Lido could become,
0:19:35 > 0:19:38take a look at Clifton Lido in Bristol.
0:19:40 > 0:19:43It was almost demolished to make way for flats,
0:19:43 > 0:19:48but in 2007, it was saved and underwent a £2 million restoration.
0:19:53 > 0:19:57Mal Sainsbury is once again a Clifton Lido regular.
0:20:00 > 0:20:01I used to come in the '70s.
0:20:01 > 0:20:04The hot summer of '76, with my small children,
0:20:04 > 0:20:07and, um, it's amazing to have an oasis like this
0:20:07 > 0:20:10and how I missed it and mourned it when it was closed all those years.
0:20:12 > 0:20:16The benefits of outdoor swimming cannot be underestimated.
0:20:16 > 0:20:18It's a wonderful place to come early in the morning.
0:20:18 > 0:20:21I swim before dawn three times a week at least and to see,
0:20:21 > 0:20:25winter or summer or spring, to see the day dawning, it just puts
0:20:25 > 0:20:29a whole new perspective on your day ahead, cos it makes you feel...
0:20:29 > 0:20:32It makes you feel real somehow and connected with yourself.
0:20:32 > 0:20:33It's fantastic.
0:20:36 > 0:20:39Clifton Lido is now a private health club,
0:20:39 > 0:20:43but the original aim of the lido was cheap, public swimming.
0:20:43 > 0:20:47The building has been restored, but the message has been somewhat lost.
0:20:49 > 0:20:51However, in this economic climate,
0:20:51 > 0:20:54the restoration of lidos, like Kings Meadow,
0:20:54 > 0:20:58depends upon the passion and the enthusiasm of lido fans.
0:20:58 > 0:21:01Anne and Richard are still fundraising and,
0:21:01 > 0:21:04if they succeed, they will ensure
0:21:04 > 0:21:09that the next generation of outdoor swimmers enjoy the bracing waters.
0:21:09 > 0:21:11How can we possibly lose it?
0:21:11 > 0:21:14I mean, Reading would look upon this - if it was restored,
0:21:14 > 0:21:20or WHEN it is restored, I hasten to say - as a jewel in the town.
0:21:22 > 0:21:25Well, it's clear the appetite for outdoor swimming is here
0:21:25 > 0:21:30and what better way to build on the back of a successful Olympics
0:21:30 > 0:21:33than to restore our lidos back to their former glory?
0:21:33 > 0:21:36So, come on, pull on a pair of bathers, pop on a swim cap,
0:21:36 > 0:21:38and take the plunge outdoors!
0:21:46 > 0:21:49Before we head off to auction for the first time today,
0:21:49 > 0:21:51I want to show you the union cafe.
0:21:51 > 0:21:53Behind me are hundreds of photographs of
0:21:53 > 0:21:57some of the famous people who've spoken in the debating chamber.
0:21:57 > 0:22:00Up there, you can see Pierce Brosnan, 007.
0:22:00 > 0:22:02The Labour MP, Tony Benn.
0:22:02 > 0:22:05Up there, one of my favourite actors, Bill Nighy.
0:22:05 > 0:22:07And of course, Shakira. But I wonder what she had to say?
0:22:07 > 0:22:09Anyway, I'm digressing right now.
0:22:09 > 0:22:11It's time to put those valuations to the test.
0:22:11 > 0:22:14And no doubt, there's going to be another debate in the auction room.
0:22:14 > 0:22:17Here's a quick recap of what's going under the hammer.
0:22:17 > 0:22:22We have Tracey's autograph book, jam-packed with famous faces.
0:22:23 > 0:22:27Christina and Lydia's charm bracelet, complete with 24 charms.
0:22:27 > 0:22:31Will they be lucky in the saleroom?
0:22:31 > 0:22:35Will it be Hannah's Japanese jade model in the shape of a carp
0:22:35 > 0:22:37that the bidders flock to?
0:22:38 > 0:22:43And of course, Hilary's unusual nutmeg grater.
0:22:43 > 0:22:45Will she get the high price she wants for it?
0:22:45 > 0:22:48Our auction today comes from Newbury, near Reading.
0:22:48 > 0:22:51Among the famous names who hail from Newbury
0:22:51 > 0:22:53are Sebastian Faulks, author of Birdsong.
0:22:53 > 0:22:57And musical impresario, Andrew Lloyd Webber,
0:22:57 > 0:23:00both of whom have spoken at Oxford Union.
0:23:01 > 0:23:03In charge of today's proceedings
0:23:03 > 0:23:06is our all-singing, all-dancing auctioneer, Thomas Plant.
0:23:06 > 0:23:11Go on! 80, he says. Yes! £80.
0:23:11 > 0:23:13And the house is absolutely packed.
0:23:15 > 0:23:19And our own star turn's first lot is that nutmeg grater,
0:23:19 > 0:23:21handy for 19th-century wine.
0:23:21 > 0:23:23Hilary, sadly, cannot be with us today
0:23:23 > 0:23:26but I'm joined by Christina, our lovely expert.
0:23:26 > 0:23:30And we're just about to put that silver nutmeg grater under the hammer. Aren't we?
0:23:30 > 0:23:35- Hilary was offered £230 for this not so long ago.- Yeah, no pressure!
0:23:35 > 0:23:37- No pressure!- Thanks!
0:23:37 > 0:23:40It's a different kettle of fish in an auction.
0:23:40 > 0:23:42It can either go higher and hit that result,
0:23:42 > 0:23:44or it can go slightly lower. That's the fun of the auction.
0:23:44 > 0:23:47In the market that we're in, nutmeg graters are very easy to collect.
0:23:47 > 0:23:49They're small, you can collect a lot of them.
0:23:49 > 0:23:52- So, hopefully... - It's stamped SM, isn't it?
0:23:52 > 0:23:55So, we know who the maker is, Samuel Menton or Meriton.
0:23:55 > 0:23:57But there's those dents, which worry me.
0:23:57 > 0:24:00It's going to have to have a little bit of work, but...
0:24:00 > 0:24:04- Right.- OK.- Here we go, then. Ready? Good luck, this is it.
0:24:04 > 0:24:06The 19th-century silver nutmeg grater.
0:24:06 > 0:24:11And I can start the bidding with me here at £150, with me.
0:24:11 > 0:24:15160, 170, 180, 190. 200, and ten.
0:24:15 > 0:24:19220, and I'm out. At 220, it is. At 220, and I'm out.
0:24:19 > 0:24:22It's in the room at 220. Any advance at 220?
0:24:22 > 0:24:25Selling, then, 220 it is.
0:24:25 > 0:24:28- Well, that was a good result. I'm happy with that.- I hope Hilary is.
0:24:28 > 0:24:30I'm sure she is. Hilary, if you're watching this,
0:24:30 > 0:24:34- I know there's a big smile on your face and that's what it's all about. - Yes, exactly, yes.
0:24:34 > 0:24:38If you've got anything like that at home, we'd love to see it.
0:24:38 > 0:24:40Bring it into one of our valuation days.
0:24:40 > 0:24:44It's a cracking start and Thomas has more good news for our next item.
0:24:44 > 0:24:46Five, 60, five...
0:24:46 > 0:24:49There are a few keen jewellery buffs in the room today,
0:24:49 > 0:24:50so he has high hopes
0:24:50 > 0:24:53that Christina's bracelet will charm them.
0:24:53 > 0:24:55He's even upped the reserve.
0:24:55 > 0:24:58We've been talking about this bracelet which is just about to go under the hammer.
0:24:58 > 0:25:00There's all sorts of things going on.
0:25:00 > 0:25:02- There's the little church, isn't there?- Yes.
0:25:02 > 0:25:04- There's a £5 note.- Yes. - There's an oil lamp.
0:25:04 > 0:25:06Yeah. The spaceman, that was my favourite.
0:25:06 > 0:25:09Was that Lydia's favourite as well? On the valuation day, little Lydia.
0:25:09 > 0:25:11And it is a shame, because you think,
0:25:11 > 0:25:13the work that goes into making these little charms.
0:25:13 > 0:25:16You were mentioning the church and the steeple,
0:25:16 > 0:25:18the doors that open and all the people inside.
0:25:18 > 0:25:21It's unfortunate that I don't think they're going to last very long.
0:25:21 > 0:25:24Shame, really, isn't it?
0:25:24 > 0:25:27The other good thing about gold is, of course, that it is recycled.
0:25:27 > 0:25:30Those will be melted down and they'll be made into another
0:25:30 > 0:25:34piece of jewellery that someone else is going to wear for years,
0:25:34 > 0:25:37- so it's a sort of cyclic notion, isn't it?- It is, really.
0:25:37 > 0:25:40Anyway, let's put it to the test. What's it worth?
0:25:40 > 0:25:42Thomas is going to tell us. Here we go.
0:25:42 > 0:25:45And this is the impressive nine carat gold charm bracelet.
0:25:45 > 0:25:47There we are, lots of charms on this one.
0:25:47 > 0:25:51I will start the bidding with me here, straight in at £600 with me.
0:25:51 > 0:25:56At £600, I have. 600...and 20. 650?
0:25:56 > 0:26:02680, if you want to. 680, and I'm out. At 680, it's in the room. 700.
0:26:02 > 0:26:06At £700 in the room. Is there any advance at £700?
0:26:06 > 0:26:09Very last chance at 700 and I sell.
0:26:09 > 0:26:11- Thank you very much. - I'm happy with that.
0:26:11 > 0:26:13- You're happy with that as well, aren't you?- Yes.
0:26:13 > 0:26:15The children will be happy.
0:26:15 > 0:26:16Oh, right - are they going to benefit?
0:26:16 > 0:26:18It's their inheritance.
0:26:18 > 0:26:20Well, give our best to Lydia as well.
0:26:20 > 0:26:22I'm sorry she couldn't make it.
0:26:22 > 0:26:24Lydia will be pleased.
0:26:24 > 0:26:26And now to a delightful piece of jade that's travelled
0:26:26 > 0:26:28all the way from China!
0:26:28 > 0:26:31I've just been joined by Hanneke, who's come all the way from?
0:26:31 > 0:26:34- Oxford.- Oxford! - LAUGHTER
0:26:34 > 0:26:35- Originally though?- Holland!
0:26:35 > 0:26:38From Holland, yes. I know they get the show in Holland.
0:26:38 > 0:26:41- It's very popular.- I'm always getting letters from Holland.
0:26:41 > 0:26:44- Exceptionally popular!- People come here especially from Holland.- Yes.
0:26:44 > 0:26:46Your jade is exquisite.
0:26:46 > 0:26:48- I really like this little carved carp on there...- That's right.
0:26:48 > 0:26:51- ..going through the reeds. - Nice quality.- Beautiful!
0:26:51 > 0:26:53- Why are you selling this? - I hardly dare say it.
0:26:53 > 0:26:56- I don't like it.- You don't like it? - PAUL AND WILL LAUGH
0:26:56 > 0:26:59- You do. I do.- That's what the market wants.- Yes!- You don't like something,
0:26:59 > 0:27:01- someone else does - keeps the whole thing moving.- Yeah.
0:27:01 > 0:27:04- That's what art's all about. It's an arbitrary concept.- Yes.
0:27:04 > 0:27:07- It's quite subjective.- Mm-hm. - I like miniature things, so...
0:27:07 > 0:27:10- I think this is flavour of the month right now.- Good.
0:27:10 > 0:27:12So, let's put it to the test, shall we?
0:27:12 > 0:27:16I've a Chinese jade carving, models a carp amongst leaves. There we are.
0:27:16 > 0:27:18Good condition, this piece here.
0:27:18 > 0:27:21I have bids here with me, straight in at £80.
0:27:21 > 0:27:24- £80.- Is there any advance at 80?
0:27:24 > 0:27:2685 and I'm out. Straight out at 85.
0:27:26 > 0:27:28Any advance at 85? It's in the audience.
0:27:28 > 0:27:31At £85, make no mistake, can I sell?
0:27:31 > 0:27:3385.
0:27:33 > 0:27:35It's gone! Blink and you'll miss that,
0:27:35 > 0:27:38- that was so quick.- I like that. - A bid came in at 80, we got £85.
0:27:38 > 0:27:40- Yeah.- Hammer's come down. Happy with that?
0:27:40 > 0:27:42- Happy with anything. - We were worried about the reserve.
0:27:42 > 0:27:45It had no reserve, but we didn't need to in the end, did we?
0:27:45 > 0:27:46Thank you very much.
0:27:48 > 0:27:51I think Hannah would've taken £2.50 and a packet of crisps!
0:27:51 > 0:27:53She really did not like that jade.
0:27:53 > 0:27:57And hopefully, the new owner will appreciate it a little bit more.
0:27:57 > 0:28:00Now, it's time to auction that jam-packed autograph book
0:28:00 > 0:28:01brought in by Tracey.
0:28:01 > 0:28:03There's some top names there,
0:28:03 > 0:28:06collected at the New Oxford Theatre from the 1950s onwards.
0:28:06 > 0:28:08And in fact, Thomas is on the rostrum announcing them now.
0:28:08 > 0:28:13Bernard Cribbins, Jon Pertwee, Tommy Steele, Vincent Price.
0:28:13 > 0:28:15Well, there's some wonderful names here.
0:28:15 > 0:28:22- What was your favourite one? - Sean Connery.- James Bond!- Yes!
0:28:22 > 0:28:26This is a comprehensive and well presented collection of autographs.
0:28:26 > 0:28:28Plenty of interest.
0:28:28 > 0:28:34I can start this one at 130, 140, 150, 160 with me.
0:28:34 > 0:28:41- £160 against you. 160...- £160! - Is there any advance at £160?
0:28:41 > 0:28:46- At 160, I have.- Fantastic. - Against you all, 160.
0:28:46 > 0:28:50Hammer's gone down, straight in, straight out. £160.
0:28:50 > 0:28:52He was a great man.
0:28:52 > 0:28:57- Up there, he's probably quite pleased.- I hope so.
0:28:57 > 0:29:01- Thank you very much.- What a great ending. That was a big surprise.
0:29:01 > 0:29:02That IS a big surprise.
0:29:07 > 0:29:10Many famous debates have been delivered at the Oxford Union,
0:29:10 > 0:29:12but what do the words we write say about us?
0:29:12 > 0:29:15Not the words themselves, but the text they're written in.
0:29:15 > 0:29:18We can all use the computer these days and we can choose whether
0:29:18 > 0:29:22our letters look better in Arial or classic Times New Roman,
0:29:22 > 0:29:24but who designs these fonts?
0:29:24 > 0:29:27Well, while we're filming in the area, I went off to investigate.
0:29:31 > 0:29:33# A, B, C
0:29:33 > 0:29:36# Easy as one, two, three
0:29:36 > 0:29:38# As simple as do, re, mi
0:29:38 > 0:29:39# A, B, C
0:29:39 > 0:29:40# One, to, three
0:29:40 > 0:29:43# Baby, you and me, girl... #
0:29:43 > 0:29:46Fonts - they are everywhere. We're surrounded by them.
0:29:48 > 0:29:52I've come to the Type Museum here in Stockwell to find out a bit more.
0:29:53 > 0:29:57Fonts are basically clothes that words are dressed up in.
0:29:57 > 0:30:01And I, for one, well, I'm quite particular about my choice of font.
0:30:01 > 0:30:05I am a Calibri man. I love my beloved Calibri.
0:30:05 > 0:30:07That is my type.
0:30:13 > 0:30:16Not so long ago, we all used to write letters by hand.
0:30:16 > 0:30:18Some people's handwriting is like scribbles,
0:30:18 > 0:30:21others is as neat as printed text.
0:30:21 > 0:30:24Everybody's different and everybody's unique.
0:30:24 > 0:30:26But few of us write letters nowadays.
0:30:26 > 0:30:28We all text each other or send e-mails.
0:30:28 > 0:30:31So, what does our font choice say about us?
0:30:31 > 0:30:32Because, basically,
0:30:32 > 0:30:36fonts are the computer's version of our handwriting style.
0:30:38 > 0:30:40It's all down to taste.
0:30:40 > 0:30:42I think Times New Roman is a bit too classic.
0:30:42 > 0:30:44Arial is a bit overused.
0:30:44 > 0:30:46And Comic Sans polarises opinion.
0:30:46 > 0:30:49It looks like it was created by my four-year-old!
0:30:49 > 0:30:52But what do the experts think?
0:30:52 > 0:30:54Neville Brody is a typographer
0:30:54 > 0:30:59and is the brainchild behind several fonts we use on a daily basis.
0:30:59 > 0:31:02Your choice of typeface says quite a lot about you.
0:31:02 > 0:31:05The way you dress describes your personality,
0:31:05 > 0:31:07the fonts you use are the same.
0:31:07 > 0:31:11I think most people today, they'll buy a computer
0:31:11 > 0:31:13and typefaces are just in there.
0:31:13 > 0:31:16No-one ever contributed to them or designed them,
0:31:16 > 0:31:19they just came from somewhere out in the universe.
0:31:19 > 0:31:23Actually, they came on a spaceship called Microsoft.
0:31:23 > 0:31:27Most people will use Times, or Arial.
0:31:28 > 0:31:32You wouldn't go out every day wearing exactly the same uniform
0:31:32 > 0:31:36that some big corporation had told you to wear,
0:31:36 > 0:31:39you'd go out and choose something different from your wardrobe.
0:31:39 > 0:31:43But in typography, we don't tend to think like that.
0:31:43 > 0:31:49This is a fraction of the amount of typefaces for your computer
0:31:49 > 0:31:51that you can get hold of.
0:31:51 > 0:31:55It's extraordinary and growing exponentially every year,
0:31:55 > 0:31:58and it's almost a bit like the record industry in a way.
0:31:58 > 0:32:01You know, each week, you might have another hit single.
0:32:06 > 0:32:07Just look around us -
0:32:07 > 0:32:11we don't notice how many fonts we are subjected to every day.
0:32:11 > 0:32:15But imagine if those fonts were suddenly altered.
0:32:15 > 0:32:18We'd notice that something wasn't right.
0:32:18 > 0:32:21Hang on, what's different about the telephone box?
0:32:24 > 0:32:27But fancy font work is nothing new.
0:32:27 > 0:32:31Oxford University Press is the largest university press in the world
0:32:31 > 0:32:35and it printed its first book way back in 1478.
0:32:37 > 0:32:42Martin Moore is the archivist here and a self-confessed font fan.
0:32:42 > 0:32:45Type design goes back to the Roman or Greek models.
0:32:45 > 0:32:48Early printers would look at inscriptions
0:32:48 > 0:32:50on Greek monuments or buildings.
0:32:50 > 0:32:53They'd take that as being the classical idea of beauty
0:32:53 > 0:32:56and they'd try to reproduce those proportions in their own letters.
0:32:56 > 0:32:58Who has the editorial decision
0:32:58 > 0:33:01to choose what font is used for what text?
0:33:01 > 0:33:02I mean, giving an example,
0:33:02 > 0:33:06the Bible wouldn't be printed and published in Comic Sans.
0:33:06 > 0:33:09I mean, that's just ridiculous. But who actually has that say?
0:33:09 > 0:33:11Usually, it's an editorial decision
0:33:11 > 0:33:14in somewhere like Oxford University Press.
0:33:14 > 0:33:16But as you look through printing history,
0:33:16 > 0:33:19you'll find that the printers themselves decided on this
0:33:19 > 0:33:21and, in some cases, you'll see that
0:33:21 > 0:33:23they would do really elaborate pieces of printing
0:33:23 > 0:33:25to show off what they were capable of
0:33:25 > 0:33:27or to show customers what they were capable of.
0:33:27 > 0:33:30Especially some of the very early illuminated manuscripts.
0:33:30 > 0:33:33- I mean, the printing there is just superb.- Absolutely.
0:33:33 > 0:33:35And as we can see from this copy of Clarendon's
0:33:35 > 0:33:37History Of The English Civil War,
0:33:37 > 0:33:40which Oxford printed at the beginning of the 18th century,
0:33:40 > 0:33:42here you have a title page
0:33:42 > 0:33:46which is a great stew of different typefaces and designs.
0:33:46 > 0:33:49It's really designed, in those days' terms, to catch the eye,
0:33:49 > 0:33:53to draw people to Oxford to get their work printed from us.
0:33:53 > 0:33:56Type was very elaborate, it was very floral,
0:33:56 > 0:33:59it was very full of bling, in fact.
0:34:02 > 0:34:06So, being creative with your font choice is not a new idea.
0:34:06 > 0:34:09But constructing a font was laborious.
0:34:09 > 0:34:10Everything was done by hand.
0:34:14 > 0:34:16The design was carved out of steel,
0:34:16 > 0:34:21then punched into softer copper to create a mould
0:34:21 > 0:34:24tiny letter by tiny letter.
0:34:24 > 0:34:28These moulds were often filled individually with liquid metal.
0:34:28 > 0:34:32It often took weeks to create an elaborate font.
0:34:34 > 0:34:38It's a very, very skilled business. It's almost a dead trade today.
0:34:38 > 0:34:41There are very few people in the world who can still do this.
0:34:47 > 0:34:49But something happened in the 1860s
0:34:49 > 0:34:52which would drastically limit our font choice.
0:34:52 > 0:34:56MUSIC: "The Typewriter" by Leroy Anderson
0:34:56 > 0:34:59The typewriter arrived.
0:34:59 > 0:35:03This invention standardised the look of almost all professional correspondence,
0:35:03 > 0:35:07as the typewriter was limited to varieties of one font.
0:35:07 > 0:35:09We know it today as Courier.
0:35:09 > 0:35:13But of course, its days of dominance were numbered.
0:35:16 > 0:35:19- NEWSREEL:- 'The new keyboard controls a word processor -
0:35:19 > 0:35:22'the microchip controlled office machine of the future.
0:35:22 > 0:35:24'That's what the extra keys are for and that's why
0:35:24 > 0:35:26'it could have a big future.'
0:35:26 > 0:35:29The rise of the computer in the 1970s
0:35:29 > 0:35:31and the demise of the typewriter
0:35:31 > 0:35:35meant that fonts had to look good on screen as well as in print.
0:35:35 > 0:35:38And some have even become default choices.
0:35:38 > 0:35:42Nowadays, Verdana is currently the most popular typeface on the internet.
0:35:42 > 0:35:44But it's the ubiquity of Comic Sans
0:35:44 > 0:35:48which confounds typographers like Neville Brody.
0:35:48 > 0:35:53Using Comic Sans to make you look kind of slightly light and jolly
0:35:53 > 0:35:57and informal, for me, it's the equivalent of getting
0:35:57 > 0:36:00Ronald McDonald to deliver your messages to friends.
0:36:00 > 0:36:05It's not serious and is used far too often, but I quite like it for that.
0:36:08 > 0:36:10From the comic to the uber cool,
0:36:10 > 0:36:12with a myriad of fonts now available to us
0:36:12 > 0:36:16it's about choosing the right font for the right context
0:36:16 > 0:36:18and being more bold with our choices.
0:36:18 > 0:36:22For Neville, there's no end to the fun you can have with fonts.
0:36:23 > 0:36:30Here is the number three, but it becomes graphic form again,
0:36:30 > 0:36:34and I love the idea that it can become more sculptural, more modern.
0:36:35 > 0:36:37This is actually an S.
0:36:37 > 0:36:39It's quite experimental.
0:36:39 > 0:36:43But the typeface itself is still quite readable.
0:36:43 > 0:36:48We took what was a designed for a boxing poster and then redesigned it
0:36:48 > 0:36:52to make it look a lot more feminine and poetic and graceful.
0:36:52 > 0:36:56So, typefaces can have different kinds of lives now.
0:36:56 > 0:36:59I couldn't imagine this being at all possible using metal lettering.
0:37:02 > 0:37:06So, how does the outside world look now that I'm more aware of fonts?
0:37:06 > 0:37:10Fonts are basically the tone of voice we hear when we read
0:37:10 > 0:37:12and, indeed, the Guardian newspaper - look, this one here -
0:37:12 > 0:37:14has its own font, Guardian Egyptian,
0:37:14 > 0:37:17which brands the newspaper throughout.
0:37:17 > 0:37:23And so does the Times. But, what does my favourite font say about me?
0:37:23 > 0:37:26Kind of warm and cuddly and slightly classical,
0:37:26 > 0:37:31yearning for some great old days, in a way.
0:37:31 > 0:37:35Warm and cuddly? Thanks a lot! Time for a new font?
0:37:41 > 0:37:44Welcome back to our valuation day venue, the Oxford Union.
0:37:44 > 0:37:46There's still a great buzz in the room
0:37:46 > 0:37:49and plenty more antiques to find to take off to auction.
0:37:49 > 0:37:50But we start outside,
0:37:50 > 0:37:55where Will is perusing some prints by a very famous artist.
0:37:55 > 0:37:58I couldn't find a table in there big enough to house your folio.
0:37:58 > 0:38:00Tell me, where's this come from?
0:38:00 > 0:38:04It was just a purchase at a local antiques fair about five years ago
0:38:04 > 0:38:07- over in Woodstock.- OK. - A bit of an impulse buy.
0:38:07 > 0:38:08You're a keen antique buyer, are you?
0:38:08 > 0:38:10I pick up the odd bit here and there.
0:38:10 > 0:38:13- Pictures aren't normally my thing, but...- You mentioned pictures,
0:38:13 > 0:38:16because that's exactly what we've got, isn't it? Let's have a look.
0:38:16 > 0:38:19First of all, I notice here, R Wimbush Esq.
0:38:19 > 0:38:23That, to me, makes me think, this is going to be something quite special,
0:38:23 > 0:38:25surely, being a personalised folio.
0:38:25 > 0:38:29Indeed, "12 stipple engravings of Hogarth."
0:38:29 > 0:38:31The Rake's Progress and The Election.
0:38:31 > 0:38:36And here, look, is the original receipt. 1947, £126.
0:38:36 > 0:38:38That seems to me like a lot of money in those days.
0:38:38 > 0:38:40The Rake's Progress is obviously
0:38:40 > 0:38:43the one that everyone's going to have heard of, by Hogarth.
0:38:43 > 0:38:45It's Tom Rakewell
0:38:45 > 0:38:50and it's basically a report on his life of vice and self-destruction
0:38:50 > 0:38:53after inheriting a fortune from his father.
0:38:53 > 0:38:54Let's just open up.
0:38:54 > 0:38:57We've got here, at the top, actually, this is the first one.
0:38:57 > 0:38:59This is when he's inheriting his fortune.
0:38:59 > 0:39:03You can see here, his miserly father has died.
0:39:03 > 0:39:05He's getting measured up for a new suit.
0:39:05 > 0:39:07You've got the lawyer at the back and, interestingly,
0:39:07 > 0:39:11he's got his finger in the gold coins - he's pinching a few coins.
0:39:11 > 0:39:13He's already being taken advantage of here.
0:39:13 > 0:39:15And this figure here, actually, she's Sarah Young.
0:39:15 > 0:39:18She's actually quite an important figure in the whole series.
0:39:18 > 0:39:21She sort of devoted herself to Tom.
0:39:21 > 0:39:24He's trying to pay her off now that he's found his new wealth.
0:39:24 > 0:39:26He wants to go and play the field, as it were.
0:39:26 > 0:39:29She's holding the ring that he promised her
0:39:29 > 0:39:32and, later on in the story, she keeps popping up
0:39:32 > 0:39:35and she's still in love with him, but he's rejecting her.
0:39:35 > 0:39:39You know, it's a sad side of a sad story - someone's demise.
0:39:39 > 0:39:41So, that's the first in the series.
0:39:41 > 0:39:43I thought it would be quite interesting to then make
0:39:43 > 0:39:49a leap to the last in the series, and this one's entitled "Bedlam."
0:39:49 > 0:39:53And there he is, completely mad, having lost all his money,
0:39:53 > 0:39:56all his friends and his marbles, as such.
0:39:56 > 0:39:58You can see various figures here and, of course,
0:39:58 > 0:40:00Bedlam being open to the public,
0:40:00 > 0:40:03these are two fashionable ladies who have come.
0:40:03 > 0:40:07And there's Sarah Young, again, who's come to visit him when he's mad.
0:40:07 > 0:40:10And it's a sad story, but it really caught the attention at the time.
0:40:10 > 0:40:11You know, Hogarth,
0:40:11 > 0:40:14these are obviously from original paintings by Hogarth.
0:40:14 > 0:40:17They hang in the Soane's Museum.
0:40:17 > 0:40:19But Hogarth was a commercial minded man,
0:40:19 > 0:40:22so people would come to his studio, see the original paintings
0:40:22 > 0:40:24and he'd say, "Would you like to order a series of prints?"
0:40:24 > 0:40:27And he produced some original prints himself.
0:40:27 > 0:40:28These aren't by him,
0:40:28 > 0:40:32these are by Jackson Stodart "from the original painting by Hogarth."
0:40:32 > 0:40:35It's also got The Election, which is another series of four, I think.
0:40:35 > 0:40:37And London, The Museum Galleries -
0:40:37 > 0:40:40they're the people who have published these, produced these.
0:40:40 > 0:40:46Super quality. I mean, you know, the cost to produce these is quite high.
0:40:46 > 0:40:50So, good quality items, hence why they're in this personalised folio.
0:40:50 > 0:40:52You say you bought them at an antiques fair,
0:40:52 > 0:40:55- what sort of money did you have to pay for them?- It was about £50.
0:40:55 > 0:40:57OK, so not bad, really, when you break it down,
0:40:57 > 0:41:00and certainly considering what they cost originally.
0:41:00 > 0:41:03But the way we furnish our homes nowadays,
0:41:03 > 0:41:06- they're not hugely fashionable, I'm afraid.- No, I agree.
0:41:06 > 0:41:09Different if you're talking about period 18th-century ones.
0:41:09 > 0:41:10You say you paid £50 for it.
0:41:10 > 0:41:13I'm going to try and get away with getting your money back.
0:41:13 > 0:41:16- How do you feel about that?- OK, I am happy with that.- Yeah, you happy?
0:41:16 > 0:41:20- Let's put 'em in at say £50-100... - OK.- ..and we'll reserve them at £50.
0:41:20 > 0:41:21- Yeah?- Sounds great.- Yeah.
0:41:21 > 0:41:23And they might even make a little bit more.
0:41:23 > 0:41:25- You never can tell.- Lovely.
0:41:25 > 0:41:27From the "Bedlam" of Hogarth
0:41:27 > 0:41:30to the well-oiled machine that is our "Flog It!" team,
0:41:30 > 0:41:33we're back inside the debating hall with Christina,
0:41:33 > 0:41:36who's on familiar territory with our next item.
0:41:37 > 0:41:39Pauline, my golden girl,
0:41:39 > 0:41:41you've brought me some beautiful jewellery in today.
0:41:41 > 0:41:43Tell me a little bit about it. Where has it come from?
0:41:43 > 0:41:46- Well, it belonged to my grandmother.- Right.
0:41:46 > 0:41:48Obviously came down from my grandmother to my mum
0:41:48 > 0:41:52and my mum gave it to me some time ago.
0:41:52 > 0:41:55And it's probably sat for the last 20 or 30 years in the cupboard.
0:41:55 > 0:41:57Oh, no! Oh, what a shame.
0:41:57 > 0:41:59I don't really wear yellow gold so...
0:41:59 > 0:42:02- So you wear white gold or silver? - Yes.- So it's just not really...
0:42:02 > 0:42:06- It's not something that I would wear, really.- Right.
0:42:06 > 0:42:09Well, it's a 15 carat yellow gold chain,
0:42:09 > 0:42:11what we call a curb link chain.
0:42:11 > 0:42:14And it's stamped 15 carat just on here
0:42:14 > 0:42:16with a nine carat gold clasp.
0:42:16 > 0:42:19A very traditional padlock, heart-shaped padlock, clasp,
0:42:19 > 0:42:22- which is stamped nine carat on the back.- Mm-hm.
0:42:22 > 0:42:24It's really very lovely and quite easy to wear
0:42:24 > 0:42:27cos the curb links do roll around on your wrist.
0:42:27 > 0:42:30But why don't you wear it? Cos you...
0:42:30 > 0:42:32It's not something that I like particularly.
0:42:32 > 0:42:36- Did your grandmother wear it? - I believe my grandmother wore it.
0:42:36 > 0:42:38My grandmother died when I was fairly young
0:42:38 > 0:42:40so I don't ever remember seeing her wearing it.
0:42:40 > 0:42:43Certainly don't ever remember seeing my mum wear it.
0:42:43 > 0:42:45- So it's a shame. - Well, that would explain
0:42:45 > 0:42:47why there's so little wear on it, cos, for 15 carat,
0:42:47 > 0:42:50really, you would expect to see a few more scratches,
0:42:50 > 0:42:52especially with a hollow link chain.
0:42:52 > 0:42:55- Not being solid, obviously, it would get quite a few dents.- Yeah.
0:42:55 > 0:42:59And it just is in brilliant condition, which is fantastic.
0:42:59 > 0:43:01But also quite sad, because you would hope that
0:43:01 > 0:43:03- we would be able to find somebody that will wear it.- Yeah,
0:43:03 > 0:43:04well, that's what I was hoping.
0:43:04 > 0:43:07- You know, someone would wear it and enjoy it and...- Absolutely.
0:43:07 > 0:43:09Well, let's see if we can find her.
0:43:09 > 0:43:11But we need to agree on an auction estimate.
0:43:11 > 0:43:13- OK.- I think at auction... They're not rare.
0:43:13 > 0:43:16They were fairly standard pieces of jewellery
0:43:16 > 0:43:18in the late 19th, early 20th century.
0:43:18 > 0:43:21- But it has got quite a lot of gold content to it.- Yes.
0:43:21 > 0:43:24Do you have any sort of value expectations for it?
0:43:24 > 0:43:26Obviously as much as it could go for, really!
0:43:26 > 0:43:28- Well, we'll keep our fingers crossed.- OK.
0:43:28 > 0:43:31But at auction, I think we're probably looking for
0:43:31 > 0:43:34something in the region of £150-200. How would you feel about that?
0:43:34 > 0:43:38- I would then like to put some kind of a reserve on it.- Yes, of course.
0:43:38 > 0:43:41- We wouldn't want it to go underneath £150, really.- No.
0:43:41 > 0:43:43No, I think that would be OK.
0:43:43 > 0:43:46So if we put an auction estimate of 150-200...
0:43:46 > 0:43:49- Yeah.- ..with a reserve of 150 firm.
0:43:49 > 0:43:52- Yes.- And let's just hope the gold price doubles...trebles
0:43:52 > 0:43:56- between now and the auction! - That would be very nice, yeah!
0:43:56 > 0:43:58- It would, wouldn't it?!- OK!
0:43:58 > 0:44:02And later on, we'll find out from our auctioneer, Thomas Plant,
0:44:02 > 0:44:04just how strong the gold market is.
0:44:06 > 0:44:09Now, we all know the Oxford Union has gained a worldwide reputation
0:44:09 > 0:44:11for the cut and thrust of its debate.
0:44:11 > 0:44:14But it's also proved a valuable training ground
0:44:14 > 0:44:16for future British Prime Ministers.
0:44:16 > 0:44:17Harold Macmillan.
0:44:17 > 0:44:18Ted Heath is here, as well.
0:44:18 > 0:44:20But it's not just Prime Ministers.
0:44:20 > 0:44:23The union also boasts some eminent members.
0:44:23 > 0:44:26And up there, just there, that's Albert Einstein,
0:44:26 > 0:44:28famous for his theory of relativity.
0:44:28 > 0:44:32And he's instantly recognisable because of his mop of mad hair.
0:44:32 > 0:44:34And this photograph was taken in 1933
0:44:34 > 0:44:36and the rest of his year
0:44:36 > 0:44:40have the most beautiful, slick, tidy haircuts
0:44:40 > 0:44:44and there's Albert Einstein, looking as mad as ever.
0:44:44 > 0:44:47I love that photograph. What a character!
0:44:56 > 0:44:58This place has seen its fair share of famous faces
0:44:58 > 0:45:01- and you've brought another one along today.- Certainly.
0:45:01 > 0:45:02Tell me, where has this come from?
0:45:02 > 0:45:04Well, I work for a local charity.
0:45:04 > 0:45:07- People come along and donate goods to us.- Yes?
0:45:07 > 0:45:09- I happened to notice the mask, loved the face...- Yeah.
0:45:09 > 0:45:12- And I thought, "That's worth going on Flog It!"- Ah, good idea.
0:45:12 > 0:45:14That's what we're here for.
0:45:14 > 0:45:16Well, she's certainly beautiful, isn't she? Stunning.
0:45:16 > 0:45:18I mean, really catches the eye.
0:45:18 > 0:45:20- It's lovely.- Yeah.- Yeah, I'd love it myself
0:45:20 > 0:45:22but it wasn't donated to me!
0:45:22 > 0:45:24Well, as with all pottery and porcelain,
0:45:24 > 0:45:27- let's have a look at the back, cos that'll give us some clues.- OK.
0:45:27 > 0:45:28And sure enough, there we are,
0:45:28 > 0:45:30we've got a nice, clear mark there, haven't we?
0:45:33 > 0:45:35Now, when you think of Austrian Art Deco,
0:45:35 > 0:45:37cos that's what she is, Art Deco pottery,
0:45:37 > 0:45:40you almost immediately think of Goldscheider.
0:45:40 > 0:45:43That's the first name that really jumps into your mind.
0:45:43 > 0:45:45Keramos, I think,
0:45:45 > 0:45:49were a factory that were producing wares alongside Goldscheider
0:45:49 > 0:45:50and I do believe, actually,
0:45:50 > 0:45:54that some of the painters and modellers worked for both.
0:45:54 > 0:45:56Keramos as well, I think, is the Greek...
0:45:56 > 0:45:58My Greek's not what it used to be.
0:45:58 > 0:45:59Maybe here at the Oxford Union,
0:45:59 > 0:46:01I'm sure they debate in Greek here, or something!
0:46:01 > 0:46:04- Well, it's all Greek to me, but carry on!- But I think
0:46:04 > 0:46:06- Keramos means pottery...- Oh, right. - ..or clay.
0:46:06 > 0:46:09So that might be where the name's come from.
0:46:09 > 0:46:11But you know, you can look at the back there
0:46:11 > 0:46:13and you can tell, almost, that it's nice quality
0:46:13 > 0:46:15just from the back, can't you?
0:46:15 > 0:46:18Let's turn her back over cos that's her best side, shall we say?!
0:46:18 > 0:46:21We've got this all over crackled glaze on her face.
0:46:21 > 0:46:25I think that's deliberate. I think they've gone for that look.
0:46:25 > 0:46:29On some pieces, you get it with age and so on.
0:46:29 > 0:46:31But also, with a certain glaze that you use
0:46:31 > 0:46:33or a certain finish or the firing,
0:46:33 > 0:46:35you can actually create that.
0:46:35 > 0:46:38If you look at ancient Chinese ceramics,
0:46:38 > 0:46:40they often have that crackled finish.
0:46:40 > 0:46:41Yeah.
0:46:41 > 0:46:44So it's come into the shop, caught your eye.
0:46:44 > 0:46:48Have you got any sort of idea what you think it might be worth?
0:46:48 > 0:46:53- I would like it to achieve around about £50, £60.- OK.
0:46:53 > 0:46:56Well, I think you're in the right sort of ballpark figure.
0:46:56 > 0:46:58It's not going to make the same sort of money
0:46:58 > 0:47:00that a Goldscheider one would,
0:47:00 > 0:47:02or, say, a Clarice Cliff wall mask, you know.
0:47:02 > 0:47:04- I understand that, yes. - That's the Premier League.
0:47:04 > 0:47:07This, because the whole Deco movement was so popular,
0:47:07 > 0:47:10let's put it in with an estimate of 50-80.
0:47:10 > 0:47:12- Wonderful.- And where should we reserve it?
0:47:12 > 0:47:15Shall we just tuck it in under that £50 mark?
0:47:15 > 0:47:19- I think 30.- Ooh!- Anything, you know, we'd be grateful for anything. - Anything helps.
0:47:19 > 0:47:21It's great work that you're doing.
0:47:21 > 0:47:24- I'm just glad that we can help you. - Fabulous, thank you. Thank you.
0:47:28 > 0:47:30Elizabeth and Neville, I love this.
0:47:30 > 0:47:34Thank you so much for bringing it in today, it's absolutely beautiful.
0:47:34 > 0:47:35Tell me a little bit about it.
0:47:35 > 0:47:39Well, it came down through the family - well, from my aunt, actually...
0:47:39 > 0:47:43- Mm-hm?- ..um, who was married to an American service guy.- Right.
0:47:43 > 0:47:47- And, um, so I've no idea where they bought it.- OK.
0:47:47 > 0:47:51- But I've had it for about 15 years. - And do you use it as a doorstop?
0:47:51 > 0:47:54- Because it's incredibly heavy!- It'd make a good doorstop, wouldn't it?
0:47:54 > 0:47:57- Yeah, did you carry it in with you today?- Yes.- My goodness!
0:47:57 > 0:48:02Well, it's a Japanese bronze, dating from about 1920,
0:48:02 > 0:48:05and it's actually a copy, after the original, which is
0:48:05 > 0:48:08in the Metropolitan Museum in New York.
0:48:08 > 0:48:11It's got that wonderful sort of movement and fluidity about it,
0:48:11 > 0:48:14- hasn't it?- Mm-hm.- It's just stunning.- Yes, I love the pose.
0:48:14 > 0:48:17With this wonderful sort of front leg raised, it's beautiful.
0:48:17 > 0:48:21And if we turn over, we've got this foundry mark on the bottom here,
0:48:21 > 0:48:25so we can see... Unfortunately, we can't track down who that was by,
0:48:25 > 0:48:28um, but it is certainly a very, very good copy.
0:48:28 > 0:48:30Why are you selling it if you like it?
0:48:30 > 0:48:33Well, we've got so many pieces, really.
0:48:33 > 0:48:36- It's finding a home for everything. - Japanese metalworkers were
0:48:36 > 0:48:40some of the finest in the world, especially during the 19th century.
0:48:40 > 0:48:42This is slightly later than that, but I still think
0:48:42 > 0:48:45it will find a market at auction, as a decorative bronze.
0:48:45 > 0:48:48I think we're probably looking somewhere in the region,
0:48:48 > 0:48:51maybe of £80-120, as a decorative item.
0:48:51 > 0:48:53Not a doorstop. I hope people won't use it
0:48:53 > 0:48:56- as a doorstop.- So do I. LAUGHTER
0:48:56 > 0:48:58But I still think it's rather lovely, um...
0:48:58 > 0:49:02The Chinese oriental market really has been incredibly buoyant
0:49:02 > 0:49:05- for early wares over the last few years.- Mm-hm.
0:49:05 > 0:49:09Um, but Japanese, not so much, which is why my estimate's quite cautious.
0:49:09 > 0:49:13- Mm-hm.- So I think, if we set an estimate at £80-120,
0:49:13 > 0:49:17with a reserve of 80, how would you feel about that?
0:49:17 > 0:49:18- Yeah, that'd be fine.- Yeah.- Yeah?
0:49:18 > 0:49:22And would you like to do a discretionary reserve or firm at 80?
0:49:22 > 0:49:24- I think I'd like a firm reserve, really.- Firm reserve.
0:49:24 > 0:49:26So, if it doesn't sell, you're happy to have it back?
0:49:26 > 0:49:28- Yeah.- Yeah, and we'll hope that
0:49:28 > 0:49:30he'll TROT his way out of the auction house.
0:49:30 > 0:49:33LAUGHTER Good.
0:49:33 > 0:49:36What a sculptural piece. I'm sure there'll be a market
0:49:36 > 0:49:38for a Japanese bronze like that at auction.
0:49:42 > 0:49:44I've been told the people of Oxford love a good debate
0:49:44 > 0:49:46and are not afraid to speak their mind.
0:49:46 > 0:49:49And that certainly seems true of some of the people
0:49:49 > 0:49:53who've been given valuations by Christina and Will.
0:49:53 > 0:49:55Let's just hope, when we get to the auction room,
0:49:55 > 0:49:56there's more ayes than noes.
0:49:56 > 0:49:59And that's exactly where we're going right now.
0:49:59 > 0:50:01And here's a quick recap.
0:50:01 > 0:50:04Depending on the gold price, Pauline's bracelet could sparkle.
0:50:04 > 0:50:05So I'll be asking Thomas
0:50:05 > 0:50:08if Christina's valuation may need an alteration.
0:50:11 > 0:50:13Or maybe the bidders will be captivated
0:50:13 > 0:50:20by Jade's Art Deco face mask, which dates back to the 1920s.
0:50:20 > 0:50:22Will it be the Japanese bronze horse that
0:50:22 > 0:50:25sets the pace in the auction room?
0:50:28 > 0:50:31But first up, will the Hogarth prints make progress
0:50:31 > 0:50:33or will they fall from grace?
0:50:36 > 0:50:39It's time to find out as the bedlam of the auction gets underway.
0:50:41 > 0:50:43When you talk about prints or etchings,
0:50:43 > 0:50:44you cannot help but mention Hogarth.
0:50:44 > 0:50:47We've got a set going under the hammer right now, in folio,
0:50:47 > 0:50:49belonging to Rachel. I do like these.
0:50:49 > 0:50:52These should be on the wall. Why aren't they on your wall?
0:50:52 > 0:50:55Well, my house isn't big enough and I don't actually like them...
0:50:55 > 0:50:57- You don't like them?! - No.- The Rake's Progress!
0:50:57 > 0:50:59- I think these are wonderful. - Aren't they?
0:50:59 > 0:51:03- I mean, they are a great observation on social behaviour.- Yeah.
0:51:03 > 0:51:04That's what it was all about.
0:51:04 > 0:51:06And it makes me laugh when I look at them.
0:51:06 > 0:51:08There's always something to notice.
0:51:08 > 0:51:10- I mean, he was a fascinating character.- Incredible.- Yeah.
0:51:10 > 0:51:13- Incredible.- Good advice. - He brought art to the masses.
0:51:13 > 0:51:16People that could not afford oil paintings, this was the market.
0:51:16 > 0:51:19- Yeah.- He was the first person on the planet
0:51:19 > 0:51:20to produce this kind of work.
0:51:20 > 0:51:23Well, let's see who wants The Rake's Progress, shall we?
0:51:23 > 0:51:24It's going under the hammer now.
0:51:25 > 0:51:27Next lot is 270,
0:51:27 > 0:51:29a set of 12 Hogarth stipple engravings
0:51:29 > 0:51:31from The Rake's Progress.
0:51:31 > 0:51:32These are in marvellous condition.
0:51:32 > 0:51:35Well, I can start the bidding with me, here,
0:51:35 > 0:51:36straight in at £35 with me.
0:51:36 > 0:51:39- It's nothing. - We need a bit of action.
0:51:39 > 0:51:42Any advance of 35? At £35.
0:51:42 > 0:51:44- If I was allowed to put my hand up, I would!- Aw-w!
0:51:45 > 0:51:47At 45 against you all.
0:51:47 > 0:51:50At 45, looking for 50 to sell it.
0:51:50 > 0:51:52At £45 against you all.
0:51:52 > 0:51:55A good lot, these ones.
0:51:55 > 0:51:57- He's trying, isn't he?- Mm.
0:51:57 > 0:52:01At 45. If you are interested, see us afterwards.
0:52:01 > 0:52:04- Not quite enough.- Oh, OK. That's...
0:52:04 > 0:52:06I mean, it's a real shame cos they're super quality.
0:52:06 > 0:52:10- But a sign of the times. - You're stuck with them at the moment!
0:52:10 > 0:52:12Maybe I'll have another look at them,
0:52:12 > 0:52:14based on what you've told me today, actually.
0:52:14 > 0:52:16- Maybe I didn't love them enough! - Go and have another look.
0:52:16 > 0:52:19- I mean, he was a canny businessman as well.- He was.
0:52:19 > 0:52:21He would display his prints and you'd pay £1 to go and see them.
0:52:21 > 0:52:24Maybe that's what you should do at home. £1 a view!
0:52:24 > 0:52:27- £1 a visit!- I'll open the front door!- Yeah.
0:52:27 > 0:52:30- Knock-knock-knock. - Open studio, all round Rachel's.
0:52:30 > 0:52:33- Discount for you two, OK?! - Oh, we're in!- Special entry.
0:52:33 > 0:52:36Well, you don't get an offer like that every day.
0:52:36 > 0:52:38Here's hoping Rachel does learn to love them.
0:52:38 > 0:52:40Now, we're all on tenterhooks
0:52:40 > 0:52:42to find out how the gold price is doing.
0:52:42 > 0:52:44Pauline's gold bracelet.
0:52:44 > 0:52:46Let's talk about the ever-changing values of bullion
0:52:46 > 0:52:49because it does fluctuate, this market.
0:52:49 > 0:52:51It does and there's many things which make it fluctuate.
0:52:51 > 0:52:54- One of those things, strangely, is the stock market.- Sure.
0:52:54 > 0:52:57If the stock market's having a really bad day, gold goes up.
0:52:57 > 0:52:59- Everyone invests in gold. - Absolutely.
0:52:59 > 0:53:01And also the other thing which changes with gold price
0:53:01 > 0:53:03is our exchange rate with the dollar,
0:53:03 > 0:53:06- because gold is valued in dollars. - Sure, yeah.
0:53:06 > 0:53:08And so, if the pound is strong against the dollar,
0:53:08 > 0:53:10the gold price is low, vice versa.
0:53:10 > 0:53:12You can see what happens.
0:53:12 > 0:53:14Here, this is valued at £20 a gram,
0:53:14 > 0:53:17where the little clasp is valued at 12.
0:53:17 > 0:53:19So instantly it's worth an awful lot more money.
0:53:19 > 0:53:21We've put it in at £300-500,
0:53:21 > 0:53:23- with a reserve of 300.- OK.
0:53:23 > 0:53:25- But actually, it's a very wearable piece.- That is, isn't it?
0:53:25 > 0:53:27And I'm sure that will not go to melt.
0:53:27 > 0:53:29- No.- That's a nice thing.
0:53:29 > 0:53:33- Fingers crossed we get the top end of the estimate.- I hope so.
0:53:33 > 0:53:34Well, that's good news
0:53:34 > 0:53:37and Pauline's brought along her daughter Zoe
0:53:37 > 0:53:38for moral support.
0:53:38 > 0:53:42Here's hoping she gets top dollar for that bracelet.
0:53:42 > 0:53:46- I've probably worn it twice... - Is that all?- ..which is why it's sat in the cupboard for years and years.
0:53:46 > 0:53:49Well now, let me work out who's next in line.
0:53:49 > 0:53:50It's you, Zoe. Right?
0:53:50 > 0:53:52And this is your inheritance Mum's flogging!
0:53:52 > 0:53:55- Yeah. She just... - Do you want it at all?
0:53:55 > 0:53:58Not really. I think I'd prefer the money.
0:53:58 > 0:54:00You don't like gold, obviously.
0:54:00 > 0:54:03- No.- No, we normally wear white gold or silver.
0:54:03 > 0:54:05OK. Here we go, let's put it to the test.
0:54:05 > 0:54:07It's going under the hammer now.
0:54:07 > 0:54:09Lot 45 and this is this gold curb link bracelet.
0:54:09 > 0:54:12I can start the bidding with me, here.
0:54:12 > 0:54:13Straight in at 240 with me.
0:54:13 > 0:54:15240, 240 I have.
0:54:15 > 0:54:18At 240, 260, 280 with me.
0:54:18 > 0:54:19300 and I'm out.
0:54:19 > 0:54:21At 300, I have here.
0:54:21 > 0:54:24At 300, it's in the room. Against you all at £300.
0:54:24 > 0:54:26Selling then, at £300...
0:54:26 > 0:54:28- Yes!- Brilliant. - That's good, isn't it?
0:54:28 > 0:54:30- You're happy?- Yeah, it's good news.
0:54:30 > 0:54:32- Both of you.- Absolutely, yes.
0:54:32 > 0:54:34- Zoe's working it out! - LAUGHTER
0:54:34 > 0:54:39- "Will Mum really let me have a share in that?!"- It'll be shared.
0:54:48 > 0:54:50Neville, Elizabeth, fingers crossed, OK?
0:54:50 > 0:54:52The bronze horse, a touch of the Far East,
0:54:52 > 0:54:55- is just about to go under the hammer here in Newbury.- Yeah.
0:54:55 > 0:54:57And I think this is the right area to sell this in.
0:54:57 > 0:54:59We're right by the racecourse, it's just down the road.
0:54:59 > 0:55:03- Lambourn is up the road as well. All the gallops are around here.- Uh-huh.
0:55:03 > 0:55:06- It's a bit sporty.- Yeah, let's hope it will generate some interest.
0:55:06 > 0:55:09- Yeah, hope so.- Yeah.- Well, let's put this one to the test, shall we?
0:55:09 > 0:55:12- The horse is just about to go under the hammer.- OK.
0:55:12 > 0:55:15Lot number 385, and this is this modern Chinese
0:55:15 > 0:55:18bronze figure of a horse, mark to underside.
0:55:18 > 0:55:21Bids here with me and I start this one at £55.
0:55:21 > 0:55:24At 55. 60. And five with me.
0:55:24 > 0:55:26At 65, against you all at 65.
0:55:26 > 0:55:2970...5. 80. 80 we've got in the room.
0:55:29 > 0:55:32At £80. Into the room first, then we'll go to the telephones.
0:55:32 > 0:55:36- £80. Brilliant.- Yeah. - Any advance at £80, is in the room?
0:55:36 > 0:55:395! 90...5. 100.
0:55:39 > 0:55:42110. 120.
0:55:42 > 0:55:44130. 140.
0:55:44 > 0:55:46- 150.- Oh, brilliant.- 160.
0:55:46 > 0:55:49170. 180.
0:55:49 > 0:55:52190. 200.
0:55:52 > 0:55:55210. Go on!
0:55:55 > 0:55:57No, are you sure? One more?
0:55:57 > 0:55:58220?
0:56:02 > 0:56:04230. Are you sure?
0:56:04 > 0:56:07At £230, make no mistake, on the telephone.
0:56:07 > 0:56:10£230, against you all. Selling, then.
0:56:10 > 0:56:11230.
0:56:11 > 0:56:14- Brilliant!- Well done. - Fantastic, yeah!
0:56:14 > 0:56:15Trade was done in Newbury!
0:56:15 > 0:56:18- Thank you very much! - You're welcome, that's brilliant!
0:56:18 > 0:56:20- They liked it. It was the right market.- That's right.- Yeah!
0:56:20 > 0:56:23It shows the influence of telephone bidders on the auction too.
0:56:23 > 0:56:26- Of course.- It's the telephone against the room.- That's right.
0:56:26 > 0:56:29- It GALLOPED away!- Aw! - LAUGHTER
0:56:29 > 0:56:32'It certainly did! First past the post!'
0:56:34 > 0:56:36Going under the hammer right now
0:56:36 > 0:56:39an Art Deco, Austrian gypsy face mask belonging to Jade.
0:56:39 > 0:56:41And all the money is going to charity.
0:56:41 > 0:56:42Tell us about it, Jade.
0:56:42 > 0:56:45OK, I work for a local charity shop, a cancer shop.
0:56:45 > 0:56:47- Luckily you were in town. - Good opportunity.
0:56:47 > 0:56:50We brought along and it seems it's a nice item. Let's hope it does well.
0:56:50 > 0:56:52- Yeah, let's hope it gets top dollar. - Yeah.
0:56:52 > 0:56:54It's an interesting looking, unusual item.
0:56:54 > 0:56:57- You're not going to see another one tomorrow.- No, exactly.
0:56:57 > 0:56:59I mean, with these sort of face masks...
0:56:59 > 0:57:01very sort of Art Deco, that sort of thing.
0:57:01 > 0:57:03So, you know, very on trend, hopefully.
0:57:03 > 0:57:06So I'm hoping we get some good money for you.
0:57:06 > 0:57:07Let's hope Thomas can help us out right now.
0:57:07 > 0:57:09Here we go, here we go!
0:57:09 > 0:57:12Very Goldscheider, lovely looking thing.
0:57:12 > 0:57:14I can start the bidding with me, here,
0:57:14 > 0:57:17straight in at £35. 40...5.
0:57:17 > 0:57:2050...5. 65. I end up at 65.
0:57:20 > 0:57:23- The room comes in, here. - One more, one more!- 70...5.
0:57:23 > 0:57:2680...5. 90...5.
0:57:26 > 0:57:28Look, he's got a bid on the books, a commission bid.
0:57:28 > 0:57:31- He keeps working that book. - 120, 130.
0:57:31 > 0:57:34- Good auctioneering.- Go on! - Come on, tell them it's for charity.
0:57:34 > 0:57:36130 against you all.
0:57:36 > 0:57:39On the book, here, at 130. At 130.
0:57:39 > 0:57:42A good result. £130!
0:57:42 > 0:57:43- What a result! - The hammer's gone down
0:57:43 > 0:57:46- and that money goes to charity. - Brilliant.- Isn't that good?
0:57:46 > 0:57:47Fantastic. And we've got Gift Aid,
0:57:47 > 0:57:49- which gives 28% on top. It's fantastic.- Exactly,
0:57:49 > 0:57:51so it's really even more than £130.
0:57:51 > 0:57:54- Yeah, so...wow.- Brilliant. - 150 quid we've got for it.- Aw-w!
0:57:54 > 0:57:57- Well, look, keep your eyes peeled, won't you?- I'm all emotional!
0:57:57 > 0:57:58It's brilliant!
0:57:58 > 0:58:01- Thank you so much.- If you want to have something valued,
0:58:01 > 0:58:03bring it along to one of our valuation days.
0:58:03 > 0:58:04I'm sure our experts will help you out.
0:58:04 > 0:58:07Who knows, you could make a small fortune at auction as well.
0:58:07 > 0:58:10We will be coming to a town close to you shortly,
0:58:10 > 0:58:11so keep an eye out for us.