0:00:08 > 0:00:11Our venue today has been the inspiration of authors,
0:00:11 > 0:00:14poets, songwriters and musicians for over five centuries.
0:00:14 > 0:00:17It's a glorious example of a medieval manor house
0:00:17 > 0:00:20set in the rolling hills of the Peak District.
0:00:20 > 0:00:23Haddon Hall has even inspired its own romantic legend
0:00:23 > 0:00:26and now it's inspired "Flog It!" to return to Derbyshire.
0:00:29 > 0:00:30THEME MUSIC PLAYS
0:00:49 > 0:00:53Haddon Hall has been home to the Manners family since Tudor times
0:00:53 > 0:00:56when Dorothy Vernon eloped with John Manners,
0:00:56 > 0:01:00creating Haddon's own Romeo and Juliet story.
0:01:00 > 0:01:03It is such a marvellous location that Jane Eyre has been
0:01:03 > 0:01:05filmed here, not once, not twice,
0:01:05 > 0:01:08but three times...and counting.
0:01:11 > 0:01:13Hopefully, this beautiful period setting
0:01:13 > 0:01:17will inspire our experts to find some antiques of their own to
0:01:17 > 0:01:19take off to auction. It's certainly fired up the imagination of
0:01:19 > 0:01:23this lot, because it looks like all of Derbyshire has turned up.
0:01:26 > 0:01:29Joining us today is expert Adam Partridge who seems to be
0:01:29 > 0:01:32finding out the secret of a happy marriage.
0:01:32 > 0:01:36- When the wife says jump, I just say, "How high?"- Are you still jumping?
0:01:36 > 0:01:38Well, I've stopped now, she let me stand a bit.
0:01:39 > 0:01:43And Michael Baggott who knows the true worth of things.
0:01:43 > 0:01:45Any gold bars or diamond jewellery?
0:01:45 > 0:01:49- Just some pottery and stuff.- You're more precious than that, aren't you? You're more precious.
0:01:51 > 0:01:53There's history in every room of this hall
0:01:53 > 0:01:56and we're using all of them for our valuation day.
0:01:56 > 0:01:58There are "Flog It!" visitors in the banqueting hall,
0:01:58 > 0:02:01the Long Gallery, and all the rooms in-between.
0:02:03 > 0:02:07In today's show, we have three unloved items brought in by their owners.
0:02:07 > 0:02:10One will go for double its estimate.
0:02:12 > 0:02:14Will it be this decorative vase?
0:02:14 > 0:02:16I never particularly liked it.
0:02:16 > 0:02:18Or these impressive medals?
0:02:18 > 0:02:23- I mean, they're no interest in my family now.- They're somebody else's.
0:02:24 > 0:02:26Or this detested piece of pewter?
0:02:26 > 0:02:29How long have you had it?
0:02:29 > 0:02:30Too long.
0:02:32 > 0:02:34Stay with us to find out later on.
0:02:35 > 0:02:39Adam is first up and he's decided to make the most of the wonderful
0:02:39 > 0:02:41gardens here at Haddon.
0:02:41 > 0:02:43- Good morning, Louise. - Good morning, Adam.
0:02:43 > 0:02:45- Welcome to "Flog It!"- Thank you.
0:02:45 > 0:02:47Please tell me about yourself
0:02:47 > 0:02:50and how you came to own this rather nice silver vase.
0:02:50 > 0:02:53Well, I found it in a box that I inherited along with
0:02:53 > 0:02:55all sorts of things.
0:02:55 > 0:02:57I never particularly liked it, but it...and
0:02:57 > 0:03:01I didn't even know it was silver until last night. I thought it was...
0:03:01 > 0:03:04- Did it get a clean last night? - It did.- I thought it...
0:03:04 > 0:03:07- You can tell by the white bits in all the hollows.- Yeah.
0:03:07 > 0:03:10- It's come up quite nicely, hasn't it?- It's not so bad.
0:03:10 > 0:03:13And I believe you used to work in this wonderful building?
0:03:13 > 0:03:17- I did for 16 years.- 16 years. In what capacity have you worked here?
0:03:17 > 0:03:19- Everything.- Have you? Give us some...
0:03:19 > 0:03:23- From cleaning loos to working in Lord Edward's office.- Gosh.
0:03:23 > 0:03:27- I finished off there. - From the bottom...- To the top!
0:03:27 > 0:03:31Brilliant. Well, back to your vase. I presume you want to sell it.
0:03:31 > 0:03:36- I do.- Thank goodness for that. It's Edwardian, 1907, makes it, uh...
0:03:36 > 0:03:39..just over 100 years old, 105 or so.
0:03:39 > 0:03:42By the Sheffield firm of Atkins Brothers.
0:03:42 > 0:03:46See the "HA", Harry Atkins, they were a large Sheffield manufacturer.
0:03:46 > 0:03:49They produced lots and lots of things like this.
0:03:49 > 0:03:54So, it's not a rare maker, but it's a nice example.
0:03:54 > 0:03:56It's a pleasing quality, it's not flimsy at all.
0:03:56 > 0:03:59Some of these will bend as soon as you look at them.
0:03:59 > 0:04:01So, why have you decided to sell it?
0:04:01 > 0:04:02I don't need it any more.
0:04:02 > 0:04:05It's in a cupboard more than it's got some flowers in it.
0:04:05 > 0:04:07- Oh, right, so it's not in daily use. - Not at all, no.
0:04:07 > 0:04:10- It's not leaving a gap on the mantelpiece.- It certainly isn't, no.
0:04:10 > 0:04:13Any idea on value?
0:04:13 > 0:04:16- Not a clue.- No?- Not a clue, except it's silver...
0:04:16 > 0:04:19- Have a guess.- Oh...£60?
0:04:22 > 0:04:23- More, yeah.- 80?
0:04:23 > 0:04:27No, I think it'll probably make 200.
0:04:27 > 0:04:29- SHE GASPS - Yeah.- Wow!
0:04:29 > 0:04:32That was a good reaction, I don't get that very often!
0:04:32 > 0:04:36- That was genuine.- Yeah, I know. £200 is what it'll make, about that.
0:04:36 > 0:04:39I think we should probably put a reserve slightly below,
0:04:39 > 0:04:41say about 180 reserve.
0:04:41 > 0:04:45- Excellent!- Below 180, I wouldn't sell it, if it was mine
0:04:45 > 0:04:48and my advice to you is don't take less than 180 for it,
0:04:48 > 0:04:51and we'll put an estimate of maybe 200 to 250.
0:04:51 > 0:04:55- A nice, punchy, bullish estimate. - Gosh, that is quite incredible.
0:04:55 > 0:04:57- Good news?- Yeah, thank you.
0:04:57 > 0:05:00It's always satisfying to give people a nice surprise.
0:05:02 > 0:05:05Back inside now to the lovely Long Gallery
0:05:05 > 0:05:06to see what Michael has found.
0:05:07 > 0:05:09- Janet, Roger...- Hello.
0:05:09 > 0:05:12..thank you for you bringing in this lovely little vase,
0:05:12 > 0:05:14even though it is, um...
0:05:14 > 0:05:17as I believe many people are screaming at the television,
0:05:17 > 0:05:20I can almost hear them, "Moorcroft!" It's unmistakable.
0:05:20 > 0:05:22Where did you get it from?
0:05:22 > 0:05:23It was about 30 years ago.
0:05:25 > 0:05:28I used to sort of be interested in little bits of pots
0:05:28 > 0:05:31and anything bric-a-brac, I used to collect them.
0:05:31 > 0:05:34- I think I got it from a flea market. - So, you would magpie round for...
0:05:34 > 0:05:36- Yeah.- Was it anything in particular?
0:05:36 > 0:05:39Was it Moorcroft that you were interested in?
0:05:39 > 0:05:42- No, I didn't even know it was Moorcroft.- Didn't you?- No idea.
0:05:42 > 0:05:45I only realised that a few months ago when I saw your programme.
0:05:45 > 0:05:49Watching "Flog It!" is almost a prescription to have the
0:05:49 > 0:05:51piece of Moorcroft on.
0:05:53 > 0:05:56Um, I mean, if we turn it over, we've just got the label there
0:05:56 > 0:06:00- and the signature will be underneath that.- Yeah.
0:06:00 > 0:06:02Uh, obviously, the label is rarer for having survived.
0:06:02 > 0:06:04I know, I nearly picked it off.
0:06:04 > 0:06:07- When?- Well, when I realised it was Moorcroft.
0:06:07 > 0:06:10- You thought, "Let's have a..." - "Oh, well, look for the signature."
0:06:10 > 0:06:14- I was going to pick off the label. - What stopped you? Did Roger stop you?
0:06:14 > 0:06:16Did Roger run in? "Don't take the label off!"
0:06:16 > 0:06:19No, I can't really stop her doing anything. She does what she wants.
0:06:19 > 0:06:21Something clicked in my brain.
0:06:21 > 0:06:24If anyone takes anything away today, don't take the labels off.
0:06:24 > 0:06:26There will be a little Moorcroft signature under there,
0:06:26 > 0:06:28but it'll just be his monogram, little initials.
0:06:28 > 0:06:30- Do you know how old it is?- No.
0:06:30 > 0:06:34Because Moorcroft, obviously, has been produced for a long time.
0:06:34 > 0:06:35This is...well, the giveaway is here,
0:06:35 > 0:06:38"Potters to the late Queen Mary."
0:06:38 > 0:06:44- And also the colour palette, so we're into sort of 1950s.- Right.
0:06:44 > 0:06:49So, it's freesia pattern, because it's got freesias on it,
0:06:49 > 0:06:50and it's on it rather jolly
0:06:50 > 0:06:54and I think these later Moorcroft pieces are lighter
0:06:54 > 0:06:56and they're a bit brighter and a bit more refreshing,
0:06:56 > 0:06:58and if you think of the '50s
0:06:58 > 0:07:00and of the energy that was sort of going on at that time,
0:07:00 > 0:07:04it sort of lifted it out of that rather dark, muddy 1930s palette.
0:07:06 > 0:07:10It's a shame, in the 30 years you've had it, it hasn't grown,
0:07:10 > 0:07:13- because it's a bit small. - It's quite small.
0:07:13 > 0:07:17I mean, what did you pay for it 30 years ago? Can you remember?
0:07:17 > 0:07:19About a fiver, I wouldn't have paid more than that.
0:07:19 > 0:07:21A fiver, well, you'll get a return on that.
0:07:21 > 0:07:24It's kept in rate with inflation.
0:07:24 > 0:07:28- £50 to £100 on it.- That's fine.
0:07:28 > 0:07:30- So, a sort of tenfold return on your fiver.- Yeah.
0:07:30 > 0:07:33And hopefully it's going to reach the top end of that, you know,
0:07:33 > 0:07:36and, if you're happy, we'll put a fixed reserve of £50 on it,
0:07:36 > 0:07:38pop it into the auction and see where it ends up,
0:07:38 > 0:07:42but Moorcroft collectors always battle these things out.
0:07:43 > 0:07:45Remember Michael's advice,
0:07:45 > 0:07:49don't take the label off if you have anything like that at home.
0:07:51 > 0:07:54And now for something that I feel is rather good.
0:07:55 > 0:07:58So, tell me about the history of this. How long have you had this?
0:07:58 > 0:08:00Well, I've always known it from being a child.
0:08:00 > 0:08:04It was at my grandparents' house and I had it as a dressing up box.
0:08:04 > 0:08:06It's a good size for a dressing up box, it really is.
0:08:06 > 0:08:08You can get all your clothes and things in there.
0:08:08 > 0:08:11- I think it had a gas mask in it at one point.- Did it!
0:08:11 > 0:08:16- This dates back to the latter part of the 18th century.- Really?- Yes.
0:08:16 > 0:08:20This was made to suit a particular object or maybe a map chest
0:08:20 > 0:08:23- or a deeds box.- Right.
0:08:23 > 0:08:24Something of large proportions,
0:08:24 > 0:08:27because, look at the volume you can get in there.
0:08:27 > 0:08:32- Mmm.- Yeah?- A lot of deeds! - A lot of deeds, yes, exactly.
0:08:32 > 0:08:34There's one or two things I want to point out about the front
0:08:34 > 0:08:38- if you go that side. - One thing does bother me.
0:08:38 > 0:08:40- Can you see here these chevrons? - Yeah.
0:08:40 > 0:08:43- They've been cut in at a later date. - Really?- Yes.
0:08:43 > 0:08:46And it's been stained to look like a bog oak,
0:08:46 > 0:08:49oak that's been left in mud for 200 or 300 years.
0:08:49 > 0:08:51The Victorians have later embellished this box,
0:08:51 > 0:08:54so it's going to be worth around about £80 to £120.
0:08:54 > 0:08:58I think I might have to persuade the children that they'd like to
0:08:58 > 0:08:59take it off my hands one day.
0:08:59 > 0:09:01Yeah, it's been polished up over the years.
0:09:01 > 0:09:04It's got a nice patina to it, a sort of nutty patina as opposed to...
0:09:04 > 0:09:08- look at the dry oak here, which has never been polished at all.- Yes.
0:09:08 > 0:09:10But here's so much of this to polish.
0:09:11 > 0:09:15- This room's 110ft long, you wouldn't want to polish it!- No!
0:09:15 > 0:09:18Well, that's going home, where it belongs.
0:09:20 > 0:09:22Back outside now to catch up with Adam.
0:09:23 > 0:09:26Very pleased to see you both on "Flog It!" today.
0:09:26 > 0:09:29You're both smiling beautifully, you look like a very happy couple.
0:09:29 > 0:09:32- Can you tell me...?- We are. - That's nice to hear.- We are.
0:09:32 > 0:09:33It's Reg and Karen, isn't it?
0:09:33 > 0:09:36- It is, yes.- Reg, and I'm admiring your moustache.- Oh, thank you.
0:09:36 > 0:09:39That's going to look really good in high definition!
0:09:39 > 0:09:42I've had it since I was about 17. I'm not going to part with it now.
0:09:44 > 0:09:46Sounds as though we're going to be selling it!
0:09:46 > 0:09:48- It's been in the family a long time. - It has.
0:09:48 > 0:09:50Well, let's draw a line under that
0:09:50 > 0:09:53and move on to the toys collection that you've got here.
0:09:53 > 0:09:55We've got a basket full, we've got
0:09:55 > 0:09:58eight or ten different ones in their original boxes.
0:09:58 > 0:10:02Can you just briefly tell me how you've come to own them
0:10:02 > 0:10:03and why you've decided to sell them?
0:10:03 > 0:10:07- Well, they were left to me by a male family member.- Right.
0:10:07 > 0:10:09And I put them into a wardrobe,
0:10:09 > 0:10:11and that's where they've been for 19 years.
0:10:11 > 0:10:15OK. And then you heard "Flog It!" were coming to town.
0:10:15 > 0:10:19Well, when I got married to Reg, he noticed them and he asked me about
0:10:19 > 0:10:22- them and I said, "I think I'm going to take them to a charity shop."- Ah!
0:10:22 > 0:10:24And he said, "No! You can sell these.
0:10:24 > 0:10:27I've seen these sold on "Flog It!"" I said, "There's nobody going to
0:10:27 > 0:10:30- want these." He says, "Oh, I think you might be wrong!"- Well done, Reg.
0:10:30 > 0:10:33Well done. Well spotted.
0:10:33 > 0:10:36What I've done is I've singled out some of the more interesting
0:10:36 > 0:10:37or valuable ones,
0:10:37 > 0:10:41and they all happen to be Foden trucks of one sort or the other.
0:10:41 > 0:10:45First of all, you've got the box. They're all boxed, of course.
0:10:45 > 0:10:47The flat truck with the tailboard.
0:10:47 > 0:10:50Another one with chains and this 14-ton tanker.
0:10:50 > 0:10:52I'm going to just show this one,
0:10:52 > 0:10:56because you can't appreciate them until they're out of the box.
0:10:56 > 0:11:00There you go. It's been played with a bit, but he's in pretty good order.
0:11:00 > 0:11:02- Right. - Also, there are different variations,
0:11:02 > 0:11:05sometimes with different colours of wheel hubs and different
0:11:05 > 0:11:09liveries, but it's pretty collectable bunch of toys here.
0:11:09 > 0:11:11Quite some time back, I took that one out
0:11:11 > 0:11:15and I was playing with it, or rather looking at it on the carpet.
0:11:15 > 0:11:18- They never grow up, do they, Karen? - No.- We never grow up.
0:11:18 > 0:11:20She was so amused, she laughed and said,
0:11:20 > 0:11:23- "You're just like a little boy!" - Was he making the noises as well?
0:11:23 > 0:11:24Yeah, he was, yes!
0:11:25 > 0:11:28- I've got two little boys like that. - Have you?
0:11:28 > 0:11:31But you use them as an excuse to become a little boy as well.
0:11:31 > 0:11:35- Regression can be quite fun, really, can't it?- It can, it can.
0:11:35 > 0:11:36Any idea on what they might be worth?
0:11:36 > 0:11:40- Presumably you don't because you were going to give them away.- Hmm.
0:11:40 > 0:11:43What about you, Reg? Are you going to have a stab at the value?
0:11:43 > 0:11:45Yes, well, there's a gentleman in the queue today
0:11:45 > 0:11:49and the very model you've got in your hand there,
0:11:49 > 0:11:51he said, "These really can be worth something."
0:11:51 > 0:11:55He says, "I'll give you £100 for that one now."
0:11:55 > 0:11:58So, I said, "No, thank you very much, but we'll just go along."
0:11:58 > 0:12:02But it reinforced your ideas that you knew there was some value in that.
0:12:02 > 0:12:04Some value attached to them, yes.
0:12:04 > 0:12:06Well, I think it was a pretty prudent offer.
0:12:06 > 0:12:10Um, I reckon these three are probably worth about £100 each.
0:12:10 > 0:12:15- Really?- And these are the sort of residual ones here.
0:12:15 > 0:12:17They're worth, individually...
0:12:17 > 0:12:20We've got a tank transporter, a couple of tanks,
0:12:20 > 0:12:23and, of course, this one, which is pretty cool.
0:12:23 > 0:12:24- It's a mobile space rocket.- It is.
0:12:24 > 0:12:28- What noise would you make for that, Ray? Reg, sorry.- Zoom and it's gone.
0:12:28 > 0:12:30- I didn't think that would be worth anything.- Well, it's not.
0:12:30 > 0:12:32I mean, what I would suggest...Crescent Toys,
0:12:32 > 0:12:34- a minor collection worth about £20. - Yeah, yeah.
0:12:34 > 0:12:37- You, what I'd suggest is we sell them as one lot.- All right.
0:12:37 > 0:12:41- And I would suggest an estimate of £300 to £500 for the collection.- Oh!
0:12:41 > 0:12:44- Really?- Yeah. And I think that's quite conservative, I think
0:12:44 > 0:12:46- that's one that should get people interested.- Oh, yes.
0:12:46 > 0:12:49- Does that sound all right? - It does sound all right.
0:12:49 > 0:12:52- That's a nice surprise. - Well, that's great to see.- It is.
0:12:52 > 0:12:54I think, even though you probably don't want them back,
0:12:54 > 0:12:57it would be sensible to put a reserve on so that people don't
0:12:57 > 0:13:01buy them too cheaply and, for that, I would suggest a figure of £300.
0:13:01 > 0:13:04And, with your permission, just give them 10% discretion leeway,
0:13:04 > 0:13:08just in case. It would be a shame if they got to 280, 290,
0:13:08 > 0:13:10- and he went, "No, can't sell 'em." - OK.
0:13:10 > 0:13:13And then I'm hoping they're going to make £500 or so.
0:13:13 > 0:13:15- Oh, right, thank you. - If that's the case,
0:13:15 > 0:13:18any plans on what you'd do with that proceeds of sale.
0:13:18 > 0:13:22Um, I'm going to treat Reg to something out of it.
0:13:22 > 0:13:24Well, certainly, he deserves something, doesn't he?
0:13:24 > 0:13:28And once you've spent that £20, what are you going to do with the rest of it?
0:13:30 > 0:13:32Who told you that? It was £20!
0:13:34 > 0:13:36Well, that was fun.
0:13:39 > 0:13:41Well, you've just seen three wonderful items,
0:13:41 > 0:13:43you've heard what our experts have had to say,
0:13:43 > 0:13:45you've probably got your own opinions,
0:13:45 > 0:13:48but, right now, let's find out what the bidders think as we go
0:13:48 > 0:13:50over to the auction room for the very first time today
0:13:50 > 0:13:54and here's a quick recap of what we're taking with us.
0:13:54 > 0:13:57The Edwardian silver vase is good quality,
0:13:57 > 0:13:59but will the bidders take a shine to it.
0:14:02 > 0:14:05With the little piece of Moorcroft, it's not, "Will it go?",
0:14:05 > 0:14:07But "How much will it go for?"
0:14:09 > 0:14:11And will the boys be out in force to drive up
0:14:11 > 0:14:13the price of the Dinky Toys?
0:14:13 > 0:14:16Stay with us and you'll find out in the auction room.
0:14:18 > 0:14:21From Haddon Hall, it's off to the quaint village of Rowsley
0:14:21 > 0:14:23and to Bamfords Auctioneers.
0:14:23 > 0:14:25The village sits between Bakewell and Matlock,
0:14:25 > 0:14:29so, hopefully, we'll pull in the bidders from both directions.
0:14:29 > 0:14:33- 420...- 'And don't forget there is commission to pay.
0:14:33 > 0:14:35'Here, it's 12.5% plus VAT.'
0:14:37 > 0:14:39Now, this is what I like to see, a saleroom packed full of bidders
0:14:39 > 0:14:41and fine art and antiques.
0:14:41 > 0:14:45The classic recipe for a perfect auction and I know our owners are
0:14:45 > 0:14:47feeling really nervous right now. They're over there.
0:14:47 > 0:14:50I'm going to catch up with them as we get on with our first lot.
0:14:50 > 0:14:54"Flog It!" expert and auctioneer James Lewis is on the rostrum
0:14:54 > 0:14:57today and we're starting off with a bit of nostalgia.
0:14:57 > 0:14:58Going under the hammer right now,
0:14:58 > 0:15:01a collection of Dinky Supertoys belonging to Karen and Reg.
0:15:01 > 0:15:03- They've been at the back of a wardrobe for 19 years.- Yes.
0:15:03 > 0:15:07So, hopefully, they're going to find a new home, going to a collector.
0:15:07 > 0:15:08- A grown-up boy.- Yes!
0:15:08 > 0:15:11And, you never know, you could have one or two surprises here.
0:15:11 > 0:15:14- Well, I hope so.- Anyway, we're going to put it to the test.
0:15:14 > 0:15:15They're going under the hammer now.
0:15:17 > 0:15:23I've got three bids, one of 270, one of 310, and one higher.
0:15:23 > 0:15:26320 starts it.
0:15:26 > 0:15:29- Fantastic.- At 320, 330 anywhere?
0:15:29 > 0:15:34At 320, 330 now. At 320, 330, 340.
0:15:35 > 0:15:37350, 360.
0:15:37 > 0:15:45At £360, absentee bid, at 360, any advance? At £360...all sure?
0:15:48 > 0:15:52That's a good price, £360. Well done, Adam. Happy with that?
0:15:52 > 0:15:54- Yes, I am, very.- Absolutely.
0:15:54 > 0:15:59They will have gone to a collector, as I suspect our next lot will.
0:15:59 > 0:16:02Janet and Roger, it's good to meet up with you again.
0:16:02 > 0:16:06Fingers crossed for your Moorcroft pot. I think we can get the top end.
0:16:06 > 0:16:10It's sweet, it's small, and it's there and the market's always there.
0:16:10 > 0:16:14Yeah, exactly. It's a great name and a good name will always sell.
0:16:14 > 0:16:17- Absolutely.- Yeah, we're going to find out what the bidders think.
0:16:17 > 0:16:20- So, I think it's time to say goodbye to this.- Yeah, it is.
0:16:20 > 0:16:25393 is the Moorcroft, the freesia patterned cylindrical vase
0:16:25 > 0:16:28- and I have one, two, three, four, five bids on it.- There you go.
0:16:28 > 0:16:33And I can start at £75. 75, 80 now.
0:16:33 > 0:16:37- At 75...- See, quality always sells. - 80.
0:16:37 > 0:16:395, 90...
0:16:39 > 0:16:43- (Unbelievable.) - At £85, 90 now. At 85, 90 do I see?
0:16:43 > 0:16:47At 85, 90 coming back for one more online?
0:16:47 > 0:16:51Coming back? No, at 85. At 85, two of you hovering now.
0:16:52 > 0:16:54- Come on, come on, come on, come on.- 90...
0:16:56 > 0:16:5890 bid. 95.
0:16:59 > 0:17:02- No, at 90. £90 has it. At £90... - You happy with that?
0:17:02 > 0:17:04- Brilliant.- That's really good. - Really happy, yes.
0:17:04 > 0:17:08At 90 and selling, anybody else? At £90, are we sure?
0:17:10 > 0:17:12- 90.- £90, the hammer's gone down.
0:17:12 > 0:17:14See, a good maker's name and quality.
0:17:14 > 0:17:17- It's a collectors' base.- Yeah.
0:17:18 > 0:17:21Good valuation there from Michael.
0:17:21 > 0:17:24And now for that elegant silver vase.
0:17:24 > 0:17:26Louise, it's great to see you. Fingers crossed we get
0:17:26 > 0:17:28top end of the estimate. Who's with you right now?
0:17:28 > 0:17:31- My daughter, Tori. - Tori, I'm pleased to meet you.
0:17:31 > 0:17:34- Mum's flogging the family silver! - I know!- Isn't she?!
0:17:34 > 0:17:38- This is your inheritance!- I know! - Or are you getting it early.- I am.
0:17:38 > 0:17:41Yes, she's getting the proceeds, if it's sold. I'm sure this will sell.
0:17:41 > 0:17:44- I'd like to think so! - A bit of Edwardian silver.
0:17:44 > 0:17:47Don't they call that skiing if you're spending kids' inheritance?
0:17:49 > 0:17:51- I've never heard that before!- No? - No, I haven't!
0:17:51 > 0:17:54No, no, I hear it a lot from my parents!
0:17:54 > 0:17:58- Right, here we go. This is it.- Have you got butterflies in your tummy?
0:18:00 > 0:18:04And I can start the bidding here at £100 and 10, do I see?
0:18:04 > 0:18:08At 100 straight in, 110 to the left and 20 now. At 110, 120 bid.
0:18:08 > 0:18:16130, 130, 140. Winking at 140, 150, 150, 160. 160, winking, 170.
0:18:18 > 0:18:25170, 180. At 170 to the left, 180 now. 180, at £170, 180, 180 online.
0:18:25 > 0:18:28- Well done, Adam.- There you are, it's not going to be melted.- Thank you.
0:18:28 > 0:18:30220, 240.
0:18:30 > 0:18:35At 220, standing to the left, at 220, 230 if you like, 230 bid,
0:18:35 > 0:18:38- 240...- Good estimate.
0:18:38 > 0:18:42At 240 to my left, at 240, anybody else in the room?
0:18:44 > 0:18:48At £240, you're out, internet's out at 240.
0:18:48 > 0:18:51- Louise, £240. Brilliant! - I'm absolutely delighted with that!
0:18:51 > 0:18:53Oh, that's fabulous, isn't it?
0:18:53 > 0:18:54We got a squeal and everything!
0:18:54 > 0:18:57What's really nice to know, and thanks to Adam,
0:18:57 > 0:18:59is that's actually sold as a work of art,
0:18:59 > 0:19:02rather than a lump of silver in weight going to melt.
0:19:02 > 0:19:04It's an object and it's a nice looking object.
0:19:04 > 0:19:06Even though you didn't like it, it's still a work of art to somebody.
0:19:06 > 0:19:08Well, thank you to Granny.
0:19:09 > 0:19:12That's right. Thank you, Granny.
0:19:12 > 0:19:13'Over the years on "Flog It!",
0:19:13 > 0:19:16'we've seen hundreds of items of military history'
0:19:16 > 0:19:19at our valuation days, including some fascinating medals
0:19:19 > 0:19:21which are coming up later on in the show.
0:19:24 > 0:19:28Inspired by the stories behind these objects, I took a trip to the
0:19:28 > 0:19:32Imperial War Museum in London to look at their collection of war art.
0:19:42 > 0:19:44Artists have always portrayed war,
0:19:44 > 0:19:48but I'm here today to explore how the relationship between artists
0:19:48 > 0:19:52and war has developed in Britain over the 20th century.
0:19:56 > 0:19:59Both the First and Second World War have completely revolutionised
0:19:59 > 0:20:04the way war has been captured on canvas and camera.
0:20:04 > 0:20:06At a time when you may have thought a discipline like art
0:20:06 > 0:20:10would have suffered, it, in fact, flourished.
0:20:10 > 0:20:12Before the First World War, paintings and drawings were
0:20:12 > 0:20:14usually artistic interpretations
0:20:14 > 0:20:19created by an artist who had not actually witnessed the fighting,
0:20:19 > 0:20:23but instead used their imagination to create a picture
0:20:23 > 0:20:25based on written accounts.
0:20:28 > 0:20:32But all this was about to change at the start of the First World War.
0:20:32 > 0:20:33The government took the unprecedented
0:20:33 > 0:20:38step of appointing official artists, photographers and cinematographers
0:20:38 > 0:20:42to document war in a way that would support morale back at home.
0:20:42 > 0:20:44During the First World War,
0:20:44 > 0:20:48the Imperial War Museum was given the job of collecting a wide range
0:20:48 > 0:20:53of material documenting the war, including commissioned works of art.
0:20:54 > 0:20:55There was a plan to house them
0:20:55 > 0:20:59separately in a specially built hall of remembrance.
0:20:59 > 0:21:02However, when the war ended, due to lack of funding,
0:21:02 > 0:21:04the hall was never built.
0:21:04 > 0:21:07Lucky enough for us, the collection of paintings was given to the
0:21:07 > 0:21:11Imperial War Museum and they're on display just through there.
0:21:14 > 0:21:19The gallery houses, among others, Gassed, a painting by John Singer Sargent
0:21:19 > 0:21:22completed following his visit to the Western Front.
0:21:24 > 0:21:28Sargent, one of the leading society portrait painters of his day,
0:21:28 > 0:21:31was commissioned to create this centrepiece.
0:21:33 > 0:21:36It's 20ft long and graphic in detail.
0:21:36 > 0:21:40Gassed is based on a chaotic scene at a dressing station which
0:21:40 > 0:21:44took in casualties suffering from a mustard gas attack
0:21:44 > 0:21:47on the Western Front in August 1918.
0:21:49 > 0:21:52The 11 central soldiers are almost life-size
0:21:52 > 0:21:54and you can see their eyes are bandaged up
0:21:54 > 0:21:56with the effects of blindness.
0:21:56 > 0:21:59Sargent's original brief was to paint a scene with
0:21:59 > 0:22:03Anglo-American soldiers both at the same situation,
0:22:03 > 0:22:06but, while he was out there, he struggled to find this.
0:22:08 > 0:22:11He was determined to paint a picture of epic proportions
0:22:11 > 0:22:13with many characters in it.
0:22:13 > 0:22:18The result is this, a scene showing catastrophic human suffering.
0:22:18 > 0:22:20This went on to become one of the most iconic images
0:22:20 > 0:22:23of the First World War.
0:22:23 > 0:22:26Sargent was just one of many war artists, photographers,
0:22:26 > 0:22:31film-makers, writers and cartoonists who were deployed making war art
0:22:31 > 0:22:34or propaganda on the Western Front.
0:22:34 > 0:22:37All of them working under the watchful eye
0:22:37 > 0:22:39of military intelligence and field censors.
0:22:41 > 0:22:44However, as well as capturing some of the victorious scenes
0:22:44 > 0:22:47that the government were keen on publicising, the artists
0:22:47 > 0:22:50explored other aspects of the conflict.
0:22:50 > 0:22:53From the violence of industrial warfare to
0:22:53 > 0:22:56the hastened social and industrial change,
0:22:56 > 0:23:00and the desolate destruction caused by the theatres of war.
0:23:14 > 0:23:17This is The Menin Road by Paul Nash,
0:23:17 > 0:23:19based at the Flanders Fields,
0:23:19 > 0:23:23and it shows two soldiers struggling through a devastated battlefield.
0:23:23 > 0:23:26There are rain-filled shell holes and flooded trenches,
0:23:26 > 0:23:29as you can see, as these two characters follow this road,
0:23:29 > 0:23:33which has been clearly decimated beyond recognition.
0:23:34 > 0:23:39In fact, look closely and Nash has rearranged the whole landscape.
0:23:39 > 0:23:42The bursts of sunlight have become gun barrels,
0:23:42 > 0:23:46and the shattered trees are more like steel structures
0:23:46 > 0:23:48lit by an apocalyptic sky.
0:23:50 > 0:23:52The Ministry of Information processed
0:23:52 > 0:23:55a quarter of a million photos and thousands of films
0:23:55 > 0:23:58and paintings during the war years, but,
0:23:58 > 0:24:03despite all its achievements, when the war was over, it was closed.
0:24:03 > 0:24:06Its role was seen as redundant during peacetime.
0:24:07 > 0:24:10With the start of the Second World War, it was back in action...
0:24:12 > 0:24:15its job, to raise morale and to promote Britain's image abroad.
0:24:18 > 0:24:20As the Second World War progressed,
0:24:20 > 0:24:24the Ministry of Information became known as the All Talents Ministry.
0:24:25 > 0:24:28The world had moved on and film and photography
0:24:28 > 0:24:30had moved to the foreground.
0:24:32 > 0:24:36Hilary Roberts, head curator here, has been charting how the
0:24:36 > 0:24:41creative use of photography flourished during war years.
0:24:41 > 0:24:44Would you say that the war acted as a catalyst for artistic development?
0:24:44 > 0:24:45Absolutely.
0:24:45 > 0:24:49Artist like Bill Brandt, who were relatively unknown when the war
0:24:49 > 0:24:51broke out, built their careers on
0:24:51 > 0:24:54commissions from the Ministry of Information.
0:24:54 > 0:24:57Bill was commissioned to photograph the London Underground
0:24:57 > 0:25:01during the Blitz and took many iconic images of Londoners sheltering
0:25:01 > 0:25:05on the platforms, but Cecil Beaton's work was particularly special.
0:25:05 > 0:25:07He was a recognised photographer though.
0:25:07 > 0:25:11He was already, unlike Bill Brant, he was a recognised photographer.
0:25:11 > 0:25:14He was one of the hardest working photographers of the war.
0:25:14 > 0:25:17He was certainly the only one that was able to get his name
0:25:17 > 0:25:20credited whenever the photographs were published
0:25:20 > 0:25:24and he brought to it his own techniques, his background,
0:25:24 > 0:25:27his skills and knowledge as a portrait photographer
0:25:27 > 0:25:31and lover of theatre, fashion and design.
0:25:31 > 0:25:35So, the photography that he produced was instantly recognisable.
0:25:35 > 0:25:37He certainly took, I think,
0:25:37 > 0:25:40probably one of the six best known
0:25:40 > 0:25:44photographs of the Second World War, which is of a little girl with
0:25:44 > 0:25:48her head bandaged who has been injured in an air raid in 1940.
0:25:48 > 0:25:51He captured war, I guess, more vividly
0:25:51 > 0:25:53and graphically than a lot of other war artists.
0:25:53 > 0:25:56Did that inspire the next generation?
0:25:56 > 0:25:57It absolutely did, yes.
0:25:57 > 0:26:00Don McCullin grew up with photographs that he
0:26:00 > 0:26:05saw in Picture Post, Illustrated Magazine and so on and so forth.
0:26:05 > 0:26:08He was a child during the Second World War and,
0:26:08 > 0:26:13when he became a photographer, the Ministry of Information photographs
0:26:13 > 0:26:17that he had seen were his starting point and he went on from there.
0:26:17 > 0:26:20- Now, he, of course, inspires a generation again.- Sure.
0:26:23 > 0:26:26It's thanks to the powerful images created by the bravery
0:26:26 > 0:26:28and integrity of the war artists,
0:26:28 > 0:26:32which were way beyond propaganda, that our understanding of war,
0:26:32 > 0:26:35the suffering, and the triumph is so vivid.
0:26:41 > 0:26:44We've got 40 members of the "Flog It!" team, eight cameras, and
0:26:44 > 0:26:49an army of behind-the-scene experts working hard at Haddon Hall today.
0:26:50 > 0:26:54And here is Michael with some more military history.
0:26:55 > 0:26:57George, Joyce, I think before we get started,
0:26:57 > 0:27:01what an absolutely splendid tie you are wearing, that's...wonderful.
0:27:01 > 0:27:05- Are you a big Laurel and Hardy fan? - Yes, I am.- They are fantastic.
0:27:05 > 0:27:08I used to watch them as a boy when they were on the television early.
0:27:08 > 0:27:11They don't show them any more, it's a great shame.
0:27:11 > 0:27:14Are these something you've collected or are these family medals?
0:27:14 > 0:27:19Uh, they're not in the family, I inherited them from a friend.
0:27:19 > 0:27:21Oh, so your friend didn't have anyone else to pass them
0:27:21 > 0:27:23- onto in his family. - No, no, no family, no.
0:27:23 > 0:27:25And he's given them to you,
0:27:25 > 0:27:28because often we'll see a group of medals on "Flog It!" and people
0:27:28 > 0:27:31will think, you know, "Why don't they keep them in the family?
0:27:31 > 0:27:33"Why don't they go on through the line?"
0:27:33 > 0:27:37But, of course, they've got no real associations to you, have they?
0:27:37 > 0:27:40- I mean, they're no interest to my family now.- They're somebody else's.
0:27:40 > 0:27:42- Yeah, yeah. - Have you done any research on them?
0:27:42 > 0:27:45- No, not really, no. - Well, we're lucky because,
0:27:45 > 0:27:49what we've got is we've got two groups of medals,
0:27:49 > 0:27:52some from the First War, some from the Second War,
0:27:52 > 0:27:55and they've all been mounted together and worn, which,
0:27:55 > 0:27:58I think...Second World War medals aren't named, which is
0:27:58 > 0:28:01the frustration to a lot of collectors
0:28:01 > 0:28:03because collectors love to do research.
0:28:03 > 0:28:07Now, we've got the standard three First World War medals,
0:28:07 > 0:28:10but we've also got the military medal, which is for an act
0:28:10 > 0:28:15of bravery, and we've got it named on the bottom for a Private H Brown.
0:28:15 > 0:28:16Yeah.
0:28:16 > 0:28:19And he was in the 16th Machine Gun Corps,
0:28:19 > 0:28:26and he was awarded this in around November 1916. Um, then we move on.
0:28:26 > 0:28:30We've got the standard Second War medals here, the stars,
0:28:30 > 0:28:32but, at the end, very interestingly, we've got
0:28:32 > 0:28:37- this territorial medal, which is for efficient service.- Yeah.
0:28:37 > 0:28:42And it's also got twin bars which suggests a long-serving member...
0:28:42 > 0:28:48- Yeah.- ..in the territorial army, and we've got a different name on this.
0:28:48 > 0:28:53- But this person also, MM, won a military medal.- Yeah.
0:28:53 > 0:28:56And it's H Percival. Now...
0:28:56 > 0:29:00..it's peculiar that you've got the military medal here,
0:29:00 > 0:29:03these are all together, and then you've got this medal...
0:29:03 > 0:29:07and he's won a military medal, even though it's a different name,
0:29:07 > 0:29:09- but the initial is the same.- Yeah.
0:29:09 > 0:29:13They may be associated, or it might be the case, rather
0:29:13 > 0:29:17intriguingly, we'll never know, whether Mr Brown, for some reason...
0:29:17 > 0:29:20changed his name to Percival.
0:29:20 > 0:29:24So, it's something for a collector to get their teeth in there.
0:29:24 > 0:29:27I mean, have you got any idea as to value for them?
0:29:27 > 0:29:30- No, no, no...- Not really, not really thought about it.
0:29:30 > 0:29:32So, a crisp £50 note, if I could...
0:29:35 > 0:29:38..no, I can't! I mustn't, mustn't!
0:29:38 > 0:29:40Um, I mean, Joyce,
0:29:40 > 0:29:44- are they something that you've admired or liked or...? No?- No, no.
0:29:44 > 0:29:47No, she said if I'd have gone, she'd have thrown them in the bin!
0:29:47 > 0:29:49So, if you weren't selling them,
0:29:49 > 0:29:52you dropped off, they were going in the bin!
0:29:52 > 0:29:54I've got to clear the garage out.
0:29:54 > 0:29:59Let's put £300 to £500 on them.
0:29:59 > 0:30:03- And let's put a fixed reserve of £300 on them.- No!
0:30:03 > 0:30:06And let's see where they go.
0:30:06 > 0:30:10I mean, hopefully, we'll be touching the middle of that estimate
0:30:10 > 0:30:12and make the top end of it.
0:30:12 > 0:30:15Thanks for bringing them in and thanks really because today
0:30:15 > 0:30:21we've saved them, maybe ultimately, from being discarded by Joyce!
0:30:21 > 0:30:23There's a story behind those.
0:30:24 > 0:30:26And now over to Adam with an interesting
0:30:26 > 0:30:28piece of pewter in the courtyard.
0:30:30 > 0:30:33Haddon Hall is known for its beautiful gardens and,
0:30:33 > 0:30:36until recently I believe, this was in your garden, was it, Julianne?
0:30:36 > 0:30:38It certainly was, yes.
0:30:38 > 0:30:41Now, why on earth is an intelligent lady like you keeping
0:30:41 > 0:30:44a piece of art in the garden?
0:30:44 > 0:30:47Well, it was a very beautiful garden!
0:30:47 > 0:30:48Did it have a function in the garden,
0:30:48 > 0:30:50or was it just sitting out there?
0:30:50 > 0:30:54- It was sitting out there.- Yeah? Gathering water and leaves and...
0:30:54 > 0:30:57- No, I put a plant in it.- Oh, did you? - I actually put a plant in it, yeah.
0:30:57 > 0:31:00What made you think of bringing it into "Flog It!"?
0:31:00 > 0:31:01- I don't like it.- You don't!
0:31:01 > 0:31:04- It's as simple as that! I don't like it.- OK.
0:31:04 > 0:31:06Did you think it was valuable? Did someone tell you it was valuable?
0:31:06 > 0:31:09- Erm, I knew it was worth a bit... - Right.- ..but...
0:31:09 > 0:31:11How long have you had it?
0:31:12 > 0:31:13Too long.
0:31:13 > 0:31:16- Eh...about 30 years I've had it.- Yes.
0:31:16 > 0:31:20So, we've got an Art Nouveau Arts and Crafts Period
0:31:20 > 0:31:24pewter jardiniere marked Tudric on the body.
0:31:24 > 0:31:27- Heard of Tudric?- I have now, yes.
0:31:27 > 0:31:30Tudric was a range designed mainly by a famous designer,
0:31:30 > 0:31:33Archibald Knox, and retailed at Liberty's,
0:31:33 > 0:31:35the famous store Liberty's.
0:31:35 > 0:31:39And they're quite distinctive with these stylised designs going
0:31:39 > 0:31:42round and quite a funky, angular shape.
0:31:42 > 0:31:46Early 20th century and it should be fully marked on the bottom,
0:31:46 > 0:31:48"Tudric", with a number.
0:31:48 > 0:31:53And indeed it is, there we have the little word Tudric there,
0:31:53 > 0:31:57it's quite hard to read, and it's got a number on it, "0-2-2-9",
0:31:57 > 0:31:58which will be the shape number
0:31:58 > 0:32:01and you'll be able to look that up in the design books and it'll
0:32:01 > 0:32:04say "0-2-2-9" and it'll have a name for this twin-handled bowl.
0:32:04 > 0:32:09It's a really, really nice piece of early 20th century decorative arts.
0:32:09 > 0:32:12Arts and Crafts, Arts Nouveau style to it.
0:32:12 > 0:32:14I feel almost guilty now!
0:32:16 > 0:32:19So, you clearly know it's of some value. What do you think?
0:32:19 > 0:32:21Let's talk price.
0:32:21 > 0:32:23SHE CLEARS THROAT Yes, go on, then.
0:32:23 > 0:32:24What do you think it's going to make?
0:32:24 > 0:32:26How much do you want for it? As much as possible?
0:32:26 > 0:32:29- As much as possible, yes.- What do you think it's going to make?
0:32:29 > 0:32:33- Well, I should like 200 to 300. - Ooh, punchy!
0:32:33 > 0:32:37200 to 300 would be what you put on one in better condition
0:32:37 > 0:32:39and I'd like to bring it down just a little bit.
0:32:39 > 0:32:43I'd suggest 150 to 250 as the estimate.
0:32:43 > 0:32:44At a push.
0:32:45 > 0:32:47- Silence!- Silence.
0:32:47 > 0:32:50And what about a reserve? £150 reserve?
0:32:50 > 0:32:52- Yes, that'd be good, yeah. - Fix it or discretion it?
0:32:52 > 0:32:53A bit of discretion.
0:32:53 > 0:32:57A bit of discretion, yeah, I think that's a good idea. 150, discretion.
0:32:57 > 0:33:00- Yes.- But I think it'll do a bit better, don't you?- I hope so, yes.
0:33:00 > 0:33:02Especially with you and me staring at him...
0:33:02 > 0:33:05- Certainly, yes, yes.- All right.
0:33:05 > 0:33:07I think that should be achievable.
0:33:09 > 0:33:12Now, Michael is in his element with this next item.
0:33:14 > 0:33:16Diane, Ronaldo, thank you so much
0:33:16 > 0:33:19for bringing in this wonderful set of knives,
0:33:19 > 0:33:23but, I mean, the first question is, where have all the forks gone?
0:33:23 > 0:33:25Why have we only got one fork?
0:33:25 > 0:33:28Where do they come from? Was it through the family or...?
0:33:28 > 0:33:31No, no. I bought them at Newark Antique Fair.
0:33:31 > 0:33:34- Oh, the large antiques fair? - Yes, many, many years ago.
0:33:34 > 0:33:38It's an unusual combination. Are there more forks at home, or...?
0:33:38 > 0:33:43- No, that's it.- So, that was how it came to you.- Yes.
0:33:43 > 0:33:47This is very long and we would use it as a carving fork today,
0:33:47 > 0:33:49but in the 18th century, there was
0:33:49 > 0:33:52a fashion sometimes for absolutely massive...
0:33:53 > 0:33:55two-pronged wrought times.
0:33:55 > 0:33:58Any idea of who made them or where they were made?
0:33:58 > 0:34:04- No, no.- I have to pop into my pocket for the device and,
0:34:04 > 0:34:05if we pick one of these...
0:34:06 > 0:34:11Right. Sometimes they're stamped in a machine
0:34:11 > 0:34:14and that was how they made them in Sheffield, and they would be quite
0:34:14 > 0:34:18thin, and you would fill them with pitch and they would wear over time.
0:34:18 > 0:34:21These have been cast,
0:34:21 > 0:34:22which is a little bit better.
0:34:22 > 0:34:24They're top quality actually
0:34:24 > 0:34:28and you can see the seam very faintly running down where
0:34:28 > 0:34:32they've been joined together and these are by Moses Brent,
0:34:32 > 0:34:35who was working in London at the end of the 18th century
0:34:35 > 0:34:41- and he was a specialist haft maker, specialised in handles.- OK.- Ah!
0:34:41 > 0:34:45And you'll see a lot of his handles on Georgian services and silver.
0:34:45 > 0:34:49- Sometimes the blades are silver and have nothing to do with him.- Yeah.
0:34:49 > 0:34:55- He just provides the handles.- What are they? They're not plated silver?
0:34:55 > 0:34:58- They're not plated, they're wrought steel.- Oh, they're wrought steel.
0:34:58 > 0:35:01But nicely finished and polished steel, which is
0:35:01 > 0:35:03how they would have looked originally.
0:35:03 > 0:35:06Also, they're very nicely crested and I think anything like this
0:35:06 > 0:35:10- is helped with its original family crest on it.- Hmm.
0:35:10 > 0:35:13In terms, of date, they've just got a standard mark
0:35:13 > 0:35:18- and a duty mark, which means they postdate 1786.- Ah.
0:35:18 > 0:35:24- And they probably date 1786 up to 1790.- OK.
0:35:24 > 0:35:28Right, thorny question of price. Dare I ask what you paid for them?
0:35:28 > 0:35:31I don't remember. I wrote it in a little book and I don't remember.
0:35:31 > 0:35:34Well, that's a good start. I can say anything then.
0:35:34 > 0:35:38I think...I think because it's an odd set, that will
0:35:38 > 0:35:39hold it back a little.
0:35:39 > 0:35:42Seven and one is a bit of a difficult sell,
0:35:42 > 0:35:45so let's say 150 to 250.
0:35:45 > 0:35:48- Yes.- OK.- And put a fixed reserve of 150.- Yes, yes.
0:35:48 > 0:35:51They may or may not go at that, but it's touch and go,
0:35:51 > 0:35:53- but it's worth giving them a try.- Yes.
0:35:53 > 0:35:55So, thank you for bringing along
0:35:55 > 0:35:58- a lovely set of Georgian knives. - Thank you, Michael.
0:35:58 > 0:36:02Well, let's hope the person with the forks is in the saleroom on the day.
0:36:06 > 0:36:09Michael Baggott there with a collection of Georgian knives.
0:36:09 > 0:36:11Trust Michael to find the silver.
0:36:11 > 0:36:13That's it, we've found our last items.
0:36:13 > 0:36:15We're about to head off down the auction room to put those
0:36:15 > 0:36:18valuations to the test, so it's time to say goodbye to
0:36:18 > 0:36:21our wonderful host location, Haddon Hall,
0:36:21 > 0:36:23and here's a quick recap of what we're putting under the hammer.
0:36:25 > 0:36:29Now, will the collection of medals make the top price in the saleroom?
0:36:31 > 0:36:35Or will it be the stylish Arts and Crafts pewter jardiniere
0:36:35 > 0:36:36that attracts all the attention?
0:36:38 > 0:36:40Or it could be the knives that achieve the sharpest sale,
0:36:40 > 0:36:43snapped up to complete someone's set of cutlery.
0:36:44 > 0:36:47Stay with us and you'll find out soon.
0:36:47 > 0:36:50And don't forget, sellers pay commission on
0:36:50 > 0:36:52anything that finds a new home.
0:36:52 > 0:36:56Here, that's 12.5% of the hammer price plus VAT.
0:36:58 > 0:37:00First up, it's the cutlery.
0:37:00 > 0:37:02Going under the hammer right now, we've got
0:37:02 > 0:37:04a set of seven George IV silver knives,
0:37:04 > 0:37:07a combination of steel as well, belonging to Ronaldo and Diane.
0:37:07 > 0:37:09Ronaldo's with me right now. Where is your wife?
0:37:09 > 0:37:11Oh, she's not very well, unfortunately.
0:37:11 > 0:37:14Oh, dear, we'll wish her our best and, hopefully, you can
0:37:14 > 0:37:16- go home with some good news for her. - I hope so.
0:37:16 > 0:37:18When you pick them up, they feel good, don't they?
0:37:18 > 0:37:21Yeah, we've been using them very well for a long time, you know,
0:37:21 > 0:37:23and now...it's the end.
0:37:23 > 0:37:25You're going to miss those!
0:37:25 > 0:37:27- Oh, aye! - Look, good luck.- Thank you.
0:37:27 > 0:37:31Anything can happen in an auction and we're going to find out now.
0:37:31 > 0:37:33Lot number 34,
0:37:33 > 0:37:36a set of seven George IV silver-hafted knives
0:37:36 > 0:37:41and the similar fork as well, and I can start the bidding at £120.
0:37:41 > 0:37:45120, 130 now. At 120, 130 anywhere?
0:37:45 > 0:37:48At 120, single bid on it.
0:37:48 > 0:37:52120, 130 now. 130, 130 bid. 140...
0:37:52 > 0:37:55Are we going to do it? Do you know that, Ronaldo? We would just do it.
0:37:55 > 0:37:57Come on, come on, come on...
0:37:57 > 0:38:00- 150, one bid, 160... - There you go.- Online bidders.
0:38:00 > 0:38:01150, 160.
0:38:01 > 0:38:03160, 170.
0:38:04 > 0:38:08- 170, 180.- Someone's weighed the handles. This is what's happened.
0:38:08 > 0:38:12180 is against you. Are you sure?
0:38:12 > 0:38:15170, it's here at 170,
0:38:15 > 0:38:17any advance at £170?
0:38:17 > 0:38:20At 170, 180 anywhere?
0:38:20 > 0:38:22170, are you sure?
0:38:22 > 0:38:26Yes, the hammer's gone done. £170. Great result, Ronaldo.
0:38:26 > 0:38:28- I am pleased, yes. - Who's got the forks?!
0:38:28 > 0:38:31Exactly, somebody might have the forks out there. It might be you.
0:38:31 > 0:38:32You just don't know, do you?
0:38:32 > 0:38:36- Well done, anyway.- Thank you very much, a pleasure.
0:38:36 > 0:38:39What a bargain price for such beautiful Georgian craftsmanship.
0:38:41 > 0:38:44And now for what I consider to be a pleasing piece of pewter.
0:38:45 > 0:38:48Well, it's all in the name, Archibald Knox,
0:38:48 > 0:38:52- to get this one away and it belongs to Julianne.- Hello, yes.
0:38:52 > 0:38:55We had a chat about this and, it is a little bit damaged,
0:38:55 > 0:38:57but we think it's still going to sell.
0:38:57 > 0:39:00Good, well, we bore that in mind when we were estimating.
0:39:00 > 0:39:02Julianne obviously wanted more than I told her,
0:39:02 > 0:39:05because she's a farmer and they want the most for everything, of course.
0:39:05 > 0:39:08We always want a little more than...
0:39:08 > 0:39:11Well, I tried to inject some reality into a conservative guide to
0:39:11 > 0:39:13- get it away.- OK.- Do you think we'll get it?- You bribed me.
0:39:13 > 0:39:15Yes, I think you'll get it, I think it's spot on.
0:39:15 > 0:39:18You'll probably get what Julianne wanted in the first place,
0:39:18 > 0:39:21- which was about 250, 300, wasn't it?- Yes, something like that, yeah.
0:39:21 > 0:39:24- Well, you came to the right expert, that's for sure.- Good, good.
0:39:24 > 0:39:26So, why are you raising the money?
0:39:26 > 0:39:29Uh, I want to buy some wood to make a log cabin.
0:39:31 > 0:39:35- I can see you sitting there now. - Oh, yes, hopefully.
0:39:35 > 0:39:36- Well, look, good luck.- Thank you.
0:39:36 > 0:39:39There's always a market for this. Archibald Knox sells well.
0:39:39 > 0:39:41It's going under the hammer now.
0:39:41 > 0:39:47494 is the Liberty pewter two-handled hemispherical bowl
0:39:47 > 0:39:51designed by Archibald Knox and I can start the bidding here at £150,
0:39:51 > 0:39:55straight in at 150, 160 now.
0:39:55 > 0:39:58- 'You're giving one of your stares, Julianne.'- Oh, yeah?
0:39:58 > 0:40:02160, 170, 170, 180.
0:40:02 > 0:40:04The internet, the internet's in now.
0:40:04 > 0:40:07- 190, 190, 200.- That's it.
0:40:07 > 0:40:10- Oh!- 200 do I see? At 190...
0:40:10 > 0:40:13Two of them hovering now at 190.
0:40:13 > 0:40:15200, 200 you're back.
0:40:15 > 0:40:17- There you go.- 200 online.
0:40:17 > 0:40:21At 200, 210 now. 210, online at 210.
0:40:21 > 0:40:24- 220, 230...- So, they're logging on online for your log cabin, eh?
0:40:24 > 0:40:28- That's right.- 220, 230 now, 230.
0:40:28 > 0:40:31240 now. 250. At 240...
0:40:31 > 0:40:34Well done, James. He's worked that up to the top.
0:40:34 > 0:40:38240, two of you hovering. At £240, 250 do I see?
0:40:40 > 0:40:43At 240 you're out and selling.
0:40:44 > 0:40:48- Yes, £240.- Oh, lovely!- There's a load of logs there.- There is, yeah.
0:40:48 > 0:40:50- Especially if they're split. - Yes, yeah.
0:40:50 > 0:40:52A log cabin! What fun.
0:40:54 > 0:40:57And now for those splendid medals.
0:40:57 > 0:40:59George and Joyce, it's great to see you.
0:40:59 > 0:41:03- We've got a group of medals, World War I and World War II.- Yes.
0:41:03 > 0:41:07Just about to go under the hammer. Remind me why you're selling them.
0:41:07 > 0:41:10We're selling them to donate money for the British Legion.
0:41:10 > 0:41:14OK, to the British Legion. Great charity, OK. Ready for this?
0:41:14 > 0:41:16Here we go, let's put it to the test.
0:41:16 > 0:41:21Lot 488, we've just got another additional...
0:41:22 > 0:41:26commission bid. A combination of First and Second World War.
0:41:26 > 0:41:29Private H Brown of the Notts & Derby Regiment,
0:41:29 > 0:41:34and let's start at £320.
0:41:34 > 0:41:37Straight in. Let's hope for a battle now.
0:41:37 > 0:41:41350 on the phone, 380, 400.
0:41:41 > 0:41:47420, 450, 480, 500.
0:41:47 > 0:41:52520, 550, 580, 600.
0:41:53 > 0:41:59At £580 with me, at 580, internet are you coming in?
0:42:01 > 0:42:02600.
0:42:02 > 0:42:04620, 650.
0:42:06 > 0:42:08650 on the internet, 680.
0:42:08 > 0:42:09700.
0:42:09 > 0:42:13- £700, George.- Marvellous. - This is fantastic.
0:42:13 > 0:42:15- 'There's two people buying history... - Yes.'
0:42:15 > 0:42:16..and not medals.
0:42:16 > 0:42:20750 bid. 800 with me.
0:42:20 > 0:42:21850.
0:42:21 > 0:42:23I think they're out.
0:42:23 > 0:42:27At 800, are you sure? Internet's out. Phones?
0:42:27 > 0:42:32Phones out. At £800, last chance in the room. At £800, 850 do I see?
0:42:32 > 0:42:36- £800.- At £800...
0:42:36 > 0:42:37Yes! That's so exciting.
0:42:37 > 0:42:40£800 and it's all going to the British Legion.
0:42:40 > 0:42:42George, thank you so much. What a surprise!
0:42:42 > 0:42:45- It was, weren't it? - Yes, I was very surprised.
0:42:45 > 0:42:47Do you know, it is hard to put a price on history. You cannot
0:42:47 > 0:42:49really, really put a price on that, can you?
0:42:49 > 0:42:52There are people that research particular regiments.
0:42:52 > 0:42:54This guy had a very interesting story.
0:42:54 > 0:42:56- There's still more work to be done on it.- Yeah.
0:42:56 > 0:42:59So, we pitch them in to attract them.
0:42:59 > 0:43:02- But 800 for the charity is just a fantastic result, isn't it?- Yes.
0:43:04 > 0:43:07And to think they could have ended up in the bin!
0:43:09 > 0:43:10Well, there you are.
0:43:10 > 0:43:13You can never predict what's going to happen in an auction room.
0:43:13 > 0:43:15That's why they're so exciting.
0:43:15 > 0:43:17And all credit to our experts,
0:43:17 > 0:43:21because it's not an exact science, putting a value on an antique.
0:43:21 > 0:43:24Sadly, we've run out of time, so from all of us here
0:43:24 > 0:43:27in the Peak District, it's cheerio until the next time.