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Our venue today has been the inspiration of authors,
poets, songwriters and musicians for over five centuries.
It's a glorious example of a medieval manor house
set in the rolling hills of the Peak District.
Haddon Hall has even inspired its own romantic legend
and now it's inspired "Flog It!" to return to Derbyshire.
THEME MUSIC PLAYS
Haddon Hall has been home to the Manners family since Tudor times
when Dorothy Vernon eloped with John Manners,
creating Haddon's own Romeo and Juliet story.
It is such a marvellous location that Jane Eyre has been
filmed here, not once, not twice,
but three times...and counting.
Hopefully, this beautiful period setting
will inspire our experts to find some antiques of their own to
take off to auction. It's certainly fired up the imagination of
this lot, because it looks like all of Derbyshire has turned up.
Joining us today is expert Adam Partridge who seems to be
finding out the secret of a happy marriage.
-When the wife says jump, I just say, "How high?"
-Are you still jumping?
Well, I've stopped now, she let me stand a bit.
And Michael Baggott who knows the true worth of things.
Any gold bars or diamond jewellery?
-Just some pottery and stuff.
-You're more precious than that, aren't you? You're more precious.
There's history in every room of this hall
and we're using all of them for our valuation day.
There are "Flog It!" visitors in the banqueting hall,
the Long Gallery, and all the rooms in-between.
In today's show, we have three unloved items brought in by their owners.
One will go for double its estimate.
Will it be this decorative vase?
I never particularly liked it.
Or these impressive medals?
-I mean, they're no interest in my family now.
-They're somebody else's.
Or this detested piece of pewter?
How long have you had it?
Stay with us to find out later on.
Adam is first up and he's decided to make the most of the wonderful
gardens here at Haddon.
-Good morning, Louise.
-Good morning, Adam.
-Welcome to "Flog It!"
Please tell me about yourself
and how you came to own this rather nice silver vase.
Well, I found it in a box that I inherited along with
all sorts of things.
I never particularly liked it, but it...and
I didn't even know it was silver until last night. I thought it was...
-Did it get a clean last night?
-I thought it...
-You can tell by the white bits in all the hollows.
-It's come up quite nicely, hasn't it?
-It's not so bad.
And I believe you used to work in this wonderful building?
-I did for 16 years.
-16 years. In what capacity have you worked here?
-Have you? Give us some...
-From cleaning loos to working in Lord Edward's office.
-I finished off there.
-From the bottom...
-To the top!
Brilliant. Well, back to your vase. I presume you want to sell it.
-Thank goodness for that. It's Edwardian, 1907, makes it, uh...
..just over 100 years old, 105 or so.
By the Sheffield firm of Atkins Brothers.
See the "HA", Harry Atkins, they were a large Sheffield manufacturer.
They produced lots and lots of things like this.
So, it's not a rare maker, but it's a nice example.
It's a pleasing quality, it's not flimsy at all.
Some of these will bend as soon as you look at them.
So, why have you decided to sell it?
I don't need it any more.
It's in a cupboard more than it's got some flowers in it.
-Oh, right, so it's not in daily use.
-Not at all, no.
-It's not leaving a gap on the mantelpiece.
-It certainly isn't, no.
Any idea on value?
-Not a clue.
-Not a clue, except it's silver...
-Have a guess.
No, I think it'll probably make 200.
That was a good reaction, I don't get that very often!
-That was genuine.
-Yeah, I know. £200 is what it'll make, about that.
I think we should probably put a reserve slightly below,
say about 180 reserve.
-Below 180, I wouldn't sell it, if it was mine
and my advice to you is don't take less than 180 for it,
and we'll put an estimate of maybe 200 to 250.
-A nice, punchy, bullish estimate.
-Gosh, that is quite incredible.
-Yeah, thank you.
It's always satisfying to give people a nice surprise.
Back inside now to the lovely Long Gallery
to see what Michael has found.
..thank you for you bringing in this lovely little vase,
even though it is, um...
as I believe many people are screaming at the television,
I can almost hear them, "Moorcroft!" It's unmistakable.
Where did you get it from?
It was about 30 years ago.
I used to sort of be interested in little bits of pots
and anything bric-a-brac, I used to collect them.
-I think I got it from a flea market.
-So, you would magpie round for...
-Was it anything in particular?
Was it Moorcroft that you were interested in?
-No, I didn't even know it was Moorcroft.
I only realised that a few months ago when I saw your programme.
Watching "Flog It!" is almost a prescription to have the
piece of Moorcroft on.
Um, I mean, if we turn it over, we've just got the label there
-and the signature will be underneath that.
Uh, obviously, the label is rarer for having survived.
I know, I nearly picked it off.
-Well, when I realised it was Moorcroft.
-You thought, "Let's have a..."
-"Oh, well, look for the signature."
-I was going to pick off the label.
-What stopped you? Did Roger stop you?
Did Roger run in? "Don't take the label off!"
No, I can't really stop her doing anything. She does what she wants.
Something clicked in my brain.
If anyone takes anything away today, don't take the labels off.
There will be a little Moorcroft signature under there,
but it'll just be his monogram, little initials.
-Do you know how old it is?
Because Moorcroft, obviously, has been produced for a long time.
This is...well, the giveaway is here,
"Potters to the late Queen Mary."
-And also the colour palette, so we're into sort of 1950s.
So, it's freesia pattern, because it's got freesias on it,
and it's on it rather jolly
and I think these later Moorcroft pieces are lighter
and they're a bit brighter and a bit more refreshing,
and if you think of the '50s
and of the energy that was sort of going on at that time,
it sort of lifted it out of that rather dark, muddy 1930s palette.
It's a shame, in the 30 years you've had it, it hasn't grown,
-because it's a bit small.
-It's quite small.
I mean, what did you pay for it 30 years ago? Can you remember?
About a fiver, I wouldn't have paid more than that.
A fiver, well, you'll get a return on that.
It's kept in rate with inflation.
-£50 to £100 on it.
-So, a sort of tenfold return on your fiver.
And hopefully it's going to reach the top end of that, you know,
and, if you're happy, we'll put a fixed reserve of £50 on it,
pop it into the auction and see where it ends up,
but Moorcroft collectors always battle these things out.
Remember Michael's advice,
don't take the label off if you have anything like that at home.
And now for something that I feel is rather good.
So, tell me about the history of this. How long have you had this?
Well, I've always known it from being a child.
It was at my grandparents' house and I had it as a dressing up box.
It's a good size for a dressing up box, it really is.
You can get all your clothes and things in there.
-I think it had a gas mask in it at one point.
-This dates back to the latter part of the 18th century.
This was made to suit a particular object or maybe a map chest
-or a deeds box.
Something of large proportions,
because, look at the volume you can get in there.
-A lot of deeds!
-A lot of deeds, yes, exactly.
There's one or two things I want to point out about the front
-if you go that side.
-One thing does bother me.
-Can you see here these chevrons?
-They've been cut in at a later date.
And it's been stained to look like a bog oak,
oak that's been left in mud for 200 or 300 years.
The Victorians have later embellished this box,
so it's going to be worth around about £80 to £120.
I think I might have to persuade the children that they'd like to
take it off my hands one day.
Yeah, it's been polished up over the years.
It's got a nice patina to it, a sort of nutty patina as opposed to...
-look at the dry oak here, which has never been polished at all.
But here's so much of this to polish.
-This room's 110ft long, you wouldn't want to polish it!
Well, that's going home, where it belongs.
Back outside now to catch up with Adam.
Very pleased to see you both on "Flog It!" today.
You're both smiling beautifully, you look like a very happy couple.
-Can you tell me...?
-That's nice to hear.
It's Reg and Karen, isn't it?
-It is, yes.
-Reg, and I'm admiring your moustache.
-Oh, thank you.
That's going to look really good in high definition!
I've had it since I was about 17. I'm not going to part with it now.
Sounds as though we're going to be selling it!
-It's been in the family a long time.
Well, let's draw a line under that
and move on to the toys collection that you've got here.
We've got a basket full, we've got
eight or ten different ones in their original boxes.
Can you just briefly tell me how you've come to own them
and why you've decided to sell them?
-Well, they were left to me by a male family member.
And I put them into a wardrobe,
and that's where they've been for 19 years.
OK. And then you heard "Flog It!" were coming to town.
Well, when I got married to Reg, he noticed them and he asked me about
-them and I said, "I think I'm going to take them to a charity shop."
And he said, "No! You can sell these.
I've seen these sold on "Flog It!"" I said, "There's nobody going to
-want these." He says, "Oh, I think you might be wrong!"
-Well done, Reg.
Well done. Well spotted.
What I've done is I've singled out some of the more interesting
or valuable ones,
and they all happen to be Foden trucks of one sort or the other.
First of all, you've got the box. They're all boxed, of course.
The flat truck with the tailboard.
Another one with chains and this 14-ton tanker.
I'm going to just show this one,
because you can't appreciate them until they're out of the box.
There you go. It's been played with a bit, but he's in pretty good order.
-Also, there are different variations,
sometimes with different colours of wheel hubs and different
liveries, but it's pretty collectable bunch of toys here.
Quite some time back, I took that one out
and I was playing with it, or rather looking at it on the carpet.
-They never grow up, do they, Karen?
-We never grow up.
She was so amused, she laughed and said,
-"You're just like a little boy!"
-Was he making the noises as well?
Yeah, he was, yes!
-I've got two little boys like that.
But you use them as an excuse to become a little boy as well.
-Regression can be quite fun, really, can't it?
-It can, it can.
Any idea on what they might be worth?
-Presumably you don't because you were going to give them away.
What about you, Reg? Are you going to have a stab at the value?
Yes, well, there's a gentleman in the queue today
and the very model you've got in your hand there,
he said, "These really can be worth something."
He says, "I'll give you £100 for that one now."
So, I said, "No, thank you very much, but we'll just go along."
But it reinforced your ideas that you knew there was some value in that.
Some value attached to them, yes.
Well, I think it was a pretty prudent offer.
Um, I reckon these three are probably worth about £100 each.
-And these are the sort of residual ones here.
They're worth, individually...
We've got a tank transporter, a couple of tanks,
and, of course, this one, which is pretty cool.
-It's a mobile space rocket.
-What noise would you make for that, Ray? Reg, sorry.
-Zoom and it's gone.
-I didn't think that would be worth anything.
-Well, it's not.
I mean, what I would suggest...Crescent Toys,
-a minor collection worth about £20.
-You, what I'd suggest is we sell them as one lot.
-And I would suggest an estimate of £300 to £500 for the collection.
-Yeah. And I think that's quite conservative, I think
-that's one that should get people interested.
-Does that sound all right?
-It does sound all right.
-That's a nice surprise.
-Well, that's great to see.
I think, even though you probably don't want them back,
it would be sensible to put a reserve on so that people don't
buy them too cheaply and, for that, I would suggest a figure of £300.
And, with your permission, just give them 10% discretion leeway,
just in case. It would be a shame if they got to 280, 290,
-and he went, "No, can't sell 'em."
And then I'm hoping they're going to make £500 or so.
-Oh, right, thank you.
-If that's the case,
any plans on what you'd do with that proceeds of sale.
Um, I'm going to treat Reg to something out of it.
Well, certainly, he deserves something, doesn't he?
And once you've spent that £20, what are you going to do with the rest of it?
Who told you that? It was £20!
Well, that was fun.
Well, you've just seen three wonderful items,
you've heard what our experts have had to say,
you've probably got your own opinions,
but, right now, let's find out what the bidders think as we go
over to the auction room for the very first time today
and here's a quick recap of what we're taking with us.
The Edwardian silver vase is good quality,
but will the bidders take a shine to it.
With the little piece of Moorcroft, it's not, "Will it go?",
But "How much will it go for?"
And will the boys be out in force to drive up
the price of the Dinky Toys?
Stay with us and you'll find out in the auction room.
From Haddon Hall, it's off to the quaint village of Rowsley
and to Bamfords Auctioneers.
The village sits between Bakewell and Matlock,
so, hopefully, we'll pull in the bidders from both directions.
-'And don't forget there is commission to pay.
'Here, it's 12.5% plus VAT.'
Now, this is what I like to see, a saleroom packed full of bidders
and fine art and antiques.
The classic recipe for a perfect auction and I know our owners are
feeling really nervous right now. They're over there.
I'm going to catch up with them as we get on with our first lot.
"Flog It!" expert and auctioneer James Lewis is on the rostrum
today and we're starting off with a bit of nostalgia.
Going under the hammer right now,
a collection of Dinky Supertoys belonging to Karen and Reg.
-They've been at the back of a wardrobe for 19 years.
So, hopefully, they're going to find a new home, going to a collector.
-A grown-up boy.
And, you never know, you could have one or two surprises here.
-Well, I hope so.
-Anyway, we're going to put it to the test.
They're going under the hammer now.
I've got three bids, one of 270, one of 310, and one higher.
320 starts it.
-At 320, 330 anywhere?
At 320, 330 now. At 320, 330, 340.
At £360, absentee bid, at 360, any advance? At £360...all sure?
That's a good price, £360. Well done, Adam. Happy with that?
-Yes, I am, very.
They will have gone to a collector, as I suspect our next lot will.
Janet and Roger, it's good to meet up with you again.
Fingers crossed for your Moorcroft pot. I think we can get the top end.
It's sweet, it's small, and it's there and the market's always there.
Yeah, exactly. It's a great name and a good name will always sell.
-Yeah, we're going to find out what the bidders think.
-So, I think it's time to say goodbye to this.
-Yeah, it is.
393 is the Moorcroft, the freesia patterned cylindrical vase
-and I have one, two, three, four, five bids on it.
-There you go.
And I can start at £75. 75, 80 now.
-See, quality always sells.
-At £85, 90 now. At 85, 90 do I see?
At 85, 90 coming back for one more online?
Coming back? No, at 85. At 85, two of you hovering now.
-Come on, come on, come on, come on.
90 bid. 95.
-No, at 90. £90 has it. At £90...
-You happy with that?
-That's really good.
-Really happy, yes.
At 90 and selling, anybody else? At £90, are we sure?
-£90, the hammer's gone down.
See, a good maker's name and quality.
-It's a collectors' base.
Good valuation there from Michael.
And now for that elegant silver vase.
Louise, it's great to see you. Fingers crossed we get
top end of the estimate. Who's with you right now?
-My daughter, Tori.
-Tori, I'm pleased to meet you.
-Mum's flogging the family silver!
-This is your inheritance!
-Or are you getting it early.
Yes, she's getting the proceeds, if it's sold. I'm sure this will sell.
-I'd like to think so!
-A bit of Edwardian silver.
Don't they call that skiing if you're spending kids' inheritance?
-I've never heard that before!
-No, I haven't!
No, no, I hear it a lot from my parents!
-Right, here we go. This is it.
-Have you got butterflies in your tummy?
And I can start the bidding here at £100 and 10, do I see?
At 100 straight in, 110 to the left and 20 now. At 110, 120 bid.
130, 130, 140. Winking at 140, 150, 150, 160. 160, winking, 170.
170, 180. At 170 to the left, 180 now. 180, at £170, 180, 180 online.
-Well done, Adam.
-There you are, it's not going to be melted.
At 220, standing to the left, at 220, 230 if you like, 230 bid,
At 240 to my left, at 240, anybody else in the room?
At £240, you're out, internet's out at 240.
-Louise, £240. Brilliant!
-I'm absolutely delighted with that!
Oh, that's fabulous, isn't it?
We got a squeal and everything!
What's really nice to know, and thanks to Adam,
is that's actually sold as a work of art,
rather than a lump of silver in weight going to melt.
It's an object and it's a nice looking object.
Even though you didn't like it, it's still a work of art to somebody.
Well, thank you to Granny.
That's right. Thank you, Granny.
'Over the years on "Flog It!",
'we've seen hundreds of items of military history'
at our valuation days, including some fascinating medals
which are coming up later on in the show.
Inspired by the stories behind these objects, I took a trip to the
Imperial War Museum in London to look at their collection of war art.
Artists have always portrayed war,
but I'm here today to explore how the relationship between artists
and war has developed in Britain over the 20th century.
Both the First and Second World War have completely revolutionised
the way war has been captured on canvas and camera.
At a time when you may have thought a discipline like art
would have suffered, it, in fact, flourished.
Before the First World War, paintings and drawings were
usually artistic interpretations
created by an artist who had not actually witnessed the fighting,
but instead used their imagination to create a picture
based on written accounts.
But all this was about to change at the start of the First World War.
The government took the unprecedented
step of appointing official artists, photographers and cinematographers
to document war in a way that would support morale back at home.
During the First World War,
the Imperial War Museum was given the job of collecting a wide range
of material documenting the war, including commissioned works of art.
There was a plan to house them
separately in a specially built hall of remembrance.
However, when the war ended, due to lack of funding,
the hall was never built.
Lucky enough for us, the collection of paintings was given to the
Imperial War Museum and they're on display just through there.
The gallery houses, among others, Gassed, a painting by John Singer Sargent
completed following his visit to the Western Front.
Sargent, one of the leading society portrait painters of his day,
was commissioned to create this centrepiece.
It's 20ft long and graphic in detail.
Gassed is based on a chaotic scene at a dressing station which
took in casualties suffering from a mustard gas attack
on the Western Front in August 1918.
The 11 central soldiers are almost life-size
and you can see their eyes are bandaged up
with the effects of blindness.
Sargent's original brief was to paint a scene with
Anglo-American soldiers both at the same situation,
but, while he was out there, he struggled to find this.
He was determined to paint a picture of epic proportions
with many characters in it.
The result is this, a scene showing catastrophic human suffering.
This went on to become one of the most iconic images
of the First World War.
Sargent was just one of many war artists, photographers,
film-makers, writers and cartoonists who were deployed making war art
or propaganda on the Western Front.
All of them working under the watchful eye
of military intelligence and field censors.
However, as well as capturing some of the victorious scenes
that the government were keen on publicising, the artists
explored other aspects of the conflict.
From the violence of industrial warfare to
the hastened social and industrial change,
and the desolate destruction caused by the theatres of war.
This is The Menin Road by Paul Nash,
based at the Flanders Fields,
and it shows two soldiers struggling through a devastated battlefield.
There are rain-filled shell holes and flooded trenches,
as you can see, as these two characters follow this road,
which has been clearly decimated beyond recognition.
In fact, look closely and Nash has rearranged the whole landscape.
The bursts of sunlight have become gun barrels,
and the shattered trees are more like steel structures
lit by an apocalyptic sky.
The Ministry of Information processed
a quarter of a million photos and thousands of films
and paintings during the war years, but,
despite all its achievements, when the war was over, it was closed.
Its role was seen as redundant during peacetime.
With the start of the Second World War, it was back in action...
its job, to raise morale and to promote Britain's image abroad.
As the Second World War progressed,
the Ministry of Information became known as the All Talents Ministry.
The world had moved on and film and photography
had moved to the foreground.
Hilary Roberts, head curator here, has been charting how the
creative use of photography flourished during war years.
Would you say that the war acted as a catalyst for artistic development?
Artist like Bill Brandt, who were relatively unknown when the war
broke out, built their careers on
commissions from the Ministry of Information.
Bill was commissioned to photograph the London Underground
during the Blitz and took many iconic images of Londoners sheltering
on the platforms, but Cecil Beaton's work was particularly special.
He was a recognised photographer though.
He was already, unlike Bill Brant, he was a recognised photographer.
He was one of the hardest working photographers of the war.
He was certainly the only one that was able to get his name
credited whenever the photographs were published
and he brought to it his own techniques, his background,
his skills and knowledge as a portrait photographer
and lover of theatre, fashion and design.
So, the photography that he produced was instantly recognisable.
He certainly took, I think,
probably one of the six best known
photographs of the Second World War, which is of a little girl with
her head bandaged who has been injured in an air raid in 1940.
He captured war, I guess, more vividly
and graphically than a lot of other war artists.
Did that inspire the next generation?
It absolutely did, yes.
Don McCullin grew up with photographs that he
saw in Picture Post, Illustrated Magazine and so on and so forth.
He was a child during the Second World War and,
when he became a photographer, the Ministry of Information photographs
that he had seen were his starting point and he went on from there.
-Now, he, of course, inspires a generation again.
It's thanks to the powerful images created by the bravery
and integrity of the war artists,
which were way beyond propaganda, that our understanding of war,
the suffering, and the triumph is so vivid.
We've got 40 members of the "Flog It!" team, eight cameras, and
an army of behind-the-scene experts working hard at Haddon Hall today.
And here is Michael with some more military history.
George, Joyce, I think before we get started,
what an absolutely splendid tie you are wearing, that's...wonderful.
-Are you a big Laurel and Hardy fan?
-Yes, I am.
-They are fantastic.
I used to watch them as a boy when they were on the television early.
They don't show them any more, it's a great shame.
Are these something you've collected or are these family medals?
Uh, they're not in the family, I inherited them from a friend.
Oh, so your friend didn't have anyone else to pass them
-onto in his family.
-No, no, no family, no.
And he's given them to you,
because often we'll see a group of medals on "Flog It!" and people
will think, you know, "Why don't they keep them in the family?
"Why don't they go on through the line?"
But, of course, they've got no real associations to you, have they?
-I mean, they're no interest to my family now.
-They're somebody else's.
-Have you done any research on them?
-No, not really, no.
-Well, we're lucky because,
what we've got is we've got two groups of medals,
some from the First War, some from the Second War,
and they've all been mounted together and worn, which,
I think...Second World War medals aren't named, which is
the frustration to a lot of collectors
because collectors love to do research.
Now, we've got the standard three First World War medals,
but we've also got the military medal, which is for an act
of bravery, and we've got it named on the bottom for a Private H Brown.
And he was in the 16th Machine Gun Corps,
and he was awarded this in around November 1916. Um, then we move on.
We've got the standard Second War medals here, the stars,
but, at the end, very interestingly, we've got
-this territorial medal, which is for efficient service.
And it's also got twin bars which suggests a long-serving member...
-..in the territorial army, and we've got a different name on this.
-But this person also, MM, won a military medal.
And it's H Percival. Now...
..it's peculiar that you've got the military medal here,
these are all together, and then you've got this medal...
and he's won a military medal, even though it's a different name,
-but the initial is the same.
They may be associated, or it might be the case, rather
intriguingly, we'll never know, whether Mr Brown, for some reason...
changed his name to Percival.
So, it's something for a collector to get their teeth in there.
I mean, have you got any idea as to value for them?
-No, no, no...
-Not really, not really thought about it.
So, a crisp £50 note, if I could...
..no, I can't! I mustn't, mustn't!
Um, I mean, Joyce,
-are they something that you've admired or liked or...? No?
No, she said if I'd have gone, she'd have thrown them in the bin!
So, if you weren't selling them,
you dropped off, they were going in the bin!
I've got to clear the garage out.
Let's put £300 to £500 on them.
-And let's put a fixed reserve of £300 on them.
And let's see where they go.
I mean, hopefully, we'll be touching the middle of that estimate
and make the top end of it.
Thanks for bringing them in and thanks really because today
we've saved them, maybe ultimately, from being discarded by Joyce!
There's a story behind those.
And now over to Adam with an interesting
piece of pewter in the courtyard.
Haddon Hall is known for its beautiful gardens and,
until recently I believe, this was in your garden, was it, Julianne?
It certainly was, yes.
Now, why on earth is an intelligent lady like you keeping
a piece of art in the garden?
Well, it was a very beautiful garden!
Did it have a function in the garden,
or was it just sitting out there?
-It was sitting out there.
-Yeah? Gathering water and leaves and...
-No, I put a plant in it.
-Oh, did you?
-I actually put a plant in it, yeah.
What made you think of bringing it into "Flog It!"?
-I don't like it.
-It's as simple as that! I don't like it.
Did you think it was valuable? Did someone tell you it was valuable?
-Erm, I knew it was worth a bit...
How long have you had it?
-Eh...about 30 years I've had it.
So, we've got an Art Nouveau Arts and Crafts Period
pewter jardiniere marked Tudric on the body.
-Heard of Tudric?
-I have now, yes.
Tudric was a range designed mainly by a famous designer,
Archibald Knox, and retailed at Liberty's,
the famous store Liberty's.
And they're quite distinctive with these stylised designs going
round and quite a funky, angular shape.
Early 20th century and it should be fully marked on the bottom,
"Tudric", with a number.
And indeed it is, there we have the little word Tudric there,
it's quite hard to read, and it's got a number on it, "0-2-2-9",
which will be the shape number
and you'll be able to look that up in the design books and it'll
say "0-2-2-9" and it'll have a name for this twin-handled bowl.
It's a really, really nice piece of early 20th century decorative arts.
Arts and Crafts, Arts Nouveau style to it.
I feel almost guilty now!
So, you clearly know it's of some value. What do you think?
Let's talk price.
SHE CLEARS THROAT Yes, go on, then.
What do you think it's going to make?
How much do you want for it? As much as possible?
-As much as possible, yes.
-What do you think it's going to make?
-Well, I should like 200 to 300.
200 to 300 would be what you put on one in better condition
and I'd like to bring it down just a little bit.
I'd suggest 150 to 250 as the estimate.
At a push.
And what about a reserve? £150 reserve?
-Yes, that'd be good, yeah.
-Fix it or discretion it?
A bit of discretion.
A bit of discretion, yeah, I think that's a good idea. 150, discretion.
-But I think it'll do a bit better, don't you?
-I hope so, yes.
Especially with you and me staring at him...
-Certainly, yes, yes.
I think that should be achievable.
Now, Michael is in his element with this next item.
Diane, Ronaldo, thank you so much
for bringing in this wonderful set of knives,
but, I mean, the first question is, where have all the forks gone?
Why have we only got one fork?
Where do they come from? Was it through the family or...?
No, no. I bought them at Newark Antique Fair.
-Oh, the large antiques fair?
-Yes, many, many years ago.
It's an unusual combination. Are there more forks at home, or...?
-No, that's it.
-So, that was how it came to you.
This is very long and we would use it as a carving fork today,
but in the 18th century, there was
a fashion sometimes for absolutely massive...
two-pronged wrought times.
Any idea of who made them or where they were made?
-I have to pop into my pocket for the device and,
if we pick one of these...
Right. Sometimes they're stamped in a machine
and that was how they made them in Sheffield, and they would be quite
thin, and you would fill them with pitch and they would wear over time.
These have been cast,
which is a little bit better.
They're top quality actually
and you can see the seam very faintly running down where
they've been joined together and these are by Moses Brent,
who was working in London at the end of the 18th century
-and he was a specialist haft maker, specialised in handles.
And you'll see a lot of his handles on Georgian services and silver.
-Sometimes the blades are silver and have nothing to do with him.
-He just provides the handles.
-What are they? They're not plated silver?
-They're not plated, they're wrought steel.
-Oh, they're wrought steel.
But nicely finished and polished steel, which is
how they would have looked originally.
Also, they're very nicely crested and I think anything like this
-is helped with its original family crest on it.
In terms, of date, they've just got a standard mark
-and a duty mark, which means they postdate 1786.
-And they probably date 1786 up to 1790.
Right, thorny question of price. Dare I ask what you paid for them?
I don't remember. I wrote it in a little book and I don't remember.
Well, that's a good start. I can say anything then.
I think...I think because it's an odd set, that will
hold it back a little.
Seven and one is a bit of a difficult sell,
so let's say 150 to 250.
-And put a fixed reserve of 150.
They may or may not go at that, but it's touch and go,
-but it's worth giving them a try.
So, thank you for bringing along
-a lovely set of Georgian knives.
-Thank you, Michael.
Well, let's hope the person with the forks is in the saleroom on the day.
Michael Baggott there with a collection of Georgian knives.
Trust Michael to find the silver.
That's it, we've found our last items.
We're about to head off down the auction room to put those
valuations to the test, so it's time to say goodbye to
our wonderful host location, Haddon Hall,
and here's a quick recap of what we're putting under the hammer.
Now, will the collection of medals make the top price in the saleroom?
Or will it be the stylish Arts and Crafts pewter jardiniere
that attracts all the attention?
Or it could be the knives that achieve the sharpest sale,
snapped up to complete someone's set of cutlery.
Stay with us and you'll find out soon.
And don't forget, sellers pay commission on
anything that finds a new home.
Here, that's 12.5% of the hammer price plus VAT.
First up, it's the cutlery.
Going under the hammer right now, we've got
a set of seven George IV silver knives,
a combination of steel as well, belonging to Ronaldo and Diane.
Ronaldo's with me right now. Where is your wife?
Oh, she's not very well, unfortunately.
Oh, dear, we'll wish her our best and, hopefully, you can
-go home with some good news for her.
-I hope so.
When you pick them up, they feel good, don't they?
Yeah, we've been using them very well for a long time, you know,
and now...it's the end.
You're going to miss those!
-Look, good luck.
Anything can happen in an auction and we're going to find out now.
Lot number 34,
a set of seven George IV silver-hafted knives
and the similar fork as well, and I can start the bidding at £120.
120, 130 now. At 120, 130 anywhere?
At 120, single bid on it.
120, 130 now. 130, 130 bid. 140...
Are we going to do it? Do you know that, Ronaldo? We would just do it.
Come on, come on, come on...
-150, one bid, 160...
-There you go.
-Someone's weighed the handles. This is what's happened.
180 is against you. Are you sure?
170, it's here at 170,
any advance at £170?
At 170, 180 anywhere?
170, are you sure?
Yes, the hammer's gone done. £170. Great result, Ronaldo.
-I am pleased, yes.
-Who's got the forks?!
Exactly, somebody might have the forks out there. It might be you.
You just don't know, do you?
-Well done, anyway.
-Thank you very much, a pleasure.
What a bargain price for such beautiful Georgian craftsmanship.
And now for what I consider to be a pleasing piece of pewter.
Well, it's all in the name, Archibald Knox,
-to get this one away and it belongs to Julianne.
We had a chat about this and, it is a little bit damaged,
but we think it's still going to sell.
Good, well, we bore that in mind when we were estimating.
Julianne obviously wanted more than I told her,
because she's a farmer and they want the most for everything, of course.
We always want a little more than...
Well, I tried to inject some reality into a conservative guide to
-get it away.
-Do you think we'll get it?
-You bribed me.
Yes, I think you'll get it, I think it's spot on.
You'll probably get what Julianne wanted in the first place,
-which was about 250, 300, wasn't it?
-Yes, something like that, yeah.
-Well, you came to the right expert, that's for sure.
So, why are you raising the money?
Uh, I want to buy some wood to make a log cabin.
-I can see you sitting there now.
-Oh, yes, hopefully.
-Well, look, good luck.
There's always a market for this. Archibald Knox sells well.
It's going under the hammer now.
494 is the Liberty pewter two-handled hemispherical bowl
designed by Archibald Knox and I can start the bidding here at £150,
straight in at 150, 160 now.
-'You're giving one of your stares, Julianne.'
160, 170, 170, 180.
The internet, the internet's in now.
-190, 190, 200.
-200 do I see? At 190...
Two of them hovering now at 190.
200, 200 you're back.
-There you go.
At 200, 210 now. 210, online at 210.
-So, they're logging on online for your log cabin, eh?
-220, 230 now, 230.
240 now. 250. At 240...
Well done, James. He's worked that up to the top.
240, two of you hovering. At £240, 250 do I see?
At 240 you're out and selling.
-There's a load of logs there.
-There is, yeah.
-Especially if they're split.
A log cabin! What fun.
And now for those splendid medals.
George and Joyce, it's great to see you.
-We've got a group of medals, World War I and World War II.
Just about to go under the hammer. Remind me why you're selling them.
We're selling them to donate money for the British Legion.
OK, to the British Legion. Great charity, OK. Ready for this?
Here we go, let's put it to the test.
Lot 488, we've just got another additional...
commission bid. A combination of First and Second World War.
Private H Brown of the Notts & Derby Regiment,
and let's start at £320.
Straight in. Let's hope for a battle now.
350 on the phone, 380, 400.
420, 450, 480, 500.
520, 550, 580, 600.
At £580 with me, at 580, internet are you coming in?
650 on the internet, 680.
-This is fantastic.
-'There's two people buying history...
..and not medals.
750 bid. 800 with me.
I think they're out.
At 800, are you sure? Internet's out. Phones?
Phones out. At £800, last chance in the room. At £800, 850 do I see?
Yes! That's so exciting.
£800 and it's all going to the British Legion.
George, thank you so much. What a surprise!
-It was, weren't it?
-Yes, I was very surprised.
Do you know, it is hard to put a price on history. You cannot
really, really put a price on that, can you?
There are people that research particular regiments.
This guy had a very interesting story.
-There's still more work to be done on it.
So, we pitch them in to attract them.
-But 800 for the charity is just a fantastic result, isn't it?
And to think they could have ended up in the bin!
Well, there you are.
You can never predict what's going to happen in an auction room.
That's why they're so exciting.
And all credit to our experts,
because it's not an exact science, putting a value on an antique.
Sadly, we've run out of time, so from all of us here
in the Peak District, it's cheerio until the next time.