Derbyshire 8 Flog It!

The magnificent Peak District

is the second most visited national park in the world.

Today, we are so lucky to be

in the heart of Britain's beautiful countryside.

Let's hope we can attract the visitors, too.

Welcome to Flog It!

The Peak District is about the same size as Greater London

and it was Britain's very first national park.

Nestled in the south of the park is the very handsome Haddon Hall,

which looks over the graceful River Wye.

I'll be out and about exploring the beautiful Peak District

later on in the show, but first,

it is time for me to get down there

to join up with our Flog It! crowd, who have travelled across

the hills and the dales to provide us

with a veritable feast of antiques to take off to auction.

And leading our Flog It! expedition today

is the wonderful Michael Baggott.

It's trying desperately to be earlier.

But we all do that when we get to a certain age, don't we?

Of course we do.

And taking to the peak for the girls

is Yorkshire lass Caroline Hawley.

-Now, that's very fitting for here, isn't it?

-It is.

Very nice.

Armed with bags and boxes full of antiques ready to be valued,

our crowds are all set to explore

this magnificent medieval manor house.

It certainly is a bit nippy out here in the Peak District,

so let's hope the fires are lit inside.

This is one of our best preserved buildings from the Middle Ages.

It's nearly 900 years old. And back then, there was no central heating.

And today, there still is no central heating.

Time has stood still.

So let's hope our experts have found something to warm their cockles.

Let's go inside and find out.

Well, I'm glad to see everyone is prepared

and looking warmly wrapped up.

Now, which one of the following metal items

will forge ahead at the auction, leaving the others behind?

Will it be this cast-iron shield?

Or this early silver spoon?

Or maybe this piece of Second World War memorabilia?

Well, you'll have to keep watching to find out.

We're going to start in the long gallery with Michael,

who is totally delighted with his first find.

Carol, you have absolutely made my day today,

bringing in this wonderful spoon.

I mean, it's an absolute delight.

I will probably bore you in telling you so much about this spoon.

-But before I do...

-Yes.

-How did you come by it?

-It's a family spoon, on its own.

-Yes.

And it has lived in the cutlery drawer for the last 30 years,

as far as I'm concerned.

-And I don't know where it came from.

-In the cutlery drawer?

-Oh, yes, yes.

-Oh.

-I got it out of the cutlery drawer last night.

To polish it.

AC, the initials, does that relate to anyone you know in the family?

-No, it doesn't.

-It's a very interesting spoon.

-First of all, let's look at... I've got it this way up.

-Yes.

With the bowl facing down and the back of the bowl up,

because this is how this would have been placed on the table

when it was made.

-Yes.

-In about 1750, we started putting spoons that way up

-on the table.

-Right.

Which is why you have got a little bit of decoration here

as you are holding and using it,

but most of the decoration is on the reverse of the bowl.

Right.

The pattern is what we call trefid pattern now,

because of the three lobes. And there are various forms of trefid.

-Later ones simply have a rat tail...

-Yes.

-..to the bowl.

-Earlier ones have this decoration which we call lace backs.

-Yes.

So this would be a lace-back trefid spoon.

This, rather peculiarly,

has got a device of a backwards Z

-struck over itself three times.

-Yes.

And the last mark, which is nearest the stem, there is

-a maker's mark there.

-Right.

Which has been very poorly struck.

And that Z mark is over-stamping it.

-Right.

-Now, this is a provincial spoon.

I can't be definite,

-but from the pattern of the lace work on the back...

-Yes.

-..I think it is more likely to be North Country.

-Yes.

-Which is either York or Newcastle.

-Yes.

-As opposed to the Southwest.

Well, that's where the family came from, Yorkshire.

-That hangs together beautifully.

-It does, yes.

-That all makes sense.

What has happened is this spoon has been made by a good silversmith

and then sold on to someone who has put their own

-sort of set of almost tinker marks on it.

-Really?

And whilst that is very unusual, it doesn't really help us

-placing it in terms of where it was made and who made it.

-No.

Any idea when it was made?

I thought it might be as early as 17th century, 16-something.

-Absolutely.

-Really?

-This style of spoon comes in

in about 1660, 1670.

-Right.

-And this will date to anywhere between 1680 and 1690.

-Really?

-So, we're dealing...

You know, we're dealing with quite an age.

-We're talking James II into William and Mary.

-Yes.

-It has got issues.

Right.

When you use a spoon for 300 years and you're right-handed,

you do that in a bowl and you get wear.

And initially, the edge of the bowl has worn down

and then it has started to curl back on itself.

And that is pretty much as bad as a bowl gets on an early spoon.

-Yes.

-So, any thoughts of what it might be worth?

Well, I was hoping it might be worth £100 or more.

It is worth £100 all day long. It's worth £200 all day long.

-Really?

-So, what we'll do is we'll put an estimate,

-a tempting estimate of £200 to £400.

-Really?

-And we'll put a fixed reserve of £200 on it.

-That's excellent.

It's a lovely thing. They are rare.

I mean, the harsh news is that if that had nice York hallmarks

on it and was in good condition, it would be...

-£5,000.

-No!

-So...

What you need to do is go home to the cutlery drawer and see

if you've got any others in slightly better condition.

There are no others. It has always been one on its own. Strange!

It's a lovely thing. Why have you decided to sell it now?

It has been sitting there for a long time.

I had various valuations done,

but nothing as in-depth as what you have given me now.

-Well, you see, I am a spoon anorak.

-Yes.

-And this is right up my street.

-That's wonderful.

-And in fact, it is so up my street

that I will go home tonight

and in my large hallmark book, I will write down that I have seen

a 1680s trefid with a backwards Z struck on it four times.

So in 30 years' time, when I see another one, I'll say,

"I've seen one of those before,

"on a Flog It! valuation day at Haddon Hall."

Gosh, that was really interesting. Michael is a font of knowledge.

Caroline's next, and she has also picked out something special.

Hello, Yvonne. Nice to meet you.

Now, would you tell me what you have brought along for me to see today?

-It is two items of Worcester.

-Right.

-Yes.

And how did you come to have them?

Well, it came to us by an aunt of respect.

I've never heard of that expression, an aunt of respect,

is it somebody you chose to call "auntie"?

-Have you not heard of it before?

-No, I haven't.

It's a lady that's not related, but she was an elderly lady,

-so we called her "auntie".

-That's lovely.

-She was a friend of my mother-in-law's.

-Yes.

And we had to deal with her estate, and they came to us.

So, it's a little cream and sugar basin. Very pretty.

-Have you ever used them at all?

-No.

-They have been in a cabinet,

-have they?

-Yeah, in a cabinet.

-Very highly prized.

Why do you feel that now is the time to sell them?

Well, it was really just coming to the programme

and getting some information about them.

-Yeah, and you are happy to sell them?

-I am.

Now, do you know who the artist was, Yvonne?

Well, I know the name Powell on there,

but I don't know anything about him.

-Right.

-Or is it a him?

-It's a him, it is.

Now, it's William Powell -

William or Billy, as he was known at the factory.

He was born in 1878 and he worked right up

until his retirement in 1950.

He had a seven-year apprenticeship before he was allowed to

sign his name on pieces.

He became one of the finest small bird artists that Worcester had.

He was seen regularly out in the countryside,

sketchbook in hand, drawing the birds to put them onto these pieces.

Sadly, as we say, time and time again,

-condition is almost everything.

-I know, yeah.

-And you know there is a slight chip here.

-I understand that, yes.

In this one. Which does affect the value somewhat.

They date from that early part of the 20th century,

about 1918, 1916.

And he is a very collectible artist.

Do you have any idea what sort of price you would like for these?

I don't.

Only having seen previous programmes, I thought about £40, £50.

-About £40, £50.

-I don't know.

I would think we could hope to do a little bit better than that.

And I think if we put an estimate of... I'm going

to stick my neck out here and say...80,

possibly 80 to 120.

And we'll put a fixed reserve of £80, Yvonne.

-Are you happy with that?

-I am happy with that, thank you.

Thank you, very much.

Well, I think that's great value for two little works of art.

Our crowds today are certainly enjoying

the Elizabethan long gallery,

with its oak-panelled walls and its high-relief plaster ceiling.

What they probably don't realise is

the floorboards that are taking all their weight have been

cut from one single oak tree that has grown here on the estate.

Now, oak is an incredibly dense hardwood with a tight, close grain.

And the heart of the wood itself is impervious to woodworm

and beetle, that's why it looks as good today as it does

when it was first laid centuries ago.

And the same estate craftsmen have also cut semi-circular steps

that I am sitting on from the root of the same oak tree.

Not only is that creative, it's also resourceful.

Back in the long gallery,

our experts are making the very best of the resources available to them.

And Michael has found a second item as thrilling as his first.

John, I spotted this wonderful armorial in the queue.

I was instantly drawn to it. It is completely my area of interest.

But where did you get something as marvellous as this from?

-Well, my uncle presented it to me 40 years or so ago.

-Yeah.

He had exchanged it during the Second World War

-for packet of cigarettes with a German soldier.

-Good grief.

Where was he when this took place, do you know?

As far as I am aware, in Germany.

You don't know the region or the area?

I believe the shield is this shield of Dortmund.

I mean it could be, basically, the town mark of anywhere.

It could be... Frankfurt has a single-headed eagle.

Or it could be a family crest.

I mean, what's fascinating is, obviously, this was towards

-the end of the war?

-I believe so.

The Germans must have sort of almost had defeat in their hearts

that they were taking things like this,

which I imagine would be fixed to the exterior of a building.

Let's turn it over.

-I mean, it's cast-iron.

-Yes.

And it has got this very sturdy, this very German,

well-engineered bracket fitting.

And there are a couple of screws that hold it in.

They don't to my mind look like machine-made screws.

-Right.

-Cos we have got no marks on this at all.

And of course, being cast-iron, it doesn't tend to weather and age

over a period of time as wood or copper or anything else would,

to give us an idea of the period.

But I would place this sort of 1880 to about 1900 in date.

When you get arms like this,

-one thing that helps you identify them are the colours.

-Yes.

So the different colour of eagle on a different ground.

But of course, being cast-iron, and being black,

it doesn't help us very much. I mean, this is a fabulous thing,

a fabulous bit of your family history.

Why have you decided to sell it?

Two children, neither of them are interested in it particularly.

You can't cut it down the middle, can you?

-It is not the wisdom of Solomon, is it?

-No.

-I mean, value...

-I will put a very broad estimate on it...

-Yes.

..of £50 to £100.

And we'll put a fixed reserve of £50 on it because,

I promise you, if you went to a foundry today to have that made,

it will cost several hundred pounds just to have that done.

Well, you've got all the modelling to do. It's a fantastic thing.

And I think... I mean, I love it. I'm sure someone at the auction...

Well, hopefully, at least two people.

-Two Germans.

-Two Germans.

We are in the internet age, these things go online.

I've never seen it on the internet.

I don't know what the postage will cost,

but that is the bidder in Germany's concern.

It's lovely to see. It's lovely to see something different.

What an extraordinary story. I will be curious to see

if there is any internet interest at the auction.

Well, there you are, you have 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, it is

now down to the bidders.

Let's find out what they think as we go to the auction room

for the first time.

And here is a quick recap of what we are taking with us.

Will the early silver spoon bring drama to the sale room

as the silver collectors battle over it?

Or could it be the sale of the little William Powell

Worcester jug and the sugar basin that causes the biggest stir?

Or will the German shield outperform both of them

by attracting interest from the Continent and on the internet?

Stay with us to find out.

Only a stone's throw away is the pretty village of Rowsley

and today's auction house - Bamfords.

And it looks like we are going to have all the fun of the fair.

On the rostrum later is Flog It! expert James Lewis.

And don't forget, there is commission to pay.

It does vary from sale room to sale room.

Here it is 12.5% plus VAT.

Well, our auctioneer, James Lewis, is on the rostrum

and the sale is under way. This is where it gets exciting.

For all of you at home, sit back, put your feet up and relax.

For our owners, it is going to be a roller-coaster ride.

Let's get on with our first lot.

At 450, do I see five?

Going under the hammer right now, we've got a 19th-century

German cast-iron shield belonging to John,

-who is standing right next to me now. Who is this?

-This is Daniel,

-my grandson.

-Daniel, pleased to meet you.

Are you getting into the antiques business at a young age?

-Hopefully.

-Hopefully! Has anything caught your eye here today?

-Not at the minute.

-What do you think of the auction?

-It's great fun.

-It's a cracking place, isn't it?

-Yeah.

-And what an atmosphere.

Hopefully, Grandad will sell this at the top end

and take you out for a treat.

In a way, you should be inheriting this.

-You might be.

-You might be! No!

-Anyway, it's going under the hammer. Ready?

-Yep.

Good luck, Daniel. Here we go.

It's the 19th-century, Continental cast-iron shield

of Dortmund, there it is. With the eagle with open wings.

And I can start the bidding here at £50. 60 anywhere?

At 50, and 60 now.

At 50, and 60, sir. 60 in the room.

70, 80, 90 and 100.

-You won't find another one in a hurry.

-It's quirky.

Yeah, very quirky.

At £100. 110, do I see?

At £100.

Any advance? At 100, 110 anywhere?

You're coming in online. Flashing light, you interested?

At £100, 110 do I see?

At £100, standing. All sure?

The hammer has gone down, it's sold, £100.

You're taking your grandad out shopping now, aren't you?

-Mm?

-They may see a little of it.

Not the internet interest that I was expecting,

but nevertheless, a good result.

And now for something far more delicate.

Going under the hammer now, we've got a Royal Worcester set,

with a value of £80 to £120.

It belongs to Yvonne, who sadly cannot be with us.

But we do have our expert, the gorgeous Caroline.

-And we should get the top end on this.

-We should, we should.

Very, very good artist, specialist in bird paintings.

Very good quality.

Beautiful thing. There's a tiny bit of damage on one of the pieces.

But I'm sure it's going to achieve more than the top estimate.

We have got a packed auction room here,

it's an electric atmosphere and I'm sure this is going to fly out.

-It is.

-Figures crossed? Ready?

-Fingers crossed.

-Here we go.

Lot 309 is very sweet, little Royal Worcester

bird milk jug and sugar basin,

painted by William Powell.

There we have it.

And jolly pretty. And I can start the bidding straight in at £80.

85 now.

85 to the left. 95.

100. 110. 110 in the room to the left.

At 110, 120 now.

At 110. 120 at the very back.

130. 140, sir?

140. 150. 160?

160. 170? 170. 180?

He shakes his head at 180. At 170 to the left.

At £170. 180 anywhere? At 170.

Anybody else? At 170... It's yours, 658.

Good result. Yvonne, I hope you enjoyed that moment,

watching us back at home.

I'm pretty certain that the buyer will be delighted with those.

And now for something that is properly antique.

Well, so far, so good.

And stirring up the mix right now - there is a good link there -

is Carol's silver spoon, at £200 to £400.

And I'll tell you what, I think this is one of the oldest items

in the sale room, from the William and Mary period, circa 1680.

It is a little gem. And you brought it to the right expert.

-Michael loves silver.

-I know, yes.

-I am a spoon nut.

-You are.

And this, actually, is a very academic spoon. It is provincial.

-So the collectors will be out for this one.

-Sure.

And it is here to be sold at £200 to £400.

Let's find out what the bidders think.

Lot number 24 is this wonderful William and Mary trefid spoon,

circa 1685, with the lace back.

Brilliant, James has done back and front pictures online.

-This is really good.

-Markings on the back.

-And I have got three bids on commission.

-Great, there you go.

-Look at that.

-Right.

They are all clustered around the lower end of the estimate.

And I can started it at £210.

220 do I see in the room first?

220? 220 is it?

At 210, absentee bid.

At 210, 220 now? Internet, 220.

230.

-Internet bidding 240, 250.

-Come on, come on.

-260, 270.

-I've got my fingers crossed.

-Yes.

280, 290.

At 290. Make it 300 in the room.

310?

And a shake of the head.

At £310.

-At 310, you sure?

-It's going.

All right, 315.

-320.

-Well done, James.

-Carry on again.

-Tease that little bit.

No? £320. Absentee bid.

Do I see any more?

-You're out online, you're out in the room.

-It's gone.

-Great.

-You could say he was an absolute corker on it, couldn't you?

-It has gone. And you are smiling.

-Yes.

450. 450, 460.

460, 470.

Well, there you are, our first three lots under the hammer,

and everyone has gone home happy.

That's what it's all about.

Now, while we are here in the area, filming in the Peak District,

it would be an absolute scandal if I didn't get out and about

and explore the countryside. Well, that is exactly what I did.

I went off to find out more about the history

of Britain's first national park.

555 square miles of unspoiled moorland and limestone dales

make up the Peak District National Park

that came into being in 1951.

These days, we take our mighty

and magnificent national parks for granted.

We just park the car up and step out into the great outdoors.

Each year, more than 22 million people do exactly that right here.

But it hasn't always been that simple.

Indeed, in the early years of the 20th century, this idyllic

and rugged landscape became a battleground.

From 1600 to 1860, successive parliamentary enclosure acts had,

in effect, fenced off half of England's countryside

from the people.

It sounds far-fetched

to say that access to the open countryside here

ended in violence and arrests, but that is exactly what happened.

The moorland was owned by various different private estates

and landowners.

And they were keen not to let trespassers on their land.

So to the working class people of the large cities of Sheffield

and Manchester, the countryside was visible, but it wasn't accessible.

But they had some powerful allies and were determined to both

preserve the landscape and to open it up to the wider public.

Ethel Haythornthwaite, the daughter of a Sheffield scrap metal merchant,

used her wealthy contacts to buy up swathes of the peaks,

which were then gifted to the National Trust.

And Labour activist Burt Ward

campaigned for access to open countryside

by forming the first working-class ramblers group in Sheffield.

Local journalist Rory Smith tells me

they played a crucial part in achieving reform.

How close was the countryside to the working folk and why?

You have to remember, Paul,

that these wonderful moors around here,

all the highest peaks of the Peak District were actually

visible from the homes and workplaces of the people living

-and working in Manchester.

-You could see that from Sheffield,

-couldn't you?

-You could see them.

Yet you couldn't walk on them.

Kinder Scout was the forbidden mountain in those days.

-That's frustrating.

-It was frustrating.

How key was the work of Burt and Ethel?

Well, it was absolutely essential, really,

because Ethel was the founder of

the Campaign for the Protection of Rural England in Sheffield,

which later became the Friends of the Peak.

And Burt Ward was the founder of the first working-class

rambling club in the country - the Sheffield Clarions - in 1900.

And those two people were absolutely vital for the opening up

-of the countryside and the campaign to make it a national park.

-Sure.

I understand there was a huge atmosphere brewing up amongst

the working-class people.

You know, they were denied access to huge parts of this open land.

Frustration was enormous.

So they used to trespass.

And Burt Ward and others trespassed regularly on places

like Kinder. He called it "the gentle art of trespass."

And he counted gamekeepers all the time.

In fact, he had a writ served on him not to walk on Kinder Scout

at one point. But he still did.

And this is Kinder Scout.

And at 2,000 feet, it is the highest point in the Peak District.

And it is the scene of a major battle between,

on one side, the ramblers

and, on the other, gamekeepers, protecting their employers' land.

Describe the trespass, what happened?

Well, there was a group of ramblers from Manchester called

the British Workers Sports Federation.

In fact, they were a communist group.

They decided on what we would call today direct action.

They said, "Well, if there's enough of us, they couldn't stop us."

So one sunny April morning in 1932, about 400 of them

gathered at Hayfield, which is the other side of the hill from here.

-Yeah.

-And decided they would do a mass trespass.

This is the first time those words had been used.

And they publicised it so everybody knew they were coming.

And they set up a right-of-way

and deliberately trespassed up on to Kinder Scout.

And they were met by a line of gamekeepers who were ready

and waiting for them. And there were a few scuffles.

But they went on and met another group who had come over from Edale,

this side of the mountain, and they had a victory meeting.

And after that, they all went back down into Hayfield.

The police were waiting for them.

Six of them were arrested and five of them

were actually charged with public order offences, basically.

And were imprisoned for periods of up to six months.

What was the significance?

As a result of this,

and particularly as a result of the severe sentences handed

down by the judge, it actually united the ramblers cause.

I'd imagine it would.

And they were fighting then not just for access to the moorland,

but also for national parks all over.

-All over the country.

-Yeah. And here we are.

-History was made.

History was made.

And this is the first national park,

and it is the best, as far as I'm concerned.

-You live on its doorstep, don't you?

-I do.

-It's beautiful.

By the late 1930s, the CPRE -

the Campaign to Protect Rural England -

were running hard-hitting films in cinemas all over the country,

demanding that urgent changes be made to the access

to the countryside.

'Will you always be content with confined spaces?

'Or are you going to take the road to national parks,

'the road to freedom, freedom of England's country?

'That is the case for the defence,

'for the defence for the right of the beauty of our land.'

Finally, in 1951, the first four national parks were designated -

the Peak District being the first to open,

followed by the Lake District, Snowdonia and Dartmoor.

People power had paid off and now vast, open tracts

of countryside were being protected for future generations to enjoy.

Welcome back to Haddon Hall, where valuations are still in full swing.

Our experts are working flat out to unearth gems from the past

fit for our historic surroundings.

Let's now join up with them and take a look at what they found.

And we are straight back in with Caroline, who has found an unusual

bird bath which might look quite at home here, in the gardens of Haddon.

Paul, I love him.

I saw him coming in earlier and I think I tried to chase after you.

I think he is delightful. Tell me what you know about him.

-Well, I've had him for 40 years.

-Yeah.

I was doing a building job and the antique dealer I was

working for said I could have anything in this particular cupboard,

because he felt it didn't appeal to many people because of what it is -

it's sort of Pan and the devil and the little horns.

But the detail is what impressed me.

-Well, why do you want to sell this lovely figure?

-Well...

I've had it a long time and my daughters don't really want it.

So I thought I might buy them for their birthday something in gold.

So you're trying to turn lead into gold? A lot of people have tried.

And it is very, very heavy.

I'm not going to pick him up, but I saw you struggling through with him.

And the detail... Can you see the little hoof here?

And the hair.

-He's really...

-There's all his muscles and then there is his hair.

-His back is impressive.

-Yeah. His back is very impressive, yeah.

He's a strong piper.

-Yeah, he is indeed.

-And his fingernails are even on.

Yeah, and they're sort of long and clawing, aren't they?

It's very difficult to put an exact valuation on this

or even a date on it.

There are no marks on it anywhere.

If I had to put a bet on it, I would say 19th century.

-Pan comes from the Greek "to pleasure".

-Right.

-And there is...

He is the god of shepherds and flocks,

and he is a very handsome thing.

And to put a figure on it, I would say between £300 and £500.

-Ah. Yes.

-How would you feel about that?

Well, I'll put a reserve on in that sort of range.

-Would you be happy with a 300 reserve?

-Yes, I think so.

-Are you sure?

-Yep.

Right, well, we'll do that. He's going into a good auction.

It will be well advertised.

And I think there is every chance he is going to go off

and play happily in someone's beautiful garden forever and a day.

-Thank you very much for bringing him, I love him.

-Thank you.

Thank you.

So do I - let's hope the bidders agree.

Michael next, with a beautiful piece of carving.

Alan, I actually...

I was resting earlier today on the stairs as you were passing me,

and this was poking out of a bag, and I beckoned you forward.

You did, yes.

And I wasn't disappointed when you took it out of the bag.

-It is a bit of a whopper, isn't it?

-It is.

-Now, are you a collector of Chinese works of art?

-No.

Where did this come from, then?

My father bought it in an antique shop in Brighton in the 1960s.

Good grief. Was it very expensive?

As far as I can remember, four pounds, ten shillings.

Well, what people tend to forget now,

-because we have gone through a period of Chinese mania...

-Right.

'60s, '70s, '80s, '90s,

-Chinese art was the poor cousin to Japanese.

-Right.

In the last five or six years,

-anything Chinese is flavour of the month.

-Right.

So I can understand why it was only four pounds in the antique shop

in the '60s.

And what we have got here is a lovely, tall,

carved section of bamboo.

It would have been done in China, probably in Canton,

anywhere from 1850 up to about 1880, 1890 in date.

So, second half of the 19th century.

What we've got is pagodas and Prunus trees and a procession of,

I imagine by their headgear,

monks going up to the rocky outcrop on top of the mountain.

Right.

It's well carved. All of this is one piece. All of this is undercut.

-Nothing has been carved and applied onto it.

-Right.

How many man-hours would you say to create that?

Because I imagine one man sort of sitting there, you know,

for weeks and months.

But remember, all that one man did

-for a period of time was carve bamboo.

-Right.

And, you know, it's like me eating cream cakes.

-I can eat a lot of cream cakes if I put my mind to it.

-Right.

It may not be the one person was so involved in this.

You would have a series of them

and one might concentrate on cutting out the rough form.

And someone might do the trees, someone might do the temples,

-someone might do the figures.

-Right.

-Why have you decided...?

I mean, you have lived with it for 40 years, haven't you?

Our children are not really interested in it,

so I can't see myself leaving it to them.

I've enjoyed plenty of years with it and it's time for someone else,

-time to move on.

-And it is a good time to sell.

-That's right, yes.

-It does happen in this business,

there are times to keep and times to sell.

-And I think this is at its peak now.

-Right.

-Value.

It's very decorative and it's very big,

-but I don't think it is the very best quality.

-OK.

So, we have to approach it cautiously

and recognise that it might fly because it is Chinese.

-But let's put £200 to £400 on it.

-Right.

And let's put a fixed reserve of £200, which is

not a bad return on four pounds. Even over a period of time.

-Thanks very much for bringing it in.

-OK, thank you.

With the Oriental market being so buoyant, that should do well.

Next, I meet someone who jogged my memory back to the last time

I filmed here at Haddon.

I bet you've done that many a time.

Not with salmon so much, no.

That's the Rolls-Royce of fishing reels, the Hardy, isn't it?

-Yeah.

-This is worth around £300, this reel.

-Right.

-Do you collect Hardys?

-I do.

-I started about 15 years ago.

-Do you still fish?

I do, yeah. I work here for the Haddon estate. I'm on the river.

-I've got my own fishery over the road.

-Oh, you're set up, then.

You are in heaven, basically.

-I fished here.

-It's a wonderful place.

It's brilliant, it's absolutely brilliant.

But it's not easy,

even with expert help from Haddon's head river-keeper Warren Slaney.

Come on, bite.

Gave me a lesson in what flies to use

and what particular time of day and the season.

-You wouldn't have been using these.

-No.

-Too big.

-Too big, far too big.

But thanks for showing me those as well

-and sharing your fishing memories with me.

-Thank you.

Back to Caroline now,

who has found an intriguing model from the Second World War.

Steven, you have brought along this doodlebug or buzz bomb.

-Can you tell me any more about it?

-The best way I can explain

the history of this is, I purchased this in Germany many years ago.

And the person I got this off of said to me that this

was made for one of the hierarchy of the Nazi party at that time.

Now, who that hierarchy... I don't know. No names were ever mentioned.

When the Allies were pushing back the Nazi forces,

they were out of range of London.

And all the Allied supplies were going through Antwerp,

so they directed all these at Antwerp.

And that's why you've got the "Antwerp" on the side.

Ah, right! So that explains... Yes, I do. So that explains the Antwerp.

So that's the Antwerp bit.

And as far as I know, I've never ever seen another one like it.

-Not exactly like it.

-I haven't.

-And it's a part of history.

That was the first flying bomb missile.

The first one was actually launched at London,

-13th June, 1944.

-That's correct.

-So you can imagine they're going to be pretty proud of this bomb.

-Yeah.

It's a desk piece. It would be used on a desk.

And this wonderful trail here, its use, I would think,

-is of a paperweight.

-Yes.

-I would agree with you.

-Would you?

I would think it would grace somebody's desk as a paperweight.

-It's chrome-plated.

-Right.

I've been told, I don't know if it's true or not, this base,

this type of marble, you can only get in Belgium.

Right! Now, I don't know the origin of that marble.

That is what I was told.

It's an interesting item.

And people that collect wartime memorabilia

from the Second World War, it's of great interest.

-And there is a big following.

-Yeah, I understand that.

So, tell me why have you decided now that the time is right

-to sell?

-Cos I think because of its historical value

and what it actually means, especially made like this,

I would say that it needs to go into somebody's collection,

someone that would really appreciate this

as much as I have appreciated it over the years.

OK. That brings us to value.

It's very difficult to put a value on such a thing.

I would say, if we put an estimate for auction of £50 to £80,

with a fixed reserved of 50, are you happy with that?

-I'm a little bit disappointed with that offer.

-OK.

You know, that valuation.

I would have thought at least from £80 upwards.

In that case,

80 to 120, with an £80 fixed reserve?

That sounds fine by me.

What a fascinating item.

One can only guess whose hands it has been through.

Well, you have just seen our experts,

they have made their final choices of the day.

It is not just about the value, it is also about the beauty

of the object and its contribution towards our social history

and the stories it can tell. We have just heard some fabulous ones.

It is time to say goodbye to Haddon Hall as we make our way

down the road to the auction room.

And here's a quick recap of what is coming with us.

The bird bath is magnificent,

but will it make the biggest splash at the sale room?

Or will the Oriental carving turn out to be the item

that is a cut above?

Or will the little German model be the really explosive sale?

Stay with us and you will find out.

620, second row. 620.

650. 680.

680.

Welcome back to our auction room in the Peak District.

Let's now join up with auctioneer James Lewis,

who's on the rostrum, ready to sell our next items.

We are starting with a touch of grandeur.

Well, if you want the country house look,

you've got to be right here, right now, because going under

the hammer is a 19th century lead bird bath, and it belongs to Paul.

And I absolutely love this.

Everyone, everyone could do with this in their garden.

-Couldn't they?

-Yeah.

-So, why are you selling this?

You live in a flat and you've got no garden?

No, my daughters don't want it. I've had it for 40 years.

You've had it inside, haven't you, with fruit in it?

-Yes.

-I can see it with some water in it now.

-Yeah.

-Good luck both of you.

It's going under the hammer right now.

776. Here we are, this is the 19th-century lead

country house bird bath with Pan.

-And one, two, three, four, five bids on it.

-Wow.

But they are all below estimate.

-Oh.

-220, 260. 275 I have.

At 275, 280 now.

-At 275. 280. 290.

-Somebody in the room. Brilliant.

At £300 in the room.

At 300. 310 now. At £300, it's with you. 310?

-Fantastic!

-At £300, 310 anywhere?

At 300. At 310? You coming in online? At £300, any advance?

At 300...

Yes, we did it! £300, it's gone! It was close.

-Yes.

-Are you happy with that?

-Yes, thank you.

-Brilliant.

-Well done, Caroline.

-It was creeping a bit, wasn't it?

-It was.

Worth every penny.

I love this next lot belonging to Alan.

It's carved from a solid piece of wood, hundreds of little figures

going up a hill, it's exquisite.

It's got the look and it is flavour of the month.

-Let's find out what the bidders think.

-Right.

Lot 575 is the large Chinese bamboo section

and I can start the bidding at...£150 starts it.

150. 160, do I see?

The Chinese bamboo carving. At 150. 160 now.

At 150, 160 on the phone.

180, 190, 200.

200, 220, 240.

-240, 260, 280.

-He's got a bid on the book.

-He keeps dropping his eyesight down.

-300, now. At 280 I am out.

At 280, do I see three?

Online? 290. 290, bid. Three. 300.

300, bid. 310. At £300.

-On the phone at three. 310, if you like.

-Hovering mid-estimate.

No, they are out.

At 300, all the bidding very close.

Middle estimate at £300.

Good valuation, Michael.

-Thank you very much indeed.

-Thank you for bringing that in.

-It's all right.

-It's nice to be right some of the time, isn't it?

Michael is far too modest.

Before the sale, I spoke to auctioneer James Lewis to see what

he thought the chances were for the extremely unusual doodlebug model.

The doodlebug stopped humming. It's time for it to go off.

Hopefully at the top end. We got 80 to 120 on that.

Yeah, I think that's just about right.

It's a funny thing that will appeal to those militaria collectors

but it's not something I've ever seen before.

So, hard to put a price on.

-Yeah.

-There was a story behind this, obviously.

An amazing one, I imagine.

-Yeah, fingers crossed at the top end anyway.

-Absolutely.

The connection with the Belgian town of Antwerp

during the Second World War seemed very curious,

so we decided to do our own investigation.

What we found was fascinating.

Between October 1944 and March 1945, there was

a secret battle known as Antwerp X.

The allies organised 22,000 anti-aircraft artillerymen

to defend the strategic port of Antwerp

from massive bombardment by German V1 bombs.

It was known as the Battle Of The Buzz Bomb and with these dates

inscribed on it, it is surely this that our little model commemorates.

Just about to land on James's rostrum right now is

the doodlebug belonging to Stephen.

We've got a value of 80 to 120.

-Let's hope this does fly away, so to speak.

-I do hope so.

Top end. It's quirky. Unusual.

Have you used this as a paperweight?

-No.

-Where has it been?

It has been in my cabinet, with my cars and stuff like that.

Do you collect cars?

I collect cars as well. I am a magpie, really. Guitars.

Nothing wrong with that, is there? Hey, look. Good luck!

Lot number 455

is this very interesting

World War II model

of the flying bomb.

Lots of enquiries about it and I can start at £100. 110, sir.

110 on the aisle. 120. 130.

140. 150. 160. 170. 180.

190, on the aisle.

At £190. At 190. 200, now.

At 190. Do I see two?

190 on the aisle at £190. Do I see two anywhere?

At 190, sir. All sure?

-190, 716.

-That was a good result.

-Yeah, very good result.

-That was good design.

-I presume that will go to a collector.

-Thank you for bringing that in.

-Thank you ever so much.

-Appreciate it. Thanks for doing it for me.

-Pleasure.

Thank you ever so much.

Well, that's it from our Derbyshire auction room

just on the edge of the national park in the Peak District.

I've loved exploring the great outdoors and we've had some

great results indoors as well and that's what it's all about.

From Rowsley, until next time, it's goodbye.