0:00:03 > 0:00:05Today, we are at the Oxford Union,
0:00:05 > 0:00:07one of the oldest debating chambers in the world.
0:00:07 > 0:00:10It occupies a unique place in world politics.
0:00:10 > 0:00:11It was here in 1979
0:00:11 > 0:00:15that Richard Nixon gave his first speech after Watergate.
0:00:15 > 0:00:18He admitted, "I screwed up and I've paid the price."
0:00:18 > 0:00:22Let's hope our experts are on the game today. Welcome to Flog It!
0:00:45 > 0:00:48The Oxford Union was created in 1823
0:00:48 > 0:00:50in response to the University's ban
0:00:50 > 0:00:54on any discussion of politics or religion.
0:00:54 > 0:00:57And since then, the union has gained a worldwide reputation
0:00:57 > 0:01:03as a place where no topic is out of bounds, no matter how controversial.
0:01:03 > 0:01:07One of the most famous names to address the chamber is Malcolm X.
0:01:07 > 0:01:10When a black man strikes back, he's an extremist.
0:01:10 > 0:01:13He's supposed to sit passively and have no feelings,
0:01:13 > 0:01:15be non-violent and love his enemy.
0:01:15 > 0:01:17No matter what kind of attack,
0:01:17 > 0:01:19be it verbal or otherwise, he is supposed to take it.
0:01:21 > 0:01:23The union has also played host to the likes of
0:01:23 > 0:01:27the then President of the USA, Ronald Reagan,
0:01:27 > 0:01:30the Dalai Lama and even Mother Teresa - hark at us,
0:01:30 > 0:01:33rubbing shoulders with the great and the good!
0:01:33 > 0:01:36It all starts right here, the door to the famous chamber.
0:01:36 > 0:01:39Many debates have been won or lost over this threshold
0:01:39 > 0:01:44and debates are decided by ayes to the left and noes to the right.
0:01:44 > 0:01:48Now, I wonder if our experts will be using this as a system
0:01:48 > 0:01:50to decide what goes off to auction?
0:01:50 > 0:01:54Stimulating the debate today are two people hoping to
0:01:54 > 0:01:57outdo each other on the antiques front. Mr Will Axon...
0:01:57 > 0:02:02- What have you brought along today? - A bracelet.- She brought you along?
0:02:02 > 0:02:03- Oi!- Thank you.
0:02:03 > 0:02:07- ..and Christina Trevanion. - They are gorgeous.
0:02:07 > 0:02:10- And where did they come from? - Admirers in the past.
0:02:10 > 0:02:13Oh, I wish I had admirers like that, who'd shower me with opals.
0:02:13 > 0:02:15A long time ago now.
0:02:15 > 0:02:19They're trawling the queue for antiques, unusual and elaborate.
0:02:20 > 0:02:23- Oh, that's rather pretty.- Christina, what have you found there?
0:02:23 > 0:02:25- It's mine!- Where's my stickers? - No, I've already done it.
0:02:25 > 0:02:28Oh, look, she's already been marked.
0:02:28 > 0:02:31So, without further ado, let's get everybody in.
0:02:35 > 0:02:38I'm standing in the same spot where famous names such as Malcolm X
0:02:38 > 0:02:41and Winston Churchill addressed this chamber.
0:02:41 > 0:02:46We've got a packed show ahead, so...let the debate commence.
0:02:50 > 0:02:52And coming up on today's show...
0:02:52 > 0:02:54Who have I discovered behind-the-scenes?
0:02:54 > 0:02:58He's instantly recognisable because of his mop of mad hair.
0:02:58 > 0:03:00I love that photograph.
0:03:00 > 0:03:04And whose salacious etchings has Will uncovered?
0:03:04 > 0:03:08It's basically a report on his life of vice and self-destruction
0:03:08 > 0:03:11after inheriting a fortune from his father.
0:03:15 > 0:03:18Now, I'm up here in what's known as the Strangers' Gallery.
0:03:18 > 0:03:21This would have been as far as non-members and ladies
0:03:21 > 0:03:24would have been allowed to go in the old days.
0:03:24 > 0:03:27Talking of ladies, we have the gorgeous Christina,
0:03:27 > 0:03:28who's just below me there.
0:03:28 > 0:03:31And it looks like she's found something incredibly interesting.
0:03:31 > 0:03:34Let's take a closer look.
0:03:34 > 0:03:37So, Tracey, we're in one of the most famous debating chambers
0:03:37 > 0:03:39in the world, which has seen so many famous faces,
0:03:39 > 0:03:41- and you've brought some more in to us here.- Yes.
0:03:41 > 0:03:44- Tell me about this - this is your autograph book?- Yes.
0:03:44 > 0:03:48It came down from my great-uncle, who died a couple of years ago.
0:03:48 > 0:03:51He did all the lighting in the New Theatre round the corner,
0:03:51 > 0:03:54- which is the oldest theatre in Oxford.- In Oxford? Oh, wow.
0:03:54 > 0:03:57And he worked on a lot of the big productions, setting up
0:03:57 > 0:04:02the lighting for them, for operas and musicals and ballet, you name it.
0:04:02 > 0:04:03He worked long hours.
0:04:03 > 0:04:07Like, eight o'clock in the morning till midnight.
0:04:07 > 0:04:09- So it was more of a lifestyle? - It was, yeah.
0:04:09 > 0:04:11And this is one of his autograph albums?
0:04:11 > 0:04:14- Yeah.- I'd imagine you're quite familiar with it.- Yes.
0:04:14 > 0:04:17- So, this is Ray? That's your uncle? - That's my great-uncle, yes.
0:04:17 > 0:04:21- And New Theatre, Oxford. - New Theatre, Oxford, yes.- Brilliant.
0:04:21 > 0:04:22So, who have we got here?
0:04:22 > 0:04:26That's Coral Browne, who was a famous film star in the '50s.
0:04:26 > 0:04:29- And then we've got...?- Vincent Price, who she was married to.
0:04:29 > 0:04:32And Vincent Price was in the famous horror films.
0:04:32 > 0:04:36Looking very dapper there, isn't he? Very, very dapper.
0:04:36 > 0:04:40- At the back here, we've got Rex Harrison.- My Fair Lady, of course.
0:04:40 > 0:04:44And we've got Sean Connery and his first wife, Diane Cilento.
0:04:44 > 0:04:49- And I think she died two years ago. - Oh, right. Oh, gosh.
0:04:49 > 0:04:52- Oh, gosh, who's this? - That's Marlene Dietrich.
0:04:52 > 0:04:55Goodness me, that's a good one. That's a very good one.
0:04:55 > 0:05:00- So, really, these look like '60s. - '60s, '70s, '80s, '90s.
0:05:00 > 0:05:02So, how long was he working there?
0:05:02 > 0:05:07- A long time - 40 years, something like that.- Goodness me. Wow.
0:05:07 > 0:05:11I have to say, autographs are a bit of a tricky subject to value
0:05:11 > 0:05:15because unless they are really, really big names
0:05:15 > 0:05:18like the Beatles, they don't command huge prices at auction.
0:05:18 > 0:05:22But it is quite important in the history of the New Theatre.
0:05:22 > 0:05:26This is a record of these people that came and performed.
0:05:26 > 0:05:29Really, I would be looking at offering it somewhere
0:05:29 > 0:05:35- maybe in the region of £60-£100.- OK. - Something like that.- That sounds OK.
0:05:35 > 0:05:39I mean, that would be brilliant, because I wouldn't expect, you know...
0:05:39 > 0:05:40It's very difficult.
0:05:40 > 0:05:44- I know it's packed full of all these wonderful people. - No, that's brilliant.
0:05:44 > 0:05:45But you have to think, well,
0:05:45 > 0:05:48how much of a market would there be for it?
0:05:48 > 0:05:50So, I think if we put it at £60-£100,
0:05:50 > 0:05:52- it gives it a fighting chance. - That sounds brilliant.
0:05:52 > 0:05:55I have a feeling that that Bond one, the Sean Connery one, might...
0:05:55 > 0:05:58- Especially since it's 50 years of Bond this year. - Exactly, yes, exactly.
0:06:00 > 0:06:03This building is no stranger to the A-list.
0:06:03 > 0:06:06Alongside the great and the good, expounding their theories,
0:06:06 > 0:06:10there have been plenty of guests to please the paparazzi.
0:06:11 > 0:06:14Reality TV stars like Katie Price and Kerry Katona,
0:06:14 > 0:06:19right through to amphibians, like Kermit the Frog, who proclaimed
0:06:19 > 0:06:22"If Ronald Reagan can do it, then so can I."
0:06:22 > 0:06:24There's certainly been an eclectic mix here.
0:06:26 > 0:06:28Our very own matinee idol, Will Axon,
0:06:28 > 0:06:31has managed to give the paparazzi the slip
0:06:31 > 0:06:33to meet another Christina in the courtyard.
0:06:33 > 0:06:37From the nice, warm golden plover of the winter sun behind us
0:06:37 > 0:06:39to this nice, warm golden glow on the table.
0:06:39 > 0:06:42It really caught my eye when this came out of your bag.
0:06:42 > 0:06:44Christina, is this something that belongs to you?
0:06:44 > 0:06:47- Or Lydia, is this yours? - No, it's mine.- Is it?- Yes.
0:06:47 > 0:06:49Lydia's just come along for a bit of moral support, has she?
0:06:49 > 0:06:50She has, yes.
0:06:50 > 0:06:53Well, it's a charm bracelet, in gold, of course.
0:06:53 > 0:06:58Mainly nine carat gold, as is common with charms and charm bracelets.
0:06:58 > 0:06:59Does every charm tell a story?
0:06:59 > 0:07:02Do you remember where each one came from?
0:07:02 > 0:07:06Not particularly each one, but a lot of them came from Cornwall.
0:07:06 > 0:07:08- As souvenirs? - We had holidays there, yes.
0:07:08 > 0:07:11Or, perhaps the odd birthday present, or a Christmas present.
0:07:11 > 0:07:14I always thought that if you know someone who wore a charm bracelet
0:07:14 > 0:07:17you knew what to get them for their birthday or Christmas.
0:07:17 > 0:07:19- Exactly, yes.- But of course, the trouble nowadays is,
0:07:19 > 0:07:21who do you know who does wear a charm bracelet?
0:07:21 > 0:07:23That's it, not very often these days.
0:07:23 > 0:07:25I mean, Lydia, is that something that catches your eye?
0:07:25 > 0:07:27Would you like to wear that?
0:07:27 > 0:07:30- No.- No?- Maybe.- There's some fun charms on here, aren't there?
0:07:30 > 0:07:33- There's a little steam train. - And then Aladdin.
0:07:33 > 0:07:36- You're right, and Aladdin's lamp. - And I like the little fishy thing.
0:07:36 > 0:07:38Oh, yes, look here, you've got little fish there as well.
0:07:38 > 0:07:43- And Noah's ark.- And it opens and you see some things.- Yeah?
0:07:43 > 0:07:45- The spaceman's legs move.- Do they?
0:07:45 > 0:07:49- The pump moves. - The little bellows, you're right.
0:07:49 > 0:07:51Look, they work, the little bellows are working.
0:07:51 > 0:07:55I mean, great fun, really, but in a practical sense,
0:07:55 > 0:07:57it's just not very wearable any more.
0:07:57 > 0:07:59So, you've brought it to Flog It!,
0:07:59 > 0:08:01you obviously want to sell the piece,
0:08:01 > 0:08:03and it's all going to be down to what it weighs.
0:08:03 > 0:08:06It's that sort of scenario, I'm afraid.
0:08:06 > 0:08:07Nine carat as well,
0:08:07 > 0:08:10so it's not going to be as much as if it were a higher grade of gold,
0:08:10 > 0:08:12but I still think you should be looking somewhere in the
0:08:12 > 0:08:14region of say £600-£800,
0:08:14 > 0:08:17which, for a little bracelet that probably sits in a drawer
0:08:17 > 0:08:20- not doing a lot, it's a good amount of cash, isn't it?- It is.
0:08:20 > 0:08:22So, what's the money going to go towards?
0:08:22 > 0:08:24Divided up between the children and grandchildren.
0:08:24 > 0:08:28- Everyone's going to get a little slice of it?- Yes. - Well, I think that's rather nice.
0:08:28 > 0:08:31They'd rather nowadays probably prefer the cash than
0:08:31 > 0:08:33- they would an old charm, wouldn't they?- Exactly, yeah.
0:08:33 > 0:08:36Will you be able to make the auction, do you think, Lydia?
0:08:36 > 0:08:38- No, because I will be at school. - Oh, that's true.
0:08:38 > 0:08:41- We'll give you a wave, how's that, when we're at an auction?- OK.- OK.
0:08:41 > 0:08:44- It's been a pleasure meeting you both.- Thank you very much.
0:08:44 > 0:08:47- I'm sure we'll get this away for you.- OK, thank you.
0:08:47 > 0:08:49# Oxford town, Oxford town
0:08:49 > 0:08:51# Everybody's got their heads bowed down
0:08:51 > 0:08:53# The sun don't shine above the ground
0:08:53 > 0:08:56# Ain't a-going down to Oxford town. #
0:08:56 > 0:08:58And back inside, our very own Christina
0:08:58 > 0:09:01is slightly confused by her next item.
0:09:01 > 0:09:03- So, Hilary?- Yes, Christina.
0:09:03 > 0:09:07- You've brought us an egg. - I have. It's a nutmeg grater.- Ah!
0:09:07 > 0:09:11- Yes.- So, not an egg.- It's not an egg from the golden goose.
0:09:11 > 0:09:14- It would be nice, wouldn't it? - It's a nutmeg grater.
0:09:14 > 0:09:16It's a nutmeg grater. And where's it come from?
0:09:16 > 0:09:21It came from my uncle, and he's quite well known. Well, he was.
0:09:21 > 0:09:23His name is Hubert Noel Charles
0:09:23 > 0:09:27and he designed the very first MG motor car.
0:09:27 > 0:09:29Oh, wow! That's quite exciting.
0:09:29 > 0:09:33- Very exciting, yes.- So, do you have a large collection of MGs at home?
0:09:33 > 0:09:37No, unfortunately. That's one thing I ought to have.
0:09:37 > 0:09:40- Gosh. Wow-ee. Was this his? - That was his, yes.
0:09:40 > 0:09:42And I don't know whether it belonged to his parents,
0:09:42 > 0:09:44because it is fairly old, I believe.
0:09:44 > 0:09:47- And it's come through the family? - Come through the family.
0:09:47 > 0:09:49Well, we can tell it's a nutmeg grater, obviously,
0:09:49 > 0:09:52because if we have a little look on the inside,
0:09:52 > 0:09:55we've got this wonderful grate in here.
0:09:55 > 0:09:57Now, nutmeg graters are quite collectable
0:09:57 > 0:10:00and I believe you've already done quite a lot of research on this?
0:10:00 > 0:10:04- Yes, I have.- And you know it's by Samuel Meriton.- Yes.
0:10:04 > 0:10:07Unfortunately, we don't know the actual date that it was made.
0:10:07 > 0:10:10Often, small silver didn't have any duty payable on it,
0:10:10 > 0:10:13- so he didn't actually put the date mark.- Oh, I see.
0:10:13 > 0:10:17So, we've got this wonderful maker's stamp in the bottom, here,
0:10:17 > 0:10:20but sadly, no date.
0:10:20 > 0:10:26But we know that he was working in the 1800s, the late 19th century.
0:10:26 > 0:10:29After the establishment of the East India Company,
0:10:29 > 0:10:32spices and nutmeg were much more readily available,
0:10:32 > 0:10:35so you would grate your nutmeg into your wine
0:10:35 > 0:10:37to make it taste slightly more palatable.
0:10:37 > 0:10:41So, they weren't carried by the very most affluent members of society
0:10:41 > 0:10:45because if you were affluent, frankly, you could afford good wine.
0:10:45 > 0:10:48They didn't put it on food, then, the nutmeg on food?
0:10:48 > 0:10:50- Sometimes, but more commonly it was in wine.- Oh, right.
0:10:50 > 0:10:54So, very, very pretty. Very collectable.
0:10:54 > 0:10:57- And I love the fact that it is just so simple.- Yes.
0:10:57 > 0:11:00And like you say, it's lovely and warm, because you've been holding it.
0:11:00 > 0:11:02I've been holding it - it's very tactile, isn't it?
0:11:02 > 0:11:05- You've kept it really toasty! - It's lovely, yes.
0:11:05 > 0:11:07It is hollow, so you would expect some sort of damage
0:11:07 > 0:11:09and sadly, this happened.
0:11:09 > 0:11:11It's only a slight one.
0:11:11 > 0:11:14Only a slight dent, we'll just gloss over that.
0:11:14 > 0:11:15Yes, but they can be...
0:11:17 > 0:11:19Value wise, what are you expecting?
0:11:19 > 0:11:26Well, yes, I know a couple of years ago I was offered about £230 for it.
0:11:26 > 0:11:31- Oh, my goodness.- So, I should have sold it then, really. But never mind.
0:11:31 > 0:11:35They tend to be fetching in the region of £120-£180.
0:11:35 > 0:11:38So, I would hope that it would make in the middle of that at least.
0:11:38 > 0:11:41I would be comfortable at putting a firm reserve of 120.
0:11:41 > 0:11:44I think you'd be very disappointed if it went for any less than that.
0:11:44 > 0:11:50- If it went less than 150, really. - Oh, really?- Yes, I would.
0:11:50 > 0:11:54OK. If we put the reserve at 150 we'd have to put it at £150-£200.
0:11:54 > 0:11:57That sounds good, Christina. And keep our fingers crossed.
0:11:57 > 0:11:59- Keep our fingers very crossed!- Yes!
0:11:59 > 0:12:03Are you going to put the proceeds towards an MG?
0:12:03 > 0:12:06- No, I think a nice long holiday. - Oh, that sounds good!
0:12:08 > 0:12:12Well, we've got some interesting items boxed and ready to dispatch
0:12:12 > 0:12:15so I think it's time for a cup of coffee, don't you?
0:12:15 > 0:12:18Before we head off to auction for the first time today,
0:12:18 > 0:12:20I want to show you the union cafe.
0:12:20 > 0:12:22Behind me are hundreds of photographs of
0:12:22 > 0:12:25some of the famous people who've spoken in the debating chamber.
0:12:25 > 0:12:29Up there, you can see Pierce Brosnan, 007.
0:12:29 > 0:12:30The Labour MP, Tony Benn.
0:12:30 > 0:12:33Up there, one of my favourite actors, Bill Nighy.
0:12:33 > 0:12:36And of course, Shakira. But I wonder what she had to say?
0:12:36 > 0:12:37Anyway, I'm digressing right now.
0:12:37 > 0:12:40It's time to put those valuations to the test.
0:12:40 > 0:12:43And no doubt, there's going to be another debate in the auction room.
0:12:43 > 0:12:45Here's a quick recap of what's going under the hammer.
0:12:45 > 0:12:50We have Tracey's autograph book, jam-packed with famous faces.
0:12:50 > 0:12:52- Oh, gosh, who's this? - That's Marlene Dietrich.
0:12:52 > 0:12:57Christina and Lydia's charm bracelet, complete with 24 charms.
0:12:57 > 0:12:59Will they be lucky in the saleroom?
0:12:59 > 0:13:03And of course, Hilary's unusual nutmeg grater.
0:13:03 > 0:13:05Will she get the high price she wants for it?
0:13:05 > 0:13:10- A couple of years ago I was offered about £230 for it.- Oh, my goodness!
0:13:10 > 0:13:12Yes!
0:13:12 > 0:13:14So, who's going to reach for the stars
0:13:14 > 0:13:18and who's going to be bottom of the bill?
0:13:18 > 0:13:21Our auction today comes from Newbury, near Reading.
0:13:21 > 0:13:23Among the famous names who hail from Newbury
0:13:23 > 0:13:26are Sebastian Faulks, author of Birdsong.
0:13:26 > 0:13:29And musical impresario, Andrew Lloyd Webber,
0:13:29 > 0:13:32both of whom have spoken at Oxford Union.
0:13:34 > 0:13:36In charge of today's proceedings
0:13:36 > 0:13:39is our all-singing, all-dancing auctioneer, Thomas Plant.
0:13:39 > 0:13:43Go on! 80, he says. Yes! £80.
0:13:43 > 0:13:46And the house is absolutely packed.
0:13:48 > 0:13:52And our own star turn's first lot is that nutmeg grater,
0:13:52 > 0:13:54handy for 19th-century wine.
0:13:54 > 0:13:56Hilary, sadly, cannot be with us today
0:13:56 > 0:13:58but I'm joined by Christina, our lovely expert.
0:13:58 > 0:14:03And we're just about to put that silver nutmeg grater under the hammer. Aren't we?
0:14:03 > 0:14:08- Hilary was offered £230 for this not so long ago.- Yeah, no pressure!
0:14:08 > 0:14:10- No pressure!- Thanks!
0:14:10 > 0:14:13It's a different kettle of fish in an auction.
0:14:13 > 0:14:15It can either go higher and hit that result,
0:14:15 > 0:14:17or it can go slightly lower. That's the fun of the auction.
0:14:17 > 0:14:20In the market that we're in, nutmeg graters are very easy to collect.
0:14:20 > 0:14:22They're small, you can collect a lot of them.
0:14:22 > 0:14:25- So, hopefully... - It's stamped SM, isn't it?
0:14:25 > 0:14:27So, we know who the maker is, Samuel Menton or Meriton.
0:14:27 > 0:14:29But there's those dents, which worry me.
0:14:29 > 0:14:33It's going to have to have a little bit of work, but...
0:14:33 > 0:14:37- Right.- OK.- Here we go then. Ready? Good luck, this is it.
0:14:37 > 0:14:39The 19th-century silver nutmeg grater.
0:14:39 > 0:14:43And I can start the bidding with me here at £150, with me.
0:14:43 > 0:14:48160, 170, 180, 190. 200, and ten.
0:14:48 > 0:14:52220, and I'm out. At 220, it is. At 220, and I'm out.
0:14:52 > 0:14:55It's in the room at 220. Any advance at 220?
0:14:55 > 0:14:58Selling, then, 220 it is.
0:14:58 > 0:15:01- Well, that was a good result. I'm happy with that.- I hope Hilary is.
0:15:01 > 0:15:03I'm sure she is. Hilary, if you're watching this,
0:15:03 > 0:15:07- I know there's a big smile on your face and that's what it's all about. - Yes, exactly, yes.
0:15:07 > 0:15:10If you've got anything like that at home, we'd love to see it.
0:15:10 > 0:15:13Bring it into one of our valuation days.
0:15:13 > 0:15:17It's a cracking start and Thomas has more good news for our next item.
0:15:17 > 0:15:19Five, 60, five...
0:15:19 > 0:15:22There are a few keen jewellery buffs in the room today,
0:15:22 > 0:15:23so he has high hopes
0:15:23 > 0:15:26that Christina's bracelet will charm them.
0:15:26 > 0:15:27He's even upped the reserve.
0:15:27 > 0:15:31We've been talking about this bracelet which is just about to go under the hammer.
0:15:31 > 0:15:32There's all sorts of things going on.
0:15:32 > 0:15:35- There's the little church, isn't there?- Yes.
0:15:35 > 0:15:37- There's a £5 note.- Yes. - There's an oil lamp.
0:15:37 > 0:15:39Yeah. The spaceman, that was my favourite.
0:15:39 > 0:15:42Was that Lydia's favourite as well? On the valuation day, little Lydia.
0:15:42 > 0:15:44And it is a shame, because you think,
0:15:44 > 0:15:46the work that goes into making these little charms.
0:15:46 > 0:15:48You were mentioning the church and the steeple,
0:15:48 > 0:15:51the doors that open and all the people inside.
0:15:51 > 0:15:54It's unfortunate that I don't think they're going to last very long.
0:15:54 > 0:15:57Shame, really, isn't it?
0:15:57 > 0:16:00The other good thing about gold is, of course, that it is recycled.
0:16:00 > 0:16:03Those will be melted down and they'll be made into another
0:16:03 > 0:16:06piece of jewellery that someone else is going to wear for years,
0:16:06 > 0:16:09- so it's a sort of cyclic notion, isn't it?- It is, really.
0:16:09 > 0:16:12Anyway, let's put it to the test. What's it worth?
0:16:12 > 0:16:15Thomas is going to tell us. Here we go.
0:16:15 > 0:16:18And this is the impressive nine carat gold charm bracelet.
0:16:18 > 0:16:20There we are, lots of charms on this one.
0:16:20 > 0:16:24I will start the bidding with me here, straight in at £600 with me.
0:16:24 > 0:16:29At £600, I have. 600...and 20. 650?
0:16:29 > 0:16:34680, if you want to. 680, and I'm out. At 680, it's in the room. 700.
0:16:34 > 0:16:39At £700 in the room. Is there any advance at £700?
0:16:39 > 0:16:42Very last chance at 700 and I sell.
0:16:42 > 0:16:44- Thank you very much. - I'm happy with that.
0:16:44 > 0:16:46- You're happy with that as well, aren't you?- Yes.
0:16:46 > 0:16:47The children will be happy.
0:16:47 > 0:16:49Oh, right - are they going to benefit?
0:16:49 > 0:16:51It's their inheritance.
0:16:51 > 0:16:53Well, give our best to Lydia as well.
0:16:53 > 0:16:55I'm sorry she couldn't make it.
0:16:55 > 0:16:56Lydia will be pleased.
0:16:56 > 0:16:59Now it's time to auction that jam-packed autograph book,
0:16:59 > 0:17:04brought in by Tracey and compiled by her great-uncle, Ray.
0:17:04 > 0:17:06You've got some top names there,
0:17:06 > 0:17:10and collected at the New Oxford Theatre from the 1950s onwards.
0:17:10 > 0:17:12And in fact, Thomas is on the rostrum announcing them now.
0:17:12 > 0:17:16Bernard Cribbins, Jon Pertwee, Tommy Steele, Vincent Price.
0:17:16 > 0:17:19Well, there's some wonderful names here.
0:17:19 > 0:17:25- What was your favourite one? - Sean Connery.- James Bond!- Yes!
0:17:25 > 0:17:29This is a comprehensive and well presented collection of autographs.
0:17:29 > 0:17:32Plenty of interest.
0:17:32 > 0:17:38I can start this one at 130, 140, 150, 160 with me.
0:17:38 > 0:17:45- £160 against you. 160... - £160!- Is there any advance at £160?
0:17:45 > 0:17:50- At 160, I have.- Fantastic. - Against you all, 160.
0:17:50 > 0:17:54Hammer's gone down, straight in, straight out. £160.
0:17:54 > 0:17:56He was a great man.
0:17:56 > 0:18:01- Up there, he's probably quite pleased.- I hope so.
0:18:01 > 0:18:04- Thank you very much.- What a great ending. That was a big surprise.
0:18:04 > 0:18:06That IS a big surprise.
0:18:11 > 0:18:14Many famous debates have been delivered at the Oxford Union,
0:18:14 > 0:18:16but what do the words we write say about us?
0:18:16 > 0:18:19Not the words themselves, but the text they're written in.
0:18:19 > 0:18:22We can all use the computer these days and we can choose whether
0:18:22 > 0:18:25our letters look better in Arial or classic Times New Roman,
0:18:25 > 0:18:27but who designs these fonts?
0:18:27 > 0:18:31Well, while we're filming in the area, I went off to investigate.
0:18:35 > 0:18:37# A, B, C
0:18:37 > 0:18:40# Easy as one, two, three
0:18:40 > 0:18:41# As simple as do, re, mi
0:18:41 > 0:18:43# A, B, C
0:18:43 > 0:18:44# One, to, three
0:18:44 > 0:18:46# Baby, you and me, girl... #
0:18:46 > 0:18:50Fonts - they are everywhere. We're surrounded by them.
0:18:51 > 0:18:56I've come to the Type Museum here in Stockwell to find out a bit more.
0:18:57 > 0:19:01Fonts are basically clothes that words are dressed up in.
0:19:01 > 0:19:05And I, for one, well, I'm quite particular about my choice of font.
0:19:05 > 0:19:09I am a Calibri man. I love my beloved Calibri.
0:19:09 > 0:19:11That is my type.
0:19:17 > 0:19:20Not so long ago, we all used to write letters by hand.
0:19:20 > 0:19:22Some people's handwriting is like scribbles,
0:19:22 > 0:19:25others is as neat as printed text.
0:19:25 > 0:19:28Everybody's different and everybody's unique.
0:19:28 > 0:19:30But few of us write letters nowadays.
0:19:30 > 0:19:32We all text each other or send e-mails.
0:19:32 > 0:19:35So, what does our font choice say about us?
0:19:35 > 0:19:36Because, basically,
0:19:36 > 0:19:40fonts are the computer's version of our handwriting style.
0:19:42 > 0:19:44It's all down to taste.
0:19:44 > 0:19:46I think Times New Roman is a bit too classic.
0:19:46 > 0:19:48Arial is a bit overused.
0:19:48 > 0:19:50And Comic Sans polarises opinion.
0:19:50 > 0:19:53It looks like it was created by my four-year-old!
0:19:53 > 0:19:56But what do the experts think?
0:19:56 > 0:19:57Neville Brody is a typographer
0:19:57 > 0:20:03and is the brainchild behind several fonts we use on a daily basis.
0:20:03 > 0:20:06Your choice of typeface says quite a lot about you.
0:20:06 > 0:20:09The way you dress describes your personality,
0:20:09 > 0:20:11the fonts you use are the same.
0:20:11 > 0:20:15I think most people today just buy a computer
0:20:15 > 0:20:17and typefaces are just in there.
0:20:17 > 0:20:20No-one ever contributed to them or designed them,
0:20:20 > 0:20:23they just came from somewhere out in the universe.
0:20:23 > 0:20:27Actually, they came on a spaceship called Microsoft.
0:20:27 > 0:20:30Most people will use Times, or Arial.
0:20:32 > 0:20:36You wouldn't go out every day wearing exactly the same uniform
0:20:36 > 0:20:39that some big corporation had told you to wear,
0:20:39 > 0:20:43you'd go out and choose something different from your wardrobe.
0:20:43 > 0:20:47But in typography, we don't tend to think like that.
0:20:47 > 0:20:53This is a fraction of the amount of typefaces for your computer
0:20:53 > 0:20:55that you can get hold of.
0:20:55 > 0:20:59It's extraordinary and growing exponentially every year,
0:20:59 > 0:21:02and it's almost a bit like the record industry in a way.
0:21:02 > 0:21:05You know, each week you might have another hit single.
0:21:09 > 0:21:11Just look around us -
0:21:11 > 0:21:15we don't notice how many fonts we are subjected to every day.
0:21:15 > 0:21:19But imagine if those fonts were suddenly altered.
0:21:19 > 0:21:22We'd notice that something wasn't right.
0:21:22 > 0:21:25Hang on, what's different about the telephone box?
0:21:28 > 0:21:31But fancy font work is nothing new.
0:21:31 > 0:21:35Oxford University Press is the largest university press in the world
0:21:35 > 0:21:39and it printed its first book way back in 1478.
0:21:41 > 0:21:46Martin Moore is the archivist here and a self-confessed font fan.
0:21:46 > 0:21:49Type design goes back to the Roman or Greek models.
0:21:49 > 0:21:51Early printers would look at inscriptions
0:21:51 > 0:21:53on Greek monuments or buildings.
0:21:53 > 0:21:57They'd take that as being the classical idea of beauty
0:21:57 > 0:22:00and they'd try to reproduce those proportions in their own letters.
0:22:00 > 0:22:02Who has the editorial decision
0:22:02 > 0:22:05to choose what font is used for what text?
0:22:05 > 0:22:06I mean, giving an example,
0:22:06 > 0:22:09the Bible wouldn't be printed and published in Comic Sans.
0:22:09 > 0:22:13I mean, that's just ridiculous. But, who actually has that say?
0:22:13 > 0:22:15Usually it's an editorial decision
0:22:15 > 0:22:18in somewhere like Oxford University Press.
0:22:18 > 0:22:20But as you look through printing history,
0:22:20 > 0:22:23you'll find that the printers themselves decided on this
0:22:23 > 0:22:24and in some cases, you'll see that
0:22:24 > 0:22:27they would do really elaborate pieces of printing
0:22:27 > 0:22:29to show off what they were capable of
0:22:29 > 0:22:31or to show customers what they were capable of.
0:22:31 > 0:22:34Especially some of the very early illuminated manuscripts.
0:22:34 > 0:22:37- I mean, the printing there is just superb.- Absolutely.
0:22:37 > 0:22:39And as we can see from this copy of Clarendon's
0:22:39 > 0:22:41History Of The English Civil War,
0:22:41 > 0:22:44which Oxford printed at the beginning of the 18th century,
0:22:44 > 0:22:46here you have a title page
0:22:46 > 0:22:50which is a great stew of different typefaces and designs.
0:22:50 > 0:22:53It's really designed, in those days' terms, to catch the eye,
0:22:53 > 0:22:57to draw people to Oxford to get their work printed from us.
0:22:57 > 0:23:00Type was very elaborate, it was very floral,
0:23:00 > 0:23:03it was very full of bling, in fact.
0:23:06 > 0:23:10So, being creative with your font choice is not a new idea.
0:23:10 > 0:23:13But constructing a font was laborious.
0:23:13 > 0:23:14Everything was done by hand.
0:23:18 > 0:23:20The design was carved out of steel,
0:23:20 > 0:23:25then punched into softer copper to create a mould
0:23:25 > 0:23:28tiny letter by tiny letter.
0:23:28 > 0:23:32These moulds were often filled individually with liquid metal.
0:23:32 > 0:23:36It often took weeks to create an elaborate font.
0:23:38 > 0:23:42It's a very, very skilled business. It's almost a dead trade today.
0:23:42 > 0:23:45There are very few people in the world who can still do this.
0:23:50 > 0:23:52But something happened in the 1860s
0:23:52 > 0:23:55which would drastically limit our font choice.
0:23:55 > 0:24:00MUSIC: "The Typewriter" by Leroy Anderson
0:24:00 > 0:24:03The typewriter arrived.
0:24:03 > 0:24:07This invention standardised the look of almost all professional correspondence,
0:24:07 > 0:24:11as the typewriter was limited to varieties of one font.
0:24:11 > 0:24:13We know it today as Courier.
0:24:13 > 0:24:16But, of course, its days of dominance were numbered.
0:24:20 > 0:24:23- NEWSREEL:- 'The new keyboard controls a word processor -
0:24:23 > 0:24:26'the microchip controlled office machine of the future.
0:24:26 > 0:24:28'That's what the extra keys are for and that's why
0:24:28 > 0:24:30'it could have a big future.'
0:24:30 > 0:24:33The rise of the computer in the 1970s
0:24:33 > 0:24:35and the demise of the typewriter
0:24:35 > 0:24:39meant that fonts had to look good on screen as well as in print.
0:24:39 > 0:24:42And some have even become default choices.
0:24:42 > 0:24:46Nowadays, Verdana is currently the most popular typeface on the internet.
0:24:46 > 0:24:48But it's the ubiquity of Comic Sans
0:24:48 > 0:24:52which confounds typographers like Neville Brody.
0:24:52 > 0:24:57Using Comic Sans to make you look kind of slightly light and jolly
0:24:57 > 0:25:01and informal, for me, it's the equivalent of getting
0:25:01 > 0:25:04Ronald McDonald to deliver your messages to friends.
0:25:04 > 0:25:09It's not serious and is used far too often, but I quite like it for that.
0:25:12 > 0:25:13From the comic to the uber cool,
0:25:13 > 0:25:16with a myriad of fonts now available to us
0:25:16 > 0:25:19it's about choosing the right font for the right context
0:25:19 > 0:25:22and being more bold with our choices.
0:25:22 > 0:25:26For Neville, there's no end to the fun you can have with fonts.
0:25:27 > 0:25:34Here is the number three, but it becomes graphic form again,
0:25:34 > 0:25:38and I love the idea that it can become more sculptural, more modern.
0:25:39 > 0:25:41This is actually an S.
0:25:41 > 0:25:43It's quite experimental.
0:25:43 > 0:25:47But the typeface itself is still quite readable.
0:25:47 > 0:25:52We took what was a designed for a boxing poster and then redesigned it
0:25:52 > 0:25:56to make it look a lot more feminine and poetic and graceful.
0:25:56 > 0:26:00So, typefaces can have different kinds of lives now.
0:26:00 > 0:26:03I couldn't imagine this being at all possible using metal lettering.
0:26:06 > 0:26:10So, how does the outside world look now that I'm more aware of fonts?
0:26:10 > 0:26:13Fonts are basically the tone of voice we hear when we read
0:26:13 > 0:26:16and, indeed, the Guardian newspaper - look, this one here -
0:26:16 > 0:26:18has its own font, Guardian Egyptian,
0:26:18 > 0:26:21which brands the newspaper throughout.
0:26:21 > 0:26:26And so does the Times. But, what does my favourite font say about me?
0:26:26 > 0:26:29Kind of warm and cuddly and slightly classical,
0:26:29 > 0:26:35yearning for some great old days, in a way.
0:26:35 > 0:26:38Warm and cuddly? Thanks a lot! Time for a new font?
0:26:45 > 0:26:48Welcome back to our valuation day venue, the Oxford Union.
0:26:48 > 0:26:50There's still a great buzz in the room
0:26:50 > 0:26:53and plenty more antiques to find to take off to auction.
0:26:53 > 0:26:54But we start outside,
0:26:54 > 0:26:58where Will is perusing some prints by a very famous artist.
0:26:58 > 0:27:02I couldn't find a table in there big enough to house your folio.
0:27:02 > 0:27:04Tell me, where's this come from?
0:27:04 > 0:27:08It was just a purchase at a local antiques fair about five years ago
0:27:08 > 0:27:10- over in Woodstock.- OK. - A bit of an impulse buy.
0:27:10 > 0:27:12You're a keen antique buyer, are you?
0:27:12 > 0:27:14I pick up the odd bit here and there.
0:27:14 > 0:27:17- Pictures aren't normally my thing, but...- You mentioned pictures,
0:27:17 > 0:27:20because that's exactly what we've got, isn't it? Let's have a look.
0:27:20 > 0:27:23First of all, I notice here, R Wimbush Esq.
0:27:23 > 0:27:27That, to me, makes me think, this is going to be something quite special,
0:27:27 > 0:27:29surely, being a personalised folio.
0:27:29 > 0:27:33Indeed, "12 stipple engravings of Hogarth."
0:27:33 > 0:27:35The Rake's Progress and The Election.
0:27:35 > 0:27:40And here, look, is the original receipt. 1947, £126.
0:27:40 > 0:27:42That seems to me like a lot of money in those days.
0:27:42 > 0:27:44The Rake's Progress is obviously
0:27:44 > 0:27:47the one that everyone's going to have heard of, by Hogarth.
0:27:47 > 0:27:48It is Tom Rakewell
0:27:48 > 0:27:54and it's basically a report on his life of vice and self-destruction
0:27:54 > 0:27:56after inheriting a fortune from his father.
0:27:56 > 0:27:58Let's just open up.
0:27:58 > 0:28:01We've got here, at the top, actually, this is the first one.
0:28:01 > 0:28:03This is when he's inheriting his fortune.
0:28:03 > 0:28:07You can see here, his miserly father has died.
0:28:07 > 0:28:09He's getting measured up for a new suit.
0:28:09 > 0:28:11You've got the lawyer at the back and, interestingly,
0:28:11 > 0:28:15he's got his finger in the gold coins - he's pinching a few coins.
0:28:15 > 0:28:17He's already being taken advantage of here.
0:28:17 > 0:28:19And this figure here, actually, she's Sarah Young.
0:28:19 > 0:28:22She's actually quite an important figure in the whole series.
0:28:22 > 0:28:25She sort of devoted herself to Tom.
0:28:25 > 0:28:28He's trying to pay her off now that he's found his new wealth.
0:28:28 > 0:28:30He wants to go and play the field, as it were.
0:28:30 > 0:28:33She's holding the ring that he promised her
0:28:33 > 0:28:35and, later on in the story, she keeps popping up
0:28:35 > 0:28:39and she's still in love with him, but he's rejecting her.
0:28:39 > 0:28:43You know, it's a sad side of a sad story - someone's demise.
0:28:43 > 0:28:44So, that's the first in the series.
0:28:44 > 0:28:47I thought it would be quite interesting to then make
0:28:47 > 0:28:53a leap to the last in the series, and this one's entitled "Bedlam."
0:28:53 > 0:28:57And there he is, completely mad, having lost all his money,
0:28:57 > 0:29:00all his friends and his marbles, as such.
0:29:00 > 0:29:02You can see various figures here and, of course,
0:29:02 > 0:29:04Bedlam being open to the public,
0:29:04 > 0:29:06these are two fashionable ladies who have come.
0:29:06 > 0:29:11And there's Sarah Young, again, who's come to visit him when he's mad.
0:29:11 > 0:29:14And it's a sad story, but it really caught the attention at the time.
0:29:14 > 0:29:15You know, Hogarth,
0:29:15 > 0:29:18these are obviously from original paintings by Hogarth.
0:29:18 > 0:29:20They hang in the Soane's Museum.
0:29:20 > 0:29:23But Hogarth was a commercial minded man,
0:29:23 > 0:29:26so people would come to his studio, see the original paintings
0:29:26 > 0:29:28and he'd say, "Would you like to order a series of prints?"
0:29:28 > 0:29:30And he produced some original prints himself.
0:29:30 > 0:29:31These aren't by him,
0:29:31 > 0:29:35these are by Jackson Stodart "from the original painting by Hogarth."
0:29:35 > 0:29:39It's also got The Election, which is another series of four, I think.
0:29:39 > 0:29:40And London, The Museum Galleries -
0:29:40 > 0:29:43they're the people who have published these, produced these.
0:29:43 > 0:29:50Super quality. I mean, you know, the cost to produce these is quite high.
0:29:50 > 0:29:54So, good quality items, hence why they're in this personalised folio.
0:29:54 > 0:29:56You say you bought them at an antiques fair,
0:29:56 > 0:29:59- what sort of money did you have to pay for them?- It was about £50.
0:29:59 > 0:30:01OK, so not bad, really, when you break it down,
0:30:01 > 0:30:04and certainly considering what they cost originally.
0:30:04 > 0:30:07But the way we furnish our homes nowadays,
0:30:07 > 0:30:09- they're not hugely fashionable, I'm afraid.- No, I agree.
0:30:09 > 0:30:13Different if you're talking about period 18th-century ones.
0:30:13 > 0:30:14You say you paid £50 for it.
0:30:14 > 0:30:17I'm going to try and get away with getting your money back.
0:30:17 > 0:30:19- How do you feel about that?- OK, I am happy with that.- Yeah, you happy?
0:30:19 > 0:30:24- Let's put 'em in at say £50-100... - OK.- ..and we'll reserve them at £50.
0:30:24 > 0:30:25- Yeah?- Sounds great.- Yeah.
0:30:25 > 0:30:27And they might even make a little bit more.
0:30:27 > 0:30:29- You never can tell.- Lovely.
0:30:29 > 0:30:31From the "Bedlam" of Hogarth
0:30:31 > 0:30:34to the well-oiled machine that is our "Flog It!" team,
0:30:34 > 0:30:37we're back inside the debating hall with Christina,
0:30:37 > 0:30:40who's on familiar territory with our next item.
0:30:41 > 0:30:42Pauline, my golden girl,
0:30:42 > 0:30:45you've brought me some beautiful jewellery in today.
0:30:45 > 0:30:47Tell me a little bit about it. Where has it come from?
0:30:47 > 0:30:50- Well, it belonged to my grandmother.- Right.
0:30:50 > 0:30:52Obviously came down from my grandmother to my mum
0:30:52 > 0:30:55and my mum gave it to me some time ago.
0:30:55 > 0:30:59And it's probably sat for the last 20 or 30 years in the cupboard.
0:30:59 > 0:31:00Oh, no! Oh, what a shame.
0:31:00 > 0:31:03I don't really wear yellow gold so...
0:31:03 > 0:31:06- So you wear white gold or silver? - Yes.- So it's just not really...
0:31:06 > 0:31:09- It's not something that I would wear, really.- Right.
0:31:09 > 0:31:13Well, it's a 15 carat yellow gold chain,
0:31:13 > 0:31:15what we call a curb link chain.
0:31:15 > 0:31:18And it's stamped 15 carat just on here
0:31:18 > 0:31:20with a nine carat gold clasp.
0:31:20 > 0:31:23A very traditional padlock, heart-shaped padlock, clasp,
0:31:23 > 0:31:26- which is stamped nine carat on the back.- Mm-hm.
0:31:26 > 0:31:28It's really very lovely and quite easy to wear
0:31:28 > 0:31:31cos the curb links do roll around on your wrist.
0:31:31 > 0:31:34But why don't you wear it? Cos you...
0:31:34 > 0:31:36It's not something that I like particularly.
0:31:36 > 0:31:39- Did your grandmother wear it? - I believe my grandmother wore it.
0:31:39 > 0:31:42My grandmother died when I was fairly young
0:31:42 > 0:31:44so I don't ever remember seeing her wearing it.
0:31:44 > 0:31:47Certainly don't ever remember seeing my mum wear it.
0:31:47 > 0:31:49- So it's a shame.- Well, that would explain
0:31:49 > 0:31:51why there's so little wear on it cos for 15 carat,
0:31:51 > 0:31:54really, you would expect to see a few more scratches,
0:31:54 > 0:31:56especially with a hollow link chain.
0:31:56 > 0:31:59- Not being solid, obviously it would get quite a few dents.- Yeah.
0:31:59 > 0:32:03And it just is in brilliant condition, which is fantastic.
0:32:03 > 0:32:05But also quite sad because you would hope that
0:32:05 > 0:32:07- we would be able to find somebody that will wear it.- Yeah,
0:32:07 > 0:32:08well, that's what I was hoping.
0:32:08 > 0:32:11- You know, someone would wear it and enjoy it and...- Absolutely.
0:32:11 > 0:32:12Well, let's see if we can find her.
0:32:12 > 0:32:14But we need to agree on an auction estimate.
0:32:14 > 0:32:17- OK.- I think at auction... They're not rare.
0:32:17 > 0:32:20They were fairly standard pieces of jewellery
0:32:20 > 0:32:22in the late 19th, early 20th century.
0:32:22 > 0:32:25- But it has got quite a lot of gold content to it.- Yes.
0:32:25 > 0:32:28Do you have any sort of value expectations for it?
0:32:28 > 0:32:30Obviously as much as it could go for, really!
0:32:30 > 0:32:32- Well, we'll keep our fingers crossed.- OK.
0:32:32 > 0:32:34But at auction, I think we're probably looking for
0:32:34 > 0:32:38something in the region of £150-200. How would you feel about that?
0:32:38 > 0:32:42- I would then like to put some kind of a reserve on it.- Yes, of course.
0:32:42 > 0:32:45- We wouldn't want it to go underneath £150, really.- No.
0:32:45 > 0:32:47No, I think that would be OK.
0:32:47 > 0:32:50So if we put an auction estimate of 150-200...
0:32:50 > 0:32:53- Yeah.- ..with a reserve of 150 firm.
0:32:53 > 0:32:56- Yes.- And let's just hope the gold price doubles...trebles
0:32:56 > 0:33:00- between now and the auction! - That would be very nice, yeah!
0:33:00 > 0:33:02- It would, wouldn't it?!- OK!
0:33:02 > 0:33:05And later on, we'll find out from our auctioneer, Thomas Plant,
0:33:05 > 0:33:07just how strong the gold market is.
0:33:09 > 0:33:13Now, we all know the Oxford Union has gained a worldwide reputation
0:33:13 > 0:33:15for the cut and thrust of its debate.
0:33:15 > 0:33:18But it's also proved a valuable training ground
0:33:18 > 0:33:20for future British Prime Ministers.
0:33:20 > 0:33:21Harold Macmillan.
0:33:21 > 0:33:22Ted Heath is here, as well.
0:33:22 > 0:33:24But it's not just Prime Ministers.
0:33:24 > 0:33:27The union also boasts some eminent members.
0:33:27 > 0:33:30And up there, just there, that's Albert Einstein,
0:33:30 > 0:33:32famous for his theory of relativity.
0:33:32 > 0:33:36And he's instantly recognisable because of his mop of mad hair.
0:33:36 > 0:33:38And this photograph was taken in 1933
0:33:38 > 0:33:40and the rest of his year
0:33:40 > 0:33:44have the most beautiful, slick, tidy haircuts
0:33:44 > 0:33:48and there's Albert Einstein, looking as mad as ever.
0:33:48 > 0:33:51I love that photograph. What a character!
0:34:00 > 0:34:02This place has seen its fair share of famous faces
0:34:02 > 0:34:05- and you've brought another one along today.- Certainly.
0:34:05 > 0:34:06Tell me, where has this come from?
0:34:06 > 0:34:08Well, I work for a local charity.
0:34:08 > 0:34:10- People come along and donate goods to us.- Yes?
0:34:10 > 0:34:13- I happened to notice the mask, loved the face...- Yeah.
0:34:13 > 0:34:16- And I thought, "That's worth going on Flog It!"- Ah, good idea.
0:34:16 > 0:34:18That's what we're here for.
0:34:18 > 0:34:20Well, she's certainly beautiful, isn't she? Stunning.
0:34:20 > 0:34:22I mean, really catches the eye.
0:34:22 > 0:34:24- It's lovely.- Yeah.- Yeah, I'd love it myself
0:34:24 > 0:34:26but it wasn't donated to me!
0:34:26 > 0:34:28Well, as with all pottery and porcelain,
0:34:28 > 0:34:31- let's have a look at the back, cos that'll give us some clues.- OK.
0:34:31 > 0:34:32And sure enough, there we are,
0:34:32 > 0:34:34we've got a nice, clear mark there, haven't we?
0:34:37 > 0:34:39Now, when you think of Austrian Art Deco,
0:34:39 > 0:34:41cos that's what she is, Art Deco pottery,
0:34:41 > 0:34:44you almost immediately think of Goldscheider.
0:34:44 > 0:34:47That's the first name that really jumps into your mind.
0:34:47 > 0:34:48Keramos, I think,
0:34:48 > 0:34:53were a factory that were producing wares alongside Goldscheider
0:34:53 > 0:34:54and I do believe, actually,
0:34:54 > 0:34:58that some of the painters and modellers worked for both.
0:34:58 > 0:35:00Keramos as well, I think, is the Greek...
0:35:00 > 0:35:01My Greek's not what it used to be.
0:35:01 > 0:35:03Maybe here at the Oxford Union,
0:35:03 > 0:35:05I'm sure they debate in Greek here, or something!
0:35:05 > 0:35:07- Well, it's all Greek to me, but carry on!- But I think
0:35:07 > 0:35:10- Keramos means pottery...- Oh, right. - ..or clay.
0:35:10 > 0:35:13So that might be where the name's come from.
0:35:13 > 0:35:15But you know, you can look at the back there
0:35:15 > 0:35:17and you can tell, almost, that it's nice quality
0:35:17 > 0:35:18just from the back, can't you?
0:35:18 > 0:35:22Let's turn her back over cos that's her best side, shall we say?!
0:35:22 > 0:35:25We've got this all over crackled glaze on her face.
0:35:25 > 0:35:29I think that's deliberate. I think they've gone for that look.
0:35:29 > 0:35:32On some pieces, you get it with age and so on.
0:35:32 > 0:35:35But also, with a certain glaze that you use
0:35:35 > 0:35:37or a certain finish or the firing,
0:35:37 > 0:35:39you can actually create that.
0:35:39 > 0:35:42If you look at ancient Chinese ceramics,
0:35:42 > 0:35:44they often have that crackled finish.
0:35:44 > 0:35:45Yeah.
0:35:45 > 0:35:48So it's come into the shop, caught your eye.
0:35:48 > 0:35:52Have you got any sort of idea what you think it might be worth?
0:35:52 > 0:35:57- I would like it to achieve around about £50, £60.- OK.
0:35:57 > 0:35:59Well, I think you're in the right sort of ballpark figure.
0:35:59 > 0:36:01It's not going to make the same sort of money
0:36:01 > 0:36:03that a Goldscheider one would,
0:36:03 > 0:36:05or, say, a Clarice Cliff wall mask, you know.
0:36:05 > 0:36:08- I understand that, yes. - That's the Premier League.
0:36:08 > 0:36:11This, because the whole Deco movement was so popular,
0:36:11 > 0:36:14let's put it in with an estimate of 50-80.
0:36:14 > 0:36:16- Wonderful.- And where should we reserve it?
0:36:16 > 0:36:19Shall we just tuck it in under that £50 mark?
0:36:19 > 0:36:23- I think 30.- Ooh!- Anything, you know, we'd be grateful for anything. - Anything helps.
0:36:23 > 0:36:25It's great work that you're doing.
0:36:25 > 0:36:28- I'm just glad that we can help you. - Fabulous, thank you. Thank you.
0:36:35 > 0:36:37I've been told the people of Oxford love a good debate
0:36:37 > 0:36:39and are not afraid to speak their mind.
0:36:39 > 0:36:42And that certainly seems true of some of the people
0:36:42 > 0:36:45who've been given valuations by Christina and Will.
0:36:45 > 0:36:48Let's just hope when we get to the auction room
0:36:48 > 0:36:49there's more ayes than noes.
0:36:49 > 0:36:52And that's exactly where we're going right now.
0:36:52 > 0:36:55And here's a quick recap of what we're taking with us.
0:36:57 > 0:37:00Depending on the gold price, Pauline's bracelet could sparkle.
0:37:00 > 0:37:01So I'll be asking Thomas
0:37:01 > 0:37:05if Christina's valuation may need an alteration.
0:37:07 > 0:37:09Or maybe the bidders will be captivated
0:37:09 > 0:37:14by Jade's Art Deco face mask, which dates back to the 1920s.
0:37:14 > 0:37:18- It's lovely.- Yeah.- I'd love it myself but it wasn't donated to me!
0:37:19 > 0:37:22But first up, will the Hogarth prints make progress
0:37:22 > 0:37:24or will they fall from grace?
0:37:27 > 0:37:30It's time to find out as the bedlam of the auction gets underway.
0:37:31 > 0:37:33When you talk about prints or etchings,
0:37:33 > 0:37:35you cannot help but mention Hogarth.
0:37:35 > 0:37:38We've got a set going under the hammer right now, in folio,
0:37:38 > 0:37:40belonging to Rachel. I do like these.
0:37:40 > 0:37:42These should be on the wall. Why aren't they on your wall?
0:37:42 > 0:37:45Well, my house isn't big enough and I don't actually like them...
0:37:45 > 0:37:46You don't like them?!
0:37:46 > 0:37:48- No.- The Rake's Progress!
0:37:48 > 0:37:50- I think these are wonderful. - Aren't they?
0:37:50 > 0:37:53- I mean, they are a great observation on social behaviour.- Yeah.
0:37:53 > 0:37:55That's what it was all about.
0:37:55 > 0:37:56And it makes me laugh when I look at them.
0:37:56 > 0:37:58There's always something to notice.
0:37:58 > 0:38:01- I mean, he was a fascinating character.- Incredible.- Yeah.
0:38:01 > 0:38:03- Incredible.- Good advice. - He brought art to the masses.
0:38:03 > 0:38:07People that could not afford oil paintings, this was the market.
0:38:07 > 0:38:09- Yeah.- He was the first person on the planet
0:38:09 > 0:38:11to produce this kind of work.
0:38:11 > 0:38:13Well, let's see who wants The Rake's Progress, shall we?
0:38:13 > 0:38:15It's going under the hammer now.
0:38:16 > 0:38:18Next lot is 270,
0:38:18 > 0:38:20a set of 12 Hogarth stipple engravings
0:38:20 > 0:38:21from The Rake's Progress.
0:38:21 > 0:38:23These are in marvellous condition.
0:38:23 > 0:38:25Well, I can start the bidding with me, here,
0:38:25 > 0:38:26straight in at £35 with me.
0:38:26 > 0:38:30- It's nothing. - We need a bit of action.
0:38:30 > 0:38:32Any advance of 35? At £35.
0:38:32 > 0:38:35- If I was allowed to put my hand up, I would!- Aw-w!
0:38:36 > 0:38:38At 45 against you all.
0:38:38 > 0:38:40At 45, looking for 50 to sell it.
0:38:40 > 0:38:43At £45 against you all.
0:38:43 > 0:38:45A good lot, these ones.
0:38:45 > 0:38:47- He's trying, isn't he?- Mm.
0:38:47 > 0:38:51At 45. If you are interested, see us afterwards.
0:38:51 > 0:38:54- Not quite enough.- Oh, OK. That's...
0:38:54 > 0:38:56I mean, it's a real shame cos they're super quality.
0:38:56 > 0:39:00- But a sign of the times. - You're stuck with them at the moment!
0:39:00 > 0:39:02Maybe I'll have another look at them,
0:39:02 > 0:39:04based on what you've told me today, actually.
0:39:04 > 0:39:07- Maybe I didn't love them enough! - Go and have another look.
0:39:07 > 0:39:09- I mean, he was a canny businessman as well.- He was.
0:39:09 > 0:39:12He would display his prints and you'd pay £1 to go and see them.
0:39:12 > 0:39:15Maybe that's what you should do at home. £1 a view!
0:39:15 > 0:39:17- £1 a visit!- I'll open the front door!- Yeah.
0:39:17 > 0:39:21- Knock-knock-knock. - Open studio, all round Rachel's.
0:39:21 > 0:39:24- Discount for you two, OK?! - Oh, we're in!- Special entry.
0:39:24 > 0:39:26Well, you don't get an offer like that every day.
0:39:26 > 0:39:29Here's hoping Rachel does learn to love them.
0:39:29 > 0:39:30Now, we're all on tenterhooks
0:39:30 > 0:39:33to find out how the gold price is doing.
0:39:33 > 0:39:34Pauline's gold bracelet.
0:39:34 > 0:39:37Let's talk about the ever-changing values of bullion
0:39:37 > 0:39:39because it does fluctuate, this market.
0:39:39 > 0:39:42It does and there's many things which make it fluctuate.
0:39:42 > 0:39:44- One of those things, strangely, is the stock market.- Sure.
0:39:44 > 0:39:47If the stock market's having a really bad day, gold goes up.
0:39:47 > 0:39:49- Everyone invests in gold. - Absolutely.
0:39:49 > 0:39:52And also the other thing which changes with gold price
0:39:52 > 0:39:54is our exchange rate with the dollar
0:39:54 > 0:39:56- because gold is valued in dollars. - Sure, yeah.
0:39:56 > 0:39:59And so, if the pound is strong against the dollar,
0:39:59 > 0:40:00the gold price is low, vice versa.
0:40:00 > 0:40:02You can see what happens.
0:40:02 > 0:40:05Here, this is valued at £20 a gram,
0:40:05 > 0:40:07where the little clasp is valued at 12.
0:40:07 > 0:40:09So instantly it's worth an awful lot more money.
0:40:09 > 0:40:11We've put it in at £300-500,
0:40:11 > 0:40:13- with a reserve of 300.- OK.
0:40:13 > 0:40:16- But actually, it's a very wearable piece.- That is, isn't it?
0:40:16 > 0:40:18And I'm sure that will not go to melt.
0:40:18 > 0:40:20- No.- That's a nice thing.
0:40:20 > 0:40:23- Fingers crossed we get the top end of the estimate.- I hope so.
0:40:23 > 0:40:25Well, that's good news
0:40:25 > 0:40:27and Pauline's brought along her daughter Zoe
0:40:27 > 0:40:29for moral support.
0:40:29 > 0:40:32Here's hoping she gets top dollar for that bracelet.
0:40:32 > 0:40:37- I've probably worn it twice... - Is that all?- ..which is why it's sat in the cupboard for years and years.
0:40:37 > 0:40:39Well now, let me work out who's next in line.
0:40:39 > 0:40:40It's you, Zoe. Right?
0:40:40 > 0:40:43And this is your inheritance Mum's flogging!
0:40:43 > 0:40:45- Yeah. She just... - Do you want it at all?
0:40:45 > 0:40:49Not really. I think I'd prefer the money.
0:40:49 > 0:40:50You don't like gold, obviously.
0:40:50 > 0:40:53- No.- No, we normally wear white gold or silver.
0:40:53 > 0:40:55OK. Here we go, let's put it to the test.
0:40:55 > 0:40:57It's going under the hammer now.
0:40:57 > 0:41:00Lot 45 and this is this gold curb link bracelet.
0:41:00 > 0:41:02I can start the bidding with me, here.
0:41:02 > 0:41:03Straight in at 240 with me.
0:41:03 > 0:41:05240, 240 I have.
0:41:05 > 0:41:08At 240, 260, 280 with me.
0:41:08 > 0:41:10300 and I'm out.
0:41:10 > 0:41:11At 300, I have here.
0:41:11 > 0:41:14At 300, it's in the room. Against you all at £300.
0:41:14 > 0:41:17Selling then, at £300...
0:41:17 > 0:41:19- Yes!- Brilliant. - That's good, isn't it?
0:41:19 > 0:41:20- You're happy?- Yeah, it's good news.
0:41:20 > 0:41:22- Both of you.- Absolutely, yes.
0:41:22 > 0:41:23Zoe's working it out!
0:41:23 > 0:41:29"Will Mum really let me have a share in that?!"
0:41:29 > 0:41:31- It'll be shared, it'll be shared! - Brilliant.
0:41:32 > 0:41:37One woman who is keen to share her auction spoils is Jade.
0:41:37 > 0:41:39Going under the hammer right now
0:41:39 > 0:41:42an Art Deco, Austrian gypsy face mask belonging to Jade.
0:41:42 > 0:41:44And all the money is going to charity.
0:41:44 > 0:41:45Tell us about it, Jade.
0:41:45 > 0:41:48OK, I work for a local charity shop, a cancer shop.
0:41:48 > 0:41:50- Luckily you were in town. - Good opportunity.
0:41:50 > 0:41:53We brought along and it seems it's a nice item. Let's hope it does well.
0:41:53 > 0:41:55- Yeah, let's hope it gets top dollar. - Yeah.
0:41:55 > 0:41:57It's an interesting looking, unusual item.
0:41:57 > 0:42:00- You're not going to see another one tomorrow.- No, exactly.
0:42:00 > 0:42:02I mean, with these sort of face masks...
0:42:02 > 0:42:04very sort of Art Deco, that sort of thing.
0:42:04 > 0:42:06So, you know, very on trend, hopefully.
0:42:06 > 0:42:09So I'm hoping we get some good money for you.
0:42:09 > 0:42:11Let's hope Thomas can help us out right now.
0:42:11 > 0:42:12Here we go, here we go!
0:42:12 > 0:42:15Very Goldscheider, lovely looking thing.
0:42:15 > 0:42:17I can start the bidding with me, here,
0:42:17 > 0:42:19straight in at £35. 40...5.
0:42:19 > 0:42:2350...5. 65. I end up at 65.
0:42:23 > 0:42:25- The room comes in, here. - One more, one more!
0:42:25 > 0:42:2970...5, 80...5, 90...5.
0:42:29 > 0:42:32Look, he's got a bid on the books, a commission bid.
0:42:32 > 0:42:34- He keeps working that book. - 120, 130.
0:42:34 > 0:42:37- Good auctioneering. - Come on, tell them it's for charity.
0:42:37 > 0:42:39130 against you all.
0:42:39 > 0:42:42On the book, here, at 130. At 130.
0:42:42 > 0:42:45A good result. £130!
0:42:45 > 0:42:46- What a result! - The hammer's gone down
0:42:46 > 0:42:49- and that money goes to charity. - Brilliant.- Isn't that good?
0:42:49 > 0:42:50Fantastic. And we've got Gift Aid
0:42:50 > 0:42:52- which gives 28% on top. It's fantastic.- Exactly,
0:42:52 > 0:42:54so it's really even more than £130.
0:42:54 > 0:42:57- Yeah, so...wow.- Brilliant. - 150 quid we've got for it.- Aw-w!
0:42:57 > 0:43:00- Well, look, keep your eyes peeled, won't you?- I'm all emotional!
0:43:00 > 0:43:01It's brilliant!
0:43:01 > 0:43:04- Thank you so much.- If you want to have something valued,
0:43:04 > 0:43:06bring it along to one of our valuation days.
0:43:06 > 0:43:07I'm sure our experts will help you out.
0:43:07 > 0:43:10Who knows, you could make a small fortune at auction as well.
0:43:10 > 0:43:13We will be coming to a town close to you shortly,
0:43:13 > 0:43:14so keep an eye out for us.