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