Sheffield 13 Flog It!

Today, we're in Sheffield, renowned across the world

as the crucible of the Industrial Revolution,

forever welded to its steel producing heritage,

and this same industry has inspired writers and thinkers

whose works have helped shape the world.

Welcome to "Flog It!"

THEME MUSIC PLAYS

Our valuation day comes from the centre of Sheffield,

famed worldwide for producing the finest steel and cutlery,

and here, rubbing shoulders with the city's cathedral,

is the home of the Cutlers Company.

It's a guild that was started nearly 400 years ago,

and it's been at the very heart of Sheffield ever since,

looking after the interests of the cutlery companies and their workers.

Today, we're in Cutlers' Hall,

where the motto is "Succeed Through Honest Endeavour,"

and that is what the show is all about.

And we certainly have our work cut out today.

Hundreds of people have turned up, laden with bags

and boxes full of antiques,

and we will endeavour to see all of them, put a value on them

and talk about their craftsmanship, and the best items will be taken off

to auction where, hopefully, we'll succeed in making

a small fortune for the owners.

And to help dig out the real gems is our own set of jewels...

experts Anita Manning...

I expected to see some Sheffield plate in!

..and James Lewis.

These are North African.

And there's an equally impressive team behind the scenes,

on-hand to inspect the antiques coming in.

And, today, we've got items of virtually every kind.

From this Staffordshire ceramic to this carved wooden frame...

from gold and silver medals, to Victorian needlework,

but which one do you think fetches over 40 times

its purchase price at auction?

Stay tuned and find out later.

This spot I'm standing in right now is called the Minstrels' Gallery,

traditionally, where the musicians would have sat and played

their instruments, entertaining the gentlemen who dined below.

Today, it's full of hundreds of people, all hoping they are one of

the lucky ones to get chosen to go through to the auction later on.

And, right now, Anita Manning has found one of the lucky ones.

Let's take a closer look.

Brenda, a fascinating little group here.

Tell me where you got them, first of all.

I got them from my father, who got them from his father,

who got them from his father.

So, it's my great-grandfather's, originally.

Can you tell me anything about them?

Not a lot. No, in fact, originally,

when I was told that they were medals,

I assumed they were war medals and they're not.

They're not, they're not, they're not.

Now, let's have a look at this one first of all,

because this is quite interesting.

This one was a medal, or a jewel,

which was worn by someone who belonged to

the Ancient Order of Buffalos,

-or the Buffs as they were known.

-Right.

Now, this was a Freemasonry group, and this order is,

in the main, associated with stagehands and theatre people.

Now, tell me, do you know if your great-grandpa

was involved in the theatre?

No, I don't.

So, we can't put any of the pieces together?

-No, I'm sorry.

-Now, we also know

that this is made of 9-carat gold.

Now, I'd like to have a wee look at the script on the back.

"This order of merit was conferred upon...

"Frank Pasley, CP,

"by the...something, something as a mark of appreciation for...

"his service in the cause of Buffaloism."

And it's dated...1930.

And that name, Pasley, is that a family name?

-Yes, that was my maiden name.

-That's your maiden name?

-Yes.

And our other one is

a little silver gilt one,

-so it's not of such high value.

-No.

But I think it would be interesting to sell both of these

-as a group together.

-Right.

Value on it, the estimate that I would suggest to you would be...

150 to 200.

Oh.

Would you be happy with that?

Yes. THEY LAUGH

-OK.

-I'm amazed.

We'll put a reserve on them - perhaps 130?

-Would you be happy with that?

-Whatever you think, yes.

-Yeah.

-I'll see you on the day and I'm sure they'll do very well.

-Thank you!

Medals for theatre, that is a "Flog It!" first.

OK, James, time for an award-winning performance.

Eric, I always think it's interesting

when you look at objects like this,

that an object that does that same task,

changes so much through time. When I grew up, I had a wristwatch.

Today, I don't bother. My watch is now on my phone,

and when this watch was made in the late 18th century,

the wristwatch wasn't even thought of.

Is this something that has been

passed down from grandparents, or is it

a find? A car boot find? An antiques fair buy, or...?

-A car boot find.

-So, how long have you had it?

-I've had it about 10, 12 years.

-Right.

A guy wanted money for a shed roof.

-He says, "I'm trying to get £140 together."

-Right.

So, that's what I gave for the watch.

-That's a lot of money at a car boot sale.

-Yeah.

The first thing to say is it's known as a pair case.

The engraving on the balance wheel cover...

-is just outstanding.

-It is.

-And...

Graydon of Dublin! An Irish one!

That's nice to have.

So, we've got an Irish watch in an English case,

because we've got a hallmark for London, 1778,

so...a watch that was made over 200 years ago,

pair case, good order, a verge escapement that's working.

-Lovely.

-Yeah.

-I really like it.

And we've got a silver watch chain as well,

that's probably worth its scrap metal value.

So...

..what's it worth?

I'd like to put an estimate of £200 to £300 on it,

with a £200 firm reserve. Is that all right for you?

-That's absolutely marvellous.

-Brilliant.

Me son and me wife'll be happy,

cos that's who I'm going to give the money to.

Well done, you. That's a great thing.

There's no time to lose, and while our teams are cracking on,

there's something I want to show you.

As I walk around Cutlers' Hall, I am just in awe...

at the architectural detail, the work that's gone into creating

this place and maintaining it.

It's all lined in sycamore and oak, and the light fittings as well.

All of this has come from the ocean-going liner, The Olympic.

Launched in 1910, she was the biggest ship in the world.

The Olympic was truly a luxury liner.

There were exquisite lounges, grand dining rooms,

and even gentlemen's smoking parlours,

all fitted out in the finest styles of the day.

After an illustrious career, the Olympic was finally retired

in 1935 with all her fittings sold off to the highest bidder.

The Cutlers' Company managed to buy the panelling from the reading room.

And here it is. Look at this!

This wonderful fluted column, look at that,

coming down to this turned base here.

Wonderful moulding, inset panels, but look at these

little acanthus leaves running all along there.

This was in the library

in the second class section of the vessel.

And, from the first class lounge,

came this magnificent electric light.

Bought at auction and, I think, a jolly good buy as well.

But, for me, it has to be the wood panelling.

I could definitely live with a section of that in my house.

That's real history.

It's full steam ahead with our experts,

and a colourful little collection has landed on Anita's table.

Julia, welcome to "Flog It!".

-You've brought me two albums of postcards.

-Yes.

Now, when I'm looking at postcard collections,

the first thing I look at is the album,

and this is a very pretty album,

this green one, with the Art Nouveau decoration.

Tell me where you got these cards.

I inherited them when me godmother died.

-And how long ago was that?

-27 years ago.

Do you play with them? So you take them out and have a wee look?

-Not really. The folders are too delicate.

-Right.

These are quite interesting and pretty cards. Very nice indeed.

Probably dating from 1910, 1920.

-Postcards are very collectible today.

-Yes.

And I think that people with all their elaborate machines

and means of communication,

-are still fascinated by what people did in the past to communicate.

-Yes.

And that's perhaps why postcards are good in today's markets.

But, the most expensive ones are tending to be

the early McGill ones, saucy postcards,

postcards that have to do with special events or suffragettes,

that type of thing.

What we have here is a charming collection of colourful postcards,

so we must so look at the estimates in that light.

The estimate, I think,

is £60 to £80.

-Lovely.

-Would you be happy with that?

-Yes, thank you.

Shall we put a reserve on them?

-Yes, please.

-Uh-huh. Put a reserve of the lower estimate,

-which is £60.

-Yeah.

And if the auctioneer maybe has just a little tiny bit of discretion

-on that.

-That's fine.

-OK.

-Yes, thank you.

And what are you going to do with the money?

-Put it towards our golden wedding anniversary.

-Ah, right!

-The party fund!

-Yes.

-Good idea, good idea.

-Well, thank you so much for bringing them along.

-Thank you, Anita.

Overlooking our valuations today, is artwork on a very different scale,

and it's not just the portraits that have been painted.

The columns that I'm surrounded by in this room aren't real marble.

They're stone painted with a scumble glaze to look like expensive marble.

Luckily enough for us, though, our items are the real deal.

It's time to gather them up now as we're off to auction, to put those

valuations to the test, and here's a quick recap of what we're taking.

'Brenda's Buffalo medals are a real family heirloom.'

Can they cause a stampede at the auction?

'Julia's quaint postcards would make

'a wonderful addition to any collection.'

And can Eric pocket a nice return on his car boot find?

Our sale today is across town at Sheffield Auction Gallery,

just a couple of miles south of the centre.

Right, this is the moment of truth,

this is where we're putting our valuations to the test.

'Auctioneer Robert Lee is already on the rostrum,'

I'm going to catch up with our owners,

cos I know they're feeling really nervous.

Let's get on with our first lot.

Who's going to go with me at 95?

Folding now at 95.

Brenda, good luck. We've got the two medallion pendants

going under the hammer, one silver and one gold.

I think that the price is spot on.

Yeah, I'm hoping for...a good price on these,

-because we've got a lot of gold in it.

-Yeah.

And it's a marvellous medal with this great buffalo head on the top.

-I like it.

-And it's unusual as well, isn't it?

Right, let's put this to the test. Here we go. Good luck, Brenda.

Now, 9-carat gold Buffalos' medallion pendant,

also we've got a silver medallion pendant, Philanthropy.

Two good medals.

Commissions forcing me to start this hold on, 140, 150, 160,

170, 180 in green.

190, 200, sir, 210, 220, I'm out.

The gentleman in green holds it at £220. 230 I'm after.

Got to be 230 elsewhere.

They're going to go on my left at £220, and we're done.

Thank you, sir.

-Oh, that's good. £220.

-Thank you.

-Happy?

-Yes.

-Very happy?

I'm happy, yes.

-Wonderful.

-Were you getting worried, slightly?

No, not really.

I...we put a reserve on at 130, so I was quite happy

when it came in at that, so, the rest was a big bonus.

Yeah, nearly £100 more. Well done. Well done, Anita.

'It's a great start.'

Will Julia's postcards also get the stamp of approval from the bidders?

-Now, I know there's a sentimental connection, isn't there?

-Yes.

Tell us about that.

They belonged to my godmother and her mother...

and I inherited them 27 years ago when my godmother died.

Did she collect them all herself, or was it something that she

sent some family members that had been collected?

I think her mother's, because her mother was in service, I think the

family sent them to her mother,

but my auntie's were mostly birthday cards and things.

OK. Let's put the valuation to the test. Here we are. Good luck.

Two early 20th century albums containing approximately

150 postcards, both including some earlier fine examples.

Commissions force me to start these...

35, 40,

45, 50, 55,

I need £60 elsewhere. 60 bid, gentleman standing.

Who's on 65? I'm out with me commissions.

60 bid so far.

Any advance? It's going to go at £60. Have we done?

We just made it at the lower end, didn't we?

Are you happy with that? Are you OK with that?

-Well, that's the reserve that I put on, so...

-Yeah.

Yeah, it's been an experience as well.

70 on commission. 75 I need. It's going to go...

on commission at £70.

Well, this is what it's all about, the excitement of the auction room.

Anything can happen, it's a roller-coaster ride.

If you've not been to an antiques sale before,

get down to your local saleroom, or, better still,

turn up at one of our "Flog It!" valuation days

and hopefully, you could be in an auction room the next time,

being the envy of all your friends, going home with lots of money.

Details of up-and-coming dates and venues you can find on our website.

Look online or check the details

in your local press.

With me so far at £25...

Eric's watch is up next, but, unfortunately,

time is not on his side.

Going under the hammer right now,

we have a Georgian silver pocket watch and chain.

It was a car boot find belonging to Eric, who, unfortunately,

is stuck in traffic out there!

I'm just hoping he makes it in time to see this go under the hammer.

It's a great one, isn't it? A lot of money for a car boot sale.

-Yeah, but then it's a great watch.

-It is.

George III hallmarked silver pair case pocket watch,

London, 1778. Big lots have a big price for it.

Commissions force me to start at 160, 170, 180, 190, £200.

210 I'm after elsewhere.

210...

210 bid. Who's on 220?

I'm out straightaway, 220 new bid. 230, 240.

-250, 260.

-This is good.

270, 280, 290,

300, 320, 340,

-360, 380...

-Fantastic.

400, 420,

£400 bid on my right, seated.

I need 420 to progress.

Bid now or lose it. Have we done?

-£400!

-Great!

Phew! That was a great car boot buy, wasn't it?

Eric would have been so pleased with that. My fingers were crossed that

he was going to walk in the room as the hammer was going down to see the £400

on the screen up there.

Great result!

And when Eric finally made it in,

the sale price really made up for being stuck in traffic.

Getting 400 is absolutely smashing!

Absolutely.

Well, that's it for our first set of lots, but don't go away.

There's still plenty of saleroom excitement

to come later in the show.

The Cutlers Company has been at the heart of Sheffield

for hundreds of years.

And all around this magnificent hall are clues to the

importance of cutlery and steel to the city.

There's the most wonderful quote

that runs around the cornice of this ceiling.

It starts over there.

"In Cutlers Iron Work, we have, in Sheffield,

"the best of its kind done by English hands, unsurpassable,

"when the workman chooses to do all he knows,

"by that of any living nation."

Now, that quote is by John Ruskin,

one of the most influential characters

during the Victorian period.

One of my personal favourite art critics,

but also somebody that had great influence on the city of Sheffield.

Here in the city centre is the spectacular Millennium Gallery.

Inside is a fascinating collection of exhibits,

created very much for the workers of Sheffield.

This is just a small part of the Ruskin collection

on permanent display here in the museum.

John Ruskin, the man who started this collection,

was one of the greatest figures in the Victorian era.

He was a critic, he was a writer,

he was an artist and a social reformer,

and he left a lasting impression on the city of Sheffield.

He was the only child of a wealthy sherry importer and

from a young age, he accompanied his father on business trips

around Britain and continental Europe,

and they were visit rich clients who lived in

rather large country houses, and from a young age,

the young Ruskin got a taste and a passion for landscapes,

fine art, particularly works celebrating nature.

Ruskin came to fame in 1843 at the tender age of 24

when his first book was published,

"Modern Painters",

celebrating and defending the works of artists such as Turner.

Turner was far from the great artist we know today, back then.

He was little known and his work,

his style was condemned by the British press and the art world.

In their opinion, traditional artists, the Old Masters

such as Constable, they were the ones that produced real art.

Nowadays, the book is regarded as a classic.

Back then, it was an instant success and it established Turner as

England's greatest landscape painter

and Ruskin as a powerful voice to be reckoned with in the art world.

Ruskin's passion for art wasn't just about celebrating famous painters.

He believed art lay in the beauty of the natural world around him, from

the smallest pebble to the largest tree, to the mightiest of landscapes.

And he encouraged people to go out and paint it,

to draw what they saw,

and it didn't matter if it was any good or not,

because being in contact with these wonderful natural objects means you

are enriching your lives, and I can understand what he's getting at.

Look at the example here, a collection of shells and some coral.

Look at the shapes, look at the forms as well.

Nature gets this so right, it's not contrived.

This is what Ruskin was going on about.

What really set Ruskin apart from his contemporaries

was that he believed art should be enjoyed by everyone.

It shouldn't just be something to adorn the walls of the wealthy.

In 1875, Ruskin made this idea a reality.

He bought a small cottage in Walkley just outside of Sheffield

on a hillside location and set up the city's first museum.

Ruskin wanted it to inspire and educate Sheffield's craftsmen,

who were losing their skills to mass production and machinery.

At the least, he hoped it would bring some beauty to the lives

of people working and living in terrible conditions.

He deliberately chose a hillside location out of the city

so that people would have to walk out of the smog

and pollution out to the countryside to appreciate nature.

Admission was free and opening times were 9am until 9pm

to allow factory workers time to make the journey.

The museum may have been small, but it was a huge success.

The collection was an eclectic mix that reflected

Ruskin's wide range of interests, which included Renaissance art,

Gothic architecture,

engravings and illustrations of flowers and birds like these ones here.

He even added a collection of coins, geology and a library.

The gallery drew visitors from all over the country, but as

the number of exhibits grew, it had to be moved to bigger premises.

In 2001, Ruskin's legacy to Sheffield was given a new,

permanent home, right here in the centre.

It's not in the countryside as Ruskin had intended,

but then, Sheffield is not the smoggy city it was 150 years ago.

This is just a small part of what Ruskin left behind.

The rest is in storage.

And I've got the chance to look at it with curator Louise Pullen.

It seems Ruskin made some

very personal contributions to the collection.

-Are these by Ruskin?

-Yes, they are.

This is one of his quite famous works of a peacock feather,

and this is an enlargement of each individual filament here.

-That's quite clever.

-Very clever.

He wanted to show just the beauty of detail of the different colours.

-He was a very talented artist.

-Indeed, very much.

One of Ruskin's big passions was geology

and he managed to amass quite a collection.

-And all of these drawers are full?

-Yes, very much so.

We have around 2,000 minerals that Ruskin collected

-the majority of them.

-Can I open one?

-Yes, of course.

Look at that. Here they are.

Also, this was a museum, not just that people could get hands-on,

-but it was also a place of education.

-Yes.

He really wanted people to be able to come out from the smoky city

and just find something of beauty, to improve themselves by being

enlightened in a way by things he found beautiful.

And he hoped very much that people would go and start sketching,

start drawing, start being aware of what was out there.

And Ruskin's ideas did bear fruit, particularly in the case

of Sheffield knife-grinder, Benjamin Creswick.

The curator of the museum noticed him drawing in the corner,

saw a great talent, and introduced him to Ruskin,

who was so impressed with him that he sat for a portrait,

-a beautiful bust portrait was produced.

-And this is an example?

-And this is an example of it.

-A man of many talents.

-Indeed.

From a knife-grinder he ended up as

model master at Birmingham School of Art.

-That's what it's all about, isn't it?

-Yes.

-Finding the talent out there, nurturing it, championing it.

-Yes.

-And giving it a fresh start.

-Yes.

-Louise, thank you so much for talking to me.

-Thank you very much.

This is a real joy.

Ruskin is one of my heroes and I can literally spend days in here.

The story of John Ruskin's involvement with Sheffield

played a big part in his life.

The collection is a testament to John Ruskin himself.

It's wide ranging, it's ahead of its time,

but more importantly, it's a celebration of beauty in many,

many forms, and the great thing is,

the collection is still growing, and it's inspiring people today.

Back in the main hall,

the buzz of the valuations is filling the air, and Anita

has come across something that I'm sure Ruskin would have approved of.

Viv, welcome to "Flog It!"

and thank you for bringing in this little sampler.

Tell me, where did you get it first of all?

Well, it came from my mother, who, I think,

probably bought it at auction, maybe in Kendal.

It could be 40, 45 years ago.

Tell me, are you interested in textiles and needlework?

Is there a background in the family in that type of thing?

There certainly is, yes.

My great-grandmother was a milliner,

my grandmother did a lot of embroidery,

-my mother made costumes for the stage...

-That's wonderful!

..and I do some embroidery as well.

Let's have a look at this sampler, Viv.

We have this border of flowers, and this is a cross-stitch.

And we have this larger flower pattern in the middle and

top and bottom, we have some religious text.

And the person who did this sampler was a little girl called

Sarah Peters, and it was done in March the 15th, 1822,

-so it's a fairly early one.

-Mm-hm.

Tell me...you've got this history of textiles

and needlework in the family, why are you wanting to sell this one?

Well, two things, really.

One is there's only a limited amount of time that you can display

textiles before they fade.

And the other is...

-I want a new bathroom.

-Oh, right!

A lot more down to earth, that side of it.

-Right, and any money that's got will go towards that.

-Yes.

Now, samplers, ten years ago, were getting fairly high prices.

They have gone down a little bit in price.

The ones that people are looking for are the really early ones

and we have a fairly simple one here.

This one I would put in with an estimate of 50 to 80.

Would you be happy to sell it at that price?

-Yes, yes.

-OK.

Well, we'll put a reserve of maybe £45?

-That's good.

-45.

-Yes.

-Thank you for bringing it along.

-Thank you.

James has set his sights on a prize for rifle shooting.

Will his valuation be on target?

Here we have an electroplated trophy.

And it's inscribed, "Sixth...

"WYRV, West Yorkshire..." What would that be?

-Rifle Volunteers.

-Rifle Volunteers.

"Presented by the officers of B Company to the shooting club won

by Lance Corporal S Walker, 1882." It's silver plated, not solid.

And, at the moment, with the silver values being so high,

if this were silver,

you would have a high chance of it being melted down.

Nobody's going to want to melt this down for its scrap value,

it's going to always be worth more as an object.

But, being silver plated rather than silver,

obviously nowhere near the same value.

What's the history? Why is it here?

-Well, it was passed onto me by my late brother.

-OK.

It was something that he'd picked up either at an auction

or a car boot sale or something.

-A car boot!

-It was, uh...

blackened with years of tarnish when I got it.

I spent about four hours cleaning it up

and it's very sad that Lance Corporal Walker's family

no longer have it, I think,

and I'm sure that some collector will be interested in it

and I'd rather it be owned by someone like that who perhaps

would know a little bit more about it.

When a medal collector buys them, or somebody interested in military

history, the first thing they do is start to research,

so this cup will, somehow, by a collector buying it, make

this little chap, his story, live again, and I love that part of it.

So, as is, £60 to £100.

I really wouldn't want to sell it for...

-£60.

-I don't blame you.

-Well, it's your chance to put a reserve on.

-Yes.

What would you like to put on as a reserve?

-I'd put £150 on it.

-150? I don't think it's worth that.

I think it's too much to...

100 then?

-I think 100's fine.

-To start with.

With a firm reserve of 100,

we have to put that estimate above the reserve legally, so, we would

put maybe £100 to £150 on it, but with the history, you never know.

-Well, thank you very much.

-It's an absolute pleasure.

It is an unusual trophy and, hopefully,

will hit an even higher price at the auction.

What I love about our valuation days,

is that it also gives me a chance to get amongst the "Flog It!" crowd

and see what treasures they've brought in.

Meg, have you got the time on you?

I'm looking there! It's quarter to 12!

-I fell for that one!

-I see you holding that, you're clutching that.

Is that quite precious to you?

It's a bit of Staffordshire pearlware.

It is, it is, and I would love to say that it's from my family,

but it's not.

-Isn't it? How did you come by it?

-I found it in a charity shop.

-How long ago?

-About two...about 18 months to two years ago.

Do you mind me asking how much you paid for it?

14.99.

Well, that was a very good buy, wasn't it?

Were you just attracted to it because, visually,

it's a pretty object?

Yes. There's just something very... I love old things.

-Yeah, so do I. I used to collect early Staffs as well.

-Ah!

-You know all the flat back figures...?

-Yes.

-..designed to go on the mantelpiece against the wall?

-Yes.

-Do you know it's pearlware, do you?

-No.

-Yes, it's pearlware

because you can see there's a blue tinge to the glaze.

-Can you see that?

-Oh, right, yes.

-There's a slight blueness.

-I can now.

-Yeah?

-I would say this is circa 1810, 1820.

-Wow.

I like the two characters leaning against these faux marble columns.

Can you see they're faux marble,

-like the columns here in the building?

-Oh.

Painted to look like real marble. Can you see there?

-There's some damage.

-Yeah.

There would have been a cartouche there, or a scroll, just acting as

-a pediment, architecturally quite strong...

-Yeah.

..cos this whole shape resembles the facade of a building,

and this was a powerful message back in the 1800s.

People everywhere went to church,

and this is no different to other fashions

of the time, like needlework samplers and tapestry samplers...

-Yeah.

-..all with messages of religion.

I think this is brilliant, I really do,

and I think we put a value of £80 to £120 on it.

Gosh!

Can I tell you...

if this was in good condition and all the other elements were there,

the other cherubs and the cartouche on the top, the scrollwork...

this would realise in the region of £400 to £500.

Gosh.

-Yeah, it's quite rare.

-I'm quite happy with 80 to 120.

I'll bet you are. Now, are you sure you want to sell it?

-Oh, yes.

-Why do you want to sell it?

Um, because my eldest granddaughter, Ferne, she's at uni and she's 21...

-OK.

-..and so she's off to Vietnam.

-Is she?

Well, hopefully, what I'm holding is Ferne's spending money in Vietnam.

Good luck to her. Good luck to you.

-I can't wait to see you in the auction room.

-Thank you.

Thank you very much.

Prepare now to meet our last antique and James is about to give us

a flavour of the Orient.

Syndonia and Barbara...

I've got to ask, Syndonia, where does that come from?

Well, it's a family name that goes back many generations.

We can trace it back to 15...something.

And you guys are sisters?

-Yeah, we're twins.

-Twins?

-Yeah, she's older than me!

OK, how did this come into your possession?

-It was a wedding present to my mother and father...

-OK.

..in 1927 from our Great-Uncle Frank who was a collector himself.

It's Chinese and it's carved in the manner of these things that

were exported from Canton in the late 19th century, 1890s.

Now, the immediate assumption is

that we have a photograph frame...

-Yes.

-..but, I don't think it is.

I think it's a frame that originally would have housed miniatures

painted in watercolour on ivory.

We see these very stylised reserves

with figures in formal gardens

under flowering prunus.

And then we see these fantastic, fanciful birds and these tall, plain

uprights dividing the apertures where you would have the pictures.

I just think it's a great object.

It has a lovely feel to it, it has a lovely colour,

but then, we have to be realistic in looking at how much damage there is.

But, the market for Chinese art at the moment is second to none.

In China, under Chairman Mao in the 1960s,

if you had something like this, that referred to the Imperial past,

you were seen as looking back, rather than looking forward,

-and that's not what the Communist state wanted you to do.

-No.

These pieces were burned, they were smashed, they were destroyed,

but now, China's opened up to the West

and what they're wanting to do is buy back their own art.

So, value...

HE SIGHS

It's difficult because of the damage and I love it,

but at the same time, I think we need to keep it sensible.

So, let's put an estimate of 250 to 350.

Is that all right for you? How do you feel?

If we could put a reserve on it...?

-You've got to put a reserve on it, you've got to.

-Yes.

£250 fixed reserve, but if you want to change your mind,

it's your thing, it's your family history.

If you want to change it, it's totally up to you.

Better it to go to someone who will appreciate it,

than be stuck in a cupboard somewhere for ever.

-Is that where it's been?

-It's been in a trunk.

-No!

Well, it's going to breathe again and live a new life

and I think it's a lovely little thing.

It looks more attractive every time I look at it.

Well, there you are.

What a fabulous day we've had here in Cutlers' Hall,

a place full of history, and hopefully, when we go to the

auction room for the last time, we will make some history of our own.

We've found some fabulous items.

Let's put those valuations to the test.

Here's a quick recap of what we're taking into the auction room.

'Viv's sampler might not be completely in vogue right now,

'but will it catch someone's eye in the auction room?'

David spent a lot of time getting the shine back on

his shooting trophy.

Hopefully, that will make it a target for the bidders.

And Margaret's Staffordshire ornament has seen better days,

but I'm sure it could be meeting a new owner.

And, with the Chinese market so hot, it is just the right time

to be putting this wooden frame under the hammer.

On the day before the auction,

I had a chance to take a closer look

at the Chinese wooden frame with auctioneer Robert Lee.

-There's a lot of work that's gone into that.

-Ooh! Crikey.

I wouldn't like to do it, would you?

All that intricate work, decoration there.

It's not everybody's cup of tea, but for me, I like it.

I'd imagine that's done by maybe three or four different people.

I think you could be right there, Paul, looking at the work.

-Some of it's better quality than others.

-Yes, in places.

There's a bit of damage, isn't there? On the cresting at the top.

There's quite a few...if you look at it here there's quite a bit

of damage, not just that area, there's some round there as well.

-Hmm.

-If you look at it all over, there's little pieces broken here

and there, which is understandable, I suppose, given its age.

What do you think of the value? 250 to 350.

Some of the Chinese stuff is doing really well, but...

It's hard to put a price on, isn't it?

Yeah, it is very, very difficult. I'm not totally convinced by it.

I think you might struggle to get that for it.

In my view, maybe £150, £200.

You never know with an internet sale who is actually going to bid.

Fingers crossed.

It's sale day and the auction is in full flow.

Stay tuned, there could be one or two surprises.

Auctioneer Robert Lee is already on the rostrum,

our owners are in place...let's get on with the show.

Well, if you love textiles, you will fall in love with this next lot.

It's a sampler belonging to Viv and it is wonderful, isn't it?

And it's documented, it's dated 1822,

and that's what samplers are all about, a bit of social history.

-Mm-hm.

-Hopefully, the descendants of Sarah Peters will be out there

and this will be picked up, eventually, on the internet.

Who knows? I mean, anything's possible, isn't it?

And anything's possible right now. This is our lot. Good luck.

A Regency needlework sampler inscribed "Sarah Peters' work,

"March 15th 1822." It's a gem, isn't it?

The bidding has started at...

£28. 30, I'm after.

With me, sir, at 28, 30. 35.

40, sir. I'm out.

Must be 45 to move on, it's got to go.

On my left is saying, "Come on." Does anybody else want it?

All done, are we, at £40? Hammer's going to drop.

-She's gone.

-It's gone at £40.

-Oh, dear.

-Oh, it's under...

-Well, it's with discretion.

-It's with a little bit of discretion.

It's a little bit disappointing.

Hopefully, it'll get me two tiles for my new bathroom.

I'll tell you what, let's call it a big bag of grout!

-That'll do nicely.

-It sounds better than two tiles, doesn't it?

Flexible grout.

'From the delicate art of sewing,

'it's time for something a bit more macho...

'David's shooting trophy.'

I really like this. It's unusual and unusual things normally sell well.

Why do you want to sell this now?

-Well, uh...

-Doesn't suit the house or doesn't suit you?

I thought that it might end up with someone who appreciated it more.

-Sure.

-Not just for the antique value, but for the...

-Social history.

-The military history...

-It's all about the history

at the end of the day, it's the beauty of the object, not the value,

but right now, let's find out what it's worth.

Here we go. This is it.

John Round & Co electroplated presentation leaded trophy cup.

Nice piece this. I'm forced to start at 95, 110 bid. Who's on 120?

110 with me so far. 120 from the gentleman on my left. 130, sir?

140 now. 150. 160.

170. 160 on my left.

Anybody else at 170?

Buy the shield at 160, at £160, have we done?

Thank you, sir.

-£160! I'm pleased with that.

-Yeah,

-I'm quite pleased with that, yeah.

-It's a nice thing,

a really nice thing. Thank you for bringing it in.

Can James also hit the target with his next valuation,

the Chinese wooden frame?

-Syndonia and Barbara...

-Yes.

-Good to see you again.

I had a chat to the auctioneer yesterday,

and I kind of thought, "I can see the lower end here,

"I can see the lower end because of the damage."

He was a little bit uncertain

and he probably would have pitched it at around 150,

so he thinks it might struggle and there hasn't been any interest,

so, look, fingers crossed, it's going to get away.

Yeah, it's one of... The thing I loved about it was it was early.

-Almost all of this sort of Cantonese carving is 1880, 1900.

-Sure.

-This is sort of 1820s, 1830s.

-So, good luck. We are on right now.

This is it, it's going under the hammer.

-Look, on the screen.

-Oh, yes.

A mid-19th century carved wood frame incorporating the three arches.

There's lots of work gone into that one.

The bidding has started at £140.

150 I need elsewhere...in the room or on the net. 140 with me.

It must be 150 to progress.

(We're taking it home!)

-Anybody else at 150? I'm going to have to move on...

-Gosh!

..at £140. All done, are we?

Nope, sorry, not sold.

-I'm ever so sorry.

-That's actually quite a good result.

-Is it?

-She wasn't quite sure if she wanted to let it go.

-We'll keep it in the family.

-You showed us something beautiful.

-Yes.

-I'm absolutely stunned because the Chinese market is so buoyant.

-It's hot. It's hot right now.

-And it was early, it was early, but...

-Never mind.

-Oh, well.

-We'll take it back.

-We tried our best.

-Yes.

We tried our best.

'The market for Chinese antiques might be red-hot now,'

but I think the damage let it down.

The finale for today's show is my favourite item. Can you guess why?

Prepare to meet my valuation. Yes, guess what's coming up?

Meg, good to see you again, and here is Andrea, Meg's daughter. Hello.

-Hello.

-We've got 80 to 120.

-I'm hoping for that top end of £180, maybe £200.

-Whatever.

I like this, I like it a lot.

Fingers crossed somebody else falls in love with this as well,

-cos you love it.

-I do.

-I love it and you love it.

-Yes.

And if all three of us love it, that means that lot out

there in this packed saleroom are also going to love it.

-That's what it's all about, isn't it?

-Yes.

Let's put it to the test. Here we go.

Early 19th century Staffordshire pearlware

moralising mantelpiece ornament.

A bit of damage on it, but it hasn't detracted the commission bidders.

They're starting the bidding at £420. I'll take elsewhere...£420.

440, 460...

-Eh, straight out!

-500. 520.

550. 580.

SHE GASPS

-600. 620.

-Oh, jeez!

£600 bid on commission.

620, I'll accept elsewhere.

£600 bid on commission. Anybody else for 620?

It's going to sell.

One last look round now, bid now or lose it,

with me at £600, hammer's going to drop.

£600!

Oh! Oh!

-I'm shaking for you, I'm tingling.

-I'm speechless for once!

What do you think of that?!

If you knew that was worth £600, would you have kept it?

-No!

-No.

-No!

-You wouldn't have treasured it,

-you'd have still sold it.

-Yes.

-Think of the money, think of the money!

-Yeah!

-I think we'll have a bit of a party now, won't we?

-Yeah.

Wow, what a surprise!

I told you there was going to be a surprise, didn't I?

That's what the show's all about. Wow! What a way to end as well!

We've run out of time here in Sheffield, but...whew!

-I'm speechless as well.

-I am too!

-Meg, enjoy that money, won't you?

-I will.

-And see you next time for many more surprises.