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I'm here in West Sussex at a site dedicated to the
conservation of historic buildings and later on in the programme,
I'll be getting hands-on restoring an 18th century house.
Now, the bad news is it involves animal dung.
So I better find some gloves.
Welcome to "Flog It!"
We'll be back in Sussex later on in the show.
Today's valuations are taking place in the county town of Surrey,
at Guildford Cathedral.
It's one of only a very few cathedrals
built in the 20th century.
Construction started in the 1930s
and the building eventually opened its doors in 1961.
Some critics believe that building the cathedral away from the
town centre, on the top of a hill,
would be a crazy idea
but soon they were proved wrong and the cathedral attracted
large congregations and today it's still very much
at the heart of the community here.
And hundreds of people have turned up,
clutching bags and boxes full of antiques and collectibles.
And there's one question on your lips, which is?
CROWD: What's it worth?
And they're going to find out and so are you.
And the two people with the answer to that question are the
"Flog It!" experts and today they are the devilish Mark Stacey
and the angelic Catherine Southon.
Competition between them will be high, or should I say low?
-Oh, that's pathetic.
-There we are.
-You've got to give it a bit of oomph.
-Well, you have a go.
-All right, go on, then. I don't want to break it.
Come on. Oh, I'd love to see you fall over, Catherine Southon.
That was awful, Catherine.
So as the people of Guildford make their way inside,
our experts prepare for a busy day of valuations.
And here's what's coming up on today's programme.
See if you can guess which of these items will do best
when they go under the hammer later on in the show.
Will it be this wooden shoe-shaped snuff holder?
Or this Moorcroft bowl?
Or this music box?
All will be revealed later on in the show.
Well, everyone is now safely seated inside the cathedral
and this is what I love to see, hundreds of happy faces.
Are you all having a good time?
And they're all hoping they're one of the lucky ones who've got
something that's worth a small fortune.
They've come from miles away, hundreds of them!
Which means thousands of antiques to look at
and this is where all the action's taking place.
Look, it's lights, camera, action right here.
Let's now catch up with Catherine Southon who has spotted
a real classy gem and I love it.
Anne, this is absolutely super. I love it in every shape or form.
-It's a piece of WMF.
-Do you know what WMF stands for?
-Well, I can't pronounce it.
-Oh, go on.
-It's always a giggle when we try.
You'd have to help me.
Well, it's something along the lines of
Wuttembergische Metallwarenfabrik, but don't quote me on that.
Anyway, we've got something here which is rather charming.
-It's something like a visitor's card tray.
-A butler's tray, maybe.
And it's stamped right on the back, quite clearly, WMF.
-It's got the number here, 369, now that would be the shape.
But what I love about it is the little doggie, the little dachshund.
And I love the way he's looking down at the lizard crawling across.
It's just divine.
Where did you get it from, Anne?
Well, I'm not exactly sure but there is a German connection.
My brother lived in Germany
and I assume he bought it in an antiques shop out there.
-And gave it to my mother.
And I've...then passed to my sister and she then passed it onto me
because she wasn't all that keen on it.
So, you think that your brother probably bought it in Germany?
In Germany, yes.
-Well, it's 1900 in date.
They made pieces in pewter and silver plate.
This is definitely silver plate.
The very early pieces had like an ostrich stamp on them
but this is clearly marked with the initials WMF.
But I really think it's around 1900...
-Oh, I thought it would be later...
I mean, it is quite typical of WMF because of the style of the time.
The Art Nouveau, the Jugendstil, these kind of lines
and these curves.
But it's just the lizard for me.
The way he's looking down, it's just really, really nice.
A really special thing.
And I think today,
I could see antique dealers fighting for this at an auction.
Oh, that would be good.
And perhaps putting that in their shop,
just to put their business cards on. I mean, I'd love to have that.
If I was a dealer, I would love to put...
-Display it in my shop.
-Do you have any idea of value on this?
-I'm going to put £100 to £150 on.
-Is that good?
Reserve of £90?
£90 to £100?
-Oh, all right then. You want £100 fixed on it?
That would be nice.
OK, as it's a family piece, we'll put £100 fixed, £100 to £150.
-Coming along to the auction?
Let's watch it fly.
Yes, I've always wanted to go to an auction so...that would be great.
-It'll be great fun. Thanks very much, Anne.
So, let's hope Anne's first trip to an auction room is a successful one.
But not everyone who comes along is laden with antiques.
-What have you brought in today?
OK, are you after a valuation?
Back to Mark, who's also talking to some glamorous ladies.
-Hello Shirley, Susan.
Thank you so much for coming in.
Looking very glamorous there in your outfits and the necklace.
-Thank you very much.
-Now, tell me about these watercolours.
These watercolours, I bought them about...nearly 40 years ago,
off of a friend and I've had them ever since.
And you've liked them all that time?
-My husband loved them.
And why have you decided now to bring them along to sell?
Well, I've got some other pictures and we're changing all the
decoration and things like that so we thought we'd just bring these along.
-You've got too many pictures really, haven't you?
-Well, quite a lot!
-Well, they're by quite a well known artist. F J Aldridge.
-I never knew.
Yes, he specialised in sort of marine scapes.
Obviously these are Dutch marine scapes and you can see
the windmill and the Dutch type houses in the background there.
-Often painted in pairs.
He died in 1933, born in 1850 and actually
-he lived just up the road from where I live.
I live in Brighton, he lived in Worthing.
-That's how you knew right away?
-Well, I've had his work before.
-Oh, I see.
-Sneakily, I knew that.
And they're in quite nice frames actually.
They suit the picture very well.
Yes, they've been in those frames all the time I've had them.
They probably need rebacking. You see where the backing has faded.
Yes, I did.
And there's been a little, slight bit of fading around the pictures.
I think they're charming, I think
-they're very pleasant looking pictures.
The only downside, I suppose,
-is the market is a bit more realistic for these.
Some people might consider them a little bit old-fashioned these days.
I mean, although they're beautifully painted, and also I think the
younger market, they're looking for things with a bit more cutting edge,
-a little bit cleaner line.
Susan, what do you think about them?
I mean, I do think they're lovely and my dad always used to say,
"Oh, I think these will be worth something".
But, I haven't got the room for them.
I mean, houses are getting smaller and...
-Have you thought about the value?
-No, that's why I came here.
And do you remember what you paid for them, then? All those years ago?
-£50 for the pair? Well, that's not bad, is it, really?
I suspect actually that ten years or
so ago they would been worth a little bit more than they are now.
I mean, as a pair of pictures now,
we would estimate them at something like £200 to £300.
-Something in that order.
-We'd have to think of a reserve, of course.
Because we wouldn't want to put them into auction without a reserve.
-No, no. OK.
-I would suggest you to be a bit on the realistic side.
And maybe put a fixed reserve of £150.
-So we don't sell them below that figure.
-How would you feel about?
-I'd feel fine, yes, that's OK.
-Is that all right?
And you're not going to put the money to more paintings, are you?
-No more paintings!
-No more paintings.
-You don't want any more paintings at home, do you?
Well, that's lovely.
We'll sail along to the auction together
and let's hope we get a good result.
-Thank you very much indeed.
Away from the valuation tables, I've found a very different piece of art.
Now although this cathedral is relatively young,
it's still full of historic and interesting items.
Take this carpet, for instance,
which lies between the oak altar rails and the altar itself.
It depicts two angels supporting the diocese of Guildford.
And there above here, a stag, which represents Stag Hill,
the site which this cathedral is built on.
Not only is this carpet famous for its symbolism
but also for its historic content.
It was made by the world famous Wilton factory in 1957
and it's believed to be the last handmade carpet they ever made.
From carpet level, let's go back to Catherine Southon who is
up on high for her next valuation.
Elizabeth, we come to the cathedral to hear the sounds of the organ
and the sounds of the choir,
but also to hear the sounds of this beautiful musical box.
As soon as I just see the lid of it,
I know that's actually a special musical box there.
The detail of that marquetry is something very special.
It's not just a bog standard boxwood stringing or a transfer on the top.
The marquetry is superb.
Where did you get this little gem from?
I had another musical box and it needed some work doing to it
and I couldn't afford to get it done and somebody said
"Well, I'll swap you for the old musical box for this musical box."
So I have this one but it doesn't have the sentimental value for me.
-So that's why I'm...
-..going to let it go.
But it's very expensive to have something like that restored.
-Well, can we take a little peek inside?
Well, it is a cylinder musical box and what we see straightaway
when we open the lid is the
magical name of Nicole Freres,
who was like the Rolls-Royce of musical boxes and it tells us
Nicole Freres, Geneva.
This was made in Switzerland.
Now, there's two different types of cylinder boxes which is
essentially what this is, a cylinder musical box.
There's the ones that are made with a lever wind
and they are late 19th century.
They're about 1880s,
1890s and then there's the earlier ones which are worked with a key.
Now this one is worked with a key.
So that means we can date it to about 1860, 1865.
You would put this key in the side here.
And turn that round and that is how it would work.
Now this one is in fantastic condition, it really is
because quite often these teeth get damaged
and they need to be replaced and as you say,
they're expensive to do, but it's just absolutely pristine.
Yes, I mean, when you say the pins got damaged,
I think the other one was a bit squeaky in places
so that would indicate that the pins had been broken.
-Do you have any idea on value?
-No, not really, no.
The market was stronger a while ago but now
I would say a very conservative price would be £700 to £1,000.
You might get a bit more, which would be nice.
I think we should fix the reserve of £600, how does that sound to you?
Yes, that's fine, thank you.
But really, we have to have a listen, don't we?
-Oh, it's beautiful.
-We have to see what this really sounds like.
So, I'm going to give it a wind up.
MUSIC BOX PLAYS
What a fabulous time we're having here at Guildford Cathedral.
Hundreds of people have come through the doors
to have their antiques and collectibles valued.
But right now we are going to up the tempo.
This is where it gets exciting, we're putting our first
batch of antiques to the test in the saleroom.
Don't go away, anything can happen
and here's a quick recap of what we're taking with us.
There's Anne's German silver plate.
A pair of watercolours.
And let's hope the music box hits the right note at auction.
We're in the neighbouring county of West Sussex for today's auction.
And in charge of proceedings is auctioneer Rupert Toovey.
Well, our next item has certainly been passed around the family
-a few times, am I right, Anne?
-Yes, that's right.
-It was your brother's,
-then your sister's and now yours.
We're talking about that little tray, the WMF tray with the dog
on it looking at a lizard, and I'm so pleased you had
a go at pronouncing it because I cannot pronounce it.
-I just say WMF.
-Oh, WMF, yes.
-It's really difficult, isn't it?
-It is, you say it very quickly.
-I won't put you through it.
You did it once, didn't you? You're very brave.
But it is quality, it's absolute quality.
It's beautiful. I just think the way that that little dog is
looking down at the lizard... love it.
Fingers crossed. It's going under the hammer right now.
We're opening the bidding on this lot at £70. £70 here.
£75, can I see?
At £70 here. £75, can I see? £75.
And 80. And 5, sir, centre?
And 90, and 5, sir?
95, and 100, sir. 110.
110 now with you, sir, in the room.
£110 centre now. £110.
Is there any advance on £110?
It's fair warning. 110.
-They were sitting on their hands, weren't they, for that one?
-Thanks for bringing that in, anyway.
-again you see that...
-It's been a great day.
-..quality always sells.
So, despite a slow start,
that silver plate now has a new home and Anne was happy with the result.
Let's see if those watercolours float the bidders' boat.
Susan, Shirley, great to see you again. Fingers crossed.
This is your moment. Let's hope we get the top end of that estimate.
We're talking about those two framed watercolours,
the sailing barges by Aldridge.
-Wonderful, with little windmills in the background as well.
Gilt frames. You paid quite a lot of money for these, didn't you?
-£50, quite a long time ago.
-Long time ago.
That was a lot of money long time ago.
-It was, but the market was better for them.
The market for these types of watercolours is very...
Never the less, never the less, it's a pair.
-It's always nice to have something original on the wall.
-And these aren't a lot of money really.
And the interior decorators like pairs a lot because they match up.
-And they make the room symmetrical which is nice.
Well, let's hope they sail away and they're going under the hammer
right now. This is it!
The Frederick James Aldridge,
a pair of watercolours, both signed.
Lovely, lovely things those and bids to match.
We're opening the bidding on this lot at £250.
-250 is the lowest we've got.
-On commission at 250.
250 here. 280, can I see?
At £250. At £250, on commission at £250.
-Blink and you'll miss it. £250, gone.
You've enjoyed them on the wall, haven't you? For quite a few years.
-Somebody else can enjoy them.
-Thank you very much.
-I call that
money well invested and that's the great thing about antiques.
Buy something, enjoy it, keep it for 20 or 30 years, sell it,
make a bit of profit.
Another spot-on estimate for Mark. Next we've got that music box.
Right, we're going to hit the high notes right now with this
Swiss music box belonging to Elizabeth.
It's got six airs, it's absolute quality
-and I had a chat to Rupert before the sale started.
-Oh, did you?
We both went quality, quality, quality. Great maker. Nicole Freres.
I mean, it doesn't get any better than that. Key wound,
the inlay on the box, everything was divine about it.
So, we're confident.
There are plenty of collectors out there and we've seen them
time and time again on "Flog It!" And I've interviewed quite
a lot of them and they really are passionate about things like this.
Anyway, let's put it to the test. Here we go.
Late 19th century Swiss music box
by Nicole Freres playing six airs.
Beautifully inlaid case with honeysuckle sprays
and opening the bidding here at £550.
-550 here, can I see the 600?
-Oh, come on, we need 600.
We need a bit more than that.
550 here. Can I see the 600?
£550 here. 600, can I see?
At £550. Is there any advance on 550?
And 600 now. £600.
Can I see the 650? At £600 and selling!
-It's gone! You didn't want to take it home, did you?
-I didn't, no.
-Thank goodness, it's too heavy.
-Yeah, it's very heavy. Oh, well done.
-Thank you very much.
Auction rooms are great places to pick up items that you can admire
and preserve to look after for future generations to enjoy.
Now while we were in the area filming,
I visited a museum where preservation is a key part of their
work, but we're not talking about looking after paintings or
furniture or porcelain.
We're talking about looking after buildings.
Take a look at this.
The Weald & Downland Open Air Museum is located in the idyllic
South Downs National Park.
The museum originally opened in 1970
and now it's home to around 50 traditional buildings which
have been saved from destruction, carefully restored and rebuilt
to bring back to life the story of the people who lived in them.
The museum owes its existence to the devotion of one man.
It's founder Roy Armstrong.
And as a local historian, Roy had an increasing
passion in the conservation of buildings from the past.
The eruption of modern housing estates threatened many
traditional homes and buildings with demolition.
Roy Armstrong feared that many historic buildings in the area
were being destroyed as a consequence, even listed buildings.
And he feared that without such structures, people's links
to the past would be lost forever, so something had to be done
and this place was born.
The rescued buildings had been carefully dismantled
and conserved but now the process of reassembling them could begin.
And in 1969 the first building was erected on the site.
In the first month of opening, thousands of visitors
came through the door. The museum was officially a success.
And some 40 years later it's still a thriving visitor attraction.
Now I'm here today to meet the museum's director,
Richard Pailthorpe, to find out more about the work that's being
done to continue Roy's vision for the museum.
Richard, why is it so important to have a museum like this?
Well, I think we have to put the clock back, sort of 40, 50 years.
Back to the sort of 1950s, '60s,
post-war Britain, where overnight, literally,
these traditional buildings, barns, farm houses, etc were disappearing.
-And being replaced by, you know, sorts of glass and steel...
..and everything else, you know.
So, conservation is key to what you do here.
How much work is involved in actually maintaining
-the buildings once they're here on site?
Well, like all buildings, they need to be, you know, conserved...
-Bit of TLC.
-..and TLC, etc.
And that's what we're having to do increasingly much more of.
Thatched roofs, for example, are a major issue.
Got a barn down there desperately in need now of having new thatch.
And so we'll be doing that this year.
Now I hear you've got a cottage which is being
-constructed at the moment or reconstructed I should say.
-Is it something I can get involved in and help?
-Oh, very much so.
-You've come at a, you know, just at the right time!
-Is that is over there?
-Just over there.
We're at the stage where we're about to do some wattle and daubing.
-Here is...that's an opportunity for you to...
-To get mucky!
-Absolutely, that's right.
-Thank you very for talking to me, Richard.
Shall I make my way down that path to the cottage?
-That's right, there you are. Just down there.
Tindalls cottage was originally built in the early 18th century,
probably as the home of a labourer.
It remained in its original position in East Sussex until 1974
when the construction of a reservoir threatened its survival.
Rescued by the museum,
the timber frame has been in storage ever since.
But now it's in the process of being restored back to its former glory.
And the man responsible for this precious restoration is
carpenter in residence, Joe Thompson.
Joe, you've got your work cut out.
Yeah, we've got a bit to do but it's good you're here.
It's essentially a timber frame building, isn't it?
Apart from the brick fireplace and obviously the chimney breast.
Once you get that working, you're going to keep warm.
That's right, it'll be wonderful. You've got all mod cons here,
there's a bread oven out the back,
there's a copper and a furnace to brew beer through there
so you can bake your bread, drink your beer, you've got your
warm kitchen, hall in here and your storeroom's out the back.
Today on a timber frame building with these oak uprights it'll all
be dry lined with plasterboard,
but obviously we're not going to do that, are we?
No, this is wattle and daub.
We're going back to the old ways, tried and tested.
Yeah, talk me through the ingredients. You've got some buckets here.
This is loam from the vicinity where the cottage came from.
Then we've got the straw, a little bit of dung and we've got the water.
So, we're going to basically mix them all together.
Just looking at the little pot of poo, there.
-What's that? Cow or horse?
Traditionally it all would've been trodden by the cows.
Well, I guess I need some gloves really, don't I?
-Who's got the gloves?
-Here we go, Paul.
-Look at that, thank you.
Here's our bucket of loam.
We've got a bit of the cow dung, mixed in.
Well, that's quite dry.
-Yeah, this is some stuff I put aside the other week.
-Then mixing in the water.
-But you could literally pick fresh stuff up,
-Yes, you could.
-So, we've got to get this well mixed.
-Well, it's certainly
-doing the trick, look, it's sticking to your wellies.
So if it sticks to those, it's definitely going to stick to this.
If you wouldn't mind chucking bits of pieces of that in as we go.
Keeps you fit.
I'm going to ask you to help me.
We're going to unload this and we're going to put it into the bucket.
-Look at that. What a sausage.
Right, we've got a bucket full of it, Joe.
-Let's put it on the wall.
-Yeah, come on, then. Let's throw it on.
Let's start at face height. Where would you normally start then?
At the bottom and work up or...
I think we'll start at the top and work our way down.
I'd like to do this without gloves on.
I think I'd like to feel it going in. I can't feel anything.
-Do you mind if I take these off?
-They're quite tight.
-I feel like I need to feel the material.
Yeah, exactly. It's that sort of thing.
I'm going to get myself what we call a cat.
-So it's a piece about the size of an apple.
-I'm going to squeeze it once or twice in my hands.
-And then, we're going to slap it on the wall.
So I've got about the right amount.
-That's it, you've got yourself a cat there.
-Gosh, that's sticky.
Yeah. So, push it on there and with your fingers,
push it into there.
-It wants to go through the gaps.
That's perfect. Yeah, that's coming along nicely.
Ah, do you know what? It makes you feel like a kid again,
it makes you feel like playing with mud.
It's so satisfying because at the end of the day,
it's just clay really, isn't it?
-Look at that. Look how sticky that is.
-It's good fun.
And what I'd do, after a couple of days,
I'd come back and I'd give that another rub up just to
sort of smooth out any little lumps and bumps.
It's all pretty wet and sticky now. Let it go off for a bit.
Come back again.
And I guess with the air blowing through this building
-because there are no windows or doors...
-It'll dry nice and quickly.
It's great. That's very satisfying. Joe, I'll shake your hand.
-Thank you very much.
-You're doing a great job.
-I'm going to leave you to do the rest, I think.
Only one problem, have you got the sink fitted yet?
Well, I've got great admiration for the work they're doing here today.
Not only are they taking the responsibility of the preservation
of these buildings through sheer hard work and determination but
also they're using them to educate and inform us about our past.
And that's what's so important. And who knows?
Maybe some of the buildings we live in today will become
exhibits of the future.
Welcome back to Guildford Cathedral.
Let's now catch up with our experts and see what other antiques
and collectibles we can find to take off to auction.
As you can see, there's still a lot of people here which means
hundreds of antiques to sift through.
Let's now catch up with Mark Stacey. He's found a real gem.
Jane, Michael. I don't have to look underneath to tell you what this is.
Because it screams Moorcroft, Moorcroft, Moorcroft, doesn't it?
-But I tell you what. They don't come much more impressive than this,
-It's stunning, isn't it? I love it.
-It's absolutely amazing.
It's fabulous. I can't say any more than that. It's absolutely fabulous.
One of these ones with so much pink in the actual glazing.
-It really glows, doesn't it?
-It really does.
It really is a sort of very shepherd... What is it they say?
Red sky at night, shepherd's delight.
It's certainly Mark's delight today, I can tell you
because it's wonderful.
-How have you come to own it?
-I've inherited it.
And my husband, with courtesy of my husband,
I'm allowed to keep all these things, or I have been.
You've been very patient, have you, Michael?
Very discreet and gentlemanly about it.
-And Michael, what do you think of it?
-I think it's terrific, yeah.
-It's an impressive piece, isn't it?
Now, what pattern do you think it is?
Well, I thought it was landscape.
Well, it certainly is a landscape with those trees
but the official pattern name is Hazeldene.
-You see this pattern on vases, on other things.
-And it's known as Hazeldene.
-There's another one...
-Now we know.
-..called Eventide which is very similar.
And another one called Claremont which looks like big mushrooms.
-And I love this jazzy pattern...
-..on the outside
-which, of course, helps to date it immediately.
-Yes, does it?
-Yes, because it's very Art Deco.
-So, we're looking at about 1925.
That would fit in with my mother's...could've been
-a wedding present.
-Oh, were they married around then?
My mother and father were married in about 1927, I think.
-Yes, so it could've been, couldn't it?
It's got a few flaws. There are a couple of chips on there.
-There's a little bit of restoration.
But it is a cracking item which I think the collectors would love.
-The damage holds it back a little bit.
I would want to put an estimate of £800 to £1,200 on it.
-As much as that?
-That's quite a sum.
-It's more than you thought?
-Yes, it is.
-Oh, good. What did you think?
Well, I sort of thought £500 to £800, maybe.
No, I think it's a bit more impressive even with the damage.
You know, it wouldn't surprise me if it made a bit more than that
-on the day...
-..but we'll protect it with an £800 reserve.
-Right. Yes, I think...
-If that's all right with you.
-If we do get you, say...
..the top end of the estimate, £1,200,
would you put it towards anything in particular?
-You've got ideas, Jane.
-I've got ideas.
-Go on, tell them.
Well, I think we'd go and have a nice holiday in France.
-Don't you think?
-What a wonderful idea.
-Well, I can't think of a better idea.
-Well, there you are then.
I think that would be wonderful
-because then while you're sipping a nice bottle of red.
You could be thinking "This is all on my chipped Moorcroft bowl."
Fingers crossed that bowl will deliver
when it goes under the hammer later on.
Let's catch up with Catherine who's found one of her favourite things.
Well, Juliet, it's wonderful to be up here at Guildford Cathedral
and equally exciting to see something as delicious as this.
Tell me a bit about it.
I don't know anything about it, Catherine, I'm afraid.
It came from my mother, who in turn would've got it from
her father's antique shop.
Not a family heirloom or anything like that.
So, do you think this is something that perhaps somebody
came in to sell to him one day in the antiques shop
-and perhaps he saw that and thought...
-I would say so.
-..I like that. I'm taking that home.
-Yes, a bit like you, then, Catherine.
Well, I'll tell you what.
If I saw that, if I had an antiques shop and someone brought
that in to me to sell, I would pick it up and take that straight home.
-It is, it's a nice item.
-Which is probably what he's done.
-It's very tactile.
I mean, it's a great piece essentially of treen.
..it is a snuff box.
-They're normally the smaller ones, the pocket sized ones.
But this is the sort of thing that you would have had on the table
so, perhaps it would've been passed around the table
but what makes this different from others is all this inlay.
The mother of pearl and the ebony.
There's an awful lot of work that's gone into this.
It's absolutely super.
It's head and shoulders above anything else I've seen.
Well, let's have a look at this inscription and try
and clarify what it says.
And then I love the way it's got the hand in mother of pearl with
the word to, so "A present to", arrow up,
"Miss C M Brae"
and we know nothing about Brae. We don't know who she is.
Nothing at all. No.
because what they've done here is they've forgotten the S.
-So they've quickly studded it up the top.
-I know. Very sort of...
-That's their mistake.
Sinners earthly friend, lovely.
Then underneath, of course, you've got the important bit to me.
-He died for me. And there's a little picture of her there.
And they've got a name stamped in here of...H Lodge.
That's possibly the maker.
-Maker, would you think? I don't know.
-Maybe the owner.
What I love about it is there are all these questions over it.
Who owned it? Who was Miss Brae?
And I think that's what makes it interesting.
I know. We've always wondered.
-It's a shame we've got this split in front.
-Have you always known it...
-Yes, it's always been like that.
-Ever since I can remember.
But only one piece, I think, after all those years!
I don't know, but how old is it?
-I would date it to 1860s.
That sort of period. It's just pure class, isn't it?
-It's absolutely super.
Now, the question of flogging it,
-that's what it all comes down to.
I can see a lot of people getting excited about this in the same
-way that I have.
I would like to put
a saleroom estimate on
-of £150 to £250.
-That is very nice.
-Is that good?
-Yes, that's great.
-But I wouldn't be surprised if it went very high.
-..class. Thank you.
-You really do like it, don't you?
-I really do like it.
-Really, really do.
-Oh, I'm really pleased. I'm glad you like it.
I've found a quiet corner away from the valuation table to take
a closer look at one of the many interesting items in the cathedral.
Earlier on, I discovered a fascinating carpet
here in the cathedral but the whole place is full of wonderful
treasures and behind me there's another one.
Which resembles, as you can see here, a shepherd's staff.
Normally carried by the abbot or the bishop as a symbol of office.
Now this particular crosier was designed by one of the greatest
craftsman and designers of the Art Nouveau period,
Born in Sheffield, he worked designing throughout his life
on many church commissions, right up until his death in 1939.
This was made for the first bishop of Guildford, sterling silver,
it's all hallmarked with the London Assay office
with the leopard's head and the date letter telling us 1927.
I love this carved ivory ram here within the hook
but look at this wonderful, wonderful enamel work.
Something that you associate Omar Ramsden with.
Glass, coloured glass fused at high temperatures.
I particularly like this little image of the tree of life.
It works perfectly well here in this cathedral.
Sitting on a wonderful rosewood shaft.
Now, isn't that a real treasure?
And we come across Omar Ramsden's work a lot on the show
and it's a big name to look out for.
Well, right now, let's hook up with our experts
and see what else we can find to take off to auction.
Anne, where did this pocket watch come from?
Well, I inherited it through my parents
and it belonged to my great grandfather.
And I really can't tell you that much more about it.
It's for long service, it's inscribed in the back.
-I think we should really see the inscription, don't you?
So, it says...
For 46 years' service in 1938.
Do you know what he did for ICI?
-Well, I believe he worked in the salt mines.
Because he always used to put loads of salt on everything.
-I can just remember him.
-So, he smothered his food with salt?
-It's that old adage, isn't it?
When you did 25 years' service as a retirement gift you got
a gold pocket watch.
I don't think they do it quite so much today.
No, well, because we don't use pocket watches like we used to.
No, nobody does.
The nice thing about it, in this case, it is actually a gold one.
A lot of gold pocket watches we see are actually only gold plated.
-But this one is hallmarked.
Nine carat gold and hallmarked in 1938,
so it was brand-new at the time.
But it's got a fairly straightforward movement on it.
-And a fairly straightforward maker.
It's nice that it's got its box.
But sadly, the value lies in the fact that it is nine carat gold.
-And it will probably end up being melted down
-to be made into something else.
-Yes, I expected that.
-So, you're not worried about that?
-Not at all, no.
So, it just lives in a drawer at home?
It lives in the loft with lots of other bits and bobs.
Who do I give it to? Two sons, three grandsons.
-Can't split it in three, can you?
-They don't want it,
-they'd rather have a phone.
-Of course they would.
That's absolutely right.
Now, have you got an idea of how much it's worth?
-A couple of hundred, I thought.
-I think that's probably about right.
I mean, we've weighed it as much as we can because obviously...
Without the workings.
And a sensible auction estimate is probably in the region
-of £150 to £250.
And it will fluctuate, of course, because when the auction comes up,
it will be affected by the price of gold on that particular day.
But I think we should put a fixed reserve of £150 on it.
Yes, that's absolutely fine.
-And then it protects it a little bit.
-And it's...really not a lot more one can say about it.
Other than it's time for it to go and be turned into something else,
-Yes, I think you're absolutely right.
-Thank you, Anne.
-Time to go.
-Time to go.
What a fabulous turn out we've had here today at Guildford Cathedral.
Such a memorable day. We've found some wonderful treasures as well.
We're heading off to the auction room for the very last time
so it's time for us to say goodbye to this magnificent venue
and all of these wonderful people who have turned up today.
Let's put those last valuations to the test
and here's a quick recap of what we're taking with us.
Mark was enthusiastic about the Moorcroft bowl
but will the bidders feel the same?
Time's definitely up for the gold pocket watch.
And there's that fascinating snuff shoe.
Welcome back to the auction room here in Washington.
Auctioneer Rupert Toovey is on the rostrum
and ready to sell our next item and the bidders are raring to go.
Let's hope we see lots of action.
I had a quick chat with Rupert before the auction started
and he had some reservations about one of our items.
Right, the Moorcroft bowl, the dawn landscape.
It's got some damage. It's a lovely bowl, a generous size as well.
Beautiful, that English interpretation of the Art Nouveau
is wonderful and especially in these
landscape patterns with Moorcroft,
-don't you think?
-And I love that colourway as well.
-Without the damage, £2,000.
-I think you're right.
But with this restoration on the rim, I'm afraid, you know,
we might struggle to get £800, you know.
Is that because there hasn't been a lot of presale interest
or is it your gut feeling?
Huge amount of interest but real concerns about this nick on the rim.
-As soon as they see it, they go...
-.."that's put me off."
Collectors are a fussy breed and I totally agree with them.
If you want to invest in something, you invest in the best.
And now it's the moment of truth for the bowl.
Jane and Mike, it's good to see you again.
-We've been talking about your large Moorcroft bowl.
Oh, it's created all sorts of topic of conversation because
-of that little bit of damage around the rim...
-I know, it's a shame.
-..which has been restored.
-I think at the valuation day
Mark probably said to you without the damage,
you'd be looking at around £2,000.
-That's why we have a value of around £800 on this.
It's really knocked it down a size or two.
-Not in my time.
-Not in your time it didn't happen, no.
-It's still a lovely piece.
-Oh, it's gorgeous, isn't it?
We're going to find out right now exactly what damage matters
-to a piece of Moorcroft.
Large Moorcroft pottery lustre,
glazed dawn landscape patterns, circular bowl. Circa 1928.
It's beautifully decorated with a little restored chip.
But I'm opening the bidding here at £700. At £700, can I see the 720?
At £700. 720, can I see?
At £700. Can I see the 720?
Come on, we need one more hundred.
At £700. Anything online?
No? At £700 then, all done.
At £700 and we're passing it at 700.
-It didn't sell, Jane.
-That's such a shame.
-I'm pleased you protected it with a reserve.
-Yes, I shan't mind.
Because I shall be able to...I actually took a photograph of it
-so I had it if it did sell. Oh, well.
-Sorry about that.
We tried our hardest but, you know, the collectors are fussy,
-So, it seems that the damage to the bowl did put
the bidders off after all.
But who knows? It may do better on another day.
Let's see if Mark has more luck with his next lot.
Fingers crossed for our next item, it belongs to Anne.
We're selling a gold keyless wind open face pocket watch
and this is quality.
-We've got how much? £150 to £250?
Why are you selling this?
I have three grandsons, two sons, who do you give it to?
-And they don't want it.
-No. Do you know something?
-No-one uses them, do they?
The older they get, the more they'll want it, that's the problem.
-Too late now.
-It's too late.
-Grandma's spending the money.
-Going to spend it on yourself?
-I'm going to buy something, yes, I am.
Well, right, let's put this to the test,
let's see if we can get the top end.
A nine carat gold keyless wind, open face gentlemen's pocket watch.
Opening the bidding here with conflicting bids.
All the way up to £280.
All the bidding on the book at £280.
Is there any more, anywhere?
Selling then at 280. 280.
-Top end of the estimate.
Easy, wasn't it?
So, Anne's going home happy with a bit more than she expected.
Let's see if our final item can do just as well.
We've seen them on the show before but not as good as this
-and as big as this.
-Wow, wow, wow!
-I know, it's pretty, isn't it?
This is a piece of social history and I think, you know,
we should easily double, if not triple what you've put on it.
-That's what I hope.
-That's what I'd like to think.
-I knew you would like this.
-Oh, I love it. Absolutely love it.
-Yes, yes, yes. Great item of treen.
And thank you for bringing it in, put a smile on all our faces.
-And I shall smile watching this as well.
-Anyway, good luck!
-I'm excited. Thank you.
-Let's get that top end plus. Here we go.
19th century mahogany snuff box in the form of a shoe.
It's inlaid with mother of pearl and has the most wonderful
presentation inscription inside it, lovely thing.
And we're opening this lovely thing with conflicting bids at £320.
-320, commission bid.
£320. Can I see the 350?
£320. Is there any advance?
350, 380, 400.
-Well, I'm not surprised.
£420. Can I see the 450?
At £420 and fair warning then.
-You said so.
-I did, I told you £400 to £500, didn't I?
-Yes, you did.
-Yeah, I told Catherine that as well back at the cathedral.
Well, that's it. It's all over for our owners and what a day it's been.
I hope you've enjoyed the show and do remember
if you've got any antiques you think would do well in auction,
we would love to see you at one of our valuation days.
Details of up and coming dates and venues you can find on our
BBC website, or check the details in your local press.
We would love to see you but until then,
from West Sussex, it's goodbye.
This edition of Flog It! comes from Guildford Cathedral, where Paul Martin is joined by experts Mark Stacey and Catherine Southon.
Together the team pick out a selection of antiques and collectables to be sold at a local auction. Mark discovers a large Moorcroft bowl, but will a small bit of damage put the bidders off? And Catherine finds a wooden snuff holder in the shape of a shoe - will the buyers sniff it out? But the real star of the show is a music box.
Paul also visits Weald and Downland Museum, where they preserve entire buildings from the local area for generations to come. And he goes hands-on with part of the restoration process.