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Today, we're in a place dubbed | 0:00:05 | 0:00:06 | |
the last bastion of free speech in the world. | 0:00:06 | 0:00:09 | |
This place is famous as a forum for debating controversial issues. | 0:00:09 | 0:00:13 | |
And no doubt, we'll have one or two good points to talk about today | 0:00:13 | 0:00:16 | |
over the items we find. This is "Flog it!" | 0:00:16 | 0:00:18 | |
For this programme, | 0:00:41 | 0:00:43 | |
we've come to the most famous debating room | 0:00:43 | 0:00:45 | |
outside of Westminster, | 0:00:45 | 0:00:47 | |
the hallowed chamber of Oxford Union. | 0:00:47 | 0:00:49 | |
The Union's core principle is free speech | 0:00:49 | 0:00:51 | |
and it was founded at a time when universities banned students | 0:00:51 | 0:00:55 | |
from talking freely about politics and religion. | 0:00:55 | 0:00:58 | |
Malcolm X came here to debate civil rights... | 0:01:02 | 0:01:04 | |
The most cosmopolitan and progressive parts of it... | 0:01:04 | 0:01:06 | |
And Teddy Kennedy arrived under a hail of protest to discuss Vietnam. | 0:01:06 | 0:01:11 | |
Well, let's hope our "Flog It!" audience aren't as rowdy today. | 0:01:11 | 0:01:14 | |
We are literally surrounded by history here today | 0:01:14 | 0:01:17 | |
at the Oxford Union. | 0:01:17 | 0:01:18 | |
Malcolm X made his famous speech in 1964 | 0:01:18 | 0:01:21 | |
when he demanded black empowerment by any means necessary. | 0:01:21 | 0:01:24 | |
Let's hope we find some wonderful political memorabilia. | 0:01:24 | 0:01:27 | |
Come on, then. | 0:01:29 | 0:01:30 | |
And our experts on the campaign trail are Christina Trevanion, | 0:01:35 | 0:01:39 | |
our silver-lounged jewellery expert. | 0:01:39 | 0:01:41 | |
Ooh! | 0:01:41 | 0:01:43 | |
All that glitters. I like it. | 0:01:43 | 0:01:47 | |
And our very own formidable debater Mark Stacey, | 0:01:47 | 0:01:50 | |
who seems to me in need of a little light refreshment. | 0:01:50 | 0:01:53 | |
Oh, you've drunk it all. | 0:01:53 | 0:01:55 | |
Not very much fun, is it? We need a little tipple, | 0:01:55 | 0:01:57 | |
being outside in this cold, don't we? | 0:01:57 | 0:01:59 | |
Call to order. | 0:02:03 | 0:02:04 | |
I believe this house has large queues of people all waiting | 0:02:04 | 0:02:07 | |
to have their antiques valued by our experts. | 0:02:07 | 0:02:10 | |
So, without further ado, let's see what Oxford has to offer. | 0:02:10 | 0:02:15 | |
Coming up in today's show... | 0:02:15 | 0:02:16 | |
Has Christina uncovered a famous fake? | 0:02:18 | 0:02:21 | |
You think it's Serves. | 0:02:21 | 0:02:23 | |
Yes. Is it not? | 0:02:23 | 0:02:24 | |
While Mark gets a bit of a religious education. | 0:02:27 | 0:02:30 | |
So, who was Charles Spurgeon? | 0:02:30 | 0:02:33 | |
And I turn the clock back to the Cold War protests | 0:02:33 | 0:02:35 | |
at Greenham Common. | 0:02:35 | 0:02:37 | |
Did they change history? | 0:02:37 | 0:02:39 | |
NEWS REPORTER: They arrived in their thousands by coach, by car | 0:02:39 | 0:02:42 | |
and even on foot. | 0:02:42 | 0:02:43 | |
Well, everybody's now safe and seated inside | 0:02:46 | 0:02:49 | |
and our expert first out on the blocks is Christina. | 0:02:49 | 0:02:51 | |
Let's take a closer look at what she spotted. | 0:02:51 | 0:02:54 | |
So, June, I'm assuming you're a Libran | 0:02:55 | 0:02:57 | |
because opals are the birthstone for Libras. | 0:02:57 | 0:03:00 | |
-No, I was born in November. -Ah! A little bit late, then? -Mm. | 0:03:00 | 0:03:04 | |
I've never understood why two separate... | 0:03:04 | 0:03:06 | |
-These are love tokens from past admirers... -Oh, my goodness! | 0:03:06 | 0:03:09 | |
-Ages...ages past. -Ooh! | 0:03:09 | 0:03:12 | |
And they both bought me these stones at separate times, | 0:03:12 | 0:03:16 | |
-which is extraordinary. -Oh, really? | 0:03:16 | 0:03:17 | |
And I've never expressed a desire for opals. | 0:03:17 | 0:03:21 | |
So, have you ever worn them? | 0:03:21 | 0:03:22 | |
I've just tried them on and thought, "They're really not me." | 0:03:22 | 0:03:26 | |
"Thanks very much, but you obviously don't know me." | 0:03:26 | 0:03:29 | |
-Quite. -That's why they are past admirers. -Exactly. Exactly. | 0:03:29 | 0:03:33 | |
Well, a lot of people are very suspicious about opals. | 0:03:33 | 0:03:37 | |
Like I say, they were... | 0:03:37 | 0:03:39 | |
Or they are the birthstone of Librans and traditionally, | 0:03:39 | 0:03:42 | |
it said that Librans are the only ones that can wear them, | 0:03:42 | 0:03:45 | |
which frankly is buncombe. | 0:03:45 | 0:03:47 | |
They have been historically linked with bad luck due to a book | 0:03:47 | 0:03:51 | |
that Walter Scott wrote | 0:03:51 | 0:03:53 | |
where he had his main character wearing an opal talisman | 0:03:53 | 0:03:56 | |
-and she promptly, I think, dropped down dead, sadly. -OK. | 0:03:56 | 0:03:59 | |
So, they've been associated with quite bad luck | 0:03:59 | 0:04:01 | |
since the 19th century. | 0:04:01 | 0:04:02 | |
I think they are beautiful and I've got quite a few opals | 0:04:02 | 0:04:05 | |
mainly because I went over to Australia and picked up... | 0:04:05 | 0:04:08 | |
Cos they are the native stone of Australia. | 0:04:08 | 0:04:10 | |
Oh, are they? I didn't know that. | 0:04:10 | 0:04:12 | |
So, I had a bit of a tourist moment | 0:04:12 | 0:04:13 | |
and bought myself an opal in Australia. | 0:04:13 | 0:04:16 | |
This one here... | 0:04:16 | 0:04:17 | |
Or this pair here is set in nine carat | 0:04:17 | 0:04:19 | |
and they're obviously a pear shape | 0:04:19 | 0:04:22 | |
with this little wire work surround in a... | 0:04:22 | 0:04:24 | |
If we pick one up, you can see it's quite a drop. | 0:04:24 | 0:04:27 | |
-And it's just quite a nice effect when you turn your head. -Yes. | 0:04:27 | 0:04:30 | |
They sort of almost quiver. They're quite sweet. | 0:04:30 | 0:04:32 | |
And they are from I think about 1975, I think. | 0:04:32 | 0:04:36 | |
-So, with that sort of tally with the right date? -Yes. | 0:04:36 | 0:04:40 | |
And then we've got this little cluster, | 0:04:40 | 0:04:43 | |
which is almost quite a Tudor-y looking setting here. | 0:04:43 | 0:04:46 | |
Garnets in the middle | 0:04:46 | 0:04:48 | |
and I think these are also stamped nine carats on the back. | 0:04:48 | 0:04:51 | |
So, very, very sweet. | 0:04:51 | 0:04:54 | |
Difficult thing to value | 0:04:54 | 0:04:56 | |
because like I say they've got this reputation and opals are... | 0:04:56 | 0:05:00 | |
They're not as commercial as say diamonds | 0:05:00 | 0:05:02 | |
or some of the other harder stones. | 0:05:02 | 0:05:04 | |
If we were to put them into auction, we would put them in as one lot. | 0:05:04 | 0:05:07 | |
-Right. -So, we've put them together and I would probably be looking | 0:05:07 | 0:05:11 | |
somewhere in the region of £80 to £120, something like that. | 0:05:11 | 0:05:15 | |
And hoping to get the sort of £100 region. | 0:05:15 | 0:05:18 | |
-How would you feel about that? -That sounds fine. | 0:05:18 | 0:05:21 | |
Would we look at a reserve or not on that? | 0:05:21 | 0:05:24 | |
If we could, possibly a reserve of sort of 80. How would you feel? | 0:05:24 | 0:05:28 | |
-That's fine. -Is that all right? | 0:05:28 | 0:05:30 | |
If we put 80 firm and then the auctioneer sort of can't go | 0:05:30 | 0:05:33 | |
-any lower than that. -Yes. | 0:05:33 | 0:05:35 | |
Well, let's hope we get some divine inspiration for our earrings, | 0:05:35 | 0:05:38 | |
-shall we? -Let's hope we do. | 0:05:38 | 0:05:39 | |
Our next item is a rather unusual bust of a gentleman who | 0:05:47 | 0:05:50 | |
preached divine inspiration every Sunday from the pulpit. | 0:05:50 | 0:05:54 | |
This was a man not afraid to speak his mind - | 0:05:55 | 0:05:57 | |
the Baptist Charles Spurgeon. | 0:05:57 | 0:06:00 | |
Mark should like this one. | 0:06:00 | 0:06:02 | |
You've brought this rather interesting | 0:06:02 | 0:06:04 | |
Parian ware bust into me. | 0:06:04 | 0:06:06 | |
Now, what can you tell us about it? | 0:06:06 | 0:06:09 | |
My mother owned this all of my life. | 0:06:09 | 0:06:13 | |
And I think she used to go around and, on occasions, | 0:06:13 | 0:06:17 | |
heard Charles Spurgeon actually preaching. | 0:06:17 | 0:06:20 | |
-So, she might have met him. -At some of his meetings, yes. | 0:06:20 | 0:06:23 | |
-He was known as the Prince of the Preachers. -Oh, right. | 0:06:23 | 0:06:26 | |
So he was very popular in his day. | 0:06:26 | 0:06:28 | |
-And he looks a terribly Victorian gentlemen. -Oh, absolutely, yeah. | 0:06:28 | 0:06:32 | |
And being a preacher, of course, he would've felt at home here, | 0:06:32 | 0:06:36 | |
-in a debating chamber. -That's right. -Wouldn't he? | 0:06:36 | 0:06:38 | |
Similar to the gentleman across there. | 0:06:38 | 0:06:41 | |
-He looks very Victorian as well, doesn't he? -Yeah. | 0:06:41 | 0:06:44 | |
And why have you brought it in to show to us today, David? | 0:06:44 | 0:06:48 | |
Well, it's not something that we feel we need to keep anymore. | 0:06:48 | 0:06:52 | |
-And time's are hard... -Maybe time for somebody who collects Parian ware | 0:06:52 | 0:06:56 | |
-to have it. -Absolutely, yes. | 0:06:56 | 0:06:57 | |
It's known as Parian ware after the Island of Paros. | 0:06:57 | 0:07:01 | |
Oh, right. | 0:07:01 | 0:07:02 | |
Because of course, when you first see them, they look like marble. | 0:07:02 | 0:07:06 | |
-Yes. -And that's where they mined marble. | 0:07:06 | 0:07:09 | |
And they are often fully signed. | 0:07:09 | 0:07:12 | |
We know this one is by a firm called Robinson & Leadbeater, | 0:07:12 | 0:07:16 | |
and I think it was designed by one of their sculptors called Acton, | 0:07:16 | 0:07:19 | |
J Acton, around about 1878. | 0:07:19 | 0:07:22 | |
So it is a nice, proper antique item. | 0:07:22 | 0:07:25 | |
Now, they used to be popular many years ago. | 0:07:25 | 0:07:29 | |
The market for Parian ware is much more realistic these days. | 0:07:29 | 0:07:32 | |
And it does depend on the model. | 0:07:32 | 0:07:34 | |
You know, if you get one of the very big models of a glamorous | 0:07:34 | 0:07:38 | |
looking young lady, who is semi-draped, | 0:07:38 | 0:07:41 | |
showing a little more than she should be showing... | 0:07:41 | 0:07:43 | |
-Right. -..then it is a little bit more popular. | 0:07:43 | 0:07:45 | |
This is more of an academic figure. | 0:07:45 | 0:07:47 | |
This is for someone who has got a nice Victorian house who | 0:07:47 | 0:07:51 | |
wants to create a sort of library or something like that. | 0:07:51 | 0:07:54 | |
Having said all that, I think he would sell at auction. | 0:07:54 | 0:07:57 | |
I think years ago, | 0:07:57 | 0:07:59 | |
something like this would have made £80 to £100. | 0:07:59 | 0:08:02 | |
Today, we've got to be a little bit more realistic, I think. | 0:08:02 | 0:08:05 | |
I'd like to put it in with an estimate of around £30 to £50. | 0:08:05 | 0:08:09 | |
-Would you be happy with that? -Yeah, that's fine. | 0:08:09 | 0:08:12 | |
Would you want to put a reserve on it or would you | 0:08:12 | 0:08:14 | |
-just like to see what happens? -No, I don't, because I... No. | 0:08:14 | 0:08:18 | |
Let the market decide on the day. | 0:08:18 | 0:08:20 | |
I mean, hopefully, there will be two or three people. | 0:08:20 | 0:08:23 | |
Put those hands up and we'll get a good price for it. | 0:08:23 | 0:08:26 | |
-Find its own level. -Absolutely. | 0:08:26 | 0:08:28 | |
Well, I've done enough preaching, now it's off to the auction for us, | 0:08:28 | 0:08:31 | |
-isn't it? -OK. | 0:08:31 | 0:08:33 | |
But before we do, | 0:08:33 | 0:08:35 | |
let's delve a little bit deeper into the history of the Union. | 0:08:35 | 0:08:38 | |
And keeping a tight rein on the proceedings, | 0:08:38 | 0:08:40 | |
is the President of the Union, | 0:08:40 | 0:08:42 | |
who sits right here, in this chair. | 0:08:42 | 0:08:44 | |
It currently belongs to student Maria Rioumine, | 0:08:44 | 0:08:48 | |
who has some ambitious plans for her tenure. | 0:08:48 | 0:08:51 | |
-Why did you want to be President for the Union? -I was... | 0:08:53 | 0:08:55 | |
When I came to Oxford, cos I'm Russian, | 0:08:55 | 0:08:57 | |
so I'm an international student, | 0:08:57 | 0:08:59 | |
I was absolutely overwhelmed with the history of the place, | 0:08:59 | 0:09:01 | |
with the debates that've gone on here, with the speakers that I saw. | 0:09:01 | 0:09:04 | |
And I think I just thought that, where else could you have such | 0:09:04 | 0:09:07 | |
an opportunity, age 20, to basically run an entire institution | 0:09:07 | 0:09:10 | |
and put on any events that you wanted? | 0:09:10 | 0:09:12 | |
So to me, having always debated all the way through school, | 0:09:12 | 0:09:15 | |
I thought that this is definitely something I should get involved with. | 0:09:15 | 0:09:18 | |
What speakers do you want to bring here? | 0:09:18 | 0:09:20 | |
Ideally, I want to make my debates as controversial as possible. | 0:09:20 | 0:09:23 | |
-That's the whole idea in a way, isn't it? -Exactly. So that's why... | 0:09:23 | 0:09:27 | |
I mean, this time we've had Psy come to give his first | 0:09:27 | 0:09:30 | |
English-speaking address. We had John McCain. | 0:09:30 | 0:09:33 | |
We had even the Winklevoss twins, which were extremely popular. | 0:09:33 | 0:09:36 | |
So, I think... | 0:09:36 | 0:09:37 | |
Ideally, for... I'd like people like Caitlin Moran, Germaine Greer, | 0:09:37 | 0:09:42 | |
politicians, anyone from the frontbench, any Americans, | 0:09:42 | 0:09:46 | |
obviously Barrack Obama, but I think he'll probably be busy. | 0:09:46 | 0:09:49 | |
-Well, you never know, do you? -Well, I can... I'll try, I'll try. | 0:09:49 | 0:09:52 | |
I'll bring up Angela Merkel as well, but we'll see about that. | 0:09:52 | 0:09:55 | |
I'm sure you will. Thank you so much for talking to me today. | 0:09:55 | 0:09:58 | |
Thank you very much. | 0:09:58 | 0:09:59 | |
Clearly a lady who's going somewhere, | 0:09:59 | 0:10:01 | |
and I'm sure she will get Barack Obama one day. | 0:10:01 | 0:10:04 | |
Welcoming our next guest is another intelligent lady, | 0:10:04 | 0:10:07 | |
Christina Trevanion, who has discovered a piece | 0:10:07 | 0:10:10 | |
by a famous female potter. | 0:10:10 | 0:10:11 | |
Welcome, Julian and Paris. | 0:10:14 | 0:10:16 | |
Thank you for coming in today and for bringing this beautiful | 0:10:16 | 0:10:20 | |
Charlotte Rhead vase. Which belongs to you, Julian. | 0:10:20 | 0:10:23 | |
Did you inherit the piece? | 0:10:24 | 0:10:26 | |
-From his nan. -From your nan, OK. | 0:10:28 | 0:10:30 | |
And was she a Charlotte Rhead collector? | 0:10:30 | 0:10:33 | |
-She collected lots of things. -She did? Oh, brilliant. | 0:10:33 | 0:10:36 | |
Well, she obviously had a very, very good eye cos this is | 0:10:36 | 0:10:39 | |
a particularly beautiful piece. | 0:10:39 | 0:10:41 | |
-Do you like it? -Nice design, nice shape. | 0:10:41 | 0:10:45 | |
Brilliant, it is. It is a beautiful design. | 0:10:45 | 0:10:47 | |
And Charlotte Rhead really came from an entire dynasty of Rhead family | 0:10:47 | 0:10:52 | |
ceramics specialists. | 0:10:52 | 0:10:54 | |
And they worked for a lot of different Staffordshire companies. | 0:10:54 | 0:10:58 | |
But she really is the most famous of her brothers and her sisters, | 0:10:58 | 0:11:01 | |
who were also in the industry. | 0:11:01 | 0:11:03 | |
If we look on the bottom - we'll have a look at its bottom here - | 0:11:03 | 0:11:07 | |
it's actually got TL5 - Tube Line 5. | 0:11:07 | 0:11:10 | |
And this pattern is quite a prolific pattern. | 0:11:10 | 0:11:13 | |
It has got oranges and lemons | 0:11:13 | 0:11:15 | |
and it is a continuous band all the way around. | 0:11:15 | 0:11:19 | |
So if we keep looking, it is all over decorated. | 0:11:19 | 0:11:21 | |
And collectors do love that. | 0:11:21 | 0:11:23 | |
What are your valuation expectations for it? | 0:11:23 | 0:11:27 | |
Because she did produce quite a lot of them, they are quite prolific. | 0:11:27 | 0:11:30 | |
Four years ago, | 0:11:30 | 0:11:31 | |
we saw on the computer, online, one for about £120. | 0:11:31 | 0:11:37 | |
About £120, | 0:11:37 | 0:11:38 | |
which would be a fairly accurate open market valuation for it. | 0:11:38 | 0:11:42 | |
I was thinking, I had in my head, | 0:11:42 | 0:11:44 | |
cos I've sold quite a lot of these before, | 0:11:44 | 0:11:46 | |
and they've made in the region of about £80 to £120. | 0:11:46 | 0:11:49 | |
So, I would be happy to put an £80 reserve on it, | 0:11:49 | 0:11:53 | |
with an estimate of 80 to 120. | 0:11:53 | 0:11:56 | |
How do you feel about that? | 0:11:56 | 0:11:58 | |
-Fine. -Excellent. Brilliant. | 0:11:59 | 0:12:01 | |
Well, let's put it to auction at 80 to 120, | 0:12:01 | 0:12:04 | |
and hopefully, we'll get some more for you. | 0:12:04 | 0:12:07 | |
Thank you ever so much for bringing it in today. | 0:12:07 | 0:12:09 | |
-It has been a pleasure to meet you both. -Thank you. -Thank you. | 0:12:09 | 0:12:12 | |
Well, one or two frank discussions over the valuation tables. | 0:12:14 | 0:12:17 | |
I'm sure you will agree. | 0:12:17 | 0:12:19 | |
Well, there you are, three wonderful items we have found so far. | 0:12:20 | 0:12:24 | |
Our auctioneer, Thomas Plant, is under starter's orders. | 0:12:24 | 0:12:27 | |
He's at the auction room right now, | 0:12:27 | 0:12:28 | |
so it is time for us to go over there. | 0:12:28 | 0:12:30 | |
And here is a quick recap of all the items we are taking with us. | 0:12:30 | 0:12:34 | |
We have Jean's opal love tokens from past admirers, | 0:12:34 | 0:12:37 | |
which failed to impress. | 0:12:37 | 0:12:38 | |
"But you obviously don't know me." | 0:12:38 | 0:12:41 | |
-Right. -Hence why they are passed admirers. -Exactly. | 0:12:41 | 0:12:45 | |
And David's rare Baptist bust, which turned Mark's head. | 0:12:47 | 0:12:51 | |
And not forgetting, Julian's Charlotte Rhead vase. | 0:12:53 | 0:12:57 | |
Which one of them will triumph in the arena of the auction? | 0:12:57 | 0:13:00 | |
Our sale today comes from Newbury, near Reading. | 0:13:04 | 0:13:08 | |
At £1,100, make no mistake... | 0:13:08 | 0:13:10 | |
Our very own auctioneer, Thomas Plant, | 0:13:12 | 0:13:14 | |
has set up home on a former RAF base, Greenham Common. | 0:13:14 | 0:13:18 | |
It has its own story to tell, but more of that later. | 0:13:18 | 0:13:21 | |
Right now, our first lot up are Jean's opal earrings, | 0:13:21 | 0:13:24 | |
a favourite of Christina's. It is just a shame she cannot bid. | 0:13:24 | 0:13:29 | |
Jean, I've got my fingers crossed for you. Good luck. | 0:13:29 | 0:13:31 | |
-Thank you very much. -And I must say, you look fabulous. | 0:13:31 | 0:13:34 | |
You don't need it. You don't need it. You've got style, lady! | 0:13:34 | 0:13:37 | |
-Hasn't she? -She has. | 0:13:37 | 0:13:38 | |
We are about to sell the two pairs of gold and opal earrings. | 0:13:38 | 0:13:43 | |
Let's hope they are all in vogue and it's not running hot and cold. | 0:13:43 | 0:13:46 | |
Because we need some kitchen taps, or is it bathroom taps? | 0:13:46 | 0:13:49 | |
-Bathroom taps. -So, you are doing a bit of DIY? | 0:13:49 | 0:13:51 | |
I am indeed. I'm looking forward to it. | 0:13:51 | 0:13:53 | |
-I like these, I think they've got style. -Yeah. | 0:13:53 | 0:13:56 | |
Opals, not everyone's cup of tea, so let's just hope that doesn't | 0:13:56 | 0:13:59 | |
put too many people off and we get some Librans in the sale room. | 0:13:59 | 0:14:02 | |
I'd like them to go to somebody who really loves them. | 0:14:02 | 0:14:04 | |
-Cos you don't wear them anymore. -I don't. They are not really me. | 0:14:04 | 0:14:07 | |
No. Do you know, I can see that. I can see that. | 0:14:07 | 0:14:10 | |
-Anyway, good luck. This is it. -Thank you. | 0:14:10 | 0:14:13 | |
Next up is lot number 90. | 0:14:13 | 0:14:15 | |
This is two pairs of gold and opal earrings, the drops here. | 0:14:15 | 0:14:19 | |
Start me off here at £65. At 65. | 0:14:19 | 0:14:21 | |
At 65, the bid is with me here at 65. | 0:14:21 | 0:14:25 | |
At 65. 70. Five. | 0:14:25 | 0:14:28 | |
-80. And I'm out at 80. Lady's bid at £80. -Well, we've sold them. | 0:14:28 | 0:14:32 | |
-Yep, £80. -£80 against you all... | 0:14:32 | 0:14:35 | |
-Jean, the hammer has gone down. We just did it, £80. -Wonderful. | 0:14:35 | 0:14:39 | |
Those taps will be mine. | 0:14:39 | 0:14:41 | |
Yay! | 0:14:41 | 0:14:43 | |
From plumbing to Parian ware, it is that bust next. | 0:14:43 | 0:14:47 | |
Will the Prince of Preachers fetch a princely price? | 0:14:47 | 0:14:50 | |
Going under the hammer right now, we've got a Parian ware bust | 0:14:50 | 0:14:53 | |
of Thomas Haddon Spurgeon, belonging to David. | 0:14:53 | 0:14:55 | |
And in fact, David has brought along a book which accompanies the bust. | 0:14:55 | 0:14:59 | |
-That's correct. -It tells us all about the Prince of Preachers. -Absolutely. | 0:14:59 | 0:15:03 | |
-As he was known. -Indeed, you are right, Paul. | 0:15:03 | 0:15:05 | |
Why have you decided to sell it now? | 0:15:05 | 0:15:07 | |
We've got no direct connections with it anymore | 0:15:07 | 0:15:10 | |
and there is a Spurgeon Society that is current at the moment, | 0:15:10 | 0:15:14 | |
-so somebody might be interested in moving it onto them. -Sure. | 0:15:14 | 0:15:18 | |
And it is beautifully made. | 0:15:18 | 0:15:19 | |
It is by a good maker, so it is very well modelled. | 0:15:19 | 0:15:22 | |
-It is beautifully modelled. -No reserve. | 0:15:22 | 0:15:24 | |
I know, that's dangerous. | 0:15:24 | 0:15:26 | |
Was that your idea or Mark's idea? | 0:15:26 | 0:15:28 | |
We both agreed. | 0:15:28 | 0:15:32 | |
-I can't be blamed for this, Paul. -No. | 0:15:32 | 0:15:34 | |
Well, I'm sure Thomas will not let this go for £5. | 0:15:34 | 0:15:38 | |
Lot number 210, the Robinson and Leadbeater | 0:15:38 | 0:15:41 | |
Parian ware bust of Charles Spurgeon, | 0:15:41 | 0:15:43 | |
and I've got bids here with me starting straight in at £35. | 0:15:43 | 0:15:47 | |
-Great. -Wonderful. -Straight in at the top end, there you go. | 0:15:47 | 0:15:50 | |
At £35, the Parian bust. | 0:15:50 | 0:15:52 | |
At £35, is there any advance? | 0:15:52 | 0:15:54 | |
At £35. That is my top bid at 35. | 0:15:54 | 0:15:57 | |
40 if you want it. | 0:15:57 | 0:15:58 | |
At £35 against you all... | 0:15:58 | 0:16:00 | |
Selling then. | 0:16:00 | 0:16:02 | |
That is a great result. | 0:16:02 | 0:16:03 | |
You know, I wouldn't mind owning that for £35. | 0:16:03 | 0:16:05 | |
I would love it for £35. | 0:16:05 | 0:16:07 | |
It is a nice little thing. Especially with that book. | 0:16:07 | 0:16:10 | |
I'm sure Charles Spurgeon's book has a few revelations. | 0:16:12 | 0:16:15 | |
But now it is time for a real "Flog It!" favourite. | 0:16:15 | 0:16:18 | |
Well, going under the hammer right now, | 0:16:20 | 0:16:22 | |
we've got a Charlotte Rhead jug. | 0:16:22 | 0:16:24 | |
It is a great name in ceramics. | 0:16:24 | 0:16:25 | |
Charlotte Rhead is up there with the best. | 0:16:25 | 0:16:27 | |
Belonging to Julian, who is standing right next to me, | 0:16:27 | 0:16:30 | |
with his interpreter, Jean. | 0:16:30 | 0:16:31 | |
Julian's hoping to put the money towards a trip | 0:16:31 | 0:16:34 | |
to New York for his 40th birthday. | 0:16:34 | 0:16:36 | |
Good luck with that. Great to see you both. | 0:16:36 | 0:16:39 | |
Good to see you both again. | 0:16:39 | 0:16:41 | |
-It's very exciting. -I like this a lot. -Yeah, absolutely. | 0:16:41 | 0:16:44 | |
And it belonged to your grandmother, didn't it, Julian? | 0:16:44 | 0:16:46 | |
-Yes. -That's right. | 0:16:46 | 0:16:48 | |
So, do you think we'll have her blessing to sell it today? | 0:16:48 | 0:16:51 | |
-Oh, yeah, I think she'll be very pleased. -Brilliant. | 0:16:52 | 0:16:56 | |
I'm sure she'd be happy that I'm going to use | 0:16:56 | 0:16:58 | |
the money for a holiday to New York. | 0:16:58 | 0:17:00 | |
Well, good luck. | 0:17:00 | 0:17:01 | |
Let's hope we get the top end of the estimate and a little bit more. | 0:17:01 | 0:17:05 | |
-Fingers crossed. -Fingers crossed. | 0:17:05 | 0:17:07 | |
Here we go. Let's hand the proceedings over to Thomas Plant. | 0:17:09 | 0:17:13 | |
An Art Deco pottery jug by Charlotte Rhead. | 0:17:13 | 0:17:16 | |
Good-looking lot, this one. | 0:17:16 | 0:17:17 | |
I start the bidding with me, straight in at £85 with me. | 0:17:17 | 0:17:20 | |
Oh, brilliant! | 0:17:20 | 0:17:21 | |
-Wow. That's good. -Fantastic. | 0:17:21 | 0:17:23 | |
Is there any advance at £85? | 0:17:23 | 0:17:25 | |
90. Five. 100. And ten. | 0:17:25 | 0:17:27 | |
-120. 130. -It's just such a great name. | 0:17:27 | 0:17:31 | |
Everybody is out at 130? | 0:17:31 | 0:17:33 | |
-Wow. -With me, on the book at 130. I sell, then, £130... | 0:17:33 | 0:17:38 | |
-Yay! -Yes, the hammer has gone down. -Brilliant. Congratulations. | 0:17:38 | 0:17:41 | |
-Brilliant. -That's marvellous news. -Fantastic. | 0:17:41 | 0:17:43 | |
That'll help towards the trip. | 0:17:43 | 0:17:44 | |
-Yeah. -Yeah, definitely. | 0:17:44 | 0:17:47 | |
I've got hands everywhere. Last chance, then. | 0:17:49 | 0:17:52 | |
Free speech is a central tenant of Oxford Union, | 0:17:54 | 0:17:56 | |
everyone has the right to express their opinion. | 0:17:56 | 0:17:59 | |
In 1981, a group of women expressed their opinion in a rather | 0:17:59 | 0:18:03 | |
dramatic way. | 0:18:03 | 0:18:05 | |
This was a debate that the whole world would sit up | 0:18:05 | 0:18:07 | |
and take notice of, and it happened literally right here, | 0:18:07 | 0:18:10 | |
because the auction room is built on the site of Greenham Common. | 0:18:10 | 0:18:14 | |
In 1981, 36 women and four babies in pushchairs set out | 0:18:22 | 0:18:27 | |
from the city hall in Cardiff to walk to Greenham Common, RAF base. | 0:18:27 | 0:18:33 | |
They had one aim - to reach the American air base, | 0:18:33 | 0:18:37 | |
which was situated here, on Greenham Common. | 0:18:37 | 0:18:40 | |
It was a 120-mile walk, but they were determined. | 0:18:40 | 0:18:43 | |
They were on a mission to protest. | 0:18:43 | 0:18:45 | |
The reason being, American nuclear warheads were stored here, | 0:18:45 | 0:18:49 | |
on this site. | 0:18:49 | 0:18:50 | |
And behind this door, lies the command centre. | 0:18:50 | 0:18:53 | |
This is where the protesters were desperate to get access to, | 0:19:00 | 0:19:04 | |
and they actually did make it on the base, | 0:19:04 | 0:19:06 | |
when security guards mistook them for cleaners. | 0:19:06 | 0:19:10 | |
But once their protest began in earnest, relations soured. | 0:19:10 | 0:19:14 | |
'Despite the rain and the bitter cold, they arrived by coach, | 0:19:16 | 0:19:20 | |
'by car and even on foot. | 0:19:20 | 0:19:21 | |
'Their aim was to stress as powerfully as possible that in their | 0:19:23 | 0:19:26 | |
'view, the cruise missile is not a deterrent, it is a weapon of death.' | 0:19:26 | 0:19:30 | |
In the volatile political landscape of the 1980s, | 0:19:34 | 0:19:37 | |
opinions polarised over nuclear issues. | 0:19:37 | 0:19:40 | |
And Greenham Common became a symbolic battleground. | 0:19:40 | 0:19:43 | |
Now, many people believed cruise missiles were | 0:19:43 | 0:19:45 | |
a deterrent against a nuclear attack from Russia, while many other | 0:19:45 | 0:19:49 | |
people believed they were a force of destruction in their own right. | 0:19:49 | 0:19:53 | |
Ordinary women felt they had no choice | 0:19:54 | 0:19:57 | |
but to leave their families and homes behind. | 0:19:57 | 0:20:00 | |
They came to Greenham to protest, | 0:20:00 | 0:20:02 | |
as they believed Armageddon was imminent. | 0:20:02 | 0:20:06 | |
We had been told we're stuck with this reality, | 0:20:06 | 0:20:08 | |
where war is acceptable, war is a way of solving the world's problems. | 0:20:08 | 0:20:13 | |
And that is simply not good enough. | 0:20:13 | 0:20:15 | |
This is not even war what they're promising now, | 0:20:15 | 0:20:18 | |
it's extermination. | 0:20:18 | 0:20:20 | |
Of us, of everybody. | 0:20:21 | 0:20:24 | |
Every living thing. | 0:20:24 | 0:20:25 | |
Jean Hutchinson was one of the founding mothers of the camp. | 0:20:25 | 0:20:29 | |
It was actually her family who persuaded her to take a stand. | 0:20:29 | 0:20:33 | |
My son said, "It's about time that you got down there and found out, | 0:20:35 | 0:20:40 | |
"and I'll do the cooking for the family." | 0:20:40 | 0:20:43 | |
I arrived with a tent and put it up. So we were all in tents. | 0:20:46 | 0:20:50 | |
'They'd been living in the most primitive conditions outside | 0:20:50 | 0:20:53 | |
'the main gate for 15 months. Tonight, however, | 0:20:53 | 0:20:56 | |
'police reinforcements have been called to Greenham.' | 0:20:56 | 0:20:59 | |
The Council liked to evict us a lot. | 0:21:01 | 0:21:05 | |
We had to be very close, because we had to come onto this ground | 0:21:05 | 0:21:10 | |
and coordinate a nonviolent, direct action. | 0:21:10 | 0:21:14 | |
'Women had gathered to form a human blockade. | 0:21:16 | 0:21:18 | |
'They stood in the path of a military convoy | 0:21:18 | 0:21:20 | |
'and refused to move.' | 0:21:20 | 0:21:22 | |
# Whatever happened to dear old Lenny? # | 0:21:22 | 0:21:26 | |
Jean soon found that the authorities adopted a zero-tolerance policy. | 0:21:26 | 0:21:31 | |
Yes, we all went to prison several times, of course. | 0:21:31 | 0:21:34 | |
# Whatever happened to the heroes? # | 0:21:34 | 0:21:39 | |
A pattern was set up - | 0:21:39 | 0:21:40 | |
nonviolent, direct action, court, prison. | 0:21:40 | 0:21:45 | |
It was thought of as all part of getting rid of the cruise missiles. | 0:21:45 | 0:21:50 | |
This weapon is massively destructive, 16 times a Russian bomb. | 0:21:52 | 0:21:58 | |
The Greenham Common women captured the interest of the media | 0:22:03 | 0:22:06 | |
by chaining themselves to the perimeter fence, | 0:22:06 | 0:22:09 | |
demanding an open debate with government on nuclear armament. | 0:22:09 | 0:22:12 | |
They didn't think it was democratically right that | 0:22:12 | 0:22:15 | |
Margaret Thatcher's government would just let the Americans | 0:22:15 | 0:22:18 | |
bring their nuclear missiles into the country. | 0:22:18 | 0:22:20 | |
Greenham became a permanent encampment. | 0:22:25 | 0:22:27 | |
Jean lived here for 18 years. Conditions were primitive. | 0:22:27 | 0:22:31 | |
There was no electricity, no running water. | 0:22:31 | 0:22:33 | |
But by the mid-1980s, more than 1,000 women had joined her. | 0:22:33 | 0:22:39 | |
'Thousands of women and small children spread | 0:22:39 | 0:22:41 | |
'out around the base, joining hands to surround it completely.' | 0:22:41 | 0:22:45 | |
'They believe their protestors made deployment of crews too | 0:22:45 | 0:22:48 | |
'sensitive politically and too unsafe.' | 0:22:48 | 0:22:51 | |
But there is another view from inside the base. | 0:22:56 | 0:22:59 | |
Phil DeMonte used to work for the US government | 0:22:59 | 0:23:01 | |
and was based behind the wire at Greenham from 1988, | 0:23:01 | 0:23:06 | |
where things looked very different. | 0:23:06 | 0:23:08 | |
They used to get on the base quite regular. It was massive base. | 0:23:08 | 0:23:11 | |
Cut a couple of holes through the fence, climb over the fence. | 0:23:11 | 0:23:14 | |
They couldn't stop them getting on the base but the secure areas, they never got into. | 0:23:14 | 0:23:18 | |
I appreciate the fact that they were protesting, | 0:23:19 | 0:23:21 | |
and that's one of the liberties that we do have is the right to protest. | 0:23:21 | 0:23:25 | |
But when they actually started cutting down fences | 0:23:25 | 0:23:27 | |
and damaging property and interfering with convoys, | 0:23:27 | 0:23:29 | |
by throwing paint balls, etc, that put people's lives in danger | 0:23:29 | 0:23:32 | |
and that actually cost money to the British taxpayer. | 0:23:32 | 0:23:34 | |
I mean, realistically, in the event of the missiles | 0:23:36 | 0:23:41 | |
actually having to be deployed on a real footing, | 0:23:41 | 0:23:44 | |
I really don't think they would have had anywhere near the systems | 0:23:44 | 0:23:47 | |
or the convoys or the base. | 0:23:47 | 0:23:49 | |
This is a unique view inside the decontamination chamber | 0:24:00 | 0:24:03 | |
which was only accessible in a state of high alert. | 0:24:03 | 0:24:06 | |
Scarily, survival time in the event of a nuclear attack | 0:24:06 | 0:24:09 | |
outside of this chamber was just 14 seconds. | 0:24:09 | 0:24:12 | |
Now, that's just 14 seconds | 0:24:12 | 0:24:14 | |
to decide what to do with the rest of your life. | 0:24:14 | 0:24:17 | |
So you can understand why this was an issue | 0:24:17 | 0:24:19 | |
so many people had to take a stand on. | 0:24:19 | 0:24:22 | |
The whole world held their breath as Reagan and Gorbachev | 0:24:27 | 0:24:31 | |
sat down at the table to discuss nuclear disarmament. | 0:24:31 | 0:24:35 | |
The historic INF Treaty, signed in 1987, | 0:24:36 | 0:24:40 | |
effectively ended the Cold War | 0:24:40 | 0:24:43 | |
and the life of the nuclear weapons stored here at Greenham. | 0:24:43 | 0:24:46 | |
Now that the missiles have gone 30 years since protests began, | 0:24:48 | 0:24:52 | |
is there any common ground? | 0:24:52 | 0:24:55 | |
Jean and Phil, I've brought you together here in the Peace Garden. | 0:24:55 | 0:24:58 | |
Can you see it from each others' point of view now? | 0:24:58 | 0:25:01 | |
-I applaud what they've done 18 years standing out here. -Yeah. | 0:25:01 | 0:25:06 | |
But what I cannot condone and never can condone - | 0:25:06 | 0:25:09 | |
when fences were ripped down and property destroyed | 0:25:09 | 0:25:11 | |
as well as interfering with military operations. | 0:25:11 | 0:25:14 | |
I can't condone that. | 0:25:14 | 0:25:16 | |
-Well. -HE CHUCKLES | 0:25:16 | 0:25:18 | |
-We took... -What are you going to say to that, Jean? | 0:25:18 | 0:25:20 | |
We took non-violent direct action. | 0:25:20 | 0:25:22 | |
The whole place is freed up | 0:25:22 | 0:25:25 | |
from more than 100 weapons | 0:25:25 | 0:25:28 | |
that could have - if used - killed a billion people. | 0:25:28 | 0:25:32 | |
And you really feel that your actions here | 0:25:32 | 0:25:34 | |
had a direct result in the fall of communism? | 0:25:34 | 0:25:37 | |
Women on this spot | 0:25:37 | 0:25:39 | |
knew that it was possible to defeat cruise missiles. | 0:25:39 | 0:25:44 | |
So the cruise missiles themselves deployed in the field | 0:25:44 | 0:25:46 | |
had nothing to do with the signing of the INF Treaty, that's what you mean? | 0:25:46 | 0:25:50 | |
You can't say that your people | 0:25:50 | 0:25:51 | |
were working for multilateral disarmament and then... | 0:25:51 | 0:25:54 | |
Yes, they were. | 0:25:54 | 0:25:55 | |
You think that wasn't Ronald Reagan's stance, speak softly but carry a big stick? | 0:25:55 | 0:25:58 | |
He had the weapon systems ready. Now do you want to sit down and talk? | 0:25:58 | 0:26:01 | |
I can see...I can see now that opinions are still divided | 0:26:01 | 0:26:04 | |
and they haven't really changed | 0:26:04 | 0:26:06 | |
and I don't think they will, will they, Phil? | 0:26:06 | 0:26:08 | |
-We had a job to do. -You had a job to do. -And we had a job to do. | 0:26:08 | 0:26:11 | |
The publicity was on this side of the fence | 0:26:11 | 0:26:12 | |
but the history was made on that side of the fence. | 0:26:12 | 0:26:15 | |
We can all safely say history was definitely made here. | 0:26:15 | 0:26:18 | |
Yes, we had the missiles destroyed. | 0:26:18 | 0:26:20 | |
Well, that got quite heated. | 0:26:23 | 0:26:25 | |
It just goes to show you that 30 years on, | 0:26:25 | 0:26:27 | |
issues such as this can still prompt debate. | 0:26:27 | 0:26:31 | |
But at the end of the day, that's what it's all about - | 0:26:31 | 0:26:33 | |
freedom of speech. | 0:26:33 | 0:26:34 | |
This was the reason that Oxford Union was created. | 0:26:34 | 0:26:38 | |
Welcome back to our valuation day venue, the Oxford Union. | 0:26:51 | 0:26:54 | |
There's still a great buzz in the room | 0:26:54 | 0:26:56 | |
and plenty more antiques to find to take off to auction. | 0:26:56 | 0:26:59 | |
So, from the best seat in the house, the president's chair, | 0:26:59 | 0:27:02 | |
it's over to the hot seat in the house, Christina's chair. | 0:27:02 | 0:27:05 | |
Let's go and take a closer look at what she's spotted. | 0:27:05 | 0:27:07 | |
So, Joy, you've brought this beautiful box in to me today. | 0:27:10 | 0:27:14 | |
Tell me where it came from. | 0:27:14 | 0:27:16 | |
-It came from Lord and Lady Baldwin's estate. -Right. | 0:27:16 | 0:27:21 | |
He'd died and his wife lived there for a little while afterwards | 0:27:21 | 0:27:25 | |
and she found the place was too big, | 0:27:25 | 0:27:27 | |
so they had a massive auction which I attended. | 0:27:27 | 0:27:31 | |
My parents worked for Lord and Lady Baldwin. | 0:27:31 | 0:27:34 | |
-When did you buy it? -1975. | 0:27:34 | 0:27:36 | |
-And what did you pay for it then? -£50. | 0:27:36 | 0:27:39 | |
-And you think it's Sevres? -Yes. | 0:27:39 | 0:27:42 | |
Is it not? | 0:27:42 | 0:27:43 | |
-I'm afraid it's not. -Oh. | 0:27:44 | 0:27:46 | |
We've done a little bit of research and although the top is lovely, | 0:27:46 | 0:27:49 | |
we're going to have a look at its bottom | 0:27:49 | 0:27:51 | |
-because that's the bit that tells us everything, isn't it? -Of course. | 0:27:51 | 0:27:54 | |
So if we turn it over here, | 0:27:54 | 0:27:56 | |
we've got this lovely sort of entwined Ls mark | 0:27:56 | 0:27:59 | |
-which, you're absolutely right, is a Sevres mark. -Hmm. | 0:27:59 | 0:28:03 | |
But there was a factory based in Paris called Samson. | 0:28:03 | 0:28:06 | |
Oh, I see. | 0:28:06 | 0:28:07 | |
Now, Samson started in the 1830s | 0:28:07 | 0:28:10 | |
and he started by producing imitation Sevres works basically. | 0:28:10 | 0:28:16 | |
And he was a great imitator and a great copier. | 0:28:16 | 0:28:20 | |
And he never set out to deceive anybody, | 0:28:20 | 0:28:22 | |
he just made replacements for things that were broken | 0:28:22 | 0:28:24 | |
-and things like that. -Mm-hm. | 0:28:24 | 0:28:25 | |
But he actually became very well-known in his own right. | 0:28:25 | 0:28:28 | |
-And this is a Samson box. -Well, how strange. | 0:28:28 | 0:28:32 | |
I'm wondering if Lady Baldwin knew that. | 0:28:32 | 0:28:35 | |
-You never know. It is a difficult one to spot. -Hmm. | 0:28:35 | 0:28:39 | |
Especially because this is such a typical Sevres view. | 0:28:39 | 0:28:42 | |
Yes, I knew that. | 0:28:42 | 0:28:43 | |
This sort of 'what oh'-esque lovers frolicking in a French garden | 0:28:43 | 0:28:46 | |
in very much the 18th-century style is typical Sevres, isn't it, | 0:28:46 | 0:28:50 | |
with this wonderful blue Mazarin ground. | 0:28:50 | 0:28:54 | |
And we open it up. We've got this lovely ormolu setting | 0:28:54 | 0:28:57 | |
-and inside, lovely gilt interior. -It's beautiful, isn't it? | 0:28:57 | 0:29:00 | |
Very beautiful. | 0:29:00 | 0:29:01 | |
And I think this is quite a late one. | 0:29:01 | 0:29:03 | |
This is a late 19th-century example. | 0:29:03 | 0:29:05 | |
I don't think it is the 1830 that we'd like it to be. | 0:29:05 | 0:29:10 | |
And as such, really that is going to be reflected | 0:29:10 | 0:29:12 | |
in the auction estimate. | 0:29:12 | 0:29:14 | |
Yes, I do understand that. | 0:29:14 | 0:29:15 | |
But I think at auction we might be looking | 0:29:15 | 0:29:17 | |
-somewhere in the region of sort of £60-£80. -Mm-hm. | 0:29:17 | 0:29:21 | |
How would you feel about selling it at that sort of level? | 0:29:21 | 0:29:23 | |
-Um, that's difficult. -It is difficult, isn't it? | 0:29:23 | 0:29:27 | |
I don't have any daughters but I do have two lovely daughters-in-law | 0:29:27 | 0:29:30 | |
and I was wondering about giving it to one and thinking, | 0:29:30 | 0:29:35 | |
-I've got nothing to give to the other one that's similar. -Hmm. | 0:29:35 | 0:29:38 | |
Um, now...I'll sell it. | 0:29:38 | 0:29:42 | |
-You'll sell it. -Yes. -Are you sure? | 0:29:42 | 0:29:44 | |
-Yes. -OK. | 0:29:44 | 0:29:45 | |
-And they'll get the money. -Good. That's a very good idea. | 0:29:45 | 0:29:48 | |
-So if we put an estimate of £60-£80... -Yes. | 0:29:48 | 0:29:51 | |
-..and a reserve of 60... -Yes. -..and see how we get on. | 0:29:51 | 0:29:54 | |
-Yes, that's fine. -Yeah? -Mm-hm. -Brilliant. | 0:29:54 | 0:29:57 | |
Well, we look forward to it. | 0:29:57 | 0:29:58 | |
Let's hope we can make slightly more than that for you. | 0:29:58 | 0:30:00 | |
Oh, never mind. | 0:30:00 | 0:30:01 | |
-Thank you for bringing it in. -Thank you. | 0:30:01 | 0:30:04 | |
£50 back in the early '70s was quite a lot of money. | 0:30:04 | 0:30:07 | |
It just proves that you have to look closely | 0:30:07 | 0:30:09 | |
when buying at local auctions. | 0:30:09 | 0:30:11 | |
Now it's time to leave the lively excitement of our "Flog It!" crowds | 0:30:14 | 0:30:18 | |
for a bit of quiet. | 0:30:18 | 0:30:19 | |
We are in the cathedral of learning after all. | 0:30:19 | 0:30:22 | |
This was the original debating chamber until 1878. | 0:30:23 | 0:30:26 | |
It's hard to imagine but, back then, | 0:30:26 | 0:30:28 | |
Oxford University was very restrictive. | 0:30:28 | 0:30:30 | |
The culture was the graduates were there to be taught, | 0:30:30 | 0:30:33 | |
not to think for themselves. | 0:30:33 | 0:30:35 | |
And there was very little in the way of books | 0:30:35 | 0:30:37 | |
other than the textbooks the college provided. | 0:30:37 | 0:30:40 | |
So the students were very keen to start up their own library, | 0:30:40 | 0:30:44 | |
and I think they've jolly well succeeded, don't you? | 0:30:44 | 0:30:47 | |
I mean, this is just marvellous. | 0:30:47 | 0:30:49 | |
From the wonders of books to the beauty of bronze, | 0:30:52 | 0:30:55 | |
Mark Stacey has unearthed something Bergman. | 0:30:55 | 0:30:58 | |
What an extraordinary group of figures you've brought in. | 0:31:01 | 0:31:03 | |
Have you had them a long time? | 0:31:03 | 0:31:05 | |
My wife's mother said that they were bought by her father, | 0:31:05 | 0:31:08 | |
so, my wife's grandfather. | 0:31:08 | 0:31:10 | |
So a wee while ago? | 0:31:10 | 0:31:12 | |
-Probably a long time ago. -Yes. | 0:31:12 | 0:31:14 | |
I mean, the minute I saw them, I thought only of one thing. | 0:31:14 | 0:31:19 | |
-Yes. -That they were of course Austrian. | 0:31:19 | 0:31:22 | |
Ah. | 0:31:22 | 0:31:23 | |
Cold painted bronze, which means that the painting | 0:31:23 | 0:31:26 | |
and the decoration is painted on after they were actually... | 0:31:26 | 0:31:30 | |
-come out of the mould. -Course. | 0:31:30 | 0:31:31 | |
And I hoped they would be by one maker... | 0:31:31 | 0:31:36 | |
a chap called Franz Bergman. | 0:31:36 | 0:31:38 | |
And the answer to my question is on here. | 0:31:38 | 0:31:40 | |
And we've got a little number here. | 0:31:40 | 0:31:43 | |
Then we've got a word that says "geschutzt" | 0:31:43 | 0:31:45 | |
which is Austrian or German for "register". | 0:31:45 | 0:31:48 | |
Can you see that little vase there? | 0:31:48 | 0:31:50 | |
-Oh, yes. -With the B in the middle? -Yes. -That stands for Bergman. | 0:31:50 | 0:31:54 | |
Franz Bergman. That's his mark. | 0:31:54 | 0:31:56 | |
-Right. -And it's really nice to see. | 0:31:56 | 0:31:58 | |
-So it's confirmed what I thought they would be. -Yes. | 0:31:58 | 0:32:01 | |
-And they would date to around about 1900. -Yes. | 0:32:01 | 0:32:06 | |
So they're going to... They're well over 100 years old. | 0:32:06 | 0:32:09 | |
He specialised in this type of work | 0:32:09 | 0:32:11 | |
and produced a wide range of animal figures and bird figures. | 0:32:11 | 0:32:15 | |
Produced a lot of Arabian-type scenes | 0:32:15 | 0:32:19 | |
with Arabs drinking coffee, | 0:32:19 | 0:32:21 | |
-carpet sellers, this sort of thing. -Hmm. | 0:32:21 | 0:32:24 | |
But these are Africans, aren't they? | 0:32:24 | 0:32:27 | |
Well, we always assumed they were sort of Zulus. | 0:32:27 | 0:32:30 | |
-Yeah, Zulus with their shields. -Yeah. | 0:32:30 | 0:32:32 | |
There's a huge collector's market for Franz Bergman's works | 0:32:32 | 0:32:36 | |
but I've not seen a little group like this | 0:32:36 | 0:32:38 | |
and I think they're absolutely charming. | 0:32:38 | 0:32:40 | |
I would say, as they're damaged, put them in as a little group. | 0:32:40 | 0:32:44 | |
-Yes. -And I would like to put an auction estimate on them | 0:32:44 | 0:32:47 | |
of £400-£600. | 0:32:47 | 0:32:49 | |
Right. | 0:32:49 | 0:32:50 | |
But I think they might make a bit more on the day. | 0:32:50 | 0:32:53 | |
Would you be happy to put them in at that? | 0:32:53 | 0:32:55 | |
-Um, yes, I have my wife's permission. -You do? -Yes. | 0:32:55 | 0:32:59 | |
You're not going to get into trouble with 'er indoors? | 0:32:59 | 0:33:01 | |
-I don't think so, no. -Oh, good. I'm sure you won't. | 0:33:01 | 0:33:03 | |
-We'll put a reserve of course. -Yes. -We'll put a reserve of £400 on them. | 0:33:03 | 0:33:08 | |
There's two types of reserve, you can have it fixed, | 0:33:08 | 0:33:11 | |
-which means that we won't sell them below 400. -Yes. | 0:33:11 | 0:33:14 | |
Or you can have it discretionary, | 0:33:14 | 0:33:16 | |
which gives the auctioneer 10% on the day. | 0:33:16 | 0:33:19 | |
What do you think your wife would be comfortable with? | 0:33:19 | 0:33:23 | |
Um, let's say fixed. | 0:33:23 | 0:33:26 | |
-Shall we say fixed? -I would say fixed anyway. | 0:33:26 | 0:33:28 | |
Let's say fixed because actually, I think we're going to be OK. | 0:33:28 | 0:33:32 | |
And they'll go to a collector who loves these type of things. | 0:33:32 | 0:33:34 | |
They've been in a box, I must confess. | 0:33:34 | 0:33:36 | |
Oh, no. Oh, no, they can't live in a box. | 0:33:36 | 0:33:38 | |
-They're much too nice for that. -That's right. | 0:33:38 | 0:33:40 | |
I think someone who appreciates them should... | 0:33:40 | 0:33:42 | |
I'm glad we've got them out of the box | 0:33:42 | 0:33:44 | |
and we're going to give them a chance | 0:33:44 | 0:33:45 | |
of finding a home where they're going to be loved and cherished. | 0:33:45 | 0:33:48 | |
-Good. -Thanks for bringing them in, Michael. | 0:33:48 | 0:33:50 | |
Here's hoping those beautiful Bergman bronzes | 0:33:50 | 0:33:53 | |
never have to be boxed up again. | 0:33:53 | 0:33:55 | |
And now, our final item of the day could be the most lucrative. | 0:33:56 | 0:34:00 | |
And who better to evaluate it than our very own jewellery expert | 0:34:00 | 0:34:04 | |
Christina Trevanion. | 0:34:04 | 0:34:06 | |
Zena, what a sparkler. | 0:34:06 | 0:34:08 | |
I love it. You've brought this beautiful ring in to us today. | 0:34:08 | 0:34:11 | |
It's absolutely stunning. | 0:34:11 | 0:34:13 | |
Can you tell me a little bit about it? | 0:34:13 | 0:34:15 | |
The original ring was given to me by an ex-boss when she retired. | 0:34:15 | 0:34:20 | |
She gave me the option of a few items which I'd like to have | 0:34:20 | 0:34:23 | |
as a thank you and I chose the ring. | 0:34:23 | 0:34:25 | |
-But it was set in white gold at the time. -Right. | 0:34:25 | 0:34:28 | |
It was a very small ring but a square setting | 0:34:28 | 0:34:33 | |
and it looked more like a ring out of a cracker. | 0:34:33 | 0:34:35 | |
-Oh, right. -SHE LAUGHS | 0:34:35 | 0:34:37 | |
So I had it reset in 18 carat gold. | 0:34:37 | 0:34:39 | |
So you must have worked incredibly hard | 0:34:39 | 0:34:41 | |
-because it's a beautiful ring and a very, very generous present. -Yes. | 0:34:41 | 0:34:45 | |
Very generous present. | 0:34:45 | 0:34:46 | |
-So you've had it put into quite a traditional setting really. -Yes. | 0:34:46 | 0:34:49 | |
And it's very, very similar to my engagement ring. | 0:34:49 | 0:34:52 | |
-I'm thinking about swapping. -No. No, no, no, no. | 0:34:52 | 0:34:54 | |
Slightly bigger than my engagement ring! | 0:34:54 | 0:34:56 | |
But this is a very, very traditional setting. | 0:34:58 | 0:34:59 | |
-And did you wear it when it was...? -I did, yes. I used to wear it | 0:34:59 | 0:35:02 | |
-but the insurance value was rather high. -Right. -Um, | 0:35:02 | 0:35:07 | |
and I put it in the safe and now I don't wear it, so... | 0:35:07 | 0:35:11 | |
It's a bit ridiculous paying the insurance for it. | 0:35:11 | 0:35:13 | |
It does seem that way, doesn't it? | 0:35:13 | 0:35:15 | |
So let's see if we can find a mutually agreeable value | 0:35:15 | 0:35:18 | |
and then perhaps you can use the money | 0:35:18 | 0:35:19 | |
towards something that you will wear. | 0:35:19 | 0:35:21 | |
Obviously it's a diamond ring set in, what looks to be, | 0:35:21 | 0:35:25 | |
a platinum, little coronet setting and then 18 carat yellow gold hoop. | 0:35:25 | 0:35:30 | |
We've got a diamond solitaire, a brilliant-cut diamond here | 0:35:30 | 0:35:34 | |
and we grade diamonds on what we call the four Cs, | 0:35:34 | 0:35:38 | |
so cut, clarity, colour and obviously carat weight, | 0:35:38 | 0:35:42 | |
what every girl wants to know really is, how big is it? | 0:35:42 | 0:35:45 | |
And in all four of those aspects it really does score quite highly. | 0:35:45 | 0:35:49 | |
It's a great colour. It's a nice white colour. | 0:35:49 | 0:35:53 | |
Clarity, there are a few little inclusions there. | 0:35:53 | 0:35:56 | |
A lot of people quite sweetly call them birthmarks | 0:35:56 | 0:35:58 | |
-because that's how the diamond would have formed. -Right. | 0:35:58 | 0:36:01 | |
But this is quite clear. | 0:36:01 | 0:36:02 | |
And carat weight, we've worked it out at about a carat. | 0:36:02 | 0:36:06 | |
-Have you...? -Should be 1.1. | 0:36:06 | 0:36:08 | |
-1.1 carat. -Is that what they graded it at? -Yes. BOTH: On the insurance. | 0:36:08 | 0:36:11 | |
-Yes. -Which is great cos that means it's over a carat | 0:36:11 | 0:36:14 | |
which really does make quite a difference | 0:36:14 | 0:36:16 | |
-when you get over that one carat mark. -Yes. | 0:36:16 | 0:36:19 | |
So, value-wise, at auction | 0:36:19 | 0:36:23 | |
I would be quite cautious | 0:36:23 | 0:36:25 | |
because of the current economic market we're in | 0:36:25 | 0:36:28 | |
and maybe go somewhere in the region of sort of 1,000-1,500, | 0:36:28 | 0:36:31 | |
-something like that. -Mm-hm. | 0:36:31 | 0:36:32 | |
-How would you feel about that? -Yes, fine. -Is that all right? -Yes, yes. | 0:36:32 | 0:36:35 | |
So if we put an auction estimate of 1,000-1,500 | 0:36:35 | 0:36:39 | |
and perhaps a reserve of 1,000, | 0:36:39 | 0:36:41 | |
-cos I don't think it needs to go for any less than that. -No. | 0:36:41 | 0:36:44 | |
-No, I wouldn't want it to. -No. | 0:36:44 | 0:36:45 | |
Cos it really is rather beautiful. | 0:36:45 | 0:36:46 | |
And what would you use the money for? | 0:36:46 | 0:36:48 | |
-For a holiday I think. -Cos you're quite an intrepid traveller, aren't you? | 0:36:48 | 0:36:51 | |
-Yes. -Globe trotted by the sounds of it. | 0:36:51 | 0:36:54 | |
THEY LAUGH | 0:36:54 | 0:36:55 | |
Well, we haven't seen the Northern Lights yet, | 0:36:55 | 0:36:57 | |
-so I'd like to do a cruise to the Northern Lights. -Fantastic. | 0:36:57 | 0:37:00 | |
So next year is supposed to be a good year. | 0:37:00 | 0:37:01 | |
It would be quite appropriate really from a sparkler | 0:37:01 | 0:37:04 | |
-to sparklers in the sky. -It would, wouldn't it? -Yes! -True. | 0:37:04 | 0:37:06 | |
Well, here's hoping that in Zena's case, | 0:37:08 | 0:37:10 | |
diamonds really are a girl's best friend. | 0:37:10 | 0:37:12 | |
They definitely appear to be a long-time favourite of Christina's. | 0:37:12 | 0:37:16 | |
Well, our experts have been working flat out here at the Oxford Union. | 0:37:16 | 0:37:19 | |
You've just seen the items, you've heard what they've had to say, | 0:37:19 | 0:37:22 | |
you've probably got your own opinions, but right now | 0:37:22 | 0:37:24 | |
we're going across to the auction room to put them to the test. | 0:37:24 | 0:37:27 | |
And here's a quick recap of what we're taking with us. | 0:37:27 | 0:37:30 | |
Will Michael's Bergman bronze captivate the crowds? | 0:37:31 | 0:37:35 | |
Or will it be Zena's diamond solitaire ring | 0:37:38 | 0:37:40 | |
which sparkles in the eyes of the bidders? | 0:37:40 | 0:37:43 | |
But first, it's that Sevres box. | 0:37:47 | 0:37:49 | |
Joy got a shock on the valuation day | 0:37:49 | 0:37:51 | |
when Christina revealed | 0:37:51 | 0:37:52 | |
her antique box was actually a later reproduction. | 0:37:52 | 0:37:56 | |
But can we still turn her a little profit? | 0:37:56 | 0:37:58 | |
£85. 90. 95. | 0:38:03 | 0:38:05 | |
100 and I'm out. | 0:38:05 | 0:38:07 | |
Thomas is back in action on the rostrum. | 0:38:07 | 0:38:10 | |
-Against you all. -Here's hoping he can weave his magic. | 0:38:10 | 0:38:13 | |
And now, for our next item just about to go under the hammer. | 0:38:14 | 0:38:16 | |
It belongs to Joy, and unfortunately, she cannot be with us | 0:38:16 | 0:38:19 | |
but her little porcelain box can. | 0:38:19 | 0:38:21 | |
-And it's going under the hammer. -It is, yes. | 0:38:21 | 0:38:23 | |
-Big grin on your face. -Yeah. It's Samson. She thought it was Sevres. | 0:38:23 | 0:38:26 | |
-So, Samson box. -Which is a copy really of... | 0:38:26 | 0:38:29 | |
-They were the best in... -Of the best. -Yeah, exactly. | 0:38:29 | 0:38:32 | |
And they did a lot of Meissen, Sevres reproduction wares. | 0:38:32 | 0:38:34 | |
-So hopefully... Hopefully, hopefully. -Hopefully. | 0:38:34 | 0:38:37 | |
-Fingers crossed. -Yeah, bless her. | 0:38:37 | 0:38:38 | |
-She bought it for £50 over 30 years ago. -Thinking it was the real thing. | 0:38:38 | 0:38:42 | |
-Thinking it was the real McCoy, so let's hope. -Let's hope | 0:38:42 | 0:38:45 | |
we can get her money back. It's going under the hammer. Good luck. | 0:38:45 | 0:38:48 | |
Here we go. | 0:38:48 | 0:38:49 | |
19th-century Samson porcelain box and cover. | 0:38:49 | 0:38:51 | |
There we are. With gilt metal rims. | 0:38:51 | 0:38:53 | |
I can start the bidding with me here at £45 with me. | 0:38:53 | 0:38:57 | |
-At £45 for the box. -45. | 0:38:57 | 0:39:00 | |
-Well. Come on, Thomas. -And 50. And 55 with me. | 0:39:00 | 0:39:02 | |
At 55 against you all. | 0:39:02 | 0:39:04 | |
Is there any advance at 55? | 0:39:04 | 0:39:05 | |
And 60 and I'm out. | 0:39:05 | 0:39:07 | |
-At 60. -Ooh, that's better. -It's in the room at 60. | 0:39:07 | 0:39:09 | |
Last chance then, at £60. | 0:39:09 | 0:39:11 | |
-At £60. Oh, joy! Joy for Joy. -SHE LAUGHS | 0:39:11 | 0:39:16 | |
Hammer's gone down and we've sold it. | 0:39:16 | 0:39:17 | |
-I hope you're "en-joying" this moment. -Brilliant. | 0:39:17 | 0:39:20 | |
-Phew, that was a relief. -Yeah, it was. | 0:39:20 | 0:39:22 | |
No more Joy jokes, I promise. | 0:39:22 | 0:39:24 | |
Up next, there's a bit of a dispute in the saleroom. | 0:39:24 | 0:39:28 | |
Going under the hammer right now, one of my favourite lots | 0:39:28 | 0:39:31 | |
of the sale that belong to Michael who's right next to me. | 0:39:31 | 0:39:33 | |
It's a group of three Bergman cold painted bronzes. | 0:39:33 | 0:39:36 | |
Masai warriors. | 0:39:36 | 0:39:37 | |
And these really are flavour of the month. | 0:39:37 | 0:39:39 | |
They are really nice. I don't know why you're selling them. | 0:39:39 | 0:39:42 | |
I'd like to find out. | 0:39:42 | 0:39:43 | |
Well, they're a bit fussy for us | 0:39:43 | 0:39:46 | |
-and a bit British Empire too. -Right, OK. | 0:39:46 | 0:39:49 | |
It's all the rage right now though. | 0:39:49 | 0:39:51 | |
-Well, Bergman is a very big name, Paul, isn't it? -Hmm. -Very big name. | 0:39:51 | 0:39:54 | |
Let's find out what auctioneer Thomas thinks. | 0:39:54 | 0:39:56 | |
We've got a big crowd here and hopefully | 0:39:56 | 0:39:58 | |
we're going to get them away at the top end. This is it. | 0:39:58 | 0:40:00 | |
345, a group of three 19th-century Viennese cold painted | 0:40:00 | 0:40:03 | |
tribal figures - Bergman style. | 0:40:03 | 0:40:05 | |
There we are. | 0:40:05 | 0:40:06 | |
But they're not Bergman style, they are Bergman. | 0:40:06 | 0:40:09 | |
Start the bidding with me at £200. | 0:40:09 | 0:40:10 | |
Start the bidding with me at £200 for the Masai figures. | 0:40:10 | 0:40:13 | |
At 210. | 0:40:13 | 0:40:14 | |
220. 230. 240. 250. | 0:40:14 | 0:40:18 | |
250. 250 I have. | 0:40:18 | 0:40:20 | |
With me here at 250. | 0:40:20 | 0:40:21 | |
Against you all 250. 260. | 0:40:21 | 0:40:23 | |
-270. 280. 290. -This is a surprise, Paul. | 0:40:23 | 0:40:26 | |
-300. -It's a slow climb though. We're getting there. | 0:40:26 | 0:40:29 | |
340. 360. 380 with me. | 0:40:29 | 0:40:31 | |
If you want it, it's 400. | 0:40:31 | 0:40:33 | |
At 400 and I'm out. At 400 I have. | 0:40:33 | 0:40:36 | |
At £400. It's in the room at 400. | 0:40:36 | 0:40:39 | |
Make no mistake. | 0:40:39 | 0:40:40 | |
And I'm selling at £400. | 0:40:40 | 0:40:42 | |
-GAVEL BANGS -400. -Well, they've gone. | 0:40:42 | 0:40:45 | |
They've gone at £400, right on the lower end of the estimate. | 0:40:45 | 0:40:48 | |
-Are you happy with that? -Um, not totally | 0:40:48 | 0:40:50 | |
because of the "Bergman style" description. | 0:40:50 | 0:40:53 | |
-Announcement. -Yes. Yes. | 0:40:53 | 0:40:55 | |
Do you feel that slightly killed it off a little bit? | 0:40:55 | 0:40:58 | |
Uh, well, I don't really know. | 0:40:58 | 0:41:00 | |
I think it's because some of them need a little bit of restoration | 0:41:00 | 0:41:04 | |
and that does add to the cost when you're buying something, you know? | 0:41:04 | 0:41:07 | |
Because you need to take it to a skilled person. | 0:41:07 | 0:41:10 | |
I'm glad we fixed a firm reserve of 400 on them | 0:41:10 | 0:41:12 | |
because it meant we protected them. | 0:41:12 | 0:41:15 | |
It's a shame that those bronzes didn't go for more | 0:41:15 | 0:41:18 | |
but, Mark is right, | 0:41:18 | 0:41:19 | |
they did have some damage which maybe put the collectors of. | 0:41:19 | 0:41:23 | |
There's always an element of risk at auction, | 0:41:23 | 0:41:25 | |
that's why we fix a reserve. | 0:41:25 | 0:41:27 | |
But here we are at the last lot of the day | 0:41:27 | 0:41:30 | |
and I'm keen to show Christina that I have been paying attention. | 0:41:30 | 0:41:33 | |
Colour, cut, clarity, carat. | 0:41:34 | 0:41:36 | |
Yes, you know what I'm talking about - Zena's sparkler. | 0:41:36 | 0:41:39 | |
THEY LAUGH | 0:41:39 | 0:41:41 | |
Hi, Zena, it's great to see you again. | 0:41:41 | 0:41:43 | |
-Who have you brought along with you? -This is David, my husband. | 0:41:43 | 0:41:45 | |
-David. -How do you do? -Pleased to meet you. | 0:41:45 | 0:41:47 | |
Of course, with those four Cs there is one more C to go with them, isn't there? | 0:41:47 | 0:41:51 | |
Costly...Christina! | 0:41:51 | 0:41:53 | |
THEY LAUGH | 0:41:54 | 0:41:56 | |
-You beat me to it. -The fifth C! | 0:41:56 | 0:41:58 | |
-Well, you both sparkle. The six Cs though. -I'm seriously impressed. | 0:41:58 | 0:42:01 | |
I've taught you something. | 0:42:01 | 0:42:02 | |
-You have, haven't you? -Yeah. Wow. | 0:42:02 | 0:42:04 | |
We're putting this to the test. It's going under the hammer right now. | 0:42:04 | 0:42:07 | |
-Good luck, everyone. -Good luck. -Here we go. | 0:42:07 | 0:42:09 | |
Next lot is the diamond solitaire ring. The diamond solitaire. | 0:42:09 | 0:42:12 | |
1.1 carat. | 0:42:12 | 0:42:14 | |
Lovely ring this one here. | 0:42:14 | 0:42:15 | |
Start me here at £800. | 0:42:15 | 0:42:16 | |
At 800. At 800. | 0:42:16 | 0:42:18 | |
At £800, solitaire diamond. 800. | 0:42:18 | 0:42:20 | |
820. 850. 880. | 0:42:20 | 0:42:24 | |
900. 920. | 0:42:24 | 0:42:26 | |
950. 980. | 0:42:26 | 0:42:28 | |
1,000 and I'm out. | 0:42:28 | 0:42:29 | |
It's reached its reserve. Brilliant. | 0:42:29 | 0:42:31 | |
Is there any advance at £1,000? | 0:42:31 | 0:42:33 | |
At £1,000 it's in the room. | 0:42:33 | 0:42:35 | |
And 1,050. | 0:42:35 | 0:42:37 | |
1,050. Late legs but it's there. | 0:42:37 | 0:42:40 | |
And £1,100. At £1,100 are we all done? | 0:42:40 | 0:42:43 | |
At £1,100, make no mistake. | 0:42:43 | 0:42:46 | |
-Yes, the hammer's gone down. -Brilliant. -In estimate. | 0:42:46 | 0:42:49 | |
Well done, everyone. | 0:42:49 | 0:42:50 | |
-Well done. -Congratulations. That's fantastic. | 0:42:50 | 0:42:52 | |
A few successes and a few debates at auction, hardly a surprise | 0:42:52 | 0:42:55 | |
given our choice of venue - Oxford Union. | 0:42:55 | 0:42:58 | |
We've had a fascinating day here. | 0:42:58 | 0:43:00 | |
If you'd like to take part in the show | 0:43:02 | 0:43:04 | |
and you've got unwanted antiques and collectables | 0:43:04 | 0:43:06 | |
you'd like to sell, bring them along to one of our valuation days. | 0:43:06 | 0:43:09 | |
Details you can pick up on our BBC website. | 0:43:09 | 0:43:11 | |
If you don't have a computer, | 0:43:11 | 0:43:13 | |
check the details in your local press | 0:43:13 | 0:43:14 | |
and maybe we can help you to flog it. | 0:43:14 | 0:43:17 |