0:00:05 > 0:00:09Breamore House in Hampshire dates back to the 16th century
0:00:09 > 0:00:12and, today, every room in the manor offers an insight
0:00:12 > 0:00:14into a forgotten world.
0:00:20 > 0:00:21Now, here in the great hall,
0:00:21 > 0:00:24the room still retains much of its original character,
0:00:24 > 0:00:26from the portraits on the wall...
0:00:26 > 0:00:29to the original entrance of the manor house.
0:00:29 > 0:00:31It really does take you back in time.
0:00:34 > 0:00:35Now, on today's show,
0:00:35 > 0:00:37we're going to be looking at some of the best finds
0:00:37 > 0:00:39and the most exciting valuations
0:00:39 > 0:00:43that we've come across from our travels around the country.
0:00:43 > 0:00:47Now, most of you probably won't have the luxury of sitting
0:00:47 > 0:00:49on an 18th-century chair like this,
0:00:49 > 0:00:53covered in silk, but, please, do sit back and enjoy.
0:00:53 > 0:00:55Welcome to Flog It!
0:01:18 > 0:01:20Flog It! has travelled across the country
0:01:20 > 0:01:24in search of exceptional stories and objects to take off to auction.
0:01:24 > 0:01:29Today, we have a treat in store as we bring you some of our best finds.
0:01:30 > 0:01:34Our journey has taken us to Lulworth Castle in Dorset,
0:01:34 > 0:01:38originally a 17th-century hunting lodge,
0:01:38 > 0:01:44Wrest Park, a Grade-I-listed house in Bedfordshire,
0:01:44 > 0:01:50Chiddingstone Castle in Kent, which can be traced back to Tudor times.
0:01:50 > 0:01:53Our journey begins at Gloucester Cathedral
0:01:53 > 0:01:55and Philip Serrell is at the table.
0:01:57 > 0:02:00Keith, how long have you had that?
0:02:00 > 0:02:03Only about six months. Six to eight months. Only six or eight months!
0:02:03 > 0:02:06Yes. Where was it before that? It was in an auction.
0:02:06 > 0:02:10Oh, you bought it! Yes. Which county did you buy it in? Gloucestershire.
0:02:10 > 0:02:13And was it catalogued separately or in a box of stuff?
0:02:13 > 0:02:15It wasn't even in a catalogue.
0:02:15 > 0:02:17It wasn't an auction that did that type of thing.
0:02:17 > 0:02:20It was just in a box of stuff. Yes. Three of them together.
0:02:20 > 0:02:22And how much did you pay for them?
0:02:22 > 0:02:24A whole ?14.
0:02:24 > 0:02:26Do you know anything about paperweights? A little bit.
0:02:26 > 0:02:29Probably know a bit more now, don't you? Well, yes.
0:02:29 > 0:02:32I've got a feeling that I'm about to become completely superfluous.
0:02:32 > 0:02:36No, no, no. So what have you found out about it? I think it's Clichy.
0:02:36 > 0:02:38Why do you think that?
0:02:38 > 0:02:42Because the book says Clichy signature, Clichy,
0:02:42 > 0:02:44is the little roses. Yep.
0:02:44 > 0:02:46And I found three in there.
0:02:46 > 0:02:49Right. The Clichy factory, in France,
0:02:49 > 0:02:52set up, I suppose, in the early part of the 19th century.
0:02:52 > 0:02:57I think they finished just after the middle part of the century, really.
0:02:57 > 0:03:01And I would think this probably dates from about 1850.
0:03:01 > 0:03:05And the roses that you refer to, if we look,
0:03:05 > 0:03:09you've got that white rose that's almost tightly clustered, isn't it?
0:03:09 > 0:03:12Beautiful. And you've got another pink one there, haven't you?
0:03:14 > 0:03:17You've got the odd little blemish just here.
0:03:18 > 0:03:21Just the odd slight nick and bruise
0:03:21 > 0:03:23and the thing with these, you know,
0:03:23 > 0:03:24if you are a collector of these things,
0:03:24 > 0:03:28you are looking for them to be absolutely perfect.
0:03:28 > 0:03:30What made you buy them?
0:03:30 > 0:03:34I like good workmanship and that just looks the part.
0:03:34 > 0:03:39In terms of value, I would say this one and two others
0:03:39 > 0:03:42are probably worth ?14,
0:03:42 > 0:03:44because that's what you paid for them.
0:03:44 > 0:03:46You can't argue with that, can you?
0:03:46 > 0:03:48I'm hoping you were going to do something different.
0:03:48 > 0:03:50Do you think I might do something different?
0:03:50 > 0:03:54I mean, you've read the books, tell me what you think they're worth.
0:03:54 > 0:04:00I couldn't find one that size or that exact pattern, so...
0:04:00 > 0:04:02Well, I think... 80-100.
0:04:02 > 0:04:05Oh, what a man! He's written 80-100!
0:04:05 > 0:04:10Well, isn't that the auction...? The auctioneer's friend. 80-120. Yes.
0:04:10 > 0:04:13I think it'll make ?100-150.
0:04:13 > 0:04:16We'll stick a reserve on it of ?80 for you.
0:04:16 > 0:04:18I just think it's a really interesting thing.
0:04:18 > 0:04:21You paid ?15 for three?
0:04:21 > 0:04:2414. ?14 for three!
0:04:24 > 0:04:26I'm going to start following you around.
0:04:27 > 0:04:29Lucky, aren't I?
0:04:29 > 0:04:31That's not luck.
0:04:31 > 0:04:33That's called hunting out a good deal.
0:04:35 > 0:04:38Bedfordshire and Wrest Park is our next port of call,
0:04:38 > 0:04:41where Christina Trevanion has found a collection that
0:04:41 > 0:04:44she really is taken with.
0:04:44 > 0:04:47Sharon and Rob, you have brought me possibly one of the most
0:04:47 > 0:04:49fascinating things I've ever seen on Flog It!
0:04:49 > 0:04:51We've got all these slides here in this slide viewer,
0:04:51 > 0:04:53where did they come from?
0:04:53 > 0:04:56They're my grandad's. Right. My dad had them in the loft.
0:04:56 > 0:04:58And my son was having to do a history project... Right.
0:04:58 > 0:05:01So my dad was finding a few things out,
0:05:01 > 0:05:03to say about his great-granddad and that's when we
0:05:03 > 0:05:05first saw them. So, how long ago was that?
0:05:05 > 0:05:08About six months ago - he was doing his project...
0:05:08 > 0:05:10Oh, so, really recently, then? Yeah. Oh, wow, OK.
0:05:10 > 0:05:13I mean, they are all related to the First World War.
0:05:13 > 0:05:16Is there a family connection with somebody that fought
0:05:16 > 0:05:19in the Great War? Yeah, my grandad. What part did he play in the war?
0:05:19 > 0:05:21Do we know? No, I know that he was 15 when he forged his
0:05:21 > 0:05:24birth certificate, cos he was unhappy at home. Oh!
0:05:24 > 0:05:27So he was very young. He was 15 when he went to war?
0:05:27 > 0:05:28Mm. Oh, my goodness. Yeah.
0:05:28 > 0:05:30He got torpedoed at sea...
0:05:30 > 0:05:32And he was buried alive...
0:05:32 > 0:05:34And cos he was in a trench...
0:05:34 > 0:05:37And... So he was at sea and then he was in a trench?
0:05:37 > 0:05:39Yeah. Oh, God, so the Navy and then...
0:05:39 > 0:05:42He's been through it, yeah, he's been through it all.
0:05:42 > 0:05:45Oh, my goodness. And then he couldn't speak for a year. Gosh.
0:05:45 > 0:05:47I mean, it always amazes me hearing these types of stories
0:05:47 > 0:05:50and especially looking at some of the images that we've got here...
0:05:50 > 0:05:52The absolute horror that these
0:05:52 > 0:05:54young men went through.
0:05:54 > 0:05:57The reason why we've got two images here...
0:05:57 > 0:05:58is because you would have put your slide
0:05:58 > 0:06:02here... Unfortunately, we have got a bit missing here... Mm.
0:06:02 > 0:06:04And that would have held one of these cards in place.
0:06:04 > 0:06:07And then you would be able to see these images in 3D.
0:06:07 > 0:06:10So, before that you would have seen these images, potentially,
0:06:10 > 0:06:15in newspapers but seeing it in 3D must have been incredible.
0:06:15 > 0:06:20Some really unbelievably fascinating scenes that I've never seen before.
0:06:20 > 0:06:22We've got some pictures of the King in here,
0:06:22 > 0:06:24we've got munitions factories,
0:06:24 > 0:06:26and here, this one, which unfortunately is in
0:06:26 > 0:06:28quite bad condition, we've got a Zeppelin
0:06:28 > 0:06:30shot down near Colchester.
0:06:30 > 0:06:33Even with the back broken,
0:06:33 > 0:06:36towers above a nearby farmhouse.
0:06:36 > 0:06:40My granny, who, bless her, was 104 last week... Wow...
0:06:40 > 0:06:43..remembers seeing a Zeppelin flying over the South coast
0:06:43 > 0:06:47and that sort of first-hand history is all going to be lost to us soon.
0:06:47 > 0:06:50But hopefully, these sorts of things will keep it alive. Yeah.
0:06:50 > 0:06:52And I think there is certainly a resurgence of interest
0:06:52 > 0:06:55in the First World War and quite how important
0:06:55 > 0:06:57it was. There are a few which are
0:06:57 > 0:06:59in slightly poor condition. Yeah.
0:06:59 > 0:07:01I think, unfortunately, your slide there... Yes.
0:07:01 > 0:07:03..which is the Perfecscope...
0:07:03 > 0:07:05Ain't so perfect any more, is it?!
0:07:05 > 0:07:08I know. Sadly. And me dad couldn't find the...
0:07:08 > 0:07:10The slider, there, yeah.
0:07:10 > 0:07:13The slider there. But nonetheless, you can still them
0:07:13 > 0:07:15and I think, really, the main event is not so much
0:07:15 > 0:07:18the slide viewer, it's the topic... Yeah. ..of these slides,
0:07:18 > 0:07:22which is so important. And we've got approximately 65 in total here.
0:07:22 > 0:07:24I am going to be quite modest on my
0:07:24 > 0:07:27auction expectations because it's a very difficult
0:07:27 > 0:07:29collectors' market and I'm just hoping that
0:07:29 > 0:07:31this resurgence of interest in the Great War
0:07:31 > 0:07:33will help to sell them.
0:07:33 > 0:07:36I would suggest an auction estimate in the region of
0:07:36 > 0:07:38150-200 and hope that it might
0:07:38 > 0:07:40go higher. Yeah.
0:07:40 > 0:07:42How do you think Dad would feel about that?
0:07:42 > 0:07:44Cos they're Dad's, aren't they...? Yes.
0:07:44 > 0:07:46They're not yours. Oh, no, they're my dad's, yeah.
0:07:46 > 0:07:49I mean, he's asked me to bring them here to get them
0:07:49 > 0:07:51valued for sale, so, yeah, I think he'd be... OK.
0:07:51 > 0:07:54So, if we said an estimate of 150-200 and a reserve of 150 firm.
0:07:54 > 0:07:57Yeah, I'm sure that would be fine. Yeah.
0:07:57 > 0:08:01Super. For me, personally, I think they are utterly fascinating,
0:08:01 > 0:08:02I really do and I thank you very much
0:08:02 > 0:08:05for making the effort to bring them in.
0:08:05 > 0:08:09Cos it's been, certainly, a great lesson. Thank you.
0:08:09 > 0:08:12It's really not a lot of money for such
0:08:12 > 0:08:14an amazing historical archive.
0:08:16 > 0:08:19Next stop is Chiddingstone Castle in Kent,
0:08:19 > 0:08:22where Claire Rawle has found something small for the pocket.
0:08:24 > 0:08:28This attracted me because it's so clean and so simple
0:08:28 > 0:08:30and it's got a good name on it.
0:08:30 > 0:08:33I just love it, but what can you tell me about it?
0:08:33 > 0:08:35I don't know anything about it whatsoever.
0:08:35 > 0:08:39I found it in my dad's belongings when he passed away.
0:08:39 > 0:08:44I believe it came from my stepmother's side of the family
0:08:44 > 0:08:45and when she died,
0:08:45 > 0:08:49she left all the jewellery to me, so here is the watch.
0:08:49 > 0:08:53Now, it's got a good name on the front of it. Benson's of London.
0:08:53 > 0:08:57Now, Benson's, in fact, were a watchmaker, a very good watchmaker,
0:08:57 > 0:09:00but they were bombed out in the first war
0:09:00 > 0:09:02and, so, rather than continue making watches,
0:09:02 > 0:09:07they then became a retailer of good quality clocks and watches,
0:09:07 > 0:09:09so that's always a good sign if you've got Benson
0:09:09 > 0:09:11on the movement or the dial.
0:09:11 > 0:09:14The thing that really stands out is that it's got no damage on it.
0:09:14 > 0:09:19Very often they have cracks on it or scratches or marks.
0:09:19 > 0:09:22It's in a very unfussy nine-carat gold case
0:09:22 > 0:09:25and, if we turn it over,
0:09:25 > 0:09:29we can open up the case and you can see the movement working away there.
0:09:29 > 0:09:32It's a little lever escapement working away happily.
0:09:32 > 0:09:35Probably will continue to do that for many, many years.
0:09:35 > 0:09:38You've got hallmarks on the case just inside here,
0:09:38 > 0:09:41which show that it was actually made in London, 1942,
0:09:41 > 0:09:44so during the Second World War.
0:09:44 > 0:09:46It's just a collectable watch.
0:09:46 > 0:09:48It would look lovely in somebody's cabinet.
0:09:48 > 0:09:51Nice quality movement which is still working away.
0:09:51 > 0:09:52Nothing fancy about it.
0:09:52 > 0:09:56If you want to be really picky, it's got a tiny, tiny little dent
0:09:56 > 0:10:00in the case, which collectors always ask about, but it's not vital.
0:10:00 > 0:10:05So, you obviously made the decision now that you want to sell it. Yes.
0:10:05 > 0:10:07And I think it is actually quite a desirable object.
0:10:07 > 0:10:11Not hugely valuable, because obviously the gold will have some value,
0:10:11 > 0:10:15but it will make more than just the price of scrapping the gold.
0:10:15 > 0:10:19My feeling is it is between ?150 and ?200. That much? Yeah. Oh.
0:10:19 > 0:10:21Yeah, it should do, because the gold does make quite
0:10:21 > 0:10:24a lot of difference to it, the dial is in lovely order...
0:10:24 > 0:10:26It is just a really attractive watch.
0:10:26 > 0:10:28But I think, also, put a reserve on it,
0:10:28 > 0:10:31perhaps just bring that under the low estimate -
0:10:31 > 0:10:33say, 140 as a reserve?
0:10:33 > 0:10:35Yes. Just protects it on the day, if that's all right.
0:10:35 > 0:10:38I think that's best. Good. So, are you happy with that?
0:10:38 > 0:10:40Yes, I'm quite happy. Brilliant. I think it will do well
0:10:40 > 0:10:42and I shall look forward to seeing you at the auction.
0:10:42 > 0:10:46I will look forward to seeing you, too. It's been a pleasure. Thank you.
0:10:46 > 0:10:47Thank you.
0:10:49 > 0:10:53Time stands still for nobody and that's true on "Flog It!",
0:10:53 > 0:10:56because we are off to Wrest Park near Luton,
0:10:56 > 0:10:58where David Harper has found an unusual item.
0:11:00 > 0:11:03Now, Eunice, they say that every gentleman should have
0:11:03 > 0:11:08a collection of walking canes. Now, does that apply to ladies?
0:11:08 > 0:11:11This is your walking cane. Do you have a collection?
0:11:11 > 0:11:16Well, we have some, but not old ones. OK. So, tell me about that one.
0:11:16 > 0:11:18It came from my brother's house.
0:11:18 > 0:11:20I can remember it when I was a child,
0:11:20 > 0:11:23but I took no interest in it, of course. Right.
0:11:23 > 0:11:27It just came and it's been sitting in my cupboard. All right.
0:11:27 > 0:11:31Do you ever use it? No. Oh, come on! Well, you can't lean on it, can you?
0:11:31 > 0:11:33Why not? It's perfectly steady.
0:11:33 > 0:11:36That's you, that, you're just operating it badly. Look, look.
0:11:36 > 0:11:38Oh, no, I see what you mean, yeah.
0:11:39 > 0:11:42It's a bit wibbly-wobbly, isn't it? Mmm.
0:11:42 > 0:11:44It doesn't feel very sturdy, does it? No.
0:11:44 > 0:11:48But, actually, right down the middle of it is a metal rod,
0:11:48 > 0:11:52so you shouldn't be afraid to use it. Now, you have a hold of it.
0:11:52 > 0:11:56Just have a feel of it. Isn't it tactile? Doesn't it feel lovely?
0:11:56 > 0:11:59It is kind of sharp, isn't it? Do you know what it is made from?
0:11:59 > 0:12:04Well, I thought it was a backbone. It is a backbone, vertebrae. Mmm.
0:12:04 > 0:12:05Yes, I know.
0:12:05 > 0:12:08It doesn't seem to bother you at all. Are you not irked by it?
0:12:08 > 0:12:09Not really.
0:12:09 > 0:12:12People have brought these things to me for years and I've made them
0:12:12 > 0:12:14hold them, just like you, and I've made them stroke them,
0:12:14 > 0:12:16and then I've said, "It's a vertebrae,"
0:12:16 > 0:12:18and they go, "Ah!" and they drop it.
0:12:18 > 0:12:22You are unshockable. So, do you know the story of these things?
0:12:22 > 0:12:25No, not really. Well, it harks back, really, to the 18th century.
0:12:25 > 0:12:29You've got to think of these whaling ships, the seamen out at sea.
0:12:29 > 0:12:31Now, they've got jobs to do,
0:12:31 > 0:12:33but they've also got an awful lot of waiting.
0:12:33 > 0:12:35Like this lot - you're all waiting, aren't you?
0:12:35 > 0:12:36They're all waiting, you see?
0:12:36 > 0:12:39Now, while you are waiting, you have got to implore yourselves
0:12:39 > 0:12:43to do something, and that is what Scrimshaw means - to waste time.
0:12:43 > 0:12:46That will date to when, do you think? I don't know, really.
0:12:46 > 0:12:48Shall we open it up to the audience?
0:12:48 > 0:12:501800s.
0:12:50 > 0:12:53Yeah, it is in the 1800s,
0:12:53 > 0:12:55so, 19th century. So it has got some age, hasn't it?
0:12:55 > 0:12:58I didn't realise it was as old as that. Yeah, absolutely.
0:12:58 > 0:13:01Look at the antler handle, look at the wear.
0:13:01 > 0:13:05The colour itself here isn't silver, sadly,
0:13:05 > 0:13:07so it is not the finest quality in the world,
0:13:07 > 0:13:11because a really good one would have, in between each vertebrae,
0:13:11 > 0:13:15maybe a piece of ebony or polished, darker or lighter,
0:13:15 > 0:13:17to get the contrast bone.
0:13:17 > 0:13:21So, this is a pretty sturdy, useful...
0:13:21 > 0:13:23I don't want to call it common, but I am going to. Yes!
0:13:23 > 0:13:26It's a bit on the common side, yeah.
0:13:26 > 0:13:28So, what is it worth? Not much.
0:13:28 > 0:13:32Guess. 150. He's bought it.
0:13:32 > 0:13:35There you go, well done. Thank you so much!
0:13:35 > 0:13:37I wish there was more like him around, don't you? So do I!
0:13:39 > 0:13:41It is cheaper - I think 30 to 50, sadly.
0:13:41 > 0:13:44Get yourself to the auction, you might just have a buyer.
0:13:44 > 0:13:47What are we going to do? Are we going to put it in? Yes, we will.
0:13:47 > 0:13:52Yeah? 30 to 50? Yes. Get this guy's number. Yes, I will. Yeah.
0:13:53 > 0:13:58You might get yourself a date, there you go. Marvellous. Thank you.
0:14:00 > 0:14:01From the ridiculous to the sublime,
0:14:01 > 0:14:03and the beautiful rooms of Breamore House.
0:14:05 > 0:14:09I'm still relishing the fine art and antiques that are on display.
0:14:09 > 0:14:11There are masterpieces such as this -
0:14:11 > 0:14:14The Coming Of The Storm by David Teniers The Younger.
0:14:16 > 0:14:20It shows a village feasting outside an inn with dark clouds approaching.
0:14:20 > 0:14:23But there are no clouds on our horizon.
0:14:31 > 0:14:34Before we head off to auction, over to Hampshire to uncover
0:14:34 > 0:14:38some more remarkable history in an unexpected place.
0:14:38 > 0:14:40The beautiful, unspoilt Beaulieu River is
0:14:40 > 0:14:43unusual for being one of the few privately owned
0:14:43 > 0:14:45rivers in the world.
0:14:45 > 0:14:50King John gave it to the monks of Beaulieu Abbey in 1204
0:14:50 > 0:14:53and it has belonged to the family of the current owners of the
0:14:53 > 0:14:55estate since the time of Henry VIII.
0:14:55 > 0:14:58So, you may be surprised to discover
0:14:58 > 0:15:00that this idyllic rural spot
0:15:00 > 0:15:02known as Buckler's Hard, the "hard" meaning
0:15:02 > 0:15:06the gravel running down to the low-water mark,
0:15:06 > 0:15:07is the maritime centre of the river
0:15:07 > 0:15:09and it's played a remarkable part in
0:15:09 > 0:15:11British naval history.
0:15:13 > 0:15:15Three of the sailing ships that took part in the British
0:15:15 > 0:15:18victory at the Battle of Trafalgar against the combined
0:15:18 > 0:15:20fleets of the French and Spanish navies
0:15:20 > 0:15:23were built on these very launch ways -
0:15:23 > 0:15:25the 36-gun Euryalas,
0:15:25 > 0:15:27the 74-gun Swiftsure,
0:15:27 > 0:15:29and the 64-gun Agamemnon,
0:15:29 > 0:15:31affectionately known to her crew
0:15:31 > 0:15:35as Eggs and Bacon, one of Admiral Nelson's favourite vessels.
0:15:35 > 0:15:37And he'd written of her earlier,
0:15:37 > 0:15:40"She is without doubt the finest 64 in the service
0:15:40 > 0:15:42"and has the character to sail very well."
0:15:42 > 0:15:44So how did this quiet backwater,
0:15:44 > 0:15:49Buckler's Hard, find itself in the naval history books?
0:15:50 > 0:15:53It might never have been without the ambitions of John,
0:15:53 > 0:15:56the second Duke of Montagu, who early on in the 18th century
0:15:56 > 0:15:58had grand plans to build a splendid port for
0:15:58 > 0:16:01sugar coming from the West Indies.
0:16:01 > 0:16:03It was to be called Montague Town
0:16:03 > 0:16:05and an 80-foot-wide street was built
0:16:05 > 0:16:08down to the quay.
0:16:08 > 0:16:11But that's as far as it got.
0:16:11 > 0:16:14The French put a stop to it by claiming the islands
0:16:14 > 0:16:15in the West Indies for themselves,
0:16:15 > 0:16:17the ones the duke had his eye on.
0:16:17 > 0:16:20So, no sugar reached here.
0:16:20 > 0:16:23All the duke was left with was a rather wide high street
0:16:23 > 0:16:26and a few cottages.
0:16:30 > 0:16:32But the duke, being an enterprising chap,
0:16:32 > 0:16:35wanted to make use of his extra-wide high street,
0:16:35 > 0:16:39it had ideal access to get big elm trees and oak trees
0:16:39 > 0:16:42down here. And the river at this point is exceptionally deep.
0:16:42 > 0:16:44The ground was hard and it was sheltered -
0:16:44 > 0:16:45it was ideal for boat-building,
0:16:45 > 0:16:49so the duke leased it to some shipwrights
0:16:49 > 0:16:52and in 1744 a contract was drawn up with the Navy.
0:16:52 > 0:16:55Then began 100 years of shipbuilding here
0:16:55 > 0:16:58at Buckler's Hard.
0:16:58 > 0:17:01It is thought that around 100 Naval and merchant ships were
0:17:01 > 0:17:04built here. Of course, there were no
0:17:04 > 0:17:07power tools available to the men who built these ships.
0:17:07 > 0:17:09So it was a slow process.
0:17:09 > 0:17:12A ship could take two years to construct.
0:17:12 > 0:17:14It must have been an amazing spectacle
0:17:14 > 0:17:16when, at the height of its activity,
0:17:16 > 0:17:20five of these magnificent ships were all being built
0:17:20 > 0:17:25in the shoreline launches, towering over the cottages behind.
0:17:25 > 0:17:28In the early 19th century, wooden shipbuilding sites
0:17:28 > 0:17:30in the country fell into disuse
0:17:30 > 0:17:34and Buckler's Hard became a sleepy backwater again.
0:17:34 > 0:17:37But good news - the traditional skills of shipbuilding
0:17:37 > 0:17:41are on their way back to here and the man in charge of doing this
0:17:41 > 0:17:42is Nat Wilson.
0:17:44 > 0:17:46Hi, it's Paul, a pleasure to meet you. You too.
0:17:46 > 0:17:49I'm so jealous, I love all of this, look at it!
0:17:49 > 0:17:52It's fantastic, isn't it? This is your work space? Yes.
0:17:52 > 0:17:53And here you are boat-building!
0:17:53 > 0:17:55Well, I've never seen an oar being made,
0:17:55 > 0:17:59so hopefully you'll let me have a go... Absolutely. ..and give me some lessons.
0:17:59 > 0:18:03But first of all, tell me about the boat-building here. This is all about working
0:18:03 > 0:18:05with big heavy timbers - the likes of HMS Victory
0:18:05 > 0:18:07and HMS Warrior and it's teaching people how to handle
0:18:07 > 0:18:09big lumps of timber, how to work with them
0:18:09 > 0:18:11with the old tools like the...
0:18:11 > 0:18:13Traditional skills and methods. Absolutely, yeah.
0:18:13 > 0:18:15Well, I know you are working on an oar here and I
0:18:15 > 0:18:19can see you've got some laminated parts... Yeah. ..for the blade.
0:18:19 > 0:18:21So, talk me through what you are doing.
0:18:21 > 0:18:24We are basically shaping the blade and then we are turning
0:18:24 > 0:18:26the shaft from a square into a circle.
0:18:26 > 0:18:28We mark it out so that once this is cut down,
0:18:28 > 0:18:30that distance will end up the same as that distance
0:18:30 > 0:18:32and that distance... OK. ..so it will be an
0:18:32 > 0:18:35octagon all the way around. I see what you are doing.
0:18:35 > 0:18:37And then you re-mark it and take off the corners.
0:18:37 > 0:18:41So that one has been roughed out as an octagon. Yeah.
0:18:41 > 0:18:43Needs cleaning up a bit and then
0:18:43 > 0:18:45we proceed taking off corners until you end up with
0:18:45 > 0:18:48a round... And how long would it take to make one oar...
0:18:48 > 0:18:51from start to finish? Half a day. I can make a pair in one day.
0:18:51 > 0:18:53Gosh, that's quick going, isn't it?
0:18:53 > 0:18:55Well, once they're glued up and ready to go.
0:18:55 > 0:18:57Can I have a go at that?! Of course you can.
0:18:57 > 0:18:59Can I use the draw knife? You can indeed, yeah.
0:18:59 > 0:19:01I'll flip it round.
0:19:06 > 0:19:07All yours. OK.
0:19:07 > 0:19:10So, start facing...
0:19:10 > 0:19:11this way and draw in or...? Yes.
0:19:11 > 0:19:14That way. Oh...
0:19:14 > 0:19:17That's where you have to flip and go back the other way.
0:19:17 > 0:19:19Go back against the grain, yeah.
0:19:21 > 0:19:25In fact, the grain is quite kind in this direction.
0:19:25 > 0:19:27Gosh, it's a satisfying feeling.
0:19:27 > 0:19:29It is and it's very quick as well.
0:19:29 > 0:19:32Shall I turn it around and...? Yeah, yeah, reposition it to
0:19:32 > 0:19:36make it comfortable. It really does want to tear.
0:19:44 > 0:19:49That's the joy of wood, it's never exactly as you want it.
0:19:49 > 0:19:50You've done that before. I have done.
0:19:50 > 0:19:54Did you sign up for a course? Yes, I have done it before, actually!
0:19:54 > 0:19:57I was just about to say - you know, fresh wood shavings -
0:19:57 > 0:19:59it doesn't get any better than that smell
0:19:59 > 0:20:01but we're outside, so we can't actually smell them.
0:20:01 > 0:20:03LAUGHTER
0:20:03 > 0:20:06That's lovely, isn't it? So, I can see how the process works now.
0:20:06 > 0:20:08Just literally, taking the square into a round
0:20:08 > 0:20:11by taking off sections of the corner each time. Yeah.
0:20:12 > 0:20:14So how do you shape this section?
0:20:14 > 0:20:17That section - we use this wonderful little thing
0:20:17 > 0:20:18called the bolo plane? A what?
0:20:18 > 0:20:20A bolo... A bolo plane, OK.
0:20:20 > 0:20:23This again is something that all the students make, it's
0:20:23 > 0:20:26what I make... And you made that yourself? 25 years ago, yep.
0:20:26 > 0:20:28But that's curved in both directions,
0:20:28 > 0:20:30which means we can scoop in... That's clever.
0:20:30 > 0:20:34..and create that shape. That's very clever.
0:20:34 > 0:20:37Look at that. That's dished out beautifully.
0:20:37 > 0:20:40You're a very skilful man. No, it's just lots of practice.
0:20:40 > 0:20:42Well, it's really encouraging, you know,
0:20:42 > 0:20:45to know that there are people with the skills that you have,
0:20:45 > 0:20:47that are passing them on because that's so important
0:20:47 > 0:20:51with these traditional skills because a lot of them are being lost. They are. But we are
0:20:51 > 0:20:54doing our own little bit to bring them back again. Well, look, good luck with that
0:20:54 > 0:20:57and good luck with the school here. Thank you very much.
0:20:57 > 0:20:59It's been a real pleasure in having a go.
0:20:59 > 0:21:01Seeing these magnificent warships being built here
0:21:01 > 0:21:02is a thing of the past,
0:21:02 > 0:21:05but it's heartening to know that the traditional skills
0:21:05 > 0:21:08and methods that built our maritime history
0:21:08 > 0:21:10are still alive today.
0:21:22 > 0:21:24Now, in a moment, we are going to be putting
0:21:24 > 0:21:26our experts' valuations to the test,
0:21:26 > 0:21:29but before that, remember - there is commission to pay
0:21:29 > 0:21:32if you are buying or selling, and these rates do vary
0:21:32 > 0:21:36from saleroom to saleroom. And there is VAT to add on top of that,
0:21:36 > 0:21:38so do your sums before the sale starts.
0:21:38 > 0:21:42Right, here is a quick recap of what is going under the hammer.
0:21:42 > 0:21:46This paperweight was bought with two others for only ?14.
0:21:46 > 0:21:48Surely it is going to turn a profit!
0:21:51 > 0:21:54It is gold, it is honest and it is in fashion,
0:21:54 > 0:21:57so will this watch find a new owner?
0:21:58 > 0:22:01This collection of First World War slides
0:22:01 > 0:22:03offers a poignant view of the past.
0:22:06 > 0:22:10And will dem bones appeal to a walking-stick collector?
0:22:17 > 0:22:19Our first auction is in the Cotswolds,
0:22:19 > 0:22:23just outside Cirencester at Moore Allen Innocent,
0:22:23 > 0:22:27with auctioneer Philip Allwood on the rostrum.
0:22:27 > 0:22:29Going under the hammer right now, we've got
0:22:29 > 0:22:31that wonderful French paperweight. This is quality -
0:22:31 > 0:22:34if you collect paperweights, you have got to own one of these -
0:22:34 > 0:22:36it's a Clichy. It's great to see you, Keith.
0:22:36 > 0:22:38Who have you brought along with you? My wife, Sue.
0:22:38 > 0:22:40Sue, pleased to meet you.
0:22:40 > 0:22:42Why weren't you at the valuation day? It was raining. Oh, come on!
0:22:42 > 0:22:44So I stayed at home and did the ironing.
0:22:44 > 0:22:47We were inside in a beautiful cathedral! I know, I know.
0:22:47 > 0:22:51I'm surprised you don't want to keep this. Surely you like this!
0:22:51 > 0:22:54It's not actually my ideal thing, so, no, I don't...
0:22:54 > 0:22:57It's not jewellery, I can't wear it. Ah, right, OK.
0:22:57 > 0:22:59It's going under the hammer now.
0:22:59 > 0:23:01It's the Millefiori-style paperweight there.
0:23:01 > 0:23:04Nice quality one, there. Who'll start me at 100?
0:23:04 > 0:23:06100?
0:23:06 > 0:23:07150 to get on.
0:23:07 > 0:23:11At ?30 a bid only, then. At ?30, 5, anyone else?
0:23:11 > 0:23:14At ?30 for it. At ?30, 5, 40, 5,
0:23:14 > 0:23:1750, 5, 60, 5.
0:23:17 > 0:23:1970... Yeah, we'll get there.
0:23:19 > 0:23:23At 75, 80 if you like, sir. At ?75. Got to be cheap at 75.
0:23:23 > 0:23:2680, if you like. 80, there. At ?80. Thank you, it's on the net.
0:23:26 > 0:23:28Thank you, at 80. 5, if you like now, sir.
0:23:28 > 0:23:30At ?80, it's on the net, here. 5, if you like, now.
0:23:30 > 0:23:32At ?80, it's on the net.
0:23:32 > 0:23:36Here selling, you're out on my left, at 85 on the net. 90, now.
0:23:36 > 0:23:41At ?85, 90. At ?90, it's on the net still at ?90. 5 anywhere, now?
0:23:41 > 0:23:44At ?90. You're all out in the room.
0:23:44 > 0:23:48At ?90, it's selling here, on the net here at 90...
0:23:50 > 0:23:53It's sold. 90. I'm happy. A good return on 14 quid.
0:23:53 > 0:23:56That was, actually, yes. When you look at it like that...
0:23:56 > 0:23:58I was thinking, "Oh, it's got to do 150 quid,"
0:23:58 > 0:24:00but it was a brilliant return on ?14,
0:24:00 > 0:24:03and you've still got the other two items.
0:24:04 > 0:24:06That gives Sue and Keith some money to play with.
0:24:08 > 0:24:10Now over to Tring Market Auctions,
0:24:10 > 0:24:13where Stephen Hearn is selling those fascinating slides.
0:24:13 > 0:24:16Rob and Sharon, good luck, this is the moment we've been waiting for.
0:24:16 > 0:24:1865 slides of the Great War.
0:24:18 > 0:24:21Of national importance. So hard to put a value on.
0:24:21 > 0:24:24I'm really nervous. So am I. I'm nervous for you. Thank you.
0:24:24 > 0:24:25I wouldn't like to do that.
0:24:25 > 0:24:28You have to understand, it really is a hard thing to value.
0:24:28 > 0:24:30Cos as much as they are incredibly important,
0:24:30 > 0:24:33and obviously, the feelings that they evoke -
0:24:33 > 0:24:35you sort of think, what do you do with them now?
0:24:35 > 0:24:37Hopefully, somewhere in your mum and dad's loft
0:24:37 > 0:24:42or in your loft, you've got other things from the Great War... Quite a cheery soul, isn't he?!
0:24:42 > 0:24:43LAUGHTER
0:24:43 > 0:24:46No, I wouldn't sell them. I wouldn't sell them
0:24:46 > 0:24:49if my grandad... And he had quite a life, didn't he?
0:24:49 > 0:24:52He was torpedoed, he was buried alive. Yeah.
0:24:52 > 0:24:54Survived it, though. He did. Fingers crossed, we get that
0:24:54 > 0:24:57?150-?200, because I think it's worth a great deal
0:24:57 > 0:24:59more than that. Good luck. Thank you. Best of luck.
0:24:59 > 0:25:02These are rather interesting, these are.
0:25:02 > 0:25:03You've got some of the Boer War,
0:25:03 > 0:25:06you've got some of the stereoscopic viewers.
0:25:06 > 0:25:08And as well, you've got some of the First World War in here.
0:25:08 > 0:25:10A very interesting collection there.
0:25:10 > 0:25:12What about a couple of hundred for them?
0:25:12 > 0:25:14150 for them. 100 for them bid.
0:25:14 > 0:25:17100, I'm bid. 100 is bid. Come on, come on. 110.
0:25:17 > 0:25:20120 is bid. 130 and 40.
0:25:20 > 0:25:22And 50 and 60. Oh, here we go.
0:25:22 > 0:25:24Lots of interest.
0:25:24 > 0:25:26At ?160, then, I shall sell.
0:25:26 > 0:25:30They're going, then, down they go for ?160...
0:25:30 > 0:25:33Well, they've gone. Good valuing, well, good estimate.
0:25:33 > 0:25:36In the room as well. In the room. Fantastic. Well done. Happy?
0:25:36 > 0:25:39Yeah. Good. Good. Thank you for bringing those in as well.
0:25:39 > 0:25:42Yeah. Great pictures. It was such an honour to see them.
0:25:42 > 0:25:46Just really, really fascinating, so...thank you.
0:25:46 > 0:25:49It just goes to show, it's worth digging around in drawers
0:25:49 > 0:25:52or your attic, to see if you've got any hidden treasures.
0:25:54 > 0:25:56And now on to Surrey,
0:25:56 > 0:25:59to Ewbank's Auctions just outside of Guildford,
0:25:59 > 0:26:00and Tim Duggan is our auctioneer.
0:26:02 > 0:26:03Going under the hammer right now,
0:26:03 > 0:26:05a gold pocket watch belonging to Norma.
0:26:05 > 0:26:07What has happened to you since we last saw you?
0:26:07 > 0:26:11Look at this down here, look. I've joined the Beckham Club. Oh, no!
0:26:11 > 0:26:14I've broken my metatarsal. How did you do that? Not playing football.
0:26:14 > 0:26:16No, out of the chair. Oh, dear. No!
0:26:16 > 0:26:20I got out of the chair, turned, and my leg went underneath me.
0:26:20 > 0:26:23Oh, I bet that was painful. Yes. Oh, poor you, poor you.
0:26:23 > 0:26:25Look, we won't let you stand for too long.
0:26:25 > 0:26:29Your lot is just about to go under the hammer. Enjoy this moment.
0:26:29 > 0:26:31Ready? Here we go, this is it.
0:26:31 > 0:26:36The nine-carat gold Swiss open-face pocket watch, there. ?100 for it.
0:26:36 > 0:26:37?100...
0:26:37 > 0:26:41100 is bid. 110, 120, 130, 140.
0:26:41 > 0:26:44140, 150, 160, now.
0:26:44 > 0:26:46Looking for 160 online, who wants it? Keep going.
0:26:46 > 0:26:49150 in the doorway now, 160 if you want it.
0:26:49 > 0:26:52I have 150, looking for 160 now. 160 bid, 170, sir?
0:26:52 > 0:26:54Oh, that's...
0:26:54 > 0:26:57That's good. 170 anywhere?
0:26:57 > 0:27:00At ?160, are we all done? Selling, then, at ?160...
0:27:02 > 0:27:06Yes! That was a good day out, wasn't it? Yes, very. Well done, you.
0:27:07 > 0:27:11Thank you so much for coming along, and I hope you get better soon.
0:27:11 > 0:27:13Oh, I will. Go home and put your feet up.
0:27:15 > 0:27:19Poor Norma! She is a brave soldier, coming to the auction.
0:27:21 > 0:27:24Next, Tring Market Auctions north of London, where Stephen Hearn
0:27:24 > 0:27:27is selling a lot of old bones for us.
0:27:29 > 0:27:33Well, I must say, on this show we do have the luxury of selling lots
0:27:33 > 0:27:36of strange and weird and wonderful objects,
0:27:36 > 0:27:38and we've got one right now.
0:27:38 > 0:27:41It's a shark vertebrae from the Victorian period with a horn handle.
0:27:41 > 0:27:43Yes, you've guessed it - it's Eunice's walking stick.
0:27:43 > 0:27:47Good to see you again. And who have you brought along with you today?
0:27:47 > 0:27:51This is my husband, John. John, pleased to meet you.
0:27:51 > 0:27:55What do you think of the walking stick? A bit bendy. A bit bendy!
0:27:55 > 0:27:58It was a bit bendy on the day, wasn't it, Eunice?
0:27:58 > 0:28:00We had a bit of fun with it, actually.
0:28:00 > 0:28:02These things are hard to find, aren't they?
0:28:02 > 0:28:03They really are, they really are.
0:28:03 > 0:28:05A lot of people actually don't like them
0:28:05 > 0:28:08because of what they're made from. They get a bit irky, don't they?
0:28:08 > 0:28:10Let's find out what the bidders think, shall we?
0:28:10 > 0:28:13Good luck, both of you. Here we go. And good luck, David. Thank you.
0:28:13 > 0:28:14This is rather interesting,
0:28:14 > 0:28:18the Victorian shark vertebrae walking cane.
0:28:18 > 0:28:20There you are, with a horn handle.
0:28:20 > 0:28:23I hope we're going to get ?100 for it. 55?
0:28:23 > 0:28:2640, 5, 50, 5, 60... One more, at ?60...
0:28:26 > 0:28:315, 70? No? At ?65, you have it.
0:28:31 > 0:28:33Selling in the room. Yes, it is.
0:28:33 > 0:28:36At ?65, then. A bit more. Thank you.
0:28:36 > 0:28:41?65. I don't believe that! Top end. That's fine. Well done. Happy? Yeah!
0:28:41 > 0:28:45It's gone to a new home and hopefully a collector, as well.
0:28:45 > 0:28:48Are you surprised? I am. Very.
0:28:48 > 0:28:50I expected about ten.
0:28:50 > 0:28:54There's always a buyer for something, and that was a quirky
0:28:54 > 0:28:57item from the Victorian period, and that was worth investigating. Great.
0:28:57 > 0:28:59Great result - top end of the estimate.
0:28:59 > 0:29:02We will be coming back to the auction houses later on
0:29:02 > 0:29:05in the show, but now, something for the furniture enthusiasts.
0:29:13 > 0:29:17Breamore is an example of an unspoilt country house
0:29:17 > 0:29:20nestling in glorious settings.
0:29:20 > 0:29:23Inside, it is brimming with antique furniture which has been collected
0:29:23 > 0:29:26by nine generations of the same family,
0:29:26 > 0:29:28and that makes it pretty special.
0:29:32 > 0:29:33But for someone who has had a passion
0:29:33 > 0:29:36all their life for British furniture,
0:29:36 > 0:29:38I'm going to indulge myself and share
0:29:38 > 0:29:39some of the best bits with you.
0:29:41 > 0:29:45Among these treasures is a collection of marquetry,
0:29:45 > 0:29:49containing examples from both England and the continent.
0:29:50 > 0:29:54I have invited one of the top experts in furniture conservation
0:29:54 > 0:29:57and marquetry in the country, Yannick Chastang, to tell me more
0:29:57 > 0:30:00about some of the finer pieces.
0:30:05 > 0:30:08We start with an example of marquetry.
0:30:08 > 0:30:11This English long-case clock is the earliest piece in the room,
0:30:11 > 0:30:14dating from around 1700.
0:30:14 > 0:30:18What is marquetry as compared to inlay?
0:30:18 > 0:30:20How do you do it? Where did it all start?
0:30:20 > 0:30:23Well, marquetry is only a surface decoration that is applied
0:30:23 > 0:30:27on top of a solid wood carcass. This long-case clock,
0:30:27 > 0:30:30as you can see, is made of solid oak
0:30:30 > 0:30:33and on top of it they have applied this very, very fine veneer.
0:30:33 > 0:30:36And you can actually see the thickness, can't you? You can.
0:30:36 > 0:30:39Unfortunately, the clock is slightly damaged at the top.
0:30:39 > 0:30:43It's broken here and you can clearly see the veneer
0:30:43 > 0:30:46is only covering this solid oak underneath.
0:30:46 > 0:30:49So, veneer can be made of wood, can be made of metal,
0:30:49 > 0:30:53but it is basically one to two millimetres thick. OK.
0:30:53 > 0:30:55And these veneers, they're cut into floral shapes.
0:30:55 > 0:30:57They cut them into floral shapes,
0:30:57 > 0:31:00they cut it into animal shapes or floral patterns,
0:31:00 > 0:31:01as you can see here.
0:31:01 > 0:31:05By hand, with this...? By hand with this little frame saw.
0:31:05 > 0:31:08The frame saw you have here is fitted with a very, very fine blade
0:31:08 > 0:31:11and because of the size of the blade,
0:31:11 > 0:31:14it enables you to cut and carve into the wood.
0:31:14 > 0:31:18And that is the main difference between marquetry and inlay -
0:31:18 > 0:31:21marquetry is entirely cut using a piercing saw.
0:31:21 > 0:31:24Would this have been done by, let's say, an English craftsman
0:31:24 > 0:31:27or would this be a French or continental worker, a Dutch worker?
0:31:27 > 0:31:30Well, England is not really well known for producing
0:31:30 > 0:31:32marquetry in the 17th century. No.
0:31:32 > 0:31:35It is quite likely that a piece like this one was made by a Dutch
0:31:35 > 0:31:39or possibly a French immigrant,
0:31:39 > 0:31:42so it is one of the rare examples of English marquetry.
0:31:42 > 0:31:45What is interesting, as well, is the colour of the marquetry.
0:31:45 > 0:31:49What you're missing here is the bright and colourful wood
0:31:49 > 0:31:51when it was first made. Yes.
0:31:51 > 0:31:55I've got here an example of maple - English sycamore or maple -
0:31:55 > 0:31:57and, as you can see, it is very bright white.
0:31:57 > 0:32:01And in contrast with the black ebony wood coming from Africa or India,
0:32:01 > 0:32:04you can clearly see this very, very bright contrast.
0:32:04 > 0:32:07It creates a lovely silhouette, doesn't it? Exactly. It really does.
0:32:07 > 0:32:11It would have been the most wonderful, colourful piece.
0:32:11 > 0:32:14You are looking at a work of art. Not only a scientific instrument
0:32:14 > 0:32:16which tells you the time, but you are buying a work of art,
0:32:16 > 0:32:20aren't you? Oh, yes. So, the finishing is an interesting point
0:32:20 > 0:32:23because, obviously, sandpaper wasn't invented at the time.
0:32:23 > 0:32:25So rather than using sandpaper...
0:32:25 > 0:32:27I know you have got something interesting to show me.
0:32:27 > 0:32:29He has got a fish. So, you sand it with a fish.
0:32:29 > 0:32:32You sand it with a fish. You sand it with a dogfish, to be precise.
0:32:32 > 0:32:34So...
0:32:34 > 0:32:38So, that's... This was what was around in the early 1700s.
0:32:38 > 0:32:42Dogfish has very, very coarse skin. It is. It is quite spiky.
0:32:42 > 0:32:45If you run your finger one way, it is like hundreds of millions
0:32:45 > 0:32:48of little barbs, and it is catching my finger now,
0:32:48 > 0:32:49so that feels like a rasper to me.
0:32:49 > 0:32:52Can we put it on there and see that?
0:32:52 > 0:32:54Yes, you can just sand a bit off of mine here.
0:32:57 > 0:32:59Look at that. Look at what it has taken off.
0:32:59 > 0:33:01Taking off the wood.
0:33:01 > 0:33:04And of course, if you go to the tail of the fish, the sandpaper is finer,
0:33:04 > 0:33:07so that is how you get from coarse to very fine sandpaper.
0:33:07 > 0:33:11And that is how you flatten that so there are no undulations.
0:33:11 > 0:33:15And when you run your fingers down there, it is like a sheet of glass.
0:33:15 > 0:33:16Exactly.
0:33:17 > 0:33:19From the English long-case clock,
0:33:19 > 0:33:23we move on to the most decorative of all the pieces here.
0:33:23 > 0:33:29Now, here we have a Dutch walnut armoire circa 1740.
0:33:29 > 0:33:32This is inlaid. Talk me through this - how is it done?
0:33:32 > 0:33:35All of the individual flowers, all of the little elements -
0:33:35 > 0:33:36the birds, the flowers, the leaves,
0:33:36 > 0:33:39they have been inlaid into the walnut background.
0:33:39 > 0:33:42So, the walnut background was first applied on the surface
0:33:42 > 0:33:44of the wardrobe or the armoire... Veneered on itself.
0:33:44 > 0:33:49Veneered on itself, a plain walnut - no decoration at all.
0:33:49 > 0:33:52And then, using this tool that is commonly known
0:33:52 > 0:33:54as the shoulder knife -
0:33:54 > 0:33:58mainly because it rests on your shoulder when you use it.
0:33:58 > 0:34:00It is a very, very, very sharp knife
0:34:00 > 0:34:03and by having this long handle resting on your shoulder,
0:34:03 > 0:34:07you have great control of cutting into the wood...
0:34:07 > 0:34:09Very fine detail. Very fine detail.
0:34:09 > 0:34:12Because they are very small pieces to be cut, to inlay,
0:34:12 > 0:34:14with such a big knife.
0:34:14 > 0:34:17And it is quite a coarse tool, but when you're very good at it,
0:34:17 > 0:34:20you can get some really fine work like you see here.
0:34:20 > 0:34:23Someone in the workshop would have spent all day long
0:34:23 > 0:34:25cutting little flowers like this one.
0:34:25 > 0:34:28So, you would have had, in the workshop, a stock of pre-cut flowers...
0:34:28 > 0:34:30You know your pattern.
0:34:30 > 0:34:32You know you need a bird, you know you need a water lily
0:34:32 > 0:34:34or whatever flowers you need,
0:34:34 > 0:34:36then you moved into your chest of drawers,
0:34:36 > 0:34:38extract a flower like this one,
0:34:38 > 0:34:41you locate it on to the place you want to inlay it,
0:34:41 > 0:34:43mark very carefully the outline,
0:34:43 > 0:34:47remove it for a while and then, using the shoulder knife,
0:34:47 > 0:34:50just cut the outline until you have created this cavity.
0:34:50 > 0:34:53Do you know, that would drive me boss-eyed, doing that, if I had to.
0:34:53 > 0:34:56Well, it does me. I've been doing it for 20 years,
0:34:56 > 0:34:59and I don't really enjoy it all the time!
0:34:59 > 0:35:02It's very, very long work, that's what you have to...
0:35:02 > 0:35:04For me, it is a bit too feminine, it is a bit too pretty-pretty
0:35:04 > 0:35:08and it is over-busy, but this was the flavour of the month.
0:35:08 > 0:35:10This is what the Dutch gave us.
0:35:10 > 0:35:13Very nice. Not for me, prefer the clock,
0:35:13 > 0:35:17but also, we have another example - we've got some French work. Yes.
0:35:17 > 0:35:19Slightly more geometric. And that's for me. That's for you?
0:35:19 > 0:35:22Because I'm French. Well, let's go and have a look at that.
0:35:24 > 0:35:26Well, you are bound to love this,
0:35:26 > 0:35:29but what we are looking at is more bold, geometric shapes.
0:35:29 > 0:35:32And the technique obviously differs with this, as well. Yes.
0:35:32 > 0:35:35We are looking at a piece of parquetry, and parquetry,
0:35:35 > 0:35:39strictly speaking, is veneered, but of geometrical pattern,
0:35:39 > 0:35:42as opposed to marquetry, where you've got all the flowers and...
0:35:42 > 0:35:45It is organic. This is very mathematical. Exactly.
0:35:45 > 0:35:47It is very precise and it is geometric.
0:35:47 > 0:35:48And it is very Baroque, it's French.
0:35:48 > 0:35:521740? 1730, 1740,
0:35:52 > 0:35:56with gilded bronze, gilt ormolu, as you call it in English,
0:35:56 > 0:35:58and with a wonderful pattern of veneer.
0:35:58 > 0:36:02However, what we have lost here is the colour of the veneer, yes.
0:36:02 > 0:36:05Because the gold - bright yellow gold, bronze...
0:36:05 > 0:36:08And on the background of it, of course, if you want to set
0:36:08 > 0:36:11the colour of the gold, you need some bright and colourful wood.
0:36:11 > 0:36:15So you can see here the dark kingwood. Oh, yes.
0:36:15 > 0:36:19Look at the gold handle against that. Exactly, gold against dark.
0:36:19 > 0:36:21Rich. And then on the little border,
0:36:21 > 0:36:24you just have a little piece of tulipwood.
0:36:24 > 0:36:26Tulipwood is a nice veneer, isn't it?
0:36:26 > 0:36:28Tulipwood is a nice veneer, it is now unfortunately endangered.
0:36:28 > 0:36:30It comes from South America
0:36:30 > 0:36:32and, like many of the timber from South America...
0:36:32 > 0:36:33All these exotic timbers.
0:36:33 > 0:36:36..we have to be careful in their use, so we tend to reserve them
0:36:36 > 0:36:38for restoring or conserving pieces -
0:36:38 > 0:36:41we don't use them for making furniture.
0:36:41 > 0:36:42In its day, another show-off piece
0:36:42 > 0:36:46with all of these exotic materials from all over the world.
0:36:46 > 0:36:48You can imagine, extremely expensive piece of furniture.
0:36:48 > 0:36:51Gilt bronze, gold-plated bronze...
0:36:51 > 0:36:52The French got it right, didn't they?
0:36:52 > 0:36:55They really did, though, didn't they? I would agree with that.
0:36:55 > 0:36:58I like this. I much prefer this to Dutch furniture.
0:36:58 > 0:37:00It's opulent, but I like it.
0:37:00 > 0:37:03Thank you very, very much for talking to me today,
0:37:03 > 0:37:05because it has been a real joy.
0:37:05 > 0:37:07I've learnt a lot and I hope you have at home, as well.
0:37:14 > 0:37:16On to the Dorset coast and Lulworth Castle.
0:37:16 > 0:37:21Where Mark Stacey is examining a recently purchased bargain.
0:37:21 > 0:37:23Cain... Yes. Lovely to meet you. And yourself.
0:37:23 > 0:37:26You've brought this rather interesting bowl in.
0:37:26 > 0:37:27Tell me where you got it from.
0:37:27 > 0:37:30From Allington Lane - a car-boot sale in Fair Oak - ten pence.
0:37:30 > 0:37:3210p!
0:37:32 > 0:37:34Gosh. What attracted you to it?
0:37:34 > 0:37:36I thought it was a piece of Delft. Delft pottery?
0:37:36 > 0:37:38That's what I thought. Well, I can see that
0:37:38 > 0:37:40cos it's quite heavy pottery, isn't it?
0:37:40 > 0:37:43And you've got quite a lot of flaking, which does happen
0:37:43 > 0:37:46on Delft pottery. It's not, actually, it's from a completely
0:37:46 > 0:37:48different region - it's from the Persian area.
0:37:48 > 0:37:51This type of ware, we refer to as Iznik pottery.
0:37:51 > 0:37:53Now, that's normally because of these colours,
0:37:53 > 0:37:55the turquoises, the blues, the reds.
0:37:55 > 0:37:58What we really want to find is pieces that date from
0:37:58 > 0:38:01the 14th, 15th and 16th centuries.
0:38:01 > 0:38:03That were produced in the Anatolia region,
0:38:03 > 0:38:06in what is now the Persian Gulf.
0:38:06 > 0:38:09And Turkey. That whole Arab area.
0:38:09 > 0:38:11This, I think, is probably late 19th century.
0:38:11 > 0:38:14It's got these rather nice arabesque motifs on it,
0:38:14 > 0:38:17and the stylised flowers. All hand-painted, of course.
0:38:17 > 0:38:20And there is a little bit of fritting on the edges.
0:38:20 > 0:38:22And we turn it over and we've got this continuous
0:38:22 > 0:38:24frieze of flowering branches,
0:38:24 > 0:38:27which is really quite Chinese in inspiration.
0:38:27 > 0:38:30So there's obviously a lot of
0:38:30 > 0:38:33Chinese porcelain coming around into Europe and Asia.
0:38:33 > 0:38:35And the Arabic countries, so they've started to
0:38:35 > 0:38:37have a bit of an influence on that.
0:38:37 > 0:38:40And it's not marked, which you expect.
0:38:40 > 0:38:42I have to say, if it was an early piece, it would be
0:38:42 > 0:38:45worth an awful lot of money.
0:38:45 > 0:38:47But as a decorative, sort of late 19th-century piece...
0:38:47 > 0:38:51You only paid ten pence for it, didn't you? Yeah, that's true.
0:38:51 > 0:38:52What would you hope it to be worth?
0:38:52 > 0:38:54Oh, thousands and thousands!
0:38:54 > 0:38:55LAUGHTER
0:38:55 > 0:38:57Well, maybe Turkish lira. Probably, yeah.
0:38:57 > 0:38:59Which is about 10p or something.
0:38:59 > 0:39:00But it's worth more than 10p.
0:39:00 > 0:39:03I think if we put this in to auction with an estimate
0:39:03 > 0:39:04of something like ?40-?60...
0:39:04 > 0:39:07Right. And just have fun with it.
0:39:07 > 0:39:10Yeah. Because you just might find two or three buyers
0:39:10 > 0:39:14on the internet who will think - "I really like this..."
0:39:14 > 0:39:16And it could give us a real surprise on the day.
0:39:16 > 0:39:18Yeah. Happy with that estimate? Yeah, well, I was
0:39:18 > 0:39:20hoping it was going to be worth...
0:39:20 > 0:39:23a lot more but... Well, we're all hoping for more,
0:39:23 > 0:39:25even Paul Martin hopes for top of the estimate all the time,
0:39:25 > 0:39:28you know. I think, had it been earlier, the colours
0:39:28 > 0:39:31would have been much more vibrant - I mean, really vivid blues
0:39:31 > 0:39:34and greens and reds. This is why I'm valuing it as a
0:39:34 > 0:39:36later piece because of the muted colours.
0:39:36 > 0:39:38But you know, it is a good interior design piece,
0:39:38 > 0:39:40it will fit into a modern apartment
0:39:40 > 0:39:41as well as an antique house.
0:39:41 > 0:39:44So there's a good chance that it might make a bit more
0:39:44 > 0:39:47than our estimate. Let's just hope so. Fingers crossed. Yes.
0:39:47 > 0:39:49As you only paid 10p for it, what do you think
0:39:49 > 0:39:52about a reserve? Are you happy to just let it
0:39:52 > 0:39:54go and have a bit of fun? Yeah, just let it go.
0:39:54 > 0:39:56I think so. Cain, thank you so much, lovely to see you. And yourself.
0:39:56 > 0:39:58Cheers, thank you.
0:39:58 > 0:40:00Of course, we all want top dollar
0:40:00 > 0:40:02if we can get it.
0:40:06 > 0:40:09We have been roaming the country to find the best items to take
0:40:09 > 0:40:13to auction, so it is a timely return to Wrest Park in Bedfordshire,
0:40:13 > 0:40:17where Anita Manning has discovered something impressive.
0:40:18 > 0:40:22Max, it is lovely of you to come along for our valuation day today
0:40:22 > 0:40:26and you have brought along this fabulous, fabulous clock.
0:40:26 > 0:40:29But it is not the sort of thing I would have expected a young guy
0:40:29 > 0:40:32like yourself to have. Tell me, where did you get it?
0:40:32 > 0:40:36It was left to my father about six months ago through family
0:40:36 > 0:40:39and, unfortunately, about three months ago, he passed away himself,
0:40:39 > 0:40:40so it has now come to me.
0:40:40 > 0:40:43It is just a nice, big, shiny clock that looks like it's worth
0:40:43 > 0:40:46a lot of money and I thought I would come and see you today, Anita.
0:40:46 > 0:40:49Max, is it a big responsibility as well? Oh, it is too much for me.
0:40:49 > 0:40:52I'd like it, I'd like to keep it for the next 30, 40 years,
0:40:52 > 0:40:56but I am just not that responsible. It would get broken, unfortunately.
0:40:56 > 0:41:02Yeah. Well, it is the type of clock that needs a big, grand space.
0:41:02 > 0:41:06It wouldn't have sat on a modest mantelpiece, it would have sat
0:41:06 > 0:41:09on a grand marble mantelpiece
0:41:09 > 0:41:12with a fabulous mirror up above.
0:41:12 > 0:41:19The clock dates from about the 1880s and 1890s. It is a London clock.
0:41:19 > 0:41:23It is a clock of substance and quality.
0:41:23 > 0:41:25If we look here, we can see that it has
0:41:25 > 0:41:28three different chiming tunes here.
0:41:28 > 0:41:35Here we can go slow or fast and here we can have silent or chime.
0:41:35 > 0:41:39The clock is in an ebonised case.
0:41:39 > 0:41:43Now, the Victorians loved all things black, and with the death
0:41:43 > 0:41:47of Albert, Queen Victoria's husband,
0:41:47 > 0:41:51and Queen Victoria in mourning for many, many years,
0:41:51 > 0:41:54black became a fashionable colour.
0:41:54 > 0:41:57What they did was they would ebonise wood.
0:41:57 > 0:41:59They ebonised many, many things.
0:41:59 > 0:42:03This was the height of fashion,
0:42:03 > 0:42:06these wonderful, wonderful ormolu mounts.
0:42:06 > 0:42:10Now, this clock was retailed by
0:42:10 > 0:42:15Goldsmiths Silversmiths of Regent Street in London
0:42:15 > 0:42:19and again, what that is doing is it is telling us
0:42:19 > 0:42:23that it was a clock of the highest quality. Oh, fantastic.
0:42:23 > 0:42:26So, what you've got here is something quite wonderful.
0:42:26 > 0:42:29It is also in very, very good condition.
0:42:29 > 0:42:32Do you know if it's working? I believe it is working, yeah.
0:42:32 > 0:42:35It's just, we didn't wind it up in case it frustrated people
0:42:35 > 0:42:37when it came here today, really. It's just...
0:42:37 > 0:42:40As you can see, with the three chimes, it's...
0:42:40 > 0:42:43I've had a look in the back, the mechanism is wonderful.
0:42:43 > 0:42:47It's also very clean, so I would imagine that this clock
0:42:47 > 0:42:52will still be in working order after all these years,
0:42:52 > 0:42:55such is the quality of the mechanism.
0:42:55 > 0:42:57Now...
0:42:57 > 0:42:58Price.
0:42:58 > 0:43:01Oh, talk to me, Anita!
0:43:01 > 0:43:03I would estimate this...
0:43:03 > 0:43:06?1,500-?2,000.
0:43:06 > 0:43:07Are you happy with that?
0:43:07 > 0:43:10Could we say 1,600, with a bit of discretion?
0:43:10 > 0:43:12Yeah, we can go for that. Fantastic.
0:43:12 > 0:43:15So, we will put it in, ?1,600-?2,000,
0:43:15 > 0:43:18we'll give the auctioneer a little discretion on it
0:43:18 > 0:43:20and I'm sure it is going to do very, very well for you.
0:43:20 > 0:43:22Yeah, thank you very much. I hope so, as well.
0:43:22 > 0:43:25I'll be there to hold your hand. Brilliant. Yeah, brilliant.
0:43:25 > 0:43:27Thanks again. Thank you very much.
0:43:27 > 0:43:29It's hands all round, then.
0:43:29 > 0:43:33But now it's time to leave Wrest Park and head 90 miles south
0:43:33 > 0:43:36to Chiddingstone Castle, where Claire Rawle meets Bill.
0:43:36 > 0:43:40Well, you'll see what I mean in a moment.
0:43:40 > 0:43:43Mary, you have this quite extraordinary character with you.
0:43:43 > 0:43:48This is Old Bill, who has been in my family ever since I can remember.
0:43:48 > 0:43:52Certainly something I grew up with as a child and, I have to say,
0:43:52 > 0:43:58was used as a doorstop, and a very effective doorstop. Yes.
0:43:58 > 0:44:02It is only recently that I have looked into more details
0:44:02 > 0:44:06about this and found that, actually, it is a car mascot.
0:44:06 > 0:44:08Yes, indeed it is, yeah.
0:44:08 > 0:44:12I always wondered why there was a screw thread in the middle. Yes.
0:44:12 > 0:44:15Well, of course, Bruce Bairnsfather created this character, Old Bill,
0:44:15 > 0:44:20who depicted life in the trenches in the First World War.
0:44:20 > 0:44:23Bairnsfather himself did serve in the war - he signed up
0:44:23 > 0:44:28at the beginning of the war - and so he was really drawing on his own experience.
0:44:28 > 0:44:30And he made these wonderful characters which,
0:44:30 > 0:44:35in a light way, didn't make fun of the situation -
0:44:35 > 0:44:38they actually brought the situation to life
0:44:38 > 0:44:40without being too horrific.
0:44:40 > 0:44:44It was this sort of curmudgeonly old character who got into scrapes
0:44:44 > 0:44:47and things. Of course, it was published as a cartoon in
0:44:47 > 0:44:49the Fragments From France,
0:44:49 > 0:44:51which came out with the Bystander magazine.
0:44:51 > 0:44:52I've heard of that, yes.
0:44:52 > 0:44:56Yeah, you find the actual magazine itself with these cartoons
0:44:56 > 0:44:58and then he became a tremendous character.
0:44:58 > 0:45:02Old Bill sort of epitomised the old soldier that seemed to get
0:45:02 > 0:45:07away with, you know, shells going off right, left and centre,
0:45:07 > 0:45:10and he was still in his shell hole. It is cast in brass
0:45:10 > 0:45:13and you are quite right that that screw would have fitted
0:45:13 > 0:45:17through the bonnet of an old car, and then you fastened it on.
0:45:17 > 0:45:20So, you've got a double collecting market on this -
0:45:20 > 0:45:23you've got the automobilia enthusiasts,
0:45:23 > 0:45:25but also the collector of anything to do with Old Bill,
0:45:25 > 0:45:29because the Fragments From France magazines, they do sell very well,
0:45:29 > 0:45:31and then there were postcards of him, as well,
0:45:31 > 0:45:33so there's quite a market for it.
0:45:33 > 0:45:36So, he is actually quite desirable.
0:45:36 > 0:45:38Do you have any idea what sort of car he would have...?
0:45:38 > 0:45:41No, I don't think it was any particular car
0:45:41 > 0:45:43because he wasn't a brand name,
0:45:43 > 0:45:45he was purely a mascot that you would put on your car.
0:45:45 > 0:45:47They are very collectable
0:45:47 > 0:45:49and I think he will sell very well at auction.
0:45:49 > 0:45:52My feeling is probably an estimate of ?100-?150.
0:45:52 > 0:45:55If you wanted to put a reserve of 90 or 100 on him,
0:45:55 > 0:45:58I think that would be a sensible price, just to protect him. Yes.
0:45:58 > 0:46:01I would maybe estimate him at 100-150, so...
0:46:01 > 0:46:04Yes, I would be very interested.
0:46:04 > 0:46:08And have you got any idea what you might put the money towards?
0:46:08 > 0:46:11Something perhaps in memory of my father,
0:46:11 > 0:46:15who reminds me, somehow, of him.
0:46:15 > 0:46:17Oh, that's good, that's nice. Excellent.
0:46:17 > 0:46:20I shall look forward to seeing you at the auction.
0:46:20 > 0:46:21Yes, yes, it will be very exciting.
0:46:21 > 0:46:24Thank you so much for coming today and I will see you then. Thank you.
0:46:24 > 0:46:29What a great character, and still very popular in the saleroom.
0:46:31 > 0:46:34Our final stop is Lulworth Castle in Dorset,
0:46:34 > 0:46:38where Catherine Southon concludes our valuations.
0:46:38 > 0:46:41Renee, welcome to "Flog It!". Thank you.
0:46:41 > 0:46:44And thank you for bringing along this lovely box, even though
0:46:44 > 0:46:48it is in rather tired condition. Where does it come from?
0:46:48 > 0:46:52Well, my mother-in-law used to work for a lady
0:46:52 > 0:46:55and her husband used to be the gardener, as well,
0:46:55 > 0:47:00so when she died, she had a lot of things left to her, you know. Mmm.
0:47:00 > 0:47:06This was one of them, and it needs a bit of tender loving care.
0:47:06 > 0:47:08It looks like she's gone at it at some stage
0:47:08 > 0:47:10with a scouring pad or something.
0:47:10 > 0:47:12I don't think Mother-in-law did it.
0:47:12 > 0:47:14No, but perhaps... The lady that owned it.
0:47:14 > 0:47:16That owned it once upon a time.
0:47:16 > 0:47:19I mean, it's just really badly scratched and damaged.
0:47:19 > 0:47:23This is all Champleve enamel and it is not really too bad.
0:47:23 > 0:47:26There are a few little scratches here and there,
0:47:26 > 0:47:30but there is no chips or real damage to it.
0:47:30 > 0:47:36The main damage is really to this gilding, but this can be regilded.
0:47:36 > 0:47:39It is such a shame, because, once upon a time,
0:47:39 > 0:47:42this would have been something very, very special.
0:47:42 > 0:47:44Let's just open it up.
0:47:45 > 0:47:46Inside...
0:47:47 > 0:47:52Because there is a name there - Alfred Duclos, a very French name,
0:47:52 > 0:47:54and it's turn of the century.
0:47:54 > 0:47:58It's probably about 1900, maybe late 19th century.
0:47:58 > 0:48:00I mean, if she had a piece like this,
0:48:00 > 0:48:03can you imagine what was inside it?
0:48:03 > 0:48:06She probably had some really nice jewellery or something like that.
0:48:06 > 0:48:09Possibly. It is a lovely casket, isn't it? It's a statement piece.
0:48:09 > 0:48:12Not something that you use now? No, no. You don't put your gold in it?
0:48:12 > 0:48:15No, it is just stuck in the bottom of the wardrobe
0:48:15 > 0:48:17and we just want to get rid of the junk.
0:48:17 > 0:48:19I mean, it is a super piece, it really is.
0:48:19 > 0:48:23The decoration is all over. I wouldn't call it junk, by the way.
0:48:23 > 0:48:25You wouldn't? No. Well, I would.
0:48:25 > 0:48:27I really wouldn't call it junk, because it was really...
0:48:27 > 0:48:30Once upon a time, this was a very super
0:48:30 > 0:48:34and a very special piece. Was it? Absolutely. Right.
0:48:34 > 0:48:36I think if this was in perfect condition,
0:48:36 > 0:48:38you'd probably be looking at a couple of thousand pounds. Yes.
0:48:38 > 0:48:42This is not in brilliant condition, as we've said,
0:48:42 > 0:48:45but I do think that this can be rescued.
0:48:45 > 0:48:48I think that someone will buy this at auction
0:48:48 > 0:48:50and I think they will do it all up.
0:48:50 > 0:48:54I think they will regild it and they will put this back into
0:48:54 > 0:48:57not quite the original condition,
0:48:57 > 0:49:00but more...in much better condition than it was.
0:49:00 > 0:49:03Auction-wise, we don't want to put too high a price on this. No.
0:49:03 > 0:49:08I think we should suggest ?400-?600. How does that sound to you?
0:49:08 > 0:49:10Very good. Does that sound all right?
0:49:10 > 0:49:12Better than sitting there doing nothing.
0:49:12 > 0:49:14Absolutely, I think so.
0:49:14 > 0:49:18Let's put it in - 400-600 with a 300 reserve
0:49:18 > 0:49:20and it might just surprise us.
0:49:20 > 0:49:24The enamel work is lovely and it is all there, it's all intact.
0:49:24 > 0:49:25It's just the case. Yes.
0:49:25 > 0:49:27I will see you at the auction and see what happens,
0:49:27 > 0:49:30because I just don't know on this. Thank you very much.
0:49:31 > 0:49:34Will we get the surprise we want?
0:49:34 > 0:49:36That'll be the one to watch in the saleroom.
0:49:42 > 0:49:45Well, we have already seen some wonderful items on today's show,
0:49:45 > 0:49:49but here at Breamore, I am literally surrounded by treasure
0:49:49 > 0:49:50everywhere I look.
0:49:50 > 0:49:51This has captured my gaze,
0:49:51 > 0:49:55this wonderful oval mantel mirror in the Rococo style.
0:49:55 > 0:49:57Well, right now, we're going to find out
0:49:57 > 0:50:01if our experts' valuations are a true reflection of their price
0:50:01 > 0:50:02as we head over to the auction room.
0:50:02 > 0:50:04Here's a quick recap of all the items
0:50:04 > 0:50:06that are going under the hammer.
0:50:08 > 0:50:11It may not be early Delft, but this bowl has the look.
0:50:11 > 0:50:14And with no reserve, it's going to go.
0:50:16 > 0:50:21Max's clock is magnificent and looks like a show stopper to me.
0:50:25 > 0:50:28How could Old Bill not be anything but popular in the saleroom?
0:50:31 > 0:50:34And this casket could be made to look fabulous,
0:50:34 > 0:50:37but will the right buyer be there on the day?
0:50:43 > 0:50:45Charterhouse Auctioneers in Dorset is where our first
0:50:45 > 0:50:47sale is being held.
0:50:47 > 0:50:50Auctioneer Richard Bromell is on the rostrum
0:50:50 > 0:50:53selling our car-boot find of the day.
0:50:53 > 0:50:55Going under the hammer right now, we have a bowl,
0:50:55 > 0:50:57it cost ten pence in a car-boot sale, we're hoping to
0:50:57 > 0:50:59get around ?60 the top end for it.
0:50:59 > 0:51:02It belongs to Cain, sadly he can't be with us today
0:51:02 > 0:51:04but we do have the item and we do have our expert,
0:51:04 > 0:51:07Mr Mark Stacey. Hello, Paul. Will it get that top end?
0:51:07 > 0:51:09I don't know, it's a lovely thing. It is, isn't it?
0:51:09 > 0:51:12He thought it was Delft. He did. But I think it's late, don't you?
0:51:12 > 0:51:14Yes, I do. It's not that early...
0:51:14 > 0:51:16But the colours are nice, the pattern's good.
0:51:16 > 0:51:18It should make 40-60, I think. It should do.
0:51:18 > 0:51:20I like the arabesque pattern. I love it.
0:51:20 > 0:51:23It sort of attracts your eye. Here we go, ready, Mark?
0:51:23 > 0:51:25Fingers crossed for Cain, this is it.
0:51:25 > 0:51:28Iznik bowl here, comes straight in at ?25, I have bid now.
0:51:28 > 0:51:3025, 30, 5, 40... That's a good in.
0:51:30 > 0:51:33Over the lower end, anyway.
0:51:33 > 0:51:3550, on the internet.
0:51:35 > 0:51:37At 50, 60. ?60 and away now.
0:51:37 > 0:51:3970, it's on the internet. Oh, the internet...
0:51:39 > 0:51:41On the internet, here it going away...
0:51:41 > 0:51:44And selling at 70, last chance at 70...
0:51:44 > 0:51:46The hammer goes down, yes, ?70. Not bad.
0:51:46 > 0:51:48I wish we could do that every day of the week.
0:51:48 > 0:51:50I'd love to, Paul. We'd be happy, wouldn't we?
0:51:50 > 0:51:53We would be, yes. But we can't, we can't!
0:51:53 > 0:51:54It's just not possible!
0:51:54 > 0:51:57Well, I hope you enjoyed that little moment, Cain.
0:51:57 > 0:51:59Mark will be on the phone, won't you?
0:51:59 > 0:52:00I will...
0:52:00 > 0:52:02And I'm sure Cain will be delighted.
0:52:02 > 0:52:04MUSIC: Call Me by Go West
0:52:06 > 0:52:09Now let's head back to the Ewbank Auctions in Surrey.
0:52:09 > 0:52:11Auctioneer Tim Duggan is on the rostrum
0:52:11 > 0:52:15and he's selling our friend Old Bill.
0:52:15 > 0:52:18Going under the hammer right now is something for the boys.
0:52:18 > 0:52:22It's a car mascot, it is Old Bill, created by Bruce Bairnsfather
0:52:22 > 0:52:24and it belongs to Mary.
0:52:24 > 0:52:26Now, I saw one of these on "Flog It!" about 12 years ago
0:52:26 > 0:52:29and Philip Serrell did the valuation.
0:52:29 > 0:52:31It hasn't gone up a lot since then,
0:52:31 > 0:52:36but every time I see this little car mascot with the scarf wrapped
0:52:36 > 0:52:39round his neck, I always think of Philip Serrell. Oh, really?
0:52:39 > 0:52:41If Philip grew a moustache, he would be Old Bill. Good thing.
0:52:41 > 0:52:44Anyway, let's put it to the test. Claire, I know you like it.
0:52:44 > 0:52:45This is it.
0:52:45 > 0:52:49We've got Bruce Bairnsfather there, the Old Bill brass car mascot there,
0:52:49 > 0:52:52the character wearing the battered tin helmet there.
0:52:52 > 0:52:55And I go in at ?50 now,
0:52:55 > 0:53:0055, 60, 5, 70, 5, 80, 5, 90, 5.
0:53:00 > 0:53:04100, now. 110, 120, 130, now. Looking for 140 anywhere.
0:53:04 > 0:53:09140 online now. With you at 140. 150 anywhere?
0:53:09 > 0:53:11At 140 online now, looking for 150 anywhere.
0:53:11 > 0:53:14150 bid now, the battle is online now. Looking for 160 now.
0:53:14 > 0:53:18It's reached its money now, this is what they're worth. Looking for 170.
0:53:18 > 0:53:21At 160 online now, 160.
0:53:21 > 0:53:24Selling, then, online at 160...
0:53:24 > 0:53:27That's a good price. I've never seen them higher than that, Mary.
0:53:27 > 0:53:31Goodness. That was good. Good for you for hanging on to it. I'm delighted.
0:53:31 > 0:53:34Well, thank you for bringing it in, you put a smile on our faces, Mary.
0:53:34 > 0:53:35Yes, thank you. Thank you.
0:53:37 > 0:53:40Great result for a doorstop! Well done, Old Bill.
0:53:42 > 0:53:45And now on to Dorset and to beautiful Sherborne,
0:53:45 > 0:53:47where the casket is being sold by auctioneer
0:53:47 > 0:53:50Richard Bromell at Charterhouse Auctioneers.
0:53:51 > 0:53:53Fingers crossed, Renee.
0:53:53 > 0:53:56There's a bit of damage, but hopefully it won't hold it back.
0:53:56 > 0:53:59Catherine, good luck. You love this. I do love it.
0:53:59 > 0:54:02We're talking about the late-19th century casket.
0:54:02 > 0:54:04It's all newly-decorated and it's just great.
0:54:04 > 0:54:08It's beautiful, it's just the condition. Someone...
0:54:08 > 0:54:10I think someone in the trade will buy that
0:54:10 > 0:54:11and they'll buy their own work.
0:54:11 > 0:54:14That is something to restore, it definitely is,
0:54:14 > 0:54:17and it's achievable, isn't it? Oh, yeah, it can be regilded.
0:54:17 > 0:54:19It can look good again.
0:54:19 > 0:54:22It's just a shame it's not going to be the original look.
0:54:22 > 0:54:26Never mind. Well, I think this will go, it'll definitely go,
0:54:26 > 0:54:28whether or not at the top end is another thing.
0:54:28 > 0:54:29We could have a surprise cooking.
0:54:29 > 0:54:31It's an auction, anything can happen.
0:54:31 > 0:54:34That's why we love them. And it's going under the hammer right now.
0:54:34 > 0:54:3819th-century gilt brass Champleve enamel casket here.
0:54:38 > 0:54:42The Alfred Duclos. And straight in at ?200, I have bid.
0:54:42 > 0:54:45With me at ?200, I have now. Straight in.
0:54:46 > 0:54:49260, 280.
0:54:49 > 0:54:52300. At ?300, it's a room bid, room bid at ?300, I have.
0:54:52 > 0:54:54The bid is far away, at ?300 I have.
0:54:54 > 0:54:56At ?300, the internet, you're out.
0:54:56 > 0:54:58It's in the room and I'm selling at 300...
0:54:58 > 0:55:02It's gone. You were right, Catherine, it was the damage.
0:55:02 > 0:55:03Went on the reserve.
0:55:03 > 0:55:05We looked at four to six, but it went on the reserve.
0:55:05 > 0:55:09A restorer is going to buy that and buy his own work. Fair enough.
0:55:09 > 0:55:13But at least it lives another day and someone's going to enjoy that.
0:55:13 > 0:55:16That's right. Is that OK? Fine. Sorry we couldn't do any better.
0:55:16 > 0:55:18That's all right. It was the damage, wasn't it? It was.
0:55:18 > 0:55:22Hopefully the new owner will restore it to its former glory.
0:55:25 > 0:55:30Time to end our journey, and where better than Tring Market Auctions
0:55:30 > 0:55:32and auctioneer Stephen Hearn?
0:55:34 > 0:55:36Well, so far, so good.
0:55:36 > 0:55:39Now, if I said triple fusee movement, London mantel clock,
0:55:39 > 0:55:42a variation on chimes, what am I talking about? Yes, Maxwell's clock.
0:55:42 > 0:55:46And he's right here with our expert, Anita. And what a showy piece.
0:55:46 > 0:55:47Oh, yeah, definitely.
0:55:47 > 0:55:50Why have you decided to sell this, if we do sell this?
0:55:50 > 0:55:52Unfortunately, because I'm not responsible enough to keep it
0:55:52 > 0:55:54for another 50 years, really.
0:55:54 > 0:55:57I'd love to, but it's just a bit too much, really, isn't it, you know?
0:55:57 > 0:55:59Yeah, a nice family piece, though, a nice family piece,
0:55:59 > 0:56:03and I know it's been viewed and handled heavily.
0:56:03 > 0:56:07Yeah, well, we're hoping for great things. Fingers crossed.
0:56:07 > 0:56:11We're going to find out right now. It's going under the hammer.
0:56:11 > 0:56:12This is it.
0:56:12 > 0:56:15There it is, what a grand clock it is. Where shall we start on it?
0:56:15 > 0:56:17?1,000 for it.
0:56:17 > 0:56:21?800. Yes, we have it, thank you very much. 800, I'm bid for...
0:56:21 > 0:56:24It's amazing how low it goes before it starts to go back up
0:56:24 > 0:56:29in the right direction. ?1,000, I'm bid, 1,050, 1,100. 50.
0:56:29 > 0:56:341,200, we have. 50, 1,300, 1,350.
0:56:34 > 0:56:36I'm 1,400 now.
0:56:36 > 0:56:39At ?1,350... 1,400, is it?
0:56:39 > 0:56:41Phone line. At 1,350...
0:56:41 > 0:56:4314, now.
0:56:43 > 0:56:47At 1,350... 1,400, we're bid. 1,450, we're bid.
0:56:47 > 0:56:51Right, we've got a fight on between a person in the saleroom
0:56:51 > 0:56:53and a person on the phone.
0:56:53 > 0:56:58?1,450. Ah, I have a new bidder. At ?1,500.
0:56:58 > 0:56:59?1,550, now.
0:56:59 > 0:57:01At ?1,550...
0:57:01 > 0:57:031,600, we have now.
0:57:03 > 0:57:07We've got our reserve. Selling, then, it's going to be sold.
0:57:07 > 0:57:11It's going, then. I sell for ?1,600, then.
0:57:11 > 0:57:12Thank you. Oh!
0:57:15 > 0:57:18Just. Thank you very much. That's OK. It was a lovely piece.
0:57:18 > 0:57:20Thank you so much for bringing it in.
0:57:20 > 0:57:22Thank you for having us, it's been fantastic. Been great fun.
0:57:22 > 0:57:25That was exciting, wasn't it? Yeah, it was. My heart was beating.
0:57:25 > 0:57:28A bit touch and go there, wasn't it? That was close.
0:57:28 > 0:57:30Thank goodness for that last bidder.
0:57:30 > 0:57:33Maxwell, thank you so much for bringing that in. Thank you.
0:57:33 > 0:57:35What a wonderful day to end the show here. I hope you've enjoyed it.
0:57:35 > 0:57:38Join us again for many more surprises to come.
0:57:38 > 0:57:39But until then, it's goodbye.