0:00:05 > 0:00:09For centuries, Gloucestershire has inspired poets, painters
0:00:09 > 0:00:10and composers.
0:00:10 > 0:00:13And it was here that an American poet wrote some of the most
0:00:13 > 0:00:16frequently quoted lines in all of poetry.
0:00:16 > 0:00:18We'll find out which ones later on in the show
0:00:18 > 0:00:19but right now, here's a clue.
0:00:19 > 0:00:23Flog It! is either this way or that way.
0:00:23 > 0:00:27Well, I hope I've chosen the right one. Welcome to the show.
0:00:27 > 0:00:29Actually, I'll go this way.
0:00:53 > 0:00:55Dominating the landscape is Gloucester Cathedral,
0:00:55 > 0:00:59our spectacular venue for today.
0:00:59 > 0:01:02Originally built as a church for the Benedictine monks
0:01:02 > 0:01:05in the 11th century, it was embellished in the 14th century
0:01:05 > 0:01:09with the uniquely British perpendicular style.
0:01:09 > 0:01:13Basically, adding panels of fine stone tracery to the Norman walls
0:01:13 > 0:01:16resulting in one of the most exquisite
0:01:16 > 0:01:18medieval buildings in the country.
0:01:19 > 0:01:22Now, you could say we know a thing or two about queues
0:01:22 > 0:01:24on Flog It!, but we're in good company here.
0:01:24 > 0:01:27Such are the treasures inside the cathedral
0:01:27 > 0:01:30that people have been queueing to get in for centuries.
0:01:31 > 0:01:33Let's catch up with our experts,
0:01:33 > 0:01:36Philip Serrell and Catherine Southon
0:01:36 > 0:01:40and eavesdrop on a little of their learned deliberation.
0:01:40 > 0:01:44- Any goodies?- Yeah, they've turned out in their legions, haven't they?
0:01:44 > 0:01:48Very interesting items, not quite the norm, which is good.
0:01:48 > 0:01:50- Yeah, good old Norm. I always liked Norm.- You like Norm?
0:01:50 > 0:01:53Yeah, he's a good bloke.
0:01:53 > 0:01:57Well, one can only hope they are more illuminating at the tables.
0:01:57 > 0:02:00Well, I think it's time we let this magnificent crowd go inside,
0:02:00 > 0:02:03sit down and hand the proceedings over to our experts.
0:02:03 > 0:02:06Let's get valuing. Come on, everybody.
0:02:08 > 0:02:12Coming up on the show, we have three beautifully crafted items
0:02:12 > 0:02:15which, in their time, would have been in everyday use.
0:02:15 > 0:02:18Which one of these treasures will surprise us
0:02:18 > 0:02:20by reaching double its estimate?
0:02:22 > 0:02:23Copper jelly moulds.
0:02:23 > 0:02:25They really were the preserve
0:02:25 > 0:02:27of the very best kitchens in the land.
0:02:29 > 0:02:32I'm surprised that there's no damage on this at all.
0:02:32 > 0:02:35It is absolutely superb on every single side.
0:02:37 > 0:02:41Don't be surprised, don't expect it, but don't be surprised
0:02:41 > 0:02:43if it just eats into four figures for us.
0:02:43 > 0:02:45Stay watching to find out.
0:02:48 > 0:02:50Well, with everyone now safely seated
0:02:50 > 0:02:54inside this magnificent cathedral, it's time to get started.
0:02:54 > 0:02:56And soon, this space will be echoing
0:02:56 > 0:03:01to the delighted sounds of reactions from our experts' valuations.
0:03:01 > 0:03:04So, without further ado, let's see the first one.
0:03:05 > 0:03:08And it's Philip first at the table.
0:03:08 > 0:03:10I think these are really lovely, June.
0:03:10 > 0:03:12- Thank you.- Really, really lovely.
0:03:12 > 0:03:14Unfortunately, there's an "unfortunately" coming,
0:03:14 > 0:03:17they're very much of an age gone by.
0:03:17 > 0:03:19Not just in use but in collectability.
0:03:19 > 0:03:22And this is from an age when jelly moulds...
0:03:22 > 0:03:25- And they weren't just for jelly they were for savouries.- Yes.
0:03:25 > 0:03:28- It was done in some style, wasn't it?- Aspic and...wonderful.
0:03:28 > 0:03:33- And these are mid-19th century, I would think.- Probably.
0:03:33 > 0:03:37And copper jelly moulds or savoury moulds, they really were
0:03:37 > 0:03:41the preserve of the very best kitchens in the land, you know?
0:03:41 > 0:03:45- If you didn't quite have the quality you'd have had a tin mould.- Mm-hm.
0:03:45 > 0:03:49But you can go into all the great stately homes and they would have
0:03:49 > 0:03:52had a wonderful array of copper moulds hanging on the wall.
0:03:52 > 0:03:57And this one here, we can tell from the marks, is by Benham & Froud.
0:03:57 > 0:04:00- Really?- And they were sort of, in a way, perhaps one of the Rolls-Royce
0:04:00 > 0:04:04- makers copper moulds.- Really?- Yeah. And I think they're lovely.
0:04:04 > 0:04:05But there's a "but".
0:04:06 > 0:04:07And these, now,
0:04:07 > 0:04:11are probably making less money than they were 25 years ago.
0:04:11 > 0:04:15- What a shame.- It's a crying shame. Why is that?
0:04:15 > 0:04:18Well, I suspect that people don't want to clean them.
0:04:19 > 0:04:23It also falls into, what I call, into the stuff category
0:04:23 > 0:04:26and young people today don't want stuff.
0:04:26 > 0:04:30- No, they don't want memorabilia. - No, they certainly, certainly don't.
0:04:30 > 0:04:31They don't want memories at all.
0:04:31 > 0:04:35Question - have you ever made jelly in these?
0:04:35 > 0:04:39- When I was smaller, they were used quite often.- Really?- Yes.
0:04:39 > 0:04:43- And what do you think they're worth now?- A lot of money.
0:04:45 > 0:04:46I think, at auction,
0:04:46 > 0:04:50we can put an estimate on these of sort of £60-£90.
0:04:50 > 0:04:54And I'd probably put a fixed reserve of £50. How does that sound?
0:04:54 > 0:04:56- Wonderful.- Good. - It's a good meal out.
0:04:56 > 0:05:00- Well, yeah, it might be a meal for two.- You're coming with me?
0:05:00 > 0:05:02Absolutely, yes. Never miss a date.
0:05:03 > 0:05:06Oh, dear, Philip. I don't think June meant you.
0:05:07 > 0:05:10Now, let's fly over to Catherine's table.
0:05:11 > 0:05:18Leslie, the butterfly is symbolic of transformation and elegance
0:05:18 > 0:05:20and certainly we've got an elegant piece here.
0:05:20 > 0:05:22Where did you get this brooch?
0:05:22 > 0:05:25I was given it by my mother-in-law
0:05:25 > 0:05:30and it was her mother's before that.
0:05:30 > 0:05:34But she wouldn't wear it because she was very plain
0:05:34 > 0:05:36and I sort of said,
0:05:36 > 0:05:40"Well, look, you've got to wear it." She said, "No, I don't."
0:05:40 > 0:05:45So I took it off her hands and wore it a couple of times, two or three.
0:05:45 > 0:05:50- But it had to be worn on a plain... Like your dress, plain.- Right.
0:05:50 > 0:05:54But it's been in the drawer for the past...
0:05:54 > 0:05:56It hasn't been loved.
0:05:56 > 0:06:00..15 years. Well, it's been loved, but it's been in the drawer loved.
0:06:00 > 0:06:03Well, it is a showy piece. It shouldn't be in a drawer.
0:06:03 > 0:06:06It's there to be worn.
0:06:06 > 0:06:09I'm just going to have a look at it cos you said on a dress like mine.
0:06:09 > 0:06:11Well, put it on yours, yes.
0:06:11 > 0:06:13Because, actually, against the navy,
0:06:13 > 0:06:16that really brings out the sapphires that we've got there.
0:06:16 > 0:06:19And the diamonds are just sparkling.
0:06:19 > 0:06:22We've got a mixture of diamonds here, we've got
0:06:22 > 0:06:27some brilliant-cut diamonds and then we've got some old-cut diamonds.
0:06:27 > 0:06:31We've got sapphires going down the middle of the butterfly
0:06:31 > 0:06:36and then here we've got two pearls which been joined together.
0:06:36 > 0:06:38It's unmarked...
0:06:40 > 0:06:42..but I would say it's probably 18 carat.
0:06:42 > 0:06:48As I'm turning it over, I'm seeing that there's a little hole here.
0:06:48 > 0:06:53This probably could have been adapted to be used as a hairpiece.
0:06:53 > 0:06:58- Wow, isn't it beautiful?- What do you think?- Very nice. Suits you.
0:07:00 > 0:07:03So maybe you might reconsider it as a hairpiece.
0:07:03 > 0:07:05- No. - LAUGHTER
0:07:05 > 0:07:07You're beyond that.
0:07:07 > 0:07:10The date of this is Victorian.
0:07:10 > 0:07:12This is late Victorian.
0:07:12 > 0:07:16Jewellery with insects on - bees, wasps, butterflies -
0:07:16 > 0:07:20- are very popular at auction.- Uh-huh.
0:07:20 > 0:07:22I would probably put an estimate of 1,000-1,500
0:07:22 > 0:07:25but it wouldn't surprise me if it made a bit more than that.
0:07:25 > 0:07:28- That would be nice. - It would be very nice.
0:07:28 > 0:07:34Let's put it in, anyway, to auction. 1,000-1,500, with a £900 reserve.
0:07:34 > 0:07:37Can I put a higher reserve on it?
0:07:37 > 0:07:40- What would you like the reserve to be?- Well, I want the fixed...
0:07:40 > 0:07:42I was hoping for about 1,200.
0:07:42 > 0:07:46If we put a reserve of 1,200, then we have to increase the estimate
0:07:46 > 0:07:48because we can't really put...
0:07:48 > 0:07:51- Right, well, can I put it on at 1,000, then?- £1,000.
0:07:51 > 0:07:53- Let's put a reserve of £1,000. - That would be lovely, Catherine.
0:07:53 > 0:07:55And hope it flies away.
0:07:55 > 0:07:57Whee!
0:07:57 > 0:08:00Well, it's certainly pretty enough to do that.
0:08:00 > 0:08:05Now, I have some special people I would like you to meet.
0:08:05 > 0:08:08Great historic buildings like this cannot survive
0:08:08 > 0:08:12without the help of volunteers and, of course, guides.
0:08:12 > 0:08:16And I'm sitting between two right now. And what's your name?
0:08:16 > 0:08:20- Susan Hamilton.- Susan. And...?- Jaq Hyam.- Jaq?
0:08:20 > 0:08:21Now, that's an unusual name.
0:08:21 > 0:08:24Now, you're a well-seasoned guide, aren't you?
0:08:24 > 0:08:27- I'm afraid so.- How many years here? - Oh, about 18 years.
0:08:27 > 0:08:30So you must know every nook and cranny and every nail.
0:08:30 > 0:08:33Oh, you'd think so, but every visitor who comes in
0:08:33 > 0:08:36seems to point out something that we don't know.
0:08:36 > 0:08:39PAUL LAUGHS They've got sharp eyes, I can tell you.
0:08:39 > 0:08:43- And how long have you been here? - Since Tuesday.
0:08:43 > 0:08:45Oh, gosh!
0:08:45 > 0:08:48- Two days I've been a guide. - Not long.- No, not long at all.
0:08:48 > 0:08:52- Two days. I did my assessment on Tuesday.- It's a tough test, is it?
0:08:52 > 0:08:54Erm, it's quite a tough test.
0:08:54 > 0:08:59You have to go around with the Canon and three experienced guides
0:08:59 > 0:09:01and you have to do it within particular timeframe,
0:09:01 > 0:09:04you have to include certain things in it, so...
0:09:04 > 0:09:06So you have to talk confidently about things
0:09:06 > 0:09:08- and know your facts and dates.- Yes.
0:09:08 > 0:09:11And you passed with flying colours? Did she pass with flying colours?
0:09:11 > 0:09:12She did, yes, yes.
0:09:12 > 0:09:15So we're very happy for her to join our team.
0:09:15 > 0:09:20Mind you, of course, she went in for 15 weeks of intensive training.
0:09:20 > 0:09:24- 15 weeks?!- 15 weeks of training, yes.- Wow, 15 weeks of training?
0:09:24 > 0:09:27- A lot of reading. - Walking round and being told things.
0:09:27 > 0:09:29Oh, do you know? I envy you, really.
0:09:29 > 0:09:32Because you will know the heart and soul of this building
0:09:32 > 0:09:34- after a few years, won't you? - Mmm, I will indeed.
0:09:34 > 0:09:37- Well, look, good luck, both of you. - Thank you.
0:09:37 > 0:09:39- I know you both love your jobs. - Yes.- Yes.
0:09:39 > 0:09:41It's a dream place. This is your office.
0:09:41 > 0:09:43THEY LAUGH
0:09:44 > 0:09:47Another way to brush up on your history is to listen
0:09:47 > 0:09:52to our experts as they unlock the stories behind the items here today.
0:09:54 > 0:09:58- Nancy, how are you? - I'm very well, thank you. - Are you a Gloucester girl?
0:09:58 > 0:10:02- No, I'm a Birmingham girl, or a Brummie.- You're a Brummie?- Yes.
0:10:02 > 0:10:04How did you get down here? Who brought you down here?
0:10:04 > 0:10:06Well, we lost our money in Birmingham
0:10:06 > 0:10:09- so we thought we could make it in the forest.- And did you?
0:10:09 > 0:10:12- To a degree, yes. - You did all right? What did you do?
0:10:12 > 0:10:16We opened up a... what they called a junk shop.
0:10:16 > 0:10:19So, you've got a bit of insider knowledge here, haven't you?
0:10:19 > 0:10:22Well, not as much as I would have liked. But, yeah.
0:10:22 > 0:10:24And did these come into your antique shop?
0:10:24 > 0:10:29Erm, one was an exchange with a very nice lady.
0:10:29 > 0:10:33Did a few favours and she wanted a sugar shaker I'd got,
0:10:33 > 0:10:35- a cranberry one.- Yeah.
0:10:35 > 0:10:39And I didn't want to charge her for it and she gave me the clock.
0:10:39 > 0:10:42Can I just stop you just there for one minute?
0:10:42 > 0:10:44The first rule of business, right,
0:10:44 > 0:10:47if you're going to run an antique shop, you can't give stuff away.
0:10:47 > 0:10:51- Oh, is that right?- You've got to charge people for things.- Oh, I see.
0:10:51 > 0:10:54- Well, I did, I got the clock. - You swapped a clock.- Yes.
0:10:54 > 0:10:57I'm not sure about this but my husband had it, I think,
0:10:57 > 0:10:59it may have come from his family, I don't know.
0:10:59 > 0:11:01So, who dropped it?
0:11:02 > 0:11:05I was dusting the mantelpiece and it went...
0:11:05 > 0:11:08- SHE MIMICS CLOCK SLIPPING - Shall we just spin it round?- Yep.
0:11:10 > 0:11:13Now, you can just see there, it's shattered, hasn't it?
0:11:13 > 0:11:17And this is a reason why I do not advocate dusting.
0:11:17 > 0:11:19Well, I don't very often! Try not to.
0:11:19 > 0:11:21I don't believe in housework.
0:11:21 > 0:11:23All right, let me just tell you that
0:11:23 > 0:11:27they're French and these are carriage clocks
0:11:27 > 0:11:30and originally they would have come in a little leather case
0:11:30 > 0:11:34with a box and you could open the front of the case.
0:11:34 > 0:11:36And so you could still read the time
0:11:36 > 0:11:39because it was in its case and, presumably, they're called
0:11:39 > 0:11:42carriage clock because you could take them around with you.
0:11:42 > 0:11:45And you get all sorts of different carriage clocks,
0:11:45 > 0:11:47you can have repeaters, you can have
0:11:47 > 0:11:51ones that have got champleve decoration, they're painted.
0:11:51 > 0:11:54- These really...- Common or garden?
0:11:54 > 0:11:57Well, I wasn't going to put it quite like that.
0:11:57 > 0:12:00I was going to say that these are the bottom rung
0:12:00 > 0:12:02in the ladder of carriage clocks.
0:12:02 > 0:12:06- But it was worth a sugar shaker. - Yeah, yeah, absolutely right, yeah.
0:12:06 > 0:12:09What were you hoping they're worth? Well, let's turn it round
0:12:09 > 0:12:11another way. What was your sugar shaker worth?
0:12:11 > 0:12:14At the time... £40, something like that.
0:12:14 > 0:12:18£40. Well, that seems like a good number to me, £40.
0:12:18 > 0:12:22- Because I was thinking, we put these into auction as one lot.- Yes.
0:12:22 > 0:12:25Because this one's really had it, so they're one lot,
0:12:25 > 0:12:30estimate them at £60-£90 and put a reserve on them at £50 for the two.
0:12:30 > 0:12:33- That's fine.- Happy? - Yes, I'm quite happy.
0:12:33 > 0:12:36- Shall we just hope that time flies? - Yes, obviously.
0:12:41 > 0:12:43And now over to Catherine.
0:12:44 > 0:12:48This is a real chunky piece you've brought along to Flog It!, Lynn.
0:12:48 > 0:12:51Where did you get these scales from?
0:12:51 > 0:12:55They actually belonged to my father who's been dead now for 20 years.
0:12:55 > 0:12:58They've been in our family for about 47 years.
0:12:58 > 0:13:01Right. And where did your father get them from?
0:13:01 > 0:13:04He bought them in an auction in Hereford, when we lived in Hereford.
0:13:04 > 0:13:08Did he buy them to use or just for a decorative purpose?
0:13:08 > 0:13:10Just because he liked them, I think.
0:13:10 > 0:13:11Do you know if he paid a lot of money for them?
0:13:11 > 0:13:14I was given to understand he paid about £500 for them,
0:13:14 > 0:13:18- but I don't know whether that's true or not.- Really?- Yeah.
0:13:18 > 0:13:20Wow, that's actually quite a lot of money for them,
0:13:20 > 0:13:22going back how many years ago?
0:13:22 > 0:13:25- 47, probably even... - 47 years ago, right.
0:13:25 > 0:13:28Because essentially what we've got here
0:13:28 > 0:13:30is a set of Victorian parcel scales.
0:13:30 > 0:13:34And we have a lovely set of weights here,
0:13:34 > 0:13:40ranging from the great big 4lb here right down to the half an ounce.
0:13:40 > 0:13:43So this is for your parcels and for your letters.
0:13:43 > 0:13:47Thinking about how the Victorians used to use them,
0:13:47 > 0:13:50how they used the weights and the measures,
0:13:50 > 0:13:52and of course now everything is digitalised.
0:13:52 > 0:13:54When we go to the Post Office now,
0:13:54 > 0:13:58we just put our parcel onto the scales, they press a few buttons.
0:13:58 > 0:14:02Unfortunately, we can't see any names here.
0:14:02 > 0:14:04Where it's been cleaned it's been rubbed out.
0:14:04 > 0:14:05It has been rubbed out a bit.
0:14:05 > 0:14:07And it would be nice to see a maker's name,
0:14:07 > 0:14:10but nevertheless they've got a good look about them.
0:14:10 > 0:14:13I see quite a lot of scales coming up for auctions,
0:14:13 > 0:14:15particularly smaller ones, and they don't make big money.
0:14:15 > 0:14:20But this is a really impressive set, and lovely, importantly,
0:14:20 > 0:14:23you've got all the pieces there, you've got all the weights,
0:14:23 > 0:14:26which is essential. Where is it now?
0:14:26 > 0:14:29Just upstairs on a desk and I'm downsizing,
0:14:29 > 0:14:32- that's why I want to get rid of it. - You want to get rid of them?- Yes.
0:14:32 > 0:14:38OK. So you think that your father probably paid around the £500 mark?
0:14:39 > 0:14:43They are an excellent example, but I'm a bit concerned
0:14:43 > 0:14:47that your father paid that sort of money for them.
0:14:47 > 0:14:52- Because I would value them at around £100-£150.- Right.
0:14:52 > 0:14:55So, would you be happy to put them
0:14:55 > 0:14:58- back into auction at 100 to 150? - Yes.
0:14:58 > 0:15:02We'll put £100 reserve on, just to make sure they don't go for nothing.
0:15:02 > 0:15:05A great example, in good condition,
0:15:05 > 0:15:07thank you for bringing them along to Flog It!
0:15:07 > 0:15:09Thank you. Thank you very much.
0:15:11 > 0:15:15Before we head off to auction, there is something I'd like to show you.
0:15:33 > 0:15:35Amongst the cathedral's many treasures
0:15:35 > 0:15:37are its stained-glass windows.
0:15:37 > 0:15:40There are so many here, everywhere you look, you can spot one.
0:15:40 > 0:15:43In fact, there's 154 in total.
0:15:43 > 0:15:47I don't know if that's some kind of record, but it is pretty impressive.
0:15:50 > 0:15:54The art of stained glass reached its peak during the Middle Ages.
0:15:54 > 0:15:55And Gloucester Cathedral
0:15:55 > 0:15:58has one of the finest surviving examples in the world.
0:16:04 > 0:16:06This is the Great East Window.
0:16:06 > 0:16:08And it's extraordinary, not only because of its size,
0:16:08 > 0:16:09which is monumental,
0:16:09 > 0:16:11but also for the survival
0:16:11 > 0:16:15of most of its original pieces of medieval stained glass.
0:16:18 > 0:16:21Designed and constructed around 1350,
0:16:21 > 0:16:23during the reign of Edward III,
0:16:23 > 0:16:27it's survived an astonishing 600 years.
0:16:27 > 0:16:30with its intense colour still blazing.
0:16:33 > 0:16:35It's an incredibly bold and audacious design.
0:16:35 > 0:16:40It literally is a wall of glass bigger than a tennis court.
0:16:40 > 0:16:45And it fills that entire wall behind the high altar.
0:16:45 > 0:16:46At the time of its installation,
0:16:46 > 0:16:51that was the largest window anywhere in the world.
0:16:52 > 0:16:54There are several tiers of figures,
0:16:54 > 0:16:56starting at the bottom with the noblemen on earth,
0:16:56 > 0:16:59rising to Christ and the Virgin Mary,
0:16:59 > 0:17:01flanked by the 12 Apostles.
0:17:01 > 0:17:06And above, the angels, before rising to Christ in Majesty on the ceiling.
0:17:13 > 0:17:14Well, I've decided to come up here
0:17:14 > 0:17:16to get a closer look at the stained-glass windows.
0:17:16 > 0:17:19And from here, you can really appreciate the techniques
0:17:19 > 0:17:21of the medieval craftsmen.
0:17:21 > 0:17:25Each window would have been individually handcrafted in the workshop.
0:17:25 > 0:17:28They used delicate brushwork with a silver stain
0:17:28 > 0:17:30that, once fired, turned yellow.
0:17:32 > 0:17:35This window is carefully thought out. It really is.
0:17:35 > 0:17:39With white glass or the tinted yellow glass for the figures,
0:17:39 > 0:17:41which are the central characters,
0:17:41 > 0:17:45surrounded by the dark reds and the dark blues
0:17:45 > 0:17:47of the background colours.
0:17:48 > 0:17:50It's quite fascinating, it really is.
0:17:56 > 0:17:59The majority of the cathedral's stained glass is Victorian,
0:17:59 > 0:18:03created during the Gothic Revival of the 19th century.
0:18:06 > 0:18:10However, the medieval influence re-emerges in these windows
0:18:10 > 0:18:12from the early 20th century.
0:18:12 > 0:18:13They're by Christopher Whall,
0:18:13 > 0:18:16a key figure in the Arts and Crafts movement.
0:18:18 > 0:18:21In the first series is The Fall Of Man from 1899,
0:18:21 > 0:18:25which shows the Garden of Eden, rich and bold in colours.
0:18:27 > 0:18:29Whall's exquisite painting,
0:18:29 > 0:18:31combined with the medieval characteristics
0:18:31 > 0:18:34of texture and unevenness in the glass
0:18:34 > 0:18:38allow the vibrant colours to glow with an internal brilliance.
0:18:43 > 0:18:46They are regarded as some of the finest examples
0:18:46 > 0:18:49of glass of the period in England.
0:18:49 > 0:18:50And they've been described as
0:18:50 > 0:18:53"perfectly medieval and perfectly modern"
0:18:53 > 0:18:55which really does sum up, for me,
0:18:55 > 0:18:58the whole ethos of the Arts and Crafts movement
0:19:00 > 0:19:03Whall's work was hugely influential for many stained-glass artists,
0:19:03 > 0:19:05including Tom Denny,
0:19:05 > 0:19:08the man responsible for these spectacular windows
0:19:08 > 0:19:11in the small side chapel of St Thomas.
0:19:13 > 0:19:16The subject overall is praise.
0:19:16 > 0:19:19And it explores the idea of praising God
0:19:19 > 0:19:22through different parts of Scripture.
0:19:22 > 0:19:26So, in the two outer windows, on the left and the right,
0:19:26 > 0:19:29there are all sorts of elements and creatures
0:19:29 > 0:19:32which come from Psalm 148.
0:19:32 > 0:19:34And then, in the central window,
0:19:34 > 0:19:37praise becomes something much more personal
0:19:37 > 0:19:39and we see Doubting Thomas
0:19:39 > 0:19:41realising that it is Christ
0:19:41 > 0:19:43and kneeling to worship him.
0:19:43 > 0:19:45Why did you choose blue?
0:19:45 > 0:19:49I decided that unified colour would allow more freedom.
0:19:49 > 0:19:53I felt that the three windows needed to have a sense of movement,
0:19:53 > 0:19:55a fluidity between them,
0:19:55 > 0:19:57so that they worked together as a whole.
0:19:59 > 0:20:02Tom's most recent work is a series of windows
0:20:02 > 0:20:04commemorating the life and the work
0:20:04 > 0:20:07of Gloucester poet and composer Ivor Gurney.
0:20:08 > 0:20:13He not only had the horrors of the First World War to endure,
0:20:13 > 0:20:16but he suffered mental depression
0:20:16 > 0:20:18and illness throughout his life.
0:20:18 > 0:20:22And I've tried to express that tightrope in all of them
0:20:22 > 0:20:27but, at the same time, to select a particular poem
0:20:27 > 0:20:30that concentrates some aspect of his experience.
0:20:30 > 0:20:34So, for example, in this group of four,
0:20:34 > 0:20:35there is a sequence, in a sense.
0:20:35 > 0:20:40The first, on the left, is a grey-white Somme landscape,
0:20:40 > 0:20:45where horses and men slain by the mud
0:20:45 > 0:20:48are emerging from a shell hole full of water.
0:20:48 > 0:20:52And there's an endless column of figures moving into the distance.
0:20:52 > 0:20:53And then the one to the right of that,
0:20:53 > 0:20:56with figures walking through the landscape,
0:20:56 > 0:20:57that's called To His Love.
0:20:57 > 0:21:02"He's gone, and all our plans Are useless indeed.
0:21:02 > 0:21:05"We'll walk no more on Cotswold
0:21:05 > 0:21:08"Where the sheep feed quietly And take no heed."
0:21:08 > 0:21:10So there's that memory.
0:21:10 > 0:21:16But then, there's also the horror of a broken body at the bottom.
0:21:21 > 0:21:26I mean, what strikes me, at first glance, is the chromatic hue,
0:21:26 > 0:21:28that vivid colour.
0:21:28 > 0:21:31But once you see that and you lock onto that,
0:21:31 > 0:21:33- then you start to explore the narrative, don't you?- Yes.
0:21:33 > 0:21:36I think that's absolutely the essence of stained glass,
0:21:36 > 0:21:39that it operates, initially, as colour and light.
0:21:39 > 0:21:42So it can be, apparently, a very abstract medium.
0:21:42 > 0:21:46But then, I think it's more rewarding if you can then go on
0:21:46 > 0:21:49- and take a second sort of phase in your exploration.- Exactly.
0:21:49 > 0:21:51And that's the key to all good art, though, isn't it,
0:21:51 > 0:21:53- when you think about it?- Yeah.
0:21:53 > 0:21:54Yes, I think so.
0:21:54 > 0:21:56That it deserves more than one look.
0:21:56 > 0:21:58Exactly.
0:22:15 > 0:22:19We've got our first four items. Now we're taking them off to the sale.
0:22:24 > 0:22:26Here's hoping the bidders take a liking to June's
0:22:26 > 0:22:29highly decorative Victorian copper moulds.
0:22:31 > 0:22:34The butterfly brooch is a symbol of transformation.
0:22:34 > 0:22:37Let's hope it transforms into some cash at the saleroom.
0:22:40 > 0:22:43And the pair of carriage clocks have damage
0:22:43 > 0:22:47and are not of the first order but they could appeal to a repairer.
0:22:48 > 0:22:53Lynn is downsizing, so the parcel and letter scale needs a new home.
0:22:57 > 0:23:01We travel to the outskirts of another Roman town,
0:23:01 > 0:23:05Cirencester, to Moore Allen & Innocent, our auctioneers for today.
0:23:05 > 0:23:07The excitement of the saleroom.
0:23:07 > 0:23:09Well, as you can see, the sale has just got under way.
0:23:09 > 0:23:13Auctioneer Philip Allwood is on the rostrum doing his stuff.
0:23:13 > 0:23:15It's down to that man to work wonders
0:23:15 > 0:23:16and get top dollar for our lots.
0:23:16 > 0:23:18I'm going to catch up with our owners
0:23:18 > 0:23:21and we'll get on with our first lot. Don't go away.
0:23:23 > 0:23:25Here is our first lot.
0:23:27 > 0:23:30Right, now, you could say it's in the balance.
0:23:30 > 0:23:34- Oh, very clever!- Which brings us to the set of a Victorian scales.
0:23:34 > 0:23:40Belonging to Lynn. Well, let's see if we can get the top end.
0:23:40 > 0:23:42- How's it weighing out? - It's weighing up.
0:23:42 > 0:23:45I think, as scales go, they're not those little...
0:23:45 > 0:23:48- No, they're not tiny, are they? - They're a good set.
0:23:48 > 0:23:50One way or another, I think we'll let to the bidders decide.
0:23:50 > 0:23:52It's going under the hammer now.
0:23:52 > 0:23:55Start me at 100. That would be cheap, wouldn't it? £100.
0:23:55 > 0:23:56It would be very cheap.
0:23:56 > 0:23:59I'm going to start you here on the book at a mere 55. 55.
0:23:59 > 0:24:02We want a lot more than that, don't we?
0:24:02 > 0:24:06- 60, 65, 70. 75, 80. 85. - We're getting there.
0:24:06 > 0:24:08At 85, how about 90?
0:24:08 > 0:24:14- Five. 100.- Yeah.- 100 on my left. 110 if you like on the net. £100.
0:24:14 > 0:24:16On my left at 100.
0:24:16 > 0:24:19- Sold, yes, hammer's gone down. - Sold for 100.- Are we happy?
0:24:19 > 0:24:22- Yeah.- You didn't want them, did you? - No, no.- You weren't downsizing.
0:24:22 > 0:24:24£100 is better than nothing.
0:24:24 > 0:24:29And £100 is always worth having. But what about our next a lot?
0:24:29 > 0:24:32- Nancy, good luck. - Thank you very much.
0:24:32 > 0:24:34You could say time is up, and there's a clue.
0:24:34 > 0:24:37Yes, we are selling those two French carriage clocks.
0:24:37 > 0:24:42- One's damaged.- Yes. - Why are you selling these now?
0:24:42 > 0:24:44In case I break the other one. LAUGHTER
0:24:44 > 0:24:48- Oh, I see. Thinking ahead, I like that.- I think she's got dropsy.
0:24:48 > 0:24:50Well, hopefully you haven't made a whoopsie on the valuation.
0:24:50 > 0:24:53- No, no, no.- It's going under the hammer right now, this is it.
0:24:53 > 0:24:56Two of them, should be 100, really, shouldn't they?
0:24:56 > 0:25:00Start me at 50 to get on. 50 for the two. Pretty little one there,
0:25:00 > 0:25:0150. £30, then.
0:25:01 > 0:25:04At £20 a bid there. At £20, 5 anywhere now?
0:25:04 > 0:25:07At £20 at 5, at 25, 30 if you like.
0:25:07 > 0:25:09Now, 25, 30. 5, at 40.
0:25:09 > 0:25:135, at 45, 45, 50 now. 50...
0:25:13 > 0:25:15- Oh, come on.- At 45, 50 on the net.
0:25:15 > 0:25:20At £50 here. £50, 5. At 55, it's on the net. At 55, 60.
0:25:20 > 0:25:24- At £60, 5 anywhere now? - Come on, come on, come on.- At 5.
0:25:24 > 0:25:27At £70 it's on the net. 5. At 75, 80 now.
0:25:27 > 0:25:30All out in the room then at £75.
0:25:30 > 0:25:32Are you all sure at 75?
0:25:33 > 0:25:38- Oh.- Gone, £75.- Yes, I'm happy. - Good.- Yes, I'm happy.
0:25:38 > 0:25:41- Are you going to miss them? - No.- No?- No.
0:25:43 > 0:25:44Well, no regrets there, then.
0:25:46 > 0:25:50Well, it's been hidden away sitting in a drawer for a few years now.
0:25:50 > 0:25:52I think it's time this one flew away, don't you?
0:25:52 > 0:25:54It belongs to Leslie and, yes,
0:25:54 > 0:25:56I am talking about that stunning butterfly brooch.
0:25:56 > 0:26:00- It is delightful and I'm so pleased that you wore it.- I did.- Yes.
0:26:00 > 0:26:03- And I bet it looked stunning on you. - It looked lovely.
0:26:03 > 0:26:05You could wear this. Oh, you could wear this.
0:26:05 > 0:26:08- I fell in love with it. - You'd never take it off.
0:26:08 > 0:26:12No, I wouldn't. It's just a special piece and it shines.
0:26:13 > 0:26:16It's going under the hammer right now, fingers crossed,
0:26:16 > 0:26:18please, let it make the top end. Here we go.
0:26:18 > 0:26:22Gold butterfly brooch set with a pearl and sapphires.
0:26:22 > 0:26:25And set with 64 various diamonds. Who will start me?
0:26:25 > 0:26:28Pretty little brooch there. Start me at 1,000, it would be cheap.
0:26:28 > 0:26:291,000?
0:26:30 > 0:26:35- 1,000.- He said 1,000 is cheap, and it is cheap.
0:26:35 > 0:26:40- Still seems cheap, at £800. At 800, 820 now if you like.- Come on.
0:26:40 > 0:26:47- At £800 I'm bid. At 800. At 820, 850.- It might...- 850, 850.
0:26:47 > 0:26:49- Someone in the room now, come on.- At 850.
0:26:49 > 0:26:52Out on the left at 850. Sure now, then, at 850.
0:26:52 > 0:26:55Are you all done then now at 850?
0:26:56 > 0:27:00No. Well, thank goodness, thank goodness we put a reserve on it.
0:27:00 > 0:27:04- We had to protect that.- Never mind, I can go back home and wear it.
0:27:04 > 0:27:06Yeah, that's what reserves are for. Please, please,
0:27:06 > 0:27:09please don't put things into auction without a reserve.
0:27:09 > 0:27:12Discuss it with the auctioneer, with the rest of the family,
0:27:12 > 0:27:15settle on something that you're happy with and stick to it.
0:27:15 > 0:27:19- Yeah, yeah, and it's worth that again.- Of course it is.
0:27:19 > 0:27:22- You can always try wearing it again. - Well, I could, couldn't I?
0:27:24 > 0:27:25And it would look lovely.
0:27:27 > 0:27:29Now, for a bit of fun.
0:27:31 > 0:27:35Right, now it's wobble, wobble, wobble, jelly on a plate.
0:27:35 > 0:27:36Yes, it's those two jelly moulds!
0:27:36 > 0:27:38And I'm so pleased you brought those in.
0:27:38 > 0:27:41I love them, good Victorian jelly moulds.
0:27:41 > 0:27:44- These are quality, aren't they, Philip?- They're the best.
0:27:44 > 0:27:47The best. Did you ever make some jelly with them?
0:27:47 > 0:27:51- Many years ago. - And these are so collectable now.
0:27:51 > 0:27:52People just like to buy them,
0:27:52 > 0:27:54polish them up and put them on the Welsh Dresser.
0:27:54 > 0:27:57They're great dressers, aren't they? Just really good.
0:27:57 > 0:28:00Well, fingers crossed you can get a bit of money for these, OK?
0:28:00 > 0:28:02- Top end plus a little bit more. - I hope so. I hope so.
0:28:02 > 0:28:04- Should do, shouldn't they? - I'd like to think so,
0:28:04 > 0:28:07I'd like to think you could get 150 quid for these two.
0:28:07 > 0:28:08They're going under the hammer right now.
0:28:08 > 0:28:12And lot number 200 is the jelly moulds here.
0:28:12 > 0:28:15Good pieces, should do well. Where are you going to be?
0:28:15 > 0:28:17Start me at 100. Should be 100, really, shouldn't they?
0:28:17 > 0:28:20Start me at 100.
0:28:20 > 0:28:2250, then. At £50, a bid only of 55.
0:28:22 > 0:28:2460, 5, 70, 5,
0:28:24 > 0:28:29- 80, 5, 90, 5.- As far as I'm concerned, one's worth 80.
0:28:29 > 0:28:32110, 120, 130, 140.
0:28:32 > 0:28:36The book's out at 140, 150 now. At 140 in the room now.
0:28:36 > 0:28:39140, 150. At 150 on the net, 160.
0:28:39 > 0:28:43At 160. 170 now. At 170, 180.
0:28:43 > 0:28:49190, now, 180. At £180. 190. 200. At £200, 220 now.
0:28:49 > 0:28:51- At £200 on my left. - That's good, isn't it?
0:28:51 > 0:28:54220 now on the net, if you like. At £200.
0:28:54 > 0:28:59Brilliant, 200 quid. That's a good result. That's what they're worth.
0:28:59 > 0:29:02- That's a lot of jelly that, isn't it?- It is.- At 200, are you done?
0:29:04 > 0:29:07Yes, fantastic. I'm so happy, you've got to be happy with that.
0:29:07 > 0:29:09I'm very happy.
0:29:09 > 0:29:12It's probably cost that much to keep them clean all those years.
0:29:14 > 0:29:17Well, there were no wobbles there. That was a good result.
0:29:18 > 0:29:22Well, that's it, that's our first visit to the saleroom over with.
0:29:22 > 0:29:24Done and dusted, three lots under the hammer
0:29:24 > 0:29:26and after all that excitement
0:29:26 > 0:29:29I need some fresh air, I need a change of scenery.
0:29:29 > 0:29:34I need this. Just look at that. The great English countryside.
0:29:34 > 0:29:36Now, that hasn't changed, that landscape, for centuries.
0:29:36 > 0:29:41In fact, this landscape inspired two poets to gravitate to this area
0:29:41 > 0:29:45in the early 1900s to work and write and live.
0:29:45 > 0:29:47So while we were in the area filming,
0:29:47 > 0:29:51I had the opportunity to find out more about them and their poetry.
0:30:01 > 0:30:04For a few brief years before World War I broke out,
0:30:04 > 0:30:06a small group of poets and writers
0:30:06 > 0:30:10gravitated to this idyllic corner of Gloucestershire
0:30:10 > 0:30:14with their families to live, work and write, side by side.
0:30:14 > 0:30:17They sought a more peaceful life away from the hustle and bustle
0:30:17 > 0:30:21of London, its distractions and high expenses.
0:30:21 > 0:30:25They chose to live here on the outskirts of Dymock.
0:30:29 > 0:30:32History now refers to them as the Dymock poets.
0:30:32 > 0:30:35Among their number was an American, Robert Frost,
0:30:35 > 0:30:38and his British friend, Edward Thomas.
0:30:38 > 0:30:41They are now recognised as significant poets.
0:30:41 > 0:30:45Both their work is to be found in anthologies of best-loved poems.
0:30:45 > 0:30:48Which may not have been the case if they had never met.
0:31:07 > 0:31:09Now, a lot of you will recognise that poem,
0:31:09 > 0:31:13called The Road Not Taken, by the great American poet, Robert Frost,
0:31:13 > 0:31:16one of the greatest poets of the 20th century.
0:31:16 > 0:31:20What's not so well known is that he moved to England with his family
0:31:20 > 0:31:24in 1912 in an attempt to get his poetry recognised and published.
0:31:24 > 0:31:29And in 1913, they moved into this small farm-labourer's cottage
0:31:29 > 0:31:30to enjoy the quiet country life
0:31:30 > 0:31:35and write poetry inspired by the surrounding countryside.
0:31:35 > 0:31:38And in 1914, they were joined by his friend,
0:31:38 > 0:31:41the other famous Dymock poet I mentioned earlier.
0:31:41 > 0:31:44And he moved into that house at the bottom of the field there
0:31:44 > 0:31:46with his family where they rented rooms.
0:32:04 > 0:32:07Adlestrop, by the English poet Edward Thomas,
0:32:07 > 0:32:09captures the English countryside
0:32:09 > 0:32:13and a lost way of life before the Great War so successfully
0:32:13 > 0:32:17that he's seen by many as the quintessential English poet.
0:32:19 > 0:32:24When Robert Frost and Edward Thomas first met in London in 1913
0:32:24 > 0:32:25they were both in their 30s.
0:32:25 > 0:32:28Thomas, who was earning a living by writing prose,
0:32:28 > 0:32:30was in a desperate state of mind,
0:32:30 > 0:32:33plagued by depression and feelings of failure.
0:32:34 > 0:32:37It was with the American's encouragement
0:32:37 > 0:32:39that he found his voice as a poet.
0:32:39 > 0:32:44The two men's intense friendship was to change both their lives.
0:32:47 > 0:32:51They spent the summer of 1914 walking the fields
0:32:51 > 0:32:54and the lanes of Dymock, from dawn to dusk,
0:32:54 > 0:32:57talking about everything from marriage, to friendship,
0:32:57 > 0:33:00the wildlife, nut most importantly, poetry.
0:33:05 > 0:33:08Events in the outside world soon caught up with them
0:33:08 > 0:33:11and it was here they heard the terrible news
0:33:11 > 0:33:14of Britain's decision to go to war with Germany.
0:33:14 > 0:33:17At the time, most people believed the conflict,
0:33:17 > 0:33:21although serious, would be over by Christmas time.
0:33:21 > 0:33:23No-one knew, least of all the two friends,
0:33:23 > 0:33:26how this war would come between them.
0:33:28 > 0:33:31Naturally, their thoughts turned to the future and their families.
0:33:31 > 0:33:35And together they settled on a plan that would make the lifestyle
0:33:35 > 0:33:37they were enjoying at Dymock more permanent.
0:33:37 > 0:33:42They would move to America, buy a farm and work, teach,
0:33:42 > 0:33:45and, most importantly, write side-by-side.
0:33:50 > 0:33:53You can imagine the excitement of the two friends,
0:33:53 > 0:33:54discussing the plans.
0:33:54 > 0:33:58On the surface, this seemed like the perfect solution,
0:33:58 > 0:34:01yet, on reflection, Thomas began to see the cracks.
0:34:01 > 0:34:06It would mean leaving his beloved England, his joy, his inspiration,
0:34:06 > 0:34:07perhaps for ever.
0:34:11 > 0:34:14He'd also begun thinking about enlisting,
0:34:14 > 0:34:17again, spurred by his deep love for his country.
0:34:17 > 0:34:21Thomas was plagued by indecision and he mentally wrestled
0:34:21 > 0:34:25with his two life-changing choices for the months ahead.
0:34:26 > 0:34:29Going to war was a daunting prospect for Thomas
0:34:29 > 0:34:31and a dramatic incident during a walk with Frost
0:34:31 > 0:34:34threw him into a further turmoil.
0:34:34 > 0:34:37I met academic Anna Stenning to hear about it.
0:34:38 > 0:34:41One evening they were walking back. We think they may have gone
0:34:41 > 0:34:44for a walk in the Malvern Hills, and they came back quite late.
0:34:44 > 0:34:46They found they were stopped by a gamekeeper
0:34:46 > 0:34:49who apparently had been waiting for them.
0:34:49 > 0:34:52He made it clear that they weren't allowed to be in the woods
0:34:52 > 0:34:53and he suspected them of poaching.
0:34:53 > 0:34:56Robert Frost was very annoyed about this, so he decides to walk
0:34:56 > 0:34:59with Edward Thomas to the gamekeeper's house,
0:34:59 > 0:35:01to follow him there. And wants to fight him.
0:35:01 > 0:35:03Then the gamekeeper threatened them with a shotgun.
0:35:03 > 0:35:05- So that's when they left. - Really?- Yes.
0:35:05 > 0:35:08And this incident was something that stuck with Thomas
0:35:08 > 0:35:10for a long time, didn't it?
0:35:10 > 0:35:12Yeah, I guess it was the first chance he had to be tested -
0:35:12 > 0:35:15how would he react to that sort of threat?
0:35:15 > 0:35:18So right up until the time he was in the trenches, it haunted him.
0:35:18 > 0:35:20He was wondering if he could keep his nerve.
0:35:20 > 0:35:23Sure, and I imagine, for the first time in your life,
0:35:23 > 0:35:25anybody pointing a gun at you, it would be quite serious
0:35:25 > 0:35:28and frightening, wouldn't it? You would remember that.
0:35:28 > 0:35:31The incident caused Thomas to doubt his courage.
0:35:31 > 0:35:34Would he be able to fight if he signed up?
0:35:38 > 0:35:41Just four months later, with the war in Europe raging,
0:35:41 > 0:35:45Frost and his family returned to the safety of America.
0:35:47 > 0:35:49It's widely believed that Thomas's indecision was
0:35:49 > 0:35:54the catalyst for Robert Frost's famous poem, The Road Not Taken.
0:35:54 > 0:35:58Thomas had written to Frost telling him about his eagerness
0:35:58 > 0:36:02to join him in America, but equally his feelings about enlisting.
0:36:02 > 0:36:04And Frost's reply included a poem
0:36:04 > 0:36:07with some of the most famous lines in poetry.
0:36:29 > 0:36:31Thomas finally made his decision.
0:36:31 > 0:36:34Though he yearned to join his friend in America,
0:36:34 > 0:36:36the love for his country won out.
0:36:36 > 0:36:40He felt he must fight. He enlisted in July 1915.
0:36:43 > 0:36:46We can never know what finally changed Edward Thomas's mind
0:36:46 > 0:36:50about moving to America and his decision to enlist.
0:36:50 > 0:36:54Maybe it was Frost's poem, or his deep sense and love
0:36:54 > 0:36:56and connection for his country.
0:36:56 > 0:36:59Possibly it could have been a combination of the two.
0:37:01 > 0:37:04Edward Thomas died in the Battle of Arras
0:37:04 > 0:37:07on Easter Day in 1917.
0:37:07 > 0:37:09He was 39.
0:37:12 > 0:37:16It was Robert Frost who provided perhaps the most poignant obituary
0:37:16 > 0:37:19in a letter of condolence to Thomas's wife, Helen.
0:37:22 > 0:37:25"I want to see him to tell him something.
0:37:25 > 0:37:28"I want to tell him what I think he'd like to hear from me.
0:37:28 > 0:37:31"That he was a poet."
0:37:42 > 0:37:46Welcome back to our valuation day here at Gloucester Cathedral.
0:37:46 > 0:37:49It's now time to catch up with our experts,
0:37:49 > 0:37:52to see what else we can find to take off to auction.
0:37:53 > 0:37:57Sue, what a beautiful card case you've brought along
0:37:57 > 0:38:00to a beautiful setting, in fact, Gloucester Cathedral.
0:38:00 > 0:38:03This is a lovely card case. Tell me a little bit about it.
0:38:03 > 0:38:06- Where did you get it? - It's a family piece.
0:38:06 > 0:38:08It's been in the family as long as I can remember,
0:38:08 > 0:38:10but I don't know where it came from.
0:38:10 > 0:38:13- Do you know if this was ever used in your family?- Not as far as I know.
0:38:13 > 0:38:15Right. OK. So just something that was displayed
0:38:15 > 0:38:17or perhaps was it in a drawer?
0:38:17 > 0:38:20- In a drawer, more likely. - Hidden away in a drawer.
0:38:20 > 0:38:22Well, I'll just tell you a little bit about it.
0:38:22 > 0:38:25Because, essentially, it's an ivory card case.
0:38:25 > 0:38:29The ladies would have had this in their handbags
0:38:29 > 0:38:32or in their purses when they were visiting places.
0:38:32 > 0:38:34They would have had their calling cards inside
0:38:34 > 0:38:37and then they would have left one of their calling cards.
0:38:37 > 0:38:41It's from the Canton province of China.
0:38:41 > 0:38:44The date of this is around circa 1900
0:38:44 > 0:38:47and this has all been hand carved.
0:38:47 > 0:38:49Now, we have to be very careful, of course, with ivory,
0:38:49 > 0:38:51because of the laws.
0:38:51 > 0:38:55With this, it is pre-1947, which is the cut-off period.
0:38:55 > 0:38:59So it's perfectly legal to sell something like this.
0:38:59 > 0:39:04What I love about this is the amount of work that has gone into this.
0:39:04 > 0:39:08It is superb. It is very well carved.
0:39:08 > 0:39:10I have to tell you, they're not uncommon.
0:39:10 > 0:39:12I see these time and time again.
0:39:12 > 0:39:15And I'm surprised that there is no damage on this at all,
0:39:15 > 0:39:17because if you see there,
0:39:17 > 0:39:20you've got little protruding branches and what have you.
0:39:20 > 0:39:22None of that has been lifted off, none of it's been broken.
0:39:22 > 0:39:26It is absolutely superb on every single side.
0:39:26 > 0:39:30And that really helps when we're talking about estimates.
0:39:30 > 0:39:33- Have you any ideas on price? - I haven't really, no.
0:39:33 > 0:39:38I imagine it would be worth £100 or more, but...I don't know.
0:39:38 > 0:39:40Right, I think you can treble that,
0:39:40 > 0:39:43because I think we'd be looking more in the region to £300-£500.
0:39:43 > 0:39:45- Really?- And it wouldn't surprise me if it does
0:39:45 > 0:39:48- towards the top end of that. - It is beautiful.- It is beautiful.
0:39:48 > 0:39:51- Are you having second thoughts now, Sue?- No, no, I'm not.
0:39:51 > 0:39:53- You're happy to let it go? - I think so.
0:39:53 > 0:39:57Shall we put it at 300 to 500, and let's put it at 250 reserve.
0:39:57 > 0:40:00- That's fine.- And let's hope it flies at the auction.- I'm happy with that.
0:40:00 > 0:40:02Thank you very much.
0:40:03 > 0:40:07A good example there, with no damage.
0:40:07 > 0:40:10Over to Philip now, who has a bit of a surprise.
0:40:10 > 0:40:12- It's Ann, isn't it?- Yes.
0:40:12 > 0:40:15You know, out of all the things I thought I was going to see
0:40:15 > 0:40:17in Gloucester today, this is not one of them.
0:40:17 > 0:40:21- Tell me how you got it.- Well, I got it from my mother when she died.
0:40:21 > 0:40:23I don't know how long she'd had it.
0:40:23 > 0:40:27I had her note inside, which said it was French, but beyond that...
0:40:27 > 0:40:28- Can have a look?- Yes, of course.
0:40:28 > 0:40:34- Beyond that, I don't know anything about it at all.- This is gold.
0:40:34 > 0:40:36This is tortoiseshell.
0:40:36 > 0:40:41And the note to which you referred there is Louis XVI there,
0:40:41 > 0:40:46and just here, we've got some French import marks, or maker's marks,
0:40:46 > 0:40:50which are around about... I would think...
0:40:50 > 0:40:53- 1810, 1820, something like that. - Oh, it's quite old.
0:40:53 > 0:40:57Today, this would carry a health warning. But in those days,
0:40:57 > 0:41:01snuff-taking was a very, very sophisticated thing to do.
0:41:01 > 0:41:04And we've got this miniature scene on the front,
0:41:04 > 0:41:07- which is Pierrot and Columbine. - Oh, right. Yes.
0:41:07 > 0:41:09My mother thought it was Gisele, but that's obviously wrong.
0:41:09 > 0:41:12No, I think it's Pierrot and Columbine.
0:41:12 > 0:41:14He's pining for his broken heart here.
0:41:14 > 0:41:18- If you look very carefully just there...- Oh, yes.
0:41:18 > 0:41:21- Can you see you've got a little bit of a...?- What do you call that?
0:41:21 > 0:41:25- Fogging?- No, no, no, no, that's called a crack.- Oh, is it?
0:41:25 > 0:41:28- Yes, that's worse than foxing. - That's the word, yes.
0:41:28 > 0:41:30No, it's got a crack just down there.
0:41:30 > 0:41:31So there's a little bit of damage there
0:41:31 > 0:41:35and you've got some little bits of nicks just here and here.
0:41:35 > 0:41:37Now, why do you want to sell it?
0:41:37 > 0:41:40Like everybody else, it's just sitting in a china cabinet
0:41:40 > 0:41:44- and it's stuff. - "Stuff", I like the word.
0:41:44 > 0:41:47Our sort of generation are the last of the stuff collectors.
0:41:47 > 0:41:51- Yes.- And we all bought stuff and we all bought cabinets
0:41:51 > 0:41:55to put stuff in, and younger people today don't want stuff, do they?
0:41:55 > 0:41:58So now we know what it's made of - gold, tortoiseshell -
0:41:58 > 0:42:02- we know when it dates from, which is about 1810, 1820.- Yes.
0:42:02 > 0:42:04We know where it comes from, which is France.
0:42:04 > 0:42:07And there's one thing we haven't discussed yet,
0:42:07 > 0:42:10which is what it's worth. Have you got any idea what it's worth?
0:42:10 > 0:42:15Well, I would like it to be 500, but I don't know whether it is.
0:42:15 > 0:42:17Well...
0:42:17 > 0:42:20I think we can put an estimate on it of £600-£900.
0:42:20 > 0:42:25- Oh, right. Good! - We'll put a reserve on it of £500.
0:42:25 > 0:42:29Now, if you get a really good day in the saleroom
0:42:29 > 0:42:32and you get some competition for it, don't be surprised -
0:42:32 > 0:42:34don't expect it -
0:42:34 > 0:42:37but don't be surprised if it just eats into four figures for us.
0:42:37 > 0:42:39- That would be lovely. - Fingers crossed.
0:42:39 > 0:42:43I think it's a lovely thing and thank you for bringing it.
0:42:43 > 0:42:44Thank you very much.
0:42:44 > 0:42:47That sounded like a nice surprise for Ann, as well.
0:42:47 > 0:42:50It is of course now illegal to buy tortoiseshell, but this snuffbox
0:42:50 > 0:42:56will be exempt from normal sales controls, as it predates June 1947.
0:42:56 > 0:42:57Well, in 13 years of Flog It!
0:42:57 > 0:43:00and just shy of 1,000 shows under my belt,
0:43:00 > 0:43:03I've seen plenty of collections in my time,
0:43:03 > 0:43:07but I haven't seen a collection like this one before.
0:43:07 > 0:43:11- Look at that. A collection of matches. What's your name?- Jill.
0:43:11 > 0:43:13Jill, why do you collect matches?
0:43:13 > 0:43:17My father collected them and brought them back from places to start with -
0:43:17 > 0:43:19he travelled a lot and I travelled a lot -
0:43:19 > 0:43:22and I've just picked them up. Hotels, restaurants, wherever.
0:43:22 > 0:43:25- So, there's matches from all over the world?- Yeah.
0:43:25 > 0:43:28- Do you display them at home? - They've just been in the box.
0:43:28 > 0:43:31In a big box? It would be nice to sort of mount them
0:43:31 > 0:43:33and put them under a glass coffee table.
0:43:33 > 0:43:35Wouldn't it?
0:43:35 > 0:43:37How many boxes or books of matches have you got?
0:43:37 > 0:43:40I counted them the other day - 299.
0:43:40 > 0:43:41299.
0:43:41 > 0:43:44I'm half tempted to run to the nearest bar,
0:43:44 > 0:43:48which is just out there, isn't it? There's some coffee shops out there.
0:43:48 > 0:43:51And run back and give you your 300th one.
0:43:51 > 0:43:54You don't get them any more, though, you see. Because of the non-smoking.
0:43:54 > 0:43:58Who knows, one day, those matchboxes may be as collectable
0:43:58 > 0:43:59as snuffboxes are today.
0:44:02 > 0:44:03Welcome to Flog It!
0:44:03 > 0:44:07Now, we've got Carol and Carol, just to confuse matters.
0:44:07 > 0:44:10Now, you've brought along this lovely selection of gold items.
0:44:10 > 0:44:13- Who do they belong to? - My husband.- Right, OK.
0:44:13 > 0:44:16And he's had them for quite some time?
0:44:16 > 0:44:18No, his father before him had them for a long time.
0:44:18 > 0:44:21He's had them for about seven or eight years, something like that.
0:44:21 > 0:44:23So, they've been handed down?
0:44:23 > 0:44:25So, you're a friend of the family's?
0:44:25 > 0:44:28I'm a friend of Carol and Carol's husband.
0:44:28 > 0:44:33And I saw a local advert in the paper to come to Flog It!
0:44:33 > 0:44:37So, I tried to persuade Carol to come and it was hard work,
0:44:37 > 0:44:40- but she did come. - So, you didn't want to come along?
0:44:40 > 0:44:42I didn't want to be on the TV.
0:44:42 > 0:44:44Well, here you are in a wonderful setting
0:44:44 > 0:44:46and I bet you're glad you did it?
0:44:46 > 0:44:50I'm pleased. I'm glad I did it for Brian, yeah. And for Carol.
0:44:51 > 0:44:53So, we've got three items here.
0:44:53 > 0:44:57The value isn't the pocket watch, which is what a lot of people
0:44:57 > 0:45:01might think, because this is actually gold-plated.
0:45:01 > 0:45:04The value is in the Albert chain.
0:45:04 > 0:45:06That's the piece that's worth the most.
0:45:06 > 0:45:10It's only nine carat gold, but it's a heavy piece.
0:45:10 > 0:45:11And the weight is there.
0:45:11 > 0:45:14And, unfortunately, a lot of these are sold on scrap value.
0:45:14 > 0:45:18And the value of this is around £370 at the moment.
0:45:18 > 0:45:21But of course, the price goes up and down.
0:45:21 > 0:45:24Now, the sovereign - this is a full sovereign.
0:45:24 > 0:45:28The mount is nine carat gold and the sovereign
0:45:28 > 0:45:32dates from 1912, the sinking of the Titanic, which is interesting.
0:45:32 > 0:45:36Now, these pocket watches by Waltham -
0:45:36 > 0:45:38American pocket watches -
0:45:38 > 0:45:42these were mass produced. Any ideas on price of this one?
0:45:42 > 0:45:44I would say £200.
0:45:44 > 0:45:46£200? Really?
0:45:46 > 0:45:48No, more like 80.
0:45:48 > 0:45:51About 80. You're closer. £20.
0:45:51 > 0:45:53About £20, £30. I know.
0:45:53 > 0:45:56But sadly, so many of these were produced and it's gold-plated.
0:45:56 > 0:45:58Not great value.
0:45:58 > 0:46:02So, we've got about £20, we've got about £200
0:46:02 > 0:46:05and we've got about £370.
0:46:05 > 0:46:07But of course, this is the scrap value.
0:46:07 > 0:46:10We've got to think about auction price.
0:46:10 > 0:46:14So, I think, estimate wise, we're looking at about 450 to 550.
0:46:14 > 0:46:17- How does that sound?- I think Brian would be pleased with that, yeah.
0:46:17 > 0:46:19- Would Brian be happy?- I think so. - What do you think about...?
0:46:19 > 0:46:22I would definitely second that. He would be happy.
0:46:22 > 0:46:26- Are you happy to take them off to auction?- Yes.- Lovely. Fantastic.
0:46:26 > 0:46:28- I'll see you both there. - Lovely.
0:46:28 > 0:46:31That was a good item. There is very little as reliable as gold.
0:46:33 > 0:46:35Now, let's see what Philip has unearthed.
0:46:35 > 0:46:38- Susan, how are you?- I'm fine, thank you.- And this is?
0:46:38 > 0:46:41- This is my daughter Juliet. - Right. So, whose is the painting?
0:46:41 > 0:46:43The painting is mine.
0:46:43 > 0:46:45But the money is going to help Juliet with her travelling
0:46:45 > 0:46:48- and university. - Juliet, do you like this?
0:46:48 > 0:46:50It's interesting.
0:46:50 > 0:46:53That's "interesting". I'll have to remember that.
0:46:53 > 0:46:56- It's a nice artwork, but not my thing.- It's not your thing.- No.
0:46:56 > 0:46:58How old do you think it is?
0:46:58 > 0:47:01I'd say...100 years?
0:47:01 > 0:47:04It might be a little bit earlier than that.
0:47:04 > 0:47:06It's by this man called William Langley.
0:47:06 > 0:47:08And I say this man called William Langley
0:47:08 > 0:47:12because I've seen lots of work by William Langley,
0:47:12 > 0:47:16but there's a school of thought that says William Langley never existed.
0:47:16 > 0:47:20- Really?- And he was actually a pseudonym for a man called Sherring.
0:47:20 > 0:47:24- Ah.- And his work is always either beach scenes
0:47:24 > 0:47:28or these sort of almost made-up Welsh mountain landscapes.
0:47:28 > 0:47:30- Yes.- OK. And...
0:47:32 > 0:47:36..this is a painting that's sort of so out of vogue,
0:47:36 > 0:47:38it's sort of our generation but not your generation.
0:47:38 > 0:47:43- Yeah.- The heyday of this would have been in the 1970s.
0:47:43 > 0:47:48It's what I call the rum baba and Black Forest gateau era, you know?
0:47:48 > 0:47:53And this painting then could have made, in good order,
0:47:53 > 0:47:55around perhaps £200-£400.
0:47:55 > 0:48:00The issues with it today, it needs a jolly good clean under the glass.
0:48:00 > 0:48:03- Can you see this blooming here? - Yeah.
0:48:03 > 0:48:05All right? So, that needs sorting out.
0:48:05 > 0:48:09If you wanted to present this at an antique fair or in a gallery,
0:48:09 > 0:48:12you'd need to sort the frame out.
0:48:12 > 0:48:14And that could cost you £100.
0:48:14 > 0:48:17It's on canvas... Let me just...
0:48:17 > 0:48:19The canvas is a little bit slack,
0:48:19 > 0:48:22which means it might need restretching.
0:48:22 > 0:48:26So, we've got a work by William Langley,
0:48:26 > 0:48:31an original oil painting, who might actually be our friend Mr Sherring.
0:48:31 > 0:48:34- Right.- It's painted at the back end of the 19th century,
0:48:34 > 0:48:36it's a Welsh mountain landscape.
0:48:36 > 0:48:40Um...what's it worth? Have you got any idea?
0:48:40 > 0:48:43- Well...- Or have you had any comparables as its value?
0:48:43 > 0:48:45Well, about 30 years ago I was told it was worth
0:48:45 > 0:48:47the price of a three-piece suite.
0:48:49 > 0:48:53So I took that to mean £600, £700-ish.
0:48:53 > 0:48:56I think it's probably now the price of a second-hand three-piece suite.
0:48:56 > 0:48:58- Right.- OK? And in auction today,
0:48:58 > 0:49:02I would see this making somewhere between probably £50 and £150.
0:49:02 > 0:49:05- OK.- So it's not going to be the longest trip you're going to go on,
0:49:05 > 0:49:08- but it might contribute to something else.- Yeah.
0:49:08 > 0:49:10- Are you happy to put that into auction?- I am, yeah.
0:49:10 > 0:49:13Well, let's keep our fingers crossed and hope we can find
0:49:13 > 0:49:15a couple of people who really fall in love with it.
0:49:15 > 0:49:16That would be wonderful.
0:49:21 > 0:49:23What a fantastic day we have had here!
0:49:23 > 0:49:26Everybody has thoroughly enjoyed themselves
0:49:26 > 0:49:28and we've found some cracking gems.
0:49:28 > 0:49:31But sadly, it's time to say goodbye to Gloucester Cathedral,
0:49:31 > 0:49:34our magnificent host location,
0:49:34 > 0:49:37as we head over to auction room for the very last time.
0:49:37 > 0:49:39And I've got my favourites, you've probably got yours,
0:49:39 > 0:49:42but right now, it's going to be down to the bidders to decide.
0:49:42 > 0:49:46Here's a quick recap of what's going under the hammer.
0:49:46 > 0:49:49Surely someone will snap up the ivory card case?
0:49:49 > 0:49:51The workmanship is so exquisite.
0:49:54 > 0:49:57Ann's snuffbox is just that little bit out of the ordinary,
0:49:57 > 0:49:59so the collectors should be interested.
0:50:02 > 0:50:06There's a pretty picture in there somewhere, it just needs some TLC.
0:50:06 > 0:50:09But at that price, it's a good investment.
0:50:11 > 0:50:13And if ever there was a sure bet,
0:50:13 > 0:50:15a collection of gold items has to be it.
0:50:19 > 0:50:23Back to Cirencester and the thrills and the spills of the saleroom.
0:50:24 > 0:50:29The commission here at Moore, Allan & Innocent is 15%, plus VAT.
0:50:29 > 0:50:31And our auctioneer is Philip Allwood.
0:50:32 > 0:50:34Going under the hammer right now,
0:50:34 > 0:50:37we have a Chinese carved ivory card case.
0:50:37 > 0:50:39It predates 1947, it's legal to sell
0:50:39 > 0:50:42and it's going under the hammer right now.
0:50:42 > 0:50:44We don't have owner, Sue, but we do have Sue's best friend, Dawn.
0:50:44 > 0:50:47- Hello, Dawn.- Hello.- So how long have you known each other?
0:50:47 > 0:50:49Oh, gosh. Quite a few years.
0:50:49 > 0:50:51You were at the valuation day,
0:50:51 > 0:50:53so you saw the whole process going through.
0:50:53 > 0:50:54You're going to see it through to the end.
0:50:54 > 0:50:58- So do you know much about this item? - I don't, no. I don't, to be honest.
0:50:58 > 0:51:00Real quality. The carving's superb.
0:51:00 > 0:51:03The carving is absolutely superb, but the good thing about this one
0:51:03 > 0:51:05is it's in the great condition. Nothing's broken off,
0:51:05 > 0:51:07so we've got a good example here.
0:51:07 > 0:51:11- Needs no restoration. Ready to go.- Absolutely.- OK.
0:51:11 > 0:51:13Let's find out what the bidders think, shall we?
0:51:13 > 0:51:16It's going under the hammer now.
0:51:16 > 0:51:19Carved ivory card case there. Good quality, well-carved piece.
0:51:19 > 0:51:22What are you going to bid for that? Who'll start me?
0:51:22 > 0:51:24Is that 300 to get on? 300?
0:51:24 > 0:51:28Start me 200... 150?
0:51:28 > 0:51:31It's 150 bid there. Thank you, 150.
0:51:31 > 0:51:34At 150 here. 160 now, 160 on the net.
0:51:34 > 0:51:35- 170.- It should take off.
0:51:35 > 0:51:38180. At 180. 190.
0:51:38 > 0:51:42- It's got to.- 200 now. At 190...200.
0:51:42 > 0:51:44220. At 220.
0:51:44 > 0:51:46240 now. 220 in the room. 240.
0:51:46 > 0:51:48At 240. 260 now, sir?
0:51:48 > 0:51:51At 260. At 260. 280 now.
0:51:51 > 0:51:54- We've sold it, but we'd like a bit more, please.- At 280...
0:51:54 > 0:51:57At £280. It's on the net at 280.
0:51:57 > 0:52:01- 280 now.- On the net at £280.
0:52:01 > 0:52:03You sure? At 280...
0:52:03 > 0:52:07- Hammer's gone down. £280.- Oh, she'll be pleased.- She will be pleased.
0:52:07 > 0:52:10- Are you going to ring her up as soon as you get home?- Well, yes.
0:52:10 > 0:52:11As soon as you get in the car?
0:52:11 > 0:52:13Well, I'll give her a call on the mobile, yes.
0:52:13 > 0:52:18She was so disappointed she couldn't be here. She will be pleased.
0:52:18 > 0:52:20Well, at least Sue got a good result.
0:52:22 > 0:52:25Now for something from the Continent.
0:52:25 > 0:52:28Well, I've just been joined by Ann, and going under the hammer
0:52:28 > 0:52:33right now, we've got that lovely 19th-century French snuffbox.
0:52:33 > 0:52:36It's beautiful. It's gold with that wonderful portrait.
0:52:36 > 0:52:37I think it's a bit of fun.
0:52:37 > 0:52:39It's a quality lot and it's got a few issues,
0:52:39 > 0:52:43- but I know Philip's had a good look at it.- Fingers crossed.- Yes.
0:52:43 > 0:52:45Here we go. We're putting it under the hammer now.
0:52:47 > 0:52:51French gold-mounted tortoiseshell snuffbox with the painted top there.
0:52:51 > 0:52:53Super piece. For my money, the best piece in the sale.
0:52:53 > 0:52:56- Where are we going to be with this? - There, the auctioneer said
0:52:56 > 0:52:57the best thing in the sale then.
0:52:57 > 0:53:01Should be 1,000. Start me 500.
0:53:02 > 0:53:06Well, I can start you on the book here at 500. At £500 here. At £500.
0:53:06 > 0:53:11520. At 520. At 520. In the room now at 520.
0:53:11 > 0:53:13550 now. At 520 my on left.
0:53:13 > 0:53:15At 520. 550, if you like.
0:53:15 > 0:53:17At 520. On my left here at 520.
0:53:17 > 0:53:18550 anywhere?
0:53:18 > 0:53:21At 520, the book's out. At 520...
0:53:21 > 0:53:25At £520, it's selling on my left. Make no mistake.
0:53:25 > 0:53:29At £520, selling in the room. At 520, are you all sure?
0:53:32 > 0:53:34Gone, 520.
0:53:34 > 0:53:35None so strange as auctions.
0:53:35 > 0:53:37Even the auctioneer, even Philip is
0:53:37 > 0:53:40slightly confused up on the rostrum there.
0:53:40 > 0:53:42There was just no-one else there to bid
0:53:42 > 0:53:45and someone just left a random bid of £500 on the book.
0:53:45 > 0:53:48One guy in the room, one more bid 520, gets it.
0:53:48 > 0:53:50If there was someone to bid against that guy over there,
0:53:50 > 0:53:52he probably would have gone up to...
0:53:52 > 0:53:55There's an expression in this business - if the only thing you've
0:53:55 > 0:53:57- got to apologise for is the price, you're all right.- Yes.
0:53:57 > 0:53:59The problem with that is commission.
0:53:59 > 0:54:04And I think that, perfect, you could name your price.
0:54:04 > 0:54:07- Sure, because then someone can't... - You've got to take a price.
0:54:07 > 0:54:10That's true in this business. Condition is everything.
0:54:13 > 0:54:16With me right now I have Susan and Juliet and our expert Philip
0:54:16 > 0:54:19and we have something for you fine art lovers.
0:54:19 > 0:54:21It's an oil and it's by William Langley
0:54:21 > 0:54:24who specialises in landscapes, and I think this should go.
0:54:24 > 0:54:27Philip is slightly nervous, I think he's a bit nervous on this one.
0:54:27 > 0:54:29Look, you pitched it right, Philip.
0:54:29 > 0:54:33- I don't see how it can't sell and sell quite well, actually.- No.
0:54:33 > 0:54:35Famous last words.
0:54:35 > 0:54:37OK, right, it's tough being an expert, you know.
0:54:37 > 0:54:39Let's put it to the test, here we go.
0:54:39 > 0:54:43And lot number 470. The William Langley, the river landscape.
0:54:43 > 0:54:46Start me at 50. £50 to get on.
0:54:46 > 0:54:50£30 then. At £30 a bid there.
0:54:50 > 0:54:54£30. Five anywhere now? 35, 40. 45, 50.
0:54:54 > 0:54:5655, 60 at £60.
0:54:56 > 0:54:59Five if you like, sir? At £60. Five. 70. At £70.
0:54:59 > 0:55:01Five if you like. Now at £70.
0:55:01 > 0:55:04Five on the net. At 75 now. At 75, 80 now.
0:55:04 > 0:55:08At £75, you're out in the room now. At 75 here.
0:55:08 > 0:55:10All out in the room then, are you all done?
0:55:10 > 0:55:13- It's not going to get you a three-piece suite, is it?- No.- No.
0:55:13 > 0:55:15But it's sold, £75, spot-on, Philip.
0:55:15 > 0:55:17Someone got a bargain,
0:55:17 > 0:55:20but it will cost a bit to bring it fully back to life.
0:55:20 > 0:55:22Now, time to meet two friends.
0:55:22 > 0:55:26I've just been joined by Catherine, our expert, and the Carols!
0:55:26 > 0:55:29I'm surrounded by summer frocks, it looks fantastic, doesn't it?
0:55:29 > 0:55:31And the heat is rising in here.
0:55:31 > 0:55:34I tell you what, it's going to get rather exciting right now,
0:55:34 > 0:55:36because your lot is going under the hammer.
0:55:36 > 0:55:38There's a lot of gold here.
0:55:38 > 0:55:41You'd get a Cilla Black, so you'd get a lorra lot.
0:55:41 > 0:55:43You've got a lorra lot, don't you? You really do.
0:55:43 > 0:55:46Right, we're going to put this to the test. Fingers crossed.
0:55:46 > 0:55:48These will sell, won't they?
0:55:48 > 0:55:53The Waltham pocket watch with the Albert watch chain there
0:55:53 > 0:55:55and the 1912 gold sovereign.
0:55:55 > 0:55:57Start me, 500 would be cheap.
0:55:57 > 0:55:59500.
0:55:59 > 0:56:02400 to get on? Yes, 400, a bid there. At 400.
0:56:02 > 0:56:04At £400, going to be cheap at 400.
0:56:04 > 0:56:06400. Scrap money. Looking at 400.
0:56:06 > 0:56:07- At 400.- It's valued 500.
0:56:07 > 0:56:10At 420. At 420. 440 anywhere?
0:56:10 > 0:56:13At 440 here. At 440. 460.
0:56:13 > 0:56:14480.
0:56:14 > 0:56:17At 480, right in front of me. At 480, 500 now?
0:56:17 > 0:56:20At 480, it's selling right in front of me, then.
0:56:20 > 0:56:21All...? 500!
0:56:21 > 0:56:23- Yes, thank you.- Yes.
0:56:23 > 0:56:25520 if you like, sir? 520.
0:56:25 > 0:56:28At 520. At £520, still right in front of me, then.
0:56:28 > 0:56:31You're out, on the net. At 520...all done.
0:56:31 > 0:56:33That's a good price, because someone's got
0:56:33 > 0:56:35to pay commission on that anyway.
0:56:35 > 0:56:38- 520, that's good scrap value. - Good, good.
0:56:38 > 0:56:40- You're going home happy?- Yeah.
0:56:43 > 0:56:45An auction is a fantastic experience.
0:56:45 > 0:56:47You never know what's going to happen.
0:56:50 > 0:56:52Well, that's it. It's all over for our owners.
0:56:52 > 0:56:54We put those values to the test.
0:56:54 > 0:56:58We let the market decide and now we know what they're worth.
0:56:58 > 0:57:00And that was a tough day. All credit to our experts,
0:57:00 > 0:57:03because it's not easy putting a value on an antique.
0:57:03 > 0:57:07But everybody went home happy and that's what it's all about.
0:57:07 > 0:57:09Job done. I hope you've enjoyed the show.
0:57:09 > 0:57:11See you again for many more surprises.
0:57:11 > 0:57:13But from here, from Cirencester,
0:57:13 > 0:57:16with Philip Allwood on the rostrum, it's goodbye.