0:00:09 > 0:00:13Today's show comes from this very impressive Scottish mansion.
0:00:13 > 0:00:16It's Pollok House and it's situated
0:00:16 > 0:00:21in 360 acres of Pollok Country Park.
0:00:21 > 0:00:23It's hard to believe this calm, tranquil oasis,
0:00:23 > 0:00:27which also houses the famous Burrell Collection,
0:00:27 > 0:00:30is only three miles from the city centre of Glasgow.
0:00:30 > 0:00:31Welcome to "Flog It!"
0:00:57 > 0:01:01Pollok House was the ancestral home of the Maxwells.
0:01:01 > 0:01:03It was built in the 1740s
0:01:03 > 0:01:05when Glasgow was prosperous.
0:01:05 > 0:01:07The city became a trading hub
0:01:07 > 0:01:09for sugar, tobacco and cotton,
0:01:09 > 0:01:11and a few decades later,
0:01:11 > 0:01:15Glasgow would become a major industrial city.
0:01:15 > 0:01:18And here, in Pollock Country Park, the Maxwells enjoyed
0:01:18 > 0:01:22a privileged life of luxury, in a house full of treasures.
0:01:25 > 0:01:26Later in the show,
0:01:26 > 0:01:30I'll be sharing with you many gems from this Scottish Georgian home,
0:01:30 > 0:01:34such as its impressive collection of Spanish art.
0:01:35 > 0:01:40The real interest lies in that pearl in her headpiece.
0:01:40 > 0:01:43It's known as the Peregrina, and believe me,
0:01:43 > 0:01:46that pearl has had an amazing life.
0:01:49 > 0:01:52But before that, we'll be heading into England to take a look
0:01:52 > 0:01:56back at some of the valuation days we visited across the country.
0:01:58 > 0:02:00Our travels took us to Falmouth,
0:02:00 > 0:02:04to the National Maritime Museum Cornwall, where against a backdrop
0:02:04 > 0:02:07of great boats, Philip Serrell found something of interest.
0:02:08 > 0:02:11You know you're really famous
0:02:11 > 0:02:15if people just refer to you by your initials.
0:02:15 > 0:02:18We also visited the Milestones Museum at Basingstoke,
0:02:18 > 0:02:21in Hampshire, where you had your items valued amongst
0:02:21 > 0:02:24the recreated historic streets.
0:02:24 > 0:02:28And at the RAF Museum at Hendon, in London, it wasn't just
0:02:28 > 0:02:32the historic aircraft that captured Anita Manning's imagination.
0:02:33 > 0:02:38What we see here is a romantic scene... Yes.
0:02:38 > 0:02:42..where a young chap is serenading
0:02:42 > 0:02:43two young women.
0:02:45 > 0:02:47It's an idyll,
0:02:47 > 0:02:49especially for the young guy. Yes.
0:02:50 > 0:02:54And finally, we start today's show at another stately home,
0:02:54 > 0:02:58the exquisite 18th-century Ragley Hall, in Warwickshire,
0:02:58 > 0:03:02where Charlie Ross found a quiet corner under an awe-inspiring mural
0:03:02 > 0:03:04called The Temptation.
0:03:04 > 0:03:08The mural tells the story of the devil trying to seduce Christ
0:03:08 > 0:03:11to fall down and worship him by offering him the world
0:03:11 > 0:03:13and all its riches.
0:03:13 > 0:03:16But was Charlie enticed too?
0:03:16 > 0:03:20Sue, the things you brought here really do match up
0:03:20 > 0:03:22with the settings, don't they?
0:03:22 > 0:03:24Posh. Yes. Do you know what they are?
0:03:24 > 0:03:27You must have opened them up. Well, yes, they're necessaires.
0:03:27 > 0:03:30Necessaires, French word, as in, necessary. Yes.
0:03:30 > 0:03:32What a lady must have
0:03:32 > 0:03:36all day to keep herself looking trim
0:03:36 > 0:03:37and proper. That's right.
0:03:37 > 0:03:41And we've got two quite different examples here.
0:03:41 > 0:03:43One 19th century,
0:03:43 > 0:03:45one 18th century. Right.
0:03:45 > 0:03:48Quite extraordinary. How did you get it?
0:03:48 > 0:03:51Well, I got it from my mother. She died nine years ago. Yeah.
0:03:51 > 0:03:53Where she got it from, I don't know.
0:03:53 > 0:03:58We emigrated to Australia in 1955.
0:03:58 > 0:04:02Right. So she hasn't come back, but I have. Yeah, yeah.
0:04:02 > 0:04:05And then when she died, nine years ago,
0:04:05 > 0:04:08I went over and I brought these back with me.
0:04:08 > 0:04:10Had you any recollection of them being there before?
0:04:10 > 0:04:11No, no, none at all.
0:04:11 > 0:04:13The first one we have here
0:04:13 > 0:04:18is an ivory case, 19th century, French.
0:04:18 > 0:04:21We open this one up, press the button,
0:04:21 > 0:04:24and hey, presto.
0:04:24 > 0:04:27And what strikes me immediately
0:04:27 > 0:04:29is the fact that everything
0:04:29 > 0:04:33that should be in there is in there. Yeah.
0:04:33 > 0:04:35And it's extremely rare.
0:04:35 > 0:04:39Nearly always someone's used the thimble and not put it back in,
0:04:39 > 0:04:43or the scissors, there's a penknife in there.
0:04:43 > 0:04:45These are silver-gilt
0:04:45 > 0:04:47and I get the impression that
0:04:47 > 0:04:49something like this has never been used.
0:04:49 > 0:04:52A great example of French workmanship
0:04:52 > 0:04:56of the late 19th century. This, I'm sure is Georgian,
0:04:56 > 0:04:57so it's earlier than that.
0:04:57 > 0:05:00If we press the button and open it up, we are
0:05:00 > 0:05:04into the 18th century, George III, late 18th century. Right.
0:05:04 > 0:05:07Now, the wonderful thing about this, I think,
0:05:07 > 0:05:09is if we lift out this little scent bottle...
0:05:11 > 0:05:13..look at the colour of the lining. Yes, beautiful.
0:05:13 > 0:05:14Look at that turquoise. Yes, yes.
0:05:14 > 0:05:17That shows you this would have been that colour...
0:05:17 > 0:05:19That's right, yes. ..originally.
0:05:19 > 0:05:21But that shows you what a vibrant object
0:05:21 > 0:05:23it must have been to begin with.
0:05:23 > 0:05:26Now, the downside with this is
0:05:26 > 0:05:30that a lot of these bits aren't original. Oh, right.
0:05:30 > 0:05:33I can see immediately, I'm just going to slide that in there,
0:05:33 > 0:05:35and you can feel the way that fits
0:05:35 > 0:05:38that that is certainly original. Snug, yes, yes.
0:05:38 > 0:05:41But here we have got
0:05:41 > 0:05:43a little needle case,
0:05:43 > 0:05:46chromium plated. Oh, right. That's 20th century,
0:05:46 > 0:05:48without a shadow of a doubt. Somebody's put that in, yeah.
0:05:48 > 0:05:51So, somebody's just slipped that in there, and actually,
0:05:51 > 0:05:54if you look carefully, it's not a perfect fit, is it?
0:05:54 > 0:05:55It's not a fit, no.
0:05:55 > 0:05:58So, earlier... Yeah. ..potentially more valuable had it
0:05:58 > 0:06:01got its original lots,
0:06:01 > 0:06:04and later, but perfect.
0:06:04 > 0:06:06Yes. So we've got two examples of the same thing.
0:06:06 > 0:06:08I'm going to watch your eyebrows here.
0:06:08 > 0:06:10I'm not going to tell you they're worth thousands cos they aren't.
0:06:10 > 0:06:13I'm going to come back to 250 to 350
0:06:13 > 0:06:15as a saleroom estimate... OK, right.
0:06:15 > 0:06:17..with a fixed reserve of ?200. Yeah.
0:06:17 > 0:06:20And I think that will get the interest going,
0:06:20 > 0:06:21and we'll get a sale.
0:06:21 > 0:06:25Yes. OK? Yes, that's lovely, thank you very much. Thank you. Thank you.
0:06:25 > 0:06:29We'll find out how Sue's necessaires fared at auction later.
0:06:29 > 0:06:32Even though one was made from ivory,
0:06:32 > 0:06:37we were able to sell it, as it was made before 1947.
0:06:37 > 0:06:41Next up, at the Milestones Museum in Basingstoke, Elizabeth Talbot
0:06:41 > 0:06:44met a father and son with a great set of toys
0:06:44 > 0:06:46that have barely seen the light of day.
0:06:46 > 0:06:48Anthony, Phil? Yes.
0:06:48 > 0:06:50Thank you for coming in with what is
0:06:50 > 0:06:52a very exciting collection here.
0:06:52 > 0:06:54Now, I know a little bit about Corgi,
0:06:54 > 0:06:56which we can talk about in a little while, but you tell me what
0:06:56 > 0:06:59you know and whose the collection is and who does it belong to?
0:06:59 > 0:07:03Well, the collection belongs to myself, it sat up in the loft
0:07:03 > 0:07:06for many, many years because unfortunately, I wouldn't let...
0:07:06 > 0:07:09I was never allowed to play with them. He never let me,
0:07:09 > 0:07:10he never let me touch them.
0:07:10 > 0:07:14What is that saying about what he thinks of you? Overprotective. Yes.
0:07:14 > 0:07:15It was saying... Of the toys, not of you.
0:07:15 > 0:07:17It was saying to save them for a later date
0:07:17 > 0:07:20when they were worth some money and we could enjoy them together.
0:07:20 > 0:07:22That's sound advice, fair enough.
0:07:22 > 0:07:25So they've not seen the light of day for some while? Not for some while,
0:07:25 > 0:07:28no, they were probably last sort of out of their boxes, I would say
0:07:28 > 0:07:30when I was about sort of 13 or 14 years old,
0:07:30 > 0:07:32in my bedroom, so that's going
0:07:32 > 0:07:35back a good 30-ish plus years.
0:07:35 > 0:07:38So at that stage, when you were a younger boy, did you collect
0:07:38 > 0:07:39Corgi toys quite avidly?
0:07:39 > 0:07:41Yeah, the first one I got was
0:07:41 > 0:07:44a Rolls-Royce Silver Shadow. Uh-huh.
0:07:44 > 0:07:47That was in 1973. Classic. My uncle bought that for me.
0:07:47 > 0:07:49And then I started the collection from there.
0:07:49 > 0:07:50So, do you still collect?
0:07:50 > 0:07:52Are you adding to your collection all the time?
0:07:52 > 0:07:55I'm not adding any longer. No, I stopped in about the '90s. OK.
0:07:55 > 0:07:57And the collection's currently about 100 vehicles.
0:07:57 > 0:07:58I mean, Corgi was a
0:07:58 > 0:08:00trade name which was established by
0:08:00 > 0:08:02the firm Mettoy, who were a very
0:08:02 > 0:08:04well-known toy manufacturer,
0:08:04 > 0:08:06earlier in the 20th century, and in
0:08:06 > 0:08:081956 they launched the Corgi range.
0:08:08 > 0:08:10It was really, actually, one of the
0:08:10 > 0:08:11ones that you have at the front,
0:08:11 > 0:08:14the James Bond vehicle, which became
0:08:14 > 0:08:17so popular at the time that it launched their reputation
0:08:17 > 0:08:20for being fantastic manufacturers of the diecast vehicle.
0:08:20 > 0:08:23I mean, that really kind of catapulted them from being
0:08:23 > 0:08:25an average manufacturer that was OK, to something which
0:08:25 > 0:08:28really was grabbing people's attention, the here and now.
0:08:28 > 0:08:29Do you have a favourite amongst these?
0:08:29 > 0:08:32I do, I like the one at the front there where he fires
0:08:32 > 0:08:33out of the seat... He ejects out of the seat.
0:08:33 > 0:08:36He ejects out of the seat, yeah. Have you now any idea
0:08:36 > 0:08:37of the current value?
0:08:37 > 0:08:40On a good day or a bad day, probably around about ?300, I think,
0:08:40 > 0:08:43for the whole collection. Maybe a little bit more on a good day.
0:08:43 > 0:08:46Yeah, 3 to 4, 3 to 500 is about the right sort of mark, I would think.
0:08:46 > 0:08:49If you're happy to offer them for sale at that sort of value
0:08:49 > 0:08:54with a ?300 reserve... Yes. ..and then let's see...
0:08:54 > 0:08:55See what happens, yeah.
0:08:55 > 0:08:58Then, you will presumably share the results of the sale? Exactly, yeah.
0:08:58 > 0:09:00Do you have aspirations for what you're going to do?
0:09:00 > 0:09:02We both follow our local football club, don't we?
0:09:02 > 0:09:04I follow Worthing, our local football club.
0:09:04 > 0:09:05They play Guernsey every year
0:09:05 > 0:09:08so we'd want to... Guernsey's a bit of an expensive trip.
0:09:08 > 0:09:10..go away for the weekend. What a great idea.
0:09:10 > 0:09:13Well, touch wood, we can get you to fly over there
0:09:13 > 0:09:16and have some expenses as well and have a lovely, memorable trip.
0:09:16 > 0:09:19Fingers crossed. That would be super. Thank you. Thank you.
0:09:19 > 0:09:20What a great little lot.
0:09:20 > 0:09:23It certainly took me back to my childhood.
0:09:25 > 0:09:28Next, Philip Serrell came across an item related
0:09:28 > 0:09:30to one of his favourite sports,
0:09:30 > 0:09:34at our valuation day at the National Maritime Museum Cornwall.
0:09:34 > 0:09:36Mike, are you a cricket fan?
0:09:36 > 0:09:40I'm not as such. I'm aware of cricket and sometimes follow it.
0:09:40 > 0:09:44My grandfather was the passionate cricket aficionado.
0:09:44 > 0:09:47I love my cricket.
0:09:47 > 0:09:49And what I love, is that
0:09:49 > 0:09:52you know you're really famous
0:09:52 > 0:09:56if people just refer to you by your initials. Yeah.
0:09:56 > 0:10:00So, WG, William Gilbert Grace,
0:10:00 > 0:10:04a lot of people reckon he's the greatest cricketer that's ever been.
0:10:04 > 0:10:07He's certainly the most, probably one of the most famous
0:10:07 > 0:10:08cricketers that's ever been.
0:10:08 > 0:10:11And this is a handkerchief.
0:10:11 > 0:10:14Don't think you're meant to blow your nose on it,
0:10:14 > 0:10:15but it's a handkerchief
0:10:15 > 0:10:18that charts WG's career.
0:10:18 > 0:10:20And it would have been sold after the event,
0:10:20 > 0:10:24with a portrait of the great man here,
0:10:24 > 0:10:26champion cricketer of the world.
0:10:26 > 0:10:28They must have made thousands of these,
0:10:28 > 0:10:31but this is a real collector's item now,
0:10:31 > 0:10:34and there's a lovely story about WG Grace
0:10:34 > 0:10:36towards the end of his career.
0:10:36 > 0:10:39He went out to bat and there was a bowler the other end,
0:10:39 > 0:10:44who no-one had ever heard of, and he bowled WG Grace first ball.
0:10:44 > 0:10:45Really? Yeah.
0:10:45 > 0:10:48WG Grace turned round, he picked the bails up,
0:10:48 > 0:10:50put them back on the stumps and said,
0:10:50 > 0:10:55"Young man, they've come to see me bat, not you bowl," and carried on.
0:10:55 > 0:10:58Which is, I like the style of a man who'd do that. Yeah, great story.
0:10:58 > 0:10:59How long have you had it?
0:10:59 > 0:11:01Probably about 20 years.
0:11:01 > 0:11:03My grandfather gave it to me,
0:11:03 > 0:11:07and it was given to him by his father,
0:11:07 > 0:11:10and they used to go and watch WG Grace together.
0:11:10 > 0:11:14And what do you think it may or may not be worth?
0:11:14 > 0:11:16I've really no idea.
0:11:16 > 0:11:17I've really no idea. Well...
0:11:17 > 0:11:20clearly the only person who's going to buy this is
0:11:20 > 0:11:24a cricket nut. Yeah. But there are a huge, huge, you know,
0:11:24 > 0:11:27number of cricket fans out there who, I think, would love this.
0:11:27 > 0:11:30I think I can see it in a private collection.
0:11:30 > 0:11:31I can see it in a club house.
0:11:31 > 0:11:35In terms of value, I think you need to put ?80 to ?120 on it,
0:11:35 > 0:11:38and I would put a reserve on it of ?60.
0:11:38 > 0:11:41You never know, you might get Mr Kevin Pietersen after it. Yeah.
0:11:45 > 0:11:48Here at Pollok House, the walls are adorned with fine art,
0:11:48 > 0:11:51particularly portraits painted in oils.
0:11:51 > 0:11:52But at another great stately home,
0:11:52 > 0:11:55Ragley Hall near Stratford-upon-Avon,
0:11:55 > 0:11:57it was some watercolours that found their way
0:11:57 > 0:12:00to Christina Trevanion's valuation table.
0:12:05 > 0:12:07Carol, looking at these wonderful pictures
0:12:07 > 0:12:09that you've brought in for me today,
0:12:09 > 0:12:11I feel like I've been transported to a summer's day in York
0:12:11 > 0:12:12and it's just splendid.
0:12:12 > 0:12:14I suppose we can't really grumble
0:12:14 > 0:12:15about where we are now though, can we?
0:12:15 > 0:12:18No, it's a rather nice place. It's rather beautiful, isn't it?
0:12:18 > 0:12:19Yes. Yes, exactly.
0:12:19 > 0:12:22And how appropriate that you've brought these pictures in.
0:12:22 > 0:12:23Tell me a little bit about them.
0:12:23 > 0:12:29We inherited them from my mother and father-in-law about 45 years ago
0:12:29 > 0:12:32and they were an engagement present to my mother-in-law.
0:12:32 > 0:12:35They were a York family. Uh-huh.
0:12:35 > 0:12:38And then when my husband died, they were given to me
0:12:38 > 0:12:41and then we got the third one
0:12:41 > 0:12:44probably 20 years ago when the house was broken up.
0:12:44 > 0:12:47Personally, I don't know about you, but I'm absolutely bowled over
0:12:47 > 0:12:50by quite how detailed they are.
0:12:50 > 0:12:53I mean, they're almost sort of little miniature portraits,
0:12:53 > 0:12:55aren't they? They're so fine.
0:12:55 > 0:12:57And like you've very rightly said,
0:12:57 > 0:12:59they actually are pictures of York, aren't they?
0:12:59 > 0:13:02We've got Marygate Tower here,
0:13:02 > 0:13:07we've got the Water Tower and then we've got the old walls there.
0:13:07 > 0:13:10All by the same artist, George Fall, who was...
0:13:10 > 0:13:13I think his dates are about 1848-1925. Right.
0:13:13 > 0:13:17So, I think... Did you say that they were bought in 1920?
0:13:17 > 0:13:21About 1920 as an engagement present. OK, splendid.
0:13:21 > 0:13:23And I do love the fact that they sort of bleed out.
0:13:23 > 0:13:25You have this wonderful oval and they bleed out,
0:13:25 > 0:13:29so it's almost like they're like bookplates in a way. Right, yes.
0:13:29 > 0:13:33They're just so beautiful. If we look up George Fall and his works,
0:13:33 > 0:13:38he seemed to be an incredibly prolific York artist
0:13:38 > 0:13:40and he specialised in these views of York,
0:13:40 > 0:13:44so these are typical of the artist. Do you like them?
0:13:44 > 0:13:46I think they're very pretty, yes.
0:13:46 > 0:13:49But at my age, I wanted to be able to leave them to my daughters.
0:13:49 > 0:13:52Two daughters, I couldn't split one in half,
0:13:52 > 0:13:56so I thought it would be easier to sell them, give them the money
0:13:56 > 0:13:59and then they can buy something in remembrance of their grandparents.
0:13:59 > 0:14:00Oh, that's a good idea.
0:14:00 > 0:14:04What are your sort of expectations of value for them?
0:14:04 > 0:14:07What do we think? Well, it's been very wide.
0:14:07 > 0:14:09I was told 350,
0:14:09 > 0:14:11but that was because the American market was interested in them.
0:14:11 > 0:14:14OK. And then again... So, 350 for the group?
0:14:14 > 0:14:17No, no! Oh! Exactly. Right.
0:14:17 > 0:14:23But then I spoke to somebody else and they said, oh, 150 each.
0:14:23 > 0:14:25Right. So... OK, yeah.
0:14:25 > 0:14:27They might fetch 150 each.
0:14:27 > 0:14:31I think if we started to estimate them in that region,
0:14:31 > 0:14:33I think we would put a lot of people off. Right.
0:14:33 > 0:14:36I think that's quite top end. Yes, fine. I mean, personally,
0:14:36 > 0:14:39what I would suggest that we do is sell them as a group. Right.
0:14:39 > 0:14:43And I would put a "come and get me" estimate maybe of ?200-300 on them
0:14:43 > 0:14:44for the group. Right.
0:14:44 > 0:14:45How would you feel about that?
0:14:45 > 0:14:48Well, what about a reserve? We can put on a reserve.
0:14:48 > 0:14:50A reserve. Absolutely.
0:14:50 > 0:14:52So the reserve in this case would have to be ?200.
0:14:52 > 0:14:55Right, OK. Does that sound all right? Yes, that sounds all right.
0:14:55 > 0:14:58Splendid. I sincerely hope they exceed that for you
0:14:58 > 0:14:59because they are wonderful.
0:14:59 > 0:15:02And you see something new every time you look at them.
0:15:02 > 0:15:03They are such miniature works of art.
0:15:03 > 0:15:06Beautiful. Thanks so much for bringing them in. My pleasure.
0:15:06 > 0:15:10Shortly, we'll see if those watercolours found their market
0:15:10 > 0:15:14when we reveal just how our items fared in the saleroom.
0:15:14 > 0:15:17First, there's something I would like to show you.
0:15:23 > 0:15:27Situated in Glasgow, Pollok House still bears the marks
0:15:27 > 0:15:30of its ancestral family, the Maxwells,
0:15:30 > 0:15:33who lived on the estate for over 700 years.
0:15:33 > 0:15:37The impressive building and contents stand as a monument
0:15:37 > 0:15:41to their wealth and civic status within Scotland.
0:15:41 > 0:15:43The most recent generations of Maxwells
0:15:43 > 0:15:46have been remembered for their unstinting public service.
0:15:46 > 0:15:48When it comes to legacies,
0:15:48 > 0:15:52not every civically minded citizen of 19th-century Glasgow
0:15:52 > 0:15:54was as fortunate as the Maxwells,
0:15:54 > 0:15:57but that didn't mean they couldn't be venerated, too.
0:15:57 > 0:16:01In fact, they had their own place, in the heart of this city.
0:16:04 > 0:16:09It's this - Glasgow Necropolis, a Victorian garden cemetery,
0:16:09 > 0:16:13the first of its kind to open in Scotland.
0:16:13 > 0:16:14It was interdenominational
0:16:14 > 0:16:19and the first person buried here in 1832 was Joseph Levi,
0:16:19 > 0:16:21a Jewish gentleman.
0:16:21 > 0:16:23The Necropolis is built on a rocky outcrop,
0:16:23 > 0:16:24as you can see here.
0:16:24 > 0:16:28It's useless agriculturally, so a park was put here.
0:16:28 > 0:16:30That big statue, there, towering up there,
0:16:30 > 0:16:34that's John Knox, the founder of the Reformation in Scotland.
0:16:34 > 0:16:37He was already here before the Necropolis was built,
0:16:37 > 0:16:41but it looks to me like he's standing watch, keeping guard,
0:16:41 > 0:16:44making sure everything is all right over the city of Glasgow.
0:16:55 > 0:16:58Regardless of whether you were laid to rest
0:16:58 > 0:17:00in an all-singing, all-dancing mausoleum,
0:17:00 > 0:17:02or in an unmarked grave,
0:17:02 > 0:17:06it wasn't cheap to be buried here at Glasgow Necropolis.
0:17:06 > 0:17:08The closer you got to John Knox -
0:17:08 > 0:17:11in other words, the higher up the hill you were buried -
0:17:11 > 0:17:12the more expensive it got.
0:17:14 > 0:17:18There are 50,000 people buried in this 37-acre cemetery,
0:17:18 > 0:17:21and 3,500 memorials.
0:17:21 > 0:17:25Today, thousands of UK and international visitors
0:17:25 > 0:17:27come to the cemetery every year.
0:17:27 > 0:17:31However, only a decade ago, it was a very different story.
0:17:31 > 0:17:34The Necropolis was going to rack and ruin
0:17:34 > 0:17:36and many people were scared to visit it,
0:17:36 > 0:17:40but thanks to the vision of Nigel Willis and Ronnie Scott,
0:17:40 > 0:17:43the cemetery has been brought back to life.
0:17:43 > 0:17:45They set up The Friends of Glasgow Necropolis,
0:17:45 > 0:17:48but it's fair to say that Nigel's motivation
0:17:48 > 0:17:51to turn this cemetery round was much more personal,
0:17:51 > 0:17:55as his great-grandfather and his great-great-grandfather
0:17:55 > 0:17:57are both buried here.
0:17:57 > 0:18:00So, as a young boy, your mother would presumably
0:18:00 > 0:18:02have brought you up here.
0:18:02 > 0:18:06Yes, very much so. She used to come along with her secateurs
0:18:06 > 0:18:10and cut the ivy back
0:18:10 > 0:18:13so that the memorial wasn't completely covered.
0:18:13 > 0:18:15I can see the next time I come,
0:18:15 > 0:18:17I'm going to have to bring secateurs and... Aw!
0:18:17 > 0:18:21So, really, this was what got you involved with, sort of,
0:18:21 > 0:18:23forming The Friends of the Necropolis, was it?
0:18:23 > 0:18:27It did indeed. That set you off on this endeavour. It did indeed.
0:18:27 > 0:18:31I'm glad to say, now, things are vastly improved. I'm sure.
0:18:31 > 0:18:34It's a really good place to spend time. Yeah.
0:18:34 > 0:18:40And you've got the history of industrial and commercial Glasgow
0:18:40 > 0:18:42and the West of Scotland, really,
0:18:42 > 0:18:46through the Victorian age and the two World Wars,
0:18:46 > 0:18:50and there are a lot of very influential people buried here.
0:18:59 > 0:19:03I'm taking you to see the Rev Ralph Wardlaw, DD,
0:19:03 > 0:19:07who, surprisingly, was given
0:19:07 > 0:19:11his doctorate of divinity by Yale University in 1818,
0:19:11 > 0:19:15which must have been quite unusual for that time.
0:19:15 > 0:19:19Yeah. He was a Congregational church minister
0:19:19 > 0:19:23and was very involved with the anti-slave movement,
0:19:23 > 0:19:26and a member of the Emancipation Society.
0:19:26 > 0:19:29A good man. Yeah. Must have been.
0:19:29 > 0:19:31Who else strikes a chord with you?
0:19:31 > 0:19:33Well, let's go and see Walter MacFarlane,
0:19:33 > 0:19:34who is up the hill.
0:19:34 > 0:19:36So it's onwards and upwards. Yes.
0:19:41 > 0:19:43So, here we are, Walter MacFarlane -
0:19:43 > 0:19:45I have to be honest with you, I've never heard of him before.
0:19:45 > 0:19:48Round here, he's a well-known name.
0:19:48 > 0:19:54He was a tremendous entrepreneur of his time and formed probably
0:19:54 > 0:19:59the world's best-known architectural iron foundry in Glasgow
0:19:59 > 0:20:03and had customers all over this country and all over the world.
0:20:03 > 0:20:05You may have been to Singapore.
0:20:05 > 0:20:08Have you been to Singapore? Yes, I have been to Singapore.
0:20:08 > 0:20:11Have you been to Raffles Hotel? Yes, I have!
0:20:11 > 0:20:16Outside Raffles Hotel, there is a magnificent fountain,
0:20:16 > 0:20:20all cast iron and made by Saracen Foundry.
0:20:20 > 0:20:23Wow! So, his products reached all over the world.
0:20:23 > 0:20:25Any personal favourites, anybody...?
0:20:25 > 0:20:28Yes, very definitely, and I'll just take you...
0:20:28 > 0:20:31A little bit different? Quite different. OK.
0:20:38 > 0:20:43Now, this looks very impressive, imposing, theatrical.
0:20:43 > 0:20:46John Alexander, John Henry Alexander.
0:20:46 > 0:20:47Who was he?
0:20:47 > 0:20:52He was the owner, manager and frequent performer
0:20:52 > 0:20:55in the original Theatre Royal in Glasgow.
0:20:55 > 0:20:58So that's why it looks so theatrical.
0:20:58 > 0:21:01If you look up at the top, we've got a lot of theatrical props...
0:21:01 > 0:21:03I can see, yeah. ..on either side of him,
0:21:03 > 0:21:05with cherubs leaning on his head. Yeah.
0:21:05 > 0:21:08And then we've got the stage.
0:21:08 > 0:21:14On the back of this is his family, listed as the supporting cast.
0:21:17 > 0:21:20Victorian graves were often adorned with symbols of death,
0:21:20 > 0:21:24such as a snake biting its tail, to mean immortality,
0:21:24 > 0:21:27or a winged hourglass, that represents how time flies.
0:21:29 > 0:21:32But like John Henry Alexander's theatrical tribute,
0:21:32 > 0:21:35they are other monuments here that tell a tale
0:21:35 > 0:21:38of their owner's occupation, like Malcolm Campbell, for instance.
0:21:38 > 0:21:40Now, here's his monument.
0:21:40 > 0:21:43He owned a chain of fruit and veg stores across Scotland,
0:21:43 > 0:21:46so here, we have an Iona cross, look, interlaced -
0:21:46 > 0:21:49starting right at the top, there, and working its way down -
0:21:49 > 0:21:51interlaced with lots of fruit.
0:21:51 > 0:21:52Can you see the apples, here?
0:21:52 > 0:21:53That's a lovely tribute.
0:21:53 > 0:21:56There's another monument here to a shipbuilding family,
0:21:56 > 0:21:59and that is actually shaped like the bow of a ship,
0:21:59 > 0:22:01cutting through the waves.
0:22:03 > 0:22:06Visitors come to the Necropolis
0:22:06 > 0:22:08to admire the unique beauty of the monuments.
0:22:08 > 0:22:12A special draw is the works designed by famous architects
0:22:12 > 0:22:14and sculptors of the period.
0:22:14 > 0:22:18With particular appeal are those by Scottish designers,
0:22:18 > 0:22:20such as Alexander Greek Thompson,
0:22:20 > 0:22:23Charles Rennie Mackintosh,
0:22:23 > 0:22:25and JT Rochead.
0:22:29 > 0:22:32What does the future hold for the Necropolis?
0:22:32 > 0:22:38We think we've got things going the right direction, now.
0:22:38 > 0:22:41We've obviously got a lot more restoration work to do,
0:22:41 > 0:22:43a lot of more fundraising.
0:22:43 > 0:22:46People come from all over the world
0:22:46 > 0:22:49and we are developing our website, considerably.
0:22:49 > 0:22:54It has been more successful than our wildest dreams, frankly.
0:22:54 > 0:22:57And that's really, in part, down to you and the Friends, really,
0:22:57 > 0:23:01that we can safely say it is in safe hands.
0:23:01 > 0:23:04Well, I would certainly like to think so.
0:23:04 > 0:23:05Well, look, it's been a pleasure meeting you.
0:23:05 > 0:23:07Thank you. Thank you for coming.
0:23:19 > 0:23:21Well, that's it for our first set of valuations,
0:23:21 > 0:23:25as it's time to find out how they fared at auction.
0:23:27 > 0:23:30Carol's three watercolours, which depicted scenes of York,
0:23:30 > 0:23:32were looking for a new wall to hang on.
0:23:34 > 0:23:38The Corgi car collection was rescued by Anthony from his attic,
0:23:38 > 0:23:42and a trip to Guernsey to watch the footie depended on it selling.
0:23:45 > 0:23:48Sue's two necessaires charmed Charlie,
0:23:48 > 0:23:50and it was wonderful that one of them came
0:23:50 > 0:23:52with all its original contents.
0:23:55 > 0:23:58And finally, there was Mike's WG Grace handkerchief,
0:23:58 > 0:24:00which Philip hoped would make
0:24:00 > 0:24:01an easy catch.
0:24:03 > 0:24:07Remember, with every auction there's varying rates of commission
0:24:07 > 0:24:10and VAT to pay, whether you're buying or selling items.
0:24:12 > 0:24:15We put Elizabeth's valuation of the Corgi car collection
0:24:15 > 0:24:19to the test first, when it went up for sale at Andrew Smith and Son,
0:24:19 > 0:24:20near Winchester.
0:24:20 > 0:24:22On the rostrum was Andrew Smith.
0:24:22 > 0:24:24?50.
0:24:24 > 0:24:26I had the Batmobile,
0:24:26 > 0:24:28and as soon as my mum gave it to me,
0:24:28 > 0:24:29do you know what I did?
0:24:29 > 0:24:32Ripped the box open, threw it away
0:24:32 > 0:24:34and played with the car.
0:24:34 > 0:24:36I can understand you not playing with these,
0:24:36 > 0:24:38keeping the boxes, sensible guy. Exactly.
0:24:38 > 0:24:41They were played with a little bit, but then back in the boxes.
0:24:41 > 0:24:43Yeah. What about you, Phil? He never let me play with them.
0:24:43 > 0:24:45I always tried to but he never let me.
0:24:45 > 0:24:48Now we have a value of... ?300 to ?500.
0:24:48 > 0:24:51Hopefully there will be a bit of interest on the net for this one.
0:24:51 > 0:24:53They're good search words, aren't they? Yes.
0:24:53 > 0:24:55That's something they can search for.
0:24:55 > 0:24:57See the Dynamic Duo's got it all sorted.
0:24:58 > 0:25:01Anyway, let's put it to the test, shall we, guys?
0:25:01 > 0:25:02Yes, let's have a look.
0:25:04 > 0:25:07?300. 300 we have, on the net.
0:25:07 > 0:25:10Is there 20? At ?300, we are selling.
0:25:10 > 0:25:11Is there 20?
0:25:11 > 0:25:14All done? Come on, internet. At ?300.
0:25:14 > 0:25:17We are selling, make no mistake, at ?300, then,
0:25:17 > 0:25:18for the very last time.
0:25:21 > 0:25:23They're gone. You're right, the net did work.
0:25:23 > 0:25:26Cos otherwise it wouldn't have been bought in the room. No.
0:25:26 > 0:25:28So, it did its job. But sadly, they've gone at the lower end.
0:25:28 > 0:25:31Lower end, but they're gone. That's the thing. Yeah. Exactly.
0:25:31 > 0:25:35And that ?300 should have gone a good way to getting Anthony
0:25:35 > 0:25:40and Phil to Guernsey to watch their team, Worthing, play football.
0:25:40 > 0:25:44Next, how well do you think Carol's three watercolours of York did
0:25:44 > 0:25:48when we headed back to Bigwood Fine Art Auctioneers?
0:25:48 > 0:25:51Christopher Ironmonger was on the rostrum.
0:25:51 > 0:25:53And they're not a lot of money for three, are they?
0:25:53 > 0:25:55We're looking at ?200-?300. And they are depicting
0:25:55 > 0:25:57one of the most beautiful cities in the UK as well.
0:25:57 > 0:25:59They're just so detailed.
0:25:59 > 0:26:01My daughters, they thought they were lovely,
0:26:01 > 0:26:02but they didn't like the colours.
0:26:02 > 0:26:04They said the York Minster is not pink!
0:26:04 > 0:26:06LAUGHTER
0:26:06 > 0:26:10York Minster - Turneresque, that's what they are. Yeah!
0:26:10 > 0:26:12It's all about the light, and it does change colour.
0:26:12 > 0:26:14Right, let's put them to the test right now.
0:26:14 > 0:26:16Next lot, 315,
0:26:16 > 0:26:20George Fall, set of three scenes of old York.
0:26:20 > 0:26:25Very nice little set indeed and I'm bid ?100 as a commission bid.
0:26:25 > 0:26:27?100 as commission.
0:26:27 > 0:26:29At 100, 120, there.
0:26:29 > 0:26:31140, 160. Brilliant.
0:26:31 > 0:26:34180, 200, 200, 220?
0:26:34 > 0:26:36We're going... At 200, it is.
0:26:36 > 0:26:38The gentleman's bid at ?200.
0:26:38 > 0:26:40Are we done at 200? Are we finished?
0:26:41 > 0:26:44Well done, Christina. Fantastic, well done, for three.
0:26:44 > 0:26:46Are you pleased? Yes, yes. Good.
0:26:46 > 0:26:47It's good to see them go, actually,
0:26:47 > 0:26:50to someone that's going to appreciate them.
0:26:50 > 0:26:53The Pink Minster! LAUGHTER
0:26:53 > 0:26:58I like to think they ended up hanging on a wall in York.
0:26:58 > 0:27:01Next, Mike's WG Grace handkerchief went under the hammer
0:27:01 > 0:27:03at Jeffreys auctioneers,
0:27:03 > 0:27:06when we travelled west to Lostwithiel, in Cornwall.
0:27:06 > 0:27:07Wielding the gavel was Ian Morris.
0:27:10 > 0:27:14Mike, you brought the cricket memorabilia to the right expert.
0:27:14 > 0:27:16So I hear. Yes. There's only one doctor.
0:27:16 > 0:27:18THEY CHUCKLE Oh, right.
0:27:18 > 0:27:21Let's find out what the Cornish market think of this, shall we?
0:27:21 > 0:27:23Yeah. Here we go, it's going under the hammer.
0:27:24 > 0:27:26WG Grace, ?50 a bid.
0:27:26 > 0:27:28At ?50. At ?50.
0:27:28 > 0:27:30Take part to get on. 55. 60.
0:27:30 > 0:27:325. 70.
0:27:32 > 0:27:355. 80. 5. 90.
0:27:35 > 0:27:37?90 the bid's with me.
0:27:37 > 0:27:3995.
0:27:39 > 0:27:40100.
0:27:40 > 0:27:42105. 110.
0:27:42 > 0:27:44110, the bid's with me.
0:27:44 > 0:27:46At ?110. 120 up?
0:27:46 > 0:27:48120. 130.
0:27:48 > 0:27:51140? 140. Your bid, I'm out.
0:27:51 > 0:27:52At ?140. Seated. 150 up?
0:27:52 > 0:27:54Done, at ?140.
0:27:56 > 0:28:00How's that? I think that's hit it for six, that has. Good.
0:28:00 > 0:28:02But it was a very straight bat.
0:28:02 > 0:28:04Bowled the maiden over.
0:28:04 > 0:28:05No googlies there.
0:28:07 > 0:28:10Well, it was all out for the WG Grace handkerchief
0:28:10 > 0:28:11with a great result.
0:28:13 > 0:28:16Finally, we headed north, to Warwickshire,
0:28:16 > 0:28:19and Stratford-upon-Avon, where Bigwood Fine Art Auctioneers
0:28:19 > 0:28:21were selling Sue's pair of necessaires.
0:28:21 > 0:28:23Auctioneer Stephen Kaye
0:28:23 > 0:28:27decided to split the items into two separate lots, with a reserve
0:28:27 > 0:28:29of ?100 on each.
0:28:30 > 0:28:33Susan, quality, quality, quality
0:28:33 > 0:28:34and it always sells, doesn't it?
0:28:34 > 0:28:36Yes, I hope so, hopefully.
0:28:36 > 0:28:38And not "necessairely", though, but it does.
0:28:38 > 0:28:40In this case, it will.
0:28:40 > 0:28:43So are you ready for this? Fingers crossed. Oh! Yes.
0:28:43 > 0:28:46I think these are going to go for, hopefully, a little bit more.
0:28:46 > 0:28:48Good. We're going to find out right now.
0:28:48 > 0:28:50Let's hand the proceedings over to our auctioneer.
0:28:50 > 0:28:52Lot number 50
0:28:52 > 0:28:54is the little necessaire.
0:28:54 > 0:28:57I've got ?100 bid on the computer.
0:28:57 > 0:28:59110, at the back.
0:28:59 > 0:29:02Anybody give me 120? 120. 130. 140.
0:29:02 > 0:29:05We've got it. We've got it. 150. 160. 170.
0:29:05 > 0:29:08180. 190. Chap on the stairs.
0:29:08 > 0:29:10200. And 10.
0:29:10 > 0:29:11200 with Christian and 10.
0:29:11 > 0:29:13220. 230, sir.
0:29:13 > 0:29:14240. 250.
0:29:14 > 0:29:16260. 270.
0:29:16 > 0:29:17260 with Christian.
0:29:17 > 0:29:20Anybody else? 270. 280.
0:29:20 > 0:29:21290.
0:29:21 > 0:29:24300. And 20. 340. 360.
0:29:24 > 0:29:26Oh, this is exciting, isn't it?
0:29:26 > 0:29:27400. 400! I can't believe it.
0:29:27 > 0:29:28380 with Christian.
0:29:28 > 0:29:30Anybody give me 400?
0:29:30 > 0:29:32For ?380, are we all done?
0:29:34 > 0:29:36Yes, hammer's gone down. That's fantastic.
0:29:36 > 0:29:39?380. Yes. One down, one more to go.
0:29:39 > 0:29:40Here we are.
0:29:40 > 0:29:42Another little necessaire,
0:29:42 > 0:29:43this is also extremely pretty.
0:29:43 > 0:29:45Let me give you 110, thank you.
0:29:45 > 0:29:48I've got 110 from Christian. 120. 130?
0:29:48 > 0:29:51140. 150. 160.
0:29:51 > 0:29:53I've got 150 in the room.
0:29:53 > 0:29:55150 in the room, anybody else?
0:29:55 > 0:29:59160. 170. 180. 190.
0:29:59 > 0:30:00200. And 10.
0:30:00 > 0:30:02220. 230.
0:30:02 > 0:30:04240. Good, up and up.
0:30:04 > 0:30:05250. 250.
0:30:05 > 0:30:07260. 270.
0:30:07 > 0:30:09280. 290.
0:30:09 > 0:30:11300.
0:30:11 > 0:30:13290, I've got. Anyone else?
0:30:13 > 0:30:16At 290, it's a little treasure.
0:30:17 > 0:30:19That is fantastic.
0:30:19 > 0:30:21That's a grand total of ?670.
0:30:21 > 0:30:23Fantastic. Fantastic. Hey.
0:30:23 > 0:30:24But, look, all credit to you for
0:30:24 > 0:30:26looking after it, you know? Yes, yes.
0:30:26 > 0:30:27That's lovely.
0:30:27 > 0:30:28That's really, really nice.
0:30:28 > 0:30:31If you've got anything like that, we would love to sell it for you.
0:30:31 > 0:30:33Bring it along to one of our valuation days.
0:30:33 > 0:30:35You can find details on our website,
0:30:35 > 0:30:37or check the details in your local press.
0:30:37 > 0:30:38But what a result!
0:30:49 > 0:30:51Well, some happy owners there,
0:30:51 > 0:30:52and we'll be going back to the auction room
0:30:52 > 0:30:55a little later on in the programme.
0:30:55 > 0:30:58Now, I want to share with you a very special collection.
0:30:58 > 0:31:01Most walls in British stately homes are adorned
0:31:01 > 0:31:04with wonderful works of art that date back centuries,
0:31:04 > 0:31:07executed by artists, prominent artists,
0:31:07 > 0:31:09British, French, Italian and Dutch.
0:31:09 > 0:31:13But back in the 1800s, a rather different,
0:31:13 > 0:31:16and at the time, ground-breaking group of paintings
0:31:16 > 0:31:19found its way here to Pollok House in Glasgow.
0:31:19 > 0:31:23And as a result, the house boasted the largest
0:31:23 > 0:31:27collection of Spanish art in Britain at the time.
0:31:28 > 0:31:30The man responsible for the collection was
0:31:30 > 0:31:32Sir William Stirling Maxwell.
0:31:32 > 0:31:34He was a public-spirited gent,
0:31:34 > 0:31:38who served twice as a Conservative MP for Perthshire.
0:31:38 > 0:31:41Pollok House was passed to Sir William
0:31:41 > 0:31:43from his uncle in the 1860s.
0:31:43 > 0:31:46Sir William had also inherited a substantial fortune
0:31:46 > 0:31:50from his father, which allowed him to indulge his passion
0:31:50 > 0:31:52for Spanish art.
0:31:54 > 0:31:56Portraits of the Hapsburgs,
0:31:56 > 0:31:58the most important royal family in Europe,
0:31:58 > 0:32:02rulers of Spain in the 16th and 17th centuries,
0:32:02 > 0:32:05are a constant feature in Sir William's collection.
0:32:05 > 0:32:09And here is a portrait of Charles II.
0:32:09 > 0:32:12Now, he was the last in the line of the Hapsburgs in Spain,
0:32:12 > 0:32:15but he had a rather unfortunate feature -
0:32:15 > 0:32:16a protruding chin.
0:32:16 > 0:32:17And that's thought to
0:32:17 > 0:32:20be down to inbreeding,
0:32:20 > 0:32:23the Hapsburgs were so desperate to keep their European dynasty running.
0:32:23 > 0:32:26He did get a bad deal because his teeth were so badly misaligned,
0:32:26 > 0:32:29he couldn't chew his food.
0:32:29 > 0:32:31But for Sir William, it wasn't about the aesthetic.
0:32:31 > 0:32:35He was more interested in the stories behind the painting -
0:32:35 > 0:32:39who this chap was, why he looked like that,
0:32:39 > 0:32:40who was the artist.
0:32:40 > 0:32:43So, how did he start to collect?
0:32:46 > 0:32:47I'm meeting Pippa Stephenson,
0:32:47 > 0:32:52Curator of European Art from Glasgow Museums, to find out more.
0:32:53 > 0:32:57So how did Sir William first get interested in Spanish art?
0:32:57 > 0:33:00It started in 1841, when he took a trip to Spain,
0:33:00 > 0:33:02this is when he really developed his love and his passion
0:33:02 > 0:33:04for Spanish art.
0:33:04 > 0:33:07He decided to stay there for two years and, in that time,
0:33:07 > 0:33:11he got to know Spanish art, he got to know different collections
0:33:11 > 0:33:13and he decided to write
0:33:13 > 0:33:16this three-volume Annals Of The Artist,
0:33:16 > 0:33:18which he published in 1848,
0:33:18 > 0:33:21the first scholarly catalogue, or book, of Spanish art
0:33:21 > 0:33:23to be written in the English language.
0:33:23 > 0:33:26Well, that's quite incredible. So, he had a real passion?
0:33:26 > 0:33:27He wasn't just advised by an art advisor,
0:33:27 > 0:33:29"This is what you've got to do."
0:33:29 > 0:33:32He wanted to be a real, genuine educator,
0:33:32 > 0:33:36and, you know, come across as the lover of art that he was.
0:33:36 > 0:33:39And I would imagine this is quite unusual at the time.
0:33:39 > 0:33:42Absolutely. Other people were generally travelling around
0:33:42 > 0:33:44other parts of Europe.
0:33:44 > 0:33:47Spain was seen as quite an exciting and a new place,
0:33:47 > 0:33:49but, nevertheless, in the mid-1800s,
0:33:49 > 0:33:51art collections in Britain were still dominated
0:33:51 > 0:33:54by Dutch and Flemish art, and Italian.
0:33:54 > 0:33:57So for an art collector like William Stirling Maxwell
0:33:57 > 0:34:01to begin collecting these unknown names was quite a thing.
0:34:03 > 0:34:05And over the years,
0:34:05 > 0:34:07Sir William amassed an eclectic group of paintings.
0:34:10 > 0:34:12And believe me, there are some real treasures here.
0:34:12 > 0:34:14Take this painting, for instance.
0:34:14 > 0:34:17It was acquired in 1851,
0:34:17 > 0:34:18and that's Anne of Austria.
0:34:18 > 0:34:22Now, she was the fourth wife of Philip II of Spain.
0:34:22 > 0:34:27The real interest lies in that pearl in her headpiece.
0:34:27 > 0:34:31It's known as the Peregrina, and it means the wanderer,
0:34:31 > 0:34:37or the pilgrim, and believe me, that pearl has had an amazing life.
0:34:37 > 0:34:41It was found in the Gulf of Panama in the 16th century,
0:34:41 > 0:34:42and somehow it ended up
0:34:42 > 0:34:45in the coffers of the Spanish royal family.
0:34:45 > 0:34:48It's been worn by several different European monarchs,
0:34:48 > 0:34:49including Mary Tudor.
0:34:49 > 0:34:52In fact, there's another painting here at Pollok House with
0:34:52 > 0:34:56that same pearl in a lady's stomacher.
0:34:56 > 0:34:58Also, that pearl was owned once
0:34:58 > 0:34:59by Napoleon Bonaparte.
0:35:00 > 0:35:05In the 1960s, Richard Burton bought that pearl for his wife,
0:35:05 > 0:35:06Elizabeth Taylor,
0:35:06 > 0:35:09and she had it set into a necklace.
0:35:09 > 0:35:12In 2011, her collection was sold off
0:35:12 > 0:35:15and that necklace went under the hammer - it made more
0:35:15 > 0:35:18than ?7 million.
0:35:18 > 0:35:21What a life that pearl's had!
0:35:25 > 0:35:28Now, over here is Anne's husband,
0:35:28 > 0:35:29Philip II of Spain,
0:35:29 > 0:35:31a very powerful and important man
0:35:31 > 0:35:34and, boy, doesn't he just look it?
0:35:34 > 0:35:36The painting accentuates his stature,
0:35:36 > 0:35:39with that wonderful, sort of, handmade armour
0:35:39 > 0:35:40at no expense spared.
0:35:40 > 0:35:42That fits beautifully.
0:35:42 > 0:35:45That's a lightened blue steel inlaid with gold.
0:35:45 > 0:35:49But this painting actually makes him look larger than life
0:35:49 > 0:35:51because, in the flesh,
0:35:51 > 0:35:52he was only five feet tall.
0:35:55 > 0:35:58Apart from the fascinating stories behind Sir William's
0:35:58 > 0:36:00Spanish art collection, there is also
0:36:00 > 0:36:04the pedigree of the extraordinary artists who painted them,
0:36:04 > 0:36:07like El Greco and Goya.
0:36:07 > 0:36:08Famous artists now,
0:36:08 > 0:36:10but in the mid-19th century,
0:36:10 > 0:36:12they were less well-known.
0:36:12 > 0:36:15Well, we've all heard of Goya, but how popular was he
0:36:15 > 0:36:18back in the day when Sir William was touring Spain?
0:36:18 > 0:36:21Well, he wasn't very well-known at all and, in fact,
0:36:21 > 0:36:23when Sir William was thinking about Spanish art
0:36:23 > 0:36:26and buying Spanish art, these two Goya paintings are two
0:36:26 > 0:36:30of the first to ever enter the UK, when he bought them in 1842.
0:36:30 > 0:36:31Really? Yeah.
0:36:31 > 0:36:34Tell me a little bit about the painting. What's it called?
0:36:34 > 0:36:37It's called Boys On The Seesaw, so you have these children,
0:36:37 > 0:36:39these boys that are squabbling and playing
0:36:39 > 0:36:42and pretending to be soldiers and religious figures.
0:36:42 > 0:36:45So, just like these young boys that are playing and messing around,
0:36:45 > 0:36:47and kind of fighting with each other,
0:36:47 > 0:36:51he believed that real members of religion are also fighting.
0:36:51 > 0:36:53He criticised society, he had quite
0:36:53 > 0:36:55a bleak view, he experienced war
0:36:55 > 0:36:57first-hand and, consequently, his paintings
0:36:57 > 0:36:59do show a side of him...
0:36:59 > 0:37:01A slight darkness, yeah. Yeah, darkness, yeah.
0:37:01 > 0:37:05And here we are, here's the other part of the pair.
0:37:05 > 0:37:08It's so nice that they are still here on display.
0:37:08 > 0:37:11It's wonderful. Same kind of subject matter as well, isn't it?
0:37:11 > 0:37:13That's right, we have the boys playing soldiers
0:37:13 > 0:37:16in this particular scene. So, obviously, never designed to be
0:37:16 > 0:37:18split up and I'm so pleased they haven't been.
0:37:18 > 0:37:21Right, you've saved the best till last, haven't you? I do,
0:37:21 > 0:37:23I have a very special painting for you. Come on, then.
0:37:26 > 0:37:29Painted in the late 16th century, our final stop is this.
0:37:29 > 0:37:32The gem of Pollok House's art collection.
0:37:32 > 0:37:35And here she is. Our Lady In A Fur Wrap by El Greco.
0:37:37 > 0:37:40She's beautiful. She follows you around the room.
0:37:40 > 0:37:41Absolutely, isn't she wonderful?
0:37:41 > 0:37:43Yeah, and she looks like she was painted,
0:37:43 > 0:37:45let's say, in the 1920s, not back then.
0:37:45 > 0:37:49She has a real modernity to her, and a timeless beauty.
0:37:49 > 0:37:51There's something about the way she's looking at you,
0:37:51 > 0:37:53this kind of intimacy and directness,
0:37:53 > 0:37:56that really sticks with people, I think.
0:37:56 > 0:37:58And she has done for centuries. And we don't know who she is. No.
0:37:58 > 0:38:00She's a complete mystery to us.
0:38:00 > 0:38:02When Sir William bought her,
0:38:02 > 0:38:05he thought it was a portrait of El Greco's daughter.
0:38:05 > 0:38:08She's been thought of as different members of royalty, empresses,
0:38:08 > 0:38:12duchesses, but the truth is, we'll never know.
0:38:12 > 0:38:15I think he was in love with her. THEY LAUGH
0:38:15 > 0:38:17I think that is the mother of his only child.
0:38:17 > 0:38:20Some people do say there's no other person it could be
0:38:20 > 0:38:23than someone who was in love with the artist, as you say, because
0:38:23 > 0:38:27there is this kind of seduction and sensual nature to the painting.
0:38:27 > 0:38:30Well, thank you for showing me this and thank you
0:38:30 > 0:38:31for showing me around the house.
0:38:31 > 0:38:33It's been brilliant. Thank you. It's a real pleasure.
0:38:46 > 0:38:49My foray into art didn't end at Pollok House in Glasgow.
0:38:49 > 0:38:53Back across the border, around 400 miles away,
0:38:53 > 0:38:55a painting caught my interest at our valuation day
0:38:55 > 0:38:58at the Milestones Museum, in Basingstoke.
0:39:00 > 0:39:03Ian, what can you tell me about the oil painting?
0:39:03 > 0:39:05Very much family links.
0:39:05 > 0:39:09Basically, my dad got it from his dad's sister, given to him
0:39:09 > 0:39:12in his will, so other than that, I know very little, other than
0:39:12 > 0:39:13they thought it was called The Letter.
0:39:13 > 0:39:15So, it's just been in our dining room,
0:39:15 > 0:39:18and it was above our dining room table. The first thing I noticed,
0:39:18 > 0:39:19I love the setting.
0:39:19 > 0:39:21It's definitely English School.
0:39:21 > 0:39:23It's a good oil on canvas,
0:39:23 > 0:39:24just from looking at the image
0:39:24 > 0:39:26and looking at it stylistically,
0:39:26 > 0:39:27that it's mid-Victorian.
0:39:27 > 0:39:30It's sort of circa 1860,
0:39:30 > 0:39:31somewhere around there. OK.
0:39:31 > 0:39:34I'm just going to ask you if we can just lift this off
0:39:34 > 0:39:35and have a look, because what
0:39:35 > 0:39:37attracted me, if we look here,
0:39:37 > 0:39:41what attracted me to this was here, look.
0:39:41 > 0:39:46"The Zennor Poet, St Ives, Cornwall."
0:39:46 > 0:39:49Now, I'm just wondering, is there a Cornish connection in your family?
0:39:49 > 0:39:52Not that I'm aware of. We're Irish. Right, OK.
0:39:52 > 0:39:54THEY LAUGH
0:39:54 > 0:39:57There's a lot of paper labels. Now, the first thing you can tell is
0:39:57 > 0:40:00if you feel this canvas, can you feel that?
0:40:00 > 0:40:01It's very tight. It's been restretched.
0:40:01 > 0:40:04I would imagine there's been some damage on this
0:40:04 > 0:40:05during its life.
0:40:05 > 0:40:07If we can lift this up.
0:40:07 > 0:40:08So it's been relined,
0:40:08 > 0:40:11which means another canvas has been
0:40:11 > 0:40:12stuck onto the back of it.
0:40:12 > 0:40:16There might be a few patches, that's been touched in.
0:40:16 > 0:40:18But the narrative is very strong.
0:40:18 > 0:40:19I like this.
0:40:19 > 0:40:21I like what it represents.
0:40:21 > 0:40:23The artist is very, very skilful.
0:40:23 > 0:40:25I like the expressions,
0:40:25 > 0:40:26I like the skin tones.
0:40:26 > 0:40:28There's some very strong
0:40:28 > 0:40:29qualities about this painting,
0:40:29 > 0:40:31but there are also some weak qualities.
0:40:31 > 0:40:33If you look at the cat here,
0:40:33 > 0:40:36that's rather poor. OK. Can you see that?
0:40:36 > 0:40:38Now, because it's been relined,
0:40:38 > 0:40:40I would suggest it's been slightly cut down. OK.
0:40:40 > 0:40:42Because we've lost the artist's signature.
0:40:42 > 0:40:45Yeah, we couldn't find a signature on this one.
0:40:45 > 0:40:47No, I've looked everywhere, and sometimes,
0:40:47 > 0:40:49it might be hidden somewhere in a basket
0:40:49 > 0:40:51or on the paperwork he's reading, but
0:40:51 > 0:40:52I think it was signed,
0:40:52 > 0:40:55it's been cut down because it's been relined.
0:40:55 > 0:40:56I think the market for this
0:40:56 > 0:40:57sort of genre has slightly dropped.
0:40:57 > 0:41:00Without provenance, without any kind of
0:41:00 > 0:41:02firm identification
0:41:02 > 0:41:05it's really, really hard to get those top figures for this.
0:41:05 > 0:41:09I think it would be sensible to put a guide of ?600 to ?800 on this,
0:41:09 > 0:41:11with a reserve at ?600. OK. Wow.
0:41:11 > 0:41:14I don't think you should let it go for anything less than that. OK.
0:41:14 > 0:41:16I think there is some quality there.
0:41:17 > 0:41:21And I rather like it. Great.
0:41:22 > 0:41:25Later in the programme, we put my valuation to the test,
0:41:25 > 0:41:27along with our second lot of items.
0:41:28 > 0:41:32But first, we headed over to the RAF Museum at Hendon,
0:41:32 > 0:41:33in London,
0:41:33 > 0:41:37where against a dramatic backdrop of historic aircraft,
0:41:37 > 0:41:40something more domestic caught Anita's eye.
0:41:40 > 0:41:46Avril, these are two beautifully looked-after pieces of silver.
0:41:46 > 0:41:49Yes. And I love silver. Tell me, where did you get them?
0:41:49 > 0:41:53Well, I got them from my mother, but she inherited it from her
0:41:53 > 0:41:57own mother, so it's really from my grandmother. Right.
0:41:57 > 0:42:01And I don't believe my mother used them. And I have never used them.
0:42:01 > 0:42:03Now, the round tray first of all.
0:42:03 > 0:42:08It has this wonderful empty cartouche in the middle.
0:42:08 > 0:42:15And in this space here, we could put our initial or a monogram.
0:42:15 > 0:42:17It is empty so something could be added to that.
0:42:17 > 0:42:20That is a good aspect of it.
0:42:20 > 0:42:25If we look at the rim, we have these wonderful embossed flower
0:42:25 > 0:42:30and leaf motifs. Again, a good aspect of it.
0:42:30 > 0:42:38And these embossed flowers are joined by this lovely wavy rim.
0:42:38 > 0:42:40I like that.
0:42:40 > 0:42:43It's also what we call a footed tray,
0:42:43 > 0:42:47which means that it stands on feet.
0:42:47 > 0:42:52And again, we have decorative, or fancy, feet there.
0:42:52 > 0:42:58People who collect silver like to see nice, clear hallmarks.
0:42:58 > 0:43:02And if you rub these hallmarks, it makes it more difficult.
0:43:02 > 0:43:09But I know this little emblem here tells me that it's Walker Hall.
0:43:09 > 0:43:13And although it is well rubbed, I recognise this.
0:43:13 > 0:43:16Walker Hall were good makers -
0:43:16 > 0:43:20good makers of silver and good retailers.
0:43:20 > 0:43:24Now, I've had a very careful look at this hallmark,
0:43:24 > 0:43:28and I can see that it is Chester.
0:43:28 > 0:43:33And I would date this to probably, from its design,
0:43:33 > 0:43:36the 1920s. Right.
0:43:36 > 0:43:39So before I give you a price on this, I'd like to go onto
0:43:39 > 0:43:43this tray here, which is a different style altogether. Yes.
0:43:43 > 0:43:48It has probably been part of a dressing table set. Yes.
0:43:48 > 0:43:52And the brush and mirror would have backs that would be embossed
0:43:52 > 0:43:54with the same motif as this. Yes.
0:43:54 > 0:43:58Now, the marks are a bit clearer on this one.
0:43:58 > 0:44:01It's Birmingham. It's 1900. So it was just at the turn of the century.
0:44:01 > 0:44:02Yes.
0:44:02 > 0:44:06And it was made by Henry Matthews, one of the good Birmingham makers.
0:44:06 > 0:44:11And what we see here is a romantic scene... Yes.
0:44:11 > 0:44:14..where a young chap
0:44:14 > 0:44:18is serenading two young women. AVRIL LAUGHS
0:44:18 > 0:44:21It's an idyll,
0:44:21 > 0:44:23especially for the young guy. Yes.
0:44:23 > 0:44:26I would like to split them up. Right.
0:44:26 > 0:44:30I would put an estimate of ?200 to ?300 on this tray,
0:44:30 > 0:44:33with a reserve of 200.
0:44:33 > 0:44:39Yes. On this one, I'd like to put 150 to 200.
0:44:39 > 0:44:42And if we can, maybe a little discretion on this one
0:44:42 > 0:44:46because it's only part of something. Yes. Would you be happy with that?
0:44:46 > 0:44:48Yes, that would be OK. Two lovely items.
0:44:48 > 0:44:52I'm sure they'll do very well and I hope that my estimates will be
0:44:52 > 0:44:55conservative and that they'll go much higher. Thank you.
0:44:55 > 0:44:58Thank you for bringing them along. Thanks a lot.
0:44:58 > 0:45:01Two very different but equally immaculate silver trays,
0:45:01 > 0:45:05and Anita was clearly delighted by both.
0:45:05 > 0:45:08Next up, we return to the National Maritime Museum Cornwall
0:45:08 > 0:45:11where amongst the backdrop of seafaring boats,
0:45:11 > 0:45:15Caroline Hawley found a more land-loving creature.
0:45:15 > 0:45:16Chris, thank you
0:45:16 > 0:45:21so much for bringing this gorgeous lady in to see me. You're welcome.
0:45:21 > 0:45:24So, first of all, tell me about you, are you from this area?
0:45:24 > 0:45:27No, I'm from Kent originally. Right.
0:45:27 > 0:45:30And I've been down here about 24 years.
0:45:30 > 0:45:32And how did you come across this gorgeous thing?
0:45:32 > 0:45:37I was at art college in Bromley in Kent and on my way to college
0:45:37 > 0:45:40one day I saw this in a sort of shop jumble sale
0:45:40 > 0:45:44and I just fell in love with it and thought, "That's terrific."
0:45:44 > 0:45:48And bought it for 1/6d. 1/6d? Yes.
0:45:48 > 0:45:52And what date was that? That was about, well, spring 1970.
0:45:52 > 0:45:55I'd had it for 24 years when a friend of mine
0:45:55 > 0:45:57discovered the button in the ear
0:45:57 > 0:45:59and said, "You've got a Steiff here,"
0:45:59 > 0:46:01and I said, "Oh, I didn't realise."
0:46:01 > 0:46:03Well, that's the first thing we look at when we see these toys,
0:46:03 > 0:46:06to find the magic name Steiff.
0:46:06 > 0:46:09I'd seen them on teddy bears, but didn't realise they'd do a cow.
0:46:09 > 0:46:12No, exactly. There's the button, in the ear.
0:46:12 > 0:46:15You've got these lovely kid-covered horns,
0:46:15 > 0:46:19which some of the kid's worn off and the little hooves and really,
0:46:19 > 0:46:24when you consider that this was made in the late 19th century,
0:46:24 > 0:46:29it's in remarkably good condition. It's straw-filled. Yes.
0:46:29 > 0:46:30Mohair.
0:46:30 > 0:46:35And it's been played with and loved, so obviously it's got some rubbing
0:46:35 > 0:46:39to the hair and it's missing just one of the wooden wheels.
0:46:39 > 0:46:40It's gorgeous.
0:46:40 > 0:46:45Now Steiff, the company, was set up by Margarete Steiff in 1880 and
0:46:45 > 0:46:50it was the maker of fabulous quality toys, bears, things such as this.
0:46:50 > 0:46:54By the beginning of the 20th century,
0:46:54 > 0:46:56they were making upwards of one million bears a year
0:46:56 > 0:47:00and it's gone on ever since, they're still making them to this day.
0:47:00 > 0:47:03Still making them. And they're top-quality things.
0:47:03 > 0:47:08This is knocked a bit by its lack of foot, a little bit of wear,
0:47:08 > 0:47:13but I would fall in love with that and I think loads of people would.
0:47:13 > 0:47:16Have you any idea of value? I know you paid 1/6d, did you say?
0:47:16 > 0:47:191/6d, yes. So have you any idea of today's value?
0:47:19 > 0:47:23I don't know, maybe ?80, ?75, don't know, maybe not.
0:47:23 > 0:47:27I would put a pre-sale estimate of 100-150.
0:47:27 > 0:47:30Oh, really, as much as that? Yeah.
0:47:30 > 0:47:33And then I think if we put a fixed reserve on it... Yep.
0:47:33 > 0:47:35What if we would say ?80 as a fixed reserve?
0:47:35 > 0:47:38That's perfect. Lovely. Thank you. Thank you.
0:47:38 > 0:47:39Chris must have been over the moon
0:47:39 > 0:47:43when he discovered his cow had a Steiff button.
0:47:43 > 0:47:46Back at the sumptuous Ragley Hall in Warwickshire,
0:47:46 > 0:47:50Will Axon's spied an item that was far from perfect.
0:47:50 > 0:47:52Sylvia, Jane, these are in a right state. You haven't
0:47:52 > 0:47:56looked after your collection of postcards very well, have you?
0:47:56 > 0:47:58No, I haven't, have I? What's going on with these?
0:47:58 > 0:48:03Well, they were found years ago and, you know, looked through...
0:48:03 > 0:48:05FOUND years ago? Yes. Where did you find...?
0:48:05 > 0:48:08Where did you find three postcard albums, under a bush?
0:48:08 > 0:48:11Dad found them. He worked at the council tip
0:48:11 > 0:48:14and people were throwing them away. Aah!
0:48:14 > 0:48:18No! Yes. So he just gathered. So he thought, "Well, I'll have that."
0:48:18 > 0:48:19Yes! Too interesting.
0:48:19 > 0:48:20Was he proud of them? Did he...?
0:48:20 > 0:48:24Well, yes, he thought, you know, "That's interesting." Hm.
0:48:24 > 0:48:26It covered a lot of subjects.
0:48:26 > 0:48:28Well, you say "covered a lot of subjects",
0:48:28 > 0:48:31there's something in these albums for everyone, isn't there?
0:48:31 > 0:48:33That's it. I mean, this one that we've got open here...
0:48:33 > 0:48:35We've got landscape.
0:48:35 > 0:48:38We've got a religious scene down there at the bottom. Yes.
0:48:38 > 0:48:41We've got a memorial card for Lord Kitchener.
0:48:41 > 0:48:42We've got The Crooked House.
0:48:42 > 0:48:45That's it, yes. The famous pub. Yes.
0:48:45 > 0:48:47And I've had a look through this album here...
0:48:47 > 0:48:51I'll be careful cos, as I've said, they are slightly fragile.
0:48:51 > 0:48:55I love this one here, look. Napoleon's tomb. Yes. There it is.
0:48:55 > 0:48:58Yeah. And we've got the Eiffel Tower, of course.
0:48:58 > 0:49:01So it almost gives you a sort of snapshot into someone's life,
0:49:01 > 0:49:03perhaps where they've been travelling. That's it.
0:49:03 > 0:49:05And I love these ones here. Look at these.
0:49:05 > 0:49:08This is probably a family portrait... Looks like it.
0:49:08 > 0:49:10..where you've brought the photographer in
0:49:10 > 0:49:12and he sets up the studio.
0:49:12 > 0:49:15And he's done them like a little Mad Hatter's tea party.
0:49:15 > 0:49:17It's rather sweet, isn't it? Yeah. Yes.
0:49:17 > 0:49:20There is a market for postcards.
0:49:20 > 0:49:25And the really sought-after postcards are the very unusual ones.
0:49:25 > 0:49:26That's it, yes.
0:49:26 > 0:49:30You've got things like early aviation, early travel,
0:49:30 > 0:49:31early topography...
0:49:31 > 0:49:36Without going through every single page here and singling them out
0:49:36 > 0:49:39and adding them up and seeing which ones are more desirable than others,
0:49:39 > 0:49:43I think we're just going to have to go with giving a blanket
0:49:43 > 0:49:45valuation for the whole lot.
0:49:45 > 0:49:48And whoever buys them, or bids on them, is going to know
0:49:48 > 0:49:50exactly what they're looking for. Of course they will.
0:49:50 > 0:49:53They're going to have a flip through, they'll say,
0:49:53 > 0:49:55"I want that one, that one, that one."
0:49:55 > 0:49:58So you've got one album here, you've got another album here,
0:49:58 > 0:50:01and they're all pretty much full, aren't they? That's it, yes.
0:50:01 > 0:50:04I've seen albums like this, certainly in this quantity,
0:50:04 > 0:50:07make ?100, ?200, that sort of level. Yes.
0:50:07 > 0:50:11So I think if we were able to put them in at that sort of level,
0:50:11 > 0:50:14how would you feel? I mean, if we said 100 to 200? Yes. Yes.
0:50:14 > 0:50:17Are you happy with that, Jane? Yes. What about a reserve?
0:50:17 > 0:50:19Shall we let them go?
0:50:19 > 0:50:22Let them go. Let them go. Oh, I like you, living dangerously.
0:50:22 > 0:50:26I like no reserves. Yeah, I like no reserve. They need a good home.
0:50:26 > 0:50:30And without reserve, we are on for a definite sale.
0:50:30 > 0:50:32Yes. See you at the auction. Thank you. Well done.
0:50:32 > 0:50:35Trust Will, he always lives dangerously.
0:50:35 > 0:50:38Now it's time to see how well our final batch of items
0:50:38 > 0:50:40sold at auction.
0:50:40 > 0:50:44Avril's two silver trays were passed down from her grandmother
0:50:44 > 0:50:45in pristine condition.
0:50:48 > 0:50:52If only the same could be said for Sylvia's postcard albums,
0:50:52 > 0:50:56which were found on the council tip by her father.
0:50:58 > 0:51:02Chris got his Steiff cow on rollers for one shilling and sixpence,
0:51:02 > 0:51:05so it stood a great chance of making a profit.
0:51:08 > 0:51:11And finally, there was Ian's painting - The Zennor Poet -
0:51:11 > 0:51:14which came from my home county of Cornwall.
0:51:17 > 0:51:20The painting was the first to go at auction back at
0:51:20 > 0:51:21Andrew Smith Son near Winchester,
0:51:21 > 0:51:26where Andrew Smith took to the rostrum once more.
0:51:26 > 0:51:30Excited? Very. Nervous but excited. I'm nervous. I'm quite worried.
0:51:30 > 0:51:32Here we go. I've got my lucky pom-pom. Good.
0:51:32 > 0:51:34I've got my fingers crossed. Here we go.
0:51:36 > 0:51:37Start me at ?600.
0:51:37 > 0:51:39500 then.
0:51:39 > 0:51:40Try 400 to get it going.
0:51:40 > 0:51:42?400. Thank you. And 20.
0:51:42 > 0:51:44At ?400. And 20.
0:51:44 > 0:51:46Right, OK, it's a start. 450.
0:51:46 > 0:51:49450. 470. 500.
0:51:49 > 0:51:52And 20. 550.
0:51:52 > 0:51:55570. 600.
0:51:56 > 0:51:58And 20. They sold it. Excellent.
0:51:58 > 0:52:00At ?600 up at the top there.
0:52:00 > 0:52:02We are selling. Is there 20?
0:52:02 > 0:52:06At ?600 for the very last time... I'm pleased with that. At ?600...
0:52:08 > 0:52:11Yes! That was close, but I am ever so pleased.
0:52:11 > 0:52:13And I hope it is going to a good home.
0:52:13 > 0:52:17Let's hope. Thank you for bringing it in. No problem. Thank you, Paul.
0:52:17 > 0:52:21I'd like to think Ian's painting found its way back to Cornwall.
0:52:23 > 0:52:25Next, we travel back to London to Chiswick Auctions,
0:52:25 > 0:52:28and William Rouse was on the rostrum.
0:52:28 > 0:52:31Avril's pair of silver trays was up for sale
0:52:31 > 0:52:34and being sold as two separate lots.
0:52:36 > 0:52:38Well, we've got a real treat for you right now.
0:52:38 > 0:52:41We're serving up a Victorian silver tray in the Georgian style,
0:52:41 > 0:52:42with pie crust edges.
0:52:42 > 0:52:45And I like this, Avril. Oh, good. I like it a lot.
0:52:45 > 0:52:48?200 to ?300. I think we could see the top end, plus a bit more,
0:52:48 > 0:52:51because of its style. It's got something about it.
0:52:51 > 0:52:54Let's find out what the dealers here think, shall we?
0:52:54 > 0:52:55It's going under the hammer now.
0:52:55 > 0:52:59396 is a Georgian style salver.
0:52:59 > 0:53:01And there we go. Start me, ?200 for it.
0:53:01 > 0:53:04I thought so. ?200 is bid. 210 is bid.
0:53:04 > 0:53:07220. 220 here.
0:53:09 > 0:53:12Anybody else then? At 220 in front of me. Is that it?
0:53:12 > 0:53:14All finished and done? 220...
0:53:15 > 0:53:18It's gone at 220. You were right.
0:53:18 > 0:53:20It's gone at 220.
0:53:20 > 0:53:21That's fine. Did our best.
0:53:21 > 0:53:23That's fine.
0:53:24 > 0:53:26That was a good price to get us off the mark.
0:53:26 > 0:53:30And although Avril's second silver tray had a lower estimate,
0:53:30 > 0:53:33we all hoped it would sell just as well.
0:53:33 > 0:53:36We are going to find out what the bidders think right now. Here we go.
0:53:36 > 0:53:40?150 for it. 150.
0:53:40 > 0:53:43170 on the internet. 180.
0:53:43 > 0:53:44190.
0:53:44 > 0:53:46200.
0:53:46 > 0:53:48210. 220.
0:53:48 > 0:53:50220 in the room.
0:53:50 > 0:53:52230 on the internet.
0:53:52 > 0:53:55230 on the internet is bid. Anybody else?
0:53:55 > 0:53:57At 230, here at 230...
0:53:59 > 0:54:01Deserved. Well deserved. There you are. Thank you.
0:54:01 > 0:54:03Because it had that... ?230.
0:54:03 > 0:54:05..little bit of decoration,
0:54:05 > 0:54:09that little bit of extra something. It was unique as well. Well done.
0:54:09 > 0:54:12Thank you for bringing that in, cos it was lovely.
0:54:12 > 0:54:14A fantastic result that was.
0:54:14 > 0:54:16The two silver trays sold
0:54:16 > 0:54:22for a total of ?450, and Avril went home happy.
0:54:22 > 0:54:25Next, we travelled west to my home county of Cornwall
0:54:25 > 0:54:28to Jefferys auctioneers in Lostwithiel.
0:54:28 > 0:54:32The man we hoped would get more than a few beans for Chris's Steiff cow
0:54:32 > 0:54:34was auctioneer Ian Morris.
0:54:34 > 0:54:36Right, so far so good.
0:54:36 > 0:54:38Now if I said to you, "A cow on wheels,"
0:54:38 > 0:54:41I know what some of you'd think, "Fast food, yes, a burger to go,"
0:54:41 > 0:54:42but no, no, no,
0:54:42 > 0:54:45this is a Steiff toy belonging to Chris who's here with me now.
0:54:45 > 0:54:49You've had this for a long, long time. Yes, 45 years.
0:54:49 > 0:54:50Good luck with that. I know it's got
0:54:50 > 0:54:52a lot of memories you, lots of memories.
0:54:52 > 0:54:54A big window into the past and, sadly, you're saying goodbye
0:54:54 > 0:54:57to it, but we're going to find it a new home right here right now.
0:54:57 > 0:54:59This is it.
0:54:59 > 0:55:01Right, we move on to Steiff cow.
0:55:01 > 0:55:03Poor Daisy had a bit of a hard life.
0:55:03 > 0:55:08Daisy, there we go, look at that. Yeah. Yeah! ?80 away. ?80? At ?80.
0:55:08 > 0:55:09The bid's with me. ?90.
0:55:09 > 0:55:16?100, 110. 120. At 120, the bid's with me. 120, 130 now.
0:55:16 > 0:55:21At ?120 I'm bid. We're done at ?120.
0:55:21 > 0:55:25Good price. Good price considering. the condition. It's amazing. Yeah.
0:55:25 > 0:55:29And I'm pleased you didn't fashion up a modern wheel and stain it
0:55:29 > 0:55:31and made it look old, because it would detract from its character.
0:55:31 > 0:55:35Absolutely. It's always better to sell it in its original state.
0:55:35 > 0:55:37There's still a bit of string tied on at the bottom,
0:55:37 > 0:55:40so someone could have pulled it. Oh! It's still on there.
0:55:40 > 0:55:42That's touching, isn't it? That's touching.
0:55:42 > 0:55:44Thank you so much for bringing that in.
0:55:44 > 0:55:47We have found that cow a new home. Job done.
0:55:51 > 0:55:53Now for our last stop on today's show,
0:55:53 > 0:55:57and we returned to Bigwood Fine Art Auctioneers,
0:55:57 > 0:55:59where Stephen Kaye was on the rostrum.
0:55:59 > 0:56:04We were here to sell Sylvia's battered postcard albums.
0:56:06 > 0:56:09We always have lots of surprises with postcard albums.
0:56:09 > 0:56:13And, you know, something that might be valued at 200 to 300 sometimes
0:56:13 > 0:56:15reaches ?600. But it's really hard to say.
0:56:15 > 0:56:18We'll put them to the test right now. They're going under the hammer.
0:56:19 > 0:56:22I can start here on the book at ?200.
0:56:22 > 0:56:24Anybody give me another 10?
0:56:26 > 0:56:28210. 220. 230.
0:56:28 > 0:56:29240. 260.
0:56:29 > 0:56:31280. 300.
0:56:31 > 0:56:32Still going.
0:56:32 > 0:56:34300. Someone in the room now. 320. 340.
0:56:34 > 0:56:36360. 380.
0:56:36 > 0:56:38That bid on the book, look. Yeah.
0:56:38 > 0:56:42No? 400 on the book. THEY WHISPER
0:56:42 > 0:56:45450. I'll go 500.
0:56:45 > 0:56:46I've got 500 here.
0:56:46 > 0:56:48You don't want to top it?
0:56:48 > 0:56:50Selling at ?500.
0:56:50 > 0:56:52Going once.
0:56:52 > 0:56:53Twice.
0:56:53 > 0:56:55?500!
0:56:56 > 0:56:59I knew something like that would happen. It always happens
0:56:59 > 0:57:02on those postcard albums. It is such a tricky thing to value.
0:57:02 > 0:57:05The collectors were here. Great job done on the rostrum.
0:57:05 > 0:57:06So we're all very happy.
0:57:11 > 0:57:14Well, that's it. Sadly, we are coming to the end of the show.
0:57:14 > 0:57:17But we've had some great results in auction rooms across the country
0:57:17 > 0:57:20and we've seen some wonderful treasures here,
0:57:20 > 0:57:21at Pollok House in Glasgow.
0:57:21 > 0:57:24It's been a real privilege. I hope you've enjoyed the show.
0:57:24 > 0:57:26So until the next time, it's goodbye.
0:57:59 > 0:58:0170 years after the partition of India,
0:58:01 > 0:58:02Anita Rani and three other Britons
0:58:02 > 0:58:04discover how their families were torn apart.