London 19 Flog It!

Imagine this. It's the First World War.

Not only am I trying to fly this aircraft,

but I'm also trying to take photographs of the ground below

to pinpoint the advancing German army,

whilst dodging bullets from a German fighter.

All of this in a flimsy wooden aircraft with no parachute.

Yes, stay with us, we are flying high. Welcome to "Flog It!"

This has been called the birthplace of aerial power.

We are at the RAF Museum at Hendon, in London.

And today, it's opening its hangars to "Flog It!"

The site was developed in 1911 and was known as the London Aerodrome.

It became famous for setting up

some of the first flying schools in the country

and played a key role in the training of pilots

to fly in the First World War.

Today, the museum displays 100 aircraft in all shapes and sizes.

And the star of the show has to be this Lancaster bomber

from the Second World War.

So where better than these historic hangars for our experts to

test their mettle?

And feeling at home beneath the cockpits is our man who loves

a bit of history, Mark Stacey.

Made especially for Harrods.

Joining him with her sights on some treasures

is the queen of the saleroom, Anita Manning.

And already they are competing.

It's a case of handbags at dawn.

Anita, I've found something for you. You love a bag.

SHE LAUGHS

When do they date from, Anita? About 1930, '50s?

1920s, 1930s.

Of course, you don't remember any of those days, do you, Anita?

-Watch it!

-THEY LAUGH

I'm leaving while I still can.

And we've got a magnificent crowd here today,

and some of them have already been stickered up. You have and you have.

So good luck. We may see them later on in the show.

Everybody is laden with antiques and collectables

here to see our experts, to ask that all-important question.

-Which is? ALL:

-What's it worth?

And if they are happy with the valuation, what are you going to do?

-ALL:

-Flog it!

Right, it's chocks away! Let's get to the valuation tables.

Come on, everyone.

There is no time to waste and plenty of room for this crowd,

as they propel themselves past the historic planes.

Coming up...

Anita sees some amazing photos of Hendon back in the 1930s.

-It's made my day.

-Thank you.

Mark's bowled over by an incredible picture.

It's one of the most interesting items I've ever,

ever filmed on a "Flog It!"

And I learn about the ground-breaking work

done by the brave young airmen who risked their lives in the skies.

Good luck, everyone. Fingers crossed.

It could be you going off to auction.

This is where their journey starts, at the valuation day.

The lucky ones go through to the auction room.

We just need to find them. And Anita has made a start.

Here is her first item. And more importantly, our first owner.

Jeffrey, Vivian. Tell me what we've got here.

We've got two albums that were put together by somebody who

was in the Air Force. A Gilbert... His initials were EDP.

And his service number was 801356.

And he worked here at Hendon obviously for some time.

This is his notebook of the workshop

and the laboratory records that he kept.

And at the same time, he took many photos,

some of which were actually

taken inside the hangars that we are sitting in at this very moment.

Tell me, how did you come by it?

Our son is a collector.

So when I said we'd like to go to "Flog It!"...

"Ah," he said,

"I think I've got just the thing hidden away somewhere."

And he turned up with this.

-It's made my day.

-Thank you.

And we can see these marvellous photographs here.

"First flight. Hendon. February 17th, 1935."

-So this may have been the first time that he flew.

-Obviously.

Then if we turn over, we have here some pictures of air displays

and aircraft.

And here we have a demonstration of parachute testing

by Virginia bombers.

-So what we have really is a history of Hendon...

-Yes.

-Yes.

-Absolutely.

..in photographs taken personally

-by a young man who worked here...

-Yes.

..and who was obviously passionate about aviation.

I think he was actually in 601 Squadron.

We don't know much about him but that we think we do know.

And here you can see this hangar we're sitting in...

-This is this hangar!

-It's where we are now, yes.

Airmen's sleeping quarters.

So it was obviously used as a very cold bedroom at some point.

Jeffrey, do you have a connection with the Air Force, with aircraft?

I was a national serviceman.

I did my National Service and I was based Northolt.

I was ground crew.

Part of the time I used to marshal the aircraft

and start them with a battery axe,

which you used to insert just behind the propellers.

Then you had to remove it,

by which time, the propellers were whizzing round

and you had to be very careful that you didn't go anywhere near them.

That was quite frightening, I have to say.

-That's where he lost his hair.

-THEY LAUGH

Vivian, did you know him at this time?

No, no, no. A long time afterwards.

This would have been before the Second World War.

And it was really in the Second World War that the Air Force

-came into its own.

-Absolutely.

-If we put it somewhere, say between 100 and 200.

-Right.

-Yes.

It's not often that I'm really lost for words,

and I feel quite moved that you've brought this along today,

so I thank you very much for that.

-It will be interesting to see what happens to it.

-Absolutely.

-Thank you so much.

-Thank you again, folks.

-Lovely to have met you.

It's amazing to think our valuation day is being held within

the same walls as those photos dating back to the 1930s.

And Mark is hard at it, and look what he's found.

-Jane.

-Hello.

-You have brought in the most marvellous drawing.

Please tell me where you got it from.

I bought it at an auction about 45 years ago.

So you obviously fell in love with it at the auction.

-I just looked at it and I got it with another.

-By the same hand?

-No.

-Somebody else?

-Somebody else.

We've done a little bit of history on the artist. And...

The hairs at the back of my neck are going up because this guy,

Matthias Buchinger, also known as Matthew Buchinger, was German.

He was born in 1674 without hands or lower legs.

And yet, he painted.

In fact, there was a self-portrait that he drew of himself.

And on close inspection, the curls of his hair were

seven biblical psalms and the Lord's Prayer.

-I don't believe it.

-You wouldn't believe it.

It is said that he painted with his fin-like arms.

-But, I mean, look at the detail of this.

-I know.

And it's so of that period,

that late-17th-, early-18th-century period.

I love these sort of cherubs here.

Including the fat one seated here.

And then you got this very delicate arch with these lovely,

classical columns coming down.

You've got a figure of a bishop here.

And another gentleman or saint here.

I mean, it is just breathtaking.

I love it.

When you bought it, did you know what you were buying?

Was it catalogued properly?

No, I didn't know what I was buying.

In fact, I really think that the other picture was the one I wanted.

-Really?

-This came as an added extra.

So you paid very little for it, I presume, 40-odd years ago?

-I think the reserve was about £60 for the two pictures.

-Gosh!

I mean, you obviously have an eye for these things

because this is 300 years old.

-It's wonderful, isn't it?

-It is.

You know, I think if I was putting that into auction, I would say to

you, "Let's put it in hopefully

"at a tempting estimate of £200 to £300."

Maybe with a reserve of £200.

The reserve can be up to you, fixed or discretionary.

I think a bit of discretion.

Yes, 10%. If we get up to 190 or something,

-it would be a shame to lose the sale on the day.

-Yes.

I'm really hoping, Jane, actually, that people will respond to it

and see what a magical work of art this is.

Hopefully, you know, it might surprise us.

It's one of the most interesting items I've ever,

ever filmed on "Flog It!"

-So I'm thrilled to be part of it.

-Nice.

Buchinger achieved fame in England during the 1720s

as an artist, musician and card player.

His engraved self portraits make

no attempt to hide his physical differences.

And he performed shows for the upper classes, including royalty,

which challenged his audiences' thoughts about a limbless person.

I've left the hustle and bustle of the historic hangar

for a wing of the museum which celebrates the work of

a real pioneer who believed flight was more than just science fiction.

His name is Claude Grahame-White

and he ranks alongside some of the great pioneers of early

aviation, like Sir Tommy Sopwith and Captain Sir Geoffrey De Havilland.

This is a replica of his office.

And it's been painstakingly recreated as a tribute to a man who

firmly believed that planes would one day circumnavigate the globe.

Always a fan of speed and adventure,

he learned to fly in France. And in 1910,

he entered a competition to fly from London to Manchester.

He was beaten by the Frenchman Louis Poulain,

but competing gave him valuable publicity

and he bought a site at Hendon in 1911

and set up a flying school.

A recording made back in 1954 looking back on his life

shows just how much he believed in the potential of aviation.

Just listen to this.

'We also had meetings at night

'when the planes went up festooned with flashing electric lights.

'We even had demonstrations of bomb dropping at a dummy battleship

'erected on the aerodrome.

'But people at that time regarded a flying machine as unlikely to

'be of any use in war, or indeed,

'to influence in any way the future of transport.'

Grahame-White was a visionary.

So much so that his site was commandeered by the Admiralty

for training during the First World War.

White himself flew reconnaissance missions, but after a serious

accident in 1915, his wife banned him from flying.

He later turned his energy to property and speedboats.

Although he did a great deal to show people that aircraft would be

a superb commercial prospect,

he never really gained the recognition he deserved.

But to those in the crowds watching the Grahame-White circus, he proved

to be much more than just a man in his magnificent flying machine.

Back to the here and now, where Anita - like a magpie -

has gone straight for the bling.

-Catherine, welcome to "Flog It!"

-Thank you very much, Anita.

This is an interesting thing that you've brought along here.

It's a retro watch from the 1970s.

Tell me, where did you get it?

It belongs to my mother,

but she got it from her aunt who lived in America,

who died and left her all her jewellery.

Can you remember your auntie?

-Yes, very well indeed.

-Was she a stylish sort of woman?

Yes, she was. Yes.

Clothes, jewellery and so on.

Clothes, jewellery, her husband was an interior designer so...

-Right. It's a Boucheron, which is a French make.

-Right.

This would have been sold in the high-end Parisian jewellers

and watchmakers.

We've got a good make there.

-It's also made in 18-carat gold.

-Yes.

And that is the important thing...

-Right.

-..in today's market.

But...I feel that the watch has bags of style about it.

On the surface of it, it appears very, very simple.

It's almost like a bracelet.

But you have this tiny little bark detail on it. And I like that.

The watch face is tiny.

This is a negative aspect because it's very hard to see the time

-unless you are about 18.

-THEY LAUGH

But it still is a watch.

And it's in working order, as I see.

There is a great revival of interest in jewellery from the 1970s.

And I think that this might fall into that category.

So I'm hoping that we are attacking it from two angles here

rather than just the gold one.

I would like to estimate it at 700 to 900

and I would also like to give the auctioneer

a small piece of discretion.

How much discretion do you give them? About 10%?

About 10%.

Yeah, OK.

Listen, I'll be there rooting for it

and hoping that there's '70s gals there.

-Because it is becoming fashionable now.

-Yeah.

But it's a great item. Thank you very much for bringing it in.

Thank you very much indeed.

We'll see if it's time to get out of the flares.

Mark's alighted on a colourful vase, but it's not all it seems.

Jill, Ray, you've brought in a wonderful vase to show us.

-Mm-hmm. Thank you.

-Very interesting, where did you get it from.

From my mum. She inherited it from my great aunt

and then when she died, Mum gave it to me.

-Oh, wonderful. And you've loved it?

-I don't think she liked it much. No...

-You don't like it?

-No!

-You don't like it?

Doesn't fit in with your home at all.

I love it. I love the simplicity of it

and when I first saw it, I thought, "This is by Della Robbia."

A very small factory based in Birkenhead in Liverpool

who produce this wonderful sort of Art Nouveau, arts and crafts,

handmade, beautiful pottery.

But, since looking at it, we've discovered it's by

an Italian artist with the most wonderful name -

Giovanni Carlo Valentino Manzoni

-Right.

-Now, he started in Turin

and he travelled over Europe and America and settled

-in Chelsea in London.

-Oh, really?

And he was a neighbour of Conrad Dressler

who co-founded the Della Robbia factory.

-Oh!

-So, there is a connection there with Della Robbia.

It didn't work out and Manzoni started his own business

producing wonderful, simple patterns like this, which I love.

And this is dated as well. 1896.

That's just after he left the Della Robbia factory.

It's almost Grecian. I think it's wonderful.

I know you don't, but I absolutely love it.

-Ray, what do you think of it?

-I love it.

You love it?! Then why are you letting her sell it then?

-It's Jill's item, so...

-It's mine.

-You know? Lady's choice.

-Well, I think that's so magnanimous of you.

-There's a little bit of damage, somebody's bashed it a bit there.

-Mm.

But, of course, if you turn it round,

-You don't see it at all.

-No.

-It's like magic.

It was there, now it isn't.

Now, you've got to be realistic because the market fluctuates for these.

My gut feeling

is a wide estimate of between £100 and £200.

And fix a reserve of £100.

So we won't sell it below £100

and hopefully that will attract the right bidders.

-Yeah...

-What do you feel about that?

-Yeah, that would be great.

-Would you be happy with that?

-Yeah, definitely.

I love this piece and I've learnt a lot about Manzoni

so, if I... If nothing else, I can go away having learnt something.

-You could buy it!

-If only I was allowed to,

I would happily buy it, but, sadly, I'm not.

And, now for a piece of local interest.

The great and the good and the not-so-good

are all buried here - people from all walks of life.

There are philosophers, artists, poets,

authors, buried alongside bare-knuckle fighters,

punks and even one of the great train robbers.

There are no class distinctions here.

People who may never have met in life now lie side by side in death.

This is Highgate Cemetery in North London.

There are 53,000 graves housing 170,000 people here.

It was opened by the London Cemetery Company

in 1839 to meet a huge demand

for more space to bury the dead.

Highgate is on a hill, and in the 1830s,

this whole area was on the outskirts of London,

away from the burgeoning population.

Now, the census records show us in 1801,

the city had a population of nearly 1 million people.

But, by 1841 with the movement of the Industrial Revolution

and everything moving full-tilt at such a pace,

that population had doubled

making London the largest city in the world.

In the poorer areas, there was overcrowding

and poor sanitation - a perfect breeding ground for diseases

like cholera, typhoid and scarlet fever.

And, in those days, there was no health service.

In 1840, 125 people were

dying in London each day.

England's capital was bursting at the seams,

both with the living and the dead

and the city's graveyards couldn't cope with the mounting number of dead.

So, a solution had to be found.

The answer was more places of burial.

Highgate was one of eight cemeteries

set up within a ring around the outskirts of the city.

I'm meeting up with Ian Dungavell

of the Friends of Highgate Cemetery Trust to find out more.

So, how did the Cemetery operate?

Well, it was a private company, so it was set up to make a profit.

You had to sell the most prestigious graves for the biggest price,

so they were in prominent positions around the front of the paths.

-And...

-Sort of small architectural statements in themselves?

They were, and they're actually quite individual, so there's all sorts of different styles around.

You would have a grave which suited how you saw yourself in the world,

sometimes even with your address on it to show what sort of classy person you were.

And then there's the second round,

so these are people that had less money,

those are still private graves, but row upon row of them.

If you were a commoner, you could be buried in graves 30-feet deep,

-put below paths.

-So, that's one on top of the other.

-And...

-And then below a path?

Below a path, so you got trodden on as well.

THEY LAUGH

It was all about money. So, they crammed them in,

and, eventually, when the Cemetery was full, they ran out of space,

they ran out of money, they locked the gates and went bankrupt

and then the Cemetery was taken over

by a charity and we look after it today.

The Cemetery is on two sides. The West Side was used first.

However, it filled up so quickly,

that within just 15 years of Highgate opening,

the owners bought more land to the East

which almost doubled the Cemetery's size.

Like all cemeteries, Highgate has its fair share of architectural statements

and famous people, and, indeed, many

of these tombstones tell their own story.

For instance, this is the largest

and grandest of all the privately-owned monuments.

It's an exceptional family tomb with breathtaking design and poignancy.

Just look at this.

It was commissioned by Julius Beer, a newspaper owner

for his little daughter Ada, and there she is there,

who sadly died at the age of eight from scarlet fever.

No expense was spared. This is a

real show of love and tenderness.

But it wasn't just the wealthy who were given symbolic tombs.

I like the dog, the faithful dog guarding the tomb,

whose tomb is that?

That's the tomb of Tom Sayers who is

the most famous Victorian bare-knuckle fighter.

This was the largest working-class funeral of the 19th century.

And Lion followed the hearse in his own carriage as the chief mourner -

It was a really amazing sight. Over 100,000 people lining the route up from Camden Town.

And I'd imagine this was frequently visited back in the day?

It certainly was. It's always been

one of the most visited graves in the Cemetery.

And, on the day of the funeral of course, there were thousands of people around...

What did they do?!

They were making all sorts of noise, sitting on graves,

it caused quite a scandal at the time because it was like

the working classes had invaded

the most famous middle-class Cemetery of the country.

Class was no obstacle.

Money was key and that's why there's such a diverse mix of people here.

From the revolutionary socialist Karl Marx

to the great train robber Bruce Reynolds.

And each grave reflects the achievements of those in them.

Do a lot of people want their own graves personalised?

I think it's always about the person

rather than having a catalogue design

and one of the most interesting ones we've got of the modern period

-is the artist Patrick Caulfield.

-Yes, I know him.

His monument is a great big slab of stone with the letters

D-E-A-D, dead just punched through.

It's really very striking.

That's very simple. It's quite minimalist.

It's absolutely unique, there's nothing else like it anywhere else.

It's also nice to reflect on our own mortality and it's

hard not to think about how you're going to be remembered

as you're walking along the paths here.

I think you're right, actually. I do question my own when I'm walking around.

I'd like to end up here, touch wood.

THEY LAUGH

-How much does it cost?

-Well, it depends whether you're going to be full buried or cremated, so...

-I want a proper one.

-A proper one... Oh, £10,000, £15,000,

but, it's Location, Location, Location, isn't it?

This Cemetery is probably one of the most famous in the world.

Its history, its architecture, the people that are buried here

make it a fascinating place to visit.

But the story doesn't end there.

It's more than just a tourist attraction.

It's a peaceful place, a place of contemplation and reflection.

We've got our first four items, now we're taking them off to the sale.

But before we close those cabin doors,

here's a quick recap of all the things we are taking with us.

The pride and joy of an RAF serviceman.

The photo album with its history

of Hendon will appeal to those

interested in aviation,

so fingers crossed.

Then there is this incredible illustration by an artist

whose disability was

no obstacle to his talent.

And what about this stylish '70s cocktail watch?

With kitsch from this decade

in vogue again,

we should have some interest.

There's the colourful vase from an Italian designer.

We're heading south now, across London,

towards the River Thames for our auction today.

We're at Chiswick Auctions

and on the rostrum, in charge of the gavel,

is trusty auctioneer William Rouse.

Remember, if you are buying or selling at auction

there is a commission to pay.

Here at the Chiswick auction rooms, it's 15% plus VAT.

But these prices do vary from saleroom to saleroom.

So check the details. They are normally printed in the catalogue.

Or ask a member of staff because it does add up.

So don't get caught out.

60. Five. 70...

First up, we've got national serviceman Jeff.

Vivian and Jeff, great to see you again.

And I must say, I love the blue. I love what you are wearing.

That is such a good blue colour.

-You're both in blue.

-Well, yeah.

-It's a team effort.

-Yes!

We are just about to sell the two photo albums.

It's really the early history of RAF Hendon.

-Some of it.

-Some of it, yes.

This kind of thing is so hard to put a price on. It really is.

We've put £100 on it.

It really is a piece of history and I found the whole story of it

just absolutely fascinating.

There is research there for somebody to do if they are interested.

Exactly, yeah. Fingers crossed they fly.

Here we go.

Two albums and a training manual.

A lot of interest in this lot, I'm pleased to report.

I'm straight in on £140.

£140 to start.

150 I'll take in the room.

At £140 on commission bid.

Thank you, 150. I've got 160.

170. 180.

190 in the corner of the room.

At 190. Against my commission bid.

190. Are we all finished?

It's selling.

-£190.

-That's good.

-Right.

-Very good.

Well done, and thank you for bringing that in.

It was our pleasure.

Hopefully, that was bought by someone who loves aeroplanes

as much as the serviceman who took the photos.

Next up, Jill and Ray, the husband

and wife who don't always share the same tastes.

Divided opinion here.

-It's got to go.

-It's mine, anyway, so...

-You've put your foot down.

We've got to go, definitely got to go.

Let's fine out what the bidders think right now, here we go.

Nice vase, in good condition, and, what's it worth?

I'm bid £65, not enough, £70, I'll take in the room.

-It's a start, if we get it.

-Come on!

-65, 70, 75.

80, 85.

90, 95.

-Bid on the internet.

-Was it?

-£100 on the internet, at 100.

110 on the internet. 120.

120 on the internet for it at 120.

Anybody in the room? No?

-At 120 on the internet...

-It's going to be selling.

GAVEL BANGS

-He sold it, didn't he?

-120.

Bit disappointed. I would like to have made it near the 200.

-But that's the market, I suppose, isn't it?

-Yeah.

The current market for them.

Could have done a bit more, but, look, it's gone within estimate.

Great news for Jill who has finally got this out of the house.

Now, was Anita right about the '70s revival?

Catherine, good luck. I could say time is up for your little watch.

-Would you wear it?

-It's got bags of style.

-It's from the 1970s and that style of jewellery is coming back in.

-Mm.

But it's got a tiny, tiny, tiny little face.

-You can't really read it.

-It's too small.

We are going to find out what the bidders think now with

this 1970s cocktail watch.

It's going under the hammer. Here we go.

Lot 493, the Boucheron 18-carat gold lady's cocktail watch.

Nice thing.

There we go. What's it worth?

Start me at £500.

550. 600.

-650 is bid in the room.

-650.

In the room at 650.

He's on the phone.

How much are we asking for William?

-Do you like 700?

-Would you like 700?

-Yes.

-That was worth waiting for them.

Oh, the suspense.

-750 is bid.

-Yes!

-Right.

This is good. 750.

800. At £800 on the telephone.

With you at 800.

I think we are done.

-Yes!

-Yeah. £800. Wasn't that great?

-Thank goodness!

What a tense moment that was.

I knew this was going to be a rollercoaster ride today.

420. 440. 460.

Things are hotting up now, but what about our next lot?

This is a hard thing to value.

-It's extraordinary, 18th century...

-I adore it.

It's our sort of thing, it's a proper antique.

It is a proper antique and I think it's the oldest thing in our sale today.

-Really?

-Oldest, certainly.

So, look, good luck with that, here we go, this is it.

565 is this rather unusual picture.

Start me at £150 to go for it.

150 is bid, 160.

170. 180. 190. 200.

-210.

-Oh, good.

210, there in the doorway. 220. 230.

240. 250.

-In the room at 250.

-(Well done.)

260. 270.

280. 290.

300. 320.

360 on the internet. In the room now at 480.

£400 on the internet. 420 in the room.

440 on the internet.

460 on the internet.

480 in the room.

-520 on the internet.

-I can smile now. This is it.

In the room at 540.

-560.

-Yes!

-580.

Are you all finished and done then?

-£600 on the internet.

-Yes!

At £600. I'm going to sell it for 600.

It goes...

£600, Jane.

That's brilliant, isn't it?

That's just wonderful, isn't it?

Quality always sells, and we sell it time and time again.

You had some quality, you brought it in.

And you've made quite a bit of money out of that, haven't you?

Thank you very much.

No, thank you for bringing us such a unique item to Flog It!

3,700 on the telephone.

Some great results there at the auction.

And we'll be back here a little later for more excitement.

At 140, we go.

There's still so much to discover here at the RAF Museum at Hendon.

Each plane tells a story.

And this iconic symbol of the Second World War -

the Lancaster bomber - was a key player.

The fleet carried out more than 150,000 bombing sorties.

Much of the technology you see here today was developed nearly

three decades earlier, out of sheer desperation and necessity.

Then, the First World War was upon us.

And new ways of finding and fighting the enemy were called for.

The war effort took to the skies

and it was an often shaky and deadly start.

Contrast the Lancaster bomber that we've just seen,

with all its heavy metal and four engines, with this.

It's incredible to think that this is

the type of aircraft our pilots were flying in 1914.

It's made of wood and it's exposed to the elements.

And there's no sign of any guns to deter the enemy.

In fact, it looks too light to carry any guns.

The era between 1914 and 1918

marks a key turning point in aviation history.

And a new exhibition here at the museum shows what incredible

innovators there were among the early pioneers

during the First World War.

Let's not forget, there was still no Royal Air Force.

The design and the development of aircraft was down to just

a few brave men.

Britain's air services were run by two organisations -

the Royal Flying Corps, which was linked to the Army,

and the Royal Naval Air Service.

They were small units with just 1,000 people in each.

Curator Adam Shepherd, who has put the exhibition together,

is here to give me an insight into those incredibly brave men

and their flying machines.

So, who was taking to the sky in those early days?

A wide range of people, really.

People were doing it primarily for fun.

They were daredevils.

They wanted to learn how to fly, see the world from a different angle.

A pioneering sort that could afford to do it.

Oh, yes, yeah, yeah.

It would cost you about £75 to take flying lessons.

-That's about £6,000 in today's money.

-Which is a lot of money.

It's very expensive, yeah.

There was no idea of reconnaissance or battle use or anything like that?

No. It was exciting activity. You did it for the sport, for the joy.

People didn't realise it was going to be something that was

going to be used in a war.

When were aircraft first used for reconnaissance?

Aircraft had been used for reconnaissance

before the First World War, where the first British pilots to

actively go out and seek the enemy were the Royal Flying Corps.

-Mmm-hmm.

-They flew over German positions and sent messages back

to their commanders.

We have here a sketch.

It was produced by a reconnaissance pilot at the start of the war.

-Mmm-hmm.

-And it shows German positions at Mons in August 1914.

It enabled the British Army to avoid being encircled.

So it's a critical moment at the start of the First World War.

Defining moment for the Royal Flying Corps.

That's where they learned their trade.

And would that literally be put in some kind of canister

-and dropped over the side?

-Yeah, they used streamers.

Little weighted bag with a lead weight in it. They would drop it...

-Fantastic. Hey presto!

-Yeah.

-Early reconnaissance.

-Yeah.

We weren't the only ones in the skies.

The Germans had developed airships, including zeppelins, for air travel.

And with Britain ill-prepared for attack from above,

the Germans turned these airships into bombers.

Air strikes using aircraft and zeppelins

killed more than 1,000 people.

And they cast a menacing shadow.

It was thanks to the efforts of this man,

Lieutenant William Leefe Robinson,

that Britain was able to fight back.

In September 1916, he was flying an aircraft similar to this one, the

BE2, when he downed a German airship that was flying over Hertfordshire.

The bullets he fired set fire to it.

Not only did Robinson win the Victoria Cross for his valiant

effort, but he also proved that aircraft could be

used for a lot more than just simply reconnaissance.

Modifications were made to the plane,

including adding an extra fuel tank.

And with the newly-developed incendiary bullets,

capable of igniting the highly-flammable hydrogen-filled

airships, these light planes were turning into fighting machines.

It wasn't just aircraft that were becoming more technically advanced,

pilots were too, thanks to early flight simulators.

And this is a reconstruction of one, based on a rocking fuselage

developed by Lanoe Hawker, who learned to fly right here at Hendon.

And I'm going to have a go.

Obviously, this is the joystick.

You've got your feet in the pedals here.

Are we ready for takeoff?

I guess we push this little red button to free it up.

And away we go.

Whooo! HE LAUGHS

Actually, it's incredibly responsive!

It may look naive and simple, but it gets you used to banking

and holding a straight line.

And it's, well, it's relatively easy here at ground level,

but could you imagine learning to fly for the first time

and you're doing this 200 feet up in the air?

That is quite frightening.

Pilots found ingenious methods of improving their flying skills.

This archive shows a mock cockpit up a tree.

Now that's what I call a flight simulator.

It didn't stop there. New ways were found to attack the enemy.

Talk me through some of the early weaponry.

Yeah, the Lewis gun was a standard infantry machinegun

used in the British Army. This is an ammunition drum.

These weapons weren't attached to aircraft at the start of the war,

but by the end of the war, they had become standard issue.

Louis Strange was a pilot in the Royal Flying Corps.

He had learned to fly at Hendon.

He decided, when he flew across to France at the beginning

of the war, that he would fix a machinegun to his aircraft.

-Sensible chap.

-Yes.

So he knew what was going to happen. He was subsequently proved right.

Within a few months, aircraft were strong enough to carry machine guns,

and they were taking machine guns out on fighter operations.

I mean, it was pretty close, wasn't it?

-Yes, yes.

-Quite personal.

-It was, yeah.

They could very much see the whites of their opponents' eyes.

There are many stories of pilots flying next to each other,

-expending all their ammunition, and just waving at each other.

-Yeah.

-It's very moving.

-It's an incredible story, isn't it?

And obviously, the weapons just get more and more advanced.

And you start to have bombs like this.

This is a Cooper bomb. It dates from around 1916, 1917.

-And that weighed the aircraft down even more.

-Oh, yeah, yeah.

You can imagine an early aircraft having one of these fitted.

It wouldn't have got off the ground, really. It was far too heavy.

But by the middle of the war, aircraft were much stronger.

They could carry bigger weapons and bombs like this.

And by the end of the war, bombs are as large as 1,000kg.

It wasn't just the aircraft that were being developed, but the kit

that pilots wore to cope with flying in an open cockpit at altitude.

Lanoe Hawker also designed sheepskin-lined fug-boots.

Even the bizarre was thought of.

Electric flying jackets to keep the pilots warm.

And the Sidcot flying suit made its debut -

an all-in-one design which is similar to what pilots wear today.

The exhibition reveals the huge advances made during the early 20th

century, where flying techniques and aircraft were developed.

On 1st April 1918, the Royal Naval Flying Service and the

Royal Air Corps merged to become the world's first independent air force.

The RAF.

It was a significant milestone in Britain's aviation history,

thanks in part to the young flying pioneers,

their adventurous spirit, and, of course, their sacrifices.

Back to the main hangar now and our valuation day.

Captain Mark is focused on something shiny that takes us

back before the First World War.

-Wendy.

-Mark.

You've brought some wonderful traditional antiques.

And being an old fuddy-duddy, this is what I really love.

This is what makes me very excited.

These are little seals.

These would have be placed on a fob chain with a pocket watch.

In the 18th and 19th century, if you wanted to seal your letters for

privacy - we didn't have postage then, of course -

you would melt a piece of wax and then you'd use

a charming little object like this to seal it.

-Maybe with your monogram or your family crest.

-Mmm-hmm.

So the person receiving it was,

"Oh, that's come from my friend so-and-so..."

-Right.

-..and would open it eagerly to find out the news.

Now, we've got five in total. None of them are gold.

-Sometimes they are gold and silver.

-Right.

These are a base metal which has been gold-plated.

Tell me, where did you get these seals from?

-They belonged to my late stepgrandfather.

-Mmm-hmm.

I was at boarding school

and we used to have to write a letter home every week.

And he used to correct all my spelling and send them back to me.

-So he was a traditionalist?

-He was indeed.

But of course, when I got older, I really appreciated it,

because my spelling isn't too bad now.

Oh, good. Mine is atrocious.

You found them just hidden in a drawer, did you?

I found them in a drawer.

And interestingly enough, I found

a little red stick of sealing wax with them, which had been used.

So he obviously had used them at some point.

He must have at some stage. Yes.

-And you had no idea they were there?

-Nope. None at all.

I'm so glad you rescued them from the cold, dark recesses

of a drawer, cos I'm sure, you know, that there are still

people out there that like these wonderful little objects of virtue.

-Mmm-hmm.

-And if you're a collector, like me, it would be wonderful

to have a little bijouterie cabinet where you could display these,

-maybe do a bit of research on them.

-Yes.

-Do you know how old they are?

-No idea.

-I think these are going to date to the mid-19th century.

-Right.

-So we're looking at something around 1850, 1860.

-OK.

-Thereabouts.

And there are some charming examples.

This one particularly is rather nice.

-With the flower and the word...

-"To you."

-Oh, that's wonderful, isn't it? So much nicer than an e-mail.

-Yes.

-Makes it very personal.

-Absolutely.

I think if we were putting them into an auction...

-we would estimate them at around £60 to £100.

-OK.

And we would put a reserve of £60 on them.

At least then you know you're going to get a certain amount of money.

And hopefully, there'll be a few oddbods out there,

-like myself, who love this sort of thing.

-Mmm-hmm.

-And they might just reach 100.

-That would be good.

-Are you happy with that?

-Very happy with that.

-There's no sentimental attachment to them?

-Not really. No.

They've just been sat in a drawer, and it seems such a shame

if somebody might enjoy them.

It's a terrible shame to leave them in a drawer.

-They're beautiful objects that need to be admired.

-Mmm-hmm.

And I'm sure there'll be collectors out there

-who'll appreciate them.

-Good.

Now Anita's uncovered a treasure that's taking her back in time.

Sarah, this is a lovely wee object. A little christening cup.

I think these are absolutely charming.

And this is an early-20th-century example.

-Tell me, was it part of your family history?

-Very much so.

The original Edgar, as in Major General Edgar Pierpont Putnam,

who is named on the cup, was a major general in the American Civil War.

He met my grandparents sometime in 1899, 1890-something.

-Did they travel in America?

-Yes.

But they met also in Switzerland. He came over to Switzerland.

At that time, my grandmother was pregnant.

And she said, "I do love the name Edgar.

"I'd like, if I have a boy, to call him Edgar."

And he said, "If you call him Edgar, I'm going to be the godfather."

So this was a big American general from the American Civil War?

-Yeah, yeah.

-Let's have a wee look at the inscription.

We've got, "From Major Edgar P Putnam,

"Jamestown, New York,

"to Saunders Edgar Davis. 20th of September, 1902."

-That was my dad's birthday.

-And that was your dad?

-Yep.

This makes it a more interesting object,

the fact that it has that American connection.

It's quite a straightforward christening cup,

although it's very pretty and the embossed work on it is charming.

It's hallmarked for London, 1902, so he must have come over to London...

-Yeah. OK.

-..in 1902 and bought it as a new item.

-Tell me, this is a wee part of your family history as well...

-Yes.

Why is it you're wanting to sell it?

My grandparents aren't alive. My father is not alive.

I asked my children, they're not interested.

I'd rather do some good with it.

I thought half of it, whatever I get, would go to the hospice,

so at least somebody gets some good.

-And somebody who really will enjoy it.

-Yes.

What I feel is that whoever buys this will be

interested in the history of it.

And they will be able to find this major somewhere

and someone will have fun doing that research.

Now, charming as it is,

it's not going to make you a huge amount of money.

No, I didn't expect it to.

I would put an estimate of 40 to 60 on it.

-Would you be happy for it to go into auction at that?

-Yes. Yes.

I mean, I've had it since 1969, when my dad died,

and it's just been sitting in the cabinet.

-I clean it every so often, as you can see.

-Yes.

-And that's it. You know.

-It's been looked after.

-Yes.

-40 to 60. A reserve of £40.

-OK.

Hopefully, it'll take a wee flyer.

I'm happy. Whatever it makes, it makes.

-It was lovely to have you along at Flog It!

-Thank you.

Now, here's a rarity uncovered by Mark.

Philip, you've brought in a charger here which represents,

or commemorates, a very important part of English Stuart history -

commemorating William and Mary.

This is a wonderful piece of Dutch Delftware.

-Do you know what Delft is?

-BYSTANDERS:

-Yes.

-No.

Some people are saying yes, some people are saying no.

It's actually a tin-glazed pottery.

The pottery is normal pottery with a tin glaze.

And in Britain and Holland, we call it Delftware.

But in France and other parts of Europe, they call it faience ware.

Or majolica in Italy.

-This, unfortunately, is not English Delft.

-No.

You do get these wonderful chargers in English Delft

where you have the pebble-dash chargers,

which are incredibly valuable.

-Yes.

-We'd be looking at £8,000 to £10,000.

-Even more.

-Even more these days, cos they are so rare.

-Yeah.

This one is Dutch, but it is a period one,

late-17th-century commemorative.

-I rather like this design.

-Yes.

-It's very stylised.

-The portraits of William and Mary are very stylised.

-Very naive.

Very naive.

That's because, when you're painting on tin glazeware,

you have to paint very quickly.

Because it's very porous.

So you haven't got time to paint delicately,

like you can on porcelain.

You have to whack it on, otherwise the whole thing will run.

It's beautifully done. I love it.

You bought this, didn't you, some time ago at a London auction house?

I got it at an auction in April 1999.

-Dare I ask you how much you paid for it?

-I think it was about £900.

-Hold it carefully.

-I will hold it carefully.

We'll actually talk about that, because if you turn it round,

-you do have a crack going through it.

-Yes.

-Here.

-And there is a little bit of restoration.

-It has been restored.

-Before we bought it.

-Before you bought it.

But, you know, you are looking at something here that was

-produced in the 1680s.

-Mmm.

-You know, that is a long, long time ago.

-So it has survived remarkably well, really. Hasn't it?

-Oh, yes.

In an ideal world, actually, you would estimate it,

if you wanted to tease people in, at £1,000 to £1,500.

-But we've had a little confab.

-Yes.

-Haven't we?

-Yes, we have.

And I think you want the reserve a little bit higher than that.

-As Welshman to Welshman, yes.

-As Welshman to Welshman...

-Yes.

Yes, OK. Um...

-I think I'm going to go along with you because I love it so much.

-Yes.

-I think it's worth the try.

-I think someone else will.

I'm sure they will.

-So if we put 1,500 to 2,000 on it with a 1,500 reserve...

-Fixed.

Fixed reserve. Thank you for pointing that out.

My fellow Welshman.

..and we'll give it a go. It is a super thing. It really is super.

-Yes.

-And hopefully, we'll get the right collectors in.

-Thanks very much.

-Thanks for bringing in such a wonderful thing.

We hope, in a museum like this, it will fly at the auction.

LAUGHTER

MARK GROANS

Leave the jokes to me.

Edward, Flog It! can be great fun,

especially when wonderful things like this are brought along.

Now, tell me, how did you come by it?

Well, it was a present to my son, via my brother-in-law.

And the boy is now 43.

He's not playing with it any more?

He's got a better one to play with.

A human one.

-What about grandchildren, are they not interested in it?

-No.

The youngest one actually got scared of it once,

-because of the firing action that it does.

-Ah, right.

And didn't want to know.

Now he's eight, we haven't tried again,

-so I said, "Ah, well, that's it."

-Just leave it. OK.

Let's have a look at it, because it's a great thing.

This was made in Japan in the 1960s.

Now, Japan has always made wonderful tin-plate toys.

They made them prewar, and then post-war.

And they always had a certain quality.

These toys in Japan were made for the European

and the American market.

So they were influenced by what was happening in Europe

and in America at that time.

So we see great interest in robots and science-fiction

and so on in the European market.

-And this one was actually called the Attacking Martin.

-Really?

-Can we have a look at it attacking?

-Well, if you like. Yes.

Switch it on, baby!

WHIRRING

RATTLING "GUNFIRE"

I can see why these grandchildren might have been frightened by it.

It's in perfect working order.

-Tell me, did you ever have a box for it?

-No, unfortunately not.

-OK.

-Your son's grown up...

-Yes.

..his mind's on other things. Your grandchildren are scared of it.

So you want to pass it on.

Good condition, but no box.

In auction, I would say

we would probably be looking at, say, £50-80.

And the fact that it's working and that it is a super piece,

I'm sure that it will draw a lot of interest.

But we'll put a reserve on it, if you're happy with that.

We would put the reserve in at £50.

Shall we let him attack the auction?

The crowds have certainly done us proud here today.

We've had a magnificent time. But before we leave,

here's a quick recap of all the items we are taking with us.

The wax seals may have been made for ordinary people,

but their colour and detail should attract the collectors.

Will the American Civil War links to Sarah's christening cup

boost the bidding?

There's the feisty robot - you wouldn't want

to get on the wrong side of him!

And we'll be keeping a very close eye on the rare Dutch Delft charger.

So it's back to the auction house.

Commission here is 15% plus VAT.

First under the hammer is Edward's Japanese robot.

Do you know, if I was selling the robot right now,

I'd have him on the rostrum with me. Wouldn't you?

You would, you definitely would.

Yeah! I'd let him distract me.

-You'd let him put his fist down and go, "Sold."

-That's the way to do it.

That's the way to do it.

The wonderful thing about this is that it's still working.

It's still there and it's still great fun.

It looks great. It's sculptural.

This is going to find a new home today and it's time for you

-to say goodbye.

-Let's hope they're going to enjoy it.

-Yeah.

Oh, they will, they will. A collector will snap this up.

Hey, it's your lot now, good luck, it's going under the hammer.

-Let's find out what the robot's worth.

-Excellent.

The 1960s Japanese, battery-operated, tin-plate robot.

-Come on, come on, I want to see this do really well.

-Yeah, me too.

With me at 40. 45. 50 here.

Selling already, at £50 on the book with me, and five I'll take, please.

55 commission, but it's now beaten. On the web at £55. 60 we need.

For £55 then, are we finished? All done at 55, I think we are...

55.

It's gone. Did he have a name, did you ever give him a name?

-No, I didn't.

-Aw.

Maybe his next owner will give him a name.

Do you know, I hope the next owner has him on a desk in the office.

I hope he's on the desk, near the phone.

So, Edward's a happy man, and his robot has a proud, new owner.

Our next lot has been in a drawer for 35 years,

but Flog It! came along and liberated them.

-Yes, it's those fob seals belonging to Wendy.

-That's right.

At least they were safe in there, because something like this,

-you know, is so easily lost in a big house.

-Yes.

I think these are nice, honest antique ones.

There's no silver or gold ones, but they are what they are

and we've got a sensible estimate, I think, at £60 to £80 on them.

-And hopefully, we'll get the top end.

-Yeah.

-Fingers crossed.

-Here we go. We're going to find out. Good luck.

Five of them in the lot there.

What are they worth? Start me at £60.

60 is bid.

In the room at £60.

Anybody else?

65.

70. Five. 80. Five.

Climbing high, Wendy.

-100. £100. Standing at 100.

-That's very good.

Good.

£100. In the room at 100.

-110 on the internet.

-110.

-110 on the internet.

-Good.

-120 in the room.

At 120... Sold.

-Wow!

-Yes!

-Got them.

£120. Just got an extra 20 quid at the end.

It's very good. I wasn't expecting that.

-We sealed the deal.

-Yes, we sealed the deal. Oooh!

-Oh!

-Sorry, sorry.

-No, that was very good.

Wendy's certainly firing on all cylinders,

but will Sarah's family heirloom tempt the bidders?

-Not a lot of money on this.

-No. It's a very pretty cup.

-So why are you selling it?

-My children don't want it.

-OK.

I offered it to my son, he said, "No, thank you."

My daughter-in-law went, "I'd have to clean it."

Right. Well, we don't want it sitting in a cupboard.

It needs to be on show.

I would like to think that someone who was

interested in the military aspect of it would buy it,

because they would be able to do a little bit of research, find

more about this wonderful military man who won the Medal of Honor.

You never know, it might find its way back to the States.

-It would be nice if it went back to America.

-Yes.

We'll find out what the bidders in West London think right now.

It's going under the hammer.

Lot 351A is a christening mug. What's it worth?

Start me at £30.

30 I'm bid. I thought so, everywhere.

32. 35.

38.

40. 42.

-45.

-Come on. We've sold it.

50.

£50 in the middle of the room.

-55 in the corner.

-Is that it?

£60 in the middle of the room.

At £60. I'm going to sell it for 60...

-Well done, Anita. Spot-on.

-£60. Yeah, that's all right.

Happy with that, aren't we?

-Yeah. Yeah.

-Job done, girls.

It's now time for the Dutch Delft charger.

-We need £1,500 or more for this.

-Yeah.

-It is superb.

-Late 17th century.

-I think it's wonderful.

It's Dutch Delft, of course, rather than English.

-But wonderful colour. Unusual colour.

-Very good colour.

And historically, of course, we got rid of one king

and invited those over, so it's a real piece of British history, this.

Yeah. Fingers crossed, the purists have found this,

because it is a cracking lot.

They've asked for condition reports, I know that.

Do you know something,

-a lot of people don't get put off by chips on stuff.

-No.

You expect it. It would look a bit weird if that was perfect.

-Particularly Delft.

-Exactly. It's a soft paste.

-It is.

It doesn't matter, the chips

and the knocks aren't going to distract from its value, OK.

-Let's hope.

-This is a great piece. Here we go.

589 is a William and Mary commemorative charger.

-Lot 589. There's lots of interest in this.

-Yes!

I can start this at £1,000. With me at £1,000.

1,100. 1,200.

1,300.

1,400.

-1,500.

-We've done it.

-Yes.

1,600.

£1,600.

On the telephone now at 1,700.

-It'd be nice to get a bit more.

-Any more elsewhere?

Anybody else want to come in?

The internet's silent.

At £1,700 it sells...

-Hammer's gone down, Philip. 1,700.

-I'm delighted.

It's a good price in today's market.

-It's a good price.

-So pleased with that.

-That's what we call a proper antique.

-Thank you very much.

Thank you so much for bringing it in.

480. 500.

520.

580 in the room.

Well, there you are, it's all over for our owners.

And what a fabulous day we've had here in the Chiswick auction rooms.

We thoroughly enjoyed being in London

and I hope you've enjoyed watching the show.

So, until the next time, it's goodbye.