0:00:04 > 0:00:06Behind me is a remarkable building,
0:00:06 > 0:00:08perhaps more suited to a French town than
0:00:08 > 0:00:11the countryside in the north of England.
0:00:11 > 0:00:14But inside, it's a treasure trove of fine art and antiques.
0:00:14 > 0:00:17It is, if you like, the legacy of a love story
0:00:17 > 0:00:20and the product of an unlikely marriage between John Bowes -
0:00:20 > 0:00:24the wealthy illegitimate son of the 10th Earl of Strathmore -
0:00:24 > 0:00:27and a young French actress called Josephine.
0:00:27 > 0:00:29Welcome to "Flog It!"
0:00:29 > 0:00:33and to their baby, the Bowes Museum in County Durham.
0:00:53 > 0:00:56The Bowes Museum is today's valuation venue.
0:00:56 > 0:01:00John Bowes always maintained that the idea of founding a museum
0:01:00 > 0:01:04had been that of his beloved wife, Josephine.
0:01:04 > 0:01:06And what ambition she had.
0:01:06 > 0:01:09It was an extraordinary achievement for private individuals to
0:01:09 > 0:01:12build such a stunning place
0:01:12 > 0:01:16and to assemble the large collections necessary to fill it.
0:01:16 > 0:01:20That the Bowes decided to build a museum close to John's
0:01:20 > 0:01:24family seat in County Durham remains astonishing to this day.
0:01:24 > 0:01:26But more of this story later.
0:01:26 > 0:01:29It's time to catch up with the queue that is
0:01:29 > 0:01:31forming at the front of the museum.
0:01:31 > 0:01:34Hundreds of people here, laden with antiques and collectables,
0:01:34 > 0:01:37items from all over the world. And it's our experts' job to
0:01:37 > 0:01:39talk about them and delve deep into these stories.
0:01:39 > 0:01:42And hopefully, one or two surprises at the end of the show.
0:01:42 > 0:01:44But all of these people have something in common.
0:01:44 > 0:01:47They are here because they want to know what it's worth.
0:01:47 > 0:01:50And if they're happy with the valuation, what are you going to do?
0:01:50 > 0:01:51- ALL:- Flog it!
0:01:53 > 0:01:57Already in the queue searching for items in tiptop condition
0:01:57 > 0:02:00to take auction are our discerning antiques experts.
0:02:00 > 0:02:01David Harper...
0:02:01 > 0:02:04Is it the most exotic thing Barnard Castle has ever seen?
0:02:04 > 0:02:06- That's the question. - I'm sure it must be.
0:02:07 > 0:02:09..and Paul Laidlaw.
0:02:09 > 0:02:12- Who is your friend? - I don't know her name.
0:02:12 > 0:02:14But let's not hang around.
0:02:14 > 0:02:17People are already filing into the magnificent picture galleries,
0:02:17 > 0:02:20where the valuations will be taking place.
0:02:20 > 0:02:23But first, here's a quick look at some of the extremes
0:02:23 > 0:02:25of emotion coming up in today's show.
0:02:27 > 0:02:28We have delight...
0:02:28 > 0:02:31You've made my day. You know that, don't you?
0:02:31 > 0:02:34- This is from ear to ear.- Yes, I see.
0:02:35 > 0:02:38And then a little less enthusiasm from one of our owners.
0:02:38 > 0:02:41I know that I don't particularly like her.
0:02:41 > 0:02:44- That's about it.- I'm going to convince you, Diana, to like her.
0:02:46 > 0:02:49And I have a look at something here at the Bowes Museum
0:02:49 > 0:02:51which I just love.
0:02:51 > 0:02:55- Considering it's 500 years old, it's a pretty good condition.- It is.
0:02:55 > 0:02:58- When you think about what it's been through.- Exactly, yeah.
0:03:01 > 0:03:05Everybody is now safely inside and hundreds of people have turned up.
0:03:05 > 0:03:10In fact, there are no spare seats in this particular picture gallery.
0:03:10 > 0:03:12We really do have our work cut out. It could be a long day.
0:03:12 > 0:03:17Sit back and enjoy as the stories unfold. Let's make a start.
0:03:17 > 0:03:20It's straight over to our experts' tables.
0:03:20 > 0:03:22And it's Paul Laidlaw's choice first.
0:03:24 > 0:03:27Enid, you know how to treat a book lover.
0:03:27 > 0:03:30Spoiling me already. How did these come into your possession?
0:03:30 > 0:03:33I would buy them 30-odd years ago in probably
0:03:33 > 0:03:36a box of books at an auction. Probably about £40, I would think.
0:03:36 > 0:03:39Some nice things on top. And when I came across these...
0:03:39 > 0:03:42- Oh, so it was chance?- Yes. Oh, yes.
0:03:42 > 0:03:44I didn't buy them because of the two books. No.
0:03:44 > 0:03:48- These are important illustrated works.- Yes.
0:03:48 > 0:03:51- The value of these isn't in the text.- No.
0:03:51 > 0:03:54- We are not interested in Alice In Wonderland.- I know.
0:03:54 > 0:03:57- Nor in The Tempest.- No. - It's all about the illustrations.
0:03:57 > 0:04:01Arthur Rackham. A great of book of illustration.
0:04:01 > 0:04:04He studies at the Lambeth School of Art.
0:04:04 > 0:04:08And pretty much is exclusively a book illustrator.
0:04:08 > 0:04:10The fine art establishment were a wee bit stuffy about
0:04:10 > 0:04:16book illustrators and didn't give him the respect that he was due
0:04:16 > 0:04:18and is given today. Take a look at this.
0:04:18 > 0:04:22We've got Alice here. And I've got to say, idiosyncratic Alice.
0:04:22 > 0:04:24- This is very much Rackham's Alice. - Yes.
0:04:24 > 0:04:27And signed here within the print - Rackham, 1907.
0:04:27 > 0:04:30Now let's move on. Look at that.
0:04:30 > 0:04:35We have got the Queen of Hearts' little pages here as the cards.
0:04:35 > 0:04:37This is startling, for my money.
0:04:37 > 0:04:40I think you could give a child nightmares with these.
0:04:40 > 0:04:43And it has a bearing, because this is very much of its time.
0:04:43 > 0:04:47There's been a revolution in decorative arts and
0:04:47 > 0:04:52- we can see in these roses here in a Mackintosh inlaid...- Stylish, yes.
0:04:52 > 0:04:55- We can see a Glasgow rose, perhaps.- Yes.
0:04:55 > 0:04:56Look at that!
0:04:56 > 0:04:59We've got the dodo, of course, and Alice,
0:04:59 > 0:05:02- surrounded by these borderline grotesques.- Yes.
0:05:02 > 0:05:07And therein lies a lot of the import of Rackham's illustrations.
0:05:07 > 0:05:12It is arguably shocking to traditional popular taste in 1907.
0:05:12 > 0:05:14Yes, it's quite frightening, actually, isn't it?
0:05:14 > 0:05:17- Isn't it?- Yes, it is. - And you've got another one?
0:05:17 > 0:05:20- Yes, I have.- Now we are looking at Shakespeare and The Tempest.
0:05:20 > 0:05:25Illustrated by Edmund Dulac - a giant of book illustration.
0:05:25 > 0:05:27He studied at l'Ecole des Beaux-Arts,
0:05:27 > 0:05:30I think, in Paris, before moving to London...
0:05:30 > 0:05:33- Oh, right.- ..about the turn of the 19th, into the 20th century.
0:05:33 > 0:05:36- And he illustrates the classics. - Right.
0:05:36 > 0:05:40- Cervantes, Shakespeare and so on.- Yes.
0:05:40 > 0:05:42This edition - limited to 500 copies,
0:05:42 > 0:05:45numbered and signed by the artist.
0:05:45 > 0:05:47We would have to be fabulously wealthy to own an original
0:05:47 > 0:05:50- work by Dulac.- Yes, yes.
0:05:50 > 0:05:52- But you have the hand of the man. - Yes.
0:05:52 > 0:05:55- Right, what do we have? - I think that's beautiful.
0:05:55 > 0:05:58- This is one of your favourites? - Yes, I think that's beautiful.- Why?
0:05:58 > 0:06:01The colouring is lovely, it's slightly Art Nouveau,
0:06:01 > 0:06:03but it's so bonny in colouring.
0:06:03 > 0:06:06You bought the mother of all bargain boxes of books.
0:06:06 > 0:06:09You'd think that the Dulac would be the more valuable
0:06:09 > 0:06:13- because it's smaller print run and signed by the man.- Yes.
0:06:13 > 0:06:16However, I suspect Rackham trumps Dulac today.
0:06:16 > 0:06:19Let me tell you some numbers. Start with the Dulac, The Tempest.
0:06:19 > 0:06:23- £300 to £500.- Right.- OK?- Yes. Yeah.
0:06:23 > 0:06:28- But Rackham's on fire and I think £600 to £800.- Really?
0:06:28 > 0:06:31They are a wee bit better than nice now, aren't they?
0:06:31 > 0:06:34Absolutely, yes. I'm quite shocked. Very shocked.
0:06:34 > 0:06:36Would we put them in with those estimates?
0:06:36 > 0:06:39Three to five on the Dulac. Six to eight on the Rackham.
0:06:39 > 0:06:40And put reserves at...
0:06:40 > 0:06:42Low estimates are what most auctioneers would recommend.
0:06:42 > 0:06:45- Yes, OK. Yes, I'll go with that. - My, what a box of books!
0:06:45 > 0:06:47And these at the bottom.
0:06:47 > 0:06:50- It's very lucky, yes.- Lucky at the auction is what we need to be next.
0:06:50 > 0:06:51Yes. Yes.
0:06:51 > 0:06:54What a great story, and two superb finds.
0:06:56 > 0:06:59Let's catch up with David now, who has chosen one of the
0:06:59 > 0:07:03quieter galleries to examine something scientific.
0:07:03 > 0:07:06Now, Mo, tell me, are you into wines, beers and spirits?
0:07:06 > 0:07:09Oh, yes, I do like drinking now and again.
0:07:09 > 0:07:12Tell me, why on earth do you have this scientific instrument
0:07:12 > 0:07:14connected to wines, beers and spirits?
0:07:14 > 0:07:19Well, I bought it about 35 years ago mainly because I loved the box.
0:07:19 > 0:07:20I love wood.
0:07:20 > 0:07:23So it's the box that drew you in, then?
0:07:23 > 0:07:25Because it tells us on top of the box exactly what it is.
0:07:25 > 0:07:30It's a Field's patent alcoholmeter by Joseph Long.
0:07:30 > 0:07:33And they reside at Tower Street in London.
0:07:33 > 0:07:35That's such a good plaque.
0:07:35 > 0:07:38Had you any clue at all what it's all about, what it does?
0:07:38 > 0:07:41- Was it sort of Customs and Excise? - It could have been.
0:07:41 > 0:07:45It could have been that. Or it could have been the distiller themselves.
0:07:45 > 0:07:47Yeah, but in such a lovely box?
0:07:47 > 0:07:50Ah, but we are going back to a different time.
0:07:50 > 0:07:52This is the height of the British Empire.
0:07:52 > 0:07:54We controlled the world.
0:07:54 > 0:07:57Everything we had and did was of the finest quality.
0:07:57 > 0:08:00This is just a commercial piece of kit,
0:08:00 > 0:08:04but it's beautifully constructed, in or around 1880.
0:08:04 > 0:08:09So, not for testing home-made wine made from dandelions
0:08:09 > 0:08:11and nettles then maybe as well?
0:08:11 > 0:08:14- I don't think so. It's got much more of a commercial feel to it.- Right.
0:08:14 > 0:08:16Do you know how it works?
0:08:16 > 0:08:18- Yes, we've talked through it. - Tell me.
0:08:18 > 0:08:20So...
0:08:20 > 0:08:22From here...
0:08:22 > 0:08:26some methylated spirits would be put in the bottom here.
0:08:26 > 0:08:29- You would light the wick.- Yes.
0:08:29 > 0:08:32- This would be put on the top. - Yeah.- Like this.
0:08:36 > 0:08:39- You'd pour...- A measure. - ..your correct measure.
0:08:39 > 0:08:41- That would be poured into there. - Oh, right. OK.
0:08:41 > 0:08:44- That would be put onto the top there.- Yeah, OK.
0:08:44 > 0:08:50And the quicker it evaporated, the higher the content of alcohol.
0:08:50 > 0:08:52- Do you know what I say to that? - Come on, then.
0:08:52 > 0:08:55- What a waste of good drink. - THEY LAUGH
0:08:55 > 0:08:59Just get that measure, pour it in a glass, add a bit of tonic
0:08:59 > 0:09:00and be done with it.
0:09:00 > 0:09:02- And the lemon, of course. - And a bit of lemon.
0:09:02 > 0:09:05I think it's brilliant. You bought it how long ago?
0:09:05 > 0:09:08- About 35 years ago.- Do you remember what you paid for it?
0:09:08 > 0:09:10- About £35 as well.- Did you?- Ish.
0:09:10 > 0:09:13I can tell you how much one of these sold for recently.
0:09:13 > 0:09:16It made 110 with a couple of other objects.
0:09:16 > 0:09:22So, in auction now, we would go 100 to 150 at an estimate.
0:09:22 > 0:09:25- Shall we do it? 100 to 150? - Reserve of 150?
0:09:25 > 0:09:28- No, you can't do that.- Can we not do that?- No, you can't do that.
0:09:28 > 0:09:31You've got to reserve it at the lower estimate.
0:09:31 > 0:09:34I'd feel happier at 150, I think.
0:09:34 > 0:09:37If you are really insistent, I suppose I could chance my arm,
0:09:37 > 0:09:43push it 150 to 200, fix it at 150, but it might not sell.
0:09:43 > 0:09:47That's OK, because I've loved it for all those years.
0:09:47 > 0:09:50But the time has come that it would be nice to sell it.
0:09:50 > 0:09:54- Brilliant.- OK.- I'll see you there. - OK.- Fingers crossed.
0:09:54 > 0:09:56Thank you, David. Thank you.
0:09:56 > 0:10:01Those two sounded like they would have enjoyed a tipple together.
0:10:01 > 0:10:03Now let's head back to Paul Laidlaw,
0:10:03 > 0:10:06who has found something which has been put to a novel use.
0:10:06 > 0:10:09Roy, you've made my day. You know that, don't you?
0:10:09 > 0:10:12- This is from ear to ear.- Yes, I see.
0:10:12 > 0:10:14What's its history?
0:10:14 > 0:10:19It was made by a distant relative of mine in the 1914-1918 war.
0:10:19 > 0:10:22He was transferred from making plough chairs and wheels
0:10:22 > 0:10:24- into making weapons of war.- Yes.
0:10:24 > 0:10:27This was his apprentice piece...
0:10:27 > 0:10:30- when he started.- And do we know where he was employed?
0:10:30 > 0:10:33He was employed at the Blackburn Aircraft Company
0:10:33 > 0:10:36- in Beverley, near Hull. East Riding of Yorkshire.- Very good.
0:10:36 > 0:10:39- Quite important. - Got to get that straight.
0:10:39 > 0:10:42- Get the right side of the country. - Yeah, absolutely.- It's a joy.
0:10:42 > 0:10:48The form of these early aviation propellers is not far off.
0:10:48 > 0:10:50The curves are so delicious.
0:10:50 > 0:10:56And indeed, the value of surviving full-size specimens
0:10:56 > 0:10:58is in the thousands. You could buy yourself a small car.
0:10:58 > 0:11:00- This is a small model.- But...
0:11:00 > 0:11:03I don't have room for a full-size propeller back home,
0:11:03 > 0:11:06but I'm sure I'd find space for this little gem.
0:11:06 > 0:11:09This is actually an aircraft cockpit fascia watch.
0:11:09 > 0:11:12That is what I was told. That's what came down through the family.
0:11:12 > 0:11:14You know what the clincher is? You'll be able to tell me this.
0:11:14 > 0:11:18If we take that watch out of there, does it have a ring framing
0:11:18 > 0:11:23the winding crown which we'd use to hang a pocket watch from our...
0:11:23 > 0:11:25- Albert, let's say?- Oh, no.
0:11:25 > 0:11:28It doesn't. This has been modified, in all honesty.
0:11:28 > 0:11:31- It should have a longer stem and a more pronounced crown.- Yeah.
0:11:31 > 0:11:33But that's of no consequence.
0:11:33 > 0:11:34The point remains the same.
0:11:34 > 0:11:39No bow, because this was fitted by your pilot on the dash.
0:11:39 > 0:11:43That is a covetable timepiece.
0:11:43 > 0:11:45They are not rare. They turn up.
0:11:45 > 0:11:48If you have a budget and interest, you'll find one.
0:11:48 > 0:11:51But you'll need a budget. And it'll need to be three figures.
0:11:51 > 0:11:54- Good thing. Can we pop this back? - Yeah, sure.
0:11:54 > 0:11:59So you get a fantastic ornament which is highly desirable.
0:11:59 > 0:12:00The truth of the matter is, I think
0:12:00 > 0:12:04that should make £200 without any trouble at all.
0:12:04 > 0:12:06Because the watch is worth 100 to 150.
0:12:06 > 0:12:10You wire in another £100 for the propeller on its own.
0:12:10 > 0:12:13You've got £200 in your sleep, in my opinion.
0:12:13 > 0:12:16I'd advise pitching it at £150 to £200.
0:12:16 > 0:12:18How do those numbers sound?
0:12:18 > 0:12:20It sounds fine to me. I am truly amazed.
0:12:20 > 0:12:23I hope you've got a FLYER there.
0:12:23 > 0:12:25Terrible! Terrible!
0:12:25 > 0:12:28Hang on, that sounds like one of my lines.
0:12:28 > 0:12:32And now it is David Harper, who is delighted with his find
0:12:32 > 0:12:35which is rather different and comes from foreign climes.
0:12:35 > 0:12:39Well, I've got to say, that is one of the most glamorous
0:12:39 > 0:12:42pieces of furniture I have seen in a very long time.
0:12:42 > 0:12:44Mr and Mrs Glam, or what?
0:12:44 > 0:12:45How is your house furnished?
0:12:45 > 0:12:48- Not with that, no! - HE LAUGHS
0:12:48 > 0:12:49Jeanette, why?
0:12:49 > 0:12:53I think because it's quite ornate, which I do like.
0:12:53 > 0:12:57I am a bit concerned about what it's made of.
0:12:57 > 0:13:01- OK.- That does concern me a bit. - OK. Is it displayed?
0:13:01 > 0:13:04It was, but out of the way because it's quite intricate
0:13:04 > 0:13:06and I'm a bit worried about getting it damaged.
0:13:06 > 0:13:09- OK. What about you, David? Do you love it?- I like it,
0:13:09 > 0:13:11but it doesn't really fit in with the rest of the furniture
0:13:11 > 0:13:13- in the house.- OK. So it's been in the family for how long?
0:13:15 > 0:13:17- 40, 50 years.- Right, OK.
0:13:17 > 0:13:21Well, listen, it is definitely exotic. It's Anglo-Indian.
0:13:21 > 0:13:23So it comes from the Indian sub-continent.
0:13:23 > 0:13:28It was made from about 1880, so it was made for - undoubtedly -
0:13:28 > 0:13:32British people living in India in the 19th century
0:13:32 > 0:13:36absolutely at the height of the British Empire.
0:13:36 > 0:13:39This thing was glamour personified.
0:13:39 > 0:13:44Superb quality. The wood is rosewood, that's a real hardwood.
0:13:44 > 0:13:46Bearing in mind how hard it is,
0:13:46 > 0:13:48just imagine how difficult it must have been
0:13:48 > 0:13:51- to inlay in that marquetry decoration...- A lot of work.
0:13:51 > 0:13:54..using ebony and - do you know what the white material is?
0:13:54 > 0:13:57- Well, we think it's ivory. - It is. It's ivory.
0:13:57 > 0:13:59Now, of course,
0:13:59 > 0:14:02we're talking about a completely different time in history.
0:14:02 > 0:14:05You know, this is elephant ivory. Today it's totally not acceptable
0:14:05 > 0:14:08and illegal in actual fact to work new ivory.
0:14:08 > 0:14:10And the rules are pretty strict.
0:14:10 > 0:14:17Erm, something has to have been made pre-1947 for it to be legal now.
0:14:17 > 0:14:20- Anything after '47 is actually illegal to sell.- Right.
0:14:20 > 0:14:23So this is well into the safe zone.
0:14:23 > 0:14:28But, of course, because it is ivory, it does have an effect
0:14:28 > 0:14:30because it's becoming less and less acceptable or...
0:14:30 > 0:14:33Is that how you feel, Jeanette? Is that a problem for you?
0:14:33 > 0:14:34It is a bit, yeah. It is a bit.
0:14:34 > 0:14:37At this time, during the 19th century,
0:14:37 > 0:14:39campaign furniture was very popular,
0:14:39 > 0:14:43so that is anything that can be easily packed away and moved around.
0:14:43 > 0:14:45- So it's flatpack?- It's a flatpack. That's what it is.
0:14:45 > 0:14:48- Nothing new in this world. It's a flatpack.- OK.
0:14:48 > 0:14:51So whether it was made to put into a ship and transport
0:14:51 > 0:14:56back to the UK or whether it was made for those living in India
0:14:56 > 0:14:59with a lot of money and those that would move into the hills
0:14:59 > 0:15:02at the height of the summer to the coolness
0:15:02 > 0:15:04and take some furniture with them.
0:15:04 > 0:15:08- Dining tables, sideboards...- Gosh! - Four-poster beds.- A different world.
0:15:08 > 0:15:11Oh, my gosh, all packed up, flatpacked
0:15:11 > 0:15:14and bunged on the backs of elephants and camels. It's just amazing.
0:15:14 > 0:15:17Erm, the condition - there are bits missing.
0:15:17 > 0:15:19Bits of ebony and little bits of ivory.
0:15:19 > 0:15:22- And, of course, the top comes off, doesn't it?- Yes.
0:15:22 > 0:15:24And the base folds flat.
0:15:24 > 0:15:27- Shall we just demonstrate? - Absolutely.- Yeah, so that top...
0:15:27 > 0:15:30comes up. If you'd just fold that up.
0:15:30 > 0:15:33Look at that. There you go.
0:15:33 > 0:15:36Put a bit of bubble wrap, call your local carrier,
0:15:36 > 0:15:38and off it goes anywhere in the world, yeah?
0:15:38 > 0:15:41Pretty safely. Don't worry, we'll just put that on top like that.
0:15:41 > 0:15:43So, in auction, you would have
0:15:43 > 0:15:46to put it in at £200 to £300 as an estimate.
0:15:46 > 0:15:50We can't keep it, so whatever it makes, it makes.
0:15:50 > 0:15:52Shall we put a little bit of discretion on it?
0:15:52 > 0:15:55- It might sell for 190 on a bad day. - That's fine.- Happy?
0:15:55 > 0:15:58- You're the expert. - You can do wonders with 190 quid.
0:15:58 > 0:16:01Yeah. It should do more.
0:16:01 > 0:16:04Good, that's a lovely thing. Thank you very much.
0:16:04 > 0:16:05- See you there.- Thank you.
0:16:05 > 0:16:07Before we hard off to auction,
0:16:07 > 0:16:10there is something I would like to show you.
0:16:13 > 0:16:15APPLAUSE
0:16:15 > 0:16:17Once again,
0:16:17 > 0:16:23good evening, ladies and gentlemen!
0:16:23 > 0:16:25CHEERING
0:16:33 > 0:16:35That was the cry of Leonard Sachs,
0:16:35 > 0:16:39the chairman of the very popular BBC variety show The Good Old Days,
0:16:39 > 0:16:42which was broadcast from Leeds,
0:16:42 > 0:16:45here at the 150-year-old Leeds City Varieties,
0:16:45 > 0:16:49the oldest music hall in the country and it's located up this
0:16:49 > 0:16:52rather unassuming narrow lane, as you can see.
0:16:52 > 0:16:54In fact, here we are now.
0:16:54 > 0:16:57The Good Old Days was first broadcast in 1953
0:16:57 > 0:16:59and it ran for an incredible 30 years,
0:16:59 > 0:17:02and it was responsible for making household names
0:17:02 > 0:17:05out of entertainers like Morecambe and Wise, and Ken Dodd.
0:17:07 > 0:17:09This was invented by a man in America,
0:17:09 > 0:17:11a little baldy headed fellow called Kodak,
0:17:11 > 0:17:14and he has invented this!
0:17:15 > 0:17:18Could I have...? I want you to watch the birdie here.
0:17:18 > 0:17:20LAUGHTER
0:17:20 > 0:17:21This...
0:17:24 > 0:17:28The long-running show celebrated Britain's rich history of music-hall
0:17:28 > 0:17:32entertainment, which spanned the mid-19th and 20th centuries.
0:17:32 > 0:17:34The format was simple -
0:17:34 > 0:17:37popular entertainers would perform shows from the period,
0:17:37 > 0:17:42while the audience dressed up in traditional Edwardian costumes.
0:17:42 > 0:17:44And it all happened in here.
0:17:44 > 0:17:47Gosh, this theatre is absolutely breathtaking.
0:17:47 > 0:17:50The moment you walk into the auditorium, and you notice all
0:17:50 > 0:17:53the fixtures and fittings, you heart starts to beat faster.
0:17:53 > 0:17:57The excitement levels rise and you see this gilt, deep burgundy
0:17:57 > 0:18:00and lush fabrics on the seats.
0:18:00 > 0:18:03This is real history. Time has stood still.
0:18:03 > 0:18:07But, of course, Leeds City Varieties isn't just famous for staging
0:18:07 > 0:18:08the BBC's The Good Old Days.
0:18:08 > 0:18:11Acts such as a young Charlie Chaplin,
0:18:11 > 0:18:13Harry Houdini and Marie Lloyd,
0:18:13 > 0:18:15the greatest music star of the day,
0:18:15 > 0:18:18all performed here on this very stage
0:18:18 > 0:18:20at the turn of the 19th century.
0:18:21 > 0:18:25You can just imagine the atmosphere with a sea of faces all so close,
0:18:25 > 0:18:29looking at you, cheering, heckling and joining in, bold and boisterous.
0:18:29 > 0:18:31But to be fair,
0:18:31 > 0:18:35the noise wasn't always down to the on-stage entertainment.
0:18:35 > 0:18:39Before the Leeds City Varieties became a music hall in 1865,
0:18:39 > 0:18:44it actually started life as a pub, the White Swan,
0:18:44 > 0:18:47or the Mucky Duck, as the locals at the time affectionately named it.
0:18:47 > 0:18:50Even as far back as 1766,
0:18:50 > 0:18:53the premises had a singing room at the back of the pub,
0:18:53 > 0:18:56which is now the stage of the City Varieties.
0:18:56 > 0:19:00The music halls differed from the more traditional theatres,
0:19:00 > 0:19:04in that beer was allowed to be sold and drunk on the premises.
0:19:04 > 0:19:06That probably accounted for the rowdiness
0:19:06 > 0:19:08of the variety hall audiences,
0:19:08 > 0:19:11because drinking paid such a huge part
0:19:11 > 0:19:15in the appeal of the music halls in this country.
0:19:15 > 0:19:19Owners sometimes paid closer attention to the amount of beer
0:19:19 > 0:19:23they could sell rather than the quality of the entertainment.
0:19:23 > 0:19:26Someone who has appeared on this stage with The Good Old Days
0:19:26 > 0:19:31is the president of the British Music Hall Society, Roy Hudd.
0:19:31 > 0:19:33Give us a flavour of the atmosphere of the music hall
0:19:33 > 0:19:35when it was in its heyday.
0:19:35 > 0:19:40Well, it was very much a working-class show.
0:19:40 > 0:19:44And in the early days, of course, it was always based on booze.
0:19:44 > 0:19:47- Right.- And drink.
0:19:47 > 0:19:48Now, they found out - the publicans -
0:19:48 > 0:19:52after doing this for about 100 years, they suddenly realised
0:19:52 > 0:19:56that when certain customers said, "We're coming in on Wednesday,"
0:19:56 > 0:20:00more people came in because they knew that those customers
0:20:00 > 0:20:01would sing something.
0:20:01 > 0:20:04So they started to draw people in.
0:20:04 > 0:20:07And so they started to pay the amateur singers
0:20:07 > 0:20:10and that was how the whole business of music hall really started.
0:20:10 > 0:20:12And eventually it became so popular,
0:20:12 > 0:20:15these particular singsong nights,
0:20:15 > 0:20:19that they started to build special buildings on the side of the pubs
0:20:19 > 0:20:22to accommodate the huge crowds that used to turn up.
0:20:22 > 0:20:26They called them halls of music, music halls.
0:20:26 > 0:20:27And that's it? As simple as that.
0:20:27 > 0:20:31But the chairman was always very much in evidence
0:20:31 > 0:20:35in those early days, rather like Leonard Sachs did here.
0:20:35 > 0:20:39- And the chairman was usually the bloke who owned the pub.- Right, OK.
0:20:39 > 0:20:42- And he booked the talent? - He booked the talent.
0:20:42 > 0:20:45He knew exactly who his customers wanted to see.
0:20:45 > 0:20:48And he'd sort of control it.
0:20:48 > 0:20:50And the role of the chairman, when he used to bang his mallet
0:20:50 > 0:20:52and shout out "order, order".
0:20:52 > 0:20:57People think he did the same job as the Speaker in the House of Commons.
0:20:57 > 0:21:00- Trying to control a drunken mob! - HE LAUGHS
0:21:00 > 0:21:03Not quite, because the original shout of "order, order"
0:21:03 > 0:21:08was to instruct the audience to order another round of drinks.
0:21:08 > 0:21:11And if they didn't, he wouldn't put the next turn on,
0:21:11 > 0:21:13so it was, "Come on, order, order, and I'll put him on.
0:21:13 > 0:21:16- "Order now! All of you." - Do you know, I never knew that.
0:21:16 > 0:21:19There you are, you see? There's a lot of things you don't know, Paul!
0:21:21 > 0:21:24Sadly, developments in film and radio
0:21:24 > 0:21:27brought the curtain down on music hall entertainment.
0:21:27 > 0:21:29Luckily, though, for the Leeds City Varieties,
0:21:29 > 0:21:34the BBC's decision to bring The Good Old Days here gave the theatre
0:21:34 > 0:21:35a new lease of life.
0:21:35 > 0:21:39Again, Roy Hudd, who frequently appeared on The Good Old Days.
0:21:39 > 0:21:42So let's talk about The Good Old Days for you.
0:21:42 > 0:21:45The Good Old Days for television - it was fantastic.
0:21:45 > 0:21:47- Over 30 years it ran.- Incredible.
0:21:47 > 0:21:49And was that a good break for you?
0:21:49 > 0:21:52It was a terrific break for so many people,
0:21:52 > 0:21:55because for the first time ever,
0:21:55 > 0:22:00you were presented in a proper way to an audience
0:22:00 > 0:22:02- that wanted to be entertained.- Yeah.
0:22:02 > 0:22:04You know, and you wanted to do it,
0:22:04 > 0:22:07cos this atmosphere is fantastic and on that stage,
0:22:07 > 0:22:10to get out there and work at that audience, packed to the roof
0:22:10 > 0:22:12and they all wanted to laugh!
0:22:12 > 0:22:15First of all, I must say how wonderful it is, folks,
0:22:15 > 0:22:17to be back here in Leeds again.
0:22:17 > 0:22:19The Miami of Yorkshire.
0:22:21 > 0:22:23Was there extra pressure because this was being filmed
0:22:23 > 0:22:27- and it was going out to an audience of sort of 12 to 18 million?- Yeah.
0:22:27 > 0:22:29That was the turning point for you?
0:22:29 > 0:22:32It wasn't the turning point, but, my God, it did me a lot of good!
0:22:32 > 0:22:37Cos everybody saw The Good Old Days and so I got nice summer seasons
0:22:37 > 0:22:40and nice pantos and everything, purely just by appearing on there.
0:22:40 > 0:22:44Les Dawson, Ken Dodd, Ray Allen and Lord Charles...
0:22:44 > 0:22:47- I watched it with my mum and dad religiously.- There you are.
0:22:47 > 0:22:48They were in love with it.
0:22:48 > 0:22:51- It was the first time I came across Danny La Rue.- Well, indeed.
0:22:51 > 0:22:53Danny, one of his first shows was here.
0:22:55 > 0:22:57# Oh, what a beauty
0:22:58 > 0:23:01# Never seen one as big as that before
0:23:02 > 0:23:05# Oh, what a beauty
0:23:05 > 0:23:09# It must be two foot long or maybe more
0:23:09 > 0:23:12# It's such a lovely colour Nice and round and fat
0:23:12 > 0:23:15# I've never seen a marrow quite as big as that
0:23:15 > 0:23:20# Oh, what a beauty
0:23:20 > 0:23:23# Never seen one as big as that before... #
0:23:23 > 0:23:25- And you're still playing them?- Yeah.
0:23:25 > 0:23:27You've got your own chair here, haven't you?
0:23:27 > 0:23:30Well, I have indeed, yeah. I'm not sitting in it.
0:23:30 > 0:23:33I think they've removed it after my last act.
0:23:35 > 0:23:38# Everybody knows me by the end of me old cigar
0:23:38 > 0:23:39# Oh, the end of me old cigar
0:23:39 > 0:23:41# Ta-ra, ta-ra, ta-ra
0:23:41 > 0:23:45# Everybody knows me by the end of me old cigar. #
0:23:45 > 0:23:46CHEERING
0:23:50 > 0:23:52Although the variety circuit that's powered the music halls
0:23:52 > 0:23:55is long gone, it is still with us
0:23:55 > 0:23:57in some variation on our tellies now,
0:23:57 > 0:24:00with shows like Britain's Got Talent.
0:24:00 > 0:24:03And as for the Leeds City Varieties itself, well,
0:24:03 > 0:24:07after a recent refurbishment, this place has never looked so good
0:24:07 > 0:24:11and it will continue to be the country's oldest music hall.
0:24:15 > 0:24:18Well, we've got our first four items,
0:24:18 > 0:24:20but before we get over to the auction house,
0:24:20 > 0:24:23let's have a quick reminder of what we are taking with us.
0:24:25 > 0:24:28These two beautiful books illustrate why it's worth
0:24:28 > 0:24:31delving into mixed boxes at the saleroom.
0:24:31 > 0:24:34But which artist will draw the greater interest?
0:24:34 > 0:24:35Arthur Rackham...
0:24:38 > 0:24:39..or Edmund Dulac?
0:24:43 > 0:24:46Mo's meter for measuring alcohol is beautifully made
0:24:46 > 0:24:48and roughly the same vintage as the museum.
0:24:53 > 0:24:56Is it a clock or is it a propeller?
0:24:56 > 0:25:01Either way, I believe the aircraft enthusiasts will love it.
0:25:01 > 0:25:05And last but not least, the highly glamorous flatpack -
0:25:05 > 0:25:08the inlaid rosewood table.
0:25:09 > 0:25:11We are heading west, to the
0:25:11 > 0:25:13south lakeland district of Cumbria,
0:25:13 > 0:25:15and to Eighteen Eighteen Auctioneers.
0:25:15 > 0:25:18And the saleroom is packed.
0:25:18 > 0:25:21On the rostrum today, we have two auctioneers.
0:25:21 > 0:25:23Kevin Kendal...
0:25:23 > 0:25:24At 20...
0:25:24 > 0:25:26..and David Brookes.
0:25:26 > 0:25:30The commission here is 20% including VAT.
0:25:31 > 0:25:34We are starting with Enid's bargain buy at auction.
0:25:34 > 0:25:36I like this next lot.
0:25:36 > 0:25:38We are talking about Alice In Wonderland with those
0:25:38 > 0:25:41wonderful illustrations by Arthur Rackham.
0:25:41 > 0:25:44Now, I think the value is in the illustrations. You know,
0:25:44 > 0:25:47Arthur Rackham's a great name. A great book illustrator.
0:25:47 > 0:25:50Never really accepted by the Royal Academy as an artist.
0:25:50 > 0:25:52But as the years went on, you know, the prices have gone up
0:25:52 > 0:25:54and now he's up there with some of the greats.
0:25:54 > 0:25:56Could we see a surprise on this?
0:25:56 > 0:25:59We've put a bullish enough estimate on it.
0:25:59 > 0:26:05One of these plates would be a joy to own. You're getting the book.
0:26:05 > 0:26:09And not any book, nothing dreary that's dusty and tired, it is Alice.
0:26:09 > 0:26:11Fingers crossed, both of you.
0:26:11 > 0:26:14I'm going to enjoy watching this one go under the hammer.
0:26:14 > 0:26:15- Yeah, let's hope.- Let's hope.
0:26:15 > 0:26:19The Lewis Carroll volume. Alice's adventures in Wonderland
0:26:19 > 0:26:21with the Rackham illustrations.
0:26:21 > 0:26:23What shall we say for this, please?
0:26:23 > 0:26:25Decent book there. The cloth gilts.
0:26:25 > 0:26:26500?
0:26:26 > 0:26:28Any interest at £400?
0:26:28 > 0:26:31- Come on! Come on, someone. - Any interest at £400?
0:26:31 > 0:26:32£400 bid now.
0:26:32 > 0:26:34At 400.
0:26:34 > 0:26:36450 at the back.
0:26:36 > 0:26:37450 at the back.
0:26:37 > 0:26:40500 now on the internet.
0:26:40 > 0:26:42500. Are you bidding at the back?
0:26:42 > 0:26:44He's not bidding. Bid of 500.
0:26:44 > 0:26:46- INDISTINCT - Can we sell at 500?
0:26:46 > 0:26:47One more bid anywhere?
0:26:47 > 0:26:51We've got £500 bid. We'll pass it if we can't get a further bid.
0:26:51 > 0:26:52- So close.- It won't be sold.
0:26:52 > 0:26:54£500 I'm bid.
0:26:54 > 0:26:56- No, he's tried. That's it.- Yes.
0:26:56 > 0:26:58We just need someone.
0:26:58 > 0:27:01At £500 on the internet.
0:27:01 > 0:27:03Will your vendor sell at 500, Paul?
0:27:03 > 0:27:07- Do you want to sell it at 500? - Do you want to take it?
0:27:07 > 0:27:08- Yes, OK.- Yeah.
0:27:08 > 0:27:11Thank you. We can sell. I have £500. It's here to be sold.
0:27:11 > 0:27:13At the £500...
0:27:14 > 0:27:16Just gone. The auctioneer asked us if we'd agree to that.
0:27:16 > 0:27:19- Cos we needed 550, didn't we?- Yeah.- So...
0:27:19 > 0:27:22- Yes.- Good on you.- Still a good price.- Rather than lose it for £50.
0:27:22 > 0:27:25- Yes, that's right. Yes.- Happy? - Yes, very. Yes.
0:27:25 > 0:27:27Now, will more bidders be tempted by this next lot?
0:27:27 > 0:27:29Yes, of course, it's The Tempest.
0:27:29 > 0:27:31I think this could go at three to five, don't you?
0:27:31 > 0:27:33- Yeah, it should do.- Quite easily.
0:27:33 > 0:27:34Let's find out what the bidders think.
0:27:34 > 0:27:37It's going under the hammer right now. Good luck.
0:27:37 > 0:27:40Shakespeare's comedy of The Tempest volume.
0:27:40 > 0:27:44Illustrated by Edmund Dulac in the vellum gilt.
0:27:44 > 0:27:45We are asking £200.
0:27:45 > 0:27:47Any interest at £200?
0:27:47 > 0:27:49- Come on, come on.- £200 bid.
0:27:49 > 0:27:52£200 on the internet. 200 on the internet again.
0:27:52 > 0:27:53We are looking for 220.
0:27:53 > 0:27:55There is no bidders in the room, make no mistake.
0:27:55 > 0:27:57We have £200 on the internet.
0:27:57 > 0:28:00- £200 on the internet.- Right. - Should we take that?- Yes.
0:28:00 > 0:28:02..remain at 200?
0:28:02 > 0:28:05Yeah? Thank you. £200 we have bid here on the internet.
0:28:05 > 0:28:08- And we will now sell...- One lucky bidder on the net.- Mm.- Yes.
0:28:08 > 0:28:11The auctioneer just asked us if we'd drop the reserve again.
0:28:11 > 0:28:13He had a bid on the internet of £200.
0:28:13 > 0:28:14- We agreed, didn't you?- Yes.
0:28:14 > 0:28:18- So he sold it, rather than take it home and lose it.- Absolutely, yes.
0:28:18 > 0:28:22Adding those two up, that's a combined total of £700.
0:28:22 > 0:28:23I think that's pretty good going.
0:28:23 > 0:28:26- I know you reduced the price on both of them...- Yes, but I'm very happy.
0:28:26 > 0:28:29It was a lucky day for that internet bidder, as well, wasn't it?
0:28:29 > 0:28:30Yes, yes.
0:28:30 > 0:28:33But a lucky day for all of us as well, cos we enjoyed seeing them go.
0:28:33 > 0:28:36- Very much so. Yes.- Thank you for bringing them.- Thank you.
0:28:37 > 0:28:41Not a bad return on Enid's initial outlay of £40.
0:28:41 > 0:28:44Let's hope the next item is just the tonic.
0:28:44 > 0:28:49This was used by a tax inspector to test alcohol levels, wasn't it, Mo?
0:28:49 > 0:28:51And it's a nice little scientific instrument.
0:28:51 > 0:28:54So why are you selling this, firstly,
0:28:54 > 0:28:55and then how did you come by it?
0:28:55 > 0:28:59I came by it at a house sale and I bought it because I loved the box.
0:28:59 > 0:29:03- All right. OK. Not what was in it, just the box.- Yeah, yeah.
0:29:03 > 0:29:06- Did you know what it did? - No, no. Not till afterwards.
0:29:06 > 0:29:08What have you done with it all this time?
0:29:08 > 0:29:12It's been sitting in my sitting room, on the floor,
0:29:12 > 0:29:13- for all these years.- OK, right.
0:29:13 > 0:29:18- We've got our sights set on around £150, £200.- Yes, yes.- Yes.
0:29:18 > 0:29:19- Will that suit you?- Yes.
0:29:19 > 0:29:23- What did you pay for it? - About 30, 35.
0:29:23 > 0:29:26- You will be quids in then, won't you?- 30-odd years ago.- Well, yeah.
0:29:26 > 0:29:28There is no quick profit nowadays, is there?
0:29:28 > 0:29:31Hey, look on the bright side.
0:29:31 > 0:29:33We are going to put it to the test right now.
0:29:33 > 0:29:37The vintage Field's lacquered alcohol meter.
0:29:37 > 0:29:38200 please. £200?
0:29:38 > 0:29:41£100 to start me, please, for the alcohol meter.
0:29:41 > 0:29:43Collectable thing at £100.
0:29:43 > 0:29:45- Come on.- Any drinkers in today?
0:29:45 > 0:29:46Obviously not.
0:29:46 > 0:29:49Alcohol meter. We are asking £100.
0:29:49 > 0:29:51- Any interest anywhere?- Oh, no!
0:29:51 > 0:29:55- £100 for the alcohol meter. Anywhere, please, at 100.- Oh, Mo!
0:29:55 > 0:29:56Absolutely no interest
0:29:56 > 0:30:00and we are not going to drop any lower than £100. No?
0:30:00 > 0:30:02- Sorry.- Oh, no, Mo!- Oh, Mo.- Oh.
0:30:03 > 0:30:05Can't I get a hug?
0:30:05 > 0:30:06- Oh, yeah.- Aw!
0:30:06 > 0:30:09Do you know, I hate it when things don't sell, cos we try our hardest.
0:30:09 > 0:30:11And I think the auctioneer was right.
0:30:11 > 0:30:14- It is not going to drop any lower than 100.- Good for him.
0:30:14 > 0:30:16- You're going to have to use it and test that out?- Well, I will.
0:30:16 > 0:30:20- I tell you what...- Have an alcohol testing party.- Party!- Exactly.
0:30:20 > 0:30:22- Are we coming?- Yeah.- Shall we go?
0:30:22 > 0:30:24THEY LAUGH
0:30:24 > 0:30:28It didn't sell, but it's a great talking point.
0:30:28 > 0:30:30Let's hope the sky is the limit for our third lot.
0:30:30 > 0:30:33Right now, we are reporting that little,
0:30:33 > 0:30:37tiny apprentice piece propeller under the hammer. It belongs to Roy.
0:30:37 > 0:30:39I love this a lot.
0:30:39 > 0:30:43And it sums up, really, the region's social history about making
0:30:43 > 0:30:45aircraft in Blackburn, doesn't it?
0:30:45 > 0:30:47- Actually, they started in Brough. - In Brough.
0:30:47 > 0:30:50- But it's close enough. - And dating back to 1914?
0:30:50 > 0:30:53I think so. That was the story of my family.
0:30:53 > 0:30:56It's nicely made, isn't it, with those wonderful laminates?
0:30:56 > 0:30:58I mean, you'd put an apprentice to work on that.
0:30:58 > 0:31:00Once they've mastered the technique of that,
0:31:00 > 0:31:04- you'd put them on the full-scale thing, wouldn't you?- Yeah, lovely.
0:31:04 > 0:31:07We are going to put this to the test right now.
0:31:07 > 0:31:11The miniature propeller made at Blackburn Aircraft Works
0:31:11 > 0:31:12with the fascia clock.
0:31:12 > 0:31:13A nice little thing.
0:31:13 > 0:31:16Where you going to start me, then? £100 for a quick start. 100?
0:31:16 > 0:31:18£100 on the internet bid. Now we're away.
0:31:18 > 0:31:21100. 110. 120. 130.
0:31:21 > 0:31:24140 now. At 140. Bid's on the internet.
0:31:24 > 0:31:25You're all out in the room.
0:31:25 > 0:31:27150 on the internet. 160. Now we're flying.
0:31:27 > 0:31:30- Yep, they've spotted it.- 160. 160.
0:31:30 > 0:31:33You're all out in the room. 170 now. 170 on the net.
0:31:33 > 0:31:38180. 180. Have you all done? 190 now. 190. 200.
0:31:38 > 0:31:40200. 220. Thank you. A new bidder now online.
0:31:40 > 0:31:42- 240 online.- Quite good.
0:31:42 > 0:31:45240 now. 240. 240.
0:31:45 > 0:31:50£240. On the internet and selling at 240.
0:31:50 > 0:31:53- Good auction, hey? Well done. - Fantastic.- £240.
0:31:53 > 0:31:55- Good result.- Justice. - It's amazing.- Yeah.
0:31:55 > 0:31:58Quality... See, quality always sells.
0:31:58 > 0:31:59- Thank you for bringing... - Not at all.
0:31:59 > 0:32:02- Thank you for bringing that in. - Paul, again.- Well done, you.
0:32:06 > 0:32:07Going under the hammer right now,
0:32:07 > 0:32:09we have a table belonging to Jeanette and David.
0:32:09 > 0:32:11Sadly, they cannot be with us today,
0:32:11 > 0:32:14- but we do have our expert David and we have that lovely table.- I know.
0:32:14 > 0:32:18The wonderful inlay on it - it's beautiful. Great quality.
0:32:18 > 0:32:20- It's quite an acquired taste.- Mm.
0:32:20 > 0:32:23You can picture it in a lovely London apartment room
0:32:23 > 0:32:24where it is going to look a fortune!
0:32:24 > 0:32:26- We're trying to sell it here. - I know, I know.
0:32:26 > 0:32:29You're making me slightly nervous that it might not go.
0:32:30 > 0:32:33Sitting alongside provincial furniture.
0:32:33 > 0:32:34Anyway, let's give it a bash. Here we go.
0:32:34 > 0:32:36It's going under the hammer now.
0:32:36 > 0:32:39Early 20th-century Anglo-Indian occasional table.
0:32:39 > 0:32:43I'm going to have to start the bidding with me at £230.
0:32:43 > 0:32:46- It's gone.- Good.
0:32:46 > 0:32:49Looking for 240. At 240.
0:32:49 > 0:32:52- It's a nice piece, isn't it? - 260, we've jumped to.
0:32:52 > 0:32:54All commissions are out. 280 on the phone.
0:32:54 > 0:32:59- 300.- Come on.- 320. I've 340 on the internet there.- Come on.
0:32:59 > 0:33:02360. 380 on the internet.
0:33:02 > 0:33:03400 on the phone.
0:33:03 > 0:33:06450, we've jumped to on the internet.
0:33:06 > 0:33:07500 on the phone.
0:33:07 > 0:33:09550 on the internet.
0:33:09 > 0:33:11Come on!
0:33:11 > 0:33:13- 600 on the phone. - This is more like it.- Wow!
0:33:13 > 0:33:16- On the phone at £600.- They're going to be very, very pleased with this.
0:33:16 > 0:33:18Yeah. It's gorgeous.
0:33:18 > 0:33:20700 we've jumped to.
0:33:20 > 0:33:22At 7... Oh, 750.
0:33:22 > 0:33:24Have we got 800 on the phone?
0:33:24 > 0:33:27- 800 on the phone.- Ho-ho!
0:33:27 > 0:33:28On the phone at £800.
0:33:30 > 0:33:35£800 sold. That's a great result and a lovely thing to find up here.
0:33:35 > 0:33:37- Well done you, David. - Thank you.
0:33:37 > 0:33:40What a fantastic result!
0:33:40 > 0:33:43Well, that's our first visit to the auction done and dusted today,
0:33:43 > 0:33:46and some happy owners. That's the important thing.
0:33:46 > 0:33:49We are coming back here later on in the programme,
0:33:49 > 0:33:52so don't go away. There could be one or two big surprises,
0:33:52 > 0:33:54but right now, we're returning back to the Bowes Museum.
0:33:54 > 0:33:57I'm going behind the scenes to take a look at
0:33:57 > 0:33:59some of the important work that goes on there.
0:34:02 > 0:34:06The Bowes Museum first opened to the public in 1892.
0:34:06 > 0:34:0720 years before that,
0:34:07 > 0:34:10Josephine Bowes laid the foundation stone,
0:34:10 > 0:34:11saying to her husband,
0:34:11 > 0:34:13"I lay the bottom stone
0:34:13 > 0:34:16"and you, Mr Bowes, you will lay the top stone."
0:34:16 > 0:34:19But sadly, she did not live to see him do this
0:34:19 > 0:34:24as poor health meant she died at a relatively young age of 48.
0:34:24 > 0:34:27John Bowes was devastated by her death,
0:34:27 > 0:34:28but soldiered on
0:34:28 > 0:34:30and then tragically died himself
0:34:30 > 0:34:34just seven years before the museum was completed,
0:34:34 > 0:34:38so he and his wife never saw the final resting place
0:34:38 > 0:34:41for their vast collection of fine art and antiques
0:34:41 > 0:34:44that they amassed throughout their lifetime
0:34:44 > 0:34:46from all of the corners of the globe.
0:34:48 > 0:34:50But today we can enjoy their legacy -
0:34:50 > 0:34:56a museum of immense scope containing European fine and decorative arts
0:34:56 > 0:34:59from the Middle Ages up to the mid-20th century.
0:34:59 > 0:35:01It includes one of the largest collections of
0:35:01 > 0:35:04Spanish paintings in Britain.
0:35:04 > 0:35:08There are ceramics from almost every known European factory
0:35:08 > 0:35:10dating back to the 16th century
0:35:10 > 0:35:15and a textiles collection including everything from embroidery to lace.
0:35:17 > 0:35:18Well, it's one thing acquiring
0:35:18 > 0:35:20all of these wonderful objects of fine art,
0:35:20 > 0:35:23but it's quite another matter looking after them,
0:35:23 > 0:35:26and that's the job of the conservation team.
0:35:26 > 0:35:28They're responsible for the preservation,
0:35:28 > 0:35:32the conservation, the investigation and all the displays here.
0:35:32 > 0:35:33Not just here, though,
0:35:33 > 0:35:36but other exhibitions that go out on loan to other institutions,
0:35:36 > 0:35:40as well as preserving the lifespan of these items
0:35:40 > 0:35:43while they're in storage, taking care of them.
0:35:43 > 0:35:45And like every great discipline,
0:35:45 > 0:35:49techniques have changed over the, let's say, last century.
0:35:49 > 0:35:53What was acceptable 100 years ago when this museum first opened
0:35:53 > 0:35:56is now completely frowned upon.
0:35:59 > 0:36:03The museum has examples of paintings conserved in the early days
0:36:03 > 0:36:05using a method of over-painting
0:36:05 > 0:36:07that is now considered damaging.
0:36:07 > 0:36:11Nowadays, the Bowes Museum conservators are highly trained
0:36:11 > 0:36:15with backgrounds in art history, textile design and archaeology.
0:36:15 > 0:36:18Each has a grounding in chemistry -
0:36:18 > 0:36:22important both for understanding the nature of deterioration
0:36:22 > 0:36:25and for selecting materials for conservation.
0:36:25 > 0:36:29The museum's conservation department is currently working on
0:36:29 > 0:36:31a 15th-century altarpiece,
0:36:31 > 0:36:34the Passion, the Death and the Resurrection of Christ,
0:36:34 > 0:36:36painted by an artist only known as
0:36:36 > 0:36:39the Master of the View of Ste-Gudule.
0:36:39 > 0:36:42I'm going behind the scenes to meet the head of department, Jon Old,
0:36:42 > 0:36:46and the painting intern, Paul Turner, to find out more.
0:36:46 > 0:36:48So, what was the brief on the altarpiece, Jon?
0:36:48 > 0:36:52Well, the brief was to dismantle the altarpiece
0:36:52 > 0:36:54and then reassemble it in a much better condition
0:36:54 > 0:36:56and put it up high on the wall
0:36:56 > 0:36:58as it would've been originally in the church.
0:36:58 > 0:37:00We're here in the painting conservation department
0:37:00 > 0:37:03at the Bowes, and we are dealing with the painted panels.
0:37:03 > 0:37:06And our brief was to take them off the walls
0:37:06 > 0:37:07and bring them to the studio,
0:37:07 > 0:37:10reframe them in more appropriate framing,
0:37:10 > 0:37:12and then we could also, then, document them
0:37:12 > 0:37:15and look at any signs of damage or any conservation we had to do.
0:37:15 > 0:37:18And we have discovered there's quite a lot of flaking on them,
0:37:18 > 0:37:20and we can see there's lots of other areas of damage
0:37:20 > 0:37:22that has happened over the years.
0:37:22 > 0:37:23The other exciting thing about this is
0:37:23 > 0:37:25the way they've been displayed so far,
0:37:25 > 0:37:27we could never see the back of them -
0:37:27 > 0:37:29there's obviously a painting on either side.
0:37:29 > 0:37:31On one side, we have a scene like this one here,
0:37:31 > 0:37:32which is Christ of the Passion,
0:37:32 > 0:37:34and on the other, we have pictures of saints.
0:37:34 > 0:37:37And those weren't viewable before. And after this, they will be,
0:37:37 > 0:37:39so we'll be able to clean them and re-varnish them.
0:37:39 > 0:37:41So, now we're actually treating the flaking,
0:37:41 > 0:37:43which is what Paul's doing over here.
0:37:43 > 0:37:45What are you doing right now, Paul?
0:37:45 > 0:37:47It's just the initial use of the Preservation Pencil
0:37:47 > 0:37:49to relax the paintwork.
0:37:49 > 0:37:52- What does that do?- Well, that applies heat and moisture,
0:37:52 > 0:37:54so it raises the humidity of the paint,
0:37:54 > 0:37:56and once the paint gets above a certain humidity,
0:37:56 > 0:37:58it actually becomes more plastic...
0:37:58 > 0:38:00- Ah!- ..so allows the actual paint to go down flat.
0:38:00 > 0:38:02If you just put the spatula straight on it,
0:38:02 > 0:38:04it's liable to almost crack and break.
0:38:04 > 0:38:05And then what do you do?
0:38:05 > 0:38:08Well, then he'll paint on some of this isinglass
0:38:08 > 0:38:09- which is...- And what is that?
0:38:09 > 0:38:12Well, isinglass is from the swim bladder of a fish
0:38:12 > 0:38:14which is related to the sturgeon.
0:38:14 > 0:38:16- Oh, it's like a fish glue. - So, it's a fish glue, yeah.
0:38:16 > 0:38:18And it's sort of nice and compatible
0:38:18 > 0:38:20with all the things that have been used on the painting,
0:38:20 > 0:38:22so it's not like we're putting on
0:38:22 > 0:38:24anything that's different than that's been there before.
0:38:24 > 0:38:27So, you're painting that in. And I guess you gauge a feel for this
0:38:27 > 0:38:30- over a period of time, don't you? - Yes, you do, yeah.
0:38:30 > 0:38:32OK, and what's the next step after that?
0:38:32 > 0:38:34The next up is going to be applying some acid-free tissue.
0:38:34 > 0:38:37- Does that sit on the wet liquid? - Yes, and it'll absorb...
0:38:37 > 0:38:39- Like, there's a bit there.- Yeah.
0:38:39 > 0:38:41So, it'll absorb anything that hasn't gone through
0:38:41 > 0:38:43the cracks in the paint to underneath the flaking area,
0:38:43 > 0:38:45and it also absorbs any extra.
0:38:45 > 0:38:48- So, now, this is like the little iron that...- Yeah.
0:38:48 > 0:38:49..has a bit more heat?
0:38:49 > 0:38:52Yeah, so that's heated to 63 degrees C, yeah.
0:38:52 > 0:38:55- So, will this seal up those flaky bits?- Yes.
0:38:55 > 0:38:57It'll just encourage the paint to go flat
0:38:57 > 0:39:00and then it'll sit on the isinglass, which dries very quickly.
0:39:00 > 0:39:02So it's quite a fast process, which is good as well.
0:39:02 > 0:39:05There's no time for the paint to come back up again.
0:39:05 > 0:39:06How long will this take, do you think?
0:39:06 > 0:39:07- To finish this one off?- Yes.
0:39:07 > 0:39:09Probably about another couple of hours.
0:39:09 > 0:39:13Considering it's 500 years old, it's in pretty good condition,
0:39:13 > 0:39:15- when you think about what it's been through.- Exactly.
0:39:15 > 0:39:17- Given it came all the way from Belgium...- Sure.
0:39:17 > 0:39:20..went to France and then was shipped over to the Bowes.
0:39:20 > 0:39:21And what have you got on the end of that?
0:39:21 > 0:39:23Is just a cotton... Cotton what?
0:39:23 > 0:39:26It's just literally just a swab stick - just cotton wool.
0:39:26 > 0:39:30- So, that's just gradually dissolving the paper away now?- Yeah.
0:39:30 > 0:39:32- So, you see it's gone down an awful lot.- It has.
0:39:32 > 0:39:33That's exceptionally good, I think.
0:39:33 > 0:39:36- Well, look, thank you very much for showing me.- It's a pleasure.
0:39:36 > 0:39:39I've learnt so much, and I've thoroughly enjoyed looking at these.
0:39:39 > 0:39:41And one day, I'll come back and see them on display.
0:39:46 > 0:39:50The Bowes Museum was definitely John and Josephine's baby,
0:39:50 > 0:39:52born in the 19th century
0:39:52 > 0:39:56when conservation techniques were more often than not hazardous.
0:39:56 > 0:40:01But now, here in the 21st century, I feel sure it's in safe hands,
0:40:01 > 0:40:05and that's thanks to the diligent, hard-working conservation team.
0:40:05 > 0:40:08The future of fine art in the north of England looks rosy
0:40:08 > 0:40:10here at the Bowes Museum.
0:40:15 > 0:40:18Welcome back to the grandeur of the picture galleries.
0:40:18 > 0:40:21Isn't it wonderful to see pictures hung all over the walls
0:40:21 > 0:40:24in the traditional 19th-century way?
0:40:24 > 0:40:26And in the room, hundreds of people
0:40:26 > 0:40:28have already had their antiques valued.
0:40:28 > 0:40:29And there's plenty more to go,
0:40:29 > 0:40:33so let's catch up with our experts and see what else they've found.
0:40:33 > 0:40:37David Harper has spotted some Art Deco belonging to Diana.
0:40:38 > 0:40:40What do you think of Gladys?
0:40:40 > 0:40:42- I don't really like her. - HE CHUCKLES
0:40:42 > 0:40:45- And you own her!- Yes, I do, yes. - Tell me about her.
0:40:45 > 0:40:47Well, my mother was left
0:40:47 > 0:40:50a big display cabinet with all sorts of things in it,
0:40:50 > 0:40:53ooh, probably about 50, 55 years ago,
0:40:53 > 0:40:55and Gladys was part of that.
0:40:55 > 0:40:59My mum sadly died a couple of years ago,
0:40:59 > 0:41:01and this is one of the things that
0:41:01 > 0:41:05- I'm afraid none of the family particularly wanted.- Right, OK.
0:41:05 > 0:41:07Now, I find this really interesting,
0:41:07 > 0:41:09- cos if you don't mind me saying so...- Yes?
0:41:09 > 0:41:14..I think Gladys and Diana could be sisters.
0:41:14 > 0:41:17This is remarkable. Do you not think?
0:41:17 > 0:41:19And you don't like her?
0:41:19 > 0:41:22Well, the only similarity I can see is that we're both wearing pink.
0:41:22 > 0:41:25Yes. You've got lovely red lips, similar sort of hair -
0:41:25 > 0:41:26no, I think you're related.
0:41:26 > 0:41:28So, what do you know about Gladys?
0:41:28 > 0:41:32As you say, she's Art Deco. That's all I know.
0:41:32 > 0:41:35I know that I don't particularly like her, I'm afraid.
0:41:35 > 0:41:38- That's about it.- Well, I'm going to convince you, Diana, to like her.
0:41:38 > 0:41:41Now, you say Art Deco - she screams Art Deco,
0:41:41 > 0:41:44and the term Art Deco was first coined at
0:41:44 > 0:41:47the Paris Arts and Decorative Fair of 1925,
0:41:47 > 0:41:48so it's quite a tight period,
0:41:48 > 0:41:51although the Deco style was introduced after the war,
0:41:51 > 0:41:54but the true period is '25 to '39.
0:41:54 > 0:41:58So, does she belong to that period or is she a later Art Deco style?
0:41:58 > 0:42:00Well, I think, with a lot of these things,
0:42:00 > 0:42:03the bottom will tell you quite a lot.
0:42:03 > 0:42:06So, she's made by Royal Doulton. There's her name - Gladys,
0:42:06 > 0:42:08a reference number.
0:42:08 > 0:42:11Now, I know that Gladys from Royal Doulton
0:42:11 > 0:42:14was produced between 1935 and 1938,
0:42:14 > 0:42:16so she's in period.
0:42:16 > 0:42:20Am I making Diana appreciate Gladys any more?
0:42:20 > 0:42:24- Appreciate her, certainly, yes. - Like her?- No.
0:42:24 > 0:42:26Well, I think she's gorgeous.
0:42:26 > 0:42:30I think Royal Doulton ornaments aren't what they used to be,
0:42:30 > 0:42:32but she breaks the mould slightly
0:42:32 > 0:42:34because she is, I think, so lovely
0:42:34 > 0:42:37and sums up that glamorous Art Deco period.
0:42:37 > 0:42:40But she does have a problem, and do you know what the problem is?
0:42:40 > 0:42:42- I do, yes.- Yeah, what is that?
0:42:42 > 0:42:44Yeah, she's got a slight chip.
0:42:44 > 0:42:48Right at the front there, which makes a bit of a difference,
0:42:48 > 0:42:49and it's in the worst possible place -
0:42:49 > 0:42:52if it was at the back, it would make life easier.
0:42:52 > 0:42:54So, what do you think she's worth?
0:42:54 > 0:42:56I was told by the local auction house
0:42:56 > 0:42:59that it was probably about 120.
0:42:59 > 0:43:02So, are we talking about the 80, 120 estimate here?
0:43:02 > 0:43:03Probably, yeah.
0:43:03 > 0:43:07Well, 80 to 120 is a great, come-and-get-me estimate,
0:43:07 > 0:43:09and she should and could do more.
0:43:09 > 0:43:13- So, how would you feel about that? - Fine.- 80, 120...- Great.
0:43:13 > 0:43:14- Are you happy?- Fantastic.
0:43:14 > 0:43:17You really don't like this Gladys. Do you?
0:43:17 > 0:43:21No. Do you want to buy Gladys? You seem so enthusiastic...
0:43:21 > 0:43:23You know, if I could, I probably would.
0:43:23 > 0:43:25- THEY CHUCKLE - Thank you.- See you at the auction.
0:43:25 > 0:43:29Let's hope the bidders agree with David and not Diana.
0:43:29 > 0:43:32Paul has found something a little more genteel.
0:43:34 > 0:43:37- Sylvia, how are you doing? - Fine, thank you.- Good.
0:43:37 > 0:43:41And you've brought with you rather a smart-looking silver basket.
0:43:41 > 0:43:43How did this little gem come into your possession?
0:43:43 > 0:43:45We inherited it, me and my husband.
0:43:45 > 0:43:48No great family history beyond that, it just came our way?
0:43:48 > 0:43:51Well, it was my husband's grandfather's -
0:43:51 > 0:43:53that's where it came from in the family.
0:43:53 > 0:43:55It's a Continental piece.
0:43:55 > 0:43:59We've got a series of mystery Continental marks
0:43:59 > 0:44:03and I suspect Continental, late 19th-century.
0:44:03 > 0:44:06But the aesthetic, it's actually much earlier
0:44:06 > 0:44:09because it cries out Georgian flamboyance.
0:44:09 > 0:44:12We've got a lovely little flower head,
0:44:12 > 0:44:16diaper- or lattice-patterned reticulated border,
0:44:16 > 0:44:20we've got lovely little shells and canvas scrolls,
0:44:20 > 0:44:22we've got turtle doves.
0:44:22 > 0:44:25And then right in the centre,
0:44:25 > 0:44:29we've got this Georgian courting couple in an orchard setting,
0:44:29 > 0:44:31which is very much 18th century.
0:44:31 > 0:44:34But it's not - it's a timeless aesthetic.
0:44:34 > 0:44:38And in truth, I'm sure if you go to enough silversmiths today,
0:44:38 > 0:44:40you'll find someone producing exactly the same thing
0:44:40 > 0:44:42because it's a smart look.
0:44:42 > 0:44:45But if I show anybody under the age of 45,
0:44:45 > 0:44:48I think they'll go, "It's the kind of thing my granny would've liked."
0:44:48 > 0:44:51- Yes.- You see what I'm...? Is that...?- Absolutely, yes.
0:44:51 > 0:44:55And that has a lot to bear on its value - its popular appeal.
0:44:55 > 0:44:58In its favour - here we go, we're all positive again,
0:44:58 > 0:44:59I've got my positive hat on -
0:44:59 > 0:45:01there's a bit of silver in there,
0:45:01 > 0:45:05albeit perhaps 800 standard rather than 925 sterling,
0:45:05 > 0:45:09and I think what underpins its value is the silver content.
0:45:09 > 0:45:13And on that basis, I'd suggest 80 to 120.
0:45:13 > 0:45:17- Now, could I tempt you to sell it? - Yes.- Yeah?- Yes.
0:45:17 > 0:45:19Well, in that case, looks like we're in business.
0:45:19 > 0:45:22- Now, I'd suggest a reserve at low estimate...- Yeah.
0:45:22 > 0:45:25..but maybe a little bit of discretion on the auctioneer's part
0:45:25 > 0:45:28- if he needs it on the day.- OK. - Sound good?- Yes, it does.
0:45:28 > 0:45:29Sylvia, what a pleasure.
0:45:29 > 0:45:31- Thank you very much. - Thank you very much.
0:45:33 > 0:45:35What a pretty thing.
0:45:35 > 0:45:39It's over to David now who has spotted a fine bit of woodcarving.
0:45:39 > 0:45:42Well, I've got to say, I'm a big dog lover.
0:45:42 > 0:45:46- Jean, are you as well?- Yes.- Yeah? Peter?- I am indeed.- Yeah? Wonderful.
0:45:46 > 0:45:50Now, Jean, tell me everything you know about this magnificent hound.
0:45:50 > 0:45:54We got it given to us by a friend of ours, a neighbour.
0:45:54 > 0:45:59He worked at this place where they sort of disposed of newspaper,
0:45:59 > 0:46:02and it was amongst that in the yard where they tipped it.
0:46:02 > 0:46:03How long ago?
0:46:03 > 0:46:05Oh, it's 50 years ago,
0:46:05 > 0:46:06and he wasn't a dog lover,
0:46:06 > 0:46:09so he came to us because we had red setters.
0:46:09 > 0:46:12- There's a sort of resemblance there, isn't there?- Yeah. There is.
0:46:12 > 0:46:15With the big nose. I mean, it's a fantastic creature.
0:46:15 > 0:46:17Have you done any research at all?
0:46:17 > 0:46:20Erm, no. Peter did the research.
0:46:20 > 0:46:21I did quite a bit of research.
0:46:21 > 0:46:24- Somebody said it may be late-Victorian.- OK.
0:46:24 > 0:46:27- I've got to tell you, I've never seen anything quite like it.- No.
0:46:27 > 0:46:31I've seen many dog heads, animal heads from this period.
0:46:31 > 0:46:33So, I would date him to about 1880.
0:46:33 > 0:46:37But the thing is, it is an exceptionally good quality piece.
0:46:37 > 0:46:40If you look at the detail of his muscular face,
0:46:40 > 0:46:42and the snout is incredible.
0:46:42 > 0:46:44And this business, when we're looking at wood,
0:46:44 > 0:46:45colour and patination is everything.
0:46:45 > 0:46:48Originality, colour, patination - you've got it all.
0:46:48 > 0:46:50The fact that he's been thrown out,
0:46:50 > 0:46:53I'm amazed he still retains those three major qualities.
0:46:53 > 0:46:56And I think he was made for someone with great wealth
0:46:56 > 0:46:59and someone with a connection to hunting.
0:46:59 > 0:47:01I mean, this is a bloodhound.
0:47:01 > 0:47:04If you look at his mount, which is bronze and then gilded -
0:47:04 > 0:47:05very well cast.
0:47:05 > 0:47:08See, you've got a leather whip with tassels
0:47:08 > 0:47:10- and then, of course, you've got an antler horn.- Yeah.
0:47:10 > 0:47:12Do you know where I think he belongs?
0:47:12 > 0:47:14- In a great big Scottish shooting lodge.- Yeah.
0:47:14 > 0:47:17- Don't you think, Peter? Can you see it?- Yeah.
0:47:17 > 0:47:20And the kind of people that would be drawn to this carving,
0:47:20 > 0:47:22I think, would have lots of money
0:47:22 > 0:47:25because he's one of those aspirational kind of pieces.
0:47:25 > 0:47:28So, to sum up then, he is a fruitwood -
0:47:28 > 0:47:30probably a walnut - fantastic colour.
0:47:30 > 0:47:33Carved in sections - it's not a one-piece carving -
0:47:33 > 0:47:36he's carved in three or four sections and then pegged together.
0:47:36 > 0:47:39You can just see little splits where it's moved over time.
0:47:39 > 0:47:41He's 130 years old - you're going to get that.
0:47:41 > 0:47:44- It's brilliant that you haven't polished up the bronze...- Yeah.
0:47:44 > 0:47:46..because it is gilded, and you'll rub the gilding off.
0:47:46 > 0:47:48Positively 1880s.
0:47:48 > 0:47:50What's he worth?
0:47:50 > 0:47:52I think, personally, to get the interest,
0:47:52 > 0:47:56would you be brave enough to pitch him in at 300 to 500?
0:47:56 > 0:47:58- Yeah.- Yes. - Can they put a reserve on it?
0:47:58 > 0:48:01Absolutely. If it doesn't make the 300, he goes home.
0:48:01 > 0:48:03But it's so exciting...
0:48:03 > 0:48:05Well, it's better than sitting in a box, isn't it?
0:48:05 > 0:48:08- Is that where he's been living, in a box?- He has.- Oh, my...
0:48:08 > 0:48:11He needs to be out into the big world. Let's send him.
0:48:11 > 0:48:14- Jean.- Yeah. - Fabulous. How very exciting.
0:48:16 > 0:48:20I agree with David - that is a splendid thing.
0:48:20 > 0:48:23Chris... You present me with a precious bauble.
0:48:23 > 0:48:26What's its background, as far as you know?
0:48:26 > 0:48:29- I don't know anything about the person it belonged to.- OK.
0:48:29 > 0:48:32I just know I picked it up in a little curiosity shop.
0:48:32 > 0:48:37- Oh, so you bought this?- Yes.- Why? Because this is a military piece.
0:48:37 > 0:48:39I wanted a pendant for my bracelet...
0:48:39 > 0:48:41OK. Yeah.
0:48:41 > 0:48:43..to hang on, and, um... when I saw this I thought,
0:48:43 > 0:48:45"Oh, it's so different
0:48:45 > 0:48:48"to the normal sovereign or half sovereign."
0:48:48 > 0:48:50You're quite right.
0:48:50 > 0:48:52So, I was just attracted to it.
0:48:52 > 0:48:55And indeed, in high-carat gold, an 18-carat gold fob,
0:48:55 > 0:48:58because you would wear it off a bangle,
0:48:58 > 0:49:01but its original recipient, because this was a prize,
0:49:01 > 0:49:04wore it proudly on his waistcoat.
0:49:04 > 0:49:06So...
0:49:06 > 0:49:09it says Yorkshire V-B Team... competition,
0:49:09 > 0:49:13and then the arms in the centre on the shield.
0:49:13 > 0:49:15Well V-B, we know,
0:49:15 > 0:49:20refers to the Volunteer Battalions of the Yorkshire Regiment.
0:49:20 > 0:49:24The Volunteer Battalions then, which is late 19th, early 20th century,
0:49:24 > 0:49:28are akin in a sense to the Territorial Army of today.
0:49:28 > 0:49:31Now, this would have been given as a...
0:49:31 > 0:49:33sporting prize.
0:49:33 > 0:49:37Now, it could be bayonet fencing, because that's something they did,
0:49:37 > 0:49:40a martial sport, or it could have just been cross-country,
0:49:40 > 0:49:42and we'll never really know.
0:49:42 > 0:49:44But we do know
0:49:44 > 0:49:49the proud owner of this, who was one Lance Corporal W...
0:49:49 > 0:49:51- So, it was Bill Sykes. - CHRIS CHUCKLES
0:49:51 > 0:49:52Bill Sykes's!
0:49:52 > 0:49:54Cracking set of assay marks.
0:49:54 > 0:49:57Walker and Hall - there's a name that we all recognise to this day,
0:49:57 > 0:50:01assayed, 18-carat gold, 1903.
0:50:01 > 0:50:03Splendid thing!
0:50:03 > 0:50:06It transports us to pre-First World War,
0:50:06 > 0:50:10Belle Epoque, and I can picture this guy in his walking-out dress,
0:50:10 > 0:50:13scarlet, maybe a little pillbox cap,
0:50:13 > 0:50:15swagger stick, proud as punch,
0:50:15 > 0:50:19"I'm the battalion cross-country champion,
0:50:19 > 0:50:20"and look at my fob."
0:50:20 > 0:50:22Now, was it expensive when you bought it?
0:50:22 > 0:50:24About £40, I think.
0:50:24 > 0:50:25How long ago?
0:50:25 > 0:50:2620 years.
0:50:26 > 0:50:28It was enough money, it was a lot of money!
0:50:28 > 0:50:30I liked it, so it didn't matter.
0:50:30 > 0:50:32Quite right, too.
0:50:32 > 0:50:35These, per se, are not uncommon because that's what happened -
0:50:35 > 0:50:39every military unit has its annual sports day
0:50:39 > 0:50:41and hands out prize fobs,
0:50:41 > 0:50:44so they're not rare in themselves, and as a consequence,
0:50:44 > 0:50:46they're not fiercely contended
0:50:46 > 0:50:49unless you find the regimental collector.
0:50:49 > 0:50:53The estimate I'd place on it at auction would be £80 to £120,
0:50:53 > 0:50:57which is probably fair enough on the £40 spent.
0:50:57 > 0:51:00Would it be enough...? Is it something you would part with?
0:51:00 > 0:51:02- Yes.- Yes?- Yes, I'm ready to, er, yes.
0:51:02 > 0:51:04- Had the pleasure?- Yes.
0:51:04 > 0:51:06I would advise a reserve at low estimate,
0:51:06 > 0:51:09because I think it's worth that all day long.
0:51:09 > 0:51:10- So we're on?- Yes.
0:51:10 > 0:51:13- £80 it is, off to auction with Bill Sykes's medal.- Thank you.
0:51:15 > 0:51:17Here's what's going under the hammer.
0:51:19 > 0:51:20Charming as it is,
0:51:20 > 0:51:23Diana is not going to be sorry to say goodbye to
0:51:23 > 0:51:25her Art Deco figure.
0:51:27 > 0:51:30The Georgian-style silver dish has a quiet appeal
0:51:30 > 0:51:32and is reasonably priced.
0:51:35 > 0:51:39The military pendant is not only gold, it is also history,
0:51:39 > 0:51:42and people are prepared to pay for that.
0:51:42 > 0:51:47And all we need is a dog lover with a space on the wall in their castle,
0:51:47 > 0:51:51and this carved head will have a new home.
0:51:52 > 0:51:55We're back on the other side of the Yorkshire Dales
0:51:55 > 0:51:58in Cumbria at Eighteen Eighteen Auction Rooms.
0:52:01 > 0:52:04To get us under way, some charming Art Deco.
0:52:04 > 0:52:08Going under the hammer right now, we have Diana's Royal Doulton figure.
0:52:08 > 0:52:11It's a Gladys figure, and I kind of like this in a way.
0:52:11 > 0:52:14I think this is a bit kitsch for...
0:52:14 > 0:52:16And for Doulton, that's kind of saying something,
0:52:16 > 0:52:18- cos Doulton's not really that kitsch, is it?- No.
0:52:18 > 0:52:21- And kitsch is all the rage right now.- Hopefully.- Hopefully.
0:52:21 > 0:52:22And it's not a lot of money.
0:52:22 > 0:52:25- Why are you selling this, anyway? - Because I don't like it.
0:52:25 > 0:52:28- You don't like it. Well, I kind of agree...- We like it.
0:52:28 > 0:52:30- Yeah, but...- We like it!
0:52:30 > 0:52:31I like it in the fact that...
0:52:31 > 0:52:33I'm not keen on figurines or anything like that -
0:52:33 > 0:52:35I really don't like that Doulton thing about it.
0:52:35 > 0:52:38But I kind of like this because it's a little bit different.
0:52:38 > 0:52:40Anyway, let's put the value to the test.
0:52:40 > 0:52:42Are you ready, Diana? Here we go.
0:52:42 > 0:52:46Gladys. Yeah, the 1930s sort of Art Deco Royal Doulton figure there.
0:52:46 > 0:52:50I am going to start the bidding with me at £80.
0:52:50 > 0:52:52- It's gone.- Marvellous, marvellous. - £80 bid.
0:52:52 > 0:52:55£80 bid. 80 bid. 80 bid. 80. 90.
0:52:55 > 0:52:5990 bid. 100. 110. 110 now. 120. 130.
0:52:59 > 0:53:02- Oh, good.- See?- 130. 140.- Hey!- 140. - DAVID CHUCKLES
0:53:02 > 0:53:04- 140.- Marvellous.- It's all over. 140.
0:53:04 > 0:53:09140. All done this time. I'm going to sell then at 140.
0:53:09 > 0:53:12- Good result. Well done.- Fabulous. - Well done, David. Good result.
0:53:12 > 0:53:14Thank you for bringing that... See, there's a big smile now.
0:53:14 > 0:53:16- That's great.- Yeah, it's good news.
0:53:16 > 0:53:18Yeah, I'm really pleased with that.
0:53:18 > 0:53:20You're so pleased to see her gone, aren't you?
0:53:22 > 0:53:24And for a really good price, too.
0:53:26 > 0:53:30Serving up for you right now we have Sylvia's silver Continental dish.
0:53:30 > 0:53:34And I tell you what, at 80 to 120, that's going, isn't it?
0:53:34 > 0:53:37That's going, going, bang, gone any moment now.
0:53:37 > 0:53:38I mean, if it was English,
0:53:38 > 0:53:40you could quite easily treble that, couldn't you?
0:53:40 > 0:53:42So, why are you selling this?
0:53:42 > 0:53:44Well, it's just been in the loft for 50 years.
0:53:44 > 0:53:47Shame, shame. You could be using that.
0:53:47 > 0:53:49Oh, it's a lot of cleaning cos it's very ornate,
0:53:49 > 0:53:53so one doesn't like to spend one's life cleaning.
0:53:53 > 0:53:56No, no-one wants to clean their silver any more.
0:53:56 > 0:53:58Anyway, you shouldn't really over-clean it, should you?
0:53:58 > 0:54:00But that's why they're flogging it,
0:54:00 > 0:54:02and that's exactly what we're doing right now. This is it.
0:54:02 > 0:54:06The Continental white metal dish with the trellis pattern border.
0:54:06 > 0:54:08Again, various interest.
0:54:08 > 0:54:10I'm going to have to start bidding simply with me at £70.
0:54:10 > 0:54:13It's with me at 70. Looking for 75 anywhere.
0:54:13 > 0:54:16- Come on. - I will sell if no further interest.
0:54:16 > 0:54:18At the 70. With me at 70.
0:54:20 > 0:54:22Just we needed one more to push it to get that £80 mark.
0:54:22 > 0:54:25- But, look, it's gone, Sylvia. - That's fine.
0:54:25 > 0:54:26- You're happy, aren't you?- Yes.
0:54:26 > 0:54:29You don't have to clean it, you don't have to look at it.
0:54:29 > 0:54:32I think that has gone off to be treasured.
0:54:33 > 0:54:35Going under the hammer right now
0:54:35 > 0:54:38we have a gold military fob medallion belonging to Christina.
0:54:38 > 0:54:40- We like this, don't we? - This is good.
0:54:40 > 0:54:41Very good.
0:54:41 > 0:54:44High-carat gold, lovely inscription,
0:54:44 > 0:54:46- ticks a lot of boxes.- Yeah.
0:54:46 > 0:54:49Let's find out what is worth, shall we? It's going under the hammer now.
0:54:49 > 0:54:51Good luck.
0:54:51 > 0:54:55Lot number 465 is an 18-carat gold military medallion.
0:54:55 > 0:54:59Where can we go for a start? I think we'll start at £80. £80 bid.
0:54:59 > 0:55:00£80 anywhere? 80 bid.
0:55:00 > 0:55:0385, 90... five, 100...
0:55:03 > 0:55:05And 10. 120.
0:55:05 > 0:55:06130 now in the room.
0:55:06 > 0:55:08130, 40 anywhere?
0:55:08 > 0:55:11130, holding this time. Sell and away then at 130?
0:55:11 > 0:55:14130. Cor! Did you hear the hammer then?
0:55:14 > 0:55:16Boom!
0:55:17 > 0:55:19130, that's OK, isn't it?
0:55:19 > 0:55:22- Yes, that is. - Thank you for bringing that in.
0:55:22 > 0:55:26Just over the top end of the estimate. Well done, Paul.
0:55:26 > 0:55:29Next, the dog which has a bit of a tale attached to it.
0:55:29 > 0:55:31Jean and Peter, I love this lot.
0:55:31 > 0:55:35Absolutely... I'm a big dog lover, so I love dogs and I love this.
0:55:35 > 0:55:39- Now, at the valuation day, we had a valuation of 300 to 500.- Yeah.
0:55:39 > 0:55:41And I believe since the valuation day,
0:55:41 > 0:55:44- you've had a chat to the auction house...- Yeah.
0:55:44 > 0:55:48- ..and you've upped that reserve from 300 to 500.- Yeah.
0:55:48 > 0:55:51Do you feel you don't want to part with it now
0:55:51 > 0:55:53- for anything less than 500? Is that what...?- Yeah.
0:55:53 > 0:55:55That's what that's all about. OK.
0:55:55 > 0:55:58Well, we're going to find out if someone here wants to take it home.
0:55:58 > 0:56:01- But they've got to part with 500 quid.- Yeah.
0:56:01 > 0:56:03Here we go - it's going under the hammer.
0:56:03 > 0:56:06The wall mask carved as a bloodhound.
0:56:06 > 0:56:08The ornate mount as well.
0:56:08 > 0:56:10What can I ask for it for a start? 500?
0:56:10 > 0:56:12- Go on.- 500, if you like.
0:56:12 > 0:56:15500? Let's start at 300 and see how we go on from there.
0:56:15 > 0:56:19- 300 anywhere?- Oh, no. - Nobody at 300?- No.- No.
0:56:19 > 0:56:23300? Thank you, sir. 300. 320. 320.
0:56:23 > 0:56:26340. 360. 380.
0:56:26 > 0:56:28380 now. 380. Looking for 400 anywhere.
0:56:28 > 0:56:31- Come on.- 380. 400 now. 400.
0:56:31 > 0:56:35420. 440. 460. 480.
0:56:35 > 0:56:38- Looking to sell at 480. - One more. Sell at 480?
0:56:38 > 0:56:40- Yes?- Yeah.- Yeah.- 480.
0:56:40 > 0:56:44£480, and I am selling at 480.
0:56:44 > 0:56:48- Thank you, sir.- Oh! - Good auctioneering.- Yes.
0:56:48 > 0:56:49And thank you for dropping another £20,
0:56:49 > 0:56:53- that made all the difference... - Yeah.- ..from a sale or a no-sale.
0:56:53 > 0:56:55And if you weren't going to have it on display at home...
0:56:55 > 0:56:58- No, it doesn't look right in my house.- Well then, it had to go.
0:56:58 > 0:57:00- Good decision.- Yeah, good decision.
0:57:00 > 0:57:03Let's hope his new home is worthy of him.
0:57:03 > 0:57:06Well, there you are. That's it. It's all over for our owners,
0:57:06 > 0:57:08and we've put those valuations to the test.
0:57:08 > 0:57:11It has been a rollercoaster ride for everybody concerned -
0:57:11 > 0:57:13even our experts -
0:57:13 > 0:57:16because it's not an exact science putting a value on an antique
0:57:16 > 0:57:18as you have just seen.
0:57:18 > 0:57:20I hope you've enjoyed the show.
0:57:20 > 0:57:22Join us again for many more surprises next time,
0:57:22 > 0:57:24but until then, it's goodbye.