Bowes 24 Flog It!

Behind me is a remarkable building,

perhaps more suited to a French town than

the countryside in the north of England.

But inside, it's a treasure trove of fine art and antiques.

It is, if you like, the legacy of a love story

and the product of an unlikely marriage between John Bowes -

the wealthy illegitimate son of the 10th Earl of Strathmore -

and a young French actress called Josephine.

Welcome to "Flog It!"

and to their baby, the Bowes Museum in County Durham.

The Bowes Museum is today's valuation venue.

John Bowes always maintained that the idea of founding a museum

had been that of his beloved wife, Josephine.

And what ambition she had.

It was an extraordinary achievement for private individuals to

build such a stunning place

and to assemble the large collections necessary to fill it.

That the Bowes decided to build a museum close to John's

family seat in County Durham remains astonishing to this day.

But more of this story later.

It's time to catch up with the queue that is

forming at the front of the museum.

Hundreds of people here, laden with antiques and collectables,

items from all over the world. And it's our experts' job to

talk about them and delve deep into these stories.

And hopefully, one or two surprises at the end of the show.

But all of these people have something in common.

They are here because they want to know what it's worth.

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

-ALL:

-Flog it!

Already in the queue searching for items in tiptop condition

to take auction are our discerning antiques experts.

David Harper...

Is it the most exotic thing Barnard Castle has ever seen?

-That's the question.

-I'm sure it must be.

..and Paul Laidlaw.

-Who is your friend?

-I don't know her name.

But let's not hang around.

People are already filing into the magnificent picture galleries,

where the valuations will be taking place.

But first, here's a quick look at some of the extremes

of emotion coming up in today's show.

We have delight...

You've made my day. You know that, don't you?

-This is from ear to ear.

-Yes, I see.

And then a little less enthusiasm from one of our owners.

I know that I don't particularly like her.

-That's about it.

-I'm going to convince you, Diana, to like her.

And I have a look at something here at the Bowes Museum

which I just love.

-Considering it's 500 years old, it's a pretty good condition.

-It is.

-When you think about what it's been through.

-Exactly, yeah.

Everybody is now safely inside and hundreds of people have turned up.

In fact, there are no spare seats in this particular picture gallery.

We really do have our work cut out. It could be a long day.

Sit back and enjoy as the stories unfold. Let's make a start.

It's straight over to our experts' tables.

And it's Paul Laidlaw's choice first.

Enid, you know how to treat a book lover.

Spoiling me already. How did these come into your possession?

I would buy them 30-odd years ago in probably

a box of books at an auction. Probably about £40, I would think.

Some nice things on top. And when I came across these...

-Oh, so it was chance?

-Yes. Oh, yes.

I didn't buy them because of the two books. No.

-These are important illustrated works.

-Yes.

-The value of these isn't in the text.

-No.

-We are not interested in Alice In Wonderland.

-I know.

-Nor in The Tempest.

-No.

-It's all about the illustrations.

Arthur Rackham. A great of book of illustration.

He studies at the Lambeth School of Art.

And pretty much is exclusively a book illustrator.

The fine art establishment were a wee bit stuffy about

book illustrators and didn't give him the respect that he was due

and is given today. Take a look at this.

We've got Alice here. And I've got to say, idiosyncratic Alice.

-This is very much Rackham's Alice.

-Yes.

And signed here within the print - Rackham, 1907.

Now let's move on. Look at that.

We have got the Queen of Hearts' little pages here as the cards.

This is startling, for my money.

I think you could give a child nightmares with these.

And it has a bearing, because this is very much of its time.

There's been a revolution in decorative arts and

-we can see in these roses here in a Mackintosh inlaid...

-Stylish, yes.

-We can see a Glasgow rose, perhaps.

-Yes.

Look at that!

We've got the dodo, of course, and Alice,

-surrounded by these borderline grotesques.

-Yes.

And therein lies a lot of the import of Rackham's illustrations.

It is arguably shocking to traditional popular taste in 1907.

Yes, it's quite frightening, actually, isn't it?

-Isn't it?

-Yes, it is.

-And you've got another one?

-Yes, I have.

-Now we are looking at Shakespeare and The Tempest.

Illustrated by Edmund Dulac - a giant of book illustration.

He studied at l'Ecole des Beaux-Arts,

I think, in Paris, before moving to London...

-Oh, right.

-..about the turn of the 19th, into the 20th century.

-And he illustrates the classics.

-Right.

-Cervantes, Shakespeare and so on.

-Yes.

This edition - limited to 500 copies,

numbered and signed by the artist.

We would have to be fabulously wealthy to own an original

-work by Dulac.

-Yes, yes.

-But you have the hand of the man.

-Yes.

-Right, what do we have?

-I think that's beautiful.

-This is one of your favourites?

-Yes, I think that's beautiful.

-Why?

The colouring is lovely, it's slightly Art Nouveau,

but it's so bonny in colouring.

You bought the mother of all bargain boxes of books.

You'd think that the Dulac would be the more valuable

-because it's smaller print run and signed by the man.

-Yes.

However, I suspect Rackham trumps Dulac today.

Let me tell you some numbers. Start with the Dulac, The Tempest.

-£300 to £500.

-Right.

-OK?

-Yes. Yeah.

-But Rackham's on fire and I think £600 to £800.

-Really?

They are a wee bit better than nice now, aren't they?

Absolutely, yes. I'm quite shocked. Very shocked.

Would we put them in with those estimates?

Three to five on the Dulac. Six to eight on the Rackham.

And put reserves at...

Low estimates are what most auctioneers would recommend.

-Yes, OK. Yes, I'll go with that.

-My, what a box of books!

And these at the bottom.

-It's very lucky, yes.

-Lucky at the auction is what we need to be next.

Yes. Yes.

What a great story, and two superb finds.

Let's catch up with David now, who has chosen one of the

quieter galleries to examine something scientific.

Now, Mo, tell me, are you into wines, beers and spirits?

Oh, yes, I do like drinking now and again.

Tell me, why on earth do you have this scientific instrument

connected to wines, beers and spirits?

Well, I bought it about 35 years ago mainly because I loved the box.

I love wood.

So it's the box that drew you in, then?

Because it tells us on top of the box exactly what it is.

It's a Field's patent alcoholmeter by Joseph Long.

And they reside at Tower Street in London.

That's such a good plaque.

Had you any clue at all what it's all about, what it does?

-Was it sort of Customs and Excise?

-It could have been.

It could have been that. Or it could have been the distiller themselves.

Yeah, but in such a lovely box?

Ah, but we are going back to a different time.

This is the height of the British Empire.

We controlled the world.

Everything we had and did was of the finest quality.

This is just a commercial piece of kit,

but it's beautifully constructed, in or around 1880.

So, not for testing home-made wine made from dandelions

and nettles then maybe as well?

-I don't think so. It's got much more of a commercial feel to it.

-Right.

Do you know how it works?

-Yes, we've talked through it.

-Tell me.

So...

From here...

some methylated spirits would be put in the bottom here.

-You would light the wick.

-Yes.

-This would be put on the top.

-Yeah.

-Like this.

-You'd pour...

-A measure.

-..your correct measure.

-That would be poured into there.

-Oh, right. OK.

-That would be put onto the top there.

-Yeah, OK.

And the quicker it evaporated, the higher the content of alcohol.

-Do you know what I say to that?

-Come on, then.

-What a waste of good drink.

-THEY LAUGH

Just get that measure, pour it in a glass, add a bit of tonic

and be done with it.

-And the lemon, of course.

-And a bit of lemon.

I think it's brilliant. You bought it how long ago?

-About 35 years ago.

-Do you remember what you paid for it?

-About £35 as well.

-Did you?

-Ish.

I can tell you how much one of these sold for recently.

It made 110 with a couple of other objects.

So, in auction now, we would go 100 to 150 at an estimate.

-Shall we do it? 100 to 150?

-Reserve of 150?

-No, you can't do that.

-Can we not do that?

-No, you can't do that.

You've got to reserve it at the lower estimate.

I'd feel happier at 150, I think.

If you are really insistent, I suppose I could chance my arm,

push it 150 to 200, fix it at 150, but it might not sell.

That's OK, because I've loved it for all those years.

But the time has come that it would be nice to sell it.

-Brilliant.

-OK.

-I'll see you there.

-OK.

-Fingers crossed.

Thank you, David. Thank you.

Those two sounded like they would have enjoyed a tipple together.

Now let's head back to Paul Laidlaw,

who has found something which has been put to a novel use.

Roy, you've made my day. You know that, don't you?

-This is from ear to ear.

-Yes, I see.

What's its history?

It was made by a distant relative of mine in the 1914-1918 war.

He was transferred from making plough chairs and wheels

-into making weapons of war.

-Yes.

This was his apprentice piece...

-when he started.

-And do we know where he was employed?

He was employed at the Blackburn Aircraft Company

-in Beverley, near Hull. East Riding of Yorkshire.

-Very good.

-Quite important.

-Got to get that straight.

-Get the right side of the country.

-Yeah, absolutely.

-It's a joy.

The form of these early aviation propellers is not far off.

The curves are so delicious.

And indeed, the value of surviving full-size specimens

is in the thousands. You could buy yourself a small car.

-This is a small model.

-But...

I don't have room for a full-size propeller back home,

but I'm sure I'd find space for this little gem.

This is actually an aircraft cockpit fascia watch.

That is what I was told. That's what came down through the family.

You know what the clincher is? You'll be able to tell me this.

If we take that watch out of there, does it have a ring framing

the winding crown which we'd use to hang a pocket watch from our...

-Albert, let's say?

-Oh, no.

It doesn't. This has been modified, in all honesty.

-It should have a longer stem and a more pronounced crown.

-Yeah.

But that's of no consequence.

The point remains the same.

No bow, because this was fitted by your pilot on the dash.

That is a covetable timepiece.

They are not rare. They turn up.

If you have a budget and interest, you'll find one.

But you'll need a budget. And it'll need to be three figures.

-Good thing. Can we pop this back?

-Yeah, sure.

So you get a fantastic ornament which is highly desirable.

The truth of the matter is, I think

that should make £200 without any trouble at all.

Because the watch is worth 100 to 150.

You wire in another £100 for the propeller on its own.

You've got £200 in your sleep, in my opinion.

I'd advise pitching it at £150 to £200.

How do those numbers sound?

It sounds fine to me. I am truly amazed.

I hope you've got a FLYER there.

Terrible! Terrible!

Hang on, that sounds like one of my lines.

And now it is David Harper, who is delighted with his find

which is rather different and comes from foreign climes.

Well, I've got to say, that is one of the most glamorous

pieces of furniture I have seen in a very long time.

Mr and Mrs Glam, or what?

How is your house furnished?

-Not with that, no!

-HE LAUGHS

Jeanette, why?

I think because it's quite ornate, which I do like.

I am a bit concerned about what it's made of.

-OK.

-That does concern me a bit.

-OK. Is it displayed?

It was, but out of the way because it's quite intricate

and I'm a bit worried about getting it damaged.

-OK. What about you, David? Do you love it?

-I like it,

but it doesn't really fit in with the rest of the furniture

-in the house.

-OK. So it's been in the family for how long?

-40, 50 years.

-Right, OK.

Well, listen, it is definitely exotic. It's Anglo-Indian.

So it comes from the Indian sub-continent.

It was made from about 1880, so it was made for - undoubtedly -

British people living in India in the 19th century

absolutely at the height of the British Empire.

This thing was glamour personified.

Superb quality. The wood is rosewood, that's a real hardwood.

Bearing in mind how hard it is,

just imagine how difficult it must have been

-to inlay in that marquetry decoration...

-A lot of work.

..using ebony and - do you know what the white material is?

-Well, we think it's ivory.

-It is. It's ivory.

Now, of course,

we're talking about a completely different time in history.

You know, this is elephant ivory. Today it's totally not acceptable

and illegal in actual fact to work new ivory.

And the rules are pretty strict.

Erm, something has to have been made pre-1947 for it to be legal now.

-Anything after '47 is actually illegal to sell.

-Right.

So this is well into the safe zone.

But, of course, because it is ivory, it does have an effect

because it's becoming less and less acceptable or...

Is that how you feel, Jeanette? Is that a problem for you?

It is a bit, yeah. It is a bit.

At this time, during the 19th century,

campaign furniture was very popular,

so that is anything that can be easily packed away and moved around.

-So it's flatpack?

-It's a flatpack. That's what it is.

-Nothing new in this world. It's a flatpack.

-OK.

So whether it was made to put into a ship and transport

back to the UK or whether it was made for those living in India

with a lot of money and those that would move into the hills

at the height of the summer to the coolness

and take some furniture with them.

-Dining tables, sideboards...

-Gosh!

-Four-poster beds.

-A different world.

Oh, my gosh, all packed up, flatpacked

and bunged on the backs of elephants and camels. It's just amazing.

Erm, the condition - there are bits missing.

Bits of ebony and little bits of ivory.

-And, of course, the top comes off, doesn't it?

-Yes.

And the base folds flat.

-Shall we just demonstrate?

-Absolutely.

-Yeah, so that top...

comes up. If you'd just fold that up.

Look at that. There you go.

Put a bit of bubble wrap, call your local carrier,

and off it goes anywhere in the world, yeah?

Pretty safely. Don't worry, we'll just put that on top like that.

So, in auction, you would have

to put it in at £200 to £300 as an estimate.

We can't keep it, so whatever it makes, it makes.

Shall we put a little bit of discretion on it?

-It might sell for 190 on a bad day.

-That's fine.

-Happy?

-You're the expert.

-You can do wonders with 190 quid.

Yeah. It should do more.

Good, that's a lovely thing. Thank you very much.

-See you there.

-Thank you.

Before we hard off to auction,

there is something I would like to show you.

APPLAUSE

Once again,

good evening, ladies and gentlemen!

CHEERING

That was the cry of Leonard Sachs,

the chairman of the very popular BBC variety show The Good Old Days,

which was broadcast from Leeds,

here at the 150-year-old Leeds City Varieties,

the oldest music hall in the country and it's located up this

rather unassuming narrow lane, as you can see.

In fact, here we are now.

The Good Old Days was first broadcast in 1953

and it ran for an incredible 30 years,

and it was responsible for making household names

out of entertainers like Morecambe and Wise, and Ken Dodd.

This was invented by a man in America,

a little baldy headed fellow called Kodak,

and he has invented this!

Could I have...? I want you to watch the birdie here.

LAUGHTER

This...

The long-running show celebrated Britain's rich history of music-hall

entertainment, which spanned the mid-19th and 20th centuries.

The format was simple -

popular entertainers would perform shows from the period,

while the audience dressed up in traditional Edwardian costumes.

And it all happened in here.

Gosh, this theatre is absolutely breathtaking.

The moment you walk into the auditorium, and you notice all

the fixtures and fittings, you heart starts to beat faster.

The excitement levels rise and you see this gilt, deep burgundy

and lush fabrics on the seats.

This is real history. Time has stood still.

But, of course, Leeds City Varieties isn't just famous for staging

the BBC's The Good Old Days.

Acts such as a young Charlie Chaplin,

Harry Houdini and Marie Lloyd,

the greatest music star of the day,

all performed here on this very stage

at the turn of the 19th century.

You can just imagine the atmosphere with a sea of faces all so close,

looking at you, cheering, heckling and joining in, bold and boisterous.

But to be fair,

the noise wasn't always down to the on-stage entertainment.

Before the Leeds City Varieties became a music hall in 1865,

it actually started life as a pub, the White Swan,

or the Mucky Duck, as the locals at the time affectionately named it.

Even as far back as 1766,

the premises had a singing room at the back of the pub,

which is now the stage of the City Varieties.

The music halls differed from the more traditional theatres,

in that beer was allowed to be sold and drunk on the premises.

That probably accounted for the rowdiness

of the variety hall audiences,

because drinking paid such a huge part

in the appeal of the music halls in this country.

Owners sometimes paid closer attention to the amount of beer

they could sell rather than the quality of the entertainment.

Someone who has appeared on this stage with The Good Old Days

is the president of the British Music Hall Society, Roy Hudd.

Give us a flavour of the atmosphere of the music hall

when it was in its heyday.

Well, it was very much a working-class show.

And in the early days, of course, it was always based on booze.

-Right.

-And drink.

Now, they found out - the publicans -

after doing this for about 100 years, they suddenly realised

that when certain customers said, "We're coming in on Wednesday,"

more people came in because they knew that those customers

would sing something.

So they started to draw people in.

And so they started to pay the amateur singers

and that was how the whole business of music hall really started.

And eventually it became so popular,

these particular singsong nights,

that they started to build special buildings on the side of the pubs

to accommodate the huge crowds that used to turn up.

They called them halls of music, music halls.

And that's it? As simple as that.

But the chairman was always very much in evidence

in those early days, rather like Leonard Sachs did here.

-And the chairman was usually the bloke who owned the pub.

-Right, OK.

-And he booked the talent?

-He booked the talent.

He knew exactly who his customers wanted to see.

And he'd sort of control it.

And the role of the chairman, when he used to bang his mallet

and shout out "order, order".

People think he did the same job as the Speaker in the House of Commons.

-Trying to control a drunken mob!

-HE LAUGHS

Not quite, because the original shout of "order, order"

was to instruct the audience to order another round of drinks.

And if they didn't, he wouldn't put the next turn on,

so it was, "Come on, order, order, and I'll put him on.

-"Order now! All of you."

-Do you know, I never knew that.

There you are, you see? There's a lot of things you don't know, Paul!

Sadly, developments in film and radio

brought the curtain down on music hall entertainment.

Luckily, though, for the Leeds City Varieties,

the BBC's decision to bring The Good Old Days here gave the theatre

a new lease of life.

Again, Roy Hudd, who frequently appeared on The Good Old Days.

So let's talk about The Good Old Days for you.

The Good Old Days for television - it was fantastic.

-Over 30 years it ran.

-Incredible.

And was that a good break for you?

It was a terrific break for so many people,

because for the first time ever,

you were presented in a proper way to an audience

-that wanted to be entertained.

-Yeah.

You know, and you wanted to do it,

cos this atmosphere is fantastic and on that stage,

to get out there and work at that audience, packed to the roof

and they all wanted to laugh!

First of all, I must say how wonderful it is, folks,

to be back here in Leeds again.

The Miami of Yorkshire.

Was there extra pressure because this was being filmed

-and it was going out to an audience of sort of 12 to 18 million?

-Yeah.

That was the turning point for you?

It wasn't the turning point, but, my God, it did me a lot of good!

Cos everybody saw The Good Old Days and so I got nice summer seasons

and nice pantos and everything, purely just by appearing on there.

Les Dawson, Ken Dodd, Ray Allen and Lord Charles...

-I watched it with my mum and dad religiously.

-There you are.

They were in love with it.

-It was the first time I came across Danny La Rue.

-Well, indeed.

Danny, one of his first shows was here.

# Oh, what a beauty

# Never seen one as big as that before

# Oh, what a beauty

# It must be two foot long or maybe more

# It's such a lovely colour Nice and round and fat

# I've never seen a marrow quite as big as that

# Oh, what a beauty

# Never seen one as big as that before... #

-And you're still playing them?

-Yeah.

You've got your own chair here, haven't you?

Well, I have indeed, yeah. I'm not sitting in it.

I think they've removed it after my last act.

# Everybody knows me by the end of me old cigar

# Oh, the end of me old cigar

# Ta-ra, ta-ra, ta-ra

# Everybody knows me by the end of me old cigar. #

CHEERING

Although the variety circuit that's powered the music halls

is long gone, it is still with us

in some variation on our tellies now,

with shows like Britain's Got Talent.

And as for the Leeds City Varieties itself, well,

after a recent refurbishment, this place has never looked so good

and it will continue to be the country's oldest music hall.

Well, we've got our first four items,

but before we get over to the auction house,

let's have a quick reminder of what we are taking with us.

These two beautiful books illustrate why it's worth

delving into mixed boxes at the saleroom.

But which artist will draw the greater interest?

Arthur Rackham...

..or Edmund Dulac?

Mo's meter for measuring alcohol is beautifully made

and roughly the same vintage as the museum.

Is it a clock or is it a propeller?

Either way, I believe the aircraft enthusiasts will love it.

And last but not least, the highly glamorous flatpack -

the inlaid rosewood table.

We are heading west, to the

south lakeland district of Cumbria,

and to Eighteen Eighteen Auctioneers.

And the saleroom is packed.

On the rostrum today, we have two auctioneers.

Kevin Kendal...

At 20...

..and David Brookes.

The commission here is 20% including VAT.

We are starting with Enid's bargain buy at auction.

I like this next lot.

We are talking about Alice In Wonderland with those

wonderful illustrations by Arthur Rackham.

Now, I think the value is in the illustrations. You know,

Arthur Rackham's a great name. A great book illustrator.

Never really accepted by the Royal Academy as an artist.

But as the years went on, you know, the prices have gone up

and now he's up there with some of the greats.

Could we see a surprise on this?

We've put a bullish enough estimate on it.

One of these plates would be a joy to own. You're getting the book.

And not any book, nothing dreary that's dusty and tired, it is Alice.

Fingers crossed, both of you.

I'm going to enjoy watching this one go under the hammer.

-Yeah, let's hope.

-Let's hope.

The Lewis Carroll volume. Alice's adventures in Wonderland

with the Rackham illustrations.

What shall we say for this, please?

Decent book there. The cloth gilts.

500?

Any interest at £400?

-Come on! Come on, someone.

-Any interest at £400?

£400 bid now.

At 400.

450 at the back.

450 at the back.

500 now on the internet.

500. Are you bidding at the back?

He's not bidding. Bid of 500.

-INDISTINCT

-Can we sell at 500?

One more bid anywhere?

We've got £500 bid. We'll pass it if we can't get a further bid.

-So close.

-It won't be sold.

£500 I'm bid.

-No, he's tried. That's it.

-Yes.

We just need someone.

At £500 on the internet.

Will your vendor sell at 500, Paul?

-Do you want to sell it at 500?

-Do you want to take it?

-Yes, OK.

-Yeah.

Thank you. We can sell. I have £500. It's here to be sold.

At the £500...

Just gone. The auctioneer asked us if we'd agree to that.

-Cos we needed 550, didn't we?

-Yeah.

-So...

-Yes.

-Good on you.

-Still a good price.

-Rather than lose it for £50.

-Yes, that's right. Yes.

-Happy?

-Yes, very. Yes.

Now, will more bidders be tempted by this next lot?

Yes, of course, it's The Tempest.

I think this could go at three to five, don't you?

-Yeah, it should do.

-Quite easily.

Let's find out what the bidders think.

It's going under the hammer right now. Good luck.

Shakespeare's comedy of The Tempest volume.

Illustrated by Edmund Dulac in the vellum gilt.

We are asking £200.

Any interest at £200?

-Come on, come on.

-£200 bid.

£200 on the internet. 200 on the internet again.

We are looking for 220.

There is no bidders in the room, make no mistake.

We have £200 on the internet.

-£200 on the internet.

-Right.

-Should we take that?

-Yes.

..remain at 200?

Yeah? Thank you. £200 we have bid here on the internet.

-And we will now sell...

-One lucky bidder on the net.

-Mm.

-Yes.

The auctioneer just asked us if we'd drop the reserve again.

He had a bid on the internet of £200.

-We agreed, didn't you?

-Yes.

-So he sold it, rather than take it home and lose it.

-Absolutely, yes.

Adding those two up, that's a combined total of £700.

I think that's pretty good going.

-I know you reduced the price on both of them...

-Yes, but I'm very happy.

It was a lucky day for that internet bidder, as well, wasn't it?

Yes, yes.

But a lucky day for all of us as well, cos we enjoyed seeing them go.

-Very much so. Yes.

-Thank you for bringing them.

-Thank you.

Not a bad return on Enid's initial outlay of £40.

Let's hope the next item is just the tonic.

This was used by a tax inspector to test alcohol levels, wasn't it, Mo?

And it's a nice little scientific instrument.

So why are you selling this, firstly,

and then how did you come by it?

I came by it at a house sale and I bought it because I loved the box.

-All right. OK. Not what was in it, just the box.

-Yeah, yeah.

-Did you know what it did?

-No, no. Not till afterwards.

What have you done with it all this time?

It's been sitting in my sitting room, on the floor,

-for all these years.

-OK, right.

-We've got our sights set on around £150, £200.

-Yes, yes.

-Yes.

-Will that suit you?

-Yes.

-What did you pay for it?

-About 30, 35.

-You will be quids in then, won't you?

-30-odd years ago.

-Well, yeah.

There is no quick profit nowadays, is there?

Hey, look on the bright side.

We are going to put it to the test right now.

The vintage Field's lacquered alcohol meter.

200 please. £200?

£100 to start me, please, for the alcohol meter.

Collectable thing at £100.

-Come on.

-Any drinkers in today?

Obviously not.

Alcohol meter. We are asking £100.

-Any interest anywhere?

-Oh, no!

-£100 for the alcohol meter. Anywhere, please, at 100.

-Oh, Mo!

Absolutely no interest

and we are not going to drop any lower than £100. No?

-Sorry.

-Oh, no, Mo!

-Oh, Mo.

-Oh.

Can't I get a hug?

-Oh, yeah.

-Aw!

Do you know, I hate it when things don't sell, cos we try our hardest.

And I think the auctioneer was right.

-It is not going to drop any lower than 100.

-Good for him.

-You're going to have to use it and test that out?

-Well, I will.

-I tell you what...

-Have an alcohol testing party.

-Party!

-Exactly.

-Are we coming?

-Yeah.

-Shall we go?

THEY LAUGH

It didn't sell, but it's a great talking point.

Let's hope the sky is the limit for our third lot.

Right now, we are reporting that little,

tiny apprentice piece propeller under the hammer. It belongs to Roy.

I love this a lot.

And it sums up, really, the region's social history about making

aircraft in Blackburn, doesn't it?

-Actually, they started in Brough.

-In Brough.

-But it's close enough.

-And dating back to 1914?

I think so. That was the story of my family.

It's nicely made, isn't it, with those wonderful laminates?

I mean, you'd put an apprentice to work on that.

Once they've mastered the technique of that,

-you'd put them on the full-scale thing, wouldn't you?

-Yeah, lovely.

We are going to put this to the test right now.

The miniature propeller made at Blackburn Aircraft Works

with the fascia clock.

A nice little thing.

Where you going to start me, then? £100 for a quick start. 100?

£100 on the internet bid. Now we're away.

100. 110. 120. 130.

140 now. At 140. Bid's on the internet.

You're all out in the room.

150 on the internet. 160. Now we're flying.

-Yep, they've spotted it.

-160. 160.

You're all out in the room. 170 now. 170 on the net.

180. 180. Have you all done? 190 now. 190. 200.

200. 220. Thank you. A new bidder now online.

-240 online.

-Quite good.

240 now. 240. 240.

£240. On the internet and selling at 240.

-Good auction, hey? Well done.

-Fantastic.

-£240.

-Good result.

-Justice.

-It's amazing.

-Yeah.

Quality... See, quality always sells.

-Thank you for bringing...

-Not at all.

-Thank you for bringing that in.

-Paul, again.

-Well done, you.

Going under the hammer right now,

we have a table belonging to Jeanette and David.

Sadly, they cannot be with us today,

-but we do have our expert David and we have that lovely table.

-I know.

The wonderful inlay on it - it's beautiful. Great quality.

-It's quite an acquired taste.

-Mm.

You can picture it in a lovely London apartment room

where it is going to look a fortune!

-We're trying to sell it here.

-I know, I know.

You're making me slightly nervous that it might not go.

Sitting alongside provincial furniture.

Anyway, let's give it a bash. Here we go.

It's going under the hammer now.

Early 20th-century Anglo-Indian occasional table.

I'm going to have to start the bidding with me at £230.

-It's gone.

-Good.

Looking for 240. At 240.

-It's a nice piece, isn't it?

-260, we've jumped to.

All commissions are out. 280 on the phone.

-300.

-Come on.

-320. I've 340 on the internet there.

-Come on.

360. 380 on the internet.

400 on the phone.

450, we've jumped to on the internet.

500 on the phone.

550 on the internet.

Come on!

-600 on the phone.

-This is more like it.

-Wow!

-On the phone at £600.

-They're going to be very, very pleased with this.

Yeah. It's gorgeous.

700 we've jumped to.

At 7... Oh, 750.

Have we got 800 on the phone?

-800 on the phone.

-Ho-ho!

On the phone at £800.

£800 sold. That's a great result and a lovely thing to find up here.

-Well done you, David.

-Thank you.

What a fantastic result!

Well, that's our first visit to the auction done and dusted today,

and some happy owners. That's the important thing.

We are coming back here later on in the programme,

so don't go away. There could be one or two big surprises,

but right now, we're returning back to the Bowes Museum.

I'm going behind the scenes to take a look at

some of the important work that goes on there.

The Bowes Museum first opened to the public in 1892.

20 years before that,

Josephine Bowes laid the foundation stone,

saying to her husband,

"I lay the bottom stone

"and you, Mr Bowes, you will lay the top stone."

But sadly, she did not live to see him do this

as poor health meant she died at a relatively young age of 48.

John Bowes was devastated by her death,

but soldiered on

and then tragically died himself

just seven years before the museum was completed,

so he and his wife never saw the final resting place

for their vast collection of fine art and antiques

that they amassed throughout their lifetime

from all of the corners of the globe.

But today we can enjoy their legacy -

a museum of immense scope containing European fine and decorative arts

from the Middle Ages up to the mid-20th century.

It includes one of the largest collections of

Spanish paintings in Britain.

There are ceramics from almost every known European factory

dating back to the 16th century

and a textiles collection including everything from embroidery to lace.

Well, it's one thing acquiring

all of these wonderful objects of fine art,

but it's quite another matter looking after them,

and that's the job of the conservation team.

They're responsible for the preservation,

the conservation, the investigation and all the displays here.

Not just here, though,

but other exhibitions that go out on loan to other institutions,

as well as preserving the lifespan of these items

while they're in storage, taking care of them.

And like every great discipline,

techniques have changed over the, let's say, last century.

What was acceptable 100 years ago when this museum first opened

is now completely frowned upon.

The museum has examples of paintings conserved in the early days

using a method of over-painting

that is now considered damaging.

Nowadays, the Bowes Museum conservators are highly trained

with backgrounds in art history, textile design and archaeology.

Each has a grounding in chemistry -

important both for understanding the nature of deterioration

and for selecting materials for conservation.

The museum's conservation department is currently working on

a 15th-century altarpiece,

the Passion, the Death and the Resurrection of Christ,

painted by an artist only known as

the Master of the View of Ste-Gudule.

I'm going behind the scenes to meet the head of department, Jon Old,

and the painting intern, Paul Turner, to find out more.

So, what was the brief on the altarpiece, Jon?

Well, the brief was to dismantle the altarpiece

and then reassemble it in a much better condition

and put it up high on the wall

as it would've been originally in the church.

We're here in the painting conservation department

at the Bowes, and we are dealing with the painted panels.

And our brief was to take them off the walls

and bring them to the studio,

reframe them in more appropriate framing,

and then we could also, then, document them

and look at any signs of damage or any conservation we had to do.

And we have discovered there's quite a lot of flaking on them,

and we can see there's lots of other areas of damage

that has happened over the years.

The other exciting thing about this is

the way they've been displayed so far,

we could never see the back of them -

there's obviously a painting on either side.

On one side, we have a scene like this one here,

which is Christ of the Passion,

and on the other, we have pictures of saints.

And those weren't viewable before. And after this, they will be,

so we'll be able to clean them and re-varnish them.

So, now we're actually treating the flaking,

which is what Paul's doing over here.

What are you doing right now, Paul?

It's just the initial use of the Preservation Pencil

to relax the paintwork.

-What does that do?

-Well, that applies heat and moisture,

so it raises the humidity of the paint,

and once the paint gets above a certain humidity,

it actually becomes more plastic...

-Ah!

-..so allows the actual paint to go down flat.

If you just put the spatula straight on it,

it's liable to almost crack and break.

And then what do you do?

Well, then he'll paint on some of this isinglass

-which is...

-And what is that?

Well, isinglass is from the swim bladder of a fish

which is related to the sturgeon.

-Oh, it's like a fish glue.

-So, it's a fish glue, yeah.

And it's sort of nice and compatible

with all the things that have been used on the painting,

so it's not like we're putting on

anything that's different than that's been there before.

So, you're painting that in. And I guess you gauge a feel for this

-over a period of time, don't you?

-Yes, you do, yeah.

OK, and what's the next step after that?

The next up is going to be applying some acid-free tissue.

-Does that sit on the wet liquid?

-Yes, and it'll absorb...

-Like, there's a bit there.

-Yeah.

So, it'll absorb anything that hasn't gone through

the cracks in the paint to underneath the flaking area,

and it also absorbs any extra.

-So, now, this is like the little iron that...

-Yeah.

..has a bit more heat?

Yeah, so that's heated to 63 degrees C, yeah.

-So, will this seal up those flaky bits?

-Yes.

It'll just encourage the paint to go flat

and then it'll sit on the isinglass, which dries very quickly.

So it's quite a fast process, which is good as well.

There's no time for the paint to come back up again.

How long will this take, do you think?

-To finish this one off?

-Yes.

Probably about another couple of hours.

Considering it's 500 years old, it's in pretty good condition,

-when you think about what it's been through.

-Exactly.

-Given it came all the way from Belgium...

-Sure.

..went to France and then was shipped over to the Bowes.

And what have you got on the end of that?

Is just a cotton... Cotton what?

It's just literally just a swab stick - just cotton wool.

-So, that's just gradually dissolving the paper away now?

-Yeah.

-So, you see it's gone down an awful lot.

-It has.

That's exceptionally good, I think.

-Well, look, thank you very much for showing me.

-It's a pleasure.

I've learnt so much, and I've thoroughly enjoyed looking at these.

And one day, I'll come back and see them on display.

The Bowes Museum was definitely John and Josephine's baby,

born in the 19th century

when conservation techniques were more often than not hazardous.

But now, here in the 21st century, I feel sure it's in safe hands,

and that's thanks to the diligent, hard-working conservation team.

The future of fine art in the north of England looks rosy

here at the Bowes Museum.

Welcome back to the grandeur of the picture galleries.

Isn't it wonderful to see pictures hung all over the walls

in the traditional 19th-century way?

And in the room, hundreds of people

have already had their antiques valued.

And there's plenty more to go,

so let's catch up with our experts and see what else they've found.

David Harper has spotted some Art Deco belonging to Diana.

What do you think of Gladys?

-I don't really like her.

-HE CHUCKLES

-And you own her!

-Yes, I do, yes.

-Tell me about her.

Well, my mother was left

a big display cabinet with all sorts of things in it,

ooh, probably about 50, 55 years ago,

and Gladys was part of that.

My mum sadly died a couple of years ago,

and this is one of the things that

-I'm afraid none of the family particularly wanted.

-Right, OK.

Now, I find this really interesting,

-cos if you don't mind me saying so...

-Yes?

..I think Gladys and Diana could be sisters.

This is remarkable. Do you not think?

And you don't like her?

Well, the only similarity I can see is that we're both wearing pink.

Yes. You've got lovely red lips, similar sort of hair -

no, I think you're related.

So, what do you know about Gladys?

As you say, she's Art Deco. That's all I know.

I know that I don't particularly like her, I'm afraid.

-That's about it.

-Well, I'm going to convince you, Diana, to like her.

Now, you say Art Deco - she screams Art Deco,

and the term Art Deco was first coined at

the Paris Arts and Decorative Fair of 1925,

so it's quite a tight period,

although the Deco style was introduced after the war,

but the true period is '25 to '39.

So, does she belong to that period or is she a later Art Deco style?

Well, I think, with a lot of these things,

the bottom will tell you quite a lot.

So, she's made by Royal Doulton. There's her name - Gladys,

a reference number.

Now, I know that Gladys from Royal Doulton

was produced between 1935 and 1938,

so she's in period.

Am I making Diana appreciate Gladys any more?

-Appreciate her, certainly, yes.

-Like her?

-No.

Well, I think she's gorgeous.

I think Royal Doulton ornaments aren't what they used to be,

but she breaks the mould slightly

because she is, I think, so lovely

and sums up that glamorous Art Deco period.

But she does have a problem, and do you know what the problem is?

-I do, yes.

-Yeah, what is that?

Yeah, she's got a slight chip.

Right at the front there, which makes a bit of a difference,

and it's in the worst possible place -

if it was at the back, it would make life easier.

So, what do you think she's worth?

I was told by the local auction house

that it was probably about 120.

So, are we talking about the 80, 120 estimate here?

Probably, yeah.

Well, 80 to 120 is a great, come-and-get-me estimate,

and she should and could do more.

-So, how would you feel about that?

-Fine.

-80, 120...

-Great.

-Are you happy?

-Fantastic.

You really don't like this Gladys. Do you?

No. Do you want to buy Gladys? You seem so enthusiastic...

You know, if I could, I probably would.

-THEY CHUCKLE

-Thank you.

-See you at the auction.

Let's hope the bidders agree with David and not Diana.

Paul has found something a little more genteel.

-Sylvia, how are you doing?

-Fine, thank you.

-Good.

And you've brought with you rather a smart-looking silver basket.

How did this little gem come into your possession?

We inherited it, me and my husband.

No great family history beyond that, it just came our way?

Well, it was my husband's grandfather's -

that's where it came from in the family.

It's a Continental piece.

We've got a series of mystery Continental marks

and I suspect Continental, late 19th-century.

But the aesthetic, it's actually much earlier

because it cries out Georgian flamboyance.

We've got a lovely little flower head,

diaper- or lattice-patterned reticulated border,

we've got lovely little shells and canvas scrolls,

we've got turtle doves.

And then right in the centre,

we've got this Georgian courting couple in an orchard setting,

which is very much 18th century.

But it's not - it's a timeless aesthetic.

And in truth, I'm sure if you go to enough silversmiths today,

you'll find someone producing exactly the same thing

because it's a smart look.

But if I show anybody under the age of 45,

I think they'll go, "It's the kind of thing my granny would've liked."

-Yes.

-You see what I'm...? Is that...?

-Absolutely, yes.

And that has a lot to bear on its value - its popular appeal.

In its favour - here we go, we're all positive again,

I've got my positive hat on -

there's a bit of silver in there,

albeit perhaps 800 standard rather than 925 sterling,

and I think what underpins its value is the silver content.

And on that basis, I'd suggest 80 to 120.

-Now, could I tempt you to sell it?

-Yes.

-Yeah?

-Yes.

Well, in that case, looks like we're in business.

-Now, I'd suggest a reserve at low estimate...

-Yeah.

..but maybe a little bit of discretion on the auctioneer's part

-if he needs it on the day.

-OK.

-Sound good?

-Yes, it does.

Sylvia, what a pleasure.

-Thank you very much.

-Thank you very much.

What a pretty thing.

It's over to David now who has spotted a fine bit of woodcarving.

Well, I've got to say, I'm a big dog lover.

-Jean, are you as well?

-Yes.

-Yeah? Peter?

-I am indeed.

-Yeah? Wonderful.

Now, Jean, tell me everything you know about this magnificent hound.

We got it given to us by a friend of ours, a neighbour.

He worked at this place where they sort of disposed of newspaper,

and it was amongst that in the yard where they tipped it.

How long ago?

Oh, it's 50 years ago,

and he wasn't a dog lover,

so he came to us because we had red setters.

-There's a sort of resemblance there, isn't there?

-Yeah. There is.

With the big nose. I mean, it's a fantastic creature.

Have you done any research at all?

Erm, no. Peter did the research.

I did quite a bit of research.

-Somebody said it may be late-Victorian.

-OK.

-I've got to tell you, I've never seen anything quite like it.

-No.

I've seen many dog heads, animal heads from this period.

So, I would date him to about 1880.

But the thing is, it is an exceptionally good quality piece.

If you look at the detail of his muscular face,

and the snout is incredible.

And this business, when we're looking at wood,

colour and patination is everything.

Originality, colour, patination - you've got it all.

The fact that he's been thrown out,

I'm amazed he still retains those three major qualities.

And I think he was made for someone with great wealth

and someone with a connection to hunting.

I mean, this is a bloodhound.

If you look at his mount, which is bronze and then gilded -

very well cast.

See, you've got a leather whip with tassels

-and then, of course, you've got an antler horn.

-Yeah.

Do you know where I think he belongs?

-In a great big Scottish shooting lodge.

-Yeah.

-Don't you think, Peter? Can you see it?

-Yeah.

And the kind of people that would be drawn to this carving,

I think, would have lots of money

because he's one of those aspirational kind of pieces.

So, to sum up then, he is a fruitwood -

probably a walnut - fantastic colour.

Carved in sections - it's not a one-piece carving -

he's carved in three or four sections and then pegged together.

You can just see little splits where it's moved over time.

He's 130 years old - you're going to get that.

-It's brilliant that you haven't polished up the bronze...

-Yeah.

..because it is gilded, and you'll rub the gilding off.

Positively 1880s.

What's he worth?

I think, personally, to get the interest,

would you be brave enough to pitch him in at 300 to 500?

-Yeah.

-Yes.

-Can they put a reserve on it?

Absolutely. If it doesn't make the 300, he goes home.

But it's so exciting...

Well, it's better than sitting in a box, isn't it?

-Is that where he's been living, in a box?

-He has.

-Oh, my...

He needs to be out into the big world. Let's send him.

-Jean.

-Yeah.

-Fabulous. How very exciting.

I agree with David - that is a splendid thing.

Chris... You present me with a precious bauble.

What's its background, as far as you know?

-I don't know anything about the person it belonged to.

-OK.

I just know I picked it up in a little curiosity shop.

-Oh, so you bought this?

-Yes.

-Why? Because this is a military piece.

I wanted a pendant for my bracelet...

OK. Yeah.

..to hang on, and, um... when I saw this I thought,

"Oh, it's so different

"to the normal sovereign or half sovereign."

You're quite right.

So, I was just attracted to it.

And indeed, in high-carat gold, an 18-carat gold fob,

because you would wear it off a bangle,

but its original recipient, because this was a prize,

wore it proudly on his waistcoat.

So...

it says Yorkshire V-B Team... competition,

and then the arms in the centre on the shield.

Well V-B, we know,

refers to the Volunteer Battalions of the Yorkshire Regiment.

The Volunteer Battalions then, which is late 19th, early 20th century,

are akin in a sense to the Territorial Army of today.

Now, this would have been given as a...

sporting prize.

Now, it could be bayonet fencing, because that's something they did,

a martial sport, or it could have just been cross-country,

and we'll never really know.

But we do know

the proud owner of this, who was one Lance Corporal W...

-So, it was Bill Sykes.

-CHRIS CHUCKLES

Bill Sykes's!

Cracking set of assay marks.

Walker and Hall - there's a name that we all recognise to this day,

assayed, 18-carat gold, 1903.

Splendid thing!

It transports us to pre-First World War,

Belle Epoque, and I can picture this guy in his walking-out dress,

scarlet, maybe a little pillbox cap,

swagger stick, proud as punch,

"I'm the battalion cross-country champion,

"and look at my fob."

Now, was it expensive when you bought it?

About £40, I think.

How long ago?

20 years.

It was enough money, it was a lot of money!

I liked it, so it didn't matter.

Quite right, too.

These, per se, are not uncommon because that's what happened -

every military unit has its annual sports day

and hands out prize fobs,

so they're not rare in themselves, and as a consequence,

they're not fiercely contended

unless you find the regimental collector.

The estimate I'd place on it at auction would be £80 to £120,

which is probably fair enough on the £40 spent.

Would it be enough...? Is it something you would part with?

-Yes.

-Yes?

-Yes, I'm ready to, er, yes.

-Had the pleasure?

-Yes.

I would advise a reserve at low estimate,

because I think it's worth that all day long.

-So we're on?

-Yes.

-£80 it is, off to auction with Bill Sykes's medal.

-Thank you.

Here's what's going under the hammer.

Charming as it is,

Diana is not going to be sorry to say goodbye to

her Art Deco figure.

The Georgian-style silver dish has a quiet appeal

and is reasonably priced.

The military pendant is not only gold, it is also history,

and people are prepared to pay for that.

And all we need is a dog lover with a space on the wall in their castle,

and this carved head will have a new home.

We're back on the other side of the Yorkshire Dales

in Cumbria at Eighteen Eighteen Auction Rooms.

To get us under way, some charming Art Deco.

Going under the hammer right now, we have Diana's Royal Doulton figure.

It's a Gladys figure, and I kind of like this in a way.

I think this is a bit kitsch for...

And for Doulton, that's kind of saying something,

-cos Doulton's not really that kitsch, is it?

-No.

-And kitsch is all the rage right now.

-Hopefully.

-Hopefully.

And it's not a lot of money.

-Why are you selling this, anyway?

-Because I don't like it.

-You don't like it. Well, I kind of agree...

-We like it.

-Yeah, but...

-We like it!

I like it in the fact that...

I'm not keen on figurines or anything like that -

I really don't like that Doulton thing about it.

But I kind of like this because it's a little bit different.

Anyway, let's put the value to the test.

Are you ready, Diana? Here we go.

Gladys. Yeah, the 1930s sort of Art Deco Royal Doulton figure there.

I am going to start the bidding with me at £80.

-It's gone.

-Marvellous, marvellous.

-£80 bid.

£80 bid. 80 bid. 80 bid. 80. 90.

90 bid. 100. 110. 110 now. 120. 130.

-Oh, good.

-See?

-130. 140.

-Hey!

-140.

-DAVID CHUCKLES

-140.

-Marvellous.

-It's all over. 140.

140. All done this time. I'm going to sell then at 140.

-Good result. Well done.

-Fabulous.

-Well done, David. Good result.

Thank you for bringing that... See, there's a big smile now.

-That's great.

-Yeah, it's good news.

Yeah, I'm really pleased with that.

You're so pleased to see her gone, aren't you?

And for a really good price, too.

Serving up for you right now we have Sylvia's silver Continental dish.

And I tell you what, at 80 to 120, that's going, isn't it?

That's going, going, bang, gone any moment now.

I mean, if it was English,

you could quite easily treble that, couldn't you?

So, why are you selling this?

Well, it's just been in the loft for 50 years.

Shame, shame. You could be using that.

Oh, it's a lot of cleaning cos it's very ornate,

so one doesn't like to spend one's life cleaning.

No, no-one wants to clean their silver any more.

Anyway, you shouldn't really over-clean it, should you?

But that's why they're flogging it,

and that's exactly what we're doing right now. This is it.

The Continental white metal dish with the trellis pattern border.

Again, various interest.

I'm going to have to start bidding simply with me at £70.

It's with me at 70. Looking for 75 anywhere.

-Come on.

-I will sell if no further interest.

At the 70. With me at 70.

Just we needed one more to push it to get that £80 mark.

-But, look, it's gone, Sylvia.

-That's fine.

-You're happy, aren't you?

-Yes.

You don't have to clean it, you don't have to look at it.

I think that has gone off to be treasured.

Going under the hammer right now

we have a gold military fob medallion belonging to Christina.

-We like this, don't we?

-This is good.

Very good.

High-carat gold, lovely inscription,

-ticks a lot of boxes.

-Yeah.

Let's find out what is worth, shall we? It's going under the hammer now.

Good luck.

Lot number 465 is an 18-carat gold military medallion.

Where can we go for a start? I think we'll start at £80. £80 bid.

£80 anywhere? 80 bid.

85, 90... five, 100...

And 10. 120.

130 now in the room.

130, 40 anywhere?

130, holding this time. Sell and away then at 130?

130. Cor! Did you hear the hammer then?

Boom!

130, that's OK, isn't it?

-Yes, that is.

-Thank you for bringing that in.

Just over the top end of the estimate. Well done, Paul.

Next, the dog which has a bit of a tale attached to it.

Jean and Peter, I love this lot.

Absolutely... I'm a big dog lover, so I love dogs and I love this.

-Now, at the valuation day, we had a valuation of 300 to 500.

-Yeah.

And I believe since the valuation day,

-you've had a chat to the auction house...

-Yeah.

-..and you've upped that reserve from 300 to 500.

-Yeah.

Do you feel you don't want to part with it now

-for anything less than 500? Is that what...?

-Yeah.

That's what that's all about. OK.

Well, we're going to find out if someone here wants to take it home.

-But they've got to part with 500 quid.

-Yeah.

Here we go - it's going under the hammer.

The wall mask carved as a bloodhound.

The ornate mount as well.

What can I ask for it for a start? 500?

-Go on.

-500, if you like.

500? Let's start at 300 and see how we go on from there.

-300 anywhere?

-Oh, no.

-Nobody at 300?

-No.

-No.

300? Thank you, sir. 300. 320. 320.

340. 360. 380.

380 now. 380. Looking for 400 anywhere.

-Come on.

-380. 400 now. 400.

420. 440. 460. 480.

-Looking to sell at 480.

-One more. Sell at 480?

-Yes?

-Yeah.

-Yeah.

-480.

£480, and I am selling at 480.

-Thank you, sir.

-Oh!

-Good auctioneering.

-Yes.

And thank you for dropping another £20,

-that made all the difference...

-Yeah.

-..from a sale or a no-sale.

And if you weren't going to have it on display at home...

-No, it doesn't look right in my house.

-Well then, it had to go.

-Good decision.

-Yeah, good decision.

Let's hope his new home is worthy of him.

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

and we've put those valuations to the test.

It has been a rollercoaster ride for everybody concerned -

even our experts -

because it's not an exact science putting a value on an antique

as you have just seen.

I hope you've enjoyed the show.