0:00:05 > 0:00:08Scotland has some of the world's most stunning scenery,
0:00:08 > 0:00:12peppered with lochs, castles and country houses.
0:00:13 > 0:00:17This is Hopetoun House, just outside of Edinburgh, in Scotland.
0:00:17 > 0:00:22It's a truly unique country house, and it's our venue for today.
0:00:22 > 0:00:23Welcome to "Flog It!".
0:00:45 > 0:00:49Hopetoun House has been home to the Hopetoun family for ten generations,
0:00:49 > 0:00:54and it sits amongst 6,500 acres of beautiful landscape.
0:00:56 > 0:00:58It's filled with exquisite furniture,
0:00:58 > 0:01:02impressive paintings and terrifying taxidermy.
0:01:02 > 0:01:06But today the ballroom holds a cast and crew of around 50 people,
0:01:06 > 0:01:09setting up for a momentous "Flog It!" valuation day,
0:01:09 > 0:01:11but all of this will come to nothing
0:01:11 > 0:01:14unless there's a great crowd of people outside,
0:01:14 > 0:01:17laden with antiques and collectables, who want to flog them.
0:01:17 > 0:01:21So shall we go outside and see if anybody's here yet?
0:01:21 > 0:01:24Oh, just look at this, a healthy queue of people already.
0:01:24 > 0:01:27Are you raring to go? Yes! Yes!
0:01:27 > 0:01:30They're all here underneath the colonnade, taking shelter
0:01:30 > 0:01:33from the rain, but we won't let that weather dampen our spirits today
0:01:33 > 0:01:36because everybody here wants to see our experts.
0:01:36 > 0:01:38They want their antiques valued, and they want to know the answer
0:01:38 > 0:01:41to that all-important question, which is...
0:01:41 > 0:01:43What's it worth?
0:01:43 > 0:01:45Stay tuned - you'll find out.
0:01:45 > 0:01:48Putting the prices on today's pieces are two masters
0:01:48 > 0:01:52of the valuation tables - the all-seeing eye, James Lewis...
0:01:52 > 0:01:54Anyone seen Adam Partridge?
0:01:54 > 0:01:56..and the quickest of minds, Adam Partridge.
0:01:56 > 0:01:59I don't know much about Scottish football memorabilia.
0:01:59 > 0:02:01Well, we'll help you. Oh, will you?
0:02:01 > 0:02:04They're searching the queue for treasures that are both fascinating
0:02:04 > 0:02:08and worth a packet, but will their valuations be on the money?
0:02:08 > 0:02:12And which one of them will find the star lot of the day?
0:02:12 > 0:02:14It's time to shake off the brollies
0:02:14 > 0:02:17and invite the people into our valuation day location.
0:02:20 > 0:02:23On today's show, Adam and James are fighting it out
0:02:23 > 0:02:26over three pieces of intriguing militaria -
0:02:26 > 0:02:28a wobbly sword...
0:02:28 > 0:02:32It bends like that for a really good reason.
0:02:32 > 0:02:35..two medals called Pipsqueak and Wilfred...
0:02:35 > 0:02:37They're all to the same person,
0:02:37 > 0:02:41who is Sergeant AB Jolly. That's it.
0:02:41 > 0:02:44..a suit of rusty armour...
0:02:44 > 0:02:46Matthew, I have to say, you look as if you have robbed
0:02:46 > 0:02:49the dungeons of some Scottish castle somewhere!
0:02:49 > 0:02:52Can you guess which doubles its estimate at auction?
0:02:55 > 0:02:59Having a good time, everyone? Yes! Yes! That's what it's all about.
0:02:59 > 0:03:01There's definitely a party atmosphere here today.
0:03:01 > 0:03:03Hundreds of people have turned up,
0:03:03 > 0:03:07which means hundreds of antiques to value. In fact, possibly thousands.
0:03:07 > 0:03:09Our experts do have their work cut out today
0:03:09 > 0:03:11so we'd better get started.
0:03:11 > 0:03:13Let's hand the proceedings over to James Lewis.
0:03:16 > 0:03:17Patricia, I have to say,
0:03:17 > 0:03:20coming here to Edinburgh, I was expecting somebody to turn up
0:03:20 > 0:03:23with a big Scottish broadsword or something like a dirk,
0:03:23 > 0:03:26or something classically Scottish.
0:03:26 > 0:03:28And we've ended up with that,
0:03:28 > 0:03:31which is about as unlike a Scottish sword
0:03:31 > 0:03:33as you can possibly get.
0:03:33 > 0:03:36What's the story? I found them in my dad's attic!
0:03:36 > 0:03:38You found them in his attic? I did, yes.
0:03:38 > 0:03:40They've been up there for as long as I can remember, before...
0:03:40 > 0:03:43And what were they doing up there? Do you remember them as a child?
0:03:43 > 0:03:46No. No. How interesting.
0:03:46 > 0:03:49Well, what we've got are two totally different pieces.
0:03:49 > 0:03:53Now, let's start with this.
0:03:53 > 0:03:55This is known as a urumi,
0:03:55 > 0:03:57which is a belt sword.
0:03:58 > 0:04:02And these were used by the Tamil troops
0:04:02 > 0:04:05and soldiers of southern India.
0:04:05 > 0:04:09The top section, this section, is obvious.
0:04:09 > 0:04:12You would need a hand smaller than mine to get in there.
0:04:12 > 0:04:14But that's your hand protector.
0:04:14 > 0:04:17There's your arm protector, and...
0:04:19 > 0:04:21..it's this.
0:04:21 > 0:04:26It bends like that for a really good reason.
0:04:26 > 0:04:29And that is, it would be worn around the waist,
0:04:29 > 0:04:33so the scabbard, instead of being down like that,
0:04:33 > 0:04:35actually goes in here.
0:04:35 > 0:04:37So the scabbard goes in around the waist,
0:04:37 > 0:04:41and this whole sword curves around the body of the wearer.
0:04:41 > 0:04:46So when they take the sword out, it's been bent and it flexes. Right.
0:04:46 > 0:04:50And they were well-known for being the most difficult sword
0:04:50 > 0:04:53to learn to use. What year? What time?
0:04:53 > 0:04:57Date would be about 1850, 1880,
0:04:57 > 0:05:00something like that, so mid-19th century.
0:05:00 > 0:05:03Then, in total contrast, is this.
0:05:03 > 0:05:06So, well...a cavalry officer's sabre.
0:05:07 > 0:05:09Sabre, just meaning it's curved.
0:05:10 > 0:05:13It's got a steel scabbard,
0:05:13 > 0:05:18with a single ring for suspension around the waist,
0:05:18 > 0:05:20and a wire-bound leather grip.
0:05:20 > 0:05:21So one British...
0:05:23 > 0:05:24..and one Indian.
0:05:25 > 0:05:28Both 19th century.
0:05:28 > 0:05:30That's worth, I would say,
0:05:30 > 0:05:33?100 to ?150.
0:05:33 > 0:05:36And that's almost identical. 100 to 150. Right.
0:05:36 > 0:05:38But interesting things.
0:05:38 > 0:05:41I think they'll do jolly well at the auction,
0:05:41 > 0:05:45and fingers crossed they'll make top end. Thank you very much.
0:05:45 > 0:05:47Is that all right? Yes, thank you very much. OK.
0:05:47 > 0:05:50A bendy, wobbly sword called a urumi.
0:05:50 > 0:05:52Well, you learn something every day.
0:05:52 > 0:05:57Adam, however, has discovered an item from a little closer to home.
0:05:57 > 0:06:01It's really nice to see a piece which I think is Glasgow School,
0:06:01 > 0:06:02Arts and Crafts, Art Nouveau.
0:06:02 > 0:06:05What do you reckon? Absolutely.
0:06:05 > 0:06:09It's what attracted me to it in the very first place
0:06:09 > 0:06:12when I bought it in an antique shop.
0:06:12 > 0:06:14How long ago was that?
0:06:14 > 0:06:16Nearly 40 years. Oh, right. Yeah.
0:06:16 > 0:06:19When you were just a very young boy.
0:06:19 > 0:06:22Very much interested in Art Nouveau. Yeah.
0:06:22 > 0:06:26Saw this, saw the crisp, straight lines.
0:06:26 > 0:06:29Yes. Very clean. Knew it was going to be
0:06:29 > 0:06:33a piece of Glasgow School of Art Nouveau... Yes.
0:06:33 > 0:06:37..and grabbed it. I thought, "That's something I want."
0:06:37 > 0:06:39Oh, yeah.
0:06:39 > 0:06:42We've got the Mackintosh style decoration,
0:06:42 > 0:06:44the heart-shaped enamel panels.
0:06:44 > 0:06:46It just ticks so many boxes. Yeah.
0:06:46 > 0:06:49On the sides, we've got the dragonflies. Yes.
0:06:49 > 0:06:52It's just a lovely thing. So you clearly love it, I love it.
0:06:52 > 0:06:54What's made you decide to sell it?
0:06:54 > 0:06:56Because if it was mine, I don't think I would.
0:06:56 > 0:07:00Well, I've loved it for all that length of time.
0:07:00 > 0:07:04Unfortunately, I'm in a small house.
0:07:04 > 0:07:06It's crammed with books,
0:07:06 > 0:07:09and it sits in the library
0:07:09 > 0:07:12and it's literally piled with books on top,
0:07:12 > 0:07:16books in front, so it's better being
0:07:16 > 0:07:19sent to somebody. Move it on to a new home. Yeah.
0:07:19 > 0:07:22And, of course, this is all the rage at the moment, you know.
0:07:22 > 0:07:24This is very current.
0:07:24 > 0:07:27So, Sam, now down to value.
0:07:27 > 0:07:30Well, overall condition-wise, it looks pretty sound.
0:07:30 > 0:07:34All the enamelling's intact, as you know, it's really important
0:07:34 > 0:07:37the enamelling on both sides is to be intact. Yes.
0:07:37 > 0:07:40The only thing I've noticed is this little crack this side, isn't there?
0:07:40 > 0:07:42Yes. Which is a great shame.
0:07:42 > 0:07:46Yes, it's 100 years old, it's going to have something wrong with it,
0:07:46 > 0:07:48but it does go through to the other side.
0:07:48 > 0:07:51I just worry how much that's going to affect it, commercially. Yes.
0:07:51 > 0:07:54Do you remember what it cost you?
0:07:54 > 0:07:56Back then, it was about ?35.
0:07:56 > 0:07:58OK, which was a lot then as well.
0:07:58 > 0:08:00Yes, not bad.
0:08:00 > 0:08:02Where do you see it now?
0:08:02 > 0:08:04Around 200 to 300.
0:08:06 > 0:08:10Are you telepathic as well, Sam? Telep...?!
0:08:10 > 0:08:13Because it's exactly what I was thinking. ?200 to ?300. Right.
0:08:13 > 0:08:15Although, at what price would you rather have it back
0:08:15 > 0:08:17cluttering up your library?
0:08:17 > 0:08:20200. 200. Is that too much? Too high?
0:08:20 > 0:08:24If you could go lower, I think you'd give it a better chance.
0:08:24 > 0:08:27If we did 150 to 250, with a 150 reserve, I think that might
0:08:27 > 0:08:29just drag in more people to bid on it,
0:08:29 > 0:08:31and you might end up getting over the top.
0:08:31 > 0:08:32Right. Let's go with that.
0:08:32 > 0:08:35Obviously, it's important to us that we get the best possible
0:08:35 > 0:08:37price for you, and I'm trying to advise you accordingly.
0:08:37 > 0:08:39Thank you again for bringing it.
0:08:39 > 0:08:42I look forward to seeing it coming under the hammer,
0:08:42 > 0:08:45and hopefully making a good deal more than the top estimate still.
0:08:45 > 0:08:47Excellent.
0:08:47 > 0:08:49What a wonderful piece of local art,
0:08:49 > 0:08:52still as fashionable today as it was over 40 years ago.
0:08:52 > 0:08:56A "Flog It!" valuation day is a great experience.
0:08:56 > 0:08:59Every single person will be seen by one of our experts,
0:08:59 > 0:09:02and James is one of the best.
0:09:02 > 0:09:04Eleanor, there are certain things
0:09:04 > 0:09:07that are just archetypal antiques.
0:09:07 > 0:09:10Things that you see very rarely
0:09:10 > 0:09:12but the public have seen so often.
0:09:12 > 0:09:16But the interesting thing with this is, it's going to appeal
0:09:16 > 0:09:18to two very different groups of people.
0:09:18 > 0:09:23It's going to appeal to the child who's going to enjoy the images.
0:09:23 > 0:09:27Yeah. But also, the scientific brain,
0:09:27 > 0:09:31who is going to want to understand how it works. Yeah.
0:09:31 > 0:09:35And it almost comes under the same category as a globe
0:09:35 > 0:09:37or a microscope, that sort of thing.
0:09:37 > 0:09:39What do you know about it?
0:09:39 > 0:09:42Well, I know it's called a zoetrope.
0:09:42 > 0:09:46As children, we used to sit
0:09:46 > 0:09:50and very carefully watch the moving pictures.
0:09:50 > 0:09:53It came from my grandmother's family.
0:09:53 > 0:09:56Don't know where she got it from.
0:09:56 > 0:09:58It didn't come out very often.
0:09:58 > 0:09:59It was kept in the attic.
0:09:59 > 0:10:02My grandfather brought it down very carefully,
0:10:02 > 0:10:04unravelled the slides,
0:10:04 > 0:10:08and we sat round the old big table in the kitchen
0:10:08 > 0:10:10with our eyes glued.
0:10:10 > 0:10:14It is a very interesting bit of entertainment history,
0:10:14 > 0:10:17but also, scientific history.
0:10:17 > 0:10:20The idea that you can look through an aperture
0:10:20 > 0:10:23and swivel a picture and change it
0:10:23 > 0:10:26is one that dates back generations.
0:10:26 > 0:10:28I don't know if you ever did this at school,
0:10:28 > 0:10:32but paint a little picture on the corner of your jotter
0:10:32 > 0:10:36or sketchbook... And flick through it. ..and flick the pages.
0:10:36 > 0:10:38If we look through the side here
0:10:38 > 0:10:40and then turn,
0:10:40 > 0:10:43the whole picture starts to form,
0:10:43 > 0:10:46and we see here a horse leaping over a hedge,
0:10:46 > 0:10:50and of course it helps to date this
0:10:50 > 0:10:52by the fact that the horse
0:10:52 > 0:10:55is a classic early-19th-century horse.
0:10:55 > 0:10:59Of course, the horse's stride
0:10:59 > 0:11:01is totally wrong. Yeah.
0:11:01 > 0:11:04Because this is how we thought a horse would walk before,
0:11:04 > 0:11:07with two front legs going forward first,
0:11:07 > 0:11:09followed by the two back legs.
0:11:09 > 0:11:11A bit like a rabbit.
0:11:11 > 0:11:13Of course, the right front goes with the back left.
0:11:13 > 0:11:15If you look at the base of it,
0:11:15 > 0:11:18it's a turned section of mahogany.
0:11:18 > 0:11:20Was this part always made of tin?
0:11:20 > 0:11:23Normally made of tin. This is slightly buckled. Yes.
0:11:23 > 0:11:26I've seen them made from card as well,
0:11:26 > 0:11:29the later ones, but they very rarely last in the way that this has.
0:11:29 > 0:11:35And here we have various types of paper band.
0:11:35 > 0:11:40We've got the circus, that would be attractive to a child.
0:11:40 > 0:11:43The great thing about this is that you have a mass of them.
0:11:43 > 0:11:45You've got loads of them. Yeah.
0:11:45 > 0:11:47OK, some of them are tired,
0:11:47 > 0:11:50but others are in relatively good condition.
0:11:50 > 0:11:52OK. We need to come up with a price.
0:11:52 > 0:11:56I would like to put ?500 to ?800 on it,
0:11:56 > 0:11:59with a reserve of ?500 firm.
0:11:59 > 0:12:01OK. That's lovely.
0:12:01 > 0:12:04All right? Thank you very much. I look forward to seeing it
0:12:04 > 0:12:06at the auction, and I think it's going to do very well.
0:12:06 > 0:12:08Thank you. Thank you.
0:12:08 > 0:12:10What a great piece of history,
0:12:10 > 0:12:14and it shows just how far technology has come.
0:12:14 > 0:12:16While the valuations are still in full flow,
0:12:16 > 0:12:19I went to discover more treasures inside
0:12:19 > 0:12:22the historical Hopetoun House.
0:12:22 > 0:12:25Wow. How about this for a young man's bedroom?
0:12:25 > 0:12:27It was designed in the late 17th century.
0:12:27 > 0:12:30It was the height of luxury back then,
0:12:30 > 0:12:32and, for me, well, it still is today.
0:12:32 > 0:12:34It was designed, in fact, for the 1st Earl of Hopetoun,
0:12:34 > 0:12:37who was only one year old when his father was sadly killed
0:12:37 > 0:12:40in a shipwreck, making the young earl the man of the house.
0:12:40 > 0:12:43At the age of one! Well, his mother, Lady Margaret Hamilton, oversaw
0:12:43 > 0:12:46the running of the house, and the building work that was going on here
0:12:46 > 0:12:50up until it was completed and the earl came of age,
0:12:50 > 0:12:53and then he slept in this room, in this bed.
0:12:53 > 0:12:56And, no doubt, he had a good night's sleep in that four-poster.
0:12:56 > 0:13:00Isn't that just stunning? Anyway, there's no rest for the wicked.
0:13:00 > 0:13:04Our valuations are still in full swing over in the ballroom.
0:13:05 > 0:13:07And it's Adam's turn to put a value
0:13:07 > 0:13:11on some items of military significance.
0:13:11 > 0:13:15Jeanette, whenever I see medals coming up for auction,
0:13:15 > 0:13:17whether on "Flog It!" or through the auctions,
0:13:17 > 0:13:21I can't help thinking sometimes, "Why are the families selling them,
0:13:21 > 0:13:24"and the contribution that these brave men made for the country?"
0:13:24 > 0:13:28Now, please tell me that these aren't your grandfather's medals.
0:13:28 > 0:13:30No, they're definitely not. OK.
0:13:30 > 0:13:33I brought them today on behalf of my sister, who couldn't come,
0:13:33 > 0:13:38and they're her ex-husband's grandfather's medals.
0:13:38 > 0:13:42OK, so no great sentimental connection for you. No.
0:13:42 > 0:13:45Or for your sister, really. Not now, no. OK. Well, I'm glad you came
0:13:45 > 0:13:47because we've got an interesting collection of medals.
0:13:47 > 0:13:50They're all to the same person, who is, um...
0:13:50 > 0:13:56"Sergeant A...B...Jolly..." That's it.
0:13:56 > 0:13:59"..of the Loyal North Lancashire Regiment."
0:13:59 > 0:14:03That's right. Very good. Which is an interesting regiment, actually,
0:14:03 > 0:14:06and we've got two different wars, so he went off to fight
0:14:06 > 0:14:08in the Boer Wars,
0:14:08 > 0:14:11and this is the Queen's South Africa Medal,
0:14:11 > 0:14:13Victoria there, and these four clasps represent...
0:14:13 > 0:14:18Are they different battles? That's right. Oh, right. Yes.
0:14:18 > 0:14:21And then again in the King's South Africa Medal,
0:14:21 > 0:14:25with South Africa 1902 and 1901 bars there. Right.
0:14:25 > 0:14:28So he's obviously come back from them safely,
0:14:28 > 0:14:32stayed in the military and then, 13 years later,
0:14:32 > 0:14:35gone off again to fight in the First World War.
0:14:35 > 0:14:38It's amazing to think of it, really, isn't it? I know.
0:14:38 > 0:14:41And he's picked up the war victory medals
0:14:41 > 0:14:43and the '14-'15 Star. Right.
0:14:43 > 0:14:47So these are fairly standard World War I medals. Right.
0:14:47 > 0:14:48In fact, those two are usually referred to
0:14:48 > 0:14:50as Pipsqueak and Wilfred.
0:14:50 > 0:14:53Are they, really?! Because everybody got one. Oh, right!
0:14:53 > 0:14:55The Star should have the name on the back. There we go. Right.
0:14:55 > 0:14:57"Sergeant AB Jolly."
0:14:57 > 0:14:59And you don't see as many, perhaps,
0:14:59 > 0:15:01from the Loyal North Lancashire Regiment
0:15:01 > 0:15:03as you do from certain other regiments.
0:15:03 > 0:15:05So they will really tell a story.
0:15:05 > 0:15:07Now, medal collectors are a passionate bunch,
0:15:07 > 0:15:11and there's a real joy for them in researching the soldier.
0:15:11 > 0:15:15And these days, with the online... Oh, yes. ..capabilities,
0:15:15 > 0:15:18you can find out lots about this soldier,
0:15:18 > 0:15:21what he did and all those other things.
0:15:21 > 0:15:25I tried to do it myself but I'm not very good with the internet,
0:15:25 > 0:15:28so I didn't get far. Well, they've also got medal books.
0:15:28 > 0:15:31But this is where the value lies.
0:15:31 > 0:15:33And the World War I trios here
0:15:33 > 0:15:36are worth ?30 to ?50, or something like that. Right.
0:15:36 > 0:15:41These two boost the value right up to about ?300. Right.
0:15:41 > 0:15:44I would have thought ?300 to ?400 for the group... Right.
0:15:44 > 0:15:46..would be a sensible estimate.
0:15:46 > 0:15:49Right. Does that sound all right with you? Yes, that sounds fine.
0:15:49 > 0:15:50Always nice to see a nice medal group.
0:15:50 > 0:15:53All five of them to the same recipient,
0:15:53 > 0:15:56and quite an impressive collection, so thanks very much.
0:15:56 > 0:15:58Thank you. Thanks very much.
0:16:00 > 0:16:03While everyone's busy here,
0:16:03 > 0:16:06I'm off to do something completely different.
0:16:10 > 0:16:13OMINOUS MUSIC PLAYS
0:16:33 > 0:16:36It's one of the best-known stories in literature.
0:16:36 > 0:16:40Published in 1886, The Strange Case Of Dr Jekyll And Mr Hyde
0:16:40 > 0:16:43tells the story of Jekyll's experiments with a potion
0:16:43 > 0:16:47that transforms him into the darker side of his personality,
0:16:47 > 0:16:49Mr Hyde.
0:16:52 > 0:16:56The author, Robert Louis Stevenson, exposed the human battle
0:16:56 > 0:17:00between good and evil, a concept that excited a Victorian audience.
0:17:00 > 0:17:04But what was it about this beautiful city that inspired him
0:17:04 > 0:17:06to write such a sinister story?
0:17:08 > 0:17:12When Robert Louis Stevenson was growing up in the mid-19th century,
0:17:12 > 0:17:14Edinburgh was a city of two sides -
0:17:14 > 0:17:18the Old Town is ramshackle and poor,
0:17:18 > 0:17:21dirty and full of sinful behaviour...
0:17:23 > 0:17:27..the New Town - sophisticated, ordered
0:17:27 > 0:17:30and the urges of the upper class restrained by the principles
0:17:30 > 0:17:32of the day.
0:17:32 > 0:17:37So, where did our young author place himself in this scene?
0:17:37 > 0:17:40Stevenson was born in the Old Town, but moved to the New Town
0:17:40 > 0:17:42by the time he was six years old.
0:17:42 > 0:17:45He experienced first hand the two different faces of Edinburgh.
0:17:45 > 0:17:49The city was divided, the good side and the bad,
0:17:49 > 0:17:53a fitting inspiration for a character who is both
0:17:53 > 0:17:55good and evil in one man.
0:17:57 > 0:18:00Award-winning author Ian Rankin
0:18:00 > 0:18:02has lived most of his life in the city,
0:18:02 > 0:18:05and alongside Robert Louis Stevenson,
0:18:05 > 0:18:07has created a hugely successful character,
0:18:07 > 0:18:11full of conflict and contradiction - Inspector Rebus.
0:18:13 > 0:18:16He knows more than most about Edinburgh's two sides
0:18:16 > 0:18:19and what effect it had on Stevenson's writing.
0:18:21 > 0:18:23Stevenson grew up in this family of engineers,
0:18:23 > 0:18:25he grew up in a rational environment,
0:18:25 > 0:18:29but he was attracted to the Old Town, he was attracted to the chaos,
0:18:29 > 0:18:31he was attracted to the vagabonds
0:18:31 > 0:18:33and the ladies of the night who would be there,
0:18:33 > 0:18:36and he would tiptoe out of his house as a teenager
0:18:36 > 0:18:37and tiptoe up the hill towards chaos,
0:18:37 > 0:18:41and so I think that whole thing about the Old Town, the New Town,
0:18:41 > 0:18:44the rational, the irrational was there at the back of his mind
0:18:44 > 0:18:45throughout his life.
0:18:45 > 0:18:48It wasn't just his physical surroundings that influenced
0:18:48 > 0:18:52Stevenson's writing. His physical condition also played a part.
0:18:52 > 0:18:55He was plagued will ill health as a child,
0:18:55 > 0:18:57but in his adult life,
0:18:57 > 0:19:00his fevered nightmares proved inspirational.
0:19:11 > 0:19:15The story of Jekyll and Hyde came to Stevenson in a dream.
0:19:15 > 0:19:19It's thought the strong medication he took for his illness
0:19:19 > 0:19:21gave him hallucinations
0:19:21 > 0:19:23that illuminated a darker world.
0:19:23 > 0:19:27The entire novella was written from his sickbed
0:19:27 > 0:19:29in under six days.
0:19:29 > 0:19:32This wasn't the first time Stevenson had written about
0:19:32 > 0:19:34good and evil existing in one man.
0:19:34 > 0:19:37As a young chap, he wrote a play
0:19:37 > 0:19:41based on a real-life 18th-century Edinburgh gentlemen, Deacon Brodie.
0:19:43 > 0:19:47Deacon Brodie was a respectable cabinet-maker
0:19:47 > 0:19:49and a well-regarded society man by day,
0:19:49 > 0:19:53but by night, he was a sinister thief with a criminal mind.
0:19:55 > 0:19:58Brodie was a gambler and an adulterer.
0:19:58 > 0:20:01He raided his clients' houses to fund his gambling habit.
0:20:01 > 0:20:04He kept up his double life for nearly 20 years,
0:20:04 > 0:20:07but he was eventually caught and hung on the very gallows
0:20:07 > 0:20:09he had himself designed.
0:20:11 > 0:20:15But how did this impact on the young Robert Louis Stevenson?
0:20:15 > 0:20:18Stevenson's nursemaid Cummie would tell him the story
0:20:18 > 0:20:20of this guy who was one thing by day, a gentleman,
0:20:20 > 0:20:23and another thing entirely by night,
0:20:23 > 0:20:25and, again, we think that might have lodged itself
0:20:25 > 0:20:28in Stevenson's subconscious and later on, when he wanted to write
0:20:28 > 0:20:32about the nature of evil, he had a template, a guy in his head,
0:20:32 > 0:20:36who had really existed, and so he decided to write Jekyll And Hyde.
0:20:40 > 0:20:42The interesting thing about Jekyll And Hyde
0:20:42 > 0:20:44is that it's about a scientist.
0:20:44 > 0:20:46It's about a man who's actually...
0:20:46 > 0:20:49He's a man on the side of good. He's using these experiments
0:20:49 > 0:20:52to try and find out more about human nature,
0:20:52 > 0:20:56and people were fascinated by science and criminology.
0:20:57 > 0:21:01Victorian Britain was experiencing rapid change,
0:21:01 > 0:21:04experimenting with technology and medicine
0:21:04 > 0:21:06in ways never seen before.
0:21:06 > 0:21:09Jekyll And Hyde excited their curiosity
0:21:09 > 0:21:11and reflected their concerns.
0:21:11 > 0:21:15Victorian Britain was a place that kept its vices very well hidden.
0:21:15 > 0:21:17There would be prostitutes round every corner
0:21:17 > 0:21:21but it was all kind of hidden away. It was genteel on the surface...
0:21:21 > 0:21:24That was what Stevenson was talking about, the difference between
0:21:24 > 0:21:27the surface, what we present to the world, and what's actually going on
0:21:27 > 0:21:30inside our heads, our baser instincts.
0:21:30 > 0:21:33And that's an idea that resonates with people today,
0:21:33 > 0:21:36making the intriguing story of Jekyll And Hyde
0:21:36 > 0:21:37a timeless classic
0:21:37 > 0:21:41and one that's influenced prestigious modern authors
0:21:41 > 0:21:42like Ian Rankin.
0:21:45 > 0:21:48Stevenson was fascinated by the question of good and evil,
0:21:48 > 0:21:50why human beings continue to do bad things to each other,
0:21:50 > 0:21:53and that's something that you find throughout crime fiction,
0:21:53 > 0:21:55and certainly throughout my books.
0:21:55 > 0:21:59Jekyll And Hyde deals with the conflict between good and evil,
0:21:59 > 0:22:01the two sides of human nature,
0:22:01 > 0:22:04the split in the split personality,
0:22:04 > 0:22:07and when you hear about Stevenson's own experiences here
0:22:07 > 0:22:11in Edinburgh, it seems it was a book he was destined to write.
0:22:19 > 0:22:22Well, what a day we're having here. Everyone's having so much fun.
0:22:22 > 0:22:25And I'm sitting in a section of the crowd that hasn't had
0:22:25 > 0:22:27a valuation yet, so good luck to all of you.
0:22:27 > 0:22:31It could be you up next, you never know. Keep watching.
0:22:31 > 0:22:32But right now, as you've just seen,
0:22:32 > 0:22:34our experts have been working flat out.
0:22:34 > 0:22:37It's time for our first visit to the saleroom.
0:22:37 > 0:22:40And here's a quick recap of what we're taking with us.
0:22:40 > 0:22:43Two very different swords from two continents,
0:22:43 > 0:22:46both valued at the same price, but which one will make the most money
0:22:46 > 0:22:48for owner Patricia?
0:22:48 > 0:22:51There are lots of collectors of medals,
0:22:51 > 0:22:54so this lot should make the top of the estimate.
0:22:54 > 0:22:57This zoetrope is a classic antique,
0:22:57 > 0:23:01but will anyone want to pay ?500 for it?
0:23:04 > 0:23:06This stunning Glasgow School of Art planter
0:23:06 > 0:23:09is valued at ?150 to ?250
0:23:09 > 0:23:12and is being sold at the perfect place...
0:23:14 > 0:23:17..just four miles outside of Glasgow at Anita Manning's
0:23:17 > 0:23:20Great Western auction house.
0:23:25 > 0:23:29First up are those mighty swords. Which will make the most money,
0:23:29 > 0:23:32the British sabre or the Indian urumi?
0:23:32 > 0:23:35Well, we could be the Three Musketeers with our next lot,
0:23:35 > 0:23:36couldn't we? Definitely.
0:23:36 > 0:23:39We've got a collection of swords belonging to Patricia
0:23:39 > 0:23:41going under the hammer.
0:23:41 > 0:23:43Valued in two separate lots by James,
0:23:43 > 0:23:45and we're selling as two separate lots.
0:23:45 > 0:23:47It's the sabre in this first lot, isn't it? Yep.
0:23:47 > 0:23:50Going under the hammer right now.
0:23:50 > 0:23:5319th-century cavalry sabre.
0:23:53 > 0:23:56What could we take? 150? 100?
0:23:56 > 0:23:58?50? 50 bid.
0:23:58 > 0:24:0150 bid. Any advance on 50? 60.
0:24:01 > 0:24:03Any advance on 60?
0:24:03 > 0:24:0670. 80.
0:24:06 > 0:24:0890. 100.
0:24:08 > 0:24:11100. 110.
0:24:11 > 0:24:13On Claire's phone, 110.
0:24:13 > 0:24:16120. 130.
0:24:16 > 0:24:19140. 150.
0:24:19 > 0:24:23160. 170.
0:24:23 > 0:24:28170. It's on the phone with Claire at ?170.
0:24:28 > 0:24:30Any advance on 170?
0:24:30 > 0:24:33All done at 170? 170.
0:24:33 > 0:24:37Yes! ?170, we just got that one away, didn't we?
0:24:37 > 0:24:39Here's the next lot.
0:24:39 > 0:24:43The 19th-century South Indian pata.
0:24:43 > 0:24:45I'm holding bids on the books, ladies and gentlemen,
0:24:45 > 0:24:47and I'll start the bidding at...
0:24:49 > 0:24:51..?120.
0:24:51 > 0:24:54Oh, that's good. Straight in.
0:24:54 > 0:24:56120. Any advance? 130, 140.
0:24:56 > 0:24:59150. 160.
0:24:59 > 0:25:01170. 180.
0:25:02 > 0:25:05190. 200.
0:25:05 > 0:25:07Nope? 200. 210.
0:25:07 > 0:25:10210, on the books.
0:25:10 > 0:25:12220 with Cat.
0:25:12 > 0:25:14220.
0:25:14 > 0:25:15230 on the books.
0:25:17 > 0:25:21230... 240. 250 on the books.
0:25:21 > 0:25:24The market for anything Indian is really booming at the moment.
0:25:24 > 0:25:26?260.
0:25:26 > 0:25:30It's on the phone at ?260.
0:25:30 > 0:25:32Any advance on 260?
0:25:32 > 0:25:36Any advance on 260? All done at 260. 260.
0:25:36 > 0:25:39Yes! What's that, 430? Yeah.
0:25:39 > 0:25:41Brilliant. All told. Fantastic.
0:25:41 > 0:25:43Thank you very much. Well done.
0:25:43 > 0:25:47The urumi won the battle and maybe it will find its way back to India.
0:25:47 > 0:25:50Next up, Jeanette's hoping to sell her sister's medals.
0:25:50 > 0:25:53I've just been joined by Jeanette and Adam,
0:25:53 > 0:25:56and going under the hammer right now, we have a group of medals.
0:25:56 > 0:25:58I think the most important has to be the Boer War medals.
0:25:58 > 0:26:01You will agree on that? Yeah, two South African medals there.
0:26:01 > 0:26:04Fingers crossed we get that top end of the estimate.
0:26:04 > 0:26:06Good luck, everyone. This is it.
0:26:06 > 0:26:08A group of five, ladies and gentlemen.
0:26:08 > 0:26:10Can we say 400?
0:26:10 > 0:26:14300? Start me at ?200.
0:26:14 > 0:26:16?300 for five medals is about right.
0:26:16 > 0:26:19Well, it's the two with the bars,
0:26:19 > 0:26:22the South Africa ones. The other three are very common.
0:26:22 > 0:26:24200. 210. 220.
0:26:24 > 0:26:26230. 240. 250.
0:26:26 > 0:26:30260. 270. 280. 290.
0:26:30 > 0:26:32The book is out.
0:26:32 > 0:26:35Any advance on 290 on the medals?
0:26:35 > 0:26:38Any advance on 290? All done at 290.
0:26:38 > 0:26:40290.
0:26:40 > 0:26:42?290! We nearly got that 300.
0:26:42 > 0:26:45But we're happy. I'm happy. You're happy.
0:26:45 > 0:26:47I'm sure my sister will be happy.
0:26:47 > 0:26:51The medals just scraped the discretionary reserve.
0:26:51 > 0:26:54Let's hope the zoetrope gets the bidders watching.
0:26:54 > 0:26:59Invented in 1853 by mathematician William George Horner,
0:26:59 > 0:27:02we have the zoetrope going under the hammer and it belongs to Eleanor,
0:27:02 > 0:27:05who's standing right next to me with our expert James.
0:27:05 > 0:27:08Now, for me, this was the best thing at the valuation day,
0:27:08 > 0:27:10because I love it.
0:27:10 > 0:27:12It's early telly,
0:27:12 > 0:27:15and that is what it was all about. It was.
0:27:15 > 0:27:18I bet, as a young girl, you enjoyed this, didn't you? We did.
0:27:18 > 0:27:19Yes! Lots of use.
0:27:19 > 0:27:21Condition is slightly against it
0:27:21 > 0:27:24but where can you find another
0:27:24 > 0:27:26with all of the pictures and the diagrams?
0:27:26 > 0:27:28And there's a lot there. Yeah.
0:27:28 > 0:27:32It's so rare. We've got a fixed reserve at ?550.
0:27:32 > 0:27:35Hopefully, we will sell it beyond that. Here we go.
0:27:35 > 0:27:38It's a mid-19th-century zoetrope.
0:27:38 > 0:27:44We have 23 coloured printed circular discs,
0:27:44 > 0:27:50so you have the full home-entertainment kit there!
0:27:50 > 0:27:52?1,000?
0:27:52 > 0:27:551,000? 500?
0:27:56 > 0:27:58Will you start me at ?400?
0:27:58 > 0:28:01400? 400 bid.
0:28:01 > 0:28:03Any advance on 400?
0:28:03 > 0:28:04450.
0:28:04 > 0:28:06500.
0:28:06 > 0:28:08550.
0:28:08 > 0:28:09?600.
0:28:09 > 0:28:11650.
0:28:11 > 0:28:13?700.
0:28:13 > 0:28:14700.
0:28:14 > 0:28:16750.
0:28:16 > 0:28:18It's going in the room.
0:28:18 > 0:28:20?750.
0:28:20 > 0:28:23Any advance on 750?
0:28:23 > 0:28:25All done at 750?
0:28:25 > 0:28:27750...
0:28:27 > 0:28:30Yes! Eleanor, we did it.
0:28:30 > 0:28:32?750. Gosh.
0:28:32 > 0:28:34Well, I'm happy.
0:28:34 > 0:28:37I was a bit worried there for a moment.
0:28:37 > 0:28:40I thought I'd be taking it home with me.
0:28:40 > 0:28:41Condition was against it. Yeah.
0:28:41 > 0:28:45Nevertheless, it was a good price. Yeah. Thank you very much.
0:28:45 > 0:28:48Let's hope Lady Luck continues to smile on our next lot.
0:28:50 > 0:28:52Fingers crossed, Sam, and you, Adam.
0:28:52 > 0:28:54I think we'll get top money for this.
0:28:54 > 0:28:55Going under the hammer right now,
0:28:55 > 0:28:57we have an Art Nouveau planter.
0:28:57 > 0:29:00Now, on the auction preview day, a Glasgow girl told me
0:29:00 > 0:29:03this could be attributed to a Glasgow Girl. Oh, good.
0:29:03 > 0:29:04Margaret Gilmore.
0:29:04 > 0:29:07The design looks right, the dragonfly's right. Perfect.
0:29:07 > 0:29:10Everything's right about it. Condition. Good for you.
0:29:10 > 0:29:12Well, tell us the story. How did you pick this up?
0:29:12 > 0:29:15I got it from an antique shop in Perth.
0:29:15 > 0:29:16How much?
0:29:16 > 0:29:18?35. How long ago?
0:29:18 > 0:29:2230-odd years. Ah, right. Well, let's find out what the bidders think.
0:29:22 > 0:29:24Great local connection to Glasgow here,
0:29:24 > 0:29:27so fingers crossed, it could fly.
0:29:27 > 0:29:29Let's find out. This is it.
0:29:29 > 0:29:3270 is the Glasgow School Art Nouveau
0:29:32 > 0:29:35repousse work white metal and enamel planter.
0:29:35 > 0:29:38We can attribute this to Margaret Gilmore, ladies and gentlemen.
0:29:38 > 0:29:42I'm holding bids in the books, and I can start the bidding
0:29:42 > 0:29:46at ?130.
0:29:46 > 0:29:50It'll make double that, at least. It's got to make double that. Yeah.
0:29:50 > 0:29:52I'll take it from the floor first.
0:29:52 > 0:29:54140. 150.
0:29:54 > 0:29:56160. 170.
0:29:56 > 0:29:58180. 190.
0:29:58 > 0:30:00200. 210.
0:30:00 > 0:30:02220. It's good, Sam.
0:30:02 > 0:30:04260. 270. 280.
0:30:04 > 0:30:06290. 300.
0:30:06 > 0:30:09310. 320. 330.
0:30:09 > 0:30:12340. 350. Very pleased!
0:30:12 > 0:30:13?360.
0:30:13 > 0:30:16?360?! With you, sir.
0:30:16 > 0:30:18All done at 360.
0:30:18 > 0:30:19All done at 360. 360.
0:30:21 > 0:30:23Whack! What a sold sound!
0:30:23 > 0:30:25?360. That's excellent.
0:30:25 > 0:30:28That's a very good investment. Very good investment.
0:30:28 > 0:30:30And it sold in Glasgow. Yes, exactly.
0:30:30 > 0:30:34It's all worked out nicely, hasn't it? Yes. Job done! Perfect.
0:30:36 > 0:30:39There you are, that's the end of our first visit to the saleroom
0:30:39 > 0:30:41so far today and some great results.
0:30:41 > 0:30:45But don't go away because we're coming back later.
0:30:45 > 0:30:48Now, as you've already seen, our valuation day location
0:30:48 > 0:30:51on the outskirts of Edinburgh is absolutely stunning.
0:30:51 > 0:30:55It's been compared to Versailles for its architecture,
0:30:55 > 0:30:58but who was responsible for such fine work?
0:30:58 > 0:31:00Well, I went to investigate.
0:31:07 > 0:31:09Hopetoun House is unique.
0:31:09 > 0:31:14It was one of the very first houses of its kind to be built in Scotland.
0:31:14 > 0:31:18What you see here is a culmination of over 60 years of construction,
0:31:18 > 0:31:20not by one, or two,
0:31:20 > 0:31:24but three of the greatest names in Scottish architecture.
0:31:24 > 0:31:26And I'm going to walk you through its history.
0:31:32 > 0:31:33Before the 17th century,
0:31:33 > 0:31:36Scotland's nobility lived in castles.
0:31:36 > 0:31:39They were designed to be strong and defensive, with thick walls
0:31:39 > 0:31:42and small windows to protect the occupants
0:31:42 > 0:31:44from the ravages of civil war.
0:31:44 > 0:31:47So, how did Scottish architecture evolve from this...
0:31:47 > 0:31:48to this?
0:31:51 > 0:31:54The story starts right here with this man, William Bruce.
0:31:54 > 0:31:56Sir William Bruce was one of
0:31:56 > 0:31:58Scotland's most important architects,
0:31:58 > 0:32:03a local aristocrat born in Fife, 30 miles from Hopetoun, around 1630.
0:32:03 > 0:32:07He transformed the style of Scottish country houses.
0:32:07 > 0:32:10Bruce was also hugely influential in politics.
0:32:10 > 0:32:14He helped Charles II return to the throne in 1659
0:32:14 > 0:32:16and, as a result, was rewarded with the title
0:32:16 > 0:32:20of Surveyor General of the King's Works in Scotland.
0:32:20 > 0:32:23Effectively, he was the King's architect.
0:32:23 > 0:32:26He rebuilt the Royal Palace of Holyroodhouse in the 1670s
0:32:26 > 0:32:30and is credited with bringing the European classical style
0:32:30 > 0:32:32of architecture to Scotland.
0:32:33 > 0:32:36Bruce's style borrowed heavily from classical Italian design
0:32:36 > 0:32:40and could, for the first time, have a place in Scotland
0:32:40 > 0:32:44because the Civil War was over and the country was more stable.
0:32:46 > 0:32:49So Bruce designed a house that reflected this new security.
0:32:49 > 0:32:53It could be beautiful instead of defensive, with large windows
0:32:53 > 0:32:55and flat vistas for miles around.
0:32:57 > 0:33:00The result was the first commissioned country house
0:33:00 > 0:33:03that brought a little slice of Europe to Scotland.
0:33:06 > 0:33:09And just look at this spectacular stairwell.
0:33:09 > 0:33:12This is the finest remaining example of Bruce's original house
0:33:12 > 0:33:15and it's topped off with the most magnificent dome.
0:33:16 > 0:33:20It acts as a central lantern, letting the light come flooding in
0:33:20 > 0:33:24and it really does do that, even on dull days.
0:33:24 > 0:33:29This whole stairwell is of the fanciful European Baroque period.
0:33:29 > 0:33:33Out goes the Scottish awkward spiral staircase going up the turrets
0:33:33 > 0:33:35and in comes this playful area.
0:33:35 > 0:33:36And every element,
0:33:36 > 0:33:41all the architectural detail of this space, makes it a real joy to be in.
0:33:42 > 0:33:47Bruce's Hopetoun House should have been his greatest legacy.
0:33:47 > 0:33:51The Bruce bedchamber and the garden room are some of the finest examples
0:33:51 > 0:33:56of Scottish design and workmanship of the time, but it wasn't to be.
0:33:58 > 0:33:59Bruce died in 1710
0:33:59 > 0:34:03and 14 years after this masterpiece was completed,
0:34:03 > 0:34:05the family decided to redesign the house
0:34:05 > 0:34:09to suit their rising status in Scottish society.
0:34:09 > 0:34:14The result was Bruce's house finished at this door.
0:34:16 > 0:34:21And everything this side was built and designed by another man.
0:34:23 > 0:34:26A whole new facade was added to Bruce's house.
0:34:26 > 0:34:29An additional suite of rooms at the front and the sides
0:34:29 > 0:34:33made the house altogether larger and more imposing.
0:34:36 > 0:34:37Neil Baxter from
0:34:37 > 0:34:39the Royal Incorporation of Architects in Scotland
0:34:39 > 0:34:43knows all about the next man to work on Hopetoun House.
0:34:43 > 0:34:46So, William Bruce was the first architect to build the house.
0:34:46 > 0:34:49He died. What happened next?
0:34:49 > 0:34:51The second architect was William Adam,
0:34:51 > 0:34:55so one of the greatest Scottish architects and, indeed,
0:34:55 > 0:34:58the founder of perhaps the most important
0:34:58 > 0:35:01European architectural dynasty of that era.
0:35:01 > 0:35:03It was about creating a new,
0:35:03 > 0:35:06completely in-vogue front of the house
0:35:06 > 0:35:12and producing something that's one of the grandest country houses
0:35:12 > 0:35:15in Scotland, the UK and Europe.
0:35:15 > 0:35:18How did this reflect Scotland and Scottish architecture at the time?
0:35:18 > 0:35:20This is a modern house of its era.
0:35:20 > 0:35:24It's a powerful evocation of the influences that come in from Europe
0:35:24 > 0:35:29and it's what the gentry really aspired to.
0:35:29 > 0:35:32They wanted to produce something that you could actually find
0:35:32 > 0:35:34the equivalent of in Italy.
0:35:34 > 0:35:39This is a grand international house of its age.
0:35:42 > 0:35:46William Adam worked on Hopetoun House for over 25 years.
0:35:46 > 0:35:48It was a major part of his life and career
0:35:48 > 0:35:51and looking around at the scale of things, you can see why.
0:35:51 > 0:35:57Sadly, he died in 1748, before the building was finished.
0:35:57 > 0:35:59So, who could complete the house?
0:35:59 > 0:36:02Well, the job fell to three young men who, possibly,
0:36:02 > 0:36:05as young children walked up and down these corridors
0:36:05 > 0:36:08watching their father hard at work.
0:36:08 > 0:36:11Their names were John, Robert and James,
0:36:11 > 0:36:13William Adams' three sons.
0:36:13 > 0:36:16The young men were handed the family firm in their 20s
0:36:16 > 0:36:19and were entrusted with completing their father's plans.
0:36:19 > 0:36:22But it was Robert who was given the greatest opportunity.
0:36:22 > 0:36:27He was invited by the Hope family on the Grand Tour of Europe.
0:36:27 > 0:36:29This was the lucky break that would change
0:36:29 > 0:36:31the face of architecture around the world.
0:36:31 > 0:36:34Robert Adam was an ambitious young man
0:36:34 > 0:36:37and he relished the opportunity to study classical architecture
0:36:37 > 0:36:41in Italy and France and learn from the great tutors
0:36:41 > 0:36:43and hone his draughtsmanship skills.
0:36:43 > 0:36:45And he didn't forget about Hopetoun.
0:36:46 > 0:36:50This marble chimneypiece is the first piece of interior design
0:36:50 > 0:36:53chosen for Hopetoun by Robert Adam.
0:36:53 > 0:36:56The iconography is typically classical
0:36:56 > 0:36:59and shows what influenced Robert in his five years abroad.
0:36:59 > 0:37:04But rather than copy the classical, as had been done previously,
0:37:04 > 0:37:08Robert Adam adapted it and he made it his own with clean lines
0:37:08 > 0:37:10and greater simplicity.
0:37:10 > 0:37:14This became known as neoclassical.
0:37:14 > 0:37:18Robert Adam is the most exported architect from Scotland.
0:37:18 > 0:37:19His influence is worldwide.
0:37:19 > 0:37:25It influenced the USA, it undoubtedly influenced throughout Europe.
0:37:25 > 0:37:30Effectively, we are exporting back to the source. Yes, exactly. Yes.
0:37:30 > 0:37:33You know, Scottish neoclassicism
0:37:33 > 0:37:37becomes a great world architectural movement.
0:37:37 > 0:37:40So, why is this house so important to Scotland?
0:37:40 > 0:37:44This house brings together Bruce, William Adam, Robert Adam.
0:37:44 > 0:37:47You've got the father of Scottish architecture... Yes.
0:37:47 > 0:37:50..you've got the greatest dynasty in Scottish architecture
0:37:50 > 0:37:52and they all coalesce here.
0:37:52 > 0:37:56They are all to be found in this one magnificent house.
0:37:59 > 0:38:03Like many grand country houses, Hopetoun sparkles with grandeur,
0:38:03 > 0:38:05impeccable taste and character.
0:38:05 > 0:38:07But that's not all.
0:38:07 > 0:38:09If you scratch the surface,
0:38:09 > 0:38:12you will find it holds a rather special place in history.
0:38:21 > 0:38:24Welcome back. As you can see, our valuation day is in full swing.
0:38:24 > 0:38:26It's all hands on deck right now.
0:38:26 > 0:38:28Let's join up with our experts
0:38:28 > 0:38:31and see what else we can find to take off to auction.
0:38:31 > 0:38:35It's over to James with a most unusual piece of militaria.
0:38:35 > 0:38:38Matthew, I have to say, you look as if you've robbed
0:38:38 > 0:38:42the dungeons of some Scottish castle somewhere! Where's it all from?
0:38:42 > 0:38:46It's been sitting in my own garage for about ten years.
0:38:46 > 0:38:50And before that, I inherited it from my father, who lived in Cambridge.
0:38:50 > 0:38:52OK. It came with a twin.
0:38:52 > 0:38:55There was another suit of armour, which my brother inherited. Right.
0:38:55 > 0:38:56There were two of them
0:38:56 > 0:39:00and I do remember them standing guard in my father's house at one point.
0:39:00 > 0:39:01Well, I have to say,
0:39:01 > 0:39:05if there was a suit of armour in my parents' house like this,
0:39:05 > 0:39:08the first thing I'd have done is try to put it on.
0:39:08 > 0:39:12Unfortunately, I'm a little too big for it to fit these days.
0:39:12 > 0:39:16It's one of those things that I think would be a 19th-century piece
0:39:16 > 0:39:19that would never have been designed to use. Yes.
0:39:19 > 0:39:25If we were talking about something from the 1500s, 1400s,
0:39:25 > 0:39:28it would be incredibly valuable.
0:39:28 > 0:39:30I've never thought it was that old, I must admit. Good.
0:39:30 > 0:39:34Tell me, was it set up in pristine condition?
0:39:34 > 0:39:37It was a long time ago and then it was taken down
0:39:37 > 0:39:40because it really wasn't in that pristine condition.
0:39:40 > 0:39:42It's always kind of looked like this.
0:39:42 > 0:39:45It's not the Scottish rain that's done it on the way here, then?
0:39:45 > 0:39:48It was all shiny when I brought it!
0:39:48 > 0:39:53Well, what we've got is a whole mass of bits and bobs.
0:39:53 > 0:39:59Does this constitute enough of a suit of armour to be complete?
0:39:59 > 0:40:02There were lots of pieces. There would be arm armour as well.
0:40:02 > 0:40:05It would have articulated gloves
0:40:05 > 0:40:09that would look a bit like lobster tails over the fingers. Yes.
0:40:09 > 0:40:12So you've got, probably, 70%.
0:40:12 > 0:40:14But what we have got
0:40:14 > 0:40:18is a really good-looking interior designer's piece
0:40:18 > 0:40:21that would fit in so many different venues.
0:40:21 > 0:40:26It's the sort of thing that would go into a Tudor pub called The Knight.
0:40:26 > 0:40:31Or an old Tudor-beamed hotel.
0:40:31 > 0:40:37So, having added it up, I think 300 to 500 as an estimate
0:40:37 > 0:40:40and a firm reserve of 300. Is that all right?
0:40:40 > 0:40:41That would be fine with me, yes.
0:40:41 > 0:40:44Won't your boys be upset that you've sold it?
0:40:44 > 0:40:47Well, my boys love it, I love it, but my wife hates it.
0:40:47 > 0:40:51Won't even let it in the house. So, boys... How many? Two? Three. Three.
0:40:51 > 0:40:53Three boys and you love it.
0:40:53 > 0:40:56So four people love it and one person hates it,
0:40:56 > 0:41:01and that one person is getting her way. As usual, yes! That's not on.
0:41:01 > 0:41:04That is an 80-20 split. Well, you tell my wife that!
0:41:04 > 0:41:08No, it will do very well and go to a home where they'll love it.
0:41:08 > 0:41:11The Victorians loved a bit of Gothic revival
0:41:11 > 0:41:14and this suit of armour fits the bill.
0:41:14 > 0:41:16But it certainly doesn't fit James!
0:41:16 > 0:41:19Now, something with a bit more sparkle.
0:41:19 > 0:41:23This charming little insect brooch is definitely going to create
0:41:23 > 0:41:25a buzz in the saleroom.
0:41:25 > 0:41:28Thank you very much for bringing it, Gordon and Liz.
0:41:28 > 0:41:30I presume it's yours, Liz?
0:41:30 > 0:41:33Well, it is, but it came from Gordon's side of the family.
0:41:33 > 0:41:36Ah, right! Whereabouts? An old aunt of mine had it.
0:41:36 > 0:41:41She was born in the 1890s, so it could well be early 20th century.
0:41:41 > 0:41:45I don't know. I think it's probably Edwardian, isn't it?
0:41:45 > 0:41:47It could be, as she was growing up. Yes.
0:41:47 > 0:41:50As far as I know, she never really wore it. Really?
0:41:50 > 0:41:52I've always been aware of it being in the house.
0:41:52 > 0:41:54Not the sort of thing you would wear either, then?
0:41:54 > 0:41:58It isn't. I don't tend to wear silver. I prefer gold things.
0:41:58 > 0:42:01Have you ever worn it, Gordon? Not that I remember.
0:42:01 > 0:42:05That's why it's ended up on the table here at "Flog It!". Yes.
0:42:05 > 0:42:08We have little cabochon garnets as the eyes
0:42:08 > 0:42:10and then a couple of amethysts there.
0:42:10 > 0:42:13Then a little row of seed pearls on the wings.
0:42:13 > 0:42:17And it's set in silver. It is silver? We weren't sure about that.
0:42:17 > 0:42:19Yes, it's definitely going to be silver.
0:42:19 > 0:42:21It could be made on the Continent,
0:42:21 > 0:42:24otherwise it would carry an English hallmark. I see.
0:42:24 > 0:42:26Because it is only in silver, it's going to have
0:42:26 > 0:42:28a relatively limited value.
0:42:28 > 0:42:32I think it's going to be ?100 to ?150 worth.
0:42:32 > 0:42:34I suggest a reserve of 80. Is that all right with you?
0:42:34 > 0:42:36Yes, that sounds good.
0:42:36 > 0:42:40Let's hope it creeps along and makes a great price. Makes a buzz, yes!
0:42:40 > 0:42:42Thank you very much.
0:42:42 > 0:42:45Insect-inspired jewellery tends to be popular at auction
0:42:45 > 0:42:49so let's hope there isn't a fly in the ointment on today's show.
0:42:49 > 0:42:52George, whenever you see a box like that, it could only possibly
0:42:52 > 0:42:54have one of two things in it.
0:42:54 > 0:42:58It's either a magician's wand or a conductor's baton.
0:42:58 > 0:43:00Which is it? I couldn't tell you.
0:43:00 > 0:43:02Oh! It's a strange thing.
0:43:03 > 0:43:06It's not tapered like a conductor's baton.
0:43:06 > 0:43:11No. It's almost like a ceremonial staff, isn't it? Uh-huh.
0:43:11 > 0:43:15Presented to MW Balfe, May 1841.
0:43:15 > 0:43:19Balfe is a composer, an Irish composer, who was born
0:43:19 > 0:43:25around 1806, 1808, something like that, and died around 1875.
0:43:25 > 0:43:28I think each one of these bands
0:43:28 > 0:43:32is in recognition of one of his operas.
0:43:32 > 0:43:33I see. Yes?
0:43:33 > 0:43:35Does that...? Yeah.
0:43:35 > 0:43:38We've got The Siege Of Rochelle,
0:43:38 > 0:43:41The Maid Of Artois,
0:43:41 > 0:43:42Val...
0:43:42 > 0:43:44Yes, Val Morris.
0:43:44 > 0:43:47It sounds like Van Morrison, that's about as close as I can get to it!
0:43:47 > 0:43:49It's a different era.
0:43:49 > 0:43:52The wood is probably beech, the bands are in silver,
0:43:52 > 0:43:54although they are not hallmarked.
0:43:54 > 0:43:59Do you know of anything else he wrote? Come Into The Garden, Maud.
0:43:59 > 0:44:01Come Into The Garden, Maud?
0:44:01 > 0:44:04Is that a song or an opera? A song.
0:44:04 > 0:44:09What an interesting thing! I've never seen anything like it, ever.
0:44:09 > 0:44:13How long have you had it? I've had it over 30 years.
0:44:13 > 0:44:15Where did it come from?
0:44:15 > 0:44:17A friend of mine in Glasgow.
0:44:17 > 0:44:19Do you want to sell it? Aye.
0:44:19 > 0:44:21I was almost hoping you'd say no!
0:44:21 > 0:44:23Because I don't know what to put on it.
0:44:23 > 0:44:26I'm going to ask for a second opinion.
0:44:26 > 0:44:28Adam!
0:44:28 > 0:44:29Have a look at this.
0:44:32 > 0:44:34What do you make of that?
0:44:35 > 0:44:38Composer. These are his operas.
0:44:38 > 0:44:41We've got vacant rings down the bottom there.
0:44:41 > 0:44:43A lovely thing, but not very practical as a baton.
0:44:43 > 0:44:46Just a presentation thing. Presentation, yeah.
0:44:46 > 0:44:49I would imagine something like 2... BOTH: 200 to 300.
0:44:49 > 0:44:52Yes, good. Thank you. Any time.
0:44:52 > 0:44:54I'll call you if I need you again!
0:44:54 > 0:44:56THEY CHUCKLE
0:44:56 > 0:44:58Oh, dear.
0:44:58 > 0:45:02I think we should put a reserve of ?200 on it.
0:45:02 > 0:45:03All right.
0:45:03 > 0:45:06And estimate 250 to 350. OK.
0:45:06 > 0:45:08Is that all right for you? That's fine.
0:45:08 > 0:45:10Well, it's a really unusual thing
0:45:10 > 0:45:13and an absolute pleasure to see.
0:45:13 > 0:45:16Thank you very much, George. Thank you for bringing it in.
0:45:18 > 0:45:20Another "Flog It!" first.
0:45:20 > 0:45:24A ceremonial baton presented to a famous Irish composer.
0:45:24 > 0:45:26Michael Balfe, your memory lives on.
0:45:26 > 0:45:30# Come into the garden, Maud... #
0:45:36 > 0:45:39Now, Adam's found something that is hugely popular
0:45:39 > 0:45:41and beautiful to boot.
0:45:43 > 0:45:47Sally. Yes. Adam. We see lots of Moorcroft on this programme
0:45:47 > 0:45:50and, in fact, very rarely does a show pass without an example
0:45:50 > 0:45:53coming across, but I couldn't help noticing this one
0:45:53 > 0:45:56because it's quite a nice distinctive shape,
0:45:56 > 0:45:58and it's quite a large piece.
0:45:58 > 0:46:00How did you come to own this?
0:46:00 > 0:46:03Well, I did have a next-door neighbour,
0:46:03 > 0:46:05she was an elderly lady and she died,
0:46:05 > 0:46:08and her daughter-in-law came up,
0:46:08 > 0:46:10they had to sell the house, and things like that,
0:46:10 > 0:46:13so I was helping them out and everything,
0:46:13 > 0:46:15and we came across this Moorcroft dish,
0:46:15 > 0:46:18and she said, "I've got no use for it. Would you like it?"
0:46:18 > 0:46:21I thought, "I love Moorcroft, so, yes, I'll take it. That's great."
0:46:21 > 0:46:25Absolutely. I tried to do research,
0:46:25 > 0:46:28even to get to know what the design was.
0:46:28 > 0:46:31I couldn't see a dish like this on the internet.
0:46:31 > 0:46:34I tried but couldn't get it. The shape's quite unusual,
0:46:34 > 0:46:35that lipped-bowl shape,
0:46:35 > 0:46:37which is quite nice.
0:46:37 > 0:46:40But it's tube-lined, as they always are,
0:46:40 > 0:46:43with the anemone design on this green ground. Right.
0:46:43 > 0:46:47Commercially, it's not the top end of Moorcroft. Right.
0:46:47 > 0:46:50The vases always sell better than bowls, for a start,
0:46:50 > 0:46:54because they display better in a cabinet. Right.
0:46:54 > 0:46:56And this green ground isn't as popular, perhaps,
0:46:56 > 0:46:59as the blue and red flambe grounds,
0:46:59 > 0:47:00but it's a very pleasing thing.
0:47:00 > 0:47:02It's decorated around the outside.
0:47:02 > 0:47:04Shall we do the old flip-over
0:47:04 > 0:47:06and see what's underneath.
0:47:06 > 0:47:08I'm fascinated to know about it. There we are.
0:47:08 > 0:47:11You've got the blue signature there
0:47:11 > 0:47:15of Walter Moorcroft, which dates this probably to the end
0:47:15 > 0:47:18of the 1940s, or so. Oh, is it?
0:47:18 > 0:47:21May I ask you why you've decided to sell it?
0:47:21 > 0:47:24Presumably it's out in Sally's house, looking wonderful,
0:47:24 > 0:47:26full of fruit. No, it isn't.
0:47:26 > 0:47:29I have it wrapped up and packed away in a drawer.
0:47:29 > 0:47:33Oh, Sally. And I don't have a place to display it.
0:47:33 > 0:47:34It's a really pretty item.
0:47:34 > 0:47:37It is. The only time I really get to enjoy it is,
0:47:37 > 0:47:40I have a quiet moment, I take it out,
0:47:40 > 0:47:43I have a look at it, wrap it up and put it back in and go,
0:47:43 > 0:47:45"One of these days..."
0:47:45 > 0:47:48So maybe somebody else would enjoy it. Not tempted to have it
0:47:48 > 0:47:50on the sideboard? Um, no,
0:47:50 > 0:47:53because... Too late now, we're selling it! Off to auction.
0:47:53 > 0:47:56Any idea on the value?
0:47:56 > 0:47:58Um...no.
0:47:58 > 0:48:02I think most probably about ?200, ?300.
0:48:02 > 0:48:05Very good. Very good. You've done your research.
0:48:05 > 0:48:07You're obviously an intelligent lady.
0:48:07 > 0:48:10I think you're right. It's going to make about ?300,
0:48:10 > 0:48:12hopefully a touch more.
0:48:12 > 0:48:15I would suggest 250 to 350 estimate,
0:48:15 > 0:48:18and my bet is, it'll make ?340.
0:48:18 > 0:48:21Oh, that'd be nice. Don't hold me to it.
0:48:21 > 0:48:24But thanks for coming. Oh, you're welcome.
0:48:24 > 0:48:27I've really enjoyed it. Oh, good. To find a little bit out about it.
0:48:27 > 0:48:31Good. Well, I've enjoyed talking to you. OK. Thanks.
0:48:31 > 0:48:35A very precise prediction of ?340.
0:48:35 > 0:48:38And, yes, Adam, we will hold you to it.
0:48:40 > 0:48:43Well, what a marvellous time we've had here at our magnificent
0:48:43 > 0:48:46host venue, Hopetoun House, just outside of Edinburgh.
0:48:46 > 0:48:49Our experts have now made their final choices of items
0:48:49 > 0:48:51to put in the sale.
0:48:51 > 0:48:53You've seen them. Let's now put those values to the test,
0:48:53 > 0:48:56as we head over to the auction room in Glasgow.
0:48:56 > 0:48:58Here's a quick recap of what's coming with us.
0:48:58 > 0:49:01Adorned with amethysts and seed pearls,
0:49:01 > 0:49:05this statement brooch would make the perfect gift
0:49:05 > 0:49:08for a loved one. Will there be a buyer in the room?
0:49:08 > 0:49:11And Adam's confident
0:49:11 > 0:49:16this Moorcroft bowl will sell for exactly ?340.
0:49:16 > 0:49:19And two very rare items.
0:49:19 > 0:49:23Which one surprises everyone by making way over the estimate?
0:49:23 > 0:49:29A suit of armour that Matthew's wife will be pleased to see the back of,
0:49:29 > 0:49:34or the engraved baton that any Balfe fan would be proud to own?
0:49:36 > 0:49:39And it's back over to Anita for the last time.
0:49:39 > 0:49:43And first to the fore, it's the ever-popular Moorcroft bowl.
0:49:43 > 0:49:45Going under the hammer right now
0:49:45 > 0:49:48one of the most famous names in pottery, a bit of Moorcroft,
0:49:48 > 0:49:50and it belongs to Sally. It is a gorgeous bowl.
0:49:50 > 0:49:52Now, at the valuation day,
0:49:52 > 0:49:56Adam had an exact...an exact, I must say,
0:49:56 > 0:49:59not approximate but an exact valuation.
0:49:59 > 0:50:03I'm going to look stupid. Come on. 340.
0:50:03 > 0:50:04340.
0:50:04 > 0:50:07I might want to review that slightly,
0:50:07 > 0:50:09but I'll stick with it. 200 to 300.
0:50:09 > 0:50:12Why are you selling it? For me, it's a keeper.
0:50:12 > 0:50:15Well, I don't have a place to put it.
0:50:15 > 0:50:17I don't use it. I just wrap it up and put it in my drawer.
0:50:17 > 0:50:20It's the old "Flog It!" story, it lives in a drawer. Yes.
0:50:20 > 0:50:22But if you've looked after it...
0:50:22 > 0:50:24It's a big bowl. Fruit?
0:50:24 > 0:50:27But it's easier to have a vase than a bowl.
0:50:27 > 0:50:30Right now, we're trying to sell this one. It's beautiful.
0:50:30 > 0:50:33It's the anemone pattern.
0:50:33 > 0:50:35Can we say 400?
0:50:35 > 0:50:38300? Will you start me at ?200?
0:50:38 > 0:50:41200 bid. With you, madam, at 200.
0:50:41 > 0:50:43Any advance on 200?
0:50:43 > 0:50:45210. 220. 230.
0:50:45 > 0:50:47240.
0:50:47 > 0:50:50Any advance on ?240?
0:50:50 > 0:50:52Any advance on 240?
0:50:52 > 0:50:53Oh, no, I've lost, Paul.
0:50:53 > 0:50:55Any advance on 240?
0:50:55 > 0:50:57Nearly 100 quid out.
0:50:57 > 0:50:59It's sold, though, look,
0:50:59 > 0:51:02within estimate. OK?
0:51:02 > 0:51:04That was good. It's not a good day at the office for Adam.
0:51:04 > 0:51:06He's a perfectionist.
0:51:06 > 0:51:08Hey, look, you're happy. I am.
0:51:08 > 0:51:10Within estimate. Just under.
0:51:10 > 0:51:14It's not easy putting a value on antiques, Adam,
0:51:14 > 0:51:16so we'll let you off this time.
0:51:16 > 0:51:20It's always a good idea to protect your item with a sensible reserve.
0:51:20 > 0:51:23Right now, I'm not going to wave a magic wand,
0:51:23 > 0:51:24it's going to be a magic baton
0:51:24 > 0:51:27because this is one of my favourite things of the valuation day.
0:51:27 > 0:51:30It belongs to George and it's a 19th-century composer's baton.
0:51:30 > 0:51:34This really exposed my lack of knowledge of classical music.
0:51:34 > 0:51:36OK, but it is a lovely thing, one of my favourite things.
0:51:36 > 0:51:40It's quality and we say "quality sells". Let's put it to the test.
0:51:40 > 0:51:42Good luck, George, this is it. Here we go.
0:51:42 > 0:51:48A presentation baton to Michael William Balfe.
0:51:48 > 0:51:50Can we say 500?
0:51:50 > 0:51:53300? Start me at ?200.
0:51:53 > 0:51:55100, then?
0:51:55 > 0:51:56100 bid.
0:51:56 > 0:51:58Any advance on 100?
0:51:58 > 0:52:02110, 120, 130,
0:52:02 > 0:52:04140.
0:52:04 > 0:52:07150, 160, 170,
0:52:07 > 0:52:08180...
0:52:08 > 0:52:11We've got somebody on the phone, as you can see. There's a phone bid.
0:52:11 > 0:52:13..200...
0:52:14 > 0:52:16220 on the phone.
0:52:16 > 0:52:21?220. Any advance on ?220?
0:52:21 > 0:52:24220. 220.
0:52:24 > 0:52:28And it's gone, ?220. Well done, James, spot on.
0:52:28 > 0:52:31Just. It's gone, ?220.
0:52:31 > 0:52:33It went to somebody on the phone at the back of the room.
0:52:33 > 0:52:37Phone bidding is a great way to be part of the auction
0:52:37 > 0:52:39if you cannot make it in person.
0:52:39 > 0:52:42A commission of 18% still applies.
0:52:42 > 0:52:45If you like creepy-crawlies and you like a bit of bling,
0:52:45 > 0:52:47you will love this next lot.
0:52:47 > 0:52:50It's a brooch and it belongs to Liz and she's here with her husband.
0:52:50 > 0:52:52I guess, Liz, if you're going to have a brooch,
0:52:52 > 0:52:53it's got to be something so unusual
0:52:53 > 0:52:56that people just gravitate towards it and look at it.
0:52:56 > 0:52:58Did you wear it? No, I didn't.
0:52:58 > 0:53:00You didn't like it? It's not my colour.
0:53:00 > 0:53:03That's why I like to marry a girl who prefers gold to silver.
0:53:03 > 0:53:05Well, yeah! Expensive tastes!
0:53:05 > 0:53:09I like this. Fingers crossed this is going to fly. Here we go.
0:53:09 > 0:53:11It's going to FLY!
0:53:11 > 0:53:15It's this large white-metal bug brooch.
0:53:15 > 0:53:18Can we say ?200?
0:53:18 > 0:53:19150?
0:53:19 > 0:53:21Can you start me at ?100?
0:53:21 > 0:53:2350.
0:53:23 > 0:53:24She had 100 there.
0:53:24 > 0:53:2770, 80, 90, 100,
0:53:27 > 0:53:28110, 120,
0:53:28 > 0:53:30130...
0:53:30 > 0:53:33130. 140, 150,
0:53:33 > 0:53:34160...
0:53:34 > 0:53:38160. 170, fresh bidder.
0:53:38 > 0:53:41180, 190...
0:53:41 > 0:53:42Are you bidding, sir?
0:53:42 > 0:53:44200 on the phone.
0:53:44 > 0:53:47It's the right money, isn't it? Mmm. 210. Well done!
0:53:48 > 0:53:51220, 230, fresh bidder.
0:53:51 > 0:53:55230, 240 on the phone.
0:53:56 > 0:53:58250, 260,
0:53:58 > 0:54:01270, 280, 290,
0:54:01 > 0:54:03300, 310...
0:54:03 > 0:54:05It's fantastic. I thought it might have sold on the WEB.
0:54:05 > 0:54:07..320, 330. That's clever.
0:54:09 > 0:54:11340, 350...
0:54:11 > 0:54:13We've got two keen bidders fighting it out now.
0:54:13 > 0:54:16..370, 380,
0:54:16 > 0:54:19390, 400,
0:54:19 > 0:54:22410...
0:54:22 > 0:54:25?410.
0:54:25 > 0:54:27?410, I don't believe this.
0:54:27 > 0:54:30It's with you, sir, at 410. Any advance on 410?
0:54:30 > 0:54:33Selling in the room at 410!
0:54:33 > 0:54:34GAVEL BANGS
0:54:34 > 0:54:36Fantastic!
0:54:36 > 0:54:38What a great result!
0:54:38 > 0:54:40You've got to be happy with that. Gordon?
0:54:40 > 0:54:42?410!
0:54:42 > 0:54:44That's a strong price.
0:54:44 > 0:54:46A great result for Gordon and Liz
0:54:46 > 0:54:49and that brooch has FLOWN to a new owner.
0:54:50 > 0:54:53Now, fingers crossed for our final item of the day,
0:54:53 > 0:54:55that suit of armour.
0:54:55 > 0:54:58I think this is a first on "Flog It!". It belongs to Matthew.
0:54:58 > 0:55:01I know your brother has almost a twin set.
0:55:01 > 0:55:03I can imagine both of you dressed in suits of armour,
0:55:03 > 0:55:06trying to have a joust, or a fight together, hardly moving.
0:55:06 > 0:55:08It's an interesting lot, this.
0:55:08 > 0:55:11Out of all the things that I took in on the valuation day,
0:55:11 > 0:55:14I think this might do...I'm putting my neck on the line
0:55:14 > 0:55:16but I think it might do a lot better than we've said.
0:55:16 > 0:55:19We've got three to five. Let's hope we get that top end
0:55:19 > 0:55:21and a bit more.
0:55:21 > 0:55:2717 pieces of Victorian armour in the medieval style.
0:55:27 > 0:55:30Now, I have bids on the books...
0:55:30 > 0:55:33Will you start me at ?500?
0:55:33 > 0:55:37Will you start me at 500 on the floor?
0:55:37 > 0:55:39500. Straight in.
0:55:39 > 0:55:42500, 550,
0:55:42 > 0:55:45600, 650,
0:55:45 > 0:55:48700, 750,
0:55:48 > 0:55:50800, 850...
0:55:50 > 0:55:53There's competition in the room and a phone line behind me, as well.
0:55:53 > 0:55:55This is looking good.
0:55:55 > 0:55:57..1,000...
0:55:57 > 0:55:591,000.
0:56:00 > 0:56:031,050, 1,100.
0:56:03 > 0:56:071,150, 1,200.
0:56:07 > 0:56:091,250, 1,300.
0:56:11 > 0:56:141,350, 1,400.
0:56:14 > 0:56:161,450, 1,500...
0:56:16 > 0:56:19Come on. Good. ..1,550.
0:56:19 > 0:56:211,600.
0:56:21 > 0:56:23Hard thing to value, ?1,600 we have.
0:56:23 > 0:56:241,700.
0:56:24 > 0:56:281,800, 1,900.
0:56:28 > 0:56:312,000... Well, everyone's battling it out. I said so.
0:56:31 > 0:56:342,100.
0:56:34 > 0:56:372,200.
0:56:37 > 0:56:392,300.
0:56:39 > 0:56:412,400.
0:56:41 > 0:56:422,500...
0:56:42 > 0:56:44That's where I thought it was going to stop!
0:56:44 > 0:56:482,500. Don't you just love auctions?
0:56:48 > 0:56:51Any advance on 2,500?
0:56:51 > 0:56:522,500...
0:56:52 > 0:56:57What's it worth? ?2,500 and you've got a round of applause in the room.
0:56:57 > 0:56:59I think it deserved that, as well.
0:56:59 > 0:57:01I'm so pleased about that. Wow! That's absolutely fantastic.
0:57:01 > 0:57:05And where was it? It was stuck in a cardboard box in my garage.
0:57:05 > 0:57:08Wow! Hence all the rust. Tell your brother what it's worth.
0:57:08 > 0:57:10He'll be the first on the phone. I bet he will!
0:57:10 > 0:57:14He'll be putting it into auction, as well. I'm sure he will be.
0:57:14 > 0:57:17Don't forget there's 18% plus VAT to pay here on the commission.
0:57:17 > 0:57:20Nevertheless, that's a great deal of money to be going home with.
0:57:20 > 0:57:23What a way to end today's show, in a packed saleroom in Glasgow
0:57:23 > 0:57:26with a result like that. I told you there'd be a surprise.
0:57:26 > 0:57:28Join us for many more surprises in the future
0:57:28 > 0:57:30but, until then, it's goodbye from all of us.
0:58:03 > 0:58:06Join us live, and follow the world's wildest animals...
0:58:08 > 0:58:11..across the most challenging of terrains...