Chiddingstone Castle Flog It!

Picture the scene - Hever Castle at the height of the Tudor period.

In ride a dozen courtiers, dressed in their finest,

flanking the most notorious man in England...

King Henry VIII.

Up at that window, a young woman smiles, as if to say,

"Let the games begin."

'It's one of the most famous relationships in history.

'Henry VIII and Anne Boleyn,

'and the story started here at Hever Castle.'

We'll find out more about that intriguing couple later on

in the programme but, first,

we have some antiques and collectables to value.

Welcome to "Flog It!"!

The Kent countryside is peppered with Tudor relics,

and just a stone's throw from Hever Castle

is our very own valuation day location.

Here at Chiddingstone Castle,

there's been a house on this land since the 15th century.

It's the perfect location for a "Flog It!" valuation day,

so let's get started.

'They say the British love to queue, and the Kent folk are no exception.

'Hundreds of people have arrived already,

'but what have they got in their bags and boxes?'

Show us what you've got, come on!

Look at that - a wonderful array of antiques and collectables.

Now, somebody here in this queue

has something that's worth a small fortune.

It's our experts' job to find it and value it,

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

Flog it!

'Putting the prices on today are Lord and Lady

'of the valuation tables, Claire Rawle and Adam Partridge.'

-Oh!

-Oh, that's... Excuse me!

'They work as a team to seek out the most valuable objects...'

-Would you be interested in selling it?

-Um...

'They're dedicated in their search for historic items

that tell a story about the past.

'And if they come on a trolley, that's even better.'

I think it's time we got this queue moving to the valuation tables.

Let's get the show on the road and get valuing.

It's time to set sail. Come on, everybody.

'On today's show...

'an eye-catching piece from the recent past...'

And you've got the magnificent plumes.

It's really quite a glorious thing.

'And, at the auction, items are selling for a king's ransom.'

-I'm gobsmacked!

-I'm quite shocked as well.

-Sold.

Well, there you are, the last in the queue.

Everybody is now safely seated.

I've just been told Adam Partridge has spotted a real gem.

Let's take a closer look.

It's always interesting to see something a little different on the show.

John, thanks for bringing along this, quite an unusual typewriter.

Let's have a look.

There we go. The Blickensderfer, number 7.

-And look at that keyboard! Some engineering, isn't it?

-It is.

-I bought it because I like the mechanism. It's very unusual.

-Yes.

It seemed to be a precursor of a later golf-ball type of typewriter.

Right. Precursor - very good.

Yes, I know what you mean, and so, you know,

we see lots of old typewriters

and, of course, they were mass-produced later, after this.

-Yes.

-Many, many hundreds of thousands of typewriters made.

Most of which don't have any kind of interest or commercial value

-these days, because they've become redundant...

-Yes.

..with the age of the computer,

but this obviously falls into the collector's category.

Where did you get it from?

I got it from a local antiques shop,

in Sevenoaks about 30 years ago.

-OK. About 30 years ago.

-Yes.

-Do you remember what you paid for it?

-£19.

-£19!

-You've got a good memory, John.

-Yes!

-What line of work are you in?

-I'm, personally, I'm a model maker.

-Oh, right.

I'm particularly interested in mechanisms and that sort of thing.

Have we got some patent marks on there as well?

-Yes, there's patent marks over this side.

-This side.

-They're from...between 1890 and 1892.

-Interesting.

Because I believe in, around 1892, 1893,

the QWERTY keyboard was standardised.

Oh, that's when it happened.

So perhaps these Blickensderfer number 7s

were produced less frequently after that.

Possibly, although they would have been able to change the drum

-and the keys to suit the new layout.

-I suppose, they would have been

-able to modify it, wouldn't they?

-Yes.

-With their technical abilities.

-Yes.

What made you decide to sell it now?

It's just been in, on top of a wardrobe for a long while.

I had trouble using it because it doesn't have a ribbon.

-It has an ink roller and I couldn't get the ink for it.

-Ah.

Even then, with a non-standard keyboard, it's - you know,

if you're used to a QWERTY keyboard, it'd take a while to relearn it.

-There are lots of people interested in this sort of thing.

-Yeah.

So, any idea on the current value?

No idea at all. No.

Well, I mean, typically, you'd put something like £60 or £80, estimate.

-Yeah.

-You'd hopefully make 100 of it.

-That's all right with you, then?

-That's very good, yes.

We'll pop a reserve of £50 on it, stop it going for less.

-Yes, thank you.

-And, hopefully, it might make a little bit more

and it'll certainly go to someone who's passionate

about mechanical and typewriters and all that sort of thing.

Let's hope it maybe hits the three-figures mark.

Thank you very much.

You never know what or who is going to turn up at a valuation day.

Vintage typewriters are fairly common,

but I can't say I ever expected pop stars

The Cheeky Girls to turn up for a valuation.

For those of you who don't remember their big hit,

here they are on Top Of The Pops in 2003.

# We are The Cheeky Girls We are The Cheeky Girls

# You are The Cheeky Boys You are The Cheeky Boys

# Cheeky cheeky. #

They've brought along a bag full of inherited trinkets,

and the painting really looks promising.

I've asked expert Aubrey Dawson to take a closer look.

-Hi there, I'm Aubrey.

-Hi, I'm Monica. Very pleased to meet you.

-Hello, Gabriela.

-Hi, Gabriela. How are you?

-Very well, thank you.

-You've got a nice picture here.

-Yes.

It's a little bit far from home, isn't it?

Yes, it is a picture from Rome. That's what we know.

-And it's the castle of Sant'Angelo.

-Yes, that is the one.

And, basically, the story of it is a very long story,

-so I'm going to try and cut it short.

-OK.

My, our step-grandmother,

she had a neighbour when she was living in East Dulwich,

here in London.

They were really good friends and their family name was Roberts.

Now then, her husband passed away,

so our stepgrandmother,

she took care of her and she was all the time doing her shopping,

and then cleaning and helping with the house and everything.

So, as a gift, as a thank-you gift, she gave her this picture

and she said it has been inherited from generation to generation,

in her family.

What a fantastic story.

-I notice it's dated 1853.

-Yes.

Which gives us obviously a nice indication of age.

Not signed, though. We don't have any artist.

Normally, we'd expect to have a nice artist's signature at the bottom.

Yes, we did a bit of research.

-We have heard of a painter called David Roberts.

-Mm-hm.

Who was around that period, painting,

and, apparently, he did a grand tour of Europe and Egypt,

and he did loads of paintings in Egypt,

and they became very famous and they were sold at big auctions.

Now, it's a bit of a, you know,

coincidence that Roberts, Roberts, you know, the family name.

-Yeah, same name.

-So, you know, it would be nice for us to find out more

about this painting, whether actually it is David Roberts or it's not.

Well, I think it's definitely painted by an English artist,

because he's detailed "The Castle Of Sant'Angelo",

which is obviously in English, instead of writing in Italian,

if it was an Italian painter.

So what we'll do is we'll take it away, do some research and come back

-to you with what I can find.

-Thank you.

-Thank you so much.

'Aubrey will cross-reference the painting with known works

'by David Roberts and see if he can find a match.

'No pressure, Aubrey, but I think the girls are quite excited.

THEY GIGGLE

'Back in the real world, Claire and Cheryl are clutching classics.'

-Hi, Cheryl. It's good to meet you.

-Hi. Lovely to meet you.

I feel that no "Flog It!" should go through without

-a bit of Clarice Cliff.

-Oh, absolutely.

-Don't you think?

-Are you a collector?

-No, no, I don't really like Clarice Cliff

-at all, actually. These belonged to my husband's grandmother.

-Oh, OK.

Yeah, I think with Clarice, it's a bit like Marmite.

-You either like it or you hate it.

-Absolutely.

What's the history behind them? Are they sort of something

-you've just had in your cupboard for years and years?

-Well, no, actually.

After my husband's grandmother died, everyone else, you know,

had the first go and we got the leftovers,

so we got a box of hers,

and, actually, I was about to drop them off at the charity shop,

and a little bell rang in my head going, "Oh, hand-painted plates.

"Maybe I should hang onto those."

And, lo and behold, two or three years later, suddenly, Clarice Cliff

was the flavour of the month, but that was 23 years ago.

I've been meaning to get rid of them ever since!

Yeah, well, fortunately, she's still pretty popular,

though, in some ways, some of her prices have dropped a bit...

-Right.

-..but she's still popular.

But the one thing she did do is actually bring a lot of colour

into her designs. Do you know the history of Clarice

-and how she started?

-Not really, no. No.

-Well, she actually started work at 13.

-Oh, really? Gosh.

And she started playing around with the designs,

sort of, between the interwar years,

-where everything was a bit drab, and a bit grey, and a bit sad.

-Right.

And she had these wonderfully vibrant designs, so you had

these very bold colours, bold panels of red and green and yellow.

-Something that people were, sort of, crying out for.

-Right.

But it was also supposed to be cheaply made

-so that people could afford it.

-Right, right.

-And buy it, and put it in their homes.

-Yeah.

And it was immensely popular and, of course, this is a classic.

-This is one of the patterns you see quite a bit of.

-Right.

It's Rhodanthe, which is very, very classic,

with these, sort of, long, sinewy brown stems, orangey flowers.

-And you'll find it on plates and jugs, and cups and saucers.

-Right.

And then, if you look on the back, of course,

-you have the classic mark.

-Oh, right.

-They did an over-stamp with "Bizarre by Clarice Cliff."

-Right.

-It was the Bizarre range.

-Right.

-If you look back at the pattern,

at the moment, they're in good order.

There's a little bit of flaking round the edge.

That's acceptable for her work but there's no cracks, no chips,

cos anything like that and the value just absolutely plummets.

-Right, right.

-So, before they get damaged,

a good idea to put them in the sale.

And I think, at auction,

you're looking between £60 and £100 for the two. Oh, right.

-Does that sound OK?

-Fabulous, yeah, that sounds great.

-Yeah, no, absolutely.

-I look forward to seeing you at the auction.

-Super.

Cheryl didn't hold back with her opinion on Clarice Cliff,

and now I have to deliver my thoughts on that cheeky painting.

Well, I have to say, it looks good, doesn't it?

-Fingers crossed.

-It looks, it looks desirable.

It's something that I would want to own, so that's a good start.

But Aubrey has done a lot of research on this,

we've asked all the other experts here.

It's not David Roberts.

-It's not?

-Oh...

-It's in the style of, OK?

But look, I think, if it was a David Roberts,

you'd be looking at around about £5-£8000

-for a watercolour like this.

-I know, I know!

But if somebody, you know, it sums up that whole Grand Tour thing,

but if you can't afford David Roberts, you can afford this.

-And you get the look, you buy the look, don't you?

-Yes, you do.

It's beautifully presented, it's wonderfully mounted.

I like the fact the frame's a bit lived-in.

-It's not over the top.

-It's very old, yes.

But it draws your attention to the image, so it does have a value.

-Right, OK.

-Right.

OK, look, £100-£150 is very, very safe.

-Hopefully it'll do a bit more.

-OK.

-We need to start somewhere...

-OK.

-So, if we put a reserve at £100 on.

-£100.

-I think we should go for it.

-OK? Happy to put it into auction?

-Yes.

-Yes, yes.

-Fixed reserve at £100?

-Yes.

-I think she would be happy with that.

-OK, let's do it.

Next, another family story.

Sue, Jim, it's lovely to see you here today,

and your little friend with you. Such a pretty doll.

-And this little girl here...

-Daisy is holding this doll.

-Yeah.

I'm not sure where she was given it,

-but I think it was one of the aristocrat ladies.

-Right.

-Who my grandfather worked for.

-Oh, right, so it was given down to his daughter?

Yes, because obviously they couldn't afford

-anything like that in those days.

-No.

No, cos of course she's got a bisque head,

so she would have been a more expensive doll in her day, really.

Yes, yes, and they used to live at Brasted Chart, which is quite near here.

-Right.

-And my grandfather was a gardener.

-Oh, right, yes.

And he lived in the laundry cottage, which is shown there.

This is the cottage in the background? So they are all standing there. Isn't it a lovely thing?

And the nice thing is you actually know who they all are.

Yes, it's my grandfather, and grandmother,

and my Aunt Daisy,

my Aunt Gladys, Aunt Nell,

Uncle Jack, Auntie Emily, and my father, William.

Oh, lovely. So often in families people lose track and they can't remember.

They can remember a few names, so it's lovely.

And also it really dates that little doll, doesn't it?

Yes, it's over 100 years old.

-Yes.

-And I thought it was about time we had her out and...

-Yeah.

My daughter doesn't want it,

so we'll let somebody who would like it.

-OK.

-And none of us seem to have particularly liked the look of it.

-Aww! Anyway, shall I have a quick look at her?

-Yes.

I'd love to see her a little bit more closely.

Now then, has she got a name?

Because families very often named their dolls.

-No, I don't know her name at all.

-So she's never had a name?

-Never had a name.

-Normally on these dolls, they are marked.

And this one is beautifully marked on the back of the head,

Handwerck, and then a number which denotes a size.

Now, she's very, very pretty. She's got real hair, or mohair.

She's got sleeping eyes cos there is a weight in there

which makes them open and close, realistic. Open mouth with teeth.

Funnily enough, the open mouth ones are not quite as popular as the closed mouth ones.

And then she's on a mixed painted wood and composition body with

these ball sockets to try and make her look as realistic as possible.

But not terribly.

But she will date from the very beginning of the 20th century,

say between 1900, maybe up to 1910,

-which I guess would fit in with the family grouping there.

-Yes.

Now, the sad thing at the moment is that the doll market is not

exactly buoyant. It hasn't been for a while.

One never knows the true reason why these markets go up and down.

At the moment dolls are not selling for huge amounts,

unless they are very scarce, very early good French dolls or something.

I think she would sell, and I think she'd find a very good home, because

people get very emotive over dolls and teddy bears, unlike Jim there.

Yes.

Which, in a way, I can sympathise.

I've never been a great doll person myself.

I think at the moment you are looking at an auction

estimate of £90-130.

I'd tip the lower estimate just under the 100,

because as I say it's not that buoyant.

If you'd be happy with a reserve of £80 that would give her

a very strong chance of selling well,

and if she doesn't make that, I really think that she ought to

stay at home, because I'd hate to see her sell for less than that.

-I don't know how you feel about that?

-Yes, that sounds...

-Whatever Sue's happy with, I am.

-Yes.

-That's a very good arrangement, well done.

Yes. Excellent, we'll do that, then. We'll put in with an £80 reserve,

£90-130, and see how she does.

Wonderful.

Before we head off to auction,

there's something I would like to show you.

Beer and England go together like cheese and pickle, don't they?

Well, certainly since Anglo-Saxon times,

beer has been a staple amongst folk rich and poor.

But beer was generally a tasteless concoction of water and malt.

Flavourings like honey and mugwort

were added but they didn't really cut the mustard.

A strong, powerful ingredient was needed to quench the thirst

of the British people.

Hooray for hops!

Hops were introduced to Kent by the Flemish brewers in the

16th century and they transformed

musty old ale into fresh, tasty beer.

The hops were added to preserve the beer

but they also added a bitterness.

Now, initially, people were slightly sceptical of the bitterness.

But by the 18th century, hop gardens, like this,

were cropping up all over the county.

At its peak in the 19th century, 72,000 acres in Kent were dedicated

to producing hops and extra help was always needed to pick them.

One man who knows everything there is to know about hops is

John Reeves Vein.

He's a man of Kent and has worked in the hop gardens all his life.

He now volunteers at the Kent Life Museum,

keeping traditional farming methods alive in their hop garden.

I was born in 1914, Joe.

I was in the hop garden in a pram in the September of 1914.

That's when you start.

You're there with your mother, she's picking the hops,

looking after you and this is how I got involved.

It's through family, from grandfather to my father to me, my son is in

it and my grandson's now joining us, so we've got five generations.

What a lot!

The hop flower became one of the country's most important crops

and when the short harvest season came along in the late summer,

they all had to be picked by hand.

An army of 200,000 people were needed and there was a city nearby

with a willing workforce ready to descend on the Kent countryside.

# London calling to the faraway towns. #

Entire families left the East End

and made the 30-mile journey by special hop pickers' train

or even by foot to the Garden of England.

John witnessed this mass migration first-hand.

Yeah, the East Enders used to come down to help pick the hops which

gave them extra money to be able to buy the clothes for the kiddies

when they got back home and it was also a holiday to them

because if you lived in the East End in them days, it wasn't very nice.

Crammed, you know? Smelly, dusty.

They'd come out here and it was a real holiday to them.

The city folk valued the fresh air

but hop picking was no walk in the park.

The hop plant has tiny hairs which can irritate the skin

and the pesticides cause some children to go home with

a painful infection known as "hop eye".

The days were long and the living conditions basic,

but the East Enders created a home from home,

in the rudimentary huts they were given by the farm owners.

This is a reconstruction of a hop picker's hut,

dating back to the mid-1930s.

If you come with me and come inside, we'll take a trip back in time.

Are you ready for this? OK.

Small and cosy, first impressions, looks like fun

but what you have to remember is a family of five would have

slept in here and used this space for a month at the end

of the summer season, living in here together.

Kids would sleep under here, look... On a mattress of straw.

Mum and Dad up there.

A few basic utensils to use.

Small kettle to brew tea up on and a small loo.

There's no running water.

The hop pickers would have constructed their own huts

in rows just like this,

emulating the small terraced houses they lived in in London

and at the end of the row, there would be a communal cooking hut

and a proper loo for everybody to use.

Pretty basic but for the end of the summer,

and for a month, could be fun.

If you work hard and play hard, I think you'd sleep well.

The influx of tens of thousands of Londoners didn't go

unnoticed by the locals.

Some people in Kent didn't mind

and some other people in Kent did

because with a lot of the shops,

they used to put up screens

because people were a little bit light-fingered, you know?

And also, at the weekends, they used to pack the pubs out.

And someone used to get upset over that, others didn't mind, you know?

Generations of the same family came back year after year, right up to

the 1950s but as with so many ways of life, mechanisation took over.

You would be hand-picking one year

then there would be a machine next year.

Then another farmer down the road, he might follow a year later.

One, the other way, might have been a year before you, you know?

This is how it went on.

The annual trip to Kent for a hop picking holiday came to an end.

So, do you miss the hop pickers

coming down from the East End of London, John?

Yes, very much so. Because you had...

It was great fun.

It was hard work but it was great fun, you had people talking.

You had arguments, you had upsets,

as usual, like you do in everything.

Which is good banter.

Good banter, yeah.

And, it's like, you know...

-Everybody knew everybody.

-Sure.

Because you had the same hop pickers

coming down to the same farm every year.

What do you make of the hops this year?

This year, they're very good. I'm very pleased with them.

Last year was a bad year

but this year, I'm very pleased with what we've got.

And these will be picked the old-fashioned way,

at the Kent Life hop picking festival.

For generations of East Enders and for John,

the traditional will live on in their memory.

We've got our first four items,

now we're taking them off to the sale.

There's a growing market for vintage devices like this,

but will the bidders have their

fingers on the pulse and snap it up?

Sadly, it's not the artist Gabriela and Monica were hoping for,

but the painting still has a value,

and now, a cheeky provenance.

There's plenty of provenance with this lot, but dolls are not to everyone's taste.

will it make the £80 reserve?

And Clarice Cliff plates that brightened up the postwar era -

will they set the saleroom alight?

To find out, we're leaving Chiddingstone Castle

for the saleroom, which is also packed with beautiful items

that keep the past alive.

It's time to find out if our experts' valuations

are on the money.

First up, Adam, John and the Blickensderfer.

It's an old number 7. Have you sold anything like this before?

Well, we're finding an increasing interest in vintage typewriters.

And, please, don't mean that... bring along your 1960s Remington,

but early 20th-century, late 19th-, early 20th-century typewriters.

People are beginning to collect these things

much more than they used to.

Are you a steam train fanatic, John?

I see you've got Stephenson's Rocket on your tie.

I'm a model-maker.

Ah, that explains it. I've made that model.

I have made an Airfix Stephenson's Rocket.

Have you? Oh, the Airfix one, yes.

Yes, anyway, let's put this valuation to the test.

Here we go, here's the typewriter going under the hammer.

Like this one. This is the vintage typewriter, there.

The Blickensderfer there. And, we've got interest,

I'll go straight in at £50 on the commission.

At £50, now. 55 in the room, now.

65. 75, 85, now.

Told you there was a rising interest in this.

I'm pleased about that.

100 we got online, now. Looking for 110.

110 online, now. Looking for 120, now.

The battle's online, now. Looking for 120, 120.

-Looking for 130.

-That's quite good.

At 130, online, now.

Looking for 140, 140 bid, looking for 150 now.

At 140 online. Are we all done, then?

Selling, then, online, at £140.

-£140, the hammer's gone down. Well done, Adam.

-Thank you very much.

-Pleasure.

-You know what?

-I'm glad I chose you.

-I'd have liked to own that.

There's a little tip there for the viewer.

You know, if it's a vintage thing like that, that really appears

to be unusual, then it probably is going to be quite desirable.

Yeah.

Bought with love and sold for a profit, a classic antique tale.

Next, it may not be a Michelangelo,

but this painting of Rome is well worth the £100 reserve.

We thought it may be a David Roberts but sadly it wasn't.

But it was by an Englishman, an unknown artist.

It's an image of Rome and it was stunning.

And it belongs to the Cheeky Girls.

And not for much longer.

Gabriela and Monica. Which one is it?

-Gabriela.

-Monica.

-Monica, Gabriela.

I'm not the only one to get you confused, surely.

Oh, no. Surely, no, no.

Everyone, especially when we have the hair done exactly the same.

-Everyone is confusing us.

-Well, look, let's just talk about the art.

So, just remind us, it's been in the family a bit of time, hasn't it?

Yes. Yes, we've had it for a very, very, very long time.

-And it did belong to our grandmother.

-Yes.

And her last wish was to have her ashes scattered in Belgium

near her husband. So, we are going to, we're going to use the money...

To put towards that.

To travel there and to, you know, make her last wish come true.

-Oh, that's a really nice thing to do.

-Yes.

-Yeah.

Fingers crossed we get top end of the estimate.

-I know, I'm so excited.

-Let's find out what your artwork does,

shall we? This lovely painting is going under the hammer. Here it is.

342, look who we've got in the room, the Cheeky Girls!

-WHOOPING

-That's why you're all here.

The Cheeky Girls. Lot 342.

We've got the watercolour dating from 1853, £100 for it.

-It's next to nothing, is it?

-I know.

Come on, you've gone very quiet. Come on. Anybody interested at 50?

Come on, £50 for it. Get the bidding going.

50 I've got, sir. Thank you, £50 bid. 55, now. 60.

-Come on.

-It's ready to go,

-it's got a lovely frame on it.

-Everyone is embarrassed.

Got 60. 65?

At £60, now. I've got 55, now. 70.

At 65 with me, on the book, now.

At £65 now, looking for 70.

At 65, then. All done, then, at £65.

-Really, really? Oh...

-It didn't sell.

-Oh...

-It's OK, it doesn't matter.

-Matter...

We are still going to, you know, we are still going to...

-Make that trip.

-Of course, of course.

-Of course.

-Of course.

Has it been a good day out?

Of course, we've loved the whole experience.

It completes the "Flog It!" journey.

You came to the valuation day, you came to the auction.

-The thing is, we had to do this as well.

-OK.

-Because we are watching the show all the time.

-Oh, good for you.

And I said, we need to be on "Flog It!", no matter what.

'See, even if your item doesn't sell,

'you go away with great memories of the "Flog It!" experience.'

# Cheeky, cheeky. #

Going under the hammer right now we have a German bisque-headed

doll belonging to Sue and Jim. We've seen them on the show before.

I particularly don't like these. I think they are scary.

You're doing the right thing, you're selling it.

I know there's lots of collectors out there that will love this,

but it's not for me. Not for you, either, is it, Jim?

-Not at all.

-What about you, Claire?

I have to say, I'm not a great doll fan.

I never was even as a child, I preferred trains and things.

Like you, I always found them a bit spooky. Like they were watching you.

Anyway, there are a lot of collectors out there

and they have their virtue. They are quality. They are quality.

And you've looked after it, that's the main thing.

Well, it's been in the wardrobe for 60 years.

Well, it's been looked after, hasn't it?

It's not been thrown around in the attic or something.

Cos condition is key to these things.

That makes all the difference.

-Hopefully we get the top end of the estimate.

-Hope so.

-Ready for this?

-Yes.

-Let's wave goodbye.

Let's wave goodbye to the doll, it's going under the hammer now.

With no regrets.

It's the German bisque-headed doll there. With the open mouth there.

And composition body.

£100 for it. 50, if you like.

50 bid. 55. 60 on commission.

65. 70 bid. 75. 80.

The lady is keen, she's not putting her bidding card down.

100 bid. 100 bid. At £100 it's with you, madam.

£100, looking for 110 anywhere.

We've sold it, haven't we? We've sold it.

-Yes, wonderful.

-At £100...

-GAVEL FALLS

Well, that lady was so keen, it sold at £100, Sue and Jim.

The lady was just up and down, up and down with the bidding card.

And someone else I know who's got a bidding card is Sue here.

So, you've registered.

You've got to register your name and address

if you want to bid in the saleroom,

and they issue you with one of these,

and you can wave to the auctioneer.

So what are you going to buy?

-Well, hopefully some paintings.

-Right, good luck.

Well, you've got £100 towards it.

Going under the hammer right now, we have Clarice Cliff.

It's a pair, and they belong to Cheryl. Why are you selling these?

-Everybody wants it.

-Oh, they're ghastly.

Do you know something? I don't like it either.

I was so frightened to say, they're ghastly. It's just not my taste.

-I would sell them as well.

-Great.

-Look, good luck.

-Thank you.

Hopefully we get the top end. Claire, do you like these?

-I have to be honest...I don't like it either.

-Oh, bless you. No, no.

But there is a big market out there. We're not putting this down

cos lots of people collect Clarice Cliff.

You've seen, it's gone under the hammer many times.

Here we go. Big smile on your face. There'll be an even bigger smile

if you don't have to take these home. Yes.

They're going under the hammer right now.

The Clarice Cliff plates, there.

How do you see these, £50 for them?

50 bid, 55. 60, 5, 70, 5.

-They're gone.

-80, 5, 90, 5.

100, 110, 120.

I've got 110, 120 with you, madam.

120, now looking for 130, anywhere.

At £120, we're all done, then.

Selling, then, at £120.

Whoosh! Hammer's going down. Clarice Cliff does the business.

-Fantastic.

-Someone out there liked it.

-Great.

-Super, thank you very much.

-Well done, you. Well done, you,

and if you've got anything like that, we'd like to flog it.

Bring it along to one of our valuation days and you could be

at an auction room just like this, going home with some money.

-Well done.

-Fantastic, thank you.

That's the first visit to the saleroom complete.

Now, we're heading back to that most royal of counties - Kent.

For time immemorial, we've been fascinated by our kings and queens.

And one relationship in particular that's intrigued us for centuries

has to be the one of King Henry VIII and Anne Boleyn.

Well, earlier in the week, I went along to Hever Castle,

where Anne Boleyn spent many years of her life,

to find out how it all began.

This impressive building has all the classic qualities

of a Tudor castle.

But this castle is much more than its thick stone walls,

and its Tudor works of art.

It's the place where Anne Boleyn spent many years of her life.

It's also the setting for her courtship with Henry VIII,

where he sent her many letters declaring his love.

And it's here that Anne's parents

made the decisions about her upbringing

that would ultimately shape the rise and the fall of the whole family.

Because how did this girl, who was not considered a beauty

by any means, capture the heart of the married King of England?

Anne lived here with her mother and father, Elizabeth and Thomas,

her older sister Mary and her brother George.

The family moved to this incredible castle in 1505,

when her father inherited the house.

The Boleyn family had always been ambitious

and had risen from the ranks of yeoman landowners

to noblemen in just a few generations.

Their move to Hever helped secure the Boleyn status

but head of the family Thomas wanted more for his children.

He wanted them to rise to the very top.

Historian Elizabeth Norton has written several books

on the Boleyn family,

and knows all about Anne's journey to becoming Queen.

What would it have been like for Anne, growing up here?

She would have spent a lot of time with her siblings,

her elder sister Mary and her younger brother George.

They would been taught their letters by the parish priest

before having tutors employed when they were a bit older.

-Education was a big thing here, obviously.

-Absolutely.

Education was particularly important to the Boleyns.

Anne was renowned for being well-educated.

Particularly, she could speak French, she could read and write.

And it's really that that shapes her.

Anne showed great promise during these formative years,

and was chosen over her older sister Mary

to attend the court of Archduchess Margaret of Austria.

Anne made a very good impression on the court,

and was described as presentable and pleasant by the princess.

It seems even as a youngster, probably no more than 12 years old,

Anne was accomplished in court etiquette -

a skill she would later use to her advantage.

By 1513, she was asked by her father to attend another Royal,

this time Henry VIII's sister, Mary Tudor, in France.

French style, French fashion, French culture, mon Dieu!

The French were trendsetting as much in the 16th century

as they do today.

And Anne Boleyn was immersed in all of it

at the court of Queen Mary, from the age of 13 to 21.

But what did she learn en France?

Anne's time in France was crucial to the woman that she later became.

She learnt style and grace at the French court,

it was the most sophisticated in Europe.

She also learnt courtly love.

Anne would have learnt how to interact with men

while she was in France, so when she came back to England wearing her

French hoods, which showed a daring amount of hair, she stood out.

Anne wasn't the only sister to serve in French court.

The other Boleyn girl, Mary, also spent her formative years there.

But Mary took quite a different approach to her sister,

giving herself fully to several courtiers,

and eventually King Francis of France, himself.

Mary was later referred to by Francis of France as

a very great whore, and infamous above others.

It looks as though she was sent home in disgrace,

before emerging at the English court as a mistress of Henry VIII.

Anne and her sister Mary were close,

and Anne saw how Mary was treated when she gave into Henry's advances.

Henry was far from generous with his mistresses.

Mary gained little more than two illegitimate children.

Anne saw that her sister was simply discarded by the King,

with very little to show for it,

and she decided that she wanted something else.

She wanted a good husband and was not going to yield to the King.

Just a few months after Henry's affair with Mary,

he was chasing Anne.

Now, wise to Henry's tendencies

to cast aside his mistresses once he got them into bed,

Anne told Henry she wouldn't be his lover until she was his wife.

Henry wanted Anne to be his mistress, something that Anne,

who was looking to make a good marriage, could never allow.

We know that Anne retreated back to Hever Castle.

Henry VIII's love letters survive, and show him pursuing her,

so, speaking of being struck with the dart of love.

Eventually he realised he had to divorce his wife, and that

led onto the long period of divorce before they could marry in 1533.

Anne Boleyn achieved her father's goal and became Queen of England

but, unable to produce a male heir, her marriage was short-lived.

She was Queen for just 1,000 days

before Henry viciously turned against her.

In a shocking sequence of events, Anne was beheaded for treason,

at the Tower of London, in 1536.

An extraordinary outcome for a girl who showed such promise.

The Boleyn family were ambitious and educated,

and they knew the importance of a good marriage.

Anne's strength and spirit helped her rise to the very highest rank

but it also, in part, led to her execution.

Tudor England was a tumultuous period in our history,

and the pursuit of power was quite literally a cut-throat business.

Back at our valuation day at Chiddingstone Castle,

we've found a very special royal item

that celebrates a historic moment from our own time.

This chair was specially designed

for Prince Charles' Investiture in 1969.

MUSIC: God Save The Queen

The ceremony gave heir to the throne Charles

the official title of Prince of Wales

and the Earl of Chester.

It's a tradition that predates even the Tudors,

starting in 1301, by King Edward I,

having completed his conquest of Wales.

Many centuries later, the practice continues

and was watched by 500 million people worldwide.

4,000 chairs were made for the occasion,

and seated royals and dignitaries.

I wonder who sat on the chair Claire's discovered.

How did this chair come to be in your possession?

It came to my husband, who was in the Metropolitan Police,

and he was on protection the day of the Investiture.

And afterwards, he was allowed to keep one of the chairs.

So, we've had it in the house ever since.

Did you both like the chair?

We weren't mad about it, let's put it that way.

It was one of those things that you got

and you thought you'd better keep for a while, and that was it.

It wasn't really used,

it was just sat there and hidden away most of the time.

-The design is good, actually, it's nice.

-It's nice, yeah.

But the colour takes a little bit more.

-I often think if they had a really modern kitchen, it would go in.

-Yes.

It'd certainly be a talking point, wouldn't it, in somebody's home?

Of course, you see the Coronation stools and Coronation chairs,

-through the 20th century, the couple we've had.

-Yes, yeah.

Don't see quite so many of these, although a few have

-come up for sale.

-There were quite a few made, yes.

-Yes, yes.

But you don't see many, you know?

You suddenly look sometimes and think, "Oh, that's like mine."

-Yes, there are other people with orange chairs.

-Yeah, yeah.

Yes, and you've got the magnificent plumes,

the Prince of Wales plumes on the back of the chair.

-And then "Ich dien" - "I serve". Erm...

-Yeah.

-This is really quite a glorious thing.

-Thing, yeah.

Obviously, you've decided now to part with it.

Yes, the children aren't interested, really,

-so I thought I might as well part with it.

-Yeah, yeah.

-Spend the money on something I would like.

-Very sensible.

And I see there, you're actually, you've got a souvenir...

-I've got the brochure that goes with it.

-That's nice, actually, isn't it?

That's a souvenir that tells you all about the Investiture.

-Yes, and has all the photographs...

-Photographs in it of the day.

-..of an incredibly youthful Prince of Wales.

-Prince Charles.

Oh, yes, it's such a long time ago but I remember it.

-I remember watching it at school.

-Really?

Which dates me a bit, now. I was very young at the time,

-didn't really understand what it was about.

-Yeah.

-They do sell. They don't make a huge amount of money.

-No.

I don't know what you're hoping for, for it.

-My feeling is, just under the 200.

-Yes, that's what I...

-That's what I imagined.

-About one, sort of, 180, 190?

-Yes.

So, if we put a reserve of 190,

-and estimate it at 192 to 230 or something like that.

-Yeah.

-Yes.

-And you don't know...

-Well, that's right,

because I'm sure there are lots of people out there

that would love to have this.

Well, yes, I often think someone in Wales might be quite interested.

-Well, yeah, that's probably where the other 3,999 are!

-Yes.

-This is the one that escaped to England.

-Yeah.

But, yeah, we'll give it a good go and see what we can do for you.

All right, thank you very much.

-Susan.

-Hello.

-Time for pie.

Yes, hopefully. HE LAUGHS

-Yes, it's a nice example of a game pie dish.

-Oh, thank you.

It's an absolute classic in antiques terms, isn't it?

You open an antiques reference book, you're going to find

a piece of majolica, a game pie dish just like this.

What do you know about it, Susan, and where did you get it from?

-My nan owned it...

-Yeah.

-..and gave it to my mother.

-OK.

And my mother, sadly, has had to go into a home

-and so she's given it to me.

-Yeah.

And how has it ended up on the table here,

in this beautiful setting at Chiddingstone Castle?

I just have nowhere to stand it safely

and it would go in the loft and...

-What a shame.

-It's a big old thing, isn't it?

-Yes.

And they're very, very brittle, vulnerable things.

It's lead-glazed earthenware and...just need to tap it

-and it will break and chip. And it's survived incredibly well.

-Yeah.

I've given it a good once-over

-and I can't see anything wrong with it, really.

-No, no.

A beautiful lid there, and the blue interior.

It kind of reveals the contents of your pie, doesn't it?

-On the lid, there.

-Yes, yeah.

And they've always got this blue interior,

and this is particularly fresh and clean, like it's never been used.

It's got a lovely, sort of, basket-shaped design,

applied with these oak leaves and acorns.

Really quite an effective technique, but not your taste?

-No, I love it, actually.

-Oh, right.

-It's just...

-where to put it.

-Just the practicality of it all.

So, let's have a look at the mark.

There's no Minton mark on there, which is,

to some collectors that will be a concern, but those

that are knowledgeable enough will know that this is the Minton model.

I mean, it's still popular stuff and there's still a demand for it.

So, I would suggest an estimate of £300-£500 in the current market

on that, and hopefully it will make a bit more. Oops...

-Very nice.

-So, we'll see what happens and fingers crossed,

-it will make a good price at the auction.

-Thank you.

-Jenny, what a beautiful day here in Kent.

-It's gorgeous, isn't it?

-Don't get much better than that, does it?

-No, a lovely setting.

-Locations and everything else.

-Beautiful.

And I was attracted to your postcard albums for a number of reasons.

Firstly, also, because there are going to be some local ones in here.

-Yes, there's lots of local ones.

-Very good.

But before we open up the albums,

because there's a lot of flicking through to do there,

can you tell me a bit about them and how you came to own them yourself?

Yeah, they belong to my great aunt, who started collecting them,

I think the earliest postcard is about 1906.

-And what was your great-aunt's name?

-Aunt Fanny.

Aunt Fanny! There we are.

-That's a good traditional name.

-Yes.

-So, please tell me more.

Aunt Fanny collected these.

Yes, and her sisters used to travel a bit

and send her postcards wherever they went. And her friends.

So she collected them all, and then she passed it on to her

daughter, and her daughter started collecting them.

-But unfortunately most of the family died of TB.

-Oh, gosh.

Her daughter died of TB as well.

-So, I think the last one is about 1925.

-Oh, dear, that's a sad...

Sad ending, isn't it? And what happened to Aunt Fanny in the end?

-Aunt Fanny lived until she was in her '90s.

-Well, there's a positive, isn't it?

-It is.

-Very good. Anyway, we'll have a look through them.

There we go, straight into Kent. Ramsgate.

Chatham, Ramsgate, Margate, Dover.

So we've got loads and loads of local views,

which were quite common to see.

And I've marked out one which is a little more interesting,

actually, which is here, this submarine A5 going full speed.

-That's a more rare one.

-Right.

And that's something that will appeal to the collector.

-That'll be worth a few pounds, whereas these will be worth pence, really.

-Yeah.

Then we've got another album here.

So, we got a mixture on this album, including greetings

and more topographical.

An area of collecting particularly, that appeals to me as well,

are the humorous ones.

I like this one, it's rather cute, isn't it? Little kiddie in the tub.

-It's fun, isn't it?

-Yes, it is fun.

Just a bit of gentle humour. And right next to it you've got

another area of collection - cats.

People like cats, and here's a cat on the telephone.

Again, rather amusing.

And let's have a quick look at this final one.

Isn't that lovely, just the inside cover?

That's a real Art Nouveau derived design, isn't it?

This one here, we're on to Titanic and shipping and memorial, aren't we?

Cos these are the words for Nearer, My God, To Thee,

which was famously played by Wallace Hartley,

-the bandleader of the Titanic and his band as the ship was going down.

-Yes, of course!

-That's right.

-So it is quite a poignant one there.

When was this sent? You could spend hours... 1912, look.

1912, Yes.

-It doesn't mention the ship.

-No it doesn't.

-But all the same,

-quite a poignant reminder of the day.

-Yes.

So in these three albums, there's not a huge amount of value,

but there's a great amount of interest in social history terms and things like that.

Price-wise, have you got any idea what you think?

-I really haven't got a clue.

-Well, I think £200-300 would be...

-Really?

-Yeah. That was a good "really"!

-Yes!

-Yes.

-Definitely.

I was thinking of going lower, I didn't think you'd like it.

£50-80 an album,

-based on the fact they are mainly views, which are low value.

-Yes.

but I would say £200-300, and just tuck in a reserve a bit

-lower, about 150 to stop them going for less.

-That's fine.

-All right?

-Yes, that's absolutely...

-I think they'll sell for that, they might make a bit more.

-Good!

And now, we have just time for one more valuation from Claire.

-Hello.

-And, well, you've brought along something a little more unusual.

-Definitely different.

-Indeed, indeed.

It's lovely, actually, I mean, it's had a bit of a tough life.

It's a flintlock pistol. So, what do you know about it, Anita?

-Absolutely nothing.

-OK.

It was found in a house clearance that a family member done,

and was given to my son.

But it's just lived in the bottom of the cupboard.

I've done nothing with it.

So, here I am today.

Brilliant, and here you are indeed, yes, with your pistol.

Now, I do rather like it. I mean, we have got some damage issues on it.

-Yes.

-Because, I say, it's a flintlock, so in this bit here,

there would have actually been another, like, another claw,

and it would literally have had a flint screwed into it,

which then fired down when you actually got the mechanism primed.

And there would be, sort of, powder in here,

and then the flint would fall on that metal thing, make a spark,

flies into the chamber, ignites the gunpowder...

-Boom! Out comes a bullet.

-OK.

So, real old antique weapon, this.

And the great thing is that it's not a weapon you need

a licence for, because the worst thing you could actually do

to somebody with this is hit them over the head with it.

Its firing days are long, long gone.

Going onto the...the pistol,

we appear to have an English brass barrel,

because it says, "Cornhill London," on the top, there.

But, in actual fact, it's a continental gun.

-OK.

-It's got a different maker on the lock-plate, on the side, there.

Looks to me like a, sort of, Dutch,

or...sort of, Low-Countries-type design.

Because, again, when you turn it upside down, all this is silver.

It actually has got silver marks, and I'm fairly sure

they're Dutch marks but I am prepared to be put right on that.

You are going back to the early 19th century.

It was quite a weapon in its day,

and this was a statement, also, of wealth,

because it was a reasonably expensive gun.

And then, at the end of the butt, you've got this grotesque mask.

Yes, it is rather scary. THEY LAUGH

Yeah, well, I mean, the whole thing is a weapon and, of course,

one of the things that you could do with it is turn it round,

if you weren't far, and hit someone over the head.

It's not a nice thought but it's all part of its history

and how it's arrived at the design it's in.

Going back underneath, you would have had a ramrod,

-cos you needed a rod to tamp everything down into the barrel.

-OK.

That's disappeared with the end of the stock.

Still a good collector's piece, though.

It's a nice item, it's got a good brass barrel on it.

They're quite tough and durable.

Yeah, OK, it's seen better days, it's lost bits,

but there is still a market out there. It's a very decorative gun.

Because of the damage, you're going to be looking at

a low estimate of about, sort of, 150-ish.

Had it been in much better condition, then it is a gun that

would have been worth, sort of, 400-500.

-OK.

-Even a bit more than that.

Put a reserve of 150 on it, if you're happy with that.

-OK, no, I'm fine with that.

-Where is the money going?

Well, whilst I was sitting in the queue...

to be seen today, my daughter told me that she's booked her wedding,

so I guess it would be a good idea to give her the money towards her

-wedding dress.

-Oh, fantastic. That's really exciting

and I think it's great that, at the end of the day,

a weapon of war is going towards an act of love.

-Thank you.

-Dying fate.

Weddings don't come cheap,

so let's hope the gun fires on all cylinders at the auction room.

Here's a quick recap of all the items going under the hammer.

It certainly makes a statement, and with its royal provenance,

it's sure to appeal to collectors.

This type of classic ceramic was hugely popular ten years ago.

But have the fashions changed?

With over 900 postcards in this lot, it's a collector's dream.

Will the auction be worth writing home about?

And a 19th-century pistol found in a house clearance.

How much will it raise

for Anita's daughter's wedding?

There's only one way to find out,

and it's back over to the auction house.

The antiques are packed from floor to ceiling

but you couldn't miss our next lot.

Going under the hammer right now,

we have the 1969 Prince of Wales chair,

complete with plumes, designed by Lord Snowdon.

Unfortunately, we don't have Gillian,

but we do have two members of her family. Who am I talking to?

This is Theresa, I'm a family friend.

I'm Daniel, her grandson.

And Daniel the grandson. Have you sat in this chair?

-No.

-No, I haven't, no.

-Not allowed.

-Never allowed to.

It's a nice thing, and I know it caught your eye, didn't it?

-CLAIRE:

-Yeah, well, it is quite eye-catching,

it's quite a strong colour, isn't it?

-It's just an unusual and quirky item, isn't it?

-Yes, yeah.

We're going to find out what the bidders think right now.

It's going under the hammer. This is it.

Lot 393, we've got the 1969 Prince of Wales, there.

The red-stained beech elbow chair.

And we've got bids and they're going at 150, now. 160. 170, now.

180, now. 190, 200, now.

Looking for 220, now.

Looking for 220, on the phone?

Yes, please.

220.

240. Hang on...

With you online at 240,

260 on the phone?

The bids are all out, then.

Selling, then, online at £240.

It's £240. It sold. That was a good buy.

That will make a lot of money in the future.

-Because I bet there aren't many around.

-Yeah.

-No, it's great. That's great.

-You'll tell Gillian, won't you?

-She'll be very pleased with that.

-Give her the good news.

-We'll be on the phone straightaway.

-Great.

That's a great result for Gillian.

Next, Susan's majolica dish has been in the family for two generations.

Will she be bidding it farewell today?

Going under the hammer right now,

we have a majolica game dish, belonging to Susan.

And I know, when I first started this show, 12 years ago,

these were big business. But fashions do change,

and I know Adam has put a sensible estimate on this...three to five.

-Yeah, yeah.

-The Americans are off the boil, aren't they?

These days, yeah, I mean, I couldn't guarantee it selling,

-to be honest, but...

-No.

-Fingers crossed it does.

-And you don't really like it?

-I do, actually.

-You do?

I do, and I am quite happy to take it home.

OK, so if we don't sell it, you're inheriting it, basically,

-aren't you? OK, so Mum's happy and you are happy.

-It's coming home....

Well, look, good luck and good luck, Adam.

Now, Lot 65, the Minton majolica game pie dish,

with the stylised dead game.

And I've got £150 bid on the commission, now.

150, 160, 170, now. 180, now.

Looking for 190 anywhere. At £180, now.

Looking for 190 anywhere.

-At £180, you've gone very, very quiet.

-Yeah, it has gone quiet.

At 180, waiting on the commission, now.. All done, then, at 180?

Not sold.

-You were right.

-A dead game and a dead market, I'm afraid.

-Yeah, wrong time.

-It's going home.

-Mum's happy and you're happy, so that's OK.

-Yes, I am, actually.

Well, that's probably fateful, isn't it?

-It wasn't meant to happen, was it?

-No.

No, it's got to stay in the family.

Just don't drop it on the way out.

Fashions come, go and then come back again.

So, hang onto it, Margaret, until the tide turns once more.

Here's a clue, guess what's coming up next?

Yes, Anita's flintlock pistol. She's right here next to me.

-It's a good thing, despite the damage.

-I know.

Just remind us, why are you selling this and how did you come by it?

Erm...it was acquired by a member of the family cos they do

house clearances, and to be honest with you, it was given to my son.

He wasn't really interested in guns, he's more into samurai swords.

-Erm...

-OK...

Unfortunately, you know, I can't quite see the difference.

Same kind of bracket, isn't it? Really...

-Let's face it, arms, you know?

-Yes,

but it's just, sort of, lived in the bottom of the cupboard out the way.

And on the evaluation day, my daughter informed me that she's

getting married, so the proceeds from this can go towards her wedding.

Right, OK. Well, look, good luck, Anita.

-This is your lot, going under the hammer now.

-OK.

Every penny helps.

On we go, lot 328 is the flintlock walnut pistol, there.

£100 is bit, now. 110, 120.

130, 140, 150, 160.

-SHE GASPS

-170, 180.

180. Bids are all over the place, now.

180, 190, 200,

220, 240, 260, 280.

-300, 320, 350.

-Wow.

350, 380, 400, now.

450, 500, now.

-I can't believe this.

-Wow.

-550, now.

-I'm so excited.

-Looking for 600, now. 550, now.

With me on the commission. 600, anywhere? With me at 550.

Are we all done, then? Selling, then, to the commission, at £550.

-Yes!

-Yes!

-The hammer's gone down.

-That hit the target, didn't it?

-Oh, my God.

-£550.

-I'm shocked, I'm absolutely gobsmacked.

-That's fantastic.

-I'm gobsmacked.

I'm quite shocked, as well, because in good condition,

-that's what that's worth.

-I know.

-And that had some damage.

-It had quite a bit of damage.

-Yeah, and bits missing.

I just think, perhaps, it was the silver. It was quite pretty.

-That's going to help big-time.

-My daughter's going to be very pleased.

-Remind me how much that just went for.

-£550.

-Can I sit down now?

-Yes.

Anita is thrilled with that result

and I bet her daughter will be pretty chuffed too.

And our last lot of the day is brimming with local history.

Going under the hammer right now we have three postcard albums

containing a collection of around 900 postcard.

Jennifer, someone was busy. Great aunt?

-Great aunt, yes.

-And we have a value of around 200-300, put on by Adam.

Yeah.

I think these things capture social history

and they're hard to put a price on, we could have a surprise.

-We could have, couldn't we? With 900 cards.

-That's a lot.

They're all be a few amongst there that'll be rarer

and more valuable, the majority are rather common,

but they were also rather nice

because they were local, weren't they?

-A lot of Kent.

-Yes.

-Yes.

Lost items of social history, landmarks that don't exist any more,

and buildings. We are putting it to the test right now,

we could have a surprise, this is it.

-A lot of interest in this lot.

-Yes, good!

A lot of interest.

We go in at £100. 110. 120. 130.

140. 150 now. 160.

170 now. 180. 190. 200.

I will go in 50s. 250. 300. 350. 400.

450. 500 now.

At £500. 550 on the phone?

-550, sir.

-550. 600 now. 650.

Be quick. 650. 700. 750 I need, please.

Ooh!

800 I've got. 850 now. I need 900.

-900.

-900 on the phone, quickly.

-900, Jennifer.

950 now I've got online. £1,000.

-£1,000.

-A bit more now. £1,000.

1050 I'll take. 1050. 1,100, please. On the phone.

I feel sick.

The bids are all out, then.

Selling, then, to the phone at £1,100.

GAVEL FALLS

Yes! £1,100.

-Goodness!

-There we are.

-I can't believe that.

-Wow.

-I really can't believe that.

-Wow.

-Something to write home about, eh?

-Yes, how about that?!

What a wonderful way to end today's show.

I knew they had something about them, I really did.

What are you going to put that money towards, do you know yet?

-It was going towards my holiday.

-Where are you going?

-Tenerife.

-Tenerife, good for you.

-Any idea it was going to go for so much money?

-No, no idea at all.

You would have been happy with the 2-3.

I would have been, yes. But that's nice.

That's auctions for you, you never know what's going to

happen in an auction room, and that's the way to end

the show today, with one big surprise and a very happy Jennifer.

But until next time, join us again. Bye-bye.