0:00:09 > 0:00:12These are the famous cloisters at Gloucester Cathedral.
0:00:12 > 0:00:15Their beauty and their virtuosity
0:00:15 > 0:00:16would be an astonishing achievement today,
0:00:16 > 0:00:19let alone some 700 years ago.
0:00:19 > 0:00:23And they are some of the finest examples of medieval craftsmanship
0:00:23 > 0:00:25you will find in Europe.
0:00:25 > 0:00:27And they attract thousands of visitors each year,
0:00:27 > 0:00:30including a young wizard and his friends.
0:00:30 > 0:00:32Well, if they're good enough for Harry Potter,
0:00:32 > 0:00:34they're good enough for us.
0:00:34 > 0:00:36Welcome to Flog It!
0:01:00 > 0:01:03The medieval artistry and craftsmanship
0:01:03 > 0:01:07on display within the cathedral is breathtaking.
0:01:07 > 0:01:10From the intricate stonework
0:01:10 > 0:01:12to the soaring, vaulted ceiling
0:01:12 > 0:01:15with its heavenly orchestra of angels.
0:01:16 > 0:01:19And the huge windows of coloured glass,
0:01:19 > 0:01:21casting shadows of jewelled light.
0:01:21 > 0:01:24Everything's been designed to inspire awe.
0:01:25 > 0:01:27And it certainly does.
0:01:27 > 0:01:30But just as awe-inspiring is this fantastic queue here today.
0:01:30 > 0:01:32Hundreds of people have turned up
0:01:32 > 0:01:34with, as of yet, undiscovered treasures,
0:01:34 > 0:01:37crafted by unknown hands from unknown lands
0:01:37 > 0:01:38for our experts to muse over.
0:01:38 > 0:01:41And, of course, this lot want to ask that all-important question,
0:01:41 > 0:01:42which is...
0:01:42 > 0:01:43- ALL:- What's it worth?
0:01:43 > 0:01:46And if you're happy with your valuation, what are you going to do?
0:01:46 > 0:01:47- ALL:- Flog it!
0:01:47 > 0:01:50Right, let's get this lot inside.
0:01:51 > 0:01:53Before that, let's meet our experts, Philip Serrell.
0:01:54 > 0:01:57You have just been royally stickered, you have.
0:01:57 > 0:01:59And the security conscious Michael Baggot.
0:02:00 > 0:02:01Bag inspection. Bag inspection.
0:02:03 > 0:02:06Both are ready to do battle in their own unique way.
0:02:06 > 0:02:08Don't you dare! Don't you dare!
0:02:08 > 0:02:09Don't you dare!
0:02:09 > 0:02:11They don't like it up 'em!
0:02:11 > 0:02:12Very Dad's Army!
0:02:12 > 0:02:13All right, OK!
0:02:18 > 0:02:21In today's programme, Michael's in for a nice surprise.
0:02:23 > 0:02:25I thought it was a garden ornament, to be honest.
0:02:25 > 0:02:28A garden ornament? Whenever I been dragged down the garden centre,
0:02:28 > 0:02:30I don't think I've ever seen anything like this.
0:02:30 > 0:02:33If I had, I would have bust out into a run almost.
0:02:34 > 0:02:36And even I get carried away.
0:02:36 > 0:02:37You've made my day!
0:02:38 > 0:02:41Philip spoils it at the valuation!
0:02:45 > 0:02:47These magnificent columns that you can see in the nave
0:02:47 > 0:02:50are part of the earliest Norman building.
0:02:50 > 0:02:53Now they have outlasted the original wooden structure
0:02:53 > 0:02:55and the thatched roof.
0:02:55 > 0:02:57The red stains that you can see around the bases,
0:02:57 > 0:02:59that's evidence of an early fire.
0:02:59 > 0:03:02Now that must've been some inferno.
0:03:02 > 0:03:05Talking of fireworks, here is our first valuation.
0:03:08 > 0:03:10- Margaret, how are you? - I'm very well, thank you.
0:03:10 > 0:03:12What brings you to "Flog It!"?
0:03:12 > 0:03:13- Oh, I love "Flog It!" - You love "Flog It!"?
0:03:13 > 0:03:15Say it louder. Hold on...
0:03:15 > 0:03:17Who is your "Flog It!" favourite?
0:03:17 > 0:03:18Paul Martin.
0:03:18 > 0:03:19What?
0:03:20 > 0:03:21Yes.
0:03:21 > 0:03:23Well...and you. And you. I like you as well.
0:03:23 > 0:03:25- That's all right, then. - Yeah, of course.
0:03:25 > 0:03:27What have you brought along for us?
0:03:27 > 0:03:28I've brought you some measures.
0:03:28 > 0:03:31They were at my father's shop
0:03:31 > 0:03:34and he worked for his uncle and his cousin.
0:03:34 > 0:03:35So is that the...
0:03:35 > 0:03:36George Alder.
0:03:37 > 0:03:40- That's my father's...- From Stroud? - From Stroud.
0:03:40 > 0:03:42This is a seed catalogue.
0:03:42 > 0:03:44Right. And who was GF Alder?
0:03:44 > 0:03:47He was my father's uncle.
0:03:47 > 0:03:50And they grew their own seed.
0:03:50 > 0:03:51This is my father.
0:03:51 > 0:03:53- That's your dad.- Yes.
0:03:53 > 0:03:54- And he worked there, did he?- Yes.
0:03:54 > 0:03:57- So he would have used these?- Yes.
0:03:57 > 0:03:59So these are seed measures.
0:03:59 > 0:04:01So someone who came into the shop
0:04:01 > 0:04:05and wanted half a pint of Marigold seeds,
0:04:05 > 0:04:09you scoop them out and that's the seed measure.
0:04:09 > 0:04:10Yes, that's right.
0:04:10 > 0:04:14And what's lovely about these is the fact they're all stamped up.
0:04:14 > 0:04:16And because a measure...
0:04:16 > 0:04:19You can't just say, "Oh, that's a pint or a half pint."
0:04:19 > 0:04:23It's got the GR or George's stamp on it.
0:04:23 > 0:04:24That's right.
0:04:24 > 0:04:26And this one has got ER on it, which is Edward, isn't it?
0:04:26 > 0:04:27Yes.
0:04:27 > 0:04:31And they're stamped with the reign of the monarch and they are actually...
0:04:32 > 0:04:34It just, basically, guarantees the measure, doesn't it?
0:04:34 > 0:04:36That's right. That's right.
0:04:36 > 0:04:38And this one, which is also...
0:04:38 > 0:04:41That's a half gallon.
0:04:41 > 0:04:43- And that's such a lovely colour, isn't it?- Yes.
0:04:43 > 0:04:44This is patina.
0:04:44 > 0:04:48Patina, it's the lines on its hands, it's the wrinkles on its face,
0:04:48 > 0:04:50it just tells you where it's been all of its life.
0:04:50 > 0:04:53And it's just lovely.
0:04:53 > 0:04:54It's like chewed toffee.
0:04:54 > 0:04:56Why would your family have kept these?
0:04:56 > 0:05:00Well, we've always had them since the shop closed down.
0:05:00 > 0:05:03- When did the shop shut? - I think it was in the 1970s.
0:05:03 > 0:05:06- But these wouldn't have been worth a great deal then, would they?- No. No.
0:05:06 > 0:05:07So you just kept them?
0:05:07 > 0:05:09In a way, that's been quite clever.
0:05:09 > 0:05:11Why do you want to sell them now?
0:05:12 > 0:05:15Just to meet that Paul Martin, isn't it? That's what you want to do!
0:05:15 > 0:05:18- You just want to meet that Paul Martin.- Yeah, I do. That's right.
0:05:18 > 0:05:23Well, I wanted to sell them because they just collect dust, really.
0:05:23 > 0:05:26- Well, I think they're lovely. - Although, I use them for pens.
0:05:26 > 0:05:28- That's a wastepaper basket. - Is that a wastepaper basket?
0:05:28 > 0:05:32- What do you think they are going to make, then?- Oh, I don't think much.
0:05:32 > 0:05:34What, 10 or 15 quid?
0:05:34 > 0:05:35Really?
0:05:36 > 0:05:37Each?
0:05:38 > 0:05:40- No, the lot.- Really?
0:05:40 > 0:05:42I think you're wrong.
0:05:43 > 0:05:45I think we can put a £50 reserve on them
0:05:45 > 0:05:47and we'll estimate them at £60-£90.
0:05:47 > 0:05:50And it wouldn't surprise me, it really wouldn't surprise me
0:05:50 > 0:05:52if they made over 100.
0:05:52 > 0:05:53That's OK. Thank you.
0:05:53 > 0:05:56- So...- Thank you.
0:05:56 > 0:05:58I'm hoping that I might have just overtaken that Paul Martin now.
0:05:58 > 0:06:00Yes. Oh, definitely. Definitely.
0:06:00 > 0:06:01OK, cut!
0:06:01 > 0:06:03Don't need any more at all, thank you!
0:06:03 > 0:06:06So Philip's fan club is up and running
0:06:06 > 0:06:08with a healthy membership of...one.
0:06:09 > 0:06:10Let's see how Michael's doing.
0:06:12 > 0:06:15John, Julie, you've brought a "Flog It!" favourite.
0:06:15 > 0:06:16- A closed box.- Yes.
0:06:16 > 0:06:20A closed jewellery box. Now you know what's in it.
0:06:20 > 0:06:23And I peeked earlier. So shall we do the big reveal?
0:06:23 > 0:06:24- Let's do it.- Yes, please.
0:06:25 > 0:06:28Look at that for a brooch!
0:06:28 > 0:06:31My goodness, that's going to divide opinion, isn't it?
0:06:31 > 0:06:32I think it will.
0:06:32 > 0:06:35Is it something that you both like or...?
0:06:35 > 0:06:39We both like it. But not like it enough to not want to sell it.
0:06:40 > 0:06:41- I have worn it.- You have worn it?
0:06:41 > 0:06:43I've only worn it once.
0:06:43 > 0:06:46Our son got married in January and I wore it with my wedding outfit.
0:06:47 > 0:06:50But it's not the sort of thing I would wear normally.
0:06:50 > 0:06:53- It's a bold statement, isn't it? - Yes, it is.
0:06:53 > 0:06:56I mean, what we've got, it's these two grey Baroque pearls.
0:06:57 > 0:07:01And when we say Baroque, all that means is they're an irregular shape.
0:07:01 > 0:07:03And someone's looked at them, a jeweller,
0:07:03 > 0:07:05and thought, what can we do with these?
0:07:05 > 0:07:09Now, in the Renaissance in the 16th century,
0:07:09 > 0:07:12- they often use them as the bodies of figures.- Yes.
0:07:12 > 0:07:14So this jeweller's got the inspiration
0:07:14 > 0:07:17and made two little plump birds.
0:07:17 > 0:07:19And then they've gone and they've covered it
0:07:19 > 0:07:23with the most ornate and gaudy enamel colours.
0:07:23 > 0:07:24Mm-hm.
0:07:24 > 0:07:27And that says to me the 1950s.
0:07:27 > 0:07:28Right.
0:07:28 > 0:07:30Into the 1960s.
0:07:30 > 0:07:32Where did it come from, though? Did you buy it or...?
0:07:32 > 0:07:35No. My mother-in-law left it to me.
0:07:35 > 0:07:37She wore it a lot, as well.
0:07:37 > 0:07:40I've had it out and looked very meticulously.
0:07:40 > 0:07:43- There's one mark which is 750.- Yes.
0:07:43 > 0:07:45Which is a Continental way of expressing 18-carat gold.
0:07:45 > 0:07:46Right.
0:07:46 > 0:07:48750 parts per 1,000.
0:07:48 > 0:07:54There's also a smaller mark in a punch that's shaped rather like that.
0:07:54 > 0:07:58But that punch outline is typical for Italian makers and Italian marks.
0:07:58 > 0:07:59Is it? Right.
0:07:59 > 0:08:02And I can well assume that that was made in Italy
0:08:02 > 0:08:04in the '50s, into the early '60s.
0:08:04 > 0:08:06Good news and bad news.
0:08:06 > 0:08:09Probably, when your mother-in-law was wearing it,
0:08:09 > 0:08:12it actually wasn't in fashion.
0:08:12 > 0:08:14You know, it had gone completely out of it.
0:08:14 > 0:08:15It was all elegant jewellery, you see?
0:08:15 > 0:08:19Now the younger people, they like '50s and '60s.
0:08:19 > 0:08:20They like all this...
0:08:20 > 0:08:21I hate to say the words
0:08:21 > 0:08:23"retro-vintage" ever coming out of my mouth,
0:08:23 > 0:08:26- but this is the high-end of it.- Yeah.
0:08:26 > 0:08:28So, we look at it and we say,
0:08:28 > 0:08:31there's an amount of gold there that's worth £100.
0:08:32 > 0:08:37You've got a couple of pearls there that are probably worth £50-£100.
0:08:37 > 0:08:39So the best thing we can do
0:08:39 > 0:08:43is put it into auction with £200-£300 on it.
0:08:43 > 0:08:46- Are you happy that we pop it in for that?- That's fine.
0:08:46 > 0:08:48Why are you parting with it now, though?
0:08:48 > 0:08:51- Because you've worn it at least once. - I've worn it once.
0:08:51 > 0:08:54The main reason is we wanted to come to "Flog It!" We wanted to have...
0:08:54 > 0:08:56It's our fault! We are responsible!
0:08:56 > 0:08:57..a "Flog It!" experience.
0:08:57 > 0:08:59Oh, well...
0:08:59 > 0:09:02My wife was left a lot of jewellery and that's the one that, you know...
0:09:02 > 0:09:04That's the piece that has very little sentimental attachment.
0:09:04 > 0:09:05Absolutely. Yes. Yes.
0:09:05 > 0:09:07Well, let's... I dare say... Oh, it's a punt.
0:09:07 > 0:09:10But let's hope these two little chicks fly away at the auction.
0:09:10 > 0:09:12- Excellent.- Thanks very much.
0:09:12 > 0:09:13Thank you very much, Michael.
0:09:13 > 0:09:14ORGAN MUSIC
0:09:14 > 0:09:16Leaving the tables for a moment,
0:09:16 > 0:09:20I've ascended to take a closer look at one of the cathedral's treasures.
0:09:23 > 0:09:28Towering above our valuation tables is this vast organ.
0:09:28 > 0:09:33It was built in 1662 to commemorate the return of the monarchy
0:09:33 > 0:09:34after the English Civil War,
0:09:34 > 0:09:38during which time the organ and the choir were silenced.
0:09:38 > 0:09:40I guess its size and its exuberant decoration
0:09:40 > 0:09:45reflect the joy of having music reinstated into the cathedral.
0:09:45 > 0:09:48It's definitely a statement piece.
0:09:52 > 0:09:54Well, the organist definitely has one of the best seats in the house.
0:09:54 > 0:09:56From up here,
0:09:56 > 0:09:58you get a completely different perspective of the building.
0:09:58 > 0:10:01Here, you have the choir with its vast vaulted ceiling
0:10:01 > 0:10:05and its Great East Window full of colour from the stained glass.
0:10:05 > 0:10:10And here, the nave with those gigantic Norman columns.
0:10:10 > 0:10:12Well, right now, it's time to catch up with our experts
0:10:12 > 0:10:15and, hopefully, Philip Serrell will be pulling out all the stops
0:10:15 > 0:10:17with his next item.
0:10:21 > 0:10:24Eileen, if I said to you who was probably
0:10:24 > 0:10:27one of the most famous of 20th-century potters
0:10:27 > 0:10:30that there was in this country,
0:10:30 > 0:10:31who would you... What name would you use?
0:10:31 > 0:10:34- Well, I would say Bernard Leach. - You would say Bernard Leach?- Yes.
0:10:34 > 0:10:36- He was the man, wasn't he?- He was.
0:10:36 > 0:10:38- And that's not by Bernard Leach, is it?- No, it isn't. That's David.
0:10:38 > 0:10:40And that's his son.
0:10:40 > 0:10:43- I would think this is about mid-1950s.- Yeah.
0:10:43 > 0:10:46Well, I had it as a wedding present in 1955.
0:10:46 > 0:10:49- It's not going to be any later then, is it?- It can't be any later.
0:10:49 > 0:10:50We've narrowed that down, haven't we?
0:10:50 > 0:10:52- It might be earlier.- Yeah.
0:10:52 > 0:10:55And what's lovely, you can just see there, DL, can't you?
0:10:55 > 0:10:57- That's his moniker, yeah. - David Leach.
0:10:57 > 0:11:00I mean, for 1950s, I think that's quite forward-thinking.
0:11:00 > 0:11:02Well, this is it.
0:11:02 > 0:11:05Most of Bernard Leach's pottery is very modern-looking now.
0:11:05 > 0:11:06Yeah.
0:11:06 > 0:11:09When did you appreciate what it was?
0:11:09 > 0:11:11Oh, at the time. I knew all about...
0:11:11 > 0:11:15Because I was an art student when I was younger.
0:11:15 > 0:11:17And I did know about pottery.
0:11:17 > 0:11:20I mean, I wasn't very successful myself.
0:11:20 > 0:11:23But I had learnt quite a little bit about...
0:11:23 > 0:11:24You have a good eye.
0:11:24 > 0:11:27And you can tell that from talking to you and listening to you.
0:11:27 > 0:11:29- Do you like it?- I do.
0:11:29 > 0:11:31So why are you selling it?
0:11:31 > 0:11:33I'm not doing anything with it.
0:11:33 > 0:11:36And I don't collect erm...pottery.
0:11:37 > 0:11:39Somebody might.
0:11:39 > 0:11:41Somebody who likes to collect the Leaches.
0:11:41 > 0:11:43They might want it.
0:11:43 > 0:11:44What do you think?
0:11:44 > 0:11:47I think it's a lovely thing. I'm not quite sure...
0:11:47 > 0:11:48So it's sort of...
0:11:48 > 0:11:51This is supposedly fixed to the wall, isn't it?
0:11:51 > 0:11:53Yes, we used to have it on the wall.
0:11:53 > 0:11:55- And that fits in there. - That fits inside, yes.
0:11:55 > 0:11:57One thing we haven't discussed with this
0:11:57 > 0:11:59is what it's going to make, have we?
0:11:59 > 0:12:01- No. Not a lot, I don't suppose. - Any ideas?
0:12:01 > 0:12:06Well, I did have a valuation some six months or so ago.
0:12:06 > 0:12:08Oh, this is where I get all ears.
0:12:08 > 0:12:10And they said about 100.
0:12:10 > 0:12:13I think that I would estimate it at £80-£120.
0:12:13 > 0:12:15I think the time's right for 20th-century design.
0:12:15 > 0:12:18- I think it's a thing that's very in at the moment.- Yeah.
0:12:18 > 0:12:20And our business is really driven by fashion.
0:12:20 > 0:12:22Some days, prices are there.
0:12:22 > 0:12:24And then, the next day, it's down there.
0:12:24 > 0:12:27Yes. That's it. It's knowing the right moment, isn't it?
0:12:27 > 0:12:29And this stuff is collectable. I have to say...
0:12:29 > 0:12:31- Yes?- If I owned this...
0:12:31 > 0:12:32You wouldn't bother with that, no.
0:12:32 > 0:12:35I'd probably consign that to the bin.
0:12:35 > 0:12:38Well, let's confirm, then, that we put it into auction.
0:12:38 > 0:12:39OK.
0:12:39 > 0:12:42- And we'll put a £80-£120 estimate on it.- Right.
0:12:42 > 0:12:45- And a fixed reserve of £80. How's that?- OK.
0:12:45 > 0:12:46- Is that all right?- Yep.
0:12:46 > 0:12:49- It's been really lovely talking to. - Nice talking to you, Philip.
0:12:49 > 0:12:52- And we'll meet again. - We will indeed.
0:12:54 > 0:12:56David Leach was the eldest son
0:12:56 > 0:12:58of the famous artist-potter Bernard Leach,
0:12:58 > 0:13:03considered the godfather of 20th-century British ceramics.
0:13:04 > 0:13:06David carried on his father's legacy,
0:13:06 > 0:13:10making pieces heavily influenced by Japanese ceramics,
0:13:10 > 0:13:15and characterised by their clean lines and oriental simplicity.
0:13:21 > 0:13:23Well, we've all been working flat out
0:13:23 > 0:13:24and, as you've just seen,
0:13:24 > 0:13:28our experts have found their first items to take off to the saleroom.
0:13:28 > 0:13:30This is where it gets exciting. Anything can happen.
0:13:30 > 0:13:32So don't go away.
0:13:32 > 0:13:33And here's a quick recap
0:13:33 > 0:13:35of the items that are going under the hammer.
0:13:36 > 0:13:38Phillip's estimate is spot-on
0:13:38 > 0:13:42for Margaret's set of early 20th century seed measures.
0:13:45 > 0:13:47There are plenty of reasons to bid for this
0:13:47 > 0:13:49pretty pearl and enamel brooch.
0:13:52 > 0:13:56And owning an original Bernard Leach is beyond most of our means.
0:13:56 > 0:13:59But Eileen's David Leach pot is an affordable alternative.
0:14:07 > 0:14:09For today's sale we've travelled across the county
0:14:09 > 0:14:11to Moore Allen & Innocent,
0:14:11 > 0:14:13situated just outside of Cirencester.
0:14:13 > 0:14:16Now, fingers crossed it's going to be packed inside
0:14:16 > 0:14:19full of bidders wanting to go home with our lots.
0:14:19 > 0:14:21I know we're going to be assured of a warm welcome
0:14:21 > 0:14:24from the proprietor and auctioneer, Philip Allwood.
0:14:24 > 0:14:26Let's catch up with our owners.
0:14:27 > 0:14:30The commission here today is 15% plus vat.
0:14:30 > 0:14:32And first up is Eileen's pot.
0:14:32 > 0:14:34A little bit of David Leach.
0:14:34 > 0:14:36Son of the grandmaster, Bernard Leach.
0:14:36 > 0:14:40I mean, it's a great name in the history of studio pottery.
0:14:40 > 0:14:43But there's something so contemporary-looking about this.
0:14:43 > 0:14:47We talk a lot about good design and good shape and good form.
0:14:47 > 0:14:51And that's what you've got to look for. And this has the lot.
0:14:51 > 0:14:53Right now, we're going to learn exactly what this goes for.
0:14:53 > 0:14:55It's going under the hammer right now.
0:14:55 > 0:14:57Let's hand things over to Philip Allwood.
0:14:58 > 0:15:00Who'll start me now at 100? 50 to get on. At £30 bid only, then.
0:15:00 > 0:15:02At £30 a bid only, then. At £30 a bid there.
0:15:02 > 0:15:04At five if you like now. 35.
0:15:04 > 0:15:0640. Five. At 45.
0:15:06 > 0:15:0750 now. 50.
0:15:07 > 0:15:10Five. Have 55. 60 now.
0:15:10 > 0:15:13At £55. It's on my right at 55. 60 anywhere?
0:15:13 > 0:15:14At £55.
0:15:14 > 0:15:1560 to me. 60.
0:15:15 > 0:15:17Five then. At 65 now.
0:15:17 > 0:15:18Oh, come on, we're selling this.
0:15:18 > 0:15:20At £65. On the book at 65.
0:15:20 > 0:15:2170 anywhere?
0:15:21 > 0:15:22At £65.
0:15:22 > 0:15:24At 70 anywhere?
0:15:24 > 0:15:25At 65...
0:15:26 > 0:15:29That wanted just a little bit more as well, ladies and gentlemen.
0:15:29 > 0:15:31- I can't believe that. - I'm not surprised.
0:15:31 > 0:15:32I can't believe that.
0:15:32 > 0:15:34I don't think the time is right.
0:15:34 > 0:15:36- I think it is.- You think it is?
0:15:36 > 0:15:39I think it's so right. Everybody is into that.
0:15:39 > 0:15:41- We're sorry that didn't sell. - That's all right, Paul.
0:15:41 > 0:15:44- I think that should go home. - I'm quite happy to take it home.
0:15:44 > 0:15:46Treasure it. Treasure it. It's a little joy.
0:15:46 > 0:15:49If I could get around better, I would look for more pieces now
0:15:49 > 0:15:51and make a collection.
0:15:51 > 0:15:52Exactly.
0:15:52 > 0:15:54So Eileen's pot lives to play another day,
0:15:54 > 0:15:58whilst Julie and John's brooch takes the stage.
0:15:59 > 0:16:01Good luck, Julie and John.
0:16:01 > 0:16:03Fingers crossed we get this away at the top end.
0:16:03 > 0:16:05We're talking about the '50s cocktail jewellery.
0:16:05 > 0:16:09There is an immense amount of work in it. It's enamel, it's pearl.
0:16:09 > 0:16:10- It's not to everybody's taste.- No.
0:16:10 > 0:16:12But this is the jewellery that younger people
0:16:12 > 0:16:16are starting to be interested in and, hopefully, they'll be bidding today.
0:16:16 > 0:16:19Italian '50s. It's going under the hammer right now.
0:16:20 > 0:16:22At 150 bid here. 150. 160 now.
0:16:22 > 0:16:23At 150.
0:16:23 > 0:16:25160 now. At 160.
0:16:25 > 0:16:27170. 180. 180.
0:16:27 > 0:16:28190.
0:16:28 > 0:16:30200. At 200.
0:16:30 > 0:16:31At the back here at 200.
0:16:31 > 0:16:34Out on my left. At £200 it's on my right now.
0:16:34 > 0:16:36- At £200.- That's more like it.
0:16:36 > 0:16:38200...
0:16:38 > 0:16:39Hammer's gone down. £200.
0:16:39 > 0:16:42He was spot-on, wasn't he? Well done, Michael.
0:16:42 > 0:16:45- More by luck than judgment. - Thank you so much.- Pleasure.
0:16:45 > 0:16:47So those birds have flown the nest
0:16:47 > 0:16:49and now it's the set of seed measures
0:16:49 > 0:16:52belonging to Philip's number one fan, Margaret.
0:16:54 > 0:16:56OK, going under the hammer right now,
0:16:56 > 0:16:59my favourite lot in the whole sale.
0:16:59 > 0:17:00Literally, in the whole sale,
0:17:00 > 0:17:03and there's around 900 lots here, Margaret.
0:17:03 > 0:17:04You've made my day.
0:17:05 > 0:17:07- Philip spoilt it at the valuation! - I know!
0:17:07 > 0:17:10No, he didn't, actually. He had such a good time.
0:17:10 > 0:17:12And I'm really pleased that you picked these
0:17:12 > 0:17:15because I know you're a man like me who loves stuff like this.
0:17:15 > 0:17:17Why don't you want to keep these?
0:17:17 > 0:17:20- Well, I have kept them for a good while.- Yeah.
0:17:20 > 0:17:22But I thought somebody else might like them for a change.
0:17:22 > 0:17:25- Oh, well, they're divine. - But I shall miss them.
0:17:25 > 0:17:26- I bet you will.- Yes.
0:17:26 > 0:17:28- They're so tactile.- Yes.
0:17:28 > 0:17:31When you pick them up, you actually... You hold them and you...
0:17:32 > 0:17:33Someone's loved these for a long time.
0:17:33 > 0:17:37You say someone else might like them, there's two people here that'd love them!
0:17:38 > 0:17:41Hey, look, good luck. Good luck. Fingers crossed, everyone.
0:17:41 > 0:17:42This is it.
0:17:42 > 0:17:46The grain measures and the Alder of Stroud seed pamphlets there.
0:17:46 > 0:17:48Good little lot this. Should be at 100.
0:17:48 > 0:17:50Where are you going to be? Start me.
0:17:51 > 0:17:5250 to get on, then.
0:17:52 > 0:17:53At £50 bid there. Thank you. At 50.
0:17:53 > 0:17:5750. At £50. At five, if you'd like now. Five. 60.
0:17:57 > 0:17:58Five. 70.
0:17:58 > 0:18:00Five. 80.
0:18:00 > 0:18:02Five. 90.
0:18:02 > 0:18:03Come on...
0:18:03 > 0:18:05100. 110.
0:18:05 > 0:18:06At 110.
0:18:06 > 0:18:07120 now.
0:18:07 > 0:18:08At 110 I have.
0:18:08 > 0:18:11At £110. You're all out in front of me, then, now. At £110.
0:18:11 > 0:18:15Are you all done?
0:18:15 > 0:18:17Sold at top end, that's good. We happy, Margaret?
0:18:17 > 0:18:18That's good. Wonderful.
0:18:18 > 0:18:20And, hopefully, they've gone to a good home,
0:18:20 > 0:18:22- a good collector.- Yes.
0:18:22 > 0:18:24- And they'll never be split up. - Yes. Lovely. Thank you very much.
0:18:24 > 0:18:27- And you've made our day, anyway. - Oh, good, I'm so glad.
0:18:27 > 0:18:29You've made our day at the valuation day,
0:18:29 > 0:18:31but you've put another smile on our faces.
0:18:31 > 0:18:34- Yes, she's a lovely, lovely lady. - Bless you. Thank you so much.
0:18:34 > 0:18:35- Bye-bye.- Bye-bye.
0:18:35 > 0:18:37If you've got anything like that, we want to see you.
0:18:37 > 0:18:40Bring it along to one of our valuation days
0:18:40 > 0:18:42and you could be standing here, like Margaret,
0:18:42 > 0:18:43going home with a bit of money.
0:18:44 > 0:18:46A great result and I even get a kiss!
0:18:48 > 0:18:51Well, before we join up with our valuations back at the cathedral,
0:18:51 > 0:18:54I had the opportunity to take a closer look
0:18:54 > 0:18:57at some of the cathedral's stained-glass wonders.
0:19:13 > 0:19:15Amongst the cathedral's many treasures
0:19:15 > 0:19:16are its stained-glass windows.
0:19:16 > 0:19:20There are so many here, everywhere you look, you can spot one.
0:19:20 > 0:19:23In fact, there's 154 in total.
0:19:23 > 0:19:27I don't know if that's some kind of record, but it is pretty impressive.
0:19:30 > 0:19:34The art of stained glass reached its peak during the Middle Ages.
0:19:34 > 0:19:35And Gloucester Cathedral
0:19:35 > 0:19:38has one of the finest surviving examples in the world.
0:19:44 > 0:19:46This is the Great East Window.
0:19:46 > 0:19:48And it's extraordinary, not only because of its size,
0:19:48 > 0:19:49which is monumental,
0:19:49 > 0:19:51but also for the survival
0:19:51 > 0:19:55of most of its original pieces of medieval stained glass.
0:19:58 > 0:20:01Designed and constructed around 1350,
0:20:01 > 0:20:03during the reign of Edward III,
0:20:03 > 0:20:06it's survived an astonishing 600 years.
0:20:06 > 0:20:10with its intense colour still blazing.
0:20:13 > 0:20:15It's an incredibly bold and audacious design.
0:20:15 > 0:20:20It, literally, is a wall of glass bigger than a tennis court.
0:20:20 > 0:20:25And it fills that entire wall behind the high altar.
0:20:25 > 0:20:26At the time of its installation,
0:20:26 > 0:20:31that was the largest window anywhere in the world.
0:20:32 > 0:20:34There are several tiers of figures,
0:20:34 > 0:20:36starting at the bottom with the noblemen on earth,
0:20:36 > 0:20:40rising to Christ and the Virgin Mary, flanked by the 12 Apostles.
0:20:41 > 0:20:46And above, the angels, before rising to Christ in Majesty on the ceiling.
0:20:53 > 0:20:54Well, I've decided to come up here
0:20:54 > 0:20:56to get a closer look at the stained-glass windows.
0:20:56 > 0:20:59And from here, you can really appreciate the techniques
0:20:59 > 0:21:01of the medieval craftsmen.
0:21:01 > 0:21:05Each window would have been individually handcrafted in the workshop.
0:21:05 > 0:21:08They used delicate brushwork with a silver stain
0:21:08 > 0:21:10that, once fired, turned yellow.
0:21:12 > 0:21:15Well, this window is carefully thought out. It really is.
0:21:15 > 0:21:19With white glass or the tinted yellow glass for the figures,
0:21:19 > 0:21:21which are the central characters,
0:21:21 > 0:21:25surrounded by the dark reds and the dark blues
0:21:25 > 0:21:27of the background colours.
0:21:28 > 0:21:30It's quite fascinating, it really is.
0:21:36 > 0:21:39The majority of the cathedral's stained glass is Victorian,
0:21:39 > 0:21:43created during the Gothic Revival of the 19th century.
0:21:46 > 0:21:50However, the medieval influence re-emerges in these windows
0:21:50 > 0:21:52from the early 20th century.
0:21:52 > 0:21:53They're by Christopher Whall,
0:21:53 > 0:21:56a key figure in the Arts and Crafts movement.
0:21:58 > 0:22:01In the first series is The Fall Of Man from 1899,
0:22:01 > 0:22:05which shows the Garden of Eden rich and bold in colours.
0:22:07 > 0:22:09Whall's exquisite painting,
0:22:09 > 0:22:11combined with the medieval characteristics
0:22:11 > 0:22:14of texture and unevenness in the glass,
0:22:14 > 0:22:18allow the vibrant colours to glow with an internal brilliance.
0:22:23 > 0:22:26They are regarded as some of the finest examples
0:22:26 > 0:22:29of glass of the period in England.
0:22:29 > 0:22:30And they've been described as
0:22:30 > 0:22:33"perfectly medieval and perfectly modern"
0:22:33 > 0:22:35which really does sum up, for me,
0:22:35 > 0:22:38the whole ethos of the Arts and Crafts movement
0:22:40 > 0:22:43Whall's work was hugely influential for many stained-glass artists,
0:22:43 > 0:22:45including Tom Denny,
0:22:45 > 0:22:48the man responsible for these spectacular windows
0:22:48 > 0:22:51in the small side chapel of St Thomas.
0:22:53 > 0:22:56The subject overall is praise.
0:22:56 > 0:22:59And it explores the idea of praising God
0:22:59 > 0:23:01through different parts of Scripture.
0:23:02 > 0:23:06So, in the two outer windows, on the left and the right,
0:23:06 > 0:23:09there are all sorts of elements and creatures
0:23:09 > 0:23:12which come from Psalm 148.
0:23:12 > 0:23:14And then, in the central window,
0:23:14 > 0:23:17praise becomes something much more personal
0:23:17 > 0:23:19and we see Doubting Thomas
0:23:19 > 0:23:21realising that it is Christ
0:23:21 > 0:23:23and kneeling to worship him.
0:23:23 > 0:23:25Why did you choose blue?
0:23:25 > 0:23:29I decided that unified colour would allow more freedom.
0:23:29 > 0:23:33I felt that the three windows needed to have a sense of movement,
0:23:33 > 0:23:35a fluidity between them,
0:23:35 > 0:23:37so that they worked together as a whole.
0:23:39 > 0:23:42Tom's most recent work is a series of windows
0:23:42 > 0:23:44commemorating the life and the work
0:23:44 > 0:23:47of Gloucester poet and composer Ivor Gurney.
0:23:48 > 0:23:53He not only had the horrors of the First World War to endure,
0:23:53 > 0:23:56but he suffered mental depression
0:23:56 > 0:23:58and illness throughout his life.
0:23:58 > 0:24:02And I've tried to express that tightrope in all of them
0:24:02 > 0:24:07but, at the same time, to select a particular poem
0:24:07 > 0:24:10that concentrates some aspect of his experience.
0:24:10 > 0:24:14So, for example, in this group of four,
0:24:14 > 0:24:15there is a sequence, in a sense.
0:24:15 > 0:24:20The first, on the left, is a grey-white Somme landscape,
0:24:20 > 0:24:25where horses and men slain by the mud
0:24:25 > 0:24:28are emerging from a shell hole full of water.
0:24:28 > 0:24:32And there's an endless column of figures moving into the distance.
0:24:32 > 0:24:33And then the one to the right of that,
0:24:33 > 0:24:36with figures walking through the landscape,
0:24:36 > 0:24:37that's called To His Love.
0:24:37 > 0:24:42"He's gone, and all our plans Are useless indeed.
0:24:42 > 0:24:45"We'll walk no more on Cotswolds
0:24:45 > 0:24:48"Where the sheep feed quietly And take no heed."
0:24:48 > 0:24:50So there's that memory.
0:24:50 > 0:24:56But then, there's also the horror of a broken body at the bottom.
0:25:01 > 0:25:06I mean, what strikes me at first glance is the chromatic hue,
0:25:06 > 0:25:08that vivid colour.
0:25:08 > 0:25:10But once you see that and you look onto that,
0:25:10 > 0:25:13- then you start to explore the narrative, don't you?- Yes.
0:25:13 > 0:25:16I think that's absolutely the essence of stained glass,
0:25:16 > 0:25:19that it operates, initially, as colour and light.
0:25:19 > 0:25:22So it can be, apparently, a very abstract medium.
0:25:22 > 0:25:26But then, I think it's more rewarding if you can then go on
0:25:26 > 0:25:29- and take a second sort of phase in your exploration.- Exactly.
0:25:29 > 0:25:32And that's the key to all good art, though, isn't it, when you think about it?
0:25:32 > 0:25:33Yeah.
0:25:33 > 0:25:34Yes, I think so.
0:25:34 > 0:25:36That it deserves more than one look.
0:25:36 > 0:25:37Exactly.
0:25:57 > 0:25:59We've had a tremendous turnout today
0:25:59 > 0:26:02and there's still a lot more to get through.
0:26:02 > 0:26:05Our experts are working flat out to find an item worthy
0:26:05 > 0:26:06of such surroundings.
0:26:06 > 0:26:09Let's catch up with them for our next item.
0:26:12 > 0:26:14Lucy, I think you've made not only my day
0:26:14 > 0:26:17but my week and my month and my year...
0:26:17 > 0:26:19- Oh, my goodness. - ..by bringing in this chap here.
0:26:19 > 0:26:20Right.
0:26:20 > 0:26:24Before I attempt to tell you anything about it...
0:26:24 > 0:26:25Right.
0:26:25 > 0:26:28..what's the provenance with it, what history do you have with it?
0:26:28 > 0:26:31Basically, it's a friend of mine, who's actually 85,
0:26:31 > 0:26:33gave it to me about three years ago.
0:26:33 > 0:26:37I know it's from her friend, who gave it to her,
0:26:37 > 0:26:39and it belonged to her dad, who was a French sea captain.
0:26:39 > 0:26:41- It's a pot, obviously.- Yes.
0:26:41 > 0:26:43Do you know any more about it?
0:26:43 > 0:26:45I thought it was a garden ornament, to be honest.
0:26:45 > 0:26:48- It's a garden ornament? You know what?- That's about as much as I know.
0:26:48 > 0:26:50Whenever I've been down the garden centre,
0:26:50 > 0:26:52I don't think I've ever seen anything like this.
0:26:52 > 0:26:53Well, it's terracotta, you know?
0:26:53 > 0:26:57- If I had, I'd have bust out into a run almost.- Yes.
0:26:57 > 0:26:59- It is, it's terracotta.- Yes.
0:26:59 > 0:27:01It's painted terracotta. It's a very simple thing. It's potted.
0:27:01 > 0:27:06It seems to be seamed along the edge here.
0:27:06 > 0:27:09- So it possibly could have been moulded...- Right.
0:27:09 > 0:27:10..and put together.
0:27:10 > 0:27:15What I find most interesting, to begin with, is what's on the back.
0:27:16 > 0:27:17I know, I wondered that.
0:27:17 > 0:27:20And we've wondered what language it's written in.
0:27:20 > 0:27:21Well, I thought it was French.
0:27:21 > 0:27:27- Someone who knows Spanish thinks that they can decipher part of it.- Right.
0:27:27 > 0:27:32- Which is, "The gift to the captain." - Right.
0:27:32 > 0:27:39And I think, personally, there's a date there which says about 1876.
0:27:39 > 0:27:41Really? Oh, my goodness.
0:27:41 > 0:27:43It also mentions a place name.
0:27:44 > 0:27:46- Chichen Abilen.- Right.
0:27:46 > 0:27:51Now, that's not a million miles away from South American names
0:27:51 > 0:27:54- of very old and ancient cities.- OK.
0:27:54 > 0:27:57And this is where this chap comes from.
0:27:57 > 0:28:00He's a pre-Columbian pot.
0:28:00 > 0:28:04- Really? - So before Columbus went to America...
0:28:04 > 0:28:05Pre-Columbian pot?!
0:28:07 > 0:28:09..there were civilisations.
0:28:09 > 0:28:12- There was the Zapotec and the Mayan civilisations...- Right.
0:28:12 > 0:28:16..which produced pots of this similar iconography.
0:28:16 > 0:28:19- We've got the earrings... - Yeah, well, I thought that, yes.
0:28:19 > 0:28:24And then we've got, as a surmount on his hat,
0:28:24 > 0:28:26this sort of monkey figurine.
0:28:26 > 0:28:27Yes. Oh, gosh, it is a monkey.
0:28:27 > 0:28:29Now, I didn't realise that was a monkey.
0:28:29 > 0:28:33- So he's a monkey, we assume, god. - Yes.
0:28:33 > 0:28:34Oh, I didn't know that either.
0:28:34 > 0:28:35And he's obviously a warrior
0:28:35 > 0:28:41- or he's preparing to take part in one of their vicious games.- Oh, God...
0:28:41 > 0:28:43- Right. So he's got a weapon, hasn't he?- He's got his weapon.
0:28:43 > 0:28:47- He's got his weapon. He's got his small shield.- Yes.
0:28:47 > 0:28:49And it's a fascinating thing.
0:28:49 > 0:28:52It would have been something that had been buried for a long time.
0:28:52 > 0:28:55So how old do you think it is, then?
0:28:55 > 0:28:56Potentially...
0:28:58 > 0:29:00..it could be 600 to 1,000 years old.
0:29:00 > 0:29:02No?!
0:29:02 > 0:29:03Now a lot of...
0:29:03 > 0:29:08- Not to excite you too much, a lot of this stuff does survive.- Right. OK.
0:29:08 > 0:29:11- You know, they dig it up in South America and Mexico...- Yes. Yes.
0:29:11 > 0:29:13- ..quite a lot.- Right.
0:29:13 > 0:29:16And we're not able today to tell you precisely
0:29:16 > 0:29:19- which culture it belongs to.- OK.
0:29:19 > 0:29:21And what the date is.
0:29:21 > 0:29:23- We can say it's pre-Columbian.- Yeah.
0:29:23 > 0:29:25- But it's fascinating.- Mm...
0:29:26 > 0:29:29And, you know, we've got a pot on this table
0:29:29 > 0:29:33- which is possibly as old as the building we're sitting in.- That's...
0:29:33 > 0:29:36Well, I'm gobsmacked, to be honest with you.
0:29:36 > 0:29:38- It's not a garden ornament.- No!
0:29:38 > 0:29:41Don't put it in the garden. I want you to put in the auction.
0:29:41 > 0:29:43I thought it had a bit of age but, you know, not quite that.
0:29:43 > 0:29:47- I think that's putting it mildly, don't you?- Yes.
0:29:47 > 0:29:48Value...
0:29:48 > 0:29:50It deserves a decent valuation.
0:29:51 > 0:29:53- £200-£400.- OK.
0:29:54 > 0:29:57- Reserve of £200. So if you're happy...- I'm very happy.
0:29:57 > 0:30:00- ..to put your garden pot... - I am very happy.
0:30:00 > 0:30:01..in the auction.
0:30:01 > 0:30:04- I'm very happy that you came along today.- That's brilliant.
0:30:04 > 0:30:05- Thank you very much. - Well, no, thank you.
0:30:05 > 0:30:07- And thank him.- Yes, brilliant.
0:30:07 > 0:30:09- And let's hope he's a benevolent fellow.- I hope so.
0:30:09 > 0:30:12- We'll see you at the auction. - Great. Brilliant. Thank you.
0:30:12 > 0:30:13It's a pleasure.
0:30:14 > 0:30:18Well, that's a "Flog It!" first, a bit of pre-Columbian pottery.
0:30:18 > 0:30:20Now, let's see what Philip's unearthed.
0:30:20 > 0:30:22Susan, how are you?
0:30:22 > 0:30:25- I'm fine, thank you.- And this is...? - This is my daughter Juliet.- Right.
0:30:25 > 0:30:27- So who's is the painting? - The painting is mine.
0:30:27 > 0:30:29But the money is going to help Juliet
0:30:29 > 0:30:31with her travelling and her university.
0:30:31 > 0:30:32Juliet, do you like this?
0:30:33 > 0:30:35It's interesting.
0:30:35 > 0:30:38That's interesting. I'll have to remember that.
0:30:38 > 0:30:40It's a nice artwork, but not my thing.
0:30:40 > 0:30:42- It's not your thing?- No.
0:30:42 > 0:30:43How old do you think it is?
0:30:44 > 0:30:46I'd say...100 years.
0:30:47 > 0:30:49It might be a little bit earlier than that.
0:30:49 > 0:30:51It's by this man called William Langley.
0:30:51 > 0:30:53And I say this man called William Langley
0:30:53 > 0:30:57because I've seen lots of work by William Langley,
0:30:57 > 0:31:01but there's a school of thought that says William Langley never existed.
0:31:01 > 0:31:02Really?
0:31:02 > 0:31:05And he was actually a pseudonym for a man called Sherrin.
0:31:05 > 0:31:06- Oh...- All right?
0:31:06 > 0:31:09And his work is always either beach scenes
0:31:09 > 0:31:14or these sort of almost made-up Welsh mountain landscapes.
0:31:14 > 0:31:15- Yes.- OK?
0:31:17 > 0:31:21And this is a painting that's sort of so out of vogue,
0:31:21 > 0:31:24- it's sort of our generation but not your generation.- No. Yeah.
0:31:24 > 0:31:28And this... The heyday of this would have been in the 1970s.
0:31:29 > 0:31:33It's what I call the rum baba and black forest gateau era, you know?
0:31:33 > 0:31:38And this painting then could have made, in good order,
0:31:38 > 0:31:40around perhaps £200-£400.
0:31:41 > 0:31:43The issues with it today...
0:31:43 > 0:31:46It needs a jolly good clean under the glass.
0:31:46 > 0:31:48- Can you see this blooming here?- Yeah.
0:31:48 > 0:31:50All right, so that needs sorting out.
0:31:50 > 0:31:54If you wanted to present this at an antique fair or in a gallery,
0:31:54 > 0:31:57you'd need to sort the frame out.
0:31:57 > 0:31:59And that could cost you £100.
0:31:59 > 0:32:01It's on canvas.
0:32:01 > 0:32:02Let me just...
0:32:02 > 0:32:04The canvas is a little bit slack,
0:32:04 > 0:32:06which means it might need restretching.
0:32:08 > 0:32:11So we've got a work by William Langley,
0:32:11 > 0:32:13an original oil painting,
0:32:13 > 0:32:16- who might actually be our friend Mr Sherrin.- Right.
0:32:16 > 0:32:19It's painted at the back end of the 19th century.
0:32:19 > 0:32:21It's a Welsh mountain landscape.
0:32:21 > 0:32:23Erm...
0:32:23 > 0:32:24What's it worth?
0:32:24 > 0:32:26Have you got any idea?
0:32:26 > 0:32:28- Well...- Or have you had any comparables as to its value?
0:32:28 > 0:32:29About 30 years ago,
0:32:29 > 0:32:32I was told it was worth the price of a three-piece suite.
0:32:35 > 0:32:38So I took that to mean £600-£700ish.
0:32:38 > 0:32:41I think it's probably now the price of a second-hand three-piece suite.
0:32:41 > 0:32:43- Right.- OK?
0:32:43 > 0:32:44And in auction today,
0:32:44 > 0:32:47I would see this making somewhere between probably £50 and £150.
0:32:47 > 0:32:48Right. OK.
0:32:48 > 0:32:51So it's not going to be the longest trip you are going to go on
0:32:51 > 0:32:53- but it might contribute to something else.- Yes.
0:32:53 > 0:32:55- Are you happy to put that into auction?- I am happy, yes.
0:32:55 > 0:32:57Let's keep our fingers crossed
0:32:57 > 0:32:58and hope that we find a couple of people there
0:32:58 > 0:33:01- who really fall in love with it. - That would be wonderful.
0:33:04 > 0:33:06Isn't that lovely?
0:33:06 > 0:33:08Look at this!
0:33:09 > 0:33:12And it still works! Good luck with that.
0:33:12 > 0:33:16Finally, it's Michael, and a gleaming Art Nouveau bowl.
0:33:18 > 0:33:20Joy, thank you for bringing in
0:33:20 > 0:33:23this very intriguing and beautifully polished bowl.
0:33:23 > 0:33:25What can you tell me about it?
0:33:25 > 0:33:27It belongs to my mother-in-law, who's had it, I think,
0:33:27 > 0:33:31- since probably about the 1960s.- Oh?
0:33:31 > 0:33:33She used to use it when she was entertaining
0:33:33 > 0:33:35and used it to serve bread and so on.
0:33:35 > 0:33:36Oh, lovely.
0:33:36 > 0:33:38And she hasn't used it for many years
0:33:38 > 0:33:41so she's now decided she'd like to sell it.
0:33:41 > 0:33:44When she had it, well, as far as you know,
0:33:44 > 0:33:45was it all polished like this?
0:33:45 > 0:33:48- Had she...?- She polished it before she handed it over to us.
0:33:48 > 0:33:50So I'm not sure she was meant to do that.
0:33:50 > 0:33:51Ah-ha... Right.
0:33:51 > 0:33:54No, well, we'll get back to that later.
0:33:54 > 0:33:57Because that raises an interesting point.
0:33:57 > 0:34:01We've obviously got an Art Nouveau pewter bowl.
0:34:02 > 0:34:05And if we flip it over, there's one name we want to see...
0:34:06 > 0:34:07- ..which is Liberty.- Right.
0:34:07 > 0:34:12And there we go. "English pewter made by Liberty and Company."
0:34:12 > 0:34:14It would be nice if it said Tudric,
0:34:14 > 0:34:20which is the range name for pewter made for Liberty and Co.
0:34:20 > 0:34:21But this may predate that,
0:34:21 > 0:34:24- because we've got a very early Liberty pattern number.- Right.
0:34:24 > 0:34:260-5-3-5.
0:34:26 > 0:34:29- And they will relate to a specific designer.- Right.
0:34:29 > 0:34:33But the name you look for and hope for is Archibald Knox,
0:34:33 > 0:34:36that gifted Isle of Man designer.
0:34:36 > 0:34:37- And this is a Knox piece.- Yes.
0:34:39 > 0:34:44And when you look at it, you can see his use of entrelac motifs,
0:34:44 > 0:34:46these Celtic knots,
0:34:46 > 0:34:50and of nature absolutely entwining with one another.
0:34:50 > 0:34:53Very intricate and pierced. Lovely thing.
0:34:53 > 0:34:57Now, this is exactly how it would have looked at Liberty's
0:34:57 > 0:35:02when it was sold in about 1900, 1905.
0:35:02 > 0:35:03It's that old? Right.
0:35:03 > 0:35:07But, pewter... I mean, basically, it was made to simulate silver.
0:35:07 > 0:35:09It was that planished, polished pewter.
0:35:09 > 0:35:12Over time, pewter discolours.
0:35:12 > 0:35:15And it goes a very dark grey.
0:35:15 > 0:35:16Right.
0:35:16 > 0:35:19There are two schools of thought about what you do.
0:35:20 > 0:35:24The purists would never have you touch it.
0:35:24 > 0:35:26They want it in utterly original condition.
0:35:27 > 0:35:31So, from Liberty's, untouched until today.
0:35:31 > 0:35:33And they are very dark pewter bodies.
0:35:35 > 0:35:38The other school of thought is, well, Knox didn't design them like that,
0:35:38 > 0:35:41he meant that they should be polished and shiny.
0:35:41 > 0:35:43So what your mother-in-law has done
0:35:43 > 0:35:49is very much in keeping with Knox's original thoughts and designs,
0:35:49 > 0:35:53it just affects the value ever so slightly with collectors.
0:35:53 > 0:35:57I think we would be sensible if we said...
0:35:58 > 0:36:01£120 up to about £180.
0:36:01 > 0:36:03A fixed reserve of 120.
0:36:03 > 0:36:07And we'll hope that all the people that like polished Knox
0:36:07 > 0:36:10are there on the sale date and it goes above that.
0:36:10 > 0:36:13- But do you think she'd be happy with that?- I hope so, yes.
0:36:13 > 0:36:15Marvellous. We'll do that.
0:36:15 > 0:36:17And I hope, on the day, we get, you know,
0:36:17 > 0:36:19maybe up to that £200 mark for her.
0:36:19 > 0:36:22- But thank you very much for bringing it in.- Thank you.- Pleasure.
0:36:23 > 0:36:26Well, sadly, it's time to leave Gloucester Cathedral
0:36:26 > 0:36:27and its centuries of history,
0:36:27 > 0:36:29as we head back to the saleroom.
0:36:31 > 0:36:34I've got my favourites. You've probably got yours.
0:36:34 > 0:36:37But, right now, it's down to the bidders.
0:36:37 > 0:36:39Here's a quick recap of what's going under the hammer...
0:36:40 > 0:36:42Well, I've never seen
0:36:42 > 0:36:45a pre-Colombian monkey warrior terracotta pot before.
0:36:45 > 0:36:48It should create a buzz in the saleroom.
0:36:52 > 0:36:56There's a pretty picture in there somewhere, it just needs some TLC.
0:36:56 > 0:36:59But, at that price, it's a good investment.
0:37:01 > 0:37:04To shine or not to shine? The eternal debate.
0:37:04 > 0:37:07Will the bidders decide in the saleroom?
0:37:11 > 0:37:15First up, it's Joy's Art Nouveau pewter bowl.
0:37:16 > 0:37:19Going under the hammer right now, a bit of Archibald Knox.
0:37:19 > 0:37:23Yes, it's that wonderful early Liberty's bowl belonging to Joy.
0:37:23 > 0:37:25- Well, in fact, it's mother-in-law's, isn't it?- It is.
0:37:25 > 0:37:27And you're selling this on her behalf.
0:37:27 > 0:37:29A great name. Everyone loves his designs.
0:37:29 > 0:37:31Probably Liberty's best-known designer.
0:37:31 > 0:37:34- Synonymous with Liberty's, really. - Yeah, absolutely.
0:37:34 > 0:37:36Fingers crossed, anyway. Let's hope we get the top end.
0:37:36 > 0:37:38It's going under the hammer now. Good luck. This is it.
0:37:38 > 0:37:43The Archibald Knox for Liberty dish here.
0:37:43 > 0:37:45Start me at 100. That'd be cheap, wouldn't it?
0:37:45 > 0:37:46£100 I'm bid there. Thank you. At 100.
0:37:46 > 0:37:48At £100 on my right now. At 100.
0:37:48 > 0:37:50110 on my left. At 120
0:37:50 > 0:37:53At 120 here on my right now. 120 here.
0:37:53 > 0:37:55At 120. Lady's bid at 130.
0:37:55 > 0:37:57140. 150.
0:37:57 > 0:37:58160. 170.
0:37:58 > 0:38:00180. At 180.
0:38:00 > 0:38:03The lady's bid at 180. 190 there back in. At 190.
0:38:03 > 0:38:04200.
0:38:04 > 0:38:06At 200. The lady's bid at 200. 220 now.
0:38:06 > 0:38:08At £200.
0:38:08 > 0:38:11It's right in front of me now, then. Lady's bid at 200.
0:38:12 > 0:38:15Yes! Nice, round figure. £200.
0:38:15 > 0:38:16- That's brilliant.- Thrilled, yes.
0:38:16 > 0:38:17Very happy.
0:38:17 > 0:38:19- He never lets us down. - No, he doesn't.
0:38:22 > 0:38:27We caught up with the new owner before she left with her happy purchase.
0:38:27 > 0:38:30It's a very nice piece of Art Nouveau pewter.
0:38:31 > 0:38:34And what I particularly liked about it was the simplicity of it
0:38:34 > 0:38:36and, of course, its age.
0:38:36 > 0:38:39And I just thought, "I've got to have it."
0:38:39 > 0:38:40I think it was a fair price.
0:38:40 > 0:38:43There was a bit of a battle going on for it.
0:38:43 > 0:38:48But I'm not one to give in when I really like something, so I didn't.
0:38:51 > 0:38:54With me right now I have Susan and Juliet and our expert Philip.
0:38:54 > 0:38:56And we have something for all you fine art lovers.
0:38:56 > 0:38:59It's an oil and it's by William Langley,
0:38:59 > 0:39:00who specialises in landscapes.
0:39:00 > 0:39:02And I think this should go.
0:39:02 > 0:39:05Philip's slightly nervous. I think he's a bit nervous on this one.
0:39:05 > 0:39:07Look, you've pitched it right, Philip.
0:39:07 > 0:39:10I don't see how it can't sell and sell quite well, actually.
0:39:10 > 0:39:11No.
0:39:11 > 0:39:13Famous last words!
0:39:13 > 0:39:15OK. Right, it's tough being an expert, you know?
0:39:15 > 0:39:17Let's put it to the test. Here we go...
0:39:18 > 0:39:20And lot number 470, then.
0:39:20 > 0:39:23The William Langley, the river landscape. Start me 50.
0:39:23 > 0:39:25£50 to get on.
0:39:25 > 0:39:27£30, then.
0:39:27 > 0:39:29At £30 I'm bid there. £30. Five, anyone now? 35?
0:39:29 > 0:39:31Five. 40. Five.
0:39:31 > 0:39:3350. Five. 60.
0:39:33 > 0:39:35Had £60. Five, if you like, sir. At £60. Five?
0:39:35 > 0:39:3770. At £70.
0:39:37 > 0:39:39Five, if you like now. At £70. Five on the net.
0:39:39 > 0:39:42At 75 now. At 75.
0:39:42 > 0:39:4580 now. At £75. You're out in the room now. It's 75 here.
0:39:45 > 0:39:48All sure? You're out in the room, then. Are you all done at 75?
0:39:48 > 0:39:50- It's not going to get a three-piece suite, is it?- No.- No.
0:39:50 > 0:39:52But it sold. £75. Spot on, Philip.
0:39:54 > 0:39:55Someone got a bargain.
0:39:55 > 0:39:57But it'll cost a bit to bring it fully back to life.
0:40:00 > 0:40:03Now, for Lucy's pre-Columbian figure.
0:40:03 > 0:40:05Before the sale, I asked Philip, the auctioneer,
0:40:05 > 0:40:07what he thought about it.
0:40:07 > 0:40:10It's very hard to be absolutely certain about these things
0:40:10 > 0:40:11when they come into a sale.
0:40:11 > 0:40:15There were a lot of these pieces produced through the 18th, 19th
0:40:15 > 0:40:18and well into the 20th and even the 21st-century,
0:40:18 > 0:40:23so I was very glad to have a true verification given for this piece
0:40:23 > 0:40:25by, you know, relevant specialists.
0:40:26 > 0:40:29I would expect it to be fairly keenly contested,
0:40:29 > 0:40:31but only to a level.
0:40:31 > 0:40:33Well, that only adds to the intrigue of this item.
0:40:33 > 0:40:34Here it is now...
0:40:36 > 0:40:38OK, the moment I have been waiting for
0:40:38 > 0:40:40since that valuation day in that wonderful cathedral.
0:40:40 > 0:40:42I mean, that was an old building.
0:40:42 > 0:40:44But, I think, what we're selling right now
0:40:44 > 0:40:46has to be, I think you'll agree,
0:40:46 > 0:40:48the oldest thing on the show so far,
0:40:48 > 0:40:50which Michael spotted.
0:40:50 > 0:40:52- Thank you for bringing it in. - It's an absolute pleasure.
0:40:52 > 0:40:55- On the day, we said it might be 15th century or earlier.- Yes.
0:40:55 > 0:40:58Well, we've done subsequent research and it's a lot earlier.
0:40:58 > 0:41:00It's the first pre-Columbian civilisation.
0:41:00 > 0:41:04So this is quite exciting. You can learn so much on this show.
0:41:04 > 0:41:06What do you think of this, Lucy? Now you want to keep it?
0:41:06 > 0:41:09Well, it makes you feel a bit strange about it
0:41:09 > 0:41:11because it is so old. You know, I'm fascinated.
0:41:11 > 0:41:12I think it's...
0:41:12 > 0:41:15It's the most perplexing
0:41:15 > 0:41:18and intriguing object we've ever had on "Flog It!".
0:41:18 > 0:41:19Certainly I've ever seen.
0:41:19 > 0:41:22- That's brilliant. I'm thrilled. I'm so excited.- Fingers...
0:41:22 > 0:41:24I hope someone really wants it.
0:41:24 > 0:41:25Anyway, look, it's out there right now.
0:41:25 > 0:41:28- This is your lot going under the hammer.- Fingers crossed...
0:41:28 > 0:41:31Don't go away, don't make a cup of tea. Watch this. Here we go.
0:41:31 > 0:41:36The warrior with the sword and shield there. Northern Peru.
0:41:36 > 0:41:39Nice and early, between 100 and 800 AD.
0:41:39 > 0:41:44And I have to start you here on the book at £200. At 200 I'm bit here.
0:41:44 > 0:41:47At 200. 220 now if you like. At £200. Good early piece.
0:41:47 > 0:41:49At 200. At 220. 240.
0:41:49 > 0:41:51260. 280.
0:41:51 > 0:41:52300. 320.
0:41:52 > 0:41:55- They want it.- 340.
0:41:55 > 0:41:56360. At 360.
0:41:56 > 0:41:58At 380 now. 360 here.
0:41:58 > 0:42:00At £360.
0:42:00 > 0:42:02He's going to sell at 360.
0:42:02 > 0:42:04You all sure at 360?
0:42:06 > 0:42:08Hammer's gone down. Good valuation, Michael.
0:42:08 > 0:42:10Well, it's at the top end of our estimate.
0:42:10 > 0:42:11And I think the only thing is
0:42:11 > 0:42:17you do see these pots make a lot more money when all the glazes are intact.
0:42:17 > 0:42:19Because the glazes on these, when they're just excavated,
0:42:19 > 0:42:21are like chocolate and they're shining.
0:42:21 > 0:42:24So it's had 130 years of wear.
0:42:24 > 0:42:26It might have been out in the garden for some of that.
0:42:26 > 0:42:29Well, it's an absolutely fascinating piece of history.
0:42:29 > 0:42:32That is a little document of social history from Peru.
0:42:32 > 0:42:34Has it made you think, oh, actually,
0:42:34 > 0:42:37I should really gen up on this a bit more and read about it?
0:42:37 > 0:42:40Well, yeah, because you don't know anything about these things, do you?
0:42:40 > 0:42:42Until you meet up with Michael.
0:42:42 > 0:42:46Well, it started me off on a whole round of reading and research.
0:42:46 > 0:42:49And you just look at them, and it's so fascinating.
0:42:49 > 0:42:51And if you've got something like that, we want to flog it.
0:42:53 > 0:42:55It's been a terrific day
0:42:55 > 0:42:57and we've seen some weird and wonderful items
0:42:57 > 0:42:59and met some delightful people.
0:43:00 > 0:43:02And I hope you've enjoyed it as much as I have.
0:43:03 > 0:43:06From all of us here in Gloucester until the next time, it's goodbye.