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Today, I'm at Llanerchaeron, a traditional rural estate
situated in a wooded valley in West Wales.
The villa that you can see behind me was built in 1795
by the renowned Regency architect John Nash.
Inside the house, it boasts many of Nash's original design features.
However, the family who lived here for 300 years
also added to Llanerchaeron in their own way.
And it's their stories and their contributions which
are as much of a draw to the visitors
as the superb Nash architecture. Welcome to "Flog it!"
We've got a special show for you, as we're travelling across Britain
to revisit some of the fabulous valuation days
we've enjoyed from this series,
where our experts examined your antiques,
and then we took them off to the salerooms far and wide.
At 10 it's got, 12 is bid. At 150 on the telephone.
We took a day trip to the seaside to our valuation day
in Weston-super-Mare in Somerset, where hundreds
of you queued on the boardwalk of the Grand Pier for a valuation.
We also visited the glorious Norwich Cathedral in Norfolk,
where you showed our experts your antiques,
and one item baffled Kate Bateman.
You've brought in a mystery item today.
This is really going to test my skills as a valuer.
We also travelled north to the 19th-century Bowes Museum in
County Durham, a striking building modelled on a French chateau.
And, finally, our experts valued your treasures at the stately
13th-century Muncaster Castle in Cumbria, and we took them
off to auction in nearby Carlisle, where there was a very
pleasant surprise for one owner.
I can't, I just can't believe it. It's good. It's a good price.
I never expected that. That's yours.
But before all that, I'm heading back to West Wales.
Llanerchaeron was in the same Welsh family for ten generations
until it was passed to the National Trust in 1989.
The longest-running resident was Mary Ashby Lewes, who moved here
when she got married. When her husband died,
she found herself running the estate single-handed for over 60 years.
Mary went on to live to the ripe old age of 104.
Her longevity was so great that she outlived many of her heirs.
Unfortunately, some of them took out loans against the estate
assuming they were going to inherit it.
When she passed away in 1917,
the estate was passed on to Captain TP Lewes,
who inherited Llanerchaeron with a lot of debt.
Captain Lewes was determined Llanerchaeron would survive.
Although he modernised the house by adding electricity
and updating the plumbing, he always kept one eye on the purse strings.
And later in the show, I'll be returning here to find out
how Captain TP Lewes left his mark on the house.
But first, we start our tour of the country by crossing the border to
England, to our valuation day at the magnificent Bowes Museum in
County Durham, where Paul Laidlaw
came across an incredible collection.
Hello, Joy. Hello, Paul. You all right? I'm all right.
This looks to be a significant collection of tea
and cigarette cards. Yeah. I don't think it's yours.
No, it was my dad's. Right. He collected them for a lot of years.
Oh, from a boy, his dad would probably get them
out of packets of Wills cigarettes and giving them to the wee laddie.
Isn't that nice? Yeah.
And I can remember going to different places
and looking at different cigarette cards and that with him.
So you would go to fairs and so on looking for them? Yes.
How interesting! So that's a boy-to-man collecting passion. Yeah.
And I've got to respect that. That's fantastic.
Well, look, I can tell you, your dad put together a good collection.
It appears that we've got complete sets.
And that's a no-brainer, that's important.
I think, more importantly, those sets are in good condition. Yeah.
Because if you're swapping these round the playground
and shoving them in your shorts pocket when you go off to kick
a football for half an hour, they end up dog-eared, to say the least.
But these are pin sharp
and, of course, in the albums, mounted, preserved.
He used to spend hours with them. You know? Sorting through them all.
Would he, yes? You know, researching things.
He's, I've got to say, a man after my own heart.
I respect that. You really do have a broad spectrum.
Now, what I live in fear of are stars of the radio,
butterflies and wild flowers. Oh, yeah, well.
As dull as dishwater,
but you've got some, or your dad has some, cracking subjects in here.
Who doesn't want to know more about lighthouses?
That, I mean, that's fantastic. I like that one.
And I don't mind telling you, as a wee laddie,
I collected the Brooke Bond ones. I remember the Brooke Bond, yeah.
And it was probably about five pence to send off for the album. Yeah.
And the cards would come. And here,
I remember this Great Inventors series, back in the early '70s.
Man, so they transport both of us. Yeah. Wonderful collection.
So we've got the origins, interwar years,
these will be 1920s,
and we know that it was a way to encourage smoking, in all honesty.
It was another motivation, because what's going to keep you
more loyal than little Tom and Jill or whatever saying,
"But we've not got all the wild flowers yet.
"Don't change brand, Dad!"
So there you have it, it's a marketing tool,
addictive, we've got to say,
as though the smoking wasn't bad enough.
You've got the collecting added to that. It is a good collection.
I think I've got to be cautious here. I've got all this enthusiasm.
It's a funny market.
I don't know that these will stand the test of time as collectors'
items, because you and I get it.
We can remember it from our youth.
But next generation, they're just slithers of card.
My children are not interested.
Means nothing. And that has a bearing on values.
And values certainly have slipped.
I think ?100 to ?200 would be enough of an estimate. Yeah.
I would suggest a reserve.
So if we say ?100 reserve,
but the auctioneer can use maybe 10% discretion. Yeah.
It's been great talking to you about them, it has to be said.
I've enjoyed it. A bit of nostalgia as well,
you and I reminiscing about the Brooke Bond cards. Yeah.
Wonderful, Joy. Well, look, I wish you well. Thank you.
Thank you for bringing them in. Thank you very much.
Next, we stayed in the north of England but travelled west to
Muncaster Castle in Cumbria, where Caroline Hawley found an item
that came from the locality and belonged to Jack.
So what have you brought to show me today?
It's a Cumberland FA Cup medal that was won by my grandfather
100 years ago. So, 19... 14. ..1914/15.
So he was a good footballer, your grandfather?
Yes, from what I've been told. I never met him.
He died before I was born. And how are you at football? Have you...?
I played. I played in that competition. Did you?
Yeah, yeah. And have you got a winner's medal? No, no.
I never got that far. Well, let's have a look.
It's a lovely quality item. It looks like gold to me, and enamel.
Let's turn it over and have a look.
So the winners, as you say, 1914/15, R Murray, so he's your grandfather,
and it's nine carat gold and it really is rather lovely, isn't it?
It is, yeah. It's a beautiful medal.
It's very unusual that the Cup was still taking place
during the war, wasn't it?
But I suppose football doesn't stop for anything, does it? No.
And you've decided now's the time to dust it off
and bring it down to "Flog It!".
Well, it's my golden wedding in August. Is it? Congratulations.
That's 50 years, is it? Yeah, 50 years.
So we are having a little bit of a bash.
So I thought, well, I'll include it in the party
and pay for the buffet or whatever,
and all the family can enjoy the money out of the medal.
What a lovely idea. It's difficult to put
a price on something like this. It is solid gold.
But it's worth more than its weight in gold, I would say,
because it's of great sentimental value, isn't it? It is.
I would have to put a value for auction of
something like ?80 to ?120.
Now, what do you feel about that?
Well, I just thought it was a bit low,
but if that's what you say, I'll take your advice.
Well, I think we would need to protect it with a reserve. Yeah.
And are you happy with an ?80 reserve? That's OK.
But it's not to stop two people who really want it.
And this association is still going, isn't it, now?
Yes, yes, still going strong.
So it would be nice if somebody could buy it.
If they weren't good enough to win it... Yes.
..they can buy it and pretend they had. Thank you very much, Jack.
And best of luck with your golden wedding celebrations.
Thank you very much.
Over in Wales, I'm stepping back in time to look at artefacts
that today aren't to everybody's taste
but that reflect a way of life from over 100 years ago.
Now, the entrance hall here at Llanerchaeron
is dominated by a vast display of taxidermy.
As you can see, I'm surrounded by it.
It reflects the passions of Captain TP Lewes
and his son for the hunt.
Now, although they enjoyed the hunt,
it was originally started here for one good reason -
to protect the local food sources supplying the estate,
in particular, fresh fish from the River Aeron,
because they were under attack from predators
like these guys here - otters.
Now, these were done by a local firm, Hutchings of Aberystwyth.
They got the job by default because they were local,
relatively unknown in Victorian England.
But as time has proven over the years, their work still
looks as good today as it was when it was first produced.
And now Hutchings are highly sought-after examples
by the collectors of taxidermy.
I have come across one anomaly, though,
and it's here with this cobra.
Other examples of this deadly snake I've seen have been portrayed
with their necks and their heads flattened like that,
as is the usual, ready to strike.
But here, as you can see, it's different.
I can only assume a taxidermist in rural West Wales hasn't
come across something as exotic before.
He's very good at his badgers and his foxes,
but snakes, I think we'll pass on.
If you're interested in collecting taxidermy,
it's always best to purchase from a reputable source
and also be aware that you'll need a licence to own certain species.
Leaving Wales and crossing the border into England,
we travelled eastwards to our valuation day
at Norwich Cathedral in Norfolk,
where Kate Bateman came across an item which had her stumped.
Well, Sandra, you've brought in a mystery item today.
This is really going to test my skills as a valuer.
What do you know about it? Virtually nothing.
It comes from my husband's side of the family
and it's been around, just in the loft, for 40, 50 years.
So, no policemen in the family? No policemen in the family.
Not at all. No Justices of the Peace,
something like that, legal? No, nothing at all.
Because that's what I think this is. I think it's a tipstaff
or tipstaiff, said both ways.
And it's kind of like a policeman's truncheon.
So you see the much bigger versions of them with exactly this.
Now, if you look at it, you've got what
I would expect on a truncheon or a night stick, or something,
which is the GR, which is George IV, GR IV,
that's his royal cipher.
Which means it's in some official Crown capacity,
like the police force or somebody like that.
But what's intriguing, and I've never seen before, is this.
You've got a price.
Two shillings and sixpence, and the inscription on this which says,
"This is for the use of Mr Jonathan,"
I presume, "Marlands workmen."
So what on Earth does that mean?
No idea. It's a fabulous thing.
I mean, it's made of hardwood, it is hand-painted over the top,
just as all the truncheons are. Yeah.
Now, there's a possibility that somebody who was delivering
this was actually delivering messages.
So in their official capacity, they would hold this, and when
they knocked on the door and said, "I am the bearer of official
news..." Yes. "You're about to be hanged for treason," or something.
So it's like a door knocker? Well, yes, like in the same way you get
the ceremony of the Opening of Parliament
and you knock on the door. And it shows that's your official
capacity, the way you have badges on policemen and things.
It might be a precursor to that.
Why on Earth you would have two and sixpence on, I've no idea.
So it's a mystery. But it's fun, and I think it will sell.
Have you thought about any prices?
?100 to ?150, something like that?
Well, a similar-aged truncheon would be making that,
and I don't see why a similar-aged tipstaff wouldn't make that.
And it's quirky, I mean, it's not as common as the truncheons... No.
..which is good fun.
Shall we try it with ?100 to ?150 estimate and maybe an ?80 reserve?
Will your husband be happy if you sell it?
Yes, so long as he gets a beer out of it, he'll be fine.
He's an easy person to please, then. Excellent.
So you get the beer, and if you get 100 you get about 80 for shoes,
which is great. Oh, yeah.
Now we continue our journey around the country to visit our valuation
day on the Grand Pier in Weston-super-Mare in Somerset,
where Catherine Southon found an item
the like of which may have been used by Llanerchaeron's housekeeper.
We have an amazing contradiction here
because we have this world of gadgets and machines
and noise, and then we have this wonderful piece here which has
so many gadgets and is a late 19th century chatelaine.
Where does it come from? It was inherited from my grandmother
and I think the nurse who is named on a thimble might have been
her nurse. Right, OK. But I'm not sure about that.
OK. A chatelaine was worn by the housekeeper, the lady of the house.
Traditionally late 19th century, Victorian England.
She would have clipped this onto her belt, onto her dress,
and she would have had this around the house and this had her tools on,
the things that she needed to get through the day.
Of the chatelaines that I have seen over the years, this is
probably the best example I've ever seen.
It is a really special piece.
So often you see one or two or three pieces,
but this has got a really large selection of accoutrements,
and also because it's made by an important silversmith,
Levi Salaman. They were known for making small tools.
First of all, we've got this aide-memoire,
so that's where the lady of the house would have
written down her little notes with the pencil, there.
Perhaps what she needed to get for that day, what washing she needed to do.
Then we've got the purse there for her pennies
and the scissors there, which are really beautiful.
They are, yes. Really stunning.
And as you mentioned earlier, here we have the thimble holder.
Not sure that is the original thimble, nevertheless,
even as a thimble, it's a good one, by a good maker, Charles Horner.
And you have got "Nurse Calman" on it.
The pin cushion. Slightly beaten up.
The little bottle of scent.
A penknife with a gorgeous Art Nouveau design on it.
And the tape measure. Everything is there.
It really is beautifully designed
to have everything there, all at once.
We have mobile phones now, don't we?
Yes, this is it. It's not quite the same thing, is it?
Doesn't have the same aura somehow.
This has come down from your grandmother? Yes.
I think probably it belonged to the nurse of a family.
Right. When she departed, left, whatever, Grandmother acquired it.
So you think she may have had these? I think so.
Some of the pieces may have been added later.
All of these with a very similar design I think were
part of the original chatelaine, but there may be other items.
And that was the beauty of the chatelaine -
you could add additional items.
But it's just wonderful to see all of this
and equally important to see it solid silver.
A lot of them are individually hallmarked
and that really does add to the price.
And you're happy to sell it now? Yes, I think it would be
a good idea to go to someone who would really appreciate it.
Normally, you'll probably only get ?80-?100 for them but I think this
is the exception to the rule and I would go a lot higher on this one.
I would probably say in the region of ?350-?500. Oh, wow.
How does that sound? The last time I had it valued,
it was valued at ?80. So that is... I think it's a bit better than ?80.
Are you happy with that? Yes. Shall we say ?300 reserve? Yes.
And let's hope that it goes to a good home. Yes.
Another housekeeper, that's what we'd like, a good,
traditional housekeeper. Yes.
Well, thank you very much, you've really made my day.
Thank you for your time. Thank you.
Back in the 18th century, Llanerchaeron was
a self-sufficient estate.
It was at the cutting edge of local agriculture.
It had the most modern farm buildings, and with hunting
and fishing on the land, it could supply all its own needs.
Today, Llanerchaeron is exceptional in that many of the areas which
allowed it to be self-sufficient remain in their original form.
Visitors come to learn about this way of life
and to see the working areas which made it possible, such as the
walled garden, cow shed, threshing barn and stables to name but a few.
All of the food that was grown, reared or caught on the estate
was brought here, the service area courtyard.
It's situated behind the house
and it played a vital role in keeping the estate self-sufficient.
Like the house, this area was also designed by the architect John Nash.
It's not like other service areas you'll find in other British
country houses. This one is in the Italianate style,
and you can see it, can't you?
It fends off the elements and it seemed to work rather
well considering West Wales is a long way from Italy!
But it sheltered the staff
and servants as they walked from preparation room to kitchen
to dairy by virtue of these rather large overhanging eaves.
You can see it there.
Also I really like this, this herringbone patterned floor
made out of local pebbles picked up from the beach.
It's a safe, practical working area, not to mention a decorative delight.
And these are the rooms where the milk was
processed from the cows on the estate. Here is the scullery.
Here is the old cheese press room with this fabulous old press,
which was built in situ and it's been here ever
since because it's too big to go through the door now.
And here is the dairy where Hillary is hard at work.
You're patting butter. I'm working the butter.
It's the last part of the process,
just getting all that moisture out so that the butter will keep.
How often would butter be made on the estate?
They would be making it once a week, possibly twice a week.
All the butter they made would be used in the kitchens for baking...
Cakes and things. ..pastries and that sort of thing.
Talk me through the process,
how this would have originally been done.
You start with the cream. You have to have cream to make butter.
They would have used a cream separator like this.
Then it's churned.
The whole thing just turns and it's the motion that creates the butter.
And how long would...? It would take about an hour. Of just turning?
Once it starts to turn, it almost turns itself, doesn't it?
It's the weight of it. The momentum, really. Yeah.
Mind you, I wouldn't like to stand there and do that for an hour. Yes!
What happens next? You've got a lump of butter.
You've also got a liquid. You've got the buttermilk,
so you really want to take the buttermilk out,
so that you come back to where we started,
which was working the butter. OK. And that's nearly ready?
That's very nearly ready, yes.
many country houses in Britain would have had their own dairy,
but what other facilities were needed here to make
the estate self-sufficient?
To find out, I'm meeting Paddy Tranter, house steward.
Because this place is so isolated, there's no close market town,
did it become self-sufficient through necessity?
If they wanted it they had to provide it themselves.
They could get some things brought in but as a rule,
they had to farm it, produce it and store it here at Llanerchaeron.
And it became successful? It was very successful.
Other estates were even buying produce from Llanerchaeron
as there was always more than what they needed onsite.
This was the bakehouse.
They baked bread in here but they'd also be smoking meat
hanging from the hooks up in the ceiling.
Would they have made a lot of bread?
They would have done, not only for the family, but also the servants,
so there would have been a hive of activity out here to keep
everybody fed. What sort of meats would hang up there?
Beef, lamb, pork.
But they'd also have access to a lot of game and fish onsite as well.
So anything they could get, really.
There's a lot of hooks up there. A lot of mouths to feed.
What takes place in there? This is the brew house.
So in here they'd brew a small beer that was safe to drink for all
the servants, it was better than the water but low enough strength that
they could carry on working,
and then the better quality beer for the family themselves.
It's all very neat, everything has its place.
John Nash's service courtyard also boasts a cheese store
for maturing cheeses,
a salting room where fresh meat was preserved with salt
and brine in lead-lined tanks,
and a dry laundry where damp clothes were pressed and dried.
Llanerchaeron operated as a self-sufficient
estate from the late 1700s until the early 1900s.
During this period, there would have been
an average of 11 servants in the house
and a similar number of workers keeping the home farm running.
There was also the kitchen garden
which probably had around ten workers
to tend it, and grew all the fruit
and vegetables that were consumed on the estate.
This included some exotic examples such as pineapples and melons,
which were cultivated in the warmed glass house,
the remains of which can still be seen today.
Nash's Italianate servants' courtyard leads straight in to the
main house, in fact to this room, the scullery, and it would have
been a hive of activity with servants coming and going.
Food was brought in from the outside into here, it would
be processed or prepared.
Food to be stored would have been kept in there, in the pantry.
Food to be cooked that day would be taken through to the kitchen,
which is through here.
Nash designed the kitchen to be a ventilated, well-lit area
and the majority of the cooking would have taken place in here.
And it looks like I'm in luck today, because something's being made.
Hello. Hello. What are you doing? I'm making Welsh cakes today.
They're more like biscuits, aren't they? They are,
they're a traditional Welsh recipe, made like a scone mixture,
dried fruit is added to it then it's baked on a bakestone...
On the old range, still. That's nice. Yeah.
And it's... That's hot.
It's typically eaten by the family and the servants because it's a
quick treat you can make and it can be baked on any fire.
Would you like to try one? Yes, can I?
This is a great way to end my tour of the servants' quarters.
Thank you very much. Thank you.
Mm! Yummy! Thank you.
And now for my favourite part of the show -
let's head straight to the auction.
Here's a quick recap of the four items we're taking to auction.
Jack brought this nine carat gold Cumberland FA football medal
along to our valuation day at Muncaster Castle,
as he hoped to raise funds for his golden wedding party.
At our valuation day at the Bowes Museum, Paul Laidlaw
reminisced with Joy over her impressive albums of
cigarette collectors' cards.
Sandra's tipstaff left Kate Bateman scratching her head
at our valuation day at Norwich Cathedral.
But first under the hammer was Sue's inherited housekeeper's chatelaine,
which she brought along to our valuation day at Weston-super-Mare.
To sell it, we headed along the coast from the Grand Pier
to Clevedon Salerooms in Somerset.
Auctioneer Marc Burridge was still on the rostrum.
Fingers crossed, good luck. This is the first time ever we're selling
a collection of household gadgets on a chain on "Flog It!"
Had to say that cos it's true.
It's the housekeeper's chatelaine and there's everything on there.
You've got your pencil, aide-memoire, tape measure,
everything. Jack of all trades. Mum's there to fix everything.
Absolutely. She is, isn't she?
Ready to say goodbye? Cos I think it's going to go. This is it.
And the chatelaine now, lot 445.
260 I have.
270, 280, 290, 300.
That's all right, we've sold it.
310. I can sell at ?300.
Any advance, yes or no?
Selling on 300, then.
That hammer's going down, it's gone. Right on it. Yeah.
I hope it all stays together as well. Oh, yeah, definitely.
Be nice if it got used. Yes, it would!
I'm sure that housekeeper chatelaine will bring its new owner
a lot of pleasure. A fabulous piece.
Next up was Jack's football medal, which we took to
Thomson Roddick and Medcalf saleroom in Carlisle, in Cumbria.
Auctioneer John Thomson was on the rostrum.
Remember, at every auction, there is always commission
and VAT to pay, whether you're buying or selling.
Thank you, sir.
Congratulations. 50 years of marriage. The golden one. Gosh.
That's a big one, isn't it? It is. Not many people last that long.
What's your secret? And he's still smiling. Oh, I've no secrets.
Your grandfather won this medal and you're selling it
to obviously pay for the party celebrations.
Just so that everybody gets something out of it.
Aw, that's a nice way of splitting it up.
The whole family will be there, so...
I know you've got your grandson here today, and he's a big Man City fan.
They're a great team. Football memorabilia is big business,
and I think this is quite rare. There's not many about. Yeah.
No. Should get snapped up. Good local interest as well. Yeah.
Now then, 586, a nine carat gold
enamelled football medal,
Cumberland Football Association. What may I say for it? Start at 40.
?40, I am bid. 45 on the net.
50, 50. 55.
60. 5. 70. 75.
?90 for a nice little medal.
At 90, at 90, at 90.
It's gone. Well done. Good valuation.
Jack, that's going to help. Every penny will help, won't it?
Yeah, thank you very much. That's all right.
Have a good time, won't you?
And many more happy years to come as well. I hope so.
Next, we stayed in Cumbria to sell Joy's cigarette collectors' cards,
but we relocated to 1818 Auctioneers in South Lakeland,
where auctioneer David Brookes was wielding the gavel.
Going under the hammer right now we have six cigarette albums.
These are fantastic and they belong to Joy.
Can we bring you more joy, today? I hope so.
Well, I think we can because the great thing about these early ones
is they've not been stuck down, have they?
No, no, none of them are stuck down.
That's where the value lies in a lot of these.
You get a lot o' lot for your money, as Cilla Black would say.
A lot, a lot o'lot.
Anyway, we're going to put this valuation to the test.
They're going under the hammer. Good luck, Joy. Thank you very much.
Good luck, Paul. Here we go.
Lot 120, which is a selection of traditional cigarette cards.
A couple of hundred, may we ask?
Start me at 100, then, please. ?100?
At ?80? ?80, surely, for all the cigarette cards.
At ?80, any further interest?
Even ANY interest at ?80? No?
Asking ?80, no?
I was wrong. We didn't bring you any more joy. No.
Personally, I'd have split them up.
I would have split them up.
But, hey, look, that's not my decision. Oh, it doesn't matter, no.
We've had a lovely day, anyway. That's good. Yes, so thank you.
Sorry. That's all right. It's OK, thank you very much.
It is disappointing when an item doesn't sell, but Joy should
try her luck at a different auction house on another day.
Next, we headed south to Norfolk, to TW Gaze in Diss
to sell Sandra's mystery tipstaff. On the stand was Ed Smith.
Well, our next item just about to go under the hammer has been in the
loft for 40 plus years. Yes, that's right, 40 plus years, Sandra.
That's a long time to hide something away like that.
A little piece of history, this. It's fun. It's a great thing. Yeah.
I think it's fun, yeah. This is very collectable, this,
a lot of people that want truncheons and tipstaffs.
Yeah, lots of sort of police memorabilia, railway,
somebody will like it. Somebody will, and
I bet they're here right now.
Let's find out, shall we, Sandra? Yeah, that's fine.
It's going under the hammer. Right.
Right, 221 now. And on this one I'm starting in here at the 55.
55 I have. Yes, that's straight in at 55!
It's a tipstaff there at 55.
60. 5. 70. 5.
75 I have. Is there 80?
80, you've bid. 5.
Is there 90? Wow!
Is there 90? 90 on the telephone. 90, I have. 5.
Where's 100? It's 95, I have.
100 is now bid on the telephone.
100, I have. Is there a 10?
We will be selling away for ?100. Are we all done?
110's online now. New bidder. It's online. Wait for online.
120. Is there 30?
130, back in. Yes, please!
140. Is there 50?
It's 140 on the telephone.
Where's the 50?
It's 140 on the telephone. Is there 50?
160, the nod again.
We will be selling away for ?160.
Are we all done?
Yes, sold, ?160. That's a good result, isn't it? Really good.
Very good result.
And thank goodness you hung onto it and kept it up there, safe.
Yes, well, it wasn't that safe.
Go into your attic, find out what else you've got. Bring it along.
There's not an awful lot else up there, no.
Sandra was delighted with that result,
and that's what it's all about.
We'll be returning to valuation days
and salerooms across the country later on in the show.
But first, I'm heading back to Wales.
Now, back here at Llanerchaeron
during the 19th century, the staff kept themselves warm during
the cold, bitter winter months by working hard during the day.
But what about at night-time?
Well, they relied on a good old Welsh quilt to keep the cold away.
And a quilt is made by sandwiching layers of fabric together -
two layers of fabric with a padding in the middle,
and it's held together with a series of decorative stitching.
But it's those separate layers that keep you warm.
There's always been a strong tradition of Welsh quilt making.
And its heyday was from the 1880s right up to the 1930s.
Having a quilt on your bed was originally
the preserve of the rich in Britain.
But towards the end of the 18th century,
quilt owning began to move down the social scale.
In many families, the women would make their own quilts
and the tradition would be passed down through the female line.
In Wales, by the mid-19th century,
quilting had become a cottage industry,
with quilts being made by village seamstresses or by
itinerant female workers who travelled from farm to farm
with their quilting frame, where they worked for board and pay.
But unfortunately, war-time rationing and a shortage
of materials saw quilting nearly die out in Wales in the 1930s.
However, just over 30 miles away from Llanerchaeron,
there's a small market town called Llanidloes.
Now, there, back in the 1990s, a group of like-minded people
got together with the aim of keeping Welsh quilting well and truly alive.
They formed the Quilt Association and they put on exhibitions.
And from there, they formed the Welsh Heritage Quilters.
Now, part of their activities is to meet up once a week to share
tips and quilt together.
And today, they've invited me along to have a go.
Hello, ladies. ALL: Hello.
Well, this looks fabulous. It really does.
Do you learn a lot from each other?
Yes. Oh, yes. Yeah?
Yeah. OK. So who's the best?
Gosh. What are you working on there?
I'm working on traditional applique. Yeah.
It's taken from Elizabethan woolwork patterns.
Very nice. Look at that! It's gorgeous, isn't it?
So why do you think it's important
to keep the tradition of Welsh quilting alive?
For me, from a teacher's point of view, it's not taught in schools.
Yeah. And it's missing a generation.
When I'm teaching, often a child will say, "But Granny does it."
Not Mum. Granny.
Yeah. So, you know, we've got to really keep it going.
So who's the youngest?
That's me. What's your name? Lisa. This is one of my recent makes.
You've just made that? Yes. Can I have a look at that?
Sure. Show him...
It's a Victorian sewing box.
I love that. How long did that take you to make? About four days.
But I enjoy doing it.
Alongside the weekly meetings, the Quilt Association also owns
the Minerva Arts Centre, where it holds quilting exhibitions.
The group cares for their collection of over 140 antique quilts,
many of which are from the local area.
Doreen Gough, trustee of the Quilt Association,
is involved in caring for these precious quilts.
Some of these early ones are real documents of Welsh social history.
People give them to us because they've come down in their family.
People find them in all sorts of places.
In the barn, over a tractor, over a cow sometimes, even.
Pushed behind the hot water cylinder.
And people are interested in preserving them.
This is hexagons.
We know it's old because hexagons are made by folding fabric
over pieces of paper.
And some of the pieces of paper are still in place on this quilt.
Oh. So you can look carefully and... See some dates. ..see some dates.
OK, fold that one up because that's quite valuable and rare.
Can you show me a good example of what a Welsh quilt is like?
And how do you know it's a Welsh quilt?
This is a Welsh quilt. We think it's about 1850.
And quite typically Welsh.
There are particular stitches
and designs that are used in Welsh quilting.
If you find a quilt with a spiral in like this,
then it's 99.9% sure that it's Welsh.
Brilliant. I can imagine that on the bed. That would look really good.
Well, let's put this over there for now.
That's quite heavy.
What's used in the padding in the centre of the quilt?
Sheep's wool is most often found.
Especially in this area of mid Wales where wool was the thing.
But then, depending on the poverty or affluence of the household,
you'll find all sorts of other things inside of quilts.
I just like the designs and I like the traditions.
I also like the stories that come with the quilts. Yes.
This is a military quilt made after the Boer War from tunics.
In the days before khaki army uniforms, when the regiments had...
Soldiers were very bright, weren't they? ..different colours.
And quite often made as a therapy for people who had been
injured or suffering from mental stress.
That's beautiful. That's absolutely beautiful.
As well as sharing techniques and tips at their weekly meeting,
the quilters are able to lend a helping hand to a fellow quilter
when a task requires more than one person.
Hi, everyone. ALL: Hello, Paul.
This looks exciting. What's going on here?
We are actually stretching my quilt top.
We are putting together the quilt top
and the three layers that go together.
Yes, you've got to keep it taut,
otherwise it goes saggy in the middle.
So we put it on the stretching frame
and then all my friends come around and help me baste it together,
which is the preliminary to actually doing the quilting. Right.
OK, so you need a lot of hands... A lot of hands. Many hands.
There is a needle here, Paul. There is a big needle. Here we are.
You're just going up there, at an angle.
So this is just pinning it in place and all this will be removed...
When the quilting is done. When the quilting is done.
Make sure he does it right. LAUGHTER
OK, I'll let you carry on. I think that's rather exciting.
When we get to a point that we can't go any further... Yeah.
What do you do in the middle? We roll it.
We roll it across. Right. So we can then do this bit.
I'm pleased you said that cos I thought for a minute...
I thought you were going to say, "When you get to a point where
"you can't stretch, I've got to get underneath and put the needle up.
"And it's all poking down on me." LAUGHTER
Thank you so much, ladies. It's been absolutely brilliant.
Good luck with that. It's looking fabulous already.
Make sure you hang onto it. I will do.
Now we continue our tour of the country,
as we return to our valuation day at Norwich Cathedral in Norfolk,
where Thomas Plant admired a book brought in by Brian.
Are you a tailor?
No. No? Why have you got
The Science Of Pattern Construction For Garment Makers?
We acquired it from my wife's grandmother's house when she died.
Right. A relation of my wife's parents was a tailor in London.
You may realise that I actually quite like clothes. Oh, right.
Yeah, and I think my wife goes nuts when I come back from my tailor.
"Yeah, yeah. How much have you spent this time?"
"It doesn't matter, darling. They last forever."
Here we've got
The Science Of Pattern Construction For Garment Makers.
It's the standard textbook, this is the A-Z of all tailoring.
"For merchant tailors, clothing manufacturers,
"pattern cutters, designers, bespoke cutters,
"tailors, ladies' tailors and costumers."
And this book will help you make everything from your jackets,
shirts and trousers, even to your knickers.
Here they are, look. Yes.
Yeah. Breeches, knickers, leggings and gaiters.
Woman's coat construction. Right, yeah.
I think it's... Look at her there. Yeah.
And here, the contents.
You've got everything from measures, measurements, forms of growth,
averages, you know, for boys, for girls.
Women's riding breeches. There is everything here.
How old is this? It's 1927, isn't it?
What we forget is that everything had to be made by hand.
It's not like today when you zip down to the high street and it's
been made by a machine, or somebody somewhere else in a distant land.
I think it's a really very interesting book. Right.
And I think for a budding tailor, a homemaker, it would be a must.
It's almost like the Mrs Beeton of household management. Right.
But this is for tailoring. Yeah.
What we are seeing now with our business, as auctioneers,
is that the ability to make things at home is becoming
so much more fashionable. Yes. Therefore...
antique books or vintage books surrounding that are popular. Yep.
It's not going to be worth a huge amount. No.
I have to say. No. At least, it's going to be worth ?50-?80.
I personally think, at that level, we don't put a reserve on it. No.
We let it find its own... Value. ..mark. Right.
Thank you for bringing it along.
I'm going to see how you make some knickers and breeches
and underpants, etc.
Next we headed west to the seaside, to our valuation day
on the Grand Pier at Weston-super-Mare, in Somerset,
where Catherine Southon was
rather taken with a delightful little dog.
So, Penny, who is this, then? He's just my little friend.
Just your little dog. Yes. Aw.
He is actually a cold-painted bronze.
And he's a very nice, little,
realistically-modelled figure of a dachshund.
Now, as I turn him over, I hope
and I pray that I will find the name of the symbol for Bergman.
But unfortunately, there is no name or symbol at all to tell us that.
So he's not by Bergman.
And unfortunately, we don't know exactly who he is by.
But what we do know for sure is that he's Austrian.
He's early 20th century.
So he probably dates from about 1900 to 1910.
And he's cold-painted bronze.
Where did it come from?
When my mother died, we cleared the house and I found him in a drawer.
Do you remember him as a child? No.
He wasn't one of the sentimental items that I kept from the home.
Well, here's a nice little dachshund and he is quite nicely modelled.
Yes. These are called cold-painted bronze
because they are painted before they are fired.
Right. So, in essence, they are painted cold.
I just think that the body and the movement of the dog
has been captured, it really is quite good.
The way you can see the actual figure here. Yeah.
I'm sure a dachshund owner would love it.
I think so. Time for it to go to a new owner. I think so.
It would have been nice to see a name underneath it. Yeah.
Because that would really push the price up, of course.
Now, this little figure, nicely modelled,
I'd probably put about ?60-?80 on him.
That would be brilliant, yes. Would you be happy to sell him at that?
I certainly would. I look forward to seeing you at the auction.
Yeah. And I hope he does very well indeed. Thank you. I shall be there.
Here at Llanerchaeron, pieces like this mahogany washstand were
crafted with care and precision.
At our valuation day at Muncaster Castle, Adam Partridge came
across an item that was also crafted with the highest possible skill.
Yvonne, it's a beautiful, picture-perfect landscape behind us.
It really is, yeah. It really is.
This is clearly a piece of Cornish studio pottery.
Bernard Leach, I think. That's right.
Tell me how you came to own it.
Well, I've always loved pottery. Any sort of pottery.
But especially studio pottery. Yeah.
I'd done pottery at school and a bit at college.
Then, when I spotted this on my honeymoon, I thought,
"Although I've got no money, I've got to buy one."
And I think it was a week's wages at the time. Between ?8 and ?10.
Something like that. Wow. Gosh.
May I ask, if it's not too cheeky, how long ago was your honeymoon?
57 years ago. Right. Yes.
Wow, that's a long time. March 1958 I bought this.
Of course, it's by Bernard Leach,
who was already famous by then, wasn't he? Yes.
He was influenced by the Japanese techniques,
having been born in Japan. Yes.
And he set up his potteries in St Ives with Japanese kilns.
Do you still pot?
No, I don't now, unfortunately.
I did until a few years ago, but, no, I'm past it now.
Let me ask you first, why have you decided to sell this?
Because my sons keep constantly telling me I've got to start
getting rid of things, otherwise they'll go in the skip. Oh.
When I showed them this and said, "I think that's worth a bob or two,"
they said they wouldn't give it house room.
Yeah, well... So I thought, "Right."
Sadly, that's an all-too-familiar story, that, really.
I do love it, but I think it's time to go if... Yeah.
Have you ever used it? No, it's always been on display.
Little sauce pot there.
It's in beautiful condition, isn't it?
We'll just have a look at those marks there.
There's all the marks that you want to see on there.
The BL initials. And the pottery mark as well. Yes.
So it's exactly as you'd wish to find.
And I find there is a growing interest in studio ceramics
and 20th-century design.
Cos they go in and out, pots, don't they?
Yeah, they do. What do you think it might be worth?
Two or three years ago, I rang in to a radio programme
and they said, without seeing it,
they thought it ought to be worth ?150-?200, but I don't know.
Yeah, I think they weren't far off.
What I might suggest is just slightly lower.
I might put 100 to 150 and then hope it will make a bit more.
Yeah. But I don't want a disappointed Yvonne on my hands.
Is there a price at which you would rather have it back?
No. I think with them saying 150,
I thought probably minimum 150.
But if you think I wouldn't sell it...
I think it will make that,
but I think the estimate to put on it would be 100 to 150.
That's going to get people coming to bid on it and all excited,
and off we go.
You get competitive bidding and it might make two-something.
OK, I'll go whatever. If that's all right? ?100 reserve?
Yeah. Thanks very much for bringing it in.
We'll take it off to the auction now.
Thank you for spotting it and valuing it. It's a pleasure.
Paul's a good Cornish lad, isn't he? When I tell him later I had a
Bernard Leach pot on the programme, he might be slightly jealous.
Next up at our valuation day at the 19th century Bowes Museum
in County Durham, Elizabeth Talbot came across an item that had
been crafted with painstaking care.
You've brought a very smart wristwatch in here today,
which is very eye-catching. What can you tell me about your watch?
It originally belonged to my uncle who had
a hotel on the Isle of Lewis in Scotland.
He was quite a well-to-do chap, so I would imagine, at the time,
it was quite an expensive watch.
He died, I think, in 1965, when the watch was bequeathed
to my father and my father wore it quite rarely.
I don't think he was particularly interested in jewellery, as such.
He died in 1968, when it passed to me.
I've worn it probably even less than my father did.
To me, it's quite old-fashioned.
It's certainly old-fashioned for today
and I prefer a modern-looking watch. What we've failed to mention
so far is that it's a Jaeger-LeCoultre watch,
so the name is quite a magical name within the world of watches.
Interestingly, you mention it's quite old-fashioned but it's
just at the time when people are appreciating vintage wristwatches
and there's quite a collector's market for them.
It's in a very straightforward, very classy stainless steel case.
The case is not gold or silver or anything.
The oyster-coloured face is quite worn, which indicates that the
original owner will have cherished it and worn it and enjoyed it.
It was intended to be one of Jaeger-LeCoultre's probably
very classy but more day-to-day-type watches of their range.
Interestingly, it has what's called a bumper movement in it.
Do you know much about that?
I think it refers to the fact the mechanism is automatic,
the movement of the hands. It is an early form of automatic movement.
Known as the bumper movement because it has a little mechanism inside
which tends to bounce off two little springs, which is quite quaint.
The watch strap - you might know this already - is later, obviously.
So in terms of its condition, it's showing its age
and its age is probably somewhere from the...
1950s. Yeah, 1950s.
It's a good period of watch making. Very classic, very stylish,
quite understated, and for some people, that's just
the type of watch they would love to wear.
Given the fact it's got the good name, very collectible.
It has some damage which will mark it down.
I think I can see this being in the region of ?200-?300. Yes.
And if you're happy with that, we can put a reserve on of, say, 200.
Yes, absolutely fine. And we'll see you at the auction.
Thank you. That'd be lovely. Thanks so much for bringing it in.
And that's it. Here's a quick recap of the four items we're taking
to auction. Remember, at every auction there is always commission
and VAT to pay, whether you're buying or selling.
At our valuation day at Norwich Cathedral in Norfolk,
Brian brought along his tailor's pattern book from 1927.
And we had our fingers crossed that it would measure up at the auction.
Yvonne bought her Japanese-inspired Bernard Leach pot
on her honeymoon in Cornwall.
And it made Adam Partridge's day
when they came across it at Muncaster Castle.
Stuart's inherited Jaeger wristwatch was a fantastic vintage piece
with a bumper movement, and Elizabeth Talbot was over the moon
when she saw it come through the doors of the Bowes Museum.
And, finally, Penny brought her cold-painted bronze dachshund
along to our valuation day at the Grand Pier, Weston-super-Mare.
But were we able to find her doggy a new home?
It's time to find out, as we took the dog to Clevedon Salerooms
in Somerset, which is just along the coast from Weston-super-Mare.
Auctioneer Marc Burridge was wielding the gavel.
Are you all done? Selling at ?60, then.
So, can we find this doggie a new home?
You know what I'm talking about. It's that lovely little bronze,
it's the dachshund in the manner of Bergman.
There's no sentimental attachment, is there? No.
But you are a dog lover? I love dogs. Do you have any? No.
We are going to find a new home for this dog, OK? Yeah.
Let's do it. This is it.
Look at that. Nice. Sweet!
65. 70. 5.
80. 5. 85. Oh, good.
With me then at ?85.
And selling on ?85, then.
That's good. There is big smiles. Yeah.
That's pretty good. Yeah. I'm pleased.
Next, we travelled eastwards when we returned to TW Gaze in Diss,
Norfolk, to sell Brian's tailor's pattern book.
Auctioneer Ed Smith was on the rostrum.
If you want to look dapper, you've got to own this book.
But you've got to bid on it right here, right now. I love this.
I'm sure there are some tailors around here who would love to
own something like this.
I think, yeah. Absolutely. Because it's... You look dapper...
So do you. We can self-congratulate each other.
But you can make everything from lovely hunting jackets...
to your underwear, to shirts, to breeches, it's brilliant. Yeah.
Look, good luck with this. Thank you very much.
The tailor's pattern book is going under the hammer.
Let's get that top end. Here we go.
The Science Of Pattern Construction For Garment Makers there.
What do you say to this single volume? ?50 for it? 50.
That's actually nothing for a book like that. That's nothing, yeah.
?30. Who'll start me? A good book there for ?30.
Garment making here for ?30. Oh, come on. At ?30.
20 to start, then. Lowest I'll bid. Oh. It is here to go.
Yep, 20 I have.
20 we have. Is there 2?
?20 start. Is there 2?
We will be selling for ?20. It is going to go.
No reserve. 20 quid. That's right. That's no problem.
There is commission to pay on that. That's no problem.
He's quite relaxed. Yes, I am.
Look, it's gone to a new home.
That's right. Hopefully, someone will appreciate it.
It's better than being in a loft. That's what we thought.
Better than the bin. That's right. Better than the bin. Yeah.
Next, in Cumbria, for the sale of Stuart's Jaeger wristwatch,
we headed over to 1818 Auctioneers in South Lakeland.
Wielding the gavel was auctioneer Kevin Kendal.
We have a Jaeger stainless steel watch belonging to Stuart.
Sadly, he can't be with us today.
But we do have our expert, Elizabeth.
It looks more like a ladies' watch, it's got a really small face.
Yes, but I think the period it was made it was very much the fashion
to have the smaller watch faces. And, actually, they're coming back.
Cos I know young ladies,
you know, the sort of 20-30-year-olds like the big dials.
Nice and functional and chunky.
Right, OK, fingers crossed we got a buyer in the room.
Lot 510, the Jaeger-LeCoultre.
Let's start at a sensible ?100.
?100 bid. 110. 120. 130.
140. 150. 160.
170. 170 without the internet.
180 on the internet now.
180. 180 now. 190 on the internet.
I think we're going to sell at 190.
190, we'll sell away.
On my head be it. If you're all done at 190...
Gone. Just. Just.
Well... That was close. It was very close. That was really close.
I think Stuart would agree that he would let it go for the extra ?10.
Yeah. If he was here. The auctioneer persuaded us there.
I think so. Good auctioneer. Yes, good auctioneer.
When he heard the news,
Stuart was pleased with the amount his Jaeger wristwatch fetched.
And, finally, for our last stop of the day,
we headed to Thomson Roddick and Medcalf Saleroom in Carlisle,
where auctioneer Steven Parkinson was on the rostrum.
380. That's yours.
Yvonne, my favourite lot of the whole sale today.
Oh, I love Bernard Leach. And so do you, don't you?
I chose it for you, Paul.
It's that taste of the Orient. It's the brushwork, isn't it?
It's the way the pot was thrown and the kiln with the wood burning.
Everything about it is so nice. It's so thoughtful. It is, yes.
But also, it's the sort of thing that could still be missed
and not recognised. Yes.
Because studio pots come through and a lot of people, collectors
and auctioneers, don't realise what they've got with those. No.
This is quite special. Really important to check out those marks.
And to keep an eye out for things like this. Yeah.
My sons have told me I've got to start getting rid of pots.
Everyone will want this. Ready?
LAUGHTER Here we go. This is it.
Lot 760 is this nice Bernard Leach studio pottery covered preserve pot.
It is a nice one, isn't it?
Signed underneath as well.
I can start the bidding here with me.
Straight in at 140. 150.
180 bid straight away. 200 on the internet.
220. 240. 260. 280.
At 280, they're loving this. 280!
At 280... Oh, no. Yes! 320.
At 320. At 340.
At 340. Is that it?
Yes! Yes! Bernard Leach does it for Cornwall.
It's all in that Oriental brushwork.
I just can't believe it. Yeah, it's good. It's a good price.
It is. Yeah. I never expected that. He's so sought-after.
So sought-after. Oh! I can't wait to tell my sons, you see,
because they thought it wasn't worth anything. Yeah.
?340 for a little pot. It's made my day. It's made yours.
But, Yvonne, it's made yours, hasn't it, darling? Oh, yes.
What a fantastic result and a beautiful piece of pottery.
If you've got anything like that at home, we'd love to see it.
So bring it along to a "Flog It!" valuation day.
Well, that's it for today's show.
And I thoroughly enjoyed being here at Llanerchaeron.
We've seen some wonderful treasures from around the country.
Your treasures. And we've had some great results in the auction room.
That really is it. So, until the next time, it's goodbye.
Partners In Rhyme, the show that's all about finding rhymes.
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Crab doing a dab.
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Tom Hardy in a cardie. Yeah!
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