0:00:02 > 0:00:05Today's valuation day is on the Sandon Hall estate in the centre of
0:00:05 > 0:00:09Staffordshire. The landscape around here hasn't changed in
0:00:09 > 0:00:13hundreds of years. It's quintessential English countryside.
0:00:13 > 0:00:15Welcome to Flog It!
0:00:41 > 0:00:45The present house was built in 1854 after a fire destroyed
0:00:45 > 0:00:47the earlier 18th-century hall.
0:00:49 > 0:00:52Fortunately, it was a slow burn and they were able to save
0:00:52 > 0:00:56the family portraits and some of the original features,
0:00:56 > 0:00:58like this stunning marble fireplace.
0:01:02 > 0:01:04Sandon Hall has been given a face-lift today
0:01:04 > 0:01:06with this bright, cheerful crowd.
0:01:06 > 0:01:10Hundreds of people have turned up laden with antiques and
0:01:10 > 0:01:13collectables on a quest to test our experts' knowledge. But, of course,
0:01:13 > 0:01:17there is only one question on everybody's lips, which is...
0:01:17 > 0:01:18ALL: What's it worth?
0:01:18 > 0:01:20Stay tuned and you'll find out.
0:01:22 > 0:01:24Our experts today are Charles Hanson...
0:01:25 > 0:01:27You look a jazzy lady.
0:01:27 > 0:01:29That's a jazzy lady.
0:01:29 > 0:01:30..and David Fletcher.
0:01:30 > 0:01:33I've got bits of the glass. His mouth goes back, pushes back,
0:01:33 > 0:01:36and then smoke comes out of his ears. Used to. Used to.
0:01:36 > 0:01:39Well, do you know, we'll have to take your word for that, won't we?
0:01:44 > 0:01:46Do you know, you can tell a man's age by his Dinky toys?
0:01:46 > 0:01:48Can you really? Yeah.
0:01:48 > 0:01:50Why are you looking at me? THEY LAUGH
0:01:52 > 0:01:56Later on in the show, Charles is stumped by this curious sculpture.
0:01:56 > 0:02:00Wonderful, bronze, Art Deco archer.
0:02:01 > 0:02:03But it's wooden. Yeah.
0:02:04 > 0:02:08We find out what turns this ordinary, silver tea service
0:02:08 > 0:02:09into a gold mine.
0:02:09 > 0:02:12It took my breath away when I saw this just now.
0:02:12 > 0:02:15And at the auction there are even more surprises.
0:02:17 > 0:02:18That took us back a bit, didn't it?
0:02:18 > 0:02:20I'm thrilled. I'm gobsmacked.
0:02:20 > 0:02:23And I discover the double life of a famous photographer.
0:02:23 > 0:02:26I felt that if I rang up an art director and said,
0:02:26 > 0:02:29"I want to come and show my pictures to you," and he said, "Who are you?",
0:02:29 > 0:02:30and I said, "Lord Lichfield," he'd say,
0:02:30 > 0:02:33"Oh, well, here's just another rich, young man with a camera."
0:02:33 > 0:02:34An amateur or something.
0:02:35 > 0:02:38All that's coming up later on in the show.
0:02:39 > 0:02:43Well, everyone's now safely seated inside this magnificent building.
0:02:43 > 0:02:46We've literally taken over all of the ground floor.
0:02:46 > 0:02:47Hundreds of people have turned up.
0:02:47 > 0:02:51We need to find some treasures of our very own to take off to auction.
0:02:51 > 0:02:53We're going to make a start right now with Charles Hanson.
0:02:55 > 0:02:57Hani, thank you for coming.
0:02:57 > 0:02:59You're looking radiant in pink.
0:02:59 > 0:03:01You are. I'm being serious.
0:03:01 > 0:03:05And you've brought in today a most magnificent jardiniere.
0:03:05 > 0:03:07Isn't it wonderful? Is that what it is?
0:03:07 > 0:03:12It is. It's essentially where you place your flowers in arrangement,
0:03:12 > 0:03:17but I almost feel like, Hani, it's hobbled in on three legs.
0:03:17 > 0:03:22Yes. Because, inside the jardiniere, we've got this foot.
0:03:22 > 0:03:24Yes... I don't believe it.
0:03:24 > 0:03:25No, I don't either. No.
0:03:25 > 0:03:30What happened? I caught the bag on the step outside Sandon Hall.
0:03:30 > 0:03:32But you're OK? Oh, yes.
0:03:32 > 0:03:35You're OK? Your legs are OK?
0:03:35 > 0:03:38Fine. Yes, yes, yes. I reckon that's my granny telling me not to sell it.
0:03:38 > 0:03:41You think so? You think there's somebody up there...?
0:03:41 > 0:03:43Yes, saying, "No, Hani, don't sell."
0:03:43 > 0:03:45Really? Yes. Have you changed your mind now?
0:03:45 > 0:03:47Are you OK? No, no. No, no. Right, it's got to go.
0:03:47 > 0:03:50It's going, yeah. Granny won't knock me, will she, at all, no?
0:03:50 > 0:03:51No, she'll haunt me, not you.
0:03:51 > 0:03:53Crikey me. Don't say that, Hani. Crikey me.
0:03:53 > 0:03:59I like it because, although it's very white, it's not porcelain.
0:03:59 > 0:04:02No. Of course, it's what we call a crude,
0:04:02 > 0:04:07tin-glazed earthenware and we can see on this foot how actually...
0:04:07 > 0:04:11Yeah. ..it's this red earthenware body, so it's pottery.
0:04:11 > 0:04:13Yes. It's quite coarse.
0:04:13 > 0:04:19What these potters did was paint over that earthenware body with
0:04:19 > 0:04:24a very rich tin glaze, which we call Delftware.
0:04:24 > 0:04:25Oh, right. OK?
0:04:25 > 0:04:28Right, yes, yes, yes. So we call it Delftware.
0:04:28 > 0:04:33In France, it was called Faience Quimper, which is
0:04:33 > 0:04:37Q-U-I-M-P-E-R.
0:04:37 > 0:04:41It was a great centre, like Stoke is down the road... Yes.
0:04:41 > 0:04:46..where many factories in the 18th and 19th centuries were making
0:04:46 > 0:04:51this type of material, in that it's very distinctive, isn't it?
0:04:51 > 0:04:53Oh, yeah. Look at the colour scheme.
0:04:53 > 0:04:55Yeah. Do you like it?
0:04:55 > 0:04:58Um. I'm not sure. I always used to grow hyacinths in it.
0:04:58 > 0:05:00Oh, right, well, thanks for coming.
0:05:00 > 0:05:02SHE LAUGHS
0:05:02 > 0:05:04I always used to grow hyacinths in it.
0:05:04 > 0:05:06Did you? Well, that's its story, you see.
0:05:06 > 0:05:08Till my mother-in-law said,
0:05:08 > 0:05:10"I don't really think you ought to grow hyacinths in that."
0:05:10 > 0:05:13And your hyacinths have long since gone?
0:05:13 > 0:05:15Yes. Yes. And maybe it's time to now Flog It!?
0:05:15 > 0:05:17SHE LAUGHS I'm sure it is, yes.
0:05:17 > 0:05:19As long as Grandma doesn't strike again.
0:05:19 > 0:05:21It's had a good lifestyle.
0:05:21 > 0:05:23Yeah. I think what we can do
0:05:23 > 0:05:26is very much stick that, or the auctioneer can.
0:05:26 > 0:05:27But it was a clean break.
0:05:27 > 0:05:29It's a clean break. We can see, Hani,
0:05:29 > 0:05:31there's no great concern there.
0:05:31 > 0:05:34That foot sits on like there's no tomorrow.
0:05:34 > 0:05:35Absolutely fine.
0:05:35 > 0:05:37So I'm not too concerned by that.
0:05:37 > 0:05:39Right. Will it affect the value?
0:05:39 > 0:05:41Well, of course it will. Yeah.
0:05:41 > 0:05:45But Quimper is very liable to chipping.
0:05:45 > 0:05:48And the rim and the handles are in superb condition.
0:05:48 > 0:05:52Yeah. It was probably worth in the region of between
0:05:52 > 0:05:54?70 and ?100.
0:05:54 > 0:05:58With that foot being off now, I think we need to be more realistic.
0:05:59 > 0:06:03And I would say between ?40 and ?60.
0:06:03 > 0:06:06Well, if it doesn't make 40, I'll take it back home.
0:06:06 > 0:06:09I don't blame you.
0:06:09 > 0:06:13David's next item has also arrived in two pieces.
0:06:13 > 0:06:15Hello, Angela. Hello, David.
0:06:15 > 0:06:16Thank you for bringing these rings in.
0:06:16 > 0:06:19Now, are they family rings or did you buy them or...?
0:06:19 > 0:06:22No, I bought them. Did you buy them with a view to selling them?
0:06:23 > 0:06:24Not immediately, no.
0:06:24 > 0:06:26Right. But they don't fit.
0:06:26 > 0:06:28I thought they were a good buy anyway.
0:06:28 > 0:06:30I bought them at auction. Right.
0:06:30 > 0:06:33In the hope that you might make a bit of a profit if they didn't fit.
0:06:33 > 0:06:34Yes. OK. Right.
0:06:34 > 0:06:39The one on my right is 18-carat gold, I think.
0:06:39 > 0:06:43It's that yellowy sort of, rather than orange, colour,
0:06:43 > 0:06:46which suggests 18-carat. I will just check that.
0:06:49 > 0:06:50Yes, I'm right.
0:06:50 > 0:06:55It was assayed in Birmingham, and it is set on carved shoulders
0:06:55 > 0:06:59with two rubies and three small diamonds.
0:07:01 > 0:07:05This one is a single diamond.
0:07:08 > 0:07:10And it's illusion-set.
0:07:10 > 0:07:14It creates an illusion, by virtue of the fact that
0:07:14 > 0:07:17it's sitting on carved shoulders, of being bigger than it actually is.
0:07:17 > 0:07:22It's about 0.3 carats, about a third of a carat.
0:07:22 > 0:07:26Also 18-carat gold on platinum shoulders.
0:07:26 > 0:07:30Rings like this were produced in the Birmingham Jewellery Quarter in
0:07:30 > 0:07:33significant numbers, really, in the late 19th and 20th century.
0:07:33 > 0:07:36There were an awful lot of these things in circulation.
0:07:36 > 0:07:38They're very decorative.
0:07:38 > 0:07:39They would grace any hand.
0:07:39 > 0:07:42I mean, you know, you wouldn't be embarrassed or ashamed
0:07:42 > 0:07:45to wear them anywhere, but they aren't rare.
0:07:45 > 0:07:48So, we just have to be mindful of that.
0:07:48 > 0:07:49So, I have to ask you what you paid for them.
0:07:49 > 0:07:51140 for the two.
0:07:51 > 0:07:53For the two. OK.
0:07:53 > 0:07:57In an ideal world, I would like to have said an estimate of 100 to 150.
0:07:57 > 0:07:59And a reserve of 100.
0:07:59 > 0:08:03But, you know, let's have a bit of fun here and see if we can
0:08:03 > 0:08:05get you out of trouble, as they say.
0:08:05 > 0:08:10Reserve of ?150 and an estimate, this is for the two, of course...
0:08:10 > 0:08:13Yes. ..of 150 to 180.
0:08:14 > 0:08:17You don't look thrilled, but you're being
0:08:17 > 0:08:20reasonably realistic about it, aren't you? Yes. Good.
0:08:20 > 0:08:22Well, I look forward to seeing you at the sale, Angela.
0:08:22 > 0:08:24Thank you. Thank you very much.
0:08:25 > 0:08:26Rings are always popular.
0:08:26 > 0:08:29Fingers crossed they make some money for Angela.
0:08:31 > 0:08:34Sandon Hall is full of interesting family artefacts,
0:08:34 > 0:08:38but I've discovered one upstairs that poses a bit of a mystery.
0:08:41 > 0:08:44This beautifully embroidered robe has stood undisturbed
0:08:44 > 0:08:47in a glass case in this corridor for the past 50 years.
0:08:50 > 0:08:52I've invited Helen Persson,
0:08:52 > 0:08:56curator of Chinese textiles at the Victoria and Albert Museum,
0:08:56 > 0:08:59to have a look and see if she can shed some light on it.
0:09:02 > 0:09:04Look at it. The colours.
0:09:04 > 0:09:05The chromatic hue is quite intense.
0:09:05 > 0:09:10It's still there. It's absolutely an amazing colour,
0:09:10 > 0:09:13although that does also tell me about its date.
0:09:13 > 0:09:15OK. Because it's synthetic dyes.
0:09:15 > 0:09:17You can clearly see on the purple and the green.
0:09:17 > 0:09:21Synthetic dyes came to China around mid-1870s so we know
0:09:21 > 0:09:24it's definitely not before 1870s.
0:09:24 > 0:09:27And also, this stripy bit at the bottom,
0:09:27 > 0:09:33which was known as standing water, and then you have this swirly bit,
0:09:33 > 0:09:36the swirly water, and this tells me it belongs to the Qing dynasty,
0:09:36 > 0:09:42which was the last Empire of China, which ended in 1911.
0:09:42 > 0:09:45It's garments you would wear for festive occasions.
0:09:45 > 0:09:48OK. Banquets, birthdays, weddings.
0:09:48 > 0:09:50Presumably, an important woman, then.
0:09:50 > 0:09:52Someone elite, upper middle classes,
0:09:52 > 0:09:56that could afford this kind of form of embroidery. Mm-hm.
0:09:56 > 0:09:58Because the embroidery is beautifully made,
0:09:58 > 0:10:01but it is silk.
0:10:01 > 0:10:03And the silk embroidery is made by this really long thread.
0:10:03 > 0:10:05It hasn't been twisted.
0:10:05 > 0:10:09And to do that, you have to be quite a skilled embroideress.
0:10:09 > 0:10:13Although, Paul, I am questioning if it is actually for a woman.
0:10:13 > 0:10:14It is a bit too long.
0:10:14 > 0:10:16And the back's not plain at all, is it?
0:10:16 > 0:10:17If we can spin that round.
0:10:17 > 0:10:19Just turn it your way, look.
0:10:19 > 0:10:20There.
0:10:21 > 0:10:26So you can even better see the impact of the embroidery.
0:10:26 > 0:10:28It's definitely meant to show off.
0:10:28 > 0:10:29It is meant to show off.
0:10:29 > 0:10:35Definitely. And also you can see the fur which, I think, is an addition.
0:10:35 > 0:10:37That is a later addition. A later addition.
0:10:37 > 0:10:39Yes. For someone...
0:10:39 > 0:10:41in the Western world.
0:10:41 > 0:10:44Because it would have been much wider down here,
0:10:44 > 0:10:46so it's been taken in. Can you tell that?
0:10:48 > 0:10:50You can see at the side, it's been...
0:10:50 > 0:10:52Oh, yes, you can see it's folded. It's not lined up.
0:10:52 > 0:10:57No, it's not. And also, inside, you can see...
0:10:58 > 0:11:00..the remains of the original lining.
0:11:00 > 0:11:03Right. Yes, you can see that's been added to it, can't you?
0:11:03 > 0:11:04Yes. But isn't that wonderful?
0:11:04 > 0:11:08It is nice, actually. That's part of its journey, and its story, really.
0:11:08 > 0:11:11And the fact that it's been added to and used probably means
0:11:11 > 0:11:13it has survived... Yes. Exactly.
0:11:13 > 0:11:14..and not been neglected. No.
0:11:14 > 0:11:17If you would have worn this, here in England, for example,
0:11:17 > 0:11:19you know, you definitely would be noticed.
0:11:25 > 0:11:29From a coat of many colours to colours of a very different hue.
0:11:30 > 0:11:36Objects often really speak to me a sentiment,
0:11:36 > 0:11:41an emotion. On our stand today is a collection of medals which I'm
0:11:41 > 0:11:45hoping you can perhaps give me who they belong to.
0:11:45 > 0:11:48Right, well, they belong to my late wife's family.
0:11:49 > 0:11:52Her father passed them down to her.
0:11:52 > 0:11:55They were his father's, who served in the First World War.
0:11:55 > 0:11:58I don't know that much more about them,
0:11:58 > 0:12:01other than they've been sitting in the tin and they're not really
0:12:01 > 0:12:04connected to my family any more, and I would appreciate maybe that
0:12:04 > 0:12:06somebody else would appreciate them.
0:12:07 > 0:12:10It's a remarkable collection, Graham.
0:12:10 > 0:12:14Starting at the top, here. Queen Mary, Christmas 1914,
0:12:14 > 0:12:18in this tin sent, all those wonderful servicemen chocolate,
0:12:18 > 0:12:21tobacco, even a pencil in these tins.
0:12:21 > 0:12:24Oh, right, that's what they were. Which came as a welcome,
0:12:24 > 0:12:29patriotic love that back home we were thinking about our fathers,
0:12:29 > 0:12:34our brothers. And a tin like this, which isn't complete...
0:12:35 > 0:12:38..today is worth at auction about ?35.
0:12:38 > 0:12:43Complete, with the content still, there's a huge passion now to find
0:12:43 > 0:12:47these complete ones and they can make between ?150 and ?200.
0:12:47 > 0:12:49Yeah, I appreciate that. Which is wonderful.
0:12:49 > 0:12:52And then breaking up the whole collection, Graham,
0:12:52 > 0:12:55on the left-hand side here, we have two medals, standard issue
0:12:55 > 0:12:59war medal in silver here.
0:12:59 > 0:13:01Victory medal as well, slightly tarnished.
0:13:01 > 0:13:05The nice thing is, Graham, they've been within this tin.
0:13:05 > 0:13:07Haven't seen any polishing.
0:13:07 > 0:13:12Haven't been highly cleaned and still represent that condition
0:13:12 > 0:13:15which collectors like. And very indistinctly,
0:13:15 > 0:13:17we can read Private Gunner Marsh.
0:13:19 > 0:13:21This little badge down here... Yeah.
0:13:21 > 0:13:25..of course, it reads, "For King And Empire Services Rendered."
0:13:25 > 0:13:28And many servicemen who were injured were given one of these.
0:13:28 > 0:13:30So that little group there,
0:13:30 > 0:13:35probably, in the saleroom is probably worth between ?30 and ?50.
0:13:35 > 0:13:39OK. And then over here, I think the most interesting collection,
0:13:39 > 0:13:44we've got, again, war medal and the Victory medal, but this time
0:13:44 > 0:13:47it's to a man called, I think, Venny.
0:13:47 > 0:13:49Venning. Now who was Venning?
0:13:49 > 0:13:53That was my late wife's maiden name.
0:13:53 > 0:13:54Bombardier Venning.
0:13:54 > 0:13:56That would probably have been her grandfather.
0:13:56 > 0:13:58And this medal down here, I believe,
0:13:58 > 0:14:03is for a different man altogether, who was Private Edmonds.
0:14:03 > 0:14:05I don't know that name. Who was he?
0:14:05 > 0:14:10I couldn't tell you that one, sorry. No, no. I think 20 years ago,
0:14:10 > 0:14:15you could have bought a standard defence and Victory medal for ?25,
0:14:15 > 0:14:18but as time has moved on and we have thought more
0:14:18 > 0:14:22about what these medals represent in society generally,
0:14:22 > 0:14:25they become more cherished,
0:14:25 > 0:14:29not amongst families but also within collectors' circles,
0:14:29 > 0:14:35and values have risen. And I would hope, Graham, the lot would make
0:14:35 > 0:14:3680 to 120... Yeah.
0:14:36 > 0:14:40..and we'll put a reserve at 70. Yeah. Guide between 80 and 120,
0:14:40 > 0:14:42and hopefully, when we're at the auction,
0:14:42 > 0:14:46we can learn a bit more about these individuals. Yeah.
0:14:46 > 0:14:48Thanks a lot, Graham. Thank you very much.
0:14:48 > 0:14:50Wonderful. Appreciate that.
0:14:50 > 0:14:53David delves into some more recent history.
0:14:54 > 0:14:57Hi, Audrey. How do you do, sir?
0:14:57 > 0:15:00Wolves autographs 1946-1947. Yes.
0:15:00 > 0:15:03They belonged to by late husband, who was a football -
0:15:03 > 0:15:07Wolves football... Fanatic? Yes, he was, yes.
0:15:07 > 0:15:09Right. How old would your husband have been then?
0:15:09 > 0:15:13Born in 1931. 1931. In which case, he'd have been 15... Right.
0:15:13 > 0:15:17..when he went to collect those autographs. Yes. Remarkable, really.
0:15:17 > 0:15:22A 15-year-old lad. Yeah. Him and his brother used to cycle to Wolves
0:15:22 > 0:15:24more or less every Saturday.
0:15:24 > 0:15:27Well, good for him. And are they all football autographs? No.
0:15:27 > 0:15:31There's some film stars, some radio stars.
0:15:31 > 0:15:34Well, I see you've tagged some. Shall we make our way through them?
0:15:34 > 0:15:37The first one is football, as it happens.
0:15:37 > 0:15:40Stoke City. Stanley Matthews.
0:15:40 > 0:15:43The great Stanley Matthews. The great Sir Stanley Matthews,
0:15:43 > 0:15:47a Staffordshire legend. Played for Blackpool as well, of course.
0:15:47 > 0:15:52And who is this? That looks like Deborah Kerr, is it? OK.
0:15:52 > 0:15:56Famous for that speech scene with Burt Lancaster. Correct.
0:15:56 > 0:16:00What was the film called? From Here to Eternity? That's right.
0:16:00 > 0:16:02Great, that film. That was very naughty, wasn't it?
0:16:02 > 0:16:04Well, it was a naughty film in them days.
0:16:04 > 0:16:07So we've already got a mixture, haven't we? We've got film stars
0:16:07 > 0:16:08and footballers.
0:16:08 > 0:16:11And you've tagged this one here,
0:16:11 > 0:16:14which is...
0:16:14 > 0:16:16Leonard Cheshire. Correct.
0:16:16 > 0:16:19Gosh, so that's a military one,
0:16:19 > 0:16:21I suppose we could call it. Royal Air Force, of course,
0:16:21 > 0:16:24and founder of the Leonard Cheshire homes.
0:16:24 > 0:16:26So we've got a really good little collection here
0:16:26 > 0:16:31from a wide range of backgrounds.
0:16:31 > 0:16:36Now, I don't think any of them are big, big stars,
0:16:36 > 0:16:40but your husband, bless his cotton socks, collected all of these?
0:16:40 > 0:16:43Correct, yes. He must have worked jolly hard to get them.
0:16:43 > 0:16:46I think this is a great little collection. Now...
0:16:46 > 0:16:48You're obviously happy to sell it? Yes.
0:16:48 > 0:16:51Otherwise, you wouldn't have agreed to that.
0:16:51 > 0:16:55Do you have any hopes or expectations? None whatsoever.
0:16:55 > 0:16:58Let's go with an estimate, an auction estimate, of ?50-80.
0:16:58 > 0:17:04Right. And I think we should put a covering reserve of, say, ?30.
0:17:04 > 0:17:07Right. OK? Yes, that'll do. Jolly good.
0:17:07 > 0:17:09Well, I look forward to seeing these sold.
0:17:09 > 0:17:12They are... Many of them are of local interest,
0:17:12 > 0:17:14which is great.
0:17:14 > 0:17:15And I'm sure we'll do well for you.
0:17:15 > 0:17:18All right, then. See you at the sale. Bye.
0:17:23 > 0:17:25Before we head off to auction,
0:17:25 > 0:17:28there is something I would like to show you.
0:17:28 > 0:17:32This small and rather unremarkable watercolour portrait is of
0:17:32 > 0:17:35Dudley Ryder, the first Earl of Harrowby
0:17:35 > 0:17:38and the owner of Sandon Hall back at the turn of the 19th century.
0:17:38 > 0:17:41It was painted in the early-1800s,
0:17:41 > 0:17:42when Ryder was in his 40s
0:17:42 > 0:17:47and at the very peak of an extraordinary political career.
0:17:47 > 0:17:51Born in 1762, Dudley Ryder, the first Earl,
0:17:51 > 0:17:55lived through one of the more turbulent times in British history.
0:17:56 > 0:18:01The rise of Napoleon after the French Revolution resulted in a war
0:18:01 > 0:18:04with Britain that would last for nearly 20 years,
0:18:04 > 0:18:07putting enormous pressure on the government,
0:18:07 > 0:18:11particularly the first Earl, who was the foreign secretary at the time.
0:18:11 > 0:18:15So what do we know of Dudley Ryder's life during this period?
0:18:15 > 0:18:18There are clues scattered throughout the house.
0:18:21 > 0:18:23Firstly, there's this portrait of William Pitt the Younger,
0:18:23 > 0:18:28so-called because he was England's youngest ever prime minister,
0:18:28 > 0:18:30taking office at the tender age of 24.
0:18:34 > 0:18:38Secondly, there's this letter from Dudley Ryder.
0:18:43 > 0:18:45And this pair of duelling pistols.
0:18:45 > 0:18:49Now, individually they don't mean much,
0:18:49 > 0:18:52but put them all together and they tell an extraordinary story
0:18:52 > 0:18:58which puts Ryder at the very centre of English politics.
0:18:58 > 0:19:01But to understand how all of these items are related,
0:19:01 > 0:19:04we need to go back in time to 1798.
0:19:08 > 0:19:11Britain's long war with revolutionary France
0:19:11 > 0:19:14was an expensive drain on the government's resources.
0:19:14 > 0:19:20So when the prime minister, William Pitt, agreed to more funds,
0:19:20 > 0:19:22the leader of the opposition, George Tierney,
0:19:22 > 0:19:27accused him of being reckless with the country's finances.
0:19:27 > 0:19:30A heated debate followed, leading to the very unusual situation
0:19:30 > 0:19:34of the prime minister having to defend his honour in a duel.
0:19:34 > 0:19:37It was then that Pitt wrote the letter to Dudley Ryder,
0:19:37 > 0:19:40his friend and member of his cabinet.
0:19:40 > 0:19:42"Dear Ryder.
0:19:42 > 0:19:45"If you find five minutes, I should be much obliged to you
0:19:45 > 0:19:48"if you would come here if possible before dinner -
0:19:48 > 0:19:51"if not, as soon after as is possible -
0:19:51 > 0:19:54"on a matter on which I knew I may trust your friendship
0:19:54 > 0:19:57"and which does not admit of delay."
0:19:57 > 0:20:01When they met, Pitt asked Dudley Ryder to be his second in the duel,
0:20:01 > 0:20:04a request usually reserved for the duellist's best friend.
0:20:04 > 0:20:09One of the roles of the second was to provide the pistols,
0:20:09 > 0:20:13and these are the very pistols that Dudley Ryder took
0:20:13 > 0:20:17to Putney Common in South London at dawn the next morning.
0:20:17 > 0:20:19Many people said the duel was slightly unequal
0:20:19 > 0:20:23because Pitt was very thin and Tierny was very fat,
0:20:23 > 0:20:26thus making him a larger target.
0:20:26 > 0:20:29It's reported Pitt fired twice - once at his opponent,
0:20:29 > 0:20:32and his second shot in to the air.
0:20:32 > 0:20:34Fortunately, neither man was injured,
0:20:34 > 0:20:37and they retired with their honour intact.
0:20:39 > 0:20:43Alone, these three items are interesting. But put them together
0:20:43 > 0:20:46and they are exceptional. Their provenance
0:20:46 > 0:20:49which relates their story together imbues each item
0:20:49 > 0:20:51with much greater meaning.
0:20:55 > 0:20:58'Sandon Hall is still home to the first Earl's descendants.
0:21:01 > 0:21:04'I met up with Conway Ryder, the eighth Earl,
0:21:04 > 0:21:07'to hear more about his ancestor's eventful life.'
0:21:08 > 0:21:10That time, the 1st Earl was foreign secretary
0:21:10 > 0:21:14and after the end of the battle, the Duke of Wellington
0:21:14 > 0:21:16wrote his dispatch to the government.
0:21:16 > 0:21:18One of his staffers set off to London...
0:21:20 > 0:21:24..with the standards which had been captured from the French.
0:21:24 > 0:21:27They arrived at about ten o'clock in the evening.
0:21:27 > 0:21:29He went to Downing Street to deliver the message,
0:21:29 > 0:21:31was told that there was nobody there,
0:21:31 > 0:21:33that they'd all gone to dinner
0:21:33 > 0:21:36with Lord Harrowby, who was the foreign secretary, as I mentioned,
0:21:36 > 0:21:38in his house in 44 Grosvenor Square.
0:21:38 > 0:21:42And so, off he went with a growing crowd...
0:21:42 > 0:21:44Swelling the streets. Yes, you can imagine the excitement.
0:21:44 > 0:21:47I mean, this is the end of a very long war.
0:21:47 > 0:21:50So this great throng went off to Grosvenor Square,
0:21:50 > 0:21:52and there they found the cabinet,
0:21:52 > 0:21:57and he was able to rush in to the house shouting, "Victory."
0:21:59 > 0:22:01Now, there's a rather lovely story
0:22:01 > 0:22:07because my late grandfather remembered as a very young boy
0:22:07 > 0:22:14an extremely elderly aunt who was a child in that house on the night
0:22:14 > 0:22:18when the announcement was made, because it was a family home.
0:22:18 > 0:22:22And she was woken up by a great rumpus downstairs,
0:22:22 > 0:22:25and rushed out from the nursery bedroom
0:22:25 > 0:22:29right up at the top of the house, and looked down through the stairwell
0:22:29 > 0:22:33and saw all these old men dancing around the house,
0:22:33 > 0:22:37shouting, "Victory! Victory!" and celebrating. Wow.
0:22:37 > 0:22:40And it's just rather a lovely... What an image.
0:22:40 > 0:22:44..memory two links back to the battle. Sure.
0:22:44 > 0:22:47He lived an incredibly long life, into his 80s, didn't he?
0:22:47 > 0:22:51Yes, indeed, and in fact, it was rather a sad end.
0:22:51 > 0:22:53I mean, he could have lived much longer,
0:22:53 > 0:22:55but in December 1847,
0:22:55 > 0:22:59Lord Harrowby's favourite granddaughter,
0:22:59 > 0:23:03Charlotte Mary, was standing too close to an open fire.
0:23:05 > 0:23:09Her dress went up in a sheet of flames, she was very badly burned.
0:23:09 > 0:23:13He tried to help put the fire out and got quite badly burned himself.
0:23:13 > 0:23:16She sadly died a few days later.
0:23:16 > 0:23:19He was inconsolable, he loved this girl.
0:23:21 > 0:23:23Maybe the shock from that, who knows?
0:23:23 > 0:23:29But he contracted pneumonia and died on Boxing Day a few days later.
0:23:29 > 0:23:34Dudley Ryder, first Earl of Harrowby, died as he lived - dramatically.
0:23:34 > 0:23:36What an extraordinary life.
0:23:46 > 0:23:50It doesn't get much better than this for a valuation day venue.
0:23:50 > 0:23:52Every room is a real feast for the eyes.
0:23:52 > 0:23:54Take this, for instance.
0:23:54 > 0:23:56Look. Hand-painted Chinese wallpaper,
0:23:56 > 0:24:00a touch of the Orient comes to Stafford, but right now we need to
0:24:00 > 0:24:04go over to the auction. Our experts have found their items, so will
0:24:04 > 0:24:07they be full of Eastern promise? We're just about to find out.
0:24:07 > 0:24:09Here's a quick recap of what's going under the hammer.
0:24:12 > 0:24:15This pretty plant pot lost its foot when Hani lost her footing,
0:24:15 > 0:24:17but it's still got a lot of charm.
0:24:20 > 0:24:23Angela's rings are perfect in every way.
0:24:23 > 0:24:26They just don't fit Angela.
0:24:26 > 0:24:30And this selection of medals holds many stories, a very poignant lot.
0:24:32 > 0:24:35Marjorie's autographs are a who's who of sportsmen
0:24:35 > 0:24:38and entertainers from the '40s and '50s.
0:24:40 > 0:24:44We've crossed counties to Shropshire for today's auction,
0:24:44 > 0:24:47which is Halls saleroom just outside Shrewsbury.
0:24:49 > 0:24:51The auction is just about to start.
0:24:51 > 0:24:52Jeremy Lamond is now on the rostrum.
0:24:52 > 0:24:54I'm going to catch up with our owners.
0:24:54 > 0:24:56I know they're feeling really nervous.
0:24:56 > 0:24:57Whatever you do, don't go away.
0:24:57 > 0:24:59We could have that big surprise.
0:24:59 > 0:25:02Don't forget, if you are buying or selling in an auction room,
0:25:02 > 0:25:03there is commission to pay.
0:25:03 > 0:25:07Here, if you're selling something, the commission is 19% plus VAT.
0:25:09 > 0:25:12First up, it's Angela's rings.
0:25:12 > 0:25:16?70 and ?75. I think that's what you said you paid for them in auction,
0:25:16 > 0:25:17something like that. Each. Each, yeah.
0:25:17 > 0:25:19And you love the atmosphere.
0:25:19 > 0:25:21Well, we've got a cracking atmosphere here today.
0:25:21 > 0:25:23Fingers crossed we can get you your money back.
0:25:23 > 0:25:24Yes. That's what we hope, don't we?
0:25:24 > 0:25:26Here we go, they're going under the hammer.
0:25:26 > 0:25:30Solitaire diamond ring with facet-cut shoulders,
0:25:30 > 0:25:3318-carat gold shank, and an 18-carat gold diamond and ruby ring,
0:25:33 > 0:25:36hallmarked Birmingham, 1906.
0:25:36 > 0:25:40The bid is here at 140, 150, 160, ?160 now, 160,
0:25:40 > 0:25:42at ?160.
0:25:42 > 0:25:44At 160. Go on, 160.
0:25:44 > 0:25:45170, where?
0:25:45 > 0:25:47At ?160.
0:25:47 > 0:25:50I am selling this lot at ?160.
0:25:50 > 0:25:54At 160, 170, at ?170 now.
0:25:54 > 0:25:56180, where? At ?170, it's with you.
0:25:56 > 0:25:59Have you all finished, then? At 170.
0:26:00 > 0:26:02Well done. ?170.
0:26:02 > 0:26:04That's great. It's always nice to sell something
0:26:04 > 0:26:05in the middle of the estimate. Yes, yes.
0:26:05 > 0:26:07Will you buy any more jewellery?
0:26:07 > 0:26:08Yes, I'll make sure it fits.
0:26:11 > 0:26:14Next up it's Hani with her legless jardiniere.
0:26:15 > 0:26:18I heard it, you know, and everyone went, "Ooh!," like that,
0:26:18 > 0:26:20it was like panto. Yeah, yeah, it was.
0:26:20 > 0:26:22A lovely jardiniere, though.
0:26:22 > 0:26:25Yes, it is. Well, I really felt I should not sell it.
0:26:25 > 0:26:28Why is that? Well, you said all these wonderful things about it.
0:26:28 > 0:26:31Well, look, let's find out what the bidders think.
0:26:31 > 0:26:34It's going under the hammer right now. This is it.
0:26:34 > 0:26:38Late 19th-century French faience jardiniere at ?25.
0:26:38 > 0:26:44At 25, 25, 30, 35, at ?35, at ?35, any more?
0:26:44 > 0:26:4635, at ?35.
0:26:46 > 0:26:48Are we all finished, then? At ?35.
0:26:48 > 0:26:4935.
0:26:51 > 0:26:52Not today, I'm afraid, for this one.
0:26:52 > 0:26:54It didn't sell. No.
0:26:54 > 0:26:56No. Gosh, you weren't far off, Charles.
0:26:56 > 0:26:58It was five pounds out. No. That's absolutely nothing, is it?
0:26:58 > 0:27:01But I'm quite relieved that I might not be cursed or haunted now.
0:27:01 > 0:27:03No. I feel somewhat relieved, Hani. So am I.
0:27:03 > 0:27:05Well, look, do you know something? Do you know, I am too.
0:27:05 > 0:27:07That's a good result for us because...
0:27:07 > 0:27:09Truly, that was a wonderful result.
0:27:09 > 0:27:11You didn't want to sell it, did you? You didn't really.
0:27:11 > 0:27:13No, no, no, no. And now it's going home.
0:27:13 > 0:27:14I'm so pleased.
0:27:17 > 0:27:19Break out the hyacinths, Hani,
0:27:19 > 0:27:20and make Granny happy.
0:27:20 > 0:27:22And finally, it's Graham's medals.
0:27:24 > 0:27:27If I was in the trenches in the First World War
0:27:27 > 0:27:30and I had a Christmas tin, I would open it up and I would have
0:27:30 > 0:27:33the chocolate and the tobacco. I wouldn't save it, would you?
0:27:33 > 0:27:34No, keep going. It's desperate times.
0:27:34 > 0:27:37Tempting. No, no. I would've taken what I'd got.
0:27:37 > 0:27:40But, look, anyway, it's a wonderful thing, OK?
0:27:40 > 0:27:42And not many have survived.
0:27:42 > 0:27:44Well, we're looking around ?35 for the tin, aren't we? Yes, we are.
0:27:44 > 0:27:47But it's the medals. Hopefully, we can have a surprise.
0:27:47 > 0:27:49A collection of First World War medals.
0:27:49 > 0:27:52Service medals Grenadier H Venning RFA.
0:27:52 > 0:27:57HT Marsh RA, 1914-15 star, awarded to Private C Edmonds
0:27:57 > 0:27:59and a George VI Service Rendered cap badge,
0:27:59 > 0:28:04all to a Christmas 1914 pressed brass tobacco tin.
0:28:04 > 0:28:11Commissions here at ?70, at 70, 80, 90, 100, 110, 120,
0:28:11 > 0:28:13130, 140, commissions out.
0:28:13 > 0:28:15?140.
0:28:15 > 0:28:17At ?140. 140.
0:28:20 > 0:28:21Yes, ?140.
0:28:21 > 0:28:23Well done. Pleased with that. Yeah, so am I.
0:28:23 > 0:28:25So the charity will be as well.
0:28:25 > 0:28:27Oh, bless you. Got me going now.
0:28:28 > 0:28:31So, zooming back to the auction house in Shrewsbury
0:28:31 > 0:28:34where our next item is about to go under the hammer.
0:28:35 > 0:28:38Marjorie. Hello. Your autograph albums.
0:28:38 > 0:28:41Do you have a favourite signature in there?
0:28:41 > 0:28:43Stanley Matthews, I bet.
0:28:43 > 0:28:48No, the Wolves. Oh, the Wolves? Yes, yes. I don't know any famous...
0:28:48 > 0:28:50Derek Dougan, he was a Wolves player. Billy Wright.
0:28:50 > 0:28:53But that was a bit earlier, wasn't it, Billy? Was he in there?
0:28:53 > 0:28:55I don't think he's in there, no. No, he's not in the book...
0:28:55 > 0:28:58Your husband was a Wolves fan, wasn't he? Yes, yes, he was.
0:28:58 > 0:29:01Well, let's hope there's some football fans here today.
0:29:01 > 0:29:04There's other autographs, it's not all footballers.
0:29:04 > 0:29:07Yes, there's some film stars and radio stars and everything.
0:29:07 > 0:29:08Great, so it's a mixed lot,
0:29:08 > 0:29:10and they're going under the hammer right now.
0:29:13 > 0:29:18Lot 190 - four autograph books from the 1940s. 40, 50, ?60.
0:29:18 > 0:29:21At 60, I've got 5, 70. Flying away.
0:29:21 > 0:29:26?80 here. At ?80. That's brilliant. 90. Commissions out. ?90.
0:29:26 > 0:29:28On the internet at ?90. At ?90.
0:29:28 > 0:29:29All done at ?90?
0:29:31 > 0:29:33Oh, what a good result. That's great.
0:29:33 > 0:29:35Yeah, we had a fixed reserve at ?30 so we had to make that
0:29:35 > 0:29:37and we busted through it.
0:29:37 > 0:29:39We did. 90 quid! Fantastic.
0:29:41 > 0:29:44You probably noticed a lot of online bidding.
0:29:44 > 0:29:46That's because technology is all around us and it's moving
0:29:46 > 0:29:49at a rapid pace. Even in the saleroom.
0:29:49 > 0:29:50No longer do we have a porter,
0:29:50 > 0:29:53it's all shown on the screen and it's all internet buying.
0:29:53 > 0:29:57Photography has changed immensely in the last few years.
0:29:57 > 0:29:59No longer do we have a darkroom.
0:29:59 > 0:30:01Film is almost a thing of the past.
0:30:01 > 0:30:05One of the most famous photographers from that golden age of film grew up
0:30:05 > 0:30:07at nearby Shugborough Hall.
0:30:07 > 0:30:10Considering his choice of career and his surroundings,
0:30:10 > 0:30:12it was a match made in heaven.
0:30:16 > 0:30:20Stately homes make fabulous backdrops for photo shoots.
0:30:26 > 0:30:29So, what better career for the owner of one of these historic houses
0:30:29 > 0:30:31to choose than photography?
0:30:36 > 0:30:39And that's exactly what the owner of Shugborough did.
0:30:43 > 0:30:47We know him as Patrick Lichfield, second cousin to the Queen
0:30:47 > 0:30:51and jet-setting photographer to the stars, but his real name
0:30:51 > 0:30:55was Thomas Patrick John Anson, the fifth Earl of Lichfield,
0:30:55 > 0:30:57and Shugborough Hall was his family home.
0:31:02 > 0:31:05He inherited it at the tender age of 21.
0:31:05 > 0:31:09But crippling death duties and high maintenance costs forced him
0:31:09 > 0:31:12to hand it over to the National Trust.
0:31:14 > 0:31:18Patrick's privileged upbringing meant he had to work twice as hard
0:31:18 > 0:31:22to prove his success was down to his own merits, and he soon gained
0:31:22 > 0:31:26a reputation as a serious, hard-working photographer.
0:31:26 > 0:31:27I never used it at all to begin with,
0:31:27 > 0:31:30because I felt that if I rang up an art director and said,
0:31:30 > 0:31:33"I want to come and show my pictures to you," and he said,
0:31:33 > 0:31:35"Who are you?", and I said, "Lord Lichfield," he'd say,
0:31:35 > 0:31:38"Oh, well, here's just another rich young man with a camera."
0:31:38 > 0:31:39An amateur or something.
0:31:41 > 0:31:42It was the early '60s,
0:31:42 > 0:31:46an exciting time to be a fashionable young man with a camera in his hand.
0:31:48 > 0:31:52After a short apprenticeship at a commercial studio in London,
0:31:52 > 0:31:53Patrick struck out on his own,
0:31:53 > 0:31:56setting up Lichfield Studios in Notting Hill.
0:31:58 > 0:32:02In 1966, Patrick got his big break.
0:32:02 > 0:32:04A contract with American Vogue.
0:32:04 > 0:32:08This saw him taking photographs of beautiful people and luxury goods
0:32:08 > 0:32:12in exotic locations all around the world.
0:32:12 > 0:32:15Back in London, though, he wasn't the only photographer in town.
0:32:17 > 0:32:21Others like David Bailey and Terence Donovan were all becoming
0:32:21 > 0:32:24hot property at the time. One of this set was John Swanell,
0:32:24 > 0:32:27who remembers those heady days.
0:32:28 > 0:32:30It was pretty wild, I mean, it was, you know,
0:32:30 > 0:32:33you'd finish work and whoever you were shooting would hang around
0:32:33 > 0:32:35the studio till nine, ten o'clock and then you'd go out for dinner,
0:32:35 > 0:32:38wouldn't get in till four or five in the morning, and then get up at
0:32:38 > 0:32:40seven or eight o'clock and shoot the next day.
0:32:47 > 0:32:50The reason it was so interesting was because of the people that came in and
0:32:50 > 0:32:54out of the studio. All the people that you admired in your life.
0:32:54 > 0:32:56Michael Caine, Terence Stamp and Mick Jagger walked through there
0:32:56 > 0:33:00and The Beatles turned up. John Lennon and Yoko Ono, and they were magical days.
0:33:05 > 0:33:08He never played the lord, you know, he never played, you know,
0:33:08 > 0:33:09the grandee or anything.
0:33:09 > 0:33:11He was just one of the boys.
0:33:14 > 0:33:16Bailey was from the East End.
0:33:16 > 0:33:18He never let Patrick get off the hook ever, you know,
0:33:18 > 0:33:22he'd go to an exhibition of his and, I remember, it was 100 Most Beautiful Women In The World
0:33:22 > 0:33:25and Patrick had all these pictures on the wall and they produced a book,
0:33:25 > 0:33:28and Bailey came in, and there's a few people standing around and Patrick said,
0:33:28 > 0:33:30"What do you think, Bailey?"
0:33:30 > 0:33:33He said, "Yeah, Patrick, I was thinking of doing something like this myself."
0:33:33 > 0:33:35You know, doing the 100 Most Beautiful Women.
0:33:35 > 0:33:38He said, "Now, looking at your pictures, I still can." You know.
0:33:38 > 0:33:41And everybody started laughing and Patrick laughed the loudest.
0:33:43 > 0:33:44He had a good time, Patrick.
0:33:44 > 0:33:46I mean, he liked a good time.
0:33:46 > 0:33:50You know, he drank the best wines and went out with beautiful women
0:33:50 > 0:33:53and flew all over the world for ten years with these girls
0:33:53 > 0:33:56and it probably doesn't get much better than that.
0:33:57 > 0:34:01Ironically, Patrick was becoming a celebrity himself.
0:34:02 > 0:34:05With his jet-set lifestyle and string of beautiful girlfriends,
0:34:05 > 0:34:07the paparazzi were never far away.
0:34:09 > 0:34:11To escape the attention,
0:34:11 > 0:34:13Patrick began to spend more time at Shugborough.
0:34:13 > 0:34:15The agreement with the National Trust
0:34:15 > 0:34:18let him have a suite of private rooms.
0:34:18 > 0:34:22And Shugborough's photographic potential hadn't escaped his attention either.
0:34:22 > 0:34:26He began to hold shooting weekends here, where he could combine
0:34:26 > 0:34:28business with pleasure.
0:34:32 > 0:34:35Shooting at home allowed him to capture intimate pictures
0:34:35 > 0:34:37of some of the stars of the day...
0:34:43 > 0:34:44..but, equally, take beautiful,
0:34:44 > 0:34:47formal shots against the lavish backdrops inside.
0:34:50 > 0:34:52I was very envious, you know, how the backdrop was perfect.
0:34:52 > 0:34:54Couldn't have been better. Wherever you went,
0:34:54 > 0:34:57you'd just wander around and there was a backdrop for the pictures.
0:34:57 > 0:34:58It was just made-to-measure.
0:35:00 > 0:35:03Alongside his commercial photography, Patrick was also
0:35:03 > 0:35:07gaining a reputation within his extended family
0:35:07 > 0:35:10through a series of informal photographs of the Royals.
0:35:10 > 0:35:14This led to the biggest coup of his career, when he was appointed
0:35:14 > 0:35:17the official photographer to the royal wedding of Prince Charles
0:35:17 > 0:35:18and Lady Diana Spencer.
0:35:21 > 0:35:23His images went around the world.
0:35:24 > 0:35:26I think the pictures were wonderful.
0:35:26 > 0:35:28I think they were great, and especially the pictures
0:35:28 > 0:35:30where it's a bit less formal.
0:35:30 > 0:35:34Whereas any other photographer, you couldn't take, you know,
0:35:34 > 0:35:36be that forward and grab a picture
0:35:36 > 0:35:38of the Queen doing something over here
0:35:38 > 0:35:41or the kids running around or Princess Diana talking to her maids.
0:35:41 > 0:35:43Whereas Patrick could because they'd look over their shoulder and,
0:35:43 > 0:35:45"Oh, it's only Patrick," because he's one of them.
0:35:45 > 0:35:47You know, he belongs to the firm,
0:35:47 > 0:35:49they know him and feel comfortable with him,
0:35:49 > 0:35:52he's been to their barbecues in Balmoral, and so he's one of the family.
0:35:56 > 0:35:59In the coming decades, Patrick embraced the possibilities
0:35:59 > 0:36:01of the digital revolution in photography,
0:36:01 > 0:36:05and continued working right up until he died suddenly of a stroke,
0:36:05 > 0:36:09in November 2005. We couldn't believe it,
0:36:09 > 0:36:12you know, when somebody dies too quickly,
0:36:12 > 0:36:13because he was really healthy.
0:36:17 > 0:36:21Patrick Lichfield's photographic legacy is his unique record
0:36:21 > 0:36:23of a golden age of glamour.
0:36:35 > 0:36:38Welcome back to our magnificent valuation day venue location,
0:36:38 > 0:36:40Sandon Hall.
0:36:40 > 0:36:43As you can see, there are still hundreds of people here.
0:36:43 > 0:36:46We need to find some more antiques to take off to auction.
0:36:46 > 0:36:48And David's found just the thing.
0:36:50 > 0:36:52According to me, it's wrong. Yeah.
0:36:52 > 0:36:54Just a bit. Did it ever go?
0:36:54 > 0:36:56It did.
0:36:56 > 0:36:59Yes, it did. Years ago, it went, but Grandad was very good
0:36:59 > 0:37:03at overwinding watches. He got a bit of a thing that he felt
0:37:03 > 0:37:07they needed winding up all the time. So it belonged to your grandad?
0:37:07 > 0:37:08It did.
0:37:10 > 0:37:15I can't read the maker's mark, but there's a little anchor there,
0:37:15 > 0:37:18which tells us it was assayed in Birmingham... Right.
0:37:18 > 0:37:20..and a date letter of 1910.
0:37:20 > 0:37:23Gosh. So I think that's probably before your grandfather's time.
0:37:23 > 0:37:27Yeah. That's even a little bit before my grandfather's time.
0:37:27 > 0:37:29We have a silver case.
0:37:29 > 0:37:31The watch inside...
0:37:32 > 0:37:34..sadly, is not silver cased.
0:37:35 > 0:37:39These are called jumbo watches, for obvious reasons,
0:37:39 > 0:37:43and of course it doubles up, if you put it in a case like this,
0:37:43 > 0:37:45into a perfectly useful
0:37:45 > 0:37:49bedside clock with a little rest at the back.
0:37:49 > 0:37:51It's never sat beside your bed?
0:37:51 > 0:37:52No. No.
0:37:52 > 0:37:55OK. Well, that's what used to fascinate me as a child,
0:37:55 > 0:37:57because it was such a chunky watch.
0:37:57 > 0:38:02Yeah. This, we can tell, I think, quite obviously, really,
0:38:02 > 0:38:05is gold, but again we just need to check.
0:38:06 > 0:38:07And when I say it's gold,
0:38:07 > 0:38:10I'm not referring to the face, but to the case.
0:38:10 > 0:38:15The glass has become detached, but that can be put back easily enough.
0:38:15 > 0:38:18And if we lift the face out,
0:38:18 > 0:38:24we should be able to see the inside of the back of the case.
0:38:24 > 0:38:26There it is, and it is hallmarked.
0:38:26 > 0:38:30Now, I'd expected this to be continental, this case.
0:38:31 > 0:38:38But as large as life, I can see a crown for Sheffield... Oh.
0:38:38 > 0:38:42..and 18, which tells us it's 18-carat gold.
0:38:42 > 0:38:44They weren't great timekeepers.
0:38:45 > 0:38:48Never really were. And of course it's damaged.
0:38:48 > 0:38:52Yeah. So I think the chance of it being got to work again
0:38:52 > 0:38:55are pretty slight. And I also suspect it would cost more
0:38:55 > 0:38:58to get this roadworthy than you'd add to the value.
0:38:58 > 0:39:02Yes. Beautifully chased, I mean, the decoration on the dial is amazing.
0:39:04 > 0:39:08I must say that these things are not really worth as much as people
0:39:08 > 0:39:10sometimes hope that they are.
0:39:10 > 0:39:13And I might have to let you down gently here.
0:39:13 > 0:39:17Now, I think we ought to be thinking in terms of an estimate
0:39:17 > 0:39:20of around about 80 to 120 for these.
0:39:20 > 0:39:23I think we might just push it up a little bit,
0:39:23 > 0:39:25so can we go for 100 to 150?
0:39:25 > 0:39:26Yeah, I'd definitely...
0:39:26 > 0:39:28100, I wouldn't want to go any lower than that. Yeah. OK.
0:39:28 > 0:39:31Well, I look forward to seeing you at the sale,
0:39:31 > 0:39:32and we'll hope for the best.
0:39:32 > 0:39:35Thank you. OK. Thank you very much, David. And keep smiling.
0:39:36 > 0:39:39It appears Charles needs his eyes testing when it comes to
0:39:39 > 0:39:41Blake and Leslie's statuette.
0:39:42 > 0:39:45I saw you in the queue and I thought, goodness me,
0:39:45 > 0:39:50we have got sitting in this bag what appeared to me to be a wonderful,
0:39:50 > 0:39:53bronze, Art Deco archer.
0:39:54 > 0:39:55But it's wooden. Yeah!
0:39:56 > 0:39:59I'm so wrong. I'm so wrong.
0:39:59 > 0:40:05Where's it come from? I inherited it from my uncle who, between the wars,
0:40:05 > 0:40:08was in the cavalry, the Lancers in India.
0:40:08 > 0:40:12Was he really? Now, whether it came from there I've no idea.
0:40:12 > 0:40:15How interesting. But I've had it about 30 years.
0:40:15 > 0:40:18That's really interesting. Leslie, do you like it?
0:40:18 > 0:40:19It's grown on me over the years.
0:40:19 > 0:40:24I like it, and it's so nice to try and locate its source because
0:40:24 > 0:40:30this object, I suppose, really was made for a highbrow souvenir market
0:40:30 > 0:40:34and it's in that great Deco style. It's pulling that angular pose.
0:40:34 > 0:40:36Yes, it's got strength in it.
0:40:36 > 0:40:39I suppose you'd call it tactile, wouldn't you?
0:40:39 > 0:40:41Absolutely. You've taken the words out of my mouth.
0:40:41 > 0:40:46And it looks, in its patinated sheen, like a bronze. Yeah.
0:40:46 > 0:40:53In fact, it is just a wonderfully patinated hardwood, which is teak.
0:40:53 > 0:40:56Very intricately done at the back.
0:40:56 > 0:40:57If we just turn it round,
0:40:57 > 0:41:00what I love is the magnificent drapery just...
0:41:01 > 0:41:04..languishing over this oval base.
0:41:04 > 0:41:07The intricacy of this ornamental attire.
0:41:07 > 0:41:11And I think it's probably from Bali. Balinese school,
0:41:11 > 0:41:12probably from Bali... Yes.
0:41:12 > 0:41:16..and what's so remarkable about it is the fact it's in good condition,
0:41:16 > 0:41:19because if it was dropped or knocked... Oh, yes. Oh, yes.
0:41:19 > 0:41:24..this whole bow and arrow would have been lost.
0:41:24 > 0:41:28Yes. And it hasn't, and the only real issue we've got is this
0:41:28 > 0:41:32broken left arm here. Yes, we've tried to repair it as best we could.
0:41:32 > 0:41:34Would it have been carved out of a solid piece of wood?
0:41:34 > 0:41:37Yes, it would. Carved out of a solid piece. I think it's great.
0:41:37 > 0:41:42Today it's one of those objects which on a really good day
0:41:42 > 0:41:44could make ?60.
0:41:44 > 0:41:47On a flattish day, it could make 20 or 25... Yes.
0:41:47 > 0:41:51..because of the condition, but it's tactile, and it just has that
0:41:51 > 0:41:54great Art Deco look, and that's what I thrive on.
0:41:54 > 0:41:55Are you a jazzy lady? Oh, yes.
0:41:55 > 0:41:57I thought you were.
0:41:57 > 0:42:02I feel its auction market value would be between ?30 and ?50.
0:42:02 > 0:42:06And I propose we put a reserve at ?20, just as a safety net,
0:42:06 > 0:42:09but I would hope it will make between 30, 40.
0:42:09 > 0:42:11On a good day, maybe ?50.
0:42:11 > 0:42:15So, with your blessing, we'll pull back, let the auctioneer release,
0:42:15 > 0:42:18and hopefully we'll give the archer a great send-off.
0:42:18 > 0:42:20Yes, that would be great. OK. Lovely. Yes, thank you.
0:42:20 > 0:42:23Thank you very much. Sell away? Yes, I need to "Flog It!".
0:42:23 > 0:42:24Thanks very much. That's a line.
0:42:28 > 0:42:32Tracey's brought in a silver tea set and David's wasting no time
0:42:32 > 0:42:33in weighing up its melt value.
0:42:35 > 0:42:39That weighs 25 ounces,
0:42:39 > 0:42:44and I suspect therefore that the four-piece tea set has
0:42:44 > 0:42:48a melt value in the region of about ?450.
0:42:49 > 0:42:50Or would have...
0:42:52 > 0:42:53..if it wasn't for this inscription.
0:42:54 > 0:42:58Now, normally an inscription is a kiss of death, or can be on
0:42:58 > 0:43:01a piece of silver, but this particular inscription -
0:43:01 > 0:43:04it took my breath away when I saw this just now.
0:43:04 > 0:43:06Made the hairs on the back of my neck stand up on end.
0:43:06 > 0:43:13Presented by Stoke City Football Club to their player S Matthews,
0:43:13 > 0:43:18the great Stanley Matthews, "in recognition of his creating a record
0:43:18 > 0:43:20"of 44 appearances for England,
0:43:20 > 0:43:24"which established when playing against Belgium.
0:43:24 > 0:43:27"January 19th 1946."
0:43:28 > 0:43:31I mean, I'm sure you know about Stanley Matthews.
0:43:31 > 0:43:34He was the oldest person to be capped for England.
0:43:34 > 0:43:37He received a knighthood whilst he was still playing for England.
0:43:37 > 0:43:41He appeared, of course, in that famous cup final in 1953
0:43:41 > 0:43:44at the Matthews Final for Blackpool against Bolton.
0:43:44 > 0:43:47I was three at the time but I sort of remember it.
0:43:47 > 0:43:50I think everybody who was around at that time knew about
0:43:50 > 0:43:53Stanley Matthews, and knew about that football match.
0:43:53 > 0:43:56If you're interested in football, or know anything about football,
0:43:56 > 0:43:59this is just a must-have thing.
0:43:59 > 0:44:01If you've got the money to buy it.
0:44:02 > 0:44:04Now, how come you own it?
0:44:04 > 0:44:06Add how come you're selling it?
0:44:06 > 0:44:10We went to a local auction in Stoke-on-Trent and this popped up
0:44:10 > 0:44:14obviously in the brochure, and my husband thought, "Oh, that's cheap."
0:44:14 > 0:44:16Yeah. And he stuck his hand up. Yeah.
0:44:16 > 0:44:20And numerous others were bidding but my husband's quite stubborn, so...
0:44:20 > 0:44:22HE LAUGHS OK. So he kept going.
0:44:22 > 0:44:25Right. Good for him. That's what auctioneers like.
0:44:25 > 0:44:27Stubborn punters who keep going. Mm, yeah.
0:44:27 > 0:44:30And, I mean, I've got to ask you what you paid for it.
0:44:30 > 0:44:321,200. ?1,200.
0:44:32 > 0:44:34OK. So...
0:44:36 > 0:44:37..you're selling it.
0:44:37 > 0:44:39Your husband's happy with that?
0:44:39 > 0:44:40Does he know you're selling it?
0:44:40 > 0:44:42He does. He's outside with our puppy.
0:44:42 > 0:44:44Your puppy. Hence the reason why it's going.
0:44:44 > 0:44:46She's a Saint Bernard.
0:44:46 > 0:44:49In the house there's a lot of items, but this one she keeps going for
0:44:49 > 0:44:52in the glass cabinet. She's got very good taste. And you're frightened
0:44:52 > 0:44:54that she'll knock it off. Or smash the glass.
0:44:54 > 0:44:55Or smash the glass, yup.
0:44:55 > 0:45:00So, I take it you're not going to want to give this away if you paid
0:45:00 > 0:45:021,250 for it. No. No.
0:45:02 > 0:45:04But you're reasonably realistic, are you?
0:45:04 > 0:45:06Oh, yeah. I live in the real world.
0:45:06 > 0:45:09Good for you. OK. So, let's put the estimate
0:45:09 > 0:45:12just a little bit above what you want for it.
0:45:12 > 0:45:17Say 1,500 to 1,800. OK. And a reserve of 1,250.
0:45:17 > 0:45:22And I think we'll do jolly well and your Saint Bernard, whose name is...?
0:45:22 > 0:45:23Darcy. Darcy.
0:45:23 > 0:45:26Right, OK. Will have the run of the house.
0:45:28 > 0:45:30Here's Darcy waiting outside.
0:45:30 > 0:45:34Now I can see why the antiques might be at risk.
0:45:34 > 0:45:36And that brings us to our final item,
0:45:36 > 0:45:38and a rather starstruck Charles.
0:45:38 > 0:45:41Mr Moorcroft, good to see you.
0:45:41 > 0:45:43You have an air of authority about you.
0:45:43 > 0:45:46You're no relation, are you, to the great name
0:45:46 > 0:45:51of Moorcroft of the potteries going back to the great man William?
0:45:51 > 0:45:53I am, I'm his son.
0:45:53 > 0:45:56You're not. I am, yes. You're William Moorcroft's son?
0:45:56 > 0:45:57Goodness me.
0:45:57 > 0:46:01So that whole history which I thrive on, that's your father.
0:46:01 > 0:46:03Yes. I can't believe it.
0:46:03 > 0:46:06He started it and got it going and made his name at it,
0:46:06 > 0:46:09and then, when he died, my half-brother Walter took over.
0:46:09 > 0:46:10I can't believe it.
0:46:10 > 0:46:14And I joined him in '62 until I retired in 2003.
0:46:14 > 0:46:16Wonderful. Amazing.
0:46:16 > 0:46:17But, of course, away from Moorcroft -
0:46:17 > 0:46:19which we ought to be talking about,
0:46:19 > 0:46:21and I could talk all day to you, John -
0:46:21 > 0:46:24of course, the next best thing, I think, for two men
0:46:24 > 0:46:26are boys' toys.
0:46:26 > 0:46:27Yes. Yes.
0:46:27 > 0:46:28And you've brought in...
0:46:28 > 0:46:32And again, I'm trying to put the toys into context in terms of date,
0:46:32 > 0:46:35looking at you and, perhaps, Father, who, of course, I think,
0:46:35 > 0:46:39is a bit too old for these to have been the great man William's,
0:46:39 > 0:46:41I'm guessing they were yours?
0:46:41 > 0:46:45These were mine, bought by me from new from Bassett-Lowke,
0:46:45 > 0:46:47who had a shop in Holborn in London at the time.
0:46:47 > 0:46:49In the early '50s. Quite right.
0:46:49 > 0:46:50And just, John, talk me through -
0:46:50 > 0:46:53because what I love about these toys
0:46:53 > 0:46:55is they are in remarkably good condition.
0:46:55 > 0:46:57You were clearly a very careful child.
0:46:57 > 0:46:59I looked after them.
0:46:59 > 0:47:04I inherited certain of my trains from friends and older people
0:47:04 > 0:47:06and they were fairly battered when I got them.
0:47:06 > 0:47:10But having bought these new, you tend to look after them,
0:47:10 > 0:47:13keep them oiled and keep them in good condition, even with the boxes.
0:47:14 > 0:47:16Yeah. What have we got here, John - tell me?
0:47:16 > 0:47:20The engine is a 4-4-6
0:47:20 > 0:47:22in the early British Railways colours.
0:47:22 > 0:47:24Prince Charles is the name of the engine.
0:47:24 > 0:47:28And the two coaches, - the one on the box here
0:47:28 > 0:47:30is the First Class coach,
0:47:30 > 0:47:32and the other one is Third Class
0:47:32 > 0:47:35with the guard's van portion underneath.
0:47:35 > 0:47:40Yes, and, of course, when we look back historically at the golden age
0:47:40 > 0:47:44of tin-plate toys, of early Hornby, of early Bassett-Lowke...
0:47:44 > 0:47:48Bassett-Lowke, they began in Northamptonshire in 1948,
0:47:48 > 0:47:52so these were fairly new to the market,
0:47:52 > 0:47:56maybe five or six years later when you were a young boy?
0:47:56 > 0:47:59I would've been about 14, 15, yes.
0:47:59 > 0:48:02A teenager, yes. All right, fine. Well, you're doing very well, sir.
0:48:03 > 0:48:07A wonderful collection. And we've got the boxes.
0:48:07 > 0:48:10The condition is particularly good,
0:48:10 > 0:48:13and this market - as ever, ever so buoyant.
0:48:13 > 0:48:16In the auction, I would like to put them to a sale
0:48:16 > 0:48:19with a guide price of between ?200-?300.
0:48:19 > 0:48:21That would be fine.
0:48:21 > 0:48:24And I propose, to keep them safe and well,
0:48:24 > 0:48:28we perhaps put a reserve at ?200 with 10% discretion.
0:48:28 > 0:48:31Yes. Does that meet your approval? That would be fine.
0:48:31 > 0:48:34May we flog it, Mr Moorcroft? You may.
0:48:34 > 0:48:37May I shake your hand, sir, and say going, going, gone? Thanks so much.
0:48:37 > 0:48:38Thank you. Pleasure.
0:48:41 > 0:48:43Sadly, we have to say goodbye.
0:48:43 > 0:48:46We've got some unfinished business to do in the auction room.
0:48:46 > 0:48:50So, as I walk down this grand staircase one more time today,
0:48:50 > 0:48:52I'm going to leave you with a quick reminder
0:48:52 > 0:48:54of all the items that are coming with us.
0:48:57 > 0:49:01First up, it's little and large, inherited by Karen from her grandad.
0:49:04 > 0:49:06This beautiful carved archer from the East
0:49:06 > 0:49:08is an exceptional piece of craftsmanship.
0:49:10 > 0:49:12This silver tea service,
0:49:12 > 0:49:15with its link to the great Stanley Matthews,
0:49:15 > 0:49:18might just be David's favourite ever "Flog It!" find.
0:49:18 > 0:49:20And their link with a British pottery dynasty
0:49:20 > 0:49:24added to Charles' excitement about these beautiful Bassett-Lowke trains.
0:49:27 > 0:49:29?40.
0:49:29 > 0:49:33Let's rejoin auctioneer Jeremy Lamond for Karen's two tickers.
0:49:33 > 0:49:35You've got lots of memories of the jumbo watch?
0:49:35 > 0:49:37Yeah. I used to love that.
0:49:37 > 0:49:40As a child it fascinated me because it comes out of the case.
0:49:40 > 0:49:43I think these jumbo watches were dual purpose.
0:49:43 > 0:49:44You could carry them in your pocket,
0:49:44 > 0:49:48but they were big enough to be put on a bedside table as well.
0:49:48 > 0:49:50Yeah, yeah. Let's see what we can do for you.
0:49:50 > 0:49:53Fingers crossed we get the top end of David's estimate.
0:49:53 > 0:49:56And it's going under the hammer, both of them, right now - joint lot.
0:49:56 > 0:50:00A ladies' 18-carat gold open-face pocket watch, 1910,
0:50:00 > 0:50:02and an Edwardian white-metal case travel watch as well.
0:50:02 > 0:50:05What about that, sell me ?100 for them?
0:50:05 > 0:50:08?100, 100 bid on the internet, at ?100.
0:50:08 > 0:50:13110 in the room, at 110, 120, 120, at ?120.
0:50:13 > 0:50:17It's on the internet. 130, ?130 now, at 130, 140,
0:50:17 > 0:50:20140 on the internet, at ?140.
0:50:20 > 0:50:23At ?140, anybody else?
0:50:23 > 0:50:24At 140. 150.
0:50:24 > 0:50:27At 150. 160. At ?160 now.
0:50:27 > 0:50:28?160.
0:50:28 > 0:50:32It's over the estimate. At 160, it's an internet bid, then, at 160.
0:50:32 > 0:50:34Yeah, it's going online. Selling it at ?160.
0:50:35 > 0:50:36Yes, ?160.
0:50:36 > 0:50:38Thank goodness for online bidding.
0:50:38 > 0:50:40It does help. Yeah, it does, doesn't it?
0:50:40 > 0:50:43Cos you never know how many people are bidding for these things.
0:50:43 > 0:50:45No. And all of a sudden, the phone lines are out
0:50:45 > 0:50:48but the internet comes in. Yeah, I was hoping the internet...
0:50:48 > 0:50:49Well done, Karen. Thank you.
0:50:49 > 0:50:51Thank you for bringing that in. Lots of memories there.
0:50:51 > 0:50:54Oh, yes, yeah. Brought a bit of a tear to the eyeball. Aw.
0:50:55 > 0:50:58Next, it's the wooden carving.
0:50:58 > 0:51:00Sadly, Blake and Leslie cannot be with us,
0:51:00 > 0:51:02but we do have our expert, Charles. I like this.
0:51:02 > 0:51:05It's not a lot of money but it's good craftsmanship,
0:51:05 > 0:51:07and if you asked somebody to do that today,
0:51:07 > 0:51:09they couldn't do it for ?30 or ?50, could they?
0:51:09 > 0:51:11No, you're right. It's Burmese.
0:51:11 > 0:51:12It's Oriental, but, important,
0:51:12 > 0:51:15it's got that European Deco look of the archer.
0:51:15 > 0:51:18Yes. Yes. And it's very lively. That was the Usain Bolt pose, wasn't it?
0:51:20 > 0:51:22Let's hope this goes really fast, shall we?
0:51:22 > 0:51:23Let's hope the bidders like it.
0:51:23 > 0:51:25It's going under the hammer right now.
0:51:25 > 0:51:27The South East Asian carving of an archer.
0:51:27 > 0:51:29Balinese or Indonesian.
0:51:29 > 0:51:30Aiming for the skies.
0:51:30 > 0:51:33Who's going to start me at, what, ?30?
0:51:33 > 0:51:36?30, 30 for the archer, ?30 bid on the net...
0:51:36 > 0:51:38It's a very decorative item.
0:51:38 > 0:51:40At ?30, 30, at 30 it is.
0:51:40 > 0:51:45At 30, 35, ?35, ?40 now on the internet, at ?40,
0:51:45 > 0:51:47at 40 all done, then?
0:51:47 > 0:51:50At ?40 for the archer, anybody else for the archer at ?40?
0:51:50 > 0:51:52The sky's the limit. Selling at 40.
0:51:52 > 0:51:55?40. Mid-estimate. You were spot-on. Good. Mid-estimate.
0:51:55 > 0:51:58I think they'll be pleased with that, won't they? I hope so.
0:51:58 > 0:52:00Well done, Charles. Thank you very much.
0:52:03 > 0:52:07Next up, it's John Moorcroft's boyhood train collection.
0:52:07 > 0:52:11He's brought along his wife, Jill, who's even more excited than we are.
0:52:11 > 0:52:13I've been urging him to sell these for 54 years.
0:52:13 > 0:52:16Did you send him out the door, then, with these? Yes. I did.
0:52:16 > 0:52:19"Get to that Flog It! valuation - go and see Charles."
0:52:19 > 0:52:20Hey-ho, here we are.
0:52:20 > 0:52:22OK, where have they been all this time?
0:52:22 > 0:52:25They've been in the garage for the last 20 years.
0:52:25 > 0:52:27Do you know what, you must have a dry garage,
0:52:27 > 0:52:30because the condition's very good and the boxes are good as well,
0:52:30 > 0:52:31they're not damp and rusty.
0:52:31 > 0:52:34Well looked after. Well looked after and how they should be.
0:52:34 > 0:52:37We need to get these off to a collector.
0:52:37 > 0:52:39OK, ready? We're going to put them to the test. Here we go.
0:52:39 > 0:52:43The Bassett-Lowke scale-model O-gauge train, 4-4-0
0:52:43 > 0:52:45Locomotive Prince Charles.
0:52:45 > 0:52:48Number 62078 with dark-blue BR livery.
0:52:48 > 0:52:50What about those at 120?
0:52:50 > 0:52:52130, ?130 now.,
0:52:52 > 0:52:56At ?130, Bassett-Lowke. At 130.
0:52:56 > 0:52:57140, 150.
0:52:57 > 0:53:01150. At 160. 170. At ?170 now.
0:53:01 > 0:53:03?180. ?190.
0:53:03 > 0:53:05At ?190. ?200. ?210.
0:53:05 > 0:53:08Just. We're in. We're choo-chooing.
0:53:08 > 0:53:11?220. ?230. ?230 now.
0:53:11 > 0:53:13At 240. 250? 250.
0:53:13 > 0:53:16260. 270.
0:53:16 > 0:53:18At ?270 now in the room.
0:53:18 > 0:53:20?280, 290.
0:53:20 > 0:53:24?290. ?300. 320.
0:53:24 > 0:53:26320, the bid is in the room.
0:53:26 > 0:53:29340 internet. 360.
0:53:29 > 0:53:31?360 now. At 360.
0:53:31 > 0:53:33At 360.
0:53:33 > 0:53:35380. On the net, 400.
0:53:35 > 0:53:36The bid is in the room at ?400.
0:53:36 > 0:53:39That's brilliant. Good. At ?400 - are we all finished then?
0:53:39 > 0:53:40At 400?
0:53:40 > 0:53:42Yes, the hammer's gone down.
0:53:42 > 0:53:43Very good. We're chuffed.
0:53:43 > 0:53:45And he'll take them home!
0:53:45 > 0:53:47And we got the top end. We did.
0:53:47 > 0:53:50I'm so pleased you pushed him out the door!
0:53:50 > 0:53:56And finally, it's that special silver tea service that made David's day.
0:53:56 > 0:53:59So you're going to spend all the money on dog food?
0:53:59 > 0:54:01On a rainy day, pop in a treat for her.
0:54:01 > 0:54:05Aw. We're looking for ?1,500 minimum, aren't we?
0:54:05 > 0:54:07Well, it's got to make a bit less than that. 1,250 will do it.
0:54:07 > 0:54:10Oh, right. OK. You paid 1,200 for this, didn't you?
0:54:10 > 0:54:12You've been very philosophical about that.
0:54:12 > 0:54:14I think what's so amazing about this is Stanley Matthews,
0:54:14 > 0:54:17at the age of 31, was presented with this tea set.
0:54:17 > 0:54:19Can you imagine a footballer today at the age of 31
0:54:19 > 0:54:21being grateful with a tea set?
0:54:21 > 0:54:24Wonderful footballer. He had such a long career. Legend.
0:54:24 > 0:54:28Well, let's find out if there's any silver lovers or footie lovers here right now in the room.
0:54:28 > 0:54:30It's going under the hammer.
0:54:30 > 0:54:34Four-piece silver tea set, football importance. Stanley Matthews.
0:54:34 > 0:54:35At ?900.
0:54:35 > 0:54:37At ?900, 950, where?
0:54:37 > 0:54:42At 950, 1,000, 1,050, 1,100, at ?1,100 now.
0:54:42 > 0:54:451,150, ?1,200, it's on the internet.
0:54:45 > 0:54:49At ?1,200, and 1,220, 1,250,
0:54:49 > 0:54:521,300, 1,350, 1,400, 1,450.
0:54:52 > 0:54:54Good, the bids are coming in now.
0:54:54 > 0:54:56?1,450.
0:54:56 > 0:54:59Selling it. 1,500. 1,550.
0:54:59 > 0:55:01At ?1,550.
0:55:01 > 0:55:05It's all the Stoke football fans are bidding right now.
0:55:05 > 0:55:08It's Peter Crouch. ?1,650 now.
0:55:08 > 0:55:101,750.
0:55:10 > 0:55:13At 1,750, 1,800. Anyone want to go in the room?
0:55:13 > 0:55:161,900, 1,950, at 1,950 on the net,
0:55:16 > 0:55:20at 1,950, ?2,000, 2,100,
0:55:20 > 0:55:242,100 now, at ?2,100,
0:55:24 > 0:55:272,200, 2,300, 2,300,
0:55:27 > 0:55:29at 2,300.
0:55:29 > 0:55:30At ?2,300. Tough competition for this.
0:55:30 > 0:55:32He's still a big name, isn't he?
0:55:32 > 0:55:33Oh, yes. Any more?
0:55:33 > 0:55:362,400, 2,500,
0:55:36 > 0:55:392,500, at ?2,500.
0:55:39 > 0:55:40Are we all finished, then? Listen.
0:55:40 > 0:55:42At ?2,500.
0:55:42 > 0:55:44Internet, be quick. 2,600.
0:55:44 > 0:55:452,700. 2,700.
0:55:46 > 0:55:49At ?2,700.
0:55:49 > 0:55:51At 2,700, one more?
0:55:51 > 0:55:55Yes or no? At ?2,700, 2,800,
0:55:55 > 0:55:572,900, 2,900.
0:55:57 > 0:55:58?2,900.
0:55:58 > 0:56:00Tracey, ?2,900.
0:56:00 > 0:56:01Who hasn't had a go yet?
0:56:01 > 0:56:05At ?2,900, it's on the internet.
0:56:06 > 0:56:09Calling it once at ?2,900.
0:56:10 > 0:56:13At ?2,900 twice, internet.
0:56:13 > 0:56:15Last chance. ?3,000, 3,200.
0:56:15 > 0:56:213,000! 3,200. At ?3,200.
0:56:21 > 0:56:25All done, then, at 3... 3,400. They think it's all over.
0:56:25 > 0:56:273,600. 3,600.
0:56:27 > 0:56:30At 3,800, 4,000,
0:56:30 > 0:56:34at ?4,000 on the net, 4,200, 4,400,
0:56:34 > 0:56:36?4,400.
0:56:36 > 0:56:39Do you need a seat? ?4,400.
0:56:39 > 0:56:41?4,400.
0:56:41 > 0:56:43I can wait. 4,400.
0:56:45 > 0:56:474,600. Worth the wait.
0:56:47 > 0:56:494,800.
0:56:49 > 0:56:52?4,800, at ?4,800.
0:56:52 > 0:56:55?4,800 it is on the net.
0:56:56 > 0:56:59Anybody want to go in the room at ?4,800?
0:56:59 > 0:57:01?4,800.
0:57:01 > 0:57:04It's astonishing. All finished, then, at 4,800,
0:57:04 > 0:57:06calling once, twice...
0:57:06 > 0:57:08What a surprise! Selling it at 4,800.
0:57:08 > 0:57:104,800.
0:57:13 > 0:57:15That took us by surprise, didn't it? I'm thrilled.
0:57:15 > 0:57:17I'm delighted. I'm gobsmacked.
0:57:17 > 0:57:19Thank you. Well, thank you for bringing that in
0:57:19 > 0:57:22and it gave us all a surprise, and what a way to end the show.
0:57:22 > 0:57:24What do you think you're going to spend all that money on?
0:57:24 > 0:57:27Darcy. Darcy, the dog. Woof. Woof. Woof.
0:57:27 > 0:57:29I hope you enjoyed that surprise.
0:57:29 > 0:57:32Sadly, we've run out of time here from Halls salesroom.
0:57:32 > 0:57:35Join us again soon for many more, but until then, it's goodbye.
0:58:06 > 0:58:08# Hard times
0:58:08 > 0:58:10# Gonna make you wonder why you even try
0:58:10 > 0:58:11# Hard times
0:58:11 > 0:58:14# Gonna take you down and laugh when you cry
0:58:14 > 0:58:16# Hit the ground
0:58:17 > 0:58:20# When I hit the ground
0:58:20 > 0:58:21# Hard times
0:58:21 > 0:58:24# Gonna make you wonder why you even try... #