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Today's valuation day is on the Sandon Hall estate in the centre of | 0:00:02 | 0:00:05 | |
Staffordshire. The landscape around here hasn't changed in | 0:00:05 | 0:00:09 | |
hundreds of years. It's quintessential English countryside. | 0:00:09 | 0:00:13 | |
Welcome to Flog It! | 0:00:13 | 0:00:15 | |
The present house was built in 1854 after a fire destroyed | 0:00:41 | 0:00:45 | |
the earlier 18th-century hall. | 0:00:45 | 0:00:47 | |
Fortunately, it was a slow burn and they were able to save | 0:00:49 | 0:00:52 | |
the family portraits and some of the original features, | 0:00:52 | 0:00:56 | |
like this stunning marble fireplace. | 0:00:56 | 0:00:58 | |
Sandon Hall has been given a face-lift today | 0:01:02 | 0:01:04 | |
with this bright, cheerful crowd. | 0:01:04 | 0:01:06 | |
Hundreds of people have turned up laden with antiques and | 0:01:06 | 0:01:10 | |
collectables on a quest to test our experts' knowledge. But, of course, | 0:01:10 | 0:01:13 | |
there is only one question on everybody's lips, which is... | 0:01:13 | 0:01:17 | |
ALL: What's it worth? | 0:01:17 | 0:01:18 | |
Stay tuned and you'll find out. | 0:01:18 | 0:01:20 | |
Our experts today are Charles Hanson... | 0:01:22 | 0:01:24 | |
You look a jazzy lady. | 0:01:25 | 0:01:27 | |
That's a jazzy lady. | 0:01:27 | 0:01:29 | |
..and David Fletcher. | 0:01:29 | 0:01:30 | |
I've got bits of the glass. His mouth goes back, pushes back, | 0:01:30 | 0:01:33 | |
and then smoke comes out of his ears. Used to. Used to. | 0:01:33 | 0:01:36 | |
Well, do you know, we'll have to take your word for that, won't we? | 0:01:36 | 0:01:39 | |
Do you know, you can tell a man's age by his Dinky toys? | 0:01:44 | 0:01:46 | |
Can you really? Yeah. | 0:01:46 | 0:01:48 | |
Why are you looking at me? THEY LAUGH | 0:01:48 | 0:01:50 | |
Later on in the show, Charles is stumped by this curious sculpture. | 0:01:52 | 0:01:56 | |
Wonderful, bronze, Art Deco archer. | 0:01:56 | 0:02:00 | |
But it's wooden. Yeah. | 0:02:01 | 0:02:03 | |
We find out what turns this ordinary, silver tea service | 0:02:04 | 0:02:08 | |
into a gold mine. | 0:02:08 | 0:02:09 | |
It took my breath away when I saw this just now. | 0:02:09 | 0:02:12 | |
And at the auction there are even more surprises. | 0:02:12 | 0:02:15 | |
That took us back a bit, didn't it? | 0:02:17 | 0:02:18 | |
I'm thrilled. I'm gobsmacked. | 0:02:18 | 0:02:20 | |
And I discover the double life of a famous photographer. | 0:02:20 | 0:02:23 | |
I felt that if I rang up an art director and said, | 0:02:23 | 0:02:26 | |
"I want to come and show my pictures to you," and he said, "Who are you?", | 0:02:26 | 0:02:29 | |
and I said, "Lord Lichfield," he'd say, | 0:02:29 | 0:02:30 | |
"Oh, well, here's just another rich, young man with a camera." | 0:02:30 | 0:02:33 | |
An amateur or something. | 0:02:33 | 0:02:34 | |
All that's coming up later on in the show. | 0:02:35 | 0:02:38 | |
Well, everyone's now safely seated inside this magnificent building. | 0:02:39 | 0:02:43 | |
We've literally taken over all of the ground floor. | 0:02:43 | 0:02:46 | |
Hundreds of people have turned up. | 0:02:46 | 0:02:47 | |
We need to find some treasures of our very own to take off to auction. | 0:02:47 | 0:02:51 | |
We're going to make a start right now with Charles Hanson. | 0:02:51 | 0:02:53 | |
Hani, thank you for coming. | 0:02:55 | 0:02:57 | |
You're looking radiant in pink. | 0:02:57 | 0:02:59 | |
You are. I'm being serious. | 0:02:59 | 0:03:01 | |
And you've brought in today a most magnificent jardiniere. | 0:03:01 | 0:03:05 | |
Isn't it wonderful? Is that what it is? | 0:03:05 | 0:03:07 | |
It is. It's essentially where you place your flowers in arrangement, | 0:03:07 | 0:03:12 | |
but I almost feel like, Hani, it's hobbled in on three legs. | 0:03:12 | 0:03:17 | |
Yes. Because, inside the jardiniere, we've got this foot. | 0:03:17 | 0:03:22 | |
Yes... I don't believe it. | 0:03:22 | 0:03:24 | |
No, I don't either. No. | 0:03:24 | 0:03:25 | |
What happened? I caught the bag on the step outside Sandon Hall. | 0:03:25 | 0:03:30 | |
But you're OK? Oh, yes. | 0:03:30 | 0:03:32 | |
You're OK? Your legs are OK? | 0:03:32 | 0:03:35 | |
Fine. Yes, yes, yes. I reckon that's my granny telling me not to sell it. | 0:03:35 | 0:03:38 | |
You think so? You think there's somebody up there...? | 0:03:38 | 0:03:41 | |
Yes, saying, "No, Hani, don't sell." | 0:03:41 | 0:03:43 | |
Really? Yes. Have you changed your mind now? | 0:03:43 | 0:03:45 | |
Are you OK? No, no. No, no. Right, it's got to go. | 0:03:45 | 0:03:47 | |
It's going, yeah. Granny won't knock me, will she, at all, no? | 0:03:47 | 0:03:50 | |
No, she'll haunt me, not you. | 0:03:50 | 0:03:51 | |
Crikey me. Don't say that, Hani. Crikey me. | 0:03:51 | 0:03:53 | |
I like it because, although it's very white, it's not porcelain. | 0:03:53 | 0:03:59 | |
No. Of course, it's what we call a crude, | 0:03:59 | 0:04:02 | |
tin-glazed earthenware and we can see on this foot how actually... | 0:04:02 | 0:04:07 | |
Yeah. ..it's this red earthenware body, so it's pottery. | 0:04:07 | 0:04:11 | |
Yes. It's quite coarse. | 0:04:11 | 0:04:13 | |
What these potters did was paint over that earthenware body with | 0:04:13 | 0:04:19 | |
a very rich tin glaze, which we call Delftware. | 0:04:19 | 0:04:24 | |
Oh, right. OK? | 0:04:24 | 0:04:25 | |
Right, yes, yes, yes. So we call it Delftware. | 0:04:25 | 0:04:28 | |
In France, it was called Faience Quimper, which is | 0:04:28 | 0:04:33 | |
Q-U-I-M-P-E-R. | 0:04:33 | 0:04:37 | |
It was a great centre, like Stoke is down the road... Yes. | 0:04:37 | 0:04:41 | |
..where many factories in the 18th and 19th centuries were making | 0:04:41 | 0:04:46 | |
this type of material, in that it's very distinctive, isn't it? | 0:04:46 | 0:04:51 | |
Oh, yeah. Look at the colour scheme. | 0:04:51 | 0:04:53 | |
Yeah. Do you like it? | 0:04:53 | 0:04:55 | |
Um. I'm not sure. I always used to grow hyacinths in it. | 0:04:55 | 0:04:58 | |
Oh, right, well, thanks for coming. | 0:04:58 | 0:05:00 | |
SHE LAUGHS | 0:05:00 | 0:05:02 | |
I always used to grow hyacinths in it. | 0:05:02 | 0:05:04 | |
Did you? Well, that's its story, you see. | 0:05:04 | 0:05:06 | |
Till my mother-in-law said, | 0:05:06 | 0:05:08 | |
"I don't really think you ought to grow hyacinths in that." | 0:05:08 | 0:05:10 | |
And your hyacinths have long since gone? | 0:05:10 | 0:05:13 | |
Yes. Yes. And maybe it's time to now Flog It!? | 0:05:13 | 0:05:15 | |
SHE LAUGHS I'm sure it is, yes. | 0:05:15 | 0:05:17 | |
As long as Grandma doesn't strike again. | 0:05:17 | 0:05:19 | |
It's had a good lifestyle. | 0:05:19 | 0:05:21 | |
Yeah. I think what we can do | 0:05:21 | 0:05:23 | |
is very much stick that, or the auctioneer can. | 0:05:23 | 0:05:26 | |
But it was a clean break. | 0:05:26 | 0:05:27 | |
It's a clean break. We can see, Hani, | 0:05:27 | 0:05:29 | |
there's no great concern there. | 0:05:29 | 0:05:31 | |
That foot sits on like there's no tomorrow. | 0:05:31 | 0:05:34 | |
Absolutely fine. | 0:05:34 | 0:05:35 | |
So I'm not too concerned by that. | 0:05:35 | 0:05:37 | |
Right. Will it affect the value? | 0:05:37 | 0:05:39 | |
Well, of course it will. Yeah. | 0:05:39 | 0:05:41 | |
But Quimper is very liable to chipping. | 0:05:41 | 0:05:45 | |
And the rim and the handles are in superb condition. | 0:05:45 | 0:05:48 | |
Yeah. It was probably worth in the region of between | 0:05:48 | 0:05:52 | |
?70 and ?100. | 0:05:52 | 0:05:54 | |
With that foot being off now, I think we need to be more realistic. | 0:05:54 | 0:05:58 | |
And I would say between ?40 and ?60. | 0:05:59 | 0:06:03 | |
Well, if it doesn't make 40, I'll take it back home. | 0:06:03 | 0:06:06 | |
I don't blame you. | 0:06:06 | 0:06:09 | |
David's next item has also arrived in two pieces. | 0:06:09 | 0:06:13 | |
Hello, Angela. Hello, David. | 0:06:13 | 0:06:15 | |
Thank you for bringing these rings in. | 0:06:15 | 0:06:16 | |
Now, are they family rings or did you buy them or...? | 0:06:16 | 0:06:19 | |
No, I bought them. Did you buy them with a view to selling them? | 0:06:19 | 0:06:22 | |
Not immediately, no. | 0:06:23 | 0:06:24 | |
Right. But they don't fit. | 0:06:24 | 0:06:26 | |
I thought they were a good buy anyway. | 0:06:26 | 0:06:28 | |
I bought them at auction. Right. | 0:06:28 | 0:06:30 | |
In the hope that you might make a bit of a profit if they didn't fit. | 0:06:30 | 0:06:33 | |
Yes. OK. Right. | 0:06:33 | 0:06:34 | |
The one on my right is 18-carat gold, I think. | 0:06:34 | 0:06:39 | |
It's that yellowy sort of, rather than orange, colour, | 0:06:39 | 0:06:43 | |
which suggests 18-carat. I will just check that. | 0:06:43 | 0:06:46 | |
Yes, I'm right. | 0:06:49 | 0:06:50 | |
It was assayed in Birmingham, and it is set on carved shoulders | 0:06:50 | 0:06:55 | |
with two rubies and three small diamonds. | 0:06:55 | 0:06:59 | |
This one is a single diamond. | 0:07:01 | 0:07:05 | |
And it's illusion-set. | 0:07:08 | 0:07:10 | |
It creates an illusion, by virtue of the fact that | 0:07:10 | 0:07:14 | |
it's sitting on carved shoulders, of being bigger than it actually is. | 0:07:14 | 0:07:17 | |
It's about 0.3 carats, about a third of a carat. | 0:07:17 | 0:07:22 | |
Also 18-carat gold on platinum shoulders. | 0:07:22 | 0:07:26 | |
Rings like this were produced in the Birmingham Jewellery Quarter in | 0:07:26 | 0:07:30 | |
significant numbers, really, in the late 19th and 20th century. | 0:07:30 | 0:07:33 | |
There were an awful lot of these things in circulation. | 0:07:33 | 0:07:36 | |
They're very decorative. | 0:07:36 | 0:07:38 | |
They would grace any hand. | 0:07:38 | 0:07:39 | |
I mean, you know, you wouldn't be embarrassed or ashamed | 0:07:39 | 0:07:42 | |
to wear them anywhere, but they aren't rare. | 0:07:42 | 0:07:45 | |
So, we just have to be mindful of that. | 0:07:45 | 0:07:48 | |
So, I have to ask you what you paid for them. | 0:07:48 | 0:07:49 | |
140 for the two. | 0:07:49 | 0:07:51 | |
For the two. OK. | 0:07:51 | 0:07:53 | |
In an ideal world, I would like to have said an estimate of 100 to 150. | 0:07:53 | 0:07:57 | |
And a reserve of 100. | 0:07:57 | 0:07:59 | |
But, you know, let's have a bit of fun here and see if we can | 0:07:59 | 0:08:03 | |
get you out of trouble, as they say. | 0:08:03 | 0:08:05 | |
Reserve of ?150 and an estimate, this is for the two, of course... | 0:08:05 | 0:08:10 | |
Yes. ..of 150 to 180. | 0:08:10 | 0:08:13 | |
You don't look thrilled, but you're being | 0:08:14 | 0:08:17 | |
reasonably realistic about it, aren't you? Yes. Good. | 0:08:17 | 0:08:20 | |
Well, I look forward to seeing you at the sale, Angela. | 0:08:20 | 0:08:22 | |
Thank you. Thank you very much. | 0:08:22 | 0:08:24 | |
Rings are always popular. | 0:08:25 | 0:08:26 | |
Fingers crossed they make some money for Angela. | 0:08:26 | 0:08:29 | |
Sandon Hall is full of interesting family artefacts, | 0:08:31 | 0:08:34 | |
but I've discovered one upstairs that poses a bit of a mystery. | 0:08:34 | 0:08:38 | |
This beautifully embroidered robe has stood undisturbed | 0:08:41 | 0:08:44 | |
in a glass case in this corridor for the past 50 years. | 0:08:44 | 0:08:47 | |
I've invited Helen Persson, | 0:08:50 | 0:08:52 | |
curator of Chinese textiles at the Victoria and Albert Museum, | 0:08:52 | 0:08:56 | |
to have a look and see if she can shed some light on it. | 0:08:56 | 0:08:59 | |
Look at it. The colours. | 0:09:02 | 0:09:04 | |
The chromatic hue is quite intense. | 0:09:04 | 0:09:05 | |
It's still there. It's absolutely an amazing colour, | 0:09:05 | 0:09:10 | |
although that does also tell me about its date. | 0:09:10 | 0:09:13 | |
OK. Because it's synthetic dyes. | 0:09:13 | 0:09:15 | |
You can clearly see on the purple and the green. | 0:09:15 | 0:09:17 | |
Synthetic dyes came to China around mid-1870s so we know | 0:09:17 | 0:09:21 | |
it's definitely not before 1870s. | 0:09:21 | 0:09:24 | |
And also, this stripy bit at the bottom, | 0:09:24 | 0:09:27 | |
which was known as standing water, and then you have this swirly bit, | 0:09:27 | 0:09:33 | |
the swirly water, and this tells me it belongs to the Qing dynasty, | 0:09:33 | 0:09:36 | |
which was the last Empire of China, which ended in 1911. | 0:09:36 | 0:09:42 | |
It's garments you would wear for festive occasions. | 0:09:42 | 0:09:45 | |
OK. Banquets, birthdays, weddings. | 0:09:45 | 0:09:48 | |
Presumably, an important woman, then. | 0:09:48 | 0:09:50 | |
Someone elite, upper middle classes, | 0:09:50 | 0:09:52 | |
that could afford this kind of form of embroidery. Mm-hm. | 0:09:52 | 0:09:56 | |
Because the embroidery is beautifully made, | 0:09:56 | 0:09:58 | |
but it is silk. | 0:09:58 | 0:10:01 | |
And the silk embroidery is made by this really long thread. | 0:10:01 | 0:10:03 | |
It hasn't been twisted. | 0:10:03 | 0:10:05 | |
And to do that, you have to be quite a skilled embroideress. | 0:10:05 | 0:10:09 | |
Although, Paul, I am questioning if it is actually for a woman. | 0:10:09 | 0:10:13 | |
It is a bit too long. | 0:10:13 | 0:10:14 | |
And the back's not plain at all, is it? | 0:10:14 | 0:10:16 | |
If we can spin that round. | 0:10:16 | 0:10:17 | |
Just turn it your way, look. | 0:10:17 | 0:10:19 | |
There. | 0:10:19 | 0:10:20 | |
So you can even better see the impact of the embroidery. | 0:10:21 | 0:10:26 | |
It's definitely meant to show off. | 0:10:26 | 0:10:28 | |
It is meant to show off. | 0:10:28 | 0:10:29 | |
Definitely. And also you can see the fur which, I think, is an addition. | 0:10:29 | 0:10:35 | |
That is a later addition. A later addition. | 0:10:35 | 0:10:37 | |
Yes. For someone... | 0:10:37 | 0:10:39 | |
in the Western world. | 0:10:39 | 0:10:41 | |
Because it would have been much wider down here, | 0:10:41 | 0:10:44 | |
so it's been taken in. Can you tell that? | 0:10:44 | 0:10:46 | |
You can see at the side, it's been... | 0:10:48 | 0:10:50 | |
Oh, yes, you can see it's folded. It's not lined up. | 0:10:50 | 0:10:52 | |
No, it's not. And also, inside, you can see... | 0:10:52 | 0:10:57 | |
..the remains of the original lining. | 0:10:58 | 0:11:00 | |
Right. Yes, you can see that's been added to it, can't you? | 0:11:00 | 0:11:03 | |
Yes. But isn't that wonderful? | 0:11:03 | 0:11:04 | |
It is nice, actually. That's part of its journey, and its story, really. | 0:11:04 | 0:11:08 | |
And the fact that it's been added to and used probably means | 0:11:08 | 0:11:11 | |
it has survived... Yes. Exactly. | 0:11:11 | 0:11:13 | |
..and not been neglected. No. | 0:11:13 | 0:11:14 | |
If you would have worn this, here in England, for example, | 0:11:14 | 0:11:17 | |
you know, you definitely would be noticed. | 0:11:17 | 0:11:19 | |
From a coat of many colours to colours of a very different hue. | 0:11:25 | 0:11:29 | |
Objects often really speak to me a sentiment, | 0:11:30 | 0:11:36 | |
an emotion. On our stand today is a collection of medals which I'm | 0:11:36 | 0:11:41 | |
hoping you can perhaps give me who they belong to. | 0:11:41 | 0:11:45 | |
Right, well, they belong to my late wife's family. | 0:11:45 | 0:11:48 | |
Her father passed them down to her. | 0:11:49 | 0:11:52 | |
They were his father's, who served in the First World War. | 0:11:52 | 0:11:55 | |
I don't know that much more about them, | 0:11:55 | 0:11:58 | |
other than they've been sitting in the tin and they're not really | 0:11:58 | 0:12:01 | |
connected to my family any more, and I would appreciate maybe that | 0:12:01 | 0:12:04 | |
somebody else would appreciate them. | 0:12:04 | 0:12:06 | |
It's a remarkable collection, Graham. | 0:12:07 | 0:12:10 | |
Starting at the top, here. Queen Mary, Christmas 1914, | 0:12:10 | 0:12:14 | |
in this tin sent, all those wonderful servicemen chocolate, | 0:12:14 | 0:12:18 | |
tobacco, even a pencil in these tins. | 0:12:18 | 0:12:21 | |
Oh, right, that's what they were. Which came as a welcome, | 0:12:21 | 0:12:24 | |
patriotic love that back home we were thinking about our fathers, | 0:12:24 | 0:12:29 | |
our brothers. And a tin like this, which isn't complete... | 0:12:29 | 0:12:34 | |
..today is worth at auction about ?35. | 0:12:35 | 0:12:38 | |
Complete, with the content still, there's a huge passion now to find | 0:12:38 | 0:12:43 | |
these complete ones and they can make between ?150 and ?200. | 0:12:43 | 0:12:47 | |
Yeah, I appreciate that. Which is wonderful. | 0:12:47 | 0:12:49 | |
And then breaking up the whole collection, Graham, | 0:12:49 | 0:12:52 | |
on the left-hand side here, we have two medals, standard issue | 0:12:52 | 0:12:55 | |
war medal in silver here. | 0:12:55 | 0:12:59 | |
Victory medal as well, slightly tarnished. | 0:12:59 | 0:13:01 | |
The nice thing is, Graham, they've been within this tin. | 0:13:01 | 0:13:05 | |
Haven't seen any polishing. | 0:13:05 | 0:13:07 | |
Haven't been highly cleaned and still represent that condition | 0:13:07 | 0:13:12 | |
which collectors like. And very indistinctly, | 0:13:12 | 0:13:15 | |
we can read Private Gunner Marsh. | 0:13:15 | 0:13:17 | |
This little badge down here... Yeah. | 0:13:19 | 0:13:21 | |
..of course, it reads, "For King And Empire Services Rendered." | 0:13:21 | 0:13:25 | |
And many servicemen who were injured were given one of these. | 0:13:25 | 0:13:28 | |
So that little group there, | 0:13:28 | 0:13:30 | |
probably, in the saleroom is probably worth between ?30 and ?50. | 0:13:30 | 0:13:35 | |
OK. And then over here, I think the most interesting collection, | 0:13:35 | 0:13:39 | |
we've got, again, war medal and the Victory medal, but this time | 0:13:39 | 0:13:44 | |
it's to a man called, I think, Venny. | 0:13:44 | 0:13:47 | |
Venning. Now who was Venning? | 0:13:47 | 0:13:49 | |
That was my late wife's maiden name. | 0:13:49 | 0:13:53 | |
Bombardier Venning. | 0:13:53 | 0:13:54 | |
That would probably have been her grandfather. | 0:13:54 | 0:13:56 | |
And this medal down here, I believe, | 0:13:56 | 0:13:58 | |
is for a different man altogether, who was Private Edmonds. | 0:13:58 | 0:14:03 | |
I don't know that name. Who was he? | 0:14:03 | 0:14:05 | |
I couldn't tell you that one, sorry. No, no. I think 20 years ago, | 0:14:05 | 0:14:10 | |
you could have bought a standard defence and Victory medal for ?25, | 0:14:10 | 0:14:15 | |
but as time has moved on and we have thought more | 0:14:15 | 0:14:18 | |
about what these medals represent in society generally, | 0:14:18 | 0:14:22 | |
they become more cherished, | 0:14:22 | 0:14:25 | |
not amongst families but also within collectors' circles, | 0:14:25 | 0:14:29 | |
and values have risen. And I would hope, Graham, the lot would make | 0:14:29 | 0:14:35 | |
80 to 120... Yeah. | 0:14:35 | 0:14:36 | |
..and we'll put a reserve at 70. Yeah. Guide between 80 and 120, | 0:14:36 | 0:14:40 | |
and hopefully, when we're at the auction, | 0:14:40 | 0:14:42 | |
we can learn a bit more about these individuals. Yeah. | 0:14:42 | 0:14:46 | |
Thanks a lot, Graham. Thank you very much. | 0:14:46 | 0:14:48 | |
Wonderful. Appreciate that. | 0:14:48 | 0:14:50 | |
David delves into some more recent history. | 0:14:50 | 0:14:53 | |
Hi, Audrey. How do you do, sir? | 0:14:54 | 0:14:57 | |
Wolves autographs 1946-1947. Yes. | 0:14:57 | 0:15:00 | |
They belonged to by late husband, who was a football - | 0:15:00 | 0:15:03 | |
Wolves football... Fanatic? Yes, he was, yes. | 0:15:03 | 0:15:07 | |
Right. How old would your husband have been then? | 0:15:07 | 0:15:09 | |
Born in 1931. 1931. In which case, he'd have been 15... Right. | 0:15:09 | 0:15:13 | |
..when he went to collect those autographs. Yes. Remarkable, really. | 0:15:13 | 0:15:17 | |
A 15-year-old lad. Yeah. Him and his brother used to cycle to Wolves | 0:15:17 | 0:15:22 | |
more or less every Saturday. | 0:15:22 | 0:15:24 | |
Well, good for him. And are they all football autographs? No. | 0:15:24 | 0:15:27 | |
There's some film stars, some radio stars. | 0:15:27 | 0:15:31 | |
Well, I see you've tagged some. Shall we make our way through them? | 0:15:31 | 0:15:34 | |
The first one is football, as it happens. | 0:15:34 | 0:15:37 | |
Stoke City. Stanley Matthews. | 0:15:37 | 0:15:40 | |
The great Stanley Matthews. The great Sir Stanley Matthews, | 0:15:40 | 0:15:43 | |
a Staffordshire legend. Played for Blackpool as well, of course. | 0:15:43 | 0:15:47 | |
And who is this? That looks like Deborah Kerr, is it? OK. | 0:15:47 | 0:15:52 | |
Famous for that speech scene with Burt Lancaster. Correct. | 0:15:52 | 0:15:56 | |
What was the film called? From Here to Eternity? That's right. | 0:15:56 | 0:16:00 | |
Great, that film. That was very naughty, wasn't it? | 0:16:00 | 0:16:02 | |
Well, it was a naughty film in them days. | 0:16:02 | 0:16:04 | |
So we've already got a mixture, haven't we? We've got film stars | 0:16:04 | 0:16:07 | |
and footballers. | 0:16:07 | 0:16:08 | |
And you've tagged this one here, | 0:16:08 | 0:16:11 | |
which is... | 0:16:11 | 0:16:14 | |
Leonard Cheshire. Correct. | 0:16:14 | 0:16:16 | |
Gosh, so that's a military one, | 0:16:16 | 0:16:19 | |
I suppose we could call it. Royal Air Force, of course, | 0:16:19 | 0:16:21 | |
and founder of the Leonard Cheshire homes. | 0:16:21 | 0:16:24 | |
So we've got a really good little collection here | 0:16:24 | 0:16:26 | |
from a wide range of backgrounds. | 0:16:26 | 0:16:31 | |
Now, I don't think any of them are big, big stars, | 0:16:31 | 0:16:36 | |
but your husband, bless his cotton socks, collected all of these? | 0:16:36 | 0:16:40 | |
Correct, yes. He must have worked jolly hard to get them. | 0:16:40 | 0:16:43 | |
I think this is a great little collection. Now... | 0:16:43 | 0:16:46 | |
You're obviously happy to sell it? Yes. | 0:16:46 | 0:16:48 | |
Otherwise, you wouldn't have agreed to that. | 0:16:48 | 0:16:51 | |
Do you have any hopes or expectations? None whatsoever. | 0:16:51 | 0:16:55 | |
Let's go with an estimate, an auction estimate, of ?50-80. | 0:16:55 | 0:16:58 | |
Right. And I think we should put a covering reserve of, say, ?30. | 0:16:58 | 0:17:04 | |
Right. OK? Yes, that'll do. Jolly good. | 0:17:04 | 0:17:07 | |
Well, I look forward to seeing these sold. | 0:17:07 | 0:17:09 | |
They are... Many of them are of local interest, | 0:17:09 | 0:17:12 | |
which is great. | 0:17:12 | 0:17:14 | |
And I'm sure we'll do well for you. | 0:17:14 | 0:17:15 | |
All right, then. See you at the sale. Bye. | 0:17:15 | 0:17:18 | |
Before we head off to auction, | 0:17:23 | 0:17:25 | |
there is something I would like to show you. | 0:17:25 | 0:17:28 | |
This small and rather unremarkable watercolour portrait is of | 0:17:28 | 0:17:32 | |
Dudley Ryder, the first Earl of Harrowby | 0:17:32 | 0:17:35 | |
and the owner of Sandon Hall back at the turn of the 19th century. | 0:17:35 | 0:17:38 | |
It was painted in the early-1800s, | 0:17:38 | 0:17:41 | |
when Ryder was in his 40s | 0:17:41 | 0:17:42 | |
and at the very peak of an extraordinary political career. | 0:17:42 | 0:17:47 | |
Born in 1762, Dudley Ryder, the first Earl, | 0:17:47 | 0:17:51 | |
lived through one of the more turbulent times in British history. | 0:17:51 | 0:17:55 | |
The rise of Napoleon after the French Revolution resulted in a war | 0:17:56 | 0:18:01 | |
with Britain that would last for nearly 20 years, | 0:18:01 | 0:18:04 | |
putting enormous pressure on the government, | 0:18:04 | 0:18:07 | |
particularly the first Earl, who was the foreign secretary at the time. | 0:18:07 | 0:18:11 | |
So what do we know of Dudley Ryder's life during this period? | 0:18:11 | 0:18:15 | |
There are clues scattered throughout the house. | 0:18:15 | 0:18:18 | |
Firstly, there's this portrait of William Pitt the Younger, | 0:18:21 | 0:18:23 | |
so-called because he was England's youngest ever prime minister, | 0:18:23 | 0:18:28 | |
taking office at the tender age of 24. | 0:18:28 | 0:18:30 | |
Secondly, there's this letter from Dudley Ryder. | 0:18:34 | 0:18:38 | |
And this pair of duelling pistols. | 0:18:43 | 0:18:45 | |
Now, individually they don't mean much, | 0:18:45 | 0:18:49 | |
but put them all together and they tell an extraordinary story | 0:18:49 | 0:18:52 | |
which puts Ryder at the very centre of English politics. | 0:18:52 | 0:18:58 | |
But to understand how all of these items are related, | 0:18:58 | 0:19:01 | |
we need to go back in time to 1798. | 0:19:01 | 0:19:04 | |
Britain's long war with revolutionary France | 0:19:08 | 0:19:11 | |
was an expensive drain on the government's resources. | 0:19:11 | 0:19:14 | |
So when the prime minister, William Pitt, agreed to more funds, | 0:19:14 | 0:19:20 | |
the leader of the opposition, George Tierney, | 0:19:20 | 0:19:22 | |
accused him of being reckless with the country's finances. | 0:19:22 | 0:19:27 | |
A heated debate followed, leading to the very unusual situation | 0:19:27 | 0:19:30 | |
of the prime minister having to defend his honour in a duel. | 0:19:30 | 0:19:34 | |
It was then that Pitt wrote the letter to Dudley Ryder, | 0:19:34 | 0:19:37 | |
his friend and member of his cabinet. | 0:19:37 | 0:19:40 | |
"Dear Ryder. | 0:19:40 | 0:19:42 | |
"If you find five minutes, I should be much obliged to you | 0:19:42 | 0:19:45 | |
"if you would come here if possible before dinner - | 0:19:45 | 0:19:48 | |
"if not, as soon after as is possible - | 0:19:48 | 0:19:51 | |
"on a matter on which I knew I may trust your friendship | 0:19:51 | 0:19:54 | |
"and which does not admit of delay." | 0:19:54 | 0:19:57 | |
When they met, Pitt asked Dudley Ryder to be his second in the duel, | 0:19:57 | 0:20:01 | |
a request usually reserved for the duellist's best friend. | 0:20:01 | 0:20:04 | |
One of the roles of the second was to provide the pistols, | 0:20:04 | 0:20:09 | |
and these are the very pistols that Dudley Ryder took | 0:20:09 | 0:20:13 | |
to Putney Common in South London at dawn the next morning. | 0:20:13 | 0:20:17 | |
Many people said the duel was slightly unequal | 0:20:17 | 0:20:19 | |
because Pitt was very thin and Tierny was very fat, | 0:20:19 | 0:20:23 | |
thus making him a larger target. | 0:20:23 | 0:20:26 | |
It's reported Pitt fired twice - once at his opponent, | 0:20:26 | 0:20:29 | |
and his second shot in to the air. | 0:20:29 | 0:20:32 | |
Fortunately, neither man was injured, | 0:20:32 | 0:20:34 | |
and they retired with their honour intact. | 0:20:34 | 0:20:37 | |
Alone, these three items are interesting. But put them together | 0:20:39 | 0:20:43 | |
and they are exceptional. Their provenance | 0:20:43 | 0:20:46 | |
which relates their story together imbues each item | 0:20:46 | 0:20:49 | |
with much greater meaning. | 0:20:49 | 0:20:51 | |
'Sandon Hall is still home to the first Earl's descendants. | 0:20:55 | 0:20:58 | |
'I met up with Conway Ryder, the eighth Earl, | 0:21:01 | 0:21:04 | |
'to hear more about his ancestor's eventful life.' | 0:21:04 | 0:21:07 | |
That time, the 1st Earl was foreign secretary | 0:21:08 | 0:21:10 | |
and after the end of the battle, the Duke of Wellington | 0:21:10 | 0:21:14 | |
wrote his dispatch to the government. | 0:21:14 | 0:21:16 | |
One of his staffers set off to London... | 0:21:16 | 0:21:18 | |
..with the standards which had been captured from the French. | 0:21:20 | 0:21:24 | |
They arrived at about ten o'clock in the evening. | 0:21:24 | 0:21:27 | |
He went to Downing Street to deliver the message, | 0:21:27 | 0:21:29 | |
was told that there was nobody there, | 0:21:29 | 0:21:31 | |
that they'd all gone to dinner | 0:21:31 | 0:21:33 | |
with Lord Harrowby, who was the foreign secretary, as I mentioned, | 0:21:33 | 0:21:36 | |
in his house in 44 Grosvenor Square. | 0:21:36 | 0:21:38 | |
And so, off he went with a growing crowd... | 0:21:38 | 0:21:42 | |
Swelling the streets. Yes, you can imagine the excitement. | 0:21:42 | 0:21:44 | |
I mean, this is the end of a very long war. | 0:21:44 | 0:21:47 | |
So this great throng went off to Grosvenor Square, | 0:21:47 | 0:21:50 | |
and there they found the cabinet, | 0:21:50 | 0:21:52 | |
and he was able to rush in to the house shouting, "Victory." | 0:21:52 | 0:21:57 | |
Now, there's a rather lovely story | 0:21:59 | 0:22:01 | |
because my late grandfather remembered as a very young boy | 0:22:01 | 0:22:07 | |
an extremely elderly aunt who was a child in that house on the night | 0:22:07 | 0:22:14 | |
when the announcement was made, because it was a family home. | 0:22:14 | 0:22:18 | |
And she was woken up by a great rumpus downstairs, | 0:22:18 | 0:22:22 | |
and rushed out from the nursery bedroom | 0:22:22 | 0:22:25 | |
right up at the top of the house, and looked down through the stairwell | 0:22:25 | 0:22:29 | |
and saw all these old men dancing around the house, | 0:22:29 | 0:22:33 | |
shouting, "Victory! Victory!" and celebrating. Wow. | 0:22:33 | 0:22:37 | |
And it's just rather a lovely... What an image. | 0:22:37 | 0:22:40 | |
..memory two links back to the battle. Sure. | 0:22:40 | 0:22:44 | |
He lived an incredibly long life, into his 80s, didn't he? | 0:22:44 | 0:22:47 | |
Yes, indeed, and in fact, it was rather a sad end. | 0:22:47 | 0:22:51 | |
I mean, he could have lived much longer, | 0:22:51 | 0:22:53 | |
but in December 1847, | 0:22:53 | 0:22:55 | |
Lord Harrowby's favourite granddaughter, | 0:22:55 | 0:22:59 | |
Charlotte Mary, was standing too close to an open fire. | 0:22:59 | 0:23:03 | |
Her dress went up in a sheet of flames, she was very badly burned. | 0:23:05 | 0:23:09 | |
He tried to help put the fire out and got quite badly burned himself. | 0:23:09 | 0:23:13 | |
She sadly died a few days later. | 0:23:13 | 0:23:16 | |
He was inconsolable, he loved this girl. | 0:23:16 | 0:23:19 | |
Maybe the shock from that, who knows? | 0:23:21 | 0:23:23 | |
But he contracted pneumonia and died on Boxing Day a few days later. | 0:23:23 | 0:23:29 | |
Dudley Ryder, first Earl of Harrowby, died as he lived - dramatically. | 0:23:29 | 0:23:34 | |
What an extraordinary life. | 0:23:34 | 0:23:36 | |
It doesn't get much better than this for a valuation day venue. | 0:23:46 | 0:23:50 | |
Every room is a real feast for the eyes. | 0:23:50 | 0:23:52 | |
Take this, for instance. | 0:23:52 | 0:23:54 | |
Look. Hand-painted Chinese wallpaper, | 0:23:54 | 0:23:56 | |
a touch of the Orient comes to Stafford, but right now we need to | 0:23:56 | 0:24:00 | |
go over to the auction. Our experts have found their items, so will | 0:24:00 | 0:24:04 | |
they be full of Eastern promise? We're just about to find out. | 0:24:04 | 0:24:07 | |
Here's a quick recap of what's going under the hammer. | 0:24:07 | 0:24:09 | |
This pretty plant pot lost its foot when Hani lost her footing, | 0:24:12 | 0:24:15 | |
but it's still got a lot of charm. | 0:24:15 | 0:24:17 | |
Angela's rings are perfect in every way. | 0:24:20 | 0:24:23 | |
They just don't fit Angela. | 0:24:23 | 0:24:26 | |
And this selection of medals holds many stories, a very poignant lot. | 0:24:26 | 0:24:30 | |
Marjorie's autographs are a who's who of sportsmen | 0:24:32 | 0:24:35 | |
and entertainers from the '40s and '50s. | 0:24:35 | 0:24:38 | |
We've crossed counties to Shropshire for today's auction, | 0:24:40 | 0:24:44 | |
which is Halls saleroom just outside Shrewsbury. | 0:24:44 | 0:24:47 | |
The auction is just about to start. | 0:24:49 | 0:24:51 | |
Jeremy Lamond is now on the rostrum. | 0:24:51 | 0:24:52 | |
I'm going to catch up with our owners. | 0:24:52 | 0:24:54 | |
I know they're feeling really nervous. | 0:24:54 | 0:24:56 | |
Whatever you do, don't go away. | 0:24:56 | 0:24:57 | |
We could have that big surprise. | 0:24:57 | 0:24:59 | |
Don't forget, if you are buying or selling in an auction room, | 0:24:59 | 0:25:02 | |
there is commission to pay. | 0:25:02 | 0:25:03 | |
Here, if you're selling something, the commission is 19% plus VAT. | 0:25:03 | 0:25:07 | |
First up, it's Angela's rings. | 0:25:09 | 0:25:12 | |
?70 and ?75. I think that's what you said you paid for them in auction, | 0:25:12 | 0:25:16 | |
something like that. Each. Each, yeah. | 0:25:16 | 0:25:17 | |
And you love the atmosphere. | 0:25:17 | 0:25:19 | |
Well, we've got a cracking atmosphere here today. | 0:25:19 | 0:25:21 | |
Fingers crossed we can get you your money back. | 0:25:21 | 0:25:23 | |
Yes. That's what we hope, don't we? | 0:25:23 | 0:25:24 | |
Here we go, they're going under the hammer. | 0:25:24 | 0:25:26 | |
Solitaire diamond ring with facet-cut shoulders, | 0:25:26 | 0:25:30 | |
18-carat gold shank, and an 18-carat gold diamond and ruby ring, | 0:25:30 | 0:25:33 | |
hallmarked Birmingham, 1906. | 0:25:33 | 0:25:36 | |
The bid is here at 140, 150, 160, ?160 now, 160, | 0:25:36 | 0:25:40 | |
at ?160. | 0:25:40 | 0:25:42 | |
At 160. Go on, 160. | 0:25:42 | 0:25:44 | |
170, where? | 0:25:44 | 0:25:45 | |
At ?160. | 0:25:45 | 0:25:47 | |
I am selling this lot at ?160. | 0:25:47 | 0:25:50 | |
At 160, 170, at ?170 now. | 0:25:50 | 0:25:54 | |
180, where? At ?170, it's with you. | 0:25:54 | 0:25:56 | |
Have you all finished, then? At 170. | 0:25:56 | 0:25:59 | |
Well done. ?170. | 0:26:00 | 0:26:02 | |
That's great. It's always nice to sell something | 0:26:02 | 0:26:04 | |
in the middle of the estimate. Yes, yes. | 0:26:04 | 0:26:05 | |
Will you buy any more jewellery? | 0:26:05 | 0:26:07 | |
Yes, I'll make sure it fits. | 0:26:07 | 0:26:08 | |
Next up it's Hani with her legless jardiniere. | 0:26:11 | 0:26:14 | |
I heard it, you know, and everyone went, "Ooh!," like that, | 0:26:15 | 0:26:18 | |
it was like panto. Yeah, yeah, it was. | 0:26:18 | 0:26:20 | |
A lovely jardiniere, though. | 0:26:20 | 0:26:22 | |
Yes, it is. Well, I really felt I should not sell it. | 0:26:22 | 0:26:25 | |
Why is that? Well, you said all these wonderful things about it. | 0:26:25 | 0:26:28 | |
Well, look, let's find out what the bidders think. | 0:26:28 | 0:26:31 | |
It's going under the hammer right now. This is it. | 0:26:31 | 0:26:34 | |
Late 19th-century French faience jardiniere at ?25. | 0:26:34 | 0:26:38 | |
At 25, 25, 30, 35, at ?35, at ?35, any more? | 0:26:38 | 0:26:44 | |
35, at ?35. | 0:26:44 | 0:26:46 | |
Are we all finished, then? At ?35. | 0:26:46 | 0:26:48 | |
35. | 0:26:48 | 0:26:49 | |
Not today, I'm afraid, for this one. | 0:26:51 | 0:26:52 | |
It didn't sell. No. | 0:26:52 | 0:26:54 | |
No. Gosh, you weren't far off, Charles. | 0:26:54 | 0:26:56 | |
It was five pounds out. No. That's absolutely nothing, is it? | 0:26:56 | 0:26:58 | |
But I'm quite relieved that I might not be cursed or haunted now. | 0:26:58 | 0:27:01 | |
No. I feel somewhat relieved, Hani. So am I. | 0:27:01 | 0:27:03 | |
Well, look, do you know something? Do you know, I am too. | 0:27:03 | 0:27:05 | |
That's a good result for us because... | 0:27:05 | 0:27:07 | |
Truly, that was a wonderful result. | 0:27:07 | 0:27:09 | |
You didn't want to sell it, did you? You didn't really. | 0:27:09 | 0:27:11 | |
No, no, no, no. And now it's going home. | 0:27:11 | 0:27:13 | |
I'm so pleased. | 0:27:13 | 0:27:14 | |
Break out the hyacinths, Hani, | 0:27:17 | 0:27:19 | |
and make Granny happy. | 0:27:19 | 0:27:20 | |
And finally, it's Graham's medals. | 0:27:20 | 0:27:22 | |
If I was in the trenches in the First World War | 0:27:24 | 0:27:27 | |
and I had a Christmas tin, I would open it up and I would have | 0:27:27 | 0:27:30 | |
the chocolate and the tobacco. I wouldn't save it, would you? | 0:27:30 | 0:27:33 | |
No, keep going. It's desperate times. | 0:27:33 | 0:27:34 | |
Tempting. No, no. I would've taken what I'd got. | 0:27:34 | 0:27:37 | |
But, look, anyway, it's a wonderful thing, OK? | 0:27:37 | 0:27:40 | |
And not many have survived. | 0:27:40 | 0:27:42 | |
Well, we're looking around ?35 for the tin, aren't we? Yes, we are. | 0:27:42 | 0:27:44 | |
But it's the medals. Hopefully, we can have a surprise. | 0:27:44 | 0:27:47 | |
A collection of First World War medals. | 0:27:47 | 0:27:49 | |
Service medals Grenadier H Venning RFA. | 0:27:49 | 0:27:52 | |
HT Marsh RA, 1914-15 star, awarded to Private C Edmonds | 0:27:52 | 0:27:57 | |
and a George VI Service Rendered cap badge, | 0:27:57 | 0:27:59 | |
all to a Christmas 1914 pressed brass tobacco tin. | 0:27:59 | 0:28:04 | |
Commissions here at ?70, at 70, 80, 90, 100, 110, 120, | 0:28:04 | 0:28:11 | |
130, 140, commissions out. | 0:28:11 | 0:28:13 | |
?140. | 0:28:13 | 0:28:15 | |
At ?140. 140. | 0:28:15 | 0:28:17 | |
Yes, ?140. | 0:28:20 | 0:28:21 | |
Well done. Pleased with that. Yeah, so am I. | 0:28:21 | 0:28:23 | |
So the charity will be as well. | 0:28:23 | 0:28:25 | |
Oh, bless you. Got me going now. | 0:28:25 | 0:28:27 | |
So, zooming back to the auction house in Shrewsbury | 0:28:28 | 0:28:31 | |
where our next item is about to go under the hammer. | 0:28:31 | 0:28:34 | |
Marjorie. Hello. Your autograph albums. | 0:28:35 | 0:28:38 | |
Do you have a favourite signature in there? | 0:28:38 | 0:28:41 | |
Stanley Matthews, I bet. | 0:28:41 | 0:28:43 | |
No, the Wolves. Oh, the Wolves? Yes, yes. I don't know any famous... | 0:28:43 | 0:28:48 | |
Derek Dougan, he was a Wolves player. Billy Wright. | 0:28:48 | 0:28:50 | |
But that was a bit earlier, wasn't it, Billy? Was he in there? | 0:28:50 | 0:28:53 | |
I don't think he's in there, no. No, he's not in the book... | 0:28:53 | 0:28:55 | |
Your husband was a Wolves fan, wasn't he? Yes, yes, he was. | 0:28:55 | 0:28:58 | |
Well, let's hope there's some football fans here today. | 0:28:58 | 0:29:01 | |
There's other autographs, it's not all footballers. | 0:29:01 | 0:29:04 | |
Yes, there's some film stars and radio stars and everything. | 0:29:04 | 0:29:07 | |
Great, so it's a mixed lot, | 0:29:07 | 0:29:08 | |
and they're going under the hammer right now. | 0:29:08 | 0:29:10 | |
Lot 190 - four autograph books from the 1940s. 40, 50, ?60. | 0:29:13 | 0:29:18 | |
At 60, I've got 5, 70. Flying away. | 0:29:18 | 0:29:21 | |
?80 here. At ?80. That's brilliant. 90. Commissions out. ?90. | 0:29:21 | 0:29:26 | |
On the internet at ?90. At ?90. | 0:29:26 | 0:29:28 | |
All done at ?90? | 0:29:28 | 0:29:29 | |
Oh, what a good result. That's great. | 0:29:31 | 0:29:33 | |
Yeah, we had a fixed reserve at ?30 so we had to make that | 0:29:33 | 0:29:35 | |
and we busted through it. | 0:29:35 | 0:29:37 | |
We did. 90 quid! Fantastic. | 0:29:37 | 0:29:39 | |
You probably noticed a lot of online bidding. | 0:29:41 | 0:29:44 | |
That's because technology is all around us and it's moving | 0:29:44 | 0:29:46 | |
at a rapid pace. Even in the saleroom. | 0:29:46 | 0:29:49 | |
No longer do we have a porter, | 0:29:49 | 0:29:50 | |
it's all shown on the screen and it's all internet buying. | 0:29:50 | 0:29:53 | |
Photography has changed immensely in the last few years. | 0:29:53 | 0:29:57 | |
No longer do we have a darkroom. | 0:29:57 | 0:29:59 | |
Film is almost a thing of the past. | 0:29:59 | 0:30:01 | |
One of the most famous photographers from that golden age of film grew up | 0:30:01 | 0:30:05 | |
at nearby Shugborough Hall. | 0:30:05 | 0:30:07 | |
Considering his choice of career and his surroundings, | 0:30:07 | 0:30:10 | |
it was a match made in heaven. | 0:30:10 | 0:30:12 | |
Stately homes make fabulous backdrops for photo shoots. | 0:30:16 | 0:30:20 | |
So, what better career for the owner of one of these historic houses | 0:30:26 | 0:30:29 | |
to choose than photography? | 0:30:29 | 0:30:31 | |
And that's exactly what the owner of Shugborough did. | 0:30:36 | 0:30:39 | |
We know him as Patrick Lichfield, second cousin to the Queen | 0:30:43 | 0:30:47 | |
and jet-setting photographer to the stars, but his real name | 0:30:47 | 0:30:51 | |
was Thomas Patrick John Anson, the fifth Earl of Lichfield, | 0:30:51 | 0:30:55 | |
and Shugborough Hall was his family home. | 0:30:55 | 0:30:57 | |
He inherited it at the tender age of 21. | 0:31:02 | 0:31:05 | |
But crippling death duties and high maintenance costs forced him | 0:31:05 | 0:31:09 | |
to hand it over to the National Trust. | 0:31:09 | 0:31:12 | |
Patrick's privileged upbringing meant he had to work twice as hard | 0:31:14 | 0:31:18 | |
to prove his success was down to his own merits, and he soon gained | 0:31:18 | 0:31:22 | |
a reputation as a serious, hard-working photographer. | 0:31:22 | 0:31:26 | |
I never used it at all to begin with, | 0:31:26 | 0:31:27 | |
because I felt that if I rang up an art director and said, | 0:31:27 | 0:31:30 | |
"I want to come and show my pictures to you," and he said, | 0:31:30 | 0:31:33 | |
"Who are you?", and I said, "Lord Lichfield," he'd say, | 0:31:33 | 0:31:35 | |
"Oh, well, here's just another rich young man with a camera." | 0:31:35 | 0:31:38 | |
An amateur or something. | 0:31:38 | 0:31:39 | |
It was the early '60s, | 0:31:41 | 0:31:42 | |
an exciting time to be a fashionable young man with a camera in his hand. | 0:31:42 | 0:31:46 | |
After a short apprenticeship at a commercial studio in London, | 0:31:48 | 0:31:52 | |
Patrick struck out on his own, | 0:31:52 | 0:31:53 | |
setting up Lichfield Studios in Notting Hill. | 0:31:53 | 0:31:56 | |
In 1966, Patrick got his big break. | 0:31:58 | 0:32:02 | |
A contract with American Vogue. | 0:32:02 | 0:32:04 | |
This saw him taking photographs of beautiful people and luxury goods | 0:32:04 | 0:32:08 | |
in exotic locations all around the world. | 0:32:08 | 0:32:12 | |
Back in London, though, he wasn't the only photographer in town. | 0:32:12 | 0:32:15 | |
Others like David Bailey and Terence Donovan were all becoming | 0:32:17 | 0:32:21 | |
hot property at the time. One of this set was John Swanell, | 0:32:21 | 0:32:24 | |
who remembers those heady days. | 0:32:24 | 0:32:27 | |
It was pretty wild, I mean, it was, you know, | 0:32:28 | 0:32:30 | |
you'd finish work and whoever you were shooting would hang around | 0:32:30 | 0:32:33 | |
the studio till nine, ten o'clock and then you'd go out for dinner, | 0:32:33 | 0:32:35 | |
wouldn't get in till four or five in the morning, and then get up at | 0:32:35 | 0:32:38 | |
seven or eight o'clock and shoot the next day. | 0:32:38 | 0:32:40 | |
The reason it was so interesting was because of the people that came in and | 0:32:47 | 0:32:50 | |
out of the studio. All the people that you admired in your life. | 0:32:50 | 0:32:54 | |
Michael Caine, Terence Stamp and Mick Jagger walked through there | 0:32:54 | 0:32:56 | |
and The Beatles turned up. John Lennon and Yoko Ono, and they were magical days. | 0:32:56 | 0:33:00 | |
He never played the lord, you know, he never played, you know, | 0:33:05 | 0:33:08 | |
the grandee or anything. | 0:33:08 | 0:33:09 | |
He was just one of the boys. | 0:33:09 | 0:33:11 | |
Bailey was from the East End. | 0:33:14 | 0:33:16 | |
He never let Patrick get off the hook ever, you know, | 0:33:16 | 0:33:18 | |
he'd go to an exhibition of his and, I remember, it was 100 Most Beautiful Women In The World | 0:33:18 | 0:33:22 | |
and Patrick had all these pictures on the wall and they produced a book, | 0:33:22 | 0:33:25 | |
and Bailey came in, and there's a few people standing around and Patrick said, | 0:33:25 | 0:33:28 | |
"What do you think, Bailey?" | 0:33:28 | 0:33:30 | |
He said, "Yeah, Patrick, I was thinking of doing something like this myself." | 0:33:30 | 0:33:33 | |
You know, doing the 100 Most Beautiful Women. | 0:33:33 | 0:33:35 | |
He said, "Now, looking at your pictures, I still can." You know. | 0:33:35 | 0:33:38 | |
And everybody started laughing and Patrick laughed the loudest. | 0:33:38 | 0:33:41 | |
He had a good time, Patrick. | 0:33:43 | 0:33:44 | |
I mean, he liked a good time. | 0:33:44 | 0:33:46 | |
You know, he drank the best wines and went out with beautiful women | 0:33:46 | 0:33:50 | |
and flew all over the world for ten years with these girls | 0:33:50 | 0:33:53 | |
and it probably doesn't get much better than that. | 0:33:53 | 0:33:56 | |
Ironically, Patrick was becoming a celebrity himself. | 0:33:57 | 0:34:01 | |
With his jet-set lifestyle and string of beautiful girlfriends, | 0:34:02 | 0:34:05 | |
the paparazzi were never far away. | 0:34:05 | 0:34:07 | |
To escape the attention, | 0:34:09 | 0:34:11 | |
Patrick began to spend more time at Shugborough. | 0:34:11 | 0:34:13 | |
The agreement with the National Trust | 0:34:13 | 0:34:15 | |
let him have a suite of private rooms. | 0:34:15 | 0:34:18 | |
And Shugborough's photographic potential hadn't escaped his attention either. | 0:34:18 | 0:34:22 | |
He began to hold shooting weekends here, where he could combine | 0:34:22 | 0:34:26 | |
business with pleasure. | 0:34:26 | 0:34:28 | |
Shooting at home allowed him to capture intimate pictures | 0:34:32 | 0:34:35 | |
of some of the stars of the day... | 0:34:35 | 0:34:37 | |
..but, equally, take beautiful, | 0:34:43 | 0:34:44 | |
formal shots against the lavish backdrops inside. | 0:34:44 | 0:34:47 | |
I was very envious, you know, how the backdrop was perfect. | 0:34:50 | 0:34:52 | |
Couldn't have been better. Wherever you went, | 0:34:52 | 0:34:54 | |
you'd just wander around and there was a backdrop for the pictures. | 0:34:54 | 0:34:57 | |
It was just made-to-measure. | 0:34:57 | 0:34:58 | |
Alongside his commercial photography, Patrick was also | 0:35:00 | 0:35:03 | |
gaining a reputation within his extended family | 0:35:03 | 0:35:07 | |
through a series of informal photographs of the Royals. | 0:35:07 | 0:35:10 | |
This led to the biggest coup of his career, when he was appointed | 0:35:10 | 0:35:14 | |
the official photographer to the royal wedding of Prince Charles | 0:35:14 | 0:35:17 | |
and Lady Diana Spencer. | 0:35:17 | 0:35:18 | |
His images went around the world. | 0:35:21 | 0:35:23 | |
I think the pictures were wonderful. | 0:35:24 | 0:35:26 | |
I think they were great, and especially the pictures | 0:35:26 | 0:35:28 | |
where it's a bit less formal. | 0:35:28 | 0:35:30 | |
Whereas any other photographer, you couldn't take, you know, | 0:35:30 | 0:35:34 | |
be that forward and grab a picture | 0:35:34 | 0:35:36 | |
of the Queen doing something over here | 0:35:36 | 0:35:38 | |
or the kids running around or Princess Diana talking to her maids. | 0:35:38 | 0:35:41 | |
Whereas Patrick could because they'd look over their shoulder and, | 0:35:41 | 0:35:43 | |
"Oh, it's only Patrick," because he's one of them. | 0:35:43 | 0:35:45 | |
You know, he belongs to the firm, | 0:35:45 | 0:35:47 | |
they know him and feel comfortable with him, | 0:35:47 | 0:35:49 | |
he's been to their barbecues in Balmoral, and so he's one of the family. | 0:35:49 | 0:35:52 | |
In the coming decades, Patrick embraced the possibilities | 0:35:56 | 0:35:59 | |
of the digital revolution in photography, | 0:35:59 | 0:36:01 | |
and continued working right up until he died suddenly of a stroke, | 0:36:01 | 0:36:05 | |
in November 2005. We couldn't believe it, | 0:36:05 | 0:36:09 | |
you know, when somebody dies too quickly, | 0:36:09 | 0:36:12 | |
because he was really healthy. | 0:36:12 | 0:36:13 | |
Patrick Lichfield's photographic legacy is his unique record | 0:36:17 | 0:36:21 | |
of a golden age of glamour. | 0:36:21 | 0:36:23 | |
Welcome back to our magnificent valuation day venue location, | 0:36:35 | 0:36:38 | |
Sandon Hall. | 0:36:38 | 0:36:40 | |
As you can see, there are still hundreds of people here. | 0:36:40 | 0:36:43 | |
We need to find some more antiques to take off to auction. | 0:36:43 | 0:36:46 | |
And David's found just the thing. | 0:36:46 | 0:36:48 | |
According to me, it's wrong. Yeah. | 0:36:50 | 0:36:52 | |
Just a bit. Did it ever go? | 0:36:52 | 0:36:54 | |
It did. | 0:36:54 | 0:36:56 | |
Yes, it did. Years ago, it went, but Grandad was very good | 0:36:56 | 0:36:59 | |
at overwinding watches. He got a bit of a thing that he felt | 0:36:59 | 0:37:03 | |
they needed winding up all the time. So it belonged to your grandad? | 0:37:03 | 0:37:07 | |
It did. | 0:37:07 | 0:37:08 | |
I can't read the maker's mark, but there's a little anchor there, | 0:37:10 | 0:37:15 | |
which tells us it was assayed in Birmingham... Right. | 0:37:15 | 0:37:18 | |
..and a date letter of 1910. | 0:37:18 | 0:37:20 | |
Gosh. So I think that's probably before your grandfather's time. | 0:37:20 | 0:37:23 | |
Yeah. That's even a little bit before my grandfather's time. | 0:37:23 | 0:37:27 | |
We have a silver case. | 0:37:27 | 0:37:29 | |
The watch inside... | 0:37:29 | 0:37:31 | |
..sadly, is not silver cased. | 0:37:32 | 0:37:34 | |
These are called jumbo watches, for obvious reasons, | 0:37:35 | 0:37:39 | |
and of course it doubles up, if you put it in a case like this, | 0:37:39 | 0:37:43 | |
into a perfectly useful | 0:37:43 | 0:37:45 | |
bedside clock with a little rest at the back. | 0:37:45 | 0:37:49 | |
It's never sat beside your bed? | 0:37:49 | 0:37:51 | |
No. No. | 0:37:51 | 0:37:52 | |
OK. Well, that's what used to fascinate me as a child, | 0:37:52 | 0:37:55 | |
because it was such a chunky watch. | 0:37:55 | 0:37:57 | |
Yeah. This, we can tell, I think, quite obviously, really, | 0:37:57 | 0:38:02 | |
is gold, but again we just need to check. | 0:38:02 | 0:38:05 | |
And when I say it's gold, | 0:38:06 | 0:38:07 | |
I'm not referring to the face, but to the case. | 0:38:07 | 0:38:10 | |
The glass has become detached, but that can be put back easily enough. | 0:38:10 | 0:38:15 | |
And if we lift the face out, | 0:38:15 | 0:38:18 | |
we should be able to see the inside of the back of the case. | 0:38:18 | 0:38:24 | |
There it is, and it is hallmarked. | 0:38:24 | 0:38:26 | |
Now, I'd expected this to be continental, this case. | 0:38:26 | 0:38:30 | |
But as large as life, I can see a crown for Sheffield... Oh. | 0:38:31 | 0:38:38 | |
..and 18, which tells us it's 18-carat gold. | 0:38:38 | 0:38:42 | |
They weren't great timekeepers. | 0:38:42 | 0:38:44 | |
Never really were. And of course it's damaged. | 0:38:45 | 0:38:48 | |
Yeah. So I think the chance of it being got to work again | 0:38:48 | 0:38:52 | |
are pretty slight. And I also suspect it would cost more | 0:38:52 | 0:38:55 | |
to get this roadworthy than you'd add to the value. | 0:38:55 | 0:38:58 | |
Yes. Beautifully chased, I mean, the decoration on the dial is amazing. | 0:38:58 | 0:39:02 | |
I must say that these things are not really worth as much as people | 0:39:04 | 0:39:08 | |
sometimes hope that they are. | 0:39:08 | 0:39:10 | |
And I might have to let you down gently here. | 0:39:10 | 0:39:13 | |
Now, I think we ought to be thinking in terms of an estimate | 0:39:13 | 0:39:17 | |
of around about 80 to 120 for these. | 0:39:17 | 0:39:20 | |
I think we might just push it up a little bit, | 0:39:20 | 0:39:23 | |
so can we go for 100 to 150? | 0:39:23 | 0:39:25 | |
Yeah, I'd definitely... | 0:39:25 | 0:39:26 | |
100, I wouldn't want to go any lower than that. Yeah. OK. | 0:39:26 | 0:39:28 | |
Well, I look forward to seeing you at the sale, | 0:39:28 | 0:39:31 | |
and we'll hope for the best. | 0:39:31 | 0:39:32 | |
Thank you. OK. Thank you very much, David. And keep smiling. | 0:39:32 | 0:39:35 | |
It appears Charles needs his eyes testing when it comes to | 0:39:36 | 0:39:39 | |
Blake and Leslie's statuette. | 0:39:39 | 0:39:41 | |
I saw you in the queue and I thought, goodness me, | 0:39:42 | 0:39:45 | |
we have got sitting in this bag what appeared to me to be a wonderful, | 0:39:45 | 0:39:50 | |
bronze, Art Deco archer. | 0:39:50 | 0:39:53 | |
But it's wooden. Yeah! | 0:39:54 | 0:39:55 | |
I'm so wrong. I'm so wrong. | 0:39:56 | 0:39:59 | |
Where's it come from? I inherited it from my uncle who, between the wars, | 0:39:59 | 0:40:05 | |
was in the cavalry, the Lancers in India. | 0:40:05 | 0:40:08 | |
Was he really? Now, whether it came from there I've no idea. | 0:40:08 | 0:40:12 | |
How interesting. But I've had it about 30 years. | 0:40:12 | 0:40:15 | |
That's really interesting. Leslie, do you like it? | 0:40:15 | 0:40:18 | |
It's grown on me over the years. | 0:40:18 | 0:40:19 | |
I like it, and it's so nice to try and locate its source because | 0:40:19 | 0:40:24 | |
this object, I suppose, really was made for a highbrow souvenir market | 0:40:24 | 0:40:30 | |
and it's in that great Deco style. It's pulling that angular pose. | 0:40:30 | 0:40:34 | |
Yes, it's got strength in it. | 0:40:34 | 0:40:36 | |
I suppose you'd call it tactile, wouldn't you? | 0:40:36 | 0:40:39 | |
Absolutely. You've taken the words out of my mouth. | 0:40:39 | 0:40:41 | |
And it looks, in its patinated sheen, like a bronze. Yeah. | 0:40:41 | 0:40:46 | |
In fact, it is just a wonderfully patinated hardwood, which is teak. | 0:40:46 | 0:40:53 | |
Very intricately done at the back. | 0:40:53 | 0:40:56 | |
If we just turn it round, | 0:40:56 | 0:40:57 | |
what I love is the magnificent drapery just... | 0:40:57 | 0:41:00 | |
..languishing over this oval base. | 0:41:01 | 0:41:04 | |
The intricacy of this ornamental attire. | 0:41:04 | 0:41:07 | |
And I think it's probably from Bali. Balinese school, | 0:41:07 | 0:41:11 | |
probably from Bali... Yes. | 0:41:11 | 0:41:12 | |
..and what's so remarkable about it is the fact it's in good condition, | 0:41:12 | 0:41:16 | |
because if it was dropped or knocked... Oh, yes. Oh, yes. | 0:41:16 | 0:41:19 | |
..this whole bow and arrow would have been lost. | 0:41:19 | 0:41:24 | |
Yes. And it hasn't, and the only real issue we've got is this | 0:41:24 | 0:41:28 | |
broken left arm here. Yes, we've tried to repair it as best we could. | 0:41:28 | 0:41:32 | |
Would it have been carved out of a solid piece of wood? | 0:41:32 | 0:41:34 | |
Yes, it would. Carved out of a solid piece. I think it's great. | 0:41:34 | 0:41:37 | |
Today it's one of those objects which on a really good day | 0:41:37 | 0:41:42 | |
could make ?60. | 0:41:42 | 0:41:44 | |
On a flattish day, it could make 20 or 25... Yes. | 0:41:44 | 0:41:47 | |
..because of the condition, but it's tactile, and it just has that | 0:41:47 | 0:41:51 | |
great Art Deco look, and that's what I thrive on. | 0:41:51 | 0:41:54 | |
Are you a jazzy lady? Oh, yes. | 0:41:54 | 0:41:55 | |
I thought you were. | 0:41:55 | 0:41:57 | |
I feel its auction market value would be between ?30 and ?50. | 0:41:57 | 0:42:02 | |
And I propose we put a reserve at ?20, just as a safety net, | 0:42:02 | 0:42:06 | |
but I would hope it will make between 30, 40. | 0:42:06 | 0:42:09 | |
On a good day, maybe ?50. | 0:42:09 | 0:42:11 | |
So, with your blessing, we'll pull back, let the auctioneer release, | 0:42:11 | 0:42:15 | |
and hopefully we'll give the archer a great send-off. | 0:42:15 | 0:42:18 | |
Yes, that would be great. OK. Lovely. Yes, thank you. | 0:42:18 | 0:42:20 | |
Thank you very much. Sell away? Yes, I need to "Flog It!". | 0:42:20 | 0:42:23 | |
Thanks very much. That's a line. | 0:42:23 | 0:42:24 | |
Tracey's brought in a silver tea set and David's wasting no time | 0:42:28 | 0:42:32 | |
in weighing up its melt value. | 0:42:32 | 0:42:33 | |
That weighs 25 ounces, | 0:42:35 | 0:42:39 | |
and I suspect therefore that the four-piece tea set has | 0:42:39 | 0:42:44 | |
a melt value in the region of about ?450. | 0:42:44 | 0:42:48 | |
Or would have... | 0:42:49 | 0:42:50 | |
..if it wasn't for this inscription. | 0:42:52 | 0:42:53 | |
Now, normally an inscription is a kiss of death, or can be on | 0:42:54 | 0:42:58 | |
a piece of silver, but this particular inscription - | 0:42:58 | 0:43:01 | |
it took my breath away when I saw this just now. | 0:43:01 | 0:43:04 | |
Made the hairs on the back of my neck stand up on end. | 0:43:04 | 0:43:06 | |
Presented by Stoke City Football Club to their player S Matthews, | 0:43:06 | 0:43:13 | |
the great Stanley Matthews, "in recognition of his creating a record | 0:43:13 | 0:43:18 | |
"of 44 appearances for England, | 0:43:18 | 0:43:20 | |
"which established when playing against Belgium. | 0:43:20 | 0:43:24 | |
"January 19th 1946." | 0:43:24 | 0:43:27 | |
I mean, I'm sure you know about Stanley Matthews. | 0:43:28 | 0:43:31 | |
He was the oldest person to be capped for England. | 0:43:31 | 0:43:34 | |
He received a knighthood whilst he was still playing for England. | 0:43:34 | 0:43:37 | |
He appeared, of course, in that famous cup final in 1953 | 0:43:37 | 0:43:41 | |
at the Matthews Final for Blackpool against Bolton. | 0:43:41 | 0:43:44 | |
I was three at the time but I sort of remember it. | 0:43:44 | 0:43:47 | |
I think everybody who was around at that time knew about | 0:43:47 | 0:43:50 | |
Stanley Matthews, and knew about that football match. | 0:43:50 | 0:43:53 | |
If you're interested in football, or know anything about football, | 0:43:53 | 0:43:56 | |
this is just a must-have thing. | 0:43:56 | 0:43:59 | |
If you've got the money to buy it. | 0:43:59 | 0:44:01 | |
Now, how come you own it? | 0:44:02 | 0:44:04 | |
Add how come you're selling it? | 0:44:04 | 0:44:06 | |
We went to a local auction in Stoke-on-Trent and this popped up | 0:44:06 | 0:44:10 | |
obviously in the brochure, and my husband thought, "Oh, that's cheap." | 0:44:10 | 0:44:14 | |
Yeah. And he stuck his hand up. Yeah. | 0:44:14 | 0:44:16 | |
And numerous others were bidding but my husband's quite stubborn, so... | 0:44:16 | 0:44:20 | |
HE LAUGHS OK. So he kept going. | 0:44:20 | 0:44:22 | |
Right. Good for him. That's what auctioneers like. | 0:44:22 | 0:44:25 | |
Stubborn punters who keep going. Mm, yeah. | 0:44:25 | 0:44:27 | |
And, I mean, I've got to ask you what you paid for it. | 0:44:27 | 0:44:30 | |
1,200. ?1,200. | 0:44:30 | 0:44:32 | |
OK. So... | 0:44:32 | 0:44:34 | |
..you're selling it. | 0:44:36 | 0:44:37 | |
Your husband's happy with that? | 0:44:37 | 0:44:39 | |
Does he know you're selling it? | 0:44:39 | 0:44:40 | |
He does. He's outside with our puppy. | 0:44:40 | 0:44:42 | |
Your puppy. Hence the reason why it's going. | 0:44:42 | 0:44:44 | |
She's a Saint Bernard. | 0:44:44 | 0:44:46 | |
In the house there's a lot of items, but this one she keeps going for | 0:44:46 | 0:44:49 | |
in the glass cabinet. She's got very good taste. And you're frightened | 0:44:49 | 0:44:52 | |
that she'll knock it off. Or smash the glass. | 0:44:52 | 0:44:54 | |
Or smash the glass, yup. | 0:44:54 | 0:44:55 | |
So, I take it you're not going to want to give this away if you paid | 0:44:55 | 0:45:00 | |
1,250 for it. No. No. | 0:45:00 | 0:45:02 | |
But you're reasonably realistic, are you? | 0:45:02 | 0:45:04 | |
Oh, yeah. I live in the real world. | 0:45:04 | 0:45:06 | |
Good for you. OK. So, let's put the estimate | 0:45:06 | 0:45:09 | |
just a little bit above what you want for it. | 0:45:09 | 0:45:12 | |
Say 1,500 to 1,800. OK. And a reserve of 1,250. | 0:45:12 | 0:45:17 | |
And I think we'll do jolly well and your Saint Bernard, whose name is...? | 0:45:17 | 0:45:22 | |
Darcy. Darcy. | 0:45:22 | 0:45:23 | |
Right, OK. Will have the run of the house. | 0:45:23 | 0:45:26 | |
Here's Darcy waiting outside. | 0:45:28 | 0:45:30 | |
Now I can see why the antiques might be at risk. | 0:45:30 | 0:45:34 | |
And that brings us to our final item, | 0:45:34 | 0:45:36 | |
and a rather starstruck Charles. | 0:45:36 | 0:45:38 | |
Mr Moorcroft, good to see you. | 0:45:38 | 0:45:41 | |
You have an air of authority about you. | 0:45:41 | 0:45:43 | |
You're no relation, are you, to the great name | 0:45:43 | 0:45:46 | |
of Moorcroft of the potteries going back to the great man William? | 0:45:46 | 0:45:51 | |
I am, I'm his son. | 0:45:51 | 0:45:53 | |
You're not. I am, yes. You're William Moorcroft's son? | 0:45:53 | 0:45:56 | |
Goodness me. | 0:45:56 | 0:45:57 | |
So that whole history which I thrive on, that's your father. | 0:45:57 | 0:46:01 | |
Yes. I can't believe it. | 0:46:01 | 0:46:03 | |
He started it and got it going and made his name at it, | 0:46:03 | 0:46:06 | |
and then, when he died, my half-brother Walter took over. | 0:46:06 | 0:46:09 | |
I can't believe it. | 0:46:09 | 0:46:10 | |
And I joined him in '62 until I retired in 2003. | 0:46:10 | 0:46:14 | |
Wonderful. Amazing. | 0:46:14 | 0:46:16 | |
But, of course, away from Moorcroft - | 0:46:16 | 0:46:17 | |
which we ought to be talking about, | 0:46:17 | 0:46:19 | |
and I could talk all day to you, John - | 0:46:19 | 0:46:21 | |
of course, the next best thing, I think, for two men | 0:46:21 | 0:46:24 | |
are boys' toys. | 0:46:24 | 0:46:26 | |
Yes. Yes. | 0:46:26 | 0:46:27 | |
And you've brought in... | 0:46:27 | 0:46:28 | |
And again, I'm trying to put the toys into context in terms of date, | 0:46:28 | 0:46:32 | |
looking at you and, perhaps, Father, who, of course, I think, | 0:46:32 | 0:46:35 | |
is a bit too old for these to have been the great man William's, | 0:46:35 | 0:46:39 | |
I'm guessing they were yours? | 0:46:39 | 0:46:41 | |
These were mine, bought by me from new from Bassett-Lowke, | 0:46:41 | 0:46:45 | |
who had a shop in Holborn in London at the time. | 0:46:45 | 0:46:47 | |
In the early '50s. Quite right. | 0:46:47 | 0:46:49 | |
And just, John, talk me through - | 0:46:49 | 0:46:50 | |
because what I love about these toys | 0:46:50 | 0:46:53 | |
is they are in remarkably good condition. | 0:46:53 | 0:46:55 | |
You were clearly a very careful child. | 0:46:55 | 0:46:57 | |
I looked after them. | 0:46:57 | 0:46:59 | |
I inherited certain of my trains from friends and older people | 0:46:59 | 0:47:04 | |
and they were fairly battered when I got them. | 0:47:04 | 0:47:06 | |
But having bought these new, you tend to look after them, | 0:47:06 | 0:47:10 | |
keep them oiled and keep them in good condition, even with the boxes. | 0:47:10 | 0:47:13 | |
Yeah. What have we got here, John - tell me? | 0:47:14 | 0:47:16 | |
The engine is a 4-4-6 | 0:47:16 | 0:47:20 | |
in the early British Railways colours. | 0:47:20 | 0:47:22 | |
Prince Charles is the name of the engine. | 0:47:22 | 0:47:24 | |
And the two coaches, - the one on the box here | 0:47:24 | 0:47:28 | |
is the First Class coach, | 0:47:28 | 0:47:30 | |
and the other one is Third Class | 0:47:30 | 0:47:32 | |
with the guard's van portion underneath. | 0:47:32 | 0:47:35 | |
Yes, and, of course, when we look back historically at the golden age | 0:47:35 | 0:47:40 | |
of tin-plate toys, of early Hornby, of early Bassett-Lowke... | 0:47:40 | 0:47:44 | |
Bassett-Lowke, they began in Northamptonshire in 1948, | 0:47:44 | 0:47:48 | |
so these were fairly new to the market, | 0:47:48 | 0:47:52 | |
maybe five or six years later when you were a young boy? | 0:47:52 | 0:47:56 | |
I would've been about 14, 15, yes. | 0:47:56 | 0:47:59 | |
A teenager, yes. All right, fine. Well, you're doing very well, sir. | 0:47:59 | 0:48:02 | |
A wonderful collection. And we've got the boxes. | 0:48:03 | 0:48:07 | |
The condition is particularly good, | 0:48:07 | 0:48:10 | |
and this market - as ever, ever so buoyant. | 0:48:10 | 0:48:13 | |
In the auction, I would like to put them to a sale | 0:48:13 | 0:48:16 | |
with a guide price of between ?200-?300. | 0:48:16 | 0:48:19 | |
That would be fine. | 0:48:19 | 0:48:21 | |
And I propose, to keep them safe and well, | 0:48:21 | 0:48:24 | |
we perhaps put a reserve at ?200 with 10% discretion. | 0:48:24 | 0:48:28 | |
Yes. Does that meet your approval? That would be fine. | 0:48:28 | 0:48:31 | |
May we flog it, Mr Moorcroft? You may. | 0:48:31 | 0:48:34 | |
May I shake your hand, sir, and say going, going, gone? Thanks so much. | 0:48:34 | 0:48:37 | |
Thank you. Pleasure. | 0:48:37 | 0:48:38 | |
Sadly, we have to say goodbye. | 0:48:41 | 0:48:43 | |
We've got some unfinished business to do in the auction room. | 0:48:43 | 0:48:46 | |
So, as I walk down this grand staircase one more time today, | 0:48:46 | 0:48:50 | |
I'm going to leave you with a quick reminder | 0:48:50 | 0:48:52 | |
of all the items that are coming with us. | 0:48:52 | 0:48:54 | |
First up, it's little and large, inherited by Karen from her grandad. | 0:48:57 | 0:49:01 | |
This beautiful carved archer from the East | 0:49:04 | 0:49:06 | |
is an exceptional piece of craftsmanship. | 0:49:06 | 0:49:08 | |
This silver tea service, | 0:49:10 | 0:49:12 | |
with its link to the great Stanley Matthews, | 0:49:12 | 0:49:15 | |
might just be David's favourite ever "Flog It!" find. | 0:49:15 | 0:49:18 | |
And their link with a British pottery dynasty | 0:49:18 | 0:49:20 | |
added to Charles' excitement about these beautiful Bassett-Lowke trains. | 0:49:20 | 0:49:24 | |
?40. | 0:49:27 | 0:49:29 | |
Let's rejoin auctioneer Jeremy Lamond for Karen's two tickers. | 0:49:29 | 0:49:33 | |
You've got lots of memories of the jumbo watch? | 0:49:33 | 0:49:35 | |
Yeah. I used to love that. | 0:49:35 | 0:49:37 | |
As a child it fascinated me because it comes out of the case. | 0:49:37 | 0:49:40 | |
I think these jumbo watches were dual purpose. | 0:49:40 | 0:49:43 | |
You could carry them in your pocket, | 0:49:43 | 0:49:44 | |
but they were big enough to be put on a bedside table as well. | 0:49:44 | 0:49:48 | |
Yeah, yeah. Let's see what we can do for you. | 0:49:48 | 0:49:50 | |
Fingers crossed we get the top end of David's estimate. | 0:49:50 | 0:49:53 | |
And it's going under the hammer, both of them, right now - joint lot. | 0:49:53 | 0:49:56 | |
A ladies' 18-carat gold open-face pocket watch, 1910, | 0:49:56 | 0:50:00 | |
and an Edwardian white-metal case travel watch as well. | 0:50:00 | 0:50:02 | |
What about that, sell me ?100 for them? | 0:50:02 | 0:50:05 | |
?100, 100 bid on the internet, at ?100. | 0:50:05 | 0:50:08 | |
110 in the room, at 110, 120, 120, at ?120. | 0:50:08 | 0:50:13 | |
It's on the internet. 130, ?130 now, at 130, 140, | 0:50:13 | 0:50:17 | |
140 on the internet, at ?140. | 0:50:17 | 0:50:20 | |
At ?140, anybody else? | 0:50:20 | 0:50:23 | |
At 140. 150. | 0:50:23 | 0:50:24 | |
At 150. 160. At ?160 now. | 0:50:24 | 0:50:27 | |
?160. | 0:50:27 | 0:50:28 | |
It's over the estimate. At 160, it's an internet bid, then, at 160. | 0:50:28 | 0:50:32 | |
Yeah, it's going online. Selling it at ?160. | 0:50:32 | 0:50:34 | |
Yes, ?160. | 0:50:35 | 0:50:36 | |
Thank goodness for online bidding. | 0:50:36 | 0:50:38 | |
It does help. Yeah, it does, doesn't it? | 0:50:38 | 0:50:40 | |
Cos you never know how many people are bidding for these things. | 0:50:40 | 0:50:43 | |
No. And all of a sudden, the phone lines are out | 0:50:43 | 0:50:45 | |
but the internet comes in. Yeah, I was hoping the internet... | 0:50:45 | 0:50:48 | |
Well done, Karen. Thank you. | 0:50:48 | 0:50:49 | |
Thank you for bringing that in. Lots of memories there. | 0:50:49 | 0:50:51 | |
Oh, yes, yeah. Brought a bit of a tear to the eyeball. Aw. | 0:50:51 | 0:50:54 | |
Next, it's the wooden carving. | 0:50:55 | 0:50:58 | |
Sadly, Blake and Leslie cannot be with us, | 0:50:58 | 0:51:00 | |
but we do have our expert, Charles. I like this. | 0:51:00 | 0:51:02 | |
It's not a lot of money but it's good craftsmanship, | 0:51:02 | 0:51:05 | |
and if you asked somebody to do that today, | 0:51:05 | 0:51:07 | |
they couldn't do it for ?30 or ?50, could they? | 0:51:07 | 0:51:09 | |
No, you're right. It's Burmese. | 0:51:09 | 0:51:11 | |
It's Oriental, but, important, | 0:51:11 | 0:51:12 | |
it's got that European Deco look of the archer. | 0:51:12 | 0:51:15 | |
Yes. Yes. And it's very lively. That was the Usain Bolt pose, wasn't it? | 0:51:15 | 0:51:18 | |
Let's hope this goes really fast, shall we? | 0:51:20 | 0:51:22 | |
Let's hope the bidders like it. | 0:51:22 | 0:51:23 | |
It's going under the hammer right now. | 0:51:23 | 0:51:25 | |
The South East Asian carving of an archer. | 0:51:25 | 0:51:27 | |
Balinese or Indonesian. | 0:51:27 | 0:51:29 | |
Aiming for the skies. | 0:51:29 | 0:51:30 | |
Who's going to start me at, what, ?30? | 0:51:30 | 0:51:33 | |
?30, 30 for the archer, ?30 bid on the net... | 0:51:33 | 0:51:36 | |
It's a very decorative item. | 0:51:36 | 0:51:38 | |
At ?30, 30, at 30 it is. | 0:51:38 | 0:51:40 | |
At 30, 35, ?35, ?40 now on the internet, at ?40, | 0:51:40 | 0:51:45 | |
at 40 all done, then? | 0:51:45 | 0:51:47 | |
At ?40 for the archer, anybody else for the archer at ?40? | 0:51:47 | 0:51:50 | |
The sky's the limit. Selling at 40. | 0:51:50 | 0:51:52 | |
?40. Mid-estimate. You were spot-on. Good. Mid-estimate. | 0:51:52 | 0:51:55 | |
I think they'll be pleased with that, won't they? I hope so. | 0:51:55 | 0:51:58 | |
Well done, Charles. Thank you very much. | 0:51:58 | 0:52:00 | |
Next up, it's John Moorcroft's boyhood train collection. | 0:52:03 | 0:52:07 | |
He's brought along his wife, Jill, who's even more excited than we are. | 0:52:07 | 0:52:11 | |
I've been urging him to sell these for 54 years. | 0:52:11 | 0:52:13 | |
Did you send him out the door, then, with these? Yes. I did. | 0:52:13 | 0:52:16 | |
"Get to that Flog It! valuation - go and see Charles." | 0:52:16 | 0:52:19 | |
Hey-ho, here we are. | 0:52:19 | 0:52:20 | |
OK, where have they been all this time? | 0:52:20 | 0:52:22 | |
They've been in the garage for the last 20 years. | 0:52:22 | 0:52:25 | |
Do you know what, you must have a dry garage, | 0:52:25 | 0:52:27 | |
because the condition's very good and the boxes are good as well, | 0:52:27 | 0:52:30 | |
they're not damp and rusty. | 0:52:30 | 0:52:31 | |
Well looked after. Well looked after and how they should be. | 0:52:31 | 0:52:34 | |
We need to get these off to a collector. | 0:52:34 | 0:52:37 | |
OK, ready? We're going to put them to the test. Here we go. | 0:52:37 | 0:52:39 | |
The Bassett-Lowke scale-model O-gauge train, 4-4-0 | 0:52:39 | 0:52:43 | |
Locomotive Prince Charles. | 0:52:43 | 0:52:45 | |
Number 62078 with dark-blue BR livery. | 0:52:45 | 0:52:48 | |
What about those at 120? | 0:52:48 | 0:52:50 | |
130, ?130 now., | 0:52:50 | 0:52:52 | |
At ?130, Bassett-Lowke. At 130. | 0:52:52 | 0:52:56 | |
140, 150. | 0:52:56 | 0:52:57 | |
150. At 160. 170. At ?170 now. | 0:52:57 | 0:53:01 | |
?180. ?190. | 0:53:01 | 0:53:03 | |
At ?190. ?200. ?210. | 0:53:03 | 0:53:05 | |
Just. We're in. We're choo-chooing. | 0:53:05 | 0:53:08 | |
?220. ?230. ?230 now. | 0:53:08 | 0:53:11 | |
At 240. 250? 250. | 0:53:11 | 0:53:13 | |
260. 270. | 0:53:13 | 0:53:16 | |
At ?270 now in the room. | 0:53:16 | 0:53:18 | |
?280, 290. | 0:53:18 | 0:53:20 | |
?290. ?300. 320. | 0:53:20 | 0:53:24 | |
320, the bid is in the room. | 0:53:24 | 0:53:26 | |
340 internet. 360. | 0:53:26 | 0:53:29 | |
?360 now. At 360. | 0:53:29 | 0:53:31 | |
At 360. | 0:53:31 | 0:53:33 | |
380. On the net, 400. | 0:53:33 | 0:53:35 | |
The bid is in the room at ?400. | 0:53:35 | 0:53:36 | |
That's brilliant. Good. At ?400 - are we all finished then? | 0:53:36 | 0:53:39 | |
At 400? | 0:53:39 | 0:53:40 | |
Yes, the hammer's gone down. | 0:53:40 | 0:53:42 | |
Very good. We're chuffed. | 0:53:42 | 0:53:43 | |
And he'll take them home! | 0:53:43 | 0:53:45 | |
And we got the top end. We did. | 0:53:45 | 0:53:47 | |
I'm so pleased you pushed him out the door! | 0:53:47 | 0:53:50 | |
And finally, it's that special silver tea service that made David's day. | 0:53:50 | 0:53:56 | |
So you're going to spend all the money on dog food? | 0:53:56 | 0:53:59 | |
On a rainy day, pop in a treat for her. | 0:53:59 | 0:54:01 | |
Aw. We're looking for ?1,500 minimum, aren't we? | 0:54:01 | 0:54:05 | |
Well, it's got to make a bit less than that. 1,250 will do it. | 0:54:05 | 0:54:07 | |
Oh, right. OK. You paid 1,200 for this, didn't you? | 0:54:07 | 0:54:10 | |
You've been very philosophical about that. | 0:54:10 | 0:54:12 | |
I think what's so amazing about this is Stanley Matthews, | 0:54:12 | 0:54:14 | |
at the age of 31, was presented with this tea set. | 0:54:14 | 0:54:17 | |
Can you imagine a footballer today at the age of 31 | 0:54:17 | 0:54:19 | |
being grateful with a tea set? | 0:54:19 | 0:54:21 | |
Wonderful footballer. He had such a long career. Legend. | 0:54:21 | 0:54:24 | |
Well, let's find out if there's any silver lovers or footie lovers here right now in the room. | 0:54:24 | 0:54:28 | |
It's going under the hammer. | 0:54:28 | 0:54:30 | |
Four-piece silver tea set, football importance. Stanley Matthews. | 0:54:30 | 0:54:34 | |
At ?900. | 0:54:34 | 0:54:35 | |
At ?900, 950, where? | 0:54:35 | 0:54:37 | |
At 950, 1,000, 1,050, 1,100, at ?1,100 now. | 0:54:37 | 0:54:42 | |
1,150, ?1,200, it's on the internet. | 0:54:42 | 0:54:45 | |
At ?1,200, and 1,220, 1,250, | 0:54:45 | 0:54:49 | |
1,300, 1,350, 1,400, 1,450. | 0:54:49 | 0:54:52 | |
Good, the bids are coming in now. | 0:54:52 | 0:54:54 | |
?1,450. | 0:54:54 | 0:54:56 | |
Selling it. 1,500. 1,550. | 0:54:56 | 0:54:59 | |
At ?1,550. | 0:54:59 | 0:55:01 | |
It's all the Stoke football fans are bidding right now. | 0:55:01 | 0:55:05 | |
It's Peter Crouch. ?1,650 now. | 0:55:05 | 0:55:08 | |
1,750. | 0:55:08 | 0:55:10 | |
At 1,750, 1,800. Anyone want to go in the room? | 0:55:10 | 0:55:13 | |
1,900, 1,950, at 1,950 on the net, | 0:55:13 | 0:55:16 | |
at 1,950, ?2,000, 2,100, | 0:55:16 | 0:55:20 | |
2,100 now, at ?2,100, | 0:55:20 | 0:55:24 | |
2,200, 2,300, 2,300, | 0:55:24 | 0:55:27 | |
at 2,300. | 0:55:27 | 0:55:29 | |
At ?2,300. Tough competition for this. | 0:55:29 | 0:55:30 | |
He's still a big name, isn't he? | 0:55:30 | 0:55:32 | |
Oh, yes. Any more? | 0:55:32 | 0:55:33 | |
2,400, 2,500, | 0:55:33 | 0:55:36 | |
2,500, at ?2,500. | 0:55:36 | 0:55:39 | |
Are we all finished, then? Listen. | 0:55:39 | 0:55:40 | |
At ?2,500. | 0:55:40 | 0:55:42 | |
Internet, be quick. 2,600. | 0:55:42 | 0:55:44 | |
2,700. 2,700. | 0:55:44 | 0:55:45 | |
At ?2,700. | 0:55:46 | 0:55:49 | |
At 2,700, one more? | 0:55:49 | 0:55:51 | |
Yes or no? At ?2,700, 2,800, | 0:55:51 | 0:55:55 | |
2,900, 2,900. | 0:55:55 | 0:55:57 | |
?2,900. | 0:55:57 | 0:55:58 | |
Tracey, ?2,900. | 0:55:58 | 0:56:00 | |
Who hasn't had a go yet? | 0:56:00 | 0:56:01 | |
At ?2,900, it's on the internet. | 0:56:01 | 0:56:05 | |
Calling it once at ?2,900. | 0:56:06 | 0:56:09 | |
At ?2,900 twice, internet. | 0:56:10 | 0:56:13 | |
Last chance. ?3,000, 3,200. | 0:56:13 | 0:56:15 | |
3,000! 3,200. At ?3,200. | 0:56:15 | 0:56:21 | |
All done, then, at 3... 3,400. They think it's all over. | 0:56:21 | 0:56:25 | |
3,600. 3,600. | 0:56:25 | 0:56:27 | |
At 3,800, 4,000, | 0:56:27 | 0:56:30 | |
at ?4,000 on the net, 4,200, 4,400, | 0:56:30 | 0:56:34 | |
?4,400. | 0:56:34 | 0:56:36 | |
Do you need a seat? ?4,400. | 0:56:36 | 0:56:39 | |
?4,400. | 0:56:39 | 0:56:41 | |
I can wait. 4,400. | 0:56:41 | 0:56:43 | |
4,600. Worth the wait. | 0:56:45 | 0:56:47 | |
4,800. | 0:56:47 | 0:56:49 | |
?4,800, at ?4,800. | 0:56:49 | 0:56:52 | |
?4,800 it is on the net. | 0:56:52 | 0:56:55 | |
Anybody want to go in the room at ?4,800? | 0:56:56 | 0:56:59 | |
?4,800. | 0:56:59 | 0:57:01 | |
It's astonishing. All finished, then, at 4,800, | 0:57:01 | 0:57:04 | |
calling once, twice... | 0:57:04 | 0:57:06 | |
What a surprise! Selling it at 4,800. | 0:57:06 | 0:57:08 | |
4,800. | 0:57:08 | 0:57:10 | |
That took us by surprise, didn't it? I'm thrilled. | 0:57:13 | 0:57:15 | |
I'm delighted. I'm gobsmacked. | 0:57:15 | 0:57:17 | |
Thank you. Well, thank you for bringing that in | 0:57:17 | 0:57:19 | |
and it gave us all a surprise, and what a way to end the show. | 0:57:19 | 0:57:22 | |
What do you think you're going to spend all that money on? | 0:57:22 | 0:57:24 | |
Darcy. Darcy, the dog. Woof. Woof. Woof. | 0:57:24 | 0:57:27 | |
I hope you enjoyed that surprise. | 0:57:27 | 0:57:29 | |
Sadly, we've run out of time here from Halls salesroom. | 0:57:29 | 0:57:32 | |
Join us again soon for many more, but until then, it's goodbye. | 0:57:32 | 0:57:35 | |
# Hard times | 0:58:06 | 0:58:08 | |
# Gonna make you wonder why you even try | 0:58:08 | 0:58:10 | |
# Hard times | 0:58:10 | 0:58:11 | |
# Gonna take you down and laugh when you cry | 0:58:11 | 0:58:14 | |
# Hit the ground | 0:58:14 | 0:58:16 | |
# When I hit the ground | 0:58:17 | 0:58:20 | |
# Hard times | 0:58:20 | 0:58:21 | |
# Gonna make you wonder why you even try... # | 0:58:21 | 0:58:24 |