0:00:08 > 0:00:12Today's show comes from this very impressive Scottish mansion.
0:00:12 > 0:00:15It's Pollok House and it's situated
0:00:15 > 0:00:19in 360 acres of Pollok Country Park.
0:00:19 > 0:00:22It's hard to believe this calm, tranquil oasis,
0:00:22 > 0:00:26which also houses the famous Burrell Collection, is only three
0:00:26 > 0:00:29miles from the city centre of Glasgow.
0:00:29 > 0:00:30Welcome to "Flog It!"
0:00:56 > 0:00:59Pollok House was the ancestral home of the Maxwells.
0:00:59 > 0:01:01It was built in the 1740s when
0:01:01 > 0:01:04Glasgow was prosperous.
0:01:04 > 0:01:06The city became a trading hub
0:01:06 > 0:01:08for sugar, tobacco and cotton, and
0:01:08 > 0:01:11a few decades later Glasgow would
0:01:11 > 0:01:14become a major industrial city.
0:01:14 > 0:01:17And here, in Pollock Country Park, the Maxwells enjoyed
0:01:17 > 0:01:21a privileged life of luxury, in a house full of treasures.
0:01:23 > 0:01:25Later in the show,
0:01:25 > 0:01:28I'll be sharing with you many gems from this Scottish Georgian
0:01:28 > 0:01:31home, such as its impressive collection
0:01:31 > 0:01:33of Spanish art.
0:01:34 > 0:01:38The real interest lies in that pearl in her headpiece.
0:01:38 > 0:01:42It's known as the Peregrina, and believe me,
0:01:42 > 0:01:44that pearl has had an amazing life.
0:01:48 > 0:01:51But before that, we'll be heading into England to take a look
0:01:51 > 0:01:55back at some of the valuation days we visited across the country.
0:01:57 > 0:01:59Our travels took us to Falmouth, to the
0:01:59 > 0:02:02National Maritime Museum Cornwall, where against a backdrop
0:02:02 > 0:02:06of great boats, Philip Serrell found something of interest.
0:02:07 > 0:02:09You know you're really famous
0:02:09 > 0:02:13if people just refer to you by your initials.
0:02:13 > 0:02:17We also visited the Milestones Museum at Basingstoke,
0:02:17 > 0:02:20in Hampshire, where you had your items valued amongst
0:02:20 > 0:02:23the recreated historic streets.
0:02:23 > 0:02:27And at the RAF Museum at Hendon, in London, it wasn't just
0:02:27 > 0:02:31the historic aircraft that captured Anita Manning's imagination.
0:02:32 > 0:02:36- What we see here is a romantic scene...- Yes.
0:02:36 > 0:02:40..where a young chap is serenading
0:02:40 > 0:02:42two young women.
0:02:43 > 0:02:45It's an idyll,
0:02:45 > 0:02:48- especially for the young guy.- Yes.
0:02:49 > 0:02:53And finally, we start today's show at another stately home,
0:02:53 > 0:02:57the exquisite 18th-century Ragley Hall, in Warwickshire, where
0:02:57 > 0:03:01Charlie Ross found a quiet corner under an awe-inspiring mural
0:03:01 > 0:03:02called The Temptation.
0:03:02 > 0:03:06The mural tells the story of the devil trying to seduce Christ
0:03:06 > 0:03:10to fall down and worship him by offering him the world
0:03:10 > 0:03:12and all its riches.
0:03:12 > 0:03:15But was Charlie enticed too?
0:03:15 > 0:03:19Sue, the things you brought here really do match up with
0:03:19 > 0:03:20the settings, don't they?
0:03:20 > 0:03:23- Posh.- Yes.- Do you know what they are?
0:03:23 > 0:03:25- You must have opened them up.- Well, yes, they're necessaires.
0:03:25 > 0:03:29- Necessaires, French word, as in, necessary.- Yes.
0:03:29 > 0:03:31What a lady must have
0:03:31 > 0:03:34all day to keep herself looking trim
0:03:34 > 0:03:36- and proper.- That's right.
0:03:36 > 0:03:40And we've got two quite different examples here.
0:03:40 > 0:03:41One 19th century,
0:03:41 > 0:03:44- one 18th century.- Right.
0:03:44 > 0:03:46Quite extraordinary. How did you get it?
0:03:46 > 0:03:49- Well, I got it from my mother. She died nine years ago.- Yeah.
0:03:49 > 0:03:51Where she got it from, I don't know.
0:03:51 > 0:03:57We emigrated to Australia in 1955.
0:03:57 > 0:04:01- Right.- So she hasn't come back, but I have.- Yeah, yeah.
0:04:01 > 0:04:03And then when she died, nine years ago,
0:04:03 > 0:04:06I went over and I brought these back with me.
0:04:06 > 0:04:08Had you any recollection of them being there before?
0:04:08 > 0:04:10No, no, none at all.
0:04:10 > 0:04:11The first one we have here
0:04:11 > 0:04:16is an ivory case, 19th century, French.
0:04:16 > 0:04:19We open this one up, press the button,
0:04:19 > 0:04:22and hey presto.
0:04:22 > 0:04:26And what strikes me immediately
0:04:26 > 0:04:28is the fact that everything
0:04:28 > 0:04:31- that should be in there is in there.- Yeah.
0:04:31 > 0:04:34And it's extremely rare.
0:04:34 > 0:04:38Nearly always someone's used the thimble and not put it back in,
0:04:38 > 0:04:41or the scissors, there's a penknife in there.
0:04:41 > 0:04:44These are silver-gilt
0:04:44 > 0:04:46and I get the impression that
0:04:46 > 0:04:48something like this has never been used.
0:04:48 > 0:04:51A great example of French workmanship of the late
0:04:51 > 0:04:5319th century. This, I'm sure
0:04:53 > 0:04:56is Georgian, so it's earlier than that.
0:04:56 > 0:04:58If we press the button and open it up, we are
0:04:58 > 0:05:02- into the 18th century, George III, late 18th century.- Right.
0:05:02 > 0:05:05Now, the wonderful thing about this, I think,
0:05:05 > 0:05:08is if we lift out this little scent bottle...
0:05:09 > 0:05:11- ..look at the colour of the lining. - Yes, beautiful.
0:05:11 > 0:05:13- Look at that turquoise.- Yes, yes.
0:05:13 > 0:05:14That shows you this
0:05:14 > 0:05:16would have been that colour...
0:05:16 > 0:05:17- That's right, yes.- ..originally.
0:05:17 > 0:05:20But that shows you what a vibrant object it
0:05:20 > 0:05:22must have been to begin with.
0:05:22 > 0:05:25Now, the downside with this is
0:05:25 > 0:05:28- that a lot of these bits aren't original.- Oh, right.
0:05:28 > 0:05:32I can see immediately, I'm just going to slide that in there,
0:05:32 > 0:05:34and you can feel the way that fits that,
0:05:34 > 0:05:37- that is certainly original. - Snug, yes, yes.
0:05:37 > 0:05:39But here we have got
0:05:39 > 0:05:41a little needle case,
0:05:41 > 0:05:44- chromium plated.- Oh, right. - That's 20th century,
0:05:44 > 0:05:46- without a shadow of a doubt. - Somebody's put that in, yeah.
0:05:46 > 0:05:50So, somebody's just slipped that in there, and actually,
0:05:50 > 0:05:52if you look carefully, it's not a perfect fit, is it?
0:05:52 > 0:05:54It's not a fit, no.
0:05:54 > 0:05:57- So, earlier...- Yeah.- ..potentially more valuable had it
0:05:57 > 0:05:59got its original lots,
0:05:59 > 0:06:02and later, but perfect.
0:06:02 > 0:06:04- Yes.- So we've got two examples of the same thing.
0:06:04 > 0:06:06I'm going to watch your eyebrows here.
0:06:06 > 0:06:09I'm not going to tell you they're worth thousands cos they aren't.
0:06:09 > 0:06:12I'm going to come back to 250 to 350
0:06:12 > 0:06:14- as a saleroom estimate...- OK, right.
0:06:14 > 0:06:16- ..with a fixed reserve of £200. - Yeah.
0:06:16 > 0:06:19And I think that will get the interest going,
0:06:19 > 0:06:20and we'll get a sale.
0:06:20 > 0:06:24- Yes.- OK?- Yes, that's lovely, thank you very much.- Thank you.- Thank you.
0:06:24 > 0:06:28We'll find out how Sue's necessaires fared at auction later.
0:06:28 > 0:06:30Even though one was made from ivory,
0:06:30 > 0:06:35we were able to sell it, as it was made before 1947.
0:06:36 > 0:06:39Unlike many stately homes of the 18th century,
0:06:39 > 0:06:42Pollok House has a particular feature which makes it stand
0:06:42 > 0:06:46out from the others, and believe it or not, it's this.
0:06:46 > 0:06:47Paint! Paint on the walls.
0:06:47 > 0:06:50It probably doesn't mean much to you and I - that's what we've got -
0:06:50 > 0:06:53but back in the day, it was fashionable for a house
0:06:53 > 0:06:56of this importance to have silk wall coverings,
0:06:56 > 0:06:58so why wasn't it here?
0:06:58 > 0:07:01Well, the house was so close to industrial Glasgow
0:07:01 > 0:07:03they thought it would be impossible
0:07:03 > 0:07:05to clean. So there you are.
0:07:05 > 0:07:08But it didn't put them off buying this magnificent clock.
0:07:10 > 0:07:12It is a very special longcase clock.
0:07:12 > 0:07:14Just one look at the dial tells you
0:07:14 > 0:07:16there's something very different about it.
0:07:16 > 0:07:18It was built to special requirements given by
0:07:18 > 0:07:23Sir John Maxwell, the third baronet, and it's made by Craig of Glasgow,
0:07:23 > 0:07:27in 1764. It bears the Maxwell family crest, of course,
0:07:27 > 0:07:31but it is an astronomical longcase clock.
0:07:31 > 0:07:32It gives us the date
0:07:32 > 0:07:35and the signs of the zodiac,
0:07:35 > 0:07:36and believe it or not, it also
0:07:36 > 0:07:39gives you the time of the tides.
0:07:39 > 0:07:42We're quite close to Glasgow Bridge here, so I guess the Maxwells would
0:07:42 > 0:07:44keep an eye on the shipping movements coming in and out
0:07:44 > 0:07:48if they were importing special pieces from far-flung places.
0:07:48 > 0:07:51And right in the centre, you can see the constellations
0:07:51 > 0:07:54that are only visible to Pollok House. So, at night-time, if you
0:07:54 > 0:07:56go outside in the grounds and look up,
0:07:56 > 0:07:58that's what you're going to see.
0:07:58 > 0:07:59It really is beautiful.
0:07:59 > 0:08:02I bet if somebody winds that up, it would
0:08:02 > 0:08:05strike on the most beautiful chime.
0:08:07 > 0:08:11Pollok House is certainly crammed with amazing objects
0:08:11 > 0:08:13and fascinating collections
0:08:13 > 0:08:14and, talking of collections,
0:08:14 > 0:08:18at the Milestones Museum in Basingstoke, Elizabeth Talbot
0:08:18 > 0:08:21met a father and son with a great set of toys
0:08:21 > 0:08:23that have barely seen the light of day.
0:08:23 > 0:08:25Anthony, Phil? Yes.
0:08:25 > 0:08:26Thank you for coming in with what is
0:08:26 > 0:08:28a very exciting collection here.
0:08:28 > 0:08:29Now, I know a little
0:08:29 > 0:08:31bit about Corgi, which
0:08:31 > 0:08:33we can talk about in a little while, but you tell me what
0:08:33 > 0:08:36you know and whose the collection is and who does it belong to?
0:08:36 > 0:08:39Well, the collection belongs to myself, it sat up in the loft
0:08:39 > 0:08:42for many, many years because unfortunately, I wouldn't let...
0:08:42 > 0:08:45I was never allowed to play with them. He never let me,
0:08:45 > 0:08:46he never let me touch them.
0:08:46 > 0:08:50- What is that saying about what he thinks of you?- Overprotective.- Yes.
0:08:50 > 0:08:52- It was saying...- Of the toys, not of you.
0:08:52 > 0:08:54It was saying to save them for a later date
0:08:54 > 0:08:57when they were worth some money and we could enjoy them together.
0:08:57 > 0:08:59That's sound advice, fair enough.
0:08:59 > 0:09:02- So they've not seen the light of day for some while?- Not for some while,
0:09:02 > 0:09:05no, they were probably last sort of out of their boxes, I would say
0:09:05 > 0:09:07when I was about sort of 13 or 14 years old,
0:09:07 > 0:09:09in my bedroom, so that's going
0:09:09 > 0:09:12back a good 30-ish plus years.
0:09:12 > 0:09:15So at that stage, when you were a younger boy, did you collect
0:09:15 > 0:09:16Corgi toys quite avidly?
0:09:16 > 0:09:18Yeah, the first one I got was
0:09:18 > 0:09:20- a Rolls-Royce Silver Shadow.- Uh-huh.
0:09:20 > 0:09:23That was in 1973. My uncle bought that for me.
0:09:23 > 0:09:25And then I started the collection from there.
0:09:25 > 0:09:27So, do you still collect?
0:09:27 > 0:09:29Are you adding to your collection all the time?
0:09:29 > 0:09:31- I'm not adding any longer. No, I stopped in about the '90s.- OK.
0:09:31 > 0:09:34And the collection's currently about 100 vehicles.
0:09:34 > 0:09:35I mean, Corgi was a
0:09:35 > 0:09:37trade name which was established by
0:09:37 > 0:09:38the firm Mettoy, who were a very
0:09:38 > 0:09:41well-known toy manufacturer,
0:09:41 > 0:09:42earlier in the 20th century, and in
0:09:42 > 0:09:451956 they launched the Corgi range.
0:09:45 > 0:09:46It was really, actually, one of the
0:09:46 > 0:09:48ones that you have at the front,
0:09:48 > 0:09:51the James Bond vehicle, which became
0:09:51 > 0:09:52so popular at the time that it
0:09:52 > 0:09:54launched their reputation
0:09:54 > 0:09:57for being fantastic manufacturers of the diecast vehicle.
0:09:57 > 0:09:59I mean, that really kind of catapulted them from being an
0:09:59 > 0:10:02average manufacturer that was OK, to something which
0:10:02 > 0:10:04really was grabbing people's attention, the here and now.
0:10:04 > 0:10:06Do you have a favourite amongst these?
0:10:06 > 0:10:08I do, I like the one at the front there where he fires
0:10:08 > 0:10:10- out of the seat...- He ejects out of the seat.
0:10:10 > 0:10:12- He ejects out of the seat, yeah. - Have you now any idea
0:10:12 > 0:10:14of the current value?
0:10:14 > 0:10:17On a good day or a bad day, probably around about £300, I think,
0:10:17 > 0:10:19for the whole collection. Maybe a little bit more on a good day.
0:10:19 > 0:10:23Yeah, 3 to 4, 3 to 500 is about the right sort of mark, I would think.
0:10:23 > 0:10:25If you're happy to offer them for sale at that sort of value
0:10:25 > 0:10:30- with a £300 reserve...- Yes. - ..and then let's see...
0:10:30 > 0:10:32See what happens, yeah.
0:10:32 > 0:10:35- Then, you will presumably share the results of the sale?- Exactly, yeah.
0:10:35 > 0:10:39- Do you have aspirations for what you're going to do?- We both follow our local football club, don't we?
0:10:39 > 0:10:42I follow Worthing, our local football club. They play Guernsey every year
0:10:42 > 0:10:45- so we'd want to...- Guernsey's a bit of an expensive trip.
0:10:45 > 0:10:47- ..go away for the weekend. - What a great idea.
0:10:47 > 0:10:49Well, touch wood, we can get you to fly over there
0:10:49 > 0:10:52and have some expenses as well and have a lovely, memorable trip.
0:10:52 > 0:10:55- Fingers crossed. That would be super. Thank you.- Thank you.
0:10:55 > 0:10:57What a great little lot.
0:10:57 > 0:10:59It certainly took me back to my childhood.
0:11:02 > 0:11:05Next, Philip Serrell came across an item related to
0:11:05 > 0:11:06one of his favourite sports,
0:11:06 > 0:11:11at our valuation day at the National Maritime Museum Cornwall.
0:11:11 > 0:11:13Mike, are you a cricket fan?
0:11:13 > 0:11:17I'm not as such. I'm aware of cricket and sometimes follow it.
0:11:17 > 0:11:21My grandfather was the passionate cricket aficionado.
0:11:21 > 0:11:23I love my cricket.
0:11:23 > 0:11:26And what I love, is that
0:11:26 > 0:11:29you know you're really famous
0:11:29 > 0:11:33- if people just refer to you by your initials.- Yeah.
0:11:33 > 0:11:37So, WG, William Gilbert Grace,
0:11:37 > 0:11:41a lot of people reckon he's the greatest cricketer that's ever been.
0:11:41 > 0:11:43He's certainly the most, probably one of the most famous
0:11:43 > 0:11:45cricketers that's ever been.
0:11:45 > 0:11:48And this is a handkerchief.
0:11:48 > 0:11:50Don't think you're meant to blow your nose on it,
0:11:50 > 0:11:52but it's a handkerchief
0:11:52 > 0:11:54that charts WG's career.
0:11:54 > 0:11:57And it would have been sold after the event, with
0:11:57 > 0:12:00a portrait of the great man here,
0:12:00 > 0:12:02champion cricketer of the world.
0:12:02 > 0:12:05They must have made thousands of these,
0:12:05 > 0:12:07but thus is a real collector's item now,
0:12:07 > 0:12:10and there's a lovely story about WG Grace
0:12:10 > 0:12:12towards the end of his career.
0:12:12 > 0:12:16He went out to bat and there was a bowler the other end, who
0:12:16 > 0:12:20no-one had ever heard of, and he bowled WG Grace first ball.
0:12:20 > 0:12:22- Really?- Yeah.
0:12:22 > 0:12:25WG Grace turned round, he picked the bails up,
0:12:25 > 0:12:26put them back on the stumps and said,
0:12:26 > 0:12:31"Young man, they've come to see me bat, not you bowl," and carried on.
0:12:31 > 0:12:34- Which is, I like the style of a man who'd do this.- Yeah, great story.
0:12:34 > 0:12:36How long have you had it?
0:12:36 > 0:12:38Probably about 20 years.
0:12:38 > 0:12:40My grandfather gave it to me,
0:12:40 > 0:12:43and it was given to him by his father,
0:12:43 > 0:12:47and they used to go and watch WG Grace together.
0:12:47 > 0:12:50And what do you think it may or may not be worth?
0:12:50 > 0:12:52I've really no idea.
0:12:52 > 0:12:54- I've really no idea.- Well,
0:12:54 > 0:12:57clearly the only person who's going to buy this is
0:12:57 > 0:13:00- a cricket nut.- Yeah.- But there are huge, huge, you know,
0:13:00 > 0:13:04number of cricket fans out there who, I think, would love this.
0:13:04 > 0:13:06I think I can see it in a private collection.
0:13:06 > 0:13:08I can see it in a club house.
0:13:08 > 0:13:12In terms of value, I think you need to put £80 to £120 on it,
0:13:12 > 0:13:14and I would put a reserve on it of £60.
0:13:14 > 0:13:18- You never know, you might get Mr Kevin Pietersen after it.- Yeah.
0:13:19 > 0:13:21Well, that's it for our first set of valuations,
0:13:21 > 0:13:25as it's time to find out how they fared at auction.
0:13:26 > 0:13:30The Corgi car collection was rescued by Anthony from his attic,
0:13:30 > 0:13:34and a trip to Guernsey to watch the footie depended on its selling.
0:13:37 > 0:13:40Sue's two necessaires charmed Charlie, and it was
0:13:40 > 0:13:44wonderful that one of them came with all its original contents.
0:13:47 > 0:13:50And finally, there was Mike's WG Grace handkerchief,
0:13:50 > 0:13:52which Philip hoped would make
0:13:52 > 0:13:53an easy catch.
0:13:55 > 0:13:58Remember, with every auction there's varying rates of commission
0:13:58 > 0:14:02and VAT to pay, whether you're buying or selling items.
0:14:04 > 0:14:07We put Elizabeth's valuation of the Corgi car collection to the
0:14:07 > 0:14:09test first, when it went
0:14:09 > 0:14:11up for sale at Andrew Smith and Son,
0:14:11 > 0:14:12near Winchester.
0:14:12 > 0:14:14On the rostrum was Andrew Smith.
0:14:14 > 0:14:16£50.
0:14:16 > 0:14:18I had the Batmobile,
0:14:18 > 0:14:20and as soon as my mum gave it to me,
0:14:20 > 0:14:21do you know what I did?
0:14:21 > 0:14:24Ripped the box open, threw it away
0:14:24 > 0:14:25and played with the car.
0:14:25 > 0:14:27I can understand you
0:14:27 > 0:14:30- not playing with these, keeping the boxes, sensible guy.- Exactly.
0:14:30 > 0:14:33They were played with a little bit, but then back in the boxes.
0:14:33 > 0:14:35- Yeah. What about you, Phil? - He never let me play with them.
0:14:35 > 0:14:37I always tried to but he never let me play with them.
0:14:37 > 0:14:40- Now we have a value of...- 3 to £500.
0:14:40 > 0:14:42Hopefully there will be a bit of interest on the net for this one.
0:14:42 > 0:14:45- They're good search words, aren't they?- Exactly, yes. That's
0:14:45 > 0:14:49- something they can search for.- See the Dynamic Duo's got it all sorted.
0:14:50 > 0:14:53Anyway, let's put it to the test, shall we, guys?
0:14:53 > 0:14:54Yes, let's have a look.
0:14:56 > 0:14:59£300. 300 we have on the net.
0:14:59 > 0:15:02Is there 20? At £300, we are selling.
0:15:02 > 0:15:03Is there 20?
0:15:03 > 0:15:06- All done?- Come on, internet. - At £300.
0:15:06 > 0:15:09We are selling, make no mistake, at £300, then,
0:15:09 > 0:15:10for the very last time.
0:15:12 > 0:15:16- They're gone.- You're right, the net did work. Cos otherwise it
0:15:16 > 0:15:17- wouldn't have been bought in the room.- No.
0:15:17 > 0:15:20- So, it did its job.- But sadly they've gone at the lower end.
0:15:20 > 0:15:23- Lower end, but they're gone. That's the thing.- Yeah.- Exactly.
0:15:23 > 0:15:27And that £300 should have gone a good way to getting Anthony
0:15:27 > 0:15:31and Phil to Guernsey to watch their team, Worthing, play football.
0:15:31 > 0:15:35Next, Mike's WG Grace handkerchief went under the hammer
0:15:35 > 0:15:36at Jefferys Auctioneers,
0:15:36 > 0:15:39when we travelled west to Lostwithiel, in Cornwall.
0:15:39 > 0:15:41Wielding the gavel was Ian Morris.
0:15:43 > 0:15:47Mike, you brought the cricket memorabilia to the right expert.
0:15:47 > 0:15:50- So I hear.- Yes.- There's only one doctor.
0:15:50 > 0:15:52THEY CHUCKLE Oh, right.
0:15:52 > 0:15:54Let's find out what the Cornish market think of this, shall we?
0:15:54 > 0:15:56- Yeah.- Here we go, it's going under the hammer.
0:15:58 > 0:16:00WG Grace, £50 a bid.
0:16:00 > 0:16:01At £50. At £50.
0:16:01 > 0:16:03Take part to get on. 55. 60.
0:16:03 > 0:16:055. 70.
0:16:05 > 0:16:095. 80. 5. 90.
0:16:09 > 0:16:11£90 the bid's with me.
0:16:11 > 0:16:1295.
0:16:12 > 0:16:14100.
0:16:14 > 0:16:16105. 110.
0:16:16 > 0:16:17110, the bid's with me.
0:16:17 > 0:16:20At £110. 120 up?
0:16:20 > 0:16:22120. 130.
0:16:22 > 0:16:24140? 140. Your bid, I'm out.
0:16:24 > 0:16:26At £140. Seated. 150 up?
0:16:26 > 0:16:28Done, at £140.
0:16:30 > 0:16:33- How's that?- I think that's hit it for six, that has.- Good.
0:16:33 > 0:16:35But it was a very straight bat.
0:16:35 > 0:16:37Bowled the maiden over.
0:16:37 > 0:16:39No googlers there.
0:16:40 > 0:16:43Well, it was all out for the WG Grace handkerchief
0:16:43 > 0:16:45with a great result.
0:16:46 > 0:16:49Finally, we headed north, to Warwickshire,
0:16:49 > 0:16:52and Stratford-upon-Avon where Bigwood Fine Art Auctioneers
0:16:52 > 0:16:55were selling Sue's pair of necessaires.
0:16:55 > 0:16:59Auctioneer, Stephen Kaye, decided to split the items into two
0:16:59 > 0:17:01separate lots, with a reserve
0:17:01 > 0:17:02of £100 on each.
0:17:04 > 0:17:06Susan, quality, quality, quality
0:17:06 > 0:17:09- and it always sells, doesn't it? - Yes, I hope so, hopefully.
0:17:09 > 0:17:12And not "necessairely", though, but it does.
0:17:12 > 0:17:14In this case, it will.
0:17:14 > 0:17:16- So are you ready for this? - Fingers crossed.- Oh!- Yes.
0:17:16 > 0:17:19I think these are going to go for, hopefully, a little bit more.
0:17:19 > 0:17:21- Good.- We're going to find out right now.
0:17:21 > 0:17:24Let's hand the proceedings over to our auctioneer.
0:17:24 > 0:17:25Lot number 50
0:17:25 > 0:17:28is the little necessaire.
0:17:28 > 0:17:31I've got £100 bid on the computer.
0:17:31 > 0:17:32110, at the back.
0:17:32 > 0:17:35Anybody give me 120? 120. 130. 140.
0:17:35 > 0:17:39- We've got it. We've got it. - 150. 160. 170.
0:17:39 > 0:17:41- 180. 190.- Chap on the stairs.
0:17:41 > 0:17:43200. And 10.
0:17:43 > 0:17:44200 with Christian and 10.
0:17:44 > 0:17:46220. 230, sir.
0:17:46 > 0:17:48240. 250.
0:17:48 > 0:17:50260. 270.
0:17:50 > 0:17:51260 with Christian.
0:17:51 > 0:17:53Anybody else? 270. 280.
0:17:53 > 0:17:54290.
0:17:54 > 0:17:58300. And 20. 340. 360.
0:17:58 > 0:17:59Oh, this is exciting, isn't it?
0:17:59 > 0:18:01- 400.- (400!)- I can't believe it.
0:18:01 > 0:18:02380 with Christian.
0:18:02 > 0:18:04Anybody give me 400?
0:18:04 > 0:18:06For £380, are we all done?
0:18:07 > 0:18:09- Yes, hammer's gone down. - That's fantastic.
0:18:09 > 0:18:12- £380.- Yes.- One down, one more to go.
0:18:12 > 0:18:14Here we are.
0:18:14 > 0:18:15Another little necessaire,
0:18:15 > 0:18:17this is also extremely pretty.
0:18:17 > 0:18:19Let me give you 110, thank you.
0:18:19 > 0:18:21I've got 110 from Christian. 120. 130?
0:18:21 > 0:18:24140. 150. 160.
0:18:24 > 0:18:26I've got 150 in the room.
0:18:26 > 0:18:29150 in the room, anybody else?
0:18:29 > 0:18:32160. 170. 180. 190.
0:18:32 > 0:18:34200. And 10.
0:18:34 > 0:18:35220. 230.
0:18:35 > 0:18:37- 240.- Good, up and up.
0:18:37 > 0:18:39250. 250.
0:18:39 > 0:18:41260. 270.
0:18:41 > 0:18:43280. 290.
0:18:43 > 0:18:44300.
0:18:44 > 0:18:47290, I've got. Anyone else?
0:18:47 > 0:18:49At 290, it's a little treasure.
0:18:51 > 0:18:55That is fantastic. That's a grand total of £670.
0:18:55 > 0:18:56- Fantastic. Fantastic.- Hey.
0:18:56 > 0:18:58But, look, all credit to you for
0:18:58 > 0:19:00- looking after it, you know? - Yes, yes.
0:19:00 > 0:19:01That's lovely. That's
0:19:01 > 0:19:02really, really nice.
0:19:02 > 0:19:05If you've got anything like that, we would love to sell it for you.
0:19:05 > 0:19:07Bring it along to one of our valuation days.
0:19:07 > 0:19:08You can find details on our website,
0:19:08 > 0:19:11or check the details in your local press. But, what a result!
0:19:22 > 0:19:25Well, some happy owners there, and we'll be going back to the
0:19:25 > 0:19:28auction room a little later on in the programme.
0:19:28 > 0:19:32Now, I want to share with you a very special collection.
0:19:32 > 0:19:36Most walls in British stately homes are adorned with wonderful
0:19:36 > 0:19:39works of art that date back centuries, executed by artists,
0:19:39 > 0:19:43prominent artists, British, French, Italian and Dutch.
0:19:43 > 0:19:46But back in the 1800s, a rather different,
0:19:46 > 0:19:49and at the time, ground-breaking group of paintings
0:19:49 > 0:19:52found its way here to Pollok House in Glasgow.
0:19:52 > 0:19:56And as a result, the house boasted the largest
0:19:56 > 0:20:00collection of Spanish art in Britain at the time.
0:20:01 > 0:20:04The man responsible for the collection was
0:20:04 > 0:20:06Sir William Stirling Maxwell.
0:20:06 > 0:20:07He was a public-spirited gent,
0:20:07 > 0:20:11who served twice as a Conservative MP for Perthshire.
0:20:11 > 0:20:14Pollok House was passed to Sir William
0:20:14 > 0:20:16from his uncle in the 1860s.
0:20:16 > 0:20:20Sir William had also inherited a substantial fortune from his
0:20:20 > 0:20:22father, which allowed him to
0:20:22 > 0:20:25indulge his passion for Spanish art.
0:20:27 > 0:20:29Portraits of the Hapsburgs,
0:20:29 > 0:20:32the most important royal family in Europe,
0:20:32 > 0:20:35rulers of Spain in the 16th and 17th centuries,
0:20:35 > 0:20:39are a constant feature in Sir William's collection.
0:20:39 > 0:20:41And here is a portrait of Charles II.
0:20:43 > 0:20:46Now, he was the last in the line of the Hapsburgs in Spain,
0:20:46 > 0:20:48but he had a rather unfortunate feature,
0:20:48 > 0:20:49a protruding chin.
0:20:49 > 0:20:51And that's thought to
0:20:51 > 0:20:52be down to inbreeding,
0:20:52 > 0:20:56the Hapsburgs were so desperate to keep their European dynasty running.
0:20:56 > 0:21:00He did get a bad deal because his teeth were so badly misaligned,
0:21:00 > 0:21:02he couldn't chew his food.
0:21:02 > 0:21:05But for Sir William, it wasn't about the aesthetic.
0:21:05 > 0:21:09He was more interested in the stories behind the painting -
0:21:09 > 0:21:12who this chap was, why he looked like that,
0:21:12 > 0:21:14who was the artist.
0:21:14 > 0:21:16So, how did he start to collect?
0:21:19 > 0:21:21I'm meeting Pippa Stephenson,
0:21:21 > 0:21:22Curator of European Art from
0:21:22 > 0:21:25Glasgow Museums, to find out more.
0:21:26 > 0:21:30So how did Sir William first get interested in Spanish art?
0:21:30 > 0:21:34It started in 1841, when he took a trip to Spain, this is
0:21:34 > 0:21:37when he really developed his love and his passion for Spanish art.
0:21:37 > 0:21:39He decided to stay there for two
0:21:39 > 0:21:42years and, in that time, he got
0:21:42 > 0:21:43to know Spanish art,
0:21:43 > 0:21:45he got to know different collections
0:21:45 > 0:21:46and he decided to write
0:21:46 > 0:21:48this three-volume
0:21:48 > 0:21:51Annals Of The Artist, which he published in 1848,
0:21:51 > 0:21:55the first scholarly catalogue, or book of Spanish art,
0:21:55 > 0:21:56to be written in the English language.
0:21:56 > 0:21:59Well, that's quite incredible. So, he had a real passion?
0:21:59 > 0:22:01He wasn't just advised by an art advisor,
0:22:01 > 0:22:02"This is what you've got to do."
0:22:02 > 0:22:05He wanted to be a real, genuine educator,
0:22:05 > 0:22:09and, you know, come across as the lover of art that he was.
0:22:09 > 0:22:12And I would imagine this is quite unusual at the time.
0:22:12 > 0:22:16Absolutely. Other people were generally travelling around
0:22:16 > 0:22:17other parts of Europe.
0:22:17 > 0:22:20Spain was seen as quite an exciting and a new place,
0:22:20 > 0:22:24but, nevertheless, in the mid-1800s, art collections in Britain were
0:22:24 > 0:22:27still dominated by Dutch and Flemish art, and Italian.
0:22:27 > 0:22:31So for an art collector like William Stirling Maxwell,
0:22:31 > 0:22:34to begin collecting these unknown names was quite a thing.
0:22:37 > 0:22:38And over the years,
0:22:38 > 0:22:41Sir William amassed an eclectic group of paintings.
0:22:43 > 0:22:46And believe me, there are some real treasures here.
0:22:46 > 0:22:47Take this painting, for instance.
0:22:47 > 0:22:50It was acquired in 1851,
0:22:50 > 0:22:52and that's Anne of Austria.
0:22:52 > 0:22:53Now, she was the fourth
0:22:53 > 0:22:56wife of Philip II of Spain.
0:22:56 > 0:23:00The real interest lies in that pearl in her headpiece.
0:23:00 > 0:23:04It's known as the Peregrina, and it means the wanderer,
0:23:04 > 0:23:10or the pilgrim, and believe me, that pearl has had an amazing life.
0:23:11 > 0:23:14It was found in the Gulf of Panama in the 16th century,
0:23:14 > 0:23:18and somehow it ended up in the coffers of the Spanish royal family.
0:23:18 > 0:23:21It's been worn by several different European monarchs,
0:23:21 > 0:23:23including Mary Tudor.
0:23:23 > 0:23:25In fact, there's another painting here at Pollok House with
0:23:25 > 0:23:29that same pearl in a lady's stomacher.
0:23:29 > 0:23:31Also, that pearl was owned once
0:23:31 > 0:23:33by Napoleon Bonaparte.
0:23:34 > 0:23:38In the 1960s, Richard Burton bought that pearl for his wife,
0:23:38 > 0:23:39Elizabeth Taylor,
0:23:39 > 0:23:42and she had it set into a necklace.
0:23:42 > 0:23:46In 2011, her collection was sold off
0:23:46 > 0:23:47and that necklace went under
0:23:47 > 0:23:49the hammer. It made more
0:23:49 > 0:23:52than seven million pounds.
0:23:52 > 0:23:54What a life that pearl's had!
0:23:58 > 0:24:01Now, over here is Anne's husband,
0:24:01 > 0:24:03Philip II of Spain,
0:24:03 > 0:24:05a very powerful and important man
0:24:05 > 0:24:07and boy, doesn't he just look it?
0:24:07 > 0:24:08The painting accentuates
0:24:08 > 0:24:10his stature, with that wonderful,
0:24:10 > 0:24:12sort of handmade armour
0:24:12 > 0:24:14at no expense spared.
0:24:14 > 0:24:15That fits beautifully.
0:24:15 > 0:24:17That's a lightened blue steel
0:24:17 > 0:24:18inlaid with gold.
0:24:18 > 0:24:22But this painting actually makes him look larger than life
0:24:22 > 0:24:24because, in the flesh,
0:24:24 > 0:24:26he was only five feet tall.
0:24:28 > 0:24:29Apart from the fascinating
0:24:29 > 0:24:32stories behind Sir William's Spanish
0:24:32 > 0:24:33art collection, there is also
0:24:33 > 0:24:35the pedigree of the extraordinary
0:24:35 > 0:24:37artists who painted them,
0:24:37 > 0:24:39like El Greco
0:24:39 > 0:24:40and Goya.
0:24:40 > 0:24:42Famous artists now,
0:24:42 > 0:24:44but in the mid-19th century,
0:24:44 > 0:24:46they were less well-known.
0:24:46 > 0:24:48Well, we've all heard of Goya, but how popular was he
0:24:48 > 0:24:51back in the day when Sir William was touring Spain?
0:24:51 > 0:24:54Well, he wasn't very well-known at all and, in fact,
0:24:54 > 0:24:57when Sir William was thinking about Spanish art
0:24:57 > 0:25:00and buying Spanish art, these two Goya paintings are two
0:25:00 > 0:25:04- of the first to ever enter the UK, when he bought them in 1842.- Really?
0:25:04 > 0:25:07- Yeah.- Tell me a little bit about the painting. What's it called?
0:25:07 > 0:25:11It's called Boys On The Seesaw, so you have these children,
0:25:11 > 0:25:13these boys that are squabbling and playing
0:25:13 > 0:25:16and pretending to be soldiers and religious figures.
0:25:16 > 0:25:18So, just like these young boys that are playing and messing around,
0:25:18 > 0:25:20and kind of fighting with each other,
0:25:20 > 0:25:25he believed that real members of religion are also fighting.
0:25:25 > 0:25:26He criticised society, he had quite
0:25:26 > 0:25:28a bleak view, he experienced
0:25:28 > 0:25:30war first-hand and, consequently,
0:25:30 > 0:25:34- his paintings do show a slight darkness.- A slight darkness, yeah.
0:25:34 > 0:25:35Yeah, darkness, yeah.
0:25:35 > 0:25:38And here we are his, the other part of the pair.
0:25:38 > 0:25:41It's so nice that they are still here on display.
0:25:41 > 0:25:44- It's wonderful.- Same kind of subject matter as well, isn't it?
0:25:44 > 0:25:46That's right, we have the boys playing soldiers
0:25:46 > 0:25:49- in this particular scene.- So, obviously, never designed to be
0:25:49 > 0:25:52split up and I'm so pleased they haven't been.
0:25:52 > 0:25:54- Right, you've saved the best till last, haven't you?- I do,
0:25:54 > 0:25:56- I have a very special painting for you.- Come on, then.
0:25:59 > 0:26:03Painted in the late 16th century, our final stop is this.
0:26:03 > 0:26:06The gem of Pollok House's art collection.
0:26:06 > 0:26:09And here she is. Our Lady In A Fur Wrap by El Greco.
0:26:10 > 0:26:13She's beautiful. She follows you around the room.
0:26:13 > 0:26:15Absolutely, isn't she wonderful?
0:26:15 > 0:26:16Yeah, and she looks like she was painted,
0:26:16 > 0:26:19let's say, in the 1920s, not back then.
0:26:19 > 0:26:22She has a real modernity to her, and a timeless beauty.
0:26:22 > 0:26:24There's something about the way she's looking at you,
0:26:24 > 0:26:26this kind of intimacy and directness,
0:26:26 > 0:26:29that really sticks with people, I think.
0:26:29 > 0:26:32- And she has done for centuries. And we don't know who she is.- No.
0:26:32 > 0:26:34She's a complete mystery to us.
0:26:34 > 0:26:35When Sir William bought her,
0:26:35 > 0:26:39he thought it was a portrait of El Greco's daughter.
0:26:39 > 0:26:42She's been thought of as different members of royalty, empresses,
0:26:42 > 0:26:45duchesses, but the truth is, we'll never know.
0:26:45 > 0:26:48I think he was in love with her. THEY LAUGH
0:26:48 > 0:26:51I think that is the mother of his only child.
0:26:51 > 0:26:53Some people do say there's no other person it could be
0:26:53 > 0:26:56than someone who was in love with the artist, as you say, because
0:26:56 > 0:27:01there is this kind of seduction and sensual nature to the painting.
0:27:01 > 0:27:03Well, thank you for showing me this and thank you
0:27:03 > 0:27:04for showing me around the house.
0:27:04 > 0:27:07- It's been brilliant. Thank you. - It's a real pleasure.
0:27:19 > 0:27:23My foray into art didn't end at Pollok House in Glasgow.
0:27:23 > 0:27:26Back across the border, around 400 miles away,
0:27:26 > 0:27:29a painting caught my interest at our valuation day
0:27:29 > 0:27:32at the Milestones Museum, in Basingstoke.
0:27:34 > 0:27:37Ian, what can you tell me about the oil painting?
0:27:37 > 0:27:38Very much family links.
0:27:38 > 0:27:42Basically, my dad got it from his dad's sister, given to him
0:27:42 > 0:27:45in his will, so other than that, I know very little, other than
0:27:45 > 0:27:47they thought it was called The Letter.
0:27:47 > 0:27:48So, it's just been in our dining room,
0:27:48 > 0:27:51- and it was above our dining room table.- The first thing I noticed,
0:27:51 > 0:27:52I love the setting.
0:27:52 > 0:27:55It's definitely English School.
0:27:55 > 0:27:56It's a good oil on canvas,
0:27:56 > 0:27:58just from looking at the image
0:27:58 > 0:27:59and looking at it stylistically,
0:27:59 > 0:28:01that it's mid-Victorian.
0:28:01 > 0:28:03It's sort of circa 1860,
0:28:03 > 0:28:05- somewhere around there.- OK.
0:28:05 > 0:28:07I'm just going to ask you if we can just lift this off
0:28:07 > 0:28:08and have a look, because what
0:28:08 > 0:28:11attracted me, if we look here,
0:28:11 > 0:28:15what attracted me to this was here, look.
0:28:15 > 0:28:19"The Zennor Poet, St Ives, Cornwall."
0:28:19 > 0:28:23Now, I'm just wondering, is there a Cornish connection in your family?
0:28:23 > 0:28:26- Not that I'm aware of. We're Irish.- Right, OK.
0:28:26 > 0:28:28THEY LAUGH
0:28:28 > 0:28:30There's a lot of paper labels. Now, the first thing you can tell is
0:28:30 > 0:28:33if you feel this canvas, can you feel that?
0:28:33 > 0:28:35It's very tight. It's been restretched.
0:28:35 > 0:28:37I would imagine there's been some damage on this
0:28:37 > 0:28:38during its life.
0:28:38 > 0:28:40If we can lift this up.
0:28:40 > 0:28:42So it's been relined,
0:28:42 > 0:28:44which means another canvas has been
0:28:44 > 0:28:46stuck onto the back of it.
0:28:46 > 0:28:49There might be a few patches, that's been touched in.
0:28:49 > 0:28:51But the narrative is very strong.
0:28:51 > 0:28:52I like this.
0:28:52 > 0:28:54I like what it represents.
0:28:54 > 0:28:56The artist is very, very skilful.
0:28:56 > 0:28:58I like the expressions,
0:28:58 > 0:29:00I like the skin tones.
0:29:00 > 0:29:01There's some very strong
0:29:01 > 0:29:03qualities about this painting,
0:29:03 > 0:29:05but there are also some weak qualities.
0:29:05 > 0:29:06If you look at the cat here,
0:29:06 > 0:29:09- that's rather poor.- OK. - Can you see that?
0:29:09 > 0:29:11Now, because it's been relined,
0:29:11 > 0:29:14- I would suggest it's been slightly cut down.- OK.
0:29:14 > 0:29:16Because we've lost the artist's signature.
0:29:16 > 0:29:18Yeah, we couldn't find a signature on this one.
0:29:18 > 0:29:20No, I've looked everywhere, and sometimes,
0:29:20 > 0:29:22it might be hidden somewhere in a basket
0:29:22 > 0:29:24or on the paperwork he's reading, but
0:29:24 > 0:29:26I think it was signed,
0:29:26 > 0:29:28it's been cut down because it's been relined.
0:29:28 > 0:29:29I think the market for this
0:29:29 > 0:29:31sort of genre has slightly dropped.
0:29:31 > 0:29:34Without provenance, without any kind of
0:29:34 > 0:29:35firm identification
0:29:35 > 0:29:38it's really, really hard to get those top figures for this.
0:29:38 > 0:29:43I think it would be sensible to put a guide of 6 to £800 on this,
0:29:43 > 0:29:45- with a reserve at £600.- OK. Wow.
0:29:45 > 0:29:47- I don't think you should let it go for anything less than that.- OK.
0:29:47 > 0:29:50I think there is some quality there.
0:29:51 > 0:29:54- And I rather like it.- Great.
0:29:55 > 0:29:58Later in the programme, we put my valuation to the test,
0:29:58 > 0:30:00along with our second lot of items.
0:30:02 > 0:30:05But first, we headed over to the RAF Museum at Hendon,
0:30:05 > 0:30:06in London,
0:30:06 > 0:30:10where against a dramatic backdrop of historic aircraft,
0:30:10 > 0:30:14something more domestic caught Anita's eye.
0:30:14 > 0:30:19Avril, these are two beautifully looked-after pieces of silver.
0:30:19 > 0:30:23- Yes.- And I love silver. Tell me, where did you get them?
0:30:23 > 0:30:27Well, I got them from my mother, but she inherited it from her
0:30:27 > 0:30:30- own mother, so it's really from my grandmother.- Right.
0:30:30 > 0:30:34And I don't believe my mother used them. And I have never used them.
0:30:34 > 0:30:37Now, the round tray first of all.
0:30:37 > 0:30:41It has this wonderful empty cartouche in the middle.
0:30:41 > 0:30:48And in this space here, we could put our initial or a monogram.
0:30:48 > 0:30:51It is empty so something could be added to that.
0:30:51 > 0:30:53That is a good aspect of it.
0:30:53 > 0:30:58If we look at the rim, we have these wonderful embossed flower
0:30:58 > 0:31:04and leaf motifs. Again, a good aspect of it.
0:31:04 > 0:31:11And these embossed flowers are joined by this lovely wavy rim.
0:31:11 > 0:31:13I like that.
0:31:13 > 0:31:16It's also what we call a footed tray,
0:31:16 > 0:31:20which means that it stands on feet.
0:31:20 > 0:31:26And again, we have decorative, or fancy, feet there.
0:31:26 > 0:31:31People who collect silver like to see nice, clear hallmarks.
0:31:31 > 0:31:36And if you rub these hallmarks, it makes it more difficult.
0:31:36 > 0:31:42But I know this little emblem here tells me that it's Walker & Hall.
0:31:42 > 0:31:46And although it is well rubbed, I recognise this.
0:31:46 > 0:31:49Walker & Hall were good makers -
0:31:49 > 0:31:54good makers of silver and good retailers.
0:31:54 > 0:31:57Now, I've had a very careful look at this hallmark,
0:31:57 > 0:32:01and I can see that it is Chester.
0:32:01 > 0:32:07And I would date this to probably, from its design,
0:32:07 > 0:32:09- the 1920s.- Right.
0:32:09 > 0:32:12So before I give you a price on this, I'd like to go onto
0:32:12 > 0:32:17- this tray here, which is a different style altogether.- Yes.
0:32:17 > 0:32:21- It has probably been part of a dressing table set.- Yes.
0:32:21 > 0:32:25And the brush and mirror would have backs that would be embossed
0:32:25 > 0:32:28- with the same motif as this.- Yes.
0:32:28 > 0:32:31Now, the marks are a bit clearer on this one.
0:32:31 > 0:32:35It's Birmingham. It's 1900. So it was just at the turn of the century.
0:32:35 > 0:32:36Yes.
0:32:36 > 0:32:40And it was made by Henry Matthews, one of the good Birmingham makers.
0:32:40 > 0:32:44- And what we see here is a romantic scene...- Yes.
0:32:44 > 0:32:47..where a young chap
0:32:47 > 0:32:52- is serenading two young women. - AVRIL LAUGHS
0:32:52 > 0:32:54It's an idle,
0:32:54 > 0:32:57- especially for the young guy.- Yes.
0:32:57 > 0:33:00- I would like to split them up. - Right.
0:33:00 > 0:33:04I would put an estimate of £200 to £300 on this tray,
0:33:04 > 0:33:06with a reserve of 200.
0:33:06 > 0:33:13- Yes.- On this one, I'd like to put 150 to 200.
0:33:13 > 0:33:16And if we can, maybe a little discretion on this one
0:33:16 > 0:33:19- because it's only part of something. - Yes.- Would you be happy with that?
0:33:19 > 0:33:22- Yes, that would be OK. - Two lovely items.
0:33:22 > 0:33:26I'm sure they'll do very well and I hope that my estimates will be
0:33:26 > 0:33:29- conservative and that they'll go much higher.- Thank you.
0:33:29 > 0:33:31- Thank you for bringing them along. - Thanks a lot.
0:33:31 > 0:33:34Two very different but equally immaculate silver trays,
0:33:34 > 0:33:38and Anita was clearly delighted by both.
0:33:38 > 0:33:41Back at the sumptuous Ragley Hall in Warwickshire,
0:33:41 > 0:33:45Will Axon's spied an item that was far from perfect.
0:33:45 > 0:33:47Sylvia, Jane, these are in a right state. You haven't
0:33:47 > 0:33:50looked after your collection of postcards very well, have you?
0:33:50 > 0:33:53- No, I haven't, have I? - What's going on with these?
0:33:53 > 0:33:58Well, they were found years ago and, you know, looked through...
0:33:58 > 0:34:00- FOUND years ago?- Yes. - Where did you find...?
0:34:00 > 0:34:03Where did you find three postcard albums, under a bush?
0:34:03 > 0:34:06Dad found them. He worked at the council tip
0:34:06 > 0:34:09- and people were throwing them away.- Aah!
0:34:09 > 0:34:12- No!- Yes. So he just gathered.- So he thought, "Well, I'll have that."
0:34:12 > 0:34:14Yes! Too interesting.
0:34:14 > 0:34:15Was he proud of them? Did he...?
0:34:15 > 0:34:19- Well, yes, he thought, you know, "That's interesting."- Hm.
0:34:19 > 0:34:21It covered a lot of subjects.
0:34:21 > 0:34:23Well, you say "covered a lot of subjects",
0:34:23 > 0:34:26there's something in these albums for everyone, isn't there?
0:34:26 > 0:34:28- That's it.- I mean, this one that we've got open here...
0:34:28 > 0:34:29We've got landscape.
0:34:29 > 0:34:33- We've got a religious scene down there at the bottom.- Yes.
0:34:33 > 0:34:35We've got a memorial card for Lord Kitchener.
0:34:35 > 0:34:37We've got The Crooked House.
0:34:37 > 0:34:40- That's it, yes.- The famous pub.- Yes.
0:34:40 > 0:34:42And I've had a look through this album here...
0:34:42 > 0:34:45I'll be careful cos, as I've said, they are slightly fragile.
0:34:45 > 0:34:50- I love this one here, look. Napoleon's tomb.- Yes.- There it is.
0:34:50 > 0:34:53- Yeah.- And we've got the Eiffel Tower, of course.
0:34:53 > 0:34:56So it almost gives you a sort of snapshot into someone's life,
0:34:56 > 0:34:58- perhaps where they've been travelling.- That's it.
0:34:58 > 0:35:00And I love these ones here. Look at these.
0:35:00 > 0:35:03- This is probably a family portrait...- Looks like it.
0:35:03 > 0:35:05..where you've brought the photographer in
0:35:05 > 0:35:06and he sets up the studio.
0:35:06 > 0:35:10And he's done them like a little Mad Hatter's tea party.
0:35:10 > 0:35:12- It's rather sweet, isn't it? - Yeah.- Yes.
0:35:12 > 0:35:15There is a market for postcards.
0:35:15 > 0:35:20And the really sought-after postcards are the very unusual ones.
0:35:20 > 0:35:21That's it, yes.
0:35:21 > 0:35:24You've got things like early aviation, early travel,
0:35:24 > 0:35:26early topography...
0:35:26 > 0:35:30Without going through every single page here and singling them out
0:35:30 > 0:35:34and adding them up and seeing which ones are more desirable than others,
0:35:34 > 0:35:38I think we're just going to have to go with giving a blanket
0:35:38 > 0:35:40valuation for the whole lot.
0:35:40 > 0:35:42And whoever buys them, or bids on them, is going to know
0:35:42 > 0:35:45- exactly what they're looking for. - Of course they will.
0:35:45 > 0:35:48They're going to have a flip through, they'll say,
0:35:48 > 0:35:50"I want that one, that one, that one."
0:35:50 > 0:35:53So you've got one album here, you've got another album here,
0:35:53 > 0:35:56- and they're all pretty much full, aren't they?- That's it, yes.
0:35:56 > 0:35:58I've seen albums like this, certainly in this quantity,
0:35:58 > 0:36:02- make £100, £200, that sort of level.- Yes.
0:36:02 > 0:36:06So I think if we were able to put them in at that sort of level,
0:36:06 > 0:36:09- how would you feel? I mean, if we said 100 to 200?- Yes.- Yes.
0:36:09 > 0:36:12- Are you happy with that, Jane?- Yes. - What about a reserve?
0:36:12 > 0:36:13Shall we let them go?
0:36:13 > 0:36:17- Let them go.- Let them go.- Oh, I like you, living dangerously.
0:36:17 > 0:36:21- I like no reserves.- Yeah, I like no reserve.- They need a good home.
0:36:21 > 0:36:24And without reserve, we are on for a definite sale.
0:36:24 > 0:36:27- Yes.- See you at the auction. - Thank you.- Well done.
0:36:27 > 0:36:30Trust Will, he always lives dangerously.
0:36:30 > 0:36:34Before we return to the auctions to find out how well our final
0:36:34 > 0:36:38items sold, I'm heading back to Scotland to show you some more
0:36:38 > 0:36:40intriguing treasures.
0:36:40 > 0:36:42Well, they say every picture tells a story, and that's
0:36:42 > 0:36:45definitely true here at Pollok House.
0:36:45 > 0:36:49Take these wonderful paintings, for instance, in this room.
0:36:49 > 0:36:51They dominate the walls. I love the scale of them.
0:36:51 > 0:36:54They are hunting scenes. They are royals.
0:36:54 > 0:36:57They are by a little-known Dutch artist called Gerrit Malleyn.
0:36:57 > 0:37:00But they were never intended to be hung on the walls.
0:37:00 > 0:37:02Now, you're probably thinking, "Why is that?"
0:37:02 > 0:37:04Look at them, they're magnificent.
0:37:04 > 0:37:07Well, they're called tapestry paintings or cartoons.
0:37:12 > 0:37:14I've never come across this before in my life,
0:37:14 > 0:37:18but they were intended to be slipped between the weave of a tapestry
0:37:18 > 0:37:21so whoever was making the tapestry
0:37:21 > 0:37:23could follow the outline with a stitch.
0:37:23 > 0:37:27So they had to be painted full-size, the size of the tapestry.
0:37:27 > 0:37:29That's why they're so big.
0:37:29 > 0:37:31There was also another way of turning
0:37:31 > 0:37:35a painting into a tapestry, and that was by tracing the pattern
0:37:35 > 0:37:39onto the bare warps and then hanging the painting behind the weaver.
0:37:39 > 0:37:42Tapestries dates from the Middle Ages
0:37:42 > 0:37:45and their calibre is judged on four main factors -
0:37:45 > 0:37:48the fineness of the weave, the quality of the materials,
0:37:48 > 0:37:52the skill of the weavers at translating the design and, of
0:37:52 > 0:37:57course, the quality of the painting from which the tapestry was copied.
0:37:57 > 0:37:58Over the centuries,
0:37:58 > 0:38:02many famous artists have produced tapestry paintings,
0:38:02 > 0:38:06including the Spanish painter Goya, whose work I was admiring earlier.
0:38:06 > 0:38:08Goya worked for the Royal Tapestry Factory
0:38:08 > 0:38:10at Santa Barbara
0:38:10 > 0:38:14and had painted 63 tapestry paintings for two Royal palaces.
0:38:16 > 0:38:19Now it is time to see how well our final batch of items
0:38:19 > 0:38:21sold at auction.
0:38:21 > 0:38:24Avril's two silver trays were passed down from her
0:38:24 > 0:38:26grandmother in pristine condition.
0:38:29 > 0:38:33If only the same could be said for Sylvia's postcard albums,
0:38:33 > 0:38:37which were found on the council tip by her father.
0:38:39 > 0:38:42And finally, there was Ian's painting - The Zennor Poet -
0:38:42 > 0:38:45which came from my home county of Cornwall.
0:38:47 > 0:38:50The painting was the first to go at auction back at
0:38:50 > 0:38:52Andrew Smith & Son near Winchester,
0:38:52 > 0:38:55where Andrew Smith took to the rostrum once more.
0:38:57 > 0:39:01- Excited?- Very. Nervous but excited. - I'm nervous. I'm quite worried.
0:39:01 > 0:39:03- Here we go. - I've got my lucky pom-pom.- Good.
0:39:03 > 0:39:06I've got my fingers crossed. Here we go.
0:39:07 > 0:39:08Start me at £600.
0:39:08 > 0:39:10500 then.
0:39:10 > 0:39:11Try 400 to get it going.
0:39:11 > 0:39:13£400. Thank you. And 20.
0:39:13 > 0:39:15At £400. And 20.
0:39:15 > 0:39:17- Right, OK, it's a start.- 450.
0:39:17 > 0:39:21450. 470. 500.
0:39:21 > 0:39:23And 20. 550.
0:39:23 > 0:39:26570. 600.
0:39:27 > 0:39:29- And 20.- They sold it.- Excellent.
0:39:29 > 0:39:31At £600 up at the top there.
0:39:31 > 0:39:33We are selling. Is there 20?
0:39:33 > 0:39:37- At £600 for the very last time... - I'm pleased with that.- At £600...
0:39:39 > 0:39:43Yes! That was close, but I am ever so pleased.
0:39:43 > 0:39:45And I hope it is going to a good home.
0:39:45 > 0:39:49- Let's hope.- Thank you for bringing it in.- No problem. Thank you, Paul.
0:39:49 > 0:39:53I'd like to think Ian's painting found its way back to Cornwall.
0:39:54 > 0:39:56Next, we travel back to London to Chiswick Auctions,
0:39:56 > 0:39:59and William Rouse was on the rostrum.
0:39:59 > 0:40:02Avril's pair of silver trays was up for sale
0:40:02 > 0:40:05and being sold as two separate lots.
0:40:07 > 0:40:09Well, we've got a real treat for you right now.
0:40:09 > 0:40:12We're serving up a Victorian silver tray in the Georgian style,
0:40:12 > 0:40:13with pie crust edges.
0:40:13 > 0:40:16- And I like this, Avril.- Oh, good. - I like it a lot.
0:40:16 > 0:40:20£200 to £300. I think we could see the top end, plus a bit more,
0:40:20 > 0:40:22because of its style. It's got something about it.
0:40:22 > 0:40:25Let's find out what the dealers here think, shall we?
0:40:25 > 0:40:26It's going under the hammer now.
0:40:26 > 0:40:30396 is a Georgian style salver.
0:40:30 > 0:40:33And there we go. Start me, £200 for it.
0:40:33 > 0:40:35I thought so. £200 is bid. 210 is bid.
0:40:35 > 0:40:38220. 220 here.
0:40:40 > 0:40:43Anybody else then? At 220 in front of me. Is that it?
0:40:43 > 0:40:45All finished and done? 220...
0:40:46 > 0:40:49It's gone at 220. You were right.
0:40:49 > 0:40:51It's gone at 220.
0:40:51 > 0:40:52- That's fine.- Did our best.
0:40:52 > 0:40:54That's fine.
0:40:55 > 0:40:57That was a good price to get us off the mark.
0:40:57 > 0:41:01And although Avril's second silver tray had a lower estimate,
0:41:01 > 0:41:04we all hoped it would sell just as well.
0:41:04 > 0:41:07We are going to find out what the bidders think right now. Here we go.
0:41:07 > 0:41:12£150 for it. 150.
0:41:12 > 0:41:14170 on the internet. 180.
0:41:14 > 0:41:15190.
0:41:15 > 0:41:17200.
0:41:17 > 0:41:19210. 220.
0:41:19 > 0:41:21220 in the room.
0:41:21 > 0:41:23230 on the internet.
0:41:23 > 0:41:26230 on the internet is bid. Anybody else?
0:41:26 > 0:41:29At 230, here at 230...
0:41:30 > 0:41:33- Deserved. Well deserved. - There you are.- Thank you.
0:41:33 > 0:41:34- Because it had that...- £230.
0:41:34 > 0:41:36..little bit of decoration,
0:41:36 > 0:41:41- that little bit of extra something. - It was unique as well.- Well done.
0:41:41 > 0:41:43Thank you for bringing that in, cos it was lovely.
0:41:43 > 0:41:45A fantastic result that was.
0:41:45 > 0:41:48The two silver trays sold
0:41:48 > 0:41:52for a total of £450, and Avril went home happy.
0:41:52 > 0:41:57Now for our last stop on today's show, and we returned to
0:41:57 > 0:41:59Bigwood Fine Art Auctioneers,
0:41:59 > 0:42:01where Stephen Kaye was on the rostrum.
0:42:01 > 0:42:06We were here to sell Sylvia's battered postcard albums.
0:42:07 > 0:42:11We always have lots of surprises with postcard albums.
0:42:11 > 0:42:14And you know, something that might be valued at 200 to 300 sometimes
0:42:14 > 0:42:17reaches £600. But it's really hard to say.
0:42:17 > 0:42:20We'll put them to the test right now. They're going under the hammer.
0:42:21 > 0:42:24I can start here on the book at £200.
0:42:24 > 0:42:25Anybody give me another 10?
0:42:27 > 0:42:29210. 220. 230.
0:42:29 > 0:42:31240. 260.
0:42:31 > 0:42:32280. 300.
0:42:32 > 0:42:34Still going.
0:42:34 > 0:42:36- 300.- Someone in the room now. - 320. 340.
0:42:36 > 0:42:37360. 380.
0:42:37 > 0:42:40- That bid on the book, look.- Yeah.
0:42:40 > 0:42:44- No? 400 on the book. - THEY WHISPER
0:42:44 > 0:42:46450. I'll go 500.
0:42:46 > 0:42:48I've got 500 here.
0:42:48 > 0:42:50You don't want to top it?
0:42:50 > 0:42:52Selling at £500.
0:42:52 > 0:42:54Going once.
0:42:54 > 0:42:55Twice.
0:42:55 > 0:42:57£500!
0:42:58 > 0:43:01I knew something like that would happen. It always happens
0:43:01 > 0:43:04on those postcard albums. It is such a tricky thing to value.
0:43:04 > 0:43:06The collectors were here. Great job done on the rostrum.
0:43:06 > 0:43:08So we're all very happy.
0:43:13 > 0:43:16Well, that's it. Sadly, we are coming to the end of the show.
0:43:16 > 0:43:19But we've had some great results in auction rooms across the country
0:43:19 > 0:43:21and we've seen some wonderful treasures here,
0:43:21 > 0:43:23at Pollok House in Glasgow.
0:43:23 > 0:43:26It's been a real privilege. I hope you've enjoyed the show.
0:43:26 > 0:43:28So until the next time, it's goodbye.