0:00:07 > 0:00:09Behind me is a remarkable building,
0:00:09 > 0:00:12perhaps more suited to a French town than
0:00:12 > 0:00:14the countryside in the North of England.
0:00:14 > 0:00:17But inside, it's a treasure trove of fine art and antiques.
0:00:17 > 0:00:20It is, if you like, the legacy of a love story
0:00:20 > 0:00:23and the product of an unlikely marriage between John Bowes -
0:00:23 > 0:00:27the wealthy illegitimate son of the 10th Earl of Strathmore -
0:00:27 > 0:00:30and a young French actress called Josephine.
0:00:30 > 0:00:32Welcome to "Flog It!"
0:00:32 > 0:00:36And to their baby, the Bowes Museum in County Durham.
0:00:56 > 0:00:59The Bowes Museum is today's valuation venue.
0:00:59 > 0:01:03John Bowes always maintained that the idea of founding a museum
0:01:03 > 0:01:07had been that of his beloved wife, Josephine.
0:01:07 > 0:01:09And what ambition she had.
0:01:09 > 0:01:13It was an extraordinary achievement for private individuals to
0:01:13 > 0:01:15build such a stunning place
0:01:15 > 0:01:19and to assemble the large collections necessary to fill it.
0:01:19 > 0:01:23That the Bowes decided to build a museum close to John's family
0:01:23 > 0:01:27seat in County Durham remains astonishing to this day.
0:01:28 > 0:01:29But more of this story later.
0:01:29 > 0:01:32It's time to catch up with the queue that is
0:01:32 > 0:01:34forming at the front of the museum.
0:01:34 > 0:01:37Hundreds of people here, laden with antiques and collectables,
0:01:37 > 0:01:40items from all over the world. And it's our experts' job to
0:01:40 > 0:01:42talk about them and delve deep into these stories.
0:01:42 > 0:01:45And hopefully, one or two surprises at the end of the show.
0:01:45 > 0:01:48But all of these people have something in common.
0:01:48 > 0:01:50They are here because they want to know what it's worth.
0:01:50 > 0:01:53And if they're happy with the valuation, what are you going to do?
0:01:53 > 0:01:54- ALL:- Flog It!
0:01:56 > 0:02:00Already in the queue searching for items in tiptop condition
0:02:00 > 0:02:03to take auction are our discerning antiques experts.
0:02:03 > 0:02:04David Harper...
0:02:04 > 0:02:07Is it the most exotic thing Barnard Castle has ever seen?
0:02:07 > 0:02:09- That's the question. - I'm sure it must be.
0:02:10 > 0:02:12..and Paul Laidlaw.
0:02:12 > 0:02:15- Who is your friend? - I don't know her name.
0:02:15 > 0:02:17But let's not hang around.
0:02:17 > 0:02:20People are already filing into the magnificent picture galleries,
0:02:20 > 0:02:23where the valuations will be taking place.
0:02:23 > 0:02:26But first, here's a quick look at some of the extremes
0:02:26 > 0:02:29of emotion coming up in today's show.
0:02:30 > 0:02:31We have delight...
0:02:31 > 0:02:34You've made my day. You know that, don't you?
0:02:34 > 0:02:37- This is from ear to ear.- Yes, I see.
0:02:38 > 0:02:41And then a little less enthusiasm from one of our owners.
0:02:41 > 0:02:44I know that I don't particularly like her.
0:02:44 > 0:02:47- That's about it.- I'm going to convince you, Diana, to like her.
0:02:49 > 0:02:52And I have a look at something here at the Bowes Museum
0:02:52 > 0:02:54which I just love.
0:02:54 > 0:02:58- Considering it's 500 years old, it's a pretty good condition.- It is.
0:02:58 > 0:03:01- When you think about what it's been through.- Exactly, yeah.
0:03:04 > 0:03:08Everybody is now safely inside and hundreds of people have turned up.
0:03:08 > 0:03:13In fact, there are no spare seats in this particular picture gallery.
0:03:13 > 0:03:16We really do have our work cut out. It could be a long day.
0:03:16 > 0:03:20Sit back and enjoy as the stories unfold. Let's make a start.
0:03:20 > 0:03:23It's straight over to our experts' tables.
0:03:23 > 0:03:26And it's Paul Laidlaw's choice first.
0:03:27 > 0:03:30Enid, you know how to treat a book lover.
0:03:30 > 0:03:33Spoiling me already. How did these come into your possession?
0:03:33 > 0:03:36I would buy them 30-odd years ago in probably
0:03:36 > 0:03:39a box of books at an auction. Probably about £40, I would think.
0:03:39 > 0:03:42Some nice things on top. And when I came across these...
0:03:42 > 0:03:45- Oh, so it was chance?- Yes. Oh, yes.
0:03:45 > 0:03:47I didn't buy them because of the two books. No.
0:03:47 > 0:03:51- These are important illustrated works.- Yes.
0:03:51 > 0:03:54- The value of these isn't in the text.- No.
0:03:54 > 0:03:57- We are not interested in Alice In Wonderland.- I know.
0:03:57 > 0:04:00- Nor in The Tempest.- No. - It's all about the illustrations.
0:04:00 > 0:04:04Arthur Rackham. A great of book of illustration.
0:04:04 > 0:04:07He studies at the Lambeth School of Art.
0:04:07 > 0:04:11And pretty much is exclusively a book illustrator.
0:04:11 > 0:04:14The fine art establishment were a wee bit stuffy about
0:04:14 > 0:04:19book illustrators and didn't give him the respect that he was due
0:04:19 > 0:04:21and is given today. Take a look at this.
0:04:21 > 0:04:25We've got Alice here. And I've got to say, idiosyncratic Alice.
0:04:25 > 0:04:27- This is very much Rackham's Alice. - Yes.
0:04:27 > 0:04:30And signed here within the print - Rackham, 1907.
0:04:30 > 0:04:33Now let's move on. Look at that.
0:04:33 > 0:04:38We have got the Queen of Hearts' little pages here as the cards.
0:04:38 > 0:04:40This is startling, for my money.
0:04:40 > 0:04:43I think you could give a child nightmares with these.
0:04:43 > 0:04:46And it has a bearing, because this is very much of its time.
0:04:46 > 0:04:50There's been a revolution in decorative arts and
0:04:50 > 0:04:55- we can see in these roses here in a Mackintosh inlaid...- Style, yes.
0:04:55 > 0:04:58- We can see a Glasgow rose, perhaps.- Yes.
0:04:58 > 0:04:59Look at that!
0:04:59 > 0:05:02We've got the dodo, of course, and Alice,
0:05:02 > 0:05:05- surrounded by these borderline grotesques.- Yes.
0:05:05 > 0:05:10And therein lies a lot of the import of Rackham's illustrations.
0:05:10 > 0:05:15It is arguably shocking to traditional popular taste in 1907.
0:05:15 > 0:05:17Yes, it's quite frightening, actually, isn't it?
0:05:17 > 0:05:20- Isn't it?- Yes, it is. - And you've got another one?
0:05:20 > 0:05:23- Yes, I have.- Now we are looking at Shakespeare and The Tempest.
0:05:23 > 0:05:28Illustrated by Edmund Dulac - a giant of book illustration.
0:05:28 > 0:05:31He studied at l'Ecole des Beaux-Arts,
0:05:31 > 0:05:33I think, in Paris, before moving to London...
0:05:33 > 0:05:36- Oh, right.- ..about the turn of the 19th, into the 20th century.
0:05:36 > 0:05:39- And he illustrates the classics. - Right.
0:05:39 > 0:05:43- Cervantes, Shakespeare and so on.- Yes.
0:05:43 > 0:05:45This edition - limited to 500 copies,
0:05:45 > 0:05:48numbered and signed by the artist.
0:05:48 > 0:05:51We would have to be fabulously wealthy to own an original
0:05:51 > 0:05:53- work by Dulac.- Yes, yes.
0:05:53 > 0:05:55- But you have the hand of the man. - Yes.
0:05:55 > 0:05:58- Right, what do we have? - I think that's beautiful.
0:05:58 > 0:06:01- This is one of your favourites? - Yes, I think that's beautiful.- Why?
0:06:01 > 0:06:04The colouring is lovely, it's slightly Art Nouveau,
0:06:04 > 0:06:06but it's so bonny in colouring.
0:06:06 > 0:06:09You bought the mother of all bargain boxes of books.
0:06:09 > 0:06:12You'd think that the Dulac would be the more valuable
0:06:12 > 0:06:16- because it's smaller print run and signed by the man.- Yes.
0:06:16 > 0:06:19However, I suspect Rackham trumps Dulac today.
0:06:19 > 0:06:22Let me tell you some numbers. Start with the Dulac, The Tempest.
0:06:22 > 0:06:26- £300 to £500.- Right.- OK?- Yes. Yeah.
0:06:26 > 0:06:31- But Rackham's on fire and I think £600 to £800.- Really?
0:06:31 > 0:06:34They are a wee bit better than nice now, aren't they?
0:06:34 > 0:06:37Absolutely, yes. I'm quite shocked. Very shocked.
0:06:37 > 0:06:39Would we put them in with those estimates?
0:06:39 > 0:06:42Three to five on the Dulac. Six to eight on the Rackham.
0:06:42 > 0:06:43And put reserves at...
0:06:43 > 0:06:45Low estimates are what most auctioneers would recommend.
0:06:45 > 0:06:48- Yes, OK. Yes, I'll go with that. - My, what a box of books!
0:06:48 > 0:06:50And these at the bottom.
0:06:50 > 0:06:53- It's very lucky, yes.- Lucky at the auction is what we need to be next.
0:06:53 > 0:06:54Yes. Yes.
0:06:54 > 0:06:57What a great story, and two superb finds.
0:06:59 > 0:07:02Let's catch up with David now, who has chosen one of the
0:07:02 > 0:07:06quieter galleries to examine something scientific.
0:07:06 > 0:07:09Now, Mo, tell me, are you into wines, beers and spirits?
0:07:09 > 0:07:12Oh, yes, I do like drinking now and again.
0:07:12 > 0:07:15Tell me, why on earth do you have the scientific instrument
0:07:15 > 0:07:18connected to wines, beers and spirits?
0:07:18 > 0:07:22Well, I bought it about 35 years ago mainly because I loved the box.
0:07:22 > 0:07:23I love wood.
0:07:23 > 0:07:26So it's the box that drew you in, then?
0:07:26 > 0:07:28Because it tells us on top of the box exactly what it is.
0:07:28 > 0:07:33It's a Field's patent alcoholmeter by Joseph Long.
0:07:33 > 0:07:36And they reside at Tower Street in London.
0:07:36 > 0:07:38That's such a good plaque.
0:07:38 > 0:07:41Had you any clue at all what it's all about, what it does?
0:07:41 > 0:07:45- Was it sort of Customs and Excise? - It could have been.
0:07:45 > 0:07:48It could have been that. Or it could have been the distiller themselves.
0:07:48 > 0:07:50Yeah, but in such a lovely box?
0:07:50 > 0:07:53Ah, but we are going back to a different time.
0:07:53 > 0:07:55This is the height of the British Empire.
0:07:55 > 0:07:57We controlled the world.
0:07:57 > 0:08:00Everything we had, and it was of the finest quality.
0:08:00 > 0:08:03This is just a commercial piece of kit,
0:08:03 > 0:08:07but it's beautifully constructed, in or around 1880.
0:08:07 > 0:08:12So, not for testing home-made wine made from dandelions
0:08:12 > 0:08:14and nettles then maybe as well?
0:08:14 > 0:08:17- I don't think so. It's got much more of a commercial feel to it.- Right.
0:08:17 > 0:08:19Do you know how it works?
0:08:19 > 0:08:21- Yes, we've talked through it. - Tell me.
0:08:21 > 0:08:23So...
0:08:23 > 0:08:25From here...
0:08:25 > 0:08:29some mentholated spirits would be put at the bottom here.
0:08:29 > 0:08:32- You would light the wick.- Yes.
0:08:32 > 0:08:35- This would be put on the top. - Yeah.- Like this.
0:08:39 > 0:08:42- You'd pour...- A measure. - ..your correct measure.
0:08:42 > 0:08:45- That would be poured into there. - Oh, right. OK.
0:08:45 > 0:08:47- That would be put onto the top there.- Yeah, OK.
0:08:47 > 0:08:53And the quicker it evaporated, the higher the content of alcohol.
0:08:53 > 0:08:55- Do you know what I say to that? - Come on then.
0:08:55 > 0:08:59- What a waste of good drink. - THEY LAUGH
0:08:59 > 0:09:02Just get that measure, pour it in a glass, add a bit of tonic
0:09:02 > 0:09:03and be done with it.
0:09:03 > 0:09:05- And the lemon, of course. - And a bit of lemon.
0:09:05 > 0:09:08I think it's brilliant. You bought it how long ago?
0:09:08 > 0:09:11- About 35 years ago.- Do you remember what you paid for it?
0:09:11 > 0:09:13- About £35 as well.- Did you?- Ish.
0:09:13 > 0:09:16I can tell you how much one of these sold for recently.
0:09:16 > 0:09:19It made 110 with a couple of other objects.
0:09:19 > 0:09:25So, in auction now, we would go 100 to 150 at an estimate.
0:09:25 > 0:09:28- Shall we do it? One to 150? - Reserve of 150?
0:09:28 > 0:09:31- No, you can't do that.- Can we not do that?- No, you can't do that.
0:09:31 > 0:09:34You've got to reserve it at the lower estimate.
0:09:34 > 0:09:37I'd feel happier at 150, I think.
0:09:37 > 0:09:40If you are really insistent, I suppose I could chance my arm,
0:09:40 > 0:09:46push it 150 to 200, fix it at 150, but it might not sell.
0:09:46 > 0:09:50That's OK, because I've loved it for all those years.
0:09:50 > 0:09:53But the time must come that it would be nice to sell it.
0:09:53 > 0:09:57- Brilliant.- OK.- I'll see you there. - OK.- Fingers crossed.
0:09:57 > 0:09:59Thank you, David. Thank you.
0:09:59 > 0:10:03Those two sounded like they would have enjoyed a tipple together.
0:10:03 > 0:10:05Now it's time to give you a glimpse
0:10:05 > 0:10:07into the inner workings of "Flog It!"
0:10:07 > 0:10:10Good luck with that. And I love what you are wearing.
0:10:10 > 0:10:13This is our busy research area.
0:10:13 > 0:10:16Right now, we are behind the scenes on "Flog It!"
0:10:16 > 0:10:17Away from all the main action.
0:10:17 > 0:10:20Hopefully, most of the people in this room will make it to the
0:10:20 > 0:10:23auction room with their item. Research takes place here.
0:10:23 > 0:10:26We've got Sookie, we've got Aubrey, they've got all their computers,
0:10:26 > 0:10:28laptops, they are looking at the items,
0:10:28 > 0:10:31giving the on-screen experts the information.
0:10:31 > 0:10:34Right, we need one more item to find before we go off to auction.
0:10:34 > 0:10:38Let's hope our experts have got their finger on the pulse.
0:10:38 > 0:10:40Just like Paul Laidlaw,
0:10:40 > 0:10:43who has found something which has been put to a novel use.
0:10:43 > 0:10:47Roy, you've made my day. You know that, don't you?
0:10:47 > 0:10:50- You've very kind. - This is from ear to ear.- Yes, I see.
0:10:50 > 0:10:51What's its history?
0:10:51 > 0:10:56It was made by a distant relative of mine in the 1914-1918 war.
0:10:56 > 0:10:59He was transferred from making ploughs, chairs and wheels
0:10:59 > 0:11:01- into making weapons of war.- Yes.
0:11:01 > 0:11:04This was his apprentice piece...
0:11:04 > 0:11:08- when he started.- And do we know where he was employed?
0:11:08 > 0:11:10He was employed at the Blackburn Aircraft Company
0:11:10 > 0:11:13- in Beverley, near Hull. East Riding of Yorkshire.- Very good.
0:11:13 > 0:11:16- Quite important. - Got to get that straight.
0:11:16 > 0:11:20- Get the right side of the country. - Yeah, absolutely.- It's a joy.
0:11:20 > 0:11:25The form of these early aviation propellers is not far off.
0:11:25 > 0:11:27The curves are so delicious.
0:11:27 > 0:11:33And indeed, the value of surviving full-size specimens
0:11:33 > 0:11:35is in the thousands. You could buy yourself a small car.
0:11:35 > 0:11:37- This is a small model.- But...
0:11:37 > 0:11:40I don't have room for a full-size propeller back home,
0:11:40 > 0:11:43but I'm sure I'd find space for this little gem.
0:11:43 > 0:11:46This is actually an aircraft cockpit facial watch.
0:11:46 > 0:11:49That is what I was told. That's what came down from the family.
0:11:49 > 0:11:51You know what the clincher is? You'll be able to tell me this.
0:11:51 > 0:11:55If we take that watch out of there, does it have a ring framing
0:11:55 > 0:12:00the winding crown which we'd use to hang a pocket watch from our...
0:12:00 > 0:12:02- Albert, let's say?- Oh, no.
0:12:02 > 0:12:05It doesn't. This has been modified, in all honesty.
0:12:05 > 0:12:08- It should have a longer stem and a more pronounced crown.- Yeah.
0:12:08 > 0:12:10But that's of no consequence.
0:12:10 > 0:12:11The point remains the same.
0:12:11 > 0:12:16No bow, because this was fitted by your pilot on the dash.
0:12:16 > 0:12:20That is a covetable timepiece.
0:12:20 > 0:12:22They are not rare. They turn up.
0:12:22 > 0:12:25If you have a budget and interest, you'll find one.
0:12:25 > 0:12:29But you'll need a budget. And it'll need to be three figures.
0:12:29 > 0:12:31- Good thing. Can we pop this back? - Yeah, sure.
0:12:31 > 0:12:36So you get a fantastic ornament which is highly desirable.
0:12:36 > 0:12:37The truth of the matter is, I think
0:12:37 > 0:12:41that should make £200 without any trouble at all.
0:12:41 > 0:12:44Because the watch is worth 100 to 150.
0:12:44 > 0:12:47You wire in another £100 for the propeller on its own.
0:12:47 > 0:12:50You've got £200 in your sleep, in my opinion.
0:12:50 > 0:12:53I'd advise pitching it at £150 to £200.
0:12:53 > 0:12:55How do those numbers sound?
0:12:55 > 0:12:57It sounds fine to me. I am truly amazed.
0:12:57 > 0:13:00I hope you've got a flyer there.
0:13:00 > 0:13:02- LAUGHING:- Terrible. Terrible.
0:13:02 > 0:13:05Hang on, that sounds like one of my lines.
0:13:05 > 0:13:08Well, we now have our first three items,
0:13:08 > 0:13:10but before we get over to the auction house,
0:13:10 > 0:13:13let's have a quick reminder of what we are taking with us.
0:13:15 > 0:13:18These two beautiful books illustrate why it's worth
0:13:18 > 0:13:21delving into mixed boxes at the saleroom.
0:13:21 > 0:13:24But which artist will draw the greater interest?
0:13:24 > 0:13:25Arthur Rackham...
0:13:28 > 0:13:29..or Edmund Dulac?
0:13:33 > 0:13:36Mo's meter for measuring alcohol is beautifully made
0:13:36 > 0:13:38and roughly the same vintage as the museum.
0:13:43 > 0:13:46Is it a clock or is it a propeller?
0:13:46 > 0:13:49Either way, I believe the aircraft enthusiasts will love it.
0:13:53 > 0:13:54We are heading west, to the
0:13:54 > 0:13:56South Lakeland District of Cumbria,
0:13:56 > 0:13:59and to Eighteen Eighteen Auctioneers.
0:13:59 > 0:14:01And the saleroom is packed.
0:14:01 > 0:14:05On the rostrum today, we have two auctioneers.
0:14:05 > 0:14:06Kevin Kendal...
0:14:06 > 0:14:08At 20...
0:14:08 > 0:14:09..and David Brookes.
0:14:09 > 0:14:13The commission here is 20% including VAT.
0:14:15 > 0:14:18We are starting with Enid's bargain buy at auction.
0:14:18 > 0:14:20I like this next lot.
0:14:20 > 0:14:22We are talking about Alice In Wonderland with those
0:14:22 > 0:14:24wonderful illustrations by Arthur Rackham.
0:14:24 > 0:14:27Now, I think the value is in the illustrations. You know,
0:14:27 > 0:14:30Arthur Rackham's a great name. A great book illustrator.
0:14:30 > 0:14:33Never really accepted by the Royal Academy as an artist.
0:14:33 > 0:14:36But as the years went on, you know, the prices have gone up
0:14:36 > 0:14:38and now he's up there with some of the greats.
0:14:38 > 0:14:40Could we see a surprise on this?
0:14:40 > 0:14:42We've put a bullish enough estimate on it.
0:14:42 > 0:14:48One of these plates would be a joy to own. You're getting the book.
0:14:48 > 0:14:53And not any book, nothing dreary that's dusty and tired, it is Alice.
0:14:53 > 0:14:55Fingers crossed, both of you.
0:14:55 > 0:14:57I'm going to enjoy watching this one go under the hammer.
0:14:57 > 0:14:59- Yeah, let's hope.- Let's hope.
0:14:59 > 0:15:03The Lewis Carroll volume. Alice's adventures in Wonderland.
0:15:03 > 0:15:05With the Rackham illustrations.
0:15:05 > 0:15:07What shall we say for this, please?
0:15:07 > 0:15:09Decent book there. The cloth gilts.
0:15:09 > 0:15:10500?
0:15:10 > 0:15:11Any interest at £400?
0:15:11 > 0:15:14- Come on! Come on, someone. - Any interest at £400?
0:15:14 > 0:15:16£400 bid now.
0:15:16 > 0:15:18At 400.
0:15:18 > 0:15:19450 at the back.
0:15:19 > 0:15:21450 at the back.
0:15:21 > 0:15:24500 now on the internet.
0:15:24 > 0:15:26500. Are you bidding at the back?
0:15:26 > 0:15:28He's not bidding. Bid of 500.
0:15:28 > 0:15:29- INDISTINCT MUMBLING - Can we sell at 500?
0:15:29 > 0:15:31One more bid anywhere?
0:15:31 > 0:15:34We've got £500 bid. We'll pass it if we can't get a further bid.
0:15:34 > 0:15:36- So close.- It won't be sold.
0:15:36 > 0:15:38£500 I'm bid.
0:15:38 > 0:15:40- No, he's tried. That's it.- Yes.
0:15:40 > 0:15:42We just need someone.
0:15:42 > 0:15:45At £500 on the internet.
0:15:45 > 0:15:47Will your vendor sell at 500, Paul?
0:15:47 > 0:15:50- Do you want to sell it at 500? - Do you want to take it?
0:15:50 > 0:15:52- Yes, OK.- Yeah.
0:15:52 > 0:15:55Thank you. We can sell. I have £500. It's here to be sold.
0:15:55 > 0:15:56At the £500...
0:15:57 > 0:16:00Just gone. The auctioneer asked us if we'd agree to that.
0:16:00 > 0:16:03- Cos we needed 550, didn't we?- Yeah.- So...
0:16:03 > 0:16:06- Yes.- Good on you.- Still a good price.- Rather than lose it for £50.
0:16:06 > 0:16:08- Yes, that's right. Yes.- Happy? - Yes, very. Yes.
0:16:08 > 0:16:11Now, will more bidders be tempted by this next lot?
0:16:11 > 0:16:12Yes, of course, it's The Tempest.
0:16:12 > 0:16:14I think this could go at three to five, don't you?
0:16:14 > 0:16:16- Yeah, it should do.- Quite easily.
0:16:16 > 0:16:18Let's find out what the bidders think.
0:16:18 > 0:16:20It's going under the hammer right now. Good luck.
0:16:20 > 0:16:23Shakespeare's comedy of The Tempest.
0:16:23 > 0:16:24A volume.
0:16:24 > 0:16:27Illustrated by Edmund Dulac in the vellum gilt.
0:16:27 > 0:16:29We are asking £200.
0:16:29 > 0:16:31Any interest at £200?
0:16:31 > 0:16:32- Come on, come on.- £200 bid.
0:16:32 > 0:16:35£200 on the internet. 200 on the internet again.
0:16:35 > 0:16:36We are looking for 220.
0:16:36 > 0:16:39There is no bidders in the room, make no mistake.
0:16:39 > 0:16:41We have £200 on the internet.
0:16:41 > 0:16:44- £200 on the internet.- Right. - Should we take that?- Yes.
0:16:44 > 0:16:45..remain at 200?
0:16:45 > 0:16:48Yeah? Thank you. £200 we have bid here on the internet.
0:16:48 > 0:16:52- And we will now sell...- One lucky bidder on the net.- Mm.- Yes.
0:16:52 > 0:16:55The auctioneer just asked us if we'd drop the reserve again.
0:16:55 > 0:16:57He had a bid on the internet of £200.
0:16:57 > 0:16:58- We agreed, didn't you?- Yes.
0:16:58 > 0:17:02- So he sold it, rather than take it home and lose it.- Absolutely, yes.
0:17:02 > 0:17:05Adding those two up, that's a combined total of £700.
0:17:05 > 0:17:07I think that's pretty good going.
0:17:07 > 0:17:10- I know you reduced the price on both of them...- Yes, but I'm very happy.
0:17:10 > 0:17:13It was a lucky day for that internet bidder, as well, wasn't it?
0:17:13 > 0:17:14Yes, yes.
0:17:14 > 0:17:17But a lucky day for all of us as well, cos we enjoyed seeing them go.
0:17:17 > 0:17:19- Very much so. Yes.- Thank you for bringing them.- Thank you.
0:17:21 > 0:17:26Not a bad return on Enid's initial outlay of £40.
0:17:26 > 0:17:28Let's hope the next item is just the tonic.
0:17:28 > 0:17:33This was used by a tax inspector to test alcohol levels, wasn't it, Mo?
0:17:33 > 0:17:36And it's a nice little scientific instrument.
0:17:36 > 0:17:38So why are you selling this, firstly,
0:17:38 > 0:17:40and then how did you come by it?
0:17:40 > 0:17:43I came by it at a house sale and I bought it because I loved the box.
0:17:43 > 0:17:47- All right. OK. Not what was in it, just the box.- Yeah, yeah.
0:17:47 > 0:17:51- Did you know what it did? - No, no. Not till afterwards.
0:17:51 > 0:17:53What have you done with it all this time then?
0:17:53 > 0:17:55It's been sitting in my sitting room, on the floor,
0:17:55 > 0:17:57- for all these years.- OK, right.
0:17:57 > 0:18:01- We've got our sights set on around £150, £200.- Yes, yes.- Yes.
0:18:01 > 0:18:03- Will that suit you?- Yes.
0:18:03 > 0:18:06- What did you pay for it? - About 30, 35.
0:18:06 > 0:18:10- You will be quids in then, won't you?- 30-odd years ago.- Well, yeah.
0:18:10 > 0:18:12There is no quick profit nowadays, is there?
0:18:12 > 0:18:15THEY LAUGH Hey, look on the bright side.
0:18:15 > 0:18:17We are going to put it to the test right now.
0:18:17 > 0:18:20The vintage Field's lacquered alcohol meter.
0:18:20 > 0:18:22200 please. £200?
0:18:22 > 0:18:25£100 to start me, please, for the alcohol meter.
0:18:25 > 0:18:27Collectable thing at £100.
0:18:27 > 0:18:29- Come on.- Any drinkers in today?
0:18:29 > 0:18:30Obviously not.
0:18:30 > 0:18:33Alcohol meter. We are asking £100.
0:18:33 > 0:18:35- Any interest anywhere?- Oh, no!
0:18:35 > 0:18:39- £100 for the alcohol meter. Anywhere, please, at 100.- Oh, Mo!
0:18:39 > 0:18:40Absolutely no interest
0:18:40 > 0:18:43and we are not going to drop any lower than £100. No?
0:18:43 > 0:18:46- Sorry.- Oh, no, Mo!- Oh, Mo.- Oh.
0:18:47 > 0:18:49Can't I get a hug?
0:18:49 > 0:18:50- Oh, yeah.- Aw!
0:18:50 > 0:18:53Do you know, I hate it when things don't sell, cos we try our hardest.
0:18:53 > 0:18:55And I think the auctioneer was right.
0:18:55 > 0:18:57- It is not going to drop any lower than 100.- Good for him.
0:18:57 > 0:19:00- You're going to have to use it and test that out?- Well, I will.
0:19:00 > 0:19:03- I tell you what...- Have an alcohol testing party.- Party!- Exactly.
0:19:03 > 0:19:06- Are we coming?- Yeah.- Shall we go?
0:19:06 > 0:19:08THEY LAUGH
0:19:08 > 0:19:11It didn't sell, but it's a great talking point.
0:19:11 > 0:19:14Let's hope the sky is the limit for our third lot.
0:19:14 > 0:19:17Right now, we are reporting that little,
0:19:17 > 0:19:21tiny apprentice piece propeller under the hammer. It belongs to Roy.
0:19:21 > 0:19:23I love this a lot.
0:19:23 > 0:19:27And it sums up, really, the region's social history about making
0:19:27 > 0:19:29aircraft in Blackburn, doesn't it?
0:19:29 > 0:19:31- Actually, they started in Brough. - In Brough.
0:19:31 > 0:19:34- But it's close enough. - And dating back to 1914?
0:19:34 > 0:19:37I think so. That was the story of my family.
0:19:37 > 0:19:39It's nicely made, isn't it, with those wonderful laminates?
0:19:39 > 0:19:41I mean, you'd put an apprentice to work on that.
0:19:41 > 0:19:43Once they've mastered the technique of that,
0:19:43 > 0:19:48- you'd put them on the full-scale thing, wouldn't you?- Yeah, lovely.
0:19:48 > 0:19:50We are going to put this to the test right now.
0:19:50 > 0:19:54The miniature propeller made at Blackburn Aircraft Works
0:19:54 > 0:19:56with the fascia clock.
0:19:56 > 0:19:57A nice little thing.
0:19:57 > 0:20:00Where you going to start me, then? £100 for a quick start. 100?
0:20:00 > 0:20:02£100 on the internet bid. Now we're away.
0:20:02 > 0:20:05100. 110. 120. 130.
0:20:05 > 0:20:07140 now. At 140. Bid's on the internet.
0:20:07 > 0:20:08You're all out in the room.
0:20:08 > 0:20:11150 on the internet. 160. Now we're flying.
0:20:11 > 0:20:14- Yep, they've spotted it.- 160. 160.
0:20:14 > 0:20:17You're all out in the room. 170 now. 170 on the net.
0:20:17 > 0:20:22180. 180. Have you all done? 190 now. 190. 200.
0:20:22 > 0:20:24200. 220. Thank you. A new bidder now online.
0:20:24 > 0:20:25- 240 online.- Quite good.
0:20:25 > 0:20:29240 now. 240. 240.
0:20:29 > 0:20:34£240. On the internet and selling at 240.
0:20:34 > 0:20:37- Good auction, hey? Well done. - Fantastic.- £240.
0:20:37 > 0:20:39- Good result.- Justice. - It's amazing.- Yeah.
0:20:39 > 0:20:41Quality... See, quality, it will sell.
0:20:41 > 0:20:43- Thank you for bringing... - Not at all.
0:20:43 > 0:20:46- Thank you for bringing that in. - Paul, again.- Well done you.
0:20:50 > 0:20:52Well, that's our first visit to the auction room
0:20:52 > 0:20:53done and dusted today
0:20:53 > 0:20:55and some happy owners - that's the important thing.
0:20:55 > 0:20:58We are coming back here later on in the programme,
0:20:58 > 0:21:01so don't go away - there could be one or two big surprises.
0:21:01 > 0:21:04But right now, we're returning back to The Bowes Museum.
0:21:04 > 0:21:06I'm going behind the scenes to take a look at
0:21:06 > 0:21:09some of the important work that goes on there.
0:21:11 > 0:21:15The Bowes Museum first opened to the public in 1892.
0:21:15 > 0:21:1620 years before that,
0:21:16 > 0:21:19Josephine Bowes laid the foundation stone,
0:21:19 > 0:21:21saying to her husband,
0:21:21 > 0:21:22"I lay the bottom stone
0:21:22 > 0:21:25"and you, Mr Bowes, you will lay the top stone."
0:21:25 > 0:21:28But sadly, she did not live to see him do this
0:21:28 > 0:21:33as poor health meant she died at a relatively young age of 48.
0:21:33 > 0:21:36John Bowes was devastated by her death,
0:21:36 > 0:21:38but soldiered on
0:21:38 > 0:21:40and then tragically died himself
0:21:40 > 0:21:43just seven years before the museum was completed,
0:21:43 > 0:21:48so he and his wife never saw the final resting place
0:21:48 > 0:21:51for their vast collection of fine art and antiques
0:21:51 > 0:21:53that they amassed throughout their lifetime
0:21:53 > 0:21:56from all of the corners of the globe.
0:21:57 > 0:22:00But today we can enjoy their legacy -
0:22:00 > 0:22:05a museum of immense scope containing European fine and decorative arts
0:22:05 > 0:22:08from the Middle Ages up to the mid-20th century.
0:22:08 > 0:22:11It includes one of the largest collections of
0:22:11 > 0:22:13Spanish paintings in Britain.
0:22:13 > 0:22:17There are ceramics from almost every known European factory
0:22:17 > 0:22:20dating back to the 16th century
0:22:20 > 0:22:25and a textiles collection including everything from embroidery to lace.
0:22:26 > 0:22:28Well, it's one thing acquiring
0:22:28 > 0:22:30all of these wonderful objects of fine art,
0:22:30 > 0:22:33but it's quite another matter looking after them,
0:22:33 > 0:22:35and that's the job of the conservation team.
0:22:35 > 0:22:37They're responsible for the preservation,
0:22:37 > 0:22:41the conservation, the investigation and all the displays here.
0:22:41 > 0:22:42Not just here, though,
0:22:42 > 0:22:46but other exhibitions that go out on loan to other institutions,
0:22:46 > 0:22:49as well as preserving the lifespan of these items
0:22:49 > 0:22:52while they're in storage, taking care of them.
0:22:52 > 0:22:54And like every great discipline,
0:22:54 > 0:22:58techniques have changed over the, let's say, last century.
0:22:58 > 0:23:02What was acceptable 100 years ago when this museum first opened
0:23:02 > 0:23:05is now completely frowned upon.
0:23:08 > 0:23:12The museum has examples of paintings conserved in the early days
0:23:12 > 0:23:14using a method of overpainting
0:23:14 > 0:23:17that is now considered damaging.
0:23:17 > 0:23:20Nowadays, The Bowes Museum conservators are highly trained
0:23:20 > 0:23:25with backgrounds in art history, textile design and archaeology.
0:23:25 > 0:23:27Each has a grounding in chemistry -
0:23:27 > 0:23:31important both for understanding the nature of deterioration
0:23:31 > 0:23:34and for selecting materials for conservation.
0:23:34 > 0:23:39In 2014, The Bowes Museum was awarded Heritage Lottery funding
0:23:39 > 0:23:44to host year-long paid internships in textiles and painting.
0:23:46 > 0:23:49The museum's conservation department is currently working on
0:23:49 > 0:23:51a 15th-century altarpiece,
0:23:51 > 0:23:55The Passion, The Death and The Resurrection of Christ,
0:23:55 > 0:23:57painted by an artist only known as
0:23:57 > 0:24:00the Master of the View of Ste-Gudule.
0:24:00 > 0:24:03I'm going behind the scenes to meet the head of department, Jon Old,
0:24:03 > 0:24:06and the painting intern, Paul Turner, to find out more.
0:24:07 > 0:24:09So, what was the brief on the altarpiece, Jon?
0:24:09 > 0:24:12Well, the brief was to dismantle the altarpiece
0:24:12 > 0:24:15and then reassemble it in a much better condition
0:24:15 > 0:24:17and put it up high on the wall
0:24:17 > 0:24:19as it would've been originally in the church.
0:24:19 > 0:24:21We're here in the painting conservation department
0:24:21 > 0:24:22at The Bowes,
0:24:22 > 0:24:24and we are dealing with the painted panels.
0:24:24 > 0:24:27And our brief was to take them off the walls
0:24:27 > 0:24:28and bring them to the studio,
0:24:28 > 0:24:30reframe them in more appropriate framing,
0:24:30 > 0:24:33and then we could also, then, document them
0:24:33 > 0:24:36and look at any signs of damage or any conservation we had to do.
0:24:36 > 0:24:39And we have discovered there's quite a lot of flaking on them,
0:24:39 > 0:24:41and we can see there's lots of other areas of damage
0:24:41 > 0:24:43that have happened over the years.
0:24:43 > 0:24:44The other exciting thing about this is
0:24:44 > 0:24:46the way they've been displayed so far,
0:24:46 > 0:24:48we could never see the back of them -
0:24:48 > 0:24:49there's obviously a painting on either side.
0:24:49 > 0:24:51On one side, we have a scene like this one here,
0:24:51 > 0:24:53which is Christ of the Passion,
0:24:53 > 0:24:55and on the other, we have pictures of saints.
0:24:55 > 0:24:58And those weren't viewable before. And after this, they will be,
0:24:58 > 0:25:00so we'll be able to clean them and re-varnish them.
0:25:00 > 0:25:02So, now we're actually treating the flaking,
0:25:02 > 0:25:04which is what Paul's doing over here.
0:25:04 > 0:25:06What are you doing right now, Paul?
0:25:06 > 0:25:08It's just the initial use of the Preservation Pencil
0:25:08 > 0:25:09to relax the paintwork.
0:25:09 > 0:25:13- What does that do?- Well, that applies heat and moisture,
0:25:13 > 0:25:15so it raises the humidity of the paint,
0:25:15 > 0:25:17and once the paint gets above a certain humidity,
0:25:17 > 0:25:19it actually becomes more plastic...
0:25:19 > 0:25:21- Ah!- ..so allows the actual paint to go down flat.
0:25:21 > 0:25:23If you just put the spatula straight on it,
0:25:23 > 0:25:25it's liable to almost crack and break.
0:25:25 > 0:25:26And then what do you do?
0:25:26 > 0:25:29Well, then he'll paint on some of this isinglass
0:25:29 > 0:25:30- which is...- And what is that?
0:25:30 > 0:25:33Well, isinglass is from the swim bladder of a fish
0:25:33 > 0:25:35which is related to the sturgeon.
0:25:35 > 0:25:37- Oh, it's like a fish glue. - So, it's a fish glue, yeah.
0:25:37 > 0:25:39And it's sort of nice and compatible
0:25:39 > 0:25:41with all the things that have been used on the painting,
0:25:41 > 0:25:42so it's not like we're putting on
0:25:42 > 0:25:45anything that's different than that's been there before.
0:25:45 > 0:25:48So, you're painting that in. And I guess you gauge a feel for this
0:25:48 > 0:25:50- over a period of time, don't you? - Yes, you do, yeah.
0:25:50 > 0:25:52OK, and what's the next step after that?
0:25:52 > 0:25:55The next up is going to be applying some acid-free tissue.
0:25:55 > 0:25:58- Does that sit on the wet liquid? - Yes, and it'll absorb...
0:25:58 > 0:25:59- Like, there's a bit there.- Yeah.
0:25:59 > 0:26:02So, it'll absorb anything that hasn't gone through
0:26:02 > 0:26:04the cracks in the paint to underneath the flaking area,
0:26:04 > 0:26:06and it also absorbs any extra.
0:26:06 > 0:26:09Did you have any idea of these techniques, Paul,
0:26:09 > 0:26:11before you came here?
0:26:11 > 0:26:14Yeah, it's covered in the course at Northumbria,
0:26:14 > 0:26:15but, yeah, it's...
0:26:15 > 0:26:19But not really working on pieces that are 500 years old, I guess?
0:26:19 > 0:26:20- No, not at all.- No.
0:26:20 > 0:26:23- So, now, this is like the little iron that...- Yeah.
0:26:23 > 0:26:24..has a bit more heat?
0:26:24 > 0:26:27Yeah, so that's heated to 63 degrees C, yeah.
0:26:27 > 0:26:30- So, will this seal up those flaky bits?- Yes.
0:26:30 > 0:26:32It'll just encourage the paint to go flat
0:26:32 > 0:26:35and then it'll sit on the isinglass, which dries very quickly.
0:26:35 > 0:26:37So it's quite a fast process, which is good as well.
0:26:37 > 0:26:39There's no time for the paint to come back up again.
0:26:39 > 0:26:41It's clever stuff, isn't it? I'm quite fascinated.
0:26:41 > 0:26:44- That's still quite wet, isn't it? - Yeah, it's still...
0:26:44 > 0:26:47It's definitely going to need one or two more applications
0:26:47 > 0:26:48I would've thought.
0:26:48 > 0:26:50But the whole thing with it is it's very gentle, so...
0:26:50 > 0:26:51How long will this take, do you think?
0:26:51 > 0:26:53- To finish this one off?- Yes.
0:26:53 > 0:26:55Probably about another couple of hours.
0:26:55 > 0:26:58Considering it's 500 years old, it's in pretty good condition,
0:26:58 > 0:27:00- when you think about what it's been through.- Exactly.
0:27:00 > 0:27:02- Given it came all the way from Belgium...- Sure.
0:27:02 > 0:27:05..went to France and then was shipped over to The Bowes.
0:27:05 > 0:27:07And what have you got on the end of that?
0:27:07 > 0:27:08Is just a cotton... Cotton what?
0:27:08 > 0:27:11It's just literally just a swab stick - just cotton wool.
0:27:11 > 0:27:15- So, that's just gradually dissolving the paper away now?- Yeah.
0:27:15 > 0:27:17- So, you see it's gone down an awful lot.- It has.
0:27:17 > 0:27:19That's exceptionally good, I think.
0:27:19 > 0:27:22- Well, look, thank you very much for showing me.- It's a pleasure.
0:27:22 > 0:27:24I've learnt so much, and I've thoroughly enjoyed looking at these.
0:27:24 > 0:27:27And one day, I'll come back and see them on display.
0:27:32 > 0:27:35The Bowes Museum was definitely John and Josephine's baby,
0:27:35 > 0:27:37born in the 19th century
0:27:37 > 0:27:41when conservation techniques were more often than not hazardous.
0:27:41 > 0:27:46But now, here in the 21st century, I feel sure it's in safe hands,
0:27:46 > 0:27:50and that's thanks to the diligent, hard-working conservation team.
0:27:50 > 0:27:53The future of fine art in the North of England looks rosy
0:27:53 > 0:27:55here at The Bowes Museum.
0:28:00 > 0:28:03Welcome back to the grandeur of the picture galleries.
0:28:03 > 0:28:07Isn't it wonderful to see pictures hung all over the walls
0:28:07 > 0:28:09in the traditional 19th-century way?
0:28:09 > 0:28:11And in the room, hundreds of people
0:28:11 > 0:28:13have already had their antiques valued.
0:28:13 > 0:28:15And there's plenty more to go,
0:28:15 > 0:28:19so let's catch up with our experts and see what else they've found.
0:28:19 > 0:28:22David Harper has spotted some Art Deco belonging to Diana.
0:28:23 > 0:28:25What do you think of Gladys?
0:28:25 > 0:28:27- I don't really like her. - HE CHUCKLES
0:28:27 > 0:28:30- And you own her!- Yes, I do, yes. - Tell me about her.
0:28:30 > 0:28:32Well, my mother was left
0:28:32 > 0:28:36a big display cabinet with all sorts of things in it,
0:28:36 > 0:28:38ooh, probably about 50, 55 years ago,
0:28:38 > 0:28:41and Gladys was part of that.
0:28:41 > 0:28:44My mum sadly died a couple of years ago,
0:28:44 > 0:28:46and this is one of the things that
0:28:46 > 0:28:50- I'm afraid none of the family particularly wanted.- Right, OK.
0:28:50 > 0:28:52Now, I find this really interesting,
0:28:52 > 0:28:54- cos if you don't mind me saying so...- Yes?
0:28:54 > 0:28:59..I think Gladys and Diana could be sisters.
0:28:59 > 0:29:03This is remarkable. Do you not think?
0:29:03 > 0:29:04And you don't like her?
0:29:04 > 0:29:07Well, the only similarity I can see is that we're both wearing pink.
0:29:07 > 0:29:10Yes. You've got lovely red lips, similar sort of hair -
0:29:10 > 0:29:12no, I think you're related.
0:29:12 > 0:29:13So, what do you know about Gladys?
0:29:13 > 0:29:17As you say, she's Art Deco. That's all I know.
0:29:17 > 0:29:20I know that I don't particularly like her, I'm afraid.
0:29:20 > 0:29:23- That's about it.- Well, I'm going to convince you, Diana, to like her.
0:29:23 > 0:29:26Now, you say Art Deco - she screams Art Deco,
0:29:26 > 0:29:29and the term Art Deco was first coined at
0:29:29 > 0:29:33the Paris Arts and Decorative Fair of 1925,
0:29:33 > 0:29:34so it's quite a tight period,
0:29:34 > 0:29:37although the Deco style was introduced after the war,
0:29:37 > 0:29:39but the true period is '25 to '39.
0:29:39 > 0:29:44So, does she belong to that period or is she a later Art Deco style?
0:29:44 > 0:29:46Well, I think, with a lot of these things,
0:29:46 > 0:29:48the bottom will tell you quite a lot.
0:29:48 > 0:29:52So, she's made by Royal Doulton. There's her name - Gladys,
0:29:52 > 0:29:53a reference number.
0:29:53 > 0:29:56Now, I know that Gladys from Royal Doulton
0:29:56 > 0:30:00was produced between 1935 and 1938,
0:30:00 > 0:30:01so she's in period.
0:30:01 > 0:30:05Am I making Diana appreciate Gladys any more?
0:30:05 > 0:30:10- Appreciate her, certainly, yes. - Like her?- No.
0:30:10 > 0:30:11Well, I think she's gorgeous.
0:30:11 > 0:30:15I think Royal Doulton ornaments aren't what they used to be,
0:30:15 > 0:30:17but she breaks the mould slightly
0:30:17 > 0:30:19because she is, I think, so lovely
0:30:19 > 0:30:22and sums up that glamorous Art Deco period.
0:30:22 > 0:30:26But she does have a problem, and do you know what the problem is?
0:30:26 > 0:30:28- I do, yes.- Yeah, what is that?
0:30:28 > 0:30:29Yeah, she's got a slight chip.
0:30:29 > 0:30:33Right at the front there, which makes a bit of a difference,
0:30:33 > 0:30:35and it's in the worst possible place -
0:30:35 > 0:30:37if it was at the back, it would make life easier.
0:30:37 > 0:30:39So, what do you think she's worth?
0:30:39 > 0:30:42I was told by the local auction house
0:30:42 > 0:30:44that it was probably about 120.
0:30:44 > 0:30:47So, are we talking about the 80, 120 estimate here?
0:30:47 > 0:30:48Probably, yeah.
0:30:48 > 0:30:52Well, 80 to 120 is a great, come-and-get-me estimate,
0:30:52 > 0:30:55and she should and could do more.
0:30:55 > 0:30:58- So, how would you feel about that? - Fine.- 80, 120...- Great.
0:30:58 > 0:30:59- Are you happy?- Fantastic.
0:30:59 > 0:31:03You really don't like this Gladys. Do you?
0:31:03 > 0:31:06No. Do you want to buy Gladys? You seem so enthusiastic...
0:31:06 > 0:31:08You know, if I could, I probably would.
0:31:08 > 0:31:11- THEY CHUCKLE - Thank you.- See you at the auction.
0:31:11 > 0:31:15Let's hope the bidders agree with David and not Diana.
0:31:15 > 0:31:17Paul has found something a little more genteel.
0:31:19 > 0:31:22- Sylvia, how are you doing? - Fine, thank you.- Good.
0:31:22 > 0:31:26And you've brought with you rather a smart-looking silver basket.
0:31:26 > 0:31:28How did this little gem come into your possession?
0:31:28 > 0:31:31We inherited it, me and my husband.
0:31:31 > 0:31:33No great family history beyond that, it just came our way?
0:31:33 > 0:31:36Well, it was my husband's grandfather's -
0:31:36 > 0:31:38that's where it came from in the family.
0:31:38 > 0:31:39It's a Continental piece.
0:31:39 > 0:31:45We've got a series of mystery Continental marks
0:31:45 > 0:31:49and I suspect Continental, late 19th-century.
0:31:49 > 0:31:51But the aesthetic, it's actually much earlier
0:31:51 > 0:31:55because it cries out Georgian flamboyance.
0:31:55 > 0:31:57We've got a lovely little flower head,
0:31:57 > 0:32:01diaper- or lattice-patterned reticulated border,
0:32:01 > 0:32:05we've got lovely little shells and canvas scrolls,
0:32:05 > 0:32:08we've got turtle doves.
0:32:08 > 0:32:10And then right in the centre,
0:32:10 > 0:32:14we've got this Georgian courting couple in an orchard setting,
0:32:14 > 0:32:17which is very much 18th century.
0:32:17 > 0:32:19But it's not - it's a timeless aesthetic.
0:32:19 > 0:32:23And in truth, I'm sure if you got enough silversmiths today,
0:32:23 > 0:32:25you'll find someone producing exactly the same thing
0:32:25 > 0:32:27because it's a smart look.
0:32:27 > 0:32:31But if I show anybody under the age of 45,
0:32:31 > 0:32:34I think they'll go, "It's the kind of thing my granny would've liked."
0:32:34 > 0:32:36- Yes.- You see what I'm...? Is that...?- Absolutely, yes.
0:32:36 > 0:32:41And that has a lot to bear on its value - its popular appeal.
0:32:41 > 0:32:43In its favour - here we go, we're all positive again,
0:32:43 > 0:32:45I've got my positive hat on -
0:32:45 > 0:32:46there's a bit of silver in there,
0:32:46 > 0:32:50albeit perhaps 800 standard rather than 925 sterling,
0:32:50 > 0:32:54and I think what underpins its value is the silver content.
0:32:54 > 0:32:58And on that basis, I'd suggest 80 to 120.
0:32:58 > 0:33:02- Now, could I tempt you to sell it? - Yes.- Yeah?- Yes.
0:33:02 > 0:33:04Well, in that case, looks like we're in business.
0:33:04 > 0:33:07- Now, I'd suggest a reserve at low estimate...- Yeah.
0:33:07 > 0:33:10..but maybe a little bit of discretion on the auctioneer's part
0:33:10 > 0:33:12- if he needs it on the day.- OK.
0:33:12 > 0:33:13- Sound good?- Yes, it does.
0:33:13 > 0:33:15Sylvia, what a pleasure.
0:33:15 > 0:33:17- Thank you very much. - Thank you very much.
0:33:19 > 0:33:21What a pretty thing.
0:33:21 > 0:33:23These picture galleries are full of works
0:33:23 > 0:33:25by famous artists from all over the world.
0:33:25 > 0:33:28It's really hard to stop and focus on one -
0:33:28 > 0:33:29there's so many to choose from.
0:33:29 > 0:33:32But I have picked one out for you that I want you to tell you about
0:33:32 > 0:33:35because it's got an interesting story - and it's this one.
0:33:35 > 0:33:36Look at her. She is beautiful.
0:33:36 > 0:33:40Now, this had been languishing in the storeroom here
0:33:40 > 0:33:42for a long, long time - right up until 2013.
0:33:42 > 0:33:46This was then picked up on a BBC Your Painting website
0:33:46 > 0:33:50by Dr Bendor Grosvenor, who is a leading art historian and dealer
0:33:50 > 0:33:53who specialises in van Dyck's work.
0:33:53 > 0:33:56He thought it was a van Dyck, and it was a great hunch.
0:33:56 > 0:34:00I have to say, this for me is always the most exciting part of my job,
0:34:00 > 0:34:05is seeing the layers of dirt and grime stripped back
0:34:05 > 0:34:09so that we get back to something that hasn't been seen for centuries.
0:34:10 > 0:34:13The story was then picked up by The Culture Show.
0:34:13 > 0:34:15They followed the whole investigation
0:34:15 > 0:34:16right through to conclusion.
0:34:16 > 0:34:18When people over the years have come to you
0:34:18 > 0:34:21and said, "Can you say...?" "Is this painting by van Dyck?"
0:34:21 > 0:34:24How many of those pictures do you end up rejecting?
0:34:24 > 0:34:26About nine out of ten, I should say. I mean, really a lot.
0:34:26 > 0:34:29I mean, you have to remember this -
0:34:29 > 0:34:32van Dyck was always a famous artist from the word go.
0:34:32 > 0:34:35From the age of 16, he was, you know, hugely admired,
0:34:35 > 0:34:37copies were made,
0:34:37 > 0:34:40so a lot of pictures are...have to be rejected.
0:34:40 > 0:34:45He then confirmed the attribution as late English van Dyck.
0:34:45 > 0:34:48We've got here some labels you've printed off.
0:34:48 > 0:34:50"A style of Anthony van Dyck,"
0:34:50 > 0:34:54and we have an "Attributed to Anthony van Dyck."
0:34:54 > 0:34:55We can rip both of these up.
0:34:55 > 0:34:57You'll have to print a new label
0:34:57 > 0:35:00which just says, "Anthony van Dyck."
0:35:00 > 0:35:02- Brilliant. - CHEERS AND APPLAUSE
0:35:07 > 0:35:08And here it is, look.
0:35:08 > 0:35:10On the wall now for all of us to enjoy.
0:35:10 > 0:35:14And right now, we're going to enjoy our expert's next item.
0:35:14 > 0:35:18And it's over to David now who has spotted a fine bit of woodcarving.
0:35:19 > 0:35:22Well, I've got to say, I'm a big dog lover.
0:35:22 > 0:35:26- Jean, are you as well?- Yes.- Yeah? Peter?- I am indeed.- Yeah? Wonderful.
0:35:26 > 0:35:29Now, Jean, tell me everything you know about this magnificent hound.
0:35:29 > 0:35:33We got it given to us by a friend of ours, a neighbour.
0:35:33 > 0:35:38He worked at this place where they sort of disposed of newspaper,
0:35:38 > 0:35:41and it was amongst that in the yard where they tipped it.
0:35:41 > 0:35:42How long ago?
0:35:42 > 0:35:44Oh, it's 50 years ago,
0:35:44 > 0:35:45and he wasn't a dog lover,
0:35:45 > 0:35:48so he came to us because we had red setters.
0:35:48 > 0:35:51- There's a sort of resemblance there, isn't there?- Yeah. There is.
0:35:51 > 0:35:54With the big nose. I mean, it's a fantastic creature.
0:35:54 > 0:35:56Have you done any research at all?
0:35:56 > 0:35:59Erm, no. Peter did the research.
0:35:59 > 0:36:00I did quite a bit of research.
0:36:00 > 0:36:03- Somebody said it may be late-Victorian.- OK.
0:36:03 > 0:36:06- I've got to tell you, I've never seen anything quite like it.- No.
0:36:06 > 0:36:10I've seen many dog heads, animal heads from this period.
0:36:10 > 0:36:12So, I would date him to about 1880.
0:36:12 > 0:36:16But the thing is, it is an exceptionally good quality piece.
0:36:16 > 0:36:19If you look at the detail of his muscular face,
0:36:19 > 0:36:21and the snout is incredible.
0:36:21 > 0:36:23And this business, when we're looking at wood,
0:36:23 > 0:36:24colour and patternation is everything.
0:36:24 > 0:36:27Originality, colour, patternation - you've got it all.
0:36:27 > 0:36:29The fact that he's been thrown out,
0:36:29 > 0:36:32I'm amazed he still retains those three major qualities.
0:36:32 > 0:36:36And I think he was made for someone with great wealth
0:36:36 > 0:36:38and someone with a connection to hunting.
0:36:38 > 0:36:39I mean, this is a bloodhound.
0:36:39 > 0:36:43If you look at his mount, which is bronze and then gilded -
0:36:43 > 0:36:44very well cast.
0:36:44 > 0:36:47See, you've got a leather whip with tassels
0:36:47 > 0:36:49- and then, of course, you've got an antler horn.- Yeah.
0:36:49 > 0:36:51Do you know where I think he belongs?
0:36:51 > 0:36:54- In a great big Scottish shooting lodge.- Yeah.
0:36:54 > 0:36:56- Don't you think, Peter? Can you see it?- Yeah.
0:36:56 > 0:36:59And the kind of people that would be drawn to this carving,
0:36:59 > 0:37:01I think, would have lots of money
0:37:01 > 0:37:04because he's one of those aspirational kind of pieces.
0:37:04 > 0:37:07So, to sum up then, he is a fruitwood -
0:37:07 > 0:37:09probably a walnut - fantastic colour.
0:37:09 > 0:37:12Carved in sections - it's not a one-piece carving -
0:37:12 > 0:37:15he's carved in three or four sections and then pegged together.
0:37:15 > 0:37:18You can just see little splits where it's moved over time.
0:37:18 > 0:37:20He's 130 years old - you're going to get that.
0:37:20 > 0:37:23- It's brilliant that you haven't polished up the bronze...- Yeah.
0:37:23 > 0:37:25..because it is gilded, and you'll rub the gilding off.
0:37:25 > 0:37:27Positively 1880s.
0:37:27 > 0:37:29What's he worth?
0:37:29 > 0:37:31I think, personally, to get the interest,
0:37:31 > 0:37:35would you be brave enough to pitch him in at 300 to 500?
0:37:35 > 0:37:37- Yeah.- Yes. - Can they put a reserve on it?
0:37:37 > 0:37:40Absolutely. If it doesn't make the 300, he goes home.
0:37:40 > 0:37:42But it's so exciting...
0:37:42 > 0:37:44Well, it's better than sitting in a box, isn't it?
0:37:44 > 0:37:47- Is that where he's been living, in a box?- He has.- Oh, my...
0:37:47 > 0:37:50He needs to be out into the big world. Let's send him.
0:37:50 > 0:37:53- Jean.- Yeah. - Fabulous...and very exciting.
0:37:55 > 0:37:57I agree with David - that is a splendid thing.
0:37:59 > 0:38:01Well, there you are. You've just seen them.
0:38:01 > 0:38:03Our experts have made their final choice of items
0:38:03 > 0:38:04to take off to the saleroom,
0:38:04 > 0:38:08which means, sadly, we have to say goodbye to The Bowes Museum,
0:38:08 > 0:38:11surrounded by wonderful arts and antiques all day long.
0:38:11 > 0:38:14Hopefully we'll make some history of our own today,
0:38:14 > 0:38:16but let's say goodbye to all our people as well.
0:38:16 > 0:38:18And thank you so much for turning up.
0:38:18 > 0:38:21Well, we wouldn't have a show without that lot, would we?
0:38:21 > 0:38:23But right now we've got some business to do in the saleroom.
0:38:23 > 0:38:25Let's put those valuations to the test.
0:38:25 > 0:38:28Here's a quick recap of what's going under the hammer.
0:38:29 > 0:38:30Charming as it is,
0:38:30 > 0:38:33Diana is not going to be sorry to say goodbye to
0:38:33 > 0:38:35her Art Deco figure.
0:38:37 > 0:38:40The Georgian-style silver dish has a quiet appeal
0:38:40 > 0:38:42and is reasonably priced.
0:38:44 > 0:38:48And all we need is a dog lover with a space on the wall in their castle,
0:38:48 > 0:38:51and this carved head will have a new home.
0:38:53 > 0:38:55We're back on the other side of the Yorkshire Dales
0:38:55 > 0:38:58in Cumbria at Eighteen Eighteen Auction Rooms.
0:38:58 > 0:39:01So, let's get those final three items under the gavel.
0:39:01 > 0:39:05To get us under way, some charming Art Deco.
0:39:06 > 0:39:09Going under the hammer right now, we have Diana's Royal Doulton figure.
0:39:09 > 0:39:12It's a Gladys figure, and I kind of like this in a way.
0:39:12 > 0:39:14I think this is a bit kitsch for...
0:39:14 > 0:39:16And for Doulton, that's kind of saying something,
0:39:16 > 0:39:19- cos Doulton's not really that kitsch, is it?- No.
0:39:19 > 0:39:21- And kitsch is all the rage right now.- Hopefully.- Hopefully.
0:39:21 > 0:39:23And it's not a lot of money.
0:39:23 > 0:39:25- Why are you selling this, anyway? - Because I don't like it.
0:39:25 > 0:39:29- You don't like it. Well, I kind of agree...- We like it.
0:39:29 > 0:39:30- Yeah, but...- We like it!
0:39:30 > 0:39:32I like it in the fact that...
0:39:32 > 0:39:34I'm not keen on figurines or anything like that -
0:39:34 > 0:39:36I really don't like that Doulton thing about it.
0:39:36 > 0:39:39But I kind of like this because it's a little bit different.
0:39:39 > 0:39:40Anyway, let's put the value to the test.
0:39:40 > 0:39:43Are you ready, Diana? Here we go.
0:39:43 > 0:39:47Gladys. Yeah, the 1930s sort of Art Deco Royal Doulton figure there.
0:39:47 > 0:39:50I am going to start the bidding with me at £80.
0:39:50 > 0:39:52- It's gone.- Marvellous, marvellous. - £80 bid.
0:39:52 > 0:39:56£80 bid. 80 bid. 80 bid. 80. 90.
0:39:56 > 0:40:0090 bid. 100. 110. 110 now. 120. 130.
0:40:00 > 0:40:03- Oh, good.- See?- 130. 140.- Hey!- 140. - DAVID CHUCKLES
0:40:03 > 0:40:05- 140.- Marvellous.- It's all over. 140.
0:40:05 > 0:40:09140. All done this time. I'm going to sell then at 140.
0:40:09 > 0:40:12- Good result. Well done.- Fabulous. - Well done, David. Good result.
0:40:12 > 0:40:15Thank you for bringing that... See, there's a big smile now.
0:40:15 > 0:40:17- That's great.- Yeah, it's good news.
0:40:17 > 0:40:18Yeah, I'm really pleased with that.
0:40:18 > 0:40:21You're so pleased to see her gone, aren't you?
0:40:23 > 0:40:25And for a really good price, too.
0:40:26 > 0:40:31Serving up for you right now we have Sylvia's silver Continental dish.
0:40:31 > 0:40:34And I tell you what, at 80 to 120, that's going, isn't it?
0:40:34 > 0:40:37That's going, going, bang, gone any moment now.
0:40:37 > 0:40:38I mean, if it was English,
0:40:38 > 0:40:41you could quite easily treble that, couldn't you?
0:40:41 > 0:40:42So, why are you selling this?
0:40:42 > 0:40:45Well, it's just been in the loft for 50 years.
0:40:45 > 0:40:48Shame, shame. You could be using that.
0:40:48 > 0:40:50Oh, it's a lot of cleaning cos it's very ornate,
0:40:50 > 0:40:54so one doesn't like to spend one's life cleaning.
0:40:54 > 0:40:56No, no-one wants to clean their silver any more.
0:40:56 > 0:40:59Anyway, you shouldn't really over-clean it, should you?
0:40:59 > 0:41:00But that's why they're flogging it,
0:41:00 > 0:41:03and that's exactly what we're doing right now. This is it.
0:41:03 > 0:41:07The Continental white metal dish with the trellis pattern border.
0:41:07 > 0:41:08Again, various interest.
0:41:08 > 0:41:11I'm going to have to start bidding simply with me at £70.
0:41:11 > 0:41:14It's with me at 70. Looking for 75 anywhere.
0:41:14 > 0:41:17- Come on. £10 away. - I will sell if no further interest.
0:41:17 > 0:41:19At the 70. With me in the 70.
0:41:20 > 0:41:23Just we needed one more to push it to get that £80 mark.
0:41:23 > 0:41:25- But, look, it's gone, Sylvia. - That's fine.
0:41:25 > 0:41:27- You're happy, aren't you?- Yes.
0:41:27 > 0:41:30You don't have to clean it, you don't have to look at it.
0:41:30 > 0:41:32I think that has gone off to be treasured.
0:41:33 > 0:41:36Next, the dog which has a bit of a tale attached to it.
0:41:38 > 0:41:40Jean and Peter, I love this lot.
0:41:40 > 0:41:43Absolutely... I'm a big dog lover, so I love dogs and I love this.
0:41:43 > 0:41:48- Now, at the valuation day, we had a valuation of 300 to 500.- Yeah.
0:41:48 > 0:41:50And I believe since the valuation day,
0:41:50 > 0:41:52- you've had a chat to the auction house...- Yeah.
0:41:52 > 0:41:57- ..and you've upped that reserve from 300 to 500.- Yeah.
0:41:57 > 0:42:00Do you feel you don't want to part with it now
0:42:00 > 0:42:02- for anything less than 500? Is that what...?- Yeah.
0:42:02 > 0:42:04That's what that's all about. OK.
0:42:04 > 0:42:07Well, we're going to find out if someone here wants to take it home.
0:42:07 > 0:42:09- But they've got to part with 500 quid.- Yeah.
0:42:09 > 0:42:11Here we go - it's going under the hammer.
0:42:11 > 0:42:15The wall mask carved as a bloodhound.
0:42:15 > 0:42:16The ornate mount as well.
0:42:16 > 0:42:19What can I ask for it for a start? 500?
0:42:19 > 0:42:21- Go on.- 500, if you like.
0:42:21 > 0:42:24500? Let's start at 300 and see how we go on from there.
0:42:24 > 0:42:27- 300 anywhere?- Oh, no. - Nobody at 300?- No.- No.
0:42:27 > 0:42:31300? Thank you, sir. 300. 320. 320.
0:42:31 > 0:42:35340. 360. 380.
0:42:35 > 0:42:37380 now. 380. Looking for 400 anywhere.
0:42:37 > 0:42:40- Come on.- 380. 400 now. 400.
0:42:40 > 0:42:44420. 440. 460. 480.
0:42:44 > 0:42:47- Looking to sell at 480. - One more. Sell at 480?
0:42:47 > 0:42:48- Yes?- Yeah.- Yeah.- 480.
0:42:48 > 0:42:53£480, and I am selling at 480.
0:42:53 > 0:42:56- Thank you, sir.- Oh! - Good auctioneering.- Yes.
0:42:56 > 0:42:58And thank you for dropping another £20,
0:42:58 > 0:43:01- that made all the difference... - Yeah.- ..from a sale or a no-sale.
0:43:01 > 0:43:04And if you weren't going to have it on display at home...
0:43:04 > 0:43:06- No, it doesn't look right in my house.- Well then, it had to go.
0:43:06 > 0:43:09- Good decision.- Yeah, good decision.
0:43:09 > 0:43:12Let's hope his new home is worthy of him.
0:43:12 > 0:43:15Well, there you are. That's it. It's all over for our owners,
0:43:15 > 0:43:17and we've put those valuations to the test.
0:43:17 > 0:43:20It has been a rollercoaster ride for everybody concerned -
0:43:20 > 0:43:21even our experts -
0:43:21 > 0:43:25because it's not an exact science putting a value on an antique
0:43:25 > 0:43:27as you have just seen.
0:43:27 > 0:43:28I hope you've enjoyed the show.
0:43:28 > 0:43:31Join us again for many more surprises next time,
0:43:31 > 0:43:33but until then, it's goodbye.