0:00:08 > 0:00:11Today's show comes from the stunning 18th-century Dumfries House,
0:00:11 > 0:00:15situated around 30 miles south of Glasgow.
0:00:15 > 0:00:19Among its treasures is a collection of furniture by the cabinet-maker
0:00:19 > 0:00:20Thomas Chippendale,
0:00:20 > 0:00:22considered to be the best in the world
0:00:22 > 0:00:25from his early period. But it nearly wasn't to be.
0:00:25 > 0:00:29Thanks to a late intervention by the Prince of Wales, back in 2007,
0:00:29 > 0:00:32the contents and the house were saved for the nation,
0:00:32 > 0:00:34for us to enjoy today.
0:00:34 > 0:00:35Welcome to Flog It!
0:01:01 > 0:01:04The story of Dumfries House is definitely
0:01:04 > 0:01:06a cliffhanger of a tale.
0:01:06 > 0:01:10Back in 2007, the house and its contents were put up for sale.
0:01:10 > 0:01:14Lot numbers were attached and the auction date was set.
0:01:14 > 0:01:17Now, what Prince Charles did was he pulled together
0:01:17 > 0:01:21a consortium of charities, government, private investors
0:01:21 > 0:01:25and heritage bodies to buy this magnificent house for the nation.
0:01:25 > 0:01:28And they achieved it just in the nick of time.
0:01:28 > 0:01:31And now the trust, headed up by the Prince of Wales,
0:01:31 > 0:01:34have secured its future, they've rapidly undertaken a schedule
0:01:34 > 0:01:39of regeneration works, all over the estate and inside the house.
0:01:49 > 0:01:51Inside the house, the trust have put
0:01:51 > 0:01:54a programme together to bring it back to life.
0:01:54 > 0:01:57They've struck a fine balance between preserving
0:01:57 > 0:02:02the original contents, restoring and remaking, where necessary,
0:02:02 > 0:02:06in order to imbue the house with its original vitality that you'd
0:02:06 > 0:02:08have had back in the 18th century.
0:02:08 > 0:02:12For example, these sofas and chairs have been covered with a new
0:02:12 > 0:02:16woven silk, but copied from a pattern
0:02:16 > 0:02:19from a chair supplied to the house, back in the 18th century.
0:02:19 > 0:02:23This would have been the original pattern.
0:02:23 > 0:02:25So, hopefully, what they've done is,
0:02:25 > 0:02:29they've made this house look like when the fifth Earl
0:02:29 > 0:02:32arrived at his front door, and he put the key in the lock
0:02:32 > 0:02:33and let himself in.
0:02:33 > 0:02:37This is exactly what he would have seen,
0:02:37 > 0:02:39and I think it's breathtaking.
0:02:39 > 0:02:43And later, I'll be visiting another property in nearby Glasgow,
0:02:43 > 0:02:48which, like Dumfries House, has also been saved for the public to enjoy,
0:02:48 > 0:02:49but where there's been
0:02:49 > 0:02:52a very different approach to the conservation.
0:02:53 > 0:02:56But first, we head south, across the border, as we look
0:02:56 > 0:03:00back at some of the valuation days we visited around the country,
0:03:00 > 0:03:04and on our travels, we've stopped in at the gorgeous 18th century
0:03:04 > 0:03:07Ragley Hall, in Warwickshire, where Charlie Ross's
0:03:07 > 0:03:11aspirations of grandeur matched the sumptuous setting.
0:03:11 > 0:03:14- Alison, could you just pass the caviar?- Oh, yes.
0:03:15 > 0:03:19We also paid a visit to the Milestones Museum in Basingstoke,
0:03:19 > 0:03:24Hampshire, where hundreds of you turned up to have your items valued.
0:03:25 > 0:03:30And we made a pit stop to the RAF Museum in Hendon, in London,
0:03:30 > 0:03:34where Michael Baggott seemed to have turned into a mechanic.
0:03:34 > 0:03:37I think we might have to take it down the garage to get
0:03:37 > 0:03:40the wheels straightened, or the tracking sorted out.
0:03:42 > 0:03:44But our first port of call for today's show
0:03:44 > 0:03:48is the National Maritime Museum in Cornwall, based in Falmouth,
0:03:48 > 0:03:49where against a backdrop
0:03:49 > 0:03:53of beautiful boats, Caroline Hawley found an intriguing box.
0:03:55 > 0:03:58- Shall we see what's inside? - Oh, definitely.
0:03:58 > 0:04:00- Wow!- This was given to me
0:04:00 > 0:04:04by an elderly lady, who was a friend of the family, back in the 1960s.
0:04:04 > 0:04:06- And you've had it ever since? - I've had it ever since,
0:04:06 > 0:04:10but I've never used it and I've just had it in a display cabinet.
0:04:10 > 0:04:14It's made by Coalport, which is a very good maker.
0:04:14 > 0:04:17And if we look at the mark here, Coalport, England,
0:04:17 > 0:04:20which tells us it's after 1891.
0:04:20 > 0:04:24And I would put it into the beginning of the 20th century.
0:04:24 > 0:04:30So, if we have a look at these, the little coffee cans are gorgeous.
0:04:30 > 0:04:32Coalport, again.
0:04:32 > 0:04:37And here's the mark, here. W and H, for Walker & Hall, which is
0:04:37 > 0:04:38on the box, as well,
0:04:38 > 0:04:41because very often, the retailer is different to the maker.
0:04:41 > 0:04:47We've got Walker & Hall, Sheffield, and the mark tells me it's 1912.
0:04:47 > 0:04:49Which is exactly as it should be.
0:04:49 > 0:04:53It's great. Original box. It looks in fantastic condition.
0:04:53 > 0:04:55It doesn't look like it's been used.
0:04:55 > 0:05:00There's only one bit of sadness, and that's that little hairline here.
0:05:00 > 0:05:01And how that's happened, I don't know,
0:05:01 > 0:05:06because they look in mint condition and that does make a difference.
0:05:06 > 0:05:09It's a lovely set of coffee cans,
0:05:09 > 0:05:11but not going to be worth a fortune.
0:05:11 > 0:05:13I mean, possibly
0:05:13 > 0:05:17£100-£200, if you're lucky.
0:05:17 > 0:05:20So, would you be happy to put it into auction
0:05:20 > 0:05:23with a 100-200 estimate?
0:05:23 > 0:05:25Yes, because I don't use it
0:05:25 > 0:05:27and I know my children aren't going to use it.
0:05:27 > 0:05:30- And we can protect it with a reserve.- With a reserve, yes.
0:05:30 > 0:05:33Absolutely. I think there's every chance that will go at 100,
0:05:33 > 0:05:38because you've got the make, you've got the silver, the quality.
0:05:38 > 0:05:40- Right. 100 it is.- OK.
0:05:40 > 0:05:43And all the best with it. Thanks for bringing it along.
0:05:43 > 0:05:45- Thank you.- That's a pleasure.
0:05:47 > 0:05:49A stunning set, from a time when
0:05:49 > 0:05:52coffee was drunk with a sense of occasion,
0:05:52 > 0:05:55rather than on the hoof in a takeaway cup.
0:05:55 > 0:05:58At the RAF Museum at Hendon, in London, Michael Baggott
0:05:58 > 0:06:00came across a mixed little lot.
0:06:00 > 0:06:04Maria, thank you for bringing along these two intriguing, little
0:06:04 > 0:06:08treasures. Can you tell me where they came from?
0:06:08 > 0:06:12Well, the little thing, this one, was passed on from my family.
0:06:12 > 0:06:15The spectacles, I bought them years and years ago,
0:06:15 > 0:06:21when I was beginning to appreciate a little bit of antiquity.
0:06:21 > 0:06:24I'm Italian by birth and I was intrigued to learn
0:06:24 > 0:06:27all about the English,
0:06:27 > 0:06:30history, geography.
0:06:30 > 0:06:36- So, how long have you been over here in England?- 53 years.
0:06:36 > 0:06:38- 53 wonderful years?- Wonderful years.
0:06:38 > 0:06:42Well, let me tell you about these two little things.
0:06:42 > 0:06:45This is a little silver model, but, helpfully,
0:06:45 > 0:06:49it's got a set of English hallmarks on it.
0:06:49 > 0:06:52It was actually made in Hanau in Germany
0:06:52 > 0:06:54by the company of Neresheimer.
0:06:54 > 0:06:58This is very heavy and very well-made.
0:06:58 > 0:07:01And it's got Chester hallmarks on it, which are sought-after,
0:07:01 > 0:07:06so that's a lovely little thing. It's had a few knocks.
0:07:06 > 0:07:07Well, I'm not surprised.
0:07:07 > 0:07:10I think we might have to take it down the garage to get
0:07:10 > 0:07:13the wheels straightened or the tracking sorted out.
0:07:13 > 0:07:14It's a charming little thing,
0:07:14 > 0:07:17but these are really of the most interest to me,
0:07:17 > 0:07:19because these were made in Birmingham,
0:07:19 > 0:07:21- which is where I'm from. - Oh! How interesting.
0:07:21 > 0:07:25Now, sometimes, you get part marks on these.
0:07:25 > 0:07:31You always get a mark on the inside of the arm, but, most helpfully
0:07:31 > 0:07:34and most unusually, cos it doesn't often survive, we've got
0:07:34 > 0:07:39the date letter on the end of the spectacles, which is for 1829, so...
0:07:39 > 0:07:44- That's lovely.- ..to be fully marked, to have the original lenses,
0:07:44 > 0:07:46very nice indeed.
0:07:46 > 0:07:49So, I think in terms of value, they make an interesting
0:07:49 > 0:07:50lot for a collector of silver.
0:07:50 > 0:07:52Oh, jolly nice.
0:07:52 > 0:07:57We would put them into the auction with an estimate of £100-£150.
0:07:57 > 0:07:59Oh, how interesting.
0:07:59 > 0:08:02- And a fixed reserve of £100. - Oh, how lovely.
0:08:02 > 0:08:04And they wouldn't go for any less, so you're happy for us
0:08:04 > 0:08:07- to put them at auction? - I'm delighted!
0:08:07 > 0:08:10We'll put them in and hope that it charges
0:08:10 > 0:08:12away, like the chariot, on the day.
0:08:12 > 0:08:16- Yes. Thank you so much indeed for having me.- A pleasure.
0:08:16 > 0:08:19Well, that lot was a sight for sore eyes.
0:08:21 > 0:08:24Next, we're heading over to the Milestones Museum in Basingstoke,
0:08:24 > 0:08:27where Nick Davies took an open-topped tour
0:08:27 > 0:08:30amongst the recreated streets of Hampshire.
0:08:30 > 0:08:32So, Belinda, welcome to Flog It!
0:08:32 > 0:08:34Here we are, on top of an open-top bus.
0:08:34 > 0:08:36And there's a little bus on your charm bracelet here.
0:08:36 > 0:08:39That's fantastic. How did you come by all these charms?
0:08:39 > 0:08:40The charm bracelet was given to me
0:08:40 > 0:08:43as a christening present by my grandparents,
0:08:43 > 0:08:47and, over the years, all the charms have been added by various
0:08:47 > 0:08:50relatives, and I stopped at 22 charms,
0:08:50 > 0:08:54as 22 is my lucky number and it's followed me all my life.
0:08:54 > 0:08:57- Intriguing! Why is it so lucky? - I was born on the 22nd.
0:08:57 > 0:09:00- Well, that's a good start.- Yes. - Well, it's a lovely thing.
0:09:00 > 0:09:03Obviously, you've worked hard to accumulate these, for all
0:09:03 > 0:09:04different reasons, I suspect.
0:09:04 > 0:09:08The nice thing about it is the bracelet itself is quite important,
0:09:08 > 0:09:11because it's 18 carat, and most of them you see are nine carat.
0:09:11 > 0:09:13So, your value is doubled
0:09:13 > 0:09:15because of the value of the actual bracelet itself.
0:09:15 > 0:09:19So, why did you stop at 22? Just because it was your lucky number?
0:09:19 > 0:09:22- Yes.- No other reason? - Also, it's a bit cumbersome.- Yep.
0:09:22 > 0:09:24It gets a bit big, and that was my next question.
0:09:24 > 0:09:26This is all your history here. Why are you selling it?
0:09:26 > 0:09:27It's very pretty.
0:09:27 > 0:09:30My daughter it would be handed it down ultimately,
0:09:30 > 0:09:34and I've spoken about it with her, and it's not something she really
0:09:34 > 0:09:38wants, so if I was to sell it, then we'd hope to go on a cruise,
0:09:38 > 0:09:42because my mother has just died and my daughter's taken it very badly,
0:09:42 > 0:09:45and my mother was instrumental in buying some of the charms as well.
0:09:45 > 0:09:46Oh, what a lovely story.
0:09:46 > 0:09:49- We shall, in the nicest way, get you as far away as possible.- Yes.
0:09:49 > 0:09:51So, talk me through a couple of these.
0:09:51 > 0:09:54The typewriter, for example. Why have you got one of those?
0:09:54 > 0:09:56The typewriter is because I went to secretarial college and
0:09:56 > 0:09:58- trained as a secretary.- Love this.
0:09:58 > 0:10:00There's reasons behind them all. OK. Shall we pick another one?
0:10:00 > 0:10:04- 18, obviously has got to be your 18th birthday?- Yes.- Passport?
0:10:04 > 0:10:08- Passport, cos I liked travelling when I was younger.- Fantastic.
0:10:08 > 0:10:10Well, from a value point of view, I think
0:10:10 > 0:10:13it's probably going to be roundabout £500 to £600.
0:10:13 > 0:10:16- Wow!- Has that been worth all your 22 years' hard work?
0:10:16 > 0:10:18- Yes, definitely.- So, we'll put it in for sale for that.
0:10:18 > 0:10:21As long as you're happy with that. We'll put a reserve on it.
0:10:21 > 0:10:24Very important with gold. Let's get the reserve right, as well.
0:10:24 > 0:10:27So, a bit of discretion on the 500 for the reserve. OK.
0:10:27 > 0:10:30And we're going to have to get off this bus now and take this bus
0:10:30 > 0:10:32with us to the saleroom, and hopefully,
0:10:32 > 0:10:34we'll have a good trip there.
0:10:34 > 0:10:36Super. Thank you.
0:10:36 > 0:10:38Did Belinda's bracelet wow the bidders?
0:10:38 > 0:10:40Well, it's very nearly time to find out,
0:10:40 > 0:10:45as we see how our first batch of items fared at auction.
0:10:45 > 0:10:48But before that, I'm back in Scotland.
0:10:51 > 0:10:53Earlier, I'd mentioned there'd been an extensive
0:10:53 > 0:10:57programme of regeneration works here at Dumfries House.
0:10:57 > 0:11:00Now, unlike other conservation projects, which simply aim to
0:11:00 > 0:11:05halt years of decay, here, at Dumfries, the plan was to
0:11:05 > 0:11:10restore the interior back to its former, magnificent glory.
0:11:10 > 0:11:11And this area's a good example.
0:11:11 > 0:11:15This architectural tour de force is known as the Pewter Corridor,
0:11:15 > 0:11:20because it used to house the extensive collection of pewter ware.
0:11:20 > 0:11:21When the trust took over the house,
0:11:21 > 0:11:25this whole area was painted grey, and that was done back in the 1960s.
0:11:25 > 0:11:28I guess it was the fashion of the day.
0:11:28 > 0:11:31However, there were clues that something more exhilarating
0:11:31 > 0:11:33lay beneath.
0:11:38 > 0:11:41And here it is, look, in this tiny little corner.
0:11:41 > 0:11:42A patch the decorators missed,
0:11:42 > 0:11:46and it's just above the skirting board and it shows colour.
0:11:46 > 0:11:50But, what's more exciting is a photograph has been found
0:11:50 > 0:11:54from the 1920s of this corridor, showing the arches and the cupolas,
0:11:54 > 0:11:57these wonderful domes with intricate detail.
0:11:57 > 0:11:58Sadly, it's in black and white,
0:11:58 > 0:12:01so the trust didn't know what the colour scheme was.
0:12:07 > 0:12:10Extensive work was undertaken to return the Pewter Corridor
0:12:10 > 0:12:12back to its former colour palette.
0:12:12 > 0:12:15Two conservators worked for three months
0:12:15 > 0:12:16on this particular cupola
0:12:16 > 0:12:20scraping back, very carefully, the layers of history,
0:12:20 > 0:12:25to reveal this wonderful decoration and colour scheme.
0:12:25 > 0:12:28If you notice the rest of the corridor, you see the rest
0:12:28 > 0:12:31of the domes here, the colour is slightly more intense and vivid.
0:12:31 > 0:12:34That's because, rather than scrape back, a team of decorators from
0:12:34 > 0:12:38Edinburgh took six weeks to actually copy what
0:12:38 > 0:12:41they saw in that dome onto the other domes,
0:12:41 > 0:12:45and I think the finished result is absolutely fantastic.
0:12:45 > 0:12:46It's breathtaking.
0:12:46 > 0:12:49This is exactly how it would have been back in the day.
0:12:52 > 0:12:53It's time to leave Scotland now,
0:12:53 > 0:12:57as we see how our items fared at auction.
0:12:59 > 0:13:01Michael Baggott was taken
0:13:01 > 0:13:04with Maria's fun German silver chariot, and spectacles,
0:13:04 > 0:13:06from his home city of Birmingham.
0:13:07 > 0:13:11Nick Davies loved Belinda's gold charm bracelet being sold to take
0:13:11 > 0:13:14her daughter on a recuperative cruise.
0:13:14 > 0:13:18And finally, it was time for tea, well, coffee, anyway,
0:13:18 > 0:13:22as Arlene's 20th-century Coalport coffee set went up for sale.
0:13:26 > 0:13:30And we took it to Jeffreys Auctions in Lostwithiel, Cornwall,
0:13:30 > 0:13:33where auctioneer Ian Morris was on the rostrum.
0:13:33 > 0:13:36Remember, whether you're buying or selling at auction, there is
0:13:36 > 0:13:40always commission and VAT to pay.
0:13:40 > 0:13:43Well, going under the hammer, right now, we have a boxed, Art Deco
0:13:43 > 0:13:46coffee set, belonging to Arlene, who sadly cannot be with us.
0:13:46 > 0:13:49She's on holiday. I hope you're enjoying it right now.
0:13:49 > 0:13:53We do have Caroline, our expert, and we're looking at £100-£200.
0:13:53 > 0:13:56- It's Coalport.- Yeah. - Very fashionable in its day.
0:13:56 > 0:13:59- Silver-mounted. I think it's going to get the money.- So do I.
0:13:59 > 0:14:01- It's boxed.- Yeah. - It's ready to go.- Absolutely.
0:14:01 > 0:14:05- Let's hope we get nearer that 200. - Yeah, hope so.- This is it.
0:14:05 > 0:14:11- Bids on the books mean that I've got to start at £160.- That's it.
0:14:11 > 0:14:15- Good, we'll get the top.- 160, 170, now. At 160, both bids with me.
0:14:15 > 0:14:17At £160, I'm bid. 170, now.
0:14:17 > 0:14:20No-one challenging in the room.
0:14:20 > 0:14:24- I'm selling at £160.- Yes! The hammer's gone down. £160.
0:14:24 > 0:14:27- Almost the top end.- Fantastic! She'll be pleased with that.
0:14:27 > 0:14:29She'll be very pleased with that. Yes.
0:14:29 > 0:14:32After spending all her holiday money, she'll come back
0:14:32 > 0:14:35- and pick up a cheque. That's what it's all about.- Brilliant.
0:14:35 > 0:14:39What a great start for our first lot.
0:14:39 > 0:14:42Next, we headed east across the country to London.
0:14:42 > 0:14:45At Chiswick Auctions, William Rouse wielded the gavel as Maria's
0:14:45 > 0:14:50silver spectacles and chariot went up for sale as one lot.
0:14:50 > 0:14:51Well, so far, so good.
0:14:51 > 0:14:54And going under the hammer right now, we've got
0:14:54 > 0:14:55some George IV spectacles.
0:14:55 > 0:14:58Get your eyes set on this, and some novelty silver belonging to Maria.
0:14:58 > 0:15:01You've had these in the family quite a long time, haven't you?
0:15:01 > 0:15:02I have, yes.
0:15:02 > 0:15:05In all my antique history days, I've never bought a pair of specs
0:15:05 > 0:15:07in my life. I don't know if you have.
0:15:07 > 0:15:09- Have you? A pair of vintage... - I bought a pair
0:15:09 > 0:15:11- of Georgian spectacles last week. - Oh, really?
0:15:11 > 0:15:13- I've got my finger on the pulse. - It's all in vogue, isn't it?
0:15:13 > 0:15:15Let's find out what your specs are worth.
0:15:15 > 0:15:16They're going under the hammer.
0:15:16 > 0:15:20- Will a tenner do?- Cheeky. Start me £60 for it. 60 is bid.
0:15:20 > 0:15:2365, 70, 75, 80, 85,
0:15:23 > 0:15:2590, 95, 100.
0:15:25 > 0:15:27£100, there.
0:15:27 > 0:15:30110, 120, 130,
0:15:30 > 0:15:32140, 150,
0:15:32 > 0:15:35160, 170, 180,
0:15:35 > 0:15:36180, in the far distance.
0:15:36 > 0:15:38At 180. At £180,
0:15:38 > 0:15:41- I'm selling them for 180. - That's a great result!
0:15:41 > 0:15:45- 190.- Late bid.- £200.
0:15:45 > 0:15:49In the distance at 200.
0:15:49 > 0:15:53- Amazing.- £200! Lovely.- Good heavens.
0:15:53 > 0:15:58- I feel like... Mmm! ..a rich woman, now.- I bet you do.
0:15:58 > 0:16:01I didn't pay anything near that for mine and I'm pleased.
0:16:02 > 0:16:05Some great results so far.
0:16:05 > 0:16:10But did the lucky streak continue, as a much-needed family cruise
0:16:10 > 0:16:14rested on the sale of Belinda's charm bracelet?
0:16:14 > 0:16:16Nick Jarrett was on the rostrum
0:16:16 > 0:16:19at Andrew Smith & Son auctioneers near Winchester.
0:16:19 > 0:16:22Good luck, Belinda, and it's great to see you again. Who's this?
0:16:22 > 0:16:25- This is my husband, Clive. - Clive, pleased to meet you.
0:16:25 > 0:16:28We're just about to put that lucky charm bracelet under the hammer.
0:16:28 > 0:16:3122 gold charms, all collected by you.
0:16:31 > 0:16:34And connected to your life, really, which is really nice.
0:16:34 > 0:16:37- And what do you think of these? - Yes. It's very nice, but
0:16:37 > 0:16:39she's never used it as far as I've known,
0:16:39 > 0:16:42- so I think it has to go.- I'm sure there will be a collector out there.
0:16:42 > 0:16:44And it's gold! There's a lot of value there,
0:16:44 > 0:16:46and hopefully, we'll get £600-£700.
0:16:46 > 0:16:48Hopefully. It should be all right.
0:16:48 > 0:16:50- That's worth having, isn't it? - Absolutely.
0:16:50 > 0:16:52Let's find out what the bidders think.
0:16:52 > 0:16:56I'm going to start you at 280...
0:16:56 > 0:16:59Fill it in, 320, 340, 360, 380.
0:16:59 > 0:17:04- Oh, that's better.- 400. 420, 440, 460, 480,
0:17:04 > 0:17:06500.
0:17:06 > 0:17:09At £500, I have.
0:17:09 > 0:17:11550, I have.
0:17:11 > 0:17:13570, 600.
0:17:13 > 0:17:16At £600, then. On the net at £600.
0:17:16 > 0:17:17And 20, is it?
0:17:17 > 0:17:19620, new bidder.
0:17:19 > 0:17:21650. 670.
0:17:21 > 0:17:25At 650, then. At 650 it is, on the net at 650...
0:17:25 > 0:17:29- Are we all done? At £650. - GAVEL BANGS
0:17:29 > 0:17:32£650 is a fantastic result. That's a good result.
0:17:32 > 0:17:35- Yeah. I'm really pleased with that. - I'd be very happy with that.
0:17:35 > 0:17:37Absolutely.
0:17:37 > 0:17:40- Look at the big smile on your face. - There's a big smile.
0:17:40 > 0:17:43- You can treat yourself now. - Yeah.- Definitely.
0:17:44 > 0:17:48What a fantastic result for Belinda and her family.
0:17:48 > 0:17:51At £180. All done.
0:18:02 > 0:18:04There's something very heartening about these grand,
0:18:04 > 0:18:09country houses that have recently been saved for the nation to enjoy.
0:18:09 > 0:18:12Now, the type of restoration work that's done here at
0:18:12 > 0:18:15Dumfries House has made everything look shiny and new, if you like.
0:18:15 > 0:18:18It's full of colour and vitality, giving the public
0:18:18 > 0:18:23a taste of what things would have looked like back in Georgian times.
0:18:23 > 0:18:26Now, not far from here, 30 miles away in Glasgow,
0:18:26 > 0:18:29there's another house that's been saved for the nation.
0:18:29 > 0:18:32But this one offers something very different.
0:18:41 > 0:18:44And this is it. It's a work-in-progress, if you like.
0:18:44 > 0:18:47Quite a contrast from the flawless Dumfries House.
0:18:47 > 0:18:51These walls tell a story of a different type of conservation.
0:18:51 > 0:18:53But where are we and what's it all about?
0:18:53 > 0:18:56Well, to understand that, we need to start at the beginning.
0:19:06 > 0:19:09This is Holmwood, a unique villa designed by the famous
0:19:09 > 0:19:11architect Alexander Greek Thomson,
0:19:11 > 0:19:15who started his architectural training in 1834,
0:19:15 > 0:19:18at the incredibly young age of 12.
0:19:18 > 0:19:20He was nicknamed Greek
0:19:20 > 0:19:23because he was an exponent of the Greek Revival Movement,
0:19:23 > 0:19:26which drew inspiration from the principles of ancient Greek
0:19:26 > 0:19:30design, like harmony, symmetry, proportion and balance.
0:19:30 > 0:19:32Greek villas usually are symmetrical,
0:19:32 > 0:19:35but here you can see Thomson has definitely broken the rules.
0:19:35 > 0:19:38This is asymmetrical.
0:19:38 > 0:19:41But if you look beyond the impressive footprint of this
0:19:41 > 0:19:42building, you can
0:19:42 > 0:19:47still see the Greek influence cut into all the masonry work.
0:19:56 > 0:19:57Holmwood has had numerous owners
0:19:57 > 0:20:00and it's been used for many different functions
0:20:00 > 0:20:02since it was built for businessmen James Cooper
0:20:02 > 0:20:05back in 1857 to 1858.
0:20:05 > 0:20:08For instance, from the late 1950s onwards,
0:20:08 > 0:20:12it was run as a school, by the Sisters Of Our Lady Of The Missions.
0:20:14 > 0:20:16But, in 1994, the house
0:20:16 > 0:20:18and the grounds were threatened with redevelopment.
0:20:18 > 0:20:21Naturally, this caused widespread concern,
0:20:21 > 0:20:26especially amongst the newly-founded Alexander Thomson Society.
0:20:26 > 0:20:28Luckily enough, Glasgow City Council stepped in.
0:20:28 > 0:20:30They refused the planning permission,
0:20:30 > 0:20:34and the National Trust for Scotland were able to acquire the house.
0:20:36 > 0:20:39Although the trust were keen to preserve the unique exterior
0:20:39 > 0:20:43of Holmwood House, it was the inside that held a real fascination.
0:20:43 > 0:20:46Unusually, for an architect of the time, Thomson exerted
0:20:46 > 0:20:50the same control over the interior design as he did over the exterior,
0:20:50 > 0:20:54again, drawing on the classical Greek style.
0:20:54 > 0:20:56Underneath these layers, Thomson left
0:20:56 > 0:20:58extraordinary decorative schemes,
0:20:58 > 0:21:00which the National Trust for Scotland
0:21:00 > 0:21:03is still uncovering and restoring ten years on.
0:21:03 > 0:21:07I'm meeting conservator Suzi Reid to find out more.
0:21:07 > 0:21:09What an iconic building! It's playful.
0:21:09 > 0:21:11It's whimsical, and it's full of colour.
0:21:11 > 0:21:13It's so different to other properties
0:21:13 > 0:21:15that are open to the public.
0:21:15 > 0:21:18Why do you think it was important that this house was saved?
0:21:18 > 0:21:22It's widely believed to be one of the most elaborate residential
0:21:22 > 0:21:27villas, and it's an architectural wonder by Alexander Greek Thomson.
0:21:27 > 0:21:31Charles Rennie Mackintosh tends to get a little bit more of the kudos,
0:21:31 > 0:21:33but architecturally,
0:21:33 > 0:21:35many people think Greek Thomson was superior.
0:21:35 > 0:21:38And you've been working on this piece for a long time, haven't you?
0:21:38 > 0:21:41Yeah. Well, when we took the property on in '94,
0:21:41 > 0:21:44all the walls were covered in white wallpaper and white paint.
0:21:44 > 0:21:47This section here, down the side of the fireplace,
0:21:47 > 0:21:50is an area that's been worked on several times,
0:21:50 > 0:21:54and opened up, to be able to see the full extent of the pattern there.
0:21:54 > 0:21:57- This is painted directly onto the wall, is it, with a stencil?- Yes.
0:21:57 > 0:21:59It's part stencil, and it's part freehand.
0:21:59 > 0:22:02It's really, really difficult to take it back.
0:22:02 > 0:22:05The reason we only got this far in the first stage, is because
0:22:05 > 0:22:08we felt that we were doing damage to the underlying resin layer.
0:22:08 > 0:22:11But our specialist wall-painting conservators that we employ
0:22:11 > 0:22:14to do the work were very, very careful.
0:22:14 > 0:22:17And it took them about two weeks to reveal this section of wall here.
0:22:17 > 0:22:20We purposefully made the decision here as well
0:22:20 > 0:22:23to leave these overlying layers of paint on.
0:22:23 > 0:22:25- Just different layers of history, really.- Yes.
0:22:25 > 0:22:28So that the public could see the evolution of the decoration
0:22:28 > 0:22:30that happened throughout the history of the property.
0:22:30 > 0:22:33- Peeling back the layers of time. - Absolutely.
0:22:33 > 0:22:35But I love the fact it's full of colour now.
0:22:35 > 0:22:38We believe that the design around this room, particularly,
0:22:38 > 0:22:40was placed so that you actually appreciated it most
0:22:40 > 0:22:43- when people were sat at the dining table.- It's at the right eye level.
0:22:43 > 0:22:45Yes. So, it's all very low down.
0:22:45 > 0:22:47And what about the frieze you see running around the room?
0:22:47 > 0:22:50This is the Iliad Frieze, which is a paper
0:22:50 > 0:22:53representation of Homer's poem.
0:22:53 > 0:22:55When the trust acquired the property,
0:22:55 > 0:22:57it was covered in wallpaper and white paint,
0:22:57 > 0:23:00so the specialist paper conservator that was brought in to do
0:23:00 > 0:23:02this work, very, very meticulously removed all the
0:23:02 > 0:23:06residues of those layers, and was able to reveal the frieze.
0:23:06 > 0:23:09- And it's in excellent condition. - It is, isn't it?
0:23:09 > 0:23:11Well, look, I'm ready for a tour of the house.
0:23:11 > 0:23:12Shall we go and look at another room?
0:23:12 > 0:23:15- Why don't we go and see the parlour?- OK. After you.
0:23:25 > 0:23:28What a fabulous ceiling! Gosh!
0:23:28 > 0:23:31This is an architect having fun with his work.
0:23:31 > 0:23:33Yet, it feels like a practical room, as well.
0:23:33 > 0:23:35Yeah. Well, when it was originally built, the front of the
0:23:35 > 0:23:38building faced out onto Cathcart Castle, which no longer exists.
0:23:38 > 0:23:40But, obviously, with this big bay window,
0:23:40 > 0:23:42you'd get the full view of the grounds and the castle
0:23:42 > 0:23:45- across the river.- It's a good viewing platform, isn't it?- Yes.
0:23:45 > 0:23:48And I understand that this space was designed for a worktable
0:23:48 > 0:23:50for ladies to sit in the window.
0:23:50 > 0:23:52- Really? That was the remit, was it?- Yes.
0:23:52 > 0:23:55The best resource the trust has had to help them
0:23:55 > 0:23:58with the conservation work at Holmwood, is a book called
0:23:58 > 0:24:03The Villa And Cottage Architecture, published in 1868,
0:24:03 > 0:24:05around a decade after the house was built.
0:24:05 > 0:24:10The book contains illustrated plates and descriptions of the interiors.
0:24:11 > 0:24:15We have the main view of the property from the exterior there
0:24:15 > 0:24:17and then we have some of the original designs,
0:24:17 > 0:24:20and this is for the parlour that we're standing in now.
0:24:20 > 0:24:22And so you can see this section here.
0:24:22 > 0:24:25- This is the ceiling above us, in the window.- Isn't that fabulous?
0:24:25 > 0:24:28- What wonderful line drawings! - Yeah. They're beautiful.
0:24:28 > 0:24:30So, this has helped with the conservation?
0:24:30 > 0:24:32This has given us a really good starting point.
0:24:32 > 0:24:35It allows us to have a better idea of what we might be looking
0:24:35 > 0:24:37for underneath all the paint layers that have been
0:24:37 > 0:24:38applied over the years.
0:24:38 > 0:24:42I mean, this, really, to me, brings the whole thing alive.
0:24:42 > 0:24:44Just seeing this now, it makes it so obvious
0:24:44 > 0:24:46what he was trying to do.
0:24:46 > 0:24:50It really helps us to understand how the rooms might have been used.
0:24:51 > 0:24:54Restoration work has also been undertaken in the stairwell,
0:24:54 > 0:24:59where a strip of the original, decorative scheme has been revealed.
0:24:59 > 0:25:01Thomson has outdone himself here.
0:25:01 > 0:25:04The impressive cupola above the stairs echoes the bay window
0:25:04 > 0:25:07in the parlour and the banister and the newel posts
0:25:07 > 0:25:10have been carved with a Greek-inspired pattern.
0:25:12 > 0:25:14And this is the drawing room.
0:25:14 > 0:25:17So, you can see there's an awful lot going on in this room.
0:25:17 > 0:25:20You can see a section of wall pattern above the dado rail
0:25:20 > 0:25:23has been revealed, so you have to try and imagine what this
0:25:23 > 0:25:26whole room would have looked like with that all the way round.
0:25:26 > 0:25:27There's the stars on the ceiling.
0:25:27 > 0:25:31We think it's possible that the 3-D stars might have been added later.
0:25:31 > 0:25:33And that they originally were just painted on.
0:25:33 > 0:25:35- Probably gilt as well.- Yeah.
0:25:35 > 0:25:38But if you could just imagine just how rich this room would have been
0:25:38 > 0:25:40with all of the decoration all the way round.
0:25:40 > 0:25:43What does the future hold in conservation here?
0:25:43 > 0:25:46Well, again, we've still got so much research that needs to be done.
0:25:46 > 0:25:48It's just a very slow progress.
0:25:48 > 0:25:51We need to make sure that we're not damaging anything that's here
0:25:51 > 0:25:54and we're interpreting it as well as we can
0:25:54 > 0:25:56to allow the public to really understand it.
0:25:56 > 0:25:59It's debatable whether we will reveal any more cos it is
0:25:59 > 0:26:02- quite risky for the underlying layers...- Yeah.
0:26:02 > 0:26:05..but we could perhaps come up with different ways of interpreting it
0:26:05 > 0:26:09- so it's more understandable. - Sure. Good luck with that.
0:26:10 > 0:26:13Visitors certainly get a different experience when they visit Holmwood
0:26:13 > 0:26:15as they have to try
0:26:15 > 0:26:18and imagine exactly how the house would have looked when it was
0:26:18 > 0:26:23built to Alexander Greek Thomson's original specifications.
0:26:23 > 0:26:25I'm so glad it survived.
0:26:25 > 0:26:28I think it's a marvel.
0:26:32 > 0:26:34Right, it's time to get back to our tour of the country,
0:26:34 > 0:26:39as we visit Ragley Hall, a Georgian stately home in Warwickshire,
0:26:39 > 0:26:43where Charlie Ross soaked up the opulent surroundings.
0:26:44 > 0:26:47Alison, could you just pass the caviar?
0:26:47 > 0:26:49- Oh, yes. I wish I had some(!) - That's wonderful.
0:26:49 > 0:26:51We'll just have a look at your items here
0:26:51 > 0:26:53- and then we'll have dinner, shall we?- Yeah.
0:26:53 > 0:26:56There's quite a few people coming for dinner tonight as you can see.
0:26:56 > 0:27:02- That'd be good.- I LOVE these and do you know why?
0:27:02 > 0:27:05I'm going to use an expression you may never have heard before.
0:27:05 > 0:27:08- M and B.- Ah.- M and B.
0:27:08 > 0:27:10Does that mean anything to you?
0:27:10 > 0:27:13- Someone said something about something and boxed.- Exactly.
0:27:13 > 0:27:16Toys have generally been played with,
0:27:16 > 0:27:17especially tin plate toys,
0:27:17 > 0:27:21and it renders them really useless from a collecting point of view.
0:27:21 > 0:27:25M and B means mint and boxed
0:27:25 > 0:27:29and I think it can safely say that these have never been
0:27:29 > 0:27:30out of their boxes, have they?
0:27:30 > 0:27:33Well, hardly, no. Only to be looked at and then put back in.
0:27:33 > 0:27:37I know, and, strangely, they were made to be played with.
0:27:37 > 0:27:39I know, but we didn't have the train that went with it.
0:27:39 > 0:27:42- Oh, that's a point. You haven't got an engine.- No.
0:27:42 > 0:27:45- Did you ever have an engine?- No.
0:27:45 > 0:27:48Well, they come from a toy shop so he didn't give us the engine.
0:27:48 > 0:27:50So did you buy them from a toy shop?
0:27:50 > 0:27:53No, my father's neighbour had a toy shop
0:27:53 > 0:27:56and he closed it down somewhere in the '60s or early '70s
0:27:56 > 0:28:00and he just gave these to my dad, saying, "The kids might like them,"
0:28:00 > 0:28:02but, unfortunately, we couldn't find an engine to go with it.
0:28:02 > 0:28:05- You know who made them? - Hornby.- Hornby, yeah.
0:28:05 > 0:28:08- Do you know who Hornby was part of? - Er, no.
0:28:08 > 0:28:11- You've heard of Meccano?- Yes.- They were part of the Meccano set-up.
0:28:11 > 0:28:14The wonderful thing about having the boxes,
0:28:14 > 0:28:16you know which one you've got.
0:28:16 > 0:28:20Coach number 31. A passenger brake van.
0:28:20 > 0:28:24We've got a couple of tenders. Flat bed truck here.
0:28:24 > 0:28:27There's a good variety. What made you pull them out of a drawer?
0:28:27 > 0:28:29- Well, they were in my father's loft.- Yeah.
0:28:29 > 0:28:33We'd always said to him, "For goodness' sake, get rid of them!"
0:28:33 > 0:28:35and he said, "No, they'll be worth something one day."
0:28:35 > 0:28:38And I said, "Well, if they do go to auction you can put it towards
0:28:38 > 0:28:41"your diamond wedding fund," cos in a couple of years they're going
0:28:41 > 0:28:43to be having their diamond wedding.
0:28:43 > 0:28:46- Diamond wedding is really quite a triumph, isn't it?- Yeah.- Wonderful.
0:28:46 > 0:28:49Looking at the prices, that's another wonderful thing, isn't it?
0:28:49 > 0:28:52Six shillings and ninepence.
0:28:52 > 0:28:57I think we're looking at probably a sale room estimate of £60-£100.
0:28:57 > 0:29:00Reserve them at £60
0:29:00 > 0:29:05and I think, with the right day,
0:29:05 > 0:29:08we might just tickle over that 100, you never know.
0:29:08 > 0:29:11The more we can tickle over 60,
0:29:11 > 0:29:14- the more you'll have to eat at the party.- More caviar, we'll have.
0:29:14 > 0:29:17It'll be a very small piece of caviar but thank you for
0:29:17 > 0:29:20bringing them along and the thing that intrigues me is the condition.
0:29:20 > 0:29:25Remember, M and B, and it's always nice to see M and B.
0:29:26 > 0:29:28A great little lot.
0:29:28 > 0:29:32Soon we'll see if they found their matching engine at auction.
0:29:32 > 0:29:35But first we return to Milestones Museum in Basingstoke where
0:29:35 > 0:29:40some antique dolls captured Elizabeth Talbot's interest.
0:29:40 > 0:29:43So, Pam and Frank, you've brought your extended family with you today.
0:29:43 > 0:29:45What can you tell me about these young ladies?
0:29:45 > 0:29:48These were my mother's dolls.
0:29:48 > 0:29:51My mother was born in 1904 in Bloemfontein in South Africa.
0:29:51 > 0:29:53She was an army daughter.
0:29:53 > 0:29:58They went to Egypt in 1912 and then to the North West Frontier with
0:29:58 > 0:30:03the 21st Lancers in about 1914, and 1915 was when the photo was taken.
0:30:03 > 0:30:06Ah, yes, that's a delightful photograph,
0:30:06 > 0:30:09showing your mother holding her precious doll.
0:30:09 > 0:30:12That's charming to have so much direct history.
0:30:12 > 0:30:15So who owns them now? They were passed to yourself, were they?
0:30:15 > 0:30:19- They were passed to me and I passed them on to our daughter...- Right.
0:30:19 > 0:30:23..who doesn't like them, thinks they look rather morbid and frightening.
0:30:23 > 0:30:27- They haven't been out of the box since.- Have they not?- No.
0:30:27 > 0:30:29So they've been hidden away and so on.
0:30:29 > 0:30:32- So the beneficiary of the sale would be your daughter?- Yes.
0:30:32 > 0:30:34And perhaps our grand-daughters as well.
0:30:34 > 0:30:37Ah, so another generation to benefit. How lovely.
0:30:37 > 0:30:39Do you or your daughters know anything about them as dolls?
0:30:39 > 0:30:42I think they've got marks on the backs of their heads.
0:30:42 > 0:30:47- I presume they're German.- They are, all three, made in Germany.
0:30:47 > 0:30:50In each case you have a Bisque or porcelain head
0:30:50 > 0:30:54and then you have a body which is jointed with limbs,
0:30:54 > 0:30:56but that is made out of... it's almost like a plaster of Paris.
0:30:56 > 0:30:58It's a different substance.
0:30:58 > 0:31:01In most cases, a collector would say the majority of the value is
0:31:01 > 0:31:02contained in the head.
0:31:02 > 0:31:04Obviously it's nice to have the whole doll,
0:31:04 > 0:31:07but if the head is damaged, that's where you lose value quite quickly.
0:31:07 > 0:31:10The fact that these have been so well looked after has meant
0:31:10 > 0:31:12they've survived very well
0:31:12 > 0:31:15latterly, so the costumes, which are also very fragile have
0:31:15 > 0:31:18survived better than they might had they been out in the light
0:31:18 > 0:31:22and the wigs also, the hair, is also in reasonably good condition.
0:31:22 > 0:31:24This one here has closing eyes and an open mouth.
0:31:24 > 0:31:27They all have different expressions.
0:31:27 > 0:31:30The different models have different markings on the back.
0:31:30 > 0:31:32Some of them are rarer than others
0:31:32 > 0:31:36but then other points can be scored, if you like, by how well they're
0:31:36 > 0:31:39painted, so if the eyebrows are nicely painted,
0:31:39 > 0:31:41if the detail of the mouth and the cheeks is well-coloured,
0:31:41 > 0:31:44a collector will pay more or less depending on whether they think it's
0:31:44 > 0:31:47a good example and a happy doll, a friendly face,
0:31:47 > 0:31:50or whether it looks a bit scowly or grumpy whatever.
0:31:50 > 0:31:54I think realistically total value would be between £200-£300
0:31:54 > 0:31:56- for the three of them.- Wow.
0:31:56 > 0:31:59- That's all right.- Are you pleased with that?- Very.- Oh, good.
0:31:59 > 0:32:01£300, we'd be happy.
0:32:01 > 0:32:03I presume your daughter would appreciate a reserve being
0:32:03 > 0:32:05- placed on them?- Yeah.
0:32:05 > 0:32:07So if you put £200, the lower end of the estimate,
0:32:07 > 0:32:09but use a bit of discretion. Use the auctioneer.
0:32:09 > 0:32:12If it got to within 10%, then they could sell,
0:32:12 > 0:32:14but, otherwise, they'd be protected.
0:32:14 > 0:32:18I just think the magic of them being in the box and I don't know if they
0:32:18 > 0:32:20can have a copy of the photograph,
0:32:20 > 0:32:24just give a bit of provenance to it, will just add charm to the lot.
0:32:24 > 0:32:26Wonderful. Thank you so much.
0:32:26 > 0:32:29I'm sure that they will find a new owner who will love them dearly,
0:32:29 > 0:32:33- so thank you for that.- Thank you. - Thank you very much.
0:32:33 > 0:32:36Bisque-headed dolls often divide collectors.
0:32:36 > 0:32:41Some find them scary, whilst others admire their unique beauty.
0:32:41 > 0:32:43Back across the Scottish border, it's the sumptuous
0:32:43 > 0:32:47Rococo furnishings which I've been marvelling at.
0:32:48 > 0:32:52The Georgian decor here at Dumfries House is incredibly ornate.
0:32:52 > 0:32:54At our valuation day at Falmouth,
0:32:54 > 0:32:58an equally ornate piece caught Charles Hanson's eye.
0:33:03 > 0:33:05Goodness me, Penny, it's impressive.
0:33:05 > 0:33:08- I'm glad you think so. - Tell me about your object.
0:33:08 > 0:33:12This has been in my family for as long as I can remember.
0:33:12 > 0:33:15As a child, we used to have very formal Sunday teas
0:33:15 > 0:33:20and it was always trotted out for scones and things like that.
0:33:20 > 0:33:22- Have you any idea how far it goes back?- I've no idea.
0:33:22 > 0:33:26It's a wonderful table adornment, isn't it? It sits so well.
0:33:26 > 0:33:29It's an object that was made really at the height of our powers
0:33:29 > 0:33:31under Queen Victoria.
0:33:31 > 0:33:36Victorians got very involved in different styles, so you've
0:33:36 > 0:33:41got the sea scrolls, which reflect the Rococo or the near-Rococo.
0:33:41 > 0:33:47You've got the anthemion here, which is a neoclassical emblem.
0:33:47 > 0:33:51You've got fruit, vine leaves here
0:33:51 > 0:33:53and other different flower heads
0:33:53 > 0:33:58and, to finish it off, it's mounted on these very dainty,
0:33:58 > 0:34:03almost Rococo shell-cast feet.
0:34:03 > 0:34:06This pierced cut work is all in good condition
0:34:06 > 0:34:10and just here, Penny, there we go,
0:34:10 > 0:34:14- the infamous mark, the crown.- Right.
0:34:14 > 0:34:17That's the mark for Sheffield.
0:34:17 > 0:34:22The maker mark we can see down here, it's marked JD & S
0:34:22 > 0:34:24and they were James Dixon & Sons
0:34:24 > 0:34:28who were a leading industrial silversmith working in Sheffield.
0:34:28 > 0:34:31They were really on a par to Elkington's and other big names.
0:34:31 > 0:34:34They were founded in the year 1806
0:34:34 > 0:34:37and were very highly regarded for quality.
0:34:37 > 0:34:42We value the hallmarks by the clarity, by the crispness,
0:34:42 > 0:34:47and also the date letter there, which is G for 1881.
0:34:48 > 0:34:51It's a wonderful object. It sits so proud.
0:34:51 > 0:34:53We'll be honoured to handle it at auction.
0:34:53 > 0:34:57- It's as good as it was on the day it was made.- Wonderful.
0:34:57 > 0:35:03- And I would value it at between 150 and 250.- Right.
0:35:03 > 0:35:06What I would propose, Penny,
0:35:06 > 0:35:11is putting a reserve at £150 with a 10% discretion.
0:35:11 > 0:35:14I feel that's its true market value in the current market.
0:35:14 > 0:35:18- That sounds fine.- Are we going to auction?- We're going to auction.
0:35:18 > 0:35:21Are we hopefully going to have a sweet taste out of that bowl?
0:35:21 > 0:35:25- Well, it would be nice.- Can't wait. Thanks, Penny. Thanks so much.
0:35:25 > 0:35:28What a sweet ending to the last of our valuations.
0:35:28 > 0:35:31We'll be finding out how our final batch of items
0:35:31 > 0:35:34fared at auction very soon,
0:35:34 > 0:35:35but first, I'm making
0:35:35 > 0:35:38one last visit back to Scotland.
0:35:40 > 0:35:41Here at Dumfries House,
0:35:41 > 0:35:43restoration work has been feverishly under way
0:35:43 > 0:35:47since the house was bought for the nation back in 2007
0:35:47 > 0:35:51and one of the rooms that's received particular attention is this,
0:35:51 > 0:35:52the family bedroom,
0:35:52 > 0:35:56and it's dominated by this magnificent four-poster bed,
0:35:56 > 0:35:58designed and built by Thomas Chippendale,
0:35:58 > 0:36:03who also designed 50 other pieces of incredible furniture for this house.
0:36:03 > 0:36:07Now, this bed is made of the latest fashionable Cuban mahogany
0:36:07 > 0:36:09imported from the West Indies.
0:36:09 > 0:36:10You can see one of the posts there
0:36:10 > 0:36:13resembling a fluted Classical column.
0:36:13 > 0:36:16Intricate cresting all around this bed in the Rococo style,
0:36:16 > 0:36:20centred by a conch shell, but it's all been covered in fabric.
0:36:20 > 0:36:24When the trust took over the house, they decided to restore the bed back
0:36:24 > 0:36:29to its original splendour, as it hasn't been refurbished since 1868.
0:36:29 > 0:36:33The work took two years to complete and it's incredibly skilled
0:36:33 > 0:36:36and I think they've done a terrific job.
0:36:36 > 0:36:38All of this wonderful deep relief intricate carving,
0:36:38 > 0:36:41as you can see, on the headboard and all
0:36:41 > 0:36:45the cresting around the bed has been covered in a newly-woven silk.
0:36:45 > 0:36:49Now that takes a long time to do and it's a copy of 18th century damask
0:36:49 > 0:36:51fabric that was found elsewhere in the house,
0:36:51 > 0:36:53like on the chairs I showed you earlier.
0:36:53 > 0:36:56It really is splendid and three mattresses have also been added
0:36:56 > 0:37:01and if I lift this carefully, I can show you the standard
0:37:01 > 0:37:03configuration back in the 1700s.
0:37:03 > 0:37:06The bottom mattress, this one here, is stuffed with horsehair.
0:37:06 > 0:37:09The middle, that's stuffed with wool and the top mattress,
0:37:09 > 0:37:11that's the key one, the little thin one,
0:37:11 > 0:37:13that's stuffed with feathers,
0:37:13 > 0:37:16so that should give you the best night's sleep and,
0:37:16 > 0:37:19if it doesn't, well, you're incredibly hard to please!
0:37:21 > 0:37:24Now you might notice that the bed is slightly short in length.
0:37:24 > 0:37:28That's because back in the 18th century people were slightly shorter
0:37:28 > 0:37:32but they also feared contracting the disease tuberculosis,
0:37:32 > 0:37:35so they believed if you slept upright
0:37:35 > 0:37:38you could breathe more freely and you could cough more freely
0:37:38 > 0:37:41and that way you just might dodge the disease.
0:37:43 > 0:37:47Now time for our final visit to the auction with our last lot of items
0:37:47 > 0:37:50and here's a reminder of what they were.
0:37:50 > 0:37:53Mint and boxed, Alison's Hornby train carriages
0:37:53 > 0:37:56were leftover rolling stock from a closed down toy shop.
0:37:58 > 0:38:00They were showered with affection by Frank's mother
0:38:00 > 0:38:04but the three Bisque-headed dolls had to find a loving new owner.
0:38:07 > 0:38:10And finally, Penny's silver bonbon dish was
0:38:10 > 0:38:14a shining example of an ornate Victorian centrepiece,
0:38:14 > 0:38:17which we sold back at Jeffreys Auctioneers back in Cornwall
0:38:17 > 0:38:21where Ian Morris was on the rostrum once more.
0:38:21 > 0:38:24Penny, we're just about to sell Granny's silver,
0:38:24 > 0:38:26your lovely centrepiece for the table, that bonbon dish.
0:38:26 > 0:38:29It's Victorian. It's lovely, actually,
0:38:29 > 0:38:32- so you can remember this as a little girl, can you?- Yes.
0:38:32 > 0:38:34My grandmother used to live with us
0:38:34 > 0:38:37and we had these very formal Sunday teas.
0:38:37 > 0:38:40I believe in things like that on Sundays,
0:38:40 > 0:38:43to have a proper sit-down meal with the family.
0:38:43 > 0:38:46- Although it's old fashioned, it's a classic...- Yeah.
0:38:46 > 0:38:48..and it's a great centrepiece and a statement.
0:38:48 > 0:38:51- Let's find out what the bidders think, OK?- Indeed.- Here we go.
0:38:51 > 0:38:55£100, say no more. £100 I'm bid.
0:38:55 > 0:38:58110 to get on. 110. 120.
0:38:58 > 0:39:00130. 140.
0:39:00 > 0:39:01150. 160.
0:39:01 > 0:39:04170, sir? 180.
0:39:04 > 0:39:06190. 200.
0:39:06 > 0:39:08210. 220.
0:39:08 > 0:39:10220 at the back.
0:39:10 > 0:39:12At £220.
0:39:12 > 0:39:15Very pleased with that. Somebody's going to cherish it.
0:39:15 > 0:39:16- I hope so.- Yes, they will.
0:39:16 > 0:39:20And they'll use that as the wow factor as their new centrepiece
0:39:20 > 0:39:23- and enjoy it.- Yes, not just as Christmas.- No.
0:39:25 > 0:39:27What a great start.
0:39:27 > 0:39:31Next, let's find out how those Hornby train carriages sold.
0:39:31 > 0:39:33We took them to Bigwood Fine Art Auctioneers
0:39:33 > 0:39:35in Stratford-upon-Avon
0:39:35 > 0:39:39and Christopher Ironmonger was on the rostrum.
0:39:39 > 0:39:42- Alison, it's great to see you again. Who have you brought along?- My dad.
0:39:42 > 0:39:43- What's your name?- Alan.
0:39:43 > 0:39:46Alan, pleased to meet you and, of course, these are your trains?
0:39:46 > 0:39:51- Boxed.- Yes. - Not played with ever?- No.- Gosh.
0:39:51 > 0:39:53Charlie, I agree with the valuation but we could have
0:39:53 > 0:39:55one or two surprises because of the mint condition.
0:39:55 > 0:39:59- M and B.- Yes.- Mint and boxed. That's what we like.
0:39:59 > 0:40:04- The reserve's been tickled up. - It has. It's 80 to 120, fixed at 80.
0:40:04 > 0:40:07Don't blame you for that. I think it'll sail through that.
0:40:07 > 0:40:09We're going to find out what this lot think right now.
0:40:09 > 0:40:11It's going under the hammer.
0:40:11 > 0:40:14I've got 50 on the book. At 50, 60 now.
0:40:14 > 0:40:1670, is it? 70 on the net.
0:40:16 > 0:40:185, is it? 75, room.
0:40:18 > 0:40:2075 room bid. 80, net.
0:40:20 > 0:40:22- At 80 now.- One more bid, come on.
0:40:22 > 0:40:2675 in the room. Are we done at 75?
0:40:26 > 0:40:29Sure?
0:40:29 > 0:40:31THEY SIGH
0:40:31 > 0:40:33- Oh, it's experience.- Oh!
0:40:33 > 0:40:36- What did I say, 60? Never mind.- You did.
0:40:36 > 0:40:41I can't believe that. They were mint and boxed but we hit the buffers.
0:40:41 > 0:40:45- Never mind. He's here to take them home.- I'm taking them home.
0:40:45 > 0:40:47- Back in the loft.- Back in the loft.
0:40:47 > 0:40:51There's always a different auction on another day.
0:40:51 > 0:40:55Next, let's see how those three Bisque-headed dolls did.
0:40:55 > 0:40:59We returned to Andrew Smith & Son near Winchester to sell them.
0:40:59 > 0:41:01Mick Jarrett was wielding the gavel.
0:41:01 > 0:41:03Good luck, Pam and Frank.
0:41:03 > 0:41:05We're about to put those Bisque-head dolls under the hammer.
0:41:05 > 0:41:09There's three of them. Good German name. Quality, quality, quality.
0:41:09 > 0:41:13- Why are you selling these? - They belong to Frank's mum...- Yeah.
0:41:13 > 0:41:15..and we gave them to our daughter.
0:41:15 > 0:41:18- She doesn't like the look of them at all.- I don't like the look of them.
0:41:18 > 0:41:21I'm not trying to put anyone off buying them or collecting them,
0:41:21 > 0:41:25but dolls have always freaked me out, especially the ones
0:41:25 > 0:41:28that have the mouth and the eyes that go like that.
0:41:28 > 0:41:31- But there are lots of collectors out there.- There are.
0:41:31 > 0:41:34- People either love them or hate them.- Anyway, good luck.
0:41:34 > 0:41:36These will go. Here we go.
0:41:36 > 0:41:38Several bids on here.
0:41:38 > 0:41:40I have to start you at...
0:41:40 > 0:41:43- 380.- Straight in.
0:41:43 > 0:41:45- 400, can I say?- Nearly double.
0:41:45 > 0:41:47400 on the phone. 420. 450?
0:41:47 > 0:41:51- Sue will be pleased.- 480, 500.
0:41:52 > 0:41:54And 20. 550.
0:41:54 > 0:41:57580, 600.
0:41:57 > 0:41:59And 20. 650.
0:41:59 > 0:42:02680. 720.
0:42:02 > 0:42:03These are pretty special.
0:42:03 > 0:42:05There's something special about one of these.
0:42:05 > 0:42:07780. 800.
0:42:07 > 0:42:08And 20. 850.
0:42:08 > 0:42:11- 880, 900.- Good gracious!
0:42:11 > 0:42:12We've sold these Bisque-head dolls before
0:42:12 > 0:42:14but not for this sort of money.
0:42:14 > 0:42:15980.
0:42:15 > 0:42:17£1,000.
0:42:17 > 0:42:181,050. 1,100.
0:42:18 > 0:42:20On the phone, £1,100.
0:42:20 > 0:42:231,150 can I say anywhere? 1,150?
0:42:26 > 0:42:27£1,200.
0:42:27 > 0:42:291,250, last chance on the net.
0:42:29 > 0:42:32£1,200. Any more? At 1,200 then.
0:42:34 > 0:42:37I still don't like them.
0:42:37 > 0:42:39- Who gets the money?- My daughter.
0:42:39 > 0:42:41Yeah, because you gave them to her.
0:42:41 > 0:42:45- Grandma would have been pleased with that.- Of course, yes.
0:42:45 > 0:42:49There was something about one of them. I don't know what it was.
0:42:49 > 0:42:51As you said, it was those eyes.
0:42:55 > 0:42:5748, 50.
0:43:00 > 0:43:01Well that's it for today's show.
0:43:01 > 0:43:04You've shown us some wonderful treasures from across the country
0:43:04 > 0:43:08and we've had some fantastic results in the auction room,
0:43:08 > 0:43:11especially those three Bisque-headed porcelain dolls.
0:43:11 > 0:43:14They definitely did the business and that's what it's all about.
0:43:14 > 0:43:18I thoroughly enjoyed exploring the groundbreaking restoration work
0:43:18 > 0:43:20that's happened here at Dumfries House.
0:43:20 > 0:43:23It looks fabulous and I hope you've enjoyed the show.
0:43:23 > 0:43:25So, until the next time, it's goodbye.