0:00:05 > 0:00:08Today we're going to be celebrating the people who make things
0:00:08 > 0:00:11with their hands. We are at Ragley Hall in Warwickshire.
0:00:11 > 0:00:12For this imposing building,
0:00:12 > 0:00:15we have to thank a whole raft of talented craftspeople,
0:00:15 > 0:00:19from the stonemasons who fashioned the exterior,
0:00:19 > 0:00:21to the woodcarvers and the people who made
0:00:21 > 0:00:24the plasterwork on the inside with such finesse.
0:00:24 > 0:00:26Where would we be without them?
0:00:26 > 0:00:28Welcome to "Flog It!"
0:00:52 > 0:00:56Ragley Hall is a treasure chest of extraordinary craftwork,
0:00:56 > 0:01:00from the fine ceilings, exquisitely decorated, by James Wyatt,
0:01:00 > 0:01:03to the bed made for the first of many visits
0:01:03 > 0:01:06by the Prince Regent in 1796.
0:01:06 > 0:01:09These interiors just shout quality.
0:01:10 > 0:01:14So much in the house is a product of immense skill.
0:01:14 > 0:01:17It's extraordinary to look at the astonishing chandeliers
0:01:17 > 0:01:21and the furniture and to reflect that it was all made by hand.
0:01:22 > 0:01:26But it's now time to get outside and meet the crowd.
0:01:27 > 0:01:30Our job today is to value all the treasures
0:01:30 > 0:01:32that this wonderful crowd have brought along
0:01:32 > 0:01:34in their bags and boxes.
0:01:34 > 0:01:36I can guarantee one or two big surprises
0:01:36 > 0:01:38and also a rollercoaster ride at auction.
0:01:38 > 0:01:41Right now, it's time to test the knowledge of our experts
0:01:41 > 0:01:44and right now I feel like Lord of the Manor up here
0:01:44 > 0:01:45looking at all my people!
0:01:45 > 0:01:48There's only one question on this lot's lips, which is...
0:01:48 > 0:01:50- ALL:- What's it worth?
0:01:50 > 0:01:52Well done!
0:01:53 > 0:01:56Well-informed auctioneer Christina Trevanion should know
0:01:56 > 0:02:01the answer and be able to spot any superior craftsmanship.
0:02:01 > 0:02:03And what's that?
0:02:03 > 0:02:04Let me guess, let me guess.
0:02:04 > 0:02:06Crocus. Yay!
0:02:07 > 0:02:10And her partner today is undoubtedly crafty.
0:02:10 > 0:02:12Yes, it's Will Axon.
0:02:13 > 0:02:16- What sort of age is it?- I don't know.- Oh...- Look out, look out.
0:02:16 > 0:02:18- Nothing to see here, madam. - Are you sure?
0:02:18 > 0:02:20Where are you paddling?
0:02:20 > 0:02:23I don't know, someone told me there was a creek
0:02:23 > 0:02:24I'm rather good at paddling up.
0:02:26 > 0:02:29So it's time to lead our queue through the house to the Great Hall
0:02:29 > 0:02:32where our valuations will be taking place.
0:02:32 > 0:02:36While our experts start gearing up, and our crew do their final checks,
0:02:36 > 0:02:41here's a sneak preview of some of the mysteries coming up on today's show.
0:02:44 > 0:02:47Will is on the lookout for clues.
0:02:47 > 0:02:48We like a little note.
0:02:48 > 0:02:50Let me have a look at that.
0:02:50 > 0:02:53Christina spots an unusual, but apparently useful item.
0:02:55 > 0:02:57I predict you are going to sell...
0:02:59 > 0:03:01And I have a look at something in the house
0:03:01 > 0:03:03which has been the cause of some debate.
0:03:03 > 0:03:06I've seen enough of his work at Hampton Court Palace,
0:03:06 > 0:03:09at Petworth House and at St Paul's Cathedral
0:03:09 > 0:03:14to actually say, well, look, in my opinion, they are 100% right.
0:03:17 > 0:03:20Well, here we are in the Great Hall. Everybody is safely seated
0:03:20 > 0:03:22and there's a wonderful air of anticipation
0:03:22 > 0:03:25and excitement as they're all hoping it could be you, you, or you,
0:03:25 > 0:03:27going off to auction later on in the programme
0:03:27 > 0:03:29and going home with a small fortune,
0:03:29 > 0:03:32and that's where we start right now with our first valuation.
0:03:32 > 0:03:34That first lucky person to go off to the saleroom
0:03:34 > 0:03:37and we're with Christina Trevanion.
0:03:38 > 0:03:41Christina has picked out a piece of craftsmanship.
0:03:43 > 0:03:45Philip, are you a tea or a coffee man?
0:03:45 > 0:03:47- Tea.- Ah, how appropriate.
0:03:49 > 0:03:51Well, it is a tea caddy.
0:03:51 > 0:03:54Where's this rather beautiful specimen come from?
0:03:54 > 0:03:58Well, it's from my great-aunt and she got it from Stratford-upon-Avon
0:03:58 > 0:04:00when she was a young woman, first married.
0:04:00 > 0:04:03OK, and did she buy it from an auction, or from a shop?
0:04:03 > 0:04:06- I think she bought it from a shop.- OK.
0:04:06 > 0:04:09She used to talk about always visiting the antique shops
0:04:09 > 0:04:12- and before she died, she gave it to me.- Had you admired it?
0:04:12 > 0:04:15I had always admired all her antiques.
0:04:15 > 0:04:17Oh, fantastic, well, she obviously had a very good eye.
0:04:17 > 0:04:20- Do you know how much you paid for it?- I haven't a clue.
0:04:20 > 0:04:23It dates from George III, so 1760 to 1820.
0:04:23 > 0:04:28- I would say probably towards the late end of the 18th century.- Right.
0:04:28 > 0:04:30It's so typical of its time.
0:04:30 > 0:04:35If you imagine, at that sort of stage, tea was incredibly expensive,
0:04:35 > 0:04:39it really was, and the lady of the house would have a tea caddy
0:04:39 > 0:04:41where she would be able to put - if we open it up here -
0:04:41 > 0:04:44her green tea and her black tea
0:04:44 > 0:04:46and she would mix it according to her taste.
0:04:46 > 0:04:48And it was lockable.
0:04:48 > 0:04:50We've got this wonderful lock on the front here
0:04:50 > 0:04:52and she would literally keep it under lock and key.
0:04:52 > 0:04:55We can't imagine that now, if we pop to the supermarket and buy teabags,
0:04:55 > 0:04:57it seems ridiculous, doesn't it?
0:04:57 > 0:05:01Also, the material this tea caddy is made from here is, again,
0:05:01 > 0:05:03very typical of its time.
0:05:03 > 0:05:07It's something that we would probably be aghast at using now,
0:05:07 > 0:05:09- tortoiseshell, is it not?- Mmm.
0:05:09 > 0:05:12But this really was the only material at that stage
0:05:12 > 0:05:13that you could heat and mould
0:05:13 > 0:05:16so that we could get these wonderful curves on the box here.
0:05:16 > 0:05:18Is that put on wood?
0:05:18 > 0:05:20Yes, it will be on a wooden carcass, as well.
0:05:20 > 0:05:24I think we can see a little bit of the wooden carcass behind it here.
0:05:24 > 0:05:27- OK.- Unfortunately, we have got a little bit of damage around.
0:05:27 > 0:05:30If we were as old as that, I think we'd all be damaged.
0:05:30 > 0:05:33You're absolutely right and I'm not nearly as old as that
0:05:33 > 0:05:36and I've got a few chips and cracks, I can assure you.
0:05:36 > 0:05:41We are very, very tightly legislated these days in this country
0:05:41 > 0:05:43and if tortoiseshell or ivory is pre-1947,
0:05:43 > 0:05:46then we can offer it for auction, which this very much is.
0:05:46 > 0:05:51Anything post-1947 is absolutely not allowed to be offered.
0:05:51 > 0:05:53You do get reproductions of tea caddies like this
0:05:53 > 0:05:57and, unfortunately, they are quite common on the market now
0:05:57 > 0:06:00but everything that I can see here is very much contemporary
0:06:00 > 0:06:03- with a piece that I would expect from the George III period.- OK.
0:06:03 > 0:06:06- The damage worries me.- Why?
0:06:06 > 0:06:09And that will affect the value. OK?
0:06:09 > 0:06:13So I think at auction I would say £200-£300
0:06:13 > 0:06:15and I think we want to protect it
0:06:15 > 0:06:17so I think if we put a firm reserve at £200,
0:06:17 > 0:06:20I would hope that it would sell for that.
0:06:20 > 0:06:23- How do you feel about that? - I feel very happy, yes.
0:06:23 > 0:06:25- Yes, shall we do that? - Do that, yes.
0:06:25 > 0:06:27Splendid, and what are we going to put the money towards?
0:06:27 > 0:06:29Well, some more antiques, some Moorcroft.
0:06:29 > 0:06:32Expanding your Moorcroft collection, I like it.
0:06:32 > 0:06:35So we're going to exchange a tea caddy for a piece of Moorcroft.
0:06:35 > 0:06:38- Which could be done on the same day. - Ah, you never know.
0:06:38 > 0:06:40CHRISTINA CHUCKLES
0:06:40 > 0:06:45I love it when collectors want to invest in more antiques.
0:06:45 > 0:06:48Over to Will now, who's made a flamboyant choice.
0:06:50 > 0:06:53Well, Gabrielle, please tell me that the rest of your house is
0:06:53 > 0:06:56decked out in a similar style to your clock garniture.
0:06:56 > 0:06:58- I just wish it was.- Really?
0:06:58 > 0:07:01Unfortunately, no, I've got quite a modern house,
0:07:01 > 0:07:04so this is totally out of character with the house.
0:07:04 > 0:07:06The clock in the centre,
0:07:06 > 0:07:09garniture either side, very much late 19th century
0:07:09 > 0:07:12with its architectural centrepiece
0:07:12 > 0:07:17and these wonderful ormolu mounts which is gilded bronze.
0:07:17 > 0:07:20It just smacks of quality. Where have you come by it?
0:07:20 > 0:07:23It was inherited from my grandmother on my dad's side
0:07:23 > 0:07:26and when she died, this actually languished
0:07:26 > 0:07:30in my stepmother's stables for quite a few years.
0:07:30 > 0:07:32In the stables?
0:07:32 > 0:07:34Yeah, and as my sister and I never inherited anything
0:07:34 > 0:07:37when my grandma died, we said we'd like to have that.
0:07:37 > 0:07:40- That was how it came to us. - Right, OK, that's nice.
0:07:40 > 0:07:45So it's been given pride of place in your home, has it?
0:07:45 > 0:07:48No, it's kind of gone backwards and forwards between our houses
0:07:48 > 0:07:50and literally stayed in storage.
0:07:50 > 0:07:52Well, let's just have a closer look.
0:07:52 > 0:07:54Here we've got the central dial.
0:07:54 > 0:07:56White enamel painted with these floral garlands,
0:07:56 > 0:07:58- a pretty little dial, isn't it?- Mmm.
0:07:58 > 0:08:01You would be surprised how many dials we see that have been damaged
0:08:01 > 0:08:04because if you just knock them, the enamelling is very fragile
0:08:04 > 0:08:05and it'll star crack.
0:08:05 > 0:08:09It may even chip off, so it's nice that that is in good condition.
0:08:09 > 0:08:13- Ah.- Having said that, I did notice there is a bit of damage up here.
0:08:13 > 0:08:15- There is, yeah. - Did that happen in the stables?
0:08:15 > 0:08:17No! I don't know when that happened, to be honest.
0:08:17 > 0:08:19- Not on your watch. - Not on my watch, of course.
0:08:19 > 0:08:22- Let's blame your sister as she's not here.- That might be a good idea.
0:08:22 > 0:08:24A lot of clock collectors are fussy about the movement,
0:08:24 > 0:08:26- that's what sells a clock.- Right.
0:08:26 > 0:08:29Have you had a look inside, have you tried to see who's made it?
0:08:29 > 0:08:34- Yeah, it's Japy Freres. - Yes, exactly right, Japy Freres.
0:08:34 > 0:08:38They were French firm, founded in the early 19th century,
0:08:38 > 0:08:40a father and his three sons.
0:08:40 > 0:08:44They're a well-respected clock maker for this type of clock.
0:08:44 > 0:08:46- Right. - Have you ever thought of value?
0:08:46 > 0:08:49What's it's worth to you and your sister?
0:08:49 > 0:08:51We did look online and we saw, you know,
0:08:51 > 0:08:54really top-notch ones in great condition
0:08:54 > 0:08:57- went up to £1,500, which got us a bit excited.- Yeah.
0:08:57 > 0:09:01But, you know, looking at it I did think it's probably going to be
0:09:01 > 0:09:03less than 500 in the way it is.
0:09:03 > 0:09:06We're always telling people, you don't want to overcook something
0:09:06 > 0:09:08by putting too high a value on it.
0:09:08 > 0:09:11I think we'd be doing your sister a favour, as well,
0:09:11 > 0:09:13if we sold it because I bet you two have had enough
0:09:13 > 0:09:16- of playing tennis with it, backward and forward.- Yeah.
0:09:16 > 0:09:19And she would like the money as well to go and visit our dad in Florida.
0:09:19 > 0:09:21Oh, he's gone for the sunshine.
0:09:21 > 0:09:23But as far as value goes, you mentioned under £500.
0:09:23 > 0:09:25I think you're probably right to be fair
0:09:25 > 0:09:29and I'd like to pitch the estimate at, say, £300-£500.
0:09:29 > 0:09:31- Yeah.- How does that sound to you?
0:09:31 > 0:09:33- I think that's about right.- Yeah.
0:09:33 > 0:09:35We don't want it to go for any less than £300.
0:09:35 > 0:09:37OK, that's fair enough.
0:09:37 > 0:09:39At the end of the day, it's your item, let's fix the reserve
0:09:39 > 0:09:44at £300 and, who knows, hopefully it might be two tickets to Florida.
0:09:44 > 0:09:46- Oh, you never know.- You never know. - Wouldn't that be nice?
0:09:48 > 0:09:51Well, that would be a good use of the money.
0:09:51 > 0:09:54There's something I must show you, it's away from the valuations
0:09:54 > 0:09:57and it's this, it's a screen, but it has
0:09:57 > 0:10:00Spanish leather panels inset within it.
0:10:00 > 0:10:04It was only recently discovered up in the attic and put on display.
0:10:04 > 0:10:06It makes you wonder what else is up there, doesn't it?
0:10:06 > 0:10:08I'd love to go up there and have a root around myself.
0:10:08 > 0:10:13But, anyway, these panels actually date back to the mid-17th century
0:10:13 > 0:10:16and it's a technique known as cuir de Cordoue,
0:10:16 > 0:10:20literally meaning from Cordoba, a town in southern Spain.
0:10:20 > 0:10:22This is where the centre of manufacture was
0:10:22 > 0:10:27back in the 17th century and it really is an alternative to
0:10:27 > 0:10:31tapestries on the wall which was very fashionable, but so expensive.
0:10:31 > 0:10:33Here we have a cheaper option.
0:10:33 > 0:10:36The best ones are the ones that have been embossed.
0:10:36 > 0:10:39Now, to get them embossed, you have to soak these leather panels
0:10:39 > 0:10:41onto a wooden mould that's been carved
0:10:41 > 0:10:43with a bit of a relief with the pattern.
0:10:43 > 0:10:46It's compressed and left to dry naturally.
0:10:46 > 0:10:49Once the leather has dried out, it can then be painted,
0:10:49 > 0:10:52gilded and finally lacquered.
0:10:52 > 0:10:55There you go, it's ready to go up on the wall.
0:10:55 > 0:10:58Hey, presto, leather wallpaper.
0:10:58 > 0:11:00It is beautiful and just look at the colour.
0:11:00 > 0:11:03This is completely original. Actually, talking of colour,
0:11:03 > 0:11:05I think we should have a bit of local colour right now.
0:11:05 > 0:11:08Let's go back for another valuation.
0:11:09 > 0:11:12And it's back to Christina, who's found a mystery object.
0:11:14 > 0:11:18Peter, I have to say, this is not the usual type of thing that I see
0:11:18 > 0:11:21- on my table, but I find it fascinating nonetheless.- Thank you.
0:11:21 > 0:11:23Where did you get it?
0:11:23 > 0:11:27Well, I was cleaning items where I used to work,
0:11:27 > 0:11:29and my friend,
0:11:29 > 0:11:31he brought me this item,
0:11:31 > 0:11:32would I clean it?
0:11:32 > 0:11:34- OK.- Believe it or not, it was painted blue,
0:11:34 > 0:11:37so I had to strip it all off for him
0:11:37 > 0:11:40and the next time I saw him, he said,
0:11:40 > 0:11:41"You can keep it, I don't want it."
0:11:41 > 0:11:44- Really? "I've changed my mind." - And that's how I got it for nothing.
0:11:44 > 0:11:47It's almost like a sort of fortune teller's ball, isn't it?
0:11:47 > 0:11:49- That's right. - Do you know what it's used for?
0:11:49 > 0:11:51I thought it would be from the weather centre.
0:11:51 > 0:11:54- Very nearly, yes.- I was hoping you'd help me out on that.
0:11:54 > 0:11:55I certainly shall.
0:11:55 > 0:11:57This is a sunshine recorder.
0:11:57 > 0:11:59Sunlight would enter the sphere
0:11:59 > 0:12:01and then it would create some sort of pinpoint light
0:12:01 > 0:12:05and you would basically put strips of card along the inside here
0:12:05 > 0:12:08and then it would burn a line,
0:12:08 > 0:12:11so you'd be able to determine your hours of sunshine
0:12:11 > 0:12:12that day or that week.
0:12:12 > 0:12:15That would certainly have provided very useful information
0:12:15 > 0:12:17to people that needed it at that particular time
0:12:17 > 0:12:19and I've got some information here on the front
0:12:19 > 0:12:22and it was made by a company called Casella in London
0:12:22 > 0:12:25and this is actually titled here, Sunshine Recorder,
0:12:25 > 0:12:27which is the Mark IIIC.
0:12:27 > 0:12:32Now, the Mark I was developed by John Francis Campbell in 1853.
0:12:32 > 0:12:34This was a sort of later version of it.
0:12:34 > 0:12:37I love how it is such precision engineering, isn't it?
0:12:37 > 0:12:39Absolutely superb.
0:12:39 > 0:12:42- Scientific instruments are not the prettiest of things.- Oh, no.
0:12:42 > 0:12:45They were made to be measuring instruments,
0:12:45 > 0:12:48- but this has a particular charm about it.- That's right.
0:12:48 > 0:12:50It's almost like a globe in itself. It's wonderful
0:12:50 > 0:12:53and there is certainly sort of an aesthetic appeal there as well.
0:12:53 > 0:12:56I think, painted blue, obviously, you've done the right thing
0:12:56 > 0:12:59in bringing it back to its original pattern, its original colour.
0:12:59 > 0:13:00What material is it made of?
0:13:00 > 0:13:02It's made from a lacquered brass,
0:13:02 > 0:13:04- which would explain why it's quite so heavy.- Right.
0:13:04 > 0:13:06It's certainly a substantial, weighty thing, isn't it?
0:13:06 > 0:13:09You've obviously put a lot of man hours in it to clean it.
0:13:09 > 0:13:11Why are you selling it?
0:13:11 > 0:13:13I've had it for 40 years
0:13:13 > 0:13:16and someone out there I'm sure would appreciate it more than what I did.
0:13:16 > 0:13:20- They fetch in the region at auction of about £100-£200.- Right.
0:13:20 > 0:13:22How would you feel about that?
0:13:22 > 0:13:25- Fine. - Would you want to set a reserve?
0:13:25 > 0:13:27Well, yes, £100.
0:13:27 > 0:13:31- £100. So you'd be disappointed if it didn't go for more than £100?- Yes.
0:13:31 > 0:13:32- So much work...- Absolutely.
0:13:32 > 0:13:34What I think we'll do, then,
0:13:34 > 0:13:39- is we'll put an estimate of 100-200 and a firm reserve of £100.- Right.
0:13:39 > 0:13:42- Then we'll keep everything crossed. - OK.- Are you happy with that?
0:13:42 > 0:13:44- That's fine.- And I can't resist it, but...
0:13:44 > 0:13:48- IN MYSTERIOUS VOICE: - ..I predict you're going to sell.
0:13:48 > 0:13:51- I feel like I need some big hoopy earrings on now.- Fine.
0:13:53 > 0:13:57Christina's right - a crystal ball would come in
0:13:57 > 0:13:58very handy on this show.
0:13:58 > 0:14:00There you are, you've just seen our experts
0:14:00 > 0:14:03make their first choice of items to take off to auction.
0:14:03 > 0:14:05Now, I've got my favourites, you've probably got yours,
0:14:05 > 0:14:08but let's find out what the bidders think, it's down to them.
0:14:08 > 0:14:10Let's get over to the saleroom
0:14:10 > 0:14:12and here's a quick recap of what we're taking.
0:14:14 > 0:14:18The elegant George III tea caddy has some slight damage,
0:14:18 > 0:14:20but it should still attract the bidders.
0:14:22 > 0:14:25This ornate clock garniture deserved to be displayed
0:14:25 > 0:14:27on a fine mantelpiece,
0:14:27 > 0:14:29so hopefully this is its chance.
0:14:31 > 0:14:35And the sunshine recorder - well, that's got to be a British invention.
0:14:42 > 0:14:44Now it's time to sell our items.
0:14:44 > 0:14:49This is where we test our experts' valuations, at Bigwood Auction Rooms,
0:14:49 > 0:14:51just outside Stratford-upon-Avon.
0:14:51 > 0:14:53Now, do remember, with every saleroom,
0:14:53 > 0:14:56you have to pay commission, whether you're buying or selling.
0:14:56 > 0:14:57Here today, if you're selling something,
0:14:57 > 0:15:03it's 15% plus VAT on the hammer price. If you're buying something,
0:15:03 > 0:15:07it's 17.5% plus VAT on that hammer price,
0:15:07 > 0:15:09so do your sums, because it does add up.
0:15:09 > 0:15:12Now, let's catch up with our owners and get on with the sale.
0:15:12 > 0:15:16We had two auctioneers wielding the gavel today on our behalf,
0:15:16 > 0:15:20Christopher Ironmonger and Stephen Kaye.
0:15:22 > 0:15:25We are starting with a little Georgian gem,
0:15:25 > 0:15:26the tea caddy.
0:15:26 > 0:15:28Absolutely love it, Philip.
0:15:28 > 0:15:30I'd like to see this do 400, I really would.
0:15:30 > 0:15:32I would as well, but there is a bit of damage there,
0:15:32 > 0:15:34- which is going to affect the value. - I know.
0:15:34 > 0:15:37- You need to have such a workman that is going to be able to fix it.- Yeah.
0:15:37 > 0:15:40- But it can be done?- It can be done. It's a good model.- Right.
0:15:40 > 0:15:42There are plenty of tea caddy collectors out there.
0:15:42 > 0:15:43There certainly are.
0:15:43 > 0:15:45And if there aren't, it's a good starting point!
0:15:45 > 0:15:48- Very good starting point. - Especially at 200-300.
0:15:48 > 0:15:52It will sell, definitely, but hopefully for a little bit more.
0:15:52 > 0:15:54OK? Here we go, this is it.
0:15:54 > 0:15:57The Regency tea caddy, very pretty veneers.
0:15:57 > 0:16:01- I've got some bids and I can start here on the book at £200.- Splendid.
0:16:01 > 0:16:04- A good start. - I'll take 210 from anybody else.
0:16:06 > 0:16:09210 on the web, I'll go 220. Make it 230.
0:16:09 > 0:16:11Brilliant, come on.
0:16:11 > 0:16:13We've got 220 on the book here. Anybody else?
0:16:13 > 0:16:15Come on, push the book.
0:16:15 > 0:16:17£230 on the web, are we all done?
0:16:19 > 0:16:22- Gosh.- OK, 230. - It's gone, in estimate.
0:16:22 > 0:16:24- Someone got a good buy there. - Yep.- They did.
0:16:24 > 0:16:26I think it's a reflection of the damage, though, honestly.
0:16:26 > 0:16:31- Nonetheless, it's gone, OK? You're happy?- I'm happy.- Good.
0:16:33 > 0:16:36What a very pretty thing with a lucky new owner.
0:16:38 > 0:16:41Now for something with a definite presence.
0:16:41 > 0:16:43Going under the hammer right now, something for your mantelpiece,
0:16:43 > 0:16:47something very showy indeed, a clock garniture belonging to Gabriele
0:16:47 > 0:16:49and it's great to see you again, and who's this?
0:16:49 > 0:16:52- I'm Lisa.- The sister?- Yes.- So you're going to split the money, right?
0:16:52 > 0:16:54- We are.- OK.
0:16:54 > 0:16:56Did either of you want to own it?
0:16:56 > 0:16:57No, not really.
0:16:57 > 0:17:01- It doesn't suit a modern interior, it's too big.- It is.
0:17:01 > 0:17:04A great-looking trio, though, and it's complete, so 300-500,
0:17:04 > 0:17:07not a lot of money for a lot of lot.
0:17:07 > 0:17:09- Will it sell?- I think so.
0:17:09 > 0:17:13These type of things now are appealing to the decorators' market.
0:17:13 > 0:17:15People may not want a clock on the mantelpiece,
0:17:15 > 0:17:17but they want something to dress the mantelpiece
0:17:17 > 0:17:20- and these are perfect for that. - It's got to be the right setting,
0:17:20 > 0:17:22but you need a tall mantel over that fire.
0:17:22 > 0:17:25We're going to find out what the bidders think right now.
0:17:25 > 0:17:30The early 20th-century French white marble ormolu clock garniture.
0:17:30 > 0:17:32What about £300 for it?
0:17:32 > 0:17:35Sounds like a low start to me, but 250, surely.
0:17:35 > 0:17:38- 250 I bid.- Yes.- 260 now.
0:17:38 > 0:17:40At £250, 260, 280,
0:17:40 > 0:17:44- 300...- He's going home with it, I bet.
0:17:44 > 0:17:47340, 360, 380, 400?
0:17:47 > 0:17:49380, the gentleman on my right.
0:17:49 > 0:17:51- (£380.)- Is it 400 anywhere else?
0:17:51 > 0:17:54Going to sell it at 380.
0:17:54 > 0:17:57Final warning and finished at 380, are we done?
0:17:57 > 0:17:59HAMMER FALLS Yes, hammer's gone down.
0:17:59 > 0:18:02We are happy, aren't we? £380.
0:18:02 > 0:18:03- Brilliant result.- Brilliant.
0:18:03 > 0:18:06- Thank you for bringing it in. BOTH:- Thank you very much!
0:18:06 > 0:18:08That's what we like.
0:18:08 > 0:18:11Now for Christina's final choice.
0:18:11 > 0:18:14We have a first on "Flog It!" - it's a sunshine recorder.
0:18:14 > 0:18:16Is it sunny in the room today?
0:18:16 > 0:18:19Yes, of course it is, just look at Christina. Look at that!
0:18:19 > 0:18:20Peter, it's great to see you.
0:18:20 > 0:18:23- I hadn't seen one of these before. - No.- No.
0:18:23 > 0:18:26So, for me, it's great, because I learned something. Will we sell it?
0:18:26 > 0:18:28There's a dark cloud emerged,
0:18:28 > 0:18:31because the auction house have stated that it is an Asian copy
0:18:31 > 0:18:35of the English version and I don't think it is, I really don't.
0:18:35 > 0:18:36If it's an Asian copy, it won't sell.
0:18:36 > 0:18:38We're going to let the bidders decide.
0:18:38 > 0:18:39- Are you ready for this, Peter?- I am.
0:18:39 > 0:18:41It's going under the hammer right now, this is it.
0:18:41 > 0:18:47- I can start the bidding at £100 on the net.- Straight in.- Straight in.
0:18:47 > 0:18:50- Fantastic.- At £100 on the net, I'm going to sell it.
0:18:50 > 0:18:52Is it 120 in the room, surely?
0:18:52 > 0:18:55It's got 120 in the room. 140, is it?
0:18:55 > 0:18:57At 140 on the net. 160, sir.
0:18:57 > 0:18:58160 in the room.
0:18:58 > 0:19:00- Come on.- 180 on the net.
0:19:00 > 0:19:06200? At £180. It's going to be sold, make no mistake, at 180.
0:19:06 > 0:19:08- Yes!- Brilliant. - Brilliant, great result.
0:19:08 > 0:19:10Thank you so much.
0:19:10 > 0:19:12The sun definitely shone.
0:19:15 > 0:19:18There we are, the market decided.
0:19:18 > 0:19:19Lady's bid at 220.
0:19:19 > 0:19:21Well, that's it, that's our first three lots
0:19:21 > 0:19:23done and dusted under the hammer.
0:19:23 > 0:19:26We are coming back here later on in the programme, so don't go away.
0:19:26 > 0:19:29There could be one or two big surprises, but right now,
0:19:29 > 0:19:32I'm heading back to our valuation day venue, Ragley Hall,
0:19:32 > 0:19:35to show you some very special craftsmanship.
0:19:42 > 0:19:46Ragley Hall is one of the earliest of England's great Palladian houses.
0:19:46 > 0:19:49It's a feast of the finest workmanship.
0:19:50 > 0:19:54The baroque plasterwork in the great hall was designed by James Gibbs.
0:19:56 > 0:20:00And James Wyatt's decoration graces a number of the state rooms.
0:20:00 > 0:20:03While several great craftsmen have left their imprint
0:20:03 > 0:20:07on this rather fabulous building, there's one name in particular
0:20:07 > 0:20:10that stands out for me and he's responsible for this matching pair
0:20:10 > 0:20:13of swags that you see above the door.
0:20:13 > 0:20:16There's one here and one over the other door in the library.
0:20:16 > 0:20:19It says, "Believed to be by Grinling Gibbons."
0:20:19 > 0:20:21Well, I've seen enough of his work
0:20:21 > 0:20:25at Hampton Court Palace, at Petworth House and at St Paul's Cathedral
0:20:25 > 0:20:31to actually say, "Look, in my opinion, they are 100% right."
0:20:31 > 0:20:33This is what Gibbons was famous for.
0:20:33 > 0:20:38These wonderful, naturalistic swags and droplets, it's superb
0:20:38 > 0:20:42and he really does breathe life into wood.
0:20:42 > 0:20:45Gibbons, who was born and trained in the Netherlands,
0:20:45 > 0:20:50arrived in London soon after the Great Fire in 1666.
0:20:50 > 0:20:52He brought with him his outstanding craftsmanship,
0:20:52 > 0:20:55flavoured with the new continental baroque style.
0:20:58 > 0:21:01And for a man of his talents, there was plenty of work around,
0:21:01 > 0:21:05helping to rebuild the city over the next seven years.
0:21:05 > 0:21:10This guy was so prolific, everybody in power that had money wanted him.
0:21:11 > 0:21:15Including Charles II, for whom he did so much work
0:21:15 > 0:21:18that he became known as "the King's carver".
0:21:19 > 0:21:22Though he also worked in marble, stone and bronze,
0:21:22 > 0:21:26it is chiefly for his outstanding virtuoso wood carving
0:21:26 > 0:21:27that he is remembered.
0:21:27 > 0:21:31From Petworth House to the choir of St Paul's Cathedral,
0:21:31 > 0:21:35his work ranks amongst the best decorative carving of his day.
0:21:37 > 0:21:40And his influence is still alive in the 21st century
0:21:40 > 0:21:43as wood carver and restorer Charlie Oldham,
0:21:43 > 0:21:47who's a modern apostle of Gibbons, demonstrates.
0:21:47 > 0:21:50You're working in a limewood, which is great to carve with,
0:21:50 > 0:21:52because it's light, yet it's very strong.
0:21:52 > 0:21:54Yeah, in a way, it's a very bland wood,
0:21:54 > 0:21:57but it's perfect for carving, cos the grain doesn't detract.
0:21:57 > 0:22:00You can do very fine, little detail on it.
0:22:00 > 0:22:05Do you draw everything you're going to carve actual size, to scale?
0:22:05 > 0:22:06Yeah, drawing really is the key
0:22:06 > 0:22:09and I think that's probably what put Gibbons
0:22:09 > 0:22:12- ahead of everybody else as well. - A good draughtsman?
0:22:12 > 0:22:14Fantastic draughtsman, yeah.
0:22:14 > 0:22:15The lions going through the ornament,
0:22:15 > 0:22:18they all tie in and flow beautifully.
0:22:18 > 0:22:21You've got your template drawn out on a piece of paper.
0:22:21 > 0:22:23You transfer that over onto this flat piece of limewood
0:22:23 > 0:22:26- and then you're starting to give it a definition.- Yeah.
0:22:26 > 0:22:28You've not shaded that in, have you?
0:22:28 > 0:22:31I can see that, as all you're doing is you're being creative,
0:22:31 > 0:22:34- you're creating those shadows. - We're working very shallowly,
0:22:34 > 0:22:36we're just tucking one thing under the other.
0:22:36 > 0:22:39But you have to have an understanding of the flower to be able to do that.
0:22:39 > 0:22:42- Yes.- Don't you, really? I couldn't do that!
0:22:42 > 0:22:45- Well, do you want to have a go? - I'd love to have a go.
0:22:45 > 0:22:46- OK.- Talk me through what I have to do.
0:22:46 > 0:22:48- OK.- And the tools.
0:22:48 > 0:22:53- So we go here. You dig the heel of the tool in.- Yep.
0:22:53 > 0:22:56That's very clever, that you can stay on the line!
0:22:56 > 0:22:59- HE CHUCKLES I'll try on that one, shall I?- Yeah.
0:23:03 > 0:23:05I'm not going very deep, cos I'm frightened of mucking it up.
0:23:05 > 0:23:08You don't need to go deeper than that, that's good.
0:23:08 > 0:23:10We'll draw them out with pencil, pencil's a really useful tool.
0:23:10 > 0:23:13There we are, so we're just giving an idea of the petals there
0:23:13 > 0:23:16and we can follow that with the tool.
0:23:16 > 0:23:19I'll watch you do one very carefully.
0:23:19 > 0:23:21You want to tuck one...
0:23:22 > 0:23:24..a bit under the other one.
0:23:28 > 0:23:31Gosh, it's a hell of a lot of work, isn't it?
0:23:31 > 0:23:33- When you look at the garlands in the library...- It is.
0:23:33 > 0:23:35How long do you think that took him?
0:23:35 > 0:23:38It's very difficult to estimate, but when you're actually carving,
0:23:38 > 0:23:41time actually goes frighteningly quickly.
0:23:43 > 0:23:46- That looks good.- Does it? It's a bit deep, I think.
0:23:46 > 0:23:48Shall I just pare that down there?
0:23:49 > 0:23:51Look, it's taking me back in time.
0:23:51 > 0:23:53THEY CHORTLE
0:23:54 > 0:23:56Back to the late 1600s.
0:23:56 > 0:23:58Becoming part of history.
0:23:58 > 0:24:00It's not very good, it's rubbish.
0:24:00 > 0:24:01- That's all right.- Is it?
0:24:02 > 0:24:06Yep, we'll just tuck this next one under.
0:24:06 > 0:24:08Do you know, it looks easy.
0:24:08 > 0:24:10I think that's one of the things about Gibbons -
0:24:10 > 0:24:12he did make things look easy.
0:24:12 > 0:24:15And you've actually worked on conservation pieces, haven't you?
0:24:15 > 0:24:17Where was that?
0:24:17 > 0:24:21Yes, Gibbons-style work in the Redland Chapel in Bristol.
0:24:21 > 0:24:22It was quite daunting.
0:24:22 > 0:24:27The first pieces I did were central pieces of the alter panel,
0:24:27 > 0:24:33- so I had to model those and then carve them in wood.- Wow.
0:24:33 > 0:24:37I then go into the foliage and flower work
0:24:37 > 0:24:41and then eventually carving whole sections to replace ones
0:24:41 > 0:24:43- which had been lost over the end. - Lovely.
0:24:43 > 0:24:46You've got some samples of your work here that you brought in.
0:24:46 > 0:24:48Let's have a quick look at a couple of them.
0:24:48 > 0:24:50- Like the picture frame.- Thanks.
0:24:50 > 0:24:53That's one I did after I'd done the Redland Chapel,
0:24:53 > 0:24:58I felt quite fluid with the stuff, so I thought I'd design a frame,
0:24:58 > 0:25:00It's got all the same elements that we had there.
0:25:00 > 0:25:03That's beautiful. How long did that take to do?
0:25:03 > 0:25:06Well, it's about three weeks' work. It does take a while.
0:25:06 > 0:25:08It's labour intensive, isn't it?
0:25:08 > 0:25:09It certainly is, yeah.
0:25:09 > 0:25:11I realise, just from having that little go,
0:25:11 > 0:25:14how difficult it is, it really is hard to do.
0:25:14 > 0:25:18You've got some drawings there and obviously these are working drawings
0:25:18 > 0:25:20for things you've got to carve, am I right?
0:25:20 > 0:25:24- That's right, yeah. This is a flower based on an acanthus leaf.- Yeah.
0:25:24 > 0:25:26Acanthus leaves are great fun,
0:25:26 > 0:25:29- because you twist 'em round to anything.- Exactly, yes.
0:25:29 > 0:25:32And it's a good example of a repeated pattern
0:25:32 > 0:25:34you see throughout the 18th century, don't you?
0:25:34 > 0:25:38- On columns and around doors and pediments.- Yeah, absolutely.
0:25:38 > 0:25:41Thank you so much for giving me a little lesson.
0:25:41 > 0:25:44- Thoroughly enjoyed it.- Thank you.
0:25:44 > 0:25:46Grinling Gibbons certainly sets the benchmark
0:25:46 > 0:25:50as far as wood carving goes and I think it's easy to imagine
0:25:50 > 0:25:52Charlie's work coming from the same workshop.
0:26:04 > 0:26:06Welcome back to the great hall at Ragley,
0:26:06 > 0:26:09where Will has found some fantastic wood carvings
0:26:09 > 0:26:12which are a little more far-flung than Grinling Gibbons.
0:26:13 > 0:26:16Michael, you haven't left your canoe outside, have you?
0:26:16 > 0:26:19Cos I'm loving this paddle you've brought me.
0:26:19 > 0:26:21Tell me, are you a collector of tribal art?
0:26:21 > 0:26:23No, not really, no.
0:26:23 > 0:26:26I just saw them in a very small auction house
0:26:26 > 0:26:28in South Cumbria a few years ago.
0:26:28 > 0:26:31- Right.- I thought I appreciated the carving on them.
0:26:31 > 0:26:35- Yes.- My son lives in Wellington, New Zealand...
0:26:35 > 0:26:37- Ah.- ..and I thought they might be Polynesian, that one.
0:26:37 > 0:26:40Did you ask your son's opinion? What did he think?
0:26:40 > 0:26:45Well, I sent photographs as an e-mail attachment to my son.
0:26:45 > 0:26:48I said, "Please go to the Maori museum in Wellington
0:26:48 > 0:26:50- "and ask them about them."- Yes.
0:26:50 > 0:26:52And he didn't.
0:26:52 > 0:26:54Sons, eh? Who needs 'em!
0:26:54 > 0:26:58- I got fed up with this, so I wrote directly to the museum...- Yes.
0:26:58 > 0:27:00..enclosing the pictures again.
0:27:00 > 0:27:03I said, "If my son does bother to come round,
0:27:03 > 0:27:06"tell him that they're the long-last paddle
0:27:06 > 0:27:10"given to Captain Cook by the chief of the Cook Islands."
0:27:10 > 0:27:12- Really?- They did!
0:27:12 > 0:27:13When he eventually went,
0:27:13 > 0:27:16they went through this little charade with him.
0:27:16 > 0:27:19So he all of a sudden thought that his dad
0:27:19 > 0:27:22isn't as mad as he thought and he had actually discovered
0:27:22 > 0:27:25- a long-lost treasure, but it was a wind-up!- Yeah.
0:27:25 > 0:27:28Did they manage to tell him anything about them?
0:27:28 > 0:27:31- I've got a little note from them, if you want to see it?- Have you?
0:27:31 > 0:27:34That always helps. We like a little note.
0:27:34 > 0:27:35Let me have a look at that.
0:27:35 > 0:27:39"The paddle in the images - Austral Islands in east Polynesia.
0:27:39 > 0:27:42"The intricately carved paddles were made in the 19th century..."
0:27:42 > 0:27:45I would agree with that. "..in large numbers.
0:27:45 > 0:27:48"Ceremonial or trading situations
0:27:48 > 0:27:51"and wonderful examples of wood carving."
0:27:51 > 0:27:54Wow, that's amazing. That's actually quite a nice little note
0:27:54 > 0:27:57to maybe keep with them. Let me give you that back.
0:27:57 > 0:27:59They've said the Austral Islands, which is great,
0:27:59 > 0:28:02we've pinpointed it, but you haven't just brought along the one piece -
0:28:02 > 0:28:05you've also brought this along as well.
0:28:05 > 0:28:08I think this one is early 20th century.
0:28:08 > 0:28:09Once you get into the 20th century,
0:28:09 > 0:28:13the collectors start to lose a little bit of interest,
0:28:13 > 0:28:14more people are travelling
0:28:14 > 0:28:18and more pieces like this are bought as a souvenir.
0:28:18 > 0:28:21In my mind, I think most of the value out of these two
0:28:21 > 0:28:24- is going to be in the ceremonial paddle.- Yes.
0:28:24 > 0:28:28It's got this wonderful, intricate what we would call chip carving.
0:28:28 > 0:28:31It's literally chips of wood being taken out
0:28:31 > 0:28:35to create this all-over geometric pattern.
0:28:35 > 0:28:39Significance to each individual tribe.
0:28:39 > 0:28:41Then here on the pommel, what I think is rather nice
0:28:41 > 0:28:44is that we've got what I would call these little tikis,
0:28:44 > 0:28:49little sort of charms to ward off evil spirits.
0:28:49 > 0:28:52- You mention you saw them in an auction house.- Yes.
0:28:52 > 0:28:54- So you've had to put your hand in the air to buy them.- Yes.
0:28:54 > 0:28:57Can I ask you what sort of money you had to pay?
0:28:57 > 0:29:00I paid, I think, 410 for the pair.
0:29:00 > 0:29:03- Right.- No telephone bidding, no internet.- No internet connection.
0:29:03 > 0:29:06Nothing like that, it's just sort of bric-a-brac, really.
0:29:06 > 0:29:09I have seen these make £1,000,
0:29:09 > 0:29:11a little bit more,
0:29:11 > 0:29:14- so let's straddle that £1,000 mark. - Yes.
0:29:14 > 0:29:17I'd like to put them in at £800-£1,200.
0:29:17 > 0:29:20I think most of the value is going to be carried by this paddle,
0:29:20 > 0:29:22the chip-carved.
0:29:22 > 0:29:24Let's keep them together.
0:29:24 > 0:29:27You bought them together, it seems a shame to split them up
0:29:27 > 0:29:28and who knows?
0:29:28 > 0:29:31It might be making its way all the way round
0:29:31 > 0:29:33to the other side of the world once we've sold it.
0:29:33 > 0:29:36Michael, I look forward to seeing you at the auction
0:29:36 > 0:29:38and I think we could have a little flyer here.
0:29:40 > 0:29:44Well, with the internet, the world is our oyster.
0:29:47 > 0:29:52Christina's next choice comes with a good tale attached to it.
0:29:52 > 0:29:55This is a rather wonderful sort of creepy-crawly piece, isn't it?
0:29:55 > 0:29:56Yeah, it's lovely, yeah.
0:29:56 > 0:30:00- Where did it come from?- It's got a bit of a funny story, really.
0:30:00 > 0:30:03My brother-in-law was doing a house clearance and he invited me over
0:30:03 > 0:30:05to have a look at a few bits and bobs.
0:30:05 > 0:30:09We looked in the garden and we found this lying on its side.
0:30:09 > 0:30:11It was covered in mud and earth.
0:30:11 > 0:30:14It caught my eye and I picked it up and started dusting it off
0:30:14 > 0:30:17- and that was what was underneath. - Oh, my goodness!
0:30:17 > 0:30:19You've obviously got a fantastic eye for quality.
0:30:19 > 0:30:22You pick it up and it's got some weight to it, hasn't it?
0:30:22 > 0:30:24It's got some serious weight, which is always a good sign
0:30:24 > 0:30:27and this wonderful grasshopper here,
0:30:27 > 0:30:30- that is incredibly complicated to make.- Yeah.
0:30:30 > 0:30:33The piece de resistance for me,
0:30:33 > 0:30:35if we look at his bottom, if you like, and, of course,
0:30:35 > 0:30:40on the bottom, wonderful little mark there for Baccarat.
0:30:40 > 0:30:43- Now, have you heard of Baccarat before?- I hadn't.
0:30:43 > 0:30:47Obviously, I did the same as you, turned it over and saw that
0:30:47 > 0:30:50and sort of researched Baccarat.
0:30:50 > 0:30:51Then found out I think it's French, is it?
0:30:51 > 0:30:54That's absolutely right, you really associate them
0:30:54 > 0:30:57with a range of paperweights they produced from the mid-19th century
0:30:57 > 0:30:59and they still produce them today
0:30:59 > 0:31:01- and they are very, very collectable.- Yep.
0:31:01 > 0:31:05This little chap is quite unusual. I find it phenomenal
0:31:05 > 0:31:09- that somebody would have used him as a plant pot, though.- Yeah.
0:31:09 > 0:31:10I suppose quite appropriate,
0:31:10 > 0:31:13because you've got this grasshopper here and the flower,
0:31:13 > 0:31:16so maybe they were thinking, "Well, the floral theme,
0:31:16 > 0:31:18- "we'll continue with that."- Yeah.
0:31:18 > 0:31:20But why on earth you put him in the garden, I do not know.
0:31:20 > 0:31:24- Lucky find for you. - Yeah, definitely.
0:31:24 > 0:31:28Baccarat made the grasshopper vase between 1890 and 1920.
0:31:28 > 0:31:31Because it's quite angular, it sort of points me
0:31:31 > 0:31:33slightly toward the later end of that period,
0:31:33 > 0:31:35but then you've got echoes of the Victorian period,
0:31:35 > 0:31:37with a grasshopper, which is very symbolic
0:31:37 > 0:31:40and this wonderful scrolling floral and foliage,
0:31:40 > 0:31:44- which again is very typical of that Victorian period.- Right.
0:31:44 > 0:31:48I just think he is a gorgeous thing, but I do think,
0:31:48 > 0:31:51having spent however many years in the garden
0:31:51 > 0:31:55- has taken its toll quite extensively, hasn't it?- Yep.
0:31:55 > 0:31:57We have got a chip on the front here.
0:31:57 > 0:32:00We've also got chips on the corners here and here
0:32:00 > 0:32:03and, unfortunately, we have got a chip on the top,
0:32:03 > 0:32:06which has got a spreading hairline crack down the side.
0:32:06 > 0:32:10It's a very difficult thing to put a value on,
0:32:10 > 0:32:12because glass collectors do want things
0:32:12 > 0:32:16- in absolutely perfect condition. - Yep.
0:32:16 > 0:32:18So, in perfect condition,
0:32:18 > 0:32:21- they can make up to a couple of hundred pounds.- Right.
0:32:21 > 0:32:23Unfortunately, it just goes to show
0:32:23 > 0:32:26how much damage really does affect a value,
0:32:26 > 0:32:30but I love the fact that you got him out of a garden
0:32:30 > 0:32:34and I would really love to see what the market wants to pay for him.
0:32:34 > 0:32:37So how would you feel about putting him into auction at £30-£50?
0:32:37 > 0:32:39- Yeah, that's fine. - Would that be all right?
0:32:39 > 0:32:41- Yep.- Would you like to put a reserve on him,
0:32:41 > 0:32:43or shall we just see what happens?
0:32:43 > 0:32:45You could put a reserve of 30 on if you like.
0:32:45 > 0:32:49- Shall we say 30 with some discretion, should we need it?- Yeah.
0:32:49 > 0:32:51Promise me that you will go and spend
0:32:51 > 0:32:53whatever he makes on another antique.
0:32:53 > 0:32:55- Definitely, I will. - Brilliant. Well done.
0:32:55 > 0:32:58- Thanks so much for bringing it in. - You're welcome.
0:32:58 > 0:33:02It may have some chips, but it's better than digging up a potato.
0:33:04 > 0:33:07The great thing about having the freedom of Ragley Hall today
0:33:07 > 0:33:10is that you never know what you're going to come across.
0:33:12 > 0:33:14I've been saving this one until last.
0:33:14 > 0:33:17It's not every day you come across something like this.
0:33:17 > 0:33:19It is of course a coronation robe.
0:33:19 > 0:33:20The last time this was worn
0:33:20 > 0:33:23was at the coronation of the Queen,
0:33:23 > 0:33:25but I'm sure many of you remember that wonderful day
0:33:25 > 0:33:29and it will not be worn again until the next coronation.
0:33:29 > 0:33:30Of course, robes have been worn
0:33:30 > 0:33:33since the Middle Ages as a sign of nobility.
0:33:33 > 0:33:36These gowns are made with crimson silk velvet with a white ermine
0:33:36 > 0:33:40trimmed around the top. There's a way of telling these apart.
0:33:40 > 0:33:42It's very, very subtle, but you've got to know what to look for.
0:33:42 > 0:33:45What's the difference between a robe that a baron would wear,
0:33:45 > 0:33:48or an earl or a marquis? I'm going to tell you right now.
0:33:48 > 0:33:53It's to do with these black seal skin spots. Look.
0:33:53 > 0:33:55There's three on this side.
0:33:55 > 0:33:57Yet there's four on that side,
0:33:57 > 0:34:01so that's known as "three and a half" - it's not totally three,
0:34:01 > 0:34:03it's not totally four, so it's not symmetrical.
0:34:03 > 0:34:05This belongs to a marquis.
0:34:05 > 0:34:08If it was all four,
0:34:08 > 0:34:09it would belong to a duke.
0:34:09 > 0:34:12If it was just a row of three dots,
0:34:12 > 0:34:14it would belong to an earl
0:34:14 > 0:34:16and if it was two there and two there,
0:34:16 > 0:34:18all the way around,
0:34:18 > 0:34:21that would belong to a baron. There you are.
0:34:21 > 0:34:23All very clear when you know what to look for,
0:34:23 > 0:34:27so do look out the next time, it's a good, fun game to play.
0:34:27 > 0:34:30Talking about traditional skills and craftsmanship,
0:34:30 > 0:34:32these gowns have been made by the same company,
0:34:32 > 0:34:37Ede & Ravenscroft, since 1689, so there you go.
0:34:37 > 0:34:42Now it's time for us to enjoy the skills of our experts.
0:34:44 > 0:34:47Back to Will now, who's found a delightful early piece.
0:34:49 > 0:34:52Wendy, I like a drink as much as the next man,
0:34:52 > 0:34:55or lady, but this isn't much fun, is it?
0:34:55 > 0:34:58Nothing like the glasses you get today!
0:34:58 > 0:35:02Tell me, is this part of your collection of 18th-century glasses?
0:35:02 > 0:35:03- 18th century?- Yep.
0:35:03 > 0:35:07- Did you not know that?- No, I didn't. - Yeah, this dates from about 1770.
0:35:09 > 0:35:11Do you think you'll be a bit more careful with it now?
0:35:11 > 0:35:15- I probably ought to be, yes! - What did you know about it? Tell me.
0:35:15 > 0:35:17Very little. It was given to my husband
0:35:17 > 0:35:19by an old gentlemen where he used to live
0:35:19 > 0:35:23and, really, ever since we had it, we haven't done anything with it,
0:35:23 > 0:35:25it's just been either in a cupboard or tucked away.
0:35:25 > 0:35:27My husband passed away two years ago
0:35:27 > 0:35:29and I thought it was time to start
0:35:29 > 0:35:31clearing some of the bits and pieces out
0:35:31 > 0:35:33that I'd got in different cupboards.
0:35:33 > 0:35:36- It's not as if your husband was a collector of period glass?- Oh, no.
0:35:36 > 0:35:39- It was literally a gift out of the blue.- That's right, yes.
0:35:39 > 0:35:43Well, what we love about it is this opaque twist in the stem,
0:35:43 > 0:35:45which is done at the point of blowing the glass.
0:35:45 > 0:35:47This is all hand-blown, of course.
0:35:47 > 0:35:49What they do is they use rods of coloured glass
0:35:49 > 0:35:53and insert them into the stem and while they're blowing them
0:35:53 > 0:35:55and the glass is still warm and malleable,
0:35:55 > 0:35:59they incorporate this twist. Then if they're really ambitious,
0:35:59 > 0:36:02they add another twist inside the twist that's already gone.
0:36:02 > 0:36:04It's amazing when you think about the work.
0:36:04 > 0:36:06- That must have been a clever man to do that.- Exactly.
0:36:06 > 0:36:09You get different colours, you get yellows, reds, greens,
0:36:09 > 0:36:11some colours rarer than others.
0:36:11 > 0:36:14The fact that yours has got
0:36:14 > 0:36:18this yellow cane down the middle of this opaque twist,
0:36:18 > 0:36:22it just lifts it a little bit above the plainer examples.
0:36:22 > 0:36:24People like a little bit of decoration,
0:36:24 > 0:36:28so that introduction of colour helps with that.
0:36:28 > 0:36:32Now, I see that there's a small chip on the foot rim.
0:36:32 > 0:36:35Glass collectors are very fussy.
0:36:35 > 0:36:38- It has to be in perfect condition for it to make top dollar.- Yep.
0:36:38 > 0:36:42So I'm going to have to just be a little bit conservative
0:36:42 > 0:36:45- in my estimate, because of that.- Yes.
0:36:45 > 0:36:47- But, me personally, that wouldn't put me off.- No.
0:36:47 > 0:36:49It's so small, isn't it?
0:36:49 > 0:36:51It is small and at the end of the day,
0:36:51 > 0:36:53it doesn't necessarily affect what the item is.
0:36:53 > 0:36:57It's still a lovely example of an 18th-century cordial or wine glass.
0:36:57 > 0:36:59Have you any idea what it might be worth?
0:36:59 > 0:37:01- Not really, no.- No?
0:37:01 > 0:37:03- Never tempted to use it?- No.
0:37:03 > 0:37:06Listen, value-wise, if it was perfect,
0:37:06 > 0:37:09- I'd be saying to you 100-150 all day long.- Yeah.
0:37:09 > 0:37:10I think, because of the chip,
0:37:10 > 0:37:13I'll have to tuck the estimate under that £100 mark.
0:37:13 > 0:37:18- Yep.- So if we could try it at, say, 60-90?
0:37:18 > 0:37:21- That sort of figure? How does that sound?- Absolutely fine.- Yeah?- Yeah.
0:37:21 > 0:37:25What about a reserve? Do you want it back, now you've decided to sell it?
0:37:25 > 0:37:30- Not really.- Are you going to gamble with me?- I'll gamble.
0:37:30 > 0:37:32- Let's put it in without a reserve, then.- OK.
0:37:32 > 0:37:35Listen, for someone who wants a genuine example
0:37:35 > 0:37:37of 18th-century glass blowing,
0:37:37 > 0:37:40- £60-£90 sounds like a bargain to me.- Yes.
0:37:40 > 0:37:43Well, I think the only thing left to say is chin-chin, bottoms up and...
0:37:43 > 0:37:46- We'll find a bigger glass to bring next time!- Exactly!
0:37:46 > 0:37:49Gosh, no reserve and such a lovely item.
0:37:55 > 0:37:58That's it, our experts have now made their final choice of items
0:37:58 > 0:38:00to take off to the saleroom, which means, sadly,
0:38:00 > 0:38:04we have to say goodbye to this magnificent venue, Ragley Hall.
0:38:04 > 0:38:07It has done us proud and we have found treasures
0:38:07 > 0:38:09worthy of our surroundings
0:38:09 > 0:38:12and now we have to put them to the test in the saleroom.
0:38:12 > 0:38:14Here's a quick recap of all the items
0:38:14 > 0:38:16that are going under the hammer.
0:38:16 > 0:38:19The two carved paddles made their way here
0:38:19 > 0:38:20from the other side of the world,
0:38:20 > 0:38:24and who knows, after the auction, they may be making a return trip.
0:38:26 > 0:38:28Following a spell in the garden,
0:38:28 > 0:38:32I think it may well be time for the grasshopper vase to take off.
0:38:34 > 0:38:37And the 18th-century drinking glass may have a small chip,
0:38:37 > 0:38:39but it's still very appealing.
0:38:42 > 0:38:46As we return to the saleroom, all eyes are on Christopher Ironmonger
0:38:46 > 0:38:48as the auction continues.
0:38:49 > 0:38:53We're setting off with Michael's carved wooden paddles.
0:38:53 > 0:38:55Right, are you ready for this?
0:38:55 > 0:38:58We have what's known as ethnographica coming on the show,
0:38:58 > 0:39:00meaning tribal art and artefacts.
0:39:00 > 0:39:03We've got two paddles belonging to Michael,
0:39:03 > 0:39:08- with a whopping great price of £800-£1,200.- Mmm.
0:39:08 > 0:39:09We've seen these things fly.
0:39:09 > 0:39:13Definitely South Seas, Polynesian, anything like that - big money.
0:39:13 > 0:39:16Anything African - small money.
0:39:16 > 0:39:18I don't know why, but that's the way of the world.
0:39:18 > 0:39:19Very hard thing to value.
0:39:19 > 0:39:22We're going to find out what they're worth right now, this is it.
0:39:22 > 0:39:24South Sea Islands carved timber paddle.
0:39:24 > 0:39:29And a double-ended paddle as well. Who's going to start me on this?
0:39:29 > 0:39:33- £1,400, there's an opening bid. - Great!
0:39:33 > 0:39:341,500 now.
0:39:34 > 0:39:37At 1,400, are we done?
0:39:37 > 0:39:38All finished?
0:39:38 > 0:39:41- Brilliant!- That's not bad, is it? - That's really good!
0:39:41 > 0:39:43"That's not bad, is it?"
0:39:43 > 0:39:45I think it was the Polynesian,
0:39:45 > 0:39:47the South Seas paddle, that everybody wanted.
0:39:47 > 0:39:48It was rounded, it was lovely.
0:39:48 > 0:39:50Listen, Michael, you've done your research and so on
0:39:50 > 0:39:53and at the end of the day, you've been proved right,
0:39:53 > 0:39:54- so, well done, sir.- Thank you.
0:39:54 > 0:39:57Well, that was short and sweet.
0:39:57 > 0:39:58What next?
0:39:58 > 0:40:01Well, if you like your glass, you'll be familiar with Baccarat
0:40:01 > 0:40:04and we've got a choice item right now belonging to Danny.
0:40:04 > 0:40:05The "glasshopper" vase,
0:40:05 > 0:40:07found in a garden.
0:40:07 > 0:40:09- That's right, yeah. - I can't believe that!
0:40:09 > 0:40:10I know, it was a lucky find.
0:40:10 > 0:40:12Obviously, it's not in mint condition, is it?
0:40:12 > 0:40:14No, it has suffered from its time in the garden,
0:40:14 > 0:40:17- in the compost heap. - Bet the grasshopper loved it!
0:40:17 > 0:40:21I bet it did! Exactly, it's where he belongs.
0:40:21 > 0:40:23Let's hope it's not compost, if you know what I mean.
0:40:23 > 0:40:25We're going to put this to the test, here we go. Good luck.
0:40:25 > 0:40:29Rectangular cast and moulded glass vase.
0:40:29 > 0:40:32Fashioned as a grasshopper. Got 30 on the net straight off.
0:40:32 > 0:40:35- Fantastic, it's sold.- 40, surely.
0:40:35 > 0:40:37At £30 only, I'll take 5.
0:40:37 > 0:40:40I'll take 5 if you like, cos we're going to sell it at £30.
0:40:40 > 0:40:42Seems a cheap buy at £30.
0:40:42 > 0:40:43- Yeah, it is.- Is it 5?
0:40:43 > 0:40:47Going to be sold on the net at £30.
0:40:47 > 0:40:48- There you go, £30 sold. - Internet buyer.
0:40:48 > 0:40:49That's a bonus, isn't it?
0:40:49 > 0:40:53- It is.- Let's go and do a bit more garden hunting, shall we?
0:40:53 > 0:40:54That's right, yeah!
0:40:55 > 0:40:59- Brilliant, well done, Danny. - Thank you.- Fantastic.
0:40:59 > 0:41:01Not bad for a garden find.
0:41:02 > 0:41:05Now for our next piece of glass, which also has a chip,
0:41:05 > 0:41:07so fingers crossed.
0:41:07 > 0:41:10Wendy, we are so excited. Look, we match, look at this.
0:41:10 > 0:41:12- Purple is in.- Excellent!
0:41:12 > 0:41:14Going under the hammer right now,
0:41:14 > 0:41:17we have the double-helix, opaque, air-twist, stemmed wine glass.
0:41:17 > 0:41:20- How about that?- Yep. - Proper 18th-century piece.
0:41:20 > 0:41:23We love everything about it, it's a proper piece of history.
0:41:23 > 0:41:25- Good.- Whatever you do, don't go away, this could fly.
0:41:25 > 0:41:27Here we go, it's going under the hammer now.
0:41:27 > 0:41:30The 18th-century cordial glass there.
0:41:31 > 0:41:34- 160 on the net.- 160, straight in.
0:41:34 > 0:41:35200.
0:41:36 > 0:41:40220, 240, 260. In the room at 260.
0:41:40 > 0:41:42280 on the net.
0:41:42 > 0:41:44300 in the room, 300 in the room.
0:41:44 > 0:41:46- 300 in the room it is.- Fantastic.
0:41:46 > 0:41:49300 in the room, 320 on the net. 340 in the room.
0:41:49 > 0:41:51They love this, they love it.
0:41:51 > 0:41:54360, net. 360 on the net.
0:41:54 > 0:41:55- Goodness me!- 370 in the room.
0:41:55 > 0:41:58370, it's going to go in the room at 370.
0:41:58 > 0:41:59400, it's gone on the net.
0:41:59 > 0:42:02£400. Is there any advance on 400?
0:42:02 > 0:42:04Are we...? 420 net.
0:42:04 > 0:42:06450 net. 500 net.
0:42:06 > 0:42:08- 550 net.- 550!
0:42:08 > 0:42:09- Still going.- 600.
0:42:09 > 0:42:10600 on the net.
0:42:10 > 0:42:12- 650.- I told you not to go away, didn't I?
0:42:12 > 0:42:15- Listen to this!- 650, 650.
0:42:15 > 0:42:16700 do I hear?
0:42:16 > 0:42:19This is the final warning at 650.
0:42:19 > 0:42:22650 and the hammer's gone down, Wendy.
0:42:22 > 0:42:23- Wow!- That is great.
0:42:23 > 0:42:26- What a result.- Absolutely! - A bit of a "come and buy me", Will.
0:42:26 > 0:42:29Hang on a minute, I get a handshake and he gets a hug!
0:42:29 > 0:42:31All right, I'll have a hug with you as well, then.
0:42:31 > 0:42:33- Do you know what did it?- Wonderful.
0:42:33 > 0:42:35- It was the colour in the air-twist stem.- Exactly.
0:42:35 > 0:42:37You try hand-blowing that and doing all that detail.
0:42:37 > 0:42:40That is a great art from the 18th century.
0:42:40 > 0:42:43- My God.- Look, there is commission to pay, it's 15% plus VAT,
0:42:43 > 0:42:46- but enjoy the money.- I will.- Thank you so much for coming on the show.
0:42:46 > 0:42:48If you've got anything like that, we want to see it,
0:42:48 > 0:42:50but, unfortunately, we've run out of time!
0:42:50 > 0:42:52It's goodbye from Bigwood Auction Rooms
0:42:52 > 0:42:54and what a wonderful way to end the show.
0:42:54 > 0:42:57- Come here, Will. Let's say goodbye. - Thank you.- Bye!- Bye.- Bye.