Antiques series. This episode comes from the Milestones Museum in Basingstoke, where transport is the name of the game.
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Just look at this. As stately an interior as any grand country house
you're likely to come across,
but I'm not on dry land.
Today, we're following the fortunes of the great ocean liners
and seeing how they've survived the ups and downs
of 177 years of the ocean waves.
But before all that, it's all aboard and welcome to "Flog It!".
During the Industrial Revolution,
the county of Hampshire, close to London and the south coast,
became a thoroughfare for commerce as goods were traded
by road, canal and rail.
Hampshire also attracted some of the stars of the day
in vehicle development, who designed everything from boats to buses
and, on top of that, led the way in aeronautical technology.
Right now, it's planes, trains and automobiles
as we join this fantastic crowd of people,
here at Milestones Museum in Basingstoke,
which is crammed full of interesting articles like this.
And of course, this lot have brought their artefacts along
to show our experts and they're going to ask
-that all-important question, which is...
-What's it worth?!
Stay tuned and you'll find out.
And our experts are determined to win the race as they head
into the crowds to find the best objects to value.
Nick Davies has his sights on a gem,
while Elizabeth Talbot has found her own precious object.
-Well, can I sticker somebody?
-Yeah, go on, stick it on her.
-There you go.
-There you go, perfect.
And it's not always about good sporting play.
I have the most beautiful thing, which I'm keeping for myself.
-And what is it?
-Well, it's a linesman's flag,
so I'm giving you the red card.
-All right then, be like that.
-Steady on, you two.
And we've got a cracking show for you today.
Nick gives a history lesson...
You've got this sunburst guilloche enamel radiating from the bottom.
-It's a complete set.
-..while Elizabeth gets one...
That new angle and the difference between those two is declination.
..and gives a masterclass in the classics.
You can see influence from Egypt, from Rome...
But which of these items will win the school prize?
-We are about to sell...
As the crowds pile in, there's just enough time to give you
a flavour of what's in this fascinating museum.
Our valuation day is taking place amongst shops
recreated from high streets across Hampshire
going back to Victorian times.
A big theme of the museum is transport and this place
is filled with all kinds of vehicles,
which we're going to be finding out about later on in the show.
I'm on top of a tram that was used in Portsmouth in the 1880s,
taking the dockyard workers to the quayside, and it really does
take you back in time. Originally, this would have been horse-drawn,
but it was later converted to electricity.
If you look closely, you can see it's in original untouched condition
and that's what we like to see with our antiques,
so hopefully we're going to find something like this.
Let's join up with our experts.
The valuation day is already gearing up and we're ready to hit the road.
Our first stop is with Nick and Alan on a vintage 1930s bus.
-Well, Alan, welcome aboard. Nice to see you.
Thank you for coming to "Flog It!".
Now, 1930s bus, Art Deco surrounding... What do you need when
you go on holiday? You've brought the ideal thing, haven't you?
-You need a suitcase.
But what's in the suitcase? This is great. Look at that.
-It's a lovely Art Deco travelling set.
-Tell me about it.
Where did you get it?
It has come down from the my mother's side of the family.
I believe it was my aunt's originally.
She worked for a wealthy family in Mayfair and we believe it was
a present to her from them, and she passed it onto my mother,
-hence to me.
-It looks like it's hardly ever been used.
-It's absolutely pin clean.
-Yep, the brushes are clean.
There are a couple of little issues with it. We're obviously missing the mirror in the back, here.
Not too much of a problem. It probably would have just been a plate mirror anyway,
without any border at all, so it doesn't really retract from it.
And there's a tiny little, and I mean tiny,
nibble to one of the bits of enamel but, hey, I'm being ultra-picky.
There are two hallmarks on it. It's not an issue, don't worry about it.
It's the same manufacturer, a company called Adie Brothers
from Birmingham, my neck of the woods, up in the Jewellery Quarter, in Hockley,
a big manufacturers of all sorts of silverware.
Often they spread their work over a couple of years and they'd do
a run of these, and so some would be hallmarked one year and another
and they'd just put them together,
so that's explained away, it's not a problem at all.
The enamel boxes are... Ah! ..beautiful.
You've got this sunburst guilloche enamel radiating from the bottom
They all match. It's a complete set.
-It's pushing 100 years old and it's all together.
I even love this one because still, inside,
you've still got the hair grips.
I mean, it's fantastic.
Brushes aren't so popular.
People don't tend to like the brushes for obvious reasons.
So, Alan, tell me, why are you thinking of selling such a beautiful thing?
At the moment, it's sitting in the loft. Nobody uses it.
You've not got a holiday planned or anything?
No, I haven't got a holiday planned. It weighs too much
-to go on an aircraft.
-It does weigh a bit, doesn't it? It does.
-So, I'd put a valuation on this at £400-to-£500.
-So, you're happy with that?
-That sounds reasonable. I'd like to put a reserve on it.
Absolutely, I couldn't agree with you more. Should we say £400 with a little bit of discretion?
-Yup, that sounds good.
Looking at that travel case, you can just see it strapped
to the new invention of the day, the car, as the rich and fancy free
travelled across Europe.
Here, at Milestones Museum, they've housed a wonderful collection
of vintage Thornycroft cars,
which were as prestigious as the Rolls-Royce, in their day.
In fact, Hampshire boasts of many successful businesses
when it came to transport.
By the 1920s, they were attracting some of the greatest minds
to the area for the development of vehicles like this
and one of them was R J Mitchell.
Mitchell designed this seaplane, a cross between a boat and a plane,
which he thought would take off as the next big mode of transport.
Although the seaplane's life was short-lived,
Mitchell's greatest work was still to come.
He took what he'd learned about aerodynamics
and designed a plane that would rule the skies during World War II,
giving the British air superiority over the Germans
during the Battle of Britain in 1940,
and that aircraft was of course the Supermarine Spitfire
And now, back on safe ground, is Elizabeth,
who's found something homely.
Maureen, hello. I was attracted to your spinning wheel in the queue.
I know it's a spinning wheel,
but I recognise it as a piece of furniture
from probably the first half of the 19th century because, to me,
it reminds me of the wonderful turning
that one sees on Windsor chairs
-and other pieces of country furniture.
But I'm reliant very much on you to tell me more about your wonderful piece.
-Well, I found this at a re-enactor's market about three years ago.
I knew nothing about it at the time.
It was looking a little battered, but my husband lovingly polished
-it all up and did a few repairs, and we got it working.
So, tell me more. Is this is particular type of spinning wheel?
Yes, I believe, from what I've found out,
this is a wheel made for spinning flax.
The main difference, as far as I'm aware,
is that on a wheel for spinning wool,
the ratio between the wheel and the bobbin
is one to four, so this wheel goes round once for every time this
-goes round four times.
-Whereas, on a flax wheel, it's one to 12.
Yes. In fact, if I...
-..get it going, you can see that it does go quite fast.
It's quite hypnotic, actually. It makes a lovely sound, that tick-tick sound. It's lovely.
So, you're coming here to find out a bit more about it
-but to sell it as well?
-Yes. I just don't have the space for it any more.
-I have two other wheels at home.
-Two other spinning wheels?
-That must mean you're a practitioner of spinning and weaving.
-I have been for about 25 years or more.
It wasn't till cleaning it up that I found some initials, here - I G.
So I went online, as one does these days,
and tried to find out who I G was.
It turns out it's somebody by the name of Isaak Grobli.
The wheel was made in Switzerland, so I presume he was Swiss.
I think it dates from the 1840s.
From what I can make out, his son invented
an industrial automatic embroidery machine of some sort.
-So, it was a father-son interest that went through?
So it was obviously very, very important to him
-in that line of work.
He was really bridging the time between the hand-spinning
-and hand-woven cottage industries and the Industrial Revolution.
I mean, they are very technical and it's both technical and practical,
-but also beautifully sculptural.
-Do you have any idea of value in terms of the market?
-Not really, no.
No? I think that they will appeal to people like yourself,
who are keeping the craft very much alive and they want to use them,
-they are bought to be used.
Some people buy them because they have lovely cottages
-or properties where they set the scene.
-Oh, yes. Yes.
They're nice furnishing pieces.
My instinct is that it should fetch somewhere between £100 and £150
at auction. Now, would you be happy to sell it for that?
That's fine, yes.
I think we will take it along, we'll offer it for £100, £150.
-Would you like a reserve on it?
-I don't think so, no.
We'll sell it, we'll see what happens and we'll try
-and get the interest going on the day!
-That's lovely, thank you.
Maureen really has done her research.
Now let's see if we can weave some magic
with that spinning wheel at auction.
Nick is still waiting for this bus to leave on time
and, appropriately, he's found something that would have
helped people keep to schedule belonging to Anne.
Well, here we are. I'm on this lovely open-top bus
having a great day and what do you need to check the bus is on time?
You need a travel watch and you've brought one with you today.
A beautiful snakeskin example, silver it is, as well.
-Do you like it?
-I like its quirkiness but I wouldn't use it.
-They've been in a drawer, haven't they?
-Yes, sorry. Guilty.
OK. Another one of these drawers. I wish I had one of these drawers.
-Tell me a little bit about it. Where did you get it from?
-Well, I know it belonged to an aunt of mine
and she emigrated to South Africa in the mid-'60s
and then onto Australia, where she remained,
and I used to go and visit her and she gave it to me
-on one of those visits.
Well, it's an Art Deco example.
It's by a company called Texina, which is a Swiss company.
The best of this range, the Rolls-Royce if you like,
of this model and design is a company called Movado
-and they can run into hundreds and hundreds of pounds.
Unfortunately, we haven't got one of those but we've got a baby brother,
so we're happy with that. But it's nice.
It's typically Art Deco,
with this square dial with the Arabic numerals,
and it looks Deco and Deco through. It's beautiful.
It's really nicely made and it's in fairly good condition.
I know the movement's not working but, horologically,
it shouldn't be too much of a problem to repair.
There's a tiny little bit of damage there to the glass,
a little crack in the corner, but it shouldn't cause too much problems.
-And can you tell me about the second item?
-Not a lot.
She gave me that, as well. That might have been her mother's.
Right, well, it predates the watch. It's late-Victorian.
It's by a company called Sampson Mordan,
who were very good at making this type of novelty silver
or little toy silver, so to speak.
And there are collectors who like that type of thing.
There's just a little problem with it, though. When we open it up,
we can see that there's a cork in the centre
and really there should be a glass bottle or collar in there.
The cork should be in the lid, so something's gone on there
but it might not be too much of a problem.
But lovely items. So, value-wise,
I think the watch is probably around about £80-to-£100 and the bottle,
-in that condition, is probably around about £40.
So let's put them in at 100-to-150
and we'll use the £100 as a discretionary reserve.
I think that gives the auctioneer a little bit of like flexibility.
That's lovely. Thank you very much.
Before we leave for the saleroom,
there's just enough time to look at another mode of transport
they have here,
and this one is slightly unusual.
In 1885, a caravan like this would have been used
by travelling Romany gypsies for hop-picking,
and this one has been lovingly restored, as you can see.
It's got everything that you would need,
but you wouldn't go to sleep in there.
It's a bit cramped for a family of four, so you would go to sleep
underneath a tree with a bit of canvas over you.
This is called a bender.
It's called a bender because it's made from sprung saplings,
as you can see. Look at that. With tarpaulin over the top.
Wouldn't fancy that, really, but if it does get too wet in the night,
at least you know where you could take shelter and make a cup of tea.
Well, right now, our experts have made their first choices of items
to go off to auction, so we're travelling right over there
and leaving you with a recap of all the items going under the hammer.
We'll be taking Alan's evocative Art Deco travel case.
It's in tiptop condition,
so it should be as irresistible to the buyers as it was to Nick.
There's also that early 19th-century spinning wheel
with a good yarn from Maureen.
And Anne's classic duo, the Swiss watch and English perfume bottle.
But will they appeal to the collectors?
We're travelling to Winchester today for our auction,
where we can see yet another vintage piece of Hampshire transport.
Nearby, is the Watercress Line, otherwise known
as the Mid Hants Railway. It gets its name from the days
when it took locally grown watercress to markets in London.
Today, it's been restored
and there are ten miles of track to enjoy for all you steam enthusiasts.
Well, I've been dropped off at our auction house,
Andrew Smith & Son in Winchester,
and our auctioneer is already on the rostrum steaming ahead.
And don't forget that the saleroom will add commission to everything
they sell, so keep that in mind when you're looking at your profit.
Today, it's 18% including VAT
and on the rostrum is auctioneer Nick Jarrett.
First up are Anne's travelling watch by Swiss manufacturer Texina
and that silver perfume bottle by
highly-collectable British company Sampson Mordan.
Thank you for bringing them in and hopefully we can get the top end of the estimate.
-Which is your money on?
-I think the watch is better.
The scent bottle's got a bit of damage, so the watch is a bit better...
-OK. That's the lot to have.
-I think it's the one to have, yeah.
-OK, we're going to find out right now. Ready?
This is it. Good luck.
Now, lot 160 is the Texina Impervo purse watch, there,
and you also get the little silver smelling salts bottle.
I'm going to have to start you here, to clear bids, at £65.
70 can I see in the room?
65, 75, 85, 95...
-He's got a commission bid, there, look.
£100. There's £100 at the back of the room.
150, 160, 170, 180...
Oh, this is very healthy.
-Come on, 200, please.
There at the door at 190. Yours at 190.
200, are you filling in? Last chance at 190. I'm selling at 190.
-Yes! The hammer's gone down.
£190. Great result. You're happy with that, aren't you?
-I'm very happy.
-Anything else you want to sell? Would you like to see us in the future?
Anything else in that drawer? Get that drawer out again.
Don't tempt me.
What a great start to the auction.
Now, will the bidders be tempted by Maureen's
early 19th-century spinning wheel that she still puts to good use?
-It takes you back, doesn't it?
-I remember seeing it
at the valuation day and walking past, and...
Everyone walked past it and gave it a good old spin, didn't they?
It looks fantastic in the room, doesn't it? Here we go.
It's going under the hammer.
Lot 105 is the turned wood spinning wheel.
Now, where are we going to start with this?
-I'm going to start you here at £48.
..with me, £50, is it? At £48.
50 somewhere. At £48. 50 surely?
-50 I have.
At 50. It's on the net at 50 and I will sell for that at 50.
5 can I say? It's going on. What have you got now?
55 now, on the net at 55. Nobody in the room, here?
At £55 and still on the net at £55.
-That is disappointing.
-No reserve, we sold it.
-No, I just needed it out of the way.
-Oh, it's gone!
-I'm disappointed by that but never mind.
It'll have been bought by somebody who loves it anyway, so...
Hopefully someone's going to use it and make something with it, yes.
Let's hope someone has bought that to carry on the tradition.
Now for that near-pristine travelling vanity set
by well-known Birmingham maker Adie Brothers.
I absolutely love this, with all that wonderful blue enamel.
-Alan, it's good to see you again.
-Who have you brought along with you?
-My wife, Sheila.
-Hello, nice to meet you.
-Pleased to meet you.
Well, what do you think of this?
Well, it's really different cos we've never been to a sale before.
And I think this will go, as well. 400-to-600, not a lot of money.
Not a lot of money. Break it down, there's a lot amongst it, isn't there?
There's a lot of collectors that want these kind of things.
The condition is good and if you add up what's there,
-for £400-to-£500, it's pretty reasonable.
-Pretty good, yeah.
Let's find out what the bidders think.
Hopefully it travels well. Here we go.
I'm going to start here, to clear bids, at 260.
280 now. 320...
-Interest in the room.
All right, 310. 320 with me. 330, then. Yes?
-It's getting there.
At £390 then. At £390. I have in the room at 390.
It's a lovely thing, that. £400, I should think so.
-We've got 450. 470?
-This is better, isn't it?
At 450, then. It's on the net at...
470, new bidder. 500?
It's £470, then. In the room at 470.
£500. And 20?
At £500, then. It's £500 on the net. Is anybody going that I've missed?
At £500. All done at £500.
Yes, I'm pleased with that. That's a good result, isn't it?
-That's good. Excellent.
-That was a slow old climb, wasn't it?
-It travels very slowly.
-It did travel very slowly.
But we got there in the end and what a great result.
Well, that's our first lots done and dusted here today.
We are coming back, so don't go away.
Now, whilst I've been in Hampshire, I've had the chance to visit
Southampton, the busiest cruise port in Europe.
Every year, over 1.5 million passengers head out from here
to foreign shores. I've come down to the docks
to learn about the history of the great cruise liners
and to find out why it's not always been plain sailing.
Ocean liners first took off in Southampton 177 years ago
and during that time many vessels have been berthed here.
I've been given special permission today to come aboard
the P&O ship the Oceana.
And, like all these modern cruise ships,
it really feels like the height of luxury.
But riding the waves hasn't always been
about glamour and entertainment.
When the first cruise liners took passengers across the oceans,
it all looked very different.
For hundreds of years, ships had been used for trade
but, in 1840, there was a sea change.
Companies like Cunard
and The Peninsular and Oriental Steam Navigation Group,
now known as P&O, got the first contracts to take mail
around the world on scheduled voyages,
and diplomats and merchants went along for the ride.
By the late 1800s, the transatlantic cruises had become
big business as ships took immigrants to America and Australia.
But the long trips meant weeks at sea
that could be harrowing for the passengers.
Journeys to the far reaches of the British Empire,
like the Middle East, were so hot that,
despite awnings being rigged up over the decks
and stewards operating fans, people took to sleeping on the decks.
Men would sleep on one side, women on the other for decorum, of course.
Britain was steeped in the class system
and from the early days of the ocean liner, passengers were
allocated three classes of travel - first, second and steerage.
As Peter Boyd, a leading expert on the history of cruise liners
and the Titanic, can tell us.
Steerage on Titanic, for instance...
There was one bath for 750 passengers.
-One bath. That was third class.
And that would have been cold water probably.
Cold water or saltwater. PAUL GASPS AND LAUGHS
The ships themselves would have been very, very luxurious,
especially the Cunard and the White Star ships.
They were the most luxurious on the North Atlantic route.
What was the food like?
Excellent, it really was.
For dinner, you'd probably have five or six courses in third class.
You'd have up to 12 courses for first class.
So, when did the first cruise holiday kick in
as opposed to the necessity of travel,
getting to America or Australia?
When could you just go for a jolly one week somewhere?
The first purpose-built cruise ship was a German ship, Hamburg America,
in round about 1900, 1902, thereabouts.
She carried around about 200 passengers
and she was the world's first purpose-built cruise ship.
But the days of these early cruise liners were short-lived.
During World War I, they were requisitioned as troop carriers
and hospitals. And, after the war, the fate of the transatlantic liners
looked sealed for good when, in 1919,
America put a cap on immigration.
Companies had to find new ways to fill their ships
and they had just the ticket.
They created a new tourist class,
which appealed to the cash-strapped public.
You still had first and second class,
but tourist class replaced steerage class,
which appealed to a wider group of people. And this early film shows
how they began to lay on organised entertainment
like balls, dinners and promote the benefits of exercise.
But this heyday wasn't to last.
During World War II, liners were requisitioned again
and this time cruise companies lost half their ships,
along with thousands of merchant seamen.
After the war, the liners had a brief resurgence
thanks to a new wave of immigration.
Liners gave passage to hundreds of thousands of immigrants,
including the Ten Pound Poms,
people leaving Britain to go to Australia for a fare of only £10.
A one-way ticket, mind you.
Now, despite it being prosperous times here,
the liners faced another challenge for their survival.
In the 1950s, the new jet airliner shot onto the world stage,
offering a safe quicker route to any destination.
Yet again, the shipping companies found a way to weather the storm.
They began to offer a new type of cruise,
many of which came out of Southampton.
They were short, affordable and this time one class for all.
In 1966, social commentator and broadcaster Alan Whicker
made this documentary for BBC's Whicker's World,
which captured the appeal of cruising
to the growing the clientele.
Everybody speaks to each other.
There's no such thing as a class onboard a ship.
You're all the same person.
I expected millionaires and very glamorous ladies,
and there just aren't.
-..while the phlegmatic British, inspired perhaps
by all that African abandon,
initiate their own quaint tribal ceremonies.
-Come on, Daddy!
This had become cruises for the masses.
Good evening. Evening, governor.
By the late 1970s,
the transatlantic crossings had become things of the past.
In their place was a new growing package of cruises
accessible to anyone
and that resurgence has continued to the present day.
Now, cruising is a global industry.
So slickly run, it's not uncommon for 2,000 passengers
to be brought on and off the ship
in just four hours on changeover day.
It doesn't faze seasoned sailor and bar manager Jamie Collins.
Jamie, you're the bar manager and it's changeover day today.
-It must be chaotic.
Very hectic day, Southampton turnaround day, as you can imagine.
-Hi, there, welcome onboard.
We have to prepare all the cabins.
All the cabins have to be turned round, all the bedcoverings changed,
-cleaned, hoovered. You name it, it happens today.
On top of that, there's nearly 300 tonnes worth of stores.
-Yes. You can't have a dry ship, can you?
-Of course not, no.
What's the most difficult thing about getting the ship ready?
It's that last half hour, when you're expecting 2,000 passengers
to come up that gangway and their expectation.
We need to match that. I think we do.
With 20 years in the business, you're still smiling.
There must be a big attraction. There's got to be, hasn't there?
Well, Paul, it beats nine-till-five.
It's nice waking up in a different port every day.
One day you'll have the Sydney Opera House outside your porthole,
the next day you're in Madeira. It's hard work but it's worth it.
Brilliant. I think there's only one thing left to say.
Bartender, I think we'll have a drink.
What would you like, sir?
Welcome back to Milestones Museum, here in Basingstoke.
In case you're wondering, did I get the full cruise?
No, I didn't. Better luck next time. But here I am anyway.
This area is known as the holding bay.
This is where the research is done behind the scenes
by our off-screen experts and, right now, I'm going to hand you
over to our on-screen experts for our next item.
Paul's brought something in to show Elizabeth
that was perfect for a trip on the high seas in its day.
Paul, I was drawn to your box in the queue.
I thought it might have contained something intriguing
and sure enough it does. Now, what can you tell me about your sextant?
I received it as a birthday present about 20 years ago, or so.
I was very enthusiastic at the time. I was an amateur sailor
and I wanted to go across the Atlantic in a small boat.
That was my passion, my bucket list item. Unfortunately...
time has gone on. The friend that I was going with...
It didn't quite work out, so here I am with a sextant
that actually hasn't been used anywhere, really.
I'm intrigued. So you took your course
and were all ready to set sail, but you were going to use what is
actually a traditional hand-held historic kind of instrument.
You weren't going to go for hi-tech modern things
-or do sailors still use the traditional method?
There was nothing at that time, 20 years ago.
There wasn't satellite GPS when I was...
Right. So, up until 20 years ago, this was the best it got?
-This was the best option, yes.
Given the passing of time, can you give me
a demonstration as to how it's held?
Well, I'm very rusty on it, but the basic principle is
that if you're up midday in the middle of the Atlantic,
you look through the eyepiece, you adjust the mirrors
so that you can see the sun, and you check that reading.
Then you adjust it so that the mirrors come down to the horizon,
and that new angle and the difference between those two is declination,
-and from tables you can find out what your latitude is.
So, do you know much about this actual example of a sextant?
Cos obviously there are lots of sextants out there
and they've been made for many, many centuries now.
Well, I know who made it, which is B Cooke & Son
because it says there, and I know it was dated,
tested and the various angles checked
on 14 September, 1950.
Well, B Cooke... The firm was established in the 19th century
by Bernard Cooke - the B stands for that.
They were established in 1863.
-They're actually still going, which is rather nice.
It has been used. To me, that is quite a charming thing
because it was made to be used.
The miles that will have travelled and the voyages
-and adventures that's seen...
-If only it could speak.
But you're now looking to sell it.
Do you know what you might expect to realise on it?
-No, I haven't any idea.
-A lot of the earlier sextants,
for example the 18th and 19th-century ones,
are now SO expensive, but you must always remember
there are collectors coming onto the market all the time.
So although this is a relatively recent example, quite a late one,
-it's a good one to start with.
I think that a fair estimate would be £100-to-£150.
-Fair enough, yes.
-I think that would be expected and be fair.
We'll put £100 discretionary reserve on it for you
and you've got peace of mind, and I do hope we do well for you.
And thank you very much for bringing it in to sell at "Flog It!".
They certainly don't make them like they used to.
Well, our experts are working flat out.
You could say the wheels of industry keep on turning.
Nick's found something that is still considered synonymous
with the best of Danish jewellery
from a company that emerged at the turn of the 20th century.
How come it's here?
My wife emigrated to Canada in Calgary and,
while she was over there,
she saw this piece and decided to buy it back in the 1970s.
Well, it's a very well-travelled deer.
It's by a company called Georg Jensen,
who I'm sure you've heard of.
And with these brooches,
Georg Jensen used to put a model number on the back all the time.
This model is 256 - it's the deer or fawn brooch -
and they make all sorts of things. They're still in production today
and the brooch you've got here is really typical Georg Jensen.
It couldn't be any more. It's so stylised and Deco in its design.
You've got this these lovely little stylised leaves
at the top, there, and the arch of the neck
in this double-reeded border round the outside.
It's just absolutely Georg Jensen to a T
and that's what the buyers are after at the moment
for this type of thing.
It's got these nice marks on the back, it's nice and clean
and it's in great condition. It looks like it's hardly been worn.
So, how come you're thinking of selling it?
It just sits at home in the safe. It's not doing anything.
My wife doesn't wear it any more.
We're planning to spend on our new grandchild coming along.
-Oh, fantastic. Good.
-So, it comes down to price really, doesn't it?
-It does indeed.
They're always popular at auction, they always sell well.
Quite fashionable at the moment.
They seem to be quite in vogue in the auction world.
It's a silver brooch so, from the silver content,
-there's probably about £10 or £15 there.
But with the artist behind it and the factory name,
it's probably worth around about £100-to-£150.
-Pleased with that?
-Yes, very pleased.
So what we'll probably do is put a reserve on it, just to cover it.
I'd put a reserve at £100. I think that's absolutely fine.
It should do that. It might go on and do a bit more. Fingers crossed.
Thanks very much.
The buyers really like Georg Jensen, and that deer is popular,
so we have high hopes for that piece.
-Enjoying yourselves, obviously.
So it could be you, you or you going home with lots of money.
You never know, do you?
Now, will our next owner, Barbara, be the lucky one?
Elizabeth is certainly looking interested
in the vases she's brought in.
Barbara, you've obviously eaten a lot of breakfast this morning
to come in with such heavy vases.
Tell me about them because they are really quite magnificent.
I first saw them when I was ten and they belonged
to a friend of my mother's,
and I always liked them. And about 30 years ago,
she just gave them to me...
..which was a lovely surprise, but they didn't look like that.
They were filthy and you couldn't see any of this pattern.
-So, you inherited them or you were given them 30 years ago?
So, subsequently had learnt more about them?
Have you found out...?
Well, we found out that they were a well-known French foundry
and that they were about 1840/1860, but other than that...
-Not much else?
-I don't know anything. This is...
..cloisonne, that's right.
You mentioned a very famous foundry and on this little band, here,
is the stamp of the gentleman, Ferdinand Barbedienne...
Who indeed... He was French and he was associated
with a very important foundry,
but in his early days he actually was a dealer in wallpaper,
but he obviously learnt the trade and appreciated interior decor,
By late 1840s, 1850s certainly, this combination of classic artefacts,
this very Grecian influence, very classical influence...
Combining that with fine quality metal mounts,
the bronze influence, there and then combining it with the enamel.
And actually, if you look at this,
I think you can see influence from Egypt, from Rome,
but you can also see influence from early 19th-century wallpaper.
I can see all that coming to bear.
-Now you've said that...
-It's quite fascinating, isn't it?
And this of course is alabaster and onyx, so you've got this mixture
of the use of polished stone, the use of cast metal,
the use of the enamel and all the influences come to bear,
and it's lovely that they are signed, they're stamped.
Have you any idea of value?
I don't really know what they're worth.
I think they're kind of tricky because they're quite rare.
-Oh, are they?
-We don't find the quality
of this type of artefact coming through very often these days.
They are harder and harder to find, so it's instinctive, really.
I'm thinking that a realistic estimate would be
-between £2,000 and £3,000.
-Wow. That's good.
-And I would hope they'd make more.
-Well, I would too.
-But the market is so tricky at the moment.
So, if we put a £2,000 reserve
on it, it would be wonderful if they took off and we had an exciting day.
It would be.
Agreed, Elizabeth, and I think they stand a good chance of success.
Well, Milestones Museum, with its fantastic array of vintage vehicles,
has certainly given us a chance to travel all over Hampshire today.
I've thoroughly enjoyed myself
and I know hundreds of people here have, too.
But, sadly, it's time to say goodbye to this host location
as we go over to the auction room for the last time today
and I wish I could travel on this open-top 1930s Leyland bus.
I've got a ticket to ride and so have you.
See you in the saleroom
and here's a quick recap of all the items going under the hammer.
The last three treasures we found are a sextant used for navigating
the oceans, as ex-sailor Paul ably demonstrated.
There's a classic brooch
by the ever popular Danish designer Georg Jensen
And the fabulous duo of Grecian-style 19th-century vases.
Will the buyers appreciate
the refined craftsmanship of these pieces?
So, back of the saleroom,
Nick Jarrett is joined on the rostrum by Andrew Smith,
who's selling our next item, that 1950s sextant used for navigation,
belonging to ex-sailor Paul.
-A good, early navigational tool.
-Where would we be without that?
This is quite a late example of that,
but the principle hasn't changed in all that time.
-And it's a nice-looking thing in original box.
That's going to sell. That's going to sell.
-For how much?
-We don't know yet.
We're going to put that to the test right now
because it's going under the hammer.
Lot 475. This is a post-war sextant.
We've had interest in this - two commission bids.
I'm going to start the bidding at £120.
Is there 130 in the room?
£120. Is there 130?
-At £120, 130, 140, 150...
-That's picked up.
£140 and selling. Is there 150?
At £140, are you done? At £140.
Is that a bid, sir?
No. At £140. Any more?
At £140, if you're sure. For the last time...
-There we go.
-He's done it.
-Nice and simple.
-Yeah! Happy with that. That's OK.
-Brilliant. Good estimate.
-Thank you very much.
That was a very good estimate.
I'll take the glory when I can. Thank you.
It's yours, Elizabeth. And now for our next lot, a Danish classic.
-Ready for this, Ian?
-Well, the ladies are going to love this next lot -
it's the Georg Jensen brooch. Need I say any more? £100-to-£150.
-It's got to go, surely?
-I'd be surprised if it doesn't sell.
-I'd be amazed.
-And you know straightaway,
looking at it from a distance, it's Georg Jensen. You just know.
I know. It's so stylistic. His work is so iconic now.
It's become stronger and stronger as the years tick by.
You've got to be here right now to bid
or online, or pick the telephone up.
Nick is on the rostrum right now
and fingers crossed we get the top end.
I've got a few bids. I have to start to clear bids at 110.
There you go. That's straight in.
120, 130, 140, 150, 160.
At 160 in the room now. 170?
Nope. At £160 here, then. At £160.
170 on the net. 180?
No? At 170, then. On the net at £170.
-At 170, all done?
-And hopefully one happy new owner.
-I'm sure they will be. They'll wear that with pride.
What a great result.
Now, our final lot should really be displayed with pride
on the mantelpiece. They are the two ornate mid-Victorian
vases in onyx, metal and enamel by the king of bronzes,
the French Barbedienne foundry.
-Do you like these?
-I do, but it's finding somewhere to put them.
They're quite a spacious market, quite academic and they're reasonably highly priced.
-It'll be touch and go...
-£2,000-to-£3,000 you've got on them.
-There is quality there.
-Yeah, there is.
-Well, good luck.
-I hope you sell them.
-So do I.
-It would be good to see a good result.
-It would, yes.
-Fingers crossed we're going to get it. Here we go.
Lot 350. This is the Ferdinand Barbedienne.
We should have two phones here.
-One, two, there we go.
-That's what we want to hear, isn't it?
Thank you. 1,600? At £1,500.
1,600 to Catherine's phone.
2,100, we'll take that.
2,200, 2,300, 2,400?
2,400, Catherine is winning.
-Two phone lines battling it out.
3,102 to Sean's phone. 3,200.
Can we tempt him to 4,200?
-He's going, he's going.
-Yay! Well done.
-Hammer's gone down.
-Wow. That's good.
Phew. Did you come here by yourself?
-You've got friends here?
-All up in the corner.
Great, great cos they'll have to drive you home.
Well, you spotted these, you knew they were quality.
-They were superb, yes.
-You said 2,000-to-3,000 straightaway..
-I was thinking, "I'm worried."
-Were you worried? Were you worried? Oh!
-I was, Elizabeth.
-I was worried.
-You were worried, as well.
Oh, ye of little faith. I don't know.
No, they did, they shone out as being different,
but I'm so pleased they got it today. Two phone bids, that was lovely.
-Thank you very much.
-And what a way to end the show, as well.
I hope you enjoyed that - we certainly did.
So, until the next time,
it's goodbye from all of us here in Winchester.
Flog It! comes from the Milestones Museum in Basingstoke, where transport is the name of the game. Elizabeth Talbot and Nick Davies take a ride through the best antiques and collectables, while Paul Martin takes a tour around a modern cruise ship to find out about the history of the Southampton cruise liners.