Episode 14 Flog It!

We've set our valuation tables up

inside the stunning, the magnificent St Albans Cathedral and Abbey

in the city that shares the same name,

in the county of Hertfordshire.

This church was named after a local man,

a brave man called Alban, who sacrificed himself

to save a Christian priest over 1,700 years ago,

and from that day onwards, people have been coming here to worship.

It's the oldest place of Christian worship in the country.

Now, we can only hope that somebody here in this magnificent queue

has brought along an antique that dates as far back as that.

Well, we live in hope, don't we? Welcome to Flog It!.

St Albans Cathedral and Abbey stands on the site

where Alban gave his life towards the end of the third century AD.

Inside, the cathedral houses a medieval shrine in his honour,

and pilgrims still come to worship and pray by it today.

The building itself has evolved over the centuries,

which is reflected in its mix of architectural styles,

from the Saxon period to the Normans,

through to its great Victorian restoration,

and the building of a 20th-century chapterhouse.

Well, this happy crowd seem eager to get inside to learn more

about the history of this magnificent building,

and, of course, to meet up with our experts, to pick their brains,

to ask that all-important question, which is...?

-ALL:

-What's it worth?

-And if you're happy with the valuation,

-what are you going to do? ALL:

-Flog it!

Right, let's get inside. Come on, follow me, everyone.

Our experts are already hard at work,

and we haven't even got through the cathedral doors yet,

but James Lewis is already imparting his wisdom.

-Lovely shape, isn't it?

-It is.

-Yeah.

China is doing very well at the moment. Very well.

And it looks as though Claire Rawle may have spotted her first item.

That's quite an unusual cribbage board marker, isn't it,

with the little soldiers in it?

Don't think it's terribly old, is it?

It's quite nice, though, isn't it? It's quite fun.

So, is it round one to Claire, or is James still a contender?

Hello, James. What have you got there?

It's a boxing programme, Anglo-American.

-Oh, wow.

-All signed.

-OK. Boxing, hey?

-Is this going to turn into a fight, do you think?

-It already has.

-HE LAUGHS

-Oh, OK.

-Do you want to find your own lot? Go on.

Yeah, all right, I'll go up here, shall I?

Whilst everyone pours into the breathtaking nave

of St Albans Cathedral and Abbey and makes themselves comfortable,

let's take a look at what's coming up later.

James comes across an unusual picture...

-Sand pictures.

-Are they sand pictures?

-Yeah.

Just feel that.

Oh, yes!

..and one owner gets some great news.

-Were you surprised at the valuation?

-Extremely.

I thought they might have been about £100, or something.

Something along those lines.

And I'll be paying a visit here to Knebworth House,

a magnificent Grade II Tudor stately mansion,

probably best known for hosting its rock concerts.

I'm here to uncover a little-known story

about one of its bravest inhabitants,

Lady Constance Lytton,

who put her own wellbeing aside to stand up for her beliefs.

But before that, fortune is smiling on our crowd today

because they get to queue

here in the nave of St Albans Cathedral and Abbey,

and this nave is spectacular, isn't it? It's 85m in length,

it's the longest nave in the country,

and that is some view.

I'm in awe of this building. Not just its history,

not just the tales of bravery I hear,

but also looking at the images -

the wall paintings telling a story of Jesus's sacrifice,

many images of the Crucifixion

on all of these wonderful Gothic columns.

James Lewis gets our valuations off to a great start

with a tale of derring-do.

Alison, I have to say, you don't strike me as being a pipe smoker.

Let's have a look. Give it a go.

-HE LAUGHS

-No, it's not you, is it?

-No.

-Why have you got a pipe?

-It belonged to my grandfather.

-OK.

He was a pipe smoker and he had a collection of pipes.

-So, only one left in the family?

-Well, yes.

-Nothing as carved as this. Just ordinary pipes, but...

-Yeah.

-Why did he have this, do you know?

-No idea. No, no.

-OK.

-Do you know who he is?

-No, I've no idea.

Well, it looks like an explorer.

That sort of woollen wrap around his head and the big goggles.

This guy, I think, is a chap called Frank Wild.

Now, Frank Wild was a great explorer.

He went on some of the biggest expeditions in British history.

The first one was on board Discovery with Scott in 1901 -

Scott's first Antarctic expedition.

Then he went with Shackleton in 1908.

-Luckily for him, he didn't go with Scott in 1912.

-Right.

Otherwise, he may well have never returned.

But what he did do was go back on the trans-Antarctic journey in 1914,

and that was, of course, the expedition where

the ship was caught in the ice and they were out there for two years.

-Total disaster, but he made it back.

-Right.

-So, that's who we think he is.

-Mm.

I've done a bit of research. What do you think to him?

-Wow.

-That's Frank Wild.

-Wow.

Yeah, he had a beard rather than a moustache.

I guess, if they're going to do an image of him,

-they would have him wearing all the kit...

-Smartened up, yes.

-..but they would smarten him up.

-Yes, yes.

I think that's probably why we're looking at that.

-But I think that image is uncanny. I think it's got to be him.

-Yes.

I've never seen a pipe like it.

In terms of value, if I said £40 to £60,

-would you be happy with that?

-Mm, a little bit more.

-HE CHUCKLES

-OK.

-Well, what are you thinking?

-50 to 80?

-Yeah?

-With a reserve of 50.

-Are you happy with that?

-Yes, that's fine.

-Do you know, I wouldn't be surprised if it made £100.

-Right.

But then again, I wouldn't be surprised if it didn't sell at all.

-HE LAUGHS

-It's one of those things that,

-in the right sale...

-Yes.

-..I think it would do very well.

-Let's take it along and see if it's the right sale.

-OK.

-Fingers crossed.

What a wonderful story.

Now, remember those charming games that Claire spotted in the queue?

It's time to take a closer look.

Richard and Barbara, it's lovely to see you today

in this magnificent, holy place.

And what have you brought in? Gambling items of vice!

My goodness, I hope we're not struck down in here.

Cribbage marker boards and some dominoes.

So, you tell me a bit about them. How did you get hold of them?

We got them in a car-boot.

We sometimes go to car-boots just to have a look around.

And we like quirky things, and it's just caught our eye.

So, how long ago did you find these?

About three-and-a-half, four years ago.

-What did you pay for them?

-£20.

-Oh, OK. Reasonable. Well done.

And do you play crib or dominoes? Have you used them at all?

-We do, sometimes, yeah.

-Oh, OK. So, you understand crib, do you?

-Not crib, but dominoes.

-Yes, I can do the dominoes!

-So, you've decided now you're going to part with them, or...?

-Yeah.

-Yeah, yeah?

-We've redecorated.

-OK.

They don't really fit in with the decor any more, so...

-Oh, dear!

-I know, everybody says it, but it's time, perhaps,

to move them on to somebody who really will enjoy them.

They've been cast off. They are very collectable.

Cribbage, as a game, has been around since the early 1600s.

It's an old game. Dominoes was more a sort of 18th-century game.

So, both games, actually, have been around for centuries,

and very, very widely played still today.

But these don't date, actually, from quite that early.

You're looking at, I think, a set that was probably made in the '70s,

late '70s, that sort of period.

The dominoes are made out of a type of plastic.

But what I really like are the little military figures...

-Quirky.

-..because they are painted die-cast...

-Yes.

-Right.

-..like the Britain soldiers.

And I think they probably were made to be used with this set.

And, of course, these little chaps are the markers.

With crib, you have to move them up and down the board, don't you?

That's right, yes.

And then the person that gets back to the beginning is the winner.

So, I think they are actually quite collectable items.

But how about you, Barbara?

What do you think they might be worth?

I think we were thinking somewhere about £40 to £60,

-maybe, for them, hopefully.

-OK, OK.

-Well, that seems quite sensible.

-Yeah, yeah.

It's not a million miles away from what I was thinking.

I was pitching it a little bit lower -

maybe sort of 30 to 50.

Would you want to put a reserve on them to protect them on the day,

-do you think, perhaps?

-I don't think so, no.

If someone will buy them at a reasonable price,

-and they'll go to someone who'll enjoy them.

-Yeah,

they will go to a collector. That's very sensible of you

because I think they'll find their own price on the day at the auction.

I mean, that's what auctions are all about.

So, if we go forward with that estimate,

but perhaps leave them without a reserve?

-That's fine, yeah.

-Excellent. It's been a pleasure seeing them,

and I look forward to seeing you at the auction.

Now, James has found a decorative piece that is just as pleasing.

We are here in this magnificent building,

surrounded by some of the earliest sculptures in stone,

with wonderful carving everywhere,

and you've brought your own little bit of wonderful carving,

and I love it!

-There's one thing about this, Rosemary.

-Mm-hm?

The combination of bronze and white marble

that tells us a particular date.

-Any ideas?

-I thought it was late 19th century.

-I think it's slightly later than that.

-Is it? Oh, right.

Looking at her, the way her hair is, her features, I think she's 1920s.

Oh, right. Fair enough, yeah.

When I see marble and bronze together,

I think it's a wonderful, wonderful combination.

This came from my grandmother.

-When I was a little girl, I absolutely loved her...

-Right.

..cos I thought she had such a pretty face and lovely hair,

and she was very tactile.

-When she died, it was left to me.

-Oh!

-Yeah.

So, she knew you loved her, at that time?

Yeah, absolutely. Very, very pretty. Very, very pretty little woman.

Have you had a good look over her for a mark, a signature?

Yeah, I can't find any marks or anything on her at all.

-How long have you had her?

-1963.

Ah. Well, there's a signature.

-Good grief!

-HE CHUCKLES

And it says G Merlin,

and he's signed it on the marble base,

which was something that was very fashionable

in the 1920s and '30s, especially in France.

And it's an artist that does come up in the salerooms occasionally,

but comes up in various forms and various sizes.

Whenever you're looking at a female form from this period,

bearing in mind the '20s was quite a risque time,

they were making lots of nudes and nude dancers, scantily clad,

the odd bit of material here and there,

hardly concealing anything.

Those, as I'm sure you can imagine, are the most popular of all of them.

So, as soon as you've got a bronze and marble combination like this,

where she's almost pensive,

and, as you say, could almost have been 19th century...

-Yeah.

-..in her pose,

-then they're not worth such a lot.

-Oh, right.

So, the same artist can command different prices.

And in terms of valuation, these figures, these busts make,

week in, week out, £200 to £300, something like that.

Occasionally, they sort of fall at 150,

-but I wouldn't want to see her make that.

-OK.

-So, if we said £180 firm reserve...

-Right.

-..would you be happy?

-Absolutely, yes.

-Sure?

-Yeah, positive.

-Great, let's do it.

Yeah, that's great. Lovely. Thank you very much.

A Flog It! valuation day is a great experience.

Why not come along and find out what your items are worth?

Now, it's over to Claire's table.

Well, Alan, we're in this ancient historical site

and what do you bring in? Science fiction!

-Wonderful! So, were these yours?

-They were my son's.

-Right.

-And they come from... In the '70s, I bought them.

-Does he know you're here?

-He does now.

-Oh, OK.

THEY LAUGH

-Have you got a lot more of these at home?

-Yes, a loft full.

Oh, right, OK. I have a sneaking suspicion, though,

-you actually quite like them yourself.

-I do, actually.

The thing is, with toys, they're a very nostalgic thing,

so people tend to buy into things they remember playing with.

It does also make you feel rather old

when suddenly toys you played with

become collectors' items, I can tell you.

Now, with robots, they really started making robots in the '50s,

so it's the '50s ones that make far more, whereas you say this is 1970s.

-Yes.

-He's Japanese made, which a lot of them were.

-Yeah.

-Battery operated, and he does work.

-Yes.

-So he wanders forward. Quite fun. Ooh, I say, he's flashing.

-Yes.

But the nice thing is, you have the box.

-Now, the box - not looking too good.

-No.

-But you've got the box and it's complete.

-Yes.

There are people that collect robots and people that love Doctor Who.

So, here we have Doctor Who game,

and you obviously looked after it well because, hey presto,

-it's pretty well complete, isn't it?

-Oh, yes, it is, yes.

So, we have our silver Daleks and our gold Daleks,

-all with plungers attached.

-Yes.

-OK.

No bits missing, presumably all the counters and things.

And I assume that you just parade them round the...

-Yes, you go round there.

-..round the track.

And Doctor Who has been such a cult show for so long.

I mean, I remember watching it when I was quite small, a long time ago.

So, there is a big collecting market for Doctor Who

so, again, a very collectible item.

-You've obviously decided to sell them.

-I have.

-I think we need to talk value.

-Please.

-OK, so the robot.

He's a little bit later, so he's not going to be hundreds of pounds.

-I think £60 to £80, £50 reserve.

-Mm-hm.

-Is that good?

-Yes, that's fine.

-Excellent.

However, Daleks, I think this is actually quite unusual.

I haven't seen this game before and I certainly haven't seen

anything so complete as this and, again, it's Doctor Who.

-I think this will be a bit more.

-Oh, right.

-I think it's going to be £80 to £120.

-Good God.

And I'd put a £70 reserve on it. Is that good?

-That's fine, yes.

-Excellent. Right, well, I can't resist it.

-Shall I set him going again?

-Go on.

-He gets a bit excited.

-He does, yes.

-Argh!

SHE LAUGHS

I'm glad you're having fun, Claire!

Before we head off the auction,

there's something I'd like to show you.

The ancient Romans improved the quality of life for many Britons

by introducing luxuries and comforts, such as central heating,

but they also brought lively entertainment too,

in places such as this theatre.

Verulamium's Roman theatre,

the remains of which are in St Albans today,

was built around 140 AD and is unique in Britain,

as it's the only one of its kind to have a stage.

All others are amphitheatres.

Roman performers strutting around the stage would have worn masks

very much like this one. However, that's not an ancient Roman mask.

It is Romanesque in style,

but it's a modern creation made by a local theatre company,

here in St Albans, called Trestle, who have adopted

the ancient practice of mask-wearing into their performance.

They've made it their own, they've made it unique.

Trestle is over 30 years old.

It was formed in 1981 as a touring theatre company

who worked with masks and other forms of physical theatre.

Nearly 20 years later, they gave up their nomadic existence

when they moved into this converted hospital chapel in St Albans,

which they named the Trestle Arts Base.

Trestle are one of the first touring theatre companies

to create their own home, and they've been here ever since.

I'm meeting artistic director Emily Gray

to find out more about the company

and, hopefully, get my hands on some of their extraordinary masks.

So, tell me, how do you incorporate

the ancient performance of mask-using in your work?

Masks were obviously used right back at the beginning of theatre,

so the Greeks used masks. They used them to seem bigger than life,

-so people could play gods, men could play women.

-Sure.

Massive amphitheatres, you could see the characters.

Then the Romans used them. They took them from the Greeks

and they started making much more stock characters of masks,

so you'd start to recognise the hero character or the villain

and that then developed into the 16th-century commedia dell'arte.

-Sure.

-So, the half-mask characters,

and they became terribly popular across Europe.

When we use our masks,

they're also very, very strong characters that come in.

And the whole idea of the performance is, it's very immediate.

It's about engaging your audience. There's no fourth wall there.

It's the audience and the masks,

so it's all about eyeballing that audience, improvising with them.

I like this chap. He's a mohican, sort of, a punk. Look at that.

-This is Maurice the Mohican. Get his mohican to stand up properly.

-Ah!

THEY LAUGH

And he is one of our oldest masks, so he's from the early '80s,

-of course the era of punk.

-He's brilliant.

-He's brilliant.

He was in a show called Hanging Around,

which took place on a park bench

and it had your punk and your Boy Scout and your mod.

It was very '80s.

These masks here are from the older shows

and from the performances, where there's huge detail

in the character in these.

These ones are more for our educational work.

There are eight of these masks, the basic masks,

-and they're very clear expressions, almost cartoon.

-They are.

We all know that this guy is happy.

And then you get the slightly more complicated set,

the intermediate ones, who have a bit more going on in them,

-a bit more expression in there.

-There's a worried look there.

-Yes.

Then we get to the advanced masks,

so these are more like the show masks.

-That's a bit more getting towards a human face.

-I can see that, yeah.

The most recent ones we've created are actually these ones.

-These ones talk to you, you see. Ha-ha!

-Oh, yes!

So, that's a devil, that's the devil mask.

I'm pleased you did that, not me.

For years, we didn't speak as a company, you see.

-It was completely mimed, then?

-Yeah, completely. No sound.

Which meant we could travel anywhere and people understood us

anywhere we went. There was no basis in language.

But with these half masks, we can look at Shakespearean archetypes,

we look at the Greeks, we can do storytelling more,

so these are very fun

-cos they obviously bring in the voice.

-They do.

Alongside Trestle's professional performances

and their educational work, the company also makes sets of masks

from their studio in the Trestle Arts Base,

which are then sold all over the world.

Joseph, who works in the studio, is showing me how they are made.

We take this resin mould and we put it in the vacuum former.

So that gets lowered in. Then we take a piece of plastic...

..heat it up...

PAUL LAUGHS

-Then give it a knock on the head so...

-Sure.

-..the mould falls out.

And then we'll go over here and cut it out.

So we do the eye holes and then the elastic holes

and then that's it done for this...

-And then you get creative.

-Mm-hm.

-Come on, let's do it.

-OK.

Talk me through what happens next.

What we do next is cut these out

cos they've not really got a good shape at the moment.

That's very quick.

-That's taken off all the rough edges there.

-Who do you sell these to?

We primarily sell to schools and drama groups and things like that.

-All over the world.

-All over the world, yeah.

We send internationally as well as the UK.

-And how many of these do you make a day, then?

-A day?

-The record's probably about 100 masks in a day.

-I'm very impressed.

-Right, I want to decorate one. Can I decorate one?

-Sure.

OK, this is the mischievous mask in the basic set

-and this is what it will look like when it's finished.

-OK.

A bit more blue.

-How's that?

-It looks good.

-Is that all right?

-Yeah, it looks good.

It's nearly there, isn't it?

The only thing now we need to do

is put some elastic on it and it's ready to go.

Right, here's my mask. It's nearly dry.

I think, before I leave here,

I should give it a test drive, don't you?

And Emily has kindly agreed to run through one of her workshops.

So now it's time to dim those lights.

I'm going to pop this on you.

You're going to look at me, not look at the audience yet.

Here's your hat. Here we go.

Great. Round I go. And let's see you. Hello!

Ha-ha! Are you going to say hello to everybody?

Look at all your audience here. There we go.

How are you feeling today? Show me in your body how you're feeling.

Oh, look who's here. Look who's here.

Um, so you have been very naughty, haven't you? I know.

You've really upset her. Are you going to say sorry?

Oh, look, he's going to say sorry to you. Is that...?

Do you believe him? No.

You need to apologise, show us that you're really, really sorry.

And I want to see you being really true to...

Oh, are you going to have a hug? Oh. Oh, how lovely.

They could be together. Happy? Good. Oh, you're excited now.

Really happy! Really happy, great, great.

Let's see you together in a final pose.

Looking happy together!

Oh, careful of him. Careful there. There we go. Hoorah! Well done.

We've had a brilliant day so far.

I've got my favourites, you've probably got yours.

Let's find out what the bidders think.

While we make our way over to the saleroom,

here's a quick recap, just to jog your memory,

of all the items we're taking with us.

James believed that Alison's wooden pipe

may have been fashioned on the intrepid polar explorer Frank Wild,

but what will the bidders make of it?

Will the domino and cribbage sets, with their die-cast soldiers,

march away at the auction room?

Rosemary's always loved her 1920s marble and bronze bust,

but now it's time for this pretty lady to find a new home.

Dragged out of the attic, Alan's 1970s robot and Daleks board game

are sure to exterminate some bids in the saleroom.

We are staying in Hertfordshire for our sale,

but are relocating to the small town of Tring,

which borders the Chiltern Hills.

As well as attracting visitors

who want to explore the nearby countryside,

this pretty market town has another draw -

the beautiful Victorian Tring Natural History Museum.

Hopefully, the bidders will find our lots as enticing

as the nearby attractions,

as we head over to Tring Market Auctions,

where Stephen Hearn is on the rostrum.

Remember, whether you're buying or selling, at every auction,

there is always commission and VAT to pay. Here, sellers pay

between 10% and 15%. First under the hammer

is the 1920s bust.

Rosemary, good luck. I love Rosemary's lot. It's so pretty.

It's a combination of marble and bronze.

It's a beautiful, beautiful little bust.

Now, will we get that £200 to £300, and why are you selling it?

I'm selling it because, if it sells,

I'd like to put money towards an antique cat.

-An antique cat?

-I like cats. I collect cats.

Ooh, a bronze cat? Something like that?

Possibly. Depending.

-Do you have real cats, as well?

-Oh, I have real cats.

-You're a cat lover?

-Oh, yes.

-Oh! Well, good luck.

-Thank you.

-Good luck.

-Thank you!

-It's going under the hammer now.

That's a bit different, that one, isn't it? It's a rather nice one.

Inscribed by Merlin. There it is.

Alabaster, probably 1920s, something like that.

A couple of hundred pounds for it? 200 for it? 150 for it? Yes. Surely!

Yes? 60? 70?

80? 90 now.

Yes? 190, we've got.

Are we going to be...? That's 200, we're bid now.

200, thank you. 210, yes or no? 210, I have.

220, is it? At 220.

-Getting there. Crawling.

-Come on, Rosemary.

-And 30?

And 40? Is it 240?

And 50 now. Is it going to be 60?

Sure? 250 has it, then.

-Brilliant, brilliant!

-Good.

-And you are out. £250, then.

-Yes! £250.

-Brilliant.

-Mid-estimate.

Do you know, that was beautiful, wasn't it? It was quality.

-And as we always say on the show, quality always sells.

-Mm.

Well done, you.

That result should go a good way towards an antique cat for Rosemary.

Next, let's see if we can make a decent profit

for Richard and Barbara on their cribbage and domino games,

which they bought for £20 at a car-boot sale.

Fingers crossed we get these away top end of the estimate.

You see, the thing is, there's no reserve.

I know they're going to sell,

but I really like to see things with reserves,

and I know it's an auctioneer thing.

-You're confident, though, aren't you?

-Yes, yeah.

Well, they're just quirky items, unusual.

-If you like playing games, it's great, isn't it?

-Yeah.

We're walking a tightrope here. You know that, don't you?

Let's hope we get to the other side.

Here we go. It's going under the hammer now.

Right, now we've got a domino stand. Rather nice, those.

And a cribbage board with the guardsmen.

Are we going to get 60 for it?

Or 50? Or 40?

-We've got 40 for it.

-Yes!

-40? Excellent!

-Have we got 50? Yes?

-50? I've got 50. And five now, then.

-Great.

If there's no more, then, at £50, then it's going. The room's out.

It's going down and I shall sell it for the £50, then.

Thank you very much.

-£50. Brilliant. Well done.

-That's great.

-We got the top end.

Who was worried about no reserve? THEY LAUGH

What a great profit on a car-boot bargain.

Finally, remember that pipe

which James thought might be the explorer Frank Wild?

Well, it's time for it to go under the hammer.

-It was your grandad's or your dad's?

-Yes, Grandad's.

-It was Grandad's. He collected pipes, didn't he?

-Yes.

-You don't want it any more? You're decluttering?

-Yes.

-OK.

Anyway, look, good luck, both of you.

This is going under the hammer now.

A pipe, the wooden bowl carved as an explorer.

Is he one of the Arctic explorers? There you are.

Are we going to get to £100 for it, or £50?

Yes, we'll get to 50, won't we?

Yes. 50, I'm bid, then.

And five for you? And 60? And five? And 70?

And five? At £80, we're bid. 85? 90? Five? 100?

£100, then. 100, I'm bid.

-Well, this is good.

-Yes.

-110? And 20?

110's got it, then.

£110. Thank you.

-Yes! Hammer's gone down 110.

-Yeah.

-I was thinking around 70 to 80.

-I think that's a great price for it.

-100 - top price, top price.

-Very good, yes.

Right, our next lot - well, we've got two lots coming up -

will suit all you modern-day collectable enthusiasts.

It's 20th-century modern. We've got a robot, 1970s robot,

and a Daleks board game belonging to Alan, who can't be with us.

Grandad's not here, but we've got the grandchildren,

Anya and Ashley.

-Yes.

-OK, I'd be playing with this robot, if I was you.

I'd be thinking, "Grandad, I want that robot for later on in life,"

-because that will look great...

-No...

-Didn't want a robot?

-No, I don't want a robot.

I'd go for the robot and not the Daleks game. What about you?

Definitely Daleks. I'm a massive Whovian.

Right, it's going under the hammer right now.

We're going to find out what everyone thinks of the robot.

Here we go.

A battery-operated super robot.

How about that? £100 for him? 100?

Or 50? Yes. 60. 70. 80.

Let's go like a robot.

90. 100. And 10. And 20.

-Wow.

-30.

130 for him, then. He's going for £130.

GAVEL BANGS

-That went quickly.

-Yes!

One down, one to go. If this one doesn't sell, I will exterminate.

There you are. War of the Daleks.

40 perhaps? 30 perhaps?

Yes! 30 I'm bid for the Daleks. At 30 we're bid now.

Are you going to be 5, sir?

And 40. And 5. We close at £45. 50 perhaps?

No? At £45, then.

-Ah! No Doctor Who fans here.

-I thought it would have done more.

But you said you'd like that one.

Yeah, I wish I'd brought money with me now.

But, hey, you can take it home with you.

Thank you anyway for standing in for him.

Well, there you are.

We're coming back here later on in the show, so don't go away.

We could have that big surprise.

But before I head back to the valuation day,

while we're here in the area,

I took a trip to the beautiful Knebworth House,

which is about 20 miles from here.

Knebworth House is an architectural masterpiece.

It dates from the Tudor period,

though you'd be forgiven for thinking it was built much later,

as the original 16th-century red brick

was concealed beneath turrets, domes, gargoyles

and stained glass in the 19th century,

which turned this stately home into a Gothic Victorian fantasy.

But however fascinating the architecture is,

Knebworth is best known

as one of the country's premier concert venues.

Over 100 major artists have played here

since the estate threw open its gates in 1974,

with kings and queens of pop and rock topping the bill,

such as the Rolling Stones, Ella Fitzgerald and Queen.

But I'm not here to admire this architectural treat

or delve into Knebworth's past rock history.

I'm here to learn more about a story of one of its past residents.

In the early part of the 20th century,

Lady Constance Lytton put her own health at risk

to stand up for what she passionately believed in -

the right for women to vote.

During the second part of the 19th century,

women in the United Kingdom began campaigning for women's suffrage,

the right of women to stand for electoral office and to vote.

Lady Constance Lytton, who spent her formative years here

in the sumptuous surroundings of Knebworth House,

played a vital role in the movement.

To find out more, I'm meeting Clare Fleck,

who has been Knebworth's trusted archivist for over 20 years.

What type of person was Lady Constance?

Well, she was born into an aristocratic family,

so very privileged lifestyle.

And some of the things she'd done would have been quite conventional

for a young lady, such as her watercolours.

She did watercolour art.

She was also very musical. She was a sensitive soul, very shy.

Didn't like the public aspects of her upbringing.

She played the piano beautifully,

would loved to have been a professional pianist.

There's some lovely cartoons by her brother-in-law,

Edwin Lutyens, of her playing the piano here.

And she loved doing ordinary things.

She liked to do what she calls in her diaries "house-maiding".

She loved cleaning, she loved flower-arranging,

doing the accounts, mending hats, mending her clothes.

She was a very practical person.

She didn't like the posh side of life.

How did Lady Constance get involved in the suffragette movement?

In 1908, she met the suffragettes

through helping with the girls' club that she was helping to run

with a little inheritance of her own,

and she was invited to go with them to a seaside house for a holiday.

There were two strong suffragettes there who suggested she join them.

But she didn't just willy-nilly say, "Yes, that's for me."

She went away, she read the literature

and made a conscious decision that, yes, this was a very valid cause

and that she would join the suffragettes.

There were two different lines of attack

in the fight for votes for women.

The first was represented by the National Union of Women's Suffrage,

which used only peaceful means of protest,

whereas the Women's Social and Political Union

used militant and sometimes even violent means

to get its message across.

So, she decided to join the cause,

but it was a while before she actually signed up

to the Women's Social and Political Union,

which was the militant side of the cause.

Con decided that the militant way was the way she could make her mark.

But she was never violent in a serious way.

She'd throw stones at a car or break a window -

minor violence just to attract attention

-and ultimately get arrested.

-And she did.

-She did.

The first demonstration she went on took her by surprise

cos it was a very violent business.

She was pushed and shoved and squeezed by the police,

and she was not strong herself.

She had a weak heart and never had strong health,

so it was really a traumatic experience for her,

but this is what she wanted.

She wanted to be involved with the ordinary suffragettes.

-Did she spend time in prison?

-Oh, certainly.

Altogether, she had four imprisonments.

The first time, in 1910, she went to Holloway

and she wasn't treated as an ordinary suffragette.

-She was Lady Constance Lytton...

-Yeah.

..so she had preferential treatment, her health was checked,

so her heart - her weak heart - was identified,

and she was put on the hospital wing, which she didn't want.

She had two imprisonments like that,

and for her third occasion, she took drastic action.

She went well away from London,

disguised herself as a working seamstress, as Jane Warton.

She even rejoined the WSPU as Jane Warton.

So, when she was arrested there,

-Jane Warton's health wasn't checked.

-Mm.

She was an ordinary prisoner, a third-degree prisoner,

and went on the ordinary wing. So, when she went on hunger strike,

she was then brutally force-fed, as the suffragettes were.

That's what she wanted, but it was a brutal process.

She had ill-health afterwards, but went on working for the cause.

She worked in the headquarters of WSPU, went on lecturing.

Even though she felt she was a very poor speaker,

she really inspired people through her lectures and talks.

So, how did Constance's story end?

Did she know that she made a big contribution and a big difference?

I think she appreciated her part because she wrote a book,

a very moving book called Prison & Prisoners.

We've got a copy, which is an account of, it says here,

"Some personal experiences by Lady Constance Lytton

"and Jane Warton, spinster."

-She's got both sides.

-Absolutely.

-Yeah.

It's the story of her part in the "votes for women" cause,

her prison experiences. It also tells us a lot about her.

The book, which was very popular -

the first 2,000 edition was sold out within a week,

and it was published internationally...

And, again, it shows us not just prison conditions.

She can see the best side of anything.

Well, she died relatively young, in her 50s.

Yes, she was only 53, and I'm sure that the fight that she took part in

contributed to her ill-health and her early death.

Was she alive to see women get the vote?

To some extent. She died in 1923.

In 1918, women over the age of 30 had got the vote,

-so she did see that.

-Yes, yeah.

In fact, in her book, there's a very touching piece

written in her own hand, and she says,

"February 1918. By the Representation of the People Act,

"about six million women of 30 years of age

-"obtained the parliamentary vote."

-That's brilliant.

But full suffrage didn't come to women till 1928,

and, of course, she'd been dead five years by then.

A sad story, but a wonderful story and a wonderful woman.

The casket holding Lady Constance's ashes

rests here in this mausoleum on the Knebworth family estate.

And from everything that I've learned about Constance today,

I think the epitaph written here is rather apt.

Just listen to this. "A celestial sense of humour,

"boundless sympathy, a rare musical talent.

"She devoted the later years of her life

"to the political enfranchisement of women

"and sacrificed her health and her talents

"in helping to bring victory to this cause."

Today, Constance is still remembered

because every year, in March, on International Women's Day,

a group of women make the journey here

to pay tribute to Constance's bravery

and contribution towards the suffragette movement.

Back at St Albans Cathedral and Abbey,

our valuation day is still in full swing

with hundreds of people queueing to see our experts.

And we're not finished with the suffragette theme just yet,

as Claire has come across a pair of mementos from the cause.

Helen, I love these.

Now, we've actually seen a lot of religious figures here today,

but these are from a totally different movement, aren't they?

-Oh, yes.

-So, tell me a bit about them,

-what you know about them.

-Well, all I know is that

my mother-in-law gave them to me about 15 years ago.

I can't say that I really like them

cos they're not particularly attractive,

and I can't find a use for them,

but I do know that they are meant to be suffragettes.

They're actually hallmarked Chester 1908,

which is not long after Emmeline Pankhurst founded

the suffragette movement in 1903.

So, very, very much of the period.

They're made by a very interesting firm

called Saunders and Shepherd,

who actually originally mounted mourning jewellery.

-Whitby. The old Whitby jet.

-Oh, yeah, yeah.

-And they're little novelty salt and pepper shakers...

-Yeah.

..in the form of two suffragette ladies.

-They're made of silver.

-Yeah.

-Solid silver.

And then you've got like little panels front and back,

wearing the poke bonnets,

and the little holes are made in the back of the bonnets

for the salt and pepper to be shaken from.

-And then you've got some rather unattractive faces in there.

-Yes.

Yes. Very simple arms and rather shapeless figures, as well.

Suffragettes, at that time, were depicted in illustrations,

postcards, anything, as rather ugly, manly women.

Not the sort of feminine, attractive woman

that would look after her home and her husband

and not be bothered about things like voting.

You know, they were depicted as ugly. They were ridiculed.

They had to go through all that.

And the boards, front and back,

actually did have lettering on them, which you can just see.

-But you know what it says, don't you?

-Yes.

-Yes.

The salt has "votes for women" written on,

and the pepper has "I can make it hot for you".

-I mean, obviously, you've got the pepper making it hot.

-Yes.

But also, it's a reflection on their feeling,

"Yes, we can make it hot for you. We'll make it difficult for you.

"We'll make you give us the vote." Because it was a huge struggle.

So, these ladies represent something

-that was amazingly important, really, in history.

-Yeah.

However, we need to talk about value.

They are very collectable.

They're novelty condiments and there are people who collect them,

but it's the fact they're suffragettes

-that's going to give them their value.

-Yeah.

I think, easily, we should estimate them

at 1,000 to 1,500 because the singles will make 700 or 800.

-Fair.

-I think that's a very conservative estimate,

if you're happy with that.

And I would certainly put £1,000 reserve on them,

-perhaps with a bit of discretion.

-OK.

-It's so unusual to find the pair.

-Yeah.

And they're in good condition

and they're just so beautifully collectable,

-I really, really think. So, do you think that's good?

-I do.

-Worth getting them out of the box for?

-I'm surprised.

-Are you?

-Very surprised, yes.

-Oh, OK.

Well, that's always nice when it works that way.

-Well, let's hope they do something.

-I'm sure they will.

Over on James's table, it looks as though he's in for a surprise too.

-Now, Lesley, this is a real first for me on Flog It!.

-Is it, James?

Because what generally happens is,

I go out in the lines first thing in the morning

and we look at everyone queueing outside

-and we delve into people's bags. And I saw you in the queue...

-Yes.

-..but I didn't see this.

-No.

-I have no idea what's in this.

"Miss Clarissa Crancher, June 1844."

Wow!

-Oh, look at these. Sand pictures.

-Are they sand pictures?

-Yeah.

Just feel that.

Oh, yes!

Now, this would have been so fashionable at its time.

What is this? "Shanklin Chine."

"Bonchurch Church."

OK, now, sand pictures were made fashionable

by a chap called Zobel, who would paint these massive pictures of,

a lot of the time, farm scenes, cattle, out of sand.

It's literally, as we did when we were kids,

get a piece of paper, put some glue on it

and sprinkle some coloured sand on.

-And that's exactly the way they did these.

-Ah.

-Aren't they brilliant?

-Mm.

-Right, OK.

There was a huge fashion for these scrapbooks

from the late 18th century.

-Tell me, what's the family history?

-None.

-My mother bought it at a boot sale.

-Really?

-Yes, about 20 years ago.

And this, she would have loved it.

She did love it and, you know, it was right up her street.

One of the interesting things about these

is that we look at them today with a very different eye,

and we look at that and think, "Oh, isn't that amazing?

"What a wonderful hand."

But, of course, in the 18th century and the 19th century,

almost every member of the middle classes was taught how to paint...

-Oh, right.

-..and how to sing...

-Oh.

-..and how to draw.

It wasn't till the 1920s and '30s, when we had radio,

that that sort of skill was lost.

And, of course, today, it's the computer game and telly,

-so we haven't got very many skills left at all.

-No, I'm afraid not.

-Not in this way, anyway.

-No.

-Any idea of value?

-None at all. None at all.

A lot of these are split up and sold as individual objects,

individual sand pictures.

But I have to say, in the last sort of ten years,

there's been a change and an appreciation of this

as an actual object, so I'm hoping that somebody will buy this

and actually love it for what it is. In terms of valuation,

I think there's a lot in there that's really nicely done.

There are quite a lot of also-rans, as well.

So, I think, let's concentrate on the good,

and I think, if we add those up,

I think that's going to be worth an estimate of 100 to 150.

May well make 200.

But I think, if we put a reserve on it,

-the reserve is going to be £100.

-That's fine.

-That's what I'd recommend, if that's OK with you.

-Absolutely fine.

-Lovely.

-Yes, very pleased with that.

-Thank you.

-Thank you, James.

Here's another interesting item with Claire.

-Well, Fran, Martinware - it's not everyone's cup of tea, is it?

-No.

-But I think this is actually quite pretty.

-I love it.

And I do have to correct myself - it's not actually a teapot.

-I think it's a coffee pot.

-Right.

-However...

-So, are you a collector of it?

-No, we're not.

We collect Lambeth - Doulton Lambeth.

But my husband bought me this about 20, 30 years ago

because it was very pretty, because it's lovely,

-because it's got birds on it.

-Ah.

-So, you're a bird person, are you?

-A bird lover, yes.

-Oh, right.

And, actually, the colour of the glaze isn't that dissimilar, is it?

-No, it's quite soft.

-Yes, yes. It's quite a nice piece.

Do you know much about the Martin Brothers?

I don't know anything about them at all,

-except that there were lots of them.

-There were four.

-Very eccentric.

-Yes? Ooh!

-Extraordinary potters, really,

and working at a time where art studio pottery

was really quite in vogue.

Although this is a fairly conservative item for them

because they're better known, perhaps,

in the world of sort of exciting antiques,

-for the big wally birds.

-Big, chunky birds.

-Huge birds,

great beaks, which actually were supposed to be caricatures

of prominent people at the time,

although it's not always easy to discern who they are.

-So, it's made by Martin Brothers.

-Yes.

You can tell that from decoration, but actually,

it's very clearly marked underneath.

-They always incised the base in the clay when it was still wet.

-Right.

So, we have a lovely signature there of W Martin,

and also the date - very clearly dated, actually -

28th April '82,

-so there's no doubt about when it was made.

-Yes.

Yeah, very, very nicely marked.

-Worked in salt-glaze stoneware.

-Right.

-Stoneware is -

well, as you know, if you collect the Doulton Lambeth

-because that's the same - it's very hard, isn't it?

-Yes.

And then they throw salt into the kiln

to give you this sort of overall,

almost like a luminescent effect on the glaze.

-It's very beautiful.

-It's nice, actually, isn't it? I do like it.

-Now, the important thing, always, with pottery, is condition.

-Yes.

And, sadly, this does have a hairline crack in the base,

which, if anybody collecting... The first thing they ask you

when they want to buy a piece of pottery, "What condition is it in?

"Has it got any chips or cracks?"

So, the minute you mention a hairline crack,

they'll be a little bit, "Hmm, OK."

Perhaps not quite so excited about it.

But having said that, you don't see that many pieces on the market.

They weren't that prolific.

They really were quite an extraordinary bunch.

-So, we need to speak a bit about value.

-Yes.

It's always difficult with something with a hairline crack.

I have sold items before that have been damaged

and they've done extremely well,

but I always err on the side of caution

and just try and keep the estimate sensible.

-I'd estimate it about 150 to 250.

-Ah.

-Does that sound good?

-That sounds lovely. No, that sounds good.

I think, perhaps, we pitch the reserve just under the 150,

or maybe 130. Fix the reserve at that? Is that all right for you?

-No, that's fine.

-That's excellent.

I shall look forward to seeing you. Thank you very much indeed.

Next up is James, who has come across a great little collection.

Probably the most common thing that is said to auctioneers

and valuers up and down the country is,

"It's got to be worth something, it's old."

And I have to say, the two things don't always go hand in hand.

You can have something very modern, like a Banksy sketch,

that can be worth hundreds of thousands,

and then you can have something that's thousands of years old

-and worth very little.

-OK.

You've something here, Annie, that is incredibly early,

but the question is, what's it worth? What do you know about these?

All I know is that these three bottom coins are all Roman.

They belonged to my second cousin, as did the other two,

and I inherited them all when he died.

I found them amongst his things.

Somebody told me that the Roman ones were pre-invasion

which, if that's true, I find quite interesting.

The oldest is the one that I've never seen before and it's that one.

-A-ha.

-So, that one there is Augustus and Agrippa.

Now, this was struck after 10 AD.

Let's turn it over.

-Have you worked out what it is on the back?

-No.

That is a crocodile standing in front of a tree.

These are more common in Britain. Maximians. This one and this one.

They would be 286 AD to 305 AD.

Both are beautiful castings, really lovely condition.

Next one, Elizabeth I.

-It's 1,300 years later than these.

-Yes.

Solid silver and it's what we call a struck groat,

so it's just been banged, OK.

And then above her, we have this one, and that's a George III coin,

1797, known as cartwheel because of the thickness of the coin.

So, value. We've got £10 there,

bit less there.

£15 there,

£50 to £70 there

and £6 to £10 there.

All right? So, in terms of an action lot,

I'd put them all together

and I would put £70 to £100 on as an estimate.

Are you happy to sell the lot, cos I know that you were saying

that there was one there that had a bit of sentimental value,

so would you like to just take the one?

-Yes, I'm sorry to mess you up.

-Go on.

-I'm going to keep that one.

Can I ask why that one?

Because when I was clearing all of my cousin's stuff,

I'd got a huge drawer and I just picked up the drawer

and stood it up vertically and I heard the ch-ch-ch-ch,

and it was this that had fallen down the inside of the drawer.

I remember it from 14 years ago when I was doing it,

so I just want to keep it, really.

I think, for the sake of £10, it's worth keeping it

but, having said that, I still think we should keep the same estimate -

£70 to £100, with a £50 fixed reserve, OK?

And I'm sure they'll do well and, hopefully,

these little coins will make you a few more pennies

to buy something else.

I can't believe how low the estimate is for those coins,

as they're steeped in history.

Well, there you are, that's it. Our work is nearly done here.

Our experts have now found their final items to take off to auction,

so we have to say goodbye to St Albans Cathedral and Abbey.

But I tell you what,

-it's not easy putting a value on an antique, is it? ALL:

-No!

-No.

-Our experts are pretty good, aren't they? ALL:

-Yes!

But anything can happen in an auction room, and you know that.

Right now, we're going to put those valuations to the test.

Here's a quick recap of all the items

that are coming with us off to auction.

Helen isn't very fond of her suffragette salt and pepper pots,

so will be happy to see them sell.

The Victorian scrapbook is crammed full of different illustrations,

including those interesting sand pictures.

Let's hope the hairline crack

on Fran's Martinware coffee pot doesn't deter the bidders.

Finally, the age of Annie's coin collection spans an impressive

1,300 years. Fingers crossed all that history

will attract the bidders.

We're back at the saleroom in Tring,

where auctioneer Stephen Hearn is still hard at work.

First up, it's that Martinware coffee pot.

Fran, I want to say good luck, but at the same time,

I want to say I don't want you to sell it.

-Why, why, why are you selling this?

-Because my husband said

he would like us to come and do something like this.

-On Flog It!?

-On Flog It!, and do you know, he's just done something.

-Oh, you could have found something else!

-I know, I know.

This is it. It's going under the hammer.

200, I have. 210 for you, sir?

220? 230? 240, I have.

-250?

-Let's get 350.

-60?

270? 280? 300, he said. No?

At £300. At 310. 320 now. 330?

Don't often get a piece. It's going down.

I sell for £350, then.

-You got top money - £350.

-Wonderful.

-It's a good result.

-Yes.

-Thanks for being such a brilliant sport.

-Thank you very much.

-Because quality, quality, quality.

-Martin Brothers - great London makers.

-Yeah.

Next, let's hope the collectors are in the saleroom

for that jam-packed sketch book.

-Leslie, it's great to see you again.

-Thank you very much.

I love the little sketchbook.

We're just about to sell Leslie's little sketchbook.

-Leather bound, it's got some wonderful watercolours in it.

-Yeah.

-Oh, it's fabulous, isn't it?

-It really is delightful.

-And Mum got this?

-From a boot sale, yes.

-About 20-odd years ago?

-20-odd years ago.

-Great.

OK, fingers crossed we get that top end.

This is going under the hammer right now.

There it is. 150.

Make it 60? 70? 80 now?

At £70. Are you going to be 80?

90? 100? £100.

Surely one more, sir. No?

Madam's going to have it, then. I shall sell away from you.

It's going for £100, then.

-Sold.

-Great.

-Well done. Well done. We're all happy.

-Yes, that's good. Yeah, yeah.

-Lovely.

-Phew!

-Job done, James.

-Good. Well done.

-THEY LAUGH

It's time to find out if the Roman enthusiasts are in the room.

Right now, we're going to flip. Will it be heads or tails?

Because we've got that coin belonging to Annie.

There's about four coins here going under the hammer.

-Why are you selling the coins?

-Because I don't display them

and I don't really know the history of them,

so I thought it was time to let them go.

Surely it's got to be a couple of hundred pounds.

They're going under the hammer right now.

If you're not here, you can't buy them, so hard luck. Here we go.

There you are. There's three Roman, I believe,

and one Elizabethan shilling. What about those?

Ought to be £100 for those.

50, 60, 70, 80, 90.

100 now, surely? 100, I have.

And 10 for you, sir?

110. And 20 perhaps?

Yes. And 30? No more?

120 then, I'm selling. You're out. It's going.

Yes, it is. You can have another 10.

Ah, 130, there you go, see.

At 130. I'm awfully sorry. 40?

No? At 130, then.

-I'm selling at £130.

-GAVEL BANGS

-Brilliant! Better than 70 quid, wasn't it?

-Yes.

Still, not a lot of money for a lot of history.

-And you've been the proud custodian of these.

-Indeed, yes.

How fascinating! That's real history in your hand. If only it could talk.

Now for our final lot of the day,

and it's Helen's suffragette salt and pepper pots.

Great to see you again, and what a find at the valuation day.

You spotted them. You zoomed straight in.

-Were you surprised at the valuation?

-Extremely.

I thought they might have been about £100, or something.

-Something along those lines.

-Gosh.

-That must have been a big surprise.

-It was.

Hopefully, we'll get that £1,500. Hopefully, get a bit more.

-Yeah, hope so. It's quite scarce to find a pair.

-Yes.

They often come up singly. Well, not even that often,

-but you see them singly.

-Good luck.

-This is exciting, isn't it?

-It is.

-This should be our star lot.

This is the big one we've been waiting for!

It's going under the hammer right now.

Suffragette peppers.

They're the right date. I am bid £700 for them.

720 I have. 750 is bid for it.

780? £800?

820, we've got. 820.

850? 880?

900, we've got. At £900.

920? 950, is it?

980? At 980, they're going to be sold.

At 980, then, they're going to be sold.

They go down at £980.

-Oh!

-Oh! It wasn't bad, was it?

-But I tell you what,

-it's better than 150, isn't it?

-It is. It is.

-HE LAUGHS

-Yeah, yeah, yeah.

-They were rare.

-They were. It would have been nice to see the 1,000,

-but that's not a bad price, is it?

-No.

-That's pretty good.

-That's not a bad price.

-It's fine.

-Thank you so much for bringing them in.

-Oh, you're welcome.

Well, there you are. That's it. It's all over for our owners.

We've had a marvellous time here.

And if you'd like to join the show, we'd love to see you.

Check out our up-and-coming dates and venues on our BBC website

or our Facebook page, or check the details in your local press.

Come on, dust them down, bring them in,

we'll flog them in another auction room.

But until then, it's goodbye from Hertfordshire.