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Today, I'm at Packwood House in Warwickshire. | 0:00:03 | 0:00:06 | |
It's a magnificent country residence, | 0:00:06 | 0:00:09 | |
which isn't all that it first appears. | 0:00:09 | 0:00:12 | |
It's filled with intriguing stories and treasures, | 0:00:12 | 0:00:15 | |
just like those we discovered on our travels all around Britain for | 0:00:15 | 0:00:19 | |
today's programme. | 0:00:19 | 0:00:21 | |
Welcome to "Flog It!" | 0:00:21 | 0:00:23 | |
On today's show, we're taking a tour around the country to revisit some | 0:00:44 | 0:00:48 | |
of our wonderful valuation day locations from this series. | 0:00:48 | 0:00:51 | |
It's another chance to see those stunning venues and discover some | 0:00:51 | 0:00:56 | |
extra treasures, which were brought in for our experts to see. | 0:00:56 | 0:00:59 | |
There was a real warmth when we visited Grimsby Minster, | 0:01:00 | 0:01:03 | |
which dates back some 900 years. | 0:01:03 | 0:01:06 | |
This is exactly what they would | 0:01:06 | 0:01:08 | |
have been drinking their tea out of in 1807. | 0:01:08 | 0:01:10 | |
So it's terribly Jane Austen, darling. | 0:01:10 | 0:01:14 | |
And the faithful "Flog It!" crowds also flocked to the impressive | 0:01:14 | 0:01:17 | |
Wolverhampton Art Gallery, | 0:01:17 | 0:01:18 | |
where Caroline Hawley discovered how a young teacher invested his first | 0:01:18 | 0:01:22 | |
-pay packet. -Goodness me, so his first wage as a teacher. | 0:01:22 | 0:01:28 | |
-They were ten shillings. -That was a lot of money in the early '30s. | 0:01:28 | 0:01:31 | |
-It was, yes, it was. -An awful lot of money. | 0:01:31 | 0:01:33 | |
We were thrilled by the turnout at our valuation day in the magnificent | 0:01:33 | 0:01:37 | |
St Albans Cathedral. | 0:01:37 | 0:01:39 | |
I do remember Princess Diana coming into the hotel. | 0:01:39 | 0:01:42 | |
That's pretty good, isn't it? | 0:01:42 | 0:01:44 | |
And we also went to the seaside. | 0:01:45 | 0:01:48 | |
In Morecambe, Lancashire, we spent the day at the wonderful Platform | 0:01:48 | 0:01:51 | |
Building, once the terminus of the town's old Promenade station. | 0:01:51 | 0:01:56 | |
And Charles Hanson found an item to get his teeth into. | 0:01:56 | 0:02:00 | |
We have two small dogs at home and this very much reminds me of our | 0:02:00 | 0:02:03 | |
terrier called Oscar. | 0:02:03 | 0:02:05 | |
DOG CREAKS | 0:02:05 | 0:02:07 | |
Yes, quite right, I heard that. | 0:02:07 | 0:02:09 | |
And I'll be spending some time here at Packwood, | 0:02:10 | 0:02:13 | |
really getting to know the house and its fascinating story. | 0:02:13 | 0:02:16 | |
Packwood House started out life as a rather modest Tudor farmhouse but | 0:02:19 | 0:02:24 | |
eventually it was added to over the years, | 0:02:24 | 0:02:26 | |
turning it into a typical Warwickshire manor house. | 0:02:26 | 0:02:28 | |
Georgian Gothic windows, | 0:02:28 | 0:02:30 | |
a Victorian hall gallery did their bit in changing its appearance. | 0:02:30 | 0:02:34 | |
But when one of the richest men in the country bought it, | 0:02:34 | 0:02:37 | |
primarily because his teenage son fell in love with it, | 0:02:37 | 0:02:41 | |
no-one could ever have imagined the transformation that it was about to | 0:02:41 | 0:02:45 | |
undergo. Graham Baron Ash had real plans and vision for this place | 0:02:45 | 0:02:50 | |
and later on in the programme, | 0:02:50 | 0:02:52 | |
we'll be finding out more about him and his home improvements. | 0:02:52 | 0:02:56 | |
But first, we're off to the magnificent St Albans Cathedral, | 0:02:56 | 0:03:00 | |
where James Lewis is chatting to Patrick about something with a bit of a story behind it. | 0:03:00 | 0:03:05 | |
Well, Patrick, we always have time for a good wristwatch on "Flog It!" | 0:03:06 | 0:03:09 | |
and that is about as good as they come, isn't it? | 0:03:09 | 0:03:13 | |
-It certainly is. -The leading maker, | 0:03:13 | 0:03:15 | |
the name that everybody talks about when they talk about wristwatches. | 0:03:15 | 0:03:19 | |
But the interesting thing and something that I didn't realise | 0:03:19 | 0:03:21 | |
-until recently, where do you think Rolex are? -Switzerland. -Yeah. | 0:03:21 | 0:03:26 | |
Yeah. You would think they were a Swiss company, wouldn't you? | 0:03:26 | 0:03:28 | |
It was started in London. | 0:03:28 | 0:03:30 | |
-Oh, really? -It's a British firm, Rolex was originally British. | 0:03:30 | 0:03:34 | |
But they were founded in 1905, moved to Switzerland in 1919. | 0:03:34 | 0:03:39 | |
Right from the start they always made the very best. | 0:03:39 | 0:03:43 | |
Let's have a... Just turn it over. | 0:03:43 | 0:03:45 | |
It's what we call a Dennison case, which has a nice, flat back | 0:03:45 | 0:03:51 | |
and original Rolex strap. | 0:03:51 | 0:03:53 | |
We've got the crown there of Rolex at the end | 0:03:53 | 0:03:56 | |
and it's marked for nine-carat gold, 375. | 0:03:56 | 0:04:00 | |
But tell me, yours, father's, grandfather's? | 0:04:00 | 0:04:02 | |
No, no, I used to work in the hotel business and I was the sales | 0:04:02 | 0:04:06 | |
director of the Park Lane Hotel, which was an independent hotel. | 0:04:06 | 0:04:09 | |
Yes, lovely hotel. | 0:04:09 | 0:04:11 | |
And if I had had a good year, or the hotel had had a good year, | 0:04:11 | 0:04:14 | |
I would buy myself a present at Christmas. | 0:04:14 | 0:04:17 | |
And we had an antique fair there and I saw Ronnie, and Ronnie said, | 0:04:17 | 0:04:21 | |
-"Why don't you have that?" -Who's Ronnie? | 0:04:21 | 0:04:23 | |
He's a society second-hand jeweller. | 0:04:23 | 0:04:26 | |
So, in terms of a society jeweller, he buys off | 0:04:26 | 0:04:30 | |
the wealthy of London, I would guess. | 0:04:30 | 0:04:32 | |
-Yes, yes. -And sells back to them and probably gives loans against it | 0:04:32 | 0:04:35 | |
-as well, occasionally. -Yes, yes. | 0:04:35 | 0:04:37 | |
Yeah, wonderful. So, tell me, when you were at the Park Lane, | 0:04:37 | 0:04:40 | |
did you have any wonderful guests? | 0:04:40 | 0:04:41 | |
Well, I do remember Princess Diana coming into the hotel to do an event. | 0:04:41 | 0:04:46 | |
Well, that's pretty good, isn't it? | 0:04:46 | 0:04:48 | |
And probably we had the gig of the year, which was | 0:04:48 | 0:04:52 | |
the Kasparov and Karpov World Chess Championship in the ballroom. | 0:04:52 | 0:04:56 | |
Did you? | 0:04:56 | 0:04:58 | |
And Maggie Thatcher came down to do the opening and she had the | 0:04:58 | 0:05:02 | |
communists, of course, as they were at that time, | 0:05:02 | 0:05:05 | |
absolutely eating out of her hand. | 0:05:05 | 0:05:07 | |
-JAMES LAUGHS -That was a real high spot. | 0:05:07 | 0:05:09 | |
OK. Do you remember what you paid? | 0:05:09 | 0:05:12 | |
From Ronnie, probably, certainly 500. | 0:05:12 | 0:05:15 | |
-OK. -I don't think it was less than 500 from Ronnie. | 0:05:15 | 0:05:17 | |
Yeah. You were very wise to go to Ronnie and not to buy a new | 0:05:17 | 0:05:20 | |
because £500 was reasonable value. | 0:05:20 | 0:05:24 | |
-Yeah. -Of course then it was retail, today we're selling at auction, | 0:05:24 | 0:05:28 | |
so there is a slight difference. | 0:05:28 | 0:05:30 | |
I would think that 500 is still about right for it. | 0:05:30 | 0:05:33 | |
I think we should put an estimate of £400 to £600. | 0:05:33 | 0:05:36 | |
-Oh, right, OK. -And probably a reserve of 400. | 0:05:36 | 0:05:39 | |
-That would be brilliant. -Is that all right? -Yeah, fantastic. -Great. | 0:05:39 | 0:05:43 | |
Well, I think there'll be certainly more antiques than Prime Ministers | 0:05:43 | 0:05:46 | |
and princesses at the auction but fingers crossed there'll be somebody | 0:05:46 | 0:05:49 | |
-worthy of a gold Rolex watch. -Thank you. -Thank you. | 0:05:49 | 0:05:53 | |
What a great watch and a great tale. | 0:05:54 | 0:05:57 | |
Next, we're travelling north to Grimsby Minister where | 0:05:58 | 0:06:01 | |
Christina Trevanion spotted something shiny. | 0:06:01 | 0:06:04 | |
Julie, please tell me that somewhere languishing in your handbag are two | 0:06:05 | 0:06:09 | |
-more pieces with this teapot. -I wish there was. | 0:06:09 | 0:06:13 | |
Well, nonetheless, you've bought me a very lovely teapot, | 0:06:13 | 0:06:15 | |
-so thank you for that. -You're very welcome. -Do you use it? | 0:06:15 | 0:06:18 | |
-No, I've never used it. -And where's it come from? | 0:06:18 | 0:06:21 | |
It was my mother's mother's and so... | 0:06:21 | 0:06:25 | |
-So it was your granny's? -Yes. -OK, right. | 0:06:25 | 0:06:28 | |
-Yeah. -And where do you have it now? | 0:06:28 | 0:06:30 | |
I just had it in a china cabinet, that's all, at home. | 0:06:30 | 0:06:32 | |
Oh, my goodness. | 0:06:32 | 0:06:34 | |
Well, originally, obviously, it would have been part of a | 0:06:34 | 0:06:37 | |
three-piece service, originally, so you would have had your teapot, | 0:06:37 | 0:06:39 | |
you would have had your sugar bowl and you would have had | 0:06:39 | 0:06:42 | |
your milk jug. OK, so one of three pieces. | 0:06:42 | 0:06:44 | |
-Right. -And this is what we call an oval boat form. | 0:06:44 | 0:06:47 | |
-Right. -Now, what I always do, | 0:06:47 | 0:06:50 | |
look at its bottom. And look, there we go, | 0:06:50 | 0:06:53 | |
it's got everything we need to know on the bottom there. | 0:06:53 | 0:06:56 | |
-Right. -So, it's got JE here, which is the maker's mark, which is | 0:06:56 | 0:06:59 | |
John Eames, OK. We've got the lion passant, | 0:06:59 | 0:07:03 | |
which is the standard sterling silver mark. | 0:07:03 | 0:07:05 | |
-Right. -We've got the duty mark there, which is the head | 0:07:05 | 0:07:08 | |
of George III, 1760 to 1820. | 0:07:08 | 0:07:11 | |
We've got the crowned leopard there, | 0:07:11 | 0:07:14 | |
which tells us that it's pre-1819 and that's the town mark for London. | 0:07:14 | 0:07:18 | |
-Right. -And then we've got this date letter here, | 0:07:18 | 0:07:21 | |
which is the date letter for 1807, | 0:07:21 | 0:07:24 | |
which is a capital M and it's got this wonderful anthemion decoration, | 0:07:24 | 0:07:28 | |
this honeysuckle decoration, around the bands here, | 0:07:28 | 0:07:32 | |
which is very typical of that era. | 0:07:32 | 0:07:34 | |
If you think of material, you think of the Jane Austin era, | 0:07:34 | 0:07:37 | |
all those wonderful empire-line dresses that they were wearing, | 0:07:37 | 0:07:40 | |
this is exactly what they would have | 0:07:40 | 0:07:42 | |
been drinking their tea out of in 1807. | 0:07:42 | 0:07:45 | |
All right. So it's terribly Jane Austen, darling. | 0:07:45 | 0:07:48 | |
THEY LAUGH | 0:07:48 | 0:07:49 | |
Lovely thing. | 0:07:49 | 0:07:51 | |
Without the rest of its service, it is unfortunately just a teapot. | 0:07:51 | 0:07:56 | |
But nonetheless by a great maker. | 0:07:56 | 0:07:59 | |
But I think at auction for a standard teapot, | 0:07:59 | 0:08:04 | |
I think we might be looking at a couple of hundred pounds. | 0:08:04 | 0:08:06 | |
-Right. -So if we said an estimate of 150 to 250 and a firm reserve at 150. | 0:08:06 | 0:08:12 | |
-Yes. -And we'll keep everything crossed that somebody else has got the | 0:08:12 | 0:08:16 | |
-sugar bowl... -Oh, that would be lovely, and they really want it. | 0:08:16 | 0:08:18 | |
..and they want to reunite it. | 0:08:18 | 0:08:20 | |
Yes, that would be lovely, wouldn't it? | 0:08:20 | 0:08:22 | |
Brilliant. Cup of tea? | 0:08:22 | 0:08:24 | |
Yes, please! | 0:08:24 | 0:08:26 | |
Milk, no sugar for me, please, ladies. | 0:08:26 | 0:08:30 | |
Now, let's take a quick break from our valuation days as I want to show | 0:08:30 | 0:08:33 | |
you around the Packwood House gardens. | 0:08:33 | 0:08:36 | |
One of the first things that attracted the Ash family to Packwood was the | 0:08:38 | 0:08:41 | |
famous and mystical gardens, especially the yew gardens, | 0:08:41 | 0:08:44 | |
which date back more than 350 years. | 0:08:44 | 0:08:47 | |
It was originally laid out in the mid-17th century by the house's | 0:08:49 | 0:08:53 | |
then owner, John Fetherston, | 0:08:53 | 0:08:55 | |
a wealthy lawyer who was responsible for extending Packwood to include | 0:08:55 | 0:08:59 | |
stables and outhouses. | 0:08:59 | 0:09:02 | |
The clipped trees are said to represent the Sermon on the Mount. | 0:09:02 | 0:09:05 | |
The group of 12 trees are called the apostles and the four taller ones in | 0:09:05 | 0:09:09 | |
the middle are known as the evangelists. | 0:09:09 | 0:09:11 | |
And if you follow up this tight, spiral pathway lined with box hedges, | 0:09:14 | 0:09:19 | |
you climb a hummock called "The Mount". | 0:09:19 | 0:09:21 | |
And then once you've found the top you'll find a single yew tree crowning | 0:09:26 | 0:09:31 | |
the summit and this is called "The Master". | 0:09:31 | 0:09:34 | |
And it's from here you can look down at the rest of the collection of | 0:09:38 | 0:09:41 | |
smaller trees known as "The Multitude", | 0:09:41 | 0:09:44 | |
and many of these were planted up in the 19th century. | 0:09:44 | 0:09:47 | |
I say small but look, | 0:09:47 | 0:09:48 | |
a lot of them are around 30 feet high and they take a lot of maintenance. | 0:09:48 | 0:09:53 | |
It takes two full-time gardeners plus a team of volunteers | 0:09:53 | 0:09:56 | |
two-and-a-half months every year to keep these clipped. | 0:09:56 | 0:10:01 | |
Well, from something really large and tall to something quite small. | 0:10:01 | 0:10:06 | |
Caroline's found two wonderful items in Wolverhampton. | 0:10:06 | 0:10:09 | |
Liz, tell me about these lovely dishes. | 0:10:12 | 0:10:15 | |
They came from my father-in-law, we've had them about 15 years. | 0:10:15 | 0:10:18 | |
He bought them in Worcester with his first wage packet as a teacher. | 0:10:18 | 0:10:23 | |
In the early part of the 1930s, I guess. | 0:10:23 | 0:10:27 | |
And he paid ten shillings for them. | 0:10:27 | 0:10:29 | |
Goodness me. So his first wage as a teacher, | 0:10:29 | 0:10:33 | |
-that was a lot of money in the early '30s. -It was. | 0:10:33 | 0:10:36 | |
-Yes, it was. -An awful lot of money. | 0:10:36 | 0:10:38 | |
Amazing, and he kept them all those years. | 0:10:38 | 0:10:40 | |
He was very proud of them, very proud of them. | 0:10:40 | 0:10:43 | |
They hung on the wall in my in-laws' home all the time. | 0:10:43 | 0:10:48 | |
How lovely. And to have something to remember your first wage. | 0:10:48 | 0:10:52 | |
-Exactly. -That puts them into such a context. -Yes. | 0:10:52 | 0:10:56 | |
They're not just any old pots. | 0:10:56 | 0:10:58 | |
Well, shall we have a look at them? | 0:10:58 | 0:10:59 | |
-Yes, fine. -Now, they are Royal Worcester, and he bought them, | 0:10:59 | 0:11:03 | |
I would think, straight from the factory. | 0:11:03 | 0:11:05 | |
More than likely, yes. | 0:11:05 | 0:11:07 | |
They are signed, can you see here? | 0:11:07 | 0:11:09 | |
-James Stinton. -Right. | 0:11:09 | 0:11:11 | |
They are hand-painted, they're absolutely fabulous quality. | 0:11:11 | 0:11:15 | |
-Stinton is a big, big name in Royal Worcester painters. -Yeah. | 0:11:15 | 0:11:20 | |
There was Harry, there was John, there was James - | 0:11:20 | 0:11:23 | |
and if we look at the back of them, let's turn it over, | 0:11:23 | 0:11:27 | |
we can see Royal Worcester here, made in England. | 0:11:27 | 0:11:33 | |
With "made in England", that puts them into the 20th century. | 0:11:33 | 0:11:37 | |
-OK. -But we can be even more precise as to the date | 0:11:37 | 0:11:41 | |
because Royal Worcester | 0:11:41 | 0:11:43 | |
used a specific set of dots, circles, different sizes. | 0:11:43 | 0:11:47 | |
If we see here, we've got three circles, two dots, this puce mark, | 0:11:47 | 0:11:53 | |
which later became a black mark. | 0:11:53 | 0:11:55 | |
That dates it exactly to 1934. | 0:11:55 | 0:11:58 | |
So they were possibly new when he bought them. | 0:11:59 | 0:12:01 | |
-That's what I'm thinking - they tie in exactly... -Yes. | 0:12:01 | 0:12:04 | |
..when he would have got his first wage... | 0:12:04 | 0:12:05 | |
-That's right. -..gone out and bought these. | 0:12:05 | 0:12:07 | |
Now, another good thing to look at, | 0:12:07 | 0:12:09 | |
-this gilding here is in absolutely tiptop perfect condition. -Yes, yes. | 0:12:09 | 0:12:15 | |
And that is often the first thing to go. | 0:12:15 | 0:12:17 | |
Two reasons. One, with lots of handling, use, it would wear. | 0:12:17 | 0:12:21 | |
-Yes. -Another thing is, if they've got wire hangers, | 0:12:21 | 0:12:25 | |
it's the worst thing you can do. | 0:12:25 | 0:12:26 | |
They grip them and they nibble away at this gilding. | 0:12:26 | 0:12:29 | |
Yes, they've never had wires over the gilding, | 0:12:29 | 0:12:32 | |
they've just had a home-made wire circle hanging from there, | 0:12:32 | 0:12:36 | |
which was always quite loose, and a little loop to hang on the wall. | 0:12:36 | 0:12:40 | |
-And do you like them? -I don't like them particularly, | 0:12:40 | 0:12:42 | |
but my husband always liked them | 0:12:42 | 0:12:44 | |
because they belong to his dad, I suppose. | 0:12:44 | 0:12:46 | |
Right, so have you decided now is the time to sell? | 0:12:46 | 0:12:49 | |
Yes, he's happy, he's happy for them to go. | 0:12:49 | 0:12:51 | |
-So these were bought in 1934 for ten shillings. -Yes. | 0:12:51 | 0:12:56 | |
-Which equates to £50. -That's right. | 0:12:56 | 0:12:58 | |
Now they are worth considerably more than that. | 0:12:58 | 0:13:02 | |
I would put a presale estimate of 120 to £180 on the pair. | 0:13:02 | 0:13:08 | |
-That's brilliant. -What an amazing investment. | 0:13:08 | 0:13:11 | |
Yes, yes, he would be really pleased to know that. | 0:13:11 | 0:13:14 | |
So we will put them into auction with a discretionary reserve of 120. | 0:13:15 | 0:13:20 | |
-That's fine. -Brilliant. | 0:13:20 | 0:13:22 | |
Look forward to seeing you and your lovely dishes at the auction. | 0:13:22 | 0:13:24 | |
Thank you very much. | 0:13:24 | 0:13:26 | |
Those lovely Royal Worcester dishes | 0:13:26 | 0:13:28 | |
are the last of our first batch of items - | 0:13:28 | 0:13:30 | |
and now it's time to find out if they make our owners any money | 0:13:30 | 0:13:33 | |
when they go under the hammer. | 0:13:33 | 0:13:35 | |
Patrick's gold Rolex watch was a gift to himself, | 0:13:37 | 0:13:40 | |
but now he no longer wears it. | 0:13:40 | 0:13:42 | |
Julie's terribly Jane Austen teapot is a lovely thing. | 0:13:42 | 0:13:46 | |
Let's hope the owners of the sugar bowl and the milk jug | 0:13:46 | 0:13:48 | |
are watching at the auction. | 0:13:48 | 0:13:51 | |
And finally, Liz hopes the little Royal Worcester dishes | 0:13:51 | 0:13:54 | |
will prove to be a fantastic investment | 0:13:54 | 0:13:56 | |
on the ten shillings they cost. | 0:13:56 | 0:13:59 | |
Our first auction is at Tring Market Auctions in Hertfordshire... | 0:14:00 | 0:14:04 | |
..where Patrick's watch is up for sale, | 0:14:05 | 0:14:07 | |
and auctioneer Steven Hayne is on the rostrum. | 0:14:07 | 0:14:10 | |
Remember, whether you are buying or selling at every auction, | 0:14:10 | 0:14:13 | |
there is always commission and VAT to pay. | 0:14:13 | 0:14:16 | |
Right, time is up for the Rolex. | 0:14:19 | 0:14:21 | |
Patrick's is just about to go under the hammer, | 0:14:21 | 0:14:23 | |
-and we are looking at £400 to £600, aren't we? -Yeah. | 0:14:23 | 0:14:25 | |
James, I read your notes - | 0:14:25 | 0:14:26 | |
you pointed out something that I didn't know. | 0:14:26 | 0:14:29 | |
You said Rolex were English, I always thought they were Swiss. | 0:14:29 | 0:14:32 | |
-They started in England. -Yes, there you go. I didn't know that. | 0:14:32 | 0:14:34 | |
See, you learn something new every day on "Flog It!", don't you? | 0:14:34 | 0:14:37 | |
And that's what this show is all about, information, information. | 0:14:37 | 0:14:40 | |
Get out there, get buying and collecting. | 0:14:40 | 0:14:41 | |
-Good luck with this. -Thank you very much. | 0:14:41 | 0:14:43 | |
It's going under the hammer now. | 0:14:43 | 0:14:44 | |
There you are, the gold wrist watch, movement and the strap with it. | 0:14:45 | 0:14:49 | |
Rather nice watch. | 0:14:49 | 0:14:50 | |
Are we going to get to 500 for a good Rolex? | 0:14:50 | 0:14:52 | |
500, 400, 300. 300 bid. | 0:14:52 | 0:14:55 | |
300 I have. 320 I'm bid for it. | 0:14:55 | 0:14:58 | |
350. 380. | 0:14:58 | 0:15:00 | |
Yes. One more. | 0:15:00 | 0:15:01 | |
400 I'm bid for it. | 0:15:01 | 0:15:03 | |
At 400, you are out. | 0:15:03 | 0:15:05 | |
At £400, then, I'm selling. | 0:15:05 | 0:15:07 | |
Make no mistake, it's going for £400, then. | 0:15:07 | 0:15:11 | |
-Just. -Close! | 0:15:13 | 0:15:14 | |
Just. Why did you want to sell it, anyway? | 0:15:15 | 0:15:18 | |
I used to use it for work, when I went out for dinner. | 0:15:18 | 0:15:21 | |
-It is quite dressy, though. -Yes, it is a bit dressy. | 0:15:21 | 0:15:25 | |
Well, that watch was a great thing, that's for sure. | 0:15:25 | 0:15:28 | |
Next we're heading to Golding Young & Mawer's in Lincoln, | 0:15:29 | 0:15:32 | |
where auctioneer John Leatt's in charge | 0:15:32 | 0:15:34 | |
of selling Julie's lonely silver teapot - | 0:15:34 | 0:15:36 | |
but it is not the only thing lacking company. | 0:15:36 | 0:15:39 | |
Going under the hammer right now, we have a George III silver teapot. | 0:15:40 | 0:15:44 | |
We do have the item - sadly we don't have our owner, Julie. | 0:15:44 | 0:15:47 | |
We do have our gorgeous expert, Christina, | 0:15:47 | 0:15:49 | |
and I'm pretty sure this is going to sell, don't you? | 0:15:49 | 0:15:51 | |
You would hope so, George III silver teapot, what's not to love? | 0:15:51 | 0:15:54 | |
-We've got a reserve on this, haven't we? -Yes, we've got £150, | 0:15:54 | 0:15:57 | |
-so it is protected. -It's protected. Do you have a silver teapot? | 0:15:57 | 0:16:00 | |
-Well, I don't, that I use. -Too young. -Do you? -No. -I bet you do. | 0:16:00 | 0:16:03 | |
-No, I'd love one, actually. -Does the butler bring it for you? | 0:16:03 | 0:16:06 | |
My son Dylan actually makes a cup of tea for me - | 0:16:08 | 0:16:11 | |
but I wouldn't trust him with a silver teapot. | 0:16:11 | 0:16:14 | |
-Anyway, we are going to put this to the test right now. -OK. -Here we go. | 0:16:14 | 0:16:16 | |
This George III silver teapot, | 0:16:16 | 0:16:19 | |
John Eames, London 1807, | 0:16:19 | 0:16:22 | |
and who will start me on this one at £150? | 0:16:22 | 0:16:26 | |
£150 start. 150 start. | 0:16:26 | 0:16:28 | |
£150. | 0:16:28 | 0:16:29 | |
-It's gone quiet. -It is very quiet. | 0:16:31 | 0:16:34 | |
120. I've got £100. | 0:16:34 | 0:16:36 | |
110. 120. | 0:16:36 | 0:16:37 | |
130. 140. 150. | 0:16:37 | 0:16:40 | |
Yours at 150. Anybody else? | 0:16:40 | 0:16:42 | |
In the room at 150. Anybody else? | 0:16:42 | 0:16:43 | |
At 150. £150 in the room. | 0:16:43 | 0:16:45 | |
No? All done at £150, selling at £150. | 0:16:45 | 0:16:49 | |
150. | 0:16:49 | 0:16:51 | |
It's gone. | 0:16:51 | 0:16:52 | |
-And that's what it's worth. -Yeah. | 0:16:52 | 0:16:54 | |
It's part of a set. | 0:16:54 | 0:16:56 | |
Obviously without the other items, it is difficult, isn't it? | 0:16:56 | 0:16:59 | |
-It's good news, it's good news it's gone. -Good news for Julie. | 0:16:59 | 0:17:01 | |
-Should I give her a call? -I think so. -Yeah? | 0:17:01 | 0:17:03 | |
Don't hang about, Christina, | 0:17:06 | 0:17:07 | |
because we need you back in your auctioneer's hat | 0:17:07 | 0:17:09 | |
at Trevanion and Dean's saleroom in Whitchurch, Shropshire. | 0:17:09 | 0:17:13 | |
Going under the hammer right now, we're not only selling porcelain, | 0:17:14 | 0:17:17 | |
we are selling art - the images are beautiful. | 0:17:17 | 0:17:21 | |
You get a lot for your money with this lot. | 0:17:21 | 0:17:22 | |
Liz, it's good to see you again. | 0:17:22 | 0:17:24 | |
-Thank you. -Two bowls, 1930s. | 0:17:24 | 0:17:26 | |
-Yes, '34, I think. -Yeah. | 0:17:26 | 0:17:29 | |
I think these are great value for money. | 0:17:29 | 0:17:31 | |
These will go well, they are such good quality. | 0:17:31 | 0:17:33 | |
They're great quality. Stinton is a great name. | 0:17:33 | 0:17:36 | |
Why are they so low in value? | 0:17:36 | 0:17:38 | |
I don't really understand. | 0:17:38 | 0:17:40 | |
Well, they're not highly fashionable at the moment, | 0:17:40 | 0:17:43 | |
but I think they will top the top estimate. | 0:17:43 | 0:17:45 | |
-OK. -If I stick my neck out, 180, 180, 200. | 0:17:45 | 0:17:50 | |
OK, OK. | 0:17:50 | 0:17:52 | |
-It sounds good value to me. -Yeah. | 0:17:52 | 0:17:54 | |
-It is. -We are going to find out what the bidders think, | 0:17:54 | 0:17:57 | |
and let's hope it just goes through the roof. Here we go. | 0:17:57 | 0:17:59 | |
A pair of Royal Worcester dishes by James Stinton. | 0:17:59 | 0:18:03 | |
Much admired, very pretty little example, dated 1934. | 0:18:03 | 0:18:07 | |
A pair of them altogether, | 0:18:07 | 0:18:08 | |
and I have got 100, 110, | 0:18:08 | 0:18:11 | |
120 here with me. | 0:18:11 | 0:18:12 | |
At 120. At £120. | 0:18:12 | 0:18:15 | |
130. 140. 140, sir. | 0:18:15 | 0:18:18 | |
-The chap in the room. -150. | 0:18:18 | 0:18:19 | |
160. At 160 here. | 0:18:19 | 0:18:22 | |
170. Clears my book. | 0:18:22 | 0:18:24 | |
At the very back at 170. | 0:18:24 | 0:18:25 | |
You still in, sir? 180. | 0:18:25 | 0:18:28 | |
Thank you, anyway. 180. Well held, sir. | 0:18:28 | 0:18:30 | |
At the middle here, I've got £180. | 0:18:30 | 0:18:32 | |
Looking for 190 now. | 0:18:32 | 0:18:34 | |
At £180, | 0:18:34 | 0:18:35 | |
I can see you hovering online. | 0:18:35 | 0:18:37 | |
190, he's in. | 0:18:37 | 0:18:38 | |
200, sir. | 0:18:38 | 0:18:40 | |
Round it up for me. £200 is bid. | 0:18:40 | 0:18:42 | |
-At £200, standing at £200. -That's more like it, isn't it? | 0:18:42 | 0:18:45 | |
220 now. | 0:18:45 | 0:18:46 | |
I'll take 210 if it helps, | 0:18:46 | 0:18:47 | |
but I've got £200 in the room, | 0:18:47 | 0:18:49 | |
and £200 I'll take if we're all done. | 0:18:49 | 0:18:51 | |
At £200, fair warning now at 200. | 0:18:51 | 0:18:54 | |
-Yes! -Excellent. | 0:18:54 | 0:18:56 | |
-That's really good. -I love that term, "fair warning"! 200. | 0:18:56 | 0:19:01 | |
Well done, you, and well done. | 0:19:01 | 0:19:04 | |
-£200. That seems a nicer figure to say, doesn't it? -Yes. | 0:19:04 | 0:19:09 | |
A fantastic result - but they were great dishes. | 0:19:09 | 0:19:13 | |
Don't go away, because we'll be returning to our salerooms | 0:19:13 | 0:19:16 | |
across the country later on in the show - | 0:19:16 | 0:19:18 | |
but before that, I want to take you back to a grand house | 0:19:18 | 0:19:21 | |
in Warwickshire, | 0:19:21 | 0:19:23 | |
which has quite a story to tell. | 0:19:23 | 0:19:25 | |
Graham Baron Ash was the son | 0:19:38 | 0:19:39 | |
of one of the wealthiest men in the country... | 0:19:39 | 0:19:41 | |
..Alfred Ash, an industrialist | 0:19:43 | 0:19:45 | |
who made his money supplying metal parts to, among others, | 0:19:45 | 0:19:49 | |
the London and North Western Railway. | 0:19:49 | 0:19:52 | |
When Alfred bought Packwood House in 1904, he was asked why. | 0:19:52 | 0:19:56 | |
His response was, "I bought it because the boy wanted it." | 0:19:56 | 0:19:59 | |
"The boy" was just 16 years old at the time, | 0:20:00 | 0:20:03 | |
but for the next 40 years of his life, | 0:20:03 | 0:20:05 | |
it was devoted to transforming Packwood into a grand Tudor mansion | 0:20:05 | 0:20:09 | |
fit for a country gentleman. | 0:20:09 | 0:20:11 | |
Graham Baron Ash had high aspirations - | 0:20:11 | 0:20:13 | |
he wanted to cast his factory funded roots | 0:20:13 | 0:20:16 | |
and be seen as a man of class and breeding. | 0:20:16 | 0:20:19 | |
He began by insisting upon being known by his middle name, Baron, | 0:20:23 | 0:20:27 | |
and then living up to the self-appointed title. | 0:20:27 | 0:20:30 | |
Each morning, fresh flowers would be delivered to the house | 0:20:33 | 0:20:36 | |
and Baron would personally oversee the arrangements, | 0:20:36 | 0:20:39 | |
and each evening he and his butler Stanley would dress for dinner - | 0:20:39 | 0:20:43 | |
even if Baron was dining alone. | 0:20:43 | 0:20:45 | |
Bachelor Baron was a fastidious man | 0:20:48 | 0:20:50 | |
who liked everything ordered and in place. | 0:20:50 | 0:20:53 | |
Guests were welcome, but untidiness wasn't tolerated. | 0:20:53 | 0:20:57 | |
House guests recalled | 0:20:57 | 0:20:59 | |
that if they left as much as a hairbrush out on display, | 0:20:59 | 0:21:02 | |
it would be tidied away in a drawer the minute they had left their room. | 0:21:02 | 0:21:06 | |
Baron had grand ideas for Packwood. | 0:21:06 | 0:21:09 | |
The original house dated back to around 1570, | 0:21:09 | 0:21:12 | |
but it had been altered over the years, | 0:21:12 | 0:21:14 | |
and Baron didn't approve of the changes that had been made. | 0:21:14 | 0:21:17 | |
Georgian Gothic windows had been added | 0:21:22 | 0:21:24 | |
along with a Victorian galleried hall, | 0:21:24 | 0:21:26 | |
and other Victorian touches - | 0:21:26 | 0:21:28 | |
but Baron wanted it to look Elizabethan - | 0:21:28 | 0:21:31 | |
the sort of place that might have been | 0:21:31 | 0:21:33 | |
in a titled family for centuries. | 0:21:33 | 0:21:35 | |
In 1932, he created this stunning long gallery | 0:21:37 | 0:21:41 | |
and he finished it with salvaged rich wood panelling, | 0:21:41 | 0:21:44 | |
tapestries and treasures and antique artefacts. | 0:21:44 | 0:21:47 | |
The plans were drawn up by the architect Edwin Reynolds, | 0:21:47 | 0:21:50 | |
who restored Shakespeare's birthplace | 0:21:50 | 0:21:53 | |
in nearby Stratford-upon-Avon - | 0:21:53 | 0:21:55 | |
but it makes the most wonderful walkway | 0:21:55 | 0:21:57 | |
between the old part of the house into this. | 0:21:57 | 0:22:00 | |
A great hall, grand enough to embrace any baronial mansion. | 0:22:06 | 0:22:12 | |
The great hall was created from what had previously been a cow barn, | 0:22:16 | 0:22:21 | |
and Baron linked the 100 foot gap with his fabulous long gallery. | 0:22:21 | 0:22:24 | |
Baron added a full-height bay window, | 0:22:26 | 0:22:28 | |
a minstrels' gallery and a sprung dance floor. | 0:22:28 | 0:22:31 | |
The new wing of Packwood wasn't universally admired. | 0:22:31 | 0:22:34 | |
One architectural critic of the day | 0:22:34 | 0:22:36 | |
sniffily said the results looked like a modern grammar school - | 0:22:36 | 0:22:40 | |
a comment which wounded the sensitive Mr Ash. | 0:22:40 | 0:22:43 | |
But he loved the scale of the great hall | 0:22:47 | 0:22:50 | |
and he took great delight in finding pieces to finish it. | 0:22:50 | 0:22:53 | |
In fact, he bought several items of furniture | 0:22:53 | 0:22:56 | |
from local stately homes and grand manor houses | 0:22:56 | 0:22:59 | |
that were falling into a dilapidated state of repair, | 0:22:59 | 0:23:02 | |
or lack of finances following the First World War. | 0:23:02 | 0:23:06 | |
Baron claimed that by buying up their fixtures and fittings, | 0:23:06 | 0:23:10 | |
he was saving them from being lost and destroyed forever. | 0:23:10 | 0:23:13 | |
Now, perhaps he was right - | 0:23:13 | 0:23:15 | |
but then perhaps he was also thinking, | 0:23:15 | 0:23:17 | |
by buying them for Packwood, | 0:23:17 | 0:23:19 | |
he was providing the house with a history and a class that he craved. | 0:23:19 | 0:23:23 | |
Among the items of the great hall | 0:23:25 | 0:23:27 | |
that came from a wonderful house just two miles up the road, | 0:23:27 | 0:23:30 | |
Baddesley Clinton, is this magnificent banqueting table, | 0:23:30 | 0:23:34 | |
also known as a refectory table. | 0:23:34 | 0:23:36 | |
It's one of the nicest pieces of furniture I have ever seen. | 0:23:37 | 0:23:41 | |
Now, the top dates to around the 15th century - | 0:23:41 | 0:23:45 | |
the base is slightly later. | 0:23:45 | 0:23:47 | |
That's 17th century - it is a marriage, but nevertheless, | 0:23:47 | 0:23:50 | |
look at the length of this table. | 0:23:50 | 0:23:52 | |
Two single planks of oak, 21 feet long. | 0:23:52 | 0:23:57 | |
Bear in mind, the oak tree that this came from | 0:23:57 | 0:23:59 | |
was fully matured when this was felled, maybe 200 to 300 years old, | 0:23:59 | 0:24:03 | |
was hand-cut by two men in a pit saw, one above, one below, | 0:24:03 | 0:24:08 | |
guiding that saw, making sure the width of that plank | 0:24:08 | 0:24:12 | |
stayed uniform all of that length. | 0:24:12 | 0:24:15 | |
Now, that is a great skill. | 0:24:15 | 0:24:17 | |
If only this could talk. | 0:24:17 | 0:24:19 | |
Gosh, it would tell us some tales. | 0:24:19 | 0:24:21 | |
The partying that went on. | 0:24:21 | 0:24:23 | |
For me, this is so contemporary - | 0:24:23 | 0:24:25 | |
this is the sort of thing we'd like to live with today. | 0:24:25 | 0:24:28 | |
It's so fashionable - but not many of us have got a room this size. | 0:24:28 | 0:24:32 | |
This great hall was also used for extravagant parties | 0:24:37 | 0:24:40 | |
and lavish entertainments. | 0:24:40 | 0:24:42 | |
Concerts and plays were regularly put on here, | 0:24:42 | 0:24:45 | |
or in the gardens, | 0:24:45 | 0:24:46 | |
and they were known collectively as follies. | 0:24:46 | 0:24:49 | |
And with Packwood being only about 20 miles from Stratford-upon-Avon, | 0:24:49 | 0:24:53 | |
productions of the works by Shakespeare | 0:24:53 | 0:24:55 | |
featured heavily in the annual programme. | 0:24:55 | 0:24:57 | |
But Baron Ash's proudest moment | 0:24:59 | 0:25:01 | |
was possibly the day the Queen came to tea. | 0:25:01 | 0:25:03 | |
It sounds nice, doesn't it? "The day the Queen came to tea." | 0:25:03 | 0:25:05 | |
Well, apparently Queen Mary was staying with some friends | 0:25:05 | 0:25:07 | |
in Warwickshire and it was suggested that she visited Packwood, | 0:25:07 | 0:25:10 | |
and she did. She spent a couple of hours looking around the house | 0:25:10 | 0:25:13 | |
and taking in the gardens, looking at the changes | 0:25:13 | 0:25:16 | |
that Baron was in the process of making, | 0:25:16 | 0:25:18 | |
and, by all accounts, when she left, Baron was beside himself, | 0:25:18 | 0:25:22 | |
he jumped in the car and hurtled off to Birmingham | 0:25:22 | 0:25:25 | |
to have this glass case and plaque made | 0:25:25 | 0:25:27 | |
to put the royal cup and saucer in, | 0:25:27 | 0:25:30 | |
the very piece of Minton that Her Royal Highness drank from - | 0:25:30 | 0:25:33 | |
and the pen that she used to sign the two autographs. | 0:25:33 | 0:25:35 | |
So I think that's really, really lovely. | 0:25:35 | 0:25:37 | |
And the bedroom that was put aside for her, | 0:25:39 | 0:25:41 | |
in case she did want to stay the night, from that day onwards, | 0:25:41 | 0:25:44 | |
was always known as Queen Mary's bedroom. | 0:25:44 | 0:25:46 | |
Baron never received a title, | 0:25:51 | 0:25:53 | |
but in 1938 he was appointed High Sheriff of Warwickshire. | 0:25:53 | 0:25:56 | |
He attended the county assize courts | 0:25:59 | 0:26:01 | |
with his butler Stanley acting as a footman. | 0:26:01 | 0:26:04 | |
Trumpeters heralded the visiting church with the Ash flag, | 0:26:04 | 0:26:07 | |
bearing the family crest of two chevrons and a Maltese cross | 0:26:07 | 0:26:11 | |
fluttering from their instruments. | 0:26:11 | 0:26:13 | |
Baron had achieved a high degree of social standing. | 0:26:19 | 0:26:21 | |
He'd also transformed Packwood | 0:26:21 | 0:26:23 | |
into the grand Tudor mansion he always dreamt of. | 0:26:23 | 0:26:27 | |
His work was complete. | 0:26:27 | 0:26:28 | |
He handed over the house to The National Trust in 1941. | 0:26:28 | 0:26:33 | |
He stayed on for another six years but he left instructions | 0:26:33 | 0:26:36 | |
that the key rooms should remain exactly as they were, | 0:26:36 | 0:26:38 | |
how he created them - they were his legacy. | 0:26:38 | 0:26:41 | |
He left nothing personal of himself except his wish | 0:26:41 | 0:26:44 | |
that there should always be fresh flowers in the house. | 0:26:44 | 0:26:48 | |
And apparently when the house was handed over to The National Trust, | 0:26:48 | 0:26:51 | |
it looked exactly like a museum - | 0:26:51 | 0:26:53 | |
but by all accounts, according to people who knew him, | 0:26:53 | 0:26:56 | |
that's exactly how it was when he lived here. | 0:26:56 | 0:26:58 | |
Well, from Packwood House, | 0:26:58 | 0:27:00 | |
it's straight over to St Albans to look at an item | 0:27:00 | 0:27:02 | |
that would look perfect at one of Baron Ash's soirees. | 0:27:02 | 0:27:05 | |
Claire Rawle is our export. | 0:27:10 | 0:27:11 | |
Jill, you've brought these lovely items in. | 0:27:12 | 0:27:14 | |
Now, I've noticed today | 0:27:14 | 0:27:15 | |
there's a lot of people wandering around the cathedral | 0:27:15 | 0:27:18 | |
in ecclesiastical vestments - | 0:27:18 | 0:27:19 | |
but actually what you've brought in is much more commercial, isn't it? | 0:27:19 | 0:27:22 | |
And wearable, really. | 0:27:22 | 0:27:24 | |
So tell me, are they family pieces? | 0:27:24 | 0:27:26 | |
Yes, they are. It belonged to my father's mother, | 0:27:26 | 0:27:30 | |
and the story goes that she wore it on the Queen Mary | 0:27:30 | 0:27:34 | |
on her maiden voyage, which would have been in 1936. | 0:27:34 | 0:27:38 | |
-That must have been magnificent. -Yes. | 0:27:38 | 0:27:40 | |
Can you imagine what that must have looked like? | 0:27:40 | 0:27:42 | |
That wonderful ballroom, | 0:27:42 | 0:27:43 | |
all the ladies in their sparkly, beautiful costumes. | 0:27:43 | 0:27:46 | |
-It must have been fantastic. -Yeah. | 0:27:46 | 0:27:48 | |
Do you have any record, does she remember, did she tell anyone? | 0:27:48 | 0:27:51 | |
It's a family story. | 0:27:51 | 0:27:52 | |
Unfortunately we don't have any photos... | 0:27:52 | 0:27:55 | |
-Oh...! -..although you hope there would have been photos at the time. | 0:27:55 | 0:27:57 | |
-I'm sure. -Yeah. -Oh, what a shame - | 0:27:57 | 0:27:59 | |
but it must have been a wonderful, wonderful scene, | 0:27:59 | 0:28:01 | |
and a wonderful occasion for her as well. | 0:28:01 | 0:28:03 | |
How lovely. Did she wear them again, do you know? | 0:28:03 | 0:28:06 | |
I don't know, unfortunately, no. | 0:28:06 | 0:28:08 | |
Oh, right. And have you worn them? | 0:28:08 | 0:28:09 | |
I wore them to try them on, and we have got photographic proof. | 0:28:09 | 0:28:13 | |
-But you haven't been out anywhere, to a lovely party? -No. | 0:28:13 | 0:28:15 | |
So what we have here is a black velvet evening coat, very sumptuous, | 0:28:15 | 0:28:21 | |
very long, rather attractive buttons there, glass buttons, | 0:28:21 | 0:28:25 | |
and very typical, they did like these quilted collars, | 0:28:25 | 0:28:28 | |
and you can see on the shoulders, | 0:28:28 | 0:28:30 | |
slightly puffed out and long narrow sleeves. | 0:28:30 | 0:28:33 | |
The line in the 1930s into the '40s | 0:28:33 | 0:28:35 | |
-was very long and slinky and very elegant. -Mm-hm. | 0:28:35 | 0:28:38 | |
In a certain extent, it has come back into fashion today. | 0:28:38 | 0:28:42 | |
And then the ballgown, which of course it was - it was a ballgown. | 0:28:42 | 0:28:45 | |
People went and you sort of danced like you do on Strictly. | 0:28:45 | 0:28:48 | |
So here you have - it's machine-made lace, which in actual fact, | 0:28:49 | 0:28:53 | |
they had been making machine-made lace since the 19th century, | 0:28:53 | 0:28:56 | |
it wasn't a 20th-century invention, they had amazing looms, | 0:28:56 | 0:28:59 | |
they could make wonderful things. | 0:28:59 | 0:29:01 | |
Beautiful, sparkly, spangled bodice with these wonderful flowers. | 0:29:01 | 0:29:05 | |
Fitted to the waist, very much so. | 0:29:05 | 0:29:07 | |
And then lovely flaring away, | 0:29:07 | 0:29:08 | |
and then you have the stiffened petticoats underneath, | 0:29:08 | 0:29:11 | |
looked very elegant, very beautiful. | 0:29:11 | 0:29:13 | |
Now, there is a real resurgence in vintage clothing. | 0:29:14 | 0:29:18 | |
A lot of people are buying it to wear. | 0:29:18 | 0:29:20 | |
Condition's all-important - | 0:29:20 | 0:29:22 | |
both of these actually don't look as if they've had an awful lot of wear. | 0:29:22 | 0:29:24 | |
The telltale sign is usually in the hem of a dress, | 0:29:24 | 0:29:27 | |
where someone has put their foot through, | 0:29:27 | 0:29:29 | |
but this all seems to be in pretty good order. | 0:29:29 | 0:29:31 | |
-So, you've decided to part with them? -Yes, indeed, yes. | 0:29:31 | 0:29:34 | |
You're not going to rush out to another ball or anything? | 0:29:34 | 0:29:37 | |
No, I don't think so. | 0:29:37 | 0:29:38 | |
No, no. Now, we need to talk value. | 0:29:38 | 0:29:40 | |
Because obviously they're going to go to auction. | 0:29:40 | 0:29:42 | |
I would suggest, for the two of them, | 0:29:42 | 0:29:45 | |
we would do an estimate of £90-150. | 0:29:45 | 0:29:46 | |
-If you're happy with that. -Yes. | 0:29:46 | 0:29:48 | |
I'd pitch the reserve just under the low estimate at £80. | 0:29:48 | 0:29:51 | |
-OK. -So you're happy with that? | 0:29:51 | 0:29:53 | |
-Yes, that's fine. -Shall we fix the reserve at £80, | 0:29:53 | 0:29:55 | |
so they don't make any less than that? | 0:29:55 | 0:29:57 | |
-Yes, I think so. -Excellent. Fixed reserve at 80, 90-150. | 0:29:57 | 0:30:01 | |
-Hopefully they'll do very well for you. -Thank you. | 0:30:01 | 0:30:03 | |
-Thank you very much. -That's lovely, thank you. | 0:30:03 | 0:30:05 | |
What a fabulous outfit - and what a great story. | 0:30:05 | 0:30:08 | |
That maiden voyage on the Queen Mary must have been quite something. | 0:30:08 | 0:30:12 | |
Now we're heading over to Grimsby Minster | 0:30:16 | 0:30:18 | |
where something quite showy has caught Michael Baggott's eye. | 0:30:18 | 0:30:21 | |
Gordon, thank you for bringing in | 0:30:24 | 0:30:26 | |
this wonderful bit of English porcelain today. | 0:30:26 | 0:30:29 | |
Before I tell you anything about it - | 0:30:29 | 0:30:31 | |
I suspect you know rather a lot already - where did it come from? | 0:30:31 | 0:30:35 | |
Well, I bought it in Doncaster, | 0:30:35 | 0:30:37 | |
-which is not very far from where the actual pottery... -Pottery was. | 0:30:37 | 0:30:40 | |
-Where it was made, yeah. That's right. -Oh, that's marvellous. | 0:30:40 | 0:30:43 | |
Are you a collector of English porcelain or was there something particular | 0:30:43 | 0:30:47 | |
about this vase that you liked? | 0:30:47 | 0:30:49 | |
Well, my mother was called Brameld, and she was a descendant, | 0:30:49 | 0:30:53 | |
-so we're told, of the Brameld family who made this china. -Oh! | 0:30:53 | 0:30:58 | |
So, your - if you go back far enough - | 0:30:58 | 0:31:01 | |
your ancestors were making these pots? | 0:31:01 | 0:31:04 | |
-That's correct, yeah. -Owners of the factory. Well, we'll turn it over. | 0:31:04 | 0:31:07 | |
Cos we should always turn a pot over. | 0:31:07 | 0:31:09 | |
Well, you can't really get much better than that - Rockingham Works, | 0:31:10 | 0:31:16 | |
Brameld, and the wonderful family crest there, the griffin on top - | 0:31:16 | 0:31:21 | |
and we've got a piece of Rockingham porcelain. | 0:31:21 | 0:31:23 | |
Now, porcelain and pottery had been made at Rockingham | 0:31:23 | 0:31:27 | |
-from the mid-18th century... -Yeah. | 0:31:27 | 0:31:30 | |
..but it had all fallen into disrepair. | 0:31:30 | 0:31:33 | |
It was really in 1826 when the Brameld family revived it, | 0:31:33 | 0:31:39 | |
as the Rockingham Porcelain Works | 0:31:39 | 0:31:41 | |
that you get this lovely fine quality china being produced. | 0:31:41 | 0:31:46 | |
-Very much in Regency taste... -Yeah. | 0:31:46 | 0:31:48 | |
..but this one, if we see, | 0:31:48 | 0:31:51 | |
decorated with this beautiful spray of flowers. | 0:31:51 | 0:31:55 | |
I mean, that's like a miniature oil painting. | 0:31:55 | 0:31:58 | |
-It is, yeah. -And done by one of Rockingham's best flower painters, | 0:31:58 | 0:32:03 | |
-John Cresswell. -That's right, yeah. | 0:32:03 | 0:32:05 | |
On the downside - wear, to gilding. | 0:32:05 | 0:32:09 | |
Other than that, I think in terms of condition, we're absolutely fine. | 0:32:09 | 0:32:15 | |
How long ago was that, that you bought it? | 0:32:15 | 0:32:17 | |
1979. | 0:32:17 | 0:32:19 | |
-For? -£200. | 0:32:19 | 0:32:21 | |
Crumbs. That was at the height of the market, | 0:32:21 | 0:32:25 | |
that was desperate for these pots. | 0:32:25 | 0:32:26 | |
Yeah, and I never asked for a discount, either. | 0:32:26 | 0:32:29 | |
That was a mistake! Always ask for a discount. | 0:32:29 | 0:32:32 | |
Might not get it, but you should always ask for one. | 0:32:32 | 0:32:34 | |
So why have you decided to sell it now? | 0:32:34 | 0:32:36 | |
-Over the years, I've collected quite a lot of Rockingham china. -Ah. | 0:32:36 | 0:32:42 | |
So, this now is surplus to requirements? | 0:32:42 | 0:32:45 | |
That's right, yeah. | 0:32:45 | 0:32:47 | |
So in terms of value, I think we'd be cautious. | 0:32:47 | 0:32:50 | |
It's not much of a return for you, I know, | 0:32:50 | 0:32:52 | |
but if we put an estimate of £200-300, | 0:32:52 | 0:32:55 | |
and we put a fixed reserve of £180 on it, | 0:32:55 | 0:32:58 | |
and I think that's going to find it a new home - | 0:32:58 | 0:33:01 | |
and hopefully we'll see towards the top end of that. | 0:33:01 | 0:33:04 | |
And I've had the pleasure of it all these years as well. | 0:33:04 | 0:33:07 | |
This is the joy of antiques, people don't get it. | 0:33:07 | 0:33:09 | |
You can go and buy something, have it half your lifetime, | 0:33:09 | 0:33:13 | |
-and it's still worth something at the end of it. -Yeah. | 0:33:13 | 0:33:16 | |
We'll pop it into the auction and keep our fingers crossed | 0:33:16 | 0:33:19 | |
for a whole horde of Rockingham collectors, Gordon. | 0:33:19 | 0:33:22 | |
-Thank you so much for bringing it in. -Thank you. | 0:33:22 | 0:33:25 | |
Now, that's what you call a vase - | 0:33:25 | 0:33:27 | |
and it's great to have the personal connection. | 0:33:27 | 0:33:30 | |
Let's hope it does well at auction. | 0:33:30 | 0:33:32 | |
Before that, we're heading off to the seaside town of Morecambe | 0:33:32 | 0:33:35 | |
where Charles Hanson has found a new four-legged friend. | 0:33:35 | 0:33:38 | |
Neil, it's great to see you - | 0:33:40 | 0:33:41 | |
but this actually isn't a real dog, is it? | 0:33:41 | 0:33:43 | |
-No, no. -You've had it a long time? | 0:33:43 | 0:33:45 | |
I've had it about 30 years, probably. | 0:33:45 | 0:33:47 | |
How did you acquire it? | 0:33:47 | 0:33:49 | |
It was my auntie's... | 0:33:49 | 0:33:50 | |
Auntie and uncle, they bought it in from West Africa in the late '50s. | 0:33:50 | 0:33:55 | |
That's amazing. Are you a dog lover now? | 0:33:55 | 0:33:57 | |
-Not really, no. -A cat lover? | 0:33:57 | 0:33:59 | |
Definitely not! | 0:33:59 | 0:34:01 | |
Well, we have two small dogs at home | 0:34:01 | 0:34:04 | |
and this very much reminds me of our terrier called Oscar. | 0:34:04 | 0:34:08 | |
He is a Boston terrier, in essence, | 0:34:09 | 0:34:11 | |
and, of course, what he's got is hopefully still lurking inside him | 0:34:11 | 0:34:18 | |
after 130 years or so - | 0:34:18 | 0:34:20 | |
an infamous growl. | 0:34:20 | 0:34:21 | |
-May I do the honours? -Please do. | 0:34:21 | 0:34:23 | |
On this chain here, which is the original - I believe it is... | 0:34:23 | 0:34:27 | |
HE CREAKS | 0:34:28 | 0:34:30 | |
-He's lost a bit of growl, hasn't he? -He has. | 0:34:30 | 0:34:33 | |
But he's still very much in working order. | 0:34:33 | 0:34:36 | |
And I love how that head bounces | 0:34:36 | 0:34:39 | |
and just has that wonderful nod in appreciation. Really nice. | 0:34:39 | 0:34:44 | |
So - French, automaton, made by a company called Roullet & Decamps, | 0:34:44 | 0:34:50 | |
who were a French company who formed as early as 1865, | 0:34:50 | 0:34:55 | |
and they only closed as late as 1995. | 0:34:55 | 0:34:59 | |
-Right. -But they were a renowned company | 0:34:59 | 0:35:03 | |
for making upmarket automaton toys for a fairly noble class market - | 0:35:03 | 0:35:09 | |
and he really is that. | 0:35:09 | 0:35:13 | |
What we look for, first of all, Neil, is condition. | 0:35:13 | 0:35:15 | |
You've kept him very, very well. | 0:35:15 | 0:35:17 | |
Where has he been kept, a kennel, or...? | 0:35:17 | 0:35:20 | |
-Just in a cupboard. -In a cupboard. -Yeah. | 0:35:20 | 0:35:22 | |
I mean, he was more or less in this state when we got him. | 0:35:22 | 0:35:25 | |
He probably got most of his wear and tear when my auntie had him. | 0:35:25 | 0:35:29 | |
He's very light. You might think, at first, | 0:35:29 | 0:35:31 | |
is he a base metal that's been coated? | 0:35:31 | 0:35:34 | |
He's not, he's papier-mache. | 0:35:34 | 0:35:36 | |
-Yeah. -He would have had a red russet collar, | 0:35:36 | 0:35:38 | |
and also what we call flocking - | 0:35:38 | 0:35:41 | |
the actual body is slightly bare, | 0:35:41 | 0:35:44 | |
and that fur, you can find, in places, has a suedey feel, | 0:35:44 | 0:35:49 | |
but otherwise, elsewhere, it's slightly bald. | 0:35:49 | 0:35:54 | |
Happens to us all, eh? | 0:35:54 | 0:35:56 | |
-Yes. -He's great - the ears are in good condition. | 0:35:56 | 0:35:59 | |
I don't think his mouth has been repainted, has it? | 0:35:59 | 0:36:02 | |
-Not in our time. -No, that's OK. | 0:36:02 | 0:36:04 | |
His teeth are all there, aren't they, still? No fillings. | 0:36:04 | 0:36:07 | |
-He's charming. I'm going to go in between 150-250... -Right. | 0:36:09 | 0:36:14 | |
..and I really hope, Neil, | 0:36:14 | 0:36:16 | |
with the wind blowing, at the auction, | 0:36:16 | 0:36:20 | |
he might just give a bigger... | 0:36:20 | 0:36:22 | |
-HE CREAKS -..bark... | 0:36:22 | 0:36:23 | |
..and could just take off and leave you and him feeling very happy. | 0:36:24 | 0:36:29 | |
-Oh, right. -OK? -Yes, fantastic. | 0:36:29 | 0:36:31 | |
Thanks, Neil - thanks so much for sharing your doggy story. | 0:36:31 | 0:36:34 | |
-You're very welcome. -Thanks a lot, thank you. | 0:36:34 | 0:36:36 | |
Well, that's it for our last lot of items - | 0:36:46 | 0:36:48 | |
we'll find out exactly what they're worth | 0:36:48 | 0:36:50 | |
when they go under the hammer in the auction room shortly - | 0:36:50 | 0:36:53 | |
but first I want to tell you about the night | 0:36:53 | 0:36:55 | |
Packwood was the place to be. | 0:36:55 | 0:36:57 | |
We've already discovered | 0:36:57 | 0:36:58 | |
that Baron Ash loved entertaining and his parties were legendary. | 0:36:58 | 0:37:03 | |
Well, in 1931, the celebrity socialite and pianist | 0:37:03 | 0:37:06 | |
Prince George Chavchavadze was invited to play here at Packwood. | 0:37:06 | 0:37:11 | |
George was a White Russian, | 0:37:12 | 0:37:14 | |
a supporter of the deposed Russian monarchy, | 0:37:14 | 0:37:16 | |
whose family had lost most of their aristocratic riches | 0:37:16 | 0:37:20 | |
during the Revolution, | 0:37:20 | 0:37:21 | |
and had fled their wealthy estates in Georgia for sanctuary in London. | 0:37:21 | 0:37:26 | |
The recital was performed in the Great Hall on this very spinet, | 0:37:27 | 0:37:32 | |
and this was made by the acclaimed musical instrument maker | 0:37:32 | 0:37:36 | |
Thomas Hitchcock in the early part of the 18th century. | 0:37:36 | 0:37:39 | |
So this is sort of circa 1710, 1715, and it's absolutely beautiful, | 0:37:39 | 0:37:45 | |
and these keys are real ebony and ivory. | 0:37:45 | 0:37:48 | |
It's a stunning, stunning piece of craftsmanship, | 0:37:48 | 0:37:52 | |
and apparently, to mark the occasion, the Prince did sign it - | 0:37:52 | 0:37:55 | |
it's signed somewhere on here but it's so faded I can't find it. | 0:37:55 | 0:37:58 | |
I'd play a few notes if no-one was looking, | 0:38:01 | 0:38:03 | |
but we've got work to do and antiques to sell, | 0:38:03 | 0:38:05 | |
so let's take a look at the items going under the hammer next. | 0:38:05 | 0:38:08 | |
Jill brought in a wonderful ballgown | 0:38:10 | 0:38:12 | |
worn on the maiden voyage of the Queen Mary. | 0:38:12 | 0:38:15 | |
Michael was really taken with Gordon's Rockingham vase, | 0:38:15 | 0:38:18 | |
with the family link. | 0:38:18 | 0:38:19 | |
And finally, Neil brought in the wonderful dog. | 0:38:21 | 0:38:23 | |
He may have lost a bit of his growl, | 0:38:23 | 0:38:25 | |
but hopefully the bidders will bite when he goes up for sale. | 0:38:25 | 0:38:28 | |
First, we've headed back to Tring | 0:38:33 | 0:38:35 | |
where Jill's evening gown's up for sale | 0:38:35 | 0:38:37 | |
and auctioneer Stephen Hearn is still in charge. | 0:38:37 | 0:38:39 | |
Jill, we're just about to sell your grandmother's dress and coat. | 0:38:41 | 0:38:44 | |
-Yes. -Fingers crossed we get it away at the top end, | 0:38:44 | 0:38:46 | |
we're looking at around £150. | 0:38:46 | 0:38:47 | |
I've got to say, we work well together. | 0:38:47 | 0:38:50 | |
-We do. -The colours are working now, we're not clashing! | 0:38:50 | 0:38:53 | |
-A good omen. -It's great to see you, though. | 0:38:53 | 0:38:56 | |
So, why have you decided to sell Grandma's clothes? | 0:38:56 | 0:38:59 | |
It's been in a wardrobe for a long, long, long, long time, | 0:38:59 | 0:39:03 | |
and so I said to my mum and dad, | 0:39:03 | 0:39:04 | |
let's just go and see, and here we are. | 0:39:04 | 0:39:06 | |
Yeah. OK, OK, fingers crossed. | 0:39:06 | 0:39:08 | |
They go, they get to a collector. | 0:39:08 | 0:39:10 | |
-Yeah. -Right, let's find out what the bidders think, shall be? | 0:39:10 | 0:39:13 | |
It's going under the hammer now. | 0:39:13 | 0:39:14 | |
Rather lovely that one, the black velvet, lot number 2028, | 0:39:14 | 0:39:19 | |
shall we say £100 for it, or £50 for it? | 0:39:19 | 0:39:21 | |
£40 for it, 45, £50? | 0:39:21 | 0:39:23 | |
Five, £60, five, £70? | 0:39:23 | 0:39:27 | |
And five? | 0:39:27 | 0:39:29 | |
At £70, then, five anywhere? | 0:39:29 | 0:39:31 | |
No? At £70, we're going to have to leave it, I believe. | 0:39:31 | 0:39:36 | |
Madam? You're going, no? | 0:39:36 | 0:39:38 | |
At 70, then, we leave it, at £70, thank you. | 0:39:38 | 0:39:42 | |
No. Well, you got £70, he was still two bids away, | 0:39:42 | 0:39:45 | |
unfortunately, just under the reserve. | 0:39:45 | 0:39:47 | |
-That's a shame. -Couple of bids would have done it. | 0:39:47 | 0:39:49 | |
It's a shame, so close, wasn't it? | 0:39:49 | 0:39:50 | |
Yeah, I think Grandma wants you to keep it, that's what it is, | 0:39:50 | 0:39:54 | |
-I think so. -Yeah, I'll have to go to a ball. | 0:39:54 | 0:39:56 | |
Yeah, try it! | 0:39:56 | 0:39:58 | |
That's disappointing, but that's it, Jill, | 0:39:59 | 0:40:01 | |
find a ball to go to and wear it with pride. | 0:40:01 | 0:40:05 | |
Next, we're back in Lincoln | 0:40:05 | 0:40:06 | |
and hoping to make a good price for Gordon's Rockingham vase. | 0:40:06 | 0:40:10 | |
-Gordon, fingers crossed. -Yes, I know! | 0:40:10 | 0:40:12 | |
We've got your Rockingham vase going under the hammer right now. | 0:40:12 | 0:40:15 | |
Michael, I think we'll get top dollar for this. | 0:40:15 | 0:40:17 | |
We're in the right area. | 0:40:17 | 0:40:19 | |
The thing I'd like most of all is a time machine, | 0:40:19 | 0:40:22 | |
-because the market for this was 15 years ago. -It was better. | 0:40:22 | 0:40:25 | |
Architecturally, though, it stands well, | 0:40:25 | 0:40:27 | |
I love that flared look about it. | 0:40:27 | 0:40:29 | |
OK, look, good luck, here we go. Let's put it to the test. | 0:40:29 | 0:40:32 | |
Right, lot number 171, this rather nice Rockingham vase. | 0:40:33 | 0:40:36 | |
Hand-painted vase, here we go, and I'll start it straight with me, | 0:40:36 | 0:40:39 | |
I've got various bids on this. | 0:40:39 | 0:40:40 | |
-Oh, cool! -Straight with me at £150. | 0:40:40 | 0:40:43 | |
That's not enough. | 0:40:43 | 0:40:45 | |
At 150, 160, 170, 180, 190? | 0:40:45 | 0:40:47 | |
At 190, with me at 190, at 190? | 0:40:47 | 0:40:50 | |
£190, it's at 190. | 0:40:50 | 0:40:51 | |
200, 220, 240, 260, | 0:40:51 | 0:40:55 | |
here with me at 260. | 0:40:55 | 0:40:57 | |
Here with me at 260. | 0:40:57 | 0:40:59 | |
Anyone else at 260, all done? | 0:40:59 | 0:41:00 | |
It's selling at 260, all done at £260, then? | 0:41:00 | 0:41:04 | |
-Good price. -Brilliant. We've seen English 19th-century ceramics | 0:41:04 | 0:41:08 | |
turn the corner on "Flog It!" | 0:41:08 | 0:41:10 | |
-Marvellous! -Quality. | 0:41:10 | 0:41:11 | |
It's all about quality and craftsmanship. | 0:41:11 | 0:41:14 | |
-A work of art. -And you get a lot of value for your money with that. | 0:41:14 | 0:41:17 | |
A good price for a good thing. | 0:41:18 | 0:41:20 | |
Now for our last and rather quirky item. | 0:41:20 | 0:41:22 | |
We've come to Clitheroe and Silverwoods saleroom | 0:41:22 | 0:41:25 | |
where auctioneer Wilf Mould is on the rostrum. | 0:41:25 | 0:41:28 | |
Well, things are definitely flying out today, | 0:41:29 | 0:41:31 | |
and what a cracking atmosphere there is. | 0:41:31 | 0:41:33 | |
Right now, we're going to find out | 0:41:33 | 0:41:34 | |
how much that doggie is in the auction room. | 0:41:34 | 0:41:36 | |
I've just been joined by Neil, | 0:41:36 | 0:41:37 | |
we've got that wonderful papier-mache dog | 0:41:37 | 0:41:40 | |
going under the hammer. | 0:41:40 | 0:41:41 | |
Good luck with this. We've seen these on the show before. | 0:41:41 | 0:41:44 | |
Thank goodness it still growls. | 0:41:44 | 0:41:46 | |
Indeed. | 0:41:46 | 0:41:47 | |
HE GROWLS | 0:41:47 | 0:41:48 | |
It is 900 years in doggie years! | 0:41:48 | 0:41:50 | |
Yes! | 0:41:50 | 0:41:51 | |
Right. Do you know what this dog would fetch | 0:41:52 | 0:41:55 | |
-if it was in perfect condition? -How much? | 0:41:55 | 0:41:57 | |
Sticks! | 0:41:57 | 0:41:59 | |
It's going under the hammer right now. | 0:41:59 | 0:42:01 | |
Lots and lots of interest in this lot, | 0:42:02 | 0:42:04 | |
which is the papier-mache model of a Boston terrier, | 0:42:04 | 0:42:08 | |
and we'll set it off immediately on the pad at 150, 160, £200. | 0:42:08 | 0:42:13 | |
-Wow! -200, 220, 220, 250, | 0:42:13 | 0:42:16 | |
280, 280, 300, | 0:42:16 | 0:42:19 | |
and 20, 320 online. | 0:42:19 | 0:42:21 | |
350 with me. | 0:42:21 | 0:42:23 | |
380, no, I have 350 on the book. | 0:42:23 | 0:42:25 | |
At £350 for the Boston terrier. | 0:42:25 | 0:42:28 | |
£350 is bid, have a little think online, quickly, now. | 0:42:28 | 0:42:33 | |
All done at 350, I'll take 380 quickly. | 0:42:33 | 0:42:36 | |
All done at 350. | 0:42:36 | 0:42:38 | |
-350. -Good. Well done. -Well done, well done, everyone. | 0:42:38 | 0:42:41 | |
-Thank you for bringing that in. -You're very welcome. | 0:42:41 | 0:42:44 | |
-Loved that. -Good, good. | 0:42:44 | 0:42:45 | |
Now we know what it's worth, don't we? | 0:42:45 | 0:42:47 | |
-Woof, woof, woof! -Very much! | 0:42:47 | 0:42:49 | |
Good boy! | 0:42:49 | 0:42:51 | |
Well, sadly, that's it for today's show. | 0:42:55 | 0:42:57 | |
I've had a marvellous time exploring Packwood, | 0:42:57 | 0:42:59 | |
finding out more about the house and Baron Ash, who worked so hard | 0:42:59 | 0:43:03 | |
transforming this place into a country house fit for royalty - | 0:43:03 | 0:43:07 | |
and we've enjoyed some of your fascinating stories, | 0:43:07 | 0:43:10 | |
we've had some great results from auction rooms around the country. | 0:43:10 | 0:43:13 | |
I was especially pleased for Neil - | 0:43:13 | 0:43:14 | |
£350 for that little terrier was a great price. | 0:43:14 | 0:43:18 | |
So, until the next time, it's goodbye. | 0:43:18 | 0:43:21 |