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For over 900 years, | 0:00:02 | 0:00:04 | |
this beautifully decorated church has dominated its surroundings. | 0:00:04 | 0:00:07 | |
Its long history is reflected in a mixture of architectural styles that | 0:00:07 | 0:00:11 | |
make up the building. | 0:00:11 | 0:00:12 | |
From the Norman period, right through to its great Victorian restoration. | 0:00:12 | 0:00:16 | |
There's even a recent addition. | 0:00:16 | 0:00:18 | |
Carved in stone is the head of the late Queen Mother, | 0:00:18 | 0:00:21 | |
there in the west porch, which sits comfortably alongside all | 0:00:21 | 0:00:25 | |
the other carvings over the centuries. | 0:00:25 | 0:00:28 | |
So, what is this special place? | 0:00:28 | 0:00:30 | |
Well, today the show is coming from the magnificent | 0:00:30 | 0:00:33 | |
St Albans Cathedral and Abbey. | 0:00:33 | 0:00:36 | |
It really is so special. I feel like I'm in heaven. | 0:00:36 | 0:00:39 | |
Welcome to Flog It! | 0:00:39 | 0:00:40 | |
St Albans Cathedral and Abbey in Hertfordshire is a striking church, | 0:01:04 | 0:01:08 | |
which is packed to the rafters with beautiful decor and art. | 0:01:08 | 0:01:12 | |
From its many ceilings, which are both painted and ornately carved, | 0:01:12 | 0:01:16 | |
to its glorious stained-glass windows, the intricate | 0:01:16 | 0:01:19 | |
high altar screen, this cathedral really is a stunner. | 0:01:19 | 0:01:22 | |
We're hoping this crowd have brought along an abundance of antiques and | 0:01:25 | 0:01:28 | |
treasures that have the wow factor and I can tell you this lot are | 0:01:28 | 0:01:32 | |
champing at the bit to get inside, | 0:01:32 | 0:01:34 | |
because they want to ask that all-important question, which is... | 0:01:34 | 0:01:37 | |
-ALL: -What's it worth? | 0:01:37 | 0:01:39 | |
And if you're happy with the valuation, what are you going to do? | 0:01:39 | 0:01:41 | |
-ALL: -Flog it. | 0:01:41 | 0:01:44 | |
MUSIC PLAYS | 0:01:44 | 0:01:46 | |
And to help put a value on Hertfordshire's antiques | 0:01:46 | 0:01:49 | |
and collectables are our experts, Claire Rawle and Jonathan Pratt, | 0:01:49 | 0:01:53 | |
and it looks as though Claire has already spotted something of interest... | 0:01:53 | 0:01:57 | |
Oh, right, cor, that's a magnificent one, isn't it? | 0:01:57 | 0:01:59 | |
Lovely brass and very large carriage clock type, isn't it? | 0:01:59 | 0:02:02 | |
Can I sticker you? I rather like that. | 0:02:02 | 0:02:04 | |
..whilst it's Jonathan himself who is causing a stir in the queue. | 0:02:04 | 0:02:08 | |
How are you? | 0:02:08 | 0:02:10 | |
All the better for seeing you! | 0:02:10 | 0:02:13 | |
-Gosh, he's blushing, isn't he? -No, I don't... It's hot out here, isn't it? | 0:02:13 | 0:02:16 | |
Right, time to get back to the antiques and collectables, Jonathan. | 0:02:18 | 0:02:21 | |
So, let's get this show on the road. | 0:02:21 | 0:02:24 | |
While everyone gets inside and makes themselves comfortable, | 0:02:24 | 0:02:27 | |
here's a quick look at what's coming up later. | 0:02:27 | 0:02:30 | |
Landing on our tables is a beautifully carved Arts & Crafts | 0:02:30 | 0:02:34 | |
bowl with a fabulous pedigree. | 0:02:34 | 0:02:35 | |
It's got quite an interesting history, hasn't it, this one? | 0:02:37 | 0:02:39 | |
All associated with George Bernard Shaw. | 0:02:39 | 0:02:42 | |
And there are some happy owners at the auction. | 0:02:42 | 0:02:44 | |
-Brilliant, yeah. -A good night out on that. | 0:02:44 | 0:02:46 | |
You will, I bet you... I bet you will. | 0:02:46 | 0:02:48 | |
And I'll be taking the short trip north from St Albans to this | 0:02:50 | 0:02:53 | |
medieval cave that lies beneath the streets of a small town called Royston. | 0:02:53 | 0:02:57 | |
The walls are adorned with many religious figures, | 0:02:57 | 0:03:00 | |
but who carved these images is something of a mystery. | 0:03:00 | 0:03:03 | |
Everyone is taking their seats here in the nave at St Albans Cathedral | 0:03:06 | 0:03:10 | |
and Abbey, which lays claim to being the longest nave in England and one | 0:03:10 | 0:03:15 | |
of the longest in Europe, at a whopping 85 metres. | 0:03:15 | 0:03:19 | |
Well, I think this space is absolutely fabulous, warm and embracing. | 0:03:21 | 0:03:26 | |
Believe it or not, this nave didn't look like this back in the medieval period. | 0:03:26 | 0:03:31 | |
These subtle stone walls would have been brightly coloured, | 0:03:31 | 0:03:34 | |
adorned with many wall paintings depicting biblical scenes, | 0:03:34 | 0:03:38 | |
and it's said that one pilgrim of the period entered the cathedral | 0:03:38 | 0:03:42 | |
and when he saw this, he fell to his knees and thought he'd arrived in heaven. | 0:03:42 | 0:03:46 | |
Let's hope Jonathan is also in paradise with his first valuation. | 0:03:47 | 0:03:52 | |
So, Elizabeth, you've brought this mirror along for me. | 0:03:52 | 0:03:55 | |
-Yes. -Do you know anything about it? | 0:03:55 | 0:03:56 | |
All I know is it belonged to one of my grandparents and it came, | 0:03:56 | 0:03:59 | |
I thought it came, from my grandmother's house. | 0:03:59 | 0:04:01 | |
-Why are you selling it? -Well, it is just always stood down the | 0:04:01 | 0:04:04 | |
side of the cupboard as far as I can... | 0:04:04 | 0:04:06 | |
My mother died 12 years ago and it's just stayed there. | 0:04:06 | 0:04:09 | |
I hadn't liked the colour of the surround, | 0:04:09 | 0:04:11 | |
so it didn't go with anything where we lived, so, um, | 0:04:11 | 0:04:15 | |
I like the actual design, but not the colour. | 0:04:15 | 0:04:18 | |
I haven't put it up on the wall. | 0:04:18 | 0:04:19 | |
-It's never hung on the wall in 12 years. -No, exactly. | 0:04:19 | 0:04:21 | |
I don't remember it hanging on my mother's wall, either. | 0:04:21 | 0:04:24 | |
Well, age wise it's late 19th century, OK? | 0:04:24 | 0:04:27 | |
It's very much in the Arts & Crafts style. | 0:04:27 | 0:04:28 | |
It's handmade, hand beaten, which was very much the sort of ethic | 0:04:28 | 0:04:33 | |
of the Arts & Crafts movement. | 0:04:33 | 0:04:35 | |
You've got this planished ground, hand beaten ground, | 0:04:35 | 0:04:38 | |
and then raised flowers. | 0:04:38 | 0:04:40 | |
There's a symmetry to it, which gives you that sort of | 0:04:40 | 0:04:43 | |
Arts & Crafts, more than like an Art Nouveau. | 0:04:43 | 0:04:45 | |
It's very much more English Arts & Crafts. | 0:04:45 | 0:04:47 | |
These little panels here, these little cabochons, little bosses, | 0:04:47 | 0:04:50 | |
are glazed pottery. | 0:04:50 | 0:04:51 | |
Normally it's Ruskin pottery. Very much of the time. | 0:04:51 | 0:04:55 | |
It's quite nicely made, actually. | 0:04:55 | 0:04:56 | |
It's very simply made. You see these and you think of Newlyn, | 0:04:56 | 0:04:59 | |
where there was a big sort of industry down there, | 0:04:59 | 0:05:02 | |
or up in the Keswick School, who did a lot of this sort of thing, | 0:05:02 | 0:05:05 | |
or the magic name would be Liberty's, if you could find that, | 0:05:05 | 0:05:08 | |
but it's not Liberty's, I'm afraid. | 0:05:08 | 0:05:10 | |
It would be great if it was. | 0:05:10 | 0:05:11 | |
But style wise, it's very nice, late 19th century. | 0:05:11 | 0:05:14 | |
I think at auction, it's going to be worth between £100 and £150. | 0:05:14 | 0:05:18 | |
OK. | 0:05:18 | 0:05:19 | |
-How does that sound? -I thought it might be more. | 0:05:19 | 0:05:22 | |
Yeah, it could be a little bit more. | 0:05:23 | 0:05:25 | |
I could be a little bit more generous, I could say £150 to £250. | 0:05:25 | 0:05:29 | |
I wouldn't want to go too much more than that. | 0:05:29 | 0:05:31 | |
-It could make more than £200. -Right. But we'll put a reserve of £150 on | 0:05:31 | 0:05:35 | |
-it and let's see what happens at the auction. -OK. | 0:05:35 | 0:05:38 | |
-Thank you very much. -Thank you very much, see you then. | 0:05:38 | 0:05:41 | |
What a beautiful Arts & Crafts mirror to get us started, | 0:05:41 | 0:05:45 | |
and it would seem that school is very much in vogue today. | 0:05:45 | 0:05:48 | |
Robert, you've brought in this beautifully carved Arts & Crafts | 0:05:50 | 0:05:53 | |
style wooden bowl. It's got quite an interesting history, hasn't it, this? | 0:05:53 | 0:05:57 | |
So tell me what you know about it. | 0:05:57 | 0:05:59 | |
Um, all associated with George Bernard Shaw. | 0:05:59 | 0:06:01 | |
-Right. -He died in the 1950s and his effects were auctioned off and my | 0:06:01 | 0:06:08 | |
mother attended the auction and purchased this. | 0:06:08 | 0:06:11 | |
George Bernard Shaw saw out his days in Hertfordshire at Shaw's Corner, | 0:06:14 | 0:06:19 | |
which isn't a million miles away from St Albans. | 0:06:19 | 0:06:22 | |
Shaw was hugely famous in his own lifetime and was known as a | 0:06:22 | 0:06:26 | |
socialist propagandist, literary critic and prolific dramatist, | 0:06:26 | 0:06:30 | |
whose work includes the play Pygmalion, | 0:06:30 | 0:06:32 | |
which was later adapted into the popular musical, My Fair Lady. | 0:06:32 | 0:06:37 | |
Shaw was the only person to win both the Nobel prize | 0:06:37 | 0:06:40 | |
and an Academy Award. | 0:06:40 | 0:06:42 | |
Goodbye, goodbye all of you. | 0:06:42 | 0:06:48 | |
The interesting thing is that on the side, here, | 0:06:48 | 0:06:50 | |
we've got a raised cartouche with initials carved into it and you | 0:06:50 | 0:06:53 | |
believe they're the initials of his wife? | 0:06:53 | 0:06:55 | |
-CPT? -Yes, Charlotte Payne-Townshend. | 0:06:55 | 0:06:59 | |
As soon as I saw it I thought, wow, that's just beautiful. | 0:06:59 | 0:07:02 | |
Things at the moment from the Arts & Crafts era | 0:07:02 | 0:07:04 | |
is just going crazy. | 0:07:04 | 0:07:05 | |
People love it. Of course, Bernard Shaw himself had quite | 0:07:05 | 0:07:09 | |
a tie, he was friendly with William Morris, | 0:07:09 | 0:07:12 | |
and, of course, his wife was also a member of the Fabian Society. | 0:07:12 | 0:07:15 | |
They eventually married, I think I I'm right in saying, about 1898. | 0:07:15 | 0:07:19 | |
The interesting thing is that this bowl is very, very much from that | 0:07:19 | 0:07:22 | |
period, so it would be really nice to think it was something that was | 0:07:22 | 0:07:27 | |
crafted specifically for her at about that time. | 0:07:27 | 0:07:30 | |
It's very... Well, I say typical, it is very much a one-off piece, | 0:07:30 | 0:07:33 | |
but this sort of naturalistic work, lovely flowing lines, | 0:07:33 | 0:07:36 | |
plants and things there. | 0:07:36 | 0:07:37 | |
Their idea was to go back to very naturalistic, | 0:07:37 | 0:07:40 | |
very pure ways of making things and very natural items that had appeared | 0:07:40 | 0:07:44 | |
in history hundreds of years before. | 0:07:44 | 0:07:46 | |
So it just ties in really well with the Arts & Crafts movement. | 0:07:46 | 0:07:50 | |
It's got a few splits on it. | 0:07:50 | 0:07:51 | |
That's where the wood has just dried out over the years, | 0:07:51 | 0:07:54 | |
which I think is part of its character, really. | 0:07:54 | 0:07:56 | |
I don't see it as being a huge problem. | 0:07:56 | 0:07:57 | |
The only thing I'm slightly... | 0:07:57 | 0:07:59 | |
A bit of a query, it's got a lip on the inside. | 0:07:59 | 0:08:02 | |
Usually that means there would have been a cover, | 0:08:02 | 0:08:05 | |
however I think it stands alone as a lovely decorative piece. | 0:08:05 | 0:08:09 | |
We need to talk about value which is quite difficult, because it has a | 0:08:09 | 0:08:12 | |
good history, a very good connection, a very interesting connection, | 0:08:12 | 0:08:16 | |
so it would be lovely to know who actually carved it. | 0:08:16 | 0:08:18 | |
It's somebody with some skill, because it's beautifully carved. | 0:08:18 | 0:08:21 | |
I think a sensible estimate would be £300-£400. | 0:08:21 | 0:08:24 | |
-But we could see it make a lot more. -So my mother did the right thing? | 0:08:24 | 0:08:27 | |
I think your mum did, didn't she? | 0:08:27 | 0:08:29 | |
Yes. She obviously had a good eye. | 0:08:29 | 0:08:31 | |
I would suggest putting the lower end of the estimate as a reserve. | 0:08:31 | 0:08:34 | |
-If you're happy with that? -I'm fine with that. | 0:08:34 | 0:08:36 | |
Excellent. I look forward to seeing you at the auction. | 0:08:36 | 0:08:39 | |
-Yes. -And see what everyone else thinks about it. | 0:08:39 | 0:08:41 | |
Earlier in the programme, I was telling you that during the medieval | 0:08:51 | 0:08:55 | |
period, this cathedral would have been a blaze, a riot of colour, | 0:08:55 | 0:08:59 | |
looking down the nave right now and seeing all the stonework. | 0:08:59 | 0:09:01 | |
You would've seen wall paintings covering them with bright chromatic hue. | 0:09:01 | 0:09:06 | |
It was storytelling at its best, but sadly during the reign of | 0:09:06 | 0:09:09 | |
King Henry VIII and the reformation, all of these wall paintings were | 0:09:09 | 0:09:13 | |
covered up with a whitewash. | 0:09:13 | 0:09:14 | |
They weren't rediscovered until, well, over 300 years later. | 0:09:14 | 0:09:18 | |
Sadly the process of removing this lime based whitewash destroyed a lot | 0:09:18 | 0:09:23 | |
of the detail and the colour in the storytelling, | 0:09:23 | 0:09:26 | |
but you can still make out some of the images. | 0:09:26 | 0:09:29 | |
If you look up here, you can see a representation of Christ. | 0:09:29 | 0:09:32 | |
Of course, this story was very important to the Christians during | 0:09:32 | 0:09:36 | |
the medieval period. | 0:09:36 | 0:09:37 | |
And here, on this pillar, another very important man, | 0:09:37 | 0:09:40 | |
a local man, Alban, who sacrificed himself to save a Christian priest. | 0:09:40 | 0:09:44 | |
He became the first martyr in this country and the cathedral is named after him. | 0:09:44 | 0:09:51 | |
What fascinating wall paintings. | 0:09:52 | 0:09:55 | |
Right now an impressive piece of art has found its way to Jonathan's | 0:09:55 | 0:09:58 | |
valuation table. | 0:09:58 | 0:10:00 | |
Tony, what have we got here? | 0:10:00 | 0:10:02 | |
This is a wonderful little autograph book. | 0:10:02 | 0:10:03 | |
Yes. On the first page, there, you'll see a drawing made by | 0:10:03 | 0:10:07 | |
Dame Laura Knight in 1950 when I was a kid. | 0:10:07 | 0:10:11 | |
She was staying in the same hotel at Colwell that my mother and my sister | 0:10:11 | 0:10:16 | |
and I were staying and that's the picture she drew. | 0:10:16 | 0:10:20 | |
She must have had a word with my mother and maybe she was asked to | 0:10:20 | 0:10:25 | |
draw a picture, but I mean she drew it willingly, | 0:10:25 | 0:10:27 | |
and as you can see, it's very good. | 0:10:27 | 0:10:30 | |
You get autograph books and they're full of autographs and it's always | 0:10:30 | 0:10:33 | |
wonderful when the person does embelish it. | 0:10:33 | 0:10:35 | |
For her to have drawn you this figure here, | 0:10:35 | 0:10:37 | |
which is very much the subject she was dealing with... | 0:10:37 | 0:10:39 | |
She was very much known for her work with theatre and circus | 0:10:39 | 0:10:44 | |
performance and things like that, so she's drawn this French clown, | 0:10:44 | 0:10:47 | |
the sort of Pierrot type clown. | 0:10:47 | 0:10:49 | |
You can see it's done continuous line. | 0:10:49 | 0:10:52 | |
She is a collectable artist now. | 0:10:52 | 0:10:54 | |
She was the official artist for the Nuburg trials | 0:10:54 | 0:10:57 | |
after the Second World War. | 0:10:57 | 0:10:58 | |
-Yeah. -Do you remember her being there with you doing this? | 0:10:58 | 0:11:01 | |
Yes. She drew it whilst we were watching. | 0:11:01 | 0:11:04 | |
She would've been in her early 60s in 1950. | 0:11:05 | 0:11:09 | |
She signed it Laura Knight. | 0:11:09 | 0:11:10 | |
But at this time, also, she was a dame. | 0:11:10 | 0:11:12 | |
A dame is pretty much the highest accolade. | 0:11:12 | 0:11:14 | |
It's the female version of a knighthood. | 0:11:14 | 0:11:18 | |
-Yes. -She has just signed it Laura Knight, | 0:11:18 | 0:11:20 | |
which is kind of humble in a way. | 0:11:20 | 0:11:23 | |
Because she's an artist, she doesn't want to be... | 0:11:23 | 0:11:25 | |
From what one remembers, she was extremely pleasant. | 0:11:25 | 0:11:28 | |
That is really nice to hear. | 0:11:29 | 0:11:31 | |
Because it's drawn into a book like this, it is a work of art rather | 0:11:31 | 0:11:35 | |
than an autograph, so I'm looking at it as a signed work of art, | 0:11:35 | 0:11:39 | |
so it's very astute of your mum to say, | 0:11:39 | 0:11:42 | |
"Would you mind doing a drawing, as well?" | 0:11:42 | 0:11:43 | |
I think that is really brilliant. | 0:11:43 | 0:11:45 | |
I notice also in here that... | 0:11:45 | 0:11:47 | |
The other page there is the women cricketers who were having their | 0:11:47 | 0:11:51 | |
fortnight in Colwell as well at the time. | 0:11:51 | 0:11:54 | |
The signatures there are Myrtle Maclagan and Betty Snowball. | 0:11:54 | 0:11:58 | |
I think both played in the first-ever women's Test | 0:11:58 | 0:12:00 | |
-and that was before the war. -Right. | 0:12:00 | 0:12:03 | |
Molly Hyde, who is at the top there, | 0:12:03 | 0:12:05 | |
she was the England ladies captain at the time. | 0:12:05 | 0:12:08 | |
It's an interesting collection. | 0:12:08 | 0:12:09 | |
I think there is a great interest now in ladies cricket. | 0:12:09 | 0:12:12 | |
My advice would be, and I hope you don't think I'm going to willingly destroy... | 0:12:12 | 0:12:17 | |
if you decided to sell, | 0:12:17 | 0:12:18 | |
we get this page removed and sold as a separate lot. | 0:12:18 | 0:12:23 | |
-Would you consider that? -Absolutely. -I see this as a piece of modern art. | 0:12:23 | 0:12:27 | |
I see this as something which will ultimately, one day, be hanging on a wall. | 0:12:27 | 0:12:31 | |
My feeling, this is probably worth about £150-£200. | 0:12:31 | 0:12:34 | |
I think that probably, that little group, is about £40-£60. | 0:12:34 | 0:12:38 | |
I think confidently a reserve of, let's say, | 0:12:38 | 0:12:40 | |
£140 on the Dame Laura Knight and sell the ladies cricket team | 0:12:40 | 0:12:44 | |
without reserve and see what happens. | 0:12:45 | 0:12:47 | |
-That's absolutely fine. -Fantastic. | 0:12:47 | 0:12:49 | |
I am very pleased to have seen such an exciting object here at St Albans. | 0:12:49 | 0:12:53 | |
-Thank you very much for bringing it along today. -You're welcome. | 0:12:53 | 0:12:56 | |
We're having a fantastic time here at St Albans Cathedral and Abbey and | 0:13:00 | 0:13:04 | |
our experts have already found some amazing things, so it's time to test | 0:13:04 | 0:13:08 | |
their valuations as we pay our first visit to the auction room. | 0:13:08 | 0:13:11 | |
Here's a quick reminder of the items we're taking with us. | 0:13:11 | 0:13:14 | |
Elizabeth's Arts & Crafts mirror has stood by the side of a cupboard | 0:13:16 | 0:13:20 | |
for the past 12 years, so now it's time to find a wall for it to hang on. | 0:13:20 | 0:13:24 | |
Purchased at an auction of George Bernard Shaw's effects, | 0:13:25 | 0:13:28 | |
it appears Robert's beautifully carved wooden bowl bears the | 0:13:28 | 0:13:32 | |
initials of Shaw's wife. | 0:13:32 | 0:13:34 | |
Finally, Tony's drawing of a French clown by Dame Laura Knight, | 0:13:34 | 0:13:39 | |
is a superb piece of modern art, | 0:13:39 | 0:13:40 | |
and let's not forget the lady cricketers autographs, | 0:13:40 | 0:13:43 | |
which were also in the same book. | 0:13:43 | 0:13:45 | |
We are staying in Hertfordshire to sell our items but we're heading | 0:13:52 | 0:13:55 | |
west from St Albans to Tring Market Auctions based on the edge | 0:13:55 | 0:13:59 | |
of the Chiltern Hills in the small town of Tring. | 0:13:59 | 0:14:02 | |
Gosh, there's about three salerooms all working at once. | 0:14:04 | 0:14:08 | |
There's the collectables here, we've got the antiques here. | 0:14:09 | 0:14:12 | |
In a moment, Stephen Hearn's getting on the rostrum. | 0:14:12 | 0:14:14 | |
I'm going to catch up with our owners. | 0:14:14 | 0:14:16 | |
Fingers crossed. Don't go away. We could have one or two big surprises. | 0:14:16 | 0:14:19 | |
Let's get on with it. | 0:14:19 | 0:14:20 | |
Remember, whether you are buying or selling, | 0:14:21 | 0:14:24 | |
there's always commission and VAT to pay at every auction. | 0:14:24 | 0:14:28 | |
Here, if you're selling, the rate is between ten and 15%. | 0:14:28 | 0:14:31 | |
Stephen Hearn is on the rostrum wielding his gavel, | 0:14:33 | 0:14:36 | |
so it's time to test the first of our valuations. | 0:14:36 | 0:14:38 | |
Tony, thank you so much for coming along to our valuation day. | 0:14:40 | 0:14:43 | |
It's great to see you here today. | 0:14:43 | 0:14:44 | |
Tony brought along that wonderful autograph book with the ladies | 0:14:44 | 0:14:47 | |
cricket team plus Dame Laura Knight which Jonathan valued. | 0:14:47 | 0:14:50 | |
You kind of valued it in two lots. | 0:14:50 | 0:14:52 | |
I did originally, yes. | 0:14:52 | 0:14:53 | |
The auction has decided to sell it as one lot with the album because if | 0:14:53 | 0:14:57 | |
one of those lots like the ladies cricket team didn't sell, it would | 0:14:57 | 0:15:00 | |
be very hard to send back to you in half, wouldn't it? | 0:15:00 | 0:15:04 | |
Hey, it's going under the hammer right now. | 0:15:04 | 0:15:08 | |
Give me £150 for it. | 0:15:08 | 0:15:10 | |
100 for it. 100. | 0:15:10 | 0:15:12 | |
At ten, 110. 120, 130, perhaps? | 0:15:12 | 0:15:16 | |
Yes. 130. £40, now? No? | 0:15:16 | 0:15:18 | |
130, it's going to sell at £130. | 0:15:20 | 0:15:24 | |
-Thank you. -Well done, sold. Thank you for bringing that in. | 0:15:24 | 0:15:27 | |
It's been a real pleasure for myself and Jonathan to muse over that. | 0:15:27 | 0:15:31 | |
That's nice, isn't it? | 0:15:31 | 0:15:33 | |
There was no danger of Tony having to take that item back home. | 0:15:35 | 0:15:38 | |
Next under the gavel is that fabulous Gothic wooden bowl | 0:15:38 | 0:15:42 | |
which we believe has the initials of George Bernard Shaw's wife carved on it. | 0:15:42 | 0:15:47 | |
Why are you selling this, Robert? | 0:15:49 | 0:15:50 | |
Well, I fear that in a few years' time it may have disintegrated. | 0:15:50 | 0:15:54 | |
Woodworm is eating away. | 0:15:57 | 0:15:58 | |
That is as good a reason as any. | 0:15:58 | 0:16:00 | |
Let's see if we can make that £300. | 0:16:01 | 0:16:03 | |
What about £500 for it? No? No £500? | 0:16:05 | 0:16:09 | |
I thought we were going to start there. 400? 300? | 0:16:09 | 0:16:13 | |
Anybody got £100? | 0:16:13 | 0:16:14 | |
£100? | 0:16:14 | 0:16:16 | |
20, 120, 50, 80, 200, 220. | 0:16:16 | 0:16:23 | |
250? | 0:16:23 | 0:16:25 | |
No? 220, then, at £220. | 0:16:25 | 0:16:30 | |
-Didn't sell. -That is a shame. -Sorry about that. -Don't worry. | 0:16:30 | 0:16:33 | |
-I don't like these moments. It's awful. -No, no. | 0:16:35 | 0:16:37 | |
But at least we protected it with the reserve. | 0:16:37 | 0:16:39 | |
That's the safe thing to do. It hasn't gone for nothing. | 0:16:39 | 0:16:42 | |
It's still yours. There is another day in another auction. | 0:16:42 | 0:16:45 | |
Absolutely. | 0:16:45 | 0:16:46 | |
Finally, Elizabeth's Arts & Crafts mirror has made it onto a wall. | 0:16:49 | 0:16:54 | |
I like the copper work. I like the enamel. Why are you selling it? | 0:16:54 | 0:16:58 | |
Because we haven't had it up on the wall since I inherited it from my | 0:16:58 | 0:17:02 | |
mum 12 years ago. So I took a look at it and I thought, | 0:17:02 | 0:17:05 | |
"Well, perhaps I ought to sell it". | 0:17:05 | 0:17:07 | |
It doesn't quite suit the decor. | 0:17:07 | 0:17:08 | |
-That's right. -No. I think this is going to find a new home. | 0:17:08 | 0:17:10 | |
I like the look of it. Good luck, both of you. | 0:17:10 | 0:17:12 | |
It's going under the hammer right now. | 0:17:12 | 0:17:14 | |
Let's find out what it makes. | 0:17:14 | 0:17:16 | |
What about a couple of hundred for that one? Or 150 for it. | 0:17:16 | 0:17:19 | |
100 bid. Yes, 100 we have. | 0:17:19 | 0:17:22 | |
120, is it? 130. | 0:17:22 | 0:17:24 | |
40. Two of you want it. | 0:17:24 | 0:17:26 | |
50. Thank you. | 0:17:26 | 0:17:27 | |
-Brilliant, it's sold. -160, 70, 80. | 0:17:27 | 0:17:31 | |
90. It's got to be two, hasn't it? | 0:17:31 | 0:17:33 | |
£200 now. And ten, is it? | 0:17:33 | 0:17:36 | |
No. It's going then, I shall sell. For £200, then. | 0:17:36 | 0:17:40 | |
-Thank you. -I was going to say the gavel's gone down but he's not using | 0:17:40 | 0:17:44 | |
a gavel. The pen's going down. | 0:17:44 | 0:17:45 | |
Sold. Elizabeth, it's gone, £200, | 0:17:45 | 0:17:47 | |
and what we always say is quality always sells. | 0:17:47 | 0:17:49 | |
-Absolutely. -And when the porter was holding that up, | 0:17:49 | 0:17:52 | |
that bevel caught the light and it shimmered everywhere. | 0:17:52 | 0:17:55 | |
And that was a sign of good quality. That's going to find a new home. | 0:17:55 | 0:17:58 | |
-Good. -So thank you for bringing that in. -It's a pleasure. | 0:17:58 | 0:18:01 | |
£200 now, ten, is it? | 0:18:01 | 0:18:04 | |
Well, there you are, that's our first visit to the auction over with, | 0:18:04 | 0:18:07 | |
with some great results for our owners. | 0:18:07 | 0:18:08 | |
Now, we're coming back here later on in the programme. | 0:18:08 | 0:18:11 | |
Don't go away. | 0:18:11 | 0:18:12 | |
But before we head back to the valuation day to look for some | 0:18:12 | 0:18:15 | |
more treasures to put under the hammer, | 0:18:15 | 0:18:17 | |
I want to show you Royston Cave. | 0:18:17 | 0:18:18 | |
It's a mysterious site that's baffled people for centuries. | 0:18:18 | 0:18:22 | |
This is Royston, | 0:18:32 | 0:18:33 | |
a small market town close to the border of Hertfordshire and | 0:18:33 | 0:18:36 | |
Cambridgeshire, which, for centuries, has kept a secret. | 0:18:36 | 0:18:40 | |
To visitors, Royston looks similar to any other small English town. | 0:18:40 | 0:18:45 | |
But unlike other places, buried almost 30 feet below its streets, | 0:18:45 | 0:18:50 | |
is a site that has been a mystery to people since it was first discovered | 0:18:50 | 0:18:54 | |
nearly 300 years ago. | 0:18:54 | 0:18:56 | |
Britain has many fabulous historical sites that tell us about our history | 0:18:57 | 0:19:01 | |
and the people who have lived here. | 0:19:01 | 0:19:03 | |
Now, one site you may not have heard much about lies behind this rather | 0:19:03 | 0:19:07 | |
unassuming wooden door. | 0:19:07 | 0:19:09 | |
It leads underground to a cave which poses more questions than it has answers. | 0:19:09 | 0:19:13 | |
Royston Cave is a man-made chalk cave, unique in Britain for the | 0:19:17 | 0:19:21 | |
numerous medieval carvings it has on its walls, | 0:19:21 | 0:19:25 | |
with similar carvings found in Central Europe and the Middle East. | 0:19:25 | 0:19:29 | |
Well, here we are. | 0:19:30 | 0:19:31 | |
Oh, wow! Once you enter the cave, it really is quite special. | 0:19:33 | 0:19:37 | |
It's magical. There's something about this place. | 0:19:37 | 0:19:40 | |
Looking at all the carvings on the wall, all the imagery. | 0:19:40 | 0:19:44 | |
Look at this, it's bell-shaped and it's all man made. | 0:19:44 | 0:19:48 | |
Sadly, no historical records exist of who made this cave and what its | 0:19:48 | 0:19:51 | |
purpose was for, but that hasn't stopped historians and academics | 0:19:51 | 0:19:56 | |
over the years coming up with all sorts of theories. | 0:19:56 | 0:19:59 | |
In 1742, the cave was discovered by accident, | 0:20:00 | 0:20:03 | |
half full of earth and debris. | 0:20:03 | 0:20:05 | |
Unfortunately, the soil was discarded | 0:20:05 | 0:20:07 | |
which means we have no way of dating the origins of the cave | 0:20:07 | 0:20:11 | |
with today's technology. | 0:20:11 | 0:20:13 | |
Luckily, we are left with the wonderful carvings | 0:20:13 | 0:20:15 | |
that help to try to interpret the mystery of the cave, | 0:20:15 | 0:20:18 | |
and recent research carried out on some of the costume | 0:20:18 | 0:20:21 | |
and armour carvings date them as far back as the mid-14th century. | 0:20:21 | 0:20:26 | |
Most of the carvings show Christian religious symbols, | 0:20:26 | 0:20:30 | |
images such as the crucifixion of Christ, | 0:20:30 | 0:20:32 | |
or the image of St Christopher, | 0:20:32 | 0:20:34 | |
the patron saint of travellers. | 0:20:34 | 0:20:36 | |
Now this figure is believed to be St George, the patron saint of England. | 0:20:37 | 0:20:41 | |
And there he is, look, a proud man, | 0:20:41 | 0:20:43 | |
sort of holding his broadsword up in the air, | 0:20:43 | 0:20:44 | |
a symbol of strength and power. | 0:20:44 | 0:20:46 | |
At the top of the sword, | 0:20:46 | 0:20:48 | |
that's believed to be the 12 disciples with Jesus Christ | 0:20:48 | 0:20:51 | |
and the one squeezed in there, the small one, that's Judas. | 0:20:51 | 0:20:56 | |
Now this young family, look here, | 0:20:57 | 0:20:59 | |
that could be Jesus Christ with his parents, Mary and Joseph. | 0:20:59 | 0:21:02 | |
I particularly love this horse. | 0:21:02 | 0:21:05 | |
I think that's beautiful, it really is. | 0:21:05 | 0:21:07 | |
And here, this is a good one, look, it stands out. | 0:21:07 | 0:21:11 | |
St Catherine with the Catherine wheel. | 0:21:11 | 0:21:13 | |
She's holding the Catherine wheel up in the air. | 0:21:13 | 0:21:15 | |
And here, the crucifixion of Christ with onlookers and mourners. | 0:21:15 | 0:21:19 | |
With the large amount of religious carvings on the wall, | 0:21:20 | 0:21:23 | |
many historians have speculated | 0:21:23 | 0:21:25 | |
the cave could have been a secret hideout | 0:21:25 | 0:21:28 | |
and a meeting place for worship for a group of knights | 0:21:28 | 0:21:31 | |
who were part of the first Crusades to the Holy Land. | 0:21:31 | 0:21:34 | |
They were the Knights Templar, | 0:21:34 | 0:21:36 | |
a powerful religious and military group | 0:21:36 | 0:21:38 | |
that quickly spread across Europe, often described as warrior monks, | 0:21:38 | 0:21:43 | |
who protected pilgrims travelling to the Holy Land from attack. | 0:21:43 | 0:21:47 | |
Records from the 12th century tell us the Knights Templar | 0:21:47 | 0:21:50 | |
had a base nine miles up the road, | 0:21:50 | 0:21:53 | |
and they would have visited Royston to sell their produce here | 0:21:53 | 0:21:56 | |
in the markets. Now, I like that theory of the Knights Templar. | 0:21:56 | 0:22:00 | |
I believe in that one. | 0:22:00 | 0:22:02 | |
But there are many other theories | 0:22:02 | 0:22:03 | |
and you will have your own if you visit, as well, | 0:22:03 | 0:22:05 | |
because once you get down here in this cave, | 0:22:05 | 0:22:09 | |
your imagination runs wild. | 0:22:09 | 0:22:10 | |
It could be a dungeon! | 0:22:10 | 0:22:12 | |
It could be a secret meeting place. | 0:22:12 | 0:22:14 | |
It could be a Masonic Lodge. | 0:22:14 | 0:22:15 | |
It could be some kind of folly that a hermit has created. | 0:22:15 | 0:22:18 | |
Who knows? But all of these wonderful stories | 0:22:18 | 0:22:22 | |
have made this place flourish. | 0:22:22 | 0:22:24 | |
Not only has Royston Cave baffled many people, | 0:22:24 | 0:22:27 | |
it has also influenced them, too. | 0:22:27 | 0:22:30 | |
Liz Beardwell is a local artist and for over ten years, | 0:22:30 | 0:22:33 | |
she has been making prints that echo the carvings found in Royston Cave. | 0:22:33 | 0:22:38 | |
Our surroundings here in the cave, | 0:22:38 | 0:22:41 | |
all of these carvings in the wall that have been cut into the chalk | 0:22:41 | 0:22:43 | |
have inspired your work. | 0:22:43 | 0:22:45 | |
Yes. It's interesting how it is kind of, almost a parallel process. | 0:22:45 | 0:22:49 | |
You've got the solid chalk walls. | 0:22:49 | 0:22:52 | |
You're carving into it with a knife, a chisel, whatever the artist used. | 0:22:52 | 0:22:57 | |
And in lino printing, or wood, you're doing the same thing, | 0:22:57 | 0:23:00 | |
you're carving in and shaping out that figure. | 0:23:00 | 0:23:04 | |
Well, I haven't seen your work yet and I'd love to, | 0:23:04 | 0:23:06 | |
but I'd also love to have a go, if you don't mind showing me. | 0:23:06 | 0:23:09 | |
Yes, should be good. | 0:23:09 | 0:23:10 | |
-Come on. -OK, let's go. | 0:23:10 | 0:23:11 | |
We've walked the short distance to Royston Museum | 0:23:16 | 0:23:18 | |
to see how Liz makes her cave prints. | 0:23:18 | 0:23:21 | |
What we've got here is a piece of lino that I use. | 0:23:22 | 0:23:25 | |
I've already started cutting it, | 0:23:25 | 0:23:27 | |
so we've got the figure of St Christopher beginning to appear. | 0:23:27 | 0:23:30 | |
And what I need you to do | 0:23:30 | 0:23:31 | |
is start cutting round the head to make it stand out more. | 0:23:31 | 0:23:34 | |
OK. Do you trust me? | 0:23:34 | 0:23:35 | |
Here goes. I see you've got some lines I can follow | 0:23:37 | 0:23:40 | |
and it is very much like cutting into the chalk, isn't it? | 0:23:40 | 0:23:43 | |
-It is, yes. -Chiselled in. | 0:23:43 | 0:23:44 | |
Carving round the figure, getting the features out. | 0:23:44 | 0:23:48 | |
And getting that lovely, deep relief. | 0:23:48 | 0:23:49 | |
Exactly, and the ink is going to stay on the top bit | 0:23:49 | 0:23:52 | |
and where you cut out, it's going to stay white. | 0:23:52 | 0:23:55 | |
Yes. I have done this a couple of times before. | 0:23:55 | 0:23:57 | |
I can see that, actually. | 0:23:57 | 0:23:59 | |
-I kind of like it. -Yes. | 0:23:59 | 0:24:01 | |
It's really good working with a tool, isn't it? | 0:24:01 | 0:24:03 | |
Yeah. | 0:24:03 | 0:24:04 | |
-That's really nice. -It's not too bad, is it? | 0:24:04 | 0:24:06 | |
-And then... -And the head's really coming out now, yes. | 0:24:06 | 0:24:09 | |
Well, I've added a few lines. | 0:24:09 | 0:24:10 | |
-Yeah. -And I'm sure you'll work on that later. | 0:24:10 | 0:24:12 | |
But this one, this is one you prepared earlier, | 0:24:12 | 0:24:15 | |
and I know you're going to print off of that one, | 0:24:15 | 0:24:17 | |
so I'll let you run through the process. | 0:24:17 | 0:24:19 | |
Excellent, yes. | 0:24:19 | 0:24:20 | |
First of all, we have to get the right amount of ink. | 0:24:24 | 0:24:26 | |
This is the first time this has been inked up, | 0:24:26 | 0:24:28 | |
so it might not come out so well the first time. | 0:24:28 | 0:24:31 | |
So if you just roll it. | 0:24:31 | 0:24:32 | |
This is going to be the first time you've seen this. | 0:24:32 | 0:24:34 | |
Yeah, there you are, you see. You see how the image is appearing. | 0:24:34 | 0:24:37 | |
Yeah. Oh, this is exciting. | 0:24:37 | 0:24:39 | |
Yeah. | 0:24:39 | 0:24:41 | |
Do you know what? That looks fabulous. | 0:24:41 | 0:24:44 | |
What are we going to print it on? | 0:24:44 | 0:24:46 | |
Well, we've got an even more fabulous thing to print it on. | 0:24:46 | 0:24:49 | |
It's right here. | 0:24:49 | 0:24:50 | |
This is a Columbia press. | 0:24:51 | 0:24:53 | |
-Go on, then. -We put the lino on there | 0:24:53 | 0:24:55 | |
and then you are going to put a piece of paper | 0:24:55 | 0:24:57 | |
nice and square on the top. | 0:24:57 | 0:24:59 | |
That's right. This comes down, keeps everything together. | 0:24:59 | 0:25:02 | |
You have to wind this handle through so if you'd like to do that. | 0:25:02 | 0:25:06 | |
Oh, that runs so smoothly. | 0:25:06 | 0:25:10 | |
It is a fantastic press. | 0:25:10 | 0:25:12 | |
And it locks into place? | 0:25:12 | 0:25:14 | |
Yeah, then you pull that across. | 0:25:14 | 0:25:16 | |
That's it, and then just put it back again. | 0:25:19 | 0:25:21 | |
Easy, isn't it? | 0:25:21 | 0:25:22 | |
-Shall I lift this up? -Yes, just lift that up. | 0:25:24 | 0:25:27 | |
If you just lift up the corners. | 0:25:27 | 0:25:29 | |
-Very carefully. -Yeah. | 0:25:29 | 0:25:30 | |
Oh! | 0:25:31 | 0:25:33 | |
-No! -No, it's probably fine, absolutely fine. | 0:25:33 | 0:25:36 | |
-There you are. -Brilliant, look at that! | 0:25:36 | 0:25:39 | |
Made on a Columbia press. | 0:25:39 | 0:25:40 | |
That is fantastic, isn't it? | 0:25:40 | 0:25:42 | |
-Yes, aren't you clever? -No, you are. | 0:25:42 | 0:25:44 | |
-Aren't you clever? -Well... | 0:25:44 | 0:25:45 | |
It looks a lot better in print than it does in the lino, doesn't it? | 0:25:45 | 0:25:48 | |
And that's inspired by the Cave. | 0:25:48 | 0:25:51 | |
-Absolutely. -What, what is your theory? | 0:25:51 | 0:25:53 | |
I like the theory that it was used to store butter and cheese | 0:25:53 | 0:25:58 | |
for the market but, then, when the Templars fell out with the Priory Church, | 0:25:58 | 0:26:03 | |
they started using it as a... | 0:26:03 | 0:26:05 | |
..chapel. You know, | 0:26:06 | 0:26:07 | |
you feel it's a special place and I think I like the Knights Templar. | 0:26:07 | 0:26:10 | |
-I like that. -Well, do you know what? | 0:26:10 | 0:26:12 | |
I agree with you. And I'm sure there are many, many other theories. | 0:26:12 | 0:26:15 | |
-Yes. -Liz, thank you very much... | 0:26:15 | 0:26:16 | |
-It's been an absolute pleasure. -..for showing me around today. | 0:26:16 | 0:26:19 | |
Yeah, thank you. | 0:26:19 | 0:26:20 | |
In all likelihood, | 0:26:25 | 0:26:26 | |
we will probably never know who made Royston Cave | 0:26:26 | 0:26:29 | |
and all of those carvings, | 0:26:29 | 0:26:30 | |
but with all the mystery surrounding the Cave, | 0:26:30 | 0:26:33 | |
I'm pretty sure it will continue to attract more theories | 0:26:33 | 0:26:36 | |
and inspire more people like Liz. | 0:26:36 | 0:26:39 | |
It's now time to find our final three items | 0:26:45 | 0:26:47 | |
to take off to the sale room, | 0:26:47 | 0:26:49 | |
as we pay our second visit to St Albans Cathedral and Abbey. | 0:26:49 | 0:26:52 | |
Back in the nave, as you can see, | 0:26:54 | 0:26:55 | |
there are still hundreds of people waiting for a valuation. | 0:26:55 | 0:26:59 | |
Are you having a good time? | 0:26:59 | 0:27:00 | |
-Yes! -Well, look, you're nearly at the front of the queue | 0:27:00 | 0:27:03 | |
so, hopefully, one or two of you | 0:27:03 | 0:27:04 | |
are going to go home happy and very rich, | 0:27:04 | 0:27:06 | |
if you go through to the auction later on. | 0:27:06 | 0:27:09 | |
It's time to find out what other treasures | 0:27:09 | 0:27:11 | |
our experts have uncovered. | 0:27:11 | 0:27:13 | |
Over on Claire's valuation table is a collection of paintings. | 0:27:17 | 0:27:21 | |
Noreen, these little cat pictures, | 0:27:21 | 0:27:24 | |
they're ever so sweet but they're not everyone's cup of tea, are they? | 0:27:24 | 0:27:27 | |
-Are you a cat person? -No, dog person. | 0:27:27 | 0:27:30 | |
Oh, right. So you're not terribly fond of these? | 0:27:30 | 0:27:33 | |
Not particularly. | 0:27:33 | 0:27:34 | |
They are sweet but not a cat person, no. | 0:27:34 | 0:27:37 | |
So how come you've actually acquired them if you're not a cat person? | 0:27:37 | 0:27:41 | |
My mum bought them in the '70s in an antique shop in Scotland | 0:27:41 | 0:27:45 | |
and at that time, she said, | 0:27:45 | 0:27:46 | |
"These are valuable, take good care of them". | 0:27:46 | 0:27:48 | |
Right. So there's five children in the family and I'm the only girl. | 0:27:48 | 0:27:52 | |
And it's not the kind of thing a boy wants, so I ended up with them! | 0:27:52 | 0:27:55 | |
OK, well, don't be... Don't be too worried. | 0:27:55 | 0:27:58 | |
They're actually quite popular. | 0:27:58 | 0:28:00 | |
Do you know who, anything about the artist at all? | 0:28:00 | 0:28:02 | |
Do you know anything about them? | 0:28:02 | 0:28:04 | |
No, I did have a search on the internet and couldn't find anything. | 0:28:04 | 0:28:07 | |
OK. Well, they are signed with a monogram, BB, Bessie Bamber, | 0:28:07 | 0:28:11 | |
who actually came from Birkenhead. | 0:28:11 | 0:28:13 | |
She worked in the early 20th century, sort of 1900, 1910, | 0:28:13 | 0:28:17 | |
and she specialised in painting cats, kittens, | 0:28:17 | 0:28:20 | |
and occasionally puppies. | 0:28:20 | 0:28:22 | |
And the other thing she specialised in is painting on glass | 0:28:22 | 0:28:25 | |
because these are all painted on opaque glass. | 0:28:25 | 0:28:27 | |
Yes. So if you dropped them, there'd be no picture. | 0:28:27 | 0:28:30 | |
-Exactly. -It would break. | 0:28:30 | 0:28:32 | |
She used to make a lot of money, like thousands. | 0:28:32 | 0:28:35 | |
She used to be very, very expensive. | 0:28:35 | 0:28:38 | |
Like a lot of things, it's coming back a bit. | 0:28:38 | 0:28:40 | |
However, there is a very strong market for all things feline. | 0:28:40 | 0:28:45 | |
-Oh, wow. -You know, a lot of people, they are not all doggy people, | 0:28:45 | 0:28:48 | |
lots of people like felines. | 0:28:48 | 0:28:50 | |
And actually, I think Bessie captured the character of cats | 0:28:50 | 0:28:54 | |
and so people that like cats will very often look at a picture | 0:28:54 | 0:28:56 | |
and think, "Oh, that looks like my cat, I must have it". | 0:28:56 | 0:29:00 | |
And painting on glass will also bring things to life. | 0:29:00 | 0:29:03 | |
There has been... | 0:29:03 | 0:29:04 | |
It was a big fashion for painting on glass in the 19th century. | 0:29:04 | 0:29:06 | |
The Chinese did it very well much earlier. | 0:29:06 | 0:29:08 | |
But you get this sort of wonderful background, and this, sort of, | 0:29:08 | 0:29:11 | |
-almost lifelike... I mean, they do, don't they? -They're very lifelike. | 0:29:11 | 0:29:14 | |
Yeah, they're very lifelike, which, if you don't like cats, | 0:29:14 | 0:29:17 | |
is really quite frightening, really. | 0:29:17 | 0:29:18 | |
So, I'd put the pair in at 300-500. | 0:29:19 | 0:29:24 | |
I'd put that one in at 300. | 0:29:24 | 0:29:27 | |
And that one at about 150-180. | 0:29:27 | 0:29:31 | |
I'd use lower estimate as the reserve, | 0:29:31 | 0:29:32 | |
but there's no point in overcooking them. | 0:29:32 | 0:29:34 | |
-No. -I think they'll do well because they're cats. | 0:29:34 | 0:29:37 | |
-Yes. -So if you're happy with that? | 0:29:37 | 0:29:38 | |
-Yes, I am. -Good, OK, I'll see you at the auction. | 0:29:38 | 0:29:43 | |
I think they'll make a purr-fect present for someone. | 0:29:43 | 0:29:45 | |
A purr-fect present! | 0:29:45 | 0:29:46 | |
MUSIC: The Lovecats by The Cure | 0:29:46 | 0:29:49 | |
Oh, very good, Claire. | 0:29:49 | 0:29:50 | |
Next, Jonathan is examining a piece of jewellery brought in by Pauline. | 0:29:50 | 0:29:54 | |
-This is a family thing, is it? -Yes, it is. | 0:29:57 | 0:29:59 | |
My mother inherited it, I presume, from her mother. | 0:29:59 | 0:30:02 | |
How far back do you think it goes in your family? | 0:30:02 | 0:30:04 | |
-Well, pre-1900 certainly. -Oh, good, do you really think so? | 0:30:04 | 0:30:06 | |
Oh, it must be, yes, yes. | 0:30:06 | 0:30:07 | |
-I mean, that's the age of the piece, as you well know. -Yeah. | 0:30:07 | 0:30:10 | |
It dates from the late part of the 19th century. | 0:30:10 | 0:30:12 | |
There's a great deal of popularity | 0:30:12 | 0:30:14 | |
for this kind of star type of emblem. | 0:30:14 | 0:30:17 | |
It's meant to be worn as a pendant. | 0:30:17 | 0:30:18 | |
You've got this little bail here and then this little fitting below, | 0:30:18 | 0:30:22 | |
which is in gold, grain set, | 0:30:22 | 0:30:24 | |
with little seed pearls on the radiating points | 0:30:24 | 0:30:28 | |
-and a little diamond in the middle. -Yes. | 0:30:28 | 0:30:30 | |
What I love about jewellery like this, | 0:30:30 | 0:30:33 | |
you often see them just loose in a jewellery box, | 0:30:33 | 0:30:35 | |
and what I love about it is you've got the original case for it. | 0:30:35 | 0:30:38 | |
She has the box, yes. | 0:30:38 | 0:30:39 | |
And it's a nice case at that - | 0:30:39 | 0:30:41 | |
you know, little gilded edge on the top of it, leather. So nice quality. | 0:30:41 | 0:30:45 | |
I like the colour of the interior. It's very a la mode, | 0:30:45 | 0:30:48 | |
and it's cut out which I think is always a very nice thing. | 0:30:48 | 0:30:51 | |
You know, they cut out the velvet interior to fit it, | 0:30:51 | 0:30:54 | |
-so you know it's original cos it fits it. -Yes. | 0:30:54 | 0:30:57 | |
You often see this sort of thing for watch cases and larger jewellery, | 0:30:57 | 0:30:59 | |
-but it's quite nice to see it for a little piece like this. -Yes. | 0:30:59 | 0:31:02 | |
It's not terribly big but beautifully made. | 0:31:02 | 0:31:05 | |
So what one looks for... | 0:31:05 | 0:31:06 | |
On the back here, we've got in a rectangle, 15 - | 0:31:06 | 0:31:09 | |
15 carat gold. | 0:31:09 | 0:31:10 | |
-And it was used for better quality pieces of jewellery. -Mm. | 0:31:10 | 0:31:14 | |
And then we've got a maker's stamp on there as well. | 0:31:14 | 0:31:17 | |
-And obviously you know, because you've seen this... -Yes. | 0:31:17 | 0:31:19 | |
..you've got a very tiny little pin which I think is really sweet. | 0:31:19 | 0:31:24 | |
So what you can do is open the pin up, | 0:31:24 | 0:31:26 | |
-slide off the bail and then you can wear it... -Yes. | 0:31:26 | 0:31:30 | |
..just as a little star brooch. | 0:31:30 | 0:31:32 | |
It's more saleable as a pendant, really, | 0:31:32 | 0:31:34 | |
because that's more wearable today. | 0:31:34 | 0:31:35 | |
Ladies will wear a necklace rather than a brooch so much. | 0:31:35 | 0:31:38 | |
But it's just lovely condition, beautifully presented. | 0:31:38 | 0:31:41 | |
Why do you want to sell it? | 0:31:41 | 0:31:43 | |
It's been sitting in a drawer, in the box, for years and years. | 0:31:43 | 0:31:46 | |
I've worn it two or three times. | 0:31:46 | 0:31:48 | |
I think it needs to go to somebody who will wear it and use it a lot. | 0:31:48 | 0:31:52 | |
When we come to the value of it, I think it's worth about £100. | 0:31:52 | 0:31:56 | |
-Right. -I would suggest an estimate of 80 to 120, a reserve of £80. | 0:31:56 | 0:32:01 | |
And I think in the auction, because it's so nicely presented, | 0:32:01 | 0:32:05 | |
because it's such a nice condition | 0:32:05 | 0:32:07 | |
compared to the other ones of similar antique jewellery, | 0:32:07 | 0:32:09 | |
it would be the one that everyone wants to go for. | 0:32:09 | 0:32:11 | |
-Excellent, thank you. -But I love it. Thank you for bringing it along. | 0:32:11 | 0:32:14 | |
-Thank you very much. -Next stop, auction. -Next stop, auction. | 0:32:14 | 0:32:17 | |
Unlike the wall paintings I showed you earlier, | 0:32:24 | 0:32:26 | |
which were slightly hard to make out and faded, | 0:32:26 | 0:32:29 | |
these nave screen statues are brightly coloured, | 0:32:29 | 0:32:31 | |
and they give you a good idea of how the cathedral | 0:32:31 | 0:32:34 | |
would have been decorated back in the medieval period. | 0:32:34 | 0:32:37 | |
However, they aren't centuries-old. | 0:32:37 | 0:32:39 | |
Instead, they were made recently and were installed in 2015. | 0:32:39 | 0:32:44 | |
And it's believed they are the first coloured statues | 0:32:44 | 0:32:47 | |
to have been restored to a medieval screen | 0:32:47 | 0:32:50 | |
since the Reformation in the 16th century. | 0:32:50 | 0:32:53 | |
The statues are of seven martyrs, | 0:32:53 | 0:32:55 | |
four of which have local connections, | 0:32:55 | 0:32:58 | |
and include St Alban, who the cathedral is named after. | 0:32:58 | 0:33:01 | |
And the other three are modern martyrs | 0:33:01 | 0:33:03 | |
and include St Elisabeth Romanov, | 0:33:03 | 0:33:05 | |
who was the granddaughter of Queen Victoria. | 0:33:05 | 0:33:07 | |
It took five years from start to finish to complete the statues. | 0:33:08 | 0:33:12 | |
The painting alone took five and a half months | 0:33:12 | 0:33:15 | |
and the colour palette used was taken from the faded wall paintings. | 0:33:15 | 0:33:19 | |
These martyrs are made of stone, | 0:33:19 | 0:33:20 | |
but the nave screen wouldn't support the weight if they were solid, | 0:33:20 | 0:33:24 | |
so they've individually been hollowed out. | 0:33:24 | 0:33:27 | |
The martyr on the end, Dietrich Bonhoeffer - | 0:33:27 | 0:33:29 | |
around 14 stone has been hollowed out from him. | 0:33:29 | 0:33:32 | |
He was a Lutheran pastor who opposed the Nazis, | 0:33:32 | 0:33:35 | |
and he was thrown into a concentration camp. | 0:33:35 | 0:33:37 | |
But you have to admire the exquisite detail. | 0:33:37 | 0:33:40 | |
When you look at them, they are so lifelike. | 0:33:40 | 0:33:43 | |
And I admire this attention to detail | 0:33:43 | 0:33:45 | |
because I've been told that Dietrich was taken to a local optician | 0:33:45 | 0:33:48 | |
to be measured up for those spectacles. | 0:33:48 | 0:33:51 | |
Now that's attention to detail. | 0:33:51 | 0:33:53 | |
And back over on the tables, Claire is focusing in on a collectable. | 0:33:55 | 0:33:59 | |
Jenny, it's lovely to see you here today, | 0:34:02 | 0:34:04 | |
and thank you so much for bringing your clock in. | 0:34:04 | 0:34:06 | |
Now, here we are, standing in this wonderful cathedral, | 0:34:06 | 0:34:09 | |
which dates from the 11th century. | 0:34:09 | 0:34:11 | |
Very, very ancient. | 0:34:11 | 0:34:12 | |
And your clock, really, is a comparative newcomer. | 0:34:12 | 0:34:15 | |
It's really quite modern in comparison but it is 19th century, | 0:34:15 | 0:34:18 | |
-which is actually quite old, isn't it, really? -Yeah. -Yes, yeah. | 0:34:18 | 0:34:22 | |
So it's rather magnificent and actually, it's very heavy, isn't it? | 0:34:22 | 0:34:25 | |
-It's very heavy. -Very heavy. | 0:34:25 | 0:34:27 | |
So you obviously staggered in with it today. Tell me a bit about it. | 0:34:27 | 0:34:30 | |
-What's the history? -Well, my father-in-law bought it, | 0:34:30 | 0:34:33 | |
and then he gave it to my husband. | 0:34:33 | 0:34:35 | |
I think we've had it for about 35 years, | 0:34:35 | 0:34:38 | |
but we've never had it out! | 0:34:38 | 0:34:40 | |
-Oh, really? -It's always been put away. | 0:34:40 | 0:34:42 | |
What, you've never actually had it out working at all? | 0:34:42 | 0:34:44 | |
-No, never, never. -Really? What, do you just not like it or...? | 0:34:44 | 0:34:47 | |
Well, we did, but my husband just liked clocks | 0:34:47 | 0:34:49 | |
but he never seemed to put it out. He just put it away. | 0:34:49 | 0:34:52 | |
-OK. -So I don't know. So I got it out today. | 0:34:52 | 0:34:56 | |
-Sort of dragged out from the cupboard? -Yeah. | 0:34:56 | 0:34:58 | |
But I think it's actually quite magnificent. | 0:34:58 | 0:35:00 | |
-It's obviously in the design of a carriage clock. -It is, yes. | 0:35:00 | 0:35:03 | |
Strictly speaking, it's known as a timepiece rather than a clock | 0:35:03 | 0:35:06 | |
-because it doesn't strike. -Right. -It's purely telling the time. | 0:35:06 | 0:35:09 | |
It doesn't do anything fancy, like ring bells or gongs or anything. | 0:35:09 | 0:35:13 | |
But it absolutely sings quality, doesn't it? | 0:35:13 | 0:35:16 | |
-It's a lovely, lovely thing. -Yes, it's very nice. | 0:35:16 | 0:35:18 | |
It really is and I'll tell you what's also really nice. | 0:35:18 | 0:35:21 | |
This is a brass case that's been lacquered, | 0:35:21 | 0:35:23 | |
-and the colour it's sort of acquired over the years is wonderful. -Yes. | 0:35:23 | 0:35:27 | |
I like also the handle with this simple, | 0:35:27 | 0:35:30 | |
almost like sort of palmette casting there. | 0:35:30 | 0:35:33 | |
Another sign of quality in clocks is the bevelled glass. | 0:35:33 | 0:35:36 | |
You've got the lovely bevelled glass panels, which is part of its weight. | 0:35:36 | 0:35:40 | |
-Yeah, yeah. -A lovely silvered dial | 0:35:40 | 0:35:43 | |
with beautiful engraved decoration on it. | 0:35:43 | 0:35:45 | |
And then you've got the retailer's name. | 0:35:45 | 0:35:48 | |
-That's right, yeah. -So Martin & Co. | 0:35:48 | 0:35:50 | |
-It has a very good movement in it. -Yes. | 0:35:50 | 0:35:52 | |
-It has what's known as a chain-driven fusee... -Yes. | 0:35:52 | 0:35:55 | |
..and the chain would control the spring | 0:35:55 | 0:35:57 | |
and only allow it to release steadily, | 0:35:57 | 0:35:59 | |
-so it made it much more accurate. -Right. | 0:35:59 | 0:36:02 | |
Chain-driven, again, more expensive than the gut-driven ones. | 0:36:02 | 0:36:05 | |
-So it was an expensive clock in its day. -Right. | 0:36:05 | 0:36:08 | |
The clock market is a little fickle at the moment. | 0:36:08 | 0:36:11 | |
-Yeah, I understand. -There's a lot of clocks that aren't selling anything | 0:36:11 | 0:36:14 | |
like they used to, partly because there are fewer and fewer people | 0:36:14 | 0:36:17 | |
who will put them right if they go wrong. | 0:36:17 | 0:36:19 | |
Had you got a figure in mind at all? | 0:36:19 | 0:36:22 | |
-I thought about £500. -Yeah. | 0:36:22 | 0:36:25 | |
-But they say it might go a bit lower. -Yeah. -But I don't mind. | 0:36:25 | 0:36:28 | |
I think a sensible estimate at auction would be 300 to 400. | 0:36:28 | 0:36:33 | |
-OK. -So we're not that far away. -No, we're not. No, that's fine. | 0:36:33 | 0:36:36 | |
So if you're happy with that, we'll put a fixed reserve of 280 on it. | 0:36:36 | 0:36:39 | |
-Yeah, please. -I shall really look forward | 0:36:39 | 0:36:40 | |
-to seeing you at the auction. -Yeah, OK, thank you. | 0:36:40 | 0:36:43 | |
And, yeah, I think it'll do very well indeed. | 0:36:43 | 0:36:46 | |
-Oh, good. I hope so. -Yeah. | 0:36:46 | 0:36:47 | |
Well, there you are. That's it. Our work is nearly done here. | 0:36:55 | 0:36:58 | |
Our experts have now found their final items to take off to auction | 0:36:58 | 0:37:02 | |
so we have to say goodbye to St Albans Cathedral and Abbey. | 0:37:02 | 0:37:05 | |
But right now, we're going to put those valuations to the test. | 0:37:05 | 0:37:08 | |
Here's a quick recap of all the items | 0:37:08 | 0:37:10 | |
that are coming with us off to auction. | 0:37:10 | 0:37:13 | |
Noreen isn't much of a cat person, | 0:37:16 | 0:37:17 | |
so it's time for her collection of Bessie Bamber paintings on glass | 0:37:17 | 0:37:21 | |
to find a new home. | 0:37:21 | 0:37:23 | |
Star-shaped, 15 carat gold with seed pearls and a diamond in the middle | 0:37:23 | 0:37:28 | |
and if that wasn't enough, Pauline's pendant boasts its original box. | 0:37:28 | 0:37:32 | |
And, finally, we are selling Jenny's carriage clock, | 0:37:33 | 0:37:36 | |
which is brass lacquered with silvered dial, bevelled glass | 0:37:36 | 0:37:39 | |
and a good movement, so it really has it all going on. | 0:37:39 | 0:37:43 | |
To test our three final valuations, | 0:37:52 | 0:37:54 | |
we're heading back to Tring Market Auctions. | 0:37:54 | 0:37:56 | |
First under Stephen Hearn's gavel is those glass paintings. | 0:38:01 | 0:38:04 | |
Well, if you like your pussycats, your little furry friends, | 0:38:05 | 0:38:08 | |
you're going to love our next three lots. | 0:38:08 | 0:38:10 | |
They're all by Bessie Bamber. Beautiful works of art. | 0:38:10 | 0:38:13 | |
They belong to Noreen, who sadly cannot be with us, | 0:38:13 | 0:38:15 | |
but we do have our expert, Claire, and her best friend, Margueritte. | 0:38:15 | 0:38:20 | |
And you've known her for about 10, 12 years or so? | 0:38:20 | 0:38:22 | |
-Ten years, yeah. -Yeah, wow. -She was my neighbour and is my best friend. | 0:38:22 | 0:38:25 | |
-And she's on holiday, I gather? -She is. | 0:38:25 | 0:38:27 | |
-Where's she gone? -She's gone to Scotland. | 0:38:27 | 0:38:29 | |
Right, OK, so you're here, standing in for her. | 0:38:29 | 0:38:31 | |
Do you like these? | 0:38:31 | 0:38:33 | |
-Honestly? -Honestly. | 0:38:33 | 0:38:34 | |
-No. -No, you don't have to do. | 0:38:34 | 0:38:35 | |
Well, that's the great thing about art. It's so subjective. | 0:38:35 | 0:38:38 | |
It's an arbitrary concept. | 0:38:38 | 0:38:39 | |
What I like, you may not like and vice versa. | 0:38:39 | 0:38:41 | |
And I'm sure there's plenty of you out there | 0:38:41 | 0:38:43 | |
that do love these little pussycat pictures. | 0:38:43 | 0:38:45 | |
Right, let's find a new owner for these cats, shall we? | 0:38:45 | 0:38:48 | |
The first picture is going under the hammer right now. | 0:38:48 | 0:38:51 | |
What do we say for this one? | 0:38:52 | 0:38:54 | |
250 to kick it off. 200 for it, then. | 0:38:54 | 0:38:56 | |
150, I'm bid for it. | 0:38:56 | 0:38:58 | |
160, I have. 180, I have. | 0:38:58 | 0:39:00 | |
200, I'm bid. 220. | 0:39:00 | 0:39:02 | |
And 50. And 80, is it? | 0:39:02 | 0:39:04 | |
At 280. 300. | 0:39:04 | 0:39:07 | |
At £300 then, it's going. | 0:39:07 | 0:39:08 | |
We're selling. | 0:39:08 | 0:39:09 | |
I shall sell for £300. | 0:39:09 | 0:39:11 | |
Thank you. | 0:39:11 | 0:39:12 | |
-Excellent. -First one. -Well done. | 0:39:12 | 0:39:14 | |
-First one down. -Good start, isn't it? | 0:39:14 | 0:39:15 | |
-You'll be able to tell her later on, you can ring her up. -Yes, I will. | 0:39:15 | 0:39:18 | |
Right, now we have three kittens playing. | 0:39:18 | 0:39:20 | |
100 for it. 80 for it. 90, 100. | 0:39:20 | 0:39:23 | |
And ten has it. And 20. | 0:39:23 | 0:39:25 | |
And 30 has it now. | 0:39:25 | 0:39:27 | |
140. 150. | 0:39:27 | 0:39:29 | |
-Thank you very much. -Well done. | 0:39:29 | 0:39:30 | |
-£150 then. -Just! | 0:39:30 | 0:39:32 | |
Down it goes then for the £150. | 0:39:32 | 0:39:35 | |
Thank you, sir. | 0:39:35 | 0:39:36 | |
Brilliant auctioneering, Stephen. Two down, one to go. | 0:39:36 | 0:39:39 | |
Again, the subject is kittens. | 0:39:39 | 0:39:41 | |
There we are. What shall we say, £400 this time? | 0:39:41 | 0:39:44 | |
Or three, or two? | 0:39:44 | 0:39:46 | |
150, thank you. | 0:39:46 | 0:39:47 | |
-150 then. -Right, we're in. -160. -OK. | 0:39:47 | 0:39:50 | |
70, 80. 190 I have now. | 0:39:50 | 0:39:52 | |
£200. And ten? | 0:39:52 | 0:39:54 | |
210 we have now. | 0:39:54 | 0:39:56 | |
220. | 0:39:56 | 0:39:57 | |
230. | 0:39:57 | 0:39:59 | |
40, 50. | 0:39:59 | 0:40:00 | |
Yeah. 60, 70. | 0:40:00 | 0:40:02 | |
80. 90. | 0:40:02 | 0:40:04 | |
At 290... 300. | 0:40:04 | 0:40:06 | |
-Sold. -You've got to go over the top. | 0:40:06 | 0:40:08 | |
At £300, then. | 0:40:08 | 0:40:10 | |
-Thank you. -Brilliant. | 0:40:10 | 0:40:11 | |
That's £750, all at the lower end, but all sold. | 0:40:11 | 0:40:15 | |
-That's the main thing. -Yeah. | 0:40:15 | 0:40:16 | |
-Yeah. -You can get on the phone and tell her. | 0:40:16 | 0:40:18 | |
Yeah. Yes, yes, I will. | 0:40:18 | 0:40:20 | |
I'm sure the new owner of those Bessie Bamber paintings | 0:40:21 | 0:40:24 | |
feels like the cat that got the cream. | 0:40:24 | 0:40:27 | |
Next under the gavel is Pauline's star-shaped pendant. | 0:40:27 | 0:40:31 | |
It's got everything going for it. | 0:40:32 | 0:40:34 | |
Why are you selling it? | 0:40:34 | 0:40:35 | |
Because it's been sitting in a drawer, | 0:40:35 | 0:40:37 | |
it's been in its box in a drawer and it's not been used. | 0:40:37 | 0:40:39 | |
-OK, and you don't wear it? -It's not been worn at all, no, no. | 0:40:39 | 0:40:41 | |
-It was my mother's. -Brooches fall in and out of fashion, don't they? | 0:40:41 | 0:40:44 | |
Anyway, look, this one's going under the hammer right now. | 0:40:44 | 0:40:47 | |
Let's find it a new home. Here it goes. | 0:40:47 | 0:40:48 | |
What about that one? | 0:40:50 | 0:40:51 | |
100 for it, or 50 for it. | 0:40:51 | 0:40:53 | |
Yes, 60 I have. | 0:40:53 | 0:40:54 | |
-70 bid. -We're in. -80 bid. | 0:40:54 | 0:40:55 | |
90 bid. 90, I'm bid for that one, then. | 0:40:55 | 0:40:58 | |
£100 now. | 0:40:58 | 0:40:59 | |
Going, then, to sell at £90. | 0:40:59 | 0:41:02 | |
Thank you. | 0:41:02 | 0:41:04 | |
-Spot-on, Jonathan. -There we are - did it. -You said 80 to 120. | 0:41:04 | 0:41:08 | |
-That was nice and quick as well. -It was. | 0:41:08 | 0:41:10 | |
It was, actually, wasn't it? Blink and you'll miss that. | 0:41:10 | 0:41:13 | |
-Well done. -Thank you very much. | 0:41:13 | 0:41:14 | |
-Well done. -And thank you, Jonathan. -You're welcome. -Thank you. | 0:41:14 | 0:41:17 | |
# We're gonna rock around the clock tonight... # | 0:41:17 | 0:41:19 | |
Now for our final lot of the day. | 0:41:19 | 0:41:22 | |
# We're gonna rock, gonna rock around the clock tonight. # | 0:41:22 | 0:41:27 | |
Well, tick-tock, time is up. | 0:41:27 | 0:41:28 | |
No, don't disappear, don't go away, keep watching. | 0:41:28 | 0:41:30 | |
We're just about to sell Jenny's mantel clock or carriage clock. | 0:41:30 | 0:41:33 | |
-It's a bit of both, really, cos it's quite a large one. -It is. | 0:41:33 | 0:41:36 | |
But I'll tell you what, it's got the look. | 0:41:36 | 0:41:38 | |
Now, why are you selling this? | 0:41:38 | 0:41:40 | |
I've got two boys and I can't split it. | 0:41:40 | 0:41:42 | |
-No. -So it's going. -It's got to go. | 0:41:42 | 0:41:44 | |
It's going under the hammer right now, | 0:41:44 | 0:41:46 | |
and I'm sure it's going to find a new home. | 0:41:46 | 0:41:49 | |
Right, very good clock. | 0:41:50 | 0:41:52 | |
I don't know, where shall we start? | 0:41:52 | 0:41:53 | |
£300, shall we start, for it? | 0:41:53 | 0:41:55 | |
Yes. I've got it. I thought you'd like that. | 0:41:55 | 0:41:57 | |
300 we're bid, then? | 0:41:57 | 0:41:59 | |
320 is it? Yes? | 0:41:59 | 0:42:00 | |
350. 380. 400. | 0:42:00 | 0:42:04 | |
420, I have it. | 0:42:04 | 0:42:05 | |
And 450. 480. 500 now. | 0:42:05 | 0:42:08 | |
You're out. 520, we have it. | 0:42:08 | 0:42:11 | |
Are you 50? | 0:42:11 | 0:42:12 | |
600, he says. | 0:42:12 | 0:42:13 | |
620. 50? | 0:42:13 | 0:42:15 | |
At £650, then. | 0:42:15 | 0:42:17 | |
-Jenny, £650. -Yes. | 0:42:17 | 0:42:20 | |
-Ooh! -Amazing. | 0:42:20 | 0:42:21 | |
720, is it? 720. | 0:42:21 | 0:42:24 | |
Ding-dong! THEY LAUGH | 0:42:24 | 0:42:26 | |
780. | 0:42:26 | 0:42:27 | |
-800. -He's on the phone. | 0:42:27 | 0:42:29 | |
You see, they love this cos it's oversized, it's so unusual. | 0:42:29 | 0:42:32 | |
850. | 0:42:32 | 0:42:33 | |
880 now. | 0:42:33 | 0:42:35 | |
880. 900. | 0:42:35 | 0:42:36 | |
920, is it? | 0:42:36 | 0:42:38 | |
Yes, and 950. | 0:42:38 | 0:42:40 | |
980 now? | 0:42:40 | 0:42:42 | |
£1,000. I've got £1,000. | 0:42:42 | 0:42:44 | |
£1,000. I'm shaking, I'm shaking! | 0:42:44 | 0:42:46 | |
Worth £1,000! | 0:42:46 | 0:42:48 | |
20? | 0:42:48 | 0:42:49 | |
1,000 in the room, then. | 0:42:49 | 0:42:51 | |
At 1,000, I'm going to sell. | 0:42:51 | 0:42:52 | |
There's someone on the phone - is the phone still in? | 0:42:52 | 0:42:55 | |
Give you time? No? | 0:42:55 | 0:42:56 | |
At 1,000, it's yours, sir. | 0:42:56 | 0:42:58 | |
£1,000! Boom! | 0:42:58 | 0:43:00 | |
The pen's gone down! | 0:43:00 | 0:43:01 | |
He doesn't use a gavel, he uses a pen, | 0:43:01 | 0:43:03 | |
but the pen is mightier than the sword, isn't it? How about that? | 0:43:03 | 0:43:06 | |
-Lovely. -Jenny, fantastic, isn't it? -Yes, brilliant. -Brilliant, yeah. | 0:43:06 | 0:43:09 | |
-Have a good night out on that. -You will! I bet you will! | 0:43:09 | 0:43:11 | |
I bet you will! THEY LAUGH | 0:43:11 | 0:43:14 | |
Oh, thank you for being a big star on our show. | 0:43:14 | 0:43:16 | |
-Thank you, thank you very much. -What a wonderful way to end today's show. | 0:43:16 | 0:43:19 | |
I hope you've enjoyed that big surprise. | 0:43:19 | 0:43:21 | |
It certainly took us for one, didn't it? | 0:43:21 | 0:43:23 | |
Ooh, I'm still tingling! That's what auctions are all about. | 0:43:23 | 0:43:26 | |
Join us next time but, until then, from Tring, | 0:43:26 | 0:43:28 | |
it's goodbye from all of us. | 0:43:28 | 0:43:30 |