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Today, we're in Northamptonshire, in the East Midlands, | 0:00:06 | 0:00:09 | |
and we're in for a real treat. | 0:00:09 | 0:00:11 | |
This impressive house is Althorp. | 0:00:11 | 0:00:13 | |
It was built five centuries ago and it's been home to 19 generations | 0:00:13 | 0:00:18 | |
of the Spencer family. | 0:00:18 | 0:00:21 | |
It's much more than just a historic house. | 0:00:21 | 0:00:23 | |
It is a home and, luckily enough for us, | 0:00:23 | 0:00:25 | |
its doors are open for our valuation day. | 0:00:25 | 0:00:27 | |
Welcome to Flog It! | 0:00:27 | 0:00:29 | |
THEY CHEER | 0:00:29 | 0:00:31 | |
The life of the Spencer family has been played out here at Althorp. | 0:00:51 | 0:00:54 | |
Each generation has left its mark on the fabric of the house, | 0:00:54 | 0:00:58 | |
and the collections within its rooms. | 0:00:58 | 0:01:01 | |
Now it's in the hands of the ninth Earl Spencer, | 0:01:01 | 0:01:03 | |
who grew up visiting the ancestral home with his sisters, Lady Jane, | 0:01:03 | 0:01:08 | |
Lady Sarah and Diana, who went on to become Princess of Wales. | 0:01:08 | 0:01:12 | |
They moved here in 1975 and later on, | 0:01:12 | 0:01:16 | |
we'll be looking at what life is like at Althorp. | 0:01:16 | 0:01:19 | |
But for now, it's time to check our queue, | 0:01:22 | 0:01:24 | |
and it looks like we're in for a busy day. | 0:01:24 | 0:01:27 | |
Our enthusiastic crowd have travelled from all corners of | 0:01:27 | 0:01:29 | |
Northamptonshire today to this fabulous historic setting, | 0:01:29 | 0:01:32 | |
and they're all laden with bags and boxes full of treasures, | 0:01:32 | 0:01:35 | |
all eager to see our experts, to ask that all-important question - | 0:01:35 | 0:01:38 | |
-which is...? ALL: -What's it worth? | 0:01:38 | 0:01:42 | |
Competing for the best treasures today is our top rummager | 0:01:42 | 0:01:45 | |
-Christina Trevanion. -It's like the Holy Grail, isn't it? | 0:01:45 | 0:01:49 | |
And hot on her heels - in fact, he's down on his knees - | 0:01:49 | 0:01:52 | |
is Charles Hanson. | 0:01:52 | 0:01:55 | |
Oh, I've done it. I've done it. Oh, there we are. | 0:01:55 | 0:01:57 | |
-There's romance in the air... -Oh, Christina, isn't that wonderful! | 0:01:57 | 0:02:00 | |
-It's for you! -I almost want it to say, "Be my Valentine." | 0:02:00 | 0:02:03 | |
Isn't that wonderful? Isn't that lovely? | 0:02:03 | 0:02:05 | |
Christina's having none of it! | 0:02:05 | 0:02:07 | |
With such a huge crowd, we're filling the passages, | 0:02:07 | 0:02:10 | |
the saloon and anywhere with a seat, | 0:02:10 | 0:02:13 | |
so people can settle down and unpack. | 0:02:13 | 0:02:15 | |
And while they get comfortable, | 0:02:15 | 0:02:17 | |
let's take a look at what's coming up later on in the show. | 0:02:17 | 0:02:20 | |
Charles gets a lesson in how to wear jewellery. | 0:02:20 | 0:02:23 | |
It's the earrings I wouldn't wear. | 0:02:23 | 0:02:25 | |
-Are you more of a stud sort of lady? -Yeah, I think so, yeah. | 0:02:25 | 0:02:27 | |
-Not the dangly sort. -Not the dangly sort, no. | 0:02:27 | 0:02:30 | |
And Christina meets a kindred spirit. | 0:02:30 | 0:02:32 | |
I was either in an antiques centre or the library. | 0:02:32 | 0:02:34 | |
There we are. We would have been geeks together. | 0:02:34 | 0:02:37 | |
-Yes, absolutely. -Yeah. | 0:02:37 | 0:02:38 | |
And we cause a stir at the auction. | 0:02:38 | 0:02:40 | |
Gosh. Have you got any more? | 0:02:40 | 0:02:43 | |
And I'll be finding out how times have changed for the people who keep | 0:02:44 | 0:02:47 | |
an estate like Althorp running. | 0:02:47 | 0:02:50 | |
She used to wave, you know, like that. | 0:02:50 | 0:02:52 | |
My mum used to say, "Who does she think she is, the Queen?" | 0:02:52 | 0:02:55 | |
All that's coming up. | 0:02:57 | 0:02:59 | |
We've set up some valuation tables in the state dining room, | 0:02:59 | 0:03:01 | |
which has been modelled on the ballroom at Buckingham Palace, | 0:03:01 | 0:03:04 | |
and hopefully, later on, our experts will get their dancing shoes on, | 0:03:04 | 0:03:07 | |
but right now, they have some serious work to do. | 0:03:07 | 0:03:10 | |
So it's over to Charles Hanson's table | 0:03:10 | 0:03:12 | |
to take a closer look at what he's spotted. | 0:03:12 | 0:03:15 | |
Rosemary, I just love this bracelet and earring suite. | 0:03:15 | 0:03:18 | |
-Yeah. -Tell me, it's yours? -It's my mother's. -Really? | 0:03:18 | 0:03:21 | |
-Yeah. -And Mum still wears it? -She used to wear it a lot. | 0:03:21 | 0:03:24 | |
It's the same colour as her eyes. | 0:03:24 | 0:03:25 | |
-It's electric blue. -That's right. Yes. -It's so alive. | 0:03:25 | 0:03:28 | |
Yeah, it is alive. | 0:03:28 | 0:03:30 | |
And your mum, she inherited the suite or she bought...? | 0:03:30 | 0:03:34 | |
No, no. She's Norwegian, my mother. | 0:03:34 | 0:03:36 | |
-OK. -And my father gave it to her when he met her. | 0:03:36 | 0:03:39 | |
At the end of the war, he went to Norway in the Territorial Army, | 0:03:39 | 0:03:43 | |
-and he met her there. -Yeah. -And he bought it for her. | 0:03:43 | 0:03:46 | |
It's a wonderful keepsake. A wonderful romance there. | 0:03:46 | 0:03:49 | |
-Romantic, yeah. -Yeah. -Very romantic. | 0:03:49 | 0:03:51 | |
The market for this, interest in Norwegian silver, | 0:03:51 | 0:03:55 | |
particularly jewellery and this emphasis of enamel | 0:03:55 | 0:03:58 | |
set within the silver jewel itself, and if we turn it upside down, | 0:03:58 | 0:04:02 | |
we will see this lovely hint of gilding on the reverse, | 0:04:02 | 0:04:06 | |
and there we've got Stirling Norway, | 0:04:06 | 0:04:08 | |
which typically came in after World War II. | 0:04:08 | 0:04:11 | |
So it would date, I would have thought, to maybe the late 1940s. | 0:04:11 | 0:04:16 | |
-But these little pearls... -Yeah. -..aren't pearls. | 0:04:16 | 0:04:19 | |
-No. -They're enamel droplets. | 0:04:19 | 0:04:21 | |
Almost a white enamel droplet, again set in. | 0:04:21 | 0:04:24 | |
This type of enamel is called guiloche enamel, | 0:04:24 | 0:04:27 | |
-where you've got this design... -It's like a shell, isn't it? | 0:04:27 | 0:04:31 | |
-It is like a shell. -Yeah. -But Mum feels it's time to sell it? | 0:04:31 | 0:04:34 | |
-Yes. -Why? -Because she's got other things as well and I think she... | 0:04:34 | 0:04:38 | |
It can go to somebody who is going to wear it more than she would. | 0:04:38 | 0:04:42 | |
Yes. It's amazing because, I mean, | 0:04:42 | 0:04:44 | |
we see some of the great names in Norwegian silver, | 0:04:44 | 0:04:48 | |
like Georg Jensen, very much in the frame now when it comes to | 0:04:48 | 0:04:51 | |
-Scandinavian silver and design. -Mmm. -We see David Andersen. | 0:04:51 | 0:04:56 | |
This one is marked... On the back of the bracelet, it's marked "AW." | 0:04:56 | 0:04:59 | |
-We can't find out who that designer is. -No. | 0:04:59 | 0:05:02 | |
-And we've had a good look. -Mmm. -But it's very much in that | 0:05:02 | 0:05:05 | |
David Andersen tradition. What's really nice is the condition. | 0:05:05 | 0:05:09 | |
You've got no chip to the enamel. It's clean. | 0:05:09 | 0:05:13 | |
There's no losses. | 0:05:13 | 0:05:14 | |
Often if it's dropped like glass, the enamel can fracture, | 0:05:14 | 0:05:18 | |
-and fall out. -Mmm. -But you don't feel you'd wear it? | 0:05:18 | 0:05:21 | |
Well, it's the earrings I wouldn't wear. | 0:05:21 | 0:05:23 | |
-No. Are you more of a stud sort of lady? -Yeah, I think so, yeah. | 0:05:23 | 0:05:26 | |
-Not the dangly sort. -Not the dangly sort, no. | 0:05:26 | 0:05:28 | |
I don't blame you. Well, | 0:05:28 | 0:05:29 | |
I know there'll be some dangly ladies out there... | 0:05:29 | 0:05:32 | |
-There will, yeah. -..who will happily acquire this. | 0:05:32 | 0:05:34 | |
-Yes. -And I would like to put it into a sale. | 0:05:34 | 0:05:36 | |
-Yeah. -With a guide price of between 40 and £60. | 0:05:36 | 0:05:40 | |
-OK. -To be secure, we will put a reserve on at 40 with 10% discretion. | 0:05:40 | 0:05:44 | |
-OK. Yeah. -So if we get bid £36 or above, | 0:05:44 | 0:05:46 | |
we have your blessing to sell it. | 0:05:46 | 0:05:48 | |
-Yeah, that's fine. -We'll give it lots of Norwegian love. | 0:05:48 | 0:05:50 | |
Yeah. Oh, thank you. | 0:05:50 | 0:05:52 | |
-Yeah. -Pleasure. | 0:05:52 | 0:05:54 | |
Hopefully the romance captured by Rosemary's mother and father will be | 0:05:54 | 0:05:57 | |
passed on in the jewellery. | 0:05:57 | 0:05:59 | |
Now, time to find out what Christina's up to. | 0:05:59 | 0:06:02 | |
She's made herself at home in the grand saloon. | 0:06:02 | 0:06:04 | |
-Tony, what have you got there? -A couple of Omega Gold watches. | 0:06:04 | 0:06:08 | |
-Omega Gold watches? -Yes. -Have you had them on the inside of your coat? | 0:06:08 | 0:06:11 | |
-Are you selling them? -Erm... | 0:06:11 | 0:06:13 | |
No, no. Not "looky, looky" men. | 0:06:13 | 0:06:16 | |
Tell me, where did they come from? | 0:06:16 | 0:06:18 | |
My uncle... One of them was handed down to me probably about 40 years ago. | 0:06:18 | 0:06:23 | |
-Right. -The other one my sister had when my other uncle died, | 0:06:23 | 0:06:26 | |
and she gave the other one to me about ten years ago. | 0:06:26 | 0:06:30 | |
-OK. -I look after them, basically. | 0:06:30 | 0:06:32 | |
-Yeah, yeah. -This is the one that is of interest to me, | 0:06:32 | 0:06:35 | |
-because you've got two different stages in Omega here. -Mmm. | 0:06:35 | 0:06:38 | |
Now, this one here is a normal Omega, a manual wind, | 0:06:38 | 0:06:41 | |
so you would have to wind it up, and this one here is what we call an | 0:06:41 | 0:06:45 | |
-Omega Seamaster. -Right. | 0:06:45 | 0:06:46 | |
And if we look at the back here, we've got this wonderful logo. | 0:06:46 | 0:06:49 | |
-Can you see that sea horse on the back there? -Yeah. | 0:06:49 | 0:06:51 | |
So, obviously, it says on the dial, | 0:06:51 | 0:06:53 | |
and we've got that mark on the back to indicate that it's an Omega Seamaster. | 0:06:53 | 0:06:56 | |
-Right. -Now, Omega as a brand, as a name, as a watch manufacturer, | 0:06:56 | 0:07:02 | |
-is really up there with the best of the best. -Yeah. | 0:07:02 | 0:07:04 | |
So much so that in World War II, fighter pilots were issued with | 0:07:04 | 0:07:08 | |
Omegas, because they were known to be so reliable, | 0:07:08 | 0:07:12 | |
and also so able to withstand | 0:07:12 | 0:07:13 | |
atmospheric and temperature pressures. | 0:07:13 | 0:07:16 | |
-Now the Seamaster brand was introduced in 1946. -Right. | 0:07:16 | 0:07:19 | |
OK? Now, the Seamaster was known as the Seamaster, because it was a | 0:07:19 | 0:07:23 | |
favourite... Apparently, it was a favourite with sailors. | 0:07:23 | 0:07:26 | |
-Right. -And also it had very good ability to withstand water. | 0:07:26 | 0:07:29 | |
Also a favourite not only with sailors, but secret agents. | 0:07:29 | 0:07:33 | |
-Oh, right, OK. -Have you heard of a man called James Bond? | 0:07:33 | 0:07:36 | |
JAMES BOND THEME PLAYS | 0:07:36 | 0:07:39 | |
-Ever heard of a man called James Bond? -Yes, yes. | 0:07:39 | 0:07:41 | |
I think in one of his very first films, he had an Omega. | 0:07:41 | 0:07:44 | |
-Oh. Perhaps my uncle was a secret agent. -Hey, you never know. | 0:07:44 | 0:07:47 | |
But they are always popular. Very, very popular. | 0:07:47 | 0:07:50 | |
And especially the Seamaster, very good quality make. | 0:07:50 | 0:07:53 | |
And in this one, particularly, this is a nine carat gold example. | 0:07:53 | 0:07:57 | |
You've got this one, which has got a silver dial, with batons there, | 0:07:57 | 0:07:59 | |
-and you've obviously got a calendar aperture there. -Mmm. | 0:07:59 | 0:08:02 | |
I think it's had a replaced strap on it. | 0:08:02 | 0:08:04 | |
-Yes, yes. -Because it's obviously an expanding strap on it. | 0:08:04 | 0:08:07 | |
-At some time, yes. -It may have had a leather strap or a gold strap. | 0:08:07 | 0:08:10 | |
-Possibly, yeah. -And I think that one at auction, it's a nice example, | 0:08:10 | 0:08:13 | |
they regularly fetch in the region of maybe £150-250. | 0:08:13 | 0:08:17 | |
Something like that. OK? | 0:08:17 | 0:08:19 | |
-Right. -This one, now, we're going up a level here. | 0:08:19 | 0:08:22 | |
This is an automatic rather than being a manual wind. And, again, | 0:08:22 | 0:08:26 | |
I think we've got a replaced strap on here, but nonetheless, | 0:08:26 | 0:08:30 | |
whoever buys it... And they are very, | 0:08:30 | 0:08:31 | |
very popular at auction, at the moment, | 0:08:31 | 0:08:33 | |
watches, they are being seen as a very good investment. | 0:08:33 | 0:08:36 | |
-Right. -Because they are little works of art in their own right, really, | 0:08:36 | 0:08:40 | |
-aren't they? -Yeah. -I would say, at auction, | 0:08:40 | 0:08:42 | |
we are going to be looking at £300-500. | 0:08:42 | 0:08:44 | |
-Right. Sounds good. -I think it's a lovely watch. | 0:08:44 | 0:08:46 | |
-What's your thoughts? -Yeah, yeah. -Yeah? -Shall we go for it? | 0:08:46 | 0:08:49 | |
-Go for it. -And then, hopefully, we'll be on time for the auction. | 0:08:49 | 0:08:51 | |
Lovely. | 0:08:51 | 0:08:53 | |
Yes, no excuses, Christina. | 0:08:55 | 0:08:57 | |
As the experts get on with their hunt, | 0:08:57 | 0:08:59 | |
I'm discovering more about the family that own Althorp. | 0:08:59 | 0:09:02 | |
Now, this is the Spencer Gallery and the portraits here sum up the most | 0:09:03 | 0:09:07 | |
recent family history. | 0:09:07 | 0:09:09 | |
There's the current earl, Charles Spencer, who inherited the estate, | 0:09:09 | 0:09:13 | |
and the house from his father when he died in 1992. | 0:09:13 | 0:09:18 | |
And to the right, that's Diana, the Princess of Wales. | 0:09:18 | 0:09:21 | |
After her tragic death in 1997, her body was returned to the estate | 0:09:21 | 0:09:25 | |
where she now rests in a peaceful and beautiful spot. | 0:09:25 | 0:09:29 | |
So there you have it - the recent Spencer family history. | 0:09:29 | 0:09:32 | |
And Charles has found a man who knows all about the Spencers, | 0:09:35 | 0:09:38 | |
and our glorious setting. He was once a guide here. | 0:09:38 | 0:09:41 | |
-David, good to see you. -Hello, sir. | 0:09:41 | 0:09:43 | |
It's a really interesting image. | 0:09:43 | 0:09:46 | |
I'm intrigued. | 0:09:46 | 0:09:47 | |
-Who is it? -The image is of John Charles Spencer, | 0:09:47 | 0:09:51 | |
who became the third Earl Spencer. | 0:09:51 | 0:09:53 | |
John Charles would have grown up here and in the London home. | 0:09:53 | 0:09:58 | |
He was Leader of the Commons, as well as Chancellor of the Exchequer, | 0:09:58 | 0:10:02 | |
in the early 1830s. | 0:10:02 | 0:10:04 | |
And with his colleagues, saw through the great reform act of 1832, | 0:10:04 | 0:10:10 | |
where more of the adult male population had the vote. | 0:10:10 | 0:10:16 | |
I studied that in my GCSE history, all about the 1820s, 1830s, | 0:10:16 | 0:10:21 | |
and of course 1832 was pivotal towards more of society having the | 0:10:21 | 0:10:27 | |
vote and becoming obviously more democratic. | 0:10:27 | 0:10:30 | |
-Indeed. -Do you know what its technical make-up is called? | 0:10:30 | 0:10:33 | |
What the medium is to create this? | 0:10:33 | 0:10:35 | |
I believe it's called an anaglyptograph. | 0:10:35 | 0:10:40 | |
Yes. I was hoping you would say that. | 0:10:40 | 0:10:42 | |
-Well done. -Which is suggesting it looks like an embossed image. | 0:10:42 | 0:10:47 | |
-Yes. -It's a three-dimensional image, | 0:10:47 | 0:10:49 | |
-but, in fact, it isn't. It's a flat print. -Correct. | 0:10:49 | 0:10:52 | |
But, again, that brings us back to the designer of this image, | 0:10:52 | 0:10:55 | |
-who was designing for the back of coins. -Correct. Who was...? | 0:10:55 | 0:11:01 | |
-William Wyon, I believe. -Correct. | 0:11:01 | 0:11:03 | |
And, of course, the man who created this image | 0:11:03 | 0:11:06 | |
was Alfred Robert Fairbrother. | 0:11:06 | 0:11:08 | |
He was the one who then turned the original by Wyon | 0:11:08 | 0:11:12 | |
-into the engraving... -Correct. | 0:11:12 | 0:11:14 | |
-..that we now see. -Correct. You can obviously note on the margin, | 0:11:14 | 0:11:19 | |
"William Wyon, chief engraver..." of course of the Royal Mint. | 0:11:19 | 0:11:24 | |
-The Royal Mint. Yes, yes. -I like it a lot. | 0:11:24 | 0:11:26 | |
It's very original. | 0:11:26 | 0:11:28 | |
The frame is in period and is contemporary. | 0:11:28 | 0:11:32 | |
I've got one concern, have you? | 0:11:32 | 0:11:33 | |
One or two slight pinpricks or foxing. | 0:11:33 | 0:11:36 | |
Foxing, exactly. You can just see maybe a bit of humidity, | 0:11:36 | 0:11:40 | |
-more denser spots there... -Yes. -And also on his forehead there. | 0:11:40 | 0:11:44 | |
-What's his history? -You obviously got very enthralled in Althorp on | 0:11:44 | 0:11:49 | |
-retirement when you worked here. -You bought it recently? | 0:11:49 | 0:11:52 | |
-About six years ago. -Really? -On online auction. | 0:11:52 | 0:11:55 | |
I've got nowhere to hang it. | 0:11:55 | 0:11:57 | |
No. What's it worth? You can whisper if you want to. | 0:11:57 | 0:12:00 | |
I've no idea. | 0:12:00 | 0:12:01 | |
Other than I paid about £120 for it about six years ago. | 0:12:01 | 0:12:05 | |
Well, I would like to, David, with your blessing, | 0:12:05 | 0:12:08 | |
put it into the sale with a guide price of between 60 and £80. | 0:12:08 | 0:12:14 | |
-OK? -Yeah. | 0:12:14 | 0:12:16 | |
Now, you might say to me, "Charles, | 0:12:16 | 0:12:18 | |
"I'd like more than that, because I paid more for it." | 0:12:18 | 0:12:20 | |
I don't really mind. I would hate to give it away. | 0:12:20 | 0:12:23 | |
-Yes. -But, having said that, | 0:12:23 | 0:12:24 | |
I'm not desperate necessarily to get my £120 back. | 0:12:24 | 0:12:28 | |
If you are happy to put it into the sale between 60 and 80... | 0:12:28 | 0:12:32 | |
-I'm quite happy with that. -You're a good man. | 0:12:32 | 0:12:34 | |
-Thank you. -Thank you very much, sir. | 0:12:34 | 0:12:36 | |
We'll have a go and hopefully we'll sell it. | 0:12:36 | 0:12:38 | |
-Thank you very much. Thank you. -Thank you. | 0:12:38 | 0:12:41 | |
During the Elizabethan times, this whole area would have been a | 0:12:41 | 0:12:45 | |
courtyard and where the carpets are now, | 0:12:45 | 0:12:47 | |
that would once be cobbled stones. | 0:12:47 | 0:12:49 | |
Visitors would arrive at the house here, | 0:12:49 | 0:12:52 | |
and get off their horses or if they are | 0:12:52 | 0:12:54 | |
from the upper echelons, get out of their carriages. | 0:12:54 | 0:12:56 | |
John Spencer, who was the founder of Althorp, | 0:12:56 | 0:12:59 | |
insisted this whole area had to be for entertaining. | 0:12:59 | 0:13:02 | |
So he had it roofed over, | 0:13:02 | 0:13:03 | |
and later on he also had this rather imposing, | 0:13:03 | 0:13:06 | |
and very impressive staircase put in. | 0:13:06 | 0:13:08 | |
We'll be making more of this later on in the show, but right now, | 0:13:08 | 0:13:11 | |
our experts have been working flat out. | 0:13:11 | 0:13:13 | |
They've found their first three items to take off to auction. | 0:13:13 | 0:13:16 | |
So here's a quick recap of what's going under the hammer. | 0:13:16 | 0:13:20 | |
A stunning jewellery set from Scandinavia. | 0:13:20 | 0:13:23 | |
Two watches, one more prestigious than the other. | 0:13:26 | 0:13:29 | |
And the engraving with links to Althorp. | 0:13:32 | 0:13:36 | |
We're heading half an hour north to Leicestershire and Market Harborough, | 0:13:39 | 0:13:43 | |
which was famous in the Victorian era for its corset making. | 0:13:43 | 0:13:47 | |
Foundation garments made here were sent all over the world. | 0:13:47 | 0:13:50 | |
There are no restraints on us, though, | 0:13:50 | 0:13:52 | |
as we head inside the auction house. | 0:13:52 | 0:13:55 | |
On the rostrum for us today, we have Will Gilding. | 0:13:55 | 0:13:58 | |
It's busy, so fingers crossed for our first lot. | 0:13:58 | 0:14:02 | |
Going under the hammer right now we have an analyptograph | 0:14:02 | 0:14:05 | |
of John Charles Spencer. | 0:14:05 | 0:14:06 | |
It's a lovely connection to Althorp House, | 0:14:06 | 0:14:08 | |
and another great connection is David, who's right next to me. | 0:14:08 | 0:14:11 | |
Because you were a guide there, weren't you? | 0:14:11 | 0:14:13 | |
-Indeed, yes. -You probably know more about the house than most people. | 0:14:13 | 0:14:17 | |
-Than many, yes. -Yeah. | 0:14:17 | 0:14:18 | |
Right, let's put it to the test and find out what it's worth right now. | 0:14:18 | 0:14:21 | |
It's going under the hammer. | 0:14:21 | 0:14:23 | |
Profile bust portrait of the third Earl Spencer. | 0:14:23 | 0:14:26 | |
And starting here at £40 now. | 0:14:26 | 0:14:27 | |
40. 40, I have a bid. | 0:14:27 | 0:14:29 | |
-42. -Great connection to the house. | 0:14:29 | 0:14:31 | |
At £42, 45. | 0:14:31 | 0:14:33 | |
-Yes! In the room. -At 45. | 0:14:33 | 0:14:35 | |
At 48? | 0:14:35 | 0:14:37 | |
£48 online. | 0:14:37 | 0:14:38 | |
48. 50. Five. | 0:14:38 | 0:14:40 | |
Back with the online bidder and you're out for the room. | 0:14:40 | 0:14:43 | |
-£60, it's the internet. £60. -Sold it. | 0:14:43 | 0:14:45 | |
You're all out, seated. Selling online at 60... | 0:14:45 | 0:14:49 | |
-Yes! It's gone. -Great. Nice thing to have. | 0:14:50 | 0:14:52 | |
-£60. Thank you for being a part of our day as well. -That's wonderful. | 0:14:52 | 0:14:55 | |
-Introducing us to Althorp. -Yeah. -It was just brilliant. | 0:14:55 | 0:14:58 | |
Now, let's see if we can pick up the pace with the next item. | 0:14:58 | 0:15:02 | |
Going under the hammer right now, | 0:15:02 | 0:15:03 | |
a enamel bracelet and earring set belonging to Rosemary. | 0:15:03 | 0:15:06 | |
And not much longer, I doubt. | 0:15:06 | 0:15:08 | |
-No, no. -This is so blue, it's so vivid. | 0:15:08 | 0:15:10 | |
-A beautiful colour, isn't it? -Yeah. -It's so alive. -That's right. | 0:15:10 | 0:15:13 | |
-Mid-20th century. It's gorgeous. -It's got everything going for it, | 0:15:13 | 0:15:16 | |
-hasn't it? -Yeah, yeah. -And the condition's very good. | 0:15:16 | 0:15:18 | |
-The enamel's not scratched or damaged, so that's good. -It is. | 0:15:18 | 0:15:20 | |
-No, no. -Let's put it to the test. Here we go. | 0:15:20 | 0:15:22 | |
A striking piece of Norwegian design here. | 0:15:22 | 0:15:25 | |
Start the bidding at £35. | 0:15:25 | 0:15:26 | |
A modest start, I think. | 0:15:26 | 0:15:28 | |
-Look. -Three or four hands. -It's like a Mexican wave going up. | 0:15:28 | 0:15:31 | |
50. Five, 60. | 0:15:31 | 0:15:33 | |
Five, 70. | 0:15:33 | 0:15:34 | |
-Five, 80. -Oh, good. This is £100, surely. | 0:15:34 | 0:15:37 | |
80, five. | 0:15:37 | 0:15:38 | |
90, five. | 0:15:38 | 0:15:40 | |
100. 100. | 0:15:40 | 0:15:41 | |
-Always good to be cautious. -110. | 0:15:41 | 0:15:44 | |
-Seated here at 100. -Hold tight. -At £100... | 0:15:44 | 0:15:48 | |
-All done? -That's the threshold, isn't it? | 0:15:48 | 0:15:50 | |
-We've got the tonne. -That's good. -110, just in time online at 110. | 0:15:50 | 0:15:53 | |
120. £120. | 0:15:53 | 0:15:55 | |
-Come on. -Room bid. -Brilliant. -£120. | 0:15:55 | 0:15:59 | |
-Excellent! -Good. | 0:15:59 | 0:16:01 | |
-That's more like it. -You just don't know, do you? | 0:16:01 | 0:16:03 | |
-No. -Really good. -And I'm sure that's gone to a good home. | 0:16:03 | 0:16:06 | |
-Yeah, I'm sure. -Thank you so much for bringing it in. -Thank you. | 0:16:06 | 0:16:09 | |
We're on a roll, but will it last? | 0:16:09 | 0:16:11 | |
Tony's had a bit of a change of heart. | 0:16:11 | 0:16:15 | |
-Tony, it's great to see you again. -Nice to be here. | 0:16:15 | 0:16:17 | |
I was just about to say, "two watches about to go under the hammer," | 0:16:17 | 0:16:20 | |
but it's one because at the valuation day, | 0:16:20 | 0:16:22 | |
-we did two valuations. -We did. -Two separate watches. | 0:16:22 | 0:16:25 | |
-You've decided to withdraw one of the watches. -Yeah. -Tell us why. | 0:16:25 | 0:16:29 | |
I just felt a bit sentimental at the end of the day, | 0:16:29 | 0:16:31 | |
and I did actually promise my eldest son the older watch. | 0:16:31 | 0:16:34 | |
-Yeah, that's... -And he's got a son, | 0:16:34 | 0:16:37 | |
-so keep it in the family, basically. -Do you know what? | 0:16:37 | 0:16:39 | |
That's a good thing. That's a good thing, cos once it's gone, | 0:16:39 | 0:16:41 | |
-you can't buy it back and you don't know who bought this. -No, no. | 0:16:41 | 0:16:44 | |
Exactly. And I always say to my customers and my clients, | 0:16:44 | 0:16:46 | |
-I always say, "If in doubt, don't." -No. -Because you can only sell these | 0:16:46 | 0:16:49 | |
-things once and they're gone forever. -Oh, yeah. -However, | 0:16:49 | 0:16:52 | |
we do have the nine carat gold Omega watch that is about to go under the | 0:16:52 | 0:16:54 | |
hammer. We're looking for around £300, £400, 500. | 0:16:54 | 0:16:56 | |
-Well, I sincerely hope so. It's a beautiful thing. -Fingers crossed. | 0:16:56 | 0:16:59 | |
-Indeed. -Let's put it to the test, shall we? Let's find out exactly | 0:16:59 | 0:17:02 | |
what the bidders think as we hand the proceedings over | 0:17:02 | 0:17:04 | |
to Will on the rostrum. | 0:17:04 | 0:17:07 | |
And it's the gents' Omega Seamaster at £220. | 0:17:07 | 0:17:10 | |
At 220. 230. 240. 250. | 0:17:10 | 0:17:13 | |
-Bidding in the room. -260. 270. -Yeah. | 0:17:13 | 0:17:15 | |
280. 280 here, at 280. | 0:17:15 | 0:17:17 | |
-290. -Yes. -Come on. | 0:17:17 | 0:17:19 | |
300. 320. 340. | 0:17:19 | 0:17:23 | |
360. 380. 400. | 0:17:23 | 0:17:25 | |
420. 440. 460 now. | 0:17:25 | 0:17:30 | |
-Let's get the top end. -Yeah. -That would be good, wouldn't it? | 0:17:30 | 0:17:33 | |
Are you all right, darling? | 0:17:33 | 0:17:34 | |
500, standing here. Dead centre of the room at £500. | 0:17:34 | 0:17:37 | |
You're saying goodbye, aren't you, really? | 0:17:37 | 0:17:39 | |
-You can see it disappearing. -At £500. Online. 500. | 0:17:39 | 0:17:43 | |
-Top end. £500. -Splendid. -Wonderful. Wonderful. | 0:17:43 | 0:17:45 | |
-Fantastic. Well done. -That's good, isn't it? -Brilliant. | 0:17:45 | 0:17:48 | |
That's a great day out in the auction room. | 0:17:48 | 0:17:49 | |
-Well, thank you very much. -Thank you very much. And well done, Christina. | 0:17:49 | 0:17:52 | |
-Well spotted. -Can I get a kiss? -Yeah! Certainly can. | 0:17:52 | 0:17:55 | |
-Thank you very much. -Well done. Thanks for that. | 0:17:55 | 0:17:58 | |
Well, that's it. That includes our first visit to the auction room today. | 0:18:00 | 0:18:03 | |
We are coming back here later on in the programme. Do not go away. | 0:18:03 | 0:18:07 | |
There could be that big surprise we keep wishing for. | 0:18:07 | 0:18:09 | |
We are now going back to our valuation day venue, Althorp House, | 0:18:09 | 0:18:12 | |
to join up with our experts to find some more treasures, | 0:18:12 | 0:18:15 | |
but before that, I want to find out how life has changed for those | 0:18:15 | 0:18:18 | |
working in the house. | 0:18:18 | 0:18:20 | |
Northamptonshire styled itself as the county of spires and squires. | 0:18:24 | 0:18:29 | |
In the past, its rural landscape and abundance of country estates were | 0:18:29 | 0:18:33 | |
key sources of work for local people. | 0:18:33 | 0:18:36 | |
They offered accommodation and the chance for a son or daughter | 0:18:36 | 0:18:39 | |
to follow their father or mother into service. | 0:18:39 | 0:18:43 | |
And Althorp was no exception. | 0:18:43 | 0:18:46 | |
This has been home to the Spencer family for more than five centuries. | 0:18:46 | 0:18:49 | |
And looking after them, | 0:18:49 | 0:18:51 | |
the house and the vast estate during that period was no mean feat. | 0:18:51 | 0:18:54 | |
It required quite an army of staff. | 0:18:54 | 0:18:57 | |
A century ago, there were 65 domestic staff, | 0:19:00 | 0:19:03 | |
45 gardeners, and 40 grooms, | 0:19:03 | 0:19:06 | |
looking after 100 horses and carriages. | 0:19:06 | 0:19:09 | |
Inside, there are 90 rooms and 31 open fireplaces. | 0:19:11 | 0:19:15 | |
Back in the day, they would have all been working. | 0:19:15 | 0:19:18 | |
It's a lot of hard work to keep those going, | 0:19:18 | 0:19:20 | |
and a lot of house to clean. | 0:19:20 | 0:19:22 | |
Today there are just 20 people working full-time, | 0:19:22 | 0:19:25 | |
and some have followed in their ancestors' footsteps, | 0:19:25 | 0:19:28 | |
but the jobs they do these days are very different. | 0:19:28 | 0:19:31 | |
Bridget Barford is the fifth generation of the family to work | 0:19:31 | 0:19:34 | |
at Althorp. She has juggled other jobs at the same time, | 0:19:34 | 0:19:37 | |
but Althorp has been her second home for 50 years. | 0:19:37 | 0:19:41 | |
Well, I started off in the tearooms, as they were then, you know. | 0:19:44 | 0:19:49 | |
And I think I've done a bit of everything over the years. | 0:19:49 | 0:19:53 | |
From washing up, toilets, ironing, turning the beds down, you name it - | 0:19:53 | 0:19:59 | |
I think I've done it. I honestly don't know what I'd do if I didn't | 0:19:59 | 0:20:03 | |
have Althorp to come to, you know. | 0:20:03 | 0:20:06 | |
And I always used to think when I came down here, | 0:20:06 | 0:20:08 | |
cos I first came down on my cycle, cos I hadn't got a car then, | 0:20:08 | 0:20:13 | |
I used to think it was like coming into another world. | 0:20:13 | 0:20:16 | |
It was so peaceful and I really have enjoyed it. | 0:20:16 | 0:20:21 | |
We need to wind back to the 19th century to find out what life was | 0:20:21 | 0:20:25 | |
like for the first member of Bridget's family to work here. | 0:20:25 | 0:20:29 | |
Well, it was my great grandma, Elizabeth Gould. | 0:20:29 | 0:20:32 | |
She was a cook. Everybody from the older generation didn't talk about | 0:20:32 | 0:20:37 | |
her, cos she was a bit of a naughty girl. | 0:20:37 | 0:20:41 | |
She had a son before she married, | 0:20:41 | 0:20:44 | |
but, luckily, Lady Spencer kept her on. | 0:20:44 | 0:20:48 | |
She did live in for a time, | 0:20:48 | 0:20:50 | |
and I think a lot of the maids and laundry maids did, | 0:20:50 | 0:20:54 | |
and I often think when I've been doing the turn down, | 0:20:54 | 0:20:58 | |
when we climb the top stairs to the attics, about ten o'clock at night, | 0:20:58 | 0:21:02 | |
and those poor little girls going up there, | 0:21:02 | 0:21:05 | |
and they'd be up again the next | 0:21:05 | 0:21:06 | |
morning at six o'clock to do all the fires. | 0:21:06 | 0:21:09 | |
So I think they had a very hard life, you know. | 0:21:09 | 0:21:12 | |
And just the odd day off a month. | 0:21:12 | 0:21:15 | |
Dearie me. | 0:21:17 | 0:21:19 | |
Bridget's great-grandmother worked for this chap, the fifth Earl, | 0:21:20 | 0:21:23 | |
also known as the Red Earl because of his dramatic auburn beard. | 0:21:23 | 0:21:27 | |
And, look at this, isn't that a wonderful painting? | 0:21:27 | 0:21:31 | |
Now, he's a great example of a typical Spencer, | 0:21:31 | 0:21:34 | |
because he loved field activities and sport and also politics. | 0:21:34 | 0:21:39 | |
Now, back in his day, if you can imagine it, Victorian England, | 0:21:39 | 0:21:41 | |
there would have been an army of staff at his beck and call. | 0:21:41 | 0:21:45 | |
It would have been a hive of activity, | 0:21:45 | 0:21:47 | |
and the nature of his business - politics - he was widely travelled. | 0:21:47 | 0:21:50 | |
Lavish dinner parties would have been held here | 0:21:50 | 0:21:52 | |
with important guests and dignitaries staying over. | 0:21:52 | 0:21:55 | |
And no doubt after supper the gentlemen would have retired to this | 0:21:55 | 0:21:58 | |
room for a game of billiards or snooker, | 0:21:58 | 0:22:01 | |
where politics and business would have been hotly debated. | 0:22:01 | 0:22:05 | |
Bridget's family link continued with her mum, | 0:22:10 | 0:22:13 | |
who was a house maid, and her aunt Phyllis, who was a cook. | 0:22:13 | 0:22:16 | |
Not surprisingly, Bridget followed suit, | 0:22:16 | 0:22:19 | |
helping cover Auntie's duties, working for the seventh Earl. | 0:22:19 | 0:22:23 | |
One night, I had to cook a sole for him. | 0:22:23 | 0:22:25 | |
Auntie Phyllis said, "If you don't get it out whole," she said, | 0:22:25 | 0:22:29 | |
"he won't eat it." So I can tell you, | 0:22:29 | 0:22:32 | |
my nerves were in a bit of a state, but I did manage it. | 0:22:32 | 0:22:36 | |
My auntie Phyllis, she was a spinster, so she was quite strict. | 0:22:36 | 0:22:41 | |
And her and Lord Spencer always used to have a row on Christmas morning, | 0:22:41 | 0:22:46 | |
and she was always going to walk out, but she never did. | 0:22:46 | 0:22:49 | |
She always came back again. | 0:22:49 | 0:22:51 | |
And, of course, when they had a dinner party, | 0:22:51 | 0:22:55 | |
Mr Farns, the chauffeur, used to come and fetch her. | 0:22:55 | 0:22:59 | |
And of course she used to pass Mrs Clark and Mrs Savage and my mum on | 0:22:59 | 0:23:03 | |
their bikes and wave. | 0:23:03 | 0:23:05 | |
You know, like that. Mum used to say, who does she think she is? | 0:23:05 | 0:23:08 | |
The Queen? | 0:23:08 | 0:23:09 | |
Auntie Phyllis sounds quite a character. | 0:23:09 | 0:23:11 | |
And despite their ups and downs, | 0:23:11 | 0:23:13 | |
she had a good working relationship with the seventh Earl for 20 years. | 0:23:13 | 0:23:18 | |
He was known for his passion to preserve Althorp and someone who has | 0:23:18 | 0:23:21 | |
learnt a lot about him is Diane Springett, | 0:23:21 | 0:23:24 | |
who has been a tour guide here for 27 years. | 0:23:24 | 0:23:28 | |
So, what was his role here, Diane? | 0:23:28 | 0:23:30 | |
Well, he was named the curator Earl because in fact, | 0:23:30 | 0:23:33 | |
he sort of loved sort of everything about the house. | 0:23:33 | 0:23:36 | |
He knew every stick of furniture, every piece of porcelain. | 0:23:36 | 0:23:38 | |
Really? He was a proper academic. | 0:23:38 | 0:23:41 | |
-Oh, very much so, yes. -Did he give tours then? | 0:23:41 | 0:23:43 | |
He did indeed, yes. | 0:23:43 | 0:23:44 | |
He started roughly in the 1950s, and he used to take academics around, | 0:23:44 | 0:23:49 | |
and students, and he also got very cross if at the end of the day, | 0:23:49 | 0:23:52 | |
he would throw questions at them and they didn't get it right. | 0:23:52 | 0:23:55 | |
-Really? -Yes, he did. | 0:23:55 | 0:23:56 | |
He wanted it to stay like this, I guess? | 0:23:56 | 0:23:58 | |
Oh, he did, very much so. | 0:23:58 | 0:24:00 | |
And of course at one time they were worried whether they would be able | 0:24:00 | 0:24:03 | |
to carry on because the house was falling into disrepair, | 0:24:03 | 0:24:06 | |
so they got a heritage body to come and take a look at it with the concept | 0:24:06 | 0:24:10 | |
of them maybe taking it over. | 0:24:10 | 0:24:12 | |
However they said it was in too much of a bad state, that they didn't | 0:24:12 | 0:24:16 | |
want to take it on, so then in actual fact the seventh Earl went to | 0:24:16 | 0:24:19 | |
the government to see if he could get a grant to help them do the repair, | 0:24:19 | 0:24:23 | |
which he did. And that was one of the reasons why he had to open in | 0:24:23 | 0:24:26 | |
-the '50s. -Right. | 0:24:26 | 0:24:27 | |
Because of that condition. | 0:24:27 | 0:24:28 | |
What about the current Earl? | 0:24:28 | 0:24:30 | |
Has he got a big interest? | 0:24:30 | 0:24:31 | |
Very much so. Oh, yes. | 0:24:31 | 0:24:32 | |
That tradition is there of carrying on looking after the house for the | 0:24:32 | 0:24:36 | |
next generation, basically. | 0:24:36 | 0:24:38 | |
Did he ever do tours? | 0:24:38 | 0:24:39 | |
-Oh, he did, yes. -Did he? -Yes. | 0:24:39 | 0:24:40 | |
Apparently he started when he was about 12 years old for some pocket money. | 0:24:40 | 0:24:45 | |
HE LAUGHS | 0:24:45 | 0:24:46 | |
That's a good way of earning pocket money, isn't it? | 0:24:46 | 0:24:48 | |
Very much so, yeah. And he's very, very well informed. | 0:24:48 | 0:24:51 | |
I love it when people come with their children, you know? | 0:24:51 | 0:24:53 | |
And the children are enthusiastic because you feel, here we are, | 0:24:53 | 0:24:56 | |
another generation are going to carry on wanting to see places like this. | 0:24:56 | 0:25:00 | |
-Yeah. Yeah. -I love going around with him, | 0:25:00 | 0:25:02 | |
listening to what he has to say. | 0:25:02 | 0:25:04 | |
The staff like Diane and Bridget are part of Althorp's history. | 0:25:05 | 0:25:09 | |
Bridget's family go back to a time when there were lots more servants. | 0:25:09 | 0:25:12 | |
None of them were serving the public, the priority was the family. | 0:25:12 | 0:25:16 | |
She has some fond memories. | 0:25:16 | 0:25:19 | |
I knew Lord Spencer's sisters, Lady Jane, Lady Sarah and Lady Diana. | 0:25:19 | 0:25:24 | |
They were sort of teenagers when I first knew them over the years and I | 0:25:24 | 0:25:30 | |
have watched them all have their families. | 0:25:30 | 0:25:32 | |
The christening parties and that. | 0:25:32 | 0:25:34 | |
And watched them all grow up from toddlers to grown-ups. | 0:25:34 | 0:25:39 | |
You walk in and you know it's a family home. | 0:25:39 | 0:25:42 | |
Well, the times have certainly changed but you can't argue with sentiments | 0:25:43 | 0:25:46 | |
like that. For two months of the year, Althorp opens its gates to the public. | 0:25:46 | 0:25:51 | |
There are also special events like a literary and food festival. | 0:25:51 | 0:25:55 | |
And with people like Bridget and Diane and the rest of the Althorp staff, | 0:25:55 | 0:25:58 | |
I think it's fair to say, when the crowds arrive, they're in safe hands. | 0:25:58 | 0:26:03 | |
Back to the valuations, | 0:26:10 | 0:26:11 | |
and Christina has found a man she's got lots in common with. | 0:26:11 | 0:26:15 | |
Tony, tell me about this incredibly magnificent, beautiful piece | 0:26:15 | 0:26:20 | |
-in front of us? -In my youth I used to go round to antique shops and have a look | 0:26:20 | 0:26:24 | |
around and look for quality and I found this. | 0:26:24 | 0:26:27 | |
I think I was about 18 years old in Finedon Antiques Centre. | 0:26:27 | 0:26:31 | |
And I decided to purchase it along with other things I used to purchase. | 0:26:31 | 0:26:36 | |
It would have perhaps been a couple pounds or something like that. | 0:26:36 | 0:26:39 | |
But a pound then, I don't know what it is worth today but a lot more money, | 0:26:39 | 0:26:42 | |
-isn't it? -So you are 18 years old. | 0:26:42 | 0:26:44 | |
-Yeah. -And most 18-year-old teenagers are hanging around in pubs and | 0:26:44 | 0:26:48 | |
nightclubs and you are in an antiques centre? | 0:26:48 | 0:26:51 | |
-Yeah. -You would have been the perfect man for me. | 0:26:51 | 0:26:53 | |
That's exactly what I was doing at the age of 18. | 0:26:53 | 0:26:55 | |
Really? | 0:26:55 | 0:26:57 | |
-What a pity. -Yeah. | 0:26:57 | 0:26:58 | |
THEY LAUGH | 0:26:58 | 0:26:59 | |
I was either in an antiques centre or in the library. | 0:26:59 | 0:27:01 | |
Oh, well. There we are. I was never in the library. | 0:27:01 | 0:27:03 | |
-We would have been geeks together. -Yes, absolutely. | 0:27:03 | 0:27:06 | |
Maybe this is a silly question but what was it as an 18-year-old boy | 0:27:06 | 0:27:09 | |
that attracted you to it? | 0:27:09 | 0:27:11 | |
Just the whole picture... | 0:27:11 | 0:27:13 | |
The naked ladies? | 0:27:13 | 0:27:15 | |
I mean, it is beautiful. | 0:27:17 | 0:27:19 | |
-It is. Isn't it? -It's stunning. | 0:27:19 | 0:27:20 | |
It's titled A Pompeian Lady In Her Toilet. | 0:27:20 | 0:27:23 | |
Oh, right, didn't know that. | 0:27:23 | 0:27:25 | |
As in her toilet, as in her preparatory area, | 0:27:25 | 0:27:27 | |
her dressing room if you like. | 0:27:27 | 0:27:29 | |
But for me it feels like we are at Althorp in here, doesn't it? | 0:27:29 | 0:27:32 | |
These wonderful pillars here. | 0:27:32 | 0:27:33 | |
The detail as well inside it, of all the scrolls down the bottom, | 0:27:33 | 0:27:37 | |
it's quite incredible actually. | 0:27:37 | 0:27:39 | |
And that is the thing that is incredibly important about this | 0:27:39 | 0:27:43 | |
because if we look down here, | 0:27:43 | 0:27:44 | |
there's a little signature here which says, | 0:27:44 | 0:27:47 | |
Morel Ladeuil, 1876. | 0:27:47 | 0:27:50 | |
He was a sculptor, OK? | 0:27:50 | 0:27:52 | |
-Oh, right. -He wasn't just a silversmith, | 0:27:52 | 0:27:54 | |
he was a sculptor and I think that is really evident in this piece | 0:27:54 | 0:27:56 | |
because it's almost three-dimensional, isn't it? | 0:27:56 | 0:27:59 | |
-Yes. -It really, really stands proud. | 0:27:59 | 0:28:01 | |
You can see the detail in all these figures | 0:28:01 | 0:28:03 | |
and it's almost jumping out of the plate at you, isn't it? | 0:28:03 | 0:28:06 | |
It's fabulous. We've got a signature down here which is Elkington. | 0:28:06 | 0:28:10 | |
So Elkington & Co were a company who specialised in silver | 0:28:10 | 0:28:13 | |
and silversmithing and silver plating. | 0:28:13 | 0:28:16 | |
They were established by a pair of brothers in about 1830. | 0:28:16 | 0:28:20 | |
Now, in the Paris exhibition they exhibited at, | 0:28:20 | 0:28:23 | |
they noted this sculptor, Morel Ladeuil here, | 0:28:23 | 0:28:27 | |
and he was given a contract for three years by Elkington to design | 0:28:27 | 0:28:31 | |
pieces for them. He produced some incredibly beautiful pieces. | 0:28:31 | 0:28:35 | |
Some vases and platters like this. | 0:28:35 | 0:28:38 | |
The original one in silver has the most beautiful wide rim on it, OK? | 0:28:38 | 0:28:43 | |
So this is a silver-plated example. | 0:28:43 | 0:28:45 | |
-Right. -This isn't a silver example. | 0:28:45 | 0:28:46 | |
-So was he French, then, or...? -He was. -He was French, all right. | 0:28:46 | 0:28:49 | |
Yes, he was a Parisian sculptor. | 0:28:49 | 0:28:50 | |
-Oh, OK. Yeah. -Exactly. | 0:28:50 | 0:28:52 | |
So let's have a little look at the back. | 0:28:52 | 0:28:55 | |
Now, what's really interesting, | 0:28:55 | 0:28:56 | |
obviously Elkington were a British firm, | 0:28:56 | 0:28:59 | |
but we've got on here in German, | 0:28:59 | 0:29:01 | |
which was when it was registered in Germany, | 0:29:01 | 0:29:04 | |
we've got French and then we've got, designed, copyrighted | 0:29:04 | 0:29:08 | |
in the United States, November 1876. | 0:29:08 | 0:29:10 | |
So it's been all over the world. | 0:29:10 | 0:29:12 | |
I mean, it's an incredibly well travelled piece. | 0:29:12 | 0:29:15 | |
-Oh, is it? -And I think this is a copy of a piece | 0:29:15 | 0:29:18 | |
that was exhibited in the Philadelphia exhibition of 1876. | 0:29:18 | 0:29:23 | |
OK? Now, you have to imagine, in the 19th century, | 0:29:23 | 0:29:25 | |
obviously the Industrial Revolution was happening. | 0:29:25 | 0:29:28 | |
All these artisans and craftsmen were desperate | 0:29:28 | 0:29:30 | |
to exhibit their wares. | 0:29:30 | 0:29:32 | |
So they would have world exhibitions. | 0:29:32 | 0:29:34 | |
They had them in Paris, they had them in London. | 0:29:34 | 0:29:36 | |
And it was an opportunity for craftsmen to really get together | 0:29:36 | 0:29:39 | |
and show off their wares, their craftsmanship. | 0:29:39 | 0:29:42 | |
Let's turn it back round to the front. | 0:29:42 | 0:29:44 | |
Because I think that probably is visually the more impressive side, | 0:29:44 | 0:29:48 | |
isn't it? Now, silver plate isn't possibly the best of sellers | 0:29:48 | 0:29:51 | |
and you can see that it is a silver plate example | 0:29:51 | 0:29:54 | |
rather than a silver example. | 0:29:54 | 0:29:55 | |
You can see that obviously the plate is wearing off | 0:29:55 | 0:29:58 | |
and you've got the base metal showing through. | 0:29:58 | 0:30:01 | |
It's a great visually looking piece. | 0:30:01 | 0:30:03 | |
-But a tricky seller. -Right. | 0:30:03 | 0:30:05 | |
A tricky seller. | 0:30:05 | 0:30:06 | |
I mean, I personally at auction I would be conservative. | 0:30:06 | 0:30:09 | |
Maybe a slightly modest estimate of £200-300. | 0:30:09 | 0:30:13 | |
-Right. -I would hope that it would go for more than that, | 0:30:13 | 0:30:15 | |
but like I say, it's a difficult market to sell to. | 0:30:15 | 0:30:18 | |
How do you feel about that, Tony? | 0:30:18 | 0:30:20 | |
Little bit lower than what I thought | 0:30:20 | 0:30:22 | |
but that's why I've come to Flog It! | 0:30:22 | 0:30:23 | |
Because you're the experts and if you don't know, well, who does? | 0:30:23 | 0:30:27 | |
Oh, lordy! | 0:30:27 | 0:30:28 | |
I think it's a beautiful thing and a real joy to see, | 0:30:30 | 0:30:33 | |
so thank you for bringing it in. | 0:30:33 | 0:30:34 | |
No naked ladies for Charles. | 0:30:35 | 0:30:37 | |
He spotted Marian's naval prints. | 0:30:37 | 0:30:39 | |
Marian, it's great to meet you. | 0:30:39 | 0:30:41 | |
-And you. -And it's not quite life on the ocean waves here is it? | 0:30:41 | 0:30:44 | |
In Althorp, it's landlocked territory. | 0:30:44 | 0:30:46 | |
But I love these pictures. | 0:30:46 | 0:30:48 | |
-Yes. -Tell me how you acquired them. | 0:30:48 | 0:30:50 | |
They were my father's and I believe they might have been given to him | 0:30:50 | 0:30:54 | |
by his father, who was a seafaring man. | 0:30:54 | 0:30:57 | |
-Was he? -Yes, he was in the Merchant Navy. | 0:30:57 | 0:31:00 | |
And this was your father's father? | 0:31:00 | 0:31:02 | |
-Yeah, my grandfather. -So he was in the Merchant Navy, | 0:31:02 | 0:31:05 | |
so we're going back to the Great War? | 0:31:05 | 0:31:07 | |
-Yes. -Wow. -Yes. | 0:31:07 | 0:31:08 | |
I suppose very much of what we don't know about the Great War | 0:31:10 | 0:31:14 | |
was very much caught up in the poems we can see before us. | 0:31:14 | 0:31:18 | |
-Yes. -On these two wonderful plates. | 0:31:18 | 0:31:21 | |
And there should be four, in fact, this is only half a set. | 0:31:21 | 0:31:25 | |
-Yes, I did realise that. -This is plate one and plate two, | 0:31:25 | 0:31:28 | |
and what's lovely is it's a real marriage of two great individuals. | 0:31:28 | 0:31:32 | |
First of all, to the memory of the nameless killed and wounded | 0:31:32 | 0:31:37 | |
by Captain Ronald Hopwood. | 0:31:37 | 0:31:39 | |
He was a British naval officer born 1868. | 0:31:39 | 0:31:43 | |
He died in around 1949 | 0:31:43 | 0:31:45 | |
and he clearly had a great skill for poetry. | 0:31:45 | 0:31:50 | |
-Yes. -And I love these scenes. | 0:31:50 | 0:31:52 | |
These vignettes. | 0:31:52 | 0:31:54 | |
Which, of course, represent going back to the mid-16th century, | 0:31:54 | 0:31:57 | |
here's the Armada, and then we've got scenes from World War I, | 0:31:57 | 0:32:01 | |
Napoleon, battles on this side, | 0:32:01 | 0:32:05 | |
and it really captures the memories of those killed and wounded. | 0:32:05 | 0:32:10 | |
-Yeah. -It's been put together as a pair of etchings | 0:32:10 | 0:32:14 | |
we see now by a great London artist. | 0:32:14 | 0:32:16 | |
Do you know who it is? | 0:32:16 | 0:32:18 | |
-William Lionel Wyllie. -Yeah. William Lionel Wyllie, you're quite right, | 0:32:18 | 0:32:21 | |
renowned for his maritime works. | 0:32:21 | 0:32:24 | |
These vignettes of how he's brought the images | 0:32:24 | 0:32:29 | |
to Captain Hopwood's script, don't they blend well together? | 0:32:29 | 0:32:34 | |
-Yes. -And when you read the verses, | 0:32:34 | 0:32:38 | |
you really feel the mood of the scenes | 0:32:38 | 0:32:41 | |
and the words of the poetry as well. Don't you think so? | 0:32:41 | 0:32:45 | |
They're not my taste. | 0:32:45 | 0:32:46 | |
Not to your taste? Why not? | 0:32:46 | 0:32:48 | |
I think they're a bit sad. | 0:32:48 | 0:32:50 | |
They are sad. I suppose we never forget, | 0:32:50 | 0:32:53 | |
we always remember, and I think these reflect that. | 0:32:53 | 0:32:57 | |
They would date to around 1910. | 0:32:57 | 0:32:59 | |
That was his height. | 0:32:59 | 0:33:02 | |
He was just a wonderful marine artist and that, of course, | 0:33:02 | 0:33:05 | |
the great man William Lionel Wyllie. | 0:33:05 | 0:33:08 | |
But of course, these are etchings, | 0:33:08 | 0:33:10 | |
the detail in that inked plate is so good, the details so fine. | 0:33:10 | 0:33:16 | |
-Do you now like them? -No. | 0:33:16 | 0:33:18 | |
No? I haven't been able to sort of give you a charm? | 0:33:18 | 0:33:21 | |
No. | 0:33:21 | 0:33:22 | |
They've been in my loft. | 0:33:22 | 0:33:24 | |
What a shame. | 0:33:24 | 0:33:25 | |
Where are the other two? | 0:33:25 | 0:33:27 | |
-We don't know. -They're in good condition. | 0:33:27 | 0:33:29 | |
I'd have thought these ebonised frames are original as well. | 0:33:29 | 0:33:33 | |
And they are unusual. | 0:33:33 | 0:33:34 | |
I haven't seen this set before. | 0:33:34 | 0:33:37 | |
-Right. -But of course they are incomplete. | 0:33:37 | 0:33:39 | |
-Yes. -But even so, they've got that militaria interest. | 0:33:39 | 0:33:42 | |
Marian, I'd probably like to go in with a guide price | 0:33:42 | 0:33:46 | |
-of between 50 and £70. -Right. | 0:33:46 | 0:33:49 | |
-With your blessing. -Yes. | 0:33:49 | 0:33:50 | |
And I would propose we on the day put a reserve fixed at 40 | 0:33:50 | 0:33:54 | |
and, although we're going to landlocked Leicestershire, | 0:33:54 | 0:33:58 | |
the market I feel is more for the militaria | 0:33:58 | 0:34:01 | |
and the fact they are by a great artist in Wyllie. | 0:34:01 | 0:34:03 | |
-Right. -So, with your blessing, we shall set sail. | 0:34:03 | 0:34:06 | |
-OK. -To auction. Thanks, Marian. | 0:34:06 | 0:34:08 | |
-Thank you. -Thanks for coming in today. | 0:34:08 | 0:34:10 | |
Hopefully the prints will be snapped up by someone with a real interest. | 0:34:10 | 0:34:14 | |
In the saloon, Christina's uncovered a spectacular vase. | 0:34:14 | 0:34:17 | |
Liz, you're looking a bit nervous. | 0:34:19 | 0:34:20 | |
Sorry! | 0:34:20 | 0:34:21 | |
Why are you nervous about holding this? | 0:34:23 | 0:34:25 | |
I just don't want to drop it. | 0:34:25 | 0:34:26 | |
Is it something that you've had in the family for a while? | 0:34:28 | 0:34:30 | |
As long as I can remember. | 0:34:30 | 0:34:32 | |
All my childhood. | 0:34:32 | 0:34:33 | |
-All your childhood? -Yeah. | 0:34:33 | 0:34:34 | |
And who did it belong to before you had it? | 0:34:34 | 0:34:37 | |
My dad. Well, my parents. | 0:34:37 | 0:34:38 | |
And do you know why? Did he buy it himself? | 0:34:38 | 0:34:40 | |
I think he was given it by an aunt. | 0:34:40 | 0:34:43 | |
OK. And do you like it? | 0:34:43 | 0:34:44 | |
I do like it, I like the colours of it. | 0:34:44 | 0:34:46 | |
I can't say I particularly like the vase or would want it, | 0:34:46 | 0:34:50 | |
-but I like the colours of it. -Do you mind if I have a quick look? | 0:34:50 | 0:34:53 | |
-No. -Because I saw this in the queue and it just shone to me. | 0:34:53 | 0:34:58 | |
I just think it's absolutely stunning. | 0:34:58 | 0:35:00 | |
-Do you know who it's made by? -I know it's a Moorcroft. | 0:35:00 | 0:35:02 | |
-Exactly. -Yes, so if we look at its bottom... | 0:35:02 | 0:35:04 | |
This is terrible, my mum always tells me off, | 0:35:04 | 0:35:06 | |
because as soon as I walk into somebody's house, | 0:35:06 | 0:35:08 | |
I don't look at something, I just look at its bottom. | 0:35:08 | 0:35:10 | |
-Yeah! -It's very naughty, isn't it? | 0:35:10 | 0:35:11 | |
But if we look at its bottom here, it has got this wonderful signature, | 0:35:11 | 0:35:14 | |
it's W Moorcroft, for William Moorcroft, | 0:35:14 | 0:35:17 | |
and also we've got this wonderful stamped mark here, W Moorcroft, | 0:35:17 | 0:35:20 | |
Potter to the Queen, made in England. | 0:35:20 | 0:35:23 | |
Absolutely stunning. | 0:35:23 | 0:35:25 | |
And if I were to own a piece of Moorcroft, it would be this pattern. | 0:35:25 | 0:35:29 | |
Which is what we call the moonlit blue pattern. | 0:35:29 | 0:35:31 | |
Absolutely stunning. From about 1925, | 0:35:31 | 0:35:34 | |
so really quite an early Moorcroft peace. | 0:35:34 | 0:35:36 | |
And I think specifically on this shape it works incredibly well, | 0:35:36 | 0:35:40 | |
it really, really does. And for any Moorcroft collector this would be | 0:35:40 | 0:35:43 | |
a bit of a dream. It really would. | 0:35:43 | 0:35:45 | |
Nice, early piece, great marks and just fabulous colours. | 0:35:45 | 0:35:49 | |
With Moorcroft, you think of this typical tube lined design. | 0:35:49 | 0:35:53 | |
It really has those sort of echoes of the early 1920s | 0:35:53 | 0:35:56 | |
when Moorcroft was supported, if you like, | 0:35:56 | 0:35:59 | |
by his friend George Lasenby Liberty, | 0:35:59 | 0:36:01 | |
-have you heard of him? -No. | 0:36:01 | 0:36:02 | |
You know the shop Liberty's in London? | 0:36:02 | 0:36:04 | |
-Oh, yes. Yes. -So George Lasenby Liberty set up Liberty's | 0:36:04 | 0:36:07 | |
and he was a great sponsor of artisans and craftsmen at the time, | 0:36:07 | 0:36:12 | |
so when Moorcroft left MacIntyre in about 1914, I think, | 0:36:12 | 0:36:16 | |
to set up his own factory, Liberty supported him financially, | 0:36:16 | 0:36:20 | |
to enable him to start production. | 0:36:20 | 0:36:22 | |
So it has echoes of that Liberty feel about it. | 0:36:22 | 0:36:25 | |
It really is a stunning... | 0:36:25 | 0:36:28 | |
That glaze there is just beautiful. | 0:36:28 | 0:36:31 | |
I mean, early Moorcroft, it did create what we call craze, | 0:36:31 | 0:36:34 | |
which is very, very, very fine cracks in the glaze, | 0:36:34 | 0:36:38 | |
and that's what you always have to look out for. | 0:36:38 | 0:36:40 | |
Can you see that sort of very fine spider's web effect | 0:36:40 | 0:36:42 | |
-that we've got going on here? -Yeah. -That's what we call crazing. | 0:36:42 | 0:36:45 | |
-Yeah. -And sometimes, which I think has happened in this case, | 0:36:45 | 0:36:48 | |
sometimes the body of the pottery comes through that crazing, | 0:36:48 | 0:36:52 | |
so it creates this... Can you see this bubbling effect down here? | 0:36:52 | 0:36:55 | |
-Yeah. -Which can also indicate | 0:36:55 | 0:36:57 | |
that there might have been some restoration. | 0:36:57 | 0:36:59 | |
So I love the pattern, it's got everything going for it, | 0:36:59 | 0:37:02 | |
I love the pattern, I love that it's early, | 0:37:02 | 0:37:04 | |
I love that it's such great colours, | 0:37:04 | 0:37:06 | |
this colour is particularly beautiful, | 0:37:06 | 0:37:08 | |
but I do have some concerns about the condition. | 0:37:08 | 0:37:10 | |
-Oh, OK. -And that will knock the value slightly. | 0:37:10 | 0:37:13 | |
-OK? -It's a shame. -It is a shame but that's not anything | 0:37:13 | 0:37:16 | |
-that you could have helped at all. -OK. -It just happens. | 0:37:16 | 0:37:20 | |
So I would say maybe £3-500 at auction. | 0:37:20 | 0:37:23 | |
-Oh, right. -What do you think about that? -Yeah. | 0:37:23 | 0:37:25 | |
-Yeah, that's... -Would that be all right? | 0:37:25 | 0:37:27 | |
-Yeah. -So shall we put it forward to the auction? | 0:37:27 | 0:37:29 | |
-Yes. -Oh, it's so nerve-racking! | 0:37:29 | 0:37:32 | |
Well, there you are, our experts have now found their final items | 0:37:35 | 0:37:38 | |
to take off at auction, which means sadly it's time to say goodbye | 0:37:38 | 0:37:41 | |
to Althorp House. Had a good time, everyone? | 0:37:41 | 0:37:43 | |
-ALL: -Yeah. -Yes, we certainly have. | 0:37:43 | 0:37:45 | |
It's been fascinating finding out about the house | 0:37:45 | 0:37:47 | |
and how the roles of the people working here | 0:37:47 | 0:37:49 | |
over the centuries have changed. | 0:37:49 | 0:37:51 | |
But right now, we need to make some history for ourselves | 0:37:51 | 0:37:54 | |
as we're going over to the auction room for the last time | 0:37:54 | 0:37:56 | |
and here's a quick recap of all the items we're taking with us. | 0:37:56 | 0:37:59 | |
The silver plated plaque with impeccable provenance. | 0:38:01 | 0:38:04 | |
One of my favourites, the naval prints by William Wyllie. | 0:38:07 | 0:38:10 | |
And a glorious moonlit patterned Moorcroft vase. | 0:38:12 | 0:38:15 | |
Back at the auction room, | 0:38:17 | 0:38:18 | |
we have Mark and Will Gilding sharing the rostrum duty. | 0:38:18 | 0:38:22 | |
Time for the silver plaque to test the market. | 0:38:22 | 0:38:25 | |
Fingers crossed, Tony, and good luck. | 0:38:26 | 0:38:28 | |
Hopefully we can turn that £1 or £2 find | 0:38:28 | 0:38:30 | |
from the antiques shop a long, long time ago into £2-300, | 0:38:30 | 0:38:34 | |
we're talking about that lovely Elkington plaque. | 0:38:34 | 0:38:36 | |
Where has it been - on the wall, in a cupboard, in a drawer? | 0:38:36 | 0:38:39 | |
Various places around the house until a point you get fed up | 0:38:39 | 0:38:42 | |
of, like, trying to keep it clean. | 0:38:42 | 0:38:44 | |
And I thought, right, I'll bring it to Flog It! | 0:38:44 | 0:38:46 | |
Because I'm getting so old-fashioned now, I don't want to clean it. | 0:38:46 | 0:38:49 | |
Hey, look, this is your lot. Good luck. | 0:38:49 | 0:38:51 | |
Elkington & Co silver-plated electro type plaquette | 0:38:51 | 0:38:55 | |
and bidding opens here at £110. | 0:38:55 | 0:38:58 | |
Oh, 110, so we've got a £200 reserve on it, haven't we? | 0:38:58 | 0:39:01 | |
120, 130. | 0:39:01 | 0:39:02 | |
At 130. | 0:39:02 | 0:39:04 | |
Well below estimate here, ladies and gentlemen, it's £130. | 0:39:04 | 0:39:07 | |
He's going to pass on that. | 0:39:07 | 0:39:08 | |
-Yeah. Yes. -There we go, at 130... | 0:39:08 | 0:39:10 | |
-What a shame. -130. | 0:39:10 | 0:39:12 | |
-It's such a beautiful thing. -Sorry about that. | 0:39:12 | 0:39:15 | |
-I know. -Sorry about that. | 0:39:15 | 0:39:16 | |
With all that provenance as well. | 0:39:16 | 0:39:18 | |
Exactly. With all the provenance on the back, it's such a shame, | 0:39:18 | 0:39:20 | |
but it's a very difficult, as I explained to you on the valuation, | 0:39:20 | 0:39:23 | |
it's a very difficult market to sell at the moment, | 0:39:23 | 0:39:25 | |
so maybe you want to keep cleaning, but not too much... | 0:39:25 | 0:39:28 | |
-No, put it back the cupboard. -For the next couple of years. | 0:39:28 | 0:39:31 | |
See you in a couple of years' time. | 0:39:31 | 0:39:32 | |
-Yeah. -Bring it back to us when the market for electro plate | 0:39:32 | 0:39:36 | |
is going through the roof. | 0:39:36 | 0:39:37 | |
What a shame the market wasn't there for Tony's plaque. | 0:39:37 | 0:39:40 | |
But we had fun. | 0:39:40 | 0:39:42 | |
Fingers crossed for our next lot. | 0:39:42 | 0:39:44 | |
Right now going under the hammer, | 0:39:44 | 0:39:45 | |
we've got two signed William Wyllie prints belonging to Marian, | 0:39:45 | 0:39:48 | |
and it's good to see you again. | 0:39:48 | 0:39:50 | |
Now, right, not a lot of money, but I tell you what, | 0:39:50 | 0:39:52 | |
as an entry point for William Wyllie this is very, very good, | 0:39:52 | 0:39:54 | |
because they're only prints but they are signed by the man himself. | 0:39:54 | 0:39:58 | |
What's nice, Paul, about these is they've got a sentimental | 0:39:58 | 0:40:00 | |
-military link as well... -Yes. They have a good back story. | 0:40:00 | 0:40:03 | |
Yeah. Absolutely right. Here we go. | 0:40:03 | 0:40:04 | |
Ready? We're going under the hammer now. | 0:40:04 | 0:40:06 | |
-These are good, Paul. -This is it. | 0:40:06 | 0:40:08 | |
Wyllie's Our Fathers to the memory of the nameless killed and wounded. | 0:40:08 | 0:40:11 | |
A modest start here, surely, at £30. | 0:40:11 | 0:40:13 | |
At 30? At £30, bid. | 0:40:13 | 0:40:14 | |
Thank you, £30 I have. | 0:40:14 | 0:40:15 | |
At 32? At 32. | 0:40:15 | 0:40:16 | |
35. 38. 40. 40 bid. | 0:40:16 | 0:40:20 | |
At £40 in the room... | 0:40:20 | 0:40:22 | |
-And over there. -£40. | 0:40:22 | 0:40:24 | |
Here at 40. At 42. | 0:40:24 | 0:40:26 | |
Give me five. 48. | 0:40:26 | 0:40:27 | |
-50. -That's mid estimate. We're moving. | 0:40:27 | 0:40:29 | |
Five. Lady's bid, then, at £55. | 0:40:29 | 0:40:32 | |
At £55. | 0:40:32 | 0:40:34 | |
Are we all gone? Selling at 55. | 0:40:34 | 0:40:37 | |
£55, they've gone. | 0:40:37 | 0:40:38 | |
Just above...mid estimate. | 0:40:38 | 0:40:40 | |
-That's OK. -That's OK, isn't it? | 0:40:40 | 0:40:41 | |
That's OK. They've gone. Happy with that? | 0:40:41 | 0:40:43 | |
Yes. You feel a bit sad, I can see, there's a tear in your eye. | 0:40:43 | 0:40:45 | |
No, no. They were only in the loft. | 0:40:45 | 0:40:48 | |
My father loved them but they didn't appeal to me. | 0:40:48 | 0:40:51 | |
Luckily, the prints did attract interest | 0:40:54 | 0:40:56 | |
and now for a big name in the pottery world. | 0:40:56 | 0:40:59 | |
It's Liz's Moorcroft. | 0:40:59 | 0:41:01 | |
And she's excited. | 0:41:01 | 0:41:02 | |
Let's find out what the bidders think, shall we, Liz, | 0:41:02 | 0:41:05 | |
I think they're going to love this. | 0:41:05 | 0:41:06 | |
This wonderful William Moorcroft moonlit blue vase | 0:41:06 | 0:41:09 | |
and telephone bids we'll come to. | 0:41:09 | 0:41:11 | |
-Oh, brilliant, so that means they've got telephone bids. -Yeah. | 0:41:11 | 0:41:14 | |
£400 my opening bid. | 0:41:14 | 0:41:16 | |
Oh, we're straight in, OK, straight in. | 0:41:16 | 0:41:18 | |
50, 600. | 0:41:18 | 0:41:19 | |
And 50. 700. And 50, 800. | 0:41:19 | 0:41:22 | |
-Liz! -And 50, 900... | 0:41:22 | 0:41:24 | |
950. 1000. | 0:41:24 | 0:41:26 | |
1,100. 1,200, 1,300. | 0:41:26 | 0:41:31 | |
-What were you worried about? -£1,300. | 0:41:31 | 0:41:34 | |
-At 1,300. -I'm just a little bit anxious. | 0:41:34 | 0:41:36 | |
1,300 with me. Telephones, how about you? | 0:41:36 | 0:41:38 | |
1,400 with Will, 1,500 with me. | 0:41:38 | 0:41:41 | |
1,600 with Will. | 0:41:41 | 0:41:42 | |
We could do two grand. | 0:41:42 | 0:41:43 | |
-We could do two grand. -£1,600. | 0:41:43 | 0:41:45 | |
1,700 with Denise. | 0:41:45 | 0:41:47 | |
-1,700. -Come on, let's do 2,000. | 0:41:47 | 0:41:49 | |
1,800 with Will. | 0:41:49 | 0:41:50 | |
£1,800 I'm bid... | 0:41:50 | 0:41:52 | |
Well, obviously a typing error in the catalogue. | 0:41:52 | 0:41:54 | |
I may have missed the one or two! | 0:41:54 | 0:41:57 | |
2,100. | 0:41:57 | 0:41:58 | |
-2,1. -Thank you, Denise. At 2,100. | 0:41:58 | 0:42:01 | |
2,200, thank you. | 0:42:01 | 0:42:03 | |
Brilliant. That's brilliant. | 0:42:03 | 0:42:05 | |
2,300, Denise. | 0:42:05 | 0:42:06 | |
Thank you, at 2,400 I'm bid now. | 0:42:06 | 0:42:08 | |
2,500. | 0:42:08 | 0:42:11 | |
2,500, Liz, count the money! | 0:42:11 | 0:42:13 | |
-Count that money! -2,600 with Will. | 0:42:13 | 0:42:15 | |
-2,600. -2,6. | 0:42:15 | 0:42:17 | |
Look at it. It was just packed away. | 0:42:17 | 0:42:19 | |
2,800. | 0:42:19 | 0:42:20 | |
Still on the phones, all these. And at 2,800. | 0:42:20 | 0:42:22 | |
2,900 with Denise. | 0:42:22 | 0:42:24 | |
And even I've undervalued it now, I was hoping for two. | 0:42:24 | 0:42:27 | |
Are you sure? You've come a long way. | 0:42:27 | 0:42:29 | |
Oh, come on! 2,900 with Denise. | 0:42:29 | 0:42:30 | |
We're with Denise then. The telephone... | 0:42:30 | 0:42:32 | |
-That's it. -£3,000, new bidder. | 0:42:32 | 0:42:35 | |
-Yes! -Oh! | 0:42:35 | 0:42:36 | |
New bidder at £3,000 in the room. | 0:42:36 | 0:42:38 | |
Oh, you've got to be feeling on top of the world right now. | 0:42:38 | 0:42:41 | |
At £3,000. | 0:42:41 | 0:42:43 | |
Yes! That's a sold sum. | 0:42:43 | 0:42:45 | |
£3,000, Liz. | 0:42:45 | 0:42:48 | |
-Fantastic. -It flew, didn't it? Well done. Well done. | 0:42:48 | 0:42:52 | |
Well done! | 0:42:52 | 0:42:53 | |
Gosh. Gosh. | 0:42:53 | 0:42:55 | |
-Have you got any more? -No, I wish. | 0:42:55 | 0:42:59 | |
Your mum and dad had great taste. | 0:42:59 | 0:43:01 | |
-Yeah. -Look, enjoy the money, won't you? | 0:43:01 | 0:43:03 | |
-Yeah. -And what a fabulous way to end today's show, | 0:43:03 | 0:43:05 | |
on such a big surprise. | 0:43:05 | 0:43:07 | |
I knew there would be one and quality always sells, | 0:43:07 | 0:43:09 | |
-that's what we say, don't we? -Absolutely. | 0:43:09 | 0:43:11 | |
Join us again for many more surprises in salerooms | 0:43:11 | 0:43:13 | |
in the future, but until then, it's goodbye from all of us | 0:43:13 | 0:43:16 | |
here in Market Harborough. | 0:43:16 | 0:43:18 |