0:00:04 > 0:00:06Today, we're at Croome Court in Worcestershire,
0:00:06 > 0:00:09and this magnificent 18th-century Palladian mansion
0:00:09 > 0:00:12situated in woody parkland is the venue for our valuation day,
0:00:12 > 0:00:14and I've got to say, it doesn't get much better than this,
0:00:14 > 0:00:17with the Malvern Hills as a backdrop.
0:00:17 > 0:00:20All of this is the vision of one man, the sixth Earl of Coventry,
0:00:20 > 0:00:22a man of impeccable taste and vision,
0:00:22 > 0:00:25and I'm hoping as all our experts look in these bags and boxes,
0:00:25 > 0:00:27everyone here has good taste as well.
0:00:27 > 0:00:30Welcome to Flog It!
0:00:51 > 0:00:56George William, the sixth Earl of Coventry, inherited Croome in 1751.
0:00:56 > 0:01:00He immediately set about transforming the house and the estate,
0:01:00 > 0:01:02as he wanted them to be at the height of fashion.
0:01:06 > 0:01:09The sixth Earl took a punt on up-and-coming talent.
0:01:09 > 0:01:13He gave Lancelot Capability Brown his first complete commission
0:01:13 > 0:01:16to landscape the grounds in the new naturalistic style,
0:01:16 > 0:01:18and to remodel the house.
0:01:20 > 0:01:22Croome is now looked after by the National Trust
0:01:22 > 0:01:24so it's in safe hands, and I have to say,
0:01:24 > 0:01:26it's looking fabulous today, and so is everybody here.
0:01:26 > 0:01:29It looks like the whole of Worcestershire has turned up
0:01:29 > 0:01:32laden with bags and boxes. They are here to see our experts,
0:01:32 > 0:01:35to listen to them wax lyrical over their treasures,
0:01:35 > 0:01:38and at the end of that you've got one important question
0:01:38 > 0:01:39you want to ask them, which is...
0:01:39 > 0:01:41- ALL:- What's it worth?
0:01:41 > 0:01:43If you're happy with the valuations, what are you going to do?
0:01:43 > 0:01:45- ALL:- Flog it!
0:01:45 > 0:01:46Right, let's get on with it!
0:01:51 > 0:01:53Already hard at work scouring the crowd
0:01:53 > 0:01:57to find exciting items to take off to auction, we have two experts,
0:01:57 > 0:01:58Adam Partridge...
0:01:58 > 0:02:00You think it's for cutting an egg.
0:02:00 > 0:02:01Any idea what that's for?
0:02:02 > 0:02:04And David Fletcher...
0:02:04 > 0:02:06What else have you got in there? Let's have a...
0:02:07 > 0:02:09RATTLING
0:02:09 > 0:02:11That's woke your cameraman up!
0:02:11 > 0:02:15Adam and David have also found time for a little fun.
0:02:15 > 0:02:16Is that even my size as well?
0:02:19 > 0:02:21David? What do you think?
0:02:21 > 0:02:23Much smarter than you normally look.
0:02:23 > 0:02:25Thank you very much!
0:02:25 > 0:02:29I think Adam is aspiring to David's dress sense.
0:02:29 > 0:02:32Whilst everybody makes themselves comfortable on Croome's south lawn,
0:02:32 > 0:02:35let's have a look at what's coming up later on in the show.
0:02:36 > 0:02:38Adam realises a childhood fantasy
0:02:38 > 0:02:41when he gets his hands on some firefighting equipment.
0:02:41 > 0:02:45That squirts out there in a quarter of an inch jet.
0:02:45 > 0:02:48And a late bidder comes to the rescue in the auction room.
0:02:48 > 0:02:50No takers at 200?
0:02:50 > 0:02:53Going to have to pass it, I'm afraid.
0:02:53 > 0:02:54Yes, on the net!
0:02:57 > 0:02:59And I'll be admiring some of the treasures
0:02:59 > 0:03:01from the sixth Earl's collection,
0:03:01 > 0:03:04which the National Trust have displayed in a contemporary way
0:03:04 > 0:03:07which they think the Earl would have approved of.
0:03:07 > 0:03:10I love seeing the plates on the ceiling.
0:03:10 > 0:03:12But that's all to come later.
0:03:14 > 0:03:17As you can see, everybody is now safely seated,
0:03:17 > 0:03:19so it's time for our first valuation.
0:03:19 > 0:03:22So let's catch up with Adam Partridge and see what we can find
0:03:22 > 0:03:24to take off to auction.
0:03:25 > 0:03:28Well, Deborah, what a fine saxophone you've brought along today.
0:03:28 > 0:03:30I always like to see musical instruments.
0:03:30 > 0:03:33My speciality is in the stringed instruments,
0:03:33 > 0:03:34but I've sold lots of saxophones,
0:03:34 > 0:03:36and I think we're going to have a go at this one.
0:03:36 > 0:03:38- OK.- What do you know about it?
0:03:38 > 0:03:41My uncle gave it to me over 40 years ago.
0:03:42 > 0:03:44He used to play saxophone.
0:03:44 > 0:03:46OK, was he in a band?
0:03:46 > 0:03:48Yes, but I can't remember the name of it.
0:03:48 > 0:03:51OK. And did you ever play?
0:03:51 > 0:03:56Many years ago in a band for a theatre, yes.
0:03:56 > 0:03:58Oh, did you? So you're a proper saxophonist?
0:03:58 > 0:04:00Mm...
0:04:00 > 0:04:02- Maybe!- Well, it's been a while since you played.
0:04:02 > 0:04:04Yes, a long time.
0:04:04 > 0:04:06My parents are former musicians as well,
0:04:06 > 0:04:08and you can't get them to play at all now.
0:04:08 > 0:04:10Once they used to do it for a living, they won't do it.
0:04:10 > 0:04:13- That's right.- So presumably, is there any point in me asking...?- No.
0:04:13 > 0:04:16That was pretty firm, wasn't it?
0:04:16 > 0:04:19I don't think we're going to hear it played.
0:04:19 > 0:04:20So, it's a tenor saxophone.
0:04:20 > 0:04:21It is. B-flat tenor.
0:04:21 > 0:04:24And we've got a maker's name under here.
0:04:24 > 0:04:26But it's very, very worn.
0:04:29 > 0:04:34When you blow on it you can see Pan-American Elkhart USA.
0:04:34 > 0:04:37- Oh!- It's an American Elkhart Pan-American.
0:04:37 > 0:04:41Early 20th century, quite popular these days, some value to it.
0:04:41 > 0:04:43- Any idea?- No idea at all.
0:04:43 > 0:04:48No? I think, really, it should make £200-300.
0:04:48 > 0:04:50- Something like that.- Right!
0:04:50 > 0:04:53You look surprised. Now I think I've got it wrong,
0:04:53 > 0:04:54cos you know about saxophones!
0:04:54 > 0:04:57No, no, no, I don't know about the value of them, no.
0:04:57 > 0:04:59Judging by other examples I've sold,
0:04:59 > 0:05:02I think it's worth that and maybe a touch more.
0:05:02 > 0:05:03Condition's not bad at all.
0:05:03 > 0:05:05It's operational?
0:05:05 > 0:05:07No...
0:05:07 > 0:05:08Go on!
0:05:08 > 0:05:10No! Go on.
0:05:12 > 0:05:14Can't get a single note out of it.
0:05:14 > 0:05:17It's very hard!
0:05:17 > 0:05:19It's very hard indeed.
0:05:19 > 0:05:20So, why have you decided to sell it?
0:05:20 > 0:05:23- You don't play any more? - I don't play any more,
0:05:23 > 0:05:25and it's time for it to move on.
0:05:25 > 0:05:28Yes, OK, so you're happy to put it in the auction?
0:05:28 > 0:05:30- Yes.- 200-300 estimate?
0:05:30 > 0:05:32- Yes.- And what price would you rather have it back if it didn't sell?
0:05:32 > 0:05:34190?
0:05:34 > 0:05:37OK. Let's put 200 with discretion, so 180 would be the very limit.
0:05:37 > 0:05:39- OK.- Is that all right?- Yes.
0:05:39 > 0:05:43And would you do anything specific with the proceeds?
0:05:43 > 0:05:46I shall take my mother out to dinner
0:05:46 > 0:05:49- and we shall celebrate my uncle's life.- Very good.
0:05:49 > 0:05:52- Thank you.- Are you going to play it now?- No!
0:05:54 > 0:05:56We'll just have to close our eyes
0:05:56 > 0:05:58and imagine what that sax sounds like.
0:06:03 > 0:06:06Next, David has come across some amusing pictures.
0:06:07 > 0:06:09- Hello, Margaret.- Hello, David.
0:06:09 > 0:06:10The British are very good
0:06:10 > 0:06:13at taking the mickey out of themselves, I think.
0:06:13 > 0:06:15And seeing the bright side of life.
0:06:15 > 0:06:17There's that Monty Python song, isn't there?
0:06:17 > 0:06:19Always Look On The Bright Side Of Life,
0:06:19 > 0:06:22and I think that relates to these, really.
0:06:22 > 0:06:26I've come across Lawson Wood's stuff quite a lot,
0:06:26 > 0:06:30as you might imagine. He's a book illustrator and a humourist, really.
0:06:30 > 0:06:33He was born towards the end of the 19th century,
0:06:33 > 0:06:36and as it happens he served in the First World War
0:06:36 > 0:06:40and he got a decoration for gallantry at Vimy Ridge.
0:06:40 > 0:06:42So he had a remarkable life,
0:06:42 > 0:06:47but what I really like about these is to see so many in one go.
0:06:47 > 0:06:53- Each one is based on an imaginary postcard sent home.- Yes.
0:06:53 > 0:06:56You know, we send postcards to our family and friends, saying,
0:06:56 > 0:06:58"having a great time, wish you were here."
0:06:58 > 0:06:59We don't wish they were here at all!
0:06:59 > 0:07:01We're jolly glad, we've gone away to get away from them!
0:07:01 > 0:07:03But we say wish you were here.
0:07:03 > 0:07:06And this is the sort of thing that Lawson Wood is saying in a way.
0:07:06 > 0:07:10They are all called Holiday Echoes, so it's from a series.
0:07:10 > 0:07:11Have they been inherited?
0:07:11 > 0:07:13They were my grandfather's.
0:07:13 > 0:07:16They came down to my mother.
0:07:16 > 0:07:19But probably in the last 20 years they have sat in the garage.
0:07:19 > 0:07:22Do you ever remember them being hung together?
0:07:22 > 0:07:26Yes, yes, in my grandparents' house in South Wales,
0:07:26 > 0:07:27they were in the hall,
0:07:27 > 0:07:31and as a young child I loved going and looking at them.
0:07:31 > 0:07:34It was the first thing I did when we got to the house,
0:07:34 > 0:07:36and that one is definitely my favourite.
0:07:36 > 0:07:38I think that's great, and he is saying here,
0:07:38 > 0:07:43"I'm in a very bracing position, over 500 feet above sea level.
0:07:43 > 0:07:47"Sitting room is small, but gets glorious views."
0:07:47 > 0:07:49- Yes.- Isn't that great?
0:07:49 > 0:07:52I mean, he's hanging from a rope, painting a skyscraper,
0:07:52 > 0:07:54and he's none of those things at all!
0:07:54 > 0:07:57He's very uncomfortable, he's swinging backwards and forwards,
0:07:57 > 0:07:58but he is seeing the bright side of it.
0:07:58 > 0:08:01And it's all about taking the mickey, isn't it, which I think is great.
0:08:01 > 0:08:04So they speak of their period, they are good fun,
0:08:04 > 0:08:06I think they are uplifting.
0:08:06 > 0:08:08- They are just prints, we know that, of course.- Yes.
0:08:08 > 0:08:11It would be lovely if they were originals.
0:08:11 > 0:08:14- They are not going to make huge amounts of money.- No.
0:08:14 > 0:08:16I would expect probably somewhere in the region of £100.
0:08:16 > 0:08:19- Right. - Does that sound about right to you?
0:08:19 > 0:08:21That's fine. That's fine, yes.
0:08:21 > 0:08:23OK, well, what I would like to do, if we may,
0:08:23 > 0:08:25is estimate them at 60 to 80.
0:08:27 > 0:08:30Just to make sure nothing disastrous happens,
0:08:30 > 0:08:33we'll put a £60 reserve on them, reserve at bottom estimate.
0:08:33 > 0:08:36OK? Well, I'll look forward to seeing you in the sale.
0:08:36 > 0:08:40And I hope everyone who views it has a jolly good laugh at these.
0:08:40 > 0:08:44- I hope so.- I am sure they will be cheered up if they do.
0:08:44 > 0:08:49MUSIC: Always Look on the Bright Side of Life by Eric Idle
0:08:51 > 0:08:54Right, that's two solid valuations under our belt.
0:08:54 > 0:08:55While our experts look for the third,
0:08:55 > 0:08:58I thought I'd come inside the house to have a look around.
0:09:01 > 0:09:06The Long Gallery was installed between 1761 and 1766
0:09:06 > 0:09:10and it was designed to look outwards to the beautiful Malvern Hills.
0:09:13 > 0:09:17The renowned 18th century architect and designer Robert Adam
0:09:17 > 0:09:19was responsible for everything in this room.
0:09:19 > 0:09:22He really was hands-on, he designed the chimney piece, the mirrors,
0:09:22 > 0:09:26the furniture and even the decoration on the ceiling.
0:09:26 > 0:09:29But sadly a lot of these artefacts have long gone,
0:09:29 > 0:09:32including the neoclassical figures which would be standing
0:09:32 > 0:09:34in these purpose-built niches.
0:09:34 > 0:09:36Now, faced with this problem,
0:09:36 > 0:09:39the National Trust came up with a brilliant idea
0:09:39 > 0:09:40that was still in keeping
0:09:40 > 0:09:45with the fashionable cutting-edge ethos of the sixth Earl.
0:09:45 > 0:09:48They have commissioned up and coming artists to come up with
0:09:48 > 0:09:50installations to fill the niches,
0:09:50 > 0:09:54and the brief was something to do with the history and the characters
0:09:54 > 0:09:57that made Croome great.
0:09:57 > 0:10:02Now, if I climb in here, this one is called The Viewer,
0:10:02 > 0:10:05and basically it's made up of hundreds of those little door viewers.
0:10:05 > 0:10:09You know the spy holes you find in a hotel room or on your front door?
0:10:09 > 0:10:12So, when you're in the room, and someone knocks at the door,
0:10:12 > 0:10:14you look outwards, you can see who it is.
0:10:14 > 0:10:16And this is rather clever, actually,
0:10:16 > 0:10:18because whatever one you look through,
0:10:18 > 0:10:21you get a different vista of the room.
0:10:21 > 0:10:23Wonderful little perspectives.
0:10:23 > 0:10:27This is an artful play on the work of Capability Brown, his landscapes.
0:10:27 > 0:10:30So, when you're walking along a pathway,
0:10:30 > 0:10:32you come between two trees,
0:10:32 > 0:10:37it may just frame up a classical temple into a beautiful perspective,
0:10:37 > 0:10:40and then you move and you look at something else and you see it
0:10:40 > 0:10:43from a different angle. That's what this is all about.
0:10:43 > 0:10:44I think it's really clever.
0:10:45 > 0:10:48And there you are, I can see the Long Gallery now
0:10:48 > 0:10:51tunnelling all the way down there.
0:10:57 > 0:11:01And this one will put a smile on your face, it's called The Departed.
0:11:01 > 0:11:03I imagine these feet disappearing into the wall
0:11:03 > 0:11:07belonged to a neoclassical figure that was standing here,
0:11:07 > 0:11:10and they probably had enough and they thought it's about time to go.
0:11:10 > 0:11:12Into the wall they went, and off they go.
0:11:12 > 0:11:15And in fact, that's exactly what I have to do right now,
0:11:15 > 0:11:18but I'm not going through the wall, I'm going straight down those stairs
0:11:18 > 0:11:21and out onto the lawn to join up with our experts.
0:11:23 > 0:11:27We need one more item before we pay our first visit to the auction,
0:11:27 > 0:11:29and it looks like Adam has come across something unusual.
0:11:31 > 0:11:33What have we got here then, Ian?
0:11:33 > 0:11:37We've got a Second World War hand-operated Lee Howl fire pump.
0:11:37 > 0:11:40Lee Howl would be the makers from Tipton?
0:11:40 > 0:11:43Yes, they started in about 1880,
0:11:43 > 0:11:47it's obviously got an insignia for George VI,
0:11:47 > 0:11:49which dates it to the Second World War.
0:11:49 > 0:11:55And how the thing flew, you'd chuck that bit in a duck pond,
0:11:55 > 0:11:56a canal or a river.
0:11:56 > 0:11:58- Or a well.- Or a well.
0:11:58 > 0:12:01- So that was the inlet valve. - That goes in.
0:12:01 > 0:12:04That goes in the water, without that in the water, nothing happens.
0:12:04 > 0:12:06Obviously, and it sucks up through here.
0:12:06 > 0:12:09It sucks up through the cage so it doesn't take in all the rubbish.
0:12:09 > 0:12:11- Where does this go? - That goes on a hose,
0:12:11 > 0:12:13it connects up to the inlet valve.
0:12:13 > 0:12:16- Another hose to connect into that. - That's the inlet valve.
0:12:16 > 0:12:19And then basically you've got two outlets,
0:12:19 > 0:12:21and those are the nozzles that operate...
0:12:23 > 0:12:25That squirts out there in a quarter of an inch jet.
0:12:25 > 0:12:30- Yeah.- And to make it work, you had two blokes on two handles.
0:12:30 > 0:12:32So there would be something going...
0:12:32 > 0:12:35The bar in each end of there, and you had one there doing that...
0:12:35 > 0:12:38- And I'd be here... - ..and you're here doing that.
0:12:40 > 0:12:41And then, with a bit of luck,
0:12:41 > 0:12:45two lots of water came out there to the nozzle to fight your fire.
0:12:45 > 0:12:48I see. Do you know what, I'm not very mechanically minded at all,
0:12:48 > 0:12:51but you've explained that to me very well, Ian, thank you very much.
0:12:51 > 0:12:54And it ain't been used for about 70 years, and it still works.
0:12:54 > 0:12:57Well, it will do when we are long gone as well, won't it?
0:12:57 > 0:12:58- I hope so.- Proper thing.
0:12:58 > 0:13:01We don't see many of these types of things on the programme,
0:13:01 > 0:13:03so I was very pleased that you brought it in.
0:13:03 > 0:13:05Tell me, where did you get it from,
0:13:05 > 0:13:08because clearly you've not been around since World War II, have you?
0:13:08 > 0:13:10No, I'd like to say I have, but I haven't.
0:13:10 > 0:13:13No, I found it in about '83,
0:13:13 > 0:13:18- in a family manor house about ten miles away.- OK.
0:13:18 > 0:13:23Reputed that a member of the family was a Home Guard sort of boss.
0:13:23 > 0:13:27- Yes.- I would imagine he had the place to store it,
0:13:27 > 0:13:30and then basically it was used by the platoon.
0:13:30 > 0:13:33It's been sat inside a tea chest, so I thought it was time it was moved.
0:13:33 > 0:13:35And is this the first time it's come out?
0:13:35 > 0:13:37It's the first time anybody's ever seen it.
0:13:37 > 0:13:40Wow. And you've decided to sell it, or try to sell it.
0:13:40 > 0:13:41We've got to try and flog it.
0:13:41 > 0:13:43We're got to try and find it a good home.
0:13:43 > 0:13:46Well, it's one of those things, it's never easy to predict.
0:13:46 > 0:13:47Either love it or hate it.
0:13:47 > 0:13:49I suppose so, yeah.
0:13:49 > 0:13:52I would put an estimate of £200-300 on it.
0:13:52 > 0:13:57It doesn't seem much, I know, but you need to coax them into bidding.
0:13:57 > 0:14:01Yeah, all we want is two real enthusiasts that must have it.
0:14:01 > 0:14:03Yes. We're going to put a reserve of £200 on it?
0:14:03 > 0:14:05- Yes.- Estimate 200 to 300.
0:14:05 > 0:14:07If it goes off and makes more,
0:14:07 > 0:14:09would you spend it on anything in particular?
0:14:09 > 0:14:11It's going to the Cuba slush fund.
0:14:11 > 0:14:13- A holiday.- A holiday to Cuba.
0:14:13 > 0:14:16- OK, very good. Well, I hope you have a good time on that holiday. - Thank you!
0:14:16 > 0:14:19And thank you very much for bringing up and explaining it
0:14:19 > 0:14:21- so eloquently for us. - Thank you, Adam.
0:14:24 > 0:14:26Well, there you are, our experts have now found
0:14:26 > 0:14:28their first three items to take off to auction.
0:14:28 > 0:14:30This is where it gets exciting.
0:14:30 > 0:14:32You've heard what they've had to say.
0:14:32 > 0:14:34I've got my own opinions on that, you've probably got yours,
0:14:34 > 0:14:37but right now we're going to find out what the bidders think
0:14:37 > 0:14:38as they go off to auction.
0:14:38 > 0:14:42Here's a quick recap of the items we're taking with us.
0:14:43 > 0:14:48Will Deborah's Pan-American Elkhart sax raise the roof at the saleroom?
0:14:48 > 0:14:52David was tickled pink by Margaret's six cartoon pictures
0:14:52 > 0:14:53by artist Lawson Wood.
0:14:53 > 0:14:55Let's hope the bidders are too.
0:14:56 > 0:14:59And finally, will things hot up in the auction,
0:14:59 > 0:15:03when Ian's fire pump from the Second World War goes under the hammer?
0:15:06 > 0:15:08Well, this is the moment I've been waiting for,
0:15:08 > 0:15:11where we put those valuations to the test.
0:15:11 > 0:15:12This is where it gets exciting.
0:15:12 > 0:15:14We're just outside of Evesham, at Littleton Auctions,
0:15:14 > 0:15:16and the car park is filling up.
0:15:16 > 0:15:17The sale is just about to start.
0:15:17 > 0:15:20This bodes well because when I go inside the saleroom,
0:15:20 > 0:15:22hopefully it's going to be jam-packed
0:15:22 > 0:15:24full of bidders all wanting our lots.
0:15:24 > 0:15:26Let's catch up with our owners and get on with the sale.
0:15:29 > 0:15:31Remember, whether you're buying or selling,
0:15:31 > 0:15:34there's always commission to pay and VAT.
0:15:34 > 0:15:37Here, the rate if you're selling is 15% plus VAT.
0:15:40 > 0:15:43Auctioneer Martin Homer is already hard at work on the rostrum,
0:15:43 > 0:15:45and first under his hammer,
0:15:45 > 0:15:48it's Margaret's collection of six cartoon pictures.
0:15:50 > 0:15:54These are fun. And architecturally, put together in two rows of three,
0:15:54 > 0:15:55they look fabulous.
0:15:55 > 0:15:58Or if you had a long, narrow corridor, all in a row,
0:15:58 > 0:16:02with little lights above, it will make you laugh all the way down.
0:16:02 > 0:16:03Why are you selling these?
0:16:03 > 0:16:05Well, they belonged to my grandparents
0:16:05 > 0:16:06who had them in a long hall.
0:16:06 > 0:16:08I haven't got a long hall so I can't put them up.
0:16:08 > 0:16:10OK. So I was right with the long hall bit, wasn't I?
0:16:10 > 0:16:13As a child, can you remember looking at them and laughing?
0:16:13 > 0:16:15- Definitely.- Lots of memories, lots of fun.
0:16:15 > 0:16:18We think of satire as being an invention of the 1960s,
0:16:18 > 0:16:20but these are satirical, in a way.
0:16:20 > 0:16:23Just gentle rib-tickling, self-deprecating humour.
0:16:23 > 0:16:25I love them, I think they're great.
0:16:25 > 0:16:26Rib-tickling, I love that word!
0:16:26 > 0:16:29Rib-tickling! Let's find out what the bidders think.
0:16:29 > 0:16:32- Here we go, good luck.- Let's see if their ribs are tickled.
0:16:34 > 0:16:37Look at those. I've got a commission bid on the book of £60.
0:16:37 > 0:16:3965 takes me out.
0:16:39 > 0:16:42It's in the room at 65, 70,
0:16:42 > 0:16:44five, 80,
0:16:44 > 0:16:47five, 90, five,
0:16:47 > 0:16:49at 95 with you, madam.
0:16:49 > 0:16:51It's in the room at £95.
0:16:51 > 0:16:55- We're looking for 100 now. - Come on, there's six of them.
0:16:55 > 0:16:56Great value for money.
0:16:56 > 0:16:58At £95.
0:16:58 > 0:17:00Crack, the hammer's gone down.
0:17:00 > 0:17:03- Wonderful.- £95, that's brilliant, isn't it?
0:17:03 > 0:17:04Rib-tickling!
0:17:07 > 0:17:09I'll tickle YOUR ribs!
0:17:10 > 0:17:12Next up, let's hope there's a steady stream of bids
0:17:12 > 0:17:14for Ian's World War II fire pump.
0:17:14 > 0:17:18It weighs an absolute tonne, but I tell you what,
0:17:18 > 0:17:21that's proper British engineering, isn't it?
0:17:21 > 0:17:23- It really is. Don't you think so? - Yeah.
0:17:23 > 0:17:25Over the top, belt and braces.
0:17:25 > 0:17:29I'm quite surprised you actually got it there because it's so heavy.
0:17:29 > 0:17:32I didn't, two of the humpers got it there for me.
0:17:33 > 0:17:35Interesting lot, ladies and gentlemen.
0:17:35 > 0:17:37Let's start that at £200.
0:17:37 > 0:17:39We're looking at £200 to start here.
0:17:40 > 0:17:42Do you know what, I really want this to sell.
0:17:42 > 0:17:45I really want this to sell. Top money.
0:17:45 > 0:17:47£200.
0:17:47 > 0:17:49Room or net, an unusual lot.
0:17:49 > 0:17:51Come on, don't go quiet.
0:17:51 > 0:17:53The nozzles are fabulous on their own.
0:17:53 > 0:17:54No takers at 200?
0:17:54 > 0:17:57Going to have to pass it, I'm afraid.
0:17:57 > 0:18:00Yes, on the net! £200!
0:18:00 > 0:18:04At £200, we're on the internet.
0:18:04 > 0:18:07- Never say never.- They were waiting for it to go down, weren't they?
0:18:07 > 0:18:10£200, I'm going to sell it.
0:18:10 > 0:18:12- Going once, twice... - PHONE RINGS
0:18:12 > 0:18:14Telephone bid coming through!
0:18:14 > 0:18:16200, all done?
0:18:16 > 0:18:18Once, twice, sold at £200.
0:18:18 > 0:18:20Yes!
0:18:20 > 0:18:22Well done! Well done, the internet.
0:18:22 > 0:18:24Adam was right, they were waiting to see if it dropped.
0:18:24 > 0:18:26Brilliant, that's a great result.
0:18:26 > 0:18:29You've got to be so happy, thank you for bringing a proper boys' toy in.
0:18:29 > 0:18:31- It was a bit different. - But do you know what,
0:18:31 > 0:18:33you made the effort to bring in something incredibly heavy.
0:18:37 > 0:18:39Finally, fingers crossed we hit the high note now
0:18:39 > 0:18:42with the saxophone belonging to Deborah.
0:18:43 > 0:18:45Did you buy the saxophone to learn to play on,
0:18:45 > 0:18:47or was it handed down through the family?
0:18:47 > 0:18:49No, it was given to me by my uncle.
0:18:49 > 0:18:52- He used to play it. - And did you play at all?
0:18:52 > 0:18:54- A little.- What put you off it?
0:18:56 > 0:18:58Becoming a mother.
0:18:58 > 0:18:59Oh, right, OK!
0:18:59 > 0:19:01Gets a bit busy then, doesn't it?
0:19:01 > 0:19:03Yes, it does a bit, yeah.
0:19:03 > 0:19:05And once the kids are asleep,
0:19:05 > 0:19:08you don't want to wake them up practising!
0:19:08 > 0:19:13The saxophone in case, Pan-American, 1915.
0:19:13 > 0:19:15I've got interest on this one.
0:19:15 > 0:19:18I can come straight in at £200.
0:19:18 > 0:19:20With me on the book at 200.
0:19:20 > 0:19:21220 takes me out.
0:19:21 > 0:19:26260, 280, 290, 320, 340, at 340.
0:19:26 > 0:19:29- Wow.- At 340, the net has it.
0:19:29 > 0:19:32At 340. Looking for 350 now.
0:19:32 > 0:19:34At 340.
0:19:34 > 0:19:37At £340, are we done?
0:19:37 > 0:19:38That's what you said.
0:19:38 > 0:19:41- He's so right.- Twice, sold at £340.
0:19:41 > 0:19:43- There we go.- Thank you very much. - It's a pleasure.
0:19:43 > 0:19:46- That was hotly contested for a little while, wasn't it?- Yeah!
0:19:46 > 0:19:51Well, that concludes our first visit to the auction room today.
0:19:51 > 0:19:53We are coming back here later on in the programme, so don't go away,
0:19:53 > 0:19:56it could get very exciting.
0:19:56 > 0:19:59Earlier on in the show, I told you how the National Trust
0:19:59 > 0:20:02are continuing the sixth Earl's legacy.
0:20:02 > 0:20:04They have installed contemporary sculpture
0:20:04 > 0:20:07designed by young up-and-coming talent at the house,
0:20:07 > 0:20:09but they haven't just stopped there.
0:20:19 > 0:20:22Croome was the brainchild of the sixth Earl of Coventry,
0:20:22 > 0:20:26who brought together the greatest talent to overhaul his parkland,
0:20:26 > 0:20:29house and its interiors in the 1750s.
0:20:31 > 0:20:33The finished result was in the best of taste,
0:20:33 > 0:20:35and it was at the height of fashion.
0:20:37 > 0:20:42Altogether, the sixth Earl employed more than 40 leading craftspeople
0:20:42 > 0:20:44to design furniture, ceramics, textiles
0:20:44 > 0:20:46and the interiors for his new home.
0:20:46 > 0:20:50The finished collection was hugely important and influential,
0:20:50 > 0:20:53containing some of the finest pieces in the country.
0:20:56 > 0:20:58I can only imagine then that the sixth Earl
0:20:58 > 0:21:01would have been devastated if he'd known that
0:21:01 > 0:21:03a couple of centuries later, in 1948,
0:21:03 > 0:21:06his beloved Croome and its contents would be sold,
0:21:06 > 0:21:10following the death of his descendant, the tenth Earl,
0:21:10 > 0:21:13who was killed on the retreat to Dunkirk in 1940.
0:21:18 > 0:21:21Despite the losses from the 1940s' auction,
0:21:21 > 0:21:24enough of the original Coventry collection survives
0:21:24 > 0:21:27to show the refined taste that the sixth Earl had,
0:21:27 > 0:21:31and today the National Trust have chosen to display the key pieces
0:21:31 > 0:21:33in a contemporary fashion,
0:21:33 > 0:21:36which they feel sure the Earl would have approved of.
0:21:42 > 0:21:46Amy Forster-Smith, Croome's house and visitor experience manager,
0:21:46 > 0:21:49is sharing with me a couple of the pieces from the Coventry collection.
0:21:51 > 0:21:53We're starting with the chairs in the main hall.
0:21:55 > 0:21:57- I like that.- Do you?
0:21:57 > 0:22:02I love it. I've not seen hall chairs displayed like that before.
0:22:02 > 0:22:05I'm glad you think so. That's exactly what we're trying to do.
0:22:05 > 0:22:08- Isn't that great?- So, the three chairs in the middle
0:22:08 > 0:22:11are 18th-century Hall chairs made by one of the finest
0:22:11 > 0:22:1418th-century carpenters that the sixth Earl could afford,
0:22:14 > 0:22:16- John Hobcraft.- Wonderful.
0:22:16 > 0:22:18And they are modelled on a 17th-century Italian design.
0:22:18 > 0:22:21- They are, yes.- And there would have been rows of them here
0:22:21 > 0:22:24- against the wall.- Yes. We think they were a set of ten, originally.
0:22:24 > 0:22:26- Yes, possibly that. - And we have got all ten,
0:22:26 > 0:22:28but we are just showing three here,
0:22:28 > 0:22:31because we didn't want to display all the hall chairs set out.
0:22:31 > 0:22:34- Against the wall.- Yeah.- Of course, they were designed to be
0:22:34 > 0:22:36as uncomfortable as possible,
0:22:36 > 0:22:38- to make people sit at attention... - Absolutely.
0:22:38 > 0:22:40..anticipating meeting the Earl,
0:22:40 > 0:22:41not getting any further than this space.
0:22:41 > 0:22:43And most people didn't wash back then,
0:22:43 > 0:22:46so you had to have chairs like that that you could wipe clean.
0:22:46 > 0:22:49- Yes, absolutely.- But I love this.
0:22:49 > 0:22:50So, who did this?
0:22:50 > 0:22:52This is by Will Datson, who's an artist based in Bristol.
0:22:52 > 0:22:54But he's not just an artist,
0:22:54 > 0:22:57he's a craftsperson as well and a bit of an engineer.
0:22:57 > 0:23:00And he really wanted to create something to not draw attention
0:23:00 > 0:23:02to the objects just in themselves,
0:23:02 > 0:23:05but also so you can see all of the structure,
0:23:05 > 0:23:07and how they were made, and I think he's done a really good job.
0:23:07 > 0:23:10Yes, you can tell he's an engineer, it's all counterbalanced.
0:23:10 > 0:23:12Yes, it's got a steel core,
0:23:12 > 0:23:14and then the plaster has been applied to the surface.
0:23:14 > 0:23:16It's very, very clever.
0:23:16 > 0:23:18- Thank you.- I approve.
0:23:20 > 0:23:24Next, it's off to the dining room to admire the impressive collection
0:23:24 > 0:23:28of porcelain, which is displayed in a way I've never seen before.
0:23:31 > 0:23:34Wow! Ta-da!
0:23:34 > 0:23:36- Wow!- It's incredible, isn't it?
0:23:36 > 0:23:39I love seeing the plates on the ceiling, I love it.
0:23:39 > 0:23:41We are absolutely surrounded, aren't we?
0:23:41 > 0:23:45Yeah, it's been created so you get this sort of enveloping experience
0:23:45 > 0:23:46of the porcelain, which is...
0:23:46 > 0:23:48all of the items are from the collection,
0:23:48 > 0:23:50the finest items from the collection,
0:23:50 > 0:23:53so it's just a really funky display case, really,
0:23:53 > 0:23:55something a bit different.
0:23:55 > 0:24:00So, the artist wanted for us to see ourselves in all of this.
0:24:00 > 0:24:04- Yeah, with the porcelain. - With the porcelain.- Absolutely,
0:24:04 > 0:24:06and be able to take selfies and photos of each other,
0:24:06 > 0:24:09and the outside of the box is incredible as well,
0:24:09 > 0:24:10so the artist, Bouke de Vries,
0:24:10 > 0:24:12we gave him a brief to do something playful
0:24:12 > 0:24:14and to do something interesting
0:24:14 > 0:24:16which would really draw attention to the porcelain,
0:24:16 > 0:24:19but we had no idea what he would create, and this was it.
0:24:19 > 0:24:20We absolutely love it.
0:24:20 > 0:24:24I like the clear little vistas, are they the real key pieces?
0:24:24 > 0:24:27There are lovely, yes, these are the very best pieces of the collection,
0:24:27 > 0:24:29so this is Sevres porcelain,
0:24:29 > 0:24:32and there's a little chocolate pot and a tea set that was meant for
0:24:32 > 0:24:34Madame de Pompadour before she unfortunately died
0:24:34 > 0:24:37and the sixth Earl snapped it up for himself.
0:24:40 > 0:24:43The modern golden box is artfully juxtaposed
0:24:43 > 0:24:46with Robert Adam's intricate 18th-century plasterwork,
0:24:46 > 0:24:48which it reflects back on all its sides.
0:24:50 > 0:24:52The plasterwork would have been white originally,
0:24:52 > 0:24:56but during another interesting phase of Croome's life,
0:24:56 > 0:24:59the religious order of the Hare Krishnas used the house
0:24:59 > 0:25:00as their headquarters,
0:25:00 > 0:25:04and they painted Adam's plasterwork in bright colours.
0:25:04 > 0:25:09Everywhere you go in this house, your expectations are confounded.
0:25:11 > 0:25:12This is pure theatre.
0:25:14 > 0:25:16I love it. Absolutely love it.
0:25:16 > 0:25:18These commodes should be
0:25:18 > 0:25:22either side of a rather large imposing fireplace,
0:25:22 > 0:25:25you know, as an architectural statement, perfect symmetry.
0:25:25 > 0:25:29But here, displayed like this, back-to-back,
0:25:29 > 0:25:32these commodes make the perfect centrepiece.
0:25:32 > 0:25:35So naturally you have to stop, you have to go,
0:25:35 > 0:25:38"Wow, look at the way they're lit, look at this."
0:25:38 > 0:25:42This is by Mayhew and Ince, possibly the most important partnership
0:25:42 > 0:25:45in the mid 18th century in cabinet work.
0:25:45 > 0:25:48And the word "commode," that comes from the French chest of drawers.
0:25:48 > 0:25:50They are not really a chest of drawers,
0:25:50 > 0:25:54they are just cabinets to show off great craftsmanship,
0:25:54 > 0:25:55and to show off wealth.
0:25:58 > 0:26:01Another unusual thing the National Trust is doing here
0:26:01 > 0:26:05is offering tours of the house's red wing to visitors.
0:26:05 > 0:26:07There may seem nothing strange about this,
0:26:07 > 0:26:10but you have to don a hard hat as the red wing is nearly derelict.
0:26:10 > 0:26:13It's like being allowed a peek behind the scenes.
0:26:15 > 0:26:18This was the entertainment area.
0:26:18 > 0:26:22This was where the senior servants would have had their dinner.
0:26:22 > 0:26:26And they would have been waited on by the junior servants.
0:26:27 > 0:26:31When the trust acquired Croome, the red wing had been nearly derelict,
0:26:31 > 0:26:34but they had managed to halt its decline.
0:26:34 > 0:26:38In that room above, it would have been looking very dark,
0:26:38 > 0:26:40nice mahogany.
0:26:40 > 0:26:42The fireplace has chunks of shelves in it
0:26:42 > 0:26:45that would have glinted at night.
0:26:50 > 0:26:52Do you think things should be displayed more traditionally,
0:26:52 > 0:26:54like other National Trust houses?
0:26:54 > 0:26:55It's nice to see it...
0:26:57 > 0:26:58Both ways of displaying it.
0:26:58 > 0:27:01Sometimes it's nice to see the traditional
0:27:01 > 0:27:03and it's nice to see it move on
0:27:03 > 0:27:05and see something a little more modern.
0:27:05 > 0:27:08We like the display of the chairs up there,
0:27:08 > 0:27:11that piece of artwork was really interesting.
0:27:20 > 0:27:25This is exhibition like we've not seen before, and it is cutting-edge.
0:27:25 > 0:27:27It makes people stop and think.
0:27:27 > 0:27:30I love the fact that you can go behind the scenes
0:27:30 > 0:27:33and see conservation work, you know, ongoing here.
0:27:33 > 0:27:36It's the nuts and bolts of the house, basically,
0:27:36 > 0:27:38and getting below stairs.
0:27:38 > 0:27:39But upstairs, you know,
0:27:39 > 0:27:45incorporating the artist working with things from the 18th century
0:27:45 > 0:27:47is just brilliant, it really is. It's put a smile on my face.
0:27:53 > 0:27:56Back out in the sunshine on the south lawn,
0:27:56 > 0:27:58everybody is still having a good time,
0:27:58 > 0:28:01and our experts are looking for their next items
0:28:01 > 0:28:03to put under the hammer.
0:28:03 > 0:28:06And it looks as if David has come across something of interest.
0:28:07 > 0:28:09- Hello, Norman.- Hello, David.
0:28:09 > 0:28:11Are you a child of the '60s?
0:28:11 > 0:28:13Well, I'm not a child of the '60s,
0:28:13 > 0:28:15but my very dear friend was a child of the '60s.
0:28:15 > 0:28:17- Right.- Well, a teenager of the '60s.
0:28:17 > 0:28:20She was brought up, lived in Liverpool.
0:28:20 > 0:28:22- Right.- Near Liverpool.
0:28:22 > 0:28:24As a 16-, 17-year-old,
0:28:24 > 0:28:29would have frequented the various clubs and outlets in Liverpool.
0:28:29 > 0:28:30Yeah. In Liverpool, yeah.
0:28:30 > 0:28:33And you have got some autographs in this book,
0:28:33 > 0:28:37collected by the lady you refer to, that are very interesting.
0:28:38 > 0:28:42I'm sure people will remember Gerry And The Pacemakers.
0:28:42 > 0:28:44Not the biggest name, but nevertheless...
0:28:44 > 0:28:47- No, no.- ..an important name in the pop scene in the 1960s,
0:28:47 > 0:28:49and still going, I think, aren't they?
0:28:49 > 0:28:51And various other autographs as well,
0:28:51 > 0:28:53but let's not beat about the bush, because the most important
0:28:53 > 0:28:56- autographs you have in here are the Beatles.- Correct, yeah.
0:28:56 > 0:28:58Everybody knows about the Beatles,
0:28:58 > 0:29:00so I don't have to do any explaining there.
0:29:00 > 0:29:03We've got Ringo Starr, Paul McCartney, George Harrison and John Lennon.
0:29:03 > 0:29:07I mean, everyone who collects pop and rock memorabilia
0:29:07 > 0:29:09- wants to own the Beatles' autographs.- Yes.
0:29:09 > 0:29:12I mean, do you have any ideas as to their value?
0:29:12 > 0:29:14At least 1,000.
0:29:14 > 0:29:16- Yeah, yeah.- At least.
0:29:16 > 0:29:18Erm, just those four alone.
0:29:18 > 0:29:20If you put it as an album...
0:29:20 > 0:29:24- Yeah.- ..as an autograph book together, you know, 1,500,
0:29:24 > 0:29:25- I would have imagined.- Yeah.
0:29:25 > 0:29:27There are other autographs in here, as we say -
0:29:27 > 0:29:30I don't think any of those significantly increase the value, really.
0:29:30 > 0:29:33- No, OK.- What whoever buys this will be buying, will be doing...
0:29:33 > 0:29:36- Primarily.- ..will be buying Beatles. Four Beatles autographs.- Yes.
0:29:36 > 0:29:39Now, I think you're bang on, really.
0:29:39 > 0:29:42I think 1,000-1,500 is about right.
0:29:42 > 0:29:44Now, I've got to say that there are issues
0:29:44 > 0:29:47- that relate to the Beatles autographs.- Yes.
0:29:47 > 0:29:49As you might imagine, they get faked.
0:29:49 > 0:29:51So, I think it's absolutely essential
0:29:51 > 0:29:54- that the auctioneers get these authenticated.- Yeah.
0:29:54 > 0:29:57Erm... Let's go for £1,000-1,500
0:29:57 > 0:30:00with a reserve of £1,000.
0:30:00 > 0:30:02- OK.- And we'll hope for the best.
0:30:02 > 0:30:04- OK?- OK.
0:30:05 > 0:30:10That 20th-century autograph book is a very contemporary collectable.
0:30:10 > 0:30:14Whereas over on Adam's table, it's an antique with a far greater age.
0:30:14 > 0:30:16Murray, good afternoon, sir, how are you today?
0:30:16 > 0:30:18- I'm fine, thank you. - Thanks for coming along,
0:30:18 > 0:30:21and you've brought this, erm, weapon along with you?
0:30:21 > 0:30:24Yes, it's been around for quite a long time, this one.
0:30:24 > 0:30:28It certainly has, I'd say it's been around best part of 200 years.
0:30:28 > 0:30:30That's quite good, then, quite good.
0:30:30 > 0:30:33- Where did you get it from? - It came through my mum.
0:30:33 > 0:30:35- Right.- And when she died, it came down to me.
0:30:35 > 0:30:38- It's been in the family quite a long time?- Yes.
0:30:38 > 0:30:42Erm, it's a percussion cap pistol from the early 19th century.
0:30:42 > 0:30:43You see the GR there...?
0:30:43 > 0:30:47- Uh-huh.- ..is George IV, so it's going to be 1820-1830.
0:30:47 > 0:30:50- Uh-huh.- Now, we're stamped "Tower" here.
0:30:50 > 0:30:53- That's right, I saw that. - Do you know why that is?
0:30:53 > 0:30:55I thought it was from the Tower of London.
0:30:55 > 0:30:59- Yes.- But somebody said today it may be a manufacturer.
0:30:59 > 0:31:03Well, the Royal Ordnance Company was headquarter at the Tower of London.
0:31:03 > 0:31:07So, that's why it's stamped Tower, it's by the Royal Ordnance Company.
0:31:07 > 0:31:09So you're kind of right.
0:31:09 > 0:31:12And they made a lot of weapons like this.
0:31:12 > 0:31:14This isn't in great condition any more,
0:31:14 > 0:31:18but neither would we be if we'd been around for 200 years as well!
0:31:18 > 0:31:22- Yes.- You've got a walnut stock and shaft going along here,
0:31:22 > 0:31:24and I think the ramrod's also present underneath,
0:31:24 > 0:31:27which is, you know, a lot of the time
0:31:27 > 0:31:28these get lost as well.
0:31:28 > 0:31:29But that's all there.
0:31:29 > 0:31:33So, this is not a firearm that's going to be holding up
0:31:33 > 0:31:35your local post office any time soon.
0:31:35 > 0:31:38It's a decorative piece, a wall piece, for the collector.
0:31:38 > 0:31:40Do you have it on display, on that note?
0:31:40 > 0:31:43I used to have it on display.
0:31:43 > 0:31:45But for years, it's now been in a cupboard.
0:31:45 > 0:31:47Oh, well, not much use in there, is there?
0:31:47 > 0:31:49No. That's why I brought it along.
0:31:49 > 0:31:51These come up at auction fairly often,
0:31:51 > 0:31:53so they're not too hard to value,
0:31:53 > 0:31:55really, by comparison with other ones sold.
0:31:55 > 0:31:58And it's going to be in the £80-100 region,
0:31:58 > 0:32:00is the likely outcome.
0:32:00 > 0:32:01Does that sound satisfactory to you?
0:32:01 > 0:32:05- That sounds about right.- Yeah. Well, I'm glad you agree!
0:32:05 > 0:32:07Reserve price?
0:32:07 > 0:32:09Oh, I suppose about...
0:32:09 > 0:32:10- £70 or something?- I think so.
0:32:10 > 0:32:12Very sensible, Murray.
0:32:12 > 0:32:14- Thank you very much.- Thank you. - And I detect an accent there,
0:32:14 > 0:32:15it's not a local one, is it?
0:32:15 > 0:32:18No, no, I've been away from Scotland a lot of years.
0:32:18 > 0:32:20- Have you?- Yes.- Have you been accepted around here yet?
0:32:20 > 0:32:22Well, I actually work here as well.
0:32:22 > 0:32:24Oh, do you? Oh, wonderful, what a great place to work.
0:32:24 > 0:32:25Fantastic.
0:32:26 > 0:32:30Whilst our experts search for our final object to take off to auction,
0:32:30 > 0:32:34I'm nipping back into the house to look at another intriguing room.
0:32:36 > 0:32:38Now, earlier on, I showed you the Long Gallery,
0:32:38 > 0:32:41designed by the celebrated architect Robert Adam.
0:32:41 > 0:32:43Well, the sixth Earl also commissioned Adam
0:32:43 > 0:32:48to design and furnish this room, the Tapestry Room, which he did.
0:32:48 > 0:32:51Now, back in the day, these walls would have been lined
0:32:51 > 0:32:54with the finest tapestries and silks from Paris.
0:32:54 > 0:32:58All that's left is the framework that the tapestries were suspended from.
0:32:58 > 0:33:01They were sold off to pay for the family's gambling debts
0:33:01 > 0:33:03in the early part of the 20th century,
0:33:03 > 0:33:07and they were bought by the Metropolitan Museum of Art
0:33:07 > 0:33:10in New York. And then, in 1948,
0:33:10 > 0:33:15the museum decided they wanted to display Croome tapestries in situ,
0:33:15 > 0:33:18in the room they came from, so they bought the whole room!
0:33:18 > 0:33:22It was all cut up and shipped out - the ceiling, the floor boards,
0:33:22 > 0:33:24the skirting boards, the shutters, the dado rails.
0:33:24 > 0:33:27So, what you see here now are replicas.
0:33:27 > 0:33:32So, basically, if you want to see the Croome tapestries,
0:33:32 > 0:33:35you've got to get on a plane and fly to New York.
0:33:39 > 0:33:42Right, time for me to get outside and catch up with our experts.
0:33:45 > 0:33:48And it looks as if David has found our final item of the day.
0:33:49 > 0:33:51People call you Flick, is that right?
0:33:51 > 0:33:52- Yes.- Can I call you Flick?
0:33:52 > 0:33:54- You may.- OK, Flick.
0:33:54 > 0:33:55Good to meet you.
0:33:55 > 0:34:00I'm sure viewers will recognise this vase instantly,
0:34:00 > 0:34:05as being the work of that great man Rene Lalique.
0:34:05 > 0:34:07Who designed at first jewellery,
0:34:07 > 0:34:12and then came to specialise in decorative items like this.
0:34:12 > 0:34:14He is a big name.
0:34:14 > 0:34:16We'll have a quick look at the mark.
0:34:16 > 0:34:20And when we do so, we see that the mark is etched.
0:34:21 > 0:34:24Later marks are moulded, so that's a good sign.
0:34:24 > 0:34:27- Yeah.- How come it's here with us today?
0:34:27 > 0:34:30Well, an elderly neighbour gave it to me.
0:34:30 > 0:34:32She was...
0:34:32 > 0:34:35She lived next door, and I used to go round to her garden,
0:34:35 > 0:34:39and she had some lovely antiques, and she just gave it to me.
0:34:39 > 0:34:40That's lovely.
0:34:40 > 0:34:43Well, what she gave you is very nice.
0:34:43 > 0:34:46Erm, this pattern was designed in 1927,
0:34:46 > 0:34:49towards the end of Lalique's life.
0:34:49 > 0:34:51He was born in 1860.
0:34:51 > 0:34:56He worked in England for a time - at least he was a student in England.
0:34:56 > 0:34:58Which I think is perhaps one of the things
0:34:58 > 0:35:01- that makes his work attractive to English people.- OK.
0:35:01 > 0:35:04You know, I wouldn't describe that as being typically French.
0:35:04 > 0:35:07- Right.- But what it IS, of course, is typically art deco.
0:35:08 > 0:35:11These geometric shapes, geometric patterns -
0:35:11 > 0:35:13- these are stylised leaves, in fact.- Right.
0:35:13 > 0:35:17But what makes this particularly attractive is the fact it's yellow.
0:35:17 > 0:35:20Now, this vase was made in other colours,
0:35:20 > 0:35:22but it's the yellow one that people like.
0:35:22 > 0:35:25- Oh.- And when you think about it, you know,
0:35:25 > 0:35:28yellow is a colour we associate with the 1920s and 1930s.
0:35:28 > 0:35:30You know, you think of Clarice Cliff...
0:35:30 > 0:35:33- Yeah.- ..And the use of yellow in her palette.
0:35:33 > 0:35:34So, really, what you have here,
0:35:34 > 0:35:37and I'm very pleased you brought it along,
0:35:37 > 0:35:40- is a very nice and very saleable item.- Oh, good.
0:35:40 > 0:35:43But...there is a bit of a catch, isn't there?
0:35:43 > 0:35:46- The chip.- It is chipped, as you rightly say.
0:35:46 > 0:35:50- Yeah.- And these chips are significant.
0:35:50 > 0:35:55- Mm.- Sometimes, a skilful restorer can grind them out,
0:35:55 > 0:35:58but if you tried to grind these out, you'd affect the pattern,
0:35:58 > 0:35:59you'd affect the moulding.
0:36:01 > 0:36:03Do you have any hopes or aspirations for it?
0:36:03 > 0:36:08It would be good to fetch as much as possible for the grandsons!
0:36:08 > 0:36:11You can guarantee that! So, the money's going to your grandson?
0:36:11 > 0:36:13Yes, I've got two grandsons.
0:36:13 > 0:36:14Good. OK.
0:36:14 > 0:36:16Now, I think in good condition,
0:36:16 > 0:36:19it would have been worth between £700 and £1,000.
0:36:19 > 0:36:22- Really? Oh, wow. - But these chips are significant.
0:36:22 > 0:36:25- Mm.- And I think we have to...
0:36:27 > 0:36:29..perhaps think in terms of 200-300.
0:36:29 > 0:36:30Oh, wow! That's brilliant.
0:36:30 > 0:36:32- Well, I'm glad you're pleased. - Yeah, definitely.
0:36:32 > 0:36:35- But it's a significant reduction, isn't it, really?- Yes, yeah.
0:36:35 > 0:36:37But I can understand, with the chips.
0:36:37 > 0:36:41But that's the way the market is - you know, people want these things in good nick, really.
0:36:41 > 0:36:43So, I suggest we put a reserve just below the £200
0:36:43 > 0:36:44bottom estimate on it.
0:36:44 > 0:36:46So, say 180?
0:36:46 > 0:36:48- Yeah.- And I think it could do...
0:36:48 > 0:36:50Could do really well. Good. I'm optimistic.
0:36:52 > 0:36:54Well, there you are, that's it, our experts have now found
0:36:54 > 0:36:57their final items to take off to auction, which means sadly,
0:36:57 > 0:37:01we have to say goodbye to this magnificent host location, Croome,
0:37:01 > 0:37:02in the heart of Worcestershire.
0:37:02 > 0:37:04I've thoroughly enjoyed myself today,
0:37:04 > 0:37:06and I know so many people have here.
0:37:06 > 0:37:09But right now we have some unfinished business to do
0:37:09 > 0:37:10in the auction room. Here's a quick recap
0:37:10 > 0:37:13of all the items that are going under the hammer.
0:37:15 > 0:37:18The autograph book belonging to Norman is full of famous names,
0:37:18 > 0:37:21but the standout signatures are those of the Beatles.
0:37:23 > 0:37:27Murray's decorative walnut pistol, which still has its original ramrod,
0:37:27 > 0:37:29has been languishing in a cupboard.
0:37:29 > 0:37:30Time to find a new home.
0:37:32 > 0:37:37And finally we're selling Flick's Rene Lalique vase from 1927,
0:37:37 > 0:37:39with geometric designs.
0:37:40 > 0:37:43Let's hope the art deco fans are in the room,
0:37:43 > 0:37:46as it's heading under the hammer now as we return to Littleton Auctions,
0:37:46 > 0:37:50where auctioneer Martin Homer is still ruling the rostrum.
0:37:51 > 0:37:53The money's going towards your two grandchildren.
0:37:53 > 0:37:55And what are their names?
0:37:55 > 0:37:56George and Max.
0:37:56 > 0:37:57George and Max, good luck!
0:37:57 > 0:38:01Grandma's here, we're all rooting for you two, OK?
0:38:01 > 0:38:04Now, this has got an etched "R Lalique" on it, Rene Lalique,
0:38:04 > 0:38:06so it's done in his lifetime, OK?
0:38:06 > 0:38:08So this is worth a lot more than something etched just Lalique?
0:38:08 > 0:38:10- Absolutely.- Right.
0:38:10 > 0:38:14Downside, a little chip on the rim, there.
0:38:14 > 0:38:17I think this will sell, and I think it will do the estimate.
0:38:17 > 0:38:19- I hope so, I've got my fingers crossed.- Good luck.- Good luck.
0:38:19 > 0:38:21- Thank you.- OK?
0:38:21 > 0:38:24Rene Lalique vase, design circa 1927.
0:38:24 > 0:38:27I'd like to start that off at £200.
0:38:27 > 0:38:28At £200?
0:38:28 > 0:38:31And we're off at 200 on the internet.
0:38:31 > 0:38:34- On the internet. - Asking for 210, now.
0:38:34 > 0:38:36Do we have any interest in the room?
0:38:36 > 0:38:38For a piece of Rene Lalique?
0:38:38 > 0:38:41At 200... 220, now.
0:38:41 > 0:38:43At £220.
0:38:44 > 0:38:47The guy who bid 200 is bound to bid again.
0:38:47 > 0:38:48He should do, shouldn't he?!
0:38:48 > 0:38:51At 220, and I'm going to sell to that gentleman at 220.
0:38:51 > 0:38:53Going one... 240, now.
0:38:53 > 0:38:55At 240.
0:38:55 > 0:38:57We're at £240.
0:38:57 > 0:38:59We'll give it 250, now?
0:38:59 > 0:39:01At £240.
0:39:01 > 0:39:02At 240 going once...
0:39:04 > 0:39:05Going twice...
0:39:05 > 0:39:07Sold at £240.
0:39:07 > 0:39:10240, and the grandchildren are going to get something?
0:39:10 > 0:39:12- Yes. They'll be very happy. - Supergran, here!
0:39:15 > 0:39:18From one 20th-century collectable to another,
0:39:18 > 0:39:20and it's Norman's autograph book
0:39:20 > 0:39:22which include signatures from the Fab Four.
0:39:22 > 0:39:26The auction house has authenticated the Beatles' signatures.
0:39:26 > 0:39:27So what's the verdict?
0:39:27 > 0:39:31Has it changed David's original £1,000-1,500 estimate?
0:39:33 > 0:39:35Ringo's and Paul's were correct...
0:39:35 > 0:39:36Original signatures.
0:39:36 > 0:39:38The original signatures.
0:39:38 > 0:39:41And Paul signed George's and John's.
0:39:41 > 0:39:42- Sure.- So...
0:39:42 > 0:39:44And that went on.
0:39:44 > 0:39:45I love that, Paul,
0:39:45 > 0:39:48because you can imagine Paul McCartney
0:39:48 > 0:39:49rather liking being a star,
0:39:49 > 0:39:51you know, conscientiously signing away.
0:39:51 > 0:39:55And John Lennon, insouciant about the whole thing, really.
0:39:55 > 0:39:56So Paul signs for John.
0:39:56 > 0:39:58Which is rather what you'd have expected, really.
0:39:58 > 0:40:01- I like that.- It's a sensible price, now, the auction house have put on.
0:40:01 > 0:40:04It's £500-800, so good luck.
0:40:04 > 0:40:05Good luck with that, OK?
0:40:05 > 0:40:07It's going under the hammer right now. Here we go.
0:40:07 > 0:40:09Here we are, lot number 110,
0:40:09 > 0:40:13which is the autographed book to include the Beatles' autographs.
0:40:13 > 0:40:15To start at £500.
0:40:15 > 0:40:16Looking for £500 on the autographs.
0:40:18 > 0:40:21Do I have any interest at £500?
0:40:21 > 0:40:24In the room or on the net, ladies and gentlemen?
0:40:24 > 0:40:28I've got to start at 500, if not I'm going to have to pass, gentlemen?
0:40:28 > 0:40:30OK, we're going to have to pass on that.
0:40:30 > 0:40:33Fine, I'll put it back on the shelf and I will look at it
0:40:33 > 0:40:34- from time to time. - I'm so sorry.
0:40:34 > 0:40:37It is disappointing, because it was such a good lot.
0:40:37 > 0:40:40Hang onto them, OK, because, you know they are worth...
0:40:40 > 0:40:42They are definitely worth £5-800.
0:40:43 > 0:40:47Finally, let's hope we have better luck with Murray's pistol.
0:40:47 > 0:40:48So why are you selling this?
0:40:48 > 0:40:51Well, it's been in the cupboard for so many years.
0:40:51 > 0:40:55I thought that somebody else could care for it better than I am.
0:40:55 > 0:40:58Yeah. Yeah. Needs to be displayed, really.
0:40:58 > 0:41:00It's a perfectly legal item to have.
0:41:00 > 0:41:03And do you know what, you look at it and you go, "Yes, history."
0:41:03 > 0:41:06Absolutely. It's a wall piece, but it's got a nice feel to it.
0:41:06 > 0:41:08It's a pleasing object, that one.
0:41:08 > 0:41:10I hope this goes to a good collector and it's put on display
0:41:10 > 0:41:12- and enjoyed.- It should do, shouldn't it?
0:41:12 > 0:41:14It should do. Good luck with it, Murray.
0:41:14 > 0:41:17- Thank you very much. - We're looking for around £80-100
0:41:17 > 0:41:18with a £70 reserve,
0:41:18 > 0:41:20so fingers crossed we get that.
0:41:20 > 0:41:23Got interest on this one, ladies and gentlemen.
0:41:23 > 0:41:25At 60, 70, 80, 90...
0:41:25 > 0:41:28- £100.- There we go.- Yes!
0:41:28 > 0:41:31At 100. 110. 120 back to me.
0:41:31 > 0:41:33130, net. It's 140 to me.
0:41:33 > 0:41:35170.
0:41:35 > 0:41:37I can go 180 on the book.
0:41:37 > 0:41:39Takes me out at 190.
0:41:39 > 0:41:41I've got £190 on the internet.
0:41:41 > 0:41:44I've got 190. 210, now.
0:41:44 > 0:41:45At £210.
0:41:45 > 0:41:47The net has it at 210.
0:41:47 > 0:41:48230, now.
0:41:48 > 0:41:50At £230.
0:41:50 > 0:41:52At 230. Looking for 40.
0:41:52 > 0:41:54250, now.
0:41:54 > 0:41:56At £250.
0:41:56 > 0:41:59And 270. 280. 290.
0:41:59 > 0:42:02At £290.
0:42:02 > 0:42:04320, now.
0:42:07 > 0:42:08360.
0:42:08 > 0:42:12At £360, the bid's on the net at 360.
0:42:12 > 0:42:13Are we done, ladies and gentlemen?
0:42:13 > 0:42:15- Four!- 400.
0:42:15 > 0:42:17- That's very good money.- Wonderful.
0:42:17 > 0:42:19440, now.
0:42:19 > 0:42:23480, now. At £480, there we go, at 480.
0:42:23 > 0:42:26At... 520, now.
0:42:26 > 0:42:30At 520, the net has it at 520.
0:42:30 > 0:42:33At £520, I think we're done, there.
0:42:33 > 0:42:36540, OK.
0:42:36 > 0:42:38£540!
0:42:38 > 0:42:41Murray's enjoying this, I think Adam is as well.
0:42:41 > 0:42:43At £540 going once...
0:42:43 > 0:42:45- Going twice...- Going twice...
0:42:45 > 0:42:47Sold!
0:42:47 > 0:42:49Yes! Great result.
0:42:49 > 0:42:53Great result. Murray, that got a round of applause.
0:42:53 > 0:42:55I think we hit the bull's-eye, there.
0:42:55 > 0:42:58- Wow!- I can't believe it.
0:42:58 > 0:43:00Obviously belonged to someone very famous.
0:43:00 > 0:43:02Duke of Wellington!
0:43:04 > 0:43:06Well, thank you very much.
0:43:06 > 0:43:09I bet you're pleased you've looked after it, you know,
0:43:09 > 0:43:10and kept it safe, you know?
0:43:10 > 0:43:12And I'm glad I brought it to you at Croome Park.
0:43:12 > 0:43:15- Thank you for coming, Murray. - Well, I knew there'd be a surprise.
0:43:15 > 0:43:18- Well, yeah, I wasn't expecting... - I didn't think it would be this one
0:43:18 > 0:43:20right at the end of the show. We have, sadly, ran out of time,
0:43:20 > 0:43:23but that was our last item, and what a surprise.
0:43:23 > 0:43:27Bull's-eye! Join us again the next time for many more but, until then,
0:43:27 > 0:43:30from Adam, from Murray and from myself, here in Worcestershire,
0:43:30 > 0:43:31it's goodbye.