Compilation - Packwood House 20 Flog It!

From north to south, east to west, we're travelling all over Britain,

discovering the treasures you want to sell.

And that's not all.

Today I'm at Packwood in Warwickshire,

a country house that was transformed into an Elizabethan manor house

by its owner, Graham Baron Ash.

Welcome to Flog It!

On today's programme, we're taking a tour around the country to revisit

some of our wonderful valuation days from this series.

It's another chance to see those stunning venues and discover

some extra gems which were brought in for our experts to value.

There was a great atmosphere when we visited the majestic

St Albans Cathedral, and James Lewis spotted some unorthodox restoration.

The giraffe's been bandaged up.

I put a sticking plaster on him.

Just to mend his broken leg! I love that.

The faithful Flog It! crowd flocked to the impressive Wolverhampton

Art Gallery, where David Harper discovered a family secret.

Have you played on it?

No. I've never seen it.

-What?

-I've never seen it.

-That is ridiculous.

-In 50 years, I've never seen it.

In the awe-inspiring Grimsby Minster,

Anita Manning quizzed an owner about what he thought of his jug.

Do you like it? Did you like it? Do you like it?

Well, it meant nothing to me then, and indeed, when she gave me it,

it meant nothing to me.

And in Morecambe, Lancashire, at the wonderful Platform Building,

once the town's promenade railway station,

Catherine Southon asked why a ring was no longer worn.

Is it something that you don't want to wear, Julie?

I would, I would love to.

But I've got quite chunky hands, so it won't fit my fingers, I'm afraid.

And I'm spending some time at a unique museum in Worcestershire.

HE GIGGLES

Today's host location for this special round Britain programme is

an intriguing country house, once owned by a keen social climber.

Baron Ash, as he liked to be known, was a wealthy gentleman of leisure,

and he did his bit in saving beautifully crafted old pieces

of furniture, artefacts and fittings from other grand country houses.

He snapped up everything he could if the house was being dismantled,

remodelled, or even demolished, due to the lack of cash.

He bought all sorts of stunning and valuable pieces, and he found

a new home for them here at Packwood and he displayed them in such a way

that the house almost took on the appearance of a museum.

We'll be returning to Packwood later, but first,

we're off to the stunning Wolverhampton Art Gallery,

where David Harper is getting excited about a mystery object.

Oh, I do love people bringing me boxes with hidden treasure.

Norman, what is in this box?

-It's a train.

-A train.

-Can I...?

-You can open it.

-Yeah, right, OK.

Oh, my goodness me.

Wow. Now, all the chaps now are going to go, "Ooh!"

-"Ooh aah!"

-"Ooh aah," you see!

The effect a good old loco has on you, it's amazing.

-Who does it belong to?

-It belongs to me.

Right. Tell me all about it, Norman.

Well, it used to be my father's and we used to play with it when we were

youngsters, and I had it off my father in about 2005, but I have

to be honest - I don't think it's been used for at least 50 years.

-Really?

-No.

-And so how far back can you trace it?

-I can't. I mean,

I can only assume that he's had it from about the '30s.

Yeah, that would seem about right, wouldn't it?

-Yeah.

-I mean, the shape of it is very 1920s, 1930s.

But even I can read what it says on the end of its original box.

Bowman Tank Loco. Model 300.

So Bowman is a company making, in the 1920s and 1930s,

tin plate locos. It's brilliant. And I see you're holding...

I hope it's not a weapon. What is it?

No, it's some of the railway track, that we've got with it.

Right, OK. And so, how many pieces have you got?

It was either six or eight. It makes a circle.

-Oh, a complete circle?

-A complete circle.

Right. Mavis, have you played with it?

No. I've never seen it.

-What?

-I've never seen it.

-That is ridiculous.

-In 50 years, I've never seen it.

Unfortunately, I can't even remember how to work it.

I've forgotten how to work it,

so it's safely tucked away and will never go again, if I keep it.

Oh, it will go again. It will.

It has to go again.

-It will work.

-This thing, it's itching...

You can feel the speed, can't you? It's itching to go.

Steam powered, so you have a little wick here,

and you put your paraffin in.

And your water, I assume, would go in here.

-Yes.

-And if you look along the front there, we've got the livery - LNER,

standing for London North East Railway.

It's just fabulous.

And there are railway mad boys out there, now old men,

who will go crazy for it.

So, value wise.

Well, I think that Bowman, they're good quality,

anything made in the 1920s, actually, was good quality.

But they did make a lot of them, so there still are a lot around,

but I love the fact you've got the round track and its original box.

To be really sensible, £100-£150 would sound like

a come-and-get-me kind of encouraging estimate.

-Yeah?

-Brilliant. Shall we do it?

-Yes, fine.

Marvellous. Fantastic.

Thank you very much. OK.

-Thank you very much.

-Thank you.

Now that's what I call a boy's toy.

Next, we're crossing the country to St Albans Cathedral,

where Jonathan Pratt spotted something which has more to it

than meets the eye.

So, Tony, I'm going to ask you

a question first of all.

Do you know what this is?

I ain't got a clue.

I love these things.

It's very interesting, because you think,

"It's a cigarette box,"

so it's just a silver box,

and you open it and out it flaps like this.

Well, "What is that for?" - you think to yourself.

If I told you it was a sandwich box,

a wealthy man going fishing...

Oh, right, right.

I mean, what do you need, you know?

From the late 19th century.

So it unhinges like this, and then they can eat their sandwich.

-It makes a little plate sort of format.

-Oh, right.

Every single piece of silver has to have

a date mark and a sterling mark.

OK? So on here, you've got the lion passant

and the leopard's head in between there.

And the leopard's head is London, so you've got that lower-case C,

and the leopard's head. That lower-case C is 1897.

Very last part of the 19th century. It's simply done

in this very typical, traditional hammered finish.

You know, it's hand-beaten sheet.

-Right.

-And the initials of who would have owned it at the time.

So, it's like an 18th-century style of lettering, Gothic,

but I think that's a W and an H.

-How did you get it?

-Well, it was my cousin's.

-Flued up at the moment.

-Oh, really?

He was going to come today, but because he was ill,

I went last night and I've brought it up on his behalf.

Did he explain where it came from?

He didn't, no. He's got so much stuff.

-Oh, really?

-Yeah.

You can imagine how it was used, but I'd much prefer plastics.

-Absolutely.

-I think at auction it's worth £100-£150,

and I'd be very happy to put it in at that price.

-That's brilliant.

-Is it brilliant?

-I think he'd be happy with that.

-Good.

Pleased about that. And I think reserve, just under, £90,

what we call an auctioneer's discretion of a £90 reserve.

-Do you think he'll come to the auction?

-I hope he will.

-And you've got to be there too.

-I will be.

-Fabulous.

-Someone's got to drive.

Now, let's take a quick break from our valuation days,

as I want to show you around some of

the interior design at Packwood House in Warwickshire.

Baron Ash wanted to make this place look as much as possible like

a grand Tudor manor house.

He loved wood panelling and old tapestries.

He felt it gave the place a feeling of old grandeur,

the look that he really wanted.

He picked up pieces from country house sales and from owners of

large country estates, who'd fallen on hard times.

He even picked up pieces on his travels.

Some were massive, like this.

Others with tiny but could be even more valuable, like this

beautiful framed biblical image of Judith and the head of Holofernes.

This piece is believed to have been made in the 16th century

at the short-lived tapestry workshop here in Warwickshire.

Highly skilled Flemish tapestry makers were employed to teach

local workers the much-prized fine tapestry skills.

This delicate piece is made mainly of silk and gilt metal thread.

There's hardly any wool on it.

And for those of you who know about this sort of thing,

there's eight to ten warps per centimetre,

which means it is incredibly fine in detail.

And as you can see, it's not lost any of its colour

over the centuries.

Baron would have loved this piece, because it's a local piece,

and that's a rare thing.

Well, from Packwood, it's straight over to Morecambe to join up with

expert Adam Partridge, who's found something

that would be absolutely perfect here at the house.

A lovely little leather box.

-Shall we have a look and see what's inside?

-Please!

There we go. Now, these are billiard balls, correct?

-How did you come to own them?

-My late father-in-law

had an uncle in the Midlands who played billiards.

-Right.

-And when he died, my father-in-law gave these to me,

and they've been in a wardrobe ever since.

-In a...!

-In a wardrobe for over 20 years.

In a wardrobe! How many things on the show over the years have been

-in a wardrobe?

-I would probably think millions.

I know, it's unbelievable, isn't it?

-Almost always.

-People put things away and forget about them.

So these have been living in the wardrobe in their leather case.

They clearly date to around 1900, judging by the case,

and this was the period when billiards was at its height,

late Victorian, beginning of the 20th century.

So they are made of ivory. I'm sure you know that.

And it's a bit of a taboo. It's a contentious subject, ivory.

There's a dateline of 1947, a very strict dateline.

These are well before that, so they are legal to be sold,

and I think it's important for people to know the things

that were made out of ivory. These, there we go.

Now, I've got a slight personal connection to this,

because the town I live in...

I live in a little town in Cheshire called Congleton, and there was

a company in Congleton called the Composite Billiard Ball Company,

and they were the first people, as far as I'm aware,

to make billiard balls out of composite materials, and not ivory.

-Yeah.

-Now, they are quite collectable nowadays,

for people interested in snooker memorabilia.

And I sell these quite regularly,

so I think we're going to get the value about right.

Typically, they're going to be about £50 apiece,

so obviously three of them in a box should make 150 quid,

maybe a touch more, because they're presented in the box.

What I would suggest is to put a slightly lower estimate on them.

-I would say reserve of £100.

-Right.

-Estimate £100-£150.

Is that all right with you?

-That's all right by me.

-Very good.

John, really interesting thing to bring along,

I can't recall having ever seen or had any on the programme before,

really interesting. Thanks very much,

and I'm looking forward to seeing them find a new home to a collector.

Right, thank you.

Those great billiard balls are the last of our first batch of items,

and now it's time to find out if they make their owners any money

when they're sold at auction. In Wolverhampton Art Gallery,

we found Norman's toy train and track,

stored away for more than 50 years.

At St Albans Cathedral,

we valued a silver gentleman's sandwich box, which belonged to

Tony's cousin.

And finally, in Morecambe, John brought in some billiard balls

that had been hidden away in a wardrobe.

But first up is the toy train.

It's being sold at Trevanion & Dean's auction house in Whitchurch,

Shropshire, and Aaron Dean is on the rostrum.

Remember, whether you're buying or selling,

at every auction there's always commission and VAT to pay.

Do we go off the rails, off the tracks, right now?

No, I do not think so.

Coming up is my favourite item of this sale.

-Oh, brilliant.

-Norman and Mavis, it's good to see you,

and our expert here.

Marvellous. I'm so pleased you like it.

Do you know what? I fell in love with this at the valuation day.

-Do you know why?

-Why?

Because it's been used, and looking at this little engine..

-Yeah.

-..it's had a useful and purposeful life.

I love it to bits, so thank you so much for bringing it in.

I know it's a boy's toy, but for me, and for David, it's also

a piece of sculpture, and it's a reminder of those bygone years.

-Yeah, absolutely.

-It's time to put this little engine under the hammer.

Here we go.

We have the Bowman green live steam tank loco, Norfolk made.

Rather handsome, this chap, isn't it?

What shall we say? £100 to start...

-Brilliant, brilliant!

-Oh, £100, looking at 100 to start.

-Oh, £80, perhaps.

-Come on, everybody!

-At £80, at 80.

-Come on.

-Oh, no!

-Good loco, this - surely someone at £80.

-At 80?

-Our favourite object!

-Not selling...

-Not selling?

Well, that's OK, I don't mind.

Oh!

Do you know what? They don't know what they're missing!

-Haven't a clue, have they?

-Never mind.

We didn't come with any high expectation, really didn't.

We just came to get it valued, and it's given so much pleasure.

-Look, it's given us pleasure as well.

-Oh, thank you.

Thank you very much, that's what it's all about, really, but

we've had the pleasure out of this as well, so the feeling's mutual.

Next, we're travelling to Tring Market Auctions in Hertfordshire,

where Stephen Hearn is in charge of selling the sandwich box

Tony brought in.

Right, our next lot now, as a packed lunch box,

this is as good as it's going to get.

I send my lad off to school with a little plastic like...

This one is solid sterling silver.

Tony, you brought this along, it's your cousin's.

-It is.

-He was ill on the day, he's a bit camera shy,

-so he doesn't want to take part.

-That's right.

But I've got to say,

I've not seen anything like that before as a sandwich box.

Has he ever put a cheese sandwich in it?

I don't think so. If he did, I would have had it.

-You...!

-You'd have to cut the crust off anyway to get it in.

-To get it to fit, yeah.

-Yeah, I'm afraid so.

Posh people didn't have the crusts, did they?

-No, oh, fair point.

-Anyway, it's going under the hammer now.

Nice box now, this Victorian folding box to put your sandwiches in,

whatever you wish to put in it.

There you are, lot 1921, are we going to get £100 for a nice folder?

100 or 50? 60, 70.

70, 80. 90, £100, is it? No?

90 has got it, then. At 90, I'm going to sell.

At £90, thank you. 660.

£90, you were spot-on. You have seen these before.

-Yes.

-£90, he's going to be happy with that, isn't it?

-Very happy.

-That's really good. That is really, really good,

and that is a first for me, I've not seen one of those,

so I've learned something, and I hope you have as well.

Next on our travels, it's Clitheroe in Lancashire,

and Silverwoods Sale Room,

where auctioneer Wilf Mould's wielding the gavel.

Going under the hammer now, we have that case set of

three billiard balls belonging to John.

I should say cueing up ready to go under the hammer, shouldn't I?

-Hey-ho!

-Very good.

-Were you ever a billiards player?

-No, I've never played billiards.

-Snooker?

-I play snooker.

Yeah, I play a lot on snooker, but I don't get on with billiards.

-Do you?

-Yeah, I like snooker, but not billiards.

But look, we've got three ivory billiard balls -

perfectly legal to sell.

Yes, absolutely, they are early 20th century, way before the guideline,

and let's hope John catches a lucky break.

-Oh-ho-ho!

-Your turn, your turn.

Let's not go in off.

Let's not go in off!

Oh, you beat me to it! You beat me to it.

He wants to go home with money in his pocket.

Right, you we go, it's going under the hammer now.

Early 20th century set of three ivory billiard balls.

Start me at £130 for these. 130 for the three, 130.

£100, then. 50 by 50, 55 from any of you.

At 55, 60 online, £60, five and 70, £70 and five, and £80.

At 75 on the screen, 80, at £80, £80, 85, 90, 95 again.

I'll take 95, 95. 100 now, 100 is bid.

110, 120, 130 I'll take.

At £130, 140 now, 50 from anywhere else.

150, all online at £150.

160 I'll take, all done at £150.

That's a good result, isn't it? You've got to be happy with that.

I'm very happy. At least I know they're going somewhere

-where they're going to be used.

-Oh, someone's going to look after those.

-And not stuck in a cupboard.

-I think they'll form part of an interesting

display of early billiard balls.

Bang on with your valuation, Adam.

Now, don't go away, because there will be more auctions later on

in the show. But before that, I want to take you

to a fascinating museum which celebrates the fact that,

believe it or not, 90% of the world's needles used to be made

in one Midland town.

I've come to Forge Mill in Redditch.

Now, not only is this a beautiful building to look at,

with its beautiful red industrial brickwork,

but it's the only still operational water-powered needle scouring mill

in the world.

In its heyday, Forge Mill was scouring or polishing needles

for many of the 117 needle-making factories in Redditch.

This was only a small but important part of the needle-making process.

The museum it houses celebrates all elements of the labour-intensive

industry, which used to employ thousands of people,

and displays countless examples of the finished products.

Industries requiring needles, like glove and carpet making,

were already established in the Redditch area.

But when the railways reached the town in the 1850s,

opening up the country, needle-making really took off.

Nearly every family in the town was employed in some stage of

the 30 processes, caught in this rare footage from the 1920s.

I'm meeting Jo-Ann Gloger, curator of the museum,

to discover just what was involved in needle making.

This is how a needle starts its life.

-That's thick.

-It is thick.

What happened was,

the wire gets drawn down successively through some holes,

to make it thinner and longer.

And it goes through that process quite a few times until you've

drawn it down to the gauge of the wire you need for the needle that

-you're going to make.

-But the next stage of the process,

putting the points on the needles, was considered one of the most

highly skilled and also hazardous jobs in Britain.

Pointing was the most dangerous job in all the needle industry.

And he'd hold a whole bunch of them in his hands,

pressing hard onto the grindstone.

You're always going to make two needles out of one piece of wire.

-There's a point at each end?

-There's a point at each end and then you

can cut it in the middle and you have two needles out of one.

He is going to be breathing in a lethal mixture of dust

from the grindstone, and also dust from the wire itself.

It is going to go down into his lungs and within two or three years,

he'll be coughing up blood.

By the age of about 30, 35, he'd probably be dead.

Gosh, poor chap. Why would anybody want to be a pointer?

Well, the money.

It was very, very well paid.

They were earning two and three guineas per week,

which, in Victorian times, was a great deal of money.

How many needles do you think could be pointed in one hour?

How many people were working?

-Just one.

-Gosh, I suppose if I had to tackle that task, possibly about,

I don't know, 200, I reckon I could do.

-How many, go on?

-About 10,000.

-Wow!

-That is a lot of needles.

Gosh. And you've got to have nimble fingers as well, I bet.

-You have.

-I guess, putting the eye in comes next, does it?

It does, yes.

Well, it's a two part process.

-The first part was done by the kick stamper.

-OK.

Basically, it's a drop hammer with a die at the top

-and a die at the bottom.

-With a heavy weight to stamp down on?

-Yes.

You're putting the needle in between and it's coming down like that.

-Oh, I see.

-And it's going to make...

-It punches the shape of the...?

-That's right. Not the holes.

-No.

But the kick stamper was an amazing chap.

He could do almost 50 kick stamps per minute.

Almost one a second.

That's a lot of that leg action.

Gosh! He would be like that, literally like that!

Getting a rhythm going and not stopping.

They were then sent on to ladies and children as young as eight years old

doing a job called fly pressing.

Basically, they would hold a whole fan of the needles in their hand,

and then it's a punch that comes down and basically punches out the

two eyes of the needle.

And they had to keep up with the men as well.

They were going at a fair old rate of speed.

So while he was knocking those out, the women and the children

were then punching the holes and keeping up with him?

-Trying to.

-Trying to.

Next, the needles were hardened and cooled.

Even this wasn't the end of the process.

The next stage is where Forge Mill came in.

This is what the needles would look like.

-Really dirty.

-Horrible, aren't they?

You wouldn't buy these.

No. But they've got points and they have eyes, and they've got heads.

Yes!

This is where the needles were scoured to polish them up,

and they'd arrive from factories all over the area in bundles

of needles just like that. Quite dirty.

Then you would wrap them in something like this,

tightly in hessian, you would add your scouring powder

and liquid soap, get that bundle tight,

and they'd be polished up here.

The watermill enabled the scouring or polishing process to be operated

by machine, which, in turn, sped up the whole operation.

Three million needles were scoured here each week.

The sets, as the bundles were called,

would be placed under the runners or scouring beds and rolled

continuously for about eight hours.

Depending on the quality of the needles,

this could be done three to five times.

When they finished the final scouring process,

the needles had to be polished twice and then thoroughly dried out.

And to do that, you needed to separate them

from the drying out materials - the bran and the sawdust -

and you needed a fanning out tray

just like this one,

and I'm going to attempt

to show you how it works.

I have been told the more needles

in there, the easier it is.

The needles are supposed to come

to the back of the fanning out tray,

and the bran and the sawdust moves

forward and falls off into the tray

below. So here we go, I'm going

to agitate this and show you.

HE GIGGLES Look at that!

As you can see, it's not that easy!

But then, after this, the needles would be packaged,

priced up, and then marketed.

Scouring mills operated for about 12 hours a day.

If there was a shortage of water during a drought, or a winter frost,

four men at a time would walk the wheel like a treadmill.

The last needles were scoured here at Forge Mill in 1958.

Needle making is such a labour-intensive operation,

it's no wonder the process ended up being mechanised, with needles being

made cheaper in the Far East, India, China, and Germany.

There are only two needle producers left here in Redditch.

I've thoroughly enjoyed my trip to the museum here,

learning all about its history,

and I'm fascinated to find out that so much goes into making something

that is so simple.

Well, from one trip down memory lane to another.

Let's now catch up with our expert, James Lewis, who found something

to make him feel very nostalgic at a valuation day in St Albans.

Oh, childhood memories!

Do you know, my grandad gave me some lead animals like these?

I think they must have been the same sort of period,

but I didn't look after them.

But, Pam, I have to say, you've looked after yours.

Were they yours as a child?

They were, yes. But they were originally my grandfather's.

-Yeah?

-Yes.

-They are lovely and early.

They're about 100 years old.

They're made by Britain's, who is, without doubt, the best toymaker,

we should say, in British history.

And they specialised in these hollow cast metal animals.

Yeah, they're great. Tell me about them.

Where did you play with them? In a sandpit, I should think!

No, I had them out when I was small.

And I got them out of the other day and I thought, oh,

-I'd forgotten all about them.

-Yeah.

I'd forgotten I'd had them.

And I thought, well, it'll be ideal to bring along today.

They're perfect. There is a great collectors' market for these.

Because seeing them, it does remind you of your childhood.

-Yes.

-And people often say,

"What's the difference between antiques and collectables?"

And I think antiques have a value in terms of it being a useful or

fabulous table, or a great pocket watch,

whereas these, at the end of the day, are just tin or metal animals.

-They're toys.

-Yes.

-But the difference is that they inspire emotion in us.

-Yes.

And that's what collectability's all about.

It's the emotion, it's the memories.

-Have you got kids?

-I've got grandchildren.

Have you? Have they played with them?

No. I'd completely forgotten all about them.

It's a good job you completely forgot about them,

because I should think if they ended up chewing on these,

-they might even get lead poisoning. Because it's lead paint.

-Of course.

So, yeah, good move.

They've got a bit of damage here and there.

The giraffe's been bandaged up.

That was actually me, yes!

You've actually put a sticking plaster on him to mend

his broken leg! I love that.

Of course, we do have to talk about value.

And I guess... What are they going to be worth?

£70 to £100, I should think.

Is that OK? Were you hoping for more?

No, I was thinking 20.

They'll sell for that any day. No, they should make more than that.

I think 70 to 100 as an estimate, and 60 as a reserve.

-That's fantastic.

-Is that all right?

-Yeah, that's lovely.

-Brilliant. Thank you.

-Thank you.

-Thank you for bringing them.

What great toys.

Now we're returning to the seaside town of Morecambe,

where Catherine Southon has spotted some stylish pieces.

Now, you two ladies, rather lucky ladies,

because you have brought along some rather nice pieces of jewellery to

Flog It! today. Is it mother and daughter?

-It is.

-So, Kath...

-Kath.

-..and Julie.

-Yes.

-Tell me, where did these come from?

Well, I inherited these two items from my mother.

Right. What about the Jaeger-LeCoultre watch?

Where does that come in?

That came from my grandmother.

I think my grandpa bought it for her.

And when she died, I inherited it.

That was about 18 years ago.

OK. I think the date of it is probably 1930s,

around that sort of period.

However, Jaeger-LeCoultre was founded 100 years before then

in 1833, by Antoine LeCoultre.

And it's nice to see that it is in its original box as well.

So your grandmother must have really treasured it.

Do you think she ever wore it?

-Yes, I think she wore it all the time.

-Right.

Are you interested in the watch? Is it something that you've worn?

I have worn it, but I felt that it was quite delicate.

-Mm.

-And I didn't feel comfortable wearing it.

-Even though I love it.

-Right, OK.

So, moving on to this little brooch here, and this belongs to you.

Tell me a little bit more about the brooch?

Well, it belonged to my mother.

I never saw her wear it.

-Never?

-No, never.

She wasn't very keen on jewellery.

But I think it probably belonged to her mother.

Right, OK. Because it's Edwardian in date,

so I would say probably about 1910.

-Yes.

-I've had a look at it.

-It's unmarked, but it probably is gold.

-Mm.

And it's beautifully decorated with seed pearls in between each

flower head, and then interspersed with these little turquoise beads.

-Mm. Yes.

-This really is where my heart lies.

I think this diamond ring is beautiful.

It's 1920s again in date, I would say.

A beautiful diamond in the middle,

but for me it's the setting -

a really lovely design.

And the actual band there is 18 carat white gold.

Ah, right.

I just think it's a super ring.

Is it something that you don't want to wear, Julie?

I would, I would love to,

but I've got quite chunky hands, so it won't fit my fingers, I'm afraid!

Well, that's all us three out, then!

Well, it's a lovely collection

that you've brought along today,

but I think each one is significant and important in its own right.

My suggestions are that the Jaeger-LeCoultre is put in

with an estimate of £200 to £300, with a £180 reserve.

The Edwardian brooch...

I would suggest perhaps putting 40 to 60 with a £40 reserve.

-Yes.

-How does that sound?

-Yeah, that's fine.

And then this beautiful diamond Deco ring,

I would suggest putting 250 to 300 on, with a £200 reserve.

-How does that sound?

-Yeah, that's fine.

Are you happy with that, ladies?

-Yes.

-Yes. I'm happy with that.

-These are my suggestions.

I shall pass them on to the auctioneer.

Hopefully, he'll keep with them, but let's hope they make even more.

-Let's hope so!

-I hope so!

That would be good.

What quality items, and I'm sure they're going to do well at auction.

But, before that, we're heading east to Grimsby and the fabulous minster

where Anita Manning has found a jug that's got her excited.

This is beautiful.

Tell me, where did you get it?

I inherited it from my aunt, some 50 years ago.

Do you like it? Did you like it? Do you like it?

Well, it meant nothing to me then.

And, indeed, when she gave me it, it meant nothing to me.

But since we've had it at home, I've grown to like it very much.

-Moorcroft is a name that we are all familiar with.

-Yes.

But this particular piece is from the very beginnings of Moorcroft.

-Right.

-In the 1890s, William Moorcroft and James Macintyre,

two young designers, got together and they set up a studio pottery,

and they started producing this type of item.

In 1913, Moorcroft and Macintyre separated,

and Moorcroft went on to make his own studio pottery,

to make the wares that we are so familiar with today.

-Yes.

-But because Moorcroft and Macintyre worked together for such

a short time, the pieces that they made together

are greatly sought-after.

Oh, right.

Let's look at the back stamp, first of all.

If we look underneath,

we see the Moorcroft signature here.

-Right, yes.

-And we also see on the stamp, "Made for Liberty."

Liberty, yes.

Now, Liberty sold items which were designed by the best of designers,

and James Macintyre and William Moorcroft were the best

-that you can get.

-Right.

If we look at the colours and design of the body of it,

the greens and blues are an unusual and beautifully soft toned...

-This is what I like most about it.

-..palette.

The colours are beautiful.

We can also see - and this is quite important - one of the main features

of Moorcroft is the tube lined pattern that is used.

We can see in the white detail here,

-we can see that that has risen from the main body of the pot.

-Oh, yes.

So what we've got is the birth of something absolutely wonderful.

A beautiful piece.

We do have a little restoration here.

-It's had a wee chip at some point.

-Mm.

Was that done before you got it?

It was done before I got it.

Yeah. I would like it to go in with an estimate of, say, £600 to £800.

-Good.

-I would suggest a reserve of £550.

I think that this beautiful jug will be loved at the auction,

and it will be fiercely competed for.

Thank you very much indeed.

Well, that's it for our last lot of items.

We'll find out exactly what they're worth when they go under the hammer

in auction, shortly.

But first, I want to show you some beautiful stained glass windows

here at Packwood House. Baron Ash, who owned the house,

did all he could to transform this place into a magnificent Elizabethan

manor house, and nothing says old more than stained glass windows.

Many of the windows, like the tapestries we saw earlier,

were rescued from other grand country houses in the area,

which had fallen on hard times.

But many others were made especially for Packwood,

like this window here which contains the Ash coat of arms.

The coat of arms featured

two chevrons in a Maltese Cross,

and Baron displayed it wherever he could.

It was part of the old money image he wanted to create and portray.

And I particularly like this window in the Great Hall,

and so did Baron Ash.

It was installed after Queen Mary's visits to Packwood in 1927,

and it's rather special because it has the royal coat of arms up there.

And for a social climber like Baron Ash,

it doesn't get much better than that.

And talking of good results,

let's hope our next lots shine in the auction room.

And here is a reminder of what we've got coming up.

At St Albans Cathedral, Pam brought in a wonderful collection

of painted animal figures.

Catherine Southon really rated Kath and Julie's watch and jewellery

when she spotted them in Morecambe.

And, finally, at Grimsby Minster,

Anita loved Russell's early Moorcroft jug.

For our first sale, we've headed back to Tring,

where Pam's toy figures are coming up,

and auctioneer Stephen Herne is still on the rostrum.

Good luck, Pam, and good luck, James.

Can you guess what's coming up next?

What did Pam bring in?

Come on, jog your memories.

Yes, the big collection of Britain's figures.

Lots of animals, and Britain's is a name we talk about a lot

on Flog It! We've sold many of Britain's figures.

It's quality, quality, quality.

It is, it's great. And they're lovely quality animals as well,

-because the legs often break off, don't they?

-They do.

-And the arms.

-Yeah. And they're in good order.

Anyway, good luck with that.

Good luck. They're going under the hammer right now.

And I'm sure they are going to find a new home.

There's plenty of collectors for Britain's figures. Here we go.

Rather nice ones, those.

We ought to be looking at about £70 to £80 for those, are we?

£50, £40?

-We're in.

-Five. 60. Five!

I thought we were getting up a head of steam.

It doesn't look like it.

At £65, then, I'm going to have to sell.

You're out. At £65.

Thank you very much.

That was it. Blink and you'll miss that. £65!

-Yeah!

-The thing is, there's no gavel today.

He's using his pen. It's gone.

-It's lovely.

-Is that OK?

It's absolutely fine, yes.

That was better than the £20 Pam expected.

Next, we are back at Silverwood saleroom in Clitheroe

with auctioneer, Wilf Mould.

Things have been flying out, so fingers crossed this does as well.

We've got a mum and daughter team, Julie and Kath.

Great to see you again.

The Jaeger watch going under the hammer.

-It's a good name.

-It's always going to get the bidders in, that name.

It is.

Good luck, everyone. This is the first of the three lots.

Now, we have the Jaeger-LeCoultre nine carat gold

ladies cocktail watch.

Various interest again at 130, 150.

150 on the book with me. 160 if you like.

At 160 online.

160, 170. 170, 180.

180 is on the telephone.

190. 200 this time.

-It's selling.

-It's good.

-200. 200 is bid.

200 on the phone.

At £200, are we all done? On the phone now at £200...

-Sold!

-Thanks for that.

-I was worried there.

-Yeah, so was I!

And now the second of the three lots, Julie and Kath,

good luck with this. This one's the brooch. Fingers crossed.

We'll add it up at the end. Here we go.

The gold seed pearl and turquoise set brooch.

Who'll start me at £65?

65. Nice little brooch.

65. 60, then?

50, then. 50, surely?

-Yes.

-Good, we've sold it.

-We've sold it.

-£50. We are looking for 55.

At £50, only bid at £50. Anybody else in?

At £50, a maiden bid, at £50...

Right, that's two out three.

-That's good.

-The final lot now is the ring.

We're looking for 250 to 350.

-Yes.

-OK.

The ladies 18 carat white gold and diamond ring,

which I shall start at £130. 130, 140, from any of you?

At £130 for this ring.

140 away at the back.

-150. 160.

-Come on.

-160, 170, 180.

180, 190, 200 this time. £200 is bid, back of the room.

New bidder. 210.

220, sir.

-230. 240. 250. 260.

-That's good.

250 from the lady, then.

260, back to you. 270 right here.

270. 280. 290. 300.

310. 310, 320.

-Brilliant!

-I'm so pleased!

330. 350. 350. 360.

-At £360, at the back of the room...

-I'm so pleased.

-Holding at 360.

I'm really pleased for you.

Yes! £360!

£640 in total for the three lots.

I think that's very, very good.

-I'm very pleased.

-The ring did the business for us in the end.

-It did, yes.

-I'm so pleased that people recognised it,

-cos I was worried.

-Well done, well done you, though,

cos you were spot on with the valuations.

Well done. That was a hat-trick.

Well done! What a great result.

Quality always shines through.

Finally, we're heading to Golding Young & Mawer in Lincoln,

to sell Russell's jug. Colin Young is our auctioneer.

Russell, it's great to see you again.

-And you.

-I love hearts.

I love hearts on anything.

Maybe it's cos I'm an old romantic, I don't know.

But going under the hammer right now,

we have got some William Moorcroft "Made for Liberty & Co",

with hearts on! Why are you selling this?

Well, I'm getting on a bit in years.

My son doesn't want it.

Right, OK. It's really nice.

I love William Moorcroft. It's a great name.

It's an early piece.

Very desirable, very collectable and a great name in English ceramics.

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

There we go, lot 111 is William Moorcroft,

a Liberty & Co ewer, decorated in blue.

There has been a lot of interest in it.

There's a lot of interest and activity flashing away

-on the internet.

-Great.

What shall we say for this great little lot?

Who's going to start me straight in? Bottom estimate, £600.

Who's first in? £600.

Six. Five to go, then, surely?

At £500?

£500 bid.

500 bid. 550. 575. 525.

At 550, do I see?

550 bid. 550, 575.

575. Six. £600 bid.

600. 625. 650.

At 650. 675. 675. 700 now.

£700 bid.

700 bid. 725. 725.

750? 750, do I see?

No? At 725, my bid's in the room.

Last chance on the telephone or the net.

750. 750. 775.

At 775 bid.

775 is in the room, then.

Going once, twice, third, and final time, then.

In the room, at 775!

Yes! That was hard work.

That was nail-biting!

He did well up there. He did really well.

I'm pleased with that. You've got to be pleased?

-Oh, yes. Yes, I'm pleased.

-Well, thank you for bringing that in.

Yeah.

Well, sadly, we're coming to the end of today's show.

I had a marvellous time looking around Packwood, looking at

the fascinating tapestries and stained-glass windows,

and I can't believe how much goes into making a simple needle.

And we got some great results from auction rooms around the country.

I think Russell was particularly pleased with the result of his

early Moorcroft vase. That did exceptionally well.

If you've got any antiques and collectables you want to sell,

bring them along to one of our valuation days.

So, until the next time, it's goodbye.