0:00:04 > 0:00:07In the Northamptonshire countryside sits Althorp.
0:00:07 > 0:00:12It's been the home of the Spencer family for more than five centuries.
0:00:12 > 0:00:14If you think the outside looks impressive,
0:00:14 > 0:00:16you should see the inside.
0:00:18 > 0:00:20There's not a bare wall in the house.
0:00:20 > 0:00:24There's 650 paintings here, all with a fabulous pedigree,
0:00:24 > 0:00:28Gainsborough, van Dyck, Rubens, to name just a few.
0:00:28 > 0:00:29And today, for one day only,
0:00:29 > 0:00:32the galleries are all ours and we're going to be making the most of them.
0:00:32 > 0:00:34Welcome to Flog It!
0:00:56 > 0:01:01Althorp, childhood home of the young Diana, Princess of Wales.
0:01:01 > 0:01:06Her family, the Spencers, have lived here for 19 generations.
0:01:06 > 0:01:08Each has left their mark on the house
0:01:08 > 0:01:12and what's contained within it. Keen artistic patrons,
0:01:12 > 0:01:15they've filled the rooms with impressive collections -
0:01:15 > 0:01:18and we're not just talking paintings but ceramics
0:01:18 > 0:01:20and lots and lots of books.
0:01:20 > 0:01:23We're looking forward to exploring Althorp,
0:01:23 > 0:01:25so it's time to meet the "Flog It!" crowd
0:01:25 > 0:01:27gathering for our valuation day.
0:01:29 > 0:01:31- Hello, everyone! ALL:- Hello!
0:01:31 > 0:01:35Hundreds of bags and boxes - we've really got our work cut out today.
0:01:35 > 0:01:37We've got a fantastic crowd here,
0:01:37 > 0:01:39all laden with antiques and collectables to see our experts.
0:01:39 > 0:01:42They're eager to ask that all-important question - what's it worth?
0:01:42 > 0:01:45And if you're happy with the valuation, what are you going to do?
0:01:45 > 0:01:47- ALL:- Flog it!- Let's do it.
0:01:49 > 0:01:52And on the hunt for some gems to take to auction is
0:01:52 > 0:01:55Charles Hanson, a scholar and a gentleman.
0:01:55 > 0:02:00- You're not cold, are you? Do you want my jacket? - THEY LAUGH
0:02:00 > 0:02:03He is joined by a very enthusiastic Will Axon,
0:02:03 > 0:02:05who's been pipped to the post.
0:02:05 > 0:02:08Oh, he's already got a sticker on there. Who got you? Paul?
0:02:08 > 0:02:11- Paul, yeah.- Martin! - THEY LAUGH
0:02:12 > 0:02:15And you have to admit, Will's a real trier.
0:02:15 > 0:02:19- Excuse me, what's going on here, Carlos?- Erm, nothing.
0:02:19 > 0:02:23- I draw your attention to the man who's been stickered.- Oh, I'm sorry.
0:02:23 > 0:02:26- That's all right. Nice, though, isn't it?- I never saw it. - Nice, though, isn't it?
0:02:26 > 0:02:29So, you're having the bag and I'm having the rest?
0:02:29 > 0:02:31- Thanks for everything. - See you later!
0:02:32 > 0:02:34And there's no time to waste.
0:02:34 > 0:02:37The queue's moved inside to settle down and unpack.
0:02:37 > 0:02:42This house has 90 rooms, so there's plenty for our crowd to take in.
0:02:42 > 0:02:47Before we explore, let's have a look at what's coming up later on in the programme.
0:02:47 > 0:02:51Will's got an idea who could take pride of place in June's picture frame.
0:02:51 > 0:02:54We'll see if we can't get a photo of Mr Paul Martin in there
0:02:54 > 0:02:56- before the auction and who knows? - That would be nice.
0:02:56 > 0:03:01- Well, it might struggle to sell. - Charles spots an enticing box...
0:03:01 > 0:03:05The box is magnificent but, of course, it's what is within
0:03:05 > 0:03:07that sets my heart racing.
0:03:07 > 0:03:12Guess which silent movie star inspires us at the auction.
0:03:12 > 0:03:15- Oh, of course!- How is it? - Exactly, yes! - THEY CHUCKLE
0:03:16 > 0:03:19And I find out more about the man whose portraitists are
0:03:19 > 0:03:23the Georgian glitterati and a personal friend to Spencer family.
0:03:27 > 0:03:29Well, the crowd are now safely seated inside,
0:03:29 > 0:03:32so it's time to get on with those valuations.
0:03:32 > 0:03:37Let's delve into those bags and boxes and let's find out who is on Will's table.
0:03:37 > 0:03:41Well, I don't know what it was that attracted
0:03:41 > 0:03:44me to these pictures in the queue but I'm glad I was because,
0:03:44 > 0:03:47Joe, having spoken to you about them, fascinating story!
0:03:47 > 0:03:51Come on, this is your stage - tell me about them!
0:03:51 > 0:03:54- Well, my family are from Cumbria. - Yes.
0:03:54 > 0:03:59And one of my grandfather's wartime jobs was collecting the milk churns
0:03:59 > 0:04:01from all the isolated farms.
0:04:01 > 0:04:06And part of his route, he used to drive past the prisoner of war camp
0:04:06 > 0:04:08- near Cockermouth in Cumbria.- Yes.
0:04:08 > 0:04:14And he used to talk to prisoners and often used to throw food over
0:04:14 > 0:04:16the wall to them because they always said they were hungry,
0:04:16 > 0:04:19so he used to take bread and throw it over the wall to them.
0:04:19 > 0:04:21- What a kind-hearted man.- Well...
0:04:21 > 0:04:24And in early 1946,
0:04:24 > 0:04:28when one of the prisoners found out that my mum was pregnant with me...
0:04:28 > 0:04:30- Oh, wow!- Because I was born in '46...- Yes?
0:04:31 > 0:04:36- Erm, he gave my grandad these two paintings.- Really?- Yeah.
0:04:36 > 0:04:40So, this chap that painted these, we've got a signature down there, haven't we?
0:04:40 > 0:04:44- Heinz, Heinz, is it L-A-U-Z-I, is it? Lauzi?- Lauzi. Yeah.
0:04:44 > 0:04:48- And dated 1946, so, your birth year. - And this one as well.
0:04:48 > 0:04:49It's the same on that one here.
0:04:49 > 0:04:52Wonderful, by the same artist and he's even inscribed it
0:04:52 > 0:04:55- there, England. - This was a fire screen, originally.
0:04:55 > 0:04:59- Cos you can see the holes where it had metal for a fire screen. - I've got you.
0:04:59 > 0:05:03And that's the Bassenthwaite Lake and Skiddaw mountains.
0:05:03 > 0:05:05- Ah, so, it's a known scene? - And the fell.- You recognise it?
0:05:05 > 0:05:07Yeah, yeah, Skiddaw and Bassenthwaite Lake.
0:05:07 > 0:05:09- So, it's the view from the prisoner of war camp?- Yeah,
0:05:09 > 0:05:12- and there's views over the fields there.- Fascinating.
0:05:12 > 0:05:16And this one was obviously in winter and my grandfather used to
0:05:16 > 0:05:18- have this hanging in his lounge. - Yeah.
0:05:18 > 0:05:21And I always used to be fascinated with this shepherd with his
0:05:21 > 0:05:24- dog going across the frozen fields. - Yeah.
0:05:24 > 0:05:27- Because I have walked over this area.- Have you?- Yeah.
0:05:27 > 0:05:31- That's wonderful, isn't it? That you can sort of relate in that way. - When I was a young child,
0:05:31 > 0:05:34I used to stand and look at the picture and always admired it
0:05:34 > 0:05:37and when my grandfather died, erm,
0:05:37 > 0:05:42it's the only possession I had from his estate.
0:05:42 > 0:05:45You're starting to make me feel guilty now about dragging you
0:05:45 > 0:05:48out of the queue! I can't make you sell these!
0:05:48 > 0:05:51But what's happened is we just put them in our attic and every
0:05:51 > 0:05:54time we've moved house they've gone from one attic to another attic.
0:05:54 > 0:05:58- I know that story. They've probably done more miles than you and me together.- Probably.
0:05:58 > 0:06:01Well, listen, looking at it from an artistic point of view,
0:06:01 > 0:06:05you know, the technique and the quality of the painting, erm,
0:06:05 > 0:06:08it does fall down a little bit. I mean, you can tell...
0:06:08 > 0:06:09- Pretty amateurish, yeah, yeah. - Exactly.
0:06:09 > 0:06:12What we would call a keen amateur.
0:06:12 > 0:06:14I don't think we're going to have any sort of national galleries
0:06:14 > 0:06:18on the phone bidding furiously for them.
0:06:18 > 0:06:20A lot of artworks are driven, their prices,
0:06:20 > 0:06:23by the artist and what they've made in the past.
0:06:23 > 0:06:25We've just cleared space in the attic - that's all.
0:06:25 > 0:06:28- So, you're quite happy for these to just...- Absolutely.
0:06:28 > 0:06:31..find a new home and perhaps, you never know,
0:06:31 > 0:06:34maybe there will be an ancestor of his online.
0:06:34 > 0:06:38- Who may recognise the name? - Well, it's an unusual name.- It is.
0:06:38 > 0:06:41You never know, once it's out there on the "ether interneb",
0:06:41 > 0:06:44- you know, who knows what can happen? - You never know, yeah.
0:06:44 > 0:06:48We are going to have to publish an estimate for them and I think
0:06:48 > 0:06:50we would just pick an arbitrary estimate of, say, 30 to 50,
0:06:50 > 0:06:53or 20 to 30 for the two. No reserve.
0:06:53 > 0:06:57- You've made the decision for them to sell.- Absolutely, yeah.
0:06:57 > 0:07:01And, well, at least we're guaranteed of one sale on the day.
0:07:01 > 0:07:03I look forward to seeing you there, Joe.
0:07:03 > 0:07:06- Thank you so much for your help. - It's been fascinating talking to you.- Thank you.
0:07:06 > 0:07:09That's such a heart-warming story.
0:07:09 > 0:07:14And Charles is not being outdone, as he hears tales of celeb spotting.
0:07:14 > 0:07:17Rosemary and Roger, when I first saw these plates,
0:07:17 > 0:07:20I thought maybe you were having a picnic here or something.
0:07:20 > 0:07:22But there's far more than meets the eye.
0:07:22 > 0:07:26They have far more history of a rock 'n' roll nature, haven't they?
0:07:26 > 0:07:28- They do.- Tell me about them. - Yes, they do.
0:07:28 > 0:07:33In the early '60s, I was in the Navy and had six weeks'
0:07:33 > 0:07:40leave and I got a part-time job at the Blue Boar services, Watford Gap,
0:07:40 > 0:07:44which was the only services on the motorway between Birmingham
0:07:44 > 0:07:46and London at the time.
0:07:46 > 0:07:50So, obviously, we used to get a lot of people that had been doing
0:07:50 > 0:07:53shows in Birmingham and Manchester stopping off.
0:07:53 > 0:07:55It was the place to stop.
0:07:55 > 0:07:57- That's right.- Because, of course, it was the only place.- Yes.
0:07:57 > 0:08:01So, you met all of these famous names.
0:08:01 > 0:08:05I actually served several of them.
0:08:05 > 0:08:09- A few have "to Rosemary" on, so were are you working together?- No.
0:08:09 > 0:08:13- No, no.- But you were just trying to impress your girlfriend?
0:08:13 > 0:08:20- That's right, yes.- I got you! I've got the history now.- Yeah.- So, who are these famous names?
0:08:20 > 0:08:23- Well, we've got Roy Orbison. - Which is here, in the middle.
0:08:23 > 0:08:27- Roy Orbison, Dusty Springfield... - Amazing.
0:08:27 > 0:08:32- Paul Jones...- Yeah.- ..Engelbert Humperdinck.- Unbelievable.
0:08:32 > 0:08:34Every time Roger brought you a plate home,
0:08:34 > 0:08:37obviously it may have been greeted by a kiss and he may have had
0:08:37 > 0:08:41a good meal on the back of that, but were they giftwrapped for you or...
0:08:41 > 0:08:45No, no, just handed to me like they are here.
0:08:45 > 0:08:48- And you were obviously highly appreciative of them?- Oh, yes.
0:08:48 > 0:08:54I think what's wonderful is that time, that era, it was so...
0:08:54 > 0:08:58- creative. It was evolving, something so special...- It was. - ..and of course,
0:08:58 > 0:09:02now, we, as valuers, auctioneers, hold these specialist sales
0:09:02 > 0:09:05celebrating just this sort of material.
0:09:05 > 0:09:10- OK, they've been personalised but that gives added provenance.- Yes.
0:09:10 > 0:09:12Added pedigree.
0:09:12 > 0:09:14I did actually have a proper autograph book,
0:09:14 > 0:09:19which Keith Moon took to look through
0:09:19 > 0:09:21and I never got it back.
0:09:21 > 0:09:28- Really?- Hence, this is why I have the paper plates.- Really?
0:09:28 > 0:09:31- Yeah.- All acquired at the service station?- Yes.- Oh, yeah.
0:09:31 > 0:09:33Goodness me, what a good way to, I suppose, earn money but
0:09:33 > 0:09:37also make money by investing in these autographs indirectly,
0:09:37 > 0:09:41- and if only we had known back then what these names would have made. - Well, that's right.
0:09:41 > 0:09:45Why do you feel it's time to literally sell them now?
0:09:45 > 0:09:47They've been in a cupboard for a long time, haven't they?
0:09:47 > 0:09:50Yes, wrapped up in a paper bag in the cupboard for donkey's years.
0:09:50 > 0:09:54There's at least 15 to 20 plates, I think they're marvellous and we
0:09:54 > 0:09:57would be delighted to give them a spin at auction.
0:09:57 > 0:09:59Not in the Greek way.
0:09:59 > 0:10:04I would guide these, with your blessing, between £50 and £80.
0:10:04 > 0:10:06Hopefully, with an online marketplace,
0:10:06 > 0:10:09it will really drive them home to a good price. Is that OK with you?
0:10:09 > 0:10:12- Yes.- Thanks, Roger. Thanks, Rosemary.- Thank you very much.
0:10:12 > 0:10:16And thanks for letting me learn about this wonderful heritage on the M1.
0:10:16 > 0:10:19# You don't have to say you love me
0:10:19 > 0:10:22# Just be close at hand
0:10:22 > 0:10:26# You don't have to stay forever
0:10:26 > 0:10:28# I will understand... #
0:10:29 > 0:10:33It just goes to show, you can find glamour in the most unlikely of places!
0:10:33 > 0:10:37Mind you, here at Althorp, it's everywhere you look.
0:10:37 > 0:10:42# I'll never tie you down. #
0:10:42 > 0:10:44Now, this is Painter's Passage, which has been restored to
0:10:44 > 0:10:47its former Edwardian glory by the current Earl Spencer.
0:10:47 > 0:10:50And as you walk along, you notice different tastes and
0:10:50 > 0:10:52interests from different family members.
0:10:52 > 0:10:54That's how the collection has built up.
0:10:54 > 0:10:56John Spencer, the first Earl Spencer,
0:10:56 > 0:10:59was one of the leading artistic patrons of the 18th century.
0:10:59 > 0:11:01He and his wife, Georgiana,
0:11:01 > 0:11:04were close friends to the English actor David Garrett and there's
0:11:04 > 0:11:07a portrait of him up there and also a sculpture of him somewhere.
0:11:07 > 0:11:11Further along, there's a self-portrait of Sir Joshua Reynolds -
0:11:11 > 0:11:14he was the man to go to if you wanted your portrait painted.
0:11:14 > 0:11:16And later on in the show,
0:11:16 > 0:11:19we'll be finding out more about him and his connection to the family.
0:11:19 > 0:11:22The Spencers moved in the right circles and their collection
0:11:22 > 0:11:25sums up the connection between art and celebrity.
0:11:27 > 0:11:31Back to the valuations and Will's going for gold with Peter.
0:11:32 > 0:11:35- I assume that it doesn't get worn. - Not by me, no!
0:11:35 > 0:11:37I assume that it probably spends its time
0:11:37 > 0:11:41- in the bottom of a drawer somewhere. - Absolutely right.- Secreted away,
0:11:41 > 0:11:43when in fact they should be out,
0:11:43 > 0:11:46they should be showed off, shining in its glory.
0:11:46 > 0:11:48Look at that. Tell me about it.
0:11:48 > 0:11:51Well, it was my mother's. She passed away in 2009,
0:11:51 > 0:11:55so it was sent down to me.
0:11:55 > 0:11:58- My wife has already got a charm bracelet, so...- And no sisters?
0:11:58 > 0:12:01No sisters, so, as you said,
0:12:01 > 0:12:04it just sits in the drawer doing absolutely nothing.
0:12:04 > 0:12:08Erm, I've done a little bit of research on it but I tend to
0:12:08 > 0:12:10believe in "leave it to the experts" -
0:12:10 > 0:12:13- they'll tell me what it's worth. - I'll just go and find one for you!
0:12:13 > 0:12:16- I'm sure I've got the right one, Will.- Yeah.
0:12:16 > 0:12:19Listen, charm bracelets, of course, they were very fashionable.
0:12:19 > 0:12:22You've got charms given for maybe special occasions,
0:12:22 > 0:12:25anniversaries. Do you know the story of any of these charms?
0:12:25 > 0:12:29I don't really. I mean, I know my father bought the bracelet for
0:12:29 > 0:12:32my mother and put all the charms on for birthdays,
0:12:32 > 0:12:35anniversaries, but after a certain period of time,
0:12:35 > 0:12:38it fell out of fashion, went in the drawer and that's where it stayed.
0:12:38 > 0:12:40Exactly, and they can actually get quite heavy.
0:12:40 > 0:12:44- When you get too many charms on there, you're sort of dragging your arm behind you.- Yeah.
0:12:44 > 0:12:46But they're like little feats of engineering
0:12:46 > 0:12:48- in themselves, aren't they?- Yeah.
0:12:48 > 0:12:50I mean, we've got the old woman who lived in a shoe
0:12:50 > 0:12:53and there she is with her... How any children did she have?
0:12:53 > 0:12:56- Oh, I'm not sure.- Plenty. - Plenty, yeah.
0:12:56 > 0:13:00And there's a little bit of colour added there with the enamel as well.
0:13:00 > 0:13:02Another here - is that a little church?
0:13:02 > 0:13:07- A church, yeah.- Exactly. And this one's quite unusual, the skier.- Yes.
0:13:07 > 0:13:09I mean, he's looking rather fine in his...
0:13:09 > 0:13:12- It looks like he's popped out in his nightcap, doesn't it?- Yeah.
0:13:12 > 0:13:16And he's slightly more, erm, a higher grade of gold.
0:13:16 > 0:13:19He's 14-carat gold, whereas most of the others are 9-carat,
0:13:19 > 0:13:22which is generally what you would expect with a charm bracelet.
0:13:22 > 0:13:25You know, someone's not really going to be buying this to wear it
0:13:25 > 0:13:27or gift it on.
0:13:27 > 0:13:29It's down to that factor of how much does it weigh
0:13:29 > 0:13:32- and what's the price of gold at the moment?- Yeah.
0:13:32 > 0:13:34I mean, tell me, you did a bit of digging about -
0:13:34 > 0:13:36you give me a figure that you think it'd maybe worth.
0:13:36 > 0:13:38- About £550, I would have thought. - Well, do you know what?
0:13:38 > 0:13:40You're bang on, because I was going to suggest to you
0:13:40 > 0:13:44putting it into auction with an estimate of £500 to £700.
0:13:44 > 0:13:47- Sounds good to me. - With a fixed reserve at 500,
0:13:47 > 0:13:50I think that's got a good chance of getting away.
0:13:50 > 0:13:52And what's the money going to go towards?
0:13:52 > 0:13:53It's a very big year for us this year -
0:13:53 > 0:13:57- it's our golden wedding anniversary this year.- Well, how apt!
0:13:57 > 0:13:59We've got a holiday already booked to the Caribbean.
0:13:59 > 0:14:02So, unfortunately, we won't be able to make the auction,
0:14:02 > 0:14:05- so I'm going to have to leave it in somebody's safe hands.- Oh!
0:14:05 > 0:14:09I'll be thinking of you while you're cruising the Caribbean and,
0:14:09 > 0:14:11well, may I say, happy golden wedding anniversary!
0:14:11 > 0:14:13Thank you very much, Will.
0:14:14 > 0:14:18Althorp is such a magnificent house. There's so much for us to see here
0:14:18 > 0:14:21today and so much for our crowd to enjoy as well.
0:14:21 > 0:14:23- Having a good time, everyone? ALL:- Yes!
0:14:23 > 0:14:27Yes, we are really lucky to be here. But right now, we need to make tracks.
0:14:27 > 0:14:29Let's find out what the bidders think.
0:14:29 > 0:14:33Here's a quick recap of all the items that are going - krr! - under the hammer.
0:14:33 > 0:14:35Painted by a prisoner of war,
0:14:35 > 0:14:39two views from his prison camp in Cumbria.
0:14:39 > 0:14:41Spinning the disc, or should that be paper plates?
0:14:41 > 0:14:45The collection of signatures from singers of the '60s.
0:14:45 > 0:14:48And the charm bracelet that could help fund
0:14:48 > 0:14:50golden wedding celebrations.
0:14:53 > 0:14:56We've travelled half an hour north and we've crossed the border into
0:14:56 > 0:14:59Leicestershire, into the town of Market Harborough.
0:14:59 > 0:15:01Back in the day, carriages would have stopped here on the old
0:15:01 > 0:15:04coaching route to Leicester and today, we're stopping here
0:15:04 > 0:15:06because this is where we're putting our valuations to the test,
0:15:06 > 0:15:10Gildings in Market Harborough and the saleroom looks jam-packed.
0:15:10 > 0:15:14Let's go inside and catch up with our owners and get on with the sale.
0:15:15 > 0:15:19It looks busy, which is good for us, and wielding the gavel today
0:15:19 > 0:15:23we have two auctioneers, Mark and Will Gilding.
0:15:23 > 0:15:25First to face the bidders are Joe's artworks,
0:15:25 > 0:15:28painted by a prisoner of war.
0:15:28 > 0:15:30The art's not brilliant, is it?
0:15:30 > 0:15:33- But it's... You've got to put it into context.- Context.
0:15:33 > 0:15:36Exactly, and it was the story that really drew me to them and,
0:15:36 > 0:15:38you know, I told you at the time, they're not going to be
0:15:38 > 0:15:41worth a fortune, but your story is so interesting.
0:15:41 > 0:15:43- If they don't sell, it doesn't matter.- No.
0:15:43 > 0:15:46Because we're trying to find the artist or his family.
0:15:46 > 0:15:49Exactly, I think that would be a good journey to go on.
0:15:49 > 0:15:51They're going under the hammer right now.
0:15:51 > 0:15:53Let's find out what the bidders think.
0:15:53 > 0:15:55The prisoner-of-war art.
0:15:55 > 0:15:58Panoramic landscape and a watercolour by the same hand.
0:15:58 > 0:16:01Two in the lot, and a £10 start and I'm going to start at 10,
0:16:01 > 0:16:04£10, please, for the two, at £10.
0:16:04 > 0:16:06At 10, 12 online. At £12.
0:16:06 > 0:16:08Oh, it's the heady heights of £12 bid online.
0:16:08 > 0:16:10At £18, it's creeping up online.
0:16:10 > 0:16:13- 20 bid. At 20, I have bid at 20.- Wow.
0:16:13 > 0:16:16Watching you all in the room carefully.
0:16:16 > 0:16:18There's no bids from the floor. At 22, the internet is still going.
0:16:18 > 0:16:20At £22.
0:16:20 > 0:16:24£22, they've stopped at 22, and that's where I'll finish, at £22.
0:16:26 > 0:16:28£22.
0:16:28 > 0:16:31But look, we are fascinated with that story.
0:16:31 > 0:16:33- At least I'm not bringing them back in the attic.- No, exactly.
0:16:33 > 0:16:38- They weren't on the wall, no. No. - Great end to a great story.
0:16:38 > 0:16:42That's what this show is all about - documents of social history.
0:16:45 > 0:16:48Now for the collections of paper plates with a roll call of musicians
0:16:48 > 0:16:53from the '60s, and I'm a real fan of one of the stars Roger met.
0:16:53 > 0:16:56Love the story about Keith Moon - he's one of my favourite drummers
0:16:56 > 0:16:58and he ran off with the autograph book.
0:16:58 > 0:17:00That is a fabulous story, isn't it?
0:17:00 > 0:17:02Oh, he was a bit barmy, wasn't he?
0:17:02 > 0:17:05- He was bonkers.- Yes.- But look, great, great signatures.
0:17:05 > 0:17:11- Roy Orbison. Bringing back memories? - Yes.- Still play his music.
0:17:11 > 0:17:14- Initially you had... - £50 to £80.- 50 to 80 price guide.
0:17:14 > 0:17:17I know, since the evaluation day, you've been in touch with
0:17:17 > 0:17:20- the auctioneer and you've upped that, haven't you?- We have, yes.
0:17:20 > 0:17:22- To what? 100?- 150.
0:17:22 > 0:17:25There's no others like it, so you can almost, in a funny way,
0:17:25 > 0:17:29name a price that you want to really start off with, in my opinion,
0:17:29 > 0:17:32- so well done.- Yes.- Well, look, good luck. Good luck.
0:17:32 > 0:17:35We had fun looking at these and hopefully the bidders are
0:17:35 > 0:17:37going to have fun bidding on them.
0:17:37 > 0:17:38This is it, here we go.
0:17:38 > 0:17:4020 autographed paper plates
0:17:40 > 0:17:42in this lot, including
0:17:42 > 0:17:44Roy Orbison, Dusty Springfield,
0:17:44 > 0:17:46Paul Jones and all those others.
0:17:46 > 0:17:49And bidding opens here with me, at £80.
0:17:49 > 0:17:55£80, my opening bid here, at £80, at 80. At £80, I'm bid, at £80.
0:17:55 > 0:17:5690, 100.
0:17:57 > 0:17:59£100 against you online.
0:17:59 > 0:18:03At £100, at 100, 110, 120.
0:18:03 > 0:18:05130, 140.
0:18:06 > 0:18:10At £140, at 140, still against you online, at 150 now.
0:18:10 > 0:18:12- 150 with the internet.- Come on.
0:18:12 > 0:18:15150, the bidders are all out in the room,
0:18:15 > 0:18:16we're bidding online now at 150.
0:18:16 > 0:18:18And I am going to sell, make no mistake.
0:18:18 > 0:18:20150...
0:18:20 > 0:18:23Online bidding, then. Last chance in the room.
0:18:23 > 0:18:25And selling at £150...
0:18:25 > 0:18:28Brilliant, well done, you. Well done, £150,
0:18:28 > 0:18:29top end of the new estimate.
0:18:29 > 0:18:33- That's great.- That's a good result, isn't it?- Yes, yes.- You wanted that.
0:18:33 > 0:18:35Going towards my fence that's been blown down.
0:18:37 > 0:18:39Well, that's a novel way to pay for repairs.
0:18:39 > 0:18:43We're hoping for some good luck now with the charm bracelet belonging
0:18:43 > 0:18:47to Peter, who is in sunnier climes.
0:18:47 > 0:18:48He's enjoying himself on holiday,
0:18:48 > 0:18:50but we do have his daughter, Jude, with us.
0:18:50 > 0:18:52You obviously have seen this bracelet quite a bit of time
0:18:52 > 0:18:54- throughout your life, haven't you? - Yes, I have.
0:18:54 > 0:18:57It's kind of like something that everyone...
0:18:57 > 0:18:59Well, a lot of people had in the '80s and '70s, didn't they?
0:18:59 > 0:19:02- But now they're just sort of... You don't...- A little bit.
0:19:02 > 0:19:04A little bit blingy, a little bit too heavy,
0:19:04 > 0:19:05- a little bit showy. - Yeah, and we're just...
0:19:05 > 0:19:07Yeah, exactly, a little bit showy.
0:19:07 > 0:19:09People aren't as comfortable perhaps
0:19:09 > 0:19:11wearing things like this out and about any more.
0:19:11 > 0:19:13But there's some lovely little charms attached,
0:19:13 > 0:19:16- some real nice quality and works of art in their own way.- There are.
0:19:16 > 0:19:18- Lovely.- OK. Fingers crossed you'll be able to get on the phone
0:19:18 > 0:19:21and tell Dad the good news or the bad news.
0:19:21 > 0:19:25A nine-carat flat curb link charm bracelet, lot 320,
0:19:25 > 0:19:30with 14 charms in total, and I start the bidding at 460.
0:19:30 > 0:19:32480. 500.
0:19:32 > 0:19:36550, I have bid. 600 bid in the room.
0:19:36 > 0:19:39Both the absentee bids out at £600. It's here in the room at 600.
0:19:39 > 0:19:41At £600, it is 600.
0:19:42 > 0:19:44At £600.
0:19:44 > 0:19:46Oh, someone's... Yeah.
0:19:46 > 0:19:48- Yeah, that won't push the room any further, will it?- No.
0:19:48 > 0:19:52- 650. That was good, £50 at the very last second.- Yeah.
0:19:52 > 0:19:53That's OK, isn't it?
0:19:53 > 0:19:56Well, someone's speculating online that the price of gold might go up.
0:19:56 > 0:19:58Yeah, and that's all it's all about.
0:19:58 > 0:20:01And you have to watch those bullion markets because it does change.
0:20:01 > 0:20:03Well done. Get on the phone to Dad and ring him up
0:20:03 > 0:20:06- and tell him the good news. - I will do. Thank you.
0:20:06 > 0:20:09Well, there you are, our first three lots under the hammer,
0:20:09 > 0:20:12done and dusted, and some great results and I have to say,
0:20:12 > 0:20:14the atmosphere here is absolutely electric.
0:20:14 > 0:20:18I cannot wait to come back with some more finds from Althorp House.
0:20:18 > 0:20:21Now, the house is renowned for its collections and earlier on,
0:20:21 > 0:20:24I had the opportunity of exploring one
0:20:24 > 0:20:26by the celebrity artist of the day.
0:20:34 > 0:20:37Image is the currency of the glitterati.
0:20:37 > 0:20:40Nowadays, if you're in the public eye,
0:20:40 > 0:20:43photographers and stylists work hard to show you at your best.
0:20:45 > 0:20:48But in the 1700s, photographers didn't exist.
0:20:48 > 0:20:50A portrait artist did the job.
0:20:52 > 0:20:55One of the best was Sir Joshua Reynolds,
0:20:55 > 0:20:58a middle-class man who, unlike his contemporary, Gainsborough,
0:20:58 > 0:21:01was no friend of the King, George III.
0:21:01 > 0:21:06But his talent for social networking gave him access to the aristocracy,
0:21:06 > 0:21:07like the Spencers.
0:21:10 > 0:21:13The fact that there's a self-portrait here says it all.
0:21:13 > 0:21:16He was a friend of John, the first Earl Spencer,
0:21:16 > 0:21:21who commissioned Reynolds to paint a succession of family portraits.
0:21:21 > 0:21:24And you only have to take a look in here to see the results
0:21:24 > 0:21:26of those commissions.
0:21:26 > 0:21:29There's 16 paintings in here and they span three generations of
0:21:29 > 0:21:31the Spencer family.
0:21:31 > 0:21:35Dr Martin Postle is a renowned expert on Joshua Reynolds,
0:21:35 > 0:21:39who has curated exhibitions of his work, including pieces from Althorp.
0:21:39 > 0:21:45He's joined me to explain more about the artist and what set him apart.
0:21:45 > 0:21:47He was a mover and shaker.
0:21:47 > 0:21:49He loved society, he loved to be out with people,
0:21:49 > 0:21:51he loved to network.
0:21:51 > 0:21:53He was at the centre of the Georgian art world,
0:21:53 > 0:21:55but also the centre of Georgian culture.
0:21:55 > 0:21:59Yeah, yeah. Who do you think today follows in his footsteps?
0:21:59 > 0:22:02- Who would take a big influence from him?- Lucian Freud...
0:22:02 > 0:22:06- Celebrity painter.- Celebrity painter, great portrait painter.
0:22:06 > 0:22:08Very aware of celebrity.
0:22:08 > 0:22:10Even someone like Damien Hirst, who's not fond of
0:22:10 > 0:22:14the establishment - and Reynolds, too, could upset the apple cart.
0:22:14 > 0:22:16Those are the kind of people I'd be thinking about.
0:22:16 > 0:22:20- So what defines him as a portrait painter?- He captures character.
0:22:20 > 0:22:25Tremendous sense of character in the portraits and I think the sense of
0:22:25 > 0:22:30a narrative, a story and mixing formality and informality...
0:22:30 > 0:22:33They're unforgettable images, you know?
0:22:33 > 0:22:37- That is absolutely stunning, isn't it? Breathtaking.- Magnificent.
0:22:37 > 0:22:41That's a portrait of Georgiana, first Countess Spencer,
0:22:41 > 0:22:43and her daughter, Georgiana.
0:22:43 > 0:22:45And what I love about it, it's a composition,
0:22:45 > 0:22:48it gets away from the formal portrait.
0:22:48 > 0:22:50It's a mother and a daughter.
0:22:50 > 0:22:52And all those little touches, the dog's paw,
0:22:52 > 0:22:54the mother's hands clasped around her,
0:22:54 > 0:22:58and then she tucking her hand inside the top of her dress there.
0:22:58 > 0:23:01- It's a very affecting image. - Yeah, yeah.
0:23:01 > 0:23:04How important, in terms of art history, is this collection?
0:23:04 > 0:23:06It's right up there.
0:23:06 > 0:23:08If you wanted to look at Reynolds in a private collection,
0:23:08 > 0:23:10this is as good as you're ever going to get.
0:23:10 > 0:23:12Who's that up there?
0:23:12 > 0:23:14That's the third Earl Spencer, Jack, as he was known.
0:23:14 > 0:23:17And he is the height of fashion. These are very fashionable people.
0:23:17 > 0:23:20I can see... That's the height of fashion. You can see, can't you?
0:23:20 > 0:23:22- What an outfit!- This is a new way of dressing a little boy,
0:23:22 > 0:23:24and remember, he's only about two or three years old.
0:23:24 > 0:23:26And Reynolds is great with children.
0:23:26 > 0:23:29Apparently, didn't have any of his own, but he used to talk to them.
0:23:29 > 0:23:31Sometimes he would tell them fairy stories and
0:23:31 > 0:23:35- he'd get down onto their level. - Engage with them.- Yes, that's right.
0:23:35 > 0:23:39And it's a very engaging portrait from that point of view.
0:23:39 > 0:23:43This is George, second Earl Spencer, and this was painted when he...
0:23:43 > 0:23:45You have to remember, he was only about 16 years old
0:23:45 > 0:23:48when this was painted. So he's a teenage boy.
0:23:48 > 0:23:52Really interesting character, a man of great refinement,
0:23:52 > 0:23:55a tremendous bibliophile. He had one of the greatest libraries in Europe.
0:23:55 > 0:23:59He's wearing a van Dyck costume, which is a kind of masquerade,
0:23:59 > 0:24:01a kind of fancy dress costume.
0:24:01 > 0:24:04Van Dyck is one of the old masters that Reynolds emulates,
0:24:04 > 0:24:07so it's almost as if he's painting a van Dyck.
0:24:07 > 0:24:09This could be a Cavalier, you know?
0:24:09 > 0:24:12With the long flowing tresses, the long hair,
0:24:12 > 0:24:15and he's in park land, you know, he's on his estate.
0:24:15 > 0:24:18I like the way all the sky detail is sort of blocked in with the curtain,
0:24:18 > 0:24:22a sort of dramatic effect, like a history painting to block out
0:24:22 > 0:24:24- too much cloud.- That's right.
0:24:24 > 0:24:27In fact, some people at the time referred to his portraits as
0:24:27 > 0:24:30confined histories. So this is a real show-off picture.
0:24:30 > 0:24:32This is Reynolds saying, you know, in a sense,
0:24:32 > 0:24:34"I'm a modern master," yeah.
0:24:34 > 0:24:36Exactly, yeah.
0:24:36 > 0:24:38How was he regarded by his peers?
0:24:38 > 0:24:40I kind of think of him like Marmite, OK?
0:24:40 > 0:24:43Some people loved him, some people hated him.
0:24:43 > 0:24:45The Spencers loved him, William Blake couldn't stand him.
0:24:45 > 0:24:47- Didn't like him. - Didn't like him at all.
0:24:47 > 0:24:48Because he was a success,
0:24:48 > 0:24:51and that always happens when people are successful.
0:24:51 > 0:24:55Nobody, at this time, mid-to-late 1770s...
0:24:55 > 0:25:00No painter in Europe had a bigger reputation than Joshua Reynolds.
0:25:00 > 0:25:03So, with this artistic heavyweight on the walls,
0:25:03 > 0:25:06the Spencers can be proud of their collection.
0:25:06 > 0:25:10Even the paperwork that came with those paintings is worth framing.
0:25:11 > 0:25:14Listen to this, because this is great provenance.
0:25:14 > 0:25:17"Received, April 28th, 1771,
0:25:17 > 0:25:20"from the Right Honourable Lady Spencer,
0:25:20 > 0:25:24"the sum of 40 guineas, being the entire payment for a portrait
0:25:24 > 0:25:28"of Madame Blanchard, with a hand."
0:25:28 > 0:25:30We can see he's painted her with a hand.
0:25:30 > 0:25:33"42 guineas received by me, Sir Joshua Reynolds." And then...
0:25:33 > 0:25:38underneath that, it says, "And also an extra 2½ guineas for the frame."
0:25:38 > 0:25:42That is absolutely priceless provenance. It's watertight.
0:25:45 > 0:25:47Reynolds was a prolific artist.
0:25:47 > 0:25:49He painted around 3,000 works.
0:25:49 > 0:25:52In later life, his eyesight failed him and he developed
0:25:52 > 0:25:56a liver disease, sadly passing away in 1792.
0:25:56 > 0:26:0190 carriages accompanied his coffin for burial at St Paul's Cathedral
0:26:01 > 0:26:05and all ten pallbearers were prominent members of
0:26:05 > 0:26:10the aristocracy, just as he would've wished for. And his legacy?
0:26:10 > 0:26:14Well, his many iconic works have stood both the test of time
0:26:14 > 0:26:17and the harshest of critics.
0:26:25 > 0:26:28From Georgian glitterati to Hollywood glamour now,
0:26:28 > 0:26:30as we catch up with our experts.
0:26:30 > 0:26:34Charles is mixing in showbiz circles with his discovery.
0:26:34 > 0:26:36- Now, you're a Babs, aren't you? - Bubbly Babs, not boring Barbara.
0:26:36 > 0:26:37Bubbly Babs, I like your style.
0:26:37 > 0:26:40Well, Bubbly Babs, you really bubbled me.
0:26:40 > 0:26:44Sometimes as a valuer, you miss a heartbeat because something
0:26:44 > 0:26:49so important jumps out at you and you think, "That's real history."
0:26:49 > 0:26:50And that's on this table now.
0:26:50 > 0:26:53This letter, which obviously... I've got to be careful handling it -
0:26:53 > 0:26:57it's creased, it's worn, it's very old.
0:26:57 > 0:27:03It's over 100 years old and it's a letterhead for an individual...
0:27:04 > 0:27:06..Charles Chaplin.
0:27:06 > 0:27:09August 25th, 1915.
0:27:09 > 0:27:11And it reads,
0:27:11 > 0:27:15"Dear Miss, I am glad to hear that you like my work on the screen.
0:27:15 > 0:27:21"Enclosed, find autographed photo as requested.
0:27:21 > 0:27:25"Sincerely, Charles Chaplin."
0:27:25 > 0:27:28What an amazing letter.
0:27:28 > 0:27:33Here is that photo of a handsome man.
0:27:33 > 0:27:36How on earth did you acquire this?
0:27:37 > 0:27:40I found it in the wardrobe in my mum's house.
0:27:40 > 0:27:44Unfortunately, she'd passed away, so we'd been clearing the house.
0:27:44 > 0:27:48I found all these and my nan must have collected them all.
0:27:49 > 0:27:53And the only way I found out was cos a cousin in Australia
0:27:53 > 0:27:57did a family tree and she'd done a paragraph about my nan
0:27:57 > 0:28:00and that was where I found out that she had actually lived
0:28:00 > 0:28:03near Elstree Studios and when they were doing a silent movie,
0:28:03 > 0:28:07they would go around knocking on doors and ask for extras.
0:28:07 > 0:28:10So my nan was in lots of films and they would get paid
0:28:10 > 0:28:12a shilling for their services.
0:28:12 > 0:28:14Your nan was obviously going to Elstree
0:28:14 > 0:28:17and meeting these other stars of the day,
0:28:17 > 0:28:21Mary Fuller - signed, "Sincerely yours, Florence Janet."
0:28:21 > 0:28:24Stewart Rome there as well.
0:28:24 > 0:28:27Of course, what is key is this Charlie Chaplin archive.
0:28:27 > 0:28:29You know, you think back to the birth of Hollywood,
0:28:29 > 0:28:32you think back to this great man, Charles Spencer Chaplin,
0:28:32 > 0:28:37born 1889 in Southwark, had no money,
0:28:37 > 0:28:41went to a workhouse school and then he began to move.
0:28:41 > 0:28:45And really, by 1915, with that film, The Tramp,
0:28:45 > 0:28:49he was the biggest star of the silent movie.
0:28:49 > 0:28:53He was still a young man, he was 26.
0:28:53 > 0:28:56You know, that's so young for what he'd achieved.
0:28:56 > 0:29:00He was a real shrewd businessman, but, of course,
0:29:00 > 0:29:02there is that original signature,
0:29:02 > 0:29:06obviously quite rightly in his hand, there's no question mark over that.
0:29:06 > 0:29:10The autograph market is extremely buoyant.
0:29:10 > 0:29:15And you feel it's time to serenade Charlie at auction?
0:29:15 > 0:29:16Yes, I do.
0:29:16 > 0:29:19This is part of my mum's estate and there's three of us and it's
0:29:19 > 0:29:22- unfair that one of us should have it.- Yeah.
0:29:22 > 0:29:26And somebody that's a collector will relish it more than we do.
0:29:26 > 0:29:30Oh, yes, I would hope that two or three buyers might really
0:29:30 > 0:29:32lock their horns.
0:29:32 > 0:29:38And I would like to estimate it at between £70 and £100.
0:29:38 > 0:29:44OK? And let the market pick it up. Hopefully, it will ride high.
0:29:44 > 0:29:45It might make £300 or £400,
0:29:45 > 0:29:49but with this sort of condition and nature and being
0:29:49 > 0:29:54so market fresh, you almost want to just begin to draw those buyers in
0:29:54 > 0:29:58- to give this man a good send-off.- Brilliant.
0:29:58 > 0:30:01It's made my day, seeing this. I just can't wait for the auction.
0:30:01 > 0:30:04- Nor can I. Bring it on. - Bring it on! Quite right.
0:30:13 > 0:30:18And Will's find is perfect for putting your own idol in the frame.
0:30:18 > 0:30:19June, welcome to Flog It!
0:30:19 > 0:30:22It's lovely to see you, and what a great venue we're in today!
0:30:22 > 0:30:25- I know, isn't it luxurious?- Have you been here before? Are you local?
0:30:25 > 0:30:29- Well, fairly local - Leicestershire, actually.- OK, yeah, down the road.
0:30:29 > 0:30:32But, yes, if I have visitors, I usually bring them down here
0:30:32 > 0:30:34to have a look at how the other half live.
0:30:34 > 0:30:36Well, listen, I'll tell you what,
0:30:36 > 0:30:39your silver photograph frame isn't really out of place in here, cos
0:30:39 > 0:30:42look at this wonderful work, the repousse scrolls
0:30:42 > 0:30:44and cartouches and so on.
0:30:44 > 0:30:47It's very, sort of, grandiose.
0:30:47 > 0:30:49Tell me, whose face sat in that when it was at home?
0:30:49 > 0:30:53Well, it's come through inheritance from one of my relatives.
0:30:53 > 0:30:54Has it really?
0:30:54 > 0:30:57Yes, so I really don't know who used to be in there.
0:30:57 > 0:30:59And do you use it at home at all?
0:30:59 > 0:31:01- No, it's a bit too grand for me, really.- Is it?
0:31:01 > 0:31:05It gradually got up with the other things in the attic, you know?
0:31:05 > 0:31:07- That old chestnut.- Yes, yes.
0:31:07 > 0:31:10And I thought, it's too good, really, isn't it, to be stuck away?
0:31:10 > 0:31:13Well, it is, and I think it's pretty enough to say, you know, it
0:31:13 > 0:31:17needs to be shown off a little bit, perhaps, and we've got the hallmarks
0:31:17 > 0:31:22- down there at the bottom and it's hallmarked for Birmingham 1903.- Yes.
0:31:22 > 0:31:26And it's got a maker's mark for Mander & Son,
0:31:26 > 0:31:29who were a firm known for making photograph frames,
0:31:29 > 0:31:32cos they were made in quite large numbers,
0:31:32 > 0:31:36so don't get me wrong, the manufacture of them was very much
0:31:36 > 0:31:40on a sort of industrial scale, when you get to this type.
0:31:40 > 0:31:43So when you say embossed and pierced and pressed,
0:31:43 > 0:31:46if you have a sheet of silver, there's a machine
0:31:46 > 0:31:47that you can press down,
0:31:47 > 0:31:50it stamps it and presses it and out comes the silver frame
0:31:50 > 0:31:55- which is then mounted onto the actual backing itself.- Yes.
0:31:55 > 0:31:59Invariably, you get very thin silver on these photograph frames
0:31:59 > 0:32:02which, the trouble is then,
0:32:02 > 0:32:05if you're a keen polisher of silver, you are literally taking
0:32:05 > 0:32:10a layer of metal away each time you polish. It'll eventually go through.
0:32:10 > 0:32:13But I've had a look here and, to be honest with you,
0:32:13 > 0:32:17there's just one or two little areas that might be a little thin,
0:32:17 > 0:32:22but there's no obvious gaping holes, which is a bonus. We like that.
0:32:22 > 0:32:25It looks quite solid from the front, doesn't it?
0:32:25 > 0:32:27- But when you look behind, you can... - I know.
0:32:27 > 0:32:30We'll keep that part hidden, because, as you say,
0:32:30 > 0:32:33- when looked at from the front, well, it does the job, doesn't it?- Yes.
0:32:33 > 0:32:36I can see it amongst others on the grand piano, perhaps,
0:32:36 > 0:32:38- in the music room here.- Yes.
0:32:38 > 0:32:44As far as value goes, have you ever inquired as to its value of anyone?
0:32:44 > 0:32:46- No, I haven't, really.- No?
0:32:46 > 0:32:48- I haven't got much of a clue on that one.- Yeah.
0:32:48 > 0:32:51I think, you know, the idea, name of the show is Flog It!
0:32:51 > 0:32:55So we want to put a sensible price on it and I would suggest
0:32:55 > 0:32:58- putting a figure of £100 to £150. - Right.
0:32:58 > 0:33:01- Now, I would suggest reserving it at £100...- Yes.
0:33:01 > 0:33:05..with maybe just a little bit of discretion. What I don't want to do
0:33:05 > 0:33:08is someone's put off by the felt being a little tired and saying,
0:33:08 > 0:33:10well, you know... So if we get to £90, pretty much the auctioneer
0:33:10 > 0:33:13will sell it, if you're happy at that.
0:33:13 > 0:33:14Yes, yes, I think that would be OK.
0:33:14 > 0:33:18And we'll see if we can't get a photo of Mr Paul Martin in there
0:33:18 > 0:33:21- before the auction.- That would be nice.- It might struggle to sell.
0:33:21 > 0:33:24Oh, dear. How about you instead, then?
0:33:25 > 0:33:26What a charmer!
0:33:26 > 0:33:29It sounds like Will and I will have to battle
0:33:29 > 0:33:31for a place in June's frame.
0:33:31 > 0:33:36As I plan my tactics, it's time for a stroll and I know just the place.
0:33:42 > 0:33:46This is, not surprisingly, known as the Picture Gallery
0:33:46 > 0:33:48and what a fabulous room it is.
0:33:48 > 0:33:51It was used by ladies back in the day to take exercise
0:33:51 > 0:33:53if it was raining outside,
0:33:53 > 0:33:56and as they promenaded backwards and forwards, they could feast
0:33:56 > 0:34:00their eyes on this fabulous artwork, and what a collection it is.
0:34:00 > 0:34:04It was gathered by Robert Spencer, the second Earl of Sunderland,
0:34:04 > 0:34:06in the 17th century. He
0:34:06 > 0:34:09travelled the continent extensively and he was
0:34:09 > 0:34:12the first member of the family to collect on a grand scale.
0:34:18 > 0:34:20Now, time for some real quality.
0:34:20 > 0:34:25Charles is clearly very excited by the enticing item brought in
0:34:25 > 0:34:27by Lynn and Margaret.
0:34:27 > 0:34:29The box is magnificent.
0:34:29 > 0:34:34It's swagged in a great classic style of the refined 1920s.
0:34:34 > 0:34:38But, of course, it's what is within
0:34:38 > 0:34:42that sets my heart racing for so many reasons,
0:34:42 > 0:34:46as I say, hello, it's Cartier, darling.
0:34:48 > 0:34:53Tell me history, your association with these studs.
0:34:53 > 0:34:57Somebody was moving house and they gave us a box of junk to burn.
0:34:58 > 0:35:03- We started rummaging. - I can't believe it. To burn!
0:35:03 > 0:35:05The box came out first in two pieces.
0:35:05 > 0:35:08Yet, it fell to pieces, so we were collecting bits and pieces out
0:35:08 > 0:35:11and suddenly I saw one and I thought, "Oh, that's pretty."
0:35:11 > 0:35:15It's just magnificent, it really is. My voice is a bit of a croak now.
0:35:15 > 0:35:20But the content, you can see, are these mid-1920s Jazz Age
0:35:20 > 0:35:24octagonal enamelled chest studs and they are beautiful.
0:35:24 > 0:35:26They are, aren't they?
0:35:26 > 0:35:29If I take you back to the year 1847,
0:35:29 > 0:35:33that's the year that Louis Francois Cartier
0:35:33 > 0:35:35founded that great jewellers,
0:35:35 > 0:35:38OK, and they really were so important.
0:35:38 > 0:35:40For example, in 1902,
0:35:40 > 0:35:44King Edward VII ordered 27 tiaras from Cartier.
0:35:44 > 0:35:49On the back of that, 1904, he gave Cartier the Royal Warrant.
0:35:49 > 0:35:54In 1940, that most exuberant panther brooch was made for
0:35:54 > 0:35:55Wallis Simpson...
0:35:55 > 0:35:57- Oh, of course, yeah.- ..by Cartier.
0:35:57 > 0:36:01So, the studs are what we call a guilloche enamel with
0:36:01 > 0:36:07the enamel set in a ground which has this vertical radiating design,
0:36:07 > 0:36:08like a sunburst.
0:36:08 > 0:36:14You feel the brightness in them and their lavish, lively design
0:36:14 > 0:36:17encompassed with the border design of blue enamel droplets and
0:36:17 > 0:36:22this beautiful white-framed octagonal order within and
0:36:22 > 0:36:26the backing, we can see on this one, for example, is marked silver
0:36:26 > 0:36:31Cartier with the dress clip to fit them in place on your attire.
0:36:31 > 0:36:33So, what's the plan?
0:36:34 > 0:36:38- Sell it.- Flog it.- Yeah.
0:36:38 > 0:36:40I would like to guide them with a guide price,
0:36:40 > 0:36:46despite their condition, of £1,000 to £1,500. They're wonderful.
0:36:46 > 0:36:49- OK.- That sounds fair.- And I will say to you, I will say to you,
0:36:49 > 0:36:51let the market decide,
0:36:51 > 0:36:54let them compete and let you watch on as we flog it.
0:36:54 > 0:36:56- Sounds good, doesn't it? - We'll be there.
0:36:56 > 0:36:57Well, I'll be there as well,
0:36:57 > 0:37:01and I can't wait to watch that gavel come down.
0:37:01 > 0:37:02Well, that's it, you've just seen,
0:37:02 > 0:37:05our experts have made their final choices of items
0:37:05 > 0:37:08to take off to auction and what a day it's been here at Althorp House.
0:37:08 > 0:37:11- Have you enjoyed yourself, everyone? ALL:- Yes!
0:37:11 > 0:37:12And we've all learned something as well.
0:37:12 > 0:37:15We found some treasures worthy of our location.
0:37:15 > 0:37:18But right now, we need to find out exactly what they are worth.
0:37:18 > 0:37:20This is where it gets exciting. Don't go away -
0:37:20 > 0:37:23anything could happen. We're going to put these items under the hammer
0:37:23 > 0:37:26and here's a quick recap of what we're taking with us.
0:37:26 > 0:37:28So, back to the silent movie era -
0:37:28 > 0:37:30the signed letter by Charlie Chaplin.
0:37:31 > 0:37:35Too good to be hidden away - the pretty silver picture frame.
0:37:35 > 0:37:39And a touch of class - the box of Cartier studs.
0:37:41 > 0:37:44Back at the auction room and June's silver picture frame is facing
0:37:44 > 0:37:48the bidders, with Mark Gilding doing the honours on the rostrum.
0:37:50 > 0:37:53It's a classic look, June. And it smacks of quality.
0:37:53 > 0:37:57- It should have a photograph of you in it.- Oh, that's nice of you.
0:37:57 > 0:38:01That would put the value up and it should be at home still.
0:38:01 > 0:38:02Why do you want to sell this?
0:38:02 > 0:38:06Well, all of my other photographs from my children and grandchildren,
0:38:06 > 0:38:08they're all in these modern frames, you see.
0:38:08 > 0:38:12I know, but do you know what? We can put that in the photo frame.
0:38:12 > 0:38:15That's my younger brother. That's a few years ago now.
0:38:15 > 0:38:18I wouldn't want her to choose... But there's a lovely one here of...
0:38:18 > 0:38:22Oh, look at this! What a dashing gent!
0:38:22 > 0:38:24No, I think this one.
0:38:24 > 0:38:26Hang on, no, let me just black out a couple of teeth.
0:38:26 > 0:38:28They're for you. They're for you, anyway.
0:38:28 > 0:38:30- It's a pity it wasn't a double frame.- Oh, a double!
0:38:32 > 0:38:34All right, look, we're going on now.
0:38:34 > 0:38:39Silver-faced photograph frame by Mander & Sons, Birmingham 1903.
0:38:39 > 0:38:42Bidding here, £65. 65, the frame,
0:38:42 > 0:38:45I'm bid at 65. 70, 80, 90.
0:38:45 > 0:38:47- All the way.- 100.- There we go.
0:38:47 > 0:38:49- Yeah.- New bidding at 100.
0:38:49 > 0:38:53To my left, this time. You're out on my right, it's 100 here.
0:38:53 > 0:38:57At £100. Any more at 100? Selling quickly and away in the room. £100.
0:38:59 > 0:39:02- Well done. That's good.- Very good.
0:39:02 > 0:39:07And someone's got a lovely silver frame that no-one else has got.
0:39:07 > 0:39:10I mean, which one of the children would you pick to put in it,
0:39:10 > 0:39:14- you see?- It's an even harder choice than this one, isn't it?- Isn't it!
0:39:14 > 0:39:18Decisions, decisions! And our next lot got me thinking.
0:39:19 > 0:39:21Chas Chaplin - does that ring a bell?
0:39:21 > 0:39:23Do you know, it didn't to me until I kind of thought about that
0:39:23 > 0:39:25and said, "Ah, Charlie Chaplin!"
0:39:25 > 0:39:27Yes, it's that letter belonging to Babs.
0:39:27 > 0:39:29- I can call you Babs, can't I? - You can, certainly.
0:39:29 > 0:39:31- It is Barbara, though, isn't it, really?- Definitely not Barbara.
0:39:31 > 0:39:34It's never been Barbara? Never, ever, ever?
0:39:34 > 0:39:36- Only my mum used to call me that. - Oh, bless.
0:39:36 > 0:39:39- Usually when I was naughty.- Barbara!
0:39:39 > 0:39:42- Why are you selling this? - Because it's part of Mum's estate.
0:39:42 > 0:39:43It's me and my two brothers -
0:39:43 > 0:39:45I don't think it's fair one of us should keep something like that.
0:39:45 > 0:39:49- No, OK, yeah, you can't really share that, can you?- No, no.
0:39:49 > 0:39:51- Charlie Chaplin. - Such an exciting find.
0:39:51 > 0:39:53When I held it, I thought, "It can talk to me."
0:39:53 > 0:39:56This really is the man himself, Charlie Chaplin,
0:39:56 > 0:39:58- and that was it for me.- Come on, do the walk.- How's the walk?
0:39:58 > 0:40:01- It's like that, isn't it? - Oh, of course!
0:40:01 > 0:40:03How is it?
0:40:03 > 0:40:06Exactly. Sorry!
0:40:06 > 0:40:07Here we go, good luck.
0:40:07 > 0:40:12Charlie Chaplin, a handwritten letter, dated 1915
0:40:12 > 0:40:14and a small collection of postcards
0:40:14 > 0:40:17and a leather wallet that they are all in.
0:40:17 > 0:40:21Bidding will open with me at £45.
0:40:21 > 0:40:24- Come on.- Look at all the hands gone up.- All the hands. 65.
0:40:24 > 0:40:2675. 85.
0:40:26 > 0:40:29- It's hotly contested.- 100. 110.
0:40:29 > 0:40:32120, 130, 140, 150.
0:40:32 > 0:40:34160, 170, 180.
0:40:35 > 0:40:37Are you sure? It's 180.
0:40:38 > 0:40:41200 here, at 210. 220.
0:40:41 > 0:40:43- Wow.- 230.
0:40:43 > 0:40:46240. 250.
0:40:46 > 0:40:47260, 270,
0:40:47 > 0:40:50280, 290.
0:40:50 > 0:40:53300, 320, 340.
0:40:53 > 0:40:56- Wow.- Come on!
0:40:56 > 0:40:58- Babs, this is great!- It's a memory.
0:40:58 > 0:41:01380 on the internet. At 380.
0:41:01 > 0:41:05- £420.- Wow.- I bet it's all American now.- Yeah.- All over the pond.
0:41:05 > 0:41:10420 with the internet competition, then, at £420.
0:41:10 > 0:41:13At 420, you're still out in the room, I'm afraid. It's 420.
0:41:13 > 0:41:16Fair warning, Internet. At 420...
0:41:19 > 0:41:22Well, that is a crack of a hammer, isn't it? The gavel goes down!
0:41:22 > 0:41:24Wonderful, Babs.
0:41:24 > 0:41:26That proves the pen is mightier than the sword, doesn't it?
0:41:26 > 0:41:30I mean, what a great result for that. Chas, it was the Chas.
0:41:30 > 0:41:32Let's go and buy a bottle of bubbly!
0:41:33 > 0:41:36Now, remember Lynn and Margaret's little box
0:41:36 > 0:41:38that got Charles hot under the collar?
0:41:38 > 0:41:41Well, let's see if his excitement was justified.
0:41:41 > 0:41:43Will Gilding is our man with the gavel.
0:41:44 > 0:41:48- Found when you were clearing a house out.- Yes.- Unbelievable.
0:41:48 > 0:41:51- All complete, condition is great as well.- A little bit of...
0:41:51 > 0:41:53- A little bit, but not much. - Not a great deal, no.
0:41:53 > 0:41:56I could not believe it when they came out of this box,
0:41:56 > 0:41:58it was such a wonderful find, it really was.
0:41:58 > 0:42:02And here we are, surrounded by luxury as well, and quality and...
0:42:02 > 0:42:05- I can't wait!- Let's find out what the bidders think, shall we?
0:42:05 > 0:42:07Here we go - it's going under the hammer now.
0:42:07 > 0:42:12Stylish set of six Cartier octagonal buttons in original fitted case,
0:42:12 > 0:42:14of course. Telephones, we have.
0:42:14 > 0:42:19- That's a good sign - commission bids.- At 750, at £750.
0:42:19 > 0:42:21800, 850.
0:42:21 > 0:42:23At £850, at 850 it's here with me.
0:42:23 > 0:42:25It is Cartier, darling.
0:42:25 > 0:42:28£900 bid, thank you, at 900 in the room now. At £900.
0:42:28 > 0:42:34- 1,000.- 1,000 bid, thank you. 1,000 from the telephone. 1,100 bid.
0:42:34 > 0:42:36Do you know, I am so nervous and they're not even mine!
0:42:36 > 0:42:39- Really?- Yeah, yeah, I'm aching.
0:42:39 > 0:42:401,200. 1,300.
0:42:42 > 0:42:441,400 bid. 1,500.
0:42:44 > 0:42:46- 1,500. Good!- Good.
0:42:48 > 0:42:52£1,600 bid on the telephone, 1,600. 1,700.
0:42:52 > 0:42:55At £1,700.
0:42:55 > 0:42:56No, thank you.
0:42:56 > 0:42:59Thank you, telephone bidder. At 1,700 here in the room, at 1,700.
0:42:59 > 0:43:04Last chance at 1,700, be quick online. At £1,700, selling...
0:43:05 > 0:43:08- Yes!- £1,700, well done.
0:43:08 > 0:43:11- Well done! Happy with that, aren't you?- Yeah, yeah, really.
0:43:11 > 0:43:13- What a find as well, and what a way to end today's show!- Thank you.
0:43:13 > 0:43:15Oh, that's all right, it's our pleasure.
0:43:15 > 0:43:17- Thank you for bringing them in. - Thank you.
0:43:17 > 0:43:19We've all learned something and I hope you have as well.
0:43:19 > 0:43:20And what a way to end today's show,
0:43:20 > 0:43:22with a whopping great, big surprise like that.
0:43:22 > 0:43:24A great result for you two.
0:43:24 > 0:43:27Join us again soon for many more surprises, but until then,
0:43:27 > 0:43:29from Market Harborough, it's goodbye.