Bath Flog It!

Steam, hot springs, Romans.

We can only be in one place - Bath.

This is where the story of Bath begins - the famous hot springs.

Developed by the Romans, who first came here to take the cures some 2,000 years ago.

And continuing to make the pilgrimage to Bath is this very brave queue,

who've turned out in all weathers.

They've brought along all their antiques and collectibles,

hoping to get top valuations from our experts -

Catherine Southon and Jethro Marles.

# And just like the guy whose feet are too big for his bed

# Nothing seems to fit

# Those raindrops are falling on my head... #

There's a great turnout here at the Bath Pavilion today.

Jethro's already spotted a little gem.

Vicky, I am so pleased with this little box you've brought in

because right away, it's exciting me.

-Do you know why?

-No, tell me.

-Because of the maker of that box.

-Right. OK.

-Do you know who made that box?

-Cartier.

-You see, you know.

It is a Cartier box. This classic red leatherette -

or leather, in this case -

with a little gold banding around the outside.

That is a Cartier box. So, let's see if it is.

There are copies and fakes.

This looks to be perfectly original. It's got the right amount of wear.

There, in the top, is the Cartier stamp.

We're onto a good start, aren't we?

What have we got inside?

We have...

..a little cigarette holder.

So, tell me about it.

How did you come by it?

It was given to my father.

He worked at what was

one of the first nightclubs in London. It was the Cabaret Club.

They would give gifts to their employees from time to time.

And you knew if you were in favour or out of favour by the sort of gift you were given.

If you weren't given a gift you particularly liked,

-you called it at a coffee pot.

-Why did you call it a coffee pot?

It was just sort of a derogatory term

that was the equivalent of, just a coffee pot.

My dad always called this his coffee pot

because it was a female's cigarette holder.

Right! Did he use it?

My mum used it, yeah. No, I think it was a bit too feminine for him.

Well, let's have a look at the object itself.

First of all, you can't immediately notice any mark by Cartier.

It's in the style of a Cartier piece.

It's got the quality of a piece made by Cartier with these lovely,

little cabochon blue sapphires going around the outside.

"Cabochon" means polished like a pebble, really.

There is a hallmark on the side here

hat tells me that it was made - or assayed - in 1944.

Oh, right!

If you collapse it down...

..around the rim, on the inside,

not only is there a full hallmark,

but also, it says, "Cartier, London."

-Right.

-Because it's cigarettes and because it's smoking,

-there are people that collect that sort of thing, but not that many.

-No.

-And it's not a popular thing any more.

-No.

It's going out of fashion.

I think if you were to put it in the auction, I think we need to say an estimate of 140-180.

-It might sound a bit of an odd estimate.

-Mmm-hmm.

-There's a reason for that.

-OK.

It's sort of suggesting to people that it ought to be worth getting on to £200,

but you can buy it for £140.

Get people interested. I think if you do that, you're going to create the interest.

If we put it in with a reserve at 140, you'd be happy to put it in?

-Yes, I would. Yeah.

-OK, well, let's do that.

-OK.

Judy, thanks very much for coming along today.

Now, this may look to some people some very ordinary china,

but I think it's something quite special here.

If we look very closely,

-we've got some Concorde memorabilia.

-Yep.

How did you actually come to have this?

Well, my sister had an association with a gentleman that she married...

-Mmm-hmm.

-..that has slight connections with the Fleet Air Arm Museum.

-OK.

And his association with it

was that he was one of the first in the area to promote Concorde...

-Right.

-And he was lucky enough to be given the wares.

So, they just gave him a few bits and pieces...

-..to promote Concorde.

-Fabulous!

-Yes.

-And he luckily kept hold of them.

He did. We had a lot more items than this.

Obviously, over the years, it's got broken, we've used it.

-And, um, yes.

-Got rid of everything.

-Oh, you've used it?

-We have.

I remember using the salt and pepper pots at weddings within the family.

Oh, really? Also when everyone came over to tea

you used to get the cups and saucers out and the salt and pepper and...

In those days, you didn't think anything of it.

It was like just crockery and you used it.

If it broke, you just replaced it.

Absolutely. Well, Concorde memorabilia,

I'm having a look at this, really,

because I think it is the collectible of the future.

There was an auction room - an international auction room -

that had a sale of Concorde memorabilia a few years ago

and it did make some big money.

This is possibly some of the earlier crockery.

Some of the later crockery, I think, has got a blue stripe.

If we look very closely underneath,

-it's got the British Airways stamp and Royal Doulton at the top.

-Yep.

What's nice about it is we have the Bristol connection,

so hopefully, selling it locally,

people will be interested from that point of view.

What I really love about it is the salt and pepper. It's so dinky.

Actually, you've got some salt in there too. Wonderful!

Now, it's very difficult to put a value on something like this

because it's going to be a "guesstimate" - not an estimate -

because I haven't sold anything like this before.

With that in mind, we've got one, two, three, four, five bowls,

one plate and the salt and pepper, which are so cute.

-They are very dainty.

-So cute. I'm going to put about £40 to £60 on

and let's hope it takes off.

Chris, two things attracted me to the table.

Your hat and this Scandinavian glass.

I know its Scandinavian. It's either Swedish or Danish.

-Swedish.

-Swedish, is it?

-Do you know much about it?

-A little.

-Go on, tell me.

-Stromberg.

-Yeah.

-Late '60s.

He was a studio artist who I think went to Kosta Boda and worked for them for a while.

Yes, he did for a little bit. Yeah.

Edward Stromberg and he worked with his son, Astor.

The factory had been going since 1876. It was called Lindfors.

Stromberg took it over in 1933.

So, it has good pedigree. It's still going today.

It's got a different name again.

It keeps changing and it keeps evolving.

This is the period that everybody wants right now - early '60s.

It's absolutely stunning. How did you come by it?

I was at auction for some Japanese pieces - two opium pipes.

This came in a box that I hadn't even looked in as part of the lot.

And this generally isn't the kind of kit that you're into then, if you're looking for opium pipes.

I wouldn't have been looking for it, but this was over a year ago.

-I've lived with it and we've had a beautiful relationship.

-Ah!

It's absolutely stunning. Let me just have a look.

It should be signed underneath with a scratched detail.

There it is. I can just see that.

Condition in glass is so important.

Glass is very hard to sell to the purist unless it's in 100% condition.

They don't like little scratches.

-There is one, little, tiny scratch on here and it is just there.

-I see it.

-It's not that deep. I think that one will come out.

-It will.

The trick is, when you're buying glass from a car boot sale or an outdoor fair or something like that,

never buy glass that's being sold in the rain, because you can never tell if the piece is scratched.

Once it's damp or wet, you don't see any scratches.

So, you have to be careful.

OK, I think, this...

if we put it into auction,

will sell for about £120-£140, quite easily.

It is a fashion statement. This is what everybody wants right now.

-Sounds very good to me.

-What did you pay for it?

-Well, I didn't.

-You didn't. It was a freebie in your job lot.

-Exactly.

-What did the job lot cost?

-£30.

-Well, I think...

this will do very, very well in a sale room.

What have we got here? What have you brought along?

I don't know. It's just a wooden panel

that's been inlaid with mother-of-pearl and painted.

OK, so you know that's what it is.

How did you come by it? Where has it been?

My father bought it about 25-30 years ago.

Hopefully, I think, he intended it to go on his narrow boat.

I don't ever remember seeing it on the boat, so I think

it just got put up in the attic and it's been that ever since.

So, he bought it at an antique shop or something?

I think he did, yes, up in the West Midlands where he lived.

How long ago was that then?

It would be about 25 years ago.

-Do you know how all this panel is?

-No. Do you?

I hope I might know.

It is a panel, in fact.

If you look on the side - just here on your side -

there are spaces where hinges have been put.

-Yes.

-So, obviously, this has been hung as a door.

There's also some work gone on underneath here, along the base, where it's been chipped away.

So, maybe it did slot in

and was part of some quite grand piece of furniture.

It must have been quite spectacular.

Now, you know that it's 20 years old -

you think it's older than that.

-20-30.

-Exactly.

It's probably nearer 180 years old.

Good gracious.

So, it's been around quite a long time.

What do you think it's made of? It's inlaid with mother-of-pearl.

I thought it was wood, but I've since been told its papier-mache.

Exactly right.

In order for it to be part of a cabinet, it's been made of wood.

On either side, it's been sandwiched, but with papier-mache.

We all know what papier-mache is.

It can be moulded into the shape.

The great thing is you can decorate it and over-decorate it.

As you've quite rightly said, you've got the mother-of-pearl inlay

up here and then you've got the painting detail which is lovely.

When you look on the top, look at this lovely farmland scene here

with the farm buildings and the lovely mill stream coming down.

-It's an idyllic scene, isn't it?

-Yes.

I think it would have looked lovely on your father's narrow boat.

It's a shame you didn't get round to it.

You've got a central panel here

with this mother-of-pearl frame around the central mother-of-pearl.

Down here, this little chap, here. This little dog.

A personal touch - maybe the family dog.

-Yes.

-Who knows?

-Very sweet.

-There's a little bit of heat damage on here.

It might have been a bit close to a fire - a warm fire - at some time.

Now, this piece itself has come off some...

Probably a grand piece of furniture, I would guess.

Perhaps 1820-1850. It's difficult to date this sort of thing.

But papier-mache types of objects,

that's when they were in their hey-day, really.

As far as value is concerned, what do you think it's worth?

I thought about 40-60.

-I think that would be giving it away a little bit.

-Yes?

I think we ought to say £60-£80.

-Even better.

-I think if it was mine, I wouldn't want to sell it for any less than that.

-Right.

-And we'll put it in the auction with a reserve at 60. How do you feel?

-Lovely.

Among the lots going to auction today

are a couple with impeccable provenance.

Vicky's Cartier cigarette holder

and Judy's selection of Concorde crockery.

Joining them is the Stromberg vase -

part of a job lot - it can ONLY make a profit.

Finally, Ros's decorative painted panel.

Right, the moment I've been waiting for. It's auction time.

We've come down the road to catch up with auctioneer, Marc Burridge, Flog It! favourite.

I can't wait to find out what he thinks about some of our items,

but more importantly, our experts' valuations.

Let's hope we've got it right. Fingers crossed!

It's a packed auction room!

Let's hope there's been plenty of interest in our items.

Here comes our first lot.

The Cartier cigarette holder - 140-180. Will it sell?

It's not PC but it belongs to Vicky. Who've you brought along?

-My sister, Mandy.

-What's her name?

-Mandy.

-Mandy. So, what do you think?

Will it sell? Will it?

-Not sure.

-Well, we're not sure, because smoking things aren't very popular these days.

-But Cartier is, isn't it?

-Yeah.

A great maker's name.

-It is quality, Jethro.

-It is.

Everything's in its favour,

-apart from the fact it's a little cigarette holder.

-Yeah.

-But we'll see.

It might just be the sale room for it, who knows?

There might be a lot of smokers here. Good luck.

It's going under the hammer now.

Cartier, nine-carat gold cigarette holder.

With sapphires, stamped Cartier.

Hallmarked and its box, stamped Cartier.

I've got a couple of bids here with me on the books, starting at 60.

70, 80, 90.

I'm bid £90. 100. 100. 100. 100.

110. Now 120.

£110 only. And 20. All done?

-Yes, late legs.

-130. Now 40.

Last one. Come on.

-One more.

-£140 against you. 140? No.

Against you all then at £130.

Didn't sell it. We were £10 out.

Fixed reserve, and we were £10 out!

Oh, no! I do hate these moments.

That was so close, wasn't it?

Well, that's auctions for you.

You win some and you lose some, but there's never a dull moment.

Right now, I've been joined by Judy and her friend Debbie.

-These are the antiques of the future, Debbie...

-Absolutely.

..and Judy. So, why are they flogging them? That's what I want to know.

Well, it's the sort of thing that sits in the cupboard,

and you don't know quite what to do with it.

It's not that big - it could sit in the cupboard for another 10 years,

and really peak, then it will fly.

I think the key is that they should have been sold

-as soon as Concorde touched down.

-Yes.

Well, there was a big auction then.

They sold off all the engines and all the seats,

but it really is quite rare.

This is quality, what we've got here.

Concorde memorabilia.

I've got to say this joke once - anyone who likes fast food,

now's your chance.

So, it's the tableware designed for Concorde.

What can we say? I've got £20 here.

22, 22... 25, 28, 30.

32, 35, take 40 in the room now. 42?

42? It's £40 in the room. And two?

-42? 42? All done then at £40?

-Oh, he's bidding.

45, 48. 50? 50 bid? 55.

At £50... Anyone else?

All done, selling on £50.

Hammer's gone down. Bang on mid-estimate.

-That's not bad actually.

-That's good.

Well, Judy, are you happy with that?

I had some reservations, and I thought, "Oh, my god, what happens if it doesn't sell?"

But the good thing is, I've found more.

-You've got a lot more at home?

-Yes!

-Well, you know where to bring it, don't you?

-Yes, I do!

We've got a lovely inlaid door panel up for grabs.

Circa 1820s, lots of mother-of-pearl.

Ros, you brought it into the valuation day. Who has joined you?

-My sister, Cynthia.

-So you can remember Dad buying this as well?

-For the narrow boat.

-Yes, that's right.

-So, are you splitting the proceeds?

-Yes.

-£60 to £80. Jethro, will we get that?

-What do you think?

-I think we will.

-It's going under the hammer right now.

-He said we will!

-This is it.

The nineteenth-century black lacquered mother of pearl panel.

Being shown there now. What can we say on this one?

£30, £35. Who's got £40 and 5?

45, 55, £55 in the room.

-And 60?

-Oh, yes. We're there.

And £60? At £55..

I'm selling, make no mistake.

In the room at £55.

The hammer's gone down.

-£55.

-Very good.

-Happy with that?

-Yes, definitely.

-Who's gonna get that then?

-We're splitting it between us.

I think that's a pub lunch, don't you?

Recognise the hat? It belongs to Chris.

Thanks very much for bringing it along.

He wore it at the valuation day, and he said he wouldn't take it off, not even for the auction.

I think it suits you, looks great.

-And it's summer now.

-It is summer, it's really hot.

We've got some studio glass about to go under the hammer. £120 to £140.

Fingers crossed that little scratch won't put too many people off.

The Stromberg Swedish studio glass vase.

Signed on the base. Lot 256. What can we say?

£50 I'm bid. 60, 70, 80, 90...

£100. £110. 110?

At £100 only. 110 in the room.

120, 120...

The lady's bid at £110...

Yes! £110. Bang on the reserve.

It wiped its face, as they say.

Wiped its feet, I always say.

Wiped its face!

Well, not bad for starters.

After all that excitement at the auction, I need a refreshing drink.

There's nothing better than a cool glass of water.

At the heart of this beautiful Georgian city of Bath,

and very much central to its existence, is a natural phenomenon.

It's unique in all of Britain.

Piping hot springs.

With the steaming water bubbling up,

staining everything around it a vivid red,

the springs were a source of mystery and wonder for thousands of years.

Unable to explain it, they were considered the work of the gods.

But when the Romans first conquered Britain in the first century AD,

this sacred site suddenly lay at the heart of a Roman town.

Recognising the curative and sacred powers of the hot springs,

work soon began on the luxurious Roman spa, Aquae Sulis.

One of the many archaeologists drawn to this sacred site is Marek Lewcun.

-Thank you for taking time to speak to us.

-That's a pleasure.

You can see we're at the heart of the complex here.

There's hot bubbles bubbling up in the water there. How is that created?

That water fell on the Mendip Hills just south of here 10,000 years ago,

and it percolates down to a depth of two to three kilometres,

and there the rocks heat it up

then the water comes up here in the heart of Bath.

So that fell 10,000 years ago as rainwater, falling on our ancestors,

which would have been stone-age man?

-That's right.

-It's unbelievable.

How much water actually flows?

-A quarter of a million gallons a day.

-Gosh, that is a lot.

Point out what we're looking at that is actually Roman.

Below the waterline you've got a stone-built reservoir.

Originally it would have been lined with lead.

There are statue bases in there as well.

-Yes.

-Above the waterline, we've got the window here...

-The lovely smiling windows.

-Yes, those are Roman.

What did the Romans use this for initially?

This was the sacred heart of the whole complex.

People would have come here, they would have prayed to the goddess.

They would have made offerings.

They also would have thrown in curses as well.

Prayers might be a more correct way of putting it.

Little pieces of rolled-up lead,

and on that they would have scribed into it -

perhaps somebody would have taken something from them, or stolen it,

and they would have said to the god,

"Make this person have no children" or "Bring bad health upon them."

We've got a collection of 130 curses which people threw in here.

And also, thousands of coins, too.

Many thousands.

There are later stages of architectural development

going on here through the period. Can you point out some of them?

Just above the waterline behind us,

we've got niches which are Norman, that is medieval in date.

As you go up, you've got this decorative stonework - 17th century.

On the right hand side you have the legendary founder of Bath, Bladud.

I was gonna say, who is that character?

-He's King Bladud, and in 863 BC, he was cured of leprosy...

-What, here?

-That's right, here in Bath.

-Wow!

Above that, you go into the Georgian period - the 18th century.

Above that, the 19th century additions at the very top.

Those big sash windows. You can see the whole architectural development.

-That's right. It is 2,000 years worth.

-Yes.

Behind me is the Great Bath, the centrepiece we all recognise.

It really does go to show what master builders the Romans were.

-How significant was this as an achievement for a design and build scheme?

-It's quite incredible really.

This is a big space and it had a huge barrel-vaulted roof over the top of it,

with these great columns supporting that.

You had all the water, which they'd already harnessed, flowing in.

They also had lead pipes, which were taking water into other baths, too.

You had the west baths, the east baths.

It's a huge complex which developed over time - it went through many phases of development.

This was always the heart, the Great Bath in front of us.

That's incredible, the plumbing system that they put in then.

-That's right. We couldn't reproduce this today if we tried.

-No!

So, was it an important part of Roman culture, to take a bath here?

It was. It was a social centre - this is where people hung out.

This is where they relaxed.

People would also have carried out business deals here as well.

So it's a bit like going down the pub. Sort of, wheeling and dealing.

That's right, yes. That sort of place.

Another important element to this site would be the temple.

We're standing in at right now.

You've got to use your imagination - it would have been an open courtyard.

-It wouldn't have this dark ceiling, would it, Marek?

-No.

So, what went on here?

You would have had the Temple of Minerva here just behind us.

And that's her up there?

That's her, she was discovered in a drain in 1727.

At that time, nobody really knew much about Roman Bath.

Now we've got the temple there.

We've only got the steps - there's still an awful lot to be discovered.

What we have got is the pediment, which had the Gorgon's head at the very centre.

It's been described as one of the best Roman temple pediments

in the whole of the Roman Empire, so it's quite an important discovery.

We've still got that.

How important is this site to our knowledge of Roman Britain?

Very important, because it's one of the few places

where you've got quite a lot surviving particularly well indeed.

But also, as a whole complex.

You've got the bathing establishment,

you've got the temple courtyard.

The temple itself - we have more to discover. A lot is still buried.

The courtyard goes beyond where I'm standing here as well. This is just a small area of it.

And I know this site is very sacred to you as well.

Especially that little gully there.

That's right. That's where my career began 25 years ago.

I'd always been interested in archaeology since I was a kid,

and an opportunity arose for somebody to work here,

and I jumped at the opportunity. The rest is history.

-How wonderful.

-Yes.

The fall of the Roman Empire in the 5th century

also meant the end to these magnificent baths,

and the Romans' sophisticated draining system

eventually broke down, flooding the whole area.

All of this was covered in an oozing black mud.

We're back at the valuation day now,

and Catherine's discovered a splendid little heirloom.

Philippa, thank you for coming along to Flog It today.

You've brought along this rather charming and rustic

oil-on-board by a WH Snape.

William H Snape. Where did you get this from?

It was from my mother.

She had it above her piano, and there was a pair.

When she died, we divided the pictures out in lots,

and this was my lot.

Ah, so where's the other?

In New Zealand. It's gone across the seas to New Zealand.

-To family in New Zealand?

-Yes, my sister.

-Right.

Do you know anything about the other one, in terms of the actual scene?

It was a similar scene, in terms of it was a fireside,

and it was an old woman. Slightly longer and more detailed.

It would have been really nice to have the pair,

but we've just got the one.

-It's in New Zealand, I'm afraid.

-A long way to go back and retrieve it.

Nevertheless, we have got quite an interesting picture here.

It is quite solemn. I'm tempted to feel quite sorry for this chap.

He looks like he's been out in the fields all day,

he's come back and is just having a little warm by the fire.

Let's just talk a bit about the artist.

-He was working around 1810, 1820...

-Quite a long time ago.

Yes, I'd probably date this to about 1815, something like that.

The artist tended to paint quite a lot of rural scenes,

and a lot of these rustic pictures - the sort of thing we've got here.

Value-wise, I'd probably think that it would be worth...

If you did have the other one, it would be great -

it would make a huge difference.

It'd probably be worth about £600 - £800.

But on its own like this, I think you'd be looking at £150 - £250.

-How does that sound to you?

-That sounds fine.

It's great because it is on board - it is oil on panel.

It has got wonderful charm.

It is quite... It's not to everyone's taste...

No, including me!

Fair enough! It is quite a sad picture.

What about its pair over in New Zealand?

Is that still with the family?

Yes. I was thinking of putting the money to go on a trip.

Obviously, it won't pay for the whole thing,

-but it'll pay for some of it.

-What a wonderful idea!

You could put the money towards going to see its pair!

Take some good photographs of it before you go,

-so you can remember what it was like.

-Yes.

Now, Eric, you bought this jug - this ewer, this pot,

or whatever you want to call it, in for me to have a look at.

What do you think when you see this? How old do you think it is?

-I think it's about 1920s, '30s.

-Why do you think that?

It's got an Art Nouveau type look to it - the pattern on it.

How did you come by it?

I bought it in an antique shop.

In a box of copper bits-and-pieces,

I found that attractive as a piece of Art Nouveau.

I picked it out of the box.

-How much did you pay for it?

-I paid a fiver for that.

-A whole fiver?

-Yes.

So, you obviously were attracted to it for those reasons,

-and now you're thinking of selling it. Why?

-Yes.

Well, the money I could do with to get a computer...

Well, I tell you what, I'll give you five quid now if you like.

You've got your money back...

-No.

-You think it's worth more than five quid?

-Yes. Right.

What do you think this jug was used for?

-I think it's a coffee pot.

-What makes you think that?

When I got it, underneath it was all burnt -

all black on the bottom, and I thought it's got to be a coffee pot.

-Cos someone's had it over a burner?

-Yes.

-OK.

Any jug, or any utensil that's designed to hold a hot liquid,

will invariably have an insulated handle

to stop heat going into the handle.

This hasn't got any insulation in here,

so you might have had a little bit of bone or ivory

inserted into the handle to stop the heat transmitting into the handle.

So it can't have been...

It won't have been for that. This will be for soft drinks.

For wine or for water.

Now, when you look at this, instantly I think of about 1900.

I think you're right with the Art Nouveau theme,

and I'm also hoping that this is going to be by WMF.

Wuerttembergische Metallwaren Fabriken. I've practised that!

It's a mouthful.

It's a mouthful. If we turn it up and have a look underneath the base.

There is a mark here.

Before WMF used the stamp WMF, they used an ostrich.

So this is slightly earlier than I thought.

It is probably late 19th century.

That is in its favour.

The only thing that I am really unhappy about

is this finial up here.

That is definitely not right.

I added that at a later stage.

It did get knocked off and the guy that I bought it from,

he couldn't find the top of it. So I put that on.

Originally, I think it would have had a finial

that was more of a cross shape, maybe,

because that is what they used to have.

So this sort of works, but it's not very practical.

-That's a stud to go over a screw, isn't it?

-Yes.

-Yes. I knew that!

You weren't going to tell me. A bit cheeky!

The other thing is the damage, the denting around the base here.

A little denting. That is not a real problem,

because that can be dealt with and sorted out.

So, you paid £5.

You've added at least £1 in value by adding that finial!

I think if we take it off and put another one on,

we might increase the value.

As it is, I think an estimate of £30 to £50.

-OK.

-I think that is a fair estimate.

There's WMF. £30 reserve. Do you want to put it in the auction?

Yes, sure.

Sheila, I love French prisoner-of-war work.

This is a beautiful model that you've brought along today.

Where did you get hold of it?

It's been in the family for quite some time.

It belonged to my mother's family.

Her father apparently was a mariner.

Whether he actually had it purchased and made, I don't know.

The understanding is that the rigging

was made from some lady's hair.

Originally, there was some letter

regarding the actual building of it, and the making of it.

But that has got lost.

So you had a letter that gave you all this information?

I didn't, but the family did.

-Right.

-And it's been in my mother's cupboard for years and years.

The actual site where it was made apparently was in Fishponds,

-which was where the French prisoners of war were interned.

-Absolutely.

So it was made... And the building is still there now.

I think the date on it was 1832.

What I really like about this French prisoner of war work is the detail.

And the detail is incredible.

If you look very closely at the hull,

you can see all the individual planks,

the way they've been pinned together.

It's amazing. If you think about the way these people were working,

these prisoners, the conditions that they were in,

and the detail that they go to on these models - it is incredible.

You can see all the little flaps,

with all the cannons just peeping through.

At the front, we have a lovely figurehead,

which has been carved, a warrior figurehead.

And at the back, the beautiful galleried stern.

What I like about it as well, is it's in this lovely display case.

I've seen a lot of these models over the years, in boxwood, and in bone.

Often they're out of their case.

But this is lovely because it's in its original display case.

The main problem with this is the rigging,

and this is what you'll find with many models.

The rigging does deteriorate,

and as these pieces are moved from one display cabinet to the next,

they are going to get damaged.

You can only expect that from 1830s to now.

For somebody to do this, it would cost an awful lot,

to get it repaired and to get it done properly.

Have you any idea on how much it would be worth at auction?

I would have no idea at all.

Not at all.

If I said it would be worth about £500 - £700, how does that sound?

Um, yes...well, yes!

You would like a little bit more?

Probably, yes, probably.

I can put it in at £600 - £800,

because I know it is very dear to you

and you don't want to just let it go.

I'll put it in at £600-£800, protect it with a 600 reserve,

-and let's hope that it makes a lot of money.

-Yeah.

What an incredible piece of local history Sheila's model ship is!

And worth every penny of Catherine's valuation.

Joining it in the sale room, is Philippa's oil painting

and Eric's copper jug.

Let's hope his handiwork on the lid doesn't deter the purists.

Let's see what auctioneer Marc Burridge thinks of Sheila's model ship.

Cracking little lot this, it really is!

This one's something for the purists. It belongs to Sheila.

It's a model of a ship in a case, obviously, you can see that.

It was made by a prisoner of war, just outside Bristol.

Apparently, some of the rigging is made of human hair.

Catherine, our expert, has put £600 - £800 on this.

Yes, it's nicely made.

It's finely detailed for the scale.

Catherine said, age-wise, 1830s, 1840s - do you agree with that?

I think it's possibly a bit earlier,

because 1815 was the end of the Napoleonic wars.

The Battle of Waterloo.

He may have stayed on in England, and carried on making this.

But I think the chap who made this

obviously knew what a ship should look like of that period.

And it's a very good model.

So, really, that should put the value up.

If the piece is slightly earlier.

Well, it's a difficult item to value.

It is, isn't it? How would you value it?

I've had interest, and I hope, fingers crossed,

that we'll get to the reserve.

So, what you're saying is somewhere in the £600-£800 is spot on?

-I hope so.

-With a favourable wind...

-We'll win.

-We could, couldn't we?

Well, good news on the ship.

But first up, it's Philippa's oil painting.

We have a cracking little oil-on-board now.

It's going under the hammer. It belongs to Philippa. Not for much longer.

We need £150-£250.

I hope it gets a lot more than that,

because Philippa is putting the money towards a trip to New Zealand.

-Have you been there before?

-Yes, I have.

Obviously fell in love with it.

I loved it. It was beautiful, a really beautiful place.

Would you like to emigrate there?

Oh, no, no. I love living in England.

But my sister lives in New Zealand, you see, so I'm going to visit her.

Well, it's a cracking little painting.

-Good valuation, I totally agree with that.

-Do you think so?

-Yes.

-Good. Nice to hear that. It's not the most beautiful scene.

He's a very pensive looking gentleman.

-He is.

-Sort of forlorn and worried.

-I hope someone falls for him.

I can relate to that!

I'm very worried right now!

-Philippa, good luck. This is it.

-Oh, wow!

And 171, William H Snape.

Oil on panel, cottage interior

with the elderly man seated beside a fire.

Interest with me on the book at 100.

And 10.

And 20, 130, with me, 40, with me, 150. Who's got 160?

Bids with me, on the book, and selling at £150. Who's got 160?

-Come on, a little bit more.

-All done, then, selling on £150.

That's a sold sound.

That's all right, though, because that was the reserve.

-Money towards the trip, though.

-Something towards the trip.

-Taxi fare!

-A little bit more that that!

Airport taxi there and back.

-Philippa, enjoy New Zealand, thanks for coming in.

-Thanks very much.

Eric's copper jug. Late 19th century.

It is a little bit damaged, but it is stamped WMF.

Unfortunately, Eric can't be with us today, but Jethro is, our expert.

We should get him his £30 - £50, shouldn't we?

I hope so.

There's a lot not in its favour.

The condition is appalling.

But, it is WMF. Wuerttembergische Metallwaren Fabrik - I like to put that in every time I can!

You do! It a real tongue-twister!

But, you know, let's just see what happens.

-Fingers crossed.

-Maybe a restoration project for somebody.

-Yes.

-Maybe.

-We're going to find out right now.

460 is the WMF Art Nouveau designed copper jug.

-Lot 460.

-Here we go.

-Interest here on the book at 30.

Straight in at 30.

38, 38, 38.

8 bid 40, and two. At £40 with me.

-About right, isn't it?

-£40. Bid's on the book. Selling on £40, then.

Spot on, Jethro!

-Gosh, I'm getting a few right today!

-You are!

You're getting them bang in the middle.

I'm glad we're taking a picture of this - it doesn't happen every day!

-That's good.

-I'm pleased for Eric.

We'll get on the phone and we'll tell him straightaway.

This is the moment I've been waiting for, and probably you.

The highlight of today's show - that gorgeous model ship.

So much detail in the glass case.

Brought in by Sheila. And who have you brought?

-This is Jen, my sister.

-Your sister. Hello, how do you do?

-It's gorgeous, this little vessel, isn't it?

-Mmm.

It really is. The detail is superb.

We're looking at £600-£800.

Which is what Catherine, our expert, has put on this.

I had a chat to the auctioneer earlier.

You don't know this, but he said he agrees with Catherine.

You couldn't make it for £800, could you?

-No.

-The work that's gone into that.

Months and months of painstaking, beautifully-modelled work.

It should exceed that.

Very nice, Napoleonic, French prisoner-of-war

boxwood model of a 62-gun ship of the line.

In its glass case.

-I'm starting here, £500. And 50, 600.

-Good.

650, 700, 750, with me. £800 now.

It's with me at £750... 800, 850, 900.

-Gee whizz!

-900, 950, 1,000.

And 50. 1,100...

..and 50. 1,200...

..and 50. 1,400.

-That's brilliant.

-..and 50 with me.

And 50 with me.

So quiet and so tense. We've now gone up to 1,600.

1,650, 1,700...

1,750, 1,800.

1,850...

1,900.

Do you want to go £2,000? £2,100.

£2,000!

-£2,200!

-£2,200!

£2,400. £2,500.

£2,600.

£2,600!

£2,700.

£3,000.

£3,400.

£3,600.

£3,900.

£4,000. £4,200.

£4,300, I am bid.

£4,400.

-£4,400.

-What do you think about this?

I'm lost for words.

-I don't know.

-£4,500 anyone?

On the phone at £4,400. Selling at £4,400.

£4,400!

We didn't think it would even sell, did we?

I was hoping for four figures.

-I was thinking, yes...

-About £1,000.

What are you going to do with £4,400?

You couldn't even start to think about it, can you, really?

If Catherine had said to you at the valuation day,

"This is so rare and valuable, it's worth nearly five grand,"

would you have kept it?

Probably... I don't know, I don't know.

-I don't know.

-You're shocked, aren't you?

-I am.

-We've got tears.

I am completely shocked. >

I'm baffled. Maybe they're just in love with its original, crisp condition.

It's never been on the market. It's fresh...

-True.

-That is what is so collectible.

It's not dealer property.

-No, it's not.

-It's private property.

Thank you so much for bringing this in.

-They're terrified!

-Yes.

What a wonderful moment. All we can say is, "Job done."

Well, what about that for sale of the day?! Sheila and Jan's model ship.

It was built by a French prisoner-of-war,

and it sailed out of here for seven times its original estimate.

What a great day! Sadly, that's all we've got time for.

From the Clevedon sale rooms,

it's time for us to weigh anchor. See you next time.

You can join the Flog It! team in the coming weeks.

We're going to be at the City Hall in Belfast

on the Sunday 24th September.

Later on, we're going to Wolverhampton,

Windermere and Penzance. So, come on,

get the best advice on your antiques

when the doors open at 9.30am.

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