Browse content similar to Norfolk. Check below for episodes and series from the same categories and more!
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Norwich is one of Britain's oldest cities | 0:00:33 | 0:00:36 | |
and it was made prosperous by wool and trade with Europe. | 0:00:36 | 0:00:39 | |
During the Middle Ages, | 0:00:39 | 0:00:40 | |
its impressive city walls made it larger than London. | 0:00:40 | 0:00:43 | |
Today, it has more than 1,500 historic buildings | 0:00:43 | 0:00:48 | |
within its walled centre, | 0:00:48 | 0:00:50 | |
making Norwich the most complete medieval city in Britain. | 0:00:50 | 0:00:54 | |
One of Norwich's historic buildings is our venue for today - | 0:00:59 | 0:01:02 | |
The magnificent St Andrew's Hall. | 0:01:02 | 0:01:04 | |
Already, we've got a massive queue lined up outside | 0:01:04 | 0:01:07 | |
to have their antiques and collectables valued. | 0:01:07 | 0:01:10 | |
On hand, we've got experts - | 0:01:10 | 0:01:11 | |
Philip Serrell, who's trucking along. | 0:01:11 | 0:01:13 | |
And also, he's joined by Mr Mark Stacey, | 0:01:13 | 0:01:15 | |
ready to blow his own trumpet... | 0:01:15 | 0:01:17 | |
SPLUTTERING NOISE | 0:01:17 | 0:01:19 | |
Or not! | 0:01:19 | 0:01:21 | |
Well, I wonder who's going to win the race to value the first item | 0:01:21 | 0:01:24 | |
and get to the famous "Flog It!" blue tablecloths? | 0:01:24 | 0:01:27 | |
Well, it is now 9:30am. I think it's time to find out. | 0:01:27 | 0:01:30 | |
Let's get this queue inside and get the show on the road. | 0:01:30 | 0:01:33 | |
Ready to blow them all in? | 0:01:33 | 0:01:34 | |
HE PLAYS TRUMPET | 0:01:34 | 0:01:37 | |
This is interesting, | 0:01:44 | 0:01:46 | |
as we've got a child's tea set, produced for Chad Valley. | 0:01:46 | 0:01:50 | |
-Yes. -And it's interesting that its "Muffin the Mule, | 0:01:50 | 0:01:54 | |
"copyright, Muffin Syndicate 1950." | 0:01:54 | 0:01:56 | |
-So, we know it's later than 1950. -Yes. -Can you be more precise? | 0:01:56 | 0:01:59 | |
-'57. 1957, when I was 7. -That very accurate. When you were 7? | 0:01:59 | 0:02:03 | |
-When I was 7, yes. -Let me do the maths here. | 0:02:03 | 0:02:06 | |
-So, we now know that you're 21. -I am. | 0:02:06 | 0:02:08 | |
Well, I think that's really nice. This is your childhood? | 0:02:08 | 0:02:11 | |
It is, yes. | 0:02:11 | 0:02:14 | |
I can remember Muffin the Mule. | 0:02:14 | 0:02:15 | |
It was the year we got our first television, so this was on TV. | 0:02:15 | 0:02:19 | |
That little black-and-white screen, about that big, and a big wooden box. | 0:02:19 | 0:02:23 | |
-A Pye. -A Pye? -A Pye, yes. | 0:02:23 | 0:02:25 | |
-Those were the days. -Yep. | 0:02:25 | 0:02:27 | |
-Why do you want to sell this? -It's sitting doing nothing. | 0:02:27 | 0:02:29 | |
-Yeah, but, it's your childhood memories. -I've got lots of memories. | 0:02:29 | 0:02:33 | |
-Don't need this. -Well, that's nice. | 0:02:33 | 0:02:35 | |
One thing that really interests me about this, | 0:02:35 | 0:02:38 | |
-it is in mint condition, isn't it? -Yes. | 0:02:38 | 0:02:40 | |
We've got the original box. | 0:02:40 | 0:02:41 | |
We've got Muffin the Mule, here | 0:02:41 | 0:02:43 | |
and then you've got Louise and who else have we got? | 0:02:43 | 0:02:46 | |
There's Grace the Giraffe, | 0:02:46 | 0:02:48 | |
and we've got Peregrine the Penguin | 0:02:48 | 0:02:52 | |
and Oswald the Ostrich. | 0:02:52 | 0:02:54 | |
-You could have been Dorothy the Duck, couldn't you? -Indeed, yes! | 0:02:54 | 0:02:57 | |
Bet you wouldn't have sold it then! | 0:02:57 | 0:03:00 | |
So, now it's got to go. | 0:03:00 | 0:03:02 | |
Yeah, it has. | 0:03:02 | 0:03:03 | |
-I think we can estimate this at 30 to £50. -Really? -Yep. | 0:03:03 | 0:03:07 | |
And we will put a fixed reserve of £25. | 0:03:07 | 0:03:10 | |
-Are you pleased with that? -I am, yes. -Really? | 0:03:10 | 0:03:12 | |
I'd, sort of, thought 15 or £20, something like that... | 0:03:12 | 0:03:15 | |
All your memories for 15 quid? | 0:03:15 | 0:03:17 | |
Yeah, but this is...it's not just memories, is it? | 0:03:17 | 0:03:20 | |
No, I suppose not. | 0:03:20 | 0:03:22 | |
I'm not going to use it. I've no daughters to give it to. | 0:03:22 | 0:03:25 | |
Or any grand-daughters. | 0:03:25 | 0:03:27 | |
It's going to get sold. What are you going to spend the money on? | 0:03:27 | 0:03:31 | |
If it goes and makes 50 quid, what will that go on? | 0:03:31 | 0:03:34 | |
Well, it's my husband's big birthday coming up | 0:03:34 | 0:03:36 | |
and we're going away to Cambridge, so I'll put it towards that. | 0:03:36 | 0:03:40 | |
That will be really good. Some lovely museums there. | 0:03:40 | 0:03:43 | |
-Some wonderful paintings in the colleges. -We want to go to King's College to hear the choir. | 0:03:43 | 0:03:47 | |
Well, you enjoy. Let's hope that Muffin does really well for you. | 0:03:47 | 0:03:51 | |
-Peter, Marguerite, good afternoon to you. -Hello. | 0:03:55 | 0:03:59 | |
You've brought a rather interesting painting in to show us. | 0:03:59 | 0:04:03 | |
What's the family history? | 0:04:03 | 0:04:04 | |
My dad knew the artist, Popham. | 0:04:04 | 0:04:08 | |
He bought this painting about 50 years ago. | 0:04:08 | 0:04:11 | |
It's hung on my parents' sitting room wall until we sold the house | 0:04:11 | 0:04:17 | |
and it's been in a little bedroom in our house, | 0:04:17 | 0:04:19 | |
not shown to very good advantage ever since. | 0:04:19 | 0:04:22 | |
-Do you like it, Marguerite? -I'm afraid to say, I don't. | 0:04:22 | 0:04:26 | |
It's one of those paintings that either you really like, | 0:04:26 | 0:04:31 | |
or you really dislike it. It is a bit on the heavy side. | 0:04:31 | 0:04:34 | |
It's got those very thick brush strokes. | 0:04:34 | 0:04:37 | |
You're right, it's signed down here, John Kidwell Popham. | 0:04:37 | 0:04:42 | |
Born in 1884. No recording of his death, | 0:04:42 | 0:04:44 | |
but I'm sure he is long gone by now in 2007. | 0:04:44 | 0:04:48 | |
And it's really from that sort of modern British school, | 0:04:48 | 0:04:53 | |
the use of those very heavy brush strokes, | 0:04:53 | 0:04:56 | |
the very earthy, autumnal colours. | 0:04:56 | 0:04:58 | |
I love it, I have to say. I love this style of painting. | 0:04:58 | 0:05:02 | |
It's obviously a rural scene here in East Anglia, | 0:05:02 | 0:05:06 | |
because he was an East Anglian artist. | 0:05:06 | 0:05:08 | |
Which is a nice connection to our trip to Norwich today. | 0:05:08 | 0:05:11 | |
It's in this rather older looking frame, isn't it? | 0:05:11 | 0:05:14 | |
this Rococo-type frame, which I don't think suits it. | 0:05:14 | 0:05:17 | |
I think it needs to be in a much simpler frame. But, you know, | 0:05:17 | 0:05:21 | |
we've got this lovely detail here, and the signature too. | 0:05:21 | 0:05:23 | |
We've got these wonderful... items in the background there. | 0:05:23 | 0:05:27 | |
-Now, you were telling me a story about that. -That's right. | 0:05:27 | 0:05:31 | |
My father knew the artist, as I say, and, erm...apparently, | 0:05:31 | 0:05:34 | |
Mr Popham said to Dad that there was a lady | 0:05:34 | 0:05:37 | |
who saw the picture, and she said, "Oh, I can imagine playing on those haystacks," | 0:05:37 | 0:05:41 | |
and he said, "I am sure not, madam. They are manure heaps." | 0:05:41 | 0:05:44 | |
HE LAUGHS Well, If I owned it, I'd prefer to look at them, actually, as haystacks. | 0:05:44 | 0:05:50 | |
-So I'm with the lady on that! -Right. | 0:05:50 | 0:05:52 | |
Have you ever thought about the value? | 0:05:52 | 0:05:54 | |
Not really. Erm... | 0:05:54 | 0:05:57 | |
-I looked up Popham on the internet and found a 19th-century artist, who obviously wasn't the same man. -No. | 0:05:58 | 0:06:05 | |
-I couldn't find this one. -We've looked it up, | 0:06:05 | 0:06:07 | |
and this particular artist sells anywhere from... | 0:06:07 | 0:06:11 | |
under £50 up to about £400-£500. | 0:06:11 | 0:06:14 | |
And I think, if this had been a summer's day, with children playing or something, | 0:06:14 | 0:06:18 | |
-then obviously we'd be up to the end of... -Yeah. | 0:06:18 | 0:06:21 | |
..the upper end of that estimate. I would suggest we put £150-£200 on it, | 0:06:21 | 0:06:27 | |
with a reserve at £100 to protect it, so we don't give it away. | 0:06:27 | 0:06:30 | |
-Sure. -How do you feel about that? -That's fine. Thank you. -Perfect. -Thank you very much. | 0:06:30 | 0:06:34 | |
-How are you, Cynthia? -Yes. -Where did these come from? | 0:06:38 | 0:06:41 | |
-These came originally from Brighton. -So, how long have they been in your family? | 0:06:41 | 0:06:45 | |
My dad bought them in an auction. | 0:06:45 | 0:06:47 | |
We'd just come back from Australia and we had no furniture | 0:06:47 | 0:06:50 | |
-and he went to the auction to buy furniture and bought these. -Why? | 0:06:50 | 0:06:54 | |
-I think he just liked them. -Do you like them? | 0:06:54 | 0:06:57 | |
Not that keen on them, no. | 0:06:57 | 0:06:58 | |
What's your forte? | 0:06:58 | 0:07:01 | |
I prefer Lowestoft. | 0:07:01 | 0:07:02 | |
Really? That's a bit different. | 0:07:02 | 0:07:04 | |
So, you got into Lowestoft collecting because of the local connection? | 0:07:04 | 0:07:09 | |
Well, I've always been interested in porcelain and I've got a few Worcester pieces. | 0:07:09 | 0:07:14 | |
-Have you? -A few teapots. Three, I think, I've got. | 0:07:14 | 0:07:18 | |
But these, now, don't have a place in that collection? | 0:07:18 | 0:07:21 | |
-Well, no. They take up precious room in the cabinet. -Yeah? | 0:07:21 | 0:07:26 | |
You'd rather get rid of these and make way for the Lowestoft? | 0:07:26 | 0:07:29 | |
Well, if I could afford any decent Lowestoft. | 0:07:29 | 0:07:31 | |
I couldn't afford anything like that in Lowestoft. | 0:07:31 | 0:07:34 | |
Just for the viewers at home, if this were a pair of Lowestoft figures, | 0:07:34 | 0:07:38 | |
what would you have to pay for them at auction? | 0:07:38 | 0:07:41 | |
Let me guess. £6,000? | 0:07:41 | 0:07:43 | |
-I would think more than that. -More? | 0:07:43 | 0:07:45 | |
So, let's say 6000 to £9,000 at an auction, if these were Lowestoft. | 0:07:45 | 0:07:50 | |
They wouldn't be as fancy and they wouldn't be as colourful, I don't think. | 0:07:50 | 0:07:54 | |
Lowestoft did make sheep, but much smaller and plainer. | 0:07:54 | 0:07:58 | |
-I think it's fair to say that these aren't worth £6,000. Is that a fair comment? -Probably, yes! | 0:07:58 | 0:08:04 | |
I think these are quite late. | 0:08:04 | 0:08:06 | |
There's a little bit of blistering on the back. | 0:08:06 | 0:08:08 | |
They're spill vases, | 0:08:08 | 0:08:10 | |
so they would have sat, perhaps, on a mantelpiece or by a fire, | 0:08:10 | 0:08:13 | |
with spills in and tapers, so you would light your pipe, or whatever. | 0:08:13 | 0:08:18 | |
I think they date to about 1880, perhaps 1900. | 0:08:18 | 0:08:21 | |
-I think they're worth at auction between £30 and £50. -Oh, really? Not a lot, is it? | 0:08:21 | 0:08:27 | |
That's absolutely set your face on fire, hasn't it? | 0:08:27 | 0:08:30 | |
Go on, then! "That's not a lot, is it?" No, it's not going to buy you a pair of Lowestoft sheep, is it? | 0:08:30 | 0:08:35 | |
-No, it's not. -You wanna sell them? -Yes, I think so. | 0:08:35 | 0:08:39 | |
-We're going to go and sell them? -They've got to go. -Out to pasture? | 0:08:39 | 0:08:42 | |
-Yes, definitely. -Good enough. | 0:08:42 | 0:08:45 | |
Now, Edna, you've brought a wonderful piece of Moorcroft pottery for us. | 0:08:54 | 0:08:58 | |
Where on earth did you get it? | 0:08:58 | 0:09:00 | |
-Well, it was left by my husband's auntie. -Oh, yes? | 0:09:00 | 0:09:03 | |
And...it's been in the cabinet | 0:09:03 | 0:09:07 | |
and now we've got all modern China, | 0:09:07 | 0:09:10 | |
therefore, we don't want it to get broken. | 0:09:10 | 0:09:13 | |
That's why we thought we'd sell it. | 0:09:13 | 0:09:15 | |
Bring it along and get it valued. | 0:09:15 | 0:09:18 | |
Well, we know straightaway it's William Moorcroft. | 0:09:18 | 0:09:21 | |
This wonderful use of colour, the decoration. | 0:09:21 | 0:09:24 | |
This very, sort of, fanciful pattern on it. | 0:09:24 | 0:09:27 | |
It's known as the landscape pattern. | 0:09:27 | 0:09:30 | |
We're looking at a date of around 1900, 1902, something like that. | 0:09:30 | 0:09:36 | |
It's a very early piece from when he started work at the MacIntyre's factory. | 0:09:36 | 0:09:41 | |
-Oh, yes? -He was brought in to create art nouveau designs, | 0:09:41 | 0:09:45 | |
so this is amongst the first of his designs. And when we look underneath, | 0:09:45 | 0:09:50 | |
we can see very clearly the Florian Ware mark | 0:09:50 | 0:09:54 | |
and we can see, "W Moorcroft, Des." | 0:09:54 | 0:09:57 | |
Which stands for designer. | 0:09:57 | 0:09:59 | |
-Oh, designer. -Now, it's a lovely tactile piece. | 0:09:59 | 0:10:03 | |
And it's going to appeal to the market, I think, | 0:10:03 | 0:10:06 | |
very nicely indeed. Have you ever thought of the value? | 0:10:06 | 0:10:10 | |
Well, we did have it valued and it was £1,200 we had it valued at. | 0:10:10 | 0:10:16 | |
Well, that's a very precise valuation, of course, because when we put something into auction, | 0:10:16 | 0:10:22 | |
we have to put an auction estimate. | 0:10:22 | 0:10:24 | |
And I would say, if we were putting this in now, | 0:10:24 | 0:10:28 | |
-we would suggest 8 to £1,200, with a reserve of 800. -Reserve, yep. | 0:10:28 | 0:10:33 | |
But I don't think we need to worry. I think it's going to sell above that | 0:10:33 | 0:10:37 | |
because the market is very strong at the moment for Moorcroft. | 0:10:37 | 0:10:40 | |
-And I can see two determined bidders wanting that. -Yes. | 0:10:40 | 0:10:45 | |
And why have you decided to flog it now? | 0:10:46 | 0:10:49 | |
We have three holidays a year and it will go towards those! | 0:10:49 | 0:10:52 | |
-You lucky woman. -And we spend a month at a time there. | 0:10:52 | 0:10:56 | |
-And where on earth is this magical place? -Guardamar. | 0:10:56 | 0:11:00 | |
-Oh, in Spain? -Yes. -And you own a place? -Yes. -Oh, wonderful. | 0:11:00 | 0:11:04 | |
Well, if it does really well, maybe you can pack me in your suitcase and I'll come over for a week? | 0:11:04 | 0:11:09 | |
-Yes, that's right! -Wonderful. | 0:11:09 | 0:11:11 | |
It's hard to imagine how people can abuse an animal, especially as sweet as these two here. | 0:11:19 | 0:11:25 | |
But, unfortunately, some people out there do. | 0:11:25 | 0:11:27 | |
Every year, hundreds of horses, ponies and donkeys have to be rescued from abuse and neglect. | 0:11:27 | 0:11:35 | |
Many of these horses are found in appalling conditions all around the country. | 0:11:37 | 0:11:41 | |
But here in Norfolk, they've been given a home where they receive proper care and medical treatment. | 0:11:41 | 0:11:46 | |
Some live out their lives here and others are retrained | 0:11:46 | 0:11:49 | |
so they can live a happy, working life with a new family. | 0:11:49 | 0:11:53 | |
This is Redwings Horse Sanctuary just outside Norwich, | 0:11:55 | 0:11:58 | |
where rescued horses aren't just put out to pasture. | 0:11:58 | 0:12:01 | |
I'm here to meet Nicola Markwell, who's gonna explain the philosophy behind the centre. | 0:12:01 | 0:12:06 | |
I gather most of the horses here get a second chance in life, | 0:12:11 | 0:12:15 | |
cos they get reschooled and, hopefully, rehomed. | 0:12:15 | 0:12:18 | |
That's the plan. We're fortunate as we are a sanctuary as well. | 0:12:18 | 0:12:21 | |
So, we have are the option that, | 0:12:21 | 0:12:22 | |
if they don't suit a life in a home or if they had medical problems, | 0:12:22 | 0:12:26 | |
they can stay here in our care. | 0:12:26 | 0:12:27 | |
This is the largest horse sanctuary in the UK, how many horses are here? | 0:12:27 | 0:12:31 | |
That's right, we have 1,150 in total. | 0:12:31 | 0:12:34 | |
1,150? How many staff have you got here? | 0:12:34 | 0:12:37 | |
-250, and they all work so hard. -And you all love you jobs? -We love it. | 0:12:37 | 0:12:41 | |
And every horse, like these, is an individual case, I guess? | 0:12:41 | 0:12:44 | |
You can bond with every single one? | 0:12:44 | 0:12:46 | |
Yes, and they are all different, it's amazing. | 0:12:46 | 0:12:48 | |
What is it with some people, why do they neglect and abuse such beautiful creatures? | 0:12:48 | 0:12:53 | |
What is going on in their minds? | 0:12:53 | 0:12:55 | |
That's the 1,000,000 question. A lot of it is more ignorance than deliberate cruelty. | 0:12:55 | 0:12:59 | |
People take on horses with no idea how expensive they are and how much care they need. | 0:12:59 | 0:13:04 | |
And then they panic - we often see a lot of neglect cases where people have just lost hope and panicked. | 0:13:04 | 0:13:09 | |
We get about 3,000 calls a year to our helpline which is suspected cases of concern and neglect. | 0:13:09 | 0:13:15 | |
And you've got to follow up all those calls? | 0:13:15 | 0:13:17 | |
Yes, we've got welfare advisers who can assess the situation. | 0:13:17 | 0:13:20 | |
Then we can send our own horse boxes and handling team. | 0:13:20 | 0:13:23 | |
It's amazing how quickly they turn around. They can be so poorly, | 0:13:23 | 0:13:27 | |
-but with some good feed... -And love. -..And love, they turn around amazingly well. | 0:13:27 | 0:13:31 | |
Who've we got here? | 0:13:38 | 0:13:39 | |
This is Gulliver. Come here, sweetheart. | 0:13:39 | 0:13:42 | |
He's only a baby. He's only 14 months old. | 0:13:42 | 0:13:47 | |
-Oh, he's beautiful. -He is beautiful. | 0:13:47 | 0:13:49 | |
He's not ready for rehoming yet, | 0:13:49 | 0:13:50 | |
-but we've got him down here so he can have some handling work with our team. -Where did you find him? | 0:13:50 | 0:13:55 | |
With his mother at just a few months old. | 0:13:55 | 0:13:58 | |
She was in a very poor state, very skinny. | 0:13:58 | 0:14:00 | |
She'd been giving all her nutrition to him, through her milk. | 0:14:00 | 0:14:03 | |
-So, he was in fine condition. -Is she here too? | 0:14:03 | 0:14:06 | |
She's at our Ada Cole rescue centre in Essex. | 0:14:06 | 0:14:08 | |
She's got lameness problems, so she'll stay in our care now. | 0:14:08 | 0:14:12 | |
-Beautiful. -She's made a great recovery, we're very pleased. | 0:14:12 | 0:14:15 | |
Something's caught my eye down there. Look at this. | 0:14:15 | 0:14:17 | |
-Ah! -Aah...a little Shetland. -Hello! | 0:14:17 | 0:14:21 | |
I just noticed on his chart, he's called Roquefort. | 0:14:21 | 0:14:24 | |
Yes, he's part of our cheesy group! That's why he's called Roquefort. | 0:14:24 | 0:14:27 | |
We've also got a Camembert, an Edam and a Mozzarella. | 0:14:27 | 0:14:30 | |
We rescue them in groups and so we give them group names, so that later, | 0:14:30 | 0:14:34 | |
when they are rehomed or move about the sanctuary, we know where they came from. | 0:14:34 | 0:14:38 | |
We also have a chocolate group, American states, | 0:14:38 | 0:14:40 | |
Lord Of The Rings, you name it, we've got it! | 0:14:40 | 0:14:43 | |
-I guess you have to do that, there are so many horses here. -Absolutely. | 0:14:43 | 0:14:47 | |
The staff all name them and enjoy coming up with the names. | 0:14:47 | 0:14:50 | |
It's so easy to fall in love with a little Shetland. | 0:14:50 | 0:14:53 | |
He's got a naughty glint in his eye, I think! | 0:14:53 | 0:14:55 | |
Yes, he has. | 0:14:55 | 0:14:57 | |
-Horses and ponies that have a bit of character are much more fun than really docile ones. -Absolutely. | 0:14:57 | 0:15:02 | |
They've all got their own personalities. They're full of life, they're brilliant. | 0:15:02 | 0:15:06 | |
Roquefort's gotta do some work. Would you like to take him out? | 0:15:06 | 0:15:09 | |
I would love to, I'll lead him. | 0:15:09 | 0:15:11 | |
Obviously, you've got to exercise them every day, but do you work them every day or every other day? | 0:15:11 | 0:15:17 | |
Yes, they do have a break. But we try to keep them in work. | 0:15:17 | 0:15:20 | |
Look at this! | 0:15:20 | 0:15:22 | |
It's like taking Bluebell for a walk. | 0:15:22 | 0:15:24 | |
Good boy. | 0:15:26 | 0:15:27 | |
Here we go. | 0:15:28 | 0:15:30 | |
And the sun's come out, as well. | 0:15:30 | 0:15:32 | |
Shall I hand Roquefort over to you? | 0:15:34 | 0:15:36 | |
-Yes, please. -There you go. | 0:15:36 | 0:15:38 | |
-Emma, pleased to meet you. -Hi. | 0:15:38 | 0:15:39 | |
What a lovely all-weather arena. | 0:15:39 | 0:15:43 | |
Yes, come rain or shine, we don't get any mud in here and keep going. | 0:15:43 | 0:15:47 | |
And I can see you're lunging and long-reining? | 0:15:47 | 0:15:49 | |
Yes, we've got the three stages of training going on today. | 0:15:49 | 0:15:52 | |
Lunging, long-reining and the backing and breaking process. | 0:15:52 | 0:15:56 | |
The horses that we get in here have never been ridden before. | 0:15:56 | 0:15:59 | |
So, we have to train them to accept the rider's weight and someone on their back. | 0:15:59 | 0:16:03 | |
-And, who's this? -This is Milky Way. | 0:16:03 | 0:16:06 | |
Milky Way, aww! | 0:16:06 | 0:16:08 | |
He's from the chocolate group. | 0:16:08 | 0:16:10 | |
And what are you going to do with him right now? | 0:16:11 | 0:16:14 | |
We start with basic leading, | 0:16:14 | 0:16:15 | |
just to make sure the horses are handleable and comfortable with us being around them... | 0:16:15 | 0:16:20 | |
That's the most important thing, to bond with a human being. | 0:16:20 | 0:16:23 | |
Otherwise, you can't pass them on, you can't rehome them? | 0:16:23 | 0:16:27 | |
That's right. They've got to be comfortable around humans and really happy with us. | 0:16:27 | 0:16:31 | |
And then we add the tack - the bridle, | 0:16:31 | 0:16:33 | |
the lunge caverson and the saddle. | 0:16:33 | 0:16:35 | |
And then, we move on to lunging, | 0:16:35 | 0:16:38 | |
which is where the horse is receptive to the human voice - the first natural aid. | 0:16:38 | 0:16:44 | |
And here, we've got somebody just putting some weight on the back of a horse. This is the scary bit! | 0:16:44 | 0:16:49 | |
Yeah, we've got Karen, Marie and Bounty behind us, here. | 0:16:49 | 0:16:52 | |
Bounty is also from the chocolate group. | 0:16:52 | 0:16:55 | |
What they're doing is getting the horse ready to accept the weight | 0:16:55 | 0:16:59 | |
and also gradually putting weight onto the pony's back. | 0:16:59 | 0:17:03 | |
Providing you've done the build-up work correctly, | 0:17:03 | 0:17:06 | |
generally, they're quite good to be sat on for the first time. | 0:17:06 | 0:17:10 | |
It must be quite sad when, | 0:17:10 | 0:17:12 | |
after two or three years of rehabilitation, reschooling, | 0:17:12 | 0:17:16 | |
bonding, falling in love with the chocolate family, the cheese family, | 0:17:16 | 0:17:21 | |
and then you have to say goodbye. You must get tearful? | 0:17:21 | 0:17:24 | |
Well, the staff do get attached but they know that when they go out into the home, | 0:17:24 | 0:17:28 | |
they can have the one-to-one attention that, | 0:17:28 | 0:17:31 | |
when we're working with such a large group of horses, we can't give. | 0:17:31 | 0:17:34 | |
And it's really the end aim to get the horse out into a home | 0:17:34 | 0:17:39 | |
and to have one-to-one attention with a new guardian. | 0:17:39 | 0:17:41 | |
-That's the goal, isn't it? -Yes. | 0:17:41 | 0:17:43 | |
So, while we're sad to see them go, we're happy that they're moving on. | 0:17:43 | 0:17:47 | |
-It's a happy tear in the eye, isn't it? -That's right. | 0:17:47 | 0:17:50 | |
It's a tear of accomplishment! | 0:17:50 | 0:17:53 | |
-Well, carry on the good work, won't you? -Thank you. | 0:17:53 | 0:17:55 | |
I'll watch everyone at work now, myself. | 0:17:55 | 0:17:58 | |
One of the sanctuary's recent success stories is Owl. | 0:17:58 | 0:18:01 | |
He was among a group of mares and foals rescued by Redwings in 1994. | 0:18:01 | 0:18:06 | |
They were destined for slaughter as they had been running wild on a common and nobody wanted them. | 0:18:06 | 0:18:12 | |
A few months ago, | 0:18:12 | 0:18:13 | |
nine year-old Harry and his mum, Julie, fell in love with Owl | 0:18:13 | 0:18:16 | |
after seeing him in the sanctuary and he moved into his new home. | 0:18:16 | 0:18:20 | |
And with all the staff working so hard, | 0:18:20 | 0:18:23 | |
I'm sure many more rescued horses will be getting a second chance of a better life. | 0:18:23 | 0:18:27 | |
We had plenty to look at in our valuation day in Norwich, but now we're off to auction | 0:18:34 | 0:18:38 | |
to sell the cream of the crop. | 0:18:38 | 0:18:41 | |
Muffin The Mule charmed generations of children. | 0:18:41 | 0:18:44 | |
Let's see if Dorothy's tea service will do the same for the bidders. | 0:18:44 | 0:18:48 | |
Peter and Marguerite's rural scene is pretty as a picture, | 0:18:48 | 0:18:51 | |
but we want to see it whip up a storm. | 0:18:51 | 0:18:54 | |
Next, it's the Staffordshire sheep, | 0:18:54 | 0:18:56 | |
which I think might do better than Philip's valuation of 30 to £50. | 0:18:56 | 0:19:02 | |
And lastly, it's the Moorcroft Florian vase. | 0:19:02 | 0:19:05 | |
it's got the name, but will there be enough collectors there to get the top price for Edna? | 0:19:05 | 0:19:10 | |
Well, I really do enjoy being here at Thomas Gaze and Sons in Diss | 0:19:17 | 0:19:21 | |
because there's always something to see. | 0:19:21 | 0:19:23 | |
You can find some bargains as well. | 0:19:23 | 0:19:25 | |
There's three sales running simultaneously. | 0:19:25 | 0:19:28 | |
We're inside with the antique and fine art auction, but outside, | 0:19:28 | 0:19:31 | |
there's an architectural salvage auction going on at exactly the same time and also, over there, | 0:19:31 | 0:19:36 | |
on that bit of car park over there, there's the agricultural sale. | 0:19:36 | 0:19:40 | |
There really is something for everybody and I've spotted something I would love. | 0:19:40 | 0:19:44 | |
It is a Victorian, cast iron tree guard | 0:19:44 | 0:19:47 | |
and I've just planted a lovely little acer | 0:19:47 | 0:19:50 | |
and I think it will look so sweet in there | 0:19:50 | 0:19:53 | |
and it'll protect it from the horses nibbling at it. | 0:19:53 | 0:19:56 | |
Failing that, it'll be great to grow your runner beans on, wouldn't it? | 0:19:56 | 0:20:00 | |
And today, the auctioneer is our very own Elizabeth Talbot. | 0:20:02 | 0:20:06 | |
Next up, Muffin the Mule memorabilia. | 0:20:08 | 0:20:10 | |
It's that lovely tea set belonging to Dorothy. We've got the tea set, | 0:20:10 | 0:20:14 | |
we haven't got Dorothy. She's on holiday. | 0:20:14 | 0:20:16 | |
She can't be with us today. But we've got our expert, Mr Philip Serrell. | 0:20:16 | 0:20:20 | |
30 to £50 on this. | 0:20:20 | 0:20:22 | |
It's not a lot of money. We thought it was a bit of a "come-and-buy-me" when we had a chat about it. | 0:20:22 | 0:20:27 | |
-What do you mean by that? -Oh, tempt the bidders in. | 0:20:27 | 0:20:30 | |
We think it should be, sort of, 50 to £100, | 0:20:30 | 0:20:32 | |
-because there's quite a bit of lot there. -We'll find out. -We should do. | 0:20:32 | 0:20:36 | |
-I was a Muffin the Mule fan. -So was I. -I never liked Andy Pandy. | 0:20:36 | 0:20:39 | |
Oh no, I liked Andy Pandy. I liked the Flower Pot Men. | 0:20:39 | 0:20:42 | |
-Flobadob. -Flobadob! | 0:20:42 | 0:20:44 | |
They might be saying we're the Flower Pot Men if we get this wrong. | 0:20:44 | 0:20:47 | |
Lot 180, | 0:20:47 | 0:20:49 | |
is the 1950s Muffin the Mule child's tea set, by Chad Valley. | 0:20:49 | 0:20:53 | |
It is complete and I start at £22. | 0:20:53 | 0:20:57 | |
At £22, | 0:20:57 | 0:20:58 | |
25, 28, 30, | 0:20:58 | 0:21:00 | |
2, 35, 38, | 0:21:00 | 0:21:01 | |
40, 2. | 0:21:01 | 0:21:03 | |
42 with me. At 42 now. | 0:21:03 | 0:21:06 | |
45, 48, 50, | 0:21:06 | 0:21:07 | |
5, 60, 5, 70, 5, | 0:21:07 | 0:21:10 | |
85, 90, 5. | 0:21:10 | 0:21:12 | |
95. With me, at 95 now. | 0:21:12 | 0:21:15 | |
-That's a good price. -More like it. | 0:21:15 | 0:21:17 | |
110. 120, 130. | 0:21:17 | 0:21:19 | |
At £130. Are you all done at 130? | 0:21:19 | 0:21:23 | |
-That's what I wanted to see. -That's good. | 0:21:24 | 0:21:27 | |
-That's what I wanted. -It's people buying back their memories. -Exactly. | 0:21:27 | 0:21:30 | |
Well, right now we've got some fine art for all you art lovers. | 0:21:35 | 0:21:38 | |
It's got a lot of local interest. | 0:21:38 | 0:21:40 | |
It's by a local artist and it belongs to Marguerite, here. | 0:21:40 | 0:21:43 | |
You came to the valuation day with your husband. Where's Peter today? | 0:21:43 | 0:21:47 | |
He's just recovering from a minor operation. | 0:21:47 | 0:21:49 | |
-Oh, successful though? He's on the mend? -Yes, he is. | 0:21:49 | 0:21:52 | |
-Give him my best wishes. -Yes. | 0:21:52 | 0:21:53 | |
Mark, you fell in love with it at the valuation. | 0:21:53 | 0:21:56 | |
I did, I've never heard of the artist but I love those earthy, modern British colours. | 0:21:56 | 0:22:01 | |
And that's really what attracted it to me. And it's a local view. | 0:22:01 | 0:22:04 | |
Where better to try it than a local sale room? | 0:22:04 | 0:22:07 | |
It's bold, it's confident, it's put on with a palette knife. | 0:22:07 | 0:22:10 | |
Let's hope the estimate is a nice, punchy one and we get a little bit more than the 150. | 0:22:10 | 0:22:15 | |
-We are always hoping. -Marguerite is! | 0:22:15 | 0:22:17 | |
-We want a lot more than that. -Fingers crossed! | 0:22:17 | 0:22:20 | |
Going under the hammer right now. | 0:22:20 | 0:22:21 | |
Lot 20, now. | 0:22:21 | 0:22:23 | |
JK Popham. | 0:22:23 | 0:22:24 | |
Early 20th century oil on canvas, | 0:22:24 | 0:22:26 | |
pastoral landscape. I'll start at £75. | 0:22:26 | 0:22:30 | |
-£75 is bid, at 75 on the oil painting. -We're in. | 0:22:30 | 0:22:33 | |
-That's a bit low. -80, 5. | 0:22:33 | 0:22:36 | |
90, 5. | 0:22:36 | 0:22:37 | |
100. 110. | 0:22:37 | 0:22:39 | |
It's going. | 0:22:39 | 0:22:40 | |
120, 130. | 0:22:41 | 0:22:43 | |
There's a bid left on the book. | 0:22:43 | 0:22:44 | |
130, the lady's out. At 130. | 0:22:44 | 0:22:46 | |
140, 150. | 0:22:46 | 0:22:48 | |
160. 170. | 0:22:48 | 0:22:50 | |
It's going up. Slowly, but its getting there. | 0:22:50 | 0:22:53 | |
-180. 190. -They like it. | 0:22:53 | 0:22:54 | |
200. 210. | 0:22:54 | 0:22:56 | |
Anyone else? | 0:22:56 | 0:22:58 | |
At £210 and selling. | 0:22:58 | 0:23:01 | |
-210! We're happy with that. -The hammer's gone down at £210. | 0:23:02 | 0:23:06 | |
-That's very good. -Not bad, is it? -No, that's not bad. | 0:23:06 | 0:23:08 | |
What are you going to put that money towards? | 0:23:08 | 0:23:10 | |
Well, I'd buy a romantic dinner for two. | 0:23:10 | 0:23:14 | |
But my husband wants me to buy some glamorous underwear! | 0:23:14 | 0:23:18 | |
But I know which I'd rather have. | 0:23:18 | 0:23:20 | |
Well, things are going really well. I've been joined by Cynthia | 0:23:29 | 0:23:32 | |
and we're just about to sell her little Staffordshire spill vases, | 0:23:32 | 0:23:35 | |
the little lambs, so tactile. | 0:23:35 | 0:23:37 | |
Why do you want to flog these? | 0:23:37 | 0:23:39 | |
Well, we've had them a long time in the family. | 0:23:39 | 0:23:42 | |
And we just needed space in our cabinet. | 0:23:42 | 0:23:45 | |
OK, a bit of space. They're not that big, are they? | 0:23:45 | 0:23:48 | |
-No, no. -So, what are you making space for? | 0:23:48 | 0:23:50 | |
Well, if I get enough money, I can buy some Lowestoft. | 0:23:50 | 0:23:53 | |
Oh, that's big bucks, isn't it? | 0:23:53 | 0:23:56 | |
It is, yes. I'll have to be saving a long time. | 0:23:56 | 0:23:59 | |
Well, we got a valuation of 30 to £60 on these spill vases, Philip. | 0:23:59 | 0:24:03 | |
To go towards some Lowestoft. I'm pretty sure they're gonna sell. | 0:24:03 | 0:24:06 | |
I'd be bitterly disappointed if they didn't. | 0:24:06 | 0:24:09 | |
That market's hardened a little bit, but they've got to join the flock. | 0:24:09 | 0:24:12 | |
Lot 160 now, the two 19th century Staffordshire spill vases, there. | 0:24:12 | 0:24:17 | |
Interest on the sheet shown here. Can I start at £22? | 0:24:17 | 0:24:21 | |
At 22, 25, 28, | 0:24:21 | 0:24:23 | |
30, 2, 35, 38. | 0:24:23 | 0:24:25 | |
40's bid and I'm out. | 0:24:25 | 0:24:26 | |
42, new bidder. | 0:24:26 | 0:24:28 | |
45, 48. | 0:24:28 | 0:24:30 | |
50, 5. At 55. | 0:24:30 | 0:24:32 | |
This is good! | 0:24:32 | 0:24:34 | |
And 60's the back. | 0:24:34 | 0:24:37 | |
65. | 0:24:37 | 0:24:38 | |
70. | 0:24:38 | 0:24:39 | |
70's now by the door. At 70, where's 5, again? | 0:24:39 | 0:24:43 | |
75. | 0:24:43 | 0:24:44 | |
80, 5. | 0:24:44 | 0:24:47 | |
-90, 5. -This is more like it. | 0:24:47 | 0:24:50 | |
95 is the gallery, at 95, now. 100, I'll take. | 0:24:50 | 0:24:53 | |
At 95. Round it up someone. At 95, are you all done? | 0:24:53 | 0:24:57 | |
Yes. That is a sold sound! | 0:24:58 | 0:25:00 | |
-£95, Cynthia? A bit of Lowestoft coming your way, I think. -I hope so! | 0:25:00 | 0:25:05 | |
Elizabeth's stepped down to give way to auctioneer Steve Stockton, | 0:25:07 | 0:25:11 | |
and the tension's building for the sale of the Moorcroft vase. | 0:25:11 | 0:25:14 | |
I've been waiting for this moment. We've got some real quality for you. | 0:25:16 | 0:25:19 | |
It's a Moorcroft, Florian Ware, it belongs to Donald and Edna. | 0:25:19 | 0:25:22 | |
I've got Donald next to me but unfortunately, Edna cannot be with us. | 0:25:22 | 0:25:26 | |
But we've got our expert, Mark Stacey, that put the 8 to £1,200 on this. | 0:25:26 | 0:25:32 | |
Now, I've had a chat to the auctioneer just before the sale started. | 0:25:32 | 0:25:35 | |
And she said it may have just peaked, Moorcroft, | 0:25:35 | 0:25:39 | |
and she might be looking at 6 to £900 for it, so... | 0:25:39 | 0:25:42 | |
I have to say, I don't agree. | 0:25:42 | 0:25:44 | |
I said, "Mark knows his stuff." | 0:25:44 | 0:25:47 | |
I don't agree. I think you've got to look at the piece. | 0:25:47 | 0:25:50 | |
It's an early piece, it's Florian landscape, wonderful colours. | 0:25:50 | 0:25:54 | |
Right at the beginning of the output, it's a big organic lump. | 0:25:54 | 0:25:58 | |
Just what the collectors want. | 0:25:58 | 0:26:00 | |
-It should make £1,200. -Yes. | 0:26:00 | 0:26:01 | |
So, Donald, why are you flogging this? | 0:26:01 | 0:26:04 | |
Well, it doesn't really go with our...house, you know. | 0:26:04 | 0:26:09 | |
We're all modern, of course, and we've only got a few antiques. | 0:26:09 | 0:26:13 | |
-It doesn't really go in the... ambience of the house. -OK. | 0:26:13 | 0:26:19 | |
So, it's time to flog it, really? | 0:26:19 | 0:26:21 | |
Well, yes... | 0:26:21 | 0:26:24 | |
-That's it. -Well, let's hope we can get you the £1,200 plus... | 0:26:24 | 0:26:28 | |
-Well, I... -Let's hope there's a lot of interest. Figures crossed. | 0:26:28 | 0:26:31 | |
-Well, well. -We're gonna find out! | 0:26:31 | 0:26:33 | |
All the talking is over with. Now, it's the moment of truth. | 0:26:33 | 0:26:36 | |
This is it. Good luck, Donald. | 0:26:36 | 0:26:38 | |
We have the Moorcroft Florian Ware, landscape-patterned vase. | 0:26:38 | 0:26:42 | |
Circa 1902, lovely example, in good condition. | 0:26:42 | 0:26:45 | |
And I'm going to start with me at £500. £500, do I see 20? | 0:26:45 | 0:26:52 | |
Moorcroft at £500, do I see 20? | 0:26:52 | 0:26:55 | |
520, 550. | 0:26:55 | 0:26:57 | |
580, 600. | 0:26:57 | 0:26:59 | |
600, now, do I see 20? | 0:26:59 | 0:27:01 | |
620, 650. | 0:27:01 | 0:27:04 | |
680, 700. | 0:27:04 | 0:27:06 | |
720, 750. | 0:27:06 | 0:27:08 | |
780, I'm out. | 0:27:08 | 0:27:09 | |
In the room now, 780. Do I see 800? | 0:27:09 | 0:27:12 | |
Yes. Telephone bid now. | 0:27:12 | 0:27:14 | |
800, 820. 850. | 0:27:14 | 0:27:16 | |
880. 900. | 0:27:16 | 0:27:18 | |
-And 20. -We sold it. | 0:27:18 | 0:27:21 | |
-950. -Come on! | 0:27:21 | 0:27:22 | |
-And 80. -Go on, Donald! | 0:27:22 | 0:27:25 | |
£1,000. | 0:27:25 | 0:27:27 | |
-And 50. -Yes, it's going on, come on. | 0:27:27 | 0:27:29 | |
1,100. | 0:27:29 | 0:27:31 | |
-And 50. -Come on! | 0:27:31 | 0:27:33 | |
-1,200. -Yes! | 0:27:33 | 0:27:35 | |
And 50. | 0:27:35 | 0:27:36 | |
1,300. | 0:27:36 | 0:27:38 | |
It's £1,300 on the telephone. | 0:27:38 | 0:27:41 | |
Any advance on 1,300? | 0:27:41 | 0:27:44 | |
-Yes! -Absolutely brilliant. | 0:27:44 | 0:27:46 | |
-You were so right, Mark. -It hasn't peaked yet, has it? | 0:27:46 | 0:27:49 | |
-No. -Not even in East Anglia. -I apologise. | 0:27:49 | 0:27:51 | |
Gosh! £1,300, Donald, you're happy! | 0:27:51 | 0:27:55 | |
-I'm very happy. -Well, I'm glad you brought it in. | 0:27:55 | 0:27:58 | |
It's a cracking shape. I thank you so much, Donald. | 0:27:58 | 0:28:00 | |
Thank you for bringing so much quality onto the show. | 0:28:00 | 0:28:03 | |
Lovely, my pleasure. | 0:28:03 | 0:28:05 | |
Well, the auction is still going on | 0:28:11 | 0:28:13 | |
but it's definitely all over for our owners, | 0:28:13 | 0:28:15 | |
and they've all gone home very happy | 0:28:15 | 0:28:18 | |
because we've sold absolutely everything today. | 0:28:18 | 0:28:22 | |
So, all credit to our experts. | 0:28:22 | 0:28:23 | |
They were spot on the money. | 0:28:23 | 0:28:25 | |
We've had a fantastic time here and I hope you've enjoyed watching the show. | 0:28:25 | 0:28:29 | |
We've loved making it so, until the next time, from Diss, cheerio! | 0:28:29 | 0:28:33 | |
For more information about "Flog It!", including how the programme was made, | 0:28:33 | 0:28:38 | |
visit the website at bbc.co.uk/lifestyle | 0:28:38 | 0:28:41 | |
Subtitles by Red Bee Media Ltd | 0:28:54 | 0:28:57 | |
E-mail [email protected] | 0:28:57 | 0:29:00 |