Stroud Flog It!


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I'm in the oldest part of this bustling Gloucestershire town.

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There's been a market in this area from around the 1500s.

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Today, it's still named after the buildings that stored the meat - The Shambles.

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Welcome to "Flog It!" from Stroud.

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Today, The Shambles forms the centre of Stroud.

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It provides a wonderful meeting place

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for artists and Bohemian types alike,

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who hang out in the many art galleries, cafes and bookshops.

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And hoping to be inspired and get their creative juices flowing,

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are today's experts Kate Bliss and James Lewis,

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who are already working the crowd here at today's venue, the Subscription Rooms.

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This grand building is no stranger to crowds,

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built for leisure and entertainment.

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It's still doing so after 150 years.

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So, as people take their seats,

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let's head over to Kate,

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who's already entertaining the idea of taking something special to auction.

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This is a rather splendid teapot, isn't it?

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-It's very interesting. It's been in my eyesight for many years.

-Has it?

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One of my first memories, as a young child,

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polishing the silver.

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And it particularly appealed to me because of the signs of the Zodiac.

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As a child, do you recognise those as the signs of the Zodiac?

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-I recognise them as being mystical animals.

-Yes.

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And it's probably pushed me in a direction

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of being interested in natural history - animals, plants.

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-Right. So, this had quite a bearing on your interests as a boy.

-It has, really.

-And your life, really.

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It has really because I've looked at these on many occasions

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and realise they're not animals which you'd find in nature

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but they are animals which have some mystical value.

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If you go through them, here we are.

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We have the fish for Pisces.

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-We have the lion for Leo.

-That is so.

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We have the scorpion there for Scorpio.

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And they are indeed the signs of the Zodiac.

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The date letter, that letter F, is for 1876.

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So, why the signs of the Zodiac?

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-The Victorians were people of very strict morals.

-That's right.

-Very God-fearing, really.

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You see, the Victorians also loved the exotic.

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They loved the magical and the mystical.

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-They loved fairies and goblins.

-I can understand.

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The signs of the Zodiac work into that very well.

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-What a fun thing!

-Indeed, yes.

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I'd like to say, at auction we would certainly be looking at £100 to £150 if you want to sell.

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I'm sure it will pull in interest from far afield.

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-If it could go to someone who's a collector and can enjoy it, so much the better.

-Ah, excellent!

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Miriam, for me, a day at "Flog It!" wouldn't be a good day without seeing a tea caddy.

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One of the things I love about a caddy is you can tell

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it's never been through the hands of the trade.

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It's never been repolished, it's never been recleaned, it's never been altered.

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-I love that about it.

-It was inherited from my father.

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He died about seven years ago.

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And he probably had it from his second wife, whose name

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was Wakefield, because I've found a W on the escutcheon there on the front.

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So, I suspect with the W

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that it probably came from my stepmother's family

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rather than from my own.

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It's a piece that dates back quite a long way.

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-So, 1800, 1805, somewhere around there.

-Quite early then, yes.

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It is. 200 years old.

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If we look inside, here we've got one compartment for green tea, one compartment for black tea.

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And, if we just open that...

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That hasn't been used for tea for a long time, has it?

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No. I've never used it for tea and I don't think my father did, either.

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When this was made, 200 years ago, you wouldn't drink tea just

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at the table, out of a mug, it would be fine porcelain.

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The whole tea ceremony would be at a table, known as a tea table, especially for tea drinking.

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This sort of caddy, being tortoiseshell, it's had a few problems.

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Probably only one problem really, in its lifetime.

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It seems to have been dropped on this corner.

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And, tortoiseshell collectors are very bothered about the panels and the condition of the panel.

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I'm very glad to say that you can't buy tortoiseshell today, it's totally illegal.

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And, whatever this is repaired with, will be what we call a breaker's piece,

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something that is like this but not in such good condition.

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So, if they've got another tea caddy with a back panel that is good,

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they will take a section out and replace that section.

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Of course it's quite an expensive job to replace.

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If it was perfect, I think that would have a hammer price of about £1,000.

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I think, to get it repaired and restored, is going to be say, £400.

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If we put an auction estimate of £500 to £800,

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put a reserve of £500 and don't let it go below that,

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let's hope we can celebrate with something stronger than tea.

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Stephen, a fine pair of oils.

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I want to know all about them.

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Well, I've owned these oils for about two years, Paul.

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They came into my possession when my mum downsized -

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moved to live with my sister in Ireland.

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I was going to say, this is not a Stroud accent.

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-No, that's right.

-What part of Ireland?

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I lived originally in the north of Ireland, Paul.

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That's where these came from.

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I can't attribute them to anybody at the moment.

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Looking at them stylistically, it's loose, it's impressionistic.

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It's almost like the Newlyn School - the late 1880s.

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You've got artists like Stanhope Forbes,

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painting sort of our vernacular history

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with localised clothing, very much like the fishermen's wives.

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I need to do a little bit of research on this.

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You didn't paint the frames, did you?

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My late father did to match his decor, I'm afraid.

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You can't blame your dad, can you?

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It probably seemed like a good idea at the time.

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It doesn't matter about the frames. They can be sorted out. They can be reframed and reglazed.

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The problem is, there should have been a mount, separating the oil from the glass.

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I'm taking the weight of the picture underneath the frame.

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If I just release my fingers from the back, watch!

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-Oh, yes!

-Can you see?

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It's starting to stick on the glass.

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Not just there but if I move up there, there, there, there.

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-All over.

-So there's some damage really, Paul.

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There's a lot of damage on both of them.

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-I think she's got the look.

-Yes.

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-It's a shame. This one's more damaged than that one.

-Yes.

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-Because it's probably the more attractive painting, isn't it?

-Yes.

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If they were in good condition,

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-you'd be looking at £400 to £600 for the pair.

-Right.

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They need money spending on them.

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It's going to cost a couple of hundred pounds.

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-Right.

-Therefore, I think, if we put these into auction,

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we're going to ask around £200 to £300.

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-OK. That's fine.

-For the pair. Your mum obviously liked them.

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-She's kept them a long time.

-She did. She'll really enjoy seeing them on TV.

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-What's her name?

-Betty.

-Betty?

-Yes.

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-Let's hope we make Betty's day.

-Thanks very much.

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What a fabulous, impressive tureen that is. Tell me about it.

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Basically, I came by it in the mid-'60s.

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I bought it at a contents auction.

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I paid £40 for it.

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I got rather carried away.

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-In the mid-'60s.

-In the mid-'60s.

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-My goodness!

-It was a week's wages.

-Was it really?

-Yes, it was.

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It is so neo-classical in its style. very delicate shape - very feminine.

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Lots of ovals. There's not a straight line there.

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That could only be maybe three or four periods in history.

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The neo-classical fashion and movement started around 1770-1780.

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It was during those wonderful excavations at Pompeii and Herculaneum

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and they were discovering these wonderful shapes that were around 2,000 years earlier.

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Any time you see these husks, swags and festoons - these little

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oval roundels, known as patera, tied with ribbons at the top.

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That's a classic piece of design from this period.

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What you would often have in the 18th century was,

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services like this in silver and silver plate, actually copying the interior of the dining room.

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The decorations and the swags on the walls would be on the ceiling,

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on the walls, on the carpet, and then again on the silver service they'd be serving the food from.

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Now, value.

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A week's wage in the 1960s.

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I guess a week's wage today is going to be a few hundred pounds - £200, £300, £400.

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-It's not going to make that.

-No.

-So, I'm afraid, investment-wise, it hasn't been a great one.

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But you've enjoyed it and it's been useful over the years.

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So, I guess today, if we put that into an auction, I'd expect it to make £100 to £150.

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-Are you happy with that?

-Yes, very happy.

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Now, these rooms where we are today are quite important in the history of your family, aren't they?

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-Yes, they are. My grandfather and grandmother met here at a dance.

-Did they really?

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They then eloped to Reading and now I've come back to live in Stroud area.

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-And it all started here?

-It all started here.

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Tell me about this lovely snuff box that you've brought in today.

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It always sat on my parents' chest of drawers in the bedroom,

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and they kept little knick-knacks, I can't remember exactly the contents,

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but it was never snuff, I know that.

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-Right.

-And I inherited it and it was sitting on my chest of drawers.

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I think it's a charming little box, I have to say.

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If we take a look more closely,

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the lid fits very neatly on and it is, of course, made of paper mache.

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Rather beautifully pressed with this sort of ribbed border here,

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on the outside, to frame the painted subject in the centre.

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It's a very well-known subject, of course,

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the portrait of the woodcutter or the woodman.

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There he is, smoking his pipe of tobacco.

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This one dates from the late 19th century, I would say it's Victorian.

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It's beautifully painted in a very sort of primitive style, if you like.

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And a very collectible object.

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Is it a print or a painting?

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-It is a painting.

-Oh!

-It is a painting, yes.

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So, what sort of value would you put on it?

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We didn't think it was worth anything. We thought we'd bring something down to "Flog It!".

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-You didn't have high hopes.

-No, we've not got high hopes.

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If it pays for the car park we'll be happy.

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Well, I think it might just pay for the car park.

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I would put an auction estimate of anything from £60 to 100.

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Oh, I see, good Lord! I'm amazed.

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You might find a collector who falls in love with that.

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-Yes. You've made my day.

-Good!

-You've made my birthday.

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-Your birthday! It's not your birthday today, is it?

-I'm afraid so, yes.

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Well, very many happy returns.

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It's very well worth it. Thank you very much.

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Well, happy birthday, Hugh.

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And with your snuff box on board, we have our items heading off to auction.

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But first, I'm off to the country to find out about a man

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whose discovery changed the face of medicine.

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So, why am I standing by a row of cows in Gloucestershire?

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Well, back in the 1700s, these animals gave one local man the answer

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of how to protect generations of people against one of the most horrific diseases ever - smallpox.

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In 18th century England, smallpox was one of the biggest killers.

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This incurable disease wiped out large numbers of the world's population.

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It started with flu-like symptoms, followed by a rash,

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developing into blisters

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that covered and disfigured the whole body.

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There was no effective treatment once infection had taken hold

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and the result was deafness, blindness and almost certain death.

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But it was here, at this house in Berkeley, that Edward Jenner, a humble country doctor,

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was to discover a breakthrough that could purge the world

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of this killer disease and change medical history for good.

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All he needed was the world to listen.

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To understand why Jenner took on this killer disease, we need to go back to when he was a child.

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The way to protect against smallpox back then was to infect the young

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with the smallpox virus and hope they developed immunity, if they survived.

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I caught up with Sarah Parker, the curator of the Jenner Museum,

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to find out more about this strange practice called variolation.

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What happened to Jenner and the other children when he was aged eight?

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Jenner was orphaned, sadly,

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at the age of five, and he was sent to boarding school locally in Wotton-under-Edge.

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At the age of eight, he and his other fellow pupils were

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locked in a barn and purged, bled and starved,

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in preparation for this medical procedure called variolation.

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-How long was this for?

-It was for around about two weeks.

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It was a really horrible procedure but not everybody could afford this technique.

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In actual fact, he was one of the lucky ones, believe it or not.

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-Psychologically, that's damaging for an eight year-old?

-Terrifying. He didn't have his parents.

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He was away from home.

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He was systematically given this live smallpox from somebody who

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got it in the village and then left to see whether it developed.

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Even if they had survived, they could have been blinded,

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they could have been deaf, had problems with their joints, such as arthritis.

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It really was not just a disfiguring disease, potentially fatal, but generally horrific.

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-But he was one of the lucky ones.

-He was.

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He did develop smallpox, which was the intention, but he didn't get it very badly.

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He was determined, throughout his life, to come up with a better procedure so that

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other children wouldn't have to go through this terrible experience.

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After completing his training to be a physician in London, Edward Jenner returned to this house.

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It was here that he started the bulk of his research into smallpox.

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It was in this study, after years of research, Jenner finally thought

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he'd found the answer and it lay right on his rural doorstep.

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He had observed that many of the local milkmaids often developed

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a non life-threatening disease called cowpox.

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He believed there might be some truth in the folklore that cowpox provides some immunity to smallpox.

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On 14th May, 1796, Jenner put his theory to the ultimate test.

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He infected eight-year-old James Phipps with cowpox and then gave him a dose of smallpox.

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The result was, it produced no effect.

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Phipps was successfully inoculated.

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Jenner knew he was on to something.

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Jenner followed up this experiment with many others, which confirmed

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his theory, that cowpox did indeed protect against smallpox.

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This was the beginning of vaccination.

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So we've got a vaccination against the disease.

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Why didn't people start to use it?

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Well, it's like most things.

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People were resistant to change, as they are today.

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Edward Jenner strived for 25 years before he actually came up

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with his theory and his vaccination experiment.

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Variolation, which was the established medical procedure at the time in this country,

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was a very lucrative

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and also very established procedure. The medical establishment -

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the medical elite particularly - were definitely not willing to change.

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They weren't particularly receptive to Jenner and his ideas.

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He must have been so frustrated.

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He was extremely frustrated, yes.

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He was a man who just was trying to make a better medical procedure for everybody.

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He wasn't trying to make money out of it.

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Therefore, trying to get his ideas across against a huge backlash of opinion.

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Many people thought that if you were to give somebody an animal-derived substance like cowpox,

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you would grow horns and udders and other cow-like features, which sounds ridiculous today.

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Other people thought that, well, maybe you'd die of another disease.

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There would be a population explosion and mass starvation.

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The church weren't particularly happy for it to happen.

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Everybody was against it. How did he make that break?

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-He obviously needed somebody to champion this.

-That's right. Yes.

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Luckily, he also had a house in Cheltenham, which... It was a spa town. It was the 18th century.

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-Lots of the elite were there.

-Exactly. Because he was a doctor,

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he met lots of influential people, who became his friends.

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Not least the 5th Earl of Berkeley, at Berkeley Castle.

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If it wasn't for his friends, the aristocratic lords and ladies of the day,

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he perhaps would never have got his idea off the ground. They really championed him.

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Strong support was all Jenner needed for his reputation to be sealed worldwide.

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He had succeeded against all the opposition.

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In 1853, vaccination with the cowpox virus was made compulsory in this country.

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While Jenner's ground-breaking discovery saved millions of lives,

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the disease ravaged the poorer communities throughout the world, with 50 million new cases each year.

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It wasn't until 1967 that the World Health Organisation instigated a mass vaccination programme.

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In 1980, this disease was finally declared dead.

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It still remains the only disease to be eradicated from the world

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in its entirety, thanks largely to the pioneering work of Edward Jenner.

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Nestling in the beautiful countryside, just outside of Cirencester,

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is today's auction room, Moore, Allen and Innocent,

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where the valuations of Kate, James and myself are going to be put to the test.

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And here's a reminder of what we're taking.

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Kate was intrigued by the silver astrological teapot

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and she predicted it fetching £100 to £150.

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But will the stars foresee a windfall for Bill?

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-The silver-plated tureen caused Glynn to be a big spender in his youth.

-I paid £40 for it.

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-I got rather carried away.

-In the mid-'60s?

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-Oh, my goodness.

-It was a week's wages.

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So, it needs to make the top end of James's £100 to £150 estimate.

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Hugh had low expectations for his snuff box and was

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so pleased with Kate's £60 to £100 valuation.

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And Steven's oils have crossed the Irish Sea from Northern Ireland.

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Finally, that Regency tortoiseshell tea caddy, belonging to Miriam,

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that James fell in love with.

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And the man wielding the gavel is auctioneer Philip Allwood.

0:19:550:19:59

Time for tea, according to Bill, because he's selling his silver teapot. We got £100 to £150 on this.

0:20:000:20:06

Why have you decided to sell?

0:20:060:20:08

Well, we don't use it and, as a young child,

0:20:080:20:12

-I used to have the job of polishing it.

-Oh!

0:20:120:20:15

And I think now, my wife has polished it enough.

0:20:150:20:19

It's a good job she hasn't polished it too much so it's worn.

0:20:190:20:22

It's still in lovely condition.

0:20:220:20:24

Silver is up in value. People are investing in precious metal.

0:20:240:20:27

Hopefully they're going to do it, right here, right now. It's going under the hammer.

0:20:270:20:31

-I only wish it was gold.

-Oh, yes!

0:20:310:20:33

You can't have everything.

0:20:330:20:35

Lot number 244.

0:20:350:20:38

It's a nice little teapot.

0:20:380:20:41

Glasgow, 1876, with the signs of the Zodiac.

0:20:410:20:46

And I can start you here at £100.

0:20:460:20:49

At 100, I have for it.

0:20:490:20:51

Sold straight away.

0:20:510:20:52

-Right on the reserve.

-110. 120. 130.

0:20:520:20:54

140. 150. 160.

0:20:540:20:57

170. The book's out at 170. 180 now.

0:20:570:21:00

At 180 on my right now. At 180.

0:21:000:21:03

190 anywhere? At £180.

0:21:030:21:05

All sure then at £180?

0:21:050:21:10

It's gone, Bill.

0:21:100:21:11

Top end of the estimate and a little bit more.

0:21:110:21:13

-No more cups of tea.

-No more cups of tea!

0:21:130:21:17

Not many people use a pot anymore anyway, not even a china one.

0:21:170:21:20

I do. I love my teapot.

0:21:200:21:22

I wish it was silver but it's not solid silver.

0:21:270:21:30

That's why we've got a value of £100 to £150. And it's Glynn's and I think this is style.

0:21:300:21:36

-If it was real silver, would you be keeping it?

-Yes!

0:21:360:21:40

I can see what you saw in it.

0:21:400:21:42

Hopefully, there are half a dozen people who will think the same.

0:21:420:21:46

Good luck. It's going under the hammer now.

0:21:460:21:48

Lot 294 is the silver-plated vegetable tureen,

0:21:480:21:52

in the Adam manner.

0:21:520:21:53

A very classy looking piece this - good-looking piece.

0:21:530:21:56

Where are you going to be for that? I can start you at 110.

0:21:560:21:59

At 110 I have.

0:21:590:22:00

-A good-looking piece at 110. 120. 130. 140. 150. 160.

-It was a looker.

0:22:000:22:06

170. 180. The book's out at 180.

0:22:060:22:08

190 now. At £180. On my left now.

0:22:080:22:12

At 180. 190 anywhere? At 180.

0:22:120:22:17

Well, how about that? I knew it would sell. What a looker!

0:22:170:22:20

We've got £60 to £100 on your snuff box.

0:22:250:22:29

I love the naive painting.

0:22:290:22:31

That's what's going to sell this.

0:22:310:22:33

It's such a nice thing. When you hold them they're so tactile.

0:22:330:22:36

-They are, yes.

-Where have you had this in the house?

0:22:360:22:38

They've been sitting on a chest of drawers.

0:22:380:22:40

It was on my parents' and then on my chest of drawers.

0:22:400:22:44

We just keep odds and ends in it.

0:22:440:22:46

We never thought it was a snuff box.

0:22:460:22:48

At least you had it on display and you've cherished it.

0:22:480:22:51

That's what it's all about with little items like this.

0:22:510:22:54

I love snuff boxes. Love them. Lots of history.

0:22:540:22:56

It's really an area of small antiques which has kept its value, I think.

0:22:560:23:00

Let's find out what the bidders in Cirencester think, shall we? It's going under the hammer.

0:23:000:23:05

Lot number 274 is the papier-mache snuff box,

0:23:050:23:09

decorated with the woodsman.

0:23:090:23:12

There we go, the woodsman there and who'll start me?

0:23:120:23:15

Should be 100 really. Start me 50?

0:23:150:23:17

£30. 30 I'm bid. At £30.

0:23:170:23:20

5 if you like now. At £30.

0:23:200:23:23

At £30, a nice little snuff box. £30 only.

0:23:230:23:25

5. 40. 5.

0:23:250:23:29

50. At £50. On the book here, at 50.

0:23:290:23:31

At £50. It's selling here at £50.

0:23:310:23:34

At £50. 5 anywhere? At £50.

0:23:340:23:37

You all sure? Selling here on the book.

0:23:370:23:39

At £50. Are you all done?

0:23:390:23:41

It's gone.

0:23:410:23:42

It's a good little treasure, that.

0:23:420:23:45

Perhaps I should have kept it.

0:23:450:23:47

Next up, something for all you fine art lovers.

0:23:520:23:55

It's my turn to be the expert.

0:23:550:23:56

It's a pair of oil paintings, possibly Irish.

0:23:560:24:00

They belong to Stephen. We've got £200 to £300 on this.

0:24:000:24:04

A little bit of damage. The paint's pulling off, sticking to the glass.

0:24:040:24:08

-I know Dad, bless him, touched the frames up, didn't he?

-Yes.

0:24:080:24:13

With paint he found knocking around the house.

0:24:130:24:15

-That's the kind of thing we do, isn't it?

-That's right.

0:24:150:24:18

-Your mum will be pleased, won't she?

-She will.

0:24:180:24:20

She'll be watching right now. Betty, I hope you're enjoying this moment.

0:24:200:24:24

Stephen is flying the flag for you, OK.

0:24:240:24:27

They're going under the hammer, right now.

0:24:270:24:29

Lot number 322 is the Irish School portraits there

0:24:290:24:35

of the young boy and girl.

0:24:350:24:38

I can start you at 180. At 180 I have.

0:24:380:24:42

-That's our fixed reserve.

-190 now. At 180, 190.

0:24:420:24:44

200. 220. 240. 260.

0:24:440:24:49

At 260. 280 now. At 260.

0:24:490:24:52

280 on the phone, if you like.

0:24:520:24:55

At 280. 300. At 300. 320 to me now.

0:24:550:24:59

At 300. 320 on the phone. At 320.

0:24:590:25:03

340 now. At 320. It's on the phone.

0:25:030:25:07

At 320. 340. In the room again, 340.

0:25:070:25:11

360, if you like.

0:25:110:25:13

At 340, right in front of me now.

0:25:130:25:15

-At £340.

-It's great value.

-Sure? At 340.

0:25:150:25:20

That's good, that's a good result.

0:25:200:25:23

-There's a lot of work to do on those.

-Sure.

0:25:230:25:26

That's good for you. You don't have to do it.

0:25:260:25:28

That's good. I'm glad they're going to somebody that'll treasure them.

0:25:280:25:32

And I hope Mum's enjoyed this moment as well.

0:25:320:25:35

The money's going to Mum, isn't it?

0:25:350:25:37

Yes, yes. We'll be making sure she's taken care of.

0:25:370:25:40

Oh, bless! He's a good lad, isn't he?

0:25:400:25:44

Miriam, this is definitely the best lot in the sale.

0:25:500:25:54

-It's my favourite item.

-Really?

0:25:540:25:56

Regency tea caddy. We've got £500 to £800 riding on this. I had a chat to the auctioneer

0:25:560:26:01

and I said, "Come on, top end, plus a little bit more".

0:26:010:26:04

He kind of went, "Yes". He didn't put his neck on the block.

0:26:040:26:07

So, why do you want to sell this? It's so gorgeous! Why?

0:26:070:26:11

Well, I don't know. It was a bit grubby when I first had it, actually.

0:26:110:26:15

It wasn't until just recently I cleaned it up.

0:26:150:26:18

I must say I thought it looked nicer.

0:26:180:26:20

Hopefully we'll get 800 plus.

0:26:200:26:22

800 is what I think. I'm hoping it will make 800.

0:26:220:26:25

-Really? That's good.

-Top end.

0:26:250:26:26

-Fingers crossed.

-Well, yeah.

0:26:260:26:28

-Good luck. Enjoy this moment.

-I shall.

0:26:280:26:31

We can't talk anymore. This is it.

0:26:310:26:33

Lot number 196 is the Regency tortoiseshell tea caddy.

0:26:330:26:39

-There we go. Nice little piece there.

-Good luck.

0:26:390:26:42

Thank you.

0:26:420:26:43

Good-looking piece.

0:26:430:26:45

I can start here on the book

0:26:450:26:48

at £440. At 440.

0:26:480:26:54

I'll take 460, if you like now.

0:26:540:26:56

At 440. 460.

0:26:560:26:58

480.

0:26:580:27:00

500. 520.

0:27:000:27:03

540. 560.

0:27:030:27:05

580. 600.

0:27:050:27:09

At 600. 620 now. At £600.

0:27:090:27:12

620, can I say anywhere? 620.

0:27:120:27:15

640. 660. The book's out at 660.

0:27:150:27:18

At £660. 680 anywhere now? At 660.

0:27:180:27:25

-Done.

-That's OK.

0:27:250:27:27

-That's fine.

-Well, that's...

-It got over mid-estimate.

0:27:270:27:31

You've got 15% to pay on top of that so that has made £780. That's fine.

0:27:310:27:38

You've got a bit of commission to pay, the odd 15%.

0:27:380:27:41

-What are you going to put your money towards?

-Well, we're going on a holiday to...

0:27:410:27:45

We're going on a cruise up the Baltic to St Petersburg.

0:27:450:27:49

-Oh, lovely!

-I'm going to put a bit of money towards that.

0:27:490:27:55

-That was a gorgeous item.

-It was.

0:27:550:27:58

-Yeah.

-Lovely! My favourite thing.

0:27:580:28:00

Well, that's it. It's all over for our owners but the auction's still going -

0:28:040:28:09

it's going on outside.

0:28:090:28:11

What a cracking day we've had here. Our experts are on the money.

0:28:110:28:14

Phillip Allwood did us proud - a great auctioneer.

0:28:140:28:17

All I can say is, I can't wait to come back.

0:28:170:28:20

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

0:28:200:28:23

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