0:00:02 > 0:00:04The monarch who inspired one of William Shakespeare's
0:00:04 > 0:00:07most famous plays was born within these castle walls.
0:00:07 > 0:00:11Flog It! has arrived in Monmouth, the birthplace of Henry V.
0:00:31 > 0:00:34These ruins used to be the home of young Harry
0:00:34 > 0:00:37who was later crowned Henry V.
0:00:37 > 0:00:40He established himself as a formidable soldier at the tender age
0:00:40 > 0:00:46of 16 years old when he led his father's forces to victory at the Battle of Shrewsbury.
0:00:46 > 0:00:51A reputation that would live on through the character he inspired in William Shakespeare's play.
0:00:51 > 0:00:55"Once more unto the breach, dear friends, once more.
0:00:55 > 0:00:58"Or close the walls up with our English dead."
0:00:59 > 0:01:04And stepping into the breach at today's venue, Monmouth Comprehensive School,
0:01:04 > 0:01:07are our two brave experts, Charlie Ross and Mark Stacey.
0:01:07 > 0:01:11They're hoping to value some items with military precision.
0:01:11 > 0:01:14Later, I'll be exploring the beautiful countryside of Wales,
0:01:14 > 0:01:21an inspirational landscape that played a major role in the success of Laura Ashley's designs.
0:01:21 > 0:01:25But first, as the crowds flood in to our Welsh location, local boy Mark
0:01:25 > 0:01:30thinks he's already onto a winner with this impressive prize.
0:01:31 > 0:01:34Pam, what a wonderful trophy you brought in to show us!
0:01:34 > 0:01:39Gorgeous. It was given to me by my uncle who has since died,
0:01:39 > 0:01:43but he was a famous steeplechaser himself, and this was given to him
0:01:43 > 0:01:47by somebody else to encourage him... to do well with his steeplechasing.
0:01:47 > 0:01:52- So it was a nice present to help him on his way?- That's right, yes.
0:01:52 > 0:01:55Keep his optimism and enthusiasm up.
0:01:55 > 0:01:59His wife is frightened to have it in the house on her own and she said,
0:01:59 > 0:02:04"Well, it's been willed to you. Would you like it now and either change it into some money
0:02:04 > 0:02:08"rather than have the worry of it getting lost?" before she dies.
0:02:08 > 0:02:12- What a sensible thing to do... - She's a lady of 90 and, you know...
0:02:12 > 0:02:15Let's have a look at it now. It's a very typical Victorian piece.
0:02:15 > 0:02:19- It's pretty.- You've got this sort of pedestal section,
0:02:19 > 0:02:23the cover surmounted by a figure of victory.
0:02:23 > 0:02:29You've got the description here which says it was won by AJ Philpotts...
0:02:29 > 0:02:32- That's right. - ..and his mare Undaunted.
0:02:32 > 0:02:36- That's correct.- And it's dated April 1898.- It's a long time ago.
0:02:36 > 0:02:40- A long time ago, over a hundred years, which is nice.- Yeah.
0:02:40 > 0:02:45Now the hallmark fits in exactly with the date of the prize...
0:02:45 > 0:02:47- Right.- It's 1898.
0:02:47 > 0:02:51It's hallmarked in Sheffield by James Deakin and Sons.
0:02:51 > 0:02:54Right, OK. Was he quite a famous silversmith, then?
0:02:54 > 0:02:58- He's well known, but quite prolific. He made a wide range of items.- OK.
0:02:58 > 0:03:00- Sheffield was one of our main bases.- Right.
0:03:00 > 0:03:03And then as we turn it around, Pam,
0:03:03 > 0:03:07we can see on the back here we have this wonderful sort of
0:03:07 > 0:03:10- engraving of a horse and jockey. - Beautiful. It is lovely.
0:03:10 > 0:03:14Now somebody at some stage has dropped this,
0:03:14 > 0:03:17- which is why we've got dents on the base...- Right, yeah.
0:03:17 > 0:03:22..and why we've also got a little bit of damage to the arm here.
0:03:22 > 0:03:24- OK.- Of the lady. That is going to affect the value
0:03:24 > 0:03:27because somebody who buys it will have to restore that.
0:03:27 > 0:03:32- I see, OK.- They'll have to spend a bit of money knocking that out, straightening it up a bit.
0:03:32 > 0:03:34But it's such a lovely piece.
0:03:34 > 0:03:38It is, but I've got to point these things out because it does affect the value.
0:03:38 > 0:03:43- I realise that, yeah. OK.- In terms of putting that into auction...
0:03:43 > 0:03:46I would probably suggest something like 300 to 500,
0:03:46 > 0:03:50but I think we've got a tailored reserve
0:03:50 > 0:03:51a little bit below that.
0:03:52 > 0:03:57- OK.- I think we should put a third reserve of £250 on it.
0:03:57 > 0:04:00- And it won't sell for a penny below that...- Mm-hm.
0:04:00 > 0:04:05But I think also putting that estimate on it will hopefully excite some extra bidding.
0:04:05 > 0:04:08And we might get in quite a horse race over it.
0:04:08 > 0:04:11- That would be nice! - With any luck.- That would be nice.
0:04:11 > 0:04:14- I look forward to seeing you at the auction.- Thank you.
0:04:20 > 0:04:23- Ralph and Anna, that's father and daughter?- Yes.
0:04:23 > 0:04:28- Yes.- This is extremely ostentatious, probably the most ostentatious thing
0:04:28 > 0:04:31that we will see on Flog It! today, I think.
0:04:31 > 0:04:35- Before I go into the details of it, where have you had it?- In the loft.
0:04:35 > 0:04:39So it's been in the loft, but where did it come from before that?
0:04:39 > 0:04:42It's an aunt, an old aunt has died, yes.
0:04:42 > 0:04:45Yeah. Your great aunt. Can you remember it being handed down?
0:04:45 > 0:04:50- I remember it on her mantelpiece. It was always there.- Right.- Yeah.
0:04:50 > 0:04:52It went from her mantelpiece into your loft?
0:04:52 > 0:04:55- I think it did! - HE CHUCKLES
0:04:55 > 0:04:58I think it spent about a week on our sideboard and then it went.
0:04:58 > 0:05:00Do you know where it was made?
0:05:00 > 0:05:03- France, I believe. - France is correct.
0:05:03 > 0:05:06Do you know from what it's made?
0:05:06 > 0:05:09- Not really. It looks like marble and...- Right.
0:05:09 > 0:05:16Starting from the top, it's based on a classical bronze figure but sadly,
0:05:16 > 0:05:20we won't take the dome off because I don't need to now, it's spelter.
0:05:20 > 0:05:23So it's a low-grade metal compound
0:05:23 > 0:05:26which has been...
0:05:26 > 0:05:28gold painted by somebody.
0:05:28 > 0:05:31This is 1890 or thereabouts it was made.
0:05:31 > 0:05:34I had a peep into the back of the clock.
0:05:34 > 0:05:38The clock's made by Japy Freres, Paris clockmakers,
0:05:38 > 0:05:40so you are absolutely right, French.
0:05:40 > 0:05:43Now sadly the base is not marble.
0:05:43 > 0:05:45- Isn't it? - No. It would be nice if it were.
0:05:45 > 0:05:47This is alabaster.
0:05:47 > 0:05:53- Oh.- Much softer, cheaper... looks more or less the same,
0:05:53 > 0:05:58and then it's under this spendidly modelled glass dome.
0:05:59 > 0:06:01Sadly someone's dropped the dome.
0:06:01 > 0:06:04- Yes. - I take it that wasn't done today?
0:06:04 > 0:06:05- No comment.- No comments.
0:06:05 > 0:06:08No comments? Am I going to see which one of you is going redder?
0:06:08 > 0:06:10That's all we're prepared to say.
0:06:10 > 0:06:13No-one's prepared to say, but we remember it happening.
0:06:13 > 0:06:18Coming onto the valuation I'm afraid things like this, over the top Victoriana,
0:06:18 > 0:06:22which is what I would describe it as, is still on a downward spiral.
0:06:22 > 0:06:24People of your generation don't like this
0:06:24 > 0:06:27- as much as your great aunt would have done.- No.
0:06:27 > 0:06:30I'd love to have been talking about £200-400,
0:06:30 > 0:06:33and I'm talking about less than £100 now.
0:06:33 > 0:06:35Probably £50 worth.
0:06:35 > 0:06:40Sadly the dome can't really be repaired so it's of no value,
0:06:40 > 0:06:43so I think we've got to be estimating £50 to £100
0:06:43 > 0:06:46and we don't want it to go back in the loft, do we?
0:06:46 > 0:06:48- No.- No. - So we'll sell it without reserve.
0:06:48 > 0:06:51- That's fine. - A golden Flog It! moment.- Flog it.
0:06:51 > 0:06:54And my neck will be on the block.
0:06:54 > 0:06:58So the first two items have bounced back from hitting the floor,
0:06:58 > 0:07:03but luckily the next old favourite seems to have had an easier life.
0:07:03 > 0:07:06- Hello, John. Hello, Sam.- Hello, Mark.
0:07:06 > 0:07:08- Father and daughter? - Yeah.- That's true.
0:07:08 > 0:07:13I feel a bit like Bruce Forsyth in The Generation Game saying, "That's father and daughter now..."
0:07:13 > 0:07:17We don't need any introduction here. It's good old Clarice Cliff.
0:07:17 > 0:07:21It wouldn't be a Flog It! without Clarice Cliff. But tell me...
0:07:22 > 0:07:28- ..how many pieces? - Well, we picked these up in a bazar like a jumble sale in a church hall.
0:07:28 > 0:07:30- No.- Yes, many years ago.
0:07:30 > 0:07:32- What did you pay for them? - Nothing.- Nothing?
0:07:32 > 0:07:34- Nothing at all. - Do you remember this, Sam?
0:07:34 > 0:07:38Yeah, I remember it really well. I was seven at the time
0:07:38 > 0:07:40and I was with my mum on the day.
0:07:40 > 0:07:43I was sat on the stage waiting for my mum,
0:07:43 > 0:07:46and then my mum finished and she spotted it.
0:07:46 > 0:07:50I picked it up and showed her the big plate, I remember.
0:07:50 > 0:07:54Then my mum liked it, she spoke to the woman and she said to take it.
0:07:54 > 0:07:58I packed it up in a bag she gave me and that was it, job done!
0:07:58 > 0:08:03And why then, after such a wonderful story, have you decided to bring it along to us today?
0:08:03 > 0:08:07Well, it's just... It's put in the cabinet now and we're both retired
0:08:07 > 0:08:11so it's time for somebody else to have the joy of it, I think.
0:08:11 > 0:08:14Let's just have a little look because we don't, you know,
0:08:14 > 0:08:20everybody knows Clarice Cliff, we've done it a lot, these are very typical of her range in the 1930s.
0:08:20 > 0:08:23We've got a very common pattern here, the crocus pattern,
0:08:23 > 0:08:26but on quite a nice shaped dish.
0:08:26 > 0:08:30We've then got a nice design here, again the dishes are great shapes.
0:08:30 > 0:08:33- This is the wind chime pattern, I think, isn't it?- Yeah.
0:08:33 > 0:08:35- I think so.- Something like that.
0:08:35 > 0:08:39Then we've got these two really bizarre pattern ones which I love,
0:08:39 > 0:08:42these bright oranges and bright geometric designs.
0:08:42 > 0:08:46The rest are in good condition. There's a bit of flaking to some of the enamel...
0:08:46 > 0:08:49- Yeah.- ..if one is being particularly picky about it.
0:08:49 > 0:08:52I don't think any of them are particularly rare patterns.
0:08:52 > 0:08:58But, you know, as a little group I would say maybe, couple of hundred pounds.
0:08:58 > 0:09:00- You do? Well, then. - Really?- As much as that.
0:09:00 > 0:09:06- If we estimate at say £150 to £250 to give the auctioneer that oomph, as it were...- Yeah.
0:09:06 > 0:09:11- Would you be happy with that?- That's wonderful. That's wonderful.- Yeah.
0:09:11 > 0:09:14- We're very happy with that. - I'm delighted you're happy...
0:09:14 > 0:09:17I'm glad I fetched it now!
0:09:17 > 0:09:19- We wouldn't make a show if you didn't.- No, it would not!
0:09:24 > 0:09:27Jane, it's good to see you. I know you're under a bit of pressure.
0:09:27 > 0:09:29- Yes.- In two hours you've to be at work.
0:09:29 > 0:09:33- I've got to be at work.- Oh, look, we won't hang around then, OK?- No.
0:09:33 > 0:09:36- You spotted this, it's a sugar caster...- Yes.
0:09:36 > 0:09:41- In a charity shop?- Yes, and I'm feeling quite guilty about it.
0:09:41 > 0:09:43Tell me why.
0:09:43 > 0:09:45I went into a local charity shop...
0:09:45 > 0:09:50- Yeah.- ..and it was there for sale and I said, "Could I have a look?" and I had a quick look at it.
0:09:50 > 0:09:54- It was a bit dirty...- You thought... - I thought it was silver plate.
0:09:54 > 0:09:58- EPNS, yeah.- And £5, I thought, "I've got to buy it, I like things that are pretty."
0:09:58 > 0:10:01- How much?- £5.
0:10:01 > 0:10:02HE MOUTHS
0:10:02 > 0:10:05- And I got home and I cleaned it up... - No wonder you're feeling guilty.
0:10:05 > 0:10:11Yes. I cleaned it up and I thought, "Oh, this is silver," and I've got no idea of the age,
0:10:11 > 0:10:13but I knew it was a silver mark come what not.
0:10:13 > 0:10:16Good for you, girl, that's what I like to hear!
0:10:16 > 0:10:18Gosh. Well, I can tell you a bit about it.
0:10:18 > 0:10:21Just looking at its shape, it's very architectural.
0:10:21 > 0:10:23- Typical early 1900s.- Yes.
0:10:23 > 0:10:28But it's got that 18th-century look about it, with an octagonal balustrade shape.
0:10:28 > 0:10:31Typical of a piece of silver...
0:10:31 > 0:10:34- both have to be hallmarked.- Yes.
0:10:34 > 0:10:37You'd be in trouble if that wasn't, it might not belong to that piece.
0:10:37 > 0:10:40And looking at these two sets of hallmarks,
0:10:40 > 0:10:43you can see you've got the lion passant
0:10:43 > 0:10:48which tells us it's sterling silver. The next mark is a leopard's head.
0:10:48 > 0:10:52- That one there tells us it was made in London.- Right.
0:10:52 > 0:10:57And this capital S tells me exactly, it was made in 1933.
0:10:57 > 0:11:01- OK?- Right.- So it's quite easy to build a little bit of history up.
0:11:01 > 0:11:04- Yes, yep.- Because everything in silver is so well documented
0:11:04 > 0:11:08and you've got a maker's name on there, as well - Mappin & Webb.
0:11:08 > 0:11:13- I haven't cleaned the bottom very well.- It doesn't matter. You shouldn't really clean silver.
0:11:13 > 0:11:18The more you clean it, the more you will devalue it because you're taking out the hallmarks.
0:11:18 > 0:11:20Mappin & Webb, very good silversmith.
0:11:20 > 0:11:23They were Mappin Brothers
0:11:23 > 0:11:27right up until the early 20th century when they formed a partnership with Mappin & Webb.
0:11:27 > 0:11:30- Right.- It's a name of quality, it really is.- Yeah.
0:11:30 > 0:11:33You've done really well. There's one thing I want to point out
0:11:33 > 0:11:35in the piercing, you see this decoration?
0:11:35 > 0:11:37- Yeah.- And you see there's a little flower up there?
0:11:37 > 0:11:39- Right.- Can you see that?- Yeah.
0:11:39 > 0:11:42And if I turn it around to you now...
0:11:42 > 0:11:44- it's slightly gone wrong there. - Yeah.
0:11:44 > 0:11:48That's where it will devalue it slightly because people are fussy.
0:11:48 > 0:11:52- All right for £5, though. - Yes, no wonder you feel guilty!
0:11:52 > 0:11:54Do you want to know what it's worth?
0:11:54 > 0:11:58- That all-important question... - Oh, yes!- Which we all want to know.
0:11:58 > 0:12:02I think we could put this into auction with a valuation of £60 to £80.
0:12:02 > 0:12:05- Right.- OK? Let's have a little bit of discretion on the 60,
0:12:05 > 0:12:09which means the auctioneer can sell it for 10% less.
0:12:09 > 0:12:12- Yes, right.- So the worst it's going to be is £54.
0:12:12 > 0:12:15- Lovely.- A good little day's shopping, don't you?
0:12:15 > 0:12:16Yes, lovely, thank you.
0:12:17 > 0:12:23So Jane's guilty pleasure completes our handsome collection heading off to auction.
0:12:23 > 0:12:28Charlie is pretty impressed with Ralph and Anna's clock, despite the mysterious damage.
0:12:28 > 0:12:31Sadly someone's dropped the dome.
0:12:31 > 0:12:33- Yes. - I take it that wasn't done today?
0:12:33 > 0:12:36- No comment about that. - No, no comment.- No comment?
0:12:36 > 0:12:40But will it fetch his £50 to £100 estimate?
0:12:40 > 0:12:45Mark is confident Pam's silver trophy is an odds-on favourite, but will he be right?
0:12:45 > 0:12:52And will his £150 to £200 estimate for John and Sam's Clarice Cliff be on the money?
0:12:52 > 0:12:55Not bad, not bad.
0:13:01 > 0:13:05And this is where we're putting our experts' valuations to the test,
0:13:05 > 0:13:08at the Anthemion auction rooms here in Cardiff.
0:13:08 > 0:13:13And the man who will be looking for those important bidders is today's auctioneer, Ryan Beech.
0:13:19 > 0:13:21You could say we are under starters orders.
0:13:21 > 0:13:25I've just been joined by Pam. We've got that wonderful Victorian championship silver cup.
0:13:25 > 0:13:28- £300 to £500... - Well, let's wait and see.
0:13:28 > 0:13:30..is riding on it!
0:13:30 > 0:13:34- I like it, I like it. - Or jumping on it. Steeplechaser...
0:13:34 > 0:13:38- Maybe, yes. - I think it's exquisite, I really do.
0:13:38 > 0:13:42I love the chasing, I love the horse, it's so beautifully done.
0:13:42 > 0:13:46If there's anybody out there who's interested in racing memorabilia...
0:13:46 > 0:13:47That's got to be the thing.
0:13:47 > 0:13:51Lot number 299 is the late Victorian silver trophy cup here.
0:13:51 > 0:13:54Lot 299. £140 I have to start.
0:13:54 > 0:14:00- 150, 60, 170, 80, 190, 200, 210, 220...- He's got a bid on the books.
0:14:00 > 0:14:05230, 240, 250 takes me out. At £250, I've got an offer standing at 250.
0:14:05 > 0:14:11260, 270, 280, 290, 300, 310...
0:14:11 > 0:14:14- That's more like it.- 320, 330... - My heart dropped then.- 340,
0:14:14 > 0:14:20350, 360, 370, 380, 390...
0:14:20 > 0:14:26- Two people are fighting this out. - Yes.- 410, 420, 430, 440...
0:14:26 > 0:14:27It's exciting, exciting.
0:14:27 > 0:14:32- Good, isn't it? - 470, 480, 500. At £500...
0:14:32 > 0:14:38- It passed the 500 hurdle.- At £500, are we all done, then, at £500?
0:14:38 > 0:14:41- Wow. What do you think?- That's what we like, top of the estimate.
0:14:41 > 0:14:45- Well done. Are you happy with that? Absolutely.- He's a good man.
0:14:45 > 0:14:47- Absolutely.- £500!
0:14:47 > 0:14:49- I know!- So exciting, I'm ever so pleased for you.
0:14:56 > 0:14:59Well, this next lot only cost a fiver in a charity shop.
0:14:59 > 0:15:00Brings back the memories? Yes.
0:15:00 > 0:15:06Belongs to Jane, it's the silver sugar sifter and we've got 50, 60, hopefully £70 riding on this.
0:15:06 > 0:15:09- Lovely.- But you can spot a bargain.
0:15:09 > 0:15:16- Yes.- You certainly can spot a bargain, and the good news is silver is selling so well here today.
0:15:16 > 0:15:19There's lots of silver items and it's fetching top dollar.
0:15:19 > 0:15:24- So I'm selling at the right time? - Oh, you certainly are, yes.
0:15:24 > 0:15:30Lot 315 is a George V silver sugar sifter here, by Mappin & Webb.
0:15:30 > 0:15:31£20 I have to start, £20.
0:15:31 > 0:15:38At £20 and five, 30, five, 40, five, at 45, 50, five, takes me out.
0:15:38 > 0:15:40- 60, at 60...- Come on, a bit more.
0:15:40 > 0:15:4265, 70, five,
0:15:42 > 0:15:4580, five.
0:15:45 > 0:15:47- At 85, lady seated at 85 now. - Top end.
0:15:47 > 0:15:50- Ooh.- At 85 pound then, are we all done at 85 pound? 90, fresh bidder.
0:15:50 > 0:15:52- Ooh.- Fresh bidder.
0:15:52 > 0:15:5495, 100.
0:15:54 > 0:15:59At £100, are we all done, then, at £100?
0:15:59 > 0:16:02- Great, great. - Marvellous round figure.
0:16:02 > 0:16:05- Oh.- How about that? - That really took me by surprise,
0:16:05 > 0:16:07but like you said, silver's selling well today.
0:16:07 > 0:16:12I was hoping for around £80, but silver is really selling well here today.
0:16:12 > 0:16:15I think there's lots of dealers and it's very competitive.
0:16:15 > 0:16:17If you can get something into a saleroom like this
0:16:17 > 0:16:20when it's hot to trot you can make a bit more money.
0:16:26 > 0:16:29We've just been joined by Ralph and his daughter Anna
0:16:29 > 0:16:32- and time is definitely up for the old French clock.- It is.
0:16:32 > 0:16:35There is no reserve on this, which we agreed, didn't we, on the day...
0:16:35 > 0:16:38Quite right, too.
0:16:38 > 0:16:41If it didn't sell, what were you going to do with this?
0:16:41 > 0:16:43Drop it in the dustbin on the way out.
0:16:46 > 0:16:48- Is Dad always like this?- Yeah.- Yeah.
0:16:48 > 0:16:51It's a 19th-century French gilt spelter alabaster mantle clock.
0:16:51 > 0:16:54- Start me at £50 for this lot, please. £50 I have, thank you.- Yes.
0:16:54 > 0:16:57Five, I'll take. At 50, at £50, the gentleman standing at 50, 55,
0:16:57 > 0:17:0360, 65, 70, 75, 80, at £80 the gentleman standing.
0:17:03 > 0:17:08At 80 now, 85, 90, 95, 100, and ten,
0:17:08 > 0:17:12120, 130, 140, 150.
0:17:12 > 0:17:16At 150, front row at 150 now, at £150 are we all done, then?
0:17:16 > 0:17:18- Result.- Hammer's gone down.
0:17:18 > 0:17:20They seduced me in Paris.
0:17:22 > 0:17:27Ever so pleased for you. I told you, didn't I, somebody else's junk is somebody else's treasure.
0:17:27 > 0:17:30Well, that's really good, so who's getting all the dosh?
0:17:30 > 0:17:33- Well, me, I think. - This one's decided.
0:17:33 > 0:17:35It has been decided, yes.
0:17:38 > 0:17:41I've just been joined in the nick of time by Sam and John,
0:17:41 > 0:17:45father and daughter, who would like to put the Clarice Cliff under the hammer.
0:17:45 > 0:17:50We've got five items, great pattern, you were attracted to this...
0:17:50 > 0:17:52- Yes, I was. - ..and you got it for nothing
0:17:52 > 0:17:54because nobody else wanted to buy it at the fair.
0:17:54 > 0:17:58It was just stuck on the stage, and nobody else wanted it and...
0:17:58 > 0:18:01And you were attracted to it, so well done for spotting it.
0:18:01 > 0:18:05Mark, our expert, has put a value of £150 upwards on this.
0:18:05 > 0:18:10- I said it's bright and breezy and it's never let us down in the past, eh?- No, it hasn't.
0:18:10 > 0:18:13- Lot 342 is a Clarice Cliff windbell pattern plates here...- This is it.
0:18:13 > 0:18:15Lot 342.
0:18:16 > 0:18:18Numerous commission bids.
0:18:18 > 0:18:21Crossing bids, in fact, which start me straight in at £260.
0:18:21 > 0:18:25Crossing bids put me straight in at 260. 270 takes me out. At 270.
0:18:25 > 0:18:31At £270 the gentleman standing, at 270. A £270, 280, 290,
0:18:31 > 0:18:34300, 310,
0:18:34 > 0:18:38320, 330,
0:18:38 > 0:18:41340, 350, 360.
0:18:41 > 0:18:45At 360 on the one telephone, at 360.
0:18:45 > 0:18:48- Telephone bidders, do you see what I mean?- 370.
0:18:48 > 0:18:53- At £370, are we all done at 370? 380 back in.- Wow.
0:18:53 > 0:18:54380 back in on the phone. 390 Julian?
0:18:54 > 0:18:57390 if you're interested.
0:18:58 > 0:18:59390. 400?
0:19:01 > 0:19:03At £390 on the telephone, at £390...
0:19:03 > 0:19:05- £390.- Are you sure this time?
0:19:07 > 0:19:09At £390 on the telephone.
0:19:09 > 0:19:11Are we all done, then, at 390?
0:19:11 > 0:19:13- Well.- Well, well. - I love that wallop.
0:19:13 > 0:19:16- I don't know what they see in it. - Absolutely unbelievable.
0:19:16 > 0:19:18£390. And you got it all for nothing.
0:19:18 > 0:19:22- I never thought it would get that far.- Yeah. I should look for more, shouldn't I?
0:19:22 > 0:19:24I think you should, definitely.
0:19:24 > 0:19:29So the auction was a success for Sam and she's off on a Clarice Cliff hunt.
0:19:29 > 0:19:33We'll be back in the auction room later, where a misunderstanding with a young lady
0:19:33 > 0:19:37- catches Charlie by surprise. - I'm a bit nervous now.
0:19:47 > 0:19:51Before we head back to the valuation tables in Monmouth,
0:19:51 > 0:19:56I've taken a short journey out here to the beautiful, stunning Welsh countryside,
0:19:56 > 0:19:59a place that's inspired artists and poets alike.
0:19:59 > 0:20:03But today I've come to find out how this simple landscape
0:20:03 > 0:20:07could have inspired one local lady to change the face of fashion.
0:20:09 > 0:20:12Laura Ashley and her business-minded husband, Bernard,
0:20:12 > 0:20:17hit the high streets of London with their Welsh-made ladies fashions in the 1970s.
0:20:19 > 0:20:23How would a capital, still swinging from the '60s,
0:20:23 > 0:20:27react to clothes inspired by a rose-tinted view of country life?
0:20:27 > 0:20:30# Sugar and spice and all things nice... #
0:20:30 > 0:20:35The look was wholesome, harking back to Edwardian and Victorian period.
0:20:35 > 0:20:40High collars, lace, ribbon, floral prints and long hems.
0:20:40 > 0:20:45Creative clothes that were pretty, conservative and definitely feminine.
0:20:45 > 0:20:50Amazingly, young ladies all over the country packed away their kinky boots and mini skirts
0:20:50 > 0:20:53and covered themselves up in Laura Ashley designs.
0:20:53 > 0:20:59By the 1970s the Laura Ashley empire had firmly established a place in the world of fashion.
0:21:01 > 0:21:08This young woman tapped into people's desires to escape the urban grind and retreat to the country.
0:21:08 > 0:21:12She offered a range of clothes and homewares inspired by this stunning landscape,
0:21:12 > 0:21:18so why move house when you can create your own country idyll in your urban home?
0:21:18 > 0:21:21And it's all thanks to Laura Ashley.
0:21:21 > 0:21:25I've come to this country retreat to meet a lady who can give me
0:21:25 > 0:21:31an insight into the life of Laura Ashley - biographer Anne Sebba.
0:21:31 > 0:21:34So why was country life in Wales so influential in Laura's life?
0:21:34 > 0:21:42Laura was born in Wales, but luckily so, because her mother knew that Wales was terribly important...
0:21:42 > 0:21:47- Right.- ..and Bessey Mountney took her to this colliery worker's cottage at Dowlais Top
0:21:47 > 0:21:52just outside Myrthyr Tydvl and that's where Laura was born in the front room.
0:21:52 > 0:21:56Of course, that didn't remain in Laura's mind because she went back to live in London,
0:21:56 > 0:22:00but she continued to come for holidays to Wales.
0:22:00 > 0:22:03She was put on the train with her sister and the guard looked after them,
0:22:03 > 0:22:08and it was these holidays in Wales that made a really deep impression on Laura.
0:22:08 > 0:22:10So the sorts of things she remembered
0:22:10 > 0:22:15was the way that the women would bring in buckets of water and buckets of coal
0:22:15 > 0:22:19and they'd be constantly blacking the stoop,
0:22:19 > 0:22:23and it was the Victorian attitudes within the house that Laura remembered.
0:22:23 > 0:22:27Laura met and fell for Bernard Ashley and, after a long courtship,
0:22:27 > 0:22:31they were married and set up home in London.
0:22:31 > 0:22:33Laura was determined to be a devoted housewife.
0:22:33 > 0:22:39This meant that any job she undertook could not interrupt her domestic chores.
0:22:40 > 0:22:44Laura, while she was trying to get pregnant, went off in one of her lunch breaks
0:22:44 > 0:22:46to the Victoria and Albert museum,
0:22:46 > 0:22:52saw a patchwork exhibition with all these wonderful little tiny Victorian prints
0:22:52 > 0:22:56made into a brilliant patchwork quilt and thought, "I want to do this,
0:22:56 > 0:23:02"this is something that I can do at home," went off to try and buy the prints, couldn't find them anywhere,
0:23:02 > 0:23:05so said to Bernard, "Why don't we print them ourselves?"
0:23:05 > 0:23:11And they were restricted to tiny squares because that was all they had room on the kitchen table for
0:23:11 > 0:23:16so the first products they made were table mats, which Laura would hem herself,
0:23:16 > 0:23:22or little square napkins, and Laura herself took them off to John Lewis and she got...
0:23:22 > 0:23:27- I was going to say how did she start to sell them? John Lewis? - Absolutely.- The big break.
0:23:27 > 0:23:31She took the bus one day, she was already pregnant, took the bus to John Lewis,
0:23:31 > 0:23:34was terribly nervous waiting to see the buyer,
0:23:34 > 0:23:38and their first order was almost as much as they could cope with.
0:23:38 > 0:23:42She waited up all night hemming the squares in order to complete a repeat order
0:23:42 > 0:23:45for the buyer at John Lewis, and that's how they got going.
0:23:45 > 0:23:49As production started to grow, so did the Ashley family
0:23:49 > 0:23:53and, with young children in tow, they moved to a bigger premises.
0:23:53 > 0:23:59The countryside was calling so, after a period in Kent, the family and the business headed to Wales,
0:23:59 > 0:24:05settling in the town of Carno and opening a factory in the town's disused railway station.
0:24:05 > 0:24:10What made it different was that the local community was so involved in it.
0:24:10 > 0:24:14Some of them had actually physically helped build the extension.
0:24:14 > 0:24:17They worked on the farm, perhaps, during the day
0:24:17 > 0:24:24and they'd helped him after work to build the extension so they all felt they had a stake in this factory.
0:24:24 > 0:24:30One of the main reasons that Laura really felt a family atmosphere in the factory was so important
0:24:30 > 0:24:35is because she didn't really believe that women who were mothers should have a full-time job.
0:24:35 > 0:24:37So she got round that in a number of ways.
0:24:37 > 0:24:42She would insist that Friday afternoons was free time for all the mothers and they went home.
0:24:42 > 0:24:46Friday afternoon was definitely a time to be with your children.
0:24:46 > 0:24:53As far as she herself was concerned, and by this time she had four children, so Laura got round it
0:24:53 > 0:24:58by saying that actually the factory was Laura Ashley, that is, herself.
0:24:58 > 0:24:59It was an extension of the family.
0:24:59 > 0:25:04- So it was a way of her being able to have a full-time job...- Yes, yes.
0:25:04 > 0:25:07..without contravening this very deep-seated philosophy
0:25:07 > 0:25:10that mothers should not work away from their home.
0:25:10 > 0:25:13She believed that domesticity was absolutely crucial.
0:25:14 > 0:25:19By the mid '60s, Laura was ready to expand fully into the area of fashion design.
0:25:19 > 0:25:22With strong views on how she thought woman wanted to be dressed,
0:25:22 > 0:25:29Laura launched her range of ladies' fashions and her first high street shop in South Kensington, London.
0:25:29 > 0:25:35The floral dresses carrying the label "Made In Wales" flew off the racks.
0:25:35 > 0:25:40- So why were her dresses such a big success?- All sorts of reasons.
0:25:40 > 0:25:42Don't forget we're in the '60s.
0:25:42 > 0:25:48Laura absolutely hated hotpants and miniskirts, she thought they were ghastly
0:25:48 > 0:25:52so she reacted against that to an extent and she genuinely believed
0:25:52 > 0:25:58that for a woman to wear high necks and conceal was actually much sexier
0:25:58 > 0:26:03and that, you know, men liked to imagine what was underneath rather than revealing all...
0:26:03 > 0:26:08- Yes.- So it was time when no country wedding in England
0:26:08 > 0:26:12was complete without a smattering and a sprinkling of Laura Ashley dresses.
0:26:12 > 0:26:18They were very countrified, but also very theatrical and romantic.
0:26:18 > 0:26:20The '70s was a time of change.
0:26:20 > 0:26:26Greater sexual and political freedom meant women's roles were being redefined and yet, in contrast...
0:26:26 > 0:26:33Laura was still attracted to a rose-tinted view of the Victorian and Edwardian periods.
0:26:33 > 0:26:36Did Laura lead the traditional life she wanted to promote?
0:26:36 > 0:26:38Very interesting.
0:26:38 > 0:26:45She worked very hard to try and lead a much more rural life than in fact was possible
0:26:45 > 0:26:48since she was head of a multi-million empire by the end.
0:26:48 > 0:26:54She was always good at making the man feel that he was the one doing the important things.
0:26:54 > 0:26:58So, for example, when she went on a plane she would take her needlework with her
0:26:58 > 0:27:05and pretend to do her needlework so that Bernard could feel that he was the one doing all the man stuff,
0:27:05 > 0:27:12- because she believed that women wanted domesticity and that's reflected in her dresses...- Yes.
0:27:12 > 0:27:15..and not to go into an office and look smart.
0:27:15 > 0:27:19That was the antithesis of what Laura cared about in her design philosophy.
0:27:19 > 0:27:26Laura began to travel to Europe and came up with ranges of matching wallpapers, homewares and fabrics.
0:27:26 > 0:27:32Thousands of urban homes became rural retreats without the aid of an interior designer.
0:27:32 > 0:27:36Stores popped up across the UK and Europe, shortly followed
0:27:36 > 0:27:40by flagship stores in San Francisco, Australia and Japan.
0:27:40 > 0:27:43Laura Ashley had truly gone global.
0:27:48 > 0:27:51The company hit troubled times in the 1980s.
0:27:51 > 0:27:55It went public and, with it, that crucial family bond was lost forever.
0:27:55 > 0:28:00And tragically in 1985, shortly after Laura's 60th birthday
0:28:00 > 0:28:05she returned home to Wales, fell down a flight of stairs and was fatally wounded.
0:28:05 > 0:28:11Now, how different the company may have been if Laura had lived on, we will never know,
0:28:11 > 0:28:17but one thing is for sure, the people of Wales, the country that inspired and supported her work,
0:28:17 > 0:28:20will always hold Laura Ashley close to their hearts.
0:28:20 > 0:28:24# ..Amen. #
0:28:27 > 0:28:30Back up in Monmouth and there are still plenty of bags to rummage through,
0:28:30 > 0:28:34and Charlie has looked beyond the big and the bulky.
0:28:34 > 0:28:38Diane, small is beautiful. This is lovely.
0:28:38 > 0:28:40Where has she been hiding?
0:28:40 > 0:28:43In a box in the attic.
0:28:43 > 0:28:46- Everything I've seen today has come from a box in the attic!- Yes.
0:28:46 > 0:28:50Is that because you don't like it or because it would gather dust?
0:28:50 > 0:28:54- No, just haven't got no room for it, you know.- Right. Right.
0:28:54 > 0:28:57And how did you get hold of her?
0:28:57 > 0:29:02It's my partner's mum's and she bought it in a charity shop for 50p.
0:29:02 > 0:29:0550p? And she gave it to you as a present?
0:29:05 > 0:29:07No, no. It's still hers.
0:29:07 > 0:29:12- It's still hers.- But because she can't display it then she thinks it should go to a new home.
0:29:12 > 0:29:16Right. Do you know what it is or who made it?
0:29:16 > 0:29:20- I know it's Doulton, but that's about it.- That's right. It's made by Royal Doulton,
0:29:20 > 0:29:24A figure, sometimes people call them figurines, but really it's a figure.
0:29:24 > 0:29:29I can tell from the colouring that this is not a current figure, not a modern figure.
0:29:29 > 0:29:33The colours are much more garish, much brighter today.
0:29:33 > 0:29:39This, I would think, is going to be dating pre-war because of those lovely soft tones
0:29:39 > 0:29:44in which case it should have a number, HN, from a man called Harry Noake
0:29:44 > 0:29:49who worked for the Doulton factory. Oh, really lovely crisp marks.
0:29:49 > 0:29:52Royal Doulton...
0:29:52 > 0:29:55"Little child so rare and sweet,"
0:29:55 > 0:30:00it's got a registration number, 776714.
0:30:00 > 0:30:06- That is 1931, I haven't just learnt all the registrations, I had a quick look.- Oh, right.
0:30:06 > 0:30:11And it has, "Potted by Doulton and company" written on the bottom
0:30:11 > 0:30:15and an HN number, as indeed we thought it would have,
0:30:15 > 0:30:211541, I think that's right. And it doesn't appear to have any damage,
0:30:21 > 0:30:24and that's the best 50p's worth I've seen in a long time!
0:30:24 > 0:30:28- Yes.- So did she have a clue as to what it might be worth?
0:30:28 > 0:30:29No, I don't think she did, no.
0:30:29 > 0:30:32- Will you have a guess?- About £100?
0:30:32 > 0:30:36It's worth more than 100, I think. I think a very...
0:30:36 > 0:30:40a wideish estimate at £100 to £200 would be pretty good.
0:30:40 > 0:30:43- So I think we'll take it off to auction, you're happy with that?- Yes.
0:30:43 > 0:30:46Estimate 100 to 200.
0:30:46 > 0:30:48- She'll be happy with that. - She will.- You're sure?- Yes.
0:30:48 > 0:30:50- Delighted?- Definitely.
0:30:50 > 0:30:53- We'll put a reserve of 100...- OK. - ..with auctioneer's discretion,
0:30:53 > 0:30:57and I would like to see it go on towards 200, I really would.
0:30:57 > 0:30:58I think it's quite a rare figure.
0:31:02 > 0:31:06- Cath, you've brought a gem in to show us, haven't you?- Yes, I have.
0:31:06 > 0:31:08Tell me, do you wear this brooch?
0:31:08 > 0:31:10- No.- No?- No. - Not your sort of thing at all?
0:31:10 > 0:31:12- No.- How long have you had it?
0:31:12 > 0:31:16- About 20 years.- So in 20 years, you haven't worn it once?- No.
0:31:16 > 0:31:18They're out of fashion at the moment, aren't they?
0:31:18 > 0:31:22- People like the really chunky ones, but...- I think so, yes.
0:31:22 > 0:31:25But this is a very delicate piece and it's very typically
0:31:25 > 0:31:28from the Victorian period, towards the end of the 19th century.
0:31:28 > 0:31:31We've actually got some Cabershone garnets.
0:31:31 > 0:31:37That means the garnets have been polished into a stone rather than cut into a stone,
0:31:37 > 0:31:41but then they've been cut into and inset into the garnets
0:31:41 > 0:31:44- have been these delightful stars set with diamonds.- Right.
0:31:44 > 0:31:48The whole thing is set in gold. When you look at the back,
0:31:48 > 0:31:51this has maybe come from a larger piece.
0:31:52 > 0:31:57- Right.- Maybe from a large drop necklace or something like that,
0:31:57 > 0:32:02and it's been converted, many years ago, into a little brooch.
0:32:02 > 0:32:07- Right.- But, having said that, it's a really charming little object and I'm sure somebody would like it.
0:32:07 > 0:32:12- Yes.- So you've had it for 20 years, why have you decided to come in and flog it today?
0:32:12 > 0:32:20Well, it really hasn't got any sentimental value for me and I chose it as part of an inheritance.
0:32:20 > 0:32:23- Oh, right.- And I don't really know anything about it.
0:32:23 > 0:32:28I didn't know it was diamonds. Are they actually set into the stone?
0:32:28 > 0:32:31Will there be a hole in the stone for them to be in?
0:32:31 > 0:32:33Yes, it would be carved in,
0:32:33 > 0:32:35and then a little bit of silver's been put in
0:32:35 > 0:32:39- because diamonds reflect better from a white metal...- Right.
0:32:39 > 0:32:42..than from a yellow metal. And then they are set in gold,
0:32:42 > 0:32:48quite a high carat and you've got a nice little rope-twist design around the outside of the design, as well.
0:32:48 > 0:32:52Well, I suppose we have to think about value, don't we?
0:32:52 > 0:33:00Er, I would say, ideally, one would hope it got around about £150.
0:33:00 > 0:33:04- Right.- But I think we've just got to value it slightly cautiously.
0:33:04 > 0:33:07- OK.- I think we've got to put maybe £100 to £150 on it...- Right.
0:33:07 > 0:33:09- ..with a reserve of £100.- Right, yes.
0:33:09 > 0:33:12- Is that all right with you? - Yes, I'm happy with that.
0:33:12 > 0:33:16Well, I'm so pleased you brought this lovely little gem in to see us
0:33:16 > 0:33:19and I look forward to it twinkling in the sale room.
0:33:19 > 0:33:21I hope it does.
0:33:25 > 0:33:27You've been standing in the queue
0:33:27 > 0:33:31holding this very, very heavy box for rather a long time.
0:33:31 > 0:33:33It must be something of a relief to get here.
0:33:33 > 0:33:36- Yes, yes, it was. - And where did it come from?
0:33:36 > 0:33:38It used to belong to my grandmother.
0:33:38 > 0:33:42- Right.- And it was handed to my mother when she died in about 1970-ish.
0:33:42 > 0:33:45- My mother handed it on to my daughter...- Yeah.
0:33:45 > 0:33:48So it's the fourth generation in the family.
0:33:48 > 0:33:51Your daughter's instructed you to bring it along?
0:33:51 > 0:33:55- To sell it?- Yes. She's getting married next year, it would be useful towards the honeymoon.
0:33:55 > 0:33:57Does it come with any story?
0:33:57 > 0:34:01Not that I'm aware of. I don't know anything about it, where it's from,
0:34:01 > 0:34:02what age it is, anything.
0:34:02 > 0:34:06All I know is it must be something like 110 years old.
0:34:06 > 0:34:09- That's pretty accurate. It's late 19th century.- Right.
0:34:09 > 0:34:11- But where does it come from? - I don't know.
0:34:11 > 0:34:15- To put you out of your misery, it's Indian.- Oh, right.
0:34:15 > 0:34:18- Do you know what it's made of? - No.- It's very black.
0:34:18 > 0:34:21- I thought initially it was probably ebony...- Right.
0:34:21 > 0:34:25But I think I can see a bit of flecking in there, I think it's a wood called Coromandel,
0:34:25 > 0:34:29- hence its weight...- Right. - Unbelievably heavy.- Fair enough.
0:34:29 > 0:34:33- Almost the weight of stone, rather than wood.- Right.- We'll open it up.
0:34:34 > 0:34:38Wow. Look at that fantastic workmanship.
0:34:38 > 0:34:43It is coromandel. If we look at the back here, you can see the brown flecks running through it
0:34:43 > 0:34:47- rather like rosewood.- Right. - If you know the wood rosewood.- Right.
0:34:47 > 0:34:50Now it's got the most wonderful ivory inlay.
0:34:50 > 0:34:54When I say wonderful, it's not, let's say, Japanese quality,
0:34:54 > 0:34:59the quality isn't brilliant, it's rising up in a few places, but nevertheless it is interesting,
0:34:59 > 0:35:04and then it has different woods, specimen woods laid into it.
0:35:04 > 0:35:12There's some, probably, tiger wood in there, there's some rosewood, I think
0:35:12 > 0:35:17and mostly ivory and then coloured with these floral patterns.
0:35:17 > 0:35:21- Good Lord, there's not something like this in every one is there?- No.
0:35:21 > 0:35:25No, that was actually given to me some 40 odd years ago.
0:35:25 > 0:35:28- You know what that is, don't you? - That's a vester, yes.
0:35:28 > 0:35:32Yes, a vester for matches and striking along the bottom.
0:35:32 > 0:35:35We haven't come to look at this, we're looking at the box.
0:35:35 > 0:35:39If we lift this up, there should be a compartment in the bottom.
0:35:39 > 0:35:42Oh, my gosh, it's full, isn't it?
0:35:42 > 0:35:47- Er...- I don't know anything about them.- You don't?- Nope.
0:35:47 > 0:35:51There's a note inside them which we could probably have a look at.
0:35:51 > 0:35:54"Dear Rosa." Does that ring a bell?
0:35:54 > 0:35:57- There was an Aunt Rosa, yes. - An Aunt Rosa?- My mother's Aunt Rosa.
0:35:57 > 0:36:00"First pair of boots.
0:36:00 > 0:36:04- "Too small for her little feet." - Oh.- And that's dated 1873.
0:36:05 > 0:36:10Wonderful. Well, coming back to the box,
0:36:10 > 0:36:16did your daughter say, "Take it away, Dad, if it's worth more than ten quid, sell it"? Or 500 quid or...
0:36:16 > 0:36:19No, she just said take it and sell it, I've got no use for it.
0:36:19 > 0:36:22- Right.- And I suggested it might be worth in excess of a hundred.
0:36:22 > 0:36:27- That's a pretty good valuation.- Oh.- I think it's worth about £100.- Really?
0:36:27 > 0:36:33- How does that sound?- Reasonable. - Were you hoping for more?
0:36:33 > 0:36:34Well, always!
0:36:36 > 0:36:38It's not my money.
0:36:38 > 0:36:40- But that would be all right, would it?- Yes.
0:36:40 > 0:36:45I would suggest putting a reserve in just below the psychological £100 barrier.
0:36:45 > 0:36:47- Right.- Perhaps £75?- Yes, OK.
0:36:47 > 0:36:51- Would you be happy with that?- Yes, my daughter would be very happy.- Yeah.
0:36:52 > 0:36:57So will granny's sewing box of tricks pull in the cash needed for Michael's daughter?
0:36:57 > 0:37:00It will be joined at auction by two little gems.
0:37:00 > 0:37:06Firstly Catherine's brooch that, after 20 years, is dying to be worn.
0:37:06 > 0:37:08- So in 20 years, you haven't worn it once?- No.
0:37:08 > 0:37:14And the pretty little Doulton figure that Charlie valued at £100 to £200.
0:37:18 > 0:37:24But, over in Cardiff, auctioneer Ryan Beech is keen to show me something Charlie didn't spot.
0:37:24 > 0:37:27She's a lovely figure, a rare figure.
0:37:27 > 0:37:31I don't know whether it was picked up at the valuation day, but she has been restored.
0:37:31 > 0:37:36- so if she sells it will be around that lower end I think. - Where's the restoration?
0:37:36 > 0:37:39It's difficult to say because they've done a very good job.
0:37:39 > 0:37:44You can see it's been sprayed quite extensively and you can see different colour tones there.
0:37:44 > 0:37:49I can see different skin pigments, but isn't that something that would have been in the glaze anyway?
0:37:49 > 0:37:52No. If you look at the base, you'll see it's much higher gloss finish.
0:37:52 > 0:37:54When you look at the body of the piece...
0:37:54 > 0:38:00- She's matted.- ..she's quite matt. That's part of the process where they spray to blend the colours in.
0:38:00 > 0:38:03- That alerted to you to the restoration?- Yes.- Have you seen a perfect one of these?
0:38:03 > 0:38:06- I haven't sold a perfect one of them, no.- If this was perfect...
0:38:06 > 0:38:11- I think we'd probably be looking at £300 or £400.- Yeah, so we've got the value right.
0:38:11 > 0:38:14I think so. The trouble with Doulton figures or with any pieces,
0:38:14 > 0:38:17restoration really does put a lot of people off
0:38:17 > 0:38:21unless it's one you want to complete your collection and it doesn't matter.
0:38:21 > 0:38:25Well, we're all about to find out if this little lady will entice a collector.
0:38:25 > 0:38:29But first, how will Charlie react to the news?
0:38:29 > 0:38:31I'm a bit nervous now.
0:38:31 > 0:38:34No. If it was in perfect condition he said it would be three to four.
0:38:34 > 0:38:36- Right.- So we got the value right.
0:38:36 > 0:38:40OK, yeah, but some people simply won't collect things with damage.
0:38:40 > 0:38:42Or they won't notice this, maybe.
0:38:42 > 0:38:45It just goes to show you've got to look so carefully.
0:38:45 > 0:38:48Really inspect things and spend a good hour looking at something before you buy it.
0:38:48 > 0:38:53- It sounds boring, but if you're not sure you can always ask someone. - But, for 50p, it didn't matter.
0:38:53 > 0:38:55- No.- Didn't matter at all, did it?
0:38:55 > 0:38:57Lot number 357 is a Royal Doulton figure,
0:38:57 > 0:39:00a little child so rare and sweet.
0:39:00 > 0:39:03£95 I have to start, commission bidder here straight in at £95,
0:39:03 > 0:39:0595 I have and 100 I'll take.
0:39:05 > 0:39:09100, and ten, 120 takes me out, at 120 on my right, 120.
0:39:09 > 0:39:12At £120 on my right, at 120 now.
0:39:12 > 0:39:14At £120 are we all done, then?
0:39:14 > 0:39:17- At £120.- Yes, we've done it.
0:39:17 > 0:39:19£120 even with the damage.
0:39:19 > 0:39:23Considering we hadn't spotted the damage, that's a result.
0:39:23 > 0:39:27- Very good.- A great bargain for 50p, as well.- Yes, it was. Very good.
0:39:33 > 0:39:35Could this next lot be the star of the show?
0:39:35 > 0:39:41It's Catherine's Victorian diamond brooch with a value of £100 to £150 riding on this.
0:39:41 > 0:39:45Brooches, people say, aren't popular, but I think they are making a comeback.
0:39:45 > 0:39:48Some of them are. The youngsters like the sort of blingy...
0:39:48 > 0:39:53- Yes.- The abstract ones so things like George Jenson jewellery
0:39:53 > 0:39:55is very much in vogue with youngsters.
0:39:55 > 0:39:57- This is terribly Victorian...- I know.
0:39:57 > 0:40:02The whole style of it. If you're not wearing it this is the perfect place to recycle, isn't it?
0:40:02 > 0:40:03We're going to find out right now.
0:40:03 > 0:40:08Lot number 108, it's a Victorian brooch set with Cabershone rubies.
0:40:08 > 0:40:11Commission bids here start me straight in at £100.
0:40:11 > 0:40:14100 I have and ten I will take, at 100. At £100, and ten anywhere?
0:40:14 > 0:40:17110, 120, 130.
0:40:17 > 0:40:20Takes me out at 130 gentleman seated, at 130 now.
0:40:20 > 0:40:26At £130 seated, at 130 are we all done, then? At £130.
0:40:26 > 0:40:28- Short and sweet, that was. - Brilliant.
0:40:28 > 0:40:32- Mid estimate. Very happy with it. - Yes, spot on.- Brilliant.- Spot on.
0:40:32 > 0:40:36- Happy?- I'm very happy. I didn't think it would sell. - Oh, wow.- So very happy.
0:40:43 > 0:40:47Next up the embroidery box with a value of £100 to £150.
0:40:47 > 0:40:52- Belongs to Michael and he's brought his daughter, Heidi, along. Hello there.- Hiya.- I love the hair.
0:40:52 > 0:40:54What does Dad think?
0:40:54 > 0:40:56I had a shock when I saw it.
0:40:56 > 0:40:59Cracking embroidery box, lovely pair of shoes. Did you see them?
0:40:59 > 0:41:02I love those. They are the first thing I go to when I look at it.
0:41:02 > 0:41:04I would have kept those and sold the rest.
0:41:04 > 0:41:07But then I think a lot of the value's in those.
0:41:07 > 0:41:10- Yeah.- Really I do. This took your fancy, didn't it?
0:41:10 > 0:41:13It did. The shoes are 1873...
0:41:13 > 0:41:17- Yeah.- With a little note...- I saw the note.- I think, about who owned the shoes in the first place.
0:41:17 > 0:41:21I think they're beautiful. But the box is good quality, too.
0:41:21 > 0:41:24- Yes. Hopefully we'll get the top end. We'll find out now.- I hope so.
0:41:24 > 0:41:27Thanks for joining us, brightening up the show with all that colour.
0:41:27 > 0:41:29This is it going under the hammer now.
0:41:29 > 0:41:35Lot 516 is an Indian floral carved workbox here. Lot 516.
0:41:35 > 0:41:39Numerous commission bids here start me straight in at...
0:41:41 > 0:41:42Come on.
0:41:42 > 0:41:46£160. 160 I have to start, 170, 180,
0:41:46 > 0:41:51190, 200, 210, 220, 230...
0:41:51 > 0:41:54- Good Lord. Heidi, it's because you're here.- 270, 280.- Incredible.
0:41:54 > 0:41:57290, 300, 310 takes me out.
0:41:57 > 0:42:01At £310, back of the room at 310, £310, 320?
0:42:01 > 0:42:07320, 330, 340, 350.
0:42:07 > 0:42:08Oh, they like this.
0:42:08 > 0:42:11360, 370,
0:42:11 > 0:42:15380, 390, 400, 410...
0:42:15 > 0:42:17Tell me, what did we miss?
0:42:17 > 0:42:19I know nothing.
0:42:19 > 0:42:21£410, the back of the room, £410.
0:42:21 > 0:42:27At £410, are we all done, then, at £410?
0:42:27 > 0:42:29- Gosh, how exciting was that? - Oh, my word.
0:42:29 > 0:42:32- That will go a long way towards your honeymoon spending.- Yeah.
0:42:32 > 0:42:36- I can eat now!- What is the money going to go towards, by the way?
0:42:36 > 0:42:39Don't forget there's commission to pay.
0:42:39 > 0:42:41- We're getting married in three months.- Congratulations.
0:42:41 > 0:42:46Going on honeymoon to America. That's going to go to paying for the things we want to do.
0:42:46 > 0:42:49- Oh. Incredible result. What's the fiance's name?- Carl.
0:42:49 > 0:42:53He is going to be so surprised. I bet you can't wait to call him.
0:42:53 > 0:42:56Brilliant result, brilliant result.
0:42:56 > 0:43:00- Thank you so much for coming in. - Thanks, Flog It!- It's a pleasure.
0:43:05 > 0:43:09Well, that's it, the auction's over, everybody's gone home.
0:43:09 > 0:43:13You could say our work is now done, and what a cracking day we've had here.
0:43:13 > 0:43:15I hope you've enjoyed today's show.
0:43:15 > 0:43:19So, until the next time, it's cheerio from Cardiff.
0:43:19 > 0:43:23For more information about Flog It, including how the programme was made,
0:43:23 > 0:43:26visit the website at bbc.co.uk
0:43:36 > 0:43:39Subtitles by Red Bee Media Ltd
0:43:39 > 0:43:42E-mail subtitling@bbc.co.uk