0:00:02 > 0:00:03Oh, you've caught me out, naughty but nice.
0:00:03 > 0:00:07These chips are fantastic but there's one thing missing... that's more like it.
0:00:07 > 0:00:11I've come to a picturesque market town which owes its name to salt.
0:00:11 > 0:00:15Welcome to Flog It from Nantwich in Cheshire.
0:00:35 > 0:00:39The actual name Nantwich gives away its long association with the salt
0:00:39 > 0:00:43industry, for the suffix of the town, "wich", means brine town.
0:00:50 > 0:00:54The salt industry in the town started as long ago as the Roman
0:00:54 > 0:00:58period and it thrived for centuries until sadly the last salt house
0:00:58 > 0:01:01in Nantwich closed in 1858.
0:01:06 > 0:01:10However, its legacy still lives on in the area - it's because of salt production
0:01:10 > 0:01:17that other industries have sprung up that rely on salt such as tanning and the making of Cheshire cheese.
0:01:22 > 0:01:25Well, perhaps our experts will find something related
0:01:25 > 0:01:29to the local industries here, I'm outside the Nantwich Civic Hall and who have we got?
0:01:29 > 0:01:33The wonderful Kate Bliss and the equally charming Will Axon and it is
0:01:33 > 0:01:38now 9.30, time to get the doors open and get this massive queue inside.
0:01:38 > 0:01:45The valuation day is filling up quickly and there are hundreds of people waiting to be seen.
0:01:46 > 0:01:53Later in the programme, I will be taking a trip around the world, from Egypt to China.
0:01:53 > 0:01:59For now it looks like Kate's got something that's come from a little closer to home.
0:01:59 > 0:02:01This is a really interesting watercolour,
0:02:01 > 0:02:06- is this something you've had on the wall?- I've not had it long, only had it few weeks.
0:02:06 > 0:02:08I bought it off the internet.
0:02:08 > 0:02:12- So is that something that you like to do, buy and sell a bit?- I do, yeah.
0:02:12 > 0:02:17What can you tell me about the artist? We've got a clear signature here, do you know anything about him?
0:02:17 > 0:02:21- J Horner?- Yes.- I don't know what dates he dates from,
0:02:21 > 0:02:23but I think this particular one was painted in Norfolk.
0:02:23 > 0:02:25Why do you think it's Norfolk?
0:02:25 > 0:02:27Apart from it looks quite flat.
0:02:27 > 0:02:29Exactly, yes. Probably one of the reasons.
0:02:29 > 0:02:31Well, you could well be right.
0:02:31 > 0:02:34- J Horner, signed down here, was actually John Horner.- Right.
0:02:34 > 0:02:38And he was really active in his work
0:02:38 > 0:02:43sort of about 1876 through to 1890, and the thing I like about this one
0:02:43 > 0:02:50is the accuracy of the detail, and it's almost architectural really in the detail that we've got here.
0:02:50 > 0:02:53If we look on the buildings here, on the barn and on the farmhouse,
0:02:53 > 0:02:57you can almost see the individual tiles on the roof, can't you?
0:02:57 > 0:03:03- But what's really fun is this little tableau that's going on down here with the two fishermen.- Right.
0:03:03 > 0:03:09Again, the detail is really precise, you can see the creases in his trousers and the light
0:03:09 > 0:03:15reflecting off the water on to his face, which really gives it a really crisp finish, doesn't it?
0:03:15 > 0:03:20Now the market, which I'm sure you know if you buy and sell a little bit doing pictures, the market for
0:03:20 > 0:03:25watercolours particularly of this sort of period isn't that buoyant at the moment.
0:03:25 > 0:03:29- No.- But I have to say this is a particularly accomplished work
0:03:29 > 0:03:33and I think, even so, this should sell quite well.
0:03:33 > 0:03:36I'm going to put a conservative auction estimate of 200 to 300 on it
0:03:36 > 0:03:39because I think it is really well executed.
0:03:39 > 0:03:44- Would you like to put a reserve on that?- If I possibly could, yeah, probably 200 or so.
0:03:44 > 0:03:48That's fair, lower end of the estimate and hopefully get quite a bit more than that.
0:03:48 > 0:03:51That's great. I mean, if doesn't sell, I'll keep it anyway.
0:03:51 > 0:03:55- Well, that's a great attitude. - Thank you.
0:03:58 > 0:04:00Well, Peggy, John, hello there.
0:04:00 > 0:04:02- How are you?- I'm very well, and yourself?
0:04:02 > 0:04:04I'm well, thank you.
0:04:04 > 0:04:07Now look at this, what can you tell me about it?
0:04:07 > 0:04:11It's a cigarette case which I bought about 30 years ago...
0:04:11 > 0:04:15And did you buy it from a jeweller's perhaps or a dealer, to keep your roll-ups in?
0:04:15 > 0:04:19No, I bought it off a bloke that was hard up.
0:04:19 > 0:04:21Oh, dear. So he needed a bit of cash.
0:04:21 > 0:04:26- Yeah.- He offered it to you, and do you think you paid a good price for it, £90?
0:04:26 > 0:04:29Well, I think so on today's prices, yes.
0:04:29 > 0:04:32I mean it's a good example here, for example that
0:04:32 > 0:04:36not everything to do with antiques and auctions is all about fine art
0:04:36 > 0:04:42and something that's been crafted or created from scratch, sometimes, I'm afraid, it's all about just...
0:04:42 > 0:04:45I'm gonna say it... scrap value,
0:04:45 > 0:04:47especially when it comes to gold.
0:04:47 > 0:04:51So what I've done, I've brought along my scales here, have you got any idea
0:04:51 > 0:04:53of what you think it's worth, how much it weighs?
0:04:53 > 0:04:56Roughly about three ounces.
0:04:56 > 0:04:58Three ounces, well that's a decent weight, isn't it?
0:04:58 > 0:05:01It almost doesn't feel like three ounces.
0:05:01 > 0:05:04- No.- Let's pop it on the scales here, you said around three ounces, we've
0:05:04 > 0:05:10got 3.28 ounces, so you weren't far off there, John. I think you knew what you were buying, didn't you?
0:05:10 > 0:05:15So now we know how much the cigarette case weighs, we've got to work out or
0:05:15 > 0:05:20- find out what carat gold it is, any ideas?- Nine carat.
0:05:20 > 0:05:25Well, if we have a look inside here, similar to the silver hallmarking,
0:05:25 > 0:05:28you can just see it there, the 9 carat gold mark.
0:05:28 > 0:05:34Here you've got the maker's mark, which is the Goldsmith and Silversmith Co. Ltd, of London.
0:05:34 > 0:05:39- Right.- Nice quality really, it would've been an expensive item when it was bought.
0:05:39 > 0:05:43- So have you any idea what 9-carat gold's at at the moment? - No, I haven't a clue.
0:05:43 > 0:05:49Well, as we're filming, it's at about £220 an ounce, times by three,
0:05:49 > 0:05:55that makes over £600 in scrap value.
0:05:55 > 0:06:02I don't think we should put it in the auction at that £600 level, I think that might
0:06:02 > 0:06:03put people off.
0:06:03 > 0:06:08What we want is for people... 300 to 500, I mean if you've
0:06:08 > 0:06:10got that, if we reserved it at that 300 mark.
0:06:10 > 0:06:13That's fine, smashing. Thank you.
0:06:21 > 0:06:24Well, I shouldn't really call an elegant basket like this a good
0:06:24 > 0:06:27lump of silver, but there's quite a bit of silver in that.
0:06:27 > 0:06:29- It is heavy, yes. - Is this a family piece?
0:06:29 > 0:06:35- It was given to my father as a gift from two spinster clients.- Right.
0:06:35 > 0:06:42And their house was opposite my school, so I used to wave at them every day as I left school.
0:06:42 > 0:06:45So I don't know whether I persuaded them to
0:06:45 > 0:06:48give him the gift of whether it was because he was such a good manager.
0:06:48 > 0:06:51Well, that's a nice story. So you've had it ever since, have you?
0:06:51 > 0:06:57Yes, 45 years, and I have polished it every fortnight since then.
0:06:57 > 0:07:02- Have you really?- My biggest worry is am I polishing away the centre?
0:07:02 > 0:07:06Right. Well, let's have a little look at that because, it's a lovely shape
0:07:06 > 0:07:10first of all, isn't it, a beautiful sort of oval shape
0:07:10 > 0:07:18echoed in the handle here, and it's got lovely reeded borders around the outside, again on the handle as well,
0:07:18 > 0:07:25and what's known as gadrooning around the centre of the basket, and this is reminiscent of
0:07:25 > 0:07:31a much earlier Georgian style, if you like, in the neo-classical style.
0:07:31 > 0:07:34However, it's not 18th century in date because if
0:07:34 > 0:07:38we look at the side here, you can see the silver hallmark, it's marked from
0:07:38 > 0:07:45Sheffield and 1897, so it's right towards the end of Victoria's reign, but a good bit of silver.
0:07:45 > 0:07:51- Now you say you've been polishing it every fortnight for some 40-odd years?- 45 years, yes.
0:07:51 > 0:07:55I think the actual reeding and gadrooning is still in nice
0:07:55 > 0:08:00condition, and the handle here also, but what has happened is the base has
0:08:00 > 0:08:07been pushed down slightly, which may have been done with vigorous polishing over the years, and so you
0:08:07 > 0:08:14can just see the outline of where the pedestal is attached on the base and you can see that little oval there.
0:08:14 > 0:08:18- Yes, that was my worry. - So a good lump of silver but why do you want to sell it?
0:08:18 > 0:08:23I'm downsizing, I will have nowhere to display it, and I
0:08:23 > 0:08:27- think my polishing days are over.- I think you've had enough of polishing.
0:08:27 > 0:08:29I've had enough of polishing.
0:08:29 > 0:08:32I would say even though it's got quite a bit of silver in it,
0:08:32 > 0:08:36we're probably looking at around £150 to £200 mark.
0:08:36 > 0:08:41- Does that sound reasonable? - It's lower than I'd hoped.
0:08:41 > 0:08:42What sort of figure were you...
0:08:42 > 0:08:44I was thinking perhaps 200 to 300.
0:08:44 > 0:08:46Right, OK.
0:08:46 > 0:08:50We could try it at that if you like but I think if we said 150 to 200,
0:08:50 > 0:08:53it might get buyers interested and encourage them.
0:08:53 > 0:08:56If you would like to put a reserve of 200, we can try that for you.
0:08:56 > 0:08:59- Yes, please.- You'd like that?- Yes.
0:08:59 > 0:09:03OK, well let's do that. Let's put a reserve of 200 and see how we get on.
0:09:03 > 0:09:08I think you've certainly got a chance, but I think at 150 you might just entice people in perhaps
0:09:08 > 0:09:12a little bit better, but it's your basket,
0:09:12 > 0:09:17- I hope it goes really well. - And if it doesn't, I will go back to polishing.
0:09:17 > 0:09:18Thank you very much.
0:09:18 > 0:09:23Well, Leslie, they say small is beautiful and personally I'd subscribe to that
0:09:23 > 0:09:27because, you know, not being a six-footer, but what have you brought in here for us to look at today?
0:09:27 > 0:09:32I've brought a piece of Moorcroft, I believe it's MacIntyre.
0:09:32 > 0:09:37That's right. Well, you've in one sentence basically told us all we need to know.
0:09:37 > 0:09:40You've got the name Moorcroft and the name MacIntyre,
0:09:40 > 0:09:43because what you've got here is indeed a MacIntyre vase...
0:09:43 > 0:09:48the company MacIntyre, of which William Moorcroft headed up their art pottery department.
0:09:48 > 0:09:52Now we all know Moorcroft nowadays, of course, he's a well-known name,
0:09:52 > 0:09:55we've seen plenty of Moorcroft on Flog It and it always sells well.
0:09:55 > 0:10:00Now this, we're taking a step further back in time, shall we say, to when William
0:10:00 > 0:10:05Moorcroft was experimenting with this tube lining, which you can see here.
0:10:05 > 0:10:08Generally, when pieces are made in miniature, they tend to be
0:10:08 > 0:10:11- more valuable than the large pieces. - Right.
0:10:11 > 0:10:14Is this something that you've bought, do you collect this?
0:10:14 > 0:10:20No, I actually found this at a bric-a-brac sale in Llangollen in Wales.
0:10:20 > 0:10:21Dare I ask what you paid for it?
0:10:21 > 0:10:25- Ten pence. - Get off... 10p?- Ten pence.
0:10:25 > 0:10:29- You didn't do that, did you? - Unfortunately that was already on.
0:10:29 > 0:10:32Cos unfortunately it has got a small chip on the rim.
0:10:32 > 0:10:34I think if it had been perfect,
0:10:34 > 0:10:39your 10p investment would have been a very good investment because that does detract from it.
0:10:39 > 0:10:41But even so,
0:10:41 > 0:10:43I think you've done very well here.
0:10:43 > 0:10:46It's in this typical blue
0:10:46 > 0:10:50of the MacIntyre, the Florian range is the range, but the actual pattern
0:10:50 > 0:10:54- we've got here is called Honesty, because I think you did a little bit of research, didn't you?- Yes.
0:10:54 > 0:10:57- You took it to the museum? - The Moorcroft Museum itself, yes.
0:10:57 > 0:10:59I know them well, yes.
0:10:59 > 0:11:03- They told me it was about 1903. - I mean 10p, what can we say it's worth now?
0:11:03 > 0:11:08It's nicely marked, it's signed underneath, like I say, a precursor
0:11:08 > 0:11:14of this tube line decoration which Moorcroft made into such a household technique, shall we say.
0:11:14 > 0:11:19- I would put it in the auction at about £150 to £250, how do you feel about that?- That's lovely.
0:11:19 > 0:11:21Brilliant, I think that's great.
0:11:21 > 0:11:26- So we'll see you on the day, £150 and reserved it at that?- Erm...
0:11:26 > 0:11:31- yes, we'll go with that.- Reserve it, bit of discretion for the auctioneer, we don't want to struggle,
0:11:31 > 0:11:37- I'm confident that it's going to do that, if not more. Brilliant, see you then.- Thank you very much.- Well done.
0:11:37 > 0:11:40It's time to go to the auction now, but we'll be back here
0:11:40 > 0:11:46at Nantwich Civic Hall later as there are still lots of people waiting for valuations.
0:11:46 > 0:11:51But first, let's have a quick reminder of all the items that are going under the hammer.
0:11:51 > 0:11:57The watercolour by John Horner could be a real hit but if not, Paul the owner has a back-up plan.
0:11:57 > 0:11:59I mean if it doesn't sell, I'll keep it anyway.
0:11:59 > 0:12:03John bought his cigarette case 30 years ago for just £90
0:12:03 > 0:12:06and today, Will thinks it's worth its weight in gold.
0:12:08 > 0:12:11For the past 45 years, Jill has lovingly polished
0:12:11 > 0:12:15her silver basket and now it's time to see if it will sell.
0:12:15 > 0:12:18And if it doesn't, I will go back to polishing.
0:12:18 > 0:12:24And when it came to the Moorcroft vase, Will was impressed by Leslie's eye for a bargain.
0:12:24 > 0:12:30For 10p, I think you've done really well. It's just the sort of story that we love on Flog It.
0:12:30 > 0:12:35Well, you've seen all our items and now it's time to put our experts' valuations to the test, and we're
0:12:35 > 0:12:41going to do it right here at Adam Partridge Auctioneers and Valuers at North Rode outside Congleton.
0:12:41 > 0:12:42The sale is just about to start.
0:12:42 > 0:12:45It's absolutely packed in there, so let's get inside.
0:13:01 > 0:13:04Next up, we've got a cracking bit of Victorian silver, a little basket,
0:13:04 > 0:13:08and Jill's selling it because you're so fed up with polishing it.
0:13:08 > 0:13:1045 years of polishing.
0:13:10 > 0:13:12You'll wear it away, won't you?
0:13:12 > 0:13:15- You didn't polish it every day though.- Every fortnight.
0:13:16 > 0:13:19- Anyway, you want to sell it, don't you, now?- Yes.
0:13:19 > 0:13:24- And I know Kate said 150 to 200. - That's right, that's the price.
0:13:24 > 0:13:29And you're angling for that, and I know that you were sort of having a haggle.
0:13:29 > 0:13:31- Bit of a haggle. - You were hoping for 200.
0:13:31 > 0:13:33- Yes.- You're hoping for Kate's top end.- Yes.
0:13:33 > 0:13:37- So now you've actually said, "right, we want £200".- Yes.
0:13:37 > 0:13:40Let's hope we can get a bit more so we're all happy.
0:13:40 > 0:13:46Yeah. So the reserve is actually 200 now, which is fine, but my feeling is that realistically at auction, it's
0:13:46 > 0:13:49- sort of between the two really. - We'll wait and see.- Yeah.
0:13:49 > 0:13:51Good luck, anyway, both of you.
0:13:51 > 0:13:56And it's Sheffield 1897, another basket here and I'm bid 160.
0:13:56 > 0:13:59- 170? 170... 180, 190?- Yes, yes.
0:13:59 > 0:14:00190, your bid, take 200.
0:14:00 > 0:14:02At 190... 200, 210...
0:14:02 > 0:14:05- 220.- We've sold it.- 230?
0:14:05 > 0:14:06There you go, that's great.
0:14:06 > 0:14:10220 in the crowd here, 220... any more this one now? 220...
0:14:10 > 0:14:13all done? At 220... thank you.
0:14:13 > 0:14:16- Great. Well, done. - Thank you very much.
0:14:16 > 0:14:19Well done, Kate. What are you going to put the money towards?
0:14:19 > 0:14:23We've got 15% commission to pay on this, don't forget, Adam's got to earn his wages.
0:14:23 > 0:14:27Well, this was an experience, so I'm going to use for another experience.
0:14:27 > 0:14:31- What's that?- Perhaps lunch on the Orient Express or tea at the Ritz.
0:14:31 > 0:14:35- Classy. - Ooh.- Very nice, I like your style.
0:14:35 > 0:14:36- Enjoy it.- Thank you very much.
0:14:40 > 0:14:43- Peggy and John, it's good to see you.- And you.
0:14:43 > 0:14:45- Have you been looking forward to this?- I have, very much.
0:14:45 > 0:14:51We're just about to put under the hammer this gold cigarette case, and there's an awful lot of weight here.
0:14:51 > 0:14:55You're looking at £300 to £500, you've got a fixed reserve at £300.
0:14:55 > 0:14:58- Yes.- It's worth top estimate scrap. - Yeah, exactly.
0:14:58 > 0:15:01- So I'm looking to break that top estimate.- Right, here we go.
0:15:01 > 0:15:05Around 93 whopping grams we made that,
0:15:05 > 0:15:10and commission interest here has to start us at 600 straight in.
0:15:10 > 0:15:12Told you! Straight in at £600.
0:15:12 > 0:15:13600 bid... 20 now, please.
0:15:13 > 0:15:16Are you all done at 600? Not very exciting, is it?
0:15:16 > 0:15:19600 bid, at 600... 620, 640...
0:15:19 > 0:15:24660, 640 still with me, 640 are you all done on this?
0:15:24 > 0:15:26640.
0:15:26 > 0:15:32£640, 15% commission to pay here. What will you put the money towards?
0:15:32 > 0:15:37It's either going to be a piece of Swarovski or a large flat screen TV.
0:15:37 > 0:15:39- Ooh.- You like your glass then?
0:15:39 > 0:15:42- I do, and he loves his football. - He loves his footie.
0:15:48 > 0:15:54Next up, we've got a lovely little watercolour with a value of £200 to £300, and it was brought in by Paul,
0:15:54 > 0:15:58who is playing the game, because you got this on the internet a few weeks ago, didn't you?
0:15:58 > 0:16:00- I did.- For £80?- For £80.
0:16:00 > 0:16:04- Hopefully we're doubling your money plus, right now.- Hopefully.
0:16:04 > 0:16:05So you've got a keen eye.
0:16:05 > 0:16:10- I like to think so, yeah. - Do you do a lot of this?- A little bit, but not a great deal.
0:16:10 > 0:16:12- And you've had much success?- Erm...
0:16:12 > 0:16:13well, a little bit.
0:16:13 > 0:16:15Kate, a bit of competition.
0:16:15 > 0:16:18- You've been giving me tips. - Has he?- Yeah.
0:16:18 > 0:16:20So we've got a value of 200 to 300.
0:16:20 > 0:16:23We have. The watercolour market is unpredictable, as I'm
0:16:23 > 0:16:28sure Paul knows, so it's either going to do really well or we're going to miss the boat, so one or the other.
0:16:28 > 0:16:31- We'll soon find out. - We're going to find out. Here we go.
0:16:31 > 0:16:36J Horner, watercolour fishing scene, start me £200 please.
0:16:36 > 0:16:38150?
0:16:38 > 0:16:40£100?
0:16:40 > 0:16:43I'm afraid I'm going to have to pass that one.
0:16:43 > 0:16:48- Didn't sail for you.- No.- A punt, a bit of a gamble.- It was, yeah.
0:16:48 > 0:16:50I quite like it, I'd sooner take it home anyway.
0:16:50 > 0:16:53Put it back on the wall. OK, thank you very much.
0:16:53 > 0:16:57That's a shame. Give it a while, stick it in a dark corner, fish it
0:16:57 > 0:17:01- out again, because I think the right person just wasn't here.- I will do.
0:17:01 > 0:17:06He's got a good track record, that artist, so I think in a different sale you might have some luck.
0:17:06 > 0:17:08Smashing. Thank you.
0:17:13 > 0:17:17Well, it is all out there if you bother to open your eyes and go and have a look.
0:17:17 > 0:17:20- And that's exactly what Leslie did when you were in Wales.- Yes.
0:17:20 > 0:17:25- 10p this next lot cost at a bric-a-brac sale.- In Llangollen.
0:17:25 > 0:17:32It's a bit of Moorcroft and we valued it at £150 to £250.
0:17:32 > 0:17:34Not a bad return on 10 pence.
0:17:34 > 0:17:36Small is beautiful, but condition is everything with
0:17:36 > 0:17:39ceramics, so we've kept the valuation down.
0:17:39 > 0:17:42If it was perfect, it would be in the high hundreds, but it's still going to do well.
0:17:42 > 0:17:46- Yes.- Well, let's hope it does that 250, we're gonna find out right now.
0:17:46 > 0:17:50There we are, the Honesty pattern there on a roughened surface there.
0:17:50 > 0:17:54- I'm bid 160 to start, is there 170? - Sold straightaway.- 160 bid, at 160.
0:17:54 > 0:17:57Any more now on this one? At 160...
0:17:57 > 0:17:59All done... 170... 180, 190...
0:17:59 > 0:18:02200, 210... 220, 230... 240.
0:18:02 > 0:18:04There's a bidder in the room.
0:18:04 > 0:18:06- And there's a bidder in the room. - 320... 340, 360... 380,
0:18:06 > 0:18:10400, 420, 440... 420, am I bid one more if you want?
0:18:10 > 0:18:13420... at 420, your bid now 440, we're in the room.
0:18:13 > 0:18:19At 440 I'm selling this one, are we all done? At £440.
0:18:19 > 0:18:22Thanks very much.
0:18:22 > 0:18:23- Thank you!- Excellent.
0:18:23 > 0:18:25£440!
0:18:25 > 0:18:29That is just incredible!
0:18:29 > 0:18:31£420.
0:18:31 > 0:18:34That'll divide up nicely, though, there's a lot of children.
0:18:34 > 0:18:37- Yes.- We blew the top end away, which is what you like.- Yeah.
0:18:37 > 0:18:40Yeah. Leslie, thank you so much for bringing that in.
0:18:40 > 0:18:43- You're very welcome.- That's made my day, I hope it's made your day.
0:18:43 > 0:18:46You see it is out there, get out there and get hunting,
0:18:46 > 0:18:49bring it along to Flog It and we'll do the business for you.
0:18:49 > 0:18:53Later at the auction, one of our lots causes a real stir.
0:19:09 > 0:19:12This is Biddulph Grange Garden in the heart of Staffordshire,
0:19:12 > 0:19:15and if you pause for just a moment and listen...
0:19:15 > 0:19:19you can hear the sound of silence, albeit a bit of birdsong.
0:19:19 > 0:19:21It's so beautiful and peaceful here.
0:19:21 > 0:19:25It's not only just a place to come and relax, but taking a trip
0:19:25 > 0:19:31around these gardens is like touring the world because it's packed full of beautiful and exotic plants.
0:19:31 > 0:19:36When this place was conceived back in the 1840s, it went totally against the popular Victorian trend
0:19:36 > 0:19:40of broad expanses of grass and water.
0:19:40 > 0:19:45Instead, by contrast, Biddulph Grange Garden broke new ground by employing natural
0:19:45 > 0:19:52screens such as yew trees, hedges, and walls, to create informal groups of separate gardens, each with
0:19:52 > 0:20:00their own distinctive character and mini-microclimate, many reflecting faraway worlds like China and Egypt.
0:20:00 > 0:20:03Visitors were encouraged to navigate their way through
0:20:03 > 0:20:07the garden rather than have it revealed to them all at once.
0:20:07 > 0:20:12The conception of this rather unusual garden was principally the work of three people,
0:20:12 > 0:20:18James Bateman and his wife Maria, and their good friend Edward Cooke.
0:20:18 > 0:20:23James Bateman was born in 1811 into a wealthy family that made their money from coalmining.
0:20:23 > 0:20:29From a very young age, James was fascinated by orchids, which became the passion of his life.
0:20:31 > 0:20:35In 1838, James married Maria Egerton-Warburton.
0:20:35 > 0:20:40Now, Maria had rather unusual gardening tastes for the period because she loved
0:20:40 > 0:20:45herbaceous plants, as well as having a big passion for lilies, which she was well known for.
0:20:45 > 0:20:51The Batemans moved here to Biddulph Grange in 1840, and with the help, a lot of help, from Edward Cooke,
0:20:51 > 0:20:55they set about creating Biddulph Grange Garden.
0:20:55 > 0:21:00Over the next 20 years, they brought together shrubs such as skimmia reevesiana,
0:21:02 > 0:21:05bamboo, and varieties of rhododendrons
0:21:05 > 0:21:11from the Himalayas and China, plus a variety of trees from abroad including the monkey puzzle tree
0:21:11 > 0:21:15from Chile and other extraordinary elements from all around the world.
0:21:18 > 0:21:24Another fascinating influence on the design of this garden was arguably religion.
0:21:24 > 0:21:27You see, James Bateman was a millenarian, he believed
0:21:27 > 0:21:33in the second coming of Christ, so when you start your tour, it's that influence you experience first.
0:21:33 > 0:21:37And to help us understand this, I've come to have a chat with Paul Baker,
0:21:37 > 0:21:41who's the National Trust Property Manager here at Biddulph.
0:21:41 > 0:21:45There you are, Paul. Thank you so much for showing me around today.
0:21:45 > 0:21:49- It's a pleasure. - Does the tour start here for everybody that visits the gardens?
0:21:49 > 0:21:50Do they come through this gallery?
0:21:50 > 0:21:53Sadly not any more, but they would have done when
0:21:53 > 0:21:57James Bateman had his garden open to the public in the 19th century.
0:21:57 > 0:21:59So they would have come in through his geological
0:21:59 > 0:22:03gallery, which is where we are now, and they'd have been able to see his
0:22:03 > 0:22:09- display of fossils and geological specimens which were on the wall to our left here.- Day 1?
0:22:09 > 0:22:13Yes, this is Day 1 of the seven days of creation story that the gallery shows.
0:22:13 > 0:22:17The gallery is laid out to reflect James Bateman's religious beliefs,
0:22:17 > 0:22:20and he was a very ardent believer in the Genesis story.
0:22:20 > 0:22:26But at the same time, we've got lots of developments going on, we're contemporary with Darwin,
0:22:26 > 0:22:30developments in geological science have take place, and what he was seeking to do was
0:22:30 > 0:22:37show how all of these developments could still be easily reconciled with the Genesis story.
0:22:37 > 0:22:42If you just look up, you see we're above Day Three here, and in the Genesis story Day Three
0:22:42 > 0:22:45talks about the creation of the trees and the plants, so all of the fossils
0:22:45 > 0:22:50that were on the wall here related to those which would have been found in
0:22:50 > 0:22:56Day 3 in the creation story, so he's linking the creation story with the geological frieze.
0:22:56 > 0:22:59That's incredible, isn't it? Absolutely incredible.
0:22:59 > 0:23:02It sets you up for an intriguing visit to the gardens.
0:23:02 > 0:23:04How does the rest of it fit in with this?
0:23:04 > 0:23:08Well, very interestingly, he believed that a second coming
0:23:08 > 0:23:12was due, almost imminently, and all the existing plants and so
0:23:12 > 0:23:15on would be swept away and have to be collected all over again.
0:23:15 > 0:23:22He also believed certain plants had a very specific role and appeared at specific times in the creation story.
0:23:22 > 0:23:26So ferns, which we have quite a lot of in the garden itself now, appeared
0:23:26 > 0:23:31quite early because they took the longest time to get turned into coal.
0:23:31 > 0:23:35The other great passion he had was orchids, and he believed those only
0:23:35 > 0:23:41arrived on the scene when Mankind arrived because they were there to beautify the world for Mankind.
0:23:41 > 0:23:44So they wouldn't appear until we get to the end of the gallery.
0:23:44 > 0:23:46That's absolutely incredible.
0:23:53 > 0:23:56Look at that, it's a little bit of Egypt, surely?
0:23:56 > 0:24:01Yes. It's been transformed into Egypt, here we are, the Egyptian court.
0:24:01 > 0:24:04Perfect symmetry everywhere.
0:24:04 > 0:24:10Who was the creative genius, the driving force? Because I know Edward Cooke was a painter.
0:24:10 > 0:24:13Was he the visionary or was James really?
0:24:13 > 0:24:17A lot of the actual design work we believe was Edward Cooke, cos although he's
0:24:17 > 0:24:22better known as a painter today, he was also well known as landscape designer in Victorian England.
0:24:22 > 0:24:27- Yeah.- And Bateman did acknowledge how much debt he owed to Cooke in the design of the garden.
0:24:27 > 0:24:29- Can I look in?- Yes, go ahead.
0:24:35 > 0:24:37And out into the sunlight.
0:24:37 > 0:24:41And into Cheshire in the blink of an eye, if you look behind.
0:24:41 > 0:24:44Oh, yes. Look at that, 1856.
0:24:44 > 0:24:47The initials James and Maria Bateman above the window.
0:24:47 > 0:24:50That's so cute, isn't it? And as quick as that.
0:24:50 > 0:24:53- Well, let's go and see some more. - Yes, we're now in the pinetum,
0:24:53 > 0:24:58and just coming up on the left here, we've got some monkey puzzle trees.
0:25:03 > 0:25:05So where are we now?
0:25:05 > 0:25:09- Just coming into the China section of the garden.- So is this symbolic of the Great Wall?
0:25:09 > 0:25:12It is, and if you look down to your right...
0:25:12 > 0:25:14Ah, what a treat.
0:25:14 > 0:25:18- Now that is a visual impact, isn't it, seeing that?- Absolutely.
0:25:18 > 0:25:19That little temple in the lake.
0:25:19 > 0:25:24- It's all based on willow pattern plates, the iconography you see on a willow pattern plate.- Yes.
0:25:24 > 0:25:28So you have the temple, that bridge with the zig-zag fence.
0:25:28 > 0:25:30- Can we go and have a look? - Yes, of course.
0:25:30 > 0:25:34It looks so inviting. Well, I can see lots of bamboos planted.
0:25:34 > 0:25:38Right. There's quite a wide variety of plants from China, we
0:25:38 > 0:25:42have some acers, actually from Japan, they're the very deep purple variety.
0:25:42 > 0:25:45Oh, gosh. Come autumn, they'll be worth seeing.
0:25:45 > 0:25:47They are spectacular in the autumn.
0:25:47 > 0:25:50We've also got some skimmia reevesiana,
0:25:50 > 0:25:55we've got some trachycarpus fortunei, which are named after Robert Fortune, the great plant collector.
0:25:55 > 0:26:00And we've also got probably the oldest surviving golden larch in
0:26:00 > 0:26:07England growing here, that was also brought back by Robert Fortune from one of his many travels out in China.
0:26:07 > 0:26:12- What a visionary. - Oh, he was, and he was also the man who smuggled all the tea plants
0:26:12 > 0:26:17out of China into India as well, when he was employed for a while by the British East India Company.
0:26:17 > 0:26:23So when you have a cup of tea today, it's obviously due to Robert Fortune in large part.
0:26:23 > 0:26:27A complete, leisurely tour of Biddulph would take a few hours.
0:26:27 > 0:26:31There are many other areas which I haven't had time to explore today
0:26:31 > 0:26:34such as the Glen, which was based on the Scottish rock formations,
0:26:34 > 0:26:38and the Italian garden, which was a popular choice of garden during the era.
0:26:38 > 0:26:42And it's amazing to think that over 160 years after the first conception
0:26:42 > 0:26:47of Biddulph Garden, it remains here today for everybody to enjoy.
0:26:51 > 0:26:54It's time to get back to the valuation day now,
0:26:54 > 0:26:58and Will has found a collection that has taken his fancy.
0:26:58 > 0:27:01Richard, you've brought quite a selection of jewellery.
0:27:01 > 0:27:05You don't look like the man who wears a brooch or perhaps a gold
0:27:05 > 0:27:07bangle, so tell me where have these come from?
0:27:07 > 0:27:11Well, they belonged to my sister, who worked in an antique shop
0:27:11 > 0:27:14and she collected quite a lot of quirky things, really.
0:27:14 > 0:27:18- And they've been in a drawer ever since.- Let's have a look.
0:27:18 > 0:27:24We've obviously got here two watches as well as this, I think, rather impressive mourning brooch.
0:27:24 > 0:27:25Obviously.
0:27:25 > 0:27:30If I turn it over, we can see on the back we've got a rather nice inscription, haven't we?
0:27:30 > 0:27:33- Yes.- In memory of...
0:27:33 > 0:27:37- and then the name there, "Esquire", and that's 1861.- Yes.
0:27:37 > 0:27:44Then if we move on to this rather nice little bangle wristwatch, for want of a better word.
0:27:44 > 0:27:52You've got this rather stylish rectangular face, which is typical of that sort of
0:27:52 > 0:27:57Art Deco period when rectangular watches really came into their own.
0:27:57 > 0:28:01If we look on the back, we can see that it's cased in 18-carat gold.
0:28:01 > 0:28:05And then if we move on further still really into the Deco
0:28:05 > 0:28:08period, we've got this rather fine...
0:28:08 > 0:28:11I would call it a cocktail watch.
0:28:11 > 0:28:16Have you ever had an idea of value, I mean, did your sister ever sort of let on to what she paid for these?
0:28:16 > 0:28:20- Not a clue.- I suppose the mourning brooch here, I would have thought
0:28:20 > 0:28:25you'll probably be looking at 30 to 50, 40 to 60 perhaps on that.
0:28:25 > 0:28:28Then if we move on to the little
0:28:28 > 0:28:33brooch glass cocktail watch with the paste settings, I would say on that,
0:28:33 > 0:28:38you're probably looking at maybe similar sort of money, maybe 40 to 60, something like that.
0:28:38 > 0:28:41Then if we come to the little wristwatch there,
0:28:41 > 0:28:46you should be looking at about 120 to 150 mark for the wristwatch.
0:28:46 > 0:28:49So if we tot it all up, where does that take us...
0:28:49 > 0:28:57sort of 120, 150, so it's going to be between the 150 to 200 mark. What do you think about that?
0:28:57 > 0:29:00If we estimated at 150 to 250, would you be happy to see them go at that?
0:29:00 > 0:29:02I certainly would, yes.
0:29:02 > 0:29:04Are we reserving at the bottom figure?
0:29:04 > 0:29:07- No, I would like to get shot really. - Get shot?- Yeah.
0:29:07 > 0:29:11- Let them make what they make. I like your approach. - Thank you very much.- Well done.
0:29:18 > 0:29:22David, this is a staggering collection of Aboriginal art here
0:29:22 > 0:29:24in beautiful Nantwich in Cheshire.
0:29:24 > 0:29:28- Indeed it is, that's right.- Most of this is from Darwin, isn't it?
0:29:28 > 0:29:32That's right, Northern Territories of Australia, yes, and a bit in Queensland.
0:29:32 > 0:29:34How did it get to Nantwich?
0:29:34 > 0:29:38Well, it got to Nantwich because I was working for the Department of
0:29:38 > 0:29:42Defence in Australia and I was posted into Darwin, and
0:29:42 > 0:29:50had the opportunity to travel around the missions and Melville Island, where some of these come from.
0:29:50 > 0:29:54Aboriginal art is fetching such good money right now.
0:29:54 > 0:29:58Not only are the Australians buying it back, it's their social history.
0:29:58 > 0:30:02They want to fill their museums with this wonderful, sort of almost
0:30:02 > 0:30:06mosaic work, which is painted with pigments from the earth,
0:30:06 > 0:30:08different coloured clays.
0:30:08 > 0:30:10- Absolutely, and on bark. - On gum tree bark.
0:30:10 > 0:30:12You got these in the '50s.
0:30:12 > 0:30:16Yes, well '59, '62, that period.
0:30:16 > 0:30:17This is so striking, look at this.
0:30:17 > 0:30:20Yes, and this is a very,
0:30:20 > 0:30:23in a sense, religious symbol.
0:30:23 > 0:30:27You see it in all Aboriginal art from wherever the tribes, you get this circle,
0:30:27 > 0:30:32the circle of life, I think is a simple way of putting it.
0:30:32 > 0:30:37And this one's signed on the back, it's called Ghost Women, and it's by Wandi-Wandi who's 50 years old.
0:30:37 > 0:30:40Yes. Right.
0:30:40 > 0:30:44- Let's look at the three items on the table, start with the didgeridoo. - Yes.
0:30:44 > 0:30:49Again, that's a genuine piece in the sense of how they made these.
0:30:49 > 0:30:53- This hole was eaten out by ants. - Insects.
0:30:53 > 0:30:58White ants, and then they cut off a piece and they decorate it.
0:30:58 > 0:31:03- No doubt these were all ceremonial rather than everyday use.- They look ceremonial, actually.
0:31:03 > 0:31:06Why are you thinking of selling these, though, today?
0:31:06 > 0:31:12Well, I only live in a very small house and I collect, and you move on.
0:31:12 > 0:31:17And I still have got six other pieces of this to remind me of
0:31:17 > 0:31:20- those times.- Are you interested in art or just Aboriginal?
0:31:20 > 0:31:22Not particularly, I'm into Moorcroft now.
0:31:22 > 0:31:26- I know it's a dirty word but I've got 250 pieces of it.- Have you?
0:31:26 > 0:31:28Oh, yes, it's only down the road.
0:31:28 > 0:31:31Crikey! Well, I'm pleased you brought this in rather than Moorcroft.
0:31:31 > 0:31:35We've not seen things like this before and it excites me. Right.
0:31:35 > 0:31:40Let's get to the valuation, the business end of the conversation. I think
0:31:40 > 0:31:42they should go into auction as a collection.
0:31:42 > 0:31:47If someone wants to buy this beautiful piece, they're going to want that one and that one.
0:31:47 > 0:31:52- There's a lot of Darwin's social history here and it should stay together.- Indeed, indeed.
0:31:52 > 0:31:57I'd like to put a value of £300 to £500 on the whole lot.
0:31:57 > 0:32:02If we have a lot of excitement pre the sale, Adam can use his discretion and split them up.
0:32:02 > 0:32:05- Absolutely.- But I can see these going back to Australia,
0:32:05 > 0:32:08maybe a museum, and you just don't know what's going to happen.
0:32:08 > 0:32:11- They could be worth well over £1,000.- But time will tell.
0:32:11 > 0:32:15Anything can happen in auction, this is where it gets exciting.
0:32:15 > 0:32:21Whatever you do, don't go away. Let's watch this lot go under the hammer.
0:32:26 > 0:32:30- This is a lovely little, what I would call, apprentice piece, chest of drawers.- Yes.
0:32:30 > 0:32:32Is it a family piece?
0:32:32 > 0:32:36It is, yes. It came from my paternal grandfather's when he passed away
0:32:36 > 0:32:40in 1938, and he migrated from
0:32:40 > 0:32:48Cornwall in 1860 to Nantwich, when the local malting works down the road was in its full production.
0:32:48 > 0:32:50So it's quite feasible it came with him from Cornwall.
0:32:50 > 0:32:58- Right. And do you remember this as a boy then?- Yes, I remember it because it came with a big sea chest, yes.
0:32:58 > 0:33:00Why have you brought it today?
0:33:00 > 0:33:04To get it valued and exactly to see what it is, more than anything.
0:33:04 > 0:33:10OK. Well, it's quite intriguing, I think, because we've got quite a lot of different materials here.
0:33:10 > 0:33:15I think this was made by a carpenter who was making chests of drawers as
0:33:15 > 0:33:22a living, he was making pieces of furniture, and he may well have made this little piece to take round
0:33:22 > 0:33:27and show prospective clients, to see what sort of piece they would like him to make for them.
0:33:27 > 0:33:33Because what we've got here is a very plain pine carcass.
0:33:33 > 0:33:35- Oh, yes, very simple. - A very affordable softwood.
0:33:35 > 0:33:40But then on the front we've got veneers of different woods, and at the top here,
0:33:40 > 0:33:45these two little drawers have got amboyna, a really exotic rich wood.
0:33:45 > 0:33:50If we put that one back and look further down, we've got a polished oak veneer,
0:33:50 > 0:33:54hen further down a different wood again, the third drawer
0:33:54 > 0:33:58down, and I think that's probably beech, looking at the flecking in it.
0:33:58 > 0:34:04It's certainly not oak. And then the last long drawer at the bottom there we've got an oak veneer again.
0:34:04 > 0:34:08So I think the cabinetmaker would have taken this little piece along
0:34:08 > 0:34:11to prospective clients, and shown it to him and said,
0:34:11 > 0:34:17I can make it for you with an amboyna veneer or an oak veneer, and showed him the different examples.
0:34:17 > 0:34:21And I think they would probably be different price bandings
0:34:21 > 0:34:27accordingly because amboyna would be a very expensive and perhaps the oak and beech less expensive.
0:34:27 > 0:34:33- Yes.- And it's standing on these lovely little turned feet, which are rather sweet.
0:34:33 > 0:34:36Those little feet together with the moulding on the top makes me think
0:34:36 > 0:34:40- that it's around 1860, 1870, so late Victorian in date.- Very good.
0:34:40 > 0:34:44So what about value, have you any idea, sir?
0:34:44 > 0:34:45No idea whatsoever.
0:34:45 > 0:34:49OK. Well, I think if we put this into an auction for you shortly,
0:34:49 > 0:34:53I think we'd be looking at anything between £100 and £200.
0:34:53 > 0:34:59- Very good.- So I think a fair auction estimate would be 100 to 150, we'll put a reserve of around £100 for you
0:34:59 > 0:35:03so it doesn't go for less than that, and I think you might well find some
0:35:03 > 0:35:06collectors really bidding against each other to win this little piece.
0:35:06 > 0:35:09- Very good.- Thank you very much for bringing it along.
0:35:09 > 0:35:12Thank you for explaining to me.
0:35:12 > 0:35:16Jeffrey's apprentice piece joins the other items we're taking to auction,
0:35:16 > 0:35:23but before we see if they sell well, let's have a chat with Adam about the collection of Aboriginal art.
0:35:23 > 0:35:26I'm such a big fan of ethnic art, and when David came into the
0:35:26 > 0:35:30- valuation day, I threw myself at this Aboriginal art. - I can imagine it. Yeah.
0:35:30 > 0:35:33It was too much to take in, really!
0:35:33 > 0:35:36I put £300 to £500 on the whole lot and I said
0:35:36 > 0:35:40likely Adam will have a closer look and then decide to split them.
0:35:40 > 0:35:42- A sensible estimate.- Good.
0:35:42 > 0:35:47We've split them into lots as I think these are the strongest, and I've done these three first.
0:35:47 > 0:35:49Hopefully those will make the 300, and then we can...
0:35:49 > 0:35:52- Whatever's left will make up the difference.- Yeah.
0:35:52 > 0:35:58I would love these three panels to double our estimate, that's what I'm secretly hoping for, and they all go
0:35:58 > 0:36:06back to Australia so they can be viewed by young Australians as part of their social heritage.
0:36:06 > 0:36:09Absolutely right. I really hope they do very well.
0:36:09 > 0:36:12- We've had 30 or 40 emails on them. - They're going back to Australia.
0:36:12 > 0:36:15- They're gonna.- How much money? We're going to find out.
0:36:15 > 0:36:20Adam's just about to get on the rostrum so whatever you do, don't go away.
0:36:20 > 0:36:23Other items we're selling are
0:36:23 > 0:36:27a collection of two elegant watches and a mourning brooch, their owner
0:36:27 > 0:36:31Richard is taking a real gamble with this lot.
0:36:31 > 0:36:33Are we reserving at the bottom figure?
0:36:33 > 0:36:35No, I would like to get shot of it.
0:36:35 > 0:36:38And having travelled all the way from Cornwall to Nantwich,
0:36:38 > 0:36:43where will Jeffrey's chest of drawers end up after the auction?
0:36:43 > 0:36:47Your bid 220... I'll take 230.
0:36:47 > 0:36:50One of my favourite pieces in this sale, a small apprentice
0:36:50 > 0:36:53piece, it's a chest of drawers, showing off a young man's skill.
0:36:53 > 0:36:56And it belongs to Jeffrey and it was his grandpop's.
0:36:56 > 0:37:00Now your grandpop had great skills, he was an apprentice, but not in woodwork.
0:37:00 > 0:37:02No, definitely not, no.
0:37:02 > 0:37:06It's a family trade cos you've all been in the welding business, haven't you?
0:37:06 > 0:37:09All been in the heavy engineering, the local works at Crewe, yes.
0:37:09 > 0:37:12But there's history in that chest of drawers.
0:37:12 > 0:37:17- Oh, there is, yes. - And I think at 100 to 150, Jeffrey's going to say goodbye to it.
0:37:17 > 0:37:22I hope so, it's just a little bit different having that range of veneers on the front there to show
0:37:22 > 0:37:24- off what he could make. - Good luck, Jeffrey,
0:37:24 > 0:37:27Kate. The little chest of drawers are going under the hammer
0:37:27 > 0:37:31right now, let's hope Adam can get the top end of the estimate.
0:37:31 > 0:37:34It's the apprentice-made miniature chest, 19th-century with
0:37:34 > 0:37:37specimen veneered drawers, amboyna and oak and various timbers there.
0:37:37 > 0:37:40I can start with a bid of £100... take 10, £100 is bid...
0:37:40 > 0:37:42is there 10 for the miniature chest?
0:37:42 > 0:37:45At £100... any more? Come on, it's worth a bit more.
0:37:45 > 0:37:48At £100. Are you all done? At £100 for the miniature chest.
0:37:48 > 0:37:50It's gone, though.
0:37:50 > 0:37:53At £100... you're all finished then at £100?
0:37:53 > 0:37:56Short and sweet at £100, we sell then.
0:37:56 > 0:38:00It's gone straight in and straight out. £100, Jeffrey.
0:38:00 > 0:38:03- Right.- We sold it.
0:38:03 > 0:38:04- Yes, it went.- It did.
0:38:04 > 0:38:08There is commission to pay, it's 15%, but hopefully there's enough
0:38:08 > 0:38:12money left for to treat your wife to supper or something like that.
0:38:12 > 0:38:15Yes, I always pass the money on to my wife.
0:38:15 > 0:38:19- Always pass the money on to the wife.- Sensible man.
0:38:20 > 0:38:25£50... 50 is bid, take five, at 50 I have... 55 now? 55.
0:38:25 > 0:38:28Richard, you're playing with fire.
0:38:28 > 0:38:30There's no reserve on this lot and it's a mixed lot.
0:38:30 > 0:38:36There's a silver watch, a gold watch, some pearls. What's going on, no reserve?
0:38:36 > 0:38:40What happens if we only get a £20 bid in the auction room?
0:38:40 > 0:38:44Oh, don't say that. No, I'm confident, and today gold and silver's been selling well.
0:38:44 > 0:38:48Well, surely this package, these three things put together,
0:38:48 > 0:38:51we've got to be looking at around £200 or £150.
0:38:51 > 0:38:53Yeah, I think we said sort of round £150, didn't we?
0:38:53 > 0:38:56- 150 you quoted.- That's right, yes.
0:38:56 > 0:38:59How did you let him get away with no reserve?
0:38:59 > 0:39:02- Well, he's just got this smiling face.- Yeah, I can turn it on.
0:39:02 > 0:39:04Charmer, isn't he?
0:39:04 > 0:39:06But things like these find their level, you know?
0:39:06 > 0:39:11It's going to sell for what it's worth, fingers crossed, otherwise I am in trouble.
0:39:11 > 0:39:13- Personally I've no idea. - No, nor have I.
0:39:14 > 0:39:17Me neither. I'll tell you one way to find out.
0:39:17 > 0:39:20We are going to find out right now.
0:39:20 > 0:39:23Let's hope Adam works some magic. Good luck both of you.
0:39:23 > 0:39:26Which is a Victorian 9-carat gold mourning brooch,
0:39:26 > 0:39:31an Art Deco 18-carat gold lady's wristwatch, and an
0:39:31 > 0:39:35Art Deco marquisette lapel cocktail watch, what do we say for these?
0:39:35 > 0:39:36Couple of hundred?
0:39:36 > 0:39:40£100 bid... 10 now, at £100...
0:39:40 > 0:39:42Come on, some bidding, I want 110...
0:39:42 > 0:39:45120, 130... 140, 150... 160, 170...
0:39:45 > 0:39:49160 bid... 170, 170... 180, 190...
0:39:49 > 0:39:54200, 210... 220, 210 the bid.
0:39:54 > 0:39:57At 210 now, 210... any more, are you all done?
0:39:57 > 0:40:02At 210. All finished at 210, hammer's up, 210.
0:40:03 > 0:40:05Phew, well done.
0:40:05 > 0:40:09- Both of you took a gamble, it paid off.- It is.
0:40:09 > 0:40:13I'm as pleased as you are that that made mid-estimate on what we said.
0:40:13 > 0:40:15She'd be pleased if she was here.
0:40:15 > 0:40:18- Brilliant.- Yes, good. You were, really.- Brave man.
0:40:24 > 0:40:28I've been looking forward to this, the Aboriginal art.
0:40:28 > 0:40:31- We've got a packed house here. - We certainly have.
0:40:31 > 0:40:36But I'd like to think there's a few phone lines booked from Australia, lots of Internet interest.
0:40:36 > 0:40:40I talked to Adam prior to the sale, he has split
0:40:40 > 0:40:46the whole lot up now, selling them separately. Good luck, here we go.
0:40:46 > 0:40:47Lot no. 80 is the first one,
0:40:47 > 0:40:52the bark panel painted with natural earth pigments by Wandi-Wandi.
0:40:52 > 0:40:57120 I have... at 120 here, is there 130 now anywhere? At 120...
0:40:57 > 0:41:02130 on this phone, is there 140... 140, 150...
0:41:02 > 0:41:06160, 170, 180.
0:41:06 > 0:41:08This is a good sign, this is a good sign.
0:41:08 > 0:41:10170 on this phone here...
0:41:10 > 0:41:13all done now 170, we sell at 170.
0:41:13 > 0:41:18It's £170, that's the first item, here we go with the second lot.
0:41:18 > 0:41:22- Goana and snakes hunting by Wally Puru.- Another phone line.
0:41:22 > 0:41:25- Um-hm.- Hopefully that's Darwin at the other end.
0:41:25 > 0:41:28At 180, all done now.
0:41:28 > 0:41:30- £180.- Oh, lovely, isn't that nice.
0:41:30 > 0:41:32- Third one to go. - There we are, the last one, 210.
0:41:32 > 0:41:34Fantastic.
0:41:34 > 0:41:37220? At 210 with Sue's phone...
0:41:37 > 0:41:41At 210, are you all done on this one now? 210.
0:41:41 > 0:41:44And the hammer down on 210.
0:41:44 > 0:41:46180 on the phone here, 180 for the killing stick.
0:41:46 > 0:41:50180, all done at £180.
0:41:50 > 0:41:55There's the fourth lot, £180. This is great.
0:41:55 > 0:42:01130, 140. 150, 160...
0:42:01 > 0:42:04170, 170 on this phone. Same buyer.
0:42:04 > 0:42:08That's £170 for the didgeridoo, this is fantastic.
0:42:08 > 0:42:11We've sold everything so far, this is the last lot.
0:42:11 > 0:42:14And the final one is the wooden spear in the form of a snake,
0:42:14 > 0:42:15There we are there, 300...
0:42:15 > 0:42:21320, 400 on the spear.
0:42:21 > 0:42:25500, 560, 580.
0:42:25 > 0:42:28- That's incredible.- Yes.
0:42:28 > 0:42:30- 600...- £600!
0:42:30 > 0:42:34620... 640, yeah?
0:42:34 > 0:42:37620 with Sue's phone, £620...
0:42:37 > 0:42:40- Anyone in the room want a go now? At 620... - LAUGHTER
0:42:40 > 0:42:45All done now at 620, we sell this lot 620.
0:42:45 > 0:42:49Yes! Well, the hammer's gone down, £620.
0:42:49 > 0:42:52- We've sold all of those lots, David. - APPLAUSE
0:42:52 > 0:42:54How fabulous is that?
0:42:54 > 0:43:00- That got a round of applause. A grand total of £1,530.- Wow.
0:43:00 > 0:43:03- What are you going to do with that? - It's going to be divided into two.
0:43:03 > 0:43:06One is to WaterAid and the other is
0:43:06 > 0:43:09- to the Salvation Army.- All the money is going to two charities?
0:43:09 > 0:43:12- Half each. - That's very generous of you, David.
0:43:12 > 0:43:14No, not at all. It's all your work.
0:43:14 > 0:43:17- Thank you so much for bringing this in.- My pleasure.
0:43:17 > 0:43:21If you've got something like that at home, we want to see you at one of our valuation days.
0:43:21 > 0:43:25Check the details in your local press, because we're coming to a place near you soon.
0:43:25 > 0:43:28From Cheshire and Adam Partridge's Auction Rooms
0:43:28 > 0:43:30- it's goodbye from David and myself. - Bye-bye.
0:43:33 > 0:43:40For more information about Flog It, including how the programme was made, visit the website at bbc.co.uk
0:43:40 > 0:43:43Subtitles by Red Bee Media Ltd
0:43:43 > 0:43:46E-mail subtitling@bbc.co.uk