Ashbourne Flog It!

This is Queen Elizabeth's Grammar School in Derbyshire.

We're filming in the holidays, so the timetable's given over to Flog It!

I think it's time this lot went back to school.

Hopefully, our antiques experts

will give lessons in the geography of the item, where it was made,

the history, why it was made, and also the maths - what is it worth?

Because they want to sell it.

Viv here taught English at Queen Elizabeth's Grammar School.

You're now retired, you loved your job here but, strangely enough,

almost next to her is Andrew, who was your pupil!

-What was he like?

-He was a nice little boy.

-Did you put him in detention?

-No. Didn't have to!

The bell has gone. Time to go back to school.

'We have a learned team of experts to provide the valuations.

'Top of the class here in Ashbourne are Michael Baggott,

'who started collecting in primary school, with an old coin.'

A lot of very good porcelain comes from Bavaria.

'He's been hooked on antiques ever since, so he knows his stuff.'

-Is that something you were thinking of selling?

-If it's worth selling.

-Is it worth selling?

-I won't tell you a value.

'And auctioneer and valuer, Will Axon,

'who's worked his way up from the bottom,

'and learnt a few tricks of the trade on his way.'

London touch marks. See how it spins!

Ooh!

'Coming up, Michael spots a clue.'

-Have you ever seen that?

-I just thought it was a mark.

-Along with all the other dents and knocks?

-Yes.

'And Will also turns detective.'

I think, at some stage, she has had a haircut.

-Was that down to you?

-No. I think that was my nan.

'I wonder if that's true.

'The start to the day gives me

'the chance to chat to people.'

-That's an interesting-looking copper kettle.

-Yes.

It's supposed to be from

-the First World War.

-It looks it.

-A tad earlier, actually. I'd say around 1890.

-As early as that?

-Yes.

-Was it black when you got it?

-It was filthy!

Dad scrubbed it with lemon and salt.

My dad was a painter. He nearly painted it. I'd have killed him!

'Thank goodness he didn't!

'Michael's first at the valuation tables with Val.'

You brought this funny little jug in.

-What can you tell me about it?

-It was left to me 43 years ago

by my aunt, left in her will

as a "silver cream jug".

I don't know whether it is a cream jug, whether it's silver, or what.

-I can't find a hallmark on it.

-Right.

That's a challenge! 43 years of looking! Let's pick it up.

First thing I can tell you is it is a cream jug and it's not English,

with this roundel attachment to the handle,

this curved ebonised handle

and very low-bellied form.

If you turn it over, an English one would have marks there.

And an English one might have marks on the side.

Nothing.

-But, thankfully, have you ever seen that?

-I have.

-I just thought it was a mark.

-Along with the other dents and marks?

-Yes.

That is the town mark for Venice.

Venice?

Venice, Italy.

And it was made between 1810 and about 1825.

That's as far as I can narrow it down from that mark.

It is slightly lower grade than ours but it is silver.

-Mm-hm.

-The good news is...

Venetian silver is not thick on the ground.

Italians love to buy back their heritage.

-I see.

-So, even though we've got one jug from what would have been

a pretty fantastic coffee set,

it's still quite an interesting and sought-after little piece of silver.

You've had it 43 years. Why did you decide to bring it along today?

I'm getting rid of things. Nobody in the family wants anything, so they're going.

-So this has got to go?

-Yes.

-I think we would be safe if we put an estimate of £100 to £150.

-Right.

And a fixed reserve of £90.

I think it would make that all day long.

If we get two telephones, one in Rome, one in Venice...

-Gosh!

-..and they both want a little Venetian jug,

might make a couple of hundred.

We probably won't see more Venetian silver on "Flog It!"

-for ten or 20 years!

-I didn't know it was Venetian.

'Gosh! He's good. Let's hope the Italians spot it on the internet!

'I'm next, with a nice family piece that Joan has brought in.'

Joan, where did you come across this walking cane?

It's been in my family all my life.

I can remember it as a child.

Yeah? Are you into horses?

Not at all. I'm sure it belonged to my grandfather who WAS into horses.

Right. Where did he get it from?

-Well, he was a groom.

-Was he?

-Yes. At the Royal Hotel in Derby.

Where has this been in the house? Lying around somewhere?

-It was in my loft.

-Was it?

-Absolutely.

-This is silver.

Sterling silver, but I can't find the hallmarks.

Sometimes, they are hidden away in the decorative work.

See around the trees of this little hunting scene? It's the chase.

-Thank goodness! Not the kill.

-No!

See the way the horse has been modelled?

See the deep relief of the silver

and the way the hounds are running with extended long legs?

-That is typical of the style from about the 1840s.

-Really?

-Hm.

This has come off something else.

-Oh.

-Possibly a very good quality riding crop or whip.

It's been adapted to be used on the top of this walking cane.

This is ash. You can see the wood, the grain of the ash.

But it's been painted with a paint effect and then lacquered,

which is typical of the 1880s.

So I think this was put on around then.

-Gosh.

-You can see, architecturally,

it just doesn't sit right, does it?

-That's been forced on around the collar.

-Yes.

-That's where the value is.

-Is it?

I'd imagine, if you wanted to sell this, and it does sell,

that'll get taken off

and put back on to a riding crop or whip.

-Because that's just beautiful. Is it something you want to sell?

-Yes.

It's been in the family for so long

but I'm not particularly attached to it.

I think it's worth in the region of around about £60 to £80,

-purely for that part.

-OK. Yeah.

-Reserve of 60. Don't give it away.

-All right.

-Are you happy with that?

-I am.

If it doesn't sell, everybody needs a stick of some sort.

Even to retrieve something from under the cupboards!

You always need a stick!

'I'm always intrigued when things have been adapted over the years.

'Will found something for the doll collectors.'

-Is this yours, Kevin or Vicky?

-No.

-It was my nana's.

It's come down through the family to yourself.

Have you not got someone to pass it on to?

I've got my daughter but she thinks it's freaky.

Freaky? Does she? She's quite a sweet little doll,

for the collectors of these types of things, who obviously do like them.

Have you any idea where your nana got her from?

She got her from her dad, who had a friend in Germany.

It came from Germany.

Interesting. Well, that's good.

Because the best known maker of these bisque porcelain headed dolls

was Armand Marseille, a German firm who were producing these

in various quantities and qualities.

One way to find out is on the back of the head, the maker's mark.

Without taking off her hair, I couldn't look and it's a shame to pull off her hair.

Though I think, at some stage, she has had a bit of a haircut.

-Was that down to you?

-No. I think that was my nan.

-It does happen.

Little girls get the scissors out from Mummy's dressing table.

They give the doll a haircut

and don't understand it's not going to grow back.

That's an issue to the hardcore collector,

where things like that do matter.

These types of baby dolls are the "bebe" dolls.

Generally, smaller, like this, with the angled arms and so on.

Looking at the head itself, where a lot of the focus is for collectors.

She's... You've got to appreciate that she's quite prettily painted.

The mouth is another area where you can look at the quality.

If they have just a solid mouth,

they tend to be, shall we say, lower league quality pieces.

Once you get open mouths and teeth,

that's a bit more intricate, takes longer to make

and, hence, is a better quality doll.

As with most dolls, if I sit her up,

this really will scare you!

The eyes open and she comes alive!

You said your daughter doesn't like it. She thinks it's freaky.

-Are you the same?

-Yeah. I'm not really into it.

-Doesn't make you feel broody?

-Not at all!

-No.

If I said sort of around the £50 mark, how would you feel about that?

-Would your mum be happy with that?

-I think so.

-She's not upset you're selling it?

-No. I asked permission first.

You don't want her sitting with a cup of tea. "There's me doll!"

She wouldn't want less than that.

-So, £50 to £80. Discretionary reserve at £50.

-Yeah. Brilliant.

-See you both at the sale.

-Thank you.

'No, we wouldn't want Vicky's mum choking on her tea.

'We like people to enjoy Flog It!'

Jill, Bill, thank you for struggling in with this marvellous, huge pot today.

It is a beast of a thing, isn't it? Where does it live at home?

It's in the bedroom because I haven't got room for it.

We often hear, "We haven't got room for it." This is one thing that might apply to as it is a whopper!

-Where did it come from?

-Scotland.

-His parents lived in Scotland.

-And they left it to you?

-They left it.

-Yes.

-If we take this off, this is a super finial, isn't it?

-It is, yes.

-This is modelled on a Chinese dog of Foo.

-Really?

-The whole thing is a Chinese shape.

-But you know it's not Chinese, don't you?

-That's right.

All here on the base for us - Carlton Ware, Rouge Royale, as if we needed to turn it over and find out.

-That's right.

-I mean, Carlton Ware,

from Stoke, a factory set up by Wiltshaw and Robinson,

-producing Rouge Royale in the late '20s, early '30s.

-Yes.

-But they then continued production on after the war.

-That's right.

-And this piece probably dates to about 1945, 1950.

-Really?

It's amongst their later wares, but it's a splendid pot

-with all these...

-All the designs.

-..quite manic and fantastical Chinese scenes.

-And these very vibrant, decadent colours.

-Colours.

-But, it has to be said, sometimes size is everything.

-It is.

And this is an absolute whopper.

It's sadly dipped from the top of the market, but I still think

if we put it in at £300 to £500, it's a good piece of Carlton Ware Rouge Royale for a collector.

It might be the pinnacle in their collection.

-And if we put a fixed reserve at 250...

-That's fine, isn't it?

-OK.

-I hope it will do really well when it comes up.

-I hope so too.

-Thank you.

-Thank you.

Well, we'll have to wait and see how that whopper does.

We often see people with their collections on the show,

but the Cavendish family,

the dukes and duchesses of Devonshire,

have brought a whole new meaning to the word collection.

For over 450 years, the Devonshire collection of artefacts

has evolved and continues to grow,

here in this magnificent setting of Chatsworth House.

The house contains an extensive private art collection

which includes a magnificent sculpture gallery,

Old Master drawings and paintings, furniture and much, much more.

The list is absolutely endless,

so I'm going to focus on one particular part of the collection

which, for me, fuses history, wealth, style

and the forward-thinking attitude that has come to represent the family.

And that's their personal portraits.

Portraits are a method of recording and displaying family history

and have long been a status symbol for the nobility.

Faces of ancestors line the walls of many a stately home.

But none more so than here at Chatsworth.

I'm on the oak staircase, surrounded by portraits of the first,

right through to the eleventh dukes,

with some of their family and friends

through the last 16 generations.

The Cavendishes have kept up with the modern times

by employing the best artists,

using up-to-date technology, to capture their family portraits.

The wife of the 5th Duke, Georgiana, the Duchess of Devonshire,

commissioned portraits from some of the most famous artists of the day,

including Gainsborough in around 1784

and this one, by Sir Joshua Reynolds.

As you can see, it's slightly unfinished

on the shoulders and the upper part of the body.

But I absolutely adore this portrait. She is so beautiful.

And there's a confidence about Reynolds' work, his loose brushstroke. This is so feminine.

This remained in Reynolds' studio right up until his death.

They say it was left by his desk.

Maybe he intended to finish it or he just liked looking at her.

You can imagine him falling in love with her while he was painting this, can't you?

It's just beautiful. And so was she.

Georgina's son, the 6th Duke,

was the first to have his photograph in around 1852,

soon after the technique had been invented.

In more recent times, the tradition of using eminent artists to capture family portraits

has been continued by Andrew Cavendish, the 11th Duke of Devonshire, and his wife Deborah.

This is by Lucian Freud.

It was done in the early 1950s.

He became a family friend and stayed at the house on many occasions, doing a series of portraits.

Deborah sat for this when she was 36 years old,

and she described Freud as having incredible insight.

She is quoted as saying, "The older I get, the more like the picture I become."

And this is so typical of Freud's work, the brushstroke here, rather flat, broad brushes.

Again, very, very confident.

Striking. Absolutely striking.

And this is as close as I'll ever get to a Lucian Freud.

Look, nearly touching it.

The family continued the tradition of using artists and the style of the day

with this incredible portrait of Laura Burlington,

daughter-in-law of the current Duke. William, the Duke's son,

commissioned a digital portrait of Laura by artist Michael Craig-Martin

and this was unveiled at Chatsworth in 2010.

There are nine areas where the colours keep changing. It's a wonderful likeness,

but I've been told you could stand here all day

and probably never see the same colour combination twice

because there's just millions of different variations.

As you can see, the background's changing, the lips are changing,

the skin tone, the colours... It's going to alter again.

It really is a wonderful likeness but, also, it just reflects the fast-moving times we live in today.

It's a perfect example of contemporary art.

'The sale is being held by Hansons Auctioneers and Valuers Ltd.

'We have two auctioneers selling our lots - David Greatwood and Charles Hanson.

'Time for a quick reminder of all of our lots.

'It takes an eagle-eyed expert

'to spot the Venetian mark on Val's silver jug.

'So, well done, Michael.

'The silver top on the walking stick caught my eye

'because it's so beautifully crafted.

'Who says size isn't everything?

'It is probably what will sell the ginger jar.

'Will picked out the bebe doll.

'It's a shame someone's taken the scissors to her hair,

'but at least she has her original clothes.'

'Before the auction,

'I caught up with Charles to get his take on the Venetian silver jug.'

This is a cracking little lot. I love the form.

It stands proud. "Look at me! I'm very important."

But the family silver has to go.

It's Continental, as you know.

-Michael has put £100 to £150 on it.

-I think it's quite speculative.

It's an interesting pot. It's got the look of a pot far earlier.

-It's a style that went on and on.

-Because it was such a good style.

-Top end or lower end?

-I think £100 to £150 is quite right.

It could race away. It could stall at the lower part. But I like it.

-It's a quintessential antique. I agree with the price.

-So do I.

'It's the first of our lots, so let's see if Charles is right.

'And we have David Greatwood on the rostrum.'

-Something that Michael and myself wouldn't dream of selling. Valerie is. You're being a daredevil.

-Yes.

-Decluttering.

-Yes.

-This is a lovely silver jug.

I had a chat to the auctioneer about it.

We both agreed it just looks, "Look at me! I'm SO important."

-It's just beautiful.

-Bella! Bella! It's Italian, isn't it?

If the Italians have seen it,

-it will fly.

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

-Thank you.

Silver pear-shaped cream jug. Commission interest at £75.

75. 80. Five. 90. And I'm out.

At £90. Any advance on £90? I'll take five. Surely...?

Is someone getting a bargain?

..On the pillar at 90. Any advance at £90? Take five. At £90...

-It's gone at 90.

-That's fine.

-Happy?

-Yeah, I am. Yes.

-I'd have hoped for a bit more, for 120.

-I would have done as well. It did look important.

-It looked really good.

-It's a lovely thing.

'I don't think the Italians spotted their little jug.

'It's my choice now, which can be nerve-racking.

'Charles Hanson is taking the sale.'

I'm not sure about this one.

It's that walking cane with a silver top and belongs to Joan, with a value of £60 to £80.

-Good to see you.

-Thank you.

-Who's this with you?

-Ted, my grandson.

-Hello, Ted. Pleased to meet you.

I love your tractor T-shirt. Little boys love tractors, don't they?

Have you got lots of friends at pre-school? Wave hello to them.

All your friends can watch you now.

-I am a bit frightened about this.

-Really?

-Mm.

If it has to go home, then enjoy it, won't you?

-Maybe leave it by the front door.

-Yes.

Put it in a big pot, like you do with walking sticks!

-I know you got this out the loft.

-Yes. It's been there for ages.

Mounted walking stick. White metal. Lots of interest here.

And I am bid, away we go, at £40, £50, £60.

-Do I see five now...?

-Get it within estimate.

..75. 85 now.

90. I'll take five. Let's see you all.

At £90, we say sell. At 90.

Fair warning. All out? We say sale.

Just over the top end of the estimate. Pleased, Ted?

That's £90. It's a lot of money.

I wonder who's going to get the dosh.

Well, yes. The grandchildren. Of course.

'I'm delighted we could help Joan give something to the grandchildren.

'Next, that whopping piece of Carlton Ware.'

-It belongs to Bill. It was your mum, wasn't it?

-Yes.

-What do you think of this?

-It's not my type of thing.

-You don't like Carlton Ware?

-No. But she said to me before she died she'd like to give it to me.

Hopefully, we can send you home with a bit of money in your pocket.

We're looking for around £300, maybe 400 on a good day?

It's a bit out of my comfort zone.

20th century ceramics are not my first love.

But it's a bit of a wild stab in the dark,

which is what I might be getting, if it doesn't sell, off Bill,

but we will see what happens.

Very fine Carlton Ware Rouge Royale jar and cover.

£210. Look at it, it's monumental.

210.

I'm bid 210.

Do I see 220 now? Come on.

-He's trying his best.

-He is.

-That's right.

-It's not selling.

-No.

Once, twice, three times...

-Not sold.

-No further bids.

It's a sad reflection

because that market was at its peak maybe three or four years ago.

It's just coming down slightly, so maybe the thing to do is pack it up, forget about it for a while.

-It'll save for another day.

-Yes, thank you.

-Or leave it here.

-Yeah.

I think Bill is thinking about leaving it here and reducing the estimate.

-I think Bill is thinking about dropping it.

-I think he is.

-Yes.

At least Bill's got a sense of humour!

'Now for the little doll, with auctioneer David Greatwood.'

-You're putting the proceeds towards DIY?

-Yeah.

-Who's doing that?

-He is.

We've seen these bisque dolls do quite well.

£300 to £500. We had one doing a couple of thousand, but they vary so much.

Well, the first were produced in the 1850s in France.

They're really sought-after.

-We suspect this one's German.

-This one's been in a box.

-Because you didn't like looking at it?

-Yeah.

-I don't blame you.

Flashing eyes, open mouth, nicely dressed little doll.

Commission interest here and I must go straight in at £55.

55. 60. Five. 70. Five.

80. Five. 90.

£90 on the right.

95, new place. 100?

110. 120. 130.

Right in the middle and seated at 130. Any advance?

At 130. Selling at 130.

-That was a good result.

-Yeah.

We're all happy. It's gone and for a good price!

'Good sale! No point holding on to things you don't want.

'Later, Michael has an extraordinary find.'

-Made my day. Made my year, even.

-Oh, right. Thank you.

ANNOUNCER: 'Look at the odds for race number one...'

'Harness racing, or "trotting", is an exhilarating sport

'which has been practised in this country for over a century.

'Every year, more than 1,500 horses take part in the United Kingdom,

'yet most of us have barely heard of this pocket of sporting history.

'This is John Towe racing at Pikehall in the Peak District.

'His family have been involved with the sport for generations.

'I've arranged to meet him and his wife Nicky at their farm near Matlock to find out more.'

-Hi, Nicky.

-Hello.

-And who's this?

-This is Merlin.

You're a fine boy, aren't you?

Gorgeous, gorgeous horse.

I'm very excited. I've got my riding hat.

-Expect the ride of your life!

-PAUL LAUGHS

What speeds are we going to do?

-Probably close to 25, 30 miles an hour.

-That's quite fast.

-Your family has been involved in this sport for a long, long time.

-Oh, yes.

Probably since the early 1800s.

My grandfather, great-grandfather, grandfather before him.

-Are you into this sport as well?

-I'm just starting.

-It's so scary!

-At least you love horses. A good starting point.

-Yeah.

-But you're bonkers about this.

-Yes. It's very addictive.

What are the origins of the sport?

It started with your butchers, bakers, doctors.

They all had their own horse and cart.

When they went to market, they'd get together

and decide, "We'll race home, see who gets home quickest."

COMMENTATOR OVER P.A. SYSTEM

The carts have changed over the years.

Oh, yes. The basic design stays the same.

-With modern engineering and materials...

-Quite lightweight now.

This one we're using today is what we call a training sulky,

specially modified to carry two.

The myth is they were called sulkies because they only sit one person,

so you could go out on your own and people said you were sulking.

How much would an average cart cost, a training, heavy work-out cart?

-There's not a lot to it, is there?

-LAUGHING:

-No!

That's the cheaper part, with how much horses cost.

That would probably cost you...£1,000.

-The lightweight ones are a bit more expensive?

-Yeah, they can go up to £3,000, something like that.

Harness racing is known as trotting in a lot of circles.

Why is that? That's misleading.

I suppose because the original horses they used were trotters.

Since the 1900s, they started to breed what they call "pacers".

So tell me the difference between trotting and pacing.

Basically, your trotter is like your normal riding horse.

They have a diagonal gait like this.

Your pacer has a lateral gait, both legs are moving on the same side.

That looks really fun to watch.

It's very smooth.

It rolls from side-to-side.

'These lightweight plastic loops around the legs, called hobbles,

'encourage the horse to pace rather than trot.'

Merlin's been very good. He's quite patient. Sure-footed?

Can't wait to put him through his paces.

He should give you a nice go today.

The biggest thing that you'll find is the speed, really.

From an onlooker, it doesn't look so fast.

But when you're bumping around a track, it does seem...

There's going to be a lot of dust

flying in the eyes, grit in your mouth.

-Oh, yeah.

-It's all part of the fun.

Do you train these every day?

They jog half an hour to 45 minutes most days.

A couple of days a week they'll do fast work.

You're asking for a bit more to get the speed into them.

-A day off before the big event?

-They'll have an easy day before.

Bet he looks forward to the event.

-Loves it.

-Gets excited. They know when they're going in the box.

All they've got to see is the lorry coming into the yard and they know!

-Let me go!

-That's it.

-Have you won much with him?

-He won on Saturday!

-Did he?

-Yeah. He raced on Saturday and won.

-Shall we get up on the track?

-Yeah. That'll be fun.

I'm getting quite excited. There's going to be a lot of dust and dirt!

Where was this made, in America?

Yeah. This is American.

-This is incredible.

-Beautiful views!

-Shall I get on first?

-Let me get on first.

I'm going to come back covered...

Oh, I saw that.

-It's like a gentle swivel.

-Yeah.

-That wasn't too bad.

-OK?

-Yeah. I just hold on?

-Yeah. That's it.

There's a little handle. That's it.

-Do you lean back, lean into the bends?

-Lean back a little bit.

You'll find your balance as you're going.

-Can I have a go?

-Yeah. Now he's settled, you've got your balance.

-Has he got a soft mouth?

-He's very responsive to his mouth.

He'll do exactly what you tell him.

What's great about this sport is that women compete against men.

-The playing field is more level. Any age group can do it.

-It is. Yes.

It's down to driver's skill and the horse you've got.

The sulkies are made so that weight makes very little difference.

Good lad. Good boy.

This is absolutely fabulous.

-Sheer power!

-Good lad.

-PAUL LAUGHS

-Good boy, Merlin.

This is fantastic, just brilliant!

John, I'm going to hand the reins back to you.

You can take us round at near on race speed and I'll hang on.

-Yeah. You hang on tight!

-Here we go!

My whole body is vibrating. I can feel my watch vibrating off.

Literally.

John, that's marvellous.

Whoa.

-PAUL CHUCKLES

-Whoa.

I'm absolutely exhausted. That was so exhilarating.

Merlin, you are a wonderful horse. You were a wizard out there!

Needs a good drink.

That was exciting. You can feel the horsepower going through your veins, almost making my ribs tickle.

-I'll remember that for a long time. John, thank you so much.

-Pleasure.

I think you deserve a drink of water. Let's go.

-We'll get him a bath as well.

-Hose him down.

Welcome back to our valuation day at Queen Elizabeth's Grammar School.

There are hundreds of people here and lots more antiques to value.

Hopefully, some of these people will go to the auction.

If you want to take part, just come along to one of our valuation days.

Check details in your local press about up and coming dates,

or log on to our BBC website.

Hopefully, you'll find a town near you where we'll be coming.

We'd love to see you.

If you're coming along to a valuation day,

please, bring more furniture,

because all of our experts love talking about it.

Now, this is classic brown, what the trade do call brown shipping furniture.

It's 1930s. Unfortunately, most of it's made of plywood

which has been stained to look like mahogany.

-It's not worth a lot of money, you know.

-OK.

But I tell you something. Although it's only worth around 30 quid,

£20, an auctioneer might say, don't throw it away like most people do.

Use it, be practical with it, be funky with it.

You must be into art, OK? Get Dad to break up loads of Mum's old plates.

If you've got some bright coloured crockery that you don't want any more,

break it up with a hammer, lay all those broken mosaics on there.

Even put "Amy", your name, right across it. Just be creative with it.

Get Dad to grout it with some tile grout, and hey-ho, then you've got a table

that you can use in the garden or the conservatory to put teas and coffees on.

And paint the legs a bright, funky colour.

And I don't mind doing that kind of thing with sort of antiques

that aren't of any virtue, really.

Obviously, it's not a serious piece, otherwise you can't do things like that to it.

But just be creative with it.

-Yeah? Don't throw it away.

-OK.

And don't put it back up in the loft!

In the loft, no!

It's such a shame when items

are just hidden away and forgotten about.

Nigel, thank you for bringing this very promising-looking leather case.

The first thing you can tell is it's very good quality leather.

-I'm dying to see what's inside, so if I may...?

-Yeah.

-It is a bit stiff.

-Wow.

That's an interior! Let's unpack it.

We've got...

kettle...teapot.

We've got the little water jug. We delve in there...

Got a little caddy.

It goes on for ever.

-It does, actually.

-And we've got a little milk jug.

And we should, finally,

have the sugar bowl.

And this lovely surface to

mount it all on with a little stand.

The only thing I think we're lacking...

The burner, I think.

I didn't know whether that fitted.

-That aperture there would have been for the burner.

-Oh, I see.

Some little devil's played with that and that's gone missing.

-Have you got any idea when it was made or how old it is?

-It was my mother's. It was given to her.

She was a housekeeper for a family in Derby called Preston-Jones.

They used to go on a lot of cruises and used to take it with them.

Now you say that, we can make sense of the initials on the top.

EPJ for Preston Jones.

That's lovely to have history going to the original owner.

We've got the little retailer's name, Asprey,

which is a good name.

I know that the design of this set started many years earlier

and was produced, initially, by Hukin and Heath

to a design of Christopher Dresser.

It's Asprey thinking, "This is popular. We'll make our own version."

The Christopher Dresser originals are about 1875.

Basically, you've got a travelling picnic set in electroplate...

Sadly! Rather than silver.

..dating to around 1900, 1910.

It's just so compact and so useful.

Why have you decided to part with it?

Just cos I'd like to realise what the value of it is, I think.

Because the burner's missing,

let's be cautious.

-Let's say £120 to £200.

-Oh! Yeah.

-Put a fixed reserve of £100 on it.

Let's hope there are two

like-minded people at the auction.

Thanks very much.

'A nice bit of quality. It should do well.

'Sometimes on "Flog It!", things don't always go according to plan.'

Ready?

This is an anon... An anon... Oh.

I've never seen one so big before.

BOTH LAUGH

-I looked up, sorry.

-Let's do it again.

Beryl, thank you so much for talking me... Oh.

bbc.co.uk...

Three, two, one. I'm not applauding myself. I'm not delusional yet.

Stop it!

At the Royal Queen Elizabeth...

Ash Grove, whatever it is, football game.

LAUGHTER

Oh, dear, it's too near lunchtime.

Action!

The town comes out in force for the...

The town in Ashbourne, Derbyshire.

Oh, it's getting worse, isn't it?

I've waited a long time to meet you.

I have to just watch you on the television.

-Cut!

-OK, let's do that again.

'Adrian's brought in something very unusual.

'We don't see many of these!'

You haven't been walking round with this under your arm?

-No.

-You came in the car, not on the bike!

-Yeah.

Good work. When I first saw it, it didn't really grab me.

When I had a closer look,

these panels are all hand-decorated.

It looks like pen and ink. Have you inherited it?

-It's what Mum left.

-Your mother?

-Yeah.

-It's not something you want to put into your home?

-No.

It's just stored in the loft.

Well, this is what we would call a decorator's piece.

It's not the most decorative one in the world,

ie being highly coloured.

You see those Victorian ones which are decoupage, brightly coloured.

This one is more understated

but the more you look at it, the quirkier it becomes.

It's going to date from late 19th century.

It's almost Aesthetic Movement, with this ebonised frame.

Sometimes, you see it with gilt highlights within the frame.

-Yeah.

-The upper half reminds me very much of Japanese wood block prints,

late 19th century, that were looked at by Impressionist artists,

van Gogh, that sort of artist,

artists who were being inspired by the Far East and wood block prints.

But if you look at the bottom half, it couldn't be more different.

You've got here, a chap,

who's bludgeoning a fox

while his hounds pounce.

Not everyone's cup of tea -

shooting, fox hunting, fishing - but there is a market for it.

I have seen them do very well, if they're not so "controversial".

Let's pitch this sensibly, put this in at the £100 mark, 100 to 150.

I think you'll have to sweeten the buyers with a low estimate,

unless we have a couple of hunting aficionados in the crowd.

-Do you want to take it home if it doesn't get away?

-No. I'd sooner see what it fetches.

-Right. OK.

-I like your approach. Let it find its level.

-Yeah.

-100 to 150 estimate, but no reserve.

-Yeah. Take a gamble.

'That might be wise, with the subject matter.

'Let's look at the one that got away.'

Hi, Liz. You showed me this earlier.

It's an inlaid marble picture, pietra dura.

-You've had a valuation, I gather.

-Yes.

-Were you happy?

-I was quite surprised.

-What did you think this would have been worth?

-Between £800 and £1,000, perhaps.

-Perhaps.

What have our experts told you?

-Between 1,500 and 2,500.

-So that's good news.

-Very good news.

Now, are you going to sell it?

-Sadly, not at the present time.

-I don't blame you. That's quality.

That dates to about 1850. Has that been on the wall?

-It has.

-It's obviously going back on the wall.

-Yes.

-How did you come by it?

-It was part of a collection of my grandfather.

-It is a family heirloom.

-It is.

Not everybody sells their family heirlooms!

-Hang on to it. It's absolutely beautiful.

-Thank you very much.

'I would have hung onto it too.

'Michael has come across something he's pretty excited about.'

Brenda, it's not often I'm speechless

with a piece of pottery, but this is wonderful.

Where did you get this fine fellow from?

In 1989, we were left a farm and that was part of it, in the house.

-Just left in the farmhouse?

-Yes.

Were you delighted when you discovered it?

-Not really. No.

-What have you done with it since?

-Put it in a cupboard.

-From the abandoned farmhouse to the cupboard.

-Yes.

-That's appalling.

What we're looking at is a class of pottery

that developed from creamware.

Creamware came in about 1770.

It's a pottery body that's covered in a glaze to imitate porcelain.

It was widely produced in Staffordshire

and potteries further north.

It had a creamy tone to it

and to whiten things up

the glaze was "blued", and so we get the version on from that, pearlware.

If we tip this fellow over,

we've got that pooling of the blue glaze on the base.

This is a pearlware figure.

And it's a whopper!

I've seen, in my years, very many pearlware horses.

-They're very sought-after. This is the first cow I've seen.

-Oh!

Which makes it very unusual. We have got little bits of damage.

The horns are there. Normally, the horns go and the ears are left.

You've done it the other way round with this one!

I wouldn't date it much before 1820.

And not much after 1830, 1835.

It's a rare thing, a lovely thing, as well.

It really has taken my breath away to see it.

-Any idea of what it's worth?

-No. Not at all.

Have a guess.

-A hundred.

-£100.

-At the most.

I never have my chequebook on me when I should!

We will put this into auction

and we'll put £1,000 to £1,500 on it.

-And we'll put a fixed reserve of £1,000 on it.

-Oh.

I think that there will be three or four leading English pottery dealers

who would cut each other's throat to own this.

I think it's going to do exceptionally well.

-I might turn out to have been conservative. You're happy?

-Yes.

-Thank you so much for bringing it in.

-Thank you!

-Made my day. Made my year, Brenda.

-Thank you!

'I think we might have a little treat in store.

'I'm next with Keith, who's brought in something really interesting.'

-Keith, heads or tails?

-I don't know...

-I'll flip it. You catch it.

-Three pence.

-Three pence. Fancy having those in your pocket!

How did you come across this?

It was just passed on to me and the wife from a nursing matron

who was actually nursing in the First World War.

The wife nursed her till she died. It was just passed through to us.

It's been sitting in a tin in my wardrobe since I've had it.

-At least it's been safe.

-Yes.

-And you couldn't spend it.

-No.

I wouldn't want to carry it around in my pocket with the weight of it.

You could only spend these up until 1820.

They were out of circulation after that.

That's a workhouse in Birmingham on the site of where the police station is now.

So it's been pulled down, like many of the workhouses.

Yes. The Gilbert's Act came in in 1782 and it enabled all the parishes

to club together to form a Poor Law Union.

-Yeah.

-Where they could build workhouses. This one was built in Birmingham two years later in 1784.

-At the time, there was a shortage of coins, so these were made to pay the workers.

-Yes.

These were redeemable in certain shops around the area.

You could spend this token on anything except for alcohol.

-I see.

-So it encouraged the workers to stay sober.

-That way, they always got it returned to them because it was no good to anyone else.

-Absolutely.

These were made right up until 1817.

They were being used up to 1817, 1820, then taken out of circulation.

-Have you thought what it's worth, have you done any research?

-No, no.

I think if it wanted to go into someone's hands who could appreciate it more

than being stuck in my tin in a wardrobe, I'd like them to have it.

-What else is in this tin?

-Oh, many things.

Many kinds of coins and things, but I think this is the oldest.

Well, in 1813, this coin was worth three pence.

I think today, if we put it into auction, fingers crossed, £40.

But let's put it in with a valuation of 20 to 40. It's had a bit of damage.

It's been dropped. Around the edge, you can see that.

But the image is very clear, so that's good. It's a nice piece of social history.

It's a good connection to the past.

'There's just enough time to have a look at what our experts picked out to take to auction.

'I can see people being taken up by the romance of Nigel's picnic set

'from the turn of the last century.

'The late 19th-century screen is hand-decorated.

'However, the hunting scene might not be to everybody's taste.

'I love history, so Keith's three pence coin caught my attention.

'I hope I'm not alone.

'And all I can say about the pearlware cow

'is if Michael is THAT excited, it's definitely the one to watch.'

'It's Nigel's monogrammed picnic set first. Let's see how it does.'

-Good luck, Nigel.

-Thank you.

-All we need is somebody in this room with the initials of PJ.

-Be ideal.

-There's a bit of history, and people use these.

-You want to play with it.

You want to take it all out, look at it, put it all back in...

I just thought of somebody who might buy it. The guy from the Dragons' Den, Peter Jones.

-He could afford it. Anyway, let's see what the bidders think here in Derbyshire.

-Thank you.

Very, very fine picnic set. Even better because it's Asprey.

There we are. I will start this at £150...

-Ooh. Good start.

-..Do I see 160 in the room?

150. Do I see 160? 180.

200? 220. 250..?

That's more like it.

..320. 350? 380. 400...

This is keen bidding. This is really keen bidding.

..£500. It's my under-bid at 500...

I wonder if it's Asprey's on the phone buying it for stock!

..At £500. £500. 520.

550. Out.

And out. At 550, all done. We say sale at £550.

We certainly turned up the heat there. £550!

-Without the burner!

-Brilliant!

Thank you so much for bringing that in. That was something from the golden years of travel.

I'll be looking for one with a burner!

'It sold for over £500, which means the commission drops to 10%.

'Now for that late Victorian screen.'

It's hand-painted, wood block, Japanese influence, and it belongs to Adrian.

Unfortunately, Adrian can't be with us today. I like this a lot.

-A lot of work's gone into this.

-That's what caught my eye.

You think there's not much about it,

but on closer inspection, all the decoration is hand-painted.

Late Victorian ebonised three-fold dressing screen

with hunting rural scenes...

Nice broad panels. Typical of the period.

..£50, £60. Five. 70.

Five. 80. I've got 90.

-Five. And I'm out...

-Near the bottom figure.

-Be nice to get a round 100.

-You're in, sir.

£95. Come on. One more, do I see? Fair warning. All done.

-I'll get on the phone to Adrian.

-Yeah.

'I think he'll be pleased with that.'

-I think the story is more important than the value.

-Exactly.

I relate it to my days in the '30s when I was at school and what you could get for three pence then.

-I'll just give you one instance.

-Go on, then.

You could get a fish from the fish shop for tuppence.

For a pound, that was 120 fish.

-Now we're going back another 115, 120 years.

-Yes.

-So what could you get for three pence in those days?

-It's a long way back, isn't it?

Keith, let's find out what value it's going for today. This is it.

Copper too, it came from a Birmingham workhouse.

£18 I'm bid. Do I see £20 for it?

18. 20, ma'am. 2. 24. I'm out.

26. 28. 30. 2?

One more. Are you sure?

2, thank you. 35.

-A little better than we were saying, isn't it?

-Yes.

..£35. Yes, we are. All done.

-Sold in the room, £35.

-You was pretty good at that

-because you said between 20 and 40.

-I did.

-What are you going to treat yourself to now? A quick drink in the hotel here?

-I will tell you one thing.

-Have a gin and tonic.

-It's my diamond wedding next month.

-Is the wife here?

-Yes.

I've got my eye on a diamond ring and it's a real sparkler.

'Well, that was worthwhile then.

'Our next lot is the pearlware cow,

'which Brenda found in an inherited farmhouse.

'Let's look what Charles had to say about it earlier.'

This has got to be the largest piece of pearlware

I've seen on the show in nine years.

-Yeah.

-It's wonderful, isn't it?

-It's glazed very well. It's huge.

-We've got £1,000 to £1,500.

-Yes.

-For 1820s pearlware.

-Yeah. I had a phone call from Brenda.

Brenda said, "Charles, sell it. You get what it's worth."

I think we'll probably... If we get up towards £600, we'll let it go.

-She was happy to have no reserve?

-Absolutely.

-That's a dangerous game.

-You don't want to sell this, as an auctioneer, for £25.

-No.

-You're not going to earn any money.

-We feel it's worth 1,000 to 1,500.

-If it only got to £100, it wouldn't go because it makes us look...

-Not so good.

-Exactly.

-So you're going to say there's a fixed reserve of £600,

-or it's going back to Brenda and you'll try on another day.

-Indeed.

-It is worth £1,000 - we hope!

-Absolutely.

My gut feeling is this was made for a butcher's shop as advertisement.

-That's a good thought.

-That's not a domestic piece.

-Who's got a mantelpiece big enough?

-No-one.

-That's a butcher's shop.

'Auctioneer David Greatwood is taking this sale.'

Unfortunately, Brenda isn't here. She's on holiday in Blackpool.

We do have her husband, Gordon. You must have seen this all your life.

Yes. It's been in the farmhouse as long as I can remember.

It's the largest model of a cow I've ever seen. You see cow creamers make £300, £400, £500 this big.

-That's a whopper.

-We could be in for a real surprise.

-You ready for this, Gordon?

-Yes.

-It's going under the hammer right now.

Pearlware model of a cow. A very fine specimen. Rare.

-Commissions. I'm opening at £380...

-Oh, dear. That's really low.

-..500. And 20...

-'We have hit £500.

'So it's the lower commission of 10%.'

-..550...

-Climbing steadily.

..650. New place. 680.

700. And 20. 750.

-780...

-Come on!

..850. 880.

-900...

-There are collectors in the room.

..950. 980.

1,000. And 50.

1,200. And 50.

1,300. And 50.

1,400. And 50...

-Isn't this exciting?

-Yes. They like it very well.

..1,800. 1,900.

2,000. 2,100. 2,200.

2,300. 2,400.

2,500...

-CHUCKLES

-It deserves to make this.

In the room, now, at 2,500.

-£2,500...

-BANGS GAVEL

The hammer's gone down. Gordon, well done!

Thank Brenda for bringing that in. Cheer her up in Blackpool!

-How come you're not with her?

-We're farmers.

-You can't leave.

-I'll give her a ring.

-She might go on a spending spree in Blackpool!

What a wonderful way to end the show. I hope Brenda's over the moon.

Join us for many more surprises, because you never know what's going to happen in an auction room.

For now, until then, it's goodbye.