0:00:03 > 0:00:07I'm sure you'll all know the delightful story of the little girl
0:00:07 > 0:00:09who tumbled down a rabbit hole into Wonderland.
0:00:09 > 0:00:13What may surprise you is that Alice and all the other bizarre characters
0:00:13 > 0:00:16were born right here in the imagination of a mathematics lecturer.
0:00:16 > 0:00:22Today we're in the university city of Oxford. Yes, this is Flog It! And oh, dear, oh, dear, I'm late!
0:00:42 > 0:00:45I'm heading for the marvellous Sheldonian Theatre.
0:00:45 > 0:00:48Well, I have made it just in time.
0:00:48 > 0:00:50Everybody's now safely seated inside.
0:00:50 > 0:00:52It's time for me to join our experts
0:00:52 > 0:00:56and delve through all of these bags and boxes that this wonderful crowd have brought in
0:00:56 > 0:00:59and who knows what wonderful mysteries we might uncover?
0:00:59 > 0:01:04'Later in the show, I get the chance to play the drums...'
0:01:05 > 0:01:07Wow.
0:01:07 > 0:01:08'.. and get some technical instruction
0:01:08 > 0:01:11'on a most unusual instrument.'
0:01:11 > 0:01:13Do you blow hard or medium?
0:01:13 > 0:01:16No, no, no. Blowing a raspberry. That's the deal.
0:01:16 > 0:01:18BLOWS A RASPBERRY, INSTRUMENT MAKES NO SOUND
0:01:20 > 0:01:23The two experts spearheading the team here in Oxford are...
0:01:23 > 0:01:28Tracy Martin, who works as a valuer at an auction house in Essex.
0:01:28 > 0:01:31She specialises in 20th-century antiques and collectibles.
0:01:31 > 0:01:35Boys' toys, they love them. They're all buying them back, the men.
0:01:35 > 0:01:38They all want their childhood revisited.
0:01:38 > 0:01:41- They didn't really grow up, half of them, did they?- They haven't!
0:01:41 > 0:01:46She's joined by our old favourite, Charlie Ross, who takes a more traditional line.
0:01:46 > 0:01:50- Bring it back in 100 years' time. I'll still be here.- I'll do that!
0:01:50 > 0:01:56He has gained his wide knowledge through the tried-and-tested route of being an auctioneer.
0:01:56 > 0:02:01- You've brought a child for me to value?- Yes.- I'm good at that, I have a grandchild now.
0:02:01 > 0:02:06Charlie's first up with Diana, and she's brought in a trio of nice-looking rings.
0:02:06 > 0:02:10Diana, it's nice to see you here, and you're visiting Oxford today?
0:02:10 > 0:02:13- Yes.- Where are you from? - We're from Sussex.
0:02:13 > 0:02:16So you've loaded up your rings, brought them along here -
0:02:16 > 0:02:19where did they start life, as far as you're concerned?
0:02:19 > 0:02:21My mother gave them to me.
0:02:21 > 0:02:23I don't think she'd ever worn them.
0:02:23 > 0:02:26They don't look very worn, it looks like
0:02:26 > 0:02:28the ruby cluster ring has been worn,
0:02:28 > 0:02:31it's a little bit worn, but they're in pretty good condition.
0:02:31 > 0:02:35Yes and I know that my father had given them to her.
0:02:35 > 0:02:38- Right.- So they emanated from his side of the family.
0:02:38 > 0:02:42Did they? Yes. Well, they date from early 20th century.
0:02:42 > 0:02:46- Right. - So they're virtually 100 years old.
0:02:46 > 0:02:51- Right.- They're all 18-carat gold, so good-quality gold.
0:02:51 > 0:02:59Doing perhaps the worst first, this ruby and diamond cluster is a synthetic ruby, so it's not
0:02:59 > 0:03:02- a real one, although it's a big whopper...- That would've been nice.
0:03:02 > 0:03:04I know, it would.
0:03:04 > 0:03:07But nevertheless, a very delicate setting
0:03:07 > 0:03:11and cast and chased shoulders, these are the shoulders here.
0:03:11 > 0:03:15So, a huge amount of work's gone into these.
0:03:15 > 0:03:20The next one we have is diamond and rubies, proper rubies, diamonds,
0:03:20 > 0:03:25- alternately inset, again into an 18-carat shank.- Right.
0:03:25 > 0:03:31And here, we have here the cultured pearls, you can see cultured pearls,
0:03:31 > 0:03:33they're all uniform size.
0:03:33 > 0:03:37- I see, yes.- With tiny little chip diamonds into the corner.
0:03:37 > 0:03:41- They're very ornate, but not everybody's cup of tea.- Right.
0:03:41 > 0:03:45- Do you wear them?- No, unfortunately I can't get them on my fingers.
0:03:45 > 0:03:48- No.- I might think about it, but they're not really me.
0:03:48 > 0:03:54- Have you thought of making them bigger?- I did on one occasion, but I thought, "No."
0:03:54 > 0:03:59They're quite dated in style and I think they're not going to be the easiest things to sell.
0:03:59 > 0:04:03They're fabulous quality, but, to be honest, the average person today
0:04:03 > 0:04:08has a ring made for them quite often, or there's more of a tendency towards
0:04:08 > 0:04:11a straightforward diamond ring, single-stone, three-stone diamond ring,
0:04:11 > 0:04:14rather than clusters of stones.
0:04:14 > 0:04:18What about value? You've got them heavily insured, presumably?
0:04:18 > 0:04:20Oh, yes(!) THEY LAUGH
0:04:20 > 0:04:22Come on, have a guess.
0:04:22 > 0:04:26I was sort of thinking perhaps, I don't know, 200, 250,
0:04:26 > 0:04:27something like that.
0:04:27 > 0:04:31I think a bit more. I'm not sure about the synthetic one,
0:04:31 > 0:04:37- but they'd average out at over £100 each and I'd like to see an estimate of 300 to 500.- OK, that's good.
0:04:37 > 0:04:41300 to 500 with a discretionary reserve at the bottom end,
0:04:41 > 0:04:46so we reserve them at 300, if the top bid the auctioneer gets is 280,
0:04:46 > 0:04:50then you might as well sell them. I mean, you're expecting 250 to 300,
0:04:50 > 0:04:53but I think we'll be pretty safe at £300.
0:04:53 > 0:04:59- If we do well, you can have a few more days in Oxford. - That would be great. I'll enjoy it.
0:05:00 > 0:05:04Well, we all would, it's a fantastic place to visit.
0:05:04 > 0:05:07Next, a Victorian desk stand caught my eye,
0:05:07 > 0:05:08belonging to Bruce and Joan.
0:05:08 > 0:05:11It might just be the thing that someone is looking for.
0:05:11 > 0:05:13Is it yours?
0:05:13 > 0:05:15- Yes, it is. - How long have you had that?
0:05:15 > 0:05:18It's been, well with me for over 30 years.
0:05:18 > 0:05:22Where is it at home, Joan? What do you do with it?
0:05:22 > 0:05:25- It's in the broom cupboard.- In the where?- In the broom cupboard.
0:05:25 > 0:05:28- On a shelf, hopefully. - No, on the floor.
0:05:28 > 0:05:31Is it really? Poor thing, poor thing.
0:05:31 > 0:05:34You obviously don't really want to keep it then,
0:05:34 > 0:05:36- if it's in the broom cupboard.- No.
0:05:36 > 0:05:39Obviously, this little lid comes off.
0:05:39 > 0:05:43To facilitate the ease of that, there would've been a little acorn
0:05:43 > 0:05:48screwed into there that you could lift this lid off with,
0:05:48 > 0:05:49but unfortunately that's missing,
0:05:49 > 0:05:55because that's where you'd keep your nibbed pens. I'd say it's around about 1860, 1880.
0:05:55 > 0:05:59It's not the sort of Gothic revival Puginesque-type Victorian
0:05:59 > 0:06:04you'd expect on these big over-the-top office desks. They're the ones that fetch good money.
0:06:04 > 0:06:06This is very much plainer than that.
0:06:06 > 0:06:08It's typical of the Victorian period,
0:06:08 > 0:06:10it's still over-the-top again.
0:06:10 > 0:06:16But I guess this wouldn't be used by an academic but more likely
0:06:16 > 0:06:19a clerk or an accountant, somebody like that.
0:06:19 > 0:06:21Somebody that did a lot of bookwork,
0:06:21 > 0:06:25because look at the size of the wells, they are big, aren't they?
0:06:25 > 0:06:29All mounted in brass. I like the fact that it's not polished,
0:06:29 > 0:06:32so I'm pleased it's been in the broom cupboard
0:06:32 > 0:06:36and that's quite nice, that's all wheel-cut, can you see that?
0:06:36 > 0:06:38That's called a hobnail pattern,
0:06:38 > 0:06:41- like you get on the bottom of hobnail shoes.- Oh, right.- Yes?
0:06:41 > 0:06:45But it's all there, isn't it? The wells are lovely,
0:06:45 > 0:06:51it just needs a good clean. It's made of oak. I'd like it to do £80-£120 if we put it into auction.
0:06:51 > 0:06:55I've a feeling it needs a better starting point, though,
0:06:55 > 0:07:02and I think if I can get the valuation down to around about £60 to £100...
0:07:02 > 0:07:07A reserve of 60? And hopefully we'll get £120, if two people really want this.
0:07:07 > 0:07:09I'd like to think so.
0:07:09 > 0:07:11And they fight over it in the saleroom.
0:07:11 > 0:07:15- You know what they say, the pen's mightier than the sword, don't they?- They do.
0:07:15 > 0:07:19- Let's give it a crack, shall we? - OK.- Yes, please.
0:07:19 > 0:07:22An exquisite-looking decorative Oriental bottle
0:07:22 > 0:07:25has grabbed Tracy's attention. But what's it for?
0:07:26 > 0:07:30What a beautiful little snuff bottle, Mark.
0:07:30 > 0:07:33Obviously Oriental. Beautifully hand-painted.
0:07:33 > 0:07:38Do you collect Oriental, or is it something that's been passed down?
0:07:38 > 0:07:42I had no idea what it was originally. We were landscaping the garden
0:07:42 > 0:07:48and we came across a couple of bits and pieces and broken bottles and this was in there.
0:07:48 > 0:07:51This was in your garden?
0:07:51 > 0:07:55Completely filthy, covered in mud. Couldn't believe it at the time.
0:07:55 > 0:07:57Oh, what a discovery!
0:07:57 > 0:08:00I gave it a clean, but never thought anything more of it.
0:08:00 > 0:08:04We had no idea what it was, so we tried to look it up.
0:08:04 > 0:08:08I thought maybe perfume or anything, I didn't know what it was for.
0:08:08 > 0:08:11You're very much along the right lines, really.
0:08:11 > 0:08:13It's a little snuff bottle here.
0:08:13 > 0:08:16Oriental, Chinese, beautifully hand-painted.
0:08:16 > 0:08:21On the dragon, because we have a dragon here in this wonderful blue,
0:08:21 > 0:08:24he's got five claws.
0:08:24 > 0:08:27We know that because he's got five claws,
0:08:27 > 0:08:29he's an Imperial dragon.
0:08:29 > 0:08:31He's not any old ordinary, boring dragon.
0:08:31 > 0:08:35He's a special dragon, because he's got five claws.
0:08:35 > 0:08:39On the top here, if we just lift that out,
0:08:39 > 0:08:43what we have is the little snuffer.
0:08:43 > 0:08:46- This is ivory, dyed ivory. - Dyed ivory.
0:08:46 > 0:08:51And here, we have this wonderful workmanship here.
0:08:51 > 0:08:54It's probably bronze, I would've thought
0:08:54 > 0:08:59it would be bronze because it's such a good-quality piece of porcelain.
0:08:59 > 0:09:03He looks a little bit like a frog, doesn't he? Actually, he's a lion.
0:09:03 > 0:09:07So a beautiful, beautiful piece. Have you got any idea how old it is,
0:09:07 > 0:09:11- or have you done any research? - I looked at the mark on the bottom.
0:09:11 > 0:09:18- Right.- The mark on the bottom, when I looked up the different dynasties, it worked out at about 1820 to 1850,
0:09:18 > 0:09:23but, I can't pronounce it, "du gwan", or something like that.
0:09:23 > 0:09:29You're pretty much spot-on, Mark, to be honest. It's very much early Victorian period.
0:09:29 > 0:09:32I'm not very good, I'm from Essex, you see.
0:09:32 > 0:09:39This is my problem, pronunciations are not my good things, so "dong-wong" sounds about right!
0:09:39 > 0:09:42Oriental is so hot at the moment.
0:09:42 > 0:09:44Anything from snuff bottles
0:09:44 > 0:09:47to big, wonderful Satsuma vases,
0:09:47 > 0:09:49really, really hot market.
0:09:49 > 0:09:55I would be comfortable with putting a reserve of about £100 on this.
0:09:55 > 0:10:00So, 100 to 150. Because the Oriental market is pretty hot at the moment,
0:10:00 > 0:10:03I'm pretty sure that should do a little bit more.
0:10:03 > 0:10:05Top-end estimate, maybe even exceed that,
0:10:05 > 0:10:09but obviously it's down to you and if you're really happy with that...
0:10:09 > 0:10:11No, no, here's hoping.
0:10:11 > 0:10:14Hopefully we'll get loads of Oriental collectors
0:10:14 > 0:10:18desperate to own the thing that YOU dug out of the ground.
0:10:18 > 0:10:21It's always a delight to meet so many charming and interesting people
0:10:21 > 0:10:23at our valuation days,
0:10:23 > 0:10:26and it seems that everyone has got a good story to tell.
0:10:26 > 0:10:28Charlie is up next with Janet,
0:10:28 > 0:10:30and he's enjoying a little bit of guesswork.
0:10:30 > 0:10:34- Sometimes you can judge the contents by the box.- Right.
0:10:34 > 0:10:36And I'm beginning to think this is not a leather box,
0:10:36 > 0:10:38it's leatherette or something,
0:10:38 > 0:10:40so I'm expecting a bit of silver plate or something.
0:10:40 > 0:10:41I hope I'm wrong.
0:10:43 > 0:10:45Oh, I am wrong!
0:10:45 > 0:10:48- What wonderful colours! - They are. Beautiful colours.
0:10:48 > 0:10:51Fabulous colours. I think even from here they're silver.
0:10:51 > 0:10:54Bean-topped coffee spoons. Where did these come from?
0:10:54 > 0:10:59- From an aunt and uncle of mine. I inherited it when they died.- Yes.
0:10:59 > 0:11:02My uncle always used to buy beautiful things for his wife.
0:11:02 > 0:11:05I always thought they came from abroad, but I'm not sure.
0:11:05 > 0:11:07Well, we'll have a look at one, but they're English.
0:11:07 > 0:11:11I'm certain they're English. The case looks English,
0:11:11 > 0:11:14and I'm expecting to see an English hallmark on there.
0:11:14 > 0:11:18You can tell they're coffee spoons. Why?
0:11:18 > 0:11:20- The shape, no? - Well, partly the shape.
0:11:20 > 0:11:23- They've got a bean top. - Aah.- You see?
0:11:23 > 0:11:25- There's a bean. - Yes, the coffee bean.
0:11:25 > 0:11:27And in fact, even if you look at the top of that one there,
0:11:27 > 0:11:31- you can see the line making it a coffee bean.- Yes.
0:11:31 > 0:11:32- Isn't that interesting?- Yes.
0:11:32 > 0:11:38They're silver and enamelled. I'm expecting them to be 1920s,
0:11:38 > 0:11:41- 1930s period.- Right. - They're in fabulous condition.
0:11:41 > 0:11:44The only thing that's slightly disappointing
0:11:44 > 0:11:50is the bean top themselves. I'd like to see a bit of ivory...
0:11:50 > 0:11:54or possibly a bit of mother of pearl, whereas if you
0:11:54 > 0:11:57look at the sort of crazing on those,
0:11:57 > 0:11:59- they are merely composition...- Hmm.
0:11:59 > 0:12:01..which I think lets down the rest of them.
0:12:01 > 0:12:04- Because the bowls are fabulous. These shells...- The colours.
0:12:04 > 0:12:06The shell motif bowls are fabulous.
0:12:06 > 0:12:09I'm going to pick one up and pray,
0:12:09 > 0:12:12- cos if they're EPNS they're worth about three quid.- Oh, dear.
0:12:13 > 0:12:17- They won't be because they're enamelled. They are silver.- Good.
0:12:17 > 0:12:20- And they're Birmingham.- Birmingham?
0:12:20 > 0:12:22Made in Birmingham.
0:12:22 > 0:12:24And they're on a P.
0:12:24 > 0:12:30- Now, a P appears on the Birmingham in 1914 and 1939.- Right.
0:12:30 > 0:12:33- The start of two wars, which is easy enough to remember.- Yes.
0:12:33 > 0:12:39Now, looking at the case, I think they're probably
0:12:39 > 0:12:44the earlier of the two. Now, that sounds a bit vague, but actually
0:12:44 > 0:12:46because they're not Victorian or earlier,
0:12:46 > 0:12:49it's not going to make much difference in terms of value.
0:12:49 > 0:12:54Now, sadly, I'm going to really disappoint you now, I think,
0:12:54 > 0:12:57- by saying that they're worth less than £50.- Really?- Yeah.
0:12:57 > 0:12:59Surprisingly not that rare.
0:12:59 > 0:13:03- Right.- Are you happy to sell them if I say that?- Yes, that's fine.
0:13:03 > 0:13:05- Thank you.- You are? You don't want to see them again.
0:13:05 > 0:13:07We will put a reserve on them.
0:13:07 > 0:13:12I think an estimate of £30-50 with a fixed reserve at 30.
0:13:12 > 0:13:15I think if two people really like them...
0:13:15 > 0:13:18then there is an up side. But there's not an up side
0:13:18 > 0:13:20- into hundreds of pounds, sadly.- No. OK.
0:13:20 > 0:13:22- All right?- Thank you very much.
0:13:22 > 0:13:23Thank you very much for bringing them along.
0:13:31 > 0:13:33The Ashmolean was the first public museum in Britain,
0:13:33 > 0:13:35and it's still one of the greatest.
0:13:35 > 0:13:36Now, we're here filming on a Monday,
0:13:36 > 0:13:40so it's closed to the public, but we've got special permission to film
0:13:40 > 0:13:41in one of my favourite haunts.
0:13:41 > 0:13:44Now, they've recently spent millions refurbishing this museum,
0:13:44 > 0:13:48but the area we're filming in today hasn't changed since the 1950s -
0:13:48 > 0:13:50the Print Room.
0:13:57 > 0:13:58It's called the Print Room,
0:13:58 > 0:14:01but actually it houses one of Britain's greatest
0:14:01 > 0:14:02collections of European prints
0:14:02 > 0:14:07and drawings dating from the 15th century right up to the present day.
0:14:07 > 0:14:09The collection had a great start in life.
0:14:09 > 0:14:13In the early days in the 1840s, it acquired through public subscription
0:14:13 > 0:14:1850 Raphael and 50 Michelangelo drawings, absolute originals,
0:14:18 > 0:14:22from the celebrated collection of the artist Sir Thomas Lawrence.
0:14:22 > 0:14:25I've got to say... they are heavenly.
0:14:25 > 0:14:28I'm this close to the greatest works of art
0:14:28 > 0:14:31I have ever seen in my life - in fact, in history.
0:14:31 > 0:14:36These are chalk studies showing composition, light and shade,
0:14:36 > 0:14:37muscle tones...
0:14:37 > 0:14:41It's just incredible. You can learn so much from coming here.
0:15:20 > 0:15:23If you want to see Raphaels and Michaelangelos,
0:15:23 > 0:15:25you do have to book a special appointment,
0:15:25 > 0:15:30otherwise there's 25,000 other drawings and prints here
0:15:30 > 0:15:33from artists such as Rembrandt right through to Stanley Spencer,
0:15:33 > 0:15:36and I've taken the opportunity today to come and talk to John Whitely,
0:15:36 > 0:15:38who's the senior curator here,
0:15:38 > 0:15:42about his love and passion for drawing, and why it's so important.
0:15:48 > 0:15:51John, you've always loved drawings. You're very passionate about them.
0:15:51 > 0:15:54What is it for you? What makes you gravitate towards these?
0:15:54 > 0:15:56Drawings are very unlike paintings.
0:15:56 > 0:15:58They tell us something about the intimate thoughts
0:15:58 > 0:16:01of the artist as he's preparing a work of art.
0:16:01 > 0:16:05The paintings of the artist executed on the basis of these drawings
0:16:05 > 0:16:07tend to be very finished statements.
0:16:07 > 0:16:09They're for the public, they're for posterity,
0:16:09 > 0:16:12and they don't give away as much as a drawing does.
0:16:12 > 0:16:14No, these aren't so polished, are they?
0:16:14 > 0:16:17They're not so polished, but they're also full of the kind of
0:16:17 > 0:16:20thoughts that an artist has as he's moving towards the finished image.
0:16:20 > 0:16:22This helps us to explore the innermost
0:16:22 > 0:16:25thoughts of the artist as he's preparing his composition.
0:16:25 > 0:16:29You've selected three here from this vast collection.
0:16:30 > 0:16:32Show me what you're looking into,
0:16:32 > 0:16:35what you can learn from each artist and what he's trying to do.
0:16:35 > 0:16:39The drawing of the jockey by Degas shows the back
0:16:39 > 0:16:42drawn in a certain position, and then the buttocks are pulled forward.
0:16:42 > 0:16:46He changes his mind about where the leg goes and draws it over the leg.
0:16:46 > 0:16:50It gives us an idea of how the artist is using his black chalk with
0:16:50 > 0:16:53a kind of rage as he draws the leg in one place
0:16:53 > 0:16:56- and then the jockey moves and he draws it in another place.- At speed.
0:16:56 > 0:17:00At great speed, although it must be said that although this drawing
0:17:00 > 0:17:03appears to be a drawing done on the racecourse, it certainly isn't.
0:17:03 > 0:17:05It must have been a professional model,
0:17:05 > 0:17:09or possibly a jockey whom the artist brought back to the studio.
0:17:09 > 0:17:13He poses for the artist in order to give this impression
0:17:13 > 0:17:17of spontaneity, which then the artist will translate into the painting.
0:17:17 > 0:17:18Incredible.
0:17:18 > 0:17:19Let's look at the Turner.
0:17:19 > 0:17:23Tell me what you see and what you can learn about Turner there.
0:17:23 > 0:17:25The Turner is a very different work of art from the Degas
0:17:25 > 0:17:27because it's a finished statement.
0:17:27 > 0:17:29It's a watercolour by an artist who has done
0:17:29 > 0:17:32this as a work of art in its own right, and he would've
0:17:32 > 0:17:37expected a collector or a friend to acquire this watercolour from him.
0:17:37 > 0:17:40Or he did it for his own pleasure. That's quite possible.
0:17:40 > 0:17:44An image that he wanted to take back from Venice which would record
0:17:44 > 0:17:48for him the impression of light and colour on the Venetian lagoon.
0:17:48 > 0:17:51It doesn't look finished, of course, because it's so impressionistic,
0:17:51 > 0:17:55and the colour is laid on in thin washes that gives a sense of air
0:17:55 > 0:17:57and atmosphere, of weather and time of day,
0:17:57 > 0:17:59to this view of buildings.
0:17:59 > 0:18:01And that's the real subject of this picture.
0:18:01 > 0:18:03He didn't go to Venice to paint Venice.
0:18:03 > 0:18:06He went to Venice to capture an effect of Venetian light.
0:18:06 > 0:18:09It's beautiful, isn't it? It's absolutely beautiful.
0:18:09 > 0:18:11Let's look at Leonardo.
0:18:11 > 0:18:15Oh, well, Leonardo lies at the very beginning of the Italian renaissance,
0:18:15 > 0:18:18the early renaissance in the 15th century central Italy,
0:18:18 > 0:18:23when drawing came into its own as an important method of preparing
0:18:23 > 0:18:24a work of art.
0:18:24 > 0:18:26He's using it as a way of thinking aloud,
0:18:26 > 0:18:29and when I said that a drawing is fascinating
0:18:29 > 0:18:33because it allows us to enter into the silent thoughts of the artist,
0:18:33 > 0:18:36this is a particularly good case in point.
0:18:36 > 0:18:38In this case he's not working from nature,
0:18:38 > 0:18:41but he's drawing up something that he's inventing.
0:18:41 > 0:18:46But it's owing to the years of close study of the natural world
0:18:46 > 0:18:49that enables him to draw like this from his imagination.
0:18:50 > 0:18:52John, thank you so much for your time.
0:18:52 > 0:18:55Can I just borrow you for a second more to select a few drawings
0:18:55 > 0:18:56from some of my favourite artists
0:18:56 > 0:18:59so I can sit down and do what most people do when they come to visit?
0:18:59 > 0:19:01Yes, by all means.
0:19:01 > 0:19:04We'll take out boxes of Samuel Palmer and Burne-Jones,
0:19:04 > 0:19:06and you can sit as a member of the public does,
0:19:06 > 0:19:09don the white gloves and look at them to your heart's content.
0:19:33 > 0:19:34This is what I've been waiting for.
0:19:34 > 0:19:38He's got to be my favourite artist - Edward Burne-Jones.
0:19:38 > 0:19:42One of the Pre-Raphaelites. This is just superb.
0:19:42 > 0:19:46Wonderful purple ground with a... almost like a gold leaf image
0:19:46 > 0:19:48of this beautiful woman.
0:19:48 > 0:19:52But his work is just full of passion and mythology and...
0:19:53 > 0:19:54..romance.
0:19:54 > 0:19:57He came to Oxford, I think, in the 1850s to study religion
0:19:57 > 0:19:59and had some art lessons by Rossetti.
0:19:59 > 0:20:01He became one of the four founding members
0:20:01 > 0:20:04of the Pre-Raphaelite Brotherhood.
0:20:04 > 0:20:07It's a small study of a beautiful angelic lady.
0:20:07 > 0:20:09I didn't like this when I first saw this.
0:20:09 > 0:20:11I picked this up and I thought...
0:20:11 > 0:20:13"Not sure."
0:20:13 > 0:20:15But actually the more you look at this,
0:20:15 > 0:20:18the more beautiful this woman becomes.
0:20:18 > 0:20:21The burnt siennas and umbers and...
0:20:21 > 0:20:24lovely muddy browns.
0:20:24 > 0:20:27This is so good because anybody can come here,
0:20:27 > 0:20:32work their way through these volumes, be so close to your heroes.
0:20:32 > 0:20:34Right, I'm going to move on to some Samuel Palmer now.
0:20:37 > 0:20:39Gosh, I could spend all day here.
0:20:39 > 0:20:43This is quite interesting because this is, you could say,
0:20:43 > 0:20:44mixed medium, really.
0:20:44 > 0:20:48It's pencil, watercolour, pen and ink, and a white grounding.
0:20:48 > 0:20:51It's a very, very clever technique.
0:20:51 > 0:20:53It's a self portrait, and he's about 19 years old.
0:20:55 > 0:20:58Done when he was living in London.
0:20:58 > 0:21:01This is a few years later when they moved down to Shoreham, the family
0:21:01 > 0:21:06moved down to Shoreham to escape the smoke and the smog of the city.
0:21:06 > 0:21:09There's a childlike quality in his composition.
0:21:10 > 0:21:13It's almost as if it's a book illustration.
0:21:13 > 0:21:15Everything is happy about that little picture.
0:21:15 > 0:21:17The little bunny rabbit hopping along,
0:21:17 > 0:21:20but you don't really see trees growing like that.
0:21:20 > 0:21:22It's just wonderful.
0:21:33 > 0:21:37In fact, it's really nice looking at artists' works
0:21:37 > 0:21:39where they've just done it for themselves,
0:21:39 > 0:21:42it's not a commission and they don't really care how it's finished.
0:21:42 > 0:21:44Sometimes they look better unfinished.
0:21:46 > 0:21:48It makes you use your imagination more.
0:22:03 > 0:22:07Over to Watcombe Manor saleroom in Watlington just outside Oxford,
0:22:07 > 0:22:09where Jones & Jacob fine art auctioneers
0:22:09 > 0:22:12will be selling our lots.
0:22:13 > 0:22:16There will be two auctioneers on the rostrum today -
0:22:16 > 0:22:19first Francis Ogley and then the owner, Simon Jones.
0:22:19 > 0:22:25I'm going to take the opportunity to speak to Simon to see what he thinks of the Oriental bottle.
0:22:25 > 0:22:29I like this. I like it a lot. It was dug up from the garden.
0:22:29 > 0:22:34- Believe it or not. - Unusual to find in a British garden.
0:22:34 > 0:22:37Mid-19th century Chinese, a bit of blue and white.
0:22:37 > 0:22:39We've got 100 to £150 on this.
0:22:39 > 0:22:43- Yes. You'll have no trouble at all. - Really?- Yes, because it's a little bit earlier.
0:22:43 > 0:22:45What would you put it at?
0:22:45 > 0:22:50I think that's Qianlong, and I think it's late 18th century,
0:22:50 > 0:22:52early 19th century, rather than mid-19th century.
0:22:52 > 0:22:56I like the Imperial dragon. I think that's a wonderful image,
0:22:56 > 0:23:00- that's where my money goes. - The five claws says it all.
0:23:00 > 0:23:03You're getting quite excited, but you're not giving much away.
0:23:03 > 0:23:05No, auctioneers never give anything away.
0:23:05 > 0:23:08No, you can't! You should be a politician.
0:23:08 > 0:23:10No, I don't want to be one of those!
0:23:10 > 0:23:13- So we're in the right ballpark figure.- You're OK, you're OK.
0:23:13 > 0:23:17Yes. But hopefully it should fly away. Let's watch this one later on.
0:23:17 > 0:23:20That's what it's all about, the magic of the saleroom.
0:23:20 > 0:23:21Before the auction starts,
0:23:21 > 0:23:25let's take another look at what we've put up for sale.
0:23:25 > 0:23:29We start with Diana's three handsome rings. They look splendid together,
0:23:29 > 0:23:31so they won't go unseen.
0:23:33 > 0:23:37Then I picked out the Victorian desk stand. It's not the most ornate one that I've come across,
0:23:37 > 0:23:41but there's no point in it just sitting in a broom cupboard.
0:23:41 > 0:23:43In stylish mood, Charlie picked out
0:23:43 > 0:23:46the elegant boxed silver coffee spoons belonging to Janet.
0:23:47 > 0:23:51And Mark's amazing find, the Chinese snuff bottle.
0:23:51 > 0:23:55It didn't cost him anything, so he should get a good return.
0:23:57 > 0:24:00Now for Diana's three splendid rings,
0:24:00 > 0:24:04with all those rubies, diamonds and pearls.
0:24:04 > 0:24:09- A lot of money riding on this one, could it be the jewel in the "Flog It!" crown?- Hopefully.
0:24:09 > 0:24:11Three rings. Ooh, Charlie!
0:24:11 > 0:24:14Will we get that 500-plus?
0:24:14 > 0:24:18- 300-500. Don't get too excited! - I know, but can we get 500-plus?
0:24:18 > 0:24:20There's one particularly good ring,
0:24:20 > 0:24:23one with the synthetic stone which looks good but isn't valuable,
0:24:23 > 0:24:25and the pearl ring, which is quite pleasant.
0:24:25 > 0:24:29I think it was the best way of selling them. Put 'em all together.
0:24:29 > 0:24:31We're going to find out, cos this is quite exciting.
0:24:31 > 0:24:35I think this is a lot of money. £500, I would like.
0:24:35 > 0:24:37You always would!
0:24:39 > 0:24:43The 18-carat ring set, nine rubies and diamonds.
0:24:43 > 0:24:46As described there. £300?
0:24:46 > 0:24:48250, sell me.
0:24:48 > 0:24:51- 250, 260.- Come on.
0:24:51 > 0:24:52260, 270.
0:24:52 > 0:24:56280. 290. 300. At £300.
0:24:58 > 0:25:02In the room at 300. Selling at 300. All done at 300?
0:25:02 > 0:25:04Some more, please.
0:25:04 > 0:25:05£100 a ring.
0:25:07 > 0:25:09Well, they've gone.
0:25:09 > 0:25:11Smile, Diana.
0:25:11 > 0:25:12Not as much as I'd like, but...
0:25:12 > 0:25:14- BOTH:- No.
0:25:14 > 0:25:17Charlie was right though, they were within estimate.
0:25:17 > 0:25:20- Yeah.- Don't be too cross with me, Diana.- I'll try not to be.
0:25:20 > 0:25:22Sorry about that.
0:25:24 > 0:25:29It just goes to show, auction houses are brilliant places to buy jewellery.
0:25:29 > 0:25:31Next, it's my expertise under scrutiny.
0:25:34 > 0:25:35OK, it's my turn to be the expert.
0:25:35 > 0:25:38Remember that lovely Victorian desk stand inkwell?
0:25:38 > 0:25:42Well, it's out of the broom cupboard and into the auction room.
0:25:42 > 0:25:46Bruce, at the valuation day, you had your wife with you, Joan, didn't you?
0:25:46 > 0:25:50- She can't make it today, but your daughter Susan can. Hello.- Hi.
0:25:50 > 0:25:52He's flogging your family inheritance, isn't he?
0:25:52 > 0:25:57OK, it's not a lot of money, is it, really, but, it's a nice-looking thing.
0:25:57 > 0:26:01- It is, yes.- You just need a whopping great big desk in a big house.
0:26:01 > 0:26:06- Old Victorian house.- Yes, a great big vicarage, then it will look absolutely stunning.
0:26:06 > 0:26:09You never know what happens in an auction.
0:26:09 > 0:26:11We're going to find out, because ultimately it's down to
0:26:11 > 0:26:15this packed saleroom of bidders to put their hands up. Here we go.
0:26:16 > 0:26:21Lot 214, the inkstand, with a nice lift-out tray.
0:26:21 > 0:26:2360, £70 for this?
0:26:23 > 0:26:2450 then, start me.
0:26:26 > 0:26:2950, I'm bid. 55 anywhere?
0:26:29 > 0:26:3055. 60.
0:26:30 > 0:26:34£65 now, at £65. All done at £65?
0:26:36 > 0:26:39Spot on, wasn't it, really? Straight in again. Very quick.
0:26:39 > 0:26:41What you expected, wasn't it, Dad?
0:26:41 > 0:26:43- Yeah.- Yes, I'm happy with that.
0:26:43 > 0:26:46Yes, we're happy.
0:26:46 > 0:26:47So, out for lunch now?
0:26:47 > 0:26:49I should think so.
0:26:49 > 0:26:52I think you can stretch to that, can't you?
0:26:52 > 0:26:54You can't twist his arm for that, surely?
0:26:55 > 0:26:59Of course he's going to take her out for lunch.
0:26:59 > 0:27:02Next, Janet's coffee spoons.
0:27:02 > 0:27:05These aren't a lot of money, are they, really? They're nothing.
0:27:05 > 0:27:06- Not really.- £30-50.
0:27:06 > 0:27:08I thought, "Charlie, what's going on here?"
0:27:08 > 0:27:11- But that is the value, isn't it? - Who wants them?
0:27:11 > 0:27:12I'd be a bit worried about damaging them.
0:27:12 > 0:27:16- You'd forever worry about chipping the enamel, would you?- That's right.
0:27:16 > 0:27:18- Yeah. You never used them, obviously, did you?- No, not at all.
0:27:18 > 0:27:20They were always kept in the box.
0:27:20 > 0:27:24Let's hope they go to a good home and we get the top end.
0:27:24 > 0:27:27The harlequin set of coffee spoons, enamel backs
0:27:27 > 0:27:30and ivory-coloured bean finials.
0:27:30 > 0:27:32£30?
0:27:34 > 0:27:3720, start me. £20. 20. 22 anywhere?
0:27:37 > 0:27:4122. 25. 28. 30.
0:27:41 > 0:27:43At £30. In the room at 30.
0:27:43 > 0:27:45Come on. A bit more, please.
0:27:45 > 0:27:47All done at £30. Selling at 30.
0:27:47 > 0:27:50- 30 they've gone.- Oh, well.
0:27:50 > 0:27:53It's so interesting, isn't it, cos that's quality but...
0:27:53 > 0:27:56You'd like to think they'd be worth £30 a spoon, wouldn't you?
0:27:56 > 0:27:58- It was within your estimate, though.- It was.
0:27:58 > 0:28:01- I mean, I'm afraid the estimate was right.- Hmm.
0:28:02 > 0:28:05Exactly. I hope they've gone to someone who really enjoys them.
0:28:05 > 0:28:08Next, one of those marvellous stories,
0:28:08 > 0:28:11Mark's Chinese snuff bottle.
0:28:11 > 0:28:14Quite unbelievable and it's in perfect condition, and you loved it.
0:28:14 > 0:28:18Absolutely love it and I've put a really conservative estimate on it,
0:28:18 > 0:28:21because oriental is such a minefield.
0:28:21 > 0:28:23It could really fly.
0:28:23 > 0:28:25The only thing I've ever dug up in my back garden is
0:28:25 > 0:28:28old broken bottles and snails, but this is quite incredible.
0:28:28 > 0:28:31It's amazing what you hear on "Flog It!" with owners
0:28:31 > 0:28:33bringing in all these treasures in, literally dug up.
0:28:33 > 0:28:36What was it doing there?
0:28:36 > 0:28:39Who knows? But we're going to find out what it makes right now.
0:28:41 > 0:28:43A snuff bottle, stained ivory stopper.
0:28:43 > 0:28:46Lovely thing, this. £100, start me for it?
0:28:48 > 0:28:51180, I'm bid. 190?
0:28:51 > 0:28:55£180, then. With Alan at £180.
0:28:56 > 0:29:00All done at 180, all finished?
0:29:00 > 0:29:02Well done. You were spot-on, actually.
0:29:02 > 0:29:04Sorry it didn't fly, fly.
0:29:04 > 0:29:07But nevertheless, that's a good result.
0:29:07 > 0:29:09- Yes. Well done, Mark. - Thank you very much.
0:29:09 > 0:29:13Get digging. Find some more treasure.
0:29:15 > 0:29:19And if you find another treasure, remember to bring it into us.
0:29:19 > 0:29:22Later, we see an extraordinary bit of auction room drama.
0:29:22 > 0:29:25£70!
0:29:25 > 0:29:27That's incredible, isn't it?
0:29:27 > 0:29:29- 4,000. - I wonder when it's going to stop?
0:29:29 > 0:29:32- 5,000. - Don't you just love auction rooms?
0:29:39 > 0:29:43While I'm in Oxford, I've taken the opportunity to visit just part
0:29:43 > 0:29:47of this magnificent university, and as I come from a musical background and play the drums
0:29:47 > 0:29:51and a bit of piano and guitar, I've chosen the Faculty of Music.
0:29:51 > 0:29:54I'm drawn here, not just because I'm passionate about music,
0:29:54 > 0:29:59but because I believe they've got one of the greatest collections ever assembled of musical instruments
0:29:59 > 0:30:03on planet Earth, and some of them date back centuries.
0:30:03 > 0:30:06It's called the Bate Collection, after Phillip Bate,
0:30:06 > 0:30:09who was the musical director at the BBC for many years.
0:30:09 > 0:30:15He left his collection of over 300 early woodwind instruments
0:30:15 > 0:30:17to the Faculty of Music in 1963
0:30:17 > 0:30:22so the students could appreciate the sound of the original instruments.
0:30:22 > 0:30:25That turned out to be just the beginning, because it encouraged
0:30:25 > 0:30:30other collectors who shared his enthusiasm to follow suit.
0:30:30 > 0:30:33This amazing collection is still growing today.
0:30:33 > 0:30:38I'm here to meet its current curator, the enthusiastic Mr Andrew Lamb.
0:30:38 > 0:30:42I don't know where to look. How many instruments are there?
0:30:42 > 0:30:44- Well, getting on for 2,000 now.- Gosh.
0:30:44 > 0:30:49I've got to say, the collection here doesn't have a stuffy feel like some museums do have.
0:30:49 > 0:30:52- Is that down to you and your passion and enthusiasm?- Well...
0:30:52 > 0:30:55partly me, I'm just carrying on a long tradition.
0:30:55 > 0:30:59The original curator, Anthony Baines, set the ball rolling.
0:30:59 > 0:31:02Those of us who've stepped into his shoes,
0:31:02 > 0:31:04we've got a class act to follow.
0:31:04 > 0:31:06- I bet there's never a dull moment. - Absolutely not.
0:31:06 > 0:31:08Have you played most of these instruments?
0:31:08 > 0:31:10I have to say, no.
0:31:10 > 0:31:16But what I have to do is learn to play them well enough to be able to demonstrate them.
0:31:16 > 0:31:20The ones that are playable, I can get a couple of notes out.
0:31:20 > 0:31:24- OK. What are you holding there? - This is a lovely instrument,
0:31:24 > 0:31:27it's probably my favourite instrument in the collection.
0:31:27 > 0:31:30Most people will be familiar with it - it's a recorder.
0:31:30 > 0:31:35But this is a recorder that was made at a time when these instruments were
0:31:35 > 0:31:37orchestral instruments in their own right.
0:31:37 > 0:31:41The thing about this is that it's in perfect proportion.
0:31:41 > 0:31:43It's in the golden section.
0:31:43 > 0:31:48We look at it and we kind of think, well, that's a very satisfying shape.
0:31:48 > 0:31:51And we're fooled into thinking it's a simple instrument
0:31:51 > 0:31:53but it's not, it's very successful.
0:31:53 > 0:31:56So much so that they have not improved on the design in 300 years.
0:31:56 > 0:32:01- Is that a maple or is it an English boxwood?- It's in boxwood.
0:32:01 > 0:32:03- Go on, go on, play.- Here we go.
0:32:03 > 0:32:05I'll see what I can do here.
0:32:05 > 0:32:06HE PLAYS A TUNE
0:32:15 > 0:32:17- Very warm tone.- It is, it is.
0:32:17 > 0:32:20If you're a professional recorder player nowadays,
0:32:20 > 0:32:23the chances are you'll have a copy of THIS instrument.
0:32:23 > 0:32:26You're very lucky, aren't you? Wow.
0:32:26 > 0:32:29Did that ever catch on, a glass flute?
0:32:29 > 0:32:31Well, it's funny you should ask that.
0:32:31 > 0:32:33They're still making them.
0:32:33 > 0:32:35It's very much a French idea.
0:32:35 > 0:32:39There's a perception somehow that the material
0:32:39 > 0:32:43that the instrument is made of has a profound effect on the tonal quality.
0:32:43 > 0:32:47I don't think it has as profound an effect as people would like to think.
0:32:47 > 0:32:52I don't let people play these ones because the horror potential is just too high, frankly.
0:32:52 > 0:32:54- We won't get that one out, then. - No, no.
0:32:54 > 0:32:57I'm looking forward to having a play myself on something.
0:32:57 > 0:33:00Something quite rare. What can I play?
0:33:00 > 0:33:02Well, you can't have a go on this,
0:33:02 > 0:33:05but I've got something lined up for you. Come with me.
0:33:05 > 0:33:07Hard to know what to choose, isn't it?
0:33:07 > 0:33:10None of these. I've got something very special lined up.
0:33:18 > 0:33:20No wonder you were laughing.
0:33:20 > 0:33:24- That's a serpent, isn't it? - It certainly is.- Incredible.
0:33:24 > 0:33:28I've seen them before, obviously, in pictures and museums, but I've never held or played one.
0:33:28 > 0:33:31- This is your chance.- It's covered in leather.- That's right.
0:33:31 > 0:33:35What they've done with these ones is they've glued the wood together
0:33:35 > 0:33:39in sections and bound them in copper wire and then they put the leather over the top.
0:33:39 > 0:33:41That's what you've got here.
0:33:41 > 0:33:43What date are we talking about?
0:33:43 > 0:33:45This one, we actually know all about it.
0:33:45 > 0:33:49It was used at the Battle of Waterloo, dated 1815.
0:33:49 > 0:33:51It was made by an English maker called Thomas Key & Sons.
0:33:51 > 0:33:56It was used by a musician from the Royal Welch Fusiliers
0:33:56 > 0:33:58called Richard Bentinck.
0:33:58 > 0:34:01- Gosh, what provenance. - I know, we know all about it.
0:34:01 > 0:34:04Play it, please, play it. Does it sound like a tuba?
0:34:04 > 0:34:06- Not really.- French horn?
0:34:06 > 0:34:10- To be fair, it's got...got a tone all of its own.- Go on, then.
0:34:10 > 0:34:11Right, here we go.
0:34:11 > 0:34:15DEEP, BREATHY TONE
0:34:22 > 0:34:24Oh, brilliant.
0:34:24 > 0:34:26That suits you.
0:34:26 > 0:34:28- That's me, is it? - That's very you, yes.
0:34:28 > 0:34:32- Now it's your turn. - Do I need gloves?
0:34:32 > 0:34:34No, you can handle this one, it's quite reasonable.
0:34:34 > 0:34:37Do you blow hard, or sort of medium?
0:34:37 > 0:34:41No, no, no, it's kind of blowing a raspberry, that's the deal.
0:34:52 > 0:34:55I'm sure if you were good on this, you would get the subtleties out of it.
0:34:55 > 0:35:01Funny you should say that, I've heard professional serpent players and I can't say I've noticed.
0:35:01 > 0:35:06It could sound like somebody in pain. Screaming away!
0:35:06 > 0:35:07What a beautiful instrument.
0:35:07 > 0:35:09They are beautiful, they're very cuddleable.
0:35:09 > 0:35:11Can I have a play on one of the drums?
0:35:11 > 0:35:14Yes, all right, then. Why ever not?
0:35:14 > 0:35:16We've got another instrument from Waterloo.
0:35:16 > 0:35:19- OK, let's form a duet, then. - I'll just put this away.
0:35:26 > 0:35:30This particular instrument is our most recent acquisition.
0:35:30 > 0:35:33We did a lot of fundraising to acquire it and we think it's
0:35:33 > 0:35:36the instrument that was played by Joseph Haydn
0:35:36 > 0:35:39when he came to Oxford to receive his honorary doctoral award.
0:35:39 > 0:35:42Wow. So when does this date back to?
0:35:42 > 0:35:45This is about 1792, this instrument.
0:35:45 > 0:35:49It's a harpsichord and it really is, in many ways, the last flick
0:35:49 > 0:35:54of the dinosaur's tail before everybody moved on to playing pianos.
0:35:54 > 0:35:57- Double bank of keys?- Absolutely, what they called a double manual.
0:35:57 > 0:36:00- It's got a number of other features. - These open up, don't they?
0:36:00 > 0:36:03Yes, I'll just show you, here we go, just a minute.
0:36:05 > 0:36:08- Ah.- There we go, look at that, that's what they call
0:36:08 > 0:36:13- a Venetian swell.- How does that help the vibrating note more?
0:36:13 > 0:36:17Well, what you did, very, very simple, you get it to play louder.
0:36:18 > 0:36:21- That's all it is? - Absolutely all it is.
0:36:21 > 0:36:23HE PLAYS MUSIC
0:36:31 > 0:36:33So, this is from Waterloo?
0:36:33 > 0:36:37Yes, we think so. We don't know which regiment, but it's certainly the right period.
0:36:37 > 0:36:40It's certainly the right style.
0:36:40 > 0:36:42Wonderful drum.
0:36:42 > 0:36:43The condition is superb, isn't it?
0:36:43 > 0:36:47- It is indeed.- Let's see what it sounds like... Dum, dum dum...
0:36:57 > 0:36:59Wow. Can you hear the overtone there? The way it resonates.
0:36:59 > 0:37:03Can you imagine a marching row of let's say 15 or 12?
0:37:03 > 0:37:05The power and the volume!
0:37:05 > 0:37:08Absolutely, that is a real war sound, isn't it?
0:37:08 > 0:37:11Thank you so much, thank you so much, that's made my day.
0:37:11 > 0:37:15Playing a drum from the Battle of Waterloo! What a sound!
0:37:17 > 0:37:21What an unbelievable experience, I'm so chuffed to have come here today.
0:37:21 > 0:37:24If you're passionate about music, you must visit this place because
0:37:24 > 0:37:29it is the complete encyclopaedia of musical instruments that have evolved over the centuries.
0:37:29 > 0:37:32You don't just get to study tuning techniques, you get to
0:37:32 > 0:37:34PLAY the things as well, and that's so important.
0:37:34 > 0:37:38Today I've played a serpent and a drum from the Battle of Waterloo.
0:37:38 > 0:37:41What a date in history, and it's all here and it's free.
0:37:48 > 0:37:50Now it's time to find out what other treasures
0:37:50 > 0:37:54the crowd in the Sheldonian have in store for our experts.
0:37:54 > 0:37:58Charlie's found something which seems to be an unusual size.
0:38:00 > 0:38:05- Denise, a grandfather clock. - Yep.- But a bit smaller than the usual grandfather clocks.
0:38:05 > 0:38:07- It's a miniature one. - It certainly is.
0:38:07 > 0:38:08How did you get hold of it?
0:38:08 > 0:38:13My great-uncle Joe gave it to me when he was 94.
0:38:13 > 0:38:15- What a kind man.- Yep.
0:38:15 > 0:38:19He bought it in about 1930 from Stanton St John vicarage.
0:38:19 > 0:38:22Did you always like it? Is that why you give it to you?
0:38:22 > 0:38:26Yeah, as a child I always cleaned it and dusted it.
0:38:26 > 0:38:31It would be fascinating for a child because it would be the right size
0:38:31 > 0:38:34- for a grandfather clock if you were very small.- Yeah, that's true.
0:38:34 > 0:38:35It's an interesting combination.
0:38:35 > 0:38:39There's no doubt that the case is English
0:38:39 > 0:38:41and the movement is French.
0:38:41 > 0:38:44And the date of this is very much late-Victorian,
0:38:44 > 0:38:50almost into the Edwardian times. So we're looking at 1880, 1890.
0:38:50 > 0:38:53Its case is made of rosewood -
0:38:53 > 0:38:56a lovely, high-quality, dense wood -
0:38:56 > 0:39:00and it's inlaid with satinwood, which you can see.
0:39:00 > 0:39:02These fans, the very light wood here.
0:39:02 > 0:39:06And the green wood, which you can see, is olive wood.
0:39:06 > 0:39:10Lovely. You have a wonderful broken pediment on the top,
0:39:10 > 0:39:14and it's very much modelled on a longcase clock,
0:39:14 > 0:39:20other than it would be unusual to see such slender pillars down a clock of that period
0:39:20 > 0:39:22if it were a full grandfather clock.
0:39:22 > 0:39:25An enamel dial we have here,
0:39:25 > 0:39:29with very intricate brass filigree work in the middle of it.
0:39:29 > 0:39:33And then we're going to turn it round and have a look at the movement.
0:39:35 > 0:39:39And when I said a platform movement, this is the platform,
0:39:39 > 0:39:41screwed to the back of the clock here.
0:39:41 > 0:39:43The great thing about a platform movement,
0:39:43 > 0:39:47if it were a full-size longcase clock, you would have a pendulum.
0:39:47 > 0:39:50It would be stopping and you'd have to adjust it all the time.
0:39:50 > 0:39:54A carriage clock movement, that clock will work if you lay it flat,
0:39:54 > 0:39:58turn it upside down, turn it on its side...
0:39:58 > 0:40:02Hence carriage clocks - you could rattle along in your carriage
0:40:02 > 0:40:03and it would always carry on going.
0:40:03 > 0:40:07And I think the movement was made in France, imported into this country
0:40:07 > 0:40:10and then put into an English case.
0:40:10 > 0:40:15And beautifully done. And it's really in super condition, although I noticed when I wound it up
0:40:15 > 0:40:20that the hands went, "Whizzzz!" And we had to wait for it to stop.
0:40:20 > 0:40:23- Has it always been like that? - No, it hasn't.
0:40:23 > 0:40:25It wasn't me that did it, was it?
0:40:25 > 0:40:31No, it wasn't. I did take it somewhere but they didn't make a good job of it.
0:40:31 > 0:40:33Ever had it valued?
0:40:33 > 0:40:35Well, I did for insurance purposes.
0:40:35 > 0:40:37Did you? Well, that's quite interesting.
0:40:37 > 0:40:38And for insurance purposes?
0:40:38 > 0:40:40They said £1,200.
0:40:40 > 0:40:43- HE GASPS - Crumbs! How long ago was that?
0:40:43 > 0:40:45That was in 1999.
0:40:45 > 0:40:47Did they charge you for that valuation?
0:40:47 > 0:40:51- Yeah, but that came along with the repair as well.- Did it?
0:40:51 > 0:40:54It shouldn't be for me to say this,
0:40:54 > 0:40:57but quite often you get people that repair things and they say,
0:40:57 > 0:41:00"I'll give you an insurance valuation," and it's quite inflated.
0:41:00 > 0:41:02It may not come as a surprise, or it may do,
0:41:02 > 0:41:05- that's a hugely inflated insurance. - Yes.
0:41:05 > 0:41:09I think it's fabulous but I think it's worth, to sell, £200 to £300.
0:41:09 > 0:41:12- Right.- Still want to sell it? - Yes.
0:41:12 > 0:41:15You're very, very understanding and good.
0:41:15 > 0:41:19I hope that somebody that really likes it might tickle it above £300,
0:41:19 > 0:41:22but I think we've got to realise it's not going to make £500 or £600.
0:41:22 > 0:41:25- Yeah.- Thank you for bringing it along.- Thank you.
0:41:27 > 0:41:28What a fascinating item.
0:41:28 > 0:41:32And it's true that insurance valuations do tend to be high.
0:41:32 > 0:41:35Next up, a little glamour from the 1920s.
0:41:36 > 0:41:38I've just been joined by Hilary who's got, well,
0:41:38 > 0:41:41some Rene Lalique, that's probably one of the top names in glass,
0:41:41 > 0:41:43- isn't it?- I think so, yes. - How did you come by this?
0:41:43 > 0:41:45It was given to me by my parents.
0:41:45 > 0:41:49It was handed down and I think it belonged to my uncle.
0:41:49 > 0:41:52Wonderful opalescence, isn't there, to Rene Lalique. You can see that.
0:41:52 > 0:41:54- It's quite thick. - It's beautiful, isn't it? Beautiful.
0:41:54 > 0:41:57It's signed there, look, Rene Lalique,
0:41:57 > 0:41:59which means this was made before he died.
0:41:59 > 0:42:02Vessels that were made afterwards were just signed Lalique.
0:42:02 > 0:42:06This pattern was around in the early 1920s,
0:42:06 > 0:42:08I think up to about 1930,
0:42:08 > 0:42:11- so you can actually date it to around that period.- Oh, right.
0:42:11 > 0:42:15- Where has it been in the house? - It's just been wrapped up.
0:42:15 > 0:42:19Yes, wrapped up, and then I brought it out about a year ago
0:42:19 > 0:42:21and I just had it on a shelf.
0:42:22 > 0:42:25- Admiring it.- Admiring it. - It's a lovely thing.
0:42:25 > 0:42:28I've done some price comparables
0:42:28 > 0:42:32- and these bowls sell from around £200-300.- Oh, right. Yes.
0:42:32 > 0:42:36- So we've got a book price for this, £200-300.- I see.
0:42:36 > 0:42:38Only problem being...
0:42:40 > 0:42:42- ..that. Can you see?- Yes. - A little bit of damage.
0:42:42 > 0:42:46That can be sorted out, but it might cost £80 to do it.
0:42:46 > 0:42:47So that will affect the price,
0:42:47 > 0:42:49and I'm scared to put two to three on this.
0:42:49 > 0:42:53I'd like to go one to two with a reserve at one to get things
0:42:53 > 0:42:57started, cos I still feel it might do £150. Are you happy with that?
0:42:57 > 0:43:02Not really, no, I would've hoped it would go for a little bit more
0:43:02 > 0:43:06than that and have a reserve of 140.
0:43:06 > 0:43:08OK, look. £140.
0:43:08 > 0:43:11Let's call the valuation 140-200.
0:43:11 > 0:43:14- Fixed reserve at 140.- OK.- But I'm rather hoping for the top end.
0:43:14 > 0:43:17If there's two people in the saleroom that are going to buy
0:43:17 > 0:43:20their own restoration work, they're capable of doing this, or they know
0:43:20 > 0:43:23a friend that can do it, they won't be put off or frightened by it.
0:43:23 > 0:43:27- Oh, good.- Cos it is a £200-300 bowl. - Yes.- But it's just that chip.
0:43:27 > 0:43:31People are so fussy nowadays. You know who you are.
0:43:32 > 0:43:36Fingers crossed for Hilary we get it away.
0:43:36 > 0:43:39Next, Tracy has found something familiar.
0:43:39 > 0:43:41Well, I think it's Clarice Cliff.
0:43:41 > 0:43:45I think you're probably right. But lovely, lovely pieces.
0:43:45 > 0:43:48Are they something that you've inherited
0:43:48 > 0:43:51or you've bought or you've collected?
0:43:51 > 0:43:53I bought these in a jumble sale.
0:43:53 > 0:43:56- Right.- Over 30 years ago.
0:43:56 > 0:44:00OK. Can I ask you, did you pay much money for any of these items?
0:44:00 > 0:44:05This was 10p and these were five.
0:44:05 > 0:44:09- Pence?- Pence.- So you didn't pay a lot of money at all, really.
0:44:09 > 0:44:12- No.- Have you had them on display at home?
0:44:12 > 0:44:13Have you got pleasure out of them?
0:44:13 > 0:44:18My children used to play with them and they used to use these as Daleks.
0:44:18 > 0:44:22- Oh, really?- As the mother ship in one of the Dalek movies.- I love it!
0:44:22 > 0:44:24That's fantastic!
0:44:25 > 0:44:29Well, Wendy, because they've been used as Daleks,
0:44:29 > 0:44:31they've obviously been knocked about a bit,
0:44:31 > 0:44:34and we have got some damage here.
0:44:34 > 0:44:36Both these ends have been knocked off.
0:44:36 > 0:44:39So I'm wondering if they were exterminating each other.
0:44:39 > 0:44:42They could have been.
0:44:42 > 0:44:46On this little tiny conical shape, we've got a chip here, as well.
0:44:46 > 0:44:50But I will say this particular pattern is the crocus pattern,
0:44:50 > 0:44:52and it's one of the most common.
0:44:52 > 0:44:56But this is a really lovely little size, which is great.
0:44:56 > 0:45:00- But what I love best is this. - Do you?!- I do, I love it.
0:45:00 > 0:45:02It's just so unusual.
0:45:02 > 0:45:04It's a Stamford shape,
0:45:04 > 0:45:10quite simplistic, really. We've got the typical Art Deco clean line.
0:45:10 > 0:45:13And if we just sort of turn it upside down,
0:45:13 > 0:45:17there we have the wonderful "Bizarre by Clarice Cliff" mark.
0:45:17 > 0:45:20Pop that back. And that was 10p, you said?
0:45:20 > 0:45:26- So that was quite expensive, that one, wasn't it?- It was expensive. I had to think about that(!)
0:45:26 > 0:45:31- I think it makes a great mother ship.- Yes.- It's a whole new meaning on the word "ceramic".
0:45:31 > 0:45:37Because of the damage, really, the money's going to be in this one, to be honest.
0:45:37 > 0:45:43I'm thinking a pre-sale estimate of £100 to £150.
0:45:43 > 0:45:49- Now, bearing in mind you only spent 25p on the lot...- Yes. - ..I don't think that's a bad return.
0:45:49 > 0:45:51No, I think that's a fair price.
0:45:51 > 0:45:55And the children have had the great pleasure of playing Daleks.
0:45:55 > 0:45:59- They have.- It's going to fly away at auction.- Yes!
0:45:59 > 0:46:03£100 to £150 seems good value for that little collection.
0:46:03 > 0:46:10I always like meeting people at our valuation days and being introduced to the children.
0:46:10 > 0:46:14Your mum's just handed the phone, so she's having a good time.
0:46:14 > 0:46:16And I hope you're behaving well at home.
0:46:16 > 0:46:18HE LAUGHS
0:46:18 > 0:46:20OK, bye-bye.
0:46:20 > 0:46:22Thank you!
0:46:22 > 0:46:26Charlie and Nigel are looking at a mysterious box.
0:46:26 > 0:46:30- Have you used the contents at all? - No, my father bought it second-hand
0:46:30 > 0:46:33in Portsmouth when I was a youngster, about eight years old.
0:46:33 > 0:46:36And he worked for the city architect's department.
0:46:36 > 0:46:38He may have used it early on in
0:46:38 > 0:46:40his career, but I suspect not later.
0:46:40 > 0:46:44- So we're going to find architectural instruments?- Yes, sorry, I should have told you.
0:46:44 > 0:46:46No, that's fine. So we open up there.
0:46:46 > 0:46:50Gosh! It's absolutely complete, isn't it?
0:46:50 > 0:46:53- It's extraordinary, isn't it? - Amazing!
0:46:53 > 0:46:55What a meticulous person he must have been.
0:46:55 > 0:46:58If I'd owned something like this, half of them would be missing.
0:46:58 > 0:47:00I wish I had been as meticulous as my father.
0:47:00 > 0:47:04What really interested me here, have you noticed this writing here?
0:47:04 > 0:47:07Well, I hadn't actually paid much attention to it.
0:47:07 > 0:47:08- French.- Yeah, now I look at it.
0:47:12 > 0:47:13And then some initials.
0:47:13 > 0:47:16So we've certainly got a French box here.
0:47:16 > 0:47:19- Surely.- Rosewood. The French in the 19th century used a lot of rosewood,
0:47:19 > 0:47:23loved rosewood, as indeed the English did, but I think the French
0:47:23 > 0:47:30even more so, which obviously relates to the instruments in so much as the box was made in France.
0:47:30 > 0:47:34But "lines" and "circles" -
0:47:34 > 0:47:37I can say that these instruments were made in England.
0:47:37 > 0:47:38I think that's a fair conclusion.
0:47:38 > 0:47:42That would ring true, wouldn't it, with high-quality steel?
0:47:42 > 0:47:46- I would agree. - As an engineer you would agree with that.- I certainly would.
0:47:46 > 0:47:50So I think then shipped out to France, where they put it in
0:47:50 > 0:47:54the box and presumably retailed in France, I would have thought.
0:47:54 > 0:47:57But alas, alack, despite the cost of making something
0:47:57 > 0:48:01like that, I would suggest that the value of the box probably
0:48:01 > 0:48:03exceeds the value of the contents.
0:48:03 > 0:48:06I think that's quite possible.
0:48:06 > 0:48:09I would think that I would hope for, say, something about £50,
0:48:09 > 0:48:10perhaps a bit better
0:48:10 > 0:48:13- if possible, on a good day, maybe. - I think I'm looking at
0:48:13 > 0:48:15an estimate of 40 to 60.
0:48:15 > 0:48:17I think you're pretty spot-on.
0:48:17 > 0:48:20I think the box is worth £30. These ought to be worth
0:48:20 > 0:48:22a couple of hundred pounds.
0:48:22 > 0:48:25It's no good me saying that that's what they're going to make.
0:48:25 > 0:48:31I think 40 to £60 is a sensible estimate, with a reserve at the
0:48:31 > 0:48:33bottom end and a little bit of discretion
0:48:33 > 0:48:35so that we don't give them away.
0:48:35 > 0:48:36Still got the key.
0:48:36 > 0:48:38- Yes.- And it locks perfectly well?
0:48:38 > 0:48:41It does. It's a little counterintuitive, though.
0:48:41 > 0:48:45To lock it, let's see, I think you turn anticlockwise.
0:48:45 > 0:48:47Anticlockwise. French, you see.
0:48:47 > 0:48:50Well, it's the other side of the road, isn't it?
0:48:50 > 0:48:53Well, that may not be the French view of it!
0:48:53 > 0:48:59There's just time to have another glimpse of what our experts have picked out to take off to auction.
0:48:59 > 0:49:05Charlie's right, I'm sure. Denise's miniature grandfather clock would appeal to children and adults alike.
0:49:06 > 0:49:09I couldn't ignore the earlier Lalique bowl -
0:49:09 > 0:49:12even with the chip it should generate plenty of interest.
0:49:14 > 0:49:17Wendy's Clarice Cliff has a little Dalek damage,
0:49:17 > 0:49:21but I expect it will still do very well.
0:49:21 > 0:49:24Nigel's late 19th century rosewood box with architectural
0:49:24 > 0:49:28instruments would cost a fortune to make today,
0:49:28 > 0:49:31so the buyer will get a real bargain.
0:49:33 > 0:49:36It's up first, so let's see who wants it.
0:49:36 > 0:49:41They're going to go to a good home because we've got £40-£60 on these,
0:49:41 > 0:49:44and it's absolutely nothing for a complete set, is it? That's true.
0:49:44 > 0:49:47This is the right time to invest in antiques on things like this
0:49:47 > 0:49:51because it's something not many people want and the price is so low.
0:49:51 > 0:49:54People nowadays wouldn't use them, of course, would they?
0:49:54 > 0:49:57They've been overtaken, as you say, by computers.
0:49:57 > 0:50:01Let's hope there are some draftsmen or architects here.
0:50:02 > 0:50:05Lot 136 is a set of drawing instruments
0:50:05 > 0:50:07in a rosewood and brass case.
0:50:07 > 0:50:09There we go, lovely set there.
0:50:09 > 0:50:1040 to £50 for it.
0:50:10 > 0:50:1340 I'm bid. 42.
0:50:13 > 0:50:1642, 44, 46, 48,
0:50:16 > 0:50:1950, 50, 55, 60?
0:50:19 > 0:50:21£55. 60 anywhere?
0:50:22 > 0:50:24For £55 beside me.
0:50:24 > 0:50:2660, 65, 70?
0:50:26 > 0:50:28- They do like it.- £65, then.
0:50:28 > 0:50:29Still beside me at £65.
0:50:29 > 0:50:31All done at 65.
0:50:31 > 0:50:34£65. I'm pleased.
0:50:34 > 0:50:36- Thank you very much indeed. - A pleasure.
0:50:36 > 0:50:39That's absolute quality, absolute quality.
0:50:39 > 0:50:42Those are the kind of things you should really be investing in
0:50:42 > 0:50:46because £65 is absolutely nothing for that, is it, Nigel?
0:50:47 > 0:50:50Next, that beautiful coquille bowl by Rene Lalique.
0:50:52 > 0:50:54- It's a nice piece, apart from the little chip, as we said.- I know.
0:50:54 > 0:50:57- That is holding it back. - That's the trouble.
0:50:57 > 0:50:59But right now, it is down to this lot out here.
0:50:59 > 0:51:01It is absolutely packed in the saleroom.
0:51:01 > 0:51:05- Surely, somebody wants some Rene Lalique.- I hope so.
0:51:05 > 0:51:07We are going to find out right now.
0:51:09 > 0:51:13Lot 7 is the coquille shallow opalescent bowl. Here we go.
0:51:13 > 0:51:15And what can we say for that?
0:51:15 > 0:51:17A couple of hundred pounds to start me for it?
0:51:19 > 0:51:21140 I am bid, 150? 160.
0:51:21 > 0:51:25At 150 then, 150 all done at 150.
0:51:25 > 0:51:27Pat now at 160.
0:51:29 > 0:51:32160...the bidding. 170?
0:51:33 > 0:51:36180, 190, 200...
0:51:36 > 0:51:37Climbing, they like it!
0:51:37 > 0:51:40200, 210, 220...
0:51:42 > 0:51:45220, then. 220, all done at 220,
0:51:45 > 0:51:47all finished and done at 220.
0:51:47 > 0:51:49By the door at 220.
0:51:49 > 0:51:53- £220!- Wow! - That's good. Come on, that is OK.
0:51:53 > 0:51:55It was damaged and don't forget
0:51:55 > 0:51:57it was only a seven-and-a-half-inch bowl.
0:51:57 > 0:52:01- Yes, so that is good.- Happy?- Yes, I'm happy.- That was a bit of fun.
0:52:01 > 0:52:03Thank you so much for coming along.
0:52:03 > 0:52:08If you have anything like that and you want to sell it, bring it along to one of our valuation days.
0:52:08 > 0:52:11And you can pick up details from the BBC website or from your local press.
0:52:14 > 0:52:20Next I want to show you something very rare and interesting that's coming up later on in the auction.
0:52:20 > 0:52:25Simon the auctioneer has given me a tip-off about a lot that is coming up in the sale. And this is it.
0:52:25 > 0:52:30It's a tiny little early 19th-century Japanese cloisonne vase.
0:52:30 > 0:52:34It came in through a probate sale. Somebody had died in the estate.
0:52:34 > 0:52:37The rest of the family don't particularly want to own it.
0:52:37 > 0:52:40They know it's worth possibly a few hundred pounds.
0:52:40 > 0:52:43That's what they're thinking. Simon has just informed me
0:52:43 > 0:52:49it could be worth around £4,000, so we're going to watch this one later on in the show.
0:52:49 > 0:52:53But look at the exquisite detail, because that is all enamel work.
0:52:53 > 0:52:56Can you see all the little flowers and the petals?
0:52:56 > 0:52:59That's little tiny wires that have been put onto
0:52:59 > 0:53:04the vessel to stop the coloured glass from running.
0:53:04 > 0:53:07It's exquisite. The detail is superb.
0:53:07 > 0:53:10That's what you're buying, really. It's a little ornament.
0:53:10 > 0:53:11It's lot number 144.
0:53:11 > 0:53:16If you've got something like this and you're thinking of selling it, don't just sell it to
0:53:16 > 0:53:21the first person, take advice from the professionals, because it could be worth several thousand pounds.
0:53:24 > 0:53:29Back to our lots, and Denise's little grandfather clock is up next.
0:53:29 > 0:53:32£200 to £300 is riding on this.
0:53:32 > 0:53:35You've seen this as a little girl and you really liked it.
0:53:35 > 0:53:39It's been handed down through the family and now you're selling.
0:53:39 > 0:53:42Yep. Well, I've got two boys and I can't...
0:53:42 > 0:53:44You can't split that up, can you, I guess?
0:53:44 > 0:53:46- But it's got to go. A nice thing. - Fabulous quality.
0:53:46 > 0:53:48A really, really nice thing.
0:53:48 > 0:53:51My uncle only had the best.
0:53:51 > 0:53:54- Had an eye for detail. - Yeah, definitely.
0:53:54 > 0:53:58Let's hope this packed saleroom knows what to look for. Good luck.
0:53:59 > 0:54:02A miniature longcase clock in the inlaid case there.
0:54:02 > 0:54:06A couple of hundred pounds for it. 190 I'm bid.
0:54:06 > 0:54:08200 anywhere before I go to the phones?
0:54:08 > 0:54:09Coming to you now, Pat, at 200.
0:54:09 > 0:54:11We're in at 200.
0:54:11 > 0:54:14200, 210, 220,
0:54:14 > 0:54:16230, 240,
0:54:16 > 0:54:18250, 260.
0:54:18 > 0:54:20They like it, they like it.
0:54:20 > 0:54:23Coming to you now, 270, 270,
0:54:23 > 0:54:25280, 290.
0:54:27 > 0:54:30290 at the back, 300, 310,
0:54:30 > 0:54:33320, 330,
0:54:33 > 0:54:35340?
0:54:35 > 0:54:40330, then. Right at the back of the room at £330. All done at 330.
0:54:40 > 0:54:43Yes, top end of the estimate and a bit more - £330.
0:54:43 > 0:54:45- That's not bad. - You're happy, aren't you?
0:54:45 > 0:54:48I think Uncle would be pleased with that.
0:54:48 > 0:54:51His actual words were, "Flog it."
0:54:51 > 0:54:53So I think he'd be very pleased.
0:54:53 > 0:54:56- I think the boys will as well, won't they?- Yeah.
0:54:57 > 0:55:03Good result. Next, what I consider to be a classic "Flog It!" story.
0:55:04 > 0:55:10Right now, we're hoping to turn 15p into maybe £150, who knows, £200
0:55:10 > 0:55:13because Clarice Cliff never lets us down.
0:55:13 > 0:55:14- Hello, Wendy.- Hello.
0:55:14 > 0:55:17Now, a lovely story, this, isn't it?
0:55:17 > 0:55:19This is brilliant.
0:55:19 > 0:55:2130-odd years ago you bought this
0:55:21 > 0:55:23- four-piece set of Clarice Cliff? - Yes.
0:55:23 > 0:55:25You've had great fun playing Daleks.
0:55:25 > 0:55:28- Yes, my children did. - Why are you selling today, anyway?
0:55:28 > 0:55:33Well, my son and daughter are older, they don't play Daleks any more. They're grown up.
0:55:34 > 0:55:37You can never grow out of Doctor Who, though, can you, really?
0:55:37 > 0:55:40No, they're still avid watchers, yes.
0:55:40 > 0:55:41Well, good luck, anyway.
0:55:42 > 0:55:45The Clarice Cliff Stamford tureen and cover
0:55:45 > 0:55:48and three condiment covers. £100 to start me for it.
0:55:48 > 0:55:52350's better. 350 I'm bid, 360?
0:55:52 > 0:55:54£350!
0:55:54 > 0:55:56That got them whistling in church. 350.
0:55:56 > 0:55:59- Am I hearing right?- 360 now, OK.
0:55:59 > 0:56:03- 360, 370.- 370, Wendy.
0:56:03 > 0:56:06370, 380.
0:56:06 > 0:56:09- Oh, they love it, don't they?- Yes!
0:56:09 > 0:56:11370 then, with Alan. At £370.
0:56:11 > 0:56:14All done at 370. With Alan.
0:56:14 > 0:56:17- £370!- Yes!
0:56:17 > 0:56:20That's incredible, isn't it? With all that damage as well.
0:56:20 > 0:56:24It just goes to show it doesn't put people off buying Clarice Cliff, does it?
0:56:24 > 0:56:26Or were they Dr Who fanatics?
0:56:27 > 0:56:30Hey, what are you going to spend the money on?
0:56:30 > 0:56:32- Well...- Don't forget there's 15% commission.
0:56:32 > 0:56:37Yes. Share it between my grandchildren and a rescued greyhound called Mr Blue...
0:56:37 > 0:56:39- Oh, lovely.- ..that my son's got.
0:56:39 > 0:56:43- How smashing.- I'm so pleased.
0:56:43 > 0:56:46- Mr Blue!- Mr Blue. He's fabulous.
0:56:48 > 0:56:51It's always nice to hear the money's going to a good cause.
0:56:51 > 0:56:54Now I'm sure you're curious to find out what happened to the little
0:56:54 > 0:56:58cloisonne vase that I showed you earlier on in the programme.
0:56:58 > 0:57:03It just happened to be made by Namikawa Yasuyuki around 1880,
0:57:03 > 0:57:08the top maker at the dawn of the golden age of cloisonne.
0:57:08 > 0:57:10This is exceptional, so keep watching.
0:57:10 > 0:57:13- 5,000.- £5,000 is now being offered.
0:57:13 > 0:57:14- 5,100.- 5,100.
0:57:14 > 0:57:176,000. 7,000.
0:57:17 > 0:57:188,000.
0:57:18 > 0:57:20£8,000?!
0:57:20 > 0:57:22Don't you just love auction rooms?
0:57:22 > 0:57:26- I'm tingling now.- 8,900. 9,000.
0:57:26 > 0:57:2810,000.
0:57:28 > 0:57:29Ooh! £10,000.
0:57:29 > 0:57:3111,000.
0:57:31 > 0:57:32And it's all gone deadly quiet.
0:57:32 > 0:57:3412,000.
0:57:34 > 0:57:36£12,000.
0:57:36 > 0:57:3813,000. 14,000.
0:57:38 > 0:57:4014,200, 14,400.
0:57:40 > 0:57:41- £14,000.- 14,200.
0:57:41 > 0:57:43- 14,400.- Absolutely incredible.
0:57:43 > 0:57:4414,600.
0:57:44 > 0:57:4714,800. 15,000?
0:57:47 > 0:57:5114,800, then. At 14,800, all done.
0:57:51 > 0:57:53Here we go, the hammer's going down.
0:57:53 > 0:57:56£14,800.
0:57:56 > 0:57:58APPLAUSE
0:57:58 > 0:58:01Lucky owners. That is the excitement of the auction room.
0:58:01 > 0:58:05If you've got something like that, bring it along to one of our valuation days.
0:58:05 > 0:58:07We would love to sell that for you.
0:58:07 > 0:58:09You can check the details on our BBC website.
0:58:09 > 0:58:12Just log on to bbc.co.uk/lifestyle.
0:58:12 > 0:58:15Click F for "Flog It!", follow the links, and hopefully there'll be
0:58:15 > 0:58:18a valuation day venue very near you soon. We'd love to see you.
0:58:18 > 0:58:21Bring along your unwanted antiques.