Cirencester 7 Flog It!

Welcome to Cirencester,

and to the heart of the British antiques and collectables trade.

Today we are in the Cotswolds where every small town

has a scattering of period listed buildings

and wonderful antique shops.

So what a perfect place to flog it.

Cirencester is one of those places

that is packed with character and charm.

Everywhere you turn there are pretty houses made from local sandstone.

And interesting streets lined with quirky shops.

And the peaceful countryside is never far away.

All that adds up to a location

that's brimming with much-loved collectables

and hopefully ready to give up a few of its treasures.

We've got a wonderful queue gathering outside the Corn Hall.

All these people have been waiting patiently,

and hopefully at the end of the show

they will be going home with a lot of money

if these bags and boxes are full of treasures

that we can sell in auction.

Yes, this is the programme where we value your unwanted antiques

and collectables and then help you sell them.

Our team of experts is led by

the very capable Thomas Plant and Michael Baggott.

I'm sure we can do something for you with those.

Michael started early in the antiques business

making his first deal when he was at primary school.

So there is no kidding him.

He's a silver specialist, but that won't stop him

from spotting other collectables.

Ah, now, I'll leave that to my colleague, he's the toy man.

Thomas Plant claims to be the action man of the team.

He is a James Bond fan with a love of skiing and fencing.

There's only one thing he loves more than jewellery, though,

and that is giving advice.

If you imagine, when this was made, the brass would be really, really shiny.

-I wasn't about to clean it.

-Life is too short for things like that.

Coming up, Thomas is on sparkling form

and has some good news for Lynn about her ring.

I've always thought it was just a piece of costume jewellery.

You've seen the off-screen valuers,

and they have told you what the stones are here.

-They have.

-They're not glass, are they?

-No.

I've got a battle on my hands with Phyllis,

as she tries to wring every penny out of this pot.

OK, you win.

Thanks, Phyllis.

And Michael is brewing up some excitement

over a large piece of silverware.

At the time,

Americans were buying Bateman silver in droves.

The price of silver was high,

it was worth every penny when you bought it.

So, has it gone up in value since then, or down?

Stay tuned to find out.

So many people,

which means an awful lot of antiques.

We do have a full house here

so I think it's about time we went treasure hunting, don't you?

And Michael is first at the tables.

He's gone for one of my favourite subjects to kick things off with,

it's a pretty item of silverware, brought in by Muriel.

Muriel, thank you for bringing this lovely little silver jug in today.

Can you tell me, how did you acquire it?

It was in this cardboard box with a lot of odds and ends

and the lady said if you are interested

in whatever is in that box you can have it for £5.

-There was some china, Japanese kind of plate things...

-Oh, my word!

..and some other silver things.

But they were silver-plated.

Where was this at?

It was round Bristol, at a car-boot sale round Bristol.

Cos we used to live in Bristol.

Good grief! Was that a long time ago?

Oh, yes, over five years.

Muriel, don't say five years is a long time ago.

It was yesterday!

-Well, it seemed long...

-I'm thinking about 20 years!

Well, to find that in a car-boot sale,

even five years ago,

is a fantastic achievement.

Have you got any idea when it was made, who made it?

No idea whatsoever.

Well, it's a form we call a helmet-shaped cream jug.

And if I turn it upside down you can see why,

-because it is shaped like a helmet.

-Yes.

And it should be marked and it's marked under the lip here,

and if I just breathe on those I will be able to see them a bit clearer.

And we've got the maker's mark SH,

and we've got a set of marks for London 1794.

-Oh, gracious!

-It's over 200 years old.

Oh, gracious.

I mean, what a fantastic buy for in a box for £5.

Odds and ends, it was.

These cream jugs were made

and were bought by quite a lot of middle-class people.

Because they are fairly light, quite thin silver,

rather than having any cast decoration

they simply punch around the rim

to give this beaded effect.

And because of that they are quite fragile and prone to damage.

There has been a little bit of repair at the handle there.

But nonetheless it is a Georgian silver cream job.

So we're going to show you a good return on your £5,

if you put it into auction.

In pristine condition it will probably be £150 to £200.

We've got to take into account

the little bits of damage and the wear on it.

But nevertheless it is a little jug that at £70-£100,

and we'd put a fixed reserve of £70 on it,

I think they'll be hands flying into the air at the auction.

Lovely. Thank you.

-So you're happy to put it in?

-Yes, please.

We'll put it in and hope it pours out a profit on the day.

I hope so, that will be lovely, won't it?

-Thank you very much, Muriel.

-Thank you.

Well, it seems Muriel is absolutely delighted with Michael's valuation,

what a great way to start the show.

Next up is Charlie who has an intriguing find to show Thomas.

Tell me about your medal.

I saw it in a charity shop

and it just took my eye and I decided to buy it, really.

-Really?

-Yeah.

-Are you a buyer and seller of items?

Not to be honest, I just look around and see what's about

and what takes my fancy, really.

So why did it take your eye? I want to know more.

It's just really the design of it, and to me it's someone's history.

I thought it was just something military,

until I looked at the box and it said something to do with Masonic.

Established Masonic Outfitters here, Toye and Co, in London.

This here is United Ancient Order of Druids.

Now, Masonic items,

there are people who do collect it.

Personally I've never seen

a United Ancient Order of Druids medal before.

We've got this Maltese cross design.

This is all silver, you haven't given it a clean or anything.

Quite nicely engraved, et cetera, around here.

And you've got these two Druids

standing either side of the field,

and an armorial on the top.

This would be probably silver gilt here,

so it's actually quite an interesting item.

On the back of the medal it has got a description of who it was given to.

-If we turn it over and we have got it on here, have we?

-Yeah.

We've got presented to Brother JC Goodrum

for introducing members, 1915.

What did you pay for it?

-I paid £10 for it.

-Really?

-Yeah.

And that was how many years ago?

That was probably about four or five years ago.

You've done jolly well, really.

I think we're going to do better than your £10.

-I think we might get you between £40 and £60.

-That's all right then.

We'll put it in for that and I think we'll put a reserve on at least 20.

How does that grab you?

That's fine, yeah.

So, what will you do with it, the money?

Well, going to split it, take some home for myself

and cos my mum's got arthritis,

give some money to the Arthritis Trust.

Yeah, great.

Well, Thomas likes it

and it could just prove to be a very profitable find for Charlie.

And now it's my turn to have a go at a valuation.

Phyllis, are you a collector?

-I am a collector.

-You are, are you?

-I am, yes.

So how many pieces do you have?

50 to 100.

Do you know what we're talking about?

You know what this is, don't you? It's Wemyss, yes.

We've seen it on the show before.

So, why are you selling this?

-We've got too many pieces and we're downsizing.

-Are you?

Is this the first to go?

No, the second to go.

How much did you pay for this vase?

-385.

-385. How long ago was that?

In the early '90s.

You know all about Wemyss, obviously.

I enjoy Wemyss.

Yes, there's the mark that tells us it's Wemyss.

The condition is very good, isn't it? Very, very good.

Wemyss is the brainchild of Robert Heron

and it is probably the most sought-after Scottish property,

from the factory in Fife which was started in 1882,

but I think he got lucky

by employing Karel Nekola,

wonderful artist, and look at the decoration.

Beautiful.

Wonderful, wonderful.

There's a big market for Wemyss.

I think you paid the right money for it, I've got to say.

I don't think we're going to be in for a big surprise.

If we put this into auction,

I think I'd like to put 400 to 500 on this

and hopefully, just hopefully, we'll get you your money back.

Let's put 400 to 500 on it with a reserve at 400,

with discretion, would you be happy with discretion?

-Maybe.

-Maybe.

Is that yes or no?

-No.

-No, OK.

You are steering this, you know that,

I have to go with what you say.

But the auctioneer might ring you up

and say can we have a bit of discretion,

it covers a lot of bases then, doesn't it?

Well, yes, it does,

it gets people interested if it is not too high as well.

You see, you were starting off at a high trade price, £400,

everybody knows that's its price.

OK, 400 with discretion, OK, you win.

Thanks, Phyllis.

It's hard going, isn't it?

-I like it.

-I know you do.

But you know what I'm saying,

everybody wants a bargain in auctions,

let's face it, that's why people go to auctions,

otherwise there would be no need for an auction,

you'd go to an antiques shop

and there would be a price tag saying £400.

And then you try and knock the dealer down, still, don't you?

Come on, you give everyone 10%, why do you give me 20?

I'll be your new best friend.

Phyllis might just need a few friends in the sale room

if this jardiniere is going to make her rather high £400 reserve.

And from someone who knows just how much she wants,

to a lady who had no idea about how much her item was worth.

Lynn has brought in what she originally thought was

a costume jewellery ring.

So, Lynn, tell me, why did you come along and bring this ring?

Well, it's been lying in a box in my drawer

for at least 20 years now.

And I've always thought it was just a piece of costume jewellery,

so I thought that seeing as Flog It! was in town

I'd come and see whether they could tell me anything more about it.

So you've come today and you've seen the valuers, the off-screen valuers,

-and they've told you what these stones are here.

-They have.

-They're not glass, are they?

-No.

-They're a carbon, aren't they? They are diamonds.

-They are.

-What's the stone in the middle?

-It's a sapphire.

It's a sapphire, isn't it? It's a nice blue sapphire,

not a dark, dark blue with too much aluminium in,

it's a nice blue sapphire.

These are lovely diamonds,

really nice white coloured stones.

They are also cut in what we call the old-cut style.

So that helps you date the ring.

Early Edwardian, I would say.

I reckon you have got over one and a half carats of diamonds in there.

-Really?

-The little sapphire is of minimal value.

Although the shank,

this is what we call the shank on a ring, isn't marked,

it would possibly be 18 carat gold.

And this white here would probably be platinum.

Where did you get it from?

I inherited it from my, dare I say it, my ex-husband's aunt.

OK.

And it was just in a box of assorted things that were left.

What would you have done with it if you hadn't come here?

-It probably would have sat in the drawer for another 20 years.

-Really?

Probably.

-Just sat there.

-Yes. More than likely.

Until my daughters found it,

after I'd left this mortal coil.

Are they into jewellery?

No, they're not.

The thing is, about diamonds,

diamonds are worth money when they're over a carat,

if you want my honest opinion.

Once you've got a diamond which is one single stone, over a carat,

it tends to hold its value extremely well.

-Lots of little stones would no way add up to the figure of just one single stone.

-Right.

But for little stones, set within a pretty setting,

which is also very clean,

because it hasn't been worn,

I would value these diamonds per carat at about £300 a carat.

So the ring would be worth at auction today about £400 to £600.

-Right.

-Would it be something you would be interested in selling?

It would be, because as I say, I have no real use for it,

so I think it would be a shame for it to sit in a drawer

when somebody else might appreciate it and wear it.

-It's a fine thing.

-Yes.

I would certainly say one should have a reserve

-of £400 with a little bit of discretion.

-Right. Lovely.

-Are you going to come to the auction?

-Thank you very much. Yes, I'd love to.

-Yes.

I really would, be all part of the experience that today has been as well.

How has it been, the experience?

It's been very, very fascinating, I've really enjoyed it.

Towards the end of the 19th-century

the Cotswolds was at the centre of an artistic and social group

that would change design for ever

and immortalise some of its key players.

It became known as the Arts and Craft Movement.

But whilst designer craftsmen

such as Philip Webb, Ernest Gimson and Edward Burne-Jones

were highly celebrated in the movement

and their work is still renowned today,

there is one leading light in the world of textiles

which is virtually unknown.

And that's the name of May Morris.

Her contribution to the movement was highly influential and heartfelt.

But she would for ever remain in the shadow of her father,

a towering figure in the movement,

William Morris.

May was born in 1862,

the youngest daughter of William and his wife, Jane Burden.

She spent much of her youth here at Kelmscott Manor,

the family's summerhouse,

and would eventually come to live here for good in 1923.

I've come here today to meet her biographer,

Jan Marsh, to find out more about May and her work.

Did May choose embroidery as her art form early on?

May Morris was kind of born into embroidery,

because her mother, her aunt,

and all the whole women in the circle were great needle women.

It is fair to say that her father

would have been a big influence on her, surely.

William Morris is the person who actually began

the whole Arts and Crafts Movement.

In embroidery he was one of the first people

to aim to revive the traditional styles and techniques of embroidery.

Morris made May and her sister use watercolour and drawing to study things

that they would later translate into embroidery motifs.

You've got a couple of examples here, haven't you?

A piece like this with the beautiful wild rose motif.

Lovely border.

That would have been studied from the hedgerow round here, in the stylised form,

and look at the lovely colour scheme,

very soft, also very vivid colour scheme.

That must have taken absolutely hours to do.

Well, yes, embroidery is one of those crafts that is very time-consuming.

I guess, for May, this was a real love, wasn't it?

May Morris is very much someone who found enormous pleasure

in the slow and patient stitching to make it absolutely perfect.

It is quite a methodical approach.

At a very early age for a young woman, at the age of 23,

she took over the running of the embroidery section

at the family firm, Morris and Co,

and that is when they would be producing pieces to commission,

and it would be either stitched by the girls, really,

in the workshop,

or it could be sent out as a kit with the design pounced on the fabric.

Which is a good idea, it's another way of selling something,

because I know these things in their day were quite expensive.

They were, yes. It was a fine craft.

It's a bit like Laura Ashley,

it's a kind of high-end design and manufacturing business,

with a specialised house style.

Yes,

it was the style they were trying to sell, wasn't it?

And once you fell in love with one item, then you wanted the next.

And that is why the honeysuckle design

which is a fabric design

and also a wallpaper design, is one of the ones that May designed.

It looks really quite like her father's work,

deliberately so,

because it had to be in the Morris style,

that is what the customers were paying for.

That's what they wanted.

Many people think that May's talents as a pattern designer

were equal to her father's,

and that is one good example.

But, of course, most of her work would have been solo pieces,

one-off pieces,

we are moving towards what we'd call studio practice now.

Rather than workshop.

And it's really good that the Arts and Crafts Movement embraced women,

they wanted to encourage them.

Yes, and in fact the Arts and Crafts Movement

was a very positive development in relation to women,

because, and particularly with this textile arts, embroidery,

because it was something that you didn't need

a great deal of equipment for,

you didn't need specialised premises,

but you could pursue your own design and become an artist.

It was labour intense,

you didn't need a lot of financial capital, either, did you?

And May Morris was, of course, the leader of this movement,

and she was not only an embroiderer of immense skill

and a designer too, but she was also a teacher.

She taught in what is now Central St Martins,

she taught at Birmingham School of Art.

How was embroidery viewed at the time?

Was it more an accessory to dressing some woodwork, or fine art?

Actually, embroidery was a very major part of the Arts and Craft,

of the formal Arts and Crafts exhibitions,

and it was very highly regarded.

But it's a sort of orphan craft, in a way,

it kind of gets forgotten and overlooked,

and one reason for that is that it is very fragile,

and the other problem I think is that sadly

very few of the works were ever signed.

And without an attribution...

Without the provenance, that's the key thing, isn't it?

That's where the value is.

Exactly. They become devalued.

And so I kind of urge people in the crafts and textile arts now,

please, sign and date your work,

because otherwise later generations

won't know who to attribute it to.

We've got our first four items, now we're taking them off to the sale.

This 200-year-old jug belongs to Muriel,

Michael has valued it at £70 to £100.

The Masonic medal that caught Charlie's eye in a charity shop

that he paid just £10 for.

The floral jardiniere is an unwanted part of Phyllis' Wemyss collection.

She's pushing her top dollar bids here, but I'm not so sure.

And Lynne had a present surprise when we told her this ring

was certainly not the costume jewellery she'd imagined.

It's covered in real diamonds and a sapphire.

So come on, bidders, get your cash ready.

Our auction is that the salerooms of Moore Allen & Innocent,

just outside Cirencester.

And they've been in business since the 1840s

and today's sale contains a mix of antiques and general items.

It looks like somebody's selling a complete collection

of Staffordshire greyhounds all in pairs.

It must be a dog lover. Obviously someone did own a greyhound.

Our auctioneer, Philip Allwood, has a very busy day ahead of him,

with 800 lots in the catalogue, including ours.

And a reminder here -

the sellers pay a commission of 15% plus VAT.

Our first lot is this silver jug, brought in by Muriel.

We are hoping the slight damage to the handle

won't put the bidders off.

You can't get greener than antiques. It's classic recycling.

They keep going around and around and around,

and hopefully they go up in price. That's exactly what we want today.

Because I know you got this little silver cream jug for £5,

-didn't you?

-That's right, yes.

-Whereabouts was that?

In a car-boot sale.

Muriel, I think you've got great eyes for looking out for bargains.

Do you know that?

Because we are looking at, hopefully, around about £100,

-at the top end of the estimate.

-Yes, 70-100.

-It's a period piece.

-OK, it's done the rounds, hasn't it?

-It has! It's ended up at a car-boot.

But it's small, it's collectable.

You can make a collection of cream jugs. They are very affordable.

I think it's delightful.

Well, let's hope we get the top end of Michael's estimate.

Let's do some recycling! Here we go.

Lot number 265

is the George III helmet-shaped cream jug, by Solomon Houghham.

1794. Who will start me? £100 to start me?

Good-looking little piece there. 100. 80?

£50?

£50 I'm bid there. 55. 60. 65. 70.

75. At 75. 80 there. At 80 here.

At 85.

90? At £85.

He is calling for 90. We've got 85.

90. New blood.

95, if you like, sir. 95. 100, where we wanted to start.

110 if you like, sir. 110.

120. At 120 on my left now.

At £120. 120...

Excellent! £120.

-That is brilliant recycling, isn't it?

-Yes. Marvellous, isn't it?

It's going to go around and around again.

Somebody will have that for three or four years and move it on again.

Someone will lose some money along the way

and someone will make a bit more.

That's how it works!

And we'll see it in ten years' time on Flog It!

-Yeah. Well done, you.

-Thank you very much.

And quite right, too.

It was a beautiful piece when it was made 200 years ago

and it's still beautiful now.

Next, it's the Masonic medal

that Charlie bought for £10 in a charity shop.

They must have put it in the window for you that morning for you

to spot it, that's all I can say.

-Probably.

-Do you do the tour every day?

No, I don't. It was an impulse buy at the time.

-How much, £10?

-£10, yes.

And hopefully we are going to get 40 right here, right now.

-That's great, isn't it?

-Has that happened to you, Paul?

-No! Never.

Well done!

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

And lot number 185 is the George V Masonic jewel.

Cracking-looking piece.

You've got to be an important Mason for this one, I'm sure.

Who will start me at 50?

£30?

Well, 20, then. There must be 20. 20 I'm bid. 25.

30.

35.

-This is good.

-Yes.

-40.

45.

At 45 now.

At 45 on my right here. At 45. 50 anywhere?

At £45...

That's a very good result. Excellent result. Great spotting.

-Congratulations!

-Well done. You must be happy.

-Cheers, thanks.

Obviously there is commission to pay.

Despite the commission, Charlie has more than trebled his money.

Next, we are selling Phyllis's jardiniere.

She paid £385 for it five years ago.

But I'm doubtful that she's going to see much more today.

Unfortunately, we don't have Phyllis,

but this is Paul, Phyllis's son.

-I know this is your first auction, isn't it?

-Yeah, so quite exciting.

-Come on, come on, are you going to buy anything?

-We shall see!

There's a few items I've looked at, but maybe I'll come back.

It's packed.

I hope they all want to buy a bit of Wemyss,

because right now it's going under the hammer

and hopefully Paul can get on the phone and tell Phyllis,

who is somewhere in the Panama Canal, we've sold it.

It's going under the hammer right now.

Piece of Wemyss. And that is the large, trumpet-shaped vase there.

Who will start me? It should be 500, really. 300?

I can start you here at 280 on the book. It looks cheap at 280.

At 280. I'll take 290 if it helps. 280...

300. 310.

320. At 320... 330 now.

At 320. 330 anywhere?

At £320.

At 320...

-Struggling.

-330 anywhere?

-Struggling.

-At £320.

You're all out in the room.

At 320...

-It didn't sell. Ever so sorry.

-It's OK. You can't always win.

-At least it's quite easy to pick up and put back in the car.

-Yeah.

-It's not like a chest of drawers.

-No.

-Mum will be disappointed.

She will be, but I'm sure there's

a space on the shelf it can go back onto.

Or you might just inherit this collection.

-Maybe I'll get this piece for being here today.

-Thank you so much.

Thank you very much.

Well, at least Paul's looking on the bright side.

And talking of bright, we have that sparkling diamond

and sapphire ring up next.

And the great thing about a Flog it! valuation day is you can bring

items along just like you did, find out all about them

and exactly what they're worth.

Because you thought this ring was costume jewellery, didn't you?

-I did.

-So what a pleasant surprise when Thomas said £400-£600!

-I was flabbergasted, I must admit.

-Were you?

-Yes, I really was.

-It was a very pleasant surprise.

-It's a good job you never gave it away,

-thinking it was only worth £6.

-Absolutely. Yes.

Well, it excited Thomas, it sparkled in the room.

Hopefully it's going to sparkle here today.

We just need two or three keen bidders.

-Let's find out how it goes, shall we?

-Yes.

-Good.

This is the lozenge-shaped diamond and sapphire ring.

Super quality little ring here. Should be 500, really.

Start me at 400.

300? At 300 I'm bid.

300. 320.

340. 360.

380.

-400.

-We've done it.

420. 440 now?

At 420.

At 420. Good-looking ring at 420.

420...

440 now?

At £420... Are you sure now?

At 420...

Hammer's gone down. £420. That's good.

-Yes, better than sitting in the drawer.

-Exactly.

-And don't forget, there is commission to pay.

-That's right.

-No, that's lovely.

-Happy shopping!

-Happy shopping, yes!

Thank you very much indeed.

It makes you want to rush off and check our your old sock drawer

just in case there's something valuable hidden at the back.

Well, don't do it just yet

because we have more exciting auction action later on in the show.

Now, it may not be the biggest or the most ornate, but this

rare gem of a Jacobean country house has something very special about it.

This is Chastleton House in Oxfordshire,

and it was here in the 1990s

that a brand-new experiment in conservation was launched.

When the National Trust acquired Chastleton House,

they adopted a new approach.

Rather than restore this wonderful Jacobean building

back to its former glory, they decided to leave it as found.

Now, I'm in the main kitchen to the house,

and this was in daily use right up until 1952.

And the soot-blackened ceiling above me

hasn't been cleaned for nearly 400 years.

And when I say soot-blackened, I really mean soot-blackened.

Look at that! Isn't that incredible?

Gosh!

HE LAUGHS

You could scrape that off, couldn't you, with a chisel?

And in a way, you look up there and you don't really mind it.

After a while, I could probably live with that. But my wife would go mad.

She would.

In 1991, this hands-off approach went against many years

of National Trust policy.

Usually, they dress a house to represent one notable time

in history - redecorating, changing fittings and bringing

in furniture, to illustrate how the house might just have looked.

But here at Chastleton

they saw an opportunity to experiment with something different.

The house had been in the same family

since it was built in 1612, and had somehow escaped the updates

and makeovers experienced by so many country houses.

So the Trust realised that by keeping the family's

mix and match of taste of furniture,

wall hangings and decor, the house would appear

frozen in time at the point their conservators first arrived.

The National Trust have also left more recent redecoration untouched.

This room was fitted out with bookcases in 1850

to be used as a library.

But what's not in keeping with the library is this mad red wallpaper.

This striking red wallpaper was hung by the family 100 years later

in the 1960s, and is totally out of keeping with the style of the room.

But instead of stripping it off

and restoring the room to how it might have looked in 1850,

after much debate,

the National Trust decided to leave the wallpaper in place.

I like it.

It's very eccentric, and I'm pleased they kept it,

because it shows the house has been lived in by a family.

While it may look like the National Trust haven't done much work here

they have done the important things, spending six years

and a huge amount of money repairing the roof, replacing wiring

and defending against damp.

Their policy was to protect Chastleton House

but not disturb the character that reflects its 400 years of life.

I've come to the oak-panelled hall to meet the house steward,

Sebastian Conway.

So what is the philosophy behind the National Trust

leaving Chastleton House as found?

Well, it was a giant leap forward, really.

Instead of taking this house back to a glory day

in the 18th, 19th century, to really show our visitors

and public how we found Chastleton, this treasure house,

if you like, this time capsule of a property,

which has been unaltered really by any sense of modernity.

So how do you balance conservation against restoration?

What do you do?

Well, the approach at Chastleton is to do a little and often,

but never going overboard.

Never really affecting how the house looks too much, and trying to,

-importantly, keep it as we found it.

-Yeah.

And what's the evidence in, let's say, this room alone,

of how you found it?

Well, if you look around,

you'll see there's the peeling lining paper all around the room.

-The cracks which have appeared.

-I can see that now, yeah.

There are the cobwebs in the house and particularly in this room here.

There's also a fine layer of dust on the furniture and panelling.

-Is that a hand print there?

-Yeah, it's pretty evident here.

If I run my finger across, just how much dust is coming off on my hand.

So, yes.

And there is a story, really, about when the first conservators were

here spraying the cobwebs with hairspray to make them last longer.

What about dust on the furniture? Did you polish anything?

Because I'm looking at things and everything is really, really dry.

-The panelling is dry, the tables look dry.

-It's dry, yes.

We don't polish, we don't wax. Basically, we just brush.

And we brush very occasionally, maybe once a week,

and that's really a rarity.

Most things get brushed once a season,

so it's once a year for us at Chastleton.

Chastleton House is unlike any other

National Trust property I've been to.

You can really feel a sense of history

and the passing of time, cobwebs and all.

It gives the house a unique character,

and the experiment has proved such a success that the Trust

is adopting it for other, larger stately homes.

Back at our valuation day at the Corn Hall in Cirencester,

there is still a good crowd all wanting their antiques valued.

So let's join up with our expert Michael.

He's with Annie and Vic,

who have two vases they are desperate to sell.

-Can you tell me where you got them from?

-They belonged to my mother.

She was actually gifted them by an elderly pair of ladies

who ran a nursing home in Swindon many years ago,

in gratitude, I think, when she left.

She was unfortunate enough to be given these two vases...

-Unfortunate enough?

-Well, she hated them. She absolutely hated them.

As we do!

She died a few years ago and I haven't taken them out

-until today, really.

-We've just left them at the back of a bookcase.

-So your mother hated them?

-Yes.

-Vic, you...

-I think they're hideous.

-You hate them.

-And I really hate them.

-You really hate them.

Well, I would normally say thank you for bringing them to Flog It! today,

but you obviously wanted to get rid of them as quickly as possible.

-Yeah.

-Has anyone ever said these might be this, or they're this old?

-All I know is that they are in Dutch Delft.

-Dutch Delft.

-We did have them valued.

-In 1997.

-Ooh!

-And somebody told my mother they could be worth

between perhaps £200-£400 on a very good day.

That would be an extraordinarily good day in 1997.

I think it would be a very good day, yes.

So, first of all, it's a bit of a misnomer

-that we have a pair of vases. We haven't.

-Right.

We've got two vases that are exactly the same.

And that's a big difference.

The scenes on these matter and this is a religious one.

And I think it's Jesus sowing seeds in a field.

And we can tell they're not a pair

because it's the same scene on both vases

and they do not face each other.

18th-century and 19th-century pairs of vases

always worked as a group, so one would oppose the other.

These were made in such large numbers,

somebody at some stage has put two together.

Oh, right.

And said that's a pair.

They are Delft, and Delft is basically a pottery body,

an earthenware body with a white tin glaze over the top

to imitate, originally, Chinese porcelain.

We've got the chips.

Now, they don't necessarily mean they are very early,

because Delft chips.

And I think, having looked at these, that these aren't 18th-century,

but probably date to the beginning or the middle of the 19th century.

Which would also fit in with the religious scenes, because there

were much more religious ceramics produced around 1800 to 1850.

In terms of value, I think

whoever valued them at 200 to 400 thought they were 18th-century.

And had they been early 18th-century,

that's absolutely right.

I think these are sensibly worth £80-£100 at auction,

and we should put a fixed reserve, if you want them back, of...

-of...

-No!

-Maybe we shouldn't.

-Shall we put a slightly lower reserve on them of £60?

-I think so.

£60.

They've had their day in my family. Let somebody else enjoy them, yeah?

We'll find someone in the auction who isn't like you or Vic.

-Someone who will love some!

-Yes! I'm sure you will! Possibly.

Let's join our expert Thomas, who is with Arthur and Maggie.

And he's finding out that Maggie has some hidden talents.

I want to know about your badges here. What are they all about?

-That one was when I did a couple of wing walks.

-Wing walks?

And the second one I did when I was 75.

-So you did wing-walking at 75?

-Yes.

-Wing-walking at 75 - wow!

-And parachute jumping.

-I've done two parachute jumps as well.

-What, in tandem?

Oh, yes. I wouldn't go on my own!

I'd never have got to the bottom!

SHE LAUGHS

Well, you're a very, very brave woman.

So planes have obviously been a part of your life for some time.

-Probably from my father, yes.

-There he is in the First World War.

That's right. That was the First World War.

-He was an engineer, is that right?

-He was an engineer, yes.

And he worked in the Royal Flying Corps.

So this here, RFC, is the Royal Flying Corps,

-which predates the RAF.

-Yes.

-So this was First World War.

-Yes.

Aeroplanes, etc.

He was in the First World War and the Second World War, yes.

-What was his name?

-Theodore Frederick.

-Theodore Frederick Saunders.

-Theodore Frederick Saunders. Wow!

So... Air Board Technical Notes.

It's quite a dry book, really, isn't it?

-Yes.

-But what's nice is it's stamped Royal Flying Corps.

So it's a very interesting book, but a bit dry.

I understand. I don't know what else to do with it.

This book is actually quite interesting.

OK, it's technical notes again, but it's got pictures of all the planes.

That's right.

And as a schoolboy, I remember doing the First World War

in my history lessons and we learnt about the Sopwith Camel.

-Right.

-And the other Sopwith biplanes.

And while flicking through, I found all these technical drawings

-and details of the Sopwith biplane.

-Yes.

-It's quite interesting, isn't it?

-Yes, very. I have looked through it.

And certainly, from this period, there isn't much about,

-so it does have a value.

-Right.

-But also, being quite rare, it also doesn't have a massive market.

-No.

-So we are not looking at lots of money.

-No.

It's going to be under £50, I'm afraid.

-No, that's all right.

-It's going to be 30 to 50.

-Yes. Right.

-Are you happy with that?

-Put in a lower estimate.

I put 50 but it can go at a lower estimate.

We can put it in at £30, can we?

-We'll probably reserve it at around £30.

-Yes.

-But it could make more.

-Yes.

-Just because the interest in militaria,

the Royal Flying Corps and WWI is a high peak, at the moment.

-Where have they been, in your house?

-In the drawer, upstairs.

So unfortunately, they're...

My son is up in Scotland,

-I don't think he's very aircraft-minded.

-Oh, no.

No, I don't think that, to him,

they would be of great value,

if you know what I mean.

Well, we look forward to seeing you both at the auction -

no more wing-walking before the auction.

They won't let me, unfortunately.

Come on, Maggie! At your age, you should be settling down

to something more gentle - maybe bungee jumping?

That is absolutely lovely.

That is making me buzz - I'm quite excited about that.

-Is that something you want to sell?

-No.

-It's a gorgeous brooch.

Is it silver or not?

It's not silver.

I think a novelty brooch like that is worth around about £40-£50,

because it's so individual.

If that was silver, it'd be £300-£400.

Napoleon Bonaparte was fascinated by bees.

The service factory

actually made all his dinner services for him -

you know, the fine porcelain -

they hand-painted little bees on all the saucers.

And he wore bees on his tunics.

Oh, that is beautiful.

There's certainly plenty to keep our workers busy here,

but looks like Michael's on a tea break.

He's with Tim, who's brought in some classic silver.

Tim, thank you for bringing in

this absolutely breathtaking teapot and stand.

-Lovely, isn't it?

-It's wonderful.

What do you know about it?

I... It's not a family heirloom.

I bought it to give to my parents

for their golden wedding anniversary in 1982.

-Right.

-And, uh...I bought it in London

and I know that it's by Peter and Ann Bateman.

Well, Bateman is a great name to conjure with

and the dynasty really starts off with Hester

and she managed a whole workshop of silversmiths

and produced a range of affordable silver.

And then, of course, we've got the following generation.

We've got Peter, Ann and William.

And there are various combinations of their marks in partnership,

but in this case, we're dealing with...Peter and Ann Bateman.

Peter and Ann.

And we've got the date there for 1792.

The engraving here,

this wonderful, late 18th century, bright-cut engraving,

which became all the fashion, simply because they improved

the quality of the steel

on the burins that they were using

to the point where, rather than just scratching a line,

they could scoop out areas of the surface,

and as it did that, it brightly polished them.

So you get this...almost faceting, with the engraving

and its wonderful borders.

And we've got the original cartouche here

and those initials are...

-Match that.

-Exactly match that.

And we've got here, really rather attractive,

-the carved ivory pineapple finial.

-Yeah.

If you think how rare pineapples were

at the end of the 18th century, hugely expensive,

and if you had a valued guest at your house

and could afford it,

you would serve a pineapple.

-So it became the symbol of welcome...

-Yeah?

..which is why we've got it used there.

Wow - I mean, they're super pieces and they're in lovely condition.

Dare I ask? In 1982, were they, um...?

-London isn't the cheapest place to buy a piece of silver.

-It's not.

-Um...I think I paid £400.

-£400.

-At the time, Americans were buying Bateman silver in droves.

-Yes.

-The price of silver was high.

-Yes.

It was worth every penny of £400 when you bought it.

I think it would be prudent to put an estimate of £700-£1,000 on it

and a fixed reserve of £700.

-But...

-Good.

Delightful to see wonderful Georgian silver on Flog It!

Thank you, Tim, for bringing them in.

They've made my day.

Michael certainly loves his silver -

that's two nice items, ready for auction.

We've just got enough time for one more evaluation.

Thomas is with Chris, who's brought in a beautifully decorated cross.

-Thank you for bringing along your cross, Chris.

-Thank you.

-And this is your daughter.

-Hannah.

-Hannah.

-Hannah wanted to bring some jewellery, so...

-Yeah.

-And did you get it valued?

-Yes.

-Not a positive result, then.

-Not worth anything.

-Oh, that's a shame.

So, Chris, this is your item. What do you know about it?

Well, I think it's Italian and I didn't really know anything else.

How did it come into your possession?

Um...my mum gave it me and I've just had it for a long time.

-And your mother had it from...?

-I've got no idea.

-And where's your family from? Are they from...?

-Warwickshire.

-But nowhere else?

-No, no Italians.

-From foreign fields?

-No.

Maybe your grandmother would've picked it up - did they travel?

I don't know - I mean, I think Mum just had it a long time

and I've had it years.

-She gave me a few things.

-What have you been doing with it?

-I've just had it in a jewellery box.

-Really?

-I've never worn it.

So...as to, sort of, origins, we know it's Italian.

Date, it's probably about 1850s, so mid-Victorian.

It's the kind of thing...

The reason I asked if your family travelled,

-it's the kind of thing you'd pick up on a grand tour.

-Oh.

If you were a Catholic from Britain, you might be in Rome

and so you buy it to take back with you as a memento of your trip.

-These are what we call micro-mosaic.

-Oh.

So it's lots of little, tiny shards of glass

inlaid to make a picture.

And it's set in, sort of, a base metal.

So I wouldn't imagine it to be gold, it is a base metal.

But it's widely collected.

Then you've got the symbolism here to do with Christ -

the ladder which went to take Christ off the cross,

the dove of peace, the Holy Spirit

and the pillar, I have no idea.

I literally do not know.

And the flowers, I'm sure they're just decoration on there.

It's been finely done.

I love this type of stuff. I really do. I think it's wonderful.

It's lovely and colourful.

Regarding value, I think it's worth between £150-£200.

I mean, I wouldn't be surprised if it made about £200,

but I would suggest a reserve at 150, with discretion.

-Yeah.

-Which is sort of 10%-20% below that bottom estimate.

-Are you happy to flog it?

-Yes, yeah.

-Yes?

-Yeah, that's fine.

-Do you like it?

-It's OK, yeah.

-It's just OK.

-I like the flowers.

The flowers are pretty, aren't they?

-So you're going to come to the auction?

-Oh, yes, yeah.

You won't be able to.

-It's on a school day.

-It is, unfortunately.

-But we look forward to seeing you, Chris.

-Thank you very much.

We'll all be in for a few lessons at the saleroom,

especially the economics of just how much that cross is worth.

Our lots are going off

to Moore Allen and Innocent's Cirencester saleroom

and this is what we're taking with us...

Two identical 19th century vases

which Annie and Vic can't stand the look of.

Maggie and Arthur's technical air books are a real slice of history

and her father's special connection makes it quite unique.

The micro-mosaic cross, brought in by Chris and Hannah,

took a lot of detailed work to make.

Let's hope the bidders appreciate it.

And we have Tim's silver teapot and stand -

a lovely example dating from the 1790s

and clearly marked as the work of the Bateman family.

Michael loves it,

but auctioneer Philip Allwood thinks it could be overpriced.

This looks absolutely fabulous -

I'm not a big teapot person, but this, to me,

looks more like a centrepiece, doesn't it?

Well, if you wanted to find an example of a Georgian teapot,

this has got to be it.

The shape is exactly what you'd expect...

By Bateman, late 18th century.

-It's got everything going for it, hasn't it?

-Yeah.

-A classy piece.

-Very, very smart. Perfect in every way.

I just, ideally, would be liking to see it...

I know what you're saying...

-..at more, like, £400-£500, than...

-£700-£1,000, yeah.

-There's a fixed reserve at £700.

-Yeah.

There's only one thing will stop this selling.

I think we're just slightly on the high side.

But a good thing - if you wanted to buy one, this is a good example.

Yeah. Fingers crossed.

-And everything else.

-Both of them.

We'll stay with crosses right now,

because our first item to go under the hammer

is the Italian micro-mosaic cross belonging to Chris.

-Been in the family a fair bit of time?

-Yes, a while, yes.

-And it's never been worn.

-I've never worn it, no.

I don't remember my mum ever wearing it.

It's beautiful. Absolutely beautiful.

-But I do know you've had a chat with Philip, haven't you?

-Yeah.

You're slightly worried about the valuation.

You just want this to sell

and Philip's advised you to drop the reserve right down.

-He's going to use his discretion.

-That's right, yeah.

-So it could go for a lot less.

-That's fine, quite happy with that.

We're going to find out, Thomas -

I know you're not really happy about that,

because I know there is quality in this.

Yes, just...I don't like things being given away, but, you know...

We are in the open market and the open market's going to decide.

And 355 is the Italian gold-coloured crucifix pendant

with the micro-mosaic decoration.

Super piece - what'll you give me for this? Who'll start me?

Should be a couple of hundred, really. Start me at 100. £100.

80.

£50, to get on. 50 bid, thank you.

Come on...it's a low start.

At £50...five...

No-one likes giving anything away to start with.

They wait till it gets as low as possible.

Got to be cheap at 55. 60, anywhere?

60. At £60. Five. 70. Five.

80...80. Five.

At £85 on the left, here.

At £85. It's selling at 85...

At £85 - 90, if you like.

-90.

-Ooh...

-At £90, still cheap at 90.

Five if you like, sir.

At £90, it's on my right.

At £90 - you all sure?

Selling here on my right at 90...

Good - well, it's gone.

-So...we're pleased.

-Yes.

-I know Thomas is a little disappointed.

No - I thought it would've made a little bit more. But, you know...

Then again, it is a religious work of art

and they do not sell as well as they should.

-No. It does put a lot of buyers off. Well done.

-Thank you very much.

Thomas was clearly a little disappointed there,

but the auctioneer knew his stuff

and his advice to drop the reserve was spot-on.

So, will he be right about this next item?

Michael's valued this silver teapot and stand at £700-£1,000.

But the auctioneer thinks it just might struggle.

It belongs to Tim - unfortunately, he can't be with us today,

but we do have Michael, our expert, that put the £700-£1,000 on this.

Had a chat with the auctioneer

and we both thought this was just so tasteful -

it's exquisite, it really is.

-It's beautiful design, lovely condition.

-Good makers.

And Bateman - fantastic name.

And everything matches, all the armorials,

the crests are all the same.

We have seen silver selling extremely well here today.

I think the trade are here, covering all the silver lots,

so hopefully ours is no exception.

Let's hope we get top money because it's a choice piece.

If you're going to buy a teapot, buy this one.

It's going under the hammer now.

George III silver teapot and stand there by Peter and Ann Bateman.

What's it going to be for this? Super little lot.

Where are you going to be for that? Who'll start me?

Start at 800?

Five?

Well, I can start you here on the book at 440.

On the book here at 440.

At 440, good piece there at 440.

460. 480. At 480, here. 500, now.

At 480. At 480. 500. 520. 540.

560. At 560, 580, now.

At 560.

At 560, looks a good piece here at 560.

580. 600.

620. 640. 660. 680.

700. On my left is 700. Book's out now at 700.

Someone's got a good buy, I think.

720, if you like, now?

At £700. On my left is 700. 720 anywhere?

At £700, sure now? It's selling.

At 700...

-Sold.

-Sold.

-Just.

-Just. Skin of its teeth.

I think there was one really interested buyer...

And no-one else to push him.

No-one else to push him up. He did very well.

Yeah, he did, yeah.

Just made it - Tim should be happy

because he's nearly doubled the £400 he paid for it almost 30 years ago.

Two items that most definitely won't be welcomed back

are the vases brought by Annie and Vic.

-Are you feeling nervous or are you excited?

-Um...

-Or both?

-Sceptical.

-LAUGHING:

-Oh-ho-ho!

-I'm feeling quite positive, actually.

-Are you?

Yeah, we got two Delft vases going under the hammer.

£80 - got to be worth it, Michael.

Well, we've aimed a little lower at 60.

They didn't like them. I must say, they're not my cup of tea,

-because they're not period...

-Yeah.

..he said, in a low voice, before anyone could hear him.

But hopefully they're £60-worth

to someone who wants to put them on the dresser.

-Nice shape, as well, like the shape.

-Hm...yeah.

-Oh, come on, cheer up!

-I think they're revolting, but...

HE LAUGHS

Look, there's no accounting for taste.

Somebody out there - we know who you are - will absolutely love these.

They're going under the hammer right now.

Pair of 19 century Dutch Delftware vases.

Good-looking pieces, there. Where are you going to be for those?

Are they 100?

50, to get on.

£30. £30, a bid there at 30.

At £30 - five. 40. Five. 50. Five.

Got some bidding going on over there, look.

They like them. They want them.

They're mad.

Might be a Dutch clergyman, you never know.

100. And five. 110. 120.

At 120 on my right, there, 120. 130, now.

At £120, right in front of me, then.

At 120...130, new bidder.

-Late licks!

-130 by the door, now.

-130, 140, now.

-This is great, Ann.

£130. It's on my left, then.

At 130.

Yes! Brought it down at £130 - you see?

Half a dozen people in the room absolutely loved them.

Crazy!

I'm glad to see the back of them.

-I said there's no accounting for taste.

-Well pleased.

-Hm? Happy, now?

-Yes, I am.

-That's what it's all about.

That's what it's all about, isn't it?

-What can I say? Praise be!

-Yes.

Annie had no faith her vases would sell,

but in the end, they went for £10 more

than the top end of Michael's estimate.

Now hoping to fly high

with her WWI technical aircraft manuals and notes

is wing-walking pensioner Maggie.

Are you ready for this, Maggie and Arthur?

-I most certainly am.

-Maggie's always ready.

-Maggie is a wing walker, aren't you?

-Yes.

-What was it like up there?

-Fantastic. Fantastic.

I'd do it again if they'd let me, but they won't.

And we're talking about this -

two technical flying manuals with two photographs of your father.

My father - one in the First World War and one in the second one.

-Incredible.

-Yeah.

-Has anyone else in the family done a wing walk?

-No.

They're all too chicken, aren't they?

I've got to say, you're very brave. I wouldn't do it.

-I wouldn't do it, Thomas.

-I don't think you'd get me up there.

A little bit agoraphobic with big, high spaces,

seeing the ground beneath me.

-She's done parachuting as well.

-And you've done parachuting!

-Have you done any?

-No way!

Gosh - so you watch from the ground below

and you're like, "Oh, gosh! Oh, gosh!"

-All for charity.

-Aw, all for charity.

Good luck. Good luck. Let's see what this does.

-Let's see if this flies away, shall we? Here we go.

-I hope so!

The WWI Department of Aircraft production technical notes.

There we go. Couple of little volumes, there.

Again, good wartime memorabilia, there.

Who'll start me? Should be 50 to get on, really.

£30.

At £30, a bid here at 30. At £30, in front of me. Five, now.

At £30. Got to be cheap at £30.

Five. 40. Five. 50.

Five. 60. At £60, in front of me, now.

Five. 70. Five. 80. Five.

-90.

-This is going well.

Well, this is good!

Five. 100, sir? 100.

At 100, here, now.

Gracious me - I would never have believed that.

At £100, then. You sure, now?

In front of me at...110, back here.

120, if you like, sir?

At 110.

Have another, you're here now.

At 110 - 120, if you like?

At 110, it's right at the back, then, at 110...

-Sold - £110.

-Oh, that's unbelievable!

That could pay for another wing walk,

if you were allowed to do it!

We got £110 - now, what are you going to do with that?

It'll go to charity, some of it,

but we've got our 60th wedding anniversary coming up next week.

Oh, congratulations!

And we'll take the family out for a meal.

You've got to do that, haven't you? Oh, what a wonderful celebration.

Thank you.

Well, let's hope Maggie keeps her feet on the ground at the party.

What a terrific result to end the programme -

£110 was more than double Thomas' top estimate.

If you've got any antiques and collectables you want to sell,

we'd love to see you,

but you've got to come to one of our valuation days

and you can check the details in your local press

or you can log on to...

Click F for Flog It, follow the links

and hopefully, we'll be coming to a town very near you soon.

So, come on, bring them along.