0:00:07 > 0:00:10Today we're in Cirencester, the capital of the Cotswolds,
0:00:10 > 0:00:11an area that brought us
0:00:11 > 0:00:15one of the most important movements in international design,
0:00:15 > 0:00:18and as you can hear, the bells are ringing out and Flog It's in town!
0:00:38 > 0:00:41'The Cotswolds became an important centre
0:00:41 > 0:00:45'for the Arts and Crafts movement around the turn of the 20th century.
0:00:45 > 0:00:48'Leading practitioners were drawn here by its rich craft tradition
0:00:48 > 0:00:51'and its accessibility to London and Oxford.
0:00:51 > 0:00:56'Many also followed William Morris, who lived nearby at Kelmscott.
0:00:56 > 0:00:58'I'll be visiting his Gloucestershire home
0:00:58 > 0:01:00'a little later on in the show.'
0:01:02 > 0:01:04But right now we've got a crowd of people outside
0:01:04 > 0:01:07the Corn Hall in Cirencester, eager to find out
0:01:07 > 0:01:10if they've got any treasures in all of these bags and boxes.
0:01:10 > 0:01:13- And if you have, what are you going to do?- Flog it!
0:01:13 > 0:01:14'Helping them discover
0:01:14 > 0:01:17'whether they're carrying around a small fortune
0:01:17 > 0:01:18'are our team of experts
0:01:18 > 0:01:23'which today are headed up by Thomas Plant and Michael Baggott.
0:01:23 > 0:01:24'Thomas owns his own auction business,
0:01:24 > 0:01:27'but one of his real passions is fencing.
0:01:27 > 0:01:30'Will he be able to score a hit in today's crowd?
0:01:30 > 0:01:34'Michael's interest in antiques began at a very early age.
0:01:34 > 0:01:36'In fact, he's ashamed to admit that at primary school
0:01:36 > 0:01:41'he managed to persuade a school friend to give him his grandfather's
0:01:41 > 0:01:44'First World War medal in return for three felt tip pens.
0:01:44 > 0:01:46'I do hope our crowd get rather more
0:01:46 > 0:01:49'if they end up taking their items off to auction.'
0:01:49 > 0:01:52Well, it is now 9.30, it's time to get the doors open
0:01:52 > 0:01:55and get this massive queue inside.
0:01:55 > 0:01:58'We've got lots of treats coming up on today's programme.
0:01:58 > 0:02:00'Here's just a couple of them.
0:02:00 > 0:02:04'Auctioneer Philip Allwood is really impressed with one of our finds.'
0:02:04 > 0:02:06That's what a medal collector's really going for,
0:02:06 > 0:02:08they're not going for the bit of metal,
0:02:08 > 0:02:10they're going for owning a bit of that soldier,
0:02:10 > 0:02:12and this has got oodles of that.
0:02:12 > 0:02:15'And the auction brings some surprising results.'
0:02:15 > 0:02:17What's going through your mind right now?
0:02:17 > 0:02:19- Oh, I can't believe it.- Money!
0:02:20 > 0:02:23'Well, time to get started, and Michael's excavation of a box
0:02:23 > 0:02:27'brought in by Audrey has revealed an interesting mix of artefacts.'
0:02:28 > 0:02:29Audrey, thank you.
0:02:29 > 0:02:32I feel like I'm on an edition of Time Team with all these
0:02:32 > 0:02:35wonderful archaeological specimens.
0:02:35 > 0:02:38There must be a wonderful story attached with how you got these.
0:02:38 > 0:02:39Can you tell me what it is?
0:02:39 > 0:02:43Yes, well, my husband and I used to own the Talbot Hotel in Tedbury.
0:02:43 > 0:02:46- Right.- And in the cellar,
0:02:46 > 0:02:50where he kept the spirits, there was a sort of flagstone,
0:02:50 > 0:02:53and he was intrigued and wondered what was underneath.
0:02:53 > 0:02:57And they found, eventually, that it was a well that had been capped.
0:02:58 > 0:03:04- Good grief.- And so they started to take all the gunge and mud out,
0:03:04 > 0:03:06and, apparently, in the olden days,
0:03:06 > 0:03:09the landlord would just sweep everything off the floor down...
0:03:09 > 0:03:12- Down the well!- ..into the well.
0:03:12 > 0:03:15That was one of the first things that came out, this bottle.
0:03:15 > 0:03:17That must have been a joy to come out complete.
0:03:17 > 0:03:19It was wonderful, and I rinsed it under the tap.
0:03:19 > 0:03:22And then all this appeared.
0:03:22 > 0:03:26And then gradually bits and pieces came out and I said to Peter,
0:03:26 > 0:03:29who was doing a lot of it, he used to take buckets home...
0:03:29 > 0:03:30Go through the gunge.
0:03:30 > 0:03:33Yes, and I said, "Oh, I wish you could find a coin." And he rang
0:03:33 > 0:03:36one night and said, "Well, I've found something valuable,"
0:03:36 > 0:03:38and it was this, like a cuff link.
0:03:39 > 0:03:43And then about 10 days later, he phoned and he'd found the other one.
0:03:43 > 0:03:47- No! Found the matching one 10 days later?- Yes.- Oh, that's fantastic.
0:03:47 > 0:03:50And I had them checked and apparently they are silver.
0:03:50 > 0:03:52My automatic silver detector in my finger is going off,
0:03:52 > 0:03:57so there's no doubt about that. But what about the, er, the little mug?
0:03:57 > 0:04:01Peter Wayne, who used to have a business in Tedbury in ceramics,
0:04:01 > 0:04:06he got all the bits and pieces and he was able to reassemble that.
0:04:06 > 0:04:10- Oh, that's wonderful.- Yes. - And the tap, was that...?
0:04:10 > 0:04:12That was down there as well.
0:04:12 > 0:04:17The tap is interesting because whenever you get this faceted spout,
0:04:17 > 0:04:21that tends to be quite an early date.
0:04:21 > 0:04:23And this would be bronze.
0:04:23 > 0:04:29- Mm.- Erm, and I would date it between about 1550 and about 1620.
0:04:29 > 0:04:32- Really?- So that's a good early...
0:04:32 > 0:04:35- Good heavens. - ..late Tudor, early Stuart tap.
0:04:35 > 0:04:38This little fellow, I mean, this would be wonderful
0:04:38 > 0:04:40- if that would have come out whole. - Yes.
0:04:40 > 0:04:42- But that's too much to ask, isn't it?- Yes.
0:04:42 > 0:04:48I mean, it's lead-glazed pottery of a type that was domestic ware
0:04:48 > 0:04:53in England throughout the end of the late 17th century.
0:04:53 > 0:04:57These little fellows, well, you would call them cuff links today,
0:04:57 > 0:05:00but at the time they were called "sleeve links".
0:05:00 > 0:05:03And funnily enough, they're fairly common.
0:05:03 > 0:05:07They were made of fairly light gauge silver, and a lot of them were
0:05:07 > 0:05:12made in Holland along with buttons and imported into this country.
0:05:12 > 0:05:18So whilst they are silver, and they certainly date to about 1680,
0:05:18 > 0:05:23- in excavated condition they're not dramatically valuable.- No, no.
0:05:23 > 0:05:28In fact, at auction I would consider the jug, the tap, the sleeve links,
0:05:28 > 0:05:32the broken pieces, along with some other clay pipes and items...
0:05:32 > 0:05:33Yes, which I have got.
0:05:33 > 0:05:36..that you haven't shown us on the table today, would probably
0:05:36 > 0:05:41go into auction and be possibly two or three hundred pounds.
0:05:41 > 0:05:45The prize, however, was on the top, as it often is, which is
0:05:45 > 0:05:51this fantastic early wine bottle, around 1680-1690.
0:05:51 > 0:05:56This would have been bright green glass when it was new.
0:05:56 > 0:06:00But it's just a wonderful thing, and the fact that it's been buried
0:06:00 > 0:06:04for nigh-on 300, 350 years
0:06:04 > 0:06:07has completely changed the nature of it.
0:06:07 > 0:06:09So we have this marvellous iridescence,
0:06:09 > 0:06:14thick calcification all over it, which makes it almost a work of art.
0:06:14 > 0:06:19There are many, many collectors of early wine bottles.
0:06:19 > 0:06:23They're incredibly popular and very much sought after.
0:06:23 > 0:06:26You've got the provenance with it, we've even got a picture...
0:06:26 > 0:06:28- Yes.- ..of the hotel.
0:06:28 > 0:06:31I think we should be conservative and put between
0:06:31 > 0:06:35£300-£500 on it,
0:06:35 > 0:06:38- and put a fixed reserve of £300. - That would be wonderful.
0:06:38 > 0:06:43I wouldn't be surprised if it went possibly very much more than that.
0:06:43 > 0:06:45- Really?- If you're happy with that...
0:06:45 > 0:06:47Oh, I'm more than delighted with that.
0:06:47 > 0:06:51- We'll put a discretionary reserve of 180 on these.- Yes.
0:06:51 > 0:06:54But a fixed reserve of £300 on this,
0:06:54 > 0:06:58- which may be woefully inadequate on the day. I hope so.- Right.
0:06:58 > 0:07:00- And wait for them to take off on the auction day.- Wonderful.
0:07:02 > 0:07:04'What a fantastic collection.
0:07:04 > 0:07:07'It's amazing what you can find if you just dig around.'
0:07:07 > 0:07:09Not only have we got a room full of antiques
0:07:09 > 0:07:11but it's awash with bright colours.
0:07:11 > 0:07:13It's like the rainbow here in this section.
0:07:13 > 0:07:16- Love the colour of that dress. Hello, what's your name?- Emily.
0:07:16 > 0:07:17What have you brought along?
0:07:17 > 0:07:20This picture from home, we'd like to find out more about it.
0:07:20 > 0:07:23Well, hopefully you will later on, when you see our experts.
0:07:23 > 0:07:26- Hello.- Hello, Paul. - Love the glasses.- Thank you.
0:07:26 > 0:07:28'Thomas has discovered a rather spectacular book
0:07:28 > 0:07:31'brought in by Gemma and her partner Nick.'
0:07:31 > 0:07:34- So you've brought along this very fine book.- Yeah.
0:07:34 > 0:07:38- Tell me, where did you get it from?- My nan.- Yes.
0:07:38 > 0:07:42- Well, my nan passed away just before Christmas.- I am sorry.
0:07:42 > 0:07:44And my dad found it in the house.
0:07:45 > 0:07:48The first thing we open is onto this marble paper page.
0:07:48 > 0:07:52- Do you know what that's called there?- Is it a crest?
0:07:52 > 0:07:54- These are called "book plates".- Oh.
0:07:54 > 0:07:57And so this is from the library of Henry Drummond,
0:07:57 > 0:08:01- and that's his family crest, so you got the crest thing right.- Yeah.
0:08:01 > 0:08:02If you have a book plate,
0:08:02 > 0:08:05you normally have quite an extensive library.
0:08:05 > 0:08:08- The book has had a bit of butchery done to it.- Yeah.- Yes.
0:08:08 > 0:08:10So it is the History of Italian Design,
0:08:10 > 0:08:12- cos we can see that on the spine...- Yes.
0:08:12 > 0:08:15..of original drawings by the most eminent painters
0:08:15 > 0:08:16and sculptors of Italy.
0:08:16 > 0:08:211823. Now tell me about this here. What's happened here?
0:08:21 > 0:08:24Oh, well, my nan was very arty and, like, made cards,
0:08:24 > 0:08:28- and I think she decided to cut it out.- Right.
0:08:28 > 0:08:31- Do you know how she got this? - I really, really don't know.
0:08:31 > 0:08:33- You'd never seen it when you'd gone round there.- No.
0:08:33 > 0:08:35It was tucked away somewhere.
0:08:35 > 0:08:37It was very cluttered, there was a lot of stuff,
0:08:37 > 0:08:39she did have a lot of stuff. She had a very big house.
0:08:39 > 0:08:42- We've all heard of Michelangelo, haven't we?- Yeah.- Yeah.
0:08:42 > 0:08:45And this is a fantastic picture by Michelangelo, it's a sketch,
0:08:45 > 0:08:47a drawing of a youth.
0:08:48 > 0:08:49Here, this is obviously a design
0:08:49 > 0:08:52for the fresco of the vault of the Sistine Chapel.
0:08:52 > 0:08:54I mean, this might be a man checking out your sins,
0:08:54 > 0:08:56making sure you behaved yourself.
0:08:56 > 0:08:59Here we've got something really interesting.
0:08:59 > 0:09:01This is St Bartholomew in the celebrated
0:09:01 > 0:09:04fresco of the Last Judgment.
0:09:04 > 0:09:06And then you've got this, it's a print as well,
0:09:06 > 0:09:09but I don't know why this is in here.
0:09:09 > 0:09:12It's not an etching, is it just a print
0:09:12 > 0:09:15of the actual item itself? Why is this loose?
0:09:15 > 0:09:17I'm slightly confused about this.
0:09:17 > 0:09:22We've got sort of similar examples as we go through the book.
0:09:22 > 0:09:25This book, dating from 1823,
0:09:25 > 0:09:29- it's going to be between £500-£700 at auction.- Yeah.
0:09:29 > 0:09:33- Would you be interested in selling it at that sort of level?- Yeah.
0:09:33 > 0:09:35Yeah? What do you think about that figure?
0:09:35 > 0:09:37Cos I didn't really know much about it, I wasn't,
0:09:37 > 0:09:39I didn't really have a figure, so...
0:09:39 > 0:09:41I don't think it's about the money, really.
0:09:41 > 0:09:43Cos obviously it needs to go to a better home
0:09:43 > 0:09:46- to people that would, you know... - Cos it is such an amazing book.
0:09:46 > 0:09:48Maybe you should sell the book,
0:09:48 > 0:09:51and with the money you should go to Italy and have a look...
0:09:51 > 0:09:52That's a very good idea, yeah.
0:09:52 > 0:09:55If we wanted to put a reserve on it,
0:09:55 > 0:10:00- I think we'll probably put that round about sort of £300.- Yeah.
0:10:00 > 0:10:02- So it doesn't sell below that.- Yeah.
0:10:02 > 0:10:05We'll put it in then we'll see what happens.
0:10:10 > 0:10:13'Now, can you guess what this is?
0:10:13 > 0:10:16'It's been brought in by Patricia, and I love it!'
0:10:16 > 0:10:20- Do you know what it is?- Well, I've always thought it was a soap dish.
0:10:20 > 0:10:21OK. It could be a soap dish.
0:10:21 > 0:10:23You could actually put a nice little
0:10:23 > 0:10:27travelling bar of soap in there, couldn't you, if you wanted to?
0:10:27 > 0:10:29Soap dish? Is that what you think it is?
0:10:30 > 0:10:32Powder?
0:10:33 > 0:10:38- No, I can tell you, it's neither of those.- Well...
0:10:38 > 0:10:41I've always assumed it was owned by a gentleman because of the silver.
0:10:41 > 0:10:45Yes, a very fine gentleman, and it is in fact...
0:10:45 > 0:10:47- a snuff box.- It is a snuff...
0:10:47 > 0:10:49I thought it was a bit big for a snuff box.
0:10:49 > 0:10:54- It's for taking a pinch of snuff. - Oh!- Can I tell you how old this is?
0:10:54 > 0:10:59- Yes, do.- I'd say 1680. Charles II we're talking about.
0:11:00 > 0:11:03Yes, and that's made of tortoiseshell,
0:11:03 > 0:11:06and it's absolutely beautiful.
0:11:06 > 0:11:09Definitely English, probably London, with this scalloped edge.
0:11:09 > 0:11:12It's all scalloped in silver with a wonderful cartouche.
0:11:12 > 0:11:15- There's a coat of arms, that's an armorial.- Yes.
0:11:15 > 0:11:18The lettering, that's slightly later, that's 18th century,
0:11:18 > 0:11:21middle of the 18th century, so it's passed a few hands.
0:11:21 > 0:11:25- How long have you had this? - About 30 years.- 30 years?
0:11:25 > 0:11:28- And where did you get it from? - At a jumble sale.- Did you?- Yes.
0:11:28 > 0:11:31- And how much did you pay for it? - Pennies.- This is the...what?!
0:11:31 > 0:11:35- It would have been pennies in those days, 30 years ago.- A few pennies.
0:11:35 > 0:11:38Cos you can't pick things up like this at jumble sales anymore,
0:11:38 > 0:11:41- we've all got too wise thanks to Flog It.- Yeah.- So there we are.
0:11:41 > 0:11:43What have you done with it since?
0:11:43 > 0:11:45Oh, well, the children used to put it in their shop
0:11:45 > 0:11:47when they played shops,
0:11:47 > 0:11:50and then we've taken it on holiday with the soap in...
0:11:50 > 0:11:53- Oh, my word!- ..to Cornwall. - Gosh, this has survived!
0:11:53 > 0:11:55It's a miracle it's survived.
0:11:55 > 0:11:56Yes, it's got tucked back in the drawer
0:11:56 > 0:11:59and come out again at different times.
0:11:59 > 0:12:01Do you know, that will clean up beautifully.
0:12:01 > 0:12:04That will sparkle, that tortoiseshell, and in fact...
0:12:04 > 0:12:06I'd like to see it cleaned up.
0:12:06 > 0:12:08Well, what I did was, right next door there's a deli,
0:12:08 > 0:12:12it's called Bob's Place, and I went in there and I nicked some almonds,
0:12:12 > 0:12:18and a bit of almond oil, look, if I just bite off an almond...
0:12:19 > 0:12:23..and just go like this on the top of the box.
0:12:23 > 0:12:25You can see the natural oils coming out.
0:12:25 > 0:12:29- Oh, gosh, yes.- Actually that's a jolly good almond.
0:12:29 > 0:12:33But you can see the natural oils coming out from that little nut
0:12:33 > 0:12:37- onto there. That's all it needs, it's not abrasive at all.- No.
0:12:37 > 0:12:41And that'll retain the oil. The silver you can polish up as well.
0:12:41 > 0:12:42So...
0:12:43 > 0:12:45- From a few pence... - Yes, to whatever.
0:12:45 > 0:12:46What do you think that's worth?
0:12:46 > 0:12:50Well, I thought it might be worth £50-£100.
0:12:50 > 0:12:52It's worth considerably more than that.
0:12:52 > 0:12:54I'd love to put it into auction, with your permission,
0:12:54 > 0:13:00- with a guideline of 300-500. - Really?- Really, really?
0:13:00 > 0:13:02Fixed reserve at 300.
0:13:02 > 0:13:04And you took it on holiday,
0:13:04 > 0:13:06you had the best laugh, you put your soap in it!
0:13:06 > 0:13:08Played shops with it, yes, yes.
0:13:08 > 0:13:11- Well, thank goodness you looked after it anyway.- Thank you.
0:13:11 > 0:13:14Well done, Patricia, thank you so much.
0:13:17 > 0:13:21'Now, we see quite a few medals at our valuation days, but Michael
0:13:21 > 0:13:23'has discovered some that pay tribute
0:13:23 > 0:13:26'to a truly dedicated soldier.'
0:13:26 > 0:13:28Patrick, thank you for bringing this
0:13:28 > 0:13:31absolutely wonderful collection of medals in.
0:13:31 > 0:13:34I think the fact that you've got First and Second World War medals,
0:13:34 > 0:13:37you must know something about them.
0:13:37 > 0:13:38Tell me how you got these.
0:13:38 > 0:13:41Basically, they were handed down to me from my grandfather
0:13:41 > 0:13:43when I was a young boy.
0:13:43 > 0:13:47He basically said to me, "If you can find them, you can keep them."
0:13:47 > 0:13:50And I went into the outdoor shed, rummaged around for a couple
0:13:50 > 0:13:52of hours, and there they were, lying in an old tin pot.
0:13:52 > 0:13:56As a young boy, I can't think of anything much more exciting
0:13:56 > 0:13:58to discover than your grandfather's medals in a tin pot.
0:13:58 > 0:14:01Exactly, I think I was about maybe 10 or 12 at the time.
0:14:01 > 0:14:02Oh, it's fantastic.
0:14:02 > 0:14:05- Well, we've got the standard First World War medals here.- Right.
0:14:05 > 0:14:08The ones that are euphemistically called "Pipsqueak" and "Wilfred."
0:14:08 > 0:14:11- Oh, right, yes. - And they're all named,
0:14:11 > 0:14:13and if we turn this one over...
0:14:14 > 0:14:17- ..we've got there G Cockell. - That's right, yes.
0:14:17 > 0:14:20And then we've got these Second World War medals,
0:14:20 > 0:14:23- so he served in both wars. - Oh, yes.- And survived.
0:14:23 > 0:14:26We've got his military buttons and his cap insignia.
0:14:26 > 0:14:30What's very interesting is we've got his soldier's service and pay book.
0:14:30 > 0:14:33- That's right.- And at the back here we've got his discharge papers.
0:14:33 > 0:14:39- That's correct.- And there we have, "31st of March, 1931.
0:14:39 > 0:14:43"Discharge certificate for Number 11239,
0:14:43 > 0:14:45"Corporal George Cockell,
0:14:45 > 0:14:48"King's Own Yorkshire Light Infantry." That's magic, isn't it?
0:14:48 > 0:14:49Yeah, that's brilliant, yeah.
0:14:49 > 0:14:53"Enlisted 12th August 1914." My word, he was eager, wasn't he?
0:14:53 > 0:14:56Oh, very, he was very... He did his bit for queen and country.
0:14:56 > 0:15:00Well, he did indeed. "Discharged 5th November 1919."
0:15:00 > 0:15:05Medals here, 1914-15 star.
0:15:05 > 0:15:08British war and victory medals, so they're named in this,
0:15:08 > 0:15:12and what's wonderful here is we've got under "Character",
0:15:12 > 0:15:14- which must make you very proud... - It does indeed.
0:15:14 > 0:15:18"Good, honest, sober, intelligent and industrious,"
0:15:18 > 0:15:20which is just magic.
0:15:20 > 0:15:24And to have all of this extra documentation with
0:15:24 > 0:15:27a set of medals makes a huge difference,
0:15:27 > 0:15:31because the people that collect medals, they're not buying
0:15:31 > 0:15:35the medal, they're buying the story and the history attached with it.
0:15:35 > 0:15:36Can I ask you, though,
0:15:36 > 0:15:38cos these must be immensely sentimental to you,
0:15:38 > 0:15:43why have you decided that you want to part with them now?
0:15:43 > 0:15:46Well, they are sentimental, but if I were to sell them,
0:15:46 > 0:15:48the memory always sticks in my brain.
0:15:48 > 0:15:50Your grandfather's in here and in here, isn't he?
0:15:50 > 0:15:53Always in my heart, always in my brain, I'll never forget him.
0:15:53 > 0:15:54I'd rather somebody bought them
0:15:54 > 0:15:57and they could go in a collection so people could see them,
0:15:57 > 0:15:59ie British War Museum or something like that.
0:15:59 > 0:16:0410 or 15 years ago, that group of three medals was making £20 or £30.
0:16:05 > 0:16:07But since then people have realised
0:16:07 > 0:16:11that they're getting rarer and scarcer and prices have rocketed.
0:16:11 > 0:16:15So I think we could put these into auction at £200-£300,
0:16:15 > 0:16:19put a fixed reserve of £180 on them, keep our fingers crossed
0:16:19 > 0:16:24- and your grandad's medals might fly. - That's right, hope so, yeah.
0:16:24 > 0:16:27Well, Patrick, thank you so much for bringing these in today.
0:16:27 > 0:16:28That's all right.
0:16:39 > 0:16:41Imagine living in the same house for 40 years
0:16:41 > 0:16:44and never redecorating! Sounds brilliant, doesn't it?
0:16:44 > 0:16:46You just put your feet up and do nothing.
0:16:46 > 0:16:50So, imagine a family living in the same house for 400 years
0:16:50 > 0:16:52and doing the same thing, never redecorating.
0:16:52 > 0:16:55Well, that's exactly what's happened here
0:16:55 > 0:16:57at Chastleton House in Oxfordshire.
0:16:57 > 0:17:00'Over the centuries, you'd expect a country house,
0:17:00 > 0:17:03'like all our homes, to move with the changing fashions.
0:17:03 > 0:17:05'Owners strip out old decoration
0:17:05 > 0:17:08'and replace it with new styles and designs.
0:17:08 > 0:17:11'But because this wonderful Jacobean house has never had
0:17:11 > 0:17:14'a makeover, it's a perfect place to see some of that early decor.
0:17:17 > 0:17:19'When this place was built in 1612,
0:17:19 > 0:17:21'there were no wallpapers or cans of paint.
0:17:21 > 0:17:25'Instead, rich people would decorate their walls with woven fabrics.
0:17:27 > 0:17:30'And I'm going to show you three very different original examples
0:17:30 > 0:17:33'that have survived here for more than 400 years.'
0:17:37 > 0:17:40Now this is so typical of the early 1600s.
0:17:40 > 0:17:43Huge Flemish tapestries lining the walls.
0:17:43 > 0:17:46They have lost their colour, they'd have been quite vibrant,
0:17:46 > 0:17:49and the idea was they were to decorate the room,
0:17:49 > 0:17:50but also they keep the room warm.
0:17:50 > 0:17:55And I like this because also it keeps out the draughts.
0:17:57 > 0:18:00'These three panels were woven in Flanders around 1600.
0:18:00 > 0:18:04'They depict the story of Jacob and Esau from the Old Testament,
0:18:04 > 0:18:06'and were probably part of a larger set of six.'
0:18:08 > 0:18:10The condition is very, very good.
0:18:10 > 0:18:12The weave is still very tight and there's not many repairs.
0:18:12 > 0:18:15There's a couple here I can see at first glance,
0:18:15 > 0:18:18sort of very loosely stitched back together.
0:18:18 > 0:18:21But your worst nightmare is infestation of moths and rodents,
0:18:21 > 0:18:25nibbling away at it, sort of stealing bits to build nests.
0:18:25 > 0:18:29'When Chastleton was built in 1612, these very expensive heavy weave
0:18:29 > 0:18:33'tapestries would have been among the owner's prized possessions.
0:18:33 > 0:18:35'They've made it down through the centuries
0:18:35 > 0:18:38'because of their value, high quality workmanship
0:18:38 > 0:18:39'and classic design.'
0:18:41 > 0:18:44Those kind of tapestries you're going to find in most stately homes.
0:18:44 > 0:18:47There's a richness and an opulence about them.
0:18:47 > 0:18:50But in here, I've got to show you something rather special.
0:18:50 > 0:18:52Just look at these wall hangings.
0:18:55 > 0:18:57'It's not a wallpaper but another woven fabric.
0:18:57 > 0:18:59'This would have been highly fashionable
0:18:59 > 0:19:01'when it was made in the early 1600s,
0:19:01 > 0:19:04'and was probably originally used to decorate a bedroom.'
0:19:07 > 0:19:10This is known as the flame stitch pattern, and just look at it!
0:19:10 > 0:19:13Wonderful repetitive forms, typical of the early 1600s.
0:19:13 > 0:19:17And it hasn't lost much of its colour, really.
0:19:17 > 0:19:20That's still quite vibrant, the reds grinning through, deep blues.
0:19:20 > 0:19:22It's wonderful.
0:19:22 > 0:19:25'The striking design and bright colours would, at one time,
0:19:25 > 0:19:27'have been commonplace in country houses.
0:19:27 > 0:19:31'But like all fashions, it moved quickly out of favour.
0:19:31 > 0:19:33'But luckily enough for us, here at Chastleton,
0:19:33 > 0:19:36'they didn't simply rip it down and throw it away.
0:19:36 > 0:19:38'Sometime in the mid-17th century
0:19:38 > 0:19:41'they re-hung it in a little-used dressing room,
0:19:41 > 0:19:44'and then left it here for another 350 years.'
0:19:45 > 0:19:48Looking at the way it's been nailed to the walls,
0:19:48 > 0:19:51that is a 17th century nail, that's late 17th century.
0:19:51 > 0:19:55Look at that, hand forged by a blacksmith on an anvil.
0:19:56 > 0:19:59'Hidden away forgotten for generations and safe
0:19:59 > 0:20:04'from the effects of sunlight, this flame stitch is a rare survivor.
0:20:04 > 0:20:08'But just yards away, there's a fabric that's totally unique.'
0:20:08 > 0:20:11While the main rooms in the house, the larger ones, had walls ordained
0:20:11 > 0:20:13with the lavish tapestries here,
0:20:13 > 0:20:18areas like this were decorated more simply, much cheaper fabric.
0:20:18 > 0:20:20There was no need for the expense.
0:20:20 > 0:20:25Now, I know it looks boring and plain, but this is incredibly rare.
0:20:25 > 0:20:27It's the best known surviving example of its type
0:20:27 > 0:20:30in any English country house.
0:20:30 > 0:20:32The fabric is called Dornix,
0:20:32 > 0:20:36and it's named after the Flemish town where it was weaved.
0:20:36 > 0:20:39'Although it's a similar age to the other textiles we've seen,
0:20:39 > 0:20:42'it's ironic that this is the cheapest and yet the rarest.
0:20:42 > 0:20:46'In most country homes, there would have been no reason to save it.
0:20:46 > 0:20:48'It would have been ripped down and replaced
0:20:48 > 0:20:51'when wallpapers became popular in the 18th century.
0:20:51 > 0:20:53'This was saved simply because
0:20:53 > 0:20:56'fashion doesn't seem to have been a high priority here.'
0:20:56 > 0:20:58When the National Trust acquired Chastleton,
0:20:58 > 0:21:01they spent months cleaning the Dornix in their studio.
0:21:01 > 0:21:04Apparently, when it was first discovered,
0:21:04 > 0:21:06you couldn't see the patterns or the colours
0:21:06 > 0:21:09because it was covered completely in mould and dirt.
0:21:14 > 0:21:16The wall hangings here at Chastleton House
0:21:16 > 0:21:18are incredibly rare and now well documented.
0:21:18 > 0:21:21And thank goodness that different generations of the same family
0:21:21 > 0:21:23hadn't been fashion orientated,
0:21:23 > 0:21:25otherwise they wouldn't have survived.
0:21:25 > 0:21:28And now these textiles have got the credit they really do deserve,
0:21:28 > 0:21:31and they're going to be here for many more years to come
0:21:31 > 0:21:33for future generations to appreciate.
0:21:39 > 0:21:41PAUL SIGHS
0:21:41 > 0:21:44Well, here we are. My driver didn't turn up this morning so I've had to make do,
0:21:44 > 0:21:47but this is where all our items are going under the hammer.
0:21:47 > 0:21:50Moore, Allen and Innocent, just outside of Cirencester.
0:21:50 > 0:21:52I'm running a bit late and the auction is just about to start,
0:21:52 > 0:21:55and hopefully I'll catch my breath back in a minute.
0:21:55 > 0:21:56I'm going to catch up with our owners,
0:21:56 > 0:21:59make sure they're OK, cos I know they're feeling really
0:21:59 > 0:22:02nervous right now, and we're going to leave you with a quick rundown
0:22:02 > 0:22:04of all the items that are going under the hammer.
0:22:08 > 0:22:10'Here's what's going under the hammer.
0:22:10 > 0:22:14'The objects extracted from the old well in Audrey's cellar.
0:22:14 > 0:22:15'The prize is a 17th century bottle,
0:22:15 > 0:22:17'but there are plenty of other things,
0:22:17 > 0:22:20'including what could be a Tudor tap.
0:22:21 > 0:22:25'That spectacular book of Italian art, thankfully still mostly intact,
0:22:25 > 0:22:28'despite Gemma's nan's fondness for scissors.
0:22:31 > 0:22:34'Patrick's grandfather's medals.
0:22:34 > 0:22:37'And finally, the beautiful tortoiseshell snuff box
0:22:37 > 0:22:38'brought in by Patricia.
0:22:40 > 0:22:43'Thankfully, I wasn't running so short of time at the preview
0:22:43 > 0:22:47'and managed to speak to auctioneer Philip Allwood about the medals.'
0:22:49 > 0:22:52Wonderful collection of medals, erm, great story involved as well.
0:22:52 > 0:22:54They belonged to George Cockell,
0:22:54 > 0:22:56First World War and Second World War.
0:22:56 > 0:22:59We've got £200-£300 on these medals, and, erm,
0:22:59 > 0:23:01they're being sold by the grandson.
0:23:01 > 0:23:03Are they? Yeah.
0:23:03 > 0:23:06Well, he must be a very proud grandson.
0:23:06 > 0:23:10Erm, obviously, grandfather went through the First, into the Second.
0:23:10 > 0:23:12Looking at the discharge papers,
0:23:12 > 0:23:16was retired from the Army early or discharged.
0:23:16 > 0:23:17Exemplary report on here.
0:23:17 > 0:23:20Exemplary conduct. Do you know, I've never seen one of those before
0:23:20 > 0:23:22and that's quite interesting.
0:23:22 > 0:23:24Individually, these medals, not worth a lot.
0:23:24 > 0:23:27Lots of 'em about, you know, there's a lot of people came back
0:23:27 > 0:23:30from the First with these fairly standard medals.
0:23:30 > 0:23:32Same with the Second.
0:23:32 > 0:23:36But put all that together with the history, we know who it relates to,
0:23:36 > 0:23:39who actually won them, what they were doing, where and when.
0:23:39 > 0:23:41And that suddenly gets the collectors'
0:23:41 > 0:23:45- collecting juices flowing. - You've got provenance, that's what the value is.
0:23:45 > 0:23:48Exactly, and that's what a medal collector is really going for.
0:23:48 > 0:23:50They're not going for the bit of metal,
0:23:50 > 0:23:54- they're going for owning a bit of that soldier and what he did.- Yeah.
0:23:54 > 0:23:57And this has got oodles of that.
0:23:57 > 0:24:00- Will it get the top end, do you think?- I wouldn't be surprised.- OK.
0:24:00 > 0:24:02200-300, I'd have easily gone with that myself
0:24:02 > 0:24:06and expected to see us getting on for the top estimate.
0:24:06 > 0:24:09Wonderful thing. Well, good luck with these.
0:24:09 > 0:24:10They should do fine.
0:24:11 > 0:24:14'Well, we both think these medals are going to march right out of the
0:24:14 > 0:24:16'auction room, but we'll have to wait and see,
0:24:16 > 0:24:19'because first to discover their fate is Audrey.
0:24:20 > 0:24:23'Buyers and sellers at today's auction room are subject to
0:24:23 > 0:24:26'a commission of 15% plus VAT.'
0:24:27 > 0:24:29Well, this next lot is totally fascinating,
0:24:29 > 0:24:32and, of course, it's been picked by our expert Michael Baggott.
0:24:32 > 0:24:35It's been dug up out of the ground, literally,
0:24:35 > 0:24:37from the Talbot Hotel in Tedbury.
0:24:37 > 0:24:39'Michael's split the lot into two parts.
0:24:39 > 0:24:41'The first is a real mixed bag.'
0:24:42 > 0:24:45There's this wonderful manganese sort of treacle-glazed jug,
0:24:45 > 0:24:47some church warden pipes and...
0:24:47 > 0:24:49Little silver shirt links...
0:24:49 > 0:24:51But do you know what's going to make me laugh and...?
0:24:51 > 0:24:55- ..with Tudor roses, and a tap.- And a tap! What's that all about, Michael?
0:24:55 > 0:24:59That is a bronze Tudor tap. It's a rare thing, you know, for 180 quid.
0:24:59 > 0:25:02It's a funny old lot, it really is a funny old lot.
0:25:02 > 0:25:03I've heard that before!
0:25:03 > 0:25:06Valuing it is like playing pin the tail on the donkey.
0:25:06 > 0:25:09You never know where it's actually going to go,
0:25:09 > 0:25:11but I think that's sensible, that's sensible.
0:25:11 > 0:25:14Let's find out what the bidders think, shall we?
0:25:14 > 0:25:18The 18th century manganese treacle-glazed pottery jug.
0:25:18 > 0:25:20Should be 200-300, really. Start me.
0:25:21 > 0:25:22150 then.
0:25:24 > 0:25:26Start me, 100. £100 for the lot.
0:25:26 > 0:25:28He's going in the wrong direction.
0:25:28 > 0:25:29£50.
0:25:29 > 0:25:31At £50, a bid there at 50.
0:25:31 > 0:25:34At £50, at 5 if you like now. £50.
0:25:34 > 0:25:35At £50, at 5,
0:25:35 > 0:25:3760, 5,
0:25:37 > 0:25:41- 70, 5, 80, 5...- Church warden pipes are worth that, really.
0:25:41 > 0:25:4390, 5,
0:25:43 > 0:25:45100.
0:25:45 > 0:25:46And 10 if you like, and 10.
0:25:46 > 0:25:49At 110, 120 now.
0:25:49 > 0:25:53At 110. At £110, you all sure now then?
0:25:53 > 0:25:55At £110, you all done?
0:25:57 > 0:26:02- They didn't understand. - Well, they didn't want it today.- No.
0:26:02 > 0:26:04Maybe they'll want it in a week's time.
0:26:04 > 0:26:07- Put it out for the dustman or something.- No, you won't.
0:26:07 > 0:26:11Don't do that, that's our history, Audrey! Don't do that.
0:26:11 > 0:26:13'What a shame. Let's hope we do better
0:26:13 > 0:26:16'with the second lot from the collection, that superb bottle.'
0:26:16 > 0:26:19It's a wonderful period piece,
0:26:19 > 0:26:22but what makes it extra special is not just the object, we know
0:26:22 > 0:26:26when it was found, we know where it was discarded, in the 17th century.
0:26:26 > 0:26:29And that lovely iridescent sort of colour that you only
0:26:29 > 0:26:32get from burial over the years, you know, and it's been dug up
0:26:32 > 0:26:36and it's just got those colours that every collector wants.
0:26:36 > 0:26:39- Do you think so?- Oh, it's got the look, it's got the look.
0:26:39 > 0:26:41And the condition.
0:26:41 > 0:26:45Collectors want history with their objects, ideally,
0:26:45 > 0:26:46and that's got it all.
0:26:48 > 0:26:49200 to get on.
0:26:49 > 0:26:51At 200, thank you, at 200.
0:26:51 > 0:26:53At 200, 210 now if you like.
0:26:53 > 0:26:55At £200, at 210.
0:26:55 > 0:26:57220. 230.
0:26:57 > 0:27:00At 230, 240, 250.
0:27:00 > 0:27:03At £250, 260 anywhere?
0:27:03 > 0:27:06At £250, 260 anywhere now for it?
0:27:06 > 0:27:08At £250, you're sure now, then?
0:27:08 > 0:27:10- Oh, come on!- At 250...
0:27:12 > 0:27:15I'm absolutely shocked, absolutely shocked, because that bottle
0:27:15 > 0:27:18was worth every penny of £300-£500 if not more, as Michael said.
0:27:18 > 0:27:22- If I were you, I'd be relieved I hadn't sold them.- I would as well.
0:27:22 > 0:27:24- THEY LAUGH - I'm so sorry, Audrey.
0:27:25 > 0:27:29'Well, it looks like the artefacts are going home with Audrey.
0:27:29 > 0:27:33'Perhaps the Italian art will appeal more to the bidders?'
0:27:33 > 0:27:36Wonderful, wonderful book. We're looking at £300-£500.
0:27:36 > 0:27:38Fingers crossed. On a good day.
0:27:38 > 0:27:41- On a good day... - It's all there, isn't it?
0:27:41 > 0:27:44Condition is good, I just hope it doesn't get sort of
0:27:44 > 0:27:46Stanley knifed up and sold separately.
0:27:46 > 0:27:50Well, you say condition is good, but Gemma's grandma had a bit of a
0:27:50 > 0:27:53Stanley knife fetish, and cut a few letters out,
0:27:53 > 0:27:56but the actual pictures are all fine.
0:27:56 > 0:28:00- Yeah, and that's where the value is. - Oh, absolutely.- Fingers crossed.
0:28:00 > 0:28:02- It's been a long wait, hasn't it?- It has, yeah.
0:28:02 > 0:28:05Have you been tempted to buy anything while you've been waiting?
0:28:05 > 0:28:08Yeah, I saw a little kid's trike outside.
0:28:08 > 0:28:10It looks like it needs restoring.
0:28:10 > 0:28:12I know the one. I rode here on it.
0:28:12 > 0:28:14THEY LAUGH
0:28:15 > 0:28:18The Italian School of Design, 1823, some lovely images in this.
0:28:18 > 0:28:22Where are you going to be for this? Start me. It should be 500, really.
0:28:22 > 0:28:23Start me, 3?
0:28:24 > 0:28:26200 to get on, then.
0:28:26 > 0:28:27At 200, thank you, at £200.
0:28:27 > 0:28:30At 220, 240, 260,
0:28:30 > 0:28:33270, then, 280, 300.
0:28:33 > 0:28:35320, if you like. At 300 here.
0:28:35 > 0:28:37At 300, 320 now.
0:28:37 > 0:28:40At £300, thought it might have made a little more. At 300.
0:28:42 > 0:28:44At £300, it's on my right.
0:28:44 > 0:28:47At 300, you all sure now, then, at 300?
0:28:49 > 0:28:52- Brilliant, sold. - Just on estimate, wasn't it?- Yeah.
0:28:52 > 0:28:54There was a pause there, wasn't there,
0:28:54 > 0:28:56cos I wasn't sure she was calling for 300. Yes!
0:28:56 > 0:28:59No, no, he had 300, but I just think with that little bit of damage
0:28:59 > 0:29:02- that really just took off the edge. - Of course, yeah.
0:29:02 > 0:29:04- But I think she was very pleased. - Happy?- Yeah.
0:29:04 > 0:29:07What are you going to put the money towards?
0:29:07 > 0:29:10- Erm, probably going on holiday. - And where do you fancy going?
0:29:10 > 0:29:14Probably Italy, just to look to see where it all came from.
0:29:14 > 0:29:17- School of Design, yeah, exactly. - Makes sense, doesn't it?
0:29:17 > 0:29:19Payback for it, yes, going to Rome.
0:29:21 > 0:29:23'Good for them, I really do hope they get to see some of those
0:29:23 > 0:29:25'works of art for real.
0:29:27 > 0:29:30'Now, next up, it's Patricia's gorgeous snuff box,
0:29:30 > 0:29:32'which I valued and I adore.'
0:29:32 > 0:29:34That wonderful little tortoiseshell snuff box!
0:29:34 > 0:29:36Ooh, dating from the late 17th century.
0:29:36 > 0:29:40It's just about to go under the hammer, we're looking for £300-£500.
0:29:40 > 0:29:43I had a chat with Philip just before the sale started.
0:29:43 > 0:29:46- He said, "Lovely little lot." - Really?- Special little lot, yeah,
0:29:46 > 0:29:48worth every single penny of the valuation.
0:29:48 > 0:29:53- We got the valuation spot on. So we both agree with that.- Good.
0:29:53 > 0:29:57Question is, will this lot out here?
0:29:57 > 0:30:00I was concerned cos it's in amongst all the 30-50 stuff.
0:30:00 > 0:30:02I know, I know, yes, I know.
0:30:02 > 0:30:05I thought it might be somewhere else, to be honest.
0:30:05 > 0:30:08At least we've protected it with a fixed reserve of £300.
0:30:08 > 0:30:10That's the most important thing to do.
0:30:10 > 0:30:12If you're going to put something into a sale,
0:30:12 > 0:30:16and this is a general sale, make sure it's got a fixed reserve.
0:30:16 > 0:30:17Don't give things away.
0:30:17 > 0:30:21- If we can't find a buyer here, it'll go into another sale.- That's fine.
0:30:21 > 0:30:23This is it, here we go.
0:30:23 > 0:30:25The tortoiseshell snuff box there.
0:30:27 > 0:30:30Good looking piece, this. Nice traditional piece of tortoiseshell.
0:30:30 > 0:30:33Who will start me? Should be 300-400 really.
0:30:33 > 0:30:37Start me, 2 to get on. That'd be cheap at 200, wouldn't it?
0:30:39 > 0:30:41Yes, at 200, thank you. At 200. At 200.
0:30:41 > 0:30:44I'll take 210 if you'd like now, at £200, at 210.
0:30:44 > 0:30:49At 210, 220, 230, at 230,
0:30:49 > 0:30:50240, 250.
0:30:50 > 0:30:54At 250, 260 now. 260. 270.
0:30:54 > 0:30:57At 270, 280 now then.
0:30:57 > 0:30:59At 270. At £270...
0:30:59 > 0:31:01- Struggling, isn't it?- Yes.
0:31:01 > 0:31:05At £270. You're all out in the room.
0:31:07 > 0:31:09At £270, you all done?
0:31:12 > 0:31:14- It's OK, he didn't sell it. - No, I'll take it home.
0:31:14 > 0:31:18Do you know what? I'm pleased he didn't sell it bang on 300,
0:31:18 > 0:31:19because that would still be cheap.
0:31:19 > 0:31:22I know it's within estimate, 3-5...
0:31:22 > 0:31:25- Yes, I'm not bothered. - But it does deserve the £500 touch.
0:31:25 > 0:31:27- It does, yes.- In order to get that sort of money
0:31:27 > 0:31:30you need to get it in at a good starting point.
0:31:30 > 0:31:33- I'm not truly bothered, it doesn't take up a lot of room, does it?- No.
0:31:33 > 0:31:36'Well, Patricia gets to keep her snuff box.
0:31:36 > 0:31:40'I just hope she doesn't keep on using it as a soap dish.
0:31:40 > 0:31:43'Last up, we've got Patrick's grandfather's medals.'
0:31:44 > 0:31:47Classic set of medals from the First World War, Second World War,
0:31:47 > 0:31:48and discharge papers.
0:31:48 > 0:31:51- I know, Michael, you fell in love with these.- It's the whole story.
0:31:51 > 0:31:54- This is what medal collectors want. - Is it hard to sell these?
0:31:54 > 0:31:57Same old story, they've been stuck in a drawer for 20 years,
0:31:57 > 0:32:01not appreciated, so I think it's time for them to go, like.
0:32:01 > 0:32:04OK, let's hope they go to a good collector or end up in a museum.
0:32:04 > 0:32:05- Hope so, yeah.- This is it.
0:32:07 > 0:32:10I can start you here at 130 on the book, at 130.
0:32:10 > 0:32:15At 130, 140, 150, 160, 170, 180.
0:32:15 > 0:32:17The book's out at 180, 190 now.
0:32:17 > 0:32:21190, 200, 210, 220,
0:32:21 > 0:32:25230, 240, 250, 260.
0:32:25 > 0:32:27At 260 on my left now.
0:32:27 > 0:32:29At 260, 270 now, then.
0:32:29 > 0:32:33At £260 it's on my left. At 260.
0:32:35 > 0:32:37Super result, 260, the hammer's gone down.
0:32:37 > 0:32:39Brilliant, I'm very happy with that.
0:32:39 > 0:32:41I'm very happy with that, that was well contested.
0:32:41 > 0:32:43That was his last battle, wasn't it?
0:32:43 > 0:32:48It was a bit slow at first but suddenly shot up. I'm very pleased.
0:32:50 > 0:32:53'I knew the collectors wouldn't be able to resist that lot.
0:32:53 > 0:32:56'A brilliant result, and there's plenty more to come.
0:32:56 > 0:32:59'Berenice has decided it's time to rescue this beautiful
0:32:59 > 0:33:02'Art Nouveau tray out of the grasp of little hands.'
0:33:02 > 0:33:04Where does it live in your house?
0:33:04 > 0:33:07Well, it sits on the coffee table in the sitting room
0:33:07 > 0:33:10and it gets knocked around by the grandchildren.
0:33:10 > 0:33:13'Phyllis is trying to wean herself off of her Wemyss addiction,
0:33:13 > 0:33:16'but I suspect there are some things she would find hard to resist.'
0:33:16 > 0:33:21If that one special Wemyss pick came along, would you buy it still?
0:33:22 > 0:33:24- Oh, maybe.- Maybe.
0:33:24 > 0:33:27'And we discover a bracelet bearing the name of one of the world's
0:33:27 > 0:33:29'greatest fashion designers.'
0:33:42 > 0:33:43On the 16th of May in 1871,
0:33:43 > 0:33:47the successful writer, designer and socialist, William Morris,
0:33:47 > 0:33:51set foot in the Cotswold village of Kelmscott for the first time.
0:33:51 > 0:33:54He came looking for a house purely to use for the summer months
0:33:54 > 0:33:57and, when he came down this little country lane
0:33:57 > 0:33:59and looked down that garden path
0:33:59 > 0:34:02and saw that beautiful, handsome farmhouse,
0:34:02 > 0:34:04he knew his search was over.
0:34:04 > 0:34:06No wonder he stopped looking!
0:34:06 > 0:34:11MUSIC: "In The Steppes Of Central Asia" by Alexander Borodin
0:34:11 > 0:34:12For Morris, it was the start of a love affair
0:34:12 > 0:34:15that would stay with him for the rest of his life,
0:34:15 > 0:34:18bringing him moments of inspiration and pleasure,
0:34:18 > 0:34:20but, as with all great romances,
0:34:20 > 0:34:23there was moments of disappointment and betrayal.
0:34:28 > 0:34:32In fact, despite his immediate and deep affection for the place,
0:34:32 > 0:34:35it would be three years before Morris could bring himself
0:34:35 > 0:34:37to spend any time here.
0:34:37 > 0:34:40Instead, he stayed away while his wife, Jane,
0:34:40 > 0:34:42and their two young daughters spent their summers here
0:34:42 > 0:34:45with painter and poet Gabriel Rossetti,
0:34:45 > 0:34:49who was also Morris's friend and business partner.
0:34:49 > 0:34:52Rossetti and Jane had been having an affair for five years.
0:34:52 > 0:34:55Morris was aware that it was starting to attract
0:34:55 > 0:34:59the attention of London society and could damage his business.
0:34:59 > 0:35:02The lease on Kelmscott was taken out jointly with Rossetti
0:35:02 > 0:35:06so that they'd be able to conduct their affair away from prying eyes.
0:35:08 > 0:35:12Over the following years, Rossetti would suffer a mental breakdown -
0:35:12 > 0:35:15he spent prolonged periods of time here at Kelmscott,
0:35:15 > 0:35:17forcing William Morris to stay away.
0:35:17 > 0:35:20It wasn't until Rossetti moved out in 1874
0:35:20 > 0:35:24that William Morris could enjoy his beloved Kelmscott,
0:35:24 > 0:35:28and this place, well, it became a kind of utopia for him -
0:35:28 > 0:35:31somewhere where he could escape from the modern world,
0:35:31 > 0:35:33which he really despised.
0:35:33 > 0:35:37MUSIC: "The Water Goblin" by Antonin Dvorak
0:35:37 > 0:35:40The Arts and Crafts movement was driven by a dislike
0:35:40 > 0:35:45for Victorian industrialisation and the fear that mechanisation
0:35:45 > 0:35:49and mass production would result in blandness and conformity.
0:35:49 > 0:35:52Kelmscott was the antithesis of that.
0:35:55 > 0:35:58He saw this magnificent house as a true work of craftsmanship -
0:35:58 > 0:36:02built with local materials, he just loved its vernacular style,
0:36:02 > 0:36:05and it sits in perfect harmony with the rest of the village
0:36:05 > 0:36:07and the surrounding countryside.
0:36:15 > 0:36:17You could say this handsome house represents
0:36:17 > 0:36:21all of the ideals of the Arts and Crafts movement.
0:36:21 > 0:36:26It was built in the year 1600 and it was added to in the year 1665.
0:36:26 > 0:36:28Look at the lovely hand-cut roof tiles -
0:36:28 > 0:36:31they're all made of stone and they actually graduate down.
0:36:31 > 0:36:33They start smaller at the ridge board and, as they come down
0:36:33 > 0:36:36onto the load-bearing walls, they get slightly larger.
0:36:36 > 0:36:37Morris described that as,
0:36:37 > 0:36:39"Looking at the scales interlocking on a fish,
0:36:39 > 0:36:42"or maybe the feathers on a bird."
0:36:42 > 0:36:44It really is so organic.
0:36:49 > 0:36:51On the inside, as on the outside,
0:36:51 > 0:36:55William Morris just loved the simplicity of this house.
0:36:55 > 0:36:58He chose to change it very little from the way in which he first
0:36:58 > 0:37:02acquired it from the farming family who had it built.
0:37:02 > 0:37:05His dream was to live here as simply as possible
0:37:05 > 0:37:11and he described the house as, "The loveliest haunt of ancient peace."
0:37:11 > 0:37:15As you look around the house, you get a real sense of Morris the man.
0:37:15 > 0:37:18From his passion for collecting traditional handmade objects
0:37:18 > 0:37:23to wonderful examples of his own company's furniture and furnishings.
0:37:28 > 0:37:30The garden and surrounding countryside would also
0:37:30 > 0:37:34provide Morris with endless inspiration for his designs.
0:37:34 > 0:37:37It's said that the idea for Strawberry Thief,
0:37:37 > 0:37:41one of his most popular designs, came about as Morris noticed
0:37:41 > 0:37:44thrushes stealing wild berries from his kitchen garden.
0:37:48 > 0:37:49And according to his daughter, May,
0:37:49 > 0:37:54this idea for his foliage pattern, called Willow Bough, 1887, came
0:37:54 > 0:37:58from the willow trees growing on the banks of the River Thames nearby.
0:38:00 > 0:38:04Ooh, this is a nice room. Spacious, light, airy.
0:38:04 > 0:38:08In fact, there's a nice, tranquil feel about this.
0:38:08 > 0:38:10And it's known as the White Room, which is quite strange,
0:38:10 > 0:38:13really, because William Morris is known for his colours -
0:38:13 > 0:38:17he loves reds and golds and greens and repetitive patterns everywhere.
0:38:17 > 0:38:21Yet, the family chose to paint the walls off-white.
0:38:21 > 0:38:24In fact, William Morris, towards the end of his life, actually admitted
0:38:24 > 0:38:29he preferred simpler colour schemes and plainer rooms.
0:38:29 > 0:38:32The whole house, in fact, is just sort of understated.
0:38:32 > 0:38:36The decor is quite simple and it sits beautifully with the outside.
0:38:36 > 0:38:38It's just so calm.
0:38:42 > 0:38:44William Morris remains, to this day,
0:38:44 > 0:38:48a major, major force to be reckoned with in the world of design.
0:38:48 > 0:38:51His legacy of work is endless, really, when you think about it.
0:38:51 > 0:38:54He was a writer, a publisher, social campaigner, designer,
0:38:54 > 0:38:58craftsman, illustrator, painter - it just goes on and on and on.
0:38:58 > 0:39:00And it's no wonder that, coming towards the end of his life,
0:39:00 > 0:39:03a doctor proclaimed he was suffering from the disease
0:39:03 > 0:39:07of being William Morris, working 18 hours a day.
0:39:07 > 0:39:08That's why, for me,
0:39:08 > 0:39:11it's so special to come to a place like Kelmscott,
0:39:11 > 0:39:13that meant so much to him, so you can understand
0:39:13 > 0:39:16the peace he must have had while being here.
0:39:16 > 0:39:18William Morris, for me,
0:39:18 > 0:39:21will always remain a great source of inspiration.
0:39:33 > 0:39:35Back at our valuation day at the Corn Hall in Cirencester,
0:39:35 > 0:39:37we've got a packed house,
0:39:37 > 0:39:39and Michael, who's a serious silver fanatic,
0:39:39 > 0:39:42couldn't resist this striking tray.
0:39:43 > 0:39:46- And you've brought this beautiful tray along.- You like it, do you?
0:39:46 > 0:39:49I do, I love it. Where does it live in your house?
0:39:49 > 0:39:52Well, it sits on the coffee table in the sitting room
0:39:52 > 0:39:55and it gets knocked around by the grandchildren, so I just thought,
0:39:55 > 0:39:58what a pity, I'll bring it to you and see if you liked it.
0:39:58 > 0:40:00And do you use it for anything?
0:40:00 > 0:40:04No, no, because I couldn't understand why it was a tray,
0:40:04 > 0:40:06because you couldn't stand anything on it,
0:40:06 > 0:40:08so I didn't know much about it at all.
0:40:08 > 0:40:12- It's all knobbly, isn't it?- It is, it is, so a cup would fall off it...
0:40:12 > 0:40:14Well, unless you're living in a bungalow,
0:40:14 > 0:40:17- you've got it on the wrong floor of the house, you see.- Oh, right.
0:40:17 > 0:40:19Because this belongs in the bedroom.
0:40:19 > 0:40:20Oh! Oh, really?
0:40:20 > 0:40:24- And this is a dressing table tray. - Oh!
0:40:24 > 0:40:27- And, of course, you can't put a glass or a cup on this...- No.
0:40:27 > 0:40:30..but if you think of upturned brushes,
0:40:30 > 0:40:34which would rest quite happily along with combs on that -
0:40:34 > 0:40:36that's exactly what this was designed for.
0:40:36 > 0:40:39- Oh, I didn't know that. - Any idea about how old it is, or...?
0:40:39 > 0:40:41Um, well...
0:40:41 > 0:40:44Judging by the design, I would have thought it was Art Nouveau, so...
0:40:44 > 0:40:47It shrieks Art Nouveau at you, doesn't it?
0:40:47 > 0:40:50This wonderful whiplash foliate border
0:40:50 > 0:40:54and then we've got this typically naturalistic scene.
0:40:54 > 0:40:56Now, I'm not sure what these birds are,
0:40:56 > 0:41:00cos my ornithological knowledge does not stretch to the lengths
0:41:00 > 0:41:03of my silver knowledge, but they're cranes or herons.
0:41:03 > 0:41:06I thought they were herons, but they might be...
0:41:06 > 0:41:08We will go with herons. I will bow to your knowledge, Berenice.
0:41:08 > 0:41:12- And they're surrounded by these lovely bulrushes.- Yeah.
0:41:12 > 0:41:13And, of course, it's a mirror image
0:41:13 > 0:41:16and it's very organic and very naturalistic,
0:41:16 > 0:41:18which is exactly what Art Nouveau ornament was about.
0:41:18 > 0:41:21Now, first of all, we've got the maker's mark there,
0:41:21 > 0:41:23which is WA, which is for William Aitken.
0:41:23 > 0:41:24Mm-hm.
0:41:24 > 0:41:26And he wasn't a very distinguished maker,
0:41:26 > 0:41:29but he produced on a large scale in Birmingham,
0:41:29 > 0:41:31which is where this was made.
0:41:31 > 0:41:33And we've got the date letter there for 1909.
0:41:33 > 0:41:36The height of Art Nouveau in England.
0:41:36 > 0:41:41And you've got these domestic wares being produced in that style.
0:41:41 > 0:41:45The sad thing is, it is one part of a very large set.
0:41:45 > 0:41:46Oh, really?
0:41:46 > 0:41:51As I said, there'd be brushes and combs and there'd be hair tidies
0:41:51 > 0:41:54and scent bottles and mirrors,
0:41:54 > 0:41:57so any idea where the rest of it might be? No?
0:41:57 > 0:42:01- No, I inherited it with a house... - Oh.
0:42:01 > 0:42:06..from dear Uncle Joe. And he was ill and I decided to nurse him.
0:42:06 > 0:42:08- Oh.- And, um...
0:42:08 > 0:42:11He changed his will in the last three weeks of his life
0:42:11 > 0:42:15- and left it all to me, so it's really lucky.- Crikey.- And he...
0:42:15 > 0:42:20I got divorced after 40 years, so I had this house to go to
0:42:20 > 0:42:22and it's just been a godsend. He must have known.
0:42:22 > 0:42:25- I think he's up there, looking after me.- Smiling down at you.
0:42:25 > 0:42:28- Must have been.- Well, it's-it's a nice thing to come with the tray -
0:42:28 > 0:42:30it's better than a mirror, isn't it?
0:42:30 > 0:42:33Yes. Yes, so, I've got no idea where he had it from.
0:42:33 > 0:42:35I think it's the sort of thing
0:42:35 > 0:42:37that's very commercial at the moment -
0:42:37 > 0:42:38it never really falls out of fashion.
0:42:38 > 0:42:43- Let's put it into auction with £100-£150 on it.- Really?! Oh, gosh!
0:42:43 > 0:42:47- Let's put a reserve of £90 on it, fixed.- Oh, amazing.
0:42:47 > 0:42:48And let's see how it goes.
0:42:48 > 0:42:50But if there are two people that love Art Nouveau,
0:42:50 > 0:42:52and I think there's a good chance there will be,
0:42:52 > 0:42:54we could be doing that -
0:42:54 > 0:42:56it could be the high estimate or a little bit more.
0:42:56 > 0:42:57Gosh, that's amazing.
0:42:57 > 0:42:59But I think it could fly.
0:42:59 > 0:43:00Oh, thank you. That's marvellous.
0:43:00 > 0:43:03- Just like the herons, if they are indeed...- Or the whatever they are.
0:43:03 > 0:43:04Or the cranes or the ibises.
0:43:05 > 0:43:08Well, we hope to come up with some answers for Jennifer,
0:43:08 > 0:43:11who has an interesting old collection of photos.
0:43:11 > 0:43:15Tell me about these items you've brought today.
0:43:15 > 0:43:17These are pictures of my grandfather.
0:43:17 > 0:43:22He was in India and Africa in the First World War.
0:43:23 > 0:43:29When my mum passed on, I was given these.
0:43:29 > 0:43:32So, your grandfather, did you ever know him?
0:43:32 > 0:43:35I think I was around about two when he passed away.
0:43:35 > 0:43:40- He's in this photograph, isn't he? - Yes.- Where is he?- He's here.
0:43:40 > 0:43:42- There he is. Look at that there. A hockey player.- Yeah.
0:43:42 > 0:43:45- In the Raj. - And the fashionable moustache.
0:43:45 > 0:43:49- His name was Private John... - Couling.- Couling.
0:43:49 > 0:43:541916 was when he was discharged from the Army.
0:43:54 > 0:43:56- These are his discharge papers.- Yes.
0:43:56 > 0:43:58But he's got processions
0:43:58 > 0:44:01and photographs here from the 1902 coronation.
0:44:01 > 0:44:04- In India, in Delhi.- Right.
0:44:04 > 0:44:07- These are the Boer War, which is 1901, 1902.- Oh, I see.
0:44:07 > 0:44:10Tell me, do you know where John's medals are?
0:44:10 > 0:44:13I think that went to the first grandson.
0:44:13 > 0:44:16So, that's gone to another side of the family.
0:44:16 > 0:44:18- They would be quite valuable, actually.- Yes.
0:44:18 > 0:44:20They would be quite interesting.
0:44:20 > 0:44:23What you've got here is very interesting. This is a stereograph.
0:44:23 > 0:44:27And what you do is, you place one of these cards in the slots here.
0:44:27 > 0:44:31And you adjust it to focus it. So you actually see the picture in 3D.
0:44:31 > 0:44:33- As you well know.- Yes.
0:44:33 > 0:44:36Some stereographs are quite interesting,
0:44:36 > 0:44:38and they're more valuable than you'd think.
0:44:38 > 0:44:42The ones of India and the Boer War,
0:44:42 > 0:44:46I think would have a value to them, certainly.
0:44:46 > 0:44:50The scenes are absolutely lovely. You've got the Taj Mahal.
0:44:50 > 0:44:52This is a fascinating scene here.
0:44:52 > 0:44:55This is the British Army in South Africa,
0:44:55 > 0:44:59holding back the advancing Boers within trench warfare.
0:44:59 > 0:45:03- So would they be on the front line? - That would be on the front line.
0:45:03 > 0:45:06And war is obviously always of interest and highly collectible.
0:45:06 > 0:45:10So, what we've got is a lovely military lot -
0:45:10 > 0:45:13dating from the Boer War to the First World War.
0:45:13 > 0:45:16Lovely historical interest here. Really very nice.
0:45:16 > 0:45:19I would imagine this would make between £80 and £100.
0:45:19 > 0:45:21How does that grab you?
0:45:21 > 0:45:24That's a surprise, cos I wouldn't have had any idea of how
0:45:24 > 0:45:26much it would be worth.
0:45:26 > 0:45:29Or...with the items that we have.
0:45:29 > 0:45:33As regards to reserve, what I suggest - when things are under
0:45:33 > 0:45:38£100, at £80, the auctioneer will operate a discretion of about 10%.
0:45:38 > 0:45:40- OK.- So he could sell it for 70.- I see.
0:45:40 > 0:45:43But I think that's a fair way of looking at it.
0:45:43 > 0:45:45- You happy to go ahead? - Yes, thank you very much.
0:45:45 > 0:45:47Let's hope we can see our way to
0:45:47 > 0:45:50doubling Thomas' estimate at auction. Fingers crossed.
0:45:50 > 0:45:54But can our crowd identify this next lot?
0:45:54 > 0:45:56This belongs to Phyllis, who's standing right next to me.
0:45:56 > 0:45:58We've seen a lot of this on the show before.
0:45:58 > 0:46:00Do you know what this is?
0:46:00 > 0:46:03- No, but my friend does.- You don't know what it is?- No.
0:46:03 > 0:46:07- You know what it is. How about you guys? Pottery enthusiasts?- No.- No?
0:46:07 > 0:46:10- Wemyss.- Wemyss. Wemyss. That's not bad. Three out of six.
0:46:10 > 0:46:12HE LAUGHS
0:46:12 > 0:46:14It is Wemyss, yes, you're right.
0:46:14 > 0:46:17- I take it you're a bit of a Wemyss collector?- I am a Wemyss collector.
0:46:17 > 0:46:20- How many pieces have you got, Phyllis?- Between 50 and 100.- Really?
0:46:20 > 0:46:22How long have you been collecting?
0:46:22 > 0:46:24Since the '70s.
0:46:24 > 0:46:28So, if you're collecting, why are you selling this particular one?
0:46:28 > 0:46:33I'm downsizing. Need space. And that one has to go, I'm afraid.
0:46:33 > 0:46:38If that one special Wemyss pig came along, would you buy it still?
0:46:38 > 0:46:43- Um, maybe.- Maybe. Maybe sell five other pieces to buy it with.- Yes.
0:46:43 > 0:46:46That's what everybody wants. The Wemyss pigs. The big ones like that.
0:46:46 > 0:46:50You know what this is, don't you? It's a sponge bowl with strainer.
0:46:50 > 0:46:53And that's quite nice, because the strainers did get broken.
0:46:53 > 0:46:55And also, the sponge bowls...
0:46:55 > 0:46:58The most delicate part of these is the little handles.
0:46:58 > 0:47:00They always used to get chipped and knocked,
0:47:00 > 0:47:02but they're very good, aren't they?
0:47:02 > 0:47:05- Mm-hmm. They are. - I like the decoration of this.
0:47:05 > 0:47:08- Soft.- Beautiful soft roses. - It's very soft, isn't it?
0:47:08 > 0:47:11Lovely soft roses. Almost translucent.
0:47:11 > 0:47:15It's sought-after Scottish pottery as far as I'm concerned.
0:47:15 > 0:47:18Well sought-after. And I still classify this as country pottery.
0:47:18 > 0:47:20- Cos it is.- It is.
0:47:20 > 0:47:22I'm kind of struggling with a value here
0:47:22 > 0:47:25because I think it's worth an awful lot more than £150.
0:47:25 > 0:47:28But...I don't know what you paid for that.
0:47:28 > 0:47:31- 80.- 80. How long ago?
0:47:31 > 0:47:33- In '95.- '95. OK.
0:47:33 > 0:47:37Let's just call it £100 - a reserve at £100 - and see what happens.
0:47:37 > 0:47:41- Absolutely.- Yeah?- Yeah.- And hopefully we'll get that 120-150.
0:47:41 > 0:47:44- Yes. Absolutely. - On a good day we will.
0:47:44 > 0:47:48I think it's a pretty unique piece. I think if we find a collector...
0:47:48 > 0:47:51- The artwork on this particular one is very, very good.- I love it.
0:47:51 > 0:47:56- This, I'd date to around 1900-1910. And it's in great condition.- Yeah.
0:47:56 > 0:47:59- So, will I see you at the auction? - I'm afraid not, no.
0:47:59 > 0:48:01- My younger son's coming. - Oh, is he?- He is.
0:48:01 > 0:48:03- And what does he think about Wemyss then?- Not a lot.
0:48:03 > 0:48:05- We're going to find out. - THEY LAUGH
0:48:06 > 0:48:09'Fingers crossed there will be at least two people in the
0:48:09 > 0:48:12'auction room who'll appreciate it rather more than that.
0:48:12 > 0:48:15'Next, Thomas is looking at a particularly glamorous bracelet,
0:48:15 > 0:48:17'brought in by Angie.'
0:48:17 > 0:48:20Just tell me about it and how it came into your possession.
0:48:20 > 0:48:21My grandmother gave it to me
0:48:21 > 0:48:24- when I was about ten...- Yeah? - ..and I've had it ever since.
0:48:24 > 0:48:27I don't know a lot more about it than that, other than it's Christian Dior.
0:48:27 > 0:48:30Absolutely, it is Christian Dior. So your grandmother gave it to you
0:48:30 > 0:48:33because she'd stopped wearing it, or you liked it?
0:48:33 > 0:48:34I don't think she ever wore it.
0:48:34 > 0:48:36It's not the sort of thing that she would have bought.
0:48:36 > 0:48:37I think it was probably a gift.
0:48:37 > 0:48:40She used to be housekeeper for quite a lot of wealthy families
0:48:40 > 0:48:43and she was often given things by guests that used to stay regularly.
0:48:43 > 0:48:47And I think she was probably given it as a gift and she passed it on to me.
0:48:47 > 0:48:49- So, did you like it as a girl because it was pink?- Yes.
0:48:49 > 0:48:52- Yeah?- And I used to dress up and wear it with high heels
0:48:52 > 0:48:53and handbags at the age of ten.
0:48:53 > 0:48:55- Did you?- Yes, and I used to wear it then
0:48:55 > 0:49:00and I really liked it. But now, I have to say, I haven't worn it since.
0:49:00 > 0:49:02I find it a bit garish, actually.
0:49:02 > 0:49:05- Really?- Yeah. - Well, it is Christian Dior.
0:49:05 > 0:49:08We can see it from here, the mark there is Christian Dior.
0:49:08 > 0:49:10Now, of course, that conjures up
0:49:10 > 0:49:12all these wonderful sort of fashion items, etc,
0:49:12 > 0:49:15and high-end jewellery.
0:49:15 > 0:49:16But this is, you know,
0:49:16 > 0:49:19Christian Dior the costume jeweller we're looking at here.
0:49:19 > 0:49:22It was developed in the post-war period
0:49:22 > 0:49:25when the jewellery at the time, worn by Hollywood stars,
0:49:25 > 0:49:29was all gem-set, and these would have all been rubies
0:49:29 > 0:49:31and these would have been opals, etc.
0:49:31 > 0:49:35And with fashion wanting to copy that, they decided to make jewellery
0:49:35 > 0:49:39like this so it would reflect the Hollywood style.
0:49:39 > 0:49:42Now, it is costume jewellery, we should explain that.
0:49:42 > 0:49:44- Yeah.- You've got the mauve stones and the pink,
0:49:44 > 0:49:46and these are glass, or diamante,
0:49:46 > 0:49:49or paste - as we call it - on a base metal.
0:49:49 > 0:49:53What would this go for in a provincial saleroom like
0:49:53 > 0:49:56where we're going to go in Cirencester?
0:49:56 > 0:49:59It would probably make over £50.
0:49:59 > 0:50:02- OK.- But I should have the estimate at sort of £70 to £100.- OK.
0:50:02 > 0:50:06I also think we should fix the reserve
0:50:06 > 0:50:09at that sort of £60, I think.
0:50:09 > 0:50:10- OK.- How about that? - Yes, that sounds fine.
0:50:10 > 0:50:12And then with the commission taken off,
0:50:12 > 0:50:15you'll probably end up with 50 if it sells at that sort of level.
0:50:15 > 0:50:19- OK.- So, we'll see you at the auction? - OK, yes, you will.- Good.
0:50:21 > 0:50:24Well, that completes our final lots for the auction room.
0:50:24 > 0:50:29Michael is hoping for a great result with Berenice's Art Nouveau tray.
0:50:31 > 0:50:33There's the Wemyss sponge bowl and strainer
0:50:33 > 0:50:36but will it clean up at the auction for Phyllis?
0:50:36 > 0:50:40Thomas is hoping to see a good price for this collection of
0:50:40 > 0:50:43stereographic pictures which belonged to Jennifer's grandfather.
0:50:43 > 0:50:45And finally, we've got Angie's
0:50:45 > 0:50:47grandmother's Christian Dior bracelet.
0:50:49 > 0:50:52We're selling them at Moore, Allen and Innocent.
0:50:52 > 0:50:56It's a busy day and silver has been selling well so far.
0:50:56 > 0:50:59So let's see what they make of Berenice's tray.
0:50:59 > 0:51:02- Berenice, good luck. Good luck. - Thanks.- The tension's building.
0:51:02 > 0:51:04We're just about to sell that Edwardian silver
0:51:04 > 0:51:07- dressing table tray.- Yes. - Sort of in the Art Nouveau flavour.
0:51:07 > 0:51:09- Beautifully decorated. - It is, isn't it?
0:51:09 > 0:51:12Hasn't been on the dressing table, though, has it?
0:51:12 > 0:51:14No, it's been on the coffee table
0:51:14 > 0:51:16and the kids have knocked it and banged it.
0:51:16 > 0:51:18But now it's going, I bet the kids are upset?
0:51:18 > 0:51:21Oh, I don't think they'd notice. They'll find something else to bang.
0:51:21 > 0:51:23Don't let your children knock your silver about!
0:51:23 > 0:51:26That's the very last thing you want to happen.
0:51:26 > 0:51:28- Yeah, it's good because it's a good display piece.- Yes.
0:51:28 > 0:51:31Sometimes you get chased bowls and they're difficult to display.
0:51:31 > 0:51:34- Put that on an easel and you get the full impact of it.- Yes.
0:51:34 > 0:51:35It's a gorgeous decoration.
0:51:35 > 0:51:38That's a nice way of displaying it. That's a good tip there.
0:51:38 > 0:51:40- Put it on an easel. Good luck. - Thank you very much.
0:51:40 > 0:51:42Here we go, it's going under the hammer.
0:51:44 > 0:51:46Who'll start me? Should be 100 to get on, shouldn't it? 100?
0:51:48 > 0:51:5280? At £80. A bid there only at £80. 5 anywhere now?
0:51:52 > 0:51:55- At £80. 5. 90. 5. 100...- Brilliant.
0:51:55 > 0:51:57Silver's selling well here today.
0:51:57 > 0:52:01- And I hope that Uncle is watching from up there.- I bet he is.
0:52:01 > 0:52:06..Do I hear 140? 150 now? At 140. At £140. All out in front of me, then?
0:52:06 > 0:52:08At 140.
0:52:08 > 0:52:10GAVEL BANGS
0:52:10 > 0:52:14- Bang on.- Top end.- He knows his own onions, doesn't he?- Exactly.
0:52:14 > 0:52:18- That'll pay for my art now.- For your art? What sort of art? Art classes?
0:52:18 > 0:52:23Yes. I'm just going on some courses and the next one was £140 exactly.
0:52:23 > 0:52:26- Oh, meant to be.- It was. - In the stars, wasn't it?
0:52:27 > 0:52:30How perfect. Who knows? We could be selling one of Berenice's
0:52:30 > 0:52:33paintings at auction in the future.
0:52:33 > 0:52:35OK, it's my turn to be the expert,
0:52:35 > 0:52:36and I'm feeling a little bit nervous.
0:52:36 > 0:52:38Unfortunately we don't have Phyllis,
0:52:38 > 0:52:40she's halfway down the Panama Canal,
0:52:40 > 0:52:43but we do have her son Paul, who's right next me. Hi.
0:52:43 > 0:52:44- Hi, nice to see you. - It's good to see.
0:52:44 > 0:52:46So you've grown up with your mum's collection.
0:52:46 > 0:52:48Yes, it's filling the house.
0:52:48 > 0:52:49Ever since she got the little pig,
0:52:49 > 0:52:51I think she had inherited that bit,
0:52:51 > 0:52:52she's been collecting ever since.
0:52:52 > 0:52:54So every time I go back to the house now,
0:52:54 > 0:52:57it seems like there's another cupboard full of Wemyss.
0:52:57 > 0:52:59- This could be your inheritance though.- It may be.
0:52:59 > 0:53:01So, I'm a bit unsure about selling it.
0:53:01 > 0:53:04It's like, we wonder why that's happening.
0:53:04 > 0:53:06Here you are, this is it.
0:53:06 > 0:53:10Start me 100 to get on. 100 for the Wemyss ware.
0:53:10 > 0:53:12- Come on.- 50 then?
0:53:12 > 0:53:16- At £50, thank you. At £50... - I'm so nervous.- ..At £50. At 5.
0:53:16 > 0:53:2060. 5. 70. 5.
0:53:20 > 0:53:22At 75. 80 now? At 75. 80.
0:53:22 > 0:53:26- 5... Come on.- ..90. 5. 100... - They've sold it.
0:53:26 > 0:53:30..On my left at 100. 110 now? At £100. Are you sure?
0:53:30 > 0:53:33On my left then at 100.
0:53:33 > 0:53:36- GAVEL BANGS - Yes, made estimate.- OK.- Did it.
0:53:36 > 0:53:38Well done. Got on the estimate.
0:53:38 > 0:53:41- I'm actually pleased. - Didn't have to take it.
0:53:41 > 0:53:45I had the note saying, "You take that home if it's not sold."
0:53:45 > 0:53:48Hopefully she's had a wonderful holiday. She's still having it.
0:53:48 > 0:53:50Give her the good news when she comes home as well.
0:53:50 > 0:53:54- It's sold. She'll be happy with that. - Give her my regards, won't you?
0:53:54 > 0:53:57Well, the Wemyss went down well, but what will the auction room
0:53:57 > 0:54:02make of Jennifer's stereograph and those Boer War photos?
0:54:02 > 0:54:05- They've been in the family a long time, haven't they?- Yes.
0:54:05 > 0:54:07Does nobody else want to have them,
0:54:07 > 0:54:11- or is it you that just wants to get rid of them?- The family doesn't, no.
0:54:11 > 0:54:16- I love those sepia photographs. - Their handlebar moustaches.- Yeah.
0:54:16 > 0:54:17Those big moustaches.
0:54:17 > 0:54:21Paul, I think you'd look rather handsome with one of those.
0:54:21 > 0:54:25- Are you changing your mind?- No. - You see, we like this kind of thing.
0:54:25 > 0:54:27It's hard to put a value on this sort of thing.
0:54:27 > 0:54:31- The Boer War stereograph and the viewer should sell the lot.- Yes.
0:54:31 > 0:54:34- Here we go.- OK.- This is your lot.
0:54:36 > 0:54:41The Victorian stereoscope with the 36 stereographic cards there.
0:54:41 > 0:54:43Who'll start me? Nice little lot of cards there.
0:54:45 > 0:54:50Start me at 100. £100? Good military interest piece.
0:54:50 > 0:54:53£50 then?
0:54:54 > 0:54:58£30? 30 I'm bid. 5. 40. 5.
0:54:58 > 0:55:0350. 5. 60. 5. 70. 5?
0:55:03 > 0:55:11- At 75. Do I hear 80 now? 80. 5. 90. 5. 100?- Good.- At 100 on my left.
0:55:11 > 0:55:15110 if you like? 110. 120. 130, if you like, sir?
0:55:15 > 0:55:20- At 120. In the middle here at 120. 130.- Superb.- 140...
0:55:20 > 0:55:23- Absolutely superb.- Surprised? - I am, very surprised.
0:55:23 > 0:55:28..At 150. To my far left at 150. 160 now? At £150.
0:55:28 > 0:55:30Are you all done at 150?
0:55:30 > 0:55:31GAVEL BANGS
0:55:31 > 0:55:35£150. That is fabulous. A superb piece of military history as well.
0:55:35 > 0:55:38Well-documented as well. Well, at least you've looked after it
0:55:38 > 0:55:41- all these years, haven't you?- Yes. - So...- It's a long time.
0:55:41 > 0:55:44..you've had the joy. They've been kept in good condition.
0:55:44 > 0:55:45That's the key factor.
0:55:45 > 0:55:47- Well, they've gone.- Yes.- Well, yes,
0:55:47 > 0:55:50I think it's the object which has sold it.
0:55:50 > 0:55:53They are very interesting and thank you for bringing them along.
0:55:53 > 0:55:56A wonderful result. Nearly double the reserve.
0:55:56 > 0:56:01But what will the auction room make of Angie's costume jewellery?
0:56:01 > 0:56:03- It's going under the hammer at £70 to £100.- Yes.
0:56:03 > 0:56:05This was given to you by your grandmother.
0:56:05 > 0:56:07It was. 22 years ago she gave it to me
0:56:07 > 0:56:08and it's been in a drawer ever since.
0:56:08 > 0:56:11- I'm afraid it's not my taste.- No? - No.
0:56:11 > 0:56:14- So I'm hoping that I'll get enough to buy something different.- Fair enough.
0:56:14 > 0:56:18- Fair enough. Fair enough. Will it sell well?- I don't know.
0:56:18 > 0:56:20It'll be a tough call today, I think,
0:56:20 > 0:56:22if it does sell at all, I have to say.
0:56:22 > 0:56:24It's quite a difficult subject
0:56:24 > 0:56:28to sell in a traditional saleroom like this, but...
0:56:28 > 0:56:29- we're going to give it a go.- OK.
0:56:29 > 0:56:32Here we go, fingers crossed, that's what it's all about.
0:56:32 > 0:56:35You never know what'll happen at an auction. Let's check this one out.
0:56:36 > 0:56:40We have a phone. It's the Christian Dior bracelet...
0:56:40 > 0:56:41- A phone?- Right.
0:56:41 > 0:56:45..dated 1958. It should be over 100 really, shouldn't it?
0:56:45 > 0:56:4880? At £80, thank you. At £80 the bid.
0:56:48 > 0:56:52At £80. At 5. 90. 5. 100.
0:56:52 > 0:56:58110. 120. 130. 140. 150. 160.
0:56:58 > 0:57:03- At 160.- Gosh.- Lady's bid of 160. 170 now. 160? At 160.
0:57:03 > 0:57:09170 on the phone. 180. 190, if you like? 190. 200.
0:57:09 > 0:57:13- At 200. 210, if you like now? At 200- They do know it's paste?
0:57:13 > 0:57:17220. 230. 240.
0:57:17 > 0:57:20- 250. 260.- Wha...?
0:57:20 > 0:57:27270. 280. 290. 300. 320? 320.
0:57:27 > 0:57:30- 340.- I am flabbergasted.- 360.
0:57:30 > 0:57:33- Did you miss something, Thomas? - 380.
0:57:33 > 0:57:35400. 420...
0:57:35 > 0:57:36SHE GASPS
0:57:36 > 0:57:39- Do they know something we don't?- I don't know.
0:57:39 > 0:57:41Angie, what's going through your mind right now?
0:57:41 > 0:57:43Oh, I can't believe it.
0:57:43 > 0:57:45- Nanny!- Good old Nana.
0:57:45 > 0:57:48All sure now? It's on the phone. At 440.
0:57:49 > 0:57:51- GAVEL BANGS - Incredible.
0:57:51 > 0:57:54- £440. Angie, that's wonderful. - Thank you so much.
0:57:54 > 0:57:56- That's great.- Good old Nana, eh? - Good old Nana.
0:57:56 > 0:57:59I shall be able to get something really nice with that.
0:57:59 > 0:58:02- I am flabbergasted.- That's the beauty of auctions for you.
0:58:02 > 0:58:04- I am flabbergasted.- Sadly, that brings us to the end of
0:58:04 > 0:58:06another wonderful show here on Flog It!
0:58:06 > 0:58:07I hope you've enjoyed it.
0:58:07 > 0:58:10Join us again soon for many, many more surprises to come.
0:58:10 > 0:58:13But for now, from Cirencester, it's cheerio from all of us.