0:00:06 > 0:00:10This architectural jewel has been standing here since 1668.
0:00:10 > 0:00:14It's the Sheldonian Theatre and it was designed by one of Britain's
0:00:14 > 0:00:16most famous architects - Sir Christopher Wren.
0:00:16 > 0:00:20There can be no mistaking the fact that today, "Flog It!" is in Oxford.
0:00:44 > 0:00:47Designing this theatre changed Christopher Wren's life.
0:00:47 > 0:00:51It shifted his interest from mathematics to architecture.
0:00:56 > 0:01:00So without the Sheldonian, we might not have ever seen
0:01:00 > 0:01:04one of the world's most famous buildings - St Paul's Cathedral.
0:01:07 > 0:01:10Without a queue like this, we wouldn't have a show to make
0:01:10 > 0:01:12because it's all about the people.
0:01:12 > 0:01:14You're so important and it's great to see
0:01:14 > 0:01:16how everybody's turned out today.
0:01:16 > 0:01:20They all want to know the answer to a very important question which is...
0:01:20 > 0:01:22ALL: What's it worth?
0:01:23 > 0:01:26As ever, we have an eager team of experts to provide the answer.
0:01:26 > 0:01:28Leading the team here in Oxford are...
0:01:28 > 0:01:34Charlie Ross, whose extensive knowledge and enthusiasm is invaluable to the show.
0:01:34 > 0:01:39If we make some money for you, what are you going to spend it on, other than me?
0:01:39 > 0:01:42Charlie knows that's not how it works.
0:01:42 > 0:01:47Tracy Martin, a 20th-century specialist who's catching up fast.
0:01:47 > 0:01:50How do I delve into your bag?
0:01:50 > 0:01:52And she has youth on her side.
0:01:52 > 0:01:54They're football teams of the early fifties.
0:01:54 > 0:01:57I wouldn't remember those either, would I, really?
0:01:57 > 0:02:00Coming up, Charlie hopes for some divine intervention.
0:02:00 > 0:02:03I'm going to pick one up and pray.
0:02:03 > 0:02:08Tracy is shocked to hear how people treat their treasured belongings.
0:02:08 > 0:02:11- My husband used to play with it. - How did he use to play with it?
0:02:11 > 0:02:13He used to dive....
0:02:13 > 0:02:14Dive-bomb it?
0:02:18 > 0:02:21As the theatre fills up, I get the chance to meet people
0:02:21 > 0:02:25and get a sneak preview of some of their treasures.
0:02:25 > 0:02:29Isn't that lovely? A mail coach.
0:02:29 > 0:02:32- Is it a bookmark? - Yes it's a bookmark, a page marker.
0:02:32 > 0:02:34- Is that what it is?- Yes.
0:02:34 > 0:02:36What's it worth? A fiver?
0:02:36 > 0:02:40No, it's got to be worth a little bit more than that surely. I'd say that was worth around 30 to £50.
0:02:40 > 0:02:44- Really?- Yes. Look at the quality of that and look at the colours.
0:02:46 > 0:02:47That's really nice.
0:02:47 > 0:02:51It's been kept out of the sunlight.
0:02:52 > 0:02:57Charlie is up first with Janet and he's enjoying a little bit of guesswork.
0:02:57 > 0:03:00Sometimes you can judge the contents by the box and I'm beginning
0:03:00 > 0:03:05to think this isn't a leather box, it's leatherette.
0:03:05 > 0:03:08I'm expecting silver plate or something. Hope I'm wrong.
0:03:10 > 0:03:14- I'm wrong. What wonderful colours. - They're beautiful colours.
0:03:14 > 0:03:18Fabulous colours. I think even from here they're silver.
0:03:18 > 0:03:22Bean-top coffee spoons. Where did these come from?
0:03:22 > 0:03:26From an aunt and uncle of mine. I inherited it when they died.
0:03:26 > 0:03:29My uncle always used to buy beautiful things for his wife
0:03:29 > 0:03:33- and I always thought they came from abroad but I'm not sure.- We'll have a look at one.
0:03:33 > 0:03:40They're English. I'm certain. The case looks English and I'm expecting to see an English hallmark.
0:03:41 > 0:03:43You can tell they're coffee spoons.
0:03:43 > 0:03:46- Why?- The shape?
0:03:46 > 0:03:47Partly the shape.
0:03:47 > 0:03:49They have got a bean top.
0:03:49 > 0:03:55A coffee bean. Even if you look at the top of that one there, you can see the line
0:03:55 > 0:03:59making it a coffee bean. Isn't that interesting?
0:03:59 > 0:04:06They're silver and enamelled I'm expecting them to be 1920s, 1930s period.
0:04:06 > 0:04:08They're in fabulous condition.
0:04:08 > 0:04:12The only thing I think is slightly disappointing is the bean top themselves.
0:04:12 > 0:04:17I'd like to see a bit of ivory
0:04:17 > 0:04:24or possibly a bit of mother of pearl whereas if you look at the crazing on those,
0:04:24 > 0:04:28they're merely composition which I think let down the rest of them.
0:04:28 > 0:04:33The bowls are fabulous. These shell motif bowls.
0:04:33 > 0:04:35I'm going to pick one up and pray.
0:04:35 > 0:04:40- If they're EPNS they're worth about three quid.- Oh, dear!
0:04:40 > 0:04:42They won't be because they're enamelled.
0:04:42 > 0:04:44They're silver
0:04:44 > 0:04:47and they're Birmingham.
0:04:47 > 0:04:49Made in Birmingham
0:04:49 > 0:04:51and they're on a "P".
0:04:51 > 0:04:57A "P" appears on the Birmingham in 1914 or 1939.
0:04:57 > 0:05:01The start of two wars which is easy enough to remember.
0:05:01 > 0:05:08Looking at the case, I think they're probably the earlier of the two.
0:05:09 > 0:05:13That sounds a bit vague but because they aren't Victorian or earlier,
0:05:13 > 0:05:16it's not going to make much difference in terms of value.
0:05:16 > 0:05:24- Sadly, I'm going to disappoint you now I think by saying that they're worth less than £50.- Really?
0:05:24 > 0:05:27- Surprisingly, they aren't that rare. - Right.
0:05:27 > 0:05:29Are you happy to sell them if I say that?
0:05:29 > 0:05:36- Yes, that's fine thank you.- You don't want to see them again. We'll put a reserve on them, an estimate
0:05:36 > 0:05:39of 30 to £50 with the fixed reserve at 30.
0:05:39 > 0:05:43If two people really like them, there's an upside.
0:05:43 > 0:05:47There's not an upside into hundreds of pounds sadly, all right?
0:05:47 > 0:05:50- Yes, thank you very much.- Thank you for bringing them along.
0:05:50 > 0:05:54I agree with Charlie. They have the look of something pre First World War.
0:05:54 > 0:05:58Next up, a little glamour from the 1920s.
0:06:00 > 0:06:05We've certainly seen some wonderful quality today and I've just been joined by Hilary who has Lalique.
0:06:05 > 0:06:07That's one of the top names in glass isn't it?
0:06:07 > 0:06:10- I think so.- How did you come by this?
0:06:10 > 0:06:12It was given to me by my parents.
0:06:12 > 0:06:16It was handed down and I think it belonged to my uncle.
0:06:16 > 0:06:17Wonderful opalescence.
0:06:17 > 0:06:20- You can see that, it's quite thick. - It's beautiful.
0:06:20 > 0:06:25It's signed there which means this was made before he died.
0:06:25 > 0:06:28Vessels that were made afterwards were just signed Lalique.
0:06:28 > 0:06:32This pattern was around in the early 1920s
0:06:32 > 0:06:35up to 1930s.
0:06:35 > 0:06:37- You can date it to around that period.- Oh, right.
0:06:37 > 0:06:42- Where has it been in the house? - It's been wrapped up.
0:06:42 > 0:06:48Then I brought it out a year ago and I had it on a shelf.
0:06:48 > 0:06:51- Admiring it. It's lovely. - Which is lovely.
0:06:51 > 0:06:54I've done some price comparables and some guides
0:06:54 > 0:06:59- and these bowls sell for around £200 to £300.- Oh, right, yes.
0:06:59 > 0:07:03- We have a book price for this. - I see, yes.- £200 to £300.
0:07:03 > 0:07:06Only problem being...that.
0:07:06 > 0:07:09- A little bit of damage. - It's got a chip.
0:07:09 > 0:07:14That can be sorted out but it might cost £80 to do it so that will affect the price.
0:07:14 > 0:07:19I'm scared to put two to three on this. I'd like to go one to two with a reserve of one
0:07:19 > 0:07:22to get things started because I still feel it might do £150.
0:07:22 > 0:07:25- Are you happy with that? - Not really, no.
0:07:25 > 0:07:32I would've hoped it would go for more than that and have a reserve of 140.
0:07:32 > 0:07:40£140, let's call the valuation 140 to 200, fixed reserve at 140. I'm rather hoping for the top end.
0:07:40 > 0:07:44If there's two people in the saleroom that are going to buy their own restoration work,
0:07:44 > 0:07:47are capable of doing this or they know a friend that can do it,
0:07:47 > 0:07:50- they won't be put off or frightened by it.- Oh, good.
0:07:50 > 0:07:52Because it IS a £200 to £300 bowl.
0:07:52 > 0:07:54- Yes.- It's just that chip.
0:07:54 > 0:07:58- People are so fussy nowadays.- I'm sure they are.- You know who you are!
0:07:58 > 0:08:01Fingers crossed for Hilary we get it away.
0:08:03 > 0:08:09Over to Tracy, whose attention has been caught by a rather unusual little chap.
0:08:09 > 0:08:12What a fantastic piece of Brannam pottery.
0:08:12 > 0:08:16- He's quite ugly, isn't he? - Very ugly.
0:08:16 > 0:08:18He's actually called an ugly.
0:08:18 > 0:08:20- Really?- That's his name as well.
0:08:20 > 0:08:25- There's something cute ugly about him.- I know, yes.
0:08:25 > 0:08:29How did you come to have this little character in your life?
0:08:29 > 0:08:31My mother-in-law gave it to me.
0:08:31 > 0:08:33How long ago did she give that to you?
0:08:33 > 0:08:35About 40 years.
0:08:35 > 0:08:37- A long time.- A long time ago.
0:08:37 > 0:08:41Is it something you've taken a shine to and wanted?
0:08:41 > 0:08:45I think it was because my husband used to play with it.
0:08:45 > 0:08:47How did he use to play with it?
0:08:47 > 0:08:51- He used to dive...- Dive-bomb it?!
0:08:51 > 0:08:55Then you came to its rescue. You've looked after it.
0:08:55 > 0:08:58I think that's why she gave it to me.
0:08:58 > 0:09:00She knew you'd take good care of it.
0:09:00 > 0:09:02Do you know what it's actual function is?
0:09:02 > 0:09:06That's why I brought it because it's got such a big mouth.
0:09:06 > 0:09:11There's a reason for its big mouth because it's a spoon warmer.
0:09:11 > 0:09:17- You'd pop your spoons in there, warm them up, put water in the bottom.- Really?
0:09:17 > 0:09:20Do you know anything about the Brannam Pottery?
0:09:20 > 0:09:22No, not at all.
0:09:22 > 0:09:28I saw two pieces on an antique show
0:09:28 > 0:09:31and I thought I've something with that name
0:09:31 > 0:09:35and the date, 1911.
0:09:35 > 0:09:40If we turn it over, Brannam Pottery was established in 1881.
0:09:40 > 0:09:44When we turn it over, this Barum
0:09:44 > 0:09:49is actually the Roman name for Barnstable.
0:09:49 > 0:09:56We have the date, 1911 here and we have W Borrowman.
0:09:56 > 0:09:59That's the name of the designer.
0:09:59 > 0:10:01This particular gentleman studied
0:10:01 > 0:10:08with Royal Doulton before going on to work for this particular pottery.
0:10:08 > 0:10:14They were really well known for making these uglies or grotesques as they're also known. I love him.
0:10:14 > 0:10:17We've got some problems, haven't we? We've some damage to the glaze.
0:10:17 > 0:10:23Whether that's because your husband dive-bombed him, I'm not too sure.
0:10:23 > 0:10:27We've some little chips to the ears here, as well.
0:10:29 > 0:10:34How would you feel if we stick him into auction with a reserve of £60?
0:10:35 > 0:10:38- Yes. - Yes, you'd be all right with that?
0:10:38 > 0:10:45I'm thinking 60 to 100 but I know he's really upset now.
0:10:45 > 0:10:47He's telling me he wants to go to someone that's going to love him.
0:10:50 > 0:10:53How could Audrey say she doesn't love him?
0:10:53 > 0:10:56He's lovely.
0:10:56 > 0:11:00I think he'll be loved by the bidders. Over to Watcombe Manor Saleroom, in Watlington
0:11:00 > 0:11:05just outside Oxford where Jones and Jacob Finer Auctioneers will be selling all of our lots.
0:11:05 > 0:11:10They'll be two auctioneers on the rostrum today. Francis Ogley and owner Simon Jones.
0:11:10 > 0:11:15There's just enough time to see what Simon makes of our ugly little friend from Devon.
0:11:15 > 0:11:20This is a lovely little story. Audrey wants to see the back of this because she doesn't like it at all.
0:11:20 > 0:11:25I love it, a bit of West Country Pottery a bit of Brannam ware.
0:11:25 > 0:11:29We've put 60 to £100 on this. Possibly a spoon warmer?
0:11:29 > 0:11:31Or possibly a small salt.
0:11:31 > 0:11:37Cracking little gargoyle, great fun, good colour, lots of interest
0:11:37 > 0:11:40because it's a slightly unusual shape from that factory.
0:11:40 > 0:11:47- This is a good collectible, isn't it?- It is, yes. A popular potter.
0:11:47 > 0:11:49Can you see this fly away at the top end?
0:11:49 > 0:11:55I think it'll go mid estimate because there's a little bit of damage to some of the decoration.
0:11:55 > 0:11:58- Nice thing, though. - It is, very attractive.
0:11:58 > 0:12:01I thought he'd like it.
0:12:01 > 0:12:06Before the auction kicks off, let's take another look at the rest of our lots.
0:12:08 > 0:12:14In stylish mood, Charlie picked out the elegant box silver coffee spoons belonging to Janet.
0:12:14 > 0:12:17I couldn't ignore the early Lalique bowl.
0:12:17 > 0:12:22Even with the chip, it should generate plenty of interest.
0:12:22 > 0:12:29Tracy had a bit of fun by choosing the grotesque Brannam pottery spoon warmer guaranteed to warm hearts.
0:12:41 > 0:12:43First to go under the hammer, Janet's coffee spoons.
0:12:45 > 0:12:50- These aren't a lot of money are they really? They're nothing. 30 to £50. - Not really.
0:12:50 > 0:12:53Charlie, what's going on here? That's the value, isn't it?
0:12:53 > 0:12:55Who wants them? Worried about damaging them.
0:12:55 > 0:12:59You'd forever worry about chipping the enamel, wouldn't you?
0:12:59 > 0:13:03- That's right.- You never used them? No, always kept in the box.
0:13:03 > 0:13:06Let's hope they go to a good home and we get the top end.
0:13:06 > 0:13:10The Harlequin set of coffee spoons, enamel backs.
0:13:10 > 0:13:16Ivory coloured bean finials. £30.
0:13:16 > 0:13:1820 start me.
0:13:18 > 0:13:2420. 22 anywhere? 22, 25, 28, 30.
0:13:24 > 0:13:27- At £30. in the room, at 30. - A bit more, please.
0:13:27 > 0:13:31All done at £30, selling at 30.
0:13:31 > 0:13:33- They've gone.- Oh, well.
0:13:33 > 0:13:37It's so interesting because that's quality but nobody wants them.
0:13:37 > 0:13:40You'd like to think they would be were worth £30 of spoon, wouldn't you?
0:13:40 > 0:13:46- I'm afraid the estimate was right. - Quite correct. There we go.
0:13:46 > 0:13:48- Thank you for bringing them in. - Thank you.
0:13:49 > 0:13:53I hope they've gone to someone who really enjoys them.
0:13:53 > 0:13:58Next, that beautiful bowl by Rene Lalique.
0:13:58 > 0:14:02- It's a nice piece, apart from the little chip.- I know. - That's holding it back.
0:14:02 > 0:14:04Right now it's down to this lot in here.
0:14:04 > 0:14:10It's packed in this room, surely someone wants some Rene Lalique.
0:14:10 > 0:14:13- I hope so. - We're going to find out right now.
0:14:15 > 0:14:20Lot seven is the shallow opalescent bowl. Here we go.
0:14:20 > 0:14:23What can we say for that? Couple of hundred pounds for it?
0:14:23 > 0:14:26Here we go.
0:14:26 > 0:14:30140 I am bid, 150, 160, all done at 150.
0:14:30 > 0:14:33Back now at 160.
0:14:35 > 0:14:39160. Bidding? 170,
0:14:39 > 0:14:42180, 190, 200.
0:14:42 > 0:14:43We're climbing, they like it.
0:14:43 > 0:14:48220, 210, 220.
0:14:48 > 0:14:53220, all done at 220. All finished and done at 220.
0:14:53 > 0:14:58- By the door at 220.- £220.
0:14:58 > 0:15:01- That's OK. It was damaged. - That's good. That's OK.
0:15:01 > 0:15:04Don't forget it was only a 7 1/2 inch bowl.
0:15:04 > 0:15:05- That's good.- Happy?
0:15:05 > 0:15:08- Yes, I'm happy.- That was a bit of fun and thank you so much for coming.
0:15:08 > 0:15:13If you have anything like that and you want to sell it, bring it along to one of our valuation days
0:15:13 > 0:15:17and you can pick up details from the BBC website or from your local press.
0:15:17 > 0:15:21I seem to be spending the day surrounded by glamour.
0:15:21 > 0:15:27I've just been joined by Audrey who's looking absolutely fabulous and so are you.
0:15:27 > 0:15:29My Dynasty look.
0:15:29 > 0:15:32- You both look great.- Oh, thank you.
0:15:32 > 0:15:34Tracy, you look smashing.
0:15:34 > 0:15:36Red and black, doesn't that work?
0:15:36 > 0:15:39I'm looking a bit dull, aren't I, really? I should wear bright clothes.
0:15:39 > 0:15:43- Listen, we love that Brannam pottery.- Do you really?
0:15:43 > 0:15:47From the West Country and what a cheeky little devil!
0:15:47 > 0:15:52Had a chat to the auctioneer and he said even though there's a tiny bit of damage on the top,
0:15:52 > 0:15:57it should do the top end plus a bit more because it's such fun and you just want to hold this thing.
0:15:57 > 0:15:59- He's beautiful, I love him. - He is...rather nice.
0:15:59 > 0:16:02- I think he'll do really well. - Going to wave goodbye to it?
0:16:02 > 0:16:04I don't mind if it doesn't sell.
0:16:04 > 0:16:06You're changing your mind now, aren't you?
0:16:06 > 0:16:08Have you fallen in love with him again?
0:16:08 > 0:16:13It's too late to do that because it's going under the hammer right now and it's going to sell.
0:16:13 > 0:16:18The salt pot, great fun,
0:16:18 > 0:16:20what can we say for him? 60 or £70 for him?
0:16:22 > 0:16:2970 I'm bid. 75 anywhere? £70. 75, at £75 all done.
0:16:29 > 0:16:3380, 85, 90, at £85.
0:16:33 > 0:16:37It is yours at 85. All done at 85.
0:16:37 > 0:16:40That was so quick.
0:16:40 > 0:16:48That was brilliant, I'm really pleased. He's going to a good home and someone is going to love him.
0:16:48 > 0:16:52Good sale. He did appeal to the bidders, I knew he would.
0:16:52 > 0:16:55Later we seek an extraordinary bit of auction room drama.
0:16:55 > 0:16:57570, 580.
0:16:57 > 0:16:59- My heart is pounding.- Bless you.
0:16:59 > 0:17:02Wow!
0:17:02 > 0:17:03Well done, Shirley.
0:17:08 > 0:17:11First I'm off somewhere very special.
0:17:15 > 0:17:19The Ashmolean was the first public museum in Britain and it's still one of the greatest.
0:17:19 > 0:17:22We're here filming on a Monday so it's closed to the public but we've
0:17:22 > 0:17:26got special permission to film in one of my favourite haunts.
0:17:26 > 0:17:28They've recently spent millions refurbishing this museum
0:17:28 > 0:17:34but the area we're filming in today hasn't changed since the 1950s - the print room.
0:17:41 > 0:17:45It's called the print room but it houses one of Britain's greatest
0:17:45 > 0:17:51collections of European prints and drawings dating from the 15th century up to the present day.
0:17:51 > 0:17:53The collection had a great start in life.
0:17:53 > 0:17:58In the early days, in the 1840s, it acquired, through public subscription,
0:17:58 > 0:18:0350 Raphael and 50 Michelangelo drawings. Absolute originals.
0:18:03 > 0:18:06From the celebrated collection of the artist Sir Thomas Lawrence.
0:18:06 > 0:18:09I've got to say, they are heavenly.
0:18:09 > 0:18:14I'm this close to the greatest works of art I've ever seen in my life,
0:18:14 > 0:18:15in fact, in history.
0:18:15 > 0:18:23These are chalk studies, showing composition, light and shade, muscle tones, it's incredible.
0:18:23 > 0:18:26You can learn so much from coming here.
0:19:05 > 0:19:10If you want to see Raphaels and Michelangelos, you do have to book a special appointment,
0:19:10 > 0:19:14otherwise there's 25,000 other drawings and prints here
0:19:14 > 0:19:18from artists such as Rembrandt, right through to Stanley Spencer.
0:19:18 > 0:19:21And I've taken the opportunity today to come and talk to John Whitely,
0:19:21 > 0:19:27who's the senior curator here about his love and passion for drawing and why it's so important.
0:19:32 > 0:19:35John, you've always loved drawings, you're very passionate about them.
0:19:35 > 0:19:38What is it that makes you gravitate towards these?
0:19:38 > 0:19:41Drawings are very unlike paintings, they tell us something about
0:19:41 > 0:19:45the intimate thoughts of the artist as they are preparing a work of art.
0:19:45 > 0:19:49The paintings of the artist executed on the basis of these drawings
0:19:49 > 0:19:51tend to be very finished statements.
0:19:51 > 0:19:56They are for the public, they are for posterity and they don't give away as much as a drawing does.
0:19:56 > 0:19:58They're not so polished, are they?
0:19:58 > 0:20:01They're not so polished, also they are full of the kind of
0:20:01 > 0:20:04thoughts that an artist has as he's moving towards the finished image.
0:20:04 > 0:20:09This helps us to explore the innermost thoughts of the artist as he's preparing his composition.
0:20:09 > 0:20:14You've selected three here from this vast collection.
0:20:14 > 0:20:19Show me what you're looking into, what you can learn from each artist and what he's trying to do.
0:20:19 > 0:20:23The drawing of the jockey by Degas shows the back
0:20:23 > 0:20:27drawn in a certain position and then the buttocks are pulled forward.
0:20:27 > 0:20:31He changes his mind about where the leg goes and draws it over the leg.
0:20:31 > 0:20:34It gives us an idea of how the artist is using his black chalk
0:20:34 > 0:20:40with a kind of rage as he draws the leg in one place and then the jockey moves and he draws it in another.
0:20:40 > 0:20:42- At speed?- At great speed.
0:20:42 > 0:20:46Although it must be said that although this drawing appears to be a drawing done on the racecourse,
0:20:46 > 0:20:50it certainly isn't, it must have been a professional model,
0:20:50 > 0:20:56or possibly a jockey whom the artist brought back to the studio and he poses for the artist in order to
0:20:56 > 0:21:01- give this impression of spontaneity, which then the artist will translate into the painting.- Incredible.
0:21:01 > 0:21:03Let's look at the Turner.
0:21:03 > 0:21:07Tell me what you see and what you can learn about Turner there.
0:21:07 > 0:21:12The Turner is a very different work of art from the Degas, because it's a finished statement.
0:21:12 > 0:21:16It's a watercolour by an artist who has done this as a work of art in its own right
0:21:16 > 0:21:21and he would have expected a collector, or a friend, to acquire this watercolour from him.
0:21:21 > 0:21:24Or he did it for his own pleasure, that's quite possible.
0:21:24 > 0:21:29An image that he wanted to take back from Venice that would record for him
0:21:29 > 0:21:32the impression of light and colour on the Venetian lagoon.
0:21:32 > 0:21:35It doesn't look finished, because it's so impressionistic
0:21:35 > 0:21:41and the colour is laid on in thin washes that gives a sense of air and atmosphere of weather and time of day
0:21:41 > 0:21:45to this view of buildings and that's the real subject of this picture.
0:21:45 > 0:21:47He didn't go to Venice to paint Venice.
0:21:47 > 0:21:51- He went to capture an effect of Venetian light. - It's beautiful isn't it?
0:21:51 > 0:21:55It's absolutely beautiful. Let's look at Leonardo.
0:21:55 > 0:21:59Well, Leonardo lies at the very beginning of the Italian Renaissance,
0:21:59 > 0:22:02the early Renaissance in the 15th century, central Italy,
0:22:02 > 0:22:06when drawing came into its own as an important method
0:22:06 > 0:22:08of preparing a work of art.
0:22:08 > 0:22:11He's using it as a way of thinking aloud
0:22:11 > 0:22:15and when I said a drawing is fascinating because it allows us to
0:22:15 > 0:22:18enter into the silent thoughts of the artist,
0:22:18 > 0:22:20this is a particularly good case in point.
0:22:20 > 0:22:25In this case, he is not working from nature, but he's drawing up something that he's inventing,
0:22:25 > 0:22:29but it's owing to the years of close study
0:22:29 > 0:22:31of the natural world that enables him
0:22:31 > 0:22:35to draw like this from his imagination.
0:22:35 > 0:22:39Thank you for you time. Can I borrow you for a second more to select a few drawings
0:22:39 > 0:22:44from some of my favourite artists so I can do what most people do when they come to visit?
0:22:44 > 0:22:48Yes, by all means. We'll take out boxes of Samuel Palme and Burne-Jones.
0:22:48 > 0:22:53You can sit as a member of the public, don white gloves and look at them to your heart's content.
0:23:17 > 0:23:22This is what I have been waiting for. He's got to be my favourite artist, Edward Burne-Jones,
0:23:22 > 0:23:24one of the Pre-Raphaelites.
0:23:24 > 0:23:26This is just superb.
0:23:26 > 0:23:28Wonderful purple ground
0:23:28 > 0:23:33with almost like a gold leaf image of this beautiful woman.
0:23:33 > 0:23:38But his work is just full of passion and mythology and romance.
0:23:38 > 0:23:42He came to Oxford in the 1850s to study religion and had some
0:23:42 > 0:23:47art lessons by Rosetti and became one of the four founding members of the Pre-Raphaelite Brotherhood.
0:23:47 > 0:23:52It's a small study of a beautiful angelic lady.
0:23:52 > 0:23:56I didn't like this when I first saw this. I picked it up and thought, "I'm not sure."
0:23:56 > 0:24:00But actually the more you look at this,
0:24:00 > 0:24:02the more beautiful this woman becomes.
0:24:02 > 0:24:05The burnt siennas and umbers...
0:24:05 > 0:24:08and lovely muddy browns.
0:24:08 > 0:24:10This is good because anybody can come here,
0:24:10 > 0:24:16work their way through these volumes, be so close to your heroes.
0:24:16 > 0:24:19Right, I'm going to move on to some Samuel Palmer now.
0:24:21 > 0:24:24Gosh, I could spend all day here.
0:24:24 > 0:24:28This is quite interesting, because this is, you could say, mixed-medium.
0:24:28 > 0:24:32It is pencil, watercolour, pen and ink and a white grounding.
0:24:32 > 0:24:35It's a very, very clever technique.
0:24:35 > 0:24:38This is a self-portrait and he's about 19 years old.
0:24:40 > 0:24:44Done when he was living in London. This is a few years later when they moved down to Shoreham.
0:24:44 > 0:24:47The family moved down to Shoreham
0:24:47 > 0:24:50to escape the sort of smoke and the smog of the city.
0:24:50 > 0:24:54And there's a child-like quality in his composition.
0:24:54 > 0:24:57It's almost as if it's a book illustration.
0:24:57 > 0:24:59Everything is happy about the picture,
0:24:59 > 0:25:01a little bunny rabbit hopping along.
0:25:01 > 0:25:04But you don't really see trees growing like that.
0:25:04 > 0:25:06It's just wonderful.
0:25:18 > 0:25:20In fact, it's really nice, actually
0:25:20 > 0:25:23looking at artists' works where they've just done it for themselves,
0:25:23 > 0:25:26it's not a commission, and they don't care how it's finished.
0:25:26 > 0:25:28Sometimes they look better unfinished.
0:25:30 > 0:25:33It makes you use your imagination more.
0:25:47 > 0:25:51Let's rejoin the team at the Sheldonian Theatre in Oxford
0:25:51 > 0:25:53and see what's happening next.
0:25:53 > 0:25:58Charlie's found an art nouveau frame that he's very excited about.
0:25:58 > 0:26:00Wendy, I spotted you in the queue
0:26:00 > 0:26:05- and I looked at this frame and my eyes lit up.- I know, I saw.
0:26:05 > 0:26:06What can you tell me about it?
0:26:06 > 0:26:09It was given to me as a birthday present,
0:26:09 > 0:26:12- roughly about 40 years ago...- Right.
0:26:12 > 0:26:16I just thought that I'm cleaning it and cleaning it
0:26:16 > 0:26:18and I'll probably wear it out.
0:26:18 > 0:26:22- You've cleaned it jolly well because you haven't worn it too much, have you?- No.
0:26:22 > 0:26:26- What do you clean it with?- Well, it used to be silver or whatever.
0:26:26 > 0:26:28Then on your programme I saw
0:26:28 > 0:26:32- it was better to use washing-up liquid.- Absolutely right. - So I continued with that.
0:26:32 > 0:26:37Well done. The great thing about these frames is not to clean them too hard
0:26:37 > 0:26:43because they're pressed silver and therefore you can very easily wear holes in them.
0:26:43 > 0:26:45I've had a bit of a blow, though, with this.
0:26:45 > 0:26:48I took one look at it and I thought, "Pure art nouveau.
0:26:48 > 0:26:51"This is wonderful, this is 1890.
0:26:51 > 0:26:56- "It's going to be worth hundreds of pounds." Then I looked at the hallmark.- Oh.
0:26:56 > 0:26:59I'm afraid, I have to say,
0:26:59 > 0:27:03that when it was given to you as a present, 40 years ago, it was new.
0:27:03 > 0:27:06Oh, dear. Not old.
0:27:06 > 0:27:09- It looks old.- It's early '70s.
0:27:09 > 0:27:14It's quite difficult to look at the mark because it's full of washing up liquid.
0:27:14 > 0:27:18It's 1972 or 1973. So, it's got some age, it's 40 years old.
0:27:18 > 0:27:21But, funnily enough, when you look at the back,
0:27:21 > 0:27:24the Victorian ones were backed in a sort of velvet.
0:27:24 > 0:27:26- A blue velvet. Nearly all of them.- Yes.
0:27:26 > 0:27:29- If I'd known that, I'd have put some on that.- Well, you could put it on
0:27:29 > 0:27:32but you'd still have to alter the hallmark.
0:27:32 > 0:27:34- Yes.- But it's typical art nouveau influence.
0:27:34 > 0:27:39- It's got an inscription on the bottom of it, hasn't it?- Yes.
0:27:39 > 0:27:43"Friendship is love without his wings." Byron.
0:27:43 > 0:27:46- Yes.- Are you a reader of Byron?- No.
0:27:46 > 0:27:48- No, neither am I! - BOTH CHUCKLE
0:27:48 > 0:27:53- But it doesn't have any particular sentimental value?- Not really, no.
0:27:53 > 0:27:57- I'd hate you to sell it and then regret it the next day.- No.
0:27:57 > 0:28:00So, Wendy, any ideas on value now that I've shot you down in flames?
0:28:00 > 0:28:04Yeah. I thought £40, £50?
0:28:04 > 0:28:06I think you're about right.
0:28:06 > 0:28:08I think £40/£50 would be my valuation on that.
0:28:08 > 0:28:13- Yeah.- We could put an estimate of £40 to £60 on it. We'll put a reserve on it.
0:28:13 > 0:28:16Shouldn't need a reserve on, but a discretionary reserve of £40.
0:28:16 > 0:28:20- OK.- We're not going to send you around the world, I'm afraid.
0:28:20 > 0:28:25- No. That's a shame.- A meal out is is probably - for one - is about what we're going to manage.
0:28:25 > 0:28:30'I'm glad to hear that Wendy has been listening to our silver cleaning tips.
0:28:30 > 0:28:33'I've just been asked to look at some jewellery,
0:28:33 > 0:28:38'so it's time to get some help from Pippa Deeley, one of our jewellery experts.'
0:28:38 > 0:28:40Queue-jumping here with Pippa.
0:28:40 > 0:28:41I don't know your name.
0:28:41 > 0:28:43- Peggy.- Peggy. Meet Peggy, Pippa.
0:28:43 > 0:28:48- Hi, Peggy.- Have a quick chat to Peggy because she's got some pearls she'd like to show you.
0:28:48 > 0:28:52The anticipation of what's inside! They're beautiful, aren't they?
0:28:52 > 0:28:57They're not mine, they're a friend's. I said I'd bring them, you know, to see how much they were worth.
0:28:57 > 0:29:01OK, let's get down to the nitty-gritty, shall we, eh, Peggy?
0:29:01 > 0:29:05- Please.- Yes. What's it worth?
0:29:05 > 0:29:10Um, I would put this in auction at round about...the £200 mark.
0:29:10 > 0:29:15Yes, I wondered if that would be about it.
0:29:15 > 0:29:18- There you go, Peggy. You know now.- Thank you. Yes.
0:29:18 > 0:29:20- You can catch the bus now. - Thank you.
0:29:20 > 0:29:25'Next, it's Tracy who has found something she adores.'
0:29:25 > 0:29:29The minute I saw this, I absolutely fell in love with it.
0:29:29 > 0:29:33It's just everything that I adore in jewellery.
0:29:33 > 0:29:38The wonderful enamelling in blue here and the gold...
0:29:38 > 0:29:42It is just gorgeous. Now I'm hoping that you're going to tell me
0:29:42 > 0:29:45it's been passed down from generation to generation to generation
0:29:45 > 0:29:49and that it's a treasured item that's been in the family for ages.
0:29:49 > 0:29:50- 40 pence in a charity shop.- Oh!
0:29:50 > 0:29:53That's so unfair, isn't it?!
0:29:53 > 0:29:56Have you ever found anything like that for 40p in a charity shop?
0:29:56 > 0:29:59- We wish.- No, me neither.
0:29:59 > 0:30:03- It's gorgeous.- It is. You're so right, it is absolutely gorgeous -
0:30:03 > 0:30:05it caught my eye straightaway.
0:30:05 > 0:30:09I've had a look at it, together with some of my colleagues...
0:30:09 > 0:30:11It's not actually marked.
0:30:11 > 0:30:15We've been all over and we can't find any markings anywhere.
0:30:15 > 0:30:18Because of this beautiful blue enamelling work,
0:30:18 > 0:30:20we're guessing that it is gold
0:30:20 > 0:30:24and we're going with nine carat gold,
0:30:24 > 0:30:26which is kind of the lowest grade gold.
0:30:26 > 0:30:29Let's look at this wonderful thing...
0:30:29 > 0:30:32If we turn it over, to start off with the back,
0:30:32 > 0:30:36we have this kind of pocket at the back.
0:30:36 > 0:30:40- You presumed it was a mourning case? - I did, yes.
0:30:40 > 0:30:42- It's actually for keepsakes.- Right.
0:30:42 > 0:30:46And when we turn it round like that, we've got this beautiful scarab.
0:30:46 > 0:30:52- Now, you say you bought it at a jumble sale...- Charity shop. - Charity shop for 40p.
0:30:52 > 0:30:58- That's right, yes.- Did you know instantly, or were you taking what we call in the business a punt?
0:30:58 > 0:31:04Well, it glittered and it was just in a basket of bits and bobs, you know, bric-a-brac.
0:31:04 > 0:31:06Obviously it gleamed.
0:31:06 > 0:31:10I like Egyptian history, so 40p, couldn't go wrong.
0:31:10 > 0:31:13What a bargain. No, you can't go wrong. I don't think it's British.
0:31:13 > 0:31:15I think it's probably European,
0:31:15 > 0:31:21but the whole obsession with the uncovering of the tombs in the late 19th century,
0:31:21 > 0:31:25then all into the 1920s with Tutankhamun -
0:31:25 > 0:31:27I think this is older than 20th century.
0:31:27 > 0:31:30I think this is more 19th century. Have you worn it?
0:31:30 > 0:31:33Yes, on a bootlace, around my neck.
0:31:33 > 0:31:34Oh, fabulous!
0:31:34 > 0:31:38- On a leather bootlace.- Yes, one of them cheap, black things?
0:31:38 > 0:31:42- That's right, yes!- Nothing like a little bit of class, is there?
0:31:42 > 0:31:47What sort of money did you have in your head that you thought it may be worth?
0:31:47 > 0:31:51Well, I thought it may be worth between £700 and £1,000.
0:31:51 > 0:31:54Right. And why did you think that?
0:31:54 > 0:31:56Because I had taken it to a jewellers.
0:31:56 > 0:31:59- OK.- And they've given me an estimate value.
0:31:59 > 0:32:03- Was that recent?- About 10 years ago. - So, quite a while ago, then?
0:32:03 > 0:32:06Yes. But I understand that is the retail value.
0:32:06 > 0:32:10Yes, OK, I'm starting to panic slightly now.
0:32:10 > 0:32:15Retail value and insurance value are always much higher than auction, that's the way it is.
0:32:15 > 0:32:21I think, personally, I would like to put a reserve of £250 on it.
0:32:21 > 0:32:25- Fine.- Is that all right? - Yes. Fantastic.- Good.
0:32:25 > 0:32:28- Thank God for that. With a pre-sale estimate of £250 to £350.- Yes.
0:32:28 > 0:32:32I'm really looking forward to selling this at the auction - I love it,
0:32:32 > 0:32:36and I'm hoping that little scarab will scuttle away and make us loads of money.
0:32:40 > 0:32:43'Charlie's having an art nouveau day.
0:32:43 > 0:32:45'He's found a lovely piece of copper.'
0:32:45 > 0:32:49Wendy, I saw this across the Sheldonian and ran to it
0:32:49 > 0:32:51because I got very excited by it.
0:32:51 > 0:32:55- Where did it come from? - It came from a local bazaar.
0:32:55 > 0:32:57- Did it?- Yes. A Christmas bazaar.
0:32:57 > 0:33:00- How long ago? - That was about 10 years ago.
0:33:00 > 0:33:04Oh, my goodness me, I'm under pressure here. I'll ask what you paid for it later.
0:33:04 > 0:33:07- Yes.- Do you know what it is?
0:33:07 > 0:33:09- I thought it was... - What was it when you bought it?
0:33:09 > 0:33:13It looked different, it was very dull. I thought it was a tankard?
0:33:13 > 0:33:17I think it's not a tankard because we've got a little lip here.
0:33:17 > 0:33:21If we just open up the top there, we've got a little spout.
0:33:21 > 0:33:22- So it's a jug.- Oh, yes.
0:33:22 > 0:33:27I think it's an ale jug or it's in the form of an ale jug.
0:33:27 > 0:33:31It's got the most wonderful art nouveau motifs on it.
0:33:31 > 0:33:33- Do you know how old it is?- '20s?
0:33:33 > 0:33:35- 1920s. It's earlier than that. - Is it? Ah.
0:33:35 > 0:33:37What really drew me towards it...
0:33:37 > 0:33:40I wonder whether it might be from the Newlyn School,
0:33:40 > 0:33:45in the West Country, by a chap called John Pearson. We'll come to that in a minute...
0:33:45 > 0:33:49It's got a real arts and crafts hammered look to the top of it.
0:33:49 > 0:33:551880? Then the Art Nouveau movement, 1890 onwards here.
0:33:55 > 0:33:58So you've got a mixture of styles, really, in a way.
0:33:58 > 0:34:03- We'll have a look at the bottom and see if there's something exciting.- Right.
0:34:03 > 0:34:05Why's it always...
0:34:05 > 0:34:10- disappointing when you look at things?- Oh, no!
0:34:10 > 0:34:14I've been building you up and building you up and there we are,
0:34:14 > 0:34:16JS and SB, whoever they are. I was hoping
0:34:16 > 0:34:19to see a chap called John Pearson from the Newlyn School.
0:34:19 > 0:34:23It does, however, have a registration number on it.
0:34:23 > 0:34:26409942.
0:34:26 > 0:34:32I think if we look that up, we'll find that it's 1890 or thereabouts.
0:34:32 > 0:34:34So we're spot on there.
0:34:34 > 0:34:36I just love the look of it.
0:34:36 > 0:34:39Sadly, it isn't fabulously valuable.
0:34:39 > 0:34:42- Oh.- Did you think it was when you brought it along this morning?
0:34:42 > 0:34:46- Not really.- Thank goodness for that!
0:34:46 > 0:34:48BOTH LAUGH
0:34:48 > 0:34:50- Have a guess.- But I like it.
0:34:50 > 0:34:53Oh, you like it? Why do you want to sell it?
0:34:53 > 0:34:55- I thought it would be an opportune time.- Yes.
0:34:55 > 0:34:59I've got lots of bits and pieces which I've been collecting.
0:34:59 > 0:35:02- It is something to clean, isn't it? - It is.- Are we price-sensitive?
0:35:02 > 0:35:05- What's it worth?- About £20 I think?
0:35:05 > 0:35:07I think it's worth £50. I like it.
0:35:07 > 0:35:10I'm going to put an estimate of £40 to £60 on it...
0:35:10 > 0:35:13with a reserve, a discretionary reserve, at £40.
0:35:13 > 0:35:16So it's worth twice what you think it's worth.
0:35:16 > 0:35:19- Yes, that's amazing. - You're now very excited.- I am!
0:35:19 > 0:35:23Thank you for bringing it along and you probably gave it a clean, didn't you?
0:35:23 > 0:35:28- Yes, I quickly buffed it up. - We're very grateful, thank you. Send your bill to Flog It.
0:35:31 > 0:35:36There's just enough time to have one last look at what our experts have picked out to take off to auction.
0:35:36 > 0:35:40Wendy's silver frame isn't as old as it might have been
0:35:40 > 0:35:42but it's still very decorative.
0:35:42 > 0:35:46The Egyptian-designed gold pendent is absolutely stunning
0:35:46 > 0:35:48and certainly not run-of-the-mill.
0:35:48 > 0:35:53Shirley should get a good return on her 40 pence investment.
0:35:53 > 0:35:56I loved this ale jug that Charlie picked out.
0:35:56 > 0:36:01It would have been nice to have a Newlyn mark on it but it's still a beautiful thing.
0:36:06 > 0:36:10It's Wendy's silver frame first. Let's see how it fares.
0:36:10 > 0:36:14It's gorgeous. It's a classic size - 6x4 - and it's early 1970s.
0:36:14 > 0:36:18So it's not that old. That's why we could only put £40 to £60 on it.
0:36:18 > 0:36:20- Shame.- It was a birthday present, wasn't it?
0:36:20 > 0:36:22- Yes.- 40-odd years ago?- Yes.
0:36:22 > 0:36:25Wow, if that would have been a period piece...
0:36:25 > 0:36:28I thought it was when I saw it across the room on valuation day.
0:36:28 > 0:36:31- I ran across to it, as you remember. - Yes.
0:36:31 > 0:36:33I thought, "Oh, we'll have this, thank you."
0:36:33 > 0:36:36And then I looked through the glass and it was '70s
0:36:36 > 0:36:40but it's still lovely and if it was 1890, it would probably would have a few holes in it.
0:36:40 > 0:36:45- It's in super condition. - This is just such a bargain buy for somebody.- Lovely.
0:36:45 > 0:36:49But you've got to be here. You've got to be in the right place at the right time.
0:36:49 > 0:36:51You certainly have. And somebody will be.
0:36:51 > 0:36:55It's a one-off, that's the beauty of it. That's what antiques are about.
0:36:55 > 0:36:56It's going under the hammer now.
0:36:58 > 0:37:02The silver photograph frame, embossed verse from Byron.
0:37:02 > 0:37:05£40, start me?
0:37:05 > 0:37:08- 50, I've got.- Ooh!- £50. 55 anywhere?
0:37:08 > 0:37:1155. 60. At £55.
0:37:11 > 0:37:14In the room at 60. 65. 70?
0:37:14 > 0:37:1970. 75. 80. 85. 90.
0:37:19 > 0:37:21This is more like it!
0:37:21 > 0:37:2595? 100. 110?
0:37:25 > 0:37:28At £100. All done at £100?
0:37:28 > 0:37:30Yes, that's what I like to see.
0:37:30 > 0:37:33Well done with that, Wendy. Good Lord.
0:37:33 > 0:37:38Because the new chrome-plated ones are £40 to £50 so this has got to be worth twice as much.
0:37:38 > 0:37:40- Yes. I'm glad we took it in. - Thank you.- Well done.
0:37:40 > 0:37:42That was a nice surprise.
0:37:42 > 0:37:45'Good, I'm glad it went over the estimate.
0:37:47 > 0:37:51'I had the chance earlier to see if Simon liked the ale jug.'
0:37:51 > 0:37:53I love this, Simon. Absolutely love it.
0:37:53 > 0:37:54It belongs to Wendy
0:37:54 > 0:37:59- and I don't think for much longer at £40 to £60 valuation.- It'll go away.
0:37:59 > 0:38:02This one's going to fly away. It's in the art nouveau style.
0:38:02 > 0:38:04- Copper ale jug. Absolutely beautiful.- Yes. Lovely.
0:38:04 > 0:38:10It's got a nice registration mark on the bottom to give you the date of making, or the date of design.
0:38:10 > 0:38:13- Good quality.- Have you done any further research?- We haven't.
0:38:13 > 0:38:16We've put the number in the catalogue so people can see
0:38:16 > 0:38:22and look it up themselves and they'll find it's about 1900. It's just lovely.
0:38:22 > 0:38:24Hopefully, what? £80, £100?
0:38:24 > 0:38:28Yes, I think that's fair enough. There's quite a bit of art nouveau.
0:38:28 > 0:38:33It's in good company here because there's a few other items. That's what it's all about.
0:38:33 > 0:38:36That's it. Find the treasures, we'll sell them.
0:38:36 > 0:38:38'It's up next so let's see if he's right.'
0:38:40 > 0:38:44We're going to put the copper ale jug under the hammer. It belongs to Wendy.
0:38:44 > 0:38:49- How much did you pay for this? - It was one of my more expensive purchases, it was 20 pence.
0:38:49 > 0:38:52And Charlie, our expert, has put, what, £40 to £60 on this?
0:38:52 > 0:38:56- Pounds, not pence.- I know! That's a great profit, isn't it?
0:38:56 > 0:39:00- Yes.- It really is. I had a chat to Simon, the auctioneer...- Oh, yes?
0:39:00 > 0:39:02He said it could even exceed that.
0:39:02 > 0:39:06- Really?- Yes. On a good day, he's looking at the top end plus.
0:39:06 > 0:39:08- Good stuff.- Yes.- Wow.
0:39:08 > 0:39:12- If we could do one of those every day, it would be quite good, wouldn't it?- Yes!
0:39:15 > 0:39:17Lot 99 is the copper ale jug.
0:39:17 > 0:39:19Here it is.
0:39:20 > 0:39:23There we go, with the plant forms.
0:39:23 > 0:39:25What can we say for that? 40 or £50 for it?
0:39:27 > 0:39:30£45, I'm bid. 48?
0:39:30 > 0:39:32£45 then. 48. 50.
0:39:32 > 0:39:3755. 60. 65. 70. £65 then.
0:39:37 > 0:39:41Down in front of me at £65? All done at £65?
0:39:41 > 0:39:43- Hammer's gone down.- Sensational.
0:39:43 > 0:39:45- That was very good. - Thank you very much.
0:39:45 > 0:39:48- Great pleasure. - That was a profit, wasn't it?
0:39:48 > 0:39:52Good result for a jug that was bought for only 20 pence.
0:39:52 > 0:39:57Our next lot is a gold scarab which was bought for a similar princely sum.
0:39:57 > 0:40:04Hopefully right now we're going to turn 40 pence into maybe £350.
0:40:04 > 0:40:08That's what I'm hoping for, Shirley, at the top end of Tracy's estimate.
0:40:08 > 0:40:10I'm being ambitious, but I love this lot.
0:40:10 > 0:40:14I really do and I don't know why you're selling it. It cost you nothing.
0:40:14 > 0:40:17Well, I've had it for a long time and I've worn it...
0:40:17 > 0:40:19- How many years? 10?- About 10, yes.
0:40:19 > 0:40:22I wore it at the beginning on a leather strap.
0:40:22 > 0:40:27- Mmm?- And then I put it away so I thought, I saw Flog It...
0:40:27 > 0:40:29Give it a go.
0:40:29 > 0:40:31The rearing cobras.
0:40:31 > 0:40:36- It's my favourite lot. I absolutely adore it.- It is nice.- Stunning.
0:40:36 > 0:40:39When you were waving at me across the valuation day floor
0:40:39 > 0:40:42and I came over and saw it... It's absolutely gorgeous.
0:40:42 > 0:40:47Yes. That cartouche of the scarab in blue enamel and turquoise enamel in the middle, stunning.
0:40:47 > 0:40:52Things are going well, hopefully this will, it's going under the hammer. Good luck.
0:40:53 > 0:40:58A Victorian pendant, decorated with two rearing cobra
0:40:58 > 0:41:00flanking a scarab.
0:41:01 > 0:41:02£300 for that?
0:41:06 > 0:41:07£560, I've got.
0:41:07 > 0:41:08No!
0:41:08 > 0:41:10Straight at 560!
0:41:10 > 0:41:15570 anywhere? 570. 580. 590. 600.
0:41:15 > 0:41:17- 610.- I can't believe it!
0:41:17 > 0:41:22- This is so beautiful.- 640? At 630, before I go to the phone?
0:41:22 > 0:41:25- Come on.- 630? 640.
0:41:25 > 0:41:28- Someone on the phone behind us. - It's still going.- 650. 660?
0:41:28 > 0:41:31660. 670.
0:41:31 > 0:41:32680?
0:41:32 > 0:41:36680. 690. 700.
0:41:36 > 0:41:37- I can't believe this.- £700!
0:41:37 > 0:41:41710. 730. 750. 770.
0:41:41 > 0:41:44- Gosh.- My heart is pounding.
0:41:44 > 0:41:47800? 820?
0:41:47 > 0:41:49840.
0:41:49 > 0:41:51860. 880.
0:41:51 > 0:41:54900? 920.
0:41:54 > 0:41:57- I just don't believe it.- 940?
0:41:57 > 0:42:01960. 980. 1000.
0:42:01 > 0:42:04- Yeah, 1,000!- 1,050.
0:42:04 > 0:42:071,100. 1,150.
0:42:07 > 0:42:091,200. 1,300.
0:42:09 > 0:42:121,400.
0:42:13 > 0:42:17- 1,500...- Shirley, what is going on?
0:42:17 > 0:42:20- I don't know.- 1,600. 1,700.
0:42:20 > 0:42:251,800. At £1,800, on the telephone at £1,800?
0:42:25 > 0:42:28- All done at £1,800?- Wow!
0:42:28 > 0:42:31- ALL: Yes! - Well done, Shirley!
0:42:31 > 0:42:35- Well done. I can't believe it. - Thank you.- £1,800.
0:42:35 > 0:42:37- How much did that cost again? - 40 pence.- 40p.
0:42:37 > 0:42:39What can you buy for 40p?!
0:42:39 > 0:42:40My estimate was a bit out.
0:42:40 > 0:42:43But I don't care!
0:42:43 > 0:42:48- There was something special about it.- There must have been something special but I don't know what.
0:42:48 > 0:42:49- Wow, wow, wow!- Yay!
0:42:49 > 0:42:52What are you going to do with all that money?
0:42:52 > 0:42:56Well, a holiday. It's my son's 30th birthday next Friday.
0:42:56 > 0:42:59- OK.- So he'll have something special. - Fantastic.
0:42:59 > 0:43:01- Gosh.- I'm so pleased for you.
0:43:01 > 0:43:04That's auctions for you. You can't predict what's going to happen.
0:43:04 > 0:43:08I told you, somebody here today was going home with a lot of money.
0:43:08 > 0:43:10- Well done. Well done. - I'm blown away.
0:43:10 > 0:43:16Even better - it sold for over £1,000, the commission drops to 10%.
0:43:16 > 0:43:21- I hope you've enjoyed today's show. Sadly we're running out of time. - I have.- I know you have!
0:43:21 > 0:43:23And so have you. Well done. Keep watching
0:43:23 > 0:43:28because there's going to be many more surprises to come but for now, from Oxfordshire, it's cheerio.
0:43:46 > 0:43:49Subtitles by Red Bee Media Ltd
0:43:49 > 0:43:52E-mail subtitling@bbc.co.uk