0:00:01 > 0:00:05Today we've come to one of the most mysterious counties in England,
0:00:05 > 0:00:06where stone circles befuddle,
0:00:06 > 0:00:10crops circles confuse and strange giant white horses
0:00:10 > 0:00:15gallop across the hills. Yes, today, Flog It! has come to Wiltshire.
0:00:34 > 0:00:38The white horses of Wiltshire are giants carved into the chalky hills.
0:00:38 > 0:00:41Many of the carvings are only a few hundred years old,
0:00:41 > 0:00:44although the origin of most of them remains a mystery.
0:00:44 > 0:00:47Now, the white horse you can see cut into the chalk hill
0:00:47 > 0:00:50over there behind me, that's the oldest in the county.
0:00:50 > 0:00:54It was cut over 300 years ago, but in the mid 18th century,
0:00:54 > 0:00:58the steward to Lord Abingdon, who owns all of this land around,
0:00:58 > 0:01:02re-cut the horse because he thought the old one didn't look lifelike
0:01:02 > 0:01:05and it was also facing in a different direction
0:01:05 > 0:01:09and the name of the steward that cut that, what we're looking at today,
0:01:09 > 0:01:11well, he was called Mr G Gee.
0:01:11 > 0:01:13How unbelievable is that!
0:01:14 > 0:01:20Under starter's orders are Warminster Assembly Rooms in Wiltshire today
0:01:20 > 0:01:23are experts David Fletcher and Kate Bliss,
0:01:23 > 0:01:27and they'll be leading our valuers finding the best items to take off to auction.
0:01:27 > 0:01:31Kate has been around antiques since she was a toddler,
0:01:31 > 0:01:33so spotting those gems should be child's play,
0:01:33 > 0:01:37and David's got a heart of gold - in fact, the first item David ever sold
0:01:37 > 0:01:39as an auctioneer was a live rabbit,
0:01:39 > 0:01:43but with no bidders, he took pity on it and bought it himself.
0:01:43 > 0:01:45They were both happy bunnies!
0:01:45 > 0:01:49'It is always good to see the fans turn up at one of our valuation days
0:01:49 > 0:01:52'although some fans are bigger than others!'
0:01:55 > 0:01:59And coming up on today's show, Joel and Pauline raise the stakes at auction.
0:01:59 > 0:02:02Since that valuation day, you've upped the reserve to £130.
0:02:02 > 0:02:05- We have, yes.- Why did you do that?
0:02:05 > 0:02:07- Honestly?- Yeah, go on! - I had a bigger offer.
0:02:07 > 0:02:08You had a better offer.
0:02:08 > 0:02:13And auctioneer Alan will go to any length to sell Phyllis's painting.
0:02:13 > 0:02:16Couple of hundred quid? 150?
0:02:16 > 0:02:18They're all sitting on their hands!
0:02:18 > 0:02:22And if anybody says a tenner, I'll throw the gavel at them!
0:02:22 > 0:02:24But will it work? Find out later in the show.
0:02:24 > 0:02:29As the crowd settle into their seats, it looks like David is saddling up with his first item.
0:02:31 > 0:02:34Now, did you ever work in the circus yourself?
0:02:34 > 0:02:37No, I've never worked in the circus,
0:02:37 > 0:02:41but we have been circus clowns in the carnival.
0:02:41 > 0:02:43OK. Who is we?
0:02:43 > 0:02:47- My sister Avril and me.- Your sister and you? OK, you're a double act!
0:02:47 > 0:02:48Yes, we're a double act.
0:02:48 > 0:02:52I love this. It's a good bit of fun, isn't it, really?
0:02:52 > 0:02:56Amazingly colourful, I mean, that's what first struck me about it
0:02:56 > 0:02:58when I saw it across the room earlier on.
0:02:58 > 0:03:00As we can see, this is encouraging us
0:03:00 > 0:03:05to book tickets for the Belle Vue Circus.
0:03:05 > 0:03:09Now, I understand that the location was a permanent location and
0:03:09 > 0:03:12that the circus appeared there every winter
0:03:12 > 0:03:16and that is confirmed, really, by what it says at the bottom -
0:03:16 > 0:03:17the winter season.
0:03:18 > 0:03:21Now, as such, I would take it that this
0:03:21 > 0:03:23was a permanent poster and probably in position
0:03:23 > 0:03:27somewhere within the Belle Vue complex all the year round,
0:03:27 > 0:03:30which may explain why it's in such good condition.
0:03:30 > 0:03:33It wasn't taken up and put down and wheeled out in all weathers
0:03:33 > 0:03:35and the condition really is very good.
0:03:35 > 0:03:39The frame has been repainted, but apart from that, it's fine.
0:03:39 > 0:03:45I would have thought that it dated from the 1950s, possibly 1960s.
0:03:45 > 0:03:47Did you acquire it fairly recently?
0:03:47 > 0:03:53My late husband bought it at a car-boot sale about 20 years ago.
0:03:53 > 0:03:56And paid next to nothing for it, I daresay?
0:03:56 > 0:03:58Two or three pounds, I think.
0:03:58 > 0:04:01Good for him, and where did you have it in the house?
0:04:01 > 0:04:04I'm afraid it's been in the loft for the last 20-odd years.
0:04:04 > 0:04:07- Right, so you haven't been enjoying it?- No, I haven't.
0:04:07 > 0:04:11- But what a lovely conversation piece it would have been!- Well, yeah.
0:04:11 > 0:04:15Never mind. I mean, we would be delighted to sell it for you.
0:04:15 > 0:04:19I would like to think this will make over £100.
0:04:19 > 0:04:21Oh, right, OK.
0:04:21 > 0:04:25With luck, a bit more, but I've never seen anything quite like this before,
0:04:25 > 0:04:27so I'm going to be a little bit cautious
0:04:27 > 0:04:31and I think I'll suggest an estimate of 60 to 100
0:04:31 > 0:04:34and a fixed reserve of 50.
0:04:34 > 0:04:37- Are you happy with that? - Yes, very happy, thank you.
0:04:37 > 0:04:39Good, OK, we'll go ahead on that basis.
0:04:39 > 0:04:43- Thank you.- And roll up, roll up at the auction sale.
0:04:43 > 0:04:46While Sally says goodbye to the fun of the circus, I'm saying hello
0:04:46 > 0:04:51to Joel and Pauline who have brought in a little plate that's worth investigating.
0:04:52 > 0:04:55So tell me, where did you come by this?
0:04:55 > 0:04:57All we can remember is that we bought a box
0:04:57 > 0:04:59of rubbish from a junk shop.
0:04:59 > 0:05:03I think there old vases and things, and this was in it. I think we paid
0:05:03 > 0:05:07probably no more than three or four pounds for the whole box, so...
0:05:07 > 0:05:09And that came out of it.
0:05:09 > 0:05:10Was this plate
0:05:10 > 0:05:14in such bad condition because it's got a lot of knife marks on it.
0:05:14 > 0:05:16- Did you do that?- No, no.
0:05:16 > 0:05:18It came like that!
0:05:18 > 0:05:20No, we would never dare to do that.
0:05:20 > 0:05:22- Oh, no.- We bought it like it.
0:05:22 > 0:05:26Obviously, whoever sold this to you who put it in this box of junk
0:05:26 > 0:05:27didn't realise its value
0:05:27 > 0:05:32and had been using it for domestic purposes, cutting up fruit, maybe.
0:05:32 > 0:05:35It's Nantgarw. There's an impress mark on the bottom,
0:05:35 > 0:05:41sort of a white paste porcelain so typical of William Billingsley.
0:05:41 > 0:05:45William Billingsley started producing his wares in around 1813
0:05:45 > 0:05:50from about eight miles north of Cardiff,
0:05:50 > 0:05:53but the factory didn't last very long, it didn't employ many people.
0:05:53 > 0:05:57It was very productive for about two or three years
0:05:57 > 0:06:01and then it had another second period around 1817 to 1820,
0:06:01 > 0:06:05which I think was when this little plate was made,
0:06:05 > 0:06:08and he kept sort of running away and taking the company's money
0:06:08 > 0:06:14and not paying his bills and he had debt collectors knocking at the door,
0:06:14 > 0:06:16and eventually, he went off to work for Worcester
0:06:16 > 0:06:21with great debts on his shoulders, and the little factory collapsed.
0:06:21 > 0:06:22It's painted beautifully.
0:06:22 > 0:06:25But what an artist and what a genius as well.
0:06:25 > 0:06:28Because I think this is second period, when he went missing for
0:06:28 > 0:06:31quite a bit of the time, a lot of the goods were sold as white goods
0:06:31 > 0:06:34off to London without being decorated.
0:06:34 > 0:06:36If this was painted in London,
0:06:36 > 0:06:40it would have probably been done by Thomas Steel.
0:06:40 > 0:06:45This fruit is so much like Thomas Steel's work.
0:06:45 > 0:06:48- He never signed it, did he? - Never signed it, no,
0:06:48 > 0:06:51but just look at the unevenness of this little plate.
0:06:51 > 0:06:54I wondered whether it was a second
0:06:54 > 0:06:57or something like that because of the shape.
0:06:57 > 0:07:01No, no. Most things were fired like this at very uneven temperatures.
0:07:01 > 0:07:06You couldn't control the temperature, and nothing was fired that came out perfect.
0:07:06 > 0:07:08If that was in mint condition,
0:07:08 > 0:07:13I would be looking for around about £180 to £220.
0:07:13 > 0:07:15- It's not in mint condition.- No.
0:07:15 > 0:07:17I think it's worth around 120
0:07:17 > 0:07:22and I'd like to put it into the sale with a valuation of £90 to £130.
0:07:22 > 0:07:25- That sounds fine.- If that's OK. - Yes, that's fine.
0:07:25 > 0:07:29Our experts and valuers are always on the lookout for interesting and unusual items.
0:07:29 > 0:07:33Kate has spotted some silver cups brought in by David
0:07:33 > 0:07:36and she wants to take a closer look.
0:07:36 > 0:07:39David, two very pretty cups and saucers we've got here.
0:07:39 > 0:07:42All we need now is something to put in them,
0:07:42 > 0:07:44and it certainly wouldn't have been tea.
0:07:44 > 0:07:49What these cups and saucers were made for was almost certainly coffee
0:07:49 > 0:07:51or what I really fancy,
0:07:51 > 0:07:55chocolat, as the French say it, but where did they come from?
0:07:55 > 0:07:58They were given to us by this old lady who,
0:07:58 > 0:08:01as a child of about three or four,
0:08:01 > 0:08:05she was taken to France with her family
0:08:05 > 0:08:09because he was a racehorse trainer from Beverley in Yorkshire
0:08:09 > 0:08:15and he got a job on the Chantilly Racecourse just outside Paris,
0:08:15 > 0:08:20so she stayed in France practically for the rest of her life,
0:08:20 > 0:08:22but she came back to live in Warminster.
0:08:22 > 0:08:28We got to know her, and she eventually gave us these two.
0:08:28 > 0:08:31So do you know where she acquired them from?
0:08:31 > 0:08:34Her father got them as a trophy or something like that.
0:08:34 > 0:08:39How interesting, because they could be seen as presentation pieces,
0:08:39 > 0:08:42so they would be a very fitting trophy, if you like,
0:08:42 > 0:08:46but also, equally, you could use them in high society in Paris
0:08:46 > 0:08:48in the very early part of the 20th century,
0:08:48 > 0:08:51because this is exactly when these date for.
0:08:51 > 0:08:56The decoration is typical for art nouveau.
0:08:56 > 0:08:59If we look at the silver closely,
0:08:59 > 0:09:02we can see that it is French silver and it has got the French hallmark
0:09:02 > 0:09:06just here on both of the cups,
0:09:06 > 0:09:10and also, if we look at the saucer which should also be marked,
0:09:10 > 0:09:13there we go, right in the middle, but if I just get my glass on that
0:09:13 > 0:09:16you can see as well as the French mark,
0:09:16 > 0:09:20which is the French head symbolising the republic,
0:09:20 > 0:09:23you can see on this mark also is a tiny little maker's mark
0:09:23 > 0:09:27- with initials AT. - Something I've not seen before.
0:09:27 > 0:09:30Yes, it is really small, I had to get my glass on it,
0:09:30 > 0:09:32but there it is, but what I love about them
0:09:32 > 0:09:37is the shape and the design, and if we look at the cup first
0:09:37 > 0:09:40this lovely curvilinear shape
0:09:40 > 0:09:45and the decoration, which would have been machine-stamped on them.
0:09:45 > 0:09:48It's not engraved or chased, it's actually stamped,
0:09:48 > 0:09:54so machine-made, and it's got this lovely border of fuchsias,
0:09:54 > 0:09:57and the fuchsia, this lovely pendant flower,
0:09:57 > 0:10:03was a very typical naturalistic image used in designs
0:10:03 > 0:10:04for the art nouveau period.
0:10:04 > 0:10:07The handle of the cup, though, is quite different.
0:10:07 > 0:10:10This is cast, made separately and then joined to the cup,
0:10:10 > 0:10:14and the design dates from a little earlier, I would say,
0:10:14 > 0:10:17not typically art nouveau, but 19th century, I would say,
0:10:17 > 0:10:22and that's cast. Do you like them? Do you think they're attractive?
0:10:22 > 0:10:25Yes, I do, yes, yes, and they're sentimentally attached,
0:10:25 > 0:10:29but what do you do with them? You know.
0:10:29 > 0:10:32We liked the old lady, we loved her actually, you know...
0:10:32 > 0:10:34You obviously got to know her very well?
0:10:34 > 0:10:37Yes, she was one of the people that you remember
0:10:37 > 0:10:39and perhaps mould your life around a bit.
0:10:39 > 0:10:44Well, how lovely. Well, I think you've just hit the nail on the head
0:10:44 > 0:10:46when it comes to value, because you've just said,
0:10:46 > 0:10:48"What do you do with them?"
0:10:48 > 0:10:51which is why you've brought them here, presumably, to sell.
0:10:51 > 0:10:53- They're not the most commercial items.- No.
0:10:53 > 0:10:56And at auction, I would say
0:10:56 > 0:11:00they're only going to really have quite a conservative estimate,
0:11:00 > 0:11:05- I would say, of between £100 and £150 for the pair.- Right.
0:11:05 > 0:11:08And we could put a reserve, if you like, of just under that, of £90.
0:11:08 > 0:11:10Are you still happy to sell them at that?
0:11:10 > 0:11:12That's OK, I think that's the best thing.
0:11:12 > 0:11:18- Somebody who likes them as much as me might be interested.- Lovely.
0:11:18 > 0:11:21David's silver cups may not have much use, but they're very pretty.
0:11:21 > 0:11:25Let's hope they catch someone's eye at the auction.
0:11:25 > 0:11:27We get a lot of armchair experts on Flog It!
0:11:29 > 0:11:33She says 80 to 120, reserve of ten!
0:11:33 > 0:11:35Not a bad guess, but let's head over
0:11:35 > 0:11:38to Henry Aldridge's in Devizes, where auctioneer Alan Aldridge
0:11:38 > 0:11:42is concerned about the damage to Joel and Pauline's plate.
0:11:42 > 0:11:46I put £90 to £130 on this, which is, I think,
0:11:46 > 0:11:48about right for a bit of Nantgarw.
0:11:48 > 0:11:52There's a lot of wear on it, a bit of damage, but it always sells well.
0:11:52 > 0:11:56I agree with you. When I got it, pretty plate, reasonably well painted
0:11:56 > 0:11:58not brilliantly painted.
0:11:58 > 0:12:01But unfortunately used and scratched!
0:12:01 > 0:12:04I've looked at the back.
0:12:04 > 0:12:06It's that that makes it right.
0:12:06 > 0:12:10- Yeah.- The word Nantgarw is enough to forgive most things.
0:12:10 > 0:12:12Your estimate, I thought, was quite sensible,
0:12:12 > 0:12:17but the owner contacted me and asked to increase the reserve.
0:12:17 > 0:12:19Oh, really, to what?
0:12:19 > 0:12:25- To 130.- OK.- Now, I have to be honest, I think we are pushing our luck.
0:12:25 > 0:12:29I think the original figure, you had chances,
0:12:29 > 0:12:32and it's actually been used, the plate, it's scratched to blazes.
0:12:32 > 0:12:35Whether that word will pull it off...
0:12:35 > 0:12:38I don't think it's painted well enough
0:12:38 > 0:12:39for us now to pull it off.
0:12:39 > 0:12:43- Oh, dear. It might be going home, that one.- It may be, it may be.
0:12:43 > 0:12:45Well, we've got to try hard.
0:12:45 > 0:12:46Or it might prove us wrong!
0:12:46 > 0:12:49- Exactly!- And two Welshmen decide, "I must have it!"
0:12:49 > 0:12:53Also about to go under the hammer is Sally's circus poster,
0:12:53 > 0:12:56valued by David at £60 to £100,
0:12:56 > 0:13:01and David's silver cups valued by Kate at £100 to £150.
0:13:12 > 0:13:15We're going under the hammer right now in Aldridge's sale room.
0:13:15 > 0:13:18We've got Sally's Belle Vue circus poster.
0:13:18 > 0:13:21Now, was David, our expert, clowning around when he put
0:13:21 > 0:13:24£60 to £100 on it, was he in the spirit of the circus theme?
0:13:24 > 0:13:26I thought I was being serious, Paul. I hope so.
0:13:26 > 0:13:30I just thought this was a jolly lot. Good fun, bright, cheerful,
0:13:30 > 0:13:32a sort of feel-good thing, really.
0:13:32 > 0:13:35I've got to say, I do agree with David, that's sensible money,
0:13:35 > 0:13:37£50 to £100, but all the proceeds
0:13:37 > 0:13:41- are going to a special trip for you, aren't they?- Yes.- Tell us about it.
0:13:41 > 0:13:45Well, I'm going to see Geoff Hamilton's garden in Rutland
0:13:45 > 0:13:47in June and the money's going towards that.
0:13:47 > 0:13:50Fingers crossed we get the top end of the estimate
0:13:50 > 0:13:52and send you off in style.
0:13:52 > 0:13:54- Here we go, this is it. - Lovely, thank you.
0:13:56 > 0:13:58This is a fun lot.
0:13:58 > 0:14:02I think somewhere around about 70 quid, about £70 to start me?
0:14:04 > 0:14:0550 to get me away?
0:14:05 > 0:14:0730. 20.
0:14:07 > 0:14:0920 I've got.
0:14:09 > 0:14:11We're in...just!
0:14:11 > 0:14:1330, 5,
0:14:13 > 0:14:1740, 5,
0:14:17 > 0:14:1950, 5.
0:14:19 > 0:14:21We're talking a tightrope, aren't we?
0:14:21 > 0:14:23- £50 on my right. - It's got to the reserve.
0:14:23 > 0:14:26£50 is cheap, but I'll sell it, make no mistake.
0:14:26 > 0:14:30At £50 on my right-hand side, am I going?
0:14:30 > 0:14:32Just, it's gone.
0:14:32 > 0:14:33- Lovely!- Quite good.
0:14:33 > 0:14:35- That's a good result. At least it's gone.- Yep.
0:14:35 > 0:14:37It's better than putting it in the attic!
0:14:37 > 0:14:40That's money towards that gardening trip.
0:14:40 > 0:14:42- Yes, very pleased. - Have a good time.- Thank you.
0:14:42 > 0:14:44Well done, David. Thank you, Sally.
0:14:44 > 0:14:46Just there by the skin of our teeth.
0:14:46 > 0:14:50I'm slightly concerned about the new reserve on the plate I valued.
0:14:50 > 0:14:52It might just put the bidders off.
0:14:52 > 0:14:54Let's find out why Joel and Pauline changed it.
0:14:54 > 0:14:57We put £90 to £130 on this because of the damage.
0:14:57 > 0:14:59I know it's been scratched up by a fruit knife.
0:14:59 > 0:15:03Since that valuation day, you've upped the reserve to 130.
0:15:03 > 0:15:05- We have, yes.- Why did you do that?
0:15:05 > 0:15:08- Honestly?- Yeah, go on. - I had a bigger offer.
0:15:08 > 0:15:11- You had a better offer?- Yes. - And a private one?- Yes.- Right.
0:15:11 > 0:15:16If it sells, we're happy, if it doesn't sell, we're happy.
0:15:16 > 0:15:20- We'll take it home.- OK, so that was my top end, anyway, 130.
0:15:20 > 0:15:21Hopefully, it will sell at 130,
0:15:21 > 0:15:23a little bit more, like we said on the day.
0:15:25 > 0:15:3019th-century Nantgarw plate, been used, but haven't we all.
0:15:32 > 0:15:36Somewhere around about £120.
0:15:38 > 0:15:39110?
0:15:39 > 0:15:4190?
0:15:41 > 0:15:42- Come on!- £90 I've got.
0:15:42 > 0:15:43We're in at 90.
0:15:43 > 0:15:4690 I've got. 100?
0:15:46 > 0:15:50£90. 100, 100, 110.
0:15:50 > 0:15:51110.
0:15:51 > 0:15:53It's a slow old climb, isn't it!
0:15:53 > 0:15:55120?
0:15:56 > 0:15:58125?
0:15:59 > 0:16:01130?
0:16:01 > 0:16:03- 135.- Ooh, made it!- Done it.
0:16:05 > 0:16:08- 130.- Yes, fresh legs.- 135.
0:16:08 > 0:16:09140.
0:16:09 > 0:16:11145.
0:16:11 > 0:16:13- That's more like it!- It is!
0:16:13 > 0:16:14150.
0:16:14 > 0:16:16155?
0:16:17 > 0:16:18At £150,
0:16:18 > 0:16:21at £150, all done.
0:16:21 > 0:16:23- Happy!- I'm happy.- That's brilliant!
0:16:23 > 0:16:26- You're happy as well?- Yes. - There was no need to panic.
0:16:26 > 0:16:28Thank you, Paul.
0:16:29 > 0:16:32What a good result. £150.
0:16:32 > 0:16:35Now, let's see how we do with David's silver cups.
0:16:35 > 0:16:38- They were won as trophies and they belong to you now?- Yes.
0:16:38 > 0:16:40- And you've decided to sell them?- Yes.
0:16:40 > 0:16:42Kate, we've got a valuation of £100 to £150,
0:16:42 > 0:16:44hopefully we'll get that top end.
0:16:44 > 0:16:47I'm hoping so. These are delightful little things,
0:16:47 > 0:16:50they're wonderful examples of art nouveau in silver,
0:16:50 > 0:16:53the thing is, though, they're just not that commercial.
0:16:53 > 0:16:56I mean, somebody like David may think they're lovely,
0:16:56 > 0:16:58but what do I do with them.
0:16:58 > 0:17:01That's the tricky thing, so I really hope we get that value.
0:17:01 > 0:17:04It would be an awful lot more if they were something more useful.
0:17:04 > 0:17:06Here we go, let's find out what they make.
0:17:08 > 0:17:12The French silver cups and saucers.
0:17:12 > 0:17:14Start me 50 for the two.
0:17:16 > 0:17:1950, I've got 60, £50 on a maiden bid,
0:17:19 > 0:17:2060, 70,
0:17:20 > 0:17:2380, 90, 100.
0:17:23 > 0:17:25At £90, at £90,
0:17:25 > 0:17:28at £90, take five if anyone is quick. At £90.
0:17:28 > 0:17:32At £90, at £90, am I all done?
0:17:32 > 0:17:34Yes, we've sold them, £90, just on the reserve.
0:17:34 > 0:17:38- David, thank you so much. - Right.- It's been a real pleasure.
0:17:38 > 0:17:40Only just the silver cups have gone,
0:17:40 > 0:17:43but on the reserve. That's a good result for David.
0:17:47 > 0:17:52On the outskirts of Bath is the only museum of Americana
0:17:52 > 0:17:54outside the United States,
0:17:54 > 0:17:57and I've come here to find out about the legacy of
0:17:57 > 0:18:00an extraordinary woman from the 18th century.
0:18:00 > 0:18:04When Ann Lee was born into an impoverished, working-class family
0:18:04 > 0:18:09in Manchester back in 1736, nobody could have predicted the impact
0:18:09 > 0:18:11she was to have on American furniture design
0:18:11 > 0:18:16over the next 200 years. Hers is a unique story.
0:18:18 > 0:18:20At the age of 22, Ann Lee became a Quaker,
0:18:20 > 0:18:24but she soon joined a sub-sect called the Shaking Quakers
0:18:24 > 0:18:28or Shakers for short, so-called because of the frenzied dancing
0:18:28 > 0:18:30that accompanied their religious fervour.
0:18:30 > 0:18:34Disenchanted with the squalor and destitution she saw all around her,
0:18:34 > 0:18:39Ann Lee started to nurture a vision of a utopian society,
0:18:39 > 0:18:41one that was based on order and celibacy,
0:18:41 > 0:18:45and in 1774, at the age of 38, she joined a growing band of people
0:18:45 > 0:18:49that were migrating to the new world, America,
0:18:49 > 0:18:53and she settled in New York, where she established a new colony
0:18:53 > 0:18:57and then started to spread the word of Shakerism.
0:18:57 > 0:19:01For the next 150 years, the Shakers carved a niche for themselves
0:19:01 > 0:19:05in the new world. Communities were self-contained and self-sufficient,
0:19:05 > 0:19:09adhering strictly to Ann Lee's doctrine of order and celibacy.
0:19:09 > 0:19:12The Shakers were reliant on converting people to their faith
0:19:12 > 0:19:13to expand their numbers.
0:19:13 > 0:19:18At its peak in 1850, there were more than 6,000 members
0:19:18 > 0:19:20in 18 communities across America.
0:19:20 > 0:19:23Shaker life was governed by strict rules.
0:19:23 > 0:19:26There was even one stating which foot you should use first
0:19:26 > 0:19:29when climbing the stairs, and it's this unity of vision
0:19:29 > 0:19:32that's embodied in every aspect of Shaker life,
0:19:32 > 0:19:35right down to the furniture they produced,
0:19:35 > 0:19:38and really, that is how they're best remembered today.
0:19:38 > 0:19:43Here at the American Museum in Bath is one of the best collections of
0:19:43 > 0:19:45original Shaker furniture in the world.
0:19:46 > 0:19:50Shaker designs sprang from a religious philosophy that rejected
0:19:50 > 0:19:52the values of the world at large,
0:19:52 > 0:19:56a world that was deliberately set apart from everyday American life
0:19:56 > 0:19:59during the late 18th and early 19th century.
0:20:02 > 0:20:04And this is what I'm talking about.
0:20:04 > 0:20:07The simplest and purest of furniture you will ever find,
0:20:07 > 0:20:11and it is so practical, and every time I look at Shaker furniture,
0:20:11 > 0:20:15it always makes me smile. Life is so simple when you de-clutter,
0:20:15 > 0:20:19and the Shaker belief was all about sharing things,
0:20:19 > 0:20:23and you couldn't have clutter as you would never find anything,
0:20:23 > 0:20:26because they had to share their tools, utensils, blankets,
0:20:26 > 0:20:29absolutely anything, and when you look at the furniture,
0:20:29 > 0:20:32you'll never see a piece of Shaker furniture that has been identified
0:20:32 > 0:20:35by its maker. You see, they didn't want to know,
0:20:35 > 0:20:37they didn't want single ownership of that either.
0:20:37 > 0:20:39A mixture of woods were used,
0:20:39 > 0:20:43all highly-coloured and polished as well. This is a cherry wood top.
0:20:43 > 0:20:47They loved fruitwoods, but also hardwoods, ashes and maples,
0:20:47 > 0:20:48and lots of softwoods.
0:20:48 > 0:20:51You'll find softwoods always in the pine carcass.
0:20:51 > 0:20:54Sort of a lightweight, cheap wood,
0:20:54 > 0:20:57a bit like a soap box, really, but no-one looks at the inside,
0:20:57 > 0:21:00but just looking at the simple banks of drawers,
0:21:00 > 0:21:04there is absolutely no ornamentation.
0:21:04 > 0:21:08There is no need for decoration. It sort of takes the eye off what
0:21:08 > 0:21:11the whole thing was supposed to be about in the first place,
0:21:11 > 0:21:12and this is very humble,
0:21:12 > 0:21:16but when you take a closer look at this chest of drawers, you think,
0:21:16 > 0:21:18"Hang on, look at the overhang on the top!"
0:21:18 > 0:21:21I've never seen an English or European chest of drawers
0:21:21 > 0:21:22with such generous overhang.
0:21:22 > 0:21:26You see, now this, also doubles up as a counter,
0:21:26 > 0:21:30as a table-top, very functional, very practical,
0:21:30 > 0:21:34and somebody has been using this as a worktop, because you can see
0:21:34 > 0:21:37all these drawer knife marks as an indication of an awful lot of work
0:21:37 > 0:21:41going on, which is great, because that is what it was meant for,
0:21:41 > 0:21:43and also, it's got a drop-leaf section here,
0:21:43 > 0:21:46so you could fold that flap down and move the thing back
0:21:46 > 0:21:50against the wall, get it out of the way, de-clutter again.
0:21:50 > 0:21:52Cleanliness was next to godliness here!
0:21:52 > 0:21:54# I love mother... #
0:21:54 > 0:21:56The Shakers strove to lead pure and simple lives,
0:21:56 > 0:21:58and their furniture reflects this.
0:21:58 > 0:22:02The simple and elegant designs were way ahead of their time,
0:22:02 > 0:22:05and almost by accident, they became art objects.
0:22:05 > 0:22:10# ..and the miser his gold
0:22:10 > 0:22:17# The monarch his palace and the princess her robe
0:22:17 > 0:22:22# I covet none of this For I've a gospel call. #
0:22:22 > 0:22:27Take a look at the picture rail, because you've got these hand-turned pegs which have been
0:22:27 > 0:22:31driven into this wood, which had been painted with a blue ground,
0:22:31 > 0:22:33but the great thing about this is
0:22:33 > 0:22:39you don't just hang your clothes on it, or your tools, but when you've
0:22:39 > 0:22:43finished using a piece of furniture and space is of a premium,
0:22:43 > 0:22:46you can pick your piece of furniture up
0:22:46 > 0:22:50and you can hang it out of the way.
0:22:50 > 0:22:53You see, they were always in the pursuit of perfection,
0:22:53 > 0:22:55improving things, moving along.
0:22:55 > 0:22:57A simple thing like this stove.
0:22:57 > 0:23:01OK, it's a very basic wood-burner, here's the hub of the burner,
0:23:01 > 0:23:04but also, it's got an extension on the top.
0:23:04 > 0:23:07As this heats up all day long, so does that, so that is going to
0:23:07 > 0:23:12give off twice as much heat again. You see, it's genius, isn't it!
0:23:12 > 0:23:14I love this as well, the old rocker,
0:23:14 > 0:23:17and this is so typical of a ladder-back chair.
0:23:17 > 0:23:20It looks like an English one, ladder back here with the rush seat,
0:23:20 > 0:23:23but what sets it apart is the fact that it's an American one
0:23:23 > 0:23:25and it's got these lovely mushrooms
0:23:25 > 0:23:29terminating at the top of each leg where it joins the arm.
0:23:29 > 0:23:31I love that, and that's so comfortable,
0:23:31 > 0:23:33you would just want to caress it,
0:23:33 > 0:23:37but this I have to show you, because Shaker furniture hasn't just
0:23:37 > 0:23:41influenced furniture designers, but all designers of the 20th century.
0:23:41 > 0:23:44If I hold that up, that does look like a bit of Philippe Starck,
0:23:44 > 0:23:49doesn't it? Let's face it. But it's just the simpleness, you know.
0:23:49 > 0:23:51You don't need a lot of weight there,
0:23:51 > 0:23:55it's just a functional little side table or candle stand,
0:23:55 > 0:24:00beautifully symmetrical, and again, so pleasing on the eye.
0:24:00 > 0:24:03# ..I've a gospel call
0:24:03 > 0:24:08# And a kind, loving mother
0:24:08 > 0:24:11# Which is better than it all
0:24:11 > 0:24:15# The king may have his throne
0:24:15 > 0:24:18# And the miser his gold
0:24:18 > 0:24:22# The monarch his palace... #
0:24:23 > 0:24:27I would love to live my life in a space like this,
0:24:27 > 0:24:31because I know I would be on top of everything and, you know,
0:24:31 > 0:24:34I'd have more time to read and think and I'd be a happier person,
0:24:34 > 0:24:37and that's what Shaker furniture does for you.
0:24:45 > 0:24:48Back at our valuation day in Warminster,
0:24:48 > 0:24:51Kate Bliss and David Fletcher are busy looking out
0:24:51 > 0:24:53for more antiques to take off to auction.
0:24:53 > 0:24:55David is loved-up with a cup brought by Margaret.
0:24:55 > 0:24:58- Hello, Margaret.- Hello, David.
0:24:58 > 0:25:01You've brought in a loving cup.
0:25:01 > 0:25:03Do you know why it's called that?
0:25:03 > 0:25:05- No, I don't, no.- OK.
0:25:05 > 0:25:07I think it's called a loving cup
0:25:07 > 0:25:08because it has two handles
0:25:08 > 0:25:13and in theory, if you and I are husband and wife,
0:25:13 > 0:25:17we would perhaps share a cup of tea in it
0:25:17 > 0:25:20and you would drink out of one side using that handle
0:25:20 > 0:25:23and I would drink out of this side using this handle.
0:25:23 > 0:25:29Um...it's called a "farmer's arms" loving cup
0:25:29 > 0:25:32and it's called that
0:25:32 > 0:25:37because it celebrates the life and efforts
0:25:37 > 0:25:40of the farming community.
0:25:40 > 0:25:43- Right.- Do you come from a farming community yourself?- No, no.
0:25:43 > 0:25:48I was born locally but I got it from my aunt.
0:25:48 > 0:25:52OK. It's transfer-printed and it would have been made in Staffordshire.
0:25:52 > 0:25:59Now you first see loving cups like this decorated with the farmer's arms
0:25:59 > 0:26:02- dating from about 1830-1840...- Right.
0:26:02 > 0:26:05..but the nature of the decoration
0:26:05 > 0:26:09is a little bit too unsubtle, really, for an early piece of transfer printing...
0:26:09 > 0:26:14- Right.- ..and I think that points to a late-19th-century date.
0:26:14 > 0:26:18- Shall we just have a look at the rhyme on the back?- Yes.
0:26:18 > 0:26:22It says, "So jolly boys now Here's God speed the plough
0:26:22 > 0:26:25"Long life and success to the farmer."
0:26:25 > 0:26:28And it finishes with a motto,
0:26:28 > 0:26:31"Industry produceth wealth,"
0:26:31 > 0:26:34and that says the harder you work, the richer you'll become.
0:26:34 > 0:26:38- In theory!- I'm not sure that applies. In theory, exactly.
0:26:38 > 0:26:42- I'm not sure that has applied in my life, but did you ever use it? - No, no, no.
0:26:42 > 0:26:45- You've never drunk out of it? - It was in the cupboard.
0:26:45 > 0:26:50- So you haven't even had it on display then?- No.- So you won't really miss it?- I shall not miss it!
0:26:50 > 0:26:54- Now I've got to tell you that it's not terribly valuable.- No.
0:26:54 > 0:26:58- I suspect you thought that was the case?- It's the fun of coming here.
0:26:58 > 0:27:03Well, I think it's going to make probably no more than £20 or £30.
0:27:03 > 0:27:05- That's fine. - So we'll make that the estimate.
0:27:05 > 0:27:08- Right.- But what I would like to do, if you're happy,
0:27:08 > 0:27:10is to sell it without reserve.
0:27:10 > 0:27:14- Yes.- So if it doesn't make £20
0:27:14 > 0:27:16and sells for, say, £15...
0:27:16 > 0:27:18That's fine.
0:27:18 > 0:27:19- That's fine.- You won't shoot me!
0:27:19 > 0:27:21No, definitely not!
0:27:21 > 0:27:26Is David putting his neck on the block here by selling Margaret's loving cup with no reserve?
0:27:26 > 0:27:28We'll find out shortly at auction.
0:27:29 > 0:27:32Meanwhile, Kate is taking a closer look at Phyllis's picture.
0:27:32 > 0:27:37This is a really striking portrait. How did you acquire it?
0:27:37 > 0:27:41Well, we just recently moved house and it was a much larger house
0:27:41 > 0:27:45and I was always looking in antique shops and I just saw her
0:27:45 > 0:27:49and I just had to buy her because her face was just so beautiful.
0:27:49 > 0:27:51- The face that sold it to you?- Yes.
0:27:51 > 0:27:54It's also very delicate, it's not harsh at all.
0:27:54 > 0:27:57- Do you know anything about the artist, though?- Only a little.
0:27:57 > 0:28:03- I knew it was painted in 1862 and he was a member of the Royal Academy.- That's right.
0:28:03 > 0:28:05And that's, er...Pre-Raphaelite.
0:28:05 > 0:28:08OK, well, it is dated quite clearly, actually,
0:28:08 > 0:28:12- although quite small detail, here 1862.- Right.
0:28:12 > 0:28:14But above that, the initial "F"
0:28:14 > 0:28:16and then "Smallfield"...
0:28:16 > 0:28:19- Right.- ..the signature of the artist.
0:28:19 > 0:28:21And I think you're right -
0:28:21 > 0:28:25- it is the face, which is the best thing about it.- Yes.- And, for me,
0:28:25 > 0:28:28it almost looks as if the hair and her dress
0:28:28 > 0:28:32- could almost be by a different artist.- Really?
0:28:32 > 0:28:34That perhaps deserves an explanation
0:28:34 > 0:28:39- and when I tell you about Frederick Smallfield, you'll understand why...- Right.
0:28:39 > 0:28:45..because he was at the Royal Academy, he studied at the Academy in the 1840s
0:28:45 > 0:28:52and at that time, it meant that he was studying with a lot of the Pre-Raphaelite artists...
0:28:52 > 0:28:57- Right.- ..then went on to become leaders in their field...- Right.
0:28:57 > 0:29:00..but of particular influence among the Pre-Raphaelites
0:29:00 > 0:29:03- was the artist, John Everett Millais...- Right.
0:29:03 > 0:29:06..and Millais really inspired Smallfield
0:29:06 > 0:29:11and helped him to develop this very Pre-Raphaelite style
0:29:11 > 0:29:15which you can see in the face of this young girl
0:29:15 > 0:29:17and if you look carefully, you can see
0:29:17 > 0:29:22that he's captured it almost by using the technique that miniaturists use
0:29:22 > 0:29:25of perhaps using the end of the brush
0:29:25 > 0:29:31in tiny, tiny little dots which produces this very soft effect
0:29:31 > 0:29:35and that almost gives the texture of the skin as well
0:29:35 > 0:29:38- and that is essentially a very Pre-Raphaelite technique.- Right.
0:29:38 > 0:29:42So we've got here somebody who studied with the Pre-Raphaelites
0:29:42 > 0:29:46- but somebody who is not really recognised as being a Pre-Raphaelite.- Right.
0:29:46 > 0:29:50This is dated 1862, which you noticed.
0:29:50 > 0:29:53- The 1860s were when the best of his work was done...- Right.
0:29:53 > 0:29:56..and the subject, of course,
0:29:56 > 0:29:59being a young girl is the best subject in portraits,
0:29:59 > 0:30:03and the most commercial, so it's got a lot going for it.
0:30:03 > 0:30:07- The downside is that it is foxed...- Yes.
0:30:07 > 0:30:11And foxing, that you can see here in these brown patches,
0:30:11 > 0:30:16luckily actually up here, not so much in the actual painting,
0:30:16 > 0:30:19but foxing is an actual fungus that will grow within time.
0:30:19 > 0:30:24So if that isn't seen to, that will interfere with the painting more,
0:30:24 > 0:30:28but having said that, it could be fixed fairly easily by a restorer.
0:30:28 > 0:30:31- Right.- So why do you want to get rid of her now?
0:30:31 > 0:30:34Because we've got a smaller house.
0:30:34 > 0:30:36I've got lots of pictures
0:30:36 > 0:30:42and we've got a houseful of historic race cars which my husband restored.
0:30:42 > 0:30:44So vintage racing cars?
0:30:44 > 0:30:48- Yes, it's all their classic Formula 1, '60s, '70s stuff.- Wow!
0:30:48 > 0:30:50- Can my dad visit you? - He can, anytime.
0:30:50 > 0:30:53- We've got one in the garage now.- Ooh, fantastic!
0:30:53 > 0:30:56- I might take you up on that!- Right.
0:30:56 > 0:30:57- But back to the portrait...- Right.
0:30:57 > 0:31:01..what did you pay for it in the antique shop, can you remember?
0:31:01 > 0:31:05- I'm sure it was about £40. - Right, OK.
0:31:05 > 0:31:11- I'm going to say £200 to £400 but I think she might make even a bit more than that.- Really!
0:31:11 > 0:31:16But it's a little bit of a vague estimate, £200 to £400 but that's because I recommend a reserve,
0:31:16 > 0:31:19- perhaps towards the lower end of the estimate.- Right.
0:31:19 > 0:31:23But I think she has potential perhaps
0:31:23 > 0:31:25to make 400 plus.
0:31:25 > 0:31:27- Really!- I think she's lovely.
0:31:27 > 0:31:29She is beautiful, isn't she?
0:31:29 > 0:31:31Really lovely.
0:31:31 > 0:31:34Could Phyllis make ten times what she spent on the painting?
0:31:34 > 0:31:36It's a tantalising prediction.
0:31:37 > 0:31:42Now if you've got any unwanted antiques and collectables that you'd like to sell,
0:31:42 > 0:31:47we would love to see you but you have to come to one of these - a Flog It! valuation day.
0:31:47 > 0:31:51There's two ways of finding out the dates and the venues.
0:31:51 > 0:31:55The first is to check the details in your local press, the next is to log on to...
0:31:58 > 0:32:02Click F for Flog It! and then follow the links
0:32:02 > 0:32:06and you'll find the dates and the venues for our future valuation days
0:32:06 > 0:32:09and hopefully there's one very near you soon.
0:32:09 > 0:32:12It's good to see sporting memorabilia on Flog It!
0:32:12 > 0:32:19as it can do really well at auction and that's why David has got quite excited about Bill's collection.
0:32:19 > 0:32:21Not only do they tell us about football itself
0:32:21 > 0:32:25and a bit about the people who played at the time,
0:32:25 > 0:32:30- they also tell us a bit about graphic art of the time too.- Yes, yes.
0:32:30 > 0:32:37This Aston Villa programme, for example, dated 1949 -
0:32:37 > 0:32:41- what a wonderful piece of design that is.- Yes, yes.
0:32:41 > 0:32:44And the Newport County AFC programme too.
0:32:44 > 0:32:50It's a lovely piece of design, but as I say, the interest I think goes further than that.
0:32:50 > 0:32:54If we open this one for Arsenal versus Aston Villa,
0:32:54 > 0:32:58we can see some of the players whose names are household names -
0:32:58 > 0:32:59- Compton...- Yes, yes.
0:32:59 > 0:33:03- Presumably Leslie Compton? - Yes, I think they both played.
0:33:03 > 0:33:08- And he was Dennis Compton's...?- His brother, and they both played,
0:33:08 > 0:33:12not on that particular day, but they both played at the same time, yeah.
0:33:12 > 0:33:15And another name, Mercer, presumably Joe Mercer?
0:33:15 > 0:33:17Yes, yes, that's Joe Mercer, yes.
0:33:17 > 0:33:20And he went on to manage Manchester City in my young days.
0:33:20 > 0:33:23Yes, and England.
0:33:23 > 0:33:26And England, of course, quite right, yeah. Is this your own collection?
0:33:26 > 0:33:30No, my brother's. He actually went to all of these games.
0:33:30 > 0:33:34Gosh! He must have spent a fortune travelling the country!
0:33:34 > 0:33:37- He worked for British Rail for 50 years!- Did he? Oh, good!
0:33:37 > 0:33:39So it was subsidised rail fares?
0:33:39 > 0:33:41- Yes, yes. - And he made the most of it!
0:33:41 > 0:33:43- He certainly did, yes.- Wonderful!
0:33:43 > 0:33:47And what we've got here is just the tip of the iceberg.
0:33:47 > 0:33:49- Yes, yes. - How many in all, do you think?
0:33:49 > 0:33:51- Over 200.- Over 200?- Yeah.
0:33:51 > 0:33:55Right, and anything else that relates to football or is it just programmes?
0:33:55 > 0:34:00- I've got some signed photographs. - Have you? Right.- Stanley Matthews.
0:34:00 > 0:34:03Stanley Matthews, right, yep.
0:34:03 > 0:34:05- And Sandy Mortensen.- Mortensen, yes.
0:34:05 > 0:34:08- You've got their autographs in the collection?- Yes.
0:34:08 > 0:34:11Amazing, and are they taking up space?
0:34:11 > 0:34:13Do you want to clear your decks a bit?
0:34:13 > 0:34:18No, not particularly. They're just stored away and I've got three sons,
0:34:18 > 0:34:23they would appreciate having them but they would just be stored away.
0:34:23 > 0:34:27- You don't think they'll regret their passing too much?- Oh, no, no.
0:34:27 > 0:34:30We need really to think about what the collection's worth.
0:34:30 > 0:34:33Given that you've got these autographs,
0:34:33 > 0:34:36- which we haven't been able to see today...- Yes.
0:34:36 > 0:34:41..you know, I think the whole collection is going to make the best part of £100, really.
0:34:41 > 0:34:47- I would be inclined to go with an estimate of £80 to £120.- Yeah.
0:34:47 > 0:34:51A reserve a bit below £80, say £60.
0:34:51 > 0:34:54They'll be happy with that.
0:34:54 > 0:34:56We'll go ahead on that basis, then.
0:34:56 > 0:35:00OK, Bill, well, I'll see you with all those other football fans
0:35:00 > 0:35:04- in the sale room and I'll look forward to that, OK? - I look forward to it, yes.
0:35:04 > 0:35:07So without delay, let's kick off our second stint at auction.
0:35:07 > 0:35:10Alan Aldridge is on side with Bill's football programmes.
0:35:10 > 0:35:15It seems our expert, David, has been very cautious with his valuation.
0:35:15 > 0:35:19We've put £80 to £120 on the lot and there's a lot of early photographs
0:35:19 > 0:35:22with signatures as well, autographs.
0:35:22 > 0:35:24I think it's a lovely little lot.
0:35:24 > 0:35:28It's our field, sporting memorabilia, we've got good clients for it.
0:35:29 > 0:35:34It's my era as well, so I know all these guys, I watched them as a lad.
0:35:34 > 0:35:38Fortunately or unfortunately, my dad didn't work for British Rail.
0:35:38 > 0:35:42- I could only see Arsenal. - But that's your team, isn't it? - That's my programme.
0:35:42 > 0:35:45Have you seen this? Look! Look at that.
0:35:45 > 0:35:48- 1948.- I may have seen it.
0:35:48 > 0:35:51- I don't remember it.- The Gunners. - I may have seen it.
0:35:51 > 0:35:55- I love this! This reminds me of the early Shell posters, you know the graphics on this.- Yeah.
0:35:55 > 0:35:59There's two guys at an East London School,
0:35:59 > 0:36:03and they did beautiful posters and they are very, very collectable.
0:36:03 > 0:36:10- Have you split the lot?- Yeah, I've split them because this is purely programmes and club programmes.- OK.
0:36:10 > 0:36:13- These are international programmes and autographs.- Right.
0:36:13 > 0:36:16You'll touch different collectors. By splitting them
0:36:16 > 0:36:21it will benefit the client, obviously, and I would say
0:36:21 > 0:36:24we'll get top end of the estimate and if things are good to us,
0:36:24 > 0:36:27we'll bang on a bit more on that as well.
0:36:27 > 0:36:31OK, so we're looking for a bit more than £120 for this particular lot?
0:36:31 > 0:36:34- Yes.- And for the autographs, what are you looking for there?
0:36:34 > 0:36:35- This is less.- Less?
0:36:35 > 0:36:40This is probably sort of £60, maybe £80.
0:36:40 > 0:36:42This one, £180, £200, £250.
0:36:42 > 0:36:44£250? Hey, now you're talking!
0:36:44 > 0:36:48- If we get carried away.- OK, fingers crossed, fingers crossed!
0:36:48 > 0:36:52So, will two lots mean twice the money? We'll find out shortly.
0:36:52 > 0:36:57First, a quick reminder of the other lots just about to go under the hammer.
0:36:57 > 0:37:02Kate has given Phyllis's painting a hefty estimate of £200 to £400 but will the condition put people off
0:37:02 > 0:37:04and will the bidders love
0:37:04 > 0:37:07Margaret's loving cup with no reserve - anybody's guess!
0:37:07 > 0:37:11I absolutely love this next lot; it's one of my favourite pieces of the sale.
0:37:11 > 0:37:15Why are you selling it? You should be hanging onto this - it's not going to make you rich!
0:37:15 > 0:37:19- It's just being here, isn't it? - The Flog It! experience!- Yes!
0:37:19 > 0:37:22You could have come without bringing anything along.
0:37:22 > 0:37:27Anybody is welcome at our valuation days. If you want to watch, you're more than welcome to.
0:37:27 > 0:37:29I don't need it, it's just in a cupboard.
0:37:29 > 0:37:31It's a nice thing, isn't it?
0:37:31 > 0:37:35It's just a nice little keepsake from the days when farming wasn't as bleak as it is now
0:37:35 > 0:37:40and people in this country were directly or indirectly involved in agriculture;
0:37:40 > 0:37:41most people worked in agriculture -
0:37:41 > 0:37:47far, far more than they do today and it's just a reminder of those golden bygone days.
0:37:47 > 0:37:51- Perhaps it will go to somebody who appreciates it.- I hope it goes to a farmer.
0:37:51 > 0:37:54We'll find out right now because this is your lot.
0:37:56 > 0:37:59"God speed the plough" -
0:37:59 > 0:38:02a nice little loving cup, 20 quid.
0:38:04 > 0:38:0715? Who wants to start me at a tenner, then?
0:38:07 > 0:38:09Oh, God!
0:38:09 > 0:38:12Ten at the very back.
0:38:12 > 0:38:1512 quickly, at £10, at 10, is there 12?
0:38:15 > 0:38:1710 is not a lot of money.
0:38:18 > 0:38:21It's very pretty. At £10, at the back...
0:38:21 > 0:38:24- Oh, it's worth twice as much as that!- £10 all going.
0:38:24 > 0:38:27£10, it's gone, there was no reserve.
0:38:27 > 0:38:29It's just coffee money, isn't it?
0:38:29 > 0:38:32Yes, it was a nice thing, that was a lovely thing.
0:38:32 > 0:38:35- You might be able to buy yourself a gin and tonic...- Possibly.
0:38:35 > 0:38:41The cup only sold for a tenner but it's put a big smile on Margaret's face.
0:38:41 > 0:38:46Next it's Phyllis's painting of another pretty face, but will the condition hold it back?
0:38:46 > 0:38:50Phyllis, time to put that watercolour to the test by Frederick Smallfield,
0:38:50 > 0:38:52£200 to £400 we've put on this.
0:38:52 > 0:38:55I think it's interesting because it is a slightly unpredictable market
0:38:55 > 0:38:59- but she has got a lovely face!- Yes, she's a beautiful girl.- Yeah.
0:38:59 > 0:39:03- I may be slightly optimistic but you never know...- You don't know what will happen.
0:39:03 > 0:39:07- There seems to be a lot of picture buyers in the room. - We'll find out.
0:39:07 > 0:39:09- Fingers crossed, Phyllis. - There's got to be somebody
0:39:09 > 0:39:13- that looks for portraits rather than scenes.- That's right.
0:39:14 > 0:39:19Now this by an artist called Fred Smallfield; decorative.
0:39:19 > 0:39:22Couple of hundred quid?
0:39:22 > 0:39:23Couple of hundred?
0:39:24 > 0:39:26150.
0:39:26 > 0:39:27Come on, come on!
0:39:27 > 0:39:30- They're all sitting on their hands, aren't they?- They are!
0:39:30 > 0:39:32We've got to start somewhere.
0:39:35 > 0:39:39- And if anybody says a tenner, I'll throw the gavel at them!- 20.
0:39:39 > 0:39:41Well, that's nearly there!
0:39:44 > 0:39:4620, I will start. 40.
0:39:46 > 0:39:4860. 70.
0:39:48 > 0:39:51£70.
0:39:51 > 0:39:5380. 100?
0:39:53 > 0:39:56At £80.
0:39:56 > 0:40:02- 90. 100, 110.- This is more like it!
0:40:02 > 0:40:05110, anywhere else?
0:40:05 > 0:40:07All going.
0:40:07 > 0:40:10- Not quite.- No.- Not sold.
0:40:10 > 0:40:13- Sorry about that.- It's all right. - Wasn't to their taste, was it?- No.
0:40:13 > 0:40:17- That's what it was.- Exactly!- Maybe there is a space on the wall left? - Yes.
0:40:17 > 0:40:22- It's had a Flog It! outing, it's had an airing, it's been on TV.- Yes. - Maybe you should enjoy it.- Yes.
0:40:22 > 0:40:25And it reminds you of a day in Flog It! in the auction room.
0:40:25 > 0:40:28Phyllis's painting will be going back on her wall,
0:40:28 > 0:40:30where hopefully she can enjoy it for a while longer
0:40:30 > 0:40:33and now it's time for Bill's football programmes.
0:40:33 > 0:40:40They've been split into two lots, each with an estimate of £80 to £120 with a fixed reserve of £60.
0:40:40 > 0:40:43- There's some wonderful things there, David, as you know!- Yeah.
0:40:43 > 0:40:47- The Villa programme, the Arsenal one.- Yeah, and the '48 Cup Semi-Final.- Yeah.
0:40:47 > 0:40:49All late '40s, early '50s.
0:40:49 > 0:40:53- Yeah.- All credit to your brother and you for keeping them in such condition -
0:40:53 > 0:40:56- that's where the value is.- I hope so.- They're about to go under the hammer.
0:40:56 > 0:40:59We're going to find out what they're worth. This is it!
0:41:01 > 0:41:05These are autographs and a few programmes -
0:41:05 > 0:41:09a couple of nice internationals at the back, good little lot.
0:41:11 > 0:41:1350, I've got. 60.
0:41:13 > 0:41:1870, 80, 90,
0:41:18 > 0:41:22100, 110, 120?
0:41:22 > 0:41:24I've got 110, at £110 with me.
0:41:24 > 0:41:31120, 125, 130.
0:41:31 > 0:41:35I've got 125 with me. 125!
0:41:35 > 0:41:39- Well done!- I'm happy with that.- One down, one to go. We got the top end.
0:41:41 > 0:41:43Again we've got a collection
0:41:43 > 0:41:50of nice early 1947-1948, mainly Birmingham teams.
0:41:50 > 0:41:53Start me somewhere around about 160.
0:41:53 > 0:42:00- Wow!- 170, 180, 190, 200, 210,
0:42:00 > 0:42:03220, 230, 240.
0:42:03 > 0:42:09250, 260, 270, 280,
0:42:09 > 0:42:13290, 300, 310.
0:42:13 > 0:42:17At £300, 300, at 300; is there 10?
0:42:17 > 0:42:21- At 300!- You've got to be pleased with that.
0:42:21 > 0:42:23- That's £425 in total. - You knew something, David!
0:42:23 > 0:42:27- Yeah, very, very pleased.- £425! Who gets the money?
0:42:27 > 0:42:31Well, I don't know whether it will be me or my brother...
0:42:31 > 0:42:33we didn't expect to get anything like this, really.
0:42:33 > 0:42:38Brothers can sort it out. Look, all credit to both of you for looking after them.
0:42:38 > 0:42:42- Ask your wife to sort it out between you and I'm sure she'll be able to do a deal.- She can.
0:42:42 > 0:42:46- No fighting, no brothers fighting, please!- It's already decided!
0:42:46 > 0:42:49- Thank you so much, Bill. - Thank you, thank you very much.
0:42:54 > 0:42:59Well, that's it, it's all over for our owners as we're coming to the end of another auction
0:42:59 > 0:43:03and the highlight of the day for me had to be that big smile on Bill's face
0:43:03 > 0:43:05when we sold the football programmes.
0:43:05 > 0:43:10They made a total of £425, almost four times the original estimate.
0:43:10 > 0:43:15That's the excitement of auctions. If you've not been to one, come and join us soon,
0:43:15 > 0:43:19but you've got to bring some antiques to one of our valuation days,
0:43:19 > 0:43:22so from Wiltshire, until then, it's cheerio.
0:43:43 > 0:43:45Subtitles by Red Bee Media Ltd