Bristol Flog It!

Today, Flog It is in its home town. Everything you see on screen is put together inside this building.

Welcome to Bristol.

Bristol's probably most famous

for its dubious history of slavery and tobacco,

but it's become one of the best cities in Europe to live in.

Bristol boasts an array of artistic talent from Portishead to Roni Size,

JK Rowling of the Harry Potter books

and the world famous graffiti artist, Banksy.

They are all connected to this magical wonderful city.

'Flog It is at the Council House on this snowy day

'to see if the people of Bristol have any antiques or collectables to sell.

'These will be valued by experts David Barby and Philip Serrell

'then taken to auction to put the valuations to the test.

'Phil has been in the business for over 30 years and has an obsession with wooden shovels -

'to dig himself out of the holes he gets himself in!'

So, Angela...

Angela! I was coming round to Angela. It was just a slight move.

'David is a fan of New Hall pottery and William Morris designs.

'If you don't know what they are, you haven't been watching enough Flog It.'

Put them in the attic then bring them out in 30 or 40 years' time.

'Today, Tony goes to extreme measures to get to his valuation.'

-Did you fly in?

-Yeah. The rest of it's outside!

'David lets slip some tricks of the trade.'

We put a sensible "come and get me" price.

'Diane has second thoughts about her grandfather's medals.'

Well, I don't know now... You've got me going now.

Everybody is safely seated inside and David is first at the table.

Unfortunately, the weather has kept a lot of people away,

but Flog It fan Jude has brought in these marvellous paintings.

These are so evocative of a certain period of art

appealing to tourists.

Where did you get them from?

-I bought them in Greenwich market in London in 1986.

-Right.

And they cost me, I think it was a fiver for the two.

The reason I say these are tourist pieces is because there were artists painting in this manner.

This is Herbert William Hicks born in 1880 and he died in 1944.

But he was painting in the manner of another artist called Edward Whymper.

With that sketchy heavy gouache

application of paint onto the surface.

You get brilliant touches of colours like these heathers.

Most of the pictures are named.

This is Vixen Tor near Princetown.

And the other one is Picton, is it? It's rather rubbed off.

So, these were local beauty spots.

That area of the country was being opened to tourists.

Cyclists, certainly cars at that time for the more wealthy,

would visit the area and then purchase objects.

Pictures like this were very desirable.

They'd take them back to suburbia London

and hang them as a memento of their holiday.

-Did you have them hanging at home?

-I had them hanging on my wall

in a flat I lived in in London.

-How appropriate! Back to London.

-Yes. They reminded me of childhood holidays.

-Right.

-In Dartmoor.

-Same idea.

Since then, they've been in my attic so I'll be happy to flog 'em!

A lot of these paintings have gone to auction.

Single ones will sell between £30 and £55.

-Pairs go up to £120 and £155.

-Right.

So your £5 investment has brought in a good return.

I think the condition is excellent.

-Oh, good.

-The colours are still vibrant.

These are towards the top end of the market.

We've got to put a reserve on them.

I would suggest a reserve about 80. Do you agree?

-£80 sounds very good.

-OK, £80 we'll accept as a reserve.

Let's say if we get over £80,

say £100, are you going to buy a more contemporary work of art?

-I might well do.

-That's a good idea.

-Maybe by a local artist.

-Local artists need all the support they can get.

-Yes. I'm one myself.

-Really? Jude, thank you very much. Lovely meeting you.

-You're welcome.

'David's sure someone else

'will appreciate these landscapes of Dartmoor.

'He's not the only one interested in pictures.'

-Look at that! Everyone uses a mobile phone nowadays.

-Yeah.

Just taken one of our cameraman.

Unfortunately, there are so many of those around, the Bakelite ones.

I doubt if you'd get more than £15 for that in an auction.

'Some things are better left in the attic for the time being.

'This next item is fresh out of the attic -

'an intricate cut-out wooden design.

'Fretwork usually adorns furniture or architecture.

'In this case, it's a work of art in itself. Philip's not convinced.'

-Why?

-He's been looking down on us!

-Has he?

-Absolutely.

It's a fabulous example of fretwork.

Quite what you'd do with it, I really don't know.

It's the Lord's Prayer and I wonder whether it's to demonstrate

either someone's work of fretwork,

or to demonstrate an early machine.

Because you've got different scripts.

This comes in here.

It's as fresh as the day it was done.

From this side, it almost looks like it's 1930s, 1940s.

1950s, but when you turn it over...

..you'll see there. That and over this side here,

it's been in there from day one.

And this frame is going to date from about 1900.

If you get a painting and want to know if it's original, look at the back.

A piece of furniture, turn it upside down.

Let's turn it round again. So...

If lots of people want to compete in the marketplace to buy something

that pushes the price up.

I might be a heretic here,

but I don't believe we'll have loads of people competing to buy this.

Because if you buy it, what do you do with it?

-Would you want it in your front room?

-No.

-Sorry, Lord!

It's one of those things that, I think, you'd buy cos it looks an intricate piece of work.

And you'd be thinking, "What do I do with this?"

I think we've got to put a "come and buy me" estimate on of £30 to £50.

-Where did you find it?

-It's been in the loft. 40 years.

I'm tempted to ask why you want to sell it but that's fairly obvious.

-I don't want to sell it but...

-Why don't you want to sell it?

-Because of the workmanship.

-Where would you put it?

-In the loft!

-In the loft!

-It just lives in the loft.

-Counselling. You can get help here.

-Flog it?

-Flog it, please.

We'll put a fixed reserve on it of £20.

I suggest, on the way home you start reciting this.

I just hope that it goes and if it doesn't, I'm terribly sorry,

-but it's back in your roof again.

-Ooh!

-Yeah.

'I think that's a good decision, although Mike doesn't seem to agree.

'Our next valuation is under way.

'It's an item with a mystery, which also caught my attention.'

There's David Barby in that monitor, waxing lyrical, as only David can.

To this lady. He's found something quite special. I'm going to keep my eye on her.

When they've finished,

I'm going to have a chat and see if she's happy with the valuation, and why she wants to sell.

Could be interesting.

-Margaret, I find watches quite intriguing.

-Yes.

Not from the point of view of a just a timepiece.

This timepiece dates from the latter part

of the 19th century, because it has a top wind.

-Oh, I see.

-So it doesn't have a key.

This was an innovation that came about in the latter part of the 19th

so you can immediately date it to that period.

Also, I love the white enamel face

with the Roman numerals and the little second hand.

What is intriguing about this watch...

-..is the engraving on the back.

-Yes.

-Do you know anything about that?

No, I don't. I tried to find out but I couldn't.

We have a date here of 1829, 1879

and 11th June.

So we might be able to research as to which monarch celebrated

-50 years of marriage.

-Oh!

I misread the dates!

-Because I think this is a golden wedding.

-That makes sense.

You've got a golden watch.

This gold watch is 14 carat,

which would also tell me,

14 carat, you'd expect to find in a Continental model.

So I find this quite intriguing, the design, but equally so...

we have an inscription inside the case.

What's the significance?

Henry was my late father-in-law and Dick was his father-in-law.

But what happened on 8 November?

I'm sorry. I have no idea!

I know it wasn't Henry's birthday, but I don't know Dick's birthday.

This is quite a nice little pocket watch.

-Did your husband use it?

-No. He's never used it.

-So you've got no lovely watch chain.

-No.

-Or a waistcoat it would hang on?

-No. He doesn't wear waistcoats.

The value, I will be quite honest with you, is in the gold.

If that goes up for auction, for a very plain simple watch

with the intriguing engraving, it'll probably go 100 to 120.

-Yes.

-As gold rises, goes down,

it may alter by the time we go to auction.

Perhaps a minimum price of £100, reserve price.

I shall be happy with that. I'm sure the auction house will be as well.

'Now David has finished, I'm keen to find out what Margaret thought.'

-Why have you decided to sell it?

-It doesn't have sentimental value.

We've got other items which belonged to my father-in-law.

And we never saw it. We only found it after he died.

He must have kept it in a drawer.

It's nicely preserved in this little box.

I'll look forward to the auction, and hopefully we'll get more.

'So, that's three lots ready to see how they fare at auction.

'We've got Jude's paintings of Dartmoor,

'Mike and Jan's fretwork Lord's Prayer that divided opinion

'and Margaret's watch with a mysterious provenance.

'And we're taking all of our items to the Clevedon salerooms,

'where Mark Burridge, will be working hard to get the best results.

'Both buyers and sellers pay commission.

'Here in Clevedon,

'if an item is less than £1,000:'

Under the hammer now, two paintings of Dartmoor belonging to Jude.

Unfortunately, Jude can't be with us but we've got our expert Mr David Barby.

They are local.

West Country. It's only a county away. We are in Somerset.

-I love the soft shades.

-Yes.

Hopefully, somebody's going to be like-minded in the saleroom right now, let's see some hands go up.

Herbert Hicks, a pair of gouache studies, Dartmoor landscapes.

Nicely displayed. I've got 80, 90, 100.

110. 120 on the book...

Straight in.

..130 now? 130 now?

130 now? 130. 40.

50?

Against you, sat down. With me, still, then at £140...

-Great price. Well done, David.

-I feel vindicated.

I just wish Jude could be here but she can't make it today.

We'll get on the phone and tell her.

'Jude was very pleased and I hope Jan and Mike say the same,

'as Mike didn't want to sell his picture.'

-This little panel has gone from house to house.

-It has, yeah.

-Why are you selling it now? Have you decided to stop moving?

-Yes.

But it's a shame that it's not...

It's in the loft. No-one's able to see it.

-Imagine the guy with his fret saw.

-It's a massive amount of work.

-It isn't really that sought after.

-Religious things aren't commercial.

It's got some angels and a sun. Hopefully, this is going to sell.

Lot 80 there is the fretwork Lord's Prayer picture.

Interest here on the book.

20. Five. 30. Five. 40 on the book.

45?

45. 50. And five?

£55 bid in the room. 60, anyone else?

All done? Selling, then, at £55...

Hammer's gone down. £55.

I think that's well sold.

-Are you happy with that?

-Yes.

-Hopefully that goes on a wall now.

'That's more than they'd hoped for.

'At least it'll go somewhere other than the loft.

'Time for Margaret's engraved pocket watch.'

-This was given to your father-in-law.

-Yes.

-It's a good item.

I know the money is going to charity.

Yes. It's going to Help For Heroes.

He was a soldier in the Second World War.

It's a commemorative piece.

People interested in royalty will go for it,

as opposed to just a pocket watch.

-And it's 14 carat.

-Yes.

-Better than nine!

And it's going under the hammer right now.

Lot 400 is a gold coloured metal top white pocket watch, stamped 14k.

We're selling. £100 I'm bid...

He's got 100.

..30, 40. £140 with me.

150, now?

150. 60. 70. 80. 90.

200. 220...?

This is fabulous! They love it.

..220 in the room. 240? 240...?

My goodness!

..£220. Selling on 220, then.

-Yes! £220!

-Oh, that's good.

-All going to Help The Heroes.

-Thank you for bringing it in.

-Thank you.

-What a fabulous result.

-Totally shocked. Are you surprised?

-I'm not shocked.

We put a sensible "come and get me" price.

-Wasn't that exciting?

-I'm very pleased.

'One of Bristol's adopted sons

'is the celebrated engineer Isambard Kingdom Brunel.

'We have him to thank for the Clifton suspension bridge,

'the SS Great Britain, the docks and Temple Meads station.'

At 27, Brunel was Chief Engineer of the Great Western Railways.

He had a vision that a passenger would buy a ticket

from London to New York via train to Bristol

then onwards by steam ship across the Atlantic.

As well as the tunnels, bridges and viaducts,

he designed the terminus buildings at Paddington and at Temple Meads,

which was the first to be built, in 1840.

If you get off at Bristol Temple Meads today,

you arrive in this section, which wasn't designed by Brunel.

This extension was added a little later.

The success of the railway put pressure on Brunel's two platforms,

so extensions were added to the station, first in the 1870s

and then in the 1930s, both of which give us the station we see today.

Down there is the entrance to the main station.

A wonderful piece of Victorian architecture in the gothic revival style

added after Brunel's death by his understudy Digby Wyatt.

You can see where Victorian architecture meets

Brunel's original terminus.

You can see the coloured stitching of the brickwork.

Brunel's style is softer, more in the Elizabethan manner.

Brunel's original design is just as it was when it was built.

The platform has been filled in

but the structure with the hammer-beamed roof

and windows for the steam from the trains to escape, is still all here.

It's a shame we can't go inside because there's a conference.

Believe me, it's absolutely stunning.

You can see where Brunel's station stops

and the Victorian extension starts.

You get a sense of the massive scale of this building.

Gorgeous hammered beams. Great big robust pieces of wood!

I know they look a little shabby but they're in total contrast

to the lightweight classic Victorian engineering.

Brunel's unique design is no more evident than on the facade,

which is now somewhat overshadowed

by a main arterial road in and out of Bristol.

This was symmetrical but the arrivals archway, on the right,

was demolished.

The departures archway is now the entrance to the car park.

This is where the people would have entered the original station.

It's hard to imagine. Off the road, through that archway.

It's a car park, full of wheelie bins and doesn't look that exciting.

But it would have been a hustle and bustle of activity.

People arriving on foot with their bags to catch the steam train,

or by horse drawn carriages.

The carriages would drop people here

so they could enter the platform there.

The carriages would go through that archway, through the other arch, back onto the road.

You can see one or two massive stone troughs.

They'd be full of water so the horses could drink.

This is the grand entrance.

The interesting thing is the train isn't at this level.

You had to climb a staircase to get up to the platform level

which is where that row of windows on the first floor is.

This is the level the trains would have entered the building.

They'd go to the end of Brunel's terminus, and back the way they came.

When the extension was built in the 1870s, the focus was on the right-hand side.

So this part of the station changed from being the front to the back.

That can be clearly seen in the difference of Brunel's design

and the Victorian extension.

It's a lot more simple. It's quite crude, in fact.

Trains finally stopped using Brunel's terminus in 1955.

Even in slightly bleak surroundings, Brunel's brilliance shines through.

Bristol is home to some of his greatest engineering feats,

and also to an extensive Brunel collection.

It was donated to Bristol University's arts and social sciences library

by Brunel's granddaughter, Lady Celia Noble, in 1950.

It's been added to in various ways.

I'm lucky enough to look at some of the thousands of drawings

and personal effects, and I'm very excited about that!

Here are Brunel's technical drawing instruments

in a lovely a mahogany case.

They've all been stamped with his initials IKB.

This is the best thing in the collection, as far as I'm concerned.

Brunel did these drawings when he was just 23 years old.

This won him the competition to build, to design,

Clifton suspension bridge.

Sadly, Brunel never saw it finished.

It was completed by a chap called Hawkshaw.

This is the next stage on from that.

This is almost how it is today.

He wasn't just a creative genius, he was also a technical genius,

an accomplished draughtsman.

The people of Bristol are proud of Brunel's achievements,

which are what makes this city so special.

He revolutionised transport and many things he built are used today.

That is the work of a true, true genius.

'The Bristol valuation day might be quiet,

'due to the cold weather,

'but Philip has discovered an amazing set of personal medals.'

-Are these all from the same person?

-Yes. They're from my grandfather.

-He was born in north Wales...

-Are you Welsh or English?

-English.

-And he was Welsh.

-Definitely Welsh.

-Very Welsh.

-He was a Welsh speaker.

-English as well?

-He didn't speak English until he left the village

to join up for the First World War.

-These, in a way, track the history of your grandfather.

-Yes.

From his Welsh speaking days

-to when he first joined up.

-Yes.

They were medals awarded for serving in the First World War.

-Presented to Private Roberts? JE Roberts?

-John Edward. Yes.

He was ASC, the Army Service Corps. Served in the war.

And then we've got other things he did.

Joined the Royal Ancient Order of Buffaloes in the Grand Lodge of England.

GLE is the Grand Lodge of England.

He had the title City Minstrel because he was a fantastic pianist.

-The lodge organist!

-Yes. He was the church organist in his village.

-At 14.

-Sounds a fascinating man.

-He was. Yes.

We've got John Roberts' war medals.

For recreation, he joined the Ancient Order of Buffaloes.

There was quite a lot of recreation.

And the way he earned his living was working on the buses.

They're going to make between £40 and £60. Put a reserve on of £30.

This is your granddad.

-Yes.

-This is your granddad's life.

-Yes.

It's all his social history and you want to flog 'em?

Don't!

Um...I'm the only one left in the family who actually remembers him.

My cousin was quite young when my grandfather died.

I don't think he remembers an awful lot about my grandfather.

So once I'm gone... Well, I don't know. You're now...

-You've got me going now.

-Family heirlooms can become a liability.

The next generation haven't got the first idea of what they've got, just that they can't sell them.

It was only because of today that I got them out.

Nobody else would want them after me. But now you've said it...

It's a conundrum for everybody. Do you keep these things?

And then when you've gone, they're just stuffed in a drawer?

-It's nice that we have told his story.

-Yes.

-Shall we do him proud?

-I think I'll take them home.

-Really? That's fine.

-I think I will.

-I'm happy with that.

-You don't think about things stuffed in drawers.

Then you get them out.

All I would urge you to do is don't put them back in the drawer.

No. Absolutely. I need to talk to my cousin, who is part owner.

-God bless John Roberts, I say.

-He was lovely.

-Thank you for coming along.

-Thank you so much.

'I'm sure Diane won't regret that decision.

'Sentimental value outweighs monetary value

'but our experts value every item, whether you sell it or not.'

-This is nice.

-It's from Pitcairn Island.

It was inherited by my wife from her grandfather.

He was stationed in the southern hemisphere in the Second World War.

He wrote an account of the expedition.

Is this something you're thinking of selling or is it too precious?

I like it. It's one where... I don't know what we'd do with it.

-If the price is right...

-Yeah.

I think, on the market, it's only going to realise about £100.

-OK.

-I think you should hang on to them.

-OK.

-Put it this way. Do you have kids?

-Yes.

-I've got one boy. He's nearly two.

-He's going to want them one day.

That's part of his heritage, his social history.

Keep them together and on display. They do put a smile on your face.

'That's a collection that Patrick's son really might treasure.

'This isn't the case for David, who brought a book of musical scores.'

Tell me about it. How did you acquire this?

I acquired it when setting up a book shop

with my then young lady.

They didn't specialise in music but they sold a lot of music.

-Do you play yourself?

-I tinkle the piano for my own amazement!

It's gorgeous, isn't it?

A beautifully written manuscript. This is dated August 1820.

Yes. We noticed, talking about them,

that they're probably all waltzes.

So we were wondering, perhaps,

-if this lady...

-Had a favourite song book.

..she went round to friends' houses and actually entertained.

She was the disc jockey of the age!

-She's handwritten all this.

-It's fantastic. I'm a draughtsman.

-So I've had to draw to under 10,000th of an inch accuracy.

-Yeah.

And I couldn't maintain this sort of accuracy

for more than a page or two.

-Is this something you're thinking of selling?

-Yes.

It's hanging about in my home. I've recently lost my wife.

This was one of the things of mine there.

I've got all the music that I love to play.

Absolutely fabulous.

-As to a value?

-Well, it's in a class of its own.

-It is, really. Yes.

-Name your own price.

-It definitely needs somebody who really wants it.

-Do we know her name, anything about her?

-Nothing about her whatsoever.

Was she a celebrity of the day? That would add value.

-There's initials there, but nothing more.

-The condition is fabulous.

It's been well looked after by somebody that appreciated it.

30-odd years, nearly 50 years, I've had it in my keeping.

As I say, it's just tucked away and nobody sees it.

This will appeal to a musician or a collector.

It's got the look, the decorator's look. It's a prop on a desk.

Even in a bygone museum somewhere.

I don't think it'll be used by a musician to actually play. You need terrific eyesight.

-I have tried it.

-Your eyesight's very good, then!

-It was then!

Shall we put it into auction with a value of around £40 to £60?

-I think that would be fair.

-Would you be happy with that?

-Yes.

A bit of discretion on £40 reserve.

I'll see you at the auction room. I'll look forward to this.

-Let's make some music!

-Let's make some music.

'Next up is our own David with Jane

'and her collection of Doulton porcelain.'

Jane, you've got an accumulation

-of Royal Doulton.

-Yes.

-Did you collect Royal Doulton?

-My main collection was Worcester.

-Ah, right.

-Royal Worcester.

-So did you buy these...?

-Along the way.

-Along the way.

-Yes.

-It's difficult as a collector.

You sometimes get another branch line to your main collecting.

I do exactly the same.

I collect one thing but something intrigues me so I buy that.

-That's right.

-Why did you buy the large vase?

Because it was quite reasonable at the time.

-I thought, "That seems quite a bargain."

-How much did you pay?

-£120.

-£120. How long ago did you buy that?

-About ten years ago.

-You bought top end of the market.

Since then, this type of vase, this shape, this richness of gilding,

has tended to wane slightly.

Then I look at the condition of this.

The gilding is excellent.

But this duck egg blue greenish finish,

if you look carefully, there's marks on it.

Scratches. The saving grace is the image on the front.

-I love those sepia tones against this duck egg blue.

-Yeah.

-It's missing something, isn't it?

-The lid.

-It's missing its lid.

You can tell because there's a groove all the way round there

where the lid would have sat.

The mark on the bottom is the Doulton mark.

It has England underneath it.

When you see that, you associate it with American legislation.

Anything from a foreign country had to have the place of origin.

That will date it after 1891.

I think we're looking at the beginning of the 20th century.

-So it's quite old, then.

-Over 100 years.

In complete contrast,

there's this coffee service, but we're missing two cups and saucers.

-Are we? I bought it like that.

-It would be for six.

And I notice there's slight damage on the jug there.

-You didn't pay a lot for it, did you?

-No. £40, I think it was.

I like this design. It's very typical 1950s design.

It reflects the hunting, shooting, fishing interest at that time.

They're both flawed. One without the lid and scratches.

The other one, not a complete service and one piece is cracked.

I'm going to put a price for all of this Doulton.

The auction house may decide to separate them

and offer the coffee service from the vase.

-Right.

-The price, at the present state of the market, is 80 to 120.

That's fine.

-Are you saying you've had your enjoyment and can put the money to something else?

-Yes. A holiday.

It wouldn't go far on a holiday, but it'll help.

-A night's accommodation somewhere.

-Yes.

-In Bristol!

Yes!

'The Youth Hostel's much cheaper than 80 to 120. Some people discover they won't even get that.'

-Are you going home rich?

-No.

Well... Sort of knowledgeable.

That's what it's all about really.

'And Philip is just about to impart his knowledge to Tony about his wooden propeller.'

-Did you fly in?

-Yeah. The rest of it's outside.

I think this is lovely.

It's one of those bizarre instances of the way

the antique world has progressed.

When I started...30 years ago, people bought chairs and tables,

and as time's progressed, people have become much more decorative.

You find yourself looking at this,

and it's got possibilities in the antique world.

You could fit a clock in there

and it would be wonderful in a flying club.

Or decorating someone's house. You could fit a barometer in there.

I'm not an aviation expert. I would guess that this dates to between

1915 to 1930. As a guess.

It's made out of mahogany.

And it's laminated so that you've got almost like layers.

You can see that there.

You can see these lines.

It's small in size.

Other propellers that I've seen,

you can add that much more on to them.

What do you know about it?

My grandfather acquired it, probably 1930s.

He was a bit of a collector of antiques - more nautical,

-than from the air.

-Ahead of his time, collecting this 70 years ago.

He was actually a manager of a local oxyacetylene company.

He had a contract to run to Southampton and Portsmouth docks.

They were breaking up boats.

-He then acquired or bought this.

-I bet he's got fascinating stuff.

I think it's a really good decorative thing.

-Have you thought about its value?

-Not a clue.

I think you could put £120 to £180 as an estimate on it.

A fixed reserve of £100.

I think if you have a good result it could top the £200 mark.

I think it's good. Don't ask me why, but I'd love to own it!

It's a good, fun, cool thing. Why do you want to sell it?

I wanted to come to the programme and Mum said, "Take the propeller!"

'We're very glad you did, Tony, and that's our last valuation.'

It's time to put those valuations to the test.

Will our experts be on the money?

We're going to leave you with a few items going under the hammer.

Hopefully, some of them will fly away!

'Along with Tony's propeller, we're taking David's musical scores

'and Jane's collection of Royal Doulton, which is first up.

'Since valuation day, the tea set has been withdrawn, so it's just the vase going to auction.'

-Thank you for coming. You look very smart.

-So do you.

-This came in with something else.

-Yes. A coffee set.

-But that's been withdrawn.

-We've got 80 to 120 on this, David. Happy?

-We should do it.

It's a nice piece of porcelain.

You know what we bang on about. Quality always sells.

-Let's watch this one fly away. Here we go.

-Thank you. I hope so.

Lot 200 now. The Doulton two-handled urn shaped vase.

Signed.

What can we say on this? Nice piece at 45. Who's got 50?

At five here. 60 bid. Five now? Five, five, five now?

It's £60. Who's got the five...?

We're struggling.

..Five, five, five? All done? £60. Selling on the 60, then.

The hammer's gone down. Only just. We had a reserve of £60.

We were hoping for 80 to 120, plus a bit more.

-Yes.

-That was quality. Someone picked up a bargain.

-It was.

-That's the name of the game.

-That's auctions for you.

'They sure can go either way, but hopefully we'll see this beautiful book go the right way.'

This for me, David, is the best thing, not just on Flog It but also

in the saleroom.

-It's exquisite.

-It is. Absolutely.

-I had a chat to Mark,

the auctioneer, and he agreed with me.

-We're both hoping for £60 plus.

-Yeah.

-On a good day, it could do anything.

You can't do comparables. That's the beauty of antiques like this.

-And curios.

-Yes.

-Let's find out what the bidders think.

-Yeah.

-Here we go.

Lot 260 is the leather bound album. Finely inscribed music. 1820s.

1830s. All hand-written.

Interest in this at 40. Thank you. Five? 45? 45? 45? 45?

45? 45? 45...?

-Oh, come on!

-..Maiden bid of £40.

And five? 45? 45...?

It's going to sell.

..Bid's still with me on the book. Selling on the 40.

Nobody was there to push...? That was lovely.

-That's it.

-I'm sorry we couldn't do any more.

-No.

-You needed a couple of musicians in the room.

-It's not a disappointment.

-They might just enjoy it.

-That's the ideal situation.

It's a lovely talking point.

That's the beauty of antiques. They create wonderful topics at dinner parties.

Yeah. And amongst friends. LAUGHS

'That's a good result. A quirky lot that got someone's attention.

'It's chocks away!'

We're flying along now to Tony and the wonderful four-bladed propeller.

Wonderful bit of laminated mahogany. Why are you selling this?

-It should be on your wall at home.

-It has been for 80-odd years!

-My mother decided she wanted a change.

-I'd like to own it.

So would I.

We see hundreds of things a year, but I'd really like to own this.

The good thing is that it's a good size.

A lot of propellers are six foot six and really hard to display.

This little one, perfect.

-It wouldn't get us airborne.

-No, it wouldn't!

Interest here on the book. Four-blade propeller.

-I've got 12 bids on the book...

-Ooh!

-12 bids!

-..Starting 200. 220...

-They love it, Tony.

..240. 260. 280. 300.

320? 320, will you...?

I meant per blade, Paul, my valuation!

..£300 on the book. 320?

320. 340. 360?

380. 400? 420.

440?

£420 commission bid. 440?

All done at £420, then?

Yes! £420! You've got to be happy with that.

-Your mother will be over the moon.

-She will be.

Excellent. Great result.

If you've got anything like that, bring it to our valuation day.

From Philip and Tony and everybody in the saleroom, I hope you've enjoyed today. See you soon.

Subtitles by Red Bee Media Ltd