0:00:03 > 0:00:06We're in the heart of Thomas Hardy country in Dorchester.
0:00:06 > 0:00:08Hardy was born just three miles away from here,
0:00:08 > 0:00:11and the fictional setting of Casterbridge
0:00:11 > 0:00:13was inspired by the town.
0:00:13 > 0:00:15It remains to be seen if we'll be inspired by the antiques
0:00:15 > 0:00:19and collectables our crowd have brought along to "Flog It!".
0:00:41 > 0:00:44This is where it all starts - a "Flog It!" evaluation day.
0:00:44 > 0:00:45Today, we're in the heart of Dorchester.
0:00:45 > 0:00:47As you can see, it's a busy little town.
0:00:47 > 0:00:49Our venue for the day is the Dorford Centre.
0:00:49 > 0:00:52We've got hundreds of people queueing up in the rain.
0:00:52 > 0:00:55Somebody in this queue is going home today with an awful lot of money.
0:00:55 > 0:00:57They don't know what they've got in their bags and boxes.
0:00:57 > 0:01:00Our experts will let them know later on when they get inside,
0:01:00 > 0:01:02and then we'll put that valuation to the test,
0:01:02 > 0:01:05so keep watching, cos there's going to be one or two surprises.
0:01:08 > 0:01:13Leading that team of experts are Mark Stacey and David Fletcher.
0:01:13 > 0:01:16Mark started out on his career in antiques in his 20s,
0:01:16 > 0:01:19selling silver from a stall at fairs.
0:01:20 > 0:01:22David got hooked on antiques even earlier,
0:01:22 > 0:01:26thanks to watching the great Arthur Negus on Going For A Song.
0:01:26 > 0:01:28So, with over 50 years of experience between them,
0:01:28 > 0:01:31they should know exactly what to look for.
0:01:31 > 0:01:34Well, I certainly hope so, or we could be in trouble.
0:01:34 > 0:01:38Let's have a look at what's coming up on today's programme.
0:01:38 > 0:01:40Mark uses all his charms to get his own way.
0:01:41 > 0:01:43I'm so pleased. I'm really excited.
0:01:44 > 0:01:47Les and Marion get asked a sporting question.
0:01:47 > 0:01:50Was she a cricketer herself? Oh, God, no.
0:01:50 > 0:01:53And Mark's worried that Chris has been subjected to noise control.
0:01:53 > 0:01:55So, you've offended all your neighbours
0:01:55 > 0:01:58with your Sherlock Holmes impression.
0:01:58 > 0:02:00And Mr Stacey is not wasting any time.
0:02:00 > 0:02:02He's quickly plucked Daphne out of the queue.
0:02:02 > 0:02:05Where did you get such a lovely looking object?
0:02:05 > 0:02:09I inherited it from my grandparents. When was that?
0:02:09 > 0:02:10Ooh, about 25 years ago.
0:02:10 > 0:02:13And obviously you keep everything spick and span in your home,
0:02:13 > 0:02:16cos it's beautifully clean. I cleaned it last week.
0:02:16 > 0:02:21I knew it, I knew it. I could tell. It was my daughter getting at me.
0:02:21 > 0:02:23So, tell me, where has it been living for the last few years?
0:02:23 > 0:02:26Just in the cabinet. Just hidden away, not really looked at?
0:02:26 > 0:02:29Not really any notice taken of it until I cleaned it
0:02:29 > 0:02:32and I thought, "Oh, I must know more about that."
0:02:32 > 0:02:35I think the important thing to look at this is the date on it.
0:02:35 > 0:02:38It's clearly hallmarked for 1908/1909
0:02:38 > 0:02:42and it's got this really appealing architectural side.
0:02:42 > 0:02:44Actually, the silver is very easy...
0:02:44 > 0:02:46They cheat a lot of these things.
0:02:46 > 0:02:48It's moulded, it's pressed out in a mould, really,
0:02:48 > 0:02:49and then applied on,
0:02:49 > 0:02:53but it does give a rather nice dramatic look and it makes it
0:02:53 > 0:02:56look a lot more expensive than it actually was to make.
0:02:57 > 0:03:01Unfortunately, you haven't been very good with it, have you? No.
0:03:01 > 0:03:04You've broken it on the corner there. Was that you?
0:03:04 > 0:03:05No, I didn't do the break,
0:03:05 > 0:03:09but the little pins came out when I cleaned it one time and I lost them.
0:03:09 > 0:03:13Oh, no. Well, that's destroyed the value. Has it?
0:03:13 > 0:03:14No.
0:03:14 > 0:03:19No, I really like it. I mean, it will appeal to a certain collector.
0:03:19 > 0:03:20The style of it is very nice.
0:03:20 > 0:03:22If we were putting it into auction,
0:03:22 > 0:03:28I would have thought it's going to fetch the sort of ?100 mark. Really?
0:03:28 > 0:03:32Yes. Does that excite you? Oh, yeah, I'm excited. Oh, good!
0:03:32 > 0:03:34I would like to put an 80-120 on it.
0:03:35 > 0:03:38But with a reserve of 80, and hopefully, on the day,
0:03:38 > 0:03:40we might get up to sort of ?120, ?140.
0:03:40 > 0:03:43Oh, wow. I'm so pleased. I'm really excited.
0:03:45 > 0:03:48And what's more, time will tell at the auction.
0:03:48 > 0:03:51Oh! Very good. I look forward to seeing you.
0:03:51 > 0:03:54That's right, Mark, we'll certainly find out at the auction
0:03:54 > 0:03:56if all that excitement is warranted.
0:03:56 > 0:03:59David's hoping there's just as much enthusiasm for his cricket
0:03:59 > 0:04:02souvenir that Les and Marion have brought along.
0:04:03 > 0:04:06Thank you for bringing in this cricket bat.
0:04:06 > 0:04:11Or at least quarter size cricket bat, with some very juicy
0:04:11 > 0:04:15autographs on it, if you're interested in cricket, as I am.
0:04:15 > 0:04:18I say it's a quarter size bat.
0:04:18 > 0:04:23I suspect it was made in order to be autographed. How did you come by it?
0:04:23 > 0:04:26It actually belongs to my landlady.
0:04:26 > 0:04:30And she asked me to bring it along to find out about it.
0:04:30 > 0:04:34So, you've communicated with her and she's happy for us to sell it?
0:04:34 > 0:04:35Yeah. Good.
0:04:35 > 0:04:38Was she a cricketer herself, do you think? Oh, God, no. No.
0:04:40 > 0:04:42It can be quite boring, cricket, actually.
0:04:42 > 0:04:46As much as I love it... I must say, I tend to like test cricket
0:04:46 > 0:04:49more than Twenty20 cricket and this sort of thing.
0:04:49 > 0:04:52And this cricket bat relates to a test match.
0:04:52 > 0:04:58And it is autographed with the signatures of both sides
0:04:58 > 0:05:03who took place in this test in 1938, at Lords,
0:05:03 > 0:05:07and this was the last Ashes Test before the war.
0:05:07 > 0:05:09Most notable of all, of course, is Don Bradman.
0:05:09 > 0:05:11Now, by his standards,
0:05:11 > 0:05:15Don Bradman didn't score a huge amount of runs in this match.
0:05:15 > 0:05:18He got 100 in the second innings, but Wally Hammond, I think
0:05:18 > 0:05:21I'm right in saying, because you've done a bit of research yourself,
0:05:21 > 0:05:24scored a double century... 240.
0:05:24 > 0:05:27240. And it was a high-scoring draw.
0:05:27 > 0:05:29It was very high scoring, yeah.
0:05:29 > 0:05:32It's a very collectable thing, of course.
0:05:32 > 0:05:36Sporting memorabilia has come on a lot, really, in the past few years.
0:05:36 > 0:05:39I've done a bit of homework on this
0:05:39 > 0:05:45and we think that it's going to make somewhere in the region of 250-350.
0:05:46 > 0:05:50The bulk of that value lies in these autographs that we've discussed.
0:05:50 > 0:05:54My opinion would be that we offered it
0:05:54 > 0:05:59with an estimate of say 250-300,
0:05:59 > 0:06:01and a reserve of 220.
0:06:01 > 0:06:04Just tuck it in under the bottom estimate.
0:06:04 > 0:06:06Now, it belongs to your landlady.
0:06:06 > 0:06:10Do you think that reserve should be fixed? Definitely, yeah.
0:06:10 > 0:06:12She's rather careful with her money.
0:06:12 > 0:06:14Oh, good for her, and we don't want you getting into trouble,
0:06:14 > 0:06:16getting thrown out, that would be awful.
0:06:16 > 0:06:20OK, 220 fixed, then. OK. Excellent.
0:06:20 > 0:06:22Thank you.
0:06:22 > 0:06:25Yes, it's always better to stay on the safe side.
0:06:25 > 0:06:28We don't want anybody to be homeless on this show.
0:06:29 > 0:06:31Now, not everyone who turns up wants to flog it.
0:06:32 > 0:06:35Oh, look at that.
0:06:35 > 0:06:38In original box. Yeah, original box.
0:06:38 > 0:06:39Chad Valley.
0:06:39 > 0:06:43I've had that when I was eight year old.
0:06:43 > 0:06:46Have you? Yeah. In 1922.
0:06:46 > 0:06:50Is this something you're thinking of selling? No, I just want to know...
0:06:50 > 0:06:54You just to know what's it worth. Yes. You're not going to sell it? No.
0:06:54 > 0:06:55OK.
0:06:55 > 0:06:58Do you know, there are a lot of people out there that collect
0:06:58 > 0:07:01toy tractors and farm vehicles. Yep, there's a big market for it.
0:07:01 > 0:07:03There really is.
0:07:03 > 0:07:04Chad Valley is a great make.
0:07:04 > 0:07:07And the condition... Well, it's almost perfect, isn't it?
0:07:07 > 0:07:10I think, if you put this into auction, because of its box
0:07:10 > 0:07:13and its very good condition, you're looking at around ?200-300.
0:07:13 > 0:07:15Am I, really? Yeah.
0:07:15 > 0:07:18That's what the collectors want. The collectors want the best.
0:07:18 > 0:07:20They are the fussiest people on the planet.
0:07:22 > 0:07:24And one of the other fussiest people in the world is Mark,
0:07:24 > 0:07:28although that should come in very useful for Chris's valuation.
0:07:28 > 0:07:32Now, we don't get any prizes for knowing what's inside this box. No.
0:07:32 > 0:07:33But before we have a look at it,
0:07:33 > 0:07:35can you give us a little bit of the history?
0:07:35 > 0:07:39Well, I believe it belonged to my grandfather,
0:07:39 > 0:07:42and then my mother died and we found it in the house.
0:07:42 > 0:07:45I took it over and I got it restored.
0:07:45 > 0:07:49The restorer said it was a very good one. Even he couldn't afford it.
0:07:49 > 0:07:53Oh, really? So... But I thought I wanted to play, but I can't.
0:07:53 > 0:07:56So I put it in the cupboard until I heard you were coming
0:07:56 > 0:07:58to Dorchester and decided to dig it out.
0:07:58 > 0:08:01Oh, wonderful, so you've offended all your neighbours
0:08:01 > 0:08:03with your Sherlock Holmes impression?
0:08:03 > 0:08:05..playing the violin... But it's wonderful.
0:08:05 > 0:08:09Let's have a little look, because I'm not a violin expert,
0:08:09 > 0:08:11but the name was quite interesting,
0:08:11 > 0:08:13cos obviously a lot of the violins we see
0:08:13 > 0:08:15have got Stradivarius inside them
0:08:15 > 0:08:19and we know they are sort of Korean or German or Austrian fakes.
0:08:19 > 0:08:21You know, they're not worth very much money,
0:08:21 > 0:08:24they're quite good for children to learn on.
0:08:24 > 0:08:26See if they have an aptitude for playing the violin.
0:08:26 > 0:08:30But this one immediately struck me just because it's got the maker's
0:08:30 > 0:08:34name of Buthod inside, which I think is the right way of pronouncing it.
0:08:34 > 0:08:36French maker.
0:08:36 > 0:08:38The last half of the 19th century.
0:08:38 > 0:08:39So I think, from the mark
0:08:39 > 0:08:43and from what I've been able to do, limited research wise,
0:08:43 > 0:08:47it's about 1870, give or take, you know, ten years or so.
0:08:47 > 0:08:50Which makes it a lot more interesting.
0:08:50 > 0:08:54What's your feeling about price? About ?500 to ?700.
0:08:54 > 0:08:56I think I would agree with that.
0:08:56 > 0:08:59I mean, I'd like to say that we're being realistic on that.
0:08:59 > 0:09:02I think it just will depend on the day. Yes.
0:09:02 > 0:09:05You know, I think it's sensible to put a reserve of 450 on it.
0:09:05 > 0:09:08So we don't sell it below that and actually, you know,
0:09:08 > 0:09:10it could do rather well.
0:09:10 > 0:09:13The other reason I was quite interested in doing it was because
0:09:13 > 0:09:16I do another show for the BBC, which you might watch,
0:09:16 > 0:09:18called Bargain Hunt. Yes.
0:09:18 > 0:09:21And I had a very fun pair of students once,
0:09:21 > 0:09:23up in Grimsthorpe Castle,
0:09:23 > 0:09:25and we were walking round in the pouring rain
0:09:25 > 0:09:32and we found a violin for ?150 and it later sold for ?580. Very good!
0:09:32 > 0:09:36So it was one of my highest profits, if not the highest profit for me.
0:09:36 > 0:09:40But hopefully, if we put that estimate on with that reserve,
0:09:40 > 0:09:42we might end up making sweet music at the auction.
0:09:42 > 0:09:45Are you happy to leave it? I am, yes.
0:09:45 > 0:09:48And are you going to spend the money to buy another musical instrument?
0:09:48 > 0:09:51No, I'll probably go on holiday with it. I think that's a good idea.
0:09:51 > 0:09:52Thank you. Thank you.
0:09:52 > 0:09:54Sweet music indeed.
0:09:54 > 0:09:56You're not only using your Bargain Hunt experience,
0:09:56 > 0:09:58but also, using their puns...
0:09:58 > 0:09:59I do love a good pun, though!
0:10:01 > 0:10:05Next up, Molly has brought in a pair of items for David's attention.
0:10:05 > 0:10:09It's a bit gloomy outside, so I hope you won't need these to get
0:10:09 > 0:10:12home when it comes time to go, because you decided to sell them.
0:10:12 > 0:10:15Yes. Good, OK. How did you come by them?
0:10:15 > 0:10:19Well, when my husband and I moved to Cornwall, in 1969,
0:10:19 > 0:10:23we started going to the auction room looking for things that would be
0:10:23 > 0:10:27used for decoration in our hotel, which was this 15th-century hotel.
0:10:27 > 0:10:30And you retired from there and came up to this part of the world?
0:10:30 > 0:10:32Oh, yes, a long time ago, we left there and so,
0:10:32 > 0:10:36these have resided in the garage for quite a long time.
0:10:36 > 0:10:39OK, I love Cornwall and it's tempting to say that these
0:10:39 > 0:10:41might have something to do with smuggling.
0:10:41 > 0:10:44The smugglers were reputed to have been around our area,
0:10:44 > 0:10:47we were only ten miles from Jamaica Inn, but I know that's a story.
0:10:47 > 0:10:50What a wonderful book, by Daphne du Maurier.
0:10:50 > 0:10:53Yes, you can see the smugglers, can't you, bending to the gale,
0:10:53 > 0:10:57holding these lanterns creaking backwards and forwards? Exactly.
0:10:57 > 0:11:00I don't honestly know what type of person they were made for.
0:11:00 > 0:11:04I suspect probably road workers.
0:11:04 > 0:11:06I don't think they're railway lamps.
0:11:06 > 0:11:08I think if they were railway lamps,
0:11:08 > 0:11:10they'd have had the name of the railway on them.
0:11:10 > 0:11:13So they're utilitarian items, they're made, I think,
0:11:13 > 0:11:15well, to give it a grand title,
0:11:15 > 0:11:19they're made of Japan steel, which really means blackened.
0:11:19 > 0:11:23And they're made for candles and, of course,
0:11:23 > 0:11:25they could be used here and now.
0:11:25 > 0:11:27It's not as if you're going to wire them up or anything. Absolutely.
0:11:27 > 0:11:30I know, and I thought this is quite interesting,
0:11:30 > 0:11:34they're made by a firm in Birmingham, Griffiths Sons.
0:11:34 > 0:11:36And at about the time these were made,
0:11:36 > 0:11:40which I would suggest was the late 19th century, Birmingham was
0:11:40 > 0:11:43a sort of power house of not only Britain, but the Empire.
0:11:43 > 0:11:47And today, we would expect items like these to be made in China,
0:11:47 > 0:11:50of course, but items in the late 19th century of this nature
0:11:50 > 0:11:52were made in Birmingham.
0:11:52 > 0:11:56And they went round the world - India, the Far East
0:11:56 > 0:11:58and even down to the far West, in Cornwall.
0:11:58 > 0:12:02So they didn't all go abroad. And from that point of view,
0:12:02 > 0:12:04I think, they're very interesting.
0:12:04 > 0:12:07I mean, I think they're great fun.
0:12:07 > 0:12:11They're not fine antiques, but you know that as well as I do.
0:12:11 > 0:12:14It was a long time ago, but can you remember what you paid for them?
0:12:14 > 0:12:16I think they might have been in a lot,
0:12:16 > 0:12:20which my husband would have paid perhaps about ?3.
0:12:20 > 0:12:24Yes, we like job lots, it's amazing what you can find in job lots.
0:12:24 > 0:12:26Well, you're going to make a profit.
0:12:26 > 0:12:31I had in mind a figure of somewhere in the region of ?40 or ?50
0:12:31 > 0:12:35and I was going to suggest an estimate of 30 to 50. Yes.
0:12:35 > 0:12:38And if I could twist your arm and say can we sell them
0:12:38 > 0:12:40without reserve, I'd be delighted.
0:12:40 > 0:12:43Yes, I think so, yes, yes. Good, OK.
0:12:43 > 0:12:47So we'll go ahead on that basis and, all being well,
0:12:47 > 0:12:50they'll make more than that, but that will be our estimate.
0:12:50 > 0:12:52Certainly more than I paid for them. Indeed, indeed.
0:12:52 > 0:12:55You'll make a profit, that's the main thing. Thank you.
0:12:55 > 0:12:58Oh, David, you are a devil persuading Molly to send her lanterns
0:12:58 > 0:13:01to the saleroom with no reserve on them.
0:13:01 > 0:13:03Well, we'll have to cross both sets of fingers and hopefully,
0:13:03 > 0:13:07there should be some buyers in the saleroom for them.
0:13:13 > 0:13:16I want to share one of my favourite parts of the country with you -
0:13:16 > 0:13:19the Jurassic Coastline of Dorset and right now,
0:13:19 > 0:13:21I'm standing on the island of Portland Bill and over there,
0:13:21 > 0:13:26it's Weymouth, but what I really want to show you is over here,
0:13:26 > 0:13:30look at that, that's Chesil Beach and it is absolutely breathtaking!
0:13:36 > 0:13:39Now, from standing up here, it looks like Chesil Beach is actually
0:13:39 > 0:13:42all lovely and sandy and soft, but it's not.
0:13:42 > 0:13:45It's actually made up of trillions and trillions of pebbles.
0:13:45 > 0:13:49And it's a common misconception that it is man-made, but it's not.
0:13:49 > 0:13:52It's made by the powerful forces of nature - geology.
0:13:54 > 0:13:58And in turn, Chesil Beach has created the UK's largest lagoon,
0:13:58 > 0:14:01which is home to some very special wildlife
0:14:01 > 0:14:03that I'll be investigating later.
0:14:03 > 0:14:05But first, I'm heading down to ground level
0:14:05 > 0:14:07to speak to Sam Scriven,
0:14:07 > 0:14:09a geologist from the Jurassic Coast Team,
0:14:09 > 0:14:14who's going to enlighten me about the unique creation of Chesil Beach.
0:14:15 > 0:14:18Just being up here, on this great mound of pebbles,
0:14:18 > 0:14:21it's pretty obvious how powerful the sea and the tides are. That's right.
0:14:21 > 0:14:24I mean, the formation of Chesil Bank is a relationship
0:14:24 > 0:14:26between the sea and the tides and storms
0:14:26 > 0:14:29and the geology that we find along the coast, sort of 15,
0:14:29 > 0:14:3118 miles down the coast, in west Dorset there,
0:14:31 > 0:14:34you have a tremendously big coastal landslide that'd bring
0:14:34 > 0:14:38thousands of tonnes of material down onto the coast every year.
0:14:38 > 0:14:39All that material was picked up
0:14:39 > 0:14:41and thrown down the coast towards Portland
0:14:41 > 0:14:44to create this enormous Chesil Bank that we see today.
0:14:45 > 0:14:49I mean, it's acting as a natural barrier now. It's a protection.
0:14:49 > 0:14:52Yes, it's a very big example of what's known as a barrier beach.
0:14:52 > 0:14:54It takes the full brunt of the southwesterly storms
0:14:54 > 0:14:56and protects all the landscape behind it.
0:14:56 > 0:15:00You can see the Fleet Lagoon there and the settlements and towns of Portland.
0:15:00 > 0:15:03So all those benefit from this enormous natural coastal defence.
0:15:03 > 0:15:07It's, in fact, one of the largest and most impressive natural
0:15:07 > 0:15:10barrier beaches certainly in Europe, if not the world.
0:15:13 > 0:15:15The natural sorting action of the sea means that the
0:15:15 > 0:15:18pebbles of the West Bay end, which is one end of the beach,
0:15:18 > 0:15:20are much, much smaller than the ones at the Portland end.
0:15:20 > 0:15:23And I've got some examples for you, so there you go.
0:15:23 > 0:15:25That's a baked-potato size pebble from the Portland end.
0:15:25 > 0:15:27PAUL LAUGHS
0:15:27 > 0:15:29So the fishermen know where they are at night...
0:15:29 > 0:15:32Well, that's the local folklore, yeah, that they'd be able to know.
0:15:32 > 0:15:33And that's the West Bay end.
0:15:33 > 0:15:35Look at that!
0:15:35 > 0:15:37So tiny pebbles, aren't they? Yeah.
0:15:37 > 0:15:41And this is basically from the fact that the strong currents are always
0:15:41 > 0:15:43from the southwest, so pushing the pebbles down in this direction.
0:15:43 > 0:15:46So the big stuff and everything else gets picked up
0:15:46 > 0:15:48and thrown down here, but the weaker currents, that can pick up
0:15:48 > 0:15:51the small pebbles but leaves the big pebbles behind, which is
0:15:51 > 0:15:55why there's this spread of sizes, yeah. Absolutely fascinating.
0:15:58 > 0:15:59So there you have it,
0:15:59 > 0:16:02the sea on this side of Chesil actually formed the beach.
0:16:02 > 0:16:03Now, I'm going
0:16:03 > 0:16:07to turn my attentions to the vast expanse of water on this side.
0:16:07 > 0:16:10It's called the Fleet and technically, it's classified as a lagoon
0:16:10 > 0:16:12and it starts from about here
0:16:12 > 0:16:15and it ends up eight miles in that direction.
0:16:15 > 0:16:17It is the largest lagoon in the country
0:16:17 > 0:16:20and it provides a wonderful habitat for wildlife
0:16:20 > 0:16:24and over 300 different species of bird have been recorded here.
0:16:24 > 0:16:27But I'm going to focus on one particular type that's very special
0:16:27 > 0:16:30to the area and find out a bit more about them.
0:16:36 > 0:16:39At the farthest end of the Fleet Lagoon from Portland Bill
0:16:39 > 0:16:41is Abbotsbury Swannery.
0:16:41 > 0:16:44It's protected from the worst ravages of the weather and the sea
0:16:44 > 0:16:48by the barrier of Chesil Beach, so it provides a peaceful habitat.
0:16:48 > 0:16:52I'm meeting Dave Wheeler, who holds the unique position of Swanherd.
0:16:52 > 0:16:55He's the only person left in Britain to have this title.
0:16:57 > 0:17:00Shall I do something with you, Dave, or what's the process?
0:17:00 > 0:17:02Yes, please. If you'd like to take a bucket. Yeah.
0:17:02 > 0:17:06And spread it really well in the water and they'll find it. OK.
0:17:06 > 0:17:10So you are the Swanherd here. What does that mean?
0:17:10 > 0:17:15Well, my job is to head a very small team. We're responsible
0:17:15 > 0:17:20for managing the swans, caring for the wildlife, the site itself. Yeah.
0:17:20 > 0:17:23Swans may have been here for a few thousand years,
0:17:23 > 0:17:25that's very likely the case.
0:17:25 > 0:17:28Earliest records go back to the 1300s. OK.
0:17:28 > 0:17:29And at that time,
0:17:29 > 0:17:34the monastery of St Peter's in Abbotsbury were using the swans,
0:17:34 > 0:17:36they were taking swans for feast days... Right.
0:17:36 > 0:17:40..until Henry VIII destroyed the monastery. Yes, yeah, yeah.
0:17:40 > 0:17:43And am I right in saying this is the only colony of nesting swans
0:17:43 > 0:17:46that we can actually walk through and be involved with in the world?
0:17:46 > 0:17:50There are a few other colonies, but this is very different.
0:17:50 > 0:17:53And it's the only colony that's been managed
0:17:53 > 0:17:54and it's still managed.
0:17:54 > 0:17:57So there's nothing like it anywhere in the world.
0:17:57 > 0:18:00So this really is unique, isn't it? It is, it is.
0:18:00 > 0:18:02It's a wonderful sight as well.
0:18:02 > 0:18:04How many swans are here?
0:18:04 > 0:18:08Right here today, in front of us, there are 400-ish. OK.
0:18:08 > 0:18:11There's another 400 farther down the lagoon.
0:18:11 > 0:18:14They're making their way for this feed now, there's a few coming. Yeah.
0:18:14 > 0:18:18I know we all think that swans mate for life but recently,
0:18:18 > 0:18:21I read an article in the newspaper that once one...
0:18:21 > 0:18:23brought a lover back to the colony.
0:18:23 > 0:18:25Yes, they are not perfect.
0:18:25 > 0:18:29We do find that there are one or two that at some point,
0:18:29 > 0:18:32may swap partners, no doubt they have a reason.
0:18:32 > 0:18:35And some that lose a mate may be lucky enough to find
0:18:35 > 0:18:37another mate at some point, yes. I'll tell you what though,
0:18:37 > 0:18:40there's an awful lot of interlopers, isn't there? Absolutely.
0:18:40 > 0:18:43There are a lot of ducks over there. Yeah. These look like coots. Yes.
0:18:43 > 0:18:46So, obviously, they understand the pecking order,
0:18:46 > 0:18:48they stay away from the swans... They do.
0:18:48 > 0:18:50When they move, some of the ducks will come in
0:18:50 > 0:18:52and see what they can take, yeah.
0:18:58 > 0:19:01Of course, this is absolutely marvellous.
0:19:01 > 0:19:05I envy Dave and his job, looking after 400, 500 swans!
0:19:05 > 0:19:07When you look out there, it looks so artistic,
0:19:07 > 0:19:10it's almost like watching ballerinas perform.
0:19:10 > 0:19:11We've all heard of Swan Lake,
0:19:11 > 0:19:14but this is the real thing - swan lagoon.
0:19:17 > 0:19:21Abbotsbury Swannery is definitely well worth a visit, it's so unique.
0:19:30 > 0:19:33I'm keen to find out whether the experts' valuations
0:19:33 > 0:19:37are on the money, so let's get the first batch off to auction.
0:19:39 > 0:19:42Along with Chris's violin is Les's signed cricket bat.
0:19:42 > 0:19:44Will it bowl over the saleroom?
0:19:46 > 0:19:48Molly's late 19th-century steel lanterns have been
0:19:48 > 0:19:52brightening up her hotel and should grab the bidders' interest.
0:19:54 > 0:19:58And finally, Daphne's simple but architectural clock.
0:20:01 > 0:20:05We're selling all of our lots here, at Duke's Auctioneers,
0:20:05 > 0:20:09where Gary Batt and Matthew Denney will be taking turns on the rostrum.
0:20:09 > 0:20:12Commission is charged at 15% plus
0:20:12 > 0:20:14VAT for the sellers and the buyers.
0:20:14 > 0:20:16This can vary from saleroom to saleroom,
0:20:16 > 0:20:19so have a flick through the catalogue to find out
0:20:19 > 0:20:22how much your fee will be before you buy or sell at auction.
0:20:22 > 0:20:24In a moment, the auction is just about to start but,
0:20:24 > 0:20:27before it does, I had a quick chat with the auctioneer
0:20:27 > 0:20:30about one of our items. Let's see what he has to say.
0:20:33 > 0:20:37I know absolutely nothing about violins. It's all I can say.
0:20:37 > 0:20:40Mark Stacey is a brave guy, he's our ceramics expert
0:20:40 > 0:20:42and I trust him with my life on ceramics.
0:20:42 > 0:20:44I don't know how good he is on violins,
0:20:44 > 0:20:46but Chris found this in his mother's house.
0:20:46 > 0:20:48He believes it was his grandfather's,
0:20:48 > 0:20:50so it's been in the family a long time.
0:20:50 > 0:20:54And Mark has given it quite a punchy estimate of ?500 to ?700
0:20:54 > 0:20:56believing it to be Victorian.
0:20:56 > 0:21:01Now, my gut feeling is I think this is early 20th century, so...
0:21:01 > 0:21:04Well, I think you're probably...I would feel the same.
0:21:04 > 0:21:08I think if it was a piece of furniture, it would be easier
0:21:08 > 0:21:11for us all to date and identify.
0:21:11 > 0:21:13Violins are an enormously difficult area,
0:21:13 > 0:21:15it's a very, very specialist subject.
0:21:15 > 0:21:18I would feel, just from the look of it and the way that it's constructed,
0:21:18 > 0:21:21it's probably more early 20th century.
0:21:21 > 0:21:24I do think that the case is contemporary with the violin.
0:21:24 > 0:21:27They're of the same age and when you look at the case,
0:21:27 > 0:21:30the case does give it away slightly. The case is very 20th century.
0:21:30 > 0:21:32Yeah, a Victorian case... Would be more wooden, varnished...
0:21:32 > 0:21:36Angular, wooden... Exactly, yeah.
0:21:36 > 0:21:40So, nevertheless, the valuation still might be right.
0:21:40 > 0:21:43Well, it might be, I mean, this is the essence of auctions.
0:21:43 > 0:21:46This is a very good example of how you can never really be
0:21:46 > 0:21:50sure in an auction. And your gut feeling?
0:21:50 > 0:21:56My gut feeling is the ?500 to ?700 is...shall we say hopeful?
0:21:56 > 0:22:01And I HOPE that we will get there, but I'm not entirely confident. OK.
0:22:01 > 0:22:04Well, you've heard what Mark had to say slightly earlier on
0:22:04 > 0:22:06in the programme, you just heard Gary's and my opinion as well.
0:22:06 > 0:22:08You've probably made your own minds up,
0:22:08 > 0:22:11but I'll tell you what, this is going to be quite exciting.
0:22:11 > 0:22:14Will it hit the high notes? We're going to find out.
0:22:14 > 0:22:17The violin will be up for grabs shortly, but first,
0:22:17 > 0:22:20let's see what the bidders make of Daphne's silver clock.
0:22:22 > 0:22:24Going under the hammer right now,
0:22:24 > 0:22:26we've got Daphne's little clock, it's an Art Nouveau one,
0:22:26 > 0:22:29?80 to ?120, and it's still working.
0:22:29 > 0:22:32I think that's a bargain. And it's silver. Why are you selling it?
0:22:32 > 0:22:35I don't want to clean it. No-one wants to clean silver. No...
0:22:35 > 0:22:37Or copper or brass. It's a good item.
0:22:37 > 0:22:41Yes, all to do with cliches and estimates, of course, 80 to... 120...
0:22:41 > 0:22:42But I hope it makes 100. OK.
0:22:42 > 0:22:46Split the difference. Good luck, Daphne, this is it.
0:22:46 > 0:22:51It's this very pretty, little neoclassical silver mantel clock.
0:22:51 > 0:22:56The architectural surround, Sheffield 1908 hallmark.
0:22:56 > 0:22:59Small and pretty lot, give us ?50 to start me, please.
0:23:01 > 0:23:0360 for you, sir.
0:23:03 > 0:23:0660. Any advance on 60? Someone in the room over there, look.
0:23:06 > 0:23:08At ?60 on the side. 60 out. At 60.
0:23:08 > 0:23:1070. 80.
0:23:10 > 0:23:1580? No, at ?70. 80, anyone like?
0:23:15 > 0:23:17Disappointing, this, at 70. Come on.
0:23:17 > 0:23:19At 70. Five, I'll take.
0:23:19 > 0:23:23Five, anyone like? Five is bid, reluctantly.
0:23:23 > 0:23:27Thank you, sir. ?75. 80, anyone now, then? We're done.
0:23:27 > 0:23:30I'm selling at ?75. It's going.
0:23:32 > 0:23:34?75. Only just.
0:23:34 > 0:23:38Just. A bit of discretion. That was close, wasn't it?
0:23:38 > 0:23:40It was. You're happy, though?
0:23:40 > 0:23:41No more polishing!
0:23:41 > 0:23:44That was a close shave!
0:23:44 > 0:23:47This next lot really fired up my imagination.
0:23:47 > 0:23:50Molly, it's good to see you.
0:23:50 > 0:23:51I know this is your son Gareth.
0:23:51 > 0:23:55You were at the valuation day but we never saw you - you were too busy
0:23:55 > 0:23:57feeding parking meters. That's right.
0:23:57 > 0:24:01Watching out for traffic wardens! Which is so sad, really.
0:24:01 > 0:24:04Two lanterns going under the hammer. I know you used them, didn't you?
0:24:04 > 0:24:07I bet they had the look, the flicker.
0:24:07 > 0:24:10Hopefully, they'll be flickering away in somebody else's house,
0:24:10 > 0:24:14especially at ?30 to ?50. For that sort of money, two decorative items.
0:24:14 > 0:24:16As you say, usable too.
0:24:16 > 0:24:18I know originally there was no reserve,
0:24:18 > 0:24:20but you changed it to a fixed reserve.
0:24:20 > 0:24:22I don't blame you, actually. No?
0:24:22 > 0:24:24You had second thoughts! Yes.
0:24:24 > 0:24:27Auctioneers love no reserve lots. Of course they do!
0:24:27 > 0:24:31Good on you. Here we go. Look, it's going under the hammer.
0:24:32 > 0:24:35Rather handsome candle lanterns.
0:24:35 > 0:24:38I've got interest in these. Who'll start me? At ?30?
0:24:38 > 0:24:40?30? 30, anyone?
0:24:43 > 0:24:4630 for the lights? Let there be light. 30 bid.
0:24:46 > 0:24:4935. 35. Oh, come on. 40 commission.
0:24:49 > 0:24:51Five. 50. Five.
0:24:53 > 0:24:56At ?55. Out in the room. Beats the book.
0:24:56 > 0:25:00?55. 60? Anyone like to join in?
0:25:00 > 0:25:04All done and clear, we sell at ?55...
0:25:04 > 0:25:06That's it. They're gone. Well done.
0:25:06 > 0:25:09Hard work for ?55.
0:25:09 > 0:25:11It is. But he got there. That's right.
0:25:11 > 0:25:14Well done, David.
0:25:14 > 0:25:16That was above estimate and lit up Molly's face.
0:25:20 > 0:25:23Hopefully, our expert Mark Stacey will be pulling all the strings!
0:25:23 > 0:25:28Well, not literally, of course, because we've got Chris's violin just about to go under the hammer.
0:25:28 > 0:25:30?500 - ?700 is riding on this.
0:25:30 > 0:25:33It's a lovely instrument, and I think it's a cracking piece.
0:25:33 > 0:25:37I did have a chat to the auctioneer earlier. You know what he said.
0:25:37 > 0:25:40If it goes, it will go, hopefully, at the bottom end.
0:25:40 > 0:25:44Well, it is a general sale, it's the only musical instrument in the sale.
0:25:44 > 0:25:48But we did look it up, and we protected it with that reserve, because we have found ones that
0:25:48 > 0:25:51made in excess of ?1,000. You've got to be realistic about these things.
0:25:51 > 0:25:54And at least you've done your price comparables.
0:25:54 > 0:25:56And you've protected it with a reserve.
0:25:56 > 0:25:59Many experts say, "Oh, no reserve," don't they? They do.
0:25:59 > 0:26:02Don't play with fire like that. Not with something as valuable as this.
0:26:02 > 0:26:05Good luck. That's all I can say. Here we go.
0:26:07 > 0:26:10This is a rather nice violin,
0:26:10 > 0:26:14with a paper label and a Paris maker and two bows therein.
0:26:14 > 0:26:16Interesting lot, bit of a speculative lot here.
0:26:16 > 0:26:18I've got ?200 to start me.
0:26:18 > 0:26:22200 with me. And 20s I'll take if I can.
0:26:22 > 0:26:26For the violin, at 200. And 20. 240.
0:26:26 > 0:26:30260. At ?260. At ?260.
0:26:30 > 0:26:33Any advance on 260? No, I don't think it's going to go.
0:26:33 > 0:26:35Going then, at ?260. No interest at all?
0:26:35 > 0:26:38Are you all done?
0:26:38 > 0:26:41He didn't sell it. Didn't sell it.
0:26:41 > 0:26:44Oh, what a shame. Yes, that is a shame. What's going to happen now?
0:26:44 > 0:26:47I'll take it home, put it in the cupboard again!
0:26:47 > 0:26:50How about start practising? Go on, try and get a tune out of it!
0:26:50 > 0:26:52I might be able to, yes! Go on, try it!
0:26:52 > 0:26:53Maybe it's meant to be. Mmm.
0:26:53 > 0:26:58So, that could lead to a new hobby for Chris, rather than a holiday.
0:26:58 > 0:27:01But perhaps this autographed cricket bat
0:27:01 > 0:27:03stands more of a sporting chance.
0:27:04 > 0:27:07Well, let's sock it to them, David! I think that was a six, don't you?!
0:27:07 > 0:27:09I think you were caught at long on, myself!
0:27:09 > 0:27:12We're talking about that little quarter-sized cricket bat,
0:27:12 > 0:27:14signed by the 1938 touring team.
0:27:14 > 0:27:16Wonderful, wonderful series.
0:27:16 > 0:27:20Unfortunately, Les and Marion can't be with us today, right now.
0:27:20 > 0:27:23But hopefully we'll get that ?350, that's the top end.
0:27:23 > 0:27:26I hope so. There are some great names on that bat.
0:27:26 > 0:27:29Bradman's the one that everybody wants.
0:27:29 > 0:27:30Yes. But Edrich is there,
0:27:30 > 0:27:32Compton as well.
0:27:32 > 0:27:35Every serious cricketer of that period is on that cricketing bat.
0:27:35 > 0:27:37It's the Valhalla of cricketing gods, really!
0:27:37 > 0:27:41Are there many of these bats about? I think there probably are.
0:27:41 > 0:27:45But they are by no means plentiful. And they are eagerly sought after,
0:27:45 > 0:27:48so when they come up, they get snapped up, that's the thing.
0:27:48 > 0:27:50The condition is very good on this one. We're going to find out
0:27:50 > 0:27:53exactly what the bidders think right now. Here we go.
0:27:53 > 0:27:57Quarter-sized cricket bat, with all the initials.
0:27:57 > 0:28:00England v Australia, 1938. What shall we say for this one?
0:28:00 > 0:28:04Start me at ?50 for it. For the old cricket bat, there, ?50.
0:28:04 > 0:28:07Who'd like it? 50, I'm bid. Thank you. I'll take 60 next.
0:28:07 > 0:28:10At ?50 only, 60. 60 at the back. 70. 80.
0:28:10 > 0:28:12A long way to go.
0:28:12 > 0:28:14100. Could be a long innings!
0:28:14 > 0:28:16130. 140.
0:28:16 > 0:28:19It's got to make 220, that's the fixed reserve.
0:28:19 > 0:28:21180. We're getting there. 190. 190.
0:28:21 > 0:28:25200. 220. 240.
0:28:25 > 0:28:26260. 240, far corner.
0:28:26 > 0:28:29With two bidders in the room, you don't know where to look.
0:28:29 > 0:28:31I'll take 260.
0:28:31 > 0:28:34A phone bid now. 280. 300.
0:28:34 > 0:28:38Go on! A cracking price! 320. 340.
0:28:38 > 0:28:41360. 380.
0:28:41 > 0:28:45360. This is the series Bradman scored 364 in.
0:28:45 > 0:28:47At ?380, on the telephone.
0:28:47 > 0:28:51You're out at the back? Yes! ?380.
0:28:51 > 0:28:55Howzat? What a cracking result!
0:28:55 > 0:28:58I wish they were here to see that!
0:28:58 > 0:29:01Gosh, if you see anything like that on your travels, do pick it up and buy it
0:29:01 > 0:29:03if you can pick it up for next to nothing.
0:29:03 > 0:29:07It just goes to show, doesn't it, these things are out there?
0:29:07 > 0:29:13That's fantastic. And coming up later on the show, we make some more exciting discoveries of our own.
0:29:13 > 0:29:17Clarice doesn't do anything for me, but this little plate does!
0:29:17 > 0:29:21And I gather, Marie, that it's one of your favourite pieces at home?
0:29:21 > 0:29:22SHE SCOFFS
0:29:29 > 0:29:33Just a few miles away from our valuation day is Bovington Tank Museum.
0:29:33 > 0:29:37It's a state-of-the-art building which houses the most wide-ranging
0:29:37 > 0:29:42collection of tanks and armoured vehicles anywhere in the world.
0:29:42 > 0:29:47The museum is set in the grounds of Bovington Camp, a tank crew training facility
0:29:47 > 0:29:50that was established in 1916 by the British War Office,
0:29:50 > 0:29:52and it's still very much in use today.
0:30:00 > 0:30:05The tank, as we know it today, was born out of the need to break out of the stalemate of trench warfare.
0:30:07 > 0:30:12Winston Churchill, who then was the First Lord of the Admiralty, backed the development
0:30:12 > 0:30:15of some kind of armoured vehicle that could be developed, that could
0:30:15 > 0:30:19go off road, over trenches and break through barbed wire.
0:30:25 > 0:30:29The very first prototype tank was called Little Willie, and here to tell me all about it
0:30:29 > 0:30:35and take me on a guided tour of the evolution of tank design in the 20th century is warden Ron Anderson.
0:30:35 > 0:30:38This is where it all started, Paul.
0:30:38 > 0:30:42This is Little Willie, the very, very first tank in the world.
0:30:42 > 0:30:45It is literally held together by big nuts and bolts.
0:30:45 > 0:30:48Oh, yes. It does look like an agricultural vehicle, doesn't it?
0:30:48 > 0:30:54Oh, yes. Very much so. Having said that, unfortunately, it was a bit of a failure. Why?
0:30:54 > 0:30:56Well, centre of gravity, too far forward.
0:30:56 > 0:31:00So when the vehicle was going up to a trench, it would just drop in.
0:31:00 > 0:31:03Literally nosedive first? Exactly. Well, it's wonderful that it's here.
0:31:03 > 0:31:06Oh, yes. It's the only one in the world.
0:31:06 > 0:31:08It's a shame it never got used.
0:31:08 > 0:31:11No, and they had to get cracking
0:31:11 > 0:31:16and get the next tank up that would be far better than this one. Yes.
0:31:16 > 0:31:18Using Little Willie as a starting point,
0:31:18 > 0:31:21British tank design progressed rapidly throughout World War I.
0:31:21 > 0:31:25Next came the Mother tank, followed quickly by the Mark I
0:31:25 > 0:31:28through to the Mark IV, which had thicker armour
0:31:28 > 0:31:31and a number of other improvements on its predecessors.
0:31:35 > 0:31:38So, we've gone from Little Willie to this tank, the Mark IV,
0:31:38 > 0:31:40in the space of a couple of years. That's right.
0:31:40 > 0:31:43I'm surprised at the space in here.
0:31:43 > 0:31:46How many crew? Eight. Eight?
0:31:46 > 0:31:50The commander, the driver, two gunners, two loaders
0:31:50 > 0:31:53and two gears men at the back. So, not a lot of space in the end.
0:31:53 > 0:31:59Plus, extra supplies, food, water, munitions, machine gun.
0:31:59 > 0:32:02Yes, you'd be pretty limited even then.
0:32:02 > 0:32:04Hm, it must have been noisy.
0:32:04 > 0:32:07You had a lot of things to put up with.
0:32:07 > 0:32:10But the most horrible of all would be heat.
0:32:10 > 0:32:16You can consider 150 degrees Fahrenheit, which is tremendous.
0:32:16 > 0:32:18I'd hate to think of the smell.
0:32:18 > 0:32:21Almost pitch darkness as well.
0:32:21 > 0:32:26If you want to do your toilet, you'd keep one or two empty shells back...
0:32:26 > 0:32:29That's what you'd have a pee in?
0:32:29 > 0:32:32That's right. And you'd throw them out through the side.
0:32:32 > 0:32:35I guess you had to do something. Oh, yes.
0:32:35 > 0:32:39The Germans didn't have tanks at this stage. Just machine gun fire.
0:32:39 > 0:32:42That wouldn't penetrate this.
0:32:42 > 0:32:43You could get a bullet.
0:32:43 > 0:32:49If you consider 5,400 rounds hitting the front of this vehicle,
0:32:49 > 0:32:52you're bound to get some bullet
0:32:52 > 0:32:56hit the seams and come hurtling in here and take somebody out.
0:32:56 > 0:33:01And if they did get a strike in these vehicles, the roof would shoot off,
0:33:01 > 0:33:06the sides burst to bits and everybody inside would perish.
0:33:06 > 0:33:09Having said that,
0:33:09 > 0:33:13once you're up onto enemy lines, you could flatten out their barbed wire,
0:33:13 > 0:33:15which was what it was all about.
0:33:15 > 0:33:19Once you flattened the barbed wire, your troops at the back could
0:33:19 > 0:33:24walk over the barbed wire instead of getting slaughtered on it. They could make good ground. Exactly.
0:33:28 > 0:33:32Shall we take a trip outside and get some air?
0:33:32 > 0:33:36At the end of the First World War, technology continued to progress quickly.
0:33:36 > 0:33:39Instead of a mechanised battering tool,
0:33:39 > 0:33:43the tank became an armoured cavalry and a weapon in its own right.
0:33:45 > 0:33:50The names of Panther, Tiger and Sherman found their place in history
0:33:50 > 0:33:54but it was a small Russian tank that would take everyone by surprise.
0:33:54 > 0:33:56What are we looking at here?
0:33:56 > 0:33:58The T-34.
0:33:58 > 0:34:01This is a Russian tank? This is THE Russian tank.
0:34:01 > 0:34:04THE Russian tank? Oh, yes.
0:34:04 > 0:34:08What was so special about these tanks? Their speed or their cannon?
0:34:08 > 0:34:12Deflective armour for a start. If you notice the armour, it's at a slope.
0:34:12 > 0:34:15It's almost 45 degrees around the body.
0:34:15 > 0:34:20Yes, but not only that - you could turn them out very quickly.
0:34:20 > 0:34:22If you look at it, it's crude.
0:34:22 > 0:34:24You can see the welding
0:34:24 > 0:34:28but it's not been grinded off and then polished and painted.
0:34:28 > 0:34:30This vehicle is welded.
0:34:30 > 0:34:32It's all meant for productivity -
0:34:32 > 0:34:35get these vehicles out, get them to the front,
0:34:35 > 0:34:39push back the Germans that are now on the borderlines
0:34:39 > 0:34:44of Stalingrad and Moscow, and eventually these vehicles
0:34:44 > 0:34:49did push the Germans way back out of your area back into Berlin.
0:34:49 > 0:34:54Am I looking at the Russian tank that won the Second World War? Without a doubt.
0:34:54 > 0:34:59When you've ten of these against one Panther or Tiger...
0:34:59 > 0:35:03They outnumbered them. Literally outnumbered them.
0:35:03 > 0:35:08Built out of scrap metal, the T-34 has been described as the fastest,
0:35:08 > 0:35:12the best and the cheapest tanks of their day.
0:35:12 > 0:35:15Although as warfare began to rely more on sophisticated technology,
0:35:15 > 0:35:20the development of tanks continued dramatically over the years.
0:35:20 > 0:35:23And this is a British tank which brings us bang up to date.
0:35:23 > 0:35:28This is Britain's current main battle tank, the Challenger II.
0:35:28 > 0:35:31How many crew? Four.
0:35:31 > 0:35:33And would you do a 24-hour shift?
0:35:33 > 0:35:37Yes, up to 46 hours. Gosh.
0:35:37 > 0:35:40You'd have to do just about everything.
0:35:40 > 0:35:42Eat, sleep...
0:35:42 > 0:35:44How do you go to the loo?
0:35:44 > 0:35:47It's got its own toilet arrangements.
0:35:47 > 0:35:52Yes, they don't have to do it in an empty shell casing and throw it out.
0:35:52 > 0:35:54It's far more up to date.
0:35:54 > 0:35:57Do you know how much this weighs?
0:35:57 > 0:35:59About 53 tonnes.
0:35:59 > 0:36:02That's about 50 small cars, isn't it? You could double that.
0:36:02 > 0:36:04About 80 Mini Coopers.
0:36:04 > 0:36:06Yes.
0:36:06 > 0:36:09That's some weight, isn't it? Oh, yes.
0:36:09 > 0:36:12The Challenger II is likely to be
0:36:12 > 0:36:14the last British heavy main battle tank
0:36:14 > 0:36:18and it's currently expected to serve until 2020,
0:36:18 > 0:36:22then probably being replaced by a lighter, air-portable vehicle.
0:36:22 > 0:36:26Until then, this is still THE state-of-the-art tank.
0:36:26 > 0:36:32When you consider the First World War tank which would have a gun sight...
0:36:32 > 0:36:34Or stick your head above the turret with binoculars.
0:36:34 > 0:36:38That's right. We're now talking about high-tech.
0:36:38 > 0:36:44We're talking of a 99% strike hit. Wow. First time. First hit.
0:36:44 > 0:36:45Over two kilometres.
0:36:45 > 0:36:47That's some distance. Oh, yes.
0:36:47 > 0:36:51Tanks have played a remarkable role in 20th-century warfare
0:36:51 > 0:36:55and with technologies changing at an alarming rate,
0:36:55 > 0:36:59it'll be interesting to see where the evolution of the tank will go.
0:37:08 > 0:37:11Our valuation day is being held here in Dorchester.
0:37:11 > 0:37:14It's been a busy day but we're still finding some beautiful pieces
0:37:14 > 0:37:19like these cat musicians Heather has brought along.
0:37:19 > 0:37:23You've brought along a little band of musicians.
0:37:23 > 0:37:29Are you a musician yourself? I'm a musician, yes, a professional musician. What's your instrument?
0:37:29 > 0:37:32Piano. And a little bit of organ.
0:37:32 > 0:37:36How did you come by this little band?
0:37:36 > 0:37:39Well, it was always in my mother's display cabinet.
0:37:39 > 0:37:41I remember seeing them.
0:37:41 > 0:37:43And was your mother a musician?
0:37:43 > 0:37:46My mother was a professional musician as well.
0:37:46 > 0:37:50And tell me why you're thinking in terms of selling this.
0:37:50 > 0:37:55I thought it would be lovely for a young lady or child to have these
0:37:55 > 0:37:59and I want them to be on display and for someone to like them.
0:37:59 > 0:38:02Let's talk about it.
0:38:02 > 0:38:06It's manufactured by a factory called Beswick.
0:38:06 > 0:38:11I used to call this factory Bezzick but we now have to call it Bes-wick. It confuses me.
0:38:11 > 0:38:17I live in Bedford near a town called Flitwick which is spelled Flit-wick.
0:38:17 > 0:38:21People pronounce that Flit-wick. We tell them off and say it's Flittick.
0:38:21 > 0:38:23When I pronounce this as Bezzick
0:38:23 > 0:38:27I get told off, and they say it's Bes-wick. Let's call it Bes-wick.
0:38:27 > 0:38:32I think the band itself, which comprises four pieces,
0:38:32 > 0:38:37is based on the Meissen monkey bands of the 18th century. Right.
0:38:37 > 0:38:41One of them... I think two of them - we'll pick up this one first -
0:38:41 > 0:38:44is marked Beswick. Yes. Bes-wick.
0:38:44 > 0:38:50Right. And we have the conductor with the sheet music. That's right.
0:38:50 > 0:38:53A violinist... I think that could be the viola
0:38:53 > 0:38:58because it's rather big for the poor little cat.
0:38:58 > 0:38:59A viola and not a violin.
0:38:59 > 0:39:03You know more about these things. It's slightly smaller, the violin.
0:39:03 > 0:39:07And you've got this sax. Well, I suppose it's a saxophone.
0:39:07 > 0:39:13And then the double bass of course. So, we're actually...
0:39:13 > 0:39:17It's quite a good little jazz band, really.
0:39:17 > 0:39:20There might possibly once have been... Might have been more.
0:39:20 > 0:39:25The modeller, we think, is someone called Kitty MacBride
0:39:25 > 0:39:29and she worked at the Beswick factory in the 1960s.
0:39:29 > 0:39:33So, in the great scheme of things, they're not that old
0:39:33 > 0:39:36but that doesn't make them any less collectable. No.
0:39:36 > 0:39:40They're going to appeal to musicians like yourself
0:39:40 > 0:39:43but also of course to people who collect cats.
0:39:43 > 0:39:44Absolutely.
0:39:44 > 0:39:47And the expressions are so good as well.
0:39:47 > 0:39:50I don't think they're going to make a fortune. No.
0:39:50 > 0:39:53Have you any idea what they might make? No idea at all.
0:39:53 > 0:39:56I've never thought about the price at all.
0:39:56 > 0:40:01OK. The little chap here has got a chip in the back of his ear.
0:40:01 > 0:40:07Just a tiny one. It is a problem. Condition does affect... I know.
0:40:07 > 0:40:11I'd be inclined to say we'll end up somewhere between ?20 and ?30.
0:40:11 > 0:40:14That's fine. How do you feel about a reserve?
0:40:14 > 0:40:18No reserve. No reserve? That's what auctioneers love to hear.
0:40:18 > 0:40:21Jolly good. I'm confident they'll sell and who knows,
0:40:21 > 0:40:24they might make a little bit more than that.
0:40:24 > 0:40:25Thank you for bringing them in.
0:40:25 > 0:40:28Most enjoyable. I look forward to seeing you at the sale.
0:40:28 > 0:40:34From one well-known make, even if there is a debate on how to pronounce it, to another.
0:40:34 > 0:40:37I bet you can't guess the maker of this plate, although I'm sure you'll
0:40:37 > 0:40:41recognise this lady's name when I say it.
0:40:41 > 0:40:43Lorna, I've gravitated towards this plate
0:40:43 > 0:40:46because it looks like the white chalk horses
0:40:46 > 0:40:49of the Pewsey Vale. That's what it is, isn't it?
0:40:49 > 0:40:51I think it is. It's Clarice Cliff.
0:40:51 > 0:40:55It is. Clarice doesn't do anything for me but this plate does.
0:40:55 > 0:40:57Tell me, how did you come by it?
0:40:57 > 0:41:00We bought it at an auction in Southsea some time ago,
0:41:00 > 0:41:04and I liked it. It's different.
0:41:04 > 0:41:07It's Clarice Cliff, I knew that because I looked at it, obviously.
0:41:07 > 0:41:10And it's different, it's not like any of her others.
0:41:10 > 0:41:12It is unusual, isn't it? And I'm not a big fan of
0:41:12 > 0:41:15the whole Bizarre range, it doesn't do a lot for me,
0:41:15 > 0:41:17but I love this, absolutely love this.
0:41:17 > 0:41:20I could live with that, and I'm sure you could and you could as well.
0:41:20 > 0:41:22And of course I live right in the Vale.
0:41:22 > 0:41:27I live surrounded by half a dozen white chalk horses.
0:41:27 > 0:41:30Let me just look on the back. The condition is very, very good.
0:41:30 > 0:41:33And there you can see it says Clarice Cliff,
0:41:33 > 0:41:36and, of course, designed by John Armstrong.
0:41:36 > 0:41:40Now, Harrods had a tableware exhibition
0:41:40 > 0:41:46in 1934, and it was a raging artistic success.
0:41:46 > 0:41:48You had Dame Laura Knight...
0:41:48 > 0:41:52Yes. OK? You had Duncan Grant...
0:41:52 > 0:41:55Vanessa Bell from the Bloomsbury school - big names.
0:41:55 > 0:41:59And of course Mr Armstrong. Not a lot was known about him.
0:41:59 > 0:42:02This was a big break for him. He was a theatre designer and he kind of
0:42:02 > 0:42:06followed and worked in the school of Paul Nash and Ben Nicholson.
0:42:06 > 0:42:09You can imagine the Shell posters of the day, can't you?
0:42:09 > 0:42:11And that's very much like that.
0:42:11 > 0:42:14Now, I say it was a big artistic success,
0:42:14 > 0:42:20but it was also a major flop, financially, for Harrods.
0:42:20 > 0:42:23And the reason why you haven't seen a lot of those around
0:42:23 > 0:42:26is because they didn't sell.
0:42:26 > 0:42:29I see. So they didn't commission any more. Right.
0:42:29 > 0:42:33That's why it flopped. But to get those four artists together in 1934
0:42:33 > 0:42:36was wonderful, absolutely wonderful.
0:42:36 > 0:42:38And how much did you pay for this?
0:42:38 > 0:42:44About ?40. I think you paid the right money for that.
0:42:44 > 0:42:46If you want to put this back into auction
0:42:46 > 0:42:48and try and get your money back,
0:42:48 > 0:42:50I was going to say to you ?50 to ?80,
0:42:50 > 0:42:53and we'll have a ?40 reserve. Yes, that sounds fine.
0:42:53 > 0:42:57And we'll see if it is that good investment, shall we? We will, yes.
0:42:57 > 0:43:00It might have been a flop back in 1934,
0:43:00 > 0:43:03but let's hope that works in Lorna's favour at the auction.
0:43:05 > 0:43:09Mark is on safe ground with Marie and John's ceramic vase.
0:43:11 > 0:43:14You're going to fill us in on the history of this.
0:43:14 > 0:43:18Yes, as far as I know it came from my maternal grandfather,
0:43:18 > 0:43:23who was a master baker in Smethwick, Birmingham.
0:43:23 > 0:43:26The vase was made in the Ruskin Pottery in Oldbury Road,
0:43:26 > 0:43:28which is also in Smethwick.
0:43:28 > 0:43:32Yes. We think, we're not sure, that possibly William Howson Taylor
0:43:32 > 0:43:35gave the vase to my grandfather.
0:43:35 > 0:43:38Oh, right, as a gift? As a gift.
0:43:38 > 0:43:40It's been in the family all my life.
0:43:40 > 0:43:43More than that about it, I don't know.
0:43:43 > 0:43:46It's wonderful, of course, when we get the family stories,
0:43:46 > 0:43:50because it really does tie the history of the piece together.
0:43:50 > 0:43:53And I gather, Marie, that it's one of your favourite pieces at home?
0:43:53 > 0:43:55No.
0:43:55 > 0:43:58No, I'm afraid not. What don't you like about it?
0:43:58 > 0:44:01I don't know, I just don't like it.
0:44:01 > 0:44:04It's Art Deco. I don't like Art Deco, no.
0:44:04 > 0:44:08Well, you're quite right, it is very Art Deco. It's very of the time,
0:44:08 > 0:44:10this sort of drip glaze you get produced by Shelley
0:44:10 > 0:44:12and a lot of other factories.
0:44:12 > 0:44:15But it has typical Ruskin elements
0:44:15 > 0:44:20with this sort of dripping and this sort of souffle-type glaze to it.
0:44:20 > 0:44:23When we do look at it underneath, we have the mark
0:44:23 > 0:44:26"England, W Howson Taylor, Ruskin",
0:44:26 > 0:44:29which is quite an early mark.
0:44:29 > 0:44:32Normally you get that on the earlier pieces, sort of 1905.
0:44:32 > 0:44:35These later pieces from the '20s and '30s
0:44:35 > 0:44:38are normally marked "Smethwick",
0:44:38 > 0:44:40which ties in with what you're saying.
0:44:40 > 0:44:43It is quite a difficult thing to value because it's not one
0:44:43 > 0:44:46of the earlier pieces, it's not one of those sang de boeuf, oxblood glazes.
0:44:46 > 0:44:50It's not going to be the most commercial piece with the colour,
0:44:50 > 0:44:52even though I like the colour.
0:44:52 > 0:44:56Did you have any idea of what you thought it might be worth?
0:44:56 > 0:44:58We didn't have any idea at all.
0:44:58 > 0:45:01I think, you know, as a piece of Ruskin,
0:45:01 > 0:45:04we're looking under ?100 in my opinion.
0:45:04 > 0:45:06We'd probably be looking at around ?70 to ?80. Yes.
0:45:06 > 0:45:09Maybe 60 to 80 as an auction estimate.
0:45:09 > 0:45:11Obviously, we'd want to put a reserve, I think,
0:45:11 > 0:45:15because you wouldn't want it to go for ?20. Oh, no, no, no.
0:45:15 > 0:45:17But you've obviously had it a long time.
0:45:17 > 0:45:20Has it not been in pride of place in your home?
0:45:20 > 0:45:21No, it hasn't, I must admit.
0:45:21 > 0:45:24You've had it hidden away? No, not really.
0:45:24 > 0:45:26We keep it out. If I hide it, you'll never find it.
0:45:26 > 0:45:29You're determined. My safe place will never be found.
0:45:29 > 0:45:32You're determined to get rid of it, aren't you?
0:45:32 > 0:45:34Yep. I've got a granddaughter coming and...
0:45:34 > 0:45:38Much more important than an old vase. She is, yeah, of course.
0:45:38 > 0:45:40Neither of our children like it either.
0:45:40 > 0:45:44Tell you what, let's hope the auction house doesn't put it in a safe place and can't find it.
0:45:44 > 0:45:48Let's hope it makes a lot of money. We actually won't be at the auction.
0:45:48 > 0:45:50What do you mean?
0:45:50 > 0:45:54Unfortunately, we'll be in France. So who will be representing you?
0:45:54 > 0:45:57I've got a pottery buddy. I go to pottery, and she's going to come.
0:45:57 > 0:46:00Are you going to make a replica of the vase? She might.
0:46:00 > 0:46:03I won't, but she may. I won't.
0:46:03 > 0:46:05Well, have a glass of wine on us, won't you?
0:46:05 > 0:46:09We will, yeah. Thank you very much. Thank you so much. Thank you.
0:46:09 > 0:46:12No doubt someone will love the Ruskin vase.
0:46:12 > 0:46:17Next up, David is examining Wendy's little ceramic pots.
0:46:17 > 0:46:20Tell me a little bit about these.
0:46:20 > 0:46:23Well, the white one I bought in an auction lot
0:46:23 > 0:46:26back in Bath in the late 1980s,
0:46:26 > 0:46:30and it was sold as a Worcester inkpot.
0:46:30 > 0:46:34Yeah. Then in the beginning of the 2000s,
0:46:34 > 0:46:39I saw that in Blandford in an antique centre and I thought,
0:46:39 > 0:46:43"Oh! Matches my Worcester inkpot." Then I discovered in
0:46:43 > 0:46:45a Miller's catalogue
0:46:45 > 0:46:48that it was a Chinese water pot.
0:46:48 > 0:46:51Do you have a particular eye for items like this?
0:46:51 > 0:46:53Have you ever dabbled a bit?
0:46:53 > 0:46:57Well, I had a partnership in a bric-a-brac shop at one time
0:46:57 > 0:46:59for a short time
0:46:59 > 0:47:01and I used to do antique fairs.
0:47:01 > 0:47:05Did you make lots of money? No, no, it was a paying hobby
0:47:05 > 0:47:07which I enjoyed. A paying hobby.
0:47:07 > 0:47:09Well, you've been very clever here.
0:47:09 > 0:47:12Let's start with this one first.
0:47:12 > 0:47:16This was made in the Royal Worcester factory
0:47:16 > 0:47:19and this bears the figure 75, which means
0:47:19 > 0:47:23it was made in 1875. Not 1975, of course. 1875.
0:47:24 > 0:47:29This is entirely unmarked
0:47:29 > 0:47:33although it has quite an interesting label on the base of it.
0:47:33 > 0:47:35And it's Chinese.
0:47:35 > 0:47:40Now, what interests me most about these
0:47:40 > 0:47:43is that they demonstrate the influence of the Far East
0:47:43 > 0:47:47on the decorative arts of the West,
0:47:47 > 0:47:50and it's very unusual that we see
0:47:50 > 0:47:54examples like this, which we can so directly compare.
0:47:54 > 0:47:59And this quite clearly derives from this.
0:47:59 > 0:48:01So tell me why you're selling them.
0:48:01 > 0:48:04Well, they've been sitting in the cupboard for a long time.
0:48:04 > 0:48:06My family aren't interested in them
0:48:06 > 0:48:10so I just thought I would... And I wanted to come to this programme.
0:48:10 > 0:48:13Come and see what goes on. Good for you. OK, then.
0:48:13 > 0:48:16Now, tell me what you paid for them.
0:48:16 > 0:48:21Well, the lot came to ?80
0:48:21 > 0:48:24that the Worcester pot was amongst,
0:48:24 > 0:48:29and I paid ?11 for the Chinese pot. OK.
0:48:29 > 0:48:32I think that the Worcester pot
0:48:32 > 0:48:38is going to be worth between ?100 and ?120,
0:48:38 > 0:48:42and this little chap is worth another ?30 or ?40.
0:48:42 > 0:48:46Now, auctioneers don't always like to mix categories.
0:48:46 > 0:48:49Strictly speaking, here we have an Oriental and a European item,
0:48:49 > 0:48:53but I think, in this instance, we should break that rule
0:48:53 > 0:48:56and sell them as one lot, for obvious reasons.
0:48:56 > 0:48:59And I suggest a reserve of ?140...
0:48:59 > 0:49:04Yes. ..and an estimate of ?140 to ?180. Yes.
0:49:04 > 0:49:07So, they're not going to set the world alight... No, no.
0:49:07 > 0:49:10..but you're going to show a profit.
0:49:10 > 0:49:13Well, yes. And as a retired dealer,
0:49:13 > 0:49:15you'll appreciate that.
0:49:15 > 0:49:18All dealers like a good turn, don't they? Definitely. OK.
0:49:18 > 0:49:22Thanks for bringing them in. Thank you. I'll see you at the sale.
0:49:22 > 0:49:26Right, we're ready to take our last few lots off to auction.
0:49:26 > 0:49:29Going under the hammer are Wendy's beautiful little pots,
0:49:29 > 0:49:32one Worcester and one all the way from China.
0:49:32 > 0:49:36Marie might not have to put up with the disliked vase much longer.
0:49:36 > 0:49:40And I'm convinced the Clarice Cliff plate could do well
0:49:40 > 0:49:42because of its unusual design.
0:49:42 > 0:49:45We are also hoping the interest of the collectors creates a bidding war
0:49:45 > 0:49:47for Heather's cat band.
0:49:49 > 0:49:51And now for my favourite part of the show.
0:49:51 > 0:49:55Let's head straight to the auction and see what the bidders think.
0:49:57 > 0:49:58First up, it's the Ruskin vase.
0:49:58 > 0:50:01Coming under the hammer now we've got a fabulous studio piece.
0:50:01 > 0:50:03It's by Ruskin, it belongs to Marie and John.
0:50:03 > 0:50:06But unfortunately they can't be with us. But we do have Philippa.
0:50:06 > 0:50:09So how did you meet them, in your pottery classes?
0:50:09 > 0:50:11Yes, in pottery classes.
0:50:11 > 0:50:14Marie and I do pottery together, but not as good as Ruskin.
0:50:14 > 0:50:17No, but I bet you've studied the lines and some of the principles.
0:50:17 > 0:50:20Yes, yes. No, it's a nice piece.
0:50:20 > 0:50:23Is it something you fancy yourself? Would you buy it?
0:50:23 > 0:50:25No. Why not?
0:50:25 > 0:50:27I'm sorry, no. You wouldn't?
0:50:27 > 0:50:29No. Who do you aspire to, then?
0:50:29 > 0:50:32Clarice Cliff, I suppose. And I love Art Deco.
0:50:32 > 0:50:34Will we get top end, do you think?
0:50:34 > 0:50:38?60 to ?70? I don't know. I always find Ruskin quite unpredictable.
0:50:38 > 0:50:40The high-fire glazes are fine,
0:50:40 > 0:50:43but these softer glazes can be very hit and miss.
0:50:43 > 0:50:45That's why I put a modest estimate on it.
0:50:45 > 0:50:48It is a small piece. And the colour's nice.
0:50:48 > 0:50:51If you haven't got a lot of money it's a good thing to invest in.
0:50:51 > 0:50:54Absolutely. OK. All the talking's over with.
0:50:54 > 0:50:58Let's find out, shall we? It is down to this lot, isn't it? Here we go. Indeed.
0:50:59 > 0:51:05It's a stylish Ruskin-ware vase, square form, unusual glaze.
0:51:05 > 0:51:08Who'll start me off with this at, say, ?40 to get on with it?
0:51:08 > 0:51:11?40 to start. 40 bid, the Ruskin.
0:51:11 > 0:51:1345, if you will. 45, 50.
0:51:13 > 0:51:16Five? 60. Five?
0:51:16 > 0:51:18At 60 only, then. At 60.
0:51:18 > 0:51:21Anyone want? Come along.
0:51:21 > 0:51:23I've got 60.
0:51:23 > 0:51:25It's sold. Only just, though.
0:51:25 > 0:51:29Sells, then, at ?60, right at the back of the room.
0:51:29 > 0:51:32It's gone. You'll have to ring them up and tell them. Yes, I will.
0:51:32 > 0:51:35And I'm sure there's a gin and tonic in it for you, don't you?
0:51:35 > 0:51:37I hope so. I hope so.
0:51:37 > 0:51:41Marie and John should be happy with that, and I hope Lorna feels
0:51:41 > 0:51:45the same, as the Clarice Cliff plate that I fell in love with is up next.
0:51:47 > 0:51:49It's never let us down before.
0:51:49 > 0:51:51You know what I'm talking about - Clarice Cliff.
0:51:51 > 0:51:53It's my turn to be the expert.
0:51:53 > 0:51:55It's that lovely plate belonging to Lorna,
0:51:55 > 0:51:57who's joined me, looking fabulous. Thank you.
0:51:57 > 0:51:59Have you seen it in the cabinet? I have.
0:51:59 > 0:52:01Doesn't it look good? It does, yes.
0:52:01 > 0:52:03Do you want it back now?
0:52:03 > 0:52:05Torn.
0:52:05 > 0:52:07THEY LAUGH
0:52:07 > 0:52:09Really? Yeah. Oh, really?
0:52:09 > 0:52:11You think you might... It's a bit late now, isn't it?
0:52:11 > 0:52:14It is, yes. No, I'll be happy if it goes.
0:52:14 > 0:52:17Especially at ?80. Yes, definitely.
0:52:17 > 0:52:20OK, OK. Well, if it doesn't sell, you'll be happy, then, won't you?
0:52:20 > 0:52:23Maybe not. Anyway, it's going under the hammer right now.
0:52:24 > 0:52:30Stylish, Art Deco-y John Armstrong for Clarice Cliff Bizarre tea plate,
0:52:30 > 0:52:32decorated with a prancing horse.
0:52:32 > 0:52:35It's gone quiet. It always goes quiet on my valuations.
0:52:38 > 0:52:40That's easily ?50. I've got ?50 to start me
0:52:40 > 0:52:41for this collectable item.
0:52:41 > 0:52:43?50 to start me, take fives if I can.
0:52:43 > 0:52:46At 50, five with me, commission, 60.
0:52:46 > 0:52:50Five. 70. Five. 80.
0:52:50 > 0:52:52On the telephone, 85?
0:52:52 > 0:52:55Exciting again... I'm feeling happier.
0:52:55 > 0:53:0090. Five. 100?
0:53:00 > 0:53:03At ?95 on the telephone. It's not worthwhile ringing him up.
0:53:03 > 0:53:08At ?95. If we reverse the charges. ?95.
0:53:08 > 0:53:10All done. Probably can't do that nowadays, can you?
0:53:10 > 0:53:14Selling at ?95, we're out.
0:53:14 > 0:53:17Ever so happy. I'm pleased, ever so pleased. That's good, isn't it?
0:53:17 > 0:53:20Yes. Don't forget, there is commission to pay,
0:53:20 > 0:53:24but that's a nice treat. Yes. A meal out. Or would you reinvest in antiques?
0:53:24 > 0:53:28Probably reinvest in antiques. Would you? OK, what tickles your fancy, then?
0:53:28 > 0:53:30Anything in the room here? Not really.
0:53:30 > 0:53:34I like the Art Deco figures. Do you? Dancers and that. They're nice.
0:53:34 > 0:53:37You'll have to save up for those. I know.
0:53:37 > 0:53:40It's good to plough the money back into antiques,
0:53:40 > 0:53:44and Lorna's off to a good start with a healthy profit.
0:53:47 > 0:53:50Good luck, Wendy, that's all I can say.
0:53:50 > 0:53:52We're looking at ?140 to ?180. Mm-hm.
0:53:52 > 0:53:54It's an interesting lot,
0:53:54 > 0:53:58because one is a copy of the other. Which came first? The Worcester.
0:53:58 > 0:54:02The Worcester one is based on the Chinese. That's right.
0:54:02 > 0:54:04You paid ?80 and ?11.
0:54:04 > 0:54:06Yes, that's right.
0:54:06 > 0:54:10We can easily beat that today, surely? There's a bit of profit there for you. I'm sure.
0:54:10 > 0:54:13I sold the other things in the lot too, that the Worcester pot was in
0:54:13 > 0:54:17and just kept that. So you're already quids in? Yes.
0:54:17 > 0:54:19OK. We're going to find out. Good luck.
0:54:20 > 0:54:23Nice quality little pieces of a similar nature,
0:54:23 > 0:54:26the Worcester chinoiserie inkwell
0:54:26 > 0:54:29and a little Chinese example of a similar nature.
0:54:29 > 0:54:32OK. Two pretty little items. Good little lot.
0:54:32 > 0:54:34Who'll start me, please, for these,
0:54:34 > 0:54:36Worcester and Chinese, at ?50?
0:54:38 > 0:54:4150 is bid. 60 I'll take.
0:54:41 > 0:54:45A long way to go. Yeah. 50. 60. 70.
0:54:45 > 0:54:4770. 80? 80.
0:54:47 > 0:54:4990. 100.
0:54:49 > 0:54:53?100 is bid. We're getting there. 110. 120.
0:54:53 > 0:54:55120. 130 will you?
0:54:55 > 0:54:56Yeah?
0:54:56 > 0:54:59130. 140.
0:54:59 > 0:55:02140 bid. 150?
0:55:02 > 0:55:06No. At ?140 bid. Standing near me at 140...
0:55:06 > 0:55:10Any further bids in the room at all? Going at ?140... I'm selling...
0:55:12 > 0:55:15Hammer's gone down. Sold. That's good. Happy? We're happy.
0:55:15 > 0:55:17Spot on.
0:55:17 > 0:55:20What are you going to start collecting now? I don't know.
0:55:20 > 0:55:24I collect little pots for the bathroom, sort of cure all pots.
0:55:24 > 0:55:28You're going to reinvest your money. What a good result.
0:55:28 > 0:55:31A spot-on valuation by our expert.
0:55:32 > 0:55:36Lastly, we're selling that jazz-playing cat band.
0:55:36 > 0:55:37Cracking little lot,
0:55:37 > 0:55:40the four Beswick cats, the little orchestra belonging to Heather.
0:55:40 > 0:55:43That's right. After Kitty MacBride.
0:55:43 > 0:55:46Why are you selling these? You're a big cat lover.
0:55:46 > 0:55:50I'm selling them because I have so much in the display cabinet.
0:55:50 > 0:55:53Do you? Do you, really? Is it taking over? Yes, that's right.
0:55:53 > 0:55:56So are you downsizing or just sort of sorting out?
0:55:56 > 0:55:58No, I'm just sorting out. Sorting out, OK.
0:55:58 > 0:56:00Will we get more than 50 quid, do you think?
0:56:00 > 0:56:02I hope so, yes. They're good fun.
0:56:02 > 0:56:05They're based on a Meissen original.
0:56:05 > 0:56:08If you were trying to buy a Meissen original monkey band,
0:56:08 > 0:56:11you'd be spending a fortune. So this, by comparison,
0:56:11 > 0:56:13looks very reasonably priced. And they are sweet.
0:56:13 > 0:56:16And thanks for pointing out to me that it was a viola, not a violin.
0:56:16 > 0:56:19I tell you what, though, I had a chat to the auctioneer
0:56:19 > 0:56:22just before the sale started, and he said
0:56:22 > 0:56:25there are a lot of people that are interested in these.
0:56:25 > 0:56:28Excellent. It's the sort of thing that sells really well.
0:56:28 > 0:56:31It's a collectable that everybody knows about and wants. Lovely.
0:56:31 > 0:56:33They are sweet. It's the right place to sell them.
0:56:33 > 0:56:36You've upped the reserve to ?50. Hopefully we'll get more than ?50.
0:56:36 > 0:56:39Fingers crossed. Here we go, this is it. Lovely.
0:56:39 > 0:56:42There they are, fiddling away.
0:56:42 > 0:56:47And the drums. Collectable lot. I've got overlapping bids with me
0:56:47 > 0:56:51to start. I've ?40 to start. I'll take five for the Beswick.
0:56:51 > 0:56:55Yeah, somebody's waving down there, look. 50? 50. Five?
0:56:55 > 0:56:5860. Five?
0:56:58 > 0:57:00No, at ?60. And five, anyone like?
0:57:00 > 0:57:02And five, anyone want?
0:57:02 > 0:57:0465. There's a late bid on the phone.
0:57:04 > 0:57:0670. Five on the phone?
0:57:07 > 0:57:11International telephone bidding for the cats. Ooh!
0:57:11 > 0:57:16?75. This could be from America, or possibly Puddletown. 75?
0:57:16 > 0:57:18LAUGHTER
0:57:18 > 0:57:2080. Five?
0:57:20 > 0:57:22This is good, isn't it? Excellent.
0:57:22 > 0:57:25?85,000(?)
0:57:25 > 0:57:26LAUGHTER
0:57:26 > 0:57:2885. 90.
0:57:28 > 0:57:31Five. 100. And ten?
0:57:31 > 0:57:34Come on, cat collectors. Got ?100.
0:57:34 > 0:57:37And ten. At ?110. We're out against the book on the telephone.
0:57:37 > 0:57:39Could almost be exciting.
0:57:39 > 0:57:41LAUGHTER
0:57:41 > 0:57:43But perhaps not. GAVEL BANGS
0:57:43 > 0:57:47Yes, ?110. Excellent! I'm really pleased with that. Fabulous.
0:57:47 > 0:57:50I hadn't anticipated any telephone bidding. Thank you, David.
0:57:50 > 0:57:54No, thank you. You valued them, really, not me. Well, there we go.
0:57:54 > 0:57:57So are you stripping any more from the cabinet? Not at the moment. Not at the moment?
0:57:59 > 0:58:02So a standing ovation for the musical cats,
0:58:02 > 0:58:04and that's it for today's show.
0:58:04 > 0:58:07If you think you've got anything at home
0:58:07 > 0:58:09that people would fight over in the auction room,
0:58:09 > 0:58:12bring it along to one of our valuation days.