Hereford Flog It!

Nestling on the beautiful River Wye,

Hereford has played an important role in English history,

ever since the seventh century.

Today, it's home to a population of around 56,000 people,

a museum and the largest cider makers in the UK.

But is it a town or is it a city?

Well, there's your answer.

Today, we're at Hereford Cathedral, and this is "Flog It!".

"Flog It!" travels around the country, bringing a team of experts

to a town near you. Here in Hereford,

the people have come in their droves!

But will there be any treasure amongst the trinkets?

People have come here today to Hereford Cathedral

from all over the county, hundreds of them,

laden with bags and boxes, all hoping their items

are going to be worth a pretty penny.

And of course, once they've had their valuation

and they've seen their experts and are happy with what they hear,

-what are you going to do?

-ALL: Flog it!

And we couldn't do without our antique experts,

Adam Partridge...

Right, next victim - er, contributor.

..and taking a more genteel approach, Christina Travanian.

-Is that to get you through the queue?

-It might be, yes.

They enjoy a bit of healthy competition.

Anyone that hasn't got an Adam sticker in here?

Oh! Hi!

SHE LAUGHS

Come on, then! Follow me!

As the doors open,

will the congregation part with their items for auction?

Later on in the programme, we have a couple of shocks in store.

And which two items do you think made over £1,000 at auction?

Is it the Royal Worcester vase?

The Japanese bronze pig?

Or the paintings bought for just £4 at a car-boot sale?

This magnificent cathedral has many ways of marrying

the ancient with the modern.

Take, for example, the stained-glass windows,

with their bright, chromatic hues,

from the 13th century, right through to the 21st century.

But right now, Adam has found something from the 20th century.

You could say it's time for a cup of coffee.

How are you today?

-Fine, thank you.

-Good.

Thanks for coming. What's your name?

-I'm Sarah.

-Sarah and...?

-Larry.

-Larry.

I think this is a wonderful object, isn't it? It's great fun.

-Do you like it?

-Yeah.

-It's lovely, yes, but it's not of any use to us.

-What do you do with it?

-Exactly.

-That's it.

Firstly, how did you come to own this sign?

We found it in the garage of the house that we used to live in,

when we lived in Essex.

-Right. So where does it live at the moment?

-In the outhouse.

In the outhouse?

-Yes.

-Right.

Well, these enamel signs were a great advertising medium that

were used in the early 20th century, '20s and '30s, typically.

And you see them for all sorts of products.

A lot of viewers will remember Camp.

-In fact, I think they still make it, don't they?

-They do.

We met a lady this morning who actually has a cup of it

every morning, still, today.

I've tried it, and I just say, "It's not my cup of tea."

Those of you who are watching that don't know,

it's a coffee-based drink,

coffee and chicory and sugar,

a combination that was extremely popular in the '20s and '30s,

which is why they just needed to put "Drink Camp".

Everybody would have known what it was, yes.

80 or 90 years later, perhaps "Drink Camp" has a different...

A totally different meaning. To some people.

To some people, exactly.

So, these signs do vary in value, depending on condition

and products and rarity, of course.

And this, I suppose, is fairly good condition, as they go.

You've got quite a few blemishes, obviously, from it being

outside a shop for many years.

I think this sort of condition, I would expect between

£100 and £200 for at auction.

Is that a pleasant surprise?

-That's a very nice surprise, that's excellent.

-Shall we take a gamble?

-Yes.

-No reserve?

Do you want to put a reserve?

-Can we put a reserve of 50 on it?

-50? Fine.

-At least that gives us something towards it.

-A safety net.

I'm sure it'll do better than that.

If it doesn't make 50 quid,

I'll do a little Camp dance of my own round the saleroom!

If it makes 250, a great price, would you put it towards something?

It's going towards my wife's 60th birthday party.

-So you're going to spend it in ten years, then!

-Oh, you flatterer!

Oh, yes. Nice one!

-Thanks for coming.

-Thank you very much.

Monica, be still, my beating heart. This is just fantastic.

I never thought I'd see a piece of Stuart Devlin on "Flog It!".

-And I'm thrilled to bits that you brought them in today.

-Good.

So, tell me a little bit about them. Where did you get them from?

Well, I inherited them from a very lovely aunt, who died,

and she had quite a few of these collections,

like limited editions, she would write for.

Because they are relatively modern.

They've got hallmarks for the 1970s,

so obviously relatively modern in our lifetimes, really.

So, she obviously had great taste. I just love them.

Look at this, the fact that you've still got the box,

and certificates with them.

Wonderful certificates here, they're all limited edition.

-That's right.

-We start with this one in here.

This is known as the Surprise Egg, and you can imagine why.

As we take off the lid, look at that.

There's the little chicken.

I would rather have that little Easter egg

than a chocolate Easter egg any day of the week.

-Would you really?

-Oh, yes.

-Definitely.

-Well, it costs a bit more.

You've got a nice hallmark on the top, which is London 1971,

so this is the earlier piece here.

-Yes.

-And tell me, do you like him?

-I like him, but my favourite is the one with the hummingbird.

-Is it?

Shall we come to that one next? Let's take this lid off here.

This, again, just beautiful. Look at that.

Stuart Devlin, the maker,

was really known as the man with the Midas touch.

I didn't know about him until I had these given to me, you see.

-Oh, really?

-So, it was a surprise. Tell me about him.

He's an Australian by birth, and he moved over to the UK

and set up his own company in the 1970s.

And he really does just epitomise everything that the 1970s was.

He was using new technological advances to create these

really beautiful, intricate little pieces, and yet still

harking back to the Faberge era of giving eggs as a gift.

-Sure.

-So why are you selling them?

For my sons.

-I've got two sons, and they can have the money whatever.

-Good plan. OK.

I think at auction we're going to be looking

somewhere in the region of £300 to £500 each.

And I would suggest that we sell them as two separate lots.

I'd like that, please.

I think, maybe to be safe, we should put a reserve of £280 firm.

-How would you feel about that?

-I couldn't put it to 300, could I?

-Do you think that's...?

-Ooh, you drive a hard bargain!

-I just wondered whether...

-I just worry that

if we put the reserve too high, it might put buyers off.

We could put a reserve of 300 if you would really like us to.

I think you've got more experience than I have.

Well, I would suggest 280.

-Here we go! I agree with you!

-Super.

Thank you so much for bringing them in.

You've fulfilled one of my ambitions.

I'm pleased that you enjoyed seeing them.

-Thank you.

-Very nice to have met you.

Barbara is about to make Adam's day with something else local.

Thanks for coming along today.

And you've brought a lovely example of a Worcester vase.

-Can you tell me how you came to own it?

-Well, it was my parents'.

-They acquired it from friends about 40, 45 years ago.

-Right.

And my parents gave it to me about 15 years ago.

So, what's your reason for bringing it along today to "Flog It!"?

Well, it's not the sort of china that I collect. I'm into Lladro.

-So this doesn't fit in with your collection?

-It really doesn't, no.

OK. Now then, it's obviously hand-painted,

brightly enamel-painted, with a peacock, isn't it?

I think so, yes. It certainly looks like it.

And it's signed here by CV White, who's a painter at Worcester,

-end of the 19th and beginning of the 20th century.

-Right.

Now, the lid doesn't sit on quite right. Oh, look!

It didn't come out of the factory like that.

-No, that's courtesy of my father.

-Your father did that to preserve it?

-To preserve the lid.

-To preserve the lid.

-Unfortunately there is a bit of a crack. Is that a crack?

-Yes, it is.

A hairline crack in the lid. But you know what?

A lot of them have lost the lid.

And it looks still quite acceptable without the lid.

And we've got the mark of James Hadley's, who was owner of

the Worcester factory at the end of the 19th century,

before Royal Worcester acquired it back.

And the date code for this, we add up all these dots here,

there's 17 dots in total -

my calculations make it around 1908 when that was made.

Right.

This 179 is the shape number,

and the H, again, stands for a Hadley's shape.

James Hadley introduced a variety of shapes, which are quite distinctive.

So, if we turn it back round again there,

we've got a very handsome Worcester vase with cover.

So, I think that we should put an estimate of £200 to £300.

And I think it'll make 300 to 350 eventually,

-once everyone's had a bid at it.

-Right.

-Does that sound acceptable?

-Sounds reasonable to me, yes.

But I would want a reserve on it.

-Quite right. 20 quid?

-Oh, no, no!

-I'm joking, I'm joking! I would say 200.

-OK.

-Does that sound all right?

-Yes.

OK. Barbara, thank you for coming to "Flog It!".

-Thank you very much.

-Thanks.

Coming with us to Philip Serrell's auction house in Malvern,

we have the subtle sign that says it's time for coffee.

And, heading back to its homeland of Worcester, the peacock vase.

And a little nugget of golden treasure.

And the eggs are coming too!

Well, it's auction time, the moment we've all been waiting for.

This is where it gets exciting.

And today, we're the guests of Philip Serrell's saleroom

in the heart of Malvern.

So let's go inside and catch up with our owners,

because I know the auction has just started.

Look at this. A room packed full of bidders.

The commission here at this auction house is 16.5% for the sellers

and 18% for the buyers.

Remember, you need to add VAT to that figure as well.

And everybody here is hoping their items will raise a buck or two.

And going under the hammer right now,

we've got that metal advertising sign.

-Adam's put a value of £100 to £200.

-Something like that, yeah.

-Think it's worth it, don't you?

-I think you're spot-on.

It's going under the hammer now.

Let's see it find a new home. This is it.

The Camp sign, that of course refers to the coffee.

Bid me £100 to start.

Anyone bid £50?

No-one's got a sense of humour.

At 50, 55. 60, 65.

70, 75. 80, 85. 90.

95. 100, 110, 120, 130.

-It's going.

-140.

At £140 for the coffee sign. At 140.

At £140 only. Is there any more?

150. 150. 160.

-Go on!

-It's the best.

170. 180.

I'll lend you a tenner. 190.

-Have you ever tried it?

-No, I haven't.

-They still sell it.

At £180 only. There's the bid.

At £180. Is there any more at all?

You're out? At £180. Any more?

At £180, and I sell at £180 and...

£180 and the hammer's going down. Yes! It's gone.

-We don't have to take it home!

-Good valuation.

-Thank you.

No. There's the bid...

What have you been up to since the last time we saw you, Monica?

Not a lot, but I did get on the phone to Philip Serrell.

-You have been, a couple of times.

-I know.

I tell you what we're talking about.

We're talking about those eggs by Stuart Devlin.

Two separate lots, £300 to £500 each.

-That's what you put on them, didn't you?

-Yes.

And Philip has agreed, he's put the same estimate on.

-Did he agree with that?

-Yes.

-You've been on the phone.

Come on, tell us, we want to know. What did you say to Philip?

-Just that could he reduce the reserve price...

-OK.

..to his own discretion.

I think you've said sort of 260, haven't you? Which seems about fair.

-Yes.

-Your lot's coming up, now.

-This is the first of the two. Ready for this?

-Yes.

Look at Philip, he's selling them. Bless you.

Bless you, too.

The Stuart Devlin egg.

There you are.

There's a name of the moment.

Bid me for that, someone.

The Stuart Devlin egg.

-Bid me 300, 350.

-Please sell.

I'm bid 200, 210.

210, 210, 210, 210.

At 210, 220, 230.

230. 240. 240.

At £240 only.

-Oh, come on.

-It's struggling.

240. Is there any more at all?

Come on. So close, so close.

At 240. Any more? £240.

-Is it going to do it?

-No.

Doesn't look like it.

Pass the first one along at 240.

Oh, that's a shame.

Next one, fingers crossed.

This is the hummingbird one.

I'm bid 200 again. At 200. 200.

210. 220. 230.

At £230 only. At 230.

-Any more?

-Just a little bit more.

230. At 230. Is there any more? Are you sure?

At 230. At £230. Any more?

Well, regrettably, they go the same way, I'm afraid.

Oh, what a shame!

Monica, sadly, we didn't sell them,

and I feel really, really sorry.

-I feel like we've let you down.

-I'm not worried.

I can enjoy them and keep looking.

Have you enjoyed the "Flog It!" experience?

-Yes, very much.

-Good.

-It's been lovely to meet you.

And you've been so kind. Everybody's been so kind.

-Well, we look after you.

-You do.

And it was a real pleasure looking after you, Monica.

Hoping for a better result is Barbara.

-The perfect place to sell it. Philip Serrell's saleroom!

-I hope so.

-So we did bring it to the right place, didn't we?

-Yes.

-Do you like auctions, Barbara?

-This is my first auction.

-Is it?

-Yes, it is.

-Well, look.

It's a good first auction,

-we've got some cracking lots here.

-That's right.

Things are flying out the door, you're surrounded by quality.

And Mr Philip Serrell is on the rostrum, so it couldn't be better.

And in fact, your lot is going under the hammer

right now, this is it.

Lot number 760 is this really lovely vase.

Start me off...well,

I've got 400, you go 420. 420.

-Straight in at 420.

-Wonderful!

At 450. 480. 500 bid.

520. 520.

I've got 520 in the room.

At 520. 550. 580. 600.

God, this is fantastic!

620. 650.

680.

700.

-Oh, my giddy aunt.

-720.

750. 780.

Gosh, it's going on and on and on,

-isn't it? Isn't that good?

-Fantastic.

850. 880.

Come on, let's hit four figures.

900. 920.

-950.

-Look, it's all going on

the phone and online, look.

1,000.

-And 50.

-Oh, Barbara.

-Let's hope we can get four figures.

-We have!

-1,100.

-£1,100.

-Wow.

-Wow.

You can never predict what's going to happen in an auction.

1,150, is it? 1,150.

This is quite special.

£1,150. 1,200 in America.

At £1,200.

Any more at all? At £1,200.

There's the bid, in America.

-In America.

-That's gone to the States!

At £1,200, and I sell, then...

-How are you feeling?

-Wonderful!

£1,200, the hammer's gone down.

-That's what we like to see.

-Fabulous.

That's the surprise we can always guarantee on "Flog It!".

And Barbara walks away with £1,200. What a result!

There you go. That concludes our first visit

to the auction room today.

We are coming back later in the programme, but so far, so good.

Back at Hereford Cathedral,

our valuation day is still in full swing.

Well, everybody is still waiting patiently to see our experts

but it looks like Adam has spotted a real little gem.

It's a wonderful little bronze. Let's take a closer look.

This is an Asian-looking pig, isn't it?

It's a nice, fat, tactile pig.

You just want to pick him up and...

We think he's very cute, but she doesn't like him.

-She being?

-Grandmother.

-So, does money go to Grandmother, then?

Well, I think maybe it will go to a big meal

-or something for the family.

-A big meal? A big pork meal?

-Hopefully!

-A hog roast, perhaps?

-Yes.

So, do you know anything about it yourself in term of identification or anything?

No, the lady who it came from originally travelled a lot

to the Far East and apparently she acquired it there.

That's right, it's a Japanese bronze,

and we've got a marking on the bottom there.

You've got a seal mark and an incised mark there.

This is from the late Meiji period,

which is basically the beginning of the 20th century, maybe circa 1920.

Does that stack up with the family history?

Yeah, possibly.

I can't stop touching it! It's a lovely-looking Asian pig.

Now, down to the commercial side of things. What did you have in mind?

Do you have any idea as to its value at all?

Well, the grandmother thinks that it could be worth about £150.

Well, I was thinking it would probably make

maybe 200, 250, hopefully.

But I think the 150 is a very sensible reserve price to put on it.

-Do you think she would be happy with that?

-Very happy, yeah.

-We'd all be happy, yes.

-Good, thanks for coming along.

Nice to be the bearer of good news.

And Christina is charmed by her next item.

So, Alex, in this case, all that glitters IS gold.

-It certainly is, I hope it is!

-It is!

You've brought this wonderful selection of gold in to us today.

So, talk me through the pieces we've got here.

Um, this was my father's half-hunter. He left that in his will to me.

The bracelet over there...

-This has got so many charms on it, hasn't it? It's beautiful.

-Yes.

All I wanted really was a gold bracelet,

and then somebody decided that they would buy me a charm.

And then they added and added and added and then it became full,

so they bought me another one which started to fill up.

And this one was my mother's.

OK. All right.

So if we start with the half-hunter...

It's not in great working order,

so I would say in the car world it would be spares and repairs, sadly.

-OK.

-Having said that, it's still gold, and it still has a value,

very much has a value, especially in today's market

-when gold prices are so high.

-Right.

So, starting with this charm bracelet here,

this is actually hallmarked as nine-carat gold for London 1969.

And this one over here is for 1978.

There's a bit of an age gap between the two, but that would make sense.

So, any particular charms on here that you really like?

-I think that one is fantastic, your little froggy on there.

-Yeah.

I like the pound coin one. That's actually rolled up inside there.

Just in case you need it for your taxi home!

I quite like that one,

because I'm hoping to rub it and you'll give me lots of money.

We'll do our best.

And then we've got your mother's bracelet here which is again

a nine-carat-gold example.

You can see the difference in the colour of the gold,

this is more of a rose gold, but I would say it's probably

late Victorian, Edwardian, early 20th century.

And it's set very prettily, just to make it look a bit different,

with tiny turquoise and split seed pearls through each link.

So, Alex, I think we're looking at a group lot

rather than individually lotting them.

One of my colleagues has very kindly weighed everything for me

and grouping it all together would mean an estimate

in the region of about £600 to £800.

Very nice. Superb.

-Happy with that?

-Very.

-Brilliant.

-If we put a reserve at the moment of £600...

-Right.

..but we'll reassess the situation slightly closer to the auction.

-OK. Thank you very much indeed.

-Thank you.

MUSIC: "I Like It Rough" by Lady Gaga

Stephen, thank you for bringing these paintings in.

They're vibrant, they're Impressionistic

and they're very much of the moment, I think.

-How did you come by them?

-I picked them up at auction.

-How long ago was that?

-About eight years.

There were some Art Deco frames I wanted. I didn't want those.

-You didn't like them?

-No, they were in the garage.

Have they been in the garage for the last eight years?

No, one's been on the wall in the house because the wife likes it,

and the other's been on top of the wardrobe.

Out of harm's way, at least! I do like them,

I particularly like this one. The more I look at that,

the more it grows on me.

Now, look, I've got this book on me, it's an art sales index, basically.

There's many versions of these available on the market

and it tells us who the artist is.

And here's the artist's name, look.

Danila Vassilieff.

This one's dated 1934

and that one's dated 1933.

He was a Russian artist.

He moved to Australia after the Russian Revolution,

became an Australian citizen but he toured around the world.

He went to the Caribbean,

he came to England for a little while during the 1930s

and he painted here.

Do you like these?

Yes, I like the top one especially

because it's nice and vibrant and colourful.

-It's a happy picture, isn't it?

-Yeah.

And I've got high hopes for them.

I've looked at recent sales of oils like this - that's the medium used,

it's on canvas board - and they have sold for anything

from £200 to £300 right up to 11,236.

That's a fair price, I must admit!

Question is, how much did you pay for these in auction?

Er, £4 plus costs.

-So £4.60.

-Is that all?!

My advice is let the auctioneer decide, Philip Serrell.

It's his saleroom. He knows his market.

Yes, I'm quite happy with that.

Well, you only paid £4 for them, didn't you?!

-LAUGHTER

-This could be very exciting.

You never know what's going to happen in an auction room

and we'll see what they do.

Let's remind ourselves what we're taking off to the saleroom.

Silence might be golden

but let's hope it doesn't go quiet in the auction room for Alex.

This pig from the Japanese Meiji period is a classic bronze

and should sell well.

Who knows what the Vassilieff paintings will fetch also.

There's only one way to find out. Let's put it to the test!

Now, a touch of the Orient comes to the Malverns in the form

of a bronze pig.

It's going under the hammer now. Here we go.

The bronze model of the little piggy

and I'm bid £140. On the book, bid with me.

At 140. 140. 140.

At 140. 150.

160.

170.

180. 190.

The book's out. At £190 only.

-At 190.

-Selling then, isn't it?

200.

£200.

210.

210. 220, sir?

At £210, there's the bid.

At £210, is there any more at all?

At £210. A nice sale, then, at £210.

And done. Thank you.

-There you go. Sold in the room, £210.

-Very good.

Blink and you'll miss it.

It was over so quickly.

It's been a long wait for that moment, hasn't it? But it's gone.

And now it's Alex's turn. Has the gold held its value?

The price of gold is constantly changing, as we know in this market.

We're looking at the valuation there at £600 to £800.

-Has that changed much?

-I think yes.

I think it will be that if not slightly higher

because gold has gone up since the valuation day.

-Should be the top end of the estimate.

-Should be, let's hope so.

I'm not going to be too bullish about it, just in case.

But I'm really hoping for you.

Anyway, let's see what the bidders here think, shall we?

Good luck, this is it. Going under the hammer now.

Nine-carat gold, half-hunter pocket watch

and all the other bits and bobs as you see it.

And I'm bid £500 only.

520. 550.

580. 600 bid.

620. 650. 680.

700. 720.

750.

780. 800.

You've got some really strong buyers in the room, it's brilliant.

£800 only. 820.

850. 880.

900. 920.

At £920.

950.

980.

-1,000.

-Wow!

1,050.

At £1,050, there's the bid.

At £1,050. Any more?

At £1,050, a nice sell then.

-Fabulous.

-At 1,050. Thank you.

-Well done.

-Pleased with that?

-Yes.

-It's brilliant.

-Well done.

-I was a little bit out, wasn't I?

-Just a touch.

-Never mind.

MUSIC: "Chelsea Dagger" by The Fratellis

And now the one I'm excited about, the Vassilieff paintings.

The larger one has been valued at £200 to £300 and the smaller

an estimate of £100 to £150.

I had a chat to Philip on the auction preview day

and he said there's good interest from overseas.

Definitely interest from Australia.

What's been going through your mind? Deep down, what have you thought?

As far as I'm concerned, to make a grand between them, that'd be nice.

I think you're about right.

I think £1,000 for the two, we'll be laughing.

A little birdie told me your wife is quite happy to get rid of these.

Er, she'd like me to clear out a little bit, yes.

I've got a rather excessive amount of pictures. Probably 300.

-If they didn't sell... 300?! You're a bit of a magpie.

-Yes.

My rainy day money, my retirement fund.

Here we go, this is it. Good luck, Stephen.

This painting that I'm offering you is the larger one of the two,

it is the landscape with the figures.

With me at 320.

That's a big profit.

And it hasn't stopped yet.

Shall I keep going? 410. 420.

430. 440.

450. 460. 470. 480.

-Internet bidding. Can you see that?

-Yeah.

520. 550. 580. 600.

Bid's with me, 620. 650.

680. 700.

720, I'm out. At £720.

£720 for the first, for the larger one. £720.

And Stephen's wife, Anne, can't believe it.

At 800. 820.

850.

850.

850.

880. At £880, here's the bid.

At £880, bid's with me on the machine.

Australian art is big business.

Twice. 900.

Gosh, late legs.

You are a little rascal, aren't you?

At £900 only. 950.

980. 1,000.

And 50, is it? And 1,100.

James, don't stop now. £1,050.

1,100, is it?

At £1,050.

This is very, very good.

At £1,050 on the machine. Is there any more? Just that one more.

Everybody's starting to fidget, they can feel the tension.

At £1,050, sold once.

£1,050, that hammer is going down.

1,050 and done. Thank you.

£1,050, that is a very good start for the larger one.

Right, here's the second. Here we go.

I've got 500 bid on the book.

At £500 only.

At £500 for the next one.

At £500. 520. 550.

580. Is it?

At £550. 580. 600.

Bid is with me at £600.

At £600 only. 20 on the net, is it?

650 in the room.

At 650. 680.

700.

720. 780.

One more.

You're very mean.

At 780.

At £780.

Is there 800 anywhere?

At £780, there is the bid.

Once.

Twice.

800, is it?

And done then at 780.

Yes, the hammer's gone down!

£780 for the smaller one. That is, for you, a grand total of £1,830.

What a wonderful moment.

What a fabulous way to end today's show.

Sadly, we've run out of time but I guaranteed you a big surprise

and we certainly delivered.

Join us again soon for many more surprises but until then,

from Malvern, from all of us here, it's goodbye.

Subtitles by Red Bee Media Ltd