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This architectural jewel has been standing here since 1668. | 0:00:06 | 0:00:10 | |
It's the Sheldonian Theatre and it was designed by one of Britain's | 0:00:10 | 0:00:14 | |
most famous architects - Sir Christopher Wren. | 0:00:14 | 0:00:16 | |
There can be no mistaking the fact that today, "Flog It!" is in Oxford. | 0:00:16 | 0:00:20 | |
Designing this theatre changed Christopher Wren's life. | 0:00:44 | 0:00:47 | |
It shifted his interest from mathematics to architecture. | 0:00:47 | 0:00:51 | |
So without the Sheldonian, we might not have ever seen | 0:00:56 | 0:01:00 | |
one of the world's most famous buildings - St Paul's Cathedral. | 0:01:00 | 0:01:04 | |
Without a queue like this, we wouldn't have a show to make | 0:01:07 | 0:01:10 | |
because it's all about the people. | 0:01:10 | 0:01:12 | |
You're so important and it's great to see | 0:01:12 | 0:01:14 | |
how everybody's turned out today. | 0:01:14 | 0:01:16 | |
They all want to know the answer to a very important question which is... | 0:01:16 | 0:01:20 | |
ALL: What's it worth? | 0:01:20 | 0:01:22 | |
As ever, we have an eager team of experts to provide the answer. | 0:01:23 | 0:01:26 | |
Leading the team here in Oxford are... | 0:01:26 | 0:01:28 | |
Charlie Ross, whose extensive knowledge and enthusiasm is invaluable to the show. | 0:01:28 | 0:01:34 | |
If we make some money for you, what are you going to spend it on, other than me? | 0:01:34 | 0:01:39 | |
Charlie knows that's not how it works. | 0:01:39 | 0:01:42 | |
Tracy Martin, a 20th-century specialist who's catching up fast. | 0:01:42 | 0:01:47 | |
How do I delve into your bag? | 0:01:47 | 0:01:50 | |
And she has youth on her side. | 0:01:50 | 0:01:52 | |
They're football teams of the early fifties. | 0:01:52 | 0:01:54 | |
I wouldn't remember those either, would I, really? | 0:01:54 | 0:01:57 | |
Coming up, Charlie hopes for some divine intervention. | 0:01:57 | 0:02:00 | |
I'm going to pick one up and pray. | 0:02:00 | 0:02:03 | |
Tracy is shocked to hear how people treat their treasured belongings. | 0:02:03 | 0:02:08 | |
-My husband used to play with it. -How did he use to play with it? | 0:02:08 | 0:02:11 | |
He used to dive.... | 0:02:11 | 0:02:13 | |
Dive-bomb it? | 0:02:13 | 0:02:14 | |
As the theatre fills up, I get the chance to meet people | 0:02:18 | 0:02:21 | |
and get a sneak preview of some of their treasures. | 0:02:21 | 0:02:25 | |
Isn't that lovely? A mail coach. | 0:02:25 | 0:02:29 | |
-Is it a bookmark? -Yes it's a bookmark, a page marker. | 0:02:29 | 0:02:32 | |
-Is that what it is? -Yes. | 0:02:32 | 0:02:34 | |
What's it worth? A fiver? | 0:02:34 | 0:02:36 | |
No, it's got to be worth a little bit more than that surely. I'd say that was worth around 30 to £50. | 0:02:36 | 0:02:40 | |
-Really? -Yes. Look at the quality of that and look at the colours. | 0:02:40 | 0:02:44 | |
That's really nice. | 0:02:46 | 0:02:47 | |
It's been kept out of the sunlight. | 0:02:47 | 0:02:51 | |
Charlie is up first with Janet and he's enjoying a little bit of guesswork. | 0:02:52 | 0:02:57 | |
Sometimes you can judge the contents by the box and I'm beginning | 0:02:57 | 0:03:00 | |
to think this isn't a leather box, it's leatherette. | 0:03:00 | 0:03:05 | |
I'm expecting silver plate or something. Hope I'm wrong. | 0:03:05 | 0:03:08 | |
-I'm wrong. What wonderful colours. -They're beautiful colours. | 0:03:10 | 0:03:14 | |
Fabulous colours. I think even from here they're silver. | 0:03:14 | 0:03:18 | |
Bean-top coffee spoons. Where did these come from? | 0:03:18 | 0:03:22 | |
From an aunt and uncle of mine. I inherited it when they died. | 0:03:22 | 0:03:26 | |
My uncle always used to buy beautiful things for his wife | 0:03:26 | 0:03:29 | |
-and I always thought they came from abroad but I'm not sure. -We'll have a look at one. | 0:03:29 | 0:03:33 | |
They're English. I'm certain. The case looks English and I'm expecting to see an English hallmark. | 0:03:33 | 0:03:40 | |
You can tell they're coffee spoons. | 0:03:41 | 0:03:43 | |
-Why? -The shape? | 0:03:43 | 0:03:46 | |
Partly the shape. | 0:03:46 | 0:03:47 | |
They have got a bean top. | 0:03:47 | 0:03:49 | |
A coffee bean. Even if you look at the top of that one there, you can see the line | 0:03:49 | 0:03:55 | |
making it a coffee bean. Isn't that interesting? | 0:03:55 | 0:03:59 | |
They're silver and enamelled I'm expecting them to be 1920s, 1930s period. | 0:03:59 | 0:04:06 | |
They're in fabulous condition. | 0:04:06 | 0:04:08 | |
The only thing I think is slightly disappointing is the bean top themselves. | 0:04:08 | 0:04:12 | |
I'd like to see a bit of ivory | 0:04:12 | 0:04:17 | |
or possibly a bit of mother of pearl whereas if you look at the crazing on those, | 0:04:17 | 0:04:24 | |
they're merely composition which I think let down the rest of them. | 0:04:24 | 0:04:28 | |
The bowls are fabulous. These shell motif bowls. | 0:04:28 | 0:04:33 | |
I'm going to pick one up and pray. | 0:04:33 | 0:04:35 | |
-If they're EPNS they're worth about three quid. -Oh, dear! | 0:04:35 | 0:04:40 | |
They won't be because they're enamelled. | 0:04:40 | 0:04:42 | |
They're silver | 0:04:42 | 0:04:44 | |
and they're Birmingham. | 0:04:44 | 0:04:47 | |
Made in Birmingham | 0:04:47 | 0:04:49 | |
and they're on a "P". | 0:04:49 | 0:04:51 | |
A "P" appears on the Birmingham in 1914 or 1939. | 0:04:51 | 0:04:57 | |
The start of two wars which is easy enough to remember. | 0:04:57 | 0:05:01 | |
Looking at the case, I think they're probably the earlier of the two. | 0:05:01 | 0:05:08 | |
That sounds a bit vague but because they aren't Victorian or earlier, | 0:05:09 | 0:05:13 | |
it's not going to make much difference in terms of value. | 0:05:13 | 0:05:16 | |
-Sadly, I'm going to disappoint you now I think by saying that they're worth less than £50. -Really? | 0:05:16 | 0:05:24 | |
-Surprisingly, they aren't that rare. -Right. | 0:05:24 | 0:05:27 | |
Are you happy to sell them if I say that? | 0:05:27 | 0:05:29 | |
-Yes, that's fine thank you. -You don't want to see them again. We'll put a reserve on them, an estimate | 0:05:29 | 0:05:36 | |
of 30 to £50 with the fixed reserve at 30. | 0:05:36 | 0:05:39 | |
If two people really like them, there's an upside. | 0:05:39 | 0:05:43 | |
There's not an upside into hundreds of pounds sadly, all right? | 0:05:43 | 0:05:47 | |
-Yes, thank you very much. -Thank you for bringing them along. | 0:05:47 | 0:05:50 | |
I agree with Charlie. They have the look of something pre First World War. | 0:05:50 | 0:05:54 | |
Next up, a little glamour from the 1920s. | 0:05:54 | 0:05:58 | |
We've certainly seen some wonderful quality today and I've just been joined by Hilary who has Lalique. | 0:06:00 | 0:06:05 | |
That's one of the top names in glass isn't it? | 0:06:05 | 0:06:07 | |
-I think so. -How did you come by this? | 0:06:07 | 0:06:10 | |
It was given to me by my parents. | 0:06:10 | 0:06:12 | |
It was handed down and I think it belonged to my uncle. | 0:06:12 | 0:06:16 | |
Wonderful opalescence. | 0:06:16 | 0:06:17 | |
-You can see that, it's quite thick. -It's beautiful. | 0:06:17 | 0:06:20 | |
It's signed there which means this was made before he died. | 0:06:20 | 0:06:25 | |
Vessels that were made afterwards were just signed Lalique. | 0:06:25 | 0:06:28 | |
This pattern was around in the early 1920s | 0:06:28 | 0:06:32 | |
up to 1930s. | 0:06:32 | 0:06:35 | |
-You can date it to around that period. -Oh, right. | 0:06:35 | 0:06:37 | |
-Where has it been in the house? -It's been wrapped up. | 0:06:37 | 0:06:42 | |
Then I brought it out a year ago and I had it on a shelf. | 0:06:42 | 0:06:48 | |
-Admiring it. It's lovely. -Which is lovely. | 0:06:48 | 0:06:51 | |
I've done some price comparables and some guides | 0:06:51 | 0:06:54 | |
-and these bowls sell for around £200 to £300. -Oh, right, yes. | 0:06:54 | 0:06:59 | |
-We have a book price for this. -I see, yes. -£200 to £300. | 0:06:59 | 0:07:03 | |
Only problem being...that. | 0:07:03 | 0:07:06 | |
-A little bit of damage. -It's got a chip. | 0:07:06 | 0:07:09 | |
That can be sorted out but it might cost £80 to do it so that will affect the price. | 0:07:09 | 0:07:14 | |
I'm scared to put two to three on this. I'd like to go one to two with a reserve of one | 0:07:14 | 0:07:19 | |
to get things started because I still feel it might do £150. | 0:07:19 | 0:07:22 | |
-Are you happy with that? -Not really, no. | 0:07:22 | 0:07:25 | |
I would've hoped it would go for more than that and have a reserve of 140. | 0:07:25 | 0:07:32 | |
£140, let's call the valuation 140 to 200, fixed reserve at 140. I'm rather hoping for the top end. | 0:07:32 | 0:07:40 | |
If there's two people in the saleroom that are going to buy their own restoration work, | 0:07:40 | 0:07:44 | |
are capable of doing this or they know a friend that can do it, | 0:07:44 | 0:07:47 | |
-they won't be put off or frightened by it. -Oh, good. | 0:07:47 | 0:07:50 | |
Because it IS a £200 to £300 bowl. | 0:07:50 | 0:07:52 | |
-Yes. -It's just that chip. | 0:07:52 | 0:07:54 | |
-People are so fussy nowadays. -I'm sure they are. -You know who you are! | 0:07:54 | 0:07:58 | |
Fingers crossed for Hilary we get it away. | 0:07:58 | 0:08:01 | |
Over to Tracy, whose attention has been caught by a rather unusual little chap. | 0:08:03 | 0:08:09 | |
What a fantastic piece of Brannam pottery. | 0:08:09 | 0:08:12 | |
-He's quite ugly, isn't he? -Very ugly. | 0:08:12 | 0:08:16 | |
He's actually called an ugly. | 0:08:16 | 0:08:18 | |
-Really? -That's his name as well. | 0:08:18 | 0:08:20 | |
-There's something cute ugly about him. -I know, yes. | 0:08:20 | 0:08:25 | |
How did you come to have this little character in your life? | 0:08:25 | 0:08:29 | |
My mother-in-law gave it to me. | 0:08:29 | 0:08:31 | |
How long ago did she give that to you? | 0:08:31 | 0:08:33 | |
About 40 years. | 0:08:33 | 0:08:35 | |
-A long time. -A long time ago. | 0:08:35 | 0:08:37 | |
Is it something you've taken a shine to and wanted? | 0:08:37 | 0:08:41 | |
I think it was because my husband used to play with it. | 0:08:41 | 0:08:45 | |
How did he use to play with it? | 0:08:45 | 0:08:47 | |
-He used to dive... -Dive-bomb it?! | 0:08:47 | 0:08:51 | |
Then you came to its rescue. You've looked after it. | 0:08:51 | 0:08:55 | |
I think that's why she gave it to me. | 0:08:55 | 0:08:58 | |
She knew you'd take good care of it. | 0:08:58 | 0:09:00 | |
Do you know what it's actual function is? | 0:09:00 | 0:09:02 | |
That's why I brought it because it's got such a big mouth. | 0:09:02 | 0:09:06 | |
There's a reason for its big mouth because it's a spoon warmer. | 0:09:06 | 0:09:11 | |
-You'd pop your spoons in there, warm them up, put water in the bottom. -Really? | 0:09:11 | 0:09:17 | |
Do you know anything about the Brannam Pottery? | 0:09:17 | 0:09:20 | |
No, not at all. | 0:09:20 | 0:09:22 | |
I saw two pieces on an antique show | 0:09:22 | 0:09:28 | |
and I thought I've something with that name | 0:09:28 | 0:09:31 | |
and the date, 1911. | 0:09:31 | 0:09:35 | |
If we turn it over, Brannam Pottery was established in 1881. | 0:09:35 | 0:09:40 | |
When we turn it over, this Barum | 0:09:40 | 0:09:44 | |
is actually the Roman name for Barnstable. | 0:09:44 | 0:09:49 | |
We have the date, 1911 here and we have W Borrowman. | 0:09:49 | 0:09:56 | |
That's the name of the designer. | 0:09:56 | 0:09:59 | |
This particular gentleman studied | 0:09:59 | 0:10:01 | |
with Royal Doulton before going on to work for this particular pottery. | 0:10:01 | 0:10:08 | |
They were really well known for making these uglies or grotesques as they're also known. I love him. | 0:10:08 | 0:10:14 | |
We've got some problems, haven't we? We've some damage to the glaze. | 0:10:14 | 0:10:17 | |
Whether that's because your husband dive-bombed him, I'm not too sure. | 0:10:17 | 0:10:23 | |
We've some little chips to the ears here, as well. | 0:10:23 | 0:10:27 | |
How would you feel if we stick him into auction with a reserve of £60? | 0:10:29 | 0:10:34 | |
-Yes. -Yes, you'd be all right with that? | 0:10:35 | 0:10:38 | |
I'm thinking 60 to 100 but I know he's really upset now. | 0:10:38 | 0:10:45 | |
He's telling me he wants to go to someone that's going to love him. | 0:10:45 | 0:10:47 | |
How could Audrey say she doesn't love him? | 0:10:50 | 0:10:53 | |
He's lovely. | 0:10:53 | 0:10:56 | |
I think he'll be loved by the bidders. Over to Watcombe Manor Saleroom, in Watlington | 0:10:56 | 0:11:00 | |
just outside Oxford where Jones and Jacob Finer Auctioneers will be selling all of our lots. | 0:11:00 | 0:11:05 | |
They'll be two auctioneers on the rostrum today. Francis Ogley and owner Simon Jones. | 0:11:05 | 0:11:10 | |
There's just enough time to see what Simon makes of our ugly little friend from Devon. | 0:11:10 | 0:11:15 | |
This is a lovely little story. Audrey wants to see the back of this because she doesn't like it at all. | 0:11:15 | 0:11:20 | |
I love it, a bit of West Country Pottery a bit of Brannam ware. | 0:11:20 | 0:11:25 | |
We've put 60 to £100 on this. Possibly a spoon warmer? | 0:11:25 | 0:11:29 | |
Or possibly a small salt. | 0:11:29 | 0:11:31 | |
Cracking little gargoyle, great fun, good colour, lots of interest | 0:11:31 | 0:11:37 | |
because it's a slightly unusual shape from that factory. | 0:11:37 | 0:11:40 | |
-This is a good collectible, isn't it? -It is, yes. A popular potter. | 0:11:40 | 0:11:47 | |
Can you see this fly away at the top end? | 0:11:47 | 0:11:49 | |
I think it'll go mid estimate because there's a little bit of damage to some of the decoration. | 0:11:49 | 0:11:55 | |
-Nice thing, though. -It is, very attractive. | 0:11:55 | 0:11:58 | |
I thought he'd like it. | 0:11:58 | 0:12:01 | |
Before the auction kicks off, let's take another look at the rest of our lots. | 0:12:01 | 0:12:06 | |
In stylish mood, Charlie picked out the elegant box silver coffee spoons belonging to Janet. | 0:12:08 | 0:12:14 | |
I couldn't ignore the early Lalique bowl. | 0:12:14 | 0:12:17 | |
Even with the chip, it should generate plenty of interest. | 0:12:17 | 0:12:22 | |
Tracy had a bit of fun by choosing the grotesque Brannam pottery spoon warmer guaranteed to warm hearts. | 0:12:22 | 0:12:29 | |
First to go under the hammer, Janet's coffee spoons. | 0:12:41 | 0:12:43 | |
-These aren't a lot of money are they really? They're nothing. 30 to £50. -Not really. | 0:12:45 | 0:12:50 | |
Charlie, what's going on here? That's the value, isn't it? | 0:12:50 | 0:12:53 | |
Who wants them? Worried about damaging them. | 0:12:53 | 0:12:55 | |
You'd forever worry about chipping the enamel, wouldn't you? | 0:12:55 | 0:12:59 | |
-That's right. -You never used them? No, always kept in the box. | 0:12:59 | 0:13:03 | |
Let's hope they go to a good home and we get the top end. | 0:13:03 | 0:13:06 | |
The Harlequin set of coffee spoons, enamel backs. | 0:13:06 | 0:13:10 | |
Ivory coloured bean finials. £30. | 0:13:10 | 0:13:16 | |
20 start me. | 0:13:16 | 0:13:18 | |
20. 22 anywhere? 22, 25, 28, 30. | 0:13:18 | 0:13:24 | |
-At £30. in the room, at 30. -A bit more, please. | 0:13:24 | 0:13:27 | |
All done at £30, selling at 30. | 0:13:27 | 0:13:31 | |
-They've gone. -Oh, well. | 0:13:31 | 0:13:33 | |
It's so interesting because that's quality but nobody wants them. | 0:13:33 | 0:13:37 | |
You'd like to think they would be were worth £30 of spoon, wouldn't you? | 0:13:37 | 0:13:40 | |
-I'm afraid the estimate was right. -Quite correct. There we go. | 0:13:40 | 0:13:46 | |
-Thank you for bringing them in. -Thank you. | 0:13:46 | 0:13:48 | |
I hope they've gone to someone who really enjoys them. | 0:13:49 | 0:13:53 | |
Next, that beautiful bowl by Rene Lalique. | 0:13:53 | 0:13:58 | |
-It's a nice piece, apart from the little chip. -I know. -That's holding it back. | 0:13:58 | 0:14:02 | |
Right now it's down to this lot in here. | 0:14:02 | 0:14:04 | |
It's packed in this room, surely someone wants some Rene Lalique. | 0:14:04 | 0:14:10 | |
-I hope so. -We're going to find out right now. | 0:14:10 | 0:14:13 | |
Lot seven is the shallow opalescent bowl. Here we go. | 0:14:15 | 0:14:20 | |
What can we say for that? Couple of hundred pounds for it? | 0:14:20 | 0:14:23 | |
Here we go. | 0:14:23 | 0:14:26 | |
140 I am bid, 150, 160, all done at 150. | 0:14:26 | 0:14:30 | |
Back now at 160. | 0:14:30 | 0:14:33 | |
160. Bidding? 170, | 0:14:35 | 0:14:39 | |
180, 190, 200. | 0:14:39 | 0:14:42 | |
We're climbing, they like it. | 0:14:42 | 0:14:43 | |
220, 210, 220. | 0:14:43 | 0:14:48 | |
220, all done at 220. All finished and done at 220. | 0:14:48 | 0:14:53 | |
-By the door at 220. -£220. | 0:14:53 | 0:14:58 | |
-That's OK. It was damaged. -That's good. That's OK. | 0:14:58 | 0:15:01 | |
Don't forget it was only a 7 1/2 inch bowl. | 0:15:01 | 0:15:04 | |
-That's good. -Happy? | 0:15:04 | 0:15:05 | |
-Yes, I'm happy. -That was a bit of fun and thank you so much for coming. | 0:15:05 | 0:15:08 | |
If you have anything like that and you want to sell it, bring it along to one of our valuation days | 0:15:08 | 0:15:13 | |
and you can pick up details from the BBC website or from your local press. | 0:15:13 | 0:15:17 | |
I seem to be spending the day surrounded by glamour. | 0:15:17 | 0:15:21 | |
I've just been joined by Audrey who's looking absolutely fabulous and so are you. | 0:15:21 | 0:15:27 | |
My Dynasty look. | 0:15:27 | 0:15:29 | |
-You both look great. -Oh, thank you. | 0:15:29 | 0:15:32 | |
Tracy, you look smashing. | 0:15:32 | 0:15:34 | |
Red and black, doesn't that work? | 0:15:34 | 0:15:36 | |
I'm looking a bit dull, aren't I, really? I should wear bright clothes. | 0:15:36 | 0:15:39 | |
-Listen, we love that Brannam pottery. -Do you really? | 0:15:39 | 0:15:43 | |
From the West Country and what a cheeky little devil! | 0:15:43 | 0:15:47 | |
Had a chat to the auctioneer and he said even though there's a tiny bit of damage on the top, | 0:15:47 | 0:15:52 | |
it should do the top end plus a bit more because it's such fun and you just want to hold this thing. | 0:15:52 | 0:15:57 | |
-He's beautiful, I love him. -He is...rather nice. | 0:15:57 | 0:15:59 | |
-I think he'll do really well. -Going to wave goodbye to it? | 0:15:59 | 0:16:02 | |
I don't mind if it doesn't sell. | 0:16:02 | 0:16:04 | |
You're changing your mind now, aren't you? | 0:16:04 | 0:16:06 | |
Have you fallen in love with him again? | 0:16:06 | 0:16:08 | |
It's too late to do that because it's going under the hammer right now and it's going to sell. | 0:16:08 | 0:16:13 | |
The salt pot, great fun, | 0:16:13 | 0:16:18 | |
what can we say for him? 60 or £70 for him? | 0:16:18 | 0:16:20 | |
70 I'm bid. 75 anywhere? £70. 75, at £75 all done. | 0:16:22 | 0:16:29 | |
80, 85, 90, at £85. | 0:16:29 | 0:16:33 | |
It is yours at 85. All done at 85. | 0:16:33 | 0:16:37 | |
That was so quick. | 0:16:37 | 0:16:40 | |
That was brilliant, I'm really pleased. He's going to a good home and someone is going to love him. | 0:16:40 | 0:16:48 | |
Good sale. He did appeal to the bidders, I knew he would. | 0:16:48 | 0:16:52 | |
Later we seek an extraordinary bit of auction room drama. | 0:16:52 | 0:16:55 | |
570, 580. | 0:16:55 | 0:16:57 | |
-My heart is pounding. -Bless you. | 0:16:57 | 0:16:59 | |
Wow! | 0:16:59 | 0:17:02 | |
Well done, Shirley. | 0:17:02 | 0:17:03 | |
First I'm off somewhere very special. | 0:17:08 | 0:17:11 | |
The Ashmolean was the first public museum in Britain and it's still one of the greatest. | 0:17:15 | 0:17:19 | |
We're here filming on a Monday so it's closed to the public but we've | 0:17:19 | 0:17:22 | |
got special permission to film in one of my favourite haunts. | 0:17:22 | 0:17:26 | |
They've recently spent millions refurbishing this museum | 0:17:26 | 0:17:28 | |
but the area we're filming in today hasn't changed since the 1950s - the print room. | 0:17:28 | 0:17:34 | |
It's called the print room but it houses one of Britain's greatest | 0:17:41 | 0:17:45 | |
collections of European prints and drawings dating from the 15th century up to the present day. | 0:17:45 | 0:17:51 | |
The collection had a great start in life. | 0:17:51 | 0:17:53 | |
In the early days, in the 1840s, it acquired, through public subscription, | 0:17:53 | 0:17:58 | |
50 Raphael and 50 Michelangelo drawings. Absolute originals. | 0:17:58 | 0:18:03 | |
From the celebrated collection of the artist Sir Thomas Lawrence. | 0:18:03 | 0:18:06 | |
I've got to say, they are heavenly. | 0:18:06 | 0:18:09 | |
I'm this close to the greatest works of art I've ever seen in my life, | 0:18:09 | 0:18:14 | |
in fact, in history. | 0:18:14 | 0:18:15 | |
These are chalk studies, showing composition, light and shade, muscle tones, it's incredible. | 0:18:15 | 0:18:23 | |
You can learn so much from coming here. | 0:18:23 | 0:18:26 | |
If you want to see Raphaels and Michelangelos, you do have to book a special appointment, | 0:19:05 | 0:19:10 | |
otherwise there's 25,000 other drawings and prints here | 0:19:10 | 0:19:14 | |
from artists such as Rembrandt, right through to Stanley Spencer. | 0:19:14 | 0:19:18 | |
And I've taken the opportunity today to come and talk to John Whitely, | 0:19:18 | 0:19:21 | |
who's the senior curator here about his love and passion for drawing and why it's so important. | 0:19:21 | 0:19:27 | |
John, you've always loved drawings, you're very passionate about them. | 0:19:32 | 0:19:35 | |
What is it that makes you gravitate towards these? | 0:19:35 | 0:19:38 | |
Drawings are very unlike paintings, they tell us something about | 0:19:38 | 0:19:41 | |
the intimate thoughts of the artist as they are preparing a work of art. | 0:19:41 | 0:19:45 | |
The paintings of the artist executed on the basis of these drawings | 0:19:45 | 0:19:49 | |
tend to be very finished statements. | 0:19:49 | 0:19:51 | |
They are for the public, they are for posterity and they don't give away as much as a drawing does. | 0:19:51 | 0:19:56 | |
They're not so polished, are they? | 0:19:56 | 0:19:58 | |
They're not so polished, also they are full of the kind of | 0:19:58 | 0:20:01 | |
thoughts that an artist has as he's moving towards the finished image. | 0:20:01 | 0:20:04 | |
This helps us to explore the innermost thoughts of the artist as he's preparing his composition. | 0:20:04 | 0:20:09 | |
You've selected three here from this vast collection. | 0:20:09 | 0:20:14 | |
Show me what you're looking into, what you can learn from each artist and what he's trying to do. | 0:20:14 | 0:20:19 | |
The drawing of the jockey by Degas shows the back | 0:20:19 | 0:20:23 | |
drawn in a certain position and then the buttocks are pulled forward. | 0:20:23 | 0:20:27 | |
He changes his mind about where the leg goes and draws it over the leg. | 0:20:27 | 0:20:31 | |
It gives us an idea of how the artist is using his black chalk | 0:20:31 | 0:20:34 | |
with a kind of rage as he draws the leg in one place and then the jockey moves and he draws it in another. | 0:20:34 | 0:20:40 | |
-At speed? -At great speed. | 0:20:40 | 0:20:42 | |
Although it must be said that although this drawing appears to be a drawing done on the racecourse, | 0:20:42 | 0:20:46 | |
it certainly isn't, it must have been a professional model, | 0:20:46 | 0:20:50 | |
or possibly a jockey whom the artist brought back to the studio and he poses for the artist in order to | 0:20:50 | 0:20:56 | |
-give this impression of spontaneity, which then the artist will translate into the painting. -Incredible. | 0:20:56 | 0:21:01 | |
Let's look at the Turner. | 0:21:01 | 0:21:03 | |
Tell me what you see and what you can learn about Turner there. | 0:21:03 | 0:21:07 | |
The Turner is a very different work of art from the Degas, because it's a finished statement. | 0:21:07 | 0:21:12 | |
It's a watercolour by an artist who has done this as a work of art in its own right | 0:21:12 | 0:21:16 | |
and he would have expected a collector, or a friend, to acquire this watercolour from him. | 0:21:16 | 0:21:21 | |
Or he did it for his own pleasure, that's quite possible. | 0:21:21 | 0:21:24 | |
An image that he wanted to take back from Venice that would record for him | 0:21:24 | 0:21:29 | |
the impression of light and colour on the Venetian lagoon. | 0:21:29 | 0:21:32 | |
It doesn't look finished, because it's so impressionistic | 0:21:32 | 0:21:35 | |
and the colour is laid on in thin washes that gives a sense of air and atmosphere of weather and time of day | 0:21:35 | 0:21:41 | |
to this view of buildings and that's the real subject of this picture. | 0:21:41 | 0:21:45 | |
He didn't go to Venice to paint Venice. | 0:21:45 | 0:21:47 | |
-He went to capture an effect of Venetian light. -It's beautiful isn't it? | 0:21:47 | 0:21:51 | |
It's absolutely beautiful. Let's look at Leonardo. | 0:21:51 | 0:21:55 | |
Well, Leonardo lies at the very beginning of the Italian Renaissance, | 0:21:55 | 0:21:59 | |
the early Renaissance in the 15th century, central Italy, | 0:21:59 | 0:22:02 | |
when drawing came into its own as an important method | 0:22:02 | 0:22:06 | |
of preparing a work of art. | 0:22:06 | 0:22:08 | |
He's using it as a way of thinking aloud | 0:22:08 | 0:22:11 | |
and when I said a drawing is fascinating because it allows us to | 0:22:11 | 0:22:15 | |
enter into the silent thoughts of the artist, | 0:22:15 | 0:22:18 | |
this is a particularly good case in point. | 0:22:18 | 0:22:20 | |
In this case, he is not working from nature, but he's drawing up something that he's inventing, | 0:22:20 | 0:22:25 | |
but it's owing to the years of close study | 0:22:25 | 0:22:29 | |
of the natural world that enables him | 0:22:29 | 0:22:31 | |
to draw like this from his imagination. | 0:22:31 | 0:22:35 | |
Thank you for you time. Can I borrow you for a second more to select a few drawings | 0:22:35 | 0:22:39 | |
from some of my favourite artists so I can do what most people do when they come to visit? | 0:22:39 | 0:22:44 | |
Yes, by all means. We'll take out boxes of Samuel Palme and Burne-Jones. | 0:22:44 | 0:22:48 | |
You can sit as a member of the public, don white gloves and look at them to your heart's content. | 0:22:48 | 0:22:53 | |
This is what I have been waiting for. He's got to be my favourite artist, Edward Burne-Jones, | 0:23:17 | 0:23:22 | |
one of the Pre-Raphaelites. | 0:23:22 | 0:23:24 | |
This is just superb. | 0:23:24 | 0:23:26 | |
Wonderful purple ground | 0:23:26 | 0:23:28 | |
with almost like a gold leaf image of this beautiful woman. | 0:23:28 | 0:23:33 | |
But his work is just full of passion and mythology and romance. | 0:23:33 | 0:23:38 | |
He came to Oxford in the 1850s to study religion and had some | 0:23:38 | 0:23:42 | |
art lessons by Rosetti and became one of the four founding members of the Pre-Raphaelite Brotherhood. | 0:23:42 | 0:23:47 | |
It's a small study of a beautiful angelic lady. | 0:23:47 | 0:23:52 | |
I didn't like this when I first saw this. I picked it up and thought, "I'm not sure." | 0:23:52 | 0:23:56 | |
But actually the more you look at this, | 0:23:56 | 0:24:00 | |
the more beautiful this woman becomes. | 0:24:00 | 0:24:02 | |
The burnt siennas and umbers... | 0:24:02 | 0:24:05 | |
and lovely muddy browns. | 0:24:05 | 0:24:08 | |
This is good because anybody can come here, | 0:24:08 | 0:24:10 | |
work their way through these volumes, be so close to your heroes. | 0:24:10 | 0:24:16 | |
Right, I'm going to move on to some Samuel Palmer now. | 0:24:16 | 0:24:19 | |
Gosh, I could spend all day here. | 0:24:21 | 0:24:24 | |
This is quite interesting, because this is, you could say, mixed-medium. | 0:24:24 | 0:24:28 | |
It is pencil, watercolour, pen and ink and a white grounding. | 0:24:28 | 0:24:32 | |
It's a very, very clever technique. | 0:24:32 | 0:24:35 | |
This is a self-portrait and he's about 19 years old. | 0:24:35 | 0:24:38 | |
Done when he was living in London. This is a few years later when they moved down to Shoreham. | 0:24:40 | 0:24:44 | |
The family moved down to Shoreham | 0:24:44 | 0:24:47 | |
to escape the sort of smoke and the smog of the city. | 0:24:47 | 0:24:50 | |
And there's a child-like quality in his composition. | 0:24:50 | 0:24:54 | |
It's almost as if it's a book illustration. | 0:24:54 | 0:24:57 | |
Everything is happy about the picture, | 0:24:57 | 0:24:59 | |
a little bunny rabbit hopping along. | 0:24:59 | 0:25:01 | |
But you don't really see trees growing like that. | 0:25:01 | 0:25:04 | |
It's just wonderful. | 0:25:04 | 0:25:06 | |
In fact, it's really nice, actually | 0:25:18 | 0:25:20 | |
looking at artists' works where they've just done it for themselves, | 0:25:20 | 0:25:23 | |
it's not a commission, and they don't care how it's finished. | 0:25:23 | 0:25:26 | |
Sometimes they look better unfinished. | 0:25:26 | 0:25:28 | |
It makes you use your imagination more. | 0:25:30 | 0:25:33 | |
Let's rejoin the team at the Sheldonian Theatre in Oxford | 0:25:47 | 0:25:51 | |
and see what's happening next. | 0:25:51 | 0:25:53 | |
Charlie's found an art nouveau frame that he's very excited about. | 0:25:53 | 0:25:58 | |
Wendy, I spotted you in the queue | 0:25:58 | 0:26:00 | |
-and I looked at this frame and my eyes lit up. -I know, I saw. | 0:26:00 | 0:26:05 | |
What can you tell me about it? | 0:26:05 | 0:26:06 | |
It was given to me as a birthday present, | 0:26:06 | 0:26:09 | |
-roughly about 40 years ago... -Right. | 0:26:09 | 0:26:12 | |
I just thought that I'm cleaning it and cleaning it | 0:26:12 | 0:26:16 | |
and I'll probably wear it out. | 0:26:16 | 0:26:18 | |
-You've cleaned it jolly well because you haven't worn it too much, have you? -No. | 0:26:18 | 0:26:22 | |
-What do you clean it with? -Well, it used to be silver or whatever. | 0:26:22 | 0:26:26 | |
Then on your programme I saw | 0:26:26 | 0:26:28 | |
-it was better to use washing-up liquid. -Absolutely right. -So I continued with that. | 0:26:28 | 0:26:32 | |
Well done. The great thing about these frames is not to clean them too hard | 0:26:32 | 0:26:37 | |
because they're pressed silver and therefore you can very easily wear holes in them. | 0:26:37 | 0:26:43 | |
I've had a bit of a blow, though, with this. | 0:26:43 | 0:26:45 | |
I took one look at it and I thought, "Pure art nouveau. | 0:26:45 | 0:26:48 | |
"This is wonderful, this is 1890. | 0:26:48 | 0:26:51 | |
-"It's going to be worth hundreds of pounds." Then I looked at the hallmark. -Oh. | 0:26:51 | 0:26:56 | |
I'm afraid, I have to say, | 0:26:56 | 0:26:59 | |
that when it was given to you as a present, 40 years ago, it was new. | 0:26:59 | 0:27:03 | |
Oh, dear. Not old. | 0:27:03 | 0:27:06 | |
-It looks old. -It's early '70s. | 0:27:06 | 0:27:09 | |
It's quite difficult to look at the mark because it's full of washing up liquid. | 0:27:09 | 0:27:14 | |
It's 1972 or 1973. So, it's got some age, it's 40 years old. | 0:27:14 | 0:27:18 | |
But, funnily enough, when you look at the back, | 0:27:18 | 0:27:21 | |
the Victorian ones were backed in a sort of velvet. | 0:27:21 | 0:27:24 | |
-A blue velvet. Nearly all of them. -Yes. | 0:27:24 | 0:27:26 | |
-If I'd known that, I'd have put some on that. -Well, you could put it on | 0:27:26 | 0:27:29 | |
but you'd still have to alter the hallmark. | 0:27:29 | 0:27:32 | |
-Yes. -But it's typical art nouveau influence. | 0:27:32 | 0:27:34 | |
-It's got an inscription on the bottom of it, hasn't it? -Yes. | 0:27:34 | 0:27:39 | |
"Friendship is love without his wings." Byron. | 0:27:39 | 0:27:43 | |
-Yes. -Are you a reader of Byron? -No. | 0:27:43 | 0:27:46 | |
-No, neither am I! -BOTH CHUCKLE | 0:27:46 | 0:27:48 | |
-But it doesn't have any particular sentimental value? -Not really, no. | 0:27:48 | 0:27:53 | |
-I'd hate you to sell it and then regret it the next day. -No. | 0:27:53 | 0:27:57 | |
So, Wendy, any ideas on value now that I've shot you down in flames? | 0:27:57 | 0:28:00 | |
Yeah. I thought £40, £50? | 0:28:00 | 0:28:04 | |
I think you're about right. | 0:28:04 | 0:28:06 | |
I think £40/£50 would be my valuation on that. | 0:28:06 | 0:28:08 | |
-Yeah. -We could put an estimate of £40 to £60 on it. We'll put a reserve on it. | 0:28:08 | 0:28:13 | |
Shouldn't need a reserve on, but a discretionary reserve of £40. | 0:28:13 | 0:28:16 | |
-OK. -We're not going to send you around the world, I'm afraid. | 0:28:16 | 0:28:20 | |
-No. That's a shame. -A meal out is is probably - for one - is about what we're going to manage. | 0:28:20 | 0:28:25 | |
'I'm glad to hear that Wendy has been listening to our silver cleaning tips. | 0:28:25 | 0:28:30 | |
'I've just been asked to look at some jewellery, | 0:28:30 | 0:28:33 | |
'so it's time to get some help from Pippa Deeley, one of our jewellery experts.' | 0:28:33 | 0:28:38 | |
Queue-jumping here with Pippa. | 0:28:38 | 0:28:40 | |
I don't know your name. | 0:28:40 | 0:28:41 | |
-Peggy. -Peggy. Meet Peggy, Pippa. | 0:28:41 | 0:28:43 | |
-Hi, Peggy. -Have a quick chat to Peggy because she's got some pearls she'd like to show you. | 0:28:43 | 0:28:48 | |
The anticipation of what's inside! They're beautiful, aren't they? | 0:28:48 | 0:28:52 | |
They're not mine, they're a friend's. I said I'd bring them, you know, to see how much they were worth. | 0:28:52 | 0:28:57 | |
OK, let's get down to the nitty-gritty, shall we, eh, Peggy? | 0:28:57 | 0:29:01 | |
-Please. -Yes. What's it worth? | 0:29:01 | 0:29:05 | |
Um, I would put this in auction at round about...the £200 mark. | 0:29:05 | 0:29:10 | |
Yes, I wondered if that would be about it. | 0:29:10 | 0:29:15 | |
-There you go, Peggy. You know now. -Thank you. Yes. | 0:29:15 | 0:29:18 | |
-You can catch the bus now. -Thank you. | 0:29:18 | 0:29:20 | |
'Next, it's Tracy who has found something she adores.' | 0:29:20 | 0:29:25 | |
The minute I saw this, I absolutely fell in love with it. | 0:29:25 | 0:29:29 | |
It's just everything that I adore in jewellery. | 0:29:29 | 0:29:33 | |
The wonderful enamelling in blue here and the gold... | 0:29:33 | 0:29:38 | |
It is just gorgeous. Now I'm hoping that you're going to tell me | 0:29:38 | 0:29:42 | |
it's been passed down from generation to generation to generation | 0:29:42 | 0:29:45 | |
and that it's a treasured item that's been in the family for ages. | 0:29:45 | 0:29:49 | |
-40 pence in a charity shop. -Oh! | 0:29:49 | 0:29:50 | |
That's so unfair, isn't it?! | 0:29:50 | 0:29:53 | |
Have you ever found anything like that for 40p in a charity shop? | 0:29:53 | 0:29:56 | |
-We wish. -No, me neither. | 0:29:56 | 0:29:59 | |
-It's gorgeous. -It is. You're so right, it is absolutely gorgeous - | 0:29:59 | 0:30:03 | |
it caught my eye straightaway. | 0:30:03 | 0:30:05 | |
I've had a look at it, together with some of my colleagues... | 0:30:05 | 0:30:09 | |
It's not actually marked. | 0:30:09 | 0:30:11 | |
We've been all over and we can't find any markings anywhere. | 0:30:11 | 0:30:15 | |
Because of this beautiful blue enamelling work, | 0:30:15 | 0:30:18 | |
we're guessing that it is gold | 0:30:18 | 0:30:20 | |
and we're going with nine carat gold, | 0:30:20 | 0:30:24 | |
which is kind of the lowest grade gold. | 0:30:24 | 0:30:26 | |
Let's look at this wonderful thing... | 0:30:26 | 0:30:29 | |
If we turn it over, to start off with the back, | 0:30:29 | 0:30:32 | |
we have this kind of pocket at the back. | 0:30:32 | 0:30:36 | |
-You presumed it was a mourning case? -I did, yes. | 0:30:36 | 0:30:40 | |
-It's actually for keepsakes. -Right. | 0:30:40 | 0:30:42 | |
And when we turn it round like that, we've got this beautiful scarab. | 0:30:42 | 0:30:46 | |
-Now, you say you bought it at a jumble sale... -Charity shop. -Charity shop for 40p. | 0:30:46 | 0:30:52 | |
-That's right, yes. -Did you know instantly, or were you taking what we call in the business a punt? | 0:30:52 | 0:30:58 | |
Well, it glittered and it was just in a basket of bits and bobs, you know, bric-a-brac. | 0:30:58 | 0:31:04 | |
Obviously it gleamed. | 0:31:04 | 0:31:06 | |
I like Egyptian history, so 40p, couldn't go wrong. | 0:31:06 | 0:31:10 | |
What a bargain. No, you can't go wrong. I don't think it's British. | 0:31:10 | 0:31:13 | |
I think it's probably European, | 0:31:13 | 0:31:15 | |
but the whole obsession with the uncovering of the tombs in the late 19th century, | 0:31:15 | 0:31:21 | |
then all into the 1920s with Tutankhamun - | 0:31:21 | 0:31:25 | |
I think this is older than 20th century. | 0:31:25 | 0:31:27 | |
I think this is more 19th century. Have you worn it? | 0:31:27 | 0:31:30 | |
Yes, on a bootlace, around my neck. | 0:31:30 | 0:31:33 | |
Oh, fabulous! | 0:31:33 | 0:31:34 | |
-On a leather bootlace. -Yes, one of them cheap, black things? | 0:31:34 | 0:31:38 | |
-That's right, yes! -Nothing like a little bit of class, is there? | 0:31:38 | 0:31:42 | |
What sort of money did you have in your head that you thought it may be worth? | 0:31:42 | 0:31:47 | |
Well, I thought it may be worth between £700 and £1,000. | 0:31:47 | 0:31:51 | |
Right. And why did you think that? | 0:31:51 | 0:31:54 | |
Because I had taken it to a jewellers. | 0:31:54 | 0:31:56 | |
-OK. -And they've given me an estimate value. | 0:31:56 | 0:31:59 | |
-Was that recent? -About 10 years ago. -So, quite a while ago, then? | 0:31:59 | 0:32:03 | |
Yes. But I understand that is the retail value. | 0:32:03 | 0:32:06 | |
Yes, OK, I'm starting to panic slightly now. | 0:32:06 | 0:32:10 | |
Retail value and insurance value are always much higher than auction, that's the way it is. | 0:32:10 | 0:32:15 | |
I think, personally, I would like to put a reserve of £250 on it. | 0:32:15 | 0:32:21 | |
-Fine. -Is that all right? -Yes. Fantastic. -Good. | 0:32:21 | 0:32:25 | |
-Thank God for that. With a pre-sale estimate of £250 to £350. -Yes. | 0:32:25 | 0:32:28 | |
I'm really looking forward to selling this at the auction - I love it, | 0:32:28 | 0:32:32 | |
and I'm hoping that little scarab will scuttle away and make us loads of money. | 0:32:32 | 0:32:36 | |
'Charlie's having an art nouveau day. | 0:32:40 | 0:32:43 | |
'He's found a lovely piece of copper.' | 0:32:43 | 0:32:45 | |
Wendy, I saw this across the Sheldonian and ran to it | 0:32:45 | 0:32:49 | |
because I got very excited by it. | 0:32:49 | 0:32:51 | |
-Where did it come from? -It came from a local bazaar. | 0:32:51 | 0:32:55 | |
-Did it? -Yes. A Christmas bazaar. | 0:32:55 | 0:32:57 | |
-How long ago? -That was about 10 years ago. | 0:32:57 | 0:33:00 | |
Oh, my goodness me, I'm under pressure here. I'll ask what you paid for it later. | 0:33:00 | 0:33:04 | |
-Yes. -Do you know what it is? | 0:33:04 | 0:33:07 | |
-I thought it was... -What was it when you bought it? | 0:33:07 | 0:33:09 | |
It looked different, it was very dull. I thought it was a tankard? | 0:33:09 | 0:33:13 | |
I think it's not a tankard because we've got a little lip here. | 0:33:13 | 0:33:17 | |
If we just open up the top there, we've got a little spout. | 0:33:17 | 0:33:21 | |
-So it's a jug. -Oh, yes. | 0:33:21 | 0:33:22 | |
I think it's an ale jug or it's in the form of an ale jug. | 0:33:22 | 0:33:27 | |
It's got the most wonderful art nouveau motifs on it. | 0:33:27 | 0:33:31 | |
-Do you know how old it is? -'20s? | 0:33:31 | 0:33:33 | |
-1920s. It's earlier than that. -Is it? Ah. | 0:33:33 | 0:33:35 | |
What really drew me towards it... | 0:33:35 | 0:33:37 | |
I wonder whether it might be from the Newlyn School, | 0:33:37 | 0:33:40 | |
in the West Country, by a chap called John Pearson. We'll come to that in a minute... | 0:33:40 | 0:33:45 | |
It's got a real arts and crafts hammered look to the top of it. | 0:33:45 | 0:33:49 | |
1880? Then the Art Nouveau movement, 1890 onwards here. | 0:33:49 | 0:33:55 | |
So you've got a mixture of styles, really, in a way. | 0:33:55 | 0:33:58 | |
-We'll have a look at the bottom and see if there's something exciting. -Right. | 0:33:58 | 0:34:03 | |
Why's it always... | 0:34:03 | 0:34:05 | |
-disappointing when you look at things? -Oh, no! | 0:34:05 | 0:34:10 | |
I've been building you up and building you up and there we are, | 0:34:10 | 0:34:14 | |
JS and SB, whoever they are. I was hoping | 0:34:14 | 0:34:16 | |
to see a chap called John Pearson from the Newlyn School. | 0:34:16 | 0:34:19 | |
It does, however, have a registration number on it. | 0:34:19 | 0:34:23 | |
409942. | 0:34:23 | 0:34:26 | |
I think if we look that up, we'll find that it's 1890 or thereabouts. | 0:34:26 | 0:34:32 | |
So we're spot on there. | 0:34:32 | 0:34:34 | |
I just love the look of it. | 0:34:34 | 0:34:36 | |
Sadly, it isn't fabulously valuable. | 0:34:36 | 0:34:39 | |
-Oh. -Did you think it was when you brought it along this morning? | 0:34:39 | 0:34:42 | |
-Not really. -Thank goodness for that! | 0:34:42 | 0:34:46 | |
BOTH LAUGH | 0:34:46 | 0:34:48 | |
-Have a guess. -But I like it. | 0:34:48 | 0:34:50 | |
Oh, you like it? Why do you want to sell it? | 0:34:50 | 0:34:53 | |
-I thought it would be an opportune time. -Yes. | 0:34:53 | 0:34:55 | |
I've got lots of bits and pieces which I've been collecting. | 0:34:55 | 0:34:59 | |
-It is something to clean, isn't it? -It is. -Are we price-sensitive? | 0:34:59 | 0:35:02 | |
-What's it worth? -About £20 I think? | 0:35:02 | 0:35:05 | |
I think it's worth £50. I like it. | 0:35:05 | 0:35:07 | |
I'm going to put an estimate of £40 to £60 on it... | 0:35:07 | 0:35:10 | |
with a reserve, a discretionary reserve, at £40. | 0:35:10 | 0:35:13 | |
So it's worth twice what you think it's worth. | 0:35:13 | 0:35:16 | |
-Yes, that's amazing. -You're now very excited. -I am! | 0:35:16 | 0:35:19 | |
Thank you for bringing it along and you probably gave it a clean, didn't you? | 0:35:19 | 0:35:23 | |
-Yes, I quickly buffed it up. -We're very grateful, thank you. Send your bill to Flog It. | 0:35:23 | 0:35:28 | |
There's just enough time to have one last look at what our experts have picked out to take off to auction. | 0:35:31 | 0:35:36 | |
Wendy's silver frame isn't as old as it might have been | 0:35:36 | 0:35:40 | |
but it's still very decorative. | 0:35:40 | 0:35:42 | |
The Egyptian-designed gold pendent is absolutely stunning | 0:35:42 | 0:35:46 | |
and certainly not run-of-the-mill. | 0:35:46 | 0:35:48 | |
Shirley should get a good return on her 40 pence investment. | 0:35:48 | 0:35:53 | |
I loved this ale jug that Charlie picked out. | 0:35:53 | 0:35:56 | |
It would have been nice to have a Newlyn mark on it but it's still a beautiful thing. | 0:35:56 | 0:36:01 | |
It's Wendy's silver frame first. Let's see how it fares. | 0:36:06 | 0:36:10 | |
It's gorgeous. It's a classic size - 6x4 - and it's early 1970s. | 0:36:10 | 0:36:14 | |
So it's not that old. That's why we could only put £40 to £60 on it. | 0:36:14 | 0:36:18 | |
-Shame. -It was a birthday present, wasn't it? | 0:36:18 | 0:36:20 | |
-Yes. -40-odd years ago? -Yes. | 0:36:20 | 0:36:22 | |
Wow, if that would have been a period piece... | 0:36:22 | 0:36:25 | |
I thought it was when I saw it across the room on valuation day. | 0:36:25 | 0:36:28 | |
-I ran across to it, as you remember. -Yes. | 0:36:28 | 0:36:31 | |
I thought, "Oh, we'll have this, thank you." | 0:36:31 | 0:36:33 | |
And then I looked through the glass and it was '70s | 0:36:33 | 0:36:36 | |
but it's still lovely and if it was 1890, it would probably would have a few holes in it. | 0:36:36 | 0:36:40 | |
-It's in super condition. -This is just such a bargain buy for somebody. -Lovely. | 0:36:40 | 0:36:45 | |
But you've got to be here. You've got to be in the right place at the right time. | 0:36:45 | 0:36:49 | |
You certainly have. And somebody will be. | 0:36:49 | 0:36:51 | |
It's a one-off, that's the beauty of it. That's what antiques are about. | 0:36:51 | 0:36:55 | |
It's going under the hammer now. | 0:36:55 | 0:36:56 | |
The silver photograph frame, embossed verse from Byron. | 0:36:58 | 0:37:02 | |
£40, start me? | 0:37:02 | 0:37:05 | |
-50, I've got. -Ooh! -£50. 55 anywhere? | 0:37:05 | 0:37:08 | |
55. 60. At £55. | 0:37:08 | 0:37:11 | |
In the room at 60. 65. 70? | 0:37:11 | 0:37:14 | |
70. 75. 80. 85. 90. | 0:37:14 | 0:37:19 | |
This is more like it! | 0:37:19 | 0:37:21 | |
95? 100. 110? | 0:37:21 | 0:37:25 | |
At £100. All done at £100? | 0:37:25 | 0:37:28 | |
Yes, that's what I like to see. | 0:37:28 | 0:37:30 | |
Well done with that, Wendy. Good Lord. | 0:37:30 | 0:37:33 | |
Because the new chrome-plated ones are £40 to £50 so this has got to be worth twice as much. | 0:37:33 | 0:37:38 | |
-Yes. I'm glad we took it in. -Thank you. -Well done. | 0:37:38 | 0:37:40 | |
That was a nice surprise. | 0:37:40 | 0:37:42 | |
'Good, I'm glad it went over the estimate. | 0:37:42 | 0:37:45 | |
'I had the chance earlier to see if Simon liked the ale jug.' | 0:37:47 | 0:37:51 | |
I love this, Simon. Absolutely love it. | 0:37:51 | 0:37:53 | |
It belongs to Wendy | 0:37:53 | 0:37:54 | |
-and I don't think for much longer at £40 to £60 valuation. -It'll go away. | 0:37:54 | 0:37:59 | |
This one's going to fly away. It's in the art nouveau style. | 0:37:59 | 0:38:02 | |
-Copper ale jug. Absolutely beautiful. -Yes. Lovely. | 0:38:02 | 0:38:04 | |
It's got a nice registration mark on the bottom to give you the date of making, or the date of design. | 0:38:04 | 0:38:10 | |
-Good quality. -Have you done any further research? -We haven't. | 0:38:10 | 0:38:13 | |
We've put the number in the catalogue so people can see | 0:38:13 | 0:38:16 | |
and look it up themselves and they'll find it's about 1900. It's just lovely. | 0:38:16 | 0:38:22 | |
Hopefully, what? £80, £100? | 0:38:22 | 0:38:24 | |
Yes, I think that's fair enough. There's quite a bit of art nouveau. | 0:38:24 | 0:38:28 | |
It's in good company here because there's a few other items. That's what it's all about. | 0:38:28 | 0:38:33 | |
That's it. Find the treasures, we'll sell them. | 0:38:33 | 0:38:36 | |
'It's up next so let's see if he's right.' | 0:38:36 | 0:38:38 | |
We're going to put the copper ale jug under the hammer. It belongs to Wendy. | 0:38:40 | 0:38:44 | |
-How much did you pay for this? -It was one of my more expensive purchases, it was 20 pence. | 0:38:44 | 0:38:49 | |
And Charlie, our expert, has put, what, £40 to £60 on this? | 0:38:49 | 0:38:52 | |
-Pounds, not pence. -I know! That's a great profit, isn't it? | 0:38:52 | 0:38:56 | |
-Yes. -It really is. I had a chat to Simon, the auctioneer... -Oh, yes? | 0:38:56 | 0:39:00 | |
He said it could even exceed that. | 0:39:00 | 0:39:02 | |
-Really? -Yes. On a good day, he's looking at the top end plus. | 0:39:02 | 0:39:06 | |
-Good stuff. -Yes. -Wow. | 0:39:06 | 0:39:08 | |
-If we could do one of those every day, it would be quite good, wouldn't it? -Yes! | 0:39:08 | 0:39:12 | |
Lot 99 is the copper ale jug. | 0:39:15 | 0:39:17 | |
Here it is. | 0:39:17 | 0:39:19 | |
There we go, with the plant forms. | 0:39:20 | 0:39:23 | |
What can we say for that? 40 or £50 for it? | 0:39:23 | 0:39:25 | |
£45, I'm bid. 48? | 0:39:27 | 0:39:30 | |
£45 then. 48. 50. | 0:39:30 | 0:39:32 | |
55. 60. 65. 70. £65 then. | 0:39:32 | 0:39:37 | |
Down in front of me at £65? All done at £65? | 0:39:37 | 0:39:41 | |
-Hammer's gone down. -Sensational. | 0:39:41 | 0:39:43 | |
-That was very good. -Thank you very much. | 0:39:43 | 0:39:45 | |
-Great pleasure. -That was a profit, wasn't it? | 0:39:45 | 0:39:48 | |
Good result for a jug that was bought for only 20 pence. | 0:39:48 | 0:39:52 | |
Our next lot is a gold scarab which was bought for a similar princely sum. | 0:39:52 | 0:39:57 | |
Hopefully right now we're going to turn 40 pence into maybe £350. | 0:39:57 | 0:40:04 | |
That's what I'm hoping for, Shirley, at the top end of Tracy's estimate. | 0:40:04 | 0:40:08 | |
I'm being ambitious, but I love this lot. | 0:40:08 | 0:40:10 | |
I really do and I don't know why you're selling it. It cost you nothing. | 0:40:10 | 0:40:14 | |
Well, I've had it for a long time and I've worn it... | 0:40:14 | 0:40:17 | |
-How many years? 10? -About 10, yes. | 0:40:17 | 0:40:19 | |
I wore it at the beginning on a leather strap. | 0:40:19 | 0:40:22 | |
-Mmm? -And then I put it away so I thought, I saw Flog It... | 0:40:22 | 0:40:27 | |
Give it a go. | 0:40:27 | 0:40:29 | |
The rearing cobras. | 0:40:29 | 0:40:31 | |
-It's my favourite lot. I absolutely adore it. -It is nice. -Stunning. | 0:40:31 | 0:40:36 | |
When you were waving at me across the valuation day floor | 0:40:36 | 0:40:39 | |
and I came over and saw it... It's absolutely gorgeous. | 0:40:39 | 0:40:42 | |
Yes. That cartouche of the scarab in blue enamel and turquoise enamel in the middle, stunning. | 0:40:42 | 0:40:47 | |
Things are going well, hopefully this will, it's going under the hammer. Good luck. | 0:40:47 | 0:40:52 | |
A Victorian pendant, decorated with two rearing cobra | 0:40:53 | 0:40:58 | |
flanking a scarab. | 0:40:58 | 0:41:00 | |
£300 for that? | 0:41:01 | 0:41:02 | |
£560, I've got. | 0:41:06 | 0:41:07 | |
No! | 0:41:07 | 0:41:08 | |
Straight at 560! | 0:41:08 | 0:41:10 | |
570 anywhere? 570. 580. 590. 600. | 0:41:10 | 0:41:15 | |
-610. -I can't believe it! | 0:41:15 | 0:41:17 | |
-This is so beautiful. -640? At 630, before I go to the phone? | 0:41:17 | 0:41:22 | |
-Come on. -630? 640. | 0:41:22 | 0:41:25 | |
-Someone on the phone behind us. -It's still going. -650. 660? | 0:41:25 | 0:41:28 | |
660. 670. | 0:41:28 | 0:41:31 | |
680? | 0:41:31 | 0:41:32 | |
680. 690. 700. | 0:41:32 | 0:41:36 | |
-I can't believe this. -£700! | 0:41:36 | 0:41:37 | |
710. 730. 750. 770. | 0:41:37 | 0:41:41 | |
-Gosh. -My heart is pounding. | 0:41:41 | 0:41:44 | |
800? 820? | 0:41:44 | 0:41:47 | |
840. | 0:41:47 | 0:41:49 | |
860. 880. | 0:41:49 | 0:41:51 | |
900? 920. | 0:41:51 | 0:41:54 | |
-I just don't believe it. -940? | 0:41:54 | 0:41:57 | |
960. 980. 1000. | 0:41:57 | 0:42:01 | |
-Yeah, 1,000! -1,050. | 0:42:01 | 0:42:04 | |
1,100. 1,150. | 0:42:04 | 0:42:07 | |
1,200. 1,300. | 0:42:07 | 0:42:09 | |
1,400. | 0:42:09 | 0:42:12 | |
-1,500... -Shirley, what is going on? | 0:42:13 | 0:42:17 | |
-I don't know. -1,600. 1,700. | 0:42:17 | 0:42:20 | |
1,800. At £1,800, on the telephone at £1,800? | 0:42:20 | 0:42:25 | |
-All done at £1,800? -Wow! | 0:42:25 | 0:42:28 | |
-ALL: Yes! -Well done, Shirley! | 0:42:28 | 0:42:31 | |
-Well done. I can't believe it. -Thank you. -£1,800. | 0:42:31 | 0:42:35 | |
-How much did that cost again? -40 pence. -40p. | 0:42:35 | 0:42:37 | |
What can you buy for 40p?! | 0:42:37 | 0:42:39 | |
My estimate was a bit out. | 0:42:39 | 0:42:40 | |
But I don't care! | 0:42:40 | 0:42:43 | |
-There was something special about it. -There must have been something special but I don't know what. | 0:42:43 | 0:42:48 | |
-Wow, wow, wow! -Yay! | 0:42:48 | 0:42:49 | |
What are you going to do with all that money? | 0:42:49 | 0:42:52 | |
Well, a holiday. It's my son's 30th birthday next Friday. | 0:42:52 | 0:42:56 | |
-OK. -So he'll have something special. -Fantastic. | 0:42:56 | 0:42:59 | |
-Gosh. -I'm so pleased for you. | 0:42:59 | 0:43:01 | |
That's auctions for you. You can't predict what's going to happen. | 0:43:01 | 0:43:04 | |
I told you, somebody here today was going home with a lot of money. | 0:43:04 | 0:43:08 | |
-Well done. Well done. -I'm blown away. | 0:43:08 | 0:43:10 | |
Even better - it sold for over £1,000, the commission drops to 10%. | 0:43:10 | 0:43:16 | |
-I hope you've enjoyed today's show. Sadly we're running out of time. -I have. -I know you have! | 0:43:16 | 0:43:21 | |
And so have you. Well done. Keep watching | 0:43:21 | 0:43:23 | |
because there's going to be many more surprises to come but for now, from Oxfordshire, it's cheerio. | 0:43:23 | 0:43:28 | |
Subtitles by Red Bee Media Ltd | 0:43:46 | 0:43:49 | |
E-mail [email protected] | 0:43:49 | 0:43:52 |