Browse content similar to Cooper. Check below for episodes and series from the same categories and more!
Line | From | To | |
---|---|---|---|
Welcome to Cash In The Attic, | 0:00:02 | 0:00:03 | |
the programme that searches out treasures around your home and then sells them for you at auction. | 0:00:03 | 0:00:08 | |
Today, I'm in Milton Keynes, a place that's traditionally | 0:00:08 | 0:00:11 | |
not known for its culture, but I'm about to visit a building that has changed all of that. | 0:00:11 | 0:00:16 | |
It took 25 years of campaigning to get it built | 0:00:16 | 0:00:19 | |
but now it's the state-of-the-art Milton Keynes Theatre and Gallery. | 0:00:19 | 0:00:24 | |
Opened in 1999, this theatre has placed Milton Keynes very firmly on the country's cultural map. | 0:00:24 | 0:00:31 | |
It plays host to all manner of productions from independent | 0:00:31 | 0:00:34 | |
touring companies to those heading to the stages of the West End. | 0:00:34 | 0:00:38 | |
A very fitting place for me to visit when you consider the musical talents | 0:00:38 | 0:00:42 | |
of the family we're about to meet. | 0:00:42 | 0:00:43 | |
But for a town that isn't normally associated with culture, this theatre make a radical statement. | 0:00:43 | 0:00:49 | |
So let's hope we find lots and lots of items today to pull in the pounds at auction. | 0:00:49 | 0:00:55 | |
Coming up on today's Cash In The Attic, | 0:01:17 | 0:01:20 | |
James' valuations come as a very pleasant surprise to a family of jazz lovers. | 0:01:20 | 0:01:24 | |
That's more than a week's pocket money! | 0:01:24 | 0:01:27 | |
Chantal has decided maybe she'd like to... LAUGHTER | 0:01:27 | 0:01:30 | |
A legendary musician arrives to perform a familiar tune. | 0:01:30 | 0:01:34 | |
PLAYS CASH IN THE ATTIC THEME TUNE | 0:01:34 | 0:01:37 | |
That's all we know of it! | 0:01:38 | 0:01:40 | |
Some expectations are dashed on the day of auction. | 0:01:40 | 0:01:44 | |
That was awful. Terrible. | 0:01:44 | 0:01:47 | |
So let's hope we're not all humming the Cash In The Attic Blues when the final hammer falls. | 0:01:47 | 0:01:52 | |
Well, I'm on my way to meet a very talented lady, who's hoping that | 0:01:52 | 0:01:56 | |
the Cash In The Attic team can help her raise enough money | 0:01:56 | 0:01:59 | |
for a long-term project, also a very cool night out. | 0:01:59 | 0:02:03 | |
For the past 17 years this three-bedroom detached property in Milton Keynes | 0:02:03 | 0:02:09 | |
has been the home to former professional singer, Thea Cooper. | 0:02:09 | 0:02:13 | |
Thea is very passionate about music and as her two children are all too well aware | 0:02:13 | 0:02:17 | |
the house is absolutely crammed full of all manner of items relating to Thea's distinguished career. | 0:02:17 | 0:02:24 | |
But soon music will no longer be in the air of this particular house | 0:02:24 | 0:02:29 | |
because Thea is moving on to pastures new. | 0:02:29 | 0:02:32 | |
Her children have flown the nest and it's now time for Thea | 0:02:32 | 0:02:36 | |
to commence that new chapter in her life. | 0:02:36 | 0:02:38 | |
Hi, James. Morning. | 0:02:39 | 0:02:41 | |
Are you in fine voice today? # Always. # | 0:02:41 | 0:02:43 | |
Always, because this lady, she's apparently a very good singer, | 0:02:43 | 0:02:47 | |
very much involved in music and the whole sort of show business thing, so... | 0:02:47 | 0:02:52 | |
I haven't played a musical instrument in years, | 0:02:52 | 0:02:55 | |
but why don't we get with the beat? | 0:02:55 | 0:02:56 | |
You haven't bought your tambourine? No! | 0:02:56 | 0:02:59 | |
What a shame! Come on. | 0:02:59 | 0:03:00 | |
Thea and Chantal, how good to see you. | 0:03:01 | 0:03:04 | |
Don't get up, I don't want to disturb the work. | 0:03:04 | 0:03:07 | |
This is what I love to come in and witness, two girls already rummaging around. | 0:03:07 | 0:03:11 | |
Where did all this stuff come from? | 0:03:11 | 0:03:13 | |
Well, some of it was inherited, some of it was given to me and I bought some things as well. | 0:03:13 | 0:03:19 | |
And why did you decide to call in Cash In The Attic? | 0:03:19 | 0:03:22 | |
Well, I was sitting at my computer one night thinking about downsizing | 0:03:22 | 0:03:27 | |
to a two bedroomed bungalow, looking around thinking, | 0:03:27 | 0:03:30 | |
"Where on Earth am I going to get rid of all this stuff?" | 0:03:30 | 0:03:33 | |
and so I went online and sent an e-mail to Cash In The Attic. | 0:03:33 | 0:03:37 | |
You thought the team will come in and do it. | 0:03:37 | 0:03:38 | |
I thought nobody would come! | 0:03:38 | 0:03:41 | |
And here we are! Absolutely. Chantal, do you think it's a good idea that your mum | 0:03:41 | 0:03:46 | |
has decided to sell off her things? | 0:03:46 | 0:03:47 | |
Wouldn't you like to keep some of it? I've got a few pieces that I've kept for myself, | 0:03:47 | 0:03:52 | |
so I've got a few memories that I'll keep. | 0:03:52 | 0:03:54 | |
Are you more minimalistic? | 0:03:54 | 0:03:56 | |
Yeah. I don't collect quite as much stuff as Mum! So how much would you like to raise? | 0:03:56 | 0:04:02 | |
I'd like to raise ?700, | 0:04:02 | 0:04:05 | |
that would help towards my move and a good night out for the family. | 0:04:05 | 0:04:09 | |
When you say you want a good night out for all the family, where would you like to go? | 0:04:09 | 0:04:13 | |
Well, there's a theatre close by that John Dankworth and Cleo Laine | 0:04:13 | 0:04:17 | |
have a close association with, so it would be nice to go out with the family to that | 0:04:17 | 0:04:22 | |
and have something to eat as well. | 0:04:22 | 0:04:24 | |
you've done enough rummaging in the box. | 0:04:24 | 0:04:26 | |
We're all here now with our team and I think we should go | 0:04:26 | 0:04:30 | |
and do some cracking work to raise your ?700. | 0:04:30 | 0:04:33 | |
So there'll be no shortage of items for us | 0:04:33 | 0:04:35 | |
in our mission to downsize and raise money | 0:04:35 | 0:04:38 | |
for a night of jazz for Thea and her family. | 0:04:38 | 0:04:41 | |
Hoping to squeeze out every penny of Thea's | 0:04:41 | 0:04:44 | |
lifelong passion for collecting is our expert, James Rylands. | 0:04:44 | 0:04:47 | |
His reputation in the antiques world is legendary, | 0:04:47 | 0:04:50 | |
which is more than can be said for his musical talents. | 0:04:50 | 0:04:53 | |
That's an interesting noise. You weren't supposed to discover me playing! | 0:04:56 | 0:04:59 | |
Don't give up the day job, go back to the the tambourine! | 0:04:59 | 0:05:04 | |
That was awful, wasn't it? It was, yes. Where did it come from? | 0:05:04 | 0:05:07 | |
The daughter of a friend of mine left it for me | 0:05:07 | 0:05:11 | |
and I think she thought, as I was a musician, | 0:05:11 | 0:05:15 | |
that I'd play the piano and accordion which I don't. | 0:05:15 | 0:05:17 | |
You don't? No, no, no. | 0:05:17 | 0:05:19 | |
You can't take over where I left off? I can't lift it. | 0:05:19 | 0:05:21 | |
They're very heavy. Have you ever played it? | 0:05:21 | 0:05:24 | |
I wouldn't know where to start playing it! | 0:05:24 | 0:05:27 | |
Have you heard it being played? I don't think so. | 0:05:27 | 0:05:30 | |
The whole thing was invented early in the 19th century, | 0:05:30 | 0:05:33 | |
over in Berlin by a chap called Friedrich Buschmann. | 0:05:33 | 0:05:37 | |
They came over to England in the 1840s and in those days | 0:05:37 | 0:05:41 | |
quite often they came over in kit form and the shopkeeper had to put them together himself. | 0:05:41 | 0:05:46 | |
Like flat-pack? | 0:05:46 | 0:05:48 | |
It's almost like flat-pack. | 0:05:48 | 0:05:49 | |
This particular one made by the Galanti family out in Mondiano | 0:05:49 | 0:05:53 | |
in Italy was probably made in the 1950s. | 0:05:53 | 0:05:56 | |
I actually just love the front here. | 0:05:56 | 0:05:59 | |
This looks like the sort of radiator grille of one of those American 1950s cars. | 0:05:59 | 0:06:04 | |
I think that it's going into a general auction | 0:06:04 | 0:06:07 | |
so something like ?80 to ?100 would be the right estimate. | 0:06:07 | 0:06:11 | |
And see what happens. | 0:06:11 | 0:06:12 | |
I must say it does look a fine, substantial instrument, but you know what, | 0:06:12 | 0:06:17 | |
must find more things if we're to raise the money we'd better get cracking. | 0:06:17 | 0:06:22 | |
Yeah. | 0:06:22 | 0:06:24 | |
I haven't had any emotional attachment to the piano accordion at all, | 0:06:24 | 0:06:28 | |
so I'm quite happy for that to go and give pleasure to somebody else, who knows how to play it. | 0:06:28 | 0:06:34 | |
Goody, that gladly discounts James from bidding for the accordion | 0:06:35 | 0:06:39 | |
and as long as he resists playing it again | 0:06:39 | 0:06:42 | |
it should impress the bidders at auction. | 0:06:42 | 0:06:44 | |
The downsizing process has begun which is good because this house is crammed with items | 0:06:44 | 0:06:50 | |
that Thea has collected over the years, | 0:06:50 | 0:06:51 | |
including this Poole pottery vase | 0:06:51 | 0:06:54 | |
which James values at ?40 to ?70. | 0:06:54 | 0:06:57 | |
Chantal, it's all very interesting, all these bits of crockery, | 0:06:57 | 0:07:01 | |
but what I'm really interested in is this amazing bit of furniture. | 0:07:01 | 0:07:05 | |
Where did this come from? | 0:07:05 | 0:07:06 | |
This has come from my grandma. | 0:07:06 | 0:07:09 | |
She's had it for years and has passed it down to my mum now. | 0:07:09 | 0:07:12 | |
Do you like it? I don't mind it. | 0:07:12 | 0:07:15 | |
I know my mum likes it, but as she's downsizing she needs to get rid of it now. | 0:07:15 | 0:07:19 | |
I think it was probably made round about 1900, 1910 and originally | 0:07:19 | 0:07:25 | |
it would have been made to go into what I'd call a stockbroker Tudor house. | 0:07:25 | 0:07:30 | |
That means is that in the early years of the 20th century, when more and more people | 0:07:30 | 0:07:35 | |
were living in the suburbs, yet wanted to live in, | 0:07:35 | 0:07:38 | |
not a red-brick house but a fake Tudor house, | 0:07:38 | 0:07:41 | |
and this is the sort of piece of furniture they'd have had inside. | 0:07:41 | 0:07:45 | |
It's made very specifically to go into a dining room. | 0:07:45 | 0:07:49 | |
Do you see the mirrors on the back there? Yes. | 0:07:49 | 0:07:52 | |
Do you see the edges of them have got this angle, | 0:07:52 | 0:07:55 | |
that's what we call beveled plates and that is a nice sign of quality. | 0:07:55 | 0:07:59 | |
It means that that mirror plate was made specifically to go into that particular space, so handmade | 0:07:59 | 0:08:06 | |
and when it comes to value we're going to be looking at between ?100 and ?200. OK. | 0:08:06 | 0:08:12 | |
Which is, you know, I mean that's very useful, | 0:08:12 | 0:08:14 | |
it's towards the kitty, but something of that size you'd think it should be worth more. | 0:08:14 | 0:08:19 | |
Yeah. On a good day, we'll see what happens. | 0:08:19 | 0:08:21 | |
Anyway, let's see what else you can show me. OK. | 0:08:21 | 0:08:24 | |
It was interesting to hear about the dresser. | 0:08:24 | 0:08:28 | |
It was disappointing that such a large item wouldn't be worth more. | 0:08:28 | 0:08:31 | |
?100 to ?200 does seem awfully cheap for such an imposing piece of furniture, | 0:08:31 | 0:08:37 | |
but as we all know only too well anything can happen at auction. | 0:08:37 | 0:08:41 | |
Upstairs more evidence of Thea's passion for music is unearthed, with this clarinet. | 0:08:41 | 0:08:46 | |
It was made by the British music publishers Boosey Hawkes, | 0:08:46 | 0:08:49 | |
a company that in the 1930s became a major manufacturer of brass, string and wind instruments. | 0:08:49 | 0:08:57 | |
James thinks this clarinet could fetch between ?40 and ?60. | 0:08:57 | 0:09:01 | |
It's another very useful addition towards our ?700 target | 0:09:01 | 0:09:05 | |
for Thea and her family to indulge in a night of world class jazz. | 0:09:05 | 0:09:10 | |
James, could you have a look at this silver? | 0:09:10 | 0:09:12 | |
I'm not sure whether it's real or not but you, no doubt, will tell me. | 0:09:12 | 0:09:16 | |
You've got a bit of everything here. Where did it come from? It's my mother-in-law. | 0:09:16 | 0:09:20 | |
OK, I think she's done you proud. | 0:09:20 | 0:09:22 | |
I like this because you've got this nice little repousse work on the top, | 0:09:22 | 0:09:27 | |
decorated with angels, which is based on a picture by | 0:09:27 | 0:09:31 | |
Joshua Reynolds, actually. Oh, right! | 0:09:31 | 0:09:33 | |
And that's hallmarked Birmingham. | 0:09:33 | 0:09:37 | |
It's late Victorian, looking at the marks. | 0:09:37 | 0:09:39 | |
But all these other little... | 0:09:39 | 0:09:42 | |
Hang on, these, those look Indian. | 0:09:42 | 0:09:44 | |
They belonged to my father-in-law. He brought them back from the war. | 0:09:44 | 0:09:48 | |
He was stationed in India. | 0:09:48 | 0:09:49 | |
It's a typical example of Indian work, which is | 0:09:49 | 0:09:52 | |
like a little salt, made in the European style, but with this very distinctive Indian decoration on. | 0:09:52 | 0:09:58 | |
Now, if you look at these sugar tongs, largely plate, | 0:09:58 | 0:10:05 | |
made very much in a Georgian style, when sugar was quite expensive. | 0:10:05 | 0:10:09 | |
So you needed a special, special pair of tongs to pick the sugar out like this. | 0:10:09 | 0:10:16 | |
Well, of course, nowadays nobody really uses them very much. No. | 0:10:16 | 0:10:19 | |
They're great for display, but no great functional use. | 0:10:19 | 0:10:23 | |
I think what we've got here, Thea, | 0:10:23 | 0:10:25 | |
probably is about ?60 to ?100 worth, something like that. | 0:10:25 | 0:10:29 | |
OK. The silverware I've enjoyed looking at, I've had it for some time | 0:10:29 | 0:10:35 | |
and I think now that it's the time to let it go. | 0:10:35 | 0:10:38 | |
Whilst James carries on searching, some very distinguished help arrives at the door. | 0:10:38 | 0:10:43 | |
Colleague and great family friend, the legendary jazz musician | 0:10:43 | 0:10:47 | |
Johnny Dankworth, and his singing sensation daughter, Jacqui. | 0:10:47 | 0:10:50 | |
It's fantastic you've been able to join us. | 0:10:52 | 0:10:56 | |
How did you first meet this lady? | 0:10:56 | 0:10:59 | |
Well, when we moved into this area, | 0:10:59 | 0:11:02 | |
where we still live after 40 odd years, | 0:11:02 | 0:11:04 | |
we decided to have a music education centre and so one of the | 0:11:04 | 0:11:09 | |
first people we came across was Thea and so we enlisted her. | 0:11:09 | 0:11:13 | |
For many years she ran all of our music courses, | 0:11:13 | 0:11:17 | |
which involved a lot of work as well as a lot of musical knowledge. | 0:11:17 | 0:11:21 | |
I know that you ended up teaching Jacqui, | 0:11:21 | 0:11:23 | |
but I'm wondering what your first memory was, Jacqui, of Thea? | 0:11:23 | 0:11:26 | |
I studied A level music and part of my exam | 0:11:26 | 0:11:30 | |
was the practical side and I had to get my grade seven singing | 0:11:30 | 0:11:34 | |
so I had to do all the scales and the classical pieces | 0:11:34 | 0:11:38 | |
and Thea got me through it, really. | 0:11:38 | 0:11:40 | |
Of course, Mum and Dad being so famous worldwide, | 0:11:40 | 0:11:44 | |
was it difficult for you to carve out your own niche? | 0:11:44 | 0:11:47 | |
I spent most of my career trying to prove that I can do it on my own and... Which you have done. | 0:11:47 | 0:11:52 | |
And also Cleo's a very influential singer | 0:11:52 | 0:11:56 | |
and a very big personality to follow. | 0:11:56 | 0:12:00 | |
I think Jacqui has done it just absolutely admirably | 0:12:00 | 0:12:03 | |
in that she's made a style which is her own | 0:12:03 | 0:12:06 | |
and nothing like her mother's whatsoever. | 0:12:06 | 0:12:09 | |
Nice! Thanks, Dad. | 0:12:09 | 0:12:12 | |
Which is very hard to do. What I also think is fantastic | 0:12:12 | 0:12:16 | |
is that you've been able to perform as a family | 0:12:16 | 0:12:19 | |
and that's made a strong stamp. You must have watched this many times. | 0:12:19 | 0:12:22 | |
Oh, yes, the Christmas shows are really something, well, they're a cult now, aren't they? | 0:12:22 | 0:12:29 | |
I could spend the programme just listening to all the stories, | 0:12:29 | 0:12:33 | |
but we've got to do a bit of work. | 0:12:33 | 0:12:34 | |
'Well, it's not every day one gets to meet | 0:12:34 | 0:12:37 | |
'two such highly regarded musicians, | 0:12:37 | 0:12:39 | |
'but we're here to raise the money for Thea to treat her family to a night of jazz.' | 0:12:39 | 0:12:43 | |
Fortunately, Chantal is on the case and spots this rather elegant stick stand, | 0:12:43 | 0:12:49 | |
which James values at ?30 to ?50. | 0:12:49 | 0:12:52 | |
And as I love tea, I'm rather taken with this Paragon tea service, | 0:12:52 | 0:12:56 | |
which James estimates at ?40 to ?60. | 0:12:56 | 0:13:00 | |
We're gradually progressing towards our ?700 target. | 0:13:00 | 0:13:03 | |
Johnny's found something that might get us even closer. | 0:13:03 | 0:13:06 | |
Well, this is something that I came across. | 0:13:06 | 0:13:09 | |
THEY CLAP | 0:13:19 | 0:13:20 | |
That's amazing, I think it's great that you can pick up just a bit of old metal and bring it to life. | 0:13:20 | 0:13:26 | |
This isn't just any old metal! | 0:13:26 | 0:13:28 | |
A bit of old vegetable can pick up a bit of old metal! | 0:13:28 | 0:13:32 | |
So, is this something that was up at the school? | 0:13:32 | 0:13:34 | |
Well, I'm not sure exactly how it came into Thea's hands. | 0:13:34 | 0:13:38 | |
Well, it was given to me when I ran the jazz courses for you, | 0:13:38 | 0:13:42 | |
I lent it to students on the courses and now it's coming back. | 0:13:42 | 0:13:47 | |
Well, they've been around for a lot longer than you might think | 0:13:47 | 0:13:50 | |
because the original was named after Adolphus Sax, in the 1820s, 30s... | 0:13:50 | 0:13:56 | |
1840s. 1840s, yeah, 1840s, sorry. | 0:13:56 | 0:13:59 | |
That's when it was patented. | 0:13:59 | 0:14:02 | |
I can tell this is before 1950 because there's a note missing | 0:14:02 | 0:14:08 | |
that's an all modern saxophones and it's missing from here. | 0:14:08 | 0:14:12 | |
They only started putting it in on a regular basis just after World War II in fact. | 0:14:12 | 0:14:17 | |
So that's roughly when this, between the wars? | 0:14:17 | 0:14:20 | |
I would, at a guess, by the shape of it and the feel of it | 0:14:20 | 0:14:23 | |
and the insignia down there, it's probably more like in the '20s or 30s. | 0:14:23 | 0:14:28 | |
Jacqui's one of the best singers in the country, | 0:14:28 | 0:14:31 | |
if you don't do a bit of scat singing I'll be disappointed. | 0:14:31 | 0:14:34 | |
Well, we could try. | 0:14:34 | 0:14:37 | |
One, two, three, four. | 0:14:37 | 0:14:38 | |
HE PLAYS CASH IN THE ATTIC THEME TUNE | 0:14:38 | 0:14:41 | |
That's all we know of it! | 0:14:42 | 0:14:44 | |
Our theme tune will never be the same again! | 0:14:46 | 0:14:48 | |
It's got the Dankworth stamp. | 0:14:48 | 0:14:50 | |
I hope I get an arranger's credit for that. | 0:14:50 | 0:14:54 | |
Will it sell well at auction? | 0:14:54 | 0:14:55 | |
The very fact that it's very much like the original one played | 0:14:55 | 0:14:59 | |
by Charlie Parker gives it an extra impetus to the jazz lovers, I think. | 0:14:59 | 0:15:03 | |
James, we can verify, as performed by Johnny Dankworth. | 0:15:03 | 0:15:06 | |
I think it's got sax appeal, it has. | 0:15:06 | 0:15:08 | |
If we put an estimate of ?150-250 on it and see what we get, | 0:15:11 | 0:15:17 | |
but I think, Thea, you've got to think, | 0:15:17 | 0:15:19 | |
"Do I need to put a reserve price on this?" | 0:15:19 | 0:15:21 | |
Yes, I think ?250 would be right, it'd be fair. | 0:15:21 | 0:15:24 | |
Why don't we just book Johnny and Jacqui to come along on auction day | 0:15:24 | 0:15:28 | |
and it'll sell for thousands?! | 0:15:28 | 0:15:31 | |
What an unexpected treat to have a rendition of our theme tune by the great Johnny Dankworth. | 0:15:37 | 0:15:43 | |
And what a great find - with such provenance, this deserves to do well at auction. | 0:15:43 | 0:15:47 | |
There's really plenty for us to see in this house, | 0:15:47 | 0:15:49 | |
and Thea's family heirlooms just seem to keep on coming. | 0:15:49 | 0:15:54 | |
Thea? Where did this handsome piece of furniture come from? | 0:15:54 | 0:15:59 | |
That was one of my mother-in-law's favourite pieces of furniture. | 0:15:59 | 0:16:02 | |
OK, so it's mother-in-law's and you're desperate to get rid of it! | 0:16:02 | 0:16:07 | |
Well, I've enjoyed having it, and I think now it's just time. | 0:16:07 | 0:16:10 | |
I'm downsizing, I've got to let it go. | 0:16:10 | 0:16:12 | |
This is a display cabinet, it's made to be filled up with things to look at, | 0:16:12 | 0:16:17 | |
and in a way that's typical of its era, | 0:16:17 | 0:16:19 | |
because it's late Victorian, Edwardian, so round about 1900 in date. | 0:16:19 | 0:16:24 | |
Was it for showing off what they'd got? | 0:16:24 | 0:16:26 | |
Absolutely! Forget the car in the drive. | 0:16:26 | 0:16:28 | |
In those days it was, "Look at all our wonderful bits of silver and our | 0:16:28 | 0:16:32 | |
"tea service that we treasure", and that's how you did it. Yeah. | 0:16:32 | 0:16:35 | |
It's like a sort of status symbol of the time. | 0:16:35 | 0:16:38 | |
It's made of mahogany, and like a lot of | 0:16:38 | 0:16:40 | |
Victorian-Edwardian furniture, it's a mishmash of lots of earlier styles. | 0:16:40 | 0:16:45 | |
So we've got a bit of Adam, Robert Adam in here with these ribbon-tied bell flowers, | 0:16:45 | 0:16:50 | |
we've got Chinese Chippendale along the top here with this blind fret, | 0:16:50 | 0:16:55 | |
and then we've got a bit of Gothic | 0:16:55 | 0:16:56 | |
with these little the lancet-arched glazed display doors. | 0:16:56 | 0:17:00 | |
In many ways, bits of furniture like this are a lot cheaper than they used to be, | 0:17:00 | 0:17:05 | |
because people are going through that minimalist phase, less is more and things like that. | 0:17:05 | 0:17:10 | |
So, I think that if we sent this off to auction and put quite a mean estimate | 0:17:10 | 0:17:15 | |
of say ?50-100 on it and then let's see it go on and make more than that. | 0:17:15 | 0:17:20 | |
Right. I think that's where we should be. | 0:17:20 | 0:17:22 | |
But one piece of furniture is never enough, so lead on and let's find some more. | 0:17:22 | 0:17:26 | |
So it's off to auction for another bulky piece of furniture. | 0:17:26 | 0:17:32 | |
Our mission, of course, is to downsize, and it's really building momentum. | 0:17:32 | 0:17:36 | |
Chantal discovers a collection of Art Deco Minton china, valued at ?20-30. | 0:17:36 | 0:17:41 | |
We seem to be doing sterling work on the antiques front, | 0:17:41 | 0:17:44 | |
but I'm keen to find out more about Thea's love of music. | 0:17:44 | 0:17:47 | |
You're about to change your life quite dramatically, so what has brought that about? | 0:17:47 | 0:17:51 | |
Well, I'm now a pensioner! | 0:17:51 | 0:17:55 | |
Ssh, don't say the word. | 0:17:55 | 0:17:56 | |
I don't want to see the bus pass, not for one second. | 0:17:56 | 0:17:59 | |
Don't get that in Milton Keynes. And I've got a house in Florida, | 0:17:59 | 0:18:03 | |
which is lovely, because I'm going to, hopefully, now I'm downsizing, | 0:18:03 | 0:18:07 | |
be able to spend a bit more time there. | 0:18:07 | 0:18:09 | |
How do you feel about Mum selling this house and moving away? | 0:18:09 | 0:18:12 | |
She's not going too far, it's only about 20 minutes away, | 0:18:12 | 0:18:15 | |
so we'll still be able to see each other regularly. | 0:18:15 | 0:18:18 | |
So tell me about your upbringing and particularly training in music. | 0:18:18 | 0:18:22 | |
Did you perform professionally? | 0:18:22 | 0:18:23 | |
Yes, yes. I did mainly oratorio and recital work, | 0:18:23 | 0:18:27 | |
and I suppose it culminated with a recital at the Purcell Room in London. | 0:18:27 | 0:18:32 | |
And then I think I just decided, | 0:18:32 | 0:18:35 | |
with the responsibilities of children, | 0:18:35 | 0:18:38 | |
it was better to channel myself in other directions. | 0:18:38 | 0:18:41 | |
So she gave it all up for you, Chantal, and your brother. | 0:18:41 | 0:18:44 | |
What can I say? Exactly! | 0:18:44 | 0:18:45 | |
So you gave it up to look after your children, went other directions. | 0:18:45 | 0:18:49 | |
One was, of course, was The Stables, | 0:18:49 | 0:18:52 | |
Cleo Laine and Johnny Dankworth have this marvellous school where they | 0:18:52 | 0:18:55 | |
encourage young people and they have their theatre there. | 0:18:55 | 0:18:58 | |
I ran their education courses for something like 21 years, | 0:18:58 | 0:19:02 | |
and again, it opened lots of doors for me. | 0:19:02 | 0:19:05 | |
It was absolutely great... | 0:19:05 | 0:19:07 | |
feeling and atmosphere there, and I met some fascinating people. | 0:19:07 | 0:19:11 | |
Don't think you can escape into rummaging for items for the auction | 0:19:11 | 0:19:15 | |
without letting me hearing your voice. | 0:19:15 | 0:19:17 | |
# The waters of time come between him and me | 0:19:17 | 0:19:24 | |
# And here I will stand with a tear in my eye | 0:19:24 | 0:19:29 | |
# Oh, sighing and sighing my sweetheart to see. # | 0:19:29 | 0:19:37 | |
Oh, lovely! | 0:19:37 | 0:19:40 | |
Your turn now, Chantal. No, no way! | 0:19:40 | 0:19:43 | |
I don't think any amount of persuading would persuade Chantal to belt out a tune. | 0:19:44 | 0:19:48 | |
We'll save her talents for unearthing valuables, | 0:19:48 | 0:19:51 | |
which is just what James does when he spots this oak cabinet top. | 0:19:51 | 0:19:55 | |
He values it at between ?40 and ?70. | 0:19:55 | 0:19:58 | |
And I'm hoping that I've found something that might also be of interest. | 0:19:58 | 0:20:02 | |
Here, look what I've found. | 0:20:02 | 0:20:03 | |
A rather interesting gold coin, which looks like it's been a necklace before. | 0:20:03 | 0:20:07 | |
Yes, it was given to me by a friend in France, it's a French coin. | 0:20:07 | 0:20:11 | |
I think, James, you might be very interested in us. | 0:20:11 | 0:20:14 | |
I can tell that's made of gold, that's got a nice weight to it. | 0:20:14 | 0:20:18 | |
That's quite a rare coin, it's quite unusual. | 0:20:18 | 0:20:20 | |
So this is Louis Napoleon, who was the first Napoleon's nephew. | 0:20:20 | 0:20:25 | |
On the other side we've got | 0:20:25 | 0:20:28 | |
20 Fr, so that's a gold 20 Franc piece, | 0:20:28 | 0:20:32 | |
the French royal coat of arms and "Empire Francais" | 0:20:32 | 0:20:36 | |
and dated 1868. | 0:20:36 | 0:20:37 | |
Now, the slightly bad news is the fact that someone's mounted it up | 0:20:37 | 0:20:41 | |
means it's taken away a lot of its value as a coin. | 0:20:41 | 0:20:46 | |
The good news is that gold is at an all-time high at the moment. | 0:20:46 | 0:20:50 | |
It's getting on for $950 an ounce. | 0:20:50 | 0:20:54 | |
Gosh! That is more than a week's pocket money. | 0:20:54 | 0:20:57 | |
I think Chantal has decided maybe she'd like to keep that. | 0:20:57 | 0:21:00 | |
You weren't interested in this before now, were you? I am now! | 0:21:00 | 0:21:03 | |
What do we think it's worth, then, James? | 0:21:03 | 0:21:05 | |
Well, I'm gonna say between ?100 and ?200. | 0:21:05 | 0:21:08 | |
Wow! Are you absolutely sure you want to part with it? | 0:21:08 | 0:21:11 | |
Cos it is a very personal gift. | 0:21:11 | 0:21:12 | |
Yes, I'll have to think about it, especially | 0:21:12 | 0:21:15 | |
now I've heard the detail, and it's fascinating, the things that James has told us. | 0:21:15 | 0:21:19 | |
So, this is our last find of the day, | 0:21:19 | 0:21:21 | |
I'm sure you'd like to know how much you've raised, potentially anyway. | 0:21:21 | 0:21:25 | |
After such a lovely day, that doesn't seem important, but go on. | 0:21:25 | 0:21:28 | |
Isn't that lovely? | 0:21:28 | 0:21:30 | |
About my person I have a bit of paper that tells me exactly what you may have. | 0:21:30 | 0:21:36 | |
Now, all things crossed, everything crossed, you should raise ?650. | 0:21:36 | 0:21:43 | |
However...if you add the gold coin that you've be wearing | 0:21:43 | 0:21:47 | |
around your neck occasionally, you could make ?750 or indeed ?850. | 0:21:47 | 0:21:53 | |
Yes. Well, that's been worth getting up early for. | 0:21:53 | 0:21:57 | |
That's a good rummage and a good raid in your house. | 0:21:57 | 0:22:00 | |
Absolutely, a great variety. | 0:22:00 | 0:22:01 | |
Well, we've had a terrific day helping Thea and Chantal | 0:22:01 | 0:22:05 | |
downsize their home, and we've taken in some music and, of course, a bit of singing along the way. | 0:22:05 | 0:22:10 | |
So, heading off to auction we have... | 0:22:10 | 0:22:12 | |
A Victorian dresser that's been passed down through the family and valued at a very reasonable ?100, | 0:22:12 | 0:22:20 | |
an Italian accordion from the 1950s valued at ?80-100, | 0:22:20 | 0:22:25 | |
the American saxophone, as demonstrated by the | 0:22:25 | 0:22:28 | |
one and only Johnny Dankworth and carrying a reserve of ?250. | 0:22:28 | 0:22:33 | |
But will the gold coin of Napoleon III make it to auction? | 0:22:33 | 0:22:37 | |
It's got an estimate of ?100-200, but the question is, | 0:22:37 | 0:22:42 | |
will Thea be able to part with it? | 0:22:42 | 0:22:45 | |
Still to come on Cash In The Attic, the jazz lovers experience the highs at auction. | 0:22:45 | 0:22:49 | |
I'll give you a kiss this time... Fantastic! | 0:22:49 | 0:22:52 | |
But not everything goes quite according to plan. | 0:22:52 | 0:22:55 | |
No! No, no, no, no! | 0:22:56 | 0:22:58 | |
But will we have reached our target when the final hammer falls? | 0:22:58 | 0:23:02 | |
Now, today, I'm drumming up support for Thea Cooper and her daughter Chantal. | 0:23:07 | 0:23:12 | |
It's been a few weeks since we searched their home | 0:23:12 | 0:23:14 | |
in Milton Keynes for antiques and collectibles | 0:23:14 | 0:23:17 | |
to sell here at auction, and today I've come to the auction rooms of Shouler Son in Melton Mowbray. | 0:23:17 | 0:23:23 | |
The auction house is open for business, | 0:23:23 | 0:23:25 | |
and there's no shortage of potential bidders. | 0:23:25 | 0:23:28 | |
Remember, Thea's planning on treating her family to a night of jazz, | 0:23:28 | 0:23:32 | |
and with some great items up for grabs, | 0:23:32 | 0:23:35 | |
we've got high hopes that we'll be able to achieve our target. | 0:23:35 | 0:23:38 | |
James, that's what I love about you, studying your catalogue already. | 0:23:41 | 0:23:45 | |
Studying form! I know! | 0:23:45 | 0:23:46 | |
We're about to meet Thea and Chantal, but didn't we have a great day at Milton Keynes? | 0:23:46 | 0:23:51 | |
It's not every day somebody like Johnny Dankworth | 0:23:51 | 0:23:54 | |
drops by to play the instruments we're going to auction. | 0:23:54 | 0:23:57 | |
Do you know, Gloria, I'd almost forgotten we were there | 0:23:57 | 0:24:00 | |
to do the valuing and getting things together. | 0:24:00 | 0:24:02 | |
An interesting mix of things to be auctioned off today. | 0:24:02 | 0:24:05 | |
We have a lot of instruments, | 0:24:05 | 0:24:06 | |
so let's just hope in this general auction | 0:24:06 | 0:24:10 | |
that there are people who will love these things. | 0:24:10 | 0:24:12 | |
Thea had that gold coin that you liked. | 0:24:12 | 0:24:14 | |
I wonder, will she bring it? | 0:24:14 | 0:24:16 | |
With an estimate of ?100 plus, that's quite a chunk of our total, so I hope she has! | 0:24:16 | 0:24:21 | |
Chantal and Thea probably have arrived by now, so shall we go and meet them? | 0:24:21 | 0:24:26 | |
We're counting on the musical instruments achieving good prices | 0:24:26 | 0:24:30 | |
if we're going to reach our ?700 target, so let's hope that Thea and Chantal | 0:24:30 | 0:24:34 | |
aren't the only music fans in the auction room. | 0:24:34 | 0:24:36 | |
Good morning. All systems go! | 0:24:36 | 0:24:40 | |
You look very cheery, bright. Are you full of anticipation today? | 0:24:40 | 0:24:44 | |
Oh, yes. Lovely. I'm really enjoying it already. | 0:24:44 | 0:24:46 | |
Good. And, Chantal, this is your first auction? | 0:24:46 | 0:24:49 | |
It's all new to me, so I'm excited to see what happens. | 0:24:49 | 0:24:52 | |
Now, the big question is, did you bring the gold coin? | 0:24:52 | 0:24:55 | |
Ta-da! | 0:24:55 | 0:24:57 | |
You did! What was the deciding factor in letting it go? | 0:24:57 | 0:25:00 | |
I didn't think I needed it. | 0:25:00 | 0:25:02 | |
I don't think I'll wear it again, so... | 0:25:02 | 0:25:05 | |
I need the money more than the coin. | 0:25:05 | 0:25:07 | |
Thea, we've got reserves on one or two things. | 0:25:07 | 0:25:09 | |
Yes, I've put a reserve on the saxophone. | 0:25:09 | 0:25:12 | |
That's 250? | 0:25:12 | 0:25:13 | |
And I thought about my clarinet and I thought, | 0:25:13 | 0:25:16 | |
"Well, normally if you buy a child a clarinet, | 0:25:16 | 0:25:20 | |
"just a cheap one to see how it's going to go, it's ?200." | 0:25:20 | 0:25:24 | |
So, I've put a reserve of 100 on that. | 0:25:24 | 0:25:26 | |
We've got the accordion, as well. | 0:25:26 | 0:25:29 | |
Do you have high hopes for this auction today? | 0:25:29 | 0:25:31 | |
I do. I just peeked in there and there's a full room, lots of people, which is what we want. | 0:25:31 | 0:25:36 | |
Well, I think, we should creep in. | 0:25:36 | 0:25:38 | |
Yes. Because it's under way and we've got a lot of work to do. Yeah. | 0:25:38 | 0:25:42 | |
A relieved James is feeling optimistic about the auction. | 0:25:45 | 0:25:49 | |
And that's a view shared by today's auctioneer, Ben Shouler. | 0:25:49 | 0:25:54 | |
There's a good buzz at the moment, | 0:25:54 | 0:25:56 | |
so I'm pretty sure that we'll do well for her, do well for the Coopers. | 0:25:56 | 0:26:00 | |
If you're planning on heading to your local auction house, | 0:26:00 | 0:26:04 | |
be aware that commission and possibly other charges will be added to your bill. | 0:26:04 | 0:26:08 | |
Lot 154, now, is the sundry silver and EP ware. | 0:26:08 | 0:26:13 | |
Nice little tray for you, there. | 0:26:13 | 0:26:14 | |
Yes, our first lot to go under the hammer is the silverware, valued at 60 - ?100. | 0:26:14 | 0:26:21 | |
Is there usually an interest in these more trinket-y kind of objects? | 0:26:21 | 0:26:25 | |
The good news is that the silver price, the melt price, is the highest it's been for years. | 0:26:25 | 0:26:30 | |
The bad news is some of those more Victorian things where they're quite | 0:26:30 | 0:26:33 | |
twiddly and ornate, not quite as fashionable as they used to be. | 0:26:33 | 0:26:37 | |
Now, here's your item coming up. | 0:26:37 | 0:26:40 | |
Where's it gonna be? The guide's ?60. ?40, to get on, then? | 0:26:40 | 0:26:44 | |
At 30, sir? | 0:26:44 | 0:26:45 | |
20 bid, 20. We've got 20. | 0:26:45 | 0:26:48 | |
A third of where we want to be! | 0:26:48 | 0:26:50 | |
Five? Eight? 30? Two? Five? | 0:26:50 | 0:26:53 | |
40? ?40, on my left. | 0:26:53 | 0:26:56 | |
At ?40. 42, 45, 48, 50, five? | 0:26:56 | 0:27:00 | |
55, far left. 60, down here. 65, 70. | 0:27:00 | 0:27:04 | |
?70, sitting down. At ?70, at ?70. | 0:27:04 | 0:27:08 | |
Anybody else? At ?70. 125. | 0:27:08 | 0:27:13 | |
Well done, brilliant. I'll give you a kiss this time. | 0:27:13 | 0:27:16 | |
Fantastic! That's encouraging, isn't it? | 0:27:16 | 0:27:19 | |
Yes, it is. She's so relieved, her body... | 0:27:19 | 0:27:21 | |
Her body went like this, like relief. | 0:27:21 | 0:27:24 | |
What a terrific start. | 0:27:24 | 0:27:26 | |
?70 - that's bang in the middle of James's estimate. | 0:27:26 | 0:27:30 | |
And hopefully a good sign of things to come. | 0:27:30 | 0:27:33 | |
Next up, it's a complete six piece Paragon country lane tea set. | 0:27:33 | 0:27:37 | |
25 pieces, so a lot. It's very pretty, isn't it? | 0:27:37 | 0:27:40 | |
It's lovely, and unused, practically. | 0:27:40 | 0:27:42 | |
Surely this has got to be worth its estimate of ?40? | 0:27:42 | 0:27:46 | |
Who's got me ?40? ?40, full tea set? | 0:27:46 | 0:27:49 | |
?20? Oh, no! For goodness' sake! | 0:27:49 | 0:27:53 | |
?10? ?5, ?5, ?5, at ?5? | 0:27:53 | 0:27:58 | |
?6, ?6. ?6 only, at ?6. | 0:27:58 | 0:28:01 | |
?6, ?6 only, at ?6? At six. Eight? | 0:28:01 | 0:28:03 | |
?8. Eight. 10? ?10, ?10, ?10. At 12? | 0:28:03 | 0:28:07 | |
At 12. It's low bidding here. | 0:28:07 | 0:28:09 | |
At ?18, now. At ?18. 20? Please. | 0:28:09 | 0:28:14 | |
At ?20, in the middle. No! | 0:28:14 | 0:28:16 | |
At ?20. Everybody else done at 20? | 0:28:16 | 0:28:20 | |
All done at ?20. You're joking. | 0:28:20 | 0:28:24 | |
That is awful, awful. | 0:28:24 | 0:28:26 | |
That's under a pound a piece. Ridiculous! | 0:28:26 | 0:28:30 | |
That is a disappointment, ?20 short of its lowest estimate. | 0:28:30 | 0:28:33 | |
Not the result we were after, | 0:28:33 | 0:28:36 | |
but we must be positive. | 0:28:36 | 0:28:38 | |
Other items in this sale are selling well, and we have some great lots still to come. | 0:28:38 | 0:28:43 | |
Lot 195, now, is the gold Napoleon III 20 franc pendant. 1868. | 0:28:43 | 0:28:50 | |
Thea had to think long and hard about bringing this item to the sale. | 0:28:50 | 0:28:54 | |
I hope it performs well for her. | 0:28:54 | 0:28:56 | |
We've got an estimate upwards of ?100, but let's not forget gold is at an all-time high at the moment. | 0:28:56 | 0:29:02 | |
And that's what counts, at the end of the day. | 0:29:02 | 0:29:04 | |
Where are we gonna start, for it, then? 50, to get on? | 0:29:04 | 0:29:07 | |
40, thank you, sir. ?40, ?40. | 0:29:07 | 0:29:10 | |
Two, 5, 8? | 0:29:10 | 0:29:12 | |
50? Five? 60? Five? 70? Five? Yes! | 0:29:12 | 0:29:17 | |
75, there. At ?75. 80, fresh bidder. | 0:29:17 | 0:29:21 | |
?80, ?80? 85? 90? | 0:29:21 | 0:29:24 | |
95? 100? ?100? At ?100, at ?100. ?100. | 0:29:24 | 0:29:31 | |
All out, right now? ?100. | 0:29:31 | 0:29:33 | |
Anybody else? | 0:29:33 | 0:29:34 | |
100... | 0:29:34 | 0:29:35 | |
You made it, ?100. | 0:29:35 | 0:29:38 | |
That's good, isn't it? James is wrung out! | 0:29:38 | 0:29:43 | |
?100, what a relief. That's just the result we needed for team morale. | 0:29:43 | 0:29:48 | |
I was really pleased with the price of the gold coin. | 0:29:48 | 0:29:51 | |
I think it's worth it. | 0:29:51 | 0:29:53 | |
I would have been very disappointed | 0:29:53 | 0:29:55 | |
if it had gone for less than ?100, so that's good. | 0:29:55 | 0:29:59 | |
Let's hope our luck continues with the Poole pottery vase. | 0:29:59 | 0:30:03 | |
I can't remember where you got it. Just remind me. | 0:30:03 | 0:30:06 | |
I went up to Aberdeen to see my cousin last summer, and I bought it in a silent auction for ?3.50. | 0:30:06 | 0:30:11 | |
So anything over that'll be a profit. | 0:30:11 | 0:30:14 | |
?20, and start me? ?10, ?10, ?10, 10. 12? 12? 15? | 0:30:14 | 0:30:18 | |
This is very low. 18, ?18? 20? | 0:30:18 | 0:30:21 | |
At 22, 22, 22, now? At 22. | 0:30:21 | 0:30:25 | |
No, don't. Come on! | 0:30:25 | 0:30:27 | |
At five, 25, now. At 25, at 25. He's stopped. | 0:30:27 | 0:30:30 | |
At 25, there. At ?25, all done at 25? | 0:30:30 | 0:30:38 | |
Actually, not as much, but still a profit for you. | 0:30:38 | 0:30:42 | |
I think we should be pretty satisfied with that. | 0:30:42 | 0:30:45 | |
A good profit on the ?3.50 Thea paid for it less than a year ago. | 0:30:45 | 0:30:49 | |
Next up, a collection of Art Deco Minton china. | 0:30:49 | 0:30:52 | |
And I'm bid 12? ?12, now. ?12. | 0:30:52 | 0:30:55 | |
Fingers crossed this time. ?12, only? 15? 18? | 0:30:55 | 0:31:00 | |
20? Two? Five? | 0:31:00 | 0:31:02 | |
25? | 0:31:02 | 0:31:05 | |
25, in the middle. 28. | 0:31:05 | 0:31:07 | |
They're bidding all over the place. Yes. | 0:31:07 | 0:31:10 | |
?30 in the middle. All done at ?30? | 0:31:10 | 0:31:15 | |
Wow! That's a lovely little surprise, isn't it? | 0:31:15 | 0:31:17 | |
?30, top estimate - a great result in | 0:31:17 | 0:31:20 | |
advance of the first of our musical instruments to come up for sale. | 0:31:20 | 0:31:25 | |
Right, lot 421, now, is the Bousy Hawkes model 77 clarinet. | 0:31:25 | 0:31:30 | |
We have to hope that there are some | 0:31:30 | 0:31:32 | |
budding musicians in the auction room today for this to reach its ?100 reserve. | 0:31:32 | 0:31:37 | |
Why did you decide to sell something so personal? | 0:31:37 | 0:31:40 | |
Well, nobody's interested in it. | 0:31:40 | 0:31:43 | |
Aren't you interested in playing it, Chantal? I tried it once. | 0:31:43 | 0:31:46 | |
I didn't pick it up. Once was enough, eh?! | 0:31:46 | 0:31:48 | |
She played the flute. Have we ?100, anywhere? 100? 70? | 0:31:48 | 0:31:53 | |
50, bid. 50, 50, 50. | 0:31:53 | 0:31:54 | |
At ?50, ?50, and five? At 55. 60? | 0:31:54 | 0:31:57 | |
Five? 70? At ?70, bid at ?70. | 0:31:57 | 0:32:03 | |
Last chance, then. ?70? Anyone else gonna come in at ?70? | 0:32:03 | 0:32:05 | |
Sorry, can't do that, I'm afraid. | 0:32:05 | 0:32:07 | |
It wasn't meant to leave you. | 0:32:07 | 0:32:09 | |
Well, with bids failing to reach the ?100 reserve, | 0:32:09 | 0:32:13 | |
the clarinet goes home with Thea. | 0:32:13 | 0:32:16 | |
The bidders haven't been wooed by our first musical instrument, which isn't a good sign, | 0:32:16 | 0:32:20 | |
as next up it's the saxophone, demonstrated by the great Johnny Dankworth. | 0:32:20 | 0:32:25 | |
We know it sounds good, we know it still works, and to know that John's | 0:32:25 | 0:32:29 | |
actually played it himself makes it particularly special. | 0:32:29 | 0:32:34 | |
Been played by the famous gentlemen on our left - not him, that one there - Johnny Dankworth. | 0:32:34 | 0:32:39 | |
There's a lot of interest in it, and a few phone bids have come in as well. | 0:32:39 | 0:32:42 | |
That would be lovely. | 0:32:42 | 0:32:44 | |
We've got a reserve, we've got a reserve of 250, which I think was very wise to put on. | 0:32:44 | 0:32:48 | |
?300? This is it! I'm gonna hold on to you this time! | 0:32:48 | 0:32:53 | |
200? At ?100, now, at ?100? | 0:32:53 | 0:32:58 | |
We'll start somewhere. 110, 120. | 0:32:58 | 0:33:02 | |
120? 120. 130? 130. 140? 140. 150. | 0:33:02 | 0:33:10 | |
It's like ascending the scale. | 0:33:10 | 0:33:12 | |
190? 200? 200. | 0:33:12 | 0:33:16 | |
Got to get to 50. 220? 220. 240? 240. | 0:33:16 | 0:33:21 | |
260, sir? 240, bid. 260. | 0:33:21 | 0:33:25 | |
Yes! Yep, we're there. | 0:33:25 | 0:33:28 | |
At ?260, at 260. | 0:33:28 | 0:33:30 | |
280, on the phone again at 280. 300. | 0:33:30 | 0:33:34 | |
At ?300, now. At ?300. At ?300. | 0:33:34 | 0:33:37 | |
It's up to you. At ?300. 320. | 0:33:37 | 0:33:40 | |
At ?320, now. | 0:33:40 | 0:33:42 | |
Anybody else in the room? Otherwise, down at 320. | 0:33:42 | 0:33:47 | |
Well done! Triumph! | 0:33:47 | 0:33:49 | |
Oh, Johnny will be pleased, won't he? | 0:33:49 | 0:33:51 | |
'Surpassing his estimate and Thea's reserve, the saxophone is a hit with | 0:33:51 | 0:33:55 | |
'our bidders. What a mega relief!' | 0:33:55 | 0:33:57 | |
I'm absolutely delighted that the saxophone went for ?320, and I hope that the person who's bought it | 0:33:57 | 0:34:05 | |
is going to play it. 'Well said, but what a day. | 0:34:05 | 0:34:08 | |
'Some items have exceeded our expectations, whilst others have fallen short of their estimates. | 0:34:08 | 0:34:14 | |
'Time, though, for me to do my calculations and work out just how much we've raised so far.' | 0:34:14 | 0:34:19 | |
We're about halfway through the auction. Are you finding it stressful or enjoying it? | 0:34:19 | 0:34:23 | |
It's a little bit stressful, but having a lovely time. | 0:34:23 | 0:34:26 | |
Well, I have to tell you, and I think you'll be pleased, | 0:34:26 | 0:34:29 | |
at the half-time mark, you are up ?565. | 0:34:29 | 0:34:35 | |
That's not bad, is it? | 0:34:35 | 0:34:37 | |
565, and you're only looking for 700. | 0:34:37 | 0:34:40 | |
And you still have items to come, so well done. | 0:34:40 | 0:34:42 | |
Second half, it's gonna be a breeze! | 0:34:42 | 0:34:44 | |
Wee buns, as we'd say in Northern Ireland. Easy. | 0:34:44 | 0:34:48 | |
Do you want to come with me? 'There's nothing like a wee bun. | 0:34:48 | 0:34:52 | |
'We might be able to take a breather but there's no rest for the bidders, | 0:34:52 | 0:34:56 | |
'who are very keen to check out this afternoon's lots. | 0:34:56 | 0:35:00 | |
'There's always so much to see at auctions | 0:35:00 | 0:35:03 | |
'and James spots something he's taken quite a shine to.' | 0:35:03 | 0:35:07 | |
Here is something that has a local interest. It's a wonderful engraving. | 0:35:07 | 0:35:12 | |
It's titled The Melton Breakfast. | 0:35:12 | 0:35:15 | |
Melton Mowbray is the meeting point for three of the most historic hunts, | 0:35:15 | 0:35:22 | |
the Corn, the Cottesmore and the Beaver. | 0:35:22 | 0:35:25 | |
These gentlemen, before they went out for a hard day's hunting, | 0:35:25 | 0:35:29 | |
there was nothing they enjoyed more than sitting down to a really good hearty breakfast. | 0:35:29 | 0:35:33 | |
Here they are, attired in their hunt outfits. This was painted by Sir Francis Grant | 0:35:33 | 0:35:38 | |
who has a memorial in the town here. | 0:35:38 | 0:35:42 | |
Good artist, local interest, we are looking at around ?150. I like it. | 0:35:42 | 0:35:48 | |
'Let's hope the bidders are as keen on our remaining lots | 0:35:48 | 0:35:51 | |
'as James is on that painting. | 0:35:51 | 0:35:54 | |
'We retake our position in the auction room in preparation of our next lot - The 1950s accordion. | 0:35:54 | 0:36:00 | |
'Fortunately for us, James has so far refrained from playing it!' | 0:36:00 | 0:36:03 | |
Remind us what is special about it. | 0:36:03 | 0:36:07 | |
Well, it's by a great maker, Galanti. | 0:36:07 | 0:36:10 | |
We have ?80-100. I will volunteer to play this if people don't bid for it! | 0:36:10 | 0:36:15 | |
Do you think you could clear this auction room in one minute?! ?50. | 0:36:15 | 0:36:20 | |
It is a stunning thing. | 0:36:20 | 0:36:22 | |
Where we gonna be? ?40? | 0:36:22 | 0:36:25 | |
Oh, no! Half price! | 0:36:25 | 0:36:27 | |
?20. | 0:36:27 | 0:36:29 | |
Not for 20. Anybody moving? ?20. | 0:36:29 | 0:36:34 | |
20 bid. Thank you. At 20 bid only. | 0:36:34 | 0:36:35 | |
20 bid. | 0:36:35 | 0:36:37 | |
That would be a real giveaway. | 0:36:37 | 0:36:40 | |
At 22. 25, 25. | 0:36:40 | 0:36:45 | |
The piano accordion, 25. | 0:36:45 | 0:36:46 | |
No, no, no! | 0:36:46 | 0:36:48 | |
For ?25. Lot 164. | 0:36:48 | 0:36:53 | |
'?25, that's a real disappointment, | 0:36:53 | 0:36:55 | |
'selling a long way short of its lowest estimate. | 0:36:55 | 0:36:59 | |
'Let's hope we have better luck with our next item. | 0:36:59 | 0:37:02 | |
'The mahogany display cabinet, estimate ?50-100.' | 0:37:02 | 0:37:06 | |
Looking forward to seeing how my grandma's china cabinet does. | 0:37:06 | 0:37:10 | |
It's been in the family a long time. | 0:37:10 | 0:37:12 | |
It will be interesting to see how it does. | 0:37:12 | 0:37:14 | |
100 for that one. 50, start me. | 0:37:14 | 0:37:17 | |
50. ?30, ?30. | 0:37:17 | 0:37:21 | |
At ?30 only. ?30, ?30. | 0:37:21 | 0:37:24 | |
?30, ?30 now, ?30, ?30 only. | 0:37:24 | 0:37:27 | |
32. 32. 5, 35. | 0:37:28 | 0:37:30 | |
It will go up a bit. 42, 42? At 42. | 0:37:30 | 0:37:35 | |
No! At 42... | 0:37:35 | 0:37:38 | |
That was cheap by any standards. | 0:37:41 | 0:37:45 | |
'We are really determined this run of bad luck | 0:37:45 | 0:37:47 | |
'is not going to get us down. | 0:37:47 | 0:37:49 | |
'We've made just over ?630, | 0:37:49 | 0:37:51 | |
'so only ?70 to reach Thea's target with three lots still to go. | 0:37:51 | 0:37:55 | |
'It really could go either way, | 0:37:55 | 0:37:58 | |
'which doesn't fill us with confidence for our next item. | 0:37:58 | 0:38:01 | |
'It's an oak cabinet top, estimate ?40.' | 0:38:01 | 0:38:05 | |
At ?10, 10, I have. Disappointing. | 0:38:05 | 0:38:08 | |
It's got to go. Away done? | 0:38:08 | 0:38:10 | |
'Ooh, dear. ?10. | 0:38:10 | 0:38:12 | |
'I really hope the bidders will be more impressed with our next lot.' | 0:38:12 | 0:38:16 | |
So next up is the art nouveau stick stand. | 0:38:16 | 0:38:18 | |
We've got ?30-40 on it. Where did this come from? | 0:38:18 | 0:38:21 | |
It was my mother's. | 0:38:21 | 0:38:23 | |
She used to keep potted plants in it. | 0:38:23 | 0:38:26 | |
Start with 10 bid. | 0:38:26 | 0:38:27 | |
15. 18. 20. Wow! | 0:38:27 | 0:38:30 | |
At least they're bidding. | 0:38:30 | 0:38:33 | |
?30, ?30, ?30. At ?30 now. | 0:38:33 | 0:38:36 | |
That's good. Terrific, isn't it? | 0:38:36 | 0:38:40 | |
?30. On the estimate. It's all right. | 0:38:40 | 0:38:42 | |
'That's more like it. ?30 and bang on the estimate. | 0:38:42 | 0:38:46 | |
'Hopefully that means our luck has turned. | 0:38:46 | 0:38:49 | |
'Next up is our biggest lot of the day.' | 0:38:49 | 0:38:52 | |
The carved oak sideboard. | 0:38:52 | 0:38:55 | |
The big one at the back. 'Thea's aim was always to downsize so we | 0:38:55 | 0:38:58 | |
'really can't afford for this hunk of furniture to fail to sell. | 0:38:58 | 0:39:02 | |
'We're after ?100.' | 0:39:02 | 0:39:04 | |
What you think about your grandmother's sideboard being sold? | 0:39:04 | 0:39:07 | |
It is the right time. It's amazing the room it has left in the house. | 0:39:07 | 0:39:11 | |
The house looks different. 150. | 0:39:11 | 0:39:14 | |
?100. | 0:39:15 | 0:39:17 | |
?100. | 0:39:19 | 0:39:22 | |
?80, at ?80. ?80. 85? | 0:39:22 | 0:39:26 | |
At 85. At 85. At 85. At 85. At 85. At 85. | 0:39:26 | 0:39:30 | |
90. Five. 95. 100. | 0:39:30 | 0:39:34 | |
Let's make the big 100. 110 now. | 0:39:34 | 0:39:37 | |
120. 30. 140. | 0:39:37 | 0:39:41 | |
150. | 0:39:41 | 0:39:42 | |
At 150. Can we squeeze another? | 0:39:42 | 0:39:47 | |
160. 160. At 160. | 0:39:47 | 0:39:50 | |
70? At 170. | 0:39:51 | 0:39:53 | |
All done at 170. | 0:39:53 | 0:39:56 | |
That's all right. | 0:39:56 | 0:39:58 | |
'?170 - a great result selling at ?30 below its top estimate. | 0:40:00 | 0:40:06 | |
'But most importantly, it's a huge piece of furniture | 0:40:06 | 0:40:08 | |
'Thea doesn't need to take with her to her new home. | 0:40:08 | 0:40:12 | |
'That's how we like to finish an auction.' | 0:40:12 | 0:40:14 | |
Would you like to know your total? I think that might be an idea. | 0:40:14 | 0:40:18 | |
Right. You wanted ?700 to have a good night out. | 0:40:18 | 0:40:22 | |
And to help you downsize into a new home. | 0:40:22 | 0:40:25 | |
It's not ?700. | 0:40:25 | 0:40:28 | |
It is 842! | 0:40:28 | 0:40:31 | |
Oh, wow! That's fantastic! Isn't that good? | 0:40:31 | 0:40:34 | |
I would never have realised. That's what I call a good night out. | 0:40:34 | 0:40:38 | |
I don't think it will be ?800 worth, I tell you! | 0:40:38 | 0:40:41 | |
That will be a heck of a hangover. | 0:40:41 | 0:40:43 | |
THEY CHUCKLE | 0:40:43 | 0:40:45 | |
It's been a couple of weeks now since the auction and the time has | 0:40:51 | 0:40:54 | |
come for Thea to treat her family | 0:40:54 | 0:40:56 | |
to a night at the world-famous London Jazz club, Ronnie Scott's. | 0:40:56 | 0:41:00 | |
Tonight we've come down to London, brought the family with me | 0:41:02 | 0:41:07 | |
and Jacqui Dankworth is the star for tonight. | 0:41:07 | 0:41:10 | |
Many of the greatest jazz performers of all time have played here, | 0:41:10 | 0:41:14 | |
including Ella Fitzgerald, Duke Ellington and Stan Getz. | 0:41:14 | 0:41:17 | |
I have brought all the family with me. | 0:41:17 | 0:41:19 | |
It is going to be a lovely occasion. | 0:41:19 | 0:41:21 | |
It is also my birthday tomorrow, so it's a special treat. | 0:41:21 | 0:41:25 | |
And I'm looking forward to hearing Jackie sing. | 0:41:25 | 0:41:28 | |
# So when I call your na-a-a-me | 0:41:31 | 0:41:36 | |
# So when I ask you nea-a-a-a-r | 0:41:36 | 0:41:41 | |
# Please don't refuse me | 0:41:43 | 0:41:45 | |
# No, no, please take away... # | 0:41:47 | 0:41:52 | |
Tonight is something that has put the icing on the cake. | 0:41:55 | 0:41:59 | |
Having such a nice venue, the children here, | 0:41:59 | 0:42:02 | |
everybody enjoying it. | 0:42:02 | 0:42:03 | |
It's something I wouldn't normally have been able to do. | 0:42:03 | 0:42:08 | |
The family have really enjoyed it. | 0:42:08 | 0:42:10 | |
They don't really know much about jazz. | 0:42:10 | 0:42:12 | |
Now, they're quite enthusiastic and they realise it's not a dirty word! | 0:42:12 | 0:42:18 | |
# Please answer my... | 0:42:18 | 0:42:21 | |
# ..Pra-a-a-a-ayer. # | 0:42:24 | 0:42:26 | |
APPLAUSE | 0:42:26 | 0:42:28 | |
Subtitles by Red Bee Media Ltd | 0:42:30 | 0:42:33 |