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Welcome to Cash In The Attic. Most homes across the country | 0:00:02 | 0:00:05 | |
have got some Royal Doulton, porcelain or glass in them - | 0:00:05 | 0:00:08 | |
big pieces and small pieces. | 0:00:08 | 0:00:10 | |
But does size really make a difference to price? | 0:00:10 | 0:00:13 | |
The lady we're meeting today has a fair collection of those items herself. | 0:00:13 | 0:00:17 | |
So what are they worth? Time to find out. | 0:00:17 | 0:00:19 | |
Coming up on Cash In The Attic, a cute collection catches my eye. | 0:00:40 | 0:00:44 | |
I'm going to tidy these up for the auction, OK? | 0:00:46 | 0:00:48 | |
It's like that, it is it? | 0:00:48 | 0:00:50 | |
Come on, Jennie. Let's see what else we can find. | 0:00:50 | 0:00:52 | |
Our expert John faces some hard bargaining. | 0:00:56 | 0:00:59 | |
-I'd like 100. -I'm sure you would! I'd like you to get 100. If you do, I'll be absolutely delighted. | 0:00:59 | 0:01:04 | |
'And at the auction, could a touch of tactical selling help us reach our target?' | 0:01:04 | 0:01:09 | |
You're pleased about that? You've got your eyes on that silver one, haven't you? | 0:01:09 | 0:01:13 | |
I can see a little bit of a deal being done behind the scenes here. | 0:01:13 | 0:01:16 | |
Find out what happens when the final hammer falls. | 0:01:16 | 0:01:19 | |
Well, today I'm in Surrey to meet a lady | 0:01:21 | 0:01:23 | |
who's called in the Cash In The Attic team | 0:01:23 | 0:01:25 | |
to help her raise the funds she needs for a nostalgic trip abroad. | 0:01:25 | 0:01:29 | |
'Jennie Gundelfinger was born and raised in Johannesburg, South Africa. | 0:01:29 | 0:01:36 | |
'Like many young women, she enjoyed adventurous travel | 0:01:36 | 0:01:39 | |
'and a career before settling down to raise her three children, | 0:01:39 | 0:01:42 | |
'Nicholas, Grant and Kim. | 0:01:42 | 0:01:45 | |
'Problems with the family business, coupled with the threat of military service for her son, | 0:01:45 | 0:01:51 | |
'drove Jennie to move the family 6,000 miles to England. | 0:01:51 | 0:01:55 | |
'She now considers Surrey to be her home, | 0:01:55 | 0:01:58 | |
'but she's hoping to raise money to pay for a nostalgic holiday. | 0:01:58 | 0:02:02 | |
'Joining us in our hunt is our antiques and collectibles expert | 0:02:02 | 0:02:05 | |
'John Cameron, who - with many years of experience - shouldn't have any trouble | 0:02:05 | 0:02:10 | |
'identifying the best items to take to auction. | 0:02:10 | 0:02:13 | |
'While he gets to work, I check in with Jennie and her good friend, Ena, | 0:02:13 | 0:02:17 | |
'who will be helping us today.' | 0:02:17 | 0:02:18 | |
-Good morning, ladies. -Hello! | 0:02:20 | 0:02:22 | |
What are you looking at there? | 0:02:22 | 0:02:23 | |
Just memories. | 0:02:25 | 0:02:27 | |
Ena's daughter, | 0:02:27 | 0:02:29 | |
she and I started making these hand-painted tablecloths. Just fun. | 0:02:29 | 0:02:34 | |
I did import some from South Africa, more professionally done. | 0:02:34 | 0:02:39 | |
So have you called in Cash In The Attic to help run this import/export business? | 0:02:39 | 0:02:43 | |
My mum died a year ago in South Africa, | 0:02:43 | 0:02:47 | |
and I brought all her stuff back here. | 0:02:47 | 0:02:51 | |
It's all been packed away in boxes. I just decided my children wouldn't want it one day. | 0:02:51 | 0:02:57 | |
I haven't got room for it. So I'll turn it into cash, hopefully. | 0:02:57 | 0:03:00 | |
What do you want to spend that money on? | 0:03:00 | 0:03:02 | |
Going to Italy. | 0:03:02 | 0:03:04 | |
I've been wanting to do that for a long, long time. | 0:03:04 | 0:03:07 | |
Since I was...17, I haven't been back. | 0:03:07 | 0:03:11 | |
-What do you think of this idea, Ena? -I think it's great. Really good idea. | 0:03:11 | 0:03:16 | |
-I might be taking Ena with me, because my husband doesn't want to go. -That's why it's a good idea! | 0:03:16 | 0:03:21 | |
I follow you now, Ena! I'm with you! | 0:03:21 | 0:03:24 | |
So what sort of money are we talking about, then? | 0:03:24 | 0:03:26 | |
Between £500 and £600. | 0:03:26 | 0:03:29 | |
We need to raise £500 so that you, and hopefully Ena, can go to Italy? | 0:03:29 | 0:03:34 | |
John Cameron's already here, so I'm hoping he's found something inside the house, | 0:03:34 | 0:03:38 | |
unless he's got lost in these wonderful grounds out here. | 0:03:38 | 0:03:41 | |
-Shall we go and see if we can find him, Ena? You lead the way. -Great. | 0:03:41 | 0:03:45 | |
Jennie's lived in this impressive and beautiful home for 16 years. | 0:03:46 | 0:03:51 | |
Everywhere you look, you see evidence of classic English collectibles. | 0:03:51 | 0:03:56 | |
Judging by Jennie's upbringing, | 0:03:56 | 0:03:58 | |
I think we're bound to find items from the far reaches of the globe. | 0:03:58 | 0:04:02 | |
John, I wondered whether we'd find you. | 0:04:04 | 0:04:06 | |
This house is huge and the grounds! Have you seen them? | 0:04:06 | 0:04:09 | |
-I was in danger of getting lost, yes. -Wonderful, isn't it? | 0:04:09 | 0:04:12 | |
-You've found something? -A rather impressive ink stand. | 0:04:12 | 0:04:16 | |
I'm wondering if you can tell us about it, Jennie? | 0:04:16 | 0:04:18 | |
Well, nothing much. My father-in-law had it on his desk for ever. | 0:04:18 | 0:04:23 | |
My father-in-law was born in South Africa, but German parents. | 0:04:23 | 0:04:28 | |
I assume he got it from his parents. | 0:04:28 | 0:04:30 | |
Then they retired to Switzerland, and we got the desk with the inkwell. | 0:04:30 | 0:04:36 | |
And what do you think of it? Is it to your taste? | 0:04:36 | 0:04:40 | |
-Yeah, I do like it. -It's a very impressive ink stand. | 0:04:40 | 0:04:43 | |
It's made of onyx and bronze. | 0:04:43 | 0:04:45 | |
We've got the onyx base here, which is very simple in design. | 0:04:45 | 0:04:48 | |
Those geometric shapes suggest the Art Deco period. | 0:04:48 | 0:04:51 | |
1920s, 1925, that sort of period. | 0:04:51 | 0:04:55 | |
What I find interesting about it is the bronze figure in the centre. | 0:04:55 | 0:04:59 | |
Look at him, there. He's a simple blacksmith, sat atop his anvil | 0:04:59 | 0:05:03 | |
with a very heavy hammer in his hand, deep in thought about something. | 0:05:03 | 0:05:07 | |
Look at him. He has real socialist overtones, don't you think? | 0:05:07 | 0:05:10 | |
Kind of reminds me of some of the work that people like Alexander Rodchenko | 0:05:10 | 0:05:14 | |
were doing for Lenin's socialist posters. | 0:05:14 | 0:05:18 | |
So it's a real puzzler for me. Certainly continental. | 0:05:18 | 0:05:21 | |
Doesn't say English to me at all. A very interesting piece. | 0:05:21 | 0:05:24 | |
So what sort of value would you put on this? | 0:05:24 | 0:05:26 | |
It's easier to value when it's a classic Art Deco flowing lady, isn't it? | 0:05:26 | 0:05:30 | |
The conservative in me - and bearing in mind these tough economic times - | 0:05:30 | 0:05:34 | |
would think of something of 100-200. | 0:05:34 | 0:05:36 | |
But I wouldn't be in the least bit surprised if it sailed past that, | 0:05:36 | 0:05:40 | |
-because it's rather impressive and unusual. -It's different. | 0:05:40 | 0:05:43 | |
Well, a £100-200 valuation | 0:05:44 | 0:05:46 | |
definitely set us off on the right foot. | 0:05:46 | 0:05:49 | |
As we split up the rummage duties, Jennie wastes no time in locating | 0:05:49 | 0:05:53 | |
a rather intriguing collection. | 0:05:53 | 0:05:55 | |
This mixed lot of silver and gold tie pins belonged to her father, | 0:05:55 | 0:06:00 | |
who was an avid golfer. John hopes they'll make £60-80 at auction. | 0:06:00 | 0:06:04 | |
But when they go under the hammer, | 0:06:04 | 0:06:06 | |
will the bidders agree? | 0:06:06 | 0:06:07 | |
Two bids on this. Starting at the top of the estimate, £80. | 0:06:09 | 0:06:12 | |
I'll take 5 in the room? | 0:06:12 | 0:06:13 | |
-Straight in at £80! -Very nice. | 0:06:13 | 0:06:17 | |
90 in the doorway. And 5. 100. | 0:06:17 | 0:06:18 | |
Let's hope they bring in the result Jennie and Ena will be proud of. | 0:06:18 | 0:06:22 | |
There's still lots of work to do if we want | 0:06:23 | 0:06:26 | |
to raise the money for those plane tickets to Italy. | 0:06:26 | 0:06:29 | |
In the conservatory, Jennie finds a collection of jugs that used to belong to her mum. | 0:06:29 | 0:06:34 | |
Direct imports from Africa, these 20th-century designs are made from Zambian copper, | 0:06:34 | 0:06:40 | |
which is the major industry for the country. | 0:06:40 | 0:06:42 | |
John estimates this set of six will go for £30-50. | 0:06:42 | 0:06:46 | |
John, what do you think of these two? | 0:06:46 | 0:06:50 | |
They look interesting. | 0:06:50 | 0:06:51 | |
I'll take this one. Sit yourself down, let's have a look at them. | 0:06:51 | 0:06:54 | |
They're interesting. Do you know what they are or who they're by? | 0:06:54 | 0:06:58 | |
Doulton. Royal Doulton, I think. | 0:06:58 | 0:07:00 | |
-I don't know a great deal more. -They're quite heavy. -Yes, they are. | 0:07:00 | 0:07:03 | |
That's because they're not porcelain, they're pottery. | 0:07:03 | 0:07:07 | |
And they're made of stoneware, which is a very high-fired, | 0:07:07 | 0:07:10 | |
hard and heavy type of pottery. | 0:07:10 | 0:07:13 | |
So these would have been hand potted on a wheel, thrown, on a potter's wheel. | 0:07:13 | 0:07:17 | |
Worked from a simple lump of clay, up into | 0:07:17 | 0:07:20 | |
this beautiful, inverted baluster shape, which is a really nice shape. | 0:07:20 | 0:07:24 | |
It is. It feels tactile, doesn't it? | 0:07:24 | 0:07:26 | |
It's very tactile. A lovely slender waist to it. | 0:07:26 | 0:07:29 | |
So they were potted by hand. | 0:07:29 | 0:07:31 | |
Then they would have been applied with these lovely sprigs, these flowers here. | 0:07:31 | 0:07:35 | |
Those would have been pressed into a mould and gently removed | 0:07:35 | 0:07:38 | |
and applied to the surface with slip - liquid clay - | 0:07:38 | 0:07:41 | |
to help them adhere. | 0:07:41 | 0:07:43 | |
The whole pieces are then fired at a very high temperature, | 0:07:43 | 0:07:46 | |
before they then come out and they're decorated. | 0:07:46 | 0:07:49 | |
So we then had the colours, the painting and the glaze added, | 0:07:49 | 0:07:52 | |
before they're fired again at lower temperatures. | 0:07:52 | 0:07:55 | |
-I reckon they're about 100 years old now. They are nice pair, aren't they? -They're lovely. | 0:07:55 | 0:08:00 | |
-Do you think Jennie would be happy to sell them? -I think so. | 0:08:00 | 0:08:03 | |
She's not too keen on the colour. | 0:08:03 | 0:08:05 | |
-It doesn't go with her colour scheme. -You think she might be up for selling them? That's good news. | 0:08:05 | 0:08:10 | |
If I were putting them into auction, | 0:08:10 | 0:08:12 | |
I'd have no hesitation of putting | 0:08:12 | 0:08:14 | |
an estimate of about £80-120 on them, but I won't be surprised | 0:08:14 | 0:08:17 | |
if they end up making about 150, something like that. | 0:08:17 | 0:08:21 | |
-Not bad. -Excellent. Well, good find, | 0:08:21 | 0:08:23 | |
-but we've still got some way to go, so let's carry on rummaging. -OK. | 0:08:23 | 0:08:26 | |
This silver vase also belonged to Jennie's mum. | 0:08:30 | 0:08:33 | |
And, after close inspection, we've determined it's solid silver. | 0:08:33 | 0:08:37 | |
That means John can stamp it with a hefty price tag of £120-160. | 0:08:37 | 0:08:43 | |
Now, this I find absolutely fascinating, | 0:08:43 | 0:08:46 | |
because we've got really British items in the house - | 0:08:46 | 0:08:49 | |
the Royal Doulton porcelain, all of this kind of stuff. | 0:08:49 | 0:08:53 | |
And then we've got literally a taste of Africa. | 0:08:53 | 0:08:56 | |
Some of the paintings are African. This is stunning. Where is this? | 0:08:56 | 0:09:00 | |
It's about 300 miles going east from Johannesburg towards Natal Coast, | 0:09:00 | 0:09:06 | |
a mountain range called the Drakensberg. | 0:09:06 | 0:09:08 | |
So what was it like as a child growing up in Africa? | 0:09:08 | 0:09:12 | |
Idyllic. It really was. | 0:09:12 | 0:09:14 | |
The weather is unbelievable. | 0:09:14 | 0:09:17 | |
The life was free. | 0:09:17 | 0:09:20 | |
It wasn't as dangerous as it is today. | 0:09:20 | 0:09:24 | |
It's still a beautiful country but not to live in. | 0:09:24 | 0:09:28 | |
-So what made you move? -A lot of it was political. | 0:09:28 | 0:09:31 | |
My husband had a lot of trouble at his factory, people going on strike. | 0:09:31 | 0:09:36 | |
Sadly, we were getting threatening phone calls. | 0:09:36 | 0:09:40 | |
But still we weren't convinced that we were moving | 0:09:40 | 0:09:43 | |
until a little brown envelope dropped through the letter box, | 0:09:43 | 0:09:47 | |
calling up Nicholas to the army. | 0:09:47 | 0:09:50 | |
He was then 16, and it was... | 0:09:50 | 0:09:54 | |
national conscription. He had to go. | 0:09:54 | 0:09:58 | |
So that was it for me, | 0:09:58 | 0:10:01 | |
and, erm, we made motions after that. | 0:10:01 | 0:10:06 | |
-And do you still go back there? -Yes, every year. | 0:10:06 | 0:10:09 | |
Twice a year, maybe, in the last 21 years. | 0:10:09 | 0:10:12 | |
Tell me about this. What game is this? | 0:10:12 | 0:10:14 | |
It's called Mancala. It apparently originated in Egypt. | 0:10:14 | 0:10:19 | |
And it's come all the way down Africa. | 0:10:19 | 0:10:21 | |
Each country, the rules have changed slightly. | 0:10:21 | 0:10:25 | |
Maybe we can show John how to play this later on. In the meantime, | 0:10:25 | 0:10:29 | |
shall we see whether he's found anything we can sell? | 0:10:29 | 0:10:32 | |
Come on, then. | 0:10:32 | 0:10:33 | |
Both John and Ena have been hard at work. | 0:10:34 | 0:10:37 | |
And Ena's has found two good-quality portraits in ornate frames. | 0:10:37 | 0:10:40 | |
John estimates these Victorian ladies could sell for £20-30. | 0:10:40 | 0:10:44 | |
Now, they say the most important part | 0:10:44 | 0:10:47 | |
of any girl's outfit is her shoes and handbag. | 0:10:47 | 0:10:50 | |
Judging by our next find, it looks like Jennie | 0:10:50 | 0:10:52 | |
has taken the handbag part very seriously. | 0:10:52 | 0:10:56 | |
A lady after my own heart. | 0:10:56 | 0:10:58 | |
We've got some interesting ones - some meshwork, leather. | 0:11:00 | 0:11:03 | |
Some fantastic ones. | 0:11:03 | 0:11:05 | |
This one here, another one with nice glass beads. So interesting. | 0:11:05 | 0:11:09 | |
My mum made that one, and that one's from Italy. | 0:11:09 | 0:11:12 | |
-It must have taken hours! -Absolutely. | 0:11:12 | 0:11:15 | |
But you've got some interesting examples here. | 0:11:15 | 0:11:17 | |
But condition is everything, because people are buying them | 0:11:17 | 0:11:20 | |
to actually use them - they're functional objects. | 0:11:20 | 0:11:24 | |
A lot of vintage emporiums now, they're falling over themselves | 0:11:24 | 0:11:27 | |
to get good-quality vintage handbags and other accessories. | 0:11:27 | 0:11:31 | |
How should we sell these, do you think? | 0:11:31 | 0:11:33 | |
Divide them up or just sell them as one big lot? | 0:11:33 | 0:11:35 | |
That would be down to the auctioneer, Lorne. | 0:11:35 | 0:11:38 | |
They'd either separate one or two, or they might sell them as one lot. | 0:11:38 | 0:11:40 | |
I would have thought if we'd said £80-120 for them... | 0:11:40 | 0:11:43 | |
-OK. -..I think that's a conservative estimate to get some interest. -Yes. | 0:11:43 | 0:11:47 | |
OK, that's not bad, is it? | 0:11:47 | 0:11:49 | |
That's another good contribution to our fund, isn't it? | 0:11:49 | 0:11:52 | |
-Do you want to go and find something else? -What are you going to do? | 0:11:52 | 0:11:55 | |
I'll tidy these up ready for the auction, OK? | 0:11:55 | 0:11:57 | |
Oh, it's like that, is it? | 0:11:57 | 0:11:58 | |
Come on, Jennie. Let's see what else we can find. | 0:11:58 | 0:12:01 | |
Ena's been busy and has spotted a beautiful and very delicate set | 0:12:04 | 0:12:08 | |
of doll's house furniture, | 0:12:08 | 0:12:09 | |
made by the well-known French pottery Limoges. | 0:12:09 | 0:12:14 | |
John thinks this contemporary set might go for £10-20. | 0:12:14 | 0:12:19 | |
Well, we can always count on John to find us something special, | 0:12:19 | 0:12:22 | |
and he finds this group of Lladro figurines, | 0:12:22 | 0:12:25 | |
which once belonged to Jennie's mother-in-law. | 0:12:25 | 0:12:28 | |
Highly collectible, this porcelain originates from Spain | 0:12:28 | 0:12:31 | |
and although relatively modern, John thinks he can entice the bidders | 0:12:31 | 0:12:35 | |
with a price of £80-120. | 0:12:35 | 0:12:38 | |
John, I've found that. | 0:12:39 | 0:12:42 | |
That's rather interesting, Jennie. Where did this come from? | 0:12:42 | 0:12:46 | |
Out of my mum's cabinet again. | 0:12:46 | 0:12:48 | |
Probably from my grandmother, because I remember it being there for ever. | 0:12:48 | 0:12:53 | |
-Do you like it? -Not particularly. I don't like the strong colours. | 0:12:53 | 0:12:57 | |
Well, it's made of enamel, but it's called Cloisonne. | 0:12:57 | 0:13:01 | |
Any idea where you think it came from? | 0:13:01 | 0:13:03 | |
It looks a bit Chinese to me. | 0:13:03 | 0:13:05 | |
Well, you're not far, it's actually Japan. | 0:13:05 | 0:13:07 | |
I'll tell you why. If you have a look at the decoration, | 0:13:07 | 0:13:10 | |
they're quite simple - a little bird here, nice use of flowers | 0:13:10 | 0:13:13 | |
and this lovely blossom tree. | 0:13:13 | 0:13:15 | |
Quite asymmetrically placed on the piece. | 0:13:15 | 0:13:18 | |
That's typical of the Japanese. | 0:13:18 | 0:13:19 | |
If it was Chinese, the decoration would tend to be more like all over | 0:13:19 | 0:13:23 | |
and very well balanced. | 0:13:23 | 0:13:25 | |
But the actual technique, the Cloisonne technique, | 0:13:25 | 0:13:28 | |
actually originated in Europe. Probably Byzantine. | 0:13:28 | 0:13:31 | |
The word "Cloisonne" is in fact French. Now, the technique of Cloisonne, the enamelling, | 0:13:31 | 0:13:36 | |
goes back hundreds and hundreds of years. | 0:13:36 | 0:13:38 | |
In fact, it first spread to the Far East, to China. | 0:13:38 | 0:13:42 | |
It involves the building up of a picture, | 0:13:42 | 0:13:45 | |
using little wires on a base metal, often copper. | 0:13:45 | 0:13:48 | |
These are affixed to the surface, creating cells. | 0:13:48 | 0:13:52 | |
Within each of those cells, they paint ground glass, which is enamel, | 0:13:52 | 0:13:57 | |
usually a potash or a lead ash glass. | 0:13:57 | 0:14:00 | |
Coloured glass, put in there, built up, | 0:14:00 | 0:14:03 | |
and then the whole thing is fired at about 800 degrees, which makes it like glass again. | 0:14:03 | 0:14:08 | |
And then the whole piece has to be polished back. | 0:14:08 | 0:14:10 | |
We polish it all the way back, | 0:14:10 | 0:14:12 | |
just to reveal those little Cloisonnes. | 0:14:12 | 0:14:14 | |
Can you feel them on the surface? Rub your hands on there. | 0:14:14 | 0:14:17 | |
-Oh, yes. -You can just feel that. | 0:14:17 | 0:14:19 | |
It's very, very subtle. | 0:14:19 | 0:14:21 | |
What do you think it'll fetch at auction, John? | 0:14:21 | 0:14:24 | |
I think a little vase like this on its own, | 0:14:24 | 0:14:26 | |
should be something like £50-100 at auction today. | 0:14:26 | 0:14:29 | |
Right. I'd like 100. | 0:14:29 | 0:14:31 | |
I'm sure you would! I'd like you to get 100. | 0:14:31 | 0:14:33 | |
If you do, I'll be absolutely delighted. | 0:14:33 | 0:14:35 | |
I'd give it house room, and that's a good rule of thumb. | 0:14:35 | 0:14:38 | |
I've got high hopes for it. Come on, let's see what else we can find. | 0:14:38 | 0:14:41 | |
I'm glad to see Jennie is aiming high for the auction outcome. | 0:14:41 | 0:14:45 | |
Meanwhile, in the living room, I spy a promising porcelain figure. | 0:14:45 | 0:14:48 | |
This dancing lady hails from Austria. | 0:14:48 | 0:14:51 | |
She and her demure friend were created by the pottery Wiener Kunstkeramik. | 0:14:51 | 0:14:57 | |
John thinks someone might want to take this pair of lovely ladies home for £20-40. | 0:14:57 | 0:15:02 | |
-Hi, Jennie. -Look what I found! | 0:15:02 | 0:15:04 | |
Oh, we must show John that. | 0:15:04 | 0:15:06 | |
-John, look. -What have we got? | 0:15:06 | 0:15:08 | |
-Have a look. -Let's have a look. -So where did this come from? | 0:15:08 | 0:15:11 | |
When my mum-in-law died, as she was living in Switzerland, | 0:15:11 | 0:15:14 | |
Roy's sisters and I divided up her ornaments between us. | 0:15:14 | 0:15:20 | |
You certainly have an eye for quality, Jennie. | 0:15:20 | 0:15:22 | |
I think your mother-in-law did too. | 0:15:22 | 0:15:24 | |
You certainly picked a very nice piece. | 0:15:24 | 0:15:26 | |
It's a little glass bonbon dish by Lalique. | 0:15:26 | 0:15:29 | |
We can see it's got the mark on the bottom - | 0:15:29 | 0:15:31 | |
Lalique, France, which is the factory of Rene Lalique, | 0:15:31 | 0:15:35 | |
started by him at the turn of the last century. | 0:15:35 | 0:15:39 | |
A designer of unique and very bespoke jewellery in the Art Nouveau style. | 0:15:39 | 0:15:43 | |
But also, maker of very fine glass. | 0:15:43 | 0:15:47 | |
Now, the thing I love about Lalique is, although he employed techniques | 0:15:47 | 0:15:52 | |
of mass production, like press and machine press-moulded glass, | 0:15:52 | 0:15:56 | |
mould-blown and press-moulded glass, | 0:15:56 | 0:15:58 | |
they're often finished to a very, very high standard. | 0:15:58 | 0:16:01 | |
And they had lots of imitators, but it's often the subtlety of their finish, | 0:16:01 | 0:16:05 | |
the fine quality of their finish, and the beauty of their design | 0:16:05 | 0:16:08 | |
which separates them from many of their imitators. | 0:16:08 | 0:16:11 | |
Of course, they still sell these items in very good stores today. | 0:16:11 | 0:16:15 | |
And they're still very expensive. | 0:16:15 | 0:16:17 | |
So what sort of estimate would you put on that, John? | 0:16:17 | 0:16:20 | |
I would have thought it ought to make somewhere between | 0:16:20 | 0:16:23 | |
£100 and £150, something like that. | 0:16:23 | 0:16:25 | |
Well, obviously you wanted to raise £500 for this trip to Italy. | 0:16:25 | 0:16:28 | |
And the value of all the items that are going to auction comes to... | 0:16:28 | 0:16:32 | |
£750! | 0:16:32 | 0:16:35 | |
-Really? -Yes. Yes. | 0:16:35 | 0:16:37 | |
-Wonderful. -So you may be going after all, and if you do better than that, | 0:16:37 | 0:16:40 | |
we might be coming too! | 0:16:40 | 0:16:42 | |
It's great that Jennie's Italian holiday looks as if it could be within reach. | 0:16:42 | 0:16:46 | |
Now it's all in the bidders' hands. | 0:16:46 | 0:16:49 | |
We've got some fabulous items heading to auction. | 0:16:49 | 0:16:52 | |
The Art Deco onyx and bronze ink stand. | 0:16:52 | 0:16:55 | |
At £100-200, this 1920s piece would look great on a chunky desk. | 0:16:55 | 0:17:02 | |
My favourite items, the vintage handbags. At £80-120, there are | 0:17:02 | 0:17:08 | |
bound to be followers of fashion in the room who'll snap them up. | 0:17:08 | 0:17:12 | |
Finally, the Japanese Cloisonne vase. | 0:17:12 | 0:17:15 | |
It's a beautiful piece that I think is sure to impress at auction. | 0:17:15 | 0:17:20 | |
Find out how much these and Jennie's other items will raise | 0:17:22 | 0:17:25 | |
on auction day. | 0:17:25 | 0:17:26 | |
Still to come on Cash In The Attic, | 0:17:29 | 0:17:31 | |
a dainty piece that gets a big result. | 0:17:31 | 0:17:34 | |
That's more than double what we were hoping for, | 0:17:34 | 0:17:36 | |
so I'm pleased about that. Are you? | 0:17:36 | 0:17:38 | |
Excellent. | 0:17:38 | 0:17:39 | |
'And some female figures take me back to my youth.' | 0:17:39 | 0:17:43 | |
Our next lot is a group of two nuns, | 0:17:43 | 0:17:46 | |
another of two children and a third of a girl on a telephone. | 0:17:46 | 0:17:48 | |
She must be a teenager, then! | 0:17:48 | 0:17:50 | |
But they all use mobiles now, don't they? | 0:17:50 | 0:17:53 | |
'Be there when the hammer falls.' | 0:17:53 | 0:17:55 | |
Now, it's been a few weeks since we met Jennie and Ena | 0:18:01 | 0:18:04 | |
and had a good look around Jennie's home. | 0:18:04 | 0:18:06 | |
She had some lovely items, including that fantastic Lalique bowl. | 0:18:06 | 0:18:10 | |
Now, remember, she's looking to raise £500 for a trip to Italy. | 0:18:10 | 0:18:15 | |
So let's just hope that when the items go under the hammer today, | 0:18:15 | 0:18:17 | |
there's plenty of people ready to splash the cash. | 0:18:17 | 0:18:21 | |
There should be no shortage of buyers today, as this room is always | 0:18:21 | 0:18:26 | |
full of antique dealers looking for a great sale. | 0:18:26 | 0:18:29 | |
John Cameron can't be with us today, | 0:18:29 | 0:18:31 | |
but I'm confident his estimates will stand us in good stead. | 0:18:31 | 0:18:34 | |
Of course, the ladies have some real gems going under the hammer. | 0:18:34 | 0:18:38 | |
-Good morning, ladies! -Hello! | 0:18:38 | 0:18:41 | |
Are you having second thoughts about letting those bags go? | 0:18:41 | 0:18:43 | |
This is quite sentimental to me, because I remember my mum making it. | 0:18:43 | 0:18:47 | |
It took her a long time. | 0:18:47 | 0:18:49 | |
You'll have to put it down, because we're going to be selling it, I'm afraid. | 0:18:49 | 0:18:52 | |
And that lovely ink well that's very reminiscent of sort of Russian | 0:18:52 | 0:18:57 | |
-architecture. Is that here? -Yes, that's here. | 0:18:57 | 0:18:59 | |
You didn't have to carry it, did you? | 0:18:59 | 0:19:01 | |
-No, my husband did. -Did he? | 0:19:01 | 0:19:03 | |
They're always useful for something. | 0:19:03 | 0:19:05 | |
If you'd like to have a go at raising money by selling at auction, | 0:19:05 | 0:19:09 | |
be aware that sale rooms charge commission fees. | 0:19:09 | 0:19:12 | |
Prices vary from one sale room to another, | 0:19:12 | 0:19:14 | |
so it's best to check in advance. | 0:19:14 | 0:19:17 | |
Jennie's decided to keep hold of those two Victorian portraits. | 0:19:17 | 0:19:20 | |
Not to worry, because as the auction gets under way, first up | 0:19:20 | 0:19:24 | |
is the Limoges pottery doll's house furniture which Ena found. | 0:19:24 | 0:19:29 | |
25 there. 30, 35. 40's my last, and 5 if you like. | 0:19:29 | 0:19:32 | |
Your bid at £45. Take 50 now. | 0:19:32 | 0:19:35 | |
At £45 in the room. It's a good bid, I think, at £45. | 0:19:35 | 0:19:38 | |
I'm going to sell it. Last chance... | 0:19:38 | 0:19:40 | |
-185, £45. -£45! | 0:19:40 | 0:19:42 | |
That is a good result, isn't it? | 0:19:42 | 0:19:45 | |
That's more than double what we were hoping for, | 0:19:45 | 0:19:47 | |
-so I'm pleased about that, are you? -Yes. -Excellent. | 0:19:47 | 0:19:50 | |
It's a fantastic start for Jennie and Ena. | 0:19:50 | 0:19:52 | |
And if we keep on doubling our top estimates, I think they can look | 0:19:52 | 0:19:55 | |
at flying to Italy first class. | 0:19:55 | 0:19:58 | |
Our next lot is a Chinese Cloisonne vase | 0:19:58 | 0:20:00 | |
with blue ground, decorated with plumes and birds. | 0:20:00 | 0:20:04 | |
At £30, start me, bid me at £30. | 0:20:04 | 0:20:06 | |
-£30. -Oh, no! -I'll take 5 now. | 0:20:06 | 0:20:07 | |
35, 40. | 0:20:07 | 0:20:10 | |
Still cheap at £35, take 40 now. £40, if you like, at £40. | 0:20:10 | 0:20:14 | |
40 there, 45. At £40, I'm bid then, take 5 now. | 0:20:14 | 0:20:18 | |
At £40 only. Is that it? At £40, I'm going to sell it. | 0:20:18 | 0:20:22 | |
£40, that's a bit of a disappointment, isn't it? | 0:20:22 | 0:20:25 | |
Yes, it is. | 0:20:25 | 0:20:26 | |
Looks like I spoke too soon, but I think for £40, | 0:20:26 | 0:20:30 | |
this vase's new owner got it for a steal. | 0:20:30 | 0:20:33 | |
But things take a turn for the worse, as the pair of Doulton vases | 0:20:33 | 0:20:36 | |
fail to attract any interest at all! | 0:20:36 | 0:20:39 | |
No bidding at £65, then... Not sold. | 0:20:39 | 0:20:42 | |
At least Jennie can take these beautiful vases back home, | 0:20:42 | 0:20:45 | |
although that's not the way it's supposed to work out at auction. | 0:20:45 | 0:20:48 | |
Will the collection of African copper jugs have better luck? | 0:20:48 | 0:20:52 | |
We're looking for £30-50. | 0:20:52 | 0:20:54 | |
£20, start me for the copper. Surely at £20, bid me... | 0:20:54 | 0:20:56 | |
No bids of £20. Trying for £20, I'm bid 25 there. | 0:20:56 | 0:20:59 | |
30. 35. At £30, I'm bid, at the back of the room, your bid at £30. | 0:20:59 | 0:21:05 | |
35 next to you, 40. It's a lot for the money, 5. | 0:21:05 | 0:21:08 | |
And 50. And 5. | 0:21:08 | 0:21:10 | |
And 60. At £55, then, the gentleman at the back, at £55. Take 60 now. | 0:21:10 | 0:21:15 | |
At £55, all done. I'm going to sell it at 55, last chance... | 0:21:15 | 0:21:18 | |
It just goes to show how hard it is to predict how something will fare at auction. | 0:21:18 | 0:21:22 | |
Next up, those tie pins that belonged to Jennie's dad. | 0:21:22 | 0:21:25 | |
£60-80 on those, so it would be nice if we can make that money for them, wouldn't it? | 0:21:25 | 0:21:29 | |
I presume you're not a golfer and you wouldn't wear a tie even if you were? | 0:21:29 | 0:21:33 | |
No. No, no, no! | 0:21:33 | 0:21:34 | |
I've got two bids on this, I'm starting right | 0:21:34 | 0:21:37 | |
at the top of the estimate, £80. I'll take 5 in the room... | 0:21:37 | 0:21:40 | |
-Ah, straight in at £80! -Very nice. | 0:21:40 | 0:21:42 | |
90 in the doorway, and 5. 100. 110. 120. | 0:21:42 | 0:21:45 | |
-Oh, my goodness! -Ah! -130. 140. 150. -Wow! | 0:21:45 | 0:21:49 | |
160. 170. | 0:21:49 | 0:21:53 | |
£160 in the doorway. 170, if you like. | 0:21:53 | 0:21:55 | |
170, I'm bid. 180 now. £170 then, right in front of me, at 170. | 0:21:55 | 0:21:59 | |
I'll take 180 now, at 170 all done and selling. 170... | 0:21:59 | 0:22:03 | |
£170! | 0:22:03 | 0:22:06 | |
-That is absolutely superb, isn't it? -Yes. | 0:22:06 | 0:22:08 | |
That WAS a surprise. I knew golf was popular, but once again, | 0:22:08 | 0:22:12 | |
we've had over double our top estimate | 0:22:12 | 0:22:15 | |
on this set of themed accessories. | 0:22:15 | 0:22:17 | |
At the halfway stage, we've banked £310 towards our £500 target, so we're well on our way to Italy. | 0:22:17 | 0:22:25 | |
The Austrian figures are next under the hammer. | 0:22:25 | 0:22:29 | |
At £20, are we all sure? | 0:22:29 | 0:22:31 | |
Selling bang on John's lower estimate, another £20 in the pot. | 0:22:31 | 0:22:36 | |
Next up is a collection close to my heart - those heavenly handbags. | 0:22:36 | 0:22:40 | |
Now, the estimate on this, John put 80-120, but I believe there's a reserve? | 0:22:40 | 0:22:45 | |
Yes, I put in a £100 reserve. | 0:22:45 | 0:22:47 | |
£100, that seems a lot of handbags for your money, I must say. | 0:22:47 | 0:22:51 | |
What shall we say on this one? I'm already bid a low bid here at £55 - it's not enough. | 0:22:51 | 0:22:55 | |
I'm bid at £85, I'll take 90 in the room. At £85... | 0:22:55 | 0:22:58 | |
Right, so, we've got a bid of £85, which isn't quite enough, obviously. | 0:22:58 | 0:23:03 | |
At £85, all done, last chance... | 0:23:03 | 0:23:06 | |
-Not sold. -Right, they're not sold. | 0:23:06 | 0:23:08 | |
-That's good. -Are you pleased, Ena? -Yes. | 0:23:08 | 0:23:11 | |
-You've got your eyes on that silver one, haven't you? -Yes, I have! | 0:23:11 | 0:23:13 | |
I can see a deal being done behind the scenes here. | 0:23:13 | 0:23:15 | |
Well, us girls do like to hold on to our handbags. | 0:23:15 | 0:23:18 | |
I'm not surprised at Ena's reaction and I think Jennie is secretly | 0:23:18 | 0:23:21 | |
quite pleased too, given that some of these were hand-made by her mum. | 0:23:21 | 0:23:26 | |
Our next lot is a Lladro group of two nuns, | 0:23:26 | 0:23:29 | |
another of two children and a third of a girl on a telephone. | 0:23:29 | 0:23:32 | |
She must be a teenager, then! | 0:23:32 | 0:23:33 | |
-Although they all use mobiles now, don't they? -Of course. Yes. | 0:23:33 | 0:23:36 | |
Now, for that lot, John's put £80-120, | 0:23:36 | 0:23:40 | |
which of course is a lot less than you'd pay for a piece of Lladro in a shop. | 0:23:40 | 0:23:45 | |
But have you put a reserve on these? | 0:23:45 | 0:23:46 | |
-No, I haven't. -So you're happy for them to sell for that? -Yes. | 0:23:46 | 0:23:49 | |
This time, they were MY collection! | 0:23:49 | 0:23:52 | |
At £65, I'm bid, 70 there. 75, 80. | 0:23:53 | 0:23:56 | |
-85... -Right, we're at £80. | 0:23:56 | 0:23:59 | |
£90, commissions, take 95 take 100 now. At £95, take 100. | 0:23:59 | 0:24:04 | |
At £95, all done, last chance. Selling at 95. | 0:24:04 | 0:24:07 | |
-100 just in time. 110. -Ooh, yes, come on. | 0:24:07 | 0:24:09 | |
£100, he's come and got it. At £100, all done, last chance. 100... | 0:24:09 | 0:24:13 | |
John said 80-120, we've gone bang in the middle at 100. | 0:24:13 | 0:24:16 | |
-Are you happy with that? -Yes. | 0:24:16 | 0:24:17 | |
That's more like it! Another £100 towards Jennie's Italian trip. | 0:24:17 | 0:24:24 | |
Unfortunately, the Lalique vase doesn't reach its £100 reserve. | 0:24:24 | 0:24:29 | |
I will call the bid at £95. All done, last chance. | 0:24:30 | 0:24:33 | |
But luckily the silver vase sells bang on estimate. | 0:24:33 | 0:24:37 | |
£120. All done, I'm going to sell. 120. | 0:24:37 | 0:24:42 | |
Our final total now rests on the final item of the day, | 0:24:42 | 0:24:46 | |
that beautiful inkwell that belonged to Jennie's father-in-law. | 0:24:46 | 0:24:48 | |
£100. I'm bid in the doorway. | 0:24:48 | 0:24:51 | |
-I'll take 110 now. At £100, take 110. At £100. -Come on. | 0:24:51 | 0:24:54 | |
I thought it would make a lot more than this. £100. No further bidding? | 0:24:54 | 0:24:57 | |
I'm going to sell it. 110, 120, 130. | 0:24:57 | 0:24:59 | |
-£120. Got another 20 quid out of it. £120. -Come on. | 0:24:59 | 0:25:02 | |
All done, I'm going to sell it at 120. Last chance. | 0:25:02 | 0:25:06 | |
-120. -£120. That's a little less than I hoped for. | 0:25:06 | 0:25:10 | |
I hoped it would be one of those things that really took off. | 0:25:10 | 0:25:12 | |
But, hey, 120 is more than our lowest estimate. | 0:25:12 | 0:25:15 | |
-It is a bit damaged, so... -Are you happy with that? | 0:25:15 | 0:25:17 | |
At least we're not taking that weight home. | 0:25:17 | 0:25:20 | |
That's a very valid point, Ena. | 0:25:20 | 0:25:22 | |
Well, it's been quite a ride for Jennie and her friend, Ena. | 0:25:22 | 0:25:26 | |
They've stayed smiling, | 0:25:26 | 0:25:28 | |
even though three of Jennie's pieces remain unsold. | 0:25:28 | 0:25:31 | |
What we really want to know is, how much HAS she made? | 0:25:31 | 0:25:34 | |
-So have you any idea how much we may have made? -No, not at all. | 0:25:35 | 0:25:39 | |
Well, despite our no sales, you've banked £670. | 0:25:39 | 0:25:42 | |
-Really? -Yes. £670. -Gosh, that's good. | 0:25:42 | 0:25:47 | |
-That's really good, isn't it? -Very good. | 0:25:47 | 0:25:49 | |
It's a few weeks after the auction, and Jennie and Ena | 0:25:55 | 0:25:57 | |
are now settled back at home. | 0:25:57 | 0:25:59 | |
Although they managed to make an impressive amount with a wide | 0:25:59 | 0:26:04 | |
variety of antiques and collectibles, | 0:26:04 | 0:26:05 | |
rumour has it there's been a slight change of plan. | 0:26:05 | 0:26:09 | |
My plans to go to Italy have faltered a bit. | 0:26:09 | 0:26:13 | |
I've got too many family commitments now. | 0:26:13 | 0:26:16 | |
I don't think I'll be able to go this year. | 0:26:16 | 0:26:18 | |
But definitely next year. So, that money has definitely been put aside. | 0:26:18 | 0:26:23 | |
Well, family comes first, and I'm sure it won't be long before Jennie | 0:26:23 | 0:26:27 | |
is enjoying that wonderful Italian trip down memory lane. | 0:26:27 | 0:26:30 |