Browse content similar to Found, Part 2. Check below for episodes and series from the same categories and more!
Line | From | To | |
---|---|---|---|
In over ten years on Flog It | 0:00:02 | 0:00:04 | |
we have valued thousands of your items and we've stood by you | 0:00:04 | 0:00:07 | |
in the sale room, as they've gone under the hammer. | 0:00:07 | 0:00:09 | |
APPLAUSE | 0:00:09 | 0:00:11 | |
£600. | 0:00:11 | 0:00:13 | |
-Yeah! -Yeah! | 0:00:13 | 0:00:16 | |
And during that time, | 0:00:16 | 0:00:17 | |
we've all learnt a great deal about antiques and collectables | 0:00:17 | 0:00:20 | |
and now I want to share some of the knowledge with you. | 0:00:20 | 0:00:22 | |
So sit back and enjoy as our experts let you in on their trade secrets. | 0:00:22 | 0:00:28 | |
I'm always saying that collecting antiques is the ultimate recycling. | 0:00:56 | 0:01:00 | |
They are, by definition, | 0:01:00 | 0:01:01 | |
second-hand, third-hand and fourth-hand | 0:01:01 | 0:01:03 | |
and many are past their best | 0:01:03 | 0:01:05 | |
and they end up getting thrown away. | 0:01:05 | 0:01:07 | |
But as we discover, it's those items which have ended up on the scrap heap | 0:01:07 | 0:01:11 | |
or hidden away in a forgotten corner, that prove that sometimes | 0:01:11 | 0:01:15 | |
you CAN get something for nothing. | 0:01:15 | 0:01:18 | |
Bang! The hammer's gone down. | 0:01:18 | 0:01:20 | |
Coming up: our experts tell us their secrets of good detection. | 0:01:20 | 0:01:25 | |
Sometimes all that glistens is gold. | 0:01:25 | 0:01:28 | |
We hear about when you have the nose to sniff out a find. | 0:01:28 | 0:01:31 | |
What a clever bloke to pick them up. | 0:01:31 | 0:01:34 | |
And how a hunch can sometimes earn you a fair old sum. | 0:01:34 | 0:01:38 | |
Here are our experts' tips on what to do | 0:01:42 | 0:01:45 | |
if you think you've unearthed something valuable. | 0:01:45 | 0:01:49 | |
Not every car has a mascot on the front telling you who made it. | 0:01:49 | 0:01:51 | |
But when you open the door and look inside, | 0:01:51 | 0:01:54 | |
it's fairly obvious whether it's a Lada or Rolls-Royce. | 0:01:54 | 0:01:57 | |
And the same is true with antiques. | 0:01:57 | 0:02:00 | |
You do your research. It's all out there for you | 0:02:00 | 0:02:03 | |
in books and the internet. | 0:02:03 | 0:02:05 | |
And even just asking questions. | 0:02:05 | 0:02:08 | |
If you think you've unearthed something of value, | 0:02:08 | 0:02:11 | |
if your have a trained eye, or even amateur eye, | 0:02:11 | 0:02:15 | |
you can tell whether it's well-made and something that's got weight to it. | 0:02:15 | 0:02:19 | |
You should be able to pick it up and think, "Yes." | 0:02:19 | 0:02:22 | |
Even if you're thinking that, take it to someone who might know. | 0:02:22 | 0:02:25 | |
Take it to your local auction house. | 0:02:25 | 0:02:26 | |
Over 900 Flog It valuation days | 0:02:29 | 0:02:31 | |
and you still surprise us with the array of discarded and overlooked treasures you bring in. | 0:02:31 | 0:02:36 | |
But sometimes, something comes along | 0:02:36 | 0:02:38 | |
that is not about the monetary value | 0:02:38 | 0:02:41 | |
but about our own social heritage. | 0:02:41 | 0:02:43 | |
This next find in the north-east | 0:02:43 | 0:02:45 | |
appealed to the inner geek in David Fletcher. | 0:02:45 | 0:02:47 | |
I believe it's from the Swan Hunters Wigham Richardson shipyard on the Tyne. | 0:02:47 | 0:02:52 | |
It lists all the ships that were built during that shipyard's life, I believe. | 0:02:52 | 0:02:58 | |
At each launch, all the visitors and dignitaries, | 0:02:58 | 0:03:01 | |
captains, admirals, both local and national, signed the book | 0:03:01 | 0:03:07 | |
at the launching of the ship. | 0:03:07 | 0:03:09 | |
There was a bit of me that was a bit excited. | 0:03:09 | 0:03:11 | |
'Although I wouldn't claim to be any good at interpreting old documents, | 0:03:11 | 0:03:15 | |
'that one shouted at you, really.' | 0:03:15 | 0:03:16 | |
You didn't need to be an expert to see the appeal. | 0:03:16 | 0:03:20 | |
Amazing. | 0:03:20 | 0:03:21 | |
These superbly illuminated pages. | 0:03:21 | 0:03:25 | |
Each one with a flag or a spray of flags. | 0:03:25 | 0:03:30 | |
HMSAS Natal. | 0:03:31 | 0:03:34 | |
Presumably Her Majesty's South African ship Natal. | 0:03:34 | 0:03:39 | |
And there's a South African flag. | 0:03:39 | 0:03:42 | |
And some signatures beneath that. | 0:03:42 | 0:03:45 | |
One of whom is the High Commissioner for South Africa. | 0:03:45 | 0:03:50 | |
And then it's interesting to note that in the early days, | 0:03:52 | 0:03:55 | |
we really just have signatures. | 0:03:55 | 0:03:57 | |
And we go back to 19... | 0:03:59 | 0:04:02 | |
..11. That's the first entry. | 0:04:04 | 0:04:06 | |
The social importance of something like that is enormous. | 0:04:06 | 0:04:08 | |
It tells a tale of the splendour, really, | 0:04:08 | 0:04:12 | |
that was British industry in the middle years of the 20th century. | 0:04:12 | 0:04:19 | |
I must say, it's the best thing I've ever seen on Flog It. | 0:04:19 | 0:04:24 | |
The flags were fantastic. | 0:04:24 | 0:04:25 | |
There were some big names there, too. | 0:04:25 | 0:04:27 | |
So it had more of an instant appeal than the average document. | 0:04:27 | 0:04:31 | |
It wasn't quite as crusty as some of the books in this lovely library appear to be. | 0:04:31 | 0:04:37 | |
How did you come by it? | 0:04:37 | 0:04:39 | |
I believe it was found in a skip down in the area where the shipyards were | 0:04:39 | 0:04:45 | |
at a clearing out of the shipyards. | 0:04:45 | 0:04:47 | |
It was given to me a few years later by the person who found it in the skip. | 0:04:47 | 0:04:51 | |
When the shipyards closed, people just chucked things away. | 0:04:51 | 0:04:54 | |
They had no commercial value. | 0:04:54 | 0:04:56 | |
And, at the time, they seemed to have no social or historical value. | 0:04:56 | 0:05:03 | |
And people just threw them away. | 0:05:03 | 0:05:06 | |
It's very regrettable. | 0:05:06 | 0:05:08 | |
'To pick up a document like that | 0:05:08 | 0:05:09 | |
'in that lovely leather binding' | 0:05:09 | 0:05:12 | |
and just chuck it. Who could do that? | 0:05:12 | 0:05:14 | |
It's been lying in the book case at home for a lot of years. | 0:05:14 | 0:05:17 | |
And now is the time for somebody to have it who'll appreciate it more than I would. | 0:05:17 | 0:05:22 | |
It's practically impossible to value something like this. | 0:05:22 | 0:05:25 | |
But I would be inclined to give an estimate of three to £500. | 0:05:25 | 0:05:29 | |
And I would suggest a reserve of 300. | 0:05:31 | 0:05:33 | |
Did David find someone like-minded amongst the bidders | 0:05:36 | 0:05:39 | |
who understood its social significance? | 0:05:39 | 0:05:42 | |
Lot 110. One of my favourite lots. | 0:05:43 | 0:05:45 | |
The leather-bound visitors book. | 0:05:45 | 0:05:47 | |
One commission bid. | 0:05:47 | 0:05:49 | |
I start at £300. | 0:05:49 | 0:05:51 | |
It's sold. | 0:05:51 | 0:05:52 | |
At 300. 310. | 0:05:52 | 0:05:55 | |
To my right. In the room at 310. | 0:05:55 | 0:05:57 | |
320, anybody? | 0:05:57 | 0:05:59 | |
At £310. | 0:05:59 | 0:06:01 | |
20, yes or no? | 0:06:01 | 0:06:03 | |
At £310. Are we all done? | 0:06:03 | 0:06:07 | |
Thank you so much for bringing it in. | 0:06:08 | 0:06:09 | |
-A lovely bit of heritage. -Thank you. | 0:06:09 | 0:06:12 | |
Not a bad price for an item that nearly ended up in the dump. | 0:06:12 | 0:06:16 | |
And yet it's worth so much more in terms of historical significance. | 0:06:16 | 0:06:20 | |
I was delighted to find it had been bought by the shipyard archivists. | 0:06:20 | 0:06:25 | |
That was fantastic. | 0:06:25 | 0:06:26 | |
This book started out at the shipyard | 0:06:26 | 0:06:29 | |
and incredibly has found its way home | 0:06:29 | 0:06:31 | |
to a place where researchers can learn about the region's social history. | 0:06:31 | 0:06:35 | |
It's nice that one turned up. But for every one that turns up, | 0:06:35 | 0:06:38 | |
there are thousands lost forever. | 0:06:38 | 0:06:41 | |
Think twice if you come across old documents | 0:06:41 | 0:06:43 | |
that don't interest you. | 0:06:43 | 0:06:45 | |
They could represent an important part of British history | 0:06:45 | 0:06:48 | |
and someone out there will snap them up. | 0:06:48 | 0:06:51 | |
One item had Charlie Ross reminiscing about his own social history. | 0:06:53 | 0:06:58 | |
Imagine seeing something at a Flog It | 0:06:58 | 0:07:01 | |
that I hadn't seen for, crumbs, 40 years? | 0:07:01 | 0:07:06 | |
No, 50 years plus! | 0:07:06 | 0:07:08 | |
Babar books! | 0:07:08 | 0:07:10 | |
They are wonderful. | 0:07:10 | 0:07:12 | |
I looked through a few of them | 0:07:12 | 0:07:14 | |
and I recognise so many of the actual pictures. | 0:07:14 | 0:07:17 | |
Not just Babar himself | 0:07:17 | 0:07:19 | |
but some of the characters in the books. | 0:07:19 | 0:07:22 | |
It's terribly exciting for me. | 0:07:22 | 0:07:24 | |
I can remember the stories being read to me | 0:07:24 | 0:07:27 | |
by my parents when I was small. | 0:07:27 | 0:07:29 | |
And I think they lasted long enough for me to read to my children. | 0:07:29 | 0:07:34 | |
I don't know where they are now. Probably got torn and scribbled in. | 0:07:34 | 0:07:38 | |
Never scribble in a book! | 0:07:38 | 0:07:40 | |
Never colour a book unless it is a colouring book. | 0:07:40 | 0:07:44 | |
It completely wrecks the value. | 0:07:44 | 0:07:46 | |
These books need to be mint condition to make top dollar. | 0:07:46 | 0:07:50 | |
How did you get hold of them? | 0:07:50 | 0:07:52 | |
Many, many years ago, I worked for a motoring organisation. | 0:07:52 | 0:07:55 | |
In those days, I was on a motorcycle and side car. | 0:07:55 | 0:07:58 | |
-Yep. -And one day, between Raglan and Usk, | 0:07:58 | 0:08:03 | |
in one of the lay-bys, | 0:08:03 | 0:08:05 | |
all these was thrown out! | 0:08:05 | 0:08:06 | |
-No. -I looked through them | 0:08:06 | 0:08:08 | |
and collected them up and took them home. | 0:08:08 | 0:08:11 | |
What a clever bloke to pick them up. | 0:08:11 | 0:08:13 | |
Yes, they're 20th century, | 0:08:13 | 0:08:16 | |
but in another 20 years, they'll be 100 years old. | 0:08:16 | 0:08:19 | |
The original author, Jean de Brunhoff, was French. | 0:08:19 | 0:08:22 | |
-So I understand. -He was born in 1899 | 0:08:22 | 0:08:25 | |
-and these are dated... -1934, '35, '36, '37 and '38. | 0:08:25 | 0:08:32 | |
'38 is interesting, | 0:08:32 | 0:08:33 | |
because I thought he died in 1937. | 0:08:33 | 0:08:36 | |
-I presume it was just published the year after he died. -Possibly, yes. | 0:08:36 | 0:08:39 | |
So to have five in a run, | 0:08:39 | 0:08:43 | |
at the end of his life, | 0:08:43 | 0:08:44 | |
I think is very exciting. | 0:08:44 | 0:08:46 | |
Lovely, lovely colours. | 0:08:46 | 0:08:48 | |
Big, big images. | 0:08:48 | 0:08:50 | |
The illustrations are wonderful. | 0:08:50 | 0:08:52 | |
-They are very nice. -Just fantastic! | 0:08:52 | 0:08:55 | |
I'd like to stay here and read them all. | 0:08:55 | 0:08:58 | |
There is one other image. Look at that! | 0:08:58 | 0:09:00 | |
I remember that so well. | 0:09:00 | 0:09:03 | |
I think he was genuinely surprised to find that they were of a value. | 0:09:03 | 0:09:08 | |
I think that these volumes are worth over £100. | 0:09:08 | 0:09:12 | |
-Are they? -I do. | 0:09:12 | 0:09:14 | |
I think we'll estimate them at 100 to £200. | 0:09:14 | 0:09:16 | |
I think there'll be no shortage of people wanting to buy these. | 0:09:16 | 0:09:19 | |
If I were allowed, I'd buy them myself! | 0:09:19 | 0:09:21 | |
Well, you can't, Charlie. Give someone else a chance. | 0:09:21 | 0:09:24 | |
Was anyone as enchanted with them at auction as Charlie? | 0:09:24 | 0:09:28 | |
Lot 622 is The Story of Babar, | 0:09:28 | 0:09:31 | |
five in the set here. | 0:09:31 | 0:09:33 | |
£100 I have to start. £100. | 0:09:33 | 0:09:35 | |
110. 120. 130. | 0:09:35 | 0:09:37 | |
-140. 150. -Going well. | 0:09:37 | 0:09:39 | |
-Takes me out at 150. -On their way. | 0:09:39 | 0:09:40 | |
150, now. At £150. | 0:09:40 | 0:09:43 | |
Are we all done, then, at £150. | 0:09:43 | 0:09:45 | |
Yes. Sold. £150. | 0:09:45 | 0:09:47 | |
-In and out, virtually. -Yes. | 0:09:47 | 0:09:49 | |
Lovely things. Good illustrations. | 0:09:49 | 0:09:51 | |
-Very nice. -Good for you for looking after them all that time. | 0:09:51 | 0:09:54 | |
They've been in the attic for ages. | 0:09:54 | 0:09:57 | |
I think collecting children's books is a fascinating thing. | 0:09:58 | 0:10:02 | |
It's a bit like toys. Do you use them or tuck them away and keep them in mint condition? | 0:10:02 | 0:10:08 | |
The answer, of course, if you're interested in investment, | 0:10:08 | 0:10:12 | |
is to keep them in mint condition. | 0:10:12 | 0:10:14 | |
If you want to read the book, read it. | 0:10:14 | 0:10:17 | |
There's a very healthy market for the first print or first edition of a children's book. | 0:10:18 | 0:10:24 | |
The most valuable you can own are those by famous writers. | 0:10:24 | 0:10:27 | |
If you also have a signed copy, you're in the money. | 0:10:27 | 0:10:31 | |
This signed edition of a Beatrix Potter book | 0:10:31 | 0:10:33 | |
would sell for £10,000. | 0:10:33 | 0:10:36 | |
Not exactly child's play! | 0:10:36 | 0:10:38 | |
Sometimes it takes you, our visitors, | 0:10:42 | 0:10:44 | |
to rescue an item that would otherwise be lost to posterity. | 0:10:44 | 0:10:48 | |
Our expert Philip Serrell was delighted to be the recipient. | 0:10:48 | 0:10:52 | |
How did you come by it? | 0:10:52 | 0:10:54 | |
I'm a stonemason by trade. | 0:10:54 | 0:10:56 | |
I was working on a house in Weymouth | 0:10:56 | 0:10:58 | |
and they had a skip there that people were using for the job. | 0:10:58 | 0:11:01 | |
And I went to put something in the skip and I knocked a box over | 0:11:01 | 0:11:05 | |
that someone had chucked in there | 0:11:05 | 0:11:06 | |
and I saw this in there. | 0:11:06 | 0:11:08 | |
It was rolled up. I assumed it was costume jewellery. | 0:11:08 | 0:11:11 | |
That's a good example of "one man's rubbish is another man's jewels." | 0:11:11 | 0:11:15 | |
-What do you think you've got? -I thought it was amethyst. | 0:11:15 | 0:11:17 | |
I'm not sure. Some are a purple colour and some aren't. But I'm not an expert. | 0:11:17 | 0:11:21 | |
When I told my friend Andy I was coming here today, my mate, | 0:11:21 | 0:11:24 | |
he just thought I was mad. | 0:11:24 | 0:11:27 | |
"It's not even gold." I said, "I'm sure it's gold." | 0:11:27 | 0:11:29 | |
-What does Andy do? -He's a stonemason, too. -Stonemason. | 0:11:29 | 0:11:33 | |
Tell him to stick to stonemasonry! | 0:11:33 | 0:11:35 | |
I can understand someone discarding that necklace | 0:11:35 | 0:11:37 | |
but sometimes, all that glistens IS gold! | 0:11:37 | 0:11:40 | |
And it was in this instance. | 0:11:40 | 0:11:43 | |
If you just flip that over, | 0:11:43 | 0:11:45 | |
have a look through there. | 0:11:45 | 0:11:47 | |
See that little tab that says nine carat? | 0:11:48 | 0:11:51 | |
Oh, yes. | 0:11:51 | 0:11:52 | |
-That's nine-carat gold. -Nine-carat gold. | 0:11:52 | 0:11:55 | |
Are they amethysts? Truth is, I don't know. | 0:11:55 | 0:11:57 | |
I think they're probably paste, in all truth. | 0:11:57 | 0:12:01 | |
-Would you ever wear this? -I don't think I would. -It's quite showy. | 0:12:01 | 0:12:05 | |
Yes, I prefer personally something plain. | 0:12:05 | 0:12:08 | |
But I can see that somebody would like it. | 0:12:08 | 0:12:10 | |
They were a lovely, lovely couple. They're rescued something, is how I look at it. | 0:12:10 | 0:12:14 | |
Rescued something that had been discarded. | 0:12:14 | 0:12:16 | |
And they'd owned it but it wasn't being used | 0:12:16 | 0:12:20 | |
and they realised that not using it, give someone else the chance to own it. Bring it to Flog It. | 0:12:20 | 0:12:24 | |
In a way, it's a happy result all round. | 0:12:24 | 0:12:27 | |
So we'll put this into auction with an estimate of 30 to £50. | 0:12:27 | 0:12:30 | |
-Is that OK? -Yes, that's fine. Yes. | 0:12:30 | 0:12:33 | |
The hardest thing about our job | 0:12:33 | 0:12:35 | |
is telling someone something they thought was priceless is worthless. | 0:12:35 | 0:12:38 | |
And the real joy is telling someone | 0:12:38 | 0:12:41 | |
that something they thought was not worth much is actually good. | 0:12:41 | 0:12:44 | |
Well, how about if we put it in with a three to 500 estimate? | 0:12:44 | 0:12:47 | |
-Well, that would be even better! -Amazing! | 0:12:51 | 0:12:53 | |
No, we'll leave it to Adam. | 0:12:53 | 0:12:55 | |
OK? We'll tell him we want a minimum reserve of £200 on it. | 0:12:55 | 0:13:00 | |
And if he wants to estimate it anywhere - I mean, if they're amethysts, | 0:13:00 | 0:13:05 | |
it might be that it's five to £800. | 0:13:05 | 0:13:07 | |
-They're a lot more expensive, are they? -Yeah. | 0:13:07 | 0:13:10 | |
If they're not amethysts, it might be two to four, three to 500. | 0:13:10 | 0:13:13 | |
It's that ballpark. We'll tell him we want a fixed reserve of £200 | 0:13:13 | 0:13:18 | |
and where he goes after that is up to him, really. | 0:13:18 | 0:13:21 | |
Depending on what he finds. Are you happy with that? | 0:13:21 | 0:13:24 | |
-Yeah. -Very happy with that. | 0:13:24 | 0:13:26 | |
So, was it their lucky day? | 0:13:26 | 0:13:27 | |
280. | 0:13:27 | 0:13:29 | |
290. 300. | 0:13:29 | 0:13:31 | |
320. 340. | 0:13:31 | 0:13:32 | |
360. 380. 400. | 0:13:32 | 0:13:35 | |
420. 440. | 0:13:35 | 0:13:37 | |
-Didn't see this coming! -No. | 0:13:37 | 0:13:39 | |
420. Any more now? At £420. | 0:13:39 | 0:13:42 | |
440. 460. | 0:13:42 | 0:13:44 | |
480. | 0:13:44 | 0:13:45 | |
500. | 0:13:45 | 0:13:46 | |
520? | 0:13:46 | 0:13:48 | |
£500. At 500. | 0:13:48 | 0:13:50 | |
At £500. All done, then? Selling. | 0:13:50 | 0:13:52 | |
At £500. | 0:13:52 | 0:13:54 | |
Bang. The hammer's gone down. 500 quid. | 0:13:56 | 0:13:59 | |
You go barmy when you have a skip and somebody dumps their clutter in it! | 0:13:59 | 0:14:03 | |
-You do. But we don't mind that. -Excellent. | 0:14:03 | 0:14:06 | |
Were those real amethysts? I don't know. | 0:14:06 | 0:14:08 | |
But I'd guess, with the money they made, they must have been. | 0:14:08 | 0:14:10 | |
As a rough rule of thumb, | 0:14:10 | 0:14:12 | |
if you've got a piece of glass, you put it in a bit of tin. | 0:14:12 | 0:14:15 | |
If you've got a quality stone, you put it in gold. | 0:14:15 | 0:14:18 | |
In a way, that's a really good indication of whether you have a good thing or a bad thing | 0:14:18 | 0:14:22 | |
in your hands or even round your neck. | 0:14:22 | 0:14:25 | |
What a gem of an item. | 0:14:25 | 0:14:26 | |
But remember, you must always ask permission from the skip owner before helping yourself. | 0:14:26 | 0:14:31 | |
Here are my trade secrets about what to look out for | 0:14:35 | 0:14:38 | |
if you unearth something that tickles your interest. | 0:14:38 | 0:14:41 | |
It's easy to overlook dusty old documents, but don't. | 0:14:42 | 0:14:46 | |
There's a niche market for things that tell of our social history. | 0:14:46 | 0:14:50 | |
Unlike historical documents, | 0:14:51 | 0:14:53 | |
which can have the patina of age, | 0:14:53 | 0:14:55 | |
if you come across an old book from a famous author | 0:14:55 | 0:14:58 | |
that you think could be rare, keep it pristine | 0:14:58 | 0:15:01 | |
and get some specialist advice in this highly sought-after field. | 0:15:01 | 0:15:05 | |
While luck played a part in each of these finds, | 0:15:07 | 0:15:10 | |
each person had the wherewithal to pick them up | 0:15:10 | 0:15:14 | |
rather than walk on by. | 0:15:14 | 0:15:15 | |
Be alert. If you come across something that looks a bit special, | 0:15:15 | 0:15:20 | |
go with your instinct and investigate. | 0:15:20 | 0:15:23 | |
You could be sitting on a gold mine! | 0:15:23 | 0:15:25 | |
The little boy or girl in all of us often imagines discovering treasure. | 0:15:34 | 0:15:38 | |
So what better way to indulge the dream than by going on an unusual kind of hunt, | 0:15:38 | 0:15:44 | |
on rugged Dartmoor. | 0:15:44 | 0:15:45 | |
I'm here today to try out something a little bit different, | 0:15:45 | 0:15:49 | |
something I've not really come across before. | 0:15:49 | 0:15:52 | |
And that's the unusual hobby of letter-boxing. | 0:15:52 | 0:15:55 | |
Letter-boxing was developed for the very first tourists on Dartmoor. | 0:15:55 | 0:15:59 | |
It's basically a giant treasure hunt. | 0:15:59 | 0:16:02 | |
You follow the clues to find the hidden letter boxes | 0:16:02 | 0:16:04 | |
and it takes in all the 1,000 square kilometres of the National Park. | 0:16:04 | 0:16:10 | |
I'm here on an orienteering-style treasure hunt, | 0:16:10 | 0:16:12 | |
which is basically a hunt all over Dartmoor, as far as you can see, | 0:16:12 | 0:16:16 | |
using map references and clues looking for hidden boxes. | 0:16:16 | 0:16:20 | |
Traditionally, once you found one of these boxes, | 0:16:20 | 0:16:22 | |
you would leave your calling card with your details on it | 0:16:22 | 0:16:25 | |
so the next person to find that box would see your card and send it to you in the post. | 0:16:25 | 0:16:29 | |
He would leave his card, and the next person finds that, and it goes on and on. | 0:16:29 | 0:16:33 | |
Now, some traditional aspects of letter boxing have been kept alive, | 0:16:33 | 0:16:37 | |
but it's not necessary to leave your personal details today. | 0:16:37 | 0:16:41 | |
What you have now is an individual stamp which you find in each box. | 0:16:41 | 0:16:45 | |
You collect the stamps. And that's exactly what I'm going to do. | 0:16:45 | 0:16:48 | |
It all started here in 1854 with James Perrott, | 0:16:51 | 0:16:54 | |
a local guide from Chagford who took early tourists deep into the moor. | 0:16:54 | 0:16:59 | |
He built a small cairn of rocks at Cranmere Pool, | 0:16:59 | 0:17:02 | |
a popular walking destination, | 0:17:02 | 0:17:04 | |
where he placed a stone jug. | 0:17:04 | 0:17:06 | |
This has been recognised as the very first letter box. | 0:17:06 | 0:17:10 | |
150 years later, | 0:17:10 | 0:17:13 | |
it's still going strong. | 0:17:13 | 0:17:15 | |
And Roger Poole, co-chair of the prestigious Dartmoor 100 Club, | 0:17:15 | 0:17:19 | |
is going to initiate me into the secrets of this historic pastime. | 0:17:19 | 0:17:24 | |
I've been given all I need in my rucksack. | 0:17:24 | 0:17:27 | |
So where do we go first? What do we do? | 0:17:27 | 0:17:30 | |
Well, we need some clues and a map. | 0:17:30 | 0:17:32 | |
-Fortunately, I've got the clue book. -OK. | 0:17:32 | 0:17:35 | |
I've also got a map of the area. | 0:17:35 | 0:17:37 | |
Where are we? What are we looking at? | 0:17:37 | 0:17:39 | |
We're at Shilstone Tor in grid 65. | 0:17:39 | 0:17:43 | |
And we look in the book and it gives us a clue for the tor. | 0:17:43 | 0:17:46 | |
It says, "Tor 172 degrees, | 0:17:46 | 0:17:48 | |
"and a white chimney is 86." | 0:17:48 | 0:17:51 | |
Is that the white chimney over there? | 0:17:51 | 0:17:53 | |
That's the white chimney that you can see in the trees. | 0:17:53 | 0:17:56 | |
So if you look through the compass... | 0:17:56 | 0:17:59 | |
-That's dead on... It's just under 80 degrees. -Right. | 0:17:59 | 0:18:03 | |
Now take a bearing of it on the tor. | 0:18:03 | 0:18:05 | |
-That's the tor. -That's the tor. | 0:18:05 | 0:18:07 | |
That says...150 degrees. | 0:18:07 | 0:18:10 | |
So we've got to move over that way at least 25 degrees. | 0:18:10 | 0:18:13 | |
I see how this works, now! | 0:18:13 | 0:18:15 | |
-So if we walk towards the chimney... -Yeah. | 0:18:15 | 0:18:18 | |
If we head up towards that way. | 0:18:21 | 0:18:23 | |
'By keeping two landmarks in constant view, | 0:18:23 | 0:18:27 | |
'we can calculate our route to the letter box.' | 0:18:27 | 0:18:29 | |
-There's our chimney again. -Is that about right? | 0:18:29 | 0:18:32 | |
It's about 83. I think we need 86. | 0:18:32 | 0:18:35 | |
And we need 172 on the tor. | 0:18:35 | 0:18:37 | |
-Virtually 172, 173. -So we're spot on? | 0:18:37 | 0:18:41 | |
So if we keep tracking this way, | 0:18:41 | 0:18:43 | |
it's got to be around here, somewhere. | 0:18:43 | 0:18:44 | |
Now, the rest of the clue. It says, "The box is under a boulder, | 0:18:44 | 0:18:48 | |
"a backward L-shaped." | 0:18:48 | 0:18:50 | |
That's a boulder. | 0:18:50 | 0:18:52 | |
That's L-shaped. | 0:18:52 | 0:18:53 | |
You're like a schoolboy running round a playground, aren't you? | 0:18:56 | 0:18:59 | |
How big is this box, Roger? | 0:19:00 | 0:19:02 | |
-It's a little white pill pot. Like that. -Right. OK. | 0:19:02 | 0:19:05 | |
I was expecting... | 0:19:05 | 0:19:07 | |
No, no, no. | 0:19:07 | 0:19:08 | |
There it is! | 0:19:08 | 0:19:10 | |
See if it's the right one. | 0:19:12 | 0:19:14 | |
OK. | 0:19:15 | 0:19:16 | |
There's the stamp. | 0:19:18 | 0:19:20 | |
So what you need to do is get your stamping gear out. | 0:19:22 | 0:19:25 | |
It's probably hidden away. | 0:19:25 | 0:19:27 | |
If you want to take a copy. | 0:19:27 | 0:19:29 | |
-I've got a special rubber stamp that we had made. -Well done. | 0:19:29 | 0:19:32 | |
A bit of blue Flog It ink. | 0:19:32 | 0:19:34 | |
You want to put your Flog It stamp on here. | 0:19:34 | 0:19:37 | |
There we go. | 0:19:43 | 0:19:45 | |
-Yep, that's very good. -Brilliant. | 0:19:45 | 0:19:47 | |
'So we leave a stamp and take a stamp. Mission accomplished.' | 0:19:47 | 0:19:51 | |
So how did you get involved in this? When did you start? | 0:19:51 | 0:19:54 | |
We started over 25 years ago now, with a school walk, with our children. | 0:19:54 | 0:19:59 | |
And we found a couple of letter boxes, | 0:19:59 | 0:20:02 | |
and thought, "This is good", it kept the children active. | 0:20:02 | 0:20:05 | |
They didn't get bored. We just went on from there. | 0:20:05 | 0:20:09 | |
It's all about the hunt. So onwards and upwards. | 0:20:11 | 0:20:15 | |
99 to go, and I get one of these? | 0:20:15 | 0:20:17 | |
That's right! | 0:20:17 | 0:20:19 | |
And not before. And you can have a badge! | 0:20:19 | 0:20:21 | |
'And now it's time for Flog It to add to the 150-year tradition.' | 0:20:22 | 0:20:28 | |
This is where we can place our Flog It letter box. | 0:20:28 | 0:20:31 | |
What do you want me to do, Roger? | 0:20:31 | 0:20:33 | |
If you give me the letter box... | 0:20:33 | 0:20:35 | |
Check that everything's in it. | 0:20:36 | 0:20:38 | |
It's in a nice water-tight container. | 0:20:40 | 0:20:42 | |
Perfect container for this. That's for you. | 0:20:42 | 0:20:44 | |
-So you're going to go off... -I shall go away now and site it. | 0:20:44 | 0:20:48 | |
-Site it. And then log all the co-ordinates and the bearings. -Yes. | 0:20:48 | 0:20:54 | |
-There you go. -And then I'll put that on our website. | 0:20:54 | 0:20:57 | |
-Thanks very much. -Thank you. -What a wonderful day out. -Away we go. | 0:20:57 | 0:21:00 | |
-Bye! See you again. -Bye! | 0:21:00 | 0:21:02 | |
Even I don't know where he's going to hide that. | 0:21:02 | 0:21:04 | |
I've got to look up all the bearings, just like you have. | 0:21:04 | 0:21:08 | |
That's the way it works. | 0:21:08 | 0:21:09 | |
This is certainly no outdated tradition, I can tell you. | 0:21:14 | 0:21:17 | |
It started as one Victorian man's initiative to get people out and about, | 0:21:17 | 0:21:21 | |
to explore the moors and get them out in the fresh air. | 0:21:21 | 0:21:24 | |
But 150 years later, it's still fulfilling its aim. | 0:21:24 | 0:21:28 | |
I bet James Perrott never expected the popularity to grow | 0:21:28 | 0:21:32 | |
to the extent where there are now some 3,000 letter boxes | 0:21:32 | 0:21:35 | |
dotted all around these moors. | 0:21:35 | 0:21:37 | |
Wherever you look, you'll find one, if you've got the co-ordinates. | 0:21:37 | 0:21:41 | |
And today, I got my first stamp, so it's a start. | 0:21:41 | 0:21:44 | |
Are you tempted? | 0:21:44 | 0:21:46 | |
Now, I know Anita Manning is one of your favourite experts. | 0:21:53 | 0:21:55 | |
She is the first lady of Flog It! | 0:21:55 | 0:21:58 | |
We're used to seeing Anita at our valuation day tables, | 0:21:59 | 0:22:02 | |
giving valuations to our owners and also on the rostrum as an auctioneer | 0:22:02 | 0:22:06 | |
in her own sale room in Glasgow. | 0:22:06 | 0:22:08 | |
Sixty. Seventy. | 0:22:08 | 0:22:10 | |
But what inspired Anita to become a pioneer herself? | 0:22:10 | 0:22:13 | |
What sets me apart from other auctioneers | 0:22:16 | 0:22:18 | |
is that I'm a woman. | 0:22:18 | 0:22:20 | |
Now, I started my business in 1989, over 20 years ago. | 0:22:20 | 0:22:25 | |
And I started the business with my daughter. | 0:22:25 | 0:22:28 | |
300 bid. | 0:22:28 | 0:22:31 | |
It's not that I'm anti-men. I love men! | 0:22:31 | 0:22:34 | |
I've been married several times and I've always had a great time with them. | 0:22:34 | 0:22:39 | |
But I wanted to start up on my own. | 0:22:39 | 0:22:42 | |
I wanted to feel empowered. I wanted to have my own business, | 0:22:42 | 0:22:46 | |
to make my own decisions, to use my own philosophy behind my business. | 0:22:46 | 0:22:51 | |
# Sweet dreams are made of this... # | 0:22:58 | 0:23:02 | |
I was a young woman in the 1970s and 1980s. | 0:23:02 | 0:23:05 | |
We were earning our own living, we were doing our own thing. | 0:23:05 | 0:23:09 | |
After all, I'm a Glasgow girl and was pretty adventurous. | 0:23:09 | 0:23:13 | |
My dad was a union man, my mum was pretty feisty. | 0:23:13 | 0:23:17 | |
And I was a woman who wanted to be mistress of my own destiny! | 0:23:17 | 0:23:22 | |
I love Kelvingrove Museum. | 0:23:31 | 0:23:33 | |
I live five minutes away | 0:23:33 | 0:23:35 | |
and I find myself drawn to this museum weekend after weekend | 0:23:35 | 0:23:40 | |
and I bring my grandchildren down as well and they love it. | 0:23:40 | 0:23:44 | |
It shows just a marvellous selection of items from all over the world. | 0:23:44 | 0:23:50 | |
Wonderful pictures, wonderful objects. | 0:23:50 | 0:23:53 | |
But my favourite room is this room here, | 0:23:53 | 0:23:57 | |
which shows the Glasgow style. | 0:23:57 | 0:24:00 | |
In the late 19th, early 20th century, | 0:24:04 | 0:24:07 | |
there were a remarkable group of women artists and designers | 0:24:07 | 0:24:12 | |
working in Glasgow. | 0:24:12 | 0:24:14 | |
Now, central to this movement, | 0:24:14 | 0:24:17 | |
was the Glasgow School of Art | 0:24:17 | 0:24:18 | |
and its director at that time, Francis Newbury. | 0:24:18 | 0:24:23 | |
Francis Newbury encouraged equal opportunities and encouragement for women. | 0:24:23 | 0:24:30 | |
And that was at a time when women were denied further education | 0:24:30 | 0:24:33 | |
at universities. | 0:24:33 | 0:24:36 | |
Now, these women worked in a variety of different media, | 0:24:38 | 0:24:42 | |
painting, ceramics, metalwork, textiles and interior design. | 0:24:42 | 0:24:48 | |
They were celebrated throughout Europe | 0:24:48 | 0:24:51 | |
and exhibited their work in all the major international exhibitions. | 0:24:51 | 0:24:56 | |
Margaret MacDonald was one of our most important Glasgow girls. | 0:24:58 | 0:25:03 | |
An English girl, but she'd come with her sister, to study at Glasgow School of Art. | 0:25:03 | 0:25:08 | |
They had a studio in the centre of Glasgow and they collaborated on many projects. | 0:25:08 | 0:25:14 | |
If you look at these wonderful panels, | 0:25:14 | 0:25:17 | |
we see an example of this. | 0:25:17 | 0:25:19 | |
And they're a pair of candle sconces. | 0:25:19 | 0:25:22 | |
We have this long, elongated figure | 0:25:22 | 0:25:26 | |
stretching up to greet the morning light. | 0:25:26 | 0:25:30 | |
Not only did the girls work in Glasgow, | 0:25:34 | 0:25:37 | |
they fell in love. | 0:25:37 | 0:25:39 | |
Margaret married Charles Rennie Mackintosh | 0:25:39 | 0:25:41 | |
and Frances married his fellow architect, Herbert MacNair. | 0:25:41 | 0:25:47 | |
And they formed a formidable group. | 0:25:47 | 0:25:51 | |
They were known as "The Four". | 0:25:51 | 0:25:53 | |
These are two wonderful, wonderful panels. | 0:25:57 | 0:26:01 | |
They were done in collaboration. | 0:26:01 | 0:26:03 | |
Margaret and Charles. | 0:26:03 | 0:26:05 | |
This one was done by Margaret, entitled The May Queen, | 0:26:05 | 0:26:10 | |
and this one was done by Charles and it's entitled The Wassail. | 0:26:10 | 0:26:14 | |
Now, these wonderful panels were made for Miss Cranston's tea rooms | 0:26:14 | 0:26:19 | |
but they were exhibited in the Secessionist exhibition | 0:26:19 | 0:26:24 | |
in Vienna in 1900. | 0:26:24 | 0:26:27 | |
And it is said that works like these from Scotland | 0:26:27 | 0:26:30 | |
influenced artists such as Klimt and Hoffmann. | 0:26:30 | 0:26:35 | |
The Four were also known as "The Spook School", | 0:26:40 | 0:26:44 | |
and when we look at this mirror by Frances MacDonald, we know why. | 0:26:44 | 0:26:49 | |
If we look at these long elongated female figures | 0:26:49 | 0:26:53 | |
with the skeletal arms and fingers pointing towards the centre, | 0:26:53 | 0:26:59 | |
the mirror is decorated with images of the plant "Honesty", | 0:26:59 | 0:27:03 | |
and at the top we have flower heads | 0:27:03 | 0:27:06 | |
and this is surrounded by seed pods | 0:27:06 | 0:27:08 | |
which are symbolising rebirth, regeneration. | 0:27:08 | 0:27:13 | |
And they are... They are symbols. | 0:27:13 | 0:27:16 | |
And they are stylised. This was another thing about the Glasgow style. | 0:27:16 | 0:27:20 | |
It took things from nature and it stylised them. It turned them into design. | 0:27:20 | 0:27:27 | |
We also have these hearts here, | 0:27:27 | 0:27:30 | |
again a symbol of love, | 0:27:30 | 0:27:31 | |
and it's a motif which is often used in the Glasgow style. | 0:27:31 | 0:27:36 | |
Wonderful mirror. | 0:27:36 | 0:27:37 | |
Honesty. | 0:27:37 | 0:27:39 | |
A bit too honest! | 0:27:39 | 0:27:41 | |
I may be a little long in the tooth now, | 0:27:47 | 0:27:50 | |
but I still think of myself as a Glasgow girl. | 0:27:50 | 0:27:54 | |
I may not have the talent of that lot, | 0:27:54 | 0:27:56 | |
but hey, we've all got to do our little bit for girl power! | 0:27:56 | 0:28:01 | |
Those Glasgow girls were prolific. | 0:28:04 | 0:28:06 | |
So look out for other names, like Jessie M. King, | 0:28:06 | 0:28:08 | |
Ann Macbeth, Margaret Mary Gilmore, | 0:28:08 | 0:28:11 | |
Bessie McNichol and Nora Nilsson-Grey. | 0:28:11 | 0:28:14 | |
Anita would agree. You never know what might turn up! | 0:28:14 | 0:28:18 | |
And all of our experts would agree that when it comes to selling | 0:28:18 | 0:28:22 | |
antiques, the most unlikely looking items can turn a tidy profit. | 0:28:22 | 0:28:26 | |
But the real secret on today's show is stay alert | 0:28:26 | 0:28:29 | |
and don't be afraid to get your hands dirty. | 0:28:29 | 0:28:31 | |
And assume if something's been thrown away, that's it's rubbish. | 0:28:31 | 0:28:35 | |
See you next time. | 0:28:35 | 0:28:36 |