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Over the last 11 years on Flog It!, | 0:00:03 | 0:00:04 | |
we've travelled the length and breadth of the British Isles | 0:00:04 | 0:00:07 | |
several times over. | 0:00:07 | 0:00:09 | |
Along the way, you've turned up in your thousands | 0:00:09 | 0:00:12 | |
with beautiful items for our experts to muse over. | 0:00:12 | 0:00:16 | |
Do you take a wee dram? | 0:00:16 | 0:00:18 | |
Only for medicinal purposes! THEY LAUGH | 0:00:18 | 0:00:21 | |
This little nation of ours boasts a rich and proud antique heritage. | 0:00:21 | 0:00:26 | |
So, in today's programme, | 0:00:26 | 0:00:28 | |
we're going to give you the low-down on some of our great British makers. | 0:00:28 | 0:00:33 | |
In this episode, we'll be looking at the best of British - | 0:01:00 | 0:01:03 | |
antiques and collectibles from up and down the country. | 0:01:03 | 0:01:06 | |
This is a lovely one we found, as well. | 0:01:06 | 0:01:08 | |
The Bridlington Excelsior Prize Silver Band. | 0:01:08 | 0:01:11 | |
And sometimes, it's not just what you have, | 0:01:11 | 0:01:14 | |
it's knowing where they came from | 0:01:14 | 0:01:16 | |
and the best place to sell them. | 0:01:16 | 0:01:18 | |
That really makes a difference. | 0:01:18 | 0:01:20 | |
Coming up, we'll give you the know-how to find your own | 0:01:20 | 0:01:24 | |
best of British. | 0:01:24 | 0:01:25 | |
If it's from a limited edition of 100, | 0:01:25 | 0:01:28 | |
try and get the earlier pieces. | 0:01:28 | 0:01:29 | |
This is where I drop it. | 0:01:29 | 0:01:31 | |
James Lewis visits Derby to learn some trade secrets | 0:01:31 | 0:01:34 | |
from one of Britain's iconic ceramics makers. | 0:01:34 | 0:01:37 | |
This is just not easy, is it? | 0:01:37 | 0:01:39 | |
When it comes to English greats, | 0:01:39 | 0:01:42 | |
we'll let you know when damage won't dent their appeal. | 0:01:42 | 0:01:45 | |
A bit of sticky tape isn't necessarily a bad thing. | 0:01:45 | 0:01:50 | |
Now, the great thing about this show is, we get to visit | 0:01:50 | 0:01:53 | |
the four corners of the United Kingdom. | 0:01:53 | 0:01:55 | |
And there's always a buzz amongst our experts | 0:01:55 | 0:01:57 | |
as to whether you will bring us some local treasures to look at. | 0:01:57 | 0:02:00 | |
And you never disappoint. | 0:02:00 | 0:02:02 | |
'So, if you want to buy a bit of British, here are some pointers.' | 0:02:02 | 0:02:06 | |
Whatever you buy, make it the best you can afford. | 0:02:06 | 0:02:09 | |
So, rather than perhaps buy five items at £100 each, | 0:02:09 | 0:02:13 | |
buy one for £500. | 0:02:13 | 0:02:15 | |
You go with your gut reaction, but if you've got | 0:02:15 | 0:02:18 | |
a little bit of knowledge, turn everything upside down. | 0:02:18 | 0:02:21 | |
Strangely, in our business, | 0:02:21 | 0:02:23 | |
we attach value to who made something, who painted something, | 0:02:23 | 0:02:28 | |
when it was made, rather than the object itself. | 0:02:28 | 0:02:31 | |
Look out for stylised pieces from the 1950s. They're on the up. | 0:02:31 | 0:02:35 | |
So here are some of our very best finds | 0:02:39 | 0:02:41 | |
and what you can learn from them. | 0:02:41 | 0:02:43 | |
'And British names don't come any bigger than Royal Worcester. | 0:02:44 | 0:02:48 | |
'For Flog It! expert Philip Serrell, it's almost a way of life.' | 0:02:49 | 0:02:53 | |
I think the wares are stunning and because I'm in Worcester, | 0:02:53 | 0:02:57 | |
it's something that I've tended to specialise in throughout the years. | 0:02:57 | 0:03:01 | |
Highly decorative wares and models of the 19th century, | 0:03:01 | 0:03:04 | |
and then in the 20th century, the real key for me, | 0:03:04 | 0:03:07 | |
I suppose, are the hand-painted wares - cattle by the Stintons, | 0:03:07 | 0:03:10 | |
hand-painted fruit by people like Sebright. | 0:03:10 | 0:03:13 | |
You know, I remember Adam took in a vase by White | 0:03:13 | 0:03:18 | |
that was decorated in peacocks. | 0:03:18 | 0:03:20 | |
And you've brought me a lovely example | 0:03:20 | 0:03:21 | |
of a Worcester vase. Can you tell me how you came to own it? | 0:03:21 | 0:03:24 | |
Well, it was my parents'. | 0:03:24 | 0:03:25 | |
They acquired it from friends about 40, 45 years ago. | 0:03:25 | 0:03:30 | |
And my parents gave it to me about 15 years ago. | 0:03:30 | 0:03:34 | |
Worcester porcelain is one of the most historic | 0:03:34 | 0:03:37 | |
and longest-established porcelain factories in the world and because they're one of the best, | 0:03:37 | 0:03:41 | |
they are widely collected all around the world. | 0:03:41 | 0:03:44 | |
It's obviously hand-painted, brightly enamel painted, with... | 0:03:44 | 0:03:48 | |
-That's a peacock, isn't it? -I think so, yes. It certainly looks like it. | 0:03:48 | 0:03:52 | |
Peacocks in Worcestershire are an unlucky bird, | 0:03:52 | 0:03:55 | |
because the peacock tail is meant to represent the devil's eye, and if | 0:03:55 | 0:03:59 | |
you have a peacock tail in the house, it's meant to bring you bad luck. | 0:03:59 | 0:04:04 | |
Now, the lid doesn't sit on quite right. Oh, look! | 0:04:04 | 0:04:08 | |
-They didn't come out the factory like that! -No, that's courtesy of my father. | 0:04:08 | 0:04:12 | |
Your father did that to preserve it? | 0:04:12 | 0:04:14 | |
-To preserve the lid. -To preserve the lid. | 0:04:14 | 0:04:16 | |
Unfortunately...is that a crack? It is. A hairline crack in the lid. | 0:04:16 | 0:04:22 | |
The damage on that vase really didn't count | 0:04:22 | 0:04:25 | |
as a major damage at all. And, if anything, | 0:04:25 | 0:04:27 | |
it showed that it had never been near a dealer's shop, | 0:04:27 | 0:04:30 | |
it had never been in a fair, it was just nice and honest and genuine. | 0:04:30 | 0:04:33 | |
A bit of sticky tape isn't necessarily a bad thing. | 0:04:33 | 0:04:37 | |
And the date code for this, | 0:04:37 | 0:04:39 | |
we add up all these dots here, there are 17 dots in total | 0:04:39 | 0:04:42 | |
which...my calculations make it around 1908, when that was made. | 0:04:42 | 0:04:47 | |
So, if we turn it back round again, | 0:04:47 | 0:04:50 | |
we've got a very handsome Worcester vase with cover. | 0:04:50 | 0:04:54 | |
So, I think that we should put an estimate of £200 to £300 | 0:04:54 | 0:05:00 | |
and I think it will make 300 to 350, eventually, | 0:05:00 | 0:05:04 | |
once everyone's had a bid at it. Does that sound acceptable? | 0:05:04 | 0:05:08 | |
-Sounds reasonable to me, yes. But I would want a reserve on it. -20 quid? -Oh, no... -I'm joking! | 0:05:08 | 0:05:13 | |
-No, I would say 200. -OK. -Does that sound all right? -Yes. | 0:05:13 | 0:05:17 | |
You'd have thought that was primed to go in Philip's sale, | 0:05:19 | 0:05:22 | |
and it was, because Philip has the big collections of Worcester, | 0:05:22 | 0:05:25 | |
every sale he has, he's in Worcestershire | 0:05:25 | 0:05:27 | |
and it's one of the things he specialises in. | 0:05:27 | 0:05:30 | |
So, in that respect, it was the perfect sale for the vase to go in. | 0:05:30 | 0:05:34 | |
Lot 760 is this really lovely vase. | 0:05:35 | 0:05:39 | |
I've got 400. Will you go 420? 420. | 0:05:39 | 0:05:42 | |
Straight in there at 400. | 0:05:42 | 0:05:46 | |
If you think about it, there's probably more Worcester porcelain | 0:05:46 | 0:05:49 | |
in Worcester than there is anywhere else. | 0:05:49 | 0:05:51 | |
And so, as the local auctioneer, I'm probably going to sell more Worcester, | 0:05:51 | 0:05:54 | |
and so, people tend to come to us for it. | 0:05:54 | 0:05:58 | |
-700. -Oh, my giddy aunt. -720. | 0:05:58 | 0:06:01 | |
-750. 780. -Gosh, it's going on and on, isn't it? | 0:06:03 | 0:06:07 | |
850, 880, 900. | 0:06:07 | 0:06:10 | |
920. | 0:06:10 | 0:06:13 | |
You need to be mindful, all the time, that whatever you see | 0:06:13 | 0:06:15 | |
is someone's property, and it's your job, your duty, | 0:06:15 | 0:06:19 | |
to get the most that you can for it. | 0:06:19 | 0:06:21 | |
-Oh, Barbara... -Let's see if we can get four figures. 1,100. | 0:06:21 | 0:06:25 | |
-£1,100. -Wow! -50, is it? | 0:06:25 | 0:06:27 | |
You can never predict what's going to happen in an auction. | 0:06:27 | 0:06:30 | |
1,150, is it? | 0:06:30 | 0:06:32 | |
-1,150. -This is quite special. -Yeah. | 0:06:32 | 0:06:36 | |
-There is the bid. In America. -In America, that's gone to the States. | 0:06:36 | 0:06:41 | |
-At £1,200, and I sell, then... -How are you feeling? -Wonderful! | 0:06:41 | 0:06:45 | |
GAVEL FALLS | 0:06:45 | 0:06:47 | |
£1,200 - the hammer's gone down. That's what we like to see! | 0:06:47 | 0:06:49 | |
'Selling the vase in Worcester meant the buyers knew where to look. | 0:06:49 | 0:06:52 | |
'And now this classic English piece has a new home, | 0:06:52 | 0:06:54 | |
thousands of miles away. | 0:06:54 | 0:06:56 | |
You always have in the back of your mind, "local" - | 0:06:58 | 0:07:02 | |
if it's local, | 0:07:02 | 0:07:03 | |
it's going to have an interest. | 0:07:03 | 0:07:05 | |
The auctioneer will work harder for you. | 0:07:05 | 0:07:07 | |
And in Harrogate, there was this amazing postcard and photograph album. | 0:07:07 | 0:07:11 | |
Tell me, how did you come about them? | 0:07:11 | 0:07:14 | |
My mum had them at her house, and I just cleared her house out. | 0:07:14 | 0:07:18 | |
What's amazing is the condition of the album, just to begin with. | 0:07:18 | 0:07:21 | |
It's super. But what's even more interesting is what's inside, actually. | 0:07:21 | 0:07:25 | |
The album is awash with postcards and photographs from the 1900s, | 0:07:25 | 0:07:31 | |
1910, 1920. Some pre-war ones. This is a lovely one we found, as well. | 0:07:31 | 0:07:36 | |
The Bridlington Excelsior Prize Silver Band. | 0:07:36 | 0:07:40 | |
Things like that are just wonderful. | 0:07:40 | 0:07:42 | |
They were all there their trophy, their twin-handled cup, | 0:07:42 | 0:07:46 | |
and these lovely instruments all on display. | 0:07:46 | 0:07:49 | |
God, it would have made a noise. | 0:07:49 | 0:07:51 | |
Then we had the polling card which, again, was local. Local elections. | 0:07:51 | 0:07:55 | |
All of these aspects - you could never photograph them again. | 0:07:55 | 0:07:59 | |
This polling card, you could never make again. | 0:07:59 | 0:08:02 | |
That group of people, that's what's so interesting about them. They're so local to that area. | 0:08:02 | 0:08:07 | |
That's why people are after it. | 0:08:07 | 0:08:09 | |
-I would like to put an estimate on it of about £300 to £500. -Right. | 0:08:09 | 0:08:13 | |
-Are you happy with that? -Yes! | 0:08:13 | 0:08:15 | |
But has Thomas got carried away by a few choice cards? | 0:08:17 | 0:08:21 | |
'On the day, the auctioneer had his doubts.' | 0:08:21 | 0:08:24 | |
-£300 to £500 on this. -Hmm... | 0:08:24 | 0:08:26 | |
There are one or two local ones here, but not that many. | 0:08:26 | 0:08:29 | |
Which is a shame. I think, as so often with these things, | 0:08:29 | 0:08:32 | |
they sell best in their own area, | 0:08:32 | 0:08:34 | |
so if you had a great album of Yorkshire cards, | 0:08:34 | 0:08:36 | |
they'd sell like mad, but when you get a mixed album like this, not quite so easy to sell. | 0:08:36 | 0:08:41 | |
This will be a struggle, I think, personally. | 0:08:41 | 0:08:43 | |
I agree with you, Paul, I think we are going to struggle on that one. | 0:08:43 | 0:08:46 | |
I can remember when we got to the auction, Paul was, you know, | 0:08:46 | 0:08:49 | |
"I've had a chat to the auctioneer. We don't think it's going to sell. | 0:08:49 | 0:08:53 | |
"Oh, it's going to be taken home." | 0:08:53 | 0:08:55 | |
First round, into the ring, the bell's not even gone, | 0:08:55 | 0:08:58 | |
we're on the floor already, trying to claw our way up after the ten-second count. | 0:08:58 | 0:09:03 | |
-This is going to be a tricky one, but I think we should just get it away. -I don't know. | 0:09:03 | 0:09:07 | |
And then, suddenly, the auction happened. There's a phone bid. | 0:09:07 | 0:09:10 | |
Yes, quite a lot of them there, lot 509. Couple of hundred for it? | 0:09:10 | 0:09:14 | |
200 I'm bid, 210, now, £200, the opening bid. | 0:09:14 | 0:09:17 | |
210 I'm bid, 220, 230, 240, 250, 260, 270, 280... | 0:09:17 | 0:09:23 | |
There's somebody with their paddle just up. You just love that. | 0:09:23 | 0:09:26 | |
As an auctioneer, you cannot pray for anything better. | 0:09:26 | 0:09:29 | |
Somebody doing this all the time, | 0:09:29 | 0:09:31 | |
they've got somebody on the phone, or somebody's there, | 0:09:31 | 0:09:34 | |
you've got two people doing that, both paddles up, it started. 300. And 20. 340, 360, 380, 400. | 0:09:34 | 0:09:39 | |
410, 420, 430. 430, 440, 450. | 0:09:39 | 0:09:44 | |
-Not bad. -This is fantastic. | 0:09:44 | 0:09:46 | |
The album is working. It's fighting its corner. | 0:09:46 | 0:09:49 | |
And I felt vindicated that I put that bullish estimate on it. | 0:09:49 | 0:09:52 | |
I was so wrong, cos I agreed with the auctioneer. | 0:09:52 | 0:09:55 | |
I thought it would struggle. | 0:09:55 | 0:09:56 | |
Ye of little faith! | 0:09:56 | 0:09:59 | |
500, 510. | 0:09:59 | 0:10:01 | |
510, 520, 530. | 0:10:01 | 0:10:04 | |
It just went on and on and on and on. | 0:10:04 | 0:10:06 | |
700, upstairs. At £700. Any more? 700, then, it's going at £700. | 0:10:06 | 0:10:12 | |
Janet, £700! | 0:10:12 | 0:10:16 | |
Unbelievable! | 0:10:17 | 0:10:18 | |
I think she was ecstatic. | 0:10:18 | 0:10:20 | |
I reckon it made that money because there were some interesting | 0:10:20 | 0:10:25 | |
black-and-white photographs of the silver band. | 0:10:25 | 0:10:28 | |
There were some colliery photographs. | 0:10:28 | 0:10:30 | |
There was also that piece of political ephemera. | 0:10:30 | 0:10:33 | |
And it was an early card as well. | 0:10:33 | 0:10:35 | |
It was early 1900s, before women had the vote, so, again, fascinating. | 0:10:35 | 0:10:40 | |
With all those things of local interest... | 0:10:40 | 0:10:44 | |
that's why it made the £700. | 0:10:44 | 0:10:46 | |
'And that's the thing about our beautiful country - every region has its own gems, | 0:10:48 | 0:10:52 | |
'but with so much variety out there in the early days, even we were caught out occasionally.' | 0:10:52 | 0:10:57 | |
She's a pretty girl. Oh, hi, Philip. | 0:10:57 | 0:10:59 | |
-It's Newlyn. -Newlyn copper. | 0:10:59 | 0:11:02 | |
I'm not convinced that that's always been in there. | 0:11:02 | 0:11:04 | |
-No, I don't think that has. -No, it hasn't. | 0:11:04 | 0:11:07 | |
It's slightly Arts and Crafts looking. | 0:11:07 | 0:11:10 | |
-I'd imagine you're about right there. -What £30 to 50? -£50. | 0:11:10 | 0:11:13 | |
-Purely because it's got Newlyn on. Otherwise, about 20 quid. -Absolutely. | 0:11:13 | 0:11:17 | |
That's the joy of Flog It! - the fact that you're standing there or sitting at your table | 0:11:17 | 0:11:22 | |
and you never know what's going to pitch up next. | 0:11:22 | 0:11:25 | |
I think that's quite sweet, that. | 0:11:25 | 0:11:27 | |
So what do you know about Newlyn brassware? | 0:11:27 | 0:11:30 | |
Well, I didn't know anything about it. | 0:11:30 | 0:11:32 | |
It was just a present. And then I looked | 0:11:32 | 0:11:34 | |
and saw it was made in Newlyn, but that's as much as I know. | 0:11:34 | 0:11:38 | |
-Really? -Yeah, really. | 0:11:38 | 0:11:40 | |
I have seen one other piece, but bigger than that...a plate. | 0:11:40 | 0:11:45 | |
-I quite like it. I think it's a bit of fun. I don't think it's worth a fortune. -No. | 0:11:45 | 0:11:49 | |
It's very easy to become insular in this job. I live and work in Worcester | 0:11:49 | 0:11:53 | |
and I look at Worcester pots, Worcester pots, Worcester pots, | 0:11:53 | 0:11:56 | |
and I don't get too much local Newlyn School copper that's made there. | 0:11:56 | 0:12:01 | |
I wouldn't profess to be an expert in Newlyn metalware. | 0:12:03 | 0:12:06 | |
I've had a word with Paul, but it's probably got a value of around £30 to £50. | 0:12:06 | 0:12:10 | |
-Yeah, well, that'd be handy. -What would you do with that? | 0:12:10 | 0:12:13 | |
-I'd get some seed potatoes. -Are you a big gardener? | 0:12:13 | 0:12:16 | |
-I like a bit of gardening, yes. That keeps me on me feet, moving about. -Yeah. | 0:12:16 | 0:12:21 | |
I think seed potatoes are more important to Eric than Newlyn bowls. really, | 0:12:21 | 0:12:27 | |
and I just think... that was just typical of him. | 0:12:27 | 0:12:31 | |
If we put that in at £30 to £50, put a reserve on it of £25, | 0:12:31 | 0:12:35 | |
I would hope that it would sell, because I just think it's an interesting thing. | 0:12:35 | 0:12:39 | |
-Somebody will enjoy it, won't they? -Absolutely. I think it's rather nice, actually. | 0:12:39 | 0:12:43 | |
-Certainly, Eric, if I ever see any Newlyn copper again, I shall think of you, sir. -Oh, thank you. | 0:12:43 | 0:12:49 | |
-And gardening. -Thank you very much. | 0:12:49 | 0:12:51 | |
Philip valued it at £40. | 0:12:51 | 0:12:54 | |
It's certainly undervalued. | 0:12:54 | 0:12:56 | |
To be quite honest, it's a lovely example of Newlyn copper, beaten all the way around. | 0:12:56 | 0:13:01 | |
You've got this lovely Cornish fish emblem throughout. He's going to have a surprise. | 0:13:01 | 0:13:05 | |
We're going to start the bidding at £200. £200 straightaway. | 0:13:05 | 0:13:08 | |
-Good grief! -200 quid, straight in. | 0:13:08 | 0:13:12 | |
You can't ever beat local knowledge, can you? | 0:13:12 | 0:13:14 | |
260. At 270. 270 I'm bid. Anybody else? At 270 in front of me. | 0:13:14 | 0:13:21 | |
-What do you think? -I never thought 270... | 0:13:22 | 0:13:25 | |
-That's really good, isn't it? -I'm shaking. -I'm bid 270. | 0:13:25 | 0:13:28 | |
-At 270. Thank you. -It went for more than we thought. | 0:13:28 | 0:13:30 | |
I'm delighted. As I said, | 0:13:30 | 0:13:32 | |
I'm not an expert in items from the Newlyn School. | 0:13:32 | 0:13:35 | |
I'm delighted for you. And it's taught me a bit as well. | 0:13:35 | 0:13:37 | |
That's the beauty of this game. | 0:13:37 | 0:13:39 | |
-I thought it was worth about 50 quid. -We can always learn more. | 0:13:39 | 0:13:42 | |
I go out now and I know if I see a piece of copperware with fish on it there's a chance it's Newlyn ware. | 0:13:42 | 0:13:48 | |
It might be by Pearson. | 0:13:48 | 0:13:50 | |
Travelling hundreds of miles up and down Britain for Flog It!, | 0:13:51 | 0:13:55 | |
our experts have picked up quite a few trade secrets along the way. | 0:13:55 | 0:13:59 | |
Buying a British collectible, | 0:13:59 | 0:14:00 | |
if you're buying something from a limited edition, | 0:14:00 | 0:14:03 | |
make sure you're buying it at the start of the run. | 0:14:03 | 0:14:06 | |
So, if it's from a limited edition of 100, try and get the earlier pieces or, obviously, the last. | 0:14:06 | 0:14:11 | |
An antique or whatever you're buying should speak to you, | 0:14:11 | 0:14:14 | |
and if you like the '60s then buy that. | 0:14:14 | 0:14:17 | |
For me, it's the 17th century that speaks to me. | 0:14:18 | 0:14:20 | |
And don't forget, the antiques market is international | 0:14:20 | 0:14:24 | |
and great British names will attract worldwide attention. | 0:14:24 | 0:14:28 | |
And always collect something you're passionate about - that way you'll never get bored. | 0:14:28 | 0:14:33 | |
You can never have too much Royal Worcester. You should have more and more...and them some more! | 0:14:33 | 0:14:37 | |
We British are a nation of porcelain lovers. | 0:14:43 | 0:14:46 | |
We see more ceramics at our Flog It! valuation days than any other single category of antiques. | 0:14:46 | 0:14:51 | |
And the great thing about porcelain is, | 0:14:51 | 0:14:54 | |
normally all you need to know is right there in front of you, on the plate. | 0:14:54 | 0:14:59 | |
Firstly, in its overall condition | 0:14:59 | 0:15:01 | |
and, secondly, when you turn it over and look at the factory stamp marks or the potter's name. | 0:15:01 | 0:15:06 | |
And with a little bit of information and a good guidebook, | 0:15:06 | 0:15:09 | |
you can normally work out if what you have is of any value. | 0:15:09 | 0:15:14 | |
James Lewis lives and works in Derbyshire, | 0:15:18 | 0:15:21 | |
and it's so fitting that among the antiques | 0:15:21 | 0:15:24 | |
he gets most excited about are pieces of this best British product. | 0:15:24 | 0:15:28 | |
Derby has been famous for its porcelain from the mid-18th century, | 0:15:31 | 0:15:35 | |
since the Dewsbury factory started work here. | 0:15:35 | 0:15:39 | |
And it's been collected and treasured by Royal families, | 0:15:39 | 0:15:43 | |
monarchs, collectors all over the world, for about 250 years. | 0:15:43 | 0:15:47 | |
And for anybody who loves porcelain, | 0:15:47 | 0:15:51 | |
this is just paradise. | 0:15:51 | 0:15:54 | |
For me, it's England's finest factory and sometimes you get tingles. | 0:15:54 | 0:16:01 | |
And, for me, they're coming all down the spine and all to the fingers. | 0:16:01 | 0:16:05 | |
Over my 20 years as an auctioneer, I have handled thousands of pieces of Royal Crown Derby, | 0:16:05 | 0:16:11 | |
but I've never really spent too much time thinking about the work that goes into it. | 0:16:11 | 0:16:15 | |
But today, I have access to all areas of the factory. | 0:16:15 | 0:16:20 | |
And rumour has it they're going to let me make a plate. | 0:16:20 | 0:16:24 | |
-Tim, nice to see you. -Morning, James. -Hi. | 0:16:24 | 0:16:29 | |
So, tell me, what's going on here? | 0:16:29 | 0:16:30 | |
Here we're making one of your favourite plates, I believe, Marie Antoinette. | 0:16:30 | 0:16:35 | |
What are you saying? | 0:16:35 | 0:16:38 | |
THEY LAUGH | 0:16:38 | 0:16:39 | |
-So where does it start from here? -Well, it's just a roll of clay, | 0:16:39 | 0:16:43 | |
it's made in the smith house, comes out through a machine, like a giant sausage machine. | 0:16:43 | 0:16:47 | |
-Yeah. -Comes out here and just cut in a roll. | 0:16:47 | 0:16:49 | |
So how many of these do you make an hour? | 0:16:49 | 0:16:52 | |
-You can make about 60 an hour. -And if you're working hard(?) | 0:16:52 | 0:16:55 | |
THEY LAUGH | 0:16:55 | 0:16:57 | |
-This is going to fall apart. -No, it won't. | 0:16:57 | 0:17:00 | |
-You can do this. -I'll try. | 0:17:00 | 0:17:01 | |
You can do this! | 0:17:01 | 0:17:03 | |
Just place it in the middle of the mould. | 0:17:04 | 0:17:07 | |
It'll be a miracle if it actually gets to the mould. | 0:17:07 | 0:17:10 | |
You think you're making pizzas, don't you? | 0:17:10 | 0:17:12 | |
HE LAUGHS | 0:17:12 | 0:17:15 | |
Pull the gate down. | 0:17:15 | 0:17:16 | |
You need to press. Foot on there. That releases it. | 0:17:29 | 0:17:33 | |
It will come off. There you go. | 0:17:33 | 0:17:36 | |
Yay! I can't believe that actually worked. | 0:17:36 | 0:17:40 | |
It wasn't that hard, was it? | 0:17:40 | 0:17:41 | |
Brilliant! | 0:17:41 | 0:17:43 | |
-The famous 1128. Or Imari. -Yes, the Imari one. | 0:17:43 | 0:17:48 | |
These are the patterns that Royal Crown Derby are most well-known for - | 0:17:48 | 0:17:53 | |
the Imari. Called the Imari because of the influences from the Japanese port of Imari. | 0:17:53 | 0:18:01 | |
And the port of Imari was exporting porcelain that was mainly red, green, blue and gold. | 0:18:01 | 0:18:08 | |
Royal Crown Derby started these patterns around 1870 | 0:18:08 | 0:18:12 | |
and this market is still as buoyant today as it was in the 1870s. | 0:18:12 | 0:18:17 | |
-Karen, hi. -Hi. | 0:18:24 | 0:18:25 | |
-I've been told you're the queen of the fettlers. -I believe so. | 0:18:25 | 0:18:29 | |
That sounds like something from The Hobbit. | 0:18:29 | 0:18:32 | |
What is a fettler? | 0:18:32 | 0:18:33 | |
A fettler is a person that cleans down a piece of work once it's made. | 0:18:33 | 0:18:38 | |
Clean all the rough edges, any blemishes, any marks. | 0:18:38 | 0:18:42 | |
Well, if you're working on one that I've just done, there'll be plenty of work to do. | 0:18:42 | 0:18:47 | |
-Is this one that I made earlier? -One like you made earlier, yes. | 0:18:47 | 0:18:50 | |
-It'll have gone round the drying process for a couple of hours. -OK. Right. | 0:18:50 | 0:18:55 | |
We've cleaned the edge off with a knife. | 0:18:55 | 0:18:57 | |
And then we'll use what we call a whirler... | 0:18:57 | 0:19:00 | |
-just to hold the sponge against the edge. And that is dissolving... -The plate! | 0:19:00 | 0:19:05 | |
Yes, it will dissolve the plate if you leave it on there long enough. | 0:19:05 | 0:19:08 | |
Why couldn't I just have had a straight plate? | 0:19:08 | 0:19:11 | |
-A lot easier. -Wouldn't have been so interesting for you. | 0:19:11 | 0:19:15 | |
-There you go. The next one's yours. -I knew this was coming. | 0:19:15 | 0:19:20 | |
That's it. | 0:19:20 | 0:19:22 | |
That doesn't look like you were doing it at all. | 0:19:22 | 0:19:26 | |
-That would be enough. -Are you sure? -Yeah. That's fine. | 0:19:26 | 0:19:30 | |
You're just being kind. ..Excuse me, would this pass? | 0:19:30 | 0:19:34 | |
-You'd pass that, wouldn't you? -Yeah. | 0:19:34 | 0:19:37 | |
OK, now this is where I drop it. | 0:19:40 | 0:19:43 | |
-Not too bad. -That looks fine. | 0:19:45 | 0:19:49 | |
We can send that on its way now to be inspected. | 0:19:49 | 0:19:51 | |
-And who inspects it? -Christine will inspect that. | 0:19:51 | 0:19:54 | |
-Be kind! -I will. -Thanks very much. Thanks. | 0:19:54 | 0:20:00 | |
-That's lovely. -Is that all right? -Yeah, it's OK. -Thank goodness for that. | 0:20:09 | 0:20:13 | |
The last time I saw my plate, it was unfired clay. | 0:20:21 | 0:20:24 | |
Since then, it's been fired, glazed, fired again, | 0:20:24 | 0:20:27 | |
then the underglaze blue and fired again. | 0:20:27 | 0:20:30 | |
And it's been decorated and gilded and fired again, | 0:20:30 | 0:20:35 | |
but now it's ready for the final stage, my gilding. | 0:20:35 | 0:20:39 | |
-Emma, hi. -Hello. | 0:20:46 | 0:20:48 | |
Right. It's starting to look like the 1128 pattern that I recognise. | 0:20:48 | 0:20:52 | |
-So you're filling in the white gaps. -Anything you see that's white, | 0:20:52 | 0:20:57 | |
we will fill with 24-carat gold and then it will go off to be fired and burnished. | 0:20:57 | 0:21:01 | |
-Right. Now, I was always told that the gilder's job was the most responsible one. -Yeah. | 0:21:01 | 0:21:07 | |
If you make a mess, all the work that everybody else has done is ruined, isn't it? | 0:21:07 | 0:21:11 | |
-No pressure(!) -No pressure. Right, great. Thanks very much. | 0:21:11 | 0:21:14 | |
-Would you like to have a go? -Come on. Right, here goes. | 0:21:14 | 0:21:18 | |
-Right. -Right. | 0:21:20 | 0:21:23 | |
It's brown. Why does it look brown? | 0:21:23 | 0:21:25 | |
Because all the oils and the chemicals that are in the gold, | 0:21:25 | 0:21:31 | |
and then when it's fired, all of those come out. And that's why it goes into burnishing. | 0:21:31 | 0:21:36 | |
-Everything that's left on the top gets burnished out and the gold's left underneath. -OK. | 0:21:36 | 0:21:40 | |
-It's... -Ooh! -No, that's fine. | 0:21:40 | 0:21:43 | |
If you need a cloth, we have one there. | 0:21:43 | 0:21:46 | |
I'm going to need more than a cloth, I think! | 0:21:46 | 0:21:48 | |
We're going to need a whole sink. So we get it quite close, do we? | 0:21:48 | 0:21:51 | |
Yeah. Just take a little gold off your brush so you don't run. | 0:21:51 | 0:21:54 | |
-That's it. -I haven't run in years. | 0:21:54 | 0:21:57 | |
SHE GIGGLES | 0:21:57 | 0:22:00 | |
Fantastic! | 0:22:00 | 0:22:01 | |
I think you could get a job here if you wanted. | 0:22:01 | 0:22:04 | |
You've got a very steady hand. I'm impressed. | 0:22:04 | 0:22:08 | |
I've gone over here. | 0:22:08 | 0:22:10 | |
Just put your brush down, pick up the cloth. That's it. | 0:22:10 | 0:22:14 | |
That's it. And just wipe it off. | 0:22:16 | 0:22:18 | |
-Fantastic! -I've still not done it. | 0:22:18 | 0:22:22 | |
This is just not easy, is it? It really isn't. | 0:22:22 | 0:22:25 | |
It's like anything else - practice makes perfect. | 0:22:25 | 0:22:28 | |
It is. | 0:22:28 | 0:22:30 | |
I've been doing this for 15 years now and I'm still learning every day. | 0:22:30 | 0:22:34 | |
-It can be a lot of fun sometimes. It's a lovely job. -Very rewarding. | 0:22:34 | 0:22:40 | |
It is. And if you've got an artistic nature, | 0:22:40 | 0:22:44 | |
then it is a really fulfilling job. | 0:22:44 | 0:22:47 | |
That's very good. | 0:22:47 | 0:22:49 | |
Are you sure you don't want a job here? | 0:22:49 | 0:22:52 | |
Do you know, I love Royal Crown Derby, | 0:22:52 | 0:22:55 | |
and to see a factory employing real human beings, | 0:22:55 | 0:23:01 | |
not doing everything by machine, is lovely. | 0:23:01 | 0:23:04 | |
Yeah. And this will be a completely unique and individual piece. | 0:23:04 | 0:23:10 | |
You're telling me! | 0:23:10 | 0:23:12 | |
That's one word for it! | 0:23:12 | 0:23:13 | |
Ah, no! | 0:23:13 | 0:23:16 | |
The next stage is, it'll be fired, | 0:23:16 | 0:23:17 | |
then it'll be moved on into burnishing where it'll be polished up | 0:23:17 | 0:23:21 | |
and the end product will be what you see in the shop. | 0:23:21 | 0:23:24 | |
Finished! Look at my plate! | 0:23:28 | 0:23:29 | |
I'm so proud of it! OK, I didn't do all of it but I did some. | 0:23:29 | 0:23:33 | |
I've sold these for years and years and I always appreciated them, | 0:23:33 | 0:23:37 | |
but I appreciate them even more | 0:23:37 | 0:23:40 | |
now I know how much work goes into them. | 0:23:40 | 0:23:42 | |
One thing is for sure, I am not going to give up the day job, | 0:23:42 | 0:23:46 | |
I'm going back to auctioneering. | 0:23:46 | 0:23:49 | |
And the great thing about Royal Crown Derby | 0:23:51 | 0:23:53 | |
is it's still out there to be collected. | 0:23:53 | 0:23:55 | |
And if you can find an Imari piece from around 1870, | 0:23:55 | 0:23:58 | |
it could be worth several thousand pounds. | 0:23:58 | 0:24:00 | |
James Lewis may have lost his heart to those wonderful ceramics, | 0:24:02 | 0:24:05 | |
but for David Fletcher, his passion lies with another great British icon. | 0:24:05 | 0:24:11 | |
It's a car mascot... | 0:24:11 | 0:24:14 | |
modelled as a cartoon character called Old Bill, | 0:24:14 | 0:24:18 | |
created by a man called Bruce Bairnsfather. | 0:24:18 | 0:24:22 | |
And this is a model of Old Bill, a bust of Old Bill made in bronze. | 0:24:22 | 0:24:28 | |
The helmet's actually signed Bruce Bairnsfather. | 0:24:28 | 0:24:31 | |
He was a Tommy, a British soldier | 0:24:31 | 0:24:33 | |
who got up to all sorts of escapades | 0:24:33 | 0:24:36 | |
and found himself in pretty grisly situations, | 0:24:36 | 0:24:39 | |
as you might expect any poor soldier in the First World War to experience. | 0:24:39 | 0:24:44 | |
And people used to decorate their car radiators with objects like this. | 0:24:44 | 0:24:50 | |
They would affix them to the radiator cap. | 0:24:50 | 0:24:52 | |
I would save this because... it belonged to my dad. | 0:24:52 | 0:24:59 | |
So for purely personal, sentimental reasons, really, | 0:24:59 | 0:25:04 | |
he collected anything to do with Old Bill. | 0:25:04 | 0:25:08 | |
And when he died, we sold his collection with the exception of this particular piece. | 0:25:08 | 0:25:13 | |
And did you know that the police are referred to as the Old Bill | 0:25:13 | 0:25:19 | |
because in the early 1920s they used to have moustaches like this? | 0:25:19 | 0:25:24 | |
I've often wondered what some of our successful owners have done with the money in the past. | 0:25:28 | 0:25:33 | |
You probably have as well. So we've caught up with a few of them. | 0:25:33 | 0:25:37 | |
Anne came along to our Cheshire valuation day in 2010 | 0:25:40 | 0:25:43 | |
and brought a rather unusual brooch, which caught David Fletcher's eye. | 0:25:43 | 0:25:48 | |
Tell me a bit about it. | 0:25:48 | 0:25:49 | |
It was given to me on my wedding day 29 years ago | 0:25:49 | 0:25:53 | |
by my late husband | 0:25:53 | 0:25:55 | |
and I wore it at our wedding reception and during our honeymoon. | 0:25:55 | 0:25:59 | |
-I bet your eyes popped out, didn't they? -Mm-hm. | 0:25:59 | 0:26:02 | |
Your loss is our gain, as they say. | 0:26:02 | 0:26:06 | |
I went with an open mind. I had no idea what value it was. | 0:26:06 | 0:26:10 | |
-It splits apart. Do you want me to show you? -Yeah, you show me, please. | 0:26:10 | 0:26:13 | |
OK, so you're taking it out of it's case - fantastic. | 0:26:13 | 0:26:17 | |
And you're left with two... or at least a pair of clips. | 0:26:17 | 0:26:21 | |
So, really, whoever buys this is getting three | 0:26:21 | 0:26:23 | |
pieces of jewellery for the price of one. | 0:26:23 | 0:26:27 | |
Fantastic. | 0:26:27 | 0:26:29 | |
But why do you want to sell it? | 0:26:29 | 0:26:30 | |
-We've got alpacas... -Alpacas! -Yeah. | 0:26:30 | 0:26:33 | |
And we want to buy some land to keep them on. | 0:26:33 | 0:26:36 | |
We've got eight. | 0:26:36 | 0:26:37 | |
Scarlett, Honeysuckle, Buttercup, | 0:26:37 | 0:26:40 | |
Noah, Jacob, Monty, Daisy | 0:26:40 | 0:26:45 | |
and Olympia Rose, who was born during the Olympics. | 0:26:45 | 0:26:48 | |
OK. But I'm not sure how much land an alpaca uses, | 0:26:48 | 0:26:53 | |
but I think this will make between £1,000 and £1,500. | 0:26:53 | 0:26:57 | |
It's a sparkler. I do love it, I must admit. | 0:27:02 | 0:27:05 | |
It's going under the hammer now. | 0:27:05 | 0:27:07 | |
585. Give me 800. | 0:27:07 | 0:27:09 | |
800 on the phone. At £800, I'll take 20. 820, 840. | 0:27:09 | 0:27:14 | |
It was a bit slow to start and I thought it wasn't going to sell. | 0:27:14 | 0:27:18 | |
And 50. 1,100. | 0:27:18 | 0:27:19 | |
Sold! | 0:27:19 | 0:27:21 | |
1,200 and 50. | 0:27:21 | 0:27:24 | |
1,300. 1,300 on the phone. And 50 in a new place. | 0:27:24 | 0:27:27 | |
But then all the bidders started and I was very pleased with what I got. | 0:27:27 | 0:27:31 | |
1,350, now in the room with 1,350. | 0:27:31 | 0:27:34 | |
Thank you, sir. | 0:27:34 | 0:27:35 | |
-Yes! Yes, £1,350! -Yeah. | 0:27:35 | 0:27:38 | |
-And have you got your eye on some land already? -Not yet. | 0:27:38 | 0:27:42 | |
We want to really get enough money together to get enough land for | 0:27:42 | 0:27:45 | |
when the herd grows. | 0:27:45 | 0:27:47 | |
So that's a great start for the fund. | 0:27:47 | 0:27:50 | |
But since then, her empire has expanded in a slightly different direction - | 0:27:50 | 0:27:54 | |
a new business. | 0:27:54 | 0:27:56 | |
I've just opened, and I'm really excited about it. | 0:27:56 | 0:27:58 | |
I'm like a child in a sweet shop. | 0:27:58 | 0:28:00 | |
I love craft things. | 0:28:00 | 0:28:02 | |
Meanwhile, Honeysuckle, Noah | 0:28:02 | 0:28:04 | |
and the gang remain in their rented accommodation. | 0:28:04 | 0:28:07 | |
But don't worry - they're still very much part of the plan. | 0:28:07 | 0:28:11 | |
This is a picture of two of our alpacas - Honeysuckle and Buttercup. | 0:28:11 | 0:28:14 | |
And this is the alpaca wool. | 0:28:14 | 0:28:17 | |
I can't wait to get our own alpaca wool onto these shelves! | 0:28:17 | 0:28:21 | |
'So it just goes to show, you can turn your unwanted antiques into almost anything.' | 0:28:21 | 0:28:29 | |
Well, that's it for today's show | 0:28:29 | 0:28:30 | |
and I hope we've given you some food for thought. | 0:28:30 | 0:28:33 | |
Join me again soon for more inside information and surprising sales. | 0:28:33 | 0:28:36 | |
But until then, it's goodbye. | 0:28:36 | 0:28:39 | |
Subtitles by Red Bee Media Ltd | 0:29:03 | 0:29:06 |