Condition Flog It: Trade Secrets


Condition

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Over the years on Flog It!, we've seen thousands of items.

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And we're always going on about condition. It's so important.

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Things that have been looked after, unrestored and look good for their age, tend to be more valuable.

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It's also fair to assume that items of beauty are more likely to find a willing buyer.

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But, in both cases, it's not necessarily so.

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Today, we're lifting the lid on what difference the appearance of an object can make to its value.

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Coming up, we find out where chips and cracks matter.

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-It is in a bit of a state, isn't it?

-I know.

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-Was it like that when your husband got it?

-It was.

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Which is why he was heading for the skip with it.

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I think so.

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And when buyers will still stump up the cash even when something is badly damaged.

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-800 I'm bid, please.

-Yes.

-820.

-Come on. We want more.

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And our experts give us their best tips for antiques with a chequered past.

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There's a difference between "damage" and "wrecked".

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Now, picture the scene. A busy Flog It! valuation day

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and a visitor at the head of the queue begins to unwrap their item.

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Our experts' hearts beat faster and faster as the protective layers

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reveal what looks like a work of art in perfect condition.

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But, after closer inspection, it's cracked, damaged or, even worse, a complete fake.

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It's something that happens a great deal of the time, as our experts on the ground can testify.

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You've got a chip out of the glaze there. And a five-line star crack coming from the centre.

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One, of course, is completely smashed to pieces.

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One has a massive chunk out of it and it's been re-glued.

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So you have been warned on these.

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There are two main times when one can

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ignore damage with a clear conscience.

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One of them is if it's such a rare opportunity to buy something

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and it's very unlikely you would find a more perfect example anywhere else.

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Of course, the other time is when your pocket is not deep enough

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to be able to afford one that isn't damaged.

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Collectors often start by buying cheaply things which are damaged

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just to have an example in their collections.

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Personally, my way of looking at it is,

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anything pre-18th century, it's fine.

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If it's damaged, you can forgive that. Post, ignore.

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Gosh, that's tricky. I'm an 18th-century teapot collector.

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I ignore damage all the time. I can't afford teapots that have lids.

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So I've got about 20 or 30 teapots and about two lids between them.

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So that's when I ignore damage personally. When you can't live without it.

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Where did you get this pocket watch?

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It's been in the family a very long time.

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Great-great-great-great-grandad, that's all I know.

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'I remember the very early days, years ago on the Isle of Wight,'

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the most fantastic watch or part of the most fantastic watch came in.

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A superb enamelled case.

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And it was something that I was more used to seeing from my previous life at Sotheby's.

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It's a familiar thing to me at the top end of the market

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but it's not something you expect to see on a Flog It! valuation day.

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I was quite taken aback.

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If you look at the outer case, the shagrine case, and this gilt metal outer case,

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they're from about 1760-1765, they're English.

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So, that's absolutely right with your idea of date.

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But the treat is when we turn it over, the back of the case,

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these wonderful rich coloured enamels.

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-And this is actually French enamel.

-Is it?

-It's the Blois school.

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And that flourished from 1660 up until about 1680.

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Gosh! So it's really old. It's really old. It's 300 years old.

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To see an English movement in a French case is uncommon.

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But it's this whole thing of something being of superb quality,

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a fragment being reused.

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This has got into the hands of a London watchmaker,

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probably in the 1750s, and it's such a wonderful case

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-that he's made a movement that fits into it.

-Oh, wow!

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If we open it up, we can see that it's signed Samuel North, London.

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I don't know his dates but, from the style of the watch

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and the fact that it's a verge escapement,

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it can be dated to about 1740-1750.

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The major problem is that the case has had a few chunks taken out of it

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when, I suppose, someone was wearing it in the 18th century.

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It's incredibly fragile.

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The damage to the watch case was basically at the bottom of the case.

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It's obvious to me that it fell on the floor and just got damaged.

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And the enamel flakes off and there's nothing you can do.

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But it's a testament to the rarity of the thing in the first place

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that when that did happen it was still treasured and kept.

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It's a bit of a mismatch in terms of style and of how it's put together.

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That makes it interesting from my point of view.

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The fact that the movement was later and it was a fragment

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made an enormous difference to the valuation.

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It was mentioned about £400 about two years ago.

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-I think you could pop it into auction at £400 to £600, if that meets with your approval.

-Yeah.

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If that had had its original movement in it and its perfect case and its perfect enamel cover as well,

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I didn't tell the vendor on the day, but it would have been in the region of £30-50,000.

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Good luck, everybody. This is it.

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1,000. Yes. 1,100.

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-Yes.

-1,200. 1,300.

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-No idea.

-1,300 we're selling to the white phone.

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At £1,300. All done in the room at 1,300.

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-Yes, it's gone. That's more like it. £1,300.

-Thank you very much. Gosh!

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There's a whole movement now that perfection is what's sought after.

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Once it's lovely to have a perfect object, it always is,

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you shouldn't dismiss something because it's damaged.

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Quite the reverse. It's more affordable.

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I think the damaged market is neglected except by the poor and the academic.

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And being both I give it my full concentration.

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So the watch's rarity and beauty outshone its imperfections.

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But it can be harder to disguise broken ceramics.

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Phil was excited when he spotted a special piece of Worcester porcelain back in 2005.

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But there were problems.

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It's marvellous. I'm from Worcester.

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-Yes.

-And so is this. There are Worcester porcelain artists

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and there are Worcester porcelain artists.

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And one of the top three, in my view,

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is a man called CHC Baldwin. Charles Henry Clifford Baldwin.

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He specialised in painting swans on this powder-blue background.

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And this single swallow, a Charlie Baldwin trademark, on the back.

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There are lots of painters in the 20th century,

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English porcelain painters, who produced a scene.

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But no-one painted swans like Charlie Baldwin.

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I do admire it now. I can see the beauty, the exquisite workmanship.

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But I think it deserves an appreciative home.

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You see that little lug just there?

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It's missing on this side. That's our first bit of damage.

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The second bit of damage is we've got this lovely protrusion just here.

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-On this side, it's come off.

-A tiny little bit.

-It's tiny.

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Condition is everything for porcelain.

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One of the things we almost got away with that Charlie Baldwin vase

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is that the little nibbles on it could be restored in almost an acceptable way.

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It's not as though there was a great big crack right across the swans.

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So, I think, it was damaged.

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It wouldn't be overly expensive to put it right. Perhaps 3 or £400.

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But Charlie Baldwin, I think he was just the best.

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At £3,900 in the room. At £3,900.

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£3,900. That is a classic Flog It! moment.

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No one painted swans like Charlie Baldwin.

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He was the best.

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Remember that name. Luckily, this artist is so much in demand

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that the damage didn't detract from the vase's value.

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But there's nothing subtle about the damage to this lovely charger.

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-Nice to see you coming along with this great big plate in several pieces.

-I know.

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In Cheltenham, I took in a great big maiolica charger that was very badly damaged.

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I took it in because I thought it could show people that,

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just because things were damaged, it didn't necessarily mean they were worthless.

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-You're spoiling us here.

-I am.

-Where did you get it from?

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Actually, it was given to my husband.

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There was a pub opposite that was being demolished. This was going to go in the skip.

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Damage is never acceptable. Damage is acceptable on certain wares

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that are know to be quite brittle and subject to damage anyway.

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Such as this maiolica and majolica, they're tin-glazed or lead-glazed earthenwares.

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They're brittle, they easily break, and chips come off them.

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That's another reason why I still took this charger in because

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you expect to see majolica and maiolica with an element of damage on it.

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If it's perfect, it arouses suspicion because you think,

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"How could it have survived 100 years, 200 years with no damage at all?

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-It is in a bit of a state, isn't it?

-I know, yes.

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-Was it like that when your husband got it?

-It was.

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-Which is why, I guess, he was heading for the skip with it.

-I think so.

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It looks to us 19th-century Italian. A type of maiolica, tin-glazed earthenware.

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Some know it as Delftware.

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We've got a signature, M Rodriguez.

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And we've got this sort of Baroque-style earlier period.

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Today's restoration techniques are amazing.

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Cutting-edge technology. They can mend anything and make it look like it's never been damaged before.

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So the right restorer could have made that charger look wonderful.

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Only trouble is, it would've cost hundreds of pounds, which is more than the final value of the item.

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There we go. Bid me for that lot. Start me off. Bid me £100 to start.

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Bid me 100. Bid me 50.

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'I thought it was a lovely thing.'

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I thought it was quite decorative.

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But there's a difference between "damage" and "wrecked".

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And this was properly wrecked. It really had been through the mill.

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And there comes a point when acceptable restoration...

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There's a massive difference between that and complete renewal.

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Any more? The maiden bid will take it.

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At £50. And it's done and sold at £50 and away.

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-No reserve.

-No reserve, that's fine.

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We had one bid and it was £50 and that was it.

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I was surprised. I thought it might do better than that.

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But there's no doubt its condition really was the all-prevailing factor.

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No kidding. Sometimes, the cost of restoration is just too much.

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But even if an item is badly damaged, don't throw it away

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without getting an expert's opinion.

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Judith, you've brought this monstrosity in to show us.

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Before we have a proper look at it,

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can you give us any information about it yourself?

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Yes, I bought it in Tamlyns Auction House

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in Bridgwater about five years ago.

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I paid about £25 or £28, I'm not sure.

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Do you know, I look back very fondly at Weston-super-Mare

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when that lady brought in that rather sort of deformed

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Clanger-looking lamp by Guy Sydenham.

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-'Terrible condition.'

-I bought it because it's quirky.

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It's certainly quirky, isn't it?

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But did they know exactly what it was?

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I don't think so. I honestly don't know.

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It was tucked in the corner and nobody looked at it.

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It was tucked right away. It was only me and a lad that was bidding for it.

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Fortunately, I knew exactly what it was

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because I worked for a large London auction house a few years before

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and we'd sold one exactly the same with a bright colour.

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And I knew they were worth a lot of money.

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And, of course, it's Poole Pottery designed by Guy Sydenham.

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We've got this lovely little brochure of him making one of these.

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I believe he only made a handful, is that right?

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As far as I know, he only made four.

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So it's quite a rare object as well as being quite a funky shape.

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We have got some problems with it, haven't we?

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Oh, yes. It was broken when I bought it.

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'Absolutely shocking. It was cracked through the middle. There were several bits of restoration.'

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'There was some glaze flaking and losses.'

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Some of the little nodules had come off.

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But you have to remember he made a handful of these.

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You know. So, of their type, they are very rare.

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I contacted Guy Sydenham, the actual potter. He offered to restore it for me.

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But, because of family problems, I couldn't get over to see him.

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-And it's been in the cupboard ever since.

-Ever since.

-Yeah.

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Guy Sydenham was a very interesting designer.

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He worked for Poole Pottery in the '60s and '70s.

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And produced these wonderfully bizarre creations.

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I'm not sure about it. I think Mark's right with his price.

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A price difficult to determine because of the extensive damage.

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It is an unknown quantity. Yes, we've asked on the condition of this

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to have the reserve reduced to have a sensible price which we believe this will be sold.

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The auctioneer called you and said, "I don't think it's going to do it. Let's make it £100 to £200."

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That must have disappointed you.

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-It did a bit. But, on the other hand, I don't feel too bad.

-OK.

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I was also surprised when Paul mentioned to the vendor that the auctioneer had been in touch.

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They'd tried to reduce the estimate to 100 to 200

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but they'd settled on a happy medium of 2 to 3.

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Not surprising, I suppose, when it was bought at the same salesroom a few years before for 28.

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I had every confidence it was going to make my estimate and more.

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We'll go slowly. 120.

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120. All done with then? 200.

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300. 400. 500.

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-Keep going.

-600.

-Yep.

-700 bid on the phone.

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-800 I'm bid.

-Yes.

-Yes, a late bidder.

-Fresh bidder. 900.

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1,000 now, sir. 1,100. Phone's out?

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At £1,200.

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£1,200. Hasn't gone down. How about that?

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Wonderful.

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I wasn't at least surprised when it rocketed past

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even my modest estimate of 3 to 500 to sell for what it did.

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Because there's a handful of these known.

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And if you're a collector and you want one,

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you either have one damaged or you don't have one at all.

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While the condition is of paramount importance, most of our experts agree that, if you love something,

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it's OK to buy an antique that's less than perfect.

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I found in a house clearing in Worcestershire the most beautiful Delftware 17th-century cat.

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He was wonderful but he was missing an ear.

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It didn't seem to matter because he went on to sell for 52,000.

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He was rather lovely.

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The main thing is, if you're going to buy something that's broken,

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do it with your eyes open.

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Here's a tip and please, please, do remember this.

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Don't be frightened to look at things you want to buy. Turn them upside down, pull the drawers out.

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Look at the construction. Look at things with a magnifying glass.

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And, also, if it's dark, shine a torch on them.

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Always ask about damage or restoration as sellers

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may not volunteer details they'd rather you didn't spot.

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If there is damage and you still love it, try and strike a bargain.

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The most musical of Flog It! regulars is, without doubt, Adam Partridge.

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If an instrument comes in to one of our valuation days, it usually has his name on it.

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Adam admires the beauty of the music and the aesthetic design

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of the instruments themselves.

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And it breaks his heart to see them abandoned, broken and unloved.

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Today, we're taking him to see a man after his own heart.

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-Hello, Adam.

-How do you do? Thanks for inviting me.

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I'm glad I got directions. It's a great spot, isn't it?

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The first thing I noticed was the smell. Takes me back to being 10 years old.

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Michael, this is where all the magic happens. How long have you been doing this?

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Well, I started taking instruments apart when I was aged about 11.

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I used to enjoy taking it apart, cleaning it and putting it back together more than playing it.

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I was the opposite. I was better at playing it. When it came to anything practical, I was useless.

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If I took one apart, it would never get back together.

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My grandad was an amateur restorer of violins.

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It's in my family. Both parents were professional violinists.

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Are you using traditional methods?

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I use the methods of Antonio Stradivari, which means no electricity.

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How did you learn? You're not self-taught. You must have had formal training.

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I was self-taught to a degree. Then, at the back end of the '90s,

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-I decided to get some formal training.

-Yeah.

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-So now I'm qualified to work on Stradivari violins.

-OK.

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-While we're standing here talking, we could be doing a bit of work. Shall we crack on?

-If you think so.

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I need serious direction. My wife won't even let me hold a paintbrush in the house.

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Let alone hand tools and stuff like that.

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If you make mistakes, it's because of the quality of the teaching.

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-OK. That's very kind of you to say so.

-OK, so...

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All we're doing, these holes are too big on the instrument.

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Peg goes in, gets turned and slowly the hole gets bigger.

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What we have to do is close the hole and then re-drill.

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This is a tricky one for you because it's your business

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but would you advocate restoration prior to sale?

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Always. Yeah. I always give an example, it's like a car.

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if it isn't fully MOT'd and it hasn't got four good tyres,

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somebody's going to knock you down on price.

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OK. But what if the cost of getting the car roadworthy outweighs the final value of the car?

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-You've got to weigh that up.

-If they came in with a £100 German violin

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and it needed 300 quid's worth of work on it?

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-There's no point.

-Unless it was sentimental. Not for resale.

-Yeah.

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-There you go.

-Your turn.

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Well, that looks simple.

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Let me show you how it's done.

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BOTH LAUGH

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Then you're going to turn it clockwise. But don't force it.

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-When you turn it, feel it resisting.

-Oh, yeah.

-That's because it's not round.

0:19:160:19:21

-Keep going?

-Yeah, keep going. You're not forcing it.

-There's less resistance.

-Yeah. Perfect.

0:19:210:19:27

-Bit more.

-Bit more?

0:19:280:19:30

Push it right the way through. Give it a little turn. Brilliant.

0:19:300:19:33

-can you feel it biting?

-I can.

-OK.

0:19:330:19:35

-That'll be good for 300 years.

-Will it?

0:19:350:19:37

The next step will be to trim them back and then pare it back with a chisel, then re-drill the hole.

0:19:370:19:44

Obviously, this time we'll drill it smaller.

0:19:440:19:46

-Then we'll cut it down.

-That will be cut down to go through there.

0:19:460:19:50

We trim that end, polish it and dome it. That's a sign of a quality job.

0:19:500:19:55

Look at the other end of the peg and see if it's polished.

0:19:550:19:58

I hope I've done a decent job and you won't call me back to do it again.

0:19:580:20:02

I'll leave this with you.

0:20:020:20:04

What I'd like to do is see you in action making a real Michael Phoenix violin.

0:20:040:20:10

OK. If we set off now and go to Bluecoats in Liverpool,

0:20:100:20:14

we'll have a look at how to make a violin.

0:20:140:20:16

-Great stuff.

-OK, let's go then.

0:20:160:20:18

MUSIC: "The Lark Ascending" by Ralph Vaughan Williams

0:20:180:20:25

Make yourself at home.

0:20:250:20:28

Wow!

0:20:280:20:29

This is one you're making at the moment?

0:20:290:20:31

This one is for my eldest son.

0:20:310:20:33

-OK.

-So, don't worry if there's any mistakes made.

0:20:330:20:37

-It's not like it's important.

-If it was a customer, we couldn't do it.

0:20:370:20:41

-When I'm making an instrument, I'm going for perfection.

-Yeah.

0:20:410:20:45

-And so it's slow when you're making it.

-How slow?

0:20:450:20:48

250 hours, then another 250 hours

0:20:480:20:51

for varnish but over a period of six to nine months because there's drying time.

0:20:510:20:56

If I was interested in purchasing one, how much would I be looking at?

0:20:560:21:00

Don't do me a favour. How much would the public be looking at to buy a violin? What's the range?

0:21:000:21:05

You'd be looking at around about £8,000.

0:21:050:21:09

Do people come and order bespoke and say, "I want one like this"?

0:21:090:21:12

-It's all by commission, yeah.

-OK.

-Yeah.

0:21:120:21:15

Michael's so passionate about using the same method as Stradivarius

0:21:150:21:19

that he even crafts his violins by candlelight.

0:21:190:21:23

So, do you find there are benefits of using candlelight?

0:21:230:21:28

Or is it just your aspirations to be as close to Stradivarius as possible?

0:21:280:21:32

There's practical reasons for it.

0:21:320:21:34

When you use natural daylight, the light seems to spread all over the instrument.

0:21:340:21:39

Makes the instrument look very flat.

0:21:390:21:41

-When you use a candle, it's just one single source of light.

-Oh, gosh.

0:21:410:21:45

-And it picks up every bump.

-Yeah, things I hadn't noticed at all.

0:21:450:21:50

Sandpaper tears the fibres of the wood. What we use is,

0:21:500:21:54

-we use a scraper and that works like a plane.

-Yeah.

0:21:540:21:57

-It actually cuts the wood. If I do on this side.

-Yeah.

0:21:570:22:01

It looks like dust but it's actually very fine shavings.

0:22:010:22:04

-I see. It's coming good.

-It's got to be blended out now.

0:22:040:22:08

No pressure. I'm not taking my eyes off you.

0:22:080:22:10

-Oh! What are you doing? No, go on, carry on.

-How are we looking?

0:22:100:22:13

Probably just a little bit on this side.

0:22:130:22:15

-On that edge?

-Yeah.

-OK, boss.

0:22:150:22:17

Adam's done well so far. But Michael feels safer with the lights on

0:22:170:22:21

as they get started on the inside of the violin.

0:22:210:22:24

What we're going to do is pretend this is a field and you're just going to plough it.

0:22:240:22:29

We start on this inside line, which is six millimetres.

0:22:290:22:32

For a man of your calibre, no problem, Adam.

0:22:380:22:41

ADAM LAUGHS

0:22:410:22:42

-Want have a go?

-Yeah, go on then.

0:22:420:22:44

Just take it easy. Get the angle right.

0:22:440:22:47

That's it. Go on. Bit deeper.

0:22:490:22:52

That's it. That's better. Now you're getting it.

0:22:530:22:56

-Use that one.

-You're having a laugh.

-No. Go on. That'll be better.

0:22:560:23:00

-Yeah.

-This is your son's violin?

0:23:000:23:03

-No, it's OK. Just don't go deep.

-Give it?

-Yeah, yeah.

0:23:030:23:06

As long as you've got the angle right, you're OK.

0:23:060:23:09

That's it. Go on.

0:23:090:23:11

Oh! That's all right.

0:23:110:23:13

I'm actually really enjoying myself.

0:23:130:23:16

-It's as you get nearer to the front.

-When the skill comes.

0:23:160:23:19

Then you'll have to use the small planes.

0:23:190:23:22

Here's the smallest plane that we use.

0:23:240:23:26

-Have a go with that. It's a little baby plane.

-Ah! A little baby plane.

0:23:260:23:31

Perhaps I'd have been a better maker than a player after all.

0:23:320:23:35

-I hope your son is pleased with the final result of the violin.

-I'm sure he will be.

0:23:350:23:39

Just to remind him that you were involved in the making of this instrument.

0:23:390:23:43

-You've not done a special label? Oh, my goodness.

-I've done a special label.

0:23:430:23:47

OK. My top tips for old violins.

0:23:470:23:51

Don't be put off if there's no strings on it and it looks in a general state of disrepair.

0:23:510:23:56

You could bring it somewhere like this and get it sorted out.

0:23:560:23:59

Whatever you do, please don't try and mend it yourself.

0:23:590:24:03

I've seen so many people have a go and ruin perfectly decent instruments

0:24:030:24:08

by using basic products from hardware shops.

0:24:080:24:10

They need to be seen by a specialist.

0:24:100:24:13

VIOLIN PLAYS

0:24:130:24:15

-I'm not in form.

-Ah, very, very good.

-Need to practise more.

0:24:210:24:25

I always suspected Adam had hidden talent.

0:24:250:24:28

It's not only violins that need special attention if they're damaged.

0:24:280:24:32

It's always worth getting an expert's opinion

0:24:320:24:34

if you have a musical instrument that's been neglected.

0:24:340:24:38

Like you, I want to know more about how an object can change the life of its owner and their family.

0:24:410:24:47

So we caught up with some past successful Flog It! owners.

0:24:470:24:51

Sandra, I really became quite excited when I saw these two wonderful tiles.

0:24:510:24:57

I always say to people to look for items in good condition.

0:24:570:25:03

But there are occasions when items which are not perfect

0:25:030:25:07

will make high prices in the saleroom.

0:25:070:25:10

And one such item was a pair of De Morgan tiles.

0:25:100:25:14

I found them in the late '60s up in Scotland where I used to live.

0:25:140:25:19

My sister and I... There used to be a lot of burned-down Victorian villas.

0:25:190:25:25

And we just found them lying on the ground.

0:25:250:25:28

They were so beautiful that I had to bring them home.

0:25:280:25:32

De Morgan was one of the most prestigious designers in the Arts and Crafts movement,

0:25:320:25:37

who specialised in stained glass and the manufacture of these wonderful, wonderful tiles.

0:25:370:25:43

Now when you think of the function of tiles, they are to decorate a wall.

0:25:430:25:48

To get them out, by necessity, you have to wrench them out.

0:25:480:25:53

So it's difficult to get these things in perfect condition.

0:25:530:25:57

The condition isn't wonderful.

0:25:570:26:01

We have some damage here and here.

0:26:010:26:05

Someone has tried to do a wee bit of restoration. Was that yourself?

0:26:050:26:09

-It might have been my mother.

-It might have been your mum.

0:26:090:26:12

-And we have some damage here and this is quite a big chip.

-Yes.

0:26:120:26:17

I would date these tiles from about 1890 to late 1900s.

0:26:170:26:23

If we look on the back, we can see the back stamp, which is an embossed back stamp.

0:26:230:26:29

And we have W De Morgan and Sands End Pottery.

0:26:290:26:35

I would estimate these tiles, to be sold as a pair,

0:26:350:26:40

-between 2 and £300.

-Oh, good grief.

0:26:400:26:44

Why do you want to sell them now?

0:26:440:26:46

Unfortunately, I need a new chainsaw.

0:26:460:26:48

-You need a new chainsaw?

-Yeah, for the garden.

0:26:480:26:52

Well, I desperately needed a chainsaw because, as you can see,

0:26:520:26:55

I've got lots of trees around here.

0:26:550:26:58

Whilst I can get a man to cut them down, he won't take them away.

0:26:580:27:02

So, as I have a coal fire, I put the wood on that.

0:27:020:27:06

So I chop the wood up myself.

0:27:060:27:10

And 330 now. 330 again showing.

0:27:100:27:12

The De Morgan ties there for you.

0:27:120:27:15

-460. 480.

-Wow.

-They love it.

-500.

0:27:150:27:19

And 50. At 550 I'm bid.

0:27:190:27:21

No, thank you for your help. At 550, original bidder still.

0:27:210:27:25

At £550.

0:27:250:27:28

-This is actually the fun part.

-'Yes.'

0:27:280:27:31

-That is wonderful.

-£550.

0:27:310:27:35

-Oh!

-Not only can you get the chainsaw,

0:27:400:27:42

you can get the safety goggles, the helmet, the boots, everything.

0:27:420:27:46

A new garden possibly.

0:27:460:27:48

They were the Rolls-Royce of tiles.

0:27:480:27:52

They fetched 550, which I wasn't expecting.

0:27:520:27:55

She was astonished when the tiles made 550.

0:27:550:27:59

And because I loved my tiles so much,

0:27:590:28:02

when I was at the William De Morgan Centre, I bought these replicas.

0:28:020:28:07

They aren't replicas of the ones I sold

0:28:070:28:10

but they're still that beautiful blue colour.

0:28:100:28:14

What a great reminder for action woman Sandra when she's sitting beside her blazing fire.

0:28:140:28:19

Maybe you've got a few ideas yourself from today's programme.

0:28:190:28:23

Do join me again next time for more memorable moments and top tips from the team.

0:28:230:28:28

But, until then, it's goodbye.

0:28:280:28:30

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0:28:320:28:34

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