0:00:05 > 0:00:07Over the years on "Flog It!"
0:00:07 > 0:00:11we've helped you sell many thousands of your antiques and collectibles
0:00:11 > 0:00:15and the variety of items that turn up on our valuation days
0:00:15 > 0:00:16have been absolutely astonishing.
0:00:16 > 0:00:20As some of you know, it's not easy to put a value on them all.
0:00:20 > 0:00:22The market for Troika does go up and down a bit.
0:00:22 > 0:00:25But you never know, it's a funny subject.
0:00:25 > 0:00:28The truthful answer is, I haven't got the first idea what it's worth.
0:00:30 > 0:00:33But there are some things that we know
0:00:33 > 0:00:37will always find a ready market and here's where YOU can find out more -
0:00:37 > 0:00:39this is Trade Secrets.
0:01:06 > 0:01:07When we think of antiques,
0:01:07 > 0:01:11the 20th century doesn't instantly spring to mind.
0:01:11 > 0:01:13Most people define antique as
0:01:13 > 0:01:15"something that's around 100 years old."
0:01:15 > 0:01:18But increasingly, we're becoming more aware
0:01:18 > 0:01:22and we're beginning to prize items that date from the modern era.
0:01:22 > 0:01:25We see a great deal of them at our "Flog It!" valuation days.
0:01:25 > 0:01:27So, today, we're going to be exploring
0:01:27 > 0:01:30what makes a 20th century design classic
0:01:30 > 0:01:34and what names and styles you should be looking out for.
0:01:34 > 0:01:38Coming up - some iconic 20th century designs.
0:01:38 > 0:01:42Well, aren't these charming little Steiff toys here you've got?
0:01:42 > 0:01:44Some 1970s ceramics...
0:01:44 > 0:01:46I've never seen one as big as that.
0:01:46 > 0:01:48I bet you haven't(!)
0:01:48 > 0:01:53Anita shows us some prized Art Nouveau from her home turf.
0:01:53 > 0:01:56This little cabinet is quite, quite wonderful.
0:01:56 > 0:02:00And we hear how much design classics can make at auction.
0:02:00 > 0:02:02I'll finish at 3,400.
0:02:02 > 0:02:04ALL: YEAH!
0:02:06 > 0:02:09The 20th century saw some high-profile movements
0:02:09 > 0:02:11in art and design.
0:02:11 > 0:02:13It started with Arts and Crafts at the turn of that century.
0:02:13 > 0:02:16It went onto Art Deco of the '20s and '30s,
0:02:16 > 0:02:18to post-war industrial design of the '50s
0:02:18 > 0:02:22and the groovy psychedelia of the 1960s.
0:02:22 > 0:02:25For the most part, the modern era was all about mass-production,
0:02:25 > 0:02:29which means modern collectibles aren't valued for their rarity.
0:02:29 > 0:02:31So, what is it we like about them
0:02:31 > 0:02:34so much and what constitutes a design classic?
0:02:36 > 0:02:38If you look at something and you think,
0:02:38 > 0:02:40"Gosh, that reminds me of the '30s,"
0:02:40 > 0:02:43or the '50s, or even the '70s - that's probably the sort of thing
0:02:43 > 0:02:46you want to be buying to put away for the future.
0:02:46 > 0:02:49Posters, travel posters, or advertising posters.
0:02:49 > 0:02:54They can be wonderfully designed and that's my tip.
0:02:54 > 0:02:58Aim for a late 20th century artefact, which was ahead of its day
0:02:58 > 0:03:02in design, that was utilising late 20th century,
0:03:02 > 0:03:04ultra-modern materials
0:03:04 > 0:03:09and that will produce a super collectible for the future.
0:03:09 > 0:03:14We see all manner of modern designs in our valuation days.
0:03:14 > 0:03:17So here is our choice of the best.
0:03:17 > 0:03:19We all have our favourite names.
0:03:19 > 0:03:24And mine is an absolute classic from the Newlyn School,
0:03:24 > 0:03:27the legendary John Pearson.
0:03:27 > 0:03:29I can feel my heartbeat really racing right now.
0:03:29 > 0:03:32I'm ever so excited because I know a lot about Newlyn copper
0:03:32 > 0:03:36but I've only had the privilege of holding two or three items
0:03:36 > 0:03:39made by one of the masters of the movement
0:03:39 > 0:03:41and that's John Pearson.
0:03:41 > 0:03:43When I first saw this...
0:03:44 > 0:03:49Look at that, signed "John Pearson, 1891".
0:03:49 > 0:03:51The Newlyn School started for...
0:03:51 > 0:03:54basically fisherman that were out of work.
0:03:54 > 0:03:57If it was rough and they couldn't go out in their boats,
0:03:57 > 0:04:01then somebody was teaching them how to work with copper.
0:04:01 > 0:04:06So it gave an extra string to their bow and became a very important part
0:04:06 > 0:04:11of the Arts and Crafts movement and Pearson was the main man.
0:04:11 > 0:04:14He taught the local fishermen handicrafts.
0:04:14 > 0:04:17- Of course, copper - ready and available from the mines.- Mm.
0:04:17 > 0:04:20And they repaired the fishing boats with sheets of copper.
0:04:20 > 0:04:23So he thought, "Right, OK, I'll carve some moulds...
0:04:24 > 0:04:27"They can hand-hammer sheets of copper on the moulds
0:04:27 > 0:04:29"and make lots of things."
0:04:29 > 0:04:31And that's called "repousse" work.
0:04:31 > 0:04:33It doesn't get better than this, it really doesn't.
0:04:33 > 0:04:37- And it's not been out of your family?- No.
0:04:37 > 0:04:39- No-one's got their hands on it at all?- No.
0:04:39 > 0:04:41- So this is really fresh to the market.- Yes.
0:04:41 > 0:04:43This is cracking provenance, do you know that?
0:04:43 > 0:04:45I think it might be that Pearson's work
0:04:45 > 0:04:46doesn't come on the market much
0:04:46 > 0:04:49because people that have that sort of thing don't want to sell it
0:04:49 > 0:04:54because it is so gorgeously tactile and just visually splendid.
0:04:54 > 0:04:57- Let's put a value on it.- Uh-huh.
0:04:57 > 0:05:00- And I'm going to say £400-£800. - Right.
0:05:01 > 0:05:04- That's lovely to know. - Ever so excited.
0:05:04 > 0:05:07Thank you so much for putting a big smile on my face and possibly,
0:05:07 > 0:05:10not just making my day, but maybe my year.
0:05:10 > 0:05:13- Wow.- Because I've handled a piece of John Pearson.
0:05:14 > 0:05:19And I can start at £460.
0:05:19 > 0:05:21- 480, I'll take. - It's gone, isn't it?
0:05:21 > 0:05:24460? 480? 500?
0:05:24 > 0:05:27550? 600?
0:05:27 > 0:05:30650? 700, would you like?
0:05:30 > 0:05:32700. 750?
0:05:32 > 0:05:34800? 850?
0:05:34 > 0:05:35900?
0:05:35 > 0:05:37Go on, one more - squeeze it.
0:05:37 > 0:05:41At 850, selling then at 850.
0:05:41 > 0:05:42Sold!
0:05:42 > 0:05:45£850!
0:05:45 > 0:05:47- That's good, yeah.- Brilliant.
0:05:47 > 0:05:49- Ever so pleased.- Yeah.
0:05:49 > 0:05:53Paul knows his Newlyn School very well.
0:05:53 > 0:05:57But I think it shows just how buoyant that market is.
0:05:59 > 0:06:02'The right price for that piece and that maker.
0:06:02 > 0:06:05'Pearson is certainly a name to look out for.'
0:06:07 > 0:06:10Modern classics come in all sorts of guises.
0:06:10 > 0:06:14And some can take you right back to childhood.
0:06:14 > 0:06:17Like some charming toys that Anita Manning spotted.
0:06:18 > 0:06:22Ben, "Flog It!" is so much fun!
0:06:22 > 0:06:24Where did you get these?
0:06:24 > 0:06:27Well, these I would have bought in the early 1970s,
0:06:27 > 0:06:29when my daughter was small.
0:06:29 > 0:06:31- Mm-hm.- She would have been about six or seven at the time.- Yeah.
0:06:31 > 0:06:34It came from a London toy shop in Regent Street,
0:06:34 > 0:06:36one of the most famous toy shops in London.
0:06:36 > 0:06:38Well, they're absolutely wonderful.
0:06:38 > 0:06:40As you know, they're Pelham Puppets.
0:06:40 > 0:06:43Pelham Puppets, I would say, were design classics.
0:06:43 > 0:06:48They were so, so popular - every child would have them.
0:06:48 > 0:06:50These were made in Wiltshire
0:06:50 > 0:06:55and the company was started by Robert Pelham in 1947.
0:06:55 > 0:06:59Round about '53, they acquired the rights to make Disney characters.
0:06:59 > 0:07:02- You bought them for your daughter? - Yes.- Did she play with them?
0:07:02 > 0:07:05Not so very much.
0:07:05 > 0:07:10You need a certain dexterity to...get the marionette
0:07:10 > 0:07:11to perform as you would like it.
0:07:11 > 0:07:14- Uh-huh.- And that's a struggle for a six- or seven-year-old.
0:07:14 > 0:07:17Yeah, uh-huh. Well, that's possibly the reason that they're in
0:07:17 > 0:07:19such good condition now.
0:07:19 > 0:07:24With Pelham Puppets, it's important that they are in good condition.
0:07:24 > 0:07:27It's important that the paintwork isn't chipped,
0:07:27 > 0:07:30it's important that the string isn't broken
0:07:30 > 0:07:34and it's very important that you have the original box.
0:07:34 > 0:07:38- And the box as well.- The boxes, wonderful to have the boxes.
0:07:38 > 0:07:43Having your box with a Pelham Puppet will add to its market value.
0:07:43 > 0:07:46- In fact, I think I can still see a price tag.- You can.
0:07:46 > 0:07:51Well, the dragon's a rarer one than, say for example,
0:07:51 > 0:07:53your little Dutch maid.
0:07:53 > 0:07:56Dragon's wonderful and so is the giant.
0:07:56 > 0:07:58When we're looking to buy Pelham Puppets,
0:07:58 > 0:08:01we're looking for the rarer ones.
0:08:01 > 0:08:05And, if you manage to get the Scottie dog, go for it,
0:08:05 > 0:08:10because that's very rare and it will fetch you a lot of money.
0:08:10 > 0:08:12Because of the condition, they will do well.
0:08:12 > 0:08:15- But they're still not going to make you a fortune.- No.
0:08:15 > 0:08:18- I don't think I expected that.- No.
0:08:18 > 0:08:23- In auction, I would put them in the one lot.- Yes.
0:08:23 > 0:08:28And I would put the price estimate between £50-£80.
0:08:28 > 0:08:31- Would you be happy to sell them at that?- That sounds nice.
0:08:31 > 0:08:33With a reserve price of £45.
0:08:33 > 0:08:36- This is it, then. - We move on to the Pelham Puppets.
0:08:36 > 0:08:38There we are for you - three in the lot.
0:08:38 > 0:08:41- I'm bid 50 here, at £50 I'm bid.- A good start.
0:08:41 > 0:08:42At £50, my bidder here.
0:08:42 > 0:08:46My bidder here, then, at £50 and make no mistake at 50.
0:08:46 > 0:08:49- Sold.- Sold - straight in, straight out.
0:08:49 > 0:08:53- Straight in, straight out.- Yes. - Someone's got a bargain.
0:08:53 > 0:08:55They did indeed get a bargain.
0:08:55 > 0:08:57But, as with all antiques, rarity is the key,
0:08:57 > 0:09:00so keep your eyes peeled for that Scottie dog.
0:09:01 > 0:09:03MUSIC OVER CONVERSATION
0:09:03 > 0:09:05When it comes to classic toys,
0:09:05 > 0:09:08there's one name that stands out above all others.
0:09:10 > 0:09:12If you're going to talk about icons of the 20th century,
0:09:12 > 0:09:15then THE iconic piece
0:09:15 > 0:09:17of teddy bear toys is Steiff.
0:09:17 > 0:09:21Aren't these charming, little Steiff toys here you've got?
0:09:21 > 0:09:24- I think they're very special.- Aren't they? They're really, really lovely.
0:09:24 > 0:09:26Lovely features on them.
0:09:26 > 0:09:31- Can you tell me about them? - I got the first one in 1958 or 1959.
0:09:31 > 0:09:34Well, Steiff is such an important name in antiques,
0:09:34 > 0:09:36not just in the world of teddy bears - we've all heard of him -
0:09:36 > 0:09:39but also, I think, a significant name in 20th century design.
0:09:39 > 0:09:44Let's not forget, in 1902, this lady - in a male-dominated world -
0:09:44 > 0:09:46was the pioneer of teddy bears
0:09:46 > 0:09:51and even invented the first teddy bears with articulated limbs.
0:09:51 > 0:09:54And it looks like you've really preserved them.
0:09:54 > 0:09:56So you must have cherished them at the time?
0:09:56 > 0:09:57Yeah, they weren't played with, really,
0:09:57 > 0:10:00cos I wanted to leave the badges on them.
0:10:00 > 0:10:03Yes, and you've done well with that, haven't you?
0:10:03 > 0:10:06The badges are all there, that one's called Mopsy.
0:10:06 > 0:10:07There's another one there.
0:10:07 > 0:10:09I think that little one's my favourite.
0:10:09 > 0:10:11Lovely, characterful face.
0:10:11 > 0:10:14When I first saw those Steiff figures, I thought
0:10:14 > 0:10:15the squirrel looked just like Adam.
0:10:15 > 0:10:18So, why have you come to decide to sell them now?
0:10:18 > 0:10:20Well, I've got six great-nephews and nieces
0:10:20 > 0:10:21and you can't make three go six.
0:10:21 > 0:10:23Well, not without ruining them.
0:10:23 > 0:10:26There are loads of Steiff toys and bears
0:10:26 > 0:10:27that are very, very sought-after.
0:10:27 > 0:10:29The early ones, of course, are the rarest
0:10:29 > 0:10:31and therefore the most valuable.
0:10:31 > 0:10:33I think, a couple of years ago,
0:10:33 > 0:10:37a harlequin example made almost £50,000,
0:10:37 > 0:10:39which is a lot of money for any teddy bear, surely.
0:10:39 > 0:10:42Have you any idea what they might be worth at all?
0:10:42 > 0:10:46Well, I would hope that they would be at least £25 each
0:10:46 > 0:10:48but maybe that's too much.
0:10:48 > 0:10:50No, I think they're worth £20 or £30 each,
0:10:50 > 0:10:52I think you've got it just about right.
0:10:52 > 0:10:56- Shall we put a bottom reserve of £60 on them?- I think so, yes.
0:10:56 > 0:10:59I think so, they must be worth £20 each.
0:10:59 > 0:11:00They've got to be.
0:11:00 > 0:11:06Lot number 360 is the Steiff plush dog "Mopsy" and "Noggy"
0:11:06 > 0:11:08and the bear, who apparently is un-named,
0:11:08 > 0:11:10which I think's rather sad.
0:11:10 > 0:11:13- ADAM:- Aw.- There we go, I'm bid £60 on the book to start.
0:11:13 > 0:11:16At 60, 70, 80. 90, 100?
0:11:16 > 0:11:19110, 120. 130, 140.
0:11:19 > 0:11:22150, 160, 170, 180.
0:11:22 > 0:11:23190, 200.
0:11:23 > 0:11:25210, 220.
0:11:25 > 0:11:26- Gosh.- Any more?
0:11:26 > 0:11:28240. 250.
0:11:28 > 0:11:32- 260.- Going up.- Yes, it is. - "Come and buy me."
0:11:32 > 0:11:34290.
0:11:34 > 0:11:38- 300.- That's about a £100 little animal now, that's good.
0:11:38 > 0:11:40Any more at all?
0:11:40 > 0:11:43At £310, there's the bid and they sell, then,
0:11:43 > 0:11:46at £310 and done, thank you.
0:11:46 > 0:11:49- You've got to be happy with that result?- I'm delighted, delighted.
0:11:49 > 0:11:50Great result, isn't it?
0:11:50 > 0:11:53Those three animals made a cracking price at auction.
0:11:53 > 0:11:55This was a case, I think, of auction fever.
0:11:55 > 0:11:58They were quite common examples, they were late 1950s,
0:11:58 > 0:12:02they're not that rare or valuable, so two people got carried away
0:12:02 > 0:12:04and that's when you end up with a cracking result.
0:12:04 > 0:12:07They really made the money they did, simply and solely,
0:12:07 > 0:12:09because of the calibre of the auctioneer.
0:12:11 > 0:12:13Yes, Philip, that must be the reason.
0:12:13 > 0:12:17Nothing to do with Steiff being a 20th-century icon?
0:12:17 > 0:12:19Some design classics have been sold on the show
0:12:19 > 0:12:23so many times before, you can make a close estimation of their value.
0:12:23 > 0:12:25You could say they've got a book price.
0:12:25 > 0:12:28But that doesn't mean to say a collector won't get carried away
0:12:28 > 0:12:30and bid well over the top in an auction room -
0:12:30 > 0:12:32we've seen it time and time again.
0:12:32 > 0:12:36So, don't disregard pieces where you think the price is set.
0:12:37 > 0:12:40The more we see of a design classic, the easier it is to value.
0:12:41 > 0:12:46But sometimes our experts are completely taken by surprise.
0:12:46 > 0:12:50James Lewis certainly was when he valued a fabulous 1930s tea set.
0:12:50 > 0:12:53Lynette, Robin, if you're going to bring a tea service,
0:12:53 > 0:12:55you can't bring anything better than this.
0:12:55 > 0:12:58I mean, what a stylish set. Where have you had it?
0:12:58 > 0:13:00It's in my mum's cupboard in our house.
0:13:00 > 0:13:02- In the cupboard?- Yeah.
0:13:02 > 0:13:04I was young, goodness me, wasn't I young(?)
0:13:04 > 0:13:07Oh, my goodness. Not only did the Shelley look in good condition,
0:13:07 > 0:13:09even I looked in good condition(!)
0:13:09 > 0:13:11- I don't know if you know much about Shelley?- No.
0:13:11 > 0:13:15No, they were based in Foley, in Staffordshire.
0:13:15 > 0:13:18And they started around 1925.
0:13:18 > 0:13:20They used to be called Wileman & Co
0:13:20 > 0:13:22and then they became Shelley in 1925.
0:13:22 > 0:13:27By 1930, they were making these vibrant, bright, Art Deco tea-ware.
0:13:27 > 0:13:31And of all the shapes of cup you could have, this is the best -
0:13:31 > 0:13:33known as Vogue.
0:13:33 > 0:13:35The Vogue is the very best,
0:13:35 > 0:13:40it's the triangular shape with a solid triangular handle.
0:13:40 > 0:13:43What made that so sought-after was the rare pattern.
0:13:43 > 0:13:47Typical of Art Deco - angular lines, bright colours.
0:13:47 > 0:13:50They really sacrifice everything that's practical just for style.
0:13:50 > 0:13:52I mean, look at that cup.
0:13:52 > 0:13:55How can you hold a heavy cup of tea with that? It's not easy, is it?
0:13:55 > 0:13:57No, it wouldn't be.
0:13:57 > 0:14:01It really was an example of design over practicality.
0:14:01 > 0:14:03Because you can't grip it.
0:14:03 > 0:14:05I mean, you can't grip it when it's empty,
0:14:05 > 0:14:07let alone when it's full of hot tea.
0:14:07 > 0:14:09I think, in a way, that may well be why this
0:14:09 > 0:14:12has survived in such good condition. What do you think it's worth?
0:14:13 > 0:14:17I'd like to think it was over 100-and-something.
0:14:17 > 0:14:18I think...
0:14:18 > 0:14:21- that's a little cheap. - A little cheap?
0:14:21 > 0:14:22Yeah, how about 200-300?
0:14:22 > 0:14:25- That'd be OK as well. - 300-400? 400-500?
0:14:26 > 0:14:29- Now you're just winding me up. - I am, 400-600.
0:14:29 > 0:14:32- No way?- Yeah, I think so.
0:14:32 > 0:14:36It is really good. It is a great design, it is a great set.
0:14:36 > 0:14:40It should be worth £40 per cup/saucer/plate.
0:14:40 > 0:14:43But it is such a sought-after design.
0:14:43 > 0:14:46You can imagine Poirot...
0:14:46 > 0:14:49or Miss Marple, there on the Orient Express,
0:14:49 > 0:14:51drinking out of a bit of Shelley.
0:14:51 > 0:14:55Flapper girls dancing in the background, all that sort of thing -
0:14:55 > 0:14:57it's classic Art Deco.
0:14:57 > 0:14:58178.
0:14:58 > 0:15:02It's a Shelley blue-and-white, jazz patterns tea-ware.
0:15:02 > 0:15:04There are 40 pieces.
0:15:04 > 0:15:07- £800? I'm bid 800.- Yes.
0:15:07 > 0:15:09- My God.- 900?
0:15:09 > 0:15:11950?
0:15:11 > 0:15:131,000?
0:15:13 > 0:15:15- Yes, come on.- And 50?
0:15:15 > 0:15:161,150?
0:15:16 > 0:15:181,200?
0:15:18 > 0:15:201,250?
0:15:20 > 0:15:22- 1,300?- It's going to do it.
0:15:22 > 0:15:24- It's going to do it. - 1,350?
0:15:24 > 0:15:261,400?
0:15:26 > 0:15:28It was strange, as the Shelley went up...
0:15:29 > 0:15:33..the realisation that I'd made a complete howler started to come...
0:15:33 > 0:15:37more and more alive by every bid.
0:15:37 > 0:15:40Thinking, "Gosh, when's this going to stop?"
0:15:40 > 0:15:42It's on the phone at 1,950.
0:15:43 > 0:15:45- MAN: Yes.- At 2,000.
0:15:45 > 0:15:48They're stuck in like pit bull terriers, aren't they?
0:15:48 > 0:15:50At 3,000.
0:15:50 > 0:15:52- 3,100?- MAN: Yep.
0:15:52 > 0:15:543,200? 3,300?
0:15:55 > 0:15:573,400?
0:15:57 > 0:16:02Any advance on 3,400? The bid's on my right, on the phone, at 3,400.
0:16:02 > 0:16:04ALL: YES!
0:16:07 > 0:16:09- Brilliant.- God, I'm boiling.
0:16:09 > 0:16:10I'm sweating here.
0:16:13 > 0:16:17How tense was that? £3,400!
0:16:17 > 0:16:19It's amazing!
0:16:19 > 0:16:22'£3,400 was an incredible price for it.'
0:16:22 > 0:16:24I'd like to be able to say,
0:16:24 > 0:16:26"Well, of course, I knew it was going to do that."
0:16:26 > 0:16:28I hadn't got a clue.
0:16:28 > 0:16:30It was just a complete...
0:16:30 > 0:16:32I got it wrong.
0:16:32 > 0:16:35All it takes is two bidders fighting over an item of quality
0:16:35 > 0:16:37and the sky is the limit.
0:16:37 > 0:16:40They get stuck in and they want to go home with that prized trophy
0:16:40 > 0:16:42to show off to all of their friends.
0:16:44 > 0:16:47Whether you're buying or selling, if Pelham Puppets is your thing,
0:16:47 > 0:16:49look out for the rare ones.
0:16:49 > 0:16:51Keep them in good condition and whatever you do,
0:16:51 > 0:16:53don't throw away the box.
0:16:55 > 0:16:58If you want to check that your bear is a Steiff,
0:16:58 > 0:17:00look for that trademark button in the left ear,
0:17:00 > 0:17:02or a chest tag to be sure.
0:17:03 > 0:17:07If you collect Newlyn copper, don't be tempted to polish it -
0:17:07 > 0:17:09it'll affect the design and the price.
0:17:11 > 0:17:14And remember, an estimate is just an estimate.
0:17:17 > 0:17:22Of all the 20th-century designs that pass through our auction rooms...
0:17:22 > 0:17:23my favourite has to be Art Deco.
0:17:26 > 0:17:29The movement began in Paris in the early 20th century.
0:17:30 > 0:17:34But it wasn't until the end of World War I that it really took off.
0:17:35 > 0:17:41Fuelled by the post-war spirit of jazz, speed, travel and prosperity.
0:17:45 > 0:17:49The popularity of travel meant influences from outside Europe
0:17:49 > 0:17:51began to appear in all forms of design.
0:17:55 > 0:17:59Between the two wars, new buildings appeared in the Art Deco style,
0:17:59 > 0:18:01not only in Europe, but all over the world.
0:18:07 > 0:18:10A famous example in Britain is the Burgh Island Hotel in Devon.
0:18:12 > 0:18:16It was an iconic bolthole for the rich and the famous in the 1930s.
0:18:17 > 0:18:20And the setting for some of Agatha Christie's mysteries.
0:18:23 > 0:18:25Take a look at this!
0:18:25 > 0:18:27It absolutely oozes nostalgia.
0:18:27 > 0:18:30Could you imagine just dining here in the evening?
0:18:30 > 0:18:32Oh, gosh.
0:18:32 > 0:18:36Take a look at these radiators, they run the length of this wall.
0:18:36 > 0:18:39Heavy-duty cast iron - Art Deco style.
0:18:43 > 0:18:45The Art Deco style influenced everything
0:18:45 > 0:18:47from furniture to ornaments,
0:18:47 > 0:18:50from ceramics to jewellery - even telephones.
0:18:50 > 0:18:54It was all the rage and everyone wanted to be part of it.
0:18:54 > 0:18:58Names like Clarice Cliff and Shelley have come to epitomise this period
0:18:58 > 0:19:00with their bold colours and geometric designs,
0:19:00 > 0:19:04which replaced the flowing, organic shapes of its predecessor -
0:19:04 > 0:19:05Art Nouveau.
0:19:05 > 0:19:08The popularity of Art Deco waned after the Second World War
0:19:08 > 0:19:12but today the market is as strong as it ever was,
0:19:12 > 0:19:15- as the Shelley tea set proved... - I'll finish at 3,400.
0:19:16 > 0:19:18..the highest price
0:19:18 > 0:19:21ever fetched by an example of Art Deco on "Flog It!".
0:19:24 > 0:19:27"Flog It!" expert Anita Manning is a regular on the show and she's
0:19:27 > 0:19:31a great favourite with all of you who turn up at our valuation days.
0:19:31 > 0:19:34She's a Glasgow girl, born and bred, and a bit of a pioneer -
0:19:34 > 0:19:37one of the first female auctioneers in Scotland.
0:19:37 > 0:19:40She's very proud of her fellow Scots' achievements as well
0:19:40 > 0:19:44and there's one person in particular who's left an indelible impression
0:19:44 > 0:19:46on her, as well as Glasgow itself.
0:19:48 > 0:19:51And that person is the designer who came to epitomise
0:19:51 > 0:19:55Art Nouveau in the UK - Charles Rennie Mackintosh.
0:19:56 > 0:20:00Art Nouveau was part of an artistic revolution...
0:20:00 > 0:20:03that broke away from the over-fussy Victorian designs
0:20:03 > 0:20:06at the turn of the 20th century.
0:20:06 > 0:20:08Its main inspiration was nature.
0:20:10 > 0:20:12Working-class boy Mackintosh...
0:20:12 > 0:20:15was one of the most successful Art Nouveau architects.
0:20:15 > 0:20:20His buildings form a central part of Glasgow's cityscape today,
0:20:20 > 0:20:23including its famous School of Art -
0:20:23 > 0:20:25a stone's throw from Mackintosh House.
0:20:27 > 0:20:31This strange-looking building behind me is called the Mackintosh House.
0:20:31 > 0:20:35It holds reconstructions of rooms where Charles Rennie Mackintosh
0:20:35 > 0:20:39and his wife, and fellow artist, Margo Macdonald lived.
0:20:39 > 0:20:44I live just round the corner and I visit this house regularly.
0:20:44 > 0:20:48I love Charles Rennie Mackintosh's work.
0:20:49 > 0:20:52He was a bit of a rebel and that appeals to me
0:20:52 > 0:20:54because I'm a bit of a rebel too.
0:20:57 > 0:21:00The story behind the Mackintosh House is incredible.
0:21:00 > 0:21:04In the early 1960s, the Victorian terraced villa
0:21:04 > 0:21:08that the Mackintoshs lived in had to be demolished.
0:21:08 > 0:21:11But a decision was made to build this structure
0:21:11 > 0:21:16and to recreate the interiors of the Mackintosh house
0:21:16 > 0:21:19right here on the university campus,
0:21:19 > 0:21:22as part of the Hunterian Art Gallery.
0:21:26 > 0:21:30The first room that we come to is the dining room,
0:21:30 > 0:21:32with this marvellous stencilled wall,
0:21:32 > 0:21:35with the Glasgow Rose and the honesty leaves.
0:21:35 > 0:21:40But my favourite piece in here is this chair.
0:21:40 > 0:21:43This chair is known as the Argyle Chair
0:21:43 > 0:21:48and it is an iconic piece of Charles Rennie Mackintosh furniture.
0:21:48 > 0:21:52It was one of the first high-back chairs to be made
0:21:52 > 0:21:55and we can it stretching
0:21:55 > 0:21:59from the rectangular at the base here
0:21:59 > 0:22:02and it comes up...
0:22:02 > 0:22:04into a circle at the top.
0:22:04 > 0:22:11I just love these little, perfect details in Mackintosh's design.
0:22:11 > 0:22:13In the back crest we see -
0:22:13 > 0:22:16he's referring again to Art Nouveau -
0:22:16 > 0:22:18a stylised bird here.
0:22:19 > 0:22:22Now, each of these pieces...
0:22:22 > 0:22:24the rectilinear
0:22:24 > 0:22:29and the curvilinear pieces slot together like a big jigsaw puzzle.
0:22:29 > 0:22:32And again we're looking at the craftsmanship
0:22:32 > 0:22:36and the skill in joinery in Glasgow at that time.
0:22:37 > 0:22:40Quite wonderful chair - the Argyle Chair.
0:22:52 > 0:22:56This drawing room studio is L-shaped,
0:22:56 > 0:23:00with light streaming from a south-facing window.
0:23:00 > 0:23:04The overall effect is white, with white-painted furniture
0:23:04 > 0:23:08and occasional pieces of dark oak...
0:23:08 > 0:23:12for contrast and the effect is stunning!
0:23:14 > 0:23:17Mackintosh believed that his interior should be
0:23:17 > 0:23:22a unified work of art, bringing harmony to the whole room,
0:23:22 > 0:23:25where the fittings, the furniture
0:23:25 > 0:23:30and the decoration was part of the WHOLE decorative scheme.
0:23:33 > 0:23:36This is one of a pair of cabinets
0:23:36 > 0:23:39that was exhibited in the Turin Exhibition of 1902.
0:23:39 > 0:23:42But if we look inside...
0:23:43 > 0:23:47The doors open to reveal these wonderful decorative panels.
0:23:47 > 0:23:51The panels are lined in a silvered metal.
0:23:51 > 0:23:57In that metal we have these wonderful elongated female figures
0:23:57 > 0:23:59in stained glass.
0:23:59 > 0:24:02The female figures are holding one of the most iconic
0:24:02 > 0:24:06of all Glasgow's style symbols - the Glasgow Rose.
0:24:06 > 0:24:11Now, this theme is repeated in these little details here -
0:24:11 > 0:24:16little naturalistic details with pink stained glass.
0:24:16 > 0:24:20This little cabinet is quite, quite wonderful.
0:24:29 > 0:24:33The overall scheme is repeated in the bedroom
0:24:33 > 0:24:36and in these white-painted wardrobes
0:24:36 > 0:24:40we have these wonderful, carved lovebirds.
0:24:40 > 0:24:45This is reflecting Charles Rennie Mackintosh's passion for nature
0:24:45 > 0:24:49and his interest in Art Nouveau symbols.
0:24:49 > 0:24:52Now, why did Charles Rennie Mackintosh
0:24:52 > 0:24:54paint his furniture white?
0:24:54 > 0:24:56What he wanted to do was
0:24:56 > 0:25:00to reduce all the distracting features...
0:25:00 > 0:25:02of the object...
0:25:02 > 0:25:07and bring it to its purest, sculptural form.
0:25:11 > 0:25:17Charles Rennie Mackintosh was an innovator, and a creative genius.
0:25:17 > 0:25:21Every year, hundreds of thousands of people come to Glasgow
0:25:21 > 0:25:24to look at his work and I am very proud of him.
0:25:25 > 0:25:27If you're lucky enough to come across
0:25:27 > 0:25:32an overlooked piece of Mackintosh, you will recognise it straightaway.
0:25:32 > 0:25:35All great names and designers will have their imitators
0:25:35 > 0:25:38and devotees of the work of Charles Rennie Mackintosh
0:25:38 > 0:25:41always get slightly upset when they come across a copy of his style -
0:25:41 > 0:25:44the so-called "Mockingtosh".
0:25:44 > 0:25:49But sometimes imitations can be of value, as Nick Hall explains.
0:25:49 > 0:25:52Now...if you're lucky enough to be invited out to dinner
0:25:52 > 0:25:55by your local aristo in your local stately home,
0:25:55 > 0:25:56then you're going to be
0:25:56 > 0:26:00subjected to some fine dining in an exquisite, sumptuous setting
0:26:00 > 0:26:02like this one laid out behind me.
0:26:02 > 0:26:05You're going to want to wear something appropriate.
0:26:05 > 0:26:07A bit of bling, something that shines and sparkles
0:26:07 > 0:26:10and dazzles your fellow dinner guests.
0:26:10 > 0:26:13So, you're going to need a piece of jewellery.
0:26:13 > 0:26:15Now, there's a fine little selection of jewellery
0:26:15 > 0:26:18set out on this little table next to me here.
0:26:18 > 0:26:21Now, what I'm going to talk about is buying on a budget,
0:26:21 > 0:26:23creating that look
0:26:23 > 0:26:26but without spending thousands and thousands of pounds.
0:26:26 > 0:26:27Now, on here,
0:26:27 > 0:26:30you've got an assortment of five pieces of costume jewellery,
0:26:30 > 0:26:34dating from 1930 to about 1960.
0:26:34 > 0:26:39All classic, early, mid-20th-century design pieces.
0:26:39 > 0:26:41Now, four of the five
0:26:41 > 0:26:45are pieces of good quality costume jewellery.
0:26:45 > 0:26:49And worth probably £50 each, but one of them
0:26:49 > 0:26:54is actually an exquisite piece of gem-set jewellery,
0:26:54 > 0:26:56worth probably £5,000-6,000.
0:26:56 > 0:26:58Now, if you're looking at those, thinking,
0:26:58 > 0:27:00"Well, I can't tell the difference" -
0:27:00 > 0:27:02fantastic, because that's the whole point of the exercise.
0:27:02 > 0:27:05Nor will anyone else that you're sat with.
0:27:05 > 0:27:08Unless, of course, they're an auctioneer or a jeweller, then you're stuffed.
0:27:08 > 0:27:11So...which one is it?
0:27:11 > 0:27:14Well, you got this wonderful little drop-piece here
0:27:14 > 0:27:16and this Art Deco design here.
0:27:16 > 0:27:19You've got this piece here that shakes and shivers.
0:27:19 > 0:27:24You've got this Canadian maple leaf here and this floral brooch.
0:27:24 > 0:27:27Well, I can tell you, that the one piece...
0:27:27 > 0:27:29Go on, have a guess.
0:27:29 > 0:27:31Go on, which one do you think?
0:27:31 > 0:27:33It's that one.
0:27:33 > 0:27:37Now, this here was made in England, probably around 1950.
0:27:37 > 0:27:41It's absolutely, beautifully made of the finest white gold.
0:27:41 > 0:27:44Smothered in the finest cut diamonds.
0:27:44 > 0:27:47And then you've got this amazing cabochon emerald
0:27:47 > 0:27:50of the finest green, intense colour.
0:27:50 > 0:27:51But to the uninitiated,
0:27:51 > 0:27:55it looks no different to the other pieces of costume jewellery.
0:27:55 > 0:27:59So, top tip here, if you buy fine quality,
0:27:59 > 0:28:03mid-20th century costume jewellery, you can get away with it
0:28:03 > 0:28:06and you won't disrupt your bank balance.
0:28:09 > 0:28:11The clean lines and the organic curves
0:28:11 > 0:28:16of the modern classic design still hold huge appeal today.
0:28:16 > 0:28:20I hope we've equipped you with enough knowledge to seek out
0:28:20 > 0:28:23the best from this design period.
0:28:23 > 0:28:25Well, that's it for today's Trade Secrets,
0:28:25 > 0:28:28so, goodbye and good luck.