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For over a decade now, | 0:00:04 | 0:00:05 | |
you've been bringing the Flog It! team your unwanted antiques and collectables, | 0:00:05 | 0:00:10 | |
and we've helped you sell around £1 million worth to date. | 0:00:10 | 0:00:13 | |
-1,275. -I don't believe it! -I'm going to sell. | 0:00:13 | 0:00:17 | |
Yes! I like that sound, that is the "sold" sound. | 0:00:17 | 0:00:20 | |
Don't you just love auctions? | 0:00:20 | 0:00:22 | |
During that time we've all learnt a great deal about the items that | 0:00:22 | 0:00:26 | |
have passed through our hands. | 0:00:26 | 0:00:28 | |
In this series I want to share some of that knowledge with you, | 0:00:28 | 0:00:31 | |
so stand by to hear our experts' Trade Secrets. | 0:00:31 | 0:00:35 | |
The world of antiques is full of wonderful | 0:01:04 | 0:01:06 | |
and valuable objects of all kinds. | 0:01:06 | 0:01:10 | |
But the most interesting pieces are generally those | 0:01:10 | 0:01:13 | |
produced by mavericks and pioneers, | 0:01:13 | 0:01:16 | |
people who dared to do things differently. | 0:01:16 | 0:01:19 | |
So in today's show we are celebrating the men and women | 0:01:19 | 0:01:21 | |
whose innovation and genius have left a lasting legacy. | 0:01:21 | 0:01:26 | |
We get a glimpse of the true brilliance | 0:01:28 | 0:01:30 | |
of Flog It's favourite maverick. | 0:01:30 | 0:01:32 | |
It's probably one of the best pieces of Moorcroft I've seen on Flog It! | 0:01:32 | 0:01:37 | |
At £1,500... | 0:01:37 | 0:01:39 | |
-Sold! -Not bad, eh? | 0:01:39 | 0:01:42 | |
One of haute couture's trendsetters | 0:01:42 | 0:01:44 | |
proves to be a surprise hit at auction. | 0:01:44 | 0:01:47 | |
I was flabbergasted. I think I said it three times. | 0:01:47 | 0:01:50 | |
3,4... | 0:01:50 | 0:01:51 | |
I am flabbergasted! | 0:01:51 | 0:01:53 | |
And I trace the history of a truly ground-breaking enterprise. | 0:01:53 | 0:01:59 | |
It's said they hopped and skipped down Toad Lane just after midnight | 0:01:59 | 0:02:02 | |
thrilled to bits that they opened their honest, Co-operative shop. | 0:02:02 | 0:02:06 | |
There are some names we quite often hear on the show | 0:02:11 | 0:02:14 | |
and instantly you think of William Moorcroft, George Jones, | 0:02:14 | 0:02:17 | |
Geoffrey Baxter of Whitefriars Glass fame. | 0:02:17 | 0:02:21 | |
You've probably got a few yourself. | 0:02:21 | 0:02:23 | |
The list is a long one. | 0:02:23 | 0:02:24 | |
But there's something all these people have in common | 0:02:24 | 0:02:27 | |
with each other - they are all pioneers of their field. | 0:02:27 | 0:02:30 | |
But what makes them worthy of the collectors' interest? | 0:02:30 | 0:02:33 | |
Pioneers are probably one of the most important types of people | 0:02:33 | 0:02:39 | |
because they bring about the changes | 0:02:39 | 0:02:42 | |
that we need to develop as a society. | 0:02:42 | 0:02:45 | |
My definition of "pioneer" is someone that goes somewhere | 0:02:45 | 0:02:51 | |
that nobody has been before. | 0:02:51 | 0:02:53 | |
It might be discovering a continent, | 0:02:53 | 0:02:55 | |
but perhaps it's working in a new material. | 0:02:55 | 0:02:58 | |
Somebody like Charles Horner, who worked out of Halifax | 0:02:58 | 0:03:02 | |
and was fabulous with Art Nouveau jewellery. | 0:03:02 | 0:03:06 | |
William Morris was a pioneer. Mackintosh was a pioneer. | 0:03:06 | 0:03:10 | |
Anything by them would be incredibly expensive. | 0:03:10 | 0:03:14 | |
Why not think in terms of Georg Jensen jewellery? | 0:03:14 | 0:03:17 | |
You can buy a Georg Jensen silver ring for less than £100. | 0:03:17 | 0:03:22 | |
Great names all of them. | 0:03:22 | 0:03:24 | |
We've had the privilege of encountering many works | 0:03:24 | 0:03:27 | |
by those pioneering craftsmen of the past. | 0:03:27 | 0:03:29 | |
And we've stumbled on more modern ones too. | 0:03:31 | 0:03:34 | |
At a valuation day in 2009, | 0:03:34 | 0:03:35 | |
Thomas Plant got his hands on an item | 0:03:35 | 0:03:39 | |
from one of the giants of 20th-century fashion. | 0:03:39 | 0:03:42 | |
Tell me about it and how it came into your possession. | 0:03:42 | 0:03:45 | |
Well, my grandmother gave it to me | 0:03:45 | 0:03:47 | |
when I was about ten and I've had it ever since. | 0:03:47 | 0:03:49 | |
I don't know much more about it other than it's Christian Dior, I believe. | 0:03:49 | 0:03:53 | |
It is Christian Dior. We can see it from here. | 0:03:53 | 0:03:56 | |
The mark there is Christian Dior. | 0:03:56 | 0:03:58 | |
Of course that conjures up all these wonderful fashion items etc | 0:03:58 | 0:04:02 | |
and high-end jewellery. | 0:04:02 | 0:04:04 | |
But this is Christian Dior the costume jeweller | 0:04:04 | 0:04:07 | |
we are looking at here. | 0:04:07 | 0:04:08 | |
Christian Dior - after the Second World War | 0:04:08 | 0:04:11 | |
he sort of established his business | 0:04:11 | 0:04:15 | |
as the first global fashion house. | 0:04:15 | 0:04:20 | |
You have the aspirational haute couture which the Hollywood stars | 0:04:20 | 0:04:25 | |
would wear, by Christian Dior. | 0:04:25 | 0:04:28 | |
And I think in the '50s and '60s his costume jewellery was aspirational. | 0:04:28 | 0:04:34 | |
You could actually buy a piece of Christian Dior. He'd realised | 0:04:34 | 0:04:38 | |
that there was going to be demand for his product, his design. | 0:04:38 | 0:04:44 | |
And hence, that's why his costume jewellery is so good | 0:04:44 | 0:04:48 | |
and desirable. | 0:04:48 | 0:04:49 | |
Now, it is costume jewellery, we should explain that. | 0:04:49 | 0:04:53 | |
You've got the mauve stones and the pink, and this is glass | 0:04:53 | 0:04:55 | |
or diamante or paste, as we call it, on a base metal. | 0:04:55 | 0:04:59 | |
"Vintage" is a new word for antiques. Vintage is very cool. | 0:04:59 | 0:05:05 | |
So if you're going out to a party | 0:05:05 | 0:05:08 | |
and you're putting on vintage Dior, they'll all ask, | 0:05:08 | 0:05:11 | |
"Where is that from?" "Actually, it's vintage." | 0:05:11 | 0:05:13 | |
It's Dior, isn't it?" | 0:05:13 | 0:05:15 | |
It would probably make over £50, | 0:05:15 | 0:05:17 | |
but I should have the estimate sort of £70-£100. | 0:05:17 | 0:05:21 | |
If it had been... | 0:05:21 | 0:05:23 | |
an unknown piece of costume jewellery, which you get | 0:05:23 | 0:05:27 | |
quite a lot, I'd probably have said not worth selling. | 0:05:27 | 0:05:30 | |
£20-£30, £5-£10. | 0:05:30 | 0:05:32 | |
It's quite a difficult subject to sell in a traditional saleroom | 0:05:32 | 0:05:36 | |
-like this, but we're going to give it a go. -OK. Here we go. | 0:05:36 | 0:05:39 | |
Fingers crossed. You never know what's going to | 0:05:39 | 0:05:42 | |
happen at an auction. let's check this one out. | 0:05:42 | 0:05:44 | |
And as it happened, quite a few bidders also wanted to check it out. | 0:05:44 | 0:05:48 | |
110. 120. 130. 140. 150. 160. | 0:05:48 | 0:05:53 | |
-At 160. -Gosh! -Lady's bid now. 160. 170 now. | 0:05:53 | 0:05:57 | |
160. At 160. 170 on the phone. 180. | 0:05:57 | 0:06:01 | |
190 if you like. 190. | 0:06:01 | 0:06:03 | |
-200. At 200. -They absolutely love this! -They do know it's paste? | 0:06:03 | 0:06:08 | |
220. | 0:06:08 | 0:06:10 | |
230. 240. | 0:06:10 | 0:06:12 | |
I was flabbergasted. I think I said it three times. | 0:06:12 | 0:06:15 | |
-340. -I am flabbergasted. | 0:06:15 | 0:06:18 | |
Did you miss something, Thomas? | 0:06:18 | 0:06:19 | |
400. 420. | 0:06:21 | 0:06:23 | |
SHE GASPS | 0:06:23 | 0:06:25 | |
-Do they know something we don't know? -I don't know! | 0:06:25 | 0:06:28 | |
-What's going through your mind right now? -Oh, I can't believe it! -Money! | 0:06:28 | 0:06:31 | |
Good old Nana! | 0:06:31 | 0:06:33 | |
At £440. It's on the phone at 440... | 0:06:33 | 0:06:36 | |
-Incredible! £440. Angela, that's wonderful! -Thank you so much. | 0:06:38 | 0:06:41 | |
-That's great. -Good old Nana, eh? -Yeah, good old Nana! | 0:06:41 | 0:06:45 | |
I can get something really nice with that. | 0:06:45 | 0:06:47 | |
I am flabbergasted. | 0:06:47 | 0:06:49 | |
Auctions are a real education | 0:06:49 | 0:06:50 | |
and whenever I see a piece of Christian Dior | 0:06:50 | 0:06:54 | |
costume jewellery now, I give it a lot more attention than I used to. | 0:06:54 | 0:06:58 | |
Me, too, Thomas! | 0:06:58 | 0:07:01 | |
Since that auction I won't pass a piece of paste jewellery | 0:07:01 | 0:07:04 | |
without checking it out to see | 0:07:04 | 0:07:06 | |
if it bears one of the big fashion house names. | 0:07:06 | 0:07:08 | |
Without doubt it was the mark of the pioneering designer Dior | 0:07:08 | 0:07:12 | |
which made Angie's bracelet fly. | 0:07:12 | 0:07:15 | |
Now, Elizabeth Talbot knew she was on to a winner when she came across | 0:07:15 | 0:07:19 | |
a piece of pottery by a designer who is a firm favourite on this show. | 0:07:19 | 0:07:25 | |
I did like Beryl's vase. | 0:07:25 | 0:07:27 | |
Her Moorcroft vase was a delight. | 0:07:27 | 0:07:28 | |
It's probably one of the best pieces of Moorcroft I've seen on Flog It! | 0:07:28 | 0:07:32 | |
What can you tell me about it? | 0:07:32 | 0:07:34 | |
My parents had it as a wedding present in 1929, | 0:07:34 | 0:07:38 | |
so it's been around all my life. | 0:07:38 | 0:07:40 | |
'William Moorcroft was a pioneer to the extent' | 0:07:40 | 0:07:42 | |
that his methods of production were very individual, | 0:07:42 | 0:07:46 | |
from the handcrafting of the pot on the wheel through to the | 0:07:46 | 0:07:49 | |
tube lining, a bit like decorating a cake. | 0:07:49 | 0:07:50 | |
Throughout the 20th century his designs | 0:07:50 | 0:07:53 | |
and his factory's successive designs have remained very much | 0:07:53 | 0:07:57 | |
accessible and relevant to the generations that have followed on. | 0:07:57 | 0:08:00 | |
It's a very distinctive and quite a rare pattern by Moorcroft. | 0:08:00 | 0:08:04 | |
I have to hold my hands up at this point | 0:08:04 | 0:08:06 | |
and say I can't remember the name of the pattern. | 0:08:06 | 0:08:09 | |
But it is one of the rarer patterns. | 0:08:09 | 0:08:12 | |
The whole methodology of production was very pioneering | 0:08:12 | 0:08:16 | |
and it hasn't been bettered or really improved on in terms of that | 0:08:16 | 0:08:19 | |
type of pottery since the late 19th century. | 0:08:19 | 0:08:21 | |
His factory is renowned for the double firing. | 0:08:21 | 0:08:24 | |
So the pot with the colour was fired | 0:08:24 | 0:08:28 | |
and then the clear glaze was put on top and then it was fired again. | 0:08:28 | 0:08:31 | |
And that's what's really lifts those marvellous colours out | 0:08:31 | 0:08:35 | |
and makes it so vibrant and distinctive. | 0:08:35 | 0:08:37 | |
What do you think it might be worth, offered to the market? | 0:08:37 | 0:08:41 | |
Well, I would have thought it has to be at least £150-£200, | 0:08:41 | 0:08:46 | |
but I think it might be more than that. | 0:08:46 | 0:08:49 | |
Well, it might be, yeah. | 0:08:49 | 0:08:50 | |
It's rather charming | 0:08:50 | 0:08:52 | |
when people underestimate the value of their items, | 0:08:52 | 0:08:55 | |
and it makes my job so much easier and far more enjoyable | 0:08:55 | 0:08:58 | |
when I can break good news rather than having to beat them | 0:08:58 | 0:09:01 | |
down from high expectations which are not achievable. | 0:09:01 | 0:09:04 | |
I would like to see this sell for between £700 and £1,000. | 0:09:04 | 0:09:08 | |
-Does that please you? -Yes! | 0:09:11 | 0:09:13 | |
And the man whose job it was to make good on Elizabeth's estimate | 0:09:13 | 0:09:17 | |
was Flog It! regular Will Axon. So what did he make of the vase? | 0:09:17 | 0:09:22 | |
This was a nice early piece. | 0:09:22 | 0:09:24 | |
A William Moorcroft piece, signed on the base, an impressed Moorcroft. | 0:09:24 | 0:09:28 | |
The shape was quite interesting, | 0:09:28 | 0:09:30 | |
that sort of subtle baluster vase, which is very desirable. | 0:09:30 | 0:09:35 | |
You can value them to a certain degree on the more general patterns, by size and shape. | 0:09:35 | 0:09:39 | |
-OK. -But I suspect if she had known the name of the pattern, | 0:09:39 | 0:09:42 | |
which incidentally is Moonlit Blue, | 0:09:42 | 0:09:45 | |
I mean, at £700-£1,000 | 0:09:45 | 0:09:47 | |
they'd be queuing up with the chequebooks at that sort of estimate. | 0:09:47 | 0:09:50 | |
-I would. -Yeah. | 0:09:50 | 0:09:52 | |
I've got interest. At 500. 550. 600. 650. 700. | 0:09:52 | 0:09:58 | |
At 700. And it's in the market. 750. 800. | 0:09:58 | 0:10:01 | |
850. 900. 950. 1,000. 1,100. 1,200. 1,300. | 0:10:01 | 0:10:09 | |
-They absolutely love it. -1,400. | 0:10:09 | 0:10:11 | |
1,450. It all helps. 1,500. | 0:10:11 | 0:10:15 | |
And another 50. At 1,500 I'm bid here. Try me again, sir. | 0:10:15 | 0:10:19 | |
At £1,500 I'm bid here. At 1,500. | 0:10:19 | 0:10:22 | |
Who else is in now? At £1,500. Are you sure? | 0:10:22 | 0:10:24 | |
I shall sell it. The hammer is up. On commission then, at £1,500... | 0:10:24 | 0:10:30 | |
-Sold! -Not bad, eh? What are you going to put all that money towards? | 0:10:30 | 0:10:35 | |
-Go on a train journey to Austria. -Oh, are you? -Oh, how romantic! | 0:10:35 | 0:10:40 | |
This particular vase sold very well indeed, partly because of the | 0:10:40 | 0:10:44 | |
pattern, which is relatively rare, so a very choice collector's piece. | 0:10:44 | 0:10:49 | |
It was a nice size and the pattern suited the shape | 0:10:49 | 0:10:53 | |
and the condition was great. | 0:10:53 | 0:10:55 | |
Yes, Beryl's vase certainly had a lot going for it, | 0:10:55 | 0:10:57 | |
especially the name Moorcroft, whose items always do the business. | 0:10:57 | 0:11:02 | |
There are of course other pioneering potters. Take Clarice Cliff, | 0:11:02 | 0:11:06 | |
she was a leading businesswoman whose Jazz Age designs | 0:11:06 | 0:11:10 | |
bucked the trend. | 0:11:10 | 0:11:11 | |
Today there's a huge market for her work | 0:11:11 | 0:11:13 | |
and we see many pieces on the show. | 0:11:13 | 0:11:16 | |
-The magic name of Clarice Cliff. -Absolutely. | 0:11:16 | 0:11:18 | |
Which is so desirable and so collectable. | 0:11:18 | 0:11:21 | |
Clarice Cliff is an old Flog It! favourite. | 0:11:21 | 0:11:24 | |
If you're eager to become a Clarice Cliff collector, | 0:11:24 | 0:11:27 | |
get to know your subject. When buying always check condition. | 0:11:27 | 0:11:31 | |
This is key. But it's also worth researching the pattern. | 0:11:31 | 0:11:34 | |
I've never seen this in this blue colour before. | 0:11:36 | 0:11:39 | |
You'd normally see this colour in reds and greens. | 0:11:39 | 0:11:43 | |
Clarice Cliff always does well at auction, | 0:11:43 | 0:11:45 | |
but some of her rarer designs can fly. | 0:11:45 | 0:11:48 | |
2,200. | 0:11:48 | 0:11:50 | |
Gosh, this is rare! They know something we don't know, Philip. | 0:11:50 | 0:11:53 | |
2,600. 2,700. | 0:11:53 | 0:11:55 | |
2,800. | 0:11:55 | 0:11:58 | |
Are we all done at £2,700? | 0:11:58 | 0:12:01 | |
Hammer's gone down. What a wonderful moment. £2,700! | 0:12:01 | 0:12:07 | |
What a result! | 0:12:08 | 0:12:09 | |
But it isn't just the great designers like Clarice Cliff | 0:12:09 | 0:12:12 | |
who demonstrated a pioneering spirit. | 0:12:12 | 0:12:14 | |
It was also the merchants who sold their wares. | 0:12:14 | 0:12:18 | |
In 1875 a new London emporium opened its doors. | 0:12:18 | 0:12:22 | |
It quickly became known for its eclectic and cutting-edge stock. | 0:12:22 | 0:12:26 | |
Arthur Lasenby set up Liberty's, which was a quite new | 0:12:27 | 0:12:33 | |
and innovative type of department store at that time. | 0:12:33 | 0:12:38 | |
And his association with the finest craftsmen | 0:12:39 | 0:12:44 | |
and artists of the day certainly showed in the goods that he sold. | 0:12:44 | 0:12:49 | |
He wanted to sell things which were, erm, innovative. | 0:12:50 | 0:12:53 | |
The most exciting goods, the best quality goods. | 0:12:55 | 0:12:57 | |
They are made of pewter and the pewter is hand-hammered. | 0:12:59 | 0:13:04 | |
They have these asymmetric squares on them | 0:13:04 | 0:13:07 | |
and we have the little enamelled medallions in the middle. | 0:13:07 | 0:13:12 | |
So they are aesthetically pleasing. | 0:13:12 | 0:13:16 | |
If we look on the back, we can see that these are called Tudric. | 0:13:16 | 0:13:22 | |
Tudric was the name for the Arts And Crafts pewter | 0:13:22 | 0:13:27 | |
that was made for Liberty & Company. | 0:13:27 | 0:13:31 | |
We had all sorts of boxes. | 0:13:31 | 0:13:34 | |
We had we had frames of clocks, Arts And Crafts, Art Nouveau - | 0:13:34 | 0:13:38 | |
these were the themes, the feeling that these items had. | 0:13:38 | 0:13:42 | |
-Where did you get them? -Well, they belong to my son, really. | 0:13:42 | 0:13:45 | |
-I'm just bringing them in on his behalf. -Where did he get them? | 0:13:45 | 0:13:50 | |
-I believe he got them at a boot sale. -A car boot story, I love them! | 0:13:50 | 0:13:53 | |
How much did you pay for them? | 0:13:53 | 0:13:55 | |
Not a lot, knowing my son. | 0:13:55 | 0:13:57 | |
Probably under a tenner, I'd think. | 0:13:57 | 0:13:59 | |
I would put an auction estimate on these of £60-£80. | 0:13:59 | 0:14:05 | |
They may do more than that. | 0:14:05 | 0:14:07 | |
We do have a pair and they do have the Tudric name on them. | 0:14:07 | 0:14:13 | |
Anita was confident that the car boot napkins were going to | 0:14:13 | 0:14:16 | |
make a good return on their money. | 0:14:16 | 0:14:18 | |
What did auctioneer Claire Rawle think? | 0:14:18 | 0:14:21 | |
I love it if something has Liberty on it because you know it is | 0:14:21 | 0:14:24 | |
going to appeal across the board and is going to make good money. | 0:14:24 | 0:14:28 | |
That name is just so popular. | 0:14:28 | 0:14:32 | |
And this one I have to start away at £100. | 0:14:32 | 0:14:38 | |
-At 100. -Wow. -At 100. Do I see 110 in the room? At £100. | 0:14:38 | 0:14:43 | |
110. 120. 130. The bid is in the room now at £130. | 0:14:43 | 0:14:48 | |
At £130. Are you all done? Selling then at 130... | 0:14:49 | 0:14:54 | |
-130. -The hammer's gone down. | 0:14:54 | 0:14:56 | |
Do you know, I wish it was as easy to turn | 0:14:56 | 0:14:59 | |
£4 into £130 just like that every day of the week. | 0:14:59 | 0:15:02 | |
It was a good price for the napkin rings. | 0:15:03 | 0:15:05 | |
I felt they made good money and it was down to the Liberty's name. | 0:15:05 | 0:15:10 | |
When you see the name Liberty and Tudric on an item, you know | 0:15:10 | 0:15:15 | |
that it's going to soar. | 0:15:15 | 0:15:18 | |
So the next time you're trawling a car boot, jumble sale or a | 0:15:19 | 0:15:23 | |
charity shop, it's definitely worth keeping an eye out for this stamp. | 0:15:23 | 0:15:26 | |
But what other innovative names are worth considering? | 0:15:28 | 0:15:31 | |
Well, Rene Lalique was a great pioneer in 20th-century glass-making. | 0:15:31 | 0:15:36 | |
And he was widely copied as a result afterwards by other glass-makers. | 0:15:36 | 0:15:40 | |
But they never managed to achieve the sort of design quality | 0:15:40 | 0:15:44 | |
and the production quality that Lalique used to achieve. | 0:15:44 | 0:15:48 | |
There was quite a range of glass that was produced - bowls | 0:15:48 | 0:15:51 | |
and vases and, of course, car mascots. | 0:15:51 | 0:15:55 | |
Sue, very nice to see you here in Hereford Cathedral. | 0:15:55 | 0:15:58 | |
Has this come off one of your cars? | 0:15:58 | 0:16:00 | |
Unfortunately not, because I think he would have gone on a Rolls-Royce. | 0:16:00 | 0:16:03 | |
-HE LAUGHS -Right! He's a Lalique mascot. | 0:16:03 | 0:16:07 | |
He's a falcon, known as the Faucon. | 0:16:07 | 0:16:09 | |
-Yes, yes. -Designed in 1925, I believe. -Oh, really? | 0:16:09 | 0:16:15 | |
And we've got the moulded Lalique mark just there. | 0:16:15 | 0:16:19 | |
What you did in those days, of course, | 0:16:19 | 0:16:21 | |
you didn't just have your Rolls-Royce with your | 0:16:21 | 0:16:23 | |
silver lady or whatever on the front, | 0:16:23 | 0:16:25 | |
you'd get your own mascot that you fancied for your car. | 0:16:25 | 0:16:27 | |
So you'd go and you say you wanted want a falcon or an eagle or a fox, | 0:16:27 | 0:16:31 | |
and then you'd have that done. | 0:16:31 | 0:16:33 | |
So they weren't made for specific cars, | 0:16:33 | 0:16:36 | |
they were made for the people who then bought them for their cars. | 0:16:36 | 0:16:39 | |
Condition, the chip to the beak, | 0:16:39 | 0:16:41 | |
which obviously drastically compromises the value. | 0:16:41 | 0:16:45 | |
There were often damaged, of course. | 0:16:45 | 0:16:46 | |
A glass mascot on front of a car isn't going to last long, | 0:16:46 | 0:16:50 | |
and I would have thought a few of them probably got pinched. | 0:16:50 | 0:16:53 | |
I think in good condition, this is £500's worth. | 0:16:53 | 0:16:56 | |
-I would have thought about 400-ish. -£400-£500 in good condition. | 0:16:57 | 0:17:03 | |
-But because of the chip, I'd halve it, probably. -As much as that? | 0:17:03 | 0:17:07 | |
-So 200 to 300, I'd think, is sensible. -Really? | 0:17:07 | 0:17:11 | |
-That's interesting. -I think so. -I would have thought less. | 0:17:11 | 0:17:14 | |
-You'd have thought less? -Yes. -Less than 200? | 0:17:14 | 0:17:18 | |
Well, that's what I'd just guessed. | 0:17:18 | 0:17:19 | |
Well, I figure 200 to 300 is a sensible guide on it. | 0:17:19 | 0:17:23 | |
There's a huge demand for all sorts of Lalique, | 0:17:23 | 0:17:25 | |
especially the early Lalique, and especially car mascots, actually. | 0:17:25 | 0:17:29 | |
But I'm acutely aware of the fact that any damage - | 0:17:29 | 0:17:33 | |
particularly on a piece of glass, that can't be restored, it can't | 0:17:33 | 0:17:37 | |
be made good, it's always going to have that chip on its beak - | 0:17:37 | 0:17:40 | |
I thought that would drastically reduce the price. | 0:17:40 | 0:17:43 | |
Was Adam right? Time to find out. | 0:17:43 | 0:17:46 | |
-I'm bid £500. -That's a good start. | 0:17:47 | 0:17:51 | |
At £500 only. | 0:17:51 | 0:17:52 | |
At 520. | 0:17:52 | 0:17:54 | |
-Twice the price already! -£520 only. | 0:17:54 | 0:17:57 | |
520. | 0:17:57 | 0:17:59 | |
550 on the telephone. 580. | 0:17:59 | 0:18:01 | |
On the net, 580. | 0:18:01 | 0:18:03 | |
-That's the beauty of auctions, isn't it? -Two people or more... -Exactly. | 0:18:03 | 0:18:08 | |
600 on the telephone. | 0:18:08 | 0:18:09 | |
620 on the net. 650. 680. | 0:18:09 | 0:18:13 | |
700. | 0:18:13 | 0:18:14 | |
£700 only, on the telephone. | 0:18:15 | 0:18:18 | |
720. | 0:18:18 | 0:18:19 | |
At £720... | 0:18:21 | 0:18:22 | |
On the net at 720. | 0:18:22 | 0:18:25 | |
Is there any more? | 0:18:25 | 0:18:26 | |
£720 and done... | 0:18:26 | 0:18:29 | |
-Thank you. -It's made its money. 720. | 0:18:29 | 0:18:32 | |
It was damaged. Um... | 0:18:32 | 0:18:34 | |
But I'm not surprised it made what it did | 0:18:34 | 0:18:36 | |
just because of the strong areas of collecting. | 0:18:36 | 0:18:39 | |
-That's fabulous, Sue. -I'd have got 700-800 if it was perfect. -That's fabulous. | 0:18:39 | 0:18:44 | |
I never thought it would make anything like that. | 0:18:44 | 0:18:46 | |
Indeed, I had undercooked the estimate. | 0:18:46 | 0:18:49 | |
Partridge values falcon too low. | 0:18:49 | 0:18:52 | |
We are quite familiar with the work of Rene Lalique on Flog It! | 0:18:53 | 0:18:56 | |
And often we see high prices realised at auction. | 0:18:56 | 0:18:59 | |
But Sue's car mascot, that took us all completely by surprise. | 0:18:59 | 0:19:03 | |
It had double the appeal. | 0:19:03 | 0:19:05 | |
The Lalique collectors were fighting it out | 0:19:05 | 0:19:08 | |
with the car mascot enthusiasts. | 0:19:08 | 0:19:10 | |
And there really is a huge market out there for the rarer designs. | 0:19:10 | 0:19:14 | |
In 2011 a Rene Lalique mascot of a fox sold for around £125,000. | 0:19:15 | 0:19:22 | |
And if you're interested in pioneering makers like Lalique, | 0:19:22 | 0:19:26 | |
what should you be aware of? | 0:19:26 | 0:19:29 | |
Never underestimate the value of a good name. | 0:19:29 | 0:19:31 | |
It can increase the worth of a collectable exponentially. | 0:19:31 | 0:19:34 | |
Incredible! £440. | 0:19:34 | 0:19:36 | |
-Angela, that's wonderful! -Thank you so much, that's great. | 0:19:36 | 0:19:40 | |
If you're investing in pieces from one of the leading potteries, | 0:19:40 | 0:19:43 | |
consider shape, colour and rarity of pattern | 0:19:43 | 0:19:46 | |
to find a winner. | 0:19:46 | 0:19:49 | |
And always think out of the box. | 0:19:49 | 0:19:51 | |
It's not only the designers' names you should keep an eye out for. | 0:19:51 | 0:19:55 | |
The association with an innovative retailer like Liberty | 0:19:55 | 0:19:58 | |
can help a collectible soar. | 0:19:58 | 0:20:00 | |
Liberty never revealed the names of its designers, | 0:20:06 | 0:20:09 | |
but between 1899 and 1912, | 0:20:09 | 0:20:12 | |
there was one prolific artist on its books whose work was so distinctive, | 0:20:12 | 0:20:16 | |
his name just couldn't be kept secret. | 0:20:16 | 0:20:20 | |
It's made by Liberty and the famous designer Archibald Knox | 0:20:20 | 0:20:24 | |
and when you put those two names together, | 0:20:24 | 0:20:26 | |
-of course it's a very, very collectible field. -Yeah. | 0:20:26 | 0:20:29 | |
The nice thing with Knox's work is it's very different. | 0:20:29 | 0:20:33 | |
You can see in his designs almost immediately | 0:20:33 | 0:20:36 | |
if it's an Archibald Knox piece, the way it's organic, | 0:20:36 | 0:20:40 | |
the enamelling is wonderful, | 0:20:40 | 0:20:41 | |
you get a very rich texture in the enamelling, | 0:20:41 | 0:20:45 | |
which is very appealing and which, of course, | 0:20:45 | 0:20:47 | |
adds a lot of value to the pieces. | 0:20:47 | 0:20:50 | |
And when Knox collectibles come up for sale, | 0:20:50 | 0:20:53 | |
they achieve great prices. | 0:20:53 | 0:20:55 | |
All done at £430? Any advance on 430? 430. | 0:20:55 | 0:21:00 | |
They've done it, £430. That'll do you, won't it? | 0:21:00 | 0:21:03 | |
Oh, yeah, champion, there. | 0:21:03 | 0:21:04 | |
Archibald Knox was born on the Isle of Man in 1864. | 0:21:07 | 0:21:11 | |
At a young age, he joined the newly-opened Douglas School of Art, | 0:21:11 | 0:21:15 | |
where he developed a lifelong interest in Celtic design. | 0:21:15 | 0:21:18 | |
His creative talent blossomed | 0:21:20 | 0:21:22 | |
and he designed a huge range of both ornamental | 0:21:22 | 0:21:25 | |
and utilitarian objects - clocks, jewellery, | 0:21:25 | 0:21:28 | |
tea sets, boxes, garden ornaments, | 0:21:28 | 0:21:31 | |
ink wells, carpets, fabrics and even gravestones. | 0:21:31 | 0:21:35 | |
His work at Liberty made him a household name. | 0:21:36 | 0:21:39 | |
He was one of their leading designers, | 0:21:39 | 0:21:41 | |
creating items for its Pewter Tudric range | 0:21:41 | 0:21:44 | |
and the Cymric range, made from precious metals. | 0:21:44 | 0:21:47 | |
Knox's sense of his Celtic ancestry can be seen in the stylised knots | 0:21:47 | 0:21:52 | |
decorating many of his wares. | 0:21:52 | 0:21:54 | |
These were often intertwined with flowering Art Nouveau motifs. | 0:21:54 | 0:21:58 | |
What I particularly like about it | 0:21:58 | 0:21:59 | |
are these little sort of Art Nouveau, heart-shaped roundels here, | 0:21:59 | 0:22:03 | |
which are rather nice. | 0:22:03 | 0:22:04 | |
So what do you need to know if you're interested | 0:22:05 | 0:22:09 | |
in collecting items by Archibald Knox? | 0:22:09 | 0:22:11 | |
Get to know your subject. | 0:22:11 | 0:22:13 | |
Although Knox's Liberty pieces weren't signed, | 0:22:13 | 0:22:16 | |
his designs often shout his name, but if in doubt, | 0:22:16 | 0:22:19 | |
look at a pattern number, | 0:22:19 | 0:22:21 | |
which can be related to a known book of Knox designs. | 0:22:21 | 0:22:24 | |
When considering one of Knox's silver items from the Cymric range, | 0:22:25 | 0:22:30 | |
check for a clear hallmark | 0:22:30 | 0:22:32 | |
and make sure the item hasn't been altered or isn't a cast copy. | 0:22:32 | 0:22:37 | |
Pewter is far softer than silver, | 0:22:37 | 0:22:39 | |
so with Knox's items from the Tudric range, | 0:22:39 | 0:22:42 | |
consider the clarity of the design and the original patination. | 0:22:42 | 0:22:46 | |
You should also take into account | 0:22:46 | 0:22:48 | |
any wear to the pattern from over-polishing. | 0:22:48 | 0:22:51 | |
If you're only going to invest in one Knox collectible, | 0:22:51 | 0:22:55 | |
then his clock cases in either silver or pewter | 0:22:55 | 0:22:58 | |
are a timeless favourite, | 0:22:58 | 0:23:00 | |
especially those which incorporate enamels into the decorative scheme. | 0:23:00 | 0:23:04 | |
Pioneers work across all areas of society, not just in design. | 0:23:10 | 0:23:14 | |
In mid-19th century Rochdale, | 0:23:16 | 0:23:18 | |
the Industrial Revolution brought benefits but also misery, | 0:23:18 | 0:23:22 | |
with long working hours, low pay, grinding poverty and hunger. | 0:23:22 | 0:23:26 | |
But those desperate living conditions | 0:23:28 | 0:23:30 | |
proved to be a force for good. | 0:23:30 | 0:23:32 | |
Back in 2007, I went to find out more. | 0:23:32 | 0:23:35 | |
A radical group of young men who, appalled at what they saw, | 0:23:36 | 0:23:39 | |
decided to offer the people of Rochdale an alternative, | 0:23:39 | 0:23:42 | |
a different way to feed their families and a chance | 0:23:42 | 0:23:45 | |
to escape the appalling poverty | 0:23:45 | 0:23:47 | |
and the conditions that most of them faced. | 0:23:47 | 0:23:50 | |
These young men were called the Rochdale Pioneers | 0:23:50 | 0:23:53 | |
and it was here 160 years ago | 0:23:53 | 0:23:56 | |
that their story began, right here in Toad Lane. | 0:23:56 | 0:24:01 | |
In fact, this building, | 0:24:01 | 0:24:02 | |
number 31, is regarded as the home of the Co-op. | 0:24:02 | 0:24:06 | |
This is where the Co-op began. | 0:24:06 | 0:24:09 | |
Let's go in. | 0:24:09 | 0:24:11 | |
So who were the men who started the Co-op, the Rochdale Pioneers? | 0:24:14 | 0:24:18 | |
Well, I've come to find out | 0:24:18 | 0:24:20 | |
and I'm here to meet the Co-op's historian, Dorothy Greaves. | 0:24:20 | 0:24:23 | |
-Hello, Dorothy. -Hello. -Thank you so much for talking to me today. | 0:24:23 | 0:24:26 | |
Where did it all start and why? | 0:24:26 | 0:24:29 | |
Well, it started because of the absolute poverty in this area. | 0:24:29 | 0:24:33 | |
People were starving because wages had gone right down from, say, | 0:24:33 | 0:24:37 | |
up to £2 a week to five shillings, six and ninepence. | 0:24:37 | 0:24:40 | |
When you had eight children, six and ninepence didn't go very far. | 0:24:40 | 0:24:44 | |
Of course, shop keepers used to adulterate their food | 0:24:44 | 0:24:46 | |
to make more profit. | 0:24:46 | 0:24:47 | |
What, give the wrong weights and the wrong measures? | 0:24:47 | 0:24:50 | |
They put sand in the oatmeal, | 0:24:50 | 0:24:51 | |
plaster of Paris and chalk in the flour, | 0:24:51 | 0:24:54 | |
-brown earth in the cocoa. -Really?! -Leaves from the trees in the tea. | 0:24:54 | 0:24:58 | |
And, of course, they put the blobs of lead on the back of the scales. | 0:24:58 | 0:25:02 | |
Now, everybody knew the lead was there, of course they did, | 0:25:02 | 0:25:05 | |
but everybody was in debt to the shopkeepers. | 0:25:05 | 0:25:08 | |
Angered by the poverty the people of Rochdale faced, | 0:25:10 | 0:25:13 | |
the Pioneers decided to save a small amount of their wages each week | 0:25:13 | 0:25:17 | |
so they could start their own co-operative shop. | 0:25:17 | 0:25:20 | |
They got £28 together and started looking for an empty shop | 0:25:21 | 0:25:25 | |
and then they came across this building. | 0:25:25 | 0:25:27 | |
So then it was a question of, "Right, lads, what's next?" | 0:25:27 | 0:25:30 | |
"Ee, well, we better do summat wit' t'walls." | 0:25:30 | 0:25:33 | |
"What about a counter?" | 0:25:33 | 0:25:34 | |
"I think a few planks and two barrels will do it." | 0:25:35 | 0:25:38 | |
-Incredible, isn't it? -And then they bought some scales. | 0:25:38 | 0:25:40 | |
No lead on these scales. This was an honest co-operative, of course. | 0:25:40 | 0:25:44 | |
So tell me about the very first opening day. | 0:25:44 | 0:25:48 | |
-What happened? -That was a red-letter night. | 0:25:48 | 0:25:50 | |
-Oh, a night? -Oh, indeed. | 0:25:50 | 0:25:51 | |
Yes, don't forget these men had to do their own jobs during the day. | 0:25:51 | 0:25:54 | |
They couldn't give their jobs up, | 0:25:54 | 0:25:56 | |
so they were supposed to open at seven o'clock, | 0:25:56 | 0:25:58 | |
but there was such a big crowd waiting outside making such a noise, | 0:25:58 | 0:26:01 | |
all the cheeky doffers from the mill shouting, | 0:26:01 | 0:26:03 | |
"Come on, when are you going to open?" | 0:26:03 | 0:26:05 | |
"Hurry up, what are you selling?" | 0:26:05 | 0:26:06 | |
"Come on, it's dark, it's cold! Come on!" | 0:26:06 | 0:26:08 | |
All that noise made these men nervous. | 0:26:08 | 0:26:10 | |
The three anxious Pioneers in the shop that night were | 0:26:11 | 0:26:15 | |
James Smithies, Billy Cooper and Sam Ashworth. | 0:26:15 | 0:26:18 | |
Seven o'clock came and went, got to ten to eight, still haven't opened. | 0:26:18 | 0:26:22 | |
James said, "Come on, you lads, who's going to open the door?" | 0:26:22 | 0:26:26 | |
"Oh, no," they go. | 0:26:26 | 0:26:29 | |
So he went round and he opened the door wide. | 0:26:29 | 0:26:32 | |
There was such a rush forward from outside to see what was happening. | 0:26:32 | 0:26:35 | |
They heard so many stories, but what do they see? | 0:26:35 | 0:26:38 | |
This tiny dark room. | 0:26:38 | 0:26:40 | |
Just a few flickering candles. | 0:26:40 | 0:26:42 | |
Nine sacks on the floor. | 0:26:42 | 0:26:44 | |
And a bit of butter on the end of the counter. | 0:26:44 | 0:26:46 | |
One or two ladies walked in, then they walked out. | 0:26:46 | 0:26:50 | |
Then an old lady walked in and she asked for sugar. | 0:26:50 | 0:26:54 | |
And that was the very first sale here. | 0:26:54 | 0:26:57 | |
They went on to have a lovely evening and actually took five shillings and fourpence. | 0:26:57 | 0:27:01 | |
-I mean, how great can you get? -Yeah, history was made. -Indeed. | 0:27:01 | 0:27:04 | |
It said, they hopped and skipped down Toad Lane just after midnight, | 0:27:04 | 0:27:07 | |
thrilled to bits that they had opened their honest co-operative shop. | 0:27:07 | 0:27:12 | |
So what happened when the group realised this was a roaring success? | 0:27:12 | 0:27:17 | |
One of the big things they did was to decide that | 0:27:17 | 0:27:20 | |
2.5% of their profits would to go education. | 0:27:20 | 0:27:23 | |
-They realised knowledge is power. -It is. | 0:27:23 | 0:27:26 | |
So they actually had a school for their members upstairs. | 0:27:26 | 0:27:28 | |
They did so many things. | 0:27:28 | 0:27:29 | |
And then, eventually they decided, let's have a nice big department store." | 0:27:29 | 0:27:33 | |
So by 1867, they bought a piece of land higher up Toad Lane | 0:27:33 | 0:27:38 | |
and they built a magnificent department store. | 0:27:38 | 0:27:41 | |
What an inspirational story. | 0:27:44 | 0:27:46 | |
The Rochdale Pioneers proved what can be achieved | 0:27:46 | 0:27:49 | |
when people come together and work for a common cause. | 0:27:49 | 0:27:52 | |
The world of antiques would be a poorer place | 0:28:00 | 0:28:03 | |
without the talent and vision of those rare individuals | 0:28:03 | 0:28:06 | |
whose pioneering approach pushed the boundaries of their craft. | 0:28:06 | 0:28:11 | |
-Oh! -Not bad, eh?! | 0:28:11 | 0:28:14 | |
And there's little doubt | 0:28:14 | 0:28:16 | |
that the astonishingly innovative work they produce | 0:28:16 | 0:28:19 | |
will continue to be sought after for many more years to come. | 0:28:19 | 0:28:24 | |
Well, that's it for today's show. | 0:28:24 | 0:28:26 | |
I hope you've enjoyed it, so go out there, buy some antiques, | 0:28:26 | 0:28:29 | |
have some fun and put some of this knowledge to good use. | 0:28:29 | 0:28:32 | |
And see you next time for more Trade Secrets. | 0:28:32 | 0:28:34 |