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For many years, you've trusted the "Flog It!" team to value | 0:00:03 | 0:00:06 | |
and sell your unwanted antiques and collectibles. | 0:00:06 | 0:00:10 | |
Of all the official jewels that you could possibly bring along today, | 0:00:10 | 0:00:13 | |
these are fabulous. | 0:00:13 | 0:00:15 | |
And during that time we've learned a great deal about the objects | 0:00:16 | 0:00:20 | |
that have passed through our hands. | 0:00:20 | 0:00:22 | |
In this series, I want to share some of that knowledge with you | 0:00:22 | 0:00:25 | |
so stand by to hear some of our trade secrets. | 0:00:25 | 0:00:28 | |
When it comes to hunting for treasures, like magpies, | 0:00:59 | 0:01:02 | |
we're always drawn to things that sparkle and glint | 0:01:02 | 0:01:05 | |
and we see so many exquisite gold and silver items on Flog It! | 0:01:05 | 0:01:09 | |
Today's show is dedicated to everything that glisters - | 0:01:11 | 0:01:14 | |
all the shiny objects that have crossed our tables at valuation day. | 0:01:14 | 0:01:19 | |
Coming up, the kids are in town... | 0:01:21 | 0:01:23 | |
When little Katie put them on the table, I thought, | 0:01:23 | 0:01:26 | |
I've never seen these before! | 0:01:26 | 0:01:29 | |
And they have treasures to impress the experts. | 0:01:29 | 0:01:31 | |
This is the highlight of my day. | 0:01:31 | 0:01:34 | |
As well as the bidders. | 0:01:34 | 0:01:35 | |
-Wow! -What do you think about that? -Amazing. | 0:01:37 | 0:01:40 | |
Now, it doesn't always follow that | 0:01:46 | 0:01:47 | |
if an item has been made of precious metal or adorned with gems | 0:01:47 | 0:01:51 | |
that it's going to increase in value, but in most cases it does. | 0:01:51 | 0:01:55 | |
Now, take this exquisite example of Huguenot craftsmanship made in 1710. | 0:01:55 | 0:02:01 | |
Reputedly, it is the world's largest solid silver wine cooler | 0:02:01 | 0:02:06 | |
and it weighs a staggering 3,000 ounces. | 0:02:06 | 0:02:10 | |
Now, if this same wine cooler had been made using the finest | 0:02:10 | 0:02:14 | |
Cuban mahogany of the day, richly carved and adorned | 0:02:14 | 0:02:18 | |
like this has been, it would set you back around £20,000-£30,000. | 0:02:18 | 0:02:23 | |
This one, well, you can definitely add another couple of noughts, | 0:02:23 | 0:02:27 | |
so when does that extra sparkle make all the difference? | 0:02:27 | 0:02:30 | |
When buying a precious metal object in silver or gold, | 0:02:34 | 0:02:37 | |
name and craftsmanship are absolutely crucial, alongside | 0:02:37 | 0:02:42 | |
condition and markings etc. | 0:02:42 | 0:02:44 | |
I would always advise people to be | 0:02:44 | 0:02:47 | |
guided by the individual quality of an object | 0:02:47 | 0:02:49 | |
and if you just buy on names, you could come a cropper. | 0:02:49 | 0:02:53 | |
The name can be the value, rarely, but not all pieces are named, | 0:02:54 | 0:02:57 | |
so if it is an unnamed piece, go for quality of craftsmanship. | 0:02:57 | 0:03:02 | |
A good finish, good materials and you can't really go wrong. | 0:03:02 | 0:03:07 | |
Anything fashioned from gold | 0:03:07 | 0:03:08 | |
and silver has that extra little je ne sais quoi that our experts love, | 0:03:08 | 0:03:12 | |
and Adam Partridge knew exactly what he had in front of him. | 0:03:12 | 0:03:16 | |
They were really, really smart, enamelled with birds, | 0:03:16 | 0:03:19 | |
in lovely condition, by a great maker. | 0:03:19 | 0:03:21 | |
They ticked all the commercial boxes. | 0:03:21 | 0:03:23 | |
Aren't they wonderful? | 0:03:23 | 0:03:25 | |
Silver and enamel menu holders, | 0:03:25 | 0:03:27 | |
obviously for the dining table, in sets of eight and upwards. | 0:03:27 | 0:03:31 | |
These were produced by a company called Sampson Mordan & Co, | 0:03:31 | 0:03:35 | |
which is quite a famous company, | 0:03:35 | 0:03:37 | |
particularly well known for inventing the propelling pencil. | 0:03:37 | 0:03:43 | |
Sampson Mordan is one of the major names in small silver, I would say. | 0:03:43 | 0:03:46 | |
They were prolific manufactures, but always very high quality | 0:03:46 | 0:03:50 | |
and small items. Desktop items, ink wells, the list is endless. | 0:03:50 | 0:03:55 | |
They assayed items in London, Birmingham, and these ones, | 0:03:55 | 0:03:59 | |
more of interest to me, as I'm in the north-west, | 0:03:59 | 0:04:01 | |
were assayed in Chester... | 0:04:01 | 0:04:02 | |
which is slightly rarer, slightly more interesting, | 0:04:02 | 0:04:05 | |
than the ones that were in Birmingham or London. | 0:04:05 | 0:04:08 | |
We can put an estimate of £100 to £150, but I wouldn't be surprised | 0:04:08 | 0:04:12 | |
if they made more like £200 to £250 once the bidding had happened. | 0:04:12 | 0:04:17 | |
Two silver menu holders. It gets exciting now. Here we go. | 0:04:18 | 0:04:21 | |
Were they going to fly at auction? | 0:04:21 | 0:04:23 | |
We've got 520 here. 550, 580... | 0:04:23 | 0:04:27 | |
-600, 620... -I can't believe this. | 0:04:27 | 0:04:31 | |
-650, 680... -Still going. | 0:04:31 | 0:04:34 | |
700, 720? | 0:04:34 | 0:04:36 | |
£700. There's the bid on that telephone at £700. | 0:04:36 | 0:04:40 | |
At £700 and done, thank you. | 0:04:40 | 0:04:43 | |
-Bosh! -Excellent, thank you. | 0:04:43 | 0:04:45 | |
What do you think? A big smile there. | 0:04:45 | 0:04:47 | |
Small silver is extremely desirable, | 0:04:48 | 0:04:51 | |
so I was a bit conservative with my estimate on those ones. | 0:04:51 | 0:04:55 | |
Oh, well, Adam, at least you were right | 0:04:55 | 0:04:57 | |
about the collectability of Sampson Mordan. | 0:04:57 | 0:04:59 | |
Their charm and quality always attract the buyers. | 0:04:59 | 0:05:03 | |
Why not see if you can find any of their propelling pencils, | 0:05:03 | 0:05:06 | |
enamelled vesta cases or pin cushions? | 0:05:06 | 0:05:09 | |
Small items with glittering prices. | 0:05:09 | 0:05:12 | |
We often come across this question on "Flog it!" - | 0:05:12 | 0:05:15 | |
to scrap or not to scrap our precious objects | 0:05:15 | 0:05:19 | |
made of gold or silver? | 0:05:19 | 0:05:21 | |
And the team is divided on the matter. | 0:05:21 | 0:05:23 | |
Scrapping is a real bugbear of mine | 0:05:24 | 0:05:27 | |
and it's not a big question for me at all. | 0:05:27 | 0:05:30 | |
I can't stand it that things get scrapped. | 0:05:30 | 0:05:33 | |
If something is horrible, it's thin and tinny, | 0:05:33 | 0:05:36 | |
and has no artistic merit whatsoever, | 0:05:36 | 0:05:39 | |
but it's worth £300 if you melt it down, | 0:05:39 | 0:05:41 | |
melt it down and hopefully an artisan silversmith | 0:05:41 | 0:05:44 | |
will get hold of that and make something beautiful. | 0:05:44 | 0:05:47 | |
If you've got a lovely piece, though, beautifully made, | 0:05:47 | 0:05:50 | |
don't scrap it, because it'll probably be a one-off | 0:05:50 | 0:05:53 | |
and there won't be another one around, | 0:05:53 | 0:05:54 | |
so think carefully before you put everything in a melting pot. | 0:05:54 | 0:05:57 | |
When we scrap gold or silver, | 0:05:57 | 0:05:58 | |
we're aiming to maximise price by weight, | 0:05:58 | 0:06:01 | |
but when Michael Baggott came across a silver teapot, | 0:06:01 | 0:06:04 | |
it wasn't so much the weight that appealed, as what it told him. | 0:06:04 | 0:06:08 | |
It's a super thing, | 0:06:08 | 0:06:10 | |
and anybody that knows anything about silver will be looking at that | 0:06:10 | 0:06:13 | |
and saying, "Oh, that's a beautiful London teapot of about 1830." But... | 0:06:13 | 0:06:18 | |
Oh! The first hint that something's up | 0:06:18 | 0:06:21 | |
is the fact that I'm having difficult lifting it. | 0:06:21 | 0:06:24 | |
Lifting it, yes. | 0:06:24 | 0:06:26 | |
Weight, when you're looking at silver, is a very good indicator, | 0:06:26 | 0:06:29 | |
not in itself, but taken as a whole, as to quality. | 0:06:29 | 0:06:31 | |
Obviously, the heavier something is, | 0:06:31 | 0:06:34 | |
the more expensive it is to make, | 0:06:34 | 0:06:36 | |
so obviously there might be more | 0:06:36 | 0:06:37 | |
skill required in the manufacture of it. | 0:06:37 | 0:06:40 | |
-Actually, the second thing is this handle. -Oh, really? | 0:06:40 | 0:06:43 | |
-Because it's horn. -Oh, right. | 0:06:43 | 0:06:46 | |
English handles are silver with ivory insulators or they're wood, | 0:06:46 | 0:06:51 | |
so we're not in England anymore. | 0:06:51 | 0:06:53 | |
Turn it over, and, great, that's what we want to see. | 0:06:53 | 0:06:58 | |
We've got H&C in a rectangular punch, | 0:06:58 | 0:07:02 | |
then we've got an elephant, which is signs of things not English, | 0:07:02 | 0:07:07 | |
and a little A. | 0:07:07 | 0:07:09 | |
These are the marks that were used by Hamilton and Company, | 0:07:09 | 0:07:13 | |
who were probably the leading silversmiths in Calcutta, | 0:07:13 | 0:07:17 | |
and things were worked to a very heavy gauge. | 0:07:17 | 0:07:20 | |
So whenever you see something which is very elaborate like this | 0:07:20 | 0:07:23 | |
and it weighs a tonne, those are the warning bells that it's going | 0:07:23 | 0:07:27 | |
to be a piece of colonial silver. | 0:07:27 | 0:07:29 | |
It's still not, frustratingly, as valuable as if it were English, | 0:07:29 | 0:07:32 | |
despite the fact it's much rarer. | 0:07:32 | 0:07:35 | |
Rarity doesn't always mean value, | 0:07:35 | 0:07:38 | |
because it can mean that there are less collectors, | 0:07:38 | 0:07:41 | |
and if there are less collectors for something, it won't make as high a price at auction. | 0:07:41 | 0:07:45 | |
At auction, it's going to be in the region of about £350 to £550. | 0:07:45 | 0:07:51 | |
-OK. -That's the sort of bracket and see how it goes. | 0:07:51 | 0:07:54 | |
A piece like this is about so much more than its weight. | 0:07:54 | 0:07:58 | |
It evokes an important part of British history. | 0:07:58 | 0:08:01 | |
But would the bidders agree? | 0:08:01 | 0:08:04 | |
I'm going to start the bidding at 600. Is there 20 in the room? | 0:08:04 | 0:08:07 | |
-At £600, it's selling. -Good grief. -Is there 20? At £600. Any more? | 0:08:07 | 0:08:12 | |
At £600. Commission bid. Are you all done? That's £600, last time. | 0:08:12 | 0:08:19 | |
Yes, the hammer's gone down. £600. | 0:08:20 | 0:08:22 | |
Strangely, at the time we sold it, it was less valuable | 0:08:23 | 0:08:26 | |
than an English teapot, | 0:08:26 | 0:08:28 | |
because Indian colonial silver was in a slump. | 0:08:28 | 0:08:31 | |
That's now not the case and colonial silver is sought after, | 0:08:31 | 0:08:35 | |
so were it to be offered again today, | 0:08:35 | 0:08:37 | |
it would probably make slightly more. | 0:08:37 | 0:08:39 | |
But that's just how the markets go. | 0:08:39 | 0:08:42 | |
Sophia's solid silver teapot may have conjured up | 0:08:42 | 0:08:45 | |
the days of the Raj, but Anita found two starry items which oozed | 0:08:45 | 0:08:49 | |
the style of another bygone era, and were truly out of this world. | 0:08:49 | 0:08:53 | |
These wonderful compacts from the 1950s were absolutely marvellous. | 0:08:54 | 0:08:59 | |
When little Katie put them on the table, I thought, | 0:08:59 | 0:09:02 | |
"I've never seen these before!" | 0:09:02 | 0:09:05 | |
-Do they belong to you? -Yeah, they do. | 0:09:05 | 0:09:08 | |
-Do you play with them? -No. -No? | 0:09:08 | 0:09:10 | |
Compacts you usually keep in your handbag to powder your nose | 0:09:10 | 0:09:14 | |
when you're out. These are like dressing table examples of them. | 0:09:14 | 0:09:18 | |
If we open it up, it's very interesting. | 0:09:18 | 0:09:20 | |
It's called The Flying Saucer. | 0:09:20 | 0:09:23 | |
It is a lot of fun. I like it. | 0:09:23 | 0:09:26 | |
This other one, again a dressing table example, | 0:09:26 | 0:09:32 | |
and this one is called Pygmalion, Made in England. | 0:09:32 | 0:09:37 | |
The inventiveness and the reflection of what was happening at the time | 0:09:37 | 0:09:42 | |
was shown in these little compacts | 0:09:42 | 0:09:44 | |
and I think they were really just the best fun in the world | 0:09:44 | 0:09:47 | |
and a perfect example of 1950s bags of style. | 0:09:47 | 0:09:51 | |
I think we'll estimate them | 0:09:51 | 0:09:53 | |
at maybe £50-60 with a reserve of maybe 45 | 0:09:53 | 0:09:57 | |
but hope that we've got those hip kids | 0:09:57 | 0:10:00 | |
that are out for that type of item. | 0:10:00 | 0:10:03 | |
I can start the bidding straightaway at £120. | 0:10:03 | 0:10:07 | |
-SHE GASPS -Wow! | 0:10:07 | 0:10:09 | |
180. 180 on commission. | 0:10:09 | 0:10:12 | |
200. | 0:10:12 | 0:10:13 | |
On the phone at 200. 220. | 0:10:13 | 0:10:15 | |
THEY GASP | 0:10:15 | 0:10:18 | |
No? At £240, these very rare compacts. | 0:10:18 | 0:10:23 | |
Selling now. | 0:10:23 | 0:10:24 | |
-Wow! -What did you think about that? -Amazing! | 0:10:24 | 0:10:28 | |
What mattered was the style | 0:10:28 | 0:10:30 | |
and the period. That's what made these items interesting, | 0:10:30 | 0:10:35 | |
not the components | 0:10:35 | 0:10:38 | |
that made the item. | 0:10:38 | 0:10:39 | |
The sparkly nature of those compacts was only part of their appeal. | 0:10:40 | 0:10:44 | |
Their space-age kitsch was a real bonus. | 0:10:44 | 0:10:47 | |
Appealing to people's nostalgia can prove profitable. | 0:10:47 | 0:10:50 | |
Sometimes, though, all that glisters is indeed gold, | 0:10:53 | 0:10:56 | |
or in this case, a very special piece of silver. | 0:10:56 | 0:10:59 | |
There is absolutely no doubt that this is the highlight of my day. | 0:11:00 | 0:11:05 | |
-Do you know what you've got here? -No, not really. | 0:11:05 | 0:11:07 | |
-I had a quick look last night on the internet. -What name did you find? | 0:11:07 | 0:11:11 | |
-Omar Ramsden. -Yeah. -Never heard of him. | 0:11:11 | 0:11:14 | |
You'd never heard of him? What's it made of? | 0:11:14 | 0:11:16 | |
-Silver. -It is indeed. | 0:11:16 | 0:11:17 | |
Very, very typical piece. | 0:11:17 | 0:11:18 | |
You could see this was Omar Ramsden from the other end of Ely Cathedral. | 0:11:18 | 0:11:23 | |
Omar Ramsden was born in 1873, died in 1939, | 0:11:23 | 0:11:27 | |
and was one of the great 20th-century silversmiths | 0:11:27 | 0:11:32 | |
in this country. | 0:11:32 | 0:11:33 | |
Quality, quality, quality, but also he did his own enamelling. | 0:11:33 | 0:11:39 | |
A lot of silversmiths would send their work off to an enameller | 0:11:39 | 0:11:43 | |
to have that work done. | 0:11:43 | 0:11:45 | |
He did his own enamelling so that he did the whole object. | 0:11:45 | 0:11:49 | |
And it's hugely collectible. | 0:11:49 | 0:11:51 | |
I'm going to turn it over, just so we get all the info here. | 0:11:51 | 0:11:56 | |
The monarch, there we are, George V, and the date letter, 1935, | 0:11:56 | 0:12:01 | |
and it's even got Omar Ramsden and the OR mark on it. | 0:12:01 | 0:12:05 | |
Frankly, it couldn't be better. What's it worth, Jack? | 0:12:05 | 0:12:09 | |
-I don't know, 500, maybe? -£500, you think? | 0:12:09 | 0:12:12 | |
Jack was a very bright boy, IS a bright boy, | 0:12:12 | 0:12:15 | |
but I can't believe he looked at a bit of Omar Ramsden and said, | 0:12:15 | 0:12:18 | |
"I think this is worth £500," not at his age. | 0:12:18 | 0:12:20 | |
Well, he's got a huge future ahead of him if it was his own valuation. | 0:12:20 | 0:12:24 | |
This is worth over £1,000. | 0:12:24 | 0:12:27 | |
What?! | 0:12:27 | 0:12:28 | |
Oh, that was a funny noise, Jack! | 0:12:28 | 0:12:31 | |
This is worth, in my opinion, certainly £1,000-1,500. | 0:12:31 | 0:12:34 | |
Wow. | 0:12:34 | 0:12:36 | |
Wow, indeed, and at auction the shocks kept coming. | 0:12:36 | 0:12:40 | |
1,100, 1,200, 1,300, | 0:12:40 | 0:12:43 | |
1,400, 1,500, | 0:12:43 | 0:12:45 | |
1,600, 1,700, | 0:12:45 | 0:12:47 | |
at 1,700, | 0:12:47 | 0:12:48 | |
at 1,700, | 0:12:48 | 0:12:50 | |
1,800, 1,900. | 0:12:50 | 0:12:52 | |
-We've done it. -2,000, 2,100, | 0:12:54 | 0:12:57 | |
2,200, 2,300, you're both out down here. | 0:12:57 | 0:13:00 | |
2,300. 2,400? | 0:13:00 | 0:13:01 | |
-2,400 this side. -This is great, Jane. | 0:13:01 | 0:13:05 | |
2,500. | 0:13:05 | 0:13:06 | |
2,600. At 2,600, look at the action pose. | 0:13:07 | 0:13:10 | |
2,600. 2,700. | 0:13:10 | 0:13:12 | |
2,600 there. Where are the other two phones now? | 0:13:12 | 0:13:14 | |
I sell on the phone with the bid. | 0:13:14 | 0:13:17 | |
At £2,600, are you sure you're done? | 0:13:17 | 0:13:20 | |
-Yes! -The hammer's gone down. | 0:13:21 | 0:13:22 | |
£2,600! | 0:13:22 | 0:13:26 | |
OK, Jack, do you know where all the money's going? | 0:13:26 | 0:13:29 | |
-Er... -Has Mum and Dad decided? -To my bank. | 0:13:29 | 0:13:31 | |
The Jack Bank! | 0:13:32 | 0:13:33 | |
A good, full price, | 0:13:36 | 0:13:38 | |
but it was the quality. | 0:13:38 | 0:13:40 | |
Everybody knows that if you buy the best | 0:13:40 | 0:13:43 | |
and you buy a bit of Omar Ramsden, | 0:13:43 | 0:13:44 | |
the fact that it's 2,600 on that day - | 0:13:44 | 0:13:47 | |
it comes up in another five years' time, it'll be 3,600. | 0:13:47 | 0:13:51 | |
It's not going to go down. | 0:13:51 | 0:13:53 | |
There's no more of it being made | 0:13:53 | 0:13:54 | |
and that was a perfect hallmark, | 0:13:54 | 0:13:57 | |
no chipping to the enamelling. The whole thing was perfect. | 0:13:57 | 0:14:01 | |
If you can't stretch to gold or silver, take my advice - | 0:14:02 | 0:14:05 | |
go out and buy some pewter. | 0:14:05 | 0:14:07 | |
That would be my number one choice. | 0:14:07 | 0:14:09 | |
Start off with the small plates, | 0:14:09 | 0:14:10 | |
18th-century ones, with a stamp on it, the maker's initial, | 0:14:10 | 0:14:13 | |
known as a touch mark. | 0:14:13 | 0:14:15 | |
They start at around £30-60 in auction. | 0:14:15 | 0:14:17 | |
Work your way up to the larger plates, the chargers. | 0:14:17 | 0:14:20 | |
Hopefully, get one with a broad rim, late 17th-century, | 0:14:20 | 0:14:23 | |
again, with a bit of punch detail, | 0:14:23 | 0:14:26 | |
a stamp mark on it and a little bit of wriggle work, as it's known, | 0:14:26 | 0:14:30 | |
decoration in the style of William and Mary or King Charles II. | 0:14:30 | 0:14:34 | |
Now, they're affordable as well. | 0:14:34 | 0:14:36 | |
They start at around £100-200 in pretty average condition, | 0:14:36 | 0:14:39 | |
so there you are, get out there and get buying. | 0:14:39 | 0:14:41 | |
It's great way to get into precious metal. | 0:14:41 | 0:14:44 | |
If you're interested in something shiny | 0:14:46 | 0:14:48 | |
that's a cut above the rest, there's a lot to think about. | 0:14:48 | 0:14:51 | |
Bear in mind changing fashions. | 0:14:51 | 0:14:53 | |
Objects go in and out of vogue, | 0:14:53 | 0:14:55 | |
so think about whether it shines out above the crowd now | 0:14:55 | 0:14:59 | |
or whether it makes sense to hang onto it for the future. | 0:14:59 | 0:15:02 | |
On trend right now are British colonial objects | 0:15:02 | 0:15:06 | |
and seek out home-grown, retro, quirky items | 0:15:06 | 0:15:09 | |
which have a new-found appeal. | 0:15:09 | 0:15:11 | |
A good name can help increase the value. | 0:15:11 | 0:15:14 | |
But named or not, remember the mantra - | 0:15:14 | 0:15:17 | |
quality and craftsmanship | 0:15:17 | 0:15:19 | |
and if you can tick those boxes, you'll have a piece | 0:15:19 | 0:15:22 | |
that should endure the changing fluctuations in fashion. | 0:15:22 | 0:15:26 | |
And there's a simple trick to test whether all that glisters is gold... | 0:15:26 | 0:15:30 | |
..use a magnet. | 0:15:31 | 0:15:33 | |
Iron or nickel will jump to a magnet, | 0:15:33 | 0:15:36 | |
while gold and silver won't be drawn towards it at all. | 0:15:36 | 0:15:39 | |
And finally, take a leaf out of Katie and Jack's book. | 0:15:41 | 0:15:44 | |
Encourage children's early interest in collecting | 0:15:44 | 0:15:47 | |
and you never know - | 0:15:47 | 0:15:48 | |
you could be looking at the antique collectors of the future. | 0:15:48 | 0:15:51 | |
-Yes! -The hammer's gone down. | 0:15:51 | 0:15:53 | |
An area of collecting that has huge appeal is coins. | 0:16:02 | 0:16:06 | |
You shower us with them on "Flog it!". | 0:16:06 | 0:16:08 | |
From commemorative coins, to gold sovereigns, | 0:16:08 | 0:16:10 | |
whole collections and coins made into jewellery. | 0:16:10 | 0:16:14 | |
We're a nation, I think, of collectors. | 0:16:14 | 0:16:17 | |
I coined the term collectaholics. | 0:16:17 | 0:16:19 | |
They're absolutely addicted. | 0:16:19 | 0:16:21 | |
So I can relate to it. Although I've never been particularly bitten by | 0:16:21 | 0:16:25 | |
the coin bug myself, I can certainly understand why you'd want to. | 0:16:25 | 0:16:30 | |
But it's easy to feel overwhelmed by over 2,000 years' worth of coins | 0:16:30 | 0:16:34 | |
to choose from. So, where to begin? | 0:16:34 | 0:16:38 | |
There are a few key things that collectors bear in mind, | 0:16:38 | 0:16:41 | |
and Michael Baggott came across a coin that encapsulated all of them. | 0:16:41 | 0:16:46 | |
This is a fantastic condition gold coin. | 0:16:46 | 0:16:50 | |
We've got the head of King James I. | 0:16:50 | 0:16:54 | |
He reigned from 1603 to 1625. | 0:16:54 | 0:16:58 | |
The denomination of this is actually a laurel. | 0:16:58 | 0:17:01 | |
We've got the denomination actually struck here, which is XX, | 0:17:01 | 0:17:05 | |
and that's the number of shillings it represents. | 0:17:05 | 0:17:08 | |
So, it's a 20 shilling piece. | 0:17:08 | 0:17:10 | |
We have to think about a whole series of things | 0:17:10 | 0:17:13 | |
when we value coins. These, which are hammered coin... | 0:17:13 | 0:17:16 | |
And a hammered coin is anything that is struck by hand | 0:17:16 | 0:17:19 | |
and does not have a milled edge. | 0:17:19 | 0:17:21 | |
The first thing is, how even is the flan? | 0:17:21 | 0:17:24 | |
The flan being the surface of the coin. | 0:17:24 | 0:17:27 | |
We've got a little bit of trimming here, but that's fine. | 0:17:27 | 0:17:30 | |
But really, it is in absolutely wonderful condition. | 0:17:30 | 0:17:33 | |
And at the auction, it was clear the collectors agreed. | 0:17:33 | 0:17:37 | |
1,150, for the gentleman behind you. At 1,150... | 0:17:37 | 0:17:41 | |
Condition, condition, condition. | 0:17:41 | 0:17:43 | |
1,150, then... | 0:17:43 | 0:17:45 | |
Good price, £1,150. | 0:17:45 | 0:17:48 | |
That coin perfectly sums up the things to check for | 0:17:48 | 0:17:51 | |
if you're thinking of collecting. | 0:17:51 | 0:17:53 | |
Most important is condition. | 0:17:53 | 0:17:56 | |
You can get something that's incredibly early, | 0:17:56 | 0:17:59 | |
or even a Roman coin, and it can be worth a very small amount | 0:17:59 | 0:18:03 | |
unless the condition is very crisp and fine. | 0:18:03 | 0:18:06 | |
Really, you've got to look for condition. | 0:18:06 | 0:18:08 | |
Still on really early coins, you can get some that were | 0:18:08 | 0:18:10 | |
in uncirculated condition. | 0:18:10 | 0:18:12 | |
You can still see just the very finest | 0:18:12 | 0:18:14 | |
wisps of hair on the monarch's head and they are beautiful. | 0:18:14 | 0:18:18 | |
And whatever you do, don't be tempted to polish your coin. | 0:18:18 | 0:18:21 | |
That all-important patina of age | 0:18:21 | 0:18:23 | |
shows that something is the genuine article. | 0:18:23 | 0:18:26 | |
And that's what the collectors want to see. | 0:18:27 | 0:18:29 | |
If a coin is not supposed to have a hole in it, | 0:18:29 | 0:18:31 | |
and it has a hole in it, | 0:18:31 | 0:18:33 | |
it's not worth anything as a coin, so remember that. | 0:18:33 | 0:18:36 | |
A lot of coins have been turned into jewellery | 0:18:36 | 0:18:38 | |
and they've been drilled or they have jewellery mounts still on them. | 0:18:38 | 0:18:42 | |
If you see any blemishes like that, | 0:18:42 | 0:18:44 | |
a coin collector would no longer be interested in it, | 0:18:44 | 0:18:47 | |
and it's worth then its scrap value. | 0:18:47 | 0:18:49 | |
Inevitably, very rare coins are highly sought after | 0:18:50 | 0:18:53 | |
and can fetch staggering sums. | 0:18:53 | 0:18:56 | |
This Queen Anne, period Vigo, five guinea coin from 1703 | 0:18:58 | 0:19:02 | |
sold for £240,000 in 2012. | 0:19:02 | 0:19:06 | |
As with any collecting, it always pays to do your research. | 0:19:06 | 0:19:11 | |
If you're collecting coins, go immediately | 0:19:11 | 0:19:13 | |
and get yourself very good guides to coins. You're lost without it. | 0:19:13 | 0:19:17 | |
Then you know what you're looking at. | 0:19:17 | 0:19:19 | |
Then get familiar with condition. | 0:19:19 | 0:19:21 | |
You're only going to know that if you go to specialists | 0:19:21 | 0:19:25 | |
and handle coins in that condition and become familiar with it. | 0:19:25 | 0:19:28 | |
Once you've done that, there are enough price guides and general | 0:19:28 | 0:19:33 | |
reference works for you to work out a framework and collect from there. | 0:19:33 | 0:19:36 | |
Coins are collectable for many reasons. | 0:19:38 | 0:19:40 | |
They're a window into history, | 0:19:40 | 0:19:42 | |
they have intrinsic gold value, and they're terribly rare. | 0:19:42 | 0:19:47 | |
But you might be surprised to hear that one of the most collectable | 0:19:47 | 0:19:50 | |
coins on the market seems at first glance | 0:19:50 | 0:19:52 | |
to be one of the most ordinary... | 0:19:52 | 0:19:54 | |
the humble penny. | 0:19:54 | 0:19:56 | |
In 1933, the Royal Mint only struck a tiny number of pennies, | 0:19:56 | 0:20:00 | |
as there were already enough in circulation. | 0:20:00 | 0:20:03 | |
Exactly how many were produced has become | 0:20:03 | 0:20:06 | |
a subject of speculation amongst collectors. | 0:20:06 | 0:20:09 | |
One man who should know is Kevin Clancy, Royal Mint curator. | 0:20:09 | 0:20:13 | |
The truth of it is we don't know how many were made. | 0:20:13 | 0:20:16 | |
People might tell you they do know, but the truth is there isn't | 0:20:16 | 0:20:19 | |
a record that says six, seven, eight or however many were made. | 0:20:19 | 0:20:23 | |
Almost certainly less than ten, | 0:20:23 | 0:20:25 | |
and they've sold for in excess of £25,000 in recent times. | 0:20:25 | 0:20:31 | |
It's the story behind this that people are attracted by. | 0:20:31 | 0:20:35 | |
Don't be fooled, there were plenty of forgeries, but you never know. | 0:20:35 | 0:20:39 | |
If you're doing some renovation | 0:20:41 | 0:20:42 | |
and see something shiny in the rubble, | 0:20:42 | 0:20:44 | |
you might just have turned up your own lucky penny. | 0:20:44 | 0:20:47 | |
If you're very lucky, you may unearth more than a penny, | 0:20:52 | 0:20:56 | |
as I discovered in Mildenhall back in 2006. | 0:20:56 | 0:20:59 | |
It's everybody's dream to find buried treasure, | 0:21:08 | 0:21:11 | |
and one freezing January afternoon in 1943, | 0:21:11 | 0:21:14 | |
in the middle of the dark days of World War II, | 0:21:14 | 0:21:17 | |
Gordon Butcher was hard at work | 0:21:17 | 0:21:19 | |
ploughing a field in the middle of Mildenhall in Suffolk. | 0:21:19 | 0:21:22 | |
Suddenly, the plough hit something in the field | 0:21:24 | 0:21:27 | |
and Gordon ran round to see what it was. | 0:21:27 | 0:21:30 | |
He started digging and he unearthed a huge black metal rim | 0:21:30 | 0:21:35 | |
of a large plate, some two foot in diameter. | 0:21:35 | 0:21:39 | |
Gordon quickly fetched his boss, | 0:21:39 | 0:21:41 | |
Sydney Ford, and together, | 0:21:41 | 0:21:43 | |
they dug down into the soil and found many more objects, | 0:21:43 | 0:21:46 | |
including dishes, goblets and spoons, | 0:21:46 | 0:21:49 | |
an astonishing 34 items in all. | 0:21:49 | 0:21:52 | |
Thinking the finds were just pewter or lead, Sydney Ford gathered them | 0:21:52 | 0:21:56 | |
all up and stuffed them into a crude old sack and took them home. | 0:21:56 | 0:21:59 | |
There, he started to clean them up, | 0:21:59 | 0:22:01 | |
and he even straightened out all the dented items quite crudely. | 0:22:01 | 0:22:05 | |
Once they were cleaned up, | 0:22:05 | 0:22:07 | |
he put them on display on the mantelpiece and the sideboard. | 0:22:07 | 0:22:10 | |
In those days, any large, valuable collection found underground | 0:22:12 | 0:22:15 | |
came under the law of treasure trove. | 0:22:15 | 0:22:18 | |
If it was deemed to be lost, it belonged to the finder, | 0:22:18 | 0:22:21 | |
but if it was thought to have been buried intentionally, | 0:22:21 | 0:22:24 | |
it belonged to the Crown | 0:22:24 | 0:22:25 | |
and the finder received a reward related to the value of the hoard. | 0:22:25 | 0:22:29 | |
The find should have been declared immediately, | 0:22:29 | 0:22:32 | |
but it was another three years before it was brought to | 0:22:32 | 0:22:34 | |
the attention of the local authorities | 0:22:34 | 0:22:36 | |
and that came about because a local doctor went round to visit | 0:22:36 | 0:22:39 | |
Ford in his house after the war | 0:22:39 | 0:22:41 | |
and saw the collection on display. | 0:22:41 | 0:22:44 | |
And it was only then that the Mildenhall Treasures were | 0:22:44 | 0:22:46 | |
revealed as the most important collection of Roman silver | 0:22:46 | 0:22:50 | |
ever to be found in Britain. | 0:22:50 | 0:22:52 | |
I've come to the Mildenhall Museum to find out a little bit more | 0:22:52 | 0:22:55 | |
and talk to trustee Peter Merrick. | 0:22:55 | 0:22:57 | |
Peter, thank you very much for joining us. | 0:22:57 | 0:22:59 | |
Now, this is the largest item. Tell me about it. | 0:22:59 | 0:23:02 | |
Yes, it is an extraordinary large thing. | 0:23:02 | 0:23:05 | |
It weighs 18lb, or 8.25 kilograms. | 0:23:05 | 0:23:09 | |
What does it depict? What's going on there? | 0:23:09 | 0:23:12 | |
Well, in the middle, there's Oceanus, | 0:23:12 | 0:23:14 | |
or Neptune, he's been called in Greek times. | 0:23:14 | 0:23:17 | |
And dancing maidens and men all around, | 0:23:17 | 0:23:21 | |
beautiful dresses, with other animals. | 0:23:21 | 0:23:24 | |
It is exquisite. | 0:23:24 | 0:23:26 | |
Let's take a look at some of the other finds | 0:23:26 | 0:23:28 | |
you've got on the table. | 0:23:28 | 0:23:29 | |
It really is a treasure trove. | 0:23:29 | 0:23:30 | |
Yes, we think it's absolutely wonderful. | 0:23:30 | 0:23:33 | |
I've noticed there's a few dents on some of them. | 0:23:33 | 0:23:36 | |
Is that because they've been knocked by a plough over the years? | 0:23:36 | 0:23:40 | |
Well, as far as anyone knows, | 0:23:40 | 0:23:41 | |
the only damage that ever occurred was when they were found. | 0:23:41 | 0:23:44 | |
Oh, really? | 0:23:44 | 0:23:46 | |
By the plough. But the whole story is shrouded in mystery. | 0:23:46 | 0:23:50 | |
So what was his reward for finding this? | 0:23:50 | 0:23:53 | |
He got £1,000. | 0:23:53 | 0:23:55 | |
That's nothing, is it, really? Absolutely nothing. | 0:23:55 | 0:23:57 | |
If he'd have reported this straightaway as a find, | 0:23:57 | 0:24:00 | |
he would have got the whole reward, wouldn't he? | 0:24:00 | 0:24:03 | |
Its value, its true value? | 0:24:03 | 0:24:05 | |
Allegedly, he would have got £50,000 for it, | 0:24:05 | 0:24:08 | |
but because he left it for so long, then all he finished up with... | 0:24:08 | 0:24:13 | |
The ploughman, Gordon Butcher, got 1,000 and so did Sid Ford. | 0:24:13 | 0:24:17 | |
It's not a lot, is it? | 0:24:17 | 0:24:18 | |
This is a fantastic collection of treasure. | 0:24:18 | 0:24:21 | |
Who knows? There might be even more out there. | 0:24:21 | 0:24:23 | |
We've got metal detectors going around like lunatics | 0:24:23 | 0:24:26 | |
looking for them. | 0:24:26 | 0:24:27 | |
"Flog It!" expert Anita Manning has eyes like a magpie | 0:24:31 | 0:24:34 | |
when it comes to spotting sparkly, shiny things | 0:24:34 | 0:24:37 | |
and it was just like her to zoom in on something rather special | 0:24:37 | 0:24:40 | |
Marion brought along to a valuation day in Cheshire back in 2012. | 0:24:40 | 0:24:45 | |
These are divine. Tell me about them. | 0:24:50 | 0:24:53 | |
I got these about ten years ago on the internet, £50, | 0:24:53 | 0:24:58 | |
including postage and packing. | 0:24:58 | 0:24:59 | |
When they arrived, they were a bit black, | 0:24:59 | 0:25:01 | |
but when I took a closer look at them, | 0:25:01 | 0:25:03 | |
I realised that they were absolutely exquisite. | 0:25:03 | 0:25:06 | |
I loved my day at "Flog It!" Tatton Park. | 0:25:06 | 0:25:09 | |
Anita Manning was lovely to me, very friendly, she loved my hat pins, | 0:25:09 | 0:25:16 | |
and she's very interested in jewellery | 0:25:16 | 0:25:19 | |
and items like that anyway, so it was just great. | 0:25:19 | 0:25:23 | |
Let's look at the actual items. | 0:25:23 | 0:25:26 | |
We have a little diamond set in silver or a white metal. | 0:25:26 | 0:25:31 | |
I'm not sure yet whether it's a white gold or a silver. | 0:25:31 | 0:25:36 | |
Dating, I would say, the late 1800s | 0:25:36 | 0:25:40 | |
and it would be one of these wonderful, big Belle Epoque hats | 0:25:40 | 0:25:43 | |
that you would wear. | 0:25:43 | 0:25:45 | |
Now, value - you've paid £50 for them. | 0:25:45 | 0:25:48 | |
-Well, somebody a while back offered me £650. -In your hand? | 0:25:48 | 0:25:54 | |
In my hand, yes, cash. | 0:25:54 | 0:25:56 | |
But I actually declined it. | 0:25:56 | 0:25:58 | |
If you're wanting your 650 in your hand, | 0:25:58 | 0:26:01 | |
you're probably having to consider going with | 0:26:01 | 0:26:04 | |
a reserve of near enough £750. | 0:26:04 | 0:26:08 | |
-Well, I'd be happy for that. -Shall we give it a go? -Let's... | 0:26:09 | 0:26:12 | |
Let's give it a go! | 0:26:12 | 0:26:14 | |
And she wasn't disappointed. | 0:26:17 | 0:26:19 | |
740. In the room at 740. | 0:26:19 | 0:26:21 | |
At 740, selling them. At £740. | 0:26:21 | 0:26:24 | |
£740! | 0:26:27 | 0:26:29 | |
Which was brilliant, | 0:26:29 | 0:26:30 | |
cos that money went towards my 50th birthday party, | 0:26:30 | 0:26:34 | |
which was coming up later that year | 0:26:34 | 0:26:36 | |
and I had a great time. | 0:26:36 | 0:26:38 | |
I had friends and family, great food, a dance and we all had a great time. | 0:26:38 | 0:26:43 | |
Apart from enjoying a party, Marion is a real second-hand rose. | 0:26:44 | 0:26:48 | |
Those hat pins were part of a covetable collection | 0:26:48 | 0:26:51 | |
of vintage clothing and jewellery she's put together | 0:26:51 | 0:26:54 | |
over several decades. | 0:26:54 | 0:26:56 | |
I've been very lucky over the years of collecting | 0:26:56 | 0:27:00 | |
to acquire some very special pieces | 0:27:00 | 0:27:02 | |
that give a glimpse into our social history, really. | 0:27:02 | 0:27:06 | |
A 94-year-old lady sold these to me on the internet. | 0:27:06 | 0:27:10 | |
The beautiful embroidery on here, | 0:27:10 | 0:27:12 | |
it's so delicate you'd hardly think it was done by hand, | 0:27:12 | 0:27:15 | |
she did as the bombs were falling overhead in Portsmouth. | 0:27:15 | 0:27:19 | |
And she was willing to share her tips on collecting with us. | 0:27:20 | 0:27:24 | |
I'd recommend for anybody, if they were interested | 0:27:25 | 0:27:29 | |
in getting into acquiring items of vintage clothing, | 0:27:29 | 0:27:33 | |
to go along, if they can, to a vintage clothing store - | 0:27:33 | 0:27:36 | |
they're up and down the country - or vintage fairs, | 0:27:36 | 0:27:39 | |
where they actually get the chance to try things on, | 0:27:39 | 0:27:43 | |
see how they fit, see what suits them, | 0:27:43 | 0:27:46 | |
and then you can progress to looking at things online, | 0:27:46 | 0:27:51 | |
but be very careful about measurements, | 0:27:51 | 0:27:54 | |
because vintage clothing can be very different to modern sizing, | 0:27:54 | 0:27:58 | |
so if the measurements aren't given on the description, ask. | 0:27:58 | 0:28:02 | |
So if you're interested in starting out collecting vintage, | 0:28:04 | 0:28:07 | |
the place to start is to really think about your shape, your style, | 0:28:07 | 0:28:11 | |
what do you think would suit you, | 0:28:11 | 0:28:13 | |
because there's different shapes to different eras. | 0:28:13 | 0:28:16 | |
Also, you might be interested in a particular era | 0:28:16 | 0:28:19 | |
because of the music or the dance of that era. | 0:28:19 | 0:28:22 | |
Now, I hope we've inspired you today to go out there, get buying, | 0:28:29 | 0:28:33 | |
start a collection and, remember, | 0:28:33 | 0:28:35 | |
always trade upwards and look for quality | 0:28:35 | 0:28:37 | |
and enjoy yourself. Join us next time for more trade secrets. | 0:28:37 | 0:28:41 |