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One of the things I love about "Flog It!" is seeing and hearing | 0:00:06 | 0:00:10 | |
about the thousands of interesting, beautiful and sometimes valuable | 0:00:10 | 0:00:14 | |
items you bring along to our valuation days. | 0:00:14 | 0:00:17 | |
-It's called Adam. -Is it? -After yourself. -That's very kind. | 0:00:17 | 0:00:21 | |
The Scarlet Pimpernel would have needed one of these | 0:00:21 | 0:00:25 | |
during the French Revolution! | 0:00:25 | 0:00:27 | |
Over the years, we've made hundreds of trips | 0:00:27 | 0:00:29 | |
to auction rooms all over the British Isles. | 0:00:29 | 0:00:31 | |
That's £120. For the very last time... | 0:00:31 | 0:00:35 | |
Bang! That is a big "sold" sound! | 0:00:35 | 0:00:38 | |
-£700... -That's fantastic. | 0:00:38 | 0:00:41 | |
Now, in this series, I want to share some of the knowledge | 0:00:41 | 0:00:44 | |
we've picked up with you | 0:00:44 | 0:00:46 | |
to let you in on some of our trade secrets. | 0:00:46 | 0:00:49 | |
The natural world has been a source of inspiration to artists | 0:01:17 | 0:01:21 | |
ever since humans first started daubing images | 0:01:21 | 0:01:24 | |
on ancient cave walls, | 0:01:24 | 0:01:26 | |
and in more recent times, makers and writers have continued to find | 0:01:26 | 0:01:29 | |
their muse in the world around them. | 0:01:29 | 0:01:32 | |
As an nation of pet lovers, | 0:01:32 | 0:01:34 | |
we have a particular affection for collectables featuring animals, | 0:01:34 | 0:01:37 | |
so today, we're casting a beady eye on antiques inspired by | 0:01:37 | 0:01:41 | |
our furred and feathered friends. | 0:01:41 | 0:01:44 | |
This lovely glowing light that is falling on their backs | 0:01:44 | 0:01:47 | |
-and shoulders. -It's nice, isn't it? -Lovely. Lovely piece. | 0:01:47 | 0:01:50 | |
On today's show, we've got a colourful cast of creatures | 0:01:53 | 0:01:56 | |
from our valuation days. | 0:01:56 | 0:01:57 | |
-A turtle. -Would you? -Hmm. | 0:01:57 | 0:01:59 | |
Well, I said tortoise and Beryl said turtle | 0:01:59 | 0:02:01 | |
and to this day, I still think I'm right. | 0:02:01 | 0:02:04 | |
A cheeky monkey causes a sensation in the saleroom. | 0:02:04 | 0:02:07 | |
£500... | 0:02:07 | 0:02:09 | |
£1,800. | 0:02:09 | 0:02:10 | |
£1,900. | 0:02:10 | 0:02:12 | |
£2,000. | 0:02:12 | 0:02:15 | |
And I'm at London Zoo | 0:02:17 | 0:02:19 | |
on the trail of an unlikely avian artist. | 0:02:19 | 0:02:22 | |
I'm not a bird expert, but that looks real. | 0:02:22 | 0:02:25 | |
The exotic fauna from all over the world has intrigued travellers | 0:02:30 | 0:02:34 | |
for centuries. | 0:02:34 | 0:02:35 | |
Intrepid explorers have brought back tales of the creatures they've seen, | 0:02:35 | 0:02:39 | |
and their stories have inspired makers of fine things | 0:02:39 | 0:02:42 | |
to reproduce animal images in their work, | 0:02:42 | 0:02:45 | |
but which are worth a closer look today? | 0:02:45 | 0:02:48 | |
Some animals do appeal to collectors more than others. | 0:02:52 | 0:02:55 | |
Cats! Pigs. People love to collect pigs. | 0:02:55 | 0:02:58 | |
Farmers, of course, will buy Beswick cows and Beswick bulls | 0:02:58 | 0:03:01 | |
so, yes, some animals are more collectable than others. | 0:03:01 | 0:03:05 | |
For me, it's horses. | 0:03:05 | 0:03:07 | |
But for someone else, it might be dogs. | 0:03:07 | 0:03:11 | |
For someone else, it might be ducks. | 0:03:11 | 0:03:14 | |
Some of the more obscure animals will appeal to people - | 0:03:14 | 0:03:17 | |
emus and koalas and penguins and things like that, | 0:03:17 | 0:03:21 | |
so I think any animal is good news, really. | 0:03:21 | 0:03:24 | |
We see dozens of animal-themed antiques on "Flog It!" | 0:03:24 | 0:03:28 | |
and as we're a nation of animal lovers, | 0:03:28 | 0:03:31 | |
these items tend to sell well. | 0:03:31 | 0:03:33 | |
Whether it's cats, dogs, horses, cows, we've all got our favourites. | 0:03:33 | 0:03:37 | |
At a valuation day on HMS Warrior in Portsmouth, | 0:03:39 | 0:03:42 | |
Will Axon showed that he clearly values a bird in the hand. | 0:03:42 | 0:03:45 | |
Russell, tell me, how have you come by this? | 0:03:45 | 0:03:48 | |
This really caught my eye when I saw you in the queue. | 0:03:48 | 0:03:50 | |
-I bought it in an antiques store in West Sussex. -OK. | 0:03:50 | 0:03:54 | |
About six months ago. | 0:03:54 | 0:03:55 | |
I thought at first it was a print. | 0:03:55 | 0:03:58 | |
-Yes. -But my other half is a picture-framer | 0:03:58 | 0:04:00 | |
and had a good look at it and we thought | 0:04:00 | 0:04:02 | |
maybe it is a painting. | 0:04:02 | 0:04:04 | |
There's no doubt that you've bought yourself what I think | 0:04:04 | 0:04:07 | |
is a rather nice watercolour. | 0:04:07 | 0:04:09 | |
Most of the painting is actually exposed paper. | 0:04:09 | 0:04:12 | |
The whole body of the cockatoos, we'll call them, | 0:04:12 | 0:04:15 | |
is actually where he's left the paper. | 0:04:15 | 0:04:17 | |
He hasn't painted that, | 0:04:17 | 0:04:19 | |
so I think that, in turn, helps accentuate | 0:04:19 | 0:04:21 | |
this lovely glowing light | 0:04:21 | 0:04:23 | |
-that is falling on their backs and shoulders. -It's nice, isn't it? | 0:04:23 | 0:04:26 | |
I think it's a really nice watercolour. | 0:04:26 | 0:04:28 | |
And signed - HSM. | 0:04:28 | 0:04:30 | |
Now, I think you've done a little bit of research. | 0:04:30 | 0:04:33 | |
-I have. -What have you come up with? | 0:04:33 | 0:04:35 | |
I believe it's Henry Stacy Marks, | 0:04:35 | 0:04:37 | |
-who did lots of bird paintings. -Exactly right. | 0:04:37 | 0:04:40 | |
You've got to be careful | 0:04:40 | 0:04:41 | |
because a little bit of research can be a dangerous thing. | 0:04:41 | 0:04:45 | |
It takes you off on a tangent. | 0:04:45 | 0:04:47 | |
All of a sudden, you think, "Oh, my days! | 0:04:47 | 0:04:49 | |
"I've got the crown jewels here. | 0:04:49 | 0:04:51 | |
"There's an example of this painting hanging in the V&A, | 0:04:51 | 0:04:54 | |
"and I must have another copy of it." | 0:04:54 | 0:04:57 | |
If that's the case, the original's probably in the V&A, | 0:04:57 | 0:04:59 | |
and you've got a print of it. | 0:04:59 | 0:05:01 | |
Russell did a bit of research on the cockatoo picture | 0:05:01 | 0:05:04 | |
and so he would have seen that Stacy Marks was a well-known artist. | 0:05:04 | 0:05:09 | |
His most famous work is of birds, | 0:05:09 | 0:05:11 | |
and hangs in the Walker Gallery in Liverpool, | 0:05:11 | 0:05:13 | |
so he is well known for this subject matter. | 0:05:13 | 0:05:16 | |
He's an artist, sort of mid-19th century, | 0:05:16 | 0:05:19 | |
he was actually working for Minton, for example, | 0:05:19 | 0:05:22 | |
painting on ceramics and doing more decorative works | 0:05:22 | 0:05:24 | |
-and things like that. -Yeah. -But this was really his love. | 0:05:24 | 0:05:26 | |
He took a real interest in birds, mainly parakeets, | 0:05:26 | 0:05:29 | |
I suppose for the exotic flavour of them. | 0:05:29 | 0:05:32 | |
You looked at it and you believed it, | 0:05:32 | 0:05:35 | |
whereas other bird pictures, when they're perched on a branch | 0:05:35 | 0:05:38 | |
or in a tree, they almost look like they're floating. | 0:05:38 | 0:05:41 | |
They don't quite sit, you know? | 0:05:41 | 0:05:43 | |
He's got gravity right. They stand well. | 0:05:43 | 0:05:45 | |
Really, you've just got to go with your gut instinct. | 0:05:45 | 0:05:48 | |
Does the picture work? | 0:05:48 | 0:05:50 | |
If it does, then it's probably something. | 0:05:50 | 0:05:52 | |
If it doesn't, maybe a lesser artist or someone trying to copy. | 0:05:52 | 0:05:56 | |
For me, it was the light around the heads. It was quite stunning. | 0:05:56 | 0:06:01 | |
Yeah. Cos it's something that is very effective, | 0:06:01 | 0:06:04 | |
looks simple, but I'm sure it's very difficult to get right. | 0:06:04 | 0:06:07 | |
You just get the form of the body, don't you? | 0:06:07 | 0:06:09 | |
Like I've said before, there's no painting here to suggest that. | 0:06:09 | 0:06:12 | |
-It's purely done on the highlighting. -Yes. | 0:06:12 | 0:06:15 | |
Lovely. Lovely piece. | 0:06:15 | 0:06:16 | |
You say you bought it in an antiques shop. | 0:06:16 | 0:06:18 | |
-Yes. -What was the price ticket? | 0:06:18 | 0:06:20 | |
It was 55, and I got them down to 50. | 0:06:20 | 0:06:22 | |
Listen, Russell, I'd give you £100 for it now | 0:06:22 | 0:06:25 | |
if you wanted a quick profit! | 0:06:25 | 0:06:27 | |
But we're going to work in your interest. | 0:06:27 | 0:06:29 | |
I'm going to say, let's put it into auction | 0:06:29 | 0:06:31 | |
and I'm fairly confident, with that name, | 0:06:31 | 0:06:33 | |
you'd get a price of at least £300 to £500. | 0:06:33 | 0:06:36 | |
-Fantastic. -Yeah? -Good return. | 0:06:36 | 0:06:38 | |
So, did those cockatoos ruffle a few feathers in the saleroom? | 0:06:39 | 0:06:43 | |
-We have one, two, three, four commission bids here. -That's good. | 0:06:43 | 0:06:48 | |
-Wow. -I will start the bidding at £500. -Top estimate! | 0:06:48 | 0:06:54 | |
£500. Is there 20 in the room? | 0:06:54 | 0:06:56 | |
And £500 and selling. Is there 20? | 0:06:56 | 0:06:58 | |
At £500. Commission bid. | 0:06:58 | 0:07:02 | |
At £500. Any more? All done? | 0:07:02 | 0:07:04 | |
At £500 for the very last time... | 0:07:04 | 0:07:07 | |
Well, that was short and sweet. | 0:07:07 | 0:07:09 | |
I don't think Russell minds how short it was! | 0:07:09 | 0:07:11 | |
You could say those birds flew away, couldn't you, at £500. | 0:07:11 | 0:07:15 | |
-You've got to be happy with that? -I am indeed. -Ecstatic. | 0:07:15 | 0:07:18 | |
I think Russell did earn his money. | 0:07:21 | 0:07:23 | |
He took a chance, | 0:07:23 | 0:07:24 | |
cos I know he was thinking of pursuing | 0:07:24 | 0:07:27 | |
a career in the antiques trade, | 0:07:27 | 0:07:29 | |
and I hope he has, you know? | 0:07:29 | 0:07:30 | |
With an eye like that, | 0:07:30 | 0:07:32 | |
I think he's got a head start on all of us. | 0:07:32 | 0:07:35 | |
I dare say Russell has gone from strength to strength. | 0:07:35 | 0:07:38 | |
He spotted a quality piece and, as we say time and time again, | 0:07:38 | 0:07:43 | |
quality always sells. | 0:07:43 | 0:07:45 | |
Now, a survey in 2013 claimed to answer definitively | 0:07:45 | 0:07:49 | |
the question of whether we British prefer cats or dogs. | 0:07:49 | 0:07:54 | |
By a slim margin, it's dogs. | 0:07:54 | 0:07:56 | |
And that comes as no surprise to us on "Flog It!". | 0:07:56 | 0:08:00 | |
Dogs are extremely popular, not just as man's best friend | 0:08:00 | 0:08:03 | |
going back generations, but in antiques and art, | 0:08:03 | 0:08:06 | |
we see dog paintings, dog sculptures. | 0:08:06 | 0:08:08 | |
Anything dog related always commands a premium | 0:08:08 | 0:08:11 | |
because, like me, there are thousands of people out there | 0:08:11 | 0:08:14 | |
that are absolutely passionate about dogs. | 0:08:14 | 0:08:17 | |
-So, who spotted them? -My dad. -Did he? -Yeah. | 0:08:17 | 0:08:19 | |
-Do you think he's clever, spotting them? -Yeah. | 0:08:19 | 0:08:22 | |
-How much did he pay for them? -£5. | 0:08:22 | 0:08:24 | |
£5? Do you think that's lot? | 0:08:24 | 0:08:26 | |
Not really. | 0:08:26 | 0:08:28 | |
You've done very well for a fiver, | 0:08:28 | 0:08:30 | |
because these are early-20th-century Austrian | 0:08:30 | 0:08:33 | |
cold-painted bronze dogs, bookends of course, | 0:08:33 | 0:08:36 | |
that sit on these onyx bases. | 0:08:36 | 0:08:38 | |
-They've both come detached from the bases. -Yes. | 0:08:38 | 0:08:41 | |
Onyx was a very popular material used particularly in 1920s | 0:08:41 | 0:08:45 | |
and 1930s sculptures, bronzes and spelter figures. | 0:08:45 | 0:08:47 | |
It's typically green, but it does come in other colours. | 0:08:47 | 0:08:50 | |
A lot of the time you see it polished and highly finished, | 0:08:50 | 0:08:53 | |
but these ones were left in the rough of it | 0:08:53 | 0:08:55 | |
and I think that was quite charming. | 0:08:55 | 0:08:57 | |
They've been through the wars a bit but they're | 0:08:57 | 0:08:59 | |
getting on for 100 years, or thereabouts. | 0:08:59 | 0:09:02 | |
As I say, they're Austrian and cold-painted bronze. | 0:09:02 | 0:09:04 | |
A lot are made in spelter as well, which is a cheaper alloy, | 0:09:04 | 0:09:07 | |
but if you have a look underneath here, | 0:09:07 | 0:09:09 | |
this yellowness shows us that they're bronze. | 0:09:09 | 0:09:11 | |
Also, the weight. They're nice and heavy. | 0:09:11 | 0:09:13 | |
-You wouldn't like one to drop on your toe, would you? -No. | 0:09:13 | 0:09:16 | |
Or that, actually. | 0:09:16 | 0:09:17 | |
Sometimes, we also see cast-iron figures, | 0:09:17 | 0:09:19 | |
which are simulated, pretending to be bronze as well. | 0:09:19 | 0:09:23 | |
People say, "Look, they're very heavy, they must be bronze." | 0:09:23 | 0:09:26 | |
That's when you need to get your magnet out, | 0:09:26 | 0:09:29 | |
because bronze is not magnetic. | 0:09:29 | 0:09:31 | |
What do you want for 'em? Tenner? | 0:09:31 | 0:09:33 | |
More? | 0:09:33 | 0:09:35 | |
-About...50? -About 50? | 0:09:35 | 0:09:37 | |
-That's a good start. -That's it. | 0:09:37 | 0:09:39 | |
-I'd like to think that they'd make £100 or maybe a bit more. -Really? | 0:09:39 | 0:09:43 | |
Because they cost so little, | 0:09:43 | 0:09:44 | |
let's go for it. Put a big estimate, see what happens. | 0:09:44 | 0:09:47 | |
So, will the bidders BITE at auction? | 0:09:49 | 0:09:51 | |
80 for these? | 0:09:51 | 0:09:53 | |
80, thank you. 85 anywhere? | 0:09:53 | 0:09:55 | |
85. And 90? | 0:09:55 | 0:09:57 | |
-85, with you, sir. -Fingers crossed. | 0:09:57 | 0:09:59 | |
100. 105. | 0:09:59 | 0:10:01 | |
110. 115. 120. | 0:10:01 | 0:10:04 | |
125. 130. 135. 140. | 0:10:04 | 0:10:07 | |
145. 150. | 0:10:07 | 0:10:08 | |
160. 170. | 0:10:08 | 0:10:11 | |
180. All done? | 0:10:11 | 0:10:12 | |
£170. | 0:10:12 | 0:10:14 | |
£170! | 0:10:14 | 0:10:16 | |
Hammer went down on that. | 0:10:16 | 0:10:18 | |
That is a lot of money, isn't it? | 0:10:18 | 0:10:20 | |
They were on the cute end of things, | 0:10:22 | 0:10:24 | |
the Scottie dog bookends. They always had a great story. | 0:10:24 | 0:10:27 | |
They were picked up, I think, for a nominal sum | 0:10:27 | 0:10:29 | |
at a car-boot sale. | 0:10:29 | 0:10:31 | |
They're not my favourite breed of dog, | 0:10:31 | 0:10:33 | |
but they're a very cute thing | 0:10:33 | 0:10:35 | |
and I think that's undoubtedly why they appealed and sold so well. | 0:10:35 | 0:10:39 | |
Yes, the "Ahh" factor often adds value. | 0:10:39 | 0:10:42 | |
The cuter it is, the more collectable. | 0:10:42 | 0:10:45 | |
But I'm not sure this quality can be applied to the item | 0:10:47 | 0:10:50 | |
James Lewis found at one of our Scottish valuation days. | 0:10:50 | 0:10:54 | |
Of all the things I was expecting to find here in Fife, | 0:10:54 | 0:10:58 | |
a Turkish prisoner-of-war-work snake dated 1919 | 0:10:58 | 0:11:01 | |
is not one of them! | 0:11:01 | 0:11:03 | |
When the Turks were over in England | 0:11:03 | 0:11:06 | |
as prisoners of war, | 0:11:06 | 0:11:08 | |
these were things that they could go into the local community and sell | 0:11:08 | 0:11:12 | |
to raise a bit of money. | 0:11:12 | 0:11:13 | |
What's it doing here and where did you find it? | 0:11:13 | 0:11:16 | |
I found it in a market in London | 0:11:16 | 0:11:18 | |
when I was eight years old | 0:11:18 | 0:11:20 | |
and bought it for £1. | 0:11:20 | 0:11:21 | |
No, that is ridiculous. That is a really good bargain. | 0:11:21 | 0:11:25 | |
Well done, you. It's an interesting thing | 0:11:25 | 0:11:27 | |
and I don't know why the Turkish prisoners of war | 0:11:27 | 0:11:29 | |
decided that it would be a really good thing to make snakes. | 0:11:29 | 0:11:33 | |
You can imagine, you're sitting in your prisoner-of-war camp | 0:11:33 | 0:11:37 | |
thinking, "Hmm. What can I do? | 0:11:37 | 0:11:38 | |
"I know, I'm going to make a beadwork snake!" | 0:11:38 | 0:11:41 | |
But they made them in their hundreds and thousands. | 0:11:41 | 0:11:44 | |
I think there are two quite distinct categories of what was made | 0:11:44 | 0:11:50 | |
in a prisoner-of-war camp - | 0:11:50 | 0:11:52 | |
those that were made by the prisoners for the captors | 0:11:52 | 0:11:55 | |
and those that were made by the prisoners | 0:11:55 | 0:11:57 | |
for themselves to sell on. | 0:11:57 | 0:12:00 | |
But both have a significant collecting area. | 0:12:00 | 0:12:03 | |
So, when you got it home, did you have sisters to taunt with it? | 0:12:03 | 0:12:06 | |
-I did. I have two. -That'd be good fun. | 0:12:06 | 0:12:08 | |
Stick it in their bed, and things? | 0:12:08 | 0:12:10 | |
Got played with for a bit. | 0:12:10 | 0:12:12 | |
Oh, great fun. | 0:12:12 | 0:12:13 | |
Value? | 0:12:13 | 0:12:15 | |
I don't know. | 0:12:15 | 0:12:16 | |
£40 to £60? | 0:12:16 | 0:12:18 | |
-Something like that? -OK. | 0:12:18 | 0:12:19 | |
-So your £1 investment's done all right. -Not too bad. | 0:12:19 | 0:12:22 | |
They come in various sizes | 0:12:22 | 0:12:24 | |
and this is a particularly long one, | 0:12:24 | 0:12:26 | |
so that's in its favour. | 0:12:26 | 0:12:28 | |
Shall we put a £40 reserve on it? | 0:12:28 | 0:12:30 | |
That sounds good to me, yeah. | 0:12:30 | 0:12:31 | |
How Andrew found that for £1, I really don't know. | 0:12:31 | 0:12:36 | |
I wish I could find those for £1! | 0:12:36 | 0:12:39 | |
It was a great investment. | 0:12:39 | 0:12:40 | |
It was a great buy. | 0:12:40 | 0:12:42 | |
The Turkish prisoner-of-war beadwork snake. | 0:12:43 | 0:12:46 | |
I'm going to start this at £25. | 0:12:46 | 0:12:47 | |
25. 30. 5. 40. | 0:12:47 | 0:12:51 | |
45. 50. 5. | 0:12:51 | 0:12:53 | |
I'll come to you. 60. 5. 65. 70. 5. | 0:12:53 | 0:12:57 | |
80. £80 on my left. At 80... | 0:12:57 | 0:13:00 | |
-85. 90. 5. -Excellent, Andrew. -100. | 0:13:02 | 0:13:05 | |
110. | 0:13:05 | 0:13:07 | |
120. 120. Standing at 120. | 0:13:07 | 0:13:10 | |
Anyone else want in at £120? | 0:13:10 | 0:13:14 | |
-Yes, the hammer's gone down. That's good. -A good result. | 0:13:14 | 0:13:17 | |
-The condition was very good on that, though. -It was a good, big size. | 0:13:17 | 0:13:21 | |
-Very good condition. -Excellent condition. Well done, you. | 0:13:21 | 0:13:26 | |
Andrew deserves double the praise. | 0:13:26 | 0:13:29 | |
You couldn't have wished for a better example | 0:13:29 | 0:13:32 | |
of prisoner-of-war craftsmanship. | 0:13:32 | 0:13:34 | |
A great return for a £1 investment! | 0:13:34 | 0:13:37 | |
Elizabeth was on slightly shakier ground in 2007 | 0:13:41 | 0:13:45 | |
when she caught up with a creature which turned out to be | 0:13:45 | 0:13:48 | |
remarkably tricky to classify. | 0:13:48 | 0:13:50 | |
Now, I think this is a tortoise, Beryl. What do you think it is? | 0:13:52 | 0:13:55 | |
I would have said a turtle. | 0:13:55 | 0:13:56 | |
-Would you? -Hmm. | 0:13:56 | 0:13:58 | |
I said tortoise, and Beryl said turtle, | 0:13:58 | 0:14:00 | |
and to this day, I still think I'm right. | 0:14:00 | 0:14:03 | |
But Beryl knew the piece far longer than I did | 0:14:03 | 0:14:06 | |
and I shall bow to her better decision. | 0:14:06 | 0:14:09 | |
-It was given to my mother. -Right. | 0:14:09 | 0:14:11 | |
-And when she died, she passed it on to me. -OK. | 0:14:11 | 0:14:14 | |
She'd been looking after someone that was sick, | 0:14:14 | 0:14:17 | |
and they gave her that before they died. | 0:14:17 | 0:14:20 | |
And so she did the same. | 0:14:20 | 0:14:23 | |
How lovely. | 0:14:23 | 0:14:24 | |
So he's always been loved and cherished to this point. | 0:14:24 | 0:14:27 | |
-Can I demonstrate him now? -Oh, yes. -Is that all right? | 0:14:27 | 0:14:30 | |
If you just touch his head, like this... | 0:14:30 | 0:14:32 | |
BELL RINGS | 0:14:32 | 0:14:33 | |
-That's it. -Isn't that great? | 0:14:33 | 0:14:35 | |
Over the years, I've seen a few novelty table bells | 0:14:35 | 0:14:38 | |
or shop bells, | 0:14:38 | 0:14:39 | |
and they come in a variety of guises. | 0:14:39 | 0:14:42 | |
I have seen pigs and little dogs and things, | 0:14:42 | 0:14:45 | |
but I don't believe I'd seen a turtle or a tortoise before. | 0:14:45 | 0:14:48 | |
Do you know where this one started life? | 0:14:48 | 0:14:51 | |
-I think it was in a shop. -In a shop. Yes. | 0:14:51 | 0:14:53 | |
I think it was. | 0:14:53 | 0:14:55 | |
A lot of these were. | 0:14:55 | 0:14:56 | |
I've seen them as pigs and all sorts of things, | 0:14:56 | 0:14:59 | |
where you actually press the curly tail | 0:14:59 | 0:15:01 | |
and it makes the bell sound. | 0:15:01 | 0:15:03 | |
The tortoise ones, or the turtle ones, | 0:15:03 | 0:15:05 | |
often were found in shops, | 0:15:05 | 0:15:06 | |
-butcher's or haberdasher's, things like that. -Yes, yes. | 0:15:06 | 0:15:09 | |
And if we turn him over, | 0:15:09 | 0:15:11 | |
we'll see that he's very cleverly but very simply made. | 0:15:11 | 0:15:15 | |
He's made of cast iron | 0:15:15 | 0:15:18 | |
but he's absolutely pristine and in very genuine condition. | 0:15:18 | 0:15:22 | |
These bells are much rarer in finer metals | 0:15:22 | 0:15:25 | |
so bronze are rarer than cast metal, | 0:15:25 | 0:15:28 | |
and silver ones would be top of the pile, really. | 0:15:28 | 0:15:31 | |
Silver ones are less likely to be found for use in shops | 0:15:31 | 0:15:34 | |
or public places. They tend to be for the refined environment | 0:15:34 | 0:15:38 | |
of grand houses or wealthy families. | 0:15:38 | 0:15:40 | |
I would like to see him make between £80 and £120. | 0:15:40 | 0:15:45 | |
If you are happy to enter him with that sort of estimate, | 0:15:45 | 0:15:49 | |
it doesn't sound frightening, but it sounds achievable, | 0:15:49 | 0:15:52 | |
-and if two people... -Really want him. | 0:15:52 | 0:15:55 | |
-Yes. -They could keep going. | 0:15:55 | 0:15:57 | |
-That would be lovely. -Is that all right? Can I ring him again? | 0:15:57 | 0:16:00 | |
BELL RINGS | 0:16:00 | 0:16:02 | |
I'm sorry, Beryl, but I have to side with Elizabeth. | 0:16:04 | 0:16:07 | |
I think it's a tortoise. | 0:16:07 | 0:16:09 | |
But did it make slow progress at the auction, | 0:16:09 | 0:16:12 | |
or end up winning the race? | 0:16:12 | 0:16:15 | |
Fingers crossed. It's going under the hammer now. | 0:16:15 | 0:16:17 | |
Fun little lot. | 0:16:17 | 0:16:19 | |
Let's start, what, 30 quid. | 0:16:19 | 0:16:21 | |
30 I'm bid. 32. 35. 38. | 0:16:21 | 0:16:24 | |
At 38 now. Done, then, at 38? | 0:16:24 | 0:16:26 | |
-40. 42. 45. -Behind me. | 0:16:26 | 0:16:28 | |
48. 50. | 0:16:28 | 0:16:30 | |
55. At 55. | 0:16:30 | 0:16:32 | |
58. 60. | 0:16:32 | 0:16:34 | |
65. 70. 75. | 0:16:34 | 0:16:37 | |
80. At 80. | 0:16:37 | 0:16:39 | |
Sell over here at £80. | 0:16:39 | 0:16:40 | |
I sell there, at £80. Done at 80... | 0:16:40 | 0:16:43 | |
Yes. Right at the lower estimate. | 0:16:43 | 0:16:46 | |
-It has sold, Beryl. -He's hit his clipboard. -Yes. | 0:16:46 | 0:16:50 | |
That was a little bit of fun, that really was. | 0:16:50 | 0:16:52 | |
A gorgeous little thing. | 0:16:52 | 0:16:54 | |
Little bells like this are not overly common. | 0:16:54 | 0:16:57 | |
They're rare enough to be quite an interesting thing | 0:16:57 | 0:17:00 | |
to seek out and collect, but still accessible | 0:17:00 | 0:17:03 | |
and, therefore, within a budget of £50 to £80, | 0:17:03 | 0:17:06 | |
you can pick up some lovely examples at a very reasonable price. | 0:17:06 | 0:17:11 | |
If you fancy an animal-theme collection, | 0:17:11 | 0:17:13 | |
that's a fun place to start, | 0:17:13 | 0:17:15 | |
and at entry-level prices. | 0:17:15 | 0:17:17 | |
BELL RINGS | 0:17:17 | 0:17:18 | |
Talking of fun, | 0:17:18 | 0:17:20 | |
what could be more entertaining than the wacky world of majolica? | 0:17:20 | 0:17:24 | |
Majolica is fun, funky and so very Victorian. | 0:17:24 | 0:17:29 | |
The Victorians loved this colourful and hugely decorative ceramic, | 0:17:29 | 0:17:33 | |
which was often inspired by nature's bounty. | 0:17:33 | 0:17:37 | |
Kate Bliss was lucky enough to come across a great example | 0:17:37 | 0:17:40 | |
at a valuation day in Bangor. | 0:17:40 | 0:17:42 | |
That's a family piece. | 0:17:44 | 0:17:45 | |
It belonged to my great-grandmother | 0:17:45 | 0:17:47 | |
and she had it and passed it to my grandmother, | 0:17:47 | 0:17:51 | |
and when my grandmother died, | 0:17:51 | 0:17:53 | |
my cousins and I were asked to choose things from out of the house, | 0:17:53 | 0:17:57 | |
and that was my first choice. | 0:17:57 | 0:18:00 | |
You find animals are used a lot in majolica. | 0:18:00 | 0:18:03 | |
Sadly, I suppose, there is this element of | 0:18:03 | 0:18:05 | |
the monkey and humanity, if you know what I mean. | 0:18:05 | 0:18:08 | |
So, it was quite interesting to place a monkey as a finial | 0:18:08 | 0:18:12 | |
or as a handle or as the feet of something. | 0:18:12 | 0:18:14 | |
The first thing I will do is just take the lid of carefully | 0:18:14 | 0:18:17 | |
and have a look at the bottom. | 0:18:17 | 0:18:20 | |
But we haven't got anything at all on there, have we? | 0:18:20 | 0:18:23 | |
We can see the little marks where it's stood in the kiln, | 0:18:23 | 0:18:25 | |
but there's no impressed mark to tell us which factory. | 0:18:25 | 0:18:29 | |
So, we can see from the quality of it and the moulding | 0:18:29 | 0:18:31 | |
and the way the glaze has been put on that it is by | 0:18:31 | 0:18:34 | |
one of the leading factories. | 0:18:34 | 0:18:36 | |
In the 19th century, there were three factories | 0:18:36 | 0:18:38 | |
producing this sort of ware - George Jones, Minton | 0:18:38 | 0:18:41 | |
and the third one was Wedgwood. | 0:18:41 | 0:18:43 | |
And as it isn't marked, | 0:18:43 | 0:18:45 | |
it could be one of the three. | 0:18:45 | 0:18:47 | |
Now, my gut feeling is that it's George Jones, | 0:18:47 | 0:18:50 | |
but we can certainly look at the pattern of it, | 0:18:50 | 0:18:53 | |
and I'll do further research. | 0:18:53 | 0:18:55 | |
This particular teapot was made by George Jones. | 0:18:55 | 0:18:58 | |
It was part of a tea service, | 0:18:58 | 0:18:59 | |
in simple blue and white. | 0:18:59 | 0:19:01 | |
They can be much more exuberant with many colours, | 0:19:01 | 0:19:04 | |
bright turquoise, blues and greens. | 0:19:04 | 0:19:07 | |
This one was nice because the monkey formed the handle, | 0:19:07 | 0:19:10 | |
and it's a typical piece of Victorian quirkiness, really. | 0:19:10 | 0:19:15 | |
Now, one thing that is a shame is the condition, | 0:19:15 | 0:19:17 | |
and if we take off the lid, | 0:19:17 | 0:19:19 | |
we can see we've got quite a chunk taken out of the corner. | 0:19:19 | 0:19:22 | |
The finial is badly cracked, isn't it? | 0:19:22 | 0:19:25 | |
And we've got a funny little repair here | 0:19:25 | 0:19:27 | |
to the spout, which is, of course, a very vulnerable piece. | 0:19:27 | 0:19:31 | |
Tell me about that. Did you know that had been repaired? | 0:19:31 | 0:19:34 | |
Well, I believe it was done in the 1920s | 0:19:34 | 0:19:36 | |
-by a local blacksmith. -Oh, right. | 0:19:36 | 0:19:38 | |
-He's just soldered on a spout. -Yes. | 0:19:38 | 0:19:41 | |
I believe that was a usual repair that the blacksmith did. | 0:19:41 | 0:19:44 | |
Damage, of course, is important when you're collecting something, | 0:19:44 | 0:19:47 | |
but there are some areas, and majolica is one of them, | 0:19:47 | 0:19:50 | |
where collectors will be a little bit lenient, | 0:19:50 | 0:19:53 | |
particularly if it's a rare shape. | 0:19:53 | 0:19:54 | |
I think, even in this condition, you're going to be talking | 0:19:54 | 0:19:57 | |
a significant amount at auction. | 0:19:57 | 0:19:59 | |
I'm going to put a conservative estimate of £200 to £300. | 0:19:59 | 0:20:02 | |
-Gosh. -What do you think about that? | 0:20:02 | 0:20:04 | |
I think that's very nice, yes. | 0:20:04 | 0:20:06 | |
I think the monkey might attract quite a few people. | 0:20:06 | 0:20:10 | |
Kate wasn't wrong about the appeal of the monkey, | 0:20:13 | 0:20:16 | |
but nothing could have prepared Graham and Lesley | 0:20:16 | 0:20:19 | |
for what unfolded once the bidding commenced. | 0:20:19 | 0:20:22 | |
200 I'm bid. £200. | 0:20:22 | 0:20:24 | |
Straight in at 200. | 0:20:24 | 0:20:27 | |
£300. | 0:20:27 | 0:20:28 | |
-£400. -Mmm... | 0:20:28 | 0:20:30 | |
£500. | 0:20:30 | 0:20:32 | |
£600. £700. | 0:20:32 | 0:20:35 | |
£800. | 0:20:35 | 0:20:36 | |
After smashing the estimate, | 0:20:38 | 0:20:40 | |
it kept climbing higher and higher. | 0:20:40 | 0:20:42 | |
£1,700. | 0:20:42 | 0:20:44 | |
I can't believe it. | 0:20:44 | 0:20:46 | |
£1,800. | 0:20:46 | 0:20:47 | |
£1,900. | 0:20:47 | 0:20:49 | |
£2,000. | 0:20:49 | 0:20:51 | |
2,100. | 0:20:52 | 0:20:55 | |
You've gone, have you? | 0:20:55 | 0:20:56 | |
£2,100. £2,200. | 0:20:56 | 0:20:58 | |
I can't believe it. | 0:20:58 | 0:21:01 | |
£2,300. | 0:21:01 | 0:21:03 | |
£2,400. | 0:21:03 | 0:21:04 | |
-I can feel you shaking. -£2,400. | 0:21:06 | 0:21:09 | |
£2,400. Anybody else in the room wants to come in? | 0:21:09 | 0:21:13 | |
What do you think about that? Bang! There it goes. | 0:21:14 | 0:21:17 | |
CHEERING AND APPLAUSE | 0:21:17 | 0:21:20 | |
Well done, Kate. | 0:21:20 | 0:21:22 | |
Well done. | 0:21:22 | 0:21:23 | |
Well done. £2,400. | 0:21:23 | 0:21:25 | |
There's a tear in your eye. Look at this, he's crying. | 0:21:25 | 0:21:29 | |
-Wonderful. -That was fantastic. | 0:21:31 | 0:21:33 | |
-I can't believe it. -2,400. | 0:21:33 | 0:21:35 | |
It's moments like that that live long in the memory. | 0:21:37 | 0:21:40 | |
The teapot did so well because the majolica market | 0:21:40 | 0:21:43 | |
was particularly buoyant at that point. | 0:21:43 | 0:21:46 | |
And timing is key. | 0:21:46 | 0:21:48 | |
Prices rise and fall in the world of antiques, | 0:21:50 | 0:21:52 | |
so take advice from your local auction house. | 0:21:52 | 0:21:55 | |
If it's a bad time to sell, keep hold of your item for another day. | 0:21:55 | 0:21:59 | |
When it comes to collecting animal-themed antiques, | 0:22:00 | 0:22:03 | |
always examine the workmanship | 0:22:03 | 0:22:06 | |
and look for finely executed decoration and good condition. | 0:22:06 | 0:22:10 | |
But in the end, it comes down to horses for courses, | 0:22:10 | 0:22:14 | |
so to speak. | 0:22:14 | 0:22:15 | |
Go for what appeals to YOU. | 0:22:15 | 0:22:17 | |
If you fall in love with something, | 0:22:17 | 0:22:19 | |
just enjoy it for what it is. | 0:22:19 | 0:22:22 | |
That is until the next piece catches your eye. | 0:22:22 | 0:22:25 | |
At our valuation days, we often see beautiful artwork | 0:22:31 | 0:22:36 | |
that's been inspired by nature | 0:22:36 | 0:22:38 | |
and in 2012, I had the privilege of finding about | 0:22:38 | 0:22:41 | |
one of our country's more intriguing 19th-century artists. | 0:22:41 | 0:22:45 | |
An artist who is better known for his poetry. | 0:22:45 | 0:22:49 | |
The Owl and the Pussy-cat went to sea... | 0:22:51 | 0:22:53 | |
In a beautiful pea-green boat... | 0:22:53 | 0:22:55 | |
They took some honey, and plenty of money... | 0:22:55 | 0:22:57 | |
Wrapped up in a five-pound note. | 0:22:57 | 0:22:59 | |
The Owl And The Pussy-Cat is one of the world's most famous | 0:22:59 | 0:23:03 | |
and best-loved children's poems, | 0:23:03 | 0:23:04 | |
and it's brought its author Edward Lear fame and fortune. | 0:23:04 | 0:23:08 | |
His limericks and nonsense poems | 0:23:08 | 0:23:09 | |
have secured his place in literary history, | 0:23:09 | 0:23:12 | |
however, as a young man, | 0:23:12 | 0:23:13 | |
he had a very different plan for his future. | 0:23:13 | 0:23:16 | |
He was an extremely talented artist, | 0:23:16 | 0:23:18 | |
and an animal-lover, so there was only one place he could come to work, | 0:23:18 | 0:23:21 | |
and that was right here at the newly opened zoological gardens, | 0:23:21 | 0:23:25 | |
and he began his career painting parrots. | 0:23:25 | 0:23:27 | |
Hi, guys! | 0:23:27 | 0:23:29 | |
London Zoo was established in 1826 | 0:23:49 | 0:23:51 | |
for the scientific study of animals, | 0:23:51 | 0:23:53 | |
and as photography had yet to be invented, | 0:23:53 | 0:23:56 | |
the zoo employed artists to document their growing collection | 0:23:56 | 0:24:00 | |
of exotic wildlife that was arriving on a weekly basis. | 0:24:00 | 0:24:04 | |
And amongst these daubers was a very young Edward Lear, | 0:24:10 | 0:24:12 | |
with brush in hand. | 0:24:12 | 0:24:14 | |
He was eager to show off his artistic skills. | 0:24:14 | 0:24:17 | |
He spent two years here at the zoo, | 0:24:17 | 0:24:19 | |
sketching and painting parrots, | 0:24:19 | 0:24:20 | |
and, uniquely, many of them were drawn from life. | 0:24:20 | 0:24:23 | |
What he would do is actually get inside the aviary, | 0:24:23 | 0:24:26 | |
this very aviary, and join them, | 0:24:26 | 0:24:28 | |
and paint them and sketch them. | 0:24:28 | 0:24:30 | |
In 1832, Lear published the results, | 0:24:30 | 0:24:32 | |
Illustrations Of The Family Of The Psittacidae, | 0:24:32 | 0:24:35 | |
containing 42 lithographs | 0:24:35 | 0:24:38 | |
hand-coloured by Lear himself. | 0:24:38 | 0:24:40 | |
It immediately secured him | 0:24:40 | 0:24:42 | |
a reputation as a supremely talented ornithological draughtsman. | 0:24:42 | 0:24:46 | |
175 books were made, of which about 100 survive today, | 0:24:47 | 0:24:51 | |
and one of them is here in the zoo's archive. | 0:24:51 | 0:24:54 | |
I'm meeting up with natural history artist Rebecca Jewell | 0:24:54 | 0:24:57 | |
to take a closer look at it. | 0:24:57 | 0:24:59 | |
They are exceptionally good. | 0:25:06 | 0:25:08 | |
They are. | 0:25:08 | 0:25:09 | |
I'm not a bird expert, but that looks real. | 0:25:09 | 0:25:12 | |
Well, it is. It's absolutely stunning | 0:25:12 | 0:25:15 | |
and I think what makes Lear stand out | 0:25:15 | 0:25:17 | |
as bird artist | 0:25:17 | 0:25:19 | |
is that he did many of his...well, most of his drawings from life, | 0:25:19 | 0:25:23 | |
-so he went to London Zoo... -Inside the aviary, basically, | 0:25:23 | 0:25:26 | |
-with the birds. -..and he was sketching from the live birds | 0:25:26 | 0:25:30 | |
and he did many, many sketches. | 0:25:30 | 0:25:32 | |
There's a lot of work that's gone into that. | 0:25:32 | 0:25:34 | |
He would have drawn with the pencil | 0:25:34 | 0:25:37 | |
and then done layers of watercolour, | 0:25:37 | 0:25:39 | |
probably with gum arabic in it, which is... | 0:25:39 | 0:25:42 | |
OK. Which is like a glue with colour. | 0:25:42 | 0:25:45 | |
-And it gives it this beautiful luminescence. -Hmm. | 0:25:45 | 0:25:49 | |
And rich, rich colours. | 0:25:49 | 0:25:51 | |
It's just beautiful. Can you turn a page? | 0:25:51 | 0:25:54 | |
Can we see some more? | 0:25:54 | 0:25:56 | |
Is there a big difference between drawing these birds | 0:25:56 | 0:25:59 | |
when they're living and when they're dead? | 0:25:59 | 0:26:03 | |
It's easier to draw something dead. | 0:26:03 | 0:26:05 | |
If you compare him to, say, Audubon, | 0:26:05 | 0:26:07 | |
who was the equivalent, | 0:26:07 | 0:26:09 | |
absolutely amazing artist, | 0:26:09 | 0:26:11 | |
in America drawing birds, | 0:26:11 | 0:26:13 | |
he did sketch out in life, | 0:26:13 | 0:26:15 | |
in the field, | 0:26:15 | 0:26:17 | |
but he then shot his birds | 0:26:17 | 0:26:19 | |
and he strung them up and put wire in them | 0:26:19 | 0:26:21 | |
and so his birds are slightly more constructed | 0:26:21 | 0:26:25 | |
-and angular. -And awkward looking. -Yes. They're still beautiful | 0:26:25 | 0:26:30 | |
but the thing about Lear is, | 0:26:30 | 0:26:32 | |
he was recording the parrots scientifically, correctly. | 0:26:32 | 0:26:36 | |
My eyes are gazing over towards that eagle owl. It's an eagle owl, yeah. | 0:26:36 | 0:26:41 | |
But you can see the expression on the face now. | 0:26:41 | 0:26:44 | |
You can see where Lear would develop his characters from, can't you? | 0:26:44 | 0:26:48 | |
Yeah, absolutely. | 0:26:48 | 0:26:50 | |
And Lear adored owls... | 0:26:50 | 0:26:52 | |
He thought he was one! | 0:26:52 | 0:26:53 | |
He did, yeah. He often did a caricature of himself as an owl. | 0:26:53 | 0:26:58 | |
This is just absolutely fabulous, | 0:26:58 | 0:27:00 | |
-the detail... -Hmm. | 0:27:00 | 0:27:02 | |
..the speckling, | 0:27:02 | 0:27:04 | |
the colours of the feathers. | 0:27:04 | 0:27:06 | |
Sadly, due to failing eyesight and lack of financial success, | 0:27:10 | 0:27:14 | |
Lear gave up bird painting in his mid-20s | 0:27:14 | 0:27:16 | |
but he never gave up his love for birds. | 0:27:16 | 0:27:19 | |
They're a theme all of his nonsense poems and his sketches | 0:27:19 | 0:27:23 | |
and he often caricatured himself as an owl | 0:27:23 | 0:27:25 | |
so perhaps there is more to his famous poem after all. | 0:27:25 | 0:27:28 | |
# And hand-in-hand On the edge of the sand | 0:27:29 | 0:27:32 | |
# They danced By the light of the moon | 0:27:32 | 0:27:34 | |
# The moon The moon | 0:27:34 | 0:27:35 | |
# They danced By the light of the moon. # | 0:27:35 | 0:27:38 | |
Animal collectables are such good fun, | 0:27:48 | 0:27:51 | |
it's hardly surprising that they never go out of fashion. | 0:27:51 | 0:27:55 | |
And with a huge variety of things out there, | 0:27:55 | 0:27:57 | |
you don't have to spend too much to start a collection. | 0:27:57 | 0:28:00 | |
Dogs, cats, pigs and horses are all popular subjects | 0:28:00 | 0:28:04 | |
but rarity adds value | 0:28:04 | 0:28:06 | |
so it is also worth looking out for pieces featuring more unusual breeds. | 0:28:06 | 0:28:10 | |
So, if you have any antiques and collectables that need re-homing, | 0:28:13 | 0:28:17 | |
well, then I hope you come and see us at one of our valuation days. | 0:28:17 | 0:28:20 | |
That's it for today's show, join me again soon for more Trade Secrets. | 0:28:20 | 0:28:24 |