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0:00:06 > 0:00:09You've been coming to our Flog It! valuation days

0:00:09 > 0:00:12for well over a decade now, and you haven't disappointed.

0:00:12 > 0:00:15And with around 950 shows under our belt

0:00:15 > 0:00:19and thousands of your antiques and collectibles valued,

0:00:19 > 0:00:22you've certainly put our experts through their paces.

0:00:22 > 0:00:23What's in there, then?

0:00:23 > 0:00:26I brought it along for someone to tell ME what it was.

0:00:26 > 0:00:29I have seen these in books before, but never in real life.

0:00:29 > 0:00:31- Commission bid is £500.- What?!

0:00:31 > 0:00:32HE GASPS

0:00:32 > 0:00:35And now, we want to share some of the knowledge we've

0:00:35 > 0:00:37learned from the items you've shown us.

0:00:37 > 0:00:39Welcome to Trade Secrets.

0:01:07 > 0:01:09There are all sorts of ways in which the novice antique

0:01:09 > 0:01:12buyer can be tripped up. Knowing when to spot something

0:01:12 > 0:01:15that's been restored or when it's a fake is a vital tool.

0:01:15 > 0:01:18So in today's show, we're going to be looking at

0:01:18 > 0:01:22when restoration is a good idea and how not to be taken in by the fakes.

0:01:24 > 0:01:27We'll be looking at collectibles that cause controversy.

0:01:29 > 0:01:33Fake or real? That's the question for Anita.

0:01:33 > 0:01:36I just got a feeling that it wasn't right.

0:01:36 > 0:01:41You could turn a £60 replica into a £600 antique.

0:01:41 > 0:01:45We find out how to avoid being taken in.

0:01:45 > 0:01:49If you spend £120 on something like this, you've lost your money.

0:01:49 > 0:01:52And we see when reproductions can still be the real deal.

0:01:53 > 0:01:56£550.

0:01:56 > 0:01:57Thanks, Mum!

0:01:57 > 0:02:00- Aw!- You didn't think it was worth that, did you?

0:02:04 > 0:02:07They say that imitation is the sincerest form of flattery

0:02:07 > 0:02:10and that's certainly the case of makers of all fine things.

0:02:10 > 0:02:12They attract copycats.

0:02:12 > 0:02:14But when is a copy a fake, made to deceive,

0:02:14 > 0:02:17and when is it an homage to a master of their art?

0:02:22 > 0:02:25Very often, you can use the word reproduction,

0:02:25 > 0:02:28or you can use the word fake. The fake is an intention to deceive

0:02:28 > 0:02:31someone into thinking that it IS original.

0:02:31 > 0:02:36If something is particularly rare, it could well be a fake.

0:02:36 > 0:02:42If something is in wonderful condition, it could be a fake.

0:02:42 > 0:02:45Caution, I think, is important. Don't act with your heart

0:02:45 > 0:02:48if you're going to regret it with your head later, particularly

0:02:48 > 0:02:51if it's involving laying out quite a lot of money initially.

0:02:51 > 0:02:56It's exciting when a reproduction or fake crosses our tables.

0:02:56 > 0:02:59It adds intrigue, sparks debate and, let's face it -

0:02:59 > 0:03:02our experts love a bit of detective work.

0:03:04 > 0:03:06And these skills can be very useful

0:03:06 > 0:03:09when it comes to antique wood furniture.

0:03:09 > 0:03:14You can often find recent pieces purporting to be much older.

0:03:14 > 0:03:18I've seen many and Philip Serrell came across a perfect

0:03:18 > 0:03:20example in 2005.

0:03:22 > 0:03:25In my eyes, the joint stool was a reproduction

0:03:25 > 0:03:29because it was intended to be a copy of the original.

0:03:29 > 0:03:32- Where did this come from?- It came from my mother-in-law's house.

0:03:32 > 0:03:35We were quite surprised to find there because she wasn't

0:03:35 > 0:03:38the kind of lady who liked anything that looked old.

0:03:38 > 0:03:40How old do you think this is?

0:03:40 > 0:03:43Well, that's what I was dubious about because it looks...

0:03:43 > 0:03:47- How old do you think it should be? - I think it should be 1600-something.

0:03:47 > 0:03:51- So this is a 17th-century stool, yeah?- Yeah.

0:03:51 > 0:03:53What type of stool do we call it?

0:03:53 > 0:03:57- A joint stool?- A joint stool. And what's it made of?- Oak?- Oak.

0:03:57 > 0:04:01Do you want to stand here and have my job?

0:04:01 > 0:04:04If this has been around for the thick end of 300 years,

0:04:04 > 0:04:07wouldn't there be some wear here? More wear?

0:04:07 > 0:04:10'You can't fake age.'

0:04:10 > 0:04:13You don't get to look like this if you're only 20.

0:04:13 > 0:04:18And if you look at a stool that's perhaps only 100 years old,

0:04:18 > 0:04:22you can see that it's not 200 or 300 years old

0:04:22 > 0:04:24because it hasn't been around for long enough.

0:04:24 > 0:04:27People would've sat on this and perhaps put feet on here.

0:04:27 > 0:04:30There'd be more wear here.

0:04:30 > 0:04:35Can you just see that this dark pattern here,

0:04:35 > 0:04:39it almost suddenly stops there, like it's been painted on.

0:04:39 > 0:04:43- Yeah.- So this is oak, it's almost a joint stool,

0:04:43 > 0:04:47- but I think it's 19th-century, rather than 17th-century.- Right.

0:04:47 > 0:04:53In terms of value, if this was 17th century, I think it would

0:04:53 > 0:04:55have been £600-900.

0:04:55 > 0:05:01- So I'm afraid we're going to have to take a nought off.- Oh, well.

0:05:01 > 0:05:05I think we need to put £60-90 and we'll reserve it for you at £50.

0:05:05 > 0:05:07That will ensure that it will sell.

0:05:07 > 0:05:11- And I actually think that represents cracking value for money.- Yeah.

0:05:11 > 0:05:14- So let's keep our fingers crossed. - OK.

0:05:14 > 0:05:17So, Philip confirmed Helen's suspicions,

0:05:17 > 0:05:21but did the bidders agree with our expert's estimate?

0:05:22 > 0:05:2540, I have. 45 with me. And 50, sir.

0:05:25 > 0:05:2750. I'll go five and 60 is with you.

0:05:27 > 0:05:3160 and it's there. At £60. Five anywhere else?

0:05:31 > 0:05:33We all done at £60?

0:05:33 > 0:05:37- BANGS GAVEL - Yeah, hammer's gone down. 60 quid. Spot-on.

0:05:37 > 0:05:42Ooh! That was touch and go for a second, starting at 30 quid.

0:05:43 > 0:05:45Philip was right on the mark.

0:05:45 > 0:05:48If you're going to go and buy from a dealer or an auction room

0:05:48 > 0:05:49a piece of 17th-century furniture,

0:05:49 > 0:05:52first thing you should do is make sure that the receipt

0:05:52 > 0:05:54that you get says 17th century,

0:05:54 > 0:05:58not 17th-century style, or 17th-century manner,

0:05:58 > 0:06:00but it says 17th century.

0:06:00 > 0:06:04And if your catalogue description or the label in the shop doesn't

0:06:04 > 0:06:08say "this is 17th century", circa 16-whatever, take a step back.

0:06:08 > 0:06:11And don't be afraid to ask.

0:06:11 > 0:06:14Because if you don't, you could come unstuck.

0:06:14 > 0:06:19A report that was published in September 2013 alleges that

0:06:19 > 0:06:23a significant amount of antiques that are bought in the UK are fakes.

0:06:23 > 0:06:28Whether that's true or not, it does pay to be on your guard.

0:06:28 > 0:06:31If you're thinking of splashing out some cash on some antiques,

0:06:31 > 0:06:34make sure what you're buying is authentic.

0:06:34 > 0:06:38If the price is too good to be true, it usually is.

0:06:39 > 0:06:45A fascinating period in history is the settling of the American West.

0:06:45 > 0:06:50And inextricably linked with that is the Colt 45 revolver.

0:06:50 > 0:06:55The primary US military sign-on until 1892.

0:06:55 > 0:06:59It's known as the gun that won the West.

0:06:59 > 0:07:03At a valuation day in Glasgow, James Lewis was sure

0:07:03 > 0:07:06he was looking at two famous pieces of Americana.

0:07:09 > 0:07:15The Colt revolver is the archetypal symbol of the American West.

0:07:15 > 0:07:19What are they doing here in the centre of Glasgow?

0:07:19 > 0:07:24Well, I used to collect them many years ago, about 20 years ago,

0:07:24 > 0:07:28but I just decided I've got too many now and want to get rid of some.

0:07:28 > 0:07:32I love the Wild West and I love Wild Bill Hickok and Wyatt Earp

0:07:32 > 0:07:35and all that, so for me, there was an interesting history there.

0:07:35 > 0:07:41This one is the Colt Army pattern, this one, the Colt Navy pattern.

0:07:41 > 0:07:45Both of them 1850s, 1870s or so in date.

0:07:45 > 0:07:51Classic six-shot cylinder and both of them have ivory slab-sided grips.

0:07:51 > 0:07:57And here, the wonderful verse - "Be not afraid of any man,

0:07:57 > 0:07:59"No matter what his size,

0:07:59 > 0:08:01"Call on me in your need

0:08:01 > 0:08:04"And I will equalise."

0:08:04 > 0:08:09The verse that was on that handle is one that is very, very famous.

0:08:09 > 0:08:16The Equaliser for the Colt was the one that made them almost iconic.

0:08:16 > 0:08:19The wonderful early colour on this one

0:08:19 > 0:08:23indicates it's never been changed. On this one...

0:08:24 > 0:08:26..I don't know.

0:08:26 > 0:08:28'When it came to those two pieces,'

0:08:28 > 0:08:33the ivory isn't actually the biggest telltale sign because, especially

0:08:33 > 0:08:38with a weapon, you can damage the grips and they can be replaced.

0:08:38 > 0:08:43So the fact that they were paler colour

0:08:43 > 0:08:46just indicated that they could have been replaced.

0:08:46 > 0:08:49But, again, they could quite simply have been put away.

0:08:49 > 0:08:51Values? Do you have anything in mind?

0:08:51 > 0:08:53- Obviously, you know a lot about them.- Um...

0:08:53 > 0:08:57- I know what they cost me. - That's a good starting place.

0:08:57 > 0:08:59- What did they cost?- So, well...

0:08:59 > 0:09:02- I think this one was about 600-something.- OK.

0:09:02 > 0:09:04- This one, I think, was about 400-something.- Yeah.

0:09:04 > 0:09:08- Are you happy to put a 600 and a 400 reserve on them?- Yes.

0:09:08 > 0:09:12And put 4-5 on that. And 6-8 on that. Gives us a fighting chance.

0:09:12 > 0:09:13Right.

0:09:13 > 0:09:18But an Anita Manning's saleroom, research suggested

0:09:18 > 0:09:22there might be more to one of the guns than first appeared.

0:09:22 > 0:09:25When these two guns came in to auction,

0:09:25 > 0:09:32we look at them very carefully. The first one, everything seemed fine.

0:09:32 > 0:09:34When I looked at the second one...

0:09:36 > 0:09:39..I just got a feeling that it wasn't right.

0:09:39 > 0:09:41The handle was too fresh.

0:09:41 > 0:09:45The surface of the barrel just wasn't consistent with it

0:09:45 > 0:09:51being 150 years old. Guns can be a difficult area.

0:09:51 > 0:09:56You have firearms laws which you must comply with.

0:09:56 > 0:10:01So, we looked at that gun more carefully.

0:10:01 > 0:10:07- In the 1960s, they started making replicas in Italy.- Right, OK.

0:10:07 > 0:10:09Now, these weren't made to be fakes.

0:10:09 > 0:10:12They were meant to be replicas of the item.

0:10:12 > 0:10:17But the marks, the Italian serial marks could quite easily

0:10:17 > 0:10:22- be taken off...- And then re-stamped. - ..and fake marks put on.

0:10:22 > 0:10:28So you could turn a £60 replica into a £600 antique.

0:10:28 > 0:10:30'So, to be on the safe side,

0:10:30 > 0:10:33'the second gun was withdrawn from the sale.'

0:10:33 > 0:10:39I'm still not 100% sure that it was as wrong as it was said.

0:10:39 > 0:10:43But with guns, you have to be so careful.

0:10:43 > 0:10:48And I agree 100% with what Anita did by withdrawing it

0:10:48 > 0:10:53because if you have an element of doubt, then you must withdraw it.

0:10:53 > 0:10:58We have one in the sale. We're looking at £400-500.

0:10:58 > 0:11:01- Are you happy with that? - Yes, reasonably happy.

0:11:01 > 0:11:04- Hopefully, we'll get the top end. - Good.- That's what we want.

0:11:04 > 0:11:06Here we go.

0:11:06 > 0:11:09- Start at...£300.- Oh, I thought it was going to be more.

0:11:09 > 0:11:11300 with me. 320.

0:11:11 > 0:11:13350.

0:11:13 > 0:11:15380.

0:11:15 > 0:11:17400.

0:11:18 > 0:11:21420. 450.

0:11:21 > 0:11:22480.

0:11:22 > 0:11:24500.

0:11:25 > 0:11:30The bid's with me. The bid's on the books at £500.

0:11:30 > 0:11:34520, fresh bidder. 550 on the books.

0:11:34 > 0:11:38580. I'm out.

0:11:38 > 0:11:43It's on the floor. At £580.

0:11:43 > 0:11:46Could've belonged to Wild Bill Hickok!

0:11:46 > 0:11:50LAUGHTER

0:11:50 > 0:11:51Or Jesse James!

0:11:51 > 0:11:55580. Any advance on 580?

0:11:55 > 0:11:58All done at 580. 580.

0:11:58 > 0:12:02- Sold. £580. We're happy. You're happy, aren't you?- Yes, of course.

0:12:02 > 0:12:03Smiles all round.

0:12:04 > 0:12:09Do you know, I sell about 2,000 lots a week.

0:12:09 > 0:12:13Between us, we try and get most things right.

0:12:13 > 0:12:18But have we ever been fooled by a fake? Yeah, of course.

0:12:20 > 0:12:22It happens to the best of us, James!

0:12:23 > 0:12:26High-value items are often copied.

0:12:26 > 0:12:31Most copies aren't done to deceive but to fill a legitimate market.

0:12:31 > 0:12:36And these turn up at our valuation days in all shapes and sizes,

0:12:36 > 0:12:38as Mark Stacey discovered.

0:12:38 > 0:12:42It was my first Flog It! I had no idea what to expect.

0:12:42 > 0:12:47But I wasn't expecting such a large clock coming in, with its pedestal.

0:12:47 > 0:12:51It was a reproduction, but it had high visual appeal.

0:12:51 > 0:12:55This is a very decorative clock and pedestal you've brought in with you.

0:12:55 > 0:13:00- How did you come by this?- We bought it from a shop.- When was that?

0:13:00 > 0:13:05- About 42-3 years ago.- You know, of course, it's a reproduction.

0:13:05 > 0:13:10It's modelled in the style of Louis XVI, French, 18th century.

0:13:10 > 0:13:13But probably made around the time you bought it.

0:13:13 > 0:13:17'Probably one of the biggest reproduced areas is'

0:13:17 > 0:13:23Louis XV, XVI, even XIV, because they're very, very opulent pieces.

0:13:23 > 0:13:27And the originals cost many hundreds of thousands.

0:13:27 > 0:13:31So the style has been reproduced through generations.

0:13:31 > 0:13:34Even though it's a reproduction, we still have to look at the fact

0:13:34 > 0:13:39that the item is very decadent and should sell quite well at auction.

0:13:39 > 0:13:42- Oh, good.- And do you like French-type furniture?- Oh, yes!

0:13:42 > 0:13:45- You like the rather flouncy nature of it?- That's right, yes.

0:13:45 > 0:13:48- Cos it is rather flouncy, this, isn't it?- Yes.

0:13:48 > 0:13:53The original style of this, we refer to now as rococo. Typically French.

0:13:53 > 0:13:59Over the top. There's shells, there's scrolls, leaf scrollage,

0:13:59 > 0:14:01and probably would've been in tortoise shell.

0:14:01 > 0:14:06- Why are you thinking of selling it now?- We've moved to a smaller place.

0:14:06 > 0:14:10We had it in the hall and it tends to keep you awake,

0:14:10 > 0:14:13- so we switched the chimes off. - We shouldn't really do this,

0:14:13 > 0:14:16but wind it on a bit till two and we can have a quick listen.

0:14:16 > 0:14:19CLOCK CHIMES

0:14:19 > 0:14:21Well, a very pretty chime there.

0:14:21 > 0:14:24I've got a clock at home that keeps chiming

0:14:24 > 0:14:27and I turn the wretched thing off cos it wakes me up at night as well.

0:14:27 > 0:14:30But it's still a very decorative-looking clock.

0:14:30 > 0:14:33We'd be looking at an estimate of something like £400-600.

0:14:33 > 0:14:36- Yes.- Is that something you'd be interested in doing?

0:14:36 > 0:14:40- Yes, I would, yes.- And hope it makes a striking success at the sale!

0:14:40 > 0:14:42If you're a modest collector

0:14:42 > 0:14:47and you can't afford £200,000 for a Louis XVI clock,

0:14:47 > 0:14:52to pick one up for £300-400, £500-600, is in your budget.

0:14:52 > 0:14:55And it was a very visual clock, very decorative.

0:14:55 > 0:14:57What shall we say to start me, ladies and gentlemen?

0:14:57 > 0:15:00I have two commissions. I start the bidding at £300.

0:15:00 > 0:15:03- What does that mean?- The bid's left. - Straight in.- Oh!

0:15:03 > 0:15:05At 350. Do you have 360?

0:15:05 > 0:15:07At £350 with me.

0:15:07 > 0:15:10That was so short and sweet, but it was over with very quickly.

0:15:10 > 0:15:12Yeah, but it's good.

0:15:12 > 0:15:15- It's gone.- It's sold. I'm quite pleased with that, actually.

0:15:15 > 0:15:18It's a difficult thing to sell, a reproduction. It's not

0:15:18 > 0:15:21- everybody's cup of tea.- No, no. - And we got it over the reserve,

0:15:21 > 0:15:25- which was nice as well. - That's right. I'm pleased.

0:15:25 > 0:15:29When we talk about something like the Louis XVI period,

0:15:29 > 0:15:32you are talking about manufacturers that were

0:15:32 > 0:15:37producing for the King of France, so the quality is outstanding.

0:15:37 > 0:15:40The reproductions obviously are not going to be like that.

0:15:40 > 0:15:41You can get good reproductions.

0:15:41 > 0:15:44But they will never be like the originals

0:15:44 > 0:15:47and you cannot fake 200 years of age.

0:15:49 > 0:15:53Now, we've all heard of the violin maker Antonio Stradivari

0:15:53 > 0:15:56whose incredible craftsmanship in Cremona, Italy,

0:15:56 > 0:16:01in the 17th and 18th centuries, brought him wealth and fame.

0:16:01 > 0:16:05Since then, hundreds of violin makers have striven to

0:16:05 > 0:16:07emulate his work.

0:16:07 > 0:16:10Some more successfully than others.

0:16:10 > 0:16:13Fortunately, Flog It!'s musical expert, Adam Partridge,

0:16:13 > 0:16:15knows the difference.

0:16:15 > 0:16:18- Well, it belonged to my mother. - Right.

0:16:18 > 0:16:22It was bought for her when she was about 11, 12 years old.

0:16:22 > 0:16:24OK. Did she play, then?

0:16:24 > 0:16:27- I'm not sure. I've never heard her play it.- Really?

0:16:27 > 0:16:29- So you've never heard this violin played?- No.

0:16:29 > 0:16:31Now, I think this is...

0:16:31 > 0:16:35Well, we've got a label inside it, first of all,

0:16:35 > 0:16:41and the label reads Carlo Storioni, registered Cremonensis Faciet, about

0:16:41 > 0:16:461912, which basically means Carlo Storioni made this in Cremona,

0:16:46 > 0:16:49which is in Italy, of course, in 1912.

0:16:49 > 0:16:53And I'm not sure that's exactly the truth.

0:16:53 > 0:16:55I'm automatically suspicious any time

0:16:55 > 0:16:57I come across any violin with a label

0:16:57 > 0:17:00until I've had a good look at it and assessed whether I think it's

0:17:00 > 0:17:04actually by the label or not, cos there's so much jiggery-pokery

0:17:04 > 0:17:07going on in the violin trade over the centuries.

0:17:07 > 0:17:10Storioni was a family of violin makers dating

0:17:10 > 0:17:14back from the 18th century and they were Cremonese violin makers

0:17:14 > 0:17:17and it's generally accepted that the Cremonese or Cremona-based

0:17:17 > 0:17:20violin makers... It's the home of violin making.

0:17:20 > 0:17:22And they were the best violins.

0:17:22 > 0:17:25So lots of violins pretend to be from Cremona.

0:17:25 > 0:17:29We've sold a few of these Storioni violins that have in fact

0:17:29 > 0:17:30been German.

0:17:30 > 0:17:34There was an eminent maker by the name of Lorenzo Storioni,

0:17:34 > 0:17:36who died in 1799.

0:17:36 > 0:17:39So I think what they're trying to imply with this

0:17:39 > 0:17:42Carlo Storioni that we had here was that perhaps

0:17:42 > 0:17:45he was some connection with the great master, one of the great

0:17:45 > 0:17:49makers of the 18th century, where in fact, there's no connection at all.

0:17:49 > 0:17:53They're almost good enough to be taken as Italian and sometimes

0:17:53 > 0:17:56people think they are Italian and they make quite a good price.

0:17:56 > 0:17:59But I think this is a German example.

0:17:59 > 0:18:03'If my name's Thomas Muller, something typically German,'

0:18:03 > 0:18:08it doesn't sound that glamorous, but if it says Carlo Storioni, you think

0:18:08 > 0:18:12your violin's made by one of the Italian masters, whereas in reality,

0:18:12 > 0:18:15it's just a really decent-quality German workshop violin.

0:18:15 > 0:18:19We've got the table here, the front, which is made from pine.

0:18:19 > 0:18:20Very good condition.

0:18:20 > 0:18:24No cracks, which of course is vital, cos that affects the sound quality.

0:18:24 > 0:18:29And on the back, we have a two-piece back, down the middle there,

0:18:29 > 0:18:31which is made from maple.

0:18:31 > 0:18:34The date we know because that's correct,

0:18:34 > 0:18:36the date of the label, there's nothing wrong with that.

0:18:36 > 0:18:40Have you got any idea what an instrument like this might be worth?

0:18:40 > 0:18:46- None whatsoever.- None whatsoever? Not even a guess?- Not even a guess.

0:18:46 > 0:18:50Normally, we'd expect this sort of violin to realise £200-400

0:18:50 > 0:18:51at auction.

0:18:51 > 0:18:55And a reserve of £200. So it doesn't go for less than that.

0:18:55 > 0:18:59I'm convinced it's worth that. And it'll find its value in the sale.

0:18:59 > 0:19:03- What do you think of that? - Well, it's beyond my expectations.

0:19:03 > 0:19:07- Is it beyond...? I thought you were disappointed for a minute.- No! No!

0:19:07 > 0:19:11Georgina was a lovely lady and she was visibly moved, I think,

0:19:11 > 0:19:15by the valuation and the hammer price, and that's a real joy.

0:19:15 > 0:19:18That's what makes the job worthwhile.

0:19:18 > 0:19:21120. 140. 160.

0:19:21 > 0:19:24180. 200.

0:19:25 > 0:19:27220.

0:19:27 > 0:19:28240.

0:19:29 > 0:19:31260.

0:19:31 > 0:19:34260. 280.

0:19:34 > 0:19:37300. 320.

0:19:37 > 0:19:39Yeah, this is good.

0:19:39 > 0:19:41340. 360.

0:19:42 > 0:19:45380. 400.

0:19:46 > 0:19:49420. 450.

0:19:50 > 0:19:52480. 500.

0:19:53 > 0:19:54550.

0:19:54 > 0:20:00At 550, are we all done? On Tom's phone at £550.

0:20:00 > 0:20:03Bang - yes! 550 quid.

0:20:03 > 0:20:07- Thanks, Mum!- Thanks, Mum!- You didn't think it was worth that, did you?

0:20:07 > 0:20:09No, I didn't think we'd get anywhere near that.

0:20:09 > 0:20:12A wonderful result for Georgina.

0:20:12 > 0:20:15So here are a few things to bear in mind.

0:20:16 > 0:20:18If the Wild West appeals,

0:20:18 > 0:20:21my first suggestion wouldn't be firearms.

0:20:21 > 0:20:24Not only are there strict licensing laws,

0:20:24 > 0:20:28but the fakes on the market can be difficult to spot.

0:20:28 > 0:20:29And, as we've seen in the past,

0:20:29 > 0:20:33there are plenty other fascinating pieces of Americana to collect.

0:20:35 > 0:20:37Reproductions are worth considering -

0:20:37 > 0:20:39they're a good way of owning something in the style

0:20:39 > 0:20:42of a piece that would normally be out of your price bracket.

0:20:44 > 0:20:46And if it's a well-made quality reproduction,

0:20:46 > 0:20:49it can still make a pretty penny at auction,

0:20:49 > 0:20:51as Georgina discovered.

0:20:54 > 0:20:58A clever forger or faker will always manage to convince someone

0:20:58 > 0:21:00that he's looking at the real McCoy.

0:21:00 > 0:21:05So we asked the "Flog It!" team for some sage words of advice

0:21:05 > 0:21:07on how to avoid being taken in.

0:21:09 > 0:21:13These two items are both Staffordshire flatback figures.

0:21:13 > 0:21:16They look fairly similar at first glance.

0:21:16 > 0:21:19One is real and one is a fake.

0:21:19 > 0:21:22But can you tell the which one?

0:21:23 > 0:21:25This one is the fake.

0:21:25 > 0:21:29It has actually been deliberately made to look old.

0:21:29 > 0:21:34If you look closely at this, you'll see it's crazed all over

0:21:34 > 0:21:38and that's done to make it look old,

0:21:38 > 0:21:41so it's got far more crazing than the original piece.

0:21:41 > 0:21:47This original one can be top hundreds, I would say,

0:21:47 > 0:21:54whereas this can be bought in the UK now for £10 or less.

0:21:54 > 0:21:57Is this really a milk jug

0:21:57 > 0:22:00or might it have been something else?

0:22:00 > 0:22:05It is, in fact, a christening mug that has been converted.

0:22:05 > 0:22:10And it's been converted by the addition of this spout.

0:22:10 > 0:22:15What's particularly worrying is that the spout is not hallmarked,

0:22:15 > 0:22:18which means it's an illegal conversion

0:22:18 > 0:22:21and as an illegal conversion, we can't sell it.

0:22:21 > 0:22:25It's as simple as that. So it's valueless.

0:22:25 > 0:22:28If you spent £120 on something like this,

0:22:28 > 0:22:29you've lost your money.

0:22:29 > 0:22:32I think this is a lovely painting, actually,

0:22:32 > 0:22:35and it's signed LS Lowry, the signature looks good,

0:22:35 > 0:22:37the subject looks quite good, too.

0:22:37 > 0:22:41It's very much in his style, with thick layers of paint, etc.

0:22:41 > 0:22:46But I'm not convinced it's a genuine one, I'm afraid.

0:22:46 > 0:22:47One of the things with Lowry

0:22:47 > 0:22:50is you'll never really, fully know 100%,

0:22:50 > 0:22:52whether it's absolutely genuine

0:22:52 > 0:22:54unless you've got a cast-iron provenance

0:22:54 > 0:22:57linking it to Lowry himself.

0:22:57 > 0:23:02So, at the moment, it's "Style of LS Lowry", £500-£700,

0:23:02 > 0:23:05but if it was the real thing, and we could prove it,

0:23:05 > 0:23:08I'd have thought it would be £30,000-£50,000.

0:23:10 > 0:23:13This is, ostensibly, a little Georgian dessertspoon

0:23:13 > 0:23:15that dates to London 1790

0:23:15 > 0:23:17by the partnership of George Smith.

0:23:17 > 0:23:19And I bought it at an auction because I felt

0:23:19 > 0:23:23there was something just slightly...awry with the hallmark.

0:23:23 > 0:23:25When it came, I was delighted to find out

0:23:25 > 0:23:29that it's not actually a genuine Georgian spoon, but it's a fake.

0:23:29 > 0:23:31But it's not a modern fake.

0:23:31 > 0:23:35It was made by famous forgers at the late Victorian period

0:23:35 > 0:23:36Lyon and Twinam.

0:23:36 > 0:23:38Consequently, this,

0:23:38 > 0:23:42as a Victorian forgery of a Georgian spoon,

0:23:42 > 0:23:45is actually rarer than the Georgian spoon itself.

0:23:45 > 0:23:48I wouldn't legally be able to sell this.

0:23:48 > 0:23:50I can own it, that's fine.

0:23:50 > 0:23:52But if I wanted to sell it,

0:23:52 > 0:23:54I'd have to submit it to the Goldsmith's Hall,

0:23:54 > 0:23:56to the Antique Plate Committee.

0:23:56 > 0:23:57They'd consider it,

0:23:57 > 0:24:02they'd come to the conclusion that it's an 1890s forgery

0:24:02 > 0:24:03and they'd erase the marks here

0:24:03 > 0:24:07and either offer me the value of the silver on the day

0:24:07 > 0:24:09or return it to me, hallmarked, with modern marks.

0:24:09 > 0:24:13The sad thing is then, of course, you've lost the history of it.

0:24:16 > 0:24:19100 years ago, Kilburn in North Yorkshire

0:24:19 > 0:24:23was home to a man whose work regular Flog It! viewers will recognise.

0:24:23 > 0:24:27Thank you so much for coming in. You have made my day.

0:24:27 > 0:24:32It's a Robert "Mouseman" Thompson, little joint stool.

0:24:32 > 0:24:35Original pieces by Robert Thompson, the Mouseman,

0:24:35 > 0:24:37can command huge prices in the saleroom.

0:24:37 > 0:24:41But perhaps less well-known is the work of his apprentices,

0:24:41 > 0:24:44the so-called Yorkshire Critters.

0:24:49 > 0:24:51Flog It! expert Caroline Hawley

0:24:51 > 0:24:55had the pleasure of returning to her home county to find out more.

0:24:57 > 0:25:00The Yorkshire Critters are a bunch of craftsmen

0:25:00 > 0:25:03who make solid oak pieces of furniture

0:25:03 > 0:25:05all with their own individual critters on them.

0:25:05 > 0:25:09There's the Lizardman, the Rabbitman,

0:25:09 > 0:25:12the Gnomeman, the Wrenman, to name but a few.

0:25:12 > 0:25:15But they all hark back to the originator,

0:25:15 > 0:25:17which was Robert "Mouseman" Thompson,

0:25:17 > 0:25:18based in Kilburn.

0:25:18 > 0:25:21And I'm here today to see some of his furniture.

0:25:21 > 0:25:25I'm so thrilled to see it, as a Yorkshire lass, born and bred -

0:25:25 > 0:25:27there isn't a Yorkshireman worth his salt

0:25:27 > 0:25:29that hasn't heard of Mouseman.

0:25:32 > 0:25:35Robert "Mouseman" Thompson was born in 1876

0:25:35 > 0:25:40and dedicated his life to the art of making English oak furniture.

0:25:41 > 0:25:43Using traditional tools,

0:25:43 > 0:25:47he made furniture in the style of the 17th century.

0:25:47 > 0:25:50And it's his great-grandson, Ian Thompson-Cartwright,

0:25:50 > 0:25:54who's showing Caroline around today.

0:25:54 > 0:25:56This is where it all starts, with the raw material.

0:25:56 > 0:25:57Yes, it is.

0:25:57 > 0:26:03Those are our oak logs that have been purchased in the British Isles and...

0:26:03 > 0:26:05- You call that a log? - That is a log, yes.

0:26:05 > 0:26:08That particular one is about 300 years old.

0:26:08 > 0:26:12I'm going to take you to the workshop so we can see what happens next

0:26:12 > 0:26:15after we get our hands on the tree.

0:26:15 > 0:26:17- Thank you.- Come on.

0:26:27 > 0:26:29What we see here, Caroline,

0:26:29 > 0:26:32it's one of our Thompson traits, or Mouseman traits -

0:26:32 > 0:26:35it's the adzed surface on the tops of the tables.

0:26:35 > 0:26:39We create this with one of the oldest carpenters' tools in existence.

0:26:39 > 0:26:40It's called the adze.

0:26:40 > 0:26:43It's like an axe blade, but the blade is the other way on.

0:26:43 > 0:26:45What you get is a lot of undulations -

0:26:45 > 0:26:49it's almost like beaten copper or a honeycomb effect.

0:26:49 > 0:26:54After he's adzed it by hand, he'll then have to scrape it by hand

0:26:54 > 0:26:56and then, of course, it has to be sanded by hand.

0:26:56 > 0:26:58So very, very labour-intensive.

0:26:58 > 0:27:02How long would it take Dave to do a table this size?

0:27:02 > 0:27:05There would be about four hours in total, half a day,

0:27:05 > 0:27:07to adze and sand and scrape the top.

0:27:11 > 0:27:15So, Ian, how do you spot a genuine piece of Mouseman?

0:27:15 > 0:27:17- Are there signs that I can look for? - Yes, there are.

0:27:17 > 0:27:23We've been using certain designs for over 100 years.

0:27:23 > 0:27:25One of them is the octagonal leg -

0:27:25 > 0:27:29that shape has been used for literally over 100 years here.

0:27:29 > 0:27:32It was one of Great-Grandfather's early designs.

0:27:33 > 0:27:37It's timeless, really, isn't it? The methods you use and...

0:27:37 > 0:27:38It's very arts and craft.

0:27:56 > 0:27:59The most obvious way to tell any of our pieces of furniture

0:27:59 > 0:28:01is by the mouse trademark.

0:28:01 > 0:28:03Great-Grandfather was working on a piece of furniture

0:28:03 > 0:28:05with a fellow craftsmen

0:28:05 > 0:28:09and the fellow craftsman happened to mention he thought they were both as poor as church mice.

0:28:09 > 0:28:10He thought how alike he was -

0:28:10 > 0:28:13the church mouse is working away with its chisel-like teeth

0:28:13 > 0:28:15and no-one knows what it's up to.

0:28:15 > 0:28:18And here was he, working away on the edge of the Hambleton hills,

0:28:18 > 0:28:21and really not making a song and dance about it.

0:28:21 > 0:28:22So, consequently,

0:28:22 > 0:28:25the mouse has appeared on every piece of furniture ever since then.

0:28:25 > 0:28:31Adam is actually creating a mouse on the inside of a fruit bowl, here,

0:28:31 > 0:28:34and he's busy carving the ear at the moment.

0:28:34 > 0:28:36I thought Caroline would maybe like to put

0:28:36 > 0:28:41the indentation into the earlobe, there.

0:28:41 > 0:28:45Really?! Once it's been taken out, you can't put it back in!

0:28:45 > 0:28:49Oh, gosh - something's coming off! Oh, no!

0:28:51 > 0:28:54- This one's going to have big ears! - Yes, very big ears!

0:28:55 > 0:28:58- We have an ear. - Oh, wow - thank you!- No problem.

0:28:58 > 0:29:01- Adam will show you how we put the tail in as well.- Sure.

0:29:01 > 0:29:04One of the beauties of Mouseman things, to me,

0:29:04 > 0:29:06is that every mouse is unique.

0:29:08 > 0:29:11It's the same as asking 25 people to sign a signature -

0:29:11 > 0:29:13everybody's is going to be slightly different.

0:29:13 > 0:29:15The same with a mouse -

0:29:15 > 0:29:18it's their own interpretation of a mouse.

0:29:18 > 0:29:22So we can tell who's carved what by the style and shape of the mouse.

0:29:22 > 0:29:25Can you recognise your own mice, Adam, after you've done them?

0:29:25 > 0:29:27- Yeah, very easily.- Can you?

0:29:40 > 0:29:43As you can see, we've got a rather nice fireplace,

0:29:43 > 0:29:44which was Great-Grandfather's,

0:29:44 > 0:29:48but this particular mantelpiece he carved himself.

0:29:48 > 0:29:50Interesting to note the mice on here,

0:29:50 > 0:29:54which have got front legs with raised heads - very early mice.

0:29:54 > 0:29:57These are from the early '20s, because they were streamlined -

0:29:57 > 0:29:59we lost the legs in the later '20s.

0:29:59 > 0:30:02So it's a good way of dating early pieces of furniture.

0:30:02 > 0:30:06And the patternation on this oak is just gorgeous.

0:30:06 > 0:30:09Everybody that wants to come in wants to rub it.

0:30:09 > 0:30:11I've been thinking about the Yorkshire Critters,

0:30:11 > 0:30:15who actually imitate your great-grandfather's work -

0:30:15 > 0:30:18do you ever have people that deliberately, out-and-out,

0:30:18 > 0:30:21try and fake or imitate, copy?

0:30:21 > 0:30:22We have in the past.

0:30:22 > 0:30:28We had a case not too long ago where we had 250 cow stools

0:30:28 > 0:30:32that were made in China, brought back into the UK

0:30:32 > 0:30:34and then were distributed quite quickly

0:30:34 > 0:30:39and ended up being offered for sale on the internet

0:30:39 > 0:30:43- and through auction houses the length and breadth of the UK.- Gosh.

0:30:43 > 0:30:45We've got an example here that I'd like to show you -

0:30:45 > 0:30:47this is the genuine item.

0:30:47 > 0:30:51- Yeah.- This is a milking stool, our cow stool, with three legs.

0:30:51 > 0:30:54We never make a milking stool with a jointed top.

0:30:54 > 0:30:56- It's out of one solid piece.- Yes.

0:30:56 > 0:30:59- And obviously, the mouse is carved out of the sold as well.- Hm.

0:30:59 > 0:31:01But the ones that were coming in from China

0:31:01 > 0:31:04were made out of three and four pieces

0:31:04 > 0:31:06and the mice weren't carved by hand.

0:31:06 > 0:31:09They were actually carved on a CNC router.

0:31:09 > 0:31:12So without knowing what the original is like,

0:31:12 > 0:31:15seeing and handling the original,

0:31:15 > 0:31:19I'd presume the machine-made copy, at first glance,

0:31:19 > 0:31:22to an untrained eye, would have looked roughly all right.

0:31:22 > 0:31:24Well, I mean, we're in a fortunate position,

0:31:24 > 0:31:26because we can verify our own work.

0:31:26 > 0:31:30People can always send images in to us here at Kilburn

0:31:30 > 0:31:34and we'll verify the authenticity of the piece.

0:31:34 > 0:31:40Ian, thank you so much for today. I have enjoyed myself enormously

0:31:40 > 0:31:44and I really have learned an awful lot about Mouseman.

0:31:44 > 0:31:45I could stop here all night.

0:31:48 > 0:31:51The prices are really fascinating -

0:31:51 > 0:31:54it's just dependant on what type of critter

0:31:54 > 0:31:56is on your piece of furniture.

0:31:56 > 0:32:00There was a Mouseman dresser that made 3,500,

0:32:00 > 0:32:05but a dresser in the very same style, almost identical,

0:32:05 > 0:32:08but with a rabbit on, made £1,400.

0:32:08 > 0:32:10That's a huge difference in price,

0:32:10 > 0:32:13but it all harks back to the originator,

0:32:13 > 0:32:15Robert "Mousey" Thompson -

0:32:15 > 0:32:16that is the one to look for

0:32:16 > 0:32:19if you want the best and the most expensive.

0:32:19 > 0:32:23But they're all fascinating - wonderful field to collect.

0:32:30 > 0:32:34Still to come, we see what happens when an antique has been restored.

0:32:35 > 0:32:37I've got a bit of bad news for you.

0:32:37 > 0:32:41And we find out how to become restoration savvy.

0:32:41 > 0:32:44The best way of learning the lesson

0:32:44 > 0:32:46is to buy a piece that you think is perfect

0:32:46 > 0:32:48and you subsequently discover it's restored,

0:32:48 > 0:32:50cos you'll never forget that one.

0:32:50 > 0:32:54And discover what the bidders make of a recently restored heirloom.

0:32:54 > 0:32:56You're on the phone, you're out...

0:32:56 > 0:32:57The hammer's gone down - yes!

0:32:57 > 0:32:59Your husband had a good eye, didn't he?

0:33:04 > 0:33:05At our valuation days,

0:33:05 > 0:33:08the restoration we see is usually so good,

0:33:08 > 0:33:09you can barely spot it.

0:33:11 > 0:33:15Back in 2010, I took a trip to the foothills of Snowdonia

0:33:15 > 0:33:20to find out about a monumental restoration job everybody can see

0:33:20 > 0:33:22at Gwydir Castle -

0:33:22 > 0:33:24one of the finest Tudor houses in Wales.

0:33:28 > 0:33:31A house like this just echoes of the past.

0:33:31 > 0:33:33The walls permeate history.

0:33:33 > 0:33:36You can't help yourself - you want to touch them and soak it all up.

0:33:36 > 0:33:38It was once a fortified house.

0:33:38 > 0:33:42The castle was the ancestral home of the powerful Wynn baronets,

0:33:42 > 0:33:44a significant family in North Wales

0:33:44 > 0:33:47throughout the Tudor and Stewart period.

0:33:47 > 0:33:50Today, as you can see, the house has evolved over the centuries,

0:33:50 > 0:33:53but inside, it's full of character and charm and atmosphere -

0:33:53 > 0:33:56all the perfect ingredients for a fairy tale.

0:33:58 > 0:34:01This modern-day fairy tale started in 1994,

0:34:01 > 0:34:05when a young couple - Judy Corbett and Peter Welford -

0:34:05 > 0:34:06followed their dreams.

0:34:06 > 0:34:08Throwing caution to the wind, they bought Gwydir

0:34:08 > 0:34:10with the money they raised

0:34:10 > 0:34:13from the sale of an inherited cottage and a bank loan.

0:34:13 > 0:34:15It was totally dilapidated at the time -

0:34:15 > 0:34:18a crumbling ruin with a wild, overgrown garden.

0:34:19 > 0:34:22With the help of the Welsh Historic Monuments Agency,

0:34:22 > 0:34:26they started what will probably end up being their lifetime's work -

0:34:26 > 0:34:28its restoration.

0:34:30 > 0:34:33I'm going inside to catch up with Judy to find out all about it.

0:34:35 > 0:34:37What was it like when you first came here?

0:34:37 > 0:34:41Um...it was pretty derelict, yeah - roofless in parts,

0:34:41 > 0:34:43horses and chickens living in here.

0:34:43 > 0:34:45- Really? In this particular room? - Yes.

0:34:45 > 0:34:48Yes, it was really quite bad.

0:34:48 > 0:34:50Obviously, no plumbing or wiring to speak of.

0:34:50 > 0:34:53I had a walk around the grounds before I came in

0:34:53 > 0:34:55and they're beautifully landscaped now.

0:34:55 > 0:34:58Lots of formal plantings, lots of clipped yew and box -

0:34:58 > 0:34:59gradually, it's all coming back together.

0:35:03 > 0:35:05There's one particular tale I know you haven't mentioned yet

0:35:05 > 0:35:08and that's how you managed to do a bit of detective work

0:35:08 > 0:35:10on your dining room.

0:35:10 > 0:35:13Yes. A neighbour turned up with a sale catalogue...

0:35:13 > 0:35:19- Of the contents of this castle. - The contents of the castle from 1921.

0:35:19 > 0:35:22Basically, to cut a very long story short,

0:35:22 > 0:35:24it transpired that William Randolph Hearst,

0:35:24 > 0:35:27whom you'll know as Citizen Kane, in the famous film,

0:35:27 > 0:35:31had bought two rooms of the sale here in 1921.

0:35:31 > 0:35:34The rooms had been destined for San Simeon in California,

0:35:34 > 0:35:36the castle he was building for himself here.

0:35:36 > 0:35:39We started doing some detective work and, gradually,

0:35:39 > 0:35:43traced the room to the Metropolitan Museum in New York

0:35:43 > 0:35:45and that is where we found it.

0:35:45 > 0:35:47Was it on display, or was it just in storage?

0:35:47 > 0:35:51It was actually still in its packing crates from 1921.

0:35:51 > 0:35:54- They'd never done anything with it? - Never done anything with it.

0:35:54 > 0:35:56Were they pleased to sell it back to you?

0:35:56 > 0:35:59Well, it took us two years to negotiate with them.

0:35:59 > 0:36:01We went over to New York to see the room, in fact,

0:36:01 > 0:36:04and went to this extraordinary house in the Bronx.

0:36:04 > 0:36:06- This whole new world was opening up for you.- Yes.

0:36:06 > 0:36:09There, in the middle of it, was our panelled room,

0:36:09 > 0:36:12and they literally gave us a hammer and chisel, and said,

0:36:12 > 0:36:14"Go ahead and open the crates."

0:36:14 > 0:36:15And the most astonishing thing was,

0:36:15 > 0:36:19when we started opening the crates and saw this amazing room,

0:36:19 > 0:36:23it still smells of Gwydir, after all those years, 75 years.

0:36:23 > 0:36:25Only you know what that smell is, really.

0:36:25 > 0:36:28It moved us enormously, just to have that piece of..

0:36:28 > 0:36:30- Did you have a tear in your eye? - I did, I'm afraid.

0:36:30 > 0:36:31Can I have a look, do you mind?

0:36:31 > 0:36:33Yes. Here is...

0:36:33 > 0:36:36Of course, all the furniture, all the contents were sold.

0:36:36 > 0:36:39- All the contents went. - Why was there a big house sale?

0:36:39 > 0:36:42Hard to say - 1921, just after the war.

0:36:42 > 0:36:45Money was tight, no heir -

0:36:45 > 0:36:47same old story, it was happening all over Britain.

0:36:47 > 0:36:50- Was that the start, really, of the decline?- Yes.

0:36:50 > 0:36:53I mean, in Sir John Wynn's day, the estate was huge -

0:36:53 > 0:36:56the deer park alone was 36,000 acres.

0:36:56 > 0:36:57It was a massive estate.

0:36:59 > 0:37:04So this is lot 88, the remarkably fine 17th-century panelling.

0:37:04 > 0:37:06How much did it sell for back then?

0:37:06 > 0:37:08Ah, well, quite a lot of money, actually.

0:37:08 > 0:37:11Something like 1,000 guineas, which is a lot of money.

0:37:11 > 0:37:13But it attracted a lot of attention.

0:37:13 > 0:37:15Was it a puzzle, putting it back together?

0:37:15 > 0:37:17Or was it all carefully marked, joint-to-joint?

0:37:17 > 0:37:18Unfortunately not -

0:37:18 > 0:37:21that's why it made our job that much more difficult.

0:37:21 > 0:37:25It was very hard because they came in great big sheets of panelling and...

0:37:25 > 0:37:27There are very loose markings on the back,

0:37:27 > 0:37:30but we were really working from just the sale catalogue,

0:37:30 > 0:37:32these sepia photographs.

0:37:32 > 0:37:35Whilst we were working on the room, we hardly left the place for two years.

0:37:35 > 0:37:36It was that intense, really,

0:37:36 > 0:37:39just making sure everything went back together again.

0:37:39 > 0:37:40You really live and breathe this.

0:37:40 > 0:37:44Yes! We're very passionate about it and love it very much.

0:38:05 > 0:38:07Gosh, here we are.

0:38:07 > 0:38:11Wow. I love the carvings, I love the trailing ivy with the grapes.

0:38:11 > 0:38:15Yeah, they're very intricate and very elaborate.

0:38:15 > 0:38:17When was that carved? When was this made?

0:38:17 > 0:38:19Well, the panelling was made for this space

0:38:19 > 0:38:21in about 1640 for Sir Richard Wynn

0:38:21 > 0:38:25and then it's been embellished and played with a bit over the centuries,

0:38:25 > 0:38:26but really, yeah, 1640.

0:38:26 > 0:38:30Was the leather panelling part of the package out the crate as well?

0:38:30 > 0:38:33Yes, everything came back except the moveable furniture,

0:38:33 > 0:38:36so even the window shutters came back.

0:38:36 > 0:38:40And this leather frieze up here is actually quite important.

0:38:40 > 0:38:42When it came back from America, it was completely black.

0:38:42 > 0:38:44We took advice from the V&A

0:38:44 > 0:38:47and they said the best thing to clean it with is spit.

0:38:47 > 0:38:49So we spent six months, I'm afraid...

0:38:49 > 0:38:53And a lot of spit later, it now shines.

0:38:53 > 0:38:55But we both ended up with very bad sore throats at the end.

0:38:55 > 0:38:57What a wonderful tale.

0:38:57 > 0:38:59It's a great detective story, isn't it?

0:38:59 > 0:39:01Another little piece is that,

0:39:01 > 0:39:03if William Randolph Hearst hadn't bought this room,

0:39:03 > 0:39:05it would have burned in a fire the following year,

0:39:05 > 0:39:08so we're very grateful to him, also.

0:39:12 > 0:39:14To restore or not to restore?

0:39:14 > 0:39:16That's the quandary that presents itself

0:39:16 > 0:39:19to lovers of all antiques and collectables.

0:39:19 > 0:39:22Damage can detract from an item's appeal,

0:39:22 > 0:39:26yet it's true to say collectors prefer authenticity.

0:39:26 > 0:39:30Now, clearly, there are arguments for and against,

0:39:30 > 0:39:33so if you haven't quite yet made your mind up, maybe we can help.

0:39:39 > 0:39:41If you have a teapot, and the spout's broken,

0:39:41 > 0:39:44I wouldn't necessarily have the spout restored,

0:39:44 > 0:39:46just so you can sell the teapot,

0:39:46 > 0:39:48because you might find there is an imbalance

0:39:48 > 0:39:50between outlay and suitable income.

0:39:50 > 0:39:55Restoration is always acceptable.

0:39:55 > 0:39:57But, you have to mention

0:39:57 > 0:39:59that it's been done.

0:39:59 > 0:40:03The best way of learning the lesson is to buy a piece

0:40:03 > 0:40:07that you think is perfect and subsequently discover is restored.

0:40:07 > 0:40:08Cos you'll never forget that one.

0:40:10 > 0:40:13We see all types of restored items on Flog It!.

0:40:13 > 0:40:17For some, the restoration comes as an unwelcome surprise.

0:40:17 > 0:40:18In other cases,

0:40:18 > 0:40:22the objects have been lovingly restored by the people we meet.

0:40:22 > 0:40:25Claire Rawle had the pleasure of the latter at a valuation

0:40:25 > 0:40:28day in Hertfordshire.

0:40:28 > 0:40:31My husband bought it, we reckon, about 20 years ago, not quite sure,

0:40:31 > 0:40:36for scrap at an antique fair for £15.

0:40:36 > 0:40:40And then he took it to a local watchmaker man and he said,

0:40:40 > 0:40:41"It's worth repairing,"

0:40:41 > 0:40:46so we spent about £350, which seemed a lot of money then.

0:40:46 > 0:40:49So we'd be interested in knowing a bit more about it.

0:40:49 > 0:40:51Right. It's a lovely thing.

0:40:51 > 0:40:54This watch had been very, very sympathetically done.

0:40:54 > 0:40:58Basically, the restorer had restored the movement and made it work,

0:40:58 > 0:41:00which is what you expect them to do,

0:41:00 > 0:41:02but hadn't gone in for polishing and cleaning

0:41:02 > 0:41:07and tidying up of the dial and the hands, which spoils it completely.

0:41:07 > 0:41:10If you open it up, nice set of hallmarks inside,

0:41:10 > 0:41:13which gave you the date - 1838.

0:41:13 > 0:41:16The thing I really love is when you get into the back and you

0:41:16 > 0:41:21open this last cover, and there we have just the back of the movement.

0:41:21 > 0:41:24Beautifully made, quite understated, but you've got

0:41:24 > 0:41:29this nice engraved cog here, which covers the escapement inside.

0:41:29 > 0:41:33Most people that buy watches, don't expect them to be working.

0:41:33 > 0:41:36They'll either do it themselves or they get it done professionally.

0:41:36 > 0:41:39There are very few people that will ask, "Does it work?"

0:41:39 > 0:41:42The one thing they will ask is whether it ticks,

0:41:42 > 0:41:44because that means that the mainspring is still working.

0:41:44 > 0:41:48So, as long as that still goes, it's got more value.

0:41:48 > 0:41:50I think anybody who knows anything about chronometers would

0:41:50 > 0:41:53look at that and think, "That's really nice."

0:41:53 > 0:41:55£500-£600.

0:41:55 > 0:41:58- Oh, really?- Yeah, I think so.

0:41:58 > 0:42:02The more I look at it, the more I think it'll do very well.

0:42:02 > 0:42:06I think if you put a £500 reserve on it, fix it...

0:42:06 > 0:42:09- Right. Right.- Is that OK? - Yes, that's fine.

0:42:09 > 0:42:14Estimate £500-£600, and, yeah, I think it should go well.

0:42:14 > 0:42:17It was lovely that it was in working order.

0:42:17 > 0:42:20I think it probably put a little bit on but not a tremendous amount.

0:42:20 > 0:42:21It was a good watch anyway.

0:42:21 > 0:42:24This is where it gets interesting.

0:42:24 > 0:42:26This is the beauty of an auction - anything can happen!

0:42:26 > 0:42:28- Could have a big surprise. - Hopefully.

0:42:28 > 0:42:30There we are - lot 216.

0:42:30 > 0:42:32We ought to be close to 500 for this one.

0:42:32 > 0:42:34300 bid. Thank you, sir.

0:42:34 > 0:42:37300 I'm bid. 400, he says. 400 I am bid.

0:42:37 > 0:42:39500 we're bid for it.

0:42:39 > 0:42:40At 500.

0:42:40 > 0:42:42You're going well. Are you going to finish?

0:42:42 > 0:42:45At 500, then, I'm going to have to sell it.

0:42:45 > 0:42:47£500...

0:42:47 > 0:42:50- Thank you very much. - I'm happy with that £500.

0:42:50 > 0:42:52Yes, it's wonderful. From £15 it's not bad.

0:42:52 > 0:42:55Yes. And you got the money back from the repairs,

0:42:55 > 0:42:58and you've had all these years of enjoyment and use.

0:42:58 > 0:42:59Absolutely.

0:42:59 > 0:43:01I think you need to be very careful

0:43:01 > 0:43:03if you're thinking of restoring a pocket watch.

0:43:03 > 0:43:07An awful lot of them, actually, are not worth restoring because

0:43:07 > 0:43:11the cost of restoring is totally going to outweigh its value.

0:43:11 > 0:43:13Where you've got a nice one, then, yes,

0:43:13 > 0:43:15you want to think about having it restored.

0:43:17 > 0:43:19Less called-on for pocket watches,

0:43:19 > 0:43:22an area where restoration is more commonly seen,

0:43:22 > 0:43:27is with Royal Worcester china, which was established in 1751.

0:43:28 > 0:43:30Because of the pottery's vast output,

0:43:30 > 0:43:33and the popularity with collectors of this fragile porcelain,

0:43:33 > 0:43:35restored pieces often crop up.

0:43:36 > 0:43:39Some even have replacement parts.

0:43:39 > 0:43:41The trick is,

0:43:41 > 0:43:45as our own Worcester-born boy Philip Serrell knows, is spotting it.

0:43:45 > 0:43:48I just wanted to know if it was genuine, actually.

0:43:48 > 0:43:50Why do you want to know if it's genuine?

0:43:50 > 0:43:53We bought it from a national exhibition centre,

0:43:53 > 0:43:57and I liked it because of the roses - I'm a roses person,

0:43:57 > 0:44:00a pink person, and really fell in love with it.

0:44:00 > 0:44:03And after I'd bought it I just wondered if it was genuine.

0:44:03 > 0:44:07This is shape number 1286, and it's called a crown top potpourri.

0:44:07 > 0:44:11And it's got this dot system that started in 1891,

0:44:11 > 0:44:13and there are 16 dots there.

0:44:13 > 0:44:16So we can date this quite precisely to 1907.

0:44:16 > 0:44:19It just strikes me as being a little bit odd.

0:44:19 > 0:44:22Can you see this is like an ivory

0:44:22 > 0:44:25and what we call shot silk decoration in those intervals there?

0:44:25 > 0:44:28- Yes.- And yet there it's totally different.

0:44:28 > 0:44:30I have thought that myself...

0:44:30 > 0:44:34And I just wonder whether it may have been that this

0:44:34 > 0:44:38cover has been a replacement at some point in time.

0:44:38 > 0:44:42- Yes.- I think Pat was spot-on, really,

0:44:42 > 0:44:44and it goes back to this thing about trusting your eyes.

0:44:44 > 0:44:48If you look at that, you can see that the rim around the bottom

0:44:48 > 0:44:52of the top didn't quite match the rim around the base.

0:44:52 > 0:44:55That should tell you that, perhaps, something doesn't quite marry up.

0:44:55 > 0:44:57So I think she was spot-on with her instincts that top

0:44:57 > 0:44:59and bottom didn't quite match.

0:44:59 > 0:45:01How much did you pay for it?

0:45:01 > 0:45:03We think about 180.

0:45:03 > 0:45:05I think it will show you a profit on that,

0:45:05 > 0:45:09providing there's no restoration and everything's A-OK on that.

0:45:09 > 0:45:11My estimate for it would probably be £200-£400.

0:45:11 > 0:45:16I'd put a reserve on it of £200, on the basis that it's not restored.

0:45:16 > 0:45:18It looks very crisp around here - it looks OK,

0:45:18 > 0:45:20but it's difficult in these lights.

0:45:20 > 0:45:23If you're buying a perfect piece for a perfect price, that's fine.

0:45:23 > 0:45:27If you're buying a restored piece for a restored price, that's fine.

0:45:27 > 0:45:30What you don't want to be doing is buying a restored piece

0:45:30 > 0:45:31for a perfect price.

0:45:31 > 0:45:36And restoration can be that good that a dealer or an auctioneer

0:45:36 > 0:45:38just might not spot it.

0:45:38 > 0:45:40As you can imagine,

0:45:40 > 0:45:44we were all intrigued to see what the sale room made of Pat's vase.

0:45:44 > 0:45:48I've been all over this, top to toe, it's absolutely sound.

0:45:48 > 0:45:50There is not a problem at all.

0:45:50 > 0:45:51Is the cover right for the pot?

0:45:51 > 0:45:53That's where we fall down.

0:45:53 > 0:45:56It is, what we've termed in the catalogue, an associated cover.

0:45:56 > 0:46:00It has a marginal effect on the price, but not phenomenal,

0:46:00 > 0:46:03because, at the end of the day, these things are rare.

0:46:03 > 0:46:06These are very expensive and also, for anyone out there,

0:46:06 > 0:46:08if you've got a smashed pot and got the cover,

0:46:08 > 0:46:11don't sling it out, because people are desperate to buy the covers -

0:46:11 > 0:46:14these are often the first thing that gets broken.

0:46:14 > 0:46:16- We're going to sell, no problem. - Going to sell it?

0:46:16 > 0:46:19Oh, yeah. It's just that cover that's just going to hold it back.

0:46:19 > 0:46:22But did the Royal Worcester collectors agree?

0:46:22 > 0:46:25- I open at £450.- Yes!

0:46:25 > 0:46:28£450 on a maiden bid clears everybody else.

0:46:28 > 0:46:29I've got 450 on my right.

0:46:29 > 0:46:31Do I hear 460 in the room?

0:46:32 > 0:46:36It's on a commission bid then - opening and closing at £450.

0:46:36 > 0:46:38All sure? All done?

0:46:39 > 0:46:42Hammer's gone down. Short and sweet - £450.

0:46:43 > 0:46:46Great result - top end of Philip's estimate.

0:46:47 > 0:46:50Although the lid wasn't a perfect match,

0:46:50 > 0:46:54the fragile nature of Royal Worcester means associated covers

0:46:54 > 0:46:56are more accepted by collectors.

0:46:56 > 0:46:59However, if you want to avoid a restored piece,

0:46:59 > 0:47:01Philip has a top tip.

0:47:01 > 0:47:05If you go to an antique fair or you go to an auction room

0:47:05 > 0:47:10and you see people picking up pieces of porcelain and biting it,

0:47:10 > 0:47:11they're checking for restoration.

0:47:11 > 0:47:14Now, if a pot has been restored and you bite into it,

0:47:14 > 0:47:16it's just like biting into soap

0:47:16 > 0:47:20and you almost feel like it's going to come away in your mouth.

0:47:20 > 0:47:23If you bite onto a piece that's not been restored,

0:47:23 > 0:47:25it's like biting on a piece of glass, it's really quite hard.

0:47:25 > 0:47:28That's a way of looking for restoration.

0:47:28 > 0:47:31But of course, in the world of ceramics, other big

0:47:31 > 0:47:36names like Moorcroft also have a low threshold for bumps and scrapes.

0:47:37 > 0:47:40The joy of Moorcroft is it's fairly easy to restore,

0:47:40 > 0:47:44because a lot of the ground colours are very plain.

0:47:44 > 0:47:47So you can get a big chunk out and it's just blue.

0:47:47 > 0:47:51So to restore a lot of Moorcroft is very easy.

0:47:51 > 0:47:55And the financial benefits are really good.

0:47:55 > 0:47:57Easily-disguised restoration,

0:47:57 > 0:48:00though, can come as a bit of a shock,

0:48:00 > 0:48:05as Jim and Betty found out in 2010, with their Moorcroft trinket dish.

0:48:05 > 0:48:08Thank you so much for bringing this little trinket dish along.

0:48:08 > 0:48:12Now, you must know a little bit about it if you watch Flog It!.

0:48:12 > 0:48:15I think it might be 1930s.

0:48:15 > 0:48:18Absolutely spot-on. And do you know the name of the pattern?

0:48:20 > 0:48:24- Not really. Is it Mushroom...? - Nearly! No, Mushroom is Claremont.

0:48:24 > 0:48:26This is Hazeldene.

0:48:26 > 0:48:28It's very similar.

0:48:28 > 0:48:31If we turn it over, there we've got the "made in England",

0:48:31 > 0:48:34which tells you it's made after 1925.

0:48:34 > 0:48:36"Potter to HM The Queen."

0:48:36 > 0:48:39So that would have been Queen Mary.

0:48:39 > 0:48:42And the W Moorcroft facsimile signature there.

0:48:42 > 0:48:46So, a little dish that is very sought-after at auction.

0:48:46 > 0:48:48I love this Hazeldene pattern,

0:48:48 > 0:48:50especially with the sunset-red ground to it.

0:48:56 > 0:48:58I've got a bit of bad news for you.

0:48:59 > 0:49:02It's been restored at some stage.

0:49:04 > 0:49:08Sorry to be the bearer of bad news but it has been done.

0:49:08 > 0:49:10It looks like a 15 or 20-year-old restoration -

0:49:10 > 0:49:12it's starting to show through.

0:49:12 > 0:49:14When restoration's done when it's brand-new,

0:49:14 > 0:49:16it's very difficult to tell.

0:49:16 > 0:49:19The restoration fades and it doesn't last,

0:49:19 > 0:49:21so you might think you've restored something

0:49:21 > 0:49:26and spent £100 restoring it for ever, it's not the case.

0:49:26 > 0:49:30The restoration will come back and it will change in time,

0:49:30 > 0:49:32so you'll have to do it again.

0:49:32 > 0:49:35- Is it a family piece?- No. - Where'd you find that?

0:49:35 > 0:49:39- Well, where did we pick that up, Jim? - At a boot sale.

0:49:39 > 0:49:42- How much did you pay for it?- £2.

0:49:42 > 0:49:47Well, for £2, you know, it's still a great buy at £2.

0:49:47 > 0:49:54If it had been perfect, I think your £2 would have transformed into £200.

0:49:55 > 0:49:59With the restoration, you've still made a really good investment,

0:49:59 > 0:50:02cos I still think it's going to make 60-100.

0:50:02 > 0:50:05- Brilliant, eh? - That's still all right, isn't it?

0:50:05 > 0:50:07- That's more than I thought initially, you know.- Great.

0:50:07 > 0:50:09Just thought it was just a wee dish.

0:50:09 > 0:50:13Well, it is a wee dish, but it's a great wee dish.

0:50:13 > 0:50:15If you've got a rare piece of Moorcroft,

0:50:15 > 0:50:19and you can't afford 5,000 for the perfect one, you can

0:50:19 > 0:50:22sell it for 2,000 and get one that's damaged.

0:50:22 > 0:50:27But because Moorcroft is so easy to restore, it will look fabulous.

0:50:27 > 0:50:31And the potential to make restored Moorcroft look as good as new

0:50:31 > 0:50:34might explain what unfolded in the sale room.

0:50:36 > 0:50:40The very nice Moorcroft flambe-designed pin tray.

0:50:40 > 0:50:42And I've two very close bids...

0:50:43 > 0:50:45I'm going to start it at £210.

0:50:45 > 0:50:48210. 210. 210.

0:50:48 > 0:50:49210.

0:50:49 > 0:50:50220.

0:50:51 > 0:50:54240.

0:50:54 > 0:50:55260.

0:50:55 > 0:50:57280.

0:50:57 > 0:50:59300. 320.

0:51:00 > 0:51:0120 against you.

0:51:06 > 0:51:08340.

0:51:09 > 0:51:10360.

0:51:10 > 0:51:12- 360!- 380.

0:51:14 > 0:51:15400.

0:51:17 > 0:51:19420.

0:51:19 > 0:51:21440.

0:51:24 > 0:51:26440.

0:51:26 > 0:51:27Anyone else want in...?

0:51:27 > 0:51:29£440!

0:51:30 > 0:51:33At £440!

0:51:33 > 0:51:35Who'd have believed that!

0:51:35 > 0:51:37£440!

0:51:37 > 0:51:40We keep saying it's a rollercoaster ride of emotions

0:51:40 > 0:51:44here in the auction room - you just don't know what's going to happen.

0:51:44 > 0:51:46We keep saying it's not an exact science.

0:51:46 > 0:51:47Damaged - yes, it was it.

0:51:49 > 0:51:52But did the bidders on the phone care? Clearly not!

0:51:52 > 0:51:54When two people really want something,

0:51:54 > 0:51:58you can't predict the result.

0:51:58 > 0:52:03Now, in 2012, an elderly woman in Spain took the art world by storm,

0:52:03 > 0:52:05when she popped into her local church

0:52:05 > 0:52:08and tried to restore a century-old fresco.

0:52:09 > 0:52:12That was an obvious case of what not to do!

0:52:12 > 0:52:13But botch job aside,

0:52:13 > 0:52:17even professional restoration of artwork can be controversial.

0:52:18 > 0:52:21In Brian and Maria's case, the jury's still out.

0:52:23 > 0:52:27- It was passed to my father from his uncle.- Right.

0:52:27 > 0:52:29So it's been in the family quite a few years.

0:52:29 > 0:52:31Father passed away in October.

0:52:31 > 0:52:36Before that, it was always his wish to take the family abroad.

0:52:36 > 0:52:40So it's passing the legacy down to try and use this as our leverage to,

0:52:40 > 0:52:43- hopefully, get abroad. - Oh, that's a lovely thing to do.

0:52:43 > 0:52:46I'm sure he'd have approved of that.

0:52:46 > 0:52:49- Yeah.- Up until recently, you couldn't see much of the picture,

0:52:49 > 0:52:53and we had it restored round Christmas time,

0:52:53 > 0:52:55so you can actually see the detail.

0:52:55 > 0:52:58I mean, you can virtually see the people at the front of the boat.

0:52:58 > 0:52:59My first thought was,

0:52:59 > 0:53:03"If they have so recently spent good money having it restored,

0:53:03 > 0:53:07"is there a hope they can reclaim that,

0:53:07 > 0:53:09"over and above the value of the picture?"

0:53:09 > 0:53:14And sometimes, people are caught out by believing that every time they

0:53:14 > 0:53:17spend on restoration or conservation, it will automatically

0:53:17 > 0:53:22add value to the hammer price in the case of the auction.

0:53:22 > 0:53:24That isn't always the case.

0:53:24 > 0:53:27I would say, as a general rule, I would advise against that.

0:53:27 > 0:53:30If you're going to sell something, what people like to see is

0:53:30 > 0:53:34something that looks like it's been hanging on a fireplace for 20 years.

0:53:34 > 0:53:38- OK.- I'll start off on a negative but that would be the general advice.

0:53:38 > 0:53:40Having said that, it does, as you say,

0:53:40 > 0:53:44reveal what a strong image that is, and walking towards it,

0:53:44 > 0:53:48it really stands out as being a lovely composition.

0:53:48 > 0:53:53It was a good image, lots of interest,

0:53:53 > 0:54:00well placed on the canvas, so it was a lovely painting in its own right.

0:54:00 > 0:54:02The signature is not an easy one to read.

0:54:02 > 0:54:04You don't know anything about the artist?

0:54:04 > 0:54:06- Nothing at all. - No. Nothing.

0:54:06 > 0:54:09I think it's by one of the Grebe family,

0:54:09 > 0:54:12and certainly, stylistically, it looks very much

0:54:12 > 0:54:15late 19th-century Dutch school - it is very much of that ilk.

0:54:15 > 0:54:19Standing where I'm standing now, I can see the restoration.

0:54:19 > 0:54:23I can see the patch here and I'm not meaning to be too negative,

0:54:23 > 0:54:25but just realistic.

0:54:25 > 0:54:28It was quite a textured finish to the artwork,

0:54:28 > 0:54:32but the restoration interrupted that - it looked thicker

0:54:32 > 0:54:35and it looked wrong and it had a sort of sheen to it,

0:54:35 > 0:54:37which was different to the rest of the painting.

0:54:37 > 0:54:39I think we have to be realistic.

0:54:39 > 0:54:43I think we've got to look at it as being 200-400, 300-500.

0:54:43 > 0:54:46It may well be that I'm being too pessimistic about it,

0:54:46 > 0:54:50but if you're happy to bracket it in that region, and I think then you've

0:54:50 > 0:54:55got your holiday almost booked and everything else is a bonus.

0:54:55 > 0:54:56- Yeah, sure.- Does that make sense?

0:54:56 > 0:54:58- Yes.- Yes. Yes.

0:54:58 > 0:55:02Having already spent £300 on restoration,

0:55:02 > 0:55:06they needed the painting to make at least the top of that estimate.

0:55:06 > 0:55:09So did Brian and Maria get the holiday they wanted?

0:55:09 > 0:55:11320 on the net.

0:55:11 > 0:55:12340.

0:55:12 > 0:55:14360? I've got 340 on the net.

0:55:14 > 0:55:16340 in the UK. At 340.

0:55:16 > 0:55:17360 in Holland.

0:55:17 > 0:55:18380.

0:55:18 > 0:55:20At 380...

0:55:20 > 0:55:21Could be going back to Holland.

0:55:21 > 0:55:23£400 bid.

0:55:23 > 0:55:26At 400. 420 now.

0:55:26 > 0:55:28Net has it at £400.

0:55:28 > 0:55:29We'll go to the telephones next, then.

0:55:29 > 0:55:32420. 440. 460.

0:55:32 > 0:55:34460 anyone? 460.

0:55:34 > 0:55:36480. 500.

0:55:36 > 0:55:41£500 anyone? 500 on the telephone. 550 on the net.

0:55:41 > 0:55:43Incredible - there's a battle between

0:55:43 > 0:55:45the telephone and the internet.

0:55:45 > 0:55:47Six on the telephones. 600 bid.

0:55:47 > 0:55:49600. 650 now.

0:55:49 > 0:55:51650. 700 now, may I say?

0:55:51 > 0:55:53£700 surely? 700 on the phone.

0:55:53 > 0:55:55Hear that?! £700!

0:55:55 > 0:55:57800 now do I see?

0:55:57 > 0:55:58Who's coming in first at 800?

0:55:58 > 0:56:01I have 750 - commission bid has it.

0:56:01 > 0:56:02800 on the telephones.

0:56:02 > 0:56:04At 800 bid. 850 now?

0:56:04 > 0:56:07- Telephone bid coming in...?- Wow!

0:56:07 > 0:56:08No! At 850 on the net.

0:56:08 > 0:56:101,000 now do I see?

0:56:10 > 0:56:12950 bid.

0:56:12 > 0:56:13He's working this very well.

0:56:13 > 0:56:15Yes, it's brilliant.

0:56:15 > 0:56:181,000 on the telephone. Any more bids now? 1,100.

0:56:18 > 0:56:2012?

0:56:20 > 0:56:22Do I see 1,200? I do. 1,300 now?

0:56:22 > 0:56:24It's not unlucky, you know.

0:56:24 > 0:56:26- Someone's going home with a lot of money!- Yes.

0:56:26 > 0:56:27Don't bid.

0:56:27 > 0:56:291,300 bid. Thank you.

0:56:29 > 0:56:311,400 now?

0:56:31 > 0:56:34Do I see 1,400? 15 now surely? 15?

0:56:34 > 0:56:361,500 may I say now?

0:56:36 > 0:56:37You know you need it.

0:56:39 > 0:56:40At 1,400 then.

0:56:40 > 0:56:42At £1,400, we're on the phone.

0:56:42 > 0:56:44You're out on the net, out in the room.

0:56:44 > 0:56:47- Last call then. - £1,400!- Selling at £1,400...

0:56:47 > 0:56:49The hammer's gone down.

0:56:49 > 0:56:51Your husband had a good eye, didn't he?!

0:56:51 > 0:56:53He liked that. He saw the value in that.

0:56:53 > 0:56:55He did like it, yeah.

0:56:55 > 0:56:58That is marvellous - your first auction, £1,400.

0:56:59 > 0:57:02I was so excited when there was so much interest about that

0:57:02 > 0:57:04painting, because I did like that painting -

0:57:04 > 0:57:06it was a very strong, dynamic picture.

0:57:08 > 0:57:10I was delighted. It obviously went

0:57:10 > 0:57:12to a good home and I'm really pleased.

0:57:12 > 0:57:15Well, that result was due, in no small part,

0:57:15 > 0:57:18to some excellent marketing by the auction room.

0:57:18 > 0:57:20The painting by the Grebe even attracted bidders

0:57:20 > 0:57:23from its homeland, the Netherlands.

0:57:23 > 0:57:26The question is, would Brian and Maria's painting have fetched

0:57:26 > 0:57:30even more money if it hadn't been restored?

0:57:30 > 0:57:33Well, we'll never know.

0:57:33 > 0:57:35Now, here are a few things to consider

0:57:35 > 0:57:38if you are thinking about restoration.

0:57:40 > 0:57:44The decision on whether to restore, often comes down to taste.

0:57:44 > 0:57:45If you're keeping a piece,

0:57:45 > 0:57:48it needs to be aesthetically pleasing to you.

0:57:48 > 0:57:51And sometimes, that means conservation is necessary.

0:57:52 > 0:57:55But bear in mind, restoration is not a cheap job.

0:57:55 > 0:57:58It's an investment in its own right.

0:57:59 > 0:58:02And if you're planning to sell, think carefully,

0:58:02 > 0:58:06cos that outlay may not necessarily be returned at the auction.

0:58:08 > 0:58:11Fortunately, the Grebe painting hit the market at the right time,

0:58:11 > 0:58:13and attracted international interest.

0:58:15 > 0:58:18Which meant Brian and Maria got that long-planned holiday.

0:58:20 > 0:58:23They took the whole family to Ibiza, and had a fantastic time.

0:58:23 > 0:58:26And that's what I call a result.

0:58:27 > 0:58:29Well, that's it for today's show.

0:58:29 > 0:58:31I hope you've enjoyed it, so get out there,

0:58:31 > 0:58:34get buying and have some fun with antiques.

0:58:34 > 0:58:37Join us again soon for more trade secrets.