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Welcome to "Flog It!" - where you can turn antiques into cash! | 0:00:02 | 0:00:05 | |
You get a real thrill when you see your items up for auction | 0:00:35 | 0:00:40 | |
and selling for a profit. That's what happens next - we hope! | 0:00:40 | 0:00:44 | |
Our valuation experts value hundreds of items and pick a few to be put forward to be sold. | 0:00:44 | 0:00:52 | |
Our owners don't always get what they bargained for! | 0:00:52 | 0:00:57 | |
Later, we'll ride the peaks and troughs of the auction. | 0:00:57 | 0:01:01 | |
Feeling nervous? Yes, very now. | 0:01:01 | 0:01:04 | |
How are you feeling? A bit appr... | 0:01:04 | 0:01:08 | |
Scraping them through? Yes, they're not flying! Slightly disappointing. | 0:01:08 | 0:01:13 | |
I can never see who's bidding. | 0:01:13 | 0:01:16 | |
Here we go. Fingers crossed. Fingers crossed! | 0:01:16 | 0:01:21 | |
First, let's see what goodies the public brought along to our valuation room in Torquay. | 0:01:26 | 0:01:32 | |
Our experts can't wait to see what the owners want to sell. | 0:01:32 | 0:01:37 | |
Under the spotlight today, David Barby, whose love of antiques started when he was a wee lad of 12. | 0:01:39 | 0:01:46 | |
Well, Torquay's such a lovely area. | 0:01:46 | 0:01:49 | |
A lot of retirement homes, so, hopefully, some colonial furniture. | 0:01:49 | 0:01:54 | |
He'll be fighting over the pots today as fellow expert Thomas Plant is also keen on ceramics, | 0:01:54 | 0:02:01 | |
particularly from the 20th century. | 0:02:01 | 0:02:04 | |
Torquay has quite a good history of ceramics - | 0:02:04 | 0:02:08 | |
Torquayware, Lemon and Crute and many others. | 0:02:08 | 0:02:12 | |
One factory I'd like to see is Watcombe. I'm a great fan of one designer - Christopher Dresser. | 0:02:12 | 0:02:18 | |
If that comes in, I'll be happy! | 0:02:18 | 0:02:21 | |
No time to lose, and the experts are not alone in dying to see what people have brought along. | 0:02:21 | 0:02:28 | |
Lovely. How long have you had that? Years. Years? | 0:02:28 | 0:02:33 | |
I don't know how old it is. 1840, so it's middle of the 19th century. | 0:02:33 | 0:02:38 | |
David Barby will look it up. | 0:02:38 | 0:02:41 | |
This is what I would expect to find in Torquay. | 0:02:44 | 0:02:48 | |
There are four of these? Yes. These are affluent chairs, posh chairs. | 0:02:48 | 0:02:53 | |
Where do they come from? They came from Manchester. | 0:02:53 | 0:02:58 | |
They belonged to my husband's father and he inherited them | 0:02:58 | 0:03:03 | |
and saved them from an auction room many years ago... | 0:03:03 | 0:03:08 | |
and they've just been in our family ever since. That was very astute. | 0:03:08 | 0:03:14 | |
This chair dates from around about 1860-70, | 0:03:14 | 0:03:18 | |
and it's what we term classical Victorian furniture, | 0:03:18 | 0:03:22 | |
particularly with the ebony decoration on this gilt lining, | 0:03:22 | 0:03:26 | |
and then this very attractive Amboina wood inlay. | 0:03:26 | 0:03:32 | |
This is a veneer. It was expensive, so rarely do you find large pieces of furniture covered in Amboina. | 0:03:32 | 0:03:39 | |
If you do, they're very expensive. | 0:03:39 | 0:03:41 | |
I also like this little roundel at the top here which is the Wedgwood roundel. | 0:03:41 | 0:03:48 | |
They're pretty. Very, very pretty. | 0:03:48 | 0:03:50 | |
Will you regret selling these? Very much so. Why are you selling? | 0:03:50 | 0:03:55 | |
I'm going to have to move... You're downsizing? Downsizing, yes. | 0:03:55 | 0:04:00 | |
It's a nice term. You think so? Consolidating. Right... | 0:04:00 | 0:04:05 | |
I'm going to put a price of about £350-£500. We're looking at about £100-£120 a chair. | 0:04:05 | 0:04:13 | |
I think around about £400. | 0:04:13 | 0:04:15 | |
If you're happy with that price, we'll put them up and hope to get more. | 0:04:15 | 0:04:21 | |
I feel I've got to do something. It's worried me for a long time, | 0:04:21 | 0:04:27 | |
knowing that I'd have to downsize... We'll relieve you of that worry. OK. | 0:04:27 | 0:04:32 | |
Lesley, today, you've brought with you a Della Robbia bowl. | 0:04:39 | 0:04:44 | |
Yes. And there's an interesting story? | 0:04:44 | 0:04:47 | |
I found it about ten years ago at a boot sale, the usual thing, | 0:04:47 | 0:04:53 | |
and I'd seen a dealer I knew look at it and put it down again. | 0:04:53 | 0:04:58 | |
I went over and, for once in my life, I recognised a mark on the back. | 0:04:58 | 0:05:04 | |
I'd just been reading about it. What did you recognise? The Della Robbia mark, the sail and the boat. | 0:05:04 | 0:05:08 | |
What did you pay for it? 75p. | 0:05:08 | 0:05:13 | |
75p? When you bought it for 75p, did you haggle? | 0:05:13 | 0:05:19 | |
I did not haggle! I wanted it as soon as possible! | 0:05:19 | 0:05:23 | |
You snatched it away? Yes! Sometimes you think, "Should I haggle?" Obviously, you knew what it was. | 0:05:23 | 0:05:30 | |
I did. Ten years ago. I was overjoyed. When I was looking at it, I looked at the mark here. | 0:05:30 | 0:05:38 | |
The Della Robbia mark, the ship and the sail with DR and the LW across it. | 0:05:38 | 0:05:44 | |
I looked in Godden's and they didn't have the Della Robbia mark. | 0:05:44 | 0:05:50 | |
Here's the Della Robbia mark, DR, the ship, the sail. | 0:05:50 | 0:05:54 | |
Now in Godden's, my bible, there's no sail. | 0:05:54 | 0:05:58 | |
However, on the top, there's LW for Lisa Wilkins. | 0:05:58 | 0:06:03 | |
In this little book here by JP Cushion, | 0:06:03 | 0:06:07 | |
I have the Della Robbia mark with the sail, so I feel better about it. | 0:06:07 | 0:06:12 | |
It looks nicer with the sail. | 0:06:12 | 0:06:14 | |
So we're 100% sure what it is. Ten years ago, you looked in Miller's? | 0:06:14 | 0:06:20 | |
At the time I got it, I looked it up and something similar was £80-£100, | 0:06:20 | 0:06:26 | |
but I know it's damaged a little. Yeah. | 0:06:26 | 0:06:29 | |
Which will affect its value. I think at auction today | 0:06:29 | 0:06:34 | |
that would make £120-£150. Are you willing to sell it? | 0:06:34 | 0:06:38 | |
I am now. I've had it for a while, so... Brilliant! | 0:06:38 | 0:06:41 | |
Have you been waiting long? About quarter of an hour. | 0:06:41 | 0:06:45 | |
Is that heavy? No. What's in it? Aha! A surprise! | 0:06:45 | 0:06:49 | |
China. We can't ask you to open that. Yes, you can. Let's see one, then! Unwrap that one. | 0:06:49 | 0:06:56 | |
It's like Christmas. | 0:06:56 | 0:06:58 | |
Nearly dropped it! | 0:06:58 | 0:07:01 | |
Bit of Irish pottery. | 0:07:02 | 0:07:04 | |
Irish porcelain pottery. Lovely! The complete tea set. | 0:07:04 | 0:07:08 | |
You didn't bring it all? Yeah, it's all there. | 0:07:08 | 0:07:12 | |
Well, I never! | 0:07:12 | 0:07:15 | |
I love that crackle... It's nice, innit? It ages nice. | 0:07:18 | 0:07:23 | |
I took a fancy to it and bought it. Where did you get it? | 0:07:23 | 0:07:27 | |
In Ireland. How long ago? | 0:07:27 | 0:07:30 | |
Oh...about 12 years... | 0:07:30 | 0:07:33 | |
10 years ago. I was living over there. | 0:07:33 | 0:07:36 | |
I went to one of these sort of small-town markets... Yeah? | 0:07:36 | 0:07:42 | |
..Auction rooms, looking for something I wanted and found this. | 0:07:42 | 0:07:48 | |
It's a liqueur set that my mother gave to my husband just before she died last year. | 0:07:52 | 0:08:00 | |
We brought it along because we've seen this behind the Queen on one of her speeches on Christmas Day. | 0:08:00 | 0:08:08 | |
The same one? It seemed like it. Wow! It's fantastic! | 0:08:08 | 0:08:13 | |
Do you know what date it is? No, I don't. It's about 1920. | 0:08:13 | 0:08:18 | |
It's Art Deco style - you've heard of Art Deco. | 0:08:18 | 0:08:23 | |
When the lights hit it, you've got here, on the decanter, | 0:08:23 | 0:08:28 | |
it brings out this decoration of grape and vine. | 0:08:28 | 0:08:32 | |
It looks good against the citrine-coloured glass. | 0:08:32 | 0:08:37 | |
You usually see a narrow stopper, but this has a big one. | 0:08:37 | 0:08:41 | |
It's rather smart. | 0:08:41 | 0:08:43 | |
Very attractive. | 0:08:43 | 0:08:46 | |
It's really a sumptuous, well-made, quality item. | 0:08:46 | 0:08:51 | |
Do you like it? No, it's not something I would buy. | 0:08:51 | 0:08:57 | |
You wouldn't spend money on it? No. But my husband liked it! | 0:08:57 | 0:09:02 | |
Do you know what's it's worth? No. | 0:09:02 | 0:09:04 | |
Something like this, at auction, would make £400-£500. | 0:09:04 | 0:09:08 | |
Right. Did you expect that? Not really. Not really? | 0:09:10 | 0:09:15 | |
If you're happy to sell that, we'll put it in for you. | 0:09:15 | 0:09:19 | |
Yes, I think so, because then somebody that buys it will buy it because they want it. Exactly. | 0:09:19 | 0:09:26 | |
You either love or hate Poole. I love Poole, but I'm not sure of this design. | 0:09:26 | 0:09:33 | |
It looks a little like Art Nouveau, but not real Art Nouveau. | 0:09:33 | 0:09:38 | |
It's the next movement - Art Deco. I'm not sorted out properly! | 0:09:38 | 0:09:42 | |
It's very much in the tradition of what you would expect of Art Deco patterns. | 0:09:42 | 0:09:49 | |
There are these sort of jazz patterns - see those? Yes. | 0:09:49 | 0:09:53 | |
These Cubist-style birds... Is it like the Charleston? Exactly! | 0:09:53 | 0:09:59 | |
Busby Berkeley movies and all that jazz! | 0:09:59 | 0:10:02 | |
Who would think of putting ochre with purple? | 0:10:02 | 0:10:07 | |
Screams at you, doesn't it? This is not an early Poole work. | 0:10:07 | 0:10:11 | |
No. Carter, Stable or Adams would be the early marks. Right. | 0:10:11 | 0:10:15 | |
This is just marked Poole, England. That's the decorator's mark. JS? | 0:10:15 | 0:10:21 | |
That's the decorator's mark. Late 1930s, well in the Art Deco period. | 0:10:21 | 0:10:27 | |
The other major potter was Clarice Cliff and you get the same sort of Cubist designs there. | 0:10:27 | 0:10:35 | |
I like this. You've been using it. Afraid so. Flowers. | 0:10:35 | 0:10:39 | |
Oh, right. Often, these were designed purely as works of art, | 0:10:39 | 0:10:45 | |
to be observed, not used. It was an art pot. | 0:10:45 | 0:10:49 | |
If this comes up for sale, | 0:10:49 | 0:10:51 | |
I think we would estimate it around about £100-£120. | 0:10:51 | 0:10:56 | |
Right. More on a good day. Would you be happy to sell it? Yes, I would. | 0:10:56 | 0:11:01 | |
Where did it come from? | 0:11:01 | 0:11:04 | |
A step-aunt of my husband's, we thought she was a bit lonely, so we invited her to visit for the day, | 0:11:04 | 0:11:11 | |
and she came on the train and she brought the pot for us. | 0:11:11 | 0:11:16 | |
How lovely! And did you see the aunt again? Yes, we did, but only very occasionally. | 0:11:16 | 0:11:23 | |
Did you get any more pottery from her? Afraid not. Just this? | 0:11:23 | 0:11:27 | |
I think we shall treasure this, bearing in mind your memories. | 0:11:27 | 0:11:33 | |
Thanks for bringing it. Thank you. | 0:11:33 | 0:11:36 | |
Let's see what our owners have decided to sell. | 0:11:40 | 0:11:44 | |
Lesley snatched the Della Robbia bowl for 75p! | 0:11:46 | 0:11:49 | |
Betty's step-aunt didn't realise she was giving away a treasure! | 0:11:53 | 0:11:58 | |
If the Queen tipples from a set like this, someone will be interested. | 0:11:58 | 0:12:06 | |
Joan's downsizing, so out go her stunning salon chairs. | 0:12:06 | 0:12:10 | |
Surely too good for a buyer to miss! | 0:12:10 | 0:12:14 | |
The auction house is full of people looking at the antiques | 0:12:20 | 0:12:25 | |
and we're about to find out how our first four items will do. | 0:12:25 | 0:12:30 | |
But, first, our auctioneer Nick Saintey gives us his opinion. | 0:12:30 | 0:12:35 | |
Does he agree with the experts? | 0:12:35 | 0:12:38 | |
A set of four chairs brought in by Joan, salon chairs. | 0:12:38 | 0:12:42 | |
The more you look, the more detail you see. | 0:12:42 | 0:12:46 | |
Nice feminine chairs. | 0:12:46 | 0:12:48 | |
Lots of decorative detail, Wedgwood roundel... | 0:12:48 | 0:12:52 | |
My only reservation... What's a salon chair? Exactly! | 0:12:52 | 0:12:56 | |
I've no idea! They'd look just as nice in a bedroom or in a hall. | 0:12:56 | 0:13:02 | |
Hard not to look at them as dining chairs, but only four. If you had a salon... | 0:13:02 | 0:13:08 | |
Value for money? £100 a chair - it's not a lot of money, to be honest. | 0:13:08 | 0:13:13 | |
They should make that and maybe a bit more. Yeah. | 0:13:13 | 0:13:17 | |
Someone'll buy them for the bedroom and cover them with clothes. Yes! | 0:13:17 | 0:13:23 | |
What about this liqueur set? It's enough money that, I'm afraid. Too much? It's got £400 on it. | 0:13:23 | 0:13:30 | |
You can sell a good geometric bold piece - | 0:13:30 | 0:13:35 | |
this is a rather... Good design is going to sell it. | 0:13:35 | 0:13:40 | |
It shouts Deco. There's no design. You're not having it as a practical piece, so it's short. | 0:13:40 | 0:13:48 | |
That's between £200-£300. Crikey! We said £400-£500. | 0:13:48 | 0:13:53 | |
Oh, dear! | 0:13:53 | 0:13:54 | |
There's a real buzz at this saleroom at Bearne's in Exeter. | 0:14:02 | 0:14:07 | |
You can feel the tension rising. | 0:14:07 | 0:14:09 | |
Let's see what our owners think. | 0:14:09 | 0:14:12 | |
How are you feeling? Nervous. You look smart. Were you up early? Yes. | 0:14:15 | 0:14:20 | |
Excited? Yes. | 0:14:21 | 0:14:24 | |
Hopefully, we'll get £400-£500 for your decanter set. What would you do with the money? | 0:14:24 | 0:14:30 | |
Well, it's between my brother and his wife and my husband and I. | 0:14:30 | 0:14:35 | |
We're putting it towards a holiday in New England. That'll be nice. Have you been before? Lots of times. | 0:14:35 | 0:14:42 | |
It's something my mother wanted to do and never did, so we said we'd do it for her. And this was hers? Yes. | 0:14:42 | 0:14:49 | |
A nice payback. The money would go to that. | 0:14:49 | 0:14:53 | |
It's the moment of truth. Our first lot is about to go under the hammer, | 0:14:53 | 0:14:58 | |
Lesley's Della Robbia bowl, bought for 75p. | 0:14:58 | 0:15:02 | |
Have you bought any other bargains? Yes. What? I bought two Watcombe pottery figures, little gnomes. | 0:15:02 | 0:15:09 | |
I bought them for £20 and sold them for £450. Wow! Fantastic! | 0:15:09 | 0:15:14 | |
Let's hope we get a good result today. I like the Celtic design. I like it. Why are you selling it? | 0:15:14 | 0:15:22 | |
I like it, but, at the same time, I worry about breaking it - I'm a bit clumsy. | 0:15:22 | 0:15:29 | |
It'll go to a good home and I'll buy a nice book. You're into books? Yes. | 0:15:29 | 0:15:35 | |
So let's hope it makes its reserve of £100. | 0:15:35 | 0:15:40 | |
Interest here at £55. | 0:15:40 | 0:15:44 | |
£60. | 0:15:44 | 0:15:47 | |
£65. | 0:15:47 | 0:15:48 | |
£70. £75. | 0:15:48 | 0:15:51 | |
£80. £85. Excellent. £90. | 0:15:51 | 0:15:54 | |
On my left at £90. | 0:15:54 | 0:15:57 | |
We need that! On my left, make no mistake, at £90... | 0:15:57 | 0:16:02 | |
Done it! Well... Sold. Not as much as you thought. Not really... | 0:16:02 | 0:16:07 | |
Just below the reserve. It was. | 0:16:07 | 0:16:10 | |
It might have, it might not have. He's used his discretion - he said sold. He hammered it. | 0:16:10 | 0:16:17 | |
The auctioneer can use his discretion. He can waive some of his commission and bring it down. | 0:16:17 | 0:16:25 | |
Right. So it might have? Yes, he hammered it. Definitely sold. Right. OK... | 0:16:25 | 0:16:31 | |
Betty's vase also has a reserve of £100. Will we make it this time? | 0:16:31 | 0:16:36 | |
You're looking cheerful! Thank you. | 0:16:36 | 0:16:39 | |
Are you happy? Yes. Do you do many auction rooms? No. | 0:16:39 | 0:16:43 | |
What will you do with the £100, hopefully £150? | 0:16:43 | 0:16:48 | |
I'll buy another pot! You collect pots? Yes, but not that one. | 0:16:48 | 0:16:53 | |
Not Poole pottery? No. It's the epitome of that particular period. | 0:16:53 | 0:16:58 | |
I know it devalues it, but I like the crackle of the glaze. You often find that with Poole. | 0:16:58 | 0:17:06 | |
Do you? You often get it. It's not always smooth - you get the crackle. It wasn't the flowers, then? | 0:17:06 | 0:17:13 | |
No! Don't be silly! You left it in the window and it froze! | 0:17:13 | 0:17:18 | |
Fingers crossed! We need a reserve of £100. | 0:17:18 | 0:17:23 | |
There's interest here. With me at £50. £50... | 0:17:25 | 0:17:31 | |
£55. We're off. ..£70. £75. | 0:17:31 | 0:17:34 | |
He's got a bid left on the book which he's referring to. I see. | 0:17:34 | 0:17:41 | |
£100 - do I see? All done. | 0:17:41 | 0:17:44 | |
Selling at £95. | 0:17:44 | 0:17:46 | |
Great! Not the reserve, but he's dropped his commission. | 0:17:46 | 0:17:51 | |
Right. That's OK. | 0:17:51 | 0:17:53 | |
It's what we thought, but I'd have been happier with a bit more. That's twice now. Yes. | 0:17:53 | 0:18:01 | |
So, not all the bidders for Lesley and Betty's items were here today. | 0:18:01 | 0:18:06 | |
There's a bid left on the books. This means someone can't attend, but they've left a figure they'll pay. | 0:18:06 | 0:18:13 | |
We're one away. How are you feeling? A bit appr... A bit excited? | 0:18:15 | 0:18:20 | |
You were moving house, but you can't find anything you like, so if you go home with them, you're happy! | 0:18:20 | 0:18:27 | |
Very happy! A bargain - they're really good quality chairs. | 0:18:27 | 0:18:31 | |
Hopefully, if you sell, you'll be happy too. Yes...yes... | 0:18:31 | 0:18:35 | |
It's one of these things. We think you're going to sell. Here we go - this is ours. | 0:18:35 | 0:18:41 | |
Victorian ebonised Amboina and gilt chairs, | 0:18:41 | 0:18:45 | |
surmounted with Wedgwood-style circular plaques. | 0:18:45 | 0:18:50 | |
Here we go! It's with me at £270. Come on! | 0:18:50 | 0:18:55 | |
£280. £300. £320. | 0:18:55 | 0:18:58 | |
He's got a bid left on the book. | 0:18:58 | 0:19:01 | |
We've done it! £420. | 0:19:01 | 0:19:04 | |
Brilliant! £460. They're gone. £520. Fantastic! | 0:19:04 | 0:19:09 | |
Gentleman's bid at £520. | 0:19:09 | 0:19:12 | |
If you're all done then, we're selling at £520. | 0:19:12 | 0:19:17 | |
Well done! Well done! | 0:19:17 | 0:19:20 | |
Right... You can spend the money on another set! No regrets. | 0:19:20 | 0:19:25 | |
I've got mixed feelings on the whole thing, but, yes, OK... | 0:19:25 | 0:19:30 | |
Right. It was slightly more than you said. £520! It was! It was, yeah! | 0:19:30 | 0:19:36 | |
I don't always intentionally underprice, but a surprise is nice! | 0:19:36 | 0:19:42 | |
That's the idea of the show! I feel reprimanded! | 0:19:42 | 0:19:46 | |
The liqueur set is up next. | 0:19:46 | 0:19:49 | |
Nick thought it might struggle, but let's hope it makes its reserve. | 0:19:49 | 0:19:55 | |
How did your mother come across the decanter? | 0:19:55 | 0:19:59 | |
Well, we know it was my grandmother's and we know that my grandfather was in France | 0:19:59 | 0:20:06 | |
in the 1914-18 War, | 0:20:06 | 0:20:08 | |
and we know my grandmother always liked glass stuff, | 0:20:08 | 0:20:12 | |
so we wonder if he brought it back from France. Plausible. | 0:20:12 | 0:20:17 | |
Thomas thought it was French. I think it's continental - it's got that look of quality to it. | 0:20:17 | 0:20:24 | |
Pity we didn't find a stamp on it, pity it wasn't Lalique... | 0:20:24 | 0:20:29 | |
That would be an awful lot of money! It has that quality, though. You've never had a drink out of it? No! | 0:20:29 | 0:20:36 | |
You should've had one! | 0:20:36 | 0:20:39 | |
Number of commissioned bids. | 0:20:39 | 0:20:42 | |
We start this at £200. | 0:20:42 | 0:20:45 | |
£210. | 0:20:45 | 0:20:47 | |
A bit slow. Mmm... £230. £240. | 0:20:47 | 0:20:51 | |
Great - he's got a bid left on the book. | 0:20:51 | 0:20:56 | |
£290. £300. | 0:20:56 | 0:20:58 | |
£320. £340. | 0:20:58 | 0:21:01 | |
£360. The book is out. It's below at £360. £380, do I see? | 0:21:01 | 0:21:06 | |
We're there. £360 was the reserve. Selling... | 0:21:06 | 0:21:10 | |
It's made its reserve. £360. | 0:21:10 | 0:21:13 | |
Brilliant! Not brilliant brilliant, but it got its reserve. | 0:21:13 | 0:21:17 | |
That's great. It made its reserve - it's fantastic, actually. | 0:21:17 | 0:21:22 | |
He was getting worried! I was! | 0:21:22 | 0:21:25 | |
Well, some mixed results from our first visit to the auction. | 0:21:25 | 0:21:31 | |
With any luck, our next valuations will up the ante, | 0:21:31 | 0:21:35 | |
but it just goes to show there's money in glass. | 0:21:35 | 0:21:38 | |
Devon, home of Dartington Crystal, the makers of wonderful glass. I'm here to see how it's made. | 0:21:50 | 0:21:56 | |
Who better to show me than one of Dartington's top designers, Simon Moore? | 0:21:57 | 0:22:03 | |
Give me a brief history of Dartington Crystal. Dartington, this year, is 35. | 0:22:03 | 0:22:10 | |
It was established for work in the rural regions. It was set up by the Dartington Trust. | 0:22:10 | 0:22:16 | |
It was so successful, so profitable, that it had to become a real business as opposed to a charity. | 0:22:16 | 0:22:23 | |
How long does it take to train a glass-blower? Basic training is seven years. A long apprenticeship. | 0:22:23 | 0:22:31 | |
It always has been, but any specialist training like handle-, foot- or leg-making, | 0:22:31 | 0:22:37 | |
would take longer. So you tend to find glass-makers specialise in particular areas. | 0:22:37 | 0:22:44 | |
Can I have a go? I'll let you burn yourself. | 0:22:44 | 0:22:49 | |
I'm attempting to make a wineglass for Patsy Titcomb, our researcher - it's her last day on the shoot. | 0:22:54 | 0:23:01 | |
I just hope it's usable! | 0:23:01 | 0:23:03 | |
This, surely, has got to be easier than it looks! | 0:23:03 | 0:23:07 | |
Newspaper first, OK? | 0:23:10 | 0:23:13 | |
Where? | 0:23:13 | 0:23:15 | |
You didn't tell me that! Oh, I did! | 0:23:15 | 0:23:18 | |
Underneath it, straighten it up? Keep turning. | 0:23:18 | 0:23:23 | |
That's very good. | 0:23:23 | 0:23:25 | |
Bit lighter with this hand. | 0:23:25 | 0:23:27 | |
Sorry. Stand up and try blowing down the iron. | 0:23:27 | 0:23:31 | |
Keep turning. Bloody hell! | 0:23:31 | 0:23:34 | |
Keep turning! As I pick it up? Keep turning with both hands. | 0:23:34 | 0:23:38 | |
Lift your iron up. | 0:23:38 | 0:23:41 | |
HE BLOWS Stop. | 0:23:44 | 0:23:47 | |
You've got a feeling of how hard you need to blow? | 0:23:47 | 0:23:51 | |
Is that too much? A little bit! It's Patsy's wineglass! | 0:23:51 | 0:23:55 | |
Let's do another one. | 0:23:55 | 0:23:58 | |
Try the blowing bit now. | 0:24:04 | 0:24:07 | |
This is embarrassing! OK, third time lucky! | 0:24:09 | 0:24:13 | |
That shattered my dream of being a glass-maker! Luckily, Simon had one he'd made earlier! | 0:24:17 | 0:24:24 | |
Simon, I failed miserably on the glass-blowing. | 0:24:24 | 0:24:28 | |
Can I give that to Patsy? We'll let you. Thank you. Pleasure. Thank you. | 0:24:28 | 0:24:33 | |
Patsy? | 0:24:33 | 0:24:35 | |
I failed you miserably! I couldn't do it! | 0:24:35 | 0:24:39 | |
Ooh! | 0:24:39 | 0:24:41 | |
This is lovely. | 0:24:41 | 0:24:43 | |
Really, really lovely. | 0:24:43 | 0:24:46 | |
Mine and mine alone! | 0:24:46 | 0:24:48 | |
Nobody else is touching it! | 0:24:48 | 0:24:51 | |
I wonder what we'll uncover next to sell at auction later. | 0:24:54 | 0:24:59 | |
Plenty of people are willing to sell their antiques - there could be a gold mine in here. | 0:24:59 | 0:25:06 | |
These pieces are so modern and contemporary and, with all due respect, | 0:25:06 | 0:25:12 | |
you look like a person who'd go for more genteel floral pieces. | 0:25:12 | 0:25:18 | |
You mean I look like an antique? Not at all! Do you like these pieces? Not so much... | 0:25:18 | 0:25:24 | |
I don't like them at all! That's why I'm selling them! | 0:25:24 | 0:25:29 | |
I can appreciate them because they reflect a period - | 0:25:29 | 0:25:35 | |
this Delphis is so typical of the 1950s. Probably it's because I remember these from my infant days | 0:25:35 | 0:25:42 | |
in my aunts' homes. | 0:25:42 | 0:25:45 | |
You'd go into a room and immediately see these pieces on a wall or a sideboard. | 0:25:45 | 0:25:51 | |
It's quite decorative and reflects the sculptural ideas of the day | 0:25:51 | 0:25:57 | |
with Hepworth and the potters, Bernard Leach, art movements... | 0:25:57 | 0:26:01 | |
I got married in the '50s, so I'm quite '50s. | 0:26:01 | 0:26:06 | |
We both remember the '50s! This is more accommodating - | 0:26:06 | 0:26:10 | |
it's a very stylised design. I think it's boring! It is, really. | 0:26:10 | 0:26:15 | |
I think it's more accommodating. | 0:26:15 | 0:26:18 | |
If anybody asked me what I should collect in the future, | 0:26:18 | 0:26:23 | |
I would suggest Poole of this period, because they both reflect the period, the '1950s and '70s. | 0:26:23 | 0:26:29 | |
The company's still going, producing good quality pottery, | 0:26:29 | 0:26:34 | |
but maybe nothing as exciting as these. | 0:26:34 | 0:26:38 | |
In auction, I think we'd be looking at £70-£100. | 0:26:38 | 0:26:44 | |
Sounds fair enough. Happy? Yes, that's fair enough. | 0:26:44 | 0:26:48 | |
Earlier on today, we took on more conventional Poole pottery, | 0:26:48 | 0:26:54 | |
the sort of pottery I thought you might have collected! A cross section! Thank you. | 0:26:54 | 0:27:01 | |
You'll come to the auction? Yes. I'll be there. Good. We've got to make that! I'll keep you to it! | 0:27:01 | 0:27:08 | |
Thank you for coming in. | 0:27:11 | 0:27:13 | |
What we have here is a jardiniere - you said your mother had it? | 0:27:13 | 0:27:18 | |
It belonged to my mother and her mother before that. You don't like it? We had a fairly large house - | 0:27:18 | 0:27:26 | |
we moved to a two-bedroomed flat and we've got lots of things that don't fit in. | 0:27:26 | 0:27:33 | |
..Do you like it, Jan? No, I don't. I'm not very keen on the colours. | 0:27:33 | 0:27:39 | |
It's Slaters Patent, which is a Royal Doulton patent, | 0:27:39 | 0:27:44 | |
and this is the Slaters bit with this tube-lined decoration and filled glazes. | 0:27:44 | 0:27:50 | |
What's attractive about this jardiniere is the blue band | 0:27:50 | 0:27:55 | |
with the flowers - very pretty. | 0:27:55 | 0:27:58 | |
However, there has been a bit of restoration... | 0:27:58 | 0:28:03 | |
on the rims here. It's difficult to spot, but it's been slightly touched up there. Yeah. | 0:28:03 | 0:28:11 | |
It's the kind of item that would have a small value, but it certainly should sell - | 0:28:11 | 0:28:18 | |
£50-£70. Would you sell it at that? Yes, that's all right. | 0:28:18 | 0:28:23 | |
What's this? A pair of balances they called them, chemist's balances. How long have you had that? | 0:28:23 | 0:28:31 | |
A few years now, yeah. Bought them in a boot sale. | 0:28:31 | 0:28:35 | |
Do you do many boot sales? Every week. Is it a hobby? Yes. | 0:28:35 | 0:28:39 | |
Is it a business? It's a hobby with occasional profit! | 0:28:39 | 0:28:43 | |
You might be wheeling and dealing in the market soon. | 0:28:43 | 0:28:47 | |
Hopefully, yes. It's surprising what you find here - there are bargains. Good luck with that. Thank you. | 0:28:47 | 0:28:55 | |
I've got this book out because I want to check on one artist who's in your autograph book. | 0:28:55 | 0:29:02 | |
And it's Frank Algernon - wonderful name - Stewart, and here we have prices. | 0:29:02 | 0:29:09 | |
Here we have prices for his works - £1,500 to £2,250. That's for oil paintings! | 0:29:09 | 0:29:15 | |
I wanted to check when he died which was 1945. | 0:29:15 | 0:29:19 | |
This little sketch here, which would date from around 1941, | 0:29:19 | 0:29:26 | |
is only a few years before his death and I wasn't certain when he died - | 0:29:26 | 0:29:32 | |
to authenticate that drawing. | 0:29:32 | 0:29:35 | |
It's a lovely, lively, spirited drawing of a horse. | 0:29:35 | 0:29:39 | |
Included in this autograph album, you've got some of the greatest names. Laurel and Hardy... | 0:29:39 | 0:29:46 | |
I remember them in the '50s, Saturday morning pictures, | 0:29:46 | 0:29:52 | |
and the kids used to go mad. | 0:29:52 | 0:29:55 | |
We've also got probably the greatest jockey ever, Gordon Richards, | 0:29:55 | 0:30:01 | |
and the Australian team Don Bradman, the great cricketer, | 0:30:01 | 0:30:06 | |
so not an ordinary autograph album with one or two names - | 0:30:06 | 0:30:11 | |
it's quite a strong selling point. That good picture and then these famous names as well. | 0:30:11 | 0:30:18 | |
It's a nice autograph album. | 0:30:18 | 0:30:20 | |
This sort of thing, quite often, we throw away. It looks ragged, doesn't it? It nearly was! | 0:30:20 | 0:30:28 | |
What was the story? We were actually on holiday when Steve's mum died, | 0:30:28 | 0:30:35 | |
and when we came back there was just boxes. The place had been sorted. That always happens. | 0:30:35 | 0:30:43 | |
That nearly got thrown away. This is a desirable collector's item. Price? Have you any idea? | 0:30:43 | 0:30:51 | |
Not a clue. The Stewart would be worth about £150 on its own, | 0:30:51 | 0:30:57 | |
and then you've got the other well-known signatures, | 0:30:57 | 0:31:02 | |
so I think a conservative estimate of about £300. OK? | 0:31:02 | 0:31:07 | |
Yes. Fine. So we can flog it for you? | 0:31:07 | 0:31:10 | |
Thank you for coming. You're brought a couple of items for us to see, | 0:31:13 | 0:31:18 | |
possibly sell for you. | 0:31:18 | 0:31:21 | |
You've got Laurel and Hardy and who's this? Sairy Gamp. Sairy Gamp. | 0:31:21 | 0:31:28 | |
Quite popular in the collector's market. Probably from the 1930s | 0:31:28 | 0:31:33 | |
and mass-produced, but they still have a collectable appeal. | 0:31:33 | 0:31:38 | |
Where did you get them from? They were my mother's. | 0:31:38 | 0:31:42 | |
She left them to me. Do you guys like them? | 0:31:42 | 0:31:46 | |
Not really. I don't really like them - it's not my scene, no. | 0:31:46 | 0:31:52 | |
So you'd be quite willing to sell them? | 0:31:52 | 0:31:55 | |
Yes. I'd put the two together in a lot, | 0:31:55 | 0:31:59 | |
and I hear on the grapevine that Mr Barby | 0:31:59 | 0:32:03 | |
has got in for sale today an autograph of Laurel and Hardy. | 0:32:03 | 0:32:08 | |
Here we have Laurel and Hardy salt and pepper. | 0:32:08 | 0:32:12 | |
It would be lovely if we could sell these. The estimate I'd put on them, | 0:32:12 | 0:32:17 | |
the teapot and this, would be between £50 and £70. Lovely. | 0:32:17 | 0:32:22 | |
Why is it that always, at the end of the day, | 0:32:22 | 0:32:26 | |
the end of the inspection period, we have something marvellous? | 0:32:26 | 0:32:32 | |
The collection of prints is absolutely fascinating. Where did they come from? | 0:32:32 | 0:32:38 | |
We found them about five years ago when we were clearing my aunt and uncle's house... | 0:32:38 | 0:32:45 | |
We were more or less finished, everything sorted, | 0:32:45 | 0:32:49 | |
and my husband decided to do another quick check in the roof space. | 0:32:49 | 0:32:54 | |
He found them under the rafters near the water tank. | 0:32:54 | 0:32:59 | |
Were they art collectors? Did they have a lot of pictures? | 0:32:59 | 0:33:03 | |
I don't think they were collectors. | 0:33:03 | 0:33:05 | |
Mary's uncle wasn't a collector. He just went to auctions and bought job lots. | 0:33:05 | 0:33:12 | |
What you've got here is a nice collection of predominantly 19th-century prints, | 0:33:12 | 0:33:19 | |
and they're all lithographs, | 0:33:19 | 0:33:22 | |
the most common form of printing, the cheapest form. | 0:33:22 | 0:33:26 | |
There is one exception - this print of Mount Wise Fort, Plymouth, | 0:33:26 | 0:33:31 | |
and this was done in 1780, so it's quite an interesting print with local connotations. | 0:33:31 | 0:33:38 | |
We could easily put a price of £400-£500 on them, but I think you have to excite the trade. | 0:33:38 | 0:33:44 | |
I think we should put something in the region of £100-£150 to get them excited and, hopefully, get more. | 0:33:44 | 0:33:52 | |
What do you think? There seem an awful lot of prints here for £100-£150. | 0:33:52 | 0:33:59 | |
Some aren't very good. I know. That's including the Plymouth one? | 0:33:59 | 0:34:03 | |
Yes, that's the exciting one. Yes, I've got rather fond of it too! | 0:34:03 | 0:34:09 | |
That would be £30-£40 alone, unframed and unmounted. | 0:34:09 | 0:34:13 | |
But you've got so many others. Yes. | 0:34:13 | 0:34:16 | |
Can we sell these? Yes. Right. Super. Now, the next lot! | 0:34:16 | 0:34:22 | |
This lovely collection of watercolours. | 0:34:27 | 0:34:32 | |
These are in the same condition as your prints. | 0:34:32 | 0:34:36 | |
In other words, they're badly affected by foxing, which is what we call blemishes. | 0:34:36 | 0:34:42 | |
Here we have pictures well painted, | 0:34:42 | 0:34:46 | |
but with restoration work required. | 0:34:46 | 0:34:48 | |
This one here by Burchill On The Dogger Bank | 0:34:48 | 0:34:54 | |
is extremely well painted. | 0:34:54 | 0:34:56 | |
Earlier part of the 20th century | 0:34:56 | 0:34:59 | |
and it's Norfolk fishing. | 0:34:59 | 0:35:02 | |
It really is very good. Yes. At setting of sun. Nice. | 0:35:02 | 0:35:07 | |
The one I like, which has little sort of damage, | 0:35:07 | 0:35:13 | |
is this one in the manner of Charles Rowbotham. | 0:35:13 | 0:35:16 | |
You think of the Italian landscape, Lake Garda, Lake Como, | 0:35:16 | 0:35:21 | |
but there's no signature. Yes. But we sold one very, very similar... | 0:35:21 | 0:35:27 | |
a few months ago...and we achieved a handsome price on it. | 0:35:27 | 0:35:32 | |
But it was signed and had the inscription where it came from. | 0:35:32 | 0:35:36 | |
This is a beautiful picture, slightly out of focus, | 0:35:36 | 0:35:42 | |
and you've got these soft tones. The mussel gatherers... | 0:35:42 | 0:35:47 | |
I remember an exhibition in Manchester called Hard Times with scenes of children working. | 0:35:47 | 0:35:54 | |
That's a very attractive scene. This is the most interesting one. | 0:35:54 | 0:35:58 | |
The one I love is this one by Montagu | 0:35:58 | 0:36:03 | |
and it's this one here. | 0:36:03 | 0:36:06 | |
He's a 19th-century artist, a well-known artist, | 0:36:06 | 0:36:11 | |
but when you're wondering, "Is it Montagu?" there are things to look for. | 0:36:11 | 0:36:17 | |
The ability of the artist to paint perspective. It's very good here. | 0:36:17 | 0:36:22 | |
Then the figure work in the foreground and whether the shadows are believable. | 0:36:22 | 0:36:29 | |
And they are indeed. | 0:36:29 | 0:36:32 | |
The whole picture hangs together, but there's a problem. | 0:36:32 | 0:36:36 | |
First of all, it's faded... | 0:36:36 | 0:36:40 | |
and it's laid down on to card. | 0:36:40 | 0:36:43 | |
Now the card on the back... | 0:36:43 | 0:36:45 | |
has become faded... | 0:36:45 | 0:36:48 | |
and that's transferred on to the front of the picture itself. | 0:36:48 | 0:36:52 | |
So there's quite a bit of restoration work needed on this. | 0:36:52 | 0:36:56 | |
Now... | 0:36:56 | 0:36:58 | |
you want to sell these? | 0:36:58 | 0:37:01 | |
Yes. Have you got a price in mind? | 0:37:01 | 0:37:03 | |
I thought, individually, probably £200-£300. | 0:37:06 | 0:37:09 | |
You're talking £1,600-£2,000? Yes. Right. | 0:37:09 | 0:37:13 | |
Mary, what was your opinion? Well, I thought perhaps a bit higher, | 0:37:13 | 0:37:19 | |
sort of £2,000, | 0:37:19 | 0:37:21 | |
but, er... | 0:37:21 | 0:37:24 | |
I don't know if there are any real gems here... | 0:37:24 | 0:37:29 | |
so, £2,000, a bit higher perhaps... | 0:37:29 | 0:37:32 | |
I think they ought to go for a little bit higher. | 0:37:32 | 0:37:36 | |
I'd like to see them go close on £3,000, but we have to play the auction game | 0:37:36 | 0:37:43 | |
and pitch a price that'll excite people. | 0:37:43 | 0:37:47 | |
So I'm going to suggest a reserve of around £2,300, | 0:37:47 | 0:37:51 | |
and the guide be £2,400-£3,000. | 0:37:51 | 0:37:53 | |
Well, we'll see how we get on. Very good. | 0:37:53 | 0:37:57 | |
You'll be at the auction? Yes. Yes. I'll be beside you just in case! | 0:37:57 | 0:38:02 | |
Then we can blame you! | 0:38:02 | 0:38:05 | |
I hope we celebrate with a bottle of champagne! | 0:38:05 | 0:38:09 | |
I can't wait to see how they get on at auction. | 0:38:09 | 0:38:13 | |
First, a treat for you. A friend of mine's cottage in Devon. You won't have seen a make-over like this! | 0:38:13 | 0:38:20 | |
Thank you for inviting us in. It's OK. It's absolutely stunning. | 0:38:20 | 0:38:25 | |
As soon as you walk in, it hugs you and it's so sympathetically furnished with what we love! | 0:38:25 | 0:38:32 | |
Your antique shop's superb, but what a home! | 0:38:32 | 0:38:36 | |
How did all this start? | 0:38:36 | 0:38:38 | |
It started when I felt the feeling you just described - it felt absolutely right for me. | 0:38:38 | 0:38:45 | |
It had a good feeling. And it's 16th century? It is - 1580. | 0:38:45 | 0:38:51 | |
Did it look like this when you bought it? Not at all. It was very different to what it is now. | 0:38:51 | 0:38:58 | |
What did you do? When I walked in, that was not what you saw. | 0:38:58 | 0:39:04 | |
There was a staircase coming down to the cobbles. | 0:39:04 | 0:39:08 | |
The panels of the plank-and-muntin screen were all covered up in wallpaper. | 0:39:08 | 0:39:16 | |
The cobbles? They were not visible at all. They were under the stairs. | 0:39:16 | 0:39:21 | |
When we moved the stairs, we found them. | 0:39:21 | 0:39:25 | |
I had them restored. | 0:39:25 | 0:39:28 | |
This wasn't a quick DIY make-over? It was a massive project | 0:39:28 | 0:39:34 | |
and you have to love something like this to do it. | 0:39:34 | 0:39:38 | |
Like restoring one big antique sympathetically? Absolutely. | 0:39:38 | 0:39:42 | |
Fantastic job! I want to see the rest! | 0:39:42 | 0:39:46 | |
I can see what you mean - undulating ceiling! | 0:39:57 | 0:40:01 | |
A genuine cob ceiling, incredibly rare. What is cob? | 0:40:01 | 0:40:07 | |
It's a combination of cow dung and straw, prepared in a very special way by treading. | 0:40:07 | 0:40:14 | |
Very well put! | 0:40:14 | 0:40:16 | |
I tried to be polite. | 0:40:16 | 0:40:19 | |
Another amazing inglenook. Look at this! | 0:40:19 | 0:40:23 | |
This is the original clay hood. That's right. | 0:40:23 | 0:40:27 | |
Can't use the handle too much. No. | 0:40:27 | 0:40:29 | |
That was a find in this tomb, basically, which you uncovered? It was preserved. | 0:40:29 | 0:40:36 | |
You'd never find one to fit. | 0:40:36 | 0:40:38 | |
What else have you found? | 0:40:38 | 0:40:41 | |
The other thing of interest, or most interest, | 0:40:41 | 0:40:46 | |
was this fragment of plaster work, taken out of a religious building. | 0:40:46 | 0:40:52 | |
Was that a corbel or a centre mullion for an arch? | 0:40:52 | 0:40:56 | |
More likely a corbel for vaulting. | 0:40:56 | 0:41:00 | |
It was to do with Henry VIII and the dissolution of the monasteries. | 0:41:00 | 0:41:05 | |
They used the rubble to infill when they were building here. | 0:41:05 | 0:41:10 | |
Will you use that as a little corbel to put a candle on? | 0:41:10 | 0:41:14 | |
I'll turn it into a wall bracket and find something nice to put on it. A rush light or something? Yes. | 0:41:14 | 0:41:21 | |
David and Thomas have seen a myriad of treasures in Torquay and met some characters too, | 0:41:36 | 0:41:42 | |
but let's see what the rest of the owners are selling. | 0:41:42 | 0:41:46 | |
I loved the prints and watercolours. | 0:41:49 | 0:41:52 | |
Too many to talk about. Do they all have a similar value | 0:41:52 | 0:41:56 | |
or is there a gem hidden in there? | 0:41:56 | 0:41:59 | |
It's time Brian and Jan's Doulton vase found a new home. | 0:42:01 | 0:42:06 | |
Anne's Poole vase and dish aren't her cup of tea. | 0:42:07 | 0:42:11 | |
Let's hope someone warms to them! | 0:42:11 | 0:42:14 | |
Will the autograph book set the dealers alight | 0:42:14 | 0:42:18 | |
or will it be going back in the bin? | 0:42:18 | 0:42:21 | |
Terry and Phil won't be crying over spilt milk | 0:42:21 | 0:42:25 | |
if their teapot and Laurel and Hardy disappear! | 0:42:25 | 0:42:29 | |
Will all the items be cleaned up or will it be another fine mess? | 0:42:29 | 0:42:34 | |
Will our last few items really take off or crash to the ground? | 0:42:39 | 0:42:45 | |
What does Nick think this time? | 0:42:45 | 0:42:48 | |
We had some quality. Christopher and Mary brought in a portfolio. | 0:42:48 | 0:42:54 | |
A lot of quality and a lot of sort of rubbish. | 0:42:54 | 0:42:58 | |
David Barby valued it all together at £2,000-£3,000, but you've sifted through it, rang the owners | 0:42:58 | 0:43:06 | |
and said to sell them separately. It seemed like a wise thing to do. | 0:43:06 | 0:43:12 | |
There's a wide range of material. | 0:43:12 | 0:43:15 | |
Some are good quality watercolours in their own right. | 0:43:15 | 0:43:19 | |
I can see. I like this. | 0:43:19 | 0:43:22 | |
It's very Stanhope Forbes, slightly Newlyn School. | 0:43:22 | 0:43:27 | |
Whilst he's French, he certainly has painted in Newlyn in the past. | 0:43:27 | 0:43:33 | |
It's typical of him and, fingers crossed, if it goes well, we'd hope for £1,000 for that one. | 0:43:33 | 0:43:39 | |
Half their valuation? Yes. | 0:43:39 | 0:43:42 | |
What are we hoping for? I hope, if everything sells, we should exceed £2,500, | 0:43:42 | 0:43:50 | |
but if there's a casualty along the way, if the foxing affects somebody's judgment, you lose half. | 0:43:50 | 0:43:57 | |
It should make £2,500. If all these sell, | 0:43:57 | 0:44:01 | |
what about the rest of the portfolio? Do you give it away? No, there are some nice engravings. | 0:44:01 | 0:44:09 | |
But we're talking a few hundred, rather than these which are more than that each. | 0:44:09 | 0:44:16 | |
Correlation here. Laurel and Hardy salt-and-pepper pots | 0:44:16 | 0:44:20 | |
and an autograph book with Laurel and Hardy in it. We said £300. | 0:44:20 | 0:44:25 | |
It's got a chance - it's a difficult market to predict. | 0:44:25 | 0:44:29 | |
A lot of it's dented from a lot of facsimile signatures, | 0:44:29 | 0:44:34 | |
but this is in a personal autograph book, with a lot of fairly uninteresting friends and family, | 0:44:34 | 0:44:41 | |
so it's got a chance, but it's difficult. It is. | 0:44:41 | 0:44:46 | |
They're all 1930s. Don't know them. | 0:44:46 | 0:44:48 | |
There's a few wing commanders and a few nice ladies, so... | 0:44:48 | 0:44:53 | |
Might struggle? You don't know. I don't understand the collectors of these particular things. | 0:44:53 | 0:45:00 | |
Off again - and first to the chopping block is cat-mad Anne with her modern Poole vase and dish. | 0:45:00 | 0:45:08 | |
You don't like modern Poole? Not a lot. I'd rather have Victorian. | 0:45:08 | 0:45:13 | |
David says it's got more going for it than the '30s stuff. More character. It's only a short period. | 0:45:13 | 0:45:20 | |
1920, 1930 was much of a muchness. This is more studio based, individual artists' own patterns... | 0:45:20 | 0:45:27 | |
Here we go! Fingers crossed! Fingers crossed. | 0:45:27 | 0:45:31 | |
Starting at £30. | 0:45:31 | 0:45:34 | |
That's not very promising. No, that's a good start. | 0:45:34 | 0:45:38 | |
£32. £35. £38. £40. | 0:45:38 | 0:45:41 | |
£42. It'll be a slow climb! ..£48. £50. £55? No, with me at £50. | 0:45:41 | 0:45:46 | |
If you're all done... We haven't done it. We haven't, no. | 0:45:46 | 0:45:51 | |
I thought that was a bargain. No more nursery plates! | 0:45:51 | 0:45:56 | |
I don't know! Terrible! | 0:45:56 | 0:45:59 | |
I'll live! I'll speak to Nick, our producer! | 0:45:59 | 0:46:03 | |
Well, he liked it! He liked it, yes! | 0:46:04 | 0:46:07 | |
Some owners put a reserve on their items. | 0:46:11 | 0:46:14 | |
If it doesn't reach it, it doesn't go. This figure is determined prior to auction | 0:46:14 | 0:46:21 | |
with the auctioneer's consent. It doesn't cost anything. | 0:46:21 | 0:46:25 | |
I don't know where Terry and Phil are. Nor do I! Stuck in traffic? | 0:46:28 | 0:46:34 | |
Hopefully, they'll breeze in at the last minute! | 0:46:34 | 0:46:39 | |
Fingers crossed for them. Obviously, Beswickware, | 0:46:39 | 0:46:44 | |
it's a big collectable market, an acquired taste. | 0:46:44 | 0:46:48 | |
Definitely. That would look nice on my mother's shelf. Lots of people like her would go for it. | 0:46:48 | 0:46:55 | |
She'd buy it? Really? Because of Laurel and Hardy? Yes. Really? Yeah. Big Laurel and Hardy fan? | 0:46:55 | 0:47:02 | |
Yeah. There's a few of them about. Let's hope there's some here! Yes! | 0:47:02 | 0:47:08 | |
£28. That's a good start. | 0:47:08 | 0:47:12 | |
£30. | 0:47:12 | 0:47:14 | |
£35. £38. £40. | 0:47:14 | 0:47:17 | |
A few people interested. Yeah. | 0:47:17 | 0:47:20 | |
£50. Reserve. It's done it. | 0:47:20 | 0:47:23 | |
Yours at £50. | 0:47:23 | 0:47:26 | |
Selling on my left... | 0:47:26 | 0:47:29 | |
That's good. £50 reserve - sold. They'll be laughing! | 0:47:29 | 0:47:33 | |
That's what reserves are there for - | 0:47:35 | 0:47:38 | |
to be fixed, and it made it. No problem there. | 0:47:38 | 0:47:43 | |
Scraping them through? Yes, they're not flying! Slightly disappointing. | 0:47:43 | 0:47:47 | |
Well, there's no accounting for taste. | 0:47:47 | 0:47:51 | |
Thanks for coming in. | 0:47:57 | 0:47:59 | |
Are you nervous? Don't know really! Never been to anything like this! You've not been to an auction? No. | 0:47:59 | 0:48:07 | |
Come to them - they're not that nerve-racking. | 0:48:07 | 0:48:11 | |
You get some good bargains too! Have you checked out what's here? | 0:48:11 | 0:48:16 | |
Not really. Not enough time. | 0:48:16 | 0:48:19 | |
I hope whoever buys this autograph book doesn't split it up. | 0:48:19 | 0:48:24 | |
A dealer will. Yes, they will. They get the razor blade out and cut it up. | 0:48:24 | 0:48:30 | |
Mount the autographs and that lovely sketch... Here we are. OK. | 0:48:30 | 0:48:35 | |
Interest here and the commission bid is with me at £160. | 0:48:35 | 0:48:41 | |
Good start. It's here at £160. And £170? | 0:48:41 | 0:48:46 | |
If you're all done, it's with me. Oh, no! | 0:48:46 | 0:48:50 | |
The start was exceptional! £160. | 0:48:50 | 0:48:54 | |
I can't believe it! It hasn't sold? No. It doesn't matter. | 0:48:55 | 0:49:00 | |
Dear, oh, dear! I thought we were off to a promising start! "Oh, wow! We're in! | 0:49:00 | 0:49:06 | |
"Here we go! We're off!" | 0:49:06 | 0:49:09 | |
Well, we couldn't sign that one off. Let's hope we do better for Brian and Jan. | 0:49:09 | 0:49:16 | |
How do you feel? It's interesting. What about you, Jan? | 0:49:16 | 0:49:20 | |
First time I've been to anything like this. You've never taken her to an auction? I've only been to one! | 0:49:20 | 0:49:28 | |
Stopping her spending your money! Yeah! We think this'll sell. For sure. | 0:49:28 | 0:49:34 | |
Here we are. We're off. I've seen a few people looking at it. | 0:49:34 | 0:49:39 | |
Interest here. Bid with me at £50. | 0:49:39 | 0:49:43 | |
Book's out. Seated at £65. Standing £70. £75? | 0:49:43 | 0:49:48 | |
£80. This is good. £90. | 0:49:48 | 0:49:51 | |
£95? The distant bidder at £90. If you're all done... | 0:49:51 | 0:49:57 | |
In the doorway at £90. | 0:49:57 | 0:50:00 | |
Well? Brilliant! That's good! | 0:50:00 | 0:50:03 | |
And there's a bit of damage. There was. | 0:50:03 | 0:50:07 | |
The restoration was done very well. | 0:50:07 | 0:50:10 | |
That's why I put £50-£70 on it. | 0:50:10 | 0:50:13 | |
That was short and sweet - £90. Superb! Brilliant! | 0:50:13 | 0:50:17 | |
Lovely. Thank you. Thank you. Thank you. | 0:50:17 | 0:50:21 | |
Thanks. Thank you, Mr Cameraman. | 0:50:21 | 0:50:24 | |
"Thank you, Mr Cameraman"! Yeah! | 0:50:24 | 0:50:27 | |
I've been looking forward to this! It'll be at least ten minutes! | 0:50:32 | 0:50:38 | |
A session! Yeah! | 0:50:38 | 0:50:40 | |
First up, we've got the portfolio with the mezzotints and engravings, the leftovers of the quality, | 0:50:40 | 0:50:47 | |
which Nick sifted through. This is the start. The start, yes. | 0:50:47 | 0:50:52 | |
There was some quality left. Some very nice prints. | 0:50:52 | 0:50:57 | |
Mid to late-Victorian. | 0:50:57 | 0:50:59 | |
Lot 362. | 0:51:01 | 0:51:03 | |
A collection of mezzotints and engravings. | 0:51:03 | 0:51:07 | |
Shown. The commission bids are very close together here. | 0:51:07 | 0:51:12 | |
Starts to me at £160. | 0:51:12 | 0:51:15 | |
£160? We're there! | 0:51:17 | 0:51:19 | |
Crikey! | 0:51:19 | 0:51:21 | |
If you're all done, | 0:51:21 | 0:51:23 | |
£160. Excellent. | 0:51:23 | 0:51:26 | |
Well! We had a reserve of £120. Well done. | 0:51:26 | 0:51:30 | |
It's a good start. | 0:51:30 | 0:51:33 | |
A great start, but will the watercolours | 0:51:33 | 0:51:37 | |
live up to expectations? Commission bids with me... | 0:51:37 | 0:51:42 | |
£170, £180, £190, £200, £210. And £220, do I see? | 0:51:42 | 0:51:47 | |
£220. £230 anywhere? | 0:51:47 | 0:51:50 | |
What's the reserve? £200. If you're all done... | 0:51:50 | 0:51:54 | |
Selling on the back wall at £220. That's good. | 0:51:54 | 0:51:58 | |
'Not too impressed so far!' English school watercolour. | 0:51:59 | 0:52:04 | |
Lot 369, the English School 19th-century Italian lake. | 0:52:04 | 0:52:10 | |
I like this one. Bid here with me at £55. | 0:52:10 | 0:52:16 | |
£65. £70. £80. | 0:52:16 | 0:52:18 | |
Book's out. £85 do I see? | 0:52:18 | 0:52:21 | |
I'd check your loft, see if there's more! | 0:52:21 | 0:52:25 | |
Sold. | 0:52:27 | 0:52:28 | |
There's still more to go. | 0:52:28 | 0:52:31 | |
Lots 367, William Burchill - On The Dogger Bank. | 0:52:31 | 0:52:35 | |
The Dogger Bank. | 0:52:35 | 0:52:38 | |
Again there's interest. The commission bid's with me | 0:52:38 | 0:52:42 | |
at £100. £110? | 0:52:42 | 0:52:45 | |
This was my least favourite. Yeah. Yeah. | 0:52:45 | 0:52:50 | |
£110. £120. £130. | 0:52:50 | 0:52:55 | |
£140. Telephone bid. There's a bid on the book. | 0:52:55 | 0:52:59 | |
£160? If you're all done, the book's out. | 0:52:59 | 0:53:02 | |
We're out in the room and selling on Annabelle's phone at £150. | 0:53:02 | 0:53:07 | |
This is incredible! How are you feeling? Amazing! | 0:53:07 | 0:53:12 | |
I loved this! Yes, it's really nice. I'd have kept this. | 0:53:12 | 0:53:17 | |
Yes, it is a lovely... Did you think about doing that? | 0:53:17 | 0:53:21 | |
We don't have the room. No... | 0:53:21 | 0:53:24 | |
The commission bidding starts at £1,000. | 0:53:24 | 0:53:28 | |
Good start! £1,150. | 0:53:28 | 0:53:30 | |
£1,150. £1,200. | 0:53:30 | 0:53:34 | |
£1,200. £1,300. | 0:53:34 | 0:53:36 | |
With those marks! It's still climbing. | 0:53:36 | 0:53:40 | |
The book is out. £1,500. £1,550. | 0:53:40 | 0:53:44 | |
There's two bidding against each other. Am I allowed to look? | 0:53:44 | 0:53:49 | |
Check them out! Where are they? | 0:53:49 | 0:53:51 | |
Can't see them. They just flip a piece of paper... | 0:53:51 | 0:53:56 | |
£1,850. Someone on the phone. | 0:53:56 | 0:53:58 | |
£1,900. | 0:53:58 | 0:54:02 | |
£2,000. | 0:54:02 | 0:54:03 | |
Get a new car! We'll give the other ones away! | 0:54:03 | 0:54:07 | |
I want to see who's bidding. Who's on the phone? | 0:54:07 | 0:54:11 | |
It's wonderful on the phone. Yes. | 0:54:11 | 0:54:14 | |
£2,600. £2,700. | 0:54:15 | 0:54:18 | |
£2,800. | 0:54:18 | 0:54:21 | |
£2,900. | 0:54:21 | 0:54:23 | |
£3,000. | 0:54:23 | 0:54:25 | |
£3,100. Unbelievable! £3,100. | 0:54:25 | 0:54:28 | |
£3,100. | 0:54:28 | 0:54:29 | |
£3,200. £3,300. | 0:54:29 | 0:54:32 | |
You'll get a Mercedes now! | 0:54:32 | 0:54:34 | |
I just want something that goes from A to B! £3,700. | 0:54:34 | 0:54:39 | |
£3,700? Another one? £3,800. | 0:54:39 | 0:54:42 | |
£3,900? | 0:54:42 | 0:54:44 | |
It's against you on the phone, it's in the room at £3,800. | 0:54:44 | 0:54:49 | |
£3,900? Yes. £3,900. | 0:54:49 | 0:54:52 | |
£4,000? | 0:54:52 | 0:54:54 | |
On the phone at £3,900. | 0:54:54 | 0:54:57 | |
This was a sleeper in your attic! | 0:54:57 | 0:55:00 | |
£3,900 on Lynne's phone. If you're all done, | 0:55:00 | 0:55:04 | |
£3,900. | 0:55:04 | 0:55:07 | |
Well done! Well done! | 0:55:09 | 0:55:12 | |
Brilliant! | 0:55:12 | 0:55:14 | |
What a superb result for Mary and Christopher. | 0:55:14 | 0:55:18 | |
Their watercolours combined made double the valuation! | 0:55:18 | 0:55:22 | |
Brian and Jan were delighted with their sale. | 0:55:22 | 0:55:26 | |
Worth a day out! Yeah. Thanks very much to "Flog It!" | 0:55:26 | 0:55:30 | |
But Joan had mixed feelings when she said goodbye to her chairs. | 0:55:30 | 0:55:35 | |
I wouldn't have been unhappy to take them home, because I changed my plans. | 0:55:35 | 0:55:41 | |
I'm not selling now. | 0:55:41 | 0:55:44 | |
And, still lumbered with her Poole vase and dish... | 0:55:44 | 0:55:48 | |
At least I won't buy another plate! My husband'll be pleased! | 0:55:48 | 0:55:52 | |
But the sale of the day belongs to Mary and Christopher, | 0:55:52 | 0:55:57 | |
who never realised their paintings would earn £5,000. | 0:55:57 | 0:56:01 | |
You could have cut the atmosphere in the room with a knife! | 0:56:01 | 0:56:06 | |
It was great! Just shows - it doesn't matter if there's a frame or not, or even if they're mounted. | 0:56:06 | 0:56:14 | |
Another exciting auction! See you next time on "Flog It!" | 0:56:16 | 0:56:22 |