Browse content similar to Newmarket. Check below for episodes and series from the same categories and more!
Line | From | To | |
---|---|---|---|
Welcome to Flog It! Today, as you might guess, we're in Newmarket. | 0:00:06 | 0:00:12 | |
Flog It! is all about making money from your unwanted antiques. | 0:00:44 | 0:00:49 | |
At an auction like this, there's nearly always somebody to bid on the things you're glad to get rid of. | 0:00:49 | 0:00:56 | |
Our experts put their reputations on the line as they give valuations which will be tested at auction. | 0:00:56 | 0:01:04 | |
If right, owners go home with the cash. If wrong, our experts go home with their tails between their legs. | 0:01:04 | 0:01:09 | |
Later, we'll see what the buyers in Tattersalls | 0:01:09 | 0:01:13 | |
make of the items brought to our valuation in Newmarket. | 0:01:13 | 0:01:17 | |
Here's a look at owners in the grip of auction fever. | 0:01:17 | 0:01:22 | |
Bang! It's great, isn't it? Wonderful! | 0:01:22 | 0:01:26 | |
What will you spend the money on? I think we'd better wait and see. | 0:01:26 | 0:01:32 | |
Well done. Are you pleased with that? Yeah. | 0:01:33 | 0:01:37 | |
I like it, but I wouldn't have it in my house. Yeah. | 0:01:37 | 0:01:42 | |
Come on, come on! Wonderful! | 0:01:44 | 0:01:47 | |
A bargain. It was worth a lot more. It's worth what somebody will pay! | 0:01:48 | 0:01:53 | |
Result! | 0:01:53 | 0:01:55 | |
In the Edward VII Hall, the people of Newmarket are unwrapping antiques in anticipation of a valuation. | 0:02:01 | 0:02:08 | |
Here to help them decide which items will go through to auction, our glamorous auctioneer Kate Alcock. | 0:02:08 | 0:02:15 | |
One thing that's tricky about valuing on the spot is that people come with their own expectations, | 0:02:15 | 0:02:23 | |
and something may not be worth what somebody THINKS it may be worth. | 0:02:23 | 0:02:28 | |
And the affable James Braxton. | 0:02:29 | 0:02:32 | |
You just have to react to what is presented in front of you, and it's great fun - Christmas every day. | 0:02:32 | 0:02:39 | |
We've a selection of silver. A piece I'm really excited about is this. | 0:02:44 | 0:02:50 | |
Tell me about this. Where did it come from? It belonged to my aunt. She left it to us. | 0:02:50 | 0:02:56 | |
So you've had it for how long? Six years. And do you like it? Yes, yes. | 0:02:56 | 0:03:02 | |
And have you any idea of the value? No, I haven't a clue. I know nothing about it. | 0:03:02 | 0:03:08 | |
Well, it's English silver, and we've got a hallmark on the bottom, | 0:03:08 | 0:03:14 | |
for London, 1899, | 0:03:14 | 0:03:16 | |
so it's right at the end of the Victorian period. | 0:03:16 | 0:03:20 | |
The nice thing about it is this lovely embossed decoration, which is typically Art Nouveau in style - | 0:03:20 | 0:03:27 | |
we've got big poppy heads and leaves, all embossed, | 0:03:27 | 0:03:32 | |
in a lovely frieze, on a hammered finish round, | 0:03:32 | 0:03:35 | |
again used a lot in the Art Nouveau, Arts and Crafts period. | 0:03:35 | 0:03:40 | |
And lovely quality cast, pierce-scroll feet here, three of these. | 0:03:40 | 0:03:45 | |
And the other feature is a maker's mark for WC, | 0:03:45 | 0:03:49 | |
which is William Comyns, working in London at the turn of the century. | 0:03:49 | 0:03:55 | |
He's recorded in the Goldsmiths' Hall around 1902, this is just before, | 0:03:55 | 0:04:01 | |
and he's known for being a quality maker, quality silversmith. Yes. | 0:04:01 | 0:04:06 | |
Value at auction - with the William Comyns mark, that's going to add to its value - | 0:04:06 | 0:04:13 | |
collectors like his work, it's a sign of quality. | 0:04:13 | 0:04:17 | |
I would say, conservatively, ?300 to ?500 at auction, maybe more. Lovely. Does that please you? Very pleased. | 0:04:17 | 0:04:24 | |
And would you be happy if we flog it for you? Yes, very much. Good. Yes, lovely. Thank you. Not at all. | 0:04:24 | 0:04:31 | |
Just look at this. Isn't it exquisite? It's beautiful. | 0:04:33 | 0:04:38 | |
Absolutely stunning. And if I just do this, watch what happens. | 0:04:38 | 0:04:44 | |
BIRDSONG | 0:04:44 | 0:04:46 | |
That's priceless, isn't it? | 0:04:57 | 0:05:00 | |
We're in Newmarket, I'm with someone who is involved in the racing world. Tell me a little bit about it. | 0:05:00 | 0:05:06 | |
What did you do? I used to ride horses, and I rode for 35, 40 years. | 0:05:06 | 0:05:12 | |
Flat racing, of course, not jumping. Yep. | 0:05:12 | 0:05:16 | |
How long ago did you buy this box? I would think about 35 years ago. | 0:05:16 | 0:05:21 | |
35 years ago. For the princely sum of...? 10p. 10p! | 0:05:21 | 0:05:26 | |
And was it bought at an auction or a shop? Just an ordinary house sale I happened to be passing at the time. | 0:05:26 | 0:05:33 | |
The more I look at it, the more I'm unsure of EXACTLY its purpose! | 0:05:33 | 0:05:39 | |
Has it ever been used in the family? Not at all. No. | 0:05:39 | 0:05:42 | |
What, languished on a sideboard somewhere? In a drawer. Oh, it was in a drawer. For the last 35 years. | 0:05:42 | 0:05:50 | |
Well, it's just lovely quality. We've got this lovely Makassar ebony, or coromandel. | 0:05:50 | 0:05:58 | |
It's a fabulous tropical hardwood, lovely grain, | 0:05:58 | 0:06:02 | |
and what I like are these lovely gilt-brass let-in straps all around. | 0:06:02 | 0:06:08 | |
And the ivory tablet, here, marked with the maker's label of Parkins Gotto of Oxford Street in London. | 0:06:08 | 0:06:15 | |
We've got a rather nice glass scent bottle, | 0:06:15 | 0:06:19 | |
and then a secret little jewellery place in there, | 0:06:19 | 0:06:23 | |
and some pots, two pots - regrettably one of them's broken. | 0:06:23 | 0:06:28 | |
They're not silver, they're plated. Then this interesting thing would've carried liquid. | 0:06:28 | 0:06:35 | |
And the more I look at it, this zinc lining, maybe it was a combination, with paints, a travelling thing, | 0:06:35 | 0:06:42 | |
with a bit of make-up. If there had been a ceramic bowl for watercolours that would've confirmed its use, | 0:06:42 | 0:06:50 | |
but there's some missing items that don't confirm my suspicions, but it's a nice item. | 0:06:50 | 0:06:57 | |
Any idea of its worth? No idea at all. No idea. | 0:06:57 | 0:07:01 | |
I think it'll give you a good return on this. If we were being cautious, we'd put ?100 to ?150 on it. | 0:07:01 | 0:07:08 | |
But I think it should make around ?150. | 0:07:08 | 0:07:11 | |
Thanks. That's fine. So you've a nice item. Yeah, that's fine. | 0:07:11 | 0:07:16 | |
What a lovely patch box, and we've got "A Pledge of Love" on the top. | 0:07:16 | 0:07:22 | |
Was this from an admirer, may I ask? It wasn't. I bought it myself. | 0:07:22 | 0:07:28 | |
And did you buy it at auction? No, I bought it in a fair, antiques fair. | 0:07:28 | 0:07:33 | |
I just saw it and just thought it was so lovely, and the history of it - | 0:07:33 | 0:07:37 | |
who gave it to who, where it's from - and I loved it, so I bought it. | 0:07:37 | 0:07:43 | |
You DO wonder what sort of stories are behind these things, don't you? It's probably late 19C, by Bilston - | 0:07:43 | 0:07:51 | |
Bilston were enamelling patch boxes at that time. If we look inside, it's in lovely condition. | 0:07:51 | 0:07:57 | |
Sometimes you'll have a mirrored interior, but this hasn't. | 0:07:57 | 0:08:02 | |
On the top we've got what looks like a turreted building, and a bit of damage on the edge, | 0:08:02 | 0:08:09 | |
which actually isn't too noticeable. | 0:08:09 | 0:08:12 | |
Value at auction I would think is going to be ?70 to ?100. OK. | 0:08:12 | 0:08:17 | |
Is that about what you paid for it? I paid ?100. I see. | 0:08:17 | 0:08:22 | |
Would it bother you if it sold below what you paid? No. You're more happy looking for something else? Yeah. | 0:08:22 | 0:08:29 | |
Let someone have it that wants to give it to an admirer. | 0:08:29 | 0:08:34 | |
We're lucky it's not raining today. | 0:08:37 | 0:08:39 | |
Oh, that's beautiful. That's in keeping with where we are - a bit of equine stuff. | 0:08:42 | 0:08:49 | |
Leaving The Smithy. I'm sure one of our experts would love to see that. | 0:08:49 | 0:08:55 | |
Sorry I made you unwrap it! | 0:08:55 | 0:08:57 | |
God, I'm a menace, aren't I? | 0:09:03 | 0:09:05 | |
Maurice. Hi, Maurice. | 0:09:05 | 0:09:08 | |
You're on, mate. What have you brought? This came from Windsor Castle. | 0:09:08 | 0:09:15 | |
When the queen died, King Edward - this gentleman, I think it was this gentleman... | 0:09:15 | 0:09:21 | |
I'm saying, "Where's King Edward?!" He told the servants that they could have what they wanted. | 0:09:21 | 0:09:29 | |
This came off the wall in the Great Hall. It's very kitsch-looking! Yeah. It's enough to kill anyone else! | 0:09:29 | 0:09:37 | |
Maurice, you've brought along this amazing piece of Victorian majolica. | 0:09:40 | 0:09:45 | |
Tell me, how did you come by it? | 0:09:45 | 0:09:48 | |
Well, my grandmother used to work at Windsor Castle, from 1897 to 1907, | 0:09:48 | 0:09:53 | |
but when Queen Victoria died in 1901, I think I'm right... Yeah. ..the old King Edward came along and says, | 0:09:53 | 0:10:00 | |
"There's a load of rubbish at Windsor Castle. Throw it out," | 0:10:00 | 0:10:05 | |
and gave instructions to the servants, within reason, to take what they wanted. | 0:10:05 | 0:10:11 | |
So my grandmother picked this, so we've had it in our family ever since. | 0:10:11 | 0:10:17 | |
I think your grandmother showed enormous presence of mind. | 0:10:17 | 0:10:23 | |
She's picked something now that is very fashionable and much collected. | 0:10:23 | 0:10:27 | |
It is in fact made by Mintons, | 0:10:27 | 0:10:30 | |
and Mintons produced - like any other porcelain pottery factory - | 0:10:30 | 0:10:35 | |
conventional wares, and then suddenly, in the 1860s, | 0:10:35 | 0:10:39 | |
they seemed to have this rush of blood to the head and produced amazing fantasy earthenware. | 0:10:39 | 0:10:46 | |
The colours are beautiful, and this fabulous turquoise interior. | 0:10:46 | 0:10:51 | |
If we look at the back, all the shell, but more importantly here, | 0:10:51 | 0:10:56 | |
for the collector we've got a nice stamp - Minton. | 0:10:56 | 0:11:00 | |
We've also got a date letter, and I'm looking up in the book, here - | 0:11:00 | 0:11:05 | |
it's 1861, with a month mark of November. | 0:11:05 | 0:11:09 | |
So it's really got everything. | 0:11:09 | 0:11:11 | |
They're very keenly collected abroad, especially American collectors love Minton majolica. | 0:11:11 | 0:11:18 | |
It's a great piece. Very colourful, with a great story. What provenance! | 0:11:18 | 0:11:24 | |
Thank you for bringing this along. I think we'll have fun at the auction, and we might be in for a surprise. | 0:11:25 | 0:11:32 | |
Um...I haven't told you how much it's worth, have I, Maurice? Oh, no! | 0:11:32 | 0:11:38 | |
I think we should put an auction estimate of ?1,500 to ?2,000 on it, | 0:11:38 | 0:11:43 | |
and I think we'll get ?2,000 or ?3,000. Thank you very much. | 0:11:43 | 0:11:49 | |
What a good start to the day! Linda Rustad's Art Nouveau silver bowl | 0:11:51 | 0:11:56 | |
is by a named artist and should do well at our auction. | 0:11:56 | 0:12:02 | |
Ex-jockey Eric bought this for 10p, | 0:12:03 | 0:12:06 | |
which definitely gives him the whip hand at auction. | 0:12:06 | 0:12:11 | |
James reckons it'll top ?100. | 0:12:11 | 0:12:13 | |
Small is beautiful, and Barbara's pillbox is a good example. | 0:12:13 | 0:12:18 | |
Let's hope the price it makes at auction | 0:12:18 | 0:12:22 | |
is an exception to the rule. | 0:12:22 | 0:12:24 | |
And we have a royal cast-off in Maurice's majolica clam shell. | 0:12:26 | 0:12:31 | |
It's big, it's pink, and it'll probably find its way to the USA. | 0:12:31 | 0:12:36 | |
Here at Tattersalls Sales Ring you'd normally find millions of pounds' worth of thoroughbred racehorses. | 0:12:40 | 0:12:48 | |
Today Rowley Fine Arts are having their antiques sale. | 0:12:48 | 0:12:52 | |
Amongst the items under the scrutiny of the local trade are our lots. | 0:12:52 | 0:12:58 | |
Before they're put up for sale, let's see what auctioneer Andrew Cheney thinks. | 0:12:58 | 0:13:04 | |
An exceptionally good quality silver Art Nouveau bowl, in Linda's family all her life - it was her aunt's. | 0:13:04 | 0:13:11 | |
Not my cup of tea, but what do you think? | 0:13:11 | 0:13:14 | |
I hope she's going to be pleasantly surprised. We put ?300 on this. I'm hoping it will make more than that. | 0:13:14 | 0:13:22 | |
Various elements, difficult to say, | 0:13:22 | 0:13:25 | |
but certainly more than ?300. The Art Nouveau flowers, | 0:13:25 | 0:13:28 | |
the hammered finish - really what a collector is looking for. So let's hope she's pleased with the result. | 0:13:28 | 0:13:36 | |
That'll be great if it gets ?500 or something. Good. | 0:13:36 | 0:13:40 | |
Now this gentleman's box belongs to Eric. He bought it for 10p, 35 years ago, so there's no reserve on it! | 0:13:40 | 0:13:47 | |
Our experts have put ?100 to ?150 on it. Do you think that's too rich? | 0:13:47 | 0:13:53 | |
Slightly. I think if we were just looking at it as a box, I would definitely agree with you. | 0:13:53 | 0:14:00 | |
The difference is it's not a mahogany box, it's got a nice brass binding on it, | 0:14:00 | 0:14:07 | |
there's a London retailer's mark inside. | 0:14:07 | 0:14:11 | |
Granted, inside it, it IS a little bit of a mess, but for someone to refit that, maybe use it for cigars, | 0:14:11 | 0:14:18 | |
I could see it - once transformed - being a very desirable piece. | 0:14:18 | 0:14:23 | |
Something that, with a little care, could be brought up to being quite a smart thing. | 0:14:23 | 0:14:30 | |
Excellent. So we'll see on the day, but hopefully Eric will be pleased. | 0:14:30 | 0:14:36 | |
This has to be the smallest lot in the auction. Probably! | 0:14:36 | 0:14:40 | |
Barbara's pillbox, which says "A Pledge of Love". Interesting thing. | 0:14:40 | 0:14:45 | |
You see quite a lot of these. In fact, we'd one in our last auction. | 0:14:45 | 0:14:50 | |
They WERE made quite late in the 19C | 0:14:50 | 0:14:53 | |
and I think this is probably a continental one and not much more than 100 years of age. Right. | 0:14:53 | 0:15:00 | |
We've got a value of ?70. Will it fetch that? I think that's sensible. The last one we had exceeded that. | 0:15:00 | 0:15:08 | |
So let's hope for Barbara's sake... I'll tell you why, cos she paid ?100 for it from an antique shop. | 0:15:08 | 0:15:15 | |
Did she really? Yes. OK. Try and get her money back. Let's hope we can. | 0:15:15 | 0:15:21 | |
Tattersalls is a huge arena and looks pretty empty, but don't worry. | 0:15:22 | 0:15:28 | |
The big hitters often leave bids on the book or bid on the telephone. | 0:15:28 | 0:15:33 | |
First, we have Linda and her stylish Art Nouveau bowl. | 0:15:33 | 0:15:38 | |
Linda, how are you feeling? Great. Excited? Up for it? Very excited. | 0:15:38 | 0:15:44 | |
Not long now. Yes. Will you be sad to see the bowl go? | 0:15:44 | 0:15:48 | |
A little bit, because it was left to me by my aunt, | 0:15:48 | 0:15:53 | |
but she collected it and this is what she wanted. It's very Art Nouveau. Were you into that sort of period? | 0:15:53 | 0:16:01 | |
I wasn't, but this is all down to my aunt, yes. | 0:16:01 | 0:16:04 | |
It's a quality piece. It's a super piece of Art Nouveau silver. Lovely decorative quality. | 0:16:04 | 0:16:12 | |
OK, here we go, here we go! Oh, here we go! Did you bring the boys? | 0:16:12 | 0:16:17 | |
No, but they're waiting at home for a call. We have the silver bowl. | 0:16:17 | 0:16:22 | |
London, 1899, | 0:16:22 | 0:16:25 | |
and a lot of interest in this lot. Starting here with me, 300... | 0:16:25 | 0:16:30 | |
Yes! ..350, 400, 450, 500, 550, 600, 650, | 0:16:30 | 0:16:34 | |
700... It's going bonkers! | 0:16:34 | 0:16:37 | |
?750 already bid. The highest absentee bidder at 750. | 0:16:37 | 0:16:41 | |
I'll take 800 anywhere. 750 it is, then. Are we all finished at 750? | 0:16:41 | 0:16:47 | |
Last chance at ?750, I'm selling. | 0:16:47 | 0:16:50 | |
Bang! That's great, isn't it? | 0:16:50 | 0:16:53 | |
Wonderful! | 0:16:53 | 0:16:55 | |
That is unbelievable! The boys WILL be pleased. They will be. | 0:16:55 | 0:17:00 | |
I am. I think Kate is. I didn't even like it. I didn't like the feet. | 0:17:00 | 0:17:07 | |
It may well be that a private buyer was taking on the trade and took it up. It's a lovely piece. Lovely. | 0:17:07 | 0:17:14 | |
Well done. Very pleased. | 0:17:14 | 0:17:17 | |
Maurice, your grandmother obviously had a very keen eye. Must've done. You didn't really like this, though. | 0:17:17 | 0:17:24 | |
Well, it's very nice. When I look at it, now I'm older, I appreciate it, but nobody ever looked at it | 0:17:24 | 0:17:31 | |
because it was hung on the wall, and who would look at it up there when you're looking straight ahead, | 0:17:31 | 0:17:38 | |
even if you're six foot tall, you know? Here we go. | 0:17:38 | 0:17:43 | |
The Americans love this, don't they? | 0:17:43 | 0:17:46 | |
You might have a phone bid from the States. | 0:17:46 | 0:17:49 | |
I think it's fair only to make mention | 0:17:49 | 0:17:52 | |
that there is, although it's not a WRITTEN provenance, | 0:17:52 | 0:17:56 | |
there is a verbal Royal provenance with this piece. | 0:17:56 | 0:18:00 | |
We've done as much research as we can with it, and the probability is | 0:18:00 | 0:18:06 | |
that it was made for Queen Victoria for the Royal Dairy at Frogmore | 0:18:06 | 0:18:12 | |
and was subsequently given to a relative of the current vendor | 0:18:12 | 0:18:18 | |
by Edward VII. | 0:18:18 | 0:18:21 | |
Quite amazing. Yeah. Gives you a tingle, actually. Yeah. | 0:18:21 | 0:18:26 | |
Yeah, you too? I mean, it's history, isn't it? | 0:18:26 | 0:18:30 | |
1,450, ?1,500 already bid. At 1,500. | 0:18:30 | 0:18:35 | |
At ?1,500 already bid. | 0:18:35 | 0:18:37 | |
1,550 is now bid on James's telephone. ?1,550 on James's phone. | 0:18:37 | 0:18:43 | |
Any advance on ?1,550, then? | 0:18:43 | 0:18:46 | |
At 1,550, are we all finished at 1,550, then? Your buyer. | 0:18:46 | 0:18:52 | |
Fair warning. | 0:18:52 | 0:18:54 | |
It's gone at ?1,550. It's gone. It's gone. You happy? | 0:18:54 | 0:18:59 | |
Yeah, but I would like to have seen ?2,000. I think James would. | 0:18:59 | 0:19:04 | |
I would like to have seen ?2,000. Someone's got a bargain. | 0:19:04 | 0:19:09 | |
I think it tickled through, but it's a very expensive wall pocket. | 0:19:09 | 0:19:14 | |
Yeah. A rather loud one as well. Very loud! | 0:19:14 | 0:19:19 | |
Next up, Eric. Guess what Eric used to do for a living. | 0:19:19 | 0:19:23 | |
How you doing, mate? Lovely, thanks. Great. | 0:19:23 | 0:19:27 | |
Rode a few winners in your time? A few. Yeah? Mm-hm. | 0:19:27 | 0:19:31 | |
Still miss the game? A little bit, yeah. How many injuries? Not many. Pretty good. Good man, then. | 0:19:31 | 0:19:39 | |
Got away with it lucky, really. Are you still involved with the whole jockey scene? No. Had enough? Yeah. | 0:19:39 | 0:19:46 | |
Were you ever into horses? No. | 0:19:46 | 0:19:49 | |
Just stood there cheering him on, you know. | 0:19:49 | 0:19:52 | |
I just hope this box does well for you. ..It's a cute little box. | 0:19:52 | 0:19:58 | |
It is a pretty little box. It seems to be a silver day today. Let's hope it's also a little box day. | 0:19:58 | 0:20:05 | |
What did you use the little box for? Just for knick-knacks. Yeah. | 0:20:05 | 0:20:10 | |
It could be converted into a nice cigar box. Yeah. | 0:20:10 | 0:20:14 | |
And the toilet box being held up for you there. | 0:20:14 | 0:20:18 | |
It's got some nice fittings inside. At 30, 40, 50, | 0:20:18 | 0:20:22 | |
60, 70, 80, | 0:20:22 | 0:20:24 | |
?90, I know have, here in my book. At 90. | 0:20:24 | 0:20:28 | |
100 bid there, but 110 against you. | 0:20:28 | 0:20:31 | |
120 is now bid there in the room. | 0:20:31 | 0:20:33 | |
At ?120, on my right. At 120. | 0:20:33 | 0:20:37 | |
130 now, in a new place. | 0:20:37 | 0:20:39 | |
140 now. 140. Go on! | 0:20:39 | 0:20:43 | |
150 now. Nose in front. 160 now. | 0:20:43 | 0:20:46 | |
At 160, I think we're all finished, then. | 0:20:46 | 0:20:50 | |
Good. Well done! That's great! Are you pleased with that? Yeah. | 0:20:50 | 0:20:55 | |
James was bang on. ?150, he said. A little bonus of ?10. | 0:20:55 | 0:20:59 | |
- Lovely. He got it just about right. - I'll have the ?10! | 0:20:59 | 0:21:04 | |
Well done. What about that? Thank you very much. It's an experience. | 0:21:04 | 0:21:09 | |
Will you look around, see what you can buy? Yeah, if I see anything, if THAT sells, I will buy something. | 0:21:09 | 0:21:16 | |
If it doesn't, will you jump in the car and go home? Yeah! | 0:21:16 | 0:21:21 | |
Go and have a good drink at home! | 0:21:21 | 0:21:24 | |
It should sell, shouldn't it, Kate? | 0:21:24 | 0:21:27 | |
Hope so. I saw a gentleman looking at it. So at least ONE took it out of the cabinet. | 0:21:27 | 0:21:34 | |
Lot 1, ladies and gentlemen, down there, thank you. | 0:21:34 | 0:21:38 | |
The enamel patch box. A lot of interest in this. | 0:21:38 | 0:21:42 | |
60, 70, 80, ?90 I have already bid on this. | 0:21:42 | 0:21:46 | |
The bid is 90. 100, I see there. | 0:21:46 | 0:21:49 | |
I've 110 against you. My money back. | 0:21:49 | 0:21:52 | |
We're in profit now. 120, 130... | 0:21:52 | 0:21:55 | |
Brilliant! Brilliant! 150, | 0:21:55 | 0:21:58 | |
160, 170, 180, | 0:21:58 | 0:22:00 | |
190. At 190 it's on the stairs, but 200 back there... | 0:22:00 | 0:22:05 | |
You can smell the money now! I know! | 0:22:05 | 0:22:07 | |
At 200 right in front of me... Wow! | 0:22:07 | 0:22:10 | |
Are we all finished at 200? Sold. | 0:22:10 | 0:22:13 | |
Wow! What a result! What a result! Well done! | 0:22:13 | 0:22:17 | |
Well done, Kate. You were nervous about that. | 0:22:17 | 0:22:21 | |
I DIDN'T pay too much, then. You didn't. ..Buy at fairs! | 0:22:21 | 0:22:26 | |
Some satisfied customers already, then. Now, in a few minutes, we'll see what turns up for valuation, | 0:22:27 | 0:22:34 | |
but first, let's pop across the road for a taste of racing heritage at the National Horseracing Museum. | 0:22:34 | 0:22:42 | |
Graham, we're surrounded by horseracing antique memorabilia, but there's also some modern stuff. | 0:22:53 | 0:23:00 | |
Indeed. Frankie Dettori's boots. | 0:23:00 | 0:23:02 | |
Those are the actual boots that Frankie Dettori wore when he won all seven races at Ascot in 1996. | 0:23:02 | 0:23:10 | |
What would a pair of boots like that be worth now? A tremendous amount of money, | 0:23:10 | 0:23:16 | |
bearing in mind that seven races were won and it may never be done again. | 0:23:16 | 0:23:21 | |
I take it, at auction recently, his breeches sold for quite a lot. Yes! | 0:23:21 | 0:23:26 | |
His Y-fronts supposedly went for thousands of pounds. I think that's probably some avid female collector. | 0:23:26 | 0:23:34 | |
Shall we wander through? Here we've got a section devoted to Fred Archer, | 0:23:34 | 0:23:39 | |
one of the greatest jockeys of all time, a Lester Piggott of his day. This is VERY collectable, isn't it? | 0:23:39 | 0:23:46 | |
Indeed. Fred Archer probably is regarded as the first sporting hero, | 0:23:46 | 0:23:52 | |
so you see his emblem, portraits of him on ceramics, plates, jugs. | 0:23:52 | 0:23:57 | |
He truly was a unique person who caught the imagination of the public. | 0:23:57 | 0:24:03 | |
The history is quite unique with Fred. | 0:24:03 | 0:24:06 | |
Yes. Unfortunately he committed suicide at 29. Very young. 1886. | 0:24:06 | 0:24:12 | |
Very young, but his achievement as a jockey was remarkable. Outstanding. | 0:24:12 | 0:24:18 | |
2,094 wins out of 8,084 mounts. That's a remarkable achievement for a jockey. Wow! | 0:24:18 | 0:24:25 | |
Here we have the head of Persimmon, supposedly a fine example of Edwardian taxidermy. | 0:24:26 | 0:24:33 | |
Persimmon won the Derby in 1896, | 0:24:33 | 0:24:37 | |
and that's in fact on loan from the Queen. Right. | 0:24:37 | 0:24:41 | |
Whose colours are those? The Queen's colours. Are those ALWAYS hers? | 0:24:41 | 0:24:46 | |
Yes, handed from generation to generation. | 0:24:46 | 0:24:50 | |
That looks really interesting. It's a ballot box, isn't it? Yes, it was used by stewards on the racecourse. | 0:24:50 | 0:24:57 | |
So how did they vote? They would've put their hand through the front of the chest, through the cylinder, | 0:24:57 | 0:25:05 | |
and they would've put the black ball into the "for" or "against" slot. | 0:25:05 | 0:25:11 | |
Hence the phrase "blackball". Right, THAT'S where it came from. | 0:25:11 | 0:25:17 | |
With the Newmarket folk queuing patiently, | 0:25:22 | 0:25:25 | |
I can't resist a sneak preview of what's in store for Kate and James. | 0:25:25 | 0:25:31 | |
What's that? | 0:25:31 | 0:25:33 | |
No idea. George Fox. | 0:25:35 | 0:25:38 | |
Oh, A Tale Of Waterloo. That's the Duke of Wellington. Yes. The frame's incredible, if nothing else. | 0:25:38 | 0:25:45 | |
I think the PICTURE'S incredible. Do you? Yeah! | 0:25:45 | 0:25:49 | |
That's great - they're all in the tavern. Talking a load of rubbish in the pub - what men do nowadays. | 0:25:50 | 0:25:57 | |
They don't talk rubbish! They do! They get drunk and it all gets exaggerated. | 0:25:57 | 0:26:02 | |
That's lovely. | 0:26:02 | 0:26:03 | |
Rita, where do you keep this at home? Under the stairs, gathering dust. | 0:26:12 | 0:26:18 | |
When did it see the light of day? | 0:26:18 | 0:26:21 | |
Last night, and I dusted it this morning. Rather a lot of dust as well. | 0:26:21 | 0:26:27 | |
Well, it's come up very well. Where did it come from? | 0:26:27 | 0:26:31 | |
It belonged to my in-laws. And did they have it under the stairs too? No, hanging over their fireplace. | 0:26:31 | 0:26:39 | |
That could possibly explain these cracks in it, cos they often used a slightly bitumen-based paint | 0:26:39 | 0:26:46 | |
that tended to crack when exposed to heat. That's the only thing that slightly detracts from it. | 0:26:46 | 0:26:53 | |
Otherwise, it's a very attractive image. Mid-19th century. George Fox was a London-based artist, | 0:26:53 | 0:27:00 | |
and he did all these genre subjects. | 0:27:00 | 0:27:03 | |
His particular genre was these tavern interiors | 0:27:03 | 0:27:07 | |
and rather nice Victorian whimsy-like scenes. It's nicely titled - A Tale Of Waterloo. | 0:27:07 | 0:27:14 | |
The returning soldier telling his village fellows about the Battle of Waterloo. | 0:27:14 | 0:27:21 | |
We've got some nice things in here. The settle - a panelled oak settle. | 0:27:21 | 0:27:25 | |
The trunkless longcase clock, here, hanging on the wall. | 0:27:25 | 0:27:30 | |
And what a fabulous silk topper. It is beautiful. And lovely waistcoat. | 0:27:30 | 0:27:35 | |
I think if you're not going to have a pretty lady, | 0:27:35 | 0:27:39 | |
what better than a soldier with a fabulous colourful tunic? | 0:27:39 | 0:27:44 | |
Do you have ANY idea what it might be worth? No. Stab in the dark? No. | 0:27:44 | 0:27:49 | |
I actually don't like it. I find it very ornate. Yeah. | 0:27:49 | 0:27:53 | |
It's fun, it's a good overall package, we'll put an estimate of ?500 to ?700 on it. That's good. | 0:27:53 | 0:28:01 | |
I think it's a very attractive item. | 0:28:01 | 0:28:04 | |
David and Rita, it's great to see you again. I was foraging outside, and I loved that little painting. | 0:28:13 | 0:28:21 | |
You've seen James, he likes it, and he's put it forward to the auction. | 0:28:21 | 0:28:26 | |
What did he value it at? Between ?500 and ?700. That's good, isn't it? Absolutely speechless. Really? | 0:28:26 | 0:28:34 | |
Brilliant! It's something you find underneath the stairs | 0:28:34 | 0:28:38 | |
and say, "I can get ?500, what shall I do with the money?" Exactly. | 0:28:38 | 0:28:43 | |
Did you like the painting? It's not to my taste. It's too ornate. | 0:28:43 | 0:28:48 | |
Did you take it off the wall and march it down here? No, we took it out from under the stairs...! | 0:28:48 | 0:28:54 | |
Then I took two years of dust off it. So you don't like it... No. ..and are pleased to get rid of it? Yes. | 0:28:54 | 0:29:01 | |
How long have you had it? Two years. It was my in-laws'. You inherited it. | 0:29:01 | 0:29:05 | |
Let's hope it reaches more than seven. How will you spend the money? Put it towards a holiday. Good. | 0:29:05 | 0:29:12 | |
We might not make Barbados but perhaps Malta. It'll make somewhere better than Malta! You never know! | 0:29:12 | 0:29:19 | |
When was your last holiday? Three or four years ago. So you deserve one? Yes. | 0:29:19 | 0:29:25 | |
I hope it does well at the auction. See you then. Thank you. | 0:29:25 | 0:29:29 | |
You've a late Victorian table here. | 0:29:29 | 0:29:32 | |
The thing I like most about it is this barley twist walnut column. | 0:29:32 | 0:29:38 | |
Super colour. In lovely condition. | 0:29:38 | 0:29:41 | |
Moving down to this tripod base... | 0:29:41 | 0:29:43 | |
It has lovely-shaped feet but we have got some repairs here, | 0:29:43 | 0:29:48 | |
and again here, which is going to affect the value a little bit. | 0:29:48 | 0:29:53 | |
But moving up to the top... | 0:29:53 | 0:29:55 | |
This is quite interesting. | 0:29:55 | 0:29:58 | |
We've got a later piece of mahogany in here. | 0:29:58 | 0:30:02 | |
The rest of it is walnut. Can you tell me about that? | 0:30:02 | 0:30:06 | |
The marquetry was all in the middle, and my auntie used to have a flowerpot stand on there, | 0:30:06 | 0:30:12 | |
and the water must have seeped through and broke it all up, | 0:30:12 | 0:30:17 | |
so I had the top restored. Right. You had that done yourself? Yes, I did. | 0:30:17 | 0:30:21 | |
He took this out of the middle and put it all round the outside. I see. | 0:30:21 | 0:30:27 | |
So the marquetry that was in the centre helped to restore this bit around the outside? Yes. Right. | 0:30:27 | 0:30:34 | |
This is a lovely bit of decoration. We've got all sorts of different woods in here and they're stained | 0:30:34 | 0:30:40 | |
to bring the floral decoration alive. | 0:30:40 | 0:30:43 | |
But we have got quite a late mahogany panel in the centre here, and that will affect the value. | 0:30:43 | 0:30:50 | |
In good original condition, you might be looking at ?200 to ?300, | 0:30:50 | 0:30:55 | |
but the restoration brings it down. | 0:30:55 | 0:30:58 | |
I would think ?100, ?150 with the repairs to the legs and the top replacement. Yeah. | 0:30:58 | 0:31:04 | |
Are you happy at that? Yes, fine. | 0:31:04 | 0:31:06 | |
Happy to offer it auction? Yes, thanks. | 0:31:06 | 0:31:10 | |
The thing I like about it the most is this lovely walnut column. | 0:31:10 | 0:31:14 | |
That's the most attractive bit about it, really, isn't it? | 0:31:14 | 0:31:19 | |
What wonderful pieces of contemporary furniture! | 0:31:19 | 0:31:23 | |
This is a Verner Panton. It's Danish. Yes. | 0:31:23 | 0:31:27 | |
Late '60s, early '70s. That's right. | 0:31:27 | 0:31:30 | |
Not just a piece of contemporary sculpture - it meets contemporary design and it's beautifully made. | 0:31:30 | 0:31:37 | |
It looks tidy and is comfortable to sit on. | 0:31:37 | 0:31:41 | |
The weight is distributed by this pivot. It's supported by the feet. | 0:31:41 | 0:31:45 | |
To me, all these ellipses just smack of the space age. | 0:31:45 | 0:31:49 | |
It's late '60s, Man getting to the moon... Wonderful! It's James Bond, | 0:31:49 | 0:31:54 | |
2001: A Space Odyssey, | 0:31:54 | 0:31:57 | |
Austin Powers even! It's superb. | 0:31:57 | 0:31:59 | |
I'd love to have seen this in a deep ultraviolet or a bright red. | 0:31:59 | 0:32:05 | |
Unfortunately, it's a bit tatty. Yes. It was well used! It's been worn a lot. | 0:32:05 | 0:32:11 | |
How long have you had it? We bought it new in the mid '60s, but moved to a cottage about ten years ago, | 0:32:11 | 0:32:18 | |
and it's been sitting in the loft ever since! Hopefully we'll sell it! I hope so, yes. | 0:32:18 | 0:32:24 | |
In its present condition, it's worth about ?60 to ?80. Yes. | 0:32:24 | 0:32:28 | |
It'll attract interest. Probably they'll get it reupholstered... Yes. | 0:32:28 | 0:32:33 | |
..in a vivid hue, which is what these colours would be. Indeed. | 0:32:33 | 0:32:37 | |
And then it might double its value. Yes. Maybe touch ?200 once it's restored. | 0:32:37 | 0:32:43 | |
This table is beautiful. Look at the design! | 0:32:43 | 0:32:47 | |
This is so cool. It is cool design. It really is. | 0:32:47 | 0:32:51 | |
It's functional and practical. | 0:32:51 | 0:32:53 | |
And it's lacquered plywood, so it's very heavy. It looks like plastic. It does. Until you go to pick it up! | 0:32:53 | 0:33:00 | |
I was attracted by this design. | 0:33:00 | 0:33:02 | |
I thought it would be an antique of the future so it's been kept. It IS! | 0:33:02 | 0:33:07 | |
It's wonderful to see three concentric circles. | 0:33:07 | 0:33:12 | |
When you bring one out, it makes a half ellipse and you can make a full eclipse. Such good design! | 0:33:12 | 0:33:19 | |
Its condition is fantastic, and white - no problem for anybody. We think about ?100 to ?150. Right. | 0:33:19 | 0:33:26 | |
It's interesting. I probably paid more for the chair than ?60, | 0:33:26 | 0:33:31 | |
even all those years ago, but I understand. | 0:33:31 | 0:33:35 | |
I do upholstery, but I couldn't do that, as it's so cleverly designed. | 0:33:35 | 0:33:40 | |
It would be a difficult job to upholster. | 0:33:40 | 0:33:43 | |
I love tortoiseshell, and this is a lovely example. Tell me about it. | 0:33:43 | 0:33:48 | |
It was my great-grandmother's. Although I love it, I haven't used it as a clock. Right. | 0:33:48 | 0:33:54 | |
Well, we can look at the date by looking at the hallmarks on this gold. It's marked 18-carat gold, | 0:33:54 | 0:34:00 | |
which you would expect. If we open it... | 0:34:00 | 0:34:04 | |
it is marked, I think, on the hinge, just inside here. Yes. | 0:34:04 | 0:34:08 | |
We've got the 18-carat and the date letter for 1911. | 0:34:08 | 0:34:14 | |
It also tells us that that A Co is for Asprey's in London... Mm-hm. | 0:34:14 | 0:34:20 | |
Obviously a good quality retailer. | 0:34:20 | 0:34:22 | |
And it's the sort of thing you'd expect to be from there. | 0:34:22 | 0:34:27 | |
An enamelled dial in good condition. | 0:34:27 | 0:34:30 | |
And lovely gold ball feet here. | 0:34:30 | 0:34:34 | |
One of them has had a bash, but that's not much to worry about. | 0:34:34 | 0:34:39 | |
The movement is French and it's a fairly standard movement. Any idea of the value? | 0:34:39 | 0:34:46 | |
No, not really. Is it the sort of thing you'd like to sell at auction at the right price? Yes, I would. | 0:34:46 | 0:34:52 | |
I think because it's in such lovely condition - and tortoiseshell, of course, is very fragile - | 0:34:52 | 0:34:58 | |
and it's got a lovely-shaped door here at the back. No damage at all that I can see. | 0:34:58 | 0:35:05 | |
A collector would love a piece like this. | 0:35:05 | 0:35:09 | |
I think you're going to be talking ?600 or ?700 at least. | 0:35:09 | 0:35:14 | |
I know you wouldn't want it to go for much less than that... No! | 0:35:14 | 0:35:19 | |
We can set a firm reserve for you so it wouldn't go for less than a certain level. | 0:35:19 | 0:35:25 | |
But I would hope it would do better than that. | 0:35:25 | 0:35:28 | |
Cleaned up... It polishes up beautifully. | 0:35:28 | 0:35:32 | |
The good thing about it is the opening is still good. Sometimes they go loose. Exactly. Mmm. Mmm. | 0:35:32 | 0:35:40 | |
Obviously hardly been opened. No! | 0:35:40 | 0:35:43 | |
It's so tiny, no matter where you put it, you can't see it unless you're right on top of it! | 0:35:43 | 0:35:49 | |
But as a collector's thing... Everybody's said they love it. | 0:35:49 | 0:35:53 | |
It's just the sort of thing that two collectors would die for and have a long battle over! | 0:35:53 | 0:36:00 | |
And I think if we offer it at auction for you, it would have a very good chance. All right, then. | 0:36:00 | 0:36:06 | |
Thank you for bringing it along! | 0:36:06 | 0:36:09 | |
Now what's this mystery item? | 0:36:10 | 0:36:13 | |
Reveal it! | 0:36:13 | 0:36:15 | |
This is a World War I trench periscope. | 0:36:15 | 0:36:19 | |
It's an officer's periscope... Yeah. | 0:36:19 | 0:36:22 | |
And, er, basically... | 0:36:24 | 0:36:28 | |
what would happen is... I'll hold that. | 0:36:28 | 0:36:31 | |
Um...this is the handle. | 0:36:31 | 0:36:34 | |
And when infantryman Jones got asked to look over the top to see if there were any enemies in view, | 0:36:34 | 0:36:42 | |
and had his head shot off, | 0:36:42 | 0:36:44 | |
the officer would probably say, "Oh, dear. We've lost another man. I'd better use my trench periscope | 0:36:44 | 0:36:50 | |
"and have a look myself." | 0:36:50 | 0:36:53 | |
We've got the manufacturer's name. | 0:36:53 | 0:36:55 | |
Beck Ltd. And I like this... Dated 1918. | 0:36:55 | 0:36:59 | |
There's a couple of chips. Maybe a couple of ricochets there. | 0:36:59 | 0:37:04 | |
But...this extends up, and that is the eyepiece, | 0:37:04 | 0:37:09 | |
and you look through it, as you know, and it works very well, doesn't it? Yeah. | 0:37:09 | 0:37:15 | |
It would have saved a lot of people, rather than peeping over the top and being knocked off by a sniper. | 0:37:15 | 0:37:21 | |
It's a great item. It's very interesting. How did it come to you? | 0:37:23 | 0:37:28 | |
I inherited it. It's come down through the family. | 0:37:28 | 0:37:32 | |
It's one of numerous bits and pieces | 0:37:32 | 0:37:35 | |
which have been sat in a trunk in the attic as long as I can remember. | 0:37:35 | 0:37:40 | |
So many items that we see are not generally displayed. | 0:37:40 | 0:37:45 | |
They're languishing in boxes, under stairs or wherever. | 0:37:45 | 0:37:49 | |
But it's just beautifully made. This is a very nice bronze coupling... | 0:37:49 | 0:37:54 | |
bronze-brass coupling here. Nice handle. | 0:37:54 | 0:37:58 | |
And it's very well made. In a beautiful leather case. Have you any idea what it might fetch? | 0:37:58 | 0:38:04 | |
No idea. | 0:38:04 | 0:38:06 | |
Difficult to say, really, | 0:38:06 | 0:38:08 | |
but I would put somewhere in the region of ?100 to ?150 as a suitable estimate, | 0:38:08 | 0:38:14 | |
because the whole package is a rather nice item, and has some practical purpose! | 0:38:14 | 0:38:20 | |
In these days of crowded cricket matches, football matches. Very useful, I would have thought! | 0:38:20 | 0:38:26 | |
Suffolk is Lovejoy country, and the fans of that show know that antiques aren't always what they seem. | 0:38:40 | 0:38:47 | |
Stuart Curtis is a master of such deception. He challenged me to spot which chair was born yesterday. | 0:38:47 | 0:38:55 | |
I've got to congratulate you. Your workmanship and craftsmanship is superb! | 0:38:55 | 0:39:01 | |
You're putting me to the test, | 0:39:01 | 0:39:03 | |
because you've been commissioned to replicate one of these chairs. | 0:39:03 | 0:39:07 | |
The client has one missing. | 0:39:07 | 0:39:10 | |
I think you've done a wonderful job. | 0:39:10 | 0:39:13 | |
There are a few tips which do give it away. | 0:39:13 | 0:39:18 | |
Hopefully your client won't notice. No. The untrained eye won't notice. | 0:39:18 | 0:39:23 | |
Here, | 0:39:23 | 0:39:25 | |
there's no palm wear where the chair would have been picked up. | 0:39:25 | 0:39:29 | |
You can feel it. 100 years of palm grease | 0:39:29 | 0:39:32 | |
where this has been picked up and dirt has been collecting. | 0:39:32 | 0:39:37 | |
A sliminess, almost. Yeah, which is very hard to fake. | 0:39:37 | 0:39:42 | |
If these had been worn, I'd have turned the chair upside-down | 0:39:42 | 0:39:46 | |
to look underneath at the spandrels. | 0:39:46 | 0:39:49 | |
There's one giveaway sign and that's here. | 0:39:49 | 0:39:53 | |
You can see machine marks running in at 90 degrees to the grain... Yes. | 0:39:53 | 0:39:58 | |
..whereas those ones are hand sawn. | 0:39:58 | 0:40:01 | |
Otherwise they are superb. The patination on them is wonderful. | 0:40:01 | 0:40:05 | |
And once they're around a table... | 0:40:05 | 0:40:09 | |
No-one will know. You've replicated this at a fifth of the cost. | 0:40:09 | 0:40:14 | |
You're in big demand - there is a need for this. | 0:40:14 | 0:40:18 | |
Yes, it gives you the flexibility to get the size, | 0:40:18 | 0:40:22 | |
and the piece of furniture to cover a multitude of things. | 0:40:22 | 0:40:27 | |
Hi-fi equipment, televisions... | 0:40:27 | 0:40:29 | |
And a lot of pieces of furniture weren't originally produced. | 0:40:29 | 0:40:34 | |
You never had a 17C coffee table, or a 17C video/TV cabinet. | 0:40:34 | 0:40:39 | |
People don't want to buy an 18C piece and have it converted. There's no need when they can come to you. | 0:40:39 | 0:40:45 | |
We can give a piece of furniture a look. A similar look, not an authentic, but a similar look, | 0:40:45 | 0:40:52 | |
such as...this type of thing here. | 0:40:52 | 0:40:55 | |
The surface you've given a wonderful patina to. | 0:40:55 | 0:40:59 | |
I see the top's fastened down in the traditional method with peg dowels. | 0:40:59 | 0:41:04 | |
It's great that you've left them raised. | 0:41:04 | 0:41:09 | |
Talk me through the method your craftsmen use. | 0:41:09 | 0:41:13 | |
We've got a job in the white wood with no polish on. | 0:41:13 | 0:41:17 | |
We take the sharp edges off and put wear onto the corners where it would naturally be. | 0:41:17 | 0:41:22 | |
We would then start to put the marks that we see on here. | 0:41:22 | 0:41:27 | |
The marks can be done with, um, a chain, | 0:41:27 | 0:41:31 | |
a screwdriver, a knife... A bunch of keys... Yes, or a rock. | 0:41:31 | 0:41:35 | |
All things that make small indentations... Which the dye will pick up. That's right. | 0:41:35 | 0:41:42 | |
You get this wonderful petrified look. Little undulations | 0:41:42 | 0:41:47 | |
and pockmarks which look superb. | 0:41:47 | 0:41:49 | |
The colour will gradually be enriched, the shine will be applied through different layers of resin... | 0:41:49 | 0:41:57 | |
Then, at the end of the day, the shine is cut back, | 0:41:57 | 0:42:02 | |
and it's waxed off by hand to give what we see here now... Which is what's known as the skin. | 0:42:02 | 0:42:08 | |
Yes. And it's only that last 2mm that you're ever really buying | 0:42:08 | 0:42:14 | |
for the look of a genuine antique. | 0:42:14 | 0:42:17 | |
You've made this look lovely and warm. A wonderful hue, which is huggable, isn't it? Yeah. Yeah. | 0:42:17 | 0:42:23 | |
It will harmonise with antiques now and any time. | 0:42:23 | 0:42:27 | |
Newmarket has been fantastic and my favourite item is Rita's painting | 0:42:45 | 0:42:51 | |
of barroom braggadocio! She doesn't like it. I love it! | 0:42:51 | 0:42:56 | |
Jean's table has had major surgery, | 0:42:57 | 0:43:01 | |
but the barley twist pedestal should see it top ?100. | 0:43:01 | 0:43:05 | |
Anne's design classics are perfect for the contemporary living space. | 0:43:10 | 0:43:16 | |
The table should make ?100 and the chair should match it. | 0:43:16 | 0:43:20 | |
Groovy, baby! | 0:43:20 | 0:43:23 | |
Helen's Asprey's clock is an absolute gem! | 0:43:26 | 0:43:31 | |
Quality always sells, and the Asprey's mark should see it to ?700. | 0:43:31 | 0:43:36 | |
The officer's periscope, brought in by David Lane, | 0:43:38 | 0:43:42 | |
was probably a life-saver. | 0:43:42 | 0:43:45 | |
Hopefully, at auction, it'll be a crowd-pleaser. | 0:43:45 | 0:43:49 | |
I'm hopeful we'll do well. Let's see what our auctioneer thinks. | 0:43:56 | 0:44:02 | |
Here we are, Andrew. Up periscope! Indeed. Quite an unusual item, that, isn't it? | 0:44:02 | 0:44:08 | |
David Lane owns this, and we've valued it at ?100 to ?150. | 0:44:08 | 0:44:13 | |
I have to say we've already had numerous people looking at it... This one's going to go. | 0:44:13 | 0:44:20 | |
..and contacting us about it. It is! The owner was probably lucky. | 0:44:20 | 0:44:25 | |
It was made in 1918, so hopefully he saw the end of the war, and a good many years after that! | 0:44:25 | 0:44:32 | |
The case is quite interesting. Yeah. A saddle-maker would be proud of that. They would. | 0:44:32 | 0:44:38 | |
That would cost about ?150. Round here it would! At least! Good value for money. What do you think? | 0:44:38 | 0:44:44 | |
Well, it certainly should top the bottom estimate. | 0:44:44 | 0:44:49 | |
Maybe the top estimate. ?180, ?200... Could do, could do. | 0:44:49 | 0:44:53 | |
Excellent. Excellent. David will be pleased. Let's hope he is. | 0:44:53 | 0:44:58 | |
If I was Rita, I wouldn't sell this. Really? No. It's a man's picture. I love the pub, the clay pipes... | 0:44:58 | 0:45:06 | |
You can imagine them back from the war recounting their stories. Yeah, 1815. It is a lovely piece. | 0:45:06 | 0:45:12 | |
This has been cleaned, I think. Yes, definitely. | 0:45:12 | 0:45:16 | |
It's brighter... That's why we put it on the cover of the catalogue! | 0:45:16 | 0:45:20 | |
Good for you! We've got ?500 on this. | 0:45:20 | 0:45:23 | |
I'd like to see this get ?750 to ?1,000. It would be exciting if it topped ?1,000. | 0:45:23 | 0:45:29 | |
Confident on this one? I'm hopeful. Does art sell well here? It does. | 0:45:29 | 0:45:34 | |
This type of thing - equestrian art, things with military connotations... | 0:45:34 | 0:45:40 | |
Yeah... ..are very popular in this area. | 0:45:40 | 0:45:44 | |
Let's hope it gets ?1,000! Yes. | 0:45:44 | 0:45:47 | |
Look at this. A '60s coffee table that Anne brought in. | 0:45:47 | 0:45:51 | |
Do you like that? I certainly do. | 0:45:51 | 0:45:54 | |
Although I've never owned one myself, it's something that is increasing in popularity, | 0:45:54 | 0:46:00 | |
and as we said earlier, it's a usable piece of sculpture. | 0:46:00 | 0:46:04 | |
It IS. It's functional, practical... ?100? | 0:46:04 | 0:46:08 | |
Worth every bit of that. Could you see yourself owning one? | 0:46:08 | 0:46:13 | |
I'll have to pass on that! THEY LAUGH | 0:46:13 | 0:46:16 | |
Next up is Helen's Asprey's clock which is absolutely divine. | 0:46:16 | 0:46:21 | |
I think this is my most favourite piece of all the pieces you've brought for us for this auction. | 0:46:21 | 0:46:28 | |
I think it's charming. | 0:46:28 | 0:46:30 | |
Made by Asprey's, tortoiseshell case, gold mounts on it... | 0:46:30 | 0:46:35 | |
You can't get much better than this. | 0:46:35 | 0:46:38 | |
This has been in Helen's family for three generations. Has it? Yep. Our experts have put ?700 on it. | 0:46:38 | 0:46:44 | |
I think it should make that. How much more, we'll know on the day. | 0:46:44 | 0:46:49 | |
To my mind, it's worth every penny. | 0:46:49 | 0:46:51 | |
Is it working? I haven't actually tried it! | 0:46:51 | 0:46:55 | |
Oh, well! | 0:46:55 | 0:46:57 | |
Sold as found! Whether it's working or not, it's a lovely piece! Great. | 0:46:57 | 0:47:02 | |
The talking's over now and we're under starter's orders. | 0:47:05 | 0:47:09 | |
How are you feeling? Yeah, pretty excited, actually! | 0:47:09 | 0:47:14 | |
It's great fun, actually. Really good. | 0:47:14 | 0:47:17 | |
What are you going to spend the money on? We've decided to purchase | 0:47:17 | 0:47:22 | |
a nice watercolour piece of artwork to hang on the wall as a memento. | 0:47:22 | 0:47:28 | |
It'll remind us more of Grandfather... And it's something that you can enjoy looking at. | 0:47:28 | 0:47:34 | |
Rather than having something that languished in a drawer | 0:47:34 | 0:47:38 | |
for the last...! | 0:47:38 | 0:47:40 | |
And the periscope...in its leather case is being shown to you. | 0:47:40 | 0:47:46 | |
And starting bidding here with me at 70, 80, 90, 100... | 0:47:46 | 0:47:51 | |
We have a tie at ?110. It's sold anyway. Two bidders at ?110. | 0:47:51 | 0:47:55 | |
Who's going to break the tie? At ?110. Are you bidding there? 120. | 0:47:55 | 0:48:01 | |
At ?120... It's in the room at 120. Any advance on 120? | 0:48:01 | 0:48:05 | |
Last chance. Someone got a bargain. Selling...sold ?120. | 0:48:05 | 0:48:10 | |
It went. Yeah. It was worth a lot more than ?120. | 0:48:10 | 0:48:14 | |
Well...it's worth what somebody's prepared to pay for it! Right! | 0:48:14 | 0:48:19 | |
Two people thought it was worth 100. | 0:48:19 | 0:48:22 | |
It's away. It's away. Now you can go and look at some watercolours! That's right! | 0:48:22 | 0:48:28 | |
We're one lot away | 0:48:30 | 0:48:33 | |
and our director let me value two pieces of contemporary furniture at the valuation day in Newmarket. | 0:48:33 | 0:48:39 | |
I'm feeling vulnerable, as the owner, Anne, is on holiday, so I'm representing her, | 0:48:39 | 0:48:45 | |
and putting my neck on the block. | 0:48:45 | 0:48:47 | |
They're wonderful pieces. | 0:48:47 | 0:48:49 | |
There's a Panton chair. It's a piece of industrial design to die for. | 0:48:49 | 0:48:54 | |
It's tatty, but has much potential. | 0:48:54 | 0:48:58 | |
And starting the bidding here with me | 0:48:58 | 0:49:02 | |
at 40, 45, 50, 55, ?60, 65... | 0:49:02 | 0:49:05 | |
I've done it! 70 is bid there. | 0:49:05 | 0:49:08 | |
75 here... | 0:49:08 | 0:49:10 | |
80, 85, 90, 95, | 0:49:10 | 0:49:12 | |
100, 105... I wish I had Anne's phone number! | 0:49:12 | 0:49:16 | |
120, 125, 130, | 0:49:16 | 0:49:18 | |
130... I can see this in a lovely ultraviolet colour... | 0:49:18 | 0:49:23 | |
135... ..in the foyer of an art gallery... | 0:49:23 | 0:49:27 | |
145, 150... 150! | 0:49:27 | 0:49:31 | |
160, 170, | 0:49:31 | 0:49:34 | |
180, 190, | 0:49:34 | 0:49:36 | |
190 it is at the top of the stairs. Brilliant! ?190. | 0:49:36 | 0:49:41 | |
Are you finished? ?190... | 0:49:41 | 0:49:43 | |
Sold! | 0:49:43 | 0:49:45 | |
Sold! | 0:49:45 | 0:49:47 | |
Well, I'm dead chuffed. | 0:49:47 | 0:49:49 | |
Your little Asprey's clock | 0:49:49 | 0:49:52 | |
is absolutely stunning. It is sweet, yeah. | 0:49:52 | 0:49:56 | |
It's one of my favourite lots here today. Tempted to bid? | 0:49:56 | 0:50:01 | |
I wish I COULD! | 0:50:01 | 0:50:03 | |
It's always on the mantelpiece and I've never wound it up. That was the stupid thing. | 0:50:03 | 0:50:10 | |
My grandmother always had it by her bed. It's fabulous! | 0:50:10 | 0:50:14 | |
Let's look at the auctioneer. | 0:50:14 | 0:50:17 | |
I have to start this now at ?450. It's here with me at ?450. | 0:50:17 | 0:50:23 | |
500 is bid there. I've got 550 against you, sir. At 550... | 0:50:23 | 0:50:29 | |
600 is bid there. I've got 650 against you, sir. | 0:50:29 | 0:50:33 | |
700 is now bid on my right. Seated on my right at 700. | 0:50:33 | 0:50:38 | |
At ?700. Are we all finished at 700? Come on! A little bit more! | 0:50:38 | 0:50:43 | |
Last chance. ?700. | 0:50:43 | 0:50:45 | |
Sold! | 0:50:45 | 0:50:46 | |
It's gone! You've got ?700. Better than nothing. Somebody got a bargain. | 0:50:46 | 0:50:53 | |
I was surprised it didn't make more than that. Are you? Yes. | 0:50:53 | 0:50:57 | |
700 was the reserve price, but I think it ought to have done better. | 0:50:57 | 0:51:02 | |
I hope you're happy. Yeah. Thank you very much. Thank you. | 0:51:02 | 0:51:06 | |
It's good to see you again, Jean. And you. Are you feeling excited? A little bit. Are you? Yeah! | 0:51:10 | 0:51:17 | |
Not feeling sad about selling your table? A little bit. Brings back memories of your aunt? Yeah. | 0:51:17 | 0:51:23 | |
Where do you live? I live in Newmarket. Oh, locally? Yes. So you rode your horse here, then?! Yeah! | 0:51:23 | 0:51:29 | |
Yeah, I did! Seriously, you haven't got one, have you? No! No! | 0:51:29 | 0:51:35 | |
27...the table...being held up. | 0:51:35 | 0:51:39 | |
We'll watch the auctioneer, shall we? | 0:51:39 | 0:51:42 | |
60, 70, 80, 90, | 0:51:42 | 0:51:44 | |
?100... You've sold it. 120. | 0:51:44 | 0:51:49 | |
?120... 130 is bid there in the room. | 0:51:49 | 0:51:53 | |
It's climbing... Yeah. | 0:51:53 | 0:51:56 | |
140...140, 150, 160... There's a bit of competition! | 0:51:56 | 0:52:02 | |
170, 180... They're warming up! Yeah. | 0:52:02 | 0:52:05 | |
200. I hope not. I want to buy a table later! | 0:52:05 | 0:52:09 | |
220, 230, 240... That's good. | 0:52:09 | 0:52:13 | |
It is a nice base. Come on! 270... | 0:52:13 | 0:52:16 | |
280, 290, 300... | 0:52:16 | 0:52:20 | |
I can't believe it! 310... Neither can I! | 0:52:20 | 0:52:24 | |
330, 340... Unbelievable! | 0:52:24 | 0:52:27 | |
350... At 350 now. You've got good taste! | 0:52:27 | 0:52:30 | |
I must have! 350... | 0:52:30 | 0:52:33 | |
Sold! What do you think? Oh, good! I'm amazed! | 0:52:34 | 0:52:39 | |
Slack jaw! Yeah! | 0:52:41 | 0:52:44 | |
I'm putting my neck on the block again for Anne. I don't feel such an idiot cos I've had a good result! | 0:52:49 | 0:52:55 | |
But I know what the experts go through. | 0:52:55 | 0:52:59 | |
I just hope the same guy's hung around to buy this coffee table. | 0:52:59 | 0:53:04 | |
I'll keep you company! Thanks. I hear YOU valued this one. Your neck on the block this time! | 0:53:04 | 0:53:10 | |
Yeah, so I know what you go through. | 0:53:10 | 0:53:13 | |
Fingers crossed, Anne. ..This is a little gem, actually. | 0:53:13 | 0:53:18 | |
50, 60, 70... At ?70 I have... At ?70 here with me. | 0:53:18 | 0:53:22 | |
At 70... ?80, ?90... At ?90... | 0:53:22 | 0:53:25 | |
100 is now bid. Brilliant! | 0:53:25 | 0:53:28 | |
Any advance on 100? Come on! Selling for ?100! PHONE RINGS | 0:53:28 | 0:53:33 | |
The phone put people off! Sold. 100. | 0:53:33 | 0:53:36 | |
I did it, anyway! Yeah, sold. I'm going to ring Anne up now. | 0:53:36 | 0:53:41 | |
How are you feeling? Very nervous. | 0:53:45 | 0:53:48 | |
I hope it sells. It's been put on the front cover, | 0:53:48 | 0:53:52 | |
which was good of them. Wonderful! | 0:53:52 | 0:53:55 | |
So...we're at the mercy of the good people of Newmarket! Exactly! | 0:53:55 | 0:54:00 | |
Hopefully it'll go to a good home. It'll end up in a gentlemen's club! It would suit that. Yeah. | 0:54:00 | 0:54:06 | |
A nice, large house... | 0:54:06 | 0:54:09 | |
Did you like it? No, I'm afraid not. | 0:54:09 | 0:54:12 | |
Not at all. Here we go. How are the nerves? | 0:54:12 | 0:54:16 | |
It's being shown now. 300, 350, | 0:54:16 | 0:54:20 | |
400, 450. I have already bid with me at 450. | 0:54:20 | 0:54:23 | |
450... 500, I'm taking there... | 0:54:23 | 0:54:26 | |
It's sold. Pardon me? Come on! Come on! | 0:54:26 | 0:54:30 | |
550 now across the room. I couldn't see you. 600. | 0:54:30 | 0:54:35 | |
650... Good. 700. Wonderful! 750. | 0:54:35 | 0:54:39 | |
At 750... That's you, sir, at 750. | 0:54:39 | 0:54:42 | |
At 750, it's by the staircase now. ?750. Any advance? | 0:54:42 | 0:54:47 | |
On ?750... Fair warning... Selling to you, sir. | 0:54:47 | 0:54:52 | |
750. Wonderful! That's good. Delighted. Really pleased. | 0:54:52 | 0:54:56 | |
It will go to a good... Relieved? Yes! | 0:54:56 | 0:55:00 | |
You didn't want it back! Not really! | 0:55:00 | 0:55:03 | |
I don't want to take it home again! | 0:55:03 | 0:55:06 | |
Our owners have made just under ?5,000 today, which is a great result. | 0:55:09 | 0:55:15 | |
Maurice wanted ?2,000 for his majolica, | 0:55:15 | 0:55:18 | |
but at ?1,550, it was a very expensive wall pocket! | 0:55:18 | 0:55:23 | |
Barbara's patch box made double its estimate at ?200. | 0:55:23 | 0:55:28 | |
Rita's not going to be sorry she brought along this oil painting. She'd rather have the cash! | 0:55:28 | 0:55:35 | |
And finally, Linda, whose face lit up the Tattersall sales room | 0:55:36 | 0:55:40 | |
as her Art Nouveau bowl made a whopping ?750. | 0:55:40 | 0:55:45 | |
That's it. Hope you've enjoyed it. See you next time on Flog It! | 0:55:47 | 0:55:52 | |
Subtitles by Red Bee Media Ltd | 0:56:27 | 0:56:30 |