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Today we are in fashionable Cheltenham | 0:00:05 | 0:00:07 | |
and this place owes its wealth and its architecture | 0:00:07 | 0:00:10 | |
to its popularity as a spa town in the 18th and 19th centuries. | 0:00:10 | 0:00:14 | |
And this iconic piece of architecture, look at that. | 0:00:14 | 0:00:17 | |
What a wonderful classical example. It's the Pittville Pump Room, | 0:00:17 | 0:00:20 | |
our venue for our valuation day. | 0:00:20 | 0:00:23 | |
Welcome to "Flog It!" | 0:00:23 | 0:00:24 | |
Morning. | 0:00:49 | 0:00:50 | |
The Pittville Pump Rooms were built away from the main town | 0:00:52 | 0:00:55 | |
in the 1820s by local entrepreneur Joseph Pitt. | 0:00:55 | 0:00:58 | |
He wanted to establish a small town here | 0:00:58 | 0:01:00 | |
and the area known as Pittville is now a thriving suburb. | 0:01:00 | 0:01:03 | |
And judging by the size of this crowd, | 0:01:03 | 0:01:05 | |
I think it is a booming success. | 0:01:05 | 0:01:06 | |
This lot are here to get their antiques valued. | 0:01:06 | 0:01:09 | |
They're going to ask that all-important question | 0:01:09 | 0:01:11 | |
-to our experts which is... ALL: -What's it worth? | 0:01:11 | 0:01:13 | |
When you've found out, what are you going to do? | 0:01:13 | 0:01:15 | |
ALL: Flog it! That's the name of the game. | 0:01:15 | 0:01:17 | |
We've got the experts, you've got the antiques. Let's party. | 0:01:17 | 0:01:20 | |
Our experts are already amongst the queue | 0:01:24 | 0:01:26 | |
looking for the very best antiques and collectables to send to auction. | 0:01:26 | 0:01:30 | |
They're led today by gentlemen valuer David Fletcher... | 0:01:32 | 0:01:35 | |
..and the young pretender, Adam Partridge. | 0:01:37 | 0:01:39 | |
-I collect royal memorabilia. -Do you? I'm going now! | 0:01:39 | 0:01:42 | |
'And I'm keeping my eyes peeled too.' | 0:01:45 | 0:01:48 | |
-Is it something you want to sell? -I do, actually. | 0:01:48 | 0:01:51 | |
-I'll be talking to you a bit later. -All right. -Isn't that lovely? | 0:01:51 | 0:01:54 | |
You'll find out what that's worth in just a moment. | 0:01:54 | 0:01:57 | |
Also on the programme today, | 0:01:58 | 0:01:59 | |
Adam's whipping up interest in the audience. | 0:01:59 | 0:02:02 | |
"Wow." I heard a "wow". | 0:02:02 | 0:02:03 | |
That's great. What do you think of this? | 0:02:03 | 0:02:05 | |
I'm glad I came. | 0:02:05 | 0:02:06 | |
David's disappointed that his celebrity status | 0:02:06 | 0:02:09 | |
isn't all it should be. | 0:02:09 | 0:02:11 | |
-I was pleased to see you come in with an autograph album. -Yes. | 0:02:11 | 0:02:14 | |
Actually, I was a bit disappointed really, | 0:02:14 | 0:02:16 | |
because I thought you were going to ask for mine but you didn't. | 0:02:16 | 0:02:19 | |
'And at the auction, I'm in another fine mess.' | 0:02:19 | 0:02:23 | |
Ooh! Ooh! | 0:02:23 | 0:02:25 | |
And all that to enjoy, so let's get on with the show. | 0:02:28 | 0:02:31 | |
Good morning. | 0:02:34 | 0:02:35 | |
Well, everybody is now safely seated inside this magnificent | 0:02:37 | 0:02:41 | |
Grade I listed building. | 0:02:41 | 0:02:44 | |
Our experts are straight at the tables. | 0:02:44 | 0:02:46 | |
It looks like Adam Partridge is first to spot a real gem. | 0:02:46 | 0:02:49 | |
Let's take a closer look at what he's found. | 0:02:49 | 0:02:52 | |
-You're Eddie. -Yes. -Nice to meet you. -And Maria. -Thank you very much. | 0:02:53 | 0:02:57 | |
You've brought along this very nice gold chronometer. | 0:02:57 | 0:03:01 | |
-It's got a stopwatch function as well, hasn't it? -It has, yes. | 0:03:01 | 0:03:04 | |
Where did you get this from? | 0:03:04 | 0:03:06 | |
Well, actually, I was in the Royal Navy at the time | 0:03:06 | 0:03:09 | |
and my father contacted me | 0:03:09 | 0:03:11 | |
and he wanted to help out a colleague that he was working | 0:03:11 | 0:03:14 | |
with in the mines in South Wales and he asked me could he use the money | 0:03:14 | 0:03:19 | |
to actually purchase the watch | 0:03:19 | 0:03:22 | |
to help this particular colleague of his out. | 0:03:22 | 0:03:25 | |
-So you said, "Go for it." -I said to him to go for it | 0:03:25 | 0:03:28 | |
because at the end of the day it is a bit of an investment. | 0:03:28 | 0:03:31 | |
-And roughly when was this? -This was 1967. | 0:03:31 | 0:03:35 | |
That's a nice story. Was it a good friend of his that he was helping? | 0:03:35 | 0:03:39 | |
-Yeah. -I should imagine so, yes. -You never knew him? -No. -No. -OK. | 0:03:39 | 0:03:42 | |
It's interesting because it's still in its original box which is | 0:03:42 | 0:03:46 | |
-H Samuel. -Yes. -The largest English watch manufacturer. -Yes. | 0:03:46 | 0:03:50 | |
It's a great piece of engineering. It's a pocket watch. It's got a stopwatch function. | 0:03:50 | 0:03:54 | |
I'm just going to open it up actually first. Oh! | 0:03:54 | 0:03:57 | |
-It is quite difficult, yes. -There. But it's nice quality. -It is. | 0:03:57 | 0:04:01 | |
-It's not falling apart on us. -Exactly. -It's still nice and tight. | 0:04:01 | 0:04:04 | |
There's the 14 carat mark. | 0:04:04 | 0:04:06 | |
And there's the case number on there, which is | 0:04:06 | 0:04:08 | |
-also the number on the dial. -Right. -Always good to see. | 0:04:08 | 0:04:10 | |
You know, it's not a marriage being made up of other bits and pieces. | 0:04:10 | 0:04:14 | |
-It's also got the number on that as well, the case. -Yeah. | 0:04:14 | 0:04:17 | |
There's the case number there | 0:04:17 | 0:04:19 | |
-and the case number on the movement there. -And the address of the... | 0:04:19 | 0:04:22 | |
The movement signed, "H Samuel, "Market Street, Manchester." | 0:04:22 | 0:04:25 | |
-So this is the original head office. -Head office, yes. -Yeah. | 0:04:25 | 0:04:29 | |
-And the original case. -Yeah, exactly. | 0:04:29 | 0:04:32 | |
So late 19th-century. | 0:04:32 | 0:04:34 | |
Lovely condition. Um... | 0:04:34 | 0:04:36 | |
There must be some sentimentality involved here. | 0:04:36 | 0:04:38 | |
Why are you selling it? | 0:04:38 | 0:04:40 | |
Well, we first met in Hong Kong in 1970 | 0:04:40 | 0:04:43 | |
while Eddie was in the Royal Navy. | 0:04:43 | 0:04:45 | |
Two years later we married | 0:04:45 | 0:04:47 | |
and nearly 40 years on, we're still together, | 0:04:47 | 0:04:50 | |
so we'd like to go back for our anniversary in September. | 0:04:50 | 0:04:53 | |
That's romantic, isn't it? | 0:04:53 | 0:04:55 | |
So anything we make, we'll put it towards the slush fund. | 0:04:55 | 0:04:59 | |
-Is this your idea? -Yes! | 0:04:59 | 0:05:01 | |
-I thought so! -Yeah, I'm a bit of a romantic. | 0:05:01 | 0:05:03 | |
-I think that's a lovely idea. -It is, yes. | 0:05:03 | 0:05:06 | |
So, we typically put an auction estimate on these of about £200-300 | 0:05:06 | 0:05:10 | |
and they will make more. | 0:05:10 | 0:05:11 | |
I can tell by that look of disappointment | 0:05:11 | 0:05:14 | |
that it's not great news for you. | 0:05:14 | 0:05:17 | |
I think because gold prices also are so strong, | 0:05:17 | 0:05:20 | |
we can up it a little bit without scaring people off too much. | 0:05:20 | 0:05:23 | |
-Gold prices are pretty much an all-time high. -Yes. | 0:05:23 | 0:05:26 | |
That's not going to be bought for scrap, | 0:05:26 | 0:05:28 | |
but there is a significant value in the gold case, | 0:05:28 | 0:05:31 | |
so I think if we up it a little bit | 0:05:31 | 0:05:33 | |
-and put 250, 350 estimate. -Yeah, that sounds good. | 0:05:33 | 0:05:36 | |
-Is that all right? -That sounds good to me. -Yeah, that's fine. -Sure? | 0:05:36 | 0:05:39 | |
-Honestly, yes. -All right. | 0:05:39 | 0:05:40 | |
At 250 reserve, so that if it doesn't make that, | 0:05:40 | 0:05:43 | |
it goes home with you, but it is a lovely object, great condition. | 0:05:43 | 0:05:46 | |
The dial's immaculate. | 0:05:46 | 0:05:48 | |
-The case is all there and the owners are charming as well. -Thank you. | 0:05:48 | 0:05:51 | |
So it's got everything going for it. | 0:05:51 | 0:05:53 | |
We do love a bit of romance on "Flog It!" | 0:05:54 | 0:05:56 | |
So we'll do our very best for Eddie and Maria. | 0:05:56 | 0:05:59 | |
This is what I love to see, | 0:06:00 | 0:06:01 | |
hundreds of people with smiles on their faces. | 0:06:01 | 0:06:04 | |
I know a lot of them are feeling really nervous right now, | 0:06:04 | 0:06:07 | |
hoping they are the lucky ones | 0:06:07 | 0:06:08 | |
to be picked to go through to the auction room, | 0:06:08 | 0:06:10 | |
where we put everything under the hammer, | 0:06:10 | 0:06:12 | |
and look what I've just come across. | 0:06:12 | 0:06:15 | |
You've got a gavel in your hand, Mrs! | 0:06:15 | 0:06:17 | |
-Haven't you? What's your name? -Marjorie. | 0:06:17 | 0:06:19 | |
Marjorie, what are you doing with a gavel in your hand? | 0:06:19 | 0:06:21 | |
-I brought it to have it valued. -Do you know something? | 0:06:21 | 0:06:24 | |
Our experts working the tables right now, Mr David Fletcher | 0:06:24 | 0:06:27 | |
and Adam Partridge, would love to buy something like that, wouldn't they? | 0:06:27 | 0:06:31 | |
Every auctioneer on the programme would. | 0:06:31 | 0:06:33 | |
-I'd like them to buy it as well! -But you know, they're not allowed to. | 0:06:33 | 0:06:36 | |
-I know. -But isn't that marvellous? | 0:06:36 | 0:06:37 | |
It's a gavel that turns into a propelling pencil. | 0:06:37 | 0:06:40 | |
You can imagine an auctioneer pulling that out of his pocket | 0:06:40 | 0:06:43 | |
to sign a cheque or something. | 0:06:43 | 0:06:44 | |
It was easy to carry in a handbag, that's why I brought it. | 0:06:44 | 0:06:47 | |
-Look, good luck with that. -And I love the programme. | 0:06:47 | 0:06:50 | |
It's brilliant, isn't it? This is where you get to find out | 0:06:50 | 0:06:52 | |
exactly what it's worth when it goes... | 0:06:52 | 0:06:55 | |
-Under the hammer. -Under the hammer. | 0:06:55 | 0:06:57 | |
And we'll pass that on to Adam in a moment, so he can tell us | 0:06:57 | 0:07:00 | |
what he thinks it's worth, but before that, David's found his first item. | 0:07:00 | 0:07:04 | |
He's with Jenny, and she's brought in a train set. | 0:07:04 | 0:07:06 | |
-Hello, Jenny. -Hello. | 0:07:09 | 0:07:11 | |
Now, in my experience, ladies don't collect toy trains, | 0:07:11 | 0:07:14 | |
so I suspect this isn't yours. | 0:07:14 | 0:07:16 | |
-No, it belongs to my grandson. -Right, OK. | 0:07:16 | 0:07:19 | |
When did your grandson acquire it? | 0:07:19 | 0:07:22 | |
Ten years ago, a friend of my husband's gave him this | 0:07:22 | 0:07:28 | |
-because he was mad on trains. -Right. | 0:07:28 | 0:07:30 | |
But it wasn't Thomas, so he didn't want it. | 0:07:30 | 0:07:33 | |
No. It's a bit older than Thomas the Tank Engine. | 0:07:33 | 0:07:36 | |
Or at least for older boys, I think, than Thomas the Tank Engine. | 0:07:36 | 0:07:39 | |
-How old is he now? -He's 12. -12. | 0:07:39 | 0:07:41 | |
-So that was ten years ago. -Yes. | 0:07:41 | 0:07:43 | |
And happily, he hasn't played with it, has he? | 0:07:43 | 0:07:46 | |
No, he hasn't even touched it. | 0:07:46 | 0:07:48 | |
And he's gone off trains. | 0:07:48 | 0:07:50 | |
-He's gone off trains. -In a big way. -In a big way. | 0:07:50 | 0:07:54 | |
OK, we've got, really, | 0:07:54 | 0:07:56 | |
as we can see, a choice of two types | 0:07:56 | 0:08:00 | |
of set here, really. You can either gear this little tank engine up | 0:08:00 | 0:08:05 | |
as a goods train by using these two carriages here, | 0:08:05 | 0:08:08 | |
or as a passenger train by using the carriages there. | 0:08:08 | 0:08:14 | |
Now, Marklin started making toy trains in Germany - | 0:08:14 | 0:08:19 | |
or model trains, I should say - | 0:08:19 | 0:08:21 | |
in Germany way back in the late 19th century, | 0:08:21 | 0:08:24 | |
and is one of the big names. | 0:08:24 | 0:08:26 | |
We know that these were made before 1989 | 0:08:26 | 0:08:33 | |
-because this box is marked, "Made in Western Germany". -Yeah. | 0:08:33 | 0:08:38 | |
And of course, Germany was reunified in 1989. | 0:08:38 | 0:08:42 | |
Curiously, the locomotive is marked, "Made in Germany", | 0:08:42 | 0:08:48 | |
so that might possibly be made a few years later. | 0:08:48 | 0:08:51 | |
But what in a very roundabout way we can establish is that | 0:08:51 | 0:08:54 | |
-when it was given to your grandson, it was second-hand. -Yes. | 0:08:54 | 0:08:58 | |
-Do you have any idea what it might be worth? -None whatsoever. | 0:08:58 | 0:09:02 | |
OK, I'd like to think | 0:09:02 | 0:09:04 | |
it might make £100 | 0:09:04 | 0:09:05 | |
but I would be tempted to go for an estimate of 40 to 60. | 0:09:05 | 0:09:08 | |
-Yes. -Hope for the best. | 0:09:08 | 0:09:10 | |
And I would really suggest that we sell without reserve. | 0:09:10 | 0:09:14 | |
-Yes. -I think the auctioneers probably wouldn't thank us | 0:09:14 | 0:09:17 | |
if we put a reserve on it. | 0:09:17 | 0:09:18 | |
And what will your grandson do with the money? | 0:09:18 | 0:09:21 | |
If there was enough money, I think he'd like to go | 0:09:21 | 0:09:23 | |
and see an Arsenal game. | 0:09:23 | 0:09:25 | |
-Go and see Arsenal play? -Yes. -Right, OK. | 0:09:25 | 0:09:27 | |
So you might have to pay for the train fare to get him to London. | 0:09:27 | 0:09:30 | |
-That's right. -Let's hope we make enough for the ticket. | 0:09:30 | 0:09:32 | |
The price of football tickets these days, | 0:09:33 | 0:09:35 | |
we'll need that to really sell well. | 0:09:35 | 0:09:38 | |
Now, I recognise our next owner. | 0:09:42 | 0:09:44 | |
It's Marjorie, who had that unusual gavel. | 0:09:44 | 0:09:46 | |
She's made it to the front of the queue, | 0:09:46 | 0:09:48 | |
where she's talking to Adam. | 0:09:48 | 0:09:50 | |
You've brought something that I really like. Tell me about it. | 0:09:50 | 0:09:54 | |
It's a Sampson Mordan pencil | 0:09:54 | 0:09:56 | |
-that's in the shape of a gavel. -Oh. | 0:09:56 | 0:09:58 | |
And it's my husband's, | 0:09:58 | 0:09:59 | |
and he brought it and said that if I brought it, you would like it. | 0:09:59 | 0:10:03 | |
-He was right, wasn't he? -Yes. -So it's a little gavel, | 0:10:03 | 0:10:06 | |
you've summed it up really nicely, by the firm Sampson Mordan and Co, | 0:10:06 | 0:10:10 | |
from the late 19th century, I think 1880s, 1890s, | 0:10:10 | 0:10:14 | |
-and they were the inventors of the propelling pencil. -Yeah. | 0:10:14 | 0:10:18 | |
And many people see them in silver, in different novelty shapes. | 0:10:18 | 0:10:22 | |
-I've never seen one of these before. -Haven't you? Oh, that's good news. | 0:10:22 | 0:10:25 | |
And I just think that's so pointless, | 0:10:25 | 0:10:27 | |
it's wonderful, isn't it? | 0:10:27 | 0:10:28 | |
It's everything an auctioneer could need, because you could record | 0:10:28 | 0:10:32 | |
-the result and then write it down, couldn't you? -Yeah, brilliant. | 0:10:32 | 0:10:36 | |
I think that is lovely. | 0:10:36 | 0:10:37 | |
So your husband is obviously a bit of a collector. | 0:10:37 | 0:10:39 | |
He does, yeah, he collects odd things. Including me! | 0:10:39 | 0:10:43 | |
You could see my mind working, couldn't you? | 0:10:43 | 0:10:45 | |
He collects anything that's a bit unusual | 0:10:45 | 0:10:47 | |
and then he keeps them for a few years and then he sells them on. | 0:10:47 | 0:10:50 | |
-It's a good hobby, isn't it? -Yeah. -Good fun. -Dabbles a bit, that's all. | 0:10:50 | 0:10:54 | |
-So this delightful little thing set your husband back how much? -£180. | 0:10:54 | 0:10:58 | |
That's quite a strong price, I think, isn't it? | 0:10:58 | 0:11:00 | |
-But it was worth it. -It was worth it. It was worth it. | 0:11:00 | 0:11:03 | |
-But to some people it may not be worth it. -No. | 0:11:03 | 0:11:05 | |
-But obviously he doesn't want to lose any money on it. -No, no. | 0:11:05 | 0:11:08 | |
And I think it's so unusual and it's got the good name on it | 0:11:08 | 0:11:12 | |
-that I think we could try it at £200 to £300. -Oh, whoopee! -Yeah? | 0:11:12 | 0:11:17 | |
Wow? I heard a wow! That's great. | 0:11:17 | 0:11:19 | |
-What do you think of this? -I'm glad I came! | 0:11:19 | 0:11:21 | |
-Would anyone give £200 for this? -No. | 0:11:21 | 0:11:24 | |
-You would? -Yeah. -You would? There we go. We've got a buyer already. | 0:11:24 | 0:11:28 | |
Well, I think it will go pretty well, | 0:11:28 | 0:11:30 | |
and I'm looking forward to seeing it | 0:11:30 | 0:11:31 | |
-go under the gavel... -That'd be great. -..at Philip Serrell's, | 0:11:31 | 0:11:34 | |
and you know, when an auctioneer loves something, | 0:11:34 | 0:11:36 | |
-you're always going to get a good price. -Oh, good. | 0:11:36 | 0:11:38 | |
Shall we put a reserve on it? | 0:11:38 | 0:11:40 | |
He said a reserve of 180, but obviously... | 0:11:40 | 0:11:42 | |
-180, OK. Pop in a reserve of 180. -Yeah. -And off we go. | 0:11:42 | 0:11:45 | |
-Needless to say, he'll spend the money on more... -On me. | 0:11:45 | 0:11:49 | |
-More antiques! -Thanks for coming, Marjorie. -Thank you very much. | 0:11:49 | 0:11:52 | |
Now, over on the other side of the hall, I've found a real beauty. | 0:11:55 | 0:11:59 | |
-Angela, thank you for coming in to the valuation day. -You're welcome. | 0:11:59 | 0:12:03 | |
I know what you've got is very precious. | 0:12:03 | 0:12:05 | |
It's incredibly small. | 0:12:05 | 0:12:06 | |
Can you guess what it is? | 0:12:06 | 0:12:08 | |
-It's not in your pocket, is it? -No, it's not. | 0:12:08 | 0:12:10 | |
-It's not wrapped up in a bag. -No, I haven't lost it. | 0:12:10 | 0:12:13 | |
Boxes full of bubble wrap. Come on, show me. | 0:12:13 | 0:12:15 | |
-That's a sparkler, isn't it? -It is. -Bit of a rock. -Beautiful. | 0:12:15 | 0:12:18 | |
Who gave you that? | 0:12:18 | 0:12:20 | |
I bought it several years ago | 0:12:20 | 0:12:23 | |
and wore it to lots of lovely functions, | 0:12:23 | 0:12:26 | |
which we don't go to any more, so it sits in a box | 0:12:26 | 0:12:28 | |
and I get it out occasionally and have a good look at it | 0:12:28 | 0:12:31 | |
and then put it back in the box. | 0:12:31 | 0:12:32 | |
-And get dazzled by it? -Absolutely. | 0:12:32 | 0:12:34 | |
-It must be so nice to wear a ring like that. -It is. | 0:12:34 | 0:12:37 | |
-And watch everybody go, "Oooh!" -That's right, yeah. | 0:12:37 | 0:12:40 | |
When you're signing a cheque or something or... "Oooh!" | 0:12:40 | 0:12:44 | |
Of course, the problem is, it's an old cut diamond | 0:12:44 | 0:12:46 | |
and youngsters like my daughter... | 0:12:46 | 0:12:48 | |
-The cut is quite important, isn't it? -That's right, yes. | 0:12:48 | 0:12:51 | |
What is it, the cut, the clarity, the colour... | 0:12:51 | 0:12:54 | |
-My wife likes the diamond sort of raised and mounted up... -Yes, I do. | 0:12:54 | 0:12:57 | |
..so the light goes underneath them and it sparkles even more. | 0:12:57 | 0:13:00 | |
-That's right, it's beautiful. -That's a five-stone. -Yes. | 0:13:00 | 0:13:02 | |
And the centre, the centre diamond looks like a four-carat. | 0:13:02 | 0:13:05 | |
-Something like that, yeah. -It's a four-carat, isn't it? -Yes. | 0:13:05 | 0:13:08 | |
-And the other's a three. -Three. | 0:13:08 | 0:13:09 | |
My gut feeling is, that's a four grand ring. | 0:13:09 | 0:13:12 | |
-Yes. -Now, in auction, maybe a little bit more. | 0:13:12 | 0:13:15 | |
Um... Once a jeweller gets his hands on that, resets it, | 0:13:15 | 0:13:21 | |
-it might be an eight grand, might be a £9,000 ring, mightn't it? -Yes. | 0:13:21 | 0:13:25 | |
Where are you going to buy diamonds like that, on a ring, | 0:13:25 | 0:13:28 | |
for £4,000 in a jeweller's? You're not. | 0:13:28 | 0:13:30 | |
But you're not going to get eight for it on the open market, | 0:13:30 | 0:13:33 | |
but I think if Philip gets this photographed, | 0:13:33 | 0:13:35 | |
gets it on his website, alerts everybody, | 0:13:35 | 0:13:38 | |
-this will create a buzz, and a sparkle in the room. -Lovely. | 0:13:38 | 0:13:42 | |
Let's just call the valuation £4,000 with a reserve at £4,000 | 0:13:42 | 0:13:46 | |
because that is a four grand ring and I'd like to see you going home with 4,000, | 0:13:46 | 0:13:49 | |
hopefully a little bit more. | 0:13:49 | 0:13:51 | |
-Yes. -And then Philip can take his commission. | 0:13:51 | 0:13:53 | |
Right. OK, that's lovely. | 0:13:53 | 0:13:54 | |
That's what I like to see, a full house, | 0:14:05 | 0:14:07 | |
and everybody enjoying themselves, learning about antiques | 0:14:07 | 0:14:11 | |
and also finding out exactly what it's worth. | 0:14:11 | 0:14:14 | |
Well, right now, we've found our first batch of items | 0:14:14 | 0:14:17 | |
to take off to auction, | 0:14:17 | 0:14:18 | |
and today we're going over to Malvern to Mr Philip Serrell's saleroom. | 0:14:18 | 0:14:21 | |
He's going to look after us. He's on the rostrum, so we're in safe hands. | 0:14:21 | 0:14:25 | |
We've got our first four items. | 0:14:26 | 0:14:28 | |
Now we're taking them off to the sale. | 0:14:28 | 0:14:30 | |
But which one of them will create the biggest storm in the saleroom? | 0:14:30 | 0:14:33 | |
Stay tuned and all will be revealed. | 0:14:33 | 0:14:35 | |
The bidders are already getting settled in | 0:14:39 | 0:14:41 | |
for the sale in Malvern. | 0:14:41 | 0:14:43 | |
This seller's commission here | 0:14:43 | 0:14:45 | |
is 16.5% plus VAT. | 0:14:45 | 0:14:47 | |
We're starting this visit to the auction with a real banker, | 0:14:47 | 0:14:50 | |
a top-quality gent's pocket watch, and Adam's here with the owners. | 0:14:50 | 0:14:54 | |
-Will it get the top end? -I think we've pitched it about right. | 0:14:54 | 0:14:57 | |
Why are you selling this, Eddie? | 0:14:57 | 0:14:59 | |
Well, it hasn't any sentimental value anyway, | 0:14:59 | 0:15:02 | |
and hopefully the money that we get for it will go, | 0:15:02 | 0:15:05 | |
-because I met Maria in Hong Kong... -A trip? | 0:15:05 | 0:15:07 | |
-40 years ago. -We'll put it towards that. -And that's where you met? | 0:15:07 | 0:15:10 | |
-That's where we met, yeah. -We've got to get you there. | 0:15:10 | 0:15:13 | |
-I hope so. -Or at least something towards it. -Or some spending money. | 0:15:13 | 0:15:16 | |
-At least to the airport. -Yeah! | 0:15:16 | 0:15:17 | |
Here we go. | 0:15:17 | 0:15:18 | |
Lot number 590, 14-carat gold open-faced watch. | 0:15:20 | 0:15:25 | |
I'm bid £150, bid 160, 170, | 0:15:28 | 0:15:31 | |
180, 190, 200. | 0:15:31 | 0:15:32 | |
210, 220, 230, 240, 250. | 0:15:32 | 0:15:36 | |
At £250 only, at 250, is there any more? | 0:15:36 | 0:15:39 | |
At 250, there is the bid. | 0:15:39 | 0:15:42 | |
Lot number 590, at £250, any more at all? | 0:15:42 | 0:15:45 | |
At £250, and I sell, then, at 250, and done. | 0:15:47 | 0:15:51 | |
Yes! £250. That's not bad. | 0:15:51 | 0:15:54 | |
-Yeah. -That's something towards it. -It is, yes. | 0:15:54 | 0:15:57 | |
-And every little helps. -Every little helps. | 0:15:57 | 0:15:59 | |
-OK, enjoy it, won't you? -Yes, we will. Thank you very much. | 0:15:59 | 0:16:02 | |
-Spend it on a bit more jewellery out there! -Probably! | 0:16:02 | 0:16:05 | |
A good start to the sale. We're clearly on the right track, | 0:16:07 | 0:16:10 | |
and that leads us to our next item. | 0:16:10 | 0:16:11 | |
It belongs to Jenny, who is trying to raise money | 0:16:11 | 0:16:14 | |
to buy an Arsenal ticket for her grandson. | 0:16:14 | 0:16:17 | |
It's the electric train set with mixed bits and bobs | 0:16:17 | 0:16:20 | |
and some of it is boxed. | 0:16:20 | 0:16:21 | |
We've got that, but unfortunately, we don't have our owner, Jenny. | 0:16:21 | 0:16:24 | |
She can't be with us today, but we do have David Fletcher, our expert, | 0:16:24 | 0:16:27 | |
-and we're looking for around about £40 to £60 for this. -Yeah. | 0:16:27 | 0:16:30 | |
But hopefully we're going to hit the back of the net right now | 0:16:30 | 0:16:33 | |
with the top end of the valuation. | 0:16:33 | 0:16:34 | |
It's going under the hammer. Here we go. | 0:16:34 | 0:16:36 | |
Number 418 is the Marklin train set. | 0:16:38 | 0:16:40 | |
There you are. There's the whole lot of it. Bid me for that, someone. | 0:16:40 | 0:16:44 | |
Start me off wherever you want to be. | 0:16:44 | 0:16:46 | |
I'm bid £20 for that. Lot at 20. | 0:16:48 | 0:16:51 | |
20 bid. And five, 30. | 0:16:51 | 0:16:52 | |
Five, 40. 45, 50. | 0:16:52 | 0:16:55 | |
Five, 60. | 0:16:55 | 0:16:57 | |
At 60 bid, in the room... | 0:16:57 | 0:17:00 | |
At £60 only, at 60, is there any more at all? | 0:17:00 | 0:17:04 | |
At £60 in the room and I sell, | 0:17:04 | 0:17:06 | |
five on the net, at 65, | 0:17:06 | 0:17:08 | |
-70, 70 bid. -Great. | 0:17:08 | 0:17:10 | |
At 70, at £70 only, at 70, any more? | 0:17:10 | 0:17:14 | |
At £70 and I sell, then, | 0:17:14 | 0:17:15 | |
at 70, and done. | 0:17:15 | 0:17:17 | |
I'm pleased with that. Good valuation. Well done. | 0:17:17 | 0:17:19 | |
-Well, yes. -And I think Jenny will be as well. -I hope so. | 0:17:19 | 0:17:22 | |
They're difficult things to value. | 0:17:22 | 0:17:23 | |
They don't set the world alight | 0:17:23 | 0:17:25 | |
but there always is a market for them at the right price. | 0:17:25 | 0:17:27 | |
There's always train enthusiasts and train collectors | 0:17:27 | 0:17:30 | |
and they'll always buy that sort of thing, you're right. | 0:17:30 | 0:17:33 | |
-Even if it's for spares or one or two boxes. -Sure. | 0:17:33 | 0:17:36 | |
Let's hope Arsenal win that game as well. | 0:17:36 | 0:17:38 | |
Next is our auctioneer's gavel. | 0:17:41 | 0:17:43 | |
And to get a second opinion on it, | 0:17:44 | 0:17:46 | |
who better to ask than auctioneer Philip Serrell? | 0:17:46 | 0:17:49 | |
I spoke to him at the preview day. | 0:17:49 | 0:17:52 | |
I think every auctioneer should own one of these gavels. | 0:17:52 | 0:17:55 | |
I think all auctioneers do, Paul, | 0:17:55 | 0:17:57 | |
but not like that, do they? | 0:17:57 | 0:17:58 | |
No, not with a propelling pencil. | 0:17:58 | 0:18:00 | |
I think this would be a lovely birthday present from the wife | 0:18:00 | 0:18:02 | |
if she bought this for you. | 0:18:02 | 0:18:03 | |
-Have you had a word with her? -No, I haven't! | 0:18:03 | 0:18:05 | |
I saw Marjorie in the queue, funnily enough, I saw her holding this gavel | 0:18:05 | 0:18:09 | |
and I said, "I'm not going to value this, | 0:18:09 | 0:18:10 | |
"I know it's going to come on the show", | 0:18:10 | 0:18:12 | |
because you've got to go through a series of auctioneers | 0:18:12 | 0:18:15 | |
and I know that they'd just love to talk about it. | 0:18:15 | 0:18:17 | |
Well, sadly, you know, all auctioneers collect gavels. | 0:18:17 | 0:18:19 | |
And what I love about this is that every time that you go... | 0:18:19 | 0:18:23 | |
..you've got that "sold". | 0:18:24 | 0:18:25 | |
That's something every auctioneer likes to hear. | 0:18:25 | 0:18:28 | |
And I would think I've had every auctioneer and his dog | 0:18:28 | 0:18:31 | |
on the telephone saying, "Philip, how much is that gavel?" | 0:18:31 | 0:18:34 | |
-All of our experts as well. -I couldn't possibly tell. | 0:18:34 | 0:18:36 | |
How many of those have you seen? | 0:18:36 | 0:18:38 | |
I've never seen one with a propelling pencil inside it. | 0:18:38 | 0:18:42 | |
I think it's probably worth 150 quid. | 0:18:42 | 0:18:44 | |
-Yeah. -I think it's going to make between 250 and 300. | 0:18:44 | 0:18:47 | |
Yes, which is spot-on, really. Adam's put £200 to £300 on this. | 0:18:47 | 0:18:50 | |
Well, this will be going under the hammer very shortly. I can't wait. | 0:18:50 | 0:18:54 | |
And here it is. Philip's on the rostrum, | 0:18:56 | 0:18:58 | |
and Adam and Marjorie, the gavel's owner, | 0:18:58 | 0:19:00 | |
are on the saleroom floor with me. | 0:19:00 | 0:19:02 | |
I think we'll get your money back. I remember something you said, | 0:19:02 | 0:19:06 | |
your husband bought it for around £180-odd. | 0:19:06 | 0:19:08 | |
-That's right, yeah. -It's got to be worth that. | 0:19:08 | 0:19:10 | |
-I can feel a profit! -You can feel a profit? | 0:19:10 | 0:19:12 | |
-Hopefully £250. -Me and my big mouth! | 0:19:12 | 0:19:14 | |
-But I can feel a profit. -It's your fault if it isn't. | 0:19:14 | 0:19:17 | |
A Samuel Mordan ivory propelling pencil gavel. | 0:19:18 | 0:19:24 | |
I'm bid £150, bid at 150, 150, 150. | 0:19:24 | 0:19:28 | |
Telephone bid to 160. | 0:19:28 | 0:19:30 | |
170, 180, 190. | 0:19:30 | 0:19:33 | |
-Oh, good. -190, 200 with me. | 0:19:33 | 0:19:35 | |
At £200, 210 with me. At £210. | 0:19:35 | 0:19:39 | |
220, 230 with me. | 0:19:39 | 0:19:41 | |
240, 250 with me. At 250. | 0:19:41 | 0:19:44 | |
-250. -There is a profit already now, isn't there? -Oh, good. | 0:19:44 | 0:19:49 | |
Is there any more? | 0:19:49 | 0:19:51 | |
260, 270, 280, 290. | 0:19:52 | 0:19:56 | |
I told you, didn't I? Didn't I say they'd fall in love with it? | 0:19:56 | 0:20:00 | |
At 310, at 310, 320. | 0:20:00 | 0:20:04 | |
At 320, on the telephone, the book's at. | 0:20:04 | 0:20:07 | |
At 320. | 0:20:07 | 0:20:09 | |
330. | 0:20:09 | 0:20:10 | |
340, is it? | 0:20:10 | 0:20:11 | |
£340, on the telephone. | 0:20:11 | 0:20:15 | |
At £340, is there any more at all? | 0:20:15 | 0:20:18 | |
At £340. Any more? The bid's on this telephone. | 0:20:18 | 0:20:20 | |
-Your husband that bought it, wasn't it? -Yeah. | 0:20:20 | 0:20:24 | |
He's got a good eye. | 0:20:24 | 0:20:25 | |
-He married me! -Yeah! | 0:20:25 | 0:20:27 | |
At £340 and done. | 0:20:27 | 0:20:29 | |
-£340. -Oh, yippee. -Wow. | 0:20:29 | 0:20:33 | |
-That's a good result. A good result. -I agree with you on that one. | 0:20:33 | 0:20:37 | |
What did your husband say? | 0:20:37 | 0:20:39 | |
Did he know on the day that you were going to sell this? | 0:20:39 | 0:20:42 | |
He gave it to me and said, | 0:20:42 | 0:20:43 | |
"Take this, you'll get on the telly." | 0:20:43 | 0:20:45 | |
I said, "I don't want to be on telly." | 0:20:45 | 0:20:46 | |
There you go, you got on the telly. | 0:20:46 | 0:20:48 | |
But he said if it sells, he's taking me to Venice. | 0:20:48 | 0:20:50 | |
-Brilliant. -So I'm off to Venice now! -Excellent. -What a lovely ending. | 0:20:50 | 0:20:54 | |
Up next, my favourite item of the show so far. | 0:20:56 | 0:20:59 | |
We're going to have this lovely diamond ring, | 0:20:59 | 0:21:02 | |
-and it is a bit of a whopper, isn't it? -It is. | 0:21:02 | 0:21:05 | |
So you're happy with the new reserve? We got a fixed reserve of £3,200. | 0:21:05 | 0:21:09 | |
-Yes. -See what happens, OK? | 0:21:09 | 0:21:11 | |
There's a big smile. Your smile is a sparkle enough, isn't it, really? | 0:21:11 | 0:21:15 | |
Let's find out what the bidders think. Here we go. | 0:21:15 | 0:21:18 | |
This lovely five-stone ring. | 0:21:21 | 0:21:24 | |
Bid me £3,500, chaps. | 0:21:24 | 0:21:26 | |
Bid me £3,000. | 0:21:29 | 0:21:30 | |
2,500. | 0:21:32 | 0:21:33 | |
2,500 I'm bid, at 2,500. | 0:21:33 | 0:21:37 | |
2,550. | 0:21:37 | 0:21:39 | |
Two-six. | 0:21:39 | 0:21:41 | |
2,650. | 0:21:41 | 0:21:42 | |
Two-seven. | 0:21:44 | 0:21:46 | |
At two-seven, 50 anywhere? 2750. | 0:21:46 | 0:21:49 | |
Two-eight, 850? Two-nine? | 0:21:49 | 0:21:52 | |
2,900. | 0:21:52 | 0:21:53 | |
2,950. 3,000 I have. | 0:21:54 | 0:21:57 | |
At 3,000, three-one? | 0:21:57 | 0:22:00 | |
-We're nearly at the reserve. -Three-one. -Oh, so close. | 0:22:00 | 0:22:04 | |
You're out. Three-two, the book. At 3,200. Is there any more? | 0:22:04 | 0:22:08 | |
Book's in, you're all out. | 0:22:10 | 0:22:13 | |
At £3,200, any more? | 0:22:13 | 0:22:15 | |
At £3,200 | 0:22:17 | 0:22:19 | |
-and done, then, at 3,200. -He's selling it. -Thank you. | 0:22:19 | 0:22:23 | |
-It's gone on the reserve. -It's gone on the reserve, right. | 0:22:23 | 0:22:25 | |
-Happy? -Yes. -It's gone. It's better to say, | 0:22:25 | 0:22:27 | |
"Look, it's gone at three-two", | 0:22:27 | 0:22:29 | |
rather than it struggled at 35 if we did have that reserve. | 0:22:29 | 0:22:32 | |
-You'd be taking it home. -Yes. -For the sake of £300. | 0:22:32 | 0:22:35 | |
Yes, that's true. | 0:22:35 | 0:22:37 | |
And that is a lot of money, still, isn't it? | 0:22:37 | 0:22:39 | |
Oh, it will go a long way, yes. | 0:22:39 | 0:22:42 | |
That was close, wasn't it? Some of them are close. | 0:22:42 | 0:22:45 | |
-You are a living on a knife-edge in this business. -Certainly are! | 0:22:45 | 0:22:48 | |
Well, there you go. That was fast and furious. | 0:22:51 | 0:22:53 | |
Some good results there and that brings us to the end | 0:22:53 | 0:22:55 | |
of our first visit to the auction room today. | 0:22:55 | 0:22:57 | |
We are coming back here later on in the programme, | 0:22:57 | 0:23:00 | |
so don't go away, because I can guarantee | 0:23:00 | 0:23:02 | |
there will be some more surprises, but right now, while I'm in the area, | 0:23:02 | 0:23:05 | |
I'm going to go off and do some exploring. | 0:23:05 | 0:23:08 | |
On this programme, we visit many stately homes and manor houses | 0:23:23 | 0:23:25 | |
all over the British Isles, so in keeping with that tradition, | 0:23:25 | 0:23:28 | |
I'm going to be showing you some of the extraordinary history | 0:23:28 | 0:23:31 | |
of this castle, which spans 1,000 years, | 0:23:31 | 0:23:34 | |
right back to Saxon times, | 0:23:34 | 0:23:36 | |
and be meeting the present-day lady of the manor. | 0:23:36 | 0:23:39 | |
This is Sudeley Castle in the beautiful Cotswold Hills. | 0:23:43 | 0:23:46 | |
It's steeped in history, with royal connections spanning 1,000 years. | 0:23:46 | 0:23:50 | |
As with so many English country houses, | 0:23:50 | 0:23:53 | |
the present owners fund running costs | 0:23:53 | 0:23:55 | |
by opening it to the public for part of the year. | 0:23:55 | 0:23:57 | |
But this tranquil setting is a total contrast | 0:24:00 | 0:24:03 | |
to the dramatic and sometimes violent history this castle has seen. | 0:24:03 | 0:24:07 | |
At one point, it was nearly destroyed. | 0:24:07 | 0:24:10 | |
This is the Chapel of St Mary, the final resting place | 0:24:31 | 0:24:34 | |
of Catherine Parr, the last of King Henry VIII's six wives, | 0:24:34 | 0:24:37 | |
and she was known to be intelligent, vivacious, strong-willed | 0:24:37 | 0:24:41 | |
and proved to be the perfect foil to an ill-tempered king. | 0:24:41 | 0:24:45 | |
In the 16th century, Catherine Parr became the lover of Lord Seymour, | 0:24:46 | 0:24:50 | |
then owner of Sudeley Castle. | 0:24:50 | 0:24:53 | |
She broke off the relationship | 0:24:53 | 0:24:54 | |
when King Henry declared his interest in her. | 0:24:54 | 0:24:57 | |
It was only after Henry's death in 1547 | 0:24:57 | 0:25:01 | |
that she was reunited with Seymour, | 0:25:01 | 0:25:03 | |
married him and came to live here at Sudeley | 0:25:03 | 0:25:06 | |
until her death a year later. | 0:25:06 | 0:25:07 | |
Her grave was found purely by chance in the then-ruined chapel | 0:25:13 | 0:25:17 | |
back in 1782, and eventually, her coffin was moved | 0:25:17 | 0:25:20 | |
to a purpose-built new tomb here in the Chapel of St Mary. | 0:25:20 | 0:25:23 | |
She rests under this magnificent Victorian marble effigy, | 0:25:23 | 0:25:27 | |
which was designed by Sir George Gilbert Scott | 0:25:27 | 0:25:30 | |
and carved by master mason S Birnie Philip. | 0:25:30 | 0:25:33 | |
And I have to say, the detail is exquisite. | 0:25:33 | 0:25:36 | |
100 years after Catherine's death, | 0:25:45 | 0:25:47 | |
Sudeley once again played an important part in English history. | 0:25:47 | 0:25:51 | |
During the Civil War, | 0:25:51 | 0:25:52 | |
the owners of the castle took sides with King Charles I | 0:25:52 | 0:25:55 | |
and in August 1643, the Royalists mounted a disastrous attempt | 0:25:55 | 0:25:59 | |
to siege Gloucester. | 0:25:59 | 0:26:00 | |
It went horribly wrong. They lost the battle. | 0:26:00 | 0:26:03 | |
The rain was pouring down and the dejected king sat on a rock | 0:26:03 | 0:26:07 | |
surrounded by his troops, | 0:26:07 | 0:26:08 | |
and one young officer said, "Sir, can we go home now?" | 0:26:08 | 0:26:12 | |
The King replied, "Well, I have no home to go to." | 0:26:12 | 0:26:15 | |
Two days later, the King and his troops | 0:26:15 | 0:26:17 | |
were offered refuge here at Sudeley. | 0:26:17 | 0:26:20 | |
During the following years of the war, | 0:26:23 | 0:26:26 | |
the castle was besieged twice by Parliamentarian forces | 0:26:26 | 0:26:29 | |
and bombarded by cannon. | 0:26:29 | 0:26:31 | |
After the Civil War in 1649, | 0:26:32 | 0:26:34 | |
Cromwell ordered the castle to be slighted, | 0:26:34 | 0:26:37 | |
or made untenable as a military post. | 0:26:37 | 0:26:40 | |
This involves removing the roof and exposing the inside to the elements. | 0:26:40 | 0:26:44 | |
The castle was allowed to fall into ruin | 0:26:44 | 0:26:46 | |
and these tumbledown walls have been left as a reminder of that dark time. | 0:26:46 | 0:26:51 | |
After 200 years of neglect, | 0:26:52 | 0:26:54 | |
wealthy Worcestershire glovemakers, brothers John and William Dent, | 0:26:54 | 0:26:59 | |
spotted the ruined Sudeley Castle whilst out riding. | 0:26:59 | 0:27:03 | |
They spent most of their wealth purchasing it and restoring it. | 0:27:03 | 0:27:06 | |
Sudeley Castle is still owned by the family of the Dent brothers. | 0:27:08 | 0:27:12 | |
American-born Elizabeth, Lady Ashcombe, | 0:27:12 | 0:27:14 | |
married one of their descendants more than 40 years ago. | 0:27:14 | 0:27:17 | |
She's been instrumental in opening the castle up to the public. | 0:27:17 | 0:27:21 | |
You open to the public, and I know you're opening in a few weeks' time. | 0:27:22 | 0:27:26 | |
-Yeah. -Is the pressure on? | 0:27:26 | 0:27:27 | |
The pressure's on, yeah! | 0:27:27 | 0:27:29 | |
-It's like putting on a play. -Is it? -Yeah. -Lots of worry. | 0:27:29 | 0:27:33 | |
Well, it's the sort of frenzy of the last-minute build-up to opening day. | 0:27:33 | 0:27:37 | |
And of course we tidy up everything and... | 0:27:37 | 0:27:40 | |
-The grounds are magnificent, they really are beautiful. -Thank you. | 0:27:40 | 0:27:43 | |
It must be so fascinating and rewarding at the same time, | 0:27:43 | 0:27:46 | |
living in such a historic house. | 0:27:46 | 0:27:48 | |
It is kind of extraordinary. | 0:27:48 | 0:27:50 | |
I mean, the thing about living in a house like this, | 0:27:50 | 0:27:53 | |
the history is very tangible. | 0:27:53 | 0:27:55 | |
You see it, you feel it, you can touch the things | 0:27:56 | 0:27:59 | |
of the historic people who've walked the halls before, | 0:27:59 | 0:28:03 | |
we live with their paintings and their furniture, and of course | 0:28:03 | 0:28:07 | |
that's why people come to Sudeley. | 0:28:07 | 0:28:10 | |
This is a historic house. | 0:28:10 | 0:28:12 | |
It's not really a stately home. It's partly a ruin, as you can see. | 0:28:12 | 0:28:16 | |
This room is an interior designer's dream, isn't it? | 0:28:28 | 0:28:31 | |
I can see your touch everywhere. It's beautiful. | 0:28:31 | 0:28:34 | |
Well, it's kind of iconic, this room, in a way | 0:28:34 | 0:28:37 | |
because it's an earlier part of the castle. | 0:28:37 | 0:28:39 | |
It was originally the gatehouse to the early Tudor castle | 0:28:39 | 0:28:45 | |
and this is where the guards would sit and play cards | 0:28:45 | 0:28:50 | |
-and drink beer and, you know, carry on and everything. -A communal room. | 0:28:50 | 0:28:53 | |
-That's right. -So in a way, this stonework would have been there, | 0:28:53 | 0:28:57 | |
that wouldn't have been panelled back then for such a room. | 0:28:57 | 0:28:59 | |
It wouldn't have been panelled then | 0:28:59 | 0:29:01 | |
but then later in the Victorian times, | 0:29:01 | 0:29:03 | |
when the house was restored to take on the sort of Tudor... | 0:29:03 | 0:29:06 | |
-I can imagine. -It was panelled. | 0:29:06 | 0:29:08 | |
I was instrumental, much to everybody's horror, | 0:29:08 | 0:29:10 | |
-in taking the panelling down. -Well, good for you. | 0:29:10 | 0:29:13 | |
In the '60s, everybody thought that was a terrible sacrilege | 0:29:13 | 0:29:16 | |
-but it wasn't, really, because the stone is such a beautiful... -Yeah. | 0:29:16 | 0:29:19 | |
Could you imagine sitting here now with just oak panelling everywhere? | 0:29:19 | 0:29:22 | |
These colours wouldn't work. Nothing would work. | 0:29:22 | 0:29:24 | |
Now you've let the room breathe again to how it should be. | 0:29:24 | 0:29:27 | |
-I'm glad you like it. -Oh, I do, I love it. And do you know | 0:29:27 | 0:29:31 | |
what I really admire about you is the fact that it's not a museum, OK, | 0:29:31 | 0:29:35 | |
but the quality of the antiques | 0:29:35 | 0:29:38 | |
-and artefacts you've got here are the very, very best. -Yes. | 0:29:38 | 0:29:41 | |
-There are some marvellous things. -And you use them every single day. -That's right. | 0:29:41 | 0:29:44 | |
There's no ropes around them saying, "Don't touch". | 0:29:44 | 0:29:47 | |
You actually use all these wonderful things. | 0:29:47 | 0:29:49 | |
Well, as you said, it's not a museum | 0:29:49 | 0:29:51 | |
and I think that as long as we look after these lovely things, | 0:29:51 | 0:29:55 | |
it's wonderful to have them | 0:29:55 | 0:29:56 | |
-being used for the purpose that they were intended for. -Exactly. | 0:29:56 | 0:29:59 | |
Look, thank you so much for showing me around. I can't wait to come back | 0:29:59 | 0:30:02 | |
-on a day off and spend the whole day here, so thank you. -Thank you, Paul. | 0:30:02 | 0:30:05 | |
Our valuation day venue | 0:30:13 | 0:30:14 | |
is the Pittville Pump Room in Cheltenham. | 0:30:14 | 0:30:17 | |
And we've got hundreds of owners who have brought along | 0:30:17 | 0:30:21 | |
their unwanted antiques and collectables to be valued. | 0:30:21 | 0:30:24 | |
We're ready to take a look at the next item with Adam. | 0:30:24 | 0:30:28 | |
-Welcome to "Flog It!", Lynn. -Thank you. | 0:30:28 | 0:30:30 | |
-It's very nice to see you brought some interesting items along. -Yes. | 0:30:30 | 0:30:33 | |
These very colourful cloisonne vases. | 0:30:33 | 0:30:36 | |
-Yes, very. -Japanese. Do you like them? | 0:30:36 | 0:30:39 | |
They seem to have grown on me today | 0:30:39 | 0:30:41 | |
because lots of people have said how nice they are, so... | 0:30:41 | 0:30:43 | |
And where did you get them from? | 0:30:43 | 0:30:45 | |
How did they come into your possession? | 0:30:45 | 0:30:47 | |
-I've had them about a fortnight. -Oh, is that all? | 0:30:47 | 0:30:49 | |
They were left to me by a cousin. | 0:30:49 | 0:30:51 | |
I picked them up from the solicitor about a fortnight ago. | 0:30:51 | 0:30:54 | |
-And you've taken them home. -Yes. | 0:30:54 | 0:30:56 | |
-And sort of thought, "Well, where am I going to put them?" -Well, yes. | 0:30:56 | 0:31:00 | |
It was really a case of, they didn't sit well in the house. | 0:31:00 | 0:31:04 | |
-Do you know where your cousin got them from? -I don't know. | 0:31:04 | 0:31:07 | |
All I know is that she travelled quite a lot with her first husband. | 0:31:07 | 0:31:11 | |
-Right. -And I think she picked up things on her travels, | 0:31:11 | 0:31:14 | |
so I'm presuming these were... | 0:31:14 | 0:31:16 | |
Do you think she went to Japan? | 0:31:16 | 0:31:18 | |
I wouldn't be surprised. She was quite well travelled. | 0:31:18 | 0:31:20 | |
-Quite a cosmopolitan lady, was she? -Yes, yes. | 0:31:20 | 0:31:23 | |
Well, they are cloisonne enamel, they're Japanese. | 0:31:23 | 0:31:26 | |
It's a technique of enamelling, often with a foil background, | 0:31:26 | 0:31:30 | |
this technique called jinbari enamelling. | 0:31:30 | 0:31:33 | |
And they're really rather nice, I think. | 0:31:33 | 0:31:36 | |
-The colours are lovely. -Beautiful colours. | 0:31:36 | 0:31:38 | |
Have you seen any damage? | 0:31:38 | 0:31:40 | |
This one has got damage there. | 0:31:40 | 0:31:43 | |
A little bit of a blister there, isn't there? | 0:31:43 | 0:31:46 | |
Is that something that was done during firing? | 0:31:46 | 0:31:48 | |
No, it wouldn't have been released to the market with that on it | 0:31:48 | 0:31:52 | |
because one thing about buyers of cloisonne, | 0:31:52 | 0:31:54 | |
the slightest bit of damage... | 0:31:54 | 0:31:57 | |
The value plummets completely, | 0:31:57 | 0:31:59 | |
and we always say cloisonne doesn't bounce well. The slightest thing | 0:31:59 | 0:32:03 | |
and you'll get a little star crack or bits coming off. | 0:32:03 | 0:32:06 | |
-So, yes, that does affect it quite a lot. -Yes. | 0:32:08 | 0:32:11 | |
In terms of age, they're not massively old. | 0:32:11 | 0:32:14 | |
They're 20th century, they might be '30s, possibly later than that. | 0:32:14 | 0:32:19 | |
But they're very, very decorative. What do you think they are worth? | 0:32:19 | 0:32:22 | |
-I haven't got a clue. -No. -Not a clue. | 0:32:22 | 0:32:25 | |
-And you're selling them anyway. -Yes. | 0:32:25 | 0:32:27 | |
Even if I said they're worth 20 quid? | 0:32:27 | 0:32:29 | |
-Yes! -All right, well, they're worth more than 20. -Well, that's nice! | 0:32:29 | 0:32:32 | |
But not much more. I think they'll make 60 to 100 between them. | 0:32:32 | 0:32:36 | |
And I would suggest you put a reserve of £50 on them | 0:32:36 | 0:32:39 | |
because if they don't make £50, then they're not worth selling. | 0:32:39 | 0:32:43 | |
Even if you don't like them, they'd be worth you taking them | 0:32:43 | 0:32:45 | |
-and trying them another day or something like that. -I see. | 0:32:45 | 0:32:48 | |
Does that sound all right to you? | 0:32:48 | 0:32:49 | |
-Yes, that's fine. -That's excellent news. | 0:32:49 | 0:32:51 | |
And we'll look forward to seeing you | 0:32:51 | 0:32:53 | |
-at the auction. -Thank you very much. -Thanks for bringing them. | 0:32:53 | 0:32:56 | |
So that's the second time today | 0:32:56 | 0:32:58 | |
Adam's sent something off with no reserve, | 0:32:58 | 0:33:01 | |
but will it pay off? | 0:33:01 | 0:33:02 | |
Now for something slightly more modern. | 0:33:02 | 0:33:05 | |
Michael is at David's table with a table. | 0:33:05 | 0:33:09 | |
I think this is great. | 0:33:09 | 0:33:11 | |
We so rarely see this sort of thing on "Flog It!" When did you buy it? | 0:33:11 | 0:33:16 | |
-About 1968. -'68, and you'll have bought it new? | 0:33:16 | 0:33:21 | |
Bought it new, yes. | 0:33:21 | 0:33:22 | |
OK, and at that time, of course, | 0:33:22 | 0:33:25 | |
in the 1960s, this sort of furniture was the height of fashion, really. | 0:33:25 | 0:33:30 | |
Yes, it must have been, yes. | 0:33:30 | 0:33:32 | |
-Can you remember what you paid for it? -No idea, no. | 0:33:32 | 0:33:35 | |
-No. -Pounds, shillings and pence. | 0:33:35 | 0:33:37 | |
Furniture like this was bought, really, as I say, | 0:33:37 | 0:33:40 | |
because it represented everything that was up-to-date, you know - | 0:33:40 | 0:33:44 | |
pared-down, modern materials. | 0:33:44 | 0:33:48 | |
That's the most important thing of all, I think - | 0:33:48 | 0:33:50 | |
a Formica top and a metal base, | 0:33:50 | 0:33:53 | |
-and apart from the decoration on the top, that's it. -Yes. | 0:33:53 | 0:33:57 | |
-There's no carving. -No. -There's no inlay. | 0:33:57 | 0:33:59 | |
All those sorts of things are just dispensed with. | 0:33:59 | 0:34:03 | |
What I really like about this | 0:34:03 | 0:34:05 | |
is the fact it's decorated by John Piper. | 0:34:05 | 0:34:07 | |
-Oh, yes. -Or at least after John Piper. | 0:34:07 | 0:34:11 | |
John Piper was probably one of Britain's greatest artists | 0:34:11 | 0:34:15 | |
of the 20th century. His life spanned the century, very nearly. | 0:34:15 | 0:34:19 | |
He was famous in particular for his stained-glass work | 0:34:19 | 0:34:23 | |
-at Coventry Cathedral. -Oh, yes. | 0:34:23 | 0:34:25 | |
And for working with John Betjeman on the Shell Motoring Guides | 0:34:25 | 0:34:29 | |
in, I think, the early 1950s, so he is a big name, | 0:34:29 | 0:34:33 | |
but I've never seen his work | 0:34:33 | 0:34:35 | |
represented on a table like this before. | 0:34:35 | 0:34:38 | |
It's curious, really. You have these amazing classical baroque buildings. | 0:34:38 | 0:34:45 | |
-They're all after Christopher Wren, I think. -Yes. | 0:34:45 | 0:34:48 | |
They're all Wren churches. This is St Paul's Cathedral | 0:34:48 | 0:34:51 | |
and they find themselves on this ultra modern piece of furniture, | 0:34:51 | 0:34:55 | |
so, you know, as was so often the case in the 1960s, anything went. | 0:34:55 | 0:35:00 | |
You know, you could mix and match, and people loved it. | 0:35:00 | 0:35:03 | |
I would have said it's going to make | 0:35:03 | 0:35:06 | |
between £100 and £150. | 0:35:06 | 0:35:08 | |
-Yes. Yeah. -But I wouldn't want to sell it for less than 100. | 0:35:08 | 0:35:10 | |
No. No. | 0:35:10 | 0:35:12 | |
So would you be happy with a reserve of £100? | 0:35:12 | 0:35:14 | |
-Yes, would be happy with that. -OK. | 0:35:14 | 0:35:16 | |
It only came out of the attic yesterday, so... | 0:35:16 | 0:35:18 | |
You haven't been using it? | 0:35:18 | 0:35:20 | |
-No, it's been in the attic for 20-odd years. -Oh, right. Right. | 0:35:20 | 0:35:23 | |
-So erm... -That's interesting. | 0:35:23 | 0:35:26 | |
-Knowing you was in town... -You thought you'd come along. | 0:35:26 | 0:35:28 | |
-OK. We'll go ahead on that basis... -Thank you very much. | 0:35:28 | 0:35:30 | |
I look forward to seeing you at the sale. | 0:35:30 | 0:35:32 | |
And our next item - well, it's a suitcase. | 0:35:34 | 0:35:37 | |
Alison, underneath this canvas cover I know there's quality, isn't there? | 0:35:37 | 0:35:41 | |
It wouldn't have a canvas cover on it otherwise. | 0:35:41 | 0:35:43 | |
Clearly not your initials... | 0:35:43 | 0:35:45 | |
No, they belong to my mother. | 0:35:45 | 0:35:47 | |
-Hilda Georgina Secret. -Secret?! | 0:35:47 | 0:35:51 | |
What a lovely surname. | 0:35:51 | 0:35:53 | |
-You're obviously not still a Secret, are you? -No, I'm not. No, no. | 0:35:53 | 0:35:56 | |
-That's a great surname. -I know. | 0:35:56 | 0:35:58 | |
-Can I? Ready? -Yeah. -Da-da-da-da... | 0:35:58 | 0:36:00 | |
That's beautiful. There's not a scratch | 0:36:02 | 0:36:04 | |
-or a mark on there. -No. -And that... | 0:36:04 | 0:36:07 | |
-..that's pigskin, isn't it? -Yup. | 0:36:08 | 0:36:10 | |
-Quality, quality, quality. -I know. | 0:36:10 | 0:36:11 | |
That's the best-quality leather, | 0:36:11 | 0:36:13 | |
that's the best hide money can buy. | 0:36:13 | 0:36:16 | |
-Oh, it's just divine, isn't it? -Yeah. -It looks beautiful. | 0:36:16 | 0:36:19 | |
-Ready...? -Yeah. | 0:36:19 | 0:36:21 | |
It's just getting better and better, isn't it? | 0:36:23 | 0:36:25 | |
Do you know, it's never been used, has it? | 0:36:25 | 0:36:27 | |
I think it must have been used, | 0:36:27 | 0:36:29 | |
cos there are a couple of teeth out of the comb, so... | 0:36:29 | 0:36:32 | |
Very, very nice. It's all there. | 0:36:32 | 0:36:36 | |
-I could see it in the back of a Bentley, couldn't you? -Well, yes... | 0:36:36 | 0:36:39 | |
Did she have one? | 0:36:39 | 0:36:40 | |
-No, she didn't. -Is it by Mappin & Webb? -It is, | 0:36:40 | 0:36:43 | |
-I think it... Yes. -Yeah, there you go. | 0:36:43 | 0:36:45 | |
It's clearly not really been used. | 0:36:45 | 0:36:47 | |
Well, it's so heavy... | 0:36:47 | 0:36:48 | |
-This lifts out, doesn't it? -Yes. | 0:36:48 | 0:36:49 | |
And that... | 0:36:51 | 0:36:52 | |
And then that closes. | 0:36:52 | 0:36:54 | |
And then you take that off with you. | 0:36:54 | 0:36:56 | |
Look at that. | 0:36:56 | 0:36:57 | |
Oh... | 0:36:57 | 0:36:59 | |
But it's so heavy. I mean, you... | 0:36:59 | 0:37:00 | |
-Have you any idea of value? -No. | 0:37:00 | 0:37:04 | |
-It's pretty much perfect. -Yes. | 0:37:04 | 0:37:06 | |
I've got to say, | 0:37:06 | 0:37:07 | |
this is possibly the best example I've seen for quality and condition. | 0:37:07 | 0:37:12 | |
-Yes. -Why do you want to sell this? | 0:37:12 | 0:37:14 | |
Actually it belongs...really belongs to my sister, | 0:37:14 | 0:37:18 | |
who lives in Australia. | 0:37:18 | 0:37:19 | |
OK. | 0:37:19 | 0:37:21 | |
Half of it belongs to her and half of it belongs to me. | 0:37:21 | 0:37:23 | |
So the best thing to do is to split it. Split the money. | 0:37:23 | 0:37:27 | |
I think if we split the money, and then we could have... | 0:37:27 | 0:37:29 | |
-We could meet. -Yeah, that'd be nice. | 0:37:29 | 0:37:31 | |
-What a lovely story. -Yeah. | 0:37:31 | 0:37:33 | |
Any idea of value? | 0:37:33 | 0:37:34 | |
Not really. | 0:37:34 | 0:37:36 | |
I've seen them before, not so good as this, | 0:37:36 | 0:37:39 | |
and I put, I think, | 0:37:39 | 0:37:40 | |
£400 to £600 on something very much the same, | 0:37:40 | 0:37:45 | |
and it made £1,100. | 0:37:45 | 0:37:46 | |
Oh, right? | 0:37:46 | 0:37:48 | |
So let's be a bit gutsier, OK? | 0:37:48 | 0:37:50 | |
Let's put | 0:37:50 | 0:37:52 | |
-£800 to £1,200 on this. -OK. | 0:37:52 | 0:37:54 | |
And hopefully, it does the top end and a little bit more. | 0:37:54 | 0:37:58 | |
-Lovely. -Are you happy with that? | 0:37:58 | 0:38:00 | |
I am very happy with that. | 0:38:00 | 0:38:01 | |
We'll protect it with a reserve...? | 0:38:01 | 0:38:03 | |
Yes. | 0:38:03 | 0:38:04 | |
I'll tell you what we'll do, let's give it discretion. | 0:38:04 | 0:38:06 | |
Let's say £800 to £1,200 | 0:38:06 | 0:38:08 | |
with a discretion of 10% at £800. | 0:38:08 | 0:38:10 | |
-Yeah. -That'll make the bidders keen. | 0:38:10 | 0:38:13 | |
Yeah, lovely. | 0:38:13 | 0:38:15 | |
I'm pretty sure it'll go at the top end. But I can't guarantee! | 0:38:15 | 0:38:18 | |
I can't guarantee what's going to happen on the day in auction. | 0:38:18 | 0:38:21 | |
Of course, you can never tell what's going to happen at the auction, | 0:38:22 | 0:38:25 | |
and even the best valuations are in the fate of the bidders on the day. | 0:38:25 | 0:38:29 | |
We'll find out soon. | 0:38:29 | 0:38:30 | |
Time's running out. | 0:38:31 | 0:38:33 | |
We need one more item to send off to auction. | 0:38:33 | 0:38:35 | |
So quickly over to David Fletcher, | 0:38:35 | 0:38:37 | |
and he's with Mervyn and a childhood collection. | 0:38:37 | 0:38:40 | |
I was pleased to see this autograph album... | 0:38:40 | 0:38:43 | |
Yes. Thank you. | 0:38:43 | 0:38:45 | |
I was a bit disappointed cos I thought you would ask | 0:38:45 | 0:38:47 | |
for mine. But you didn't. | 0:38:47 | 0:38:49 | |
Never mind. | 0:38:49 | 0:38:51 | |
Whose autographs have you got? Shall we have a little look? | 0:38:51 | 0:38:53 | |
I've got quite a bookful, quite a selection, | 0:38:53 | 0:38:55 | |
but some of the more famous ones | 0:38:55 | 0:38:57 | |
are Laurel and Hardy... | 0:38:57 | 0:38:58 | |
OK. You've tagged all these, I see. | 0:38:58 | 0:39:00 | |
-Yes. -Right. Yeah. Laurel and Hardy. | 0:39:00 | 0:39:02 | |
I collected them from the stage door of the Birmingham Hippodrome. | 0:39:02 | 0:39:06 | |
-Really? Did you? -When I was a youngster at school. | 0:39:06 | 0:39:08 | |
-Gosh. -Many years ago. | 0:39:08 | 0:39:10 | |
So they actually signed | 0:39:10 | 0:39:11 | |
-this autograph album for you. -Yeah. | 0:39:11 | 0:39:13 | |
So they've handled this very book. | 0:39:13 | 0:39:16 | |
Also Abbott and Costello... | 0:39:16 | 0:39:17 | |
Yes. Names I know as well. | 0:39:17 | 0:39:19 | |
And we've got lots of other names | 0:39:19 | 0:39:21 | |
like Guy Mitchell... | 0:39:21 | 0:39:23 | |
Guy Mitchell. "I've never felt more like singing the blues." | 0:39:23 | 0:39:26 | |
-That's right. -I remember that one. | 0:39:26 | 0:39:28 | |
What was that - '50s I suppose? | 0:39:28 | 0:39:30 | |
-Yeah, late -'50s. Yeah. | 0:39:30 | 0:39:33 | |
-You collected these yourself. -Yes. | 0:39:33 | 0:39:35 | |
I must say, I think that makes | 0:39:35 | 0:39:37 | |
the collection particularly interesting. | 0:39:37 | 0:39:39 | |
So Mervyn, you were a very young lad | 0:39:39 | 0:39:41 | |
when you collected these. | 0:39:41 | 0:39:42 | |
-I was about 13 or 14. -Were you? | 0:39:42 | 0:39:43 | |
And when I was at school in Birmingham, | 0:39:43 | 0:39:47 | |
my friend and I used to take the bus | 0:39:47 | 0:39:50 | |
-and go down to the Birmingham Hippodrome... -Really? | 0:39:50 | 0:39:52 | |
-And hang round the stage door. -Gosh. | 0:39:52 | 0:39:55 | |
And I collected them then. | 0:39:55 | 0:39:56 | |
And are you still interested in | 0:39:56 | 0:39:58 | |
-the theatre and in films? -Oh, yes. | 0:39:58 | 0:40:00 | |
-But you're not collecting autographs any more. -No. | 0:40:00 | 0:40:02 | |
-Although I did get one today, a very special one. -Did you? | 0:40:02 | 0:40:05 | |
-Whose was that? -Paul Martin's. | 0:40:05 | 0:40:06 | |
-Paul Martin's?! -Which must be worth a lot. | 0:40:06 | 0:40:09 | |
Is that in there? | 0:40:09 | 0:40:10 | |
-Yes, it is. -Good heavens. | 0:40:10 | 0:40:12 | |
It's next to Laurel and Hardy's, actually. The next page. | 0:40:12 | 0:40:15 | |
The next page. There it is. | 0:40:15 | 0:40:17 | |
-"Best wishes, Paul Martin." -Yeah. | 0:40:17 | 0:40:19 | |
Well, I was going to say it's worth | 0:40:19 | 0:40:22 | |
£100 to £150... | 0:40:22 | 0:40:24 | |
-I'm going to have to revise my estimate now... -I think so. | 0:40:24 | 0:40:27 | |
-It's worth £30. -MERVYN LAUGHS | 0:40:27 | 0:40:29 | |
No. Seriously... | 0:40:29 | 0:40:31 | |
-It's worth £100 to £150, in my view. -Yeah. Yeah. | 0:40:31 | 0:40:35 | |
-Would you be happy with that? -Yes. -Good. OK. | 0:40:35 | 0:40:38 | |
-And if we put a reserve of £100 on the lot, say? -Yeah. | 0:40:38 | 0:40:41 | |
And have you anything in mind | 0:40:41 | 0:40:43 | |
to spend the money on? | 0:40:43 | 0:40:45 | |
-Well, I'm going to give the money to my wife... -Oh. Fatal. | 0:40:45 | 0:40:48 | |
..who's likely to spend it in a well-known departmental store | 0:40:48 | 0:40:51 | |
-where she can take it back if she's not satisfied. -OK! -DAVID LAUGHS | 0:40:51 | 0:40:55 | |
-Does she often take things back? -Yes, she does. -Does she? Oh, dear. | 0:40:55 | 0:40:58 | |
Well, let's hope we make her enough money to buy something | 0:40:58 | 0:41:00 | |
-really nice that she won't want to take back. -Right. | 0:41:00 | 0:41:03 | |
Let's get that and our other items | 0:41:06 | 0:41:07 | |
wrapped up and sent off to auction - | 0:41:07 | 0:41:10 | |
and here's a quick reminder | 0:41:10 | 0:41:11 | |
of what we're taking. | 0:41:11 | 0:41:13 | |
Let's hope the bidders | 0:41:13 | 0:41:14 | |
will want to snap them up. | 0:41:14 | 0:41:16 | |
We've left the Cotswolds behind and headed off to the Malvern Hills | 0:41:18 | 0:41:21 | |
for our auction, at Philip Serrell's saleroom. | 0:41:21 | 0:41:24 | |
£110, there's the bid... Done. | 0:41:24 | 0:41:28 | |
Our first item under the hammer is a pair of cloisonne vases | 0:41:28 | 0:41:31 | |
owned by Lynn, and spotted by Adam. | 0:41:31 | 0:41:34 | |
These were left to me by this lady. | 0:41:34 | 0:41:36 | |
She's absolutely beautiful. | 0:41:36 | 0:41:37 | |
Yeah. She left me these items, hence why I brought her today. | 0:41:37 | 0:41:40 | |
One red ground, one green ground | 0:41:40 | 0:41:42 | |
and I believe the red one's got a bit of damage, hasn't it? | 0:41:42 | 0:41:45 | |
Little bit, yeah, cloisonne's very prone to damage, isn't it? | 0:41:45 | 0:41:48 | |
-Yeah. -Yes. -I think we've reflected that in the estimate. -OK. | 0:41:48 | 0:41:52 | |
Good luck. And let's hope it gets the top end of the estimate. | 0:41:52 | 0:41:54 | |
Two cloisonne vases... | 0:41:57 | 0:41:58 | |
..and I'll start at £100 bid, at £100 only... | 0:42:00 | 0:42:03 | |
-Hundred's bid. -Straight in. | 0:42:03 | 0:42:04 | |
Told you they'd start at three figures. | 0:42:04 | 0:42:07 | |
I'll take 10 anywhere. | 0:42:07 | 0:42:08 | |
At £100 - | 0:42:09 | 0:42:11 | |
10, may I? At £100. | 0:42:11 | 0:42:13 | |
110, 110, the book's out. | 0:42:13 | 0:42:14 | |
Any more? | 0:42:16 | 0:42:18 | |
At £110, right at the back, | 0:42:18 | 0:42:20 | |
and I sell then at 110 and done. Thank you. | 0:42:20 | 0:42:23 | |
It was straight in, really, and straight out. £110. | 0:42:23 | 0:42:26 | |
-Lovely. -Job done. | 0:42:26 | 0:42:27 | |
-That's good, isn't it? -Yes, very pleased. | 0:42:27 | 0:42:29 | |
A good solid sale, just over the estimate, | 0:42:30 | 0:42:32 | |
and away to a new owner. | 0:42:32 | 0:42:34 | |
Up next, | 0:42:35 | 0:42:36 | |
Michael's John Piper decorated table. | 0:42:36 | 0:42:39 | |
-You bought this brand-new in 1968... -That's right. | 0:42:40 | 0:42:43 | |
-And you've had it ever since. -In Cheltenham. Yep. | 0:42:43 | 0:42:45 | |
Gosh. He's got his money's worth. | 0:42:45 | 0:42:48 | |
We talk about minimalism, | 0:42:48 | 0:42:50 | |
and the demise of the brown furniture - | 0:42:50 | 0:42:52 | |
-this represents the future. -It does. | 0:42:52 | 0:42:54 | |
And do you know, there are over | 0:42:54 | 0:42:56 | |
150 lots of furniture in this sale, | 0:42:56 | 0:42:58 | |
and only one isn't made of wood. | 0:42:58 | 0:43:00 | |
It's funny - over the years | 0:43:01 | 0:43:03 | |
-you get rid of all your brown furniture... -Yeah. | 0:43:03 | 0:43:05 | |
..but for some unknown reason, I kept hold of this. | 0:43:05 | 0:43:07 | |
-And you've used it. -And I use it - my son's used it in his place, | 0:43:07 | 0:43:10 | |
then I had it again and then back in the attic it went. | 0:43:10 | 0:43:14 | |
Can you remember how much you pay for it? | 0:43:14 | 0:43:15 | |
No, I've been trying to think, but no, I can't. | 0:43:15 | 0:43:17 | |
Well, I'm sure you're going to make a healthy profit anyway. | 0:43:17 | 0:43:20 | |
We're going to find out what it's worth right now, it's going under the hammer. | 0:43:20 | 0:43:23 | |
There you are - John Piper table, | 0:43:24 | 0:43:27 | |
St Paul's and St Martin's. | 0:43:27 | 0:43:31 | |
£55 bid, at 55, | 0:43:31 | 0:43:33 | |
55, 55. | 0:43:33 | 0:43:34 | |
At 55, 55. | 0:43:34 | 0:43:36 | |
And 60, and 5. And 70, and 5. | 0:43:36 | 0:43:38 | |
80, and 5. 90, and 5. | 0:43:38 | 0:43:40 | |
100, 110, 120, | 0:43:40 | 0:43:42 | |
130. | 0:43:42 | 0:43:44 | |
One more, sir? 130... | 0:43:44 | 0:43:46 | |
40, thank you. | 0:43:46 | 0:43:47 | |
At 140. 50 on the net bid. | 0:43:47 | 0:43:49 | |
At 150. Here's the bid... | 0:43:49 | 0:43:51 | |
150. | 0:43:51 | 0:43:52 | |
150... 160. 160... | 0:43:52 | 0:43:55 | |
Is there any more? | 0:43:55 | 0:43:56 | |
At 160 bid... | 0:43:56 | 0:43:59 | |
170. | 0:44:00 | 0:44:02 | |
-180... -Good - fresh legs. -At £180. | 0:44:02 | 0:44:04 | |
180... | 0:44:04 | 0:44:07 | |
At £180, in the room. Any more at all? | 0:44:07 | 0:44:10 | |
At £180, and I sell in the room, | 0:44:10 | 0:44:13 | |
and done then at 190. 190... | 0:44:13 | 0:44:15 | |
-Oh, yes! -Gone up again. -That's good. | 0:44:15 | 0:44:17 | |
At £200. At 200... | 0:44:17 | 0:44:19 | |
In the room. | 0:44:19 | 0:44:20 | |
The net's out. At £200, in the room. | 0:44:20 | 0:44:22 | |
Any more? | 0:44:22 | 0:44:23 | |
At £200, and I sell, then, | 0:44:23 | 0:44:25 | |
at £200 and done. Thank you. | 0:44:25 | 0:44:27 | |
Hammer's gone down. £200. Top end of that estimate, well done. | 0:44:27 | 0:44:31 | |
-Thank you. -That ticked all the right boxes - | 0:44:31 | 0:44:33 | |
architecture, definitely, | 0:44:33 | 0:44:34 | |
-and the affiliation with cathedrals with John Piper. -Yeah. | 0:44:34 | 0:44:37 | |
-So someone's got a nice thing. -They have. Hope they enjoy it. | 0:44:37 | 0:44:40 | |
Now for our next lot, and I'm joined by Alison. | 0:44:43 | 0:44:45 | |
Well, I'm feeling a little bit nervous right now, Alison, | 0:44:45 | 0:44:48 | |
it's my turn to be the expert. | 0:44:48 | 0:44:49 | |
We're just going to put the leather case with all the vanity set inside, | 0:44:49 | 0:44:53 | |
Mappin & Webb, under the hammer. | 0:44:53 | 0:44:55 | |
It's been in the wardrobe for a long time? | 0:44:55 | 0:44:57 | |
Yes, it has, unfortunately, doing nothing. What would you do with it? | 0:44:57 | 0:45:00 | |
-Well, at least it's been kept in great condition. -Yes. | 0:45:00 | 0:45:03 | |
Here we go. This is it. | 0:45:03 | 0:45:05 | |
The, er...super Mappin & Webb case. | 0:45:06 | 0:45:10 | |
There we are. | 0:45:11 | 0:45:13 | |
Bid me £800. | 0:45:13 | 0:45:15 | |
I'm bid £500, with me, | 0:45:17 | 0:45:19 | |
at 520. 520. | 0:45:19 | 0:45:20 | |
50... | 0:45:20 | 0:45:22 | |
At £550. At 550. | 0:45:22 | 0:45:24 | |
-(Oh, come on!) -580. -(Oh, good.) | 0:45:24 | 0:45:26 | |
600. 600... | 0:45:26 | 0:45:29 | |
-£600. Any more? -(Come on!) | 0:45:29 | 0:45:31 | |
At £600. Any more? | 0:45:31 | 0:45:33 | |
It's not going to sell. | 0:45:33 | 0:45:35 | |
At £600 only - | 0:45:35 | 0:45:36 | |
any more at all? | 0:45:36 | 0:45:37 | |
At £600, | 0:45:37 | 0:45:39 | |
is there any more at all? | 0:45:39 | 0:45:41 | |
No? Well, I'm sorry, I can't do that, chaps. | 0:45:41 | 0:45:43 | |
-Close. We're close. -Yeah. | 0:45:43 | 0:45:46 | |
But listen - | 0:45:46 | 0:45:47 | |
the bidder that left £600 | 0:45:47 | 0:45:49 | |
-will probably have a word with Philip. -Mm-hm. | 0:45:49 | 0:45:51 | |
We're short, by £120. | 0:45:51 | 0:45:54 | |
-I'm ever so sorry. -I don't want to stick it in the wardrobe! | 0:45:54 | 0:45:57 | |
No, it doesn't want to go back in the wardrobe, | 0:45:57 | 0:45:59 | |
it's better off in a saleroom. | 0:45:59 | 0:46:00 | |
You can't let one "no sale" | 0:46:00 | 0:46:03 | |
ruin your day at auction, | 0:46:03 | 0:46:04 | |
because blink once and you'll be back on track with a winner. | 0:46:04 | 0:46:07 | |
Next up, the autograph book belonging to Mervyn | 0:46:09 | 0:46:11 | |
-who's just joined me right now - hello, thanks for coming in. -Hello. | 0:46:11 | 0:46:14 | |
Now, you collected all these on the stage door, | 0:46:14 | 0:46:16 | |
-didn't you, at Birmingham? -Yes. | 0:46:16 | 0:46:17 | |
-All bar one... -Yes. -..which you collected at the valuation day. -Yes. | 0:46:17 | 0:46:21 | |
My signature! | 0:46:21 | 0:46:23 | |
But thank you so much for asking me to sign it, | 0:46:23 | 0:46:26 | |
-I was in such good company there. -And it's great | 0:46:26 | 0:46:28 | |
that you collected them yourself, | 0:46:28 | 0:46:30 | |
-that's what's so good about it. -Yes. That's right. | 0:46:30 | 0:46:32 | |
They're big names, aren't they? | 0:46:32 | 0:46:34 | |
They are big names. | 0:46:34 | 0:46:36 | |
And there were kind enough and modest enough to sign for you, | 0:46:36 | 0:46:39 | |
-they could have been a bit snooty about it. -That's right. | 0:46:39 | 0:46:42 | |
No. They were all very good. | 0:46:42 | 0:46:44 | |
And the good news is there's plenty of collectors for Laurel and Hardy | 0:46:44 | 0:46:47 | |
so I think that should get them away at the top end of the value. | 0:46:47 | 0:46:51 | |
-Hope so. -OK? We'll find out right now. Here we go. | 0:46:51 | 0:46:54 | |
The autograph albums, | 0:46:56 | 0:46:58 | |
and I've got two bids | 0:46:58 | 0:46:59 | |
the same sort of money, | 0:46:59 | 0:47:01 | |
so I'll start at... | 0:47:01 | 0:47:02 | |
£280 bid. | 0:47:02 | 0:47:04 | |
At £280. On the book. | 0:47:06 | 0:47:08 | |
290. | 0:47:08 | 0:47:09 | |
290. At £290. Who's got 300? | 0:47:09 | 0:47:13 | |
300... | 0:47:13 | 0:47:15 | |
On the telephone, at 300. | 0:47:15 | 0:47:17 | |
310... 320... | 0:47:17 | 0:47:19 | |
320. | 0:47:19 | 0:47:20 | |
330. | 0:47:20 | 0:47:22 | |
340. | 0:47:22 | 0:47:23 | |
350. | 0:47:23 | 0:47:25 | |
360... | 0:47:25 | 0:47:27 | |
360. 370. | 0:47:27 | 0:47:30 | |
380... | 0:47:31 | 0:47:32 | |
390. | 0:47:32 | 0:47:34 | |
400. | 0:47:35 | 0:47:37 | |
410. | 0:47:37 | 0:47:39 | |
420. | 0:47:39 | 0:47:41 | |
430. | 0:47:41 | 0:47:43 | |
440... | 0:47:43 | 0:47:44 | |
Do you know what, it's obviously the Abbott and Costello | 0:47:44 | 0:47:46 | |
-that are making this really, really fly. -Yeah. | 0:47:46 | 0:47:49 | |
..470. | 0:47:49 | 0:47:52 | |
480. | 0:47:52 | 0:47:53 | |
490. | 0:47:53 | 0:47:55 | |
500. | 0:47:55 | 0:47:57 | |
520. | 0:47:57 | 0:47:58 | |
550. | 0:47:59 | 0:48:01 | |
580... | 0:48:02 | 0:48:04 | |
600 bid. On the telephone. | 0:48:04 | 0:48:06 | |
-Ooh! Ooh! -£600. | 0:48:06 | 0:48:09 | |
I think it's your autograph | 0:48:09 | 0:48:10 | |
they wanted really, Paul. | 0:48:10 | 0:48:11 | |
£600, any more? | 0:48:11 | 0:48:13 | |
At £600, | 0:48:13 | 0:48:14 | |
and I sell then at £600 and done, thank you. | 0:48:14 | 0:48:18 | |
Yes! | 0:48:18 | 0:48:19 | |
-Well done. Thank you. -Well done and thank you for bringing those in, | 0:48:19 | 0:48:23 | |
what can I say? | 0:48:23 | 0:48:24 | |
Well, I undervalued them - but I'd rather do that | 0:48:24 | 0:48:26 | |
-than overvalue them. -That's right. -What are you going to do with all that money? | 0:48:26 | 0:48:30 | |
-Don't forget there is commission. -Well, my wife's going to spend it | 0:48:30 | 0:48:33 | |
-in a well-known store. -Oh, on clothes? | 0:48:33 | 0:48:34 | |
Well, that's what girls do. | 0:48:34 | 0:48:36 | |
-And you've got to keep them happy. -That's right. | 0:48:36 | 0:48:38 | |
Thank you so much for coming in, and what a lovely surprise that's given us at the end of the day. | 0:48:38 | 0:48:42 | |
Sadly we're running out of time, I hope you've enjoyed the show. | 0:48:42 | 0:48:45 | |
Join us again for many more surprises to come on "Flog It!", but until then, it's goodbye from Malvern. | 0:48:45 | 0:48:49 |