0:00:02 > 0:00:05Feast your eyes on these beauties. Aren't they marvellous?
0:00:05 > 0:00:07We're in a town where oysters are the local dish.
0:00:07 > 0:00:11In fact, there's been an oyster festival for the last 700 years.
0:00:11 > 0:00:13Today, Flog It! is in Colchester, in Essex.
0:00:38 > 0:00:41This is the show where we invite you to fish out
0:00:41 > 0:00:43your unwanted antiques.
0:00:43 > 0:00:45We'll put a value on them and send them to auction.
0:00:45 > 0:00:50These people are queuing to meet our experts, to find out exactly what it's worth.
0:00:50 > 0:00:53Today, they're in the capable hands of our two experts,
0:00:53 > 0:00:56Kate Bateman and David Barby.
0:00:56 > 0:01:01David's an old hand at antiques and collectables, and he's always full of enthusiasm.
0:01:01 > 0:01:03Right, that was exciting, wasn't it?
0:01:03 > 0:01:09Kate runs an auction house with her father so knows the current values of everything
0:01:09 > 0:01:12from portraits to porcelain, and even vintage booze.
0:01:12 > 0:01:15Wow! I want that bottle of wine!
0:01:15 > 0:01:17Just what we need on a Flog It! valuation day!
0:01:17 > 0:01:21It's now 9.30, time to get the doors open and get the show on the road.
0:01:23 > 0:01:26And on today's show, David Barby lets the mask slip
0:01:26 > 0:01:30- and reveals himself as a fancier of Art Deco...- This is tremendous.
0:01:30 > 0:01:33I'd love it myself. One of the few pieces that come into Flog It!
0:01:33 > 0:01:36that I'd really like myself.
0:01:36 > 0:01:41We're all open-mouthed at the auction room as one of our items surprises us all...
0:01:41 > 0:01:43- I bet you wish you had a loft full! - Yeah.
0:01:43 > 0:01:47And there's a song and dance as this chap takes centre stage.
0:01:47 > 0:01:52Well, everybody is now safely seated inside and time is ticking by.
0:01:52 > 0:01:55Everyone's full of excitement and anticipation
0:01:55 > 0:01:57because they don't know who will go to the auction.
0:01:57 > 0:01:59Stay tuned and find out.
0:01:59 > 0:02:02It looks like David Barby has made his first choice.
0:02:02 > 0:02:04Let's take a closer look at what he's spotted.
0:02:04 > 0:02:07Kim, when I look at masks like this,
0:02:07 > 0:02:10and this is a Goldschneider mask made in Vienna,
0:02:10 > 0:02:15probably roundabout the 1930s, 1935 period,
0:02:15 > 0:02:17they give me an element of theatre.
0:02:17 > 0:02:19And this one is the epitome,
0:02:19 > 0:02:24because this beautiful female here is suddenly taking a mask away.
0:02:24 > 0:02:29- Does it have any sort of theatrical connotations for you?- It does, yes.
0:02:29 > 0:02:30I used to collect theatre masks
0:02:30 > 0:02:33because I used to perform when I was younger.
0:02:33 > 0:02:35- Really? Do you still do that now? - No!
0:02:35 > 0:02:38- I hung up the microphone years ago! - Oh, right.
0:02:38 > 0:02:40- Did you sing or dance? - Both. But later singing.
0:02:40 > 0:02:42- On cruise ships?- No, no.
0:02:42 > 0:02:45I danced in theatres,
0:02:45 > 0:02:48and then singing, over in Tenerife, actually.
0:02:48 > 0:02:52- Oh, my word. What a wonderful life! - Yeah, it was really good.
0:02:52 > 0:02:55- So this came as a result of your interest in theatre?- Yes.
0:02:55 > 0:02:58It was given to me by a family friend about 16 years ago.
0:02:58 > 0:03:02It's so typical of the sort of Art Deco decoration,
0:03:02 > 0:03:06that you'd have a blank wall and something startling like this.
0:03:06 > 0:03:10So you'd go into a room and this was the first thing that you saw.
0:03:10 > 0:03:13And it's such a descriptive and exciting dramatic piece.
0:03:13 > 0:03:16This is all modelled in terracotta
0:03:16 > 0:03:19and then covered with this sort of opaque glaze,
0:03:19 > 0:03:22but with an element of terracotta coming through.
0:03:22 > 0:03:25- I also like the detail. Those luscious lips.- Yeah.
0:03:25 > 0:03:29And these eyebrows, they're pencilled in like Joan Crawford.
0:03:29 > 0:03:31They look as if you would have pencilled them in.
0:03:31 > 0:03:34That's right. I think it's wonderful.
0:03:34 > 0:03:39Then you've got this elegant hand supporting the mask, as though it's emerging out of the wall.
0:03:39 > 0:03:42It's extraordinary. I love these pieces. I'd love it myself.
0:03:42 > 0:03:47One of the few pieces that come into Flog It! that I'd really like.
0:03:47 > 0:03:49It's in perfect state.
0:03:49 > 0:03:51The name is there,
0:03:51 > 0:03:54so anybody can identify it as Goldschneider.
0:03:54 > 0:03:56Do you like the Art Deco period?
0:03:56 > 0:03:59I do, yes. But this is the only piece that I have.
0:03:59 > 0:04:02So why are you thinking now of selling this?
0:04:02 > 0:04:06I've just had my first child. They don't come cheap, so I could do with the money!
0:04:06 > 0:04:09- Little boy or girl? - A little boy.- And his name?
0:04:09 > 0:04:12- Harrison.- Oh, Harrison!- Harry. - Harry?- After my great-grandad.
0:04:12 > 0:04:17Let's think in terms of price on this, if it goes up for auction.
0:04:17 > 0:04:21They sell quite well. There's demand for this sort of Goldschneider figure.
0:04:21 > 0:04:27- And I think we're looking at between £400 - £500 on this.- OK.
0:04:27 > 0:04:30There's a slight smile there. Did you expect that much?
0:04:30 > 0:04:32That would be nice!
0:04:32 > 0:04:35I had a look on the internet and saw different values.
0:04:35 > 0:04:38But it's hard to put a figure on it. So that would be lovely.
0:04:38 > 0:04:41Condition is all important. I turned it over to see the condition.
0:04:41 > 0:04:44This is immaculate. Did you have it hanging on the wall at home?
0:04:44 > 0:04:47My grandmother had it on the wall while I was abroad.
0:04:47 > 0:04:49What have you done with it?
0:04:49 > 0:04:52Kept it wrapped up in bubble wrap in the back of a cupboard.
0:04:52 > 0:04:54Oh, that's terrible.
0:04:54 > 0:04:57- So, you're not going to miss it? - No, not at all.- No.
0:04:57 > 0:05:01- I think it's going to a very good cause as well.- Yep.
0:05:01 > 0:05:05- I think it's a fitting end to your career, don't you?- Absolutely.
0:05:05 > 0:05:06You're going to be on television!
0:05:07 > 0:05:10- Fabulous, thank you.- Thank you.
0:05:10 > 0:05:14A star is born, though this is probably not the TV role Kim imagined.
0:05:14 > 0:05:18Now to Kate, who's with Tom and Petra.
0:05:18 > 0:05:21You brought this fabulous vase. What can you tell me about it?
0:05:21 > 0:05:25- Well, I inherited it from my family. It is over 100 years old.- OK.
0:05:25 > 0:05:29And it has been in the family since I remember. I don't know much more about it.
0:05:29 > 0:05:34- I know the make.- I'm detecting an accent here, and it could be the clue to where this has come from.
0:05:34 > 0:05:38- Yes, it's German.- You're from... And it is a German pot.
0:05:38 > 0:05:42Let's have a look at it. It's absolutely fantastic.
0:05:42 > 0:05:47I saw this when you unpacked it earlier, across the room, and I fell in love, frankly.
0:05:47 > 0:05:50It's beautiful. This is known as pate-sur-pate.
0:05:50 > 0:05:53It's glass on glass, it's painting with glass.
0:05:53 > 0:05:56So, it's an enamel, effectively, although it's a ceramic pot,
0:05:56 > 0:06:00a porcelain pot. It's got this fabulous oval on the front
0:06:00 > 0:06:01and it's just beautiful.
0:06:01 > 0:06:05There are several names that sprung to mind instantly when I saw it.
0:06:05 > 0:06:09There's a very famous chap called Solon, Jean Louis Solon,
0:06:09 > 0:06:11and there are various other makers who make it,
0:06:11 > 0:06:14but they're French and this is German.
0:06:14 > 0:06:16- You know the factory?- I don't.
0:06:16 > 0:06:20- We've looked at the bottom - it's Heubach, is that said right?- Yes.
0:06:20 > 0:06:24They also made porcelain dolls' heads and they went into these
0:06:24 > 0:06:29- in quite decorative ways, I suppose, a kind of different market.- Yes.
0:06:29 > 0:06:33But what we have is a beautiful, almost transparent lady
0:06:33 > 0:06:37in classical dress and she's a fairy, she's got little wings. It's very romantic.
0:06:37 > 0:06:44Date-wise, it's about turn of the century, 1890, 1900.
0:06:44 > 0:06:47That's borne out by this classical shape, an Art Nouveau shape.
0:06:47 > 0:06:51What you've got is... The quality of this is almost better than the rest.
0:06:51 > 0:06:53- Yes, I know.- It's quite odd.
0:06:53 > 0:06:58It's kind of moulded, there's not a huge amount of decoration.
0:06:58 > 0:07:01- It's fairly boring, actually, the decoration.- It is.
0:07:01 > 0:07:03But this is a cracking piece in the middle.
0:07:03 > 0:07:06Do you have it on show, do you like it?
0:07:06 > 0:07:09We have it on show because it's something unusual,
0:07:09 > 0:07:12but it is not exactly my cup of tea, to be quite honest.
0:07:12 > 0:07:18- I find it beautiful, but I don't love it.- And you're not a big fan?
0:07:18 > 0:07:23- Absolutely not.- It's a bit girly.- It is a bit girly. It's pretty enough.
0:07:23 > 0:07:28- Where it stands, it's OK, but it's not something I would...- All right.
0:07:28 > 0:07:35Price-wise, you're talking sort of maybe £80 to £120,
0:07:32 > 0:07:35something like that, bracketing the £100 mark,
0:07:35 > 0:07:38because it's obviously not one of the major factories.
0:07:38 > 0:07:42- But it's a beautifully-made piece. - Yes, somebody might love it.
0:07:42 > 0:07:46I think there'll be lost of collectors that can't afford the
0:07:46 > 0:07:49more expensive Solon pate-sur-pate and might go for this.
0:07:49 > 0:07:51Is that the sort of thing you'd be happy to sell it for at auction?
0:07:51 > 0:07:56- Yes.- What's "good luck" in German? - Viel gluck.- Viel gluck, OK.
0:07:56 > 0:08:01- Viel gluck, let's hope it sells and we'll see you at auction.- Thank you.
0:08:04 > 0:08:07I absolutely love it when we get furniture on the show,
0:08:07 > 0:08:10it makes my day, and I love talking about it
0:08:10 > 0:08:12because wood is so tactile, you have to agree, don't you?
0:08:12 > 0:08:14- Do you all agree?- Yes.
0:08:14 > 0:08:17You can caress wood, you can love wood, it tells a story.
0:08:17 > 0:08:20Lovely ambiguous grains and colour and it's full of life and vitality.
0:08:20 > 0:08:23Thank you so much for bringing this in, Malcolm.
0:08:23 > 0:08:24Even if it's not the real thing!
0:08:24 > 0:08:26It's an apprentice piece, isn't it?
0:08:26 > 0:08:29It's a tiny little scaled-down version. How did you come by it?
0:08:29 > 0:08:32Well, a very good friend of mine, parents was moving,
0:08:32 > 0:08:36and downsizing and they asked me to clear some furniture for them
0:08:36 > 0:08:40and this was one of the items that was amongst the furniture.
0:08:40 > 0:08:43- But this caught your eye so you hung onto it?- I hung onto, yes.
0:08:43 > 0:08:46OK, OK, so why have you brought it in today?
0:08:46 > 0:08:47To find out a bit more about it?
0:08:47 > 0:08:50Well, primarily to find out how much it was worth
0:08:50 > 0:08:53- and just get a bit more information on it really.- OK, OK.
0:08:53 > 0:08:56It's been made by an apprentice.
0:08:56 > 0:09:01It's a scaled-down version of the real thing.
0:09:01 > 0:09:05- That is a Victorian tilt-top occasional table.- Table.
0:09:05 > 0:09:09- Isn't it lovely?- I thought it was a stand.- Lovely.
0:09:09 > 0:09:12That's exactly what you do with the table with it
0:09:12 > 0:09:15when you finish using it, you just do that
0:09:15 > 0:09:17and this would sit against the wall then
0:09:17 > 0:09:20and save some space, and that's why it is an occasional table,
0:09:20 > 0:09:23you bring it out to use it when and where you need it.
0:09:23 > 0:09:26- You can take afternoon tea on it. - Very nice.
0:09:26 > 0:09:30Just look at the grain, look at that figuring in the grain.
0:09:30 > 0:09:33Can you see that? That lovely flame curl running right through it.
0:09:33 > 0:09:34Isn't that beautiful?
0:09:34 > 0:09:36Wonderful figuring.
0:09:37 > 0:09:40That's cross cut so you get that lovely grain.
0:09:40 > 0:09:44Now, being a woodturner, he's working on a lathe,
0:09:44 > 0:09:47that's where his skills are, turning one piece of wood.
0:09:47 > 0:09:50If you look at the top of this tilt-top table,
0:09:50 > 0:09:53that's been turned from one piece of wood.
0:09:53 > 0:09:56He's offered up his chisel into this section
0:09:56 > 0:09:58to cut the flanged edge, can you see that?
0:09:59 > 0:10:01There's a lot of work there.
0:10:01 > 0:10:04From there to there is another section of wood.
0:10:04 > 0:10:07If you look here you can see a ring turning at the top,
0:10:07 > 0:10:09a balustrade turning,
0:10:09 > 0:10:12coming down to another flattened cotton reel turning,
0:10:12 > 0:10:14and then sitting on a little ring turning.
0:10:14 > 0:10:16Also the base, that's completely turned.
0:10:16 > 0:10:20Architecturally little C-scrolled feet turning upwards.
0:10:20 > 0:10:22I don't want to flog it now!
0:10:22 > 0:10:26It's a really, really lovely example of a man
0:10:26 > 0:10:29putting his skills to use after four years of training.
0:10:29 > 0:10:34These little apprentice pieces date as far back as the 17th century.
0:10:34 > 0:10:36So there were little tiny workshops
0:10:36 > 0:10:38with windows that were open to the public.
0:10:38 > 0:10:40Because the windows were so small
0:10:40 > 0:10:42they couldn't put the full-sized piece in the window,
0:10:42 > 0:10:44they'd make these little models to go in the window
0:10:44 > 0:10:47and say, "That's it, that's its design, that's its style,
0:10:47 > 0:10:51"I can now make one for you so big to go in your house."
0:10:51 > 0:10:54So these were the windows of opportunity for craftsmen.
0:10:54 > 0:10:56Any idea of value?
0:10:57 > 0:10:59- I thought about £20 or £30 really. - £20 or £30.
0:10:59 > 0:11:02- What do you think?- No idea. - I would say little bit higher.- 100.
0:11:02 > 0:11:04A little bit higher. 100.
0:11:04 > 0:11:07- A bit higher. 500?- A bit higher.
0:11:07 > 0:11:09I should say about 200.
0:11:09 > 0:11:11I think you're spot on there.
0:11:11 > 0:11:15I say we put this into auction with a valuation of £200 £300.
0:11:15 > 0:11:18Not 20 or 30, 200 to 300.
0:11:21 > 0:11:23Wow! Um...
0:11:23 > 0:11:26These little apprentice models are highly sought-after.
0:11:26 > 0:11:29There's collectors out there all over the world.
0:11:31 > 0:11:35- I think it's time to flog it then, isn't it?- Yes?
0:11:35 > 0:11:38OK, let's get it into auction. £200 or £300,
0:11:38 > 0:11:40a fixed reserve £170.
0:11:40 > 0:11:41- Yes, that's fine, yes.- All right.
0:11:41 > 0:11:44Well, I think the value surprised Malcolm
0:11:44 > 0:11:46and what a lovely thing for me to come across.
0:11:49 > 0:11:50Where's David Barby?
0:11:50 > 0:11:54He better not be up to any monkey business.
0:11:54 > 0:11:58Annette, this is such a delightful little toy. Where does it come from?
0:11:58 > 0:12:01I bought it for a friend, actually. She's at work,
0:12:01 > 0:12:05- so I'm selling it on her behalf. - Right.
0:12:05 > 0:12:08I don't think it's complete, actually.
0:12:08 > 0:12:10Because it should be seated, I think,
0:12:10 > 0:12:12on something, like a little box here...
0:12:12 > 0:12:14It certainly looks like it.
0:12:14 > 0:12:16..resembling a cotton bale or something.
0:12:16 > 0:12:18Of course, this tail is so huge
0:12:18 > 0:12:22it's had additional support at the end there,
0:12:22 > 0:12:26so I think it really needs to go into a box or a plinth,
0:12:26 > 0:12:28so that would make the toy complete.
0:12:28 > 0:12:31- What I do like about it is it still works.- Yes.
0:12:31 > 0:12:35Look at this. Absolutely amazing.
0:12:36 > 0:12:40And we have this button, which... the eyes sort of glower away.
0:12:40 > 0:12:43This is quite nice, I like this immensely.
0:12:43 > 0:12:45This group of toys, Annette,
0:12:45 > 0:12:48is part and parcel of immediate post-war years,
0:12:48 > 0:12:52when there was little toy manufacturing taking place in England.
0:12:52 > 0:12:57So Japan filled that gap in the market by producing
0:12:57 > 0:13:03very cheap toys made out of tin, plastic and novelty ones
0:13:03 > 0:13:08that operated with a battery, rather like this one here and then you have two controls,
0:13:08 > 0:13:12so very amusing, and it was a novelty for children at that time.
0:13:12 > 0:13:17- Of course, more famous ones are the robot toys, and they fetch an absolute fortune.- Oh.
0:13:17 > 0:13:22This one, I think, because it's not complete and we haven't got its original box?
0:13:22 > 0:13:26- We have a box at home for it, so we'll bring it to the auction. - Right, OK.
0:13:26 > 0:13:29I think even in this state with the original box,
0:13:29 > 0:13:32whatever condition it's in,
0:13:32 > 0:13:36it will realise - for a collector - something in the region possibly
0:13:36 > 0:13:41- of round about £40 to £60. That sort of price range.- Yes.
0:13:41 > 0:13:44I think we need to put a reserve of £40.
0:13:44 > 0:13:46Why is your friend selling this?
0:13:46 > 0:13:48Just having a clearout from her house.
0:13:48 > 0:13:53- If it's in a drawer, there's no point having it.- No. - At £40, would I give £40 for it,
0:13:53 > 0:13:56purely for amusement, to make people laugh? Yes, I would.
0:13:57 > 0:14:01- Thank you very much for bringing it along.- Thank you. - I'll put a new battery in.
0:14:03 > 0:14:06Colchester has a fascinating history of clockmakers
0:14:06 > 0:14:08so while I was here in the area, filming,
0:14:08 > 0:14:11I decided to go and explore. Take a look at this.
0:14:30 > 0:14:33This beautiful 15th century timber-framed building
0:14:33 > 0:14:36is right in the heart of a very busy Colchester.
0:14:36 > 0:14:38You wouldn't believe it really, would you?
0:14:38 > 0:14:40It's so quiet and peaceful here, it's like a little oasis.
0:14:40 > 0:14:43This beautiful house was once home to William Gilberd,
0:14:43 > 0:14:45or Gilbert as he was sometimes known.
0:14:45 > 0:14:48He was a physician and a scientist.
0:14:49 > 0:14:52William Gilberd was the son of a recorder of Colchester
0:14:52 > 0:14:56and became the most eminent English man of science of his day.
0:15:00 > 0:15:03He made the important discovery of electromagnetics
0:15:03 > 0:15:07and he's also credited as one of the originators of the term electricity.
0:15:07 > 0:15:11From his experiments he concluded that the Earth was itself magnetic
0:15:11 > 0:15:14and that this was the reason compasses point north.
0:15:14 > 0:15:16And he was the first to argue correctly
0:15:16 > 0:15:19that the centre of the Earth was iron.
0:15:21 > 0:15:24Gilberd was also a physician to the court of Queen Elizabeth I
0:15:24 > 0:15:26and he tended to her personally.
0:15:29 > 0:15:32Well, enough of Gilberd, I want to take you inside this
0:15:32 > 0:15:36rather historic building and show you a very special collection.
0:15:39 > 0:15:41In the first half of the 18th century
0:15:41 > 0:15:45watch and clock making was something of a boom industry in Colchester,
0:15:45 > 0:15:49with at least eight clock making businesses churning out a variety of timepieces.
0:15:51 > 0:15:54The reputation of Colchester clocks spread throughout the land.
0:15:56 > 0:15:59To some extent this clock making industry
0:15:59 > 0:16:02had offset the declining weaving trade in the town.
0:16:04 > 0:16:06This beautiful building now houses
0:16:06 > 0:16:09a unique and comprehensive collection of clocks
0:16:09 > 0:16:12and the great thing is they all were made here in Colchester.
0:16:26 > 0:16:29This collection of clocks, 217 in all,
0:16:29 > 0:16:32was put together by Bernard Mason, a local industrialist
0:16:32 > 0:16:34who was born in Ipswich,
0:16:34 > 0:16:37but who lived for most of his life here in Colchester.
0:16:39 > 0:16:41Looking for a hobby,
0:16:41 > 0:16:44Mason bought his first Colchester clock in 1927,
0:16:44 > 0:16:47and over the years his collection and knowledge of local clockmakers grow.
0:16:49 > 0:16:52He was helped in his research by his wife, Evelyn,
0:16:52 > 0:16:55who would examine parish registers, old newspapers
0:16:55 > 0:16:58and borough records for references and information.
0:17:01 > 0:17:06He renovated this house and lived here from 1957 to 1979, and when
0:17:06 > 0:17:10he died he bequeathed the house and the clock collection to the town.
0:17:16 > 0:17:20This is now one of the largest collections of clocks in Britain.
0:17:20 > 0:17:24All were made here in Colchester between 1640 and 1840
0:17:24 > 0:17:28and give a fascinating insight into this specialist trade.
0:17:31 > 0:17:33It's a magnificent collection
0:17:33 > 0:17:36and yet the interesting thing about it is all the clocks here were
0:17:36 > 0:17:39made for ordinary working people that hadn't owned a clock before.
0:17:39 > 0:17:41During the first part of the 18th century
0:17:41 > 0:17:44Colchester clockmakers were working on the scale of a small factory,
0:17:44 > 0:17:47turning out hundreds of them, keeping up with the demand,
0:17:47 > 0:17:50yet the attention to the detail in the mechanism,
0:17:50 > 0:17:53the movement and the materials weren't compromised.
0:17:53 > 0:17:56All over this museum there are wonderful classic examples
0:17:56 > 0:18:00of figured walnut, burr elms, oaks, flame mahogany,
0:18:00 > 0:18:03inlaid marquetry work, and also keeping up with
0:18:03 > 0:18:06the fashion of the day, late 18th century, Chinoiserie lacquer.
0:18:15 > 0:18:18Probably the family to make the greatest contribution
0:18:18 > 0:18:20to the fame of Colchester clocks was the Hedge family.
0:18:20 > 0:18:24Four generations of Hedges made clocks here in the town,
0:18:24 > 0:18:27spanning a period well over 100 years.
0:18:27 > 0:18:30You could say that's a well-run family business.
0:18:30 > 0:18:32Nathaniel Hedge was born in 1710.
0:18:32 > 0:18:36He left the weaving industry to become an apprentice clockmaker to John Smorthwaite.
0:18:36 > 0:18:38He showed great promise as a clockmaker.
0:18:38 > 0:18:41He had the skill, he had the talent and the patience.
0:18:41 > 0:18:45All was going well until he fell in love with Smorthwaite's daughter Sarah.
0:18:45 > 0:18:47They got married, they were happy,
0:18:47 > 0:18:49but Smorthwaite was absolutely furious.
0:18:49 > 0:18:51He was a proud father
0:18:51 > 0:18:54and I guess he thought Hedge wasn't good enough for his daughter.
0:18:54 > 0:18:56He kicked them out of the house.
0:18:56 > 0:19:00He cut Sarah out of his will and he terminated Hedge's apprenticeship.
0:19:06 > 0:19:09However, Hedge managed to find a business partner
0:19:09 > 0:19:13and started up his own clock making firm. It began to flourish.
0:19:13 > 0:19:17He was later joined by his three sons, Nathaniel, Thomas and John,
0:19:17 > 0:19:20and this is an example of Thomas's work, slightly later in period.
0:19:20 > 0:19:24The introduction of a subsidiary dial here, showing a second-hand.
0:19:24 > 0:19:26Out go the spelter spandrels in the corner,
0:19:26 > 0:19:28in come some painted figures,
0:19:28 > 0:19:30obviously influenced from the Grand Tour.
0:19:30 > 0:19:33You see, keeping up with the trends, keeping the business alive.
0:19:33 > 0:19:35The Hedges were a force to be reckoned with,
0:19:35 > 0:19:38and they owned numerous properties around Colchester.
0:19:51 > 0:19:53Well, the clocks here in the collection may not be
0:19:53 > 0:19:56the finest or the most valuable examples in the world
0:19:56 > 0:20:00but they do represent a fascinating bit of Colchester's social history.
0:20:00 > 0:20:03The Colchester clockmakers supplied clocks to people throughout
0:20:03 > 0:20:06the land, from the 17th century right through to the 19th century.
0:20:06 > 0:20:08I guess we have to thank Bernard Mason,
0:20:08 > 0:20:12the man who had the vision and passion to put this collection
0:20:12 > 0:20:14together for future generations to appreciate.
0:20:14 > 0:20:16Now it's time I was going.
0:20:27 > 0:20:30Today we're filming in the Town Hall in Colchester,
0:20:30 > 0:20:34a wonderful old Victorian building. This is where the journey starts for our owners.
0:20:34 > 0:20:37If you'd like to take part in the show, we would love to see you.
0:20:37 > 0:20:41You can pick up details of dates and venues on our BBC website.
0:20:41 > 0:20:43Just log on to...
0:20:43 > 0:20:47There's lots of information, plus what goes on behind the scenes.
0:20:47 > 0:20:48It's well worth a look.
0:20:48 > 0:20:51If you don't have a computer, check your local press,
0:20:51 > 0:20:54because we're coming to an area very near you soon.
0:20:54 > 0:20:58As I said, today we're in the Town Hall. All the action is taking place down there.
0:20:58 > 0:21:03Speaking of action, it's time we went to the auction room to put those valuations to the test.
0:21:03 > 0:21:06I've got my favourites, you've probably got yours.
0:21:06 > 0:21:11But more importantly, what does the auctioneer think - and the bidders? Let's find out in the auction room.
0:21:11 > 0:21:14And this is what we're taking.
0:21:15 > 0:21:18Of course you can never tell what's going to happen at the auction,
0:21:18 > 0:21:21let's hope the bidders will want to snap them up.
0:21:28 > 0:21:31And now it's time for my favourite part of the show. It's auction time,
0:21:31 > 0:21:35and anything can happen - this is where we put our valuations to the test.
0:21:35 > 0:21:39We're doing it here at Reeman Dansie auction rooms in Colchester.
0:21:39 > 0:21:43As you can see, we have a full house and the auction has already started.
0:21:43 > 0:21:47Yesterday I talked to James Grintner, the man with local knowledge, the man on the rostrum.
0:21:47 > 0:21:49Here's what he said about one of our items.
0:21:49 > 0:21:52We've had these on the show before,
0:21:52 > 0:21:54Goldschneider masks, 1930s.
0:21:54 > 0:21:58The good thing about these is they have a serial number,
0:21:58 > 0:22:00so you know when and where they were made,
0:22:00 > 0:22:03- and provenance is key, isn't it? - It is indeed.
0:22:03 > 0:22:06- Kim loved theatre, so there's a connection there.- Right. OK.
0:22:06 > 0:22:10She did a lot of singing and dancing. It's not my cup of tea.
0:22:10 > 0:22:13- Is it yours - could you live with this on your wall? - Perhaps in the downstairs loo!
0:22:13 > 0:22:17That's a no, isn't it? That's a no, come on! That's a no.
0:22:17 > 0:22:21Anyway, look, we've got £400-£500 on this.
0:22:21 > 0:22:24Goldschneider is a very collectable factory pool.
0:22:24 > 0:22:27I personally think it might be a little bit heavy, the estimate.
0:22:27 > 0:22:30But it does stand a chance of selling. Fingers crossed.
0:22:30 > 0:22:33- It's borderline.- It is a bit borderline.
0:22:33 > 0:22:36It's been well publicised, so we'll have to wait and see.
0:22:36 > 0:22:39- They always look good in catalogues, in the photo.- That's right.
0:22:39 > 0:22:43It's a stylish bit of Art Deco pottery at the end of the day.
0:22:43 > 0:22:46- But it's fingers crossed. - Fingers crossed!
0:22:47 > 0:22:50But first up, it's Annette with the toy monkey.
0:22:50 > 0:22:54Who's a cheeky monkey, then? Well, it's Mr Barbie, of course.
0:22:54 > 0:22:58£40-£60. I love this little monkey.
0:22:58 > 0:23:02- Annette, you brought this in for a friend?- That's right. - I know David put £40-£60 on this.
0:23:02 > 0:23:05Since valuation day, you've put the valuation up?
0:23:05 > 0:23:09Your friend just rung the auction room and said she wants £100-£150.
0:23:09 > 0:23:14- That's right.- With a reserve at £90. Hopefully it will still sell.
0:23:14 > 0:23:18It's 1960s, it's battery, it's Japanese, and it's still working.
0:23:18 > 0:23:21The lights go ding, ding, ding in the eyes.
0:23:21 > 0:23:24It's disappointing. I was hoping it was going to sell at just over the £60.
0:23:24 > 0:23:26I think £90 will be difficult.
0:23:26 > 0:23:30We're going to find out what the bidders think now. Let's hope it ends in a crescendo.
0:23:30 > 0:23:37Number 941 is the 1960s Japanese plastic toy monkey.
0:23:37 > 0:23:39£80 to start me? 80? £80 to start me somewhere?
0:23:39 > 0:23:44£80 for it? 60? £60 for it somewhere?
0:23:45 > 0:23:50£60 for it? 40 then? £40 to start me. 40 I have. A £40 bid now, at 40.
0:23:50 > 0:23:53At £40 only. Do we have 42?
0:23:53 > 0:23:55This lot is not going to sell, ladies and gentlemen. No?
0:23:57 > 0:24:01- Aw!- It's going home. - It was in my margin originally.
0:24:01 > 0:24:04Well, instead of going to the Ritz, we'll be having chips!
0:24:04 > 0:24:06- Aye! That rhymes!- I know.
0:24:08 > 0:24:13We don't need to go to the Ritz, but we do need to sell our antiques.
0:24:13 > 0:24:18Let's hope Tom and Petra's 1890s porcelain vase does better.
0:24:18 > 0:24:22- You won't be sad to see this go. It's a family piece, but you don't like it?- That's right.
0:24:22 > 0:24:25But I kind of like this. It's got a lot of class.
0:24:25 > 0:24:30I like the blue and the gold gilt on it. The blue grounds and the female figure. It's quality.
0:24:30 > 0:24:34- A bit of German quality.- I hope somebody likes it more than I do!
0:24:34 > 0:24:38- How long have you had it, then? - A couple of years.- Not too long.
0:24:38 > 0:24:40At least you've kept it in mint condition.
0:24:40 > 0:24:43We all agree with £80 to £120, it's an auctioneer's classic.
0:24:43 > 0:24:46It's really pretty. Lovely quality. I think that's cheap.
0:24:46 > 0:24:51I do as well. I was just going to say to you, it looks exceptionally expensive.
0:24:51 > 0:24:54- Exactly.- It does, doesn't it? It's got the look. It's got the look.
0:24:54 > 0:24:58It really does have. Quality and class.
0:24:58 > 0:25:02Much like myself. Exceptionally expensive.
0:25:02 > 0:25:04Is that high-maintenance?
0:25:04 > 0:25:07Read what you like into that!
0:25:07 > 0:25:10Well, let's find out what the bidders think. Good luck. Here we go.
0:25:10 > 0:25:14Number 260 is the early 20th century German porcelain vase,
0:25:14 > 0:25:17with the pate-sur-pate decoration.
0:25:17 > 0:25:23To start me £50. £50 to start me. 50 I've down here now. 55. 60.
0:25:23 > 0:25:26Five, 70, £70 bid now.
0:25:26 > 0:25:3175. £70 is bid. All done now at £70. All done?
0:25:33 > 0:25:36On the reserve. It's gone. It's gone. You didn't like it, did you?
0:25:36 > 0:25:39I still think that's good value for money. Don't you?
0:25:39 > 0:25:43This is the thing to buy at the moment for an investment. I think that's great.
0:25:43 > 0:25:46Yeah, top tip there.
0:25:48 > 0:25:51And now it's time for my favourite piece.
0:25:51 > 0:25:53Remember that little tilt-top table?
0:25:53 > 0:25:54Little tiny apprentice piece.
0:25:54 > 0:25:56Well, it's just about to go under the hammer.
0:25:56 > 0:26:00- It belongs to Malcolm, hopefully for not much longer.- Hope so.
0:26:00 > 0:26:03- How have you been since we last saw you?- Looking forward to it.
0:26:03 > 0:26:05- Enjoying yourself? Enjoying this moment?- Very much so, yes.
0:26:05 > 0:26:08Have you seen anything else you'd like to buy?
0:26:08 > 0:26:11There's a little concertina in the auction a bit later on.
0:26:11 > 0:26:14I saw that over there! That's on display near your table.
0:26:14 > 0:26:18- That's right, yes.- And that comes up a little bit later,
0:26:18 > 0:26:22so hopefully if we sell your table, you might be buying that?
0:26:22 > 0:26:25I might be playing that myself all the way home, mightn't I?
0:26:25 > 0:26:28That's what I like to see, people reinvesting in antiques,
0:26:28 > 0:26:30especially here in the auction on the day.
0:26:30 > 0:26:33It's a day out, make the most of it! Sell something, buy something.
0:26:33 > 0:26:36- That's what it's all about, isn't it?- It's a nice auction, yes.
0:26:36 > 0:26:38Let's find out what the bidders think, shall we?
0:26:38 > 0:26:42Number 891 is the Victorian miniature walnut tilt-top
0:26:42 > 0:26:45wine table. Nice quality little table here.
0:26:45 > 0:26:49We have two commissions and I start the bidding with me at £240.
0:26:49 > 0:26:51- Great.- That will do.
0:26:51 > 0:26:53- Straight in, mid-estimate.- At 250?
0:26:53 > 0:26:58At £240 bid now, at 250? 250. 260.
0:26:58 > 0:27:00260 bid, 270. 280.
0:27:00 > 0:27:03At 280 still with me, at £280.
0:27:03 > 0:27:04290.
0:27:04 > 0:27:07Brilliant, brilliant. A chap down the front after it.
0:27:07 > 0:27:09340. 340 still with me.
0:27:09 > 0:27:11On the book at £340.
0:27:11 > 0:27:14All done at £340.
0:27:14 > 0:27:17You know, you are spot on there, aren't you?
0:27:17 > 0:27:19Yes, that was good, wasn't it? See, it's quality.
0:27:19 > 0:27:22- Quality always sells. - Thank you very much.
0:27:22 > 0:27:25And you don't need a van to take that home in, do you?
0:27:25 > 0:27:28- And I brought the van today! - You brought your van!
0:27:28 > 0:27:30A brilliant result.
0:27:35 > 0:27:39I've been looking forward to this because I bumped into Kim back at valuation day
0:27:39 > 0:27:42with a Goldschneider mask, but we didn't meet Harry.
0:27:42 > 0:27:46Harry is her six-month-old little boy. Look at this.
0:27:46 > 0:27:48Give us a wave, Harry.
0:27:48 > 0:27:51- No.- Daddy was looking after him at the valuation day, wasn't he?
0:27:51 > 0:27:54- He stayed at home.- Yes. - You brought the mask in yourself.
0:27:54 > 0:27:59- I did, yeah.- Isn't he cute? - He's lovely! But then I'm biased.
0:27:59 > 0:28:02Oh, look at him. Look at him. Isn't he lovely?
0:28:02 > 0:28:06- What do you think, David? - What of, the mask?- No!
0:28:06 > 0:28:08No, we're talking about young Harrison here.
0:28:08 > 0:28:11Oh, Harry's very nice. Yeah. My father's name was Harry.
0:28:11 > 0:28:12- Good name.- Yeah.
0:28:12 > 0:28:14Let's talk about the mask, OK?
0:28:14 > 0:28:18- It's your mask. Do you like it still?- No.- Why?
0:28:18 > 0:28:22I never liked it. I only grew fond of it recently, but I'm happy to see the back of it.
0:28:22 > 0:28:25It's a classic piece of 1930s. The Goldschneider.
0:28:25 > 0:28:29- I think it's superb.- I think a few bidders will like this as well.
0:28:29 > 0:28:31Good luck. Let's hope we get the top end of David's estimate.
0:28:31 > 0:28:33Let's find out what it's worth.
0:28:33 > 0:28:39Number 290 is the 1930s gold Schneider glazed pottery mask.
0:28:39 > 0:28:41- Stylish one here. - I love the lipstick.- Let's start me.
0:28:41 > 0:28:47£300 start me. 300 I have. 320? 320.
0:28:47 > 0:28:50340. 360. 360 I have. At 380.
0:28:50 > 0:28:52- At £360.- Bit more!
0:28:52 > 0:28:55All done? At... 380 I have.
0:28:55 > 0:28:58- £380 at the far end now. 380.- Come on!
0:28:58 > 0:29:03At 380, I'll sell it. All done at 380?
0:29:03 > 0:29:05- Hammer's down. We're happy, aren't we?- Yeah.
0:29:05 > 0:29:07- You didn't like it. - No, got rid of it.
0:29:07 > 0:29:10- You'd rather have the money for Harry, wouldn't you?- Definitely.
0:29:10 > 0:29:12- Give him a good start.- Bless him.
0:29:12 > 0:29:15- Thank you very much. - Is he your first?- He is.
0:29:15 > 0:29:19- Are you going to have any more? - I will, but not just yet.- No.
0:29:19 > 0:29:21I'll have a bit of a break first.
0:29:21 > 0:29:25At least it's not going on his nursery wall to frighten him.
0:29:25 > 0:29:29No. And it would, as well. Give him nightmares! Bless him.
0:29:30 > 0:29:32Great news for Kim and Harry.
0:29:44 > 0:29:47Thatched cottages can be found dotted throughout rural Essex,
0:29:47 > 0:29:50and that straw roof over there on that house is a clue
0:29:50 > 0:29:54to a long-lost craft that lifted the people from these villages
0:29:54 > 0:29:57out of poverty some 200 years ago.
0:29:57 > 0:30:01It was a craft that linked poor rural women, men and children
0:30:01 > 0:30:03to the courts of the aristocracy
0:30:03 > 0:30:06simply by the hats that they all wore.
0:30:06 > 0:30:12Because in the early 1800s, every strand of straw in these hats had to be plaited by hand.
0:30:12 > 0:30:14It was tricky and it was labour-intensive,
0:30:14 > 0:30:19so I've come here to the Great Bardfield Cottage Museum to find out exactly how it's done.
0:30:21 > 0:30:24This cottage industry was introduced to Essex in 1790
0:30:24 > 0:30:28to provide much-needed income for impoverished villagers.
0:30:28 > 0:30:32In just a few years, straw plaiting really caught on in this county.
0:30:32 > 0:30:35The raw material was cheap and available
0:30:35 > 0:30:39and the hats were a must-have fashion accessory for wealthy city people.
0:30:39 > 0:30:43Veronica Main is curator of costumes and textiles for Luton Museums.
0:30:43 > 0:30:46She's an expert on straw-plaiting history.
0:30:46 > 0:30:50She's brought some examples of the work and finished products with her.
0:30:50 > 0:30:55This wonderful rural art form was commonplace here in Essex throughout the 19th century.
0:30:55 > 0:30:56How many people do it today?
0:30:56 > 0:31:01- Just about me. I'm about the only person!- Really?
0:31:01 > 0:31:04People have a go, but I'm busy in my museum role,
0:31:04 > 0:31:08teaching other people how to straw-plait so we can keep it alive.
0:31:08 > 0:31:12- So you're passing this heritage on? - Yes.- Thankfully, thankfully.
0:31:12 > 0:31:14Is it difficult to do?
0:31:14 > 0:31:17No, it's not difficult, but you've got to understand
0:31:17 > 0:31:19that straw plait for a hat is made in a specific way.
0:31:19 > 0:31:26The process is over one, under two, pull it tight and that'll do.
0:31:26 > 0:31:30Over one, under two, pull it tight and that'll do.
0:31:30 > 0:31:33- That's the mantra you sing all day long.- Yes.
0:31:33 > 0:31:35And you can see that I've run out of straw on this one
0:31:35 > 0:31:40so I'm taking a new straw and putting it over the top of the old straw
0:31:40 > 0:31:42and you have to hold the two together,
0:31:42 > 0:31:45so it's squashing it really tight.
0:31:45 > 0:31:47Now, it's quite funny, because...
0:31:47 > 0:31:51- Oh, that doesn't want to go. - I feel I've spoiled it, haven't I?
0:31:51 > 0:31:54Yes! It never works perfectly when you're being watched.
0:31:54 > 0:31:58As I'm working it, I'm looking at the back of the straw plait,
0:31:58 > 0:32:01so that's the front side of the straw plait,
0:32:01 > 0:32:03then all these ends would be clipped off.
0:32:03 > 0:32:06- Behind, so you don't see them?- Yes. They disappear.
0:32:06 > 0:32:10I was thinking, how do they disappear but there's a reverse side and a face side.
0:32:10 > 0:32:13And if that wasn't fiddly enough,
0:32:13 > 0:32:16the really skilled would split the straw into thinner strands
0:32:16 > 0:32:18to make really delicate plaits.
0:32:19 > 0:32:23You've got different numbers of fins. So let's go for a six.
0:32:23 > 0:32:24- Push that on to the pin.- Yeah.
0:32:24 > 0:32:26- Push.- And force it down.- And look.
0:32:26 > 0:32:31It comes out into split sections.
0:32:31 > 0:32:33Yeah. I tell you what,
0:32:33 > 0:32:36you've got to have tiny, thin nimble fingers to plait that.
0:32:36 > 0:32:40- No wonder the kids were good, their hands were so small.- Exactly,
0:32:40 > 0:32:44and if you look at the size of straw on some of these plaits.
0:32:44 > 0:32:48That is whole straw, but even so, you can see how tiny it is.
0:32:48 > 0:32:49It's like grass.
0:32:49 > 0:32:53And you realise then the skill that went into the plaiting.
0:32:53 > 0:32:57- Yeah.- To keep them damp, they'd pass them through their mouth.
0:32:57 > 0:32:59- Would that cut your lips? - It cut your lips.
0:32:59 > 0:33:02It also wore down your teeth as you chewed them across,
0:33:02 > 0:33:03so not good practice.
0:33:03 > 0:33:08- So you could really identify...- Yes! - ..the plaiters from a distance!
0:33:08 > 0:33:13There was this saying that the girls in the plait villages had big mouths
0:33:13 > 0:33:16and the boys said it was like kissing the backside of a cow.
0:33:16 > 0:33:19But the lace girls didn't get off any better.
0:33:19 > 0:33:23The lace girls sitting at their pillows for so long making lace, they had big bottoms.
0:33:23 > 0:33:28So the boys in the plait villages made fun of the lace girls.
0:33:28 > 0:33:30Because children made such good plaiters,
0:33:30 > 0:33:33they were sent to special plait schools
0:33:33 > 0:33:35at a very early age, to learn the different skills.
0:33:37 > 0:33:41A child as young as four or five in about the 1860s
0:33:41 > 0:33:44could be earning, depending on the time of year,
0:33:44 > 0:33:48depending on the type of plait that they were making,
0:33:48 > 0:33:52could be earning between thruppence and a shilling a week.
0:33:52 > 0:33:55- Which was a lot of money, isn't it? - That's a lot of money!
0:33:55 > 0:33:59And how many yards of that could you do in a day,
0:33:59 > 0:34:04- were you expected to do?- Of this simple plait, 20 yards in a day.
0:34:04 > 0:34:09- 60 feet of plait. I mean, it's a huge amount of plait.- Have you tried that?
0:34:09 > 0:34:12- Yes, I have. - Does it hurt your fingers?- It does.
0:34:12 > 0:34:16Why was it so popular in this area and not other areas?
0:34:16 > 0:34:22Well, you had a local...a really important plait dealer in the area, Lindsell,
0:34:22 > 0:34:26so he would go round to all the small villages in the area and he would
0:34:26 > 0:34:28actually buy up all the plait,
0:34:28 > 0:34:31exchange them either for tokens or for money.
0:34:31 > 0:34:34He'd take it off to Luton where the hat manufacturing industry...
0:34:34 > 0:34:36- Where the hat industry was.- Yes.
0:34:36 > 0:34:38And they'd all get made up in Luton.
0:34:38 > 0:34:42So the hats you are seeing here are hats that were probably
0:34:42 > 0:34:44made up in Luton throughout the 1800s.
0:34:44 > 0:34:49- They catch the light well.- I know. There was one plait in particular.
0:34:49 > 0:34:53I've got to pick this up very, very carefully because it's very old.
0:34:53 > 0:34:55That's beautiful.
0:34:55 > 0:34:59This is a little doll's hat that was made by the last plaiter in Essex.
0:34:59 > 0:35:01Who was the last plaiter, do you know?
0:35:01 > 0:35:05Hannah Freeman. She lived in the village of Finchingfield,
0:35:05 > 0:35:06which is very close to here.
0:35:06 > 0:35:09That's a fantastic example of this wonderful rural art form.
0:35:09 > 0:35:12- That's good as it gets, don't you think?- It is.- Years of experience?
0:35:12 > 0:35:16It is. Because this actually is a plait called "brilliant"
0:35:16 > 0:35:19and you can see how it just catches the light.
0:35:19 > 0:35:21It's like a faceted diamond.
0:35:21 > 0:35:25- This first came into popularity in the 1850s.- Is that difficult to do?
0:35:25 > 0:35:28It is. It is probably the most difficult of all the plaits.
0:35:28 > 0:35:32Straw plaiting in Essex reached its peak in 1851
0:35:32 > 0:35:35and still provided work for thousands at the turn of the century.
0:35:35 > 0:35:39By the start of the First World War, it had almost disappeared,
0:35:39 > 0:35:43and the craft was quickly relegated to a few museum exhibits.
0:35:43 > 0:35:46Why did it stop virtually instantly?
0:35:46 > 0:35:50Well, it's a really familiar story.
0:35:50 > 0:35:54There were imports from China in the 1870s.
0:35:54 > 0:35:59The Chinese plait came in, it was a lot less expensive.
0:35:59 > 0:36:01It really did the plaiters out of work,
0:36:01 > 0:36:04and within 20 or 30 years they couldn't compete.
0:36:04 > 0:36:09It was costing them as much to buy the straw as it was that they earned for the straw plait
0:36:09 > 0:36:13that they made with that straw. There's no point in carrying on.
0:36:13 > 0:36:16- Well, now it's down to you, really, to carry the mantle, isn't it?- Yes.
0:36:16 > 0:36:20- Which is a bit worrying!- Hopefully rejuvenate this lost art form.
0:36:20 > 0:36:22Keep promoting it, won't you?
0:36:22 > 0:36:27Because it's part of our heritage, people like you are making it survive for future generations.
0:36:27 > 0:36:28I am teaching other people.
0:36:28 > 0:36:31Great. Are they any good?
0:36:31 > 0:36:33Yes, some are absolutely brilliant.
0:36:33 > 0:36:36I'm really mean. I get them on to split-straw plaits as well.
0:36:36 > 0:36:39- Thanks a lot.- It's been lovely to meet you, thank you.
0:36:57 > 0:37:00Welcome back to Colchester Town Hall.
0:37:00 > 0:37:03As you can see, it's still very busy down there, a hive of activity.
0:37:03 > 0:37:07It's time to join up with our experts to find some more antiques to take off to auction.
0:37:07 > 0:37:09Let's see what David Barby's spotted.
0:37:13 > 0:37:16Right, where did you get this from?
0:37:16 > 0:37:20I inherited it from my dad's mother.
0:37:20 > 0:37:24Is there any sort of central European ancestry within the family?
0:37:24 > 0:37:25Not that I'm aware of.
0:37:25 > 0:37:28OK, because this came from Bohemia originally
0:37:28 > 0:37:32- and it was produced by a company called Pallme-Konig.- Right.
0:37:32 > 0:37:36They specialised in glass way back in the late 18th century.
0:37:36 > 0:37:41But towards the sort of end of the 19th and into the 20th century
0:37:41 > 0:37:43they specialised, rather like Loetz glass,
0:37:43 > 0:37:47in this sort of iridescence that we have on this particular piece.
0:37:47 > 0:37:51The feature of their work, which is why we can identify it as their work,
0:37:51 > 0:37:56is this lacework, almost like a spider's web,
0:37:56 > 0:37:59of trail glass all the way around,
0:37:59 > 0:38:03with this greenish inclusion as the rim.
0:38:03 > 0:38:08Now, as a piece in its original state,
0:38:08 > 0:38:11unchipped, unblemished,
0:38:11 > 0:38:14- this would have been worth a considerable amount of money.- OK.
0:38:14 > 0:38:16Because, when we look at it,
0:38:16 > 0:38:19it has got all the attributes of being hand produced
0:38:19 > 0:38:23by having the white pontil, so when this was blown
0:38:23 > 0:38:25and finished on the end of a long pole...
0:38:27 > 0:38:31..jagged glass where it had been broken off was then smoothed out
0:38:31 > 0:38:34on the wheel so we call that a white pontil.
0:38:34 > 0:38:38So, you can see how all of this glass was trailed over,
0:38:38 > 0:38:43but what has happened is we've got sections of this trail glass missing,
0:38:43 > 0:38:45through misuse,
0:38:45 > 0:38:48as though keys had been thrown at it.
0:38:48 > 0:38:51Yes, it's lived at the bottom of the stairs for the past
0:38:51 > 0:38:55five or six years, full of glass pebbles and the house keys go in it.
0:38:58 > 0:39:00I didn't think it was worth anything at all.
0:39:00 > 0:39:04- Did you never look at it as a work of art?- No, I love it,
0:39:04 > 0:39:06- I do love it, I always have. - So why...?- That is why I got it.
0:39:06 > 0:39:09Why are you contemplating selling it now?
0:39:09 > 0:39:12I brought it here because I didn't know anything about it at all.
0:39:12 > 0:39:14Right.
0:39:14 > 0:39:18But it does just sit and get house keys put in it so...
0:39:18 > 0:39:21- It deserves - ..if it's going to be more loved...
0:39:21 > 0:39:23It deserves something better.
0:39:23 > 0:39:26I'm sure there will be restorers of glass where
0:39:26 > 0:39:29they might be able to trail more opaque glass on those sections
0:39:29 > 0:39:32- that are missing, but there is rather a lot.- Yes.
0:39:32 > 0:39:36Instead of the sort of £200-£300,
0:39:36 > 0:39:40with those defects we'll be looking at something in the region of £60-£80
0:39:40 > 0:39:43and I think the auctioneers will want to put a reserve
0:39:43 > 0:39:45- in the region of about 45 or 50.- Yes.
0:39:45 > 0:39:49But for anybody collecting glass that can't afford to buy the original,
0:39:49 > 0:39:53this is a lovely piece. At the end of the day
0:39:53 > 0:39:56it's not a lot of money for such a beautiful object.
0:39:56 > 0:39:59- Are you still wanting to sell it? - Yes. Yes, I think so.
0:39:59 > 0:40:01And what are you going to do with that money?
0:40:01 > 0:40:04Are you going to buy an actual key box?
0:40:04 > 0:40:07No, I've got a nice little wooden bowl for the keys, that's better.
0:40:07 > 0:40:09If only you'd used it earlier!
0:40:14 > 0:40:17Sharon, you brought in these toys.
0:40:17 > 0:40:19These are brilliant. Where did they all come from?
0:40:19 > 0:40:21Well, they all belong to my husband.
0:40:21 > 0:40:26They were bought mainly by his father who worked in a toy shop,
0:40:26 > 0:40:30and occasionally he brought one home for him.
0:40:30 > 0:40:32That's how the collection started.
0:40:32 > 0:40:35Some of them have been played with a lot, some haven't.
0:40:35 > 0:40:38They were put in the loft and last year they were rediscovered.
0:40:38 > 0:40:41There's so many to look at I don't know where to start.
0:40:41 > 0:40:44This is like a kid's dream. You've got really early ones.
0:40:44 > 0:40:49You've got Dinky, Tri-ang, Hornby, Corgi, loads of different makes.
0:40:49 > 0:40:51These were all played with.
0:40:51 > 0:40:54The two that captured my eye are these two here.
0:40:54 > 0:40:58We go on about boxes, but this is great to have boxes.
0:40:58 > 0:41:02You've got James Bond 007 Special Agent Aston Martin here,
0:41:02 > 0:41:06and this one, Lady Penelope from Thunderbirds.
0:41:06 > 0:41:08That's absolutely brilliant.
0:41:08 > 0:41:12I mean, also, you've got on this one the insert which makes a difference.
0:41:12 > 0:41:14They all do things. This one I love.
0:41:14 > 0:41:16Do you know what this one does?
0:41:16 > 0:41:19Yes, I think it's got an ejector seat.
0:41:19 > 0:41:22He's got all sorts. These come out the front.
0:41:22 > 0:41:24Yep, I can't remember what we do. Press something.
0:41:24 > 0:41:27There should be a little man in there that gets thrown out.
0:41:27 > 0:41:31Yes. Unfortunately that was ejected in the loft some years ago.
0:41:31 > 0:41:35He is embedded in the fibreglass wall.
0:41:35 > 0:41:37- The little man?- Apparently.
0:41:37 > 0:41:40- He could be found.- That would be useful. The more complete it is,
0:41:40 > 0:41:45for a sale, it would help to sell it. It's nice you've got the box.
0:41:45 > 0:41:46This one's even better. It's great.
0:41:46 > 0:41:50I daren't do this because these rockets at the end,
0:41:50 > 0:41:54if we push it down, will fire out and will probably get lost.
0:41:54 > 0:41:57But this is Lady Penelope and Parker in the back there,
0:41:57 > 0:42:00her chauffeur driver.
0:42:00 > 0:42:03This is really good and the condition's excellent.
0:42:03 > 0:42:06Are you sure your husband wants to sell? Your kids don't want them?
0:42:06 > 0:42:10No, they're at an age now that if it's not interactive
0:42:10 > 0:42:13and if you can't watch a film on it or play with it,
0:42:13 > 0:42:17they're not interested in things like this so, yes, we are looking forward
0:42:17 > 0:42:20to a trip to Thailand for our anniversary in March.
0:42:20 > 0:42:22- Lovely!- So I think, yes, definitely.
0:42:22 > 0:42:24- This is going to the proceeds of it, is it?- Yes.
0:42:24 > 0:42:28OK. Well, I think there's almost too much really to put into one lot.
0:42:28 > 0:42:32I would tend to split it up into a couple of lots, really.
0:42:32 > 0:42:35You've got unboxed-but-played-with Dinky, Corgi, Matchbox.
0:42:35 > 0:42:36That would probably be one lot.
0:42:36 > 0:42:40And then probably these two together on their own as a separate lot.
0:42:40 > 0:42:44- Any idea price-wise? Do you have any clue?- No, not at all.
0:42:44 > 0:42:46I think for these two together,
0:42:46 > 0:42:49you could put at least a reserve of £100 and probably £100-£200
0:42:49 > 0:42:52- and there's an estimate on it for the catalogue.- Fabulous.
0:42:52 > 0:42:56The rest of the stuff, there's all sorts of things in here.
0:42:56 > 0:43:00There's old Dinky here, you've got farm machinery, other ones,
0:43:00 > 0:43:04like Batman and The Man From Uncle, TV and film stuff,
0:43:04 > 0:43:06collectable in their own right. As a mixed group,
0:43:06 > 0:43:12- you should put a £40 reserve and £50 to £80 on the loose ones.- Great.
0:43:12 > 0:43:16- We'll get a few cocktails for that. - Out in Thailand that would get quite a lot.
0:43:16 > 0:43:19I think we'll put them as two lots, if you're happy with that.
0:43:19 > 0:43:21- Yes.- And see how they do at the sale.
0:43:21 > 0:43:23- OK, thanks.- They are FAB!
0:43:24 > 0:43:26Thunderbirds are go,
0:43:26 > 0:43:31and hopefully Batman, James Bond and The Man From Uncle will all be gone too.
0:43:31 > 0:43:36While David and Kate are working the tables, I'm on my feet and I've spotted something special.
0:43:38 > 0:43:41Gill, this is a wonderful book, a leather-bound volume,
0:43:41 > 0:43:44obviously owned by a skilled carpenter or joiner.
0:43:44 > 0:43:47It just shows you how to construct all the angles,
0:43:47 > 0:43:52intersecting angles, degrees of roofing, moulding, architectural detail.
0:43:52 > 0:43:55Books like this don't exist any more. It's wonderful.
0:43:55 > 0:43:58How did you come by this?
0:43:58 > 0:44:01- It belonged to my late husband. - A carpenter?- Carpenter, joiner, yes.
0:44:01 > 0:44:05He worked on a lot of the old buildings in Dedham Vale. Did he?
0:44:05 > 0:44:08- And possibly a few round here in Colchester?- Oh, yes.
0:44:08 > 0:44:10I bet he was a wonderful craftsman.
0:44:10 > 0:44:13He possibly sorted your house out and made it look wonderful?
0:44:13 > 0:44:17No, he's like a cobbler, the children always go barefooted.
0:44:17 > 0:44:23That's always the same, isn't it? When he's working for other people, never has time to do anything else.
0:44:23 > 0:44:27- Not strictly true, but you know. - I bet he did...- Ours came last.- Yes.
0:44:27 > 0:44:31- I bet it's wonderful. - This is a wonderful reference book for a skilled man to have.
0:44:31 > 0:44:35That's why I think it should go to someone who'd look after it and enjoy it.
0:44:35 > 0:44:39Well, look, if the condition was a little better, there's a lot of foxing,
0:44:39 > 0:44:43so you've had this in a cellar or up in the attic somewhere?
0:44:43 > 0:44:45- In the bottom of a cupboard. - It's been a bit damp.
0:44:45 > 0:44:48- Probably.- If this was in perfect condition...
0:44:48 > 0:44:51It's all here, the line drawings and plates are here,
0:44:51 > 0:44:55something like this in great condition would fetch about £60 to £80.
0:44:55 > 0:44:58But I think if you put this one into auction,
0:44:58 > 0:45:03because of its condition, it's going to realise around £20 to £30.
0:45:03 > 0:45:06- Yes?- Fine.- It should do the £20 mark.- It's not about the money.
0:45:06 > 0:45:08It's about somebody using it.
0:45:08 > 0:45:11I'm not going to take up carpentry!
0:45:11 > 0:45:14What we need is two carpenters that will join us there,
0:45:14 > 0:45:18or half a dozen that like this and go, "I'm going to bid against you, you and you,"
0:45:18 > 0:45:20and they push it up to around 45 quid.
0:45:20 > 0:45:24- Then you're laughing, aren't you?- I'll be laughing anyway.
0:45:24 > 0:45:26- We'll put it into auction for you. - Thank you.
0:45:26 > 0:45:31I love Gill's attitude, enjoy the sale and any cash will be a bonus.
0:45:31 > 0:45:35To David Barby, and something shiny has caught his eye.
0:45:35 > 0:45:36He's with Nicola.
0:45:36 > 0:45:39Why at this particular moment in time
0:45:39 > 0:45:43are you contemplating selling this silver-plate tea service?
0:45:43 > 0:45:47Because we've recently bought a bassoon for my son,
0:45:47 > 0:45:52which is very expensive and it's an item that has no sentimental value,
0:45:52 > 0:45:56and if we could raise some money towards a bassoon, that would be good.
0:45:56 > 0:46:00It so interests me because this reflects so many social changes.
0:46:00 > 0:46:03When it was first produced in the silver plate,
0:46:03 > 0:46:05- it was made to imitate silver.- Yes.
0:46:05 > 0:46:09And at that time there was a very affluent market,
0:46:09 > 0:46:12I'm talking the late 19th, early 20th century,
0:46:12 > 0:46:16and the middle classes wished to emulate the upper classes
0:46:16 > 0:46:20or the aristocracy, so they were able to buy this.
0:46:20 > 0:46:23It gave the impression that they were used to silver service.
0:46:23 > 0:46:25They have their teapot,
0:46:25 > 0:46:29the sugar basin, for whacking great lumps of sugar.
0:46:29 > 0:46:32When you think of what a small milk jug there is there.
0:46:32 > 0:46:33So that is a set for three.
0:46:33 > 0:46:38There's no dents, scuffing, no wearing through of the plate,
0:46:38 > 0:46:42so it has been almost kept in an immaculate state.
0:46:42 > 0:46:45- Have you ever used it? - No, never used it.
0:46:45 > 0:46:46My parents never used it.
0:46:46 > 0:46:51- So I don't know if it's ever been used.- When did they have it from?
0:46:51 > 0:46:54They had it as a wedding present gift, so in 1963.
0:46:54 > 0:46:58- So you could say it's an unwanted family heirloom?- Yes.
0:46:58 > 0:47:03All the social implications of where it was produced and you think of tea-making today,
0:47:03 > 0:47:06there's little demand for a tea service like this,
0:47:06 > 0:47:10and you did show me a valuation that you had on this particular piece,
0:47:10 > 0:47:14close on £900, which was its replacement value.
0:47:14 > 0:47:19What concerns me somewhat is when this comes up for sale,
0:47:19 > 0:47:21the value might be as little as £80 to £100.
0:47:21 > 0:47:24How are you going to react to this?
0:47:24 > 0:47:29Well, I was a bit dubious about the valuation because it's silver plate.
0:47:29 > 0:47:35And so having done a little bit of research, I thought
0:47:35 > 0:47:39it would sell for a lot less than that, so I'm not going to be hugely disappointed.
0:47:39 > 0:47:42- So you've got no regrets in selling this?- No, not at all.
0:47:42 > 0:47:45I've got a silver-plated tea set from my great aunt,
0:47:45 > 0:47:47which has sentimental value and I'm keeping hold of that.
0:47:47 > 0:47:49That comes out on Sunday afternoons?
0:47:49 > 0:47:53It doesn't, it sits in the lounge in a cabinet!
0:47:53 > 0:47:54Like so many others.
0:47:54 > 0:47:58- But you're quite content in letting this go up for auction?- Yes.
0:47:58 > 0:48:01And probably it selling under £100?
0:48:01 > 0:48:05I think so, because at the moment it's just sitting in a box up in the attic.
0:48:05 > 0:48:09It would be a shame if it makes that sort of money because I think this is lovely.
0:48:09 > 0:48:13- Yes.- But it just reflects the sort of change of fashions.- Yes.
0:48:13 > 0:48:16- Thank you. We shall do our best.- Thank you.
0:48:16 > 0:48:18And hopefully it makes a reasonable sum.
0:48:22 > 0:48:27Guess what? Our experts have found their final items to take off to the auction room.
0:48:27 > 0:48:32I, for one, am feeling rather excited because as you know, anything can happen in the saleroom.
0:48:32 > 0:48:37Now it's time to say farewell to the Town Hall in Colchester. We've had a wonderful time filming here.
0:48:37 > 0:48:40Everybody has been in such great spirits, we've all enjoyed it.
0:48:40 > 0:48:45There was one person who wasn't amused and I'll leave you with her.
0:48:45 > 0:48:46And if Her Majesty will permit,
0:48:46 > 0:48:49here's a recap of what we're taking to auction.
0:48:51 > 0:48:54Of course, you can never tell what's going to happen at the auction,
0:48:54 > 0:48:58and even the best valuations are in the fate of the bidders on the day.
0:48:58 > 0:49:00We'll find out soon.
0:49:03 > 0:49:05Remember if you're buying or selling at auction,
0:49:05 > 0:49:08there is commission to pay, that's how they pay the wages here.
0:49:08 > 0:49:10It varies from room to room,
0:49:10 > 0:49:13so check the small print in the catalogue or ask the auctioneer.
0:49:13 > 0:49:17Today, here at Reeman Dansie, for our sellers, it's 15% plus VAT.
0:49:23 > 0:49:26Before the sale starts there's always time for prospective buyers
0:49:26 > 0:49:29to get hands-on with the lots.
0:49:29 > 0:49:31That includes me!
0:49:31 > 0:49:34Unfortunately it's not one of our owners' items.
0:49:34 > 0:49:37It is a hardwood model of a hawk.
0:49:37 > 0:49:40Look at this wonderful tail feather which helps it to balance.
0:49:40 > 0:49:43This is quite steady but see the little key here? Original key.
0:49:43 > 0:49:45There's a lock there. Look at this.
0:49:47 > 0:49:49That's a lovely little box.
0:49:49 > 0:49:51And another compartment just here.
0:49:53 > 0:49:56It's got the wear and it has got the age consistent with something
0:49:56 > 0:49:59from the early 1800s, possibly late 1700s.
0:49:59 > 0:50:02It's just fabulous. I've never seen anything like it.
0:50:02 > 0:50:06I've seen a lot of furniture like this, inlaid with bone and ivory,
0:50:06 > 0:50:10from this particular region of India but nothing as sculptural as this.
0:50:10 > 0:50:12This is folk art at its very best.
0:50:15 > 0:50:17Now it is time for Jaq's damaged bowl.
0:50:20 > 0:50:25Jaq told me that she had no inclination of selling this, did you?
0:50:25 > 0:50:28Well, I brought along to get a valuation.
0:50:28 > 0:50:30She brought along for a valuation.
0:50:30 > 0:50:32And he's there, look. Naughty boy!
0:50:32 > 0:50:34- What's that?- Pay attention!
0:50:34 > 0:50:36- I am indeed.- "What's that?"
0:50:36 > 0:50:40You talked Jacqui into putting this into the sale, didn't you?
0:50:40 > 0:50:43I thought it was a good example, actually,
0:50:43 > 0:50:47of the glass itself and what not to do with glass!
0:50:47 > 0:50:48Because it has got chipped.
0:50:48 > 0:50:51Obviously you threw the keys in, you missed once or twice
0:50:51 > 0:50:54because it's chipped some of the trail work off. OK!
0:50:54 > 0:50:57OK. But it's also not wise to sell your family heirlooms, is it?
0:50:57 > 0:51:00- Well, I have got other things. - Well, that's OK.
0:51:00 > 0:51:02Let's find out what the bidders think, shall we?
0:51:02 > 0:51:04Happy? Ready? Here we go.
0:51:04 > 0:51:09Number 305, a late 19th-century Loetz style iridescent glass bowl.
0:51:09 > 0:51:12What shall we say to start me? 40 to start me?
0:51:12 > 0:51:1540? 40 I have down here now. 40. £40 bid.
0:51:15 > 0:51:1742. 42. 44.
0:51:17 > 0:51:20- 46.- Let us hope we get around £60 or £70 for this.
0:51:20 > 0:51:2255. 60.
0:51:22 > 0:51:24£60 down here now, at 60.
0:51:24 > 0:51:27£60 is bid. All done at £60.
0:51:27 > 0:51:29- 65 in another place.- 65!
0:51:29 > 0:51:3170. £70. Still down with me.
0:51:31 > 0:51:33- Come on!- 70, all done.
0:51:34 > 0:51:35Yours, sir, that's 307.
0:51:35 > 0:51:38Spot on valuation.
0:51:38 > 0:51:40There was one bid just coming up late, he missed it.
0:51:40 > 0:51:43The hammer down at 70.
0:51:43 > 0:51:46Now Gill's carpentry book. Since the valuation day,
0:51:46 > 0:51:49she's dug out three others from home and added them to the lot.
0:51:49 > 0:51:53Let's hope this sells, your late husband's books. Wonderful, detailed books.
0:51:53 > 0:51:58It would make a great asset to anybody that wants to be practical and you can't buy them any more.
0:51:58 > 0:52:02- We've only got 20 to £40. No reserve, so they're going to sell. - OK.
0:52:02 > 0:52:06- Let's hope they sell at the top end. - Yes.- Fingers crossed.
0:52:06 > 0:52:11Number 859, the three volumes, The New Carpenter And Joiner.
0:52:11 > 0:52:14- Two commissions with me, I'll start at £20.- Great.
0:52:14 > 0:52:15At £20 bid.
0:52:15 > 0:52:1722.
0:52:17 > 0:52:19At 22, 24? 26,
0:52:19 > 0:52:2228, 30. £30 down here now at 30.
0:52:22 > 0:52:26£30 bid. Any advance? All done at £30?
0:52:26 > 0:52:27Gone, mid-estimate.
0:52:27 > 0:52:29- That's OK, isn't it?- Yes.
0:52:29 > 0:52:32It's better than you throwing them away.
0:52:32 > 0:52:34I wouldn't have done that. Really pleased.
0:52:34 > 0:52:36Somebody's got them and will enjoy them.
0:52:36 > 0:52:39Thanks for bringing them in, I enjoyed leafing through them.
0:52:39 > 0:52:43- I could spend hours looking at those.- I thought you would.- Yes.
0:52:44 > 0:52:46Four historical books off to a new home.
0:52:46 > 0:52:50And from one family heirloom to another -
0:52:50 > 0:52:52a three-piece tea service going under the hammer.
0:52:52 > 0:52:55Silver plate, unfortunately, and it's not silver, Nicola.
0:52:55 > 0:52:59We'd be in the money. You would be, wouldn't you? That's for sure.
0:52:59 > 0:53:01We've got a value of around £80 to £100.
0:53:01 > 0:53:04It's Edwardian but it's still got the look.
0:53:04 > 0:53:07- Why are you getting rid of it? - It's got no sentimental value,
0:53:07 > 0:53:11and I could do with a bit of money for my son's bassoon we've purchased.
0:53:11 > 0:53:15That's an unusual instrument. What made him take that up? I'm curious.
0:53:15 > 0:53:17He's always had unusual tastes.
0:53:17 > 0:53:18He wanted to play the bagpipes,
0:53:18 > 0:53:22- so we're quite pleased he progressed to the bassoon.- I'd say so, yes.
0:53:22 > 0:53:25Good luck. Let's hope we get the top end.
0:53:26 > 0:53:30Number 438 now, the three piece Edwardian silver-plated tea service.
0:53:30 > 0:53:32£60 for it? 60?
0:53:32 > 0:53:36- We're in at 60.- £60 bid. 65?
0:53:38 > 0:53:40At £60 bid. 65 anywhere?
0:53:40 > 0:53:43- It's sticking.- All done at £60?
0:53:43 > 0:53:49- Yes. But only just, on that reserve, £50 reserve.- Never mind.
0:53:49 > 0:53:53- That's OK.- At least it's gone and you don't have to polish it. - Exactly, yes.
0:53:53 > 0:53:57- Did you polish it?- I have never polished it.- Oh, what have I said? - Sorry!
0:53:57 > 0:53:59Nicola's pleased with that
0:53:59 > 0:54:02but we really need to shine with our next item
0:54:02 > 0:54:04and get those high bids in.
0:54:04 > 0:54:08We've got boys' toys, brought along by Sharon, but they're not yours, are they?
0:54:08 > 0:54:13- They're your husband's. His father bought them for him but you've recently found them?- Yes.
0:54:13 > 0:54:17- Where did he find them?- In the loft. - Where everything else gets stashed.
0:54:17 > 0:54:21At least they're out of the way out there, earning money, not getting damaged.
0:54:21 > 0:54:25- Hope so.- There are quite a lot of cars, Kate split them into two lots.
0:54:25 > 0:54:28- Yes.- The first of the lots, we've got the best of the cars,
0:54:28 > 0:54:31the Aston Martin DB5 belonging to 007
0:54:31 > 0:54:34and Lady Penelope's big pink car.
0:54:34 > 0:54:37- Think pink!- That fires a rocket.
0:54:37 > 0:54:40What every girl needs, a rocket-firing Rolls-Royce.
0:54:41 > 0:54:42Good luck with that and the next lot,
0:54:42 > 0:54:46- we've got the rest of them and we're looking for about £80?- Yes.
0:54:46 > 0:54:50Let's hope there's lots of toy collectors in the saleroom right now
0:54:50 > 0:54:52because the first lot is going under the hammer.
0:54:54 > 0:54:56Number 961 is the Dinky toy here,
0:54:56 > 0:55:01Lady Penelope's FAB 1 and the James Bond Aston Martin.
0:55:01 > 0:55:03I have two commissions with me
0:55:03 > 0:55:06- and I start the bidding at £110 with me.- Straight in.
0:55:06 > 0:55:07110 I'm bid now, at 110.
0:55:07 > 0:55:10120, 130, 140, 150,
0:55:10 > 0:55:15160, 170, 180. One more?
0:55:15 > 0:55:17190. 200.
0:55:17 > 0:55:20£200 bid, standing now at 200.
0:55:20 > 0:55:22All done? £200.
0:55:22 > 0:55:24A nice round figure, £200, well done.
0:55:24 > 0:55:28- Short and sweet.- All because the boxes were there.- That's right, yes.
0:55:28 > 0:55:31Thank goodness you kept hold of the boxes. I had both those cars.
0:55:31 > 0:55:36- And played them to death?- Played them to death, chucked the boxes, lost all the figures as well.
0:55:36 > 0:55:39I've still got them but no boxes, no figures.
0:55:39 > 0:55:42- No sale, then?- No, no sale!
0:55:42 > 0:55:47That's the first lot. The second lot we're looking for about 50 to £80. Good luck with this one.
0:55:48 > 0:55:54Number 991. The collection of Corgi, Dinky, Tri-ang and other cars.
0:55:54 > 0:55:57I have two commissions with me and I start the bidding at £200.
0:55:57 > 0:56:02Interesting. Straight in! Well over estimate.
0:56:02 > 0:56:04230, with me now at 230.
0:56:04 > 0:56:08With me, 240, 250, 260,
0:56:08 > 0:56:10270, 280,
0:56:10 > 0:56:12290, 300, 320,
0:56:12 > 0:56:17- 340...- Gosh.- That's the man just in the back of the room.
0:56:17 > 0:56:20360 on the internet. 400. At £400.
0:56:20 > 0:56:23- It's so surprising, isn't it?- 420.
0:56:23 > 0:56:26420 the bid, in this room. 400, 440.
0:56:26 > 0:56:28460.
0:56:28 > 0:56:31460 is bid, on there now at 460, 480
0:56:31 > 0:56:34£500, in the room, against you on the internet, 520.
0:56:34 > 0:56:36540,
0:56:36 > 0:56:38£540, 560 on the internet.
0:56:38 > 0:56:40On the internet, against you all,
0:56:40 > 0:56:44all done at £560?
0:56:44 > 0:56:46Hammer's gone down. Wow.
0:56:46 > 0:56:49- That's £760.- That's fantastic, yes.
0:56:49 > 0:56:50Incredible. Little toy cars.
0:56:50 > 0:56:53Where's your husband, is he over there?
0:56:53 > 0:56:56He must have been watching this with a big smile on his face.
0:56:56 > 0:56:58There he is, give him a wave.
0:56:59 > 0:57:01- Thumbs up! - HE LAUGHS
0:57:01 > 0:57:04- It pays to look after your toys, doesn't it? - There was a lot in that lot,
0:57:04 > 0:57:08so someone had their eye on a few bits, that was great.
0:57:08 > 0:57:11- Brilliant. Really pleased. - Enjoy it, won't you?- Thank you.
0:57:18 > 0:57:21It's all over for our owners. Another day in another auction room.
0:57:21 > 0:57:24I hope you've enjoyed the show, plenty of surprises,
0:57:24 > 0:57:27but do join me again, there's more surprises to come.
0:57:27 > 0:57:30But for now, from Colchester, until the next time, goodbye.
0:57:30 > 0:57:32It's time to put my feet up and have a rest!