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Today we're in Wells, Somerset, England's smallest city. | 0:00:03 | 0:00:06 | |
They say beautiful things come in small packages and that's true of this stunning Somerset gem. | 0:00:06 | 0:00:12 | |
Let's hope we dig out some small items with big values. Welcome to Flog It! | 0:00:12 | 0:00:17 | |
We've chosen Wells Cathedral for our valuation day venue. | 0:00:42 | 0:00:46 | |
It's a true architectural gem, | 0:00:46 | 0:00:48 | |
the first cathedral in the country to be built and designed in the new Gothic style. | 0:00:48 | 0:00:53 | |
LAUGHTER | 0:00:55 | 0:00:57 | |
'Serving up the expertise today are Anita Manning and Will Axon. | 0:00:57 | 0:01:02 | |
'As the owner of one of Scotland's most successful salerooms, | 0:01:02 | 0:01:07 | |
'Anita is guaranteed to dig out some real interesting finds.' | 0:01:07 | 0:01:11 | |
I'm going to put a red sticker on these folks. | 0:01:11 | 0:01:14 | |
'He may be a few years her junior, but Will Axon is no young pretender. | 0:01:14 | 0:01:19 | |
'He knows all the tricks of the antiques trade, so expect some healthy rivalry from this pair | 0:01:19 | 0:01:25 | |
'as they battle to snag the very best items from our crowd. | 0:01:25 | 0:01:29 | |
'Coming up on the show, I hear an amazing story about one of the world's greatest artists.' | 0:01:31 | 0:01:38 | |
Here we were in our ankle socks and frilly knickers. | 0:01:38 | 0:01:42 | |
'Will is pushed to put a big price on three small paintings.' | 0:01:42 | 0:01:45 | |
-It depends on how many noughts you put on the end. -'And we're in for a few surprises at the auction.' | 0:01:45 | 0:01:53 | |
Incredible. Wow, that's a good result again! | 0:01:53 | 0:01:56 | |
-Yes! -Oh, yeah! | 0:01:56 | 0:01:58 | |
'So let's head straight over to the valuation tables | 0:02:02 | 0:02:06 | |
'as Anita casts her eye over David's stunning napkin rings.' | 0:02:06 | 0:02:11 | |
-Tell me. Where did you get them? -They belong to my son. I'm bringing them in on his behalf. | 0:02:11 | 0:02:16 | |
-You're the message boy? -I certainly am. | 0:02:16 | 0:02:19 | |
-Where did he get them? -I believe he got them at a boot sale. | 0:02:19 | 0:02:24 | |
A car boot sale story - I love them! How much did he pay for them? | 0:02:24 | 0:02:28 | |
Not a lot, knowing my son. Probably under a tenner, I would think. | 0:02:28 | 0:02:32 | |
Let's have a closer look at them. | 0:02:32 | 0:02:34 | |
I particularly like this period and I do like this type of thing. | 0:02:34 | 0:02:39 | |
It's Arts and Crafts from the beginning of the 1900s. | 0:02:39 | 0:02:44 | |
They are made of pewter | 0:02:44 | 0:02:46 | |
and the pewter is hand-hammered. | 0:02:46 | 0:02:49 | |
They have these asymmetric squares on them | 0:02:49 | 0:02:53 | |
and we have the little enamelled medallions in the middle, | 0:02:53 | 0:02:58 | |
so they're aesthetically pleasing. | 0:02:58 | 0:03:01 | |
If we look on the back, | 0:03:01 | 0:03:04 | |
we can see that these are called Tudric. | 0:03:04 | 0:03:08 | |
Tudric was the name for the Arts and Crafts pewter | 0:03:08 | 0:03:13 | |
that was made for Liberty and Company. | 0:03:13 | 0:03:16 | |
They sold the very best of goods. | 0:03:16 | 0:03:20 | |
Not only were they good items in themselves, they were the best of design. | 0:03:20 | 0:03:25 | |
-I like these a lot. What do you think of them? -They're pretty. | 0:03:25 | 0:03:29 | |
I didn't think they were that valuable, being just pewter. | 0:03:29 | 0:03:33 | |
I would put an auction estimate on these | 0:03:33 | 0:03:36 | |
of perhaps £60 to £80. | 0:03:36 | 0:03:39 | |
They may do more than that. | 0:03:39 | 0:03:42 | |
We do have a pair and they do have the Tudric name on them. | 0:03:42 | 0:03:46 | |
But I think if we put them in at 60 to 80, it will invite the bidding. | 0:03:46 | 0:03:51 | |
Would your son and yourself be happy to put them to auction at that price? | 0:03:51 | 0:03:56 | |
-It's not bad for a car boot sale. -Not bad at all. | 0:03:56 | 0:03:59 | |
Here's hoping those napkin rings make David's son a nice profit | 0:03:59 | 0:04:03 | |
when they come up for sale at auction. | 0:04:03 | 0:04:06 | |
On the other side of the room, Margaret hopes Will puts a big price tag on her three small paintings. | 0:04:08 | 0:04:15 | |
Margaret, I love these miniatures you've brought in. | 0:04:15 | 0:04:18 | |
Have you just plucked these off the wall? Where do they live? | 0:04:18 | 0:04:22 | |
They've come from our charity shop. | 0:04:22 | 0:04:25 | |
Anything of value we try to keep to one side. | 0:04:25 | 0:04:28 | |
Unfortunately, we've been so busy in the shop, they've been left in the shed. | 0:04:28 | 0:04:33 | |
We got round to clearing it and these three popped out. | 0:04:33 | 0:04:37 | |
You saw that Flog It were in Wells today and you thought it was a good opportunity to show them to someone | 0:04:37 | 0:04:43 | |
-who might tell you what they're worth? -Get more money into the pot. | 0:04:43 | 0:04:48 | |
You've got a bit of a mix here. You've got this chap at the front | 0:04:48 | 0:04:52 | |
-who, obviously, is Nelson. -Right. | 0:04:52 | 0:04:55 | |
I've had a look at him under my eyeglass and what we've got there is a print | 0:04:55 | 0:05:00 | |
that has then been highlighted over the top just to give it a bit of depth | 0:05:00 | 0:05:06 | |
and the impression of being a hand-painted miniature, | 0:05:06 | 0:05:10 | |
so he's not going to be as valuable as something painted from scratch. | 0:05:10 | 0:05:14 | |
This fella is in this very typical frame for the early 19th century, | 0:05:14 | 0:05:19 | |
but again I've had a look under my eyeglass at him and he is painted from scratch | 0:05:19 | 0:05:25 | |
and I think the naive quality about him will appeal. | 0:05:25 | 0:05:28 | |
-Do you think he's a good-looking chap? -They're growing on me. | 0:05:28 | 0:05:33 | |
You might be tempted to put your hand up at the sale if you could? | 0:05:33 | 0:05:37 | |
It depends on how many noughts you put on the end. | 0:05:37 | 0:05:41 | |
We're talking about noughts already! You weren't thinking double figures? | 0:05:41 | 0:05:45 | |
-I'm hoping as much as possible. -Well, me too. | 0:05:45 | 0:05:49 | |
This chap here again looks rather splendid there in his blue blazer and his cravat, | 0:05:49 | 0:05:54 | |
but I've had a look at him under my glass and he is again painted from scratch. | 0:05:54 | 0:05:59 | |
Again he's got that naive quality that will appeal, as well as being presented in this nice gilt frame. | 0:05:59 | 0:06:05 | |
He's lost the glass and he's loose in that frame. | 0:06:05 | 0:06:08 | |
-Let me prise him out because he hasn't got a back on him. -No. | 0:06:08 | 0:06:12 | |
Let's have a look at him now. I'll flip him over. We've got this rather nice little inscription. | 0:06:12 | 0:06:18 | |
-"Drawing by..." It's difficult to read. I can just make out "Cox" at the end there. -Yes. | 0:06:18 | 0:06:24 | |
We've got a date there, 1837, which is exactly where you'd expect it to be. | 0:06:24 | 0:06:29 | |
-You've given an idea that you think they might be worth figures with noughts on the end. -You never know. | 0:06:29 | 0:06:36 | |
You don't know until the day. | 0:06:36 | 0:06:38 | |
You're quite right. The proof is in the selling. | 0:06:38 | 0:06:41 | |
-Yes. -I like the way you're approaching it. | 0:06:41 | 0:06:45 | |
They're not terribly fashionable, but people like them. They hang nicely at the side of the fireplace. | 0:06:45 | 0:06:51 | |
We've already spoken about the overpainted one, the Nelson one. | 0:06:51 | 0:06:55 | |
I see here not a lot of money, to be fair, sort of £5, £10 maybe. | 0:06:55 | 0:07:00 | |
This one also has a similar inscription and date to this chap, | 0:07:00 | 0:07:04 | |
-so I think we've got father and son here. There is a similarity between them. -Yes. | 0:07:04 | 0:07:09 | |
Bearing in mind the condition, would you be happy if we offered them in one lot, estimated at £50 to £100? | 0:07:09 | 0:07:16 | |
-Wonderful. Absolutely wonderful. -Is that good? -Absolutely. | 0:07:16 | 0:07:20 | |
-That's a bit more than you'd get for them in the shop. -Definitely. Oh, yes, please. | 0:07:20 | 0:07:25 | |
So let's say £50 to £100 for the three, but let's put no reserve. | 0:07:25 | 0:07:29 | |
-No. -Are you happy for them... -We'll have whatever is on offer. | 0:07:29 | 0:07:33 | |
-Then we know something is coming back to the charity. -Thanks very much. | 0:07:33 | 0:07:37 | |
'We'll be back to see just how many noughts Margaret's miniatures make in a moment. | 0:07:37 | 0:07:43 | |
'From miniature art to major artists now as Peggy tells me about a run-in she once had | 0:07:44 | 0:07:49 | |
'with one of the world's most renowned painters - Salvador Dali.' | 0:07:49 | 0:07:53 | |
I was living in Barcelona teaching English and one of my students said to me, | 0:07:53 | 0:07:58 | |
"So you've been to see the Dali exhibition. Have you ever been up to Cadaques to see his house?" | 0:07:58 | 0:08:05 | |
I said, "Never." "Would you like to go?" He said, "Bring a friend." | 0:08:05 | 0:08:08 | |
I said to my flatmate, "Do you want to go to Cadaques?" "Yes." | 0:08:08 | 0:08:12 | |
And we got there after this terrible journey and there he was with his wife Gala. | 0:08:12 | 0:08:17 | |
I went over and said, "I'd ask you for your autograph, but I've nothing to write on." | 0:08:17 | 0:08:23 | |
He drew this letter out of his pocket | 0:08:23 | 0:08:25 | |
and he said, "This is a fan letter I've just received from Madrid which I will give to you." | 0:08:25 | 0:08:31 | |
He said, "I'll sign it." And he did. | 0:08:31 | 0:08:33 | |
He signed it there right in front of me and said, "There you are." | 0:08:33 | 0:08:37 | |
I went out in an absolute daze. | 0:08:37 | 0:08:40 | |
At auction, Salvador Dali's signature is only worth £100. You shouldn't sell that. | 0:08:40 | 0:08:45 | |
I think your story is priceless. If you'd had a few doodles on there, it would be worth £300 to £400. | 0:08:45 | 0:08:52 | |
How does it go? If wishes were horses and beggars were kings... | 0:08:52 | 0:08:56 | |
-I've never heard that before. -Haven't you? -No. | 0:08:56 | 0:08:59 | |
Where's your grandmother been all your life? | 0:08:59 | 0:09:02 | |
Don't tell me I've got to this age and I've got to adopt a grandson. It's too much, Paul. It really is! | 0:09:02 | 0:09:08 | |
'Her letter may not be worth much, but I thought Peggy was absolutely priceless. | 0:09:08 | 0:09:13 | |
'Back over at the tables, Terry is hoping that Anita can help him to re-home his unwanted heirloom.' | 0:09:17 | 0:09:24 | |
Thank you so much for bringing in this very impressive-looking desk set. | 0:09:24 | 0:09:30 | |
Can you tell me where did you get it? | 0:09:30 | 0:09:33 | |
I inherited it from my mother | 0:09:33 | 0:09:36 | |
who I think inherited it from a general she used to do domestics for. | 0:09:36 | 0:09:41 | |
Did you have it on display? | 0:09:41 | 0:09:43 | |
No, sadly, up in the roof, in a box. | 0:09:43 | 0:09:47 | |
And now we're downsizing, | 0:09:47 | 0:09:51 | |
so everything must go. | 0:09:51 | 0:09:53 | |
So we looked at this and thought, "It's nice. Let's see if it's got any reasonable value to it." | 0:09:53 | 0:09:59 | |
Let's have a look at this set. | 0:09:59 | 0:10:02 | |
The first thing here is this very impressive domed or casket-shaped box. | 0:10:02 | 0:10:08 | |
This would have been a stationery box at one point | 0:10:08 | 0:10:13 | |
and we can see where we would have had compartments. | 0:10:13 | 0:10:16 | |
These have long gone and this makes a wee bit of a difference in the price. | 0:10:16 | 0:10:22 | |
But the exterior of the box is wonderful. | 0:10:22 | 0:10:27 | |
It's made of burr walnut. | 0:10:27 | 0:10:30 | |
It's highly decorated and bound with these brass decorations | 0:10:30 | 0:10:35 | |
and these tiger's-eye, agate insets. | 0:10:35 | 0:10:39 | |
So we have the stationery box. | 0:10:39 | 0:10:42 | |
We have the book slide. These come up like this and the slides will slide along. | 0:10:42 | 0:10:48 | |
And I think my favourite piece here is this notebook or blotter. | 0:10:48 | 0:10:54 | |
Again it's decorated in the same way and all in good condition. | 0:10:54 | 0:10:58 | |
-Do you have any idea of value? -None whatsoever. -So you haven't really thought of that before? -No. | 0:10:58 | 0:11:05 | |
If it was going into auction, | 0:11:05 | 0:11:07 | |
I would put an estimate of £100 to £200 on it. | 0:11:07 | 0:11:13 | |
We have three items here, so that makes it more interesting, | 0:11:13 | 0:11:17 | |
but we do have the inside of the box missing. | 0:11:17 | 0:11:22 | |
I'm sure that 100 to 200 is conservative. | 0:11:22 | 0:11:26 | |
But would you be happy to put it to sale at that price? | 0:11:26 | 0:11:31 | |
Yeah. Yeah, I think so, definitely. | 0:11:31 | 0:11:34 | |
Well, we'll put it in and we'll perhaps put a reserve of, say, £80, | 0:11:34 | 0:11:39 | |
just to safeguard it if that's needed. | 0:11:39 | 0:11:42 | |
Thank you very much for bringing them along to Flog It. | 0:11:42 | 0:11:45 | |
It's my turn now and I have to say, | 0:11:47 | 0:11:50 | |
I reckon I've landed the top prize | 0:11:50 | 0:11:52 | |
with this gorgeous painting of Martin's. | 0:11:52 | 0:11:56 | |
-Martin, what can you tell me about the watercolour? -Not a lot, really. | 0:11:56 | 0:12:01 | |
I bought it about 12 years ago at auction. | 0:12:01 | 0:12:04 | |
Did you have to bid heavily for this? | 0:12:04 | 0:12:06 | |
Yeah, there was quite a few after it, actually. | 0:12:06 | 0:12:09 | |
I liked it and I just carried on till I got it at a sensible price. | 0:12:09 | 0:12:13 | |
OK, can I ask you what you paid for it? | 0:12:13 | 0:12:15 | |
I can't remember the exact amount but it was between £200 and £300. | 0:12:15 | 0:12:19 | |
Did you know who it was by? | 0:12:19 | 0:12:20 | |
I didn't know him before I bought the picture, I just liked it. | 0:12:20 | 0:12:23 | |
-OK, you've done some research then? -Yes. | 0:12:23 | 0:12:25 | |
John Frederick Tayler, the Victorian artist. | 0:12:25 | 0:12:28 | |
Renowned for his hunting scenes | 0:12:28 | 0:12:30 | |
and dressing characters up in period costume. | 0:12:30 | 0:12:34 | |
Even though this was a sort of Victorian artist, | 0:12:34 | 0:12:36 | |
he would put people in sort of 18th century clothes | 0:12:36 | 0:12:39 | |
and they'd either be hunting with dogs or hunting with hawks. | 0:12:39 | 0:12:42 | |
He was born in 1802 | 0:12:42 | 0:12:43 | |
and he was one of Queen Victoria's favourite artists. | 0:12:43 | 0:12:47 | |
If you look really closely under these lights, you can just see, | 0:12:47 | 0:12:49 | |
I think it says Tayler on that rock. | 0:12:49 | 0:12:52 | |
You don't normally see such good portrait work | 0:12:52 | 0:12:55 | |
by John Frederick Taylor and look at the skin tones! | 0:12:55 | 0:12:58 | |
It's absolutely beautiful. You can see why | 0:12:58 | 0:13:00 | |
he was president of the Royal Watercolour Society, can't you? | 0:13:00 | 0:13:04 | |
-It's just so good. -The detail's really good. | 0:13:04 | 0:13:07 | |
Why are you selling this, Martin? | 0:13:07 | 0:13:10 | |
Well, we moved from a large country house to a suburban house. | 0:13:10 | 0:13:14 | |
-It doesn't quite fit in. -It doesn't work with low ceilings. | 0:13:14 | 0:13:19 | |
If you put this into auction, | 0:13:19 | 0:13:20 | |
I think you'd put it into auction with a value of £350 to £450. | 0:13:20 | 0:13:23 | |
That's good. | 0:13:23 | 0:13:25 | |
-And a 10% discretion, if that's OK with you at 350. -Yeah, that's fine. | 0:13:25 | 0:13:29 | |
You've made a bit of money, haven't you? | 0:13:29 | 0:13:31 | |
And you've enjoyed it along the way. | 0:13:31 | 0:13:34 | |
-Exactly. -Looks a bit like Charlie Ross, one of our experts. | 0:13:34 | 0:13:38 | |
Charlie's just about to go under the hammer here. | 0:13:38 | 0:13:42 | |
I'm not sure how much cash Charlie Ross would make, | 0:13:42 | 0:13:45 | |
but I really hope Martin's painting smashes my estimate. | 0:13:45 | 0:13:50 | |
When it comes to the region's vibrant urban centres, | 0:14:03 | 0:14:06 | |
there's no disputing you cannot beat the variety | 0:14:06 | 0:14:09 | |
and the vivacity that characterises this place. | 0:14:09 | 0:14:11 | |
I'm in Bristol. | 0:14:11 | 0:14:13 | |
Like many British cities, Bristol was brutalised in the Blitz, | 0:14:15 | 0:14:18 | |
and then tinkered with at the hands of well-meaning town planners | 0:14:18 | 0:14:22 | |
during the 1960s. | 0:14:22 | 0:14:23 | |
But one man who had a major influence on how the city | 0:14:23 | 0:14:27 | |
has developed since is the enterprising | 0:14:27 | 0:14:29 | |
and distinctively unconventional George Ferguson. | 0:14:29 | 0:14:32 | |
George is a highly regarded architect, | 0:14:32 | 0:14:35 | |
the former president of the RIBA - | 0:14:35 | 0:14:37 | |
the Royal Institute of British Architects. | 0:14:37 | 0:14:41 | |
He's also the recent recipient of a CBE. | 0:14:41 | 0:14:44 | |
But it's his conversion of this building here, | 0:15:02 | 0:15:05 | |
the Tobacco Factory in Southville, | 0:15:05 | 0:15:07 | |
where he's made his most dynamic impact. | 0:15:07 | 0:15:10 | |
And I've come to meet him here to find out more. | 0:15:10 | 0:15:13 | |
I tell you what, George, you've got a fantastic view from up here. | 0:15:15 | 0:15:18 | |
Point me some of your things out, then, | 0:15:18 | 0:15:20 | |
some of your great achievements. | 0:15:20 | 0:15:23 | |
Well, little, little achievements, really. | 0:15:23 | 0:15:26 | |
My first regeneration was buying one of those | 0:15:26 | 0:15:28 | |
little coloured houses on the hillside | 0:15:28 | 0:15:31 | |
for a few hundred quid in the '60s. A few hundred quid! | 0:15:31 | 0:15:34 | |
They were going to demolish the whole lot and build blocks of flats | 0:15:34 | 0:15:38 | |
like these ones across the hillside. | 0:15:38 | 0:15:40 | |
I painted mine pink and another friend of mine painted his blue | 0:15:40 | 0:15:43 | |
and then over the next 10, 20 years, | 0:15:43 | 0:15:46 | |
it's become that coloured hillside, including some new ones. | 0:15:46 | 0:15:49 | |
The magic thing for me is, I always looked from those houses | 0:15:49 | 0:15:53 | |
over here and you could see WD and HO Wills in the sky | 0:15:53 | 0:15:58 | |
on the top of the million square feet | 0:15:58 | 0:16:01 | |
of these wonderful red brick buildings. | 0:16:01 | 0:16:04 | |
This place was originally built and owned | 0:16:04 | 0:16:07 | |
by one of Britain's biggest tobacco businesses, WD and HO Wills. | 0:16:07 | 0:16:12 | |
They established a number of factories around this area | 0:16:12 | 0:16:15 | |
and provided work to thousands. | 0:16:15 | 0:16:18 | |
What's more, they showed an unusual level of care for their staff, | 0:16:18 | 0:16:22 | |
providing them not just with steady income | 0:16:22 | 0:16:26 | |
but with a real sense of community, too. | 0:16:26 | 0:16:28 | |
# We are the Willses girls | 0:16:28 | 0:16:31 | |
# We know our manners, we pay our tanners | 0:16:31 | 0:16:35 | |
# We are respected wherever we may go | 0:16:35 | 0:16:39 | |
# And when we're walking down Lombard Street | 0:16:39 | 0:16:42 | |
# Doors and windows opened wide | 0:16:42 | 0:16:46 | |
# You can hear them shout... # | 0:16:46 | 0:16:48 | |
When they became empty, | 0:16:48 | 0:16:50 | |
people approached me about ideas for doing something with it. | 0:16:50 | 0:16:55 | |
Unfortunately, they went into the hands of the receiver | 0:16:55 | 0:16:59 | |
and he'd decided, or been advised, | 0:16:59 | 0:17:02 | |
to demolish them all and sell it off | 0:17:02 | 0:17:04 | |
for sites for a supermarket and various things like that. | 0:17:04 | 0:17:07 | |
It seemed a waste of good fabric, good energy | 0:17:07 | 0:17:12 | |
and that it was a wonderful opportunity to make | 0:17:12 | 0:17:15 | |
a proper, sustainable, mixed-use development. | 0:17:15 | 0:17:19 | |
I lost a lot of the battle, but at least I kept this building | 0:17:19 | 0:17:22 | |
and this building enabled me to experiment | 0:17:22 | 0:17:26 | |
with the things I really believe in. | 0:17:26 | 0:17:28 | |
Today, the Tobacco Factory is a 24-hour multi-use building, | 0:17:31 | 0:17:34 | |
which houses a cafe-bar, an oriental bistro, | 0:17:34 | 0:17:39 | |
creative industry workspaces, live-work loft apartments, | 0:17:39 | 0:17:43 | |
animation and performing arts schools | 0:17:43 | 0:17:46 | |
and one of the most exciting small theatre venues in the country. | 0:17:46 | 0:17:50 | |
It's where George chose to make his home. | 0:17:50 | 0:17:53 | |
What are the dos and don'ts when it comes to regeneration? | 0:17:54 | 0:17:58 | |
I think my first rule is, go with what you've got. | 0:17:58 | 0:18:03 | |
Try and make the most of what you've got. I think too much regeneration | 0:18:03 | 0:18:08 | |
is big bang stuff - let's knock it all down | 0:18:08 | 0:18:11 | |
and put in a great big supermarket and a major hotel. | 0:18:11 | 0:18:16 | |
-That's not regeneration. -No, and it's losing our heritage as well. | 0:18:16 | 0:18:20 | |
It's losing our heritage, but I think it doesn't attract | 0:18:20 | 0:18:23 | |
the real activity that cities are made of. | 0:18:23 | 0:18:26 | |
I start everything I do | 0:18:26 | 0:18:29 | |
thinking about what will people do here? | 0:18:29 | 0:18:32 | |
What will enable people to have more fulfilled lives in this place? | 0:18:32 | 0:18:37 | |
-So it's work and living and entertainment. -Absolutely. | 0:18:37 | 0:18:42 | |
I think regeneration encourages independent organisations. | 0:18:42 | 0:18:47 | |
I love to encourage a high street with small shops. | 0:18:47 | 0:18:50 | |
That's what makes a proper place that buzzes. | 0:18:50 | 0:18:54 | |
The regeneration of the Tobacco Factory has been | 0:18:54 | 0:18:58 | |
something of a catalyst to this area, | 0:18:58 | 0:19:00 | |
prompting a spate of other activities | 0:19:00 | 0:19:02 | |
including a regular Sunday market and an annual urban festival. | 0:19:02 | 0:19:07 | |
It has also armed George with a blueprint for his latest projects | 0:19:07 | 0:19:11 | |
including an old chocolate factory in East Bristol. | 0:19:11 | 0:19:15 | |
This is a tiny little section of the chocolate factory | 0:19:16 | 0:19:19 | |
but it's a series of buildings, five of them, and then | 0:19:19 | 0:19:22 | |
they've got these glazed covered streets running through them. | 0:19:22 | 0:19:25 | |
To link them together. | 0:19:25 | 0:19:27 | |
If you demolish that, | 0:19:27 | 0:19:28 | |
you would end up probably building a housing estate. | 0:19:28 | 0:19:31 | |
It would be like anywhere else. By keeping these buildings, | 0:19:31 | 0:19:34 | |
one builds something really special, | 0:19:34 | 0:19:36 | |
that has a brilliant address - | 0:19:36 | 0:19:38 | |
The Chocolate Factory is pretty hard to beat. | 0:19:38 | 0:19:41 | |
That's a cool address. What fabulous buildings as well. | 0:19:41 | 0:19:45 | |
This would be workspace with residential up here. | 0:19:45 | 0:19:47 | |
This is residential with workspace down here. | 0:19:47 | 0:19:50 | |
As it goes across the site, it will become | 0:19:50 | 0:19:52 | |
more and more residential and then | 0:19:52 | 0:19:55 | |
houses along a cycle track that are designed for cycling families, | 0:19:55 | 0:19:59 | |
so they don't have garages, they have cycle stores. | 0:19:59 | 0:20:03 | |
Brilliant. Absolutely brilliant, George, | 0:20:03 | 0:20:05 | |
and it's been a real pleasure to meet you at last. | 0:20:05 | 0:20:07 | |
Great to meet you, Paul, and the pink trousers. | 0:20:07 | 0:20:10 | |
So, how do you think our experts' valuations went? | 0:20:15 | 0:20:19 | |
There's only one way to find out. | 0:20:20 | 0:20:22 | |
We're off to auction and here's a quick reminder of what we've chosen. | 0:20:22 | 0:20:25 | |
Let's hope the bidders will want to snap them up. | 0:20:25 | 0:20:27 | |
Right, it's auction time. This is where it gets exciting because anything can happen in a saleroom. | 0:20:31 | 0:20:37 | |
We're putting our valuations to the test at Tamlyn & Son in the heart of Bridgwater. | 0:20:37 | 0:20:43 | |
'But don't forget. Whenever you sell at auction, you have to pay commission. | 0:20:45 | 0:20:50 | |
'At this saleroom, they charge 16.5% plus VAT.' | 0:20:50 | 0:20:54 | |
80. 5. 90. 5... | 0:20:57 | 0:20:59 | |
'On the rostrum is auctioneer Claire Rawle and the room is bursting with buyers, so let's get cracking | 0:20:59 | 0:21:05 | |
'with the first in our line-up.' | 0:21:05 | 0:21:08 | |
Going under the hammer right now, two napkin rings made for Liberty's. | 0:21:08 | 0:21:12 | |
It's Tudric pewter and this is a case of classic recycling. | 0:21:12 | 0:21:16 | |
-David, I think your son has got a great eye for antiques. -He seems to, yeah. | 0:21:16 | 0:21:22 | |
-How much did he pay for these? -£4. | 0:21:22 | 0:21:24 | |
-That's incredible. It is out there. You've got to get up early and know what to look for. -Do your homework. | 0:21:24 | 0:21:30 | |
Hopefully, we'll get £50 or £60. It is a good name. Let's find out what the bidders think. Good luck, David. | 0:21:30 | 0:21:37 | |
On to Lot 160, the Tudric pewter, nice pair of napkin rings. | 0:21:38 | 0:21:43 | |
And this one I have to start away... | 0:21:43 | 0:21:46 | |
at £100. | 0:21:46 | 0:21:48 | |
-At 100. -Wow! -Do I see 110 in the room? | 0:21:48 | 0:21:51 | |
At £100. | 0:21:51 | 0:21:54 | |
110. 120. 130. | 0:21:54 | 0:21:57 | |
The bid's in the room now at £130. | 0:21:57 | 0:22:01 | |
At £130, are you all done? Selling then at 130... | 0:22:01 | 0:22:05 | |
Incredible. The hammer's gone down. | 0:22:05 | 0:22:08 | |
I wish it was as easy to turn £4 into £130 | 0:22:08 | 0:22:12 | |
just like that every day of the week. | 0:22:12 | 0:22:14 | |
'Those napkin rings made David's son some easy money, | 0:22:14 | 0:22:18 | |
'but will we also be quids in with our next lot?' | 0:22:18 | 0:22:22 | |
-I've just been joined by Margaret. Hello. -Hello. | 0:22:22 | 0:22:25 | |
-And this is Amanda? -Yeah, this is the boss. -Pleased to meet you, Amanda. Shake hands with the boss! | 0:22:25 | 0:22:31 | |
-You run the charity shop? -I do. -We're selling three miniatures. | 0:22:31 | 0:22:35 | |
Two gentlemen and a print of Lord Nelson. This is quite early 19th century. | 0:22:35 | 0:22:40 | |
Very, very desirable. Fingers crossed, here we go, this is it. | 0:22:40 | 0:22:45 | |
Lot 265, 19th century English School... | 0:22:47 | 0:22:51 | |
Portrait miniature of a gentleman and a couple of others. Three in the lot. | 0:22:51 | 0:22:56 | |
And this one I have to start away | 0:22:56 | 0:22:59 | |
at £130. | 0:22:59 | 0:23:01 | |
At 130. Do I see 140 anywhere? At 130, the bid's here with me. | 0:23:01 | 0:23:05 | |
140. 150. | 0:23:05 | 0:23:08 | |
160. In the room now at £160. | 0:23:08 | 0:23:10 | |
At 160. Do I see 170 anywhere? | 0:23:10 | 0:23:14 | |
At £160. | 0:23:15 | 0:23:17 | |
Are you all done at 160? | 0:23:17 | 0:23:20 | |
-Yes! -Oh, yeah! -A round of applause for that. | 0:23:20 | 0:23:24 | |
Do you think they're pleased? | 0:23:24 | 0:23:26 | |
-We thought, "They're not going to sell." -You were a bit pessimistic, weren't you? | 0:23:26 | 0:23:31 | |
-That's wonderful. I'm all hot. -A bit more than you would have got in the shop maybe? -Yes. -Definitely. | 0:23:31 | 0:23:37 | |
-I'm ever so pleased. -Fantastic. -Brilliant. | 0:23:37 | 0:23:40 | |
'Another great result. Those good-looking men made a good-looking profit. | 0:23:40 | 0:23:45 | |
'It's touch wood as the next of our lots goes under Claire Rawle's gavel.' | 0:23:45 | 0:23:50 | |
It's quality all the way, burr walnut. It's a little desk set, it's beautiful. | 0:23:50 | 0:23:56 | |
Quality always sells. If you've got the right desk to put this on, job done. | 0:23:56 | 0:24:01 | |
-We have three parts here - the little box, the blotter and the book slide. -Yeah. | 0:24:01 | 0:24:07 | |
Let's find out what the bidders think. It's going under the hammer. Good luck, both of you. | 0:24:07 | 0:24:12 | |
Lot 460, the Victorian, brass-bound, walnut desk set. | 0:24:13 | 0:24:18 | |
And a nice, decorative item. We have to start this one away at £100. | 0:24:18 | 0:24:22 | |
-At 100. -Good. -Do I see 110? 110. 120. 130. | 0:24:22 | 0:24:26 | |
140. 150. 160. 170. Commission bid at 170. | 0:24:26 | 0:24:29 | |
At 170. Do I see 180? | 0:24:29 | 0:24:32 | |
180 on the telephone. 190. | 0:24:32 | 0:24:34 | |
200. | 0:24:35 | 0:24:36 | |
210. | 0:24:36 | 0:24:38 | |
220. 230. | 0:24:38 | 0:24:41 | |
-I love the dome lid on the box. -Yes. -240. 250. -It's just quality. | 0:24:41 | 0:24:45 | |
No. At 250 it is then. At 250. Do I see 260? | 0:24:48 | 0:24:51 | |
At £250, all done...? | 0:24:51 | 0:24:56 | |
-Excellent. -Wonderful. You've got to be happy with that. -Very happy. | 0:24:56 | 0:25:00 | |
-I know you were a bit worried earlier on. -Yeah. | 0:25:00 | 0:25:03 | |
Martin's up next and to alleviate the tension of seeing | 0:25:05 | 0:25:08 | |
his prized portrait go under the hammer, | 0:25:08 | 0:25:11 | |
he's brought along some moral support. | 0:25:11 | 0:25:14 | |
Good to see you again. Who've you brought along? | 0:25:14 | 0:25:16 | |
-This is my wife, Jackie. -Pleased to meet you. | 0:25:16 | 0:25:18 | |
Did you approve of Martin bringing this along and selling it? | 0:25:18 | 0:25:21 | |
-Yes, I did. -You did? | 0:25:21 | 0:25:23 | |
-Because it doesn't fit the house. -That's right. | 0:25:23 | 0:25:26 | |
-It deserves to be in a sort of nice country house. -Yeah. | 0:25:26 | 0:25:29 | |
Well, let's hope all the bidders are here. | 0:25:29 | 0:25:31 | |
There's a lot of country properties around here, the trade's here - | 0:25:31 | 0:25:35 | |
-there's certainly a buzz in the place. -There is, yes. | 0:25:35 | 0:25:38 | |
Not a lot of space, is there? | 0:25:38 | 0:25:39 | |
There's no space. We're hemmed in here! | 0:25:39 | 0:25:41 | |
It's going under the hammer right now, good luck. | 0:25:41 | 0:25:45 | |
John Frederick Tayler, portrait of a gentleman. | 0:25:45 | 0:25:48 | |
Here we are, seated holding a shotgun with his setter | 0:25:48 | 0:25:52 | |
and to start me away, I've got £280. | 0:25:52 | 0:25:55 | |
At 280. | 0:25:55 | 0:25:58 | |
-It's not enough. -300 anywhere? | 0:25:58 | 0:26:00 | |
At 280 here, at £280, do I see 300? | 0:26:00 | 0:26:05 | |
At 280 then, if you're all sure. No. | 0:26:07 | 0:26:09 | |
-Gosh, I'm ever so sorry. -Never mind, it doesn't matter. | 0:26:09 | 0:26:14 | |
It's a nice picture. | 0:26:14 | 0:26:15 | |
But it won't suit your house so it's not going on the wall, is it? | 0:26:15 | 0:26:18 | |
It will go somewhere. | 0:26:18 | 0:26:20 | |
What a shame that none of the bidders wanted | 0:26:22 | 0:26:24 | |
to give that gentleman a new home. | 0:26:24 | 0:26:26 | |
I'm in Bristol and this is Bristol Zoo, the fifth oldest in the world. | 0:26:33 | 0:26:37 | |
For the last 175 years, this place has been wowing and delighting a constant stream of visitors, | 0:26:37 | 0:26:44 | |
bringing worldwide fame to this magical city. | 0:26:44 | 0:26:47 | |
Keeping wild animals in captivity has changed dramatically since this place was opened, | 0:26:47 | 0:26:52 | |
so I'm here to find out exactly how they've kept up with the times. | 0:26:52 | 0:26:57 | |
This place not only constitutes a wonderful family day out. | 0:26:57 | 0:27:01 | |
It also has become an important centre for conservation and research. | 0:27:01 | 0:27:06 | |
And over its long history, the zoo has undergone a number of very different incarnations. | 0:27:06 | 0:27:11 | |
# Something tells me it's all happening at the zoo... # | 0:27:11 | 0:27:16 | |
Its story starts in the 19th century | 0:27:16 | 0:27:19 | |
when the boom in international trade transformed exotic animals into worldwide commodities | 0:27:19 | 0:27:25 | |
and a variety of public institutions sprang up around the world to house and showcase them. | 0:27:25 | 0:27:31 | |
London Zoo was the first zoo to be launched in this country in 1827. | 0:27:34 | 0:27:39 | |
Bristol followed closely on its heels in 1836. | 0:27:39 | 0:27:42 | |
At first, these places were known as zoological gardens with an emphasis on education and science, | 0:27:42 | 0:27:48 | |
rather than entertainment, and they were very much the privilege of the well-heeled. | 0:27:48 | 0:27:54 | |
But as transport links improved and the working class got more leisure time, | 0:27:54 | 0:27:59 | |
the zoo became a family day out foreveryone. | 0:27:59 | 0:28:02 | |
But ideas of animal husbandry were very different back then. | 0:28:02 | 0:28:06 | |
This Victorian building behind me here came with the original land purchase. | 0:28:08 | 0:28:14 | |
It was a lime kiln, but it was quickly converted into a bear pit | 0:28:14 | 0:28:18 | |
and along this path here is one of the original poles | 0:28:18 | 0:28:22 | |
that the bears would climb up to take food from the visitors. | 0:28:22 | 0:28:26 | |
But it was in the 1960s that this zoo reached its heyday. | 0:28:32 | 0:28:36 | |
The opening of the Severn Bridge helped this zoo breach the one million visitor mark | 0:28:36 | 0:28:42 | |
for the very first time, but the zoo had also gained a lot of popularity | 0:28:42 | 0:28:46 | |
with the very remarkable BBC children's television programme, Animal Magic. | 0:28:46 | 0:28:51 | |
"Do you mind if I come and sit on your lap?" | 0:28:54 | 0:28:58 | |
With Johnny Morris playing the role of the bumbling Bristol zookeeper who could talk to the animals, | 0:28:58 | 0:29:04 | |
the show captured the imagination of a wide viewing audience. | 0:29:04 | 0:29:08 | |
You don't know it, but you're coming back to Bristol with me. | 0:29:08 | 0:29:12 | |
"Bristol? Where is Bristol? Is it in France?" No, it's in Angleterre. | 0:29:12 | 0:29:16 | |
To get a handle on how much this place has evolved over the years, | 0:29:16 | 0:29:21 | |
I've come here to have a chat with one of the zoo's longest-serving employees. | 0:29:21 | 0:29:26 | |
-He's Senior Curator of Animals, John Partridge. -Hello. -Pleased to meet you. -Nice to meet you too. | 0:29:26 | 0:29:31 | |
-What a lovely day! -It's beautiful. -Tell me about the important firsts that have taken place here. | 0:29:31 | 0:29:37 | |
There have been quite a lot. The first chimpanzee in Europe born here in 1934, | 0:29:37 | 0:29:42 | |
the first gorilla in 1971, | 0:29:42 | 0:29:45 | |
black rhinoceros, the first UK birth in 1958, | 0:29:45 | 0:29:50 | |
first male polar bear born in the UK in the same kind of year, '58, '59. | 0:29:50 | 0:29:54 | |
We've pioneered different ways of looking after animals as well - | 0:29:54 | 0:29:58 | |
the first nocturnal house, reversing day and night, so people can see animals that are active at night. | 0:29:58 | 0:30:05 | |
That was in 1953. It's important to continue to develop, so we try and bring people into the habitats too, | 0:30:05 | 0:30:11 | |
so they can walk through a lemur exhibit with our lemurs and be in the enclosure with them. | 0:30:11 | 0:30:16 | |
There's been a number of memorable animal characters over the years. Can you name a few of them? | 0:30:16 | 0:30:22 | |
Alfred the gorilla came to the zoo in March 1930 | 0:30:22 | 0:30:26 | |
and lived here for 18 and a half years. | 0:30:26 | 0:30:29 | |
At the time, keeping gorillas in captivity was extremely difficult. | 0:30:29 | 0:30:33 | |
He was the only gorilla seen in Europe for some of that time. | 0:30:33 | 0:30:36 | |
Alfred became a huge character and the zoo's most popular resident. | 0:30:36 | 0:30:41 | |
When he was young, he was famous for being taken for walks on a lead around the zoo's gardens. | 0:30:41 | 0:30:46 | |
And some animals even got to make it outside the zoo. | 0:30:51 | 0:30:54 | |
In 1961, Wendy the elephant and her companion Christina arrived at the zoo | 0:30:54 | 0:30:59 | |
and they were taken for regular walks around the local streets. | 0:30:59 | 0:31:04 | |
The people would often pop out to feed them little treats. | 0:31:04 | 0:31:08 | |
But there were occasions when the animals from the zoo went absent without leave. | 0:31:12 | 0:31:18 | |
There's a cutting here in March 1934 that says that 11 monkeys, I think they were rhesus monkeys, | 0:31:18 | 0:31:24 | |
escaped from our monkey temple and they managed to get out and go out on to the down | 0:31:24 | 0:31:30 | |
which is just across the way here, so there was a bit of a palaver getting them back. | 0:31:30 | 0:31:35 | |
But with a little bit of food and a lot of patience, you can get these animals in. | 0:31:35 | 0:31:40 | |
But "in" for a lot of the animals, especially the larger ones, was not a pleasant place. | 0:31:41 | 0:31:47 | |
The cages were often bare and small. | 0:31:47 | 0:31:51 | |
However, thanks to an improved understanding of animal husbandry, | 0:31:51 | 0:31:55 | |
Bristol Zoo is a very different place from what it was. | 0:31:55 | 0:31:59 | |
Can you give me a brief outline on how different today the zoo is, compared to 175 years ago? | 0:31:59 | 0:32:05 | |
We've developed an awful lot. | 0:32:05 | 0:32:07 | |
Historically, we've kept large animals - giraffes and elephants and so on. | 0:32:07 | 0:32:12 | |
It's a bit more difficult to do that now in the way we want to keep our animals and show them to the people. | 0:32:12 | 0:32:18 | |
We have more natural enclosures now. Our gorilla enclosure is a really big, natural environment | 0:32:18 | 0:32:24 | |
with natural vegetation for them to live in. | 0:32:24 | 0:32:27 | |
We concentrate on conservation breeding, not just here in the 12 acres in Bristol, | 0:32:27 | 0:32:32 | |
but we have all sorts of in situ breeding programmes and efforts going on in places like Madagascar, | 0:32:32 | 0:32:38 | |
Cameroon in West Africa, so we can explain to people what we're doing by showing them the animals here | 0:32:38 | 0:32:44 | |
and then doing very good conservation work out in the natural habitat. | 0:32:44 | 0:32:48 | |
You do a lot of work internationally protecting endangered species, but you do a lot here on site as well. | 0:32:48 | 0:32:55 | |
We have many critically endangered species and one or two that are extinct in the wild. | 0:32:55 | 0:33:00 | |
In some cases, they can only be found in a zoo - | 0:33:00 | 0:33:03 | |
several species of Partula snail or Polynesian snail. | 0:33:03 | 0:33:07 | |
One species is not found anywhere else but here in Bristol Zoo. | 0:33:07 | 0:33:11 | |
It's extinct in the wild and if we don't do well with it, we lose it. | 0:33:11 | 0:33:15 | |
And our latest conservation success story is with our Asiatic lions. | 0:33:15 | 0:33:20 | |
Two animals, Kamal and Shiva, were brought together last year | 0:33:20 | 0:33:24 | |
and Shiva, a first-time mother, actually produced two cubs, | 0:33:24 | 0:33:28 | |
so we have a male and a female cub called Jay and Kaly. | 0:33:28 | 0:33:32 | |
They are a very important birth for us. | 0:33:32 | 0:33:35 | |
There's less than 400 Asiatic lions in the wild and they're in only one part of India, | 0:33:35 | 0:33:40 | |
so we're part of an internationally managed breeding programme for this endangered species. | 0:33:40 | 0:33:46 | |
# Mama's taking us to the zoo tomorrow... # | 0:33:46 | 0:33:48 | |
Over the past 175 years, the zoo has brought six generations of Bristolians closer to wildlife. | 0:33:48 | 0:33:55 | |
It's helped save over 175 different species from extinction | 0:33:55 | 0:33:59 | |
and taught half a million schoolchildren the wonder and value of nature | 0:33:59 | 0:34:05 | |
and given more than 50 million visitors a wonderful day out. | 0:34:05 | 0:34:09 | |
Looking forward to the future, its hopes are to become the best city zoo in the world. | 0:34:09 | 0:34:14 | |
If you want my opinion, it already is. | 0:34:14 | 0:34:17 | |
At the human zoo of our valuation day, Bernard seems to have risen above the roar of the crowds | 0:34:27 | 0:34:32 | |
and beaten a path to Will's table. | 0:34:32 | 0:34:35 | |
Has this been on your wrist from new? How did you come by it? | 0:34:35 | 0:34:39 | |
A friend of mine gave it to me, like, you know. | 0:34:39 | 0:34:42 | |
He took... He was a landlord of a pub and I used to do bar work. | 0:34:42 | 0:34:48 | |
It was a farewell present sort of thing. | 0:34:48 | 0:34:51 | |
Rolex, obviously, is a brand that everyone is familiar with. | 0:34:51 | 0:34:55 | |
This one here is fairly plain. | 0:34:55 | 0:34:58 | |
-To be fair, it's towards the sort of more run-of-the-mill model of Rolex. -That's right. | 0:34:58 | 0:35:03 | |
This is a manual wind, so the movement isn't as sophisticated | 0:35:03 | 0:35:07 | |
as an Oyster Perpetual, i.e, self-winding or automatic. | 0:35:07 | 0:35:12 | |
If I'm being super-picky, there is a bit of discoloration on the dial, but you can get that repaired. | 0:35:12 | 0:35:18 | |
You can have the dial cleaned or reprinted. | 0:35:18 | 0:35:21 | |
Your friend gave it to you as a gift. Have you had it insured? Any idea what it could be worth? | 0:35:21 | 0:35:27 | |
-Well, the insurance is about 1,200, like. -Right, OK. | 0:35:27 | 0:35:32 | |
The trouble we'll run into here is the fact that insurance valuations | 0:35:32 | 0:35:37 | |
are always a lot higher than auction estimates, | 0:35:37 | 0:35:40 | |
certainly for what we would call jewellery, silver, watches. | 0:35:40 | 0:35:44 | |
I think this, bearing in mind it is only stainless steel... | 0:35:44 | 0:35:48 | |
-That's right. -It's a manual wind. | 0:35:48 | 0:35:50 | |
-The bracelet is associated. That's not a proper Rolex bracelet. -No, it's not Rolex. | 0:35:50 | 0:35:56 | |
My honest valuation on this piece would be in the region of £200. | 0:35:56 | 0:36:01 | |
It's a big difference from the insurance valuation you have. | 0:36:01 | 0:36:04 | |
But how do you feel about that - £200 to £300? | 0:36:04 | 0:36:08 | |
-I'm fine with that, yes. -So we'll reserve it at that bottom figure at the £200. | 0:36:08 | 0:36:13 | |
-Can I give the auctioneer a bit of discretion? -Yeah, a bit of discretion. | 0:36:13 | 0:36:18 | |
-I'm pretty sure we'll find a new home for it. -Yes. | 0:36:18 | 0:36:21 | |
Watch out to see how well Bernard's Rolex does when it comes up for sale in a while. | 0:36:21 | 0:36:26 | |
Right now, it looks like Anita's struck gold with a cache of jewels | 0:36:30 | 0:36:34 | |
that Pamela has brought with her. | 0:36:34 | 0:36:37 | |
I'm always delighted to see beautiful jewellery on the show and we have some lovely things here. | 0:36:37 | 0:36:43 | |
I've collected them over a period of time and I think they're lovely too. | 0:36:43 | 0:36:48 | |
-I really do. -Can you tell me where did you get these items? Let's start with the cross. | 0:36:48 | 0:36:53 | |
The cross was on a happy weekend in Rhodes with my husband. | 0:36:53 | 0:36:57 | |
The mourning locket followed on when he died, of course. | 0:36:57 | 0:37:02 | |
This one was a gift given to me by a friend | 0:37:02 | 0:37:05 | |
and this one again just a gift from a friend. | 0:37:05 | 0:37:08 | |
-Why are you looking to sell them now? -My granddaughters like silver, | 0:37:08 | 0:37:13 | |
so I thought I'd probably sell them and split the money or give it to my sons, whatever. | 0:37:13 | 0:37:19 | |
-They don't see beauty in the same things that you and I do. -Let's have a wee look here. | 0:37:19 | 0:37:24 | |
This cross, the setting is absolutely beautiful and it's beautifully done. | 0:37:24 | 0:37:29 | |
When I looked at this at the beginning, I thought it was an amethyst, | 0:37:29 | 0:37:34 | |
but it's not, it's a synthetic stone. | 0:37:34 | 0:37:37 | |
We also have the item on a nine-carat chain | 0:37:37 | 0:37:41 | |
and I would like to put an estimate of, say, between 250 and 350, | 0:37:41 | 0:37:47 | |
-and I would suggest a reserve of around £200. -That's fair. | 0:37:47 | 0:37:52 | |
If we go on to the next little lot, | 0:37:52 | 0:37:55 | |
we have two Victorian pieces. | 0:37:55 | 0:37:58 | |
Your first one here, with this very pretty cameo, | 0:37:59 | 0:38:03 | |
is a little earlier than this one. | 0:38:03 | 0:38:06 | |
I would say maybe 1860, 1870, 1880. | 0:38:06 | 0:38:11 | |
We see this swivel mechanism here. | 0:38:11 | 0:38:14 | |
This would have been used to keep a piece of a loved one's hair. | 0:38:14 | 0:38:19 | |
-I see you have a photograph in here. -I have. | 0:38:19 | 0:38:23 | |
But it is a mourning locket. | 0:38:23 | 0:38:26 | |
That's not the mourning locket. That is. | 0:38:26 | 0:38:29 | |
But this would have been a mourning locket at some point as well. | 0:38:29 | 0:38:33 | |
I didn't know that. | 0:38:33 | 0:38:35 | |
-This is made of a pinchbeck. It's not a gold. -That's right. | 0:38:35 | 0:38:39 | |
It's made to look like gold and there is some quality. | 0:38:39 | 0:38:42 | |
-This is a finer piece, Pamela. -Yes. | 0:38:42 | 0:38:46 | |
This is probably 1880 to about 1910. | 0:38:46 | 0:38:49 | |
It's jet with these seed pearls bedded in this gold laurel | 0:38:49 | 0:38:55 | |
-and this little anchor. -Yes. | 0:38:55 | 0:38:58 | |
An anchor often denotes hope, | 0:38:58 | 0:39:00 | |
so we have some symbolism there. | 0:39:00 | 0:39:04 | |
Both of them very, very nice items. | 0:39:04 | 0:39:07 | |
I would tend to sell these together, | 0:39:07 | 0:39:10 | |
so to put them together, | 0:39:10 | 0:39:13 | |
£300 to £500. | 0:39:13 | 0:39:16 | |
-As the pair? -For the two of them. | 0:39:16 | 0:39:18 | |
With a firm reserve of 300. | 0:39:18 | 0:39:21 | |
Well, you know your business. | 0:39:21 | 0:39:24 | |
It may do more than that, Pamela. | 0:39:24 | 0:39:27 | |
-An estimate is only an estimate. -It's only an estimate. | 0:39:27 | 0:39:32 | |
Sometimes I can be a wee bit conservative. | 0:39:32 | 0:39:35 | |
Sometimes. Let's hope so in this case. | 0:39:35 | 0:39:37 | |
Yes. Tell me, where have you got this one, Pamela? | 0:39:37 | 0:39:41 | |
That was just a gift in the '60s or '70s and it's just a pretty piece. | 0:39:41 | 0:39:47 | |
-That's right. -It sits nicely on the neck because it's shaped. -Yeah. | 0:39:47 | 0:39:51 | |
It's made of tri-colour gold, nine-carat, | 0:39:51 | 0:39:54 | |
a popular design in the '60s, '70s and even '80s. | 0:39:54 | 0:39:59 | |
But it has a good gold weight. | 0:39:59 | 0:40:02 | |
There are 29 grams, | 0:40:02 | 0:40:05 | |
nearly one ounce of nine-carat gold in it. | 0:40:05 | 0:40:09 | |
The estimate on that, I would say probably 200 to 250 | 0:40:09 | 0:40:14 | |
with a reserve of perhaps 180 on that. | 0:40:14 | 0:40:17 | |
-Well, that would be good. -That would be good. -That would be good. | 0:40:17 | 0:40:21 | |
This is the best time to sell jewellery, particularly if it has a high gold content. | 0:40:21 | 0:40:27 | |
I know you've enjoyed wearing these, but are you a wee bit sad to see them go? | 0:40:27 | 0:40:33 | |
Maybe in some ways, but I've had my times with them. | 0:40:33 | 0:40:37 | |
Basically, nothing lasts forever, does it? | 0:40:37 | 0:40:40 | |
'I hope Pamela's jewels light up the saleroom when they go under the hammer.' | 0:40:40 | 0:40:44 | |
And it looks like Will's in for a giant surprise, | 0:40:49 | 0:40:52 | |
with the next item Liz and Conran have walked in with. | 0:40:52 | 0:40:55 | |
Now, I'm not going to lie to you, I would not like to meet the guy | 0:40:58 | 0:41:01 | |
who's wearing these in a dark alley at night. | 0:41:01 | 0:41:03 | |
Have you got the BFG at home or something? | 0:41:03 | 0:41:06 | |
Where have these come from? | 0:41:06 | 0:41:07 | |
They're an heirloom. Always been in our home. We've always loved them. | 0:41:07 | 0:41:10 | |
It's amazing. I've never seen anything like it. | 0:41:10 | 0:41:13 | |
I mean, what size are these? | 0:41:13 | 0:41:15 | |
I'm a size seven or eight when I'm lucky, and I'm feeling bigger than I am. | 0:41:15 | 0:41:18 | |
-What size are these? -42. -Size 42! | 0:41:18 | 0:41:22 | |
You said they've been in the family, for how long? | 0:41:22 | 0:41:24 | |
When I was about five, my father was given them by the manufacturer. | 0:41:24 | 0:41:29 | |
My father was a shoe retailer. | 0:41:29 | 0:41:31 | |
Ah! There's the connection. | 0:41:31 | 0:41:33 | |
And they've not been on display, but his father, my grandfather, | 0:41:33 | 0:41:37 | |
saw them in a parade in the town, about 1906. | 0:41:37 | 0:41:40 | |
I was looking at them and trying to work out a date, | 0:41:40 | 0:41:43 | |
because of the style, and so on, and you got these nice little hooks. | 0:41:43 | 0:41:47 | |
That would date them from the turn of the century, about 1900. | 0:41:47 | 0:41:52 | |
If I tip this one up - ooh! | 0:41:52 | 0:41:56 | |
It's not that heavy, but they are heavy! | 0:41:56 | 0:41:58 | |
If I tip that one up, we can see under here, we've got "Ivy." | 0:41:58 | 0:42:01 | |
Now, is that the firm that was making these? | 0:42:01 | 0:42:04 | |
The firm was Rhodes Rawling of Halifax, and it was the Ivy brand shoe. | 0:42:04 | 0:42:09 | |
And look at all these hob nails here! And, each one, stamped. | 0:42:09 | 0:42:12 | |
They're solid leather. | 0:42:13 | 0:42:15 | |
I was going to say, all of this is leather, including the soles. | 0:42:15 | 0:42:18 | |
-So, they're leather uppers. -Yep. | 0:42:18 | 0:42:20 | |
I noticed you had to use a bit of ribbon. | 0:42:20 | 0:42:22 | |
It's difficult to get such long laces. | 0:42:22 | 0:42:24 | |
-And you packed them with newspaper? -To stop them collapsing and cracking. | 0:42:24 | 0:42:28 | |
I was going to ask you, does he make you polish them? | 0:42:28 | 0:42:31 | |
Yes, I do polish them. | 0:42:31 | 0:42:33 | |
Because if you don't polish them, they're just going to dry out, | 0:42:33 | 0:42:37 | |
crack and be ruined. | 0:42:37 | 0:42:39 | |
I suppose that's where all the other things like this have gone. | 0:42:39 | 0:42:42 | |
Again, that's probably a couple of pots of polish in one go | 0:42:42 | 0:42:45 | |
and plenty of elbow grease. | 0:42:45 | 0:42:48 | |
There's a bit of damage here, but they're over 100 years old. | 0:42:48 | 0:42:51 | |
They're in great condition. | 0:42:51 | 0:42:52 | |
-Have you ever been tempted to put them on? -I did wear them. | 0:42:52 | 0:42:55 | |
I won a fancy dress competition! I went as a clown. | 0:42:55 | 0:42:59 | |
I was asked to stop walking about and scratching the floors! | 0:42:59 | 0:43:04 | |
Because of the old hob nails. Exactly. | 0:43:04 | 0:43:06 | |
I mean, value-wise, this puts me in a tricky position, | 0:43:06 | 0:43:10 | |
because I haven't got anything I can compare these to. | 0:43:10 | 0:43:13 | |
I can't tell you, well, last week, I sold a pair, and they made X. | 0:43:13 | 0:43:16 | |
For these to sell at auction, it's going to be a question | 0:43:16 | 0:43:19 | |
of what someone's prepared to pay for them, | 0:43:19 | 0:43:21 | |
and that's the only way you're going to be able to value them. | 0:43:21 | 0:43:24 | |
They've got to be worth £100-£200, just for the novelty value. | 0:43:24 | 0:43:29 | |
So, let's put them in at £100-£200. | 0:43:29 | 0:43:31 | |
Let's reserve them at £100. | 0:43:31 | 0:43:33 | |
They've got to be worth that, all day long, surely. | 0:43:33 | 0:43:35 | |
'Now it's my turn to flex my valuation muscles as I head outdoors with Michelle.' | 0:43:38 | 0:43:44 | |
-This wonderful walking cane which you don't know a lot about. -No. -How long have you had it? | 0:43:44 | 0:43:50 | |
I've only had it 15 months since my mother passed away. | 0:43:50 | 0:43:54 | |
She probably inherited it from her parents. It could have come from the Far East, Malaysia. | 0:43:54 | 0:44:00 | |
-Your mother has used this. -She has. -She's put this worn rubber stopper on the bottom, bless her! | 0:44:00 | 0:44:05 | |
-And this little bit of antler is a later addition. -It is. | 0:44:05 | 0:44:10 | |
I would say that's sort of circa 1910, 1920, | 0:44:10 | 0:44:13 | |
but I'd put the actual shaft of the cane, which is made of bone, | 0:44:13 | 0:44:18 | |
at about 1800, 1810. | 0:44:18 | 0:44:21 | |
-Really? -1820 at the latest. | 0:44:21 | 0:44:23 | |
Now, my gut feeling is this could be Napoleonic. | 0:44:23 | 0:44:26 | |
It could be something that a prisoner of war made here or something that was made out at sea. | 0:44:26 | 0:44:32 | |
I'm not sure what the bone's from. I don't know if it would've been a narwhal tusk because that tapers. | 0:44:32 | 0:44:39 | |
It's a lovely piece of ropework. You see a lot of this on the legs of furniture. | 0:44:39 | 0:44:44 | |
It's affectionately known as the barley twist. | 0:44:44 | 0:44:47 | |
But English furniture will have a double twist. That ropework will go one way, then the other way. | 0:44:47 | 0:44:53 | |
It's more generous and it's harder to achieve. | 0:44:53 | 0:44:56 | |
If you look at Flemish and French furniture, | 0:44:56 | 0:44:59 | |
that has a single rope twist like this, | 0:44:59 | 0:45:03 | |
so it leads me to believe it's possibly continental and probably French, | 0:45:03 | 0:45:08 | |
-done by a Napoleonic prisoner of war. -Oh! | 0:45:08 | 0:45:11 | |
And that is absolutely beautiful, isn't it? | 0:45:11 | 0:45:14 | |
It's so symmetric, considering it's all carved by hand. | 0:45:14 | 0:45:18 | |
-What do you think it's worth? -Somewhere in the region of 90-plus? | 0:45:18 | 0:45:23 | |
-You're about right. I was going to say £100 to £150 tops. OK? -Super. | 0:45:23 | 0:45:27 | |
Let's put it into the saleroom with a value of £80 to £120. | 0:45:27 | 0:45:31 | |
I know it's a cliche and we all keep talking about it, but it covers the lower end | 0:45:31 | 0:45:36 | |
and it also covers the higher end. | 0:45:36 | 0:45:39 | |
That is very reasonable. | 0:45:39 | 0:45:41 | |
-With a reserve at £80. -That's a lot more than I valued it. -OK. | 0:45:41 | 0:45:46 | |
-We'll let the auctioneer have a bit of discretion at the 80. -OK. -But I think that's quality. | 0:45:46 | 0:45:52 | |
-It's beautiful. -Thank you for bringing it in. -You're welcome. -Sadly, I have to take this from you. | 0:45:52 | 0:45:58 | |
Let's get that and our other items wrapped up and sent off to auction. | 0:45:58 | 0:46:03 | |
'Here's a quick reminder of what we've chosen. | 0:46:03 | 0:46:05 | |
'Let's hope the bidders will want to snap them up.' | 0:46:05 | 0:46:08 | |
'We're back at Bridgwater for the auction | 0:46:10 | 0:46:13 | |
'and the saleroom is bursting with budding buyers, | 0:46:13 | 0:46:16 | |
'all on the lookout for a bargain. | 0:46:16 | 0:46:18 | |
'The auctioneer is Claire Rawle and first up is Bernard's Rolex watch.' | 0:46:18 | 0:46:23 | |
Did you ever wear it? | 0:46:23 | 0:46:25 | |
Oh, yeah. I wore it plenty of times, like, yeah. | 0:46:25 | 0:46:28 | |
-But then I thought, well, I might lose it. -It's a valuable thing. | 0:46:28 | 0:46:33 | |
We've got £200 to £300 on this. Hopefully, it'll do that and a bit more. | 0:46:33 | 0:46:38 | |
-Let's find out what this lot think. Here we go. -OK. -Over there. | 0:46:38 | 0:46:42 | |
Lot 115 is the gentleman's Rolex Oyster Royal watch. | 0:46:43 | 0:46:49 | |
A 1950s one. This is Lot 115. | 0:46:49 | 0:46:52 | |
And I have to start it straight in at £240. | 0:46:52 | 0:46:55 | |
-Yes! -240. Do I see 250 anywhere? | 0:46:55 | 0:46:58 | |
At 240, the bid's with me. | 0:46:58 | 0:47:01 | |
At 240. 250 on the telephone? | 0:47:01 | 0:47:04 | |
250. | 0:47:04 | 0:47:06 | |
260 with me. | 0:47:06 | 0:47:09 | |
-They like it. -At 260 the bid's here with me. | 0:47:09 | 0:47:12 | |
Do I see 270 in the room? | 0:47:12 | 0:47:15 | |
At £260 then, if you're all done. Selling here at 260... | 0:47:15 | 0:47:20 | |
-Mid-estimate, well done, Will. And that's £260 for you. -That's right. | 0:47:21 | 0:47:26 | |
What will you do with that? Treat yourself to something? | 0:47:26 | 0:47:30 | |
-Yeah, a holiday or something like that. -It'll help towards that. | 0:47:30 | 0:47:34 | |
-Yeah. -He got given that watch for collecting glasses in a pub. | 0:47:34 | 0:47:39 | |
-You were a loyal customer. -I must have been. -You probably spent more than that in booze. | 0:47:39 | 0:47:44 | |
I'm getting my own back now! | 0:47:44 | 0:47:47 | |
'A solid mid-estimate outcome for Bernard. | 0:47:47 | 0:47:50 | |
'Now it's Pamela up next.' | 0:47:50 | 0:47:52 | |
Have you been sunbathing? Have you been in the garden? | 0:47:52 | 0:47:56 | |
No. Now I'm retired, I travel about a bit. | 0:47:56 | 0:47:59 | |
-Where have you been? -I went to Dubai for the cold weather. | 0:47:59 | 0:48:03 | |
I came back from there and I went to Spain, just to see a friend. | 0:48:03 | 0:48:07 | |
Gosh, you jet-setter, you! We've got some jewellery about to go under the hammer, split into three lots - | 0:48:07 | 0:48:14 | |
one necklace, a mourning locket and another necklace. | 0:48:14 | 0:48:17 | |
It could be quite a lot of money. You could be jetting off again. | 0:48:17 | 0:48:21 | |
-The first lot going under the hammer is the necklace. -It's a beautiful cross pendant. | 0:48:21 | 0:48:26 | |
The auctioneer has tested the gold mount and it's tested for 18-carat, | 0:48:26 | 0:48:30 | |
so I'm happy about that and it's on a 9-carat chain. | 0:48:30 | 0:48:34 | |
-Let's find out what the bidders think. Here we go. -And that was a weekend in Rhodes. | 0:48:34 | 0:48:39 | |
-Oh! -This is it. | 0:48:39 | 0:48:42 | |
Lot 55 is a decorative cross pendant with the amethyst-coloured stones. | 0:48:43 | 0:48:47 | |
Nice, decorative item. | 0:48:47 | 0:48:49 | |
I have to start straight in. I've got £250 here. | 0:48:49 | 0:48:52 | |
At 250. Do I see 280 anywhere? | 0:48:52 | 0:48:55 | |
The bid's with me at 250. | 0:48:55 | 0:48:58 | |
At 250. Now 280? 280. 300. | 0:48:58 | 0:49:02 | |
-320. 350. 380... -They love this, don't they? | 0:49:02 | 0:49:05 | |
-420. In the room now at 420. -Wow! -At 420. | 0:49:05 | 0:49:09 | |
Do I see 450 anywhere? | 0:49:09 | 0:49:11 | |
At £420 then. Are you all done at 420...? | 0:49:11 | 0:49:16 | |
That's the first lot, £420. Now for the second - | 0:49:17 | 0:49:20 | |
the mourning pendant and the mourning brooch. | 0:49:20 | 0:49:23 | |
They have lowered the estimate on this one from £300 to £500 | 0:49:23 | 0:49:27 | |
right down to 150 to 170. | 0:49:27 | 0:49:30 | |
Here it is. | 0:49:30 | 0:49:32 | |
We've got the Victorian mourning pendant and the cameo, lot 61. | 0:49:33 | 0:49:39 | |
I have to start these straight in | 0:49:39 | 0:49:41 | |
at £220. | 0:49:41 | 0:49:44 | |
At 220. At 220. | 0:49:44 | 0:49:46 | |
Do I see 240? | 0:49:46 | 0:49:48 | |
240. Clears me at 240. | 0:49:48 | 0:49:50 | |
Now 260 anywhere? | 0:49:50 | 0:49:54 | |
At £240 in the room now. | 0:49:54 | 0:49:56 | |
At 240. Do I see 260? | 0:49:56 | 0:49:59 | |
If you're all done at 240... | 0:49:59 | 0:50:01 | |
-Excellent. -We'll take that. That was very good. -Not bad. | 0:50:02 | 0:50:06 | |
The quality of the locket and the quality of the carving on the cameo pulled that through. | 0:50:06 | 0:50:12 | |
-It did well. -Here we go, the last item, the necklace. | 0:50:12 | 0:50:16 | |
Lot 67 is a nine-carat gold, snake-link type necklace. | 0:50:17 | 0:50:22 | |
And this one I have to start away at £200. | 0:50:22 | 0:50:25 | |
-Yes. -Very good. -At 200. Do I see 220? | 0:50:25 | 0:50:28 | |
250. 280. | 0:50:28 | 0:50:31 | |
In the room now at 280. | 0:50:31 | 0:50:34 | |
At 280. Do I see 300 anywhere? | 0:50:34 | 0:50:37 | |
At £280. | 0:50:37 | 0:50:39 | |
At 280 then. Are you all done at 280? | 0:50:39 | 0:50:42 | |
Wow, that's a good result again! | 0:50:42 | 0:50:45 | |
-That's a grand total of £940. -We're in the money! | 0:50:45 | 0:50:49 | |
-You are in the money, aren't you? -Yeah. | 0:50:49 | 0:50:51 | |
-That's wonderful. I'm so happy for you. -Thank you. -I'm ever so pleased. Thank you for coming in. | 0:50:51 | 0:50:57 | |
'Anita's estimate may have been conservative, but it paid off handsomely for Pamela. | 0:50:57 | 0:51:04 | |
'Now my head's on the block. It's that carved bone walking stick.' | 0:51:04 | 0:51:09 | |
This could be quite speculative. We're talking about the bone walking stick, 80 to 120. | 0:51:11 | 0:51:17 | |
It's going to sell at that every day of the week, but some of these things could fly away at 400 to 500. | 0:51:17 | 0:51:23 | |
I don't want to start bigging this up, but these things can happen. | 0:51:23 | 0:51:27 | |
-All the money's going to charity, for your dogs? -Yes, towards the Flat-Coated Retriever Cancer Tumour. | 0:51:27 | 0:51:33 | |
-And you've got quite a few retrievers. -I have. I've got four in total. | 0:51:33 | 0:51:38 | |
Right, OK, here we go. And they all need help. | 0:51:38 | 0:51:43 | |
Lot 370 is this rather unusual bone walking stick with the antler handle. | 0:51:44 | 0:51:50 | |
I've had quite a bit of interest in it, so I'll start straight in. | 0:51:50 | 0:51:54 | |
I've got £150. | 0:51:54 | 0:51:56 | |
At 150. At 150. Looking for... 180. | 0:51:56 | 0:51:59 | |
200. 220. 250. | 0:51:59 | 0:52:02 | |
280. In the room now at £280. | 0:52:02 | 0:52:05 | |
At 280. Looking for 300. 300 with Fiona. 320. | 0:52:07 | 0:52:11 | |
350. | 0:52:12 | 0:52:14 | |
-380. -Amazing. | 0:52:14 | 0:52:17 | |
400. 400 on the telephone here. At £400. | 0:52:17 | 0:52:22 | |
420? | 0:52:22 | 0:52:23 | |
420. | 0:52:23 | 0:52:25 | |
450. | 0:52:25 | 0:52:27 | |
-480? -Wow! -Wow! | 0:52:27 | 0:52:29 | |
-480. -Wow! | 0:52:29 | 0:52:31 | |
500. | 0:52:31 | 0:52:33 | |
-Gosh, it is your lucky day. -520. | 0:52:33 | 0:52:36 | |
550. | 0:52:37 | 0:52:39 | |
580. | 0:52:39 | 0:52:40 | |
No? At 580 on Martin's telephone. | 0:52:42 | 0:52:44 | |
At £580. | 0:52:44 | 0:52:47 | |
At 580. Are you all done at 580...? | 0:52:47 | 0:52:51 | |
-What a fabulous result! £580, that was our lucky day. -Brilliant. | 0:52:51 | 0:52:55 | |
Two people fought that out together. | 0:52:55 | 0:52:58 | |
-All the proceeds are going towards the charity that's looking after the cancer for dogs. -It is. | 0:52:58 | 0:53:04 | |
-Thank you so much for coming in. -Thank you. | 0:53:04 | 0:53:07 | |
-Bless you and bless the dogs as well! I hope they recover. -They will. | 0:53:07 | 0:53:11 | |
Finally, it's the one I've been waiting for. | 0:53:15 | 0:53:18 | |
Liz and Conran's super-sized boots. | 0:53:18 | 0:53:22 | |
Liz and Conran, thank you for putting a smile | 0:53:22 | 0:53:24 | |
on all our faces at the valuation day in Wells Cathedral. | 0:53:24 | 0:53:27 | |
-The boots turned up. Will said, "I've got to have those!" -They're great. -He zoomed in. | 0:53:27 | 0:53:32 | |
I think they're my favourite thing I've done so far on Flog It! | 0:53:32 | 0:53:35 | |
Do you know, when you take time to look at them, the quality is superb. | 0:53:35 | 0:53:39 | |
Where have you had them over the last few years? | 0:53:39 | 0:53:41 | |
-They were on show. We always had them on the piano, or the side of the stairs. -Right. | 0:53:41 | 0:53:47 | |
-An entertaining thing to have in the house. -Yeah. | 0:53:47 | 0:53:50 | |
I can't wait for Claire to introduce these. Let's see what she says. | 0:53:50 | 0:53:54 | |
Here we go. A pair of size 42 black leather Balmoral boots. | 0:53:54 | 0:54:01 | |
Wonderful items. And I start away at £75. At 75. | 0:54:01 | 0:54:05 | |
Do I see 80 anywhere? 80. | 0:54:05 | 0:54:07 | |
5, 90, 5. | 0:54:07 | 0:54:09 | |
100. 110. 120. | 0:54:09 | 0:54:11 | |
130. | 0:54:11 | 0:54:12 | |
140, 150, 160, 170. | 0:54:12 | 0:54:16 | |
180, 190. | 0:54:16 | 0:54:17 | |
200, 220? 220. | 0:54:17 | 0:54:19 | |
240. 260. 280. | 0:54:19 | 0:54:22 | |
300. | 0:54:22 | 0:54:24 | |
320. 340. 360. | 0:54:24 | 0:54:27 | |
380. 400. 420. | 0:54:27 | 0:54:29 | |
440. 460. | 0:54:29 | 0:54:31 | |
480. 500. 520. | 0:54:31 | 0:54:35 | |
520. Now, 550 anywhere? | 0:54:35 | 0:54:37 | |
550, fresh bidder. 600. 650. | 0:54:37 | 0:54:41 | |
700. 750. 800. 850. | 0:54:41 | 0:54:45 | |
900 on the telephone. | 0:54:45 | 0:54:47 | |
950? 950. | 0:54:47 | 0:54:49 | |
1,000? | 0:54:49 | 0:54:50 | |
1,000. | 0:54:50 | 0:54:51 | |
And 50. | 0:54:51 | 0:54:53 | |
1,050. 1,100. | 0:54:53 | 0:54:55 | |
1,100. 1,150. | 0:54:56 | 0:54:59 | |
1,200. | 0:55:01 | 0:55:03 | |
1,250. | 0:55:03 | 0:55:05 | |
1,300. 1,350. | 0:55:06 | 0:55:08 | |
1,400. | 0:55:09 | 0:55:12 | |
1,450. | 0:55:12 | 0:55:13 | |
1,500. | 0:55:13 | 0:55:14 | |
1,550. | 0:55:15 | 0:55:16 | |
1,600. | 0:55:16 | 0:55:18 | |
1,650. | 0:55:18 | 0:55:19 | |
1,700. | 0:55:19 | 0:55:22 | |
1,750. 1,800. | 0:55:22 | 0:55:24 | |
-Wow. -(It's gone quiet.) | 0:55:24 | 0:55:26 | |
Your valuation was a load of cobblers, wasn't it?! | 0:55:26 | 0:55:30 | |
-1,900. -Thank you for that. | 0:55:30 | 0:55:31 | |
1,950. | 0:55:31 | 0:55:33 | |
Not going to fill it up to 2,000?! 1,950. Ooh. | 0:55:34 | 0:55:38 | |
2,000 on the other telephone. | 0:55:38 | 0:55:40 | |
2,100. 2,200? | 0:55:40 | 0:55:42 | |
2-2? | 0:55:44 | 0:55:46 | |
2-3. | 0:55:46 | 0:55:47 | |
2,400? | 0:55:48 | 0:55:50 | |
2,500. | 0:55:50 | 0:55:52 | |
2,600. 2,700. | 0:55:54 | 0:55:56 | |
2,800. | 0:55:58 | 0:56:00 | |
What?! | 0:56:00 | 0:56:01 | |
2,900. | 0:56:01 | 0:56:02 | |
Now, even this beggars belief. | 0:56:02 | 0:56:04 | |
-3,000. -I actually pitched this at £400 to £600. -3,100. | 0:56:04 | 0:56:08 | |
I'm glad you don't say I pitched these at £4-6,000. | 0:56:08 | 0:56:11 | |
-£4-600. -3,200. | 0:56:11 | 0:56:13 | |
3,300. | 0:56:13 | 0:56:16 | |
3,400. | 0:56:16 | 0:56:18 | |
Come on, you can't leave 'em now! | 0:56:23 | 0:56:26 | |
3,400 on the telephone. | 0:56:26 | 0:56:30 | |
At 3,400. Are you sure? | 0:56:30 | 0:56:32 | |
3,000... 3,500? | 0:56:32 | 0:56:34 | |
-3,500. -Hey, gone one more! | 0:56:34 | 0:56:37 | |
3,600, then. | 0:56:40 | 0:56:43 | |
Are you sure? | 0:56:43 | 0:56:44 | |
-SHE LAUGHS -3,600. | 0:56:44 | 0:56:46 | |
At 3,600, on the telephone. | 0:56:46 | 0:56:49 | |
At 3,600, are you sure? | 0:56:50 | 0:56:53 | |
You're sure. You're not bidding! | 0:56:53 | 0:56:55 | |
3,600 it is, then. Are you sure? 3,600. | 0:56:56 | 0:57:01 | |
-£3,600. -APPLAUSE | 0:57:01 | 0:57:05 | |
Well done. | 0:57:05 | 0:57:06 | |
-£3,600. -Thank you. -I don't know what for! | 0:57:06 | 0:57:10 | |
-I got it wrong! -Thank you for bringing such a quirky item in. | 0:57:10 | 0:57:13 | |
It just goes to show, it is extremely hard to put a price on something. | 0:57:13 | 0:57:17 | |
When two people want it, the sky's the limit. | 0:57:17 | 0:57:19 | |
I'm tingling, are you tingling? | 0:57:19 | 0:57:21 | |
What a wonderful way to end today's programme. | 0:57:21 | 0:57:24 | |
What a brilliant day we've had. I hope you've enjoyed it. | 0:57:24 | 0:57:27 | |
Join us again for much more fun and some more surprises next time. | 0:57:27 | 0:57:30 | |
Enjoy the rest of the afternoon. Until then, goodbye. | 0:57:30 | 0:57:33 |