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Today, we're south of the river at Dulwich College. Welcome to Flog It!. | 0:00:02 | 0:00:06 | |
As well as the famous school, which was established in 1619, | 0:00:30 | 0:00:34 | |
Dulwich is known for its beautiful Victorian park. | 0:00:34 | 0:00:37 | |
Outside the splendid gates, you'll find Dulwich Village itself. | 0:00:37 | 0:00:41 | |
It's so green around here, it still feels like a village, | 0:00:41 | 0:00:44 | |
even though we're just a few miles from Central London. | 0:00:44 | 0:00:48 | |
This is what I like to see. | 0:00:48 | 0:00:49 | |
The sun is shining, everybody is happy, smiles everywhere. | 0:00:49 | 0:00:53 | |
And we've got a whopping queue today. | 0:00:53 | 0:00:56 | |
Everybody here at Dulwich College is eager to get inside. | 0:00:56 | 0:01:00 | |
Our team is headed up by Michael Baggott and Kate Bateman, | 0:01:00 | 0:01:04 | |
who are already starting to value items in the queue. | 0:01:04 | 0:01:08 | |
Michael is an antiques consultant from Birmingham, who has a passion for silver. | 0:01:09 | 0:01:14 | |
I'll tell you one thing, it's over 46 years old. | 0:01:14 | 0:01:18 | |
Kate has been surrounded by the world of antiques all her life | 0:01:18 | 0:01:22 | |
and works for the family auction house in Lincolnshire. | 0:01:22 | 0:01:26 | |
Be still my beating heart. You get a sticker. | 0:01:26 | 0:01:29 | |
You get two stickers, just in case I miss you. | 0:01:29 | 0:01:31 | |
Somebody here today is going home with a lot of money. | 0:01:31 | 0:01:33 | |
Stay tuned and you'll find out. | 0:01:33 | 0:01:36 | |
I guess, as I'm the senior member of the team, I can be the headmaster. | 0:01:36 | 0:01:40 | |
So let's get the doors open and get on with our lessons. | 0:01:40 | 0:01:43 | |
Coming up on today's show - | 0:01:46 | 0:01:49 | |
Kate has delusions of grandeur. | 0:01:49 | 0:01:51 | |
..I might have a Kate Middleton moment. Is it going to go? | 0:01:51 | 0:01:55 | |
-It suits you. -I think so. | 0:01:55 | 0:01:58 | |
Michael gets excited. | 0:01:58 | 0:02:00 | |
I feel I should beat out a tune on this wonderful drum. Marvellous! | 0:02:00 | 0:02:05 | |
And auction fever has us all in a spin. | 0:02:07 | 0:02:10 | |
-I'm shaking. -I am gobsmacked. | 0:02:10 | 0:02:12 | |
Kate's at her table with a cheeky monkey and its owner, Patricia. | 0:02:14 | 0:02:18 | |
-Patricia, welcome to Flog It! -Thank you. | 0:02:18 | 0:02:21 | |
You've brought a little person, a little monkey. Who is he? | 0:02:21 | 0:02:24 | |
I don't know what his name is. He hasn't got one. | 0:02:24 | 0:02:26 | |
We've had him for 15 years. He was my late husband's mother's | 0:02:26 | 0:02:30 | |
that we found in the loft when she died. | 0:02:30 | 0:02:34 | |
-So he wasn't yours? -No. Where she got it from, I'm not sure. | 0:02:34 | 0:02:38 | |
What intrigues me... I looked at his face and he looks familiar to me. | 0:02:38 | 0:02:41 | |
He's got a little hole in his ear. | 0:02:41 | 0:02:43 | |
I was looking for a button in his ear, | 0:02:43 | 0:02:47 | |
which would mean he was Steiff. | 0:02:47 | 0:02:49 | |
I think, just looking at him, I'm fairly sure he is a Steiff. | 0:02:49 | 0:02:53 | |
Date wise, he's pre-war, certainly. Probably about the 1920s. | 0:02:53 | 0:02:58 | |
He's had a bit of a hard life. He's straw filled. He's mohair. | 0:02:58 | 0:03:03 | |
You can see he's obviously had some quite long bits here. | 0:03:03 | 0:03:06 | |
He was obviously this fantastic, all-over brown colour. | 0:03:06 | 0:03:09 | |
-Do you know anything about the Steiff factory? -Not a lot, no. | 0:03:09 | 0:03:12 | |
It's a fascinating story. | 0:03:12 | 0:03:14 | |
Margarete Steiff, the lady who founded it in about the 1890s, | 0:03:14 | 0:03:18 | |
when she was two, contracted polio and was confined to a wheelchair. | 0:03:18 | 0:03:23 | |
When she was a young woman, her parents bought her a sewing machine, | 0:03:23 | 0:03:27 | |
just to see if she could make her way as a seamstress. | 0:03:27 | 0:03:30 | |
She made, out of a pattern, a tiny little, sewn elephant | 0:03:30 | 0:03:33 | |
that she gave as a present to, I think, her sister-in-law. | 0:03:33 | 0:03:37 | |
She liked it and somebody else wanted one | 0:03:37 | 0:03:40 | |
and she started to produce them. | 0:03:40 | 0:03:42 | |
And it went from there. It's a fantastic factory. | 0:03:42 | 0:03:45 | |
Before that, toys weren't commercially produced. | 0:03:45 | 0:03:48 | |
The Steiff factory is really the first to make them. | 0:03:48 | 0:03:50 | |
-Any idea, price-wise, what you think he's worth? -Haven't got a clue. | 0:03:50 | 0:03:55 | |
Well, Steiff's one of the big names. | 0:03:55 | 0:03:57 | |
-But he's not in good condition. -I think he's probably £50-£80, something like that. | 0:03:57 | 0:04:02 | |
Although he's missing his button, but he is recognisable as a Steiff. | 0:04:02 | 0:04:06 | |
-Is that the kind of figure you'd go for? -Yeah, that's fine. | 0:04:06 | 0:04:10 | |
I look at him and I think, "I don't really like him." | 0:04:10 | 0:04:14 | |
No? He's got a sweet little face! | 0:04:14 | 0:04:16 | |
-He's just been sitting in the cupboard. -Oh! Reserve? | 0:04:16 | 0:04:19 | |
What would you think? | 0:04:19 | 0:04:21 | |
It should be the least that you'd be happy to sell it for. | 0:04:21 | 0:04:23 | |
So if you say, "I'd let him go for £20, I'd be happy with that," | 0:04:23 | 0:04:27 | |
I'd say put that reserve on him | 0:04:27 | 0:04:28 | |
and let him find his own level at the auction. | 0:04:28 | 0:04:31 | |
-OK, yeah. -Fingers crossed. -Fine. | 0:04:31 | 0:04:33 | |
-Wave goodbye, monkey. -Bye. -Thank you for bringing him along. | 0:04:33 | 0:04:38 | |
Michael didn't have to wait too long | 0:04:39 | 0:04:42 | |
to get his hands on some silver, courtesy of Gillian. | 0:04:42 | 0:04:45 | |
So we're in this wonderful setting today of Dulwich College Hall. | 0:04:45 | 0:04:49 | |
But I believe you've been here recently. | 0:04:49 | 0:04:51 | |
I have. It was my daughter's wedding on Saturday here. | 0:04:51 | 0:04:55 | |
-And you're back for Flog It! -I had to come back to Flog It! | 0:04:55 | 0:05:00 | |
Of course, you did! Of course, you did! | 0:05:00 | 0:05:03 | |
Look at this wonderful thing that you've brought me. | 0:05:03 | 0:05:06 | |
I'm always delighted to see a piece of silver on Flog It!. | 0:05:06 | 0:05:11 | |
Before I tell you anything about it, where did it come from? | 0:05:11 | 0:05:14 | |
When I cleared out Mum's flat, when she died, I found it. | 0:05:14 | 0:05:19 | |
I didn't know anything about it at all. | 0:05:19 | 0:05:22 | |
-So you'd never seen it up until that point? -No, never. | 0:05:22 | 0:05:25 | |
Any idea where your mother got it from? | 0:05:25 | 0:05:27 | |
No. It could have belonged to my father's side of the family. | 0:05:27 | 0:05:30 | |
Silver's very helpful because it's usually marked. | 0:05:30 | 0:05:34 | |
What we need to do is flip it over. | 0:05:34 | 0:05:37 | |
And we've got those hallmarks there. Three little marks. | 0:05:37 | 0:05:43 | |
Have you looked at them under a glass? | 0:05:43 | 0:05:45 | |
I have. They didn't mean anything really. | 0:05:45 | 0:05:47 | |
-Well, it's actually Russian. -Oh! | 0:05:47 | 0:05:50 | |
The first one is the assay master's initials. | 0:05:50 | 0:05:54 | |
He's the man that would supervise the scraping of the silver | 0:05:54 | 0:05:58 | |
and the testing to see that it was up to standard. | 0:05:58 | 0:06:01 | |
Underneath that we've got a line, then the date when it was made, | 0:06:01 | 0:06:05 | |
which is incredibly helpful. | 0:06:05 | 0:06:07 | |
And we've got 1863. | 0:06:07 | 0:06:09 | |
Next to that we've got an "84". | 0:06:09 | 0:06:13 | |
It actually means "84 zolotniki", | 0:06:13 | 0:06:16 | |
which is the Russian standard of silver. | 0:06:16 | 0:06:20 | |
So we can tell from this it's Russian. | 0:06:20 | 0:06:22 | |
If we move on, | 0:06:22 | 0:06:23 | |
the last mark we've got is a figure of St George on horseback, | 0:06:23 | 0:06:27 | |
which is for Moscow. | 0:06:27 | 0:06:29 | |
-So we know that this was made in Moscow in 1863. -Oh, my God! | 0:06:29 | 0:06:34 | |
The mark underneath there is the maker's mark, | 0:06:34 | 0:06:37 | |
but unfortunately I can't tell you who that is today. | 0:06:37 | 0:06:40 | |
If we tilt it back up, that's the clue as to where it comes from. | 0:06:40 | 0:06:44 | |
All of this lettering is from the Cyrillic alphabet, | 0:06:44 | 0:06:49 | |
the Russian alphabet. | 0:06:49 | 0:06:50 | |
No wonder I couldn't understand it! | 0:06:50 | 0:06:52 | |
It's a typical drinking form. | 0:06:52 | 0:06:54 | |
They had a lot of beakers. This flared foot is more unusual. | 0:06:54 | 0:06:58 | |
Often they tend to end in just a cut foot. | 0:06:58 | 0:07:01 | |
Then we've got all this surface decoration, | 0:07:01 | 0:07:05 | |
which is fantastic detail, and it's engraved. | 0:07:05 | 0:07:08 | |
And it's heightened in a substance called niello, | 0:07:08 | 0:07:11 | |
which is basically an amalgam with a sulphur base | 0:07:11 | 0:07:15 | |
and, when you apply it and fire it onto the body, | 0:07:15 | 0:07:18 | |
you get these wonderful black lines, almost like a black enamel. | 0:07:18 | 0:07:22 | |
Oh, I see. | 0:07:22 | 0:07:23 | |
That throws up the contrast of all the decorations. | 0:07:23 | 0:07:27 | |
This is a presentation inscription in Russian, | 0:07:27 | 0:07:30 | |
which I can't translate for you. | 0:07:30 | 0:07:33 | |
Those are the initials, in Cyrillic, of the owner. | 0:07:33 | 0:07:36 | |
It would be fascinating to know how your mother really got it. | 0:07:36 | 0:07:40 | |
Oh, I know. As I say, my grandfather used to... | 0:07:40 | 0:07:44 | |
He was in the Royal Marines. | 0:07:44 | 0:07:47 | |
-Travelled round the world. -Travelled round the world. | 0:07:47 | 0:07:50 | |
I think we may have our answer. Well, it's a lovely thing. | 0:07:50 | 0:07:54 | |
-Why have you decided to part with it now? -Well, it's in a cupboard. | 0:07:54 | 0:08:00 | |
Nobody seems that interested in it. | 0:08:00 | 0:08:02 | |
-You're not a big vodka drinker, are you? -Not that big! | 0:08:02 | 0:08:05 | |
You couldn't have that much on a regular basis! | 0:08:05 | 0:08:08 | |
-The good news is that Russian silver is very collectable. -Right. | 0:08:08 | 0:08:14 | |
It's fallen back slightly from what it was three or four years ago | 0:08:14 | 0:08:18 | |
when Russian oligarchs were spending millions of pounds. | 0:08:18 | 0:08:21 | |
As a consequence I'd be remiss not to put a reserve on it | 0:08:21 | 0:08:25 | |
of £200 at auction. | 0:08:25 | 0:08:27 | |
Really? | 0:08:27 | 0:08:28 | |
Absolutely. And we'll put an estimate of £200-£300 on it, | 0:08:28 | 0:08:31 | |
-but we'll keep that reserve fixed. -Oh, my goodness! | 0:08:31 | 0:08:34 | |
-OK. Thank you. -And we can hope maybe on the day for a phone bidder | 0:08:34 | 0:08:39 | |
from Moscow or St Petersburg. | 0:08:39 | 0:08:42 | |
-Might be hoping too much, but we'll see on the day. -You never know. | 0:08:42 | 0:08:47 | |
I think it will be keenly sought after whatever. | 0:08:47 | 0:08:50 | |
Thank you so much for bringing it in. | 0:08:50 | 0:08:52 | |
Let's hope all of Moscow get bidding, but in the meantime, | 0:08:52 | 0:08:56 | |
magpie Kate has jewellery on her table, brought in by Elizabeth. | 0:08:56 | 0:09:01 | |
-Liz, hello. -Hi. -You've brought some pretty rings. | 0:09:01 | 0:09:03 | |
-Where did they come from? -My husband gave them to me. | 0:09:03 | 0:09:07 | |
-My late husband. -Lucky you! | 0:09:07 | 0:09:08 | |
They bring back very good memories, but there does come a time | 0:09:08 | 0:09:13 | |
when you have to let go a bit. | 0:09:13 | 0:09:14 | |
Are these all or...? | 0:09:14 | 0:09:16 | |
No, I've got very many rings. | 0:09:16 | 0:09:19 | |
Did you wear them? Presumably. | 0:09:19 | 0:09:21 | |
Yes, I did. I wore them to many functions. | 0:09:21 | 0:09:23 | |
-He took me out quite a lot as well. -Showed you a night on the town! | 0:09:23 | 0:09:27 | |
There's some really nice ones here. | 0:09:27 | 0:09:29 | |
There are three on 18-carat gold, so he's obviously bought quality. You're a lucky woman! | 0:09:29 | 0:09:34 | |
These front three here have all got diamonds in. | 0:09:34 | 0:09:37 | |
This one is a sapphire and diamond one. That's just on 9-carat gold. | 0:09:37 | 0:09:43 | |
Clusterings like this flowerhead-type cluster | 0:09:43 | 0:09:46 | |
went out of fashion a little bit over the past few years, | 0:09:46 | 0:09:50 | |
but because of the Royal marriage | 0:09:50 | 0:09:53 | |
they've had a bit of a resurgence really in fashion. | 0:09:53 | 0:09:56 | |
It just shows how the Royals are still setting the trends. | 0:09:56 | 0:10:01 | |
Ten years ago, that would be quite hard to sell, | 0:10:01 | 0:10:04 | |
but it's become a lot more easy to sell now. | 0:10:04 | 0:10:06 | |
So I would say, maybe try these three. | 0:10:06 | 0:10:09 | |
Individually, they don't have very large diamonds. | 0:10:09 | 0:10:12 | |
There are a couple of solitaires, | 0:10:12 | 0:10:14 | |
but the largest is about a third of a carat. | 0:10:14 | 0:10:16 | |
This one has an illusion setting, which means it's a small diamond, | 0:10:16 | 0:10:21 | |
but they've put a setting in platinum | 0:10:21 | 0:10:24 | |
around the outside with little cuts in it. | 0:10:24 | 0:10:26 | |
It sort of catches the light and tricks the eye | 0:10:26 | 0:10:29 | |
into thinking the diamond in the middle is bigger than it is. | 0:10:29 | 0:10:32 | |
It's quite cunning. | 0:10:32 | 0:10:33 | |
Absolutely. | 0:10:33 | 0:10:34 | |
I would say, probably put these three in as one lot together | 0:10:34 | 0:10:38 | |
and then put the sapphire as a separate lot. | 0:10:38 | 0:10:41 | |
For these three together, you're probably talking £120-£180. | 0:10:41 | 0:10:45 | |
And maybe the same sort of thing, so 100-150, for the sapphire one. | 0:10:45 | 0:10:50 | |
-Would you want a reserve on that? -Yes, please, I would. | 0:10:50 | 0:10:54 | |
OK. Your reserve needs to be a bit below your low estimate usually. | 0:10:54 | 0:10:59 | |
So maybe put a reserve of £100 on the three, a firm reserve of £100, | 0:10:59 | 0:11:03 | |
-and maybe an £80 reserve on the sapphire. -Right. | 0:11:03 | 0:11:06 | |
Would you be happy with that? | 0:11:06 | 0:11:08 | |
-I'd like £100 on the bigger one, if you don't mind. -OK. | 0:11:08 | 0:11:11 | |
-They're your items. -My husband paid quite a lot of money for it. | 0:11:11 | 0:11:16 | |
-I know it's going back a bit, but he did pay quite a lot. -They're your items. | 0:11:16 | 0:11:19 | |
We can estimate them, | 0:11:19 | 0:11:21 | |
but if you don't want to let it go below a certain point, | 0:11:21 | 0:11:24 | |
that's the entire point of a reserve. | 0:11:24 | 0:11:26 | |
-So 100 firm on this one and 100 on the three. -That's lovely. | 0:11:26 | 0:11:29 | |
And estimates a bit higher. | 0:11:29 | 0:11:31 | |
-Brilliant. Thanks for bringing them in. -That's lovely. That's OK. | 0:11:31 | 0:11:34 | |
I might just have a Kate Middleton moment. Will it go? | 0:11:34 | 0:11:37 | |
-Oh, it suits you. -So glad I did my nails! I think so. | 0:11:38 | 0:11:42 | |
-And it's the right size. -My husband will be sweating. There we go. | 0:11:42 | 0:11:46 | |
I'm not allowed to bid in the auction, | 0:11:46 | 0:11:48 | |
but I'm sure lots of people like me will. | 0:11:48 | 0:11:50 | |
Fingers crossed. | 0:11:50 | 0:11:52 | |
We are now halfway through our day | 0:11:53 | 0:11:55 | |
and we've found our first three items to take to auction. | 0:11:55 | 0:11:59 | |
This is where the talking stops and the action begins. | 0:11:59 | 0:12:02 | |
Here's a reminder from our experts of the items we've found so far. | 0:12:02 | 0:12:05 | |
How can you resist that face? | 0:12:05 | 0:12:07 | |
I think he's really sweet and collectors will love him at auction. | 0:12:07 | 0:12:11 | |
I'm hoping he's going to make 50-80, but his condition's not great. | 0:12:11 | 0:12:15 | |
I think somebody will fall in love with him like I have. | 0:12:15 | 0:12:19 | |
Say goodbye, monkey. | 0:12:19 | 0:12:20 | |
Everyone knows I love silver, | 0:12:20 | 0:12:22 | |
so it was great to see this Russian beaker. | 0:12:22 | 0:12:24 | |
I'm going to have some real fun looking up the maker's mark. | 0:12:24 | 0:12:27 | |
Cluster rings like this have been out of fashion, | 0:12:27 | 0:12:30 | |
but I think they will come back in, | 0:12:30 | 0:12:32 | |
so I'm hoping these do really well at auction. | 0:12:32 | 0:12:34 | |
Next to the Thames, we've headed to Greenwich to sell our items. | 0:12:39 | 0:12:44 | |
As you can see, the building is bright red on the outside. | 0:12:44 | 0:12:47 | |
It's bright red inside and it's filling up. | 0:12:47 | 0:12:49 | |
It's a vast space, full of bidders, | 0:12:49 | 0:12:51 | |
hopefully putting their hands up and buying our lots. | 0:12:51 | 0:12:54 | |
The auction is about to start, | 0:12:54 | 0:12:56 | |
but yesterday I caught up with the auctioneer, | 0:12:56 | 0:12:58 | |
the man with the local knowledge, Robert Dodd. | 0:12:58 | 0:13:01 | |
He was generally very enthusiastic about everything, | 0:13:01 | 0:13:04 | |
but he was a little cautious about one of our lots. | 0:13:04 | 0:13:06 | |
This is what he had to say. | 0:13:06 | 0:13:08 | |
Four diamond rings belonging to Elizabeth, | 0:13:10 | 0:13:13 | |
given to her by her late husband. | 0:13:13 | 0:13:16 | |
These came in as two lots. | 0:13:16 | 0:13:18 | |
This was the first lot. | 0:13:18 | 0:13:19 | |
A separate lot by itself. Fixed reserve, £100. | 0:13:19 | 0:13:24 | |
These three came in as one other lot. | 0:13:24 | 0:13:27 | |
You've decided to split these three into separate lots. | 0:13:27 | 0:13:30 | |
That's right. | 0:13:30 | 0:13:33 | |
You can forget about the price of precious metals. | 0:13:33 | 0:13:35 | |
Selling jewellery as an auctioneer, | 0:13:35 | 0:13:37 | |
I look for someone who likes the ring. | 0:13:37 | 0:13:40 | |
-OK. The style. -It's the style. | 0:13:40 | 0:13:42 | |
You've got three rings here. | 0:13:42 | 0:13:44 | |
If I'd have put them in as one lot, | 0:13:44 | 0:13:47 | |
-all day long it would make £100. -OK. | 0:13:47 | 0:13:51 | |
-But... -That was their combined reserve. | 0:13:51 | 0:13:54 | |
But you've got two different size of rings for a start. | 0:13:54 | 0:13:56 | |
You've also got two clusters, which are nice, | 0:13:56 | 0:13:59 | |
and I think they'll do quite well. | 0:13:59 | 0:14:02 | |
This I like. | 0:14:02 | 0:14:04 | |
It was originally bought in Australia in about 1960 something. | 0:14:04 | 0:14:07 | |
I found out from the vendor. | 0:14:07 | 0:14:09 | |
It's got diamonds and sapphire hearts on it. | 0:14:09 | 0:14:12 | |
It had to go on its own. | 0:14:12 | 0:14:14 | |
-We're confident with £100, £150 on that. -A reserve of £100 is fine. | 0:14:14 | 0:14:19 | |
And I think that you're probably looking | 0:14:19 | 0:14:21 | |
at somewhere between maybe £120 and £150 for these. | 0:14:21 | 0:14:26 | |
OK. | 0:14:26 | 0:14:27 | |
I hope! | 0:14:27 | 0:14:29 | |
Let's hope Robert's tactics of splitting the rings up works out. | 0:14:29 | 0:14:33 | |
He's tweaked the estimates to give them the best chance of selling. | 0:14:33 | 0:14:37 | |
Patricia's Steiff monkey's about to go under the hammer. | 0:14:37 | 0:14:41 | |
This little monkey's come out of the loft | 0:14:41 | 0:14:44 | |
and now it's in the auction room. | 0:14:44 | 0:14:46 | |
-It belongs to Tricia. Hopefully, not for much longer. -Hopefully! | 0:14:46 | 0:14:51 | |
Why do you want to sell this? | 0:14:51 | 0:14:52 | |
It wasn't mine. It was just in the loft. | 0:14:52 | 0:14:54 | |
It's been sitting in the cupboard, so... | 0:14:54 | 0:14:56 | |
-You found it in your loft? -Yeah. | 0:14:56 | 0:14:59 | |
-It was my late husband's mother's. -Oh, right. | 0:14:59 | 0:15:01 | |
-I was thinking maybe the previous owners left it there. -No. | 0:15:01 | 0:15:05 | |
Good luck, Kate. Good luck, Patricia. This is it. | 0:15:05 | 0:15:08 | |
Two-tone brown. Lovely little chap. | 0:15:08 | 0:15:12 | |
It's got to start with a bid with me of £22 | 0:15:12 | 0:15:16 | |
on this Steiff monkey. | 0:15:16 | 0:15:18 | |
Looking for 25. I've got 22 on it. | 0:15:18 | 0:15:20 | |
Looking for 25. 26. Eight, I'm out. | 0:15:20 | 0:15:22 | |
£28. Looking for 30. I've got 28. | 0:15:22 | 0:15:26 | |
Oh, phone bid! | 0:15:26 | 0:15:28 | |
Looking for 32. 32. I'll take 34. | 0:15:28 | 0:15:31 | |
I'll take 34 on the phone. 36 in the room. 38, I need. | 0:15:31 | 0:15:35 | |
38, I want. 38. £40 there. Looking for 42. | 0:15:35 | 0:15:41 | |
42 I need. On the phone at 42. | 0:15:41 | 0:15:43 | |
44 in the room. 46, I'll take. | 0:15:43 | 0:15:46 | |
-Room against phone, isn't it? -48. | 0:15:46 | 0:15:49 | |
50, I want. | 0:15:49 | 0:15:50 | |
£50. I'll take 52. Four, I need. | 0:15:52 | 0:15:55 | |
£54, I want. 54. | 0:15:55 | 0:15:57 | |
Six, I want. 56 in the room. | 0:15:57 | 0:16:00 | |
58, I need. 58. | 0:16:00 | 0:16:03 | |
£60, in the room. I'll take 62. | 0:16:03 | 0:16:06 | |
62, I want. 62. 64 in the room. | 0:16:06 | 0:16:09 | |
Not monkeying about, is he?! | 0:16:09 | 0:16:11 | |
66. No? Are we all done? Last time. | 0:16:11 | 0:16:14 | |
On the monkey at £64, on the Steiff. | 0:16:14 | 0:16:18 | |
-£64! -That was good. -That was good, wasn't it? | 0:16:18 | 0:16:20 | |
You were worried to start with. | 0:16:20 | 0:16:22 | |
I was. He was damaged and didn't have his Steiff button. | 0:16:22 | 0:16:25 | |
But he had the look. The come-and-love-me look. | 0:16:25 | 0:16:29 | |
Much better than expected. Someone loved that monkey. | 0:16:29 | 0:16:31 | |
Gillian's silver goblet is ready to go. | 0:16:31 | 0:16:34 | |
Gillian, good luck. | 0:16:34 | 0:16:36 | |
OK? First auction. So many of our owners, it's their first auction. | 0:16:36 | 0:16:41 | |
But first auction with a lovely Russian beaker. You can't beat that! | 0:16:41 | 0:16:44 | |
What is it, Moscow, 1863 or something like that? | 0:16:44 | 0:16:48 | |
We couldn't find the maker on the day, but I have looked it up. | 0:16:48 | 0:16:51 | |
There are two makers using those initials. | 0:16:51 | 0:16:54 | |
One is Ivan Alexeyev, but he's too late. | 0:16:54 | 0:16:57 | |
And the other one, we don't know his name, so we're not much further on! | 0:16:57 | 0:17:01 | |
Did you find out the writing on the top? | 0:17:01 | 0:17:03 | |
-No, I don't think we translated it. -We do know it's £200-£300 | 0:17:03 | 0:17:07 | |
It could go for more. This is it. It's going under the hammer now. | 0:17:07 | 0:17:11 | |
Absolutely stunning piece of Russian silver | 0:17:11 | 0:17:15 | |
and the bid's with me at £140. Looking for 150 on this. | 0:17:15 | 0:17:20 | |
I've got 140 on it. 150. | 0:17:20 | 0:17:23 | |
160 with me. | 0:17:23 | 0:17:26 | |
Looking for 170. I've got 160. I'm looking for 170. | 0:17:26 | 0:17:29 | |
-Are we all done? -It's worth that. | 0:17:29 | 0:17:31 | |
At £160! | 0:17:31 | 0:17:33 | |
The hammer's gone down on 160. We had a fixed reserve at £200. | 0:17:33 | 0:17:38 | |
-So we didn't sell it. -Oh! | 0:17:38 | 0:17:40 | |
Thank goodness there was a reserve. | 0:17:40 | 0:17:42 | |
-Disappointing for your first auction. -Yes. | 0:17:42 | 0:17:44 | |
But it's a rare Russian beaker | 0:17:44 | 0:17:46 | |
and if you bought it in Bond Street, you might be paying £500. | 0:17:46 | 0:17:50 | |
Thank goodness we put that reserve on it. | 0:17:50 | 0:17:53 | |
Has it been a good experience? | 0:17:53 | 0:17:55 | |
-Have you enjoyed yourself? -I thoroughly enjoyed it. -Yes! | 0:17:55 | 0:17:58 | |
-It is a good day out on Flog It! -I loved it. | 0:17:58 | 0:18:00 | |
If you'd like to take part in the show, | 0:18:00 | 0:18:02 | |
come to one of our valuation days. | 0:18:02 | 0:18:04 | |
You can pick up details on our BBC website. | 0:18:04 | 0:18:06 | |
Log on to bbc.co.uk/flog it... | 0:18:06 | 0:18:10 | |
Follow the links. All the information is there. | 0:18:10 | 0:18:12 | |
And, hopefully, we're coming to a town very near you soon. | 0:18:12 | 0:18:16 | |
Well, the goblet didn't sell. | 0:18:18 | 0:18:20 | |
But will Elizabeth's diamond ring stand a better chance? | 0:18:20 | 0:18:25 | |
Diamonds are a girl's best friend | 0:18:25 | 0:18:26 | |
and we have four coming up right now. | 0:18:26 | 0:18:28 | |
They belong to Elizabeth. Originally in two lots. | 0:18:28 | 0:18:31 | |
One really nice one | 0:18:31 | 0:18:33 | |
you valued separately, which is kept separate. | 0:18:33 | 0:18:36 | |
The other three, the auctioneer has decided to split up. | 0:18:36 | 0:18:39 | |
Yesterday, he said he thinks the others are quality as well. | 0:18:39 | 0:18:43 | |
They're all nice, yeah. | 0:18:43 | 0:18:44 | |
And we could fly through that estimate. Fingers crossed. | 0:18:44 | 0:18:48 | |
The jewellery buyers are here today, so hopefully they'll go. | 0:18:48 | 0:18:51 | |
It's going under the hammer right now. Good luck. | 0:18:51 | 0:18:54 | |
First, a vintage, 18-carat, white gold, lady's solitaire-style ring | 0:18:55 | 0:19:00 | |
with a diamond stone. | 0:19:00 | 0:19:02 | |
Absolutely stunning little lot. | 0:19:02 | 0:19:04 | |
The bid's with me straight away at £38 only on this ring. | 0:19:04 | 0:19:08 | |
Looking for 40. I've got 38 on it. | 0:19:08 | 0:19:11 | |
Looking for 40. 40 I've got. Looking for 42. | 0:19:11 | 0:19:14 | |
Are we all done? 42, it's at. Looking for 45. | 0:19:14 | 0:19:17 | |
I've got 42. Are we all done? Last time. | 0:19:17 | 0:19:20 | |
At £42! | 0:19:20 | 0:19:23 | |
42. The first one's gone. | 0:19:23 | 0:19:24 | |
Vintage, 18-carat gold, lady's solitaire-style ring | 0:19:24 | 0:19:28 | |
with a diamond stone. | 0:19:28 | 0:19:31 | |
Bid is with me on that at £30. | 0:19:31 | 0:19:34 | |
Looking for 32 on that one. I've got 30 on it. | 0:19:34 | 0:19:37 | |
Two, four, five, eight. 40, I'm out. Looking for 42. | 0:19:37 | 0:19:42 | |
42 there. Looking for 45. I've got 42 here. | 0:19:42 | 0:19:45 | |
Are we all done? Last time. At £42! | 0:19:45 | 0:19:49 | |
Two down, two more to go. | 0:19:49 | 0:19:52 | |
Mid-20th-century, 18-carat gold, diamond ring | 0:19:52 | 0:19:57 | |
with a sapphire, heart-shaped stone and platinum shank. | 0:19:57 | 0:20:00 | |
Size "K". Absolutely sweet little ring this. | 0:20:00 | 0:20:03 | |
And the bid's with me at only £38 on it. | 0:20:03 | 0:20:06 | |
40. Two. Five. Eight. 50. I'm out. Looking for 52? | 0:20:06 | 0:20:10 | |
I've got £50. Are we all done? | 0:20:10 | 0:20:12 | |
52 there. 55. | 0:20:12 | 0:20:14 | |
58. £60, I want. | 0:20:14 | 0:20:17 | |
£60, I've got. 62. | 0:20:18 | 0:20:20 | |
Looking for 65. Are we all done? Last time. | 0:20:20 | 0:20:23 | |
-It's a good result. -At £62! | 0:20:23 | 0:20:25 | |
Three down. One more to go. | 0:20:25 | 0:20:27 | |
Good, stunning, vintage, | 0:20:27 | 0:20:30 | |
lady's, diamond cluster ring with a beautiful sapphire stone. | 0:20:30 | 0:20:35 | |
I like this one. The Kate Middleton ring. | 0:20:35 | 0:20:37 | |
OK, the bid is with me at £85 only on this ring. Looking for 90. | 0:20:37 | 0:20:42 | |
Five with me. | 0:20:42 | 0:20:43 | |
Looking for 100 on this ring. I've got 95. | 0:20:43 | 0:20:47 | |
100, I'm out. Looking for 105. I've got 100. | 0:20:47 | 0:20:50 | |
Looking for 105. Are we all done? Last time. | 0:20:50 | 0:20:53 | |
At £100! | 0:20:53 | 0:20:55 | |
-£100. Well done, Elizabeth. -Thank you very much. -Well done, Kate. | 0:20:55 | 0:20:59 | |
-That was good. It was the right decision. -Good result. | 0:20:59 | 0:21:03 | |
-That makes a grand total of £246. -Wow! | 0:21:03 | 0:21:07 | |
-I'm very happy with that. -You are, aren't you? | 0:21:07 | 0:21:09 | |
-I am, yes. -Oh, wonderful! | 0:21:09 | 0:21:10 | |
And I'm very glad to have been here. It's been a wonderful experience. | 0:21:10 | 0:21:15 | |
-It's been a pleasure meeting you. -Thank you. | 0:21:15 | 0:21:17 | |
Splitting the rings up separately paid off. | 0:21:18 | 0:21:21 | |
Now I want to take you on a journey around one of London's most famous landmarks. | 0:21:21 | 0:21:26 | |
St Paul's Cathedral - | 0:21:42 | 0:21:43 | |
there's no denying that is a beautiful building, | 0:21:43 | 0:21:47 | |
especially when you view it from the Millennium Bridge. | 0:21:47 | 0:21:50 | |
You get an uninterrupted view. | 0:21:50 | 0:21:53 | |
The only one left between those two modern pieces of architecture. | 0:21:53 | 0:21:57 | |
This is my favourite building in London. I can't wait to explore it. | 0:21:57 | 0:22:01 | |
To do that, we need to get to the heart of the building. | 0:22:01 | 0:22:03 | |
I know today we can barely scratch the surface of its history, | 0:22:03 | 0:22:08 | |
but let's make a start somewhere. | 0:22:08 | 0:22:10 | |
There's been a place of worship devoted to St Paul | 0:22:13 | 0:22:15 | |
on this site, north of the River Thames, ever since the year 604. | 0:22:15 | 0:22:19 | |
This is, in fact, the fourth cathedral to be built on the site. | 0:22:19 | 0:22:24 | |
It's just celebrated its 300-year anniversary. | 0:22:24 | 0:22:27 | |
As part of the festivities and essential maintenance, | 0:22:27 | 0:22:30 | |
it's had a thorough clean inside and outside. | 0:22:30 | 0:22:33 | |
So come with me. Let's take a closer look inside. | 0:22:33 | 0:22:36 | |
This panel of stonework | 0:22:43 | 0:22:44 | |
is an example that's been left to show you | 0:22:44 | 0:22:47 | |
how dirty the building has got over the last 300 years. | 0:22:47 | 0:22:51 | |
It's not surprising with the pollution in London. | 0:22:51 | 0:22:54 | |
It would have been particularly bad | 0:22:54 | 0:22:56 | |
during the Industrial Revolution and shortly afterwards | 0:22:56 | 0:22:59 | |
with the smog and soot in the air, | 0:22:59 | 0:23:01 | |
penetrating the very fabric of the stone. | 0:23:01 | 0:23:03 | |
And this is what it looks like years later. | 0:23:03 | 0:23:07 | |
The stone has now been cleaned up | 0:23:07 | 0:23:09 | |
at a cost of around £40 million, but it's been given a new lease of life. | 0:23:09 | 0:23:14 | |
The building is starting to breathe again, | 0:23:14 | 0:23:16 | |
so we can appreciate the original vision | 0:23:16 | 0:23:18 | |
of the cathedral's architect, Sir Christopher Wren. | 0:23:18 | 0:23:21 | |
# Gloria, gloria! # | 0:23:21 | 0:23:23 | |
Wren was a clever man, an achiever. | 0:23:23 | 0:23:26 | |
His early projects as an architect included | 0:23:26 | 0:23:29 | |
the Sheldonian Theatre in Oxford | 0:23:29 | 0:23:32 | |
and the Royal Greenwich Observatory. | 0:23:32 | 0:23:35 | |
Both feature a domed design - a trademark element, some might say. | 0:23:35 | 0:23:39 | |
# Gloria, gloria... # | 0:23:42 | 0:23:44 | |
He was commissioned to design a new St Paul's Cathedral in 1668, | 0:23:44 | 0:23:49 | |
two years after the Great Fire of London had destroyed its predecessor. | 0:23:49 | 0:23:53 | |
The process of getting the designs approved took a long time. | 0:23:53 | 0:23:58 | |
This magnificent scale model, which is constructed of oak, | 0:23:59 | 0:24:03 | |
is an incredible six metres in length. | 0:24:03 | 0:24:06 | |
It shows us what Wren had in mind | 0:24:06 | 0:24:08 | |
for the architectural outline of the cathedral | 0:24:08 | 0:24:11 | |
when it was still in its planning stages. | 0:24:11 | 0:24:13 | |
An earlier design was rejected | 0:24:13 | 0:24:15 | |
for featuring a Greek cross as the footprint of the cathedral. | 0:24:15 | 0:24:18 | |
This is another representation of one of his designs. | 0:24:18 | 0:24:21 | |
It really is truly incredible! | 0:24:21 | 0:24:23 | |
He commissioned two joiners to make this. It took them a year. | 0:24:23 | 0:24:27 | |
It cost £650. | 0:24:27 | 0:24:29 | |
Now that is a staggering amount of money back then. | 0:24:29 | 0:24:33 | |
Equivalent of a very smart London townhouse. | 0:24:33 | 0:24:36 | |
And quite fittingly, this model is known as the "Great Model". | 0:24:36 | 0:24:41 | |
I'm admiring the level of craftsmanship | 0:24:45 | 0:24:48 | |
that has gone into this. | 0:24:48 | 0:24:49 | |
Take a closer look. | 0:24:49 | 0:24:51 | |
In there, you can just see the incredible amount of work. | 0:24:51 | 0:24:56 | |
I'm surprised it only took a year for two men. | 0:24:56 | 0:24:59 | |
These guys have created a work of art | 0:24:59 | 0:25:02 | |
that historians and architects are still marvelling at centuries later. | 0:25:02 | 0:25:07 | |
This model's design was turned down by the dean and chapter. | 0:25:10 | 0:25:15 | |
So it wasn't until 1675 that a new warrant design was given the Royal seal of approval. | 0:25:15 | 0:25:20 | |
If it took seven years to get the plans approved, | 0:25:20 | 0:25:23 | |
how long do you think it took to build it? | 0:25:23 | 0:25:26 | |
This building project took 35 years from start to finish. | 0:25:30 | 0:25:35 | |
Although the cathedral was open to the public halfway through, in 1697, | 0:25:35 | 0:25:40 | |
there were tweaks and changes made to the design | 0:25:40 | 0:25:43 | |
until its completion in 1710. | 0:25:43 | 0:25:45 | |
Wren by then was an old man, | 0:25:45 | 0:25:48 | |
but was still heavily involved. | 0:25:48 | 0:25:50 | |
He was even winched up to the higher floors, | 0:25:50 | 0:25:53 | |
so he could inspect the latter stages of construction. | 0:25:53 | 0:25:56 | |
I've been wanting to show you this. | 0:25:57 | 0:25:59 | |
Up here in the Whispering Gallery, | 0:25:59 | 0:26:01 | |
you can appreciate the complexity and skill | 0:26:01 | 0:26:03 | |
of Wren's design for the dome. | 0:26:03 | 0:26:06 | |
When you look up there, towards the windows, | 0:26:06 | 0:26:08 | |
or should I say the heavens? | 0:26:08 | 0:26:11 | |
You just gravitate upwards and look up there in amazement | 0:26:11 | 0:26:15 | |
and wonder how these craftsmen managed to construct | 0:26:15 | 0:26:18 | |
such a huge architectural feature. | 0:26:18 | 0:26:21 | |
The inner height of the dome is 225 feet. | 0:26:21 | 0:26:24 | |
There are three tiers to this construction. | 0:26:24 | 0:26:27 | |
The inner one, which we're looking at now. | 0:26:27 | 0:26:30 | |
Then there's a middle one, a supporting brick skin, | 0:26:30 | 0:26:33 | |
and the outer layer, | 0:26:33 | 0:26:34 | |
which is a construction of wood covered in lead. | 0:26:34 | 0:26:36 | |
That's what's visible from the London skyline. | 0:26:36 | 0:26:39 | |
Add all that together | 0:26:39 | 0:26:40 | |
and it's an incredible 64,000 tonnes in weight. | 0:26:40 | 0:26:44 | |
There's a more quirky feature to this mezzanine balcony. | 0:26:48 | 0:26:52 | |
It's called the Whispering Gallery. | 0:26:52 | 0:26:53 | |
Because if you sit here and whisper something facing the wall, | 0:26:53 | 0:26:58 | |
your voice will travel all around there. | 0:26:58 | 0:27:02 | |
Somebody over the other side there, | 0:27:02 | 0:27:05 | |
which is a distance of 100 feet, will be able to hear it. | 0:27:05 | 0:27:08 | |
And I know it works, | 0:27:08 | 0:27:09 | |
because as a young lad I came here on a school trip and tried it out. | 0:27:09 | 0:27:13 | |
Once the fabric of the building had been agreed, | 0:27:20 | 0:27:23 | |
the pressure was on to make the interior as impressive. | 0:27:23 | 0:27:26 | |
Hidden from public view is this mind-boggling geometric staircase, | 0:27:26 | 0:27:30 | |
used by the dean of the cathedral. | 0:27:30 | 0:27:32 | |
In the heart of the building is the choir, | 0:27:32 | 0:27:36 | |
which features an impressive organ with over 7,000 pipes, | 0:27:36 | 0:27:40 | |
as well as exquisite decorations | 0:27:40 | 0:27:42 | |
by respected woodcarver to the Royals, Grinling Gibbons. | 0:27:42 | 0:27:47 | |
There have been many modifications to the cathedral | 0:27:47 | 0:27:49 | |
over the last 300 years since it was finished. | 0:27:49 | 0:27:52 | |
That's mainly due to national events, | 0:27:52 | 0:27:54 | |
like the funeral of Lord Nelson | 0:27:54 | 0:27:56 | |
and the marriage of Prince Charles to Lady Diana. | 0:27:56 | 0:27:59 | |
Other leading monarchs have wished to leave their mark on this incredible building. | 0:27:59 | 0:28:04 | |
So what we see today here, looking in the nave, | 0:28:04 | 0:28:06 | |
isn't exactly how Wren's work would have been when he finished it. | 0:28:06 | 0:28:11 | |
A century later, | 0:28:11 | 0:28:13 | |
when Queen Victoria came to visit, | 0:28:13 | 0:28:15 | |
she was said to be not too impressed with the interior decor. | 0:28:15 | 0:28:19 | |
It was rather dreary. | 0:28:19 | 0:28:22 | |
As a result of that visit, this is what you see today - | 0:28:22 | 0:28:26 | |
wonderful, brightly-coloured mosaics in the inner dome | 0:28:26 | 0:28:29 | |
and along the surfaces of the nave, | 0:28:29 | 0:28:31 | |
drawing your eye right down there into that perspective. | 0:28:31 | 0:28:36 | |
Mosaics depicting prophets and saints and gilding everywhere. | 0:28:36 | 0:28:39 | |
Not just on the images, but on all the architectural details. | 0:28:39 | 0:28:43 | |
Highlighting it, picking it out, | 0:28:43 | 0:28:45 | |
making it dazzle, making it sparkle. | 0:28:45 | 0:28:47 | |
Above all else, | 0:28:56 | 0:28:58 | |
St Paul's Cathedral remains a place of worship | 0:28:58 | 0:29:01 | |
with prayers every hour, several services a day. | 0:29:01 | 0:29:03 | |
It's become a refuge for many people, not just from this country, | 0:29:03 | 0:29:07 | |
but from all over the world. | 0:29:07 | 0:29:08 | |
Sir Christopher Wren paid tribute to the significance of this site | 0:29:08 | 0:29:12 | |
by building this incredible cathedral | 0:29:12 | 0:29:14 | |
and, in turn, the people who come to visit the cathedral can enjoy | 0:29:14 | 0:29:18 | |
his achievements in architecture | 0:29:18 | 0:29:20 | |
and marvel at that ever-familiar dome on the London skyline. | 0:29:20 | 0:29:25 | |
Dulwich College is our learned host for today's programme | 0:29:36 | 0:29:40 | |
and there are plenty of items for our valuers to choose from. | 0:29:40 | 0:29:44 | |
Michael has drummed up a treat from James. | 0:29:44 | 0:29:46 | |
I feel I should beat out a tune on this wonderful drum. | 0:29:46 | 0:29:50 | |
A marvellous thing. Can you tell me where it came from? | 0:29:50 | 0:29:53 | |
Well, it came from the home of one of my wife's aunts. | 0:29:53 | 0:29:58 | |
When she died, we helped to clear the house. | 0:29:58 | 0:30:01 | |
You know what it is, don't you? | 0:30:01 | 0:30:04 | |
I've no idea. To us, we've called it a biscuit barrel. | 0:30:04 | 0:30:08 | |
But it's not really very airtight. | 0:30:08 | 0:30:11 | |
It isn't very airtight, but you're spot on. | 0:30:11 | 0:30:14 | |
It is, strictly speaking, | 0:30:14 | 0:30:16 | |
a novelty biscuit tin. | 0:30:16 | 0:30:18 | |
Simply because it's modelled, very cleverly, as a drum. | 0:30:18 | 0:30:22 | |
It actually doesn't take a lot of work | 0:30:22 | 0:30:24 | |
to turn a standard cylindrical form into a novelty | 0:30:24 | 0:30:29 | |
when you just add this very naive, surface engraving of the tensioners. | 0:30:29 | 0:30:34 | |
You've got this engine-turned... | 0:30:34 | 0:30:36 | |
Actually, a honeycomb, engine-turned ground | 0:30:36 | 0:30:40 | |
to simulate the fabric and, of course, | 0:30:40 | 0:30:42 | |
a little bit of cast cleverness | 0:30:42 | 0:30:45 | |
to have the two strikes as the thumb piece. | 0:30:45 | 0:30:49 | |
If we turn it over, we always have marks. Oh, that's nice. | 0:30:49 | 0:30:53 | |
What we've got are... | 0:30:53 | 0:30:55 | |
-Because it's not solid silver, it's electroplate. -Right. | 0:30:55 | 0:31:00 | |
We've got the electroplate marks for GR Collis. | 0:31:00 | 0:31:03 | |
These other marks are simply fake punches. | 0:31:03 | 0:31:06 | |
So, to the untrained eye, if you were being a nosy visitor, | 0:31:06 | 0:31:11 | |
and you turned it upside down, | 0:31:11 | 0:31:14 | |
you might think it was hallmarked and solid silver. | 0:31:14 | 0:31:17 | |
We've got the retailer's address there, Regent Street, London, | 0:31:17 | 0:31:21 | |
but there are manufacturers in Birmingham as well. | 0:31:21 | 0:31:24 | |
So this was probably made in Birmingham for their London shop. | 0:31:24 | 0:31:29 | |
Any idea of date? | 0:31:29 | 0:31:31 | |
-No idea at all. -I think we can go back to late Victorian. | 0:31:31 | 0:31:36 | |
Really? | 0:31:36 | 0:31:38 | |
This is certainly going to be anywhere from 1890 up to 1910. | 0:31:38 | 0:31:41 | |
It would be the sort of thing that at the end of the Boer War, | 0:31:41 | 0:31:46 | |
if you saw our troops marching back... | 0:31:46 | 0:31:49 | |
With a military theme, 1900, I think this for a recently returned military gentleman | 0:31:49 | 0:31:55 | |
would be the de rigueur biscuit tin. | 0:31:55 | 0:31:57 | |
Right. | 0:31:57 | 0:31:59 | |
Now the thorny question of value. We know it's not solid silver, sadly. | 0:31:59 | 0:32:03 | |
Any idea what a drum-form biscuit tin is worth? | 0:32:03 | 0:32:08 | |
No idea. 60? | 0:32:08 | 0:32:11 | |
60. I think I'm with you there. | 0:32:11 | 0:32:13 | |
I think £60-£100 | 0:32:13 | 0:32:15 | |
is a reasonable figure. | 0:32:15 | 0:32:17 | |
I would put a fixed reserve of £50 on it. | 0:32:17 | 0:32:20 | |
-Right. -And that protects it. | 0:32:20 | 0:32:24 | |
But it is an unusual thing | 0:32:24 | 0:32:27 | |
and the one thing we learn about auctions today | 0:32:27 | 0:32:31 | |
is it's the unusual things that tend to sell well. | 0:32:31 | 0:32:33 | |
Right. | 0:32:33 | 0:32:34 | |
-What about a reserve at 60? -We could do that. | 0:32:34 | 0:32:36 | |
I don't see £10 either way breaking anybody's heart. | 0:32:36 | 0:32:40 | |
Let's give it a go and we'll let the market decide what it's worth. | 0:32:40 | 0:32:45 | |
-Thank you very much for bringing it in. -You're welcome. -Thank you. | 0:32:45 | 0:32:48 | |
It's my turn to value now. | 0:32:48 | 0:32:51 | |
I found Ken and Pat with their lovely watercolour. | 0:32:51 | 0:32:54 | |
This looks interesting. Can you tell me anything about it? | 0:32:54 | 0:32:57 | |
How long have you had it? | 0:32:57 | 0:32:59 | |
I've had it for about ten years. It belonged to my father. | 0:32:59 | 0:33:03 | |
He loved collecting 1930s, 1940s paintings. | 0:33:03 | 0:33:07 | |
I thought it was painted by a man. | 0:33:07 | 0:33:09 | |
I knew he was something to do with the art school. | 0:33:09 | 0:33:12 | |
That's about all I knew about it. | 0:33:12 | 0:33:14 | |
The reason you can't find much about him if you tried looking | 0:33:14 | 0:33:17 | |
is because HE is a SHE. | 0:33:17 | 0:33:19 | |
It's Pegaret Anthony! | 0:33:19 | 0:33:20 | |
It had me going for a minute. | 0:33:20 | 0:33:22 | |
You think Anthony is the Christian name and it's just in reverse order, | 0:33:22 | 0:33:26 | |
like you sometimes see a man's name printed. | 0:33:26 | 0:33:28 | |
But, no, definitely a lady. | 0:33:28 | 0:33:30 | |
Taught at the Central College of Arts and Crafts in London, | 0:33:30 | 0:33:33 | |
where she was a pupil. | 0:33:33 | 0:33:34 | |
She ended up staying and teaching there for 40 years. | 0:33:34 | 0:33:37 | |
She fell in love with the history of costume. | 0:33:37 | 0:33:40 | |
And I think that's coming out here | 0:33:40 | 0:33:44 | |
in this lovely, faded, watercolour, pencil sketch. | 0:33:44 | 0:33:47 | |
Look at all the faces hard at work, concentrating. | 0:33:47 | 0:33:52 | |
They've all got, more or less, the same shaped nose. | 0:33:52 | 0:33:55 | |
Probably gossiping away! | 0:33:55 | 0:33:56 | |
She died in the year 2000, | 0:33:56 | 0:33:58 | |
but funnily enough there are two of her pictures | 0:33:58 | 0:34:00 | |
in the Imperial War Museum. | 0:34:00 | 0:34:03 | |
And upon her death in 2000, | 0:34:03 | 0:34:05 | |
I know that they went and spent a lot of money on more of her work. | 0:34:05 | 0:34:10 | |
Oh, right. | 0:34:10 | 0:34:12 | |
Value wise, | 0:34:12 | 0:34:15 | |
I did a search online of something that sold recently, | 0:34:15 | 0:34:19 | |
about the same size, again with wonderful use of costume, | 0:34:19 | 0:34:24 | |
that whole sort of 1930s period, and that sold for £150 in auction. | 0:34:24 | 0:34:29 | |
So that's a good price guide for this. | 0:34:29 | 0:34:33 | |
I'd be happy with that. | 0:34:33 | 0:34:35 | |
It's not a lot of money for such a nice image. | 0:34:35 | 0:34:38 | |
No, it's not. I do like it very much actually. | 0:34:38 | 0:34:40 | |
I know you won't let it go for anything less | 0:34:40 | 0:34:43 | |
and I don't blame you really. | 0:34:43 | 0:34:45 | |
-So put a fixed reserve on at £150? -Yeah. | 0:34:45 | 0:34:48 | |
-All right. -Thank you very much. | 0:34:48 | 0:34:51 | |
For our final item, Kate's got a flash of red at her table, | 0:34:52 | 0:34:56 | |
brought in by Paul. | 0:34:56 | 0:34:58 | |
-You've brought in a nice vase. What do you know about it? -It's flambe ware. | 0:34:58 | 0:35:02 | |
Yeah. | 0:35:02 | 0:35:03 | |
-Royal Doulton. -Yup. -And by Charles Noke. -Right, OK. | 0:35:03 | 0:35:08 | |
So are you a collector of Doulton? | 0:35:08 | 0:35:10 | |
-I have collected Doulton, yes. -OK. | 0:35:10 | 0:35:14 | |
Where did you get this one from - antiques fair, market? | 0:35:14 | 0:35:17 | |
No, I got it from a charity shop. | 0:35:17 | 0:35:19 | |
-Charity shop! -Yes! -Tell me how much you paid for it. | 0:35:19 | 0:35:23 | |
-I paid £6 for it. -Recently?! | 0:35:23 | 0:35:25 | |
-Recently, yes. -You've got a good eye. | 0:35:25 | 0:35:28 | |
So it just caught your eye and you went for it? | 0:35:28 | 0:35:31 | |
-Yes, I did, yeah. -Wow! | 0:35:31 | 0:35:34 | |
You, presumably, know as much as I do about it. It is Charles Noke. | 0:35:34 | 0:35:37 | |
If we look on the bottom, | 0:35:37 | 0:35:38 | |
we can see he signs his items "Noke" | 0:35:38 | 0:35:41 | |
and, usefully, it says the word "flambe" on the bottom. | 0:35:41 | 0:35:45 | |
It's exactly that - flambe ware. | 0:35:45 | 0:35:46 | |
Charles Noke was a real pioneer. | 0:35:46 | 0:35:50 | |
He joined and he was actually head designer in 1899 at Doulton | 0:35:50 | 0:35:56 | |
and brought these fantastic flambe wares, copying the oriental. | 0:35:56 | 0:35:59 | |
The "sang de boeuf", which is sort of bull's blood, | 0:35:59 | 0:36:02 | |
this very deep red colour. | 0:36:02 | 0:36:04 | |
Basically, he threw everything at this one. | 0:36:04 | 0:36:06 | |
I mean, it's a really interesting piece. | 0:36:06 | 0:36:09 | |
He's got, not just the red, but all these different colours. | 0:36:09 | 0:36:12 | |
There's mossy browny-green here. | 0:36:12 | 0:36:14 | |
There's some yellow, sort of mustard colour. | 0:36:14 | 0:36:17 | |
I'm not sure it entirely works. | 0:36:17 | 0:36:19 | |
Do you like it? | 0:36:19 | 0:36:20 | |
Yeah, I think it's beautiful. | 0:36:20 | 0:36:23 | |
-You think it's great? -Really great, yeah. | 0:36:23 | 0:36:25 | |
It's unusual though. | 0:36:25 | 0:36:27 | |
It only cost you £6. What do you think it's worth? | 0:36:27 | 0:36:30 | |
Do you have any idea? | 0:36:30 | 0:36:32 | |
I've got a fair idea of what it's worth. | 0:36:32 | 0:36:35 | |
Price wise, I think at auction you're probably between £80 and £120. Maybe £100. | 0:36:35 | 0:36:41 | |
Is that the kind of figure you were thinking of? | 0:36:41 | 0:36:44 | |
Yeah. I'd be well pleased to get that. | 0:36:44 | 0:36:48 | |
-That's quite a return on your money for £6. -It is, yeah. | 0:36:48 | 0:36:51 | |
A few words about condition. | 0:36:51 | 0:36:53 | |
Obviously, that does affect the price. | 0:36:53 | 0:36:55 | |
There is a tiny little chip that I've noticed on the top, on the rim, | 0:36:55 | 0:36:59 | |
and also a little chip here, | 0:36:59 | 0:37:02 | |
just there on the body, | 0:37:02 | 0:37:03 | |
but nothing that's going to really deter a bidder. | 0:37:03 | 0:37:06 | |
-Would you want a reserve on it? -Oh, I would, yeah. -Yeah? | 0:37:06 | 0:37:11 | |
-What do you suggest? -70 reserve? | 0:37:11 | 0:37:13 | |
Just below your low estimate. | 0:37:13 | 0:37:15 | |
-Oh, that's a bit low. I thought... -80? -80. | 0:37:15 | 0:37:18 | |
OK. You can have a reserve firm at 80 | 0:37:18 | 0:37:20 | |
and that's the same as your low estimate. | 0:37:20 | 0:37:23 | |
Reserve at 80. | 0:37:23 | 0:37:24 | |
80-120 guide price. | 0:37:24 | 0:37:26 | |
Brilliant. Thank you for bringing it in. | 0:37:26 | 0:37:29 | |
Right, three more items ready to sell, but why were they chosen? | 0:37:31 | 0:37:36 | |
This deserves a place in the sale. | 0:37:36 | 0:37:38 | |
It deserves to sell for the top end of my estimate. | 0:37:38 | 0:37:42 | |
Absolutely love it. | 0:37:42 | 0:37:43 | |
Let's hope this biscuit barrel | 0:37:43 | 0:37:45 | |
drums up some bidding at the auction. | 0:37:45 | 0:37:48 | |
This is a really nice piece of Doulton flambe ware | 0:37:48 | 0:37:51 | |
and it's by Charles Noke, one of the best designers. | 0:37:51 | 0:37:54 | |
I'm hoping it will do well. Maybe top end of the estimate? | 0:37:54 | 0:37:57 | |
Up the road to Greenwich to sell our final items | 0:37:57 | 0:38:00 | |
and Paul's flambe vase is ready to go. | 0:38:00 | 0:38:04 | |
It's a great name in ceramics, Royal Doulton. | 0:38:04 | 0:38:06 | |
A flambe vase belonging to Paul here. | 0:38:06 | 0:38:08 | |
Not for much longer, at £80-£120, Kate. | 0:38:08 | 0:38:11 | |
-I hope so. -It's got to fly away. | 0:38:11 | 0:38:13 | |
Why are you selling this? You're looking very, very nervous. | 0:38:13 | 0:38:17 | |
-I am, yeah. -Are you changing your mind? -No. | 0:38:17 | 0:38:19 | |
You got it from a charity shop. | 0:38:19 | 0:38:21 | |
Good for you. It cost you next to nothing. | 0:38:21 | 0:38:23 | |
Let's see if we can get you a fabulous profit. Here we go. | 0:38:23 | 0:38:27 | |
It's the early 20th-century, Royal Doulton, | 0:38:27 | 0:38:30 | |
classic design, waist-neck spill vase, | 0:38:30 | 0:38:34 | |
in a flambe ware design with artist mark. | 0:38:34 | 0:38:38 | |
Paul looks so worried. | 0:38:38 | 0:38:39 | |
Looking for 80 on the flambe ware. I've got 75. | 0:38:39 | 0:38:43 | |
-It's your first auction, isn't it? -It is. | 0:38:43 | 0:38:45 | |
Yes, I can tell. It's the nerves. | 0:38:45 | 0:38:47 | |
Where's 80. I've got 70... £80. I am out. | 0:38:47 | 0:38:49 | |
-Right, it's sold. -It's sold, yeah. | 0:38:49 | 0:38:51 | |
I've got £80 seated. Looking for 85. Are we all done? | 0:38:51 | 0:38:55 | |
Last time. 85. | 0:38:55 | 0:38:57 | |
Look, I'll take 88 if I have to. | 0:38:57 | 0:39:00 | |
I've got 85. Looking for 88. | 0:39:00 | 0:39:02 | |
Are we all done? Last time standing. | 0:39:02 | 0:39:05 | |
Are you sure? At £85! | 0:39:05 | 0:39:08 | |
-Sold. -It's gone. -Yeah. | 0:39:08 | 0:39:10 | |
-That's a good profit for you as well. -It is! -Yeah! | 0:39:10 | 0:39:13 | |
Now he's smiling, look. Yeah! | 0:39:13 | 0:39:16 | |
From flambe to my find. | 0:39:18 | 0:39:21 | |
Let's watch the Pegaret Anthony painting go under the hammer. | 0:39:21 | 0:39:25 | |
-Pat and Ken, it's good to catch up with you. Are you OK? -Very well. | 0:39:25 | 0:39:28 | |
We're about to sell this wonderful Pegaret Anthony work of art. | 0:39:28 | 0:39:33 | |
And it is quality, isn't it?. Let's find out what the bidders think. | 0:39:33 | 0:39:37 | |
Ladies working in a clothes factory. | 0:39:37 | 0:39:40 | |
Dated 1943. Signed by the artist. | 0:39:40 | 0:39:43 | |
It's a lovely, lovely lot this. | 0:39:43 | 0:39:45 | |
And the bid's with me at £130. | 0:39:45 | 0:39:49 | |
Looking for 140. It's worth all of this. 145. | 0:39:49 | 0:39:53 | |
£150, I'm out. | 0:39:53 | 0:39:56 | |
-Looking for 160. -It's selling. | 0:39:56 | 0:39:58 | |
I've got 150 on this. Are we all done on this watercolour? | 0:39:58 | 0:40:02 | |
Last time. I'll sell it at £150. | 0:40:02 | 0:40:05 | |
It's gone. It went on the reserve. | 0:40:05 | 0:40:07 | |
Yeah, yeah. | 0:40:07 | 0:40:09 | |
I'd like to have seen the top end and so would you have done. | 0:40:09 | 0:40:13 | |
Yes, I would have because I did like it that painting. | 0:40:13 | 0:40:16 | |
We tried our hardest. | 0:40:16 | 0:40:17 | |
I am a bit disappointed with that, but it was still within estimate. | 0:40:17 | 0:40:22 | |
Just how will James' drum biscuit tin fare? | 0:40:22 | 0:40:26 | |
The auctioneer's certainly banging them out today, | 0:40:26 | 0:40:29 | |
which brings us nicely to our next lot. | 0:40:29 | 0:40:31 | |
I'm standing next to James and next up is that silver-plate drum, | 0:40:31 | 0:40:34 | |
the biscuit tin. | 0:40:34 | 0:40:36 | |
-Why are you selling this? -It's not really used. | 0:40:36 | 0:40:38 | |
It's just been wrapped up in a black cloth, keeping it out of daylight. | 0:40:38 | 0:40:43 | |
-Have you given up the biscuits as well? -Oh, not a chance! | 0:40:43 | 0:40:47 | |
You've got to have a few custard creams with your cup of tea! | 0:40:47 | 0:40:51 | |
You can't give up the biscuits, Paul. | 0:40:51 | 0:40:53 | |
I speak as a man who has tried on many occasions. | 0:40:53 | 0:40:57 | |
It's a mid-19th-century silver-plate biscuit tin in the form of... | 0:40:57 | 0:41:02 | |
Biscuit tin, ice bucket, in the form of a drum | 0:41:02 | 0:41:06 | |
with the engine-turned relief marks. | 0:41:06 | 0:41:08 | |
GR Collis & Co, 130 Regent Street, London. | 0:41:08 | 0:41:12 | |
Absolutely stunning lot this. | 0:41:12 | 0:41:14 | |
It's got to start with a bid with me of £60. | 0:41:14 | 0:41:18 | |
-£60. -Oh, just in! | 0:41:18 | 0:41:20 | |
Looking for 65 on this drum. | 0:41:20 | 0:41:23 | |
Where's 65? £70. 75. 80. | 0:41:23 | 0:41:26 | |
Five. 90 here. 95. | 0:41:26 | 0:41:29 | |
100. And 10. | 0:41:29 | 0:41:31 | |
And 20. And 30. | 0:41:31 | 0:41:33 | |
140. 150. | 0:41:33 | 0:41:35 | |
160 here. | 0:41:35 | 0:41:37 | |
170. 180. | 0:41:37 | 0:41:39 | |
-They love it, don't they? -That is good. | 0:41:39 | 0:41:41 | |
200 here. Looking for 210. | 0:41:41 | 0:41:44 | |
210, I need. On the phone at 210. | 0:41:44 | 0:41:46 | |
Phone bids. Excellent. | 0:41:46 | 0:41:48 | |
230, I want. 230 on the phone. 240 here. | 0:41:48 | 0:41:51 | |
Looking for 250. | 0:41:51 | 0:41:53 | |
-260 here. Looking for 270. -Gosh! | 0:41:53 | 0:41:57 | |
270. 280 here. Looking for 290. 300. | 0:41:57 | 0:42:01 | |
They think it's silver, do they, Michael? | 0:42:01 | 0:42:04 | |
The market for electroplate has obviously recovered. | 0:42:04 | 0:42:07 | |
Looking for 350. 360 here... | 0:42:07 | 0:42:10 | |
It's flying away. 370. | 0:42:10 | 0:42:13 | |
380. | 0:42:13 | 0:42:14 | |
400 here in the room. | 0:42:14 | 0:42:18 | |
Looking for 410. 410, I need. 420 here. | 0:42:18 | 0:42:21 | |
Looking for 430. | 0:42:21 | 0:42:22 | |
I wonder if it's going into some sort of military collection. | 0:42:22 | 0:42:26 | |
-We're in Greenwich, aren't we? -450 on the telephone. | 0:42:26 | 0:42:30 | |
-450 - what have we missed? -470. | 0:42:30 | 0:42:33 | |
480 in the room. | 0:42:33 | 0:42:35 | |
Looking for 490. | 0:42:35 | 0:42:37 | |
500 here in the room. | 0:42:37 | 0:42:39 | |
I'm shaking. I'm shivering. | 0:42:39 | 0:42:41 | |
-It's beyond any... -Comprehension! -I am gobsmacked. | 0:42:41 | 0:42:45 | |
540 in the room. Looking for 550. | 0:42:46 | 0:42:48 | |
540! | 0:42:48 | 0:42:50 | |
560... | 0:42:50 | 0:42:51 | |
Bless, Michael, he's normally so rhetorical | 0:42:51 | 0:42:54 | |
and he's so reticent right now. | 0:42:54 | 0:42:56 | |
-The words aren't flowing, are they? -I'm stunned. | 0:42:56 | 0:42:59 | |
600 here in the room. Looking for 610. | 0:42:59 | 0:43:02 | |
£610! | 0:43:04 | 0:43:05 | |
Are we all done? Last time. | 0:43:05 | 0:43:07 | |
At £600 on the drum! | 0:43:07 | 0:43:10 | |
Bang! | 0:43:10 | 0:43:12 | |
£600. | 0:43:12 | 0:43:13 | |
-That is... -Crumbs! -..absolutely amazing. | 0:43:13 | 0:43:16 | |
We're just going to see biscuit tins on Flog It! from now on. | 0:43:16 | 0:43:19 | |
We'll see every biscuit tin in the country. | 0:43:19 | 0:43:22 | |
Are you happy with that, James? | 0:43:22 | 0:43:24 | |
That's amazing. | 0:43:24 | 0:43:25 | |
What wonderful result | 0:43:25 | 0:43:27 | |
and a perfect end to a wonderful day here in Greenwich. | 0:43:27 | 0:43:30 | |
I hope you've enjoyed the show. I told you there was a surprise. | 0:43:30 | 0:43:33 | |
Join us again soon for many more. But for now, it's cheerio! | 0:43:33 | 0:43:36 | |
Subtitles by Red Bee Media Ltd | 0:43:54 | 0:43:57 | |
E-mail [email protected] | 0:43:57 | 0:44:01 |