Paul Martin, Kate Bateman and Michael Baggott visit Dulwich College in south London, where Michael has to sort through a collection of Clarice Cliff.
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Today's show comes from Dulwich College in the suburbs of south London.
I've got a great feeling about today's programme. Just look at the size of the queue!
Welcome to Flog It!
In the early part of the 17th century,
a successful actor and businessman, Edward Alleyn, founded Dulwich College.
One of the most famous students was Sir Ernest Shackleton.
This is the very lifeboat he used to rescue several members
of his stranded crew back in 1916. It's called the James Caird.
Surely his achievements must inspire today's students.
I'm wondering if anything of great historical note is going to turn up today.
On the look-out for rare finds are our team of experts
led today by Michael Baggott
and Kate Bateman.
Michael hails from Birmingham where he works as a consultant
and sometimes a detective, identifying antique mysteries.
It's a monkey teapot.
That's what my mother calls me, an ugly monkey.
-That's a dog, isn't it?
-That's a dog!
Kate is from Stamford in Lincolnshire, where she's a valuer,
asking all the important questions.
-Where are they from? They're probably...
-A boot sale.
-Not from a boot sale!
-Are you ready to go in, everyone?
-Let's do it.
On today's show, straight talking is top of the agenda from Michael...
You've made me break my golden Flog It rule -
-I don't do Clarice Cliff.
-That makes two of us!
What did you pay back then?
One would rather not say!
..and even our auctioneer, Robert.
Three guys in a pub talking about a marrow!
Where are you going to get another one?
Michael's already invited Hazel out of the queue
with her teapot and over to his table.
Hazel, what a curious little teapot. I was drawn to this
-in the queue outside when you showed it to me. You said it was?
A monkey. But I'm certain it's a little pug
-which is good news because dogs are very collectable.
-Are you a dog lover?
-I am, yes.
-Is that how this got into your...
-No, it was given to me by an employer years ago
in a box of bits and pieces.
-I always wondered from the marks on the back what it was.
It's a good place to start with porcelain. Look at the marks.
-In this case we've got the cover, and that's got a pattern number, 1261.
If we look at the back of this now,
there we've got 1261 on the base, so they do go together.
And we've got the factory mark there and the depose mark, the French patent mark.
-Sadly, I can't tell you which French factory it is.
There are hundreds, if not thousands, of small factories working in and around Paris and Limoges.
-It's good to know it's French.
-We can't pin it down.
But I can tell you the date.
These little, amusing anthropomorphic pieces that you get
tend to be about 1890, up to about 1900, 1910.
But this is a charming little thing
and to someone that has an interest in pugs and pug-type dogs,
I'd imagine this is quite a rare little thing.
So any idea, when you were given this, of how much it might be worth?
Um, no, not at all.
I think normally, if this wasn't in the form of a dog
and was just an 1890s, French, thinly moulded teapot,
-you might be looking at £1.
-They're that common and of no value.
The novelty factor always enhances the value of antiques.
-So I think if we're sensible and say 20 to £40.
And just hope there are two people that really love pugs there on the day
-and decide they can't live without it.
-If you're happy, we'll put a reserve of £20 on it.
-And keep our fingers crossed.
Now the animal teapot's identity has been verified,
it's time for a bit of art.
I've found a curious painting brought in by Pat.
Pat, I don't know who Clifford Frost was, but he had a jolly good sense of humour!
-I think so, too.
-Don't you? He sums up the very Englishness
about the 1930s and 1940s early British 20th-century modern.
-Don't you think?
-Yes, I do.
-Three guys in the pub,
with their pints, looking at the marrow, saying, "Mine's bigger than yours!"
-All gardeners, yes.
Look at this chap looking down, going...
I think it's fabulous. Absolutely fabulous.
It's such a shame there's no relative works that have sold.
I can't find any form on the artist, I have no information.
So I really think he's a very competent amateur.
-Which does devalue it slightly.
Where did the painting come from?
It belonged to my father. He was a collector of 1930s, '40s paintings.
I don't know where he got it from, before that.
When you talk about early 20th-century modern, you look at artists with humour,
British School, people like Stanley Spencer, the guy from Cookham,
and he paints people in the local pub, in his village
and there's a sense of humour with a sense of religion.
Here is a sense of humour with a sense of gardening!
But still with real people down the local pub.
It's brilliant. Absolutely brilliant.
-Any idea of value, though?
-It's worth a lot more than that.
There's nothing on the back. Absolutely nothing.
I think it's one of those classic 80 to 120s.
-See what happens.
-Put a reserve on of £60.
-We know we're going to sell it.
-It could struggle and get away at the bottom end
-or surprise us and get away at the top end and do 120 to 160.
-That would be nice.
-I'm up for it if you are!
-Yes, definitely. I'd be very happy.
Kate is joined by collector Mark, and his group of Stoke-made crested Goss china.
-You've brought some Goss in.
-What do you know about this?
-The lot on the table are pre-1920s.
You've got a scent bottle,
-you've got the...
-The leek. I love the leek.
An unusual combination. We've got a Welsh shape here
and a Portuguese flag. That's cool.
-And local interest.
-Local interest in Lewisham.
Excellent. And quite an unusual one down the front. What's this one?
That's a Portland vase with the crest of HMS Bellerophon - you can say it better than me!
Bellerophon, is it?
Bellerophon. I happen to know that is a battleship in the Battle of Trafalgar.
Obviously a very famous battle. And we are selling at Greenwich
which has a fine naval and maritime history, with the Maritime Museum.
That's quite an interesting piece. We've got local history,
and some unusual bits.
I like, of all of them, this bit.
-It's such an unusual shape.
-That's a butterfly-handled vase.
-Because it has...
It's quite a weird one, actually.
I quite like it. It looks more like Belleek or something like that.
-Irish. But they are all Goss.
-Is this all of your collection?
-No, I have 1,700 pieces.
-So why these particular ones?
Have you got doubles? Or don't like them?
They're pieces that don't fit into my theme.
The Welsh leek does, but it doesn't have a Welsh crest.
So I'm not too worried about that.
Any idea price-wise?
-Price-wise, about 150 to 200.
-For the whole lot?
-You've got nine items here. That doesn't seem bad. £10 apiece, something like that.
I think you're about right. Would you have a reserve a bit lower,
or a firm 150 reserve?
A bit of leeway from the low estimate. I think that's do-able.
Let's say fixed reserve of 120. Estimate of 150 to 200.
What would you do with the money? Silly question, I'm guessing more Goss investment.
More Goss, or I'll go out for a nice slap-up meal.
Slap-up meal. OK.
-You don't think there's a point where 1,700 is too much Goss?
Never too much!
Well, we're now half-way through our day with our first three items to take to auction.
You could say this is where the talking stops and the action begins!
Here's a quick reminder from our experts of the items we've found so far.
It's a slightly psychotic-looking pug,
but somebody will love this teapot.
Mark has pared down his enormous collection of 1,700 items
so he won't miss these nine!
Hopefully we'll have a Welsh military Goss collector at the auction that might go for them. Hope they sell.
If you're interested in fine art and you don't own any,
to make an investment of around £100 to buy this
is absolutely no money and a great starting point.
That's why it's going into auction. Something like that will put a smile on your face.
We're selling our items at Greenwich auctions
where auctioneer Robert Dodd has adjusted our estimates to give them the best chance of selling.
And now it's time to get cracking!
Everybody at home is watching this, pouring a cup of tea and thinking what are we going to sell?
Well, we're selling that pug dog teapot, with a blue glaze.
Not a lot of money. 20 to £40. Hopefully, the top end.
-Why are you selling it?
-I'm starting to declutter. Starting small!
They're all decluttering, Michael. Start small!
In a very gradual way. A very small teapot.
It's not of fantastic quality, but it leapt out at me in the queue.
When do you see a pug wearing a French beret?
-There are plenty of teapot collectors about.
You know who you are. And plenty of dog fanatics.
Combine that and hopefully we'll have a good result. Let's find out.
A nice lot, this.
A nice early pug teapot.
A nice little white hat cover.
Absolutely superb, this.
The bid's with me at £18 only. 20. Two. Five. I'm out.
Looking for 28. 28. I'll be back.
-Be patient. 28. £30.
-The collectors are going mad.
38. £40. 42.
45. 48. 50. And five.
-60. No? Are you coming in at 65?
Are we all done?
Last time. Are you sure? At £60 on the pug teapot.
-Over top estimate. £60. Pugs away! How about that?
-Got to be happy?
-First experience a happy one!
It's au revoir to the French teapot and hello to the English Goss collection.
Next, I've been joined by Mark, selling nine pieces of Goss.
-He's not too bothered, because at home you have?
1,700 pieces of Goss! He could be the definitive Goss expert!
-There's plenty of us!
-You know your market.
-We do, indeed.
Are you confident about what we'll get here? Top end?
-I would hope to get the fixed reserve.
-Fixed reserve at least.
-I'm pretty sure we'll do that.
-I'm bowing to the expert knowledge
cos he knows more about it than I do.
Going under the hammer now.
Nice collection of Goss. A good lot.
And the bid's with me straightaway
I'm looking for 110 on these items. I've got 100. 110.
120. 130. 140.
-Looking for 150.
I've got 140. Are we all done on these Goss items? Last time.
Hammer's gone down at 140.
-I'm happy with that.
-He's happy with that.
-Very, very happy.
That was a great result for the Goss,
but will the marrow painting do as well?
Now for my favourite lot of the day, Pat's oil painting.
Three gentlemen with the big marrow.
The auctioneer gave me a wink on it. He liked it.
-He said somebody in America was interested in it.
-Hopefully we get the top end and more. This is it.
Lot 200. Absolutely stunning oil painting, this.
-He's selling things really well for us. Bless him, he's good!
Typical 1930s, three guys in a pub
talking about a marrow!
Not being funny. Where would you get another one?
And the bid's with me at £60 on this.
Looking for 65. I've got 60.
-Five. 70 here.
-A bid in the room.
Five I need. 80 here.
85. 90 here. 95. 100. And ten.
120 here. 130. 140.
Looking for 150. 150.
Looking for 170. Are we all done? Last time.
On the three guys and a marrow. At £160.
-160, yes! That's a good result.
-Good, isn't it?
I think someone's got themselves a lovely piece of art work.
It's been good news all round for our first three owners,
but you can never second-guess a sale.
Keep watching for more later.
This isn't a silent film, and yes, we're filming in glorious colour and high definition.
I'm also proud to say I've been part of the British film industry.
For two years after leaving college, I worked at Pinewood Studios in the prop and set department.
So I know what goes on, all the hard work, behind the scenes.
I'm pleased to say that this creative work produced by the major production companies
and the independent film-maker is appreciated by the British Film Institute.
First, I should explain what it does and why I'm here.
In 1933, the British Film Institute was launched,
followed two years later by an archive that would save films
and, years later, television programmes
as an important part of our cultural heritage.
A large hi-tech cinema was built on London's South Bank
to show films for 1951's Festival of Britain.
When the temporary cinema was demolished, a new one was built in 1957 under Waterloo Bridge.
It was visited over the years by famous names like director John Ford and Sir Laurence Olivier.
In 2007, a revamped BFI South Bank building threw open its doors
revealing a state-of-the-art treasure house of cinema.
And because of all the famous connections in the film world, it's inevitable
that other media memorabilia is going to end up here,
being archived at the BFI. Things like this.
Promotional packages, scripts, film posters, you name it, they've got it.
This is a nice selection. The 39 Steps, one of my mother's favourite films.
I've watched that in black and white with her.
Here, a promotional package from one of Alfred Hitchcock's silent movies.
All this stuff, in general, is what people would have just thrown away.
The BFI's archive is by no means full,
even with 180,000 movies
and 750,00 TV shows.
But they are on the look-out for missing films,
for reasons that production companies go into bankruptcy
or the film gets destroyed. They're currently seen as lost to the nation.
The search goes on. BFI have a list of the most wanted 75 films
which they hope you, the general public, will help them find
by looking in attics and cellars and turning out the cupboards.
At the top of this list is a film called Mountain Eagle, shot in 1926.
It was only the second movie Alfred Hitchcock directed.
One of our most respected British film directors.
For some reason, there's no known print of it. Unless you've got it at home.
Luckily, there are plenty of prints for us to see here.
Over 1,000 films a year are screened here.
It's also the location of the BFI's London Film Festival.
There are a team of projectionists that work here.
They're skilled in using real film reels as well as the newer digital technology.
Projectionists like Russ, here. Russ.
-Pleased to meet you.
-What are you up to? Lacing up a projector?
-just running a film from the 1930s.
-All these films are shot in 35mm?
Most of the stuff we run is 35. Sometimes it's the larger 70mm.
Also we get a 16mm sometimes, which is a rarity, more the art-house thing.
Is it always as noisy as this?
Yes, sometimes noisier if you have two projectors going or more.
-It can be louder than that. It's a noisy job, but you get used to it.
-I bet you do.
-Are some of the films dangerous?
-Yes, we run seasons with nitrate and so on.
Nitrate is a flammable substance. The light off the projector can make it catch fire
and burn a burning down, so you have to be cautious.
-Are they kept here?
-No, they're kept in Berkhamstead in an external vault.
They're kept in chilled temperatures, a better environment for films.
-I'll let you get on.
-Thank you, nice to meet you.
We've seen how the films are shown. To find out how they're selected,
I'm meeting Simon McCallum, one of the curators.
-Simon, what's your role?
-I'm Mediatheque Curator, one of which we have at South Bank.
We look after nearly a million films and TV programmes in the archive.
So our aim is to get more of those accessible to wider audiences.
How do you choose what's in the archive?
It's tricky. It's a very complex process
because the curators work together with their individual specialisms
to decide what the gaps might be in our collections.
We actively acquire new material as well,
so it's not just caring for past films and TV programmes.
-We'll actively acquire all new British feature films, for instance.
You've got a few clips to show me.
Yes, the first one's one of the earliest British films in the archive.
It's a film of Blackfriars Bridge in 1896.
This is only a year or so after the cinema really came about.
What we're seeing here is people making their way to work.
You can see the advertising on the side of the trams.
People are looking into the camera, thinking, "What's he doing?"
One of the interesting things is that it's a real novelty for people to see a big clunky movie camera.
-People stare when we're filming.
-Exactly. The film crew.
-Marvellous. That's our heritage captured.
-And it's so much more visual.
-You're there, aren't you?
-It's really important for social history
-to see what people were wearing. It comes to life.
The next clip is the heroic age of Polar exploration.
This is one of our major restorations, The Great White Silence.
This is footage shot by Herbert Ponting of the British Antarctic Expedition in 1910 to 1913.
Led, of course, by Captain Scott, who came to a tragic end.
The footage was finally edited into a feature film in the '20s
with added tinting and toning.
What we're seeing here is the before shots before the tinting was recreated.
The colour's been restored from the original notes left by Ponting.
So it's been recreated as per his instructions.
This is fascinating.
It's been a huge boost for us to get this film back out there to people.
This is such an iconic part of British heritage and history.
Lots of penguins. They're very popular.
-Finally, you've got a bit of comedy to show us.
-Some light relief, now.
It's one of my favourite titles in the archive. It's called Daisy Doodad's Dial, from 1914,
starring, written and directed by a lady, Florence Turner,
who was a Hollywood star who came to Britain in the 1910s.
It's basically a gurning competition. Dial is slang for the face. As we will see!
She was really quite a pioneer, Florence Turner.
She went on to work with Buster Keaton in Hollywood, too. She was quite a big star.
-You can learn so much from these archives.
Still funny, 100 years on, something like that.
-Thank you very much.
-My own private viewing!
What a privilege to see those pieces of British cinema.
It shows imagination and creativity have always been strong.
It's technology and what it allows us to do, pushing those creative boundaries.
British film has always been close to my heart
and it's been a real treat to see what the British Film Institute has to offer.
At Dulwich College, we had a fantastic turnout.
Michael's been joined by Christina and surrounded by plates!
Christina, what am I going to do with you? You've made me break my golden Flog It rule.
-I don't do Clarice Cliff.
-That makes two of us!
Where on earth did all this come from?
My father bought this in the mid-'50s.
It's been in the family ever since.
I've had this particular plate on my wall for 30, 35 years.
But the rest has been in a cupboard.
-Do you like it?
-Not really, no.
I must say, for your father to be buying this in the '50s,
-he's really at the forefront, because people were throwing Clarice Cliff away.
They weren't keeping it. You've had this, you've seen the mark. We need to see it.
-This is the one.
-There we go. That's a whopper of a mark. Bizarre by Clarice Cliff.
I like that one best, with the orange. I like that much better.
-This one is the same.
-There's a slight variation there.
With the orange centre and not as many points.
I didn't realise that until I was packing things away
and I saw the centres were different.
-But you've had it over 30 years.
-I know. But I didn't realise it.
-It's two versions of the same pattern.
-I thought it could be.
What I did, interestingly, is look at the dates.
Some of the cups, saucers and plates are dated 1930.
These more vigorous ones
we've got a ten there for October...
1928 was the first year that Clarice Cliff introduced the Bizarre range.
They're very early, then.
They're very early and these are actually called the original Bizarre pattern.
They are the first pattern that she produced.
You can imagine what a breakaway it is when you think of all those chintzy designs and curves,
to produce something like that.
Even I, as a Clarice Cliff detester,
can appreciate the thinking and imagination that's gone in to producing a pattern like this.
Any idea what this set might be worth now?
No, I don't. I think it's about 350-odd.
We'll have to swap places. You'll have to be the expert!
I think because it's two versions of the same pattern,
two different dates,
and we've got bits of a service, I think you're spot on.
-I think let's put 400 to £600 on it.
-A fixed reserve of £350.
And we'll see on the day how many people there are
that, unlike me, do like Clarice Cliff and turn up to bid.
-Thank you very much for bringing it in.
There are still plenty of people to see and items to value.
Kate's found an unusual case with John Eric.
John, you've brought in a rather unprepossessing covered book.
-Let's have a look inside.
-Open it up.
We have some Japanese writing.
Not being fluent in Japanese, I don't know what it says,
but the real gem is when we get a few pages in.
Because... Look at this!
Tell me about this book. Where did you get it? What do you know about it?
I took a flutter on the internet
with some very heavy research,
having bought a few pieces of Japanese textiles - obis and an unfinished kimono.
-The unfinished kimono I made into a waistcoat.
-As you do!
As one does. But what interested me was the overall artwork of the whole folio.
It's absolutely brilliant. It's not hand-painted. It's wood block prints.
-Date-wise, you thought early 20th century.
-Right at the end of the major period in Japan.
These are brilliant. It's like a catalogue of kimonos.
-A kimono catalogue. I presume this was from a shop or dressmaker's?
-That's even embossed as well.
-Yes, embossed paper. They've textured the paper.
-From what I understand from the description I had on the internet,
it was put together by a department store within Kyoto
in order to sell kimonos.
"I want three of these for Sunday and two of those for best."
-The traditional blossom, the good luck cranes, a symbol of the emperor.
They're absolutely beautiful.
It puts catalogue shopping today to absolute shame!
I think they're lovely. It's very hard to price. You bought this recently?
No, it's going eight, ten years ago, thereabouts.
What did you pay back then?
One would rather not say.
OK. Fair enough. You're being very cagey about it.
All right. It's almost too good condition.
I can see it broken up for prints, though that's heartbreaking.
-That's exactly what I bought it for and I couldn't bring myself to it.
-It's too nice.
I think, working value out, that's kind of a way to do it.
Probably if you're thinking 40 to £50 per thing when they're framed up.
Maybe that's the sort of figure. 300, 400, £500, something like that.
What price would you want to put on it as a reserve or estimate?
-I would like to see about £400.
-That being more than you paid for it.
-About what you paid?
-We'll try 400 to 500.
-Hopefully it'll be seen on the internet.
And fingers crossed.
-Thank you for bringing it in. It's gorgeous.
A beautiful book. I bet that'll be snapped up by someone at the auction.
We've just got time for one more item, just up Michael's street.
A glass vase brought in by Jean.
Jean, where did you get this darling little vase from?
-A jumble sale.
I'm going to say, "How much did you pay for it?" But I'm bracing myself.
The were originally charging me 50p.
-But then they decided to charge me 25p.
-Was that under duress?
-No, they just changed their mind!
Sometimes you wish you had a time machine, Jean. I wish I could build one.
-Did you buy it because you liked it or..?
-Something told me it was something special.
-Almost looked Chinesey decorations, but I didn't think it was Chinese.
-You just had a feeling about it.
-It just felt right.
You've actually bought, to my eyes, a really beautiful little glass vase.
If we look at it more carefully, it's sadly not marked
or inscribed in any way.
But you could say that this glass was marked all over
in the way that it's executed.
We've got this beautiful, almost satin glass ground
which has then been dipped in white glass.
Then the whole thing has been carved back on a wheel.
You've just got to take just enough off, just enough,
because that's a very smooth, even surface.
It's a phenomenal bit of work.
Now, it could have been made in France
by a firm such as Galle or Daum.
But if this glass spoke, it would speak with my native accent.
It would say, "Hello, Jean!" Because this is actually from Stourbridge,
which is just outside, on the outskirts of Birmingham.
It was a major centre for glassworking.
This is almost certainly from the workshop of Thomas Webb
who specialised in this immaculate quality cameo glass.
The design we've got, when you first said you thought it was a bit Chinese,
it's actually inspired by Chinese design.
They're called The Three Friends.
You've got cherry blossom, prunus and bamboo.
They're, together, emblematic of long life.
I think in terms of date,
we're possibly as early as 1880
possibly as late as 1890, 1895.
It's survived in miraculously good condition.
Well, has your 25p been a good investment?
I'd like to know!
I think we should be sensible
and put an estimate of 600 to £800 on it.
-With a fixed reserve of £600.
Webb's cameo glass is extremely collectable.
But can I ask you now, after living with it for 30 years,
why are you selling it?
I took early retirement in January
and I've got a houseful of things I've got to start sorting out.
-It's a small step towards it.
-It's a small step in terms of size.
But a big step financially, I hope.
Let's hope for lots of bidders at the sale
and that it really does well.
-Thank you so much.
Right. Time's up for Dulwich.
Let's hear why these three items caught Kate and Michael's attention.
This Clarice Cliff service isn't exactly my cup of tea,
but I think it will appeal to the bidders at the auction.
I really like John's Japanese prints. They're brilliant. They look so modern, but they're 100 years old.
I've come all the way down from Birmingham to London today
but this Stourbridge glass vase has followed me!
Over in Greenwich, I caught up with auctioneer Robert on the preview day
to find out what he thought of Christina's Clarice Cliff collection.
The Clarice Cliff. Christina's father got this in the mid-'50s.
There's a lot of it. We've got ten separate lots here.
You've split them into ten lots rather than keep them as one lot.
I spoke to the lady concerned.
I suggested what I would do if she'd come in and put it over the counter.
There's no sets here. They're a different pattern, for a start.
And in any case, I'm not being funny,
I can't see anyone having a sandwich off one of these plates.
-Bought to be viewed.
-Go on the wall.
We've got a reserve on the whole lot of £350. How will you deal with that?
Look at them as ten individual lots.
The larger plate is 70 to £80. Cup and saucer, 30 to £40.
I asked one of my staff what it added up to and they went, "£350". That's the reserve.
-Separate numbers make up the sum total.
-They make it up.
So if we get a good run at it,
we could see that reserve in three lots.
He knows something!
We'll see how that decision works out later.
But now the moment our owners have been waiting for.
First, will Jean's piece of cameo glass find the right buyer here?
It's Jean's turn next. Let's talk about that cameo glass vase. 600 to £800.
I had a chat to the auctioneer. He agrees with the value,
but possibly the lower end, not top end.
That's fine. But it's that great name Thomas Webb. A great name in English glass.
-And the great thing is, it only cost 25p!
Let's do some recycling! Here we go!
Amber glass cameo bud vase.
A white raised plant and foliage relief.
Attributed to Thomas Webb.
Dated around 1880s.
-It's got to start with a bid with me of £150 on this vase.
160. 70 with me. Looking for 180.
-No commission bids, then.
190 with me.
200. 210 here. Looking for 220.
Are we all done? Last time.
-I'm ever so sorry about that.
-It doesn't matter.
-I'm glad to take it home.
-Can you hear that?
It was Thomas Webb collectors didn't know it was for sale, screaming
at their TV screens!
There are specialist sales for glass in the Stourbridge area.
I think that's... If you want to sell it. If you decide to keep it...
But if you want to sell it, take it to a specialist sale. It's 600 to £800.
-I know I say this a lot, all day long.
What a shame that didn't sell.
But today was not the right day for the cameo vase.
Another specialist item under scrutiny now, John's kimono book.
Next, a really special lot. I like this. It's a folio of kimono samples.
-It belongs to John Eric here.
Quality item. Quality item. Why are you selling it? You bought it on the internet.
I wanted to break it up originally, to frame them.
That's quite a good idea. I mean, that is a good idea.
But too costly because of the way it's put together.
-And I found I didn't have the heart to break them up.
OK. I wonder if anybody else will?
That's probably what a dealer would do, and they'd look good.
-You could enjoy them.
-But someone more hard-hearted.
-I couldn't do it morally.
-You won't have to live with that decision.
It's a quirky lot. It's a lovely thing, really.
Let's find out what the bidders think.
Stunning piece, this.
Late 19th, early 20th-century hand-painted kimono sample folio
with original linen-padded cover.
Absolutely stunning piece of work.
Really proud to get this.
And it's got to start with me
-John Eric, that is just one bid away, isn't it?
-Here we go.
380. 390 here. 400. 410.
420. 430. 440.
-There are some hard-hearted people in the room!
-They'll break it up.
-Anywhere? I've got 450. Looking for 460.
460. 470. 480. 490.
500. 510 here.
520. 530. 540. 550.
Looking for 560 anywhere. Are we all done?
Last time. At £550 on the sample book.
-That's a brilliant result!
-So am I.
I was dubious... I was happy with the value,
but dubious we'd find a buyer here.
It goes to show. If it's quality, people will always find it.
And unusual. It's fired the imagination for somebody.
-Well done, you.
-Thank you very much.
Get yourself comfortable, because Christina's group of Clarice Cliff is going under the hammer.
Not just one lot. We've got ten.
Christina's Clarice Cliff has been split into ten lots.
I had a chat to the auctioneer, as you know.
He thinks it's better to split them because people may be interested in the large plate
or maybe just a cup and saucer.
Fair enough. It gives more collectors a bite at having a piece.
-Your father bought this in the '50s.
-Why are you selling now?
-I don't need it and I don't like it.
-No. There's a lot of people out there
that really love it.
It's going under the hammer now. This is it.
Lot 525 is the first of ten -
I'm not making apologies - collectors' lot, Clarice Cliff items.
And the first one, lot 525, is an original Bizarre pattern nine-inch octagonal plate by Clarice Cliff.
A blue circle centre. The bid's with me.
At £180 on this plate. Looking for 190.
I've got 180. 190. 200 here. Looking for 210 on this plate.
210. 220. Looking for 230.
240 here. Looking for 250.
250. 260 here. Looking for 270.
-Christina, this is ridiculously good for one item!
Are we all done on this plate? At £300.
£300. There's the first one.
That's almost done my valuation for the lot!
Late 1920s, early '30s Art Deco original Bizarre pattern...
Brace yourselves! Fasten the seatbelts!
The bid's with me straightaway at £35.
Looking for 38 on this plate. Are we all done? 38.
£40. 42. 44. 46. 48.
50. Two. 52 with me. Looking for 55.
All done on this plate? At £52!
We've already met the reserve and we've only sold two. Eight more to go!
42. 45. 48.
-50. Two I need.
-You're causing a stir!
£50. Are we all done?
Last time. At £50.
There's 50 on top of that.
Let's have another go, eh? The bid is with me at £35.
42. 45. 48. 50 here.
54 with me. Looking for 56.
56. 58 with me.
-It's pushing and pushing.
-It's all going on in the room.
All done? With me, last time on this plate. £54.
This was Michael's first valuation on Clarice.
I know what you're thinking - "Not again!"
I won't do it again. Not after this. Once is enough!
Go on, have a go. This is a nice one.
58. £60. 62.
Michael's on edge because he's our specialist in metals.
Lovely things from the 16th and 17th century.
I weighed this tea set. I should have done it at scrap!
-I don't know!
-45. 48. £50.
I don't know why they love it so much.
-But they do.
-They do, don't they?
All done? Last time. At £45.
-Are you keeping a tally?
-No, nor am I!
Looking for 62. Are we all done on the cup and saucer?
Last one of the Clarice Cliff Bizarre cup and saucer.
Bid's with me at £50.
Five. £60 with me.
I'll take 61. 62 with me.
Looking at 63. 64. 65.
66. All done at 66? Looking at 67. Have we all done?
At £66 only on the cabinet cup and saucer.
-Oh, that's a noise, Paul.
-What do you think his gavel's made of?
I don't think it's a gavel. It's a carpenter's mallet!
-Christina, that's the end of it.
-That's all ten.
And it's a grand total - I'm looking at a calculator here!
-I can't believe it!
Gosh, what a lovely surprise! What a lovely surprise!
I hope that was a big surprise for you as well.
It's rounded off a wonderful day here in Greenwich.
Christina will go home happy.
Lots of our owners will today.
All credit to our experts and the man on the rostrum. He's done us proud. See you next time!
Subtitles by Red Bee Media Ltd
Presenter Paul Martin and experts Kate Bateman and Michael Baggott visit the impressive Dulwich College in south London, where Michael has to sort through a collection of Clarice Cliff, Kate finds an unusual book of kimono patterns and Paul loves a painting with a quirky subject matter.
And, whilst in London, Paul takes time out to tell the fascinating story of the British Film Institute.