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Today's show comes from Dulwich College in the suburbs of south London. | 0:00:02 | 0:00:07 | |
I've got a great feeling about today's programme. Just look at the size of the queue! | 0:00:07 | 0:00:12 | |
Welcome to Flog It! | 0:00:12 | 0:00:15 | |
In the early part of the 17th century, | 0:00:36 | 0:00:38 | |
a successful actor and businessman, Edward Alleyn, founded Dulwich College. | 0:00:38 | 0:00:44 | |
One of the most famous students was Sir Ernest Shackleton. | 0:00:44 | 0:00:47 | |
This is the very lifeboat he used to rescue several members | 0:00:47 | 0:00:50 | |
of his stranded crew back in 1916. It's called the James Caird. | 0:00:50 | 0:00:55 | |
Surely his achievements must inspire today's students. | 0:00:55 | 0:01:00 | |
I'm wondering if anything of great historical note is going to turn up today. | 0:01:00 | 0:01:06 | |
On the look-out for rare finds are our team of experts | 0:01:07 | 0:01:10 | |
led today by Michael Baggott | 0:01:10 | 0:01:13 | |
and Kate Bateman. | 0:01:13 | 0:01:15 | |
Michael hails from Birmingham where he works as a consultant | 0:01:15 | 0:01:19 | |
and sometimes a detective, identifying antique mysteries. | 0:01:19 | 0:01:23 | |
It's a monkey teapot. | 0:01:23 | 0:01:25 | |
That's what my mother calls me, an ugly monkey. | 0:01:25 | 0:01:27 | |
-That's a dog, isn't it? -Is it? -That's a dog! -Right. | 0:01:27 | 0:01:32 | |
Kate is from Stamford in Lincolnshire, where she's a valuer, | 0:01:32 | 0:01:36 | |
asking all the important questions. | 0:01:36 | 0:01:38 | |
-Where are they from? They're probably... -A boot sale. -Not from a boot sale! | 0:01:38 | 0:01:44 | |
-Are you ready to go in, everyone? -Yes! -Let's do it. | 0:01:47 | 0:01:51 | |
On today's show, straight talking is top of the agenda from Michael... | 0:01:53 | 0:01:58 | |
You've made me break my golden Flog It rule - | 0:01:58 | 0:02:02 | |
-I don't do Clarice Cliff. -That makes two of us! | 0:02:02 | 0:02:04 | |
..from Kate... | 0:02:04 | 0:02:06 | |
What did you pay back then? | 0:02:06 | 0:02:08 | |
One would rather not say! | 0:02:08 | 0:02:10 | |
..and even our auctioneer, Robert. | 0:02:10 | 0:02:12 | |
Three guys in a pub talking about a marrow! | 0:02:12 | 0:02:16 | |
Where are you going to get another one? | 0:02:16 | 0:02:19 | |
Michael's already invited Hazel out of the queue | 0:02:19 | 0:02:23 | |
with her teapot and over to his table. | 0:02:23 | 0:02:25 | |
Hazel, what a curious little teapot. I was drawn to this | 0:02:27 | 0:02:30 | |
-in the queue outside when you showed it to me. You said it was? -A monkey. | 0:02:30 | 0:02:34 | |
A monkey. But I'm certain it's a little pug | 0:02:34 | 0:02:37 | |
-which is good news because dogs are very collectable. -Yes. | 0:02:37 | 0:02:42 | |
-Are you a dog lover? -I am, yes. | 0:02:42 | 0:02:45 | |
-Is that how this got into your... -No, it was given to me by an employer years ago | 0:02:45 | 0:02:49 | |
in a box of bits and pieces. | 0:02:49 | 0:02:52 | |
-Good grief. -I always wondered from the marks on the back what it was. | 0:02:52 | 0:02:57 | |
It's a good place to start with porcelain. Look at the marks. | 0:02:57 | 0:03:00 | |
-In this case we've got the cover, and that's got a pattern number, 1261. -Right. | 0:03:00 | 0:03:08 | |
If we look at the back of this now, | 0:03:08 | 0:03:11 | |
there we've got 1261 on the base, so they do go together. | 0:03:11 | 0:03:15 | |
Right. | 0:03:15 | 0:03:16 | |
And we've got the factory mark there and the depose mark, the French patent mark. | 0:03:16 | 0:03:21 | |
Right. | 0:03:21 | 0:03:23 | |
-Sadly, I can't tell you which French factory it is. -Right. | 0:03:23 | 0:03:27 | |
There are hundreds, if not thousands, of small factories working in and around Paris and Limoges. | 0:03:27 | 0:03:34 | |
-It's good to know it's French. -We can't pin it down. | 0:03:34 | 0:03:37 | |
But I can tell you the date. | 0:03:37 | 0:03:40 | |
These little, amusing anthropomorphic pieces that you get | 0:03:40 | 0:03:44 | |
tend to be about 1890, up to about 1900, 1910. | 0:03:44 | 0:03:48 | |
But this is a charming little thing | 0:03:48 | 0:03:50 | |
and to someone that has an interest in pugs and pug-type dogs, | 0:03:50 | 0:03:56 | |
I'd imagine this is quite a rare little thing. | 0:03:56 | 0:03:58 | |
So any idea, when you were given this, of how much it might be worth? | 0:03:58 | 0:04:02 | |
Um, no, not at all. | 0:04:02 | 0:04:05 | |
I think normally, if this wasn't in the form of a dog | 0:04:05 | 0:04:09 | |
and was just an 1890s, French, thinly moulded teapot, | 0:04:09 | 0:04:13 | |
-you might be looking at £1. -Right. -They're that common and of no value. | 0:04:13 | 0:04:18 | |
The novelty factor always enhances the value of antiques. | 0:04:18 | 0:04:22 | |
-So I think if we're sensible and say 20 to £40. -Right. | 0:04:22 | 0:04:29 | |
And just hope there are two people that really love pugs there on the day | 0:04:29 | 0:04:33 | |
-and decide they can't live without it. -Yes. | 0:04:33 | 0:04:35 | |
-If you're happy, we'll put a reserve of £20 on it. -Right. | 0:04:35 | 0:04:39 | |
-And keep our fingers crossed. -Lovely. Thanks. -Thank you. | 0:04:39 | 0:04:42 | |
Now the animal teapot's identity has been verified, | 0:04:42 | 0:04:46 | |
it's time for a bit of art. | 0:04:46 | 0:04:48 | |
I've found a curious painting brought in by Pat. | 0:04:48 | 0:04:51 | |
Pat, I don't know who Clifford Frost was, but he had a jolly good sense of humour! | 0:04:51 | 0:04:57 | |
-I think so, too. -Don't you? He sums up the very Englishness | 0:04:57 | 0:05:01 | |
about the 1930s and 1940s early British 20th-century modern. | 0:05:01 | 0:05:06 | |
-Don't you think? -Yes, I do. -Three guys in the pub, | 0:05:06 | 0:05:09 | |
with their pints, looking at the marrow, saying, "Mine's bigger than yours!" | 0:05:09 | 0:05:14 | |
-Gardeners, probably. -All gardeners, yes. | 0:05:14 | 0:05:17 | |
Look at this chap looking down, going... | 0:05:17 | 0:05:20 | |
I think it's fabulous. Absolutely fabulous. | 0:05:22 | 0:05:25 | |
It's such a shame there's no relative works that have sold. | 0:05:25 | 0:05:30 | |
I can't find any form on the artist, I have no information. | 0:05:30 | 0:05:33 | |
So I really think he's a very competent amateur. | 0:05:33 | 0:05:38 | |
-Very possibly. -Which does devalue it slightly. -Yes. | 0:05:38 | 0:05:43 | |
Where did the painting come from? | 0:05:43 | 0:05:47 | |
It belonged to my father. He was a collector of 1930s, '40s paintings. | 0:05:47 | 0:05:52 | |
I don't know where he got it from, before that. | 0:05:52 | 0:05:55 | |
When you talk about early 20th-century modern, you look at artists with humour, | 0:05:55 | 0:05:59 | |
British School, people like Stanley Spencer, the guy from Cookham, | 0:05:59 | 0:06:04 | |
and he paints people in the local pub, in his village | 0:06:04 | 0:06:07 | |
and there's a sense of humour with a sense of religion. | 0:06:07 | 0:06:10 | |
Here is a sense of humour with a sense of gardening! | 0:06:10 | 0:06:13 | |
But still with real people down the local pub. | 0:06:13 | 0:06:15 | |
It's brilliant. Absolutely brilliant. | 0:06:15 | 0:06:18 | |
-Any idea of value, though? -About £20! -It's worth a lot more than that. | 0:06:18 | 0:06:24 | |
There's nothing on the back. Absolutely nothing. | 0:06:24 | 0:06:26 | |
I think it's one of those classic 80 to 120s. | 0:06:26 | 0:06:30 | |
-See what happens. -OK. -Put a reserve on of £60. -Yep. | 0:06:30 | 0:06:34 | |
-We know we're going to sell it. -Right. -It could struggle and get away at the bottom end | 0:06:34 | 0:06:39 | |
-or surprise us and get away at the top end and do 120 to 160. -That would be nice. | 0:06:39 | 0:06:44 | |
-I'm up for it if you are! -Yes, definitely. I'd be very happy. | 0:06:44 | 0:06:48 | |
Kate is joined by collector Mark, and his group of Stoke-made crested Goss china. | 0:06:51 | 0:06:56 | |
-Mark, hello. -Hello. -You've brought some Goss in. | 0:06:56 | 0:07:00 | |
-What do you know about this? -The lot on the table are pre-1920s. | 0:07:00 | 0:07:06 | |
You've got a scent bottle, | 0:07:06 | 0:07:08 | |
-you've got the... -The leek. I love the leek. | 0:07:08 | 0:07:11 | |
An unusual combination. We've got a Welsh shape here | 0:07:11 | 0:07:15 | |
and a Portuguese flag. That's cool. | 0:07:15 | 0:07:17 | |
-And local interest. -Local interest in Lewisham. | 0:07:17 | 0:07:21 | |
Excellent. And quite an unusual one down the front. What's this one? | 0:07:21 | 0:07:26 | |
That's a Portland vase with the crest of HMS Bellerophon - you can say it better than me! | 0:07:26 | 0:07:32 | |
Bellerophon, is it? | 0:07:32 | 0:07:34 | |
Bellerophon. I happen to know that is a battleship in the Battle of Trafalgar. | 0:07:34 | 0:07:40 | |
Obviously a very famous battle. And we are selling at Greenwich | 0:07:40 | 0:07:43 | |
which has a fine naval and maritime history, with the Maritime Museum. | 0:07:43 | 0:07:48 | |
That's quite an interesting piece. We've got local history, | 0:07:48 | 0:07:51 | |
and some unusual bits. | 0:07:51 | 0:07:52 | |
I like, of all of them, this bit. | 0:07:52 | 0:07:55 | |
-It's such an unusual shape. -That's a butterfly-handled vase. | 0:07:55 | 0:08:00 | |
-Because it has... -Butterfly handles! | 0:08:00 | 0:08:03 | |
It's quite a weird one, actually. | 0:08:03 | 0:08:05 | |
I quite like it. It looks more like Belleek or something like that. | 0:08:05 | 0:08:09 | |
-Irish. But they are all Goss. -Yes. | 0:08:09 | 0:08:12 | |
-Is this all of your collection? -No, I have 1,700 pieces. -1,700? | 0:08:12 | 0:08:18 | |
-1,700 pieces. -So why these particular ones? | 0:08:18 | 0:08:21 | |
Have you got doubles? Or don't like them? | 0:08:21 | 0:08:23 | |
They're pieces that don't fit into my theme. | 0:08:23 | 0:08:26 | |
The Welsh leek does, but it doesn't have a Welsh crest. | 0:08:26 | 0:08:30 | |
So I'm not too worried about that. | 0:08:30 | 0:08:32 | |
Any idea price-wise? | 0:08:32 | 0:08:34 | |
-Price-wise, about 150 to 200. -For the whole lot? | 0:08:34 | 0:08:39 | |
-Yes. -You've got nine items here. That doesn't seem bad. £10 apiece, something like that. | 0:08:39 | 0:08:44 | |
I think you're about right. Would you have a reserve a bit lower, | 0:08:45 | 0:08:50 | |
or a firm 150 reserve? | 0:08:50 | 0:08:52 | |
-No, 120. -OK. | 0:08:52 | 0:08:54 | |
A bit of leeway from the low estimate. I think that's do-able. | 0:08:54 | 0:08:58 | |
Let's say fixed reserve of 120. Estimate of 150 to 200. | 0:08:58 | 0:09:03 | |
What would you do with the money? Silly question, I'm guessing more Goss investment. | 0:09:03 | 0:09:08 | |
More Goss, or I'll go out for a nice slap-up meal. | 0:09:08 | 0:09:12 | |
Slap-up meal. OK. | 0:09:12 | 0:09:14 | |
-You don't think there's a point where 1,700 is too much Goss? -No. Never. | 0:09:14 | 0:09:19 | |
Never too much! | 0:09:19 | 0:09:20 | |
Well, we're now half-way through our day with our first three items to take to auction. | 0:09:21 | 0:09:28 | |
You could say this is where the talking stops and the action begins! | 0:09:28 | 0:09:32 | |
Here's a quick reminder from our experts of the items we've found so far. | 0:09:32 | 0:09:37 | |
It's a slightly psychotic-looking pug, | 0:09:37 | 0:09:41 | |
but somebody will love this teapot. | 0:09:41 | 0:09:43 | |
Mark has pared down his enormous collection of 1,700 items | 0:09:43 | 0:09:47 | |
so he won't miss these nine! | 0:09:47 | 0:09:49 | |
Hopefully we'll have a Welsh military Goss collector at the auction that might go for them. Hope they sell. | 0:09:49 | 0:09:55 | |
If you're interested in fine art and you don't own any, | 0:09:55 | 0:09:58 | |
to make an investment of around £100 to buy this | 0:09:58 | 0:10:02 | |
is absolutely no money and a great starting point. | 0:10:02 | 0:10:05 | |
That's why it's going into auction. Something like that will put a smile on your face. | 0:10:05 | 0:10:10 | |
We're selling our items at Greenwich auctions | 0:10:10 | 0:10:13 | |
where auctioneer Robert Dodd has adjusted our estimates to give them the best chance of selling. | 0:10:13 | 0:10:19 | |
And now it's time to get cracking! | 0:10:19 | 0:10:21 | |
Everybody at home is watching this, pouring a cup of tea and thinking what are we going to sell? | 0:10:24 | 0:10:29 | |
Well, we're selling that pug dog teapot, with a blue glaze. | 0:10:29 | 0:10:33 | |
Not a lot of money. 20 to £40. Hopefully, the top end. | 0:10:33 | 0:10:36 | |
-Why are you selling it? -I'm starting to declutter. Starting small! | 0:10:36 | 0:10:42 | |
They're all decluttering, Michael. Start small! | 0:10:42 | 0:10:45 | |
In a very gradual way. A very small teapot. | 0:10:45 | 0:10:48 | |
It's not of fantastic quality, but it leapt out at me in the queue. | 0:10:48 | 0:10:52 | |
When do you see a pug wearing a French beret? | 0:10:52 | 0:10:54 | |
-Not often! -There are plenty of teapot collectors about. | 0:10:54 | 0:10:57 | |
You know who you are. And plenty of dog fanatics. | 0:10:57 | 0:11:00 | |
Combine that and hopefully we'll have a good result. Let's find out. | 0:11:00 | 0:11:04 | |
A nice lot, this. | 0:11:06 | 0:11:08 | |
A nice early pug teapot. | 0:11:08 | 0:11:10 | |
A nice little white hat cover. | 0:11:10 | 0:11:12 | |
Absolutely superb, this. | 0:11:12 | 0:11:15 | |
The bid's with me at £18 only. 20. Two. Five. I'm out. | 0:11:15 | 0:11:19 | |
Looking for 28. 28. I'll be back. | 0:11:19 | 0:11:21 | |
-Be patient. 28. £30. -The collectors are going mad. | 0:11:21 | 0:11:24 | |
35. | 0:11:24 | 0:11:25 | |
38. £40. 42. | 0:11:25 | 0:11:28 | |
45. 48. 50. And five. | 0:11:28 | 0:11:31 | |
-Very good. -60. No? Are you coming in at 65? | 0:11:31 | 0:11:34 | |
Are we all done? | 0:11:34 | 0:11:36 | |
Last time. Are you sure? At £60 on the pug teapot. | 0:11:36 | 0:11:41 | |
-Over top estimate. £60. Pugs away! How about that? -Very good. | 0:11:41 | 0:11:45 | |
-Got to be happy? -Yes! -First experience a happy one! | 0:11:45 | 0:11:48 | |
It's au revoir to the French teapot and hello to the English Goss collection. | 0:11:48 | 0:11:53 | |
Next, I've been joined by Mark, selling nine pieces of Goss. | 0:11:55 | 0:12:00 | |
-He's not too bothered, because at home you have? -1,700 pieces. | 0:12:00 | 0:12:04 | |
1,700 pieces of Goss! He could be the definitive Goss expert! | 0:12:04 | 0:12:09 | |
-There's plenty of us! -Are there? | 0:12:09 | 0:12:11 | |
-You know your market. -We do, indeed. | 0:12:11 | 0:12:14 | |
Are you confident about what we'll get here? Top end? | 0:12:14 | 0:12:17 | |
-I would hope to get the fixed reserve. -Fixed reserve at least. | 0:12:17 | 0:12:21 | |
-I'm pretty sure we'll do that. -I'm bowing to the expert knowledge | 0:12:21 | 0:12:25 | |
cos he knows more about it than I do. | 0:12:25 | 0:12:28 | |
Going under the hammer now. | 0:12:28 | 0:12:29 | |
Nice collection of Goss. A good lot. | 0:12:31 | 0:12:34 | |
And the bid's with me straightaway | 0:12:34 | 0:12:37 | |
at £100. | 0:12:37 | 0:12:39 | |
I'm looking for 110 on these items. I've got 100. 110. | 0:12:39 | 0:12:44 | |
120. 130. 140. | 0:12:44 | 0:12:46 | |
-Climbing. -Looking for 150. | 0:12:46 | 0:12:48 | |
I've got 140. Are we all done on these Goss items? Last time. | 0:12:48 | 0:12:52 | |
At £140. | 0:12:52 | 0:12:54 | |
Hammer's gone down at 140. | 0:12:54 | 0:12:57 | |
-I'm happy with that. -He's happy with that. -Sold. -Very, very happy. | 0:12:57 | 0:13:01 | |
That was a great result for the Goss, | 0:13:01 | 0:13:04 | |
but will the marrow painting do as well? | 0:13:04 | 0:13:07 | |
Now for my favourite lot of the day, Pat's oil painting. | 0:13:10 | 0:13:15 | |
Three gentlemen with the big marrow. | 0:13:15 | 0:13:18 | |
The auctioneer gave me a wink on it. He liked it. | 0:13:18 | 0:13:21 | |
-Very good. -He said somebody in America was interested in it. -Really? | 0:13:21 | 0:13:26 | |
-Yeah. -Wow. -Hopefully we get the top end and more. This is it. | 0:13:26 | 0:13:30 | |
Lot 200. Absolutely stunning oil painting, this. | 0:13:31 | 0:13:35 | |
-Stunning! -He's selling things really well for us. Bless him, he's good! | 0:13:35 | 0:13:40 | |
Typical 1930s, three guys in a pub | 0:13:40 | 0:13:44 | |
talking about a marrow! | 0:13:44 | 0:13:46 | |
Not being funny. Where would you get another one? | 0:13:48 | 0:13:51 | |
And the bid's with me at £60 on this. | 0:13:53 | 0:13:57 | |
Looking for 65. I've got 60. | 0:13:57 | 0:13:59 | |
-Five. 70 here. -A bid in the room. | 0:13:59 | 0:14:02 | |
Five I need. 80 here. | 0:14:02 | 0:14:04 | |
85. 90 here. 95. 100. And ten. | 0:14:04 | 0:14:09 | |
120 here. 130. 140. | 0:14:09 | 0:14:12 | |
Looking for 150. 150. | 0:14:12 | 0:14:14 | |
160 here. | 0:14:14 | 0:14:15 | |
Looking for 170. Are we all done? Last time. | 0:14:15 | 0:14:19 | |
On the three guys and a marrow. At £160. | 0:14:20 | 0:14:24 | |
-160, yes! That's a good result. -Fantastic. -Good, isn't it? -Really good. | 0:14:24 | 0:14:29 | |
I think someone's got themselves a lovely piece of art work. | 0:14:29 | 0:14:32 | |
It's been good news all round for our first three owners, | 0:14:32 | 0:14:37 | |
but you can never second-guess a sale. | 0:14:37 | 0:14:40 | |
Keep watching for more later. | 0:14:40 | 0:14:42 | |
This isn't a silent film, and yes, we're filming in glorious colour and high definition. | 0:15:09 | 0:15:15 | |
I'm also proud to say I've been part of the British film industry. | 0:15:15 | 0:15:18 | |
For two years after leaving college, I worked at Pinewood Studios in the prop and set department. | 0:15:18 | 0:15:23 | |
So I know what goes on, all the hard work, behind the scenes. | 0:15:23 | 0:15:27 | |
I'm pleased to say that this creative work produced by the major production companies | 0:15:27 | 0:15:32 | |
and the independent film-maker is appreciated by the British Film Institute. | 0:15:32 | 0:15:36 | |
First, I should explain what it does and why I'm here. | 0:15:36 | 0:15:40 | |
In 1933, the British Film Institute was launched, | 0:15:41 | 0:15:44 | |
followed two years later by an archive that would save films | 0:15:44 | 0:15:48 | |
and, years later, television programmes | 0:15:48 | 0:15:51 | |
as an important part of our cultural heritage. | 0:15:51 | 0:15:53 | |
A large hi-tech cinema was built on London's South Bank | 0:15:56 | 0:16:00 | |
to show films for 1951's Festival of Britain. | 0:16:00 | 0:16:03 | |
When the temporary cinema was demolished, a new one was built in 1957 under Waterloo Bridge. | 0:16:03 | 0:16:10 | |
It was visited over the years by famous names like director John Ford and Sir Laurence Olivier. | 0:16:10 | 0:16:16 | |
In 2007, a revamped BFI South Bank building threw open its doors | 0:16:19 | 0:16:25 | |
revealing a state-of-the-art treasure house of cinema. | 0:16:25 | 0:16:28 | |
And because of all the famous connections in the film world, it's inevitable | 0:16:28 | 0:16:34 | |
that other media memorabilia is going to end up here, | 0:16:34 | 0:16:37 | |
being archived at the BFI. Things like this. | 0:16:37 | 0:16:40 | |
Promotional packages, scripts, film posters, you name it, they've got it. | 0:16:40 | 0:16:46 | |
This is a nice selection. The 39 Steps, one of my mother's favourite films. | 0:16:46 | 0:16:50 | |
I've watched that in black and white with her. | 0:16:50 | 0:16:53 | |
Here, a promotional package from one of Alfred Hitchcock's silent movies. | 0:16:53 | 0:16:57 | |
All this stuff, in general, is what people would have just thrown away. | 0:16:57 | 0:17:01 | |
The BFI's archive is by no means full, | 0:17:11 | 0:17:14 | |
even with 180,000 movies | 0:17:14 | 0:17:17 | |
and 750,00 TV shows. | 0:17:17 | 0:17:21 | |
But they are on the look-out for missing films, | 0:17:21 | 0:17:24 | |
for reasons that production companies go into bankruptcy | 0:17:24 | 0:17:27 | |
or the film gets destroyed. They're currently seen as lost to the nation. | 0:17:27 | 0:17:32 | |
The search goes on. BFI have a list of the most wanted 75 films | 0:17:33 | 0:17:39 | |
which they hope you, the general public, will help them find | 0:17:39 | 0:17:42 | |
by looking in attics and cellars and turning out the cupboards. | 0:17:42 | 0:17:46 | |
At the top of this list is a film called Mountain Eagle, shot in 1926. | 0:17:46 | 0:17:51 | |
It was only the second movie Alfred Hitchcock directed. | 0:17:51 | 0:17:54 | |
One of our most respected British film directors. | 0:17:54 | 0:17:58 | |
For some reason, there's no known print of it. Unless you've got it at home. | 0:17:58 | 0:18:03 | |
Luckily, there are plenty of prints for us to see here. | 0:18:07 | 0:18:10 | |
Over 1,000 films a year are screened here. | 0:18:21 | 0:18:24 | |
It's also the location of the BFI's London Film Festival. | 0:18:24 | 0:18:28 | |
There are a team of projectionists that work here. | 0:18:28 | 0:18:31 | |
They're skilled in using real film reels as well as the newer digital technology. | 0:18:31 | 0:18:36 | |
Projectionists like Russ, here. Russ. | 0:18:36 | 0:18:38 | |
-Hello. -Hiya. -Pleased to meet you. | 0:18:38 | 0:18:41 | |
-What are you up to? Lacing up a projector? -Yes, | 0:18:41 | 0:18:44 | |
-just running a film from the 1930s. -All these films are shot in 35mm? | 0:18:44 | 0:18:48 | |
Most of the stuff we run is 35. Sometimes it's the larger 70mm. | 0:18:48 | 0:18:51 | |
Also we get a 16mm sometimes, which is a rarity, more the art-house thing. | 0:18:51 | 0:18:56 | |
Is it always as noisy as this? | 0:18:56 | 0:18:59 | |
Yes, sometimes noisier if you have two projectors going or more. | 0:18:59 | 0:19:03 | |
-It can be louder than that. It's a noisy job, but you get used to it. -I bet you do. | 0:19:03 | 0:19:08 | |
-Are some of the films dangerous? -Yes, we run seasons with nitrate and so on. | 0:19:10 | 0:19:15 | |
Nitrate is a flammable substance. The light off the projector can make it catch fire | 0:19:15 | 0:19:20 | |
and burn a burning down, so you have to be cautious. | 0:19:20 | 0:19:23 | |
-Are they kept here? -No, they're kept in Berkhamstead in an external vault. | 0:19:23 | 0:19:27 | |
They're kept in chilled temperatures, a better environment for films. | 0:19:27 | 0:19:32 | |
-I'll let you get on. -Thank you, nice to meet you. | 0:19:32 | 0:19:34 | |
We've seen how the films are shown. To find out how they're selected, | 0:19:37 | 0:19:42 | |
I'm meeting Simon McCallum, one of the curators. | 0:19:42 | 0:19:45 | |
-Simon, what's your role? -I'm Mediatheque Curator, one of which we have at South Bank. | 0:19:47 | 0:19:53 | |
We look after nearly a million films and TV programmes in the archive. | 0:19:53 | 0:19:58 | |
So our aim is to get more of those accessible to wider audiences. | 0:19:58 | 0:20:03 | |
How do you choose what's in the archive? | 0:20:03 | 0:20:06 | |
It's tricky. It's a very complex process | 0:20:06 | 0:20:08 | |
because the curators work together with their individual specialisms | 0:20:08 | 0:20:12 | |
to decide what the gaps might be in our collections. | 0:20:12 | 0:20:16 | |
We actively acquire new material as well, | 0:20:16 | 0:20:19 | |
so it's not just caring for past films and TV programmes. | 0:20:19 | 0:20:22 | |
-We'll actively acquire all new British feature films, for instance. -Marvellous. | 0:20:22 | 0:20:27 | |
You've got a few clips to show me. | 0:20:27 | 0:20:30 | |
Yes, the first one's one of the earliest British films in the archive. | 0:20:30 | 0:20:34 | |
It's a film of Blackfriars Bridge in 1896. | 0:20:34 | 0:20:37 | |
This is only a year or so after the cinema really came about. | 0:20:37 | 0:20:42 | |
What we're seeing here is people making their way to work. | 0:20:47 | 0:20:50 | |
You can see the advertising on the side of the trams. | 0:20:50 | 0:20:55 | |
People are looking into the camera, thinking, "What's he doing?" | 0:20:55 | 0:20:58 | |
One of the interesting things is that it's a real novelty for people to see a big clunky movie camera. | 0:20:58 | 0:21:04 | |
-But today... -People stare when we're filming. -Exactly. The film crew. | 0:21:04 | 0:21:08 | |
-Marvellous. That's our heritage captured. -And it's so much more visual. | 0:21:08 | 0:21:14 | |
-You're there, aren't you? -It's really important for social history | 0:21:14 | 0:21:18 | |
-to see what people were wearing. It comes to life. -What's next? | 0:21:18 | 0:21:23 | |
The next clip is the heroic age of Polar exploration. | 0:21:23 | 0:21:26 | |
This is one of our major restorations, The Great White Silence. | 0:21:26 | 0:21:30 | |
This is footage shot by Herbert Ponting of the British Antarctic Expedition in 1910 to 1913. | 0:21:33 | 0:21:41 | |
Led, of course, by Captain Scott, who came to a tragic end. | 0:21:41 | 0:21:45 | |
The footage was finally edited into a feature film in the '20s | 0:21:45 | 0:21:49 | |
with added tinting and toning. | 0:21:49 | 0:21:53 | |
What we're seeing here is the before shots before the tinting was recreated. | 0:21:53 | 0:21:59 | |
The colour's been restored from the original notes left by Ponting. | 0:21:59 | 0:22:03 | |
So it's been recreated as per his instructions. | 0:22:03 | 0:22:08 | |
This is fascinating. | 0:22:08 | 0:22:11 | |
It's been a huge boost for us to get this film back out there to people. | 0:22:11 | 0:22:15 | |
This is such an iconic part of British heritage and history. | 0:22:15 | 0:22:20 | |
Incredible. | 0:22:20 | 0:22:21 | |
Lots of penguins. They're very popular. | 0:22:23 | 0:22:26 | |
-Finally, you've got a bit of comedy to show us. -Some light relief, now. | 0:22:31 | 0:22:36 | |
It's one of my favourite titles in the archive. It's called Daisy Doodad's Dial, from 1914, | 0:22:36 | 0:22:42 | |
starring, written and directed by a lady, Florence Turner, | 0:22:42 | 0:22:45 | |
who was a Hollywood star who came to Britain in the 1910s. | 0:22:45 | 0:22:50 | |
It's basically a gurning competition. Dial is slang for the face. As we will see! | 0:22:50 | 0:22:56 | |
She was really quite a pioneer, Florence Turner. | 0:23:13 | 0:23:16 | |
She went on to work with Buster Keaton in Hollywood, too. She was quite a big star. | 0:23:16 | 0:23:21 | |
-You can learn so much from these archives. -You can. | 0:23:24 | 0:23:27 | |
Still funny, 100 years on, something like that. | 0:23:27 | 0:23:30 | |
-Thank you very much. -My pleasure. -My own private viewing! | 0:23:30 | 0:23:33 | |
What a privilege to see those pieces of British cinema. | 0:23:38 | 0:23:41 | |
It shows imagination and creativity have always been strong. | 0:23:41 | 0:23:45 | |
It's technology and what it allows us to do, pushing those creative boundaries. | 0:23:45 | 0:23:51 | |
British film has always been close to my heart | 0:23:51 | 0:23:54 | |
and it's been a real treat to see what the British Film Institute has to offer. | 0:23:54 | 0:23:58 | |
At Dulwich College, we had a fantastic turnout. | 0:24:10 | 0:24:12 | |
Michael's been joined by Christina and surrounded by plates! | 0:24:12 | 0:24:16 | |
Christina, what am I going to do with you? You've made me break my golden Flog It rule. | 0:24:16 | 0:24:23 | |
-I don't do Clarice Cliff. -That makes two of us! | 0:24:23 | 0:24:26 | |
Where on earth did all this come from? | 0:24:27 | 0:24:30 | |
My father bought this in the mid-'50s. | 0:24:30 | 0:24:32 | |
It's been in the family ever since. | 0:24:32 | 0:24:35 | |
I've had this particular plate on my wall for 30, 35 years. | 0:24:35 | 0:24:39 | |
But the rest has been in a cupboard. | 0:24:39 | 0:24:42 | |
-Do you like it? -Not really, no. | 0:24:42 | 0:24:45 | |
I must say, for your father to be buying this in the '50s, | 0:24:45 | 0:24:48 | |
-he's really at the forefront, because people were throwing Clarice Cliff away. -I know. | 0:24:48 | 0:24:54 | |
They weren't keeping it. You've had this, you've seen the mark. We need to see it. | 0:24:54 | 0:24:59 | |
-This is the one. -There we go. That's a whopper of a mark. Bizarre by Clarice Cliff. | 0:24:59 | 0:25:06 | |
I like that one best, with the orange. I like that much better. | 0:25:06 | 0:25:11 | |
-This one is the same. -There's a slight variation there. | 0:25:11 | 0:25:14 | |
With the orange centre and not as many points. | 0:25:14 | 0:25:19 | |
I didn't realise that until I was packing things away | 0:25:19 | 0:25:22 | |
and I saw the centres were different. | 0:25:22 | 0:25:24 | |
-But you've had it over 30 years. -I know. But I didn't realise it. | 0:25:24 | 0:25:28 | |
-It's two versions of the same pattern. -I thought it could be. | 0:25:28 | 0:25:32 | |
What I did, interestingly, is look at the dates. | 0:25:32 | 0:25:35 | |
Some of the cups, saucers and plates are dated 1930. | 0:25:35 | 0:25:39 | |
These more vigorous ones | 0:25:39 | 0:25:42 | |
we've got a ten there for October... | 0:25:42 | 0:25:46 | |
-..1928. -Oh. | 0:25:47 | 0:25:49 | |
1928 was the first year that Clarice Cliff introduced the Bizarre range. | 0:25:49 | 0:25:54 | |
They're very early, then. | 0:25:54 | 0:25:56 | |
They're very early and these are actually called the original Bizarre pattern. | 0:25:56 | 0:26:02 | |
They are the first pattern that she produced. | 0:26:02 | 0:26:05 | |
You can imagine what a breakaway it is when you think of all those chintzy designs and curves, | 0:26:05 | 0:26:13 | |
to produce something like that. | 0:26:13 | 0:26:16 | |
Even I, as a Clarice Cliff detester, | 0:26:16 | 0:26:18 | |
can appreciate the thinking and imagination that's gone in to producing a pattern like this. | 0:26:18 | 0:26:24 | |
Any idea what this set might be worth now? | 0:26:24 | 0:26:28 | |
No, I don't. I think it's about 350-odd. | 0:26:28 | 0:26:32 | |
We'll have to swap places. You'll have to be the expert! | 0:26:32 | 0:26:36 | |
I think because it's two versions of the same pattern, | 0:26:36 | 0:26:39 | |
two different dates, | 0:26:39 | 0:26:40 | |
and we've got bits of a service, I think you're spot on. | 0:26:40 | 0:26:44 | |
-Oh. -I think let's put 400 to £600 on it. | 0:26:44 | 0:26:49 | |
-A fixed reserve of £350. -Right. | 0:26:49 | 0:26:52 | |
And we'll see on the day how many people there are | 0:26:52 | 0:26:55 | |
that, unlike me, do like Clarice Cliff and turn up to bid. | 0:26:55 | 0:26:59 | |
-Thank you. -Thank you very much for bringing it in. -Thank you. | 0:26:59 | 0:27:03 | |
There are still plenty of people to see and items to value. | 0:27:03 | 0:27:07 | |
Kate's found an unusual case with John Eric. | 0:27:07 | 0:27:09 | |
John, you've brought in a rather unprepossessing covered book. | 0:27:10 | 0:27:14 | |
-Let's have a look inside. -Open it up. | 0:27:14 | 0:27:16 | |
We have some Japanese writing. | 0:27:16 | 0:27:19 | |
Not being fluent in Japanese, I don't know what it says, | 0:27:19 | 0:27:22 | |
but the real gem is when we get a few pages in. | 0:27:22 | 0:27:25 | |
Because... Look at this! | 0:27:25 | 0:27:28 | |
Tell me about this book. Where did you get it? What do you know about it? | 0:27:28 | 0:27:32 | |
I took a flutter on the internet | 0:27:34 | 0:27:35 | |
with some very heavy research, | 0:27:35 | 0:27:38 | |
having bought a few pieces of Japanese textiles - obis and an unfinished kimono. | 0:27:38 | 0:27:45 | |
-The unfinished kimono I made into a waistcoat. -As you do! | 0:27:45 | 0:27:48 | |
As one does. But what interested me was the overall artwork of the whole folio. | 0:27:48 | 0:27:54 | |
It's absolutely brilliant. It's not hand-painted. It's wood block prints. | 0:27:54 | 0:27:58 | |
-Date-wise, you thought early 20th century. -Yeah. | 0:27:58 | 0:28:05 | |
-So 1912. -Thereabouts. -Right at the end of the major period in Japan. | 0:28:05 | 0:28:09 | |
These are brilliant. It's like a catalogue of kimonos. | 0:28:09 | 0:28:13 | |
-A kimono catalogue. I presume this was from a shop or dressmaker's? -Yes. | 0:28:13 | 0:28:19 | |
-That's even embossed as well. -Yes, embossed paper. They've textured the paper. | 0:28:19 | 0:28:25 | |
-Great. -From what I understand from the description I had on the internet, | 0:28:25 | 0:28:29 | |
it was put together by a department store within Kyoto | 0:28:29 | 0:28:32 | |
in order to sell kimonos. | 0:28:32 | 0:28:33 | |
"I want three of these for Sunday and two of those for best." | 0:28:33 | 0:28:38 | |
-Exactly. -The traditional blossom, the good luck cranes, a symbol of the emperor. | 0:28:38 | 0:28:44 | |
They're absolutely beautiful. | 0:28:44 | 0:28:47 | |
It puts catalogue shopping today to absolute shame! | 0:28:47 | 0:28:51 | |
I think they're lovely. It's very hard to price. You bought this recently? | 0:28:51 | 0:28:56 | |
No, it's going eight, ten years ago, thereabouts. | 0:28:56 | 0:29:00 | |
What did you pay back then? | 0:29:00 | 0:29:03 | |
One would rather not say. | 0:29:04 | 0:29:06 | |
OK. Fair enough. You're being very cagey about it. | 0:29:06 | 0:29:10 | |
All right. It's almost too good condition. | 0:29:10 | 0:29:13 | |
I can see it broken up for prints, though that's heartbreaking. | 0:29:13 | 0:29:17 | |
-That's exactly what I bought it for and I couldn't bring myself to it. -It's too nice. | 0:29:17 | 0:29:22 | |
I think, working value out, that's kind of a way to do it. | 0:29:22 | 0:29:26 | |
Probably if you're thinking 40 to £50 per thing when they're framed up. | 0:29:26 | 0:29:32 | |
Maybe that's the sort of figure. 300, 400, £500, something like that. | 0:29:32 | 0:29:36 | |
What price would you want to put on it as a reserve or estimate? | 0:29:36 | 0:29:39 | |
-I would like to see about £400. -OK. | 0:29:39 | 0:29:43 | |
-That being more than you paid for it. -Yes. -About what you paid? | 0:29:43 | 0:29:47 | |
-We'll try 400 to 500. -Yeah. -Hopefully it'll be seen on the internet. | 0:29:47 | 0:29:51 | |
And fingers crossed. | 0:29:51 | 0:29:53 | |
-Thank you for bringing it in. It's gorgeous. -My pleasure. -Thank you. | 0:29:53 | 0:29:57 | |
A beautiful book. I bet that'll be snapped up by someone at the auction. | 0:29:57 | 0:30:02 | |
We've just got time for one more item, just up Michael's street. | 0:30:02 | 0:30:07 | |
A glass vase brought in by Jean. | 0:30:07 | 0:30:10 | |
Jean, where did you get this darling little vase from? | 0:30:10 | 0:30:14 | |
-A jumble sale. -Not recently. | 0:30:14 | 0:30:17 | |
-1980-ish. -1980. | 0:30:17 | 0:30:19 | |
I'm going to say, "How much did you pay for it?" But I'm bracing myself. | 0:30:19 | 0:30:23 | |
The were originally charging me 50p. | 0:30:23 | 0:30:25 | |
-Originally? -But then they decided to charge me 25p. | 0:30:25 | 0:30:29 | |
-Was that under duress? -No, they just changed their mind! | 0:30:29 | 0:30:32 | |
Sometimes you wish you had a time machine, Jean. I wish I could build one. | 0:30:32 | 0:30:37 | |
-Did you buy it because you liked it or..? -Something told me it was something special. | 0:30:37 | 0:30:42 | |
-Really? -Almost looked Chinesey decorations, but I didn't think it was Chinese. | 0:30:42 | 0:30:47 | |
-You just had a feeling about it. -It just felt right. | 0:30:47 | 0:30:51 | |
You've actually bought, to my eyes, a really beautiful little glass vase. | 0:30:51 | 0:30:57 | |
If we look at it more carefully, it's sadly not marked | 0:30:57 | 0:31:01 | |
or inscribed in any way. | 0:31:01 | 0:31:02 | |
But you could say that this glass was marked all over | 0:31:02 | 0:31:05 | |
in the way that it's executed. | 0:31:05 | 0:31:07 | |
We've got this beautiful, almost satin glass ground | 0:31:07 | 0:31:12 | |
which has then been dipped in white glass. | 0:31:12 | 0:31:15 | |
Then the whole thing has been carved back on a wheel. | 0:31:15 | 0:31:19 | |
You've just got to take just enough off, just enough, | 0:31:19 | 0:31:23 | |
because that's a very smooth, even surface. | 0:31:23 | 0:31:26 | |
It's a phenomenal bit of work. | 0:31:26 | 0:31:28 | |
Now, it could have been made in France | 0:31:28 | 0:31:32 | |
by a firm such as Galle or Daum. | 0:31:32 | 0:31:36 | |
But if this glass spoke, it would speak with my native accent. | 0:31:36 | 0:31:39 | |
It would say, "Hello, Jean!" Because this is actually from Stourbridge, | 0:31:39 | 0:31:44 | |
which is just outside, on the outskirts of Birmingham. | 0:31:44 | 0:31:48 | |
It was a major centre for glassworking. | 0:31:48 | 0:31:50 | |
This is almost certainly from the workshop of Thomas Webb | 0:31:50 | 0:31:54 | |
who specialised in this immaculate quality cameo glass. | 0:31:54 | 0:32:00 | |
The design we've got, when you first said you thought it was a bit Chinese, | 0:32:00 | 0:32:05 | |
it's actually inspired by Chinese design. | 0:32:05 | 0:32:07 | |
They're called The Three Friends. | 0:32:07 | 0:32:11 | |
You've got cherry blossom, prunus and bamboo. | 0:32:11 | 0:32:16 | |
They're, together, emblematic of long life. | 0:32:17 | 0:32:19 | |
I think in terms of date, | 0:32:19 | 0:32:23 | |
we're possibly as early as 1880 | 0:32:23 | 0:32:26 | |
possibly as late as 1890, 1895. | 0:32:26 | 0:32:30 | |
It's survived in miraculously good condition. | 0:32:30 | 0:32:33 | |
Well, has your 25p been a good investment? | 0:32:34 | 0:32:37 | |
I'd like to know! | 0:32:37 | 0:32:40 | |
I think we should be sensible | 0:32:40 | 0:32:43 | |
and put an estimate of 600 to £800 on it. | 0:32:43 | 0:32:46 | |
-Really? -With a fixed reserve of £600. | 0:32:46 | 0:32:49 | |
Right. | 0:32:49 | 0:32:51 | |
Webb's cameo glass is extremely collectable. | 0:32:51 | 0:32:54 | |
But can I ask you now, after living with it for 30 years, | 0:32:54 | 0:32:58 | |
why are you selling it? | 0:32:58 | 0:33:00 | |
I took early retirement in January | 0:33:00 | 0:33:04 | |
and I've got a houseful of things I've got to start sorting out. | 0:33:04 | 0:33:09 | |
-It's a small step towards it. -It's a small step in terms of size. | 0:33:09 | 0:33:16 | |
But a big step financially, I hope. | 0:33:16 | 0:33:19 | |
Let's hope for lots of bidders at the sale | 0:33:19 | 0:33:22 | |
and that it really does well. | 0:33:22 | 0:33:24 | |
-Thank you. -Thank you so much. | 0:33:24 | 0:33:26 | |
Right. Time's up for Dulwich. | 0:33:26 | 0:33:28 | |
Let's hear why these three items caught Kate and Michael's attention. | 0:33:28 | 0:33:32 | |
This Clarice Cliff service isn't exactly my cup of tea, | 0:33:34 | 0:33:38 | |
but I think it will appeal to the bidders at the auction. | 0:33:38 | 0:33:41 | |
I really like John's Japanese prints. They're brilliant. They look so modern, but they're 100 years old. | 0:33:41 | 0:33:47 | |
I've come all the way down from Birmingham to London today | 0:33:47 | 0:33:51 | |
but this Stourbridge glass vase has followed me! | 0:33:51 | 0:33:54 | |
Over in Greenwich, I caught up with auctioneer Robert on the preview day | 0:33:54 | 0:33:59 | |
to find out what he thought of Christina's Clarice Cliff collection. | 0:33:59 | 0:34:03 | |
The Clarice Cliff. Christina's father got this in the mid-'50s. | 0:34:04 | 0:34:10 | |
There's a lot of it. We've got ten separate lots here. | 0:34:10 | 0:34:14 | |
You've split them into ten lots rather than keep them as one lot. | 0:34:14 | 0:34:18 | |
I spoke to the lady concerned. | 0:34:18 | 0:34:20 | |
I suggested what I would do if she'd come in and put it over the counter. | 0:34:20 | 0:34:25 | |
There's no sets here. They're a different pattern, for a start. | 0:34:25 | 0:34:29 | |
And in any case, I'm not being funny, | 0:34:29 | 0:34:32 | |
I can't see anyone having a sandwich off one of these plates. | 0:34:32 | 0:34:36 | |
-Bought to be viewed. -Go on the wall. -Absolutely. | 0:34:36 | 0:34:39 | |
We've got a reserve on the whole lot of £350. How will you deal with that? | 0:34:39 | 0:34:44 | |
Look at them as ten individual lots. | 0:34:44 | 0:34:46 | |
The larger plate is 70 to £80. Cup and saucer, 30 to £40. | 0:34:46 | 0:34:51 | |
I asked one of my staff what it added up to and they went, "£350". That's the reserve. | 0:34:51 | 0:34:56 | |
-Separate numbers make up the sum total. -They make it up. | 0:34:56 | 0:34:59 | |
So if we get a good run at it, | 0:34:59 | 0:35:02 | |
we could see that reserve in three lots. | 0:35:02 | 0:35:08 | |
He knows something! | 0:35:10 | 0:35:12 | |
We'll see how that decision works out later. | 0:35:13 | 0:35:17 | |
But now the moment our owners have been waiting for. | 0:35:17 | 0:35:20 | |
First, will Jean's piece of cameo glass find the right buyer here? | 0:35:20 | 0:35:25 | |
It's Jean's turn next. Let's talk about that cameo glass vase. 600 to £800. | 0:35:25 | 0:35:30 | |
I had a chat to the auctioneer. He agrees with the value, | 0:35:30 | 0:35:33 | |
but possibly the lower end, not top end. | 0:35:33 | 0:35:36 | |
That's fine. But it's that great name Thomas Webb. A great name in English glass. | 0:35:36 | 0:35:41 | |
-And the great thing is, it only cost 25p! -True. | 0:35:41 | 0:35:45 | |
Let's do some recycling! Here we go! | 0:35:45 | 0:35:48 | |
Amber glass cameo bud vase. | 0:35:50 | 0:35:53 | |
A white raised plant and foliage relief. | 0:35:53 | 0:35:55 | |
Attributed to Thomas Webb. | 0:35:55 | 0:35:57 | |
Dated around 1880s. | 0:35:57 | 0:36:01 | |
-It's got to start with a bid with me of £150 on this vase. -That's low. | 0:36:01 | 0:36:07 | |
160. 70 with me. Looking for 180. | 0:36:07 | 0:36:09 | |
-No commission bids, then. -No. | 0:36:09 | 0:36:11 | |
190 with me. | 0:36:11 | 0:36:13 | |
200. 210 here. Looking for 220. | 0:36:13 | 0:36:16 | |
Are we all done? Last time. | 0:36:17 | 0:36:20 | |
At £210. | 0:36:20 | 0:36:23 | |
-I'm ever so sorry about that. -It doesn't matter. | 0:36:23 | 0:36:26 | |
-I'm glad to take it home. -Can you hear that? | 0:36:26 | 0:36:28 | |
It was Thomas Webb collectors didn't know it was for sale, screaming | 0:36:28 | 0:36:32 | |
at their TV screens! | 0:36:32 | 0:36:33 | |
There are specialist sales for glass in the Stourbridge area. | 0:36:33 | 0:36:37 | |
I think that's... If you want to sell it. If you decide to keep it... | 0:36:37 | 0:36:42 | |
But if you want to sell it, take it to a specialist sale. It's 600 to £800. | 0:36:42 | 0:36:46 | |
-I know I say this a lot, all day long. -Sound advice. | 0:36:46 | 0:36:49 | |
What a shame that didn't sell. | 0:36:49 | 0:36:52 | |
But today was not the right day for the cameo vase. | 0:36:52 | 0:36:56 | |
Another specialist item under scrutiny now, John's kimono book. | 0:36:56 | 0:37:01 | |
Next, a really special lot. I like this. It's a folio of kimono samples. | 0:37:01 | 0:37:05 | |
-It belongs to John Eric here. -Hi. -Hello. | 0:37:05 | 0:37:09 | |
Quality item. Quality item. Why are you selling it? You bought it on the internet. | 0:37:09 | 0:37:15 | |
I wanted to break it up originally, to frame them. | 0:37:15 | 0:37:19 | |
That's quite a good idea. I mean, that is a good idea. | 0:37:19 | 0:37:23 | |
But too costly because of the way it's put together. | 0:37:23 | 0:37:26 | |
-Yes. -And I found I didn't have the heart to break them up. | 0:37:26 | 0:37:31 | |
OK. I wonder if anybody else will? | 0:37:31 | 0:37:35 | |
That's probably what a dealer would do, and they'd look good. | 0:37:35 | 0:37:39 | |
-You could enjoy them. -But someone more hard-hearted. -I couldn't do it morally. | 0:37:39 | 0:37:43 | |
-You won't have to live with that decision. -Yes. | 0:37:43 | 0:37:46 | |
It's a quirky lot. It's a lovely thing, really. | 0:37:46 | 0:37:50 | |
Let's find out what the bidders think. | 0:37:50 | 0:37:53 | |
Stunning piece, this. | 0:37:55 | 0:37:56 | |
Late 19th, early 20th-century hand-painted kimono sample folio | 0:37:56 | 0:38:01 | |
with original linen-padded cover. | 0:38:01 | 0:38:03 | |
Absolutely stunning piece of work. | 0:38:03 | 0:38:06 | |
Really proud to get this. | 0:38:06 | 0:38:08 | |
And it's got to start with me | 0:38:08 | 0:38:11 | |
-at £370. -Close! | 0:38:11 | 0:38:15 | |
Come on! | 0:38:15 | 0:38:16 | |
-John Eric, that is just one bid away, isn't it? -Here we go. | 0:38:16 | 0:38:20 | |
380. 390 here. 400. 410. | 0:38:20 | 0:38:24 | |
420. 430. 440. | 0:38:24 | 0:38:26 | |
-450. -There are some hard-hearted people in the room! | 0:38:26 | 0:38:30 | |
-They'll break it up. -Anywhere? I've got 450. Looking for 460. | 0:38:30 | 0:38:34 | |
460. 470. 480. 490. | 0:38:34 | 0:38:38 | |
500. 510 here. | 0:38:38 | 0:38:40 | |
520. 530. 540. 550. | 0:38:40 | 0:38:43 | |
Looking for 560 anywhere. Are we all done? | 0:38:43 | 0:38:47 | |
Last time. At £550 on the sample book. | 0:38:47 | 0:38:51 | |
-£550. -Wow! | 0:38:51 | 0:38:53 | |
-I'm stunned! -That's a brilliant result! -So am I. | 0:38:53 | 0:38:57 | |
I was dubious... I was happy with the value, | 0:38:57 | 0:39:00 | |
but dubious we'd find a buyer here. | 0:39:00 | 0:39:02 | |
It goes to show. If it's quality, people will always find it. | 0:39:02 | 0:39:07 | |
And unusual. It's fired the imagination for somebody. | 0:39:07 | 0:39:10 | |
-Well done, you. -Thank you very much. | 0:39:10 | 0:39:13 | |
Get yourself comfortable, because Christina's group of Clarice Cliff is going under the hammer. | 0:39:13 | 0:39:20 | |
Not just one lot. We've got ten. | 0:39:20 | 0:39:23 | |
Christina's Clarice Cliff has been split into ten lots. | 0:39:23 | 0:39:27 | |
I had a chat to the auctioneer, as you know. | 0:39:27 | 0:39:30 | |
He thinks it's better to split them because people may be interested in the large plate | 0:39:30 | 0:39:35 | |
or maybe just a cup and saucer. | 0:39:35 | 0:39:37 | |
Fair enough. It gives more collectors a bite at having a piece. | 0:39:37 | 0:39:41 | |
-Your father bought this in the '50s. -Yes. -Why are you selling now? | 0:39:41 | 0:39:44 | |
-I don't need it and I don't like it. -No. There's a lot of people out there | 0:39:44 | 0:39:49 | |
that really love it. | 0:39:49 | 0:39:51 | |
It's going under the hammer now. This is it. | 0:39:51 | 0:39:54 | |
Lot 525 is the first of ten - | 0:39:55 | 0:40:00 | |
I'm not making apologies - collectors' lot, Clarice Cliff items. | 0:40:00 | 0:40:04 | |
And the first one, lot 525, is an original Bizarre pattern nine-inch octagonal plate by Clarice Cliff. | 0:40:04 | 0:40:10 | |
A blue circle centre. The bid's with me. | 0:40:10 | 0:40:13 | |
At £180 on this plate. Looking for 190. | 0:40:13 | 0:40:18 | |
I've got 180. 190. 200 here. Looking for 210 on this plate. | 0:40:18 | 0:40:23 | |
210. 220. Looking for 230. | 0:40:23 | 0:40:26 | |
240 here. Looking for 250. | 0:40:26 | 0:40:28 | |
250. 260 here. Looking for 270. | 0:40:28 | 0:40:31 | |
-80 here. -Christina, this is ridiculously good for one item! | 0:40:31 | 0:40:37 | |
Are we all done on this plate? At £300. | 0:40:37 | 0:40:41 | |
£300. There's the first one. | 0:40:41 | 0:40:43 | |
That's almost done my valuation for the lot! | 0:40:43 | 0:40:46 | |
Late 1920s, early '30s Art Deco original Bizarre pattern... | 0:40:46 | 0:40:52 | |
Brace yourselves! Fasten the seatbelts! | 0:40:52 | 0:40:55 | |
The bid's with me straightaway at £35. | 0:40:55 | 0:40:58 | |
Looking for 38 on this plate. Are we all done? 38. | 0:40:58 | 0:41:02 | |
£40. 42. 44. 46. 48. | 0:41:02 | 0:41:06 | |
50. Two. 52 with me. Looking for 55. | 0:41:06 | 0:41:10 | |
All done on this plate? At £52! | 0:41:10 | 0:41:12 | |
We've already met the reserve and we've only sold two. Eight more to go! | 0:41:12 | 0:41:18 | |
42. 45. 48. | 0:41:18 | 0:41:21 | |
-50. Two I need. -You're causing a stir! | 0:41:21 | 0:41:23 | |
£50. Are we all done? | 0:41:23 | 0:41:25 | |
Last time. At £50. | 0:41:25 | 0:41:28 | |
There's 50 on top of that. | 0:41:28 | 0:41:31 | |
Let's have another go, eh? The bid is with me at £35. | 0:41:31 | 0:41:35 | |
38. £40. | 0:41:35 | 0:41:37 | |
42. 45. 48. 50 here. | 0:41:37 | 0:41:39 | |
52. | 0:41:39 | 0:41:41 | |
54 with me. Looking for 56. | 0:41:41 | 0:41:43 | |
56. 58 with me. | 0:41:43 | 0:41:46 | |
-It's pushing and pushing. -It's all going on in the room. | 0:41:46 | 0:41:49 | |
-Wow. -Sold, 133. | 0:41:49 | 0:41:51 | |
All done? With me, last time on this plate. £54. | 0:41:51 | 0:41:55 | |
This was Michael's first valuation on Clarice. | 0:41:55 | 0:41:58 | |
I know what you're thinking - "Not again!" | 0:41:58 | 0:42:00 | |
I won't do it again. Not after this. Once is enough! | 0:42:00 | 0:42:03 | |
Go on, have a go. This is a nice one. | 0:42:03 | 0:42:06 | |
58. £60. 62. | 0:42:06 | 0:42:10 | |
Michael's on edge because he's our specialist in metals. | 0:42:10 | 0:42:13 | |
Lovely things from the 16th and 17th century. | 0:42:13 | 0:42:17 | |
I weighed this tea set. I should have done it at scrap! | 0:42:17 | 0:42:19 | |
-I don't know! -45. 48. £50. | 0:42:19 | 0:42:23 | |
I don't know why they love it so much. | 0:42:23 | 0:42:26 | |
-But they do. -They do, don't they? | 0:42:26 | 0:42:28 | |
All done? Last time. At £45. | 0:42:28 | 0:42:32 | |
-Are you keeping a tally? -No. -No, nor am I! | 0:42:32 | 0:42:36 | |
At 60. | 0:42:36 | 0:42:38 | |
Looking for 62. Are we all done on the cup and saucer? | 0:42:38 | 0:42:42 | |
At £60. | 0:42:42 | 0:42:44 | |
Last one of the Clarice Cliff Bizarre cup and saucer. | 0:42:44 | 0:42:47 | |
Bid's with me at £50. | 0:42:47 | 0:42:48 | |
Five. £60 with me. | 0:42:48 | 0:42:50 | |
I'll take 61. 62 with me. | 0:42:50 | 0:42:53 | |
Looking at 63. 64. 65. | 0:42:53 | 0:42:56 | |
66. All done at 66? Looking at 67. Have we all done? | 0:42:56 | 0:43:01 | |
At £66 only on the cabinet cup and saucer. | 0:43:01 | 0:43:04 | |
-Oh, that's a noise, Paul. -It is. -What do you think his gavel's made of? | 0:43:04 | 0:43:08 | |
I don't think it's a gavel. It's a carpenter's mallet! | 0:43:08 | 0:43:11 | |
-Christina, that's the end of it. -Wonderful! -That's all ten. | 0:43:11 | 0:43:14 | |
And it's a grand total - I'm looking at a calculator here! | 0:43:14 | 0:43:17 | |
-It's £802! -Wonderful! | 0:43:17 | 0:43:21 | |
-I can't believe it! -Fantastic. | 0:43:21 | 0:43:23 | |
Gosh, what a lovely surprise! What a lovely surprise! | 0:43:23 | 0:43:26 | |
I hope that was a big surprise for you as well. | 0:43:26 | 0:43:29 | |
It's rounded off a wonderful day here in Greenwich. | 0:43:29 | 0:43:32 | |
Christina will go home happy. | 0:43:32 | 0:43:33 | |
Lots of our owners will today. | 0:43:33 | 0:43:35 | |
All credit to our experts and the man on the rostrum. He's done us proud. See you next time! | 0:43:35 | 0:43:40 | |
Subtitles by Red Bee Media Ltd | 0:44:01 | 0:44:05 |