Presenter Paul Martin is joined by experts Michael Baggott and David Barby in the village of Saltaire in West Yorkshire. Their finds include a set of spoons and a bracelet.
Browse content similar to Saltaire. Check below for episodes and series from the same categories and more!
The name of this village would make a good answer to a crossword
because it combines the name of the founder, Salt,
with the river that runs right through the heart of it, Aire.
Yes, today we're in West Yorkshire,
in the pretty, industrial model village of Saltaire.
Welcome to Flog It!
Our venue today is the Victoria Hall, a grade II listed building.
It retains all the original grandeur it had
when it was first built in 1869 by philanthropist Sir Titus Salt
as a cultural centre for the people of Saltaire.
Now this is what I love to see, hundreds of people
all laden with bags and boxes full of unwanted antiques and treasures.
Now, it may have just started to rain,
but hasn't dampened our spirits, we've all got smiles on our faces
and somebody here in this queue has got a real treasure
and they don't know it yet, but it's our experts' job to find it.
And, of course, they've all come here to ask our experts
that all-important question which is...
ALL: What's it worth?
-And when they find out they are going to flog it.
-Yeah, well done!
Well, the beautiful Victoria Hall is rapidly filling up with people...
-..and here to answer that all-important question,
our experts David Barby and Michael Baggott.
Later, they uncover precious metals including gold...
Lorna, just tell me, what's it like to be a walking bank?
Good grief, what an attractive set of spoons!
But also, more utilitarian base metal in the form of Dinky Toys.
Part of my childhood, yes.
Which of these will realise the best price at auction?
Stay tuned to find out.
Starting the day for us is Michael,
who looks thrilled by his first find.
Jennifer, thank you for bringing in
what looks like a very exciting closed box.
-I love closed boxes!
Let's open it up and see what we've got.
Not quite every colour of the rainbow, but we're doing well!
What an attractive set of spoons. Now, where did these come from?
Well, they were a wedding present to my parents in 1932.
-Did they ever use them? I mean, they look...
-I don't think so, no.
I mean, this is the way with wedding gifts,
that you're presented with these fabulous fine quality items
and you might use them once, when the person who gave them to you
first comes round after you're married, then they go in the box.
-These are intriguing.
-Did your family have any connection with Norway at all?
-I ask that because, obviously, we've got, in the lid of the box, here...
-..David Andersen Oslo.
The firm of David Andersen
specialised in doing this really lovely quality enamel work
-on silver gilt.
-What's very interesting is none of these spoons are import marked.
-So, strictly speaking, if someone had brought these in to sell...
..they would have gone through
and been tested to be up to sterling standard and had import marks added,
which is why I just wanted if they possibly had a Norwegian friend
-who might have just stuffed them into a bag and come over...
-I don't know!
It's intriguing, actually.
Sadly, because they didn't do that,
-we don't have a date letter on them.
They can't be any later than 1932, when they were given,
and typically you would expect to see these spoons
-from about 1920 onwards...
-..in these very bright '20s, sort of, jazz age colours.
So, if we say, about 1925 in date, I think that's fine.
Well, it's very unusual to see a big set of 12 like this, norm...
-Yes, normally they're sets of six
and, you know, one will have had the enamel smashed off the back of the bowl
and then, of course, nobody wants them
so I think that's a really tidy little set.
I like them very much, but they're just put away in the drawer
because I'm frightened to use them!
So, you decided to bring them along to Flog It! to sell?
-Any idea what they might be worth?
They are, they are solid silver and enamel so have a stab in the dark.
-That's, that's quite a good start!
THEY LAUGH Sorry, is it too much?
Do you know, I think they must be worth, MUST be worth
-£120-£200 for the set.
-And I think we have to put a fixed reserve of £120 on them.
-So, I hope we send them off to a good home at the auction.
-I do as well!
-We'll keep our fingers crossed for a nice price, shall we?
-Yes, yes, yes.
That's marvellous. If they don't go we can have a cup of coffee or a cup of tea,
-depending how we feel on the day!
-Thanks very much indeed.
What a delightful set. Surely someone will scoop them up?
Next, I found Christine sitting in the queue
with a lovely little painting.
Christine, OK, how long have you had this?
Well, my parents had it since the 1970s
and before that it was my grandmother's
and she would have had it since about the 1920s.
Can you remember seeing this on the wall as a little girl?
I can, yes, yes...
because my grandmother had two boys
and she always thought she'd love to have a little girl
-and so she used to call that, "My little girl".
Well, you've done a little bit of research, haven't you?
And you know it's Simon Glucklich,
he's a Polish artist, born in southern Poland in 1863.
And look, this is dated 1899,
-so he's, sort of, in his 30s when he's painting this.
Looking at this canvas, you can see it was always painted to be circular, can't you?
-So, it's in its original frame. Can you see that?
-You can see the canvas disappearing underneath the square edge of the frame.
And I think this is in exceptional condition,
albeit a little bit dirty from being in a smoky parlour.
But, erm, he started in Munich
and his pictures are in many museums throughout Central Europe -
Germany, Vienna, France.
We did a price guide search on other canvases this size by this artist.
-And...some of them have realised, in auction, 1,200, some 1,500.
So, bearing in mind its condition,
it needs a little bit of conservation work,
-it needs cleaning by a specialist.
But otherwise, it's very, very good.
Let's put it into the auction at a value of £6-£900, tempt people in.
-Tempt men, say, "Look, this is a sleeper,
"this is fresh to the market, it's dirty, it's, it's got a crispiness about it
"which I want to enjoy uncovering and telling the story further."
Well, let's get it into the sale, £6-£900, fixed reserve at five.
-And, Christine, see you there.
What a nice thing and the artist has a good name.
Next, Mr Barby has found someone with a familiar name.
-Now, you've got a very good name, haven't you?
-Same as me, do you love it?
-A fine name.
-Yes, it's a fine name!
-A fine name.
-I like this particular object you've brought along.
Has it been in your family for some length of time?
-Well, I know that it's been mine to 50 years.
Prior to that I can only trace it back, probably, another 50,
from the old lady who gave it to me.
Did you know immediately what it was?
I knew it was to take a watch...
-..but that's about as much as I did know
and it did, when it first came to me, it didn't have a watch in it.
And you put a watch in.
And then my wife's father's watch came up, so, in it went.
That's why we have disparity in the actual dates.
The watch is 1920s, but this lovely carved case in limewood
dates from around about the, sort of, 1840, 1850 period.
-Which is a shock to me.
-If you consider that period,
wealthy tourists would travel into Germany, Bavaria, Austria
and they would buy this. First of all as a souvenir
cos there's a terrific amount of history of woodcarving in that area,
but this had a purpose
because from this little, sort of, unusual shaped box,
you open it up like that, it folds under,
-and then it becomes a little stand for your pocket watch.
So, first of all, this is a travel case
and you took your pocket watch off your chain
and then you mounted it here and put it close to your bed.
-The bedside table.
So, you can see, by lighting a candle,
what time it was in the middle of the night or what have you.
The watch is not original.
This one is a typical workaday silver cased watch.
White enamel face, Roman numerals, a second hand -
-I can see that it is still going.
-It's still going, yes!
-So, you've wound it up.
And then, right at the very back, if I just open this up.
There we are, we have the marks for Birmingham
and the V stands for 1920.
So, this is a silver cased pocket watch, which has a value...
Combine the two...
and it makes it a more interesting purchase at auction,
-but it's a little bit tighter fit there.
And I think somewhere along the line that case has been strained
because there is slight damage just at the side, there, can you see?
-Where something has been pushed in.
-I think I'm responsible for that, to be honest.
-Did you force it?
Well, I can remember, before the watch met it,
the little locking pin clicked in and it doesn't any more.
-Well, you've probably diminished the value of that by half.
-I thought so.
-Because of that damage.
-And I think the total value may be £40, £50.
But, allowing for the damage, and to attract people to buy this,
-I think we need to reserve a £40 with discretion.
-So, if it gets to 38, BANG!
-The hammer comes down.
-David, I think we should close on that note.
-Thank you so much.
-Thank you very much.
Interesting item, I bet David is kicking himself about the damage.
'Well, we've been working flat out.'
We found our first three items to take off to auction.
You know how this works, we put those valuations to the test.
Let's up the tempo and hopefully have one or two surprises.
While we make our way over to the saleroom, here's a quick rundown,
just to jog your memory of all the items we're taking with us.
Michael spotted these unusual, highly decorative,
Norwegian silver spoons.
Then I spotted Jennifer's portrait of a girl,
which also comes from the continent.
And, by coincidence, David Barby's find, a Bavarian carved watch stand,
which comes from across the channel as well.
But, for now, our items are making a short trip across to the sale.
And this is where all our items are going under the hammer today.
This is what we've been waiting for, this is where it gets exciting.
Don't go away because somebody is going home with a lot of money.
Today we are the guests of the Calder Valley Auction Rooms
and I tell you what, there is one big atmosphere in this room.
Something's going to fly away, I don't know which it is yet,
that's the beauty of auction. Stay tuned and you'll find out.
-30. Number 30, 240...250...
There is a standard seller's commission here of 15% plus VAT
and auctioneer Ian Peace is wielding the gavel for us.
£80 at the back of the room...
First and the hammer, the Bavarian watch stand and watch.
-Good luck, David.
-Oh, thank you.
Good luck, David. I'm surrounded by Davids!
-Are you called David? You might be!
Going under the hammer right now,
we've got a Bavarian fob watch stand and fob watch,
which you have owned for a good 50 years.
-A good 50 years and a few!
-And a few more?
-And a few more.
-Why, why are you selling now, may ask?
-And not...40 years ago?
-Well, you were coming to Saltaire...
-..like so many other people,
we thought, "What the Dickens can we take?"
So, up we picked it and my wife brought the little silver watch.
It's a nice thing, I think we shouldn't have any problems.
-I hope so, yes.
-He we go, let's find out.
The 91, the Bavarian carved wood fob watch stand
with the silver pocket watch, Birmingham 1920.
What am I bid for this? £50? 40? 30.
£30, we're in the bidding.
Nice watch holder.
30 I am bid, at 30. And five.
40. At £40, at £40.
-Anybody else, now, £40?
-Come on, well, we're there.
-It's worth more than that.
-Lot 91 at £40, at the back.
For £40, the hammer's gone down.
-Look, we did it.
-It's what we thought, isn't it?
Yes, you did, you thought that, yes. Straight in and straight out,
somebody wanted that and nobody else did.
-It's gone, hasn't it? That's fine.
-Well, that was straightforward.
Now, for something that's caught my eye.
Right now it's my turn to be the expert.
I've just been joined by Christine. Hello, there.
And we talking about that wonderful oil on canvas by Simon Glucklich.
The portrait of a young girl, absolutely stunning.
-We've got a fixed reserve, haven't we?
-£500, I think.
-Yes, that's right.
-Thank goodness, it's not going to go for a penny less.
I'm nervous and I'm excited, how are you feeling?
I'm a bit nervous as well.
-I'm losing my voice, I've got so excited lately.
I really am! Does wear you down sometimes, doesn't it?
I think this is real quality,
and as I always say, quality sells, but it is subjective.
I like it, you may not like it. Let's find out what this lot think.
-Here we go. Hold tight!
-Oh! SHE CHUCKLES
Simon Glucklich, portrait in oils. Right, I say 500, four...
£300, £300, to open £300.
£300, 325 anywhere? 300, 325, 350.
-It's not going to sell, is it?
..375, 400, at 400.
At 400, any further advances, 400? At 400.
At 400, I'm afraid we're NOT on the market for 400,
are there any further bids at 400?
-It's going home.
-It's meant to come home with me.
-I wouldn't do anything with it.
I wouldn't get it cleaned. I would just look after it for a few years.
-Then, put it back in another saleroom, OK?
-Enjoy it for a couple of years and do that.
Let somebody else have the enjoyment of bringing it back to life and spending money on it.
I'm so surprised that didn't go but Christine has a good painting,
so she should try again.
Remember the charming Norwegian spoons? Well, they're up next.
Something for all you art deco lovers right now.
Jennifer's 12 silver spoons.
You're considered lucky to be born with a silver spoon in your mouth,
but you could have 12 right now if you're right here ready to buy.
They could go for about £10 each, which is about right, isn't it?
£10 each is nothing for silver and enamel spoons, so we'll do that.
We might get to the top end of it - £15 a spoon.
But that's the price for them.
But it's definitely something for those art deco lovers, isn't it?
It's just gorgeous. The quality as well.
Let's find out exactly what they're worth.
Let's see what this lot here in the saleroom make of these? Good luck.
210 - The 12 early 20th-century Norwegian silver coffee spoons
by David Andersen.
A lovely set there. I'm going to open the bidding at £120.
£130. 140. At 140.
-Up to £15 each now!
-I have 220 on commission.
-These are highly sought after.
-Maybe they're going back to my flat!
-I'm out at £230.
-All on the hook.
-At £230 in the room. 230.
-That's a cracking result!
-Top price for those.
-Fantastic! It's nice...
-It's not the melt value.
That's a good price for a quality object.
It's nice to have a set of 12.
-Great to meet you as well.
You can't go wrong with art deco at the moment. It's really in vogue.
That's the end of our first visit to the auction room today.
We're coming back later in the show, but so far so good.
We've just enjoyed three lovely old antiques and collectables.
And now for something completely different.
I'm off to explore a little bit of modernism just down the road in Wakefield. Take a look at this.
I'm standing outside of Britain's major new art gallery, the Hepworth Wakefield,
which is sited on the River Calder at the southern gateway to the city.
Right here, I'm walking between this wonderful bronze installation
by renowned sculptor, Barbara Hepworth.
It's titled, 'The Family Of Man'.
But I'm not here just to celebrate her incredible work,
but also the architecture that's designed to house this wonderful collection.
Barbara Hepworth is now considered to be one of the foremost artists
of the modern movement in Britain.
She famously worked from her St Ives studio in Cornwall
from the outbreak of the Second World War
right up until her death in 1975.
But she began life in the North of England.
It was from the girls' high school here in Wakefield
that Barbara went on to win the scholarship
that took her to the Leeds School of Art in 1919.
It was there that she found herself working alongside Henry Moore,
one of the other giants of 20th Century sculpture.
The gallery celebrates the region's heritage
as the birthplace of modern British sculpture
through the artists Henry Moore and Barbara Hepworth.
Designed by David Chipperfield Architects, it houses 10 galleries.
Six for permanent collections and four for temporary exhibitions.
It's a crucial part of Wakefield's regeneration strategy.
It's doing really well so far, winning the 2011 British Design Award
and achieving the first year's target
of 150,000 visitors through the door in the first three months.
A fitting home for the wonderful artworks it was designed for.
Well, I absolutely love this space.
It shows us Barbara Hepworth's work
alongside her contemporaries, such as Henry Moore.
Wow! Wow! Wow!
Nothing in this building is square. It's not really what it seems.
It's as if you've got the box and you sort of gone like that.
The ceilings come down at different angles and they stop short of another wall.
You have to come here to witness it yourself.
Here, look, Henry Moore, one of Barbara's contemporaries.
This is so typical of his signature pieces.
Abstract form derived from the human body.
It gives us all the guiding principles of modern sculpture. Truth to the materials.
The piece of stone, or the wood in this case,
dictates its shape or form.
Isn't that lovely? Absolutely lovely.
And here, look, a bit of work by Barbara Hepworth.
This piece is titled, 'Mother And Child'.
Look at that. Isn't that incredible?!
There is something so elegant about this.
It's soft, it's warm. It makes me want to hold my tummy.
It's beautiful. Absolutely beautiful.
I have always loved the joy of carving
and the rhythm of movement that grows in the sculpture itself.
When I am carving, or when I am listening to someone else calving,
I know what is happening, not by what I see, but what I hear.
She wasn't a great collector,
but she's picked these items along her incredible journey in life,
that have given her ideas and inspiration.
Things like this little terracotta figure.
Look at that. Isn't that beautiful?
And in this kind of non-realistic art,
the artist is free to follow his imagination
and to create precisely to his will.
What one does springs from a profound response to life itself.
But it's this room that holds the absolute heart to the collection
and probably the key reason for building the Hepworth Wakefield.
What we have here is a collection of Barbara Hepworth's working models
for her bronze sculptures.
They were gifted to the gallery by the Hepworth family.
They're known as the Hepworth Plasters
as the majority of these are made in plaster.
But Hepworth also used aluminium for some of her prototypes,
such as the famous Winged Figure, that you might recognise.
Barbara Hepworth liked to make all her prototypes exactly the same size as the finished article.
You'll find this on the flagship store of John Lewis on Oxford Street.
The next time you're on Oxford Street, please do look up and take a look
because it is absolutely stunning.
It looks stunning here as well because you've got natural light
flooding down on this, so it's constantly changing.
That's what sculpture should do.
It should have a dynamic that varies all the time. Isn't that great? So clever.
Sculpture, rock, myself and the landscape.
I, the sculptor, am the landscape.
Barbara Hepworth always said it was her memories as a child,
travelling through the Yorkshire moors with her father in the car,
and her appreciation for the landscape, that inspired her to sculpt.
I think she'd have been delighted to know that a great body of her work
is being displayed in a superb building in the town of her birth.
All I can say to you is, wherever you live in the United Kingdom,
jump in the car or get on a train and come to this gallery
because you too will also be delighted.
Not far away in Saltaire, there is still a queue.
Welcome back to Victoria Hall, our valuation day venue in Saltaire.
There is still a crowd outside. There are hundreds of people inside.
We have our work cut out today.
Now let us catch up with our experts
and see what else we can find to take to auction.
It looks like David has struck gold.
Lorna, tell me what is it like to be a walking bank?
I don't think it's a walking bank because it's always in the drawer.
-Do you not wear it?
-No. Not now.
-These are lovely, lovely, lovely sovereigns.
-Yes, they are.
-They start around 1906 and go through to around 1927.
You've got gold dollars there and mounts and goodness knows what.
And a pound note wrapped up in a little Perspex container.
-The actual chain is nine carat rose gold.
That is why it has that slight coppery look
but it is in fact nine carat gold.
The most valuable element certainly
is the mounted sovereigns here.
This is incredibly valuable.
-There is even a 22 carat gold wedding band.
-Who did that belong to?
-Why have you put it on a bracelet?
I'm not with my husband any longer, you know, and I did get a new one.
But I put it on there just as a keepsake.
-I think that is a good idea. And now you are flogging it?
I shall ask no more questions on that score.
-Did you ever wear this?
-Yes. A lot.
What did you wear it with and what sort of period?
I was in my 20s when I first got it and every Saturday night
we used to go out for a meal and I would wear it.
Goodness me. You were very sensible in buying gold sovereigns.
-Did you buy them individually
or did you buy the whole bracelet as one item?
-They were bought individually.
-All bought individually. The difficulty is
when we have coins put into mounts like this it converts it from
being a value of the coin and then it comes as a piece of jewellery.
-Because it wears differently.
If you have a coin in your pocket it would wear
against the cloth and handling against other coins.
When you wear this you take the highlights off
-because it is rubbing against a certain piece of costume.
But it is immaterial to a certain extent
-because the value of the metal has gone up terrifically.
-Why are you selling it now?
I would think I can't give it to one daughter
because I've got three so I thought if I sell it I would split
the money between the three of them and they won't be falling out over it.
That is a good point.
-Would you reserve anything for yourself?
I did take four off and gave one to each of my grandchildren to
make a necklace of.
-You had four more on there?
-Yes, I did.
I bet it jangled as you went along?
Yes they were heavy.
Let's talk in terms of value.
If we take the whole item without valuing the coins separately,
because each coin has a different value,
I think at auction this would go between £1,200 and £1,500.
-That is based on gold bullion or gold scrap value.
-which exceeds the actual value as a piece of jewellery.
-I see. Yes.
-12, 1,500. It could, do not get too excited, go up to 1,800.
So there is a lot of money there to divide amongst your children.
-Thank you very much.
-Thanks very much.
-Nice to have met you.
I am glad to hear Lorna's grandchildren were given
a sovereign each.
What has Michael found? Let's find out.
Darren, thank you for bringing along
this really charming little plate today.
Are you a big porcelain collector?
I am actually but mainly
of Shelley, Clarice Cliff type of thing.
How did this interloper break into all that?
It was a gift that was given to me approximately 20 years ago.
It's here today, so without offending the person who gave it to you...
What we normally do with ceramics is turn them over
and that tells us everything.
That's deeply unhelpful, isn't it? No mark of any form.
What it does tell us though is we've got this blue glaze
-pooling around the edge.
So we know it is an earthenware body and it's pearlware.
Pearlware is basically creamware to which a blue tint was added
-to just make it appear a little bit whiter...
We've got a transfer-printed design of, sadly, an unnamed stately home.
The nice thing is normally these things are circular
-with a gadrooned edge or a reeded edge.
But this is beautifully shaped, so we have the scalloped edging
and then we have this rim that folds back on itself
and these very crisply modelled flowers.
All of that in style is very late William IV, early Victorian.
In the absence of any mark, I think we can say 1825 up to 1840...
Really? That old?
-..as a date.
-On to value now. It isn't desperately valuable.
Had it been named, say a view of Chatsworth,
then we might be £30-£50, something along those lines.
-As it stands, it's going to be in the region of £20-£40.
Would you be brave and put it in possibly without reserve?
Absolutely, yes. I have had a great day. Whatever we get for it would be super.
It is going to go, isn't it? We're not talking fortunes.
-If you are happy to risk it with me...
-I will take that chance. I am more than happy.
You can always give me a slap
if it goes for a pound!
I'm sure it won't.
-We'll see how it does on the day.
-That'll be great.
-Thanks very much.
I don't recognise that house but let us know if you do.
David has found a fabulous collection of early Dinky toys as his final item.
-It's Alwyn isn't it?
Is this part of your youth, your childhood?
-It's part of my childhood, yes.
-Every birthday and Christmas?
Birthday and Christmas sort of thing, yes.
They seem to be, this little collection here,
in almost immaculate condition.
-Furthermore you have got the original boxes.
That is so important when selling Dinky toys. That adds so much value.
-The quality of these toys was extraordinary, was it not?
They were precision models.
To produce them as toys for children is extraordinary,
even down to the rubber wheels that you could remove
-and get replacements.
-These are all originals.
These are all original? That's incredible.
-They were expensive toys.
Very expensive. I could never afford to buy these as a youngster.
-Eight and six.
-Eight and six.
-That was a lot of money.
-It was four shillings.
-Yes. That was a meal out for four.
Let's have a look at these first of all.
These date from the early period, 1950s. A Foden 14-ton tanker...
-..which is a very nice example.
That is not in pristine condition but you've got that box
and it clearly stated the number of that model which is 504.
And underneath that particular vehicle will be stamped that number.
So it matched up beautifully.
If we're thinking in terms of a price at auction for that article,
they have been going between £100-150.
That model. That one's slightly rubbed, so I think we've got to think in terms of about £60-80.
On that particular model.
When we're looking at this one, this is the Foden Flat Truck and the same price applies to this.
We've got to think in terms of again about 50, maybe £60.
-Are you happy with these so far?
-Yes, I'm very happy.
The one I like, which you can actually operate, the pulley works.
This is the Dinky Service Breakdown Van. That is particularly good.
These I've seen before between £40 and £60, that sort of price range.
I've left this one, which is the Lyons Swiss Rolls, to the last.
This is a Guy Van with the original box
and they've been making a terrific amount of money.
So a price range of £400-600 has been achieved in the past.
I'm going to be quite conservative and say round about 200 on this.
-Saving up for his retirement!
-Saving up for your retirement! Are you retired?
-I've been retired for some time.
-Oh, right. So what are you going to do with the money?
-It will go to general living expenses, I'm afraid.
Pension's not really all that good.
-We might have an extra meal out instead of one a month.
Bread and jam!
The heart bleeds. You've moved into somewhere exciting.
You've moved into a river dwelling.
-Does it float?
-Oh, yes. It floats.
-So you go from canal to river to sea?
-And the boat is called Itchy Feet.
-You're constantly on the move.
I love that! I love that! Well, I hope this aids your journey.
Not bad prices. If you have anything like that in the loft, bring them along.
We've now found our final three items to take off to auction,
so it's time to say goodbye to our host location, Victoria Hall,
but we've got to put those valuations to the test and hopefully some will fly through the roof.
There could be a big surprise. We're going to the auction room.
Here's a quick rundown of what we're taking.
Gold is going through the roof, so Lorna's bracelet will do well.
Darren's Staffordshire plate is around 200 years old,
so it's going to be a bargain.
And David has split the Dinky Toy collection into two lots.
First a group of three
and then the Guy Van, which is in such good condition.
So we're back at the auction room for our final three lots.
The sale is just about to start, but a little tip - if you are buying
or selling at auction, especially if you want to buy, make sure you get
a good seat, down the front, so the auctioneer can see you.
And pick up one of these at the office,
a registration form is required to pick up a bidding card like that.
Lot number 137, make sure the auctioneer can see it.
Then he will take your bid. If he misses it, you don't stand a chance.
Also, there is commission to pay. Here, it's 15% plus VAT, but check the details in the catalogues
of the auction room because it can vary. And good luck!
Now, the Dinky Toys are up for sale, so there is everything to play for.
Going under the hammer right now, some boys' toys.
Something for the boys. Boxed Dinky toys, lorries and trucks belonging to Alwyn and Joan.
-These are great.
-The boxes are there. I threw all my boxes. Did you?
My father couldn't afford toys like that. STIFLED LAUGHTER
-It was just after the war. Hard times.
-Don't ask which war!
-Anyway, condition is great, it's all there.
Let's find out what the bidders think.
Lot 382. The boxed Dinky Toy, Foden Flat Truck with chains.
Right, couple of hundred.
150. 100 to open the bidding. £100? £80 there.
90, at 90. At 100. 110?
-110, 120. 130?
-Come on, need a bit more.
140, there. 140. 150, madam? 150.
160. £160. Are you all finished? £160.
At the back, £160.
-Hammer's gone down. £160. Had a reserve at 140, didn't we?
-Just tucked it in there. Happy?
-Yes. Very good.
The next one's just going under the hammer now.
This is the dark blue one, the Lyons one.
£200-400, we're looking for. Fingers crossed.
Dinky Super Toys Lyons Guy Van, lovely condition, lot 388.
Right, 300. 200.
£200, I've £150. 150. 160, do I see?
150, 160, I have 170.
190 here. £190. £200, bid.
-210, do I see?
At £260. Are you all done at £260? First and last time.
Yes! The hammer's gone down. Brilliant. That's more like it.
£260. That's a grand total of 420.
-Is that correct?
-It is, isn't it?
-I had to think about that for a minute.
-We'll have that one.
-I can see your eyes going like cash registers!
Good sale! Next, the little bit of history.
It's just about to go under the hammer. We're talking about the Staffordshire plate.
We're looking for £20-40, but you have had this for 20 years, I gather.
-I've had it for about 20 years. It's been in the basement.
It's been in the basement. Is that because you don't really like it?
-I do like it.
-You should have it on display.
-I should have done.
But I have other things on display, so...limited space.
You've missed your opportunity now! There's no reserve. It's gone.
-Say goodbye to it.
-It's a shame.
For me, it's got everything going for it, except it's transfer.
The shape's lovely. It's a nice scene, a country home.
Let's find out what they think. That's what it's all about.
Country house transfer print, £30. 30. 20.
20. Opening at £15. At 15.
At 15? £10 then. Ten to open, thank you.
Right, OK. We're in.
£10 and 12.
At £12. Any further bids?
In the centre there, at £12. Have you all done? It's going for 12.
Come on, a bit more. Well, it's gone £12.
It's not quite the lowest price we've ever had on Flog It, not quite.
We were getting there. I thought for a minute!
Gosh! It is a good time to buy things right now.
If you've got £12 to spend, you can buy a Staffordshire plate. It's as simple as that. A bit of history.
Someone will buy that at a fair for 20 and cherish it.
-We'll go through all this again in 20 years' time.
-It's been a good day. I've enjoyed it.
-Pleasure to meet you. Love the jacket as well. Really nice.
I think Darren came along for the experience, as much as anything.
And why not? Now, we're back on serious ground.
Lorna and David, thank you for joining me. We're just about to put the charm bracelet under the hammer.
We should be all right with the gold, even though prices have dropped slightly.
We took that into consideration.
-You always factor in the commission.
-I try to.
Fingers crossed. Let's find out what the bidders think. It's going under the hammer right now.
And 295 is the 9 carat gold charm bracelet. There we are.
All the coinage. An opening bid of £800, please? £800, I'm bid.
£800. £800. At 800.
900? £900. 900, 950. 1,000.
And 50. £1,100. And 1,150.
We're getting to the lower end now.
At £1,200. At 1,200. I'll take 25 if it helps.
At £1,300. Bid there.
At £1,300. We're selling at 1,300.
Last time, 1,300.
How about that! Spot on! Right in the middle, David.
-You're happy, aren't you? £1,300. That will go a long way.
It will, yes. It's for Linda, Denise and Tracy.
What a lovely lady.
£215 bid. £215.
That's it. It's all over. We've had a fabulous day here.
I hope you've enjoyed it. If you've got any antiques you want to sell, we would love to see you.
Bring them along to one of our valuation days and it could be you in the next auction room,
but from the Calder Valley, from all of us here, it's goodbye.
Subtitles by Red Bee Media Ltd
E-mail us at [email protected]
Presenter Paul Martin is joined by experts Michael Baggott and David Barby in the village of Saltaire in West Yorkshire. Michael is bedazzled by a rainbow-coloured set of silver spoons, while David is charmed by a gold bracelet. Meanwhile, Paul enjoys a visit to the new Hepworth museum in Wakefield.