Dulwich Flog It!

Today's programme comes from London.

But there's no time to sightsee, because we're here to Flog It!

Am I late for school? I don't think so, cos school is out.

We have taken over Dulwich College.

Hundreds of people have turned up

laden with bags and boxes full of unwanted antiques and treasures.

Somebody here today in this queue is going to go home with a lot of money.

And the great thing is, we don't know who it is yet.

It's our job to find it.

And our team of experts are headed up by Kate Bateman and Michael Baggott.

And if you're happy with your valuations, what are you going to do?

-PEOPLE: Flog it!

-Let's get on with the show.

Coming up on today's programme, Michael comes over all funny.

-I used it to store my neighbour's keys.

-Oh, no!

-Yes.

-Oh, no!

I don't think it's done it any harm.

-And Kate's rather taken by one of our items.

-Mwah!

£40, 42, all done!

I love the G force when the hammer comes down! Crack!

And we have some cracking sales.

The great hall is filling up as our London crowd pours in.

So, without further ado, let's get our first valuation under way.

Barbara's brought in an unusual brooch that's caught Kate's eye.

-Barbara, hello.

-Hi.

-What have you brought me today?

-It's a brooch that belonged to my mother.

-OK.

That my father bought, probably about 25 years ago in Malta

as a present for her on holiday.

And when Mum died, my sister and I

separated what little jewellery she had and I ended up with that.

I've never seen my mother wear it and I wouldn't wear it.

It's quite big. It reminds me of a postage stamp, actually, in the design.

But it's interesting you said Malta, because when I first saw it, I thought Italian, maybe.

But now you've said Malta, that makes sense because they're known for this filigree work.

It's marked 18 carat. So they bought really good quality.

And obviously gold has risen quite a lot over the past few years.

What it is, is on copper, and it's basically enamel.

So it's painted glass, melted glass colour over the top of a sepia-toned print.

And it's quite a nice thing. Do you like it?

I think it's very pretty but totally impractical.

It is very big - where would you put it? Lapel, somewhere...

So it is a little out of fashion.

-You thought it was about 20 years old?

-Well, they bought it...

I knew it was older than that, but they bought it about 20, 25 years ago.

I think it's probably late Victorian, something like that.

Condition-wise, it's pretty good.

There's a few little scrapes and scratches on the surface.

But it's a lovely thing. If you're not going to wear it,

-you want to sell it, put it through the sale?

-Yes. Yes, yes.

-Would you split it with your sister? Or is it yours alone?

-Absolutely.

No, I would split it with my sister. My mother didn't have very much, and it's...

Even if we get a meal out of it - a meal and a toast.

Hopefully, you might get a trip to Malta on a cheap flight.

-I think £150 to £200.

-That's fine.

That the sort of figure you'd be happy with?

-I'd certainly put a reserve on it.

-Right, yes.

-Maybe £100 reserve?

-Is that the sort of thing you'd be happy with?

-Yes, I think so, yes.

It'll find its own level. I think there are going to be collectors out there for it.

It's sort of got the feel of a Renaissance Old Master,

especially with this.

-It's not a religious image, but it has that feel.

-Yes, it does.

-Very classic.

-Exactly, in profile.

-It's quite striking, so I think it's unusual and should do all right in the sale.

-Fine.

-OK.

-Reserve at 100, estimate 150-200.

-Yes, that's fine.

Hopefully it will do that and a bit better.

And maybe get you a trip to Malta out of it.

-Fingers crossed.

-OK.

-Thanks for bringing it in.

-Thank you.

Will it be a trip to Malta or more like Margate? Well, stay tuned to find out.

Now, time for a quick history lesson with Sue and I.

This school has had many luminaries over the years -

-PG Wodehouse, Ernest Shackleton...

-Raymond Chandler.

-There we go. Nice one, Sue.

But I think it's about time we revealed one more, don't you?

Ready to light the room up? Take it away, Sue.

-Now, that's what you call a light bulb, isn't it?

-Mm-hm.

-What's its story?

It hasn't come from a lighthouse, has it?

It's come from the Zeiss projector

which was in the London Planetarium 40 years ago.

-How did you get hold of that?

-Well, I worked there.

-Was that your leaving present?

-No.

It just happened to be a used one that I said could I have.

-I used to do the talks on astronomy for the primary schools.

-Oh, did you?

-Yes.

Do you think the filament's gone? It's not working now.

-I don't think I'd have been allowed to bring it home if it was working. I think it was defunct.

-Probably right!

-And you've had that all this time?

-Yes, it was in the loft.

-Has it been on display?

-No, just in the loft. I found it the other day and thought...

-You'd bring it and put a smile on our faces.

-It would be suitable to bring.

-Some leaving present, though.

-It was rather spectacular.

How would you put a value on something like that, I wonder?

-Well, I don't know.

-Have you any idea?

-I think it would be of interest to someone.

-Is it something you're wanting to sell?

-I could, yes.

I wouldn't mind at all.

Do you want to play a dangerous game? Cos I wouldn't know how to go about valuing something like that.

-No.

-I think, as a curio, and as a decorator's item,

you might get around £30-50.

-That's what I thought.

-Is that what you were thinking?

-Yes. I think so.

And I don't have any sentimental attachment to it.

Well, we need a few more budding scientists in the auction room.

-Absolutely.

-Look, I'm happy if you are.

-Yes, yes, I think so.

-£30-50.

We'll put that in the auction with a reserve fixed at £30,

cos let's face it, you're not desperate for £30 and I think it's sad to let that go for any less.

-Yes.

-But we'll find out what the auctioneer thinks and see if there's going to be any interest.

-Do you want to put it back in the box? We'll get the couriers to take it away. We'll bubble wrap it.

-OK.

-It's insured!

-Very good.

-I wonder if it will make it in one piece!

Well, fingers crossed.

Over at the other side of the hall, Ruth's with magpie Michael and she's brought in some gold.

Whenever I see a glint of gold, I am irresistibly drawn towards it.

-This is a lovely chain and pendant.

-It is.

-Where did you get it from?

-It was my father-in-law's.

-Did he used to wear it as a watch chain?

Yes, he did.

So when was it taken apart, if you will, with the T-bar

and turned into a necklace?

I don't know. That was as I received it after he died.

Oh, oh. This little coin on the end,

-that probably would have been the fob...

-Oh, I see.

-..that would be suspended down.

That would have been the one decorative element when you wore it as a watch chain.

And if we turn it over, we can see Queen Victoria's jubilee head there.

-Um...

-Yes.

-The chain itself is probably about 1900, 1910 in date.

-Mm-hm.

And the little pendant, that's 22-carat gold, being a sovereign.

-The chain is 9-carat.

-I see.

-But it's a lovely, very commercial thing at the moment.

-Yes.

Everybody wants gold, as we know.

Is it something you wear on a regular basis?

No, I've never worn it. Actually, I found it only recently.

-I'd forgotten all about it.

-Oh, good grief!

Cos you are wearing some lovely jewellery today,

but this doesn't appeal to you?

-Not, no.

-I've got my necklace that I always wear

and my partner has bought me new ones, so...

-So it really is the third wheel?

-It is. Yes.

Have you had any idea as to the value of it?

Not really, no. I know that gold's gone up, so I was hoping it was going to be...

Well, fingers crossed it will be.

I think, taking into account the condition of the half-sovereign,

and that it's in a loose mount,

so that can be taken out and appreciated as a coin,

and the weight of the chain, I'd be happy to put £200-300 on it.

-Lovely.

-And a fixed reserve of £200.

-Lovely.

And hopefully, between now and the auction,

the price of gold might keep going up!

-Hope so.

-Let's keep our fingers crossed.

-Definitely.

And let's hope there's a serious coin collector

or someone with a waistcoat in desperate need of a chain at the auction.

-Lovely.

-Thank you.

-Thank you very much.

Before we take Ruth's gold and the other items off to auction,

let's have a quick recap of why the "Flog It!" team have picked them.

This enamel brooch won't be everybody's cup of tea

but I'm sure there are collectors out there.

I'm hoping a foreign buyer thinks this is great.

Let's hope this lovely gold chain and sovereign, that the coin collectors,

the bullion dealers and the jewellery dealers fight it out at the auction.

The reason why I'm picking this to go through to auction is

let's face it, it is a bit of fun.

I've not seen anything like it before.

Hopefully, it's going to light the sale room up.

We've moved a few miles down the road to see those first few items go under the hammer.

This is where we're selling all of our items today - the Greenwich Auction rooms.

It was bright red on the outside, it's red on the inside!

But I tell you what, it's a vast space.

It's now filling full of bidders. Hopefully they're here to put their hands up

-and buy our lots.

-I'll be back when I get to 100!

-90 pound, 95, 100, and 10.

-Our auctioneer today is Robert Dodd

and the seller's commission rate here is 21.6 %, including VAT.

Robert has tweaked all our estimates to give our items

the best chance under his hammer.

We've got a packed auction room and Robert really is working the crowd.

£300. Sold.

Kicking off today's sale is that gold chain and half sovereign.

-Ruth, good luck.

-Thanks.

-It's her first auction, isn't it?

-It is.

-Are you enjoying yourself so far?

-Definitely.

Let's hope you end the day with a smile on your face with two "yes we've sold thems".

We've got a half sovereign and we've got the chain, they came as one lot, £200 to £300.

The auctioneer has decided to put them into two lots. He thinks,

someone will just want the sovereign and just want the chain and pay more,

-which means you get a bit more money.

-Hopefully.

It's got to go, and it's got to do very well, I think.

The Victorian 22 carat gold half sovereign

in a gold pendant mount, circa 1892,

and it's got to start with a bid with me on that half sovereign

at £80. Looking for 85 on the half sovereign.

85, 88, 95, 100. I'm out.

Looking for 110. I've got 100. Are we all done? 110 there,

I'll take 115.

I have 110, and 115 I have, looking for 120.

115 in front.

120, I'll take. 125, if you would. Are we all done at £120?

Selling this half sovereign at £120.

Now let's see if we can get the same amount for that chain.

The early 20th-century hallmarked, 18 inch Albert link chain.

Unusual to see a trio of three clasps.

But I've got to say, this is a lovely, lovely chain

and it's got to start with a bid with me of £120.

Yes, straight in on that. Michael's relieved.

..130, 140. £150,

I'm now looking for 160.

I've got 150, looking for 160, are we all done?

160 in front. 165, looking for 170, sir.

170, looking for 175.

175, looking for 180.

I've got 175 at the back of the room. Are we all done?

At 175...

-Yes, the hammer's gone down. 175.

-Lovely.

-Isn't that lovely? That's £295.

-Lovely.

-Everybody wants gold.

-Top end of the estimate.

-THEY LAUGH

'What a great start to the auction.

'Separating that chain and sovereign was a really good call by Robert.

'Next up, it's that huge light bulb.'

OK, my turn to be the expert. Here's a good, bright idea,

I've got that light bulb coming up, 1,000 watter,

belongs to Sue, she can't be here today, unfortunately,

but her husband Steve can.

I was having a chat to your wife at the valuation day

and I thought this was a lovely thing.

Really, if I was Sue, I'd be keeping it.

She said she's got all the memories and lots of other things.

-Yes.

-Let's see if we can get that £30, shall we?

OK, fine, let's see, yes.

Absolutely stunning lot, this.

You're never going to buy another one of these.

A large, used 1,000 watt light bulb

from the London Planetarium in the '70s.

Someone has taken this home, in their briefcase, it hasn't broken.

Absolutely stunning piece, this.

And the bid's with me straightaway at...£30 on this.

Ooh, we've sold it straightaway.

Anyone? There's a light bulb up here. I only want £32.

32, 35, 38, £40,

42, 45, 48,

50 here. Looking for 55 on this. Are we all done? Last time.

At £50 on a USED light bulb.

-LAUGHS

-That's the most expensive dud light bulb, isn't it?

You got the top end of the estimate.

-Tell Sue, won't you?

-I will do.

'Well I'm sure that result will brighten up Sue's day.

'Our next item is that exquisite filigree brooch.'

It's a holiday souvenir and it's going under the hammer.

It belongs to Barbara and that holiday was in Malta, wasn't it?

-Yes, it was my mother's.

-Valletta Harbour, or Medina, or somewhere like that.

Beautiful place. We're looking for 150 to £200.

It's gold, it's a filigree brooch. Why are you selling this?

I don't wear it and my mother didn't wear it.

And I'm going to take my sister out, she's not terribly well

at the moment and we'll just talk about Mum.

-It is a difficult thing to wear, isn't it?

-It's more like a collector's piece.

Maybe someone that collects portrait miniatures. I can see it fitting really well.

-It's very pretty, isn't it?

-Yes. Pretty lady.

Good luck, here we go. This is it.

Lovely, beautiful enamel portrait of a maiden.

Absolutely stunning brooch, this. It's got to start

with a bid with me of £100 only.

Looking for 110. 110, 120, 130,

140, 150, 160...

Wow, wow, wow.

£170, I'm out, 180 at the back of the room. 190,

-200, 210, 220, 230...

-I'm amazed.

..250, 260, 270. £270 with you, sir.

280, new place. Looking for 290.

290, looking for 300. £300 standing, 310 seated.

320, 330, 340, 350,

360, 370, 380, 390.

£390 there. Looking for 400.

Are we all done?

At £390, sold.

-Yes!

-That's amazing.

-I'm so pleased for you, that's really good.

-Quality, quality always sells, doesn't it?

-I'm just amazed, because I didn't wear it.

-That's more than lunch out, isn't it?

-It is. Nice pair of earrings.

-That's a very nice lunch out.

-THEY LAUGH

'That's a fantastic price

'and I hope the new owner really enjoys that brooch.

'Now, I want to show you a very special gallery that I visited

'while I was in London.'

Today, we're blessed with many superb art galleries in this country,

but it hasn't always been this way.

Some 200 years ago, there were some fabulous private collections,

but only a handful of galleries opened to the public.

Thankfully, all that has changed, but it was a slow process,

bringing art to the masses.

But Dulwich Picture Gallery was instrumental

in that shift of attitude, that art shouldn't just be for the elite.

When this place was founded in 1811, it was the first

purpose-built gallery in the country to house art for the public.

So the building itself is a monument to all you art lovers

and as we're about to find out when we go inside,

it's got a collection fit for a king.

'The gallery story starts in 1790.

'Stanislas Augustus, the last King of Poland,

'commissioned two of London's most eminent art dealers,

'Noel Desanfans and Sir Francis Bourgeois

'to put together a Royal collection for Poland.

'The men dedicated themselves to collecting the finest paintings around,

'but in 1795, Poland was partitioned

'and the King was forced into exile.'

So the dealers were left with a Royal collection,

but with no king to give it to.

Unable to sell the works as a whole,

Bourgeois left the collection of art to Dulwich College upon his death,

with the condition that they be put on public display.

There was also another condition in the will,

a request that the art gallery they were to be displayed in

would be built by his good friend, the architect, Sir John Soane.

Soane took on the challenge with great enthusiasm

and started work immediately here in Dulwich on the art gallery

the day after Bourgeois died.

'Soane's design was unlike anything else that had been built before.

'He created these roof lantern windows,

'allowing natural light to wash over the paintings.

'This idea has inspired the design of art galleries ever since.'

'The mausoleum at the gallery's heart

'is perhaps the most quirky part of the building.

'Soane used coloured glass to bathe the room in orange light.

'This went on to become a very fitting resting place for the gallery's founders.'

Bourgeois and Desanfans built up their Royal collection,

reflecting the tastes and the market of the day

and they focused all their energies on collecting European art,

from the 17th and 18th centuries, a period known as Baroque.

This was a really exciting time for collectors back then,

because each European country had radically different societies,

and all this was captured by the artists,

because they all had different tastes and interpretations.

Also, the French revolution caused the break-up of the French Royal collection,

so a lot of Old Masters flooded the London market,

and because of this, Bourgeois and Desanfans

were able to build up an eclectic and diverse range of paintings.

And with the help of some later bequests, all of this has become

one of the finest public collections of Old Masters in the world.

And you really are in extraordinary company here.

The 350 or so paintings on permanent display include masterpieces

by Van Dyck, Murillo,

Rubens and Poussin, to name a few.

But let's take a closer look at the paintings themselves.

Mention the name Canaletto,

and you instantly think of those wonderfully evocative scenes of Venice

that he painted extensively for the tourist market back in the 1730s.

But interestingly, this is a Canaletto,

but it's an English scene.

That's Old Walton Bridge, in Walton-on-Thames in Surrey.

He painted this for the MP Thomas Hollis back in 1754.

If you look closely, you can see the MP Thomas in the foreground,

in this beautiful frock coat.

But look also at what else is going on in the foreground.

There is Canaletto himself, look.

Painting the scene we're looking at.

Isn't that lovely?

This is one of the most iconic paintings at the gallery.

It's Rembrandt's Girl at the Window.

No-one knows for sure who the young girl is,

possibly one of Rembrandt's servants,

but he painted this in 1645, when he was 39 years old.

It's a mixture between genre and portraiture.

It's full of mysteries and ambiguities, typical of his work.

She's looking right at you, holding her necklace.

It's got these wonderful dark understated tones,

which bring the subject matter really alive.

He's painted this using a combination of brushes, palette knife,

and, believe it or not, his fingers.

This is my favourite painting in the gallery.

It's worth coming here just to see this one oil painting.

Pay homage to it, because it is absolutely stunning.

Rembrandt's painting hasn't always looked like this.

It's recently been cleaned.

Look at the difference. It's really brought the portrait to life.

Sarah Moulden is one of the curators,

'and I want to ask her about the conservation work that's done here.'

Sarah, there must be such a huge responsibility on you

for the conservation of so many fine Masters here.

It's a big job, not least because most of the collection we have here

dates back to the 17th and 18th century.

So over time they can deteriorate.

Tell me a little bit about the scheme to adopt an Old Master.

It was set up in 1988 as a way to encourage

groups of people or individuals to come forward,

to adopt an Old Master, or their frames,

that needed conservation.

And their frames? That's quite interesting.

Frames are just as important as paintings.

Frames over time can expand, and we sometimes get strain on canvas.

Can you talk me through this one?

This is on the wall, and I gather this has been cleaned.

These two paintings are by a 17th century Portuguese painter called Lorenzo A Castro.

This one looked very much like this one once,

very yellow, very dirty, very discoloured in the sky and the sea.

What the conservator did to this a few years ago was to give it

a gentle, sensitive clean, with some conservation-friendly solvents,

which have managed to take off this yellowing effect,

which is really just dirt and varnish mixing over time.

I've seen this done. It's a slow, methodical process.

Sometimes used with a cotton bud, like an ear stick,

just very slowly, bit by bit by bit.

Absolutely. It's got to be a very sensitive process,

breathing some life back into them,

but of course this one, we're still waiting for it to be adopted.

Hopefully when this one is finished, it may be on the wall in the gallery to join this one.

Absolutely. That would be ideal.

It's great to know that conservation work will continue

so future generations can enjoy paintings here as much as I do.

I'm pretty sure Bourgeois and Desenfans would certainly approve of the gallery,

and all the fine work that's being done here today.

I've thoroughly enjoyed myself,

and hopefully I've inspired you to pay the gallery a visit.

We're back at Dulwich College in South London,

and our valuation day is in full swing.

Kate's with Peter, who's brought in something rather curious.

-Peter, hello.

-Hello.

-What have you brought us today?

Well, I presume it's a piece of Victorian Majolica ware,

but I don't know much more about it.

-So is this an inherited piece?

-Yes, it came from my parents' home.

My parents' house was bombed during the war and they lost all their china.

I think this is one of the things my mother was given to fill up the spaces.

-Ah, right.

-She didn't like it, so I don't think she bought it.

-So she never had it on display?

-Oh yes, it was always there.

That makes me think it was somebody she knew who gave her it.

-So she couldn't offend by sticking it in a cupboard. Do you like it?

-No.

I think you're right, it is Victorian, so mid-19th century.

There are English makers, George Jones, Wedgwood, Minton, that spring to mind,

but also a few continental makers.

So Majolica - or Maiolica in the Continent - could be French,

and also the pink interior sometimes indicates it's a continental maker.

But, saying that, there are no marks on the bottom

so if it was George Jones or a really good English maker, that affects the price.

Right.

Looking at it a bit more closely, it's quite a sinister thing.

There's this snake coiling all the way round it about to eat

this poor, defenceless, unsuspecting frog on the top.

The Victorians were very much influenced, in this instance,

by nature and natural forms and things like that.

I think it's quite fun. It's quite charming.

It's not everybody's style.

I can see why you're not a huge fan of it.

I wouldn't want it in my house

but there are a lot of Majolica collectors. Condition's great.

A few little chips on it but nothing bad.

Any idea price-wise what you think it's worth?

Well, no. I've seen Majolica ware for sale

but it's always been more precise than this.

This has got this awful, drippy glaze

which makes me think it's not particularly good.

-Perhaps I'm wrong.

-Well, it's the style of it, as well.

It's quite natural and fluid and it's quite good fun.

I quite like it although I personally wouldn't have it.

I think price-wise it's going to be £50 to £80 at auction.

A classic auctioneer's estimate - 50-80 - kind of edging our bets.

Reserve-wise, would you want a reserve on it? Some kind of reserve?

-I think I should have some reserve, yes.

-OK.

-How about putting a fairly low, £30 reserve?

-That's OK.

-Would you be happy with that?

-Yes, I am.

What would you buy if we sold it?

I'm a mad keen collector of H and R Daniel's china so...

-A different kind altogether?

-Absolutely.

Precisely why I don't like this drippy, imprecise stuff.

-Whereas that's beautifully painted and very neat.

-Ah.

-So you can exchange one porcelain, or one ceramic for another?

-That's right.

-Fingers crossed.

-Splendid. Thank you.

-Thanks.

Find out later if Peter makes enough to treat himself

to something that's more up his street.

On Michael's table,

he's getting very excited about an object that Sharon's brought in.

Well, Sharon, I think

you were unwrapping this on one of our tables

and I pounced on you when I saw it.

-Yes.

-Um, it's a wonderful thing and I am going to enthuse about it.

But what can you tell me about it first? Where did it come from?

It was given to me, in Toronto, about 40 years ago, by a very close friend.

-Good grief.

-Yes.

-I tell from your accent, are you from Canada?

Yes, I am. I was born in Hamilton in Ontario

-but I've lived here now more than 30 yeas.

-Do you have any idea

-of what it is and where it was made?

-No.

-I think it's bronze.

-It is certainly bronze.

And I'd like to know

if the little mouldings on the sides have any significance.

-These little fellows?

-Yes.

We'll put you out of your misery on that score first. It is Chinese.

-Mm-hm.

-It's a bronze censer.

-Oh.

So you would put incense in there and it would perfume the room.

These little fellows are called taotie masks

and you get them on very, very early Chinese bronzes.

They continued to use them as a decorative device

right up until the 19th and 20th century.

So what you have to do is you have to date it

by the quality of the casting,

the form,

-and how well everything works.

-Mm.

I think it is an absolutely delightful thing.

-These feet, these beautiful...

-They are lovely, aren't they?

..swelling, massive feet down to very sensitive little tips here.

Going back to these little taotie mask handles,

they are very finely cast.

They are beautiful work.

So then that begs the question, when was it made?

-Yes.

-I'm not going to be that precise

because dating Chinese bronzes is not a precise science.

From the quality of it,

-um, in my opinion, it's 17th century.

-Really?

But it could possibly be into the middle of the 18th century.

I had no idea.

And I'm sure the friend who bought it for me had no idea either.

It's amazing how these things turn up.

-I would love to know how it turned up in Canada in the first place.

-Yes.

But that will be forever a mystery. Having built it up that much...

-Yes.

-..we'll have to get back down to earth.

-Would £50 buy this off of you?

-No, I don't think so.

-For sentimental reasons more than anything else.

-75?

-Um, perhaps.

-Yes, we're getting warm.

-So we'd have a discussion at 75?

-Yes.

-And possibly at 100, we might seal it?

-Oh, definitely.

-Right.

Let's put it into auction...

..for £600 to £800.

And let's put a fixed reserve of £600 on it.

-Because it is, believe me, worth that all day long.

-Well, let's.

-LAUGHS That's all I can say.

-Um...

Genuinely amazed.

Now let's just hope at the auction there are telephone calls

from mainland China, a bank of them,

hopefully all bidding to get this back home.

-Yes.

-So, Sharon, what have you been using this lovely bowl for?

Well, when I'm not preventing people

from stubbing out their cigarettes in it,

I, um, use it to store my neighbour's keys.

-Oh, no!

-Yes.

-Oh, no!

-I don't think it's done it any harm.

-SIGHS

-Just. Just.

'It sounds like that bowl has had a lucky escape.

'Time to squeeze in one more valuation, or should that be ten?'

Malcolm, you have brought in the sweetest things I've seen all day.

Tell me about them.

I was at a car boot recently

and I was looking in a box that was on the floor.

And in the box there was a vase that I was interested in.

As I was looking at the back - I didn't have my glasses with me

so I was squinting - I saw a pot with all these figures in.

I couldn't really tell, cos it was early morning,

whether they were chess pieces,

-whether they were made of wood or metal.

-Yeah.

I could see something on one that said "A-U-S".

-I thought, "Is that Australia or Austria?"

-Yeah.

-I didn't know.

So I said to the dealer,

"How much would the vase be and the pot of figures?"

And he said, "£30." I paid him the money and got home.

I was sitting with my glasses on and I could see they were Austrian.

So, on a whim, you bought them mainly because you wanted the vase.

-Have you sold the vase?

-I have.

-OK, how much did that go for?

-£25.

So these have cost you a fiver. OK. Do you know any more about...

It is Austria, which is great for bronzes. It says RR.

Do you know who that's for? Who that mark is?

-I think it's Richard Rohac, is it?

-Yes.

-That's about as much as I know.

-Yeah.

Obviously he must be Austrian, I would have thought.

Richard Rohac worked for the Hagenauer studios, the Hagenauer foundry. These are 1950s -

certainly stylistically from the teddy bear, he's sweet.

My absolute favourite... I'm torn because I like the mouse and the owl.

-Which is your favourite?

-It's got to be the mouse.

-The mouse.

It's amazing that that's lasted so long

with that really thin tail and he's not got damaged at all. He's lovely.

-How many have we got? One, two, three, four, five, six, seven, eight, nine, ten.

-We've got ten.

That's a ridiculous amount each, if you only paid a fiver.

I'm on the right side there.

Price-wise, yeah, it's quite an interesting one. I think they've got to be...

at least £10 each, something like that, you would think.

It's hard to put a value on these auction-wise.

-Maybe £150, £200, something like that?

-Sounds good to me.

Would you want a reserve on them at all?

I think £100 as a reserve if that would be all right.

-A great return if we could get it, isn't it?

-It would be.

If we sold them at the sale, what would you do with the money?

Um, I'd go out and try and find something else to bring to you.

-Find something else at boot fair, find something.

-Yes.

You've got a good eye. A little bird tells me this isn't your first time on Flog It!

-No, it's not my first time but hopefully it'll not be my last.

-What did you bring last time?

-Last time I brought in a miniature walnut apprentice table.

-All right.

-Did it sell?

-Yes. It sold well.

-So we financed the new purchase.

-Yes.

-And we will continue to finance purchases.

-Try to keep the cycle going.

-Brilliant.

-Ultimate recycling is antiques so we'll give it a go.

-Thanks.

-Thanks.

Before we do, let's remind ourselves why our experts

think today's items are so fabulous.

Malcolm's bronze animals are really sweet.

I can't decide which one I like most. Everyone will have a favourite.

I think they'll do well. Fingers crossed they'll get the high end of the estimate.

This is simply the most beautiful bit of Chinese art I've ever seen

on a Flog It! valuation day and I hope everyone else at the auction

appreciates just what a fine piece this is.

I'm wondering if I give this frog a kiss,

if he'll turn into a handsome prince and make my day at the auction?

I'm hoping my valuation's spot-on and it'll go well. Mwah!

We're back at Greenwich Auctions in London

and the lots are flying out of the door.

Will Peter's ceramic do well?

We'll find out now because it's about to go under that hammer.

We've got a wonderful Majolica jug decorated with snakes and frogs and foliage.

The more creepy-crawlies the better, the more expensive it gets.

-Why are you selling this, Peter?

-It's just filling a space in a cupboard.

-I'd rather have the space.

-Not keen on it at all?

-No.

-No?

-I like this kind of thing.

-It's quite quirky.

-Hopefully someone will like it.

-I hope so.

We'll find out right now because this is it!

Good example this lot. It's a large glazed Majolica china jug.

-And the bid's with me at only £28 on that.

-Oh, come on.

-Come on!

I want 30 on this jug. I've got 28.

32. 5, I'm out. 38. £40. 42. 45. 48. 50.

Looking for 50. 55. Looking for 60...

There's two bidders fighting it out in the corner, in the same corner.

55 there. Are we all done? Last time.

At £55.

-That's not too bad.

-Just where you said it would be.

Well, naturally.

-Better than sticking it back in that dark cupboard...

-Yes.

-..filling space.

-Thank you very much.

Brilliant. I am so pleased Peter can put that £55 towards something he'll love.

Our next lot is Sharon's fantastic Chinese bowl.

Coming up next, the oldest thing in today's sale -

this Chinese, late-17th century, bronze censer.

A wonderful bowl with a tripod base, isn't it? It belongs to Sharon here.

How did you come by this?

-A dear friend gave it to me about 40 years ago.

-Wow. And you've kept it.

-I've kept it. I've enjoyed it.

-It's beautiful.

My only reservation is that here today, I don't think

-the Chinese buyers have had a chance to see it.

-We'll find out.

-That's the crucial thing.

-We'll find out right now, this is it. Good luck, Sharon.

-You're welcome.

-Here you go.

A special lot.

Late-17th, early-18th Chinese bronze censer bowl

on tripod pad feet.

And it's got to start with a bid with me of £380 on this bronze bowl.

Looking for 390. 400 with me. Looking for 410.

I've got 400, I'm looking for 410 anywhere. Are we all done?

At £400.

No, he didn't.

-At least we protected it with the reserve.

-Yes.

To be honest, if the Chinese bidders had seen it,

we'd have been starting at 1,000 and going on from there.

-It's unfortunate but this is what reserves are for. That's our job.

-Yes.

-It's had a good life, hasn't it?

-Yes.

-It's going home.

-You can enjoy it a bit longer.

-Yes.

-At least you can remember what Michael's words are.

-I'm fascinated.

You've got a good valuation.

-Make sure to protect it the next time that you go to sale.

-I will.

'I've got a feeling that if Sharon takes that bowl

'to a specialist Oriental sale, she'll get a good price.

'On sale preview day, I asked the auctioneer,

'Robert Dodd, what he thought about Malcolm's bronze animals.'

Our expert has put a value of £150 to £200 on the lot, as a job lot.

-But I know you've decided to split them up.

-That's right.

-Because I think that's the best way of selling these.

-Yes.

-Um, I like them a lot.

-Good.

-And I like to sell this type of stuff.

It's highly collectable - small items.

I think, as well, people often get wrapped up with who the designer is

or who the sculptor is.

At the end of the day someone who collects owls,

they won't care who's designed it -

they like the owl, or a duck or a teddy bear.

By putting them through individually, I believe we should make the top valuation.

So how have you decided to put a new value on these? What have you done?

-We've got a reserve figure of £100.

-Yeah.

You're looking at £10 each gets the reserve.

-Yeah.

-So two people like the owl, could make £18 to £20.

-Two people like the duck. That could make £20.

-Yeah.

-So it gives him more of a chance.

-We'll add it all up at the end

-and see what happens.

-I haven't got time!

No, you haven't. Mind you, you've got your work cut out now.

-You've ten times more work but that's how you earn your money.

-That's right.

So let's see how they get on. They are about to go under the hammer.

They belong to Malcolm and he's right next to me now

and he has been buying things, haven't you?

-Well, I've been trying to, yes.

-Any luck so far?

-No, not yet.

Had a couple of bids but still got a couple to go yet.

Well, keep your powder dry. Now, listen, why are you selling these?

-Um, I don't know really. I feel like buying them back but there you go!

-Oh.

Too late now. You can't buy your own things.

You've buyer's and seller's commission if you buy it back!

Good luck with the bronzes and good luck with whatever you're buying later on, OK?

-Thanks.

-Here we go. Let's find out what the bidders think in this packed auction room. This is it.

Classic Austrian bronze figure. Teddy bear with mark on the base.

This first one's got to start with a bid with me of £10 only.

Looking for 12. 13. 14, I'm out. 16 down the back. 18 I need. 18 seated.

£20. Looking for 22. 22 I have. Looking for 24. Are we all done?

Last time. Seated at £22.

-Well, that's got your money back.

-A great sign.

Looking for 22. 22. 25. 8 I need.

28, I'm out. Down the back. Looking for 30. Are we all done?

At £28.

£28 for the horse and now it's the penguin I think.

Bid's with me at £10. Looking for 12...

At £28.

That's the penguin at 28. Now the owl.

30 there. Looking for 32. Are we all done?

At £30.

-Here we go, here's the next one.

-Are we all done at 20?

-Selling at £20.

-GAVEL BANGS

Yes. And now the fish.

The fish, good lot.

Last time at £28.

-Jaws must have bought that one.

-Yes.

-It's the mouse now.

-The mouse.

-This is the one.

The bid's with me at £10. Looking for 12. 15. 18.

20 there. Looking for 22. 2 seated. 25. 28.

£30. Looking for 32. Are we all done?

32 there. Looking for 35. Are we back? 35 there. Looking for 38.

38. Looking for £40. Are you coming in at £40 there?

Looking for 42. 2, looking for 45. At 45, looking for 48...

Wow.

..50. £60. Looking for 62. 62. Looking for 65, there.

68 I need. 68 I've got. £70 seated. 2. 72. 78 I want.

Are we all done? Last time.

At £75.

-Hammer's gone down.

-Brilliant.

-This time it's a duck.

Bid's with me at £10 only on the duck. 12.

14. 16, I'm out. Looking for 18 on the duck...

Don't go away, we're going to add this up in a moment!

Last time at £25.

-Gosh.

-Lot 38.

The Austrian bronze figure donkey. This should make some dough.

The bid's with me at £10. Looking for 12.

-What's the matter with the donkey?

-GAVEL BANGS

I love the G-force when the hammer comes down! Cracking.

Last one today on the bronze. The seahorse.

£25 down the back of the room. 8 there. Looking for 30.

£30, looking for 32. 32, looking for 35. Down the back of the room.

Looking for 38. Are we all done?

At £35. 38...

-No. Late bids.

-Are we all done on my left?

At £42.

Yes! The hammer's gone down on the last one.

-You've got to be a happy man.

-I'm a happy bunny.

Oh, you're a happy bunny. Expecting around £150 to £200.

-You've got £340.

-That was a great result.

-It was.

-Well done, Robert. He knows his market.

-Yes.

-Happy?

-Very happy.

Malcolm'll spend the rest of the day putting his hand up,

buying more antiques. That's what it's about, reinvesting.

I hope you've enjoyed today's show, we certainly have.

Join us next time for many more surprises. Until then, it's goodbye.

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