0:00:03 > 0:00:08Today, we're in West Yorkshire in the pretty and historical village of Saltaire.
0:00:08 > 0:00:11It was created as a model village in 1853
0:00:11 > 0:00:14by Yorkshire industrialist Sir Titus Salt,
0:00:14 > 0:00:18and it has a rich history of architecture and culture,
0:00:18 > 0:00:22so it seems to be the perfect place to meet up with all the locals
0:00:22 > 0:00:25and look at their unwanted antiques. Welcome to Flog It!
0:00:50 > 0:00:53And this is where it all starts, a Flog It valuation day.
0:00:53 > 0:00:56And we are certainly blessed with a wonderful location -
0:00:56 > 0:00:59the grand, the very imposing Victoria Hall.
0:00:59 > 0:01:01At nearly 150 years old,
0:01:01 > 0:01:03it looks as beautiful today as it did back then.
0:01:03 > 0:01:06In fact, the whole village is totally alluring.
0:01:06 > 0:01:10It's a magnet for artists, poets, writers, musicians and, of course, today,
0:01:10 > 0:01:14hundreds of people laden with bags and boxes full of antiques.
0:01:14 > 0:01:17The lucky ones will go to auction and earn a small fortune.
0:01:17 > 0:01:21They've all come to ask that all-important question - what's it worth?
0:01:21 > 0:01:25- And when they find out, what are they going to do? - ALL: Flog it!
0:01:25 > 0:01:28But first, we have to find it.
0:01:28 > 0:01:30And wasting no time getting stuck in are our experts,
0:01:30 > 0:01:34Michael Baggott and David Barby.
0:01:34 > 0:01:37Hugely knowledgeable in the antiques trade,
0:01:37 > 0:01:41I doubt their professional eye will miss anything of interest.
0:01:41 > 0:01:45This one guy that can remember all the letters and the dates.
0:01:45 > 0:01:48- Apart from that one! - That is an achievement!
0:01:48 > 0:01:53Today's programme is full of fabulous items from all over the globe,
0:01:53 > 0:01:58but can you work out which one of the following ISN'T European?
0:01:58 > 0:02:01There four Lalique-style light shades,
0:02:01 > 0:02:04this late 19th-century clock
0:02:04 > 0:02:08or these porcelain scent flasks?
0:02:08 > 0:02:11Everybody is now safely seated inside, and I must say,
0:02:11 > 0:02:16the interior of this building is as spectacular and magnificent
0:02:16 > 0:02:18as the exterior, built in 1869.
0:02:18 > 0:02:22They certainly don't build things like this today, do they?
0:02:22 > 0:02:26Let's hope we can find some antiques worthy of such a venue.
0:02:26 > 0:02:31It looks like Michael has made a fantastic start. He's spotted a real gem. Take a look at this.
0:02:31 > 0:02:36- John, thank you very much for coming along today.- You're welcome.
0:02:36 > 0:02:40- It was David who called me over in the queue earlier.- It was.
0:02:40 > 0:02:42- He showed me this lovely purse... - Mm-hmm.
0:02:42 > 0:02:47..and then this wonderful little fellow inside it. But where did you get them from?
0:02:47 > 0:02:50You don't look like the sort of man that has a lady's purse!
0:02:50 > 0:02:54No. They came in a box of equipment which was going to our charity,
0:02:54 > 0:02:57- the Marie Curie one.- These were in the bottom of the donation box?
0:02:57 > 0:03:00Yes, in the bottom, in a plastic bag, along with that.
0:03:00 > 0:03:04- So when your eye spied these... - I thought, "That's too good for the shop."
0:03:04 > 0:03:08- The glint of silver alerted you. - The weight of it alone.
0:03:08 > 0:03:11- That's a very good point. - It's very heavy for what it is.
0:03:11 > 0:03:16We'll look at the purse first. Basically, we've got a ladies evening bag.
0:03:16 > 0:03:20If you could afford it, in the early part of the 20th century,
0:03:20 > 0:03:23you would have a mesh bag made out of solid silver.
0:03:23 > 0:03:26Most of these aren't made in this country.
0:03:26 > 0:03:30- This meshwork is a bit too fine and delicate.- It's very delicate.
0:03:30 > 0:03:33It was a speciality of French and German silversmiths.
0:03:33 > 0:03:37So we've got here a solid silver frame mount.
0:03:37 > 0:03:42Because it was imported, we've got the import marks for London,
0:03:42 > 0:03:45- and the date letter for 1918.- 1918.
0:03:45 > 0:03:49We do, I think, go mainly by the weight of this.
0:03:49 > 0:03:52I think we're about four ounces, three to four ounces.
0:03:52 > 0:03:56- On the kitchen scales, it was about four ounces.- Scales in my fingers, what can I say?
0:03:56 > 0:04:00- What's more interesting is what was in it.- That was in.
0:04:00 > 0:04:04- Do you know what that is?- It's a Vesta.- It is, it's a Vesta case.
0:04:04 > 0:04:07- Basically, a case for matches.- Mmm.
0:04:07 > 0:04:12People wonder, "Why do you have cases for matches?"
0:04:12 > 0:04:14They had a tendency to go off,
0:04:14 > 0:04:17- and you'd be lucky to get out... - Set your jacket on fire.- Exactly!
0:04:17 > 0:04:22So, as a safety feature, they put them in metal tins, and, of course...
0:04:22 > 0:04:26- Logically.- ..as soon as you do that, as soon as it becomes an accessory,
0:04:26 > 0:04:30you want to decorate it, and make it into various novelties.
0:04:30 > 0:04:36We've got, "Guild of St Aloysius, St Cuthberts."
0:04:36 > 0:04:39- So it's obviously had... - Church connections along the way.
0:04:39 > 0:04:45Church connections, or an association. And we've got, "souvenir" on the top.
0:04:45 > 0:04:48We have got hallmarks there, which are very nice.
0:04:48 > 0:04:52- No maker's mark, sadly, which is a little unusual.- It's a shame.
0:04:52 > 0:04:55But we've got the hallmarks for Birmingham 1890.
0:04:55 > 0:04:58Now, there is something unusual about those marks.
0:04:58 > 0:05:04- 1890 was the year when the duty on silver was abolished.- Oh, right.
0:05:04 > 0:05:08To show that the duty had been paid, you would have the sovereign's head,
0:05:08 > 0:05:11- George III, William IV, Victoria. - Queen Victoria.
0:05:11 > 0:05:13It's marked there.
0:05:13 > 0:05:16Because this was the year when they abolished it,
0:05:16 > 0:05:21we know that those marks are only in use up to the 1st May, 1890.
0:05:21 > 0:05:26It probably won't make a great deal of difference to the value but it's just quirky.
0:05:26 > 0:05:29What probably will make a difference to the value is the split.
0:05:29 > 0:05:33Absolutely! That instantly takes some of the value off, not a lot, I hope.
0:05:33 > 0:05:37It's not all of it but it's a little job that needs to be done.
0:05:37 > 0:05:42- I think, at auction, we would put these in together.- I would think so.
0:05:42 > 0:05:44If they part on their separate ways after the auction,
0:05:44 > 0:05:45all the better for that.
0:05:45 > 0:05:49Let's put them in at £80 to £120.
0:05:49 > 0:05:53I reckon that at 40 to 60 and I reckon that at 40 to 60.
0:05:53 > 0:05:57- It all the profit, that's what it's going to.- It's all for the hospice?- Absolutely.
0:05:57 > 0:06:01- Thanks very much indeed, John. - Thank you for that.- It's a pleasure.
0:06:01 > 0:06:06It's a great cause and the more we can bag in the saleroom, the better.
0:06:06 > 0:06:09In the meantime, let's trot over to David Barby.
0:06:09 > 0:06:11- Mary?- Yes.
0:06:11 > 0:06:13- I've always liked Beswick figures. - Yes.
0:06:13 > 0:06:16Is this part of your collection you've got tired of, or what?
0:06:16 > 0:06:21No, it's a one-off. It was my step-mum's. She had it for a long time.
0:06:21 > 0:06:26- She passed away in the year 2000. - And you've had it ever since?- Yes.
0:06:26 > 0:06:27Do you not like it?
0:06:27 > 0:06:31Yeah, I do like it, but it's not to my decor
0:06:31 > 0:06:33and I don't want it to get damaged.
0:06:33 > 0:06:36- It's too nice for it to be damaged by the children. - It is a very nice model.
0:06:36 > 0:06:39Beswick are very good, particularly the modelling of horses.
0:06:39 > 0:06:42- I'm just going to check that it is Beswick.- It is.
0:06:42 > 0:06:44Yeah, there's the mark.
0:06:44 > 0:06:47- It's not often you see them reclining like this.- No.
0:06:47 > 0:06:51This is a dappled mare, or stallion. That's rather a nice position.
0:06:51 > 0:06:55Very attentive, as though he's just caught a noise or something like that.
0:06:55 > 0:06:59His ears are upright. It's a very well-observed sculpture.
0:06:59 > 0:07:03- I like the colouring as well and the fact that it's table level.- Yes.
0:07:03 > 0:07:07Or cabinet level. I've seen cabinets chock-a-block with these horses,
0:07:07 > 0:07:09they look very good.
0:07:09 > 0:07:15- The value of these depends on the appeal at the time of auction.- Yeah.
0:07:15 > 0:07:19If you've got a lot of farmers in, they will bid high. Horses, very, very popular.
0:07:19 > 0:07:23Pigs are popular and sheep, anything to do with domestic animals
0:07:23 > 0:07:24and the horse is a domestic animal.
0:07:24 > 0:07:30So there's a wide interest, a wide market. Everything has its price.
0:07:30 > 0:07:32These figures are well documented,
0:07:32 > 0:07:35depending on whether they're cracked or damaged or chipped.
0:07:35 > 0:07:37This one's in lovely condition.
0:07:37 > 0:07:42I think at auction this will sell somewhere between £50 and £90.
0:07:42 > 0:07:43That sort of price range.
0:07:43 > 0:07:45They have made considerably more.
0:07:45 > 0:07:49- I'm just allowing for the state of market.- Yeah.
0:07:49 > 0:07:51- Would you be happy at that?- Yeah.
0:07:51 > 0:07:53I think we need to put a reserve.
0:07:53 > 0:07:58Let's guard it from going below a figure that we really want
0:07:58 > 0:08:01and put a reserve price at £50.
0:08:01 > 0:08:03- Is that acceptable?- That's fine.
0:08:03 > 0:08:08- Can I say £50 with discretion? - Yeah.- OK. So if he gets 48, the hammer will come down.
0:08:08 > 0:08:14- Yeah, that's fine.- OK. I think it's important not to lose a purchaser.
0:08:14 > 0:08:17If you get £50, what are you going to do with it?
0:08:17 > 0:08:22- I'm going to buy some ladies.- Some ladies?- Yes.- Doulton ladies?- Yes.
0:08:22 > 0:08:24Now is the time to buy, particularly at auction,
0:08:24 > 0:08:27because prices are not as high as a few years ago.
0:08:27 > 0:08:30There might be Doulton ladies at the sale when you sell this.
0:08:30 > 0:08:31I'll be looking.
0:08:31 > 0:08:37Well, it appears Michael was also looking and spotted some first.
0:08:37 > 0:08:39John, I can really have no complaint today
0:08:39 > 0:08:43because you've brought me four scantily-clad ladies.
0:08:43 > 0:08:45Where did you get them from?
0:08:45 > 0:08:48I was working on the house due for refurbishment
0:08:48 > 0:08:50and they were in boxes that were going in the skip.
0:08:50 > 0:08:55I delved into it and found one, delved a bit further and found the four glass things.
0:08:55 > 0:08:58I looked a bit further and found these and I thought...
0:08:58 > 0:09:00- Those must go with those? - No, I didn't.
0:09:00 > 0:09:04- I brought them home, tried to fit them together and realised... - Bingo?- Yeah.
0:09:04 > 0:09:09It's scandalous that at any time these were heading for a skip.
0:09:09 > 0:09:12First of all, well done for stopping them going in there,
0:09:12 > 0:09:14because what a terrible loss.
0:09:14 > 0:09:17You got these home, they are signed here
0:09:17 > 0:09:19Muller Fres Luneville.
0:09:19 > 0:09:22Did you look that up, or do any work on that?
0:09:22 > 0:09:27- When I got them, I took them to a local antiques dealer to find out...- What they were.
0:09:27 > 0:09:30He told me that Muller Fres was Muller Brothers.
0:09:30 > 0:09:33- Luneville was light city... - Absolutely.
0:09:33 > 0:09:36And they were Art Nouveau, probably 1930s-ish.
0:09:36 > 0:09:39Near enough, near enough. I can fill it out a little bit more.
0:09:39 > 0:09:44You've got the fantastic glassworks run by Emile Galle.
0:09:44 > 0:09:47And Muller brothers, before they set up on their own,
0:09:47 > 0:09:52worked for Galle, but they left him in about 1905
0:09:52 > 0:09:57and were working through the '20s and '30s and I think they closed in 1937.
0:09:57 > 0:10:00So, basically, you've got something that's very much like,
0:10:00 > 0:10:06if anyone seen any Lalique on Flog It, it's very much in his style.
0:10:06 > 0:10:10We've got press moulded glass, which is given this contrast
0:10:10 > 0:10:11by this acid etching
0:10:11 > 0:10:14and we've got the acid etched signatures on each one.
0:10:14 > 0:10:17And lovely that we've got the original mounts.
0:10:17 > 0:10:20Whilst they trained under Galle and his wonderful techniques
0:10:20 > 0:10:21and learnt their craft there,
0:10:21 > 0:10:26by the time these were produced, which I imagine is about 1925,
0:10:26 > 0:10:29Lalique is the most fashionable glassmaker in France.
0:10:29 > 0:10:33He's the one they're imitating.
0:10:33 > 0:10:35Possibly, in some respects, surpassing.
0:10:35 > 0:10:38The figures are beautifully thought out and made.
0:10:38 > 0:10:43I think we've basically got two pairs, rather than a set of four.
0:10:43 > 0:10:47This one sadly has had a bit of damage here,
0:10:47 > 0:10:50but when that is mounted in the frame and on the wall,
0:10:50 > 0:10:53I don't honestly think that'll make a great deal of difference.
0:10:53 > 0:10:58Right, now we know all about them, it's really a question of what they're worth.
0:10:58 > 0:11:02You took them to an antiques dealer to find out what they were in the first place.
0:11:02 > 0:11:05He must have made you an offer, John. What did he say?
0:11:05 > 0:11:07He offered me £75 each for them.
0:11:07 > 0:11:10I think, at the time, that was probably quite a fair offer,
0:11:10 > 0:11:13although these things were very popular ten years ago.
0:11:13 > 0:11:15Bearing in mind the bit of damage here,
0:11:15 > 0:11:18I want to be a little bit more cautious
0:11:18 > 0:11:21and say £250 to £350 at auction
0:11:21 > 0:11:24with a fixed reserve of £250.
0:11:24 > 0:11:28I think that really is good value for whoever's looking to buy them.
0:11:28 > 0:11:30Maybe they'll go on from that.
0:11:30 > 0:11:32Why now have you decided to part with them?
0:11:32 > 0:11:34When I got them, we were doing a restoration at home
0:11:34 > 0:11:37and I thought possibly we may use them.
0:11:37 > 0:11:39We finished the restoration and never used them
0:11:39 > 0:11:41and they've just sat in that box.
0:11:41 > 0:11:45That box that might one day make it back into a skip unless we get them into the auction.
0:11:45 > 0:11:50- Yeah.- Let's put them into the sale and hopefully they will fly on the day.
0:11:50 > 0:11:52- Thank you so much for bringing them in.- My pleasure.
0:11:56 > 0:11:58It's a hive of activity down there.
0:11:58 > 0:12:01We certainly have been very industrious.
0:12:01 > 0:12:04We've now found our first three items to take off to auction.
0:12:04 > 0:12:06Let's up the tempo. Let's put those valuations to the test.
0:12:06 > 0:12:09While we make our way to the saleroom, here's a run-down,
0:12:09 > 0:12:13just to jog your memory of all the items going under the hammer.
0:12:13 > 0:12:16Michael got the ball rolling with the evening bag
0:12:16 > 0:12:19and Victorian Vesta case, both donated to a charity shop.
0:12:19 > 0:12:22Any profits go to a good cause.
0:12:25 > 0:12:29Next, the Beswick horse should have no problem galloping to its top estimate.
0:12:31 > 0:12:34And, finally, these glass light shades caught Michael's eye
0:12:34 > 0:12:38and I've no doubt they'll find some admirers in the saleroom.
0:12:45 > 0:12:49It's auction time, and we're just outside Halifax, at Calder Valley auctioneers
0:12:49 > 0:12:52with auctioneer Ian Peace.
0:12:54 > 0:12:56It is a jam-packed saleroom.
0:12:56 > 0:13:00Take a look at this - hundreds of people, you just cannot move.
0:13:00 > 0:13:04There's not a seat to spare. Any moment now, the auction will start.
0:13:04 > 0:13:06Ian Peace will take to the rostrum and sell the lots.
0:13:06 > 0:13:09Stay tuned, don't go away. This could get exciting.
0:13:10 > 0:13:15First up hoping to seduce the bidders are those desirable light shades.
0:13:15 > 0:13:19It's great to see you, John. I've been thinking about these ever since yesterday
0:13:19 > 0:13:23when I chatted to the auctioneer. Ian fell in love with them, I like them...
0:13:23 > 0:13:27Obviously, great subject matter but it's pure quality. Pure quality.
0:13:27 > 0:13:32Not quite sure if the brackets were made for them. They look like a rough cast.
0:13:32 > 0:13:37- They do, but remember they're experts in making glass, not metal mounts.- OK.
0:13:37 > 0:13:39They do fit when they are up on the wall.
0:13:39 > 0:13:42- The thing is, they're very stylish. - Very architectural as well.
0:13:42 > 0:13:46Get a set of two or four in a row, and you've got this stunning look.
0:13:46 > 0:13:48Found in a skip! That's unbelievable.
0:13:48 > 0:13:52Let's find out what the bidders think. We know we'll get the top end.
0:13:52 > 0:13:54This could get exciting. Stay tuned, here we go.
0:13:56 > 0:14:00Shades there, what am I bid for this lot here, ladies and gentlemen?
0:14:00 > 0:14:04I've got two commission bids and I'm going to start this at £200.
0:14:04 > 0:14:07At £200.
0:14:07 > 0:14:09At 225 and £250.
0:14:09 > 0:14:10We're in.
0:14:10 > 0:14:13At 275, I have 300 here.
0:14:13 > 0:14:15At £320.
0:14:15 > 0:14:18At £340 on commission.
0:14:18 > 0:14:20At 360 in the room.
0:14:20 > 0:14:23At £360. At 360.
0:14:23 > 0:14:26Are there any further bids? At £360.
0:14:26 > 0:14:29Come on, we can go a bit.
0:14:29 > 0:14:30All done?
0:14:30 > 0:14:34- They've gone. £360.- Got those away. - Got them away. Well done, Michael.
0:14:34 > 0:14:37Well, they certainly attracted a lot of interest
0:14:37 > 0:14:42and it's a good job John didn't sell them for the £300 he was offered.
0:14:42 > 0:14:44Next up, it's our old friend, Beswick.
0:14:44 > 0:14:48- It's got to go, hasn't it?- Yes. - It does. It doesn't fit the decor.
0:14:48 > 0:14:50That's what everybody's been saying.
0:14:50 > 0:14:54They're talking about that Beswick horse.
0:14:54 > 0:14:56Mind you, Beswick is contemporary,
0:14:56 > 0:14:58it does work with some modern situations.
0:14:58 > 0:15:02I can understand why people want to get rid of Victorian mirrors and over-the-top things
0:15:02 > 0:15:04but there is a big market for Beswick horses.
0:15:04 > 0:15:09- We've seen it on the show before. Mr Barby, what do you think of this one?- I rather like this.
0:15:09 > 0:15:13Unusual because it's reclining - that's probably going to sell it - as opposed to reclining.
0:15:13 > 0:15:18- He looks good. I know you want to put the money towards some figurines.- Yeah.
0:15:18 > 0:15:23Fingers crossed, we need as much money as possible. This is it, let's see what this lot think.
0:15:24 > 0:15:27The Beswick model of a Shire mare.
0:15:27 > 0:15:30Shall we say 50? £40.
0:15:30 > 0:15:32- £40, thank you very much. - 40, straight in.
0:15:32 > 0:15:37I'll go in fives, 45, 50, and 5, 60, and 5, 70.
0:15:37 > 0:15:4175 at the back of the room.
0:15:41 > 0:15:43- 80, fresh bidder.- That's good.
0:15:43 > 0:15:46Right over there at £80. Are there any further bids?
0:15:46 > 0:15:48You're back in, 85, thank you.
0:15:48 > 0:15:53- That's good, isn't it?- Yeah. - £85, then, on my left.
0:15:53 > 0:15:56- Top end, well done.- That just shows how popular Beswick is.
0:15:56 > 0:15:59It always is. There's a big market for it.
0:15:59 > 0:16:01Well done on the valuation as well.
0:16:01 > 0:16:05It's a minefield, valuing Beswick, we've seen it on the show before.
0:16:05 > 0:16:09You could have a different colour, grey, and it might not sell.
0:16:09 > 0:16:12It could be a black mare and they fetch three times the money.
0:16:12 > 0:16:14- Look, it's gone, you're happy.- Yes.
0:16:14 > 0:16:17- You can get some figurines, hopefully.- Yes.
0:16:17 > 0:16:23Well, so far so good. Let's hope that continues with John's charity lot.
0:16:23 > 0:16:26Next up, something that's been found in a charity shop.
0:16:26 > 0:16:29It's a ladies evening bag with Vesta case.
0:16:29 > 0:16:32- It's been brought in by John. Did you find this yourself?- I did.
0:16:32 > 0:16:36A box of stuff came to the hospice and in the bottom was a plastic bag with this.
0:16:36 > 0:16:38I thought, "It's too good to put on the stall."
0:16:38 > 0:16:40We would have probably got £4 or £5.
0:16:40 > 0:16:43It's a good trade lot, silver purse, silver Vesta.
0:16:43 > 0:16:44Nice things at antiques fairs.
0:16:44 > 0:16:47- There should be two or three bidders.- Yeah.
0:16:47 > 0:16:49- We'll see the middle or maybe the top end.- OK.
0:16:49 > 0:16:52- Oh, that's good. - It's positive, isn't it?- Absolutely.
0:16:52 > 0:16:55It's a good time to sell silver as well, the prices are high.
0:16:55 > 0:16:56Here we go. This is it.
0:16:57 > 0:17:00And the silver mesh ladies mesh evening bag
0:17:00 > 0:17:03and it's with a Victorian silver oval Vesta case.
0:17:03 > 0:17:05What am I bid for this lot here?
0:17:05 > 0:17:08100? 80? 50, I have.
0:17:08 > 0:17:10We're in.
0:17:10 > 0:17:12Low start, but it will climb.
0:17:12 > 0:17:14£70. 80, do I see? At 70 and 80.
0:17:14 > 0:17:16Oh! That's better.
0:17:16 > 0:17:1990, madam, £90. £100.
0:17:19 > 0:17:20That's even better.
0:17:20 > 0:17:22£100, any advance on 100?
0:17:22 > 0:17:26£110 there. 120.
0:17:26 > 0:17:29They like it, that's the main thing.
0:17:29 > 0:17:31I think it's reached its value.
0:17:31 > 0:17:32First and last time...
0:17:32 > 0:17:34- Good result.- Well done.
0:17:34 > 0:17:35That's a pleasure.
0:17:35 > 0:17:38Thankfully, the money is all going back to charity.
0:17:38 > 0:17:40And thanks to you, you spotted it.
0:17:40 > 0:17:42A lot of these things do sneak out, don't they?
0:17:42 > 0:17:45It costs us £9,000 a day to keep the hospice open.
0:17:45 > 0:17:48- Does it really?- It does.- So every penny helps.- Of course it does.
0:17:49 > 0:17:52So that's it for our first visit to the saleroom.
0:17:52 > 0:17:56Now, one of the ways auction houses earn their money is to try
0:17:56 > 0:17:59to authenticate items before they go under the hammer.
0:17:59 > 0:18:03It takes expertise and detective work and it's not as easy as you might think.
0:18:05 > 0:18:08I've come to Temple Newsam in Leeds to discover for myself
0:18:08 > 0:18:12just how tricky certifying antiques can be,
0:18:12 > 0:18:17particularly in one of my favourite areas, furniture.
0:18:17 > 0:18:22For me, there's one name that always tops the list when it comes to good design and cabinet making.
0:18:22 > 0:18:26That name is as popular today as it was two and a half centuries ago -
0:18:26 > 0:18:28the legend, Thomas Chippendale.
0:18:30 > 0:18:35Chippendale was born in West Yorkshire in 1718.
0:18:35 > 0:18:39His wood furniture design and craftsmanship soon became renowned nationwide,
0:18:39 > 0:18:43like these examples at Harewood House.
0:18:43 > 0:18:45His name is famous throughout the world
0:18:45 > 0:18:49but his work can be more difficult to identify than you may think.
0:18:49 > 0:18:51Even if you have got £1 million to spend,
0:18:51 > 0:18:56it doesn't guarantee you'll get a genuine, authenticated piece.
0:18:56 > 0:19:00Take this exquisite Harrington commode, for example.
0:19:00 > 0:19:05It recently sold at Sotheby's for over £3.5 million -
0:19:05 > 0:19:08a world record for any piece of English furniture.
0:19:08 > 0:19:14Even with a price tag like that, is not guaranteed to be by Thomas Chippendale.
0:19:14 > 0:19:18Rather, it was described as, "Almost certainly crafted by him."
0:19:18 > 0:19:22However, this Rococo rosewood bookcase at Dumfries house
0:19:22 > 0:19:26is authenticated as a Thomas Chippendale piece.
0:19:26 > 0:19:30It was estimated in 2007 by Christie's at £4 million.
0:19:30 > 0:19:34It's thought that if sold at auction it could triple that estimate
0:19:34 > 0:19:38which would make it one of the most valuable pieces of furniture in the world.
0:19:38 > 0:19:42So how do you spot the genuine article?
0:19:42 > 0:19:46It's estimated there are around 600 authenticated pieces
0:19:46 > 0:19:50of Thomas Chippendale's work surviving in the world today.
0:19:50 > 0:19:54When I mean that, I mean works made by Thomas Chippendale
0:19:54 > 0:19:58during his lifetime from his workshops in St Martin's Lane, London.
0:19:58 > 0:20:01Add to that, of other craftsmen working around the country
0:20:01 > 0:20:04who merely emulated his work.
0:20:04 > 0:20:07Take these four chairs as an example.
0:20:07 > 0:20:11One of them is the odd one out and it's really difficult to tell.
0:20:15 > 0:20:20All of them are beautiful works from the 18th century and are based on a Thomas Chippendale design.
0:20:20 > 0:20:24One of them isn't a genuine Chippendale, but which one?
0:20:24 > 0:20:25Well, there are clues.
0:20:27 > 0:20:31So, looking at this chair now, typical latticework back.
0:20:31 > 0:20:33Obviously, the Chinoiserie period.
0:20:33 > 0:20:36Wonderful carved cresting on the back rail.
0:20:36 > 0:20:40Good, deep colour to the mahogany. Cuban mahogany, only the best.
0:20:40 > 0:20:44This was quarter sawn, the heart wood, very expensive to use
0:20:44 > 0:20:49because there was a lot of waste. Thomas's chairs were expensive in their day.
0:20:49 > 0:20:55Wonderful carved open splat backs as well, which Thomas Chippendale was renowned for.
0:20:55 > 0:20:59A little bit of French influence from the Rococo, the early period, here.
0:20:59 > 0:21:00High cab leg, crisp carving,
0:21:00 > 0:21:05terminating in a wonderful dancing hoof foot.
0:21:05 > 0:21:08Look at the broadness of the seats, no expense spared
0:21:08 > 0:21:12because these chairs were made for wealthy gentleman.
0:21:12 > 0:21:14Gentleman, who had made it in life.
0:21:14 > 0:21:18They were rich, they were portly, so it had to take their weight and their abuse.
0:21:18 > 0:21:22I love this chair with this splat back look, that lyre.
0:21:22 > 0:21:24That's taken a great deal of skill to do.
0:21:24 > 0:21:26A bit of neoclassical influence -
0:21:26 > 0:21:30the little roundel with the beads, typical of Thomas Chippendale.
0:21:30 > 0:21:34The C scroll here and that whole Robert Adam thing coming into play,
0:21:34 > 0:21:36the grand tour.
0:21:36 > 0:21:39We've got these neoclassical columns, fluted legs,
0:21:39 > 0:21:41terminating on a block foot.
0:21:41 > 0:21:44That looks like the pillar of a Roman temple.
0:21:44 > 0:21:48This chair, lastly - it's got a lovely splat back.
0:21:48 > 0:21:51It's a smaller proportion than the rest of the chairs.
0:21:51 > 0:21:54It's slightly lighter in hue.
0:21:54 > 0:21:56I would say that's not Cuban mahogany.
0:21:56 > 0:22:01I would say the proportions aren't generous enough for Thomas Chippendale.
0:22:01 > 0:22:02They are mean, slightly pinched.
0:22:02 > 0:22:05So, for me, that one is the odd one out.
0:22:05 > 0:22:08I tell you what, it is so difficult to tell.
0:22:09 > 0:22:12So why is there furniture in the style of Chippendale
0:22:12 > 0:22:14but not actually made by him?
0:22:15 > 0:22:18It's all because of a book he published in 1754
0:22:18 > 0:22:21called The Gentleman And Cabinet Maker's Director.
0:22:23 > 0:22:26It was extremely influential and a real marketing coup -
0:22:26 > 0:22:30the first book to be published with deluxe furniture designs.
0:22:30 > 0:22:33The rich could choose which designs they wanted
0:22:33 > 0:22:37and place an order, or any decent furniture maker could copy them.
0:22:37 > 0:22:39It was such a hit, two more editions followed.
0:22:41 > 0:22:46Here at Temple Newsam, they have some wonderful authenticated examples of his work.
0:22:46 > 0:22:50Some are owned by the house and others by the Chippendale Society.
0:22:50 > 0:22:53The star piece is this writing table.
0:22:53 > 0:22:56I caught up with Ian Fraser, the in-house furniture expert...
0:22:59 > 0:23:02..who is also the Chippendale Society's honorary conservator,
0:23:02 > 0:23:05and fellow furniture enthusiast, to tell me more about it.
0:23:09 > 0:23:11- Ian, hello.- How do you do?
0:23:11 > 0:23:14I couldn't come to Temple Newsam without speaking to you
0:23:14 > 0:23:17- and seeing this magnificent desk. - It's good, isn't it?
0:23:17 > 0:23:20It really is the Holy Grail. How did it arrive here?
0:23:20 > 0:23:23Harewood House, when it was still a private house, they sold it.
0:23:23 > 0:23:26I guess perhaps the Lordship needed the money.
0:23:26 > 0:23:30It came up for auction in 1963
0:23:30 > 0:23:34and it was acquired for Leeds City Art Gallery for display at Temple Newsam house.
0:23:34 > 0:23:36It's got that country house, lived-in look.
0:23:36 > 0:23:40- It's lost a lot of the colour on the marquetry. - It has. Inevitably, it has.
0:23:40 > 0:23:43It's lost the greens and the reds but I don't mind that.
0:23:43 > 0:23:48- How do you know it's a genuine Chippendale, are there receipts? - There are, at Harewood house.
0:23:48 > 0:23:52This is part of Chippendale's greatest commission for Harewood House.
0:23:52 > 0:23:56They have the documentary evidence. That's why we know it's Chippendale.
0:23:56 > 0:24:02- Absolutely no question.- Do you know what year this was made in? - 1772, I think.
0:24:02 > 0:24:04The height of the neoclassical period.
0:24:04 > 0:24:07- You can see it's neoclassical, can't you?- Yes.
0:24:07 > 0:24:12- The wonderful applied architectural detail.- Swags and pinion, yeah.
0:24:12 > 0:24:16- Have you worked on this at all?- I have done some remedial works to it.
0:24:16 > 0:24:19Lifting veneers, putting them back down.
0:24:19 > 0:24:22It was interesting because we were able to see
0:24:22 > 0:24:23some of the original colours
0:24:23 > 0:24:25when we turned the veneers over.
0:24:25 > 0:24:29You can learn so much just from looking at the joints.
0:24:29 > 0:24:32The quality of the cabinet making is outstanding, it really is.
0:24:32 > 0:24:35Do the drawers slide as beautifully as they did...?
0:24:35 > 0:24:40- Yes, you're welcome to try it if you like.- Pull one out for me. - We can try.
0:24:41 > 0:24:44- Yes, they do...- Have a dovetail.
0:24:44 > 0:24:46Let's take it out completely
0:24:46 > 0:24:49and you can see the quality of the dovetail joints there.
0:24:49 > 0:24:52Yeah. Look at that. The dovetails, yeah.
0:24:52 > 0:24:56- It's just outstanding quality. - Cut with a fine tenon saw.
0:24:56 > 0:24:59- You're from Canada, aren't you? - That's right.
0:24:59 > 0:25:01What do you think about Chippendale?
0:25:01 > 0:25:04- Does he make the grade over there? - Oh, absolutely.
0:25:04 > 0:25:09I mean, the name of Thomas Chippendale is synonymous with fine craftsmanship and design.
0:25:09 > 0:25:12It is incredible. If you're into cabinet making
0:25:12 > 0:25:15and find craftsmanship like this...
0:25:15 > 0:25:16He was light years ahead.
0:25:16 > 0:25:20- It's a religious experience, isn't it?- Approaching it, yes.
0:25:25 > 0:25:27The books were the key to his success.
0:25:27 > 0:25:31They reached a wider audience and he became a household name.
0:25:31 > 0:25:35He was really clever. He didn't just target the gentleman of the house,
0:25:35 > 0:25:39he targeted the ladies, making smaller, delicate pieces of furniture for them.
0:25:39 > 0:25:41In short, he was a marketing genius
0:25:41 > 0:25:45and he didn't mind other craftsmen copying him.
0:25:45 > 0:25:49He even advertised the fact, and that is why today we see
0:25:49 > 0:25:52so many pieces of furniture of the Chippendale style
0:25:52 > 0:25:54and of the Chippendale period.
0:25:54 > 0:25:58But unless you have a piece of furniture that's made by Thomas Chippendale
0:25:58 > 0:26:01in his workshops in St Martin's Lane in London,
0:26:01 > 0:26:04with documented evidence and a bill of sale,
0:26:04 > 0:26:08you will never know for sure if it's the genuine article.
0:26:16 > 0:26:18Welcome back to Victoria Hall,
0:26:18 > 0:26:20our valuation day venue here in Saltaire.
0:26:20 > 0:26:24I must say, there's still a crowd outside. The room is full inside.
0:26:24 > 0:26:27We really do have our work cut out today.
0:26:27 > 0:26:29But right now let's catch up with our experts
0:26:29 > 0:26:32and see what else we can find to take off to auction.
0:26:32 > 0:26:37And David is up first with Catherine and her son Harry.
0:26:37 > 0:26:42I'm always surprised when people want to sell medals,
0:26:42 > 0:26:45because they are part of your history.
0:26:45 > 0:26:48In particular, for people like Harry's age,
0:26:48 > 0:26:51because he might want to ask you in years to come,
0:26:51 > 0:26:55"What did my grandfather do? "What did Great-grandfather do?"
0:26:55 > 0:26:58- Yeah.- What can you show him from that period?
0:26:58 > 0:26:59Do these belong to your family?
0:26:59 > 0:27:02They did, but they weren't immediate family.
0:27:02 > 0:27:05It was my grandfather's father's...
0:27:05 > 0:27:10- Was it grandfather's father's...? - Grandfather's brother's wife's brother.- That's it.
0:27:10 > 0:27:11SHE LAUGHS
0:27:11 > 0:27:13So very distantly related.
0:27:13 > 0:27:18I can understand why you wanted to sell these. They are interesting.
0:27:18 > 0:27:22They are part of our history and I like the idea that someone
0:27:22 > 0:27:24is going to obtain that and these medals
0:27:24 > 0:27:31and melt them into a collage with a description of the history of this particular gentleman
0:27:31 > 0:27:35who died during the war and you've got this preserved for posterity.
0:27:35 > 0:27:37How did you get hold of them?
0:27:37 > 0:27:40It was my mother that's given them to myself and my brother.
0:27:40 > 0:27:44- You know, she did say to sell them if we wished.- Right.
0:27:44 > 0:27:47I think they're going to make an interesting sum.
0:27:47 > 0:27:51What is so interesting is this gentleman here.
0:27:51 > 0:27:54Joseph Johnson Greenwood.
0:27:54 > 0:27:57He was only 19 when he died.
0:27:57 > 0:27:59That's right, yes.
0:27:59 > 0:28:03He died in modern day Iraq - it was called Mesopotamia -
0:28:03 > 0:28:05at a town called Amara.
0:28:05 > 0:28:10- This is all detailed for posterity in war records.- Yes.
0:28:10 > 0:28:13- We know also that he died at a hospital camp.- Yes.
0:28:13 > 0:28:17But all that is left of that gentleman is this bronze disc here
0:28:17 > 0:28:19which was awarded, or sent,
0:28:19 > 0:28:25to all the families that lost loved ones at the front.
0:28:25 > 0:28:27- Right.- That is why it was sent.
0:28:27 > 0:28:31In addition, there are two medals here.
0:28:31 > 0:28:34The Victory For Civilisation medal,
0:28:34 > 0:28:37and this is the Military Medal here.
0:28:37 > 0:28:40To accompany those medals, we've also got the certificates
0:28:40 > 0:28:42which were sent in the box.
0:28:42 > 0:28:45Those were sent together with ribbons so they could be worn.
0:28:45 > 0:28:49- These were all sent posthumously. - Yes.
0:28:49 > 0:28:53- Because he had died by the time these medals were struck.- Yes.
0:28:53 > 0:28:58From his person, we have this almost Bakelite tag.
0:28:58 > 0:29:02So, if he was found, many years later, from his remains,
0:29:02 > 0:29:06that tag would have survived and we could tell who he was.
0:29:06 > 0:29:10And stamped into that we have the name "Greenwood, The King's Own".
0:29:10 > 0:29:15Somewhere along the line, he acquired this one here,
0:29:15 > 0:29:18which is War Munitions Volunteers.
0:29:18 > 0:29:24One wonders whether, in fact, he was given that because he volunteered underage.
0:29:24 > 0:29:25Oh, right, yes.
0:29:25 > 0:29:29Or whether he got through into the Army because he was a volunteer.
0:29:29 > 0:29:32Let's talk about valuation money.
0:29:32 > 0:29:36We're selling a little bit of English history here.
0:29:36 > 0:29:41There are collectors out there of militaria and in particular medals and medallions.
0:29:41 > 0:29:44When these go up for sale, with all the documentation,
0:29:44 > 0:29:48I think someone will pay between £100 and £120.
0:29:48 > 0:29:50I think we need to put a reserve on it
0:29:50 > 0:29:55and it has to be either close to, or on £100, with discretion.
0:29:55 > 0:29:56Right.
0:29:56 > 0:30:01- Is that going to be invested in Harry?- Of course!
0:30:01 > 0:30:03All I can see is ice creams!
0:30:03 > 0:30:06I feel very privileged to have handled these
0:30:06 > 0:30:10- and looked at the documentation. Thank you very much.- Thank you.
0:30:10 > 0:30:14It's always a poignant reminder to what previous generations sacrificed
0:30:14 > 0:30:16when we see medals like that on the programme.
0:30:20 > 0:30:24Let's check in with Michael, who's found something from a bit further afield.
0:30:24 > 0:30:29Angela, Andy, thank you for bringing along these exquisite little vases.
0:30:29 > 0:30:33Is it a case of one each? Who do they belong to?
0:30:33 > 0:30:36- We haven't discussed that, have we? - I think we'll share them, yes.
0:30:36 > 0:30:38Marvellous. Where did they come from?
0:30:38 > 0:30:41They were from my grandmother. My mother then inherited them
0:30:41 > 0:30:43and then subsequently they came down to me.
0:30:43 > 0:30:46I heard that my grandfather collected antiques.
0:30:46 > 0:30:50They weren't antiques - they were probably new when he collected them,
0:30:50 > 0:30:53in the early part of the 20th century.
0:30:53 > 0:30:55About 1900, 1910?
0:30:55 > 0:30:58I would imagine that was about the period when he acquired these.
0:30:58 > 0:31:01If I could build a time machine and go back to buying then,
0:31:01 > 0:31:03that would be absolutely wonderful.
0:31:03 > 0:31:08- Are they treasured things? - I've always liked them, really.
0:31:08 > 0:31:12We did have a valuation done on them about six years ago.
0:31:12 > 0:31:16- Right.- They said that because there was some slight damage
0:31:16 > 0:31:20on one of the necks and on the base of one of them,
0:31:20 > 0:31:24they would probably be valued around £200 to £400.
0:31:24 > 0:31:26That's a help for me, anyway.
0:31:26 > 0:31:30That was at the time, but I really don't know.
0:31:30 > 0:31:34We've got these two lovely designs. Angela, which is your favourite?
0:31:34 > 0:31:36Definitely that one.
0:31:36 > 0:31:39- Andy, which one do you prefer? - I prefer the other one.
0:31:39 > 0:31:43I mean, I have to say, whilst the quality of this is breathtaking,
0:31:43 > 0:31:47- there is something in the aesthetic there that I love.- So delicate.
0:31:47 > 0:31:49I'm with you on that, Angela.
0:31:49 > 0:31:54It's this attention on small items that appeals to the Japanese market as well.
0:31:54 > 0:31:57You've got the cherry blossom here or sakura.
0:31:57 > 0:32:01You've got probably another indigenous Japanese flower here.
0:32:01 > 0:32:05You've got these little covers
0:32:05 > 0:32:08and hopefully, we've got... Yes, signatures.
0:32:08 > 0:32:13We've got a seal mark. That's the stylised signature of the artist.
0:32:13 > 0:32:14We've got...
0:32:14 > 0:32:18Again, another one. That appears to be a different mark.
0:32:18 > 0:32:20It's a bit more finely executed.
0:32:20 > 0:32:26- Does that mean it's different maker? - Possibly, there's a potter that has produced this form
0:32:26 > 0:32:29but independent artists decorated them in a different way.
0:32:29 > 0:32:31- Oh, right.- Yes.
0:32:31 > 0:32:34These things were made at the end of the 19th century
0:32:34 > 0:32:37for the Western market.
0:32:37 > 0:32:42When your grandfather bought these, they probably came in little fitted pine or cherry wood cases.
0:32:42 > 0:32:45You would actually have more information about the vases
0:32:45 > 0:32:47decorated onto the front.
0:32:47 > 0:32:50- As is the way... - They would be discarded.
0:32:50 > 0:32:51We being vulgar Westerners,
0:32:51 > 0:32:55we chuck the boxes away and put them on the mantelpiece.
0:32:55 > 0:32:58The Japanese aesthetic is to keep these things in the boxes
0:32:58 > 0:33:02because they believe the more you look at an item,
0:33:02 > 0:33:05the more it devalues it aesthetically.
0:33:05 > 0:33:10It's the whole ritual of taking an item out in an box.
0:33:10 > 0:33:13It would have a silk cord around it. You would unwrap it,
0:33:13 > 0:33:16and you would take your vase out, your friend would look at it,
0:33:16 > 0:33:18and then it would go back and live in the box.
0:33:18 > 0:33:21So, without the boxes and with the chips...
0:33:21 > 0:33:27And believe you me, Japanese collectors do not like imperfection in any way or form,
0:33:27 > 0:33:31- no matter how small those chips are, they will fixate on them.- Yes.
0:33:31 > 0:33:33Still, I think they're lovely.
0:33:33 > 0:33:38I think they're probably the most beautiful bit of Oriental porcelain we've ever had on Flog It.
0:33:38 > 0:33:42The problem is the market has gone down slightly
0:33:42 > 0:33:45in the last six or seven years.
0:33:45 > 0:33:50Japanese things used to be what everybody wanted and now it's Chinese things.
0:33:50 > 0:33:52Having said that, your initial valuation,
0:33:52 > 0:33:56even given the little bits of damage, was probably quite low.
0:33:56 > 0:33:58So let's give them a go.
0:33:58 > 0:34:01Let's say £300 to £500.
0:34:01 > 0:34:04- Yeah?- Let's put a reserve, with a little bit of discretion,
0:34:04 > 0:34:07- so let's fix it at, say, 250.- Yes.
0:34:07 > 0:34:11- Which is more than the original valuation.- Yes. - Let's see if a couple of people
0:34:11 > 0:34:12fall in love with them.
0:34:12 > 0:34:16I know today I certainly have. Thank you so much for bringing them in.
0:34:16 > 0:34:17Thank you.
0:34:23 > 0:34:27- It's Jeff and Jane?- Yes. - Do you jointly own this?
0:34:27 > 0:34:30Is it a family heirloom? From which side?
0:34:30 > 0:34:32- It was given to Jane.- Yes. - Given to you by whom?
0:34:32 > 0:34:34By an eccentric uncle.
0:34:34 > 0:34:36- An eccentric uncle?- Yes.
0:34:36 > 0:34:39- It is a bit of an eccentric clock, isn't it?- Yes.
0:34:39 > 0:34:43- Is this all that he left you?- He actually gave me it before he died.
0:34:43 > 0:34:46But he did leave lots of very interesting things.
0:34:46 > 0:34:51The things I'm looking for are the missing objects,
0:34:51 > 0:34:54two vases or candlesticks either side.
0:34:54 > 0:34:58Then that would complete the garniture de cheminee.
0:34:58 > 0:35:02In other words, a clock with two side pieces.
0:35:02 > 0:35:06- Do you have those at home and not recognised what they were?- No.
0:35:06 > 0:35:10It would be nice if we had the complete set. Now we're just looking at an unusual clock
0:35:10 > 0:35:15and this would have been sold around 1870, 1880.
0:35:15 > 0:35:18What I like about this, first of all, it's a time piece
0:35:18 > 0:35:21with a conventional movement, probably by Japy Freres.
0:35:21 > 0:35:24Just think of the house that would have come from.
0:35:24 > 0:35:27Either a French property, or it's been imported into England,
0:35:27 > 0:35:31and this would have been standing, together with the two side pieces,
0:35:31 > 0:35:33on a walnut credenza,
0:35:33 > 0:35:36a rather ornate piece of furniture, for display.
0:35:36 > 0:35:39Because this is a display piece.
0:35:39 > 0:35:42What I like about it is the components.
0:35:42 > 0:35:45We have blue and white ceramic and these gilded metal sections
0:35:45 > 0:35:48which at some time or other have been lacquered.
0:35:48 > 0:35:51We're not running into a vast amount of money.
0:35:51 > 0:35:55What I like about the ceramic is it is a copy
0:35:55 > 0:35:59of a type of ceramic that existed
0:35:59 > 0:36:04during the 17th and 18th century in Holland, Delft.
0:36:04 > 0:36:08We are looking back to the 18th century for inspiration
0:36:08 > 0:36:10for this ceramic piece.
0:36:10 > 0:36:14It looks slightly Oriental and that's because Oriental porcelain
0:36:14 > 0:36:18was being imported into Europe and the Europeans copied the Oriental pieces.
0:36:18 > 0:36:24The actual movement itself is eight-day and it strikes on a bell.
0:36:24 > 0:36:29That's a good quality movement. The actual face itself is decorated
0:36:29 > 0:36:33with a sort of rose lancet design in the middle.
0:36:33 > 0:36:37Then you have all this decorative elements of lion heads
0:36:37 > 0:36:39and ring handles mounted on this.
0:36:39 > 0:36:42It's made to look more expensive,
0:36:42 > 0:36:46more luxurious than actually it is.
0:36:46 > 0:36:50If you look at it, it goes against all the dictates of modern fashion.
0:36:50 > 0:36:55Modern fashion is minimalism and this is certainly not minimalistic.
0:36:55 > 0:37:00We've got to aim it at a sensible figure to appeal to a wide market.
0:37:00 > 0:37:05I'm thinking, in terms of the price range, of about £200 to £300.
0:37:05 > 0:37:08Hopefully, more up to about £400.
0:37:08 > 0:37:11- Would you be happy at that sort of price range?- Yes.
0:37:11 > 0:37:15I think we ought to put a reserve on this of £200. OK?
0:37:15 > 0:37:17- We've got to protect your uncle's memory.- Yes.
0:37:21 > 0:37:24Our experts are now making their final choices of the day
0:37:24 > 0:37:28and I have to say a big thank you to everybody who's turned up
0:37:28 > 0:37:32and a fond farewell to this magnificent venue, Victoria Hall here in Saltaire.
0:37:32 > 0:37:36We do have to put those items under the hammer. Let's up the tempo.
0:37:36 > 0:37:38We're going over to the Calder Valley right now
0:37:38 > 0:37:41and here's a quick recap of what we're taking.
0:37:41 > 0:37:46David reminded us all how important our social history is
0:37:46 > 0:37:49with a collection of World War I medals.
0:37:50 > 0:37:54Michael sniffed out two beautiful Japanese porcelain scent flasks.
0:37:56 > 0:38:01And finally, this superb ostentatious 19th-century clock.
0:38:07 > 0:38:10So we're back at Calder Valley auctioneers
0:38:10 > 0:38:14and taking to the rostrum for us again is auctioneer Ian Peace.
0:38:14 > 0:38:17Before we unleash the bidders, I had a chat with Ian
0:38:17 > 0:38:20to get his take on the sweet little Japanese scent bottles.
0:38:20 > 0:38:24Thank you for this, this is one of our lots coming up in the sale tomorrow.
0:38:24 > 0:38:28Double gourd scent bottles, Japanese, early 20th century.
0:38:28 > 0:38:34Michael has put £300 to £500 on them, with a fixed reserve of £250.
0:38:34 > 0:38:36Are we still on the money?
0:38:36 > 0:38:39No, since the original filming they have been increased to £300.
0:38:39 > 0:38:41I think that's a little bit high.
0:38:41 > 0:38:43Are the marks definitely Makuzu?
0:38:43 > 0:38:45We can't be certain. They are of that style.
0:38:45 > 0:38:48- There's a slight variation in each vase.- OK.
0:38:48 > 0:38:53- There is not enough there to actually attribute to... - Makuzu. Right.
0:38:53 > 0:38:56- But we are on the money, still? £300 to £500?- Bottom estimate.
0:38:56 > 0:39:00That's OK, we can work with that. That's what auctions are all about.
0:39:00 > 0:39:02People get excited, they bid each other up,
0:39:02 > 0:39:07and before you know where you are, you've got a surprise. It could be the top end. Stay tuned.
0:39:07 > 0:39:08So now it's sale day.
0:39:08 > 0:39:12The room is packed and our next lot under the hammer are the medals.
0:39:12 > 0:39:17We've got one bronze memorial plaque and some medals brought in by Catherine and her son,
0:39:17 > 0:39:20who can't be with us today because he is at school.
0:39:20 > 0:39:23- These have been in the family quite a long time, haven't they? - They have, yes.
0:39:23 > 0:39:27Let's find out what the bidders think. These things normally sell well. Here we go.
0:39:29 > 0:39:33The First World War medals, together with the bronze death plaque.
0:39:33 > 0:39:35May I say 60? 60 I have.
0:39:35 > 0:39:39£60, thank you. 60, 70 do I see?
0:39:39 > 0:39:44At 70 here, then. At 80, at 90, 100.
0:39:44 > 0:39:49110, 120, 130, 140. £140 bid.
0:39:49 > 0:39:53£140 bid. At 140 on my left.
0:39:53 > 0:39:57- 150...- That's good, that's a late bidder.- 160.
0:39:57 > 0:40:00£160 all settled.
0:40:00 > 0:40:04£160, the hammer went down. It was a very quiet hammer, going down.
0:40:04 > 0:40:08It wasn't the normal knock we have. It was £160.
0:40:08 > 0:40:12- I think it was the Iraq connection that made the difference. - Do you?- Yes.
0:40:12 > 0:40:15- Happy with that?- Very, yes. - You've got to be happy with that?
0:40:15 > 0:40:17- Yes.- Well done.- Is it going to Harry?
0:40:17 > 0:40:20It will be going towards the trip that we're going on together.
0:40:20 > 0:40:23For Harry. Harry, I hope you're watching this.
0:40:23 > 0:40:25Good luck at school as well. Keep studying.
0:40:28 > 0:40:32Next it's time for Jeff and Jane's flamboyant clock.
0:40:32 > 0:40:35Good luck, good luck. Why are you selling this clock?
0:40:35 > 0:40:38It doesn't really go with our decor, really.
0:40:38 > 0:40:40- It's a lot to look at, isn't it? - I think so.
0:40:40 > 0:40:43- It's a shame we haven't got the complete set.- Yes.
0:40:43 > 0:40:45The garniture de cheminee - we haven't got the two vases.
0:40:45 > 0:40:48- Then it would look great, wouldn't it?- Splendid, yes.
0:40:48 > 0:40:52A striking clock, put it on a plinth in a house, it would look marvellous.
0:40:52 > 0:40:56- It's coming up now. - Let's find out what all the bidders in the room think, shall we?
0:40:57 > 0:41:02The late 19th century continental porcelain mantel clock.
0:41:02 > 0:41:03Right, a couple of hundred, 150.
0:41:03 > 0:41:06£100, 100.
0:41:06 > 0:41:09At 110, 120, 130...
0:41:09 > 0:41:11This guy's keen.
0:41:11 > 0:41:14150, 160, 170, 180.
0:41:14 > 0:41:16- I think it's going.- 190.
0:41:16 > 0:41:19- It's going.- 190...
0:41:19 > 0:41:21Are we all done at 190?
0:41:21 > 0:41:23- One more go.- At 190, 200 do I see?
0:41:23 > 0:41:28We're just short of the reserve at 190. 200 I can take.
0:41:28 > 0:41:30Is there a bid of 200, if not, at £190...
0:41:30 > 0:41:33Not sold.
0:41:33 > 0:41:35He didn't sell it for the sake of £10.
0:41:35 > 0:41:37- I would have sold that.- So would I.
0:41:37 > 0:41:40- I would have used my discretion. Would you have done?- I would.
0:41:40 > 0:41:43I'm not so bothered, it will go back on my piano.
0:41:43 > 0:41:46Thank you for putting smiles on our faces, anyway.
0:41:46 > 0:41:48It was a lovely thing. Really nice.
0:41:48 > 0:41:51- Pleasure.- Never mind. - We nearly did it, we nearly did it.
0:41:52 > 0:41:56And now for our final lot - the Japanese scent bottles.
0:41:56 > 0:42:00I wonder how Michael will react when I tell him what the auctioneer said.
0:42:00 > 0:42:03Andrew and Angela, good luck. I've been looking forward to this.
0:42:03 > 0:42:06And, Michael, it's good to see you again.
0:42:06 > 0:42:09The Japanese scent bottles, absolutely beautiful.
0:42:09 > 0:42:11I had a chat to the auctioneer yesterday.
0:42:11 > 0:42:13He said not quite an identical pair
0:42:13 > 0:42:16and not possibly by the maker you thought.
0:42:16 > 0:42:19They're individual vases but they've been put together.
0:42:19 > 0:42:22- They are by Makuzu Kozan...- Right.
0:42:22 > 0:42:25..under the workshop run by his stepson, Hanzan.
0:42:25 > 0:42:27Because they're so small, they've signed them
0:42:27 > 0:42:31with the two-character seal mark instead of the standard four.
0:42:31 > 0:42:35See, he does know his stuff. I had a chat to the auctioneer and I was thinking,
0:42:35 > 0:42:39"Will this affect the value?" Ian said "No." He's still happy with the 300 to 500.
0:42:39 > 0:42:41He was more cautious on the lower end.
0:42:41 > 0:42:44Let's find out what this lot here think, shall we? Good luck.
0:42:45 > 0:42:50A fine pair of early 20th century porcelain gourd-shaped scent flasks.
0:42:50 > 0:42:52150, anywhere? At £100 to open.
0:42:52 > 0:42:57- 100, I have. 125.- 150, 175...
0:42:57 > 0:42:58Oh, we're bit low yet.
0:42:58 > 0:43:02210 here. 220, if you like. 210.
0:43:02 > 0:43:07At 210. Any advance at 220? 230...
0:43:07 > 0:43:08There's a bid on the book, look.
0:43:08 > 0:43:10250 here.
0:43:10 > 0:43:13And 60, 260. 270, any further bids?
0:43:13 > 0:43:16Going then at £270.
0:43:16 > 0:43:18He's using the discretion.
0:43:18 > 0:43:21At £270, then. First and last time.
0:43:23 > 0:43:26You're both right. Ian said yesterday the lower end,
0:43:26 > 0:43:27but we're happy.
0:43:27 > 0:43:30- Michael's happy. Yes?- Yes, oh, yes.
0:43:30 > 0:43:33It's always the thing. Had they not been chipped,
0:43:33 > 0:43:37then they appeal to a totally different Japanese domestic market.
0:43:37 > 0:43:41- Anyway, that made great telly. Is it, isn't it? Is it?- It is.
0:43:41 > 0:43:43And we did the business.
0:43:46 > 0:43:51That's it, it's all over. Another day in another saleroom for Flog It.
0:43:51 > 0:43:55We've had a bit of a mixed day, some highs and lows but at least
0:43:55 > 0:43:58everybody has gone home happy, and that's what it's all about.
0:43:58 > 0:44:01I hope you enjoy the show. See you next time for some more surprises.
0:44:01 > 0:44:04Until then, from the Calder Valley, it's goodbye.
0:44:26 > 0:44:29Subtitles by Red Bee Media Ltd