0:00:06 > 0:00:09With scenery like this, we could only be in one place -
0:00:09 > 0:00:12the west coast of Scotland. This unspoilt wilderness is the perfect
0:00:12 > 0:00:15antidote for the stresses of modern-day living.
0:00:15 > 0:00:18And for one lucky city, it's less than one hour's drive away.
0:00:18 > 0:00:21More about that later on in the show but right now, welcome to Scotland,
0:00:21 > 0:00:23and welcome to Flog It!
0:00:44 > 0:00:47Surrounded by stunningly beautiful scenery,
0:00:47 > 0:00:52Glasgow's mix of austere Victorian gothic and brutalist architecture
0:00:52 > 0:00:54reflect the no-nonsense industry
0:00:54 > 0:00:57at the heart of its wealth and tradition.
0:00:57 > 0:01:02This gaunt aspect of the city may explain the creative excellence of
0:01:02 > 0:01:07many of its artists having to turn inward to the landscape of the mind.
0:01:07 > 0:01:12The Scots' famous industriousness together with their creative talents
0:01:12 > 0:01:14has proved a winning formula.
0:01:14 > 0:01:17Today's venue is the magnificent Kelvingrove Museum,
0:01:17 > 0:01:21purpose-built to house the very best of Glasgow's fine art collection,
0:01:21 > 0:01:23natural history and history collection.
0:01:25 > 0:01:29Looking for some treasures of their own are experts James Lewis...
0:01:29 > 0:01:33I think I'm a 22. Have you got a size 22 in there?
0:01:33 > 0:01:35..and Will Axon.
0:01:35 > 0:01:37Masses of pictures. Yeah.
0:01:37 > 0:01:40Trouble with them - everyone would have kept them. Och, shut up.
0:01:40 > 0:01:43We've got a great show for you today where we get to see if
0:01:43 > 0:01:47the stereotype of canny Scots being good with their money
0:01:47 > 0:01:50really stands up to auction scrutiny.
0:01:50 > 0:01:53Today's items have come from both near and far
0:01:53 > 0:01:57but which one will sell at auction for 100 times its purchase price?
0:01:57 > 0:02:01Our candidates include this very Scottish oil painting,
0:02:01 > 0:02:03this naturalistic gold brooch,
0:02:03 > 0:02:06and this not-so-Scottish piece of tribal art.
0:02:06 > 0:02:09Just wait and see what happens at the auction.
0:02:09 > 0:02:10Give that man a clap.
0:02:10 > 0:02:12APPLAUSE
0:02:12 > 0:02:14This great hall is filling up nicely
0:02:14 > 0:02:17so let's get started with our first item.
0:02:19 > 0:02:22Ian, when I found you in the queue earlier
0:02:22 > 0:02:25I saw this little circular turned box
0:02:25 > 0:02:29and I thought it's either going to contain a compass
0:02:29 > 0:02:33or it's going to be a very plain snuff box.
0:02:33 > 0:02:35But when I opened the lid
0:02:35 > 0:02:38and saw what can only be described
0:02:38 > 0:02:42as a box of miniature light bulbs...
0:02:42 > 0:02:45I thought, "What on Earth are they?"
0:02:45 > 0:02:47It says here,
0:02:47 > 0:02:53"Hydrostatical glass bubbles for proving spirits,
0:02:53 > 0:02:56"adjusted in the most accurate manner
0:02:56 > 0:02:59"to the universally approved scale
0:02:59 > 0:03:03"by the maker William Twaddell, Glasgow."
0:03:03 > 0:03:07What a wonderful little set of beads.
0:03:07 > 0:03:08Where did you find it?
0:03:08 > 0:03:13My grandfather died and I was given that as a memento of him.
0:03:13 > 0:03:16Whether he got it from his grandfather, I presume so,
0:03:16 > 0:03:20something like that. So it's been in the family a long time? Yeah.
0:03:20 > 0:03:24The only other set that I've seen is in the Glasgow Museum,
0:03:24 > 0:03:27the National Museum of Scotland. Oh, yes.
0:03:27 > 0:03:30And they have a little box with these
0:03:30 > 0:03:33but they don't have the label in the cover. Oh.
0:03:33 > 0:03:35I think these are better.
0:03:35 > 0:03:41Not hugely valuable, but to measure the density of alcohol
0:03:41 > 0:03:46you would drop individually one bead after another.
0:03:46 > 0:03:50Each one would have a number beside it.
0:03:50 > 0:03:55If that bead, when you drop it, doesn't sink, doesn't float,
0:03:55 > 0:04:00that should match the density of the alcohol in that fluid. I see.
0:04:00 > 0:04:02And then you look on the scale here
0:04:02 > 0:04:08and number 25 says it's likely to be the same density as oil of olive.
0:04:08 > 0:04:11Oil of olive? For number 25.
0:04:11 > 0:04:16Then we have number 22 - "very strong."
0:04:16 > 0:04:21All the way up to number 14 there
0:04:21 > 0:04:23which just says "alcohol."
0:04:23 > 0:04:29So I guess pure alcohol. And then down at the bottom, number 56 -
0:04:29 > 0:04:30"grog."
0:04:30 > 0:04:32THEY LAUGH
0:04:32 > 0:04:35I think it's an amazing comment on the times.
0:04:35 > 0:04:40Something that I would imagine a weights and measures official
0:04:40 > 0:04:44would have used to make sure that either you weren't overselling
0:04:44 > 0:04:48or underselling your alcohol content. And also to give them
0:04:48 > 0:04:52a fairly accurate idea of what the alcohol content is
0:04:52 > 0:04:54in their fluids.
0:04:54 > 0:04:58It would have been made between 1795 and 1810.
0:04:58 > 0:05:03It's a really interesting object. Have you ever had it valued before?
0:05:03 > 0:05:05I did ask an expert once about it
0:05:05 > 0:05:08and he said it would be about ?300-?400.
0:05:08 > 0:05:12Yeah. I think that's...
0:05:12 > 0:05:15a retail figure for it.
0:05:15 > 0:05:19It's one of those things that I think it might just put people off
0:05:19 > 0:05:23if we put that size of estimate on it. Right.
0:05:23 > 0:05:25Would you be happy with ?150 reserve?
0:05:25 > 0:05:30Yes, I would be. Yes. Let's put 150-250
0:05:30 > 0:05:33and see if that's OK with people. Right.
0:05:33 > 0:05:36I think that's a sensible figure. That's very good of you, thank you.
0:05:36 > 0:05:40Let's take it along and see what happens. Excellent.
0:05:40 > 0:05:44What a lovely and fascinating piece of Glaswegian history.
0:05:46 > 0:05:49Up on the balcony, Will has found four very special pieces.
0:05:49 > 0:05:52Little works of art in themselves, aren't they? Yes.
0:05:52 > 0:05:55Little World War I silks. Yeah.
0:05:55 > 0:05:58A lot of the time there's a story behind these. What can you tell me
0:05:58 > 0:06:01about these? Who are they from and who were they to?
0:06:01 > 0:06:04Well, they were in the effects of my husband's auntie
0:06:04 > 0:06:08when she died in '89 and it was her brother William
0:06:08 > 0:06:12who was serving in France and he sent them to her,
0:06:12 > 0:06:17her other sister and his mother. So this is where they all came from.
0:06:17 > 0:06:21But he lived till he was 93, so he survived the war.
0:06:21 > 0:06:25You've met him, you know of him? Yes, I met him in the 1960s
0:06:25 > 0:06:27when I first married my husband.
0:06:27 > 0:06:30So William survived the war - that's a nice touch because a lot
0:06:30 > 0:06:34of the time these sort of things are tinged with an element of sadness
0:06:34 > 0:06:40in that maybe a family member sent them and never made it back himself.
0:06:40 > 0:06:44Now, these were generally made in France, obviously,
0:06:44 > 0:06:45that's where they were bought.
0:06:45 > 0:06:48The whole reason behind them was so that the soldiers could
0:06:48 > 0:06:52keep in touch with their family, let them know how they were.
0:06:52 > 0:06:55If they got one of these at least they knew that everything
0:06:55 > 0:06:56was relatively OK.
0:06:56 > 0:06:59Let's just have a look in here. "Keep me in your heart."
0:06:59 > 0:07:03And then we open that up, we can see there's a little calling card -
0:07:03 > 0:07:06"Greetings from France." There we go.
0:07:06 > 0:07:08I'll just spin that round.
0:07:08 > 0:07:12You can see there we've got the correspondence there.
0:07:12 > 0:07:15No address, so this was probably sent in a separate envelope.
0:07:15 > 0:07:20Which, again, means the damage was limited as much as possible.
0:07:20 > 0:07:22Let me just see if I can read this.
0:07:22 > 0:07:26"Dear Maggie, I'm getting on all right so far
0:07:26 > 0:07:30"but I'm dealing very bad with the heat. It's almost unbearable.
0:07:30 > 0:07:32"Your affectionate brother, Will."
0:07:32 > 0:07:35There we go. Short and sweet.
0:07:35 > 0:07:37Part of family history -
0:07:37 > 0:07:39what's compelled you to bring them along today?
0:07:39 > 0:07:44Well, you were here and I thought we'd find out...and have a look.
0:07:44 > 0:07:47And they are something you're happy to flog?
0:07:47 > 0:07:49Yes, if... Yes.
0:07:49 > 0:07:52Like I said, I alluded to it earlier, the price of them
0:07:52 > 0:07:54is not going to be terribly great.
0:07:54 > 0:07:59You might be looking at ?5-?10 each, that sort of level,
0:07:59 > 0:08:04which doesn't sound a lot but there are people who collect these,
0:08:04 > 0:08:08so at least you know whoever's going to be buying them or bidding
0:08:08 > 0:08:12on them will be wanting them and they'll form part of a collection.
0:08:12 > 0:08:15So they're given a new lease of life, shall we say,
0:08:15 > 0:08:19in someone's collection. Would you be happy at sort of ?20-?40?
0:08:19 > 0:08:23I'm amazed! Yes. Happy at that? Yes.
0:08:23 > 0:08:26Let's not put a reserve on them, let them go if you're happy with that
0:08:26 > 0:08:29and then at least we know we've got a guaranteed sell.
0:08:29 > 0:08:32They might make a little bit less, they might make a little bit more,
0:08:32 > 0:08:34but what they've got going for them is the condition.
0:08:34 > 0:08:38All it comes down to now is the day. Yes.
0:08:38 > 0:08:40See if we can get them away for you. Yes. Fine. Excellent.
0:08:40 > 0:08:43And I look forward to seeing you at the saleroom.
0:08:43 > 0:08:46It was lovely meeting you. That's kind of you. Thank you.
0:08:46 > 0:08:48We've seen a few similar items over the years
0:08:48 > 0:08:52so I'm hopeful these postcards, both historic and personal,
0:08:52 > 0:08:54will attract a bit of attention at the auction room
0:08:54 > 0:08:56and surprise us all.
0:08:57 > 0:09:00Like the items on our valuation tables,
0:09:00 > 0:09:03the details of this building also ooze history.
0:09:05 > 0:09:08This was the original entrance to Kelvingrove, with its overpowering
0:09:08 > 0:09:11statue of St Mungo to greet you here at the door,
0:09:11 > 0:09:13the patron saint of the arts of Glasgow,
0:09:13 > 0:09:16flanked by two figures either side, one representing music,
0:09:16 > 0:09:20the other art. And they've been skilfully executed here
0:09:20 > 0:09:23by one of the leading artists of the day, George Frampton,
0:09:23 > 0:09:27who's also known for his statue of Peter Pan in Kensington Gardens.
0:09:27 > 0:09:29Isn't that lovely?
0:09:31 > 0:09:32Back inside the gallery,
0:09:32 > 0:09:36Rose may have brought in her item at just the right time.
0:09:37 > 0:09:41It's a funny old thing because I was given gold sovereigns
0:09:41 > 0:09:46when I was born, by my grandparents - not many -
0:09:46 > 0:09:51and I hung onto them and I kept them and I kept them and I kept them.
0:09:51 > 0:09:55Then about ten years ago the government decided to sell
0:09:55 > 0:09:59Britain's gold reserves and I thought,
0:09:59 > 0:10:03"Hm, they must know what they're doing, being the government."
0:10:03 > 0:10:06And I sold my gold sovereigns.
0:10:06 > 0:10:09At that time, when the government sold its gold reserves,
0:10:09 > 0:10:13my gold sovereign was worth ?36.
0:10:13 > 0:10:15What do you think it's worth now?
0:10:15 > 0:10:16Double?
0:10:16 > 0:10:21More than double. Treble? Nine times. Wow.
0:10:21 > 0:10:24?220 approximately.
0:10:24 > 0:10:28But you did the right thing and you kept it.
0:10:28 > 0:10:31And you kept it for times when the market was good.
0:10:31 > 0:10:34Is it something you've put together yourself?
0:10:34 > 0:10:38No, it was a gift. Oh, giving away a gift.
0:10:38 > 0:10:41My husband and I have turned 60 this year. Right.
0:10:41 > 0:10:44So we're going away on a big holiday. Where are you off to?
0:10:44 > 0:10:48Hoping to go to New York and Vegas. Oh, fantastic.
0:10:48 > 0:10:51So that's our spending funds.
0:10:51 > 0:10:53I think this would do really well.
0:10:53 > 0:10:55It's nine-carat gold.
0:10:55 > 0:10:57It's just over 30g.
0:10:59 > 0:11:02Any ideas in your head what it's worth?
0:11:02 > 0:11:04No. OK.
0:11:04 > 0:11:12I think we should put an auction estimate of ?280-?350 on it.
0:11:12 > 0:11:16There's a buyer's premium and a vender's fee to sell at auction.
0:11:16 > 0:11:22But I still think it's probably better then putting it in a bag and
0:11:22 > 0:11:26posting it off to somebody who you don't know what they'll give you.
0:11:26 > 0:11:28So, generally, it's a better way.
0:11:28 > 0:11:31The other way of doing it is to sell it directly to a jeweller.
0:11:31 > 0:11:35If you do it that way, you've got a fair chance of getting a good result
0:11:35 > 0:11:38but it just depends on what they're buying the gold in at.
0:11:38 > 0:11:40Auction estimate of 280.
0:11:40 > 0:11:42I think we should put a reserve of that on, firm.
0:11:42 > 0:11:45If it doesn't make that, have it back and try
0:11:45 > 0:11:47and directly sell it to a jeweller.
0:11:47 > 0:11:50Right. Because otherwise you're losing too much with the commission.
0:11:50 > 0:11:53Is that all right? Right, thank you very much. Pleasure.
0:11:53 > 0:11:55What an exciting morning we've had.
0:11:55 > 0:11:57Everybody is thoroughly enjoying themselves,
0:11:57 > 0:12:00we're working flat out, we found our first three items, so
0:12:00 > 0:12:04let's put those values to the test and hopefully they'll hit the roof.
0:12:04 > 0:12:07Here's a quick recap of what's going under the hammer.
0:12:07 > 0:12:11Ian's alcohol tester, which was made right here in Glasgow,
0:12:11 > 0:12:14should certainly float some interest at auction.
0:12:15 > 0:12:19And Patricia's beautiful World War I silks deserve
0:12:19 > 0:12:22pride of place in any collection.
0:12:22 > 0:12:26And Rose feels the time is now right to sell her charming bracelet,
0:12:26 > 0:12:29so let's hope she's not disappointed.
0:12:30 > 0:12:33We haven't needed to go far today for our sale -
0:12:33 > 0:12:36straight across town to the Great Western Auctions where
0:12:36 > 0:12:40the wonderful Anita Manning will be selling our items.
0:12:42 > 0:12:45I've got my idea of what's going to fly, you've probably got yours,
0:12:45 > 0:12:48but right now it is down to this lot, the bidders, and hopefully
0:12:48 > 0:12:51you will be bidding on our lots and making them soar through the roof!
0:12:51 > 0:12:54We're going to find out right now.
0:12:54 > 0:12:59First up is one my favourites, the hydrostatic glass balls.
0:12:59 > 0:13:01A rare and unusual object, Ian.
0:13:01 > 0:13:03A complete set, the condition is fabulous.
0:13:03 > 0:13:04I love everything about it.
0:13:04 > 0:13:08Good, I'm glad. Can I just ask why you want to sell these?
0:13:08 > 0:13:12They've been kicking around in the wardrobe for a long, long time,
0:13:12 > 0:13:16so I might as well sell them. It's not something easily displayable.
0:13:16 > 0:13:20Either you've got them in the box, in a drawer, or you have them out,
0:13:20 > 0:13:23they might get damaged or lost, you might just be playing with them
0:13:23 > 0:13:27and they get broken. It's time to say goodbye. I hope so. Ready? Yeah.
0:13:27 > 0:13:30OK, let's put them under the hammer, here we go.
0:13:30 > 0:13:33One my favourite items, ladies and gentlemen.
0:13:33 > 0:13:36Can we say ?300?
0:13:36 > 0:13:37300?
0:13:37 > 0:13:39200?
0:13:39 > 0:13:41Start me at ?100.
0:13:41 > 0:13:43100 bid.
0:13:43 > 0:13:46Any advance on 100? Any advance on 100?
0:13:46 > 0:13:49It's a little piece of history here. 110. 120.
0:13:49 > 0:13:53130. 140. 150.
0:13:53 > 0:13:56160. ?160.
0:13:56 > 0:14:00160. Any advance on 160?
0:14:00 > 0:14:03All done at 160. 160...
0:14:03 > 0:14:07160. Just got it away. Yeah, I'm surprised, actually,
0:14:07 > 0:14:11it didn't go a bit further. I was a little bit surprised.
0:14:11 > 0:14:15But not easy things to sell. No. Cos it's a hard thing to display,
0:14:15 > 0:14:17as we've said. What do you do with it?
0:14:17 > 0:14:20You either want it or you don't, there's no in-between.
0:14:20 > 0:14:23And from one wonderful slice of history to another.
0:14:23 > 0:14:26Can Patricia's silks fetch a good price?
0:14:26 > 0:14:29You brought it in to show Will, thinking,
0:14:29 > 0:14:33"Let's put no reserve on them." You don't really look at them any more.
0:14:33 > 0:14:37But it's ignited this whole kind of research period that you've
0:14:37 > 0:14:39gone through in the last month since we've saw you
0:14:39 > 0:14:42and you found out so much more information about them.
0:14:42 > 0:14:46He had three brothers and we've now got their military history as well.
0:14:46 > 0:14:48Has this changed your mind about them?
0:14:48 > 0:14:50Do you want to hang on to them now?
0:14:50 > 0:14:53Not really but it's made us go into the family history.
0:14:53 > 0:14:56I'm now going to start digging, you know, more of the history.
0:14:56 > 0:14:58There's plenty of postcard collectors out there.
0:14:58 > 0:15:01These are quality and they're going to sell. Here we go.
0:15:01 > 0:15:06Lot 185, ladies and gentlemen, is this charming little lot.
0:15:06 > 0:15:09It's a lot of World War I silk postcards.
0:15:09 > 0:15:14They are quite beautiful and they're postmarked 1917.
0:15:14 > 0:15:17Can we say ?100?
0:15:17 > 0:15:20?50 for the little piece of history there.
0:15:20 > 0:15:2250?
0:15:22 > 0:15:2550 bid. Straight in at ?50.
0:15:25 > 0:15:27Any advance on 50?
0:15:27 > 0:15:3160. 70.
0:15:31 > 0:15:3280. 90.
0:15:32 > 0:15:34You're joking. ?90.
0:15:34 > 0:15:36(You're joking.)
0:15:36 > 0:15:3990 for that little piece of history.
0:15:39 > 0:15:40?90.
0:15:40 > 0:15:42Any advance on 90?
0:15:42 > 0:15:46Any advance on ?90? All done at ?90.
0:15:46 > 0:15:47?90.
0:15:47 > 0:15:49Short and sweet. That's amazing!
0:15:49 > 0:15:53That's a fabulous result for such a wonderful piece of history.
0:15:53 > 0:15:55I thought ?20.
0:15:55 > 0:15:57Yeah, I mean, you know, like you said,
0:15:57 > 0:16:01they're not hugely valuable but it's the whole aura around them.
0:16:01 > 0:16:03I thought those would do well
0:16:03 > 0:16:07and I'm pleased they reached a good figure for Patricia.
0:16:07 > 0:16:11Now, time to find out if Rose gets her Las Vegas spending money.
0:16:11 > 0:16:13She's certainly up for a gamble.
0:16:13 > 0:16:16I know since the auction you've had a word with Anita
0:16:16 > 0:16:21and you've put the reserve up to ?400, which changes the valuation.
0:16:21 > 0:16:23Why did you do that?
0:16:23 > 0:16:25I just feel...
0:16:25 > 0:16:26My auntie gave me it
0:16:26 > 0:16:29and I wanted to, you know, get as much as I can to spend in Las Vegas.
0:16:29 > 0:16:33Right, OK. That's quite a big jump.
0:16:33 > 0:16:36I don't know if the gold prices have really gone up that much, have they?
0:16:36 > 0:16:40The thing is, if you want the best price, you let the room decide.
0:16:40 > 0:16:43As soon as you start saying what you want
0:16:43 > 0:16:46and telling other people in the room what you think it's worth,
0:16:46 > 0:16:49then they tend to think, "Well, OK, take it somewhere else."
0:16:49 > 0:16:52So, in a way, it's quite an aggressive move
0:16:52 > 0:16:55and often a move that doesn't work.
0:16:55 > 0:16:57But you never know.
0:16:57 > 0:17:00The prices have changed slightly, you might be lucky.
0:17:00 > 0:17:03Fingers crossed. This one's going to be a tight call.
0:17:03 > 0:17:05It's a lovely object
0:17:05 > 0:17:09and if somebody really wants it they will pay for it.
0:17:09 > 0:17:14Buying it as a bracelet, though, not as the gold value, if it makes that.
0:17:14 > 0:17:17Yeah. OK, fingers crossed. Ready for this? Yeah.
0:17:17 > 0:17:20OK, here we go, it's going under the hammer right now.
0:17:20 > 0:17:24Lot 90, ladies and gentlemen, is a charm bracelet.
0:17:24 > 0:17:28It's nine-carat rose gold.
0:17:28 > 0:17:30Can we say ?600?
0:17:30 > 0:17:31600?
0:17:31 > 0:17:33500?
0:17:35 > 0:17:37200?
0:17:37 > 0:17:38200 bid.
0:17:38 > 0:17:42Any advance on 200? Any advance on 200?
0:17:42 > 0:17:45220. 240. 260.
0:17:45 > 0:17:48280. 300. 320.
0:17:48 > 0:17:50320.
0:17:50 > 0:17:52330.
0:17:53 > 0:17:55340.
0:17:55 > 0:17:58350. 360.
0:17:58 > 0:18:02Any advance on 360?
0:18:02 > 0:18:04370.
0:18:04 > 0:18:06380.
0:18:09 > 0:18:11385.
0:18:11 > 0:18:13Oh, it's so close.
0:18:13 > 0:18:15385.
0:18:18 > 0:18:19390.
0:18:20 > 0:18:22390. One more.
0:18:24 > 0:18:26390 with you.
0:18:26 > 0:18:28390.
0:18:28 > 0:18:31We're close. ?390.
0:18:31 > 0:18:33Will you go to 400?
0:18:36 > 0:18:39So it's at 395.
0:18:39 > 0:18:43395. She's gotta sell it for 395.
0:18:43 > 0:18:47395. I need ?5 on this.
0:18:47 > 0:18:495 more.
0:18:50 > 0:18:54It's at 395. I want you to get it.
0:18:54 > 0:18:56Go on.
0:18:56 > 0:18:59400! CHEERING AND APPLAUSE
0:18:59 > 0:19:00Well done.
0:19:02 > 0:19:05?400.
0:19:05 > 0:19:07It's sold!
0:19:07 > 0:19:09Give that man a clap.
0:19:09 > 0:19:11APPLAUSE Brave move, brave move.
0:19:13 > 0:19:16Blimey! ?400.
0:19:16 > 0:19:18Any advance on 400?
0:19:18 > 0:19:20LAUGHTER
0:19:20 > 0:19:23Another fiver(!) That is brilliant auctioneering.
0:19:23 > 0:19:26All done at 400. 400. Well done.
0:19:26 > 0:19:30Well done, you. Well done, Rose, as well. Well done, both of you.
0:19:30 > 0:19:33That's a brilliant auctioneer.
0:19:33 > 0:19:35And well pitched. Cor, just!
0:19:35 > 0:19:39Bit of luck, I have to say, as well.
0:19:39 > 0:19:42That's the gambling streak, the gambling instinct there.
0:19:42 > 0:19:45It's for Vegas. Exactly, yeah, save it all, won't you?
0:19:45 > 0:19:48And hopefully you'll go out there and be a winner. That's it.
0:19:48 > 0:19:50What a result!
0:19:50 > 0:19:54After some great work by auctioneer Anita, Rose's gamble paid off.
0:19:54 > 0:19:59Gold prices do fluctuate but she's got exactly what she wanted.
0:19:59 > 0:20:04# Get out of here and get me some money, too... #
0:20:07 > 0:20:10That's the end of our first visit to the auction room today.
0:20:10 > 0:20:12Some good results,
0:20:12 > 0:20:14and a great place to pick up antiques and collectables.
0:20:14 > 0:20:17But be warned - once you start collecting antiques
0:20:17 > 0:20:20they can be addictive. You can't stop, you are hooked.
0:20:20 > 0:20:23But if you stick at it you can build up the most marvellous collection.
0:20:23 > 0:20:27And that's exactly what one Glaswegian did. Take a look at this.
0:20:41 > 0:20:43Just a few miles from the centre of Glasgow,
0:20:43 > 0:20:46nestling in beautiful wooded parkland,
0:20:46 > 0:20:48is a contemporary building - a rather spectacular one -
0:20:48 > 0:20:51custom-built to house one of the world's greatest
0:20:51 > 0:20:52private collections.
0:20:55 > 0:21:00The museum contains over 9,000 objects collected by one man -
0:21:00 > 0:21:03Scottish shipping magnate Sir William Burrell.
0:21:04 > 0:21:09What makes this collection so incredible is not just the quantity
0:21:09 > 0:21:12but the quality, and the unique way in which they're displayed.
0:21:16 > 0:21:18Burrell spent a lifetime - and a small fortune -
0:21:18 > 0:21:21putting together this collection.
0:21:21 > 0:21:23But in 1944, at the age of 82,
0:21:23 > 0:21:27he gave it all away to the city of Glasgow.
0:21:27 > 0:21:30It was a marvellous coup at the time for a city still trying to build
0:21:30 > 0:21:33its reputation as a place for outstanding art galleries
0:21:33 > 0:21:37and museums. But as you'd expect with such a generous donation,
0:21:37 > 0:21:40there were one or two strings attached.
0:21:41 > 0:21:45To ensure his collection wasn't broken up,
0:21:45 > 0:21:50Burrell gave a further ?450,000 towards a custom-built museum
0:21:50 > 0:21:54that would be worthy of the calibre of the collection.
0:21:54 > 0:21:56And it didn't stop there.
0:21:56 > 0:22:00This building had to be built 16 miles away from the pollution
0:22:00 > 0:22:04that was clogging the air of the industrial centre of post-war
0:22:04 > 0:22:09Glasgow because he was concerned about some of the fragile artefacts
0:22:09 > 0:22:12that were here, especially the Flemish tapestries
0:22:12 > 0:22:17that were hanging on the walls. That was his big concern.
0:22:17 > 0:22:20While the city authorities searched for a suitable location for these
0:22:20 > 0:22:25rare and fragile artworks, Burrell couldn't kick the buying habit.
0:22:25 > 0:22:28Inspired by visions of what his new museum might look like,
0:22:28 > 0:22:30he took it to another level.
0:22:33 > 0:22:35The building, the collector
0:22:35 > 0:22:37and the collection are all linked quite literally.
0:22:37 > 0:22:40Burrell acquired this enormous gothic portal,
0:22:40 > 0:22:42which originally came from Hornby Castle in Yorkshire,
0:22:42 > 0:22:45as part of a job lot of medieval stone doorways.
0:22:45 > 0:22:48At this stage of his life Burrell was well into his 90s
0:22:48 > 0:22:52but this time he was collecting with a view of incorporating these
0:22:52 > 0:22:56enormous monumental architectural pieces into the very fabric
0:22:56 > 0:22:58of his new proposed gallery.
0:22:58 > 0:23:00And I must say, it does sit comfortably well
0:23:00 > 0:23:04when you see the contemporary meeting the medieval.
0:23:04 > 0:23:07It's a wonderful, wonderful marriage.
0:23:07 > 0:23:12But Burrell's eccentric ideas and requests didn't stop there.
0:23:12 > 0:23:15Another of Burrell's stipulations was he wanted three rooms
0:23:15 > 0:23:19from his home - Hutton Castle - recreated right here in the museum
0:23:19 > 0:23:23to the exact size and scale, and I'm standing in one of them now.
0:23:23 > 0:23:27This was his dining room, complete with contents.
0:23:27 > 0:23:30Now, it really shows Burrell's enthusiasm for the Middle Ages,
0:23:30 > 0:23:32especially English furniture,
0:23:32 > 0:23:35from the 1300s right through to the 1500s.
0:23:35 > 0:23:38What we're looking at here, though, is slightly later.
0:23:38 > 0:23:40It's more Elizabethan and Tudor period
0:23:40 > 0:23:43but it is the finest English oak you will see,
0:23:43 > 0:23:48right down to its carved linenfold panels here, its rich, deep carving,
0:23:48 > 0:23:52wonderful heads of men, figures everywhere.
0:23:52 > 0:23:56This is just mind-blowing. Absolutely mind-blowing.
0:23:56 > 0:24:02And to think that Burrell used this room every day of his life.
0:24:02 > 0:24:04He had his supper here...
0:24:06 > 0:24:08..at this table.
0:24:10 > 0:24:13The collection is so vast it would take a building three times
0:24:13 > 0:24:16the size of this one to display it all.
0:24:16 > 0:24:20And down in the store rooms you get an idea of just how big it is.
0:24:22 > 0:24:25Tester beds, joint stools, coffers,
0:24:25 > 0:24:28gothic tracery, screens, trunks.
0:24:28 > 0:24:33Gosh, this is really is a history of furniture.
0:24:33 > 0:24:37Oh, it just gets better and better, it really does.
0:24:37 > 0:24:41You have to understand, this is the very best, the creme de la creme.
0:24:41 > 0:24:43Very, very nice in here.
0:24:43 > 0:24:46HE CHUCKLES
0:24:46 > 0:24:50Oh! 14th century French.
0:24:50 > 0:24:52Unbelievable.
0:24:52 > 0:24:53HE GASPS
0:24:53 > 0:24:56I've got to the chair section.
0:24:56 > 0:24:58Look at all those chairs.
0:24:59 > 0:25:01Wow.
0:25:03 > 0:25:05Here you have the history of the regional chair,
0:25:05 > 0:25:07the vernacular chair,
0:25:07 > 0:25:11different regions throughout the country producing different styles.
0:25:11 > 0:25:14I've never seen a collection like this before in my life.
0:25:25 > 0:25:28Thanks to Burrell's passion, his keen eye and generosity,
0:25:28 > 0:25:32this priceless collection of outstanding fine-art objects
0:25:32 > 0:25:34has been saved for the nation.
0:25:34 > 0:25:38But Burrell was a very private man and he made one final stipulation -
0:25:38 > 0:25:42that there would be no information about him in the museum.
0:25:42 > 0:25:45But his legacy speaks for him.
0:25:45 > 0:25:48The Burrell Collection is a celebration of human creativity
0:25:48 > 0:25:50spanning 4,000 years,
0:25:50 > 0:25:54made more remarkable cos it is the collection of one remarkable man.
0:25:54 > 0:25:57The museum is definitely well worth several visits
0:25:57 > 0:26:02because the Burrell Collection is a collection to fall in love with.
0:26:08 > 0:26:11Welcome back to Kelvingrove Museum and Art Gallery,
0:26:11 > 0:26:13our host location for today.
0:26:13 > 0:26:16As you can see, we're surrounded by fine art and antiques.
0:26:16 > 0:26:19I think it's about time we joined up with our experts who are in the main
0:26:19 > 0:26:22reception area and find some more antiques to take off to auction.
0:26:22 > 0:26:27And who knows? Maybe we can make some history of our very own.
0:26:27 > 0:26:29With so much going on,
0:26:29 > 0:26:33Will has gone upstairs to search for his very own piece of Scotland.
0:26:33 > 0:26:37What can you tell me about it? Is this hung pride of place at home?
0:26:37 > 0:26:39It's kept in a drawer,
0:26:39 > 0:26:41away from the kids.
0:26:41 > 0:26:45Really? It's modern-day houses...
0:26:45 > 0:26:50Yeah. I mean, that is an element that comes into valuing antiques -
0:26:50 > 0:26:52how do we decorate our homes?
0:26:52 > 0:26:56Whereas in the old days there used to be a lot of pictures
0:26:56 > 0:26:59hanging on the walls, you'll be surprised now the number of houses
0:26:59 > 0:27:02I go into and there's not a picture in sight.
0:27:02 > 0:27:06Not like my house where I think every spare inch is covered
0:27:06 > 0:27:11with pictures, my collection of pictures by unknown artists, mainly.
0:27:11 > 0:27:15But this isn't an unknown artist cos we've got a nice clear
0:27:15 > 0:27:17signature down there at the bottom.
0:27:17 > 0:27:22It's a MacKenzie. Now, you've done a bit of research, haven't you?
0:27:22 > 0:27:27Yeah. He was born in 1800 and died in 1880.
0:27:27 > 0:27:31OK, so spanned most of that 19th century.
0:27:31 > 0:27:35He was part of the Scottish Academy and I think somewhere
0:27:35 > 0:27:39down the line he got kicked out for some odd reason.
0:27:39 > 0:27:40I don't know why.
0:27:40 > 0:27:43That would be an interesting thing to research further. I mean,
0:27:43 > 0:27:46that's the slight disadvantage we have on these valuation days,
0:27:46 > 0:27:49in that if you had come to see me at my office I would have given you
0:27:49 > 0:27:52a receipt for it, I would have done a bit of research, gone on
0:27:52 > 0:27:54down that route you've suggested.
0:27:54 > 0:27:55Just to dig out the facts, really,
0:27:55 > 0:28:01whereas here it's very much, you know, we're on our toes
0:28:01 > 0:28:04and we're very much at the moment rather than having time to do
0:28:04 > 0:28:08a lot of research. But looking at the style of picture it's not
0:28:08 > 0:28:10anything that is sort of, shall we say,
0:28:10 > 0:28:16pushing any artistic boundaries or experimenting with different
0:28:16 > 0:28:20factors that, you know, certainly towards the late 19th century,
0:28:20 > 0:28:23were sort of the birth of modern art.
0:28:23 > 0:28:27He's what I would call a... sort of a professional artist.
0:28:27 > 0:28:31He obviously had his formula for painting. Yeah.
0:28:31 > 0:28:34Like I said, the market for pictures changes. Where did you buy it?
0:28:34 > 0:28:37Is it from a gallery? Have you got a receipt?
0:28:37 > 0:28:40It was a local car-boot sale. Really?
0:28:40 > 0:28:43What are the car-boots like round here? What did you have to pay?
0:28:43 > 0:28:48Erm...roughly about ?4. ?4, can you imagine?
0:28:48 > 0:28:51You wouldn't be able to buy the paint to paint it with ?4, really.
0:28:51 > 0:28:54So, ?4 for a Scottish picture.
0:28:54 > 0:28:58I would like to think it's worth between ?200/?300,
0:28:58 > 0:29:01something like that. How does that fit with...? Yeah, that sounds OK.
0:29:01 > 0:29:04Not a bad return for ?4, is it? Yeah.
0:29:04 > 0:29:07It's very good. We'll reserve it at 200.
0:29:07 > 0:29:09Are you happy to have a bit of discretion? Yeah.
0:29:09 > 0:29:12If it gets to 180 or something like that? Yeah, that'd be fine.
0:29:12 > 0:29:16Excellent. So 200 reserve with discretion and thank you
0:29:16 > 0:29:19for bringing along your car-boot bargain. You're welcome.
0:29:21 > 0:29:24Well, when you find a bargain like that, it's hard not to
0:29:24 > 0:29:26blow your own trumpet.
0:29:26 > 0:29:28Or should I say horn?
0:29:30 > 0:29:33HORN WAILS
0:29:35 > 0:29:38I didn't think I'd be able to do that!
0:29:38 > 0:29:44Well, I have to tell you, you do not look like a Congolese tribesman.
0:29:44 > 0:29:47Well, I'm not. I didn't think you would be. I'm a Scotsman.
0:29:47 > 0:29:53I love tribal art. Especially things that were made for the tribe to use
0:29:53 > 0:29:56and not made for the tourist market.
0:29:56 > 0:29:59This is made from ivory
0:29:59 > 0:30:01but it was taken from an elephant
0:30:01 > 0:30:04by the native people of the country.
0:30:04 > 0:30:10When the native people of Africa worked with the animals,
0:30:10 > 0:30:15hunted and killed, took what they needed and didn't waste,
0:30:15 > 0:30:19for thousands of years. It was only when the Westerners arrived
0:30:19 > 0:30:22and decimated the elephants that the problems started.
0:30:22 > 0:30:24But this would have been
0:30:24 > 0:30:30used as a horn for contact in the forests in the centre of Congo.
0:30:30 > 0:30:35Sometimes they were used in celebrations and in parties
0:30:35 > 0:30:38and it's known as an Oliphant.
0:30:38 > 0:30:43Now, what is an Oliphant doing with you in Glasgow?
0:30:43 > 0:30:46Well, it's come down through the family
0:30:46 > 0:30:51because it was originally my great uncle Sandy who was a civil engineer
0:30:51 > 0:30:57but he was also the commissioner for the upper Blue Nile in Egypt.
0:30:57 > 0:31:01This isn't Egyptian, this is further into...
0:31:01 > 0:31:06Well, he was upper Blue Nile, so who knows where he went. So Nubia?
0:31:06 > 0:31:08I've actually got a photograph.
0:31:08 > 0:31:12I'm not sure what he was doing but...
0:31:12 > 0:31:15that is my great uncle Sandy.
0:31:15 > 0:31:18My dad's uncle, obviously. His dad's brother.
0:31:18 > 0:31:22The classic look with the pith helmet. Yeah, yeah.
0:31:22 > 0:31:24So when do you think this was taken?
0:31:24 > 0:31:27Well, this is what we're not sure about.
0:31:27 > 0:31:32We're placing it about 1910, 1913.
0:31:32 > 0:31:34But he died in 1933, I think.
0:31:34 > 0:31:37So he really was an explorer of Egypt as well, really.
0:31:37 > 0:31:43This is before the great Tutankhamen and all that sort of excavation.
0:31:43 > 0:31:45What a lovely picture.
0:31:45 > 0:31:48Got some more things here that might be of interest.
0:31:48 > 0:31:53All part of the one collection my great uncle had.
0:31:53 > 0:31:55Ah! In the original bag.
0:31:55 > 0:31:58A Bank of Egypt bag.
0:31:58 > 0:31:59OK.
0:31:59 > 0:32:02They do look to be Egyptian, actually,
0:32:02 > 0:32:04and probably made for the Western market, those.
0:32:04 > 0:32:07I think they're probably napkin rings, something like that.
0:32:07 > 0:32:11This is the most interesting piece. It's probably 1890,
0:32:11 > 0:32:13something like that.
0:32:13 > 0:32:16Way before the ivory laws started. Uh-huh.
0:32:16 > 0:32:21And anything pre-1948 is legal to sell. It's not hugely valuable,
0:32:21 > 0:32:24so we'll put them all together as one lot, all three,
0:32:24 > 0:32:28I don't know, put the Egyptian bank bag in as well,
0:32:28 > 0:32:34and 120, I think. If it made over 140 we'd be doing very well. Right.
0:32:34 > 0:32:38Now, do you want to put a reserve on it? Yeah, definitely.
0:32:38 > 0:32:42What sort of thing were you thinking? I was thinking ?50-?60.
0:32:42 > 0:32:46Is that fair enough? Let's put it at least that. I think 70.
0:32:46 > 0:32:50I think if they don't make ?70 you ought to... Keep them.
0:32:50 > 0:32:53Keep them in the family. Anita Manning on the rostrum.
0:32:53 > 0:32:56She's a wizard with the gavel. Ah, right, I've seen her in action.
0:32:56 > 0:32:58She'll do well for us.
0:32:58 > 0:33:03We have had ivory items on Flog It! before but as James quite rightly
0:33:03 > 0:33:07pointed out, selling and buying ivory that was made after 1947
0:33:07 > 0:33:09is illegal.
0:33:09 > 0:33:12So any good auctioneer will thoroughly check the origin
0:33:12 > 0:33:16of a piece, helping the conservation of these beautiful animals.
0:33:17 > 0:33:21Next, something far more modern has turned up on Will's table.
0:33:21 > 0:33:23Christine, I hope you don't mind me
0:33:23 > 0:33:26saying that you look like a pretty trendy sort of girl.
0:33:26 > 0:33:29Is that right? Well, I like to think I am.
0:33:29 > 0:33:31One finger on the pulse of fashion and all that.
0:33:31 > 0:33:35Yeah. Very nice. And is that what attracted you to this, I think,
0:33:35 > 0:33:37pretty spectacular piece of jewellery?
0:33:37 > 0:33:41Well, I do look out for good things from charity shops.
0:33:41 > 0:33:44Charity shops? Yeah. You know what that makes me start thinking?
0:33:44 > 0:33:48That you haven't actually paid a lot of money for this, have you? No.
0:33:48 > 0:33:50Dare I ask how much you paid?
0:33:52 > 0:33:54?4.
0:33:54 > 0:34:00Well, to me, ?4 was quite a lot for a brooch in a charity shop. Was it?
0:34:00 > 0:34:03Yeah. So you must have had an inkling that it was...
0:34:03 > 0:34:06I just liked it. It's a very stylish piece.
0:34:06 > 0:34:08I can see why you were attracted to it
0:34:08 > 0:34:12because it's got that almost sort of naturalistic sort of feel about it,
0:34:12 > 0:34:16with the gold. Cos it's solid gold, make no mistake.
0:34:16 > 0:34:20I've had a look and there's no reason to suspect why these
0:34:20 > 0:34:24stones aren't diamonds. They are good clean stones, nice clarity.
0:34:24 > 0:34:27I've had a look for a maker's mark - can't see anything.
0:34:27 > 0:34:31I would imagine, date-wise, it should be post-war.
0:34:31 > 0:34:34It's either going to be '50s, '60s, maybe even into the '70s.
0:34:34 > 0:34:39And that is a sort of period in collecting that is growing.
0:34:39 > 0:34:44People are starting to appreciate how the designs evolved
0:34:44 > 0:34:48and how new designs emerged and they were sort of letting go of the old
0:34:48 > 0:34:50and really pushing forward to a...
0:34:50 > 0:34:52a new look, wasn't it? Yeah.
0:34:54 > 0:34:55Have you worn it? No.
0:34:55 > 0:35:00You've never worn it? No. No? But you just liked it? I just liked it.
0:35:00 > 0:35:03At the time I was saving brooches,
0:35:03 > 0:35:06and that was one of the ones I picked up.
0:35:06 > 0:35:08Did you have an inkling when you bought it that it was
0:35:08 > 0:35:10something special? Yeah.
0:35:10 > 0:35:14A good tip is if you turn a piece of jewellery over and look at the back,
0:35:14 > 0:35:17you can just see the quality and craftsmanship, can't you,
0:35:17 > 0:35:21that someone's taken the effort to make
0:35:21 > 0:35:24the piece of jewellery from scratch, and the quality is obviously there,
0:35:24 > 0:35:27from the back. The piece that you're not meant to see,
0:35:27 > 0:35:30if they've taken the extra effort to make the back as good as the front,
0:35:30 > 0:35:33then you know someone's put a lot of work and effort into it.
0:35:33 > 0:35:35So, ?4, what's that worth?
0:35:35 > 0:35:3918-carat gold and it's well publicised that gold and silver
0:35:39 > 0:35:44prices are high, stabilising a little bit but still high.
0:35:44 > 0:35:50I think you're probably going to turn your ?4 into probably
0:35:50 > 0:35:54close to sort of ?400, I would have thought.
0:35:54 > 0:35:58If we can say ?300 as a figure to reserve it at,
0:35:58 > 0:36:00I don't know how you feel about that.
0:36:00 > 0:36:04Smashing! Yeah? That's pretty good, isn't it? Yeah. Not a bad return.
0:36:04 > 0:36:07We can see that you've got a unique eye
0:36:07 > 0:36:11and you're spotting the right pieces in the right places
0:36:11 > 0:36:15so, you know, all I can say is keep doing what you're doing. Thank you.
0:36:15 > 0:36:17# And I go la-la-la-la-la
0:36:17 > 0:36:19# She's got the look... #
0:36:23 > 0:36:27Well, we've certainly seen some real gems come through the door today,
0:36:27 > 0:36:29all worthy of our magnificent host location.
0:36:29 > 0:36:32And I'm rather excited about some of these.
0:36:32 > 0:36:34I can't wait to put those values to the test,
0:36:34 > 0:36:37so we have to say goodbye to this magnificent museum and art gallery
0:36:37 > 0:36:41as we go over to the auction room for the very last time today.
0:36:41 > 0:36:43And, in case you've forgotten what's coming along with us,
0:36:43 > 0:36:45here's a quick recap.
0:36:45 > 0:36:50John's moody Scottish seascape could whip up a storm of local interest.
0:36:51 > 0:36:56Ian's ivory horn may be far from Scottish but hopefully it will draw
0:36:56 > 0:36:59the attention of the big hunters at the sale room.
0:36:59 > 0:37:03And Christine's solid gold find has all the makings of a modern classic.
0:37:03 > 0:37:06Hopefully it can fetch a price to match.
0:37:08 > 0:37:12MUSIC: Money by The Flying Lizards
0:37:14 > 0:37:17# I want money... #
0:37:19 > 0:37:22Yesterday at the preview day I caught up with the auctioneer,
0:37:22 > 0:37:23the wonderful Anita Manning,
0:37:23 > 0:37:26and this is what she had to say about one of our items.
0:37:26 > 0:37:28It might just struggle.
0:37:28 > 0:37:30She's done a bit more research into the painting
0:37:30 > 0:37:33and found it's not the artist we thought.
0:37:33 > 0:37:38There is a listed MacKenzie artist but the signature is
0:37:38 > 0:37:43different from the signature that we have on that oil.
0:37:43 > 0:37:46So it's a different MacKenzie. So the value's not two to three.
0:37:46 > 0:37:49Have you adjusted that? I've spoken to the vender... John.
0:37:49 > 0:37:52I've explained to him and I asked him
0:37:52 > 0:37:56if it was OK to bring the estimate down to sort of 50-80.
0:37:56 > 0:38:00So we got 50-80, he's going to be pleased because he picked that up
0:38:00 > 0:38:01in a car-boot for ?4.
0:38:01 > 0:38:04It was a good buy. It was. So fingers crossed he's going to make
0:38:04 > 0:38:06a brilliant profit, and it just goes to show that if you get up
0:38:06 > 0:38:09early in the morning, go to those car-boots, buy something
0:38:09 > 0:38:12and stick it in auction, there still is money to be made. Yeah.
0:38:12 > 0:38:17A bit of extra research can make a lot of difference.
0:38:17 > 0:38:20If only we knew who made this piece of tribal art.
0:38:20 > 0:38:24Good luck, Colin. We're putting the ivory to the test now.
0:38:24 > 0:38:28I love the horn, I think that's a super little thing. Great lot.
0:38:28 > 0:38:30And typical of you to pick up on that one.
0:38:30 > 0:38:32Not a lot of money, ?80-?100.
0:38:32 > 0:38:35Thought it would have been a bit more. They're relatively common
0:38:35 > 0:38:37but the more decorative ones,
0:38:37 > 0:38:39decorated with roundels like the napkin rings,
0:38:39 > 0:38:42they were used at weddings. They're the rare ones.
0:38:42 > 0:38:46And they come this big. Wow. OK, good luck, fingers crossed.
0:38:46 > 0:38:49Let's put it to the test, here we go.
0:38:49 > 0:38:54We have the Oliphant tusk with the male's head handle and you have
0:38:54 > 0:38:58the two ivory rings with the engraved decoration.
0:38:58 > 0:39:0219th century ivory, ladies and gentlemen.
0:39:02 > 0:39:05Can we say ?200? 200?
0:39:05 > 0:39:07150?
0:39:08 > 0:39:11Start me at ?100 for the ivory.
0:39:11 > 0:39:13?100. ?50, then.
0:39:13 > 0:39:1650. ?50.
0:39:16 > 0:39:18Start me at 30.
0:39:19 > 0:39:22Any advance on 30? 40.
0:39:22 > 0:39:2440 with you, sir.
0:39:24 > 0:39:2650.
0:39:26 > 0:39:2760.
0:39:27 > 0:39:31?60. Any advance on ?60? No. All done at ?60.
0:39:31 > 0:39:34?60.
0:39:34 > 0:39:37They didn't sell, Colin. It didn't reach the reserve and thank goodness
0:39:37 > 0:39:39James put a reserve on for you.
0:39:39 > 0:39:44I thought the trumpet horn was worth better. It was worth that.
0:39:44 > 0:39:47But the problem is not many people understand tribal art
0:39:47 > 0:39:51and because it's such a specialist area maybe it wasn't the right place
0:39:51 > 0:39:54and the right day. Sorry about that. It's all right.
0:39:54 > 0:39:57It stays in the family, which is actually a good thing.
0:39:57 > 0:39:58You didn't give them away.
0:39:58 > 0:40:02Now, you know I am a big fan of traditional arts and crafts
0:40:02 > 0:40:05and wherever we are in the country filming I like to see as much of it
0:40:05 > 0:40:09as possible. It's a way of embracing these traditional skills,
0:40:09 > 0:40:11and Scotland has one of the oldest skills in the world
0:40:11 > 0:40:15at basket making, particularly in the form of willow weaving,
0:40:15 > 0:40:19and something I've always wanted to have a go at. Take a look at this.
0:40:26 > 0:40:29Here in Scotland the ancient tradition of basket weaving
0:40:29 > 0:40:33can be traced back a staggering 9,000 years to the early settlers
0:40:33 > 0:40:37in the Hebrides who weaved willow baskets to catch their fish.
0:40:37 > 0:40:40With these designs and patents being passed down through the generations,
0:40:40 > 0:40:44modern basket makers today are carrying on the tradition,
0:40:44 > 0:40:48using the same techniques as their forebears.
0:40:51 > 0:40:54The techniques may not have changed but modern practitioners are adding
0:40:54 > 0:40:56their own contemporary twist,
0:40:56 > 0:40:59creating objects of beauty and practicality. I'm here to meet
0:40:59 > 0:41:03Lisa Bech, who's one of Scotland's leading willow weaving artists,
0:41:03 > 0:41:05and hopefully I'm going to have a lesson in weaving willow
0:41:05 > 0:41:07and make something of my own.
0:41:11 > 0:41:14Lisa is a one-woman weaving dynamo.
0:41:14 > 0:41:16She and her husband Ian have turned
0:41:16 > 0:41:19a barren patch of countryside in the southern uplands
0:41:19 > 0:41:22into a veritable oasis.
0:41:22 > 0:41:26In the middle of this patch Lisa has all the raw materials she needs -
0:41:26 > 0:41:28lots of home-grown willow.
0:41:30 > 0:41:34Lisa, hello. Hello. Welcome. Thank you. Come on in.
0:41:35 > 0:41:39Lisa is living the dream, having turned her hobby into a career
0:41:39 > 0:41:42as an internationally renowned artist.
0:41:43 > 0:41:48Lisa, your work is beautiful. It's so sculptural and eye-catching.
0:41:48 > 0:41:50The willow looks like it's alive
0:41:50 > 0:41:54and breathing and nature's intended these organic forms.
0:41:54 > 0:41:58Well, I grow my own willow and I live in a beautiful landscape,
0:41:58 > 0:42:02so I can go out, harvest the willow and really try to emulate nature.
0:42:02 > 0:42:06But I know I'll never get there. But I think you have! I can see
0:42:06 > 0:42:09where your inspirations are with nature and your surroundings
0:42:09 > 0:42:12but at the same time, from a distance,
0:42:12 > 0:42:17you would think these are centuries old. Because you've copied
0:42:17 > 0:42:20those same traditions, those same techniques. You've given it
0:42:20 > 0:42:24a different twist. This could be a fish trap or lobster pot
0:42:24 > 0:42:27and it is those techniques that I have used.
0:42:27 > 0:42:31There are so many different hues here. You're using different
0:42:31 > 0:42:33species of willow, aren't you?
0:42:33 > 0:42:38I've got about 22 different varieties growing in the garden.
0:42:38 > 0:42:40They all grow here? Yeah, yeah.
0:42:40 > 0:42:45Some of them do come in the sort of greens and browns
0:42:45 > 0:42:47and occasionally into black and orange.
0:42:47 > 0:42:50This one, to me, that's incredibly organic.
0:42:50 > 0:42:55It reminds me of a seed pod. Is that fair? I'm happy for how
0:42:55 > 0:43:00it speaks to you. But it's moving, it's got movement and energy. Yes.
0:43:00 > 0:43:03And it catches the light. You can see that when you turn it,
0:43:03 > 0:43:05and from whoever angle you look at that...
0:43:05 > 0:43:07There's always something of interest.
0:43:07 > 0:43:09It's a wonderful piece of sculpture.
0:43:09 > 0:43:11I'm making one at the moment, shall I show you how...?
0:43:11 > 0:43:14Are you halfway through one? More or less. Can we have a look at
0:43:14 > 0:43:16the technique and just watch it develop?
0:43:16 > 0:43:18I'd love to show you. Oh, brilliant.
0:43:22 > 0:43:24Gosh, you are quick.
0:43:24 > 0:43:26Obviously this is really advanced and I couldn't tackle
0:43:26 > 0:43:29something like this but could you show me something very basic
0:43:29 > 0:43:32that you could make with a good master maker like you,
0:43:32 > 0:43:35let's say, something I could make in 30 minutes?
0:43:35 > 0:43:39I can show you how to make... I call it a bird feeder but you can
0:43:39 > 0:43:43use it to store your onions or garlic. I'd like that. We can
0:43:43 > 0:43:47hang it up in the kitchen. Very useful. I like useful items.
0:43:49 > 0:43:52Learning from someone like Lisa is a real privilege
0:43:52 > 0:43:55but what she calls a simple design may be a bit tricky.
0:43:57 > 0:44:00I have to warn you, this can be addictive. OK.
0:44:00 > 0:44:02HE LAUGHS
0:44:02 > 0:44:04You put the first one in.
0:44:04 > 0:44:06Around the stake, come back on itself.
0:44:08 > 0:44:09That's good.
0:44:11 > 0:44:14Can you feel how meditative it can be? Mm. Lovely.
0:44:14 > 0:44:17The rhythm of it. Very therapeutic.
0:44:19 > 0:44:22This weaving stroke is called three-rod waling.
0:44:22 > 0:44:24Three-rod waling?
0:44:24 > 0:44:26And where does this originate?
0:44:26 > 0:44:28Don't ask. OK!
0:44:28 > 0:44:31I think it must be Anglo-Saxon.
0:44:33 > 0:44:37'In the past, woven baskets were an essential part of everyday life,
0:44:37 > 0:44:41'used for catching, gathering and storing food.
0:44:41 > 0:44:44'Keeping these skills alive is hugely important
0:44:44 > 0:44:48'but as I'm finding out, it's not as easy as Lisa makes it look.'
0:44:50 > 0:44:52Pull right in and bend.
0:44:54 > 0:44:56'Lisa is right, however - once you get the hang of it,
0:44:56 > 0:45:00'it's actually quite relaxing and quite addictive,
0:45:00 > 0:45:04'and there's nothing better than picking up new skills.
0:45:04 > 0:45:06'Even if they are old ones.'
0:45:06 > 0:45:08Something bent...
0:45:08 > 0:45:10'It won't be quite the art Lisa can make
0:45:10 > 0:45:13'but I think it's just as satisfying.'
0:45:16 > 0:45:19I can't believe I've made that. Obviously I couldn't do it
0:45:19 > 0:45:22without your help but it is possible for someone like me to make
0:45:22 > 0:45:25something like this in half an hour if you've got the kit and
0:45:25 > 0:45:28the tuition. So thank you so much, Lisa. I'm going to look out for
0:45:28 > 0:45:30your work in the art galleries because I know they will
0:45:30 > 0:45:32become the collectibles and the antiques of the future.
0:45:32 > 0:45:34Big thank you. You're very welcome.
0:45:34 > 0:45:38And here I have some willow cuttings for you. If you put these
0:45:38 > 0:45:42in the ground you will get your own willow bed. Will I? Yes. Fantastic!
0:45:42 > 0:45:45Because that has inspired me to do something at home,
0:45:45 > 0:45:46if I had the willow.
0:45:46 > 0:45:49I will do something. And then you can start a collection of
0:45:49 > 0:45:52different willow plants and increase your palette as you go.
0:45:52 > 0:45:54Thank you.
0:45:54 > 0:45:58There you are, something to hang the onions and garlics in today,
0:45:58 > 0:46:01could be baskets tomorrow, but seriously, I will go home,
0:46:01 > 0:46:06plant this willow, have fun watching it grow and be creative with it.
0:46:06 > 0:46:10It's relatively easy if you have the right teacher and it's quite
0:46:10 > 0:46:14refreshing to meet people like Lisa as well, living the good life,
0:46:14 > 0:46:17being inspired by nature and creating something, well,
0:46:17 > 0:46:19out of nothing, virtually.
0:46:19 > 0:46:22If I was you, I'd give it a go. It's a breath of fresh air.
0:46:26 > 0:46:30Now it's time for John's painting. It's a different artist to the one
0:46:30 > 0:46:34we thought but how big a difference will it make to its value?
0:46:34 > 0:46:37Since the valuation day, Anita's had a chat to John.
0:46:37 > 0:46:41Anita's lowered that reserve to ?50-?80.
0:46:41 > 0:46:44It's not the MacKenzie we were thinking of. Right.
0:46:44 > 0:46:47But I have a feeling this will meet both estimates. I could see it
0:46:47 > 0:46:50doing over ?80 quite easily.
0:46:50 > 0:46:55This is a nice picture, ladies and gentlemen. Can we say 150?
0:46:55 > 0:46:57100?
0:46:57 > 0:47:00Will you start me at ?50?
0:47:00 > 0:47:02?30, then.
0:47:02 > 0:47:0630 bid. Any advance on 30?
0:47:06 > 0:47:0840.
0:47:08 > 0:47:1050.
0:47:10 > 0:47:12We've sold it, John.
0:47:12 > 0:47:16?60 with the gentleman. ?60.
0:47:16 > 0:47:20It's the percentages here. It's a fantastic turnaround.
0:47:20 > 0:47:22?60.
0:47:22 > 0:47:27Yes, the hammer's gone down! ?60. Fabulous return on four quid.
0:47:27 > 0:47:31It really is. Get back to that car-boot sale. Certainly will.
0:47:31 > 0:47:33Or you could do what Christine did
0:47:33 > 0:47:35and find your bargains in a charity shop.
0:47:35 > 0:47:40Remind us how much you paid for it. ?4. Which you said you thought
0:47:40 > 0:47:44was a bit too much for a charity shop. Yes. That is cheeky, isn't it?
0:47:44 > 0:47:48It's an outrage. You're after a bargain all the time, then?
0:47:48 > 0:47:50Did you beat them down?
0:47:50 > 0:47:54No. I was because there was a stone missing.
0:47:54 > 0:47:57There is? Yes, a diamond. A diamond.
0:47:57 > 0:48:02But you didn't know at the time that it was 18-carat gold.
0:48:02 > 0:48:05You had a gut feeling. It was good.
0:48:05 > 0:48:07This is a wonderful piece, ladies and gentlemen,
0:48:07 > 0:48:11an iconic piece from the 1960s.
0:48:11 > 0:48:15Can we say ?500?
0:48:15 > 0:48:17500. He's going to come straight in.
0:48:17 > 0:48:19300?
0:48:19 > 0:48:21You're saving me time.
0:48:21 > 0:48:23300 with you, sir.
0:48:23 > 0:48:27Any advance on ?300? 300.
0:48:27 > 0:48:30320. 350.
0:48:30 > 0:48:32380.
0:48:32 > 0:48:33390.
0:48:33 > 0:48:36390. ?390. That's good.
0:48:36 > 0:48:38?390.
0:48:38 > 0:48:41Any advance on 390? All done at 390.
0:48:41 > 0:48:44390.
0:48:44 > 0:48:47That was a ?4 investment. ?390. Hammer's gone down.
0:48:47 > 0:48:50There is commission to pay, don't forget that, they'll deduct that
0:48:50 > 0:48:54from the hammer price, but that's a very good result. That's a classic
0:48:54 > 0:48:57Flog it! story. We love those stories - finding something for
0:48:57 > 0:48:59next to nothing and turning it into a profit.
0:48:59 > 0:49:02That's brilliant, that's what it's all about. Thank you.
0:49:05 > 0:49:08There you are, it's all over for our owners. The auction is still
0:49:08 > 0:49:11going on but what a day we've had here. Everyone has gone home happy
0:49:11 > 0:49:14and that's what it's all about. I think it's time for me to have
0:49:14 > 0:49:15a well-earned rest, that's for sure.
0:49:15 > 0:49:19But anyway, I hope you've enjoyed today's show. Do join us again
0:49:19 > 0:49:22cos there's going to be many more surprises to come in the future.
0:49:22 > 0:49:24But for now, from Glasgow, it's goodbye.
0:49:52 > 0:49:54Let's Sing And Dance exploded onto our screens,
0:49:54 > 0:49:57setting the stage alight...literally.
0:49:57 > 0:49:59You look like roadkill with rhythm.
0:49:59 > 0:50:02Stars were a-swinging... Could somebody help me?