Browse content similar to Glasgow. Check below for episodes and series from the same categories and more!
Line | From | To | |
---|---|---|---|
With scenery like this, we could only be in one place - | 0:00:06 | 0:00:09 | |
the west coast of Scotland. This unspoilt wilderness is the perfect | 0:00:09 | 0:00:12 | |
antidote for the stresses of modern-day living. | 0:00:12 | 0:00:15 | |
And for one lucky city, it's less than one hour's drive away. | 0:00:15 | 0:00:18 | |
More about that later on in the show but right now, welcome to Scotland, | 0:00:18 | 0:00:21 | |
and welcome to Flog It! | 0:00:21 | 0:00:23 | |
Surrounded by stunningly beautiful scenery, | 0:00:44 | 0:00:47 | |
Glasgow's mix of austere Victorian gothic and brutalist architecture | 0:00:47 | 0:00:52 | |
reflect the no-nonsense industry | 0:00:52 | 0:00:54 | |
at the heart of its wealth and tradition. | 0:00:54 | 0:00:57 | |
This gaunt aspect of the city may explain the creative excellence of | 0:00:57 | 0:01:02 | |
many of its artists having to turn inward to the landscape of the mind. | 0:01:02 | 0:01:07 | |
The Scots' famous industriousness together with their creative talents | 0:01:07 | 0:01:12 | |
has proved a winning formula. | 0:01:12 | 0:01:14 | |
Today's venue is the magnificent Kelvingrove Museum, | 0:01:14 | 0:01:17 | |
purpose-built to house the very best of Glasgow's fine art collection, | 0:01:17 | 0:01:21 | |
natural history and history collection. | 0:01:21 | 0:01:23 | |
Looking for some treasures of their own are experts James Lewis... | 0:01:25 | 0:01:29 | |
I think I'm a 22. Have you got a size 22 in there? | 0:01:29 | 0:01:33 | |
..and Will Axon. | 0:01:33 | 0:01:35 | |
Masses of pictures. Yeah. | 0:01:35 | 0:01:37 | |
Trouble with them - everyone would have kept them. Och, shut up. | 0:01:37 | 0:01:40 | |
We've got a great show for you today where we get to see if | 0:01:40 | 0:01:43 | |
the stereotype of canny Scots being good with their money | 0:01:43 | 0:01:47 | |
really stands up to auction scrutiny. | 0:01:47 | 0:01:50 | |
Today's items have come from both near and far | 0:01:50 | 0:01:53 | |
but which one will sell at auction for 100 times its purchase price? | 0:01:53 | 0:01:57 | |
Our candidates include this very Scottish oil painting, | 0:01:57 | 0:02:01 | |
this naturalistic gold brooch, | 0:02:01 | 0:02:03 | |
and this not-so-Scottish piece of tribal art. | 0:02:03 | 0:02:06 | |
Just wait and see what happens at the auction. | 0:02:06 | 0:02:09 | |
Give that man a clap. | 0:02:09 | 0:02:10 | |
APPLAUSE | 0:02:10 | 0:02:12 | |
This great hall is filling up nicely | 0:02:12 | 0:02:14 | |
so let's get started with our first item. | 0:02:14 | 0:02:17 | |
Ian, when I found you in the queue earlier | 0:02:19 | 0:02:22 | |
I saw this little circular turned box | 0:02:22 | 0:02:25 | |
and I thought it's either going to contain a compass | 0:02:25 | 0:02:29 | |
or it's going to be a very plain snuff box. | 0:02:29 | 0:02:33 | |
But when I opened the lid | 0:02:33 | 0:02:35 | |
and saw what can only be described | 0:02:35 | 0:02:38 | |
as a box of miniature light bulbs... | 0:02:38 | 0:02:42 | |
I thought, "What on Earth are they?" | 0:02:42 | 0:02:45 | |
It says here, | 0:02:45 | 0:02:47 | |
"Hydrostatical glass bubbles for proving spirits, | 0:02:47 | 0:02:53 | |
"adjusted in the most accurate manner | 0:02:53 | 0:02:56 | |
"to the universally approved scale | 0:02:56 | 0:02:59 | |
"by the maker William Twaddell, Glasgow." | 0:02:59 | 0:03:03 | |
What a wonderful little set of beads. | 0:03:03 | 0:03:07 | |
Where did you find it? | 0:03:07 | 0:03:08 | |
My grandfather died and I was given that as a memento of him. | 0:03:08 | 0:03:13 | |
Whether he got it from his grandfather, I presume so, | 0:03:13 | 0:03:16 | |
something like that. So it's been in the family a long time? Yeah. | 0:03:16 | 0:03:20 | |
The only other set that I've seen is in the Glasgow Museum, | 0:03:20 | 0:03:24 | |
the National Museum of Scotland. Oh, yes. | 0:03:24 | 0:03:27 | |
And they have a little box with these | 0:03:27 | 0:03:30 | |
but they don't have the label in the cover. Oh. | 0:03:30 | 0:03:33 | |
I think these are better. | 0:03:33 | 0:03:35 | |
Not hugely valuable, but to measure the density of alcohol | 0:03:35 | 0:03:41 | |
you would drop individually one bead after another. | 0:03:41 | 0:03:46 | |
Each one would have a number beside it. | 0:03:46 | 0:03:50 | |
If that bead, when you drop it, doesn't sink, doesn't float, | 0:03:50 | 0:03:55 | |
that should match the density of the alcohol in that fluid. I see. | 0:03:55 | 0:04:00 | |
And then you look on the scale here | 0:04:00 | 0:04:02 | |
and number 25 says it's likely to be the same density as oil of olive. | 0:04:02 | 0:04:08 | |
Oil of olive? For number 25. | 0:04:08 | 0:04:11 | |
Then we have number 22 - "very strong." | 0:04:11 | 0:04:16 | |
All the way up to number 14 there | 0:04:16 | 0:04:21 | |
which just says "alcohol." | 0:04:21 | 0:04:23 | |
So I guess pure alcohol. And then down at the bottom, number 56 - | 0:04:23 | 0:04:29 | |
"grog." | 0:04:29 | 0:04:30 | |
THEY LAUGH | 0:04:30 | 0:04:32 | |
I think it's an amazing comment on the times. | 0:04:32 | 0:04:35 | |
Something that I would imagine a weights and measures official | 0:04:35 | 0:04:40 | |
would have used to make sure that either you weren't overselling | 0:04:40 | 0:04:44 | |
or underselling your alcohol content. And also to give them | 0:04:44 | 0:04:48 | |
a fairly accurate idea of what the alcohol content is | 0:04:48 | 0:04:52 | |
in their fluids. | 0:04:52 | 0:04:54 | |
It would have been made between 1795 and 1810. | 0:04:54 | 0:04:58 | |
It's a really interesting object. Have you ever had it valued before? | 0:04:58 | 0:05:03 | |
I did ask an expert once about it | 0:05:03 | 0:05:05 | |
and he said it would be about ?300-?400. | 0:05:05 | 0:05:08 | |
Yeah. I think that's... | 0:05:08 | 0:05:12 | |
a retail figure for it. | 0:05:12 | 0:05:15 | |
It's one of those things that I think it might just put people off | 0:05:15 | 0:05:19 | |
if we put that size of estimate on it. Right. | 0:05:19 | 0:05:23 | |
Would you be happy with ?150 reserve? | 0:05:23 | 0:05:25 | |
Yes, I would be. Yes. Let's put 150-250 | 0:05:25 | 0:05:30 | |
and see if that's OK with people. Right. | 0:05:30 | 0:05:33 | |
I think that's a sensible figure. That's very good of you, thank you. | 0:05:33 | 0:05:36 | |
Let's take it along and see what happens. Excellent. | 0:05:36 | 0:05:40 | |
What a lovely and fascinating piece of Glaswegian history. | 0:05:40 | 0:05:44 | |
Up on the balcony, Will has found four very special pieces. | 0:05:46 | 0:05:49 | |
Little works of art in themselves, aren't they? Yes. | 0:05:49 | 0:05:52 | |
Little World War I silks. Yeah. | 0:05:52 | 0:05:55 | |
A lot of the time there's a story behind these. What can you tell me | 0:05:55 | 0:05:58 | |
about these? Who are they from and who were they to? | 0:05:58 | 0:06:01 | |
Well, they were in the effects of my husband's auntie | 0:06:01 | 0:06:04 | |
when she died in '89 and it was her brother William | 0:06:04 | 0:06:08 | |
who was serving in France and he sent them to her, | 0:06:08 | 0:06:12 | |
her other sister and his mother. So this is where they all came from. | 0:06:12 | 0:06:17 | |
But he lived till he was 93, so he survived the war. | 0:06:17 | 0:06:21 | |
You've met him, you know of him? Yes, I met him in the 1960s | 0:06:21 | 0:06:25 | |
when I first married my husband. | 0:06:25 | 0:06:27 | |
So William survived the war - that's a nice touch because a lot | 0:06:27 | 0:06:30 | |
of the time these sort of things are tinged with an element of sadness | 0:06:30 | 0:06:34 | |
in that maybe a family member sent them and never made it back himself. | 0:06:34 | 0:06:40 | |
Now, these were generally made in France, obviously, | 0:06:40 | 0:06:44 | |
that's where they were bought. | 0:06:44 | 0:06:45 | |
The whole reason behind them was so that the soldiers could | 0:06:45 | 0:06:48 | |
keep in touch with their family, let them know how they were. | 0:06:48 | 0:06:52 | |
If they got one of these at least they knew that everything | 0:06:52 | 0:06:55 | |
was relatively OK. | 0:06:55 | 0:06:56 | |
Let's just have a look in here. "Keep me in your heart." | 0:06:56 | 0:06:59 | |
And then we open that up, we can see there's a little calling card - | 0:06:59 | 0:07:03 | |
"Greetings from France." There we go. | 0:07:03 | 0:07:06 | |
I'll just spin that round. | 0:07:06 | 0:07:08 | |
You can see there we've got the correspondence there. | 0:07:08 | 0:07:12 | |
No address, so this was probably sent in a separate envelope. | 0:07:12 | 0:07:15 | |
Which, again, means the damage was limited as much as possible. | 0:07:15 | 0:07:20 | |
Let me just see if I can read this. | 0:07:20 | 0:07:22 | |
"Dear Maggie, I'm getting on all right so far | 0:07:22 | 0:07:26 | |
"but I'm dealing very bad with the heat. It's almost unbearable. | 0:07:26 | 0:07:30 | |
"Your affectionate brother, Will." | 0:07:30 | 0:07:32 | |
There we go. Short and sweet. | 0:07:32 | 0:07:35 | |
Part of family history - | 0:07:35 | 0:07:37 | |
what's compelled you to bring them along today? | 0:07:37 | 0:07:39 | |
Well, you were here and I thought we'd find out...and have a look. | 0:07:39 | 0:07:44 | |
And they are something you're happy to flog? | 0:07:44 | 0:07:47 | |
Yes, if... Yes. | 0:07:47 | 0:07:49 | |
Like I said, I alluded to it earlier, the price of them | 0:07:49 | 0:07:52 | |
is not going to be terribly great. | 0:07:52 | 0:07:54 | |
You might be looking at ?5-?10 each, that sort of level, | 0:07:54 | 0:07:59 | |
which doesn't sound a lot but there are people who collect these, | 0:07:59 | 0:08:04 | |
so at least you know whoever's going to be buying them or bidding | 0:08:04 | 0:08:08 | |
on them will be wanting them and they'll form part of a collection. | 0:08:08 | 0:08:12 | |
So they're given a new lease of life, shall we say, | 0:08:12 | 0:08:15 | |
in someone's collection. Would you be happy at sort of ?20-?40? | 0:08:15 | 0:08:19 | |
I'm amazed! Yes. Happy at that? Yes. | 0:08:19 | 0:08:23 | |
Let's not put a reserve on them, let them go if you're happy with that | 0:08:23 | 0:08:26 | |
and then at least we know we've got a guaranteed sell. | 0:08:26 | 0:08:29 | |
They might make a little bit less, they might make a little bit more, | 0:08:29 | 0:08:32 | |
but what they've got going for them is the condition. | 0:08:32 | 0:08:34 | |
All it comes down to now is the day. Yes. | 0:08:34 | 0:08:38 | |
See if we can get them away for you. Yes. Fine. Excellent. | 0:08:38 | 0:08:40 | |
And I look forward to seeing you at the saleroom. | 0:08:40 | 0:08:43 | |
It was lovely meeting you. That's kind of you. Thank you. | 0:08:43 | 0:08:46 | |
We've seen a few similar items over the years | 0:08:46 | 0:08:48 | |
so I'm hopeful these postcards, both historic and personal, | 0:08:48 | 0:08:52 | |
will attract a bit of attention at the auction room | 0:08:52 | 0:08:54 | |
and surprise us all. | 0:08:54 | 0:08:56 | |
Like the items on our valuation tables, | 0:08:57 | 0:09:00 | |
the details of this building also ooze history. | 0:09:00 | 0:09:03 | |
This was the original entrance to Kelvingrove, with its overpowering | 0:09:05 | 0:09:08 | |
statue of St Mungo to greet you here at the door, | 0:09:08 | 0:09:11 | |
the patron saint of the arts of Glasgow, | 0:09:11 | 0:09:13 | |
flanked by two figures either side, one representing music, | 0:09:13 | 0:09:16 | |
the other art. And they've been skilfully executed here | 0:09:16 | 0:09:20 | |
by one of the leading artists of the day, George Frampton, | 0:09:20 | 0:09:23 | |
who's also known for his statue of Peter Pan in Kensington Gardens. | 0:09:23 | 0:09:27 | |
Isn't that lovely? | 0:09:27 | 0:09:29 | |
Back inside the gallery, | 0:09:31 | 0:09:32 | |
Rose may have brought in her item at just the right time. | 0:09:32 | 0:09:36 | |
It's a funny old thing because I was given gold sovereigns | 0:09:37 | 0:09:41 | |
when I was born, by my grandparents - not many - | 0:09:41 | 0:09:46 | |
and I hung onto them and I kept them and I kept them and I kept them. | 0:09:46 | 0:09:51 | |
Then about ten years ago the government decided to sell | 0:09:51 | 0:09:55 | |
Britain's gold reserves and I thought, | 0:09:55 | 0:09:59 | |
"Hm, they must know what they're doing, being the government." | 0:09:59 | 0:10:03 | |
And I sold my gold sovereigns. | 0:10:03 | 0:10:06 | |
At that time, when the government sold its gold reserves, | 0:10:06 | 0:10:09 | |
my gold sovereign was worth ?36. | 0:10:09 | 0:10:13 | |
What do you think it's worth now? | 0:10:13 | 0:10:15 | |
Double? | 0:10:15 | 0:10:16 | |
More than double. Treble? Nine times. Wow. | 0:10:16 | 0:10:21 | |
?220 approximately. | 0:10:21 | 0:10:24 | |
But you did the right thing and you kept it. | 0:10:24 | 0:10:28 | |
And you kept it for times when the market was good. | 0:10:28 | 0:10:31 | |
Is it something you've put together yourself? | 0:10:31 | 0:10:34 | |
No, it was a gift. Oh, giving away a gift. | 0:10:34 | 0:10:38 | |
My husband and I have turned 60 this year. Right. | 0:10:38 | 0:10:41 | |
So we're going away on a big holiday. Where are you off to? | 0:10:41 | 0:10:44 | |
Hoping to go to New York and Vegas. Oh, fantastic. | 0:10:44 | 0:10:48 | |
So that's our spending funds. | 0:10:48 | 0:10:51 | |
I think this would do really well. | 0:10:51 | 0:10:53 | |
It's nine-carat gold. | 0:10:53 | 0:10:55 | |
It's just over 30g. | 0:10:55 | 0:10:57 | |
Any ideas in your head what it's worth? | 0:10:59 | 0:11:02 | |
No. OK. | 0:11:02 | 0:11:04 | |
I think we should put an auction estimate of ?280-?350 on it. | 0:11:04 | 0:11:12 | |
There's a buyer's premium and a vender's fee to sell at auction. | 0:11:12 | 0:11:16 | |
But I still think it's probably better then putting it in a bag and | 0:11:16 | 0:11:22 | |
posting it off to somebody who you don't know what they'll give you. | 0:11:22 | 0:11:26 | |
So, generally, it's a better way. | 0:11:26 | 0:11:28 | |
The other way of doing it is to sell it directly to a jeweller. | 0:11:28 | 0:11:31 | |
If you do it that way, you've got a fair chance of getting a good result | 0:11:31 | 0:11:35 | |
but it just depends on what they're buying the gold in at. | 0:11:35 | 0:11:38 | |
Auction estimate of 280. | 0:11:38 | 0:11:40 | |
I think we should put a reserve of that on, firm. | 0:11:40 | 0:11:42 | |
If it doesn't make that, have it back and try | 0:11:42 | 0:11:45 | |
and directly sell it to a jeweller. | 0:11:45 | 0:11:47 | |
Right. Because otherwise you're losing too much with the commission. | 0:11:47 | 0:11:50 | |
Is that all right? Right, thank you very much. Pleasure. | 0:11:50 | 0:11:53 | |
What an exciting morning we've had. | 0:11:53 | 0:11:55 | |
Everybody is thoroughly enjoying themselves, | 0:11:55 | 0:11:57 | |
we're working flat out, we found our first three items, so | 0:11:57 | 0:12:00 | |
let's put those values to the test and hopefully they'll hit the roof. | 0:12:00 | 0:12:04 | |
Here's a quick recap of what's going under the hammer. | 0:12:04 | 0:12:07 | |
Ian's alcohol tester, which was made right here in Glasgow, | 0:12:07 | 0:12:11 | |
should certainly float some interest at auction. | 0:12:11 | 0:12:14 | |
And Patricia's beautiful World War I silks deserve | 0:12:15 | 0:12:19 | |
pride of place in any collection. | 0:12:19 | 0:12:22 | |
And Rose feels the time is now right to sell her charming bracelet, | 0:12:22 | 0:12:26 | |
so let's hope she's not disappointed. | 0:12:26 | 0:12:29 | |
We haven't needed to go far today for our sale - | 0:12:30 | 0:12:33 | |
straight across town to the Great Western Auctions where | 0:12:33 | 0:12:36 | |
the wonderful Anita Manning will be selling our items. | 0:12:36 | 0:12:40 | |
I've got my idea of what's going to fly, you've probably got yours, | 0:12:42 | 0:12:45 | |
but right now it is down to this lot, the bidders, and hopefully | 0:12:45 | 0:12:48 | |
you will be bidding on our lots and making them soar through the roof! | 0:12:48 | 0:12:51 | |
We're going to find out right now. | 0:12:51 | 0:12:54 | |
First up is one my favourites, the hydrostatic glass balls. | 0:12:54 | 0:12:59 | |
A rare and unusual object, Ian. | 0:12:59 | 0:13:01 | |
A complete set, the condition is fabulous. | 0:13:01 | 0:13:03 | |
I love everything about it. | 0:13:03 | 0:13:04 | |
Good, I'm glad. Can I just ask why you want to sell these? | 0:13:04 | 0:13:08 | |
They've been kicking around in the wardrobe for a long, long time, | 0:13:08 | 0:13:12 | |
so I might as well sell them. It's not something easily displayable. | 0:13:12 | 0:13:16 | |
Either you've got them in the box, in a drawer, or you have them out, | 0:13:16 | 0:13:20 | |
they might get damaged or lost, you might just be playing with them | 0:13:20 | 0:13:23 | |
and they get broken. It's time to say goodbye. I hope so. Ready? Yeah. | 0:13:23 | 0:13:27 | |
OK, let's put them under the hammer, here we go. | 0:13:27 | 0:13:30 | |
One my favourite items, ladies and gentlemen. | 0:13:30 | 0:13:33 | |
Can we say ?300? | 0:13:33 | 0:13:36 | |
300? | 0:13:36 | 0:13:37 | |
200? | 0:13:37 | 0:13:39 | |
Start me at ?100. | 0:13:39 | 0:13:41 | |
100 bid. | 0:13:41 | 0:13:43 | |
Any advance on 100? Any advance on 100? | 0:13:43 | 0:13:46 | |
It's a little piece of history here. 110. 120. | 0:13:46 | 0:13:49 | |
130. 140. 150. | 0:13:49 | 0:13:53 | |
160. ?160. | 0:13:53 | 0:13:56 | |
160. Any advance on 160? | 0:13:56 | 0:14:00 | |
All done at 160. 160... | 0:14:00 | 0:14:03 | |
160. Just got it away. Yeah, I'm surprised, actually, | 0:14:03 | 0:14:07 | |
it didn't go a bit further. I was a little bit surprised. | 0:14:07 | 0:14:11 | |
But not easy things to sell. No. Cos it's a hard thing to display, | 0:14:11 | 0:14:15 | |
as we've said. What do you do with it? | 0:14:15 | 0:14:17 | |
You either want it or you don't, there's no in-between. | 0:14:17 | 0:14:20 | |
And from one wonderful slice of history to another. | 0:14:20 | 0:14:23 | |
Can Patricia's silks fetch a good price? | 0:14:23 | 0:14:26 | |
You brought it in to show Will, thinking, | 0:14:26 | 0:14:29 | |
"Let's put no reserve on them." You don't really look at them any more. | 0:14:29 | 0:14:33 | |
But it's ignited this whole kind of research period that you've | 0:14:33 | 0:14:37 | |
gone through in the last month since we've saw you | 0:14:37 | 0:14:39 | |
and you found out so much more information about them. | 0:14:39 | 0:14:42 | |
He had three brothers and we've now got their military history as well. | 0:14:42 | 0:14:46 | |
Has this changed your mind about them? | 0:14:46 | 0:14:48 | |
Do you want to hang on to them now? | 0:14:48 | 0:14:50 | |
Not really but it's made us go into the family history. | 0:14:50 | 0:14:53 | |
I'm now going to start digging, you know, more of the history. | 0:14:53 | 0:14:56 | |
There's plenty of postcard collectors out there. | 0:14:56 | 0:14:58 | |
These are quality and they're going to sell. Here we go. | 0:14:58 | 0:15:01 | |
Lot 185, ladies and gentlemen, is this charming little lot. | 0:15:01 | 0:15:06 | |
It's a lot of World War I silk postcards. | 0:15:06 | 0:15:09 | |
They are quite beautiful and they're postmarked 1917. | 0:15:09 | 0:15:14 | |
Can we say ?100? | 0:15:14 | 0:15:17 | |
?50 for the little piece of history there. | 0:15:17 | 0:15:20 | |
50? | 0:15:20 | 0:15:22 | |
50 bid. Straight in at ?50. | 0:15:22 | 0:15:25 | |
Any advance on 50? | 0:15:25 | 0:15:27 | |
60. 70. | 0:15:27 | 0:15:31 | |
80. 90. | 0:15:31 | 0:15:32 | |
You're joking. ?90. | 0:15:32 | 0:15:34 | |
(You're joking.) | 0:15:34 | 0:15:36 | |
90 for that little piece of history. | 0:15:36 | 0:15:39 | |
?90. | 0:15:39 | 0:15:40 | |
Any advance on 90? | 0:15:40 | 0:15:42 | |
Any advance on ?90? All done at ?90. | 0:15:42 | 0:15:46 | |
?90. | 0:15:46 | 0:15:47 | |
Short and sweet. That's amazing! | 0:15:47 | 0:15:49 | |
That's a fabulous result for such a wonderful piece of history. | 0:15:49 | 0:15:53 | |
I thought ?20. | 0:15:53 | 0:15:55 | |
Yeah, I mean, you know, like you said, | 0:15:55 | 0:15:57 | |
they're not hugely valuable but it's the whole aura around them. | 0:15:57 | 0:16:01 | |
I thought those would do well | 0:16:01 | 0:16:03 | |
and I'm pleased they reached a good figure for Patricia. | 0:16:03 | 0:16:07 | |
Now, time to find out if Rose gets her Las Vegas spending money. | 0:16:07 | 0:16:11 | |
She's certainly up for a gamble. | 0:16:11 | 0:16:13 | |
I know since the auction you've had a word with Anita | 0:16:13 | 0:16:16 | |
and you've put the reserve up to ?400, which changes the valuation. | 0:16:16 | 0:16:21 | |
Why did you do that? | 0:16:21 | 0:16:23 | |
I just feel... | 0:16:23 | 0:16:25 | |
My auntie gave me it | 0:16:25 | 0:16:26 | |
and I wanted to, you know, get as much as I can to spend in Las Vegas. | 0:16:26 | 0:16:29 | |
Right, OK. That's quite a big jump. | 0:16:29 | 0:16:33 | |
I don't know if the gold prices have really gone up that much, have they? | 0:16:33 | 0:16:36 | |
The thing is, if you want the best price, you let the room decide. | 0:16:36 | 0:16:40 | |
As soon as you start saying what you want | 0:16:40 | 0:16:43 | |
and telling other people in the room what you think it's worth, | 0:16:43 | 0:16:46 | |
then they tend to think, "Well, OK, take it somewhere else." | 0:16:46 | 0:16:49 | |
So, in a way, it's quite an aggressive move | 0:16:49 | 0:16:52 | |
and often a move that doesn't work. | 0:16:52 | 0:16:55 | |
But you never know. | 0:16:55 | 0:16:57 | |
The prices have changed slightly, you might be lucky. | 0:16:57 | 0:17:00 | |
Fingers crossed. This one's going to be a tight call. | 0:17:00 | 0:17:03 | |
It's a lovely object | 0:17:03 | 0:17:05 | |
and if somebody really wants it they will pay for it. | 0:17:05 | 0:17:09 | |
Buying it as a bracelet, though, not as the gold value, if it makes that. | 0:17:09 | 0:17:14 | |
Yeah. OK, fingers crossed. Ready for this? Yeah. | 0:17:14 | 0:17:17 | |
OK, here we go, it's going under the hammer right now. | 0:17:17 | 0:17:20 | |
Lot 90, ladies and gentlemen, is a charm bracelet. | 0:17:20 | 0:17:24 | |
It's nine-carat rose gold. | 0:17:24 | 0:17:28 | |
Can we say ?600? | 0:17:28 | 0:17:30 | |
600? | 0:17:30 | 0:17:31 | |
500? | 0:17:31 | 0:17:33 | |
200? | 0:17:35 | 0:17:37 | |
200 bid. | 0:17:37 | 0:17:38 | |
Any advance on 200? Any advance on 200? | 0:17:38 | 0:17:42 | |
220. 240. 260. | 0:17:42 | 0:17:45 | |
280. 300. 320. | 0:17:45 | 0:17:48 | |
320. | 0:17:48 | 0:17:50 | |
330. | 0:17:50 | 0:17:52 | |
340. | 0:17:53 | 0:17:55 | |
350. 360. | 0:17:55 | 0:17:58 | |
Any advance on 360? | 0:17:58 | 0:18:02 | |
370. | 0:18:02 | 0:18:04 | |
380. | 0:18:04 | 0:18:06 | |
385. | 0:18:09 | 0:18:11 | |
Oh, it's so close. | 0:18:11 | 0:18:13 | |
385. | 0:18:13 | 0:18:15 | |
390. | 0:18:18 | 0:18:19 | |
390. One more. | 0:18:20 | 0:18:22 | |
390 with you. | 0:18:24 | 0:18:26 | |
390. | 0:18:26 | 0:18:28 | |
We're close. ?390. | 0:18:28 | 0:18:31 | |
Will you go to 400? | 0:18:31 | 0:18:33 | |
So it's at 395. | 0:18:36 | 0:18:39 | |
395. She's gotta sell it for 395. | 0:18:39 | 0:18:43 | |
395. I need ?5 on this. | 0:18:43 | 0:18:47 | |
5 more. | 0:18:47 | 0:18:49 | |
It's at 395. I want you to get it. | 0:18:50 | 0:18:54 | |
Go on. | 0:18:54 | 0:18:56 | |
400! CHEERING AND APPLAUSE | 0:18:56 | 0:18:59 | |
Well done. | 0:18:59 | 0:19:00 | |
?400. | 0:19:02 | 0:19:05 | |
It's sold! | 0:19:05 | 0:19:07 | |
Give that man a clap. | 0:19:07 | 0:19:09 | |
APPLAUSE Brave move, brave move. | 0:19:09 | 0:19:11 | |
Blimey! ?400. | 0:19:13 | 0:19:16 | |
Any advance on 400? | 0:19:16 | 0:19:18 | |
LAUGHTER | 0:19:18 | 0:19:20 | |
Another fiver(!) That is brilliant auctioneering. | 0:19:20 | 0:19:23 | |
All done at 400. 400. Well done. | 0:19:23 | 0:19:26 | |
Well done, you. Well done, Rose, as well. Well done, both of you. | 0:19:26 | 0:19:30 | |
That's a brilliant auctioneer. | 0:19:30 | 0:19:33 | |
And well pitched. Cor, just! | 0:19:33 | 0:19:35 | |
Bit of luck, I have to say, as well. | 0:19:35 | 0:19:39 | |
That's the gambling streak, the gambling instinct there. | 0:19:39 | 0:19:42 | |
It's for Vegas. Exactly, yeah, save it all, won't you? | 0:19:42 | 0:19:45 | |
And hopefully you'll go out there and be a winner. That's it. | 0:19:45 | 0:19:48 | |
What a result! | 0:19:48 | 0:19:50 | |
After some great work by auctioneer Anita, Rose's gamble paid off. | 0:19:50 | 0:19:54 | |
Gold prices do fluctuate but she's got exactly what she wanted. | 0:19:54 | 0:19:59 | |
# Get out of here and get me some money, too... # | 0:19:59 | 0:20:04 | |
That's the end of our first visit to the auction room today. | 0:20:07 | 0:20:10 | |
Some good results, | 0:20:10 | 0:20:12 | |
and a great place to pick up antiques and collectables. | 0:20:12 | 0:20:14 | |
But be warned - once you start collecting antiques | 0:20:14 | 0:20:17 | |
they can be addictive. You can't stop, you are hooked. | 0:20:17 | 0:20:20 | |
But if you stick at it you can build up the most marvellous collection. | 0:20:20 | 0:20:23 | |
And that's exactly what one Glaswegian did. Take a look at this. | 0:20:23 | 0:20:27 | |
Just a few miles from the centre of Glasgow, | 0:20:41 | 0:20:43 | |
nestling in beautiful wooded parkland, | 0:20:43 | 0:20:46 | |
is a contemporary building - a rather spectacular one - | 0:20:46 | 0:20:48 | |
custom-built to house one of the world's greatest | 0:20:48 | 0:20:51 | |
private collections. | 0:20:51 | 0:20:52 | |
The museum contains over 9,000 objects collected by one man - | 0:20:55 | 0:21:00 | |
Scottish shipping magnate Sir William Burrell. | 0:21:00 | 0:21:03 | |
What makes this collection so incredible is not just the quantity | 0:21:04 | 0:21:09 | |
but the quality, and the unique way in which they're displayed. | 0:21:09 | 0:21:12 | |
Burrell spent a lifetime - and a small fortune - | 0:21:16 | 0:21:18 | |
putting together this collection. | 0:21:18 | 0:21:21 | |
But in 1944, at the age of 82, | 0:21:21 | 0:21:23 | |
he gave it all away to the city of Glasgow. | 0:21:23 | 0:21:27 | |
It was a marvellous coup at the time for a city still trying to build | 0:21:27 | 0:21:30 | |
its reputation as a place for outstanding art galleries | 0:21:30 | 0:21:33 | |
and museums. But as you'd expect with such a generous donation, | 0:21:33 | 0:21:37 | |
there were one or two strings attached. | 0:21:37 | 0:21:40 | |
To ensure his collection wasn't broken up, | 0:21:41 | 0:21:45 | |
Burrell gave a further ?450,000 towards a custom-built museum | 0:21:45 | 0:21:50 | |
that would be worthy of the calibre of the collection. | 0:21:50 | 0:21:54 | |
And it didn't stop there. | 0:21:54 | 0:21:56 | |
This building had to be built 16 miles away from the pollution | 0:21:56 | 0:22:00 | |
that was clogging the air of the industrial centre of post-war | 0:22:00 | 0:22:04 | |
Glasgow because he was concerned about some of the fragile artefacts | 0:22:04 | 0:22:09 | |
that were here, especially the Flemish tapestries | 0:22:09 | 0:22:12 | |
that were hanging on the walls. That was his big concern. | 0:22:12 | 0:22:17 | |
While the city authorities searched for a suitable location for these | 0:22:17 | 0:22:20 | |
rare and fragile artworks, Burrell couldn't kick the buying habit. | 0:22:20 | 0:22:25 | |
Inspired by visions of what his new museum might look like, | 0:22:25 | 0:22:28 | |
he took it to another level. | 0:22:28 | 0:22:30 | |
The building, the collector | 0:22:33 | 0:22:35 | |
and the collection are all linked quite literally. | 0:22:35 | 0:22:37 | |
Burrell acquired this enormous gothic portal, | 0:22:37 | 0:22:40 | |
which originally came from Hornby Castle in Yorkshire, | 0:22:40 | 0:22:42 | |
as part of a job lot of medieval stone doorways. | 0:22:42 | 0:22:45 | |
At this stage of his life Burrell was well into his 90s | 0:22:45 | 0:22:48 | |
but this time he was collecting with a view of incorporating these | 0:22:48 | 0:22:52 | |
enormous monumental architectural pieces into the very fabric | 0:22:52 | 0:22:56 | |
of his new proposed gallery. | 0:22:56 | 0:22:58 | |
And I must say, it does sit comfortably well | 0:22:58 | 0:23:00 | |
when you see the contemporary meeting the medieval. | 0:23:00 | 0:23:04 | |
It's a wonderful, wonderful marriage. | 0:23:04 | 0:23:07 | |
But Burrell's eccentric ideas and requests didn't stop there. | 0:23:07 | 0:23:12 | |
Another of Burrell's stipulations was he wanted three rooms | 0:23:12 | 0:23:15 | |
from his home - Hutton Castle - recreated right here in the museum | 0:23:15 | 0:23:19 | |
to the exact size and scale, and I'm standing in one of them now. | 0:23:19 | 0:23:23 | |
This was his dining room, complete with contents. | 0:23:23 | 0:23:27 | |
Now, it really shows Burrell's enthusiasm for the Middle Ages, | 0:23:27 | 0:23:30 | |
especially English furniture, | 0:23:30 | 0:23:32 | |
from the 1300s right through to the 1500s. | 0:23:32 | 0:23:35 | |
What we're looking at here, though, is slightly later. | 0:23:35 | 0:23:38 | |
It's more Elizabethan and Tudor period | 0:23:38 | 0:23:40 | |
but it is the finest English oak you will see, | 0:23:40 | 0:23:43 | |
right down to its carved linenfold panels here, its rich, deep carving, | 0:23:43 | 0:23:48 | |
wonderful heads of men, figures everywhere. | 0:23:48 | 0:23:52 | |
This is just mind-blowing. Absolutely mind-blowing. | 0:23:52 | 0:23:56 | |
And to think that Burrell used this room every day of his life. | 0:23:56 | 0:24:02 | |
He had his supper here... | 0:24:02 | 0:24:04 | |
..at this table. | 0:24:06 | 0:24:08 | |
The collection is so vast it would take a building three times | 0:24:10 | 0:24:13 | |
the size of this one to display it all. | 0:24:13 | 0:24:16 | |
And down in the store rooms you get an idea of just how big it is. | 0:24:16 | 0:24:20 | |
Tester beds, joint stools, coffers, | 0:24:22 | 0:24:25 | |
gothic tracery, screens, trunks. | 0:24:25 | 0:24:28 | |
Gosh, this is really is a history of furniture. | 0:24:28 | 0:24:33 | |
Oh, it just gets better and better, it really does. | 0:24:33 | 0:24:37 | |
You have to understand, this is the very best, the creme de la creme. | 0:24:37 | 0:24:41 | |
Very, very nice in here. | 0:24:41 | 0:24:43 | |
HE CHUCKLES | 0:24:43 | 0:24:46 | |
Oh! 14th century French. | 0:24:46 | 0:24:50 | |
Unbelievable. | 0:24:50 | 0:24:52 | |
HE GASPS | 0:24:52 | 0:24:53 | |
I've got to the chair section. | 0:24:53 | 0:24:56 | |
Look at all those chairs. | 0:24:56 | 0:24:58 | |
Wow. | 0:24:59 | 0:25:01 | |
Here you have the history of the regional chair, | 0:25:03 | 0:25:05 | |
the vernacular chair, | 0:25:05 | 0:25:07 | |
different regions throughout the country producing different styles. | 0:25:07 | 0:25:11 | |
I've never seen a collection like this before in my life. | 0:25:11 | 0:25:14 | |
Thanks to Burrell's passion, his keen eye and generosity, | 0:25:25 | 0:25:28 | |
this priceless collection of outstanding fine-art objects | 0:25:28 | 0:25:32 | |
has been saved for the nation. | 0:25:32 | 0:25:34 | |
But Burrell was a very private man and he made one final stipulation - | 0:25:34 | 0:25:38 | |
that there would be no information about him in the museum. | 0:25:38 | 0:25:42 | |
But his legacy speaks for him. | 0:25:42 | 0:25:45 | |
The Burrell Collection is a celebration of human creativity | 0:25:45 | 0:25:48 | |
spanning 4,000 years, | 0:25:48 | 0:25:50 | |
made more remarkable cos it is the collection of one remarkable man. | 0:25:50 | 0:25:54 | |
The museum is definitely well worth several visits | 0:25:54 | 0:25:57 | |
because the Burrell Collection is a collection to fall in love with. | 0:25:57 | 0:26:02 | |
Welcome back to Kelvingrove Museum and Art Gallery, | 0:26:08 | 0:26:11 | |
our host location for today. | 0:26:11 | 0:26:13 | |
As you can see, we're surrounded by fine art and antiques. | 0:26:13 | 0:26:16 | |
I think it's about time we joined up with our experts who are in the main | 0:26:16 | 0:26:19 | |
reception area and find some more antiques to take off to auction. | 0:26:19 | 0:26:22 | |
And who knows? Maybe we can make some history of our very own. | 0:26:22 | 0:26:27 | |
With so much going on, | 0:26:27 | 0:26:29 | |
Will has gone upstairs to search for his very own piece of Scotland. | 0:26:29 | 0:26:33 | |
What can you tell me about it? Is this hung pride of place at home? | 0:26:33 | 0:26:37 | |
It's kept in a drawer, | 0:26:37 | 0:26:39 | |
away from the kids. | 0:26:39 | 0:26:41 | |
Really? It's modern-day houses... | 0:26:41 | 0:26:45 | |
Yeah. I mean, that is an element that comes into valuing antiques - | 0:26:45 | 0:26:50 | |
how do we decorate our homes? | 0:26:50 | 0:26:52 | |
Whereas in the old days there used to be a lot of pictures | 0:26:52 | 0:26:56 | |
hanging on the walls, you'll be surprised now the number of houses | 0:26:56 | 0:26:59 | |
I go into and there's not a picture in sight. | 0:26:59 | 0:27:02 | |
Not like my house where I think every spare inch is covered | 0:27:02 | 0:27:06 | |
with pictures, my collection of pictures by unknown artists, mainly. | 0:27:06 | 0:27:11 | |
But this isn't an unknown artist cos we've got a nice clear | 0:27:11 | 0:27:15 | |
signature down there at the bottom. | 0:27:15 | 0:27:17 | |
It's a MacKenzie. Now, you've done a bit of research, haven't you? | 0:27:17 | 0:27:22 | |
Yeah. He was born in 1800 and died in 1880. | 0:27:22 | 0:27:27 | |
OK, so spanned most of that 19th century. | 0:27:27 | 0:27:31 | |
He was part of the Scottish Academy and I think somewhere | 0:27:31 | 0:27:35 | |
down the line he got kicked out for some odd reason. | 0:27:35 | 0:27:39 | |
I don't know why. | 0:27:39 | 0:27:40 | |
That would be an interesting thing to research further. I mean, | 0:27:40 | 0:27:43 | |
that's the slight disadvantage we have on these valuation days, | 0:27:43 | 0:27:46 | |
in that if you had come to see me at my office I would have given you | 0:27:46 | 0:27:49 | |
a receipt for it, I would have done a bit of research, gone on | 0:27:49 | 0:27:52 | |
down that route you've suggested. | 0:27:52 | 0:27:54 | |
Just to dig out the facts, really, | 0:27:54 | 0:27:55 | |
whereas here it's very much, you know, we're on our toes | 0:27:55 | 0:28:01 | |
and we're very much at the moment rather than having time to do | 0:28:01 | 0:28:04 | |
a lot of research. But looking at the style of picture it's not | 0:28:04 | 0:28:08 | |
anything that is sort of, shall we say, | 0:28:08 | 0:28:10 | |
pushing any artistic boundaries or experimenting with different | 0:28:10 | 0:28:16 | |
factors that, you know, certainly towards the late 19th century, | 0:28:16 | 0:28:20 | |
were sort of the birth of modern art. | 0:28:20 | 0:28:23 | |
He's what I would call a... sort of a professional artist. | 0:28:23 | 0:28:27 | |
He obviously had his formula for painting. Yeah. | 0:28:27 | 0:28:31 | |
Like I said, the market for pictures changes. Where did you buy it? | 0:28:31 | 0:28:34 | |
Is it from a gallery? Have you got a receipt? | 0:28:34 | 0:28:37 | |
It was a local car-boot sale. Really? | 0:28:37 | 0:28:40 | |
What are the car-boots like round here? What did you have to pay? | 0:28:40 | 0:28:43 | |
Erm...roughly about ?4. ?4, can you imagine? | 0:28:43 | 0:28:48 | |
You wouldn't be able to buy the paint to paint it with ?4, really. | 0:28:48 | 0:28:51 | |
So, ?4 for a Scottish picture. | 0:28:51 | 0:28:54 | |
I would like to think it's worth between ?200/?300, | 0:28:54 | 0:28:58 | |
something like that. How does that fit with...? Yeah, that sounds OK. | 0:28:58 | 0:29:01 | |
Not a bad return for ?4, is it? Yeah. | 0:29:01 | 0:29:04 | |
It's very good. We'll reserve it at 200. | 0:29:04 | 0:29:07 | |
Are you happy to have a bit of discretion? Yeah. | 0:29:07 | 0:29:09 | |
If it gets to 180 or something like that? Yeah, that'd be fine. | 0:29:09 | 0:29:12 | |
Excellent. So 200 reserve with discretion and thank you | 0:29:12 | 0:29:16 | |
for bringing along your car-boot bargain. You're welcome. | 0:29:16 | 0:29:19 | |
Well, when you find a bargain like that, it's hard not to | 0:29:21 | 0:29:24 | |
blow your own trumpet. | 0:29:24 | 0:29:26 | |
Or should I say horn? | 0:29:26 | 0:29:28 | |
HORN WAILS | 0:29:30 | 0:29:33 | |
I didn't think I'd be able to do that! | 0:29:35 | 0:29:38 | |
Well, I have to tell you, you do not look like a Congolese tribesman. | 0:29:38 | 0:29:44 | |
Well, I'm not. I didn't think you would be. I'm a Scotsman. | 0:29:44 | 0:29:47 | |
I love tribal art. Especially things that were made for the tribe to use | 0:29:47 | 0:29:53 | |
and not made for the tourist market. | 0:29:53 | 0:29:56 | |
This is made from ivory | 0:29:56 | 0:29:59 | |
but it was taken from an elephant | 0:29:59 | 0:30:01 | |
by the native people of the country. | 0:30:01 | 0:30:04 | |
When the native people of Africa worked with the animals, | 0:30:04 | 0:30:10 | |
hunted and killed, took what they needed and didn't waste, | 0:30:10 | 0:30:15 | |
for thousands of years. It was only when the Westerners arrived | 0:30:15 | 0:30:19 | |
and decimated the elephants that the problems started. | 0:30:19 | 0:30:22 | |
But this would have been | 0:30:22 | 0:30:24 | |
used as a horn for contact in the forests in the centre of Congo. | 0:30:24 | 0:30:30 | |
Sometimes they were used in celebrations and in parties | 0:30:30 | 0:30:35 | |
and it's known as an Oliphant. | 0:30:35 | 0:30:38 | |
Now, what is an Oliphant doing with you in Glasgow? | 0:30:38 | 0:30:43 | |
Well, it's come down through the family | 0:30:43 | 0:30:46 | |
because it was originally my great uncle Sandy who was a civil engineer | 0:30:46 | 0:30:51 | |
but he was also the commissioner for the upper Blue Nile in Egypt. | 0:30:51 | 0:30:57 | |
This isn't Egyptian, this is further into... | 0:30:57 | 0:31:01 | |
Well, he was upper Blue Nile, so who knows where he went. So Nubia? | 0:31:01 | 0:31:06 | |
I've actually got a photograph. | 0:31:06 | 0:31:08 | |
I'm not sure what he was doing but... | 0:31:08 | 0:31:12 | |
that is my great uncle Sandy. | 0:31:12 | 0:31:15 | |
My dad's uncle, obviously. His dad's brother. | 0:31:15 | 0:31:18 | |
The classic look with the pith helmet. Yeah, yeah. | 0:31:18 | 0:31:22 | |
So when do you think this was taken? | 0:31:22 | 0:31:24 | |
Well, this is what we're not sure about. | 0:31:24 | 0:31:27 | |
We're placing it about 1910, 1913. | 0:31:27 | 0:31:32 | |
But he died in 1933, I think. | 0:31:32 | 0:31:34 | |
So he really was an explorer of Egypt as well, really. | 0:31:34 | 0:31:37 | |
This is before the great Tutankhamen and all that sort of excavation. | 0:31:37 | 0:31:43 | |
What a lovely picture. | 0:31:43 | 0:31:45 | |
Got some more things here that might be of interest. | 0:31:45 | 0:31:48 | |
All part of the one collection my great uncle had. | 0:31:48 | 0:31:53 | |
Ah! In the original bag. | 0:31:53 | 0:31:55 | |
A Bank of Egypt bag. | 0:31:55 | 0:31:58 | |
OK. | 0:31:58 | 0:31:59 | |
They do look to be Egyptian, actually, | 0:31:59 | 0:32:02 | |
and probably made for the Western market, those. | 0:32:02 | 0:32:04 | |
I think they're probably napkin rings, something like that. | 0:32:04 | 0:32:07 | |
This is the most interesting piece. It's probably 1890, | 0:32:07 | 0:32:11 | |
something like that. | 0:32:11 | 0:32:13 | |
Way before the ivory laws started. Uh-huh. | 0:32:13 | 0:32:16 | |
And anything pre-1948 is legal to sell. It's not hugely valuable, | 0:32:16 | 0:32:21 | |
so we'll put them all together as one lot, all three, | 0:32:21 | 0:32:24 | |
I don't know, put the Egyptian bank bag in as well, | 0:32:24 | 0:32:28 | |
and 120, I think. If it made over 140 we'd be doing very well. Right. | 0:32:28 | 0:32:34 | |
Now, do you want to put a reserve on it? Yeah, definitely. | 0:32:34 | 0:32:38 | |
What sort of thing were you thinking? I was thinking ?50-?60. | 0:32:38 | 0:32:42 | |
Is that fair enough? Let's put it at least that. I think 70. | 0:32:42 | 0:32:46 | |
I think if they don't make ?70 you ought to... Keep them. | 0:32:46 | 0:32:50 | |
Keep them in the family. Anita Manning on the rostrum. | 0:32:50 | 0:32:53 | |
She's a wizard with the gavel. Ah, right, I've seen her in action. | 0:32:53 | 0:32:56 | |
She'll do well for us. | 0:32:56 | 0:32:58 | |
We have had ivory items on Flog It! before but as James quite rightly | 0:32:58 | 0:33:03 | |
pointed out, selling and buying ivory that was made after 1947 | 0:33:03 | 0:33:07 | |
is illegal. | 0:33:07 | 0:33:09 | |
So any good auctioneer will thoroughly check the origin | 0:33:09 | 0:33:12 | |
of a piece, helping the conservation of these beautiful animals. | 0:33:12 | 0:33:16 | |
Next, something far more modern has turned up on Will's table. | 0:33:17 | 0:33:21 | |
Christine, I hope you don't mind me | 0:33:21 | 0:33:23 | |
saying that you look like a pretty trendy sort of girl. | 0:33:23 | 0:33:26 | |
Is that right? Well, I like to think I am. | 0:33:26 | 0:33:29 | |
One finger on the pulse of fashion and all that. | 0:33:29 | 0:33:31 | |
Yeah. Very nice. And is that what attracted you to this, I think, | 0:33:31 | 0:33:35 | |
pretty spectacular piece of jewellery? | 0:33:35 | 0:33:37 | |
Well, I do look out for good things from charity shops. | 0:33:37 | 0:33:41 | |
Charity shops? Yeah. You know what that makes me start thinking? | 0:33:41 | 0:33:44 | |
That you haven't actually paid a lot of money for this, have you? No. | 0:33:44 | 0:33:48 | |
Dare I ask how much you paid? | 0:33:48 | 0:33:50 | |
?4. | 0:33:52 | 0:33:54 | |
Well, to me, ?4 was quite a lot for a brooch in a charity shop. Was it? | 0:33:54 | 0:34:00 | |
Yeah. So you must have had an inkling that it was... | 0:34:00 | 0:34:03 | |
I just liked it. It's a very stylish piece. | 0:34:03 | 0:34:06 | |
I can see why you were attracted to it | 0:34:06 | 0:34:08 | |
because it's got that almost sort of naturalistic sort of feel about it, | 0:34:08 | 0:34:12 | |
with the gold. Cos it's solid gold, make no mistake. | 0:34:12 | 0:34:16 | |
I've had a look and there's no reason to suspect why these | 0:34:16 | 0:34:20 | |
stones aren't diamonds. They are good clean stones, nice clarity. | 0:34:20 | 0:34:24 | |
I've had a look for a maker's mark - can't see anything. | 0:34:24 | 0:34:27 | |
I would imagine, date-wise, it should be post-war. | 0:34:27 | 0:34:31 | |
It's either going to be '50s, '60s, maybe even into the '70s. | 0:34:31 | 0:34:34 | |
And that is a sort of period in collecting that is growing. | 0:34:34 | 0:34:39 | |
People are starting to appreciate how the designs evolved | 0:34:39 | 0:34:44 | |
and how new designs emerged and they were sort of letting go of the old | 0:34:44 | 0:34:48 | |
and really pushing forward to a... | 0:34:48 | 0:34:50 | |
a new look, wasn't it? Yeah. | 0:34:50 | 0:34:52 | |
Have you worn it? No. | 0:34:54 | 0:34:55 | |
You've never worn it? No. No? But you just liked it? I just liked it. | 0:34:55 | 0:35:00 | |
At the time I was saving brooches, | 0:35:00 | 0:35:03 | |
and that was one of the ones I picked up. | 0:35:03 | 0:35:06 | |
Did you have an inkling when you bought it that it was | 0:35:06 | 0:35:08 | |
something special? Yeah. | 0:35:08 | 0:35:10 | |
A good tip is if you turn a piece of jewellery over and look at the back, | 0:35:10 | 0:35:14 | |
you can just see the quality and craftsmanship, can't you, | 0:35:14 | 0:35:17 | |
that someone's taken the effort to make | 0:35:17 | 0:35:21 | |
the piece of jewellery from scratch, and the quality is obviously there, | 0:35:21 | 0:35:24 | |
from the back. The piece that you're not meant to see, | 0:35:24 | 0:35:27 | |
if they've taken the extra effort to make the back as good as the front, | 0:35:27 | 0:35:30 | |
then you know someone's put a lot of work and effort into it. | 0:35:30 | 0:35:33 | |
So, ?4, what's that worth? | 0:35:33 | 0:35:35 | |
18-carat gold and it's well publicised that gold and silver | 0:35:35 | 0:35:39 | |
prices are high, stabilising a little bit but still high. | 0:35:39 | 0:35:44 | |
I think you're probably going to turn your ?4 into probably | 0:35:44 | 0:35:50 | |
close to sort of ?400, I would have thought. | 0:35:50 | 0:35:54 | |
If we can say ?300 as a figure to reserve it at, | 0:35:54 | 0:35:58 | |
I don't know how you feel about that. | 0:35:58 | 0:36:00 | |
Smashing! Yeah? That's pretty good, isn't it? Yeah. Not a bad return. | 0:36:00 | 0:36:04 | |
We can see that you've got a unique eye | 0:36:04 | 0:36:07 | |
and you're spotting the right pieces in the right places | 0:36:07 | 0:36:11 | |
so, you know, all I can say is keep doing what you're doing. Thank you. | 0:36:11 | 0:36:15 | |
# And I go la-la-la-la-la | 0:36:15 | 0:36:17 | |
# She's got the look... # | 0:36:17 | 0:36:19 | |
Well, we've certainly seen some real gems come through the door today, | 0:36:23 | 0:36:27 | |
all worthy of our magnificent host location. | 0:36:27 | 0:36:29 | |
And I'm rather excited about some of these. | 0:36:29 | 0:36:32 | |
I can't wait to put those values to the test, | 0:36:32 | 0:36:34 | |
so we have to say goodbye to this magnificent museum and art gallery | 0:36:34 | 0:36:37 | |
as we go over to the auction room for the very last time today. | 0:36:37 | 0:36:41 | |
And, in case you've forgotten what's coming along with us, | 0:36:41 | 0:36:43 | |
here's a quick recap. | 0:36:43 | 0:36:45 | |
John's moody Scottish seascape could whip up a storm of local interest. | 0:36:45 | 0:36:50 | |
Ian's ivory horn may be far from Scottish but hopefully it will draw | 0:36:51 | 0:36:56 | |
the attention of the big hunters at the sale room. | 0:36:56 | 0:36:59 | |
And Christine's solid gold find has all the makings of a modern classic. | 0:36:59 | 0:37:03 | |
Hopefully it can fetch a price to match. | 0:37:03 | 0:37:06 | |
MUSIC: Money by The Flying Lizards | 0:37:08 | 0:37:12 | |
# I want money... # | 0:37:14 | 0:37:17 | |
Yesterday at the preview day I caught up with the auctioneer, | 0:37:19 | 0:37:22 | |
the wonderful Anita Manning, | 0:37:22 | 0:37:23 | |
and this is what she had to say about one of our items. | 0:37:23 | 0:37:26 | |
It might just struggle. | 0:37:26 | 0:37:28 | |
She's done a bit more research into the painting | 0:37:28 | 0:37:30 | |
and found it's not the artist we thought. | 0:37:30 | 0:37:33 | |
There is a listed MacKenzie artist but the signature is | 0:37:33 | 0:37:38 | |
different from the signature that we have on that oil. | 0:37:38 | 0:37:43 | |
So it's a different MacKenzie. So the value's not two to three. | 0:37:43 | 0:37:46 | |
Have you adjusted that? I've spoken to the vender... John. | 0:37:46 | 0:37:49 | |
I've explained to him and I asked him | 0:37:49 | 0:37:52 | |
if it was OK to bring the estimate down to sort of 50-80. | 0:37:52 | 0:37:56 | |
So we got 50-80, he's going to be pleased because he picked that up | 0:37:56 | 0:38:00 | |
in a car-boot for ?4. | 0:38:00 | 0:38:01 | |
It was a good buy. It was. So fingers crossed he's going to make | 0:38:01 | 0:38:04 | |
a brilliant profit, and it just goes to show that if you get up | 0:38:04 | 0:38:06 | |
early in the morning, go to those car-boots, buy something | 0:38:06 | 0:38:09 | |
and stick it in auction, there still is money to be made. Yeah. | 0:38:09 | 0:38:12 | |
A bit of extra research can make a lot of difference. | 0:38:12 | 0:38:17 | |
If only we knew who made this piece of tribal art. | 0:38:17 | 0:38:20 | |
Good luck, Colin. We're putting the ivory to the test now. | 0:38:20 | 0:38:24 | |
I love the horn, I think that's a super little thing. Great lot. | 0:38:24 | 0:38:28 | |
And typical of you to pick up on that one. | 0:38:28 | 0:38:30 | |
Not a lot of money, ?80-?100. | 0:38:30 | 0:38:32 | |
Thought it would have been a bit more. They're relatively common | 0:38:32 | 0:38:35 | |
but the more decorative ones, | 0:38:35 | 0:38:37 | |
decorated with roundels like the napkin rings, | 0:38:37 | 0:38:39 | |
they were used at weddings. They're the rare ones. | 0:38:39 | 0:38:42 | |
And they come this big. Wow. OK, good luck, fingers crossed. | 0:38:42 | 0:38:46 | |
Let's put it to the test, here we go. | 0:38:46 | 0:38:49 | |
We have the Oliphant tusk with the male's head handle and you have | 0:38:49 | 0:38:54 | |
the two ivory rings with the engraved decoration. | 0:38:54 | 0:38:58 | |
19th century ivory, ladies and gentlemen. | 0:38:58 | 0:39:02 | |
Can we say ?200? 200? | 0:39:02 | 0:39:05 | |
150? | 0:39:05 | 0:39:07 | |
Start me at ?100 for the ivory. | 0:39:08 | 0:39:11 | |
?100. ?50, then. | 0:39:11 | 0:39:13 | |
50. ?50. | 0:39:13 | 0:39:16 | |
Start me at 30. | 0:39:16 | 0:39:18 | |
Any advance on 30? 40. | 0:39:19 | 0:39:22 | |
40 with you, sir. | 0:39:22 | 0:39:24 | |
50. | 0:39:24 | 0:39:26 | |
60. | 0:39:26 | 0:39:27 | |
?60. Any advance on ?60? No. All done at ?60. | 0:39:27 | 0:39:31 | |
?60. | 0:39:31 | 0:39:34 | |
They didn't sell, Colin. It didn't reach the reserve and thank goodness | 0:39:34 | 0:39:37 | |
James put a reserve on for you. | 0:39:37 | 0:39:39 | |
I thought the trumpet horn was worth better. It was worth that. | 0:39:39 | 0:39:44 | |
But the problem is not many people understand tribal art | 0:39:44 | 0:39:47 | |
and because it's such a specialist area maybe it wasn't the right place | 0:39:47 | 0:39:51 | |
and the right day. Sorry about that. It's all right. | 0:39:51 | 0:39:54 | |
It stays in the family, which is actually a good thing. | 0:39:54 | 0:39:57 | |
You didn't give them away. | 0:39:57 | 0:39:58 | |
Now, you know I am a big fan of traditional arts and crafts | 0:39:58 | 0:40:02 | |
and wherever we are in the country filming I like to see as much of it | 0:40:02 | 0:40:05 | |
as possible. It's a way of embracing these traditional skills, | 0:40:05 | 0:40:09 | |
and Scotland has one of the oldest skills in the world | 0:40:09 | 0:40:11 | |
at basket making, particularly in the form of willow weaving, | 0:40:11 | 0:40:15 | |
and something I've always wanted to have a go at. Take a look at this. | 0:40:15 | 0:40:19 | |
Here in Scotland the ancient tradition of basket weaving | 0:40:26 | 0:40:29 | |
can be traced back a staggering 9,000 years to the early settlers | 0:40:29 | 0:40:33 | |
in the Hebrides who weaved willow baskets to catch their fish. | 0:40:33 | 0:40:37 | |
With these designs and patents being passed down through the generations, | 0:40:37 | 0:40:40 | |
modern basket makers today are carrying on the tradition, | 0:40:40 | 0:40:44 | |
using the same techniques as their forebears. | 0:40:44 | 0:40:48 | |
The techniques may not have changed but modern practitioners are adding | 0:40:51 | 0:40:54 | |
their own contemporary twist, | 0:40:54 | 0:40:56 | |
creating objects of beauty and practicality. I'm here to meet | 0:40:56 | 0:40:59 | |
Lisa Bech, who's one of Scotland's leading willow weaving artists, | 0:40:59 | 0:41:03 | |
and hopefully I'm going to have a lesson in weaving willow | 0:41:03 | 0:41:05 | |
and make something of my own. | 0:41:05 | 0:41:07 | |
Lisa is a one-woman weaving dynamo. | 0:41:11 | 0:41:14 | |
She and her husband Ian have turned | 0:41:14 | 0:41:16 | |
a barren patch of countryside in the southern uplands | 0:41:16 | 0:41:19 | |
into a veritable oasis. | 0:41:19 | 0:41:22 | |
In the middle of this patch Lisa has all the raw materials she needs - | 0:41:22 | 0:41:26 | |
lots of home-grown willow. | 0:41:26 | 0:41:28 | |
Lisa, hello. Hello. Welcome. Thank you. Come on in. | 0:41:30 | 0:41:34 | |
Lisa is living the dream, having turned her hobby into a career | 0:41:35 | 0:41:39 | |
as an internationally renowned artist. | 0:41:39 | 0:41:42 | |
Lisa, your work is beautiful. It's so sculptural and eye-catching. | 0:41:43 | 0:41:48 | |
The willow looks like it's alive | 0:41:48 | 0:41:50 | |
and breathing and nature's intended these organic forms. | 0:41:50 | 0:41:54 | |
Well, I grow my own willow and I live in a beautiful landscape, | 0:41:54 | 0:41:58 | |
so I can go out, harvest the willow and really try to emulate nature. | 0:41:58 | 0:42:02 | |
But I know I'll never get there. But I think you have! I can see | 0:42:02 | 0:42:06 | |
where your inspirations are with nature and your surroundings | 0:42:06 | 0:42:09 | |
but at the same time, from a distance, | 0:42:09 | 0:42:12 | |
you would think these are centuries old. Because you've copied | 0:42:12 | 0:42:17 | |
those same traditions, those same techniques. You've given it | 0:42:17 | 0:42:20 | |
a different twist. This could be a fish trap or lobster pot | 0:42:20 | 0:42:24 | |
and it is those techniques that I have used. | 0:42:24 | 0:42:27 | |
There are so many different hues here. You're using different | 0:42:27 | 0:42:31 | |
species of willow, aren't you? | 0:42:31 | 0:42:33 | |
I've got about 22 different varieties growing in the garden. | 0:42:33 | 0:42:38 | |
They all grow here? Yeah, yeah. | 0:42:38 | 0:42:40 | |
Some of them do come in the sort of greens and browns | 0:42:40 | 0:42:45 | |
and occasionally into black and orange. | 0:42:45 | 0:42:47 | |
This one, to me, that's incredibly organic. | 0:42:47 | 0:42:50 | |
It reminds me of a seed pod. Is that fair? I'm happy for how | 0:42:50 | 0:42:55 | |
it speaks to you. But it's moving, it's got movement and energy. Yes. | 0:42:55 | 0:43:00 | |
And it catches the light. You can see that when you turn it, | 0:43:00 | 0:43:03 | |
and from whoever angle you look at that... | 0:43:03 | 0:43:05 | |
There's always something of interest. | 0:43:05 | 0:43:07 | |
It's a wonderful piece of sculpture. | 0:43:07 | 0:43:09 | |
I'm making one at the moment, shall I show you how...? | 0:43:09 | 0:43:11 | |
Are you halfway through one? More or less. Can we have a look at | 0:43:11 | 0:43:14 | |
the technique and just watch it develop? | 0:43:14 | 0:43:16 | |
I'd love to show you. Oh, brilliant. | 0:43:16 | 0:43:18 | |
Gosh, you are quick. | 0:43:22 | 0:43:24 | |
Obviously this is really advanced and I couldn't tackle | 0:43:24 | 0:43:26 | |
something like this but could you show me something very basic | 0:43:26 | 0:43:29 | |
that you could make with a good master maker like you, | 0:43:29 | 0:43:32 | |
let's say, something I could make in 30 minutes? | 0:43:32 | 0:43:35 | |
I can show you how to make... I call it a bird feeder but you can | 0:43:35 | 0:43:39 | |
use it to store your onions or garlic. I'd like that. We can | 0:43:39 | 0:43:43 | |
hang it up in the kitchen. Very useful. I like useful items. | 0:43:43 | 0:43:47 | |
Learning from someone like Lisa is a real privilege | 0:43:49 | 0:43:52 | |
but what she calls a simple design may be a bit tricky. | 0:43:52 | 0:43:55 | |
I have to warn you, this can be addictive. OK. | 0:43:57 | 0:44:00 | |
HE LAUGHS | 0:44:00 | 0:44:02 | |
You put the first one in. | 0:44:02 | 0:44:04 | |
Around the stake, come back on itself. | 0:44:04 | 0:44:06 | |
That's good. | 0:44:08 | 0:44:09 | |
Can you feel how meditative it can be? Mm. Lovely. | 0:44:11 | 0:44:14 | |
The rhythm of it. Very therapeutic. | 0:44:14 | 0:44:17 | |
This weaving stroke is called three-rod waling. | 0:44:19 | 0:44:22 | |
Three-rod waling? | 0:44:22 | 0:44:24 | |
And where does this originate? | 0:44:24 | 0:44:26 | |
Don't ask. OK! | 0:44:26 | 0:44:28 | |
I think it must be Anglo-Saxon. | 0:44:28 | 0:44:31 | |
'In the past, woven baskets were an essential part of everyday life, | 0:44:33 | 0:44:37 | |
'used for catching, gathering and storing food. | 0:44:37 | 0:44:41 | |
'Keeping these skills alive is hugely important | 0:44:41 | 0:44:44 | |
'but as I'm finding out, it's not as easy as Lisa makes it look.' | 0:44:44 | 0:44:48 | |
Pull right in and bend. | 0:44:50 | 0:44:52 | |
'Lisa is right, however - once you get the hang of it, | 0:44:54 | 0:44:56 | |
'it's actually quite relaxing and quite addictive, | 0:44:56 | 0:45:00 | |
'and there's nothing better than picking up new skills. | 0:45:00 | 0:45:04 | |
'Even if they are old ones.' | 0:45:04 | 0:45:06 | |
Something bent... | 0:45:06 | 0:45:08 | |
'It won't be quite the art Lisa can make | 0:45:08 | 0:45:10 | |
'but I think it's just as satisfying.' | 0:45:10 | 0:45:13 | |
I can't believe I've made that. Obviously I couldn't do it | 0:45:16 | 0:45:19 | |
without your help but it is possible for someone like me to make | 0:45:19 | 0:45:22 | |
something like this in half an hour if you've got the kit and | 0:45:22 | 0:45:25 | |
the tuition. So thank you so much, Lisa. I'm going to look out for | 0:45:25 | 0:45:28 | |
your work in the art galleries because I know they will | 0:45:28 | 0:45:30 | |
become the collectibles and the antiques of the future. | 0:45:30 | 0:45:32 | |
Big thank you. You're very welcome. | 0:45:32 | 0:45:34 | |
And here I have some willow cuttings for you. If you put these | 0:45:34 | 0:45:38 | |
in the ground you will get your own willow bed. Will I? Yes. Fantastic! | 0:45:38 | 0:45:42 | |
Because that has inspired me to do something at home, | 0:45:42 | 0:45:45 | |
if I had the willow. | 0:45:45 | 0:45:46 | |
I will do something. And then you can start a collection of | 0:45:46 | 0:45:49 | |
different willow plants and increase your palette as you go. | 0:45:49 | 0:45:52 | |
Thank you. | 0:45:52 | 0:45:54 | |
There you are, something to hang the onions and garlics in today, | 0:45:54 | 0:45:58 | |
could be baskets tomorrow, but seriously, I will go home, | 0:45:58 | 0:46:01 | |
plant this willow, have fun watching it grow and be creative with it. | 0:46:01 | 0:46:06 | |
It's relatively easy if you have the right teacher and it's quite | 0:46:06 | 0:46:10 | |
refreshing to meet people like Lisa as well, living the good life, | 0:46:10 | 0:46:14 | |
being inspired by nature and creating something, well, | 0:46:14 | 0:46:17 | |
out of nothing, virtually. | 0:46:17 | 0:46:19 | |
If I was you, I'd give it a go. It's a breath of fresh air. | 0:46:19 | 0:46:22 | |
Now it's time for John's painting. It's a different artist to the one | 0:46:26 | 0:46:30 | |
we thought but how big a difference will it make to its value? | 0:46:30 | 0:46:34 | |
Since the valuation day, Anita's had a chat to John. | 0:46:34 | 0:46:37 | |
Anita's lowered that reserve to ?50-?80. | 0:46:37 | 0:46:41 | |
It's not the MacKenzie we were thinking of. Right. | 0:46:41 | 0:46:44 | |
But I have a feeling this will meet both estimates. I could see it | 0:46:44 | 0:46:47 | |
doing over ?80 quite easily. | 0:46:47 | 0:46:50 | |
This is a nice picture, ladies and gentlemen. Can we say 150? | 0:46:50 | 0:46:55 | |
100? | 0:46:55 | 0:46:57 | |
Will you start me at ?50? | 0:46:57 | 0:47:00 | |
?30, then. | 0:47:00 | 0:47:02 | |
30 bid. Any advance on 30? | 0:47:02 | 0:47:06 | |
40. | 0:47:06 | 0:47:08 | |
50. | 0:47:08 | 0:47:10 | |
We've sold it, John. | 0:47:10 | 0:47:12 | |
?60 with the gentleman. ?60. | 0:47:12 | 0:47:16 | |
It's the percentages here. It's a fantastic turnaround. | 0:47:16 | 0:47:20 | |
?60. | 0:47:20 | 0:47:22 | |
Yes, the hammer's gone down! ?60. Fabulous return on four quid. | 0:47:22 | 0:47:27 | |
It really is. Get back to that car-boot sale. Certainly will. | 0:47:27 | 0:47:31 | |
Or you could do what Christine did | 0:47:31 | 0:47:33 | |
and find your bargains in a charity shop. | 0:47:33 | 0:47:35 | |
Remind us how much you paid for it. ?4. Which you said you thought | 0:47:35 | 0:47:40 | |
was a bit too much for a charity shop. Yes. That is cheeky, isn't it? | 0:47:40 | 0:47:44 | |
It's an outrage. You're after a bargain all the time, then? | 0:47:44 | 0:47:48 | |
Did you beat them down? | 0:47:48 | 0:47:50 | |
No. I was because there was a stone missing. | 0:47:50 | 0:47:54 | |
There is? Yes, a diamond. A diamond. | 0:47:54 | 0:47:57 | |
But you didn't know at the time that it was 18-carat gold. | 0:47:57 | 0:48:02 | |
You had a gut feeling. It was good. | 0:48:02 | 0:48:05 | |
This is a wonderful piece, ladies and gentlemen, | 0:48:05 | 0:48:07 | |
an iconic piece from the 1960s. | 0:48:07 | 0:48:11 | |
Can we say ?500? | 0:48:11 | 0:48:15 | |
500. He's going to come straight in. | 0:48:15 | 0:48:17 | |
300? | 0:48:17 | 0:48:19 | |
You're saving me time. | 0:48:19 | 0:48:21 | |
300 with you, sir. | 0:48:21 | 0:48:23 | |
Any advance on ?300? 300. | 0:48:23 | 0:48:27 | |
320. 350. | 0:48:27 | 0:48:30 | |
380. | 0:48:30 | 0:48:32 | |
390. | 0:48:32 | 0:48:33 | |
390. ?390. That's good. | 0:48:33 | 0:48:36 | |
?390. | 0:48:36 | 0:48:38 | |
Any advance on 390? All done at 390. | 0:48:38 | 0:48:41 | |
390. | 0:48:41 | 0:48:44 | |
That was a ?4 investment. ?390. Hammer's gone down. | 0:48:44 | 0:48:47 | |
There is commission to pay, don't forget that, they'll deduct that | 0:48:47 | 0:48:50 | |
from the hammer price, but that's a very good result. That's a classic | 0:48:50 | 0:48:54 | |
Flog it! story. We love those stories - finding something for | 0:48:54 | 0:48:57 | |
next to nothing and turning it into a profit. | 0:48:57 | 0:48:59 | |
That's brilliant, that's what it's all about. Thank you. | 0:48:59 | 0:49:02 | |
There you are, it's all over for our owners. The auction is still | 0:49:05 | 0:49:08 | |
going on but what a day we've had here. Everyone has gone home happy | 0:49:08 | 0:49:11 | |
and that's what it's all about. I think it's time for me to have | 0:49:11 | 0:49:14 | |
a well-earned rest, that's for sure. | 0:49:14 | 0:49:15 | |
But anyway, I hope you've enjoyed today's show. Do join us again | 0:49:15 | 0:49:19 | |
cos there's going to be many more surprises to come in the future. | 0:49:19 | 0:49:22 | |
But for now, from Glasgow, it's goodbye. | 0:49:22 | 0:49:24 | |
Let's Sing And Dance exploded onto our screens, | 0:49:52 | 0:49:54 | |
setting the stage alight...literally. | 0:49:54 | 0:49:57 | |
You look like roadkill with rhythm. | 0:49:57 | 0:49:59 | |
Stars were a-swinging... Could somebody help me? | 0:49:59 | 0:50:02 |