Browse content similar to Glasgow. Check below for episodes and series from the same categories and more!
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Glasgow's wealth and reputation is based on trade - | 0:00:02 | 0:00:05 | |
sugar, tobacco and textiles flowed to all the corners of the globe | 0:00:05 | 0:00:10 | |
from the docks on the River Clyde which, in turn, gave rise | 0:00:10 | 0:00:14 | |
to the famous ship-building industry. | 0:00:14 | 0:00:16 | |
Glasgow has always been a creative city and as the heavy industry declined, the art scene flourished. | 0:00:16 | 0:00:21 | |
Today, you can forget about Paris, London and New York. | 0:00:21 | 0:00:24 | |
Art's heart is right here in Glasgow. Welcome to Flog It. | 0:00:24 | 0:00:29 | |
Docks once busy with Glasgow's ship-building industry | 0:00:50 | 0:00:54 | |
are now home to a thrilling and thriving art scene. | 0:00:54 | 0:00:56 | |
The city's home to the Scottish Opera, Ballet, | 0:00:56 | 0:00:59 | |
the national orchestra and, of course, HQ of BBC Scotland. | 0:00:59 | 0:01:02 | |
Glasgow's cultural excellence was first recognised in 1990, | 0:01:02 | 0:01:06 | |
when it was named Britain's first City of Culture. | 0:01:06 | 0:01:10 | |
Today's venue couldn't be more fitting. | 0:01:10 | 0:01:13 | |
Built as a museum and art gallery, the magnificent Kelvingrove | 0:01:13 | 0:01:17 | |
is literally a palace of the arts. | 0:01:17 | 0:01:20 | |
'This magnificent setting has really drawn the crowds. | 0:01:20 | 0:01:23 | |
'On hand to help spot any potential masterpieces | 0:01:23 | 0:01:27 | |
'are our very own double act, James Lewis...' | 0:01:27 | 0:01:30 | |
-Underwear that she put away for getting married, but she never did. -Your aunt's underwear? | 0:01:30 | 0:01:35 | |
I've got to see this! | 0:01:35 | 0:01:37 | |
'..and Will Axon.' | 0:01:37 | 0:01:39 | |
Done well not to drink it. I bet there's been a few late nights | 0:01:39 | 0:01:42 | |
when the shops are shut and you thought, "Shall we?" | 0:01:42 | 0:01:46 | |
Will? | 0:01:46 | 0:01:47 | |
'Not all the items brought along are quite so risque. | 0:01:47 | 0:01:51 | |
'In fact, someone has brought in something very precious indeed | 0:01:51 | 0:01:55 | |
'that makes over £1,000 at auction. | 0:01:55 | 0:01:58 | |
'Is it this group of silver vesta cases, | 0:01:59 | 0:02:02 | |
'this collection of nine-carat gold jewellery, | 0:02:02 | 0:02:05 | |
'or this silver Oriental vase? | 0:02:05 | 0:02:07 | |
'Find out later, when they go under the hammer.' | 0:02:08 | 0:02:10 | |
Kelvingrove has witnessed many events in the past 100 years, | 0:02:14 | 0:02:17 | |
but I don't think anything matches the excitement of our Flog It crowd. | 0:02:17 | 0:02:21 | |
If I could bottle this atmosphere, I'd be a rich man! | 0:02:21 | 0:02:25 | |
Let's dive into our first valuation | 0:02:25 | 0:02:27 | |
and catch up with James Lewis to see what he's spotted. | 0:02:27 | 0:02:31 | |
Lesley, whenever I see a box like this, | 0:02:31 | 0:02:34 | |
the first thing is I know it's got silver in it. | 0:02:34 | 0:02:38 | |
Yes. | 0:02:38 | 0:02:39 | |
It's either going to have a three-piece tea service, | 0:02:39 | 0:02:43 | |
a bachelor's one, a dressing table set | 0:02:43 | 0:02:46 | |
or silver-mounted coffee cans. | 0:02:46 | 0:02:49 | |
But when you see that box, it's got to be one of them. | 0:02:49 | 0:02:52 | |
And what a FANTASTIC set! | 0:02:52 | 0:02:55 | |
Just so, sort of, modern and fresh. | 0:02:55 | 0:03:00 | |
Considering that this was made in the 1920s... | 0:03:00 | 0:03:05 | |
-Right. -..I think it is remarkably current and remarkably now. | 0:03:05 | 0:03:10 | |
The spoons are solid silver. | 0:03:10 | 0:03:13 | |
In a way, they tell you instantly what the cups were used for. | 0:03:13 | 0:03:17 | |
We have these little coffee bean terminals. They look mint. | 0:03:17 | 0:03:22 | |
-Have they just stayed in here? -No. Far from it. | 0:03:22 | 0:03:26 | |
I think they were very well used in their time. | 0:03:26 | 0:03:29 | |
-They've been in the family since the '30s. -OK. | 0:03:29 | 0:03:33 | |
I think they were probably a wedding present to my mother's cousin, | 0:03:33 | 0:03:37 | |
who was married in the '30s. | 0:03:37 | 0:03:40 | |
They were very hospitable jolly people who entertained a lot. | 0:03:40 | 0:03:45 | |
He passed them to my mother at one time and she used them a lot. | 0:03:45 | 0:03:49 | |
-Did she? -And I've used them. -Really? -But not recently. | 0:03:49 | 0:03:54 | |
The porcelain itself is made by Cauldon of Stoke-on-Trent. | 0:03:54 | 0:04:01 | |
-If you hold it up to the light, it's almost transparent. -Yes. | 0:04:01 | 0:04:05 | |
Very, very thin, fine quality porcelain. | 0:04:05 | 0:04:09 | |
And the silver mounts are made... | 0:04:09 | 0:04:13 | |
-That one's Chester. -Oh! | 0:04:13 | 0:04:16 | |
-The spoons are Birmingham. -Really? -Well, it's not where they were made. | 0:04:17 | 0:04:21 | |
It's where they were assayed. | 0:04:21 | 0:04:23 | |
As a retailer and a manufacturer of porcelain, | 0:04:23 | 0:04:26 | |
you would commission the cheapest silver that you could | 0:04:26 | 0:04:30 | |
so you would increase your profit margins. | 0:04:30 | 0:04:33 | |
The silver smith that makes these | 0:04:33 | 0:04:36 | |
might be more expensive to buy the spoons from. | 0:04:36 | 0:04:39 | |
They'd shop around and get a maker for these | 0:04:39 | 0:04:42 | |
-and a different maker for the spoons. -Right. | 0:04:42 | 0:04:45 | |
These are dated 1927. | 0:04:45 | 0:04:48 | |
-So just before the '30s when you know your family had them. -Yes. | 0:04:48 | 0:04:53 | |
-If we put £70 to £100 on them. -Mm-hm. | 0:04:53 | 0:04:57 | |
-Is that all right? -Yeah. Absolutely. | 0:04:57 | 0:04:59 | |
-Let's hope we can celebrate with something stronger than coffee! -That would be very much appreciated. | 0:04:59 | 0:05:05 | |
'A gorgeous little set, and on the balcony, | 0:05:06 | 0:05:08 | |
'Will has also got his hands on a mystery box. | 0:05:08 | 0:05:12 | |
'What will be in this one?' | 0:05:12 | 0:05:14 | |
June, whose dressing table have you been raiding to come to Flog It? | 0:05:14 | 0:05:19 | |
-Where's this box come from? -My late mother-in-law's house. | 0:05:19 | 0:05:22 | |
She passed away last year. | 0:05:22 | 0:05:24 | |
During clearing, we came across a lot of things. This is one of them. | 0:05:24 | 0:05:27 | |
Let's have a look inside, shall we? | 0:05:27 | 0:05:31 | |
Well, you've got a real mix in here. | 0:05:32 | 0:05:35 | |
Let's get a few pieces out. | 0:05:35 | 0:05:37 | |
We've got a little gold-framed cameo brooch. | 0:05:37 | 0:05:40 | |
And we've got this interesting | 0:05:40 | 0:05:42 | |
gold and enamel naturalistic frame, | 0:05:42 | 0:05:46 | |
which must have had something in the centre at some stage. | 0:05:46 | 0:05:49 | |
At some point, probably. | 0:05:49 | 0:05:52 | |
Then another little brooch. Again, rather sweet. | 0:05:52 | 0:05:55 | |
Little split seed pearl | 0:05:55 | 0:05:58 | |
and gold in black enamelling. | 0:05:58 | 0:06:00 | |
And then we've got... | 0:06:00 | 0:06:02 | |
We always like to see a fitted box. | 0:06:02 | 0:06:05 | |
Look at that! That's very pretty, isn't it? | 0:06:05 | 0:06:08 | |
Let's put that down there. | 0:06:08 | 0:06:10 | |
You've got a little split seed pearl brooch and a pendant brooch, | 0:06:10 | 0:06:14 | |
which could have been worn as either a necklace or a brooch. | 0:06:14 | 0:06:19 | |
We've got another box, a right Aladdin's trove here! | 0:06:19 | 0:06:22 | |
There's a little selection of brooches. | 0:06:22 | 0:06:25 | |
Some portrait brooches. We've got another mourning brooch. | 0:06:25 | 0:06:29 | |
Typical one with the plaited hair. So it's mounting up. | 0:06:29 | 0:06:32 | |
We've got one more box. Let's have a look what we can see in here. | 0:06:32 | 0:06:36 | |
I see, we've got a little suite | 0:06:36 | 0:06:39 | |
of typical Victorian nine-carat gold, I'd have thought, jewellery. | 0:06:39 | 0:06:43 | |
There seems to be a theme running through the jewellery here. | 0:06:43 | 0:06:48 | |
Brooches and mourning jewellery, such as with the plaited hair. | 0:06:48 | 0:06:54 | |
And here, with the black enamelling and seed pearls. | 0:06:54 | 0:06:56 | |
A classic combination of mourning jewellery. | 0:06:56 | 0:07:01 | |
We've got a couple of photographic portrait brooches here. | 0:07:01 | 0:07:04 | |
Recognise them at all? They're in the same box. | 0:07:04 | 0:07:07 | |
I wondered if maybe one of them was possibly his great-gran, | 0:07:07 | 0:07:11 | |
-who he never knew. -Right, OK, yeah. | 0:07:11 | 0:07:14 | |
-Then we've got a gentleman here. -Possibly the same family. | 0:07:14 | 0:07:17 | |
She's got a good Victorian look. | 0:07:17 | 0:07:20 | |
He looks maybe a little bit later, maybe late Victorian, Edwardian. | 0:07:20 | 0:07:25 | |
At some stage along the line, | 0:07:25 | 0:07:29 | |
this is nice quality jewellery, so someone has taken a bit of effort | 0:07:29 | 0:07:33 | |
-and bought some nice pieces. -Yes. | 0:07:33 | 0:07:35 | |
Most of them are going to be nine-carat gold. | 0:07:35 | 0:07:39 | |
-We'll let Anita go through it and catalogue for her sale. -Yeah. | 0:07:39 | 0:07:43 | |
-And we'll give her a guide price of 100 to 150. -OK, excellent. | 0:07:43 | 0:07:49 | |
So, June, we'll pack it off to Anita | 0:07:49 | 0:07:51 | |
and see how her jewellery buyers respond. | 0:07:51 | 0:07:53 | |
-Hopefully, by waving their paddles in the air wildly at her. -Yes. | 0:07:53 | 0:07:57 | |
-I look forward to seeing you at the sale. -Thank you very much. | 0:07:57 | 0:08:00 | |
'Wearing mourning jewellery has been in practice since the 1600s, | 0:08:02 | 0:08:06 | |
'but it became particularly popular in the 19th century, | 0:08:06 | 0:08:09 | |
'mainly because of Queen Victoria and her lengthy period of mourning. | 0:08:09 | 0:08:13 | |
'Widows were expected to dress in black, | 0:08:13 | 0:08:16 | |
'adorned with discreet pieces of jewellery. | 0:08:16 | 0:08:19 | |
'Items made from jet being especially popular. | 0:08:19 | 0:08:21 | |
'We've seen some exceptional pieces go under the hammer.' | 0:08:21 | 0:08:25 | |
Excellent! | 0:08:27 | 0:08:28 | |
I wish they could have been here! | 0:08:29 | 0:08:31 | |
'So, let's see how this collection goes for June. | 0:08:31 | 0:08:34 | |
'There's plenty of items flooding in of all shapes and sizes.' | 0:08:35 | 0:08:40 | |
-Gosh! This is quite large to struggle in with, isn't it? -Yes. | 0:08:40 | 0:08:44 | |
Got some other things at home. | 0:08:44 | 0:08:46 | |
I think that's quite cute. | 0:08:46 | 0:08:48 | |
I'd put that at about, um... | 0:08:48 | 0:08:51 | |
-1830, 1840. -Right. | 0:08:51 | 0:08:54 | |
I'd say it's Scandinavian. Boxes like this have their virtue. | 0:08:54 | 0:08:58 | |
You can always keep something in them, you really can. | 0:08:58 | 0:09:01 | |
It's hard to put a value on traditional things like this, | 0:09:01 | 0:09:04 | |
which are quite naive pieces of folk art. | 0:09:04 | 0:09:08 | |
We're showing it at a disadvantage. | 0:09:08 | 0:09:10 | |
It's just straight out the loft into this place. | 0:09:10 | 0:09:13 | |
-It wasn't cleaned up. -Needs a bit of TLC. -Oh, aye. | 0:09:13 | 0:09:16 | |
It needs a bit of beeswax, treating and feeding. | 0:09:16 | 0:09:20 | |
If I did this... | 0:09:20 | 0:09:22 | |
You can just get to see, you know? | 0:09:22 | 0:09:25 | |
It would look like that and you'd fall in love with this little box. | 0:09:25 | 0:09:30 | |
-I never thought of polishing it. -If you spent a few hours waxing it, | 0:09:30 | 0:09:34 | |
and feeding and treating it, you'd turn it into £80 to £120. | 0:09:34 | 0:09:38 | |
-Would you? -Yes. It's got a lot of charm to it, it really has. | 0:09:38 | 0:09:43 | |
'And while that heads back home for some TLC, | 0:09:43 | 0:09:46 | |
'let's get back to the valuation tables.' | 0:09:46 | 0:09:49 | |
Ross, what a great venue we're in for Flog It! | 0:09:49 | 0:09:51 | |
I'm sure there's a joke about losing your head, | 0:09:51 | 0:09:54 | |
but we'll concentrate on what you've brought in to show us. | 0:09:54 | 0:09:58 | |
Quite a tidy little collection. | 0:09:58 | 0:10:00 | |
You must be out most weekends looking for bargains. | 0:10:00 | 0:10:04 | |
I tend to go to auction houses, antiques shops, | 0:10:04 | 0:10:07 | |
car boot sales, that sort of thing. | 0:10:07 | 0:10:10 | |
Can you remember what price you've been paying for them? | 0:10:10 | 0:10:12 | |
Most of the vestas were about £40. | 0:10:12 | 0:10:15 | |
The cases are a wee bit more expensive. | 0:10:15 | 0:10:19 | |
-There's a couple that I liked just because they looked unusual. -Mm. | 0:10:19 | 0:10:24 | |
This one and this one. | 0:10:24 | 0:10:27 | |
They're the two that I'd picked out to talk about in more detail. | 0:10:27 | 0:10:32 | |
I'm not going to look at the dates and go through each one, cos you know and I know | 0:10:32 | 0:10:37 | |
most of them are going to be late 19th century early 20th century, | 0:10:37 | 0:10:41 | |
into the 1930s, that sort of period. | 0:10:41 | 0:10:43 | |
They're the two cigarette cases. | 0:10:43 | 0:10:45 | |
Slightly limited in their market. | 0:10:45 | 0:10:49 | |
Smoking memorabilia, that sort of thing, | 0:10:49 | 0:10:51 | |
it's come down a little from where it once was. | 0:10:51 | 0:10:55 | |
What do you like about these two? | 0:10:55 | 0:10:58 | |
This one, I didn't quite understand what it was, | 0:10:58 | 0:11:01 | |
with this triangular section at the top, which comes out. | 0:11:01 | 0:11:06 | |
The other one, I just liked the design of it. | 0:11:06 | 0:11:09 | |
I thought it was unusual. | 0:11:09 | 0:11:11 | |
Let's have a look at this top one. | 0:11:11 | 0:11:13 | |
The first thing that strikes me is Deco! Very Deco shape. | 0:11:13 | 0:11:18 | |
The square shape. You've got this stepped decoration here. | 0:11:18 | 0:11:23 | |
The engine turning is very similar | 0:11:23 | 0:11:26 | |
to the Deco cigarette boxes that you see. | 0:11:26 | 0:11:29 | |
And like you say, it's obvious that this corner piece comes out. | 0:11:29 | 0:11:33 | |
If I do that, we can see that, yes, | 0:11:33 | 0:11:35 | |
there we've got what I suggest should be a wick. | 0:11:35 | 0:11:38 | |
So you've got the wick. It's soaked in lighter fluid. | 0:11:38 | 0:11:42 | |
Then if we turn this over, you've got the area you can strike it. | 0:11:42 | 0:11:46 | |
That will ignite the wick and that's passed around the table. | 0:11:46 | 0:11:51 | |
As you replace the corner section, that will extinguish it. | 0:11:51 | 0:11:55 | |
Rather a natty little thing, isn't it? | 0:11:55 | 0:11:58 | |
Then if we have a look at the one at the front. You like the decoration. | 0:11:58 | 0:12:03 | |
Does that remind you of anything? | 0:12:03 | 0:12:06 | |
When I look at it, I think of Japanese wood block prints. | 0:12:06 | 0:12:09 | |
-Yes. -That were very popular towards the end of the 19th century. | 0:12:09 | 0:12:13 | |
It informed what we would call the aesthetic period. | 0:12:13 | 0:12:17 | |
Even though it hasn't got a date letter, | 0:12:17 | 0:12:19 | |
that is probably where that fits into the scheme of things. | 0:12:19 | 0:12:23 | |
You obviously know what you've paid for these. | 0:12:23 | 0:12:26 | |
I think you've got a figure in mind. Why don't you tell me what that figure is? | 0:12:26 | 0:12:31 | |
-250. -OK. | 0:12:31 | 0:12:34 | |
But I would advise that 200 would be probably a reasonable reserve. | 0:12:34 | 0:12:39 | |
Right, OK. 250, I don't think you're out of the way with that. | 0:12:39 | 0:12:44 | |
I think if you're prepared to go to 200 to 300, straddle that 250 mark. | 0:12:44 | 0:12:50 | |
-Ay. -What's going to happen with £200? Is it going to go back into the Ross collection? | 0:12:50 | 0:12:55 | |
I promised my wife I'd take her for a meal if I made anything, so I'd do that. | 0:12:55 | 0:13:00 | |
Thank you for coming along today. | 0:13:00 | 0:13:02 | |
I hope we can get you and your wife a decent meal out of it. | 0:13:02 | 0:13:06 | |
-Thank you. -I look forward to seeing you at the sale. | 0:13:06 | 0:13:09 | |
-Can I shake your hand? -Course you can. | 0:13:09 | 0:13:12 | |
We have found our first three items, so this is where it gets interesting. | 0:13:14 | 0:13:18 | |
We have to put those valuations to the test and, as you know, anything can happen in an auction room. | 0:13:18 | 0:13:24 | |
Here's a quick recap of the items that are going under the hammer. | 0:13:24 | 0:13:28 | |
'James was spot-on with guessing what was in the case. | 0:13:29 | 0:13:33 | |
'Hopefully, it will sell for more than his valuation. | 0:13:33 | 0:13:36 | |
'June's treasure trove of jewellery should lure someone in | 0:13:36 | 0:13:39 | |
'to snapping up this little haul. | 0:13:39 | 0:13:42 | |
'And Ross's collection of vesta and cigarette cases | 0:13:42 | 0:13:46 | |
'is sure to spark some interest in the auction room.' | 0:13:46 | 0:13:50 | |
We're in the West End of Glasgow at the Great Western auction rooms. | 0:13:53 | 0:13:57 | |
It's an antique and general sale so there should be a lot of interest. | 0:13:57 | 0:14:01 | |
Let's go inside and soak up the auction atmosphere. | 0:14:01 | 0:14:05 | |
Hopefully, it's a packed house. | 0:14:05 | 0:14:07 | |
It certainly is, and Anita Manning is on the rostrum and raring to go. | 0:14:08 | 0:14:12 | |
First up, it's Lesley's silver and china coffee set. | 0:14:12 | 0:14:16 | |
1920s, but it looks like it could have been made yesterday. | 0:14:16 | 0:14:21 | |
-It's so contemporary. -Everything going for it. | 0:14:21 | 0:14:23 | |
-I hope so. -Do you like your espressos? -Yes, I do. | 0:14:23 | 0:14:26 | |
-But you don't really use these? -Not any longer. | 0:14:26 | 0:14:29 | |
Let's find out what the bidders think. | 0:14:29 | 0:14:31 | |
It's going under the hammer now. | 0:14:31 | 0:14:33 | |
A cased set of six Cauldon china coffee cans and saucers | 0:14:33 | 0:14:39 | |
in original fitted box. | 0:14:39 | 0:14:42 | |
A bonnie little set. | 0:14:42 | 0:14:44 | |
Can we say 200? 150? | 0:14:44 | 0:14:47 | |
Will you start me at £100? Start me at 100. | 0:14:47 | 0:14:51 | |
50, then. 50 bid. | 0:14:51 | 0:14:54 | |
50 with you, sir. Any advance on 50? | 0:14:54 | 0:14:57 | |
-60. 70. 80. 90. -Three people, look. | 0:14:57 | 0:15:00 | |
£90. 100 fresh bidder. 110. 120. | 0:15:00 | 0:15:05 | |
120 with Pat. Any advance on £120? Any advance on 120? 120... | 0:15:05 | 0:15:12 | |
-Sold. -Gone. -Fine. -Easy, wasn't it? -Yeah. | 0:15:13 | 0:15:16 | |
Easy when it's quality and looks great. | 0:15:16 | 0:15:19 | |
'Just like the coffee set, that was a simple, yet elegant, auction. | 0:15:19 | 0:15:23 | |
'Staying on the theme of silver collections...' | 0:15:23 | 0:15:26 | |
It's a starting point for anybody's collection. | 0:15:26 | 0:15:29 | |
-We're all on that learning curve. -Yeah. | 0:15:29 | 0:15:32 | |
The older you get, the more you realise you don't know! It's true! | 0:15:32 | 0:15:35 | |
Yeah. The more you know, the more you know you don't know. | 0:15:35 | 0:15:39 | |
It's that sort of scenario. | 0:15:39 | 0:15:41 | |
-Fingers crossed. -Yeah. -Going under the hammer right now. | 0:15:41 | 0:15:44 | |
-I am holding two bids on the books. -That's what we want. | 0:15:44 | 0:15:49 | |
Exactly. That's what we want. | 0:15:49 | 0:15:52 | |
-And I can start the bidding at £160. -That's very good. | 0:15:52 | 0:15:58 | |
160. Any advance on 160? 180. | 0:15:58 | 0:16:03 | |
200 with me. 220. 240. | 0:16:03 | 0:16:07 | |
A lot of silver dealers are here today, Ross. | 0:16:07 | 0:16:11 | |
260. 280 with me. 300. | 0:16:11 | 0:16:16 | |
There's another bid on the book. | 0:16:16 | 0:16:18 | |
320 with me. The bid's with me at 320. | 0:16:18 | 0:16:21 | |
Any advance on 320? | 0:16:21 | 0:16:24 | |
Any advance on 320? All done at 320? 320... | 0:16:24 | 0:16:29 | |
Can you remember what you paid for them? | 0:16:29 | 0:16:32 | |
APPLAUSE Not far off that. | 0:16:32 | 0:16:34 | |
-We got your money back? -Yes. -Good. | 0:16:34 | 0:16:37 | |
'Just over what Will predicted. | 0:16:37 | 0:16:39 | |
'That means Ross treating his wife to a few nice dinners out.' | 0:16:39 | 0:16:43 | |
Going under the hammer now, a jewellery box full of treasure! | 0:16:43 | 0:16:46 | |
-It belongs to June. Hello, June. Who's with you? -My husband, Jim. | 0:16:46 | 0:16:50 | |
-Jim, hello. This was your mother's jewellery? -Yes, indeed. | 0:16:50 | 0:16:53 | |
I see, now, why you brought him along. | 0:16:53 | 0:16:56 | |
-Right, OK. We need to sell this. We're looking for £100, £150. -Yes. | 0:16:56 | 0:17:01 | |
-It's mourning jewellery, something you didn't wear. -No. | 0:17:01 | 0:17:04 | |
I think we've priced it at the right level. | 0:17:04 | 0:17:06 | |
-There's a lot there for the money. -Exactly, yeah. | 0:17:06 | 0:17:10 | |
Fingers crossed we're going to find a buyer for it now. Here we go. | 0:17:10 | 0:17:14 | |
It's a superb lot of Victorian jewellery. A lovely lot. | 0:17:14 | 0:17:18 | |
Will you start me at £100? 100 bid. | 0:17:18 | 0:17:23 | |
-100 bid. Any advance on 100? -Yes, we're in. | 0:17:23 | 0:17:27 | |
-We're on the phone, look. -120, 130. | 0:17:27 | 0:17:30 | |
140. 150. 160. 170. | 0:17:30 | 0:17:33 | |
You're in the money! | 0:17:33 | 0:17:36 | |
180. Anyone else from the floor? 180. | 0:17:36 | 0:17:39 | |
190 with me. 200. 210. 220. 225. | 0:17:41 | 0:17:48 | |
230. I'm out. £230 for all the jewellery. 230. | 0:17:48 | 0:17:54 | |
240 on the phone. 250. 260. | 0:17:55 | 0:18:00 | |
-They like this a lot. -270. | 0:18:00 | 0:18:02 | |
280. 290. | 0:18:02 | 0:18:06 | |
-Maybe something really shines. -The star brooch is nice quality. | 0:18:06 | 0:18:10 | |
-£310. Any advance on 310? -Fresh to the market. | 0:18:10 | 0:18:14 | |
All done at 310? 310... | 0:18:14 | 0:18:18 | |
Yes! That's a sold sound! 310, well done. | 0:18:18 | 0:18:23 | |
-Well done. -Good work. | 0:18:23 | 0:18:26 | |
'What a great result! There was obviously a piece in that set that caught everyone's attention.' | 0:18:26 | 0:18:32 | |
That's the end of our first visit to the auction today. | 0:18:32 | 0:18:34 | |
Some good results and happy faces, and that's what it's all about. | 0:18:34 | 0:18:38 | |
As you can see, I am surrounded by fine art. | 0:18:38 | 0:18:40 | |
Glasgow is at an all-time high as a destination for art lovers from all over the world. | 0:18:40 | 0:18:46 | |
The graduates have gone on to make big names for themselves as well. | 0:18:46 | 0:18:50 | |
What is it about Glasgow artists? Let's check it out, shall we? | 0:18:50 | 0:18:54 | |
The roll call of famous Glaswegians is impressively long. | 0:19:00 | 0:19:04 | |
On that illustrious list is the creator of this much-loved piece of public art, | 0:19:04 | 0:19:08 | |
sculptor and artist George Wyllie. | 0:19:08 | 0:19:11 | |
This piece is The Running Clock. | 0:19:11 | 0:19:13 | |
Like all good art, there's an underlying truth. | 0:19:13 | 0:19:16 | |
In this case, it's delivered with punch, wit and humour | 0:19:16 | 0:19:19 | |
to tell the passers-by that time is of the essence. | 0:19:19 | 0:19:23 | |
Better get moving. | 0:19:23 | 0:19:25 | |
'As an artist whose work is seen by so many people every day, | 0:19:25 | 0:19:29 | |
'I want to find out what made him tick. | 0:19:29 | 0:19:31 | |
'Born in Glasgow in 1921, | 0:19:31 | 0:19:35 | |
'Wyllie had a long career that spanned naval engineer | 0:19:35 | 0:19:38 | |
'to customs officer. | 0:19:38 | 0:19:40 | |
'He took up art relatively late in life, at the age of 58. | 0:19:40 | 0:19:44 | |
'He created sculptures that were thoughtful, playful and fun...' | 0:19:44 | 0:19:48 | |
This is a machine for equal distribution of wealth. | 0:19:48 | 0:19:52 | |
-It doesn't work. -Naturally! | 0:19:52 | 0:19:55 | |
'..But most of all, provocative.' | 0:19:55 | 0:19:57 | |
Brought up in the shadow of the shipyards in the Craigton area, | 0:20:03 | 0:20:07 | |
the industrial history of the city | 0:20:07 | 0:20:09 | |
was a lifelong influence on his work. | 0:20:09 | 0:20:11 | |
It was here in 1987 that he produced one of his most famous pieces, The Straw Locomotive, | 0:20:11 | 0:20:17 | |
a 78-foot lifesize replica of a locomotive | 0:20:17 | 0:20:21 | |
with a steel lightweight subframe wrapped in chicken mesh | 0:20:21 | 0:20:24 | |
then completely covered in straw. | 0:20:24 | 0:20:27 | |
Unable to find a permanent home for the sculpture in an art gallery, | 0:20:29 | 0:20:32 | |
Wyllie came up with a typically dramatic and poignant solution. | 0:20:32 | 0:20:36 | |
Inspired by the Viking longboat funerals, | 0:20:36 | 0:20:39 | |
he torched his creation on the site of the North British Locomotive Works in Springburn, | 0:20:39 | 0:20:44 | |
once the very heart of Glasgow's locomotive industry. | 0:20:44 | 0:20:48 | |
For the small invited audience, this was the last straw - pardon the pun. | 0:20:52 | 0:20:56 | |
Many of them had spent their lives building steam engines | 0:20:56 | 0:21:00 | |
and this wonderful, wonderful creative piece left them in tears. | 0:21:00 | 0:21:04 | |
It was so imaginative - part sculpture, part performance. | 0:21:04 | 0:21:08 | |
Pure Wyllie - a profound message delivered with a powerful punch. | 0:21:08 | 0:21:13 | |
For over 50 years, George Wyllie worked and lived here with his wife Daphne, | 0:21:22 | 0:21:28 | |
in this modest bungalow overlooking the lower Clyde. | 0:21:28 | 0:21:31 | |
I've come here today to meet Louise, the eldest of his two daughters, | 0:21:31 | 0:21:34 | |
to find out more about this extraordinary man. | 0:21:34 | 0:21:38 | |
Louise, where did this stem from? He took up art late in life, about the age of 58. | 0:21:46 | 0:21:52 | |
I suppose his initial inspiration came from his mother, | 0:21:52 | 0:21:55 | |
who spent a lot of time with both boys. | 0:21:55 | 0:21:58 | |
They both liked to dance from an early age. | 0:21:58 | 0:22:00 | |
She was a great inspiration. She painted as well. | 0:22:00 | 0:22:03 | |
-That's where it originally came from. -Childhood memories. -But his time in the navy. | 0:22:03 | 0:22:09 | |
He actually loved the navy. | 0:22:11 | 0:22:13 | |
I think that opened his eyes to the world. | 0:22:13 | 0:22:17 | |
It certainly changed his views on life. | 0:22:17 | 0:22:20 | |
That instigated something. He came back and taught himself to weld. | 0:22:20 | 0:22:25 | |
-He went on a course? -He went on an evening course. | 0:22:25 | 0:22:28 | |
He was in his 50s, working at Customs and Excise on the river. | 0:22:28 | 0:22:31 | |
That's hot work, Mr Wyllie. You've got to be an engineer | 0:22:31 | 0:22:35 | |
-as well as an artist. -You find these days that artists are... | 0:22:35 | 0:22:40 | |
more and more leaning towards engineering and industrial processes for their work. | 0:22:40 | 0:22:45 | |
So how did he make the transition to full-time artist | 0:22:45 | 0:22:50 | |
and jack his job in? | 0:22:50 | 0:22:52 | |
-It's a big, big move. -It was, really. | 0:22:52 | 0:22:55 | |
But I think...unlike somebody young, he was at an age | 0:22:55 | 0:22:59 | |
where you'd be looking to what you'd be doing for the rest of your life. | 0:22:59 | 0:23:03 | |
-He must have been hell-bent on creating things. -He was, up until the last few years of his life. | 0:23:03 | 0:23:09 | |
He was working into his 80s. | 0:23:09 | 0:23:12 | |
It wasn't just about work, it was a lifestyle. | 0:23:12 | 0:23:15 | |
Everything seemed to fire his imagination. | 0:23:15 | 0:23:18 | |
My hopes are that this rocket will go up there | 0:23:19 | 0:23:21 | |
and the Russians are watching and it'll send a signal | 0:23:21 | 0:23:24 | |
up to their spacemen, man-to-man. | 0:23:24 | 0:23:27 | |
What better way of indicating that than to have a shortbread satellite? | 0:23:27 | 0:23:32 | |
Give me a brief overview of the things that Dad was creating on a day-to-day basis. | 0:23:34 | 0:23:39 | |
It changed, didn't it, by the hour. | 0:23:39 | 0:23:42 | |
-Working on something here, something there. -Yes. | 0:23:42 | 0:23:45 | |
Originally, he worked on painting the view. | 0:23:45 | 0:23:48 | |
He said to us, "What do you think of that? I want an honest opinion." | 0:23:48 | 0:23:52 | |
We'd go, "Mm, well..." PAUL LAUGHS | 0:23:52 | 0:23:55 | |
"What d'you mean, well?" We'd end up down the bottom of the garden! | 0:23:55 | 0:23:59 | |
-Did you say it was rubbish? -We'd say, "Hm." You know. | 0:23:59 | 0:24:02 | |
It started like that and he moved on to sculpture. | 0:24:02 | 0:24:06 | |
I think that came from things he collected on the beach. | 0:24:06 | 0:24:09 | |
-Salvageable things. Recyclable things. -It went from there. | 0:24:09 | 0:24:13 | |
To making objects. | 0:24:13 | 0:24:15 | |
Let's talk about the word "sculpture". He used that a lot. | 0:24:18 | 0:24:21 | |
But he replaced the P with a question mark right in the middle. | 0:24:21 | 0:24:25 | |
Yes, he did. He felt that the question mark was too important | 0:24:25 | 0:24:30 | |
to be at the end of the question, it should be at the centre of everything. | 0:24:30 | 0:24:35 | |
So you question every single art installation. | 0:24:35 | 0:24:38 | |
-Everything that he created, there was a meaning. -Yes. | 0:24:38 | 0:24:41 | |
His art was for public appreciation. It wasn't a personal thing. | 0:24:41 | 0:24:46 | |
He became very popular with the public because they understood the messages he sent through his art. | 0:24:46 | 0:24:52 | |
In the early days, when some of his work was quite humorous, | 0:24:52 | 0:24:55 | |
the art world were very sceptical about his "intent", if you like. | 0:24:55 | 0:25:01 | |
It was difficult for him to make headwind. | 0:25:01 | 0:25:05 | |
He didn't want to go to London, because he had to leave this. | 0:25:05 | 0:25:09 | |
I can see why. You wouldn't want to leave this, would you? | 0:25:09 | 0:25:13 | |
He was self-taught, he followed his instincts and he loved what he did with a passion. | 0:25:16 | 0:25:22 | |
And he's been a great influence to many artists around the world. | 0:25:22 | 0:25:26 | |
-Especially here in Glasgow, which has such a vibrant art scene. -Yes. | 0:25:26 | 0:25:29 | |
Three of the Turner Prize winners in the last five years were born in Glasgow or educated in Glasgow. | 0:25:29 | 0:25:35 | |
-So he left a big impact. -He has, yes. | 0:25:35 | 0:25:38 | |
By the time of his death in May 2012, | 0:25:42 | 0:25:45 | |
George Wyllie was one of Scotland's most successful original artists. | 0:25:45 | 0:25:50 | |
His work is to be included in the curriculum in Scottish schools | 0:25:50 | 0:25:53 | |
and there's a project under way to create two giant question marks | 0:25:53 | 0:25:58 | |
which will be suspended by a crane over the River Clyde. | 0:25:58 | 0:26:01 | |
A poignant and fitting tribute, which I'm sure would appeal to the artist himself. | 0:26:01 | 0:26:06 | |
George Wyllie has left a rich and inspiring legacy, | 0:26:06 | 0:26:09 | |
which I'm sure that people of Glasgow and the Clyde will continue to support for many years to come. | 0:26:09 | 0:26:15 | |
Welcome back to Kelvingrove Museum and Art Gallery. | 0:26:25 | 0:26:28 | |
This is a portrait by Vincent Van Gogh, | 0:26:28 | 0:26:31 | |
one of the greatest ever impressionists. | 0:26:31 | 0:26:33 | |
It's a portrait of a young Glaswegian art dealer, | 0:26:33 | 0:26:36 | |
Alexander Reid, painted in 1887. | 0:26:36 | 0:26:39 | |
He shared a flat with Van Gogh in Paris. | 0:26:39 | 0:26:41 | |
It's all about the company you keep to get a portrait painted like that. | 0:26:41 | 0:26:45 | |
I love the use of the greens and the red, not only in the background | 0:26:45 | 0:26:49 | |
but also all over the face. | 0:26:49 | 0:26:51 | |
It's absolutely stunning. Something to remember. | 0:26:51 | 0:26:54 | |
Right now, I think it's time we join up with our experts, don't you? | 0:26:54 | 0:26:58 | |
See if they paint a pretty picture about their next item and give us something to remember. | 0:26:58 | 0:27:03 | |
Ian, let me take you back to the 18th century. | 0:27:05 | 0:27:07 | |
-Right. -And you were a pipe smoker. | 0:27:07 | 0:27:10 | |
You would, without doubt, be smoking a very long-stemmed clay pipe. | 0:27:10 | 0:27:16 | |
-OK. -I don't know if you've ever handled these clay pipes, | 0:27:16 | 0:27:20 | |
but a bang on the side, | 0:27:20 | 0:27:23 | |
a knock from a branch or a trip, | 0:27:23 | 0:27:25 | |
-and the pipe stem would snap. -OK. | 0:27:25 | 0:27:27 | |
So this is your 18th-century equivalent of a mobile phone case. | 0:27:27 | 0:27:34 | |
-BOTH LAUGH I see. -The thing everybody had | 0:27:34 | 0:27:36 | |
to protect their most treasured possession. | 0:27:36 | 0:27:40 | |
So the pipe would go inside. | 0:27:40 | 0:27:42 | |
That answers a lot of questions. | 0:27:42 | 0:27:45 | |
It was probably made in Holland, | 0:27:45 | 0:27:47 | |
although they were made in northern Europe and in the UK. | 0:27:47 | 0:27:52 | |
The shape of the bowl is quite a tall one. | 0:27:52 | 0:27:56 | |
Normally, the larger the bowl on the clay pipe, | 0:27:56 | 0:28:00 | |
-the later the clay pipe is. -Oh, right. | 0:28:00 | 0:28:03 | |
The earlier you go back, the more expensive tobacco was. | 0:28:03 | 0:28:07 | |
-Right, OK. -As tobacco became cheaper, the bowls became bigger. | 0:28:07 | 0:28:11 | |
You look at this, it's a nice big bowl, | 0:28:11 | 0:28:14 | |
so you can say with pretty much confidence | 0:28:14 | 0:28:17 | |
-that would date to about 1780 to 1800. -I had no idea it was that old. | 0:28:17 | 0:28:22 | |
Then you look here. Do you know what that emblem's meant to be? | 0:28:22 | 0:28:27 | |
I didn't know it was an emblem! | 0:28:27 | 0:28:29 | |
It's an anthemion | 0:28:29 | 0:28:31 | |
and it's meant, in Greek antiquity, | 0:28:31 | 0:28:34 | |
to be a stylised honeysuckle. | 0:28:34 | 0:28:37 | |
It was very fashionable. | 0:28:37 | 0:28:39 | |
Josiah Wedgwood used it in his pottery. | 0:28:39 | 0:28:42 | |
Robert Adam used it in his architecture and plaster mouldings. | 0:28:42 | 0:28:46 | |
And here we have a country pipe case maker | 0:28:46 | 0:28:50 | |
using it as decoration on there. | 0:28:50 | 0:28:52 | |
-It's a lovely little object. -Thank you. -Where did you find it? | 0:28:52 | 0:28:57 | |
It's been in the house and my parents' house for as long as I can remember, 50 years-plus. | 0:28:57 | 0:29:03 | |
Neither of them knew where it had come from. | 0:29:03 | 0:29:07 | |
I guess the fact that it's on the Flog It table | 0:29:07 | 0:29:10 | |
means you want to sell it? | 0:29:10 | 0:29:12 | |
Well, it's been there doing nothing for all these years. | 0:29:12 | 0:29:16 | |
Somebody will love it! | 0:29:16 | 0:29:18 | |
It is a bit of a classic. | 0:29:18 | 0:29:21 | |
£80 to £120. It's worth about 100. | 0:29:21 | 0:29:24 | |
I certainly wouldn't want to see it less than 80. | 0:29:24 | 0:29:28 | |
If it made more than the 120, it's done very well. | 0:29:28 | 0:29:31 | |
-On that basis, shall we take it to auction? -Definitely. | 0:29:31 | 0:29:35 | |
'Over in the natural history section, Will has a case that does have something inside.' | 0:29:35 | 0:29:41 | |
Susan, thanks for coming along. | 0:29:41 | 0:29:43 | |
You've brought in the smallest thing today and behind us | 0:29:43 | 0:29:46 | |
is the biggest thing I've seen today. | 0:29:46 | 0:29:48 | |
Let's see what's inside this rather nice small fitted box. | 0:29:48 | 0:29:53 | |
Let's open her up. Look at this! | 0:29:53 | 0:29:56 | |
A thimble! Not any old thimble. | 0:29:56 | 0:29:59 | |
We see a lot of thimbles. They're usually in silver. | 0:29:59 | 0:30:01 | |
This is in solid gold. | 0:30:01 | 0:30:04 | |
Is this something that you've inherited or do you use it? | 0:30:04 | 0:30:07 | |
I don't use it and I didn't inherit it. | 0:30:07 | 0:30:10 | |
-It was bought for me by my husband as a present. -Nice gift! | 0:30:10 | 0:30:14 | |
-Yeah. He does know what I like. -Anything small. | 0:30:14 | 0:30:18 | |
Bijouterie, isn't it? | 0:30:18 | 0:30:20 | |
The fact that it's gold makes it premier league in the thimble scene. | 0:30:20 | 0:30:25 | |
And it's in its fitted case, which must be original. | 0:30:25 | 0:30:28 | |
We've got a retailer for Dundee. | 0:30:28 | 0:30:30 | |
I've had a look at the marks. | 0:30:31 | 0:30:34 | |
-You wanted an idea of how old it was. -Yeah. The age. | 0:30:34 | 0:30:37 | |
The marks have been pretty well rubbed, probably through use. | 0:30:37 | 0:30:42 | |
But referring back to Sir Roger, who's been here since 1901, | 0:30:42 | 0:30:47 | |
your thimble's probably not much younger than him, actually. | 0:30:47 | 0:30:51 | |
Edwardian period. It's got a bit of age to it. | 0:30:51 | 0:30:54 | |
Yeah. It's older than I thought. | 0:30:54 | 0:30:57 | |
A gift from your husband. | 0:30:57 | 0:30:59 | |
So, obviously, you didn't have to ask him how much he paid for it. | 0:30:59 | 0:31:04 | |
No, but it wouldn't have been very much at all! | 0:31:04 | 0:31:07 | |
LAUGHING: Sounds terrible, doesn't it? | 0:31:07 | 0:31:09 | |
I'm sure a lot of thought went into it. A lot of thought went into it. | 0:31:09 | 0:31:14 | |
The market for all things gold is good at the moment. | 0:31:14 | 0:31:18 | |
Let's see if we can make him a profit. | 0:31:18 | 0:31:20 | |
At auction, I think you're going to be looking at around the £100 mark. | 0:31:20 | 0:31:25 | |
-OK. -Is that a nice surprise? -Yes. | 0:31:25 | 0:31:27 | |
-You thought it was worth a bit less than that? -About...20! | 0:31:27 | 0:31:32 | |
Hang on! I think I've got a 20 in me pocket! | 0:31:32 | 0:31:35 | |
No, let's put it in at 80-120. Straddle that £100 mark. | 0:31:35 | 0:31:39 | |
The old Flog It favourite, 80 to 120. | 0:31:39 | 0:31:41 | |
The only thing left to say is see you at the saleroom. | 0:31:41 | 0:31:45 | |
'Finally, James is delivering a colourful history lesson.' | 0:31:47 | 0:31:51 | |
-Gary, let me take you back 50 years. -OK. -To mainland China. | 0:31:52 | 0:31:56 | |
Being run by Chairman Mao, | 0:31:56 | 0:31:58 | |
a communist, a hater of the Imperial past. | 0:31:58 | 0:32:03 | |
If you were an art lover, | 0:32:03 | 0:32:05 | |
you would not be able to own this 40 or 50 years ago. | 0:32:05 | 0:32:10 | |
There was a complete rejection of the past, | 0:32:10 | 0:32:14 | |
but also a denial of the past by the communist regime. | 0:32:14 | 0:32:18 | |
So you can imagine now that China has opened to the west, | 0:32:18 | 0:32:22 | |
each businessman that is now in charge of a very wealthy successful business, | 0:32:22 | 0:32:29 | |
is wanting to buy back pieces of Chinese history. | 0:32:29 | 0:32:33 | |
That's why you have timed this absolutely to perfection. | 0:32:33 | 0:32:38 | |
Good. JAMES LAUGHS | 0:32:38 | 0:32:41 | |
I can see it's slightly tarnished. It's not polished, which is perfect. | 0:32:41 | 0:32:45 | |
-What's its history? -It was my late father's. | 0:32:45 | 0:32:48 | |
He bought it, I think, at an antique fair | 0:32:48 | 0:32:51 | |
and gave it to me to find out a bit about it. | 0:32:51 | 0:32:55 | |
I was quite interested in it, | 0:32:55 | 0:32:57 | |
simply because how beautiful I thought it was. | 0:32:57 | 0:33:00 | |
To find out, first of all, | 0:33:00 | 0:33:02 | |
whether or not it was Chinese or maybe even Japanese. | 0:33:02 | 0:33:06 | |
That's one of the questions that I thought as well. | 0:33:06 | 0:33:09 | |
The Japanese symbolism is almost identical to the Chinese. | 0:33:09 | 0:33:14 | |
I don't read Chinese or Japanese scripts so, for me, | 0:33:14 | 0:33:18 | |
looking at the signature underneath was a bit of a problem. | 0:33:18 | 0:33:22 | |
But the guys here, we've got six off-screen valuers, | 0:33:22 | 0:33:25 | |
and six out of six said, "We think it's Chinese." | 0:33:25 | 0:33:29 | |
So, fingers crossed it is. | 0:33:29 | 0:33:31 | |
The decoration is the three-toed dragon. | 0:33:31 | 0:33:36 | |
The three-toed dragon is often a Japanese dragon, as well as Chinese. | 0:33:36 | 0:33:40 | |
The Chinese five-toed Imperial Dragon, representative of the emperor. | 0:33:40 | 0:33:46 | |
Here we have chrysanthemums and other emblems that, for me, | 0:33:46 | 0:33:51 | |
would indicate Japanese, not Chinese. | 0:33:51 | 0:33:54 | |
But I've gone along with the overall view that it's Chinese, | 0:33:54 | 0:33:59 | |
so we'll see. | 0:33:59 | 0:34:01 | |
Well, I said you'd timed it to perfection. | 0:34:01 | 0:34:04 | |
-Ten years ago, this would have been worth £100, that's all. -OK. | 0:34:04 | 0:34:08 | |
At the moment, I think, even if it's Japanese, | 0:34:08 | 0:34:11 | |
it's going to be worth £400 to £600, something like that. | 0:34:11 | 0:34:16 | |
And if it's definitely Chinese, | 0:34:16 | 0:34:18 | |
it might even double its money and make £1,000. | 0:34:18 | 0:34:21 | |
That's a real surprise, I can assure you that. | 0:34:21 | 0:34:24 | |
-Yeah? Is that all right? -Very definitely. -Good. | 0:34:24 | 0:34:27 | |
Let's take it to Anita, get her to translate that mark on the bottom, | 0:34:27 | 0:34:31 | |
and fingers crossed she comes back with some good results. | 0:34:31 | 0:34:35 | |
-Fingers crossed, indeed. Thanks very much. -Thank you. | 0:34:35 | 0:34:39 | |
'With so little time, it's incredibly difficult to value items like this. | 0:34:39 | 0:34:44 | |
'Hopefully, our auctioneer will be able to find out more.' | 0:34:44 | 0:34:47 | |
What a wonderful day we've had at Kelvingrove Museum and Art Gallery, | 0:34:47 | 0:34:51 | |
a place packed full of fine art and antiques. | 0:34:51 | 0:34:54 | |
Our experts have made their final choices. We found some antiques of our very own to take off to auction. | 0:34:54 | 0:35:00 | |
It's time to say goodbye to Kelvingrove as we head to the saleroom for the last time. | 0:35:00 | 0:35:04 | |
Here's a quick recap of all the items going under the hammer. | 0:35:04 | 0:35:09 | |
'Ian's 18th-century pipe case is wonderfully unusual. | 0:35:09 | 0:35:13 | |
'Could it set the auction alight? | 0:35:13 | 0:35:16 | |
'Susan's small but perfectly formed gold thimble | 0:35:16 | 0:35:19 | |
'should fetch a large sale price. | 0:35:19 | 0:35:22 | |
'And Gary's vase could command a massive four-figure sum, | 0:35:22 | 0:35:26 | |
'depending on where it's from. | 0:35:26 | 0:35:28 | |
'Back at the auction rooms, I caught up with Anita Manning, | 0:35:30 | 0:35:33 | |
'who's done some further research into the vase.' | 0:35:33 | 0:35:36 | |
Is it Chinese? Is it Japanese? James thinks it's Chinese. | 0:35:36 | 0:35:40 | |
-This little vase is Japanese. -How could you tell? -There are several things that we look at. | 0:35:40 | 0:35:46 | |
If we first look at the little band that encircles the neck of the vase, | 0:35:46 | 0:35:51 | |
we see a band of chrysanthemums. | 0:35:51 | 0:35:53 | |
This is a very common motif used in Japan. | 0:35:53 | 0:35:58 | |
It was a sign of prosperity and wealth and good fortune. | 0:35:58 | 0:36:04 | |
-We often see it on Japanese objects. -That's the first clue. -First thing. | 0:36:04 | 0:36:07 | |
Second clue - Japanese dragons, three claws. | 0:36:07 | 0:36:12 | |
Chinese dragons, five claws. | 0:36:12 | 0:36:15 | |
Are you serious about that? I've never heard that before. | 0:36:15 | 0:36:18 | |
No-one's ever said that to me in my life. I hope you're listening and learning. | 0:36:18 | 0:36:23 | |
We all know that Chinese artefacts, the market for them is a lot stronger than the Japanese market. | 0:36:23 | 0:36:29 | |
Uh-huh. I've kept it at four to six and I'm hoping there's interest | 0:36:29 | 0:36:33 | |
because there is quality there | 0:36:33 | 0:36:35 | |
and we have identified the maker's mark, which is on the base. | 0:36:35 | 0:36:39 | |
That helps as well. Provenance is key, really. | 0:36:39 | 0:36:42 | |
Watch this space. Let's put those values to the test right here. | 0:36:42 | 0:36:46 | |
'And with an auctioneer like Anita, who knows what it could fetch?' | 0:36:46 | 0:36:50 | |
Something I have never seen on this show before in 11 years of Flog It. | 0:36:52 | 0:36:57 | |
It's a walnut pipe case made in the 18th century to protect clay pipes. | 0:36:57 | 0:37:02 | |
-It belongs to Ian. Thank you very much for bringing it in. -Thank you. | 0:37:02 | 0:37:07 | |
I'm rather jealous that James had the enjoyment of handling this and talking about it. | 0:37:07 | 0:37:12 | |
This is absolutely wonderful! | 0:37:12 | 0:37:14 | |
£80 to £120, I think that's no money for something so rare. | 0:37:14 | 0:37:20 | |
I've seen a few, but a long, long time ago. | 0:37:20 | 0:37:22 | |
And I have to say, if that was in an antiques fair | 0:37:22 | 0:37:26 | |
I wouldn't be valuing it, I'd be buying it. Wouldn't you? | 0:37:26 | 0:37:29 | |
Yeah. And it would be possibly £200 to £300 at an antiques fair. | 0:37:29 | 0:37:33 | |
Good on you for bringing it in. | 0:37:33 | 0:37:35 | |
-We love to see something, well, -I -haven't seen before in my life. | 0:37:35 | 0:37:40 | |
It's a first for me. It's going under the hammer now. Wish we could buy it, but we can't. Good luck. | 0:37:40 | 0:37:46 | |
An 18th-century walnut clay pipe case | 0:37:46 | 0:37:50 | |
with brass onlaid and inlaid wire work. | 0:37:50 | 0:37:54 | |
This is an early pipe case, ladies and gentlemen. | 0:37:54 | 0:37:58 | |
It's a rare, rare wee item. | 0:37:58 | 0:38:01 | |
Can we say £150? | 0:38:01 | 0:38:04 | |
150? 100? | 0:38:04 | 0:38:07 | |
Will you start me at £50? Start me at £50. | 0:38:07 | 0:38:11 | |
50 bid. 50 bid. With you, sir, at £50. | 0:38:11 | 0:38:16 | |
I want to put my arm up! | 0:38:16 | 0:38:19 | |
Any advance on 50? 60. 70... | 0:38:19 | 0:38:23 | |
This is definitely one for the purists. | 0:38:23 | 0:38:26 | |
..£90. Any advance on £90? All done at £90? | 0:38:26 | 0:38:31 | |
£90... | 0:38:31 | 0:38:32 | |
Sold at 90. Well, it's gone, OK? It's gone. | 0:38:32 | 0:38:36 | |
Well, I would have thought it would have been estimated 20 or 30. | 0:38:36 | 0:38:41 | |
'James was spot-on with his valuation, | 0:38:41 | 0:38:44 | |
'but I really had hoped that the bidders would have fought for something so rare and unusual.' | 0:38:44 | 0:38:49 | |
Under that hammer now, we've got a thimble hallmarked Chester 1900. | 0:38:49 | 0:38:53 | |
It's very late Victorian. Belongs to Susan. | 0:38:53 | 0:38:56 | |
-Possibly, for not much longer. Boxed as well. -Yeah. | 0:38:56 | 0:38:59 | |
-This was a 30th wedding anniversary present. -Yes. | 0:38:59 | 0:39:03 | |
You don't really mind selling it, do you? | 0:39:03 | 0:39:06 | |
-No, not at all. -Joint decision? -Yes. | 0:39:06 | 0:39:08 | |
-Looking forward to this? -Yes. | 0:39:08 | 0:39:11 | |
Let's put it under the hammer and see what this lot here think. | 0:39:11 | 0:39:14 | |
It's going under the hammer now. | 0:39:14 | 0:39:17 | |
A nine-carat gold thimble, ladies and gentlemen. | 0:39:17 | 0:39:20 | |
What else do you need? It's a lovely, lovely wee thing. | 0:39:20 | 0:39:24 | |
And it's in its fitted case from Dundee. | 0:39:24 | 0:39:27 | |
Can we say £150? | 0:39:27 | 0:39:31 | |
150. | 0:39:31 | 0:39:32 | |
100? | 0:39:32 | 0:39:34 | |
Start me at £50. | 0:39:34 | 0:39:37 | |
-50 bid. -Hold me back, Paul! | 0:39:38 | 0:39:40 | |
50 is bid. Any advance on 50 for the thimble? | 0:39:40 | 0:39:43 | |
60. 70. 80... | 0:39:43 | 0:39:46 | |
As long as it's not Susan's husband buying it back, we don't mind. | 0:39:46 | 0:39:50 | |
£100. 100. | 0:39:50 | 0:39:52 | |
110, fresh bidder. 110. | 0:39:52 | 0:39:54 | |
It's with you, sir, at £110. | 0:39:54 | 0:39:58 | |
For the golden thimble. 120, fresh bidder again. | 0:39:58 | 0:40:02 | |
We've got the top end of the estimate. | 0:40:02 | 0:40:05 | |
£120. It's the poshest thimble you could get! | 0:40:05 | 0:40:10 | |
Any advance on £120? | 0:40:10 | 0:40:13 | |
-One more over there. -Any advance on 120? | 0:40:13 | 0:40:16 | |
All done at 120? 120... | 0:40:16 | 0:40:19 | |
Yes! That's a sold sound! Top end of the estimate. Well done, Will. | 0:40:19 | 0:40:23 | |
And well done, Susan. A bit of money towards what you want to buy. | 0:40:23 | 0:40:27 | |
'Brilliant! That's £100 more than Susan expected.' | 0:40:27 | 0:40:32 | |
A touch of the Orient goes under the hammer here in Glasgow. | 0:40:32 | 0:40:35 | |
Is it a Chinese vase or Japanese vase? Anita has done her homework. | 0:40:35 | 0:40:39 | |
-It is Japanese and it belongs to Gary. -Yes. -You knew that a few days ago. | 0:40:39 | 0:40:44 | |
You'd done a bit of research online, once the catalogues were printed. | 0:40:44 | 0:40:48 | |
£400 to £600, that's what we're after. | 0:40:48 | 0:40:51 | |
Will we get that, James? | 0:40:51 | 0:40:53 | |
We should still get that. The Chinese market is buoyant. | 0:40:53 | 0:40:57 | |
-Stronger. -Much stronger, but it's pulling the Japanese market with it. | 0:40:57 | 0:41:01 | |
Because almost all the Japanese styles were inspired by the Chinese. | 0:41:01 | 0:41:05 | |
-They're linked quite strongly. -Fingers crossed, everyone. | 0:41:05 | 0:41:08 | |
Let's put it to the test. | 0:41:08 | 0:41:10 | |
Lot 170, ladies and gentlemen, | 0:41:10 | 0:41:13 | |
is this rare Japanese silver baluster vase in high relief. | 0:41:13 | 0:41:19 | |
It has the signed mark for Mitsuhiro, | 0:41:19 | 0:41:24 | |
one of the most prestigious Japanese silversmiths. | 0:41:24 | 0:41:27 | |
She's researched the maker, which is great! | 0:41:27 | 0:41:30 | |
£600? 600? | 0:41:30 | 0:41:32 | |
500? | 0:41:34 | 0:41:35 | |
Hopefully, we've got a telephone line booked. | 0:41:35 | 0:41:38 | |
-£300? 300 bid. -In the room, there. | 0:41:38 | 0:41:41 | |
300 bid. Any adva... 320. | 0:41:41 | 0:41:45 | |
350. 380. 400. | 0:41:45 | 0:41:48 | |
-420. 450. 480. 500. -Gary, you are in the money. | 0:41:48 | 0:41:53 | |
£500. Any ad... 520, fresh bidder. 520. | 0:41:54 | 0:41:59 | |
550. 580... | 0:41:59 | 0:42:03 | |
-Anita's weaving her magic. -She's very good. | 0:42:03 | 0:42:06 | |
..650. 680. 700. | 0:42:06 | 0:42:10 | |
700 at the arch. £700. | 0:42:12 | 0:42:16 | |
-MAN: Here! -Great. Fresh legs. | 0:42:16 | 0:42:20 | |
-Well called. -720, fresh bidder. | 0:42:20 | 0:42:23 | |
720. 750. 780... | 0:42:23 | 0:42:27 | |
It's a fight between two people in the room. | 0:42:27 | 0:42:30 | |
..900. 950. | 0:42:30 | 0:42:34 | |
1,000. 1,050. | 0:42:34 | 0:42:38 | |
1,100... | 0:42:38 | 0:42:40 | |
Gary, you are definitely in the money now. | 0:42:40 | 0:42:43 | |
-This is your first auction. -Any advance on £1,100? | 0:42:43 | 0:42:47 | |
Doesn't get any better than that. | 0:42:47 | 0:42:49 | |
Any advance on 1,100? | 0:42:49 | 0:42:52 | |
All done at 1,100? 1,100... | 0:42:52 | 0:42:55 | |
-Yes! The Japanese market is strong! -APPLAUSE | 0:42:55 | 0:42:58 | |
£1,100. | 0:42:58 | 0:43:00 | |
Put it there! You did the right thing there. | 0:43:00 | 0:43:03 | |
I would have sold that for £1,100. So would you. | 0:43:03 | 0:43:07 | |
-Well done. -I'm tingling for you! | 0:43:07 | 0:43:09 | |
It'll be getting split with my mum. | 0:43:09 | 0:43:11 | |
-It's what my dad would have wanted. -Aw, bless her. Look after her. | 0:43:11 | 0:43:16 | |
That's what mums are all about. | 0:43:16 | 0:43:18 | |
Wow! What a wonderful way to end today's show. | 0:43:18 | 0:43:21 | |
-Thank you for bringing that in. -Thank you very much. | 0:43:21 | 0:43:24 | |
Whoo! We enjoyed that. I told you there was going to be a surprise. | 0:43:24 | 0:43:27 | |
Join us again for many more. | 0:43:27 | 0:43:29 | |
From Glasgow and the wonderful work of Anita Manning, it's bye bye. | 0:43:29 | 0:43:34 | |
Subtitles by Red Bee Media Ltd | 0:43:49 | 0:43:52 | |
E-mail [email protected] | 0:43:52 | 0:43:55 |