Stockport Flog It!

Today we're in a place famous for its vibrant music scene. It has two symphony orchestras,

world-class concert venues and has produced great bands like Oasis and it has this -

the world's largest music school. Today we're in Greater Manchester. Welcome to Flog It.

Our valuation day venue certainly hits all the right notes. We're in Stockport, south-east of Manchester,

and set up in the resplendent town hall, right in the heart of town.

I am a big music fan, so it's wonderful to be in the north-west.

Everybody from Morrissey to the Bee Gees, Take That, The Stone Roses,

you name it - the list is endless. They all come from this area,

just like this massive queue of people surrounding the town hall,

all laden with antiques and collectables, ready for a valuation.

Let's hope our experts pitch their valuations right today.

-Mark Stacey is as helpful as ever.

-Philip, you won't know about that.

Let me tell you what it is. It's called a pot.

-Whilst Philip Serrell is charming to our crowd.

-I do like your scarf.

-Oh, it's perfect.

-That's my birthday present. This is nice, too.

-Come on.

-See you later, mate.

Come on.

I'm told the locals are called Stockfordians. There's no stopping them today as over 800 fill the hall

wanting to get a valuation before they decided whether to flog it at auction.

Today we're hoping our results will be music to our sellers' ears, but can you guess which of our lots

makes over £1,000 at auction?

Is it the Arts and Crafts William De Morgan tile?

The Macintyre twin-handled Moorcroft vase?

Or the Birmingham scent bottle, paired with a 1904 pocket watch and case?

There's hundreds of people out there, which means hundreds of antiques to look at and value.

We also have the Stockport Samba Band, who are setting up now.

Later on, they'll entertain us. Right now, let's get on with those valuations and join Philip Serrell.

Remember Julian and Debbie from the queue? They've travelled 250 miles from Dorset to be here today.

It's good of you to come. Julian, tell me, how did you come by it?

I'm a stonemason and was working on a house down in Weymouth.

I had a skip there that we were using for the job and one day

I went to put rubbish in the skip and knocked a box over that someone had chucked in there and I saw this.

It was all rolled up. I assumed it was a piece of costume jewellery and I gave it to my mother.

She's had it in a drawer, never worn it. I said we wanted to come to Flog It. She said, "Take that necklace."

-What do you think you've got?

-I thought it was amethyst. Some are purply, but I'm not an expert.

When I told my friend Andy I was coming here with this necklace,

-he thought I was mad. "It's not even gold!"

-What does Andy do?

-He's a stonemason as well.

Tell him to stick to stonemasonry. If you just flip that over,

have a look through there. Can you see that little tab there that says 9 carat?

-Yeah. Oh, yes.

-So that's 9-carat gold. So would you ever wear this?

-I don't think so.

-It's quite showy.

-I'd personally prefer something plain,

-but I can see why somebody would like it.

-Are they amethysts or not? I don't know.

I think they're probably paste, in all truth. It's late-19th century.

If we put it into an auction with an estimate of £30-£50, is that OK?

-Yeah, that's fine.

-How about if we put it in with a £300-£500 estimate?

-Well, that would be even better.

-Amazing.

-We'll leave it to Adam, OK?

We'll tell him we want a minimum reserve of £200 on it.

If he wants to estimate it anywhere... If they're amethysts, it might be that it's £500-£800.

-They're a lot more expensive, are they?

-Yeah. And if they're not, it might be £200-£400, £300-£500.

We'll tell him we want a fixed reserve of £200 and where he goes after that is up to him, really,

-depending on what he finds. Happy with that?

-Yeah.

-Very happy.

-So that's paid for a trip up to Stockport.

-And some!

-You'll be able to go home again!

-Thanks very much.

-Thanks for bringing it along. Thank you.

'Some limited edition prints have caught my eye and I'm starting to get very excited about them.'

This is one of my favourite items that have ever come in.

-Definitely in my top five in the ten years of filming. It's all down to you, Kent.

-Thank you.

-So how did you come by these?

-They are my father-in-law's.

-OK.

-He's a retired illustrator.

-He is an illustrator? That's why these would appeal to him.

-He's got a good eye.

-And where is he now?

-He couldn't make it. He's a bit poorly.

-I hope he gets well soon.

-Do you know anything about the artist at all?

-No, not at all.

When I first saw them, I thought they were quite modern.

Well, they are by John Buckland Wright, who I believe is a genius,

a master of this genre. He did these when he lived in this country, but he was born in Dunedin, New Zealand,

in about 1895, around there. But when you look at this, this kind of work

reminds me of the work of an artist called Eric Gill.

It's just got...it's got something about it where human form meets religious form.

You know, it sort of crosses over. There's lots of things crossing over here.

This lady metamorphosing into a fish is superb.

And he's captured these bodies so beautifully. Look at the wrestlers.

It's sinuous, the movement. It's very good.

-He makes the paper come alive.

-Yeah.

-This is a wood engraving,

this is a wood engraving, this is a copper engraving.

A very small print run. Look at this.

-This is done in 1942.

-Yeah.

-And it's called Combat.

-OK.

-And it's just called number 2. Can you see that?

-Gosh, yes.

-I don't think there are any more. It says "artist's proof".

-I see.

-This is his copy.

Any idea of the value?

-Em...I don't know. I wouldn't even know where to begin.

-We have to put them into auction as separate lots.

OK? Let's put a valuation of £400-£600 on this.

A fixed reserve at £400.

-Let's put £500-£700 on this one.

-OK, yeah, right. That's brilliant. That's very good.

-OK?

With a reserve of £500, with a bit of discretion,

just so it creeps in slightly under.

-And this one...we'll put a valuation of £600-£900 on.

-Thank you.

-Again with discretion on the £600.

-That's absolutely super.

-So it could sell for 10% under the 600.

-I had no idea.

I think that's going to tempt the buyers in.

'What wonderful prints! I hope Mark finds something he loves as much.'

-Hello!

-Hello.

-Carol, what a gorgeous-looking vase you've brought in.

-I thought so.

-Tell me about it.

-I know it's a Moorcroft.

-It's got the Macintyre mark from before he went on his own.

-Where have you got it from?

A friend of mine, it's got to be 25 years or more, I admired it

-and she said, "Do you like it?" and gave it to me.

-I wish I had friends like yours, Carol.

It's just the most wonderful shape. You can see it's Moorcroft.

It's got that nice, slender line and those lovely arms. Wonderful.

And the lovely use of those bright reds and blues and the gilding.

-It's not his usual type of work.

-No.

Because we more associate Moorcroft with tube-line decoration.

This is from a series of wares that's called Aurelian ware.

And when we look at the mark underneath, we've got Macintyre.

We haven't got a William Moorcroft signature. Don't worry. This dates to around 1900, over 100 years old.

-There's one small negative, Carol. That chip there.

-Yes.

-Did you do that?

-It's probably happened while it was in our possession, but I don't know how.

-That will affect the value of it.

-Right.

Well, I think it's charming. I'd like to put a bit more money on it,

-but I'll hold it back because of the chip.

-Right.

-I'm going to say it's worth £100-£150.

-Right.

-Would you be happy with that?

-Yes.

-And we'll put a reserve?

-Yes.

-Of £100, with 10% discretion.

-Right, that sounds fine.

-I think on a good day we might get £120, £150.

-Oh, that's fine.

-Thank you so much for bringing it along.

-You're welcome.

-I love it!

Well, our experts have now found our first batch of items ready to send off to auction.

I think there's some real gems. We might be in for one or two surprises.

Let's find out what the auctioneer thinks and, more importantly, the bidders.

Here's a quick recap.

We'll have to wait and see what estimate Adam puts on that necklace.

Fingers crossed it's real amethysts rather than paste.

And I'm sure these prints will make as big an impression on the bidders as they did on me.

Combined total...

And Carol's Moorcroft vase may be chipped, but Mark still has high hopes for it.

Today our auctioneers are near Congleton in Cheshire, 17 miles south of Stockport.

The town was notorious in the 1620s when bear-baiting and cockfighting were popular sports.

But let's hope today's sale is going to be slightly less aggressive.

One thing you can guarantee - with an Adam Partridge auction, it's going to be fast and furious.

The auction house charges an 18% commission to buyers and 15% to sellers.

Fingers crossed we'll see all our items go for a lot today.

Our first lot is up right now.

It's Moorcroft, and Macintyre Moorcroft, the early Moorcroft which everybody wants.

-It belongs to Carol. Not for much longer. Hello, Carol.

-Hello, Paul.

-Who's this?

-Emma, my daughter-in-law.

-Hello. What do you think of this?

-It's lovely.

-It's just...mm! There is a bit of damage.

-A very small chip, which is easily restorable.

-We tempered the estimate accordingly.

-It's a classic lot. Going under the hammer right now.

Macintyre Aurelian ware vase of trumpet form.

Lot 251. There it is there. Good shape.

-It is a good shape.

-I'm bid 50. And 5. At £55. 60 now?

At £55. Any advance on £55?

60 online. At £60.

At 60. Take 5. At £60. At 60.

-Anyone else now?

-Oh, gosh! Come on!

At £65.

At 65. 70 online. 5. 75.

At 75 online.

80 now?

-80 bid. 80's the bid.

-It's struggling.

-But at least it's going up.

-It's creeping up.

We just need a few more.

£85.

-Anyone else on this Macintyre vase?

-I think this is terrible.

-It's not a good price.

-We have to pass. The chip on the rim kills it.

Thank goodness you had a reserve.

-Nobody wanted it here. Simple as that.

-I'm quite shocked by that.

I thought the £100 reserve was quite modest really.

-There was room for movement.

-Exactly.

Oh, well. I'm surprised about that as Macintyre's such a good name,

but there's no point in selling an item for less than it's worth.

Now remember those John Buckland Wright prints that I loved? Time to catch up with Kent again.

The artist's proof is worth its money, the artist with the model is absolutely fabulous as well.

-And I like the other one. It's all about subject matter.

-Detail and quality.

Yes. We're going to find out what the bidders think right now. Hopefully, there's online interest.

564. John Buckland Wright. Abstract etching, Combat 2. This is the artist's proof here.

Lot 564 by John Buckland Wright. Wonderful image there.

Interest here. Straight in at 350.

And 360. I'll take 380. At 360. £360.

Is there 380 now? At 360.

Any more? 80. 400.

-At 400 and we're selling.

-Three people wanted it.

-At £400.

-That's not bad. Made the reserve.

-That's good.

Next one is 565, John Buckland Wright, Artist and Model.

Limited edition. 5 of only 30. A proper limited edition.

Lot 565, number 5 this one. Artist and Model.

Another fantastic etching by John Buckland Wright. 360 is bid.

-This one is super.

-This one IS super.

440. 460 here. With me now.

At 460. Selling this one at 460.

Are you all done? At £460.

Nice work. Quite good, eh?

460.

It's just absolute quality.

And 566 is Metamorphosis 4: Girl Into Fish.

-I'm bid £500 straight in. I'll take 20.

-Gosh.

-With me at 500.

Is there 20 anywhere?

Can we sell it at 500?

-It's on offer. We can take it if you like.

-Do you want to take it? Nod.

-Is that authority to sell?

-Yeah?

-Mm.

Don't let me force you. Take advice.

-Or hang on to it?

-Can I take some advice for a second?

-I'd take it. I'd sell it.

- Yeah? - £500.

We're selling at 500. It's the top bid they've left. All done at £500.

Very good. Thank you very much.

My father-in-law will be absolutely chuffed, so thank you.

It's been an absolute pleasure.

Adam's had a long look at that necklace and has catalogued it as coloured paste,

rather than amethyst stone, but he's given an impressive estimate nonetheless -

£200-£300.

Julian, Debbie, great to see you again. I love the story - you found this in a skip.

-Can we recycle it for £200?

-Well, it'll be a green necklace.

-It's amethyst paste, isn't it?

-Yeah.

-But, nevertheless, £200 is what we're looking for.

-Lovely.

-Did you ever wear it?

-I tried it on.

-Not quite...

-Not my cup of tea.

-I don't blame you.

-Somebody will like it.

-And I bet they're here today. Good luck.

Lot 740 is a 9-carat gold necklace set with the amethyst-coloured stones there. Lot 740.

There it is. Give me £200, please. 130 bid.

At 140. 150. 160.

170. 180. 190. 200.

-210. 220. 230.

-This is good. We like this.

-260. 270. 280.

290. 300. 320.

340. 360.

-380. 400. 420. 440?

-Didn't see this coming, did you?

Any more now? At £420. 440. 460.

480. 500.

520? £500.

At 500. At £500. All done, then? Selling at £500.

Bang! The hammer's gone down! Someone threw 500 quid in your skip!

-I can't believe that.

-You go barmy when you get a skip and everyone dumps clutter in it.

-But we don't mind that.

-Excellent. Happy days.

-And you can go out and buy a necklace for Debbie now

-that you really want!

-Good idea!

Wow! To think Julian and Debbie had no idea it was worth anything like that much.

It just goes to show, if you're in doubt about an object you own, bring it along to Flog It!

So far, so good. It's the end of our first visit to the auction room.

Before we go back to Stockport to look for more antiques,

I've been exploring another part of Greater Manchester where, almost 150 years ago,

a different set of values changed women's rights forever. Take a look at this.

People in the north-west have always been famous for pushing boundaries,

from the industrial landscape artists to the equally popular Madchester music scene.

The Victorian era, especially here in Manchester, was a hotbed of liberal thinking,

so the natural place for a radical movement to be born. And one of the most significant of the day

was the Suffragettes movement, in equal parts influential and controversial.

And this was the house where the very first meeting took place, in the heart of Manchester.

Number 62 Nelson Street.

This was the home of a woman who Time magazine recognised as one of the 100 most important people

in the 20th century. Her name was Emmeline Pankhurst.

She not only changed our political system, but also the way our families function today.

At the end of the 19th century, women, like prisoners, the insane and the poorest men,

were not entitled to vote. Early feminist campaigners were unable to make any real impact.

Emmeline was convinced the women's movement needed a change,

so in 1903 she announced to all of her friends that they needed an independent women's union.

She arranged a meeting here in this house to put her plans into action.

They had a motto - deeds, not words.

They were convinced the traditional political system wouldn't get them anywhere,

so they embarked on a course of militant action to make MPs sit up and take notice,

to sponsor suffragette legislation.

They set about harassing politicians, encouraging their own arrests and creating a spectacle

wherever possible. Anything to court publicity.

The most shocking act was carried out by Emily Davison, who threw herself in front of the King's horse

at the 1913 Epsom Derby.

She died, sadly, from her injuries.

They became known as the Women's Social and Political Union, or WSPU,

which grew rapidly and attracted thousands of members and supporters.

Emmeline travelled the country publicising the cause at huge rallies.

She was sent to prison countless times and went on hunger strike.

By the summer of 1914, an election was looming and campaigners hoped

a new government would give women the ballot.

When the war broke out that year, the WSPU announced to all of its members to stop activities

and concentrate on the war effort.

While the men were away fighting on the Western Front, the women worked on the land and in factories.

Their vital contribution towards the war effort was one of the many reasons why, finally,

in 1928, 25 years after having that very first meeting here in this room,

women were given the right to vote on equal terms with men.

'Emmeline died shortly after this historic event, a month before her 70th birthday.

'But her legacy lives on.

'Dr Helen Pankhurst is Emmeline's great-granddaughter.'

How would you summarise your great-grandmother's legacy?

I think the first thing is she was the leader,

she was the name, the image behind the Suffragette Movement

and any organisation needs a leader that people can rally behind.

And then you've got what the organisation itself was about, the cause,

women's right to vote and beyond that, women's equality.

But I think even more the fact it wa an organisation with so much flair

and pomp and also a little bit of danger.

Therefore, it had massive public appeal then and still now.

It's in the public culture, it's in our image of what that part of history was about.

Yeah. Your grandmother Sylvia was also a political campaigner,

so obviously, it's running in the family here.

Why do you think your family has succeeded when many others failed?

I think they succeeded because of what came before them,

so there's the whole suffrage movement and a lot of campaigning

that sets the scene for their involvement.

Then likewise, it was a moment of radical change in the world elsewhere.

Women start getting the vote in othe countries, so they were there at the right time to make that final change

It's a pleasure to meet you and I must say you do look like Sylvia, don't you?

By the 1970s, number 62 Nelson Street had fallen into disrepair.

An application was put in to demolish the building which caused an absolute uproar,

not just with women's groups, but also with conservationists.

Permission was granted to lease the building to the Pankhurst Trust

after they raised £500,000 to restore it.

Now this time capsule is not just a museum, but also a women's community centre

and it stands as a lasting reminder of the fight women have for equal rights.

'Artist Charlotte Newson was commissioned to create a piece of artwork in tribute to Emmeline.

'People from all over the world sent in photographs of inspirational women

'which Charlotte incorporated into this stunning mosaic.'

-I've got to say, Charlotte, it's absolutely fabulous.

-Thank you.

-I'm really knocked out by it.

What's the idea behind it and how did you achieve it?

It started really as a conversation between the Pankhurst Centre and Manchester City Council

because there's no public art in Manchester about Emmeline Pankhurst

and of course, she's born here, raised her family here,

and from there it kind of snowballed really.

It went global, though originally it was planned as a Manchester project.

-Where did the photographs come from? People sent them to you.

-They came from all over the world in the end.

They came from e-mail accounts, postal, social media,

and they came in all shapes and sizes, some of them black and white,

some of them were very old and well loved and ripped, and some of them were very modern.

Was it choice selection to get the light and shade or have you graded or tinted any?

The main process to begin with was to colour-sort them,

so I sat with piles of photographs going, "Mostly blues, mostly reds, mostly violets, mostly greys."

Once I'd got that established, I could work out a colour palette for the portrait,

though I changed it at least 15 times.

Did you? This must have taken months, years?

-Two years from start to finish.

-Gosh!

-There's 10,000 images in that portrait.

-Well done, Charlotte.

-Thank you.

-One of the best things I've seen for a long time.

-It was an honour to do it.

-It looks fab.

-Thank you.

It's been a real treat finding out more about this fascinating woman

and why Suffragette history is as relevant today as it ever was.

'We've been having a lot of fun here at our valuation day in Stockport

'and in tribute to the region's vibrant music scene,

'we've got an eclectic act to provide some entertainment for our waiting crowd.

'Let me introduce Stockport's Samba Band.'

SAMBA MUSIC

Well done.

'Well, after all that excitement, I'm going to take a breather

'and let Mark tell us about our next object which, rather fittingly, is musical too.'

Hello, Veri.

-Hi, Mark.

-That's an unusual name. It's not British, is it?

No, it's from Albania.

You're from Albania and you've brought this violin in to show us.

Is this a family piece or did you pick it up somewhere?

No, it is not from my family. I bought it from a guy working in a house clearance.

-Oh, yes.

-He has sold to me.

-And did you pay a lot of money for it?

-Exactly he wanted £12.

-£12?

-Yes. I see it just like that.

-I like it.

-Yes, yes.

-That's the shape. I say, "All right, I can have it."

I think £12 sounds quite reasonable.

I don't know much about violins and it does need a little bit of restoration with re-stringing.

We have looked inside and, unusually, it's not signed "Stradivari".

They normally are. We know they're fake. This is signed by a chap called...

-Carlo Silvestro.

-Silvestro. And it's dated, isn't it?

Yes, 1932 from Napoli.

Naples is a good area for making these sort of things.

It is first place in Italia for musical instruments.

Why have you decided to sell it? You didn't want to play it?

I like to listen to music, but I don't like to play.

And you get two Czechoslovakian fiddles as well which is quite good.

And I know we're going to a very good saleroom where Adam, I know, plays the violin

and I would put something like £100 to £150 on it,

-with a £100 reserve if that's OK.

-Yeah.

-Fantastic.

-Thank you so much for bringing it along.

-Thank you for beautiful show.

-Lovely to see you.

It will be interesting to see what our auctioneer Adam Partridge thinks about that item.

Let's see what Philip is up to on his table.

-Where have these come from?

-Well, my dad's 90 and his aunt left them to him when she died.

-When was that?

-A few years ago.

What we've got here is a little, 19th century, glass scent bottle.

I would think there's every chance that that's probably the wrong top for it.

It's pierced overlay and it's got a Birmingham hallmark.

And it's got the lion passant

and it's got the Z there which tells us that this was assayed in Birmingham in 1899.

And I think it's just a sweet thing.

This is a silver-cased...

Sometimes the bigger ones are called Goliath watches.

The watch is plated. I quite like...

I love things like this because I love the social history of things.

Someone would have gone to work with their pocket watch and it would have told time all day long,

then when they come home, the pocket watch fits into there

and that sits on the mantelpiece

and we've got a little mantel clock.

-Yeah.

-Within a polished silver case.

Again we've got a Birmingham hallmark and the letter E which tells us it was 1904.

I'm afraid to say the case, a bit like me, has seen better days.

But silver is going through the roof at the minute, so in terms of value,

I think if we put 100 to 200 on them as an estimate,

and I'd like to see a reserve of 80 or 90. Is that OK?

-I'd prefer 100.

-OK. 100 to 200 as an estimate and a fixed reserve of £100.

-I've got so much debt to pay off.

-You've got so much debt?

-I go to too many Jane McDonald concerts.

-Really?

-Yes.

-Who's Jane McDonald?

-She's a fantastic singer.

-Is she?

-Yes. I've been to 180 concerts in four years.

-Why?

-Because she's fantastic.

# You can always go downtown... #

-Ever thought about buying her CD?

-It's not the same. She's a fantastic person as well.

-Have you met her?

-Millions of times.

-I think you're related to her(!)

-Millions of times.

-She ought to do a Liz Aid concert, I would have thought.

-Yeah, I wish!

Right, well, I don't know... I'm really sorry.

-I'm not sure if this is going to help too much. When is the next concert?

-Later in 2012.

I'm more of a Stones man myself.

# When you go downtown... #

Now over to Mark's table where Sue has uncovered a real treasure.

-Sue, Sue, Sue.

-Hello. Nice to meet you.

It's lovely to meet you and lovely to meet your tile.

-Everything I adore is coming in today in Stockport.

-Good.

-I love it.

As soon as you see this, you know exactly who made it.

Tell me the history of it with you.

My daughter found it in the cellar of our Victorian house when we bought it in 1975.

-Never?

-There was just one tile.

We dug up most of the floor to see if there was any more and no.

-Did you know what it was when you saw it?

-Yes, I did.

-And how did you know that?

-Because I was a textile designer by trade.

-Ah!

-And I also know a good thing when I see it.

-Just like me.

I know a good thing when I see it. And the tile, of course!

We know who William De Morgan is, but for those who don't,

-it's quite important that we see the mark because this is the Merton Abbey mark.

-Yes.

Merton in Surrey or South London now.

-We've got the abbey, but crucially as well, we've got the DM mark for De Morgan.

-Yes.

Who was very famous in that Arts and Crafts period in the early part of the 20th century in these designs.

I love this because it's such a weird bird.

-It is.

-It's so typically him, isn't it?

-It is.

-It's some sort of duck really, isn't it?

-Chasing a moth.

-Chasing a moth, exactly.

How much is it worth? This is the thing in this market.

I don't know. I really don't know.

-Well, they go up and down.

-Hmm.

In some sales recently I've seen really nice panels,

four or five tiles, not selling,

then I've seen a really nice, pink lustre one making 2,500 on its own.

-It's a real mixture. Today, we've got to be a little bit more realistic.

-Yes.

In an ideal world, I would say 200 to 300.

-Right.

-Would you be happy with that?

-Yes, I would.

-We'll put a reserve.

-Yes, put a reserve of 250?

-I would say 200.

-200, OK.

-We'll do it fixed.

-All right.

So if we can't get 200, we won't sell it and you can keep it for another time.

-But let's see what happens.

-That would be lovely.

Let's hope they don't think we're quackers at the saleroom.

-It doesn't matter if they do.

-Absolutely not. I don't care. Do you?

-No.

'That's our final valuation of the day. Let's hope we hit a crescendo in the saleroom.

'This is what we're taking with us.

'Veri brought in this stringed instrument for just £12.

'He's hoping it will make a massive profit at auction.

'Liz is potty about Jane McDonald,

'but will our bidders fall for her scent bottle and mantel clock?

'And Mark just loved Sue's sweet ceramic tile.

'Let's hope the bidders do too.

'We're back at the saleroom just outside Macclesfield.

'Adam Partridge has his work cut out

'and he's trying to sell over 1,000 lots here today.

'Remember Mark's violin valuation? As a bit of a connoisseur of the instrument,

'Adam was keen to take a look for himself.

'Here's what he had to say on the auction preview day.'

What do you think about this? Mark has put £100 to £150 on it.

-It's not a violin.

-It's a viola.

-It's a viola, yes.

And you know the difference, presumably.

It's a good inch and a half longer than the violin

-and generally bigger proportions and a deeper tone.

-Weightier, yes.

-It's a strange sort of estimate as well.

-Has he got that right?

-I don't think so.

-I think that should make quite a good deal more, really.

-OK.

Have you done any research on who the maker is?

Yeah, the maker is not really... He's Carlo Giovanni Silvestro of Napoli, 1932.

He's not a known maker, actually.

If he was a good Italian maker, that would be £3,000 to £5,000, easy, easy. But he's an obscure maker.

-It's in very good condition. It needs re-stringing, but that doesn't affect the value.

-That's cosmetic.

-You've got to re-string an instrument every two months.

-Hear that? That's the soundpost inside.

Again it's cosmetic. It's no big problem. 100 quid and you can put that into a really decent instrument

'So let's find out what the bidders think now, shall we?'

I've just been joined by Veri and our expert Mark Stacey

and it is that viola going under the hammer.

-Oh!

-I had a chat to Adam yesterday. You know what he said? It's a viola, not a violin.

-I'm only a couple of letters out.

-You were a couple of letters out.

-I did say to Adam it's not your specialist subject. Were you happy with a £100 to £150 valuation?

-Yes.

-So that's a good profit?

-Yeah, a good profit.

-Adam said, because it's a viola, violas fetch a lot more money than violins.

-Do they?

-Yes.

-Particularly Italian ones.

-Oh.

-It's kind of like the top of the range. This could be good news for you.

-Thank you.

-Here we go.

125 is a viola with a two-piece back,

labelled Carlo Giovanni Silvestro, Napoli 1932.

Cased with two Czechoslovakian bows. It is a viola.

And it should be 100 to start me? 100 bid. Take 10? At £100.

I'll take 10 now. At 100.

Any advance on £100 for the viola?

Are you all done at 100?

-You're right on the value, Mark.

-If not on the instrument!

Selling at 100... I thought it might do a bit more.

-All done at 100 then?

-Oh, well, you see...

-£100.

-You've made a good profit.

-It's all right, yeah.

-Are you happy with that?

-Very happy.

-Sorry I got you excited. Oh, dear.

-I paid just £12.

-Yeah.

-It's lovely to meet you. Thank you so much.

-Thank you for the show.

-Nice to meet you. Well done.

Going under the hammer right now, we've got a 19th century scent bottle and a silver pocket watch.

It's a bit of a mixed lot. They belong to Liz who can't be with us today.

She's quite pleased she can't be with us. Do you know why, Philip?

We do have our expert and the items and a packed saleroom.

But Liz is at a Jane McDonald concert tonight.

-Tonight?

-Tonight.

-Where?

-I don't know. Possibly in Manchester.

She's obviously scraped a few more pounds together to buy the ticket.

-We've got to represent her.

-I know.

-Let's hope we get the top end.

Next up is a Victorian, clear glass scent bottle in a silver sleeve

and a plated pocket watch in a silver travelling case.

£100? Bid me £100 for the two pieces

£100? Start me at 100? 50 then? Give me 50?

-She's struggling.

-50's bid. At £50. Where's 5? At 55.

Online, 60. In the room, 60. And 5. 70.

-5. 75 now.

-Here we go.

At £75. Any advance? £75. 80.

Internet, 80. 5. 85 bid.

£85. At 85. Bid me 90?

At 90. Online, 90. And 5? Just another one, sir?

5 in front then. 95. On the front row, 95.

The more you pay for it, the more you'll enjoy it, sir. 100 online.

-110 now? Bid me 110.

-Go on.

-Have another look. We've got all day.

-100's on the internet. I'll take 110

-It's paid for her ticket.

-Yes.

Is there 110? Come on, Dougie.

110? Thank you, 110.

120 next? 110's in the room. At 110.

How can you say no? At 110 on the front row.

Are you out online? We're selling in the room at £110...

-120.

-120.

-Yes! Late bid now on the internet.

At 120. At 120. Internet now at 120.

All done at £120 and away now?

Sold it, yeah. Good auctioneer there. Adam sold that lot for us.

-It was struggling at around £50 to £60.

-He worked it well.

Liz will be pleased. That's the concert ticket paid for.

I absolutely adore this next lot. It's one of the biggest names in the Arts and Crafts Movement.

-It's up there with William Morris. It is William De Morgan. It belongs to Sue.

-Yes.

-Hello there.

-Hi.

-And who's this?

-This is my frien Barbara.

-Bit of moral support?

-Absolutely.

-Did you give her a lift in today?

-I did. And at the valuation.

-Yes, I saw you.

-Your daughter dug this up in the cellar.

-She found it in the cellar.

I love that duck. I've seen them in a sort of crimson colour.

This is lovely as well in the green colour. 2 to 3 is a good price.

We could get the top end plus a little bit more.

-Hopefully.

-You've pitched that right to get people excited.

-I love William De Morgan.

-I love his work.

-People will buy one tile like that, frame it, then put it on the wall.

It's a little work of art there and it's from the Merton Abbey Studios.

-It is.

-If it doesn't go, that's what I'll do.

-It's going. Believe me, that will go.

-I think so.

-No problem, I should think.

Have no fear, Adam Partridge is on the rostrum, waving his magic wand!

Lot 297. 297 is William De Morgan now.

-There we go, the Merton Abbey tile, De Morgan there.

-Isn't that cute?

-It's lovely.

-270 online.

-270 online.

280 bid. 280 bid. At 280.

At 280. 290. At 290.

300 I've got. And 20. 340. 360.

380. 400. And 20.

With me at 420. Where's 440?

440. 460. 480.

- 500. 520. - I don't believe it!

540. 560. 580.

- 600. 620... - Never!

-This little green duck is doing us proud.

-I don't believe this.

Is that a yes...?

680. 700 I'm bid. 700. I'll take 20?

720. 740. 760.

780. 800.

-820...

-The market's picked up.

-It's still going.

-Yes.

860. 880.

900. And 20...?

£900. 20's...

920. 940. 960?

940. We've got plenty of time. Is there 960 online?

Never!

-Nine hundred and...

-960. 980.

-Come on.

-£1,000?

£1,000 next bid.

£1,000.

And 50. 1,100?

Someone's left a commission bid on the books. He keeps looking down.

£1,050 with me.

At 1,050. I'll take 1,100.

-Yes.

-Yes. Hooray!

1,100. And 50. 1,200?

-Yes, sir.

-1,200. And 50.

1,300...?

-Yes, sir.

-1,300. 50. 1,400?

-Yes, sir.

-And 50. 1,500?

-No, sir.

-£1,450. Is there any more?

-Unbelievable!

-BELL RINGS

-And the bell's gone.

-Wake up, internet bidders!

-1,450...

-Yes, sir.

-1,500.

-Not again?

-Yes, 1,500.

-I thought he'd finished.

1,500. And 50. 1,600?

-No...

-1,550.

I'm selling now at £1,550. Done...

Sue, £1,550, the hammer's gone down.

-I don't believe it. That's wonderful.

-Wonderful.

-Congratulations.

-Barbara, you've got to look after her.

-That is wonderful, Mark.

-Super.

Thank you for bringing that in. I hope that gave you a wonderful thrill.

-What will you put the money towards?

-I'll give it to my grandchildren.

-What are their names?

-Emery and Will.

-Take good care of Grandma, won't you?

-They do.

-She's the best!

And see you next time for more surprises. Goodbye.

Subtitles by Red Bee Media Ltd