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The name Hereford comes from the Anglo-Saxon. Here meaning army, Ford - a place to cross the river. | 0:00:09 | 0:00:15 | |
A place just like this. And today it's the barracks of Flog It. | 0:00:15 | 0:00:20 | |
Hereford may have a long association with war, but in its centre is a symbol of peace. | 0:00:41 | 0:00:48 | |
Many of these walls date back as far as the 13th century. They survived the Reformation, War of the Roses | 0:00:52 | 0:00:58 | |
and, of course, the Civil Wars, | 0:00:58 | 0:01:01 | |
but will they survive this lot today? Welcome to Flog It from Hereford Cathedral! | 0:01:01 | 0:01:07 | |
And two people on a mission to find the best antiques... | 0:01:09 | 0:01:14 | |
"The Face", Adam Partridge. | 0:01:14 | 0:01:17 | |
And our very own Mrs T, Christina Trevanion. | 0:01:20 | 0:01:24 | |
I don't do maps. | 0:01:24 | 0:01:27 | |
-It looks like she's found her first weapon. -Hang on a second! You've jumped the queue. | 0:01:27 | 0:01:33 | |
Come on. | 0:01:33 | 0:01:34 | |
-But it's cold out here, so let's get inside. -Oyez! | 0:01:34 | 0:01:39 | |
In today's Flog It, could a children's tea set possibly make four figures at auction? | 0:01:46 | 0:01:52 | |
Or is it more likely to be these sparklers? | 0:01:53 | 0:01:56 | |
You are in the money! | 0:01:56 | 0:01:59 | |
Well, we have an army of experts with us and an arsenal of items, | 0:02:02 | 0:02:07 | |
so let's get going and see what Christina has found. | 0:02:07 | 0:02:11 | |
-Stuart and Janine, you're both bell ringers? -Yes. -And you've rung here before? -Yes. No! Sorry. | 0:02:12 | 0:02:19 | |
Can we do that again, please? | 0:02:19 | 0:02:22 | |
Don't lie! | 0:02:22 | 0:02:25 | |
We have rung in a cathedral. Brecon Cathedral. | 0:02:25 | 0:02:29 | |
-A couple of years ago. -Wonderful. -We'd like to ring here. | 0:02:29 | 0:02:34 | |
-So from that to the spoils of war. -Yes, what a difference! -Very different. | 0:02:34 | 0:02:39 | |
The bayonets were used for close-contact warfare. You stuck them onto the end of your musket | 0:02:39 | 0:02:46 | |
-and would head towards the enemy. Which is what you did in the queue to Stuart! -Yes! | 0:02:46 | 0:02:51 | |
-You've witnessed how vicious they can be. -Yes. She drew blood getting it out of the bag. | 0:02:51 | 0:02:57 | |
-That one is very sharp. -Sorry, dear. | 0:02:57 | 0:02:59 | |
-Tell me where they have come from. -We don't really know a lot. | 0:02:59 | 0:03:04 | |
-They were brought back by my dad from WWII. -All of them? -Yes. | 0:03:04 | 0:03:09 | |
-We brought them down from the loft. "I didn't know you had those!" -I'm quite glad we're selling them. | 0:03:09 | 0:03:16 | |
-Now she knows, she might use one on me. -It's a good job we're taking them away. | 0:03:16 | 0:03:21 | |
-Yes, thank you. -Just get rid of them! | 0:03:21 | 0:03:24 | |
We've got a real history of warfare just on this table, really. | 0:03:24 | 0:03:29 | |
A great spread from the Boer Wars through to the Second World War. | 0:03:29 | 0:03:33 | |
That's why it surprised me when you said your father brought them all back from the Second World War. | 0:03:33 | 0:03:40 | |
Maybe at that time they were so desperate for weapons that some recycling was going on | 0:03:40 | 0:03:45 | |
and they used earlier examples. There is a little bit of information on the blades | 0:03:45 | 0:03:51 | |
that tells us this one here has got a coronet and VR, for Victoria, | 0:03:51 | 0:03:56 | |
so it's a British example, Victorian. End of the 19th century. | 0:03:56 | 0:04:01 | |
-Sadly, no scabbard. -No. Never has been. | 0:04:01 | 0:04:06 | |
-Then this Second World War German example -Oh, it's German? | 0:04:06 | 0:04:10 | |
This is German, yes. This is probably the best example, even though it's the latest. | 0:04:10 | 0:04:16 | |
This blue steel blade is an indication of quality. | 0:04:16 | 0:04:20 | |
-It indicates an incredibly good maker and nice to have a scabbard there. -Very sharp. -Very sharp. | 0:04:20 | 0:04:27 | |
Market-wise, we will get interest. It's a slightly limited market. | 0:04:27 | 0:04:31 | |
I think, at auction, I would say we're looking somewhere in the region of maybe £80-£120. | 0:04:31 | 0:04:38 | |
But because it is quite a niche market, maybe setting a reserve at maybe 70, | 0:04:38 | 0:04:44 | |
with some discretion. How would you feel about that? | 0:04:44 | 0:04:47 | |
-Great. I didn't think they were worth that much. -Fine with me. -OK. | 0:04:47 | 0:04:53 | |
-Just get rid of them. -And for my safety, thank you! -Take them away. Brilliant. | 0:04:53 | 0:04:59 | |
-If you're happy to sell them, we'll include them in the auction. -Great. | 0:04:59 | 0:05:03 | |
-Thank you. -Thank YOU. | 0:05:03 | 0:05:05 | |
In keeping with Hereford's military past, these young army cadets were intrigued by some items, | 0:05:05 | 0:05:11 | |
so brought them along to find out a little bit more. | 0:05:11 | 0:05:15 | |
-Have you had a valuation today? -Yeah, he said £600-£800, | 0:05:15 | 0:05:20 | |
but if you found out more about the story, it could go up. | 0:05:20 | 0:05:24 | |
We know what soldier it was. You can look in the archives and build that picture up. | 0:05:24 | 0:05:29 | |
That's quite important. And, Ben, that looks fascinating. Tell me about it. | 0:05:29 | 0:05:35 | |
It's a woven picture, which a soldier has woven himself. | 0:05:35 | 0:05:40 | |
-It's added the places he's been. -When he's been overseas on active duty. -Yeah. | 0:05:40 | 0:05:45 | |
He's woven it to his mum, as a way to communicate. It's not worth a lot, more sentimental value. | 0:05:45 | 0:05:52 | |
Exactly. Some things, the monetary value is outstripped by sentimental value. | 0:05:52 | 0:05:57 | |
That has it in abundance. Thank you for coming in. You might have a career in the services. | 0:05:57 | 0:06:03 | |
This is setting you up for something big, hopefully. | 0:06:03 | 0:06:07 | |
Something's dazzling the crowd at Adam's table. He's joined by Graham. | 0:06:07 | 0:06:11 | |
This is a lovely Edwardian crystal table lamp. Where did you get it from? | 0:06:12 | 0:06:18 | |
It was my mother's, actually. | 0:06:18 | 0:06:21 | |
She inherited this or was given this as a present for her 21st birthday. | 0:06:21 | 0:06:26 | |
And her 21st birthday was in 1939. | 0:06:26 | 0:06:30 | |
-1918? -That's right. -Right. -That's right. | 0:06:30 | 0:06:34 | |
-It was from colleagues where she worked at that time. -I see. | 0:06:34 | 0:06:38 | |
So we've had it in the family ever since. It's not really for us. | 0:06:38 | 0:06:43 | |
We put it in a sort of dining room, but the light on it isn't that great. | 0:06:43 | 0:06:48 | |
No, they don't give off a good light at all. When they're lit, | 0:06:48 | 0:06:52 | |
the pattern that they give off on a wall is quite striking, beautiful really. | 0:06:52 | 0:06:58 | |
-Is that your wife watching? -It is. -Does she like it? -No, she doesn't. -She doesn't like it. | 0:06:58 | 0:07:04 | |
-So it's got to be sold? -Yeah. | 0:07:04 | 0:07:07 | |
We see these quite often at auction. They're not a rare thing. | 0:07:07 | 0:07:10 | |
Waterford made them, Edinburgh Crystal, other factories made them. | 0:07:10 | 0:07:15 | |
It's an object of lovely quality, but not rare. | 0:07:15 | 0:07:18 | |
They're typically Edwardian and slightly later. So that ties in with your date. Invariably damaged. | 0:07:18 | 0:07:26 | |
You've got a couple of little chips round the base, | 0:07:26 | 0:07:30 | |
-but when you take the top off, actually this is very heavy, isn't it? -Isn't it? | 0:07:30 | 0:07:35 | |
And when you put it back on, there's always collateral damage | 0:07:35 | 0:07:40 | |
from putting it back on, but yours has survived pretty well. Condition-wise, 7 or 8 out of 10. | 0:07:40 | 0:07:46 | |
Value-wise, let's get down to the dirty question of money. What do you think it's worth? | 0:07:46 | 0:07:52 | |
-Not a clue at all. -Have a guess. -£60? -Ooh! Very good. My job is in danger. | 0:07:52 | 0:07:59 | |
I think it should make towards £100, but my estimate was going to be £60-£100. | 0:07:59 | 0:08:06 | |
-Something like that. -Right. -We should put a reserve on it. We don't want it going for nothing. | 0:08:06 | 0:08:12 | |
-Absolutely. -If it doesn't make 60, maybe... -Take it back. -Take it back. | 0:08:12 | 0:08:17 | |
And present it to your wife as a Christmas present. I'd love to see it in action. | 0:08:17 | 0:08:23 | |
I can't see any switch, so I'm just going to have to summon some mental energy. | 0:08:23 | 0:08:30 | |
-Let's see. -SNAPS FINGERS | 0:08:30 | 0:08:32 | |
-Oh, yes! -Wow! | 0:08:32 | 0:08:34 | |
-Thanks for coming. -Never saw you move! | 0:08:34 | 0:08:37 | |
-Great object. Thank you. -Thanks very much. | 0:08:37 | 0:08:41 | |
Later in the show, we'll give you some tips on lighting design. | 0:08:41 | 0:08:45 | |
-Hi, Anne. -Hi. -Thank you so much for coming in today. | 0:08:45 | 0:08:50 | |
You've brought these rather beautiful amethyst and diamond earrings. Tell me about them. | 0:08:50 | 0:08:56 | |
I inherited them from my father's cousin. Her husband was in the Navy and he served in the Far East. | 0:08:56 | 0:09:02 | |
-So I think he might have bought them out there. -OK. | 0:09:02 | 0:09:07 | |
-He didn't buy them as they are now, did he? -No, they were clips. | 0:09:07 | 0:09:11 | |
-Did she wear them often? -I think so. They had quite a formal life. | 0:09:11 | 0:09:16 | |
They went to lots of dos. | 0:09:16 | 0:09:18 | |
-And you've had them converted. -Yes, into earrings. -OK. | 0:09:18 | 0:09:23 | |
-And do you wear them as earrings? -Once, to a dinner dance. | 0:09:23 | 0:09:28 | |
My lifestyle now is in the country, walking dogs over muddy fields, and my garden. | 0:09:28 | 0:09:33 | |
And they're a bit too smart for doing the gardening. | 0:09:33 | 0:09:39 | |
-I think you'd get a few stares! -I think you might, yes, definitely. | 0:09:39 | 0:09:43 | |
-They are 18-carat. -Mm-hm. -Stamped 750 at the back. | 0:09:43 | 0:09:48 | |
And you've got diamonds all around the outside and an amethyst in the middle. They look Art Deco, | 0:09:48 | 0:09:54 | |
but I think they're slightly later. They pick up elements of Art Deco with their sun ray motif there, | 0:09:54 | 0:10:01 | |
but I think date-wise we're probably looking more at 1940s, 1950s, | 0:10:01 | 0:10:06 | |
-something like that. Would that tie in? -It would. They married about 1952. | 0:10:06 | 0:10:12 | |
-The trend these days is for perhaps more modest, more discreet jewellery. -Yes. -Although I'd say | 0:10:12 | 0:10:19 | |
-that they are quite large, aren't they? -Yes. -Quite wide. -Be nice for a footballer's wife! | 0:10:19 | 0:10:25 | |
-I'm not sure... -A lot of bling! | 0:10:27 | 0:10:30 | |
I think you're right. They are very blingy. Rather spectacular. | 0:10:30 | 0:10:33 | |
But having said that, the amethysts are lovely, the diamonds are nice and bright. | 0:10:33 | 0:10:40 | |
If they were all brilliant cuts, it would be wonderful. Sadly, they're not. What's your expectation? | 0:10:40 | 0:10:46 | |
-I really don't know. I would have thought perhaps £150? -OK. We can do slightly better. | 0:10:46 | 0:10:52 | |
I would hope, anyway. I think, at auction, because jewellery is very popular, | 0:10:52 | 0:10:57 | |
-we're looking at an estimate of maybe £200-£300, with a reserve of £200. -That's amazing. -Good? -Yes! | 0:10:57 | 0:11:05 | |
-Thank you very much. -Thank you. | 0:11:05 | 0:11:07 | |
I tell you what, it's absolute mayhem inside there. Hundreds of people with thousands of antiques. | 0:11:09 | 0:11:16 | |
We've definitely got our work cut out, but we're halfway through and have our items for auction. | 0:11:16 | 0:11:23 | |
This is where anything could happen. This could get very exciting. | 0:11:23 | 0:11:27 | |
We're making our way to Philip Serrell's sale room. | 0:11:27 | 0:11:31 | |
These bayonets from the Boer War to the Second World War would be a great starting lot for a collector. | 0:11:31 | 0:11:37 | |
And will it be lights out for Graham? | 0:11:40 | 0:11:43 | |
Let's hope the people of Malvern are into their bling because these diamonds make quite a statement. | 0:11:45 | 0:11:51 | |
Today our auction room is not far from the Malvern Hills. | 0:11:54 | 0:11:58 | |
This eight-mile craggy ridge is like a mini mountain range. George Mallory walked them in preparation | 0:11:58 | 0:12:05 | |
for his ascent on Everest. | 0:12:05 | 0:12:08 | |
But it's back down to earth at auction. | 0:12:10 | 0:12:13 | |
What an atmosphere! All the ingredients of a classic auction. | 0:12:13 | 0:12:17 | |
We've got some wonderful things going under the hammer. Let's hope they climb as high as the hills. | 0:12:17 | 0:12:23 | |
The sky is the limit. | 0:12:23 | 0:12:25 | |
Philip Serrell's auction house charges 18% commission to buyers and 16.5% to sellers. | 0:12:25 | 0:12:32 | |
On the day, you can pay by cash, cheque or card. | 0:12:32 | 0:12:35 | |
Just like your local supermarket. | 0:12:35 | 0:12:38 | |
First up, it's those bayonets. | 0:12:39 | 0:12:42 | |
-It's a sensible estimate, £80-£120. -I hope so. Militaria is a bit tricky, isn't it? -Yes. | 0:12:42 | 0:12:48 | |
It's a very narrow collecting field. | 0:12:48 | 0:12:51 | |
I just hope with the internet exposure and a packed sale room... | 0:12:51 | 0:12:55 | |
There should be some interest. Why are you selling these, Stuart? | 0:12:55 | 0:12:59 | |
-Well... -Dangerous thing to have! -What can you do with a bayonet except kill somebody? | 0:12:59 | 0:13:05 | |
-There's lots of people I'd like to kill! -It's difficult to get attached to a bayonet. Not sentimental! | 0:13:05 | 0:13:13 | |
Let's hope we are in the cutting edge right now. Let's find out what this packed room of bidders thinks. | 0:13:13 | 0:13:20 | |
They're going under the hammer now. | 0:13:20 | 0:13:23 | |
Four various bayonets. Two with scabbards. As you see them. | 0:13:23 | 0:13:28 | |
What will you give me for those? £100 to start? 100? | 0:13:28 | 0:13:32 | |
-What's he starting with? -100. -£40 bid. At 40. -There's someone. | 0:13:33 | 0:13:38 | |
The chap in the red t-shirt. | 0:13:38 | 0:13:41 | |
There's the bid in the room at 80. 90 is it, on the 'net? | 0:13:41 | 0:13:45 | |
At £80 only. The bid's in the room just there. | 0:13:45 | 0:13:49 | |
At £80 only. 80 bid. I'll take 90 anywhere. | 0:13:49 | 0:13:53 | |
-At £80. -Selling them at 80. | 0:13:53 | 0:13:55 | |
That's good. Oh, 90! | 0:13:55 | 0:13:59 | |
90 bid. £90. At £90. 90. | 0:13:59 | 0:14:02 | |
Is there any more? At £90. | 0:14:02 | 0:14:05 | |
Here's the bid. At £90 and I sell then at £90 and done. | 0:14:05 | 0:14:10 | |
-Thank you. -Hammer's gone down at £90. Very good estimate. | 0:14:10 | 0:14:14 | |
-An internet bid. -And you're happy? -I'm happy. -Well done, Stuart. | 0:14:14 | 0:14:18 | |
-Fantastic. -Thanks very much. | 0:14:18 | 0:14:21 | |
Stuart's wife is even happier to have them out of the house. | 0:14:21 | 0:14:25 | |
Next up, the bling earrings. | 0:14:25 | 0:14:27 | |
Something for the ladies right now. We've got two earrings, amethysts and diamonds. | 0:14:27 | 0:14:33 | |
-Do you wear them at all? -Once. -Just once. -They pinch! | 0:14:33 | 0:14:37 | |
-Do they pinch? -You long to take them off! | 0:14:37 | 0:14:40 | |
I think it's so appropriate that they are amethysts. | 0:14:40 | 0:14:45 | |
Purple is a colour that's long been associated with the clergy and we found them in a cathedral. | 0:14:45 | 0:14:51 | |
-It was a lovely day. -It was. -I've got to say this... -I thought your reserve was quite high. | 0:14:51 | 0:14:58 | |
-Oh, OK! -200. I didn't expect that much. | 0:14:58 | 0:15:02 | |
-I'm standing by it. -OK, let's find out what the bidders think. Good luck. | 0:15:02 | 0:15:07 | |
Lot 538 is the pair of earrings with an amethyst, surrounded by a scroll set with diamonds. | 0:15:07 | 0:15:15 | |
There we are. Marked 750. Bid me for those. Bid me £300 to start? | 0:15:15 | 0:15:21 | |
-Bid me 200. -We're looking for the ladies. | 0:15:21 | 0:15:26 | |
At 200. 200. 200. 200. | 0:15:26 | 0:15:28 | |
At 210. | 0:15:28 | 0:15:30 | |
220. 230. 240. | 0:15:30 | 0:15:32 | |
-250. -260. 270. | 0:15:32 | 0:15:34 | |
270. 280. 290. 300. 310. | 0:15:34 | 0:15:38 | |
-Oh...! -310! | 0:15:38 | 0:15:41 | |
320. 330. | 0:15:41 | 0:15:43 | |
-They're nice! -340. 350. 360. 370. | 0:15:43 | 0:15:46 | |
-So he's got... -Phone bids. -And in the room. | 0:15:46 | 0:15:50 | |
-In the room. -I don't believe this. | 0:15:50 | 0:15:53 | |
You are in the money. | 0:15:53 | 0:15:56 | |
420. 430. | 0:15:56 | 0:15:57 | |
440. 450. | 0:15:57 | 0:16:00 | |
460. 470. 480. 490. | 0:16:00 | 0:16:04 | |
500. 520. | 0:16:04 | 0:16:06 | |
-500, Anne. -550. 580. | 0:16:06 | 0:16:09 | |
-600? -600 with us. | 0:16:09 | 0:16:13 | |
£600 on the telephone. £600. At £600 on the telephone. | 0:16:13 | 0:16:17 | |
-£600! -There's the bid at £600. Any more? | 0:16:17 | 0:16:21 | |
At £600 and I sell then... At £600 and done. Thank you. | 0:16:21 | 0:16:26 | |
That's us. 600. | 0:16:26 | 0:16:28 | |
£600. What a fabulous surprise! | 0:16:28 | 0:16:31 | |
-Certainly is! -That is a surprise! Well done, both of you. | 0:16:31 | 0:16:35 | |
-Thank you very much. -I was nervous. -Don't doubt me. | 0:16:35 | 0:16:40 | |
-Don't doubt me. -Never again. | 0:16:40 | 0:16:43 | |
I should have known better! The lady knows her diamonds. | 0:16:43 | 0:16:47 | |
Let's hope this next lot lights up the sale room. A two-piece crystal lamp belonging to Graham. | 0:16:47 | 0:16:53 | |
-We've got £60 to... -60 to 100. It should make £100 in my view. | 0:16:53 | 0:16:57 | |
-Don't you think? -Yes, I do. | 0:16:57 | 0:16:59 | |
-Had any on the programme before? -We've had... -I seem to remember having one myself in London | 0:16:59 | 0:17:05 | |
-when we did Alexandra Palace about 8 years ago. -Yes, we did. | 0:17:05 | 0:17:09 | |
-Good luck. -Thank you very much. | 0:17:09 | 0:17:12 | |
Lot number 605 is the rather nice glass table lamp | 0:17:12 | 0:17:18 | |
with the globe. There you are. Put it in the bidding. | 0:17:18 | 0:17:21 | |
I'm bid £30 for that. 30 bid. | 0:17:21 | 0:17:25 | |
-At 30. £30. Not expensive. -Worth more than that, eh, Graham? | 0:17:25 | 0:17:29 | |
-- I think so! -I agree. -- 40. £50. At 50. | 0:17:29 | 0:17:34 | |
One more now somewhere. | 0:17:34 | 0:17:36 | |
At £50 only. Is there any more at all? One more anywhere? | 0:17:36 | 0:17:41 | |
Not expensive, this, at £50. Any more at all? | 0:17:41 | 0:17:45 | |
-At £50. Any more? -Not selling. -I'm sorry. I haven't done it. | 0:17:45 | 0:17:49 | |
-Really sorry. -Not a problem. | 0:17:49 | 0:17:51 | |
-It's worth that, I promise you. -What are you going to do with it? | 0:17:51 | 0:17:56 | |
Once we decided we'd put it into auction, my daughter said, "I quite like that, Dad." | 0:17:56 | 0:18:01 | |
-Oh! -So she can have it. -She can inherit it! Good for you. -So a good result in that way. | 0:18:01 | 0:18:07 | |
Period lights make a real statement and it looks like Graham's daughter will enjoy this Edwardian lamp. | 0:18:07 | 0:18:14 | |
It got me thinking about how the right design can light up your home. | 0:18:14 | 0:18:20 | |
If you're thinking about changing the lighting in your house, | 0:18:27 | 0:18:31 | |
why not consider a period piece that reflects not only light but a moment in history? | 0:18:31 | 0:18:37 | |
Whilst most people couldn't afford a Georgian chandelier, hundreds of designs are collectables. | 0:18:37 | 0:18:43 | |
Each object tells the story of design, technology and social history. | 0:18:43 | 0:18:50 | |
So today we're going to trip the light fantastic together as we look through centuries of lighting, | 0:18:50 | 0:18:56 | |
starting with the humble rushlight. | 0:18:56 | 0:18:58 | |
This simple design was a historic revelation. | 0:18:58 | 0:19:02 | |
It turned the open flame into a home-made candle. | 0:19:02 | 0:19:06 | |
What you did was you cut your bulrushes, | 0:19:06 | 0:19:10 | |
you'd dry them outside, let the wind blow right through them, cut them to a feasible length, | 0:19:10 | 0:19:16 | |
about that length, strip them down to the pith, then dip them in leftover goose fat or duck fat | 0:19:16 | 0:19:23 | |
from your meal. You then put them in here like this | 0:19:23 | 0:19:29 | |
and then you light it. | 0:19:29 | 0:19:31 | |
It was clean | 0:19:34 | 0:19:36 | |
and easy to use lighting. | 0:19:36 | 0:19:38 | |
If you're feeling really extravagant and wanted twice as much light, you light the other end. | 0:19:38 | 0:19:44 | |
Like so. | 0:19:46 | 0:19:48 | |
And that's where we get the phrase "burning the candle at both ends". | 0:19:48 | 0:19:53 | |
The next big development in lighting came with the wax candle | 0:19:56 | 0:20:00 | |
and how those flamboyant Georgians presented them. To tell us about it is Karen Wallace Smith, | 0:20:00 | 0:20:06 | |
a real bright spark on the history of lighting, as she owns an antique lighting restoration shop. | 0:20:06 | 0:20:13 | |
Well, we're surrounded by beautiful, sparkling chandeliers. | 0:20:17 | 0:20:22 | |
The church have used this design for a long time, but how did the Georgians take this and develop it? | 0:20:22 | 0:20:28 | |
Suddenly there were techniques available with glass that meant that designs just changed. | 0:20:28 | 0:20:35 | |
-They blossomed. -Yeah. Along with the social change, it meant it became fashionable to dine in the evening. | 0:20:35 | 0:20:42 | |
And in addition to that, the glass tax and candle tax meant that a chandelier was | 0:20:42 | 0:20:48 | |
-the ultimate extravagant item to have in your house. -The elite thing. | 0:20:48 | 0:20:53 | |
Invite everyone round for supper, light 100 candles and everybody knew that you were really wealthy. | 0:20:53 | 0:20:59 | |
They had a lot of technical changes, which meant that for the first time | 0:20:59 | 0:21:04 | |
chandeliers could be developed in the style that we see here. | 0:21:04 | 0:21:09 | |
-They were able to be much grander, larger, dripping in crystal. -With an eight-branch arm? -Yeah. | 0:21:09 | 0:21:15 | |
-Snake arms. -Are there many Georgian chandeliers on the market? | 0:21:15 | 0:21:19 | |
They do come up, but they are rare. They're worth hundreds of thousands, individually. | 0:21:19 | 0:21:25 | |
If you get a set, such as in the Assembly Rooms in Bath, they're worth many millions. | 0:21:25 | 0:21:31 | |
I wouldn't mind one of those in my front room! | 0:21:31 | 0:21:34 | |
The rich Georgians may have enjoyed the decadence and the flamboyance of the crystal chandelier, | 0:21:39 | 0:21:45 | |
but it was the Victorians who witnessed the first big step in the history of the life of lighting | 0:21:45 | 0:21:52 | |
with the invention of the gas lamp. | 0:21:52 | 0:21:54 | |
And for the very first time candles could now be replaced with a light that would last infinitely longer. | 0:21:54 | 0:22:00 | |
But like most new inventions, there were teething problems. | 0:22:01 | 0:22:06 | |
The coal gases used in some lamps, very much like this one which dates to the 1880s, | 0:22:06 | 0:22:12 | |
used a highly flammable and toxic combination of gases likely to cause carbon monoxide poisoning | 0:22:12 | 0:22:18 | |
and it's thought that the Victorian image of a woman fainting | 0:22:18 | 0:22:22 | |
was more likely down to the lack of oxygen in the room, | 0:22:22 | 0:22:25 | |
rather than somebody making a risque comment to them or their corset was too tight. | 0:22:25 | 0:22:31 | |
But look, that's what everybody had in the 1880s. | 0:22:31 | 0:22:34 | |
You certainly wouldn't want to trust it, would you? Not today. | 0:22:34 | 0:22:38 | |
An elegant solution to the problem caused by gas lighting was the rise and fall of the gasolier. | 0:22:38 | 0:22:45 | |
You can imagine it, can't you, over the billiard table. | 0:22:45 | 0:22:49 | |
But gas lamps were brighter, 20 times brighter than candlelight, in fact, and people loved them. | 0:22:53 | 0:23:00 | |
They could stay up late into the night reading their newspapers and books | 0:23:00 | 0:23:04 | |
and that remained the most popular source of lighting until something extinguished their flames. | 0:23:04 | 0:23:10 | |
Poets called it the end of the romantic era. | 0:23:11 | 0:23:14 | |
Social commentators predicted life would become faster and less simple with its presence | 0:23:14 | 0:23:21 | |
and when Edison threw a switch that lit 800 light bulbs in Manhattan, people were aghast. | 0:23:21 | 0:23:27 | |
But at first, electricity didn't come cheap. It wasn't until 1926 and the National Grid | 0:23:27 | 0:23:33 | |
that electric light could shine throughout homes in the UK. | 0:23:33 | 0:23:37 | |
And once it became commonplace, homes would never be the same again. | 0:23:37 | 0:23:42 | |
The unsteady flicker of the gas lamps had been replaced by bright, clean, constant light. | 0:23:51 | 0:23:58 | |
Gone were the days of the smelly gas lamps and the candles that burnt down in ten minutes. | 0:23:58 | 0:24:04 | |
People could now work right through the night. | 0:24:04 | 0:24:07 | |
The streets were illuminated. The nights were no longer dark. | 0:24:07 | 0:24:11 | |
The world would never look the same again. | 0:24:11 | 0:24:16 | |
With the advent of electricity came the blossoming of design. | 0:24:17 | 0:24:21 | |
Chandeliers were renamed electroliers and the fashion | 0:24:21 | 0:24:25 | |
was to show off the electrical workings on the outside of the design. | 0:24:25 | 0:24:30 | |
As the 20th century moved through trends such as Arts and Crafts and Art Deco, | 0:24:30 | 0:24:35 | |
they were reflected in people's choice of lighting. | 0:24:35 | 0:24:39 | |
And now those early pieces are finding their way into the Flog It valuation days | 0:24:39 | 0:24:44 | |
from a tasteful piece of Troika which sold for £150 | 0:24:44 | 0:24:48 | |
to a rather kitsch toucan. | 0:24:48 | 0:24:50 | |
And so to today and the LED which is enabling another leap forward in design. | 0:24:52 | 0:24:57 | |
Who would have thought that these industrial lamps from eastern Europe would be all the rage? | 0:24:57 | 0:25:03 | |
Many hands have made light work over the century, | 0:25:03 | 0:25:06 | |
so why not embrace something different and head to a restoration yard or antique lighting shop | 0:25:06 | 0:25:12 | |
and flick a new switch? | 0:25:12 | 0:25:14 | |
Right now, it's back to the valuation day at the historic Hereford Cathedral. | 0:25:18 | 0:25:24 | |
There's been a place of worship on the cathedral site ever since the 8th century, | 0:25:24 | 0:25:29 | |
although the earliest part that remains today is from the 11th century Lady Chapel. | 0:25:29 | 0:25:35 | |
And from the fine stonework of the cathedral arches | 0:25:35 | 0:25:39 | |
to the delicate woodwork of a master craftsman. | 0:25:39 | 0:25:42 | |
-Lorena, this is one of the nicest things I have seen on this show for a long time. -I'm pleased to hear it. | 0:25:45 | 0:25:51 | |
I hope I give you a little surprise later on and for you behind listening. This is rather special. | 0:25:51 | 0:25:57 | |
How did you come by it? | 0:25:57 | 0:25:59 | |
I inherited it from my maiden aunt who I assume went about buying pieces of antique as investments. | 0:25:59 | 0:26:06 | |
What you normally find with miniature pieces of furniture | 0:26:06 | 0:26:10 | |
are they are normally made by an apprentice or by a cabinet-maker | 0:26:10 | 0:26:14 | |
as a small working model for something he can produce full-scale for a client. | 0:26:14 | 0:26:19 | |
-This doesn't fit that category. -I didn't think it did. -This was made for one specific reason. | 0:26:19 | 0:26:25 | |
It's been made by a master cabinet-maker. | 0:26:25 | 0:26:28 | |
You can see a pine interior. You can see how light the wood is. It's a very cheap carcass wood. | 0:26:28 | 0:26:34 | |
But look at the wonderful little dovetails. Can you see that? | 0:26:34 | 0:26:39 | |
-All hand-cut. -I've been looking at them for years. -With a tiny tenon saw. | 0:26:39 | 0:26:44 | |
Can you see that very fine line, two millimetres thick? That's a hand-cut veneer, a piece of Cuban mahogany. | 0:26:44 | 0:26:50 | |
You have this wonderful, book-matched flame curl. | 0:26:50 | 0:26:54 | |
Every single side of this little chest of drawers, and I'm going to give it away to the camera now, | 0:26:54 | 0:27:00 | |
has been veneered, and then we come to the back. | 0:27:00 | 0:27:03 | |
Now, that tells me it's meant to be fastened and secured. | 0:27:03 | 0:27:08 | |
Can you see that with that little turnscrew? | 0:27:08 | 0:27:11 | |
All hand-cut. If you unscrew that, that will then attach to the side of a table... | 0:27:11 | 0:27:17 | |
-Have you got the drawers tight? -I have. | 0:27:17 | 0:27:19 | |
-You've not done this before? -No, I've never seen it like that before. | 0:27:19 | 0:27:24 | |
I'll hold that for one second like that because that's how it's meant to be. | 0:27:24 | 0:27:29 | |
You then work at this from the front. | 0:27:29 | 0:27:32 | |
A seamstress, or an officer's wife maybe, | 0:27:32 | 0:27:36 | |
would unpick all the gold on the officers' tunics, | 0:27:36 | 0:27:41 | |
on the epaulettes, on the cuffs. | 0:27:41 | 0:27:43 | |
You'd sit there and unpick this. | 0:27:43 | 0:27:45 | |
And just here there's fragments of the red silk. This would have been covered in a bright red silk. | 0:27:45 | 0:27:51 | |
And I'd say that dates to around about 1805, | 0:27:51 | 0:27:56 | |
1815, somewhere like that, 1820s. | 0:27:56 | 0:27:59 | |
Very nice. And are these little knobs ivory? | 0:27:59 | 0:28:03 | |
They're all ivory and original. Have you any idea what that's worth? | 0:28:03 | 0:28:07 | |
No, I have no idea whatsoever. | 0:28:07 | 0:28:11 | |
I think it's safe to say we put this into auction with a value of... | 0:28:11 | 0:28:15 | |
-Any idea? What do you think this might be worth? -500? | 0:28:15 | 0:28:19 | |
-500. Yeah, you're spot-on, really. -Oh! | 0:28:19 | 0:28:21 | |
I was going to say we'll put it into auction with a value of £600 to £800. | 0:28:21 | 0:28:27 | |
That would be wonderful. | 0:28:27 | 0:28:29 | |
-I'd like to do the top end. -I can't believe it. I just can't believe it. | 0:28:29 | 0:28:34 | |
We'll put a fixed reserve of £500 on this. | 0:28:34 | 0:28:38 | |
-That's wonderful. -Lorena, thank you for bringing this in. | 0:28:38 | 0:28:41 | |
-It's been a pleasure. -We're going straight to auction with this and this will be top drawer! | 0:28:41 | 0:28:46 | |
The ivory handles of this chest of drawers would cause a problem if they were made after 1947 | 0:28:46 | 0:28:53 | |
because of the ivory laws, but as this was made in the early 19th century, there is no problem. | 0:28:53 | 0:28:58 | |
We can take it off to auction. Right now the cameras are rolling with Adam, Janet and... | 0:28:58 | 0:29:04 | |
A lovely elephant clock. | 0:29:04 | 0:29:07 | |
-Yes. -Do you like it? -I love it. -I love it too. | 0:29:07 | 0:29:11 | |
-Why are you selling it then? -Because my children are going to put it all in a skip if anything happens to us. | 0:29:11 | 0:29:17 | |
-They've told you that? -Yeah. -You really believe that? -They did put their arm round me at the time. | 0:29:17 | 0:29:23 | |
-And said, "Mother..." -"Don't worry about it." I didn't want them falling out over things. | 0:29:23 | 0:29:28 | |
-How many children do you have? -Two. -And they really wouldn't want it? | 0:29:28 | 0:29:33 | |
No, they wouldn't want it. They're not into that, really. | 0:29:33 | 0:29:36 | |
One's into boats and one's into... | 0:29:36 | 0:29:39 | |
..money! LAUGHTER | 0:29:40 | 0:29:42 | |
Where did you get it from for a start? | 0:29:42 | 0:29:45 | |
It came from the Isle of Wight | 0:29:45 | 0:29:47 | |
where my mother used to look after an old army captain... | 0:29:47 | 0:29:52 | |
-OK. -..who died when he was about 92 or 93. | 0:29:52 | 0:29:56 | |
I always admired it in his house, so I asked my mother if I could have it and she gave it to me then. | 0:29:56 | 0:30:03 | |
-What do you know about the army captain and where he might have got it from? -He was over in India. | 0:30:03 | 0:30:09 | |
-Do you think that's an Indian elephant? -It is, because of the small ears. -I thought so. | 0:30:09 | 0:30:14 | |
Did you hear any of his stories? | 0:30:14 | 0:30:16 | |
Many of them. There was this rogue elephant and they were going to shoot it. | 0:30:16 | 0:30:21 | |
He said, "No, I'll have a look at it first," so they chained it between two trees, so it didn't stampede, | 0:30:21 | 0:30:27 | |
and they lifted its hoof and found out that there was a piece of wood in its foot. | 0:30:27 | 0:30:33 | |
-So it had a splinter? -It had a splinter. | 0:30:33 | 0:30:36 | |
-So he dug it out and bandaged it all up and the elephant... -That's a remarkable story, isn't it? | 0:30:36 | 0:30:42 | |
The elephant recognised him from then on. | 0:30:42 | 0:30:45 | |
That adds so much more significance to the object. | 0:30:45 | 0:30:48 | |
We could have launched into telling you what it was, what it's worth and off to the auction with it. | 0:30:48 | 0:30:54 | |
It's an object that... You see great big ones four times the size in gilt bronze. | 0:30:54 | 0:30:59 | |
And this one is the one that was made... | 0:30:59 | 0:31:02 | |
I suppose the ordinary one that was made for the domestic market, for people to have in their homes. | 0:31:02 | 0:31:08 | |
It's not bronze, it's made from spelter, but they were made en masse, mass-produced, really. | 0:31:08 | 0:31:14 | |
-A German firm mainly made them, one called Junghans. -Oh, right. | 0:31:14 | 0:31:17 | |
This is almost certainly made in Germany, circa 1900. | 0:31:17 | 0:31:22 | |
And the mystery about it is that when we rock it, | 0:31:22 | 0:31:25 | |
it appears to be the pendulum, but in fact, it's kidology, | 0:31:25 | 0:31:29 | |
it's just a clock and everything is wound on the back there. | 0:31:29 | 0:31:32 | |
-Yeah. -Any idea what it's worth? | 0:31:32 | 0:31:34 | |
I saw one on Antiques Roadshow, something in the region of 200. | 0:31:34 | 0:31:39 | |
Well, that would be good going. | 0:31:39 | 0:31:42 | |
I think it might be a hard tusk... sorry, task, to get to £200 for it. | 0:31:42 | 0:31:47 | |
-Shall we put 100 on it, discretion, 10% or not? -No. -No? 100 fixed? | 0:31:47 | 0:31:52 | |
I know the auctioneer will do his best. | 0:31:52 | 0:31:55 | |
-So, put 100 to 150. -Right, OK. -And take her off to auction. | 0:31:55 | 0:31:59 | |
-Can I move the pendulum round? -Yeah. -I'm dying to see it swing. There we are. | 0:31:59 | 0:32:04 | |
-Wonderful. -Now it should be working. -Yes, but it's not. -But it's not. | 0:32:04 | 0:32:09 | |
We hope Janet had a memorable day. We know the elephant won't forget. | 0:32:09 | 0:32:14 | |
Christina is very excited about these little bunnies. | 0:32:16 | 0:32:20 | |
Margaret, you've made my day bringing these in to me. | 0:32:22 | 0:32:26 | |
I have seen these in books, but never in real life. | 0:32:26 | 0:32:29 | |
-Do you know how rare they are? -No. -As rare as hen's teeth. | 0:32:29 | 0:32:32 | |
-Or as rare as a rabbit teapot! -Oh, great. | 0:32:32 | 0:32:35 | |
-Tell me where they've come from. -I've known them all my life. | 0:32:35 | 0:32:40 | |
-I assume that they came from my godmother. -Right. | 0:32:40 | 0:32:43 | |
It could have been a christening present or anything like that. | 0:32:43 | 0:32:47 | |
-What sort of era are we talking? -I'm 60 now, 61, so it's a while ago, really. | 0:32:47 | 0:32:53 | |
OK, right. They date to pre-war, so 1930s, something like that. | 0:32:53 | 0:32:58 | |
-The designs were developed by a nun called Barbara Vernon. -Oh, right. | 0:32:58 | 0:33:05 | |
She was the daughter of a man called Cuthbert Bailey who was one of the managers at Royal Doulton. | 0:33:05 | 0:33:11 | |
-Right. -Cuthbert, bless him, asked Charles Noke, who was a very famous designer of Royal Doulton, | 0:33:11 | 0:33:17 | |
better known for his Flambe Wares, to design teapots based on his daughter's sketches. | 0:33:17 | 0:33:24 | |
-OK? So this is the end result. -How lovely! | 0:33:24 | 0:33:28 | |
These are also the precursors to the Bunnykins. | 0:33:28 | 0:33:31 | |
So it all links together and these are a Bunnykins collector's dream. | 0:33:31 | 0:33:37 | |
They really are the first Bunnykins figures, if you like, | 0:33:37 | 0:33:41 | |
but in a utilitarian teapot, creamer and sugar bowl. | 0:33:41 | 0:33:44 | |
So let's have a little look just to confirm my suspicions. We'll take the cover off, look at the bottom. | 0:33:44 | 0:33:50 | |
Yes, lovely mark. We've got the nice Royal Doulton mark with the Bunnykins either side. | 0:33:50 | 0:33:56 | |
It's great that we've got that mark. Collectors will love that. | 0:33:56 | 0:33:59 | |
When the war came, of course, in 1939, production stopped and it never started again, | 0:33:59 | 0:34:05 | |
so these are incredibly rare. | 0:34:05 | 0:34:07 | |
-Good grief! -You don't see them very often at all. | 0:34:07 | 0:34:10 | |
-We do have a problem with this. We've both spotted it. -There is a tiny chip. | 0:34:10 | 0:34:15 | |
It's not really a tiny chip, sadly. | 0:34:15 | 0:34:17 | |
We've got this... The sugar bowl with this lovely painted face here, | 0:34:17 | 0:34:22 | |
we've actually got a crack that runs from the rim right down through the body. | 0:34:22 | 0:34:27 | |
-That is going to affect the value. -That will affect it. -Collectors want them in mint condition. | 0:34:27 | 0:34:33 | |
-For them to make in excess of £1,000, they need to be in very, very good condition. -Absolutely. | 0:34:33 | 0:34:39 | |
-Value-wise, because of that, we want to be just scaling it back a little bit. -Yeah. | 0:34:39 | 0:34:44 | |
And perhaps at auction, I still think it will fetch in the region of maybe £500 to £700. | 0:34:44 | 0:34:49 | |
-Right. -And I'd be happy to put a reserve on it of maybe £500. | 0:34:49 | 0:34:53 | |
How would you feel about that? | 0:34:53 | 0:34:56 | |
-Happy? -Yes, I think so. -Yeah? -Yes. | 0:34:56 | 0:34:59 | |
I think this at the moment is very worrying. | 0:34:59 | 0:35:02 | |
-Right. -Almost a chip is more forgiving, but a crack means the body is actually unstable. | 0:35:02 | 0:35:07 | |
-So that is worrying. -Yes. -But 500 to 700 with a reserve of 500. | 0:35:07 | 0:35:12 | |
Let's hope it goes for more. I hope it goes for more. I really do. I hope I'm wrong. | 0:35:12 | 0:35:17 | |
-Let's go for it. -Brilliant. Thank you. -OK. Cheers. | 0:35:17 | 0:35:21 | |
Royal Doulton started producing the Bunnykins clan in the late 1930s | 0:35:21 | 0:35:25 | |
and well, they've been breeding like rabbits ever since, | 0:35:25 | 0:35:29 | |
capturing the imagination of children for generations. | 0:35:29 | 0:35:32 | |
Bunnykins can be bought new from £25 each | 0:35:32 | 0:35:35 | |
and rare designs can fetch anything up to £2,500 at auction. | 0:35:35 | 0:35:40 | |
That's it. Our experts have now found their final items to take off to auction, | 0:35:46 | 0:35:51 | |
so it's time to say a fond farewell to our magnificent host location, Hereford Cathedral. | 0:35:51 | 0:35:57 | |
And coming along with us, Lorena's lovely little sewing accessory. | 0:35:58 | 0:36:03 | |
Time's running out for the pendulum clock. | 0:36:05 | 0:36:09 | |
And keep your eyes on these bunnies. | 0:36:09 | 0:36:12 | |
They're very rare, but that crack could hold them back. | 0:36:12 | 0:36:16 | |
There's still a great deal of hammer action in the Malvern Salerooms. | 0:36:18 | 0:36:22 | |
I'm up here on the rostrum with Philip Serrell. From up here, | 0:36:25 | 0:36:28 | |
you can get a bird's-eye view of what Philip is looking at - a sea of bidders. | 0:36:28 | 0:36:33 | |
He certainly is the master of ceremonies today. | 0:36:33 | 0:36:37 | |
But down there are our owners. I'll catch up with them because we've got a lot coming up right now. | 0:36:37 | 0:36:43 | |
-Janet, you've been sitting on the lovely, comfy chairs throughout the sale... -Excellent day. | 0:36:45 | 0:36:51 | |
-..watching it go along nicely and now it's your turn. -Yeah. | 0:36:51 | 0:36:55 | |
I know you want £100. We're talking about that novelty elephant clock. | 0:36:55 | 0:36:59 | |
-Are you by yourself today? -No, I've come with my husband. -What's his name? -Richard. | 0:36:59 | 0:37:04 | |
He's over there. Give us a wave, Richard. He's got his camera out. Look at this. Ready...? | 0:37:04 | 0:37:10 | |
What have you been up to since we last saw you at the valuation day at the cathedral? | 0:37:11 | 0:37:16 | |
I thought it was a good idea to put it on to Facebook | 0:37:16 | 0:37:19 | |
-to let my friends and family know what's going on. -What you've been up to. | 0:37:19 | 0:37:24 | |
And a niece contacted me and said she wants to keep it in the family and that she would make a bid for it | 0:37:24 | 0:37:30 | |
-Is she here today? -No. -Bidding online? -She's in London. | 0:37:30 | 0:37:33 | |
-So you might be taking it away with you again, but belonging to her. -Somebody else. | 0:37:33 | 0:37:38 | |
-Give her a name check. -Oh, yes. Hi, Wendy. | 0:37:38 | 0:37:41 | |
-Get clicking, Wendy. -Yes, I hope you get lucky as well. | 0:37:41 | 0:37:45 | |
It's going under the hammer right now. | 0:37:45 | 0:37:48 | |
Quite sought-after things, these. | 0:37:48 | 0:37:50 | |
Bid me £100 for it? | 0:37:50 | 0:37:52 | |
100 I'm bid, straight in. | 0:37:52 | 0:37:55 | |
100. 100. 100. 110. | 0:37:55 | 0:37:57 | |
120. 130. 140. | 0:37:57 | 0:38:00 | |
140 in the room. The net's out. At 140. | 0:38:00 | 0:38:03 | |
140. 150. 160. | 0:38:03 | 0:38:06 | |
170. 180. | 0:38:06 | 0:38:09 | |
-In the room at 180. -It's in the room at 180. -Come on, Wendy. -190. 200. | 0:38:09 | 0:38:13 | |
-Yeah, she's there. -£200 only. At 200. 210. | 0:38:13 | 0:38:16 | |
220. | 0:38:16 | 0:38:18 | |
- That's great. - 220. 230. | 0:38:18 | 0:38:22 | |
240. 250. | 0:38:22 | 0:38:25 | |
-260. 270. -Wendy wants it. | 0:38:25 | 0:38:27 | |
I was in touch with some friends in New Zealand | 0:38:27 | 0:38:30 | |
and they said they'd put a bid in as well. | 0:38:30 | 0:38:33 | |
Gosh! | 0:38:33 | 0:38:35 | |
310. | 0:38:35 | 0:38:37 | |
-320. -That is a strong price. -Yeah. -That is. -330. | 0:38:37 | 0:38:41 | |
340. 350. | 0:38:41 | 0:38:44 | |
360. | 0:38:44 | 0:38:46 | |
370. | 0:38:47 | 0:38:49 | |
380. | 0:38:49 | 0:38:52 | |
390. | 0:38:52 | 0:38:54 | |
400, is it? 400. | 0:38:54 | 0:38:57 | |
410. £410. | 0:38:57 | 0:38:59 | |
Is there any more? At 410 on the machine. At £410. | 0:38:59 | 0:39:05 | |
And I sell then at £410... | 0:39:05 | 0:39:07 | |
£410 online. The hammer's gone down. | 0:39:07 | 0:39:10 | |
That's an awful lot of money for a spelter clock. | 0:39:10 | 0:39:14 | |
-I think you have done a marvellous job in marketing that. -I did my best. -You did your best, didn't you? | 0:39:14 | 0:39:20 | |
'From the bronze elephant to wooden furniture.' | 0:39:20 | 0:39:24 | |
-Lorena, it's great to see you again. -Thank you. -I absolutely love what you're wearing. | 0:39:24 | 0:39:29 | |
My mum would like that. I'll ask you where you got that later. | 0:39:29 | 0:39:33 | |
-Who's this? -This is my husband Brian. -Pleased to meet you, Brian. You're wearing blue as well! | 0:39:33 | 0:39:38 | |
Let's talk about the miniature chest of drawers that I fell in love with. | 0:39:38 | 0:39:42 | |
The quality of the veneering was superb and the craftsmanship. | 0:39:42 | 0:39:47 | |
-And the little ivory handles. -It's beautiful. | 0:39:47 | 0:39:50 | |
Let's see what this does. It's down to the bidders. | 0:39:50 | 0:39:53 | |
You've heard what I thought of it. You've got your opinion. This is it. | 0:39:53 | 0:39:57 | |
Lot number 592. | 0:39:57 | 0:40:00 | |
There are sewing accessories and there are sewing accessories. | 0:40:00 | 0:40:04 | |
I think this is absolutely wonderful | 0:40:04 | 0:40:07 | |
Fabulous little lot. Bid me £500 to start? | 0:40:07 | 0:40:10 | |
-£400 only? 400, 400. -Right, we're in | 0:40:12 | 0:40:15 | |
It's always frightening when they say 500 and it goes... | 0:40:15 | 0:40:19 | |
420. 430. 440. | 0:40:19 | 0:40:21 | |
450. | 0:40:21 | 0:40:23 | |
450. 460. | 0:40:23 | 0:40:25 | |
460. 460 with me. | 0:40:25 | 0:40:28 | |
And the net's out. At 460. At 460. 470. | 0:40:28 | 0:40:31 | |
470. 480. | 0:40:31 | 0:40:34 | |
480. The net's out. At 480. 90, just in time. | 0:40:34 | 0:40:39 | |
At 490. At £490. And now me at 500. | 0:40:39 | 0:40:42 | |
-At £500 only. At £500. -Come on! -Any more at all? | 0:40:42 | 0:40:46 | |
At £500. It's had its time and it's done then. At 500 and done... | 0:40:46 | 0:40:51 | |
-Thank you. -It's gone. That's good, isn't it? | 0:40:51 | 0:40:54 | |
-A round figure, £500. -We can work that out. | 0:40:54 | 0:40:57 | |
-That's good, isn't it? Are you happy? -Yes, I'm very pleased. -I'm happy. | 0:40:57 | 0:41:02 | |
'Lorena's overwhelmed with that result. | 0:41:02 | 0:41:05 | |
'Let's hope these bunnies don't dive down a rabbit hole!' | 0:41:05 | 0:41:09 | |
I've just been joined by Christina and Margaret and it's a child's tea set, the Bunnykins. | 0:41:09 | 0:41:14 | |
-Was this yours? -Well, it must have been, yes. -A long time ago? -Yes. | 0:41:14 | 0:41:19 | |
-Why do you want to sell it? -I've only got two sons. -They wouldn't want that. Let's face it, no. | 0:41:19 | 0:41:25 | |
-I wouldn't want my mum to leave me that either. -You'd be grateful of anything! -You like it, don't you? | 0:41:25 | 0:41:31 | |
-I think it's charming. -You said that quite sincerely. -I do, I like it. | 0:41:31 | 0:41:35 | |
-Were you a Bunnykins girl? -A Bunny girl... -Were you a Bunny girl? | 0:41:35 | 0:41:39 | |
LAUGHTER | 0:41:39 | 0:41:41 | |
That's a whole different bunny! | 0:41:41 | 0:41:44 | |
I think they're endearing and I think they should have great appeal because they're so rare. | 0:41:44 | 0:41:49 | |
-The damage worries me. -Yeah. -OK, let's find out, shall we? | 0:41:49 | 0:41:53 | |
-Hopefully, we'll get that sort of figure. -I hope so. The damage worries me, but... | 0:41:53 | 0:41:59 | |
We're going to find out. This is our lot. Here we go. | 0:41:59 | 0:42:02 | |
Bunnykins three-piece tea set. | 0:42:02 | 0:42:05 | |
Will you bid me... | 0:42:05 | 0:42:07 | |
Somebody bid me £800 for it? | 0:42:08 | 0:42:11 | |
Oh, gosh! Gosh, he's started it high! | 0:42:11 | 0:42:15 | |
£500 only. At 500. 520. 550. | 0:42:15 | 0:42:18 | |
580. 600. 620. 650. 680. | 0:42:18 | 0:42:21 | |
700. 720. 750. 780. 800. | 0:42:21 | 0:42:25 | |
-That's wonderful. -820. 850. 880. 900. -They ARE rare. | 0:42:25 | 0:42:29 | |
920. 950. 980. 1,000. And 50. Any more? | 0:42:29 | 0:42:33 | |
1,050. 1,100. There's the bidder. £1,100. | 0:42:33 | 0:42:37 | |
1,150. 1,200. | 0:42:37 | 0:42:40 | |
1,250. 1,300. | 0:42:41 | 0:42:43 | |
1,350. 1,400. | 0:42:44 | 0:42:46 | |
Brilliant. Wow! | 0:42:46 | 0:42:48 | |
Do you know? I wish my mum would leave me something like this! | 0:42:50 | 0:42:54 | |
1,450? 1,450? | 0:42:54 | 0:42:57 | |
Hello? 1,450? | 0:42:57 | 0:43:00 | |
No. There's the bid at £1,400. | 0:43:00 | 0:43:03 | |
-£1,400. -At £1,400, there's the bid. | 0:43:03 | 0:43:06 | |
And I sell then at £1,400 and done, thank you. | 0:43:06 | 0:43:10 | |
-Well, £1,400, the hammer's gone down. -Brilliant. | 0:43:10 | 0:43:13 | |
I'm shaking. I've learnt something. | 0:43:13 | 0:43:16 | |
-Bunnykins. -Bunnykins. That's where the future is! | 0:43:16 | 0:43:20 | |
-Lots and lots of dosh. -Yes. -What will you do with that? | 0:43:20 | 0:43:24 | |
I think I will split it with the two sons. | 0:43:24 | 0:43:27 | |
With the two sons. That's the diplomatic answer. | 0:43:27 | 0:43:31 | |
I'm just selling their inheritance, so I think we'll split it. | 0:43:31 | 0:43:34 | |
They'll love their mum now, won't they? Mum's the best! | 0:43:34 | 0:43:38 | |
'Lucky boys! And lots of happy people in the saleroom. | 0:43:38 | 0:43:42 | |
'That's all the time we have for today, but join us again on Flog It.' | 0:43:42 | 0:43:47 | |
Subtitles by Red Bee Media Ltd | 0:44:09 | 0:44:12 |