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Welcome to the Walker Art Gallery. | 0:00:05 | 0:00:08 | |
It's one of several museums looked after by National Museums Liverpool. | 0:00:08 | 0:00:12 | |
And today, I've got special permission to go behind the scenes | 0:00:12 | 0:00:15 | |
to see how they care for their millions | 0:00:15 | 0:00:17 | |
of often priceless objects that are sometimes in danger | 0:00:17 | 0:00:21 | |
of deterioration or, even worse, falling apart. | 0:00:21 | 0:00:24 | |
All that's to come, but right now, | 0:00:24 | 0:00:25 | |
I've got to get to the other side of the Mersey for our valuations. | 0:00:25 | 0:00:28 | |
Welcome to "Flog It!". | 0:00:28 | 0:00:31 | |
Yes, today's show covers both sides of the river, | 0:00:55 | 0:00:57 | |
an area known as Merseyside. | 0:00:57 | 0:01:00 | |
We're kicking off on the west bank, on the Wirral Peninsula, | 0:01:00 | 0:01:04 | |
whose history has always been shaped by the Mersey, | 0:01:04 | 0:01:07 | |
ever since the 14th century, | 0:01:07 | 0:01:09 | |
when the monks at Birkenhead Priory | 0:01:09 | 0:01:11 | |
started a cross-river ferry service. | 0:01:11 | 0:01:13 | |
The 19th century saw the birth of the area's renowned | 0:01:17 | 0:01:19 | |
shipbuilding tradition, | 0:01:19 | 0:01:21 | |
when John Laird opened his shipyard. | 0:01:21 | 0:01:23 | |
Fast-forward to 1962 | 0:01:26 | 0:01:28 | |
and the world's first commercial hovercraft service began. | 0:01:28 | 0:01:32 | |
Yes, on the Wirral Peninsula! | 0:01:32 | 0:01:34 | |
And overlooking all that history is our valuation day venue - | 0:01:35 | 0:01:39 | |
Wallasey Town Hall. | 0:01:39 | 0:01:40 | |
Today, the good folk of Merseyside | 0:01:43 | 0:01:45 | |
have come from both sides of the river to the town hall | 0:01:45 | 0:01:48 | |
on the Wirral Peninsula for our valuation day. | 0:01:48 | 0:01:50 | |
And judging by the size of this crowd, | 0:01:50 | 0:01:52 | |
I think we're going to be in for a cracking show. | 0:01:52 | 0:01:54 | |
They're here to have their antiques and collectables valued. | 0:01:54 | 0:01:57 | |
And if they're happy with that valuation, what are you going to do? | 0:01:57 | 0:02:00 | |
ALL: Flog it! | 0:02:00 | 0:02:02 | |
And already looking for potential items in the queue | 0:02:03 | 0:02:06 | |
is Nick Davies, | 0:02:06 | 0:02:08 | |
a man in need of some sunglasses. | 0:02:08 | 0:02:10 | |
LAUGHTER | 0:02:10 | 0:02:12 | |
That'll affect the shipping, that will, it's so bright! | 0:02:12 | 0:02:14 | |
-HORN BLARES -Oops, sorry! | 0:02:14 | 0:02:17 | |
However, antiques are like homing beacons | 0:02:17 | 0:02:19 | |
for our other expert, Philip Serrell. | 0:02:19 | 0:02:22 | |
You know, I'm really looking forward to seeing John Lennon's glasses. | 0:02:22 | 0:02:25 | |
I know somebody's got these... There they are! | 0:02:25 | 0:02:27 | |
It's him! He's got 'em. | 0:02:27 | 0:02:29 | |
-Fantastic. -He's got 'em. | 0:02:29 | 0:02:30 | |
I'm going off to find Ringo. | 0:02:30 | 0:02:32 | |
Well, I don't know about A HARD DAY'S NIGHT, | 0:02:33 | 0:02:35 | |
but we've certainly got a good day's work in front of us. | 0:02:35 | 0:02:38 | |
So, let's get everybody inside. | 0:02:38 | 0:02:39 | |
Oh, it's a good job we British know how to queue. | 0:02:42 | 0:02:45 | |
No overtaking or queue-jumping here, I tell you. | 0:02:45 | 0:02:48 | |
But whilst everybody finds their fair place, | 0:02:48 | 0:02:51 | |
I'm going to cheat and jump ahead | 0:02:51 | 0:02:53 | |
and give you a sneak preview | 0:02:53 | 0:02:54 | |
of what's coming up on today's show. | 0:02:54 | 0:02:56 | |
Nick finds an intriguing inscription a little bit maddening. | 0:03:01 | 0:03:05 | |
What happened that night? | 0:03:05 | 0:03:07 | |
We'll never know. | 0:03:07 | 0:03:08 | |
We will never, ever know. | 0:03:08 | 0:03:10 | |
How frustrating! | 0:03:10 | 0:03:12 | |
And Philip has some fun with his valuations. | 0:03:12 | 0:03:15 | |
Have you got a figure in mind for this? | 0:03:15 | 0:03:17 | |
-Well, I have. -Oh... | 0:03:17 | 0:03:20 | |
25 online, 30 bid... | 0:03:21 | 0:03:23 | |
But who will have the last laugh in the saleroom | 0:03:23 | 0:03:26 | |
when more than one of our items | 0:03:26 | 0:03:28 | |
goes on to make several hundred pounds? | 0:03:28 | 0:03:31 | |
Ooh! | 0:03:31 | 0:03:32 | |
No, that's good. | 0:03:32 | 0:03:34 | |
Oh, my goodness. | 0:03:34 | 0:03:35 | |
So, with the hall filling up | 0:03:36 | 0:03:38 | |
and a lovely buzz of anticipation bouncing off the walls, | 0:03:38 | 0:03:41 | |
let's get straight into our first valuation | 0:03:41 | 0:03:44 | |
with Nick, up in the gods. | 0:03:44 | 0:03:46 | |
Well, hello, Phil. | 0:03:47 | 0:03:48 | |
Here we are in Wallasey Town Hall, | 0:03:48 | 0:03:50 | |
a gem of a building. | 0:03:50 | 0:03:52 | |
And you've brought a nice little gem for us as well, here. | 0:03:52 | 0:03:55 | |
Can you tell me a little bit about the bangle? | 0:03:55 | 0:03:57 | |
-You shouldn't use the word "junk", but I... -Right. | 0:03:57 | 0:04:00 | |
It was in a box of various pieces of jewellery, | 0:04:00 | 0:04:04 | |
which I inherited, | 0:04:04 | 0:04:05 | |
and I've always taken a fancy to it. | 0:04:05 | 0:04:08 | |
-But I didn't know any history about it... -Right. | 0:04:08 | 0:04:12 | |
..but I thought it was very pretty. | 0:04:12 | 0:04:14 | |
-But I don't wear blue very much... -Right. | 0:04:14 | 0:04:17 | |
-No, you're all in purple regalia there. -I'm in purple. | 0:04:17 | 0:04:20 | |
Well, I can tell you it's come from where I've come from, | 0:04:20 | 0:04:23 | |
actually, it's come from Birmingham. | 0:04:23 | 0:04:25 | |
-It was made in the Birmingham Jewellery Quarter. -Fantastic. | 0:04:25 | 0:04:28 | |
And it's hallmarked around the edge, so we can date it exactly to 1904. | 0:04:28 | 0:04:32 | |
So, Birmingham Jewellery Quarter was turning out | 0:04:32 | 0:04:34 | |
about a million items a week at this period. | 0:04:34 | 0:04:36 | |
They were, as a manufacturing hub, really prevalent. | 0:04:36 | 0:04:39 | |
Sapphire and sea pearls, | 0:04:39 | 0:04:41 | |
or river pearls, as some people like to call them, | 0:04:41 | 0:04:43 | |
nice graduated colour. | 0:04:43 | 0:04:45 | |
One little problem with it, I think. | 0:04:45 | 0:04:47 | |
I think the centre stone, right in the middle, | 0:04:47 | 0:04:49 | |
has been replaced with a paste stone. | 0:04:49 | 0:04:51 | |
-Yes, it's a different colour altogether. -It's slightly different. | 0:04:51 | 0:04:54 | |
It's a little bit more vibrant, if the truth be told. | 0:04:54 | 0:04:57 | |
Why do you want to sell it? | 0:04:57 | 0:04:58 | |
It means nothing to me. | 0:04:59 | 0:05:00 | |
I just think it's a very pretty thing. | 0:05:00 | 0:05:02 | |
-So you never wanted to wear it yourself? -No, no. | 0:05:02 | 0:05:05 | |
-No? -Not at all. | 0:05:05 | 0:05:06 | |
So, from a valuation point of view, | 0:05:06 | 0:05:08 | |
-I'd probably put around about 100 to 150 on it. -Wow! | 0:05:08 | 0:05:12 | |
So it's not really junk? | 0:05:12 | 0:05:14 | |
No, definitely not junk. | 0:05:14 | 0:05:15 | |
We can use the bottom estimate as a reserve, I think that's fair. | 0:05:15 | 0:05:19 | |
It may go on and do a little bit more. It's a pretty thing. | 0:05:19 | 0:05:22 | |
-As I said, the trouble with it is the replaced stone. -Yes. | 0:05:22 | 0:05:25 | |
And to get that put back right will cost, either a jeweller or someone, | 0:05:25 | 0:05:28 | |
you know, a fair bit of money, to be fair. | 0:05:28 | 0:05:30 | |
But it's a really pretty thing, it should do well. | 0:05:30 | 0:05:33 | |
It'll look after itself on the day. Are you happy with that? | 0:05:33 | 0:05:35 | |
I'd be thrilled, because, obviously, the junk isn't junk. | 0:05:35 | 0:05:38 | |
And that's the beauty of "Flog It!", | 0:05:38 | 0:05:41 | |
you don't know what you could have stashed away | 0:05:41 | 0:05:43 | |
until you bring it along to one of our valuation days. | 0:05:43 | 0:05:46 | |
-Mary, how are you? -All right, fine, Philip. | 0:05:48 | 0:05:51 | |
-This is a bit topical around here, isn't it? -I know, isn't it? | 0:05:51 | 0:05:53 | |
-Where's it come from? -It was an old aunt's. | 0:05:53 | 0:05:56 | |
You've got a great accent, you know. | 0:05:56 | 0:05:57 | |
-So you're a Liverpudlian? -No, I come from Birkenhead, | 0:05:57 | 0:06:00 | |
Prenton, on the Wirral. | 0:06:00 | 0:06:02 | |
-And where has this come from, Mary? -It's came out the loft. | 0:06:02 | 0:06:05 | |
-Out the loft? -Yeah. We're just getting the loft all done | 0:06:05 | 0:06:07 | |
and we come across some pictures belonging to an old aunt, | 0:06:07 | 0:06:11 | |
and, erm, I just thought, "I'd love to go on 'Flog It!' ", so here I am. | 0:06:11 | 0:06:14 | |
Brilliant, here you are. | 0:06:14 | 0:06:15 | |
-That's lovely. -I watch it all the time. | 0:06:15 | 0:06:17 | |
-This is not worth millions, OK? -No. | 0:06:17 | 0:06:19 | |
But I just quite like it. I mean, it's just lovely. | 0:06:19 | 0:06:22 | |
And what I like about this is that | 0:06:22 | 0:06:24 | |
there's a sort of little story going on here, | 0:06:24 | 0:06:26 | |
because this was painted in 1903 by Owens - | 0:06:26 | 0:06:31 | |
-whoever Owens is - certainly not a recorded artist. -No. | 0:06:31 | 0:06:34 | |
But this ship, if you look at it very closely, | 0:06:34 | 0:06:38 | |
can you see there, it says "Panama"? | 0:06:38 | 0:06:40 | |
-Oh, yeah. Yeah. -Right. | 0:06:40 | 0:06:42 | |
The Panama was commissioned in 1902, right? | 0:06:42 | 0:06:46 | |
And this was painted in 1903. | 0:06:46 | 0:06:48 | |
And in 1920, the Panama, | 0:06:49 | 0:06:52 | |
it was taken in as a hospital ship. | 0:06:52 | 0:06:54 | |
So this ship, | 0:06:54 | 0:06:55 | |
which was about for 40 years, | 0:06:55 | 0:06:58 | |
became a hospital ship. | 0:06:58 | 0:07:00 | |
-Oh. -And I just think it's really, really interesting. -Yeah. | 0:07:00 | 0:07:03 | |
-And it's quite primitive. -Yeah. | 0:07:03 | 0:07:05 | |
But the fact that it's round here, | 0:07:05 | 0:07:07 | |
I just think it's got a lovely story to tell. | 0:07:07 | 0:07:09 | |
-So you can't shed any light on this at all? -None whatsoever. | 0:07:09 | 0:07:12 | |
Erm, just handed down. | 0:07:12 | 0:07:14 | |
Just found it in the loft with two other prints | 0:07:14 | 0:07:17 | |
that are not really worth looking at, but I thought this one might be, | 0:07:17 | 0:07:20 | |
-so that's why I'm here today. -What were you hoping it might be worth? | 0:07:20 | 0:07:23 | |
-A meal out or something, really. -What sort of meal do you have? | 0:07:23 | 0:07:26 | |
-About a ton, a couple of bevvies and that, you know? -A couple of bevvies? | 0:07:26 | 0:07:29 | |
Yeah. | 0:07:29 | 0:07:31 | |
-Right, a couple of bevvies and a what? -A meal. -And a meal. | 0:07:31 | 0:07:33 | |
-How much is that? -Or am I just going to go to the chippy? | 0:07:33 | 0:07:36 | |
We might just be going and getting some sandwiches actually. | 0:07:36 | 0:07:39 | |
-It's going to make, my love, somewhere between £30 and £50. -Yeah. | 0:07:39 | 0:07:43 | |
This artist isn't recorded. | 0:07:43 | 0:07:44 | |
-And you need to put a reserve on it of, sort of, £25 firm. -Yeah. | 0:07:44 | 0:07:48 | |
And that protects you, then. | 0:07:48 | 0:07:50 | |
But I just think it's quite a sweet little thing. | 0:07:50 | 0:07:52 | |
-Brilliant. -Not much of a meal really. | 0:07:52 | 0:07:54 | |
No, it'll just get me over to Liverpool to the showroom, won't it? | 0:07:54 | 0:07:57 | |
-Will you just do one more thing for me? -What, love? | 0:07:57 | 0:07:59 | |
-Say "Mersey" again. -Mersey. | 0:07:59 | 0:08:00 | |
I just love that! It's brilliant, isn't it? | 0:08:00 | 0:08:02 | |
And speaking of that great river, | 0:08:02 | 0:08:04 | |
how about we pop outside for a moment | 0:08:04 | 0:08:07 | |
to take in the spectacular scenery? | 0:08:07 | 0:08:09 | |
This has to be one of the most famous rivers in the world | 0:08:11 | 0:08:14 | |
and, historically, that's due of course to Liverpool's Mersey Docks, | 0:08:14 | 0:08:17 | |
Britain's biggest port. | 0:08:17 | 0:08:19 | |
From the 18th century onwards, | 0:08:19 | 0:08:20 | |
it led the way in the transportation of Lancashire coal, | 0:08:20 | 0:08:23 | |
Staffordshire pottery and Welsh sheep, to name but a few. | 0:08:23 | 0:08:26 | |
Nowadays, of course, it's famous for the 1960s music scene, | 0:08:26 | 0:08:30 | |
the Mersey Beat, which gave us | 0:08:30 | 0:08:32 | |
Ferry Across The Mersey. | 0:08:32 | 0:08:34 | |
But it gives us a great excuse to play | 0:08:34 | 0:08:37 | |
that fabulous Mersey Beat music. | 0:08:37 | 0:08:40 | |
# People | 0:08:40 | 0:08:43 | |
# They rush everywhere... # | 0:08:43 | 0:08:46 | |
-How are you? -I'm very well indeed. -It's a busy old day, isn't it? | 0:08:48 | 0:08:52 | |
Not when you've stood outside for an hour waiting to get in. | 0:08:52 | 0:08:54 | |
It's really cold out there. | 0:08:54 | 0:08:56 | |
It's true, there's thousands of folk here. It's really lovely. | 0:08:56 | 0:08:59 | |
And for us it's lovely when you get that volume of people through. | 0:08:59 | 0:09:03 | |
-And I love things like this. -Gorgeous, isn't it? | 0:09:03 | 0:09:06 | |
We've got a steam engine, we've got a tender, | 0:09:06 | 0:09:09 | |
three carriages and a level crossing, | 0:09:09 | 0:09:12 | |
although I'm not quite sure that's got the gate in the right order. | 0:09:12 | 0:09:16 | |
We've got our buffers over there and a track, and we've got some more in | 0:09:16 | 0:09:19 | |
a box down here, so, for me, you know... | 0:09:19 | 0:09:22 | |
Bit of a start for a collection for someone, isn't it? | 0:09:22 | 0:09:25 | |
So, were these yours? | 0:09:25 | 0:09:27 | |
No, they weren't. I work for a local charity and this came | 0:09:27 | 0:09:32 | |
into one of our charity shops. | 0:09:32 | 0:09:34 | |
So this has come in for you to raise money... | 0:09:34 | 0:09:36 | |
It's a little bit of serendipity, yes. | 0:09:36 | 0:09:38 | |
Well, you can see this is Hornby, and the Hornby factory | 0:09:38 | 0:09:41 | |
was set up by Frank Hornby in 1901. | 0:09:41 | 0:09:45 | |
Their first clockwork train came about in about 1920. | 0:09:45 | 0:09:49 | |
But I would guess...this is around 1930, something like that. | 0:09:49 | 0:09:53 | |
That sounds about right. | 0:09:53 | 0:09:55 | |
Hornby's still going today, branded by Meccano. | 0:09:55 | 0:09:58 | |
I think it's interesting. | 0:09:59 | 0:10:00 | |
Condition is everything with these things and this, | 0:10:00 | 0:10:03 | |
-like all toys should be, has been well played with. -Yes. | 0:10:03 | 0:10:07 | |
I think we've had the odd derailment here and there... | 0:10:07 | 0:10:10 | |
-I think loved is the word that's best used. -Absolutely. | 0:10:10 | 0:10:14 | |
In good order, these things could make a couple of hundred pounds, | 0:10:14 | 0:10:17 | |
but in a way...you've got to sell them, haven't you? | 0:10:17 | 0:10:21 | |
We have indeed, and we need the money | 0:10:21 | 0:10:23 | |
so we can keep our charity going, yes. | 0:10:23 | 0:10:24 | |
Well, what I think we should do is put an estimate of £30 to £50. | 0:10:24 | 0:10:29 | |
That sounds fine to me. | 0:10:29 | 0:10:30 | |
That would be fantastic, wouldn't it? | 0:10:30 | 0:10:32 | |
-Absolutely fantastic, yes. -That would be fantastic. | 0:10:32 | 0:10:35 | |
I just love these. I love them. | 0:10:35 | 0:10:38 | |
# Pardon me, boy | 0:10:38 | 0:10:40 | |
-# Is that the Chattanooga Choo Choo? -Yes, yes... # | 0:10:40 | 0:10:43 | |
These collectables make you feel really nostalgic for times gone by. | 0:10:43 | 0:10:47 | |
But we've no time to linger - | 0:10:47 | 0:10:49 | |
let's catch up with expert Nick Davies. | 0:10:49 | 0:10:53 | |
Can you tell me a little bit about the medals, | 0:10:53 | 0:10:55 | |
how you've come about them? | 0:10:55 | 0:10:56 | |
Well, they don't belong to me. | 0:10:56 | 0:10:58 | |
But I acquired them from my mother, | 0:10:58 | 0:11:01 | |
who's been dead now 15 years, | 0:11:01 | 0:11:03 | |
and she had them from her friend before that. | 0:11:03 | 0:11:06 | |
Just been in the loft, my loft. | 0:11:06 | 0:11:08 | |
-They've been stuffed in the loft and forgotten about... -They have. | 0:11:08 | 0:11:11 | |
-..for all these years. It's a bit of a sad tale, really. -Yes. | 0:11:11 | 0:11:14 | |
But one that we should all be very grateful for, as well. | 0:11:14 | 0:11:17 | |
They were awarded to this gentleman. | 0:11:17 | 0:11:18 | |
He was Albert Edward Aston - | 0:11:18 | 0:11:21 | |
lost in action in November 1917 | 0:11:21 | 0:11:24 | |
in the First World War, over in France. | 0:11:24 | 0:11:27 | |
It was a battle in northern France which was the first major | 0:11:27 | 0:11:30 | |
tank battle by the Allies, | 0:11:30 | 0:11:31 | |
so it was an important moment in the war. | 0:11:31 | 0:11:34 | |
It was one of the pivotal battles that shifted strength | 0:11:34 | 0:11:37 | |
from one side to the other. | 0:11:37 | 0:11:38 | |
And he was part of the Machine Gun Corps, | 0:11:38 | 0:11:41 | |
which was... | 0:11:41 | 0:11:42 | |
Must have been pretty gruesome, in those days... | 0:11:42 | 0:11:45 | |
and hard work. | 0:11:45 | 0:11:46 | |
So, we've got a First World War medal pair here. | 0:11:46 | 0:11:49 | |
A typical medal pair. We've got the British War Medal | 0:11:49 | 0:11:52 | |
and the Victory, or Civilisation Medal nearer to me. | 0:11:52 | 0:11:55 | |
The nice thing about it, not only have we got the medals, | 0:11:55 | 0:11:57 | |
but we've got really interesting paperwork, | 0:11:57 | 0:11:59 | |
and this social history really puts flesh on the bones for the medals. | 0:11:59 | 0:12:02 | |
It says here, | 0:12:02 | 0:12:04 | |
"It is my painful duty to inform you | 0:12:04 | 0:12:06 | |
"that having no further news been received..." - | 0:12:06 | 0:12:09 | |
relative to his rank and name - | 0:12:09 | 0:12:11 | |
"..he has been missing since the 30th November 1917." | 0:12:11 | 0:12:16 | |
And they regretfully conclude that he is dead. | 0:12:16 | 0:12:20 | |
-It's a poignant thing, really. -Yes. | 0:12:20 | 0:12:22 | |
And not only that, with his dog tag as well. | 0:12:22 | 0:12:25 | |
The great thing about First World War medals | 0:12:25 | 0:12:27 | |
is the research you can do on them. | 0:12:27 | 0:12:28 | |
And you can really get under the skin of the conflicts. | 0:12:28 | 0:12:31 | |
It's something that you can't do with the Second World War medals | 0:12:31 | 0:12:34 | |
because they weren't named around the rim. | 0:12:34 | 0:12:36 | |
So you have that real tie to the history of the moment, | 0:12:36 | 0:12:40 | |
which I think's really important. | 0:12:40 | 0:12:41 | |
From a valuation point of view, | 0:12:41 | 0:12:43 | |
I'd probably put them in around about £80 to £120, | 0:12:43 | 0:12:47 | |
and they're just a really good, clean set of medals. | 0:12:47 | 0:12:50 | |
-Yes. -But they're great history. | 0:12:50 | 0:12:52 | |
I presume, if they've been stuffed in the loft for some time, | 0:12:52 | 0:12:55 | |
that'll be better than leaving them back in the loft, I presume? | 0:12:55 | 0:12:58 | |
-Well, it would, yes. -Good. Excellent. | 0:12:58 | 0:12:59 | |
It is a sad story, but a story that must be told, | 0:12:59 | 0:13:03 | |
and this is a great way of connecting to the past. | 0:13:03 | 0:13:06 | |
So thank you very much for bringing them in | 0:13:06 | 0:13:08 | |
and I'm sure they'll do really well at the sale for you. | 0:13:08 | 0:13:11 | |
'And now for a piece of local interest. | 0:13:16 | 0:13:19 | |
'I daresay that a lot of people walking past | 0:13:19 | 0:13:22 | |
'this old Midland Railway Building in the heart of Liverpool | 0:13:22 | 0:13:25 | |
'don't know to what use it's put to today.' | 0:13:25 | 0:13:28 | |
I think they might be quite surprised to find out | 0:13:28 | 0:13:31 | |
that this rather unprepossessing side street | 0:13:31 | 0:13:34 | |
leads to a team of specialists | 0:13:34 | 0:13:36 | |
working in state-of-the-art facilities, | 0:13:36 | 0:13:38 | |
looking after countless objects of national significance - | 0:13:38 | 0:13:42 | |
otherwise known as the Conservation Studios. | 0:13:42 | 0:13:45 | |
'The inside of this building doesn't give much away either. | 0:13:47 | 0:13:50 | |
'It's only the signage and the lettering outside each department | 0:13:50 | 0:13:54 | |
'that really gives us a clue as to what goes on here.' | 0:13:54 | 0:13:58 | |
'So, how about we start with the Organics Department?' | 0:13:59 | 0:14:02 | |
-Hi, Tracey, it's Paul. Pleased to meet you. -Nice to meet you. | 0:14:04 | 0:14:08 | |
So, this is Organics. | 0:14:08 | 0:14:10 | |
What do you do here? | 0:14:10 | 0:14:12 | |
I look after all of the organic materials | 0:14:12 | 0:14:14 | |
that belong to National Museums Liverpool. | 0:14:14 | 0:14:16 | |
It can include material from ancient history, or from the present time. | 0:14:16 | 0:14:20 | |
It includes things like wood, basketry, fur, feathers, hair. | 0:14:20 | 0:14:23 | |
-It's varied. -It's massively varied, yes. | 0:14:23 | 0:14:25 | |
-So, every day is quite exciting. -Yes, every day is really different. | 0:14:25 | 0:14:28 | |
Well, talking about organics, I know what this is, it's a life belt. | 0:14:28 | 0:14:32 | |
This is from a ship called the RMS Lusitania | 0:14:32 | 0:14:34 | |
and we know that from... | 0:14:34 | 0:14:36 | |
It's actually got the name printed on one side. | 0:14:36 | 0:14:39 | |
She was torpedoed in 1915, | 0:14:39 | 0:14:41 | |
sunk by a German U-boat, | 0:14:41 | 0:14:43 | |
with the loss of about 1,200 men, women and children. | 0:14:43 | 0:14:46 | |
We think this is the only existing example of the life jacket | 0:14:46 | 0:14:50 | |
from the Lusitania. | 0:14:50 | 0:14:51 | |
So, what are you going to do to this? | 0:14:51 | 0:14:53 | |
Well, it needs cleaning, | 0:14:53 | 0:14:54 | |
but there's a limit to how much cleaning I can do... | 0:14:54 | 0:14:57 | |
Without stripping it all of its social history and what it means? | 0:14:57 | 0:15:00 | |
Yeah, and also without causing more damage, | 0:15:00 | 0:15:02 | |
because if this was immersed in water, it would probably | 0:15:02 | 0:15:05 | |
-get more stained from the cork blocks that are inside it. -Yeah. | 0:15:05 | 0:15:08 | |
So, I can only really do a surface dry clean. | 0:15:08 | 0:15:10 | |
So, while you're working on this, | 0:15:10 | 0:15:11 | |
obviously you're working on other things? | 0:15:11 | 0:15:13 | |
Yeah, there's usually a lot going on, yeah. In fact, | 0:15:13 | 0:15:15 | |
we've got an object next door that you might be interested to see. | 0:15:15 | 0:15:18 | |
-OK, surprise me. -If you'd like to come through? -Come on, then. | 0:15:18 | 0:15:21 | |
Oh, man, it's a mummy! How fascinating! | 0:15:21 | 0:15:23 | |
-Can I have a look in there? -This is one of the earliest objects | 0:15:23 | 0:15:26 | |
that came into World Museum's collection. | 0:15:26 | 0:15:29 | |
It's about 3,000 to 3,500 years old. | 0:15:29 | 0:15:31 | |
So, what will you exactly do today? | 0:15:31 | 0:15:33 | |
Well, today I'm continuing with the cleaning using this sponge, | 0:15:33 | 0:15:36 | |
which is quite a gentle way of getting | 0:15:36 | 0:15:38 | |
a little bit more dirt off the surface. | 0:15:38 | 0:15:40 | |
And you might be able to tell that I've cleaned this part of the face. | 0:15:40 | 0:15:44 | |
-It's a little bit cleaner than the other half. -Yes, I can see that. | 0:15:44 | 0:15:46 | |
The gilding is coming through. | 0:15:46 | 0:15:48 | |
Yes, and this decoration is a bit more visible here. | 0:15:48 | 0:15:51 | |
What will you do about the face? | 0:15:51 | 0:15:53 | |
Well, if I can find any loose fragments inside, I'll fix them | 0:15:53 | 0:15:58 | |
back in position. | 0:15:58 | 0:15:59 | |
And to do that, I'll use some tissue, | 0:15:59 | 0:16:01 | |
which I'll fix to the underside of the face, to make a little support. | 0:16:01 | 0:16:04 | |
-Make a little bridge? -Yeah, exactly. | 0:16:04 | 0:16:06 | |
And it's interesting that you can actually see the mummy | 0:16:06 | 0:16:08 | |
-through that gap. -I think so. I think that's quite nice. | 0:16:08 | 0:16:11 | |
It's a shame that it's damaged, but it does give us a bit more information. | 0:16:11 | 0:16:14 | |
-There's a fragment down there but it looks like... -There is! | 0:16:14 | 0:16:17 | |
Yeah, shall we try and get it out, do you think? | 0:16:17 | 0:16:19 | |
-Will you help me? -Well, I'll hold the light, shall I? I'm quite clumsy... | 0:16:19 | 0:16:23 | |
Yeah, if you position that light... | 0:16:23 | 0:16:24 | |
I think I've got that piece... | 0:16:30 | 0:16:32 | |
-Yeah, very good. OK? Got it. -You've got it? | 0:16:32 | 0:16:35 | |
-Coming to you... -Got it. | 0:16:35 | 0:16:37 | |
-Have you got it? -Yeah. | 0:16:37 | 0:16:39 | |
-I hope I'm not going to be cursed! -There we go, we've got it! | 0:16:39 | 0:16:42 | |
PAUL GASPS | 0:16:42 | 0:16:43 | |
So, I think this has come from the inside of the face somewhere. | 0:16:45 | 0:16:50 | |
Wow, it's quite amazing. | 0:16:50 | 0:16:52 | |
In fact, it's overwhelming to think, you know, | 0:16:52 | 0:16:54 | |
it's 3,000 years old. And it's all in a day's work. | 0:16:54 | 0:16:57 | |
-All in a day's work! -Tracey, thanks so much for showing me around. | 0:16:57 | 0:17:00 | |
-It's a pleasure. -I feel very privileged to be part of this. | 0:17:00 | 0:17:03 | |
'Yes, it's all happening here. And next door, in Paper Conservation, they're responsible | 0:17:03 | 0:17:08 | |
'for anything from 16th-century books to photographs and watercolours.' | 0:17:08 | 0:17:12 | |
'Today, they're washing an 18th-century print | 0:17:14 | 0:17:18 | |
'in de-ionised water, to remove acidity | 0:17:18 | 0:17:20 | |
'in the paper and discolouration, so that they can put it on display.' | 0:17:20 | 0:17:24 | |
'Downstairs, there's another department I'd like to show you, | 0:17:25 | 0:17:29 | |
'which deals in some really heavyweight antiquities.' | 0:17:29 | 0:17:33 | |
-Hi, Lottie. -Hi, Paul. | 0:17:37 | 0:17:38 | |
-Great to meet you. -And you. | 0:17:38 | 0:17:40 | |
You've got the right lifting gear. | 0:17:40 | 0:17:42 | |
Yes, it's really handy in this kind of work. | 0:17:42 | 0:17:44 | |
-I see you're working on a bust, which is in several parts. -Yes. | 0:17:44 | 0:17:48 | |
It has really been in the wars, this one, unfortunately. | 0:17:48 | 0:17:50 | |
-It's like putting a jigsaw puzzle back together again. -Absolutely. | 0:17:50 | 0:17:53 | |
-But I bet there's some missing pieces. -There are, and we've got | 0:17:53 | 0:17:56 | |
bags and bags of where the marble has just crumbled | 0:17:56 | 0:17:58 | |
away to nothing and there is really very little we can do with that. | 0:17:58 | 0:18:02 | |
Erm, when it became fashionable in the late 18th and 19th century | 0:18:02 | 0:18:05 | |
to collect these Roman and Greek pieces, | 0:18:05 | 0:18:07 | |
they were often already in bits and restorers were using iron pins and | 0:18:07 | 0:18:12 | |
ancient resins to stick them back together and make whole sculptures. | 0:18:12 | 0:18:16 | |
I'm using this as an advantage to take these out, | 0:18:16 | 0:18:19 | |
so that they can be replaced with stainless steel or Perspex pins, | 0:18:19 | 0:18:23 | |
which won't corrode and cause any damage. | 0:18:23 | 0:18:25 | |
And that's what's happened there. They've rusted now. | 0:18:25 | 0:18:27 | |
-Yes, you can see how deformed and rusted they can become. -Mm! | 0:18:27 | 0:18:30 | |
There is a lot going on in here. | 0:18:30 | 0:18:31 | |
Missing heads, missing limbs, it's proper surgery! | 0:18:31 | 0:18:34 | |
You're halfway through cleaning something, aren't you? | 0:18:34 | 0:18:37 | |
-I noticed that. -Yes. This is another piece from the Ince Blundell collection, and here, | 0:18:37 | 0:18:41 | |
I'm using steam to clean it. | 0:18:41 | 0:18:43 | |
And you can see that this side has been cleaned | 0:18:43 | 0:18:46 | |
and this side is still filthy. | 0:18:46 | 0:18:48 | |
STEAM CLEANER HISSES | 0:18:49 | 0:18:52 | |
-It's pretty quick! -Yes. -It's very quick. Well, I envy you lot here. | 0:18:53 | 0:18:57 | |
-It's a great studio, so I'll leave you to get on with that. -OK. | 0:18:57 | 0:19:00 | |
-Thank you very much. -Nice to meet you. -Good luck with it! -Thank you. | 0:19:00 | 0:19:03 | |
'The range of specialist skills and knowledge of materials put to use here really is amazing.' | 0:19:03 | 0:19:08 | |
'In the Ceramics Department, Janet is using her chemistry training | 0:19:09 | 0:19:12 | |
'to repair an 18th-century Wedgewood bowl.' | 0:19:12 | 0:19:16 | |
'Whereas, in the Ship And Historic Models Department, Chris is | 0:19:18 | 0:19:21 | |
'working on a model of a Liverpool liner, the Letitia. | 0:19:21 | 0:19:24 | |
'This has been in storage since the Second World War | 0:19:24 | 0:19:28 | |
'but now it's destined for display at the Maritime Museum.' | 0:19:28 | 0:19:31 | |
'But for me, there's just time to visit one last department | 0:19:33 | 0:19:36 | |
'and it's one I'm particularly keen to look at.' | 0:19:36 | 0:19:39 | |
-Dave, hi. -Hello. -It's Paul. I recognise that as a Constable. | 0:19:41 | 0:19:45 | |
-This is indeed. -I can see you've taken an X-ray of it. | 0:19:45 | 0:19:48 | |
-What are you doing to this anyway? -Well, this is Constable's cottage | 0:19:48 | 0:19:51 | |
at East Bergholt from the Lady Lever Art Gallery collections. | 0:19:51 | 0:19:55 | |
We think Constable made additions to the canvas. | 0:19:55 | 0:19:57 | |
We spend a lot of our time looking at the paintings in great detail, | 0:19:57 | 0:20:00 | |
by X-ray, microscope examination, so that we can find out as much as | 0:20:00 | 0:20:05 | |
we possibly can technically about the paintings, to see how they were made. | 0:20:05 | 0:20:08 | |
I've got the prints of the X-ray here. | 0:20:08 | 0:20:11 | |
We can see that there is, erm, a female figure here. | 0:20:11 | 0:20:14 | |
There's drapery and lines of flowing material here, and another figure, | 0:20:14 | 0:20:18 | |
carrying what looks like a water jar, which is highly interesting | 0:20:18 | 0:20:22 | |
because it's nothing to do with the current composition. | 0:20:22 | 0:20:25 | |
-No, it's not, is it? -And it may not be anything to do with Constable either. | 0:20:25 | 0:20:28 | |
We're not quite sure whether he has reused this existing canvas... | 0:20:28 | 0:20:31 | |
-And old canvas that he's stumbled across? -Yes. Indeed. | 0:20:31 | 0:20:34 | |
Erm, so, that's fascinating. | 0:20:34 | 0:20:35 | |
Tell me about this piece. | 0:20:38 | 0:20:39 | |
I can see it's yellowing up through varnish, look. | 0:20:39 | 0:20:42 | |
Well, this is my current cleaning project. | 0:20:42 | 0:20:44 | |
This is by the Master Of Frankfurt, | 0:20:44 | 0:20:46 | |
Holy Family With Music-Making Angels. | 0:20:46 | 0:20:48 | |
At the moment, the priority is to remove discoloured varnish | 0:20:48 | 0:20:51 | |
and over-paint and address some problems with flaking paint | 0:20:51 | 0:20:54 | |
-underneath the varnish. -Sure. -It's a beautiful picture. | 0:20:54 | 0:20:57 | |
-It's got some fantastic fine detail in it. -(Oh, it's incredible!) | 0:20:57 | 0:21:00 | |
So, I'll be revealing that, hopefully, when I remove all | 0:21:00 | 0:21:03 | |
the discoloured varnish and some of the over-paint from it. | 0:21:03 | 0:21:06 | |
Well, shall I show you how I do this? | 0:21:06 | 0:21:09 | |
This is, we're just using a combination of organic solvent. | 0:21:09 | 0:21:12 | |
I will just work on this area, gently rolling this cotton wool swab. | 0:21:12 | 0:21:15 | |
-Mm-hm. -And the solvent will gradually dissolve the varnish. | 0:21:15 | 0:21:19 | |
And you're revealing the colour of the blue underneath. | 0:21:19 | 0:21:22 | |
Clearly, it's making such a huge difference... | 0:21:22 | 0:21:24 | |
-And you keep looking at that cotton wool, making sure nothing else is coming off. -Yes, absolutely. | 0:21:24 | 0:21:28 | |
We treat this layer by layer, stage by stage. | 0:21:28 | 0:21:31 | |
So, we're working very carefully | 0:21:31 | 0:21:33 | |
and also going back to things like X-rays, which I have of this picture. | 0:21:33 | 0:21:37 | |
It's quite rewarding to know that you're all | 0:21:37 | 0:21:39 | |
so passionate about your work and that our fine art | 0:21:39 | 0:21:42 | |
and antiques are in safe hands for many more generations to come. | 0:21:42 | 0:21:46 | |
So, look, good luck with that. | 0:21:46 | 0:21:47 | |
Thank you. Well, that's what we do. That's what we're here for. | 0:21:47 | 0:21:50 | |
Well, I've got my favourite and you've probably got yours. | 0:21:58 | 0:22:01 | |
So, let's put those valuations to the test, shall we? | 0:22:01 | 0:22:04 | |
Let's head over to the auction room for the very first time today. | 0:22:04 | 0:22:07 | |
And here's a quick recap - | 0:22:07 | 0:22:08 | |
just to jog your memory - of the items we're taking with us. | 0:22:08 | 0:22:11 | |
We've got the Edwardian sapphire and sea pearl bracelet. | 0:22:11 | 0:22:14 | |
Phil doesn't wear it, but will somebody else want to? | 0:22:14 | 0:22:18 | |
She's hoping for a memorable night out | 0:22:22 | 0:22:24 | |
with the proceeds from this picture. | 0:22:24 | 0:22:25 | |
Let's see if Mary's study in gouache | 0:22:25 | 0:22:28 | |
raises enough to show her a good time. | 0:22:28 | 0:22:31 | |
The Hornby train set. | 0:22:36 | 0:22:38 | |
It's been well played with, but I'm sure all proceeds will be | 0:22:38 | 0:22:42 | |
welcomed by the Wirral charity Mark works for. | 0:22:42 | 0:22:46 | |
And then there's Jean's First World War medals. | 0:22:47 | 0:22:50 | |
The attached paperwork really brings the story | 0:22:50 | 0:22:53 | |
of this lost soldier into relief. | 0:22:53 | 0:22:55 | |
We're sailing across the choppy waters of the Mersey | 0:23:03 | 0:23:06 | |
for today's auction, heading into the vibrant city of Liverpool. | 0:23:06 | 0:23:09 | |
We'll be in the capable hands of "Flog It!" veteran, Adam Partridge. | 0:23:12 | 0:23:15 | |
40 now, 5, 50, 5, 60, 5... | 0:23:15 | 0:23:19 | |
Remember, if you are buying or selling in an auction room | 0:23:19 | 0:23:22 | |
there is commission to pay. It varies from saleroom to saleroom. | 0:23:22 | 0:23:25 | |
All the details are printed in the catalogue, or ask a member of staff. | 0:23:25 | 0:23:29 | |
Here, today, at Adam Partridge's saleroom in Liverpool, | 0:23:29 | 0:23:32 | |
it's %20 inclusive of VAT, so factor that in to the hammer price | 0:23:32 | 0:23:37 | |
because that is always added on or, if you're selling, it's deducted. | 0:23:37 | 0:23:41 | |
Well, there are plenty of browsers, but will this translate into bids? | 0:23:43 | 0:23:47 | |
As everyone takes their seats, the auction gets under way. | 0:23:47 | 0:23:52 | |
It's not long before our first lot comes round the bend. | 0:23:52 | 0:23:55 | |
We all love our boys' toys on this show, don't we? | 0:23:57 | 0:23:59 | |
You brought it to the right expert. | 0:23:59 | 0:24:01 | |
I did indeed, yes. We came down and met Phil outside. | 0:24:01 | 0:24:04 | |
And the rest is history. | 0:24:04 | 0:24:06 | |
And the rest is history. Every penny goes to charity, | 0:24:06 | 0:24:08 | |
-so it's a great cause. -It does indeed, yeah. | 0:24:08 | 0:24:10 | |
Let's find out what it makes. | 0:24:10 | 0:24:12 | |
Small collection of Hornby Dublo. Tin plate accessories. £30 the lot. | 0:24:13 | 0:24:18 | |
Start me there, £30. | 0:24:18 | 0:24:19 | |
Oh, come on. Come on. | 0:24:19 | 0:24:20 | |
£20, then. 20 bid. A bid at 20. Is there 5 now? At 25 online. | 0:24:20 | 0:24:26 | |
At £25... Any advance then on £25? That's it... 30 here. | 0:24:26 | 0:24:30 | |
30 in the room now. At £30... | 0:24:30 | 0:24:33 | |
-It's a great name, though, Hornby. -It is, it's local, isn't it? | 0:24:33 | 0:24:36 | |
£30 over here. 5 online, 35. | 0:24:36 | 0:24:38 | |
40, sir. For the hospice. Thank you, sir. | 0:24:38 | 0:24:40 | |
-Pulling teeth, aren't we? -Yeah. -MARK LAUGHS | 0:24:40 | 0:24:43 | |
We're selling in the room then at £40... | 0:24:43 | 0:24:46 | |
Yes! Steaming ahead at 40 quid. | 0:24:46 | 0:24:49 | |
That was great. | 0:24:49 | 0:24:50 | |
And every penny will go to the charity. | 0:24:50 | 0:24:52 | |
It certainly will. That's right. | 0:24:52 | 0:24:53 | |
Thank you for bringing that and carry on to do all the good work. | 0:24:53 | 0:24:56 | |
I will do. Thank you both very much indeed. Thanks for your help. | 0:24:56 | 0:24:59 | |
A good, solid, mid-estimate sale there. I'm pleased for Mark. | 0:25:00 | 0:25:04 | |
Going under the hammer right now, two First World War medals | 0:25:05 | 0:25:08 | |
belonging to Jean, but with no family connection, am I right? | 0:25:08 | 0:25:11 | |
-That's right, yes. -So, how did you come by them? | 0:25:11 | 0:25:13 | |
Well, I found them in my loft, | 0:25:13 | 0:25:15 | |
but originally they came from my mother's loft. | 0:25:15 | 0:25:17 | |
With the First World War, you've got the names. | 0:25:17 | 0:25:19 | |
All the research is easy to do, because it's all around the rim. | 0:25:19 | 0:25:22 | |
They're all named, they're a matching pair. | 0:25:22 | 0:25:24 | |
-They should be fine. They should sell. -Yeah. -Fingers crossed. | 0:25:24 | 0:25:26 | |
-Yes, fingers crossed. -We're going to find out right now, Jean. -OK. | 0:25:26 | 0:25:29 | |
Ready for this? Here we go. This is it. | 0:25:29 | 0:25:32 | |
A nice little lot of World War I medals there. | 0:25:32 | 0:25:35 | |
What about £80 for them? | 0:25:35 | 0:25:36 | |
80? Is that bid straight in at 80? | 0:25:36 | 0:25:38 | |
-I think we're straight in. -That's good. | 0:25:38 | 0:25:40 | |
£80, straight in at 80. | 0:25:40 | 0:25:41 | |
I'll take five, anywhere? At £80. | 0:25:41 | 0:25:43 | |
5, and 90, | 0:25:43 | 0:25:44 | |
and 5, 100, 110, 120... | 0:25:44 | 0:25:46 | |
Oh, my goodness. | 0:25:46 | 0:25:47 | |
No, 130 this side. | 0:25:47 | 0:25:49 | |
At 130. | 0:25:49 | 0:25:50 | |
Any advance now on £130? | 0:25:50 | 0:25:52 | |
The bid's on my right-hand side here at 130. | 0:25:52 | 0:25:56 | |
That's a good sold sound. | 0:25:57 | 0:25:59 | |
-So, well done, you. Thanks for bringing those in. -OK. | 0:25:59 | 0:26:01 | |
-Great. -Well done, Nick, as well. | 0:26:01 | 0:26:03 | |
Just above the top estimate, fantastic. | 0:26:03 | 0:26:05 | |
Next up, is Mary's small study of the vessel Panama. | 0:26:06 | 0:26:10 | |
Mary, I think we've hit trumps here with the right sale, | 0:26:10 | 0:26:13 | |
because half of the sale here today at Adam's saleroom | 0:26:13 | 0:26:16 | |
is a maritime sale. | 0:26:16 | 0:26:17 | |
The walls are adorned with maritime images | 0:26:17 | 0:26:19 | |
and that's exactly what you've got. | 0:26:19 | 0:26:21 | |
-Yeah. -So, good luck. | 0:26:21 | 0:26:22 | |
-It's a wonderful gouache. -Oh, thanks. -Why are you selling it? | 0:26:22 | 0:26:25 | |
Well, it's just no interest to me, you know what I mean? | 0:26:25 | 0:26:28 | |
-It wasn't mine anyway, it was an old auntie's, so I just thought... -OK. | 0:26:28 | 0:26:31 | |
Had you enjoyed it on the wall? | 0:26:31 | 0:26:33 | |
I haven't ever had it on the wall! | 0:26:33 | 0:26:35 | |
-Oh, that's why you're selling it, girl! -It was in the loft. | 0:26:35 | 0:26:38 | |
-So, good luck. We get top money right now. -Oh, thanks very much. | 0:26:39 | 0:26:42 | |
Yeah, here we go. | 0:26:42 | 0:26:43 | |
JS Owen, the gouache small study | 0:26:43 | 0:26:45 | |
of a single funnelled vessel, Panama, there were are. | 0:26:45 | 0:26:48 | |
That's rather nice, isn't it? | 0:26:48 | 0:26:49 | |
And £30? | 0:26:49 | 0:26:51 | |
£30 for it? | 0:26:51 | 0:26:53 | |
£20? | 0:26:53 | 0:26:55 | |
£20, this little gouache, | 0:26:55 | 0:26:56 | |
there it is, held up for you. | 0:26:56 | 0:26:58 | |
£20 for this? | 0:26:59 | 0:27:01 | |
Surely, £20? | 0:27:02 | 0:27:04 | |
Online, £20 is bid. | 0:27:07 | 0:27:09 | |
We're starting off at 20, is there 5 anywhere? | 0:27:09 | 0:27:11 | |
Oh, we've got a bid online. | 0:27:11 | 0:27:12 | |
At £25. Online again at £25. | 0:27:12 | 0:27:17 | |
Is that it? At £25. | 0:27:17 | 0:27:19 | |
At £25, at 25. | 0:27:19 | 0:27:21 | |
Saving your money for the bigger pictures, are you? At £25. | 0:27:21 | 0:27:24 | |
We'll sell then online at £25. | 0:27:24 | 0:27:27 | |
Sold it. He sold it to a bidder online for £25, on the reserve. | 0:27:29 | 0:27:33 | |
Yeah, bang on the reserve. | 0:27:33 | 0:27:34 | |
I mean, honestly, I thought it might have made a little bit more. | 0:27:34 | 0:27:37 | |
-I'm disappointed. -I think the only sandwich you're going to get | 0:27:37 | 0:27:40 | |
out of that is a chip butty. | 0:27:40 | 0:27:42 | |
-Yeah, treat yourself. -It was worth it. | 0:27:42 | 0:27:44 | |
It was worth coming just to see you both anyway. | 0:27:44 | 0:27:46 | |
-Have you enjoyed it? -I've had a lovely day. | 0:27:46 | 0:27:48 | |
Well, it's nice to meet up with you, too, Mary. | 0:27:49 | 0:27:52 | |
And next up, it's Phil's pretty sapphire and sea pearl bracelet. | 0:27:52 | 0:27:56 | |
Now, did you ever wear it? | 0:27:58 | 0:28:00 | |
-No, I don't wear blue. -You don't wear... | 0:28:00 | 0:28:02 | |
Oh. Strictly a red girl. | 0:28:02 | 0:28:04 | |
As I got older, I realised it was very draining. | 0:28:04 | 0:28:06 | |
Right, OK. | 0:28:06 | 0:28:08 | |
You'll find that! | 0:28:08 | 0:28:09 | |
LAUGHTER | 0:28:09 | 0:28:11 | |
Really? Tell me more. | 0:28:11 | 0:28:14 | |
Lilac's very good | 0:28:14 | 0:28:15 | |
and any plum colour's very good for your complexion. | 0:28:15 | 0:28:19 | |
Well, there you go. | 0:28:19 | 0:28:20 | |
It was worth coming for this, wasn't it? Just for this. | 0:28:20 | 0:28:23 | |
Right, OK, we have to monitor gold prices because it does vary, | 0:28:23 | 0:28:26 | |
but fingers crossed that they're steady | 0:28:26 | 0:28:28 | |
and we're going to get the top end. | 0:28:28 | 0:28:29 | |
-Yeah. -Good luck, this is it. | 0:28:29 | 0:28:31 | |
Late Victorian/Edwardian nine carat gold snap bangle. | 0:28:31 | 0:28:36 | |
-I like it, actually. I like it a lot. -It's very nice. | 0:28:36 | 0:28:38 | |
£100. Where's 10 now? | 0:28:38 | 0:28:39 | |
140, 150, 160, 170? | 0:28:41 | 0:28:43 | |
No, 160 here. | 0:28:43 | 0:28:45 | |
SHE GASPS Oh, great, great! | 0:28:45 | 0:28:47 | |
-Good money. -Yes. | 0:28:47 | 0:28:49 | |
At 160, all done then? | 0:28:49 | 0:28:51 | |
Anyone else, then? We're selling at 160... | 0:28:51 | 0:28:54 | |
170, online. | 0:28:54 | 0:28:55 | |
-Oh, look. -Yes, yes. -Late bid online, 170. | 0:28:55 | 0:28:57 | |
Online and selling now at 170. | 0:28:57 | 0:29:01 | |
-Yes! -Yes! -That hammer's gone down. That's a good old sound, isn't it? | 0:29:01 | 0:29:05 | |
Great, that's absolutely wonderful. Really pleased. | 0:29:05 | 0:29:08 | |
-Thank you so much. -Cos I liked it. | 0:29:08 | 0:29:09 | |
I'm pleased we could help. | 0:29:09 | 0:29:10 | |
Well, there have been some highs and some lows, but that happy result | 0:29:12 | 0:29:16 | |
completes our first visit to the saleroom. | 0:29:16 | 0:29:19 | |
Now, when the outbreak of the First World War was announced in 1914, | 0:29:20 | 0:29:23 | |
crowds of people gathered outside Buckingham Palace | 0:29:23 | 0:29:26 | |
and they all stood there cheering. | 0:29:26 | 0:29:27 | |
What they didn't realise was the slaughter that was to follow, | 0:29:27 | 0:29:31 | |
and quickly, casualties started arriving back in this country. | 0:29:31 | 0:29:35 | |
It became quite apparent that hospitals couldn't cater | 0:29:35 | 0:29:38 | |
for the beds required, | 0:29:38 | 0:29:39 | |
so many private buildings became auxiliary hospitals. | 0:29:39 | 0:29:42 | |
One of those wasn't far away - Dunham Massey. | 0:29:42 | 0:29:46 | |
And while we were up here filming, I went to investigate. | 0:29:46 | 0:29:48 | |
For around 300 years, Dunham Massey was the family home | 0:29:54 | 0:29:57 | |
of the Earls of Stamford and Warrington. | 0:29:57 | 0:30:00 | |
But by the outbreak of the First World War, | 0:30:02 | 0:30:05 | |
the 9th Earl of Stamford had passed away | 0:30:05 | 0:30:07 | |
and the estate was being run by his widow, Lady Stamford. | 0:30:07 | 0:30:11 | |
She was living at Dunham with her daughter, Lady Jane. | 0:30:12 | 0:30:15 | |
In 1916, Lady Stamford wrote a letter to her son telling him | 0:30:18 | 0:30:23 | |
that she was thinking of turning the house over | 0:30:23 | 0:30:25 | |
to a hospital for officers, because it wouldn't do for Tommies. | 0:30:25 | 0:30:28 | |
But something must have changed her mind | 0:30:28 | 0:30:31 | |
because in April 1917, Dunham Massey was full of rank and file Tommies. | 0:30:31 | 0:30:37 | |
Have a look at these pictures. | 0:30:40 | 0:30:42 | |
Any recent visitors to Dunham Massey would recognise this as the saloon. | 0:30:42 | 0:30:46 | |
But during the First World War, it looked much more like this... | 0:30:48 | 0:30:52 | |
The transformation of the original hospital took months to achieve. | 0:31:01 | 0:31:05 | |
As you could imagine, this house was brimming full of treasures. | 0:31:05 | 0:31:08 | |
First, the carpets and the chandeliers had to be removed | 0:31:08 | 0:31:11 | |
and then heavy, precious pieces of furniture, works of art | 0:31:11 | 0:31:14 | |
from the walls had to be put into storage and, finally, | 0:31:14 | 0:31:17 | |
these faux marble columns - a technique known as scagliola, | 0:31:17 | 0:31:20 | |
because they are hollow inside - had to be shuttered up | 0:31:20 | 0:31:23 | |
and boxed in, exactly like they are today. | 0:31:23 | 0:31:26 | |
And then, rows and rows of beds neatly put into position | 0:31:26 | 0:31:30 | |
to create the ward, exactly as it is here. | 0:31:30 | 0:31:33 | |
Later on, further wards were created by adding more beds. | 0:31:33 | 0:31:37 | |
Over the next two years, | 0:31:40 | 0:31:41 | |
nearly 300 patients were treated at Stamford Hospital. | 0:31:41 | 0:31:45 | |
They came from all over Britain and abroad. | 0:31:47 | 0:31:50 | |
Grievously injured, | 0:31:50 | 0:31:51 | |
their journeys from the battlefields would have been torturous. | 0:31:51 | 0:31:54 | |
Recreating this world was made possible by two key documents. | 0:31:57 | 0:32:01 | |
One here, I have in front of me, it's a beautiful handwritten journal. | 0:32:01 | 0:32:05 | |
It is the details of every single patient that's passed through the doors. | 0:32:05 | 0:32:10 | |
Sister Bennett handwrote this. | 0:32:10 | 0:32:12 | |
She was the nursing sister in charge of the whole hospital. | 0:32:12 | 0:32:14 | |
It records the name of the person, their rank, their regiment, | 0:32:14 | 0:32:20 | |
their injury, their treatment and their discharge dates. | 0:32:20 | 0:32:24 | |
It's beautifully written as well. | 0:32:24 | 0:32:26 | |
But what brings it to life is this recent discovery, | 0:32:26 | 0:32:29 | |
this scrapbook also belonging to Sister Bennett. | 0:32:29 | 0:32:32 | |
She put this together and really, | 0:32:32 | 0:32:35 | |
what you can do now, is you can actually put names to faces. | 0:32:35 | 0:32:38 | |
Here, look, we've got a Private Hodson. | 0:32:38 | 0:32:41 | |
He was admitted on 18th October 1917, | 0:32:41 | 0:32:44 | |
discharged around ten months later on 3rd June 1918. | 0:32:44 | 0:32:48 | |
If you look at this photograph, the chap on the end... | 0:32:48 | 0:32:51 | |
Look, there he is, Hodson. It's beautiful. | 0:32:51 | 0:32:54 | |
I mean, despite appalling injuries, | 0:32:54 | 0:32:56 | |
all of these guys in this photograph are smiling. | 0:32:56 | 0:33:00 | |
There's a happy atmosphere, there's a positiveness about it. | 0:33:00 | 0:33:04 | |
Volunteers working for the National Trust here at Dunham | 0:33:07 | 0:33:10 | |
then used Sister Bennett's information to find out what happened | 0:33:10 | 0:33:13 | |
to the soldiers who were treated here. | 0:33:13 | 0:33:16 | |
They found many of the men went back to the front line. | 0:33:17 | 0:33:20 | |
Like Corporal Arthur Topham, treated for shrapnel wounds. | 0:33:20 | 0:33:23 | |
Discharged to duty in 1917. | 0:33:25 | 0:33:28 | |
He was tragically killed in action just a few months later. | 0:33:28 | 0:33:32 | |
Others were lucky. | 0:33:33 | 0:33:34 | |
Gunner Carl Brodie was sent back to France after recovering | 0:33:34 | 0:33:38 | |
from a shell wound but he survived the war and made it home to Canada. | 0:33:38 | 0:33:43 | |
For some, this was just a brief respite from the horrors of war. | 0:33:44 | 0:33:48 | |
But whatever their fate, while they were here, | 0:33:48 | 0:33:51 | |
they received the best possible medical attention. | 0:33:51 | 0:33:55 | |
Ground-breaking techniques were put into practice here, | 0:33:55 | 0:33:58 | |
in this very room. | 0:33:58 | 0:33:59 | |
Wounds were kept open, washed repeatedly | 0:33:59 | 0:34:02 | |
to stop gangrene from setting in, that was pioneered here. | 0:34:02 | 0:34:05 | |
This was an age before antibiotics, | 0:34:05 | 0:34:08 | |
antibiotics weren't developed until 1928. | 0:34:08 | 0:34:11 | |
Now, this puts a smile on your face. Look at this. | 0:34:15 | 0:34:17 | |
This is a copy of the hospital rules. | 0:34:17 | 0:34:19 | |
"Patients are asked not to smoke in the ward before 8am or after 9pm." | 0:34:19 | 0:34:24 | |
But it seems the 13 hours in between is perfectly fine. | 0:34:24 | 0:34:27 | |
I think the term "best care" has to be taken into context, don't you? | 0:34:27 | 0:34:32 | |
Lady Stamford's daughter, Lady Jane, was only 15 when the war broke out. | 0:34:34 | 0:34:38 | |
She trained as a Voluntary Aid Detachment nurse | 0:34:39 | 0:34:42 | |
and soon came to work here to look after the soldiers. | 0:34:42 | 0:34:46 | |
In 1991, Lady Jane sadly passed away. | 0:34:47 | 0:34:51 | |
But in the 1980s, the National Trust recorded two short interviews with her. | 0:34:51 | 0:34:55 | |
She recalled the area at the bottom of this grand staircase | 0:34:55 | 0:34:59 | |
being turned into an operating theatre. | 0:34:59 | 0:35:02 | |
Despite it being the darkest place in the house | 0:35:02 | 0:35:05 | |
and rather prone to cobwebs, it was suitable because just through there | 0:35:05 | 0:35:10 | |
there's a toilet and a hand basin, which was absolutely essential. | 0:35:10 | 0:35:14 | |
Her most vivid memory is assisting in an operation | 0:35:14 | 0:35:17 | |
with Private William Johnstone, who underwent brain surgery. | 0:35:17 | 0:35:21 | |
He had a bullet in his brain, you see, and this had to be got out. | 0:35:23 | 0:35:28 | |
Once they'd made the hole in the brain, | 0:35:28 | 0:35:30 | |
I was given the job of shining a torch right into it and I saw | 0:35:30 | 0:35:36 | |
the brain sort of pulsating and so I held the torch in front | 0:35:36 | 0:35:41 | |
and saw the bullet being extracted by the surgeon. | 0:35:41 | 0:35:46 | |
It was very interesting. | 0:35:46 | 0:35:47 | |
You always wonder whether you're going to be a bit squeamish and | 0:35:47 | 0:35:51 | |
sort of faint, but having being given the job to do, | 0:35:51 | 0:35:55 | |
one forgets oneself. | 0:35:55 | 0:35:57 | |
Next door, the great hall became a recreation room for patients. | 0:35:58 | 0:36:02 | |
Here, soldiers could relax, | 0:36:02 | 0:36:05 | |
play the piano or in the case of the hospital's longest resident, | 0:36:05 | 0:36:09 | |
Percy Chaplain, find time to woo Mabel, | 0:36:09 | 0:36:12 | |
one of the housemates whom he married after the war. | 0:36:12 | 0:36:15 | |
The soldiers spent a lot of time outside, | 0:36:21 | 0:36:23 | |
here, in the inner courtyard. | 0:36:23 | 0:36:25 | |
Sister Bennett was a great advocate | 0:36:25 | 0:36:28 | |
of the restorative qualities of clean, fresh air | 0:36:28 | 0:36:31 | |
and some bath treatments. | 0:36:31 | 0:36:34 | |
On a day like today, that's perfectly acceptable. | 0:36:34 | 0:36:37 | |
As well as relaxing in the courtyard, | 0:36:44 | 0:36:45 | |
soldiers were encouraged to make the most of the outside space. | 0:36:45 | 0:36:49 | |
They could play croquet on the lawns or go boating on the moat. | 0:36:49 | 0:36:54 | |
It's about as far as it's possible to get from the brutality | 0:36:54 | 0:36:57 | |
of the front line and the contrast must have been dreamlike. | 0:36:57 | 0:37:02 | |
When peace was eventually declared in 1918, | 0:37:05 | 0:37:07 | |
the bells rang out again and again. | 0:37:07 | 0:37:10 | |
There was singing and dancing in the wards | 0:37:10 | 0:37:13 | |
and a feast was held here in the great hall. | 0:37:13 | 0:37:15 | |
As one nurse recalled, "It was a festive scene as 72 of us | 0:37:15 | 0:37:19 | |
"sat down to the most sumptuous repast. | 0:37:19 | 0:37:23 | |
"The staff, the patients | 0:37:23 | 0:37:24 | |
"and the household were all here together to celebrate peace as one." | 0:37:24 | 0:37:29 | |
Welcome back to Wallasey Town Hall on the Wirral Peninsula, | 0:37:39 | 0:37:43 | |
where there's still a hive of activity. | 0:37:43 | 0:37:45 | |
Hundreds of people have turned up. | 0:37:46 | 0:37:47 | |
The queue actually ends at the front door, look. | 0:37:47 | 0:37:50 | |
And here we have this staircase, lined with enthusiastic people. | 0:37:50 | 0:37:53 | |
If you go that way, I'll go this way. How are you, everyone? | 0:37:53 | 0:37:56 | |
-ALL: -Hurray! -Having a good time? | 0:37:56 | 0:37:58 | |
-ALL: -Yay! -And what are you going to do? | 0:37:58 | 0:38:00 | |
-ALL: -Flog it! -He-he-hey! That is what it's all about. | 0:38:00 | 0:38:04 | |
And as we go into this room, a little holding bay, look, | 0:38:04 | 0:38:06 | |
-more people. Hi, everyone! -CHEERING | 0:38:06 | 0:38:09 | |
Thank you for turning up today! | 0:38:09 | 0:38:11 | |
It could be you, you or you, going home with lots of money, | 0:38:11 | 0:38:14 | |
so stay with us. | 0:38:14 | 0:38:15 | |
And as we go into the main hall now, | 0:38:15 | 0:38:17 | |
there are literally 300 or 400 people sitting down. Look at this. | 0:38:17 | 0:38:21 | |
This really is lights, camera, action. What a spectacular setting! | 0:38:21 | 0:38:25 | |
So, let's join up with our experts and get on with our valuation. | 0:38:25 | 0:38:29 | |
And charging ahead is Philip, even if he is a bit back to front! | 0:38:29 | 0:38:33 | |
-D-R and that ship, that's JUST what we want to see. -Yes. | 0:38:33 | 0:38:36 | |
-Why is that, Helga? -Because it comes from Della Robbia, in Birkenhead. | 0:38:36 | 0:38:41 | |
So, Della Robbia, factory, ceramics factory, | 0:38:41 | 0:38:44 | |
set up in 1894 in Birkenhead and... | 0:38:44 | 0:38:47 | |
-It was short-lived, wasn't it? -Yes. | 0:38:47 | 0:38:49 | |
-But it was very popular at the time. -About 15 years, something like that? | 0:38:49 | 0:38:53 | |
Yes, 15, 20 years. | 0:38:53 | 0:38:55 | |
-And this is a Della Robbia charger... -Yes. | 0:38:55 | 0:38:58 | |
..made round about 1900, 1904, | 0:38:58 | 0:39:01 | |
-something like that, I would guess. -Yes. | 0:39:01 | 0:39:03 | |
So, where would this have come from? | 0:39:03 | 0:39:05 | |
My husband's grandfather bought Della Robbia, | 0:39:05 | 0:39:09 | |
possibly from the factory, possibly from new. I don't know. | 0:39:09 | 0:39:11 | |
Oh, that's fantastic, isn't it? | 0:39:11 | 0:39:13 | |
So, he would have really been a patron of the arts. | 0:39:13 | 0:39:15 | |
This could possibly have been bought from the factory | 0:39:15 | 0:39:18 | |
-and have been in your family from day one. -Yes, possibly. | 0:39:18 | 0:39:21 | |
I think that's fantastic. I REALLY do. | 0:39:21 | 0:39:23 | |
"Flog It!" has come to Wallasey... | 0:39:23 | 0:39:25 | |
-..and you want to sell your local pot. -I do. | 0:39:26 | 0:39:28 | |
Why's today the day to sell it? | 0:39:28 | 0:39:30 | |
-Because...of "Flog It!". -We're here! | 0:39:30 | 0:39:32 | |
It's nice to see all the different faces that you | 0:39:32 | 0:39:35 | |
-feel you know from television. -Ah, well, it's lovely to be here. | 0:39:35 | 0:39:38 | |
And you know what? This is what the market wants. | 0:39:38 | 0:39:40 | |
Real flavour of the moment. You've got a few issues with it. | 0:39:40 | 0:39:43 | |
The glaze is flaking around the rim. I can sort of live with that. | 0:39:43 | 0:39:47 | |
But here, look, you've got a bit of a crack. A slight crack just there. | 0:39:47 | 0:39:53 | |
It's bizarre, this world. | 0:39:53 | 0:39:54 | |
You can live with flaking but these fire cracks... | 0:39:54 | 0:39:57 | |
I think they're going to reduce the value a little bit. | 0:39:57 | 0:39:59 | |
-Have you got a figure in mind for this? -Well, I have. -Ooh... | 0:39:59 | 0:40:05 | |
-Will it be as much as £100? -A little more than that. | 0:40:05 | 0:40:09 | |
Would it be as much as £500? | 0:40:09 | 0:40:11 | |
-A little more than that... -Hold fire! | 0:40:11 | 0:40:14 | |
-You've done your homework, you, haven't you? -SHE LAUGHS | 0:40:14 | 0:40:16 | |
I think this is a lovely thing. I think it's a lovely, lovely thing. | 0:40:16 | 0:40:19 | |
And I think the market will really clamour for it. | 0:40:19 | 0:40:23 | |
I think there will be a lot of interest in it. | 0:40:23 | 0:40:25 | |
I think it could make anywhere between | 0:40:25 | 0:40:29 | |
£800 and £1,000. | 0:40:29 | 0:40:31 | |
£700, £900, that sort of region. | 0:40:31 | 0:40:34 | |
In an ideal world, I would like to see an estimate of £700 to £900 | 0:40:35 | 0:40:40 | |
and a reserve, say, of £650. That would be MY ideal. | 0:40:40 | 0:40:44 | |
-What were you hoping to get for it? -SHE SIGHS | 0:40:44 | 0:40:47 | |
-I don't think I'd like to go below £700, probably. -OK. | 0:40:47 | 0:40:51 | |
-So, if we put £700 to £900 as an estimate... -Yes. | 0:40:51 | 0:40:53 | |
-..and we put £700 as a fixed reserve... -Yes. | 0:40:53 | 0:40:57 | |
-No discretion, that's it, minimum. -Yes, OK. -OK. | 0:40:57 | 0:41:00 | |
Well, I think that's absolutely lovely. | 0:41:00 | 0:41:03 | |
And why are you selling this particular piece then? | 0:41:03 | 0:41:05 | |
It's difficult to store. I... I worry about it. | 0:41:05 | 0:41:09 | |
It's the side of a wardrobe at the moment | 0:41:09 | 0:41:11 | |
-and it's hardly the best place for it. -No. | 0:41:11 | 0:41:14 | |
I think Della Robbia deserves better than the side of a wardrobe, really. | 0:41:14 | 0:41:17 | |
-Yes, I think so. -Keep our fingers crossed! | 0:41:17 | 0:41:20 | |
Eagle-eyed viewers will recognise this highly collectable pottery | 0:41:22 | 0:41:26 | |
because back in 2005, we took a look at the Della Robbia | 0:41:26 | 0:41:30 | |
collection at the Williamson Art Gallery. | 0:41:30 | 0:41:33 | |
Because it's so rare, we've only had two previous examples on "Flog It!". | 0:41:34 | 0:41:38 | |
'Helga's piece is by far the largest, | 0:41:38 | 0:41:40 | |
'so it'll be interesting to see how it fares at auction.' | 0:41:40 | 0:41:43 | |
Yes, the hammer's gone down! | 0:41:43 | 0:41:44 | |
'But first, it's time for some more gems up on the balcony with Nick.' | 0:41:44 | 0:41:48 | |
Well, Cath, where do we start? Oh, what a night! | 0:41:50 | 0:41:53 | |
Oh, what a night! | 0:41:53 | 0:41:56 | |
People are going, "What on earth are they going on about?!" | 0:41:56 | 0:41:59 | |
Engraved on the top of this fantastic desk snuffbox, | 0:41:59 | 0:42:02 | |
Victorian one, is inscribed, "Oh, what a night!" | 0:42:02 | 0:42:06 | |
-What have you been up to? -The mind boggles. -The mind boggles. | 0:42:06 | 0:42:10 | |
-I wonder what this night was about. Any ideas? -I shudder to think. | 0:42:10 | 0:42:16 | |
Tell me where they've come from. How are they in your possession? | 0:42:16 | 0:42:19 | |
They were my late father-in-law's and he used to have them | 0:42:19 | 0:42:22 | |
in his glass cabinet and he lived in Bisley and he was in the forces. | 0:42:22 | 0:42:27 | |
-Did he see much action? -He was a prisoner of war, Japanese. -Really? | 0:42:27 | 0:42:34 | |
-Yeah. -Goodness me! | 0:42:34 | 0:42:35 | |
Well, let's tell you a little bit about the box itself, shall I? | 0:42:35 | 0:42:38 | |
It's Victorian, it's hallmarked in Birmingham, 1872. | 0:42:38 | 0:42:43 | |
It's lovely quality. It's a real bruiser. Heavy as well. | 0:42:43 | 0:42:48 | |
Often, these are quite thin. | 0:42:48 | 0:42:49 | |
It's a table snuffbox, what we call, | 0:42:49 | 0:42:51 | |
so slightly larger than your pocket one, obviously. | 0:42:51 | 0:42:54 | |
-I thought it was a card box. -No. I think it's snuff, I really do. | 0:42:54 | 0:42:59 | |
I think with the engraving round it, and with, "Oh, what a night!"... | 0:42:59 | 0:43:04 | |
I'm still intrigued with that. I can't get over that! | 0:43:04 | 0:43:07 | |
If we take a closer look at this one, it's absolutely fantastic and | 0:43:07 | 0:43:10 | |
you can always spot quality because underneath is as good as the top. | 0:43:10 | 0:43:16 | |
It's absolutely beautiful. | 0:43:16 | 0:43:17 | |
All this foliate engraving, and it's a really good, | 0:43:17 | 0:43:20 | |
heavy depth of gauge of engraving as well. | 0:43:20 | 0:43:23 | |
And open it up, and it's pin clean inside. | 0:43:23 | 0:43:26 | |
Absolutely pin clean. And a cracking hallmark in there. | 0:43:26 | 0:43:30 | |
It looks like it was stamped yesterday, doesn't it? I mean... | 0:43:30 | 0:43:34 | |
It's hardly been used. | 0:43:34 | 0:43:35 | |
But, you know, it's back to the same question - what happened that night? | 0:43:35 | 0:43:40 | |
We'll never know. We will never ever know. | 0:43:40 | 0:43:43 | |
How frustrating! | 0:43:43 | 0:43:45 | |
With it, we've got a little trinket box as well, silver again. | 0:43:45 | 0:43:49 | |
A little problem with one of the legs. It's legless. | 0:43:49 | 0:43:52 | |
With the sort of Dutch-inspired relief moulded figures on the top. | 0:43:52 | 0:43:57 | |
-A little bit of a contrast to the other one. -Yeah. | 0:43:57 | 0:44:01 | |
But for different things as well, little trinkets, rings, | 0:44:01 | 0:44:04 | |
bits and pieces on a lady's dressing table. | 0:44:04 | 0:44:06 | |
-Fashion-wise, even now, this is a little bit... -Fussy. | 0:44:06 | 0:44:10 | |
-Fussy. -Yes. | 0:44:10 | 0:44:11 | |
-Terribly difficult to clean, as my mum would have said. -Yes. | 0:44:11 | 0:44:14 | |
If we're going to talk about the money side of things... | 0:44:14 | 0:44:16 | |
-probably put them together as a lot. OK? -Yeah. | 0:44:16 | 0:44:19 | |
If that was perfect, I'd probably keep them separate, | 0:44:20 | 0:44:23 | |
but I just think it might put some of the buyers off, OK? | 0:44:23 | 0:44:26 | |
I think that one's probably worth £200 to £300 on its own | 0:44:26 | 0:44:29 | |
and that one's...probably around about 100. | 0:44:29 | 0:44:33 | |
-So, I think if we put them in at 300 to 500 for the two... -Yes. | 0:44:33 | 0:44:37 | |
..we can put a reserve on them. I'd put a reserve at £300. | 0:44:37 | 0:44:40 | |
-I think they're worth that every day of the week. -Right. | 0:44:40 | 0:44:43 | |
I can be a hard valuer. I think they'll do a little bit more. | 0:44:43 | 0:44:46 | |
-What do you think about that? Are you happy? -Yes. Very nice. | 0:44:46 | 0:44:50 | |
-Do you like them? -I like them, yes. -Which is your favourite of the two? | 0:44:50 | 0:44:54 | |
-That one. -It's cos of the night out again, isn't it? -Yeah! | 0:44:54 | 0:44:57 | |
I'm with you, Cath. | 0:44:57 | 0:44:59 | |
What a great inscription to spark the imagination! | 0:44:59 | 0:45:02 | |
Austin, how are you? Lovely to see you. Do you know what? | 0:45:06 | 0:45:09 | |
I've seen so many good things today. | 0:45:09 | 0:45:12 | |
Out of everything I've seen, I'd take these home. | 0:45:12 | 0:45:15 | |
-Thank you. -I think they're fantastic. | 0:45:15 | 0:45:17 | |
How have they come into your possession? | 0:45:17 | 0:45:18 | |
My sister lived in a flat in London a while back, | 0:45:18 | 0:45:21 | |
and she moved into a larger place. | 0:45:21 | 0:45:23 | |
These were her kitchen/dining room chairs, and I've always thought | 0:45:23 | 0:45:27 | |
they were a bit stylish, so I...had them off her. | 0:45:27 | 0:45:29 | |
-You've got a good eye. What did you pay her? -£100. -£100. | 0:45:29 | 0:45:32 | |
These are made out of oak and I would say that they dated from that | 0:45:32 | 0:45:36 | |
1925-1935 period. | 0:45:36 | 0:45:39 | |
I think they're so stylish, with this horseshoe seat, | 0:45:39 | 0:45:42 | |
and they're just such cool chairs. They really are. | 0:45:42 | 0:45:45 | |
Now, I think I know who they're by. | 0:45:45 | 0:45:47 | |
Heal's. | 0:45:47 | 0:45:48 | |
You're right. | 0:45:48 | 0:45:49 | |
Really? Right, let's just have a look. | 0:45:49 | 0:45:52 | |
Oh, dear me! | 0:45:52 | 0:45:54 | |
There we are, look - Heal's. | 0:45:57 | 0:45:58 | |
Tottenham Court Road, London. | 0:45:59 | 0:46:02 | |
This is a registration mark on here, and you can date that | 0:46:02 | 0:46:07 | |
to within the year. I would suggest it's probably... | 0:46:07 | 0:46:10 | |
Well, it's got 33 on the end of it, | 0:46:11 | 0:46:13 | |
so there's a fair chance it might be 1933. | 0:46:13 | 0:46:16 | |
Um... Have you ever given any thought | 0:46:16 | 0:46:18 | |
as to what they might be worth? | 0:46:18 | 0:46:20 | |
Well, I was offered £100 by a dealer for them a couple of years ago, | 0:46:20 | 0:46:25 | |
which I thought was a little bit on the low side. | 0:46:25 | 0:46:27 | |
So, maybe, I don't know... 150, 200 quid? | 0:46:27 | 0:46:29 | |
150, 200 quid. OK, fine. | 0:46:29 | 0:46:32 | |
I would put...probably £300 to £500 on them as an estimate. | 0:46:32 | 0:46:37 | |
And I would put a reserve on them of £250, give the auctioneer... | 0:46:37 | 0:46:41 | |
You're looking surprised. | 0:46:41 | 0:46:43 | |
-Very surprised. -Really? -Yes. | 0:46:43 | 0:46:45 | |
Nice surprise? | 0:46:45 | 0:46:46 | |
Very nice surprise. | 0:46:46 | 0:46:47 | |
We'll put a reserve of 250, but we'll give him £25 discretion. | 0:46:47 | 0:46:51 | |
10% discretion. | 0:46:51 | 0:46:52 | |
-Fair. -OK, that's fair. | 0:46:52 | 0:46:54 | |
Of all the shows that I've done, I'm going to remember these, | 0:46:54 | 0:46:56 | |
because I think they're lovely. They're a real thing of | 0:46:56 | 0:46:59 | |
-the moment and they're really stylish, so thanks for bringing them, really. -It's a pleasure. | 0:46:59 | 0:47:03 | |
I'm not surprised Philip's taken with these chairs. | 0:47:04 | 0:47:07 | |
Heal's is a British name to be reckoned with. | 0:47:07 | 0:47:10 | |
Starting out as bed makers in 1810, | 0:47:10 | 0:47:13 | |
they advertised in Charles Dickens' novels... | 0:47:13 | 0:47:16 | |
..later embracing the ideals of the Arts and Crafts movement | 0:47:17 | 0:47:21 | |
with their furniture. | 0:47:21 | 0:47:22 | |
They have a long history | 0:47:22 | 0:47:23 | |
of promoting design innovation in Britain. | 0:47:23 | 0:47:26 | |
It'll be interesting to see how these gems fare at auction. | 0:47:26 | 0:47:30 | |
-Judith, how are you? -I'm very well. -Have you come far? | 0:47:34 | 0:47:37 | |
-No, I'm from the Wirral. -From the Wirral. -Mm. | 0:47:37 | 0:47:40 | |
-I think this is lovely. -Do you? -I do, yeah. And do you know what? | 0:47:40 | 0:47:44 | |
When I started, sort of suitcases and vintage luggage, well, | 0:47:44 | 0:47:49 | |
there wasn't such a term. They were just old things that no-one wanted. | 0:47:49 | 0:47:53 | |
-This is a crocodile skin case. -I thought it might be. | 0:47:53 | 0:47:56 | |
And it's just absolutely lovely. Is there anything inside? | 0:47:56 | 0:47:59 | |
-There's a silver-topped box... -Silver-topped box. | 0:47:59 | 0:48:02 | |
What's all that, there? | 0:48:02 | 0:48:03 | |
And this was presented to my great aunt, I think, | 0:48:03 | 0:48:07 | |
on her retirement from that particular company. | 0:48:07 | 0:48:10 | |
I have a feeling that she was a rep and it might have been a tea company. | 0:48:10 | 0:48:16 | |
-She was Esther. -Esther. | 0:48:16 | 0:48:18 | |
-So she was Great Aunt Esther. -Great Aunt Esther, or Auntie Sis. | 0:48:18 | 0:48:22 | |
They must have thought something of her | 0:48:22 | 0:48:24 | |
because they bought her a crocodile skin case and here... | 0:48:24 | 0:48:29 | |
These are actually hallmarked silver. | 0:48:30 | 0:48:32 | |
Hallmarked silver and monogrammed with her initials. | 0:48:32 | 0:48:35 | |
This would have been a very expensive gift. | 0:48:35 | 0:48:37 | |
Now, the sad thing is that there are various bits and bobs missing. | 0:48:37 | 0:48:41 | |
Don't think we'd have had this ring in there originally. | 0:48:41 | 0:48:44 | |
And it's nice that we've got the retailer, Finnigans here, | 0:48:44 | 0:48:47 | |
of Manchester. But I think this is a really, really lovely thing. | 0:48:47 | 0:48:52 | |
When it gets sold, if we sell it, what do you think will happen to it? | 0:48:52 | 0:48:56 | |
I don't know if it'd be a prop or something cos | 0:48:57 | 0:48:59 | |
-I can't see anybody using it. -Can you not? | 0:48:59 | 0:49:02 | |
-No. -Well, I'll tell you what I think's going to happen to it - | 0:49:02 | 0:49:05 | |
I think sadly, we're going to lose Aunt Esther's plaque | 0:49:05 | 0:49:09 | |
and I think these little bottles here... | 0:49:09 | 0:49:11 | |
I think they're either going to get sold separately, or they might even | 0:49:11 | 0:49:15 | |
-go in the melting pot... -OK. | 0:49:15 | 0:49:17 | |
..and then I think someone will take all this out | 0:49:17 | 0:49:19 | |
and they'll re-line it and then they'll have a really | 0:49:19 | 0:49:23 | |
-fantastic crocodile little attache case. -That's good. | 0:49:23 | 0:49:28 | |
And I think that's really cool. | 0:49:28 | 0:49:29 | |
I'd like to own it. I think it's a lovely thing. | 0:49:31 | 0:49:33 | |
The estimate really ought to be £80 to £120 | 0:49:33 | 0:49:36 | |
and I think we need a fixed reserve of £60 on it | 0:49:36 | 0:49:39 | |
and that's going to give the auctioneer something to work with. | 0:49:39 | 0:49:42 | |
And the thing I love about it, this is the ultimate recycling, isn't it? | 0:49:42 | 0:49:45 | |
-I think so, yes. -You know? | 0:49:45 | 0:49:47 | |
Cos someone's going to really love this and use it. | 0:49:47 | 0:49:49 | |
I'd love to own this. | 0:49:49 | 0:49:51 | |
Well, that's it. | 0:49:53 | 0:49:54 | |
Our final items have now just been found by our experts | 0:49:54 | 0:49:57 | |
and what crackers they really are. | 0:49:57 | 0:49:59 | |
I think we could have one or two surprises, so don't go away. | 0:49:59 | 0:50:03 | |
But what a day we've had here in Wallasey and the town hall, | 0:50:03 | 0:50:06 | |
but sadly, it's time to say, "Goodbye, everybody," isn't it? | 0:50:06 | 0:50:09 | |
As we head over to the auction room for the very last time today. | 0:50:09 | 0:50:13 | |
So, coming across the water with us | 0:50:15 | 0:50:17 | |
is this impressive Della Robbia plate. | 0:50:17 | 0:50:19 | |
It has a bit of damage, but it's still highly collectible. | 0:50:19 | 0:50:23 | |
And then there's Cath's Victorian silver boxes, | 0:50:26 | 0:50:28 | |
with that fabulous sentiment on the snuffbox. | 0:50:28 | 0:50:31 | |
This lot is sure to appeal to the bidders. | 0:50:31 | 0:50:35 | |
And then there's Austin's set of Heal's chairs. | 0:50:36 | 0:50:39 | |
Phil's recognised their stylish kudos, but will the bidders? | 0:50:39 | 0:50:43 | |
And finally, it's Judith's travelling case. | 0:50:45 | 0:50:48 | |
Exotic animal skins are not to everyone's taste, but I'm | 0:50:48 | 0:50:51 | |
sure this will go on to have a new lease of life on the high street. | 0:50:51 | 0:50:55 | |
It's as busy as ever at the auction house in Liverpool, | 0:51:00 | 0:51:02 | |
but before the sale got under way, on the preview day, | 0:51:02 | 0:51:05 | |
I caught up with Adam to get his opinion on one of my favourite lots. | 0:51:05 | 0:51:09 | |
These belong to Cath. They've been in a cabinet for a long time. | 0:51:11 | 0:51:14 | |
-Hopefully, we can get, you know, £300, £400. -Oh, I'm sure we will. | 0:51:14 | 0:51:17 | |
-I just love this one. -So do I. | 0:51:17 | 0:51:18 | |
This is a table snuffbox with a presentation inscription. | 0:51:18 | 0:51:21 | |
-So it's meant to be shared around. -Yeah, absolutely right. | 0:51:21 | 0:51:23 | |
But, also, normally the inscription - | 0:51:23 | 0:51:25 | |
what do they say on the occasion of your wedding? | 0:51:25 | 0:51:28 | |
"Oh, what a night!" | 0:51:28 | 0:51:29 | |
-Yeah. -Do you think that's been given by a lady | 0:51:29 | 0:51:32 | |
to her male admirer, do you think? | 0:51:32 | 0:51:34 | |
-Possibly. -Yeah. -Could be, couldn't it? | 0:51:34 | 0:51:35 | |
Or could it be, all the chaps were out and they had a great night | 0:51:35 | 0:51:38 | |
and they thought, "We'll give this to old Charlie boy... | 0:51:38 | 0:51:41 | |
"Oh, what a night!" | 0:51:41 | 0:51:43 | |
I just love the potential... | 0:51:43 | 0:51:45 | |
-Yeah, the social history behind it. -..imaginative stories that could be conjured up from that. | 0:51:45 | 0:51:49 | |
-And you're not going to split them up? -No. | 0:51:49 | 0:51:51 | |
-No. But I think they'll easily sell. -Brilliant. | 0:51:51 | 0:51:53 | |
-That's what we like to hear. -Yeah, and I think it's a great lot. | 0:51:53 | 0:51:56 | |
-For me, that is one of the nicest ones. -But you have to sell that | 0:51:56 | 0:51:59 | |
-to get that one away. -I think so. -I think you're right. | 0:51:59 | 0:52:02 | |
Well, we'll have to wait and see how they fare | 0:52:03 | 0:52:05 | |
because, with the auction getting under way, | 0:52:05 | 0:52:07 | |
Adam's taking his place on the rostrum, | 0:52:07 | 0:52:09 | |
and our first lot up for grabs is Helga's impressive charger. | 0:52:09 | 0:52:13 | |
I've got the pleasure in saying, going under the hammer right now, | 0:52:15 | 0:52:18 | |
we've got some Della Robbia from just up the road. | 0:52:18 | 0:52:20 | |
We've got a fixed reserve of £700. | 0:52:20 | 0:52:22 | |
This arms - sort of modelled as an arms dish, isn't it? | 0:52:22 | 0:52:24 | |
-It's a wonderful charger, Helga. -Yes, it's beautiful. | 0:52:24 | 0:52:27 | |
-I've got to say how fabulous you look. -Thank you. | 0:52:27 | 0:52:29 | |
This is quality and I think you're a lady of quality, | 0:52:29 | 0:52:32 | |
so why are you selling this? | 0:52:32 | 0:52:33 | |
It's big, it's awkward to display, | 0:52:33 | 0:52:37 | |
and it's pushed at the side of a wardrobe. | 0:52:37 | 0:52:39 | |
-It's a thing of the moment, it really is. -It is. -Hopeful. | 0:52:39 | 0:52:41 | |
Ready for this? Here we go. Fingers crossed. | 0:52:41 | 0:52:43 | |
It's going under the hammer now. | 0:52:43 | 0:52:45 | |
Late 19th-century Della Robbia charger. Models an arms dish. | 0:52:45 | 0:52:48 | |
What a lovely lot that is. | 0:52:48 | 0:52:50 | |
520, 540 I'm bid. | 0:52:50 | 0:52:51 | |
At 540. Any advance on 560? | 0:52:51 | 0:52:55 | |
580. 580 bid. | 0:52:55 | 0:52:57 | |
At 580. 600. | 0:52:57 | 0:52:59 | |
And 20. It's £600 only bid. | 0:52:59 | 0:53:03 | |
20. 620 bid. | 0:53:03 | 0:53:04 | |
640. 640 bid and 60. | 0:53:04 | 0:53:07 | |
660 on the phone now. At £660. | 0:53:08 | 0:53:12 | |
Any advance, then, on £660? Any more? 80. | 0:53:12 | 0:53:16 | |
680. 700. | 0:53:16 | 0:53:18 | |
-It's gone. -Sold. Yeah. | 0:53:18 | 0:53:21 | |
It's gone, well done! | 0:53:21 | 0:53:22 | |
At £700 alone... | 0:53:22 | 0:53:23 | |
At 700. It's going to be sold at 700. Are you all done on this? | 0:53:23 | 0:53:27 | |
At £700. A lovely piece, | 0:53:27 | 0:53:29 | |
at £700. | 0:53:29 | 0:53:32 | |
Brilliant result. Just through on the reserve. Well done! | 0:53:32 | 0:53:35 | |
-And you're pleased with that, aren't you? -Yes, I'm pleased, yes. | 0:53:35 | 0:53:38 | |
-And, hopefully, the new owner will be pleased. -Exactly. | 0:53:38 | 0:53:40 | |
Well, it just got there and I'm pleased for Helga. | 0:53:40 | 0:53:44 | |
Next up is Judith's travelling case. | 0:53:45 | 0:53:49 | |
We've got some real style and quality going under the hammer | 0:53:50 | 0:53:53 | |
right now, just like its owner, Judith. Good to see you. | 0:53:53 | 0:53:56 | |
-Thank you. -This is lovely. | 0:53:56 | 0:53:58 | |
And Philip zoomed in on this, didn't you? | 0:53:58 | 0:54:00 | |
I mean, it is just superb quality, | 0:54:00 | 0:54:02 | |
and quality always sells. | 0:54:02 | 0:54:04 | |
-I believe so. And I'm hoping so. -Why are you selling this? | 0:54:04 | 0:54:07 | |
We've got no use for it in our home, and I've got a couple of sons | 0:54:07 | 0:54:10 | |
getting married in the next year or so, | 0:54:10 | 0:54:12 | |
so I thought I would put the money towards the brides' flowers. | 0:54:12 | 0:54:15 | |
-Yes, that's about... -That's nice, isn't it? -From my mum. | 0:54:15 | 0:54:18 | |
-Aww. That's nice, isn't it? -Yes. -Good luck, both of you. | 0:54:18 | 0:54:21 | |
Here we go. Let's put it to the test. | 0:54:21 | 0:54:23 | |
Lovely lot, this one. The lady's crocodile toilet case. | 0:54:23 | 0:54:26 | |
It's worth that. 80's bid online. | 0:54:28 | 0:54:30 | |
-At £80, 5. In the room, 85. -That's good. | 0:54:30 | 0:54:33 | |
£95. In the room now, 95. | 0:54:33 | 0:54:37 | |
To the phone, then - 100. 110. 120. | 0:54:37 | 0:54:40 | |
130. 140. | 0:54:40 | 0:54:42 | |
150. 160. | 0:54:42 | 0:54:45 | |
170. 180. | 0:54:45 | 0:54:47 | |
190. 200. | 0:54:48 | 0:54:50 | |
-A phone bid's always comforting, isn't it? -Yes. | 0:54:50 | 0:54:53 | |
200 bid. 10. 210 in the room. | 0:54:53 | 0:54:55 | |
At 210 over here now. | 0:54:55 | 0:54:57 | |
At 210. 220 bid. | 0:54:57 | 0:54:59 | |
At 220 on the phone now... | 0:54:59 | 0:55:01 | |
-Phone line - 220, he's asking for. -Good move. | 0:55:01 | 0:55:06 | |
On the phone at £220. | 0:55:06 | 0:55:09 | |
They've snapped up the crocodile case. | 0:55:09 | 0:55:11 | |
£220, we'll sell this then. | 0:55:11 | 0:55:14 | |
On the phone at £220. | 0:55:14 | 0:55:16 | |
At 220. | 0:55:16 | 0:55:18 | |
Philip, well done. Yes. And you've got to be over the moon with that. | 0:55:18 | 0:55:22 | |
I am. Indeed, I am. It's lovely. | 0:55:22 | 0:55:24 | |
Well, sold for almost four times the reserve! | 0:55:24 | 0:55:27 | |
Now, let's hope Phil's prediction on the next lot is as accurate. | 0:55:29 | 0:55:33 | |
Going under the hammer now we've got a set of four | 0:55:34 | 0:55:36 | |
Heal's chairs. It's a retailer synonymous with quality. | 0:55:36 | 0:55:39 | |
It comes from the Tottenham Court Road in London and I love these. | 0:55:39 | 0:55:42 | |
It's style and I don't know why you're selling them, actually. | 0:55:42 | 0:55:45 | |
Well, they're surplus to requirements. | 0:55:45 | 0:55:47 | |
Philip, good luck with this. | 0:55:47 | 0:55:48 | |
I would really love to own these, I think they're such a cool lot, | 0:55:48 | 0:55:52 | |
and if they don't make the top end of £500, there's no justice at all. | 0:55:52 | 0:55:56 | |
Let's find out what this lot think. | 0:55:56 | 0:55:57 | |
Let's hand the proceedings over to Adam. | 0:55:57 | 0:55:59 | |
Interest here straight in at £200. At £200, the Heal's chairs. | 0:56:01 | 0:56:05 | |
We've got a reserve at 250. | 0:56:05 | 0:56:07 | |
At 200... £200. Is there 10 anywhere? At 200... | 0:56:07 | 0:56:10 | |
-At 200 it is, then. At £200. -No. | 0:56:11 | 0:56:15 | |
We'll have to see about those. | 0:56:15 | 0:56:17 | |
-My advice to you would be put them in a 20th-century modern sale. -Mm. | 0:56:17 | 0:56:21 | |
-£50 a chair for those is a nonsense, in my view. -Yes, it is, really. | 0:56:21 | 0:56:24 | |
It needs to go with things that are surrounded from that period | 0:56:24 | 0:56:27 | |
because people will buy into that. | 0:56:27 | 0:56:29 | |
I wish Austin all the best with those chairs | 0:56:29 | 0:56:31 | |
and I'm sure they will attract the interest they deserve. | 0:56:31 | 0:56:34 | |
Finally, it's time for our last lot of the day, | 0:56:35 | 0:56:38 | |
and you'll have to forgive me if I break into song. | 0:56:38 | 0:56:41 | |
# Oh, what a night Late December... # | 0:56:41 | 0:56:43 | |
That's the song, wasn't it? | 0:56:43 | 0:56:44 | |
I've forgotten who sang it but it is Oh, What A Night, | 0:56:44 | 0:56:46 | |
because it's on that snuffbox. | 0:56:46 | 0:56:48 | |
Cath, good luck with this. | 0:56:48 | 0:56:50 | |
I had a chat to Adam on the preview day, yesterday. | 0:56:50 | 0:56:52 | |
-The snuffbox - we've got two items of silver in your lot. -Yeah. | 0:56:52 | 0:56:55 | |
Adam's not separated them because the snuffbox is going to get | 0:56:55 | 0:56:57 | |
-the trinket box away. -Yeah. -That's kind of how it works | 0:56:57 | 0:57:00 | |
-in the auction business, isn't it? -Bit of damage to the trinket box as well. | 0:57:00 | 0:57:03 | |
-Yeah, but, oh, what a night. Oh, what a day! -PAUL LAUGHS | 0:57:03 | 0:57:06 | |
And it's going under the hammer right now | 0:57:06 | 0:57:09 | |
and, hopefully, it's going to hit the roof. Here we go. | 0:57:09 | 0:57:11 | |
Birmingham, 1872. | 0:57:11 | 0:57:13 | |
It comes with another Victorian box | 0:57:13 | 0:57:16 | |
with the engraving of, "Oh, what a night!" | 0:57:16 | 0:57:18 | |
I've never seen anything like it. Great thing. £300, please. | 0:57:18 | 0:57:21 | |
Bid, at £300. I'll take 20. | 0:57:21 | 0:57:24 | |
At 300. 20. 340. 360. | 0:57:24 | 0:57:26 | |
380. 400. And 20. | 0:57:26 | 0:57:28 | |
440. 440's in front, here. | 0:57:28 | 0:57:30 | |
At 440. You're out, Desmond. It's 440 down here. | 0:57:30 | 0:57:33 | |
At 440. A lovely lot. Is there any more on this then? | 0:57:33 | 0:57:37 | |
At 440. We shall sell, then, in the row, | 0:57:37 | 0:57:40 | |
at £440. | 0:57:40 | 0:57:42 | |
-Spot-on there, weren't you, really? -Brilliant. Yeah, good. | 0:57:44 | 0:57:47 | |
-Thank you very much. -You're happy as well, aren't you? -Yes. | 0:57:47 | 0:57:49 | |
-Yeah, there is commission to pay, but it's a lot of money. -Yes. | 0:57:49 | 0:57:52 | |
-So you're going to pamper yourself. -Can have your own, "Oh, what a night!" now, can't you? | 0:57:52 | 0:57:56 | |
Don't tell me husband! LAUGHTER | 0:57:56 | 0:57:59 | |
I think the cat might be out the bag now, Cath, | 0:57:59 | 0:58:02 | |
but I'm sure you'll have a great night out, anyway. | 0:58:02 | 0:58:05 | |
It's all over for our owners. As you can see, | 0:58:09 | 0:58:11 | |
the auction is still going on, but what a day we've had here. | 0:58:11 | 0:58:14 | |
Lots of highs and lots of lows, and some maybes, | 0:58:14 | 0:58:17 | |
but that's auctions for you - you never know what's going to happen, | 0:58:17 | 0:58:21 | |
so join us again next time for more surprises. | 0:58:21 | 0:58:23 | |
But, until then, from Liverpool, it's goodbye. | 0:58:23 | 0:58:26 |