0:00:03 > 0:00:05Today's show comes from the northwest coastline.
0:00:05 > 0:00:09I'm 500 feet up in the air. Can you guess where I am?
0:00:09 > 0:00:12Yes, you've got it. Blackpool. Welcome to "Flog It!"
0:00:36 > 0:00:38The town of Blackpool hit the big-time
0:00:38 > 0:00:41when visiting the seaside became affordable for the masses,
0:00:41 > 0:00:44with attractions including a theme park,
0:00:44 > 0:00:47three piers, and, of course, the world-renowned Tower Ballroom,
0:00:47 > 0:00:51where many a Strictly celeb has samba-ed the night away.
0:00:53 > 0:00:56The most famous attraction, of course, has to be the tower
0:00:56 > 0:00:59itself, providing thousands of tourists with spectacular
0:00:59 > 0:01:02views along the coastline, alongside the ornate
0:01:02 > 0:01:05luxury of the ballroom and the excitement of the Tower Circus
0:01:05 > 0:01:08drawing in thousands of people over the years.
0:01:08 > 0:01:09There's a great queue here today.
0:01:09 > 0:01:12This lot are here laden with antiques
0:01:12 > 0:01:14and collectables, all hoping they're going to make a small
0:01:14 > 0:01:17fortune in auction later on in the programme.
0:01:17 > 0:01:20And there's one question on everybody's lips, which is...
0:01:20 > 0:01:25- ALL: WHAT'S IT WORTH?! - They're going to find out.
0:01:25 > 0:01:28Ready and waiting to entertain the crowds today is our main man,
0:01:28 > 0:01:31- James Lewis.- Is it full?
0:01:31 > 0:01:34And warming up for her first performance at the circus is
0:01:34 > 0:01:36leading lady Anita Manning.
0:01:36 > 0:01:39I think it would be nice to do a wee piece on that
0:01:39 > 0:01:45because we are in Blackpool, the home of the naughty postcard.
0:01:45 > 0:01:50So, without further ado, let's open the doors and start the valuations.
0:01:50 > 0:01:53Today, we will find out which of these is worth the most.
0:01:55 > 0:01:59Some Chinese terracotta animals that could be over 1,000 years old,
0:01:59 > 0:02:03or this concertina that could hit the right note at auction.
0:02:03 > 0:02:05Find out which fares best later on in the show.
0:02:09 > 0:02:12And kicking off the proceedings, Anita's taking a closer
0:02:12 > 0:02:15look at those postcards that she spotted in the queue.
0:02:15 > 0:02:19Richard, Sonia, father and daughter. Welcome to "Flog It!".
0:02:19 > 0:02:23It's lovely to have you along in this fabulous venue.
0:02:24 > 0:02:27You've brought me along an album of postcards.
0:02:27 > 0:02:30Richard, tell me, where did you get them?
0:02:30 > 0:02:36Many years ago my great aunt, who was a spinster lady,
0:02:36 > 0:02:40liked to frequent all of the hotels and places,
0:02:40 > 0:02:44and she would have Blackpool and Morecambe
0:02:44 > 0:02:47and all the other areas around,
0:02:47 > 0:02:51so everybody, we got this huge build up of cards.
0:02:51 > 0:02:52Let's have a look.
0:02:52 > 0:02:55This is your original album here and it's nice to have kept them
0:02:55 > 0:02:58in the album because it's kept them in good condition
0:02:58 > 0:03:00and condition is important.
0:03:00 > 0:03:05If we look at these ones, we can see at the beginning some early
0:03:05 > 0:03:08Donald McGill postcards, and we see
0:03:08 > 0:03:13a little reference to a soldier here.
0:03:13 > 0:03:17"The voice that breathed o'er Eden fall in the draft!"
0:03:17 > 0:03:19And we've got two...
0:03:22 > 0:03:27Not the most glamorous girls, and again they are discussing
0:03:27 > 0:03:33the Army, and here we've got a reference to old Churchill.
0:03:33 > 0:03:37You've got early Donald McGills and that is good.
0:03:37 > 0:03:40They're smashing. Do we know how many we have, Richard?
0:03:40 > 0:03:42- 164.- You've counted?
0:03:42 > 0:03:44Yes.
0:03:44 > 0:03:47Tell me, why are you selling them, Richard?
0:03:47 > 0:03:49Now that the family is spread about,
0:03:49 > 0:03:53I wouldn't know who to give it to, I wouldn't know where to leave it
0:03:53 > 0:03:56and I have visions of it being dropped into a skip.
0:03:58 > 0:04:02Sonia, you've obviously enjoyed looking through these.
0:04:02 > 0:04:06Do you have any sentimental attachment to them?
0:04:06 > 0:04:10I do for the joy they've brought looking at them, but I agree with my dad -
0:04:10 > 0:04:14if we could sell them to someone who would appreciate them
0:04:14 > 0:04:18as much as we have, then I would rather they go to
0:04:18 > 0:04:22someone like that than, like my dad said, they could get lost.
0:04:22 > 0:04:25Postcards are good in today's market.
0:04:25 > 0:04:30You've got 160-odd there - some are worth more than others.
0:04:30 > 0:04:34I would like to put between £100 and £200.
0:04:34 > 0:04:36Would you be happy to sell them at that?
0:04:36 > 0:04:40- Yes. - I was thinking a reserve of £100.
0:04:40 > 0:04:41- Would you feel happy?- Yeah.
0:04:41 > 0:04:46And a low and wide estimate will encourage the bidding.
0:04:46 > 0:04:48So, I am hoping that does very, very well indeed.
0:04:51 > 0:04:55James Lewis is taking a trip down Memory Lane.
0:04:55 > 0:04:58I think if most people said that
0:04:58 > 0:04:59poison bottles and drug jars
0:04:59 > 0:05:02reminded them of their childhood, the first thing
0:05:02 > 0:05:05that would happen is the social services could be called in!
0:05:05 > 0:05:08But I have to say, when I look at these,
0:05:08 > 0:05:10that's exactly what it makes me think of.
0:05:10 > 0:05:12Times when I was a kid, because my mum
0:05:12 > 0:05:15is a qualified pharmacist, my dad
0:05:15 > 0:05:17was a pharmacist, my grandmother was a pharmacist,
0:05:17 > 0:05:20so whenever I used to go to my grandparents' house,
0:05:20 > 0:05:22they used to keep the sugar in a drug jar,
0:05:22 > 0:05:25and oil and vinegar and all this sort of thing.
0:05:25 > 0:05:28So slightly strange, I admit, but jolly practical!
0:05:28 > 0:05:30How did you come to have them - a pharmaceutical background?
0:05:30 > 0:05:33My brother-in-law was a chemist,
0:05:33 > 0:05:37- who retired 25 years ago now.- OK.
0:05:37 > 0:05:40And when he retired, the shop was closed down.
0:05:40 > 0:05:43Some of these bottles, he took with him to his new house,
0:05:43 > 0:05:46- put them in the cellar and forgot about them.- Really?
0:05:46 > 0:05:48So when they decided to move a couple of weeks ago,
0:05:48 > 0:05:51they said, "Would you like to take these bottles to the car boot?"
0:05:51 > 0:05:54- And I thought, "They're too good to take to the car boot."- Yeah.
0:05:54 > 0:05:55So I brought them along today.
0:05:55 > 0:05:58- There was a whole pile more in the box that I saw earlier.- Yeah.
0:05:58 > 0:06:02So on top of the ten plain ones that we're not seeing on the table,
0:06:02 > 0:06:06we've got these, and these are by far the most interesting.
0:06:06 > 0:06:08S-Y-R stands for "syrup".
0:06:08 > 0:06:11So these are syrup jars, syrup bottles,
0:06:11 > 0:06:14that have a slightly strange stopper,
0:06:14 > 0:06:17because most drug jars and drug bottles have a ground glass stopper,
0:06:17 > 0:06:21where the outside of the stopper and the inside of the neck of the bottle
0:06:21 > 0:06:24are ground so they make a very good seal.
0:06:24 > 0:06:28But if you imagine having something sticky and sugary
0:06:28 > 0:06:30- in a ground glass stopper...- Yeah.
0:06:30 > 0:06:33..as soon as you've put the stopper in, leave it overnight,
0:06:33 > 0:06:37it's going to set fast and you're never going to get it off.
0:06:37 > 0:06:41So these syrup jars have that. It's like a little dropper almost.
0:06:41 > 0:06:45But it prevents the bottle getting stuck with the stopper.
0:06:45 > 0:06:46The other interesting feature
0:06:46 > 0:06:48is a bottle like this, the green glass one.
0:06:48 > 0:06:51As soon as you pick that off the shelf,
0:06:51 > 0:06:55you realise that it's ribbed, so if you're a pharmacist in your shop,
0:06:55 > 0:06:58that suddenly tells you you've picked up a poison bottle,
0:06:58 > 0:07:01the fact that it's ribbed. It's an immediate warning.
0:07:01 > 0:07:03- No family, great family link for you with...?- No, no.
0:07:03 > 0:07:06- No sentimental...? - No sentimental value at all.
0:07:06 > 0:07:11Well, the blue glass with the labels in good order,
0:07:11 > 0:07:15are worth about £10, 12, 14 each.
0:07:15 > 0:07:18Some with chipped stoppers, so we'll make a bit of an allowance.
0:07:18 > 0:07:21The ribbed glass without the labels are less.
0:07:21 > 0:07:25- Then we've got the oil jar, worth maybe £6 or £7.- Right.
0:07:25 > 0:07:28So I reckon, if we put an estimate of £60-100
0:07:28 > 0:07:31on the collection, it's not huge,
0:07:31 > 0:07:33it's better than car boot prices,
0:07:33 > 0:07:35but not a massive difference.
0:07:35 > 0:07:38- It's a day out for the children. - It is, and for something
0:07:38 > 0:07:39that was just left in the cellar,
0:07:39 > 0:07:41- it's better than nothing.- It is.
0:07:41 > 0:07:43- You never know, it might make a bit more.- That'd be great.
0:07:43 > 0:07:45A great collection found by James.
0:07:50 > 0:07:52Alana, welcome to "Flog It!"
0:07:52 > 0:07:57It's wonderful of you to come along and be in this fabulous circus ring.
0:07:57 > 0:08:02- So good.- Have you ever been here before?- The circus, yes.
0:08:02 > 0:08:05Um, well, I essentially grew up here,
0:08:05 > 0:08:07my family have been involved since...
0:08:09 > 0:08:12- ..decades ago, since the first Tower ballet.- That's my fantasy.
0:08:12 > 0:08:17I want to be the woman who stands on the back of the big white
0:08:17 > 0:08:20horse trotting around the ring.
0:08:20 > 0:08:24- What was your favourite act? - I loved the elephant.
0:08:24 > 0:08:27I used to love when we took him for walks on the beach and stuff.
0:08:27 > 0:08:34You took an elephant for a walk on the beach? Ha-ha! For a paddle.
0:08:34 > 0:08:38Well, it was more of a dunk rather than a paddle, really.
0:08:38 > 0:08:40They were a bit heavy. Yeah, it was a lot of fun.
0:08:42 > 0:08:46- It's things I'll always remember. - It's wonderful.
0:08:46 > 0:08:49Tell me, what have you brought me along today?
0:08:49 > 0:08:53Well, I've got some retro games - Mouse Trap and Risk!
0:08:53 > 0:08:56- Some pretty awesome games. - Where did you get these?
0:08:56 > 0:08:59I found these in a charity, spotted them
0:08:59 > 0:09:05and you know when you get that nostalgia of, like, days gone by?
0:09:05 > 0:09:08- Did you play board games as a kid? - A lot, yeah.
0:09:08 > 0:09:10Who did you play with?
0:09:10 > 0:09:12I played with my grandma loads - in between toast time
0:09:12 > 0:09:15and snuggles there was always a board game.
0:09:15 > 0:09:17Always.
0:09:17 > 0:09:20So, this has taken you back to lovely times with your granny.
0:09:20 > 0:09:24- Definitely, yeah. - Well, I think this is great fun.
0:09:24 > 0:09:30You're the expert on this, what sort of dates would this be, maybe 1960s?
0:09:30 > 0:09:32These are the first-edition ones.
0:09:32 > 0:09:37As far as I am aware from what I've seen on the internet and things.
0:09:37 > 0:09:39How much did it cost you?
0:09:39 > 0:09:42I haggled a little bit and got them down to both of them
0:09:42 > 0:09:47for 40, which I thought was pretty good because they are quite old
0:09:47 > 0:09:51and I have looked online
0:09:51 > 0:09:53and they are selling online, but incomplete.
0:09:53 > 0:09:58This type of thing was mass produced, but it is reflecting the time
0:09:58 > 0:10:03and because it was a toy, many of them were discarded or broken
0:10:03 > 0:10:09and what you're telling me is this is a first-edition one
0:10:09 > 0:10:12and it has everything there.
0:10:12 > 0:10:15- Yeah.- You paid retail for them - auction is slightly different.
0:10:15 > 0:10:19I would like to put them in estimated, say, 20 to 30.
0:10:19 > 0:10:21Would you be content with that?
0:10:21 > 0:10:27- Yeah.- If we say £20 reserve with a little bit of discretion.
0:10:27 > 0:10:29If they don't get that, you will get them back again.
0:10:29 > 0:10:31Yeah, that's fine.
0:10:32 > 0:10:35Obviously I've bought it for a bit more,
0:10:35 > 0:10:37but that's the risk you take, isn't it?
0:10:37 > 0:10:40Who knows? But let's hope they do well in auction,
0:10:40 > 0:10:42and it's been great fun looking at them.
0:10:42 > 0:10:44Thank you for bringing them along.
0:10:44 > 0:10:47That's all right. No problem.
0:10:47 > 0:10:51And you can see if those games win or lose at the auction.
0:10:51 > 0:10:55I think every child grows up being told by their parents,
0:10:55 > 0:10:57"Don't get a motorbike, it's too dangerous,"
0:10:57 > 0:10:59but there's something almost
0:10:59 > 0:11:04very basic in the human instinct that wants to
0:11:04 > 0:11:06go as fast as possible,
0:11:06 > 0:11:10and that danger to give you the rush of adrenaline and there's nothing
0:11:10 > 0:11:15more dangerous than in the 1920s and '30s than these guys were doing.
0:11:15 > 0:11:16Speedway.
0:11:16 > 0:11:19My word, these are all speedway riders from that period?
0:11:19 > 0:11:22They are, they were my mother's collection from her
0:11:22 > 0:11:26days from mainly Belle Vue, Manchester.
0:11:26 > 0:11:29Belle Vue and White City, the two big speedway tracks.
0:11:29 > 0:11:33- That's right.- So, was your mother a massive speedway fan?
0:11:33 > 0:11:34I think she was.
0:11:34 > 0:11:37I had three uncles who were obviously her brothers
0:11:37 > 0:11:40and they were all into bikes. She was the younger of them.
0:11:40 > 0:11:44I suppose she's grown up with the brothers with motorbikes around,
0:11:44 > 0:11:47so they went to Belle Vue and she went with them, as far as I know.
0:11:47 > 0:11:52I think even took me in my younger days when I was a young child.
0:11:52 > 0:11:56- So young, I couldn't remember it. - Are you a biker?
0:11:56 > 0:12:00- No, can't ride a push-bike!- Come on. Everyone can ride a push-bike.
0:12:00 > 0:12:04- I can drive a car, but not a push-bike. No, I can't.- How funny!
0:12:04 > 0:12:06OK. So, how old was your mother
0:12:06 > 0:12:10when she was going to the races - eight, ten?
0:12:10 > 0:12:13Probably she started from that young age and into her teens.
0:12:13 > 0:12:19I suppose it's what you could call the pop of her day.
0:12:19 > 0:12:23On a Saturday night at Belle Vue was the speedway racing
0:12:23 > 0:12:25and you got to meet them afterwards.
0:12:25 > 0:12:28Here we have proof of the fact she met them.
0:12:28 > 0:12:32Max Grossenburg, who was an Australian speedway
0:12:32 > 0:12:34and one of the most famous of his day,
0:12:34 > 0:12:38and there he is standing looking dashing in his long leather coat.
0:12:38 > 0:12:41- I think he must have been known for that.- I'm sure.
0:12:41 > 0:12:45We have some of the guys up here. Look at what they're wearing.
0:12:45 > 0:12:49It's padded, but it wouldn't give anywhere near the protection
0:12:49 > 0:12:52of the guys that they have today.
0:12:52 > 0:12:55It's a really interesting collection,
0:12:55 > 0:12:57but it is quite a varied mix.
0:12:57 > 0:13:00We've got the scraps that are put together for personal interest,
0:13:00 > 0:13:06the cigarette cards appeal to one market, autographs that appeal
0:13:06 > 0:13:11to a separate market and photographs that are a different market again.
0:13:11 > 0:13:14The one thing that links them all is the biking interest.
0:13:14 > 0:13:17I think the thing of most value is the photograph.
0:13:17 > 0:13:21I think that's probably worth 30, £35, but by the time we add it
0:13:21 > 0:13:26all together we've got a lot of worth probably 50 to 80.
0:13:26 > 0:13:29- Is that all right for you for a starting bid?- Fine.
0:13:29 > 0:13:31The right thing to do is to find a home,
0:13:31 > 0:13:36somebody who has a passion for it and let these things live on.
0:13:36 > 0:13:39- Let's see who turns up at the sale. - Yes, OK. Fine.
0:13:43 > 0:13:47Just up the coast from Blackpool is another seaside resort.
0:13:47 > 0:13:50I'm here at the Winter Gardens in Morecambe, once home to
0:13:50 > 0:13:52some of the biggest names in show business
0:13:52 > 0:13:56and arguably one of the grandest theatres in Lancashire.
0:13:56 > 0:13:59But the heyday has long gone and the glamour has faded,
0:13:59 > 0:14:01but thankfully all is not lost.
0:14:02 > 0:14:07The theatre was built in 1897 and formed part of an entertainment
0:14:07 > 0:14:11complex that included a ballroom and seawater baths.
0:14:11 > 0:14:14Most of those features have long since been demolished,
0:14:14 > 0:14:16but the theatre still remains,
0:14:16 > 0:14:19although it has been closed for more than 40 years.
0:14:20 > 0:14:23And it's here in the main auditorium that generations
0:14:23 > 0:14:27of theatre-goers flocked to see some of their favourite performers.
0:14:27 > 0:14:31This stage has seen the likes of Laurel and Hardy,
0:14:31 > 0:14:35Laurence Olivier, and not forgetting the comic genius
0:14:35 > 0:14:38Eric Morecambe and his stage partner Ernie Wise.
0:14:39 > 0:14:44It must have been terrifying walking on stage to a packed house
0:14:44 > 0:14:47because that is a big space.
0:14:47 > 0:14:50All those eyes looking down on you, what an atmosphere!
0:14:50 > 0:14:54And the acoustics are superb in here with the barrelled ceiling.
0:14:55 > 0:14:57- ECHO:- Hello, Morecambe! - APPLAUSE
0:14:57 > 0:15:02When it was full, over 2,150 pairs of eyes would have been on the stage.
0:15:05 > 0:15:08If you bought the cheapest tickets available,
0:15:08 > 0:15:10it got you a seat in this area.
0:15:10 > 0:15:14While it may be a long way from the stage, it is close to that.
0:15:14 > 0:15:18This is the original ceiling that was put in in 1897.
0:15:18 > 0:15:21It would have been cast out of plaster in smaller
0:15:21 > 0:15:25sections at ground level and then raised into position and decorated.
0:15:28 > 0:15:30If you look through that hole up there,
0:15:30 > 0:15:33it gives you a marvellous view of the ceiling detail,
0:15:33 > 0:15:36but also how this incredible plasterwork is held up.
0:15:36 > 0:15:38There's a great deal of weight up there, it is
0:15:38 > 0:15:40secured into place by ties -
0:15:40 > 0:15:44lots of strands of wire which have been tightened up,
0:15:44 > 0:15:48looped over this rolled steel joist so it takes the complete weight.
0:15:48 > 0:15:52The ties, the wire, is then covered over with more plaster of Paris
0:15:52 > 0:15:56and decorated into the ornate work so it is completely hidden.
0:15:56 > 0:15:59But it's not just the ceiling that is full of detail here.
0:15:59 > 0:16:02The whole place is full of architectural delights.
0:16:03 > 0:16:05In its prime, the theatre would have been a grand
0:16:05 > 0:16:09and ornate place to visit and also, in the days before TV, it would
0:16:09 > 0:16:12have been a centre of entertainment for the local
0:16:12 > 0:16:15community as well as for visiting holiday-makers.
0:16:15 > 0:16:18Going to the theatre was thirsty work back in the day.
0:16:18 > 0:16:21There would have been five bars here serving drinks to the audience
0:16:21 > 0:16:25and in this one bar there's a team of dedicated volunteers working
0:16:25 > 0:16:28hard to restore it back to its former glory.
0:16:30 > 0:16:33Evelyn, you've been involved with this restoration
0:16:33 > 0:16:36- project from day one. What year was that?- 1986.
0:16:36 > 0:16:40So, have you got fond memories as a theatre-goer, a young girl,
0:16:40 > 0:16:42coming to watch performances here?
0:16:42 > 0:16:45Yes, the first time I ever came into the Winter Gardens,
0:16:45 > 0:16:49my mum brought me and my sister to see Cinderella, the pantomime.
0:16:49 > 0:16:52And I thought it was absolutely wonderful.
0:16:52 > 0:16:53The theatre was all lit up.
0:16:53 > 0:16:56So, you and a group of friends got together to form an action team,
0:16:56 > 0:16:59- to get this restoration project under way.- We did.
0:16:59 > 0:17:03We got the opportunity in 2006 to purchase the building,
0:17:03 > 0:17:08which we did, and we've been slowly trying to do work to reopen it again.
0:17:08 > 0:17:10Is there anything I can get involved with?
0:17:10 > 0:17:14I am sure, Paul, we can get something for you to do.
0:17:14 > 0:17:16Come on, then!
0:17:17 > 0:17:19Along with Morecambe's Winter Gardens,
0:17:19 > 0:17:23it's estimated that around 50 theatres in the UK
0:17:23 > 0:17:25are at risk of being lost for ever.
0:17:25 > 0:17:29It makes the work of the volunteers even more important.
0:17:29 > 0:17:33I'm going to give a helping hand to local artist Shane Johnstone,
0:17:33 > 0:17:36who's restoring some of the original mosaic in the entrance hall.
0:17:36 > 0:17:39He, like the rest of the team, offer their skills
0:17:39 > 0:17:42to bring the theatre back to life one tile at a time.
0:17:42 > 0:17:44So, you've got a bit of damage here.
0:17:44 > 0:17:46What's the first thing you're going to do?
0:17:46 > 0:17:50First we'll take a tracing of the damaged hole.
0:17:50 > 0:17:51Do you want to have a go?
0:17:51 > 0:17:53Yes, I can rub that around the edge...
0:17:53 > 0:17:55All you do is rub round the edge,
0:17:55 > 0:17:59gently look for the edge of the hole, and the damage.
0:17:59 > 0:18:00So, what happens next?
0:18:00 > 0:18:04What we need to do now is to find a piece that's undamaged,
0:18:04 > 0:18:06and take a tracing from that.
0:18:06 > 0:18:11- Like that section over there. - That looks good to me.- OK.
0:18:11 > 0:18:12I can see what you're doing now.
0:18:12 > 0:18:16You know, it is so simple when you really think about it.
0:18:18 > 0:18:21OK, lots of buckets of mosaic tiles here.
0:18:21 > 0:18:23Yeah, these are all the salvaged tiles.
0:18:23 > 0:18:26So what we need to do now is recreate the pattern
0:18:26 > 0:18:28by sticking the tiles on here.
0:18:28 > 0:18:29You can't rush this, can you?
0:18:29 > 0:18:33No, you can't rush it. You've got to do it carefully and thoroughly.
0:18:35 > 0:18:38Get a sense of achievement quite quickly, really, don't you?
0:18:38 > 0:18:41Once you get two colours down, working together.
0:18:41 > 0:18:45You make progress, and you see the artwork develop in front of you,
0:18:45 > 0:18:47and it's very satisfying work.
0:18:49 > 0:18:53Well, we've cut it out now. We've got rid of the excess brown paper.
0:18:53 > 0:18:56One more dab of glue - I've got the last mosaic to put on.
0:18:56 > 0:18:58- In we go.- There we are.
0:18:58 > 0:19:00I'll leave that up to you to carry over there
0:19:00 > 0:19:02and put into place.
0:19:03 > 0:19:06There's a sense of achievement's gone on there.
0:19:06 > 0:19:09- Do you want to put it in? - No, go on, you do it.
0:19:09 > 0:19:11I know, obviously, that's got to go down on adhesive,
0:19:11 > 0:19:14- but we won't do that right now. Let's just see the process.- Yes.
0:19:14 > 0:19:18So, once that's adhesived in, we fold this over,
0:19:18 > 0:19:22we flip it down, insert into the space...
0:19:22 > 0:19:25Once that's set in adhesive and it's gone off,
0:19:25 > 0:19:27you can get a sponge with some warm water on it
0:19:27 > 0:19:30and just soak that brown paper off, and it'll just peel off, won't it?
0:19:30 > 0:19:34It'll peel off and it'll reveal a lovely new restored mosaic.
0:19:34 > 0:19:36Well done. What a lovely process.
0:19:36 > 0:19:38If you visit the theatre,
0:19:38 > 0:19:40you can actually walk over our work now, can't you?!
0:19:40 > 0:19:43- How about that? - Thanks for your help.
0:19:45 > 0:19:48Well, I've thoroughly enjoyed my visit here to the Winter Gardens,
0:19:48 > 0:19:50and it's great to see the work of the volunteers
0:19:50 > 0:19:53who are so clearly passionate about protecting their local heritage.
0:19:53 > 0:19:56And talking about mosaics, there's a lovely example here.
0:19:56 > 0:19:59This was first put down in the late 1880s,
0:19:59 > 0:20:02and as you can see, "pavilion" was misspelt.
0:20:02 > 0:20:04But I'm sure that's going to be left
0:20:04 > 0:20:06for everybody else to look at and admire.
0:20:06 > 0:20:09And I must say, if you are ever in the area,
0:20:09 > 0:20:13do pay the theatre a visit, because it's well worth seeing.
0:20:20 > 0:20:23It's nearly time to put our first items under the hammer,
0:20:23 > 0:20:27but before we do, let's have a quick recap of all the items
0:20:27 > 0:20:29we think will be entertaining the bidders.
0:20:31 > 0:20:32Wish you were here -
0:20:32 > 0:20:37it's the collection of postcards brought along by Richard and Sonia.
0:20:37 > 0:20:41John's hoping his chemist bottles can brew up a profit.
0:20:42 > 0:20:46And Alana is willing to take a risk on these board games.
0:20:46 > 0:20:48Let's hope she traps the big money.
0:20:50 > 0:20:53There's that collection of Speedway memorabilia.
0:20:55 > 0:20:59For today's auction, we've travelled nine miles south to Lytham St Annes,
0:20:59 > 0:21:04also a Mecca of entertainment, but this time of a sporting nature.
0:21:04 > 0:21:07It is famous for its internationally renowned golf course,
0:21:07 > 0:21:10but let's hope today's lots are not under par.
0:21:15 > 0:21:17The man in charge today is auctioneer Jonathan Cook
0:21:17 > 0:21:20and the room is full of potential bidders.
0:21:20 > 0:21:23Our first lot is the collection of postcards.
0:21:23 > 0:21:27So, this was a family tradition collected by your great aunt
0:21:27 > 0:21:29and it stopped around the '60s and that's
0:21:29 > 0:21:32when I started to collect saucy postcards
0:21:32 > 0:21:37going on holiday in the '60s and '70s, and this is your great aunt.
0:21:37 > 0:21:40- Yeah.- Can we show the camera? - She was born in 1898.
0:21:40 > 0:21:42Doesn't she look happy?
0:21:42 > 0:21:46- Is this a sad moment, selling this, really?- Not really, no.
0:21:46 > 0:21:50- I would rather they went to someone who would appreciate it.- OK.
0:21:50 > 0:21:52Good luck, everybody. It's time to put those values to the test.
0:21:52 > 0:21:55Let's hope they find a new home and get looked after
0:21:55 > 0:21:56and are kept together.
0:21:56 > 0:21:58This is it.
0:21:58 > 0:22:01Early 20th-century album. Comical postcards.
0:22:01 > 0:22:08We can start them off at £80. 85. 90. Five. At £95. Any advance on 95?
0:22:08 > 0:22:12100. At £100 on the net. Any advance on £100?
0:22:12 > 0:22:18At £100 on the internet. Are we all sure? 110. And 20. And 30.
0:22:18 > 0:22:23And 40. And 50. And 60. 170. 180.
0:22:24 > 0:22:29- At £180.- We are nearly at the top end of the estimate.- At £180, then.
0:22:29 > 0:22:35All on the net at 180. Any further interest in the room? At 190.
0:22:36 > 0:22:43On the net at 190. Any advance in the room? At 190, all sure?
0:22:43 > 0:22:45All finished. At 190.
0:22:47 > 0:22:48- That's wonderful.- Oh, good.
0:22:48 > 0:22:53That's good, isn't it? Everyone is happy. It was worth doing.
0:22:53 > 0:22:56Definitely worth doing. Well done. A good result there.
0:22:56 > 0:22:59Now, it's time to roll the dice for our next lot.
0:22:59 > 0:23:00Alana, fingers crossed,
0:23:00 > 0:23:04and I know you are crazy about board games, aren't you?
0:23:04 > 0:23:08- Yeah.- Not a lot of money involved. £20, hopefully £40.
0:23:08 > 0:23:11I just wanted to meet you guys! That's all it was.
0:23:11 > 0:23:14- I've got to get on.- Good luck.
0:23:14 > 0:23:15Let's put it to the test
0:23:15 > 0:23:19and find out what this lot think - it's now down to the bidders.
0:23:19 > 0:23:26Lot 220. 1960s. Ideal mouse game. Risk! by Waddington. 1960s.
0:23:27 > 0:23:32On the internet at £20. 22. 24.
0:23:32 > 0:23:34At £24 on the net.
0:23:34 > 0:23:41- Any advance in the room? At 24 on the net. Are we all sure?- At £24.
0:23:41 > 0:23:42Selling.
0:23:44 > 0:23:47- We can all live without it.- £24.
0:23:49 > 0:23:52It has gone within estimate.
0:23:52 > 0:23:55- What did you pay for those two games?- I did pay a bit more.
0:23:55 > 0:23:59I was hoping there might have been some big kids in the room. But no!
0:23:59 > 0:24:03But somebody else will have a lot of fun playing with them.
0:24:03 > 0:24:09- Definitely.- Whoever bought that got a real bargain and hours of fun.
0:24:09 > 0:24:11Let's see how James does with his first lot.
0:24:11 > 0:24:14- Good luck with the chemists' bottles, John.- Thank you.
0:24:14 > 0:24:16I'm pleased you decided to put them into auction,
0:24:16 > 0:24:18rather than sell them at a car boot.
0:24:18 > 0:24:19- Definitely.- The interesting thing
0:24:19 > 0:24:23- with these chemist bottles is a rare label can make a massive difference.- Yes.
0:24:23 > 0:24:25And you've got some lovely enamelled labels amongst them,
0:24:25 > 0:24:27some ribbed poison bottles. They're a good bunch.
0:24:27 > 0:24:29And I bet if you took these to that car boot,
0:24:29 > 0:24:31like, it was your brother that was telling you to?
0:24:31 > 0:24:33That's correct, yeah.
0:24:33 > 0:24:35I bet you would only have got a tenner for them.
0:24:35 > 0:24:37- I'd be lucky if you get that at the car boot.- Exactly.
0:24:37 > 0:24:39- A tenner for the lot.- Yeah.- Yeah.
0:24:39 > 0:24:42Well, let's hope - let's hope we get the top end of James's estimate,
0:24:42 > 0:24:43and get a little surprise.
0:24:43 > 0:24:46Collection, 20 chemists' pharmacy bottles,
0:24:46 > 0:24:48various sizes and shapes.
0:24:48 > 0:24:52Bids there of £30, 32, 34.
0:24:52 > 0:24:55At £34, 36, 38, 40.
0:24:55 > 0:24:57At £40, 42, 44.
0:24:57 > 0:24:596, 8, 50.
0:24:59 > 0:25:01- 5, 60.- Look, all the bids are coming in online,
0:25:01 > 0:25:03can you see that? They're not in the room at all.
0:25:03 > 0:25:06At 75 on commission, looking for 80.
0:25:06 > 0:25:09At £75, are we all sure at 75?
0:25:09 > 0:25:12- Any further interest?- I think that's a good result.- Yeah.
0:25:12 > 0:25:15At £75, are we all done?
0:25:15 > 0:25:16Are we all sure?
0:25:16 > 0:25:19- 80. £80 bid...- Fresh legs, right at the end.
0:25:19 > 0:25:22£80, are we all done at 80? Any further interest
0:25:22 > 0:25:25at £80? All sure at 80?
0:25:25 > 0:25:27£80, the hammer's going down.
0:25:27 > 0:25:29- Good result. Well done, James. - Good, yeah.
0:25:29 > 0:25:31Yeah, you wouldn't have got that at a car boot, would you?
0:25:31 > 0:25:35- Definitely not, no.- No.- Well done.
0:25:35 > 0:25:38Time to bring down the chequered flag on our first visit to
0:25:38 > 0:25:41the auction room. Vroom, vroom! We are revving up now.
0:25:41 > 0:25:45Things are going well and you know what I'm talking about right now.
0:25:45 > 0:25:49Yes, the speedway memorabilia. It is a hard thing to put a value on.
0:25:49 > 0:25:51You have 50, £60.
0:25:51 > 0:25:54Yeah. It was a very difficult one to estimate
0:25:54 > 0:25:57because there's not a massive collectors field for them.
0:25:57 > 0:26:00If it had been in Grand Prix or motor racing it would have been
0:26:00 > 0:26:02really sought-after.
0:26:02 > 0:26:06- Anyway, good luck. - This was the old days.
0:26:06 > 0:26:10Lot 435. Speedway interest.
0:26:10 > 0:26:15Bids of £34 on the net. £36. 38. 40.
0:26:15 > 0:26:2044. 46. 48. 50. Five. 60. Five. 70.
0:26:20 > 0:26:23Better than I thought.
0:26:23 > 0:26:27- Five.- 90. We're getting to £100.
0:26:27 > 0:26:29100.
0:26:31 > 0:26:32At £100 on the internet.
0:26:32 > 0:26:37Any advance in the room? 110. New bid in the room at 110.
0:26:37 > 0:26:41- Any advance on 110? - This is brilliant!
0:26:41 > 0:26:47140. 150. 160. 170. 180.
0:26:47 > 0:26:52190. 200. 220.
0:26:52 > 0:26:54Must be something worthwhile in there to someone.
0:26:54 > 0:26:57- It's rare, isn't it?- Well, it is.
0:26:57 > 0:27:02All finished at 240? 250 if it helps. 250.
0:27:04 > 0:27:09- Good auctioneering.- Fantastic, Jonathan. Well done.- At £260, then.
0:27:09 > 0:27:14All finished at 260? No further interest at £260.
0:27:18 > 0:27:22- Gosh, I didn't expect that. - Nor did we. £260.
0:27:22 > 0:27:25It's only bits of paper, after all.
0:27:25 > 0:27:28Yeah, but it's speedway memorabilia. A lesson to us all -
0:27:28 > 0:27:30don't chuck things away.
0:27:30 > 0:27:32Show them to experts first, bring them along to a saleroom
0:27:32 > 0:27:35and find out what they're worth before you chuck things.
0:27:35 > 0:27:37There's plenty more of my mother's I could bring again.
0:27:37 > 0:27:39Let's get round there! Come on.
0:27:39 > 0:27:42Are we all done at 90?
0:27:43 > 0:27:47At most auction rooms there are loads of paintings for sale.
0:27:47 > 0:27:50Some range from £20, by unknown artists,
0:27:50 > 0:27:54right up to millions of pounds by masters of the medium.
0:27:54 > 0:27:57While we were here filming in the area, I decided to try
0:27:57 > 0:28:01my hand at the art of watercolour and have a lesson with a master.
0:28:01 > 0:28:05See if you think if I've got what it takes.
0:28:05 > 0:28:07This is Towneley Hall near Burnley.
0:28:07 > 0:28:11For over 500 years it was home to the Towneley family.
0:28:11 > 0:28:14But for the last century it's been owned by the local authorities,
0:28:14 > 0:28:17who now use it as a museum and art gallery.
0:28:17 > 0:28:19I'm here to meet local artist Jeff Butterworth,
0:28:19 > 0:28:22whose talent with watercolours has made him one of
0:28:22 > 0:28:23the country's most prolific painters.
0:28:24 > 0:28:27- Hello, Jeff!- Hi, Paul.
0:28:27 > 0:28:29- Good to see you. - Pleased to meet you.
0:28:29 > 0:28:32- The weather's on our side, isn't it? - Yes.- Shall we get going?
0:28:32 > 0:28:33Yeah, follow me.
0:28:36 > 0:28:38How long have you been painting? All your life?
0:28:38 > 0:28:40More or less. Yeah.
0:28:40 > 0:28:43I did start in 1980,
0:28:43 > 0:28:47and I joined the British Watercolour Society.
0:28:47 > 0:28:50The first exhibition I did, I won the competition.
0:28:50 > 0:28:53- That's quite an accolade, isn't it? - Yeah. And then...
0:28:53 > 0:28:56- You won it again...- ..to top it all, I won it three times.
0:28:56 > 0:28:59- Yeah, I won it actually three times. - That's quite an impressive CV -
0:28:59 > 0:29:02you are a well-established watercolour artist,
0:29:02 > 0:29:05you've exhibited all over the place. How would you describe your style?
0:29:05 > 0:29:07As a realist.
0:29:07 > 0:29:10OK, so it's photographic representation to a degree.
0:29:10 > 0:29:12- It is, yeah.- Yeah.
0:29:12 > 0:29:14Why are we meeting up here today? What's special about this place?
0:29:14 > 0:29:16Well, I've been coming here since...
0:29:16 > 0:29:18Well, the first time I came here I was five.
0:29:18 > 0:29:20- Really? Lots of childhood memories.- Yeah.
0:29:20 > 0:29:24And now I'm artist in residence at Towneley Hall.
0:29:24 > 0:29:27Gosh, that's nice, isn't it? It's come full circle for you.
0:29:27 > 0:29:30It has, yeah. It's been quite a good time, really.
0:29:30 > 0:29:33- I mean, that's a beautiful-looking shot there, isn't it?- It is.
0:29:33 > 0:29:35Is that something that we hope to capture today?
0:29:35 > 0:29:37Well, if I take a photograph of the view now,
0:29:37 > 0:29:39it's got a good composition,
0:29:39 > 0:29:42the path's leading me right towards the hall.
0:29:42 > 0:29:44- Well, I'm up for going inside. - Yeah, let's...
0:29:44 > 0:29:45You've got your camera with you.
0:29:45 > 0:29:50..take a photograph of it and then we can work off the result.
0:29:50 > 0:29:52- There we go. - Happy with that one?- Yeah.
0:29:52 > 0:29:57The art of watercolour evolved around the 18th century,
0:29:57 > 0:30:00when artists would use watercolours to create an initial snapshot
0:30:00 > 0:30:03before committing to an oil painting,
0:30:03 > 0:30:07much like Jeff uses his camera to capture the landscape today.
0:30:08 > 0:30:11Right, where do we start? We've got our image, we've printed it out...
0:30:11 > 0:30:12Yeah, we've got our image.
0:30:12 > 0:30:15So now we've got to do an outline drawing of the buildings
0:30:15 > 0:30:17and the path and the trees.
0:30:17 > 0:30:18- All right.- So that's the first step.
0:30:18 > 0:30:24OK. Can I do my own interpretation of this, or am I copying your style?
0:30:24 > 0:30:27No, you interpret it how you think fit.
0:30:27 > 0:30:30Watercolour paintings are still hugely popular,
0:30:30 > 0:30:32and the collection here at Towneley includes work
0:30:32 > 0:30:35by some of the best-known practitioners of the art,
0:30:35 > 0:30:39including this one by the world-renowned Joseph Turner.
0:30:41 > 0:30:43I think I've got something I can work with,
0:30:43 > 0:30:45- I'm quite happy with that.- Good.
0:30:45 > 0:30:46So, shall we start to paint?
0:30:46 > 0:30:48- Yeah.- What do you start with,
0:30:48 > 0:30:52the sky and work downwards, or dark to light or light to dark...?
0:30:52 > 0:30:53- I always work from top to bottom. - Right.
0:30:53 > 0:30:57But more importantly, from background to foreground.
0:30:57 > 0:31:02So if there's anything that's lighter than the dark background,
0:31:02 > 0:31:04- we use a masking fluid.- Right, OK,
0:31:04 > 0:31:07so you paint over it with the other colours,
0:31:07 > 0:31:10but then rub that paint off so it leaves the blank paper to paint on.
0:31:10 > 0:31:12That's it, yeah.
0:31:12 > 0:31:14You've got a wonderful assortment of brushes here -
0:31:14 > 0:31:17sort of flat brushes, fine brushes, mixing brushes...
0:31:17 > 0:31:19Yeah, that one's for you.
0:31:19 > 0:31:23I've got a nice selection here, some sable brushes...
0:31:23 > 0:31:26- OK, that's the best hair to use, is it?- Yeah, it is,
0:31:26 > 0:31:30it's a very expensive brush, but very good quality.
0:31:30 > 0:31:32- Well, we need to choose some colours.- Right.
0:31:32 > 0:31:36So, are we going for blues with some whites that we have to mix
0:31:36 > 0:31:38in order to get that?
0:31:38 > 0:31:42In watercolour there is no white, it's the paper.
0:31:42 > 0:31:45So if there's any areas that are pure white,
0:31:45 > 0:31:47then it's areas that we're not going to touch.
0:31:47 > 0:31:49Do you know, I didn't know that.
0:31:49 > 0:31:51- Can I watch YOU for a little while?- Yeah.
0:31:51 > 0:31:53See what you tackle to start with and how you do it,
0:31:53 > 0:31:55- and I'll try and copy.- Yeah.
0:31:55 > 0:31:57- OK.- I'll start with the sky...
0:31:57 > 0:32:00- Right.- ..and take it from here.
0:32:00 > 0:32:03Right. Um...
0:32:03 > 0:32:07What we want to do first of all is to wet the paper,
0:32:07 > 0:32:10ready to accept a colour on it.
0:32:10 > 0:32:14- So it's harder to paint detail on dry paper, then?- Yeah.
0:32:14 > 0:32:15Right, I've learned something there.
0:32:15 > 0:32:18You want to carefully work round the building...
0:32:18 > 0:32:21Notice there's not much colour on it at the moment.
0:32:21 > 0:32:24Now I'm going to put some of the masking fluid on.
0:32:24 > 0:32:26- Because you've come to a tree. - Yeah.- OK.
0:32:27 > 0:32:31- I see, yes - as if the sky's sort of grinning through the branches.- Yeah.
0:32:31 > 0:32:32Well, while you finish off that
0:32:32 > 0:32:34I can at least make a start on the sky now.
0:32:34 > 0:32:38Yeah. Well, this is about done now, so we'll leave this to dry.
0:32:41 > 0:32:44It's a lovely brush to work with.
0:32:44 > 0:32:45Flat bushes are really nice.
0:32:45 > 0:32:49- They cover the paper... - Cover a broad area.- Yeah.
0:32:49 > 0:32:53- Right. Are you going to do some masking fluid?- Yeah. Can I?
0:32:53 > 0:32:56- I've never used that before. - Yeah. I'll show you how to do it.
0:32:57 > 0:32:59Just a quick dip in.
0:32:59 > 0:33:01- And then a few dabs?- Yeah.
0:33:01 > 0:33:05And paint on where it's dry - don't go onto the watercolour.
0:33:09 > 0:33:13It's a gentle process. What's the most difficult thing to paint?
0:33:13 > 0:33:16- Architecture, really. - Do you think so?- Yeah.
0:33:16 > 0:33:20You've not much scope, really, to be loose with architecture
0:33:20 > 0:33:22if you're trying to get the thing right.
0:33:22 > 0:33:23OK...
0:33:23 > 0:33:25What's next?
0:33:25 > 0:33:29We'll work our way across and do the background trees,
0:33:29 > 0:33:33and then work on the building, work on this section.
0:33:33 > 0:33:36I'm finding it really relaxing.
0:33:36 > 0:33:38- But it's something you can't rush.- No.
0:33:38 > 0:33:41I understand that now from watching you.
0:33:41 > 0:33:44Although you're working at quite a good pace.
0:33:44 > 0:33:46Have you a critical eye at this stage?
0:33:46 > 0:33:49Well, I'm working out the technicalities of it,
0:33:49 > 0:33:50building the thing up.
0:33:50 > 0:33:53Cos all of a sudden, I'm sort of working with
0:33:53 > 0:33:57three different shades of green here and making them merge
0:33:57 > 0:33:59and seeing what happens,
0:33:59 > 0:34:00and just letting the paper
0:34:00 > 0:34:03- and the water dictate what's happening.- Yeah.
0:34:03 > 0:34:05'The thing that makes watercolours
0:34:05 > 0:34:07'more difficult than oils or acrylics
0:34:07 > 0:34:09'is the paint is much more liquid, and it wants to move.
0:34:09 > 0:34:12'With thicker materials, it stays where you put it.
0:34:12 > 0:34:15'But with this kind of painting, you have to learn to work
0:34:15 > 0:34:19'with the materials and adapt your technique accordingly.'
0:34:19 > 0:34:21A good tip for doing foliage
0:34:21 > 0:34:24is to get an old brush,
0:34:24 > 0:34:26something like this...
0:34:26 > 0:34:29get a little bit of colour on it and then just...
0:34:29 > 0:34:31do that.
0:34:31 > 0:34:34- It'll make things like that, you see?- Yeah.
0:34:34 > 0:34:36But you need to do it on a dry background
0:34:36 > 0:34:39so you can build it up like that.
0:34:39 > 0:34:41That's a nice look, isn't it?
0:34:42 > 0:34:45- I'm kind of happy with that in my own way.- Yeah, it looks...
0:34:45 > 0:34:48- Shall we move on to the buildings?- Yeah,
0:34:48 > 0:34:50I've already started with the roof.
0:34:50 > 0:34:52And at the top is Payne's grey,
0:34:52 > 0:34:56- which we've already used a little bit on the trees.- OK.
0:34:56 > 0:34:59So, basically, it's the same as we've done already -
0:34:59 > 0:35:03- we start at the top of the building and work down.- OK.
0:35:03 > 0:35:06You've painted all over the country, Jeff, landscapes everywhere,
0:35:06 > 0:35:08in different lights and different conditions -
0:35:08 > 0:35:10it must change dramatically for you.
0:35:10 > 0:35:13Yeah. I find that there ARE differences in the light -
0:35:13 > 0:35:19southern England has perhaps a mellower feel to the landscape
0:35:19 > 0:35:20and the light.
0:35:20 > 0:35:22The further north you go
0:35:22 > 0:35:25the more harsh the colours can be, but...
0:35:25 > 0:35:28basically you still work with the same palette.
0:35:28 > 0:35:31Should I carry on with
0:35:31 > 0:35:33this building here,
0:35:33 > 0:35:35or do I do the tree first?
0:35:35 > 0:35:38- Which comes first?- Finish off each section before you move on.
0:35:38 > 0:35:41- What, even the window detail? - Yeah, do it all.- Right, OK.
0:35:41 > 0:35:44Bear in mind that it's not all red, there is some green...
0:35:44 > 0:35:47I know. And there's a bit of brown, isn't there?
0:35:47 > 0:35:48It's quite tricky, really.
0:35:51 > 0:35:53I can see why you work from a colour photograph now.
0:35:53 > 0:35:58Yeah. Although I have done quite a few black-and-white ones.
0:35:58 > 0:36:01'A few hours in, and I'm finding this really relaxing.
0:36:01 > 0:36:04'It takes a lot of concentration, but when you're in the flow,
0:36:04 > 0:36:06'it's really easy to let your mind wander
0:36:06 > 0:36:09'as the picture comes together.
0:36:09 > 0:36:11'Although I think I need a lot more practice
0:36:11 > 0:36:13'before I reach Jeff's standards.'
0:36:13 > 0:36:15Well, Jeff, three hours is up...
0:36:15 > 0:36:17Yeah.
0:36:17 > 0:36:19I've rushed ahead, I know I've finished mine...
0:36:19 > 0:36:23I'm happy with it, but when I look at mine compared to yours,
0:36:23 > 0:36:27this looks typical of a schoolboy compared to a professional.
0:36:27 > 0:36:29But I've learnt a lot today in my three hours.
0:36:29 > 0:36:32And I've learnt that there's a lot of control in your work.
0:36:32 > 0:36:33- Yeah.- There really is.
0:36:33 > 0:36:36Thank you so much for giving me a lesson here today.
0:36:36 > 0:36:39- Shall I sign this?- Certainly, yeah.
0:36:39 > 0:36:42Who knows - maybe the gallery'll hang it on the wall for a week.
0:36:42 > 0:36:44Put a price on it, yeah!
0:36:44 > 0:36:48- I'll sign it with watercolour, shall I, rather than pencil?- Yeah.
0:36:48 > 0:36:49There you are.
0:36:49 > 0:36:52- I enjoyed that. Thoroughly enjoyed that.- Excellent.
0:36:55 > 0:36:58Now, this is Jeff's finished piece.
0:36:58 > 0:37:02It's easy to see why his work is held in such high regard.
0:37:09 > 0:37:12We're back in Blackpool for today's next lot of valuations.
0:37:12 > 0:37:15Let's go straight to the Circus Ring,
0:37:15 > 0:37:16where Anita is dolled up...
0:37:16 > 0:37:21- Ladies, welcome to "Flog It!" You're mum and daughter.- Yep.
0:37:21 > 0:37:25- Whose dolls are these?- Mine.
0:37:25 > 0:37:30- Where did you get them from?- From an antiques fair about 30 years ago.
0:37:30 > 0:37:34- Do you collect dolls, Jean? - Yes.- How many do you have?
0:37:34 > 0:37:36Probably about...
0:37:36 > 0:37:39- Near enough 50, 60.- 50, 60?
0:37:39 > 0:37:42Gail, what do you think about your mum collecting all these dolls?
0:37:42 > 0:37:46- She's mad. - Is she a mad collector?- Yeah.
0:37:46 > 0:37:50And what sort of period do your dolls come from?
0:37:50 > 0:37:54From when they were babies. And they're going up to 50 now. So...
0:37:54 > 0:37:59- Right, so...did your mum take your dolls from you?- Yes, she did.- Yes.
0:37:59 > 0:38:02- They'd rather play out.- Right.
0:38:02 > 0:38:06Well, it's nice to think that you have kept dolls.
0:38:06 > 0:38:10These ones are baby dolls, and they're probably from the 1940s.
0:38:10 > 0:38:16Early '50s. I remember having this type of doll myself.
0:38:16 > 0:38:20What I like about them is that we've got a little bit of music.
0:38:20 > 0:38:23- Music, yes. - And we get a little tune.
0:38:23 > 0:38:26DOLL PLAYS TUNE
0:38:26 > 0:38:28What is the tune?
0:38:28 > 0:38:33I don't know what the one is, I can't get it. One plays Rock-A-Bye Baby...
0:38:33 > 0:38:35Ah, right.
0:38:35 > 0:38:39So these are obviously lullabies to send our babies to sleep.
0:38:39 > 0:38:40That's it.
0:38:40 > 0:38:42On this little doll here,
0:38:42 > 0:38:45she's fallen down like Humpty Dumpty
0:38:45 > 0:38:49and broken her crown. She has been repaired at some point.
0:38:49 > 0:38:53This one we have some condition issues. Her face is a bit crackly.
0:38:53 > 0:38:55And she's lost her thumb.
0:38:55 > 0:38:56THEY LAUGH
0:38:56 > 0:39:00But this little girl here has a little teddy bear,
0:39:00 > 0:39:04and he's quite sweet. Where did you get him?
0:39:04 > 0:39:05It was my daughter -
0:39:05 > 0:39:08she worked in a care home, and one of the ladies gave it to her.
0:39:08 > 0:39:11It's quite an interesting little creature.
0:39:11 > 0:39:15It's from Germany, where the best teddy bears were made.
0:39:15 > 0:39:18And this little one was pre-war.
0:39:18 > 0:39:20- Right.- So there's a good bit of age.
0:39:20 > 0:39:22And the little teddy bear
0:39:22 > 0:39:25comes in the shape of a wee purse.
0:39:25 > 0:39:26And that's quite sweet.
0:39:26 > 0:39:28There's no factory name there,
0:39:28 > 0:39:31but we do know that he is German.
0:39:31 > 0:39:33And he's quite an interesting wee creature.
0:39:33 > 0:39:36Coming to auction,
0:39:36 > 0:39:37I would put these as a group.
0:39:37 > 0:39:41Because we have condition issues with the baby dolls.
0:39:41 > 0:39:43And the little teddy bear is probably
0:39:43 > 0:39:45the item which is going to sell this group.
0:39:45 > 0:39:48Now - did you pay a lot of money for these at the time?
0:39:48 > 0:39:50No, not really.
0:39:50 > 0:39:54- £20 I think. Something like that. - £20.
0:39:54 > 0:39:57What I'd like to do is to put quite a modest estimate
0:39:57 > 0:39:59on this little group.
0:39:59 > 0:40:05- I would like to put an estimate of 80-120.- Yeah.- Is that fine with you?
0:40:05 > 0:40:09Um, yeah. Maybe a little more than that, if I can.
0:40:09 > 0:40:11Would you like me to go 100-150?
0:40:11 > 0:40:17- Yeah.- You would prefer that? OK. 100-150. The reserve, £100.
0:40:17 > 0:40:20- With auctioneer's discretion.- Right.
0:40:20 > 0:40:25- We might get a surprise, especially with that wee guy in tow.- Mm-hm.
0:40:25 > 0:40:27- Right.- Yeah.
0:40:32 > 0:40:34JAMES SNORTS LIKE A PIG
0:40:36 > 0:40:39I have to say, Norman, it's a while since I played farmyards.
0:40:39 > 0:40:43- Yeah.- But these, actually, they're not toys, are they?
0:40:43 > 0:40:45They're something far more interesting.
0:40:45 > 0:40:47Now, the fact that you've got two
0:40:47 > 0:40:51makes me think that you actually probably know what they are.
0:40:51 > 0:40:55- More or less, yeah.- So, tell me, did they come from the same place?
0:40:55 > 0:40:59No, the big pig came from York - bought that in an antique...
0:40:59 > 0:41:03- In York, right.- This one I actually got from a market in Shanghai.
0:41:03 > 0:41:05- Oh, did you?- Yeah.
0:41:05 > 0:41:08- And how long ago did you buy that? - About eight years ago.
0:41:08 > 0:41:11- Right.- I found out that I was born in the year of the pig,
0:41:11 > 0:41:14so that led me to buying pigs.
0:41:14 > 0:41:18- Oh, so you collect pigs?- Yeah. I had over 2,000 at one stage.
0:41:18 > 0:41:20Do you go to China a lot?
0:41:20 > 0:41:22I've been a couple of times, yeah.
0:41:22 > 0:41:24It's an amazing country, isn't it?
0:41:24 > 0:41:27It's an amazing country, with an amazing culture,
0:41:27 > 0:41:29and amazing skills.
0:41:29 > 0:41:34One of their best skills is faking and copying other things -
0:41:34 > 0:41:38whether it's English Royal Crown Derby or whatever,
0:41:38 > 0:41:41they just copy everything, and they do it brilliantly.
0:41:41 > 0:41:44These are meant to be
0:41:44 > 0:41:49Han dynasty/Tang dynasty tomb figures.
0:41:49 > 0:41:54The idea was they would accompany the dead person to the afterlife,
0:41:54 > 0:42:00and be a source of food and something to trade in the new world.
0:42:00 > 0:42:05Now, the way of telling would be to drill a section
0:42:05 > 0:42:08and do what they call the Oxford test,
0:42:08 > 0:42:12where they drill down into the leg - almost always into the leg -
0:42:12 > 0:42:14and they take a carbon date of the clay
0:42:14 > 0:42:17and they tell you whether it's old or a reproduction.
0:42:17 > 0:42:21But the fakers have now discovered
0:42:21 > 0:42:23that this is what they're doing.
0:42:23 > 0:42:26So, they get a genuine old piece,
0:42:26 > 0:42:28grind up the clay
0:42:28 > 0:42:30and make the legs of the old piece.
0:42:30 > 0:42:32So it is very, very difficult to tell.
0:42:32 > 0:42:36It would be nice to be able to do the Oxford test on it,
0:42:36 > 0:42:39but it costs about £200 to do it.
0:42:39 > 0:42:42So, what did you pay for them?
0:42:42 > 0:42:45- I paid £50 for the pig...- OK.
0:42:45 > 0:42:48..and £15, possibly, for that.
0:42:48 > 0:42:50- Your Shanghai piece...- Yeah?
0:42:50 > 0:42:53..I think is definitely a fake.
0:42:53 > 0:42:55- Yeah.- The pig is more interesting.
0:42:55 > 0:42:59My gut reaction is it's got a bit of age,
0:42:59 > 0:43:03but I don't think anything like 300-600AD.
0:43:03 > 0:43:07We come to value, I guess,
0:43:07 > 0:43:10and this is going to be one of the most difficult parts of it,
0:43:10 > 0:43:13because without that Oxford test
0:43:13 > 0:43:15you can't say for sure
0:43:15 > 0:43:17that it's genuine.
0:43:18 > 0:43:21What to do?
0:43:21 > 0:43:24I think the best way of cataloguing this
0:43:24 > 0:43:28is to say a Chinese "Han" -
0:43:28 > 0:43:31in inverted commas - dynasty
0:43:31 > 0:43:33terracotta pig.
0:43:33 > 0:43:35Give them a good description,
0:43:35 > 0:43:38it will then be picked up online,
0:43:38 > 0:43:40but we're not saying it's a genuine Han dynasty -
0:43:40 > 0:43:42it's "Han" in inverted commas.
0:43:42 > 0:43:48I think if we put an auction estimate of £60-100 for the two,
0:43:48 > 0:43:51it's not going to show you a great return if it only makes that,
0:43:51 > 0:43:54but it does give them a chance to fight for it
0:43:54 > 0:43:55if they think it's right.
0:43:55 > 0:43:58- Yep.- Happy with that?- Fine, yeah.
0:43:58 > 0:44:01Bit of a gamble, but you never know -
0:44:01 > 0:44:04- you might end up taking home the bacon.- Yeah.
0:44:04 > 0:44:06A tricky one there for James.
0:44:06 > 0:44:08We'll find out if the bidders at the auction
0:44:08 > 0:44:11think they're real or fake a little bit later on.
0:44:11 > 0:44:15Let's go back to Anita now and see what she's discovered.
0:44:15 > 0:44:18Eric, Carol, what a wonderful thing you've brought in
0:44:18 > 0:44:20for "Flog It!" today.
0:44:20 > 0:44:22It's a concertina.
0:44:23 > 0:44:26Can you tell me a bit about the background - where did you get it?
0:44:26 > 0:44:28Were you ever a busker yourself?
0:44:28 > 0:44:31No, no. I can't play it.
0:44:31 > 0:44:34I acquired it somewhere down the line.
0:44:34 > 0:44:37Whether it was in the loft of a house that I purchased
0:44:37 > 0:44:41or whether I acquired it in connection with a business I was running,
0:44:41 > 0:44:42I haven't a clue -
0:44:42 > 0:44:46I've had it that long, 25, 30 years,
0:44:46 > 0:44:49and it's always been there, and I just couldn't get rid of it!
0:44:49 > 0:44:54Well, let's hope WE can pass it on to someone who will play it,
0:44:54 > 0:44:58- or perhaps a collector of concertinas.- Yes.
0:44:58 > 0:45:01This one, I think, hasn't been pulled in and out too much,
0:45:01 > 0:45:03so the condition...
0:45:03 > 0:45:05SHE STRIKES A NOTE
0:45:05 > 0:45:07..is good.
0:45:08 > 0:45:10I'm tempted to give a wee tune here!
0:45:10 > 0:45:13SHE PLAYS DISCORDANTLY
0:45:16 > 0:45:19I'm afraid I'm making it sound like a squeaky cat!
0:45:19 > 0:45:22But the bellows are good.
0:45:22 > 0:45:27I think it maybe needs a wee bit of love and attention
0:45:27 > 0:45:29with these little pegs here,
0:45:29 > 0:45:32but, in the main, in good condition.
0:45:32 > 0:45:34If we look at the front here
0:45:34 > 0:45:36we can see we can see the little plate...
0:45:36 > 0:45:40- Mm-hm.- ..which tells us that it is a Wheatstone
0:45:40 > 0:45:42and that's what we look for.
0:45:42 > 0:45:46That was a 19th-century instrument maker.
0:45:46 > 0:45:50They made up till the 1930s, '40s - maybe even the '50s.
0:45:50 > 0:45:53But it was the best of instruments.
0:45:53 > 0:45:56If we look at the back of it,
0:45:56 > 0:45:59we can see this number here.
0:45:59 > 0:46:04Now, each concertina has its own individual number,
0:46:04 > 0:46:09and you can trace that back to when it was made.
0:46:09 > 0:46:11- Yes.- Did you know that, Eric?
0:46:11 > 0:46:15Yes, I actually did it - went onto their web page,
0:46:15 > 0:46:18and I traced it back, and it was made in 1913.
0:46:18 > 0:46:23You can actually see the ledger that it was written out on.
0:46:23 > 0:46:26- So just at the very beginning of the war.- Yeah.
0:46:26 > 0:46:28Just at the beginning of the war.
0:46:28 > 0:46:33- Valuation... Have you had it valued before, Eric?- No.- No.
0:46:33 > 0:46:37I would put a value of £500-800 on it.
0:46:37 > 0:46:40I can be a wee bit conservative at times,
0:46:40 > 0:46:44so I'm sure that that type of estimate will attract the bidding.
0:46:44 > 0:46:49- Yes.- And it may fly - it may go above the top estimate.
0:46:49 > 0:46:53- But would you be happy to sell it at that?- Yes, yes.
0:46:53 > 0:46:55- You're happy with that.- No problem.
0:46:55 > 0:46:58- Reserve £500...- Yeah. - Bottom estimate.
0:46:58 > 0:47:01I'm sure it'll play a fine tune for us when it's sold.
0:47:01 > 0:47:04- Thank you very much.- Thank you.
0:47:04 > 0:47:08In the past, concertinas have had mixed fortunes on "Flog It!",
0:47:08 > 0:47:12making anything from a couple of hundred pounds to over a thousand.
0:47:12 > 0:47:15We'll see how that one does a little later on.
0:47:15 > 0:47:17Now, if you're a fan of the show,
0:47:17 > 0:47:20you're bound to recognise today's final item.
0:47:20 > 0:47:22Joan, can you hear that?
0:47:22 > 0:47:23No.
0:47:23 > 0:47:27All those people shouting at home, "Clarice Cliff, Clarice Cliff!"?
0:47:27 > 0:47:30Yes - because if you're a "Flog It!" viewer,
0:47:30 > 0:47:32you know exactly what that is.
0:47:32 > 0:47:34- Clarice Cliff.- It's one of the "Flog It!" favourites,
0:47:34 > 0:47:37it just wouldn't be a "Flog It!" without a bit of Clarice Cliff.
0:47:37 > 0:47:41So, tell me, we know all the history of Clarice,
0:47:41 > 0:47:43we've been over it so many times.
0:47:43 > 0:47:46But, what's the history of this one?
0:47:46 > 0:47:48Your personal history.
0:47:48 > 0:47:51Just always having it in the family.
0:47:51 > 0:47:54Just there, full of daffodils and tulips and that.
0:47:54 > 0:47:57- And it belonged to your parents? - Yeah.
0:47:57 > 0:47:58And do you remember it as a little girl?
0:47:58 > 0:48:02Yes. I remember my mother saying she paid half a crown for it.
0:48:02 > 0:48:03Half a crown!
0:48:03 > 0:48:05Do you remember where she got it from?
0:48:05 > 0:48:09- Er, yes - a pot shop that used to do auctions.- Really?
0:48:09 > 0:48:14- Over in Yorkshire.- OK. Well, I think your mum did very well,
0:48:14 > 0:48:16because she's obviously got a good eye.
0:48:16 > 0:48:19Clarice Cliff being the archetypal leading designer
0:48:19 > 0:48:22of the Art Deco period
0:48:22 > 0:48:23and the Art Deco movement.
0:48:23 > 0:48:27This is known as Melon pattern, for obvious reasons -
0:48:27 > 0:48:32we've got a very stylised green and pink melon on this side.
0:48:32 > 0:48:34The bands are in blue, pink and green.
0:48:34 > 0:48:38There was one with reds and oranges that was more common than this,
0:48:38 > 0:48:41but also slightly more popular.
0:48:41 > 0:48:45This would have been produced around 1935,
0:48:45 > 0:48:50so it was in the height of Clarice Cliff's Bizarre, Fantasque period,
0:48:50 > 0:48:54when everyone believes that Clarice Cliff was at her best.
0:48:54 > 0:48:59After the war she sold her name, so a lot of wares are produced
0:48:59 > 0:49:02that have a bit of a weak design with a Clarice Cliff name to it.
0:49:02 > 0:49:03Yeah.
0:49:03 > 0:49:07But the reason why they're weak is that Clarice Cliff never saw them.
0:49:07 > 0:49:10This is a piece that Clarice would have designed, would have executed
0:49:10 > 0:49:12and would have been a key person
0:49:12 > 0:49:15- in the production of this piece. - Would she?
0:49:15 > 0:49:17- So she paid half a crown for it...- Yeah.- ..in the 1930s.
0:49:17 > 0:49:19Now, half a crown in today's money is what?
0:49:19 > 0:49:24- Half a crown is... - About two shillings, and 2½p...
0:49:24 > 0:49:26- Two shillings and...- Six...
0:49:26 > 0:49:28See, that - I'm no wiser with two shillings
0:49:28 > 0:49:31- than I am with half a crown!- No...
0:49:31 > 0:49:34Two shillings and sixpence - sixpence is 2½p,
0:49:34 > 0:49:36- a shilling is 5p, isn't it?- Yeah.
0:49:36 > 0:49:39- So... That's 12½p!- Yeah.
0:49:39 > 0:49:41That's not bad.
0:49:41 > 0:49:42- Must be.- 12½p.
0:49:42 > 0:49:44Well, your 12½p
0:49:44 > 0:49:50has changed into about £100-150.
0:49:50 > 0:49:53- That's not bad for 12½p! - That's not bad, no.
0:49:53 > 0:49:55- Pleased with that?- Yeah.
0:49:55 > 0:49:58- Flog it!- Flog it! Let's flog it, why not?!
0:50:00 > 0:50:03Well, we certainly had a show-stopping day
0:50:03 > 0:50:04here at the Blackpool Tower,
0:50:04 > 0:50:06with hundreds of people coming through the door
0:50:06 > 0:50:08to have their antiques and collectibles valued.
0:50:08 > 0:50:10It's now time to say goodbye to the Tower
0:50:10 > 0:50:13as we head down the coastline south to Lytham St Annes,
0:50:13 > 0:50:15to the auction room.
0:50:15 > 0:50:18And here's a quick recap of what's sailing with us.
0:50:18 > 0:50:21There's the well-loved dolls and that teddy bear.
0:50:23 > 0:50:26Norman's sending his little piggies off to market.
0:50:30 > 0:50:34This concertina will try to squeeze out the big money.
0:50:36 > 0:50:40And there's the "Flog It!" favourite - the Clarice Cliff jug.
0:50:47 > 0:50:50Welcome back to the auction room in Lytham St Annes.
0:50:50 > 0:50:51As you can see, it's a busy day here.
0:50:51 > 0:50:53The room is still packed full of bidders,
0:50:53 > 0:50:57and hopefully this lot will be eager to buy our next batch of lots.
0:50:57 > 0:50:59Now let's catch up with our owners,
0:50:59 > 0:51:02who are waiting nervously in the wings. Let the action begin.
0:51:02 > 0:51:05First up, it's those terracotta tomb figures,
0:51:05 > 0:51:09and time to find out if the bidders think they're real.
0:51:09 > 0:51:12Norman, you've been collecting terracotta pigs for about -
0:51:12 > 0:51:13what, 20-odd years?
0:51:13 > 0:51:16- 20 years, yeah.- Yes. You're fascinated by pigs.
0:51:16 > 0:51:18I had up to 2,000 at one stage.
0:51:18 > 0:51:22Why are you starting to sell off this particular pig?
0:51:22 > 0:51:24- I'm going to move into a one-bedroom... - Oh, you're downsizing.
0:51:24 > 0:51:27- Into sheltered accommodation. - There's no room for the pigs.
0:51:27 > 0:51:29Right, James, you've seen a lot of this.
0:51:29 > 0:51:33Yeah, I mean, very difficult to say whether they're right or wrong,
0:51:33 > 0:51:35so all we can do is wait and see.
0:51:35 > 0:51:38It's now down to the bidders. This is it.
0:51:38 > 0:51:41Bids of £40 on these two, any advance on 40?
0:51:41 > 0:51:46At £40, have we got...? 42, on the net at 42.
0:51:46 > 0:51:47Any advance in the room?
0:51:47 > 0:51:50At 42. 44, 46.
0:51:50 > 0:51:5350, 55.
0:51:53 > 0:51:56At £55, any advance on 55?
0:51:56 > 0:51:5860.
0:51:58 > 0:51:59£60, on the net at 60.
0:51:59 > 0:52:01Any advance on £60?
0:52:03 > 0:52:07On the net, then, at £60. Are we all sure? All finished?
0:52:07 > 0:52:09No further interest?
0:52:10 > 0:52:12- You were spot on.- Well...
0:52:12 > 0:52:14- You were spot on. - They're great value.- Yes.
0:52:14 > 0:52:18People often say, "It's gotta be worth more than that, it's old!"
0:52:18 > 0:52:21- Yeah.- But it just shows - it doesn't make any difference.
0:52:21 > 0:52:22They're still only £60.
0:52:22 > 0:52:23It is mad, isn't it?
0:52:23 > 0:52:26I particularly like those, a lot. Very sculptural.
0:52:26 > 0:52:28That's about what I paid for them both.
0:52:28 > 0:52:30- You got your money back, did you?- Yeah.
0:52:30 > 0:52:33Good luck with the downsizing, good luck with the move, as well.
0:52:33 > 0:52:36- And hang on to the rest of the pigs. - I will do, yeah.- Well done!
0:52:36 > 0:52:39So, just a small addition to Norman's piggy bank.
0:52:40 > 0:52:42Jean and Gail, it's good to see you. Joining in the fun now.
0:52:42 > 0:52:45What are we selling? We've got two dolls and a teddy bear.
0:52:45 > 0:52:48- That's right.- Why have you decided to sell now?- I don't know.
0:52:48 > 0:52:51- It's just because you were coming into Blackpool.- Yeah...
0:52:51 > 0:52:53We thought we'd have a try.
0:52:53 > 0:52:56- Come along, bring something for Anita to look at.- Join in the fun.
0:52:56 > 0:52:58We've got a reserve of £100.
0:52:58 > 0:53:02We have the two dolls - the condition isn't pristine,
0:53:02 > 0:53:05but we've got a sweet little teddy bear purse,
0:53:05 > 0:53:07- and that's quite an unusual wee thing.- Yes.
0:53:07 > 0:53:10So as a group, I think we'll pull through,
0:53:10 > 0:53:12- hopefully to the bottom estimate.- OK.
0:53:12 > 0:53:15It's all down to this lot now - the bidders in the room.
0:53:15 > 0:53:20Two similar composition baby lullaby dolls. Musical movements.
0:53:20 > 0:53:22On the net at £80. 85.
0:53:22 > 0:53:24- They've gone, haven't they? - Good start.
0:53:24 > 0:53:27- Any advance on 85?- 90.- Five. 100.
0:53:27 > 0:53:31And 10. 20. 30. 40. 50. 60. 70.
0:53:31 > 0:53:32180. 190...
0:53:32 > 0:53:35It's just gone straight to 190!
0:53:35 > 0:53:37240. 260.
0:53:37 > 0:53:41- Wow!- 280. 300.
0:53:41 > 0:53:45At £300 on the internet. Any advance in the room?
0:53:45 > 0:53:48- £300 online.- I can't believe it!
0:53:49 > 0:53:53£300 then, are we all sure at 300? On the net at 300...
0:53:56 > 0:53:58Hammer's gone down.
0:53:58 > 0:54:01- Oh, well!- £300. You did all right, didn't you?
0:54:01 > 0:54:04- You're not buying any more, are you?- No. THEY LAUGH
0:54:04 > 0:54:07- You made a good investment. - Exactly. At the right time.
0:54:07 > 0:54:09- A good investment. - That's what it's all about.
0:54:09 > 0:54:11Time to see if the Clarice Cliff collectors
0:54:11 > 0:54:14are willing to part with THEIR cash.
0:54:14 > 0:54:17We've come downstairs to the cafe area,
0:54:17 > 0:54:19because Joan has a few mobility problems. There's a lot of stairs
0:54:19 > 0:54:22to the auction room, which is on the first floor,
0:54:22 > 0:54:24so we've set up a laptop with a live feed to the sale room,
0:54:24 > 0:54:27so we can hear and see all the action, Joan.
0:54:27 > 0:54:29And that's where it's going on, look, upstairs.
0:54:29 > 0:54:32- But we're now part of this. - Right, lovely.
0:54:32 > 0:54:36- So, how are you?- Very well.- Excited? - Yes, very.- Looking forward to this?
0:54:36 > 0:54:38- Be glad when it's finished. - I bet you will!
0:54:38 > 0:54:41Nerve-racking, aren't they, auction rooms?
0:54:41 > 0:54:45Why have you decided to sell your Clarice Cliff today?
0:54:45 > 0:54:48Just cos it's Clarice Cliff, and I thought it was going well.
0:54:48 > 0:54:52Well, we always seem to do well on "Flog It!" with our Clarice items
0:54:52 > 0:54:55and I don't think this one will be any exception - do you, James?
0:54:55 > 0:54:58No, I mean, Clarice is one of those things that everybody knows.
0:54:58 > 0:54:59Loads of collectors,
0:54:59 > 0:55:03and especially when it's online across the whole world, like this.
0:55:03 > 0:55:06- Yep.- It's bound to sell. And it's a rare colour, as well, this one.
0:55:06 > 0:55:07It broadens the market, doesn't it?
0:55:07 > 0:55:09Well, fingers crossed,
0:55:09 > 0:55:11we're going to get that top end right now, because this is it.
0:55:11 > 0:55:13Here we go!
0:55:14 > 0:55:18Lot 259, Clarice Cliff hand-painted Melon pattern jug,
0:55:18 > 0:55:21pastel shades, interest here, starting of at £90.
0:55:21 > 0:55:23Interest, look, straight in at 90.
0:55:23 > 0:55:25100.
0:55:25 > 0:55:28At £100. 110 at the back, 120.
0:55:28 > 0:55:29130 and I'm out.
0:55:29 > 0:55:31Any advance on 130?
0:55:31 > 0:55:33130, 140, 150 on the net.
0:55:34 > 0:55:37At 160, 170, 180.
0:55:37 > 0:55:39At 180 in the room, at 180.
0:55:39 > 0:55:40It's in the room.
0:55:40 > 0:55:42Any advance on 180?
0:55:42 > 0:55:44190 on the phone. 200.
0:55:46 > 0:55:48220.
0:55:48 > 0:55:49240.
0:55:49 > 0:55:51240!
0:55:51 > 0:55:53260. 280.
0:55:54 > 0:55:56300.
0:55:56 > 0:55:58- £300.- Lovely.
0:55:58 > 0:56:00£300, then, are we all sure?
0:56:00 > 0:56:03At £300, then. All finished at 300...
0:56:06 > 0:56:08Joan, that was brilliant. That was a brilliant result,
0:56:08 > 0:56:10and it was great to watch it live down here.
0:56:10 > 0:56:13Thank you for being a part of that and bringing in your Clarice.
0:56:13 > 0:56:16Oh, I have to bring Clarice in, it's not "Flog It!" without Clarice.
0:56:16 > 0:56:19It's not, is it? No! Job done.
0:56:20 > 0:56:22A good result for Joan and her jug.
0:56:22 > 0:56:25We're back upstairs now for today's final item -
0:56:25 > 0:56:27Eric and Carol's concertina.
0:56:28 > 0:56:32We've sold them on the show before, and they have made around £800,
0:56:32 > 0:56:36so you're right on there. £500-800. I wonder if we'll get it.
0:56:36 > 0:56:41- Well, Wheatstone's really the Rolls-Royce...- It is.
0:56:41 > 0:56:45..of concertinas. And if you've got one, that's the make that you want.
0:56:45 > 0:56:47Let's put this to the test, shall we?
0:56:47 > 0:56:50- And I'm sure this is going to fly away. Here we go. Good luck, everyone.- Hopefully.
0:56:50 > 0:56:56Lot 160, early 20th century concertina.
0:56:56 > 0:56:58Bids of 300, 320, 340.
0:56:58 > 0:57:01At 340, 60, 80, 400.
0:57:01 > 0:57:03420, 440.
0:57:03 > 0:57:0460, 80.
0:57:04 > 0:57:07£500. In the room at 500.
0:57:07 > 0:57:08550.
0:57:08 > 0:57:10600 I've got on the net.
0:57:10 > 0:57:13- Any advance on 600?- Come on!
0:57:13 > 0:57:15At £600. 650.
0:57:16 > 0:57:19At £650 on the internet.
0:57:19 > 0:57:21Come on, please, more. More. Come on, please.
0:57:21 > 0:57:23- 700 on the phone.- Yes!- £700.
0:57:23 > 0:57:27At £700 on the telephone. 750.
0:57:27 > 0:57:28Yes!
0:57:29 > 0:57:31800.
0:57:31 > 0:57:33On the telephone at £800.
0:57:33 > 0:57:35Any advance on 800?
0:57:35 > 0:57:37850.
0:57:37 > 0:57:38900.
0:57:38 > 0:57:40Yes!
0:57:40 > 0:57:44At £900 on the telephone. Any advance?
0:57:44 > 0:57:48At £900, then, are we all sure at 900?
0:57:48 > 0:57:49Any further interest?
0:57:49 > 0:57:52£900, on the telephone at 900.
0:57:55 > 0:57:57- Yes!- Brilliant. - Isn't that wonderful?
0:57:57 > 0:57:59Brilliant result.
0:57:59 > 0:58:04- 900!- £900. Don't forget, though, there is commission to pay.
0:58:04 > 0:58:08Everybody pays it. It's 15% plus VAT,
0:58:08 > 0:58:11but still a lot of money for something you found in the loft.
0:58:11 > 0:58:14- That's right, yeah.- If you've got something like that in the loft...
0:58:14 > 0:58:17- Played a pretty tune! - ..we want to see it.
0:58:17 > 0:58:19- Yeah, he pushed all the right buttons there...- He did.
0:58:19 > 0:58:21- ..that's for sure.- He certainly did.
0:58:21 > 0:58:22Thank you very much for bringing that in.
0:58:22 > 0:58:25And do you know what? That's just rounded off such a brilliant day
0:58:25 > 0:58:27- here in Lytham St Annes.- Absolutely.
0:58:27 > 0:58:29I hope you've enjoyed the show - we've loved being here.
0:58:29 > 0:58:32Join us again soon for many more surprises.
0:58:32 > 0:58:34But until then, it's bye-bye.