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Our venue today has been the inspiration of authors, | 0:00:08 | 0:00:11 | |
poets, songwriters and musicians for over five centuries. | 0:00:11 | 0:00:14 | |
It's a glorious example of a medieval manor house | 0:00:14 | 0:00:17 | |
set in the rolling hills of the Peak District. | 0:00:17 | 0:00:20 | |
Haddon Hall has even inspired its own romantic legend | 0:00:20 | 0:00:23 | |
and now it's inspired "Flog It!" to return to Derbyshire. | 0:00:23 | 0:00:26 | |
THEME MUSIC PLAYS | 0:00:29 | 0:00:30 | |
Haddon Hall has been home to the Manners family since Tudor times | 0:00:49 | 0:00:53 | |
when Dorothy Vernon eloped with John Manners, | 0:00:53 | 0:00:56 | |
creating Haddon's own Romeo and Juliet story. | 0:00:56 | 0:01:00 | |
It is such a marvellous location that Jane Eyre has been | 0:01:00 | 0:01:03 | |
filmed here, not once, not twice, | 0:01:03 | 0:01:05 | |
but three times...and counting. | 0:01:05 | 0:01:08 | |
Hopefully, this beautiful period setting | 0:01:11 | 0:01:13 | |
will inspire our experts to find some antiques of their own to | 0:01:13 | 0:01:17 | |
take off to auction. It's certainly fired up the imagination of | 0:01:17 | 0:01:19 | |
this lot, because it looks like all of Derbyshire has turned up. | 0:01:19 | 0:01:23 | |
Joining us today is expert Adam Partridge who seems to be | 0:01:26 | 0:01:29 | |
finding out the secret of a happy marriage. | 0:01:29 | 0:01:32 | |
-When the wife says jump, I just say, "How high?" -Are you still jumping? | 0:01:32 | 0:01:36 | |
Well, I've stopped now, she let me stand a bit. | 0:01:36 | 0:01:38 | |
And Michael Baggott who knows the true worth of things. | 0:01:39 | 0:01:43 | |
Any gold bars or diamond jewellery? | 0:01:43 | 0:01:45 | |
-Just some pottery and stuff. -You're more precious than that, aren't you? You're more precious. | 0:01:45 | 0:01:49 | |
There's history in every room of this hall | 0:01:51 | 0:01:53 | |
and we're using all of them for our valuation day. | 0:01:53 | 0:01:56 | |
There are "Flog It!" visitors in the banqueting hall, | 0:01:56 | 0:01:58 | |
the Long Gallery, and all the rooms in-between. | 0:01:58 | 0:02:01 | |
In today's show, we have three unloved items brought in by their owners. | 0:02:03 | 0:02:07 | |
One will go for double its estimate. | 0:02:07 | 0:02:10 | |
Will it be this decorative vase? | 0:02:12 | 0:02:14 | |
I never particularly liked it. | 0:02:14 | 0:02:16 | |
Or these impressive medals? | 0:02:16 | 0:02:18 | |
-I mean, they're no interest in my family now. -They're somebody else's. | 0:02:18 | 0:02:23 | |
Or this detested piece of pewter? | 0:02:24 | 0:02:26 | |
How long have you had it? | 0:02:26 | 0:02:29 | |
Too long. | 0:02:29 | 0:02:30 | |
Stay with us to find out later on. | 0:02:32 | 0:02:34 | |
Adam is first up and he's decided to make the most of the wonderful | 0:02:35 | 0:02:39 | |
gardens here at Haddon. | 0:02:39 | 0:02:41 | |
-Good morning, Louise. -Good morning, Adam. | 0:02:41 | 0:02:43 | |
-Welcome to "Flog It!" -Thank you. | 0:02:43 | 0:02:45 | |
Please tell me about yourself | 0:02:45 | 0:02:47 | |
and how you came to own this rather nice silver vase. | 0:02:47 | 0:02:50 | |
Well, I found it in a box that I inherited along with | 0:02:50 | 0:02:53 | |
all sorts of things. | 0:02:53 | 0:02:55 | |
I never particularly liked it, but it...and | 0:02:55 | 0:02:57 | |
I didn't even know it was silver until last night. I thought it was... | 0:02:57 | 0:03:01 | |
-Did it get a clean last night? -It did. -I thought it... | 0:03:01 | 0:03:04 | |
-You can tell by the white bits in all the hollows. -Yeah. | 0:03:04 | 0:03:07 | |
-It's come up quite nicely, hasn't it? -It's not so bad. | 0:03:07 | 0:03:10 | |
And I believe you used to work in this wonderful building? | 0:03:10 | 0:03:13 | |
-I did for 16 years. -16 years. In what capacity have you worked here? | 0:03:13 | 0:03:17 | |
-Everything. -Have you? Give us some... | 0:03:17 | 0:03:19 | |
-From cleaning loos to working in Lord Edward's office. -Gosh. | 0:03:19 | 0:03:23 | |
-I finished off there. -From the bottom... -To the top! | 0:03:23 | 0:03:27 | |
Brilliant. Well, back to your vase. I presume you want to sell it. | 0:03:27 | 0:03:31 | |
-I do. -Thank goodness for that. It's Edwardian, 1907, makes it, uh... | 0:03:31 | 0:03:36 | |
..just over 100 years old, 105 or so. | 0:03:36 | 0:03:39 | |
By the Sheffield firm of Atkins Brothers. | 0:03:39 | 0:03:42 | |
See the "HA", Harry Atkins, they were a large Sheffield manufacturer. | 0:03:42 | 0:03:46 | |
They produced lots and lots of things like this. | 0:03:46 | 0:03:49 | |
So, it's not a rare maker, but it's a nice example. | 0:03:49 | 0:03:54 | |
It's a pleasing quality, it's not flimsy at all. | 0:03:54 | 0:03:56 | |
Some of these will bend as soon as you look at them. | 0:03:56 | 0:03:59 | |
So, why have you decided to sell it? | 0:03:59 | 0:04:01 | |
I don't need it any more. | 0:04:01 | 0:04:02 | |
It's in a cupboard more than it's got some flowers in it. | 0:04:02 | 0:04:05 | |
-Oh, right, so it's not in daily use. -Not at all, no. | 0:04:05 | 0:04:07 | |
-It's not leaving a gap on the mantelpiece. -It certainly isn't, no. | 0:04:07 | 0:04:10 | |
Any idea on value? | 0:04:10 | 0:04:13 | |
-Not a clue. -No? -Not a clue, except it's silver... | 0:04:13 | 0:04:16 | |
-Have a guess. -Oh...£60? | 0:04:16 | 0:04:19 | |
-More, yeah. -80? | 0:04:22 | 0:04:23 | |
No, I think it'll probably make 200. | 0:04:23 | 0:04:27 | |
-SHE GASPS -Yeah. -Wow! | 0:04:27 | 0:04:29 | |
That was a good reaction, I don't get that very often! | 0:04:29 | 0:04:32 | |
-That was genuine. -Yeah, I know. £200 is what it'll make, about that. | 0:04:32 | 0:04:36 | |
I think we should probably put a reserve slightly below, | 0:04:36 | 0:04:39 | |
say about 180 reserve. | 0:04:39 | 0:04:41 | |
-Excellent! -Below 180, I wouldn't sell it, if it was mine | 0:04:41 | 0:04:45 | |
and my advice to you is don't take less than 180 for it, | 0:04:45 | 0:04:48 | |
and we'll put an estimate of maybe 200 to 250. | 0:04:48 | 0:04:51 | |
-A nice, punchy, bullish estimate. -Gosh, that is quite incredible. | 0:04:51 | 0:04:55 | |
-Good news? -Yeah, thank you. | 0:04:55 | 0:04:57 | |
It's always satisfying to give people a nice surprise. | 0:04:57 | 0:05:00 | |
Back inside now to the lovely Long Gallery | 0:05:02 | 0:05:05 | |
to see what Michael has found. | 0:05:05 | 0:05:06 | |
-Janet, Roger... -Hello. | 0:05:07 | 0:05:09 | |
..thank you for you bringing in this lovely little vase, | 0:05:09 | 0:05:12 | |
even though it is, um... | 0:05:12 | 0:05:14 | |
as I believe many people are screaming at the television, | 0:05:14 | 0:05:17 | |
I can almost hear them, "Moorcroft!" It's unmistakable. | 0:05:17 | 0:05:20 | |
Where did you get it from? | 0:05:20 | 0:05:22 | |
It was about 30 years ago. | 0:05:22 | 0:05:23 | |
I used to sort of be interested in little bits of pots | 0:05:25 | 0:05:28 | |
and anything bric-a-brac, I used to collect them. | 0:05:28 | 0:05:31 | |
-I think I got it from a flea market. -So, you would magpie round for... | 0:05:31 | 0:05:34 | |
-Yeah. -Was it anything in particular? | 0:05:34 | 0:05:36 | |
Was it Moorcroft that you were interested in? | 0:05:36 | 0:05:39 | |
-No, I didn't even know it was Moorcroft. -Didn't you? -No idea. | 0:05:39 | 0:05:42 | |
I only realised that a few months ago when I saw your programme. | 0:05:42 | 0:05:45 | |
Watching "Flog It!" is almost a prescription to have the | 0:05:45 | 0:05:49 | |
piece of Moorcroft on. | 0:05:49 | 0:05:51 | |
Um, I mean, if we turn it over, we've just got the label there | 0:05:53 | 0:05:56 | |
-and the signature will be underneath that. -Yeah. | 0:05:56 | 0:06:00 | |
Uh, obviously, the label is rarer for having survived. | 0:06:00 | 0:06:02 | |
I know, I nearly picked it off. | 0:06:02 | 0:06:04 | |
-When? -Well, when I realised it was Moorcroft. | 0:06:04 | 0:06:07 | |
-You thought, "Let's have a..." -"Oh, well, look for the signature." | 0:06:07 | 0:06:10 | |
-I was going to pick off the label. -What stopped you? Did Roger stop you? | 0:06:10 | 0:06:14 | |
Did Roger run in? "Don't take the label off!" | 0:06:14 | 0:06:16 | |
No, I can't really stop her doing anything. She does what she wants. | 0:06:16 | 0:06:19 | |
Something clicked in my brain. | 0:06:19 | 0:06:21 | |
If anyone takes anything away today, don't take the labels off. | 0:06:21 | 0:06:24 | |
There will be a little Moorcroft signature under there, | 0:06:24 | 0:06:26 | |
but it'll just be his monogram, little initials. | 0:06:26 | 0:06:28 | |
-Do you know how old it is? -No. | 0:06:28 | 0:06:30 | |
Because Moorcroft, obviously, has been produced for a long time. | 0:06:30 | 0:06:34 | |
This is...well, the giveaway is here, | 0:06:34 | 0:06:35 | |
"Potters to the late Queen Mary." | 0:06:35 | 0:06:38 | |
-And also the colour palette, so we're into sort of 1950s. -Right. | 0:06:38 | 0:06:44 | |
So, it's freesia pattern, because it's got freesias on it, | 0:06:44 | 0:06:49 | |
and it's on it rather jolly | 0:06:49 | 0:06:50 | |
and I think these later Moorcroft pieces are lighter | 0:06:50 | 0:06:54 | |
and they're a bit brighter and a bit more refreshing, | 0:06:54 | 0:06:56 | |
and if you think of the '50s | 0:06:56 | 0:06:58 | |
and of the energy that was sort of going on at that time, | 0:06:58 | 0:07:00 | |
it sort of lifted it out of that rather dark, muddy 1930s palette. | 0:07:00 | 0:07:04 | |
It's a shame, in the 30 years you've had it, it hasn't grown, | 0:07:06 | 0:07:10 | |
-because it's a bit small. -It's quite small. | 0:07:10 | 0:07:13 | |
I mean, what did you pay for it 30 years ago? Can you remember? | 0:07:13 | 0:07:17 | |
About a fiver, I wouldn't have paid more than that. | 0:07:17 | 0:07:19 | |
A fiver, well, you'll get a return on that. | 0:07:19 | 0:07:21 | |
It's kept in rate with inflation. | 0:07:21 | 0:07:24 | |
-£50 to £100 on it. -That's fine. | 0:07:24 | 0:07:28 | |
-So, a sort of tenfold return on your fiver. -Yeah. | 0:07:28 | 0:07:30 | |
And hopefully it's going to reach the top end of that, you know, | 0:07:30 | 0:07:33 | |
and, if you're happy, we'll put a fixed reserve of £50 on it, | 0:07:33 | 0:07:36 | |
pop it into the auction and see where it ends up, | 0:07:36 | 0:07:38 | |
but Moorcroft collectors always battle these things out. | 0:07:38 | 0:07:42 | |
Remember Michael's advice, | 0:07:43 | 0:07:45 | |
don't take the label off if you have anything like that at home. | 0:07:45 | 0:07:49 | |
And now for something that I feel is rather good. | 0:07:51 | 0:07:54 | |
So, tell me about the history of this. How long have you had this? | 0:07:55 | 0:07:58 | |
Well, I've always known it from being a child. | 0:07:58 | 0:08:00 | |
It was at my grandparents' house and I had it as a dressing up box. | 0:08:00 | 0:08:04 | |
It's a good size for a dressing up box, it really is. | 0:08:04 | 0:08:06 | |
You can get all your clothes and things in there. | 0:08:06 | 0:08:08 | |
-I think it had a gas mask in it at one point. -Did it! | 0:08:08 | 0:08:11 | |
-This dates back to the latter part of the 18th century. -Really? -Yes. | 0:08:11 | 0:08:16 | |
This was made to suit a particular object or maybe a map chest | 0:08:16 | 0:08:20 | |
-or a deeds box. -Right. | 0:08:20 | 0:08:23 | |
Something of large proportions, | 0:08:23 | 0:08:24 | |
because, look at the volume you can get in there. | 0:08:24 | 0:08:27 | |
-Mmm. -Yeah? -A lot of deeds! -A lot of deeds, yes, exactly. | 0:08:27 | 0:08:32 | |
There's one or two things I want to point out about the front | 0:08:32 | 0:08:34 | |
-if you go that side. -One thing does bother me. | 0:08:34 | 0:08:38 | |
-Can you see here these chevrons? -Yeah. | 0:08:38 | 0:08:40 | |
-They've been cut in at a later date. -Really? -Yes. | 0:08:40 | 0:08:43 | |
And it's been stained to look like a bog oak, | 0:08:43 | 0:08:46 | |
oak that's been left in mud for 200 or 300 years. | 0:08:46 | 0:08:49 | |
The Victorians have later embellished this box, | 0:08:49 | 0:08:51 | |
so it's going to be worth around about £80 to £120. | 0:08:51 | 0:08:54 | |
I think I might have to persuade the children that they'd like to | 0:08:54 | 0:08:58 | |
take it off my hands one day. | 0:08:58 | 0:08:59 | |
Yeah, it's been polished up over the years. | 0:08:59 | 0:09:01 | |
It's got a nice patina to it, a sort of nutty patina as opposed to... | 0:09:01 | 0:09:04 | |
-look at the dry oak here, which has never been polished at all. -Yes. | 0:09:04 | 0:09:08 | |
But here's so much of this to polish. | 0:09:08 | 0:09:10 | |
-This room's 110ft long, you wouldn't want to polish it! -No! | 0:09:11 | 0:09:15 | |
Well, that's going home, where it belongs. | 0:09:15 | 0:09:18 | |
Back outside now to catch up with Adam. | 0:09:20 | 0:09:22 | |
Very pleased to see you both on "Flog It!" today. | 0:09:23 | 0:09:26 | |
You're both smiling beautifully, you look like a very happy couple. | 0:09:26 | 0:09:29 | |
-Can you tell me...? -We are. -That's nice to hear. -We are. | 0:09:29 | 0:09:32 | |
It's Reg and Karen, isn't it? | 0:09:32 | 0:09:33 | |
-It is, yes. -Reg, and I'm admiring your moustache. -Oh, thank you. | 0:09:33 | 0:09:36 | |
That's going to look really good in high definition! | 0:09:36 | 0:09:39 | |
I've had it since I was about 17. I'm not going to part with it now. | 0:09:39 | 0:09:42 | |
Sounds as though we're going to be selling it! | 0:09:44 | 0:09:46 | |
-It's been in the family a long time. -It has. | 0:09:46 | 0:09:48 | |
Well, let's draw a line under that | 0:09:48 | 0:09:50 | |
and move on to the toys collection that you've got here. | 0:09:50 | 0:09:53 | |
We've got a basket full, we've got | 0:09:53 | 0:09:55 | |
eight or ten different ones in their original boxes. | 0:09:55 | 0:09:58 | |
Can you just briefly tell me how you've come to own them | 0:09:58 | 0:10:02 | |
and why you've decided to sell them? | 0:10:02 | 0:10:03 | |
-Well, they were left to me by a male family member. -Right. | 0:10:03 | 0:10:07 | |
And I put them into a wardrobe, | 0:10:07 | 0:10:09 | |
and that's where they've been for 19 years. | 0:10:09 | 0:10:11 | |
OK. And then you heard "Flog It!" were coming to town. | 0:10:11 | 0:10:15 | |
Well, when I got married to Reg, he noticed them and he asked me about | 0:10:15 | 0:10:19 | |
-them and I said, "I think I'm going to take them to a charity shop." -Ah! | 0:10:19 | 0:10:22 | |
And he said, "No! You can sell these. | 0:10:22 | 0:10:24 | |
I've seen these sold on "Flog It!"" I said, "There's nobody going to | 0:10:24 | 0:10:27 | |
-want these." He says, "Oh, I think you might be wrong!" -Well done, Reg. | 0:10:27 | 0:10:30 | |
Well done. Well spotted. | 0:10:30 | 0:10:33 | |
What I've done is I've singled out some of the more interesting | 0:10:33 | 0:10:36 | |
or valuable ones, | 0:10:36 | 0:10:37 | |
and they all happen to be Foden trucks of one sort or the other. | 0:10:37 | 0:10:41 | |
First of all, you've got the box. They're all boxed, of course. | 0:10:41 | 0:10:45 | |
The flat truck with the tailboard. | 0:10:45 | 0:10:47 | |
Another one with chains and this 14-ton tanker. | 0:10:47 | 0:10:50 | |
I'm going to just show this one, | 0:10:50 | 0:10:52 | |
because you can't appreciate them until they're out of the box. | 0:10:52 | 0:10:56 | |
There you go. It's been played with a bit, but he's in pretty good order. | 0:10:56 | 0:11:00 | |
-Right. -Also, there are different variations, | 0:11:00 | 0:11:02 | |
sometimes with different colours of wheel hubs and different | 0:11:02 | 0:11:05 | |
liveries, but it's pretty collectable bunch of toys here. | 0:11:05 | 0:11:09 | |
Quite some time back, I took that one out | 0:11:09 | 0:11:11 | |
and I was playing with it, or rather looking at it on the carpet. | 0:11:11 | 0:11:15 | |
-They never grow up, do they, Karen? -No. -We never grow up. | 0:11:15 | 0:11:18 | |
She was so amused, she laughed and said, | 0:11:18 | 0:11:20 | |
-"You're just like a little boy!" -Was he making the noises as well? | 0:11:20 | 0:11:23 | |
Yeah, he was, yes! | 0:11:23 | 0:11:24 | |
-I've got two little boys like that. -Have you? | 0:11:25 | 0:11:28 | |
But you use them as an excuse to become a little boy as well. | 0:11:28 | 0:11:31 | |
-Regression can be quite fun, really, can't it? -It can, it can. | 0:11:31 | 0:11:35 | |
Any idea on what they might be worth? | 0:11:35 | 0:11:36 | |
-Presumably you don't because you were going to give them away. -Hmm. | 0:11:36 | 0:11:40 | |
What about you, Reg? Are you going to have a stab at the value? | 0:11:40 | 0:11:43 | |
Yes, well, there's a gentleman in the queue today | 0:11:43 | 0:11:45 | |
and the very model you've got in your hand there, | 0:11:45 | 0:11:49 | |
he said, "These really can be worth something." | 0:11:49 | 0:11:51 | |
He says, "I'll give you £100 for that one now." | 0:11:51 | 0:11:55 | |
So, I said, "No, thank you very much, but we'll just go along." | 0:11:55 | 0:11:58 | |
But it reinforced your ideas that you knew there was some value in that. | 0:11:58 | 0:12:02 | |
Some value attached to them, yes. | 0:12:02 | 0:12:04 | |
Well, I think it was a pretty prudent offer. | 0:12:04 | 0:12:06 | |
Um, I reckon these three are probably worth about £100 each. | 0:12:06 | 0:12:10 | |
-Really? -And these are the sort of residual ones here. | 0:12:10 | 0:12:15 | |
They're worth, individually... | 0:12:15 | 0:12:17 | |
We've got a tank transporter, a couple of tanks, | 0:12:17 | 0:12:20 | |
and, of course, this one, which is pretty cool. | 0:12:20 | 0:12:23 | |
-It's a mobile space rocket. -It is. | 0:12:23 | 0:12:24 | |
-What noise would you make for that, Ray? Reg, sorry. -Zoom and it's gone. | 0:12:24 | 0:12:28 | |
-I didn't think that would be worth anything. -Well, it's not. | 0:12:28 | 0:12:30 | |
I mean, what I would suggest...Crescent Toys, | 0:12:30 | 0:12:32 | |
-a minor collection worth about £20. -Yeah, yeah. | 0:12:32 | 0:12:34 | |
-You, what I'd suggest is we sell them as one lot. -All right. | 0:12:34 | 0:12:37 | |
-And I would suggest an estimate of £300 to £500 for the collection. -Oh! | 0:12:37 | 0:12:41 | |
-Really? -Yeah. And I think that's quite conservative, I think | 0:12:41 | 0:12:44 | |
-that's one that should get people interested. -Oh, yes. | 0:12:44 | 0:12:46 | |
-Does that sound all right? -It does sound all right. | 0:12:46 | 0:12:49 | |
-That's a nice surprise. -Well, that's great to see. -It is. | 0:12:49 | 0:12:52 | |
I think, even though you probably don't want them back, | 0:12:52 | 0:12:54 | |
it would be sensible to put a reserve on so that people don't | 0:12:54 | 0:12:57 | |
buy them too cheaply and, for that, I would suggest a figure of £300. | 0:12:57 | 0:13:01 | |
And, with your permission, just give them 10% discretion leeway, | 0:13:01 | 0:13:04 | |
just in case. It would be a shame if they got to 280, 290, | 0:13:04 | 0:13:08 | |
-and he went, "No, can't sell 'em." -OK. | 0:13:08 | 0:13:10 | |
And then I'm hoping they're going to make £500 or so. | 0:13:10 | 0:13:13 | |
-Oh, right, thank you. -If that's the case, | 0:13:13 | 0:13:15 | |
any plans on what you'd do with that proceeds of sale. | 0:13:15 | 0:13:18 | |
Um, I'm going to treat Reg to something out of it. | 0:13:18 | 0:13:22 | |
Well, certainly, he deserves something, doesn't he? | 0:13:22 | 0:13:24 | |
And once you've spent that £20, what are you going to do with the rest of it? | 0:13:24 | 0:13:28 | |
Who told you that? It was £20! | 0:13:30 | 0:13:32 | |
Well, that was fun. | 0:13:34 | 0:13:36 | |
Well, you've just seen three wonderful items, | 0:13:39 | 0:13:41 | |
you've heard what our experts have had to say, | 0:13:41 | 0:13:43 | |
you've probably got your own opinions, | 0:13:43 | 0:13:45 | |
but, right now, let's find out what the bidders think as we go | 0:13:45 | 0:13:48 | |
over to the auction room for the very first time today | 0:13:48 | 0:13:50 | |
and here's a quick recap of what we're taking with us. | 0:13:50 | 0:13:54 | |
The Edwardian silver vase is good quality, | 0:13:54 | 0:13:57 | |
but will the bidders take a shine to it. | 0:13:57 | 0:13:59 | |
With the little piece of Moorcroft, it's not, "Will it go?", | 0:14:02 | 0:14:05 | |
But "How much will it go for?" | 0:14:05 | 0:14:07 | |
And will the boys be out in force to drive up | 0:14:09 | 0:14:11 | |
the price of the Dinky Toys? | 0:14:11 | 0:14:13 | |
Stay with us and you'll find out in the auction room. | 0:14:13 | 0:14:16 | |
From Haddon Hall, it's off to the quaint village of Rowsley | 0:14:18 | 0:14:21 | |
and to Bamfords Auctioneers. | 0:14:21 | 0:14:23 | |
The village sits between Bakewell and Matlock, | 0:14:23 | 0:14:25 | |
so, hopefully, we'll pull in the bidders from both directions. | 0:14:25 | 0:14:29 | |
-420... -'And don't forget there is commission to pay. | 0:14:29 | 0:14:33 | |
'Here, it's 12.5% plus VAT.' | 0:14:33 | 0:14:35 | |
Now, this is what I like to see, a saleroom packed full of bidders | 0:14:37 | 0:14:39 | |
and fine art and antiques. | 0:14:39 | 0:14:41 | |
The classic recipe for a perfect auction and I know our owners are | 0:14:41 | 0:14:45 | |
feeling really nervous right now. They're over there. | 0:14:45 | 0:14:47 | |
I'm going to catch up with them as we get on with our first lot. | 0:14:47 | 0:14:50 | |
"Flog It!" expert and auctioneer James Lewis is on the rostrum | 0:14:50 | 0:14:54 | |
today and we're starting off with a bit of nostalgia. | 0:14:54 | 0:14:57 | |
Going under the hammer right now, | 0:14:57 | 0:14:58 | |
a collection of Dinky Supertoys belonging to Karen and Reg. | 0:14:58 | 0:15:01 | |
-They've been at the back of a wardrobe for 19 years. -Yes. | 0:15:01 | 0:15:03 | |
So, hopefully, they're going to find a new home, going to a collector. | 0:15:03 | 0:15:07 | |
-A grown-up boy. -Yes! | 0:15:07 | 0:15:08 | |
And, you never know, you could have one or two surprises here. | 0:15:08 | 0:15:11 | |
-Well, I hope so. -Anyway, we're going to put it to the test. | 0:15:11 | 0:15:14 | |
They're going under the hammer now. | 0:15:14 | 0:15:15 | |
I've got three bids, one of 270, one of 310, and one higher. | 0:15:17 | 0:15:23 | |
320 starts it. | 0:15:23 | 0:15:26 | |
-Fantastic. -At 320, 330 anywhere? | 0:15:26 | 0:15:29 | |
At 320, 330 now. At 320, 330, 340. | 0:15:29 | 0:15:34 | |
350, 360. | 0:15:35 | 0:15:37 | |
At £360, absentee bid, at 360, any advance? At £360...all sure? | 0:15:37 | 0:15:45 | |
That's a good price, £360. Well done, Adam. Happy with that? | 0:15:48 | 0:15:52 | |
-Yes, I am, very. -Absolutely. | 0:15:52 | 0:15:54 | |
They will have gone to a collector, as I suspect our next lot will. | 0:15:54 | 0:15:59 | |
Janet and Roger, it's good to meet up with you again. | 0:15:59 | 0:16:02 | |
Fingers crossed for your Moorcroft pot. I think we can get the top end. | 0:16:02 | 0:16:06 | |
It's sweet, it's small, and it's there and the market's always there. | 0:16:06 | 0:16:10 | |
Yeah, exactly. It's a great name and a good name will always sell. | 0:16:10 | 0:16:14 | |
-Absolutely. -Yeah, we're going to find out what the bidders think. | 0:16:14 | 0:16:17 | |
-So, I think it's time to say goodbye to this. -Yeah, it is. | 0:16:17 | 0:16:20 | |
393 is the Moorcroft, the freesia patterned cylindrical vase | 0:16:20 | 0:16:25 | |
-and I have one, two, three, four, five bids on it. -There you go. | 0:16:25 | 0:16:28 | |
And I can start at £75. 75, 80 now. | 0:16:28 | 0:16:33 | |
-At 75... -See, quality always sells. -80. | 0:16:33 | 0:16:37 | |
5, 90... | 0:16:37 | 0:16:39 | |
-(Unbelievable.) -At £85, 90 now. At 85, 90 do I see? | 0:16:39 | 0:16:43 | |
At 85, 90 coming back for one more online? | 0:16:43 | 0:16:47 | |
Coming back? No, at 85. At 85, two of you hovering now. | 0:16:47 | 0:16:51 | |
-Come on, come on, come on, come on. -90... | 0:16:52 | 0:16:54 | |
90 bid. 95. | 0:16:56 | 0:16:58 | |
-No, at 90. £90 has it. At £90... -You happy with that? | 0:16:59 | 0:17:02 | |
-Brilliant. -That's really good. -Really happy, yes. | 0:17:02 | 0:17:04 | |
At 90 and selling, anybody else? At £90, are we sure? | 0:17:04 | 0:17:08 | |
-90. -£90, the hammer's gone down. | 0:17:10 | 0:17:12 | |
See, a good maker's name and quality. | 0:17:12 | 0:17:14 | |
-It's a collectors' base. -Yeah. | 0:17:14 | 0:17:17 | |
Good valuation there from Michael. | 0:17:18 | 0:17:21 | |
And now for that elegant silver vase. | 0:17:21 | 0:17:24 | |
Louise, it's great to see you. Fingers crossed we get | 0:17:24 | 0:17:26 | |
top end of the estimate. Who's with you right now? | 0:17:26 | 0:17:28 | |
-My daughter, Tori. -Tori, I'm pleased to meet you. | 0:17:28 | 0:17:31 | |
-Mum's flogging the family silver! -I know! -Isn't she?! | 0:17:31 | 0:17:34 | |
-This is your inheritance! -I know! -Or are you getting it early. -I am. | 0:17:34 | 0:17:38 | |
Yes, she's getting the proceeds, if it's sold. I'm sure this will sell. | 0:17:38 | 0:17:41 | |
-I'd like to think so! -A bit of Edwardian silver. | 0:17:41 | 0:17:44 | |
Don't they call that skiing if you're spending kids' inheritance? | 0:17:44 | 0:17:47 | |
-I've never heard that before! -No? -No, I haven't! | 0:17:49 | 0:17:51 | |
No, no, I hear it a lot from my parents! | 0:17:51 | 0:17:54 | |
-Right, here we go. This is it. -Have you got butterflies in your tummy? | 0:17:54 | 0:17:58 | |
And I can start the bidding here at £100 and 10, do I see? | 0:18:00 | 0:18:04 | |
At 100 straight in, 110 to the left and 20 now. At 110, 120 bid. | 0:18:04 | 0:18:08 | |
130, 130, 140. Winking at 140, 150, 150, 160. 160, winking, 170. | 0:18:08 | 0:18:16 | |
170, 180. At 170 to the left, 180 now. 180, at £170, 180, 180 online. | 0:18:18 | 0:18:25 | |
-Well done, Adam. -There you are, it's not going to be melted. -Thank you. | 0:18:25 | 0:18:28 | |
220, 240. | 0:18:28 | 0:18:30 | |
At 220, standing to the left, at 220, 230 if you like, 230 bid, | 0:18:30 | 0:18:35 | |
-240... -Good estimate. | 0:18:35 | 0:18:38 | |
At 240 to my left, at 240, anybody else in the room? | 0:18:38 | 0:18:42 | |
At £240, you're out, internet's out at 240. | 0:18:44 | 0:18:48 | |
-Louise, £240. Brilliant! -I'm absolutely delighted with that! | 0:18:48 | 0:18:51 | |
Oh, that's fabulous, isn't it? | 0:18:51 | 0:18:53 | |
We got a squeal and everything! | 0:18:53 | 0:18:54 | |
What's really nice to know, and thanks to Adam, | 0:18:54 | 0:18:57 | |
is that's actually sold as a work of art, | 0:18:57 | 0:18:59 | |
rather than a lump of silver in weight going to melt. | 0:18:59 | 0:19:02 | |
It's an object and it's a nice looking object. | 0:19:02 | 0:19:04 | |
Even though you didn't like it, it's still a work of art to somebody. | 0:19:04 | 0:19:06 | |
Well, thank you to Granny. | 0:19:06 | 0:19:08 | |
That's right. Thank you, Granny. | 0:19:09 | 0:19:12 | |
'Over the years on "Flog It!", | 0:19:12 | 0:19:13 | |
'we've seen hundreds of items of military history' | 0:19:13 | 0:19:16 | |
at our valuation days, including some fascinating medals | 0:19:16 | 0:19:19 | |
which are coming up later on in the show. | 0:19:19 | 0:19:21 | |
Inspired by the stories behind these objects, I took a trip to the | 0:19:24 | 0:19:28 | |
Imperial War Museum in London to look at their collection of war art. | 0:19:28 | 0:19:32 | |
Artists have always portrayed war, | 0:19:42 | 0:19:44 | |
but I'm here today to explore how the relationship between artists | 0:19:44 | 0:19:48 | |
and war has developed in Britain over the 20th century. | 0:19:48 | 0:19:52 | |
Both the First and Second World War have completely revolutionised | 0:19:56 | 0:19:59 | |
the way war has been captured on canvas and camera. | 0:19:59 | 0:20:04 | |
At a time when you may have thought a discipline like art | 0:20:04 | 0:20:06 | |
would have suffered, it, in fact, flourished. | 0:20:06 | 0:20:10 | |
Before the First World War, paintings and drawings were | 0:20:10 | 0:20:12 | |
usually artistic interpretations | 0:20:12 | 0:20:14 | |
created by an artist who had not actually witnessed the fighting, | 0:20:14 | 0:20:19 | |
but instead used their imagination to create a picture | 0:20:19 | 0:20:23 | |
based on written accounts. | 0:20:23 | 0:20:25 | |
But all this was about to change at the start of the First World War. | 0:20:28 | 0:20:32 | |
The government took the unprecedented | 0:20:32 | 0:20:33 | |
step of appointing official artists, photographers and cinematographers | 0:20:33 | 0:20:38 | |
to document war in a way that would support morale back at home. | 0:20:38 | 0:20:42 | |
During the First World War, | 0:20:42 | 0:20:44 | |
the Imperial War Museum was given the job of collecting a wide range | 0:20:44 | 0:20:48 | |
of material documenting the war, including commissioned works of art. | 0:20:48 | 0:20:53 | |
There was a plan to house them | 0:20:54 | 0:20:55 | |
separately in a specially built hall of remembrance. | 0:20:55 | 0:20:59 | |
However, when the war ended, due to lack of funding, | 0:20:59 | 0:21:02 | |
the hall was never built. | 0:21:02 | 0:21:04 | |
Lucky enough for us, the collection of paintings was given to the | 0:21:04 | 0:21:07 | |
Imperial War Museum and they're on display just through there. | 0:21:07 | 0:21:11 | |
The gallery houses, among others, Gassed, a painting by John Singer Sargent | 0:21:14 | 0:21:19 | |
completed following his visit to the Western Front. | 0:21:19 | 0:21:22 | |
Sargent, one of the leading society portrait painters of his day, | 0:21:24 | 0:21:28 | |
was commissioned to create this centrepiece. | 0:21:28 | 0:21:31 | |
It's 20ft long and graphic in detail. | 0:21:33 | 0:21:36 | |
Gassed is based on a chaotic scene at a dressing station which | 0:21:36 | 0:21:40 | |
took in casualties suffering from a mustard gas attack | 0:21:40 | 0:21:44 | |
on the Western Front in August 1918. | 0:21:44 | 0:21:47 | |
The 11 central soldiers are almost life-size | 0:21:49 | 0:21:52 | |
and you can see their eyes are bandaged up | 0:21:52 | 0:21:54 | |
with the effects of blindness. | 0:21:54 | 0:21:56 | |
Sargent's original brief was to paint a scene with | 0:21:56 | 0:21:59 | |
Anglo-American soldiers both at the same situation, | 0:21:59 | 0:22:03 | |
but, while he was out there, he struggled to find this. | 0:22:03 | 0:22:06 | |
He was determined to paint a picture of epic proportions | 0:22:08 | 0:22:11 | |
with many characters in it. | 0:22:11 | 0:22:13 | |
The result is this, a scene showing catastrophic human suffering. | 0:22:13 | 0:22:18 | |
This went on to become one of the most iconic images | 0:22:18 | 0:22:20 | |
of the First World War. | 0:22:20 | 0:22:23 | |
Sargent was just one of many war artists, photographers, | 0:22:23 | 0:22:26 | |
film-makers, writers and cartoonists who were deployed making war art | 0:22:26 | 0:22:31 | |
or propaganda on the Western Front. | 0:22:31 | 0:22:34 | |
All of them working under the watchful eye | 0:22:34 | 0:22:37 | |
of military intelligence and field censors. | 0:22:37 | 0:22:39 | |
However, as well as capturing some of the victorious scenes | 0:22:41 | 0:22:44 | |
that the government were keen on publicising, the artists | 0:22:44 | 0:22:47 | |
explored other aspects of the conflict. | 0:22:47 | 0:22:50 | |
From the violence of industrial warfare to | 0:22:50 | 0:22:53 | |
the hastened social and industrial change, | 0:22:53 | 0:22:56 | |
and the desolate destruction caused by the theatres of war. | 0:22:56 | 0:23:00 | |
This is The Menin Road by Paul Nash, | 0:23:14 | 0:23:17 | |
based at the Flanders Fields, | 0:23:17 | 0:23:19 | |
and it shows two soldiers struggling through a devastated battlefield. | 0:23:19 | 0:23:23 | |
There are rain-filled shell holes and flooded trenches, | 0:23:23 | 0:23:26 | |
as you can see, as these two characters follow this road, | 0:23:26 | 0:23:29 | |
which has been clearly decimated beyond recognition. | 0:23:29 | 0:23:33 | |
In fact, look closely and Nash has rearranged the whole landscape. | 0:23:34 | 0:23:39 | |
The bursts of sunlight have become gun barrels, | 0:23:39 | 0:23:42 | |
and the shattered trees are more like steel structures | 0:23:42 | 0:23:46 | |
lit by an apocalyptic sky. | 0:23:46 | 0:23:48 | |
The Ministry of Information processed | 0:23:50 | 0:23:52 | |
a quarter of a million photos and thousands of films | 0:23:52 | 0:23:55 | |
and paintings during the war years, but, | 0:23:55 | 0:23:58 | |
despite all its achievements, when the war was over, it was closed. | 0:23:58 | 0:24:03 | |
Its role was seen as redundant during peacetime. | 0:24:03 | 0:24:06 | |
With the start of the Second World War, it was back in action... | 0:24:07 | 0:24:10 | |
its job, to raise morale and to promote Britain's image abroad. | 0:24:12 | 0:24:15 | |
As the Second World War progressed, | 0:24:18 | 0:24:20 | |
the Ministry of Information became known as the All Talents Ministry. | 0:24:20 | 0:24:24 | |
The world had moved on and film and photography | 0:24:25 | 0:24:28 | |
had moved to the foreground. | 0:24:28 | 0:24:30 | |
Hilary Roberts, head curator here, has been charting how the | 0:24:32 | 0:24:36 | |
creative use of photography flourished during war years. | 0:24:36 | 0:24:41 | |
Would you say that the war acted as a catalyst for artistic development? | 0:24:41 | 0:24:44 | |
Absolutely. | 0:24:44 | 0:24:45 | |
Artist like Bill Brandt, who were relatively unknown when the war | 0:24:45 | 0:24:49 | |
broke out, built their careers on | 0:24:49 | 0:24:51 | |
commissions from the Ministry of Information. | 0:24:51 | 0:24:54 | |
Bill was commissioned to photograph the London Underground | 0:24:54 | 0:24:57 | |
during the Blitz and took many iconic images of Londoners sheltering | 0:24:57 | 0:25:01 | |
on the platforms, but Cecil Beaton's work was particularly special. | 0:25:01 | 0:25:05 | |
He was a recognised photographer though. | 0:25:05 | 0:25:07 | |
He was already, unlike Bill Brant, he was a recognised photographer. | 0:25:07 | 0:25:11 | |
He was one of the hardest working photographers of the war. | 0:25:11 | 0:25:14 | |
He was certainly the only one that was able to get his name | 0:25:14 | 0:25:17 | |
credited whenever the photographs were published | 0:25:17 | 0:25:20 | |
and he brought to it his own techniques, his background, | 0:25:20 | 0:25:24 | |
his skills and knowledge as a portrait photographer | 0:25:24 | 0:25:27 | |
and lover of theatre, fashion and design. | 0:25:27 | 0:25:31 | |
So, the photography that he produced was instantly recognisable. | 0:25:31 | 0:25:35 | |
He certainly took, I think, | 0:25:35 | 0:25:37 | |
probably one of the six best known | 0:25:37 | 0:25:40 | |
photographs of the Second World War, which is of a little girl with | 0:25:40 | 0:25:44 | |
her head bandaged who has been injured in an air raid in 1940. | 0:25:44 | 0:25:48 | |
He captured war, I guess, more vividly | 0:25:48 | 0:25:51 | |
and graphically than a lot of other war artists. | 0:25:51 | 0:25:53 | |
Did that inspire the next generation? | 0:25:53 | 0:25:56 | |
It absolutely did, yes. | 0:25:56 | 0:25:57 | |
Don McCullin grew up with photographs that he | 0:25:57 | 0:26:00 | |
saw in Picture Post, Illustrated Magazine and so on and so forth. | 0:26:00 | 0:26:05 | |
He was a child during the Second World War and, | 0:26:05 | 0:26:08 | |
when he became a photographer, the Ministry of Information photographs | 0:26:08 | 0:26:13 | |
that he had seen were his starting point and he went on from there. | 0:26:13 | 0:26:17 | |
-Now, he, of course, inspires a generation again. -Sure. | 0:26:17 | 0:26:20 | |
It's thanks to the powerful images created by the bravery | 0:26:23 | 0:26:26 | |
and integrity of the war artists, | 0:26:26 | 0:26:28 | |
which were way beyond propaganda, that our understanding of war, | 0:26:28 | 0:26:32 | |
the suffering, and the triumph is so vivid. | 0:26:32 | 0:26:35 | |
We've got 40 members of the "Flog It!" team, eight cameras, and | 0:26:41 | 0:26:44 | |
an army of behind-the-scene experts working hard at Haddon Hall today. | 0:26:44 | 0:26:49 | |
And here is Michael with some more military history. | 0:26:50 | 0:26:54 | |
George, Joyce, I think before we get started, | 0:26:55 | 0:26:57 | |
what an absolutely splendid tie you are wearing, that's...wonderful. | 0:26:57 | 0:27:01 | |
-Are you a big Laurel and Hardy fan? -Yes, I am. -They are fantastic. | 0:27:01 | 0:27:05 | |
I used to watch them as a boy when they were on the television early. | 0:27:05 | 0:27:08 | |
They don't show them any more, it's a great shame. | 0:27:08 | 0:27:11 | |
Are these something you've collected or are these family medals? | 0:27:11 | 0:27:14 | |
Uh, they're not in the family, I inherited them from a friend. | 0:27:14 | 0:27:19 | |
Oh, so your friend didn't have anyone else to pass them | 0:27:19 | 0:27:21 | |
-onto in his family. -No, no, no family, no. | 0:27:21 | 0:27:23 | |
And he's given them to you, | 0:27:23 | 0:27:25 | |
because often we'll see a group of medals on "Flog It!" and people | 0:27:25 | 0:27:28 | |
will think, you know, "Why don't they keep them in the family? | 0:27:28 | 0:27:31 | |
"Why don't they go on through the line?" | 0:27:31 | 0:27:33 | |
But, of course, they've got no real associations to you, have they? | 0:27:33 | 0:27:37 | |
-I mean, they're no interest to my family now. -They're somebody else's. | 0:27:37 | 0:27:40 | |
-Yeah, yeah. -Have you done any research on them? | 0:27:40 | 0:27:42 | |
-No, not really, no. -Well, we're lucky because, | 0:27:42 | 0:27:45 | |
what we've got is we've got two groups of medals, | 0:27:45 | 0:27:49 | |
some from the First War, some from the Second War, | 0:27:49 | 0:27:52 | |
and they've all been mounted together and worn, which, | 0:27:52 | 0:27:55 | |
I think...Second World War medals aren't named, which is | 0:27:55 | 0:27:58 | |
the frustration to a lot of collectors | 0:27:58 | 0:28:01 | |
because collectors love to do research. | 0:28:01 | 0:28:03 | |
Now, we've got the standard three First World War medals, | 0:28:03 | 0:28:07 | |
but we've also got the military medal, which is for an act | 0:28:07 | 0:28:10 | |
of bravery, and we've got it named on the bottom for a Private H Brown. | 0:28:10 | 0:28:15 | |
Yeah. | 0:28:15 | 0:28:16 | |
And he was in the 16th Machine Gun Corps, | 0:28:16 | 0:28:19 | |
and he was awarded this in around November 1916. Um, then we move on. | 0:28:19 | 0:28:26 | |
We've got the standard Second War medals here, the stars, | 0:28:26 | 0:28:30 | |
but, at the end, very interestingly, we've got | 0:28:30 | 0:28:32 | |
-this territorial medal, which is for efficient service. -Yeah. | 0:28:32 | 0:28:37 | |
And it's also got twin bars which suggests a long-serving member... | 0:28:37 | 0:28:42 | |
-Yeah. -..in the territorial army, and we've got a different name on this. | 0:28:42 | 0:28:48 | |
-But this person also, MM, won a military medal. -Yeah. | 0:28:48 | 0:28:53 | |
And it's H Percival. Now... | 0:28:53 | 0:28:56 | |
..it's peculiar that you've got the military medal here, | 0:28:56 | 0:29:00 | |
these are all together, and then you've got this medal... | 0:29:00 | 0:29:03 | |
and he's won a military medal, even though it's a different name, | 0:29:03 | 0:29:07 | |
-but the initial is the same. -Yeah. | 0:29:07 | 0:29:09 | |
They may be associated, or it might be the case, rather | 0:29:09 | 0:29:13 | |
intriguingly, we'll never know, whether Mr Brown, for some reason... | 0:29:13 | 0:29:17 | |
changed his name to Percival. | 0:29:17 | 0:29:20 | |
So, it's something for a collector to get their teeth in there. | 0:29:20 | 0:29:24 | |
I mean, have you got any idea as to value for them? | 0:29:24 | 0:29:27 | |
-No, no, no... -Not really, not really thought about it. | 0:29:27 | 0:29:30 | |
So, a crisp £50 note, if I could... | 0:29:30 | 0:29:32 | |
..no, I can't! I mustn't, mustn't! | 0:29:35 | 0:29:38 | |
Um, I mean, Joyce, | 0:29:38 | 0:29:40 | |
-are they something that you've admired or liked or...? No? -No, no. | 0:29:40 | 0:29:44 | |
No, she said if I'd have gone, she'd have thrown them in the bin! | 0:29:44 | 0:29:47 | |
So, if you weren't selling them, | 0:29:47 | 0:29:49 | |
you dropped off, they were going in the bin! | 0:29:49 | 0:29:52 | |
I've got to clear the garage out. | 0:29:52 | 0:29:54 | |
Let's put £300 to £500 on them. | 0:29:54 | 0:29:59 | |
-And let's put a fixed reserve of £300 on them. -No! | 0:29:59 | 0:30:03 | |
And let's see where they go. | 0:30:03 | 0:30:06 | |
I mean, hopefully, we'll be touching the middle of that estimate | 0:30:06 | 0:30:10 | |
and make the top end of it. | 0:30:10 | 0:30:12 | |
Thanks for bringing them in and thanks really because today | 0:30:12 | 0:30:15 | |
we've saved them, maybe ultimately, from being discarded by Joyce! | 0:30:15 | 0:30:21 | |
There's a story behind those. | 0:30:21 | 0:30:23 | |
And now over to Adam with an interesting | 0:30:24 | 0:30:26 | |
piece of pewter in the courtyard. | 0:30:26 | 0:30:28 | |
Haddon Hall is known for its beautiful gardens and, | 0:30:30 | 0:30:33 | |
until recently I believe, this was in your garden, was it, Julianne? | 0:30:33 | 0:30:36 | |
It certainly was, yes. | 0:30:36 | 0:30:38 | |
Now, why on earth is an intelligent lady like you keeping | 0:30:38 | 0:30:41 | |
a piece of art in the garden? | 0:30:41 | 0:30:44 | |
Well, it was a very beautiful garden! | 0:30:44 | 0:30:47 | |
Did it have a function in the garden, | 0:30:47 | 0:30:48 | |
or was it just sitting out there? | 0:30:48 | 0:30:50 | |
-It was sitting out there. -Yeah? Gathering water and leaves and... | 0:30:50 | 0:30:54 | |
-No, I put a plant in it. -Oh, did you? -I actually put a plant in it, yeah. | 0:30:54 | 0:30:57 | |
What made you think of bringing it into "Flog It!"? | 0:30:57 | 0:31:00 | |
-I don't like it. -You don't! | 0:31:00 | 0:31:01 | |
-It's as simple as that! I don't like it. -OK. | 0:31:01 | 0:31:04 | |
Did you think it was valuable? Did someone tell you it was valuable? | 0:31:04 | 0:31:06 | |
-Erm, I knew it was worth a bit... -Right. -..but... | 0:31:06 | 0:31:09 | |
How long have you had it? | 0:31:09 | 0:31:11 | |
Too long. | 0:31:12 | 0:31:13 | |
-Eh...about 30 years I've had it. -Yes. | 0:31:13 | 0:31:16 | |
So, we've got an Art Nouveau Arts and Crafts Period | 0:31:16 | 0:31:20 | |
pewter jardiniere marked Tudric on the body. | 0:31:20 | 0:31:24 | |
-Heard of Tudric? -I have now, yes. | 0:31:24 | 0:31:27 | |
Tudric was a range designed mainly by a famous designer, | 0:31:27 | 0:31:30 | |
Archibald Knox, and retailed at Liberty's, | 0:31:30 | 0:31:33 | |
the famous store Liberty's. | 0:31:33 | 0:31:35 | |
And they're quite distinctive with these stylised designs going | 0:31:35 | 0:31:39 | |
round and quite a funky, angular shape. | 0:31:39 | 0:31:42 | |
Early 20th century and it should be fully marked on the bottom, | 0:31:42 | 0:31:46 | |
"Tudric", with a number. | 0:31:46 | 0:31:48 | |
And indeed it is, there we have the little word Tudric there, | 0:31:48 | 0:31:53 | |
it's quite hard to read, and it's got a number on it, "0-2-2-9", | 0:31:53 | 0:31:57 | |
which will be the shape number | 0:31:57 | 0:31:58 | |
and you'll be able to look that up in the design books and it'll | 0:31:58 | 0:32:01 | |
say "0-2-2-9" and it'll have a name for this twin-handled bowl. | 0:32:01 | 0:32:04 | |
It's a really, really nice piece of early 20th century decorative arts. | 0:32:04 | 0:32:09 | |
Arts and Crafts, Arts Nouveau style to it. | 0:32:09 | 0:32:12 | |
I feel almost guilty now! | 0:32:12 | 0:32:14 | |
So, you clearly know it's of some value. What do you think? | 0:32:16 | 0:32:19 | |
Let's talk price. | 0:32:19 | 0:32:21 | |
SHE CLEARS THROAT Yes, go on, then. | 0:32:21 | 0:32:23 | |
What do you think it's going to make? | 0:32:23 | 0:32:24 | |
How much do you want for it? As much as possible? | 0:32:24 | 0:32:26 | |
-As much as possible, yes. -What do you think it's going to make? | 0:32:26 | 0:32:29 | |
-Well, I should like 200 to 300. -Ooh, punchy! | 0:32:29 | 0:32:33 | |
200 to 300 would be what you put on one in better condition | 0:32:33 | 0:32:37 | |
and I'd like to bring it down just a little bit. | 0:32:37 | 0:32:39 | |
I'd suggest 150 to 250 as the estimate. | 0:32:39 | 0:32:43 | |
At a push. | 0:32:43 | 0:32:44 | |
-Silence! -Silence. | 0:32:45 | 0:32:47 | |
And what about a reserve? £150 reserve? | 0:32:47 | 0:32:50 | |
-Yes, that'd be good, yeah. -Fix it or discretion it? | 0:32:50 | 0:32:52 | |
A bit of discretion. | 0:32:52 | 0:32:53 | |
A bit of discretion, yeah, I think that's a good idea. 150, discretion. | 0:32:53 | 0:32:57 | |
-Yes. -But I think it'll do a bit better, don't you? -I hope so, yes. | 0:32:57 | 0:33:00 | |
Especially with you and me staring at him... | 0:33:00 | 0:33:02 | |
-Certainly, yes, yes. -All right. | 0:33:02 | 0:33:05 | |
I think that should be achievable. | 0:33:05 | 0:33:07 | |
Now, Michael is in his element with this next item. | 0:33:09 | 0:33:12 | |
Diane, Ronaldo, thank you so much | 0:33:14 | 0:33:16 | |
for bringing in this wonderful set of knives, | 0:33:16 | 0:33:19 | |
but, I mean, the first question is, where have all the forks gone? | 0:33:19 | 0:33:23 | |
Why have we only got one fork? | 0:33:23 | 0:33:25 | |
Where do they come from? Was it through the family or...? | 0:33:25 | 0:33:28 | |
No, no. I bought them at Newark Antique Fair. | 0:33:28 | 0:33:31 | |
-Oh, the large antiques fair? -Yes, many, many years ago. | 0:33:31 | 0:33:34 | |
It's an unusual combination. Are there more forks at home, or...? | 0:33:34 | 0:33:38 | |
-No, that's it. -So, that was how it came to you. -Yes. | 0:33:38 | 0:33:43 | |
This is very long and we would use it as a carving fork today, | 0:33:43 | 0:33:47 | |
but in the 18th century, there was | 0:33:47 | 0:33:49 | |
a fashion sometimes for absolutely massive... | 0:33:49 | 0:33:52 | |
two-pronged wrought times. | 0:33:53 | 0:33:55 | |
Any idea of who made them or where they were made? | 0:33:55 | 0:33:58 | |
-No, no. -I have to pop into my pocket for the device and, | 0:33:58 | 0:34:04 | |
if we pick one of these... | 0:34:04 | 0:34:05 | |
Right. Sometimes they're stamped in a machine | 0:34:06 | 0:34:11 | |
and that was how they made them in Sheffield, and they would be quite | 0:34:11 | 0:34:14 | |
thin, and you would fill them with pitch and they would wear over time. | 0:34:14 | 0:34:18 | |
These have been cast, | 0:34:18 | 0:34:21 | |
which is a little bit better. | 0:34:21 | 0:34:22 | |
They're top quality actually | 0:34:22 | 0:34:24 | |
and you can see the seam very faintly running down where | 0:34:24 | 0:34:28 | |
they've been joined together and these are by Moses Brent, | 0:34:28 | 0:34:32 | |
who was working in London at the end of the 18th century | 0:34:32 | 0:34:35 | |
-and he was a specialist haft maker, specialised in handles. -OK. -Ah! | 0:34:35 | 0:34:41 | |
And you'll see a lot of his handles on Georgian services and silver. | 0:34:41 | 0:34:45 | |
-Sometimes the blades are silver and have nothing to do with him. -Yeah. | 0:34:45 | 0:34:49 | |
-He just provides the handles. -What are they? They're not plated silver? | 0:34:49 | 0:34:55 | |
-They're not plated, they're wrought steel. -Oh, they're wrought steel. | 0:34:55 | 0:34:58 | |
But nicely finished and polished steel, which is | 0:34:58 | 0:35:01 | |
how they would have looked originally. | 0:35:01 | 0:35:03 | |
Also, they're very nicely crested and I think anything like this | 0:35:03 | 0:35:06 | |
-is helped with its original family crest on it. -Hmm. | 0:35:06 | 0:35:10 | |
In terms, of date, they've just got a standard mark | 0:35:10 | 0:35:13 | |
-and a duty mark, which means they postdate 1786. -Ah. | 0:35:13 | 0:35:18 | |
-And they probably date 1786 up to 1790. -OK. | 0:35:18 | 0:35:24 | |
Right, thorny question of price. Dare I ask what you paid for them? | 0:35:24 | 0:35:28 | |
I don't remember. I wrote it in a little book and I don't remember. | 0:35:28 | 0:35:31 | |
Well, that's a good start. I can say anything then. | 0:35:31 | 0:35:34 | |
I think...I think because it's an odd set, that will | 0:35:34 | 0:35:38 | |
hold it back a little. | 0:35:38 | 0:35:39 | |
Seven and one is a bit of a difficult sell, | 0:35:39 | 0:35:42 | |
so let's say 150 to 250. | 0:35:42 | 0:35:45 | |
-Yes. -OK. -And put a fixed reserve of 150. -Yes, yes. | 0:35:45 | 0:35:48 | |
They may or may not go at that, but it's touch and go, | 0:35:48 | 0:35:51 | |
-but it's worth giving them a try. -Yes. | 0:35:51 | 0:35:53 | |
So, thank you for bringing along | 0:35:53 | 0:35:55 | |
-a lovely set of Georgian knives. -Thank you, Michael. | 0:35:55 | 0:35:58 | |
Well, let's hope the person with the forks is in the saleroom on the day. | 0:35:58 | 0:36:02 | |
Michael Baggott there with a collection of Georgian knives. | 0:36:06 | 0:36:09 | |
Trust Michael to find the silver. | 0:36:09 | 0:36:11 | |
That's it, we've found our last items. | 0:36:11 | 0:36:13 | |
We're about to head off down the auction room to put those | 0:36:13 | 0:36:15 | |
valuations to the test, so it's time to say goodbye to | 0:36:15 | 0:36:18 | |
our wonderful host location, Haddon Hall, | 0:36:18 | 0:36:21 | |
and here's a quick recap of what we're putting under the hammer. | 0:36:21 | 0:36:23 | |
Now, will the collection of medals make the top price in the saleroom? | 0:36:25 | 0:36:29 | |
Or will it be the stylish Arts and Crafts pewter jardiniere | 0:36:31 | 0:36:35 | |
that attracts all the attention? | 0:36:35 | 0:36:36 | |
Or it could be the knives that achieve the sharpest sale, | 0:36:38 | 0:36:40 | |
snapped up to complete someone's set of cutlery. | 0:36:40 | 0:36:43 | |
Stay with us and you'll find out soon. | 0:36:44 | 0:36:47 | |
And don't forget, sellers pay commission on | 0:36:47 | 0:36:50 | |
anything that finds a new home. | 0:36:50 | 0:36:52 | |
Here, that's 12.5% of the hammer price plus VAT. | 0:36:52 | 0:36:56 | |
First up, it's the cutlery. | 0:36:58 | 0:37:00 | |
Going under the hammer right now, we've got | 0:37:00 | 0:37:02 | |
a set of seven George IV silver knives, | 0:37:02 | 0:37:04 | |
a combination of steel as well, belonging to Ronaldo and Diane. | 0:37:04 | 0:37:07 | |
Ronaldo's with me right now. Where is your wife? | 0:37:07 | 0:37:09 | |
Oh, she's not very well, unfortunately. | 0:37:09 | 0:37:11 | |
Oh, dear, we'll wish her our best and, hopefully, you can | 0:37:11 | 0:37:14 | |
-go home with some good news for her. -I hope so. | 0:37:14 | 0:37:16 | |
When you pick them up, they feel good, don't they? | 0:37:16 | 0:37:18 | |
Yeah, we've been using them very well for a long time, you know, | 0:37:18 | 0:37:21 | |
and now...it's the end. | 0:37:21 | 0:37:23 | |
You're going to miss those! | 0:37:23 | 0:37:25 | |
-Oh, aye! -Look, good luck. -Thank you. | 0:37:25 | 0:37:27 | |
Anything can happen in an auction and we're going to find out now. | 0:37:27 | 0:37:31 | |
Lot number 34, | 0:37:31 | 0:37:33 | |
a set of seven George IV silver-hafted knives | 0:37:33 | 0:37:36 | |
and the similar fork as well, and I can start the bidding at £120. | 0:37:36 | 0:37:41 | |
120, 130 now. At 120, 130 anywhere? | 0:37:41 | 0:37:45 | |
At 120, single bid on it. | 0:37:45 | 0:37:48 | |
120, 130 now. 130, 130 bid. 140... | 0:37:48 | 0:37:52 | |
Are we going to do it? Do you know that, Ronaldo? We would just do it. | 0:37:52 | 0:37:55 | |
Come on, come on, come on... | 0:37:55 | 0:37:57 | |
-150, one bid, 160... -There you go. -Online bidders. | 0:37:57 | 0:38:00 | |
150, 160. | 0:38:00 | 0:38:01 | |
160, 170. | 0:38:01 | 0:38:03 | |
-170, 180. -Someone's weighed the handles. This is what's happened. | 0:38:04 | 0:38:08 | |
180 is against you. Are you sure? | 0:38:08 | 0:38:12 | |
170, it's here at 170, | 0:38:12 | 0:38:15 | |
any advance at £170? | 0:38:15 | 0:38:17 | |
At 170, 180 anywhere? | 0:38:17 | 0:38:20 | |
170, are you sure? | 0:38:20 | 0:38:22 | |
Yes, the hammer's gone done. £170. Great result, Ronaldo. | 0:38:22 | 0:38:26 | |
-I am pleased, yes. -Who's got the forks?! | 0:38:26 | 0:38:28 | |
Exactly, somebody might have the forks out there. It might be you. | 0:38:28 | 0:38:31 | |
You just don't know, do you? | 0:38:31 | 0:38:32 | |
-Well done, anyway. -Thank you very much, a pleasure. | 0:38:32 | 0:38:36 | |
What a bargain price for such beautiful Georgian craftsmanship. | 0:38:36 | 0:38:39 | |
And now for what I consider to be a pleasing piece of pewter. | 0:38:41 | 0:38:44 | |
Well, it's all in the name, Archibald Knox, | 0:38:45 | 0:38:48 | |
-to get this one away and it belongs to Julianne. -Hello, yes. | 0:38:48 | 0:38:52 | |
We had a chat about this and, it is a little bit damaged, | 0:38:52 | 0:38:55 | |
but we think it's still going to sell. | 0:38:55 | 0:38:57 | |
Good, well, we bore that in mind when we were estimating. | 0:38:57 | 0:39:00 | |
Julianne obviously wanted more than I told her, | 0:39:00 | 0:39:02 | |
because she's a farmer and they want the most for everything, of course. | 0:39:02 | 0:39:05 | |
We always want a little more than... | 0:39:05 | 0:39:08 | |
Well, I tried to inject some reality into a conservative guide to | 0:39:08 | 0:39:11 | |
-get it away. -OK. -Do you think we'll get it? -You bribed me. | 0:39:11 | 0:39:13 | |
Yes, I think you'll get it, I think it's spot on. | 0:39:13 | 0:39:15 | |
You'll probably get what Julianne wanted in the first place, | 0:39:15 | 0:39:18 | |
-which was about 250, 300, wasn't it? -Yes, something like that, yeah. | 0:39:18 | 0:39:21 | |
-Well, you came to the right expert, that's for sure. -Good, good. | 0:39:21 | 0:39:24 | |
So, why are you raising the money? | 0:39:24 | 0:39:26 | |
Uh, I want to buy some wood to make a log cabin. | 0:39:26 | 0:39:29 | |
-I can see you sitting there now. -Oh, yes, hopefully. | 0:39:31 | 0:39:35 | |
-Well, look, good luck. -Thank you. | 0:39:35 | 0:39:36 | |
There's always a market for this. Archibald Knox sells well. | 0:39:36 | 0:39:39 | |
It's going under the hammer now. | 0:39:39 | 0:39:41 | |
494 is the Liberty pewter two-handled hemispherical bowl | 0:39:41 | 0:39:47 | |
designed by Archibald Knox and I can start the bidding here at £150, | 0:39:47 | 0:39:51 | |
straight in at 150, 160 now. | 0:39:51 | 0:39:55 | |
-'You're giving one of your stares, Julianne.' -Oh, yeah? | 0:39:55 | 0:39:58 | |
160, 170, 170, 180. | 0:39:58 | 0:40:02 | |
The internet, the internet's in now. | 0:40:02 | 0:40:04 | |
-190, 190, 200. -That's it. | 0:40:04 | 0:40:07 | |
-Oh! -200 do I see? At 190... | 0:40:07 | 0:40:10 | |
Two of them hovering now at 190. | 0:40:10 | 0:40:13 | |
200, 200 you're back. | 0:40:13 | 0:40:15 | |
-There you go. -200 online. | 0:40:15 | 0:40:17 | |
At 200, 210 now. 210, online at 210. | 0:40:17 | 0:40:21 | |
-220, 230... -So, they're logging on online for your log cabin, eh? | 0:40:21 | 0:40:24 | |
-That's right. -220, 230 now, 230. | 0:40:24 | 0:40:28 | |
240 now. 250. At 240... | 0:40:28 | 0:40:31 | |
Well done, James. He's worked that up to the top. | 0:40:31 | 0:40:34 | |
240, two of you hovering. At £240, 250 do I see? | 0:40:34 | 0:40:38 | |
At 240 you're out and selling. | 0:40:40 | 0:40:43 | |
-Yes, £240. -Oh, lovely! -There's a load of logs there. -There is, yeah. | 0:40:44 | 0:40:48 | |
-Especially if they're split. -Yes, yeah. | 0:40:48 | 0:40:50 | |
A log cabin! What fun. | 0:40:50 | 0:40:52 | |
And now for those splendid medals. | 0:40:54 | 0:40:57 | |
George and Joyce, it's great to see you. | 0:40:57 | 0:40:59 | |
-We've got a group of medals, World War I and World War II. -Yes. | 0:40:59 | 0:41:03 | |
Just about to go under the hammer. Remind me why you're selling them. | 0:41:03 | 0:41:07 | |
We're selling them to donate money for the British Legion. | 0:41:07 | 0:41:10 | |
OK, to the British Legion. Great charity, OK. Ready for this? | 0:41:10 | 0:41:14 | |
Here we go, let's put it to the test. | 0:41:14 | 0:41:16 | |
Lot 488, we've just got another additional... | 0:41:16 | 0:41:21 | |
commission bid. A combination of First and Second World War. | 0:41:22 | 0:41:26 | |
Private H Brown of the Notts & Derby Regiment, | 0:41:26 | 0:41:29 | |
and let's start at £320. | 0:41:29 | 0:41:34 | |
Straight in. Let's hope for a battle now. | 0:41:34 | 0:41:37 | |
350 on the phone, 380, 400. | 0:41:37 | 0:41:41 | |
420, 450, 480, 500. | 0:41:41 | 0:41:47 | |
520, 550, 580, 600. | 0:41:47 | 0:41:52 | |
At £580 with me, at 580, internet are you coming in? | 0:41:53 | 0:41:59 | |
600. | 0:42:01 | 0:42:02 | |
620, 650. | 0:42:02 | 0:42:04 | |
650 on the internet, 680. | 0:42:06 | 0:42:08 | |
700. | 0:42:08 | 0:42:09 | |
-£700, George. -Marvellous. -This is fantastic. | 0:42:09 | 0:42:13 | |
-'There's two people buying history... -Yes.' | 0:42:13 | 0:42:15 | |
..and not medals. | 0:42:15 | 0:42:16 | |
750 bid. 800 with me. | 0:42:16 | 0:42:20 | |
850. | 0:42:20 | 0:42:21 | |
I think they're out. | 0:42:21 | 0:42:23 | |
At 800, are you sure? Internet's out. Phones? | 0:42:23 | 0:42:27 | |
Phones out. At £800, last chance in the room. At £800, 850 do I see? | 0:42:27 | 0:42:32 | |
-£800. -At £800... | 0:42:32 | 0:42:36 | |
Yes! That's so exciting. | 0:42:36 | 0:42:37 | |
£800 and it's all going to the British Legion. | 0:42:37 | 0:42:40 | |
George, thank you so much. What a surprise! | 0:42:40 | 0:42:42 | |
-It was, weren't it? -Yes, I was very surprised. | 0:42:42 | 0:42:45 | |
Do you know, it is hard to put a price on history. You cannot | 0:42:45 | 0:42:47 | |
really, really put a price on that, can you? | 0:42:47 | 0:42:49 | |
There are people that research particular regiments. | 0:42:49 | 0:42:52 | |
This guy had a very interesting story. | 0:42:52 | 0:42:54 | |
-There's still more work to be done on it. -Yeah. | 0:42:54 | 0:42:56 | |
So, we pitch them in to attract them. | 0:42:56 | 0:42:59 | |
-But 800 for the charity is just a fantastic result, isn't it? -Yes. | 0:42:59 | 0:43:02 | |
And to think they could have ended up in the bin! | 0:43:04 | 0:43:07 | |
Well, there you are. | 0:43:09 | 0:43:10 | |
You can never predict what's going to happen in an auction room. | 0:43:10 | 0:43:13 | |
That's why they're so exciting. | 0:43:13 | 0:43:15 | |
And all credit to our experts, | 0:43:15 | 0:43:17 | |
because it's not an exact science, putting a value on an antique. | 0:43:17 | 0:43:21 | |
Sadly, we've run out of time, so from all of us here | 0:43:21 | 0:43:24 | |
in the Peak District, it's cheerio until the next time. | 0:43:24 | 0:43:27 |