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Today's show comes from the Northwest coast line. | 0:00:03 | 0:00:06 | |
I'm 500 feet up in the air. Can you guess where I am? | 0:00:06 | 0:00:10 | |
Yes, you've got it. Blackpool. Welcome to "Flog It!" | 0:00:10 | 0:00:13 | |
The town of Blackpool hit the big-time | 0:00:36 | 0:00:39 | |
when visiting the seaside became affordable for the masses | 0:00:39 | 0:00:42 | |
with attractions including a theme park, | 0:00:42 | 0:00:44 | |
three piers, and, of course, the world-renowned Tower Ballroom | 0:00:44 | 0:00:48 | |
where many a Strictly celeb has samba-ed the night away. | 0:00:48 | 0:00:52 | |
The most famous attraction, of course, has to be the tower | 0:00:53 | 0:00:56 | |
itself providing thousands of tourists with spectacular | 0:00:56 | 0:00:59 | |
views along the coastline alongside the ornate | 0:00:59 | 0:01:02 | |
luxury of the ballroom and the excitement of the Tower Circus | 0:01:02 | 0:01:06 | |
drawing in thousands of people over the years. | 0:01:06 | 0:01:08 | |
There's a great queue here today. | 0:01:08 | 0:01:10 | |
This lot are here laden with antiques | 0:01:10 | 0:01:12 | |
and collectables all hoping they're going to make a small | 0:01:12 | 0:01:15 | |
fortune in auction later on in the programme. | 0:01:15 | 0:01:17 | |
And there's one question on everybody's lips which is... | 0:01:17 | 0:01:21 | |
-ALL: WHAT'S IT WORTH?! -They're going to find out. | 0:01:21 | 0:01:25 | |
Ready and waiting to entertain the crowds today is our main man | 0:01:25 | 0:01:29 | |
-James Lewis. -Is it full? | 0:01:29 | 0:01:31 | |
And warming up for her first performance at the circus is | 0:01:31 | 0:01:35 | |
leading lady Anita Manning. | 0:01:35 | 0:01:37 | |
I think it would be nice to do a wee piece on that | 0:01:37 | 0:01:40 | |
because we are in Blackpool, the home of the naughty postcard. | 0:01:40 | 0:01:45 | |
So, without further ado, let's open the doors and start the valuations. | 0:01:45 | 0:01:50 | |
Today, we will find out which of these is worth the most. | 0:01:50 | 0:01:54 | |
Some Chinese terracotta animals that could be over 1,000 years old | 0:01:55 | 0:02:00 | |
or this concertina that could hit the right note at auction. | 0:02:00 | 0:02:03 | |
Find out which fares best later on in the show. | 0:02:03 | 0:02:06 | |
And what better place to perform our valuations than Blackpool's | 0:02:10 | 0:02:13 | |
very own Tower Circus. | 0:02:13 | 0:02:15 | |
This place has been entertaining people for well over 100 years | 0:02:15 | 0:02:18 | |
and even during both world wars it never missed a performance | 0:02:18 | 0:02:21 | |
and adding to that list of achievements for one day only | 0:02:21 | 0:02:25 | |
it's home to "Flog It!" And once everybody is safely seated | 0:02:25 | 0:02:28 | |
we will be getting on with our first valuation. | 0:02:28 | 0:02:31 | |
And kicking off the proceedings, Anita is taking a closer | 0:02:31 | 0:02:34 | |
look at those postcards that she spotted in the queue. | 0:02:34 | 0:02:37 | |
Richard, Sonia, father and daughter. Welcome to "Flog It!". | 0:02:37 | 0:02:41 | |
It's lovely to have you along in this fabulous venue. | 0:02:41 | 0:02:44 | |
You've brought me along an album of postcards. | 0:02:46 | 0:02:48 | |
Richard, tell me, where did you get them? | 0:02:48 | 0:02:52 | |
Many years ago my great aunt, who was a spinster lady, | 0:02:52 | 0:02:57 | |
liked to frequent all of the hotels and places | 0:02:57 | 0:03:02 | |
and she would have Blackpool and Morecambe | 0:03:02 | 0:03:06 | |
and all the other areas around | 0:03:06 | 0:03:09 | |
so everybody, we got this huge build up of cards. | 0:03:09 | 0:03:12 | |
Let's have a look. | 0:03:12 | 0:03:13 | |
This is your original album here and it's nice to have kept them | 0:03:13 | 0:03:17 | |
in the album because it's kept them in good condition | 0:03:17 | 0:03:20 | |
and condition is important. | 0:03:20 | 0:03:22 | |
If we look at these ones, we can see at the beginning some early | 0:03:22 | 0:03:27 | |
Donald McGill postcards and we see | 0:03:27 | 0:03:30 | |
a little reference to a soldier here. | 0:03:30 | 0:03:34 | |
"The voice that breathed o'er Eden fall in the draft!" | 0:03:35 | 0:03:39 | |
And we've got two... | 0:03:39 | 0:03:41 | |
Not the most glamorous girls and again they are discussing | 0:03:44 | 0:03:49 | |
the Army and here we've got a reference to old Churchill. | 0:03:49 | 0:03:55 | |
You've got early Donald McGills and that is good. | 0:03:55 | 0:03:58 | |
They're smashing. Do we know how many we have, Richard? | 0:03:58 | 0:04:01 | |
-164. -You've counted? | 0:04:01 | 0:04:04 | |
Yes. | 0:04:04 | 0:04:06 | |
Tell me why are you selling them, Richard? | 0:04:06 | 0:04:08 | |
Now that the family is spread about, | 0:04:08 | 0:04:11 | |
I wouldn't know who to give it to, I wouldn't know where to leave it | 0:04:11 | 0:04:15 | |
and I have visions of it being dropped into a skip. | 0:04:15 | 0:04:17 | |
Sonia, you've obviously enjoyed looking through these. | 0:04:20 | 0:04:24 | |
Do you have any sentimental attachment to them? | 0:04:24 | 0:04:27 | |
I do for the joy they've brought looking at them but I agree with my dad, | 0:04:27 | 0:04:32 | |
if we could sell them to someone who would appreciate them | 0:04:32 | 0:04:36 | |
as much as we have then I would rather they go to | 0:04:36 | 0:04:40 | |
someone like that than, like my dad said, they could get lost. | 0:04:40 | 0:04:44 | |
Postcards are good in today's market. | 0:04:44 | 0:04:47 | |
You've got 160-odd there, some are worth more than others. | 0:04:47 | 0:04:51 | |
I would like to put between one and £200. | 0:04:51 | 0:04:55 | |
Would you be happy to sell them at that? | 0:04:55 | 0:04:58 | |
-Yes. -I was thinking a reserve of £100. | 0:04:58 | 0:05:01 | |
-Would you feel happy? -Yeah. | 0:05:01 | 0:05:03 | |
And a low and wide estimate will encourage the bidding. | 0:05:03 | 0:05:07 | |
So, I am hoping that does very, very well indeed. | 0:05:07 | 0:05:10 | |
A real collection of family memories and James has found another. | 0:05:12 | 0:05:17 | |
I think every child grows up being told by their parents don't | 0:05:17 | 0:05:21 | |
get a motorbike, it's too dangerous but there's something almost | 0:05:21 | 0:05:25 | |
very basic in the human instinct that wants to | 0:05:25 | 0:05:29 | |
go as fast as possible | 0:05:29 | 0:05:31 | |
and that danger to give you the rush of adrenaline and there's nothing | 0:05:31 | 0:05:35 | |
more dangerous than in the 1920s and 30s than these guys were doing. | 0:05:35 | 0:05:40 | |
Speedway. | 0:05:40 | 0:05:41 | |
My word, these are all speedway riders from that period? | 0:05:41 | 0:05:45 | |
They are, they were my mother's collection from her | 0:05:45 | 0:05:48 | |
days from mainly Bellevue, Manchester. | 0:05:48 | 0:05:51 | |
Belle Vue and White City, the two big speedway tracks. | 0:05:51 | 0:05:55 | |
-That's right. -So, was your mother a massive speedway fan? | 0:05:55 | 0:05:58 | |
I think she was. | 0:05:58 | 0:06:00 | |
I had three uncles who were obviously her brothers | 0:06:00 | 0:06:02 | |
and they were all into bikes. She was the younger of them. | 0:06:02 | 0:06:06 | |
I suppose she's grown up with the brothers with motorbikes around | 0:06:06 | 0:06:09 | |
so they went to Belle Vue and she went with them, as far as I know. | 0:06:09 | 0:06:13 | |
I think even took me in my younger days when I was a young child. | 0:06:13 | 0:06:17 | |
-So young, I couldn't remember it. -Are you a biker? | 0:06:17 | 0:06:21 | |
-No, can't ride a push-bike! -Come on. Everyone can ride push-bike. | 0:06:21 | 0:06:26 | |
-I can drive a car but not a push-bike. No, I can't. -How funny! | 0:06:26 | 0:06:29 | |
OK. So, how old was your mother when she was going to the races, 8, 10? | 0:06:29 | 0:06:35 | |
Probably she started from that young age and into her teens. | 0:06:35 | 0:06:39 | |
I suppose it's what you could call the pop of her day. | 0:06:39 | 0:06:44 | |
On a Saturday night at Belle Vue was the speedway racing | 0:06:45 | 0:06:48 | |
and you got to meet them afterwards. | 0:06:48 | 0:06:50 | |
Here we have proof of the fact she met them. | 0:06:50 | 0:06:53 | |
Max Grossenburg who was an Australian speedway | 0:06:53 | 0:06:57 | |
and one of the most famous of his day | 0:06:57 | 0:06:59 | |
and there he is standing looking dashing in his long leather coat. | 0:06:59 | 0:07:03 | |
-I think he must have been known for that. -I'm sure. | 0:07:03 | 0:07:07 | |
We have some of the guys up here. Look at what they're wearing. | 0:07:07 | 0:07:10 | |
It's padded but it wouldn't give anywhere near the protection | 0:07:10 | 0:07:15 | |
of the guys that they have today. | 0:07:15 | 0:07:18 | |
It's a really interesting collection but it is quite a varied mix. | 0:07:18 | 0:07:22 | |
We've got the scraps that are put together for personal interest, | 0:07:22 | 0:07:26 | |
the cigarette cards appeal to one market, autographs that appeal | 0:07:26 | 0:07:31 | |
to a separate market and photographs that are a different market again. | 0:07:31 | 0:07:36 | |
The one thing that links them all is the biking interest. | 0:07:36 | 0:07:39 | |
I think the thing of most value is the photograph. | 0:07:39 | 0:07:42 | |
I think that's probably worth 30, £35 but by the time we add it | 0:07:42 | 0:07:47 | |
all together we've got a lot of worth probably 50 to 80. | 0:07:47 | 0:07:52 | |
-Is that all right for you for a starting bid? -Fine. | 0:07:52 | 0:07:54 | |
The right thing to do is to find a home, | 0:07:54 | 0:07:57 | |
somebody who has a passion for it and let these things live on. | 0:07:57 | 0:08:01 | |
Let's see who turns up at the sale. | 0:08:01 | 0:08:03 | |
Yes, OK. Fine. | 0:08:03 | 0:08:05 | |
A great collection found by James | 0:08:05 | 0:08:06 | |
and there are lots more items still waiting to be valued. | 0:08:06 | 0:08:09 | |
A teddy bear! Aw, has he got a name? Aw! | 0:08:09 | 0:08:14 | |
-How long have you had Ted? -As long as I can remember and I'm 25! | 0:08:14 | 0:08:20 | |
Yes. | 0:08:21 | 0:08:22 | |
My childhood memories just came flooding back there! | 0:08:22 | 0:08:25 | |
Now, which of you remembers Anita's next find? | 0:08:25 | 0:08:29 | |
Alana, welcome to "Flog It!" | 0:08:29 | 0:08:32 | |
It's wonderful of you to come along and be in this fabulous circus ring. | 0:08:32 | 0:08:37 | |
-So good. -Have you ever been here before? -The circus, yes. | 0:08:37 | 0:08:42 | |
Um, well, I essentially grew up here my family have been involved since... | 0:08:42 | 0:08:47 | |
-Decades ago, since the first tower ballet. -That's my fantasy. | 0:08:48 | 0:08:52 | |
I want to be the woman who stands at the back of the big white | 0:08:52 | 0:08:57 | |
horse trotting around the ring. | 0:08:57 | 0:08:59 | |
-What was your favourite act? -I loved the elephant. | 0:08:59 | 0:09:03 | |
I used to love when we took him for walks on the beach and stuff. | 0:09:03 | 0:09:07 | |
You took an elephant for a walk on the beach? Ha, ha! For a paddle. | 0:09:07 | 0:09:14 | |
Well, it was more of a dunk rather than a paddle, really. | 0:09:14 | 0:09:18 | |
They were a bit heavy. Yeah, it was a lot of fun. | 0:09:18 | 0:09:20 | |
-It's things I'll always remember. -It's wonderful. | 0:09:22 | 0:09:25 | |
Tell me, what have you brought me along today? | 0:09:25 | 0:09:28 | |
Well, I've got some retro games, Mouse Trap and Risk! | 0:09:28 | 0:09:33 | |
-Some pretty awesome games. -Where did you get these? | 0:09:33 | 0:09:36 | |
I found these in a charity, spotted them | 0:09:36 | 0:09:39 | |
and you know when you get that nostalgia of like days gone by. | 0:09:39 | 0:09:44 | |
-Did you play board games as a kid? -A lot, yeah. | 0:09:44 | 0:09:48 | |
Who did you play with? | 0:09:48 | 0:09:49 | |
I played with my grandma loads in between toast time | 0:09:49 | 0:09:52 | |
and snuggles there was always a board game. | 0:09:52 | 0:09:55 | |
Always. | 0:09:55 | 0:09:56 | |
So, this has taken you back to lovely times with your granny. | 0:09:56 | 0:10:00 | |
-Definitely, yeah. -Well, I think this is great fun. | 0:10:00 | 0:10:04 | |
You're the expert on this, what sort of dates would this be, maybe 1960s? | 0:10:04 | 0:10:09 | |
These are the first edition ones. | 0:10:09 | 0:10:12 | |
As far as I am aware from what I've seen on the internet and things. | 0:10:12 | 0:10:17 | |
How much did it cost you? | 0:10:17 | 0:10:18 | |
I haggled a little bit and got them down to both of them | 0:10:18 | 0:10:21 | |
for 40 which I thought was pretty good because they are quite old | 0:10:21 | 0:10:27 | |
and I have looked online | 0:10:27 | 0:10:30 | |
and they are selling online but incomplete. | 0:10:30 | 0:10:33 | |
This type of thing was mass produced but it is reflecting the time | 0:10:33 | 0:10:38 | |
and because it was a toy many of them were discarded or broken | 0:10:38 | 0:10:43 | |
and what you're telling me is this is a first edition one | 0:10:43 | 0:10:48 | |
and it has everything there. | 0:10:48 | 0:10:51 | |
-Yeah. -You paid retail for them, auction is slightly different. | 0:10:51 | 0:10:55 | |
I would like to put them in estimated say 20 to 30. | 0:10:55 | 0:10:59 | |
Would you be content with that? | 0:10:59 | 0:11:01 | |
-Yeah. -If we say £20 reserve with a little bit of discretion. | 0:11:01 | 0:11:06 | |
If they don't get that, you will get them back again. | 0:11:06 | 0:11:09 | |
Yeah, that's fine. | 0:11:09 | 0:11:11 | |
Obviously I've bought it for a bit more | 0:11:12 | 0:11:15 | |
but that's the risk you take, isn't it? | 0:11:15 | 0:11:17 | |
Who knows, but let's hope they do well in auction | 0:11:17 | 0:11:20 | |
and it's been great fun looking at them. | 0:11:20 | 0:11:22 | |
Thank you for bringing them along. | 0:11:22 | 0:11:23 | |
That's all right. No problem. | 0:11:23 | 0:11:26 | |
And you can see if those games win or lose at the auction later on. | 0:11:26 | 0:11:30 | |
We've made a cracking start here in Blackpool and it's nearly time to | 0:11:30 | 0:11:34 | |
put our first items under the hammer but before we do, let's have a quick | 0:11:34 | 0:11:39 | |
recap of all the items we think will be entertaining the bidders. | 0:11:39 | 0:11:43 | |
Wish you were here, | 0:11:43 | 0:11:44 | |
it's the collection of postcards brought along by Richard and Sonia. | 0:11:44 | 0:11:48 | |
There's that collection of speedway memorabilia. | 0:11:51 | 0:11:54 | |
And Alana is willing to take a risk on these board games. | 0:11:56 | 0:12:00 | |
Let's hope she traps the big money. | 0:12:00 | 0:12:02 | |
For today's auction, we've travelled nine miles south to Lytham St Annes | 0:12:04 | 0:12:09 | |
also a mecca of entertainment but this time of a sporting nature. | 0:12:09 | 0:12:13 | |
It is famous for its internationally renowned golf course | 0:12:13 | 0:12:16 | |
but let's hope today's lots are not under par. | 0:12:16 | 0:12:20 | |
The man in charge today is auctioneer Jonathan Cook | 0:12:24 | 0:12:26 | |
and the room is full of potential bidders. | 0:12:26 | 0:12:29 | |
Our first lot is the collection of postcards. | 0:12:29 | 0:12:32 | |
So, this was a family tradition collected by your great aunt | 0:12:33 | 0:12:36 | |
and it stopped around the '60s and that's | 0:12:36 | 0:12:38 | |
when I started to collect saucy postcards | 0:12:38 | 0:12:41 | |
going on holiday in the '60s and '70s and this is your great aunt. | 0:12:41 | 0:12:46 | |
-Yeah. -Can we show the camera? -She was born in 1898. | 0:12:46 | 0:12:49 | |
Doesn't she look happy? | 0:12:49 | 0:12:51 | |
-This is a sad moment selling this, really. -Not really, no. | 0:12:51 | 0:12:55 | |
-I would rather they went to someone who would appreciate it. -OK. | 0:12:55 | 0:12:59 | |
Good luck, everybody. It's time to put those values to the test. | 0:12:59 | 0:13:01 | |
Let's hope they find a new home and get looked after | 0:13:01 | 0:13:04 | |
and are kept together. | 0:13:04 | 0:13:05 | |
This is it. | 0:13:05 | 0:13:07 | |
Early 20th-century album. Comical postcards. | 0:13:07 | 0:13:10 | |
We can start them off at £80. 85. 90. Five. At £95. Any advance on 95? | 0:13:10 | 0:13:17 | |
100. At £100 on the net. Any advance on £100? | 0:13:17 | 0:13:21 | |
At £100 on the internet. Are we all sure? 110. And 20. And 30. | 0:13:21 | 0:13:27 | |
And 40. And 50. And 60. 170. 180. | 0:13:27 | 0:13:32 | |
-At £180. -We are nearly at the top end of the estimate. -At £180 then. | 0:13:33 | 0:13:38 | |
All on the net at 180. Any further interest in the room? At 190. | 0:13:38 | 0:13:44 | |
On the net at 190. Any advance in the room? At 190, all sure. | 0:13:45 | 0:13:52 | |
All finished. At 190. | 0:13:52 | 0:13:54 | |
That's good, isn't it? Everyone is happy. It was worth doing. | 0:13:58 | 0:14:02 | |
Definitely worth doing. Well done. A good result there. | 0:14:02 | 0:14:06 | |
Now, it's time to roll the dice for our next lot. | 0:14:06 | 0:14:09 | |
Alana, fingers crossed | 0:14:09 | 0:14:10 | |
and I know you are crazy about board games, aren't you? | 0:14:10 | 0:14:13 | |
-Yeah. -Not a lot of money involved. £20, hopefully £40. | 0:14:13 | 0:14:17 | |
I just wanted to meet you guys! That's all it was. | 0:14:17 | 0:14:21 | |
-I've got to get on. -Good luck. | 0:14:21 | 0:14:23 | |
Let's put it to the test | 0:14:23 | 0:14:25 | |
and find out what this lot think it is now down to the bidders. | 0:14:25 | 0:14:29 | |
Lot 220. 1960s. Ideal mouse game. Risk! by Waddington. 1960s. | 0:14:29 | 0:14:35 | |
On the internet at £20. 22. 24. | 0:14:37 | 0:14:41 | |
At £24 on the net. | 0:14:41 | 0:14:44 | |
-Any advance in the room? At 24 on the net. Are we all sure? -At £24. | 0:14:44 | 0:14:50 | |
Selling. | 0:14:50 | 0:14:52 | |
-We can all live without it. -£24. | 0:14:53 | 0:14:57 | |
It has gone within estimate. | 0:14:59 | 0:15:01 | |
-What did you pay for those two games? -I did pay a bit more. | 0:15:01 | 0:15:04 | |
I was hoping there might have been some big kids in the room. But no! | 0:15:04 | 0:15:08 | |
But somebody else will have a lot of fun playing with them. | 0:15:08 | 0:15:12 | |
-Definitely. -Whoever bought that got a real bargain and hours of fun. | 0:15:12 | 0:15:17 | |
Time to bring down the chequered flag on our first visit to the | 0:15:17 | 0:15:20 | |
auction room. Vroom, vroom! We are revving up now. | 0:15:20 | 0:15:23 | |
Things are going well and you know what I'm talking about right now. | 0:15:23 | 0:15:26 | |
Yes, the speedway memorabilia. It is a hard thing to put a value on. | 0:15:26 | 0:15:31 | |
You have 50, £60. | 0:15:31 | 0:15:33 | |
Yeah. It was a very difficult one to estimate | 0:15:33 | 0:15:36 | |
because there's not a massive collectors field for them. | 0:15:36 | 0:15:39 | |
If it had been in Grand Prix or motor racing it would have been | 0:15:39 | 0:15:42 | |
really sought-after. | 0:15:42 | 0:15:43 | |
-Anyway, good luck. -This was the old days. | 0:15:43 | 0:15:48 | |
Lot 435. Speedway interest. | 0:15:48 | 0:15:52 | |
Bids of £34 on the net. £36. 38. 40. | 0:15:52 | 0:15:57 | |
44. 46. 48. 50. Five. 60. Five. 70. | 0:15:57 | 0:16:02 | |
Better than I thought. | 0:16:02 | 0:16:05 | |
-Five. -90. We're getting to £100. 100. At £100 on the internet. | 0:16:05 | 0:16:13 | |
Any advance in the room? 110. New bid in the room at 110. | 0:16:14 | 0:16:18 | |
-Any advance on 110? -This is brilliant! | 0:16:18 | 0:16:23 | |
140. 150. 160. 170. 180. | 0:16:23 | 0:16:29 | |
190. 200. 220. | 0:16:29 | 0:16:33 | |
Must be something worthwhile in there to someone. | 0:16:33 | 0:16:36 | |
-It's rare, isn't it? -Well, it is. | 0:16:36 | 0:16:39 | |
All finished at 240. 250 if it helps. 250. | 0:16:39 | 0:16:44 | |
-Good auctioneering. -Fantastic, Jonathan. Well done. -At £260 then. | 0:16:45 | 0:16:50 | |
All finished at 260. No further interest at £260. | 0:16:50 | 0:16:55 | |
-Gosh, I didn't expect that. -Nor did we. £260. | 0:17:00 | 0:17:03 | |
It's only bits of paper, after all. | 0:17:03 | 0:17:06 | |
Yeah, but it's speedway memorabilia. A lesson to us all. | 0:17:06 | 0:17:09 | |
Don't chuck things away. | 0:17:09 | 0:17:11 | |
Show them to experts first, bring them along to a sale room | 0:17:11 | 0:17:14 | |
and find out what they're worth before you chuck things. | 0:17:14 | 0:17:16 | |
There's plenty more of my mother's I could bring again. | 0:17:16 | 0:17:19 | |
Let's get round there! Come on. | 0:17:19 | 0:17:21 | |
Well, that's our first lots under the hammer. | 0:17:25 | 0:17:27 | |
We're coming back to the sale room later on in the programme | 0:17:27 | 0:17:30 | |
but right now I'm taking a short trip up the road to Morecambe | 0:17:30 | 0:17:33 | |
to witness the spectacular dedication of a group of volunteers | 0:17:33 | 0:17:37 | |
working hard to preserve a special part of their local heritage. | 0:17:37 | 0:17:42 | |
Just up the coast from Blackpool is another seaside resort. | 0:17:46 | 0:17:51 | |
I am here at the Winter Gardens in Morecambe once home to | 0:17:51 | 0:17:54 | |
some of the biggest names in show business | 0:17:54 | 0:17:56 | |
and arguably one of the grandest theatres in Lancashire. | 0:17:56 | 0:18:00 | |
But the heyday has long gone and the glamour has faded | 0:18:00 | 0:18:03 | |
but thankfully all is not lost. | 0:18:03 | 0:18:05 | |
The theatre was built in 1897 and formed part of an entertainment | 0:18:06 | 0:18:11 | |
complex that included a ballroom and seawater baths. | 0:18:11 | 0:18:15 | |
Most of those features have long since been demolished | 0:18:15 | 0:18:17 | |
but the theatre still remains | 0:18:17 | 0:18:19 | |
although it has been closed for more than 40 years. | 0:18:19 | 0:18:22 | |
And it's here in the main auditorium that generations | 0:18:23 | 0:18:27 | |
of theatre-goers flocked to see some of their favourite performers. | 0:18:27 | 0:18:30 | |
This stage has seen the likes of Laurel and Hardy, | 0:18:30 | 0:18:34 | |
Laurence Olivier, and not forgetting the comic genius | 0:18:34 | 0:18:38 | |
Eric Morecambe and his stage partner Ernie Wise. | 0:18:38 | 0:18:42 | |
It must have been terrifying walking on stage to a packed house | 0:18:43 | 0:18:48 | |
because that is a big space. | 0:18:48 | 0:18:51 | |
All those eyes looking down on you, what an atmosphere! | 0:18:51 | 0:18:54 | |
And the acoustics are superb in here with the barrelled ceiling. | 0:18:54 | 0:18:58 | |
Hello, Morecambe! | 0:18:59 | 0:19:01 | |
When it was full, over 2,150 pairs of eyes would have been on the stage. | 0:19:01 | 0:19:06 | |
If you bought the cheapest tickets available, | 0:19:09 | 0:19:11 | |
it got you a seat in this area. | 0:19:11 | 0:19:13 | |
While it may be a long way from the stage, it is close to that. | 0:19:13 | 0:19:18 | |
This is the original ceiling that was put in in 1897. | 0:19:18 | 0:19:22 | |
It would have been cast out of plaster in smaller | 0:19:22 | 0:19:24 | |
sections at ground level and then raised into position and decorated. | 0:19:24 | 0:19:29 | |
If you look through that hole up there, | 0:19:31 | 0:19:34 | |
it gives you a marvellous view of the ceiling detail | 0:19:34 | 0:19:36 | |
but also how this incredible plasterwork is held up. | 0:19:36 | 0:19:40 | |
There's a great deal of weight up there, it is | 0:19:40 | 0:19:42 | |
secured into place by ties, | 0:19:42 | 0:19:44 | |
lots of strands of wire which have been tightened up, | 0:19:44 | 0:19:48 | |
looped over this rolled steel joist so it takes the complete weight. | 0:19:48 | 0:19:52 | |
The ties, the wire, is then covered over with more plaster of Paris | 0:19:52 | 0:19:56 | |
and decorated into the ornate work so it is completely hidden. | 0:19:56 | 0:20:00 | |
But it's not just the ceiling that is full of detail here. | 0:20:00 | 0:20:02 | |
The whole place is full of architectural delights. | 0:20:02 | 0:20:05 | |
In its prime, the theatre would have been a grand | 0:20:06 | 0:20:08 | |
and ornate place to visit and also, in the days before TV, it would | 0:20:08 | 0:20:13 | |
have been a centre of entertainment for the local | 0:20:13 | 0:20:15 | |
community as well as for visiting holiday-makers. | 0:20:15 | 0:20:19 | |
Going to the theatre was thirsty work back in the day. | 0:20:19 | 0:20:22 | |
There would have been five bars here serving drinks to the audience | 0:20:22 | 0:20:25 | |
and in this one bar there's a team of dedicated volunteers working | 0:20:25 | 0:20:29 | |
hard to restore it back to its former glory. | 0:20:29 | 0:20:32 | |
Evelyn, you've been involved with this restoration | 0:20:34 | 0:20:37 | |
-project from day one. What year was that? -1986. | 0:20:37 | 0:20:40 | |
So, have you got fond memories as a theatre-goer, a young girl, | 0:20:40 | 0:20:43 | |
coming to watch performances here? | 0:20:43 | 0:20:45 | |
Yes, the first time I ever came into the Winter Gardens my mum | 0:20:45 | 0:20:50 | |
brought me and my sister to see Cinderella, the pantomime. | 0:20:50 | 0:20:53 | |
-I was seven years old. -Gosh! | 0:20:53 | 0:20:56 | |
We went right to the top of the building. | 0:20:56 | 0:20:57 | |
There were no seats there, just benches | 0:20:57 | 0:21:00 | |
and I thought it was absolutely wonderful. | 0:21:00 | 0:21:03 | |
The theatre was all lit up. | 0:21:03 | 0:21:04 | |
So, that memory has stayed with me all my life. | 0:21:04 | 0:21:07 | |
When was the last performance? | 0:21:07 | 0:21:10 | |
It was the RAF band in September 1977. | 0:21:10 | 0:21:14 | |
So, you and a group of friends got together to form an action team | 0:21:14 | 0:21:18 | |
-to get this restoration project under way. -We did. | 0:21:18 | 0:21:21 | |
We got the opportunity in 2006 to purchase the building which | 0:21:21 | 0:21:25 | |
we did and we've been slowly trying to do work to reopen it again. | 0:21:25 | 0:21:30 | |
And when do you see this project coming to an end, | 0:21:30 | 0:21:32 | |
-another 20 years maybe? -Yeah. Perhaps not in my lifetime. | 0:21:32 | 0:21:36 | |
You never know. | 0:21:36 | 0:21:37 | |
But it's just good to see it and the volunteers are doing exceptional | 0:21:37 | 0:21:41 | |
work and without the volunteers we wouldn't be doing anything. | 0:21:41 | 0:21:45 | |
Is there anything I can get involved with? | 0:21:45 | 0:21:47 | |
-I am sure, Paul, we can get something for you to do. -Come on then! | 0:21:47 | 0:21:52 | |
Along with Morecambe's Winter Gardens, | 0:21:54 | 0:21:56 | |
it's estimated that around 50 theatres in the UK | 0:21:56 | 0:22:00 | |
are at risk of being lost forever. | 0:22:00 | 0:22:02 | |
It makes the work of the volunteers even more important. | 0:22:02 | 0:22:06 | |
I'm going to give a helping hand to local artist Shane Johnstone, | 0:22:06 | 0:22:09 | |
who's restoring some of the original mosaic in the entrance hall. | 0:22:09 | 0:22:13 | |
He, like the rest of the team, offer their skills | 0:22:13 | 0:22:16 | |
to bring the theatre back to life one tile at a time. | 0:22:16 | 0:22:19 | |
So, you've got a bit of damage here. | 0:22:19 | 0:22:21 | |
What's the first thing you're going to do? | 0:22:21 | 0:22:23 | |
First we'll take a tracing of the damaged hole. | 0:22:23 | 0:22:27 | |
Do you want to have a go? | 0:22:27 | 0:22:28 | |
Yes, I can rub that around the edge... | 0:22:28 | 0:22:30 | |
All you do is rub round the edge, | 0:22:30 | 0:22:32 | |
gently look for the edge of the hole, and the damage. | 0:22:32 | 0:22:36 | |
-How's that? -Excellent. | 0:22:36 | 0:22:38 | |
And it's also good just to get a little bit of a tracing | 0:22:38 | 0:22:42 | |
of the grain of the mosaics around the edge as well. | 0:22:42 | 0:22:46 | |
I see, so you know where to follow the lines through. | 0:22:46 | 0:22:49 | |
We can get the flow through, yeah. | 0:22:49 | 0:22:51 | |
So, what happens next? | 0:22:51 | 0:22:52 | |
What we need to do now is to find a piece that's undamaged, | 0:22:52 | 0:22:56 | |
and take a tracing from that. | 0:22:56 | 0:22:58 | |
-Like that section over there. -That looks good to me. -OK. | 0:22:58 | 0:23:02 | |
I can see what you're doing now. | 0:23:02 | 0:23:04 | |
You know, it is so simple when you really think about it. | 0:23:04 | 0:23:08 | |
OK, lots of buckets of mosaic tiles here. | 0:23:10 | 0:23:13 | |
Yeah, these are all the salvaged tiles. | 0:23:13 | 0:23:15 | |
So what we need to do now is recreate the pattern | 0:23:15 | 0:23:18 | |
-by sticking the tiles on here. -OK. | 0:23:18 | 0:23:20 | |
So, we need to identify the colours that we need to use, | 0:23:20 | 0:23:23 | |
and so the way I've identified them is I've named them after biscuits. | 0:23:23 | 0:23:27 | |
-Go on, then. -So, we've got dark Bourbon. -Right. | 0:23:27 | 0:23:30 | |
We've got chocolate biscuits there. | 0:23:30 | 0:23:32 | |
-We've got rich teas and we've got...digestives. -OK! | 0:23:32 | 0:23:36 | |
-You're a man who likes his biscuits, I can see that. -Yeah. | 0:23:36 | 0:23:39 | |
So, we grab the Bourbon. I'll put some glue on. | 0:23:39 | 0:23:41 | |
This is quite time-consuming. You can't rush this, can you? | 0:23:41 | 0:23:44 | |
No, you can't rush it. You've got to do it carefully and thoroughly. | 0:23:44 | 0:23:49 | |
Get a sense of achievement quite quickly, really, don't you? | 0:23:50 | 0:23:53 | |
Once you get two colours down, working together. | 0:23:53 | 0:23:56 | |
You make progress, and you see the artwork develop in front of you, | 0:23:56 | 0:24:00 | |
and it's very satisfying work. | 0:24:00 | 0:24:02 | |
Look at that! There, two rows completed. | 0:24:02 | 0:24:05 | |
Well done, Paul. | 0:24:05 | 0:24:06 | |
Well, we've cut it out, now. We've got rid of the excess brown paper. | 0:24:10 | 0:24:13 | |
One more dab of glue - I've got the last mosaic to put on. | 0:24:13 | 0:24:16 | |
-In we go. -There we are. | 0:24:16 | 0:24:18 | |
I'll leave that up to you to carry over there | 0:24:18 | 0:24:21 | |
and put into place. | 0:24:21 | 0:24:22 | |
There's a sense of achievement's gone on there. | 0:24:23 | 0:24:27 | |
-Do you want to put it in? -No, go on, you do it. | 0:24:27 | 0:24:29 | |
I know, obviously, that's got to go down on adhesive, | 0:24:29 | 0:24:31 | |
-but we won't do that right now. Let's just see the process. -Yes. | 0:24:31 | 0:24:34 | |
So, once that's adhesived in, we fold this over, | 0:24:34 | 0:24:38 | |
we flip it down, insert into the space... | 0:24:38 | 0:24:42 | |
Once that's set in adhesive and it's gone off, | 0:24:42 | 0:24:45 | |
you can get a sponge with some warm water on it | 0:24:45 | 0:24:47 | |
and just soak that brown paper off, and it'll just peel off, won't it? | 0:24:47 | 0:24:50 | |
It'll peel off and it'll reveal a lovely new restored mosaic. | 0:24:50 | 0:24:54 | |
Well done. What a lovely process. | 0:24:54 | 0:24:56 | |
You've got your work cut out here, haven't you? | 0:24:56 | 0:24:58 | |
Yeah. Well, thanks for your help. | 0:24:58 | 0:25:00 | |
That's all right. Thank you. Thank you for letting me do a little bit. | 0:25:00 | 0:25:03 | |
If you visit the theatre, | 0:25:03 | 0:25:04 | |
you can actually walk over our work now, can't you?! | 0:25:04 | 0:25:07 | |
-How about that? -Thanks for your help. -Well done. | 0:25:07 | 0:25:09 | |
Well, I've thoroughly enjoyed my visit here to the Winter Gardens, | 0:25:11 | 0:25:14 | |
and it's great to see the work of the volunteers | 0:25:14 | 0:25:16 | |
who are so clearly passionate about protect their local heritage. | 0:25:16 | 0:25:20 | |
And talking about mosaics, | 0:25:20 | 0:25:21 | |
there's a lovely example here. | 0:25:21 | 0:25:23 | |
This was first put down | 0:25:23 | 0:25:24 | |
in the late 1880s, | 0:25:24 | 0:25:26 | |
and as you can see, | 0:25:26 | 0:25:27 | |
"pavilion" was misspelt. | 0:25:27 | 0:25:29 | |
But I'm sure that's going to be left | 0:25:29 | 0:25:30 | |
for everybody else to look at and admire. | 0:25:30 | 0:25:33 | |
And I must say, if you are ever in the area, | 0:25:33 | 0:25:36 | |
do pay the theatre a visit, because it's well worth seeing. | 0:25:36 | 0:25:39 | |
We're back in Blackpool, where the Tower Circus | 0:25:45 | 0:25:47 | |
is still a fully-functioning entertainment venue | 0:25:47 | 0:25:50 | |
with performances taking place six days a week. | 0:25:50 | 0:25:53 | |
The resident clowns are Mr Boo and Mooky, | 0:25:53 | 0:25:56 | |
and they've turned up to entertain the "Flog It!" crowd. | 0:25:56 | 0:25:59 | |
And, obviously, don't try that at home. | 0:25:59 | 0:26:03 | |
Circus has been with us for centuries - | 0:26:03 | 0:26:06 | |
it's part of our culture, it's entertained all of us. | 0:26:06 | 0:26:09 | |
We all grew up going to the circus, | 0:26:09 | 0:26:11 | |
and circus memorabilia is highly sought-after, | 0:26:11 | 0:26:13 | |
because there's not a great deal of it about. | 0:26:13 | 0:26:16 | |
Now, this has a wonderful story attached to it. | 0:26:16 | 0:26:18 | |
It belonged to a clown named Grock, a Swiss-born clown. | 0:26:18 | 0:26:22 | |
Born in 1880, and by the early part of the 1900s | 0:26:22 | 0:26:25 | |
he was entertaining crowds all over the world. | 0:26:25 | 0:26:28 | |
He became the most popular circus entertainer in the world. | 0:26:28 | 0:26:31 | |
He was known as The King Of Clowns, | 0:26:31 | 0:26:33 | |
and he was one of the highest-paid entertainers back then. | 0:26:33 | 0:26:36 | |
And his act was playing musical instruments. | 0:26:36 | 0:26:39 | |
He was an accomplished musician. | 0:26:39 | 0:26:41 | |
He played 24 different instruments, | 0:26:41 | 0:26:43 | |
and his act was sort of a simpleton performing on all of these things, | 0:26:43 | 0:26:46 | |
with a little music stand with tiny little sheet music on it. | 0:26:46 | 0:26:50 | |
If you're into circus memorabilia, | 0:26:50 | 0:26:52 | |
you would have to pay somewhere in the region of a few thousand pounds | 0:26:52 | 0:26:56 | |
to own something like this. | 0:26:56 | 0:26:57 | |
So, let's go back to the valuation tables now, with James Lewis. | 0:26:59 | 0:27:03 | |
JAMES SNORTS | 0:27:03 | 0:27:05 | |
I have to say, Norman, it's while since I played farmyards. | 0:27:08 | 0:27:11 | |
-Yeah. -But these, actually, they're not toys, are they? | 0:27:11 | 0:27:15 | |
They're something far more interesting. | 0:27:15 | 0:27:17 | |
Now, the fact that you've got two | 0:27:17 | 0:27:19 | |
makes me think that you actually probably know what they are. | 0:27:19 | 0:27:23 | |
-More or less, yeah. -So, tell me, did they come from the same place? | 0:27:23 | 0:27:27 | |
No, the big pig came from York, bought that in an antique... | 0:27:27 | 0:27:32 | |
-In York, right. -This one I actually got from a market in Shanghai. | 0:27:32 | 0:27:35 | |
-Oh, did you? -Yeah. | 0:27:35 | 0:27:37 | |
-And how long ago did you buy that? -About eight years ago. | 0:27:37 | 0:27:40 | |
-Right. -I found out that I was born in the year of the pig, | 0:27:40 | 0:27:43 | |
so that led me to buying pigs. | 0:27:43 | 0:27:46 | |
-Oh, so you collect pigs? -Yeah. I had over 2,000 at one stage. | 0:27:46 | 0:27:50 | |
Do you go to China a lot? | 0:27:50 | 0:27:52 | |
-I've been a couple of times, yeah. -It's an amazing country, isn't it? | 0:27:52 | 0:27:56 | |
It's an amazing country, with an amazing culture, | 0:27:56 | 0:27:59 | |
and amazing skills. | 0:27:59 | 0:28:01 | |
One of their best skills is faking and copying other things, | 0:28:01 | 0:28:06 | |
whether it's English Royal Crown Derby or whatever, | 0:28:06 | 0:28:10 | |
they just copy everything, and they do it brilliantly. | 0:28:10 | 0:28:14 | |
These are meant to be Han dynasty/Tang dynasty tomb figures. | 0:28:14 | 0:28:22 | |
The idea was they would accompany the dead person to the afterlife | 0:28:22 | 0:28:27 | |
and be a source of food and something to trade in the new world. | 0:28:27 | 0:28:32 | |
Now, the way of telling would be to drill a section | 0:28:32 | 0:28:37 | |
and do what they call the Oxford test, | 0:28:37 | 0:28:40 | |
where they drill down into the leg - almost always into the leg - | 0:28:40 | 0:28:44 | |
and they take a carbon date of the clay | 0:28:44 | 0:28:46 | |
and they tell you whether it's old or a reproduction. | 0:28:46 | 0:28:50 | |
But the fakers have now discovered that this is what they're doing. | 0:28:50 | 0:28:55 | |
So, they get a genuine old piece, grind up the clay | 0:28:55 | 0:29:00 | |
and make the legs of the old piece. | 0:29:00 | 0:29:02 | |
So, it is very, very difficult to tell. | 0:29:02 | 0:29:04 | |
It would be nice to be able to do the Oxford test on it, | 0:29:04 | 0:29:08 | |
but it costs about £200 to do it. | 0:29:08 | 0:29:12 | |
-So, what did you pay for them? -I paid £50 for the pig... -OK. | 0:29:12 | 0:29:17 | |
..and £15, possibly, for that. | 0:29:17 | 0:29:20 | |
-Your Shanghai piece... -Yeah? | 0:29:20 | 0:29:22 | |
-..I think is definitely a fake. -Yeah, I can see that. | 0:29:22 | 0:29:25 | |
The pig is more interesting. | 0:29:25 | 0:29:28 | |
My gut reaction is it's got a bit of age, | 0:29:28 | 0:29:31 | |
but I don't think anything like 300-600AD. | 0:29:31 | 0:29:35 | |
We come to value, I guess, | 0:29:36 | 0:29:39 | |
and this is going to be one of the most difficult parts of it, | 0:29:39 | 0:29:42 | |
because without that Oxford test, | 0:29:42 | 0:29:45 | |
you can't say for sure that it's genuine. | 0:29:45 | 0:29:48 | |
What to do? | 0:29:51 | 0:29:52 | |
I think the best way of cataloguing this | 0:29:52 | 0:29:56 | |
is to say a Chinese "Han" - in inverted commas - dynasty | 0:29:56 | 0:30:03 | |
terracotta pig. | 0:30:03 | 0:30:05 | |
Give them a good description. | 0:30:05 | 0:30:07 | |
It will then be picked up online, | 0:30:07 | 0:30:09 | |
but we're not saying it's a genuine Han dynasty, | 0:30:09 | 0:30:12 | |
it's "Han" in inverted commas. | 0:30:12 | 0:30:15 | |
I think if we put an auction estimate of £60-100 for the two, | 0:30:15 | 0:30:20 | |
it's not going to show you a great return if it only makes that, | 0:30:20 | 0:30:23 | |
but it does give them a chance to fight for it | 0:30:23 | 0:30:26 | |
if they think it's right. | 0:30:26 | 0:30:27 | |
-Yep, OK. -Happy with that? -Fine, yeah. | 0:30:27 | 0:30:30 | |
Bit of a gamble, but you never know - | 0:30:30 | 0:30:34 | |
-you might end up taking home the bacon. -Yeah. | 0:30:34 | 0:30:37 | |
A tricky one there for James. | 0:30:37 | 0:30:39 | |
We'll find out if the bidders at the auction | 0:30:39 | 0:30:41 | |
think they're real or fake a little bit later on. | 0:30:41 | 0:30:43 | |
Let's go back to Anita now and see what she's discovered. | 0:30:43 | 0:30:47 | |
Eric, Carol, what a wonderful thing you've brought in | 0:30:47 | 0:30:51 | |
for "Flog It!" today. | 0:30:51 | 0:30:52 | |
It's a concertina. | 0:30:52 | 0:30:54 | |
Can you tell me a bit about the background - where did you get it? | 0:30:55 | 0:30:58 | |
-Were you ever a busker yourself? -No, no. I can't play it. | 0:30:58 | 0:31:02 | |
I acquired it somewhere down the line. | 0:31:03 | 0:31:06 | |
Whether it was in the loft of a house that I purchased | 0:31:06 | 0:31:09 | |
or whether I acquired in connection with a business I was running, | 0:31:09 | 0:31:13 | |
I haven't a clue. | 0:31:13 | 0:31:14 | |
I've had it that long, 25, 30 years, and it's always been there, | 0:31:14 | 0:31:19 | |
and I just couldn't get rid of it! | 0:31:19 | 0:31:22 | |
Well, let's hope we can pass it on to someone who will play it, | 0:31:22 | 0:31:26 | |
-or perhaps a collector of concertinas. -Yes. | 0:31:26 | 0:31:30 | |
This one, I think, hasn't been pulled in and out too much, | 0:31:30 | 0:31:33 | |
so the condition... | 0:31:33 | 0:31:35 | |
SHE STRIKES A NOTE | 0:31:35 | 0:31:37 | |
..is good. | 0:31:37 | 0:31:39 | |
I'm tempted to give a wee tune here! | 0:31:40 | 0:31:43 | |
SHE PLAYS DISCORDANTLY | 0:31:43 | 0:31:45 | |
I'm afraid I'm making it sound like a squeaky cat! | 0:31:49 | 0:31:52 | |
But the bellows are good. | 0:31:52 | 0:31:54 | |
I think it maybe needs a wee bit of love and attention | 0:31:54 | 0:31:59 | |
with these little pegs here, | 0:31:59 | 0:32:01 | |
but, in the main, in good condition. | 0:32:01 | 0:32:04 | |
If we look at the front, here, | 0:32:04 | 0:32:06 | |
we can see we can see the little plate... | 0:32:06 | 0:32:08 | |
-Mm-hm. -..which tells us that it is a Wheatstone, | 0:32:08 | 0:32:11 | |
and that's what we look for. | 0:32:11 | 0:32:14 | |
That was a 19th century instrument maker. | 0:32:14 | 0:32:18 | |
They made up to the 1930s, '40s - maybe even the '50s. | 0:32:18 | 0:32:22 | |
But it was the best of instruments. | 0:32:22 | 0:32:25 | |
I'd we look at the back of it, we can see this number here. | 0:32:25 | 0:32:30 | |
Now, each concertina has its own individual number, | 0:32:30 | 0:32:36 | |
and you can trace that back to when it was made. | 0:32:36 | 0:32:41 | |
-Yes. -Did you know that, Eric? | 0:32:41 | 0:32:44 | |
Yes, I actually did it - went onto their web page, | 0:32:44 | 0:32:46 | |
and I traced it back, and it was made in 1913. | 0:32:46 | 0:32:50 | |
You can actually see the ledger that it was written out on. | 0:32:50 | 0:32:55 | |
-So, just at the very beginning of the war. -Yeah. | 0:32:55 | 0:32:59 | |
Just at the beginning of the war. | 0:32:59 | 0:33:00 | |
-Valuation. Have you had it valued before, Eric? -No. -No. | 0:33:00 | 0:33:04 | |
I would put a value of £500-800 on it. | 0:33:04 | 0:33:09 | |
I can be a wee bit conservative at times, | 0:33:09 | 0:33:12 | |
so I'm sure that that type of estimate will attract the bidding. | 0:33:12 | 0:33:17 | |
-Yes. -And it may fly, it may go above the top estimate. | 0:33:17 | 0:33:21 | |
-But would you be happy to sell it at that? -Yes, yes. | 0:33:21 | 0:33:25 | |
-You're happy with that. -No problem. | 0:33:25 | 0:33:26 | |
-Reserve £500. -Yeah. -Bottom estimate. | 0:33:26 | 0:33:30 | |
I'm sure it'll play a fine tune for us when it's sold. | 0:33:30 | 0:33:33 | |
Thank you very much. | 0:33:33 | 0:33:35 | |
Thank you. | 0:33:35 | 0:33:36 | |
In the past, concertinas have had mixed fortunes on "Flog It!", | 0:33:36 | 0:33:40 | |
making anything from a couple of hundred pounds to over a thousand. | 0:33:40 | 0:33:44 | |
We'll see how that one does a little later on. | 0:33:44 | 0:33:47 | |
Now, if you're a fan of the show, | 0:33:47 | 0:33:48 | |
you're bound to recognise today's final item. | 0:33:48 | 0:33:52 | |
Joan, can you hear that? | 0:33:52 | 0:33:54 | |
No. | 0:33:54 | 0:33:55 | |
All those people shouting at home, "Clarice Cliff, Clarice Cliff!"? | 0:33:55 | 0:33:58 | |
-Clarice Cliff! -Yes, because if you're a "Flog It!" viewer, | 0:33:58 | 0:34:01 | |
you know exactly what that is. | 0:34:01 | 0:34:03 | |
-Clarice Cliff. -It's one of the "Flog It!" favourites. | 0:34:03 | 0:34:06 | |
It just wouldn't be a "Flog It!" without a bit of Clarice Cliff. | 0:34:06 | 0:34:09 | |
So, tell me, we know all the history of Clarice, | 0:34:09 | 0:34:13 | |
we've been over it so many times. | 0:34:13 | 0:34:15 | |
But what's the history of this one? Your personal history. | 0:34:15 | 0:34:19 | |
Just always having it in the family. | 0:34:19 | 0:34:22 | |
Just there, full of daffodils and tulips and that. | 0:34:22 | 0:34:26 | |
-And it belonged to your parents? -Yeah. | 0:34:26 | 0:34:28 | |
And do you remember it as a little girl? | 0:34:28 | 0:34:30 | |
Yes, I remember me mother saying she paid half a crown for it. | 0:34:30 | 0:34:34 | |
Half a crown! | 0:34:34 | 0:34:35 | |
Do you remember where she got it from? | 0:34:35 | 0:34:37 | |
-Er, yes - a pot shop that used to do auctions. -Really? | 0:34:37 | 0:34:42 | |
-Over in Yorkshire. -Well, I think your mum did very well, | 0:34:42 | 0:34:45 | |
because she's obviously got a good eye. | 0:34:45 | 0:34:47 | |
Clarice Cliff being the archetypal leading designer | 0:34:47 | 0:34:52 | |
of the Art Deco period and the Art Deco movement. | 0:34:52 | 0:34:55 | |
This is known as Melon pattern, for obvious reasons - | 0:34:55 | 0:34:59 | |
we've got a very stylised green and pink melon on this side. | 0:34:59 | 0:35:04 | |
The bands are in blue, pink and green. | 0:35:04 | 0:35:06 | |
There was one with reds and oranges that was more common than this, | 0:35:06 | 0:35:11 | |
but also slightly more popular. | 0:35:11 | 0:35:13 | |
This would have been produced around 1935, | 0:35:13 | 0:35:16 | |
so it was in the height of Clarice Cliff's Bizarre, Fantasque period, | 0:35:16 | 0:35:22 | |
when everyone thinks Clarice Cliff was at her best. | 0:35:22 | 0:35:26 | |
After the war, she sold her name, so a lot of wares are produced | 0:35:26 | 0:35:31 | |
that have a bit of a weak design with a Clarice Cliff name to it. | 0:35:31 | 0:35:33 | |
Yeah. | 0:35:33 | 0:35:34 | |
But the reason why they're weak is that Clarice Cliff never saw them. | 0:35:34 | 0:35:38 | |
This is a piece that Clarice would have designed, would have executed | 0:35:38 | 0:35:41 | |
and would have been a key person in the production of this piece. | 0:35:41 | 0:35:45 | |
-Would she? -So, she paid half a crown for it... -Yeah. -..in the 1930s. | 0:35:45 | 0:35:48 | |
Now, half a crown in today's money is what? | 0:35:48 | 0:35:51 | |
-Half a crown is... -About two shillings, and 2½p is... | 0:35:51 | 0:35:56 | |
-Two shillings and... -Six... | 0:35:56 | 0:35:58 | |
See, that - I'm no wiser with two shillings than | 0:35:58 | 0:36:01 | |
-I am with half a crown! -No... | 0:36:01 | 0:36:03 | |
Two shillings and sixpence - sixpence is 2 and a half pence, | 0:36:03 | 0:36:06 | |
-a shilling is 5p, isn't it? -Yeah. | 0:36:06 | 0:36:08 | |
-So - that's 12 and a half pence! -Yeah. | 0:36:08 | 0:36:11 | |
That's not bad. | 0:36:11 | 0:36:13 | |
-Must be. -12 and a half pence. | 0:36:13 | 0:36:14 | |
Well, your 12 and a half pence has changed into about £100-150. | 0:36:14 | 0:36:22 | |
-That's not bad for 12 and a half pence! -That's not bad, no. | 0:36:22 | 0:36:25 | |
-Pleased with that? -Yeah. | 0:36:25 | 0:36:27 | |
-Flog it! -Flog it! Let's flog it, why not?! | 0:36:27 | 0:36:30 | |
Well, we certainly had a show-stopping day here | 0:36:32 | 0:36:35 | |
at the Blackpool tower, | 0:36:35 | 0:36:36 | |
with hundreds of people coming through the door | 0:36:36 | 0:36:38 | |
to have their antiques and collectibles valued. | 0:36:38 | 0:36:40 | |
It's now time to say goodbye to the Tower | 0:36:40 | 0:36:42 | |
as we head down the coastline south to Lytham Saint Annes, | 0:36:42 | 0:36:45 | |
to the auction room. | 0:36:45 | 0:36:46 | |
And here's a quick recap of what's sailing with us. | 0:36:46 | 0:36:50 | |
Norman's sending his little piggies off to market. | 0:36:50 | 0:36:53 | |
This concertina will try to squeeze out the big money. | 0:36:57 | 0:37:01 | |
And there's the "Flog It!" favourite - the Clarice Cliff jug. | 0:37:04 | 0:37:07 | |
Welcome back to the auction room in Lytham Saint Annes. | 0:37:15 | 0:37:18 | |
As you can see, it's a busy day here. | 0:37:18 | 0:37:20 | |
The room is still packed full of bidders, | 0:37:20 | 0:37:21 | |
and hopefully this lot will be eager to buy our next batch of lots. | 0:37:21 | 0:37:25 | |
Now let's catch up with our owners, | 0:37:25 | 0:37:27 | |
who are waiting nervously in the wings. | 0:37:27 | 0:37:29 | |
Let the action begin. | 0:37:29 | 0:37:31 | |
First up, it's those terracotta tomb figures, | 0:37:31 | 0:37:33 | |
and time to find out if the bidders think they're real. | 0:37:33 | 0:37:37 | |
Norman, you've been collecting terracotta pigs for about - | 0:37:37 | 0:37:40 | |
what, 20-odd years? | 0:37:40 | 0:37:42 | |
-20 years, yeah. -Yes. You're fascinated by pigs. | 0:37:42 | 0:37:44 | |
I had up to 2,000 at one stage. | 0:37:44 | 0:37:47 | |
Why are you starting to sell off this particular pig? | 0:37:47 | 0:37:49 | |
-I'm going to move into a one-bedroom... -Oh, you're downsizing. | 0:37:49 | 0:37:52 | |
-Into sheltered accommodation. -There's no room for the pigs. | 0:37:52 | 0:37:56 | |
Right, James, you've seen a lot of this. | 0:37:56 | 0:37:57 | |
Yeah, I mean, very difficult to say whether they're right or wrong, | 0:37:57 | 0:38:01 | |
so all we can do is wait and see. | 0:38:01 | 0:38:04 | |
It's now down to the bidders. This is it. | 0:38:04 | 0:38:06 | |
Bids of £40 on these two, any advance on 40? | 0:38:06 | 0:38:09 | |
At £40, have we got...? 42, on the net at 42. | 0:38:09 | 0:38:14 | |
Any advance in the room? | 0:38:14 | 0:38:15 | |
At 42. 44, 46. | 0:38:15 | 0:38:18 | |
50, 55. | 0:38:19 | 0:38:22 | |
At £55, any advance on 55? | 0:38:22 | 0:38:24 | |
60. | 0:38:24 | 0:38:25 | |
£60, on the net at 60. | 0:38:25 | 0:38:27 | |
Any advance on £60? | 0:38:27 | 0:38:29 | |
On the net, then, at £60. | 0:38:31 | 0:38:32 | |
Are we all sure? All finished? | 0:38:32 | 0:38:35 | |
No further interest? | 0:38:35 | 0:38:36 | |
-You were spot on. -Well... | 0:38:38 | 0:38:40 | |
-You were spot on. -They're great value. -Yes. | 0:38:40 | 0:38:42 | |
People often say, "It's gotta be worth more than that, it's old!" | 0:38:42 | 0:38:46 | |
-Yeah. -But it just shows - it doesn't make any difference. | 0:38:46 | 0:38:49 | |
They're still only £60. | 0:38:49 | 0:38:50 | |
It is mad, isn't it? | 0:38:50 | 0:38:51 | |
I particularly like those, a lot. Very sculptural. | 0:38:51 | 0:38:54 | |
That's about what I paid for them both. | 0:38:54 | 0:38:56 | |
-You got your money back, did you? -Yeah. | 0:38:56 | 0:38:58 | |
Good luck with the downsizing, good luck with the move, as well. | 0:38:58 | 0:39:01 | |
-And hang on to the rest of the pigs. -I will do, yeah. | 0:39:01 | 0:39:03 | |
Well done! | 0:39:03 | 0:39:04 | |
So, just a small addition to Norman's piggy bank. | 0:39:04 | 0:39:08 | |
Time to see if the Clarice Cliff collectors | 0:39:08 | 0:39:09 | |
are willing to part with their cash. | 0:39:09 | 0:39:12 | |
We've come downstairs to the cafe area, | 0:39:12 | 0:39:14 | |
because Joan has a few mobility problems. | 0:39:14 | 0:39:16 | |
There's a lot of stairs to auction room, which is on the first floor, | 0:39:16 | 0:39:19 | |
so we've set up a laptop with a live feed to the sale room, | 0:39:19 | 0:39:23 | |
so we can hear and see all the action, Joan. | 0:39:23 | 0:39:25 | |
And that's where it's going on, look, upstairs. | 0:39:25 | 0:39:27 | |
-But we're now part of this. -Right, lovely. | 0:39:27 | 0:39:30 | |
-So, how are you? -Very well. -Excited? -Yes, very. -Looking forward to this? | 0:39:30 | 0:39:34 | |
-I'll be glad when it's finished. -I bet you will! | 0:39:34 | 0:39:37 | |
Nerve-racking, aren't they, auction rooms? | 0:39:37 | 0:39:39 | |
Why have you decided to sell your Clarice Cliff today? | 0:39:39 | 0:39:42 | |
Just cos it's Clarice Cliff, and I thought it was going well. | 0:39:42 | 0:39:47 | |
Well, we always seem to do well on "Flog It!" with our Clarice items, | 0:39:47 | 0:39:50 | |
and I don't think this one will be any exception, do you, James? | 0:39:50 | 0:39:53 | |
No, I mean, Clarice is one of those things that everybody knows. | 0:39:53 | 0:39:56 | |
Loads of collectors, | 0:39:56 | 0:39:58 | |
and especially when it's online across the whole world, like this. | 0:39:58 | 0:40:01 | |
-Yep. -It's bound to sell. And it's a rare colour, as well, this one. | 0:40:01 | 0:40:04 | |
It broadens the market, doesn't it? | 0:40:04 | 0:40:05 | |
Well, fingers crossed, we're going to get that top end right now, | 0:40:05 | 0:40:08 | |
because this is it. Here we go! | 0:40:08 | 0:40:10 | |
Lot 259, Clarice Cliff hand-painted Melon pattern jug, | 0:40:12 | 0:40:16 | |
pastel shades, interest here, starting of at £90. | 0:40:16 | 0:40:20 | |
Interest, look, straight in at 90. | 0:40:20 | 0:40:21 | |
100. | 0:40:21 | 0:40:23 | |
At £100. 110 at the back, 120. | 0:40:23 | 0:40:26 | |
130 and I'm out. | 0:40:26 | 0:40:27 | |
Any advance on 130? | 0:40:27 | 0:40:29 | |
130, 140, 150 on the net. | 0:40:29 | 0:40:33 | |
At 160, 170, 180. | 0:40:33 | 0:40:35 | |
At 180 in the room, at 180. | 0:40:35 | 0:40:37 | |
It's in the room. | 0:40:37 | 0:40:38 | |
Any advance on 180? | 0:40:38 | 0:40:40 | |
190 on the phone. 200. | 0:40:40 | 0:40:42 | |
220. | 0:40:45 | 0:40:46 | |
240. | 0:40:46 | 0:40:47 | |
240! | 0:40:47 | 0:40:49 | |
260. 280. | 0:40:49 | 0:40:51 | |
300. | 0:40:53 | 0:40:54 | |
-£300. -Lovely. | 0:40:54 | 0:40:55 | |
£300, then, are we all sure? | 0:40:55 | 0:40:58 | |
At £300, then. All finished at 300... | 0:40:58 | 0:41:01 | |
Joan, that was brilliant. That was a brilliant result, | 0:41:04 | 0:41:06 | |
and it was great to watch it live down here, | 0:41:06 | 0:41:08 | |
and thank you for being a part of that and bringing in your Clarice. | 0:41:08 | 0:41:11 | |
Ooh, I had to bring Clarice in, it's not "Flog It!" without Clarice. | 0:41:11 | 0:41:14 | |
It's not, is it? No! Job done. | 0:41:14 | 0:41:17 | |
A good result for Joan and her jug. | 0:41:18 | 0:41:20 | |
We're back upstairs now for today's final item - | 0:41:20 | 0:41:23 | |
Eric and Carol's concertina. | 0:41:23 | 0:41:25 | |
We've sold them on the show before, and they have made around £800, | 0:41:26 | 0:41:30 | |
so you're right on, there. £500-800. I wonder if we'll get it. | 0:41:30 | 0:41:35 | |
-Well, Wheatstone's really the Rolls-Royce... -It is. | 0:41:35 | 0:41:39 | |
..of concertinas. And if you've got one, that's the make that you want. | 0:41:39 | 0:41:43 | |
Let's put this to the test, shall we? | 0:41:43 | 0:41:45 | |
And I'm sure this is going to fly away. Here we go. | 0:41:45 | 0:41:47 | |
-Good luck, everyone. -Hopefully. | 0:41:47 | 0:41:49 | |
Lot 160, early 20th century concertina. | 0:41:49 | 0:41:52 | |
Bids of 300, 320, 340. | 0:41:52 | 0:41:56 | |
At 340, 60, 80, 400. | 0:41:56 | 0:41:59 | |
420, 440. | 0:41:59 | 0:42:01 | |
60, 80. | 0:42:01 | 0:42:03 | |
£500. In the room at 500. | 0:42:03 | 0:42:05 | |
550. | 0:42:05 | 0:42:07 | |
600 I've got on the net. | 0:42:07 | 0:42:08 | |
Any advance on 600? | 0:42:08 | 0:42:10 | |
Come on! | 0:42:10 | 0:42:11 | |
At £600. 650. | 0:42:11 | 0:42:13 | |
At £650 on the internet. | 0:42:14 | 0:42:16 | |
Come on, please, more. More. Come on, please. | 0:42:16 | 0:42:18 | |
700 on the phone. | 0:42:18 | 0:42:20 | |
-Yes! -£700. | 0:42:20 | 0:42:22 | |
At £700 on the telephone. 750. | 0:42:22 | 0:42:25 | |
Yes! | 0:42:25 | 0:42:26 | |
800. | 0:42:27 | 0:42:29 | |
On the telephone at £800. | 0:42:29 | 0:42:32 | |
Any advance on 800? | 0:42:32 | 0:42:33 | |
850. | 0:42:33 | 0:42:34 | |
-900. -Yes! | 0:42:36 | 0:42:39 | |
At £900 on the telephone. Any advance? | 0:42:39 | 0:42:42 | |
At £900, then, are we all sure at 900? | 0:42:42 | 0:42:46 | |
Any further interest? | 0:42:46 | 0:42:48 | |
£900, on the telephone at 900. | 0:42:48 | 0:42:50 | |
-Yes! -Brilliant. | 0:42:53 | 0:42:55 | |
-Isn't that wonderful? -Brilliant result. | 0:42:55 | 0:42:58 | |
-900! -£900. Don't forget, though, there is commission to pay. | 0:42:58 | 0:43:02 | |
Everybody pays it. | 0:43:02 | 0:43:04 | |
It's 15% plus VAT, | 0:43:04 | 0:43:06 | |
but still a lot of money for something you found in the loft. | 0:43:06 | 0:43:09 | |
-That's right, yeah. -If you've got something like that in the loft... | 0:43:09 | 0:43:12 | |
-Played a pretty tune! -..we want to see it. | 0:43:12 | 0:43:14 | |
-Yeah, he pushed all the right buttons there, didn't he? -He did. | 0:43:14 | 0:43:17 | |
-That's for sure. -He certainly did, yes. | 0:43:17 | 0:43:19 | |
Thank you very much for bringing that in. | 0:43:19 | 0:43:20 | |
And you know what? That's just rounded off such a brilliant day | 0:43:20 | 0:43:23 | |
-here in Lytham Saint Annes. -Absolutely. | 0:43:23 | 0:43:25 | |
I hope you've enjoyed the show - we've loved being here. | 0:43:25 | 0:43:27 | |
Join us again soon for many more surprises. | 0:43:27 | 0:43:30 | |
But until then, it's bye-bye. | 0:43:30 | 0:43:31 |