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# I left the North I travelled South
# I found a tiny house And I can't help the way I feel... #
Today, we've travelled to a city famous for its music scene.
It's produced such great bands as New Order,
Oasis and The Smiths, so let's hope we can add to that illustrious list
as we hit the high notes right here in Manchester.
Welcome to "Flog It!"
Our valuation day venue is certainly making the right noises.
We're at the Museum Of Science And Industry,
a venue devoted to Manchester's glorious industrial past
and the city's achievement in the world of science.
The museum is situated on the site
of the world's first railway station,
and trains are still a big feature of the museum,
with one still in operation.
As a music fan, it's really great to be here in Manchester.
Everyone from The Hollies to Take That,
Morrissey to The Stone Roses, originate from this patch of soil.
The list of musical accolades seems endless
and so does our queue here today.
Let's hope our experts are in full voice.
Joining me in the hunt for the finest antiques,
it's the rhythmical Caroline Hawley.
And the songbird herself, Anita Manning.
And on the show today we transport you to the coast of Malta
with this exquisite Mdina vase.
It's signed and in perfect condition,
so it could make huge money.
And Caroline's with one of the biggest names in music.
Well, his signature, at least.
Who will it be?
-Shall we turn it over and have a look?
So, we'd better let the people in.
We've squeezed hundreds of people in here today.
Talking about squeezing, let's catch up with Anita Manning.
Elaine, Steve, welcome to "Flog It!"
I love this type of threepenny bit box.
I was drawn to it and I know what's inside it.
A wonderful little concertina. Tell me, where did you get it?
My mother used to clean for an old chap next door to her,
who was on his own, and I used to go in with her
when I was four, five, six
and my job was to clean all the brasses with Duraglit.
-When you were just a tiny, wee girl?
-When I was just a little girl.
And then when he died, apparently, he must have said to me mum,
"Let Elaine have this,"
and me brother got a piano accordion. I was seven.
-So it's 54 years ago.
-So, are you musical?
Steve, have you had a go at it?
We've managed to get a few notes out of it, but, no, we can't play it.
The dog runs a mile!
I love concertinas. Let's pull it out and have a closer look at it.
This is a Lachenal concertina.
Lachenal was a London company
and it was started by a Swiss man called Louis Lachenal in 1830.
Went on for about 80 years
and he was the most prolific of concertina makers.
So about 40,000 of these were produced every year.
So that's telling us something.
They aren't the Rolls-Royce of concertinas.
They're not the best of concertinas.
So we've got to take that into consideration.
We have a registration mark.
Now, concertina enthusiasts love to see that,
because that can tell us exactly the year that it was made.
I know you've done a wee bit of research on this, Professor.
Yes. I checked it online. There is a site you can go on to get
a rough idea of the date and that one,
-it works out roundabout 1875.
-So it is an old one.
-It is an old one.
It's got a good age about it.
We have some losses here on the strapping.
Yeah, we know, that's always been there.
The collectors will take that into consideration.
Let's put it to auction then,
-let a collector have the opportunity of buying it.
-We'll put it in with an estimate of £100-£200.
-Elaine, would you be happy with that?
-Yes, I will.
-We'll put a reserve on it of £100.
-100, yeah. Right, let's go for it.
-Shall we go for it?
-Yeah, let's go for it.
Well, I like to think that this will play
a fine and lovely and cheerful tune again.
It'll be interesting. I'd love to hear it being played, I really would.
I think the dog would, as well.
ANITA PLAYS A FEW BUM NOTES
Well, I don't think that was the sort of playing
she was talking about, Anita. Next, more music history.
Can you guess whose autograph Anne hunted down in 1963?
-So, here we are in the Power Hall.
And if I turn over this little invitation,
there's the signature of a very powerful man in the world of music.
-Shall we turn it over and have a look?
Paul McCartney. I'm jealous.
Tell me, Anne, how did you get Paul McCartney's signature on this card?
In 1963, I went to a little club in Manchester called The Oasis
and I was dancing to The Beatles.
Obviously, it was before they became famous.
And I just got his autograph.
I could have got all the autographs, but I just chose him.
-And it was a small club, was it?
And they were playing and you were dancing away in your miniskirt?
-And your boots?
And do your remember the music they were playing?
Oh, yeah, well, they had just made one record,
I think it was Please Please Me.
-And I know they sang Twist And Shout.
-Oh, did they?
How exciting! And what's this, the ticket it's on?
It's a Christmas party at the Grand Hotel.
Yes, that was just in the December just before,
-but I had that in my handbag at the time.
-So you whipped it out...
-So I got it out, yeah.
-..ready for him to sign it for you.
I didn't... You know, you don't think of getting autographs, do you?
-You don't, no. Did you have any idea they were going to be huge?
I'm sure this is priceless in some ways, but put a value on it we must.
I think if we put a value of £80-£120.
If we put a reserve on it, just to protect it. If we said £70 reserve?
-That sounds fine.
-Discretionary, is that OK with you?
-Yes, that's fine.
-If we get that, and I'm sure we will,
-you will have something to Twist And Shout about!
-Have you still got your skirt and your boots?
Autographs from names as big as Paul McCartney
are sought the world over.
Could a simple signature make more than £120? Find out later.
So many people have travelled for miles to get here today,
carrying unwanted antiques and collectables.
Many of them are small, in handbags and carrier bags, but look at this.
Look what's being opened now, look at that,
a massive, great big suitcase on wheels. Let's be nosey.
I spotted you in the queue and I said, "Are you going on holiday?"
-Oh, no, my towel's out, don't!
-What's your name?
-Are you both here together?
-Are you sisters?
Just good friends, just good friends. OK.
Come on, let's get in there. Do you need a hand?
-Oh, that's nice. It's a little inlay cabinet, isn't it?
With a bit of a brass inlay.
-This is clingfilmed up now.
-Oh, that's nice. Look at that.
A wonderful little serpentine front to it.
Is this something you want to sell?
-Well, it looks complete, as well, doesn't it?
-So how did you come by this?
-I bought it from the internet.
-How much did you pay for it?
-Just under 700.
-There is one thing, there's only 15 gilded glasses.
-Is there one missing?
There is one, but it's not gilded.
It's very impressive when you open the cabinet.
It is, yeah, especially the little decanters decorated in gilt
with the trailing grape and vine.
You know, it's a nice little touch, it's a beautiful little touch.
I just like this inlay.
-It's a good interior piece.
-It's a very good interior piece.
It has a serpentine top and a serpentine front.
So it's quite stylish. So typical of the period.
We could put it in with a value of £600 to £800
with a reserve at six.
-And hopefully it might make £1,000.
There's three experts here going, "Go on, go on, go on!"
I just think it's very, very pretty. It's a nice piece.
And if you're not using it at home
and you don't know what to do with it.
There's a lot of detail there. There's an awful lot of detail.
Tracey bought the 19th-century decanters for £700,
but she's happy to set the reserve at £600 in the hope
that it'll make more money. Will the gamble pay off?
Only one thing to do, take it off to auction.
Also coming with us are the two musical items.
Do you think the squeeze-box or the Paul McCartney autograph
will reach number one in the sale room?
Our auction today comes from Knutsford in Cheshire.
The legend has it that King Canute forded the River Lily here
in the 11th century, leading to the name Cunetesford or Knutsford.
Five, I'm bid. 520. Phone's back in.
Auctioneers Nick Hall and Peter Ashburner
are sharing the rostrum today,
selling 100 lots an hour in this busy sale room.
While Anita and Caroline may look confident,
their valuations are about to be put to the test.
So the pressure is on.
OK, going under the hammer right now,
let's hope we hit the right notes with this concertina.
It's a Lachenal, it belongs to Elaine,
who sadly could not be with us today,
but we do have our expert, Anita, and we do have the concertina.
I thought a fair estimate was 100 to 200,
-it wasn't in the best of condition.
-Strap's missing, isn't it?
We really have to take that into consideration.
I'm hoping it will do well.
It was a little cheeky come and buy me, was it?
You see, you have been pushing the buttons, haven't you?
And I hope Nick pushes the buttons with the bidders right now,
because let's hand over to this packed saleroom. Here we go.
It's the Lachenal & Co of London, 48-button concertina.
I've got commission interest in this lot, as well.
I'm going to come straight in at 70, 5
80, 5, 90, 5, 100.
At £100 I start. At £100.
Bid for me at 100. Who's going to take 110? 110 online.
120 in the room. 130, 140, at 140 now.
Oh, it's slowed down a bit, hasn't it? Come on.
160 now. 160 now.
At £160. The bid's against you online at £160.
170 is back in. 180 I have.
On commission at 180. It's against you online. Try another.
£190, commission's out. Room out. It's online.
At £190, all done.
-That was just about the right estimate and the right price.
Top end. Brilliant, brilliant. Elaine will be happy.
-I think we should let her know, don't you?
-Yeah, I'm happy, too.
No worries for Anita there, her first item was valued perfectly.
She even said so herself!
Well, so far, so good. Things have been flying out the door.
This is where it could go horribly wrong.
It's my turn to be the expert and I've just been joined by Tracey.
How have you been since we saw you at the valuation day?
Really good, thank you. Looking forward to it. Yeah.
It's that wonderful decanter set with glasses. It is complete.
One's wrong, though, isn't it?
-One is slightly different.
-You haven't come by yourself, have you?
-No, I've come with my daughter, Jessica.
-She's over there.
-There she is.
We need to find a new home for it.
We're going to do that right now. This is it.
A good quality 19th-century red and black lacquer
travelling decanter set. Where will I go?
Start me at 600. Five?
Four, start me. Who's in at £400?
Anywhere? Get the ball rolling at £400. Bid me now.
Start me now at four. Four where? Where's four?
Who will start the bidding at £400? Yes or no at 400?
-It's not going to sell, is it?
-It's not going to sell, is it?
Start me off at £400. Last call, last chance.
Last opportunity for this lot at £400 to start me off.
No interest, no bids.
-It's got the wrong look, hasn't it?
-What a shame. Never mind.
-I'm so sorry.
-Gosh, that's auctions for you.
I told you there'd be one or two surprises.
I thought it would, you know, I thought I'd be bringing it home!
Well, you can't win them all.
Sometimes the bidders just aren't buying what you're selling,
but it could all be different on another day.
Now let's see if the collectors are more interested
in the signature of one of music's greats.
Well, our next item to go under the hammer is a real fab one
and I do mean a fab one!
Part of The Fab Four, Paul McCartney's autograph.
-Fabulous. From The Oasis Club.
-And they only played there two or three, four times, something like that?
Now, you had the opportunity to get all four fab...
-Could have done, yes.
-You missed it.
Well, I only liked Paul McCartney at the time.
-Oh, I bet you wish you liked all four of them now, don't you?
You're in good company,
-cos there's a lot of pop and rock memorabilia here today.
-Yes, I noticed that.
I can't wait to see this, let's get a number one smash hit with this.
Going under the hammer now.
Lot 260, a Paul McCartney signature from 1963,
signed on the back of a ticket stub.
-I can start the bidding at £130. Any advance?
Love Me Do!
140, 150. 160, 170, 180,
190, 200, 210. 210.
Here on commission at 210, 230 online,
-240 on commission...
240, 250, 260.
280, all online. 290, 300,
320, 320 online.
At 320. 330 on commission.
At 330, is a commission bid. Anybody more?
At 340, 340 online,
commissions are out. At £340. It's on the internet.
At £340, anybody got more?
At 340, I am selling at £340.
What's really nice about that signature
is you can actually date the date
with the ticket on the reverse side.
And that's what it's all about.
-It's the social history of what was going on there and then.
One of only four times they played there, and you were there.
-You were that girl.
-What a great result.
What a good result. Are you happy with that?
-I thought it would be about 70.
£340 for just two words.
That's how important our musical legacy is to some collectors.
And whilst The Beatles put Liverpool on the map,
Manchester also has a great reputation for music.
So I couldn't come here and spend a few days here filming
without finding out what makes this place
have such a chart-topping success.
# Once upon a time, not too long ago
# We took a day out in Manchester
# We all fall down
# There's not enough hours in a day... #
Manchester's musical history is unique.
It spans genres and generations.
It's created movements in pop and rock
that have swept right through the nation.
But how can so much talent come from one place?
And how is Manchester able to repeat that trick time and time again?
Well, to find out, let's take it from the top.
Our journey through Manchester's music history
starts long before the rock 'n' roll revolution.
In the 18th century, when the Industrial Revolution
started to paint the town black, the emerging middle classes
had an increasing appetite for the arts
and so they were entertained with classical concerts
by amateur musicians.
This gentlemen's orchestra became a fixture in the city
over the next century under the leadership
of German-born Charles Halle.
The first Halle concert was held at the Free Trade Hall
on January 30th, 1858.
Thus becoming one of Britain's first professional symphony orchestras.
Until 1895, Sir Charles Halle conducted
almost every concert in the city.
His orchestra still plays today to international acclaim.
Perhaps Charles Halle was Manchester's first music legend.
Classical concerts and amateur folk music
could be heard throughout Manchester well into the 20th century.
But it was the Second World War
that really upped the tempo of Manchester's musical heartbeat.
American troops were based all over the city during the '40s
and they brought with them American style, American lingo
and the American sounds of the day.
The troops gave out free records to the locals
and soon young people were tapping their feet to RnB, jazz
and the sounds of black America.
This coincided with the rise of the teenager,
and these newly liberated teens wanted a place of their own,
their own fashions and their own music.
And for the baby-boomers of Manchester,
the jukebox played the soundtrack of their lives and the coffee bars
in the city were a place where they could just hang out and
dance to their own music,
away from the constraints of the older generation.
Out of these coffee bars sprang the first nightclubs,
where young people in Manchester
could listen to their favourite music all night long.
Legendary club, The Twisted Wheel, was the place
and it gave birth to a home-grown genre that took its influences
but which is unmistakably Manchester and it's still going strong today.
I'm being joined by Ivor Abadi, who opened the club in 1963.
Something extraordinary happened in the '60s.
It was the young 16 and 17-year-olds, the baby boom,
after the war and they suddenly wanted a place to go to.
I recognised that from five years earlier.
With my brother Jack and Phillip, we came to 1962
and then we found this basement in Brasenose Street
and we opened it up. It was a coffee-dance club and
-unbelievably it was successful from day one.
-Tell me about the music.
We didn't want to play very commercial...
Like The Beatles, The Kinks? Stuff that was happening...
Yeah. We didn't really... We played The Beatles,
-but we wouldn't be playing too much of The Kinks.
-You're obviously playing a lot of blues,
everybody wanted to hear blues, but it started to get into soul.
-And that's when it really kicked off?
Well, blues was sort of The Graham Bond Organisation,
-which you may have heard of.
-I have, yeah.
Sonny Boy Williamson, playing his harmonica.
But from the blues, it slowly moved
into something a bit more Tamla Motown and soul music
with all the American acts that we brought over, as well.
Towards the late '60s, The Twisted Wheel DJs
played a particular style of soul
that had a quick tempo and a heavy beat.
The tracks went down a storm and a craze swept the nation.
Just define to me what is northern soul
and where did it originate?
The term was coined, I think, by Dave Godin from Blues & Soul magazine
and he came up from London and was just astounded at the atmosphere
and the mood in the club.
And he, you know, in his big article called A Thousand Dances,
I think it was, called it northern soul,
as in distinguishing between what was going on in London.
I mean, people from all around, you know, Manchester
really gravitated to this club.
People came from all over the north-west and further afield.
They came from Yorkshire. They even came from London, you know.
-Sure, it was a big thing.
-We had coaches coming from London.
And it was... The atmosphere was theirs.
It was a sort of social scene. A fantastic time.
You mention The Twisted Wheel to anybody and...
Anyone in Manchester will have been. Not necessarily a regular,
but everyone would have been once or twice.
Throughout the '60s, Manchester was alive with music
from home-grown talent like Herman's Hermits
and Freddie And The Dreamers,
having a string of top 10 hits and there were over 200 clubs
in Greater Manchester to dance the night away in.
But the Swinging Sixties didn't last for ever.
Manchester in the mid-1970s was suffering as a post-industrial city.
Its glorious past was just a distant memory.
But whilst there was a backdrop
of economic hardship and cultural malaise,
the spirit in Manchester lived on with another flourish of music.
The legendary Tony Wilson co-founded
one of the most successful record labels in British history.
Factory Records brought the country huge bands such as Joy Division...
# Radio, live transmission... #
# How does it feel... #
..and the Happy Mondays...
# Hallelujah, hallelujah, Not sent to save ya... #
..who kick-started a musical movement that put Manchester
back on the map.
And here's the late Tony Wilson.
'The history of rock 'n' roll is a history of small cities.'
And these cities have three years in the sun.
For nearly 20 years, Manchester was THE music city in the world.
These bands gave Manchester a sense of confidence and a new identity.
It provoked pride and inspired generations
to bang the drum of musical expression.
So what can we look forward to next?
Well, it's impossible to predict.
But if you want my opinion, whatever it is,
it's going to be brilliant,
because the appeal of Manchester for its musicians is
there's an audience here that's ready to embrace them
and they want to hear the next big thing.
Now it's back to our very own joy division,
the valuation day at MOSI.
Later in the show,
I'll be looking at some of the stunning artwork
from Factory Records and three more lucky people
get their item valued by our on-screen experts.
First, it's David Sugden.
When I see this, it brings to mind seas of azure blue,
blue skies, wonderful climes.
Tell me, what do you know about this?
Well, I know a little bit.
-It's a Michael Harris piece that was...
-The Magic Man Of Mdina.
Indeed. My parents brought it back.
Manufactured in Malta in the late '60s
and he did sign a very few early models that he made
and that is a signed, authentic edition.
-I am excited. That is a wonderful, wonderful piece.
The colours are evocative of the seas around Malta.
Its name is a Fish Vase. As you can see, it's the shape of a fish.
Beautiful colouring and, as you rightly say,
it's signed on the bottom - "Michael Harris, Mdina, Malta."
He studied at the London School Of Art, but was frustrated by it
so left to form the Mdina Glass Company in Malta in 1968.
-So, as you said, this is an early piece.
This is the biggest size that he made, which does make a difference.
-And the magic name means everything. And the magic signature.
So it means he either made this himself
or he was overseeing someone that made it. He was there, right on it.
-Quite special then.
-It is. It's very special, yeah.
Do you have any idea of value?
Not really, no. I'd like to think it was worth something significant.
What would you do with this significant sum?
Well, the family are having a holiday in the Dordogne
-later this year.
-It would go towards that.
Right. Well, I would think,
because of all the things we've talked about -
the size, the signature, magic name -
I would think it would be £600-£800, easily.
-That's rather nice.
Yeah, that would get you to the Dordogne and...
-It would help an awful lot!
-..a few bottles of wine when you're there!
-We'll put a reserve on it.
I don't think we need to because I think this,
as soon as this hits the saleroom,
-there is going to be so much interest...
-..this is going to fly.
-Yeah, it is.
-Good, I'm so pleased. So we'll put a fixed reserve, £600...
-And it'll go. It's magic.
-Indeed. Thank you so much.
-It's a pleasure.
Thank you so much for bringing it.
Well, you've made my day with that. Thank you indeed.
It's all in the name with antiques
and this vase has a top signature etched on his bottom.
Next, Anita's found one of her personal favourites.
Helen, this is a great wee set of Victorian jewellery.
And it's in its original box. Did you inherit this?
No, no, it was a surprise gift from my husband for my birthday.
Quite a long time ago. My 50th birthday.
-Couldn't have been all that long a time ago!
-Oh, it was, I assure you.
-Did you wear it?
-I did once or twice.
But every time I wore it, he told me to be careful not to lose any of it
and I got so scared that I might lose it that I stopped wearing it.
-I think that these are very bonny pieces. They're all matching.
If we look at the locket, these are Victorian.
They'll be in the area of about 1880.
If we look at the back, we see that there is a compartment,
which would have contained, at some point, a locket of hair.
So it's in commemoration of a loved one.
If we look here, we can see the Birmingham hallmark.
Now Birmingham was famous, throughout Victorian times
and even up to these days, for the manufacture of small silver items.
So it's quite nice to see that.
I think one of the best selling points in this, Helen,
is the fact that we have this matching set.
Now the Victorians loved that.
They loved things to be in harmony.
And having a pendant, a brooch and the earrings,
having all your set complete, is an added selling point to that.
It's quite ornately decorated, and that's quite nice, as well.
The Victorians loved over-the-top decoration.
It being a present from your husband,
do you think he is going to object to you selling it?
I don't think so, no.
-I think he would say it was mine so I could do what I wanted with it.
Going to auction, I think I would put an estimate...
And I'm considering that there are three pieces, brooch, pendant
and earrings, it is silver...
-I would still like to keep it in the region of £60-£80.
-Would you be happy for it to go in at that price?
It will find its own level, but we will put a reserve of £60
and give the auctioneer maybe a wee bit of discretion.
-I think it's lovely
and thank you very much for bringing it along.
Thank you very much.
A great example of Victorian jewellery.
And now, I get a chance to get a look
at some Factory Records archive
that's on loan to the museum from Tony Wilson's estate
and talk to archivist and fan Jan Hicks.
The artwork we have got here is by Peter Saville,
who was one of the early directors of the company.
He was new out of art college, he came along to one of the nights at
the Russell Club and said, I'm going to make you a poster, basically.
-And from then on, he was the in-house designer.
I can see who has inspired him. John Ruskin.
You look at this, look at that beech leaf floating down, late autumn.
Painting nature as you see it, beautiful objects meant to be
enjoyed and meant to look like what they are.
-You can see that's John Ruskin all over.
-Yes, you can.
What does Factory Records mean to you and people like you?
Factory is an important record label for people from Manchester
because it really put Manchester back on the map after a long
period of industrial decline and depression in the city.
It really kick-started the creative industries in Manchester.
And Tony Wilson described it as the second Industrial Revolution.
It was a new way of doing things.
You didn't have to go to London, you could come from Manchester and go
anywhere and say, "I'm from Manchester,"
and everybody knew the different bands that were on Factory
and they knew about the Hacienda.
So it was a real sense of pride and creativity in the city.
What is your favourite memory,
what was the band that you really loved to see?
-The band I really loved was Happy Mondays.
I adored Happy Mondays. I just loved everything about them.
# Hallelujah... #
But it's all gone quiet in the Textiles Gallery where
Caroline has found her last item of the day.
Tell me, what do you know about these?
Well, actually, when I bought them, about 40 years ago,
I didn't know anything about them. I bought them from an antiques fair.
Probably paid about £20 for them, something like that.
I didn't know what they were until just recently,
I saw them in a book and the book explained what they were.
And they are supposed to be burial mirrors to ward away evil spirits.
That's really all I know about them, really.
So I was hoping that I would come here today
and find out a little more about them.
That is exactly right, they are late 18th-century Chinese.
And they would have been beautifully polished, on the back here.
And you are quite right, they were used to bury the dead with,
to ward off evil spirits in the afterlife.
But they were also worn in life.
If you look closely, this fabulous working in here.
There is a little hole through this middle bit here and that
would be to thread silk through and it would be worn on your garment.
So you would have one, two of them,
and it would ward off evil spirits in life, in the here and now.
They are cast bronze
and there is a lot of interest in oriental things at the moment.
-So people collect this sort of thing?
-Yes, people will collect them.
-Now, you have obviously enjoyed these all these years.
-Yes, I have.
-Have they been in a display case or something?
-Yes, they have, actually.
But this one here, this one we used to use as an ashtray at home...
-As a what?!
-An ashtray, yes.
-There is probably a little bit of ash in there still.
-It's too good for an ashtray.
-I know, but we didn't know, then.
We see quite a few of them. They are not uncommon.
And the values range from £100-£1,000, depending
on the detail, the quality and the size, to a lesser or greater extent.
These, I would think, are worth £200-£300 for the two.
-It is. It is. And you paid what, £20?
-It would be nice if they were worth £1,000 each!
-It would, it would.
If we put a reserve of £200, are you happy with that?
-Yes, I am, that's fine.
-Great. So we will see if they are...
-if they are magic when we taken to auction.
-Right. Thank you.
Well, there you are. That's it.
Our experts have now found their final items.
So it is time to say goodbye to our valuation day venue,
Manchester's Museum of Science and Industry.
We have had a marvellous time here and we have learned so much.
But right now, it's full steam ahead
to Marshalls auction rooms in Knutsford.
And here is what is coming with us.
Will the exquisite Mdina vase be as sought-after as Caroline thought?
We will have to wait and see.
And the Victorian jewellery may not be to everyone's taste,
but there is always a market for a complete set in its original box.
Caroline has valued these Chinese mirrors at £200-£300.
Will the auction house agree?
Well, it's back to Knutsford and auctioneer Nick Hall has
something to tell me about those mirrors.
Geoff's little Chinese mirrors. Now, we have got £200-£300 on these.
They came in as Chinese, late-18th century.
We have had a close look at them
and consulted with our head of Asian Department, Dr Worrall.
They are in fact 19th-century Japanese copies
of Chinese originals.
If they were Chinese, they would be archaic, ie Tang Dynasty
and 1,000 years old.
But these are of a known type of replica made by the Japanese...
-Made to fool the tourist market.
-Made to fool them, right.
So these have been seen before, that's how we know, obviously.
Yes, they are of a known type that is around.
-So this obviously affects the value, does it?
-Yes, well, it does.
-I think the value is probably right.
But they are nice things, they will still appeal to the Asian market.
But I think nearer the £200 mark is about where we have to get.
Fingers crossed. The estimate is still right.
Hopefully we will get that top end, £300 plus,
because I think they still are very collectable, aren't they?
They are, lovely, lovely things.
It took an Oriental specialist
to notice the different origin of the mirrors.
Even experts like Caroline can't get it right every time.
A little disappointing.
They have turned out to be Japanese reproductions,
or copies of the earlier Chinese ones.
But there is still a lot of interest,
so I haven't lost hope of those.
I think they are going to be all right.
Well, we will find out in just a minute.
And going under the hammer right now, we have a complete box set
of earrings, brooch and necklace, belonging to Ellen.
And I think this is a real little gem. It is ready to go.
It is ready as a gift.
Still in a beautiful box and the whole set is complete
and in good condition. You have cherished it, haven't you?
-I have, yes.
-And you did wear it, didn't you?
-I did, yes. I have worn it.
-But the fashions change, don't they?
-They do, yes.
-So hopefully, someone will think actually,
this is a nice little gift set to give somebody.
But it is also something that a collector will buy
because it is high Victorian. And it is in its original box.
Birmingham, isn't it? 1882, something like that?
And it's just an example, a good example of the type
-of jewellery that women wore at that time.
We're going to put it under the hammer, now. See what happens.
305 is the Victorian boxed silver pendant, brooch and earring set.
Hallmarked for Birmingham 1882.
Who is going to open the bidding at £60 for me? £60?
-Come on, it's worth that any day of the week.
-£60 for this lot?
Down to 50. I got 40. £40 I am bid.
At 40... Take five? At 45. 50.
Shakes his head already.
At £50, any advance on 50, take another five, surely? 55 online.
At 55 online, I am going to sell at 55.
Any advance now on 55?
-He used a little bit of discretion.
-Just a little bit.
-Are you happy with that?
-You didn't want it any more?
-No. Well, I didn't wear it.
And it was just in the drawer,
so...I might as well get something that I do wear.
And someone else will get the pleasure of your sale, Ellen.
Going under the hammer
we have got those two lovely Chinese bronze mirrors.
Well, we thought they were Chinese, but they are Japanese.
After a bit more research.
And they are later than we thought, they are not 18th-century,
Yes, late 19th-century, early 20th-century copies.
-I thought they were Chinese.
Copied, copied from the original Chinese earlier ones.
So they have got the same symbols, they are just a century later.
But I think they will still sell.
Yes, and I had a chat to Nick, the auctioneer, yesterday.
And he said actually the value is spot on. It won't affect the value.
-OK, good. Good.
-But we are still in with the money, there. Good luck.
Fingers crossed. Let's find out what they are worth. Here we go.
Nice quality, nicely cast, good bit of patination.
19th-century Japanese mirrors. Where are we going to go? £200 for them?
£200? 150? 100? Come on, who is in? 100 I have, thank you. 100 I am bid.
-I've got 110...
-It's a start.
-Straight in and out. That was quick.
-110 I have got, then. 120. 130. 140.
-On, come on.
-140 is the bid.
Nothing online? I have got 140, 150 online. 160, 160 I am bid.
-At 160 now. At 160. Any advance on 170?
-It's creeping up.
Against you, online.
-At 180. 190.
-We are nearly there.
-I've got £190 online.
I think that's all. 190, the bid is online. I am selling at 190.
Make no mistake, the hammer is going down.
-It has gone.
-That was all right.
-That was close!
That was close, wasn't it?
Oh, the things you do to get on TV!
Nick Hall used his auctioneer's discretion to let them go at £190.
So from magic mirrors to the magic man of Mdina.
Right, if I said Mdina, you would say yes,
the Silent City in Malta, but what about the glass? Hmm?
We have got a nice piece here, the fish.
-The fish vase, brought in by David. Made in Malta, wasn't it?
Yes, yes. So why are you selling this?
Well, parents bought it from Malta many years ago. Late '60s.
-I have no real interest in it,
so we have got grandchildren we're taking on holiday to the Dordogne...
So that money is going to come in handy!
-And it is a wonderful signed piece, Michael Harris, the magic name.
And the colours are reminiscent of the beautiful Mediterranean
-And you can see on that moulded glass,
the waves that almost attach...
-You kind of want to dive in.
-Yes, it's lovely.
It's going under the hammer right now. So good luck. This is it.
It is the impressive Michael Harris,
for Mdina, glass vase in the fish shape.
Unusually and rarely signed by Michael Harris as well.
We do have some commission interest, we do have a phone bid.
I'm going to come straight in at a lowly £300.
I have to start at 300 only. On commission at 300.
At three, at three. Who is coming in next? Three with me. At 300.
At 320 online. 340 against you. It's 320.
-This makes you a bit panicky, doesn't it?
-Just a little.
380, 380 now. At 380, any advance on 380? Four. 420. It is online at 420.
440. At 440. At 440, the bid is online at 440. 460. At 460.
480. It is climbing, slowly online. Any advance on 480? Five I have.
-£500 in on the phone.
-The phone has joined the party now.
-The phone and the internet. 540. At 540, now. We are creeping...
-We are just going to do this.
-We have got to do it!
-560 here now. At 580, 580, the phone has it. At 580.
-Try another online. 600, there we go! Online at £600.
Back on the phone again. At 620 now. At 620. The bid is on the phone.
At £620. 640. 640 here. 660 now.
Back on the phone again at 660. At 660 phone bidder holds it.
At 660 it is against you online. All on the phone. At 660 I sell.
-Yes. That was brilliant fun. Wasn't that great fun?
-It was good fun.
It was good fun, watching you almost thinking, "Oh, no,"
-and then all of a sudden, yes! Wasn't that great?
I thought it was more exciting watching you!
I thought you had a baby then! Yes!
-Yes, a lot of money.
-Dordogne. Here you go.
-Here you go.
There is Isabel and there is Becca and her little brother Charlie,
the grandchildren, who are all going to go this year. To the Dordogne.
Well, enjoy this moment, won't you?
Because Granddad has done you all proud. And have a fabulous holiday.
-And thank you.
Well, that's it. It's all over.
Another day in the auction room for "Flog It!".
Some highs and some lows. But that is what it's all about.
You can never predict what it is worth in the saleroom.
So until the next time, from Knutsford, goodbye.