0:00:05 > 0:00:07Looking at this incredible piece of public art, you can
0:00:07 > 0:00:10probably guess where today's show is coming from.
0:00:10 > 0:00:13But it wasn't love at first sight for everyone in the area,
0:00:13 > 0:00:16and later on in the programme I'll be finding out what the
0:00:16 > 0:00:20people of Gateshead think about the Angel Of The North 15 years on.
0:00:20 > 0:00:22Welcome to "Flog It!"
0:00:43 > 0:00:47Today's valuations come to you from Newcastle's Discovery Museum,
0:00:47 > 0:00:50home to science and local history collections.
0:00:50 > 0:00:53But just over 40 years ago, this Victorian building,
0:00:53 > 0:00:57known as Blandford House, was a sorting and distribution
0:00:57 > 0:01:01centre for the Co-op, which employed up to 1,000 people in its heyday.
0:01:03 > 0:01:08There was a laundry, an impressive canteen, and even an onion pickling
0:01:08 > 0:01:12room, where a women-only workforce busily peeled and pickled.
0:01:12 > 0:01:15Let's hope there's lots of activity today
0:01:15 > 0:01:18when this lot make their way upstairs to our valuation room
0:01:18 > 0:01:20in the old canteen.
0:01:20 > 0:01:23The people of Tyneside are gathering in their droves here
0:01:23 > 0:01:24in Newcastle's city centre
0:01:24 > 0:01:27to get their antiques and collectables valued.
0:01:27 > 0:01:30Our experts will be working hard both on-screen
0:01:30 > 0:01:34and off-screen to offer up the best antique advice.
0:01:34 > 0:01:35From north of the border,
0:01:35 > 0:01:38Anita Manning, Scotland's first female auctioneer,
0:01:38 > 0:01:41whose love of antiques stems back to admiring
0:01:41 > 0:01:45her granny's mahogany furniture when she was a girl.
0:01:45 > 0:01:46This is not an apron.
0:01:48 > 0:01:50It's a cello cover.
0:01:50 > 0:01:52And Nick Davies, who got a summer job as a boy
0:01:52 > 0:01:56working in antiques, has been in the profession ever since.
0:01:56 > 0:01:58I only had £3.75 and a £20 note,
0:01:58 > 0:02:02- so I got it for £3.75.- I thought you were going to say a £20 note then!
0:02:02 > 0:02:05With our valued crowd filling the Discovery Museum,
0:02:05 > 0:02:08it's great to see all the items arriving.
0:02:08 > 0:02:11Have you just taken that off the wall this morning?
0:02:11 > 0:02:13- Did you see the dust?- Yeah!
0:02:15 > 0:02:18And right now it's time to take a look at what's coming up
0:02:18 > 0:02:19in today's show.
0:02:23 > 0:02:26Can you antique hunters at home spot what will double its estimate
0:02:26 > 0:02:29when it's put under the hammer later on in the programme?
0:02:29 > 0:02:33Will it be a pastel sketch by the famous artist Emmanuel Levy?
0:02:33 > 0:02:37A 19th-century silver aide-memoir in its original case?
0:02:37 > 0:02:39Or a vintage 1920s flapper dress?
0:02:42 > 0:02:45Well, our "Flog It!" team are now in their positions, so let's
0:02:45 > 0:02:49get on with the valuations and take a closer look at our first item.
0:02:51 > 0:02:55Eddie, welcome to "Flog It!", and you've brought along for us
0:02:55 > 0:03:00today a nice little mixed-media work by Emmanuel Levy.
0:03:00 > 0:03:02Tell me, where did you get it?
0:03:02 > 0:03:06- I picked it up as payment for a job I did.- What kind of job was it?
0:03:06 > 0:03:08It was just a clearance job. I helped someone move house.
0:03:08 > 0:03:11Do you do that as a living? What do you do for a living?
0:03:11 > 0:03:13Fundamentally I collect scrap really, but that means
0:03:13 > 0:03:16I do a lot of clearance jobs, I help people when they move house.
0:03:16 > 0:03:18This came out as a part payment,
0:03:18 > 0:03:20as part of a job that I helped someone out with.
0:03:20 > 0:03:22- Did you choose it yourself? - Yeah, I did, yeah.
0:03:22 > 0:03:25ANITA LAUGHS I'm quite persuasive!
0:03:25 > 0:03:27Do you like art? Do you like pictures?
0:03:27 > 0:03:30Yeah, I collect art. I do enjoy it.
0:03:30 > 0:03:33- What drew you to this picture? - Just about everything.
0:03:33 > 0:03:35I like the composition. I like all the people.
0:03:35 > 0:03:37- I like the thought that it has a bit of history behind it.- Yeah.
0:03:37 > 0:03:40Emmanuel Levy was a Manchester artist.
0:03:40 > 0:03:43He lived 1900 to, I think, '96.
0:03:43 > 0:03:45So he lived for a long, long time.
0:03:45 > 0:03:47He studied at Manchester College Of Art,
0:03:47 > 0:03:49where he subsequently taught,
0:03:49 > 0:03:55and he was also an art critic for the Manchester Evening News.
0:03:55 > 0:03:58So he was an artist of some stature.
0:03:58 > 0:04:02Now, Eddie, this little work, and it's a crayon work, mixed media,
0:04:02 > 0:04:07it's maybe been added to afterwards. It was done in Paris in 1930.
0:04:07 > 0:04:11Now, that was a magnet for artists from all over the world,
0:04:11 > 0:04:15and he quite possibly went over there just to be part of the scene.
0:04:15 > 0:04:17I like the style.
0:04:17 > 0:04:20And it might possibly have been a sketch that he did
0:04:20 > 0:04:22when he was on the Metro.
0:04:22 > 0:04:23Tell me why you like it.
0:04:23 > 0:04:26Well, I know that he was very famous for portraits
0:04:26 > 0:04:28at the time, and I think this looks to me like it's almost like
0:04:28 > 0:04:33a study, isn't it, and no doubt a good one because he's framed it.
0:04:33 > 0:04:36But, yeah, it looks to me like some sort of study of the people.
0:04:36 > 0:04:39- I find it really interesting.- He's very good with the figures here.
0:04:39 > 0:04:42- Yeah.- And I think that it is charming because of that.
0:04:42 > 0:04:48But I would be tempted to keep my estimate fairly modest.
0:04:48 > 0:04:51If we put it at £100-£150,
0:04:51 > 0:04:54would you be happy to sell it within that estimate?
0:04:54 > 0:04:57I would be happy to put it to auction with that estimate, I think.
0:04:57 > 0:05:01- Would you like a reserve price on it?- Yeah, cos I do like it, so...
0:05:01 > 0:05:04- Did you pluck it off the wall to bring along here?- Yeah, yeah!
0:05:04 > 0:05:07There's a space!
0:05:07 > 0:05:08So I would like a reserve of sorts.
0:05:08 > 0:05:11Shall we put £100 with a little bit of discretion?
0:05:11 > 0:05:13- Yeah, that sounds fantastic.- OK.
0:05:13 > 0:05:20So, £100-£150, reserve £100, with a little bit of discretion.
0:05:20 > 0:05:23- And let's hope that it flies away. - Fingers crossed.- Fingers crossed.
0:05:23 > 0:05:26What would you do with the money? Will you buy more art?
0:05:26 > 0:05:30- It's my brother's wedding this year. - Oh, right.- He's getting married.
0:05:30 > 0:05:33So I've got to put something aside for... Possibly a painting for him.
0:05:33 > 0:05:35I hope he doesn't like this though!
0:05:39 > 0:05:42- We'll see.- Oh, well, it's going to auction anyway.
0:05:44 > 0:05:46Great to see a bit of 20th-century British art
0:05:46 > 0:05:47from a known artist there.
0:05:48 > 0:05:51Well, there you are. So far, so good. An impressive start.
0:05:51 > 0:05:54But right now, let's catch up with Nick Davies,
0:05:54 > 0:05:56who's somewhere in this museum.
0:05:56 > 0:06:00Today we're making use of every inch of this historic building.
0:06:04 > 0:06:08- So, Gay, have you come far today? - Sunderland on the Metro.
0:06:08 > 0:06:10Sunderland on the Metro? Excellent.
0:06:10 > 0:06:12- And you've brought this lovely diamond ring for us?- Yes.
0:06:12 > 0:06:14Can you tell me a bit of the history,
0:06:14 > 0:06:18- and where it came from, please? - Well, when my mother died in 1992,
0:06:18 > 0:06:22- some jewellery was divided up between me and my sister.- Right.
0:06:22 > 0:06:23That was one of the items,
0:06:23 > 0:06:26although it didn't actually belong to my mother.
0:06:26 > 0:06:30- It was my great-grandfather's ring. - Oh, OK. And have you worn it?- No.
0:06:30 > 0:06:33- I'm not really into diamonds. - You're not into diamonds?
0:06:33 > 0:06:35- They are not my best friend. - A woman who's not into diamonds?
0:06:35 > 0:06:38I never thought I'd see the day. Anyway, it's a lovely example
0:06:38 > 0:06:41of what is obviously a diamond solitaire ring.
0:06:41 > 0:06:44Date-wise, I'd probably put it at around about 1890-1910,
0:06:44 > 0:06:47somewhere in that region. It's what we call an old cut stone,
0:06:47 > 0:06:50so it's sort of the reverse of an iceberg.
0:06:50 > 0:06:52There's a lot on the top, there's not so much underneath.
0:06:52 > 0:06:54It's a very flat top surface.
0:06:54 > 0:06:57And some lovely detail to the scrolls of the shank, which is
0:06:57 > 0:07:0118 carat gold. So, your grandfather wore it, you said?
0:07:01 > 0:07:02I don't know that he wore it.
0:07:02 > 0:07:05He went out to Australia just before the First World War,
0:07:05 > 0:07:07and acquired it then.
0:07:07 > 0:07:10How it got to be back in this country, I'm not really sure.
0:07:10 > 0:07:14So how come your great-grandfather ended up in Australia?
0:07:14 > 0:07:17He went out there to visit his brother,
0:07:17 > 0:07:21who owned a chain of hotels and restaurants, and decided he liked it
0:07:21 > 0:07:25there, married an aboriginal lady, had a son,
0:07:25 > 0:07:27- stayed there until he died.- OK.
0:07:27 > 0:07:30Well, it's stamped 18 CT, and the maker's mark is CC,
0:07:30 > 0:07:32and the hallmark, and that's it.
0:07:32 > 0:07:35So it's very difficult to be precise where the stone came from.
0:07:35 > 0:07:36It's the European old cut stone,
0:07:36 > 0:07:39but that was the style that was used all over the world, really.
0:07:39 > 0:07:43The box is not the original box, as I'm sure you're well aware of,
0:07:43 > 0:07:45so again, there is no real hope from that either.
0:07:45 > 0:07:48But, as I said, dated around about 1900.
0:07:48 > 0:07:51It's a good ring, and it's a good size for someone to enjoy and wear.
0:07:51 > 0:07:53I mean, the stone, to be perfectly honest, it's not a great quality.
0:07:53 > 0:07:56It has got a flaw in it. Having gone to Australia,
0:07:56 > 0:07:58it's a very good chance it was bought over there, because
0:07:58 > 0:08:01- obviously there's quite a few diamond mines in Australia.- Yeah.
0:08:01 > 0:08:04Nowadays people get very much wrapped up with clarity
0:08:04 > 0:08:07and colour and size etc. It's a decent size,
0:08:07 > 0:08:10it's just shy of about three quarters of a carat,
0:08:10 > 0:08:13- I measured it up earlier. - Oh, right.- So it's a good spread.
0:08:13 > 0:08:16- I mean, have you had any idea on value at all?- No, I haven't, really.
0:08:16 > 0:08:18- Not since I've owned it, no.- Right.
0:08:18 > 0:08:20You might be a bit disappointed, to be honest.
0:08:20 > 0:08:22But I'd put it in at £200-£300.
0:08:22 > 0:08:25- It's the flaw in the stone that's the problem.- Yes, I understand.
0:08:25 > 0:08:27Flaws are caused when the diamond is formed.
0:08:27 > 0:08:29Basically the diamond is carbon.
0:08:29 > 0:08:31When it's crushed under the volcanic pressure,
0:08:31 > 0:08:33when they're pushed up to the earth's surface,
0:08:33 > 0:08:34little bits of carbon
0:08:34 > 0:08:38and little fissures get stuck within the stone, and that causes the flaw.
0:08:38 > 0:08:39When I had a look at yours,
0:08:39 > 0:08:42- it's got one right through the middle.- Oh, what a shame.
0:08:42 > 0:08:44- That's the problem. But, it's still a diamond.- Yeah.
0:08:44 > 0:08:46It's still just shy of three quarters of a carat.
0:08:46 > 0:08:47It's there to sell.
0:08:47 > 0:08:50So, will you miss it? Have you got any emotional attachment to it?
0:08:50 > 0:08:51Not really.
0:08:51 > 0:08:55It's been in a box for 20 years and I don't remember anyone wearing it.
0:08:55 > 0:08:59It was my great-grandfather's and I didn't know him. So, no. Not at all.
0:08:59 > 0:09:01- So you've just got £200 sat in a box in a drawer.- Yep.
0:09:01 > 0:09:04- You may as well flog it and turn it into cash and spend it.- Exactly.
0:09:04 > 0:09:06Absolutely.
0:09:09 > 0:09:11And it's over to Anita for another glamorous item.
0:09:15 > 0:09:22- Sally, I want to be the girl inside that dress! It's wonderful.- It is.
0:09:22 > 0:09:25It's a flapper's dress from the 1920s.
0:09:25 > 0:09:27Where on earth did you get it?
0:09:27 > 0:09:29I think it was my grandmother's.
0:09:29 > 0:09:31It's been in my airing cupboard at home all of my life.
0:09:31 > 0:09:33Have you ever worn it?
0:09:33 > 0:09:36I wore it once at a fancy dress, but I was so scared of losing
0:09:36 > 0:09:39the little glass beads on it that I would never wear it again.
0:09:39 > 0:09:42It's a wonderful dress in a black chiffon.
0:09:42 > 0:09:45It's the type of dress that a flapper would wear.
0:09:45 > 0:09:50Now, a flapper was a wild young thing of the 1920s
0:09:50 > 0:09:57who smoked cigarettes, drank alcohol and danced the Charleston all night.
0:09:57 > 0:10:01And she would dance in this type of dress.
0:10:01 > 0:10:02If we look at it,
0:10:02 > 0:10:07the design of it is looking forward to the Art Deco period.
0:10:07 > 0:10:09At that time, the slim look was in,
0:10:09 > 0:10:13so absolutely straight coming down to heavy borders
0:10:13 > 0:10:16and decoration of these wonderful silver glass beads
0:10:16 > 0:10:22that are falling in rounded columns here.
0:10:22 > 0:10:26And we have a sort of curvilinear design here,
0:10:26 > 0:10:31and then this straightforward more geometric design at the top.
0:10:31 > 0:10:32And I don't know what this is,
0:10:32 > 0:10:37but it might have been something that she'd wear in her headband,
0:10:37 > 0:10:43or maybe to keep herself cool after dancing the Charleston.
0:10:43 > 0:10:47It's in remarkably good condition, and this was your mother's?
0:10:47 > 0:10:49- No, grandmother's. - Your grandmother's?
0:10:49 > 0:10:53- Do you have any photographs of her in this dress?- No, sadly not, no.
0:10:53 > 0:10:56These things are extremely fragile now,
0:10:56 > 0:11:00- and they really aren't for everyday use.- No.
0:11:00 > 0:11:03I suppose it's the type of thing that you will find in a London
0:11:03 > 0:11:08vintage shop, and it could be bought by some glamorous film star
0:11:08 > 0:11:13to wear at the BAFTAs or something. Now, how have you kept it?
0:11:13 > 0:11:16- Has it been hung? - No, it's been in a cardboard box
0:11:16 > 0:11:18in the airing cupboard.
0:11:18 > 0:11:22That's probably one of the reasons why it's in such good condition.
0:11:22 > 0:11:27- Do you have daughters?- I do, yes. - Do they not fancy that?- No.
0:11:27 > 0:11:29- Not her type of thing? - No. Definitely not.- OK.
0:11:29 > 0:11:33The people who are interested in costume would be interested in this.
0:11:33 > 0:11:37It's iconic of the 1930s and of that period.
0:11:37 > 0:11:42The value of this type of thing is often dependent on the condition,
0:11:42 > 0:11:45and if we look at the back of this, Sally,
0:11:45 > 0:11:51we can see a little hole there, and a couple of wee holes here.
0:11:52 > 0:11:55So there's maybe some mice in the airing cupboard!
0:11:55 > 0:11:57But it's not bad.
0:11:57 > 0:12:02And the important part of it, with these wonderful silver glass beads
0:12:02 > 0:12:05in this marvellous pattern, it's quite whole.
0:12:05 > 0:12:09- Have you any idea of the value on it?- No. No idea.
0:12:09 > 0:12:11I think to put it into auction
0:12:11 > 0:12:16with an estimate around about £60-£80 might be the way to do it.
0:12:16 > 0:12:19- Would you be happy to sell it? - Yes, I think so.
0:12:19 > 0:12:21- If there was a fixed reserve on it, I think.- Uh-huh.
0:12:21 > 0:12:25- Shall we put a reserve of £60?- Yep. - She's wonderful though.- Thank you.
0:12:25 > 0:12:29- Absolutely marvellous. Thank you for bringing it along.- Thank you.
0:12:29 > 0:12:34Vintage or retro textiles and shoes are all the rage.
0:12:34 > 0:12:36It's an exciting and growing collectables field,
0:12:36 > 0:12:39with items getting ever increasing prices.
0:12:39 > 0:12:43And we've had some stunners on the show. Just take a look at these.
0:12:44 > 0:12:48The Liberty of London dress coat, £380. On the telephone now.
0:12:48 > 0:12:50£380!
0:12:52 > 0:12:55The stitched patchwork quilt at £520 I sell...
0:12:55 > 0:12:56And the hammer's gone down.
0:12:56 > 0:12:59That's a nice figure, £520.
0:12:59 > 0:13:02345 is this kimono.
0:13:02 > 0:13:04The advance on £700, the kimono.
0:13:04 > 0:13:09Yes, the hammer has gone down. £700!
0:13:09 > 0:13:12So, if you have something special hanging in the wardrobe, or boxed
0:13:12 > 0:13:14in the loft, get it down, shake it out
0:13:14 > 0:13:16and bring it along to "Flog It!".
0:13:18 > 0:13:20We are now halfway through our day.
0:13:20 > 0:13:21Our experts have been working flat out
0:13:21 > 0:13:24and we have found the first items to take off to auction.
0:13:24 > 0:13:26I've got my favourite, so you've probably got yours.
0:13:26 > 0:13:29But you know the game, it's all down to the bidders in the sale room.
0:13:29 > 0:13:32Here's a quick recap of what's going under the hammer.
0:13:32 > 0:13:35Emmanuel Levy's pastels sketch of the Paris Metro is sure
0:13:35 > 0:13:39to draw in collectors of the Northern or Manchester school.
0:13:40 > 0:13:43It might not be Gay's best friend,
0:13:43 > 0:13:45but this diamond ring is bound to get the bidders talking.
0:13:48 > 0:13:52And Sally's beaded 1920s flapper dress, a timeless classic,
0:13:52 > 0:13:55will surely get the vintage market raving.
0:14:00 > 0:14:03Today our auction room is just outside of Newcastle
0:14:03 > 0:14:05in the picturesque village of East Boldon.
0:14:07 > 0:14:10The bidders have been sizing up the items here today,
0:14:10 > 0:14:12and this little auction house is packed.
0:14:12 > 0:14:15Our auctioneer Giles Hodges has taken to the rostrum,
0:14:15 > 0:14:17and it's time to meet our first seller.
0:14:19 > 0:14:23If I said the Great Gatsby, you'd know what was coming up next,
0:14:23 > 0:14:26wouldn't you? Yes, it's that flapper dress belonging to Sally.
0:14:26 > 0:14:29It's absolutely wonderful.
0:14:29 > 0:14:31We don't get that many textiles on the show, do we,
0:14:31 > 0:14:35but it's really nice when one of our lady experts talks about them.
0:14:35 > 0:14:38- And I saw you modelling it like that.- Yes!
0:14:38 > 0:14:42And of course, it's that fast, frantic bead motion which
0:14:42 > 0:14:44causes the flap, and that's why they're called flapper dresses.
0:14:44 > 0:14:48Good luck with this, because I think it's absolutely divine, I really do.
0:14:48 > 0:14:51- And the condition is good too. - It is. Yep.- Why are you selling it?
0:14:51 > 0:14:55It has been sat in a box in the airing cupboard all my life.
0:14:55 > 0:14:59- So, 30 years it's sitting in a box. - OK. Let somebody else enjoy it.
0:14:59 > 0:15:01It's going under the hammer right now.
0:15:01 > 0:15:061920s black silver beaded flapper dress, off we go again.
0:15:06 > 0:15:08One, two, three, four bids.
0:15:08 > 0:15:12I start at £110.
0:15:12 > 0:15:14- Brilliant.- 110, straight in.
0:15:14 > 0:15:18120, anybody? 120, we're on the internet.
0:15:18 > 0:15:25The commission bids are out. At £120. £130 on the internet. 130.
0:15:25 > 0:15:27At 130 it's on the net.
0:15:27 > 0:15:29140, yes or no?
0:15:29 > 0:15:34I shall sell, make no mistake, at £130 to the internet, all done.
0:15:34 > 0:15:38- Brilliant.- Yes, good. - That was a good result.
0:15:38 > 0:15:41The condition counts, doesn't it? It really does.
0:15:41 > 0:15:46- Enjoy the money.- Yes, I will!- Buy yourself a new frock.- I will, yes!
0:15:49 > 0:15:51The women of Tyneside seem to be selling their glamorous
0:15:51 > 0:15:55pieces today. There's always a market for bling.
0:15:55 > 0:15:58Gay, I normally say diamonds are a girl's best friend,
0:15:58 > 0:16:01- but in your case they are not, are they?- No.- You don't wear them?
0:16:01 > 0:16:03Well, I do. I've got this one.
0:16:03 > 0:16:05- But that was my mother's, so that's sentimental.- OK.
0:16:05 > 0:16:09This is a nice diamond solitaire ring. We're looking at £200-£300.
0:16:09 > 0:16:12- It has been in the family a bit of time, hasn't it?- It has, yes.
0:16:12 > 0:16:14But I never actually saw anyone wearing it,
0:16:14 > 0:16:17so it's not really got any sentimental value.
0:16:17 > 0:16:20Right, let's hopefully get that top end and put the money to good use.
0:16:20 > 0:16:23That's what it's all about. Is it a quality stone?
0:16:23 > 0:16:26It has got a flaw in the middle. That might put some people off.
0:16:26 > 0:16:29- Colour's good, clarity's good? Cut's good?- Colour's good.
0:16:29 > 0:16:32It's a sparkler, put it that way. And it's going to sparkle right now.
0:16:32 > 0:16:34- It's going under the hammer. Good luck, both of you.- Thank you.
0:16:34 > 0:16:40The 18 carat gold diamond solitaire ring. I'm bid 100 to start it.
0:16:40 > 0:16:45120, 140, 160, 180, 200.
0:16:45 > 0:16:48- It's in the room at 200.- Nice.- Good.
0:16:48 > 0:16:51Anyone on the internet? At £200, 220, anybody?
0:16:53 > 0:16:58£200, we're away. All done at £200.
0:17:00 > 0:17:03- And it's gone.- It's gone for what we said.- That was the flaw, wasn't it?
0:17:03 > 0:17:06- It was the flaw. I thought it might. - The lower end.- But it sold.
0:17:06 > 0:17:08And you didn't want it.
0:17:08 > 0:17:11Well, I didn't mind if I took it home, but I'm glad it's gone.
0:17:11 > 0:17:15- Because now I can spend the money. - Exactly! Good stuff.
0:17:15 > 0:17:19And here's one last chance to see that lovely Emmanuel Levy pastel
0:17:19 > 0:17:21before it goes under the hammer.
0:17:21 > 0:17:24Good luck, Edward. I hope we get the top end of the estimate.
0:17:24 > 0:17:27I'm talking about the pastel which is going under the hammer now of
0:17:27 > 0:17:29the Metro, the underground in Paris,
0:17:29 > 0:17:31by Emmanuel Levy, a Manchester artist.
0:17:31 > 0:17:34Fingers crossed there's a few phone lines booked from Manchester.
0:17:34 > 0:17:37Because the Northern School love their stuff. They really do.
0:17:37 > 0:17:40- In fact, I like this. And I reckon you like this.- I really like it!
0:17:40 > 0:17:42So please, please, please, give me
0:17:42 > 0:17:46a really good explanation of why you want to sell this and not keep it.
0:17:46 > 0:17:48I don't know. I've got loads of pieces of art in my house,
0:17:48 > 0:17:50and it was one of a selection, to be honest.
0:17:50 > 0:17:53- It could have a bit of potential this, couldn't it?- Fingers crossed.
0:17:53 > 0:17:57Yeah, it's a lovely little picture, and the subject is charming.
0:17:57 > 0:18:00You're looking at around £120, aren't you? £130 or £140?
0:18:00 > 0:18:03- We want as much as possible. - Of course you do!
0:18:03 > 0:18:04We all want as much as possible.
0:18:04 > 0:18:06Let's find out what the bidders think of it.
0:18:06 > 0:18:08- Thank you.- That's what you've come for, isn't it?- Top job.
0:18:08 > 0:18:11The Emmanuel Levy, the pastel, the French underground.
0:18:11 > 0:18:15And I'm bid £50 to start it. At 50, at 55.
0:18:15 > 0:18:2160, five, 70, five, 80, five, 90, five,
0:18:21 > 0:18:24100, 10, 110 bid.
0:18:24 > 0:18:26At £110. Anybody else?
0:18:26 > 0:18:29No? At 120, we're back downstairs.
0:18:29 > 0:18:36At £120, the internet's quiet. At £120. All told, at 120.
0:18:36 > 0:18:41- The hammer's has gone down, 120. - Bang on.- You're happy with that?
0:18:41 > 0:18:44Yeah, I'm happy with that. It looks like someone nice has got it.
0:18:44 > 0:18:46You've got plenty more you can enjoy,
0:18:46 > 0:18:48and hopefully you'll get a lot more.
0:18:48 > 0:18:50I gather with your job you do house clearances,
0:18:50 > 0:18:52- and these things come along? - Yeah, every now and again
0:18:52 > 0:18:54something comes up.
0:18:54 > 0:18:58Keeping the auction rooms busy, that's what he's doing, isn't he?!
0:18:59 > 0:19:02220, 230...
0:19:04 > 0:19:07Well, the hammer has just gone down on our last lot for the first
0:19:07 > 0:19:08visit to the sale room here,
0:19:08 > 0:19:11and we've sold everything, so everyone has gone home happy so far.
0:19:11 > 0:19:14We're coming back later on in the programme, so don't go away.
0:19:14 > 0:19:17But here, we're surrounded by fine art and antiques,
0:19:17 > 0:19:21pieces that tend to be chosen by individuals to furnish their house.
0:19:21 > 0:19:25But what happens when a piece of artist is chosen for an entire town?
0:19:25 > 0:19:28Well, I headed down the road to Gateshead to find out.
0:19:37 > 0:19:40The Angel Of The North, created by artist and sculptor
0:19:40 > 0:19:43Antony Gormley, is a striking piece of public art.
0:19:43 > 0:19:45It is absolutely awesome.
0:19:45 > 0:19:49But its existence has been met with some considerable controversy.
0:19:52 > 0:19:55The issue for us is what it's always been, is what the people want,
0:19:55 > 0:19:57and all the evidence that we have
0:19:57 > 0:19:59is that people don't want this statue.
0:19:59 > 0:20:0415 years ago, when the 20m long, 208 tonne Angel
0:20:04 > 0:20:08made its journey from a steel manufacturer in Hartlepool
0:20:08 > 0:20:13to its home in Gateshead, the area was ravaged by unemployment.
0:20:13 > 0:20:16An end to the shipbuilding industry and the huge decline in mining
0:20:16 > 0:20:19had left a chasm of despair in the community.
0:20:22 > 0:20:25So, for many people at the time, art was very much at the bottom
0:20:25 > 0:20:26of their agenda,
0:20:26 > 0:20:30and it's during this poor economic climate that Antony Gormley's
0:20:30 > 0:20:32bold sculpture, based on his own body form,
0:20:32 > 0:20:35costing nearly £1 million, arose.
0:20:37 > 0:20:40I still think you could spend the money somewhere better than
0:20:40 > 0:20:42what that is, like.
0:20:42 > 0:20:46I know they won't, and they haven't. But I still think you could.
0:20:49 > 0:20:52Oh, it was going to be 300 to start with.
0:20:52 > 0:20:54And that wasn't a bargain either.
0:20:54 > 0:20:57I think they could spend that money on better stuff than that, like.
0:20:57 > 0:20:59Mick Henry, head of Gateshead Council,
0:20:59 > 0:21:02was around in the early days of the Angel.
0:21:02 > 0:21:06What sort of attitudes existed within the council about the Angel
0:21:06 > 0:21:09- Of The North back in the '90s? - There was a sense of risk.
0:21:09 > 0:21:12The Angel was being seen as something very, very controversial,
0:21:12 > 0:21:14so, "Can we do this? Should we do this?"
0:21:14 > 0:21:16And I remember the then leader of the council
0:21:16 > 0:21:19actually called himself a Philistine, an arts Philistine.
0:21:19 > 0:21:22But he was from a mining heritage.
0:21:22 > 0:21:24But he knew that we needed to do something for the future
0:21:24 > 0:21:25for Gateshead.
0:21:25 > 0:21:29So everybody in the council was on board with this, eventually.
0:21:29 > 0:21:33But many people were not won over, and one local councillor,
0:21:33 > 0:21:36Jonathan Wallace, who opposed the angel at the time,
0:21:36 > 0:21:40felt that the money should have been spent on community art projects.
0:21:40 > 0:21:43We are particularly saying nowadays, when money is even tighter,
0:21:43 > 0:21:49would you spend such a huge sum of money on one single piece of art?
0:21:49 > 0:21:54Or would you want to get more art out into the community so that
0:21:54 > 0:21:59individual groups and community groups are actually more involved?
0:21:59 > 0:22:01- We- were- doing community project, and if you look
0:22:01 > 0:22:03at the history of Gateshead, it wasn't one thing or the other.
0:22:03 > 0:22:05We were very, very active in community projects
0:22:05 > 0:22:07as well as community art.
0:22:07 > 0:22:09People always think money should be spent on something else,
0:22:09 > 0:22:12and you have to explain that it comes from different purses,
0:22:12 > 0:22:14that we wouldn't have had the money to do other things
0:22:14 > 0:22:18if we hadn't done the Angel. It came from private funding, some Arts Council funding,
0:22:18 > 0:22:21and we just wouldn't have got it for other things.
0:22:21 > 0:22:24For its creator, Antony Gormley, the Angel is about many things.
0:22:24 > 0:22:27But poignantly, beneath this spot where we stand right now,
0:22:27 > 0:22:30coal miners worked for two centuries.
0:22:30 > 0:22:32And the area's renowned for its shipbuilding.
0:22:32 > 0:22:36So this sculpture marks the region's industrial heritage, making the
0:22:36 > 0:22:41transition between the industrial age and the age of information.
0:22:41 > 0:22:43It certainly has an incredibly strong presence.
0:22:43 > 0:22:47Some have described it as magical, and even spiritual.
0:22:47 > 0:22:49Anthony Gormley said he created an angel
0:22:49 > 0:22:53because no-one has ever seen one, and we need to keep imagining them.
0:22:53 > 0:22:56He felt this spot called out for a feature which would link Earth
0:22:56 > 0:22:59and sky. In some way the pose
0:22:59 > 0:23:02is quite like the Crucifixion, symbolic, perhaps,
0:23:02 > 0:23:07of a modern-day saviour for a disenfranchised generation.
0:23:07 > 0:23:10In an area that has suffered mass unemployment,
0:23:10 > 0:23:14and all that goes with that, the Angel does seem to have
0:23:14 > 0:23:19raised morale, and given many people a sense of pride in Gateshead.
0:23:19 > 0:23:20And after all the early outrage,
0:23:20 > 0:23:25one symbolic act by Newcastle United fans marked the turning point,
0:23:25 > 0:23:28the moment when the people of Gateshead and Tyneside
0:23:28 > 0:23:32accepted Antony Gormley's sculpture as their own.
0:23:32 > 0:23:36Making it the people's art, as it was always intended.
0:23:36 > 0:23:38NEWSREADER: It was six in the morning.
0:23:38 > 0:23:41Wives and children joined in the carnival atmosphere,
0:23:41 > 0:23:43but it lasted just 20 minutes.
0:23:43 > 0:23:44The police had been called,
0:23:44 > 0:23:48and as the long arm of the law closed in, the shirt was removed.
0:23:48 > 0:23:50But even the officers got a kick out of it.
0:23:50 > 0:23:51It's a tribute to Alan Shearer,
0:23:51 > 0:23:56but it's also really done some good for the Angel.
0:23:56 > 0:23:59I think a lot more people now will like the Angel,
0:23:59 > 0:24:01now it's had a Newcastle shirt on.
0:24:06 > 0:24:08For me, I think it just represents home.
0:24:08 > 0:24:10You know, when you've been away on holiday or away
0:24:10 > 0:24:13somewhere down south, and then you're coming back,
0:24:13 > 0:24:15it's one of the first things you see on the motorway.
0:24:15 > 0:24:18I actually first saw it from the train a couple of years ago
0:24:18 > 0:24:20on the way past.
0:24:20 > 0:24:22And knowing we were coming up here, I said to my husband,
0:24:22 > 0:24:25"Let's actually going see it up close and personal."
0:24:25 > 0:24:28I love it. I just love it. I think it's beautiful.
0:24:28 > 0:24:30I suppose there's just something about it,
0:24:30 > 0:24:35the fact that it's this big, rusty, metal, beautiful object.
0:24:35 > 0:24:38For me, I sort of like associate it with the mining heritage,
0:24:38 > 0:24:40and stuff like that, of the north-east.
0:24:42 > 0:24:44They've regenerated Gateshead in all kinds of ways,
0:24:44 > 0:24:48and that was about, do we keep on looking... You know, celebrate it,
0:24:48 > 0:24:51but do we keep harking on to ship building and mining,
0:24:51 > 0:24:54which is part of my heritage? Or do we actually try to create a new one?
0:24:54 > 0:24:57And that's what we've been trying to do. The Angel symbolises that.
0:24:58 > 0:24:59Even Jonathan Wallace,
0:24:59 > 0:25:02who stood by his opposition in the early days, seems to have had
0:25:02 > 0:25:06a change of heart, and now can't imagine Gateshead without it.
0:25:09 > 0:25:13It would be like Paris selling off the Eiffel Tower,
0:25:13 > 0:25:20and getting rid of it, or New York getting rid of the Statue Of Liberty.
0:25:20 > 0:25:25It's a symbol for that city, and this is now a symbol for our area.
0:25:25 > 0:25:27And despite all the controversy, despite the fact that
0:25:27 > 0:25:31I was involved in fighting it, if you were to take it away now,
0:25:31 > 0:25:34I would probably be there at the front,
0:25:34 > 0:25:37in front of the bulldozer, saying, "Over my dead body."
0:25:52 > 0:25:54Welcome back to our valuation day here at the Discovery Museum
0:25:54 > 0:25:56in Newcastle.
0:25:56 > 0:25:59We still have pretty much a full house, and more and more people
0:25:59 > 0:26:01are still arriving laden with antiques and collectables.
0:26:01 > 0:26:04Just take a look at this lot. Give us a wave and a smile!
0:26:04 > 0:26:06You're all on telly!
0:26:07 > 0:26:09Right, let's find some more antiques to take off to auction.
0:26:10 > 0:26:15And somewhere in this extensive museum is Nick Davies.
0:26:17 > 0:26:20OK, John, you've brought some interesting bits and pieces.
0:26:20 > 0:26:23A bit of local history here. Tell me about how they came here.
0:26:23 > 0:26:27Well, I was a demolition worker, way back in the '80s.
0:26:29 > 0:26:32And I got this one from Hams Hall Power Station,
0:26:32 > 0:26:33down Birmingham way.
0:26:33 > 0:26:37They'd come to knock down the turbine hall,
0:26:37 > 0:26:40- and I got my eye on this.- OK.
0:26:40 > 0:26:42I'd asked the engineer permission to have it.
0:26:42 > 0:26:44- Excellent. What with being from the north-east.- Yes.
0:26:44 > 0:26:46I thought, a bit of nostalgia for me.
0:26:46 > 0:26:49And he says, "Yes, if you dismantle it yourself, take it off."
0:26:49 > 0:26:52And I says, will I need a chitty to get it through security?
0:26:52 > 0:26:55- You know, to keep things all above board?- Absolutely.
0:26:55 > 0:27:00- So he did that for us, and I took it home.- Was the wife pleased?
0:27:00 > 0:27:04Oh, yes, aye. I'll say. It was in the coal house for 28 years.
0:27:04 > 0:27:0528 years it's been in your coal house?
0:27:05 > 0:27:08It's been in the coal house for 28 years.
0:27:08 > 0:27:10These things don't come by every other weekend,
0:27:10 > 0:27:12so I thought, I've got them, I'll keep them.
0:27:12 > 0:27:15But I've kept them a bit too long. That's why I'm getting shot of them.
0:27:15 > 0:27:18Well, it's CA Parsons And Co.
0:27:18 > 0:27:21as we can quite easily read around the outside. Newcastle Upon Tyne.
0:27:21 > 0:27:24Charles Algernon Parsons And Co Limited,
0:27:24 > 0:27:25they invented the steam turbine.
0:27:25 > 0:27:28- And the Turbinia, the great ship's here.- Yes.
0:27:28 > 0:27:31- It was the fastest ship of its day, I believe.- I didn't know that.
0:27:31 > 0:27:35- And they also... The steam turbines are right behind us.- Right.
0:27:35 > 0:27:38There we are, we can see the name on the side of the steam turbine there.
0:27:38 > 0:27:40CA Parsons And Co.
0:27:40 > 0:27:43For this type of thing as well, and enamel tin signs, etc,
0:27:43 > 0:27:45they often have a little bit of damage.
0:27:45 > 0:27:47And we've got some scratching in the middle here,
0:27:47 > 0:27:50and a bit of paint flaking, etc, and losses.
0:27:50 > 0:27:53But I think for something of this era and this weight, it's acceptable.
0:27:53 > 0:27:56You've brought some other bits and pieces as well.
0:27:56 > 0:27:58Were all these from various jobs?
0:27:58 > 0:28:01- No, this was from Plymouth Power Station.- Plymouth Power Station.
0:28:01 > 0:28:04- You moved around a bit, didn't you? - I did, I certainly did, yeah.
0:28:04 > 0:28:06So, tell me about the one at the front.
0:28:06 > 0:28:08Well, this one came from Plymouth Power Station also
0:28:08 > 0:28:10- and then finished up in the coal house.- Right.
0:28:10 > 0:28:14As I say, for 28 year until I finally decided how to get shot of them.
0:28:14 > 0:28:16Right. I think it's great, a bit of local history.
0:28:16 > 0:28:19- I mean, you can't get any more local, can you?- No, you can't, no.
0:28:19 > 0:28:20It's fantastic.
0:28:20 > 0:28:24It does weigh a tonne. These two are London & Renfrew, Glasgow.
0:28:24 > 0:28:26- That's correct.- Those two. And this...
0:28:26 > 0:28:29You know what this model is in the middle? This sort of logo here?
0:28:29 > 0:28:31- Well, it's the world, as you see, with the steam.- That's right.
0:28:31 > 0:28:34But it's a copy of Archimedes's first steam boiler.
0:28:34 > 0:28:37What Archimedes did - put in a boiler,
0:28:37 > 0:28:41a pan of water on some struts. And in the middle was this
0:28:41 > 0:28:44globe, all right, that heated through the water.
0:28:44 > 0:28:47And outside, above and below, were two steam jets that spun round.
0:28:47 > 0:28:51And that's what that's copying - Archimedes's steam theory.
0:28:51 > 0:28:52- Right you are. - That explains the logo.
0:28:52 > 0:28:55They obviously put the world in because they provided steam
0:28:55 > 0:28:57- for the world. - Of course. Right you are.
0:28:57 > 0:28:59So there's a nice bit of local history.
0:28:59 > 0:29:01Signs are always quite popular.
0:29:01 > 0:29:03So, what do we think about value?
0:29:03 > 0:29:05- I couldn't honestly tell you how much they're worth.- No?
0:29:05 > 0:29:07I couldn't. I have no idea.
0:29:07 > 0:29:11- Well, I think your Parsons' one is probably worth £60 to £80.- Mm-hm.
0:29:11 > 0:29:16I think the two Babcock & Wilcox, the pair of them might do £40.
0:29:16 > 0:29:20And your Yarrow one's probably only around about 15 or 20.
0:29:20 > 0:29:23- Well, there you are. But that's your opinion, mate.- That's my opinion.
0:29:23 > 0:29:26- And I'll tell you what, not a lot of people listen to my opinion.- No, no.
0:29:26 > 0:29:27And I'm pleased about that.
0:29:27 > 0:29:30We'll put them through to sale if you're happy with that.
0:29:30 > 0:29:31Yes, I am, yeah.
0:29:31 > 0:29:34- We'll work out a reserve price on them as well.- Right you are.
0:29:34 > 0:29:36- Unless you want to just let them fly and see how we get on.- Yes.
0:29:36 > 0:29:39- Let the steam fly. - I will do, let the steam fly.
0:29:39 > 0:29:41- Yeah? We'll give them a go. - Well, I'm OK with that.- Excellent.
0:29:41 > 0:29:44- Thanks ever so much, John. - No bother. Thank you.
0:29:44 > 0:29:47Well, I'm not exactly sure where Nick was in this cavernous
0:29:47 > 0:29:51Victorian building, dating back to 1899.
0:29:51 > 0:29:53If you look at these wonderful handmade tiles,
0:29:53 > 0:29:56they are every inch Victorian in character,
0:29:56 > 0:29:59as are the steel girders holding up this room.
0:29:59 > 0:30:02But if you look at the ceiling, you'll see something
0:30:02 > 0:30:03of the 1930s creeping in -
0:30:03 > 0:30:06those wonderful Art Deco lights.
0:30:06 > 0:30:08Although the recession had really hit,
0:30:08 > 0:30:09the Co-operative Wholesale Society
0:30:09 > 0:30:12was in fact doing very well at this time.
0:30:14 > 0:30:17And the management area itself is living proof.
0:30:17 > 0:30:19It was at this time that these areas had a makeover.
0:30:19 > 0:30:22And when you look closely, you can see the wonderful marble walls,
0:30:22 > 0:30:24beautifully selected.
0:30:24 > 0:30:26Behind me, you can't miss it, the stained-glass window,
0:30:26 > 0:30:28the rising sun,
0:30:28 > 0:30:30such a familiar motif with the co-op.
0:30:30 > 0:30:32It is sort of, you rise in the morning and you smile
0:30:32 > 0:30:34and you are going to have a good day.
0:30:34 > 0:30:36And have you noticed the wheat in the field look?
0:30:36 > 0:30:40And the motif is one ear of wheat cannot stand by itself,
0:30:40 > 0:30:42but with others, it can.
0:30:42 > 0:30:46It's a symbol of strength in unity. Isn't that lovely?
0:30:46 > 0:30:49The decorative aspects of the maker that didn't stop there,
0:30:49 > 0:30:54and perhaps the most flamboyant is the peacock blue gentlemen's toilets
0:30:54 > 0:30:59and managers' loos with their mosaic tiles, stained-glass and mirrors.
0:30:59 > 0:31:01Well, it is probably time we head back
0:31:01 > 0:31:05and take a look at our next item, also from the 1930s.
0:31:05 > 0:31:06Karen,
0:31:06 > 0:31:12- this little clog is instantly recognizable.- Yes, it is.
0:31:12 > 0:31:15- You know what it is. - I do, yes, Clarice Cliff.
0:31:15 > 0:31:18Some people love Clarice Cliff, some people hate them.
0:31:18 > 0:31:20I love Clarice Cliff.
0:31:20 > 0:31:22I loved her because she was a rebel,
0:31:22 > 0:31:27she was a genius and she was clever enough to marry the boss.
0:31:27 > 0:31:31- Yes.- Tell me, where did you get this?
0:31:31 > 0:31:34I got it from a friend of mine who is sadly gone now.
0:31:34 > 0:31:37And I was just at the house one day, admired it,
0:31:37 > 0:31:40saw it was just lying on a windowsill, and I said,
0:31:40 > 0:31:43"We need to put this in a cabinet to keep it safe."
0:31:43 > 0:31:45And she just went, "No, you can have it."
0:31:45 > 0:31:48An argument sort of went on, and I always lose arguments with her,
0:31:48 > 0:31:52so I brought it home and put it in the cabinet.
0:31:52 > 0:31:56So you are obviously like me, an admirer of Clarice Cliff.
0:31:56 > 0:31:58Yes, I do like some of her stuff. I like the colours
0:31:58 > 0:32:00and I like that era, you know.
0:32:00 > 0:32:03- Let's look at it a wee bit more carefully.- Yeah.
0:32:03 > 0:32:04It is in the shape of a little clog,
0:32:04 > 0:32:08so it would have been a novelty item. But quite interesting.
0:32:08 > 0:32:12If we look at the underneath, we see that it is in the Bizarre range,
0:32:12 > 0:32:17Fantasque, and we see the signature of Clarice Cliff here.
0:32:17 > 0:32:20This would have been made in the 1930s.
0:32:20 > 0:32:24- And the pattern is called the Melon pattern.- All right.
0:32:24 > 0:32:28So we can identify that exactly to the time.
0:32:28 > 0:32:31What I like about this particular pattern
0:32:31 > 0:32:33and this particular colour weave,
0:32:33 > 0:32:38is I love the combination of blue and yellow and orange there.
0:32:38 > 0:32:42I think they shout at you, they shout Clarice Cliff.
0:32:42 > 0:32:45I was a bit concerned that there wasn't colour all over.
0:32:45 > 0:32:47I thought it would have been coloured in.
0:32:47 > 0:32:50And I just thought maybe it was missed on the production line
0:32:50 > 0:32:54- or something.- Well, the production line of Clarice Cliff's
0:32:54 > 0:32:56studio or workshop,
0:32:56 > 0:32:59- there wouldn't have been machines there.- No, no.
0:32:59 > 0:33:03What you had were a group of good-looking women called
0:33:03 > 0:33:08the Clarice Girls who were trained by Clarice Cliff,
0:33:08 > 0:33:11who executed her designs.
0:33:11 > 0:33:15- Yes.- So she wouldn't have been letting anybody miss bits out.
0:33:15 > 0:33:20- If that bit is missed out, it's meant to be missed out.- OK, yeah.
0:33:20 > 0:33:23So, we know the Clarice Cliff is sought after,
0:33:23 > 0:33:25and this is an unusual little object.
0:33:25 > 0:33:28- What you think on value? - I don't know.
0:33:28 > 0:33:33I know they came in different sizes. I don't know, £100?
0:33:33 > 0:33:35- I think you're very good.- Yeah.
0:33:35 > 0:33:40I think you are just right on the spot there. And if we estimate it...
0:33:40 > 0:33:43- Let's make it low and wide.- Right.
0:33:43 > 0:33:45£100 to £200,
0:33:45 > 0:33:50- and that is giving plenty of expansion.- Yeah.
0:33:50 > 0:33:54Plenty of expansion. But I think we will put a reserve on it.
0:33:54 > 0:33:57- Yes, I'd like a reserve on it. - I think we should put a £100
0:33:57 > 0:34:00reserve, are you happy with that?
0:34:00 > 0:34:02- Yeah, that sounds OK. - Let's go ahead.- Yeah.
0:34:02 > 0:34:05So, thank you very much. Thanks for bringing that along.
0:34:05 > 0:34:08- Lovely to meet you. - We'll see you at the auction.
0:34:08 > 0:34:12Over to Nick now, who is next to the Turbinia steamship
0:34:12 > 0:34:14in the main foyer.
0:34:14 > 0:34:16- Well there, welcome to "Flog It!"...- Thank you.
0:34:16 > 0:34:18- ..on this lovely sunny day in the Northeast.- Yes.
0:34:18 > 0:34:21- And you've brought us a box. - Yes.- Which is very nice.
0:34:21 > 0:34:23But it's what is inside that I prefer, let's have a little look.
0:34:23 > 0:34:27There we are. We've got a nice silver aide memoir.
0:34:27 > 0:34:29That's a posh word for a notebook, really.
0:34:29 > 0:34:31But tell me all about it, how did you come by it?
0:34:31 > 0:34:35- Well, it belonged to my husband's aunt.- Right.
0:34:35 > 0:34:39- And she died, so him and his cousin were clearing the house out.- OK.
0:34:39 > 0:34:41- And he came home with this. - Excellent.
0:34:41 > 0:34:44And unfortunately, it has been in a drawer ever since.
0:34:44 > 0:34:47So you've never used it. You've never really looked at it.
0:34:47 > 0:34:50- It has been stuck in a drawer for how many years?- About 20.
0:34:50 > 0:34:53About 20 years! My goodness me. Right, let me tell you all about it.
0:34:53 > 0:34:56It is an aide memoir. It is hallmarked silver.
0:34:56 > 0:34:58- There is a little hallmark down here.- Oh, right.
0:34:58 > 0:35:00We can date it to... How old do you think?
0:35:00 > 0:35:04- About 1900?- A little bit earlier, but not bad. 1887.- Oh, right.
0:35:04 > 0:35:06- And it was made in Birmingham. - Right.
0:35:06 > 0:35:08It's actually made by a company called Charles Cheshire,
0:35:08 > 0:35:12who were based in Northampton, Birmingham, in the Jewellery Quarter.
0:35:12 > 0:35:15And if I just take it out of the box gently like that...
0:35:15 > 0:35:18- It's also marked on the back, you can see there.- Yes.
0:35:18 > 0:35:21We've got all this lovely foliate engraved decoration around it.
0:35:21 > 0:35:25If we open it up nice and carefully, with that finger the button there,
0:35:25 > 0:35:28and we've got a little ivorine card there and a little pencil there,
0:35:28 > 0:35:31- and that's for your dance card, I would have thought.- Yeah.
0:35:31 > 0:35:34You've got a little card case there for the gentleman caller's card.
0:35:34 > 0:35:36- Right.- And we close it up, and we've got more
0:35:36 > 0:35:38of the foliate scrolls on both sides.
0:35:38 > 0:35:41The other nice thing about this, it's quite nice and local.
0:35:41 > 0:35:43In the lid here, we have got Reid & Sons Goldsmiths
0:35:43 > 0:35:46and Jewellers to the Queen and the Prince of Wales,
0:35:46 > 0:35:49- Newcastle on Tyne.- Yes. - That would have been the retailer.
0:35:49 > 0:35:52- Yes.- The nice thing about it, it's in its original box and it is in
0:35:52 > 0:35:55- really good condition, having left it in the door for 20 years.- Yes.
0:35:55 > 0:35:58Looks like your aunt left it in for a few years before that.
0:35:58 > 0:36:01- I think she must have done, yes. - So we come down to value.
0:36:01 > 0:36:03- There are collectors for this type of thing.- Right.
0:36:03 > 0:36:07There are certain card cases and makers who are, shall we say,
0:36:07 > 0:36:09- Premier League, people like Nathaniel Mills.- Mm-hm.
0:36:09 > 0:36:11But this is a good, solid manufacturing jeweller
0:36:11 > 0:36:13- from Birmingham.- Right.
0:36:13 > 0:36:18I would probably put it in, £150 to £200.
0:36:18 > 0:36:21- And put a reserve on it around about 120, just to look after it.- Yes.
0:36:21 > 0:36:23- How does that sound? - Yes, that sounds fine.
0:36:23 > 0:36:27- Yes, that's about what I thought. - About what you thought?- Yeah.- Good.
0:36:27 > 0:36:30We can swap places next. I hope that has been helpful.
0:36:30 > 0:36:33- Oh, yes, very.- And we'll see you at the auction, fingers crossed.
0:36:33 > 0:36:34Lovely.
0:36:38 > 0:36:40Well, there you are, our final items of the day.
0:36:40 > 0:36:44So sadly, it is time to say goodbye to the Discovery Museum,
0:36:44 > 0:36:47our magnificent venue for today, entrenched in local history.
0:36:47 > 0:36:50But we have to make our way over for the very last time to the
0:36:50 > 0:36:53Boldon Auction Galleries, and here is what is coming with us.
0:36:53 > 0:36:57John's industrial plaques have been divided into two lots
0:36:57 > 0:37:01and could be just the industrial feel that designers are looking for.
0:37:02 > 0:37:06Clarice Cliff lovers will be delighted by this novelty clog.
0:37:09 > 0:37:12And will the silver collectors hone in on this 19th century aide
0:37:12 > 0:37:15memoir in its original case?
0:37:23 > 0:37:26We are back at the Boldon Auction galleries to find out.
0:37:26 > 0:37:29And first up, it's those industrial plaques.
0:37:29 > 0:37:31Well, I've just been joined by John,
0:37:31 > 0:37:35and it is demolition time, let's face it, you were a demolition man.
0:37:35 > 0:37:36- What a cracking job!- It was, yes.
0:37:36 > 0:37:39That's where you came across these industrial nameplates.
0:37:39 > 0:37:41There's four of them, a bit of connection
0:37:41 > 0:37:44to the industrial Northeast here. In fact, a big, big connection.
0:37:44 > 0:37:46What do you think about value? What are you hoping for?
0:37:46 > 0:37:49- It's just potluck with me. - Potluck, OK. Well, I think...
0:37:49 > 0:37:51- He doesn't want them back. - We'll test the market.
0:37:51 > 0:37:53You don't want to be carrying home,
0:37:53 > 0:37:55putting them on the backseat of the car. You'll ruin it!
0:37:55 > 0:37:58- Yeah, they are very heavy. - There are heavy, aren't they?
0:37:58 > 0:38:00- Very heavy.- Optimistic about these? - We'll see.
0:38:00 > 0:38:03- They are fun, I think, really. - A bit of fun.
0:38:03 > 0:38:06And obviously, a lot of imagination needed to be creative with them
0:38:06 > 0:38:08to try and put them to another practical use.
0:38:08 > 0:38:11Maybe make a coffee table out of them or something.
0:38:11 > 0:38:13- A decorators' piece.- Garden furniture, something like that.
0:38:13 > 0:38:15You could make a coffee table, couldn't you?
0:38:15 > 0:38:18Yeah. Let's find out what the bidders think.
0:38:18 > 0:38:21Large, circular, industrial nameplate -
0:38:21 > 0:38:24CA Parsons & Company Limited, the Heaton Works.
0:38:24 > 0:38:26I have two commission bids.
0:38:26 > 0:38:28Two commission bids, John.
0:38:28 > 0:38:30Start straight in at £80. Five, anybody now.
0:38:30 > 0:38:33At £80, is there a fi...? 85.
0:38:33 > 0:38:37At £85, we are in the room. 90.
0:38:37 > 0:38:38Five.
0:38:38 > 0:38:42100. 110. 120.
0:38:42 > 0:38:45120 the back of the hall.
0:38:45 > 0:38:48At £120, we are all done on the Internet, too.
0:38:48 > 0:38:51At 120...
0:38:51 > 0:38:53- We're in.- Well, I'm happy. - I'm delighted.
0:38:53 > 0:38:56- Nick is absolutely delighted. What do you think?- Yeah, it's OK.
0:38:56 > 0:38:58- Is that all right?- Yes, yes.
0:38:58 > 0:39:01Well, we are happy with that. That is the first of the lots.
0:39:01 > 0:39:03We split this into two lots. Here is the second.
0:39:03 > 0:39:06Hopefully, we'll get around the same again. That would be nice.
0:39:06 > 0:39:08- Next one, yes. - You never know. This is it.
0:39:08 > 0:39:11We've got the Babcock & Wilcox Limited plates
0:39:11 > 0:39:15and the cast-iron Yarrow & Co, from Glasgow, plaque.
0:39:15 > 0:39:18Again, we are straight in, two commission bids.
0:39:18 > 0:39:2080 to start, five anybody now.
0:39:20 > 0:39:23At £80. It looks like that is going to be it.
0:39:23 > 0:39:25At £80, ladies and gents.
0:39:25 > 0:39:27Are we all done? At 80...
0:39:27 > 0:39:30Not so much that time, but a good result.
0:39:30 > 0:39:33- Yes, yes.- I tell you what, I think the same person bought both lots.
0:39:33 > 0:39:37- That's right.- Well done. Thank you for bringing that in.- Thank you.
0:39:37 > 0:39:40Whether it is heavy-duty industrial or delicate China
0:39:40 > 0:39:43you are trying to sell, the auction house is a brilliant place.
0:39:43 > 0:39:46But don't forget, sellers have to pay a commission.
0:39:46 > 0:39:47And here, it is...
0:39:51 > 0:39:53Well, so far, so good.
0:39:53 > 0:39:56And coming up now, bizarrely enough, is a clog,
0:39:56 > 0:39:59- and it is a left shoe, isn't it? - Yes, it is.
0:39:59 > 0:40:01It is the left shoe, am I right? It's not the right foot?
0:40:01 > 0:40:06Did they make pairs or were they all left feet? Karen, what do you think?
0:40:06 > 0:40:09- Probably didn't make pairs, I would think.- No, they're all left feet.
0:40:09 > 0:40:12- Why are you selling this? Do you like it?- I do like it.
0:40:12 > 0:40:15But I just brought it along and thought, "Well, give it a go."
0:40:15 > 0:40:17"What's it worth?" And hopefully, £200.
0:40:17 > 0:40:19Have you sold many of these clogs?
0:40:19 > 0:40:21Yes, lots and lots of them.
0:40:21 > 0:40:24They're not rare, but they are novelty
0:40:24 > 0:40:28and they bring a smile to folk's faces, and that is why we like them.
0:40:28 > 0:40:30Question is, will they pay top money for it?
0:40:30 > 0:40:32We are going to find out right now.
0:40:32 > 0:40:35We have got the little Clarice Cliff Melon pattern clog.
0:40:35 > 0:40:39- I have one, two, three, four bids. - Listen. Four bids.- Yes!
0:40:39 > 0:40:43I am straight in at 140.
0:40:43 > 0:40:47- 150 now.- Well, it sold, Karen, hasn't it?- It sure has.- 150 anybody?
0:40:47 > 0:40:51150. 160. 170.
0:40:51 > 0:40:55The bid is upstairs in the room at 170. Commissions are out.
0:40:55 > 0:41:00At £170, ladies and gentlemen. Are we all done? At 170...
0:41:00 > 0:41:02Yes! The hammer's gone down.
0:41:02 > 0:41:04That is a classic collectible, isn't it?
0:41:04 > 0:41:06It really is, yeah.
0:41:06 > 0:41:09Will you reinvest that money in antiques or...?
0:41:09 > 0:41:11No, I think I will just treat myself.
0:41:11 > 0:41:13We are going away for a couple of holidays,
0:41:13 > 0:41:14so we'll probably use it for that.
0:41:14 > 0:41:18- Yeah.- There you go. - Clarice Cliff never lets us down.
0:41:20 > 0:41:23Let's hope the same can be said of our next item.
0:41:25 > 0:41:28I like this next lot and I think it has got a lot going for it.
0:41:28 > 0:41:30It belongs to Beryl it's a silver aide-memoir.
0:41:30 > 0:41:32You look like you'd be collecting things like this.
0:41:32 > 0:41:34- Oh, yes.- Because it looks good
0:41:34 > 0:41:36in a vitrine with a few other little things, in a cabinet.
0:41:36 > 0:41:39- Yes, doesn't it?- Oh, I do collect things like that.- You do?- Oh, yes.
0:41:39 > 0:41:41Why you selling this one, then?
0:41:41 > 0:41:43It was to go towards a holiday, originally.
0:41:43 > 0:41:45- Where did you want to go? - Now, I've changed my mind.
0:41:45 > 0:41:47My grandson is getting married next year,
0:41:47 > 0:41:49so it is to go towards an outfit.
0:41:49 > 0:41:52Oh, how nice! Oh, right.
0:41:52 > 0:41:54New hat, new outfit, new shoes.
0:41:54 > 0:41:58- We need top dollar.- Yes.- Absolutely.
0:41:58 > 0:42:04Lovely case, Victorian silver aide memoir. Birmingham, 1894.
0:42:04 > 0:42:06On bid, 100 to start it.
0:42:06 > 0:42:08110. 120.
0:42:08 > 0:42:11130. 140.
0:42:11 > 0:42:14150. 160. 170.
0:42:14 > 0:42:18180. 190. 200.
0:42:18 > 0:42:22- No. At £200. All quiet on the net. - There is a bidder in the room.
0:42:22 > 0:42:25At £200... 210. 220.
0:42:25 > 0:42:27220 at the back.
0:42:27 > 0:42:31At £220, all done, ladies and gents?
0:42:31 > 0:42:34- 220.- £220!- Excellent, yes.
0:42:34 > 0:42:38- That's the hat and the shoes, possibly.- Yes.- Great day out.
0:42:38 > 0:42:39Great day out, yes. Thanks very much.
0:42:39 > 0:42:42And thank you for coming in, thank you so much.
0:42:42 > 0:42:43It just goes to show,
0:42:43 > 0:42:47beautiful objects will always sell well in the auction room.
0:42:47 > 0:42:49Well, that is it, the hammer has gone down on our last lot
0:42:49 > 0:42:51and it is all over.
0:42:51 > 0:42:54We've had a fabulous time here, all credit to our experts,
0:42:54 > 0:42:56because we have sold everything today,
0:42:56 > 0:42:59and it's not easy putting a value on an antique, as you know.
0:42:59 > 0:43:03So, from this extraordinary part of the country, rich in heritage, it is
0:43:03 > 0:43:05time to say goodbye to from the Northeast.
0:43:05 > 0:43:09So until the next time, with plenty more surprises on "Flog It!",
0:43:09 > 0:43:10it's goodbye.