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The city today has a long association with this, TV. | 0:00:05 | 0:00:08 | |
It's home to the world's longest-running soap drama. | 0:00:08 | 0:00:11 | |
CORONATION STREET THEME TUNE | 0:00:11 | 0:00:13 | |
And the award-winning programmes such as a Mastermind... | 0:00:14 | 0:00:17 | |
and Question Of Sport. | 0:00:17 | 0:00:19 | |
And just a few miles down the road, there's a media hub which | 0:00:19 | 0:00:23 | |
boasts state-of-the-art technology for the BBC. | 0:00:23 | 0:00:26 | |
ITV and dozens of other creative companies. | 0:00:26 | 0:00:29 | |
The city with a massive reputation for media is of course Manchester. | 0:00:29 | 0:00:34 | |
Welcome to Flog It. | 0:00:34 | 0:00:36 | |
Manchester's media legacy is not just confined to the box. | 0:00:56 | 0:01:01 | |
In 1821, a local newspaper called the Manchester Guardian, | 0:01:01 | 0:01:04 | |
was formed by cotton merchant, John Edward Taylor. | 0:01:04 | 0:01:08 | |
It became nationally important | 0:01:08 | 0:01:10 | |
and nearly 200 years later is still found on newsstands | 0:01:10 | 0:01:14 | |
across the country, albeit with a slightly different name. | 0:01:14 | 0:01:18 | |
And you can read all about it at our Flog It location, | 0:01:18 | 0:01:21 | |
the Museum of Science and Industry. | 0:01:21 | 0:01:23 | |
The front-page news starts here | 0:01:25 | 0:01:27 | |
at the doors of our Flog It valuation day. | 0:01:27 | 0:01:30 | |
We've got our cameras ready to record the moment some lucky | 0:01:30 | 0:01:33 | |
person here in this queue makes a small fortune | 0:01:33 | 0:01:35 | |
later on in the programme at auction. | 0:01:35 | 0:01:37 | |
And sniffing out the stories | 0:01:39 | 0:01:40 | |
and checking the facts are Caroline Hawley... | 0:01:40 | 0:01:43 | |
Goodness me! | 0:01:43 | 0:01:44 | |
She's lovely. We'll show your bust inside, sir. When you get in. | 0:01:46 | 0:01:51 | |
And Michael Baggot. | 0:01:53 | 0:01:55 | |
-Bless you for coming out - not the best day in Manchester today. -I know, I'm frozen. | 0:01:55 | 0:01:59 | |
But everyone's turned out, isn't it lovely? | 0:01:59 | 0:02:02 | |
Oh yea! Oh yea! Oh yea! Flog It's in town. | 0:02:02 | 0:02:07 | |
Yes, we are here! | 0:02:07 | 0:02:09 | |
And we better get the doors open to our fantastic venue today. | 0:02:09 | 0:02:13 | |
The Museum of Science and Industry charts Manchester's integral | 0:02:13 | 0:02:17 | |
role in the Industrial Revolution, from a working example | 0:02:17 | 0:02:21 | |
of a treacherous loom, to the steam engines that powered it all. | 0:02:21 | 0:02:25 | |
The MOSI also holds a huge archive of material relating to | 0:02:25 | 0:02:28 | |
Manchester's history. | 0:02:28 | 0:02:31 | |
And later in the show, I get the chance to read the first ever | 0:02:31 | 0:02:34 | |
edition of the Manchester Guardian. | 0:02:34 | 0:02:36 | |
I explored the city's forgotten film industry. | 0:02:36 | 0:02:39 | |
And this lady gets a rather large surprise. | 0:02:41 | 0:02:43 | |
Flog It, Flog It, Flog It, Flog It, Flog It. | 0:02:47 | 0:02:49 | |
That's what it's all about here today. | 0:02:49 | 0:02:51 | |
Hundreds of people have turned up. | 0:02:51 | 0:02:53 | |
They're all safely seated inside hoping | 0:02:53 | 0:02:55 | |
they're one of the lucky ones to go through to the auction later on. | 0:02:55 | 0:02:58 | |
Our experts are now at the valuation tables, | 0:02:58 | 0:03:00 | |
so let's catch up with Caroline and see what she's found. | 0:03:00 | 0:03:03 | |
I'm joined by Vic, Huddersfield's town crier, | 0:03:06 | 0:03:09 | |
-who really has brought something to shout about. -Yeah, hopefully. | 0:03:09 | 0:03:14 | |
-Can we look inside? -Yes, certainly. By all means. | 0:03:14 | 0:03:17 | |
What a lovely piece. | 0:03:17 | 0:03:19 | |
Well, this piece of jewellery was given to me after I'd done | 0:03:19 | 0:03:24 | |
a little job at the Town Hall in Huddersfield for Age Concern. | 0:03:24 | 0:03:27 | |
The lady in charge had asked all the ladies in the audience | 0:03:27 | 0:03:31 | |
if they'd any pieces of jewellery, | 0:03:31 | 0:03:33 | |
would they like to donate it to me because I was going to | 0:03:33 | 0:03:36 | |
-try for the most pieces of jewellery on the costume. -Right. | 0:03:36 | 0:03:39 | |
And I got a message that this had been left. | 0:03:39 | 0:03:42 | |
I went along and she left me this card and then the local paper picked | 0:03:42 | 0:03:46 | |
it up because of the provenance, and so I've brought it along today. | 0:03:46 | 0:03:51 | |
And the provenance is what? | 0:03:51 | 0:03:52 | |
-The provenance is that belonged to Charlie Chaplin. -Wow. | 0:03:52 | 0:03:56 | |
-Apparently he married the lady's mother... -Right. | 0:03:56 | 0:04:00 | |
In a round about 1905. | 0:04:00 | 0:04:04 | |
So Charlie bought this for his wife? | 0:04:04 | 0:04:07 | |
-For his wife at the time. -Yes, at the time. | 0:04:07 | 0:04:10 | |
-He was a bit of a lad, was Charlie. -Was he? Tell me. | 0:04:10 | 0:04:13 | |
He was married three, four times over the years. | 0:04:13 | 0:04:17 | |
-So he'd have to do by quite a bit of jewellery. -Yes. | 0:04:17 | 0:04:20 | |
This is a lovely piece. | 0:04:20 | 0:04:23 | |
It's around turn-of-the-century, so that would tie in. | 0:04:23 | 0:04:27 | |
Sadly, it's not diamonds. It's paste. | 0:04:27 | 0:04:30 | |
It's just silver plated on brass, you can see here. | 0:04:30 | 0:04:34 | |
I don't know if you've noticed, | 0:04:34 | 0:04:36 | |
-there's more to this little brooch than meets the eye. -Oh, yes. | 0:04:36 | 0:04:39 | |
It's a brooch here, but we can unclip these, | 0:04:39 | 0:04:43 | |
so you've got the brooch and then these double as lapel badges. | 0:04:43 | 0:04:48 | |
We thought they were earrings at first, | 0:04:48 | 0:04:51 | |
but then you see the big points in them. | 0:04:51 | 0:04:53 | |
They'd make a hell of a mess of your ears! | 0:04:53 | 0:04:55 | |
They've got big, sharp teeth to clip onto lapels. | 0:04:55 | 0:05:01 | |
Which are really lovely, so you get three bits of jewellery for the price of one. | 0:05:01 | 0:05:05 | |
-So he was a mean old chaplain, wasn't he? -Yes, he was. | 0:05:05 | 0:05:08 | |
But very nice indeed, so we've got a letter here which gives us | 0:05:08 | 0:05:12 | |
brilliant provenance from the daughter of Charlie Chaplin stating | 0:05:12 | 0:05:16 | |
this is her mother's jewel, given by her father, Charlie Chaplin. | 0:05:16 | 0:05:21 | |
And then a press cutting about you receiving | 0:05:21 | 0:05:24 | |
the jewel from Charlie Chaplin's daughter. | 0:05:24 | 0:05:27 | |
But as a piece of jewellery by itself, | 0:05:27 | 0:05:30 | |
it isn't worth a huge amounts of money, £10, £20, that sort of thing. | 0:05:30 | 0:05:34 | |
But with all this, I think it's going to get a premium. | 0:05:34 | 0:05:39 | |
-So I would say...£40-£60. Are you happy with that? -Yes, absolutely. | 0:05:39 | 0:05:44 | |
We're running the Town Crier Championships this year | 0:05:44 | 0:05:48 | |
in Huddersfield, so it's all going towards that. | 0:05:48 | 0:05:51 | |
That will be a noisy event? Oh, yes! | 0:05:51 | 0:05:53 | |
25 town criers, all their wives in their troop, crinoline dresses. | 0:05:53 | 0:05:57 | |
-Oh, and what's the collective term? -A cacophony of town criers. -Is it? | 0:05:57 | 0:06:02 | |
Cacophony of town criers, yes. | 0:06:02 | 0:06:05 | |
I look forward to seeing you at the auction. | 0:06:05 | 0:06:07 | |
-Yes, it'll be nice, I shall enjoy that. Thank you very much. -Brilliant. | 0:06:07 | 0:06:10 | |
The experts at the auction house will research this provenance | 0:06:10 | 0:06:14 | |
and try to validate it. | 0:06:14 | 0:06:16 | |
That's the great thing about selling at auction. | 0:06:16 | 0:06:19 | |
Caroline's not the only expert to spot a sparkler today, | 0:06:19 | 0:06:22 | |
but can you guess what's in this box? | 0:06:22 | 0:06:26 | |
Nicky, Maddie, thanks for coming along today | 0:06:26 | 0:06:29 | |
and bringing some jewellery with you. | 0:06:29 | 0:06:31 | |
These aren't things you're tempted, either of you, to wear? | 0:06:31 | 0:06:34 | |
I haven't been tempted. | 0:06:34 | 0:06:36 | |
Nicola used to wear the bracelet when she was a little girl. | 0:06:36 | 0:06:38 | |
My mum used to give it to her to dress up in. | 0:06:38 | 0:06:40 | |
This is a charm bracelet, it's a relatively early one, | 0:06:40 | 0:06:44 | |
early part of the 20th century. | 0:06:44 | 0:06:46 | |
You've got all the individual charms. | 0:06:46 | 0:06:48 | |
It isn't something that's greatly of intrinsic value | 0:06:48 | 0:06:53 | |
and artistically, it's something we see a lot of. | 0:06:53 | 0:06:57 | |
So really, that's its weight in gold in terms of value. | 0:06:57 | 0:07:00 | |
-So that worth about £100-£150. -Right. | 0:07:00 | 0:07:04 | |
What's much more interesting, | 0:07:04 | 0:07:06 | |
and the reason I grabbed you both is the contents of the mystery box. | 0:07:06 | 0:07:10 | |
-Shall we open the mystery box? -Yes, please. -Don't be scared. | 0:07:10 | 0:07:13 | |
THEY GIGGLE | 0:07:15 | 0:07:16 | |
Good God! | 0:07:16 | 0:07:19 | |
I don't want to offend you but that has to be possibly the most | 0:07:19 | 0:07:22 | |
grotesque pair of earrings I've ever seen in my life. | 0:07:22 | 0:07:26 | |
-That's why we're trying to flog it. -We agree! | 0:07:26 | 0:07:29 | |
You've basically got something that's supposed to be | 0:07:29 | 0:07:32 | |
a branch of coral or something. But with a fly on it! | 0:07:32 | 0:07:37 | |
You get bumblebees, you get dragonflies. | 0:07:37 | 0:07:40 | |
You don't get flies on things. | 0:07:40 | 0:07:42 | |
And then you've got this sort of disembodied hand hanging down | 0:07:42 | 0:07:46 | |
and from it you've got this little heart. | 0:07:46 | 0:07:49 | |
The main parts are carved in Mother of Pearl | 0:07:49 | 0:07:52 | |
and then they're set with coral, which makes me think, especially from | 0:07:52 | 0:07:56 | |
the way it's constructed that it's from around the Mediterranean area. | 0:07:56 | 0:08:00 | |
-Yeah. -Have you got any family history with this? | 0:08:00 | 0:08:03 | |
My grandmother is from Las Palmas, Gran Canaria. | 0:08:03 | 0:08:07 | |
Perfect. A sort of Spanish feel, Mediterranean jewellery. | 0:08:07 | 0:08:10 | |
Of course, the coral was supposed to protect you from evil. | 0:08:10 | 0:08:14 | |
So you would wear them, bad things wouldn't happen to you. | 0:08:14 | 0:08:17 | |
They're quite old. Have you any idea when they were made? | 0:08:17 | 0:08:20 | |
I think they might be about 100 years old. | 0:08:20 | 0:08:24 | |
Probably a little bit earlier than that. | 0:08:24 | 0:08:26 | |
They're probably about 1860, 1880. | 0:08:26 | 0:08:29 | |
Really?! Oh, my God! | 0:08:29 | 0:08:30 | |
Value is difficult because we've got one little fly missing | 0:08:31 | 0:08:36 | |
and a little heart missing. | 0:08:36 | 0:08:38 | |
But sometimes things come along that are so quirky, you give them a go. | 0:08:38 | 0:08:42 | |
Give them a go at auction. I think... | 0:08:42 | 0:08:46 | |
£40-£80 and put a fixed reserve of £30 on them. | 0:08:46 | 0:08:49 | |
Because that's intrinsic value of the materials. | 0:08:49 | 0:08:53 | |
We'll see, they might make 100 quid, they might make 30. | 0:08:53 | 0:08:57 | |
We've got 100 to 150 for the bracelet and a fixed reserve of 100 on that. | 0:08:57 | 0:09:01 | |
So, if we get the top end, what are the plans for the money? | 0:09:01 | 0:09:05 | |
Buy more beads and make my own jewellery. | 0:09:06 | 0:09:08 | |
-You make your own jewellery?! -Yeah. | 0:09:08 | 0:09:11 | |
I can't think of any better thing to do than to sell something old | 0:09:11 | 0:09:14 | |
and outdated and make something new and beautiful with it. | 0:09:14 | 0:09:16 | |
Marvellous, let's hope they do really well on the day. | 0:09:16 | 0:09:19 | |
-Thank you. -Thanks very much. | 0:09:19 | 0:09:21 | |
Love them or hate them, they are up for auction. | 0:09:21 | 0:09:24 | |
Will anyone want to give these quirky earrings a new home? | 0:09:24 | 0:09:27 | |
Now, earlier on in the show I mentioned the Guardian newspaper | 0:09:29 | 0:09:32 | |
started out life here in Manchester and in front of me | 0:09:32 | 0:09:35 | |
is a copy of one of the very first editions. | 0:09:35 | 0:09:38 | |
It came out on 5th May in 1821. | 0:09:38 | 0:09:41 | |
At a cover price of seven old pence, which is equivalent | 0:09:41 | 0:09:45 | |
to about £1.22 in today's money. | 0:09:45 | 0:09:47 | |
It was only published once a week | 0:09:47 | 0:09:49 | |
because the stamp duty on newspapers was incredibly high. | 0:09:49 | 0:09:52 | |
When the stamp duty was cut in 1836, it was published twice a week, | 0:09:52 | 0:09:56 | |
it came out on Wednesday and Saturday. | 0:09:56 | 0:09:59 | |
Now, if you notice, on the front page, | 0:10:00 | 0:10:03 | |
it's not actually given over to any headline news. | 0:10:03 | 0:10:07 | |
All the news is on the second page. But look at this, number one, right. | 0:10:07 | 0:10:12 | |
The very first edition. | 0:10:12 | 0:10:14 | |
But look it starts with an advert for a lost dog. | 0:10:14 | 0:10:18 | |
"A black Newfoundland bitch. | 0:10:18 | 0:10:20 | |
Any person having lost the same may have her again... | 0:10:20 | 0:10:24 | |
..on describing her marks and paying all the expenses." | 0:10:25 | 0:10:30 | |
Isn't this marvellous? | 0:10:30 | 0:10:32 | |
Absolutely incredible. | 0:10:32 | 0:10:34 | |
The condition is pretty good really, | 0:10:34 | 0:10:36 | |
considering this would have been read time and time again and | 0:10:36 | 0:10:40 | |
probably passed on to two or three different other people to read. | 0:10:40 | 0:10:43 | |
Here we are in the Power Hall, surrounded by the noisy, | 0:10:50 | 0:10:54 | |
steamy engines and all that made Manchester great. | 0:10:54 | 0:10:57 | |
To the peaceful pastime of card playing. | 0:10:57 | 0:11:00 | |
And this lovely box. Tell me about it, Edna. | 0:11:00 | 0:11:04 | |
I bought it at a car-boot sale about five years ago. | 0:11:04 | 0:11:06 | |
-Do you remember what you paid for it? -£10. | 0:11:06 | 0:11:09 | |
£10! I love it. Do you? | 0:11:09 | 0:11:12 | |
I do, I like it, it's just been on top of the piano in my dining room. | 0:11:12 | 0:11:17 | |
You don't play cards? | 0:11:17 | 0:11:19 | |
-Play the odd game of snap. -Do you? | 0:11:19 | 0:11:21 | |
-That it. -Let's have a look at it. | 0:11:21 | 0:11:24 | |
It's walnut, mid-Victorian. | 0:11:24 | 0:11:27 | |
Gilded brass edges to it, | 0:11:27 | 0:11:29 | |
it's amounted with ivory cards on the top. | 0:11:29 | 0:11:33 | |
It's a really lovely, quality thing. | 0:11:33 | 0:11:35 | |
-Shall we look inside? -Yes | 0:11:35 | 0:11:37 | |
This would have long to a fairly wealthy family. | 0:11:38 | 0:11:42 | |
It's very, very good quality. | 0:11:42 | 0:11:45 | |
It's lying in watermarked silk taffeta...at the top. | 0:11:45 | 0:11:49 | |
Beautiful condition. | 0:11:49 | 0:11:50 | |
Even the little pulls here that pull out the cards, | 0:11:50 | 0:11:53 | |
perfect condition. | 0:11:53 | 0:11:55 | |
Possibly would have been two other packs of cards there. | 0:11:55 | 0:11:58 | |
-And I think in here there would have been counters. -Oh, would they? right. | 0:11:58 | 0:12:02 | |
And these here, are square cut cards | 0:12:02 | 0:12:06 | |
because the modern cards are rounded edges, aren't they? | 0:12:06 | 0:12:11 | |
Now, it's all indicative of quality, taste. | 0:12:11 | 0:12:14 | |
Somebody, perhaps made wealthy by the Industrial Revolution | 0:12:14 | 0:12:19 | |
-in Manchester. A wealthy card player. -Yeah. | 0:12:19 | 0:12:23 | |
I think there's lots of all would want it, | 0:12:23 | 0:12:26 | |
not least the bridge players, poker players. | 0:12:26 | 0:12:28 | |
I would put a valuation on this of between £100 and £200. | 0:12:28 | 0:12:34 | |
SHE GASPS | 0:12:34 | 0:12:35 | |
-You happy with that? -Very. | 0:12:37 | 0:12:39 | |
Good, that's a fair return on your £10 investment. | 0:12:39 | 0:12:43 | |
There you are, you've just seen them, | 0:12:46 | 0:12:48 | |
three wonderful items are experts have picked out. | 0:12:48 | 0:12:51 | |
I've got my favourite, you've probably got yours, but right now | 0:12:51 | 0:12:54 | |
it's time to put those valuations to the test in the saleroom. | 0:12:54 | 0:12:58 | |
So while we make our way over to the auction room, here's a quick | 0:12:58 | 0:13:01 | |
recap, just to jog your memory of everything that's coming with us. | 0:13:01 | 0:13:05 | |
This brooch and lapel badges have a great story behind them, | 0:13:05 | 0:13:08 | |
but will the auction house confirm the provenance? | 0:13:08 | 0:13:11 | |
The gold bracelet has a high intrinsic value, | 0:13:11 | 0:13:14 | |
so it's a sure-fire winner, but that can't be said of the earrings. | 0:13:14 | 0:13:18 | |
Will anyone fall in love with them | 0:13:18 | 0:13:20 | |
or will the damage the "fly" in the ointment! | 0:13:20 | 0:13:22 | |
And Edna's Victorian card case is adorned with ivory cards. | 0:13:25 | 0:13:28 | |
And because they were made before 1947, | 0:13:28 | 0:13:31 | |
it's legal to sell them at auction. | 0:13:31 | 0:13:33 | |
But what profit will she see on her £10 car boot investment? | 0:13:33 | 0:13:37 | |
Just about ten miles from Manchester city centre, | 0:13:39 | 0:13:42 | |
you find the historic town of Knutsford. | 0:13:42 | 0:13:44 | |
This is where our auction is coming from today, | 0:13:44 | 0:13:46 | |
courtesy of Frank Marshall. | 0:13:46 | 0:13:48 | |
Fingers crossed we can make some history of our own. | 0:13:48 | 0:13:50 | |
The auctioneers wielding the gavel today are Nick Hall | 0:13:52 | 0:13:54 | |
and Peter Ashburner. | 0:13:54 | 0:13:56 | |
Combined they have 25 years of experience, | 0:13:56 | 0:13:59 | |
so we're in very safe hands. | 0:13:59 | 0:14:01 | |
All I can say is I wish I was wearing green as well. | 0:14:02 | 0:14:06 | |
I am slightly. | 0:14:06 | 0:14:08 | |
I've just been joined by Victor and our expert, Caroline here. | 0:14:08 | 0:14:11 | |
You're the town crier for Huddersfield. You were in the queue... | 0:14:11 | 0:14:14 | |
I was, yes. | 0:14:14 | 0:14:15 | |
..when I was doing my pieces to camera and you were shouting ho yea, ho yea, ho yea. | 0:14:15 | 0:14:18 | |
-And... -"Oh, yea." -Oh, yea. -You were hard to miss, Victor(!) | 0:14:18 | 0:14:22 | |
Yes, but you made it onto the show with that little brooch | 0:14:22 | 0:14:26 | |
-and the two collar clips. -Yes. -And that accompanying letter. | 0:14:26 | 0:14:30 | |
We thought there might be a connection with Charlie Chaplin? | 0:14:30 | 0:14:33 | |
The letter was supposed to have been... | 0:14:33 | 0:14:36 | |
The lady who gave it me | 0:14:36 | 0:14:37 | |
said her mother was married to Charlie Chaplin. | 0:14:37 | 0:14:40 | |
-The auction house have done... -They've done a lot of research. | 0:14:40 | 0:14:44 | |
She was apparently married to Aubrey Chaplin, who was Charlie's cousin. | 0:14:44 | 0:14:48 | |
So it's not really a proper connection, there might be a tenuous connection | 0:14:48 | 0:14:52 | |
but we're not really going to play on that. | 0:14:52 | 0:14:54 | |
-It hasn't affected the value, then? -No, no. It'll still stand alone. | 0:14:54 | 0:14:58 | |
Hopefully you will be ringing the bell outside with joy | 0:14:58 | 0:15:01 | |
because it's going under the hammer now. Let's find out what the bidders think. | 0:15:01 | 0:15:04 | |
The Art Deco, paste brooch and matching collar clips. | 0:15:04 | 0:15:07 | |
I can start the bidding on this at £40. Anybody got five? At £40 only. | 0:15:07 | 0:15:13 | |
Is there five? At £40 I have. | 0:15:13 | 0:15:16 | |
On commission at £40. Any advance? | 0:15:16 | 0:15:18 | |
Quickly. I am selling it, anybody else interested? | 0:15:18 | 0:15:22 | |
At £40 it goes to the maiden bid. | 0:15:22 | 0:15:25 | |
It went in on a maiden bid and straight out, blink and you miss it. | 0:15:25 | 0:15:28 | |
-It only needs one. -And there was no competition. -No, no. | 0:15:28 | 0:15:32 | |
Well, that's the advantage of auction research. | 0:15:32 | 0:15:34 | |
There was a connection to Chaplin, | 0:15:34 | 0:15:36 | |
but not the one that meant big money. | 0:15:36 | 0:15:38 | |
Next, it's time to play our cards right. | 0:15:40 | 0:15:43 | |
Sadly, we do not have Edna. She couldn't make it today. | 0:15:43 | 0:15:45 | |
But we do have our gorgeous expert, Caroline, with us. Wants £200. | 0:15:45 | 0:15:50 | |
-I think that's good value for money, don't you? -I do too. | 0:15:50 | 0:15:52 | |
It's got two packs of Reynolds cards. | 0:15:52 | 0:15:55 | |
Reynolds was a great company making cards from 1809 to 1890. | 0:15:55 | 0:16:00 | |
-Square cut. -Right, OK. -Two packs. -They're quite valuable in their own right. -They are. | 0:16:00 | 0:16:04 | |
Recently one has got about £60 for one pack of cards. | 0:16:04 | 0:16:08 | |
So, I think two packs, plus the box, it's going to get the reserve. | 0:16:08 | 0:16:11 | |
It is. Hopefully, you are watching this, Edna, and you're going to be enjoying this | 0:16:11 | 0:16:15 | |
-because we should get the top end of the estimate plus a little bit more. -I'm sure. -Let's put it to the test. | 0:16:15 | 0:16:20 | |
It's going under the hammer right now. | 0:16:20 | 0:16:22 | |
Nice thing this. I've got a bit of commission interest in this. | 0:16:22 | 0:16:24 | |
I'm going to come straight in here at £80. 80 I'm bid. Bid at £80. | 0:16:24 | 0:16:29 | |
Any advance on £80? It's worth more, I'm sure. Come on. Bid it up. | 0:16:29 | 0:16:32 | |
Thank you. 85 I've got. 90 against you. | 0:16:32 | 0:16:34 | |
Five. 100. | 0:16:34 | 0:16:37 | |
110 I'm bid. At £110. | 0:16:37 | 0:16:39 | |
-Cheap. -At £110, the bid's in the room. Any more? At 110. 120. 130. | 0:16:39 | 0:16:44 | |
-Thank goodness for that. -Yeah. -Against you, sir. With me now. | 0:16:44 | 0:16:48 | |
On commission against the room. The internet's out. It's £130. | 0:16:48 | 0:16:51 | |
Hammer's going. Selling away at 130. | 0:16:51 | 0:16:53 | |
Well, it's gone. It's gone. Made estimate. You were right. | 0:16:55 | 0:16:58 | |
-But it just goes to show, on the day, you can be quite lucky. -Yes. | 0:16:58 | 0:17:01 | |
You can get things at the lower end, rather than at the top end. | 0:17:01 | 0:17:04 | |
-I'm sure Edna will be pleased. -I'm sure she will. -She wanted to sell it. She paid £10 for that. | 0:17:04 | 0:17:08 | |
Hell of a return! | 0:17:08 | 0:17:10 | |
There's a cheque in the post for you, Edna. | 0:17:10 | 0:17:12 | |
And next, that intriguing jewellery. | 0:17:12 | 0:17:15 | |
I've just been joined by Maddy and Nicky and Michael, our expert. | 0:17:15 | 0:17:18 | |
We're just about to sell a couple of lots which we've split | 0:17:18 | 0:17:21 | |
into two sales. The first lot, we're selling something that's hideous. | 0:17:21 | 0:17:26 | |
Well, I tell you what, I don't think they're hideous. | 0:17:26 | 0:17:29 | |
-I think they're quirky. -That's the point. They are quirky. | 0:17:29 | 0:17:32 | |
-I've never seen anything like it. -Nor have I. | 0:17:32 | 0:17:34 | |
And we've got a nine carat gold bracelet as well. | 0:17:34 | 0:17:36 | |
-Which is more down to its bullion value. -Exactly. | 0:17:36 | 0:17:39 | |
Right. Anyway, let's find out what the bidders think about | 0:17:39 | 0:17:42 | |
our first lot, these earrings. They're going under the hammer now. | 0:17:42 | 0:17:45 | |
The cased pair Victorian earrings. Start me where? At £50? | 0:17:45 | 0:17:49 | |
40. 30 online. | 0:17:49 | 0:17:51 | |
You bidding against? I've got 30 here. Five. 35. 40. Speed up. | 0:17:51 | 0:17:56 | |
You'll lose it. £40. 45. The phone's in now. 45. 50. Have I got 60? | 0:17:56 | 0:18:00 | |
I've got £60. It's all online. 65. 70. It's climbing away. | 0:18:00 | 0:18:05 | |
At £70. 75. 80. | 0:18:05 | 0:18:08 | |
£80. 85. | 0:18:08 | 0:18:10 | |
Off she goes. £90. | 0:18:10 | 0:18:13 | |
-There is no accounting for taste. -110 now. Had 110. 120. | 0:18:13 | 0:18:19 | |
130. 140. The phones are out. It's online. 150. Online at £150. | 0:18:19 | 0:18:25 | |
Are we done? At 150, the bid's online. Nothing in the room? | 0:18:25 | 0:18:28 | |
Phones are quiet. It's online. At £150, I sell now. | 0:18:28 | 0:18:33 | |
£150 for top, hammer's gone down, crack. That's good, isn't it? | 0:18:33 | 0:18:37 | |
That's £149 for the box, | 0:18:37 | 0:18:40 | |
£1 for the earrings. | 0:18:40 | 0:18:42 | |
-My mum's in shock. -I am in shock! | 0:18:42 | 0:18:45 | |
Well, nobody expected that result and it just goes to show, | 0:18:45 | 0:18:48 | |
one person's trash is another's treasure. | 0:18:48 | 0:18:51 | |
And so to the charming bracelet. | 0:18:51 | 0:18:53 | |
Nice little lot, this. | 0:18:55 | 0:18:57 | |
Nine carat gold, flat, curb-link charm bracelet. | 0:18:57 | 0:19:00 | |
I'm going to start the bidding straight in now at £100. | 0:19:00 | 0:19:03 | |
100, I'm bid. 110 against. 120 with me now. | 0:19:03 | 0:19:07 | |
At 120. Come back at me. Still in? 120. | 0:19:07 | 0:19:10 | |
-30 I'll take. -Working out the bullion price in the corner. | 0:19:10 | 0:19:13 | |
160 now. This commission's against you at 160. | 0:19:13 | 0:19:16 | |
Are you coming back, try another? | 0:19:16 | 0:19:18 | |
£160. With me now. Commissions have it. Internet's out. | 0:19:18 | 0:19:21 | |
It's all on the book at 160 and selling. | 0:19:21 | 0:19:24 | |
£160. Sold. | 0:19:24 | 0:19:26 | |
-So, that's a good day out for you both, isn't it? -Definitely. It was worth coming! | 0:19:28 | 0:19:32 | |
She's already spent it around the corner. | 0:19:32 | 0:19:34 | |
A total of £310 to put towards the jewellery making | 0:19:34 | 0:19:38 | |
and you'll get a few beads for that! | 0:19:38 | 0:19:40 | |
There we are. That's our first visit to the auction room complete. | 0:19:40 | 0:19:44 | |
So far, so good. We are coming back here later on in the programme. | 0:19:44 | 0:19:47 | |
Now, there's a story that I want to explore | 0:19:47 | 0:19:50 | |
while I'm here in the area and it's about one Mancunian's family | 0:19:50 | 0:19:53 | |
whose ambition it was to make northern films for northern people. | 0:19:53 | 0:19:58 | |
I'm talking about the early black and white talkies | 0:19:58 | 0:20:00 | |
and it all started here in Manchester. | 0:20:00 | 0:20:03 | |
Take a look at this. | 0:20:03 | 0:20:05 | |
Who put George Formby on our screens well before he was cleaning windows? | 0:20:09 | 0:20:14 | |
Nice weather we're having, isn't it? | 0:20:14 | 0:20:16 | |
Which Manchester film company made over 60 feature films | 0:20:16 | 0:20:19 | |
and was one of the few that continually made a profit? | 0:20:19 | 0:20:22 | |
And which man resolutely stuck to his northern roots in humour | 0:20:25 | 0:20:28 | |
and in film-making, despite being panned by the critics? | 0:20:28 | 0:20:33 | |
-Hello? -The names on the credits are Mancunian Films and John E Blakeley | 0:20:33 | 0:20:37 | |
and their story is one of ambition and foresight. | 0:20:37 | 0:20:41 | |
The cast is bursting with colourful characters | 0:20:41 | 0:20:44 | |
and the script is full of laughs. | 0:20:44 | 0:20:46 | |
-Why marry an American? -I want to see the world. | 0:20:46 | 0:20:49 | |
That's all right. I'll buy you a map. | 0:20:49 | 0:20:51 | |
Welcome to the world of Mancunian Films, | 0:20:51 | 0:20:53 | |
Manchester's very own Hollywood. The first scene takes place in 1909. | 0:20:53 | 0:20:57 | |
Just a year after the first cinema came to Manchester, | 0:21:01 | 0:21:04 | |
a market trader called James Blakeley took a huge risk | 0:21:04 | 0:21:07 | |
by converting his small shop into a 200-seater cinema. | 0:21:07 | 0:21:12 | |
Blakeley Senior and his two sons, John E and James Junior, | 0:21:14 | 0:21:17 | |
realised the potential of the silver screen | 0:21:17 | 0:21:20 | |
and they grabbed their opportunity with both hands. | 0:21:20 | 0:21:23 | |
The Blakeley family were one of the first film distributors in the North. | 0:21:25 | 0:21:29 | |
But it was John E who spotted an opportunity to take things further. | 0:21:29 | 0:21:34 | |
What happened next was a real testament to the ambition, | 0:21:34 | 0:21:37 | |
foresight and bravery of the Blakeleys. | 0:21:37 | 0:21:40 | |
From owning a cinema, they decided to rent out films. | 0:21:40 | 0:21:42 | |
And from renting films, they decided to have a go at making them. | 0:21:42 | 0:21:46 | |
I mean, how hard could it be? | 0:21:46 | 0:21:49 | |
Well, actually, for John E's film-making debut, not hard at all. | 0:21:49 | 0:21:53 | |
His vision was to bring opera to the masses, | 0:21:54 | 0:21:57 | |
so he filmed actors playing out the story, | 0:21:57 | 0:22:00 | |
rather than the usual piano accompaniment. | 0:22:00 | 0:22:03 | |
John E sent a quartet of opera singers to the theatre | 0:22:03 | 0:22:07 | |
to give the film a musical voice. | 0:22:07 | 0:22:09 | |
# Il Giovanni... # | 0:22:09 | 0:22:12 | |
But just as John E started producing silent full-length movies | 0:22:15 | 0:22:19 | |
in the late 1920s, the talkies hit the screen. | 0:22:19 | 0:22:23 | |
It was a revolution in cinematography | 0:22:23 | 0:22:25 | |
and it left the Blakeleys waiting in the wings. | 0:22:25 | 0:22:27 | |
There were no studios here in the North that could produce a talkie. | 0:22:27 | 0:22:31 | |
It was almost a wrap for the Blakeleys. | 0:22:31 | 0:22:34 | |
But in 1933, John E sought advice from two of the biggest film stars | 0:22:34 | 0:22:39 | |
of the day, Oliver Hardy and fellow northerner Stan Laurel. | 0:22:39 | 0:22:44 | |
Their meeting at the Midland Hotel | 0:22:44 | 0:22:46 | |
changed the path of Mancunian Films forever. | 0:22:46 | 0:22:50 | |
As the story goes, Stan Laurel said to John E, | 0:22:50 | 0:22:52 | |
"Why aren't you making movies any more?" | 0:22:52 | 0:22:54 | |
John E replied, "Well, there are no studios here in the North | 0:22:54 | 0:22:57 | |
"that can accommodate a sound production." | 0:22:57 | 0:22:59 | |
So, Laurel said, "Well, why don't you rent a studio down in London?" | 0:22:59 | 0:23:03 | |
Buoyed by Laurel's advice, John E rented a studio in London | 0:23:03 | 0:23:07 | |
and just three weeks later, Mancunian Films released | 0:23:07 | 0:23:10 | |
"Boots! Boots!". | 0:23:10 | 0:23:12 | |
The nation was introduced to a local lad who became | 0:23:12 | 0:23:14 | |
one of the biggest stars of the era. | 0:23:14 | 0:23:17 | |
This was the very first time he was seen singing. | 0:23:17 | 0:23:21 | |
# Baby | 0:23:21 | 0:23:22 | |
# Baby, you're my sweetheart... # | 0:23:22 | 0:23:29 | |
To tell me more about the halcyon days of Mancunian Films, | 0:23:31 | 0:23:35 | |
historian CP Lee. How did John E go about making his films? | 0:23:35 | 0:23:40 | |
John E loved musical hall and he considered himself | 0:23:40 | 0:23:42 | |
quite a connoisseur at sporting up-and-coming stars | 0:23:42 | 0:23:45 | |
and he would pick acts who he thought would transfer onto film. | 0:23:45 | 0:23:50 | |
That was John E's cleverness. If people would go and see them | 0:23:50 | 0:23:55 | |
in the halls, well, he'd put them on the screen. | 0:23:55 | 0:23:57 | |
And it's why he uses proscenium shot a lot | 0:23:57 | 0:24:01 | |
where the camera appears to be stationary. It's not moving. | 0:24:01 | 0:24:04 | |
In effect, he's showing us theatre. And in every film, at some point, | 0:24:04 | 0:24:08 | |
somebody almost says, "Let's have a concert party." | 0:24:08 | 0:24:11 | |
It's John E's excuse to put in all his favourite musical acts. | 0:24:11 | 0:24:15 | |
The plots were very basic. | 0:24:17 | 0:24:20 | |
Literally, I know Penny Pool which was written on the back | 0:24:20 | 0:24:23 | |
of a cigarette packet. | 0:24:23 | 0:24:25 | |
The dialogue would be produced by the artist very often | 0:24:25 | 0:24:30 | |
-in a state of improvisation. -Do you know who I am? -Let me think. | 0:24:30 | 0:24:34 | |
I haven't the faintest idea. | 0:24:34 | 0:24:37 | |
And what is more, I am not the slightest bit interested. | 0:24:37 | 0:24:39 | |
So, how successful were they? | 0:24:39 | 0:24:41 | |
In the North of England, they were very, very successful. | 0:24:41 | 0:24:45 | |
We've got box office figures from during the Second World War. | 0:24:45 | 0:24:48 | |
The Mancunians often out ran Hollywood at the box office. | 0:24:48 | 0:24:52 | |
In 1947, having produced 14 films in London, John E finally | 0:24:54 | 0:24:59 | |
realised his dream and bought an old church in Manchester | 0:24:59 | 0:25:02 | |
that he converted into a studio. | 0:25:02 | 0:25:04 | |
-What did the critics think of this at the time? -They were appalled. | 0:25:06 | 0:25:11 | |
They used to call the studio the Corn Exchange | 0:25:11 | 0:25:15 | |
cos the jokes were so bad. | 0:25:15 | 0:25:18 | |
But the locals called it Jollywood | 0:25:18 | 0:25:20 | |
because there was such a great atmosphere. | 0:25:20 | 0:25:23 | |
What's important is the bloodline of northern comedy. | 0:25:23 | 0:25:27 | |
Les Dawson freely acknowledged his debt to Norman Evans | 0:25:27 | 0:25:30 | |
when he played his over-the-garden-wall character | 0:25:30 | 0:25:33 | |
where they mouth everything which is what the mill girls did | 0:25:33 | 0:25:35 | |
cos they lip read. | 0:25:35 | 0:25:37 | |
Peter Kay, for instance, has got lovely little glimpses of that | 0:25:37 | 0:25:42 | |
northern bloodline of northern comedy in his performance. | 0:25:42 | 0:25:46 | |
So, that concept of northern comedy has carried through very successfully | 0:25:46 | 0:25:51 | |
by the genetics of the films. | 0:25:51 | 0:25:54 | |
The Mancunian Films archive was largely destroyed by a fire in 1980. | 0:25:58 | 0:26:03 | |
But most of the titles have been recovered | 0:26:03 | 0:26:05 | |
and are now being kept safe by the North West Film Archive. | 0:26:05 | 0:26:09 | |
Well, we've heard that the films were slated by the critics, | 0:26:09 | 0:26:12 | |
but loved by the masses. | 0:26:12 | 0:26:14 | |
So, we're going to play a few clips from some Mancunian Films | 0:26:14 | 0:26:17 | |
and see what the people think of it today. | 0:26:17 | 0:26:19 | |
That was brilliant. Absolutely brilliant. I hope you enjoyed that. | 0:27:02 | 0:27:06 | |
We have a special guest with us right now, John E's grandson, Mike. | 0:27:06 | 0:27:09 | |
-Pleasure to meet you. -Pleased to meet you. | 0:27:09 | 0:27:11 | |
-What was it like watching Grandad's work then? -I don't know. | 0:27:11 | 0:27:15 | |
Just brings back memories, I suppose, from... | 0:27:15 | 0:27:19 | |
-Proud, I suppose, for my grandfather. -Still refreshing watching it. | 0:27:19 | 0:27:22 | |
-You've see it many times. -Well, yeah. It must have been chaos in those days filming it | 0:27:22 | 0:27:26 | |
cos they never knew what they were going to do. | 0:27:26 | 0:27:29 | |
You get these comedians who worked on the musical hall | 0:27:29 | 0:27:33 | |
and there must have been so much humour actually working on the programmes themselves. | 0:27:33 | 0:27:37 | |
What about the archives? Are there films missing? | 0:27:37 | 0:27:39 | |
There's one film that's always been missing which is | 0:27:39 | 0:27:42 | |
-Somewhere In Politics. -OK. | 0:27:42 | 0:27:44 | |
-So, we all should keep a lookout for that one. -Absolutely. | 0:27:44 | 0:27:48 | |
Collectors like to keep these things. | 0:27:48 | 0:27:51 | |
From our point of view, we're saying, "You can still keep it, | 0:27:51 | 0:27:54 | |
"all we want to do is copy it," so that it's there for the future, | 0:27:54 | 0:27:57 | |
-for everybody to see. -Exactly. | 0:27:57 | 0:27:59 | |
-Let the nation look at it. -Yeah, absolutely. | 0:27:59 | 0:28:01 | |
-It's been a pleasure to meet you. -Thank you very much indeed. | 0:28:01 | 0:28:05 | |
Lost treasure isn't always in the form of gold and silver, | 0:28:05 | 0:28:08 | |
so have a hunt in your attic for the missing film, | 0:28:08 | 0:28:11 | |
and you'll contribute to the legacy of British cinema. | 0:28:11 | 0:28:14 | |
I think we found a hidden treasure here today | 0:28:14 | 0:28:17 | |
and discovered a hero in John E Blakeley | 0:28:17 | 0:28:19 | |
and his contribution towards the British film industry. | 0:28:19 | 0:28:22 | |
His movies may not have been the most sophisticated, | 0:28:22 | 0:28:25 | |
but everybody loved them. | 0:28:25 | 0:28:27 | |
Because really, who couldn't resist a bit of slapstick? | 0:28:27 | 0:28:30 | |
Back at our valuation day in the very heart of Manchester, | 0:28:39 | 0:28:42 | |
our cameras are still rolling and next up, | 0:28:42 | 0:28:44 | |
it's Michael, Jan and a plethora of pots. | 0:28:44 | 0:28:48 | |
Jan, thank you for coming in today. | 0:28:48 | 0:28:50 | |
Are there any vases left in your house, or do you have a vase fetish? | 0:28:50 | 0:28:55 | |
Erm...there are a few more, | 0:28:55 | 0:28:56 | |
but I'm trying to get rid of a lot cos I'm fed up of dusting everything. | 0:28:56 | 0:29:00 | |
So are you a vase collector, or did these come through the family? | 0:29:00 | 0:29:03 | |
No, they were left to me by my Auntie Maud. | 0:29:03 | 0:29:06 | |
Well, these are fascinating. | 0:29:06 | 0:29:08 | |
Let's look at the pot first, cos to me | 0:29:08 | 0:29:10 | |
that's the least interesting of the group. | 0:29:10 | 0:29:13 | |
-OK. -It's Italian - it's maiolica. | 0:29:13 | 0:29:16 | |
So that's the thing that majolica was based on. | 0:29:16 | 0:29:19 | |
It's a tin-glazed earthenware, so you got a clay body | 0:29:19 | 0:29:22 | |
and this white glaze put over it to make it look like porcelain. | 0:29:22 | 0:29:27 | |
Then you've go these lovely colours that tend to run | 0:29:27 | 0:29:30 | |
and flow a little bit, like ink into blotting paper. | 0:29:30 | 0:29:34 | |
So you get this effect. | 0:29:34 | 0:29:35 | |
I've shown it to my colleague off-screen, I thought there was | 0:29:35 | 0:29:38 | |
a chance it was 18th century. | 0:29:38 | 0:29:41 | |
She's seen more of these than I have | 0:29:41 | 0:29:43 | |
and she thinks it's more early-19th century in date. | 0:29:43 | 0:29:47 | |
Let's say it's early-19th century. | 0:29:47 | 0:29:49 | |
Did you, before coming to Flog It hit it hard with a hammer? | 0:29:50 | 0:29:53 | |
-No! -So you're not responsible...? -It's always been like that! | 0:29:53 | 0:29:58 | |
That's a problem with it. | 0:29:58 | 0:29:59 | |
But it's not dramatically valuable - £40-£60. | 0:29:59 | 0:30:04 | |
-Yes, that's fine. -£40 reserve, see where it goes. | 0:30:04 | 0:30:08 | |
-If two people think it's earlier, it might make over 100. -OK. | 0:30:08 | 0:30:12 | |
Now onto these. | 0:30:12 | 0:30:13 | |
These are pretty. let's pick one of them up. | 0:30:13 | 0:30:16 | |
We've got a matching pair and these are called cloisonne. | 0:30:16 | 0:30:18 | |
Japanese, and they're lovely. | 0:30:18 | 0:30:22 | |
There's only two things I've got against them - | 0:30:22 | 0:30:26 | |
they're not signed and the very, very, | 0:30:26 | 0:30:29 | |
very best ones always were signed. | 0:30:29 | 0:30:32 | |
And secondly, the hammer that you didn't hit this with... | 0:30:32 | 0:30:35 | |
I know what you're going to say. | 0:30:35 | 0:30:37 | |
You didn't hit these either? | 0:30:37 | 0:30:39 | |
-No. -Erm, we've got a percussion crack there, where it's just pinged. | 0:30:39 | 0:30:43 | |
And if we look at this one, we've got a little crack there as well. | 0:30:44 | 0:30:50 | |
But they're pretty and they're small and I love them. | 0:30:50 | 0:30:53 | |
And a huge amount of work went into making them. | 0:30:53 | 0:30:57 | |
I might be being optimistic, | 0:30:57 | 0:30:58 | |
but let's say they might be worth £100-£200. | 0:30:58 | 0:31:01 | |
OK. | 0:31:01 | 0:31:02 | |
-And put a fixed reserve of £100 on them. -Yes. | 0:31:02 | 0:31:06 | |
-Happy to sell them? -Yes. | 0:31:06 | 0:31:09 | |
Don't want any more dusting? | 0:31:09 | 0:31:10 | |
No. | 0:31:10 | 0:31:12 | |
If they do well, what are you going to do with the money? | 0:31:12 | 0:31:15 | |
-Buy shoes. -Buy shoes?! | 0:31:15 | 0:31:18 | |
Yes! | 0:31:18 | 0:31:19 | |
Well, let's get you a good pair, at least, possibly two. | 0:31:19 | 0:31:22 | |
Could be. | 0:31:22 | 0:31:24 | |
Thank you very much for bringing them in. | 0:31:24 | 0:31:26 | |
-OK. Thank you. -Pleasure. | 0:31:26 | 0:31:27 | |
Back in the power hall, Caroline's surrounded by precision | 0:31:31 | 0:31:34 | |
engineering - big and small. | 0:31:34 | 0:31:35 | |
Can you tell me about it, Steve? | 0:31:37 | 0:31:39 | |
It belonged to my father. | 0:31:39 | 0:31:41 | |
I can vividly remember him wearing it - he had a waistcoat | 0:31:41 | 0:31:45 | |
and it was on a chain. | 0:31:45 | 0:31:48 | |
Not all the time, just on special occasions, | 0:31:48 | 0:31:50 | |
cos it was considered a special piece, really. | 0:31:50 | 0:31:54 | |
And it is a gentleman's pocket watch | 0:31:54 | 0:31:56 | |
so he was quite right to proudly wear it for Sunday best. | 0:31:56 | 0:32:00 | |
And very dapper, I'm sure he looked in it. | 0:32:00 | 0:32:03 | |
It is a lovely piece. | 0:32:03 | 0:32:05 | |
It's 18-carat gold, and it's an American movement - Waltham. | 0:32:05 | 0:32:10 | |
Have you ever opened this up before and had a look inside? | 0:32:10 | 0:32:13 | |
-It's the first time... -Is it, really? | 0:32:13 | 0:32:17 | |
-Really looks lovely inside. -It does. | 0:32:17 | 0:32:19 | |
It's absolutely a precision work of engineering. | 0:32:19 | 0:32:23 | |
And the outer case is marked | 0:32:23 | 0:32:27 | |
18-carat and the date mark is 1908, | 0:32:27 | 0:32:31 | |
which ties in with your father's dates. | 0:32:31 | 0:32:34 | |
White enamel dial, altogether a very saleable item. | 0:32:35 | 0:32:40 | |
At the moment, gold is at a very high level, very high price, | 0:32:40 | 0:32:44 | |
so I think it's a very good time to sell it. | 0:32:44 | 0:32:48 | |
I think we're going to put an estimate of £400-£600 on it. | 0:32:48 | 0:32:53 | |
-Happy? Smiling? -Yes. Yeah. | 0:32:53 | 0:32:55 | |
And if we put a fixed reserve of 400? | 0:32:55 | 0:32:57 | |
I don't think we'll need it, I think it'll exceed that. | 0:32:57 | 0:33:00 | |
But...we'll do that. Happy? | 0:33:00 | 0:33:03 | |
-Be happy with that, yeah. -Brilliant. | 0:33:03 | 0:33:05 | |
Well, let's go and flog it. | 0:33:05 | 0:33:07 | |
Thank you. | 0:33:07 | 0:33:08 | |
Now, for the last item of the day, | 0:33:10 | 0:33:12 | |
Michael is indulging his personal passion. | 0:33:12 | 0:33:14 | |
Janet, thank you so much. | 0:33:16 | 0:33:18 | |
I know my colleagues were almost sending you away, | 0:33:18 | 0:33:20 | |
when I swooped on your little spoon. | 0:33:20 | 0:33:24 | |
Before I tell you anything about it, what do you know? | 0:33:24 | 0:33:27 | |
The only thing I know about it is, it's just always been in the family. | 0:33:27 | 0:33:32 | |
And when my mother died, 41 years ago, I just brought it home. | 0:33:32 | 0:33:36 | |
Has it gone in the cutlery drawer? | 0:33:36 | 0:33:38 | |
Have you stirred your tea and coffee with it? | 0:33:38 | 0:33:40 | |
No, it's just been in another pot with little spoons in a cabinet | 0:33:40 | 0:33:44 | |
-and that's it. -That's it. | 0:33:44 | 0:33:47 | |
It's very interesting. | 0:33:47 | 0:33:48 | |
It's only a teaspoon, but it is very, very interesting. | 0:33:48 | 0:33:52 | |
It's a piece of Arts and Crafts - British silver. | 0:33:52 | 0:33:56 | |
You can see that they tried to show the construction, | 0:33:57 | 0:34:00 | |
so you've got all the hammer marks still showing. | 0:34:00 | 0:34:03 | |
And these beautiful pierced out - all by hand, terminal, | 0:34:05 | 0:34:09 | |
making it look hand-wrought. | 0:34:09 | 0:34:12 | |
If we turn it over... | 0:34:12 | 0:34:14 | |
Very small hallmarks. We'll have a look. | 0:34:14 | 0:34:17 | |
It was made in London in 1924. | 0:34:17 | 0:34:21 | |
Which, in itself, means nothing. | 0:34:22 | 0:34:25 | |
But the maker's mark is SD. | 0:34:25 | 0:34:27 | |
I've noticed that, but I've looked on the internet and I couldn't find SD. | 0:34:27 | 0:34:31 | |
SD is probably the most important | 0:34:31 | 0:34:35 | |
Arts and Crafts female goldsmith. | 0:34:35 | 0:34:40 | |
-Oh, female. -It's Sybil Dunlop. | 0:34:40 | 0:34:42 | |
-Oh... -And the thing about Sybil Dunlop, | 0:34:42 | 0:34:45 | |
there's very much more jewellery by her than there is silver. | 0:34:45 | 0:34:50 | |
-Oh. -Her silver is rare. | 0:34:50 | 0:34:51 | |
So it's only a teaspoon from 1924 - if it was a bog-standard one, | 0:34:53 | 0:34:57 | |
it would be worth it's weight in silver of £5. | 0:34:57 | 0:35:00 | |
But it's changed it from £5 to £50. | 0:35:01 | 0:35:04 | |
-Has it really?! -And we would put it into auction at £50-£100. | 0:35:04 | 0:35:08 | |
-Gosh. -And we'd put a fixed reserve of say, £40, on it. | 0:35:08 | 0:35:13 | |
And it's probably...only the tenth piece of silver I've ever | 0:35:13 | 0:35:18 | |
-seen by her. -Oh, gosh. | 0:35:18 | 0:35:20 | |
It's made my day, made my year, Janet! | 0:35:20 | 0:35:22 | |
-Made my year. -I'm glad I brought it! | 0:35:22 | 0:35:24 | |
I'm delighted. Thank you so much. | 0:35:24 | 0:35:26 | |
Thank you. | 0:35:26 | 0:35:27 | |
It just shows, you cannot judge an item's value by its size | 0:35:27 | 0:35:31 | |
and shape alone. | 0:35:31 | 0:35:33 | |
That's it, our experts have now found their final items, | 0:35:33 | 0:35:36 | |
so it's time to say goodbye to our valuation day venue - | 0:35:36 | 0:35:40 | |
Manchester's Museum of Science And Industry. | 0:35:40 | 0:35:43 | |
We've had a marvellous time here and learnt so much, | 0:35:43 | 0:35:45 | |
but right now, it's full steam ahead to Marshall's Auction Rooms | 0:35:45 | 0:35:48 | |
in Knutsford, and here's what's coming with us. | 0:35:48 | 0:35:50 | |
TOOT TOOT! | 0:35:50 | 0:35:52 | |
Michael liked these vases for their beauty and their history, | 0:35:52 | 0:35:55 | |
but the damage as lead to a low valuation. | 0:35:55 | 0:35:58 | |
Could he have got it wrong? Keep watching for a jaw-dropping auction. | 0:35:58 | 0:36:02 | |
Will it be a wind up for Steve and his gentleman's pocket watch? | 0:36:03 | 0:36:07 | |
A classic Arts and Crafts design, but from a unique maker. | 0:36:09 | 0:36:13 | |
Will the bidders be as excited as Michael was about this | 0:36:13 | 0:36:16 | |
Sybil Dunlop spoon? | 0:36:16 | 0:36:17 | |
So it's back to Knutsford for the last time, | 0:36:19 | 0:36:21 | |
and can you guess which item steals the show? | 0:36:21 | 0:36:24 | |
Steven, good luck. | 0:36:25 | 0:36:26 | |
The time is now up - we're selling an 18-carat gold Edwardian | 0:36:26 | 0:36:30 | |
pocket watch belonging to Steven, and it is quality, isn't it? | 0:36:30 | 0:36:34 | |
-Oh, yeah. -18-carat, Dennison case - it's a lovely piece. | 0:36:34 | 0:36:39 | |
Let's hope we get the top end of the estimate. | 0:36:39 | 0:36:41 | |
Let's put it under the hammer now. We need top money for this. | 0:36:41 | 0:36:44 | |
Edward VII, 18-carat gold Waltham pocket watch. | 0:36:44 | 0:36:47 | |
And I can start the bidding on this one at £400. | 0:36:47 | 0:36:51 | |
420. 440. | 0:36:51 | 0:36:52 | |
460. 480. 500. | 0:36:52 | 0:36:54 | |
-520. -It's going... | 0:36:54 | 0:36:56 | |
560. 580. | 0:36:56 | 0:36:58 | |
600. 620. 640. | 0:36:58 | 0:37:01 | |
Commission bid of 640. | 0:37:01 | 0:37:03 | |
Any advance? 660. | 0:37:03 | 0:37:05 | |
Your hand up... | 0:37:05 | 0:37:07 | |
Someone else is joining the party here in the room. | 0:37:07 | 0:37:09 | |
They want your watch. | 0:37:09 | 0:37:12 | |
700 - fresh bidder. | 0:37:12 | 0:37:14 | |
720...yes? | 0:37:14 | 0:37:16 | |
720. | 0:37:16 | 0:37:17 | |
720 in the centre. | 0:37:17 | 0:37:19 | |
You're out left at 720. | 0:37:19 | 0:37:21 | |
Seated in the centre at 720... | 0:37:21 | 0:37:23 | |
-GAVEL BANGS -Sold in the room. | 0:37:23 | 0:37:26 | |
720. | 0:37:26 | 0:37:27 | |
Well done. Congratulations. | 0:37:27 | 0:37:29 | |
That was worth doing, wasn't it? | 0:37:29 | 0:37:31 | |
Stylish, useful and solid gold - no wonder it smashed the estimate. | 0:37:31 | 0:37:36 | |
Next under the hammer, the tiny teaspoon. | 0:37:36 | 0:37:40 | |
You loved that. You instantly recognised the initials. | 0:37:40 | 0:37:43 | |
-Sybil Dunlop. -Yes. | 0:37:43 | 0:37:44 | |
Sybil Dunlop is very important, | 0:37:44 | 0:37:47 | |
and that is translated in a little teaspoon. | 0:37:47 | 0:37:50 | |
So somebody's buying something quite precious. | 0:37:50 | 0:37:52 | |
Let's find out what the bidders think right now. | 0:37:52 | 0:37:56 | |
The George V hallmarked silver spoon, | 0:37:56 | 0:37:58 | |
with a pierced decorated handle and a planished bowl, | 0:37:58 | 0:38:01 | |
by Sybil Dunlop. | 0:38:01 | 0:38:02 | |
Where we going to be for this one then? | 0:38:02 | 0:38:04 | |
£40 and start me... 40? | 0:38:04 | 0:38:08 | |
Where do you want to start? | 0:38:08 | 0:38:09 | |
25 I have. At £25. | 0:38:09 | 0:38:11 | |
Any advance on 25? | 0:38:11 | 0:38:12 | |
Take 30 now? | 0:38:12 | 0:38:14 | |
At 30. And 5. | 0:38:14 | 0:38:16 | |
Anybody got 40? | 0:38:16 | 0:38:17 | |
At £35. Any advance? | 0:38:17 | 0:38:20 | |
Anybody online? | 0:38:20 | 0:38:21 | |
Someone's woken up. | 0:38:21 | 0:38:22 | |
Is there another 5? | 0:38:22 | 0:38:23 | |
You're out in the room, and I'm selling now at 40. | 0:38:23 | 0:38:26 | |
Gosh, it's gone. | 0:38:29 | 0:38:30 | |
The thing is, it's very...academic. | 0:38:30 | 0:38:32 | |
Mm. | 0:38:32 | 0:38:33 | |
We didn't have two people that wanted it, we had one person online. | 0:38:33 | 0:38:37 | |
But we protected it with a reserve, and that's what it's for. | 0:38:37 | 0:38:40 | |
It was so tiny. Very tiny. | 0:38:40 | 0:38:42 | |
Thank you for coming in. | 0:38:42 | 0:38:43 | |
We've all learned something - you knew it all along, | 0:38:43 | 0:38:46 | |
but hopefully you have as well. | 0:38:46 | 0:38:47 | |
So have a rummage in your cutlery drawer, | 0:38:47 | 0:38:49 | |
maybe you'll have a spoon that says a two-letter mark | 0:38:49 | 0:38:52 | |
that says history and money! | 0:38:52 | 0:38:55 | |
And now, those striking, but damaged vases. | 0:38:55 | 0:38:59 | |
-Jan, fingers crossed - good luck. -Thank you. | 0:38:59 | 0:39:01 | |
-You're looking very smart today. -Thank you very much. | 0:39:01 | 0:39:03 | |
You're off shopping after this, aren't you? | 0:39:03 | 0:39:06 | |
-Could be. Depends how much we make. -Are you, really? | 0:39:06 | 0:39:09 | |
-Yes. -Dressed to kill - dressed to go shopping! | 0:39:09 | 0:39:11 | |
What's top of the list, what you looking for today? | 0:39:11 | 0:39:14 | |
-Shoes! -I knew it! I knew it! | 0:39:14 | 0:39:18 | |
I don't know if we can pay for a good pair of shoes with it. | 0:39:18 | 0:39:21 | |
Not in Knutsford! | 0:39:21 | 0:39:23 | |
Heels to go on maybe! | 0:39:23 | 0:39:26 | |
We're looking at £100-£200 with the two cloisonne vases. | 0:39:26 | 0:39:29 | |
Let's find out what the bidders think. Good luck. | 0:39:29 | 0:39:32 | |
Pair of Japanese cloisonne vases. | 0:39:32 | 0:39:34 | |
Good lot this one, we're going to open the bidding. | 0:39:34 | 0:39:37 | |
£100 and start me quickly now. | 0:39:37 | 0:39:39 | |
80? | 0:39:39 | 0:39:41 | |
80 bid. 85. 85. 90. | 0:39:41 | 0:39:44 | |
95, I'm bid. At 95 in the room. | 0:39:44 | 0:39:46 | |
100 online. Any advance? | 0:39:46 | 0:39:48 | |
And 10 on the phone. | 0:39:48 | 0:39:50 | |
120 online. | 0:39:50 | 0:39:52 | |
130 on the phone. | 0:39:52 | 0:39:54 | |
At 130 bid. And 40. | 0:39:54 | 0:39:56 | |
140. 50 now? | 0:39:56 | 0:39:57 | |
150 telephone bid. | 0:39:57 | 0:39:58 | |
60. 170 on the phone. | 0:39:58 | 0:40:01 | |
At 170. 80. | 0:40:01 | 0:40:04 | |
This is good, getting the top end. | 0:40:05 | 0:40:07 | |
Online bidder at 200. | 0:40:07 | 0:40:08 | |
10. At 220. | 0:40:08 | 0:40:10 | |
230 now? 240. | 0:40:10 | 0:40:13 | |
250 now? 250. | 0:40:13 | 0:40:14 | |
60. 270 I you like? | 0:40:14 | 0:40:16 | |
270 telephone. | 0:40:16 | 0:40:18 | |
At 270 on the phone. | 0:40:18 | 0:40:19 | |
280. At 280. 90 now? | 0:40:19 | 0:40:22 | |
Shakes his head on the phone. | 0:40:22 | 0:40:23 | |
It's 280 and it's on the internet. | 0:40:23 | 0:40:25 | |
It's an internet bidder and I'm selling at 280. | 0:40:25 | 0:40:29 | |
Hammer's gone down - £280. | 0:40:29 | 0:40:31 | |
I'm coming again now! | 0:40:31 | 0:40:33 | |
You are! | 0:40:33 | 0:40:35 | |
A great result for the cloisonne vases. | 0:40:35 | 0:40:37 | |
Next, Jan's majolica. Will it go the same way? | 0:40:39 | 0:40:42 | |
Nick Hall takes to the rostrum for the last time. | 0:40:42 | 0:40:45 | |
The 19th-century Italian maiolica vase. | 0:40:47 | 0:40:50 | |
Nice thing this, good early look about it. | 0:40:50 | 0:40:52 | |
Start me where? | 0:40:52 | 0:40:54 | |
Not a lot of money at £40. 30? 20? | 0:40:54 | 0:40:57 | |
I like that. | 0:40:57 | 0:40:58 | |
It's got a wonderful look. | 0:40:58 | 0:40:59 | |
Let's get the ball rolling now. | 0:40:59 | 0:41:01 | |
At 30. 5. 40. | 0:41:01 | 0:41:02 | |
45. At 45 I've got. | 0:41:02 | 0:41:04 | |
And 50 I've got. And 5 I've got. | 0:41:04 | 0:41:06 | |
And 60. 65 - it's all climbing online. | 0:41:06 | 0:41:09 | |
At £70 we're back on the phone. | 0:41:09 | 0:41:11 | |
Thank goodness for the internet, it eluded the people of Knutsford. | 0:41:11 | 0:41:14 | |
I've got 100. | 0:41:14 | 0:41:16 | |
I've got 100 and 120. | 0:41:16 | 0:41:19 | |
130. At 140. | 0:41:19 | 0:41:21 | |
You coming back in now? | 0:41:21 | 0:41:22 | |
This is good, isn't it? | 0:41:22 | 0:41:23 | |
-You've got your shoes already. -Yes, I have. | 0:41:23 | 0:41:26 | |
210 now. The bid's on the phone at 210. | 0:41:26 | 0:41:28 | |
220. Against you in Italy. | 0:41:28 | 0:41:31 | |
"Against you in Italy." | 0:41:31 | 0:41:33 | |
I think two people are convinced it's early. | 0:41:33 | 0:41:36 | |
360 now. 360 I'm bid. | 0:41:36 | 0:41:38 | |
At 380 here. | 0:41:38 | 0:41:39 | |
400. 420. | 0:41:39 | 0:41:41 | |
At 420 now. | 0:41:41 | 0:41:43 | |
440. 460 here. | 0:41:43 | 0:41:45 | |
Online at 480. | 0:41:45 | 0:41:47 | |
480 I'm bid. | 0:41:47 | 0:41:48 | |
500 now. At £500. | 0:41:48 | 0:41:50 | |
Any advance on 500? | 0:41:50 | 0:41:52 | |
-520. -You might be buying a shoe shop, you realise this, don't you?! | 0:41:52 | 0:41:55 | |
560. 580 here. 600. | 0:41:55 | 0:41:58 | |
At 600 now. 620. | 0:41:58 | 0:42:00 | |
It was a come and buy me, Michael. | 0:42:00 | 0:42:02 | |
It was a run and buy me, wasn't it? | 0:42:02 | 0:42:04 | |
At £700. 720. 740. | 0:42:04 | 0:42:06 | |
740. 760. | 0:42:06 | 0:42:09 | |
780. | 0:42:09 | 0:42:11 | |
-I'll buy you two pair of shoes now. -Oh, thank you. | 0:42:11 | 0:42:14 | |
840. 880. 880 now. | 0:42:14 | 0:42:17 | |
At 900. | 0:42:17 | 0:42:18 | |
£900 here. | 0:42:18 | 0:42:19 | |
That's a compete outfit now - handbag and shoes. | 0:42:19 | 0:42:22 | |
They're bidding in Italy, they're bidding on the phone. | 0:42:22 | 0:42:25 | |
Fresh phone bidder - he's in at 980! | 0:42:25 | 0:42:28 | |
At 980. | 0:42:28 | 0:42:30 | |
Wouldn't this be funny? | 0:42:30 | 0:42:32 | |
1,000 I'm bid. | 0:42:32 | 0:42:33 | |
Take a 50 with you. Thank you - 1,050. | 0:42:33 | 0:42:36 | |
At 1050. | 0:42:36 | 0:42:38 | |
1,100. 1,100 here now. | 0:42:38 | 0:42:40 | |
-1,150. -I did have a feeling, on the day, it was early. | 0:42:40 | 0:42:44 | |
-No, you didn't. -I did! | 0:42:44 | 0:42:47 | |
I said to you! | 0:42:47 | 0:42:48 | |
I said, "I think this is early." | 0:42:48 | 0:42:50 | |
At 1,200 now. I've got 1,200 with Niall. | 0:42:50 | 0:42:53 | |
At £1,200. | 0:42:53 | 0:42:54 | |
This is a great auction. | 0:42:54 | 0:42:55 | |
This is what auctions are all about. | 0:42:55 | 0:42:56 | |
Last and final time at £1,200... | 0:42:56 | 0:42:59 | |
£1,200! Jan! | 0:42:59 | 0:43:01 | |
Yeah, well done! | 0:43:03 | 0:43:05 | |
Oh, Jan's off shopping! | 0:43:05 | 0:43:08 | |
Congratulations to you lot, by the way! | 0:43:11 | 0:43:13 | |
That is what a good auction is all about, isn't it? | 0:43:13 | 0:43:16 | |
-Course it is. -Yeah! Well done, Jan! | 0:43:16 | 0:43:18 | |
We'd love to take the cameras and follow you shopping, | 0:43:18 | 0:43:21 | |
that's for sure. We just don't have time! | 0:43:21 | 0:43:24 | |
We've all had a brilliant time in Knutsford. | 0:43:24 | 0:43:26 | |
I hope you've enjoyed the show. | 0:43:26 | 0:43:28 | |
See you next time for plenty more surprises from Flog It! | 0:43:28 | 0:43:31 |