0:00:04 > 0:00:08I'm in the heart of one of the most industrious cities in Britain.
0:00:08 > 0:00:12From steam engines to gas lights, to chocolates, buttons and bangles,
0:00:12 > 0:00:15they've all been produced here. And now it's our turn.
0:00:15 > 0:00:19Today, "Flog It!" is made in Birmingham. Welcome to the show.
0:00:41 > 0:00:44Birmingham's early wealth and reputation may be due
0:00:44 > 0:00:47to its place at the heart of the Industrial Revolution.
0:00:47 > 0:00:51But that's just one of its many claims to fame.
0:00:51 > 0:00:55These household names were all originally made in Birmingham.
0:00:58 > 0:01:01Following the example of the city's inventive forebears,
0:01:01 > 0:01:03we'll be creating our own set of delicious moments
0:01:03 > 0:01:07and riveting historical insights as we delve into all of these bags
0:01:07 > 0:01:10and boxes brought along by this fantastic crowd here,
0:01:10 > 0:01:12outside Birmingham's Museum and Art Gallery.
0:01:12 > 0:01:13And, judging by the size of it,
0:01:13 > 0:01:16it looks like the whole neighbourhood has turned out.
0:01:17 > 0:01:21Our experts today are the young at heart, Thomas Plant...
0:01:21 > 0:01:23- Oh, isn't that lovely? Is it by Schuco?- Yeah.
0:01:23 > 0:01:25Brilliant, let's give you a sticker.
0:01:25 > 0:01:28..and the excitable Christina Trevanion.
0:01:28 > 0:01:31- I found one!- Oh, right.
0:01:31 > 0:01:32A Birmingham hallmark.
0:01:34 > 0:01:38So, with a quick look at some of the items outside, it's time to get this
0:01:38 > 0:01:41wonderful crowd inside and settled down ready for our valuation day.
0:01:43 > 0:01:46With a wealth of items being unpacked,
0:01:46 > 0:01:49there's plenty for our off-screen experts to take a look at.
0:01:49 > 0:01:53Whilst they do, here's a quick look at what's coming up.
0:01:55 > 0:01:58In the show today, we've got mystery...
0:01:58 > 0:02:00- Well, I never noticed that before. - There you are.
0:02:00 > 0:02:01That's why you come to "Flog It!"
0:02:01 > 0:02:03..music...
0:02:03 > 0:02:04CLANGING
0:02:04 > 0:02:06..and mould.
0:02:06 > 0:02:10There would have been something that would have sandwiched it in-between...
0:02:10 > 0:02:12- Yeah, absolutely. To have actually created the bowl.- Yeah.
0:02:12 > 0:02:15So, stay tuned for all of that and much, much more.
0:02:18 > 0:02:22We've spread ourselves out in all directions in this fantastic museum.
0:02:22 > 0:02:25It's full of history and it's full of inspiration and,
0:02:25 > 0:02:28later on in the show, I cannot wait to explore it.
0:02:28 > 0:02:31But right now, let's catch up with our experts
0:02:31 > 0:02:34and let's take a closer look at what Thomas has just spotted.
0:02:36 > 0:02:38- So, Anna, we met in the queue.- Yeah.
0:02:38 > 0:02:41- So, in here is the fire engine we saw earlier.- Yeah.- By Schuco.
0:02:41 > 0:02:44It is unbelievably fabulous. Tell me, how have you had it?
0:02:44 > 0:02:47I've just had it on a shelf for the last five years.
0:02:47 > 0:02:49You know, it hasn't been doing anything.
0:02:49 > 0:02:52- Not allowed to play with it.- You were never allowed to play with it?- No.
0:02:52 > 0:02:56And I don't think my dad was ever allowed to play with it, either,
0:02:56 > 0:03:00- who I inherited it off.- Well, it looks pretty fresh. And it's so sad.
0:03:00 > 0:03:01Toys are meant to be played with.
0:03:01 > 0:03:03Definitely. And this one's so much fun.
0:03:03 > 0:03:06- This Schuco fire engine, does it lift all the way out?- It does.
0:03:06 > 0:03:10- It's not strapped in?- No.- Look at that. So, it's a tin plate toy.
0:03:10 > 0:03:15Made by the Schuco company, a German company. This dates from about 1955.
0:03:15 > 0:03:19- And would it have been sold in England?- Yes. Yeah, for sure.
0:03:19 > 0:03:22You've got to discount the war years a little bit.
0:03:22 > 0:03:26Yeah, I wasn't sure if it was brought back especially for or...
0:03:26 > 0:03:28Well, it might have been. It might have been.
0:03:28 > 0:03:32Schuco's a very popular make. Heinrich Muller was the founder.
0:03:32 > 0:03:36- He founded the company called Schuco in 1921.- Oh, wow.
0:03:36 > 0:03:40Germany has a huge tradition of making great, great toys.
0:03:40 > 0:03:43Trains, cars, and so you can see the workmanship in this,
0:03:43 > 0:03:45but what's great are the colours.
0:03:45 > 0:03:48- It's so bright!- They're the primary colours, aren't they?
0:03:48 > 0:03:51Those blues and the reds. And the little firemen, as well.
0:03:51 > 0:03:52Yeah, they're brilliant.
0:03:52 > 0:03:55So, tell me, what's made you bring it here today?
0:03:55 > 0:03:58Well, it was left by my father so I've inherited it,
0:03:58 > 0:04:01but I'm getting married next year, so...
0:04:01 > 0:04:03- You're getting married?- Yeah.
0:04:03 > 0:04:06- So every penny counts. - That's the one.
0:04:06 > 0:04:10So, when it comes to value, cos it's in such good condition,
0:04:10 > 0:04:13it hasn't been played with and it's got its original box,
0:04:13 > 0:04:16I think probably between, you know, £400-£600.
0:04:16 > 0:04:18- 400-600?!- Is that enough?
0:04:18 > 0:04:20That's lovely! That'll pay for my wedding.
0:04:20 > 0:04:23- Oh, don't be so ridiculous. Weddings are expensive!- Not mine.
0:04:23 > 0:04:25THEY LAUGH
0:04:25 > 0:04:30- God!- I was thinking, like, 50 quid. I'm so happy.- No! No!- Wow.
0:04:30 > 0:04:33- Not at all! I'd reserve it at 300 so we don't give it away.- OK.
0:04:33 > 0:04:35- Unfortunately, you can't call it mint.- No.
0:04:35 > 0:04:37- You can call it excellent.- Yeah.
0:04:37 > 0:04:40I love all the different movements it's got, where you can...
0:04:40 > 0:04:42- Does that wind up? Look at that.- Wind it up.
0:04:42 > 0:04:46But I think, as it's not been played with, we should leave it alone.
0:04:46 > 0:04:48- So, we'll see you at the auction. - Yeah, definitely.
0:04:48 > 0:04:52And I'd be really, really happy if we help you have a fabulous,
0:04:52 > 0:04:56- fabulous day. Cos it's the best day...- Yeah.- ..of your life, really.
0:04:56 > 0:04:58- See you at the auction. - Wonderful, thank you.
0:04:58 > 0:05:02That will be a showpiece for anyone's collection.
0:05:02 > 0:05:05Now, Christina has chosen a historic industrial gallery
0:05:05 > 0:05:07for her first valuation.
0:05:07 > 0:05:10So, Rachel, we're surrounded in this beautiful gallery with these
0:05:10 > 0:05:14beautiful Victorian 19th-century pieces.
0:05:14 > 0:05:17We're moving slightly more into the 20th century here.
0:05:17 > 0:05:21We've got this Art Deco light which is just screaming 1930s at me.
0:05:21 > 0:05:22Where's it come from?
0:05:22 > 0:05:26Well, it was my mother's. We don't know the origin.
0:05:26 > 0:05:28She may have had it when she was younger.
0:05:28 > 0:05:31- She died last year, she was 98.- Right.
0:05:31 > 0:05:34But it could have been from one of the many sales that my mother
0:05:34 > 0:05:37and father used to go to when I was younger.
0:05:37 > 0:05:39So, when you say sales, did they go to auctions?
0:05:39 > 0:05:40Well, they went to auctions
0:05:40 > 0:05:44and I think they went to auctions at house clearance sales.
0:05:44 > 0:05:48- Oh, brilliant, when they were really, really good ones.- Well, yes.
0:05:48 > 0:05:50I love it. I mean, it's really, really fab.
0:05:50 > 0:05:52Do you remember it in Mum's house?
0:05:52 > 0:05:56Myself and my two sisters can only remember it being in the bathroom.
0:05:56 > 0:05:57- In the bathroom?- Yeah.
0:05:57 > 0:06:01And I'm assuming that the only two-pin plug that she had
0:06:01 > 0:06:02in the house - the shaving socket.
0:06:02 > 0:06:04That's right. Yes, yes.
0:06:04 > 0:06:07- I think that's wonderful. - That was my mum.- Bless her.
0:06:07 > 0:06:11If we look at the piece, it is screaming Art Deco at us, isn't it?
0:06:11 > 0:06:13And, I think, really quite endearing.
0:06:13 > 0:06:17So, we've got this wonderful sort of tableau here of this fawn and snail.
0:06:17 > 0:06:20Now, I think, in sort of folklore like Aesop's Fables, there was
0:06:20 > 0:06:22a wonderful story about the fawn and the snail,
0:06:22 > 0:06:25very similar to The Tortoise And The Hare, and who got there first.
0:06:25 > 0:06:27And I think it's probably representative of that.
0:06:27 > 0:06:31- It's made from spelter, this little section here.- What's spelter?
0:06:31 > 0:06:33Spelter is an alloy, it's a base metal alloy.
0:06:33 > 0:06:37It's used quite profusely instead of bronze. OK?
0:06:37 > 0:06:40Now, spelter was known as the poor man's bronze.
0:06:40 > 0:06:43So, sadly, if it were bronze, it would be very, very valuable.
0:06:43 > 0:06:47But it's not. And we can tell it's spelter. If you have a little look
0:06:47 > 0:06:49at the back of the deer, that's been gilded, and we can see
0:06:49 > 0:06:53the spelter underneath which is more of a grey pewter colour.
0:06:53 > 0:06:57So often with these Art Deco spelter or bronze figures,
0:06:57 > 0:06:59they are just bronzes, they're statues, effectively.
0:06:59 > 0:07:03But the added bonus of this one is that, underneath this glass sphere,
0:07:03 > 0:07:07is a light fitting, isn't it? Which, obviously, Mum used.
0:07:07 > 0:07:09Do you remember it ever working?
0:07:09 > 0:07:13- I think I looked at it just to see if it worked.- And did it work?
0:07:13 > 0:07:16- I think it did work.- Oh, did it?! Oh, fantastic.
0:07:16 > 0:07:18But being in the bathroom, I thought, well...
0:07:18 > 0:07:20Not the safest of things.
0:07:20 > 0:07:23So often with these things, you find that this has become separate.
0:07:23 > 0:07:26So, the fact that we've still got this is wonderful.
0:07:26 > 0:07:29And the fact that the wonderful sort of mottled greeny-white tones
0:07:29 > 0:07:34have been echoed in this painting of this foliage here is really lovely.
0:07:34 > 0:07:37It all sort of ties it all together. Do you like it?
0:07:37 > 0:07:40I can appreciate the beauty and the work that's gone into it
0:07:40 > 0:07:44- but it's not really my style.- What sort of idea do you have on value?
0:07:44 > 0:07:48Well, I was advised by a website
0:07:48 > 0:07:53- that the valuation would be about £120.- Oh, gosh.
0:07:53 > 0:07:55That sounds very steep to me.
0:07:55 > 0:07:59I think £120 would be an appropriate retail valuation for it.
0:07:59 > 0:08:01So, if it were to go into a shop window.
0:08:01 > 0:08:04It wouldn't sell at that sort of level in an auction house.
0:08:04 > 0:08:08- I mean, £40-£60, how does that sound to you?- Yes, I think that's OK.
0:08:08 > 0:08:12- Is that all right?- Yeah. - With a reserve of £40.
0:08:12 > 0:08:16I think it stands a really good chance of selling at that.
0:08:16 > 0:08:19I'm sorry not to match your expectations of 120
0:08:19 > 0:08:21but we do have to be realistic.
0:08:21 > 0:08:22- Don't worry. That's fine.- Super.
0:08:22 > 0:08:25- It'll be an experience, won't it? - It will be an experience, exactly.
0:08:25 > 0:08:28- So, let's look forward to the auction.- I will do.
0:08:28 > 0:08:31That is a come-and-buy-me estimate for a charming piece.
0:08:31 > 0:08:35And I'm sure it's bound to attract the bidders. Now it's my turn.
0:08:35 > 0:08:38Maggie... I recognise these straightaway.
0:08:38 > 0:08:41- A set of team bells for a heavy horse.- That's right.
0:08:41 > 0:08:43It's an early warning system, really -
0:08:43 > 0:08:45"Jingle, jingle, here come the horses,
0:08:45 > 0:08:46"they're coming down the dusty track.
0:08:46 > 0:08:48"Get out the way, they can't see you!"
0:08:48 > 0:08:52I'd say this set of four bells dates back to the early 1900s,
0:08:52 > 0:08:53possibly 1900.
0:08:53 > 0:08:55How did you come by them?
0:08:55 > 0:08:57- I collect bells.- Do you?- Yes. I like animal bells.
0:08:57 > 0:09:01I like farm bells and I've got all sorts of big ones and small ones.
0:09:01 > 0:09:04- But I can't display these properly. - Do you play bells at all?
0:09:04 > 0:09:08- Like handbells in a church?- Well, I am a professional musician.- You are?
0:09:08 > 0:09:11- So, you're not a campanologist, you're not a bell ringer?- No.
0:09:11 > 0:09:14- What instrument, not bells? - Percussion.- Percussion. Oh, right.
0:09:14 > 0:09:17- So, percussion cowbells, yeah?- Yes.
0:09:17 > 0:09:18So, what have you done with them?
0:09:18 > 0:09:21Well, they've been parked by a big grandfather clock
0:09:21 > 0:09:24and I think I'm not really enjoying these bells
0:09:24 > 0:09:27and I'm downloading, I'm getting to be an old bat now.
0:09:27 > 0:09:29So... LAUGHTER
0:09:29 > 0:09:31I want to shift things out.
0:09:31 > 0:09:35I live in Wiltshire and there's lots of pubs in my local area that
0:09:35 > 0:09:39have this kind of thing around the bar as pub decoration, but authentic
0:09:39 > 0:09:42pub decoration, because that's a great part of our social history.
0:09:42 > 0:09:45And I know there are plenty of people that collect this
0:09:45 > 0:09:48early sort of heavy horse memorabilia. There really is.
0:09:48 > 0:09:50How much did you pay for these?
0:09:50 > 0:09:52It was just over 200, I can't really remember but
0:09:52 > 0:09:56- I think it was at an antiques fair.- I think you got good value for money.
0:09:56 > 0:09:57- Yeah, I think I did.- I really do.
0:09:57 > 0:10:00Four bells, you know, it's £50 each, it's well presented.
0:10:00 > 0:10:04It's a stand, it's been mounted for you as a decorative object.
0:10:04 > 0:10:06And now ready to go, so...
0:10:06 > 0:10:09If you want to sell them, hopefully, we'll get your money back.
0:10:09 > 0:10:14Let's put a valuation of £200-£250 on these.
0:10:14 > 0:10:17- Can we have a 10% discretion on that?- Of course.
0:10:17 > 0:10:19I don't think we'll need it, but just to tempt bidders in.
0:10:19 > 0:10:23If we're one bid under, we'll be able to sell it at £180.
0:10:23 > 0:10:25I tell you what, we've got to let everybody hear them ring.
0:10:25 > 0:10:27Let me just lift this out. Ready?
0:10:29 > 0:10:31CLANGING
0:10:33 > 0:10:38Now, can you imagine a team of, let's say, two heavy horses
0:10:38 > 0:10:42coming down an old dusty track pulling a hay wagon?
0:10:42 > 0:10:45I mean, the noise! You'd definitely get out of the way, wouldn't you?
0:10:45 > 0:10:47- Yes.- You really would.
0:10:47 > 0:10:51What a great item to ring time on our first set of valuations.
0:10:51 > 0:10:54Let's have a quick recap of what we're taking to auction.
0:10:56 > 0:10:58If Anna's going to make it to church on time, her fire engine
0:10:58 > 0:11:02needs to pull out all its stops to attract the bidders.
0:11:05 > 0:11:09Will Rachel's lamp run away as swift as a deer or as slow as a snail?
0:11:13 > 0:11:16And if we ring them loud enough, I'm sure Maggie's horse bells
0:11:16 > 0:11:18should attract campanologists from far and wide.
0:11:27 > 0:11:30Right, the moment we've all been waiting for, it is auction time.
0:11:30 > 0:11:33Anything could happen. You know the score, so don't go away.
0:11:37 > 0:11:39Well, this is what it's all about, the saleroom is filling up.
0:11:39 > 0:11:40Just look at this.
0:11:40 > 0:11:43And on the rostrum, we'll have our very own expert Nick Davies
0:11:43 > 0:11:47auctioneering today. So, fingers crossed everything will fly.
0:11:47 > 0:11:49I'm feeling nervous for our owners right now. They're down that end.
0:11:49 > 0:11:53I'm going to catch up with them and we'll get on with our first lot.
0:11:53 > 0:11:58The commission in today's sale is 21% for buyers and 18% for sellers.
0:11:59 > 0:12:02I absolutely love this next lot. It's my favourite in the sale.
0:12:02 > 0:12:05It's that little Schuco fire engine and it belongs to Anna,
0:12:05 > 0:12:08- and we're selling this because of your...- Wedding!
0:12:08 > 0:12:11- Up-and-coming wedding. You need every penny, don't you?- We do.
0:12:11 > 0:12:12Good luck with that.
0:12:12 > 0:12:15- Thank goodness you've got a Schuco fire engine to sell.- I know!
0:12:15 > 0:12:16That's what I say.
0:12:16 > 0:12:19Yes, because that's going to fetch big money, I'm hoping for top,
0:12:19 > 0:12:22- top estimate on that.- Oh, I wish it would make top, top money.
0:12:22 > 0:12:25- I really do.- We're going to put it to the test right here, right now.
0:12:25 > 0:12:27This is it, good luck.
0:12:27 > 0:12:30The 1950s battery operated Schuco fire engine.
0:12:30 > 0:12:34There it is, in very good condition. With the outer box, as well.
0:12:34 > 0:12:37We can open this one at £290 and 300 I look for in the room. 290 with me.
0:12:37 > 0:12:40300 now. 300 and a hand up, got you at 300, sir.
0:12:40 > 0:12:45- Do I see 310 anywhere else? At £300 I've got, 310 anywhere else?- 310.
0:12:45 > 0:12:49- Gentleman's bid at £300, last chance at 310.- 310.
0:12:49 > 0:12:50Are we all sure and done?
0:12:50 > 0:12:55- Gentleman in the leather jacket at £300, all done?- Yes!- Oh!
0:12:55 > 0:12:57- That's money towards that wedding! - That's fantastic.
0:12:57 > 0:12:59- That's brilliant, isn't it?- Yeah.
0:12:59 > 0:13:03- That's most of the wedding paid for now.- Good luck.- Oh, brilliant.
0:13:03 > 0:13:07- Where are you getting married? - In my fiance's parents' garden.
0:13:07 > 0:13:12- Oh, are you?!- Yeah.- Oh, well, that's a smart move. Smart move.- In a tent.
0:13:12 > 0:13:15- It'll be lovely.- I'm sure it will. In the summer?- Yeah.- Yes.
0:13:15 > 0:13:16- Oh, enjoy it.- Thank you.
0:13:18 > 0:13:21It's nice to know "Flog It!" is contributing to Anna's big day.
0:13:21 > 0:13:25Where weddings are concerned, every little penny helps.
0:13:25 > 0:13:28Going under the hammer right now, we've got an Art Deco lamp
0:13:28 > 0:13:31belonging to Rachel, and not for much longer, I don't think.
0:13:31 > 0:13:33I like this. Why are you selling it?
0:13:33 > 0:13:36Well, it doesn't really go with our house.
0:13:36 > 0:13:38- You haven't got the Deco look everywhere?- No.
0:13:38 > 0:13:42- We've got a much older house, so... - So, it's just out of period, really.
0:13:42 > 0:13:46- Yeah, yeah.- Will it get the top end? - I hope so.- Yeah, so do I.
0:13:46 > 0:13:47It's so stylish.
0:13:47 > 0:13:50I'd say quintessentially of its time that there will be collectors
0:13:50 > 0:13:52- that want it. - Good luck, this is it.
0:13:52 > 0:13:55The Art Deco table lamp, there we are, with the fawn
0:13:55 > 0:13:57and the marble effect sphere. Rather nice example.
0:13:57 > 0:13:59£90 straight in takes all underbidders out.
0:13:59 > 0:14:02- Oh, brilliant!- Very good.
0:14:02 > 0:14:03- Fantastic.- Come on.
0:14:03 > 0:14:06£90 bid will take it on commission, taking all the underbidders out.
0:14:06 > 0:14:08£90, 95 anywhere else?
0:14:08 > 0:14:11Gosh, well, that certainly exceeded my expectations. Wow.
0:14:11 > 0:14:1495, your last chance. £90, I'm selling...
0:14:14 > 0:14:17- Maiden bid, first bid in. - Brilliant.- Yeah.
0:14:17 > 0:14:21- So, that means you must have had two commission bids, yeah.- Yes.- Ah.
0:14:21 > 0:14:23- So, congratulations, that's fantastic.- Well done. Well done.
0:14:23 > 0:14:25Thank you so much.
0:14:25 > 0:14:27- You see, there's always a market out there.- Yeah.
0:14:27 > 0:14:29That's the good thing about an auction room,
0:14:29 > 0:14:32- they will find that buyer for you. - Yeah.- Well, good luck.
0:14:32 > 0:14:35- I've really enjoyed the experience. - Oh, good, I'm so pleased.
0:14:36 > 0:14:39Swift like the deer, just one discerning buyer.
0:14:41 > 0:14:44Now, can I continue our winning streak?
0:14:44 > 0:14:46Oh, the bells, the bells, the bells, the bells,
0:14:46 > 0:14:48I hear them ringing right now.
0:14:48 > 0:14:50Yes, it's my valuation and, you've guessed it,
0:14:50 > 0:14:52I've just been joined by Maggie. Who was a percussionist
0:14:52 > 0:14:55- for the Birmingham Symphony Orchestra, weren't you?- Yes.
0:14:55 > 0:14:57You were. You know how to play, my girl.
0:14:57 > 0:15:00And only a percussionist could collect bells, really.
0:15:00 > 0:15:03Hopefully they will sell. Let's cross our fingers. Here we go.
0:15:03 > 0:15:06Horse bells, there we are. They play a lovely tune
0:15:06 > 0:15:08and we can open those at 180.
0:15:08 > 0:15:09I look for 190 in the room.
0:15:09 > 0:15:11190 for the horse bells.
0:15:11 > 0:15:15At £180 now. Anybody coming in at 190 for the horse bells?
0:15:15 > 0:15:17No interest in the horse bells. £190.
0:15:17 > 0:15:20- Anyone coming in for the horse bells?- No, no, no!
0:15:20 > 0:15:23- Sell them!- Nobody got a horse? Can't help you with that, no?
0:15:23 > 0:15:25We'll move on then, I'm afraid. They'll stay here.
0:15:25 > 0:15:28Sadly, they didn't sell.
0:15:28 > 0:15:29But I kind of had a hunch.
0:15:29 > 0:15:32I know they're worth that sort of money but we should have pitched it
0:15:32 > 0:15:35- a bit lower to encourage people to get in there.- Yes.
0:15:35 > 0:15:39A disappointing performance, but I'm sure they'll receive
0:15:39 > 0:15:42a more appreciative reception on another day.
0:15:42 > 0:15:45Well, that's it, that's our first visit to the auction room done
0:15:45 > 0:15:48and dusted. Three lots under the hammer.
0:15:48 > 0:15:51We are coming back here later on in the programme, so don't go away,
0:15:51 > 0:15:53because this could get very exciting.
0:15:53 > 0:15:57Now, Birmingham is well known for its industrial past and its
0:15:57 > 0:16:01jewellery trade, but it's not that well known as an artistic hot spot.
0:16:01 > 0:16:04But if you take a closer look at some of the art in the city's
0:16:04 > 0:16:07museum, it can reveal some world-class talent.
0:16:07 > 0:16:09I went to investigate.
0:16:14 > 0:16:18Among its many works of art, the museum houses the largest
0:16:18 > 0:16:23collection of Pre-Raphaelite works on display anywhere in the world.
0:16:23 > 0:16:25And that's thanks to one of its first curators,
0:16:25 > 0:16:29who started collecting the works by the Pre-Raphaelite Brotherhood
0:16:29 > 0:16:31well before the museum opened.
0:16:31 > 0:16:33The Pre-Raphaelites were a group of young
0:16:33 > 0:16:37and rebellious Victorian artists who met at university.
0:16:37 > 0:16:39They formed a brotherhood. They wanted to create something new,
0:16:39 > 0:16:44something dynamic that would provoke the attention of the general public.
0:16:44 > 0:16:47They were frustrated by the outdated formulaic works being produced
0:16:47 > 0:16:51by the so-called art establishment of the day.
0:16:51 > 0:16:54Their work drew inspiration from myths and legends,
0:16:54 > 0:16:56Keats and Shakespeare.
0:16:56 > 0:16:59And it's known for its brilliance and vivid colour.
0:17:02 > 0:17:05Inspired by the simpler and more direct style
0:17:05 > 0:17:09of 15th-century painting and its colours,
0:17:09 > 0:17:14their paintings depict a world of intense feeling, poetry and passion.
0:17:16 > 0:17:18Now, this is possibly one of the most iconic
0:17:18 > 0:17:22and recognisable images of the Pre-Raphaelite Brotherhood.
0:17:22 > 0:17:25It's painted by Rossetti and it's titled Proserpine.
0:17:25 > 0:17:29It is Jane Morris, who Rossetti was in love with.
0:17:29 > 0:17:32Jane was married to William Morris and she found William cold
0:17:32 > 0:17:33and unattentive.
0:17:33 > 0:17:37It was an open relationship that went on for quite a few decades.
0:17:37 > 0:17:39And this is painted at Kelmscott,
0:17:39 > 0:17:42where he was staying with the couple at their home in around 1882.
0:17:42 > 0:17:44And it's full of symbolism.
0:17:44 > 0:17:47You can see the pomegranate, that's the fruit of Hades.
0:17:47 > 0:17:48She's taken a small bite from it,
0:17:48 > 0:17:51which means she can never return to Earth.
0:17:51 > 0:17:54The incense burner, that's an attribute of the goddess as well.
0:17:54 > 0:17:57And when you look at the decorative quality of the picture,
0:17:57 > 0:18:01with all the folds in the velvet, you can see it's really accentuated.
0:18:01 > 0:18:04The ivy also is a symbolism of somebody clinging on,
0:18:04 > 0:18:06somebody never wanting to let go.
0:18:06 > 0:18:09And you can see this with Rossetti's work.
0:18:09 > 0:18:12He was so in love with Jane Morris.
0:18:12 > 0:18:13I absolutely love this.
0:18:15 > 0:18:19These galleries are a masterclass in the art of the Pre-Raphaelites
0:18:19 > 0:18:20and well worth a visit.
0:18:20 > 0:18:22But for the locals,
0:18:22 > 0:18:25it's this gallery which is the highlight of the collection.
0:18:27 > 0:18:31This room is devoted to the art of Edward Burne-Jones,
0:18:31 > 0:18:34a native to the city, who was born here in 1833.
0:18:34 > 0:18:37Indisputably, Birmingham's most famous artist.
0:18:37 > 0:18:40Burne-Jones was a devoted student of Rossetti
0:18:40 > 0:18:43and he shared the same Pre-Raphaelite obsession with
0:18:43 > 0:18:46medieval and mythical imagery.
0:18:46 > 0:18:48And with this interest in religious content,
0:18:48 > 0:18:51he soon developed his own moodily atmospheric style.
0:18:53 > 0:18:57One work of art which really dominates this room is this,
0:18:57 > 0:18:59The Star Of Bethlehem.
0:18:59 > 0:19:01It was completed by Burne-Jones in 1890
0:19:01 > 0:19:05and first exhibited here in 1891.
0:19:05 > 0:19:07But because of its huge scale, really,
0:19:07 > 0:19:11to appreciate this, you have to get back to about here,
0:19:11 > 0:19:17where I'm standing now, to turn round and see its incredible detail.
0:19:17 > 0:19:20Now, what's surprising about this is it is in fact a watercolour.
0:19:20 > 0:19:22And it's so typical of the Pre-Raphaelites.
0:19:22 > 0:19:26It's the Nativity scene set in the Middle Ages.
0:19:26 > 0:19:29And one of the three Wise Men, as you can see, the one in the middle,
0:19:29 > 0:19:33is a knight, and the angel is holding the Star of Bethlehem.
0:19:33 > 0:19:37I absolutely love that. That dominates the centre of the picture.
0:19:37 > 0:19:40It really draws you in, amongst all this Gothic gloominess
0:19:40 > 0:19:45and these wonderful elongated figures, so typical of Burne-Jones.
0:19:45 > 0:19:49Yet, Jones has still retained a wonderful
0:19:49 > 0:19:51sense of spirituality here.
0:19:53 > 0:19:56Burne-Jones was also an illustrator and designer,
0:19:56 > 0:19:59working closely with his friend, William Morris.
0:19:59 > 0:20:01They shared the same love of honest work
0:20:01 > 0:20:05and appreciation for the exquisite craftsmanship of the Middle Ages.
0:20:05 > 0:20:10Ideals that formed the basis of the Arts and Crafts movement.
0:20:12 > 0:20:15Towards the end of the century, Burne-Jones was firmly
0:20:15 > 0:20:18established as an elder statesman of the arts,
0:20:18 > 0:20:20whilst the next generation of young artists
0:20:20 > 0:20:24at the Birmingham School of Art were creating a buzz all of their own.
0:20:24 > 0:20:28They were inspired by Burne-Jones, the Pre-Raphaelites
0:20:28 > 0:20:30and the Arts and Crafts movement, and their fresh,
0:20:30 > 0:20:33distinctive work gained the art world's attention.
0:20:33 > 0:20:37They included Arthur and Georgie Gaskin,
0:20:37 > 0:20:40a pioneering husband-and-wife team who injected
0:20:40 > 0:20:45a breath of creative air into the craft of jewellery making.
0:20:45 > 0:20:49And their exquisite handcrafted pieces rapidly gained them
0:20:49 > 0:20:53a reputation for beautiful high-quality jewellery.
0:20:53 > 0:20:57The museum has one of the largest collections of Gaskin's work in the country,
0:20:57 > 0:21:00and I've come behind the scenes to the conservation lab to meet up
0:21:00 > 0:21:04with curator Martin Ellis to find out a little bit more.
0:21:04 > 0:21:08Martin, thank you for getting a lot of these things out for me on display.
0:21:08 > 0:21:11I particularly like the early photographs. They are documents of early social history.
0:21:11 > 0:21:12Arthur was a teacher,
0:21:12 > 0:21:15so tell me a bit about his teaching principles.
0:21:15 > 0:21:16He was a great teacher.
0:21:16 > 0:21:18He was a great artist, he was a great illustrator,
0:21:18 > 0:21:21and he was teaching at Birmingham School of Art,
0:21:21 > 0:21:25and then Georgie became a pupil, which is how they met.
0:21:25 > 0:21:26How did that relationship develop
0:21:26 > 0:21:29and what sort of division of work did they do?
0:21:29 > 0:21:34Well, she was his pupil, that's how they romance blossomed, I suppose.
0:21:34 > 0:21:38They married in 1894, and from then on, really,
0:21:38 > 0:21:42they worked very closely together, firstly as illustrators
0:21:42 > 0:21:47and then they decided to turn their hand to jewellery manufacture.
0:21:47 > 0:21:49Georgie seems to have been the designer.
0:21:49 > 0:21:54Arthur carried those designs out to a level where they could be produced,
0:21:54 > 0:21:58but they both clearly works on their designs together.
0:21:58 > 0:22:00Very much the Arts and Crafts ethos, really.
0:22:00 > 0:22:02Very much the Arts and Crafts ethos.
0:22:02 > 0:22:05And working as a collective with other artists?
0:22:05 > 0:22:09Yes, one of the great strengths of Arthur being such a successful
0:22:09 > 0:22:13teacher, he had a pool of highly-skilled students
0:22:13 > 0:22:18that he could draw on, and they started off in a very limited way.
0:22:18 > 0:22:21And this is a relatively early piece from about 1900,
0:22:21 > 0:22:25and it's the enamel that gives it its life and vitality.
0:22:25 > 0:22:28The basic structure is a pretty simple wire structure.
0:22:28 > 0:22:33True to William Morris's ethos, really, the whole Arts and Crafts ethos.
0:22:33 > 0:22:37That's right, and in their work, to master your materials,
0:22:37 > 0:22:39to use your hand and your eye
0:22:39 > 0:22:44and your skill in the production of beautiful work
0:22:44 > 0:22:46was fundamentally important.
0:22:46 > 0:22:51Jewellery which is led not by precious material but by designers.
0:22:51 > 0:22:56- It's using silver rather than gold, it's using...- It's unpretentious.
0:22:56 > 0:22:57They were unpretentious.
0:22:57 > 0:22:59Looking at these photographs, you can see
0:22:59 > 0:23:02they weren't just practitioners, they where believers in what they did.
0:23:02 > 0:23:04- Exactly. - They lived the life, as it were.
0:23:04 > 0:23:08Thank you for showing me this, because that really is a unique window back in time,
0:23:08 > 0:23:11looking at all of this and seeing the jewellery with the photographs.
0:23:11 > 0:23:15- That's so important and that's what we call in the trade provenance. - It is provenance
0:23:15 > 0:23:18and a window back to an extraordinary time.
0:23:18 > 0:23:21And their work needs to be better known, I think.
0:23:21 > 0:23:23- They need to be celebrated more.- Yes.
0:23:23 > 0:23:28Yes, remember those names - Arthur and Georgie Gaskin,
0:23:28 > 0:23:32whose great talent restored the reputation for exquisitely
0:23:32 > 0:23:35designed affordable jewellery made in Birmingham.
0:23:43 > 0:23:48We're back now at the museum for our second lot of valuations.
0:23:48 > 0:23:50We've got a brilliant crowd here, loads of happy faces.
0:23:50 > 0:23:53- They're all enjoying themselves, aren't you?- ALL: Yes!
0:23:53 > 0:23:56That's what it's all about. And we're surrounded by fine art and antiques
0:23:56 > 0:23:59and history in this amazing building.
0:23:59 > 0:24:03So let's hope we can step up to the plate and find some gems of our own.
0:24:03 > 0:24:04Let's catch up with our experts
0:24:04 > 0:24:07and see what else we can take off to auction.
0:24:09 > 0:24:12- Hello, Jane.- Hello.
0:24:12 > 0:24:17You've brought along this rather well-written book with handwriting.
0:24:17 > 0:24:20- Yes.- Which is fabulous. Where is it from?
0:24:20 > 0:24:24It's been in the family, as far as I know, going back to my grandparents,
0:24:24 > 0:24:26but I don't know anything about it before then
0:24:26 > 0:24:28and it's just come down through the family.
0:24:28 > 0:24:30Is it something you've been conscious of?
0:24:30 > 0:24:32Now and then.
0:24:32 > 0:24:34My theory on the actual piece
0:24:34 > 0:24:38is it's almost like an exercise book. 1860s, 1870s.
0:24:38 > 0:24:43Translations, writing, is a very good way of learning.
0:24:43 > 0:24:45And this might have been done by a woman,
0:24:45 > 0:24:48because they weren't schooled properly, were they?
0:24:48 > 0:24:52It's funny, but I've always thought it was by a man. I don't know why.
0:24:52 > 0:24:56I don't know, I mean, I'm here slightly playing devil's advocate.
0:24:56 > 0:24:58- There are two different hands.- Yes.
0:24:58 > 0:25:01We've got this readable script...
0:25:01 > 0:25:06- and then illegible.- Yes!- Well, not really, almost.- It's very difficult.
0:25:06 > 0:25:09It takes a long time to decipher when you're reading it.
0:25:09 > 0:25:15But interspersed in this are some wonderful watercolours
0:25:15 > 0:25:17to do with the actual script.
0:25:17 > 0:25:19- Yes.- This is rather marvellous,
0:25:19 > 0:25:21the brave man saving...
0:25:21 > 0:25:23with the baby there and another man on a horse.
0:25:23 > 0:25:25Almost looks like Sherlock Holmes.
0:25:25 > 0:25:28- Yeah. The Reichenbach Falls.- That's it, I was looking for the name!
0:25:28 > 0:25:31- Reichenbach Falls, where he and Moriarty had the scrap.- Yes.
0:25:31 > 0:25:34- I think the lightning... - The lightning is good.
0:25:34 > 0:25:38- It's done by quite an accomplished hand.- The scale is good.
0:25:38 > 0:25:41- And it's so fine, isn't it? - Yes, it is good.
0:25:41 > 0:25:44And on the next page, you've got this lovely little poem.
0:25:44 > 0:25:46Well-written by the same hand.
0:25:46 > 0:25:49And it says here, "My life shall never for a price be sold.
0:25:49 > 0:25:52"Enough I have and I want no gold.
0:25:52 > 0:25:54"My portion give to these poor souls,
0:25:54 > 0:25:57"Whose all the black'ning surge now rolls."
0:25:57 > 0:26:00- These are lovely quotes. - Very flowing.- They're very flowing
0:26:00 > 0:26:03but they are also great quotes for modern day life.
0:26:03 > 0:26:06- "Enough I have and I want no gold." - I wish I could say that!
0:26:06 > 0:26:10Well, I mean, but holistically and spiritually, they probably had enough.
0:26:10 > 0:26:12- They don't need objects. - That what I feel about the book -
0:26:12 > 0:26:15there's a lot of spirituality in it, religion.
0:26:15 > 0:26:17- Yeah, I mean...- Parts of it.
0:26:17 > 0:26:19It's not being shoved down your throat.
0:26:19 > 0:26:23- No.- That's what's quite nice about it. There's no God-fearing going on.
0:26:23 > 0:26:26There's another lovely watercolour here and it's dated 1829.
0:26:26 > 0:26:30- Well, I never noticed that!- That's why you come to "Flog It!". 1829.
0:26:30 > 0:26:33So I was wrong in saying Victorian.
0:26:33 > 0:26:37- I have never seen the date in there anywhere before.- Really?- No!
0:26:37 > 0:26:39- That's brilliant. - Isn't that marvellous?
0:26:39 > 0:26:42And at the very, very back of the book,
0:26:42 > 0:26:45there's more interesting letters.
0:26:45 > 0:26:48And here is a photograph from Japan!
0:26:48 > 0:26:50A hand-coloured photograph
0:26:50 > 0:26:54with all these geishas. Do you know anything about this?
0:26:54 > 0:26:58- No, nothing at all.- The whole thing is not that valuable...- No.
0:26:58 > 0:27:00- ..but it's lovely.- Yeah.
0:27:00 > 0:27:02- Would you be happy to put it to auction?- Yeah.
0:27:02 > 0:27:05- And I would think it's worth £50-£80.- That's fine.
0:27:05 > 0:27:08- And I'd reserve it at 40. - That was fun.- Good.
0:27:08 > 0:27:13Hopefully, whoever buys this will discover more about its creator
0:27:13 > 0:27:15than we've been able to today.
0:27:15 > 0:27:19Now, from the sublime to the unusual.
0:27:19 > 0:27:22Michael, on the programme, we see a lot of pottery and porcelain
0:27:22 > 0:27:25- and ceramics. We see an awful lot of it.- Yeah.
0:27:25 > 0:27:28Not so commonly do we get to see moulds of how things were made.
0:27:28 > 0:27:30- No, not at all. - So it's really lovely to see.
0:27:30 > 0:27:34- It looks a bit random...- It is a bit random.- It is a bit random.
0:27:34 > 0:27:38And I thought, "Blimey, he's brought us a doorstop! That's kind!"
0:27:38 > 0:27:42- Yeah. It's heavy enough.- It's jolly heavy, isn't it?- It is, yeah.
0:27:42 > 0:27:44Tell me where you got it from.
0:27:44 > 0:27:47I found it in a skip where someone was doing a house clearance
0:27:47 > 0:27:50in Stoke-on-Trent, and I went in and asked
0:27:50 > 0:27:54if I could have the item and he said, "Yeah, go for it."
0:27:54 > 0:27:57- And did you know when you saw it what it was?- Um, no.
0:27:57 > 0:28:00I saw some patterns on it, but until I took it home
0:28:00 > 0:28:04and did a bit of research on the wording, I didn't know what it was.
0:28:04 > 0:28:06Well, the wonderful thing about it
0:28:06 > 0:28:09is that it pretty much says what it is.
0:28:09 > 0:28:12It's Totem, by Susan Williams- Ellis, Portmeirion Pottery,
0:28:12 > 0:28:14Stoke-on-Trent. Made in England.
0:28:14 > 0:28:17And from that, we can establish that this is a mould
0:28:17 > 0:28:21for a Portmeirion Totem patterned bowl.
0:28:21 > 0:28:24Now, the Totem pattern was launched in 1963,
0:28:24 > 0:28:27and it was designed by this lady, Susan Williams-Ellis,
0:28:27 > 0:28:32who basically bought the AE Gray factory in Stoke-on-Trent in 1960.
0:28:32 > 0:28:35Now, she called it Portmeirion because her father,
0:28:35 > 0:28:40Sir Clough Williams-Ellis, was the man that built Portmeirion,
0:28:40 > 0:28:43- which is the Italianate village in North Wales.- Right.
0:28:43 > 0:28:46She worked in the gift shop at Portmeirion,
0:28:46 > 0:28:49because it became a bit of a tourist destination, and from that,
0:28:49 > 0:28:52her interest in porcelain and pottery and chinawares grew.
0:28:52 > 0:28:55So then she started designing her own wares.
0:28:55 > 0:28:59And if you look at some of the Totem pattern wares,
0:28:59 > 0:29:02they really are quite wacky and quite stylish.
0:29:02 > 0:29:03This is the Totem pattern,
0:29:03 > 0:29:06which has got these wonderful designs all over it.
0:29:06 > 0:29:09- Have you seen one of the bowls? - I've seen some of them, yeah.
0:29:09 > 0:29:14All different kinds of greeny colours and brown colours.
0:29:14 > 0:29:16Absolutely, and so 1960s, aren't they? Really quite cool.
0:29:16 > 0:29:19Unfortunately, we don't have any of the china itself, but we do have
0:29:19 > 0:29:23the mould, and I find the process of manufacture really interesting.
0:29:23 > 0:29:26It's interesting to see how it first originated
0:29:26 > 0:29:28and the clay would have gone over here
0:29:28 > 0:29:32and there would have been something that sandwiched it in between...
0:29:32 > 0:29:33Yeah, absolutely.
0:29:33 > 0:29:35- So you've actually created the bowl. - Yeah.
0:29:35 > 0:29:38Unfortunately, as soon as these were deemed too worn -
0:29:38 > 0:29:41because there would have been hundreds, tens of hundreds
0:29:41 > 0:29:44of pieces made from this mould - they would dispose of it.
0:29:44 > 0:29:47And we can see that there is actually a flake on here
0:29:47 > 0:29:49and that's why it was disposed of.
0:29:49 > 0:29:51We've even got a date here.
0:29:51 > 0:29:53We've got the rubber section here and then a date,
0:29:53 > 0:29:55which says 16/5/69.
0:29:55 > 0:29:59So this was six or seven years after the introduction of the range
0:29:59 > 0:30:01- and it's still going strong.- Yeah.
0:30:01 > 0:30:04- Now, when did you find this in the skip?- A couple of years ago.
0:30:04 > 0:30:06- So relatively recently?- Yeah.
0:30:06 > 0:30:09- OK. Value-wise...- It's a tricky one, isn't it?
0:30:09 > 0:30:10It is a tricky one, yeah.
0:30:10 > 0:30:13I think I'm going to say 20-30 quid, no reserve.
0:30:13 > 0:30:17But I think for a skip salvage, you've done jolly well.
0:30:17 > 0:30:21- £20-£30 more than I got it for. - Brilliant, exactly. Well...
0:30:21 > 0:30:23Keep your fingers crossed.
0:30:23 > 0:30:25- Well done.- Thank you.
0:30:25 > 0:30:30What an unusual find, but I think this mould will really impress
0:30:30 > 0:30:35at the sale, and the writing is on the wall for Thomas's next piece.
0:30:35 > 0:30:38Ann, tell us where this plaque has come from.
0:30:38 > 0:30:42Well, I found it in the house when I moved into the house in 2001.
0:30:42 > 0:30:45- In the shed?- No, in the cupboard under the stairs.
0:30:45 > 0:30:48Cupboard under the stairs! Why did you bring it to "Flog It!" today?
0:30:48 > 0:30:52Just because I saw an article in the paper that "Flog It!" was coming here
0:30:52 > 0:30:55and I thought I'd see if I could find out any more about it.
0:30:55 > 0:31:00So, HB Sale Ltd, Progress Works, Summer Lane, Birmingham.
0:31:00 > 0:31:03- Do you know the company? - I don't know them at all.
0:31:03 > 0:31:06- It was established in 1862. - Oh, was it?
0:31:06 > 0:31:09- It's so lovely that it's such a local company.- Yes.
0:31:09 > 0:31:12And Birmingham has this huge history of making coins,
0:31:12 > 0:31:15making medals, metalwork.
0:31:15 > 0:31:18We can see what they made here - advertising novelties,
0:31:18 > 0:31:22art metalwork, badges, brands, bronze and enamel plates...
0:31:22 > 0:31:27- I mean, a real business.- It is, yes. - Probably roaring in the 1900s.
0:31:27 > 0:31:30- Yes.- I love this map here. - I do, too, yes.
0:31:30 > 0:31:32- Sweet, isn't it?- I love that, yes.
0:31:32 > 0:31:35- Do you know where we are relation to this map?- I do, yes.
0:31:35 > 0:31:37Can you point it out to me, please?
0:31:37 > 0:31:40Yes. We've got to be up this way.
0:31:40 > 0:31:42So just round the corner.
0:31:42 > 0:31:47- Yes, that's right.- I like this local thing. It's bronze, isn't it?
0:31:47 > 0:31:49Is it really? I'm not sure. Bronze, copper...
0:31:49 > 0:31:53No, it's copper, isn't it, with this verdigris on here.
0:31:53 > 0:31:55Who's going to buy it? This is the thing.
0:31:55 > 0:31:58A copper plaque in a sort of Deco Stepped style.
0:31:58 > 0:32:02- Yes.- There are a lot of people interested in local history. - There is, yes.
0:32:02 > 0:32:05Social historians, people who collect advertising material.
0:32:05 > 0:32:08This is a bit of a one-off. What's this worth?
0:32:08 > 0:32:10I don't think a great deal.
0:32:10 > 0:32:14A copper plaque from a firm advertising where we are
0:32:14 > 0:32:16and what we do.
0:32:16 > 0:32:20It says what it says on the tin. I think it's only worth £40-£60.
0:32:20 > 0:32:22- Are you happy with that?- I am, yes.
0:32:22 > 0:32:26- I think the copper is worth about that anyway.- Probably, yes.
0:32:26 > 0:32:28- And then we could reserve it at £20.- Yes.
0:32:28 > 0:32:30Half the estimate. I think that's very fair.
0:32:30 > 0:32:33- Are you happy?- I'll be happy with that, yes. Thank you much.
0:32:33 > 0:32:37- Look forward to seeing it at the auction.- Thank you.
0:32:37 > 0:32:38For Christina's final valuation,
0:32:38 > 0:32:42we go from one piece of local history to another.
0:32:42 > 0:32:46Lorna, you've brought in to us three albums stacked full of postcards.
0:32:46 > 0:32:49- Are there any of Birmingham? - Yes, there are.
0:32:49 > 0:32:52- These here.- Oh, fab! That's where we are now.- That's right, yes.
0:32:52 > 0:32:54Oh, brilliant.
0:32:54 > 0:32:58- These are early 20th century, aren't they?- I think they are about 1910.
0:32:58 > 0:33:02- OK, so they're really quite nice examples of postcard albums.- Yeah.
0:33:02 > 0:33:05- Where did they come from? - They were my mum's auntie's,
0:33:05 > 0:33:08and when they passed away, they came to my mum.
0:33:08 > 0:33:11And to be perfectly honest, they've just been in a box under the bed,
0:33:11 > 0:33:15not appreciated and only very rarely looked at.
0:33:15 > 0:33:17Was it Mum's auntie that collected the postcards?
0:33:17 > 0:33:19I think it was originally.
0:33:19 > 0:33:22When we look at postcard albums, the earlier the better.
0:33:22 > 0:33:24The ones you've got, as far as I can see,
0:33:24 > 0:33:27- all date to the early 20th century. - Yeah.
0:33:27 > 0:33:29I've had a bit of a flick through.
0:33:29 > 0:33:32We've got a few tourist ones, some greetings ones,
0:33:32 > 0:33:37but you have got some really lovely World War I examples,
0:33:37 > 0:33:39some silk ones.
0:33:39 > 0:33:42Can you tell me where they've come from?
0:33:42 > 0:33:45They were sent by my aunt's husband to the little girl.
0:33:45 > 0:33:48- I presume from when he was... - From the front line?- I think so.
0:33:48 > 0:33:49- From the war.- I think so.
0:33:49 > 0:33:52Because it's obviously a silk card, which has got the French flag
0:33:52 > 0:33:56and the Union Jack on there. And "God bless you", forget-me-nots.
0:33:56 > 0:34:01Terribly symbolic. And there's a lovely note on the back which says,
0:34:01 > 0:34:05"To my dear little Freda, with best wishes for a happy Christmas from
0:34:05 > 0:34:09"your grandad." And he's just put here, rather ambiguously,
0:34:09 > 0:34:10"Somewhere in France."
0:34:10 > 0:34:13- Yes.- So obviously he wasn't allowed to say where he was.
0:34:13 > 0:34:17So, some really, really lovely examples
0:34:17 > 0:34:20of what we term silk postcards.
0:34:20 > 0:34:26Now, 2014-2018 will commemorate the centenary of the First World War.
0:34:26 > 0:34:29So we are anticipating that there will be quite
0:34:29 > 0:34:31a surge in interest, and silk postcards,
0:34:31 > 0:34:34especially sent from France and from the front line, is part of that.
0:34:34 > 0:34:37And I think of all the postcards you've got, and there is a
0:34:37 > 0:34:40really good selection, these are the ones that will add value.
0:34:40 > 0:34:44Unlike stamps, postcards were unregulated, so it's very difficult
0:34:44 > 0:34:48to say, unless they've been written on and dated, when they come from.
0:34:48 > 0:34:51- Yes.- So the market for postcards is quite difficult to gauge.- Right.
0:34:51 > 0:34:54Having said that, I think there will be some value to it.
0:34:54 > 0:34:57What sort of ideas do you think on value of the three albums?
0:34:57 > 0:35:00Because I think we'd really be looking at putting them as one lot.
0:35:00 > 0:35:03Well, I thought about £60 for the three.
0:35:03 > 0:35:06I think that seems a little bit mean.
0:35:06 > 0:35:10I would be happy to put them into an auction with an estimate of £100-£200.
0:35:10 > 0:35:14Yeah? That is really good. I'm pleased with that, yeah.
0:35:14 > 0:35:17We could be a little bit realistic and put a slightly lower reserve on,
0:35:17 > 0:35:20of £80. And I think it would be really interesting
0:35:20 > 0:35:23for collectors for these to go to places where they'd be really
0:35:23 > 0:35:27- appreciated, rather than lying under the bed.- Exactly.
0:35:27 > 0:35:29- Yeah, that's fine. - Brilliant. Excellent.
0:35:29 > 0:35:33- Let's keep everything crossed. OK, thank you. Thanks, Lorna.- Thank you very much.
0:35:37 > 0:35:41Well, that's it. You've just seen them, our experts' final choices of items to
0:35:41 > 0:35:44take off to auction, and I think there are some real gems there.
0:35:44 > 0:35:47I can't wait to find out what's going to happen.
0:35:47 > 0:35:50But sadly, it means we've got to say goodbye to our magnificent
0:35:50 > 0:35:54host location, Birmingham's Museum and Art Gallery.
0:35:54 > 0:35:56A building full of treasure and history.
0:35:56 > 0:35:59And let's hope we can make some history of our own as we go
0:35:59 > 0:36:02off to the auction room. And here's what's coming with us.
0:36:03 > 0:36:06Jane's journal revealed a very talented ancestor,
0:36:06 > 0:36:09but the rest is shrouded in mystery.
0:36:13 > 0:36:17Michael's mould is one of the most unusual skip finds I've come across.
0:36:17 > 0:36:18He must have X-ray vision!
0:36:20 > 0:36:24And there's much more to this copper plaque than first meets the eye.
0:36:24 > 0:36:28It's a link to the city's 20th-century economic history.
0:36:29 > 0:36:32Lorna's postcard collection is so packed with history,
0:36:32 > 0:36:35it should have wide appeal.
0:36:38 > 0:36:41It's time to travel back to Fieldings Auctioneers in Stourbridge.
0:36:46 > 0:36:49First up is Jane's intriguing journal.
0:36:49 > 0:36:51We're ready to do battle in the saleroom right now
0:36:51 > 0:36:54and prove the pen is mightier than the sword with this
0:36:54 > 0:36:57early 19th-century handwritten journal belonging to Jane.
0:36:57 > 0:37:00- Isn't this exciting?- Yes! - A packed saleroom, Thomas.
0:37:00 > 0:37:04Hundreds of people hopefully pushing that estimate through the roof.
0:37:04 > 0:37:07We've got £50-£80. I don't think you can put a value on this.
0:37:07 > 0:37:09And I want to know why you're selling it,
0:37:09 > 0:37:11because it's your own social history as well.
0:37:11 > 0:37:15It sits on a shelf, nobody looks at it, apart from once every ten years.
0:37:15 > 0:37:17- It's a shame.- Jane's right.
0:37:17 > 0:37:21You can't keep everything, and they don't love you back, these things. They're just objects.
0:37:21 > 0:37:24Well, let's find out what the bidders think, shall we? Here we go.
0:37:24 > 0:37:26Let's hand the proceedings over to Nick Davies.
0:37:26 > 0:37:30A 19th-century handwritten poetical journal, dated 1829.
0:37:30 > 0:37:33£80 takes the underbidders out, and there were a lot of them.
0:37:33 > 0:37:35Do I see 85 anywhere in the room?
0:37:35 > 0:37:39- 85. 95. 100.- That is surprising.
0:37:39 > 0:37:42£100 on commission. Do I see 110 anywhere else?
0:37:42 > 0:37:46At £100, selling on commission. At £100, all done...
0:37:46 > 0:37:49It's gone. £100. That was quick - straight in, straight out.
0:37:49 > 0:37:53- I'm really surprised.- Someone valued it.- I'm really surprised.
0:37:53 > 0:37:57- That's great.- It's gone, but hopefully you've got other things.
0:37:57 > 0:38:00I mean, not just possessions but handwritten things, you know,
0:38:00 > 0:38:02- mementos like that.- Yes.- Have you?
0:38:02 > 0:38:05- I've got all my mum's letters she used to write to me.- Good.
0:38:05 > 0:38:09That's a good price for an original piece.
0:38:09 > 0:38:12Next, it's Michael's unusual piece of ceramic history.
0:38:12 > 0:38:15- Good luck, Michael.- Thank you.
0:38:15 > 0:38:17£20 is not a great deal of money for a bit of Portmeirion.
0:38:17 > 0:38:20- This is a bit with a difference, though, isn't it?- It is.
0:38:20 > 0:38:23It was difficult to know where to pitch it, because it's really unusual.
0:38:23 > 0:38:27If I found that in a skip, I would go and get a lump of clay and pack it around...
0:38:27 > 0:38:31- That's right!- I'd pack it around it and see what happens.
0:38:31 > 0:38:34I'd make myself something, and I'm sure whoever buys it...
0:38:34 > 0:38:36- It's an industrial piece. - ..might have a go.- I hope so.
0:38:36 > 0:38:39I think it's a bit of fun. Obviously you couldn't sell it.
0:38:39 > 0:38:41We're not saying go out and make something and sell it!
0:38:41 > 0:38:43- That wouldn't be allowed. - No, no, no.
0:38:43 > 0:38:47But I think what we've got is a little document of social history from Portmeirion.
0:38:47 > 0:38:50- Yeah, and you don't get a lot of it, do you?- You don't. Good luck!
0:38:50 > 0:38:52- Thank you.- Social history going under the hammer.
0:38:52 > 0:38:56Hopefully we can get £30, £40, £50 for this. Let's try.
0:38:56 > 0:38:59The Portmeirion mould, there it is.
0:38:59 > 0:39:03£30 takes the underbidders out. Do I see 32 in the room anywhere?
0:39:03 > 0:39:06At £30...
0:39:06 > 0:39:11- Top estimate.- The Portmeirion mould, then, at £30, selling.
0:39:11 > 0:39:15- Last chance... 32 just in.- Good.- Ooh!
0:39:15 > 0:39:1638. 40.
0:39:16 > 0:39:19- 42.- Oh, brilliant!- There's a commission bid on the books.
0:39:19 > 0:39:21Someone really wants it.
0:39:21 > 0:39:23At £40. 42? Last chance.
0:39:23 > 0:39:24At £40, selling, then. All done?
0:39:25 > 0:39:28- £40. You've lost your doorstop. - Fantastic.
0:39:28 > 0:39:30I'm pleased you don't have to carry it home
0:39:30 > 0:39:32- because it was quite weighty. - Very weighty, yeah.
0:39:32 > 0:39:36- It was a good workout!- Thank you for bringing it in, Michael.
0:39:36 > 0:39:39It's put a smile on my face and we've all learned something as well.
0:39:39 > 0:39:41- Absolutely. - That's ready good, thank you.
0:39:41 > 0:39:45That's a 100% profit from a skip.
0:39:47 > 0:39:50It's not always about the value. "What's it worth?" everybody shouts out,
0:39:50 > 0:39:54but it's also about social history, little documents, a window in time.
0:39:54 > 0:39:57And we've got one right now. It belongs to Ann. Not for much longer.
0:39:57 > 0:40:01- I know it's not a lot of money. You inherited this in your house, did you?- Yes, that's true.
0:40:01 > 0:40:05- 12 years ago?- Yes. - Where was it, in the loft?
0:40:05 > 0:40:07No, it was in the cupboard under the stairs.
0:40:07 > 0:40:09That's brilliant, isn't it?
0:40:09 > 0:40:12Well, hopefully, Thomas, this is going to go back on the wall.
0:40:12 > 0:40:15Yes, it's a real bit of social history and that's what I loved about it.
0:40:15 > 0:40:19- As soon as you brought it out, I thought, "Oh, wow, interesting." I love the map.- So do I.
0:40:19 > 0:40:24I'd buy it if I lived on that map location. Good luck to you anyway.
0:40:24 > 0:40:27- Thank you.- Good luck, Thomas. - Thank you.- Let's put it to the test.
0:40:27 > 0:40:31The plaque for HP Sale Ltd, Summer Works Lane, Birmingham.
0:40:31 > 0:40:35Can open slightly below estimate at £30. Looking for 32 in the room.
0:40:35 > 0:40:38£30? 32. There's hands everywhere. 32. 35.
0:40:38 > 0:40:41- 38.- Come on, there should be lots of local interest.
0:40:41 > 0:40:4440. 42. 45. 48. And 50.
0:40:44 > 0:40:4655.
0:40:46 > 0:40:4860. 65.
0:40:48 > 0:40:51- 70.- This is more like it, Ann. - Yes.- 65 in the distance.
0:40:51 > 0:40:5270 on the other side now.
0:40:52 > 0:40:5675. And 80. 85. 90. 90, sir?
0:40:56 > 0:40:58- Brilliant.- 85 on my left.
0:40:58 > 0:41:00Are we all done? 90 anywhere?
0:41:00 > 0:41:02£85 and selling...
0:41:02 > 0:41:05Yes! The hammer has gone down. £85. We're happy with that.
0:41:05 > 0:41:07I know Thomas is. You are as well.
0:41:07 > 0:41:09Whoever bought that, it's going on the wall
0:41:09 > 0:41:11and someone is going to be proud of that.
0:41:11 > 0:41:14- Yes. I believe so, yes.- Job done.
0:41:14 > 0:41:18You can never underestimate the interest in local history,
0:41:18 > 0:41:21which brings us to our final lot.
0:41:21 > 0:41:24I've been joined by Lorna and Christina, our expert.
0:41:24 > 0:41:27And we are going to put some postcard albums under the hammer.
0:41:27 > 0:41:30- This is a hard one to value. - Really tricky.
0:41:30 > 0:41:33- We have had some great surprises with photo albums.- Oh, God, don't...
0:41:33 > 0:41:36I'm hoping we get another one. I'm totally with you with the valuation,
0:41:36 > 0:41:40- but hopefully we'll get £200-£300. - Oh, I hope.- What's with the dogs?
0:41:40 > 0:41:42Who let the dogs out?
0:41:42 > 0:41:46- Are you a dog lover?- Yeah, I've got two setters and a springer.- Wow.
0:41:46 > 0:41:47Good luck, both of you.
0:41:47 > 0:41:51Hopefully this will fly. It's going under the hammer.
0:41:51 > 0:41:54On to the postcards, the collection of Edwardian postcards.
0:41:54 > 0:41:56And a cracker. Three in the lot.
0:41:56 > 0:41:59£100 straight off takes the underbidders out. 100.
0:41:59 > 0:42:01110? You're out? 110 there.
0:42:01 > 0:42:02120 anywhere else?
0:42:02 > 0:42:05- There is someone here. - There's a guy waving
0:42:05 > 0:42:09- his paddle over there.- 130. 140. - We've got a bidding war going on.
0:42:09 > 0:42:11This is what it's all about.
0:42:11 > 0:42:15190. 200. 210. 220. 230. 240. 250. 260.
0:42:15 > 0:42:18- 260, says no. 250... - Lorna, this is wonderful!
0:42:18 > 0:42:22There would have been three or four quite rare ones amongst them.
0:42:22 > 0:42:26290. 300. 310. 320. 330. 340.
0:42:26 > 0:42:30- 350. 360.- This is what I like!
0:42:30 > 0:42:34- I'm pleased I didn't value it! I knew this would happen.- 390, sir?
0:42:34 > 0:42:39390 anywhere else? £380 for the postcards. For the local interest,
0:42:39 > 0:42:41at £380. Are you sure and done? 390 is back.
0:42:41 > 0:42:43- She's back. - She's still with it. 410?
0:42:43 > 0:42:47At £400, it's going down. Are you sure?
0:42:47 > 0:42:52Yes, the hammer's gone down! £400! What a result! Who let the dogs out?
0:42:52 > 0:42:54Lorna did, that's for sure.
0:42:54 > 0:42:56- Hey, brilliant!- I know. Yeah.
0:42:56 > 0:43:00- I had a feeling that was going to happen, you know.- I really did.
0:43:00 > 0:43:03- Well done!- Well done.
0:43:03 > 0:43:06There is commission to pay, but enjoy it, won't you?
0:43:06 > 0:43:08And what a wonderful way to end today's show.
0:43:08 > 0:43:11I hope you've enjoyed it as much as we have.
0:43:11 > 0:43:14Join us again soon for many more surprises in the auction room,
0:43:14 > 0:43:16but until then, from Stourbridge, and I'm losing my voice,
0:43:16 > 0:43:19- it's goodbye! - It's all too exciting!