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Today we are in the West Midlands and hundreds of people are | 0:00:03 | 0:00:07 | |
flocking here to see us at Wolverhampton's Art Gallery | 0:00:07 | 0:00:10 | |
and now, I'm on the balcony and just look at this wonderful sculpture. | 0:00:10 | 0:00:14 | |
It's a sheep and it's flying in the air but all is not what it seems. | 0:00:14 | 0:00:18 | |
Just watch this. | 0:00:18 | 0:00:20 | |
And it is a wolf in sheep's clothing. | 0:00:25 | 0:00:27 | |
Fooled again. Welcome to Flog It! | 0:00:27 | 0:00:30 | |
The city of Wolverhampton was a leading manufacturing centre | 0:00:53 | 0:00:56 | |
during the Industrial Revolution and was also known for coal-mining, | 0:00:56 | 0:01:01 | |
iron and steel production. | 0:01:01 | 0:01:03 | |
Today, it's still a buzzing city and hundreds of people have | 0:01:08 | 0:01:11 | |
turned up to Wolverhampton Art Gallery, that fabulous | 0:01:11 | 0:01:14 | |
building there behind us, laden with antiques and collectables, | 0:01:14 | 0:01:17 | |
to see our experts who will steer them in the right direction, | 0:01:17 | 0:01:20 | |
off to the auction room. But first, name me the answer | 0:01:20 | 0:01:22 | |
to that all-important question which is... | 0:01:22 | 0:01:25 | |
-ALL: -What's it worth? | 0:01:25 | 0:01:27 | |
Let's find out. | 0:01:27 | 0:01:29 | |
So let's meet today's experts. | 0:01:32 | 0:01:34 | |
We have a very excited Caroline Hawley. | 0:01:34 | 0:01:37 | |
I love it. Having a licence to handbag dip! | 0:01:37 | 0:01:41 | |
Morning, all. Good morning. | 0:01:41 | 0:01:42 | |
And David Harper is making sure everyone is in good spirits. | 0:01:42 | 0:01:46 | |
Have you had a little tipple this morning? | 0:01:46 | 0:01:49 | |
-Is that why you brought this? -Yes. | 0:01:49 | 0:01:51 | |
And have you ever wondered what happens when our experts like an object? | 0:01:51 | 0:01:55 | |
-Are you going to sticker it? -I think I am. | 0:01:55 | 0:01:58 | |
OK, you sticker it. She's going to sticker it. | 0:01:58 | 0:02:00 | |
And that is not as bad as it sounds, I promise you. | 0:02:00 | 0:02:03 | |
It won't hurt a bit, madam. | 0:02:03 | 0:02:04 | |
Later on in today's show, some people have all the luck. | 0:02:12 | 0:02:15 | |
Imagine finding this necklace at a jumble sale for just £4. | 0:02:16 | 0:02:21 | |
It's a Ceylon sapphire | 0:02:21 | 0:02:24 | |
and this rather lovely diamond here. | 0:02:24 | 0:02:27 | |
And will this cat get the cream at auction? | 0:02:27 | 0:02:30 | |
What?! Ooh! | 0:02:30 | 0:02:32 | |
And I'm down here in the vaults of the art gallery, | 0:02:35 | 0:02:38 | |
where there is an extraordinary collection of pop art, | 0:02:38 | 0:02:41 | |
works by the likes of Andy Warhol and Sir Peter Blake. | 0:02:41 | 0:02:45 | |
But first we had better get back upstairs in the art gallery | 0:02:48 | 0:02:51 | |
and see what Caroline has already uncovered. | 0:02:51 | 0:02:54 | |
So, Barbara, tell me all about this lovely pot. | 0:02:55 | 0:02:58 | |
We were on holiday in Dorset, looking around the shops. | 0:02:58 | 0:03:01 | |
-As you do. -As you do. | 0:03:01 | 0:03:03 | |
Went into this charity shop and on the shelf up high, I could see this. | 0:03:03 | 0:03:08 | |
First of all I thought it might be Morecroft | 0:03:08 | 0:03:10 | |
or something like that, you know, something with flowers on. | 0:03:10 | 0:03:14 | |
I asked the girl if she would reach it down for me | 0:03:14 | 0:03:16 | |
and she reached it down. | 0:03:16 | 0:03:18 | |
I thought how lovely it was. | 0:03:18 | 0:03:20 | |
What attracted you to it? | 0:03:20 | 0:03:22 | |
It sounds strange, really, but it was the flowers. | 0:03:23 | 0:03:26 | |
I can remember when I was a little girl, my cousin was... | 0:03:26 | 0:03:31 | |
During the war, she made some curtains out of | 0:03:31 | 0:03:35 | |
very rough material and she embroidered these foxgloves | 0:03:35 | 0:03:40 | |
all the way up and it reminded me of that. It was only £7. | 0:03:40 | 0:03:44 | |
-How much? -£7. -£7? | 0:03:44 | 0:03:47 | |
Well, I think it's gorgeous. | 0:03:47 | 0:03:50 | |
-It's Royal Winton... -Royal Winton, yes. | 0:03:50 | 0:03:52 | |
..which is the trademark of a company called Grimwades... | 0:03:52 | 0:03:56 | |
-Yes, yes. -..which was set up - the Grimwades company - in 1885, | 0:03:56 | 0:04:01 | |
by brothers Leonard and Stanley. | 0:04:01 | 0:04:03 | |
And this is part of a group of pots called chintzware | 0:04:03 | 0:04:08 | |
which became very popular from 1928 onwards. | 0:04:08 | 0:04:11 | |
And at the height of that period, there were almost 60 designs, | 0:04:11 | 0:04:16 | |
different designs made. | 0:04:16 | 0:04:18 | |
They were very often floral patterns, | 0:04:18 | 0:04:21 | |
very often more closely decorated. | 0:04:21 | 0:04:23 | |
Yes, yes. I've seen those. | 0:04:23 | 0:04:25 | |
Yeah. This, I think, is lovely, | 0:04:25 | 0:04:27 | |
with the foxgloves at the front. | 0:04:27 | 0:04:29 | |
Lovely colouring and this great condition all the way around. | 0:04:29 | 0:04:34 | |
It is lovely. The more I look at it, the more I like it. | 0:04:34 | 0:04:36 | |
It's got such a lovely feel to it, hasn't it? The glaze is wonderful. | 0:04:36 | 0:04:40 | |
I'm very envious of you finding that in the charity shop. | 0:04:40 | 0:04:44 | |
-You wouldn't have done if I'd been there sooner. -No, no. | 0:04:44 | 0:04:47 | |
-Now, do you have any idea what it's worth now? -No, no, no. | 0:04:47 | 0:04:50 | |
Well, I would think it's still a popular piece. | 0:04:50 | 0:04:54 | |
-It's not going to be worth a fortune. -No, no, no. | 0:04:54 | 0:04:57 | |
But I think it's going to be worth £30-£50. | 0:04:57 | 0:05:00 | |
-Yes, that would be fine, yes. -And what about a reserve? | 0:05:00 | 0:05:03 | |
-Say £20, something like that. -20? | 0:05:03 | 0:05:05 | |
Well, I would agree with you because you don't want it back, do you? | 0:05:05 | 0:05:08 | |
No, no, no. | 0:05:08 | 0:05:09 | |
-Because you'll be out hunting for other things. -Yes, yes. | 0:05:09 | 0:05:12 | |
-So, if we put it in, £30-£50 with a fixed reserve at £20. -Yes, yes. | 0:05:12 | 0:05:17 | |
-Brilliant. And keep hunting. -Yes. -Well done. | 0:05:17 | 0:05:20 | |
-Thank you very much, Barbara. -Lovely, thank you. | 0:05:20 | 0:05:23 | |
Now over to David for some advice on timekeeping. | 0:05:26 | 0:05:30 | |
Now, Gail, I do think you need a new bedside clock. I do. | 0:05:32 | 0:05:36 | |
It hasn't got bells on. | 0:05:36 | 0:05:38 | |
-Please don't tell me you use that as your bedside clock. -No, I don't. | 0:05:39 | 0:05:43 | |
-Right. Tell me what you do use it for. -I don't. -You don't? | 0:05:43 | 0:05:48 | |
-In a cupboard. -No. -Yes. | 0:05:48 | 0:05:50 | |
It comes from my father's side of the family and it goes back | 0:05:50 | 0:05:55 | |
-a long, long time. -Right. | 0:05:55 | 0:05:58 | |
I think originally it was from a very old, big house | 0:05:58 | 0:06:02 | |
that a relation worked for. | 0:06:02 | 0:06:05 | |
-Right. Would they have been in service? -No, not in service. | 0:06:05 | 0:06:09 | |
She looked after one of the children of the house. | 0:06:09 | 0:06:12 | |
-Almost like a governess. -Well, yes. | 0:06:12 | 0:06:14 | |
What we have left is the remnants of that early life and it is an | 0:06:14 | 0:06:18 | |
-oversized pocket watch, isn't it? -Yes. | 0:06:18 | 0:06:21 | |
I mean, as far as pocket watches go, it's a biggie. Let's be honest. | 0:06:22 | 0:06:26 | |
-That is a very big pocket watch, isn't it? -It is. | 0:06:26 | 0:06:29 | |
Feel the weight of that. Imagine that dangling off you. | 0:06:29 | 0:06:33 | |
-Unbelievable. -With the chain as well. -Exactly. | 0:06:33 | 0:06:36 | |
And then the idea is, of course, when you are finished with | 0:06:36 | 0:06:39 | |
your watch during the day or you are going travelling, | 0:06:39 | 0:06:42 | |
you are getting your carriage and when you go and stay with friends | 0:06:42 | 0:06:45 | |
at the weekend, you take it with you and it becomes your bedside clock. | 0:06:45 | 0:06:48 | |
-It's a great design. Does it work? -I wouldn't know. | 0:06:48 | 0:06:51 | |
Well, shall we try it? Let's have a look. I'll give it a bit of a wind. | 0:06:51 | 0:06:54 | |
Always helps. | 0:06:59 | 0:07:01 | |
-Oh. -It's ticking. -Ticking. | 0:07:04 | 0:07:05 | |
-I never knew that. -Isn't that lovely? -I never... | 0:07:05 | 0:07:09 | |
-Isn't that lovely, though? -It is. | 0:07:09 | 0:07:11 | |
The mechanics of these things are almost medieval. | 0:07:11 | 0:07:14 | |
As long as they are well serviced and well wound, they'll work | 0:07:14 | 0:07:18 | |
but if that hasn't been used for generations, it's amazing. | 0:07:18 | 0:07:22 | |
A couple of twists and it's off again. | 0:07:22 | 0:07:24 | |
-The pocket watch is silver-plated... -Yes. -..with an enamel face. | 0:07:24 | 0:07:28 | |
-No markings that I can see on there. No retailer's mark. -No. | 0:07:28 | 0:07:32 | |
The case itself is obviously a wooden case, | 0:07:32 | 0:07:36 | |
lined in a leather or leatherette. | 0:07:36 | 0:07:38 | |
And then the front facing there, if you can just see, there's hallmarks. | 0:07:38 | 0:07:42 | |
-Right. -And made in 1908. | 0:07:42 | 0:07:45 | |
-1908? -Yeah. -Amazing. | 0:07:45 | 0:07:48 | |
-So, it's in a cupboard. -Yes. -What do you want to do with it? | 0:07:48 | 0:07:52 | |
We are decluttering and, no, it's too heavy to carry around with you. | 0:07:52 | 0:07:56 | |
-All right. -So, I don't... I wouldn't have it around my neck. | 0:07:56 | 0:08:00 | |
-You would look a bit eccentric, wouldn't you? -That's right. | 0:08:00 | 0:08:03 | |
All right. Well, it's all down to money then, isn't it? | 0:08:03 | 0:08:05 | |
And it's got age and everything else but it doesn't have | 0:08:05 | 0:08:08 | |
-a fantastic value. -No? | 0:08:08 | 0:08:09 | |
Because the silver front is just a very thin bit of silver. | 0:08:09 | 0:08:13 | |
The watch is just plated. No maker's mark on it. | 0:08:13 | 0:08:16 | |
-So it's probably only worth about £30. -Is it really? | 0:08:16 | 0:08:20 | |
It's ridiculously low for such an interesting object | 0:08:20 | 0:08:24 | |
-but that's probably all it's worth. -Yes. -Does that disappoint you? | 0:08:24 | 0:08:28 | |
Well, no, no. Because I've got no idea. I came with an open mind. | 0:08:28 | 0:08:31 | |
-Do you want to reserve it at 30? -Yes. | 0:08:31 | 0:08:34 | |
Put a reserve on and then because of the age of it, | 0:08:34 | 0:08:37 | |
if it doesn't go for that, I will keep it... | 0:08:37 | 0:08:40 | |
-OK. -..and hang it around my neck. | 0:08:40 | 0:08:42 | |
On that note, I think it's time for me to take a little tour around | 0:08:47 | 0:08:50 | |
the gallery, which has on display the works of many gifted locals. | 0:08:50 | 0:08:54 | |
Now, I can't pass this bronze sculpture without talking | 0:08:56 | 0:08:59 | |
about it and admiring it. | 0:08:59 | 0:09:02 | |
It's called Golden Youth and it was created by | 0:09:02 | 0:09:05 | |
Robert Jackson Emerson in 1939. | 0:09:05 | 0:09:08 | |
Emerson was a very well-respected painter, | 0:09:08 | 0:09:10 | |
sculptor and teacher in the early part of the 20th century. | 0:09:10 | 0:09:14 | |
And I think this sculpture shows his passion for the female form | 0:09:14 | 0:09:19 | |
so beautifully. | 0:09:19 | 0:09:20 | |
He had a successful career with commissions all over Italy | 0:09:20 | 0:09:24 | |
and a lot of his work is here in the gallery. | 0:09:24 | 0:09:26 | |
In fact, his reputation as a teacher in the 20th century | 0:09:26 | 0:09:31 | |
is almost legendary. | 0:09:31 | 0:09:32 | |
A lot of his pupils went on to become famous sculptors themselves. | 0:09:32 | 0:09:36 | |
Now, I wonder if Caroline has any noteworthy designs on her table. | 0:09:36 | 0:09:41 | |
-Barbara. -Hello. | 0:09:45 | 0:09:47 | |
-Hello, and welcome to you and your jewels. -Thank you. | 0:09:47 | 0:09:52 | |
I am chuffed to bits, as they say in Yorkshire, to see these. | 0:09:52 | 0:09:56 | |
And as soon as I saw them, I thought, "Ey up, Charles Horner." | 0:09:56 | 0:10:00 | |
And they are all by Charles Horner, the great Chester silversmith. | 0:10:00 | 0:10:05 | |
So how on Earth have you got all this Charles Horner...? | 0:10:05 | 0:10:08 | |
I looked through an auction catalogue | 0:10:08 | 0:10:11 | |
about two and a half years ago and picked out the things | 0:10:11 | 0:10:15 | |
-that jumped off the page. -Yeah. | 0:10:15 | 0:10:17 | |
I knew nothing about Charles Horner and everything that I liked | 0:10:17 | 0:10:21 | |
-was Horner. -How extraordinary. | 0:10:21 | 0:10:22 | |
Then I had a look to see who he was and now I can look in antique | 0:10:22 | 0:10:26 | |
shop windows and go, "Yeah, yeah, yeah." Or whatever. | 0:10:26 | 0:10:30 | |
So is this your total collection of Charles Horner? | 0:10:30 | 0:10:33 | |
-No. -You've got more? | 0:10:33 | 0:10:35 | |
Thimbles, quite a lot of thimbles of Charles Horner. | 0:10:35 | 0:10:39 | |
But I don't really want to sell everything. | 0:10:39 | 0:10:42 | |
You've made a very, very wise buy | 0:10:42 | 0:10:44 | |
in all of these because the condition is fantastic. | 0:10:44 | 0:10:47 | |
We keep banging on about condition is everything, | 0:10:47 | 0:10:49 | |
always buy the best you can afford. | 0:10:49 | 0:10:51 | |
But you have and it does make a difference. | 0:10:51 | 0:10:54 | |
These little Charles Horner pins here, they are beautiful but | 0:10:54 | 0:10:58 | |
if they were bashed and crushed, they are not worth anything. | 0:10:58 | 0:11:01 | |
They are lovely and I love this dancer. | 0:11:01 | 0:11:04 | |
-I didn't believe that was Horner. -No, nor did I. | 0:11:04 | 0:11:06 | |
I've had a good look with a glass and she is. | 0:11:06 | 0:11:09 | |
-Sometimes I buy these items in bags of bits. -Yeah? | 0:11:09 | 0:11:13 | |
This came in a bag of bits. And it cost me... Would you like to know? | 0:11:13 | 0:11:17 | |
-Yes, I would. -£7. -Brilliant. | 0:11:17 | 0:11:20 | |
So, we've got to put a price on them, haven't we, Barbara? | 0:11:20 | 0:11:24 | |
£3 million. | 0:11:24 | 0:11:26 | |
-You wish! -I do. -Sadly not. | 0:11:26 | 0:11:29 | |
I would think, realistically, | 0:11:29 | 0:11:32 | |
£200-£300 at auction. | 0:11:32 | 0:11:35 | |
-How do you feel about that? -That would be fine. | 0:11:35 | 0:11:37 | |
-And would you like a reserve? -Oh, definitely. -So, 200 OK? | 0:11:37 | 0:11:40 | |
-Yeah. -We will fix it at 200. -Yeah. | 0:11:40 | 0:11:42 | |
We'll estimate them at 200 to 300. | 0:11:42 | 0:11:44 | |
-Well done, Barbara... -Thank you. -..for building such a lovely collection. | 0:11:44 | 0:11:48 | |
-Thank you. -And I really look forward to going to auction with you and selling it. | 0:11:48 | 0:11:51 | |
-And selling it. Thank you very much. -That's a pleasure. | 0:11:51 | 0:11:54 | |
Well, there you are. | 0:12:00 | 0:12:02 | |
We found our first three items to take off to auction. | 0:12:02 | 0:12:04 | |
This is where it gets exciting. We're now going to up the tempo. | 0:12:04 | 0:12:07 | |
I've got my favourites, you've probably got yours. | 0:12:07 | 0:12:10 | |
Let's find out what the bidders think. | 0:12:10 | 0:12:11 | |
Here's a quick recap just to jog your memory of all the items | 0:12:11 | 0:12:14 | |
that are going under the hammer. | 0:12:14 | 0:12:16 | |
Barbara was drawn in by the flowers on this Royal Winton vase so let's | 0:12:17 | 0:12:21 | |
hope these lovely foxgloves will catch someone else's eye at auction. | 0:12:21 | 0:12:25 | |
Now, I don't imagine there will be any time wasters | 0:12:27 | 0:12:30 | |
around this silver travel clock come pocket watch. | 0:12:30 | 0:12:33 | |
Well, it's got the province and the style, so we shall see | 0:12:33 | 0:12:36 | |
how this collection of jewellery by Charles Horner will do at auction. | 0:12:36 | 0:12:40 | |
We are heading 40 miles north to the market town | 0:12:45 | 0:12:48 | |
of Whitchurch in Shropshire. | 0:12:48 | 0:12:50 | |
Now, one thing you notice here is that there are lots | 0:12:50 | 0:12:53 | |
of fantastic-looking clocks all around the town. | 0:12:53 | 0:12:57 | |
Well, that's because this was home to one of the oldest | 0:12:57 | 0:13:00 | |
clockmakers in the world. | 0:13:00 | 0:13:02 | |
JB Joyce were established in Shropshire in 1690 | 0:13:02 | 0:13:06 | |
and moved to Whitchurch in 1790. | 0:13:06 | 0:13:09 | |
Their work can be found across the globe from Sydney to Shanghai | 0:13:10 | 0:13:13 | |
but no place has more examples than Whitchurch. | 0:13:13 | 0:13:17 | |
Especially here at Trevanion & Dean auction rooms because this | 0:13:19 | 0:13:22 | |
in fact was the old Joyce factory. | 0:13:22 | 0:13:25 | |
And dotted around the saleroom there are a few clues to the past, | 0:13:25 | 0:13:29 | |
like this old clock, which is still ticking away. | 0:13:29 | 0:13:33 | |
With time going fast, we had better get on with the auction, | 0:13:35 | 0:13:38 | |
and Christina Trevanion is on the rostrum. | 0:13:38 | 0:13:41 | |
Remember, you will need to factor in the seller's commission | 0:13:41 | 0:13:45 | |
in a saleroom. Here, it's 17% plus VAT. | 0:13:45 | 0:13:50 | |
Now, will the history of this old clock-making factory help | 0:13:50 | 0:13:54 | |
when it comes to selling this timepiece? | 0:13:54 | 0:13:56 | |
# Tick tock, tick tock, tick tock... # | 0:13:56 | 0:13:58 | |
-Gail, good luck. -Thank you. | 0:13:58 | 0:14:00 | |
The travel clock is about to go under the hammer. | 0:14:00 | 0:14:02 | |
It's not a lot of money but it is a nice thing, isn't it? | 0:14:02 | 0:14:05 | |
-I'm thinking very positive. -Very positive. -Yes, so we are hoping. | 0:14:05 | 0:14:09 | |
OK. Not 30-40, more like 40-60. | 0:14:09 | 0:14:12 | |
It's going under the hammer right now. | 0:14:12 | 0:14:15 | |
Lot 170 is the silver goliath pocket watch and case. | 0:14:16 | 0:14:19 | |
There it is. Lot 170. | 0:14:19 | 0:14:21 | |
-And I am bid straight away £30 with the commission at £30. -Good. | 0:14:21 | 0:14:25 | |
35, 40, sir. 45, 50. | 0:14:25 | 0:14:29 | |
55. Clears my commission bid, sir. It's yours at £55. | 0:14:29 | 0:14:33 | |
Looking to 60 now. At £55, if we are all done then, at 55. | 0:14:33 | 0:14:38 | |
55, yes! | 0:14:38 | 0:14:40 | |
What's lovely about that, that now has a new lease of life. | 0:14:40 | 0:14:43 | |
Someone's very excited to own that watch and it will go on | 0:14:43 | 0:14:46 | |
-for another few more generations. Marvellous. -Well done, you. | 0:14:46 | 0:14:50 | |
-Thank you very much. -There's a beauty in everything. | 0:14:50 | 0:14:53 | |
Next up, the Royal Winton vase. | 0:14:54 | 0:14:55 | |
They missed that down in Dorset, didn't they? | 0:14:55 | 0:14:59 | |
You did well, then, Barbara. | 0:14:59 | 0:15:01 | |
-It was nice. -Have you sold these before? | 0:15:01 | 0:15:04 | |
Yes, I have. Yeah. And it's pretty. It's got foxgloves down the front. | 0:15:04 | 0:15:08 | |
-And that's what attracted you to it. -Yes. -Very feminine, isn't it? -Yeah. | 0:15:08 | 0:15:11 | |
It is. It's pretty, nice quality... | 0:15:11 | 0:15:13 | |
Let's find out what the bidders think, shall we? | 0:15:13 | 0:15:15 | |
-Yes, please. -Here we go. Let's put it under the hammer. | 0:15:15 | 0:15:18 | |
Lot 382 is the Royal Winton Grimwade ovoid vase. | 0:15:18 | 0:15:22 | |
Interest here on my book at 20. £25. | 0:15:22 | 0:15:25 | |
Here with me at £25. | 0:15:25 | 0:15:27 | |
Looking for 30 now. | 0:15:27 | 0:15:29 | |
30 is bid online. Looking for 5. | 0:15:29 | 0:15:31 | |
At £30 then, if you're all done. | 0:15:31 | 0:15:33 | |
It's against you all at £30. | 0:15:33 | 0:15:35 | |
Online at 30. | 0:15:35 | 0:15:37 | |
-35. -Late legs! | 0:15:37 | 0:15:40 | |
My heart. £35. | 0:15:40 | 0:15:41 | |
At £35 then, if you've all settled at 35. | 0:15:41 | 0:15:45 | |
40. He's back. Oh, my goodness! What are you doing to me?! | 0:15:45 | 0:15:49 | |
There's 5. | 0:15:49 | 0:15:50 | |
45. Slow burners here at £45. | 0:15:50 | 0:15:53 | |
At £45, if you've all settled. | 0:15:53 | 0:15:56 | |
At £45. | 0:15:56 | 0:15:58 | |
Well done, Christina. Great auctioneer. | 0:15:58 | 0:16:00 | |
Do you know, I've left the space on the shelf where it was | 0:16:00 | 0:16:03 | |
because I didn't think we'd sell it. | 0:16:03 | 0:16:05 | |
I've got to put something else on then. | 0:16:05 | 0:16:07 | |
Ye of little faith, Barbara. | 0:16:07 | 0:16:09 | |
-You knew we'd sell it. -Well done, you. | 0:16:09 | 0:16:12 | |
Now it's the collection of Charles Horner jewellery. | 0:16:17 | 0:16:20 | |
Good luck, both of you. | 0:16:21 | 0:16:22 | |
Barbara, this is the moment where we stick it to the bidders. Yes, | 0:16:22 | 0:16:25 | |
we're talking about the hatpins, aren't we? | 0:16:25 | 0:16:28 | |
Good name, great name. Quality, quality, quality. | 0:16:28 | 0:16:31 | |
And we always say on the show - quality sells. | 0:16:31 | 0:16:34 | |
-Hopefully. -Are you expecting millions? | 0:16:34 | 0:16:36 | |
I want a million. £1 million. | 0:16:36 | 0:16:38 | |
-£1 million. -PAUL LAUGHS | 0:16:38 | 0:16:40 | |
We're good, but not that good. | 0:16:40 | 0:16:43 | |
OK. We need some fierce bidding. | 0:16:43 | 0:16:45 | |
We're going to find out what the bidders think right now. | 0:16:45 | 0:16:47 | |
-Good luck. Let's hope we get the top end. Here we go. -Thank you. | 0:16:47 | 0:16:50 | |
Lot 100 is the collection of Charles Horner. | 0:16:52 | 0:16:56 | |
All sorts in the lot there. | 0:16:56 | 0:16:58 | |
-Give me 160. At £160 is what I'm looking for. -Come on. | 0:16:58 | 0:17:01 | |
-We're looking for a bid. -160. | 0:17:01 | 0:17:02 | |
160. 170. | 0:17:02 | 0:17:04 | |
180, where are you? It's at 170 with me. | 0:17:04 | 0:17:06 | |
-190 I have. -Yes. | 0:17:06 | 0:17:08 | |
-One more. -Looking for 200. It's got to be 200 if you want it. | 0:17:08 | 0:17:11 | |
-200 is bid. -Yes! -Yes. | 0:17:11 | 0:17:13 | |
240 against you, sir. 260? | 0:17:13 | 0:17:16 | |
250 I'll take. At 250. 260. | 0:17:16 | 0:17:19 | |
Straight back, sir. Will you go 270? | 0:17:19 | 0:17:21 | |
270 is bid. | 0:17:21 | 0:17:23 | |
At £270. Room bidder. Make no mistake. | 0:17:23 | 0:17:26 | |
At £270. | 0:17:26 | 0:17:28 | |
Sold in the room. £270. | 0:17:28 | 0:17:30 | |
It's not a million but it's still a good amount of money. | 0:17:30 | 0:17:34 | |
-I'll bring some more next time. -OK. | 0:17:34 | 0:17:35 | |
Well done, both of you. That was a good result. | 0:17:35 | 0:17:38 | |
Quality always sells. | 0:17:38 | 0:17:39 | |
If you've got something like that, come and join us. | 0:17:39 | 0:17:41 | |
Dust them down, bring them in, and we'll flog them. | 0:17:41 | 0:17:43 | |
LAUGHTER | 0:17:43 | 0:17:46 | |
We are coming back here later in the show, so please do not go away. | 0:17:49 | 0:17:53 | |
We could have that one big surprise. | 0:17:53 | 0:17:55 | |
Now it's time to return to Wolverhampton Art Gallery, | 0:17:55 | 0:17:57 | |
but not to join up with our experts straight away. | 0:17:57 | 0:18:00 | |
I'm going to have a look at one of the collections that's not | 0:18:00 | 0:18:02 | |
currently on display. | 0:18:02 | 0:18:04 | |
I've been told, down in the vaults, in the basement, | 0:18:04 | 0:18:06 | |
there's a unique collection of pop art. And I'm going to check it out. | 0:18:06 | 0:18:09 | |
When pop art emerged in the 1950s and '60s, | 0:18:15 | 0:18:18 | |
it was seen as disposable and insignificant by the art world. | 0:18:18 | 0:18:23 | |
Many art critics believed this was a passing fad | 0:18:23 | 0:18:26 | |
that would soon disappear. | 0:18:26 | 0:18:28 | |
But they were wrong. | 0:18:28 | 0:18:29 | |
Pop art grew to become one of the most recognisable styles of | 0:18:29 | 0:18:33 | |
contemporary art. | 0:18:33 | 0:18:35 | |
This way. Gently. | 0:18:35 | 0:18:37 | |
Marguerite Nugent is the current curator | 0:18:37 | 0:18:39 | |
of Wolverhampton Art Gallery, | 0:18:39 | 0:18:41 | |
and she has agreed to show me their exclusive collection. | 0:18:41 | 0:18:44 | |
Lichtenstein and Warhol are big, big names in American pop art | 0:18:46 | 0:18:50 | |
-and they're big names here, aren't they? -Yes, they are. | 0:18:50 | 0:18:53 | |
And we've got quite a number of pop works in the collection. | 0:18:53 | 0:18:56 | |
I mean, just here we've got work by Peter Blake, for example, | 0:18:56 | 0:19:00 | |
Allen Jones, Joe Tilson. | 0:19:00 | 0:19:02 | |
That's just a few of the artists that were collected during | 0:19:02 | 0:19:06 | |
the 1970s and '80s mostly, | 0:19:06 | 0:19:08 | |
by curator David Rodgers, who was very pioneering in terms of | 0:19:08 | 0:19:13 | |
what he was trying to acquire for the collection. | 0:19:13 | 0:19:16 | |
-He was clever, wasn't he? -Yes. | 0:19:16 | 0:19:18 | |
-Thinking ahead of the game. -He had the foresight. | 0:19:18 | 0:19:21 | |
He'd been brought in by the council to run the gallery. | 0:19:21 | 0:19:24 | |
He'd come from a gallery in London and | 0:19:24 | 0:19:26 | |
he had some quite exciting ideas. | 0:19:26 | 0:19:28 | |
He thought this was something that could be a brand | 0:19:28 | 0:19:30 | |
that's quite unique for Wolverhampton. | 0:19:30 | 0:19:32 | |
So he started to collect pop art. | 0:19:32 | 0:19:34 | |
It was controversial at the time when those works were being acquired | 0:19:42 | 0:19:46 | |
because it was perceived that the council was spending a lot of | 0:19:46 | 0:19:49 | |
-money on art. -Too much money! -That's right. | 0:19:49 | 0:19:51 | |
And if you take the Lichtenstein, for example... | 0:19:51 | 0:19:53 | |
-This one? -This one here. | 0:19:53 | 0:19:55 | |
-I mean, that was bought in 1975 for £25,000. -Bargain. | 0:19:55 | 0:19:59 | |
At the time, you'd think... Well, now it's worth millions. | 0:19:59 | 0:20:02 | |
But at that time, you know, | 0:20:02 | 0:20:03 | |
you could have bought a house for that amount of money. | 0:20:03 | 0:20:06 | |
So it was a little bit frowned upon, I suppose. | 0:20:06 | 0:20:09 | |
Particularly by the local media. | 0:20:09 | 0:20:11 | |
And I guess back then pop art really | 0:20:11 | 0:20:13 | |
wasn't sort of embraced by the intellectuals. | 0:20:13 | 0:20:16 | |
It wasn't proper art, was it, really? | 0:20:16 | 0:20:19 | |
-Well, it was a new thing, I suppose. -It was a new thing. Too radical. | 0:20:19 | 0:20:21 | |
Yes. And it was portraying the every day. | 0:20:21 | 0:20:24 | |
And if you look at the Peter Blake cigarette packet painting | 0:20:24 | 0:20:28 | |
that we have, it's just a painting of a cigarette packet. | 0:20:28 | 0:20:31 | |
And that's what the pop artists were doing. | 0:20:31 | 0:20:34 | |
They were taking everyday items and turning them into art. | 0:20:34 | 0:20:38 | |
This is by Joe Tilson. A lot of the pop artists were using giveaways. | 0:20:43 | 0:20:47 | |
-Sure. -Those kind of things you'd get in cigarette packets. | 0:20:47 | 0:20:50 | |
-Yeah, like advertising as well. -Yeah, like advertising. | 0:20:50 | 0:20:53 | |
They were using that quite a lot as inspiration in their work. | 0:20:53 | 0:20:56 | |
-I like that as well. I like the collage-y kind of thing. -Yeah. | 0:20:56 | 0:21:00 | |
This is, again, by Joe Tilson. | 0:21:00 | 0:21:02 | |
This is based on a press image of Che Guevara | 0:21:02 | 0:21:05 | |
that was published after he was killed. And it was sort of | 0:21:05 | 0:21:09 | |
-the idea to prove that he was actually dead. -Yeah. | 0:21:09 | 0:21:11 | |
But it was an image that was very familiar in the press. | 0:21:11 | 0:21:15 | |
I'm quite privileged you let me down in the vault today. | 0:21:15 | 0:21:17 | |
Your secured storeroom, as it were, | 0:21:17 | 0:21:19 | |
underneath the gallery. Will you have these on display? | 0:21:19 | 0:21:22 | |
Yeah, we have a dedicated pop art gallery space. | 0:21:22 | 0:21:25 | |
So the collection is on display there on a rotating basis. | 0:21:25 | 0:21:29 | |
The gallery's star attraction is this piece by Andy Warhol. | 0:21:35 | 0:21:38 | |
The screen print was brought in 1979 for £1,600 | 0:21:38 | 0:21:43 | |
and is now worth tens of thousands. | 0:21:43 | 0:21:45 | |
Andy Warhol's work brings together a number of important elements | 0:21:48 | 0:21:51 | |
in pop art - glamour, for one - | 0:21:51 | 0:21:53 | |
and that's supplied by America's First Lady, | 0:21:53 | 0:21:56 | |
an international style icon in her own right, Jackie Kennedy. | 0:21:56 | 0:22:00 | |
And here she is grieving at the sudden loss of her husband, | 0:22:00 | 0:22:03 | |
who was assassinated in 1963, JFK. | 0:22:03 | 0:22:06 | |
The whole thing was played out on the world stage. | 0:22:06 | 0:22:09 | |
It was a media frenzy. Everybody saw this happen. | 0:22:09 | 0:22:12 | |
What Warhol's done, he's taken the front cover of Life Magazine, | 0:22:12 | 0:22:16 | |
he's cropped it, he's remodelled it and intensified the whole thing, | 0:22:16 | 0:22:19 | |
so now, as a nation, we can grieve with Jackie Kennedy. | 0:22:19 | 0:22:23 | |
In Britain, the pop art scene started developing | 0:22:30 | 0:22:33 | |
in the early 1950s. | 0:22:33 | 0:22:34 | |
By the '60s, artists like Sir Peter Blake and Pauline Boty | 0:22:34 | 0:22:39 | |
were at the forefront. | 0:22:39 | 0:22:41 | |
Films were being made about them. | 0:22:41 | 0:22:43 | |
And they were embracing their new medium. | 0:22:43 | 0:22:46 | |
This is a Rudy. | 0:22:46 | 0:22:48 | |
-I don't know who the lady peeping out of his eye is. -No. | 0:22:48 | 0:22:52 | |
And that's an announcer announcing that Castro has won. | 0:22:52 | 0:22:55 | |
# A foggy day in London town... # | 0:22:55 | 0:23:02 | |
There were very few female artists among the founding members of | 0:23:03 | 0:23:07 | |
the British pop art movement but Pauline Boty was one of them. | 0:23:07 | 0:23:10 | |
I've always had very vivid dreams | 0:23:10 | 0:23:12 | |
and I can remember them very, very easily. | 0:23:12 | 0:23:15 | |
I've used the kind of atmosphere of the dreams in my collages. | 0:23:15 | 0:23:19 | |
I think there are two things about this. | 0:23:19 | 0:23:21 | |
One is that I often take the moment before something | 0:23:21 | 0:23:24 | |
has actually happened, and you don't know if it's going to be | 0:23:24 | 0:23:27 | |
terrible or it might be very funny. | 0:23:27 | 0:23:30 | |
The other thing is that something very extraordinary is actually | 0:23:30 | 0:23:33 | |
happening and everyone around isn't taking any notice at all. | 0:23:33 | 0:23:39 | |
# I want to be loved by you, just you... # | 0:23:39 | 0:23:43 | |
This painting by Pauline Boty | 0:23:43 | 0:23:45 | |
is another of the gallery's prized possessions. | 0:23:45 | 0:23:48 | |
It's called Colour Her Gone. | 0:23:48 | 0:23:50 | |
In Boty's painting, Marilyn Monroe is boxed in by grey panels | 0:23:52 | 0:23:56 | |
as she looks up at the viewer from a background decorated with roses. | 0:23:56 | 0:24:01 | |
The painting was made after Marilyn died. | 0:24:01 | 0:24:04 | |
Boty copied the face from a photograph that appeared on | 0:24:04 | 0:24:08 | |
the cover of a magazine in November 1962. | 0:24:08 | 0:24:12 | |
This is a rare painting by Pauline Boty | 0:24:12 | 0:24:14 | |
as she died at the age of 28 from cancer. | 0:24:14 | 0:24:17 | |
And many of her works are unaccounted for. | 0:24:17 | 0:24:20 | |
Pop art was now being accessed by a wider audience. | 0:24:29 | 0:24:32 | |
In various interviews, Sir Peter Blake claimed he may even have | 0:24:32 | 0:24:36 | |
had something to do with the invention of the name pop art. | 0:24:36 | 0:24:39 | |
A group of us were having dinner in the very early '60s, | 0:24:41 | 0:24:44 | |
a group of painters, with Lawrence Alloway. | 0:24:44 | 0:24:47 | |
He was very much a mentor of the younger artists. | 0:24:47 | 0:24:50 | |
And he was a critic. Very involved with the ICA. | 0:24:50 | 0:24:54 | |
We were talking about what I was doing and I explained that | 0:24:54 | 0:24:58 | |
I was trying to make an art that was a parallel to pop music. | 0:24:58 | 0:25:02 | |
You would read it in the same way. | 0:25:02 | 0:25:04 | |
And he said, "What, a kind of pop art?" | 0:25:04 | 0:25:07 | |
And I maintain that's how the phrase came about. | 0:25:07 | 0:25:10 | |
It was artists like Sir Peter Blake, Pauline Boty and many others | 0:25:13 | 0:25:16 | |
in Wolverhampton's collection, | 0:25:16 | 0:25:18 | |
that have paved the way for other young talent. | 0:25:18 | 0:25:21 | |
They managed to break down the division between high and low | 0:25:22 | 0:25:26 | |
culture, by incorporating their own hobbies, interests | 0:25:26 | 0:25:29 | |
and experiences in their work. | 0:25:29 | 0:25:31 | |
It seems to me David Rodgers, the curator of the museum back in | 0:25:33 | 0:25:36 | |
the '60s and '70s, was a very clever man. | 0:25:36 | 0:25:39 | |
He had the foresight to put this collection together, | 0:25:39 | 0:25:41 | |
which holds around 70-odd pieces, | 0:25:41 | 0:25:44 | |
many by key players who were at the conception of pop art. | 0:25:44 | 0:25:47 | |
And here they all are in this unassuming gallery in Wolverhampton | 0:25:47 | 0:25:52 | |
for everybody to enjoy. | 0:25:52 | 0:25:53 | |
Back upstairs, our experts are being kept busy | 0:26:08 | 0:26:10 | |
with people still flocking to the valuation tables. | 0:26:10 | 0:26:13 | |
So, what curious item has David found? | 0:26:16 | 0:26:18 | |
Now, George and Margaret, this is a fascinating object. | 0:26:20 | 0:26:24 | |
Do you know what it's for? | 0:26:24 | 0:26:26 | |
-It's for incense, isn't it? -Yeah. -Incense burner. | 0:26:26 | 0:26:30 | |
Tell me why you have this object. | 0:26:30 | 0:26:32 | |
Well, we acquired this object. It was actually given to us. | 0:26:32 | 0:26:36 | |
We didn't purchase it. | 0:26:36 | 0:26:38 | |
And we just liked it because it's unusual and we didn't have | 0:26:38 | 0:26:41 | |
-anything like it. -How long have you had it for? | 0:26:41 | 0:26:43 | |
-20-odd years. -20-odd years. OK. -We've had it on show in the house. | 0:26:43 | 0:26:48 | |
On show in the house, but we've never used it. | 0:26:48 | 0:26:50 | |
You've never fired the baby up? | 0:26:50 | 0:26:52 | |
-No. -Right. OK. | 0:26:52 | 0:26:54 | |
Strictly speaking, it's called a koro. | 0:26:54 | 0:26:57 | |
It's a Japanese incense burner. | 0:26:57 | 0:26:59 | |
We know it's Japanese because if you look at the flower decoration, | 0:26:59 | 0:27:03 | |
that is the chrysanthemum. | 0:27:03 | 0:27:05 | |
And the chrysanthemum is the national flower of Japan. | 0:27:05 | 0:27:08 | |
The shape is the tripod shape, which represents stability. | 0:27:08 | 0:27:12 | |
A lot of the oriental pieces do have so much more going on in them | 0:27:12 | 0:27:16 | |
than you ever imagine. | 0:27:16 | 0:27:18 | |
Made from bronze. | 0:27:18 | 0:27:20 | |
And it is designed to help you meditate. | 0:27:20 | 0:27:25 | |
To contemplate. To relax. So that's what it's all about. | 0:27:25 | 0:27:29 | |
When you fire it up, | 0:27:29 | 0:27:30 | |
you either drop the little pellets in there or you put the sticks in. | 0:27:30 | 0:27:33 | |
And the plumes of smoke will envelop the room. | 0:27:33 | 0:27:36 | |
Cleansing the room. | 0:27:36 | 0:27:38 | |
But it's also a time for you to meditate and to pay reverence | 0:27:38 | 0:27:41 | |
to long gone ancestors. | 0:27:41 | 0:27:43 | |
The smoke represents the spirits of the ancestors. | 0:27:43 | 0:27:46 | |
I think it's probably late-19th, early-20th century. | 0:27:46 | 0:27:50 | |
-As beautiful as it is, they were probably mass-produced. -Mm. | 0:27:50 | 0:27:54 | |
There's no markings on it. | 0:27:54 | 0:27:56 | |
But I think, as a piece, it's got great story value. | 0:27:56 | 0:28:00 | |
You know, it's a talking piece. | 0:28:00 | 0:28:02 | |
You're making us keep it at this rate. | 0:28:02 | 0:28:05 | |
This is not the idea. I want you to flog it. | 0:28:05 | 0:28:07 | |
How much do you think it's really worth? | 0:28:07 | 0:28:10 | |
Well, it would only go in at 40 to £60. It might do better. | 0:28:10 | 0:28:15 | |
But because it doesn't carry any marks, | 0:28:15 | 0:28:17 | |
that's the estimate it would need to carry. | 0:28:17 | 0:28:20 | |
-Are we going to go with it? -Yeah. -40 to 60. -Yeah. | 0:28:20 | 0:28:23 | |
It'll be interesting to see how it goes anyway. | 0:28:23 | 0:28:26 | |
Do you want to reserve it? | 0:28:26 | 0:28:27 | |
-No. -It'll make what it makes. -Yeah. | 0:28:27 | 0:28:30 | |
Marvellous. OK. | 0:28:30 | 0:28:32 | |
-Delightful. Wonderful. -Thank you. -I'll see you at the auction. | 0:28:32 | 0:28:35 | |
OK, then. | 0:28:35 | 0:28:37 | |
So, while we're feeling relaxed, | 0:28:39 | 0:28:41 | |
we had better see what gems are on Caroline's table. | 0:28:41 | 0:28:44 | |
John, you don't strike me as the sort of guy that wears lovely | 0:28:46 | 0:28:50 | |
pendants like that or even trips around in | 0:28:50 | 0:28:53 | |
a gorgeous pocket watch like that. | 0:28:53 | 0:28:55 | |
Not at all. | 0:28:55 | 0:28:57 | |
How on Earth did they come into your possession? | 0:28:57 | 0:28:59 | |
My daughter got them from a jumble sale. | 0:28:59 | 0:29:02 | |
-A jumble sale?! -That's right. | 0:29:02 | 0:29:04 | |
-About six months ago. -No! -Yes. | 0:29:04 | 0:29:06 | |
Were they on the same stall? | 0:29:06 | 0:29:08 | |
I believe they were on the same table, yes. | 0:29:08 | 0:29:10 | |
Could you tell me what your daughter paid for these things? | 0:29:10 | 0:29:13 | |
The necklace was £4, the watch and chain was £5. | 0:29:13 | 0:29:18 | |
Well, I am shocked and stunned. | 0:29:19 | 0:29:22 | |
We'll start with the pocket watch. | 0:29:22 | 0:29:25 | |
This is hallmarked silver. | 0:29:25 | 0:29:27 | |
It's marked 1884 - London. | 0:29:27 | 0:29:31 | |
It's silver and enamel. | 0:29:31 | 0:29:33 | |
Cleaned up, that would look absolutely stunning. | 0:29:33 | 0:29:36 | |
The chain that goes with it isn't marked, | 0:29:36 | 0:29:40 | |
so we would have to call that white metal. | 0:29:40 | 0:29:43 | |
But I'm sure that will be silver if it's tested. | 0:29:43 | 0:29:46 | |
It's got a replacement ring, which is a brass one | 0:29:46 | 0:29:49 | |
as opposed to a silver one. | 0:29:49 | 0:29:51 | |
It's a lovely quality chain... | 0:29:51 | 0:29:54 | |
which goes with the watch. | 0:29:54 | 0:29:56 | |
Not of huge value. Something like this is 40 to £60. | 0:29:56 | 0:30:02 | |
-But £5 was paid for it? -That's right. | 0:30:02 | 0:30:04 | |
So that is a HUGE profit margin already, isn't it? | 0:30:04 | 0:30:07 | |
Pretty good. | 0:30:07 | 0:30:09 | |
Now, the necklace, on the other hand, | 0:30:09 | 0:30:11 | |
I don't know whether you know, but I love all things French. | 0:30:11 | 0:30:14 | |
And I think, I'm wanting to think that this is French. | 0:30:14 | 0:30:17 | |
It came in this little box, which is... | 0:30:17 | 0:30:19 | |
Now, this is from a jeweller in Nantes in France, | 0:30:19 | 0:30:22 | |
and it is just gorgeous. | 0:30:22 | 0:30:25 | |
It's a Ceylon sapphire, pear cut, | 0:30:25 | 0:30:28 | |
and this rather lovely diamond here, | 0:30:28 | 0:30:31 | |
with small diamond chips above, | 0:30:31 | 0:30:34 | |
and then this oval is little diamond chips. | 0:30:34 | 0:30:38 | |
The chain... I haven't tested it, | 0:30:38 | 0:30:41 | |
but I would think that is either white gold or silver. | 0:30:41 | 0:30:45 | |
But that is altogether gorgeous. | 0:30:45 | 0:30:49 | |
And I am going to stick my neck out. | 0:30:49 | 0:30:51 | |
I wish it was wearing that. | 0:30:51 | 0:30:53 | |
But I'm going to stick my neck out and say... | 0:30:53 | 0:30:56 | |
400 to 600 on the necklace. | 0:30:56 | 0:30:59 | |
Very good, yes. | 0:30:59 | 0:31:00 | |
-Now, would you like a reserve on that? -400. | 0:31:00 | 0:31:03 | |
And are we allowed a bit of discretion on that, | 0:31:03 | 0:31:05 | |
-or do you want to...? -I would imagine so, yes. | 0:31:05 | 0:31:07 | |
Yeah. So, 400 with discretion. | 0:31:07 | 0:31:09 | |
Excellent. And I'm very, very jealous. | 0:31:09 | 0:31:11 | |
I'm going to go to sleep dreaming about jumble sales tonight. | 0:31:11 | 0:31:15 | |
-Thank you, John. -Thank you. | 0:31:15 | 0:31:17 | |
Earlier on, we looked at the gallery's | 0:31:22 | 0:31:23 | |
unique collection of pop art, | 0:31:23 | 0:31:25 | |
which features works by the likes of Sir Peter Blake and Andy Warhol. | 0:31:25 | 0:31:28 | |
Now, I'm just about to meet a chap, a local chap, | 0:31:28 | 0:31:31 | |
who was an artist in residence here at the gallery, | 0:31:31 | 0:31:33 | |
whose work was very much inspired by the pop art movement. | 0:31:33 | 0:31:37 | |
He's brought along some of his pieces for us to look at, as well. | 0:31:37 | 0:31:40 | |
And his name's Loz Taylor, and he's with me right now. | 0:31:40 | 0:31:42 | |
Thank you for coming in. | 0:31:42 | 0:31:43 | |
So, what is the driving force with your work? | 0:31:43 | 0:31:46 | |
Well, consumerism was all around | 0:31:46 | 0:31:47 | |
in the '60s and '70s, | 0:31:47 | 0:31:49 | |
but people weren't really picking up on it, the general public. | 0:31:49 | 0:31:51 | |
It took the pop artists of the '60s | 0:31:51 | 0:31:53 | |
-to really show the people what consumerism was all about. -Yes. | 0:31:53 | 0:31:57 | |
And these days, I believe gambling and speculation is something that | 0:31:57 | 0:32:01 | |
really needs to be picked up on, because it really is all around us. | 0:32:01 | 0:32:03 | |
-So, talk me through some of your pieces that you brought along. -Yeah. | 0:32:03 | 0:32:06 | |
Well, I was able to take the numbering colour code from the dog track, | 0:32:06 | 0:32:10 | |
and the numbering colour code from the roulette wheel in a casino, | 0:32:10 | 0:32:13 | |
the zero, and create a zero to nine piece. | 0:32:13 | 0:32:17 | |
Once I had the colour code sorted, | 0:32:17 | 0:32:20 | |
I was then able to extend it | 0:32:20 | 0:32:22 | |
and put letters on each of the colours | 0:32:22 | 0:32:24 | |
to create a gambling alphabet. | 0:32:24 | 0:32:26 | |
And the gambling alphabet enables me to create gambling word art. | 0:32:26 | 0:32:30 | |
"Get yourself an edgeucation," | 0:32:30 | 0:32:32 | |
-as you can see, I've misspelled education. -Yes. | 0:32:32 | 0:32:34 | |
-Deliberately, I hasten to add... -PAUL LAUGHS | 0:32:34 | 0:32:36 | |
..because I wanted to get the word "edge" in, | 0:32:36 | 0:32:38 | |
because everybody needs an edge to beat the competition. | 0:32:38 | 0:32:41 | |
And I'm trying to say, "Gamble intelligently," as well. | 0:32:41 | 0:32:44 | |
Hence, "Get yourself an education." | 0:32:44 | 0:32:46 | |
-It's very clever. -Yeah. -Now that you've explained it. | 0:32:46 | 0:32:49 | |
For me, it was random numbers over there with different colours, | 0:32:49 | 0:32:52 | |
and I didn't know what the colour code was, | 0:32:52 | 0:32:54 | |
-and now it all makes sense. -Yeah. -It's very clever. | 0:32:54 | 0:32:57 | |
If you want my money, I think I'd invest it into good pop art. | 0:32:57 | 0:33:01 | |
I think that's got the future. | 0:33:01 | 0:33:02 | |
-Thank you for popping in. -Thank you, Paul. | 0:33:02 | 0:33:04 | |
You're a very busy man, you've got lots of commissions on the go, | 0:33:04 | 0:33:07 | |
-so thank you very much for coming in. -Thank you. Cheers. | 0:33:07 | 0:33:09 | |
Now, I wonder if our experts are having any luck | 0:33:13 | 0:33:16 | |
at our valuation tables. | 0:33:16 | 0:33:18 | |
Well, look at this. John and Diana, you're bringing your family pet in! | 0:33:19 | 0:33:23 | |
I mean, what's all this about? A black cat! | 0:33:23 | 0:33:25 | |
Where did you get it from? | 0:33:25 | 0:33:27 | |
It actually came with a house that we bought in 1989. | 0:33:27 | 0:33:31 | |
It was found in the garage. | 0:33:31 | 0:33:32 | |
But believe it or not, we did finish having a black cat, | 0:33:32 | 0:33:34 | |
an old English black, she was called Flossie. | 0:33:34 | 0:33:37 | |
Aww. | 0:33:37 | 0:33:38 | |
Very, very similar. | 0:33:38 | 0:33:39 | |
I mean, it's funny, isn't it? | 0:33:39 | 0:33:40 | |
It's an enamel sign, it's advertising, | 0:33:40 | 0:33:43 | |
but in this environment, it almost looks like a piece of art, | 0:33:43 | 0:33:46 | |
-doesn't it? -DIANA: -Mm-hm. -It does, indeed. | 0:33:46 | 0:33:48 | |
He seems to draw you in with his eyes. | 0:33:48 | 0:33:50 | |
Oh, he's mesmerising you. He's trying to sell you something, Diana. | 0:33:50 | 0:33:53 | |
That was the whole idea, this is all about making money. | 0:33:53 | 0:33:57 | |
Do you know what it's made from? | 0:33:57 | 0:34:00 | |
-It's enamel. -Yes. | 0:34:00 | 0:34:01 | |
Well, enamel is a fantastic material. | 0:34:01 | 0:34:03 | |
I mean, it's long-lasting, it keeps its colour, | 0:34:03 | 0:34:06 | |
its appearance, and the glossiness for much longer than print or paint. | 0:34:06 | 0:34:10 | |
And so they were made, of course, to sell products. | 0:34:10 | 0:34:14 | |
Now, interestingly, here in Wolverhampton, | 0:34:14 | 0:34:17 | |
this was an area for making advertising enamel signs. | 0:34:17 | 0:34:21 | |
It probably was on the wall of a tobacconist or newsagent, | 0:34:21 | 0:34:25 | |
probably in around 1920. | 0:34:25 | 0:34:28 | |
The Black Cat cigarette range was introduced in 1904. | 0:34:28 | 0:34:32 | |
And that was one of the very first mass-produced, | 0:34:32 | 0:34:34 | |
machine-made cigarettes. | 0:34:34 | 0:34:37 | |
Do you know where the black cat symbolism comes from? | 0:34:37 | 0:34:39 | |
-No idea. -I've absolutely no idea at all. | 0:34:39 | 0:34:41 | |
This company was founded by Don Jose Carreras, | 0:34:41 | 0:34:43 | |
he was a Spanish nobleman. | 0:34:43 | 0:34:45 | |
And during the 19th century, | 0:34:45 | 0:34:47 | |
they had a shop on Wardour Street in London, a tobacconist. | 0:34:47 | 0:34:51 | |
And they had a shop cat. | 0:34:51 | 0:34:53 | |
A black cat. | 0:34:53 | 0:34:55 | |
And this big, lazy black cat | 0:34:55 | 0:34:57 | |
would spend his whole day in the shop window... | 0:34:57 | 0:35:01 | |
-Do you all have cats at home that do this? -Yes. -Yeah, yeah. | 0:35:01 | 0:35:03 | |
You know, sit in the sun, all day long, and it took off. | 0:35:03 | 0:35:06 | |
It was like, "Well, do you know where that tobacconist, | 0:35:06 | 0:35:09 | |
"what's it called? I don't know, it's got a black cat in the window." | 0:35:09 | 0:35:11 | |
And it became the black cat shop. | 0:35:11 | 0:35:13 | |
And the company, the House of Carreras, thought, | 0:35:13 | 0:35:16 | |
"This is a great idea. | 0:35:16 | 0:35:18 | |
"We'll introduce a range of cigarettes, | 0:35:18 | 0:35:20 | |
"and we'll call it after our pet cat, the Black Cat range." | 0:35:20 | 0:35:24 | |
So, dating to around the 1920s or '30s. | 0:35:24 | 0:35:28 | |
But you've got it for free, that's the best way to get anything. | 0:35:28 | 0:35:31 | |
Well, we had to buy a house. | 0:35:31 | 0:35:32 | |
THEY LAUGH | 0:35:32 | 0:35:35 | |
-What did the house cost you? -40,000. -40,000, let's work out... | 0:35:35 | 0:35:38 | |
-But we got a free sign. -A free sign. | 0:35:38 | 0:35:40 | |
What is it worth? What do you reckon? | 0:35:40 | 0:35:43 | |
£25-ish, something like that? | 0:35:43 | 0:35:45 | |
No, I'd say about 50. | 0:35:45 | 0:35:47 | |
50. OK. | 0:35:47 | 0:35:48 | |
Well, I think in today's market, we're going to get more than that. | 0:35:48 | 0:35:52 | |
It's seen life, it's seen excitement, | 0:35:52 | 0:35:55 | |
it's seen the Second World War, for certain. | 0:35:55 | 0:35:58 | |
And it's lived a life. | 0:35:58 | 0:36:00 | |
And it shows it. | 0:36:00 | 0:36:01 | |
And to me, that gives it a great appeal, | 0:36:01 | 0:36:04 | |
but its value decreases with every scratch and mark. | 0:36:04 | 0:36:08 | |
I think, to be sensible, we go at 100 to 150 as an estimate, | 0:36:08 | 0:36:13 | |
and I think you might do very well, I think, with online bidding. | 0:36:13 | 0:36:17 | |
-That's more than we expected. -Very good, really surprised. | 0:36:17 | 0:36:20 | |
-Yeah. It's not going to pay the mortgage off, is it? -Oh, no! | 0:36:20 | 0:36:22 | |
-We haven't got one. -It's paid for, fortunately. -Well, lucky you! | 0:36:22 | 0:36:25 | |
Hey, he's rich, but I'm afraid he's married, ladies. | 0:36:25 | 0:36:29 | |
How very exciting. Marvellous. | 0:36:29 | 0:36:31 | |
-I will see you in sale. -OK. -Fabulous. | 0:36:31 | 0:36:34 | |
Lovely, thank you. | 0:36:34 | 0:36:35 | |
I see what Diana means about those cat's eyes. | 0:36:36 | 0:36:39 | |
Well, he's already had plenty of lives. | 0:36:39 | 0:36:41 | |
I wonder where his next one will be? | 0:36:41 | 0:36:43 | |
Well, they say the people from Wolverhampton | 0:36:44 | 0:36:46 | |
are some of the friendliest in the world, | 0:36:46 | 0:36:48 | |
and I think that's a true statement. | 0:36:48 | 0:36:50 | |
I've met lots of lovely people, lots of new friends. | 0:36:50 | 0:36:52 | |
You can all come home and have a cup of tea with me if you want! | 0:36:52 | 0:36:55 | |
We've had a brilliant time here. | 0:36:55 | 0:36:57 | |
Our experts have now found their final items so, sadly, | 0:36:57 | 0:37:00 | |
it's time for all of us to say goodbye. | 0:37:00 | 0:37:02 | |
Give the camera a big wave! | 0:37:02 | 0:37:03 | |
We're heading over to the auction room | 0:37:03 | 0:37:05 | |
to put our final valuations to the test. | 0:37:05 | 0:37:08 | |
And just to jog your memory, here's a quick recap | 0:37:08 | 0:37:10 | |
of everything that's going under the hammer. | 0:37:10 | 0:37:12 | |
Let's hope this incense burner | 0:37:13 | 0:37:15 | |
will give us a sweet return at auction. | 0:37:15 | 0:37:17 | |
And can we add a couple of noughts to the end of the £4 | 0:37:19 | 0:37:22 | |
paid for this sapphire and diamond necklace, | 0:37:22 | 0:37:24 | |
together with a silver pocket watch bought from a jumble sale? | 0:37:24 | 0:37:28 | |
And, finally, will this black cat | 0:37:30 | 0:37:32 | |
be a lucky sign at auction? | 0:37:32 | 0:37:34 | |
Now, back to Shropshire and the market town of Whitchurch, | 0:37:38 | 0:37:40 | |
where the auction is in full swing. | 0:37:40 | 0:37:43 | |
Aaron Dean and Christina Trevanion are our auctioneers. | 0:37:44 | 0:37:47 | |
First up, the incense burner. | 0:37:49 | 0:37:51 | |
George and Margaret, it's great to see you again. | 0:37:53 | 0:37:55 | |
-We have a valuation, David, of around, what, £40? -Yeah, yeah. | 0:37:55 | 0:37:58 | |
I mean, it's quite low. It looks like it should be worth much more. | 0:37:58 | 0:38:01 | |
-Yeah, I was thinking 80 to 120. -I know! | 0:38:01 | 0:38:02 | |
Where's the classic auctioneer's discretion on that? | 0:38:02 | 0:38:05 | |
I know, but we see them quite often, they're not that rare. | 0:38:05 | 0:38:07 | |
Had it been Chinese, we would have put a much higher estimate on it. | 0:38:07 | 0:38:10 | |
-Yes. -But it's got age and it oozes character, and it's fun, isn't it? | 0:38:10 | 0:38:12 | |
It's here to sell, and it's going under the hammer right now. | 0:38:12 | 0:38:15 | |
Lot 345, ladies and gentlemen. | 0:38:16 | 0:38:18 | |
A Japanese incense burner. | 0:38:18 | 0:38:19 | |
Who's going to start me at £40, there? 40? | 0:38:19 | 0:38:21 | |
Surely somebody at 40? | 0:38:21 | 0:38:22 | |
At £40 for the koro there. | 0:38:22 | 0:38:24 | |
-At £40. -Come on. | 0:38:24 | 0:38:25 | |
30, dare I say it? 30? | 0:38:25 | 0:38:27 | |
Nobody burns incense around here! | 0:38:27 | 0:38:28 | |
Surely someone at 30. | 0:38:28 | 0:38:29 | |
And at £30, I have online, | 0:38:29 | 0:38:31 | |
I knew someone would come in for this. | 0:38:31 | 0:38:32 | |
Internet's going to take this at 30, | 0:38:32 | 0:38:34 | |
if there's no advance on 30? | 0:38:34 | 0:38:35 | |
And selling at 30. | 0:38:35 | 0:38:36 | |
Just! | 0:38:38 | 0:38:39 | |
-That's fine. -Gosh, that was good value for money. -Yes. | 0:38:39 | 0:38:43 | |
Well, you didn't want to take it home, did you? | 0:38:43 | 0:38:45 | |
No, no, we're fine. | 0:38:45 | 0:38:46 | |
-Yes, it's fine. -Good. Excellent. -We've enjoyed it. | 0:38:46 | 0:38:48 | |
-We didn't expect anything big bucks, like. -No. | 0:38:48 | 0:38:51 | |
Well, thank you for bringing it and being part of the show! | 0:38:51 | 0:38:53 | |
Not quite the sweet return we wanted, but what a sweet couple! | 0:38:56 | 0:39:00 | |
Next is the pocket watch and necklace, | 0:39:00 | 0:39:02 | |
bought at a jumble sale, | 0:39:02 | 0:39:03 | |
and John has brought his daughter along with him. | 0:39:03 | 0:39:06 | |
-It's Francine, isn't it? -Yes. -Pleased to meet you. | 0:39:07 | 0:39:09 | |
-You spotted this? -Yes. -In a jumble sale? -Yep. | 0:39:09 | 0:39:12 | |
I think this should do around £40-£50, like you said. | 0:39:12 | 0:39:15 | |
Not a lot of money for a single fob watch but, nevertheless, | 0:39:15 | 0:39:17 | |
you're going to make a good profit. | 0:39:17 | 0:39:19 | |
145 is a Victorian ladies' silver fob watch and chain, lot 145. | 0:39:20 | 0:39:25 | |
Bid me £30 for it? | 0:39:25 | 0:39:27 | |
£30 is bid. £35? | 0:39:27 | 0:39:28 | |
Yes, we're in! | 0:39:28 | 0:39:29 | |
40 against you. I'm out. | 0:39:29 | 0:39:31 | |
At £40 in the room. | 0:39:31 | 0:39:32 | |
At £40. 45? | 0:39:32 | 0:39:34 | |
50. 55. | 0:39:34 | 0:39:36 | |
60. 65. | 0:39:36 | 0:39:38 | |
At £65 with the gentleman. | 0:39:38 | 0:39:40 | |
70. 75. | 0:39:40 | 0:39:42 | |
With you, then, sir, at £75. If we're all done? | 0:39:42 | 0:39:45 | |
Looking for 80, but I'll sell at 75. | 0:39:45 | 0:39:48 | |
-Yes! -Excellent. -Great profit. | 0:39:48 | 0:39:50 | |
£75. Well done, you. | 0:39:50 | 0:39:52 | |
Good luck for our second lot, | 0:39:52 | 0:39:54 | |
also found by Francine, and you didn't pay much for this, either. | 0:39:54 | 0:39:57 | |
-Are you excited about this? -Yes. | 0:39:57 | 0:39:59 | |
Did you think it was worth an awful lot more? | 0:39:59 | 0:40:00 | |
I knew it was special, yes. | 0:40:00 | 0:40:02 | |
What attracted to you to it in the first place? | 0:40:02 | 0:40:04 | |
Did you just gravitate towards it? | 0:40:04 | 0:40:05 | |
-Yeah. -Blimey. -Like a magpie. -It is beautiful. | 0:40:05 | 0:40:08 | |
-Oh, it's French! Ooh! -I want it! | 0:40:08 | 0:40:09 | |
-I can... -I'm a bit of a Francophile. | 0:40:12 | 0:40:14 | |
Something tells me you do like this a lot. | 0:40:14 | 0:40:15 | |
I do. I really like it. | 0:40:15 | 0:40:17 | |
And I would really love to have been at that jumble sale. | 0:40:17 | 0:40:20 | |
Well, it's going under the hammer right now. | 0:40:20 | 0:40:22 | |
-Someone else is going to buy it. -I know. -Here we go. | 0:40:22 | 0:40:25 | |
Les find out who. | 0:40:25 | 0:40:26 | |
Lot 85 is this sapphire and diamond lavalier. | 0:40:28 | 0:40:31 | |
Bid me, what have I got? 300. 320. | 0:40:31 | 0:40:33 | |
Bid me 320 on it? | 0:40:33 | 0:40:35 | |
320 anywhere? | 0:40:35 | 0:40:36 | |
300, then. | 0:40:36 | 0:40:37 | |
300 is bid. | 0:40:37 | 0:40:38 | |
320. 340. | 0:40:38 | 0:40:40 | |
360. | 0:40:40 | 0:40:41 | |
380 I have online, | 0:40:41 | 0:40:42 | |
at £380, clears my book. | 0:40:42 | 0:40:44 | |
I'll take 390 if it helps. | 0:40:44 | 0:40:46 | |
It's at £380. | 0:40:46 | 0:40:48 | |
At £380, I will sell this, make no mistake... | 0:40:48 | 0:40:51 | |
-Happy with that! -..at £380. | 0:40:51 | 0:40:53 | |
-You're not jumping up and down! -I don't jump up and down. | 0:40:55 | 0:40:58 | |
She's planning her next jumble sale, aren't you? | 0:40:58 | 0:41:01 | |
-Oh, dear! That's turning a good profit. That's fantastic. -Brilliant. | 0:41:03 | 0:41:06 | |
-Well done, you. -Thank you. -Well done. John... | 0:41:06 | 0:41:09 | |
you've got to get her to jumble sales more often. | 0:41:09 | 0:41:12 | |
So, that's £75 for the pocket watch | 0:41:13 | 0:41:15 | |
and the discretionary price of £380 for the necklace. | 0:41:15 | 0:41:20 | |
This means Francine has made a total of £455. | 0:41:20 | 0:41:25 | |
Well done, you. | 0:41:25 | 0:41:26 | |
Now, all eyes on the Black Cat sign. | 0:41:28 | 0:41:30 | |
-I like this. -I love it to bits. | 0:41:31 | 0:41:33 | |
-I love looking at that black cat, looking at you. -Yeah. | 0:41:33 | 0:41:36 | |
-And, of course, advertising signs, very big in this area. -Big news. | 0:41:36 | 0:41:39 | |
Condition's good as well. It's not brilliant, but it's not bad. | 0:41:39 | 0:41:42 | |
-Yeah. -I've seen a lot worse. -So have I. | 0:41:42 | 0:41:44 | |
And when they are immaculate, we know they take off, don't we? So... | 0:41:44 | 0:41:47 | |
-This is in pretty good... I think it should do well. -I do as well. | 0:41:47 | 0:41:50 | |
-I'd frame it. -Yeah, I would. -I'd frame it. | 0:41:50 | 0:41:53 | |
-I love it. Love it to bits. -Yeah. | 0:41:53 | 0:41:55 | |
So, good on you for salvaging it. | 0:41:55 | 0:41:57 | |
And, hopefully, a collector's going to enjoy this. | 0:41:57 | 0:42:00 | |
We're going to find out what they think of it right now. | 0:42:00 | 0:42:02 | |
Lot 429 is the much admired | 0:42:04 | 0:42:06 | |
Black Cat Virginia cigarette enamel advertising sign. | 0:42:06 | 0:42:10 | |
And interest here, as you will expect, I've got, straight away, | 0:42:10 | 0:42:13 | |
I've got 80, 90, 100, £120. | 0:42:13 | 0:42:16 | |
Oh! | 0:42:16 | 0:42:18 | |
Well, it's gone... | 0:42:18 | 0:42:20 | |
I'm going to have to start this online | 0:42:20 | 0:42:23 | |
at £400. | 0:42:23 | 0:42:25 | |
-What?! -What?! -Ooh! | 0:42:25 | 0:42:28 | |
At £400, I have on the internet, | 0:42:28 | 0:42:30 | |
at £400. | 0:42:30 | 0:42:32 | |
Which completely wipes out all my commission bids. I've got 420. | 0:42:32 | 0:42:35 | |
-440 now. -440! -At £440. | 0:42:35 | 0:42:39 | |
Looking for 460. | 0:42:39 | 0:42:40 | |
It's at £440, internet bidder now, | 0:42:40 | 0:42:43 | |
£440. It's against you all. | 0:42:43 | 0:42:45 | |
Online at £440. | 0:42:45 | 0:42:48 | |
-Yes! -Marvellous! -Well done! | 0:42:51 | 0:42:54 | |
That was the perfect result, wasn't it? | 0:42:54 | 0:42:56 | |
It was, exactly. | 0:42:56 | 0:42:57 | |
Good on you! | 0:42:57 | 0:42:58 | |
Talk about a lucky black cat! | 0:42:58 | 0:43:00 | |
Wow! What a surprise! | 0:43:00 | 0:43:03 | |
-Absolutely brilliant! -That's a shock, isn't it? | 0:43:03 | 0:43:05 | |
-It is a shock! -Yeah! | 0:43:05 | 0:43:06 | |
-My gosh, everyone... And that was short and sweet, straight in. -Yeah. | 0:43:06 | 0:43:09 | |
-Straight in at 400. -Absolutely brilliant. | 0:43:09 | 0:43:11 | |
Wow. What a way to end today's show. | 0:43:11 | 0:43:14 | |
We were hoping for that big surprise, and we got one! | 0:43:14 | 0:43:17 | |
That lucky black cat. Look out for the black cat the next time, | 0:43:17 | 0:43:20 | |
and join us for many more surprises to come. | 0:43:20 | 0:43:22 | |
But until then, from the West Midlands, it's goodbye from us. | 0:43:22 | 0:43:26 |