0:00:07 > 0:00:10Today, "Flog It!" comes from the old railway station in Morecambe.
0:00:10 > 0:00:12Now, trains don't stop here any more,
0:00:12 > 0:00:16but later on in the programme, I'll be visiting a working station
0:00:16 > 0:00:19that was the star of one of the finest love stories ever filmed.
0:00:19 > 0:00:22All will be revealed later. Welcome to "Flog It!".
0:00:46 > 0:00:49Our valuation day comes from a venue that was once the main station
0:00:49 > 0:00:54in Morecambe, bringing huge numbers of holiday makers to the resort.
0:00:54 > 0:00:57To help deal with all these visitors, in 1908,
0:00:57 > 0:01:00the line was one of the earliest in the UK to be electrified,
0:01:00 > 0:01:03running fast and reliable electric locomotives.
0:01:03 > 0:01:07After closing in 1994, it became The Platform,
0:01:07 > 0:01:10a busy venue for events like ours.
0:01:10 > 0:01:13Well, I have to say, the atmosphere here is electric.
0:01:13 > 0:01:15Are you having a good time? ALL: Yes!
0:01:15 > 0:01:17And they haven't even got inside yet!
0:01:17 > 0:01:20Hundreds of people have turned up from Morecambe and beyond,
0:01:20 > 0:01:24laden with antiques and collectables for our experts to take the best
0:01:24 > 0:01:27off to auction, but of course, they're here to ask
0:01:27 > 0:01:29that all-important question, which is...
0:01:29 > 0:01:30ALL: What's it worth?
0:01:30 > 0:01:32Stay tuned and you'll find out.
0:01:37 > 0:01:40Diving straight into the task of divining today's treasures is
0:01:40 > 0:01:42the charming Charles Hanson...
0:01:42 > 0:01:44Give us a kiss. Ooh!
0:01:44 > 0:01:46SHE LAUGHS Nice to see you!
0:01:46 > 0:01:47Give us a kiss.
0:01:49 > 0:01:51..and the cheeky Adam Partridge.
0:01:51 > 0:01:54Oh, my gosh. Isn't it terrible?
0:01:54 > 0:01:56Well, I'm glad you said that, because I agree.
0:01:56 > 0:01:58LAUGHTER
0:02:01 > 0:02:03And inside, the rest of our team are
0:02:03 > 0:02:06busy getting everyone sorted and comfortably seated.
0:02:06 > 0:02:08Everything has to run like clockwork,
0:02:08 > 0:02:12because there are lots of people eager to have their antiques valued.
0:02:12 > 0:02:13But before we get started,
0:02:13 > 0:02:17here's a quick taste of what's coming up later on in the show.
0:02:17 > 0:02:19'Charles gets into a battle of tastes.'
0:02:19 > 0:02:20I like it a lot.
0:02:20 > 0:02:23Good! We'll take to auction. I don't. Oh, don't say that.
0:02:23 > 0:02:25A love-hate relationship! I love him.
0:02:25 > 0:02:27?800... 'We have a runaway success at the auction.'
0:02:27 > 0:02:291,000 on the telephone.
0:02:29 > 0:02:32We weren't expecting that. No!
0:02:32 > 0:02:35'And I visit the railway station that was the location
0:02:35 > 0:02:39'for Brief Encounter, one of the most iconic love stories on film.'
0:02:43 > 0:02:46Well, everybody's now safely seated inside, that's much better!
0:02:46 > 0:02:48It's warmer, isn't it? Yes! Yes!
0:02:48 > 0:02:50Well, we can now get on with our first valuation.
0:02:50 > 0:02:53Who is that lucky owner going to be?
0:02:53 > 0:02:55Well, I've just been told they're with Charles Hanson.
0:02:55 > 0:02:57Let's take a closer look.
0:02:58 > 0:03:00I see a likeness now, Brenda.
0:03:00 > 0:03:04I see a likeness. Tell me about your beautiful teacup.
0:03:04 > 0:03:06Well, I've had it all my life.
0:03:06 > 0:03:11It was bought by my maternal grandmother when I was a baby
0:03:11 > 0:03:14and there was no plastic cups then to drink out of.
0:03:14 > 0:03:18She bought...thought that was small for my milk,
0:03:18 > 0:03:21so that's where it came from. Small enough for your milk.
0:03:21 > 0:03:22Yeah. How do you mean?
0:03:22 > 0:03:25It wasn't a great big beaker... You drunk from it? Yes, I did.
0:03:25 > 0:03:28You didn't? But before... No, I didn't really,
0:03:28 > 0:03:32cos, before I could, I banged it on my wooden highchair
0:03:32 > 0:03:34and made that. Oh, no! So you...?
0:03:34 > 0:03:36So my mother took it off me, then.
0:03:36 > 0:03:39So it's just been in the cupboard all these years.
0:03:39 > 0:03:43Wow! My mother had it... Yeah. ..and I've got it.
0:03:43 > 0:03:45See, my daughter will throw things off the highchair.
0:03:45 > 0:03:47That's right. I just banged it down.
0:03:47 > 0:03:51This was really quite highbrow when it was made.
0:03:51 > 0:03:52It's jewel-like.
0:03:52 > 0:03:58Yes. It's the best quality when it comes to European porcelain.
0:03:58 > 0:04:03It was porcelain made for noble pedigree.
0:04:03 > 0:04:04What's really interesting -
0:04:04 > 0:04:09we can identify this lady on the portrait as a lady
0:04:09 > 0:04:14who was niece of Cardinal Mazarin, who was chief minister in France
0:04:14 > 0:04:22in the 17th century and this lady is a lady called Hortense Mancini.
0:04:22 > 0:04:27And she, interestingly, lived in the 17th century... Mm-hm?
0:04:27 > 0:04:31..and was, in fact, mistress to a king of England.
0:04:31 > 0:04:36Charles II? Correct! My namesake, Charles II.
0:04:36 > 0:04:41And what's wonderful is Hortense is hand painted,
0:04:41 > 0:04:45so the porcelain is almost like a canvas.
0:04:45 > 0:04:49There's a very small scratch on her right cheek.
0:04:49 > 0:04:50It could have been you teething.
0:04:50 > 0:04:53THEY LAUGH Yeah! Maybe not.
0:04:53 > 0:04:55No! I hope not! Where was it made?
0:04:55 > 0:04:59France. You're right. Any idea on the factory?
0:04:59 > 0:05:00Sevres. You're right. Yes. Yes.
0:05:00 > 0:05:02In the second half of the 18th-century,
0:05:02 > 0:05:07the most important factory across Europe, across the world,
0:05:07 > 0:05:11making porcelain for the most highly-powered and esteemed families
0:05:11 > 0:05:16was Sevres. Yes, Sevres. S, E, V, R, E, S. Yes.
0:05:16 > 0:05:21And the factory was founded in 1738 and it was Louis XV's factory.
0:05:21 > 0:05:27On the back here, we've got the interlaced Ls for King Louis...
0:05:27 > 0:05:31Oh? ..because he put that factory together in the mid-18th-century.
0:05:33 > 0:05:36So, how old is the cup?
0:05:36 > 0:05:39Well, it must be 300 years.
0:05:39 > 0:05:40I wish it was.
0:05:40 > 0:05:45That handle, that entwined handle, is very mid-19th century.
0:05:45 > 0:05:50Is it? Yes. So I would say this is a mid-Victorian revival,
0:05:50 > 0:05:55made at Sevres, but from circa 1840, 1850.
0:05:55 > 0:05:581840. And I love it. Yes, I do. I really do.
0:05:58 > 0:06:01And I only wish we had five other cups...
0:06:01 > 0:06:05Yeah! ..six saucers and maybe an 18 piece set.
0:06:05 > 0:06:08Wow! If this was not cracked,
0:06:08 > 0:06:11it would be worth probably between 150 and 250.
0:06:11 > 0:06:15Right. In its condition, in the wholesale market,
0:06:15 > 0:06:19I would like to propose to you a guide of between 40 and 60,
0:06:19 > 0:06:24put a reserve on at 30 and celebrate the fact that you, as a young baby,
0:06:24 > 0:06:28had this in your highchair and thankfully it's still here today.
0:06:28 > 0:06:30It is, yeah!
0:06:30 > 0:06:33Brenda may have tried to break that cup as a baby,
0:06:33 > 0:06:37but I think she'd struggle to make a dent in our next item.
0:06:37 > 0:06:39Ken, welcome to "Flog It!"
0:06:39 > 0:06:42It's always nice to see maritime or shipping memorabilia.
0:06:42 > 0:06:44Please tell me about this lovely name plaque
0:06:44 > 0:06:47and how you came to own it, what you know about it.
0:06:47 > 0:06:50Well, I was working in American Samoa
0:06:50 > 0:06:53as head of Department of Marine Technology at the college
0:06:53 > 0:06:57down in the South Pacific and I was walking past a skip
0:06:57 > 0:07:01and there was three or four guys looking in the skip. Yeah?
0:07:01 > 0:07:02So I looked in... ADAM LAUGHS
0:07:02 > 0:07:07..and this was here and the guy opposite had got the nameplate,
0:07:07 > 0:07:10so I said, "I've got this. Can I have that?" He said no.
0:07:10 > 0:07:13HE LAUGHS SOFTLY So, I ended up with this.
0:07:13 > 0:07:16This ship, it was a tug. Yeah.
0:07:16 > 0:07:22Cocoa had been sold to the government of American Samoa in 1971
0:07:22 > 0:07:27and I arrived there in '72 and the local guys were decluttering
0:07:27 > 0:07:31and they were throwing everything into the skip. And where was this?
0:07:31 > 0:07:33Pago, Pago, American Samoa.
0:07:33 > 0:07:36Wow! Yeah. I think you get the prize for the item
0:07:36 > 0:07:38that's travelled the furthest today.
0:07:38 > 0:07:42But when I got it, it had a little cloth bag here,
0:07:42 > 0:07:46with four bolts in it, which were obviously... The right size to...
0:07:46 > 0:07:49..to secure that, yes, to the hull.
0:07:49 > 0:07:51OK. Yeah. So what was this?
0:07:51 > 0:07:56"Hull 352, built by the Levingston Shipbuilding Company,
0:07:56 > 0:07:58"Orange, Texas, 1944."
0:07:58 > 0:08:01Yeah. Um... That's just before the war finished.
0:08:01 > 0:08:03Just before the war finished. So it was in service
0:08:03 > 0:08:05with the American government as an oceangoing tug.
0:08:05 > 0:08:08So you've got some interesting information here
0:08:08 > 0:08:10about the Levingston Shipbuilding Company.
0:08:10 > 0:08:12I believe Captain George Levingston
0:08:12 > 0:08:14was the son of a Northern Irish immigrant...
0:08:14 > 0:08:17Correct. ..who started building in Orange in 1859,
0:08:17 > 0:08:18building paddle steamers for service
0:08:18 > 0:08:23and converting river steamers to the gunboats for the Confederate Navy.
0:08:23 > 0:08:27Later on, they became the Navy's leading builder of ocean tugs
0:08:27 > 0:08:29in World War II and then continued to manufacture afterwards,
0:08:29 > 0:08:32so an interesting story in its own right, really. Yeah.
0:08:32 > 0:08:37So, this was obviously number 352 Hull that they'd made so they'd been
0:08:37 > 0:08:41going quite a while by 1944, just at the end of the Second World War,
0:08:41 > 0:08:46and this is obviously a solid piece of brass, a good, weighty thing.
0:08:46 > 0:08:50Yeah. Fascinating. See, when I first saw you and I saw the ship's plaque,
0:08:50 > 0:08:54I thought, "Oh, brilliant, we're in Morecambe, we've got something
0:08:54 > 0:08:57"local of that time!" Yeah! Nothing to do with Morecambe, is it? No!
0:08:57 > 0:08:59THEY LAUGH Not apart from that it's mine.
0:08:59 > 0:09:02Apart from it's yours and that you live in Morecambe. At the moment.
0:09:02 > 0:09:04I don't think the value's very high, really.
0:09:04 > 0:09:06Yeah. I think it's probably between 50 and 100 quid.
0:09:06 > 0:09:08Would you agree with that? Yeah, sure.
0:09:08 > 0:09:12But it came for nothing and you've given us a really interesting story
0:09:12 > 0:09:14and let's see what the market thinks of it at the auction.
0:09:14 > 0:09:16Shall we go with no reserve and let it sell?
0:09:16 > 0:09:18Yeah. Yeah. Why not?
0:09:18 > 0:09:20Very good. Thank you very much for coming.
0:09:20 > 0:09:22OK, thank you. See you at the auction. Yeah.
0:09:22 > 0:09:25It's great to know that, even on the other side of the world,
0:09:25 > 0:09:29you can still find interesting treasures in skips.
0:09:29 > 0:09:32Stepping away from our venue just across the road, there's another
0:09:32 > 0:09:35stunning piece of architecture that is the very reason for
0:09:35 > 0:09:39the Midland Railway Company building the station here on the seafront.
0:09:39 > 0:09:42Right opposite this place is the Midland Hotel,
0:09:42 > 0:09:45or the North Western as it was originally known.
0:09:45 > 0:09:48They wanted to cash in on the huge number of tourists arriving
0:09:48 > 0:09:52in Morecambe and having a hotel right in front of the station
0:09:52 > 0:09:54was the right way to go about it.
0:09:54 > 0:09:55When the station was built,
0:09:55 > 0:09:58the Midland was a fairly ordinary-looking Victorian hotel.
0:10:00 > 0:10:02But in 1933,
0:10:02 > 0:10:06it was replaced with this incredibly cutting-edge and streamlined model.
0:10:06 > 0:10:07From the moment it opened,
0:10:07 > 0:10:11the Midland became the place to stay and it attracted more than just
0:10:11 > 0:10:14wealthy holiday-makers from the north-west of England.
0:10:14 > 0:10:17Coco Chanel, Noel Coward, Sir Laurence Olivier,
0:10:17 > 0:10:19plus many other top actors and musicians
0:10:19 > 0:10:23who were performing at the Winter Gardens all came to stay here.
0:10:25 > 0:10:28However, as the holiday trade declined in Morecambe,
0:10:28 > 0:10:34so did the Midland Hotel and it shut in 1998 in a state of disrepair.
0:10:34 > 0:10:37Luckily, after years of sitting closed and neglected,
0:10:37 > 0:10:40it was restored and refurbished to match its former glory,
0:10:40 > 0:10:42reopening its doors in 2008.
0:10:46 > 0:10:47This place is just stunning.
0:10:47 > 0:10:50It's a real Art Deco masterpiece and a testament
0:10:50 > 0:10:54to how popular Morecambe was back in the day.
0:10:54 > 0:10:56Artists Eric Gill and Eric Ravilious
0:10:56 > 0:10:59were commissioned to make special pieces for the hotel,
0:10:59 > 0:11:02which could be incorporated into its design.
0:11:02 > 0:11:05Ravilious created a mural for the wall of what was the tea room.
0:11:05 > 0:11:09Sadly, the hotel was so new and the plaster still wet
0:11:09 > 0:11:11that the painting only lasted two years.
0:11:11 > 0:11:14This version was done in 2013,
0:11:14 > 0:11:17recreated from photos of the original.
0:11:17 > 0:11:20Fortunately, Eric Gill's works have survived perfectly well.
0:11:24 > 0:11:27Time to get back across the road to our valuations,
0:11:27 > 0:11:30where a cheery-looking character has checked into Charles's table.
0:11:32 > 0:11:35What's the history of this object?
0:11:35 > 0:11:37I don't know very much about it at all.
0:11:37 > 0:11:42I inherited it on the death of a good friend and it has been
0:11:42 > 0:11:45in her house for a number of years since my childhood.
0:11:45 > 0:11:48Well, let me tell you, this is Japanese, OK?
0:11:48 > 0:11:50I knew it was oriental.
0:11:50 > 0:11:54What we call an okimono, or an ornament.
0:11:54 > 0:11:59I think this figure has a sort of merchant-seaman feel about it.
0:11:59 > 0:12:01Oh, I thought it might've been a beggar or somebody.
0:12:01 > 0:12:03Yeah. Well, let me tell you,
0:12:03 > 0:12:09often, merchant navy men - who may have been serving in World War I -
0:12:09 > 0:12:12and perhaps were positioned in or around Asia,
0:12:12 > 0:12:16they may have brought this home as a souvenir. Yeah.
0:12:16 > 0:12:18It's very possible... Yes.
0:12:18 > 0:12:23..because the father of my friend was in the First World War,
0:12:23 > 0:12:26but he never went further than France or Belgium.
0:12:26 > 0:12:32I like it a lot. We can see we've got this delightful elder figure.
0:12:32 > 0:12:34I can't quite work out the subject.
0:12:34 > 0:12:37He carries this monkey on the back of his left shoulder. Yes.
0:12:37 > 0:12:40He appears to be not badly dressed,
0:12:40 > 0:12:43so I don't think I would quite call him a beggar.
0:12:43 > 0:12:45He could be a labourer. Yes.
0:12:45 > 0:12:49He would date to around 1910.
0:12:49 > 0:12:55And, more often than not, I see these carvings in ivory not metal.
0:12:55 > 0:13:01No. And he's interesting, because he is a silvered base metal and
0:13:01 > 0:13:06underneath this silver cover is perhaps a nickel plate.
0:13:06 > 0:13:09He's on an agricultural type of base.
0:13:09 > 0:13:13And we can see, I think he's been extensively polished.
0:13:13 > 0:13:15Not by me. Good.
0:13:15 > 0:13:18Because you can see the original texture has been rubbed away.
0:13:18 > 0:13:20Can you see? Yes.
0:13:20 > 0:13:25And that's a shame. He is marked on the base.
0:13:25 > 0:13:28We've got this seal cast mark in the base here.
0:13:28 > 0:13:30I can't identify that.
0:13:30 > 0:13:34But it broadly relates to the period in which he was made,
0:13:34 > 0:13:39that being the Meiji period, from 1868-1912.
0:13:39 > 0:13:41I quite like him. I'm afraid I don't.
0:13:41 > 0:13:43Oh, dear! Don't say that! SHE LAUGHS
0:13:43 > 0:13:45You don't like him at all? No.
0:13:45 > 0:13:47He's superfluous.
0:13:47 > 0:13:50Has he been on display at home? Yes, it has.
0:13:50 > 0:13:53I think he's charming. I think he's got a very gentle face.
0:13:53 > 0:13:56And the face could... But weary, tired.
0:13:56 > 0:13:59A weary face with wrinkles.
0:13:59 > 0:14:01Yes. He looks wise, though.
0:14:01 > 0:14:04He looks as though he's experienced life.
0:14:04 > 0:14:07Yes. And he will go on and, I'm sure,
0:14:07 > 0:14:10will be enjoyed by collectors in a next life. Yes.
0:14:10 > 0:14:13What's he worth? I don't know.
0:14:13 > 0:14:18I would like to guide him between ?70 and ?100. Well, fair enough.
0:14:18 > 0:14:23We'll see. And with your blessing, I propose we put a reserve at 60
0:14:23 > 0:14:26and, hopefully, his eastern charm
0:14:26 > 0:14:30will engage maybe an eastern or western buyer to a new life.
0:14:30 > 0:14:33Some of the people here, who have looked at him, have said,
0:14:33 > 0:14:37"Oh, he's lovely!" and others just say, "Oh, dear!"
0:14:37 > 0:14:40And I'm an "Oh, dear!" Yeah. A love-hate relationship.
0:14:40 > 0:14:42I love him. You love him. Good for you.
0:14:42 > 0:14:45Put it there. Thank you very much. Thanks very much. Thank you.
0:14:52 > 0:14:54Right, and now for my favourite part of the show.
0:14:54 > 0:14:57This is where we up the tempo. This is where it gets exciting.
0:14:57 > 0:15:00As you've just seen, our experts have found their first items
0:15:00 > 0:15:03to take off to the saleroom. Don't go away, anything could happen!
0:15:03 > 0:15:06Let's hope we have a big surprise. Here's a quick recap
0:15:06 > 0:15:09of all the items that are going under the hammer.
0:15:09 > 0:15:13We're hoping Brenda's porcelain gem will be someone's cup of tea
0:15:13 > 0:15:15at the auction.
0:15:15 > 0:15:18That ship's nameplate should sail away in the saleroom
0:15:18 > 0:15:20with a big price tag in tow.
0:15:20 > 0:15:23And hopefully that Japanese figure will give Wendy
0:15:23 > 0:15:25something to smile about.
0:15:31 > 0:15:32Our auction is in Clitheroe,
0:15:32 > 0:15:35a pretty town sitting on the edge of the Forest of Bowland,
0:15:35 > 0:15:38a scenic area that's a bit of an undiscovered gem.
0:15:39 > 0:15:41And this is where it gets exciting,
0:15:41 > 0:15:43because here we are at Silverwoods auction rooms.
0:15:43 > 0:15:45We've travelled across Lancashire
0:15:45 > 0:15:47to put our experts' valuations to the test.
0:15:47 > 0:15:50Here, the commission is only 10% plus VAT.
0:15:50 > 0:15:53These rates do vary from saleroom to saleroom,
0:15:53 > 0:15:55but here today, it's 10%. I'm going to catch up with our owners,
0:15:55 > 0:15:57because I know they're feeling very nervous.
0:15:57 > 0:15:59In a moment, it's lights, camera, action.
0:15:59 > 0:16:01Let's get those lots under the hammer.
0:16:02 > 0:16:04Wilf Mould is the auctioneer
0:16:04 > 0:16:07and, first up, it's Brenda's exquisite porcelain cup.
0:16:09 > 0:16:13It's a work of art on a porcelain cup and it's late 18th century.
0:16:13 > 0:16:15It's what I absolutely love. It belongs to Brenda.
0:16:15 > 0:16:17And I'm surprised Brenda's selling this,
0:16:17 > 0:16:21because it's been in the family for a long, long time, hasn't it?
0:16:21 > 0:16:24All my life. All your life and grandma gave it to you.
0:16:24 > 0:16:27And that's a long time. Aw! Have you other things, though,
0:16:27 > 0:16:30from grandma? Yeah, I've got quite a few old things at home, yeah.
0:16:30 > 0:16:32It's beautiful, this. It's beautiful.
0:16:32 > 0:16:35Paul, it's a real work of art and when you use the word "cabinet cup",
0:16:35 > 0:16:37this really is a cabinet cup. Yeah. Yeah. Yeah.
0:16:37 > 0:16:41If only we had the saucer. Yes, exactly. And a few more cups.
0:16:41 > 0:16:43A few... LAUGHTER
0:16:43 > 0:16:46Then you wouldn't sell them, would you? No! No!
0:16:46 > 0:16:48Anyway, we're going to find out what the bidders think,
0:16:48 > 0:16:51because this really is quality. And what do we always say?
0:16:51 > 0:16:54Quality sells. It does, it does. Let's "Flog It!"
0:16:56 > 0:16:59This is the Sevres continental cabinet cup...
0:16:59 > 0:17:03Just beautiful! ..decorated with a portrait of Hortense Mancini.
0:17:03 > 0:17:05I shall start it at ?20.
0:17:05 > 0:17:09?20 and two. A long way to go. At ?20 and 22 for the cup.
0:17:09 > 0:17:1222 is bid. 22. 25. 28?
0:17:12 > 0:17:1528 now. I'll take 28. And 30.
0:17:15 > 0:17:1732? At ?30 on that...
0:17:17 > 0:17:1832 on the screen.
0:17:18 > 0:17:21At 35... Come on, surely. ..on this little cup.
0:17:21 > 0:17:24Have you all done and thought at ?32?
0:17:24 > 0:17:2635 now. Late bid online.
0:17:26 > 0:17:2835. 38. Come again.
0:17:28 > 0:17:3038 is bid. Little money.
0:17:30 > 0:17:32All done at ?38?
0:17:32 > 0:17:33GAVEL BANGS
0:17:33 > 0:17:35Amazing. 38. He's sold it, hasn't he?
0:17:35 > 0:17:39Yes, he sold it. Yes, sold it. Gosh, that was real art, wasn't it?
0:17:39 > 0:17:41I mean, that was just quality. Yeah.
0:17:41 > 0:17:43Sometimes... We just got it away.
0:17:43 > 0:17:46Yeah. It needs its saucer to flourish more. Yes, that's right.
0:17:46 > 0:17:47But as a work of art,
0:17:47 > 0:17:50for a collector to actually inherit that object is fantastic. Yes.
0:17:53 > 0:17:56'Next to go under the hammer is that wise old Japanese figure.'
0:17:58 > 0:18:00Good luck, Wendy. Thank you! Fingers crossed.
0:18:00 > 0:18:02This is the moment going under the hammer.
0:18:02 > 0:18:04We've got this little silver figure. It's a...
0:18:04 > 0:18:08It's a smiling happy little face from a wise and weary figure.
0:18:08 > 0:18:11Yes, it is. I'm describing me, really, aren't I?
0:18:11 > 0:18:13LAUGHTER
0:18:13 > 0:18:15I bet that's how you were feeling
0:18:15 > 0:18:19at the end of the day when we were at Morecambe. Keep smiling!
0:18:21 > 0:18:23I like this. This is good quality.
0:18:23 > 0:18:26Well, I mean, he said that all the quality had been rubbed off
0:18:26 > 0:18:30by keeping it clean. Yes, it's been over-cleaned, hasn't it? Yes, yes.
0:18:30 > 0:18:32And that's something a lot of our owners do.
0:18:32 > 0:18:36It's a shame it's not a multi-metal, with maybe copper and gold inset.
0:18:36 > 0:18:40Sure. But it's a good object. Yeah. Fingers crossed, both of you.
0:18:40 > 0:18:41It's going under the hammer right now!
0:18:43 > 0:18:44Lot 140.
0:18:44 > 0:18:47This is an elderly traveller walking with a stick.
0:18:47 > 0:18:51Meiji period, circa 1900, and it is marked to the base.
0:18:51 > 0:18:53Who'll start me at ?100 for this one?
0:18:53 > 0:18:55Come on. Come on. Come on, son. 100 anywhere? I'll take 80, then.
0:18:55 > 0:18:57?80.
0:18:57 > 0:18:5950 under sufferance, surely.
0:18:59 > 0:19:0350 bid. We're in. Chap in the... At ?50 bid, in the room.
0:19:03 > 0:19:0555. 60 now.
0:19:05 > 0:19:0760, sir. Five again. That's better.
0:19:07 > 0:19:11At ?60. Better, ha! Looking for 65. Come on. Help yourself.
0:19:11 > 0:19:13Selling at ?60.
0:19:13 > 0:19:15GAVEL BANGS
0:19:15 > 0:19:18?60, it's gone, Charles. Good. It's a funny old game.
0:19:18 > 0:19:19Good figure. It's done. It's done!
0:19:19 > 0:19:22Yes! It's done and dusted and thank you for being a good sport, Wendy...
0:19:22 > 0:19:24Oh, yes. ..and bringing that in. Thank you, Wendy.
0:19:25 > 0:19:28'And finally, the ship's nameplate.
0:19:28 > 0:19:30'Hopefully, it will make a name for itself.'
0:19:31 > 0:19:33I think maritime memorabilia is big business and
0:19:33 > 0:19:37it is slightly undervalued. I think it's a good area to collect in.
0:19:37 > 0:19:40Don't you? Definitely, yeah. Where has it been all this time?
0:19:40 > 0:19:42Under the bed, in the cellar, in the attic.
0:19:42 > 0:19:44Travelled a long way. Originally from an American boat.
0:19:44 > 0:19:46I gathered that. Yeah. Yeah, it's wandered around.
0:19:46 > 0:19:48Do you think it might find its way back to the States?
0:19:48 > 0:19:52I don't know. I think maybe the name Levingston's quite an unusual name
0:19:52 > 0:19:55of Irish descent, so maybe a family member's tracked it down.
0:19:55 > 0:19:58Who knows? Yeah. We'll find out. I'd love to find out. Yeah.
0:19:59 > 0:20:04Lot 190 now is the bronze shipbuilder's plate.
0:20:04 > 0:20:10Built by Levingston Shipbuilding Company, Orange, Texas in 1944.
0:20:10 > 0:20:13Who'll start me at what for this plate? ?80 for it?
0:20:13 > 0:20:15?60, quickly, while you're all thinking.
0:20:15 > 0:20:16Well, I'll take 50, then.
0:20:16 > 0:20:19THEY LAUGH Must be worth that for weight.
0:20:19 > 0:20:2150 on the telephone. ?50, I'll take.
0:20:21 > 0:20:2455. 60 now.
0:20:24 > 0:20:27?60. 65. ?70. 75.
0:20:27 > 0:20:3080. ?80. And five?
0:20:30 > 0:20:3390. ?90. 95.
0:20:33 > 0:20:35100. 100. 110.
0:20:35 > 0:20:38120. 120.
0:20:38 > 0:20:40And 30. 140 now.
0:20:40 > 0:20:43140. 150.
0:20:43 > 0:20:46160. 170.
0:20:46 > 0:20:48At 160 on the telephone. That's all right. It's fine.
0:20:48 > 0:20:50170 from anywhere else?
0:20:50 > 0:20:52Sailing away at ?160.
0:20:52 > 0:20:54GAVEL BANGS We'll take that, won't we?
0:20:54 > 0:20:58?160. Very good. Yeah? Yeah. Yeah, well done. Very good. Yeah.
0:20:58 > 0:21:00And thank you for bringing that in. Yeah. That's a nice result.
0:21:00 > 0:21:02Not a bad price.
0:21:09 > 0:21:11Well, that's it. Our first visit to the auction over with.
0:21:11 > 0:21:14Three items down, three more to come later on in the show.
0:21:14 > 0:21:18But before we return to The Platform in Morecambe to find more treasures,
0:21:18 > 0:21:21I want to take you on a rail trip to another station,
0:21:21 > 0:21:24which has a very special place in railway and film history.
0:21:37 > 0:21:39I've always had a soft spot for train travel
0:21:39 > 0:21:42and, as a nation that invented steam trains,
0:21:42 > 0:21:45I think we have a unique fascination with the romance of it.
0:21:45 > 0:21:48Travelling by train, especially steam,
0:21:48 > 0:21:51is deeply ingrained in our cultural fabric.
0:21:51 > 0:21:53It has a certain romance that just doesn't work
0:21:53 > 0:21:55with any other form of travel.
0:22:03 > 0:22:05Carnforth, just up the line from Morecambe,
0:22:05 > 0:22:08is a small and pretty Victorian railway station
0:22:08 > 0:22:11that occupies a very special place in railway history.
0:22:11 > 0:22:16Firstly, it's the only working station that has high-speed...
0:22:16 > 0:22:19TRAIN ROARS, HE SHOUTS ..intercity trains whizzing
0:22:19 > 0:22:24right through it, but also has a museum as part of the platform.
0:22:24 > 0:22:28And if you didn't know any better and you'd just stepped off a train,
0:22:28 > 0:22:31you'd think you'd been transported back in time to the 1940s.
0:22:33 > 0:22:37Inside and out, the station is littered with displays and exhibits
0:22:37 > 0:22:40to evoke that most romantic period of rail history.
0:22:40 > 0:22:43It's a rail enthusiast's delight.
0:22:43 > 0:22:46But there's something else quite unique about Carnforth
0:22:46 > 0:22:50that attracts thousands of visitors from all over the world.
0:22:50 > 0:22:53This is where they shot some of the iconic scenes
0:22:53 > 0:22:57for one of the most romantic films of all time - Brief Encounter.
0:22:57 > 0:23:00For me, the film sums up the romance of the railway station
0:23:00 > 0:23:03and, of course, a bygone era and surely it's got to be
0:23:03 > 0:23:07one of the finest stories of love committed to film.
0:23:09 > 0:23:11WHISTLE BLOWS
0:23:16 > 0:23:19But look at this, it's a little cinema here in the station
0:23:19 > 0:23:23that plays Brief Encounter continuously every day.
0:23:23 > 0:23:27That's 1,440 times a year.
0:23:37 > 0:23:40It's a melodrama and it's where Celia Johnson -
0:23:40 > 0:23:42who I have to say is absolutely stunningly beautiful -
0:23:42 > 0:23:46the bored housewife, meets Trevor Howard, the gallant doctor,
0:23:46 > 0:23:49who gets a bit of grit out of her eye.
0:23:49 > 0:23:50There. Oh, what a relief!
0:23:50 > 0:23:52It was agonising. Looks like a bit of grit.
0:23:52 > 0:23:54It was when the express went through. Thank you very much indeed.
0:23:54 > 0:23:57Now, this brief encounter leads,
0:23:57 > 0:23:59quite innocently, to a good friendship.
0:23:59 > 0:24:03But the more they meet at the station, the more it gets intense
0:24:03 > 0:24:05and they start to fall in love.
0:24:05 > 0:24:08It's one of those situations that could ruin a marriage.
0:24:08 > 0:24:12WHISTLE BLOWS, TRAIN ROARS PAST
0:24:14 > 0:24:17Now, if you haven't seen this film, I'm not going to tell you the end,
0:24:17 > 0:24:19because it will ruin it for you.
0:24:19 > 0:24:23But it really is a wonderfully, wonderfully romantic story
0:24:23 > 0:24:27of two tortured souls.
0:24:27 > 0:24:29It epitomises the Great British character as well -
0:24:29 > 0:24:32that stiff upper lip and dutifulness.
0:24:32 > 0:24:35It's absolutely brilliant, it really is.
0:24:42 > 0:24:45It's written by Noel Coward and directed by David Lean,
0:24:45 > 0:24:48arguably the greatest British film director of all time.
0:24:48 > 0:24:54Now, his CV is littered with amazing films, such as Great Expectations,
0:24:54 > 0:24:58Lawrence of Arabia, Doctor Zhivago, Bridge On The River Kwai,
0:24:58 > 0:25:00and the list just goes on and on and on.
0:25:03 > 0:25:07But what appeals to me about Brief Encounter,
0:25:07 > 0:25:10compared to the grand epics, is that the intimacy of romance
0:25:10 > 0:25:13is so beautifully captured at this railway station.
0:25:17 > 0:25:20What I really like is this tearoom. It's been beautifully restored.
0:25:20 > 0:25:25MUSIC: Rachmaninoff Piano Concerto No.2.
0:25:31 > 0:25:34Evening, Mr Godby. Hello.
0:25:34 > 0:25:37Hello, hello, hello! Quite the stranger, aren't you? I couldn't...
0:25:37 > 0:25:39'I love the attention to detail.'
0:25:39 > 0:25:44It's like walking onto the film set of Brief Encounter back in 1945.
0:25:44 > 0:25:46Yet the scenes weren't shot in here.
0:25:46 > 0:25:49They were done in a studio in London.
0:25:49 > 0:25:53They just recreated a carbon copy of this tearoom and the rest room.
0:25:54 > 0:25:56Although the story is set near London,
0:25:56 > 0:26:00the scenes on the station exterior had to be filmed at Carnforth.
0:26:00 > 0:26:04That's because in 1945, when they were making Brief Encounter,
0:26:04 > 0:26:06the Second World War was still raging
0:26:06 > 0:26:09and all the lights used for filming a movie at night
0:26:09 > 0:26:12would've been an easy target for German bombers.
0:26:12 > 0:26:15David Lean had to find an alternative location
0:26:15 > 0:26:19and Carnforth in North Lancashire was remote enough to be safe.
0:26:23 > 0:26:26My favourite part has to be the platform clock,
0:26:26 > 0:26:28which featured prominently in Brief Encounter.
0:26:28 > 0:26:31And here it is. It looks a little bit different now,
0:26:31 > 0:26:34because the set designers in the movie covered it over with cardboard
0:26:34 > 0:26:36to hide the hands to keep continuity.
0:26:36 > 0:26:38But here it is now in all its former glory.
0:26:43 > 0:26:45Now, up here, that's where the mechanism is.
0:26:45 > 0:26:48Now, that operates the clock by virtue of a drive shaft,
0:26:48 > 0:26:51which goes all the way across to the clock face,
0:26:51 > 0:26:56but unusually, this has a wooden pendulum. It's a wooden pole!
0:26:56 > 0:26:58It's very much like a grandfather clock,
0:26:58 > 0:27:00but I've not seen that in a grandfather clock.
0:27:00 > 0:27:02If that was in a metal, that would expand
0:27:02 > 0:27:05and contract with the weather conditions and affect the time,
0:27:05 > 0:27:08so, being wood, that keeps very good time
0:27:08 > 0:27:12and, incidentally, you only have to wind this up twice a week.
0:27:16 > 0:27:17ALEC: Forgive me for loving you.
0:27:21 > 0:27:24It's not often you can say this about a working railway station,
0:27:24 > 0:27:26but this place is all about love -
0:27:26 > 0:27:31the love of rail travel and the celebration of a great love film.
0:27:31 > 0:27:35Brief Encounter takes us back to a bygone era, the golden age of steam,
0:27:35 > 0:27:37where everything seemed so innocent
0:27:37 > 0:27:41and a world away from the social conventions we have today.
0:27:41 > 0:27:44But luckily enough, Carnforth station allows us
0:27:44 > 0:27:48to come and visit and soak up pure nostalgia for a lost time.
0:28:06 > 0:28:08Back at our very own railway building,
0:28:08 > 0:28:11we're still getting plenty of new arrivals eager to see
0:28:11 > 0:28:13if their antiques will be chosen for the auction
0:28:13 > 0:28:18and Adam looks ready to set off with his next valuation.
0:28:18 > 0:28:19Thank you very much for coming.
0:28:19 > 0:28:22I remember seeing you earlier and my eyes instantly homed in
0:28:22 > 0:28:25upon this little snuffbox. They did indeed, yes.
0:28:25 > 0:28:29My beady little eyes! Now, what can you tell me about it?
0:28:29 > 0:28:30Well, it's come down my family.
0:28:30 > 0:28:34My mother's father left it when he died.
0:28:34 > 0:28:38And I don't think it was probably to his taste,
0:28:38 > 0:28:42so I'm guessing, probably, that it came down from his father.
0:28:42 > 0:28:45So not from a sort of hunting stock, your family?
0:28:45 > 0:28:49Well, my great-grandfather is from farming.
0:28:49 > 0:28:52It's beautifully done, although the subject is
0:28:52 > 0:28:55a little bit gory, isn't it? It is extremely gory.
0:28:55 > 0:28:59Not to everyone's taste. Certainly not these days. No, that's right.
0:28:59 > 0:29:02Victorians liked that sort of thing, didn't they? They definitely did!
0:29:02 > 0:29:06And it would've been a real desirable object of the period. Mm.
0:29:06 > 0:29:10I think this will date from the end of the 19th century, 1880-1900.
0:29:10 > 0:29:13As late as that, yes? It's typically more towards...
0:29:13 > 0:29:17Towards the end of...? ..the end of part of the 19th century.
0:29:17 > 0:29:20And the enamelling looks in very nice condition. Lovely quality.
0:29:20 > 0:29:23As soon as you get any damage on enamelling, the value plummets,
0:29:23 > 0:29:26but I'm running my finger, my little finger particularly,
0:29:26 > 0:29:30because that's the most sensitive, just to feel for any little chips
0:29:30 > 0:29:33or imperfections, because that will seriously compromise the value.
0:29:33 > 0:29:35But it seems in pretty good order.
0:29:35 > 0:29:39And I remember you saying. it's a tatty old thing. Well...
0:29:39 > 0:29:41Well! It's got some wear and tear, I think. It has.
0:29:41 > 0:29:44Well, this was all gilded round the side. Yes.
0:29:44 > 0:29:48And the gilding's getting worn and you can see that also on the base.
0:29:48 > 0:29:53Yeah. But it's sterling silver so, um, it's not a big problem, that.
0:29:53 > 0:29:55In fact, after years of it being on a table,
0:29:55 > 0:29:57you're going to expect to see... Yes.
0:29:57 > 0:30:00A certain amount of wear and tear. ..wear commensurate with age.
0:30:00 > 0:30:02I would've thought that's in pretty good condition.
0:30:02 > 0:30:06Oh, really? OK. And there's still a market for it.
0:30:06 > 0:30:09Yes. There is still a strong interest in blood sports and
0:30:09 > 0:30:14hunting-related... It's a bit of a Black Forest kind of scene as well.
0:30:14 > 0:30:18Do you think it might be German, then? Well, I've looked at the marks
0:30:18 > 0:30:21and, um, taken advice from a colleague of mine, who's, um...
0:30:21 > 0:30:26She's very good on continental silver and this is Austro-Hungarian.
0:30:26 > 0:30:27Is it? Right. So, we've got marks there
0:30:27 > 0:30:30and we've got a sterling mark telling us it's sterling silver.
0:30:30 > 0:30:33Why have you decided to sell it? Do you have it on display?
0:30:33 > 0:30:35No. I don't care for it.
0:30:35 > 0:30:38Don't like it? No. No? No, my children don't want it.
0:30:38 > 0:30:41Fair enough. Well, we're quite happy to put it under the hammer for you.
0:30:41 > 0:30:45OK. Estimate wise, I would suggest ?300-?500.
0:30:45 > 0:30:48Oh, right. And I would put a reserve of 300 on it.
0:30:48 > 0:30:50OK. Because, in my view, it should make more.
0:30:50 > 0:30:53OK. Er, how does that sit with your expectations?
0:30:53 > 0:30:57Well, seeing my expectations were very much lower, that's fine, yes.
0:30:57 > 0:31:00Good, excellent! Yeah. Mm. And thanks again for coming. Yeah.
0:31:02 > 0:31:06Next up at our venue in the North West is Charles
0:31:06 > 0:31:08with a flavour of the Far East.
0:31:08 > 0:31:12I feel today, Sue, you've brought colour. I have. I like colour.
0:31:12 > 0:31:15In more ways than one! THEY LAUGH
0:31:15 > 0:31:19And in this small but quite humble box and cover,
0:31:19 > 0:31:22it's got an Eastern promise. Tell me about it.
0:31:22 > 0:31:25I think it's Japanese and it's just very pretty.
0:31:25 > 0:31:27You're quite right. Made in Japan.
0:31:27 > 0:31:30And it's been a family heirloom for many years? Oh, I wish.
0:31:30 > 0:31:33Did you acquire it recently? From a car boot. Wow!
0:31:33 > 0:31:36I love it, because... it's quite humble, like me...
0:31:36 > 0:31:38THEY GIGGLE
0:31:38 > 0:31:40..with what are wonderful chrysanthemums,
0:31:40 > 0:31:42all beautifully enamelled...
0:31:42 > 0:31:48Yeah. ..on the top of this lid on a very exotic gold ground.
0:31:48 > 0:31:51And if I take the lid off now,
0:31:51 > 0:31:55you'll see it's got this ivory ground
0:31:55 > 0:31:58and it's what we know as being Satsuma. Mm-hm.
0:31:58 > 0:32:03"Satsuma yaki" was actually a region in Japan,
0:32:03 > 0:32:07which began making Satsuma from around 1600. Ah!
0:32:07 > 0:32:11This is around 1890.
0:32:11 > 0:32:13Wow. So it's 130 years old.
0:32:13 > 0:32:15Ooh. If it could talk, that's my passion.
0:32:15 > 0:32:20Oh! For these objects. The stories it would tell. I like it a lot.
0:32:20 > 0:32:24I love how the seagulls... They're beautiful. ..or birds
0:32:24 > 0:32:27perhaps hide imperfections in the glaze,
0:32:27 > 0:32:29or they're just more decorative.
0:32:29 > 0:32:35And what I also like is the fact that this lovely little circular,
0:32:35 > 0:32:38maybe dressing table jar, little jewellery box,
0:32:38 > 0:32:42is mounted on what appear to be almost cauldron feet. Yes.
0:32:42 > 0:32:47This gilt-style of foot is typical of that period.
0:32:47 > 0:32:52Now, the really important Satsuma is painted by artists like
0:32:52 > 0:32:57Yabu Meizan, Kinkozan, Kozan - they're the really important names
0:32:57 > 0:33:01and their objects can fetch many thousands of pounds.
0:33:01 > 0:33:05This is towards the end of the importance of the Japanese flowering
0:33:05 > 0:33:10and this is quite mass produced, made for a middle market. Aw!
0:33:10 > 0:33:15On the bottom, we've got a standard mark for an artist craftsman
0:33:15 > 0:33:19with this black character with the gilt mark there
0:33:19 > 0:33:22and the inner concentric gilt bands.
0:33:22 > 0:33:24What did you pay for it at your car boot?
0:33:24 > 0:33:28About 50p. Did you really? Yes. Well, that's good.
0:33:28 > 0:33:31Well, will it fly away? There is one problem.
0:33:32 > 0:33:36There's a chip here. I hadn't seen that. Can you see? Yes. Just there.
0:33:36 > 0:33:39That will greatly affect value.
0:33:39 > 0:33:42Of course, it's a more mass-produced commodity. Yes.
0:33:42 > 0:33:46Without the chip, it would've fetched 40 to 60.
0:33:46 > 0:33:48But I think, in its condition now,
0:33:48 > 0:33:55I would like to guide it at between 25 and 35, and, if you're happy,
0:33:55 > 0:33:59I'm sure it's going to make more than your investment of 50p. 50p!
0:33:59 > 0:34:01I can't believe it.
0:34:01 > 0:34:03Sue and her pot have definitely
0:34:03 > 0:34:05brought a splash of colour into our venue.
0:34:05 > 0:34:08And finally, ready to bring some music to our ears,
0:34:08 > 0:34:10it's Adam with the last item of the day.
0:34:10 > 0:34:14Pam, it's always a delight to have a musical instrument come to the
0:34:14 > 0:34:17programme, often referred to as a squeeze-box. A squeeze-box, yeah.
0:34:17 > 0:34:20But the real name, of course, a concertina.
0:34:20 > 0:34:21How did you come to own it?
0:34:21 > 0:34:25Well, it was my husband's and he passed away a few years ago
0:34:25 > 0:34:29and it's been sitting in our wardrobe for many years.
0:34:29 > 0:34:32It used to belong to his grandfather, I believe. Right.
0:34:32 > 0:34:35He didn't play it. So your husband was not a concertina player?
0:34:35 > 0:34:37That's right, yes. OK. He played brass instruments.
0:34:37 > 0:34:39Oh, OK. What did he play?
0:34:39 > 0:34:42Euphonium mostly. Oh, very good! Brass band? Yeah.
0:34:42 > 0:34:44Ah! Very good. And dance bands. Excellent!
0:34:44 > 0:34:49And so concertinas these days are still quite in vogue.
0:34:49 > 0:34:52That is mainly because they're still used in Irish folk music.
0:34:52 > 0:34:55Yeah. And they're still popular over in America.
0:34:55 > 0:34:58Mm-hm. So this is quite a desirable object.
0:34:58 > 0:35:01Have you ever played it or heard it played?
0:35:01 > 0:35:04I've heard it... Well, not played as such, but I've heard...
0:35:04 > 0:35:08The noise? ..the notes that come out of it. Shall we have a go...?
0:35:08 > 0:35:11I can't play one. The only thing I know about it is you're supposed
0:35:11 > 0:35:14to press one of the keys before opening or closing it.
0:35:14 > 0:35:17Before closing the bellows, yeah, and if we just have
0:35:17 > 0:35:19a quick look at that... NOTES ARE PLAYED
0:35:19 > 0:35:23..the bellows themselves are in a good condition, not bad at all.
0:35:23 > 0:35:26One of the questions you get when you're selling these is
0:35:26 > 0:35:28how's the condition of the bellows?
0:35:28 > 0:35:31And how many folds to the bellows as well?
0:35:31 > 0:35:34TUNEFUL PLAYING
0:35:37 > 0:35:39DISCORDANT PLAYING
0:35:39 > 0:35:41So, it sounds a little bit sad when you don't know how to play.
0:35:41 > 0:35:43It's going to need some attention... Yeah.
0:35:43 > 0:35:46..because behind these metal plates,
0:35:46 > 0:35:50there should be a sort of a material as such to cover the inner workings
0:35:50 > 0:35:53and to... Right. ..in a way, muffle the sound.
0:35:53 > 0:35:55Concertinas were made in quite large quantities towards
0:35:55 > 0:35:59the end of the 19th century and the beginning of the 20th century.
0:35:59 > 0:36:01Invented by a chap called Wheatstone,
0:36:01 > 0:36:03there were various manufacturers.
0:36:03 > 0:36:08Jeffries and Lachenal were the main producers of these things
0:36:08 > 0:36:11and I think this is probably a Lachenal example,
0:36:11 > 0:36:15because of the oval aperture that you've got there and, at some point,
0:36:15 > 0:36:18there would've been a little paper label behind there that would've
0:36:18 > 0:36:21said "Lachenal and Co, London", and it'd have had a number on it
0:36:21 > 0:36:24from which you could have dated exactly the year which it was made.
0:36:24 > 0:36:27I see, yeah. Um, but it's late 19th century.
0:36:27 > 0:36:32They did various examples and you get your basic student's model
0:36:32 > 0:36:34with simple bone buttons and then, they go up and up and then,
0:36:34 > 0:36:38the sort of generally perceived to be the most popular
0:36:38 > 0:36:40are the ones with the metal buttons and the metal ends,
0:36:40 > 0:36:44so this is a higher end concertina and there are different models
0:36:44 > 0:36:46in terms of the amount of buttons and the pitch.
0:36:46 > 0:36:50They'd have bass ones and tenor ones and all sorts of different variants.
0:36:50 > 0:36:54My view is that I think it'll make 300 to 500...
0:36:54 > 0:36:57Oh, right. ..um, which is higher than everyone else
0:36:57 > 0:37:00has suggested at the back. They think I'm mad.
0:37:00 > 0:37:02But I'm going to go with that.
0:37:02 > 0:37:05Right. Um, I think we should put a reserve on it.
0:37:05 > 0:37:10Shall we put a bit lower? 250? Yeah, 200. I think 200 would be sensible.
0:37:10 > 0:37:13Yeah. Cos then it gives everyone a chance to have a bid at it. Right.
0:37:13 > 0:37:16But I'm pretty sure it's going to sell very well.
0:37:16 > 0:37:19There's a lot of interest on them, particularly from online bidders.
0:37:19 > 0:37:22Right. So, let's hope we have a good result...
0:37:22 > 0:37:25OK. ..when we come to the auction. Thanks for bringing it along.
0:37:29 > 0:37:31Well, that's it. Our experts have now found
0:37:31 > 0:37:33their final items to take off to auction.
0:37:33 > 0:37:36We've had a brilliant time here at The Platform in Morecambe,
0:37:36 > 0:37:38but sadly, it's time to say goodbye
0:37:38 > 0:37:40as it's full steam ahead to the saleroom.
0:37:40 > 0:37:44And here's a quick recap of all the items that are coming with us.
0:37:44 > 0:37:46We're hoping some keen collectors
0:37:46 > 0:37:49will sniff out that snuffbox in the saleroom.
0:37:49 > 0:37:52Sue and her Satsuma pot certainly brightened up our table.
0:37:52 > 0:37:55Let's hope it lights up the auction.
0:37:55 > 0:37:59And will that beautiful concertina squeeze out the big bucks
0:37:59 > 0:38:01from the bidders? We'll soon find out.
0:38:04 > 0:38:08Back at Silverwoods saleroom, auctioneer Wilf Mould is
0:38:08 > 0:38:12in full flow and he's about to start the bidding on Angela's snuffbox.
0:38:12 > 0:38:13Why are you selling this?
0:38:13 > 0:38:17Because we don't like the topic and none of my children want it and...
0:38:17 > 0:38:20And it's just in a drawer, is it? Oh, yes. Hidden away. Yes.
0:38:20 > 0:38:22We're only custodians of these things, aren't we?
0:38:22 > 0:38:24Let's face it. Antiques keep going around and around. Absolutely.
0:38:24 > 0:38:27It doesn't get any greener than an antique and, hopefully,
0:38:27 > 0:38:29as it goes around each time, it goes up in value.
0:38:29 > 0:38:30Fingers crossed. Fingers crossed.
0:38:30 > 0:38:33We're going to put it to the test. Let's find out what it's worth.
0:38:35 > 0:38:40Lot number 210 is this very nice silver-gilt snuffbox.
0:38:40 > 0:38:4219th-century.
0:38:42 > 0:38:45It is the rectangular one with the hinged lid.
0:38:45 > 0:38:48Lot number 210.
0:38:48 > 0:38:52And I have interest at ?220.
0:38:52 > 0:38:55220. 250.
0:38:55 > 0:38:57280. 300.
0:38:57 > 0:38:58320 now.
0:38:58 > 0:39:00At ?300 and 320.
0:39:00 > 0:39:02At 320. I want it to make more.
0:39:02 > 0:39:05Done. All done at ?300?
0:39:05 > 0:39:07I'm glad we had a reserve on it.
0:39:07 > 0:39:10Yeah, so am I. It's gone, though. Yeah, it's gone. The main thing.
0:39:10 > 0:39:12It's gone and you wanted it sold. Oh, yes.
0:39:12 > 0:39:15'I'm glad the buyers didn't turn their nose up to the snuffbox.
0:39:15 > 0:39:18'And next, ready to catch the eyes of the bidders
0:39:18 > 0:39:20'is that Japanese pot.'
0:39:20 > 0:39:22Well, I think purple's the in colour, don't you, Sue?
0:39:22 > 0:39:24It certainly is great to see you again.
0:39:24 > 0:39:25Going under the hammer right now,
0:39:25 > 0:39:28we've got that little tiny Japanese pot that Charles valued.
0:39:28 > 0:39:30I like the enamel work. It caught your eye. Yeah!
0:39:30 > 0:39:34It's so well enamelled, it's so almost labour-intensive.
0:39:34 > 0:39:36It is, isn't it? It's got that lovely organic feel.
0:39:36 > 0:39:38And I like the cauldron feet.
0:39:38 > 0:39:40Yeah. It is so eastern. Look, it's not a lot of money.
0:39:40 > 0:39:42I hope it flies at the top end, cos this is your first time
0:39:42 > 0:39:45in a saleroom, isn't it? Yes. And what do you think?
0:39:45 > 0:39:48I think it's great. It is, isn't it? We'll have to come again.
0:39:48 > 0:39:50If you've not been to a saleroom, check out your local one,
0:39:50 > 0:39:52because it's great fun. You can pick up a bargain.
0:39:52 > 0:39:53Oh, you can. You can, can't you?
0:39:53 > 0:39:56But hopefully, no-one will pick up this lot up for a bargain.
0:39:56 > 0:39:58It's going under the hammer now. Let's get the top end.
0:39:59 > 0:40:05Lot number 10 is the late-19th century Japanese Satsuma lidded box.
0:40:05 > 0:40:07It does look fabulous up there.
0:40:07 > 0:40:08Start me at ?40 for it.
0:40:08 > 0:40:1130, then. 20, and let's be away.
0:40:11 > 0:40:14?20, surely. Should be nothing less than 20 in this room. 20 bid.
0:40:14 > 0:40:1620 bid. 22. 25. 28.
0:40:16 > 0:40:19?30. 32. 35?
0:40:19 > 0:40:2135. And eight. 38.
0:40:21 > 0:40:22And 40, sir? ?40 and two.
0:40:22 > 0:40:26I've ?40 on... Fantastic. ..straight ahead of me, in fact.
0:40:26 > 0:40:28Is there anybody else at 42? Quickly, now.
0:40:28 > 0:40:3142. 45. 48. Fresh legs.
0:40:31 > 0:40:35At ?45, all done at ?45?
0:40:35 > 0:40:36Good result, well done, Charles.
0:40:36 > 0:40:39And you're happy with that, aren't you? Oh, yes! Brilliant!
0:40:39 > 0:40:42You'll have to forage in your house and find some more things
0:40:42 > 0:40:45to put to auction. Oh, there's lots. But remember, look, if you do,
0:40:45 > 0:40:48try and invest back in the trade, because I think there's never been
0:40:48 > 0:40:49a better time to buy. Not at all.
0:40:49 > 0:40:52Thank you for coming in. It's a pleasure. Thank you. Well done.
0:40:56 > 0:40:57'And our last item hoping to
0:40:57 > 0:41:00'strike the right note with the buyers is the concertina.'
0:41:00 > 0:41:03Sadly, Pamela, our owner, cannot be with us,
0:41:03 > 0:41:06but we do have her concertina and we have our expert.
0:41:06 > 0:41:08Adam! Now, you've sold many of these in your time.
0:41:08 > 0:41:11Oh, loads. And you know all the collectors out there that buy these.
0:41:11 > 0:41:14Yeah, they go from 80 quid up to about 5,000.
0:41:14 > 0:41:18Yeah. But this is a sort of middling one. OK, OK. Virtues of it?
0:41:18 > 0:41:21Er, the chrome ends, the buttons, it's a sort of higher end model.
0:41:21 > 0:41:24Well, we're going to find out how much it makes right now. Here goes.
0:41:26 > 0:41:31Number 260 is this early 20th-century English concertina.
0:41:31 > 0:41:33I think we've established that
0:41:33 > 0:41:36it's most likely by George Jones of London.
0:41:36 > 0:41:38Oh, really? As usual with concertinas,
0:41:38 > 0:41:41you always get a bit of interest. I'll start it at ?300.
0:41:41 > 0:41:43There we go. 320.
0:41:43 > 0:41:45320. 550.
0:41:45 > 0:41:47Wow! 320 to 550!
0:41:47 > 0:41:49Internet jumping along.
0:41:49 > 0:41:51700, we're looking for?
0:41:51 > 0:41:53700. 750.
0:41:53 > 0:41:56Gosh! Oh, Pamela's missing this! This is exciting! I know!
0:41:56 > 0:41:59..?800 is bid. And now 850.
0:41:59 > 0:42:01I'll take 900, if you want.
0:42:01 > 0:42:03At 900 now. 950.
0:42:03 > 0:42:06Why not 1,000? ?1,000, if you want.
0:42:06 > 0:42:09I've 950 on the screen.
0:42:09 > 0:42:12I'll take ?1,000 quickly from anybody.
0:42:12 > 0:42:15All done at 950? We weren't expecting that. No.
0:42:15 > 0:42:171,000 on the telephone.
0:42:17 > 0:42:21Looking... I've 1,100 on the internet. 1,100.
0:42:21 > 0:42:231,200 now.
0:42:23 > 0:42:251,200 I'll take.
0:42:25 > 0:42:27Will he bid 1,200?
0:42:27 > 0:42:291,200. 1,300 now.
0:42:29 > 0:42:32At ?1,200 on the telephone.
0:42:32 > 0:42:34Selling away at ?1,200...
0:42:37 > 0:42:40?1,200! I know. Pamela, if you're watching this right now,
0:42:40 > 0:42:42we're jumping up and down for you right now!
0:42:42 > 0:42:45That was brilliant, wasn't it? Yeah, very good. ?1,200.
0:42:45 > 0:42:46Very good. The right people saw it,
0:42:46 > 0:42:49the right people bid on it and it made a great price.
0:42:51 > 0:42:53Sadly, that's all the time we've got.
0:42:53 > 0:42:55I wish Pamela was here, but you've enjoyed it, I know you have.
0:42:55 > 0:42:58Join us again for more surprises, cos, every now and then, we learn
0:42:58 > 0:43:01something, don't we? Certainly do. That's what it's all about. Yeah.
0:43:01 > 0:43:03And I hope you're learning too. See you next time.
0:43:31 > 0:43:33In a final, anything can happen.
0:43:34 > 0:43:36An unmissable live final...
0:43:37 > 0:43:42..as Drive, Five To Five and Nightfall fight for the win.
0:43:42 > 0:43:43And it's all in your hands
0:43:43 > 0:43:46as your votes crown the winners.