Browse content similar to Wolverhampton 1. Check below for episodes and series from the same categories and more!
Line | From | To | |
---|---|---|---|
Today, we're in the West Midlands | 0:00:05 | 0:00:07 | |
and the host for our valuation day | 0:00:07 | 0:00:09 | |
is the fabulous Wolverhampton Art Gallery. | 0:00:09 | 0:00:11 | |
Hundreds of people have turned up | 0:00:11 | 0:00:13 | |
laden with antiques and collectables. | 0:00:13 | 0:00:15 | |
They're here to see our experts to ask that all-important question - | 0:00:15 | 0:00:18 | |
what's it worth? | 0:00:18 | 0:00:19 | |
If you're happy with the valuation, what are you going to do? | 0:00:19 | 0:00:22 | |
ALL: "Flog It!"! Let's do it. | 0:00:22 | 0:00:25 | |
This part of the Midlands was once a leading manufacturing centre | 0:00:47 | 0:00:50 | |
with mines, iron and steel production | 0:00:50 | 0:00:52 | |
and later, motorcycles and other vehicles, | 0:00:52 | 0:00:55 | |
including the Defiant fighter planes, | 0:00:55 | 0:00:58 | |
which played an important role during World War II. | 0:00:58 | 0:01:01 | |
So, here, outside the fabulous Wolverhampton Art Gallery | 0:01:02 | 0:01:05 | |
where hundreds of people have turned up | 0:01:05 | 0:01:07 | |
laden with antiques and collectables, | 0:01:07 | 0:01:09 | |
we need to pick up the pace | 0:01:09 | 0:01:10 | |
because all of this lot need attention. | 0:01:10 | 0:01:13 | |
They want to know the answer to their all-important question, | 0:01:13 | 0:01:15 | |
which is... | 0:01:15 | 0:01:16 | |
-ALL: -What's it worth? | 0:01:16 | 0:01:18 | |
We're in good hands today | 0:01:21 | 0:01:22 | |
because James Lewis knows exactly what we like. | 0:01:22 | 0:01:25 | |
-Hello. Ah, a "Flog It!" Favourite! -That's right. | 0:01:25 | 0:01:28 | |
A bit of Moorcroft. | 0:01:28 | 0:01:30 | |
That's a nice one, you know. | 0:01:30 | 0:01:32 | |
And Caroline Hawley just keeps us feeling festive all year round. | 0:01:32 | 0:01:36 | |
Do you know, it's like Christmas, isn't it? Let's have a look. | 0:01:38 | 0:01:41 | |
But when the experts get together, there's always a bit of rivalry. | 0:01:42 | 0:01:47 | |
"Hello, James." | 0:01:47 | 0:01:48 | |
While everyone gets seated, here's a quick look at what's coming up. | 0:01:52 | 0:01:56 | |
James goes down under with some Aboriginal art... | 0:01:59 | 0:02:02 | |
Oh, look at the name! Namatjira, | 0:02:02 | 0:02:05 | |
one of the most famous of the Aboriginal artists in Australia. | 0:02:05 | 0:02:09 | |
..while it's a life in service story for Caroline's table. | 0:02:12 | 0:02:16 | |
My father was the butler and my mother was the cook. | 0:02:17 | 0:02:21 | |
-So they met in service? -Yes. | 0:02:21 | 0:02:23 | |
Oh, I've just heard a collective "aw" behind me here. | 0:02:23 | 0:02:26 | |
Isn't that lovely? | 0:02:26 | 0:02:28 | |
Well, we can't come to Wolverhampton without talking about | 0:02:30 | 0:02:32 | |
Wolverhampton Wanderers. | 0:02:32 | 0:02:34 | |
This football club has had its fair share | 0:02:34 | 0:02:36 | |
of outstanding players throughout its history | 0:02:36 | 0:02:39 | |
and, later on in the programme, | 0:02:39 | 0:02:40 | |
I'm going to be finding out more about the late Billy Wright. | 0:02:40 | 0:02:44 | |
He was the David Beckham of post-war Britain | 0:02:44 | 0:02:47 | |
and he captivated the nation when he married a glamorous pop star. | 0:02:47 | 0:02:50 | |
So, the stage is set here in Wolverhampton Art Gallery. | 0:02:54 | 0:02:57 | |
While everybody's getting settled in, | 0:02:59 | 0:03:01 | |
I just want to show you this magnificent staircase. | 0:03:01 | 0:03:03 | |
It's part of the original building and it's right by the main entrance. | 0:03:03 | 0:03:08 | |
It really is an architectural delight. | 0:03:08 | 0:03:10 | |
It was built by local contractor Philip Horsman, | 0:03:10 | 0:03:13 | |
taken from designs by Birmingham architect Julius Chatwin. | 0:03:13 | 0:03:17 | |
The building opened in 1884, and this stairwell still serves as | 0:03:17 | 0:03:21 | |
a fantastic start to your grand tour for the treasures above. | 0:03:21 | 0:03:26 | |
Now, I wonder if James has found anything sophisticated | 0:03:26 | 0:03:29 | |
for his first item. | 0:03:29 | 0:03:32 | |
Well, Bill, I have to tell you, you caused great excitement | 0:03:32 | 0:03:36 | |
-with a certain Australian on the production team. -Oh, good. -Yeah. | 0:03:36 | 0:03:40 | |
One of the directors. She said, "Oh! Look at the name!" | 0:03:40 | 0:03:42 | |
Namatjira. | 0:03:42 | 0:03:44 | |
But...I have to say, she pointed out immediately that is was Enos. | 0:03:44 | 0:03:50 | |
Enos, son of the great Albert, | 0:03:50 | 0:03:52 | |
who was one of the most famous of the Aboriginal artists in Australia. | 0:03:52 | 0:03:57 | |
I think the Queen and Prince Charles collect the works of Albert, | 0:03:57 | 0:04:01 | |
but close family member, the eldest son. | 0:04:01 | 0:04:04 | |
What's the history? | 0:04:04 | 0:04:07 | |
I met a lady at an antique fair and I believe she was family. | 0:04:07 | 0:04:11 | |
And she said it was unframed and it was in poor condition | 0:04:11 | 0:04:15 | |
and she said, "Would you like to buy it?" | 0:04:15 | 0:04:17 | |
I said, "How much do you want?" She goes, "What will you give me?" | 0:04:17 | 0:04:20 | |
So I said, "I reckon, what do you think, £25?" | 0:04:20 | 0:04:24 | |
She said, "I'll have your money." | 0:04:24 | 0:04:26 | |
Since then, I've had it restored and had it up on my wall. | 0:04:26 | 0:04:30 | |
And my daughter said, | 0:04:30 | 0:04:31 | |
"It's about time you got rid of some of your stock, now, Dad." | 0:04:31 | 0:04:34 | |
So there we are. | 0:04:34 | 0:04:36 | |
Aboriginal art is huge. | 0:04:36 | 0:04:38 | |
-Yeah. -Absolutely massive at the moment. | 0:04:38 | 0:04:41 | |
But it's not an artist that is hugely collected in his own right. | 0:04:41 | 0:04:47 | |
Albert - yes. | 0:04:47 | 0:04:49 | |
I mean, we would have them queuing almost all the way to Sydney | 0:04:49 | 0:04:52 | |
-if it was Albert. -Uh-huh. -I mean, just hugely popular. | 0:04:52 | 0:04:56 | |
But it's likely that his father had influence on him | 0:04:56 | 0:05:00 | |
-and it is the family, it does have a close link. -Yeah. | 0:05:00 | 0:05:05 | |
I love this contrast in colours. | 0:05:05 | 0:05:08 | |
A totally illogical use of colour that is typical of Aboriginal art. | 0:05:08 | 0:05:14 | |
Wonderfully stylised, wonderfully stylish | 0:05:14 | 0:05:17 | |
and in a lot of Aboriginal art they have this...um, symbolism | 0:05:17 | 0:05:23 | |
but, here, there isn't a lot of symbolism. It's a landscape. | 0:05:23 | 0:05:26 | |
I guess that's something like a gum tree, is it? | 0:05:26 | 0:05:28 | |
Well, apparently it was supposed to be... | 0:05:28 | 0:05:31 | |
Initially, the artist was showing this German artist around. | 0:05:31 | 0:05:35 | |
-OK. -And then he said, "I'll teach you to paint in the Western style." | 0:05:35 | 0:05:39 | |
Ah, that's why. | 0:05:39 | 0:05:41 | |
And that's how he came to get away | 0:05:41 | 0:05:43 | |
from the traditional Aboriginal style that we know. | 0:05:43 | 0:05:46 | |
Because it's not exactly what you'd expect from Aboriginal art. | 0:05:46 | 0:05:50 | |
It's more interesting as a historical piece | 0:05:50 | 0:05:53 | |
than it is valuable as a work of art. | 0:05:53 | 0:05:56 | |
-Right. Yeah, I think so. -What did you pay? | 0:05:56 | 0:05:59 | |
-£25. -OK. I think there might be a small profit in it. | 0:05:59 | 0:06:03 | |
Yes, I think so. I hope so. | 0:06:03 | 0:06:05 | |
-I would put an auction estimate of £60-£100. -Right. | 0:06:05 | 0:06:10 | |
So it's not going to make mega money. | 0:06:10 | 0:06:12 | |
I'll be watching with interest. | 0:06:12 | 0:06:14 | |
You and me both. Fingers crossed. | 0:06:14 | 0:06:16 | |
Well, Caroline seems to be getting into the swing of things. | 0:06:19 | 0:06:24 | |
Wow, Bala. Love this. | 0:06:24 | 0:06:27 | |
This is gorgeous. | 0:06:27 | 0:06:29 | |
Now, tell me about it. | 0:06:29 | 0:06:31 | |
I bought it from a charity shop in West Bromwich. | 0:06:31 | 0:06:34 | |
-How much? -£2. -£2! | 0:06:34 | 0:06:38 | |
I do not believe it. | 0:06:38 | 0:06:40 | |
Do you know this is quite a rare thing? | 0:06:40 | 0:06:42 | |
-Is it? -Yes! | 0:06:42 | 0:06:44 | |
-Have you played with it? -No. | 0:06:44 | 0:06:46 | |
-I don't want to damage it. -This is wonderful. | 0:06:46 | 0:06:49 | |
It's made of aluminium, with its original steelwork here. | 0:06:49 | 0:06:54 | |
-There's no damage at all. -None at all. | 0:06:54 | 0:06:56 | |
-And the original handle. -Handle as well, yeah. | 0:06:56 | 0:06:58 | |
This red and black handle, which is absolutely... | 0:06:58 | 0:07:00 | |
And it feels wonderful. | 0:07:00 | 0:07:02 | |
And it's actually made by | 0:07:02 | 0:07:04 | |
the Birmingham Aluminium Casting Company. | 0:07:04 | 0:07:07 | |
Now, that was a company that was set up in 1903 | 0:07:07 | 0:07:10 | |
off the back of the interest in bicycles from the 1890s. | 0:07:10 | 0:07:14 | |
They specialised in making things in aluminium | 0:07:14 | 0:07:17 | |
and this really is quite rare. | 0:07:17 | 0:07:19 | |
Dates from the 1920s. | 0:07:19 | 0:07:22 | |
-Ooh! -Are you amazed you found it for that money? | 0:07:24 | 0:07:26 | |
Yeah, I'm surprised. | 0:07:26 | 0:07:28 | |
This is called Birmal. | 0:07:28 | 0:07:30 | |
This is the name of this tennis racket. | 0:07:30 | 0:07:34 | |
And "13 1/2", here, I think refers to the size of it, | 0:07:34 | 0:07:38 | |
which is this, 13.5 inches. I haven't measured it, | 0:07:38 | 0:07:41 | |
but I think that's the size. It would come in different sizes. | 0:07:41 | 0:07:44 | |
And this just really makes me want to go out and play tennis. | 0:07:44 | 0:07:47 | |
-Fancy a game? -I do. | 0:07:47 | 0:07:50 | |
Now, you've bought this, you've kept it at home. | 0:07:50 | 0:07:53 | |
-Yeah. -Has it been on display? -Just in the wardrobe. | 0:07:53 | 0:07:57 | |
Some of these have gone for as much as £150. | 0:07:57 | 0:08:02 | |
Yeah. | 0:08:02 | 0:08:04 | |
Honestly. | 0:08:04 | 0:08:06 | |
This one I think is going to go between £80-£120. | 0:08:07 | 0:08:13 | |
-Are you amazed? -I'm amazed. | 0:08:13 | 0:08:15 | |
-Are you thrilled? -I'm thrilled. | 0:08:15 | 0:08:17 | |
-So, shall we take it to auction? -Yes, please. | 0:08:17 | 0:08:20 | |
-Now, would you like a reserve on it? -Would you say 50? | 0:08:20 | 0:08:24 | |
50? You'd like a reserve of 50. | 0:08:24 | 0:08:25 | |
Well, that won't be any trouble at all. | 0:08:25 | 0:08:28 | |
I promise you, this is going to fly out of that saleroom, | 0:08:28 | 0:08:30 | |
and I'm going to follow you to the charity shop next time. | 0:08:30 | 0:08:33 | |
Bala's definitely got the advantage with that one. | 0:08:35 | 0:08:38 | |
Well, I'm up here on the balcony of the gallery looking at my watch | 0:08:41 | 0:08:45 | |
because any moment now - it happens on the hour, every hour - | 0:08:45 | 0:08:48 | |
this piece of sculpture, this sheep starts to fly in the air. | 0:08:48 | 0:08:52 | |
It's got this mechanical cage around it | 0:08:52 | 0:08:54 | |
and apparently it goes right out over the balcony. | 0:08:54 | 0:08:57 | |
It's all very exciting and I don't know what's going to happen next. | 0:08:57 | 0:09:01 | |
The art gallery commissioned Baa-bara, as she's called, | 0:09:01 | 0:09:04 | |
as part of the Millennium celebrations | 0:09:04 | 0:09:07 | |
and to recognise the city's role in the wool trade. | 0:09:07 | 0:09:11 | |
There's something else inside. It's a wolf! | 0:09:11 | 0:09:13 | |
I think that's brilliant. It's absolutely fantastic. | 0:09:13 | 0:09:16 | |
The wolf is a play on the nickname of the city's football team Wolves, | 0:09:16 | 0:09:20 | |
and also ties in with the old saying 'a wolf in sheep's clothing'. | 0:09:20 | 0:09:25 | |
What a great installation. | 0:09:27 | 0:09:30 | |
I'm so pleased they've put that there | 0:09:30 | 0:09:32 | |
because it's given me a lot of fun anyway, | 0:09:32 | 0:09:34 | |
and I'm sure hundreds of thousands of passers-by every day. | 0:09:34 | 0:09:37 | |
Now, we had better get back to James because, as we're finding out, | 0:09:41 | 0:09:45 | |
there is still much to uncover here in Wolverhampton. | 0:09:45 | 0:09:48 | |
Well, Cole, the first thing to say is that this is an intriguing box. | 0:09:49 | 0:09:54 | |
It's interesting even before we've opened it. | 0:09:54 | 0:09:57 | |
It's got these green tie strings. | 0:09:57 | 0:10:01 | |
It's covered in leather and embossed in gilt, so when we open it up... | 0:10:01 | 0:10:06 | |
Isn't that wonderful? | 0:10:06 | 0:10:09 | |
It's about as British as you can get. | 0:10:09 | 0:10:12 | |
-Would you like to...? -Yeah. -Perfect. | 0:10:12 | 0:10:15 | |
The first thing to say is it's clearly an official seal | 0:10:15 | 0:10:20 | |
in a tin box, and it's a royal seal. | 0:10:20 | 0:10:26 | |
Now, let's just open this up. | 0:10:26 | 0:10:30 | |
"William the Fourth, the grace of God." | 0:10:30 | 0:10:34 | |
So it says, "Henry Elkington of Birmingham in the county of Warwick, | 0:10:34 | 0:10:40 | |
"he has invented and improved rotary steam engine." | 0:10:40 | 0:10:45 | |
-So this is like an early patent. -It is a patent, yeah. | 0:10:45 | 0:10:49 | |
Wow. And it's to Elkington, who, of course, are probably | 0:10:49 | 0:10:53 | |
the most famous silversmiths of all time, in terms of silver plating. | 0:10:53 | 0:10:59 | |
They invented EPNS, | 0:10:59 | 0:11:01 | |
which was launched at the 1851 exhibition. | 0:11:01 | 0:11:04 | |
They made things like the trophy at Wimbledon and... | 0:11:04 | 0:11:07 | |
you know, they are massive names. | 0:11:07 | 0:11:09 | |
So, this is a patent for a machine that plates. | 0:11:09 | 0:11:14 | |
-Or just a steam engine? -To power the plating technique. | 0:11:14 | 0:11:18 | |
What's the history behind this? | 0:11:18 | 0:11:20 | |
I started work at Elkington's | 0:11:20 | 0:11:22 | |
-when it had moved to Goscote in Walsall... -Right. -..in 1967, | 0:11:22 | 0:11:28 | |
and was still employed right up until 2011. | 0:11:28 | 0:11:33 | |
40-odd years. | 0:11:33 | 0:11:35 | |
The company's president came in from the States, and he saw over | 0:11:35 | 0:11:39 | |
all the movements of the plant and the sale of the equipment, etc, etc, | 0:11:39 | 0:11:43 | |
-and this was down for the skip. -Well rescued, | 0:11:43 | 0:11:47 | |
because it really is a connoisseur's piece. | 0:11:47 | 0:11:49 | |
-It's on vellum - pigskin... -Is that right? | 0:11:49 | 0:11:52 | |
..which is why it's survived in such wonderful condition. | 0:11:52 | 0:11:56 | |
And this border, that we can see in black and white, is printed. | 0:11:56 | 0:11:59 | |
The central section, that is outlined in red, | 0:11:59 | 0:12:03 | |
has then been written with quill and ink. | 0:12:03 | 0:12:07 | |
Wonderfully, wonderfully skilled work. | 0:12:07 | 0:12:11 | |
And then, if we look down at the base here, | 0:12:11 | 0:12:14 | |
the seal is pressed in wax, and it's getting on for 200 years old. | 0:12:14 | 0:12:18 | |
As a value, it's not going to be massive. | 0:12:18 | 0:12:20 | |
No, I wouldn't have expected it to be. | 0:12:20 | 0:12:22 | |
It's far more decorative than valuable. | 0:12:22 | 0:12:25 | |
It's interesting, historically. | 0:12:25 | 0:12:27 | |
I think £40 to £60 is probably what it's worth. | 0:12:27 | 0:12:30 | |
-Hmm. -But what a wonderful thing, and well rescued. | 0:12:30 | 0:12:34 | |
Well, it certainly has been lights, camera, action. | 0:12:37 | 0:12:40 | |
We have been working flat out. | 0:12:40 | 0:12:42 | |
As you can see, we have got a lot of crews here and our experts | 0:12:42 | 0:12:45 | |
have found their first items to take off to auction. | 0:12:45 | 0:12:48 | |
This is where the surprises happen. | 0:12:48 | 0:12:49 | |
Let's up the tempo, let's get to the saleroom. | 0:12:49 | 0:12:52 | |
Let's find out what it's worth. | 0:12:52 | 0:12:54 | |
Here's a quick recap of all the items going under the hammer. | 0:12:54 | 0:12:57 | |
This fabulous Aboriginal painting by Enos Namatjira | 0:12:57 | 0:13:02 | |
would brighten up any living room. | 0:13:02 | 0:13:05 | |
Let's hope we can serve up an ace with Bala's 1920s tennis racket, | 0:13:06 | 0:13:11 | |
bought for a mere £2. | 0:13:11 | 0:13:14 | |
And this company patent already has the royal seal of approval, | 0:13:16 | 0:13:20 | |
so will it draw in the collectors? | 0:13:20 | 0:13:22 | |
We're heading to Whitchurch in Shropshire, | 0:13:29 | 0:13:31 | |
which is the northern-most market town, | 0:13:31 | 0:13:34 | |
sitting on the borders of south Cheshire and Wales. | 0:13:34 | 0:13:37 | |
Trevanion & Dean's saleroom will hold the auction today, | 0:13:40 | 0:13:43 | |
and Christina Trevanion... | 0:13:43 | 0:13:45 | |
Looking for five... | 0:13:45 | 0:13:47 | |
..and Aaron Dean are our auctioneers. | 0:13:47 | 0:13:50 | |
Remember, you will be paying a commission fee here, | 0:13:51 | 0:13:55 | |
which is 17% plus VAT. | 0:13:55 | 0:13:58 | |
With you, sir, in red, at £60... 65. | 0:13:58 | 0:14:02 | |
First up, the patent. Carl, it's great to see you again. | 0:14:04 | 0:14:07 | |
Going under the hammer right now, we've got a bit of royal approval. | 0:14:07 | 0:14:11 | |
King William IV. It's for Elkington's | 0:14:11 | 0:14:14 | |
-and you worked at Elkington's, didn't you? -Yes. | 0:14:14 | 0:14:16 | |
Interestingly enough, though, this was about to go in the skip. | 0:14:16 | 0:14:19 | |
-That's right. -That's daft! | 0:14:19 | 0:14:20 | |
They just got rid of everything on the site | 0:14:20 | 0:14:23 | |
-and knocked it down. -And luckily enough, you spotted it. -I did, yeah. | 0:14:23 | 0:14:26 | |
-And said, "I'll have it." -I didn't know what it was at the time. | 0:14:26 | 0:14:30 | |
It's not a lot of money, James. | 0:14:30 | 0:14:32 | |
I thought something like that would be worth a bit more. | 0:14:32 | 0:14:34 | |
-There are very few collectors for them. -OK. | 0:14:34 | 0:14:36 | |
And as long as the collectors know that it's here, | 0:14:36 | 0:14:39 | |
then it will sell for that, should be a bit more. | 0:14:39 | 0:14:41 | |
Fingers crossed we get that top end plus a bit more. Here we go. | 0:14:41 | 0:14:44 | |
It's going under the hammer. Full steam ahead. | 0:14:44 | 0:14:47 | |
Lot 75 is this rather interesting William IV indenture, | 0:14:47 | 0:14:50 | |
and I'm bid straightaway £35...£40. Here with me on commission at £40. | 0:14:50 | 0:14:56 | |
Straight away with me on commission at £40. 45, 50. | 0:14:56 | 0:15:01 | |
With me on commission at 50. Internet against you. | 0:15:01 | 0:15:03 | |
55 clears my book. At 55. | 0:15:03 | 0:15:05 | |
Internet bidder at £55. | 0:15:05 | 0:15:07 | |
£60 now. At £55 now. | 0:15:07 | 0:15:09 | |
Selling online... If you are all done at 55... | 0:15:09 | 0:15:13 | |
Sold. £55. Well done, James. Good valuation. | 0:15:13 | 0:15:17 | |
I wouldn't have a clue what to put on that. | 0:15:17 | 0:15:20 | |
As soon as I saw "royal seal", you think this is a bit special, | 0:15:20 | 0:15:23 | |
a couple of hundred pounds, but you're right. | 0:15:23 | 0:15:25 | |
-Are you happy with that? -Of course. | 0:15:25 | 0:15:27 | |
It's gone to someone who wants it. | 0:15:27 | 0:15:30 | |
I'm glad this was saved from the skip. | 0:15:30 | 0:15:33 | |
Going under the hammer next is the Aboriginal artwork. | 0:15:36 | 0:15:39 | |
Unfortunately, Joseph can't be with us today | 0:15:39 | 0:15:42 | |
and has now taken off the £50 reserve in order to let it go. | 0:15:42 | 0:15:46 | |
-I like this, and Aboriginal art is on the up, isn't it? -It is. | 0:15:46 | 0:15:50 | |
Along with all the tribal art things, | 0:15:50 | 0:15:53 | |
-the ethnographica, as we call it. -A great family of artists. | 0:15:53 | 0:15:56 | |
-It's a shame it's not the father. -Yes. | 0:15:56 | 0:15:58 | |
Let's find out what the bidders think right now. | 0:15:58 | 0:16:00 | |
It's going under the hammer. | 0:16:00 | 0:16:02 | |
On to Australia this time. It's the Aboriginal sketch for you here, | 0:16:02 | 0:16:07 | |
and we'll say £40. Start me at 40. At £40. Straightaway we have that. | 0:16:07 | 0:16:10 | |
40 in the room. 45. I will come back to you in a second. | 0:16:10 | 0:16:14 | |
It's jumping here. 60. | 0:16:14 | 0:16:16 | |
It's at £60 now. At 60. Do you want to bid 65? 65. 70. | 0:16:16 | 0:16:22 | |
75. 80. Thank you all the same. It's at £80 now. | 0:16:24 | 0:16:28 | |
-It carries on. 90 now. 95. 100. 120. -It's good. | 0:16:28 | 0:16:33 | |
120. 140 now. At 140... | 0:16:33 | 0:16:36 | |
150. They're back. New buyer. | 0:16:36 | 0:16:38 | |
It's slow but it's climbing.. | 0:16:38 | 0:16:40 | |
At least it's going in the right direction. | 0:16:40 | 0:16:42 | |
Selling in at 150. There's no advance in the room at 150? | 0:16:42 | 0:16:45 | |
-The hammer has gone down. That's a good result. -It is. | 0:16:45 | 0:16:48 | |
It's a great result. Aboriginal art is on the way up. | 0:16:48 | 0:16:50 | |
-It is sought-after, isn't it? -It is. | 0:16:50 | 0:16:52 | |
This isn't a great artist, but he's got a good family. | 0:16:52 | 0:16:56 | |
-I think we'll get on the phone and tell Joseph the good news. -Yes. | 0:16:56 | 0:16:59 | |
I think he'll be happy with that. | 0:16:59 | 0:17:01 | |
Well, so far, so good. | 0:17:04 | 0:17:05 | |
Serving up for you right now, | 0:17:05 | 0:17:07 | |
we have a tennis racket belonging to Bala. | 0:17:07 | 0:17:10 | |
-Are you a tennis player at all? -No, not really, no. | 0:17:10 | 0:17:12 | |
-You're just a good bargain-hunter, basically? -Yeah. -£2. Wow. | 0:17:12 | 0:17:16 | |
This is an early aluminium racket. It is really nice, isn't it? | 0:17:16 | 0:17:19 | |
Turn of the century. Fantastic quality. I've never seen the like. | 0:17:19 | 0:17:23 | |
We'll find out what the bidders think of this right now. | 0:17:23 | 0:17:26 | |
Hoping to serve up a good lot here. | 0:17:28 | 0:17:30 | |
We've got the Birmingham Aluminium Casting Company, 1903, | 0:17:30 | 0:17:33 | |
all-metal tennis racket. | 0:17:33 | 0:17:35 | |
Closed bids here, starting nonetheless at 40, 45, | 0:17:35 | 0:17:40 | |
£50 straightaway on the commission. £50. With me at 50. | 0:17:40 | 0:17:43 | |
55. 60 with me. | 0:17:43 | 0:17:45 | |
65. 70 with me 75. | 0:17:45 | 0:17:48 | |
75. My commission is out. It's at £75. | 0:17:48 | 0:17:51 | |
Internet bidding at 75. 80. 85 now. | 0:17:51 | 0:17:54 | |
At 85... Keep going. 90. | 0:17:54 | 0:17:56 | |
-95. 100. 110. -It's good. -It's really good. | 0:17:56 | 0:18:00 | |
110. It's at 110 now. | 0:18:00 | 0:18:03 | |
110. Are you out in the room? 110. 120. 130 now. | 0:18:03 | 0:18:06 | |
At 130. Looking for some more. | 0:18:06 | 0:18:08 | |
On the internet at £130. 130, ladies and gentlemen... | 0:18:08 | 0:18:12 | |
Yes, game, set and match. 130. Are you happy, Bala? Brilliant. | 0:18:12 | 0:18:16 | |
-Brilliant. Well done, you. Good spot. -Thank you. | 0:18:16 | 0:18:20 | |
There you are. | 0:18:22 | 0:18:23 | |
That concludes our first visit to the auction room today, | 0:18:23 | 0:18:25 | |
with some great results. | 0:18:25 | 0:18:27 | |
We are coming back here later on in the show, so do not go away. | 0:18:27 | 0:18:30 | |
But right now, it's time to return to Wolverhampton, | 0:18:30 | 0:18:33 | |
and at the heart of the city is its football stadium. | 0:18:33 | 0:18:36 | |
I went to find out about one of the team's greatest players, | 0:18:36 | 0:18:39 | |
the late Billy Wright, who has been an inspiration since the '40s. | 0:18:39 | 0:18:43 | |
"Out of the darkness cometh light." | 0:18:53 | 0:18:55 | |
These words are the city's motto, | 0:18:55 | 0:18:57 | |
which are reflected in the black and gold colours of its football team, | 0:18:57 | 0:19:02 | |
Wolverhampton Wanderers, also nicknamed Wolves. | 0:19:02 | 0:19:05 | |
The fact that Wolverhampton only has one team, | 0:19:08 | 0:19:11 | |
and its stadium sits less than half a mile from the centre, | 0:19:11 | 0:19:15 | |
may be why the city is united when it comes to football. | 0:19:15 | 0:19:18 | |
Standing proud outside Molineux Stadium, | 0:19:21 | 0:19:24 | |
in front of the stand that was named after him, | 0:19:24 | 0:19:26 | |
there's a statue of one of the team's most celebrated players, | 0:19:26 | 0:19:29 | |
the late, great Billy Wright. | 0:19:29 | 0:19:31 | |
And there he is there, look, carrying the football. | 0:19:31 | 0:19:34 | |
Billy had a long list of sporting achievements | 0:19:34 | 0:19:37 | |
throughout the 1940s and '50s, | 0:19:37 | 0:19:39 | |
which included captaining Wolverhampton Wanderers, | 0:19:39 | 0:19:42 | |
winning the FA Cup final in 1949, | 0:19:42 | 0:19:44 | |
plus several other league championship medals. | 0:19:44 | 0:19:47 | |
He also captained England throughout three consecutive World Cup finals, | 0:19:47 | 0:19:51 | |
and he goes down in history as the first player in the world | 0:19:51 | 0:19:55 | |
to play for his country more than 100 times. | 0:19:55 | 0:19:59 | |
Billy gained 105 caps for England throughout his 20-year career. | 0:19:59 | 0:20:04 | |
I first heard about Billy Wright as a kid growing up. | 0:20:10 | 0:20:13 | |
He was a very famous player for Wolves, England captain. | 0:20:13 | 0:20:17 | |
As a young professional, I met him, and things have gone full circle | 0:20:17 | 0:20:22 | |
because, later on as a manager myself, I'm here in Wolverhampton. | 0:20:22 | 0:20:26 | |
You look at all-time best defenders at the club | 0:20:28 | 0:20:31 | |
that have been through Wolves, | 0:20:31 | 0:20:34 | |
and, obviously, his name is the first one on the list, really. | 0:20:34 | 0:20:37 | |
He is highly regarded by the club, certainly, | 0:20:37 | 0:20:39 | |
and in the community, | 0:20:39 | 0:20:40 | |
I'd say he's an important figure for young people to look up to. | 0:20:40 | 0:20:45 | |
In 1938, a 14-year-old Billy was encouraged by his schoolteacher | 0:20:45 | 0:20:50 | |
to respond to an advert in a local newspaper | 0:20:50 | 0:20:53 | |
inviting boys to come along for a football trial. | 0:20:53 | 0:20:56 | |
At first the manager dismissed Billy for being too small, but he soon | 0:20:56 | 0:20:59 | |
changed his mind when he could see what he could do with a football, | 0:20:59 | 0:21:02 | |
and he offered him an apprenticeship on an eight-month trial. | 0:21:02 | 0:21:06 | |
Although the Second World War interrupted Billy's career, | 0:21:06 | 0:21:10 | |
at 17 he signed professionally with Wolves, | 0:21:10 | 0:21:13 | |
and proved himself as a shining, fresh talent. | 0:21:13 | 0:21:16 | |
He became the David Beckham of his day, | 0:21:19 | 0:21:21 | |
admired by his peers and loved by the ladies, | 0:21:21 | 0:21:25 | |
but Billy only had eyes for one woman and, at the time, | 0:21:25 | 0:21:29 | |
she was part of the biggest pop band in the UK. | 0:21:29 | 0:21:33 | |
# I was left right out of your arms | 0:21:33 | 0:21:36 | |
# Oh, I was left right... # | 0:21:36 | 0:21:38 | |
In the 1950s, the Beverley Sisters where the highest-paid female act, | 0:21:38 | 0:21:43 | |
adored by millions across the globe. | 0:21:43 | 0:21:46 | |
The eldest sister, Joy Beverley, | 0:21:46 | 0:21:47 | |
always sang in between her twin sisters, Teddie and Babs, | 0:21:47 | 0:21:52 | |
and she caught Billy's attention | 0:21:52 | 0:21:54 | |
when the ladies performed in Wolverhampton. | 0:21:54 | 0:21:57 | |
It must have been love at first sight | 0:21:59 | 0:22:01 | |
because, in 1958, after a three-month whirlwind romance, | 0:22:01 | 0:22:04 | |
they decided to tie the knot. | 0:22:04 | 0:22:06 | |
The plan was to have a quiet, low-key wedding, | 0:22:06 | 0:22:08 | |
but word soon got out | 0:22:08 | 0:22:09 | |
and thousands of people turned up | 0:22:09 | 0:22:11 | |
to see one of Britain's first celebrity weddings. | 0:22:11 | 0:22:14 | |
I'm meeting up with local-born Baroness Heyhoe Flint, | 0:22:14 | 0:22:18 | |
who's a former captain of England's women's cricket team | 0:22:18 | 0:22:22 | |
and is currently vice-president at Wolves. | 0:22:22 | 0:22:24 | |
Rachael, you knew Billy personally, didn't you? | 0:22:27 | 0:22:30 | |
Yes, that was through my father, actually, | 0:22:30 | 0:22:32 | |
who used to take Billy Wright for Physical Education lessons - | 0:22:32 | 0:22:35 | |
or it was called keep-fit in those days. | 0:22:35 | 0:22:37 | |
My father was Director of Physical Education for Wolverhampton, | 0:22:37 | 0:22:41 | |
and, one evening, Billy Wright turned up and wanted to get fit. | 0:22:41 | 0:22:44 | |
So when people refer to Billy Wright as being so fit, | 0:22:44 | 0:22:47 | |
and he could head higher than anybody... | 0:22:47 | 0:22:49 | |
-And he could hang in the air. -Hang in the air... | 0:22:49 | 0:22:51 | |
That was my dad, actually. | 0:22:51 | 0:22:52 | |
So it was through my father that I got to know Billy Wright | 0:22:52 | 0:22:56 | |
in the sort of '50s onwards, really. | 0:22:56 | 0:22:58 | |
And Billy is such a legend. | 0:22:58 | 0:22:59 | |
I mean, everywhere you go around here, | 0:22:59 | 0:23:01 | |
it's "Billy Wright, Billy Wright..." - | 0:23:01 | 0:23:03 | |
why was he such a legend? | 0:23:03 | 0:23:04 | |
Billy was one of the people. | 0:23:04 | 0:23:06 | |
He came in on the bus to matches | 0:23:06 | 0:23:08 | |
and just walked with the crowd here into the stadium, | 0:23:08 | 0:23:11 | |
and he could be seen in the local shops and the local pubs, | 0:23:11 | 0:23:14 | |
whereas now they're probably behind secure gates and that sort of thing. | 0:23:14 | 0:23:18 | |
I mean, in Billy's mind, he wasn't a celebrity. | 0:23:18 | 0:23:21 | |
There wasn't, you know, social media in those days, | 0:23:21 | 0:23:24 | |
and when he met and fell in love with Joy Beverley | 0:23:24 | 0:23:27 | |
and they got married, | 0:23:27 | 0:23:28 | |
not a great big sort of OK!, Hello! magazine-type occasion, | 0:23:28 | 0:23:32 | |
and Billy was just one of the people. | 0:23:32 | 0:23:35 | |
He just meant everything to people in Wolverhampton, | 0:23:35 | 0:23:38 | |
and still does. | 0:23:38 | 0:23:39 | |
And every time I come in, | 0:23:39 | 0:23:40 | |
I look at Billy Wright and that wonderful statue by James Butler, | 0:23:40 | 0:23:44 | |
and I just give him a little nod and wink and hope he brings us luck. | 0:23:44 | 0:23:48 | |
It's obvious that the club is still in awe of Billy - | 0:23:50 | 0:23:53 | |
there are pictures of him everywhere in the stadium | 0:23:53 | 0:23:57 | |
and he has a whole area dedicated to him in the club's museum. | 0:23:57 | 0:24:00 | |
Upstairs, there's even a Billy Wright boot room. | 0:24:03 | 0:24:07 | |
And here are some of Billy's possessions. | 0:24:09 | 0:24:11 | |
These are his football boots, his shin pads and his socks. | 0:24:11 | 0:24:15 | |
And just look at those whacking great big leather studs | 0:24:15 | 0:24:17 | |
on those boots - | 0:24:17 | 0:24:19 | |
my, have they changed today! | 0:24:19 | 0:24:20 | |
Billy has influenced generations of players, | 0:24:26 | 0:24:29 | |
including another Wolves legend, Steve Bull. | 0:24:29 | 0:24:32 | |
Throughout Steve's career, | 0:24:32 | 0:24:34 | |
during the 1980s and 1990s, | 0:24:34 | 0:24:36 | |
he scored 306 goals | 0:24:36 | 0:24:38 | |
and still holds the club's goal-scoring record. | 0:24:38 | 0:24:41 | |
He was also capped 13 times for England | 0:24:41 | 0:24:44 | |
and awarded an MBE. | 0:24:44 | 0:24:46 | |
Steve, you've got something in common with Billy - | 0:24:48 | 0:24:51 | |
you've both got stands named after you. | 0:24:51 | 0:24:52 | |
How does it feel? I know that's your stand over there, isn't it? | 0:24:52 | 0:24:55 | |
It is. It's absolutely brilliant. I'm very fortunate. | 0:24:55 | 0:24:58 | |
I wish I got a pound for every time somebody sat there - | 0:24:58 | 0:25:00 | |
but I ain't going to get it! | 0:25:00 | 0:25:02 | |
I ain't going to get it. | 0:25:02 | 0:25:03 | |
But, no, I think if Billy was still here now, | 0:25:03 | 0:25:05 | |
he'd be exactly the same - very, very privileged. | 0:25:05 | 0:25:08 | |
Yeah, both legends. | 0:25:08 | 0:25:10 | |
Why was Billy such a good player - because he wasn't that tall, was he? | 0:25:10 | 0:25:13 | |
He wasn't that tall for a defender. You know what I mean? | 0:25:13 | 0:25:15 | |
-But he rose like a salmon. -He could jump high. -He could jump for fun. | 0:25:15 | 0:25:19 | |
And he always got the ball cleanly | 0:25:19 | 0:25:21 | |
and made sure he didn't hurt the defenders, | 0:25:21 | 0:25:23 | |
and he was just a great player. | 0:25:23 | 0:25:24 | |
-And he was the captain, so was he a good team leader? -He was a leader. | 0:25:24 | 0:25:28 | |
He was a leader on the field and off the field. | 0:25:28 | 0:25:30 | |
I met him towards the end of my career. | 0:25:30 | 0:25:32 | |
He was guiding me the path to say, listen, when you slow down, | 0:25:32 | 0:25:35 | |
go this way towards that defender, that way towards that defender, | 0:25:35 | 0:25:38 | |
and he was a good inspiration towards the end of it. | 0:25:38 | 0:25:41 | |
What does Billy mean to this club, though? | 0:25:41 | 0:25:43 | |
He means absolutely everything. | 0:25:43 | 0:25:45 | |
When you pull down the Waterloo Road and you see his stand here, | 0:25:45 | 0:25:47 | |
he's left a legacy here. He was the main man here | 0:25:47 | 0:25:50 | |
and he started this club like a snowball, | 0:25:50 | 0:25:52 | |
to get it up and running. | 0:25:52 | 0:25:53 | |
Billy was never cautioned or sent off in his entire career. | 0:25:54 | 0:25:59 | |
Now, I find that incredibly impressive - | 0:25:59 | 0:26:01 | |
it just goes to show what a gentleman he was. | 0:26:01 | 0:26:03 | |
And that's one of his caps. | 0:26:03 | 0:26:05 | |
He gained 105 caps playing for England | 0:26:05 | 0:26:08 | |
and, in fact, he got his 100th cap | 0:26:08 | 0:26:10 | |
on the same day his daughter Victoria was born in 1959. | 0:26:10 | 0:26:15 | |
Billy Wright, this must be quite a week for you. | 0:26:16 | 0:26:19 | |
It is, yes. The most fantastic week. | 0:26:19 | 0:26:20 | |
I shall never forget Sunday, | 0:26:20 | 0:26:22 | |
because I think that's the most... | 0:26:22 | 0:26:24 | |
wonderful day of my whole life. | 0:26:24 | 0:26:27 | |
Having my wife giving birth to our baby daughter | 0:26:27 | 0:26:30 | |
at 8:22 on Sunday morning | 0:26:30 | 0:26:31 | |
and then being selected to play for my country for the 100th time, | 0:26:31 | 0:26:34 | |
just after noon, | 0:26:34 | 0:26:36 | |
well, that was a most remarkable day and I shall never forget it. | 0:26:36 | 0:26:39 | |
In 1959, he was awarded the CBE from the Queen, | 0:26:42 | 0:26:45 | |
and in that same year he retired from the game. | 0:26:45 | 0:26:48 | |
30,000 fans turned up to watch his final match, | 0:26:48 | 0:26:52 | |
to salute one of England's finest footballing sons. | 0:26:52 | 0:26:55 | |
Back amid the fun and commotion at Wolverhampton Art Gallery, | 0:27:07 | 0:27:11 | |
people are still flocking to the valuation tables, | 0:27:11 | 0:27:14 | |
and it could take some time | 0:27:14 | 0:27:16 | |
for Caroline to scrub up on her knowledge. | 0:27:16 | 0:27:19 | |
Roslyn, I am excited to see this gorgeous washstand. | 0:27:21 | 0:27:27 | |
It's French. I absolutely love it. | 0:27:27 | 0:27:31 | |
Now, tell me what you know about it. | 0:27:31 | 0:27:33 | |
I bought it at an antique fair in Buxton in 2003. | 0:27:33 | 0:27:37 | |
-So not France at all? -No, no, not at all. | 0:27:37 | 0:27:40 | |
Ohhh... | 0:27:40 | 0:27:42 | |
-And you fell in love with it? -I did. | 0:27:42 | 0:27:43 | |
-Did you pay a lot for it? -I did. -Oh! | 0:27:43 | 0:27:45 | |
Never mind. | 0:27:45 | 0:27:47 | |
I was once told you always regret more what you don't buy | 0:27:47 | 0:27:52 | |
than what you did buy. | 0:27:52 | 0:27:53 | |
Absolutely. | 0:27:53 | 0:27:55 | |
Why were you drawn to it? | 0:27:55 | 0:27:56 | |
Well, I thought it was very attractive. | 0:27:56 | 0:27:58 | |
I'd never seen one before. | 0:27:58 | 0:28:00 | |
It's a bit Kate Greenaway, | 0:28:00 | 0:28:02 | |
although they're not actually Kate Greenaway figures, | 0:28:02 | 0:28:05 | |
but it's very similar. | 0:28:05 | 0:28:07 | |
It was complete. | 0:28:07 | 0:28:08 | |
There's absolutely nothing wrong with it. | 0:28:08 | 0:28:11 | |
I didn't have any grandchildren at that time, | 0:28:11 | 0:28:14 | |
but I was hoping I was going to have grandchildren, | 0:28:14 | 0:28:17 | |
and so I bought it in anticipation. | 0:28:17 | 0:28:19 | |
I go to France an awful lot, and I haven't seen one of these. | 0:28:19 | 0:28:22 | |
-It's a washstand, as you know. -That's right, yes. | 0:28:22 | 0:28:25 | |
But it's a child's washstand. A sort of doll's washstand. | 0:28:25 | 0:28:28 | |
You've got the jug down here, a little dish. | 0:28:28 | 0:28:32 | |
It's absolutely gorgeous. | 0:28:32 | 0:28:34 | |
It's made by the French company Sarreguemines. | 0:28:34 | 0:28:36 | |
It's been recently repainted. | 0:28:36 | 0:28:39 | |
-Have you painted it? -No. | 0:28:39 | 0:28:41 | |
See, I think originally this would have been in a fruitwood. | 0:28:41 | 0:28:44 | |
-Right. -All these figures, transfer-printed, | 0:28:44 | 0:28:47 | |
very Kate Greenaway in style, you're right. | 0:28:47 | 0:28:50 | |
It dates from 1910, 1920. | 0:28:50 | 0:28:53 | |
It's just a lovely thing. | 0:28:53 | 0:28:55 | |
And in its condition, which is all but perfect - | 0:28:55 | 0:28:59 | |
I think there's a tiny little hair line on the bowl - | 0:28:59 | 0:29:02 | |
I would put an estimate of £100-£150. | 0:29:02 | 0:29:06 | |
What do you think? | 0:29:06 | 0:29:07 | |
I think that's fine. | 0:29:07 | 0:29:08 | |
What did you pay for it? | 0:29:08 | 0:29:10 | |
I'm not telling you. | 0:29:10 | 0:29:11 | |
You're still not telling me! | 0:29:11 | 0:29:13 | |
Oh! Well, look, we'll see what it gets. | 0:29:13 | 0:29:15 | |
-It might even get what you paid for it. -Yes. -Whisper it to me later. | 0:29:15 | 0:29:18 | |
I will. | 0:29:18 | 0:29:20 | |
We promise to do our best for you, Roslyn. | 0:29:21 | 0:29:23 | |
Now, I wonder why James is looking pleased with himself. | 0:29:24 | 0:29:28 | |
Pat, at last - I've got something here | 0:29:30 | 0:29:34 | |
from my favourite period of time. | 0:29:34 | 0:29:37 | |
-Really? -1790-1820. | 0:29:37 | 0:29:41 | |
George III, late George III. | 0:29:41 | 0:29:44 | |
What's the family story behind it? | 0:29:44 | 0:29:46 | |
My grandfather gave it to my mum | 0:29:46 | 0:29:49 | |
on her wedding day in 1946. | 0:29:49 | 0:29:53 | |
And that's really all I know about it. | 0:29:53 | 0:29:56 | |
I did see her wearing it occasionally, | 0:29:56 | 0:29:58 | |
but very rarely. | 0:29:58 | 0:30:01 | |
If you were living in the late 18th century | 0:30:01 | 0:30:06 | |
and you had gone to your final schooling, | 0:30:06 | 0:30:10 | |
the finishing school would recommend | 0:30:10 | 0:30:13 | |
that you went on what was called the Grand Tour. | 0:30:13 | 0:30:16 | |
This is a piece that would have been brought home | 0:30:16 | 0:30:20 | |
by somebody who had gone on that Grand Tour. | 0:30:20 | 0:30:23 | |
There were three main types of cameo that you find. | 0:30:23 | 0:30:27 | |
The most common is the hard-shelled cameo, | 0:30:27 | 0:30:30 | |
then you get a hard-stone cameo, | 0:30:30 | 0:30:33 | |
but you also get lava cameos. | 0:30:33 | 0:30:35 | |
This one is a hard-shelled cameo - | 0:30:35 | 0:30:38 | |
-out of the conch shell, most commonly. -Oh, right. | 0:30:38 | 0:30:41 | |
And here we have the subject of a Roman warrior | 0:30:41 | 0:30:46 | |
having his lower leg examined. | 0:30:46 | 0:30:48 | |
Traditionally, I suppose, it could be somebody like Achilles, | 0:30:48 | 0:30:51 | |
but it could be somebody else. | 0:30:51 | 0:30:52 | |
Probably made in Milan. | 0:30:52 | 0:30:54 | |
Really? | 0:30:54 | 0:30:55 | |
Yeah, that was a centre for cameo carving. | 0:30:55 | 0:30:58 | |
I've never given it a thought as to where it would have been made. | 0:30:58 | 0:31:01 | |
Yeah. And a lot of them are signed on the reverse as well. | 0:31:01 | 0:31:05 | |
The surroundings is... | 0:31:05 | 0:31:07 | |
It's almost certainly gold, low-grade, | 0:31:09 | 0:31:12 | |
and the pin that's on the back - | 0:31:12 | 0:31:14 | |
you can see quite obviously that that has been replaced. | 0:31:14 | 0:31:19 | |
So I would say the chain and the pin are probably around 1900 in date, | 0:31:19 | 0:31:23 | |
and the rest of it is about 1800, 1820. | 0:31:23 | 0:31:27 | |
So it's a gift from your grandfather to your mother, | 0:31:27 | 0:31:31 | |
on her wedding day. | 0:31:31 | 0:31:33 | |
-Yes. -Do you not want to keep it? | 0:31:33 | 0:31:35 | |
Well... | 0:31:36 | 0:31:38 | |
It's the usual thing, | 0:31:38 | 0:31:40 | |
-it's lying in a box. -Yeah. | 0:31:40 | 0:31:41 | |
My son and daughter, they don't want it, | 0:31:41 | 0:31:45 | |
-and I don't wear brooches. -No. | 0:31:45 | 0:31:47 | |
I think it'll end up going to | 0:31:47 | 0:31:49 | |
a neoclassical or a Grand Tour collector | 0:31:49 | 0:31:52 | |
and I think it's a super little lot. | 0:31:52 | 0:31:54 | |
I'm not going to put a huge valuation on it. | 0:31:54 | 0:31:57 | |
-No, no. -£80-£120. | 0:31:57 | 0:32:00 | |
If you want it to go ahead, | 0:32:00 | 0:32:01 | |
then we'll take it to the saleroom for you. | 0:32:01 | 0:32:03 | |
Let's put a reserve of £80 on it. | 0:32:03 | 0:32:04 | |
If it doesn't make that, you'll have it back. | 0:32:04 | 0:32:07 | |
-But super, I think it's a great little lot. -Thank you. | 0:32:07 | 0:32:10 | |
Now, Caroline seems to have spotted some sparkle. | 0:32:11 | 0:32:14 | |
Hello, Anne. | 0:32:15 | 0:32:17 | |
Lovely to see you and your wonderful array of silver items. | 0:32:17 | 0:32:22 | |
Have you been polishing all day? | 0:32:22 | 0:32:24 | |
-Not really! -Where did you come by these? | 0:32:24 | 0:32:27 | |
They came from my parents. | 0:32:27 | 0:32:29 | |
And my parents worked for Sankeys, | 0:32:29 | 0:32:34 | |
the steel people, of Bilston. | 0:32:34 | 0:32:36 | |
Right, very important family. | 0:32:36 | 0:32:39 | |
My father was the butler | 0:32:39 | 0:32:41 | |
and my mother was the cook. | 0:32:41 | 0:32:43 | |
-So they met in service... -Yes. -..for the Sankeys. -Yeah. | 0:32:43 | 0:32:46 | |
Oh, I've just heard a collective "aw" behind me here. | 0:32:46 | 0:32:50 | |
Isn't that lovely? And do you think these items are something | 0:32:50 | 0:32:54 | |
that they might've got from that family | 0:32:54 | 0:32:56 | |
-when they were working there... -Yes, that's possible. | 0:32:56 | 0:32:59 | |
-..they gave them to them? -That's possible, yes. | 0:32:59 | 0:33:01 | |
Now, these, they're not candlesticks, | 0:33:01 | 0:33:04 | |
which a lot of people think they are, and they're not spill vases, | 0:33:04 | 0:33:07 | |
which a lot of people think they are. | 0:33:07 | 0:33:09 | |
They're just specimen vases. | 0:33:09 | 0:33:10 | |
The weight is not all silver but they're very, very pretty. | 0:33:10 | 0:33:15 | |
The first part of the 20th century, | 0:33:15 | 0:33:17 | |
-sort of 1920, that sort of period. -Oh. | 0:33:17 | 0:33:21 | |
And this item in front is a similar sort of date, 1920s. | 0:33:21 | 0:33:26 | |
-Do you know what this might be? -Sugar shifter. | 0:33:26 | 0:33:29 | |
It's very beautifully pierced at the top. | 0:33:29 | 0:33:32 | |
It's got a little bruise, they call it a bruise, | 0:33:32 | 0:33:35 | |
it just means a bash. | 0:33:35 | 0:33:36 | |
So those are what they are, | 0:33:36 | 0:33:39 | |
they're nothing particularly special, | 0:33:39 | 0:33:42 | |
no particular interest, really, or antique interest | 0:33:42 | 0:33:46 | |
and they would have a collective value, I would think, of... | 0:33:46 | 0:33:49 | |
-..£50-£80 for the three. -Mm-hm. | 0:33:50 | 0:33:54 | |
Now, these two, I think these are gorgeous. | 0:33:54 | 0:33:58 | |
Well, this little pig is a pincushion | 0:33:58 | 0:34:01 | |
and he's got the original velvet top to him | 0:34:01 | 0:34:04 | |
and it's got the magic initials here, | 0:34:04 | 0:34:07 | |
"Sampson Mordan & Company" which is... | 0:34:07 | 0:34:10 | |
-Have you heard of this make? -Yeah. | 0:34:10 | 0:34:11 | |
It's a fabulous maker, Birmingham maker, dated 1905 | 0:34:11 | 0:34:16 | |
and there are lots of people that would like him | 0:34:16 | 0:34:19 | |
and because of the Sampson Mordan, | 0:34:19 | 0:34:21 | |
that puts him into a slightly higher piggy bracket. | 0:34:21 | 0:34:25 | |
But my favourite thing of all, Anne, is this. | 0:34:25 | 0:34:29 | |
-Do you use nutmeg? -Yes, I love my nutmeg. | 0:34:29 | 0:34:33 | |
-So do I, on rice pudding. -It's lovely. | 0:34:33 | 0:34:34 | |
-Nice home-made rice pudding. -Yeah. | 0:34:34 | 0:34:36 | |
This is a nutmeg grater and it's absolutely gorgeous. | 0:34:36 | 0:34:41 | |
Take the top off. | 0:34:41 | 0:34:43 | |
It's in three pieces and the maker here is Thomas Willmore, 1813. | 0:34:44 | 0:34:50 | |
Gosh, I didn't realise. | 0:34:50 | 0:34:52 | |
-So it's very early. -Quite old. | 0:34:52 | 0:34:54 | |
And it's in absolutely wonderful condition. | 0:34:54 | 0:34:58 | |
And you'd put your nutmeg inside here, to keep it, | 0:34:58 | 0:35:02 | |
and then you get it out, put this together, | 0:35:02 | 0:35:05 | |
and you'd grate it. | 0:35:05 | 0:35:06 | |
It is absolutely adorable. | 0:35:06 | 0:35:09 | |
And these little bits of silver are always saleable. | 0:35:09 | 0:35:13 | |
So, these two items I would be happy to put into auction | 0:35:13 | 0:35:19 | |
with an estimate of £150-£250. | 0:35:19 | 0:35:22 | |
-Oh. -How do feel about that? | 0:35:22 | 0:35:24 | |
Yes. | 0:35:24 | 0:35:26 | |
Surprised. | 0:35:26 | 0:35:27 | |
-Good! Pleasantly surprised? -Yes. | 0:35:27 | 0:35:29 | |
-Now, would you like a reserve? -Yes, please. | 0:35:29 | 0:35:32 | |
You would. What would you like? | 0:35:32 | 0:35:33 | |
-£150 on these two? -Mm. -Yeah? -Yes. | 0:35:33 | 0:35:37 | |
-And we'll fix that, shall we, Anne? -Yes, I think so. | 0:35:37 | 0:35:39 | |
OK, 150 fixed on these and these, would you like a reserve on these? | 0:35:39 | 0:35:43 | |
-Yes, please. -What if we said 50? -Mm. | 0:35:43 | 0:35:47 | |
-Yeah? -Yeah. Yes, I think so. | 0:35:47 | 0:35:49 | |
Excellent, and I'm sure they will fly on the day. | 0:35:49 | 0:35:52 | |
Even flying pigs! | 0:35:52 | 0:35:54 | |
-Thank you, Anne. -Thank you. | 0:35:54 | 0:35:57 | |
Well, there you are, lots of people and lots of antiques. | 0:36:01 | 0:36:04 | |
What a fantastic day we've had here at Wolverhampton Art Gallery. | 0:36:04 | 0:36:07 | |
-It's been brilliant, hasn't it? -It has been. | 0:36:07 | 0:36:09 | |
It has, and we've learned a lot and we've seen so much but, right now, | 0:36:09 | 0:36:12 | |
we have some unfinished business to do in the auction room. | 0:36:12 | 0:36:15 | |
We're going over for the last time | 0:36:15 | 0:36:17 | |
to put our experts' valuations to the test, | 0:36:17 | 0:36:18 | |
so we're going to say goodbye to Wolverhampton Art Gallery | 0:36:18 | 0:36:21 | |
and head over to the saleroom, | 0:36:21 | 0:36:22 | |
and here's a quick recap of what's going under the hammer. | 0:36:22 | 0:36:25 | |
This children's washstand is over 100 years old | 0:36:27 | 0:36:30 | |
and in such great condition, | 0:36:30 | 0:36:32 | |
it will surely catch someone's eye. | 0:36:32 | 0:36:34 | |
James hopes we can pin a decent price on this cameo brooch. | 0:36:37 | 0:36:40 | |
And I hope this collection of silver, | 0:36:44 | 0:36:46 | |
which includes vases, a pincushion and a nutmeg grater, | 0:36:46 | 0:36:49 | |
could change Anne's fortunes for the better. | 0:36:49 | 0:36:52 | |
We're back at the saleroom in Whitchurch | 0:37:02 | 0:37:04 | |
and Christina Trevanion is on the rostrum. | 0:37:04 | 0:37:07 | |
First up, the child's washstand. | 0:37:07 | 0:37:09 | |
Roswyn, it's good to see you again, and Oscar has come along | 0:37:09 | 0:37:14 | |
because there's no school on the weekends, is there? | 0:37:14 | 0:37:16 | |
-No school today. -No! -Oscar, you're how old, nearly seven? | 0:37:16 | 0:37:20 | |
-Er, yeah. -Going on 30? ROSWYN: -Yeah. | 0:37:20 | 0:37:21 | |
This washstand, did you buy it for Oscar? | 0:37:24 | 0:37:26 | |
-I did... -You did. -..but he wasn't there at the time. | 0:37:26 | 0:37:28 | |
-He wasn't, no. -It was a potential. -Yeah, it's a nice thing to... | 0:37:28 | 0:37:32 | |
-That's a proper granny thing to do, isn't it? -Yep. | 0:37:32 | 0:37:34 | |
Good luck with this, I know you like this. It's French. | 0:37:34 | 0:37:36 | |
I think it's lovely. It's French, Sarreguemines pottery. | 0:37:36 | 0:37:40 | |
-It's really lovely. -Here we go, it's going under the hammer right now. | 0:37:40 | 0:37:43 | |
Good luck, both of you. | 0:37:43 | 0:37:45 | |
The French nursery washstand set, the Sarreguemines one there. | 0:37:46 | 0:37:49 | |
Really dinky little example, this. It's so sweet. | 0:37:49 | 0:37:52 | |
And I've got 80, 90, £100 straightaway... | 0:37:52 | 0:37:55 | |
At £100. | 0:37:55 | 0:37:57 | |
At £100 here, looking for 110. | 0:37:57 | 0:37:59 | |
At £100. | 0:37:59 | 0:38:00 | |
110. 120. | 0:38:00 | 0:38:02 | |
130, madam? | 0:38:02 | 0:38:04 | |
130 clears my book. | 0:38:04 | 0:38:05 | |
At £130. Standing in the room at £130. | 0:38:05 | 0:38:09 | |
Looking for 140 now. | 0:38:09 | 0:38:11 | |
-At £130... -Well done. -..to the lady, then, | 0:38:11 | 0:38:13 | |
if we're all done at 130. | 0:38:13 | 0:38:15 | |
-High-five, Oscar. -Yeah, high-five. | 0:38:15 | 0:38:18 | |
-£130. -There you go. | 0:38:18 | 0:38:21 | |
Well, it seems we'll never know what Roswyn paid | 0:38:21 | 0:38:23 | |
but let's hope she made some profit. | 0:38:23 | 0:38:27 | |
Next up, the cameo brooch. | 0:38:27 | 0:38:29 | |
Pat, it's great to see you again. | 0:38:30 | 0:38:32 | |
We're just about to put the brooch under the hammer, | 0:38:32 | 0:38:34 | |
-your mum's brooch. -That's right. -Any regrets? Any regrets...? | 0:38:34 | 0:38:36 | |
I had an inkling, but I'm all right now. | 0:38:36 | 0:38:39 | |
-You're OK. -Once I saw a photograph of it, I was OK. | 0:38:39 | 0:38:42 | |
-OK. -It's lovely. -It's a nice cameo brooch, George III. | 0:38:42 | 0:38:45 | |
-Yeah. -It's a sweet thing, isn't it? | 0:38:45 | 0:38:47 | |
Brooches aren't that fashionable, though. | 0:38:47 | 0:38:49 | |
-This is the sticking point, isn't it? It really is. -Yes. | 0:38:49 | 0:38:52 | |
-For me, I remove the fact that it's a brooch in my mind... -Yeah. | 0:38:52 | 0:38:56 | |
-..and just look at it as an oval panel... -Yes. | 0:38:56 | 0:38:58 | |
..carved out of shell, with that classical scene. | 0:38:58 | 0:39:02 | |
So it's got to go. There are collectors out there | 0:39:02 | 0:39:03 | |
and fingers crossed they're here right now, | 0:39:03 | 0:39:05 | |
because we need to sell this | 0:39:05 | 0:39:07 | |
and it's going under the hammer right now. | 0:39:07 | 0:39:09 | |
19th-century carved shell cameo brooch. | 0:39:10 | 0:39:12 | |
We weren't just sure whether they were Greek or Roman, | 0:39:12 | 0:39:14 | |
so we've called them classical. | 0:39:14 | 0:39:16 | |
Very sweet example. And interest here with me, | 0:39:16 | 0:39:18 | |
I've got to start this at £130. | 0:39:18 | 0:39:20 | |
-With me on commission at 130. -That's good. | 0:39:20 | 0:39:23 | |
At £130, here with me on commission at 130. | 0:39:23 | 0:39:25 | |
140. 150. | 0:39:25 | 0:39:27 | |
150 here, internet, my commission bidder. | 0:39:27 | 0:39:30 | |
At 150, looking for 160 now. | 0:39:30 | 0:39:33 | |
160 is bid. Clears my book. | 0:39:33 | 0:39:35 | |
At £160. | 0:39:35 | 0:39:36 | |
Internet bidder, then, at £160. | 0:39:36 | 0:39:38 | |
-If you're all done at 160. -160, that's good. | 0:39:38 | 0:39:41 | |
Online at £160. | 0:39:41 | 0:39:43 | |
-Sold. -Great! | 0:39:43 | 0:39:44 | |
-Sold online. -Great. | 0:39:44 | 0:39:46 | |
-You were there, weren't you? -Yeah, he was, spot on. | 0:39:46 | 0:39:48 | |
-Well done, James. -It's a lovely little thing, I like that. -Yeah. | 0:39:48 | 0:39:52 | |
What a great result for Pat. | 0:39:52 | 0:39:54 | |
Now it's time for the collection of silver items | 0:39:56 | 0:39:59 | |
and the auction house has decided to split up the nutmeg grater | 0:39:59 | 0:40:02 | |
and the piggy pincushion. | 0:40:02 | 0:40:05 | |
Anne, good luck, OK? | 0:40:05 | 0:40:07 | |
Christina thinks they will do a lot better if she splits them up, | 0:40:07 | 0:40:11 | |
so let's find out what the bidders think. | 0:40:11 | 0:40:14 | |
And the first of Anne's lots are the vases and the sugar shaker. | 0:40:14 | 0:40:19 | |
It's a pair of silver posy vases, | 0:40:19 | 0:40:21 | |
John William Caldicott, Birmingham, 1916 | 0:40:21 | 0:40:23 | |
and we've also got a sugar sifter or sugar caster there. | 0:40:23 | 0:40:26 | |
Three in the lot altogether, nice little lot, bid me £40 for them. | 0:40:26 | 0:40:30 | |
40 is bid. | 0:40:30 | 0:40:31 | |
45 bid, sir. And 50 clears my book. | 0:40:31 | 0:40:33 | |
At £50 standing at the back, at £50. | 0:40:33 | 0:40:36 | |
Where's 5? At £50 I have. | 0:40:36 | 0:40:38 | |
55 online, sir. Go 60? | 0:40:38 | 0:40:40 | |
60 is bid. | 0:40:40 | 0:40:42 | |
At £60 in the room, looking for 5 now. | 0:40:42 | 0:40:44 | |
Selling to the room at 60. | 0:40:44 | 0:40:47 | |
It's good going. | 0:40:47 | 0:40:48 | |
The very sweet little Edwardian silver pig pincushion, | 0:40:51 | 0:40:54 | |
Sydney & Co, Birmingham, 1905. | 0:40:54 | 0:40:57 | |
And interest here, showing me I've got to bids in line, | 0:40:57 | 0:41:00 | |
starting at £50, | 0:41:00 | 0:41:01 | |
straightaway with me at 50. | 0:41:01 | 0:41:03 | |
55. Clears my books, sir, at £55 in the room. | 0:41:03 | 0:41:06 | |
60. | 0:41:06 | 0:41:08 | |
5. | 0:41:08 | 0:41:09 | |
At 65 in the room. | 0:41:09 | 0:41:10 | |
Against you, internet, at £65. | 0:41:10 | 0:41:12 | |
70... 5. | 0:41:12 | 0:41:14 | |
80.... 5. | 0:41:14 | 0:41:16 | |
-That's more like it. -90... 5. -Let's do £100. | 0:41:16 | 0:41:18 | |
100. Thank you. 100 with you, sir. | 0:41:18 | 0:41:21 | |
Standing at 100. Looking for 110, 110. | 0:41:21 | 0:41:24 | |
110 here, sir. 120. | 0:41:24 | 0:41:25 | |
Everybody loves a little piggy. | 0:41:25 | 0:41:27 | |
At 110 with the gentleman standing. | 0:41:27 | 0:41:29 | |
120 at the back. | 0:41:29 | 0:41:30 | |
Against you, sir. 130. | 0:41:30 | 0:41:32 | |
140. | 0:41:32 | 0:41:34 | |
OK, she's at the very back at 140. | 0:41:34 | 0:41:37 | |
150. | 0:41:37 | 0:41:38 | |
-Against you... -So we've done the top end? -Yeah. | 0:41:38 | 0:41:40 | |
-Done the top end. -Oh, gosh. | 0:41:40 | 0:41:44 | |
At £150 if you're all done, then, at 150. | 0:41:44 | 0:41:48 | |
Good result. | 0:41:48 | 0:41:50 | |
One more to go. | 0:41:50 | 0:41:51 | |
A silver nutmeg grater, Thomas Willmore, Birmingham, 1801. | 0:41:51 | 0:41:56 | |
And I've got interest here at £180. With me on commission at 180. | 0:41:56 | 0:42:00 | |
Great, punchy, straight in. | 0:42:00 | 0:42:02 | |
190, 200. | 0:42:02 | 0:42:04 | |
220 clears my books, sir. | 0:42:04 | 0:42:05 | |
At 220 with you. | 0:42:05 | 0:42:07 | |
At £220. Standing by the cabinets at 220. | 0:42:07 | 0:42:10 | |
240. | 0:42:10 | 0:42:11 | |
260. | 0:42:11 | 0:42:12 | |
280. | 0:42:12 | 0:42:13 | |
300. | 0:42:13 | 0:42:14 | |
-320. -Ooh, this is good. | 0:42:14 | 0:42:16 | |
At £320. | 0:42:16 | 0:42:18 | |
Selling to the room at 320. | 0:42:18 | 0:42:20 | |
Yes! The hammer's come down, we've done it. | 0:42:20 | 0:42:22 | |
They've all sold. | 0:42:22 | 0:42:23 | |
That's a grand total of £530. | 0:42:23 | 0:42:25 | |
-That's a lot of money, isn't it? -Yes. | 0:42:25 | 0:42:29 | |
-It really is. -Very good. | 0:42:29 | 0:42:31 | |
-But lovely items, that's what it's all about. -Gorgeous items. | 0:42:31 | 0:42:33 | |
And you've been brilliant, thank you so much. | 0:42:33 | 0:42:35 | |
-I've enjoyed talking to you. -Pleasure. -You've been fantastic. | 0:42:35 | 0:42:38 | |
That's a nice little profit for Anne to take home. | 0:42:38 | 0:42:42 | |
You're all done then at 150. | 0:42:42 | 0:42:44 | |
Well, that's it, we've run out of time here in the auction room | 0:42:45 | 0:42:48 | |
but at least all of our owners have gone home happy. | 0:42:48 | 0:42:51 | |
We've had a few ups and downs | 0:42:51 | 0:42:52 | |
but that's life in an auction room, as you know. | 0:42:52 | 0:42:55 | |
And if you want to take part in the show, | 0:42:55 | 0:42:57 | |
join us at one of our valuation days. | 0:42:57 | 0:42:59 | |
Details of up-and-coming dates and venues | 0:42:59 | 0:43:01 | |
you can find on our BBC website... | 0:43:01 | 0:43:02 | |
You could check out our BBC Facebook page, we have gone digital! | 0:43:02 | 0:43:05 | |
Look at us online and come and join us, | 0:43:05 | 0:43:07 | |
dust them down and bring them in and let's flog 'em! | 0:43:07 | 0:43:10 | |
But until then, from the West Midlands, it's goodbye. | 0:43:10 | 0:43:13 |