0:00:02 > 0:00:09If Flog It had been around in Anglo-Saxon times, today's show would be coming from Gippeswyk.
0:00:09 > 0:00:14But the name's slowly changed. And today it's known as Ipswich.
0:00:44 > 0:00:52The success and wealth of Ipswich has always centred around its harbour and docks.
0:00:52 > 0:00:58The main industry was cloth, but now the port is not just for trade, it's for trendies too.
0:00:58 > 0:01:02And designer flats are springing up everywhere.
0:01:04 > 0:01:09Our trade at auction today is all things antique and collectable.
0:01:09 > 0:01:15And as the hammer goes down, we want to hear "Sold!" from auctioneer, Alan Smith.
0:01:15 > 0:01:18It's all going to plan, isn't it?
0:01:18 > 0:01:22Venice, here we go. Well, not me. You can if you like.
0:01:22 > 0:01:26That's very nice. Thanks very much.
0:01:30 > 0:01:33Our venue today is The Corn Exchange
0:01:33 > 0:01:38and our merchants on a mission are Adam Partridge and James Lewis.
0:01:45 > 0:01:51Louise, anybody who is interested in tennis will find this fantastic.
0:01:51 > 0:01:57You've got such a history here. You've obviously had personal involvement in this?
0:01:57 > 0:02:02My school in London, we qualified to be ball-girls for the Wightman Cup.
0:02:02 > 0:02:08That was how I happened to be there in 1952 on No.1 court at Wimbledon.
0:02:08 > 0:02:16And who did you see playing? Well, Louise Brough, Doris Hart. And it was Maureen Connolly's first year.
0:02:16 > 0:02:20And she went on to win Wimbledon that year. Amazing.
0:02:20 > 0:02:23Unfortunately, the Americans won.
0:02:23 > 0:02:28Unfortunately, they continue, too. Yes, they still do today.
0:02:28 > 0:02:34So, 13th and 14th June, 1952, the Wightman Cup. It doesn't exist now.
0:02:34 > 0:02:42It was alternate years in America and England. It got such a walkover for the Americans, it was put aside.
0:02:42 > 0:02:47Yeah. If we look in the back of this, we see in 1923, America won.
0:02:47 > 0:02:52'24, England won. Then England, America, America, England.
0:02:52 > 0:02:59Then suddenly in 1931, it says America won. And all the way down until 1951, America won.
0:02:59 > 0:03:03So not much success for 20 years. I bet they haven't won it since!
0:03:03 > 0:03:07No. We need an Andy Murray in the ladies now.
0:03:07 > 0:03:12In the centre pages, you've got the signatures of Walker Smith,
0:03:12 > 0:03:15Miss D Hart. Doris Hart.
0:03:15 > 0:03:20They're pre-my generation, but still people that you know about.
0:03:20 > 0:03:24Let's look in this one. You've got some fantastic names in there.
0:03:24 > 0:03:28Tony Mottram was before my time, but I knew Buster Mottram.
0:03:28 > 0:03:34That was his son. He represented England in the... Davis Cup?
0:03:34 > 0:03:41Yes, that's right. But in those days you could go to Wimbledon and get in for half a crown.
0:03:41 > 0:03:46And there were no security guards, so you could walk up to anybody
0:03:46 > 0:03:51and you just easily got autographs. It's not quite the same now. No.
0:03:51 > 0:03:58Actually, I did enjoy sitting on Henman Hill or Murray Mound, as it is now. Yes, that's right!
0:03:58 > 0:04:04But I mean, that is the best name, isn't it? Fred Perry. Yes.
0:04:04 > 0:04:10For the youngsters there... Fred Perry's a fashion name now. Yes.
0:04:10 > 0:04:17He won Wimbledon in 1934. He was the first person to win all of the Grand Slam tournaments.
0:04:17 > 0:04:19Yes, that's right. Wonderful name.
0:04:19 > 0:04:22For me, this is really interesting.
0:04:22 > 0:04:26But this is your...? My own ball-girl's ticket. Wonderful.
0:04:26 > 0:04:32"Ladies' International Meeting - Umpire, 1952."
0:04:32 > 0:04:39So I suppose for Fred Perry, Tony Mottram... There are over 50 autographs in there.
0:04:39 > 0:04:47It's difficult. Because I'd love that. That is absolutely wonderful. Make me an offer. I'm not allowed!
0:04:47 > 0:04:53But I suppose there are well-known autographs and less well-known. Yeah.
0:04:53 > 0:04:56About ?100, something like that.
0:04:56 > 0:05:02?80 to ?120 for the tennis. You hoped for more? I would think so.
0:05:02 > 0:05:04As long as they market it properly.
0:05:04 > 0:05:09Exactly. It's got to get to the people who are interested in tennis.
0:05:09 > 0:05:14What would you like to have as a reserve? 100. Fine.
0:05:14 > 0:05:19I'm hoping it'll get quite a lot more. Let's put 100-150 on it then.
0:05:19 > 0:05:25With ?100 reserve, lower-end estimate, ?100 to ?150. OK. Lovely.
0:05:28 > 0:05:33Paula, this is a delightful little pot you've brought in. Yes.
0:05:33 > 0:05:36What's the story with it?
0:05:36 > 0:05:42I bought it from a jumble sale ten years ago. Persuaded to buy it by the stallholder.
0:05:42 > 0:05:46So was it quite expensive then? It was a pound.
0:05:46 > 0:05:50So she persuaded you to buy it for a pound? Yes. OK.
0:05:50 > 0:05:54Did it take a lot of persuasion? Not really. No?
0:05:54 > 0:05:58How did she persuade you to buy it?
0:05:58 > 0:06:01I wanted to buy some Sylvac rabbits.
0:06:01 > 0:06:07She said, "I've got another pot I want you to buy and you can have the rabbits for ?1."
0:06:07 > 0:06:11You ended up with Sylvac rabbits and this for ?1?
0:06:11 > 0:06:14Mm-hm. You know what it is? Yes.
0:06:14 > 0:06:19Early Moorcroft. Yes, when William Moorcroft was at MacIntyre and Co.
0:06:19 > 0:06:23So it's the early 20th century, probably about 1905.
0:06:23 > 0:06:27And this range is the Florian Ware range.
0:06:27 > 0:06:30I think this is the poppy design.
0:06:30 > 0:06:36There we've got William Moorcroft's signature underneath and the MacIntyre mark.
0:06:36 > 0:06:43This is before Moorcroft pottery started. It's a very collectable piece and it's in good condition.
0:06:43 > 0:06:49Yes. And a pound wasn't bad, was it? No, pretty good. What sort of return do you expect?
0:06:49 > 0:06:54Um... I don't know. Would you sell it for 80 quid? No. No?
0:06:54 > 0:06:59Would you sell it for 150 quid? Maybe. Yeah.
0:06:59 > 0:07:06I think 200 to 300. Yeah. Is that OK? Fine. That's 200 times what you paid for it.
0:07:06 > 0:07:13Quite a good profit. Not bad at all. We'll put a reserve on it, shall we? Yes. Slightly below - 180? Yes.
0:07:13 > 0:07:19So that if it doesn't make 180, take it home because it's worth that.
0:07:19 > 0:07:24Yes. And take it home and keep it safe. I'll be here for the auction.
0:07:24 > 0:07:29I'll cheer it on. Let's hope it makes a good price.
0:07:35 > 0:07:38We love to find things of local interest
0:07:38 > 0:07:45and this one's hit the nail on the head. There is a lovely story as well. Janet, tell us all about it.
0:07:45 > 0:07:52I bought them in The Corn Exchange about 25 years ago. Here in this building? Yes.
0:07:52 > 0:07:59I think it was actually in the room downstairs. 25 years ago? About. From Tom Keating himself.
0:07:59 > 0:08:05Wow! The major master forger. Mm? Did you get to meet him?
0:08:05 > 0:08:10Yes. What was he like? He was a lovely old chap with a beard. Yes.
0:08:10 > 0:08:16And I asked him to sign the back, which he did. And they were very cheap.
0:08:16 > 0:08:23I think I paid 15p, 20p each for them. Oh, wow! What a piece of history!
0:08:23 > 0:08:26He was brought up in this area, wasn't he? Yes.
0:08:26 > 0:08:31He forged quite a few Constables, some Degas, some Matisses.
0:08:31 > 0:08:36He was taken to the Old Bailey in 1979 and put on trial for deception.
0:08:36 > 0:08:43I mean, he's now famous in his own right. He is. And he was selling them to raise money for charity.
0:08:43 > 0:08:51And he's cut these down from larger oils. I wish I'd bought a bigger one. He had lots of bigger ones.
0:08:51 > 0:08:58But I didn't have enough money. Aw! In fact, this one's painted on canvas card for this size. Yes.
0:08:58 > 0:09:04And they're all signed "Tom Keating". That's very Constable, that one.
0:09:04 > 0:09:11There's quite a few signatures on here. That one's his signature, isn't it? Yes.
0:09:11 > 0:09:17The trial was dropped in 1979 at the Old Bailey because he had ill health.
0:09:17 > 0:09:22He was very poorly. And I think he died four or five years later? Yes.
0:09:22 > 0:09:27I think he knew he was ill when he was clearing out his studio.
0:09:27 > 0:09:34Value-wise, well, we're not going to value them as Constable forgeries, are we? No.
0:09:34 > 0:09:39They are the real thing in their own right - Tom Keatings.
0:09:39 > 0:09:45In 1998, an auction room in Colchester sold the entire contents of his studio,
0:09:45 > 0:09:4888 oil paintings and a few watercolours,
0:09:48 > 0:09:53and they fetched a grand total of ?133,000.
0:09:53 > 0:10:00Wow! So he's worth a bit in his own right. Yes. So someone has a chance to buy an original Tom Keating.
0:10:00 > 0:10:07I would certainly love these. I would put a value on each of these at ?30-?40.
0:10:07 > 0:10:14So as a collection, if we put them in as one lot, ?100-?150. Well, that's nice, isn't it? Yeah.
0:10:14 > 0:10:19If you used them as big fridge magnets, they'd look fantastic!
0:10:19 > 0:10:23They've been stuck up with Blu-Tack. Were they? Yes!
0:10:23 > 0:10:29I'd do exactly the same cos they're a bit of fun. They were outside the kitchen.
0:10:29 > 0:10:34I had them stuck up with Blu-Tack in cardboard frames.
0:10:34 > 0:10:39At least you got to meet the man. I did! He actually sold them to me.
0:10:39 > 0:10:46That's a story in its own right. Yes. Thanks for bringing them in. I'm sure they'll do well. Thank you.
0:10:52 > 0:10:58Graham, something tells me that this has not had pride of place in your house.
0:10:58 > 0:11:04Well, Mother-in-law didn't like it very much and it was relegated to the attic.
0:11:04 > 0:11:11I thought it might've been. He's covered in these wonderful cobwebs and dust.
0:11:11 > 0:11:13It's like a true attic find. Yes.
0:11:13 > 0:11:20Tell me about it. Is it a family piece? As far as I know, Father-in-law went to Palestine
0:11:20 > 0:11:27and Jerusalem during the war and just referred to it as one of his Jewish figures.
0:11:27 > 0:11:32He's not Jewish, he's Chinese. No? If he acquired it there,
0:11:32 > 0:11:38it certainly would've been an import. It's Chinese hardwood. OK.
0:11:38 > 0:11:43And if you feel its weight, it's quite some weight. It is heavy.
0:11:43 > 0:11:47And probably made out of padauk wood.
0:11:47 > 0:11:54And these figures were imported into this country, and obviously others, at the turn of the century.
0:11:54 > 0:12:00These were made in two ways. Sometimes you would have a block of wood and carve it.
0:12:00 > 0:12:07The other Chinese carving technique is a root carving. They would have a root ball.
0:12:07 > 0:12:11They'd decide what it looked like and carve it from there.
0:12:11 > 0:12:18Oh, right. But this is from a solid block. His teeth are made from either ivory or bone.
0:12:18 > 0:12:26His eyes are made of glass. Right. You often find when the wood dries and contracts, the eyes fall out.
0:12:26 > 0:12:33But he's got both eyes and his teeth. He could be an attractive chap. You want to sell him? Yes.
0:12:33 > 0:12:39He's the sort of figure that is an acquired taste. But I think he's super.
0:12:39 > 0:12:46He's not greatly valuable. There are lots of them about. Normally you find that something's missing.
0:12:46 > 0:12:50But that's the main selling point of this one.
0:12:50 > 0:12:56So I think we ought to put on a classic auctioneer's estimate of ?60-?100.
0:12:56 > 0:13:03Do you want to put a reserve on it? Would you suggest one? Yes, let's put a reserve of ?50.
0:13:03 > 0:13:06If it doesn't make that, you'll have him back. OK.
0:13:06 > 0:13:11Let's look at all the items going in today's auction.
0:13:11 > 0:13:16For tennis enthusiasts, there's the Wightman Cup memorabilia,
0:13:16 > 0:13:22the Moorcroft pot, bought for one pound, the Tom Keating miniatures Janet bought from the man himself
0:13:22 > 0:13:27and the Chinese figure, cobwebs included.
0:13:31 > 0:13:37Today's auction comes from Diss in Norfolk. And we're at Thomas Gaze Sons.
0:13:37 > 0:13:42There's a sale here every Friday, 51 weeks of the year.
0:13:42 > 0:13:47Today's auctioneer is Alan Smith. He'll be wielding the gavel.
0:13:47 > 0:13:54Let's find out what he thinks of our owners' items and what he thinks of our experts' valuations.
0:13:59 > 0:14:03Paula's little Moorcroft bowl, an early one.
0:14:03 > 0:14:11We do see a lot on the show, but not as early as this. It's a pity it's a small one. Yes, it is.
0:14:11 > 0:14:17But it's still special. The point was, it was the MacIntyre factory who Moorcroft took over
0:14:17 > 0:14:20and it comes from this period.
0:14:20 > 0:14:24The other special thing about it is, round about 1904,
0:14:24 > 0:14:31so it's an early piece, at this time they were experimenting with paler glazes. It is softer looking.
0:14:31 > 0:14:36And this is the first ones that they managed the cream effect.
0:14:36 > 0:14:43They put good decorators on to it. The bottom's marked with everything. It's a collectable little pot.
0:14:43 > 0:14:51And the condition is absolutely superb. This was bought at a jumble sale, ten years ago, for one pound.
0:14:51 > 0:14:57Really? We're looking for ?200-?300 on this. I'd love to see the top end.
0:14:57 > 0:15:01You will, and another 100 on the top. ?400? I reckon.
0:15:01 > 0:15:05That's exactly what we like to hear, don't we?
0:15:08 > 0:15:16We're serving now a load of tennis autographs that belong to Louise, and hopefully for not much longer,
0:15:16 > 0:15:21because I think at ?100-?150, these will definitely sell. I hope so.
0:15:21 > 0:15:28Did you grow up playing tennis? No, I didn't start till I came back from the States in '48.
0:15:28 > 0:15:35But I did play a lot. Do you play now? No, I'm on to golf now. A bit more leisurely, isn't it?
0:15:35 > 0:15:39James, are you confident? It's certainly worth it.
0:15:39 > 0:15:43It's a potted history of tennis. Every name is there.
0:15:43 > 0:15:48I remember Fred Perry. The names that you flick through - wonderful.
0:15:48 > 0:15:52Well, this is it. Let's hope it's an ace.
0:15:52 > 0:15:58Number 230 - 1952, Wightman Cup with other autographs added later.
0:15:58 > 0:16:04Again, a very good collection here. Some wonderful names there.
0:16:04 > 0:16:08And I start at ?50. At ?50 we start.
0:16:08 > 0:16:11At 50. 5. (It's gone so quiet.) 60.
0:16:11 > 0:16:175. 70. 5. 80. At ?80 bid. Still have it at ?80. Now where's 5?
0:16:17 > 0:16:23Come along. 85. 90. Are you sure? At ?90.
0:16:23 > 0:16:2795. 100. At ?100 now. 5 if it helps?
0:16:27 > 0:16:32At ?100 only. Is there 5 anywhere?
0:16:32 > 0:16:34The price will be 100 and selling.
0:16:34 > 0:16:37What are you going to do with ?100?
0:16:37 > 0:16:41I've got nine grandchildren, so it'll go very quickly.
0:16:41 > 0:16:44Lovely. Thank you for coming in. Thank you.
0:16:47 > 0:16:54This is the moment I've been waiting for since the valuation day when I met Janet
0:16:54 > 0:16:59and those lovely little miniatures by Tom Keating, master forger.
0:16:59 > 0:17:06I'm scared. So am I. We are on home ground, though. There's a lot of local connection here.
0:17:06 > 0:17:10I just hope somebody wants a little bit of Tom Keating.
0:17:10 > 0:17:18You got them for next to nothing. Yes. I just hope some art lovers want to take a piece home. So do I!
0:17:18 > 0:17:25You want to buy something? I do. Janet has a bidding card. What are you going to buy? An amethyst ring.
0:17:25 > 0:17:29How lovely! It's a souvenir. Of the day out? That's right.
0:17:29 > 0:17:33It's going under the hammer now. Good luck.
0:17:33 > 0:17:38188, interesting lot - three little collectable pieces. I start at ?50.
0:17:38 > 0:17:42At ?50 there. At 50 on Keatings.
0:17:42 > 0:17:44At 50. 60. 70. 80.
0:17:44 > 0:17:49At ?80 for these now. Is there 90? Come on. ?80 now.
0:17:49 > 0:17:53Is there 90? At 90 is the gallery. Is there 100?
0:17:53 > 0:17:56At ?90, they sell upstairs.
0:17:56 > 0:17:58?90. I'm... I'm pleased as well.
0:17:58 > 0:18:03Did I ask what you were putting the money towards at the valuation day?
0:18:03 > 0:18:10Yes. I'm giving half to my husband. And the other half is for a new sewing machine. A sewing machine.
0:18:15 > 0:18:22A touch of the Far East comes to Norfolk. It's a gorgeous Chinese figure. It belongs to Graham.
0:18:22 > 0:18:29We're looking at ?60-?100. Who put him in the garage? Mother-in-law. Didn't like him. Do you like him?
0:18:29 > 0:18:35He's OK. Not exactly wonderful. Someone who does like him is James. You took a fancy to him?
0:18:35 > 0:18:41I think he's great. It's unusual. You don't see a lot of them about.
0:18:41 > 0:18:48But the ones we do see, they always sell. Well, the talking's over. Let's see what the bidders think.
0:18:48 > 0:18:53Lot 41 is the padauk wood figure. He's a nice chap.
0:18:53 > 0:18:55He's beautifully carved.
0:18:55 > 0:19:02And I start on the book at ?28. Oh! That's a low one. It's very low.
0:19:02 > 0:19:0730 I'll take. At 28. ?30. 32. 5. 8. 40.
0:19:07 > 0:19:102. 5. 8. 50.
0:19:10 > 0:19:14At ?50 is the bid now. At ?50. Come on!
0:19:14 > 0:19:18At 50 now. Surely ?5 for him? He's from the Orient.
0:19:18 > 0:19:22At ?50 now. ?50 - right on the reserve.
0:19:22 > 0:19:27We were lucky to get that one away. We were. Less commission,
0:19:27 > 0:19:34it'll cover the petrol. But what would you have put ?50 towards? A porcelain figure. Re-invest it.
0:19:34 > 0:19:37Porcelain instead of wood? Yes.
0:19:42 > 0:19:49What we've got is our own Flog It expert, Elizabeth Talbot, on the rostrum, as this is her saleroom.
0:19:49 > 0:19:56And this next lot has the lot. It's a stunning little Moorcroft bowl, the MacIntyre mark.
0:19:56 > 0:20:00It belongs to you. But not for much longer. Not much longer.
0:20:00 > 0:20:07So when Adam said ?200-?300, did you think, "That's a lot of money"? Yes. Or did you know already?
0:20:07 > 0:20:15I knew it was worth something, but didn't know what. We had a chat to the auctioneer earlier.
0:20:15 > 0:20:22And he said he'd like to see it do ?300-?400. I think the idea about putting a 200-300 estimate on it -
0:20:22 > 0:20:26you always want to get above the top end just slightly.
0:20:26 > 0:20:30Too much above the top end gets a little embarrassing!
0:20:30 > 0:20:35The early 20th-century, Moorcroft Florian Ware.
0:20:35 > 0:20:39And I'll start at just ?150. At 150 I have.
0:20:39 > 0:20:44160. 170. 180. 190. 200. 220.
0:20:44 > 0:20:46There's someone up there buying.
0:20:46 > 0:20:49240. 260. 280. 300.
0:20:49 > 0:20:55300 is with me. At 300 now. You're out top and bottom. At ?300 now.
0:20:55 > 0:20:58At ?300. And it will sell at 300.
0:20:59 > 0:21:01Oh, wow. Well done, Adam.
0:21:01 > 0:21:06Pretty good. A little bit above would be too embarrassing(!)
0:21:06 > 0:21:09So lucky. He has the Midas touch.
0:21:09 > 0:21:15?300. Wonderful. A very good return on one pound ten years ago.
0:21:15 > 0:21:21Very good. And you had to be persuaded to buy it? Yes. Will you treat the person who persuaded you?
0:21:21 > 0:21:28No, I'll treat my daughter. What will you buy her? She's just been at Cambridge to be a teacher.
0:21:28 > 0:21:35And she's going on holiday, so I'll give her the money to spend. Where's she going? She's going to Cyprus.
0:21:35 > 0:21:42I hope she has a great time. I haven't told her. That's a lovely surprise. Well, she knows now!
0:21:50 > 0:21:57I've spotted something from the 17th century, a court cupboard. It's made of oak, my favourite wood.
0:21:57 > 0:22:01It's so tactile, you can just caress it.
0:22:01 > 0:22:08It's got a lovely ambiguous grain as well. And the older the oak gets, the better the colour.
0:22:08 > 0:22:15Now that is from the 17th century. But I'm going to Norwich to see oak furniture that's bang up to date.
0:22:15 > 0:22:23Well, it doesn't look very "now", does it? In fact, it's extremely old. It's 200 years old.
0:22:23 > 0:22:28And it's ten times more expensive than any other oak of its size.
0:22:28 > 0:22:35And to find out why, I've come to John Barnard's furniture showroom. So let's go inside and find out.
0:22:36 > 0:22:39Hi, John.
0:22:39 > 0:22:41Pleased to meet you. Hello, Paul.
0:22:41 > 0:22:49Right. OK. Why is this section of oak ten times more expensive than any other piece its size?
0:22:49 > 0:22:56Because it came from Nelson's flagship at the Battle of Trafalgar. That is unbelievable!
0:22:56 > 0:23:02There is such a sense of history in these boxes in these little offcuts. Yes.
0:23:02 > 0:23:09We know the Victory's down in Portsmouth. So what are you doing with bits of it here in Norfolk?
0:23:09 > 0:23:16These were taken out as part of the lightening of the boat, but also as part of the continuous replacements,
0:23:16 > 0:23:22especially when Nelson was actually in it and knocking seven bells out of it.
0:23:22 > 0:23:29These trees were fully mature before they were felled, so we're looking at 400-year-old oak. Yep.
0:23:29 > 0:23:36They reckon that 80 acres of oak forest were cut down to build one ship.
0:23:36 > 0:23:43That's why we've no oak forest left. It's quite fitting that it's all here as Nelson was a Norfolk lad.
0:23:43 > 0:23:47Oh, yes. He was born and bred 30 miles from this shop.
0:23:47 > 0:23:51The offcuts are here. What will you do with it?
0:23:51 > 0:23:56We are slicing it up into fairly thin pieces
0:23:56 > 0:24:02and using them as a patchwork in our tabletops and on our Victory chairs,
0:24:02 > 0:24:06which I can show you if you'd like to walk this way.
0:24:11 > 0:24:16Wow! I can see what you've been working on now. This is it.
0:24:16 > 0:24:23Isn't that stunning! It looks like a patchwork quilt. It was the only thing we could think to do with it.
0:24:23 > 0:24:30And it looks in 3-D until you touch it. These are strips of the oak laid down and what have you done?
0:24:30 > 0:24:37We made a resin bed, fitted them all in, waited for it to set, put a final layer over the top.
0:24:37 > 0:24:44And when that had set, we sanded it off flat. And you've polished it well. It's come up beautifully.
0:24:44 > 0:24:49It is like a parquet floor, but... But more interesting. Yes!
0:24:49 > 0:24:57Obviously, you've made it fit in places. Yes. We've kept as far as possible... A few bolt-holes. Yes.
0:24:57 > 0:25:02Bolt-holes like that. We have kept the white paint from the inside,
0:25:02 > 0:25:07which I do wonder if it was put on for health reasons. Probably was.
0:25:07 > 0:25:12And, Paul, note this - blood. This was where Nelson died.
0:25:13 > 0:25:16Honest! Yes, honest(!)
0:25:16 > 0:25:22I like the curling grain here. This is from the knee section, isn't it? Yep.
0:25:22 > 0:25:29I love it to bits. I can even see cannon here. I can see the legs as turned gun barrels.
0:25:29 > 0:25:35The inspiration for the ends was actually the bell housing on the boat,
0:25:35 > 0:25:40which was one of the loveliest pieces on it. I like the wedge.
0:25:40 > 0:25:46I tried to get that fighting boat feeling into the structure. Lots of cleats everywhere.
0:25:46 > 0:25:52Lots of bronze, lots of wedges, lots of pins. Everything held by... Pegs. Yes.
0:25:52 > 0:25:59I don't think screw threads had been invented in 1775. They weren't. It was all pegs and dowels driven in.
0:25:59 > 0:26:07The inspiration, I can see where it's come from. So did you go down to Portsmouth to see the Victory?
0:26:07 > 0:26:14Yeah. I went down with the three blokes who bought the timber... It's awesome, isn't it?
0:26:14 > 0:26:20..to feel this 200-year-old structure, where thousands had died creating the Empire.
0:26:20 > 0:26:24It was...overwhelming. Quite haunting? Yes.
0:26:31 > 0:26:35Did you have any working drawings for this?
0:26:35 > 0:26:39Did you just scale it down? I did, yes.
0:26:39 > 0:26:46They asked me to design it. It took three months to come up with the original design, which is not this.
0:26:46 > 0:26:54I went through a process of... Oh, wow! See where that's coming from? Yes. Not practical to dine at.
0:26:54 > 0:27:00Could you imagine looking at a gorgeous woman through all this rope work? "Hello!"
0:27:00 > 0:27:03I like it though. Yeah, I liked it.
0:27:03 > 0:27:11I kept fiddling about and suddenly I thought, "We need the boat with the planks taken off."
0:27:11 > 0:27:18That was 15 minutes before I went to see them and present everything. Nothing like a deadline, is there?
0:27:18 > 0:27:25So he said, "Well, draw that up then." So I did. We finally went to this design of table,
0:27:25 > 0:27:30which was the original table from the centre of the ship's structure.
0:27:30 > 0:27:36And then I took the ribs off. And that was the scaled drawing of one of the ribs,
0:27:36 > 0:27:42which we blew up to seven feet high in order to make the back of the chair.
0:27:42 > 0:27:47The price of this entire dining suite - what would it cost?
0:27:47 > 0:27:52This one is a slightly special one and costs about ?9,500.
0:27:52 > 0:27:58Just for the table? Yes. The chairs are just over ?6,000 each.
0:27:58 > 0:28:03For eight chairs, you're talking of something like 45,000 to 48,000,
0:28:03 > 0:28:10which is about the same as the original boat cost. Which is what the Victory cost? Indeed!
0:28:10 > 0:28:17That's recycling! You must've been so excited to get this commission. It was fantastic.
0:28:17 > 0:28:24The most famous man in English history, with the possible exception of Winston Churchill,
0:28:24 > 0:28:31and I was asked to design the furniture to celebrate the bi-centenary. What's next for you?
0:28:31 > 0:28:38Um... Top that! I'm sure we'll think of something! John, thank you very much. That's a pleasure, Paul.
0:28:48 > 0:28:53OK, Matt. Some big, big vases here. Where have they come from?
0:28:53 > 0:28:59I got them from a shop I frequent in Felixstowe, an antique shop.
0:28:59 > 0:29:03The guy goes to Belgium and buys a lot of glass.
0:29:03 > 0:29:07They were sat in his shop for a year and I watched them.
0:29:07 > 0:29:11Murano started creeping into the scene, so I bought them.
0:29:11 > 0:29:16So after a year you got them down quite a bit on the price? I did.
0:29:16 > 0:29:21Yeah. They were up to ?55 each and I got it down to ?20 on each one.
0:29:21 > 0:29:26Right. I did quite well. It was a good deal. Not bad.
0:29:26 > 0:29:32And how long ago did you acquire them? Two years. They're big lumps of Murano glass.
0:29:32 > 0:29:38A lot of people will be familiar with Murano glass, from Italy, of course, Venice.
0:29:38 > 0:29:45You can appreciate the scale because you're a big lad and they're standing on the table.
0:29:45 > 0:29:48They're a near pair. Yeah.
0:29:48 > 0:29:53There's nothing wrong with them, is there? They're just a bit dirty.
0:29:53 > 0:30:00Why are they so dirty? Cos I put some flowers in them for somebody and they've just...stained it.
0:30:00 > 0:30:04It's hard to clean, isn't it? It's very hard to clean.
0:30:04 > 0:30:11So why are you selling them now? I've now acquired a dog, which is quite scatty,
0:30:11 > 0:30:18and because I'm a bit heavy-handed, the two don't really mix together with glass! So they've got to go!
0:30:18 > 0:30:25What kind of a dog is it? It's a cross between a whippet and a labrador. It's quite manic.
0:30:25 > 0:30:32Right! So if they stay at your house, they'll end up broken? They need someone to look after them.
0:30:32 > 0:30:39Exactly. I'd suggest a big estimate of 80-150 for the catalogue. That's fine. Put a reserve on them?
0:30:39 > 0:30:4680? 80. If not, then you'll be taking them home with you again. Fine. Thanks for coming in. Thanks.
0:30:50 > 0:30:58Diana, you've brought along an old Flog It favourite here, a Worcester figure. It was a gift years ago.
0:30:58 > 0:31:03I can't remember, but it was a good few years. And she survived a fire.
0:31:03 > 0:31:06How did she survive a fire?
0:31:06 > 0:31:11I was moving house. It was put into a shed at the new premises.
0:31:11 > 0:31:13And most of it went up in flames.
0:31:13 > 0:31:17She was in a box that made it to the house.
0:31:17 > 0:31:21Most of my past is gone, so she'll join it at auction. Gosh!
0:31:21 > 0:31:25She's March. Are you a March baby?
0:31:25 > 0:31:32I am a March baby, yes. I'm not telling you what year! Was she a christening or a birthday present?
0:31:32 > 0:31:39A birthday present. I'm sure you've seen them before in the show, but this is quite a nice one.
0:31:39 > 0:31:43Good. It's by an artist called Freda Doughty.
0:31:43 > 0:31:50It was a family of figure modellers and decorators who worked at Worcester.
0:31:50 > 0:31:53Her sister Dorothy was also a Worcester artist.
0:31:53 > 0:31:58They used experiences of everyday life to model their children.
0:31:58 > 0:32:01Freda first of all modelled in Plasticine,
0:32:01 > 0:32:05then worked the models up from Plasticine to clay.
0:32:05 > 0:32:12And almost all of her children that she modelled were children she knew in the villages where she lived.
0:32:12 > 0:32:19So this little girl would've been wandering the streets of Worcester back in the 1940s. Good gracious!
0:32:19 > 0:32:22Most of these figures were named.
0:32:22 > 0:32:28This one is named "March". They did months of the year, days of the week and countries of the world.
0:32:28 > 0:32:33But she's a lovely one. She's pretty, isn't she?
0:32:33 > 0:32:37And this model was originally launched in 1949.
0:32:37 > 0:32:44But it was made for a number of years. And we can see on the bottom there a "W".
0:32:44 > 0:32:46That was put on Worcester in 1950.
0:32:46 > 0:32:50And then to each side of the "W" we have a dot.
0:32:50 > 0:32:57Each dot is one year. We've got four dots to the left, five dots to the right - 1959.
0:32:57 > 0:33:02I never knew that! But it's a black mark. The earlier marks were puce.
0:33:02 > 0:33:09The same figure with a puce mark is worth more than one with a black mark. What do you think it's worth?
0:33:09 > 0:33:13Well, I'm hoping it might reach three figures...
0:33:13 > 0:33:16Whatever. I'm hoping she will too.
0:33:16 > 0:33:22Really? Good. Just. Just. I'm going to put an estimate on of ?70-?100.
0:33:22 > 0:33:29But keep your eye on the market. People often say, "These things are going up, so I'll hang on to it."
0:33:29 > 0:33:35Then they bring it out four years later and expect the value to be the same.
0:33:35 > 0:33:40Three or four years ago, she was worth ?150-?200. Really? Yes.
0:33:40 > 0:33:44But she's back down to 70-100. Still not bad.
0:33:44 > 0:33:49Better than burning in a fire. Yes! Let's hope she does well. Thanks.
0:33:54 > 0:33:59Andrew, you're a big lad, what are you doing with a girl's bracelet?
0:33:59 > 0:34:01I found it at a boot sale last year.
0:34:01 > 0:34:05Did you? And... It's going to be cheap then.
0:34:05 > 0:34:10How cheap was it? It was a pound. A pound? A pound.
0:34:10 > 0:34:16Oh, God! She wanted ?2 for it. But you have to negotiate these things.
0:34:16 > 0:34:24I suppose then you didn't realise that it was a row of 39 diamonds? It was very dirty when I bought it.
0:34:24 > 0:34:29It didn't look expensive. I didn't think the gems would be diamonds.
0:34:29 > 0:34:35Was it mixed up with rubbish? Yes, like costume jewellery with bits missing.
0:34:35 > 0:34:40So I put it in the car door pocket and it was there for three months.
0:34:40 > 0:34:47And one day you decided to have it looked at? I found it again and thought, "The stones look sparkly."
0:34:47 > 0:34:51But I didn't think they'd be diamonds. They do look sparkly.
0:34:51 > 0:34:54Yes, they've cleaned up very well.
0:34:54 > 0:35:01There's 39 diamonds, which means a total carat weight of about 3.9 carats. Yeah.
0:35:01 > 0:35:06It's on the clasp. Is it marked on there as well? Just there.
0:35:06 > 0:35:09Oh, I see. 3.93.
0:35:09 > 0:35:14And it's 18-carat gold. 18-carat gold. Import marked for 1997.
0:35:14 > 0:35:19So it's modern. But very wearable, I would have thought. Not for me.
0:35:19 > 0:35:27Nobody in my family wants to wear it. Really? Have you got a wife or girlfriend? She doesn't want it.
0:35:27 > 0:35:32She'd rather have the money? I'd rather have the money.
0:35:32 > 0:35:36Yeah! So you're going to keep the money.
0:35:36 > 0:35:42Obviously replacing something like this is going to be quite expensive.
0:35:42 > 0:35:48But on the auction market, it'll be a lot less. Yes, fair enough.
0:35:48 > 0:35:55I'd say ?600-?800 as an auction estimate. I've had advice from our jewellery specialist.
0:35:55 > 0:35:59He reckons that it should make about ?750 or ?800.
0:35:59 > 0:36:04If we pitch it at 600-800, it shows the buyers it's here to sell.
0:36:04 > 0:36:10Hopefully that'll get a few people in after it. So we'll put a ?600 reserve.
0:36:10 > 0:36:15If it doesn't make that, you can have it back. It's very nice indeed.
0:36:15 > 0:36:19So what will take the bidders' fancy at auction?
0:36:19 > 0:36:21Will it be the tall Murano vases?
0:36:21 > 0:36:26Diana's Royal Worcester figure of March?
0:36:26 > 0:36:30Or the sparkling diamonds in the gold bracelet?
0:36:31 > 0:36:38The auction is about to start, but there's always time to look at something a bit special.
0:36:38 > 0:36:43I must show you this. It's not in the sale as it's a general sale.
0:36:43 > 0:36:48It's in one of Thomas Gaze's fine art sales later on in the year.
0:36:48 > 0:36:55It is a George I, early 18th century box. But what's inside it is earlier.
0:36:55 > 0:37:01It's from the Charles II period. If I lift that up, look how exquisite this is!
0:37:01 > 0:37:04It is an embroidery casket.
0:37:04 > 0:37:09And if I get it out very carefully, one of the legs is slightly loose.
0:37:09 > 0:37:12So if I just lift this out...
0:37:12 > 0:37:16and just put its little bun foot on there.
0:37:16 > 0:37:20Now, look at the detail that's gone into this.
0:37:20 > 0:37:27It would've been owned by the lady of the house, who would've taught her daughters embroidery skills.
0:37:27 > 0:37:32They would've actually done this and covered the box themselves.
0:37:32 > 0:37:36And it depicts things going on in their life.
0:37:36 > 0:37:44Look when I open the doors, it gets even better. And each one of these sections opens up.
0:37:44 > 0:37:48Just look at the detail of this. It's exquisite.
0:37:48 > 0:37:53This lid would open up. There'd be a looking-glass mirror in there
0:37:53 > 0:38:00and the compartment to keep her quills. But this would be full of lots of lace, threads and needles.
0:38:00 > 0:38:07Value - when this comes up for sale, it'll fetch between ?10,000 and ?15,000.
0:38:07 > 0:38:14It's very rare. And let's face it, you're never going to see another one like this again in your lives.
0:38:19 > 0:38:26I've just been joined by Matthew. Your two Murano glass vases are just about to go under the hammer.
0:38:26 > 0:38:33And you were worried they wouldn't sell because you reduced the reserve.
0:38:33 > 0:38:40What to? 50. I didn't want to take them home. It'd be nice if everyone reduced their reserves at auction
0:38:40 > 0:38:47because everything would sell. But then they might sell too cheaply. Don't play that dangerous game!
0:38:47 > 0:38:51The two Murano vases are going under the hammer now.
0:38:51 > 0:38:5567 is the Murano, very fine pieces.
0:38:55 > 0:38:59And I'm on a start of ?40.
0:38:59 > 0:39:04At 40 is the pair. Look at those at ?40. Now where's 5?
0:39:04 > 0:39:08Statement pieces. 45. 50. 5. We are in, yeah.
0:39:08 > 0:39:1060. 5. 70. 5.
0:39:10 > 0:39:15Front row bid now at 75. Who would like the 80?
0:39:15 > 0:39:19At the ?75, is that the price? At ?75.
0:39:19 > 0:39:2375 quid - it's not quite the top end.
0:39:23 > 0:39:25That's a fiver profit. Yes.
0:39:29 > 0:39:34Right, Diana's Worcester. We've got some real quality coming up.
0:39:34 > 0:39:41It's a lovely figure. ?70-?100 is what we want, Diana. I hope so. Let's hope we get the top end.
0:39:41 > 0:39:47What will you put the money towards? Well, I was going to share it between my children.
0:39:47 > 0:39:54But I'm going to Venice next week. I may spend it on the children in Venice. That sounds fantastic.
0:39:54 > 0:40:01You'll not buy much in Venice for 70 quid. I'll try. It's going under the hammer now.
0:40:01 > 0:40:06The Royal Worcester again. This is March. A nice figure in good order.
0:40:06 > 0:40:12And I start with ?40. Come on. We're in.
0:40:12 > 0:40:16And 5 is yours. 50's here. 5 is yours. 60's here.
0:40:16 > 0:40:195 is there. 70's here. 5 is yours.
0:40:19 > 0:40:22At ?75 now. And where is 80?
0:40:22 > 0:40:25At 75 now. This is good.
0:40:25 > 0:40:28?80 is now bid. Up a bit more.
0:40:28 > 0:40:33The fresh bid has the 80. And is there a 5? The ?80 takes it away.
0:40:33 > 0:40:36Hammer's gone down - ?80. Not bad.
0:40:36 > 0:40:39?80. ?80 - bang in the middle.
0:40:39 > 0:40:45That was a very good estimate, James. Thank you. Venice, here we go! Absolutely.
0:40:45 > 0:40:49Well, not me. You can come if you like.
0:40:53 > 0:41:00This is the jewel in the Flog It crown. It's a lovely nine-carat gold bracelet with 39 diamonds.
0:41:00 > 0:41:03This is what the show's all about.
0:41:03 > 0:41:09Buying something for a quid and hopefully realising its worth - ?800. Hopefully.
0:41:09 > 0:41:16I had a chat to the auctioneer earlier and he said for insurance purposes, three to four grand.
0:41:16 > 0:41:23But because it doesn't look quite right, it'll probably get turned into earrings or a ring.
0:41:23 > 0:41:30But he agrees with the value. I was advised by our jewellery specialist because I'm not great on jewellery.
0:41:30 > 0:41:37Do you do many of them? I was a house-husband for a year and I used to go to all the car boot sales,
0:41:37 > 0:41:40especially the ones during the week.
0:41:40 > 0:41:45You've got a good eye. Let's hope it pays dividends. This is it.
0:41:45 > 0:41:51Number 419, being the diamond bracelet. A lot of diamonds in here.
0:41:51 > 0:41:56I'll start at bottom-end estimate - ?600. 600 I have.
0:41:56 > 0:42:00Lowest bid. It's in. We've done it. Where's 20? At 620.
0:42:00 > 0:42:03640. 660. 680.
0:42:03 > 0:42:08700. 720. At ?720 now. Where's 40?
0:42:08 > 0:42:11Get in there. At 720. And 40 do you like?
0:42:11 > 0:42:15At 720. A lot of diamonds in this lot. At ?720.
0:42:15 > 0:42:19It is going at 720.
0:42:19 > 0:42:24Yes! Yeah. Excellent. What a turn of profit - one pound into 720!
0:42:24 > 0:42:31Excellent. What are you going to spend that on? I'm getting married next year, so um... Fair enough.
0:42:31 > 0:42:38It'll go on the honeymoon cos I want to go abroad. I've never been abroad. And the wedding.
0:42:38 > 0:42:44That's been paid for, thankfully. But I want a nice honeymoon. And what's her name? Melanie.
0:42:44 > 0:42:49Well, enjoy it, Melanie. Great result, Adam. Thank you.
0:42:54 > 0:43:01The auction's still going, but it's all over for our owners and what a fantastic day we've had in Diss!
0:43:01 > 0:43:08The jewel of the Flog It crown for me has got to be Andrew's gold bracelet with 39 diamonds.
0:43:08 > 0:43:12He bought it for one pound and sold it for a staggering ?720.
0:43:12 > 0:43:20So you've just got to be in the right place at the right time. Join me next time for more on Flog It!
0:43:35 > 0:43:39Subtitles by Subtext for Red Bee Media Ltd - 2006
0:43:39 > 0:43:42Email us at subtitling@bbc.co.uk