0:00:31 > 0:00:35Wrexham is the principal town of North East Wales.
0:00:37 > 0:00:41It was at the forefront of the Industrial Revolution.
0:00:41 > 0:00:44That was due to John "Iron Man" Wilkinson,
0:00:44 > 0:00:47who founded the Bersham Ironworks in the late 18th century
0:00:47 > 0:00:50and they produced cannon for the British Army
0:00:50 > 0:00:54and also cylinders for James Watt's first steam engine.
0:00:54 > 0:00:58Chugging along nicely today are our two experts Kate Bliss and Philip Serrell.
0:00:58 > 0:01:00They're quite nice.
0:01:00 > 0:01:06- Salt of the earth.- They'll be picking out the best antiques for our owners to take to auction.
0:01:06 > 0:01:09Whatever you do, stay with us until the end of the line!
0:01:12 > 0:01:18Where Philip Serrell has certainly found a very unusual collection to start the show.
0:01:20 > 0:01:23Bernadette, one word springs to mind.
0:01:23 > 0:01:25Why?
0:01:26 > 0:01:29I'm fascinated by it.
0:01:29 > 0:01:32SHE LAUGHS Fine, yes...
0:01:32 > 0:01:34Especially the frogs.
0:01:34 > 0:01:37- I love frogs.- Do you?
0:01:37 > 0:01:43I was interested in the development of the frog from the egg to the frog itself.
0:01:43 > 0:01:48- That's why I have them. - There's a maker's name here, which is T Gerrard & Co.
0:01:48 > 0:01:53They're in Pentonville Road in London.
0:01:53 > 0:01:56They produced models, chemicals and appartus.
0:01:56 > 0:02:00- These would have been produced for school laboratories?- Yes.
0:02:00 > 0:02:03And what we've got here are all sorts of things...
0:02:03 > 0:02:08We've got a section of the development of a fowl embryo.
0:02:08 > 0:02:11We've got your lovely frogs, haven't we?
0:02:11 > 0:02:13- Yeah.- We've got mussels.
0:02:13 > 0:02:17I tell you what - moules mariniere will never seem the same again, will it?
0:02:17 > 0:02:20How old are they? I guess '50s?
0:02:20 > 0:02:25- I would imagine so.- 1950s. They're made of plaster, aren't they?
0:02:25 > 0:02:28I believe most of them are plaster of Paris.
0:02:28 > 0:02:30How did you come by them?
0:02:30 > 0:02:36I work in a school and, some years ago, we were clearing a few things out.
0:02:36 > 0:02:43- These were for the skip, really, so I decided I would keep them.- Right.
0:02:43 > 0:02:47Strangely... I think there is a market for them.
0:02:47 > 0:02:51This would be great for a museum or someone who collects medical things.
0:02:51 > 0:02:56Provided it's advertised properly and promoted properly, which I'm sure they will be,
0:02:56 > 0:03:00- the marketplace will decide the value.- Right.
0:03:00 > 0:03:03Erm... I'm really guessing here.
0:03:03 > 0:03:09I think we've got to estimate them at £80-£120, that sort of region.
0:03:09 > 0:03:14I think that we can put a reserve on them of around the £60 mark.
0:03:14 > 0:03:19Erm... But I really wouldn't be surprised...
0:03:19 > 0:03:23if they did go and make a lot more,
0:03:23 > 0:03:28because from my point of view, it's just really guesswork. Why are you getting rid of these?
0:03:28 > 0:03:33- I've got nowhere to put them. - OK.- I'm fascinated by them, but I've nowhere to put them.
0:03:33 > 0:03:35- Which is your favourite one? - I love the frogs.
0:03:35 > 0:03:39These are good, too. I like the insides of...
0:03:42 > 0:03:46- Helen, why have you brought this pot along today? - I'm fed up of it!- Are you?
0:03:46 > 0:03:48- Yes.- Why is that, then?
0:03:48 > 0:03:51I've had it a while. I liked it when I bought it,
0:03:51 > 0:03:54but like me - I get fed up of things easily -
0:03:54 > 0:03:58and my daughter died two years ago of a brain tumour,
0:03:58 > 0:04:01so I thought I'd give some money to the cancer Macmillan Fund.
0:04:01 > 0:04:07- What a lovely idea.- In order to do that, that's gonna go.- OK, so where did you buy it from?
0:04:07 > 0:04:11- A car-boot sale.- Car-boot sale? OK, you've got a good eye, haven't you?
0:04:11 > 0:04:14- How long ago was that? - About two years.
0:04:14 > 0:04:17- Right, and what did you pay, dare I ask?- £10.
0:04:17 > 0:04:20- £10?- Mmm.- Did you think that was good at the time?
0:04:20 > 0:04:23Yeah, I did. I didn't really look.
0:04:23 > 0:04:25I liked the colours, so I got it.
0:04:25 > 0:04:30- Did you know what you were buying? - I knew it was Doulton. Apart from that, nothing else.- Right.
0:04:30 > 0:04:34- You're right, the colour is the best thing about it, isn't it?- Yeah.
0:04:34 > 0:04:39And the shape. It's called Doulton's flambe range
0:04:39 > 0:04:42and it harks back really to Japanese porcelain.
0:04:42 > 0:04:46This very blurred red colour is rather like what the Japanese
0:04:46 > 0:04:50called sang de boeuf - literally ox blood.
0:04:50 > 0:04:55The flambe glaze was first discovered by a chap called Bernard Moore,
0:04:55 > 0:04:58who worked at the Doulton factory
0:04:58 > 0:05:04and I think this particularly shows off the effect well.
0:05:04 > 0:05:09It's almost got this flame-like pattern around the frieze, hasn't it?
0:05:09 > 0:05:14If we turn it up, we can see that flambe's stamped on the bottom.
0:05:14 > 0:05:18You've got the Doulton stamp and then "flambe".
0:05:18 > 0:05:21- It actually says "veined", doesn't it?- Yeah.
0:05:21 > 0:05:24Which describes it well. What do you think of this pitied effect?
0:05:24 > 0:05:26- It looks like honeycomb.- Yeah.
0:05:26 > 0:05:31- It gives it a bit of a three-dimensional effect, really. - It's a nice piece.
0:05:31 > 0:05:36- It was quite expensive to produce, this flambe ware.- I imagined it was.
0:05:36 > 0:05:40And it was produced by putting very small amounts of copper oxide into the glaze
0:05:40 > 0:05:44and then releasing, in a very controlled environment,
0:05:44 > 0:05:48small amounts of oxygen into the kiln while it was fired.
0:05:48 > 0:05:52- It's still produced by Doulton today. It is a popular range.- Yes.
0:05:52 > 0:05:54I see a few pieces up and down.
0:05:54 > 0:05:57What about value? You paid £10...
0:05:57 > 0:05:59- Just over 50?- Just over 50?
0:05:59 > 0:06:00If I'm lucky!
0:06:00 > 0:06:04Well, it's not actually an old piece.
0:06:04 > 0:06:06I wouldn't call it antique.
0:06:06 > 0:06:09This flambe range came in in the earlier 20th century,
0:06:09 > 0:06:14but looking at that piece, I'd probably say it's 1970s in date.
0:06:14 > 0:06:20Because of that it's fairly usual, in fact, it's not a very rare piece.
0:06:20 > 0:06:25- That affects the value. I would think we're gonna be more than your £50.- Good.
0:06:25 > 0:06:31- I would hope, at auction, we're going to get between 100 and 150 for it.- That's fine. Great.
0:06:31 > 0:06:34- Lovely.- That's got to go. - That's got to go, all right.
0:06:34 > 0:06:37- Let's hope we can shift it for you. - OK, thank you, Kate.
0:06:50 > 0:06:54Pauline, thank you so much for bringing in a piece of furniture
0:06:54 > 0:06:57you know we don't get a lot of. This is exceptionally smart.
0:06:57 > 0:07:00- It's a little Sheraton work table. - Sheraton?- Sheraton, yes.
0:07:00 > 0:07:03Not actually made by his hands, he was the designer.
0:07:03 > 0:07:07Why are you bringing this in and I want to know its history to you?
0:07:07 > 0:07:11My husband's inherited it within the last few months from his aunt.
0:07:11 > 0:07:15- Right.- She's had it in her family for years. - A long, long time.- Yes.
0:07:15 > 0:07:18Obviously, you want to flog it, you don't like it, then?!
0:07:18 > 0:07:20It's beautiful, but we've nowhere to put it.
0:07:20 > 0:07:23I have an ordinary sewing box, I wouldn't use it,
0:07:23 > 0:07:27- and I'd rather have some money.- OK. It's beautifully proportioned.
0:07:27 > 0:07:29It is what you would expect of Sheraton.
0:07:29 > 0:07:33Earlier part of the 19th century, born in the late-18th century.
0:07:33 > 0:07:38He lightened a lot of Chippendale's designs.
0:07:38 > 0:07:41If you had anything that was overworked or heavy,
0:07:41 > 0:07:44he made thing much more elegant and demure - a slenderness.
0:07:44 > 0:07:46It's very elegant.
0:07:46 > 0:07:50The legs just tell you it's Sheraton straightaway.
0:07:50 > 0:07:52It really is quite defined, isn't it?
0:07:52 > 0:07:55He also worked with lots of veneers and lots of inlays
0:07:55 > 0:08:00and we've got a lovely little shell inlay here which has been burnt off.
0:08:00 > 0:08:01Beautifully done.
0:08:01 > 0:08:07It is made of Cuban mahogany. It's got a lovely, tight, reddish grain.
0:08:07 > 0:08:09- I like the front.- I do.
0:08:09 > 0:08:12That's a Serpentine front - that's a lot of craftsmanship.
0:08:12 > 0:08:15That's where the value comes in.
0:08:15 > 0:08:20OK. It's got a lovely cross stretcher with a diamond lozenge just to hide the joints.
0:08:20 > 0:08:23It's had a break on that joint. I looked.
0:08:23 > 0:08:28There's a little metal strap which is holding the cross stretcher together.
0:08:28 > 0:08:29Let's look at the interior.
0:08:31 > 0:08:33So you've, basically, not even used this?
0:08:33 > 0:08:37No, I left all that was in, because I didn't know how old the things were.
0:08:37 > 0:08:41- It's got one or two things wrong. I don't think these handles are original.- Oh?
0:08:41 > 0:08:43No. They're slightly too big.
0:08:43 > 0:08:47- The hinges have been changed. - Yes. My son said that.
0:08:47 > 0:08:51And you got a little bit of this inlay missing.
0:08:51 > 0:08:55- Do you see the stringing detail? - Yes.- That's missing.
0:08:55 > 0:09:01If this was 100% right, I think we'd be looking at 800 to £1,200.
0:09:01 > 0:09:03- Seriously.- But it's not?
0:09:03 > 0:09:07It's not. I'm gonna put an auction valuation of 300 to £400 on this.
0:09:07 > 0:09:11- That's still very nice. - Are you happy with that?- Yes. - OK, OK. Let's do it, then!
0:09:16 > 0:09:18Alan, this is quite an imposing portrait.
0:09:18 > 0:09:24- It is, yes.- Some might say she's got quite an intoxicating beauty, really, hasn't she?- Yes, she has.
0:09:24 > 0:09:27Why have you brought her along today?
0:09:27 > 0:09:30It was me mother's and she's had it for 60 years.
0:09:30 > 0:09:34She bought it from Morton Hall, before it was pulled down, in Burnley.
0:09:34 > 0:09:36She's 90 now, me mother, and in a nursing home.
0:09:36 > 0:09:39She said, "You can do what you want with the painting."
0:09:39 > 0:09:44- That's why I brought it along. - Don't you want to hold onto her? - No. She can go, I'm afraid.
0:09:44 > 0:09:47Let someone else have a look at her.
0:09:47 > 0:09:50- You're certainly not intoxicated by the sound of things!- No.
0:09:50 > 0:09:53Well, let's have a look at the signature,
0:09:53 > 0:09:57because she is signed, isn't she, down the bottom left-hand corner here.
0:09:57 > 0:10:03This is an artist known as Aurelia Della Corte Szvatek.
0:10:03 > 0:10:06We know little about her, actually.
0:10:06 > 0:10:09We can say that she was Italian.
0:10:09 > 0:10:13She was active certainly around 1900-1910.
0:10:13 > 0:10:18And looking at the canvas here, I would certainly say this dates
0:10:18 > 0:10:21from probably circa 1900.
0:10:22 > 0:10:27In Europe, post 1908,
0:10:27 > 0:10:30painting was very much influenced
0:10:30 > 0:10:34by the huge hit Picasso and Braque were having in Paris.
0:10:34 > 0:10:38Enormous influence, which was really the start of Cubism.
0:10:38 > 0:10:40A completely different art style.
0:10:40 > 0:10:44This shows no sign of Cubism, whatsoever.
0:10:44 > 0:10:47In fact, it's very much in a Romantic vein.
0:10:47 > 0:10:49She's very suggestive, really, in the way
0:10:49 > 0:10:52that she's just slightly revealing herself
0:10:52 > 0:10:55and she has her hand held up to her chest.
0:10:55 > 0:11:00The actual style of the painting itself - there's a certain amount of impasto, the oil is built up
0:11:00 > 0:11:06in layers, so it stands up almost in peaks on the canvas.
0:11:06 > 0:11:09It's more suggestive of the Impressionist style,
0:11:09 > 0:11:12late 19th-century, rather than this more modern vein
0:11:12 > 0:11:16that was happening in Europe in the early part of the 20th century.
0:11:16 > 0:11:21We've got signs of mildew or mould growing here. And here.
0:11:21 > 0:11:24And again, there's another patch here.
0:11:24 > 0:11:28That's going to affect the price, just slightly.
0:11:28 > 0:11:33I've looked up this artist and, in fact, the only other pieces
0:11:33 > 0:11:37that are recorded at auction are water colours.
0:11:37 > 0:11:44I know that a pair of water colours, much smaller in size, were sold at auction in about 1990.
0:11:44 > 0:11:46They sold for roughly £1,500.
0:11:46 > 0:11:50I would say at auction, certainly,
0:11:50 > 0:11:54I can see her making between £2,000 and £4,000.
0:11:54 > 0:11:58I would like to put a reserve certainly of 2,000.
0:11:58 > 0:12:03- Yeah, that's fine. - If two people really want her, it may take it up even further.
0:12:03 > 0:12:04That's fine, yes.
0:12:04 > 0:12:07It's a good price is that.
0:12:07 > 0:12:10- Are you happy with that? - I'm really happy with that, yes!
0:12:12 > 0:12:15A great range today, from 19th-century furniture,
0:12:15 > 0:12:21through to 20th-century pottery and an unusual set of medical models to intrigue the bidders.
0:12:21 > 0:12:25But it's Alan's painting, which is causing auctioneer
0:12:25 > 0:12:28Anthony Parry some concern at his saleroom in Mold.
0:12:28 > 0:12:32What do you think of this one? This is an oil on canvas,
0:12:32 > 0:12:35A Szvatek, I think that's how you pronouce it.
0:12:35 > 0:12:39Kate has put £2,000 to £4,000 on this oil painting. It's beautifully painted.
0:12:39 > 0:12:42It's put on with a pallet knife and with brush. It's got texture.
0:12:42 > 0:12:46The condition is perfect. The frame is absolutely stunning.
0:12:46 > 0:12:49The whole thing is a bit of a mystery.
0:12:49 > 0:12:52It's shrouded in an enigma.
0:12:52 > 0:12:58There are two A Della Corte Szvatek.
0:12:58 > 0:13:04One was Aurelia and the other was Aranka.
0:13:05 > 0:13:10Is Aurelia a man's name or a lady's name?
0:13:10 > 0:13:14Were they two sisters or was it husband and wife?
0:13:14 > 0:13:19- Could be.- In 1910, one of them did exhibit in the RA.
0:13:19 > 0:13:24- The Royal Academy. That adds some weight to the value, really. - There's a bit of quality there.
0:13:24 > 0:13:30We've checked our sales index and there hasn't been any sold in the last few years.
0:13:30 > 0:13:35- The last one was about ten years ago and it only made £500.- Really?- Yes.
0:13:35 > 0:13:42If it had come in here, I would only have put £800 to £1,200 on it. I don't know about you.
0:13:42 > 0:13:44£800 to £1,200 is about right, I can see it doing that.
0:13:44 > 0:13:48- I'd love to see it do the £4,000. - I certainly would.
0:13:48 > 0:13:52I'd love to see Alan's face and see him go home with that sort of money.
0:13:52 > 0:13:56Yes. We've had interest in it, but not that much interest.
0:13:56 > 0:13:58What's your gut feeling?
0:13:58 > 0:14:02- I don't think it'll do it. - You don't think it'll do it?- No.
0:14:02 > 0:14:08Well, in a moment, our items are just about to go under the hammer. So watch this space.
0:14:12 > 0:14:19So a mystery wrapped in an enigma. That could unsettle the buyers, but let's keep our fingers crossed.
0:14:19 > 0:14:22First under the hammer is the Doulton flambe vase,
0:14:22 > 0:14:26spotted by eagle-eyed Helen at a car-boot sale.
0:14:26 > 0:14:28- Kate's put a good price on it. - Yeah.
0:14:28 > 0:14:32- Why did you get it so cheap? - I dunno, lucky, I guess.
0:14:32 > 0:14:34You're just lucky. You have the gift.
0:14:34 > 0:14:36Well, I wouldn't say that, but...
0:14:36 > 0:14:41I wish I had that sort of luck. Have you been to a car-boot and bought something like that?
0:14:41 > 0:14:45- No, they all know me! - Yeah, it gets worse, doesn't it? - They all pop their prices up!
0:14:45 > 0:14:48It's not fair, is it? We'll have to go incognito, in disguise.
0:14:48 > 0:14:51This is it. This is our lot. Good luck, both of you.
0:14:51 > 0:14:55170, a rather nice flambe vase now.
0:14:55 > 0:14:58Another Royal Doulton piece.
0:14:58 > 0:15:05The flambe one... 50, I'm bid. £50...5...55...60...65...70.
0:15:05 > 0:15:065...80...5.
0:15:06 > 0:15:1490. 90. Five is a catalogue right behind you, sir. 95. 100? £100.
0:15:14 > 0:15:17105...110...
0:15:17 > 0:15:21115, the catalogue. 120.
0:15:21 > 0:15:26125. 125, the lady's winning now.
0:15:26 > 0:15:28130's a fresh bidder.
0:15:28 > 0:15:31135...140...
0:15:31 > 0:15:33145, changes his mind.
0:15:33 > 0:15:36150, sir? 150. Another five?
0:15:36 > 0:15:39- This is good.- 155...160...
0:15:39 > 0:15:42160. All done at £160? Are we finished?
0:15:45 > 0:15:48- Well done.- Thank you. - What will you put the money towards?
0:15:48 > 0:15:52- Part of it will go to Macmillan. - The cancer research?- Yeah.
0:15:52 > 0:15:57There's a bit missing... Oh, there's a bit missing on me hall table now.
0:15:57 > 0:16:01- Your bit's missing. Helen's bit's missing. What's missing? - I'm not telling you!
0:16:01 > 0:16:04- Good luck with your bit. - Thanks. ..Thanks.
0:16:04 > 0:16:08- A pleasure, well done, you. - What a great result.- Yes, great.
0:16:12 > 0:16:17I've just been joined by Alan and we've got that oil painting going under the hammer
0:16:17 > 0:16:19with Kate's valuation of £2,000-£4,000.
0:16:19 > 0:16:22We did a bit of background history. It was very vague.
0:16:22 > 0:16:28I'd value that at around £600 to £1,200 and that's what Anthony the auctioneer said.
0:16:28 > 0:16:32This is not putting Kate down at all, because it is relative.
0:16:32 > 0:16:35I hope that sells for £2,000.
0:16:35 > 0:16:40The only research we've got of items that have gone to auction by the artist are only water colours.
0:16:40 > 0:16:45They're works on paper that, generally speaking, make a lot less than oils.
0:16:45 > 0:16:48Those are making £700 to £1,000.
0:16:48 > 0:16:52So going on that basis, something of this quality ought to be in that region.
0:16:52 > 0:16:56I've stuck my neck out on this one. This is the one I'm worried about.
0:16:56 > 0:17:00But Alan has come to me and said, "Look, Kate, how much interest has there been?"
0:17:00 > 0:17:04I said, "Not as much as I'd hoped before the sale, but you never can tell."
0:17:04 > 0:17:06He said, "I don't want to take it home with me."
0:17:06 > 0:17:09What have you done, Alan? Tell me.
0:17:09 > 0:17:12- I've reduced the reserve on it. - Reserve?
0:17:12 > 0:17:17- To how much?- To £1,800.- You've dropped it a couple of hundred quid.
0:17:17 > 0:17:20I... I hope it sells.
0:17:20 > 0:17:24I just hope it sells. I don't think you've dropped it enough.
0:17:24 > 0:17:26I just hope you prove me wrong.
0:17:26 > 0:17:28445...
0:17:28 > 0:17:32is A Delle Corte Szvatek - an oil on canvas.
0:17:32 > 0:17:35- There's been a lot of interest. - Oh!
0:17:35 > 0:17:37Perhaps it's last-minute interest.
0:17:37 > 0:17:41What shall we say for it? 500, thank you. £500.
0:17:41 > 0:17:44£500, it's a start, isn't it? £500.
0:17:44 > 0:17:46600...700...
0:17:46 > 0:17:49- 800.- We're going in the right direction.
0:17:49 > 0:17:51- We are, aren't we?- £800.
0:17:51 > 0:17:58£800. 900, is there? £900. £900. £900.
0:17:58 > 0:18:01All finished at £900?
0:18:01 > 0:18:05- Alan, it's going back in the car. - Going back in the car, yeah.
0:18:05 > 0:18:08- You like it, though? - Yes, it's a nice painting.
0:18:08 > 0:18:11That's a plus factor. It can go on the wall and you can enjoy it.
0:18:11 > 0:18:13Yeah, I can put it in another sale.
0:18:13 > 0:18:16You know the value, you know it's got nine in the room.
0:18:16 > 0:18:21- When he said there's gonna be lots of interest, I thought... - I had high hopes then.
0:18:21 > 0:18:23No, we got that one wrong, I think.
0:18:23 > 0:18:27It depends who's here on the day. Give it a rest and you never know.
0:18:27 > 0:18:30Yes, we'll try to get... We'll see what we get for it.
0:18:30 > 0:18:33I still think we ought to get over the thousand for it.
0:18:43 > 0:18:47- Are you ready for this, Pauline? - Yes.- So am I, I'm a little nervous.
0:18:47 > 0:18:50We've got £300 to £400 riding on this Sheraton sewing table.
0:18:50 > 0:18:53It's a gorgeous bit of Georgian furniture.
0:18:53 > 0:18:59Everyone's saying right now, there's never a better time to buy brown furniture for an investment.
0:18:59 > 0:19:02He says, fingers crossed.
0:19:02 > 0:19:05What shall we say for the inlaid mahogany sewing table?
0:19:05 > 0:19:07Pretty little cabinet.
0:19:07 > 0:19:12£100, I'm bid. £100...125...150...
0:19:12 > 0:19:16175...200...225...
0:19:16 > 0:19:18250. 250.
0:19:18 > 0:19:21260.
0:19:21 > 0:19:24270...280... 290, is it?
0:19:24 > 0:19:29290's over there. Five?
0:19:29 > 0:19:34295, thank you. 295...300...
0:19:34 > 0:19:37Can I squeeze another fiver out of you? No.
0:19:37 > 0:19:40£300 is this side. All done at £300?
0:19:40 > 0:19:42- Are we quite sure at £300? - GAVEL BANGS
0:19:42 > 0:19:46- A little bit of pressure.- There was. It was slow at the beginning.
0:19:46 > 0:19:48What will you do with the £300?
0:19:48 > 0:19:51We've three children. We'll share it with them.
0:19:51 > 0:19:54- Oh, that's easy to divvy up, isn't it?- It is.
0:19:54 > 0:19:59Thank you very much for bringing furniture in, because it makes my day.
0:19:59 > 0:20:01- I love talking about it. - You do. It was obvious that.
0:20:06 > 0:20:09I've waited a long time for this moment, a good three or four weeks.
0:20:09 > 0:20:12The most unusual lot I've seen on Flog It! in four years.
0:20:12 > 0:20:15It's Bernadette's 49 medical parts.
0:20:15 > 0:20:17You've got to laugh at that, surely!
0:20:19 > 0:20:21- You salvaged these. - Yes, I did.- From a skip.
0:20:21 > 0:20:24I know Philip has done a great valuation.
0:20:24 > 0:20:27- 80 to 120.- The auctioneer's friend.
0:20:27 > 0:20:29The auctioneer's friend, which we both agreed with,
0:20:29 > 0:20:32because we've not seen anything like it.
0:20:32 > 0:20:35Hats off to you, Philip, cos it's a brilliant choice to pick.
0:20:35 > 0:20:37It's so unusual. He's stuck his neck out.
0:20:37 > 0:20:40The thing is, if Anthony's got them on the internet
0:20:40 > 0:20:45- and contacted specialists, they'll make their money.- There's a phoneline booked.- Excellent.
0:20:45 > 0:20:49Which means someone's serious, so we just need one other person.
0:20:49 > 0:20:51Well, what do you say about these things?
0:20:51 > 0:20:55Good gracious me! A collection of 49
0:20:55 > 0:21:00various painted plaster of Paris models of anatomical parts.
0:21:00 > 0:21:05I think we've got the life-cycle of the tadpoles and the frog.
0:21:05 > 0:21:08We've certainly got two that look very much like ET.
0:21:08 > 0:21:10LAUGHTER
0:21:10 > 0:21:13- I'm lost for words. - Yeah, I bet he is.
0:21:13 > 0:21:16£20 I've got to start.
0:21:16 > 0:21:22£20...30. £30...£40...£50...
0:21:22 > 0:21:23£60.
0:21:23 > 0:21:26- £65...70...- In the room now.
0:21:26 > 0:21:28Five. 80?
0:21:28 > 0:21:34£80...85...90...95...
0:21:34 > 0:21:37100...110...
0:21:37 > 0:21:40120.
0:21:40 > 0:21:42125.
0:21:44 > 0:21:46130. Five.
0:21:46 > 0:21:49140. Five.
0:21:49 > 0:21:53150...155...
0:21:53 > 0:21:55160. Five.
0:21:55 > 0:21:57170.
0:21:57 > 0:21:59Five. 180.
0:21:59 > 0:22:03185, thank you. 185. 190?
0:22:03 > 0:22:09190. Have five. 195? 195?
0:22:09 > 0:22:12Yep. 195.
0:22:12 > 0:22:14200.
0:22:14 > 0:22:16Anybody else? Missed no-one?
0:22:16 > 0:22:20- Come on, Martin, 210. - AUDIENCE GASPS
0:22:21 > 0:22:25210...220...230....
0:22:25 > 0:22:29240. No, that'll do. 240 over here.
0:22:29 > 0:22:32Can we persuade anyone else to put them on the mantelpiece?
0:22:32 > 0:22:35- All done at 240, then? - GAVEL BANGS
0:22:35 > 0:22:40- 240 quid! That's so good, isn't it?- Yeah, thank you.
0:22:40 > 0:22:44Well above top end. Good diagnosis from Dr Lot here.
0:22:44 > 0:22:47It's great when you see things like this, isn't it?
0:22:47 > 0:22:50That's what makes the programme - when you have a good bit of fun.
0:22:50 > 0:22:53Yeah. It's so unusual and we want to see more stuff like this.
0:22:53 > 0:22:57If you've got stuff like that, bring it in to one of our valuation days.
0:22:57 > 0:23:00Details of the venues you can find on the website.
0:23:00 > 0:23:04Just click onto the website. We'll see you there.
0:23:24 > 0:23:28I'm here at St Giles Parish Church, the largest in Wales.
0:23:28 > 0:23:32Throughout its history, it's always been a centre for music with a very fine choir,
0:23:32 > 0:23:36a superb organ and a particularly fine set of bells.
0:23:42 > 0:23:47For centuries, the sound of church bells has been evocative of a very British way of life.
0:23:47 > 0:23:53Whether calling the faithful to worship, celebrating victories at sea or lamenting somebody's death.
0:23:55 > 0:24:00There's around 5000 towers in this country, each containing five or more bells.
0:24:00 > 0:24:04Each week they're run by a dedicated band of enthusiastic volunteers.
0:24:04 > 0:24:07There's around 50,000 bell-ringers in this country,
0:24:07 > 0:24:11whose full impact was heard recently at the dawning of our new millennium.
0:24:11 > 0:24:14All ready? Treble's going.
0:24:14 > 0:24:15She's gone.
0:24:15 > 0:24:19BELLS RING
0:24:23 > 0:24:25Three treble.
0:24:25 > 0:24:29It's only in Britain that bells of different sizes and tones are rung
0:24:29 > 0:24:35in sequence to produce structured music known as change ringing.
0:24:35 > 0:24:37Although it's a highly complex art form,
0:24:37 > 0:24:40bell-ringing can be engaged at different levels.
0:24:40 > 0:24:46- To talk me through the ropes is tower captain and head bell ringer, David Spalding. Hi, David.- Hello.
0:24:46 > 0:24:51Before we start, how did you get involved in bell-ringing and how long have you been doing it?
0:24:51 > 0:24:52Well, I started about 15 years ago.
0:24:52 > 0:24:58My eldest daughter went to wanted to learn to ring and I came along to keep her company
0:24:58 > 0:25:00and got called in and enjoyed it ever since.
0:25:00 > 0:25:04- Do you have to have an aptitude for it?- I don't think so.
0:25:04 > 0:25:06I think you have to be prepared to learn
0:25:06 > 0:25:11and I think you have to be prepared to practice but that said, most people can ring.
0:25:11 > 0:25:15It usually takes a few months to learn to ring reasonably competently...
0:25:15 > 0:25:19- With practice.- OK. One final question, what chance have I got?
0:25:19 > 0:25:22- I'd really like to have a go. Could I?- Certainly.
0:25:25 > 0:25:31Right, when we start with a new ringer, the first thing
0:25:31 > 0:25:34- is I have to instruct them to let go when I say so.- OK.
0:25:34 > 0:25:38There are two parts to bell-ringing.
0:25:38 > 0:25:42One is called hand stroke, which is where we pull on the sally.
0:25:42 > 0:25:46The other is called tail stroke, where we pull on the tail.
0:25:46 > 0:25:52We'll start with you pulling the sally, but you must remember to let go when I say so.
0:25:52 > 0:25:56- OK.- The first thing is reach up, don't pull it yet.
0:25:56 > 0:25:59Pull and let go now. That's it.
0:25:59 > 0:26:02Whoops, don't catch it.
0:26:02 > 0:26:04You pull very hard.
0:26:04 > 0:26:06- Strong.- Yes.
0:26:06 > 0:26:09- So not too hard. - It's finesse really.
0:26:09 > 0:26:11Wait. Now bring your hands up.
0:26:11 > 0:26:13Got it. It's catching it.
0:26:13 > 0:26:17- Did you feel you can pull that? - I can do it now. Watch. - Go up. You got it?
0:26:17 > 0:26:18Yeah.
0:26:18 > 0:26:21Catch and pull. Let go. That's it.
0:26:21 > 0:26:24And catch, pull and let go.
0:26:26 > 0:26:30Right, let me take it. I'm gonna stand it this time.
0:26:30 > 0:26:33RINGING STOPS
0:26:33 > 0:26:38- Now, that's hand stroke, so do you want to have a go at the tail stroke?- Yes.
0:26:38 > 0:26:40With this one, you hang on to the rope
0:26:40 > 0:26:43- and I'll look after this bit.- OK.
0:26:43 > 0:26:50What will happen with the tail stroke is that we'll start off with me pulling the sally,
0:26:50 > 0:26:55so the rope will go up and you'll have to bring your arms up with the tail.
0:26:55 > 0:26:57- Then pull... - Then pull down. Not too hard.- No.
0:26:57 > 0:27:01- That will bring the rest of the rope inside down. Are you ready?- Yeah.
0:27:01 > 0:27:04- It doesn't matter if you make a mess of it. Are you ready?- Yep.
0:27:04 > 0:27:08Here it goes. Don't forget to let you get arm go up with the rope.
0:27:10 > 0:27:12Off she goes. And pull.
0:27:12 > 0:27:14Not too hard. That's it.
0:27:14 > 0:27:18Let it pull your hand up, because your hand is going up before the rope is going up.
0:27:20 > 0:27:22Now pull.
0:27:22 > 0:27:26- Here she comes.- Yeah.
0:27:27 > 0:27:30- It keeps you fit, this, doesn't it?- Yeah.
0:27:30 > 0:27:35The art of bell-ringing is when we change the position of the bells as we're ringing,
0:27:35 > 0:27:38sometimes we have to let the bell go all the way up.
0:27:38 > 0:27:41Or you cut them short.
0:27:42 > 0:27:46'If you think that looks tricky, try putting the two together.'
0:27:46 > 0:27:50First of all you need to take the tail in your left hand.
0:27:51 > 0:27:57Then reach up onto the sally with your left hand, put your right hand above it.
0:27:57 > 0:28:01This time, when you pull, remember you let go of the sally, but you don't let go of the tail.
0:28:01 > 0:28:05- OK. Down.- Let go.
0:28:05 > 0:28:09Both hands up. Here she comes. Both hands. That's it.
0:28:10 > 0:28:15- Let go. Good.- Got it. - Bit scary, but it's good.
0:28:21 > 0:28:23All right?
0:28:23 > 0:28:28- You do feel like there is a really - big responsibility resting on your shoulders by doing this.
0:28:28 > 0:28:31- You do. If you look up, it's actually...- It's worse.
0:28:31 > 0:28:33It's worse, yeah.
0:28:33 > 0:28:36Away you go.
0:28:36 > 0:28:37You're doing it.
0:28:37 > 0:28:39And pull.
0:28:41 > 0:28:43- Fantastic.- Brilliant.
0:28:43 > 0:28:45I've got it.
0:28:54 > 0:28:58David is certainly a great teacher and here in Wrexham,
0:28:58 > 0:29:01the bells themselves are valuable antiques in their own right.
0:29:01 > 0:29:05I had to come up to the bell tower to take a look at these bells.
0:29:05 > 0:29:09They're huge and LOUD! Thank goodness they've stopped ringing!
0:29:09 > 0:29:14They were cast in Gloucester in 1726 by Britain's foremost bell caster, Abraham Rudhall.
0:29:14 > 0:29:17He's as good as you're going to get, believe me.
0:29:17 > 0:29:20It's really rare to see five of his bells in any one church.
0:29:20 > 0:29:22Wrexham, well, they've got ten of them!
0:29:29 > 0:29:33Of course the best way to hear the bells ring is on the outside of the church
0:29:33 > 0:29:35and not on the inside,
0:29:35 > 0:29:40so I'm going to leave you in the comfortable hands of David Spalding and the St Giles ringers.
0:29:40 > 0:29:42BELLS RING
0:29:50 > 0:29:56And they're still queuing up for us at the valuation day. So it's time to get back to the tables.
0:30:03 > 0:30:06- Betty, how are you?- I'm fine.- Fine.
0:30:06 > 0:30:10- Tell me about this. - It was given to me by my aunt,
0:30:10 > 0:30:14about six years ago. I'd always liked it as a child,
0:30:14 > 0:30:18so she said, "Before anything happens to me, I'll give it to you now,"
0:30:18 > 0:30:22and that's why I have it. But my two sons don't like it.
0:30:22 > 0:30:25- But you like it.- I like it. - What do you reckon, Neville?
0:30:25 > 0:30:28- I reckon we'd enjoy the money more. - The money!
0:30:28 > 0:30:30Right, so what is it?
0:30:30 > 0:30:32- It's a clock.- Where's it come from?
0:30:32 > 0:30:36- France.- How do you know that? - I was told.
0:30:36 > 0:30:39And it was on the back of the clock.
0:30:39 > 0:30:42"Le Roy et Fils" it's got written on the back,
0:30:42 > 0:30:48who were good French clockmakers. I reckon it's probably about...18...
0:30:48 > 0:30:511860, 1880.
0:30:51 > 0:30:54It hasn't got a glass dial on the front, has it?
0:30:54 > 0:30:57- Never had.- Why's that?- No idea. - I'll tell you what I think.
0:30:57 > 0:31:01I don't think this has ever had a glass dial,
0:31:01 > 0:31:04but what it would have done is probably sat under a glass dome,
0:31:04 > 0:31:07which has probably been broken.
0:31:07 > 0:31:10This would have been raised slightly off the ground, on a wooden plinth.
0:31:10 > 0:31:14- Yeah.- And I also think that, either side of this,
0:31:14 > 0:31:18would have been two candelabra or...
0:31:18 > 0:31:22um, vases, and it would have been a clock garniture.
0:31:22 > 0:31:25That's all I ever remember is this. Nothing else.
0:31:25 > 0:31:28It's quite nice.
0:31:28 > 0:31:32You've got these little panels...
0:31:32 > 0:31:36and that's repeated with a figure down here. In my opinion,
0:31:36 > 0:31:42it's one of those things that looks more valuable than it is. It looks quite expensive.
0:31:42 > 0:31:45I think an estimate on this would probably be in the £300-400 region.
0:31:45 > 0:31:49And we'd put a reserve on it of £250.
0:31:49 > 0:31:52- Are you happy with that?- Fine, yes.
0:31:52 > 0:31:54Are you going to get the money or are the kids?
0:31:54 > 0:31:57- I'm going to get it. - What will you do with that?
0:31:57 > 0:31:59Probably towards a holiday.
0:31:59 > 0:32:02- Are you being left out or are you going to take him on holiday? - She'll take me.
0:32:02 > 0:32:07You'll take him. Every cloud's got a silver lining.
0:32:07 > 0:32:08Things are looking up.
0:32:08 > 0:32:11- We do everything together. - I'm very pleased to hear it.
0:32:11 > 0:32:15- I hope it gets sold otherwise you won't have a holiday.- No.
0:32:15 > 0:32:17Fingers crossed.
0:32:28 > 0:32:30Oh, look at these. These look a little bit of fun.
0:32:30 > 0:32:31Let's have a look.
0:32:31 > 0:32:34Do you like them?
0:32:34 > 0:32:37- No!- That's why you're here flogging them, is it?
0:32:37 > 0:32:39I think they're worth 60 to £80 of anybody's money.
0:32:39 > 0:32:41Right, thank you.
0:32:41 > 0:32:43- Each!- Each?
0:32:48 > 0:32:50It's not often we have twins on the show.
0:32:50 > 0:32:53Pretty identical twins as well.
0:32:53 > 0:32:57So I don't get you muddled up, we've got Jill and Jackie.
0:32:57 > 0:33:00- That's the right way round, isn't it?- Yes.- Got it.
0:33:00 > 0:33:02You've brought really different things in.
0:33:02 > 0:33:05Tell me about this lovely little pendant.
0:33:05 > 0:33:08My mother gave it to me many years ago.
0:33:08 > 0:33:12I think it's a beautiful piece of art really.
0:33:12 > 0:33:16If we hold it up carefully, we can see that it's painted on ivory,
0:33:16 > 0:33:18a portrait of a young girl -
0:33:18 > 0:33:21a very commercial subject as opposed to an older lady or a gent.
0:33:21 > 0:33:24Then it's covered in a rock crystal -
0:33:24 > 0:33:27rock crystal being very hard to protect it,
0:33:27 > 0:33:32in a gold surround and, I would say, the late part of the 19th century.
0:33:32 > 0:33:34- It's got no marks on it, has it?- No.
0:33:34 > 0:33:38And no signature, but the quality of the painting is lovely.
0:33:38 > 0:33:39Yeah, it's very pretty.
0:33:39 > 0:33:44It's a real collector's piece. I would think realistically
0:33:44 > 0:33:46- we're looking at 100, 150.- Oh, wow!
0:33:46 > 0:33:48I'd certainly say the top end of that.
0:33:48 > 0:33:51- So this was from your mother? - Yes, it was.
0:33:51 > 0:33:54- And you've got something very different.- Indeed I have.
0:33:54 > 0:33:56- Is this from your mother as well?- Yes.
0:33:56 > 0:34:01This is my Belleek. My mother, Irish and so I wanted to collect something
0:34:01 > 0:34:05and she recommended that I collected the Irish Belleek.
0:34:05 > 0:34:12Belleek is commercial both in Ireland and in the UK at auction.
0:34:12 > 0:34:17What we can see here is an example of what they specialised in -
0:34:17 > 0:34:20these beautiful open-work baskets.
0:34:20 > 0:34:27The Belleek factory specialised in Parian, but also this very thin-bodied porcelain.
0:34:27 > 0:34:29It's so light, isn't it?
0:34:29 > 0:34:31Particularly this one. Very fine work.
0:34:31 > 0:34:35What do you know about Belleek? You must know a little.
0:34:35 > 0:34:41I think I realised this is what they call a two-strand basket, so this one may be the rarer of the two.
0:34:41 > 0:34:43That's right, because if we look very closely,
0:34:43 > 0:34:48this is not only two strand in the base, but also twisted.
0:34:48 > 0:34:52- Yes, all the way round.- And we've got this really quite dense
0:34:52 > 0:34:57encrusted border of what looks like convolvulus plant.
0:34:57 > 0:35:03- And so light and fine.- Perfect condition, even the little round strands.- Even the twirly bits.
0:35:03 > 0:35:07- You've obviously kept it very carefully.- In a cabinet, yes.
0:35:07 > 0:35:11What about this one? Let's have a close look at this one.
0:35:11 > 0:35:17- The larger of the two.- This one, I notice has the three-strand...- Yeah.
0:35:17 > 0:35:21..woven basketwork in the bottom. Slightly heavier and larger.
0:35:21 > 0:35:25Not quite as fine work. We've got beautiful lily of the valley on this one.
0:35:25 > 0:35:28What about value? What did you pay for them?
0:35:28 > 0:35:31I think it was round about £100 each.
0:35:31 > 0:35:33Right and that was how long ago?
0:35:33 > 0:35:35Just over 20 years.
0:35:35 > 0:35:37I would say...
0:35:37 > 0:35:39this one, although the larger of the two,
0:35:39 > 0:35:43is going to be of slightly less value,
0:35:43 > 0:35:47I would suggest 2 to 300 for this one at auction.
0:35:47 > 0:35:51But this one I would hope would certainly make 300
0:35:51 > 0:35:54and I'd put an estimate of 3 to 400 on it.
0:35:54 > 0:35:59This is particularly fine and the twisted work is rarer.
0:35:59 > 0:36:02I think that's realistic.
0:36:02 > 0:36:05So why do you want to sell them, Jackie?
0:36:05 > 0:36:09We're... I'm going to get a new puppy and with this in the house,
0:36:09 > 0:36:15very vulnerable. I'll sell these and buy the new puppy.
0:36:15 > 0:36:17OK, what kind of puppy are you looking for?
0:36:17 > 0:36:20- A setter.- Oh, lovely. - Jill has one already.
0:36:20 > 0:36:23- So you have dogs to match as well. - I've never thought of that.- No.
0:36:27 > 0:36:30So it's back to the auction, where we're taking
0:36:30 > 0:36:32Betty and Neville's French Gothic clock.
0:36:32 > 0:36:36And our twins, Jackie and Jill, have given us a pair of Belleek baskets
0:36:36 > 0:36:38and a rock crystal pendant.
0:36:38 > 0:36:41They'll be replaced by a little four-legged friend.
0:36:43 > 0:36:46Time's up. It's now time to flog that French timepiece
0:36:46 > 0:36:48belonging to Betty and Neville.
0:36:48 > 0:36:50What are we hoping for?
0:36:50 > 0:36:55- 300?- Plus.- 400, well, let's hope we do get that sort of top end.
0:36:55 > 0:36:58If you want a French timepiece of quality
0:36:58 > 0:37:00then clock this because it's definitely for you.
0:37:00 > 0:37:03It's wonderful but why are you flogging it?
0:37:03 > 0:37:06- It's working still, isn't it?- Yes.
0:37:06 > 0:37:08We tested it out earlier.
0:37:08 > 0:37:10You just want to get rid of it.
0:37:10 > 0:37:14- It really doesn't go with... - The decor.
0:37:14 > 0:37:17We've got more of a modern house and it's come from a cottage.
0:37:17 > 0:37:20Let's hope it does get the top end, Philip.
0:37:20 > 0:37:24It's a good decorative thing. It will grace someone's drawing room.
0:37:24 > 0:37:27I hope the bidders are here today. Fingers crossed.
0:37:27 > 0:37:30365, nice little clock now.
0:37:30 > 0:37:33£100, 100, 25...
0:37:33 > 0:37:35150...150...
0:37:35 > 0:37:37The clock, 150, what's the matter with that?
0:37:37 > 0:37:39150, 175...
0:37:39 > 0:37:41200, 200...
0:37:41 > 0:37:43Any more? 210...
0:37:43 > 0:37:46220, 230...
0:37:46 > 0:37:50240, 250... Squeeze a tenner out of you.
0:37:50 > 0:37:51250's close to me.
0:37:51 > 0:37:54All done at £250, then.
0:37:54 > 0:37:58- Dead on 250.- That's it. Dead on.
0:37:58 > 0:38:01A bit of luck there.
0:38:01 > 0:38:04Didn't it freeze up for a second, then all of a sudden...
0:38:04 > 0:38:06Four bids in a row, and we got £250.
0:38:06 > 0:38:10- It's gone. The memories are still there, though.- Oh, yes.
0:38:10 > 0:38:13- Can't flog those, can you? - We've got photos.- Yes.
0:38:19 > 0:38:23It's now Jill's turn. We've got that lovely pendant going under the hammer.
0:38:23 > 0:38:27Painted on ivory, portrait of a girl. It's absolutely stunning.
0:38:27 > 0:38:30Kate has put a value of £100-150 on it.
0:38:30 > 0:38:34- How long's this been in the family? - Not long. About ten years.
0:38:34 > 0:38:39- Why are you flogging it?- Well, I like to wear more chunky jewellery.
0:38:39 > 0:38:44That does suit you - that really does look lovely. Let's see if we get the top end of the estimate.
0:38:44 > 0:38:48I think we'll get 100. To make a little bit more money,
0:38:48 > 0:38:51you need a signature on there of one of the fine miniaturists.
0:38:51 > 0:38:55But it's a commercial subject. It's not an old lady or a gent,
0:38:55 > 0:38:58- it's a young girl. - I didn't realise it was ivory.- Yes.
0:38:58 > 0:39:01A lot of portraits were painted on ivory, little miniatures.
0:39:01 > 0:39:04This is a nice lot. 50 I'm bid. 50.
0:39:04 > 0:39:06£50. 60, 70,
0:39:06 > 0:39:0980, 90, 100. £100.
0:39:09 > 0:39:12And 10 for you. 120.
0:39:12 > 0:39:165, Mr Cooper? ..120 there, then.
0:39:16 > 0:39:18Anybody else? All done at 120?
0:39:18 > 0:39:23- Bang on with the estimate. - Well done! Thank you.
0:39:23 > 0:39:26120 quid! I think you're the second pair of twins we've had
0:39:26 > 0:39:29- on the show.- There we are!
0:39:32 > 0:39:34And there's more to come for Jackie and Jill.
0:39:34 > 0:39:38Great item - the most amazing Belleek I've seen for a long time.
0:39:38 > 0:39:44- Kate, our expert - another gorgeous lady with us... - You're surrounded by us!
0:39:44 > 0:39:47- Cracking bits of Belleek. - They are superb.
0:39:47 > 0:39:53- The quality is there. - Lovely items. They're whiteware items. They're not coloured at all.
0:39:53 > 0:39:58And they're not the nautical, shell motif that you often get in Belleek.
0:39:58 > 0:40:02- With the scallops.- Yes. We've just got flower decoration here.
0:40:02 > 0:40:07- Very fine work. And the condition is fantastic.- It's unbelievable.
0:40:07 > 0:40:09We've got two lots. The first is £300-400.
0:40:09 > 0:40:14Lovely latticework weaving on that. The second - again, with the same sort of weaving -
0:40:14 > 0:40:18- £200-300. That's a lot of money. - It is.
0:40:18 > 0:40:21Did you ever get confused by your mum or your mum's friends?
0:40:21 > 0:40:26We got more confused, because we thought we were called This and That.
0:40:26 > 0:40:30- Is that what your mum called you, as a nickname?- When we were tiny,
0:40:30 > 0:40:33Mum used to say, "You feed this one, and I'll feed that one."
0:40:33 > 0:40:36And for years, we thought we were called This and That!
0:40:36 > 0:40:42That's brilliant! That is brilliant. This is it - this is your lot. Good luck, This and That!
0:40:42 > 0:40:44This is rather nice. Porcelain basket.
0:40:44 > 0:40:47100 I'm bid. £100. £100.
0:40:47 > 0:40:51120, 140, 160, 180...
0:40:51 > 0:40:54- They like it.- 180, 200... £200.
0:40:54 > 0:40:57220, 240, 260,
0:40:57 > 0:41:01280, 300. £300.
0:41:01 > 0:41:06310. 20 for anyone? All done at 310, then?
0:41:06 > 0:41:10He's sold it. £310. No messing about there.
0:41:10 > 0:41:11Next one now.
0:41:11 > 0:41:14220, another nice piece of Belleek.
0:41:14 > 0:41:17A larger basket this time. 100 I'm bid. £100.
0:41:17 > 0:41:20100, 100. And 10,
0:41:20 > 0:41:22120, 130, 140,
0:41:22 > 0:41:26150, 160, 170, 180,
0:41:26 > 0:41:28190, 200...
0:41:28 > 0:41:31210, 220, 230,
0:41:31 > 0:41:35240, 250, 260,
0:41:35 > 0:41:38270, 280...
0:41:38 > 0:41:41290, 300...
0:41:41 > 0:41:44- Oh, they like this one. - That's better.- 320.
0:41:44 > 0:41:46330...
0:41:46 > 0:41:49340...350...
0:41:49 > 0:41:52- 360.- Looking promising now.- 370...
0:41:52 > 0:41:57- 380, still with the catalogue. 390, 400...- Oh, wow!
0:41:57 > 0:42:01410, 420 at the back,
0:42:01 > 0:42:04430... 430. 440, sir?
0:42:06 > 0:42:09440. 450?
0:42:09 > 0:42:10450.
0:42:10 > 0:42:14450. 450. Any more than 450, then?
0:42:14 > 0:42:16Are we finished?
0:42:16 > 0:42:20- Hammer's gone down. £450! - Well done! Very good!
0:42:20 > 0:42:23What a good result!
0:42:23 > 0:42:28- That WAS the one they wanted. It was the rarer one. - I got it the wrong way round.
0:42:28 > 0:42:34- It doesn't matter!- It just goes to show that the first one, which was much finer work,
0:42:34 > 0:42:37but that second one - a larger piece, not quite so fine -
0:42:37 > 0:42:42had that rarer three-strand weave in it, and that's what they liked.
0:42:42 > 0:42:46- That's what the collectors wanted. - Very good.- Good for you, for collecting them.
0:42:46 > 0:42:49I'll look for some more! Thank you.
0:42:49 > 0:42:50Lovely.
0:42:57 > 0:43:02The bells really rang out for us today - only one no-sale, and that was Andrew's oil painting.
0:43:02 > 0:43:05But at least he knows its real value now.
0:43:05 > 0:43:09As you can see, all the lucky bidders are queuing up and paying for their lots.
0:43:09 > 0:43:14What caught their interest today was Bernadette's medical parts, nearly doubling its original estimate.
0:43:14 > 0:43:19Can't be bad! Unfortunately, that's all we've got time for.
0:43:19 > 0:43:21It's time to sally forth to our next location,
0:43:21 > 0:43:25and I hope you can join me there. See you next time on Flog It!
0:43:26 > 0:43:31For more information about "Flog It!" including how the programme was made,
0:43:31 > 0:43:34visit the website at bbc.co.uk/lifestyle.
0:43:38 > 0:43:41Subtitles by Red Bee Media Ltd
0:43:41 > 0:43:44E-mail subtitling@bbc.co.uk