0:00:02 > 0:00:06We're 20 minutes from the bustle of Central London in Richmond-upon-Thames.
0:00:06 > 0:00:08Welcome to Flog It!
0:00:38 > 0:00:41This area's jam-packed with public houses.
0:00:41 > 0:00:43It must be to do with today's venue -
0:00:43 > 0:00:47the world-famous Twickenham stadium which dominates the skyline.
0:00:47 > 0:00:52Casting their eyes over all the unwanted antiques in these bags
0:00:52 > 0:00:56are the elite squad of experts, David Barby and Philip Serrell.
0:01:00 > 0:01:05There's no time to waste and Philip is already watching the clock!
0:01:07 > 0:01:09- Look at my hair.- That is brilliant.
0:01:09 > 0:01:12Your hair is magnificent! It's all different colours.
0:01:12 > 0:01:18- It's dyed henna.- Why do you do that? - I want my hair to look goldy.
0:01:18 > 0:01:20Like Goldilocks. Or Whoopi Goldberg.
0:01:20 > 0:01:22Whoopi. There's a likeness.
0:01:22 > 0:01:24Yeah, I won a lookalike competition.
0:01:24 > 0:01:28- How much did you win? - £100 and some peanut butter!
0:01:30 > 0:01:35- Where did you get this from?- This belonged to my late father-in-law.
0:01:35 > 0:01:38Somebody gave it to him after the Second World War.
0:01:38 > 0:01:41This person used to run an antiques shop in Twickenham.
0:01:41 > 0:01:45After the war, he packed up and wanted to go back to France.
0:01:45 > 0:01:47- Do you like it?- Yes, I like it,
0:01:47 > 0:01:50but it just sits and collects dust.
0:01:50 > 0:01:52It's a bit ritzy for me.
0:01:52 > 0:01:55Originally it would have sat underneath a large glass dome.
0:01:55 > 0:02:02It's emblematic of the sciences. We've got dividers here, the globe,
0:02:02 > 0:02:04we've got Galileo, Newton.
0:02:04 > 0:02:06It's really decorative, isn't it?
0:02:06 > 0:02:12Yes, that's why I liked it. But as you say, the glass dome is missing.
0:02:12 > 0:02:13You can buy replacements.
0:02:13 > 0:02:16Oh, really? I didn't know that.
0:02:16 > 0:02:19- You can buy brand new glass domes. - Yeah.
0:02:19 > 0:02:22It isn't the best clock in the world. There's damage to it.
0:02:22 > 0:02:27In terms of date, you're looking at the back end of the 19th century.
0:02:27 > 0:02:30I'm assuming there's no maker's marks on the back?
0:02:30 > 0:02:31- No...- No dates?
0:02:31 > 0:02:35Not that I know of.
0:02:35 > 0:02:38It could be on the bottom.
0:02:38 > 0:02:42We'd have to take the dial off and see if there's any maker's mark.
0:02:42 > 0:02:45- The auction room will do that for us.- Yes.
0:02:45 > 0:02:49If it's by a really good maker, which I doubt it is,
0:02:49 > 0:02:54but if it's by a good maker they'll put that in the catalogue and adjust the estimate.
0:02:54 > 0:02:58The thing about it is that it's actually a big piece.
0:02:58 > 0:03:01You don't realise this, sitting in this big hall.
0:03:01 > 0:03:03You put that on a mantelpiece or table,
0:03:03 > 0:03:06- and it's a really imposing thing. - Yes, it is.
0:03:06 > 0:03:10That might just hold it back in terms of value.
0:03:10 > 0:03:12Cos not everyone can accommodate it.
0:03:12 > 0:03:15A lot of people have big houses and high ceilings.
0:03:15 > 0:03:19- Yes.- That would look nice in the hallway.- They'll need to.- Yes.
0:03:19 > 0:03:25In terms of value, I think at auction it'll make £150 to £250.
0:03:25 > 0:03:28That'll be my shot for it.
0:03:28 > 0:03:33I'd like to put a reserve on it of about £125. A fixed reserve.
0:03:33 > 0:03:36I think that someone will buy it. It's a good-looking lot.
0:03:36 > 0:03:40- Yes, it is.- It's a decorative lot. - It's quite nice.- Happy with that?
0:03:40 > 0:03:43Yes, fine. I'm happy with it.
0:03:43 > 0:03:46So what will the £200 do? More hair extensions?
0:03:46 > 0:03:49I think if I get the money, I've got a place in Spain.
0:03:49 > 0:03:52So I'll use it to do the place up with.
0:03:52 > 0:03:54Good. Let's hope it does well.
0:03:54 > 0:03:55Thank you very much. I hope so too.
0:04:02 > 0:04:06Sylvia, I'm quite intrigued by this painting.
0:04:06 > 0:04:11- Where did it come from? Were you born in the north? - I was born in London.
0:04:11 > 0:04:12You were born in London?
0:04:12 > 0:04:16- Where did you get the painting? - My aunt gave it to me 50 years ago.
0:04:16 > 0:04:20- Right. Did she come from the north? - No, she was born local.
0:04:20 > 0:04:22- So you're both London girls. - Yes, we were.
0:04:22 > 0:04:27The reason I ask is because Ernest Dade is a well-known northern artist.
0:04:27 > 0:04:31So a lot of the subject matter, like this sailing boat,
0:04:31 > 0:04:35is of the north - Scarborough, Whitby, Robin Hood Bay,
0:04:35 > 0:04:37that sort of area.
0:04:37 > 0:04:41But he spent some time in Chelsea. So where did your aunt live?
0:04:41 > 0:04:44- She lived at Battersea. - Ah, well there we are.
0:04:44 > 0:04:47She probably bought this, or acquired it,
0:04:47 > 0:04:50when his estate was sold. I think he died in Chelsea.
0:04:50 > 0:04:52It may have been acquired then.
0:04:52 > 0:04:55I think it will sell well anywhere because of the quality.
0:04:55 > 0:04:59This is a watercolour on paper.
0:04:59 > 0:05:01It's beautifully done.
0:05:01 > 0:05:05They say there's a greater skill in watercolourists than in oil painters.
0:05:05 > 0:05:09If you make a mistake on a watercolour, you can't obliterate it.
0:05:09 > 0:05:11You can with an oil painting.
0:05:11 > 0:05:14This is high quality. I love the sky detail.
0:05:14 > 0:05:16It's almost impressionistic.
0:05:16 > 0:05:20The most important thing as far as I'm concerned
0:05:20 > 0:05:21is where it originated from.
0:05:21 > 0:05:26You told me your aunt acquired it possibly from the estate of Dade
0:05:26 > 0:05:29when he died in Chelsea. But if we turn it round...
0:05:30 > 0:05:33..there's a very important piece here.
0:05:33 > 0:05:36"Henry Whitley. Scarborough."
0:05:36 > 0:05:41So he was the retailer that it was originally acquired from.
0:05:41 > 0:05:45This scribble here, "863",
0:05:45 > 0:05:47means that it had been up for auction.
0:05:47 > 0:05:51- Oh, I see.- So your aunt acquired it from an auction
0:05:51 > 0:05:54maybe at the time that Dade had died.
0:05:54 > 0:05:58It's this Chelsea connection and your aunt at Battersea
0:05:58 > 0:05:59which is so intriguing.
0:05:59 > 0:06:01Why on earth are you selling it?
0:06:01 > 0:06:06I want to do a bit of downsizing. It doesn't go with my decor now.
0:06:06 > 0:06:09Is it the large gilt frame that doesn't go?
0:06:09 > 0:06:13- Yes, I think so. And I'm downsizing. - It is big when people downsize.
0:06:13 > 0:06:16- It is a big picture to go on the wall.- Yes.
0:06:16 > 0:06:20I like it and I think at auction there'll be a lot of interest.
0:06:20 > 0:06:23I think it'll be over £500.
0:06:23 > 0:06:26I'd like to see it go for something like 1,200.
0:06:26 > 0:06:27Oh, lovely.
0:06:27 > 0:06:32But the auctioneer may say, "Let's put an estimate of £800 to £1,200."
0:06:32 > 0:06:36- Yes.- I think we should put the reserve at about 750.
0:06:36 > 0:06:39- Lovely.- Is that agreeable? - Very agreeable!
0:06:39 > 0:06:42I shall look forward to seeing this at auction.
0:06:42 > 0:06:46- I hope you make the higher figure. About 1,200.- Thank you very much!
0:06:51 > 0:06:55Maureen, thank you for bringing an item of furniture with you.
0:06:55 > 0:06:57- It's made my day. You know, I love wood.- Yes.
0:06:57 > 0:07:01- What can you tell me about it? - Well, it's my sewing box.
0:07:01 > 0:07:03How long have you had it?
0:07:03 > 0:07:07It was my grandmother's, and my mother and then to me.
0:07:07 > 0:07:10It's been in the family three generations, used as a sewing box.
0:07:10 > 0:07:15It's not a sewing box. We've seen only one other on the show before.
0:07:15 > 0:07:18It's a tea poy. You're probably wondering what a tea poy is.
0:07:18 > 0:07:23- Yes, I am!- It's like a very large tea caddy on a stand.
0:07:23 > 0:07:26- It dates to the 1830s.- Good God!
0:07:26 > 0:07:29- It's not what you thought. - It's much older than I thought.
0:07:29 > 0:07:34Let's look inside. How did you keep all your sewing implements in there?
0:07:34 > 0:07:39I didn't know what to do with it. It always had sewing stuff in it,
0:07:39 > 0:07:42- with my mother, and I just carried on.- Yeah.
0:07:42 > 0:07:46- This section would be for a glass mixing bowl.- Yes.
0:07:46 > 0:07:49So you could blend different fusions of tea.
0:07:49 > 0:07:52Each compartment,
0:07:52 > 0:07:53if I lift one out...
0:07:53 > 0:07:59This is a Cuban mahogany, which was very fashionable in the mid-1700s.
0:07:59 > 0:08:03And this is a rosewood, also imported from the West Indies,
0:08:03 > 0:08:07which became very fashionable in the early 1800s.
0:08:07 > 0:08:10All this is a veneer. It's stuck on to the mahogany.
0:08:10 > 0:08:14- Look, you can see a little two millimetres there.- Yes.
0:08:14 > 0:08:16That's rosewood. Isn't it decorative?
0:08:16 > 0:08:20It's got that striking grain of blacks, oranges and yellows.
0:08:20 > 0:08:22If you open up one of those sections,
0:08:22 > 0:08:26it would have been lined with tin foil. Can you see traces of it?
0:08:26 > 0:08:28- Yes. And you can see it in there. - In there.
0:08:28 > 0:08:30That kept all the tea fresh.
0:08:30 > 0:08:33So you'd have black tea in there as one blend.
0:08:34 > 0:08:37Possibly you'd have green tea in this one
0:08:37 > 0:08:40and you could mix your own blend
0:08:40 > 0:08:43and have another compartment for your mixture.
0:08:43 > 0:08:45- Very interesting. - Absolutely stunning.
0:08:45 > 0:08:49Even though it's in appalling condition. Was it always like this?
0:08:49 > 0:08:53Ever since I can... Well, this piece at the side that came off...
0:08:53 > 0:08:57- The veneer. You've got the section. - I've got it. It's always been kept.
0:08:57 > 0:09:01- That can be put back on easily by a restorer.- We thought about it,
0:09:01 > 0:09:04- then remembered somebody said, "Don't do it!"- Leave it.
0:09:04 > 0:09:08Leave it alone. Look at the striking architectural proportions!
0:09:08 > 0:09:12It's got lovely curvetto sides. See this waisted side?
0:09:12 > 0:09:15- Yes.- It just softens the look, doesn't it?- Oh, yes.
0:09:15 > 0:09:19The whole box is supported by this column, the pedestal base which tapers at the top
0:09:19 > 0:09:23- and is rocking down by the acanthus leaves.- Yes.
0:09:23 > 0:09:27One thing that someone's done is put this on. I don't know where it's from.
0:09:27 > 0:09:31That is a flower motif from a panel or something.
0:09:31 > 0:09:33That shouldn't be there.
0:09:33 > 0:09:37- Who did that, if it's been in your family all your life?- I've no idea!
0:09:37 > 0:09:40- No?- It's always been like that.
0:09:40 > 0:09:41Have you any idea of its value?
0:09:41 > 0:09:45- Not a clue!- If I said £300 to £400, would that surprise you?
0:09:46 > 0:09:49Um... No, not really.
0:09:49 > 0:09:53- I mean, it is old and it's nice. - Yeah.
0:09:53 > 0:09:55Happy to flog it? £300 to £400
0:09:55 > 0:09:58and let's hope it does the 450 mark.
0:09:58 > 0:10:02We'll put a fixed reserve of 300, cos we don't want to give it away.
0:10:02 > 0:10:07- No.- Bearing in mind it generally needs a bit of TLC.
0:10:07 > 0:10:10- Yes.- That'll cost a couple of hundred pounds.- I realise that.
0:10:10 > 0:10:13- Yeah? Let's do it, then. Let's flog it.- Right!
0:10:20 > 0:10:21Patrick,
0:10:21 > 0:10:25this is a really nice bit of Doulton. How did you come by it?
0:10:25 > 0:10:30I started collecting about 30 years ago. I lived in Edinburgh then,
0:10:30 > 0:10:34just above an auction room, probably where I bought this.
0:10:34 > 0:10:36- So you bought this 30 years ago. - Yes.- How much for?
0:10:36 > 0:10:40About... Can't have been more than 75 quid, I would think.
0:10:40 > 0:10:42It's Doulton. The impress mark's here.
0:10:42 > 0:10:47It's quite early. About 1872, 1875, something like that.
0:10:47 > 0:10:51It's salt-glazed stoneware which gives it this orange-peel effect.
0:10:51 > 0:10:53This is sgraffito decoration -
0:10:53 > 0:10:57a wooden spatula would be scratched into the clay when it was green,
0:10:57 > 0:11:01or not quite set, and you get this incised decoration.
0:11:01 > 0:11:04The name that springs to mind is...
0:11:04 > 0:11:06- Hannah Barlow?- Hannah Barlow.
0:11:06 > 0:11:09I'm not sure that's quite good enough for Hannah Barlow.
0:11:09 > 0:11:12Could be her sister Florence Barlow.
0:11:12 > 0:11:17So what we'll say is, it's a Royal Doulton salt-glazed stoneware flagon
0:11:17 > 0:11:20decorated with rabbits or hares, attributed to Barlow,
0:11:20 > 0:11:22and we'll leave it at Barlow.
0:11:22 > 0:11:25If the auction room want to put Hannah or Florence Barlow,
0:11:25 > 0:11:29that's up to them. It wants an illustration in the catalogue.
0:11:29 > 0:11:34Whether it might have had a silver collar at some time is debatable.
0:11:34 > 0:11:38It makes you wonder. Stylistically you have the hares here
0:11:38 > 0:11:40and at the back is this foliage.
0:11:40 > 0:11:44I just wonder whether they're both by the same hand.
0:11:44 > 0:11:46- Yes.- They may be by different hands.
0:11:46 > 0:11:50The other thing that's interesting is the decoration on the base
0:11:50 > 0:11:53which is sort of browns and blues almost.
0:11:53 > 0:11:58And I wonder whether this is perhaps an early experimental piece
0:11:58 > 0:12:00because this is not uniform all the way round here.
0:12:00 > 0:12:04- You clearly don't collect Doulton any more.- I don't.
0:12:04 > 0:12:07Have you moved on to other collecting spheres?
0:12:07 > 0:12:10- Lloyd Loom. - Lloyd Loom?- Sad, isn't it?
0:12:10 > 0:12:12You need to get out more!
0:12:12 > 0:12:15How the hell have you gone from this to Lloyd Loom?
0:12:15 > 0:12:18I don't know. I've got more modern.
0:12:18 > 0:12:23The thing we associate with Lloyd Loom are the corner linen baskets.
0:12:23 > 0:12:26- Linen baskets, chairs... - Ottomans.- Ottomans and chairs.
0:12:26 > 0:12:30- Will this be a star bit of Lloyd Loom if it sells?- No,
0:12:30 > 0:12:32it's my 35th wedding anniversary coming up
0:12:32 > 0:12:35so I'm collecting for that.
0:12:35 > 0:12:38That's normally jewellery, I think.
0:12:38 > 0:12:41Sounds like you've got problems!
0:12:42 > 0:12:44Let's get straight to the auction action
0:12:44 > 0:12:47and see if we can find a bidder for Etha's clock.
0:12:47 > 0:12:50Whoever buys it will need a large mantelpiece!
0:12:50 > 0:12:53Sylvia's maritime masterpiece should sail away.
0:12:53 > 0:12:58Maureen's tea poy needs TLC but it's still a quality item
0:12:58 > 0:13:01and Patrick's Royal Doulton jug - I hope it sells well
0:13:01 > 0:13:04so he and his wife can celebrate in style.
0:13:05 > 0:13:09Today we've nipped down to the Chiswick auction rooms.
0:13:09 > 0:13:12The man in charge of the gavel, who'll give us the hammer action,
0:13:12 > 0:13:14is auctioneer Tom Keane.
0:13:20 > 0:13:23Right. Lot number 136.
0:13:23 > 0:13:25This lot has the lot -
0:13:25 > 0:13:28quality, condition and a great maker's name, Royal Doulton.
0:13:28 > 0:13:32It belongs to Patrick and we've got a valuation of £200 to £300.
0:13:32 > 0:13:35- Fixed reserve at 180. - Should be fine.
0:13:35 > 0:13:39- It should bust it.- It should do. It's almost Hannah Barlow.
0:13:39 > 0:13:42It's stylish enough, got everything going for it.
0:13:42 > 0:13:47- I think it'll go a bit better. - So do I.- Hopefully,
0:13:47 > 0:13:50- 300, 350, that sort of mark.- Yes, it's a nice tall vessel as well.
0:13:50 > 0:13:53It's decorative. It stands well by itself.
0:13:53 > 0:13:57So I'm hoping for 380 on that. I've seen them do that before.
0:13:57 > 0:14:00- It's got every chance. - Fingers crossed!
0:14:06 > 0:14:08Sylvia, I've been waiting for this moment.
0:14:08 > 0:14:12Let's hope that lovely watercolour sails away. It's by Dade,
0:14:12 > 0:14:17there's a valuation of £800 to £1,200 put on by our favourite Mr B.
0:14:17 > 0:14:20Looking at it on the wall, it does look absolutely stunning.
0:14:20 > 0:14:24It's a nice barge, a ketch, and it's got energy and movement.
0:14:24 > 0:14:28Cloud detail is good. Dutch influence. It's good.
0:14:28 > 0:14:31- Fingers crossed. - We need movement right now!
0:14:31 > 0:14:32This is it. Good luck!
0:14:32 > 0:14:34Lot 61, a gilt-framed watercolour.
0:14:34 > 0:14:36On The Morning Tide by Ernest Dade.
0:14:36 > 0:14:40Signed, with a label on the back. Start me with £1,000 for it.
0:14:40 > 0:14:42£500 for it. Start me at £500.
0:14:42 > 0:14:45- Come on!- Give me £500. Start me. At £500 I'm bid.
0:14:45 > 0:14:47Take 50. At £500. Who'll give me 550?
0:14:47 > 0:14:51- 600. And 50.- They're climbing. - 650. 700.
0:14:51 > 0:14:54750? £700 your bid is £700.
0:14:54 > 0:14:56Who'll give me 50? £700. 750 or not?
0:14:56 > 0:15:00The bid's at £700. All done at £700. All out at £700?
0:15:00 > 0:15:02See me after. I'll see what I can do. Close.
0:15:02 > 0:15:07No! The hammer's gone down on 700 which means it didn't sell.
0:15:07 > 0:15:10It didn't sail away, did it? No, it didn't.
0:15:10 > 0:15:14- Oh, Sylvia...- We need to try another sale room.- We do, don't we?
0:15:14 > 0:15:17Do you definitely want to see this sold?
0:15:17 > 0:15:20- I do.- You don't want to take it home.- Not really.
0:15:20 > 0:15:23Unfortunately you have to today, or they'll charge you storage.
0:15:23 > 0:15:27Take it with you today to save a trip back to the sale room.
0:15:27 > 0:15:31But there are other auction rooms and I suggest maybe a maritime sale
0:15:31 > 0:15:34or a fine art sale, because we're in a general sale here.
0:15:34 > 0:15:37- It didn't find the bidders, did it? - No.
0:15:44 > 0:15:47Time is ticking away for Etha, for her French clock, that is,
0:15:47 > 0:15:50and because you're leaving the country.
0:15:50 > 0:15:53Etha's flying off to Spain for a new life. Tell us about that.
0:15:53 > 0:15:57I'm going to Almeria. I'm going to use it for bed and breakfast.
0:15:57 > 0:16:01I used to run a restaurant here in England
0:16:01 > 0:16:03but it's too much work and very stressful.
0:16:03 > 0:16:07So I'm hoping to be much more relaxed.
0:16:07 > 0:16:10You're flying out in a few days to check it out?
0:16:10 > 0:16:13- Yes.- Coming back, sorting out the business,
0:16:13 > 0:16:15- then leaving for good.- In November.
0:16:15 > 0:16:18- November.- Hopefully, if everything goes right.
0:16:18 > 0:16:21Time is ticking away. We need top dollar for this clock.
0:16:21 > 0:16:24- Philip's put a value of 150 to 250. - It should sell, Paul.
0:16:24 > 0:16:28If it does well, we've got somewhere to go for our holidays!
0:16:28 > 0:16:30Yes! Do we get an invite?
0:16:30 > 0:16:32Yes, of course, you're welcome!
0:16:32 > 0:16:34- It'll be a place to chill out! - Exactly!
0:16:34 > 0:16:38- After the stressful job you do.- Hard work.- I hope it sells really well!
0:16:38 > 0:16:41A gilt metal and alabaster sculptural clock.
0:16:41 > 0:16:44£100, £100 I'm bid. Give me 110.
0:16:44 > 0:16:46£100. 110 I'm bid. At 110.
0:16:46 > 0:16:49120. 130.
0:16:49 > 0:16:52140. 150? 140 you bid. Take 150.
0:16:52 > 0:16:56Still no money at £140. Who's gonna bid 140?
0:16:56 > 0:16:58150, anyone? 150.
0:16:58 > 0:17:00160?
0:17:00 > 0:17:03It's now at £150. A new bid at £150. Selling at 150.
0:17:03 > 0:17:05Done at 150. Last chance and going.
0:17:05 > 0:17:10Hammer's down at 150. We got it away at the lower end, but it's gone.
0:17:10 > 0:17:13That'll buy me a few summer lights for the garden.
0:17:13 > 0:17:17- It's lightened the load for Spain, that's for sure.- Yep. Mm-hmm.
0:17:17 > 0:17:21- I reckon that got us one night's B&B.- I think so.- Just one night B&B.
0:17:21 > 0:17:24- And muchas gracias!- Muchas gracias!
0:17:31 > 0:17:33Maureen and I have pulled a seat up
0:17:33 > 0:17:36cos it's getting hot and the tension's getting to us.
0:17:36 > 0:17:38It's very exciting with lots of highs and lows.
0:17:38 > 0:17:43I'm hoping the next lot will be the high because it's my valuation.
0:17:43 > 0:17:45It's the tea poy and we need £300 to £400.
0:17:45 > 0:17:48Condition's against it but it should just do it.
0:17:48 > 0:17:50It's a good restoration project.
0:17:50 > 0:17:56- Let's hope.- I'm sure whoever buys it won't keep their sewing stuff in it!
0:17:56 > 0:18:00I've got all my cottons in a plastic box now!
0:18:00 > 0:18:03- A Tupperware box or something?- Yeah!
0:18:03 > 0:18:05A 19th-century rosewood tea poy.
0:18:05 > 0:18:06Fitted interior. Needs a polish.
0:18:06 > 0:18:11I've got two bids. £180 for it and I'm bid £200 with commissions.
0:18:11 > 0:18:13I'll take 210 on it.
0:18:13 > 0:18:15- Come on!- I'll take 210 at £200.
0:18:15 > 0:18:18Who'll give me 210? At £200, that's what the market says.
0:18:18 > 0:18:24No further bids. The bids will be at £200, then. If you change your mind, come and see us. Not sold.
0:18:24 > 0:18:26He's put the hammer down at £200.
0:18:27 > 0:18:30I was a bit out there. Oh, dear.
0:18:32 > 0:18:33I'm so sorry.
0:18:33 > 0:18:35- That's life.- I'm sorry.
0:18:35 > 0:18:40Do you want to re-enter it in another sale in a month's time
0:18:40 > 0:18:42or take it home?
0:18:42 > 0:18:45- I don't really want it.- We'll have a word with the auctioneer
0:18:45 > 0:18:47and put it in a sale next month here.
0:18:47 > 0:18:51We'll reduce the value to £200 to £300 instead of £300 to £400.
0:18:51 > 0:18:53- OK.- Yeah?- Yeah, fine.
0:18:53 > 0:18:56- Thank you so much for coming in. - That's all right.
0:19:02 > 0:19:05If you want to invest in antiques, invest in quality,
0:19:05 > 0:19:07a good maker's name, in good condition.
0:19:07 > 0:19:11This lot has got the lot. It's Royal Doulton and belongs to Patrick.
0:19:11 > 0:19:13Why are you flogging this, then?
0:19:13 > 0:19:16Um, I've sort of lost interest in it
0:19:16 > 0:19:20and I need to get some money for something else.
0:19:20 > 0:19:24Right, OK. The money is £200 to £300, our expert has put on this.
0:19:24 > 0:19:27It's got the look. It's a nice vessel. It's got the height.
0:19:27 > 0:19:31It should do well. It's decorative. It's the thing of the moment.
0:19:31 > 0:19:36You've got to keep your fingers crossed that one or two people that want it are here today.
0:19:36 > 0:19:40I think they just might be. We had a chat to the auctioneer earlier.
0:19:40 > 0:19:42You don't know this, nor does Philip.
0:19:42 > 0:19:45He loves it. He says it's got the look, got the touch.
0:19:45 > 0:19:48Condition, everything is going for it, even the rabbits on it!
0:19:48 > 0:19:50He thinks it could do the £300 to £400
0:19:50 > 0:19:52so we're looking at the top end.
0:19:52 > 0:19:56A good Doulton Lambeth stoneware tankard. Pottery by Hannah Barlow.
0:19:56 > 0:19:58£100 to start me, please. £100?
0:19:58 > 0:20:02Thank you. £100 I'm bid. I'll take 110. Who want to take it on at 110?
0:20:02 > 0:20:05120. 130. 140. 150.
0:20:05 > 0:20:07- They like it!- 160, 170.
0:20:07 > 0:20:09180. 190.
0:20:09 > 0:20:10200. And 10.
0:20:10 > 0:20:11220. 230?
0:20:11 > 0:20:13- This is good.- 220's bid.
0:20:13 > 0:20:17Give me 230. Who else wants to bid at £220? The bid's at £220.
0:20:17 > 0:20:20Are we finished at 220? 230, new bidder. 240.
0:20:20 > 0:20:21250. 260.
0:20:21 > 0:20:24- This is great.- 270. 280.
0:20:24 > 0:20:25290? No, £280.
0:20:25 > 0:20:28To the original bidder at £280. Got it. All done.
0:20:28 > 0:20:30At £280 and going, then. All done!
0:20:30 > 0:20:33- £280. That's a sold sound. - Brilliant.
0:20:33 > 0:20:35That'll do the business for you!
0:20:35 > 0:20:37- Fantastic.- Thank you for coming in.
0:20:37 > 0:20:41- Philip, great estimate. - I'm very pleased with that.
0:20:48 > 0:20:51This is Syon House, nestling on the River Thames,
0:20:51 > 0:20:53the London home of the Percy family,
0:20:53 > 0:20:57Earls and Dukes of Northumberland for the last 400 years.
0:20:57 > 0:21:00All of those generations
0:21:00 > 0:21:02have contributed to the house we see today.
0:21:02 > 0:21:05A culmination of a series of conversions
0:21:05 > 0:21:07to the original Tudor mansion.
0:21:08 > 0:21:11But Sir Hugh Smithson, the first Duke of Northumberland,
0:21:11 > 0:21:15possibly had the greatest impact on the house.
0:21:15 > 0:21:18Inheriting the estate in 1750,
0:21:18 > 0:21:22he commissioned the Scottish architect Robert Adam to redesign the interiors,
0:21:22 > 0:21:25instructing him to create an opulent palace
0:21:25 > 0:21:28of Greco-Roman splendour.
0:21:33 > 0:21:38Presumably, money was no object because the resulting designs
0:21:38 > 0:21:42are some of the most striking neo-classical designs
0:21:42 > 0:21:45you'll find anywhere else in the country.
0:21:45 > 0:21:48Just look at this. Your eyes gravitate up towards the heavens.
0:21:48 > 0:21:52It's marvellous, it's splendid. It's so hard to take it all in.
0:21:52 > 0:21:56Your eyes vying for attention, every surface is covered.
0:21:56 > 0:21:58Just back from his grand tour of Italy,
0:21:58 > 0:22:02Robert Adam's head was full of all the Greek and Roman statues
0:22:02 > 0:22:04he'd seen on his travels.
0:22:04 > 0:22:08Borrowing all these classical symbols of wealth, power and antiquity,
0:22:08 > 0:22:11he repackaged the whole lot for his client.
0:22:15 > 0:22:18Joining me to take a look at Robert Adam's work here
0:22:18 > 0:22:21is architectural historian, Christopher Woodward.
0:22:21 > 0:22:24- Thanks for joining us. - Hello.- Good to see you.
0:22:24 > 0:22:27This has the "wow" factor, this entrance hall.
0:22:27 > 0:22:31What's amazing is you walk up to this Jacobean facade, this English exterior,
0:22:31 > 0:22:35and you step through that door - Ancient Rome! Wow!
0:22:35 > 0:22:37It's quite austere outside,
0:22:37 > 0:22:39but inside, it's just true theatre.
0:22:39 > 0:22:41Tell me about the owners of the house.
0:22:41 > 0:22:45It's the first Duke of Northumberland, but his wife's house and her money.
0:22:45 > 0:22:49She had a brother who died on the grand tour. This is the Percy family.
0:22:49 > 0:22:53So there were no men left. She married a young baronet, Sir Hugh Smithson,
0:22:53 > 0:22:56and they spent lavishly, they lived lavishly.
0:22:56 > 0:23:02They lived and spent more grandly than King George III and his family.
0:23:02 > 0:23:04How did Robert Adam get the commission?
0:23:04 > 0:23:07Robert Adam is a genius, a brilliant Scottish architect.
0:23:07 > 0:23:12He goes to Rome and he writes home, "I'll be wasted on Scotland."
0:23:12 > 0:23:15He decides to conquer London. So he comes back
0:23:15 > 0:23:17and he opens an office in Mayfair
0:23:17 > 0:23:20with a team of Italian artists who work for him that he brought back.
0:23:20 > 0:23:25There's sculpture and paintings on the walls and he has his sketches of Rome.
0:23:25 > 0:23:29- On that journey.- He persuades you that he, better than anyone else,
0:23:29 > 0:23:33can conjure up for you the true spirit of Roman antiquity.
0:23:33 > 0:23:37Here their British architect, James Payne, has never been to Rome.
0:23:37 > 0:23:41- And they kick him off and give Adam the job.- Adam had a vision.
0:23:41 > 0:23:44- Yes.- Shall we go on a tour of Adam's work throughout the house?
0:23:54 > 0:23:58- This is the anteroom.- Wow! Gosh, it's a kaleidoscope of colour.
0:23:58 > 0:24:00What was this room used for?
0:24:00 > 0:24:03The Duke is a statesman, a man of power.
0:24:03 > 0:24:05This is where you waited to see him.
0:24:05 > 0:24:08Shuffling around, making you feel very insecure!
0:24:08 > 0:24:10It does show off his wealth.
0:24:10 > 0:24:15- Was Ancient Rome as bright as this? - That's what Robert Adam believed.
0:24:15 > 0:24:19He's saying this is how Roman architecture was. This is how they lived.
0:24:19 > 0:24:22He created this gaudy, brilliant interior.
0:24:22 > 0:24:26The statues of Roman gods and goddesses are modern replicas.
0:24:26 > 0:24:29They're plaster covered in gilding.
0:24:29 > 0:24:31What I love, what's real, is the columns.
0:24:31 > 0:24:34Because Romans loved marble.
0:24:34 > 0:24:38They were connoisseurs of different colours and patterns of marble.
0:24:38 > 0:24:41These are single pieces of marble quarried in Egypt,
0:24:41 > 0:24:46floated down the Nile across the sea to Rome where the boat sank.
0:24:46 > 0:24:49They were buried in the mud of the Tiber for 2,000 years.
0:24:49 > 0:24:52Someone found them and they were brought to Syon House.
0:24:52 > 0:24:55So this is not just a house imitating Rome,
0:24:55 > 0:24:58these columns are real Roman architecture.
0:24:58 > 0:25:00True Roman artefacts.
0:25:00 > 0:25:05Why was the family trying to copy the Roman way of life? What was it about the Romans?
0:25:05 > 0:25:07Britain saw itself as the new Rome.
0:25:07 > 0:25:12The 1760s is when Britain has beaten the French in the Seven Years War.
0:25:12 > 0:25:17- There's a feel-good factor.- Yes, very confident. We have an empire, the richest country in the world.
0:25:17 > 0:25:21If you were at school in the 1760s, your books would tell you,
0:25:21 > 0:25:25"You are the Romans of old, the heirs of Ancient Rome. London is the new Rome."
0:25:25 > 0:25:29It really is splendid. Shall we see some more?
0:25:34 > 0:25:36Next is the quieter dining room,
0:25:36 > 0:25:38another demonstration of Adam's skill
0:25:38 > 0:25:42in expanding a small space to create a larger one
0:25:42 > 0:25:45by means of niches, screens and perspective.
0:25:46 > 0:25:49Gosh. Now this looks altogether a lot more feminine.
0:25:49 > 0:25:52Yes. This is for the women to withdraw to after dinner.
0:25:52 > 0:25:54Look at the ceiling!
0:25:54 > 0:25:57It's one of Adam's greatest ceilings. It cost over £1,000.
0:25:57 > 0:26:03It's stucco and gilt and paint. It's the decade after they discovered Pompeii and Herculaneum.
0:26:03 > 0:26:07They'd dug up Roman houses with ancient wall paintings.
0:26:07 > 0:26:11The Duke has a book of wall paintings from these discoveries.
0:26:11 > 0:26:14He chooses scenes he wants copied and they're painted on paper
0:26:14 > 0:26:18in more than 200 little scenes by an Italian, Cipriani,
0:26:18 > 0:26:20who Adam had brought back from Italy.
0:26:20 > 0:26:23What a talented artist!
0:26:23 > 0:26:27I absolutely love the woven silk on the walls. I love that faded look.
0:26:27 > 0:26:32In its day, it would have been a very bright red. Was that imported from France?
0:26:32 > 0:26:35The Duke wanted to, but because of the war with the French,
0:26:35 > 0:26:38he wanted the most fashionable silk hangings
0:26:38 > 0:26:40so he had weavers in Spitalfields copy it for him.
0:26:40 > 0:26:44Gosh, really? Well, they've done a fine job, haven't they?
0:26:44 > 0:26:47You have to imagine this room without the pictures
0:26:47 > 0:26:49and also imagine it by candlelight.
0:26:49 > 0:26:53This was an evening room. The Duchess was famous for the candles she burned.
0:26:53 > 0:26:56The Duke was very proud of those two pier glasses.
0:26:56 > 0:26:59They were made in Paris. They cost more than £400.
0:26:59 > 0:27:03They were two of the biggest mirrored glasses anyone had seen in Britain.
0:27:03 > 0:27:05And you had to get it from France.
0:27:05 > 0:27:06They are big!
0:27:06 > 0:27:10Robert Adam's ability is to design a room
0:27:10 > 0:27:12knowing it will be lit by candlelight.
0:27:12 > 0:27:18What you see in this room is just how much expense they'd go to to get every detail right.
0:27:18 > 0:27:20When you come to the doorway,
0:27:20 > 0:27:23you have these gilt and ormolu details
0:27:23 > 0:27:28- set against panels of ivory.- The attention to detail is spot-on.
0:27:32 > 0:27:36Now, this is typical of a Tudor long gallery
0:27:36 > 0:27:39where people took their exercise on a rainy day.
0:27:39 > 0:27:41But he's taken it and remodelled the whole thing.
0:27:41 > 0:27:45He's created a new classical interior in the existing space.
0:27:45 > 0:27:47What I think it shows you about Adam
0:27:47 > 0:27:50is that he designs everything down to the doorknobs.
0:27:50 > 0:27:55He is one of the first architects to do the house, interior and furniture.
0:27:55 > 0:27:59- You get the whole package with him. - Yes, and he showed here that
0:27:59 > 0:28:03when you think about Roman interiors, don't think temples and monuments.
0:28:03 > 0:28:07He'd looked at these baths and private houses they'd dug up
0:28:07 > 0:28:11- with this light, gentle... - Easy-going ornamentation.- Exactly.
0:28:11 > 0:28:14What you also get with Adam is a team.
0:28:14 > 0:28:19- So one artist he'd brought from Italy painted the portraits.- I see.
0:28:19 > 0:28:23- These are all family portraits?- Yes, the ancestry of the Percy family.
0:28:23 > 0:28:26A second artist painted scenes of Ancient Rome -
0:28:26 > 0:28:28landscapes, architecture.
0:28:28 > 0:28:32And a third artist, Michelangelo Pergolesi painted the walls
0:28:32 > 0:28:35with these delicate arabesque patterns he so liked.
0:28:35 > 0:28:39The Duke was so pleased with his work, he gave him a £20 tip!
0:28:39 > 0:28:42Gosh, that was a lot of money in those days!
0:28:42 > 0:28:44Thank you very much for showing me around.
0:28:44 > 0:28:47If anybody wants any tips
0:28:47 > 0:28:53on how to make their house look like Robert Adam's, they should visit Syon Park. Thank you.
0:28:57 > 0:28:59It's time to get back to the valuation day
0:28:59 > 0:29:02and see what items our experts have set their sights on.
0:29:02 > 0:29:05David has certainly got something brewing!
0:29:05 > 0:29:09Carol, who was the Irish member of your family?
0:29:09 > 0:29:12- All my family. - All your family's Irish?- Yes.
0:29:12 > 0:29:15- You haven't got an Irish accent. - I was born over here.
0:29:15 > 0:29:18But all my family are Irish and that's where this came from.
0:29:18 > 0:29:22That's interesting because this is Belleek porcelain
0:29:22 > 0:29:25which was produced in Northern Ireland in Fermanagh.
0:29:25 > 0:29:28How did you acquire it? Has it been passed down?
0:29:28 > 0:29:31It belonged to my aunt and she left it to me.
0:29:31 > 0:29:35She was a single lady so had no children of her own.
0:29:35 > 0:29:39Um... The story is that it was given to her when she was a young girl.
0:29:39 > 0:29:43This is what we term "first period Belleek".
0:29:43 > 0:29:46The factory was established by David McBirney and Robert Armstrong,
0:29:46 > 0:29:49who was the administrator.
0:29:49 > 0:29:52The factory was established about 1857,
0:29:52 > 0:29:55so the first period is before 1890.
0:29:55 > 0:29:58I'm going to put this around 1875, 1880.
0:29:58 > 0:30:01- Really?- Now, what I like about this
0:30:01 > 0:30:03is the Northern Ireland association with the sea.
0:30:03 > 0:30:09So here is this wonderful teapot which is in the form of an urchin.
0:30:09 > 0:30:13So we've got this lovely sort of bulbous shape
0:30:13 > 0:30:16with the markings of an urchin shell.
0:30:16 > 0:30:20Then the actual handle is the fall of coral.
0:30:20 > 0:30:24Even the spout has coral decoration on it.
0:30:24 > 0:30:26Now, when you look at Belleek,
0:30:26 > 0:30:30because it's such a fine porcelain, you look for damage.
0:30:30 > 0:30:32Inevitably, pieces get damaged.
0:30:32 > 0:30:36- They're quite famous for those delicate baskets.- Yes.
0:30:36 > 0:30:39It's difficult lifting that out because of the smooth glaze.
0:30:39 > 0:30:43Looking at this little finial, in the form of a shell,
0:30:43 > 0:30:46it's slightly damaged there.
0:30:47 > 0:30:50I don't think that will go against it too much.
0:30:50 > 0:30:53but when we price it, we'll take that into account.
0:30:53 > 0:30:57I'll leave that there and turn it upside-down to look at the mark.
0:30:58 > 0:31:01The mark is somewhat rubbed.
0:31:01 > 0:31:04See that? With "Belleek" underneath.
0:31:04 > 0:31:06That's the mark for early Belleek.
0:31:06 > 0:31:09"Count of Fermanagh" would be later.
0:31:09 > 0:31:13- Right.- This is a black trademark so it's quite an early piece.
0:31:16 > 0:31:21- So, Carol, why are you selling it? - No-one in the family wants it.
0:31:21 > 0:31:25I've got two sons, but they're not interested in having it.
0:31:25 > 0:31:30So if somebody would like it who collects and would appreciate it,
0:31:30 > 0:31:32I'd like it to go somewhere like that.
0:31:32 > 0:31:35Well, this is a nice collector's piece
0:31:35 > 0:31:37but it's so very fine and susceptible to damage.
0:31:37 > 0:31:40Bearing that in mind and that element of damage,
0:31:40 > 0:31:42we've got to fix a price.
0:31:42 > 0:31:45I think the auctioneer will probably say
0:31:45 > 0:31:51somewhere between 240 and 300, that sort of price range.
0:31:51 > 0:31:55Allowing for the damage, we've got to tuck in under that figure
0:31:55 > 0:31:59so I think we'll be seeking a reserve of about 225.
0:31:59 > 0:32:02- Right.- How does that sound?- Yes,
0:32:02 > 0:32:04I'll be quite happy with that. Yes.
0:32:04 > 0:32:10- There's a slight hesitation. - We all like to think it'll be more valuable.- That's true!
0:32:14 > 0:32:16Peter, what can you tell me?
0:32:16 > 0:32:21Not much. I found it in my mother's house when I was clearing it out.
0:32:21 > 0:32:24Till then, I didn't even know it existed.
0:32:24 > 0:32:26Let's look at the obvious things first.
0:32:26 > 0:32:29It's got recessed handles either side which pull out.
0:32:29 > 0:32:33When they're recessed, it makes you think it's a travelling case
0:32:33 > 0:32:36as opposed to a box that would sit on a side table.
0:32:36 > 0:32:39So it's a travelling box. It's Victorian.
0:32:39 > 0:32:41Coromandel, or Calamander, wood.
0:32:41 > 0:32:44It's got cut brass inlay here.
0:32:44 > 0:32:47And here's a name-plate for Lady Dickenson.
0:32:47 > 0:32:50- When we open it up, what do we find? - Open it up.
0:32:50 > 0:32:53Wow, look at that. Isn't that lovely?
0:32:53 > 0:32:58So this then falls forward. There's a stationery pouch behind that.
0:32:59 > 0:33:03You can see here where the stationery drops in.
0:33:03 > 0:33:05We'll take one of these out.
0:33:06 > 0:33:10It's a little glass, perhaps soap, container there.
0:33:10 > 0:33:14You can see there are hallmarks on the inside of the lid.
0:33:14 > 0:33:16They date to 1852.
0:33:16 > 0:33:19Victoria came to the throne in 1837
0:33:19 > 0:33:21so she'd been around for what,
0:33:21 > 0:33:2415, 20 years by the time this was made.
0:33:24 > 0:33:26If we now drop the flap down,
0:33:26 > 0:33:28you can see again recessed hinges.
0:33:28 > 0:33:31One might be a jewellery drawer.
0:33:31 > 0:33:34One might have a writing slope in it. Let's have a look.
0:33:36 > 0:33:38So there we are.
0:33:38 > 0:33:41A little jewellery box, or jewellery drawer.
0:33:50 > 0:33:53And another one with a lift-out tray.
0:33:57 > 0:34:00I think it's a lovely thing.
0:34:01 > 0:34:05Push that down. Value. What do you think it's worth?
0:34:05 > 0:34:07- I honestly have no idea.- Well...
0:34:08 > 0:34:10..there are minor problems.
0:34:10 > 0:34:12There are some scratches here
0:34:12 > 0:34:14which a good cabinet-maker can sort out.
0:34:14 > 0:34:18But you have got a fairly healthy split along the top.
0:34:18 > 0:34:20But it's a good quality box.
0:34:20 > 0:34:24I would estimate that at auction at £200 to £400.
0:34:24 > 0:34:26- As much as that?- Yeah.
0:34:26 > 0:34:31I'd put a reserve on it of about 160, 180. I think it'll do well.
0:34:31 > 0:34:33What will you do with the funds?
0:34:33 > 0:34:36As I say, my mother died about five weeks ago
0:34:36 > 0:34:40and I want to get a memorial to put at the crematorium for her.
0:34:40 > 0:34:45That's going to go to a really good cause. I hope it does really well.
0:34:45 > 0:34:47- Thanks for bringing it.- No problem.
0:34:52 > 0:34:56- Babs, how many years ago did you buy this?- 30 years ago.- 30 years.
0:34:56 > 0:34:59- You've been married 30 years? - 33 years, yes.
0:34:59 > 0:35:01- Was it a wedding present? - A late one.
0:35:01 > 0:35:04- Sort of one. Treated ourselves. Yes.- Very nice.
0:35:04 > 0:35:08- Did you actually go to the Troika shop?- Yes.- At St Ives?
0:35:08 > 0:35:12- Yes, St Ives. Down the little street.- And what was it like?
0:35:12 > 0:35:15Oh, I remember there was a window
0:35:15 > 0:35:20and a lot of glass and other things, shelves and things around.
0:35:20 > 0:35:21So very arts and crafts!
0:35:21 > 0:35:26This is quite an interesting pot because this is later in design
0:35:26 > 0:35:30than the major impact which was late '50s into the '60s.
0:35:30 > 0:35:34The major inspiration for Troika pottery
0:35:34 > 0:35:37was the artists that gathered at St Ives.
0:35:37 > 0:35:41People like Barbara Hepworth, Ben Nicholson.
0:35:41 > 0:35:46They gave a sort of impact to the early designs
0:35:46 > 0:35:49that Benny Sirota, who started the factory, produced.
0:35:49 > 0:35:51This is later.
0:35:51 > 0:35:53To a certain extent, this is a contrived design
0:35:53 > 0:35:58to look modern, whereas the other ones were almost accidental.
0:35:58 > 0:36:02- Oh!- Even the glazes are more controlled on this one
0:36:02 > 0:36:04than the earlier.
0:36:04 > 0:36:09So this is an object that I don't think was intended to hold flowers.
0:36:09 > 0:36:13This was always intended as an object to admire,
0:36:13 > 0:36:18- handle, but not necessarily in a utilitarian manner.- Right.
0:36:18 > 0:36:20It's very nice. How much did you pay?
0:36:20 > 0:36:23- I think it was about eight pounds. - About eight pounds?
0:36:23 > 0:36:27Well, that was a good investment, actually.
0:36:27 > 0:36:31If this goes up for auction we're looking at round about £60, £80.
0:36:31 > 0:36:36- Oh!- Maybe a little bit more.- Really? - So quite a good investment.
0:36:36 > 0:36:41So it's the impact design. When you look at this you think '60s, '70s.
0:36:41 > 0:36:45- My era!- Your era! What else can you associate with that era?
0:36:45 > 0:36:47- Music!- What was the music of the time?
0:36:47 > 0:36:50Lively. Much better than it is today!
0:36:51 > 0:36:55- I think you're right. I'm of the same generation anyway.- Yeah.
0:36:55 > 0:36:58- So we can put this up for sale, can we?- Yes, certainly.
0:36:58 > 0:37:02- No regrets?- No, not now.- Husband agreed to it?- Oh, yeah!- OK.
0:37:02 > 0:37:06I hope we'll get that sort of money. Any ideas what to replace it with?
0:37:06 > 0:37:09I don't know. We haven't thought about it yet.
0:37:09 > 0:37:13- Just spend it on something else? - Maybe towards a TV. A hi-tech one.
0:37:13 > 0:37:18- To hang on the wall? Get it before this programme goes out!- Yes!
0:37:19 > 0:37:24A familiar mix of lots for our final section of today's auction.
0:37:24 > 0:37:28Carol's Belleek teapot is a fine example but there's some damage.
0:37:28 > 0:37:33Peter's vanity box is a bit tired. They used to make great money.
0:37:33 > 0:37:36And finally, Barbara's brought in an old friend, Troika,
0:37:36 > 0:37:39but there are no guarantees at auction.
0:37:42 > 0:37:45It's time for tea, but don't go and put the kettle on.
0:37:45 > 0:37:48We have a teapot up for grabs. It belongs to Carol.
0:37:48 > 0:37:52This is lovely, an urchin teapot which David put a valuation on.
0:37:52 > 0:37:55We're looking for 250, hopefully £350.
0:37:55 > 0:37:58It's got the quality, it's got the look.
0:37:58 > 0:38:01- It's so early.- The early stamp. - I love the way they feature the sea.
0:38:01 > 0:38:06- Yes.- All the creatures. The urchin is a very early shape.- Gorgeous.
0:38:06 > 0:38:10Something for Belleek collectors and for teapot collectors.
0:38:10 > 0:38:14You heard what David said. I think it'll do its money. I'm with David.
0:38:14 > 0:38:18I chatted with the auctioneer earlier. He said it might struggle.
0:38:18 > 0:38:21- Well...- It might just get the bottom end.
0:38:21 > 0:38:24Fingers crossed, though. We're here to prove him wrong.
0:38:24 > 0:38:27- We want the top end, don't we? - Yes, that would be nice.
0:38:27 > 0:38:31- Why flog it?- Well...- It's been in the family a long time.
0:38:31 > 0:38:34- But my sons aren't interested in it. - I suppose not.
0:38:34 > 0:38:38- If somebody that collects likes it...- It's a family heirloom!
0:38:38 > 0:38:39It's a shame.
0:38:39 > 0:38:44The Belleek teapot. Start me please for £100. £100 for it?
0:38:44 > 0:38:47I'll take 110. £100 I'm bid. I'll take 110. Who'll give me 110?
0:38:47 > 0:38:50120 there. 130. 140.
0:38:50 > 0:38:51150, 160.
0:38:51 > 0:38:53150's bid.
0:38:53 > 0:38:55The bid's at 150. Take 160. At 150.
0:38:55 > 0:38:57All done and finished at 150.
0:38:57 > 0:39:01Should make more than this at £150. No further interest? Anyone 160?
0:39:01 > 0:39:03We're gonna finish at 150.
0:39:03 > 0:39:06- That's auctions for you. - I'm not worried.
0:39:06 > 0:39:08- Is it going home.- Definitely.
0:39:08 > 0:39:12- I think it's a lucky omen. You've had it a long time.- I do miss it.
0:39:12 > 0:39:14- I miss looking at it.- There you go.
0:39:14 > 0:39:18I'll take it home. I'm not disappointed. It was a day out.
0:39:18 > 0:39:22Or try it in a specialist ceramic sale. That's the answer.
0:39:22 > 0:39:26- It's a good sale room, but a general sale.- I think we're keeping it.
0:39:26 > 0:39:29- Don't you?- I might, for a bit longer.
0:39:29 > 0:39:31- Go on, a little bit longer!- OK!
0:39:35 > 0:39:37Peter, your mum had a great eye,
0:39:37 > 0:39:40because this is a cracking vanity box or vanity case.
0:39:40 > 0:39:44It's got the look and it's rich in every way.
0:39:44 > 0:39:49Valuation £200 to £400 and I think we should get the top end on that.
0:39:49 > 0:39:53- Philip, pressure on you.- These are yesterday's antique dealers' lots.
0:39:53 > 0:39:57They are the cliche lot which everybody loves to hate.
0:39:57 > 0:40:01- A bit of table dressing, but are they selling?- We'll find out.
0:40:01 > 0:40:05A 19th-century brass and inlaid wood fitted vanity box. Number 292.
0:40:05 > 0:40:10It has a fitted interior, all-singing and all-dancing.
0:40:10 > 0:40:13Start me at £100, see where it goes. I'm bid £100.
0:40:13 > 0:40:14First bid of £100.
0:40:14 > 0:40:17Are you 110? 110 I'm bid. 120. 130.
0:40:17 > 0:40:19140. 150. 160.
0:40:19 > 0:40:22170? 160 you bid. Take 170. 170. 180.
0:40:22 > 0:40:24190. 200.
0:40:24 > 0:40:27- It's OK.- 210. 220. 230.
0:40:27 > 0:40:29Yes or no, please, at £210.
0:40:29 > 0:40:34220. 230. 240. Says no at £230.
0:40:34 > 0:40:37It's hard to see where the bids are coming from.
0:40:37 > 0:40:38260. 270.
0:40:38 > 0:40:42- 280. 290.- Yes!- 300.
0:40:42 > 0:40:44At £290. Standard bid at £290.
0:40:44 > 0:40:47We're finished and all done at £290, then.
0:40:47 > 0:40:52Yes, hammer's gone down. What a whack! £290. Well done, Philip.
0:40:52 > 0:40:54- We'll settle for that, won't we? - Oh, yes!
0:40:54 > 0:40:56What will you put the money towards?
0:40:56 > 0:41:00- Towards a memorial for my mum who died recently.- A lovely thought.
0:41:00 > 0:41:03That is a lovely thought. Thanks so much for coming in.
0:41:03 > 0:41:06Lots of memories there. A bit of a sad moment.
0:41:11 > 0:41:13Barbara and I have something to say.
0:41:13 > 0:41:15BOTH: We love Cornwall!
0:41:15 > 0:41:19- We do, don't we? - We do indeed, very much!
0:41:19 > 0:41:23You bought this Troika in Cornwall. I come from there and my mum lives there.
0:41:23 > 0:41:25- Lovely.- I'm a big, big fan of Troika.
0:41:25 > 0:41:28You got this in the Troika shop 30 years ago.
0:41:28 > 0:41:32It doesn't exist any more. But what a product. David, you valued this.
0:41:32 > 0:41:35You wish you'd bought some at that time.
0:41:35 > 0:41:38- I wish I'd bought, ooh, about 50 lots.- 50 lots.
0:41:38 > 0:41:41Good for you! Good for you.
0:41:41 > 0:41:45We're gonna hopefully turn five or six, seven or eight pounds...
0:41:45 > 0:41:49- Eight pounds. - ..into hopefully £100 right now.
0:41:49 > 0:41:53- If not more. We'll keep our fingers crossed.- Another trip to Cornwall?
0:41:53 > 0:41:56It could be. I'll get my husband to take me again.
0:41:56 > 0:41:59Good for you. It's going under the hammer right now.
0:41:59 > 0:42:02It's a Troika disc vase. The last one done well.
0:42:02 > 0:42:04Start me at £100.
0:42:04 > 0:42:07There's more Troika here. That's a good sign.
0:42:07 > 0:42:09I'm bid £100. At £100 I'll take 110.
0:42:09 > 0:42:12£100 I'm bid. Give me 110. I'm bid at 110.
0:42:12 > 0:42:14120. 130. 140.
0:42:14 > 0:42:16150. 160.
0:42:16 > 0:42:19- 170. 180.- Classic.- 190.
0:42:19 > 0:42:20200. And 10?
0:42:20 > 0:42:22£200 I'm bid. A standing bid at £200.
0:42:22 > 0:42:25On the back of £200. Give me 210. At £200, then.
0:42:25 > 0:42:28Last chance at £200. Your bid, sir.
0:42:28 > 0:42:32- £200!- Good, good, good. - Thank you very much!
0:42:32 > 0:42:34- That will get you down to Cornwall! - It will, yes!
0:42:34 > 0:42:39- Bed and Breakfast.- I'll stay down there!- A weekend in St Ives.
0:42:39 > 0:42:43- B&B.- Yeah, lovely. Very true. That's what I might do.
0:42:43 > 0:42:45Would you like to go back there?
0:42:45 > 0:42:48Especially on a hot day like this after an auction.
0:42:48 > 0:42:49You can come with me!
0:42:49 > 0:42:52- I want to stroll along the beach. - Me, too.
0:42:52 > 0:42:54Bless you.
0:42:58 > 0:43:03The auction's still going on, but we're at the end of our day here.
0:43:03 > 0:43:06What a day it's been. I deserve a seat now!
0:43:06 > 0:43:11Our experts have had their work cut out but today's winner was the Troika,
0:43:11 > 0:43:15once again proving 20th-century modern is the thing to invest in.
0:43:15 > 0:43:18Hope you've enjoyed the show. See you next time for lots more!
0:43:41 > 0:43:44Subtitles by Moira Diamond Red Bee Media - 2006
0:43:44 > 0:43:47E-mail us at subtitling@bbc.co.uk