Stirling Flog It!

Heads. It's money, but it's also known as sterling.

And so is this. I'm in the beautiful Scottish town of Stirling where the term for money came from.

Coins were minted in that castle over there using silver from local mines from over there.

Stirling is known for the castle which saw the coronation in 1543

of young Mary, the future Queen of Scots. Its cobbled streets are a picturesque reminder

of this historic past.

We're outside the imposing Albert Halls, which have entertained people in Stirling for 100 years.

What an architectural delight it is.

Today our two experts are Anita Manning and Mark Stacey.

It's their objective to help people here make a mint at auction.

June, when I looked at this glass, I thought, "Yes!

"A lovely piece of Scottish glass."

It's lovely to have Scottish glass shown in Scottish Flog It at Stirling.

Tell me, did you buy this?

-Inherit it?

-We bought it.

-Do you collect glass?

-I do. Scottish glass.

What do you have in your collection?

-We have tulip lamps, mushroom lamps, and quite a few vases and plates.

-Uh-huh.

-It's Perthshire glass?

-Yes.

-Or Monart?

-Monart and Vasart. Vasart now because Monart is too expensive!

-Of course!

Of course. Well, it's an interesting factory.

Monart glass was produced in the 1920s.

It was sold in the prestigious shops in London - Harrods, and so on.

It wasn't cheap at the time.

Production of Monart glass stopped at the beginning of the Second World War.

After the war, production of Monart started again.

But the whole look of the glass changed.

Instead of using the vibrant colours, they used more muted colours.

A little later on the brothers separated and...

they went on to make Vasart glass. And when I looked at that,

I thought it was Vasart.

The post-war Vasart.

Because these colours are Vasart colours.

This lovely, delicate blue and the delicate pink.

When I picked it up,

and looked at the base, there were no Vasart marks on it.

Now Monart is never marked.

So I felt it is Monart, it's late Monart,

definitely post-war.

I would estimate it

probably in the region of... 60-80.

-Are you happy to put it to auction?

-Yes, I am.

-At that estimate?

-Yes.

Well, we're selling it in Edinburgh, we're selling it on the right side of the country!

-That's right!

-Monart is popular everywhere now.

-So I believe.

So we'll put it in, 60-80, a reserve of £60 on it.

-And hopefully it will go more.

-That'll be great.

Thank you for bringing it in.

-Hello, Berwyn.

-Hi.

-You've brought this interesting tea set in.

-Give me the family history.

-Well, we as a family have always believed that it was

a Chinese silver tea service.

My mother came from Shanghai, my grandparents lived there.

And the family story was always that my grandparents, when they left, brought this with them.

And my mother presumably inherited it from my grandmother.

I can understand why you assumed that. There is a retailer's mark in the box that says Shanghai.

But the actual tea service was made here in the UK.

-Well, that's a puzzle, then.

-Made in Sheffield, hallmarked for around 1912.

I suspect what happened is that back then in the Victorian/Edwardian period,

we had a very big empire.

We made a lot of things for our own market, but we made a lot of pieces for people who were ex-pats,

who were living in the colonies.

And I presume that this was supplied to the retailers in Shanghai to sell to the English market there.

It's still a nice, interesting set and it's nice to get the four pieces together - a teapot,

the water jug, the sugar bowl, the creamer,

and then, slightly later, the sugar nips.

All decorated, this typical design of these hanging flowers,

in a slightly sort of shaped form.

Now why have you decided to sell it now?

Well, my mother, who is 89,

has been talking about "the silver Chinese tea service" for years and years and years.

And that has been in the box in her hall cupboard

and I visited her just this week and she said, "What about that tea service?"

-I said, "Mother, I'll take it away." I knew you were coming.

-Fantastic.

-So it's time to get rid of it, put it in the sale.

-Please!

We're probably looking at around £300 or £400.

-Something like that.

-I didn't think it was worth very much, actually.

Well, it's out of fashion a bit, but I like it

because it's complete and with its travelling box and a nice story.

-Do you recommend a reserve?

-I think we should. We don't want it going for 50 quid.

-If we put a reserve of 300, with 10% discretion.

-OK.

And if we did get a reasonable sum, any plans?

Well, my mother says spread it out. Five grandchildren, university debts, all that.

-We might be able to pay a bit of it.

-A bit!

-I hope so.

-That would be great. My mother wants it to be sold.

-Well, thank you very much. Let's keep our fingers crossed we'll be toasting our success.

-Thank you.

Marie, in the old days,

you used to go to the movies, have your arm round your girlfriend

and smoke a cigarette with the other hand. What you have here

is a home entertainment kit.

-It looks like an Indian club or a skittle or something.

-Uh-huh.

But in actual fact it has various different functions, as you probably know.

And if we unwind it here,

we have this part which comes out,

which could be your cigarette holder.

If we turn it round there,

a cigar holder.

If we lift this piece here, and turn this back round again,

-put it in there, a pipe for your grandpa!

-Uh-huh.

And while everybody was having a wee smoke,

you could look through here

and see a little picture

of the piper outside Edinburgh Castle.

It's a little piece commemorating

the Scottish National Exhibition, which was in Edinburgh in 1908.

Now, in late Victorian and Edwardian times, they had these huge exhibitions

which would celebrate the glory of their city.

It would exhibit new products and things of interest.

This was a little thing that folk would buy as a souvenir.

-Tell me, where did you get it.

-It was my great-grandfather's,

-then my papa's, then my dad gave it to me.

-And what did you do with it?

It's been lying in a dish in the house! Doing nothing.

So you're not a smoker, you haven't used it.

-And you've looked through the glass and seen the piper.

-Uh-huh.

Value, I would keep it low. In the region of £25-£35.

It's not a lot of money, Marie,

but you've had your fun from it.

Pass it on. Someone will collect it. At that price, Marie,

-would you be happy to put it into auction?

-Yes.

There's no point in it lying in a dish. No point at all.

So we'll put it in, 25-35,

say a reserve of maybe about 20 just to protect it.

Let's hope someone there will be interested in it. I'm sure they will.

-Thank you.

-Thanks for bringing it.

-Hello, Dorothy.

-Hello.

-Nice to see you.

You've brought this charming little bronze figure.

Well, we've had her for 25 years.

And my husband's aunt before that had her for 20-odd years.

-So she's quite old.

-She's a little bit older than that. That's 45 years, isn't it?

This actually goes back to the end of the 19th century, sort of 1900-ish, here or there.

-Where has she been living in your home?

-In a cupboard, lately.

A glass cupboard or locked away?

Locked away.

-So nobody's seen her for a while.

-Not for a while, no.

-It's a shame.

-Yes, maybe.

It is difficult, unless you have the space.

What I like about it, Dorothy, is that we've got this nice bronze body with the little bonnet

and the flowers and her shawl.

But instead of making the face bronze, they've carved a little piece of ivory,

very delicately, and produced a face in ivory.

Sometimes you can see hands or feet or legs in ivory,

but we've just got that very delicate, pretty little face.

It is also signed on the back here.

E Meler. M-E-L-E-R. I don't know a lot about that particular sculptor.

He's not one of the big names, but it's very competently done.

She's holding a nice bouquet and she's on this granite/marble base.

I think it might be a bit later.

It looks a little bit too big for the actual thing.

But it's quite a decorative piece. What made you bring it along today?

Just decided to come along and see what value she was,

see if there was any interest.

I think there will be some interest. It's a very decorative figure.

-I would say at auction, we would put it in at £200-£300.

-Yes.

-With a reserve of 200.

And hopefully on the day other people will agree that she's quite decorative

-and maybe it will make a little bit more than that.

-Thank you.

It's time to remind ourselves of what's going to auction.

We start with the Scottish glass.

Anita is sure this pretty vase is pure Monart.

Not from Shanghai, but Sheffield, the boxed silver tea service.

Followed by the Stanhope smoking kit, a reminder of bygone times, especially here in Scotland.

And, finally, the bronze figure, whose unusual ivory face should enchant the bidders.

We've travelled to Edinburgh for today's sale

where we have two auctioneers on the rostrum - Sybelle Thomson and Will Smith.

We're suffering from bad weather here in Scotland and the worst is around Stirling,

so I'm keeping my fingers crossed that it doesn't stop our sellers making it here today.

There's no time to waste. The auction is just about to start.

Something for the locals here. It's Scottish, it's Monart glass.

And it's June's, but hopefully for not much longer. £60-£80.

I've been watching you and I saw you buy something.

-It was a Monart vase!

-So why sell this piece of Monart?

-Because I want to buy another piece.

-Well, somebody else who absolutely adores Monart

-is our expert here.

-I love Scottish glass.

This is later and not the best of colours. It has none of the little gold flecks in it,

so it's not going to fly. It's an ordinary piece of Scottish glass.

£60-£80, fixed reserve at 60.

How much was the piece you bought?

-£45.

-Gosh.

-And it's a better piece.

-Yes.

-Gosh.

-Let's hope somebody has pink and blue curtains!

-10 years ago that was fashionable!

-Yes.

-It's the colour scheme, isn't it?

-I know.

-We're going to find out right now. The pressure's on.

Good luck to you. And Anita.

Lot 209, a very nice Monart mottled pink and blue glass vase.

£50 for it? 30.

30 bid. 30 bid. Who's going on?

30 bid. 35. 35. Any advance on 35?

At £35. Not today, I'm afraid.

-No. You were the only buyer in the room.

-Yes.

-I'm quite pleased to take it home.

-Yes! Keep it in your collection.

You've got a lot. Hang on to it. In fact, it matches your scarf.

Up next is a boxed silver tea service. It belongs to Berwyn,

-who is stuck at home because the weather is so bad.

-It's dreadful.

-But let's hope we can get £300-£400.

-I hope so, but if we don't, my cover for the day is the weather.

-It was against us.

-I just hope the silver dealers came to the preview days.

There's been viewing all week here and the weather has been fine and this is a good lot.

It is. It's a nice lot to sell on. It's all there, in a box.

-Just give it a clean.

-Just like us.

-Exactly. Fingers crossed, it's going right now.

Lot 330A, we've got this engraved silver four-piece tea service

and a pair of tongs in a fitted case. We're starting the bidding on two commissions at £280.

-Right, come on. We're in, yes!

-290.

300. 310.

Any advance on £310? 320.

325. I'll take five again. 330.

Any advance on £330 for the tea service?

At 330. At £330.

-He's sold it! £330.

-The weather was on our side!

Oh, I'm relieved!

It's just the two of us, Anita and myself. Marie can't be here. The weather is shocking outside.

We won't let her down, though. We've got a wonderful smoking kit

with a little, tiny, micro image of Edinburgh inside.

It's a little conversation piece. It's just a wee silly thing,

but it's commemorating an exhibition in Edinburgh in 1908.

So we're selling in Edinburgh and we're not asking for a lot of money for it.

We're in the right place. A fixed reserve of £20.

These things are cheap. Not a lot of people collect them, do they?

It's going under the hammer right now, so good luck, Marie.

Lot 430, a nice cigarette holder and pipe combined. Who'll start at 20?

20 bid. 25. 30.

5. 40. £40, seated. At £40.

Any advance? 45. 50.

5. 60. 5. 70.

£70. The gentleman seated, at 70. Any advance on £70?

-Crack!

-That is a very good price.

-£70!

-I'm delighted.

Marie will be delighted as well. I can't wait to tell her.

This next lot is a real gem. It's Dorothy's bronze figurine

and it caught the eye of Mark. You love this kind of thing.

I do. It's not only bronze, but it has the ivory face.

-It's a lovely combination.

-It's got that look to attract decorators.

-£200-£300, that's a bargain.

-Hopefully.

-And I'd love to see it do the top end.

-Let's hope the bidders find their way to the rooms and don't sit on their hands.

-Hope so!

Good luck. This is it, Mark. This is it, Dorothy.

Lot 474, the bronze Edwardian female model. Rather nice, this.

Who'd like to start me? £200 for it?

100? 100 bid. 120.

140. 160.

180. 180. 180. I'm selling at 180.

180. Any advance on 180?

-190.

-Oh, 190 they've got.

200. 200. 200.

£200. Any advance on 200?

210. 210.

210. 220.

230.

240.

-240. Any advance on £240?

-The hammer's gone down.

-That's a sold sound.

-That's good.

-£240, Dorothy.

-Very good.

-What will you put the money towards?

Oh, we'll have something transformed in the garden.

-Oh, planting something up?

-Landscaping.

A bit of landscaping. That's a nice thing to spend the money on.

-You can watch it flourish.

-That's right.

-Well, thank you so much. A lovely item.

At the beginning of the 20th century, four young Scottish artists looked to Paris

for their inspiration. They were Cadell, Peploe, Hunter and Fergusson.

The vibrant influence on their work was so dramatic that they became known as the Scottish Colourists.

Patrick Elliott, senior curator at the Scottish Gallery of Modern Art, introduced me to their work.

I've been looking forward to this. Tell me about this one.

This is by Cadell. He's an artist who was born near Edinburgh

in the early 1880s. And he went off to Paris for a little while

and then to Venice in 1910. This work dates from 1910.

-This was where he got to grips with painting.

-I love the hot colours.

You wouldn't expect them. Especially the Italian flag there right in the centre of the image.

You've got these little grey spots, which I'm sure are pigeons.

-You can see influences here of Impressionism.

-Exactly.

It's quite like works by Monet, all those Impressionist people.

-Lively brush strokes.

-Oh, yes. It's rich and it's heavy in texture, isn't it?

-That's right.

If you've tried painting and tried doing that sort of rough, lively brush work,

it can get really stodgy and that's the problem. He's kept it lively, partly by not too much detail.

If you look at the faces, they're just blanks.

If he'd gone into detail of noses, eyes, mouth and chin, it would become a portrait of three people

at a cafe table. Here you've just got Venice.

The lights, the atmosphere, the vibrancy of the whole theme.

It's probably Florin's Cafe, which is still around.

It was very popular for painters of the time to paint cafes.

These are where they hung out. If they wanted to meet and find out about the latest techniques,

-they'd go to the cafe.

-Marvellous. That's Cadell. Who's next?

-We're going to look at Peploe.

He's probably the best known.

He was a little bit older than Cadell and he went out to Paris in the 1890s and studied there.

And then went back in 1910. Compared to the Cadell which we've just seen,

which has an Impressionist flavour, this has a more Cubist flavour.

-Cubism is partly about flattening the picture plane.

-Which Picasso did.

He's the main one. You've got very geometric outlining of things

and it's like a flat surface. Instead of trying to draw you in with compositional lines,

he's kept it flat, so the background is just as bright and colourful and commanding as the foreground.

If you look around it, you can still make out what the items are,

-the fruit bowl with the banana...

-A cup and saucer.

-A rose, perhaps.

A jug. And you get these in all of Peploe's paintings - a permutation of the same things.

He's not interested in the subject matter. What he wants is to concentrate on the painting.

So what he's interested in are the colours, the brush strokes, and the arrangement of the forms.

-It's a lot harder to do that than you think.

-It's very tempting to get into the detail

-and show that's a rose or a cup...

-He lets you use your imagination.

-Exactly.

It's a very powerful, colourful design. A daring thing to do in Scottish art at the time.

It's as close as it gets to Cubism.

There was controversy. People were upset that he was following the French tradition,

-the new-fangled French avant garde.

-Were they well off in their day? Were they struggling artists?

Three of the four were quite well off. Hunter, this is George Leslie Hunter, he wasn't well off.

He had family money, but didn't want to use it. He lived in great poverty.

He's the odd one out. He was born on the isle of Bute,

on the west coast, and the others were born in and around Edinburgh.

And he trained, oddly, in California.

And he came back to Scotland thereafter and only got into his stride in the 1920s.

-Where did he do this?

-It's reflections from a lock just north of Glasgow.

-It's a beautiful, economical use of paint and line and dabbing textures.

-Wonderful reflections.

Beautiful reflections. This beautiful light blue mixing with the greens

and the browns from the trees. He later became really quite ill

and was advised to come back to Glasgow. In his last two years, he did a lot of work here

-and this would be about a year before he died in 1931.

-That's done with confidence.

That shows 30 years of experience. A really top notch artist.

-Now the Fergusson.

-My favourite.

-Mine, too.

-It's lovely.

-Not just lovely, it's fantastic.

One of the best paintings in the gallery, one of the best paintings you'll see, full stop.

Flashy and sexy and vibrant. It speaks of Paris cafes.

It's the Cafe d'Harcourt. We know quite a bit about it. It's where artists met.

-Artists and their models and writers.

-Do you know who the model is?

-We don't, actually.

But there are a number of hat shops around there. Women from the hat shops would come along.

-And parade.

-Yes. They've got some fabulous hats.

-Aren't they just?

I think that little figure just behind her breast is Fergusson. It looks rather like him.

-A self portrait.

-Just sort of perched on the lady's breasts.

-I think that's not accidental.

-Gave himself a good position.

-He has.

It's terribly dramatic with that glowing yellow light from the tables.

-Definitely cafe society at night.

-And beautiful fiery paintwork.

-And that pink is done in about ten different strokes.

-Bold strokes, aren't they?

He's at the top of his game here, with complete freedom and bravado,

trying to get that cafe society buzz and he's got it spot on.

Fabulous sexy lips as well.

And again it's letting the viewer interpret it. Use your imagination.

-Yeah. You can really walk in amongst them.

-I'm there now!

We've got creme de menthe!

And look at the chap's hand. Super.

-Just a fabulous bit of painting.

-Thank you so much for showing me round. It's been a real pleasure.

-The exhibition is here and permanent.

-That's right.

-So everybody can enjoy it.

-Yes.

-Thank you very much.

-Thank you.

Back at the valuation day, Anita thinks a cameo should have a starring role.

Linda, what a lovely wee cameo.

I like this. Nice quality carving. Where did you get it?

-It was my gran that left it to me.

-Is it something you would wear

going out on a Saturday night?

No.

-Why not?

-Em, just not really my thing.

-Do you wear jewellery?

-Not a lot. I don't wear a lot of jewellery.

-Keep things simple?

-Yeah.

Now a cameo is made by carving a piece of shell.

And you get this very nice contrast of the darkness of the inside of the shell

and the light of the outside.

It dates from the mid-1800s to late-1800s.

What it's showing on the front is a classical scene.

So it was probably made in Italy.

And we have a dancing maiden holding a garland of flowers.

We have one of her sisters, again dressed in classical costume,

playing the harp. And a sweet little cherub

playing a tambourine or some drum-type instrument.

It's encircled

by this engraved band of gold.

It's a very delicate cameo and I like it for that delicate quality.

If we look at the back, Linda,

we will see that the back of the cameo

has been engraved with a name

It's G Moto. Now that would have been the carver of that cameo.

That makes it more interesting and more desirable.

These things are not as popular now as they used to be,

but this one is a particularly pretty one.

The estimate I would put on it would be in the region of £80-£120.

Would you be interested in selling it at that price?

-Yeah, definitely.

-Uh-huh? Let's flog it!

-OK.

-Hello, Brian.

-Hello.

-What an interesting collection of film posters you've brought in.

We've got seven in total. A couple are quite amusing.

One here is Hombre, obviously a nice Western title.

My favourite of all is the classic Dad's Army.

Thank goodness they repeat them over and over again.

My favourite character, being Welsh, is the chap who calls him Captain Main-waring!

-Where did these come from?

-Well, in the 1960s, I used to run a cinema

-near Billingham in Cleveland.

-Right.

I ran it for two years. We used to get all these from National Screen Services in London

along with trailers and stills. And a lot of them were ripped up, week by week.

-As the new ones came in.

-That's right. I kept a few.

Just on the side, really.

-The ones that appealed to you.

-Yes, that's right.

They're quite interesting for the history of moviegoing.

Those early posters, of course, those ones for the early horror films, Frankenstein

and Dracula, and wonderful movies with Rudolph Valentino

playing the pharaoh and the sheik, those are now sometimes highly sought after.

They can make tens of thousands of pounds.

-These are slightly later still.

-In the 1960s, cinema was declining.

That's right, but these are really interesting. Where have they been living?

-At home.

-Not up on the wall.

-No, they've just been put away.

-Why did you bring them today?

-Well, just so that somebody can benefit more than me, I think.

-Have you ever thought about the value?

-I haven't, really.

I think we'd be sensible to put them in with an estimate of maybe £150-£200.

-Ah, yes.

-And put a reserve maybe slightly less, if you're happy.

But then who knows?

If there's collectors out there, they might well decide on more.

Where Eagles Dare, I understood the poster alone was £150-£200.

That is a good one. It was quite a momentous film.

-That one should be worth a bit, but again we've got these folds and the condition.

-Yes.

-We've got to tempt those bids in.

-Yes.

Some of them are only £20 or £30 and others will be £50 or £60.

I think, in theory, they're worth that, but we're putting them into a mixed sale.

-I'm sure we'll tease the right bids in.

-Good, excellent.

-Are you happy?

-Very.

-Wonderful. I'll see you at the auction. Thank you for bringing them.

-Thank you.

Lindsey, thanks for coming in.

You have made my day. You've brought a piece of furniture,

and it's oak, my favourite wood.

We know what it is - a Robert "Mouseman" Thompson.

-How did you acquire this?

-I got it in a house sale maybe 20 or 25 years ago.

-And you've used it ever since?

-It's been in the bathroom quite a lot.

I sit on it when I come out the bath.

-What else?

-You got it in the right area because it originates

and is still being made in Kilburn, North Yorkshire. And, looking at this little joint stool,

I'd say this is built in the 1940s. An early one.

The mouse is much slender with a much longer tail.

Recent ones are more robust, larger with a shorter tail.

Look at the grain on the oak. He's cut that to show that wonderful ray.

See that fleck running through there? You only get that on oak.

It's made on the same principle as a 16th-century joint stool.

All mortise and tenons.

There's a tenon on this rail which goes into a mortise in here.

And then it's peg-jointed. No nails.

A wooden dowel is driven through a hole right through the two.

That pulls and tightens together.

That joint would be done when the oak was quite green,

when the wood hadn't fully seasoned.

So as the wood seasons, it tightens the joint and strengthens it.

The grain is beautiful, the colour is stunning. That gives it its personality.

It's completely hand-made, not machine-made.

These early examples, I think, they're hard to find now. People don't sell them.

Which is why I want to know why are you flogging this?

Because Mr Blair and Mr Brown are not going to look after me. I have to look after myself.

What do you think this is worth?

Well, I saw one on the Antiques Roadshow a few weeks ago

-and they valued it about £800 for insurance.

-Yeah.

So I would guess somewhere around a third to half of that price.

I'm so pleased you're up-to-date with insurance valuations.

They are normally 40% higher than its street value.

And its street value is obviously a lot less than its mark up price would be in a shop.

We're putting it into auction with a street valuation, what it's worth on the open market.

I'd like to put this into auction with a valuation of £250-£350.

-OK.

-With a fixed reserve of £250. If it doesn't sell, please hang on to it.

-It's worth every single penny. I'd like to see it do £400.

-So would I, of course!

-Of course!

Let's have another look at all our items going off to auction.

Anita loved Linda's delicate cameo, which could be Italian, maybe picked up on a Grand Tour.

Next, Brian's film posters. They came from his own cinema.

And, finally, all the way from Yorkshire, my favourite -

the Robert "Mouseman" Thompson stool. Let's see if Sybelle likes it as much as I do.

Right, my favourite item of the whole valuation day and the sale

has got to be this Mouseman stool. Lindsey is flogging it.

I would personally keep it. I think it's divine.

And it's an early one as well. The mouse has the right shape.

-£250-£350. That's worth bidding for.

-Definitely. It's a lovely one.

-Do you know why they put the mouse on it?

-He was a church carver and his colleague said to him,

-"I'm as poor as a church mouse."

-That's it!

-He said, "Don't worry, my friend, I'll carve you one."

-And they really took off.

-Absolutely.

This is nice because it is a saddle seat, a nice feature.

-And it's such lovely quality oak.

-The right fleck in the grain.

-Nice, genuine, country-made furniture.

We've seen Mouseman products before do about £120. This SHOULD do £350-£450.

-That's what I'd like to see.

-I think it will make the top end, plus.

I do actually agree with you.

-There are people who just collect this.

-And it's very practical.

Fit into any size of home.

Sold! To the lady in the blue suit!

Next up is that wonderful cameo brooch, a classical Italian scene.

It belongs to Linda and she can't be with us because of the weather! It's really bad out there!

But I do have Anita, our expert! We're looking at £80-£120. Will we get the top end?

We may not. Cameos are not the most popular things at the moment.

-Brooches are, though.

-This is very pretty.

It's delicate, lovely carving, good quality carving,

-and three pretty figures. It's an appealing item.

-Would you like to wear it?

-I would.

We're pinning our hopes on £120 for Linda. Let's hope we do it. This is it.

We're on to the next lot now. Lot 366.

A Victorian mounted, carved, shell oval cameo.

-Quite a few commissions on this one.

-Ohh!

-Yes!

Starting at £85 for this cameo. Any advance on £85?

90. 95. 100.

105. 110. 115.

120. 130. 140.

150. 160.

They love it.

£160 in the front centre. 160.

The hammer's gone down. Job done, Linda. £160!

I'm absolutely delighted with that.

Brian, this is it. Your seven film posters.

Just about to go under the hammer. Brian ran the cinema.

-Did the projectors? Advertising?

-Did the advertising.

-Gosh.

You managed to save a few posters. Most of them are real boys' movies.

Hopefully lots of guys in the room will love them.

A little bit of damage, but the auctioneer agreed with you.

Sort of £30-£40 for each poster, which takes it up to £200.

-Very good. Keep our fingers crossed.

-Fingers crossed for that, eh?

-Not too bad.

Well, let's make a movie. Good luck.

270, the interesting collection of seven film posters.

Quite a lot of interest in these. We start at £80.

80 bid. 85. 90.

5. 100. 110.

-It's healthy.

-130. 140. Very good.

150. Do you want in on the phone? 160.

160. 170.

180. 190.

190. The lady in the corner at 190.

Any advance on £190?

Top end! £190!

-Very good indeed.

-Must be the power of Dad's Army!

What are you going to do with £190, less a little bit of commission?

I promised my friend Jane and her mother, who is not with us today, something.

-A little something?

-I hope they like fish and chips!

It's my turn to be the expert and I've been looking forward to it.

It's my favourite thing here. It belongs to Lindsey.

But for not much longer. The Mouseman stool with the saddle seat.

-Who have you brought along?

-My wife, Sandie.

-Pleased to meet you.

You've both had this stool at home for 25 years.

It's going to be a sad goodbye because it's definitely going.

-We had a wee pat and said cheerio.

-It's there over there. Good luck.

Good luck. Fingers crossed. This is it. I can't wait for this.

Now we're onto Lot 562.

A very nice Robert "Mouseman" Thompson oak joint stool.

Lots of interest in it. I can start at £300.

Yes! We made it straight away.

300. 320. 350.

380. 400.

420. 420. 420. 420.

Anybody else want in? Would you like in at 420? 420.

430. I'll do the same for you.

430. 430.

430. It's on commission at £430.

Any advance on £430?

-Yes! The hammer's gone down.

-Well done.

-That deserved that.

I said to you sneakily £400.

-Well, that's going to pay a few bills.

-Absolutely!

It's all over for our owners. The auction is still going on.

We've had a mixed day here. If you've got any antiques or collectables you're unsure about,

bring them along to one of our valuation days. You can find details on our BBC website at:

bbc.co.uk/lifestyle

Until the next time, it's cheerio.

Subtitles by Subtext for Red Bee Media Ltd - 2007

Email: [email protected]