0:00:02 > 0:00:04Today I've graduated to Cambridge University,
0:00:04 > 0:00:08and when you're here, the only way you can get about properly is on your bike!
0:00:08 > 0:00:10BELL RINGS
0:00:52 > 0:00:56I know what you're thinking, "Go on, get on your bike, Paul!"
0:00:56 > 0:01:00What a fantastic queue we've got here today!
0:01:00 > 0:01:07And looking cool on their bicycle made for two, our experts, Elizabeth Talbot and James Lewis.
0:01:09 > 0:01:14Now it's time to shift up a gear, as they have their work cut out,
0:01:14 > 0:01:17sorting through all the antiques and collectibles
0:01:17 > 0:01:21brought here to the University Arms Hotel by this enormous crowd.
0:01:21 > 0:01:26Now, Violet, tell me, these figures, are these things that you've had since a child?
0:01:26 > 0:01:32Oh, no! I bought them in a very smart china shop about 40 years ago,
0:01:32 > 0:01:35I think, and I know it's Worcester,
0:01:35 > 0:01:40- and it was...is a collection of six figures.- Yeah, absolutely.
0:01:40 > 0:01:42- I think there were six. - Freda Doughty was one artist.
0:01:42 > 0:01:45- That's right. - Yeah, she's the designer.
0:01:45 > 0:01:50She worked at Worcester from 1930, and she was one of the most prolific decorators
0:01:50 > 0:01:53and designer's modellers that work at Worcester,
0:01:53 > 0:01:55and she's a fantastic craftsman.
0:01:55 > 0:01:58- And just look at the modelling here on the face.- Yes.
0:01:58 > 0:02:00- The figure just comes to life.- Yeah.
0:02:00 > 0:02:04And Royal Worcester was going through difficult times when she joined,
0:02:04 > 0:02:08and she was one of the artists who saved the Royal Worcester factory from financial destruction.
0:02:08 > 0:02:13So she was an important figure, and she did days of the week, months of the year, all these
0:02:13 > 0:02:19different series, and this one is called - if we turn it over, there we are - "Modelled by F Doughty,"
0:02:19 > 0:02:20Worcester mark, and inscribed, "Woodland Dance."
0:02:20 > 0:02:25And this figure was produced from right early on in her time,
0:02:25 > 0:02:29from 1934 right the way through until the 1960s.
0:02:29 > 0:02:32And you would think that that was the same, wouldn't you?
0:02:32 > 0:02:36- Yeah.- But not only is it not by Freda Doughty, it's not even Royal Worcester.- No, I know.
0:02:36 > 0:02:40Paragon, but again it's a good figure, but I have never
0:02:40 > 0:02:45- seen a Paragon figure like that, so we're gonna be on a learning curve together with this one.- Oh, well.
0:02:45 > 0:02:47- This one we see a lot of.- Do you?
0:02:47 > 0:02:53- They make at auction something like £70-100.- That's right.
0:02:53 > 0:02:58- So on this one, 70-100 is an estimate, and I would put a reserve of £70 on her.- Yeah?
0:02:58 > 0:03:03I think we ought to put them as consecutive lots, and put maybe... What do you think?
0:03:03 > 0:03:07- An estimate of £60-100 on this little chap?- Yes, yeah, yeah.
0:03:07 > 0:03:11You've had them for a long time, why do you want to sell them now?
0:03:11 > 0:03:16For the simple reason, I have quite a lot of bits and pieces of china, and I've been going to
0:03:16 > 0:03:19antique fairs for years, and I begin to think,
0:03:19 > 0:03:23"Well, at my age, what's the good of me keeping all this
0:03:23 > 0:03:26"blessed stuff in the place? I might as well get rid of some."
0:03:26 > 0:03:31Certain things, I've given away... You know what I mean, you get a bit cluttered up.
0:03:31 > 0:03:34- So let's take them to the auction and see how we do.- Yes,
0:03:34 > 0:03:38it's ever so nice of you, very nice. Nice to see you. Thanks ever so much.
0:03:43 > 0:03:45What a wonderfully vibrant picture, June.
0:03:45 > 0:03:47What can you tell me about this?
0:03:47 > 0:03:50Erm... Well, yes, it certainly does have a wow factor,
0:03:50 > 0:03:53and every time I look at it, it does take my breath away.
0:03:53 > 0:03:56I can only go back about 12 years on this one.
0:03:56 > 0:04:00It stood in my mother-in-law's home over the mantelpiece,
0:04:00 > 0:04:04and when I first was introduced to my husband to be,
0:04:04 > 0:04:08I just looked at the picture, and I just fell in love with it because of
0:04:08 > 0:04:11the colour, the vibrancy, it's just so beautiful.
0:04:11 > 0:04:13Unfortunately, Mother-in-law died,
0:04:13 > 0:04:18and we didn't get married until after she'd died, so basically I was given
0:04:18 > 0:04:22the picture as a wedding present, because he knew how much I loved it.
0:04:22 > 0:04:24And that was about eight years ago.
0:04:24 > 0:04:26You can trace it back 12 years.
0:04:26 > 0:04:30I think it dates from the 1950s, possibly from the late 1940s,
0:04:30 > 0:04:37but stylistically it borrows heavily from the works of Degas, and also from Dame Laura Knight.
0:04:37 > 0:04:40Now, I see there's a signature here, it is actually signed.
0:04:40 > 0:04:43Now, I can't discern whether that says "Moz Kay..."?
0:04:43 > 0:04:47My first impression is that it probably was "Mozlay"...
0:04:47 > 0:04:50then looking at it again I thought it was "Mozkay".
0:04:50 > 0:04:53I think the best thing to do would be to ask the auctioneers
0:04:53 > 0:04:55to do some research and see if they can come up with anything.
0:04:55 > 0:04:59I would love to know who actually painted it, yes, I would.
0:04:59 > 0:05:02But I think almost one would say, irrespective
0:05:02 > 0:05:07of that, it has a worth of its own because it is such a lovely picture.
0:05:07 > 0:05:10It's actually watercolour mixed with pastels, so you get a very
0:05:10 > 0:05:13- sort of thick impasto build-up of layers almost.- Impasto.
0:05:13 > 0:05:18Very three-dimensional, which adds to the sort of depth of the picture.
0:05:18 > 0:05:22It's also very sketchy, some parts of the paper are left totally blank,
0:05:22 > 0:05:24which is quite exciting.
0:05:24 > 0:05:27And I think it will appeal to ballet lovers, but also it fits
0:05:27 > 0:05:33nicely into the post-war artistic era that is so popular at the moment.
0:05:33 > 0:05:37But it was your mother-in-law's. Was she a ballet dancer or interested in ballet?
0:05:37 > 0:05:41No, I don't think she quite had the stature to be a ballet dancer, not at any time.
0:05:41 > 0:05:45What I would say is that there were ballerina pictures everywhere.
0:05:45 > 0:05:49- Well, I'm sure that crowned her collection probably.- Oh, yes, yes.
0:05:49 > 0:05:51- So you're thinking of selling it. - I am indeed.
0:05:51 > 0:05:53So why have you got to that stage now?
0:05:53 > 0:05:58Well, when I first got married, the first thing I wanted to do was hang it on the wall.
0:05:58 > 0:06:02It stood there for some time, and then I took it down because
0:06:02 > 0:06:06I changed the decor in the house, so it didn't fit.
0:06:06 > 0:06:11And it had come from a big house to a small semi-detached, and it just...
0:06:11 > 0:06:15It was incongruous, it didn't fit in, and it stayed
0:06:15 > 0:06:18in the spare room with a blanket over it, which is such a shame.
0:06:18 > 0:06:20- It is a shame, it is a shame. - It should be shown.
0:06:20 > 0:06:24Bearing in mind it has very many areas of appeal, I think it would
0:06:24 > 0:06:29do well to sell for somewhere between £400 and £600. I think that would be
0:06:29 > 0:06:31realistic and a good price for it.
0:06:31 > 0:06:33- Good.- You'd be happy?
0:06:33 > 0:06:37I would be happy with that, yes. And we'll place a reserve of 400.
0:06:37 > 0:06:39- Thank you very much.- Thank you.
0:06:45 > 0:06:48Sue, when I saw you carry this in, I thought, "Mmm,
0:06:48 > 0:06:49"could it be...
0:06:49 > 0:06:53"a letterbox, or could it be...
0:06:53 > 0:06:55"let me think now, something like a knife box?"
0:06:55 > 0:06:59But when we open this up, there's a big surprise in here.
0:06:59 > 0:07:02- There is, yes.- Da-da, da-da...
0:07:02 > 0:07:03It's an early radio.
0:07:03 > 0:07:07- It's got a lovely mahogany case. - It has.- How did you come by this?
0:07:07 > 0:07:10It belonged to my partner's grandfather.
0:07:10 > 0:07:14- Right.- And it's been in their house since he was a small child.
0:07:14 > 0:07:16And why have you brought it in?
0:07:16 > 0:07:19Well...we're going to get married in the summer,
0:07:19 > 0:07:23and we decided we'd try and sell some of our grandparents' antiques,
0:07:23 > 0:07:26things that we've got cluttering up our house,
0:07:26 > 0:07:28- to put towards the wedding.- Right.
0:07:28 > 0:07:32And it's a bit big, and it doesn't quite fit at home.
0:07:32 > 0:07:34- It's an odd thing, isn't it?- It is.
0:07:34 > 0:07:39It does look like a knife box, you expect to open it up and see lots of silver fruit knives or something
0:07:39 > 0:07:44like that or sections to put letters, a nice piece of Victoriana.
0:07:44 > 0:07:48But it is in fact 1920s to 1930s,
0:07:48 > 0:07:52and it's a crystal radio, and I think it's absolutely superb.
0:07:52 > 0:07:56And we've even got another surprise in here - that's a little drawer,
0:07:56 > 0:08:03and there's a set of headphones, and these, I bet, are in working order, because they look pretty good to me.
0:08:03 > 0:08:07We've never actually tried to have it working but...
0:08:07 > 0:08:08I wouldn't like to either!
0:08:08 > 0:08:12You've got to attach the headphones to these two terminals here.
0:08:12 > 0:08:14Obviously, this is the tuner,
0:08:14 > 0:08:20and it says here, "Type approved by the Postmaster-General for BBC,"
0:08:20 > 0:08:23so how about that for a seal of approval? You can't get any better.
0:08:23 > 0:08:26But isn't it lovely? And the crystal would go in here.
0:08:26 > 0:08:29You'd have a tiny box that went in there with some replacement crystal,
0:08:29 > 0:08:34like a little ball, which you obviously need to replace.
0:08:34 > 0:08:38Obviously here this terminal would allow you to attach an aerial, which you'd probably
0:08:38 > 0:08:43have to drape around the room, which might be six or seven feet long to pick up a good reception.
0:08:43 > 0:08:46- Oh, right, OK, we haven't got that. - Value? Crikey...
0:08:46 > 0:08:48With the headphones, because people do buy
0:08:48 > 0:08:52the headphones separately, they might be worth around about £10-15.
0:08:52 > 0:08:54OK, it's good job we've got those.
0:08:54 > 0:08:59I think this is possibly worth about £40-60, but if we combine the two,
0:08:59 > 0:09:02obviously they belong together, and we'd put a value of £50-90 on.
0:09:02 > 0:09:04OK, that all sounds good.
0:09:04 > 0:09:08Do we put a fixed reserve of 50, or do you want to just let it go?
0:09:09 > 0:09:11I don't really mind.
0:09:11 > 0:09:16OK, let's keep a fixed reserve on it, and if it doesn't sell, I think you've got to keep it.
0:09:16 > 0:09:18I don't know what you're gonna do with it.
0:09:18 > 0:09:24- Are you happy with that?- Yes, I'm happy with that, thank you, Paul. - Should we flog it?- Flog it, please.
0:09:28 > 0:09:34Now, Ian, when you unpacked these onto the Flog It tables, I got so excited.
0:09:34 > 0:09:36They're just fantastic.
0:09:36 > 0:09:40When you're talking about history, about objects, antiquities...
0:09:40 > 0:09:44Well, you go for it, you know about it, tell us about it.
0:09:44 > 0:09:48This is a Roman pot that my father dug up
0:09:48 > 0:09:51with a JCB in 1965.
0:09:51 > 0:09:58We took it to the Fitzwilliam Museum, where they dated it to...100 AD.
0:09:58 > 0:10:04And the scuff marks on it is actually where the back axle of the digger hit the jug, and that's
0:10:04 > 0:10:10when my father realised that there was something there, so he stopped, got out and then dug it up by hand.
0:10:10 > 0:10:12What a wonderful thing.
0:10:14 > 0:10:19- You know, it's amazing that these things survive in such relatively good order.- Yes.
0:10:19 > 0:10:23Now, the thing that I couldn't work out were these three holes in the side.
0:10:23 > 0:10:27I mean, obviously it's a storage jar, but what are these holes for?
0:10:27 > 0:10:30Right, the museum said that they changed the use of it
0:10:30 > 0:10:35by putting these three holes in, and they used it as a hanging basket.
0:10:35 > 0:10:40- How amazing.- The first hanging basket.- We do think hanging baskets are a modern thing, don't we?
0:10:40 > 0:10:43- Let's move on from this.- Certainly.
0:10:43 > 0:10:44Now tell me about that one as well.
0:10:44 > 0:10:49This, same scenario, really, my father dug it up with a JCB
0:10:49 > 0:10:54at Shelford, which is a little village just down the road, and brought it home because he
0:10:54 > 0:10:59thought it was quite nice, and it's just sat in the cupboard ever since.
0:10:59 > 0:11:03With early bottles, the most important thing is condition.
0:11:03 > 0:11:10- Yes.- The JCB may well have knocked its top off, but it's a good early 18th-century glass bottle.
0:11:10 > 0:11:12It's known as the mallet shape, and you can tell it's been
0:11:12 > 0:11:17in the ground for an awful long time, but on the whole it's not bad.
0:11:17 > 0:11:20- Now, we need to come to some sort of idea of value.- Certainly.
0:11:20 > 0:11:24Even with their wonderful history, they won't be worth a lot of money.
0:11:24 > 0:11:27And selling them together, I think we ought to put
0:11:27 > 0:11:33an auction estimate of £60-100 on them, put a reserve of 60 on them, make sure they don't go below that.
0:11:33 > 0:11:37And isn't it a crazy world where a Beswick hunting set makes £1,000,
0:11:37 > 0:11:43£1,200, and a bit of Roman pottery and a bit of 18th-century glass make £60-100?
0:11:43 > 0:11:48But let's hope the people of Cambridge dig deep in their pockets, you might make a bit more.
0:11:54 > 0:11:57And it's a real mixed bag for our first set of lots.
0:11:57 > 0:12:01There are woodland pixies and beautiful ballerinas,
0:12:01 > 0:12:04a crystal radio and a Roman pot,
0:12:04 > 0:12:09a lucky survivor considering it was unearthed by a JCB.
0:12:09 > 0:12:13For our auctions today, we've come down the road to Cheffins and the auctioneer
0:12:13 > 0:12:18has been doing his research on an item which I think will have the bidders doing pirouettes.
0:12:18 > 0:12:23My word, I think this is going to fly away at 400-600.
0:12:23 > 0:12:26It is lovely, it's a watercolour with a bit of pastel mixed in.
0:12:26 > 0:12:32- It belongs to June.- It's a pretty picture, a good subject, nice, pretty colours, well executed.
0:12:32 > 0:12:34Elizabeth didn't know much about the artist on the day.
0:12:34 > 0:12:37She couldn't find anything on him.
0:12:37 > 0:12:41Well, I looked up Mozley, and the only Mozley we could find was Charles Mozley.
0:12:41 > 0:12:44Now, he was born in 1914, Sheffield,
0:12:44 > 0:12:50and he was a very prolific sort of post-war artist, both commercially
0:12:50 > 0:12:55illustrating, graphic design, and there are some sort of similarities
0:12:55 > 0:12:57between his work and this.
0:12:57 > 0:12:59There's so much movement in it, the sort of
0:12:59 > 0:13:03sweeping and the flowingness of it. I love the colours.
0:13:03 > 0:13:05I'm confident we're gonna sell this, I think it'll appeal
0:13:05 > 0:13:08to a wide audience, the subject matter, the colours.
0:13:08 > 0:13:10Will it do any more than the 600?
0:13:10 > 0:13:15His work itself, Mozley, he does oils as well as prints.
0:13:15 > 0:13:22About four to six is about the right pitch, yeah, so I think confident we'll get five, maybe 550.
0:13:22 > 0:13:24Well, we'll see how the painting does later.
0:13:24 > 0:13:28The sale is under way, and first up it's a pair of pixies.
0:13:28 > 0:13:30Violet, nearly the moment of truth.
0:13:30 > 0:13:33We're gonna find out if James's estimates are spot-on.
0:13:33 > 0:13:36We've got the Royal Worcester first, £70-100,
0:13:36 > 0:13:38followed by the Paragon, £60-100.
0:13:38 > 0:13:40They look like a pair, but they're not. That's why they're split up.
0:13:40 > 0:13:42And you bought these how long ago?
0:13:42 > 0:13:45Well, as I said, the other piece...one was about 40 years ago,
0:13:45 > 0:13:50but the other one is not as long, I can't remember, probably ten years ago, I'm not sure.
0:13:50 > 0:13:53Will you be sad to see them go? No...
0:13:53 > 0:13:56- Not really.- Flog 'em!
0:13:56 > 0:14:00- I want to get rid of a lot of stuff, in any case. - You're de-cluttering, aren't you?
0:14:00 > 0:14:03I'm getting too old to want to be bothered with all this stuff.
0:14:03 > 0:14:06Were you happy with James's valuation?
0:14:06 > 0:14:09- Well, yes, I think so. - "Well, yes, I think so."
0:14:09 > 0:14:11I don't really know, I suppose...
0:14:11 > 0:14:13That makes two of us!
0:14:13 > 0:14:17You're not going to ask me, "What are you going to spend the money on?"
0:14:17 > 0:14:20- I'm saving that till afterwards. - I thought you were. - That's my big moment.
0:14:20 > 0:14:23The Royal Worcester figure there, being shown by Jen, thank you.
0:14:23 > 0:14:28The Royal Worcester figure, starting here, any interest at 35, 45?
0:14:28 > 0:14:31- I'm bid 50 here, at £50 I'm bid now...- I'm not worried.
0:14:31 > 0:14:34At 50 bid, the bid's here at 50 now.
0:14:34 > 0:14:37At 60 here, I've been left five, sir. 70 if you like, £70 the nod.
0:14:37 > 0:14:40Left-handed now at £70 now, five elsewhere, yes or no?
0:14:40 > 0:14:43I shall sell, then, at £70...
0:14:43 > 0:14:47- Just! Just got that one away. - Just, just, just.
0:14:47 > 0:14:51Now, lot 375 is the Paragon figure, there we are, of the pixie.
0:14:51 > 0:14:54When you see that, will you start me at what? £60 for that surely, 60.
0:14:54 > 0:14:56Well, £30 surely, half price here today.
0:14:56 > 0:15:02At £30 bid, at £30 I'm bid, thank you now. At 35, 40, 5, 50...
0:15:02 > 0:15:05No, at £50, right-handed at £50, one more might do it, sir.
0:15:05 > 0:15:08At £50, shakes head, that won't buy it at £50.
0:15:08 > 0:15:10At £50, are you bidding, sir?
0:15:10 > 0:15:12I'll take five, all right. At 55 in front, 60, thank you.
0:15:12 > 0:15:15At £60 now, you're both out.
0:15:15 > 0:15:19It's £60 now, it's right-handed, are you sure, then? At £60...
0:15:19 > 0:15:22- Just!- You must have been clever.
0:15:22 > 0:15:25He is clever, he does know his onions, doesn't he?
0:15:25 > 0:15:28Well, I've never seen a Paragon figure,
0:15:28 > 0:15:31but I said on the valuation day, "I haven't got a clue!"
0:15:31 > 0:15:36But it doesn't have the same following as Worcester, but it made just under that, so I mean
0:15:36 > 0:15:39- 130 for the two, that's fine. - That's not bad, is it, 130?
0:15:39 > 0:15:41No, no, no.
0:15:42 > 0:15:45What's that going to be put towards?
0:15:45 > 0:15:47Oh...a bag of fish and chips.
0:15:52 > 0:15:55Well, I know June's feeling so nervous, aren't you?
0:15:55 > 0:15:58Your lot is just about to go under the hammer.
0:15:58 > 0:16:02There's no need to be scared, because at £400-600 this is gonna sell.
0:16:02 > 0:16:04It's absolutely beautiful.
0:16:04 > 0:16:08We had a chat to the auctioneer earlier, and Elizabeth doesn't know this,
0:16:08 > 0:16:11but he completely agreed with your valuation, 400-600.
0:16:11 > 0:16:14- Excellent, that's a good start. - It's so beautiful, I love this.
0:16:14 > 0:16:18It's got a lot about it, so much movement, the colours are very interesting, and I think up in
0:16:18 > 0:16:22Cambridge, where the arts are to the fore, it will be well appreciated.
0:16:22 > 0:16:26It reminds me of Dame Laura Knight, and I think this is gonna fly.
0:16:26 > 0:16:29Why are you parting with it?
0:16:29 > 0:16:34Because I don't think the house that I live in does the painting justice.
0:16:34 > 0:16:36Oh, you could find a wall for that.
0:16:36 > 0:16:41- I did find a wall, but the wall nearly fell down under the weight. - Well, it's too late now, isn't it?
0:16:41 > 0:16:44Because it's just about to go under the hammer,
0:16:44 > 0:16:47it's over there, and young Will Axon is gonna flog it for you.
0:16:47 > 0:16:50The Charles Mozley for you there, ballerinas, mixed media.
0:16:50 > 0:16:56There we are, Charles Mozley, make no mistake, 235 we're selling you, and I've got interest here at 200...
0:16:56 > 0:16:59220, 40, 260, I'm bid at 260 here...
0:16:59 > 0:17:04- It's rising!- The bid's here at 260 now, at 260 now, I can't tempt you?
0:17:04 > 0:17:08280, 300, 320, 340?
0:17:08 > 0:17:11340, try me again at 340 bid, no?
0:17:11 > 0:17:13At 340 bid, at 340, are you bidding?
0:17:13 > 0:17:15At £340 I'm bid, one more, yes or no?
0:17:15 > 0:17:19At 340, can't tempt you, are you sure?
0:17:19 > 0:17:21At 340, 360, give me a nod.
0:17:21 > 0:17:26At £340, all it's gonna be, yes or no at 340...
0:17:26 > 0:17:29Didn't sell it. I don't believe it.
0:17:29 > 0:17:33I built this up, "We're gonna flog this, there's no need to be nervous, there's no need to panic,"
0:17:33 > 0:17:35- and we got it wrong.
0:17:35 > 0:17:38Right... Next stop, London, I think.
0:17:38 > 0:17:40- Another sale on another day.- Yes.
0:17:40 > 0:17:43Yeah, you definitely don't want that on the wall, do you?
0:17:43 > 0:17:47Erm... I love it, actually, to be quite honest with you.
0:17:47 > 0:17:48Why don't you keep it, then?
0:17:48 > 0:17:51Well, for the moment I'll have to, won't I?
0:17:59 > 0:18:01- Ian, good luck with this next lot. - Thank you very much.
0:18:01 > 0:18:05Now, your father dug up this, so you could say it's a bit of sort of dug-up treasure, couldn't you?
0:18:05 > 0:18:08- Yes, indeed. - A Roman storage jar...- Yes.
0:18:08 > 0:18:10- 18th-century wine bottle...- Yes.
0:18:10 > 0:18:15- Not a lot of value, though, is there? £60-100 for something that is so old.- That's right, yes.
0:18:15 > 0:18:19- Just see what happens.- These were dug up with a JCB, though...
0:18:19 > 0:18:23- They was, yes - ..so it's a bit of luck they didn't get flattened, really, isn't it?
0:18:23 > 0:18:28It's the sort of thing that you'll only get one or two people after,
0:18:28 > 0:18:31and 99.9% of the population just won't be interested at all.
0:18:31 > 0:18:33So we need that 1% here right now.
0:18:33 > 0:18:36- We do, we need a historian, don't we? - Fingers crossed.
0:18:36 > 0:18:41Well, we've got a packed room, let's see how it does, shall we? This is your lot, good luck.
0:18:41 > 0:18:45Being shown the early 18th-century green glass wine bottle
0:18:45 > 0:18:47together with the Roman terracotta pot.
0:18:47 > 0:18:51I've got interest here starting at 20, 5, 30 and 5, I'm bid at 35 here.
0:18:51 > 0:18:57Interesting lot now at 35, 40, 5, 50, 60... No?
0:18:57 > 0:19:00£60, the gentlemen's bid at 60, are you bidding? No.
0:19:00 > 0:19:02At 60 in front, gentlemen's bid, are you coming back?
0:19:02 > 0:19:06At £60 right in front, then, all done? Are you sure elsewhere at £60?
0:19:06 > 0:19:11The hammer's gone down right on the lower end.
0:19:11 > 0:19:16- They're not highly sought after, are they? Things that are so old, antiquities, so cheap.- Yes.
0:19:16 > 0:19:18What else has he dug up with a JCB?
0:19:18 > 0:19:21Some, erm... A...
0:19:21 > 0:19:28A Napoleon coin he dug up with the JCB, and some old...like little
0:19:28 > 0:19:31bottles and things like that, nothing as exciting as those two.
0:19:31 > 0:19:34- Is he still digging? - No, he's retired now.
0:19:34 > 0:19:37- He's doing a steam engine up now. - Oh, right, good for him!
0:19:42 > 0:19:48Sue, your early crystal radio, now are we tuned into the right frequency at £50-90?
0:19:48 > 0:19:52- I think we are, don't you? We're on the right wavelength.- I hope so.
0:19:52 > 0:19:55Well, we've got to, only the money's going towards the wedding, isn't it?
0:19:55 > 0:19:58- Yes.- The pressure's on.- Yes, it was Jeff's great-grandfather's,
0:19:58 > 0:20:01so it'd be nice to have a gift from Grandfather for the wedding.
0:20:01 > 0:20:06Well, let's see if it sends out the right waves in the saleroom. Good luck.
0:20:06 > 0:20:10The crystal radio set. Interest starts here already at 50, 60, 70...
0:20:10 > 0:20:14- Oh, yes... Oh, yes!- Wow!
0:20:14 > 0:20:16- 95, 100...- Wow!
0:20:16 > 0:20:21And 10, you're in, sir, now. At 110, both my bidders are out at 110 and 20, 30, 140...
0:20:21 > 0:20:26- Oh, gosh.- 150, 160, 170, 180, 190.
0:20:26 > 0:20:30You can't leave it like that, sir, at 190, 200. 220...
0:20:30 > 0:20:33Oh, they absolutely love it, don't they?
0:20:33 > 0:20:37- I can't believe it.- At 220, are you all done, then? Are you sure, then?
0:20:37 > 0:20:40In front at £220...
0:20:40 > 0:20:42Bang, the hammer's gone down, what a result!
0:20:42 > 0:20:46Do you know, I'm so pleased! I would never have thought.
0:20:46 > 0:20:47No, I wouldn't.
0:20:49 > 0:20:51I'm so pleased I've got it wrong!
0:20:53 > 0:20:56I think because it was complete and the condition was perfect.
0:20:56 > 0:21:00Thank you so much for selling, I'm amazed that it got that much money.
0:21:00 > 0:21:02I'm thrilled, really pleased.
0:21:02 > 0:21:04Thank you.
0:21:16 > 0:21:21Somewhere among Cambridge's lofty corridors of learning is a place of peace and tranquillity.
0:21:21 > 0:21:26It's somewhere to escape the stresses and strains of studying.
0:21:26 > 0:21:29A place that will lift your spirits and put a smile on your face,
0:21:29 > 0:21:33and it's on the other side of this door, so let's go and have a look.
0:21:33 > 0:21:35BELL RINGS
0:21:44 > 0:21:48This is Kettle's Yard, founded in 1957 by a former curator
0:21:48 > 0:21:54of the Tate Gallery, Jim Ede, and he was so driven by his passion for art and beautiful objects that he turned
0:21:54 > 0:22:01his home into a space where people could enjoy art in a peaceful and uncluttered domestic setting.
0:22:10 > 0:22:15During his career at the Tate Gallery in the '20s and '30s, Ede befriended and met many
0:22:15 > 0:22:19of the leading artists of the day, and he was an early champion
0:22:19 > 0:22:24of the contemporary artist Ben Nicholson and of the naive artist Alfred Wallis.
0:22:34 > 0:22:38But perhaps his greatest achievement as a collector was the acquisition
0:22:38 > 0:22:43in 1926 of almost the entire contents of a studio
0:22:43 > 0:22:47of French sculptor Henri Gaudier-Brzeska,
0:22:47 > 0:22:50who sadly died in action in 1915.
0:22:50 > 0:22:53And it's the works of these three artists which form the core
0:22:53 > 0:22:55of the collection here at Kettle's Yard.
0:23:04 > 0:23:07To tell me more about Jim Ede and his unique vision,
0:23:07 > 0:23:10we have the director of the museum, Michael Harrison.
0:23:10 > 0:23:12Michael, thanks for talking to us and taking time out.
0:23:12 > 0:23:14What was Jim's vision?
0:23:14 > 0:23:17Why did he set Kettle's Yard up? What was it all about?
0:23:17 > 0:23:22Jim had a very strong sense that art was not to be separated
0:23:22 > 0:23:26off from the rest of life, and this was something that he wanted to communicate to other people.
0:23:26 > 0:23:32Then he conceived what he thought was his quixotic scheme, which was to come to Cambridge,
0:23:32 > 0:23:34where there would be a lot of students,
0:23:34 > 0:23:40to find a house where he and his wife Helen could live and where they could hold open house from the beginning.
0:23:40 > 0:23:47So each afternoon the house would be open, and Jim would take people around and talk to them about art.
0:23:47 > 0:23:50Art for him was far more important than food and drink.
0:23:50 > 0:23:53They took a very low place on his agenda.
0:23:53 > 0:23:56Well, he probably spent all his money on art.
0:23:56 > 0:23:59Well, there wasn't much money to spend, and you realise that,
0:23:59 > 0:24:03right from the beginning, his collecting was on a very low economy,
0:24:03 > 0:24:08And he was collecting during the '20s and '30s, he formed great friendships
0:24:08 > 0:24:13with artists, like Ben Nicholson, and he was buying work from them
0:24:13 > 0:24:16at a time when they were not selling.
0:24:16 > 0:24:21And if there was spare money around, then it would be spent on art.
0:24:21 > 0:24:25And what Jim can't quite have realised at the time that he was
0:24:25 > 0:24:30collecting was that he was forming a collection which gathers together
0:24:30 > 0:24:33not only Ben Nicholson and Barbara Hepworth,
0:24:33 > 0:24:37but also Christopher Wood and Alfred Wallis, the great
0:24:37 > 0:24:43primitive artist who was discovered by Ben Nicholson when he went to St Ives for the first time in 1928.
0:24:43 > 0:24:47We know he had a fantastic eye just by the choice of objects - they're stunning.
0:24:47 > 0:24:49But what sort of person was he?
0:24:49 > 0:24:52Well, Jim had started wanting to be a painter.
0:24:52 > 0:24:55He was essentially an artist,
0:24:55 > 0:24:59and from those very early days when he was working at the Tate
0:24:59 > 0:25:06in the 1920s, you find him becoming quite obsessed with the business of arranging rooms.
0:25:06 > 0:25:09This was what he brought to bear in Kettle's Yard.
0:25:09 > 0:25:12This becomes a masterpiece in a way.
0:25:12 > 0:25:16One of the great qualities of Kettle's Yard is its daylight.
0:25:16 > 0:25:22Of course, daylight is physical illumination, but it's also spiritual illumination.
0:25:22 > 0:25:26When you walk in here to Kettle's Yard, something touches your soul,
0:25:26 > 0:25:32and I think it's the space around the object which gives it a vitality and a dynamic and an energy.
0:25:40 > 0:25:43I particularly like this corner of the gallery, Michael.
0:25:43 > 0:25:49Composition is perfect here between this lovely inverted dresser base, and the objects on it.
0:25:49 > 0:25:53Yes, this is a wonderful mixture of 20th-century art and...
0:25:53 > 0:25:5518th-century furniture.
0:25:55 > 0:25:58..18th-century furniture - Islamic rug on the floor.
0:25:58 > 0:26:01It's this mixture which is so particular to the place.
0:26:01 > 0:26:06And then the other end is counterbalanced by
0:26:06 > 0:26:10a little composition with a shell, a pomander and a pebble.
0:26:10 > 0:26:12This is what's happening today.
0:26:12 > 0:26:15This is so fashionable now. People are buying 20th-century modern,
0:26:15 > 0:26:19good design, and they're putting it on 18th-century furniture.
0:26:19 > 0:26:22The two really do have a dynamic together.
0:26:22 > 0:26:25There's no discrimination amongst the objects.
0:26:25 > 0:26:31Everything is loved for its quality, whether it's a natural object, sculpture or a piece of furniture.
0:26:31 > 0:26:35Then over here, you've got a huge great section of tree.
0:26:35 > 0:26:38- Where did that come from?- Yes, this is a different kind of furniture.
0:26:38 > 0:26:41This is rustic at its best.
0:26:41 > 0:26:45This was Jim on holiday in the Scillies, and he found
0:26:45 > 0:26:48- this on the beach and thought he had to get it here.- A bit of driftwood.
0:26:48 > 0:26:50Quite a hefty bit of driftwood.
0:26:50 > 0:26:54Eventually it got here, and it provided the base for
0:26:54 > 0:26:57Gaudier-Brzeska's the Bird Swallowing Fish,
0:26:57 > 0:27:01one of his most famous works, which is just before the outbreak of war.
0:27:01 > 0:27:04It provides this extraordinary premonition
0:27:04 > 0:27:08- because the bird being swallowed is amazingly bomb like.- It is, isn't it?
0:27:08 > 0:27:12- That is quite symbolic. I thought it was a torpedo or a bomb.- Yes.
0:27:12 > 0:27:14It's absolutely stunning, isn't it?
0:27:14 > 0:27:16I recommend that this is certainly worth a visit.
0:27:16 > 0:27:18In fact, this is worth several visits.
0:27:18 > 0:27:23It gives you inspiration in how to display your antiques at home too.
0:27:23 > 0:27:27A lot of people start rearranging their houses once they've been to Kettle's Yard.
0:27:27 > 0:27:29Well, I'm certainly going to!
0:27:38 > 0:27:43In 1966, Jimmy handed over Kettle's Yard to Cambridge University,
0:27:43 > 0:27:45and he stayed on for a few years as a curator.
0:27:45 > 0:27:50In 1973 he moved to Edinburgh, where he spent the last few years of his life.
0:27:50 > 0:27:53It speaks volumes about this special man, that he was able
0:27:53 > 0:27:58just to walk away from all of his materialistic possessions - all these items of art and virtue
0:27:58 > 0:28:02that he collected all his life for the pleasure of future generations.
0:28:02 > 0:28:06People like you and me, to come here and appreciate and soak up.
0:28:06 > 0:28:08It's absolutely marvellous.
0:28:18 > 0:28:21Back at the valuation day, the people of Cambridge continue
0:28:21 > 0:28:26to offer up their collectibles for the delight of our experts.
0:28:26 > 0:28:29Well, when I saw these figures, they really made me smile.
0:28:29 > 0:28:31I feel very happy to see them, Trevor. Do you like these?
0:28:31 > 0:28:36Yeah, they're very nice, but I think they ought to go to somewhere where
0:28:36 > 0:28:38they're probably appreciated more.
0:28:38 > 0:28:41In their 100-year or so history, they've already
0:28:41 > 0:28:46travelled a long way because I believe that these are German porcelain figures.
0:28:46 > 0:28:48Do you know anything about their history?
0:28:48 > 0:28:52I know nothing about their history, except in that
0:28:52 > 0:28:58when I first moved to Cambridge and I was adopted, about six years old,
0:28:58 > 0:29:01these were with my adoptive parents.
0:29:01 > 0:29:05They sat on their mantelpiece. They had travelled with them from London,
0:29:05 > 0:29:08and they were blitzed there twice in London during the Second World War.
0:29:08 > 0:29:12- Really? So these have seen two blitzes?- Yes.
0:29:12 > 0:29:15They're in such lovely, lovely condition.
0:29:15 > 0:29:20Regardless of that little hiccup in their time, they are German
0:29:20 > 0:29:25porcelain figures from about 1900, give or take a year or two.
0:29:25 > 0:29:30They are hollow slip-moulded figures, which are then hand-painted.
0:29:30 > 0:29:33As a genre of figure, they're not very rare,
0:29:33 > 0:29:35but what I do like about them is they're a decent size,
0:29:35 > 0:29:41because some of them can be quite small, but it's the subject which is just so wonderful, to my mind.
0:29:41 > 0:29:46It's very much of the time - very much late Victorian in the dress,
0:29:46 > 0:29:51in sentimentality, but the snowballing scene is just lovely.
0:29:51 > 0:29:53Also, it's very much full of action.
0:29:53 > 0:29:57- A lot of these figures can be very static.- Statues, yes.
0:29:57 > 0:30:01There's no factory attributable - you can't pinpoint where they came from,
0:30:01 > 0:30:05but the quality of them suggests that they should sell at auction for...
0:30:05 > 0:30:08Would you like to have a guess?
0:30:08 > 0:30:10No, I really don't know.
0:30:10 > 0:30:13I'll be honest, I am really in the dark with them.
0:30:13 > 0:30:19- I'd have thought realistically, they should be in the region of £120 to £200.- That much?
0:30:19 > 0:30:23They may go a little bit more, but I think that's a realistic figure.
0:30:23 > 0:30:27- Shall we put a reserve on of £100, just to protect them? - Yes.- Are you happy with that?
0:30:27 > 0:30:31- Yes.- But I think they should do well.- Thank you very much.
0:30:37 > 0:30:41Steve, aren't these brilliant? Every boy's dream. A pair of Schuco cars.
0:30:41 > 0:30:43Were these yours when you were younger?
0:30:43 > 0:30:46I wasn't allowed to play with them. They were my father's.
0:30:46 > 0:30:47They were his pride and joy.
0:30:47 > 0:30:51So tell me, were they your father's when he was a boy?
0:30:51 > 0:30:56I think... He died last year, and I think he acquired them in 1930s.
0:30:56 > 0:30:59He was 88 when he died and he had them as a young man, yes.
0:30:59 > 0:31:03Schuco is the name for clockwork cars. Do you know much about them?
0:31:03 > 0:31:06Not a lot really, no.
0:31:06 > 0:31:12Well, the Schuco factory started in 1912, and they started making these little velvet and plush toys.
0:31:14 > 0:31:19The factory then went on to making these tinplate cars in the 1930s.
0:31:19 > 0:31:21It doesn't take a genius - it says so underneath.
0:31:21 > 0:31:24Schuco Kommando Anno 2000.
0:31:24 > 0:31:31Now, it says here patents applied for France, England, USA, Sweden,
0:31:31 > 0:31:35Austria, and it goes on - Belgium, Spain, Poland, Japan...
0:31:35 > 0:31:38So they were exporting these absolutely everywhere.
0:31:38 > 0:31:44Let's have a look at this one... There we go. Schuco Examico 4001.
0:31:44 > 0:31:49Again, patents applied for - made in Germany.
0:31:49 > 0:31:51There we are.
0:31:51 > 0:31:56If you open the bonnet, we've even got little details
0:31:56 > 0:32:01of the engine inside. You've got the key. Do you want to wind it up?
0:32:01 > 0:32:05- This one, you blow on it to make it go and stop.- Go on, have a go.
0:32:11 > 0:32:13Don't overwind it!
0:32:14 > 0:32:16Brilliant!
0:32:16 > 0:32:19Quick!
0:32:19 > 0:32:21- Isn't that brilliant? - It also goes in reverse.
0:32:21 > 0:32:23Look at that!
0:32:26 > 0:32:28Brilliant. What fun.
0:32:28 > 0:32:33- Have you got the key for this one? - It's the same key.- Brilliant.
0:32:38 > 0:32:40OK. Go for it. Oh, it's off.
0:32:40 > 0:32:45Brilliant. OK, well, there are loads of collectors for these.
0:32:45 > 0:32:48I've never had a Schuco car in an auction that hasn't sold.
0:32:48 > 0:32:51Have you got their original boxes?
0:32:51 > 0:32:55- No, sorry. It's just the cars. - That does make a huge difference.
0:32:55 > 0:33:00On average, a little car like that will be worth between £60 and £100.
0:33:00 > 0:33:05We can either put them together, or separately in consecutive lots.
0:33:05 > 0:33:09- The auctioneer, I think, should make that decision for us.- Yes.
0:33:09 > 0:33:15I think an estimate of £120 to £180 on the two, and I think they'll do jolly well.
0:33:15 > 0:33:16They will cause a lot of interest.
0:33:16 > 0:33:20- They're great fun.- Lovely.- Thanks for bringing them in.- Thank you.
0:33:26 > 0:33:29We see Moorcroft from time to time on Flog It!
0:33:29 > 0:33:32but Beryl, this is a particularly nice example.
0:33:32 > 0:33:33What can you tell me about it?
0:33:33 > 0:33:37My parents had it as a wedding present in 1929.
0:33:37 > 0:33:39It's been around all my life.
0:33:39 > 0:33:44I think you don't really appreciate things that you've lived with for
0:33:44 > 0:33:47that time, but on the other hand, you do have an affection for them.
0:33:47 > 0:33:51It's been used for dropping keys, and all sorts of things in.
0:33:51 > 0:33:53- Has it really?- Oh, yes!
0:33:53 > 0:33:56It was never considered to be anything special.
0:33:56 > 0:34:01- That's the trouble. Now it's a bit special and I'm scared of breaking it.- For any particular reason?
0:34:01 > 0:34:03- Yes, I've got cats. - Oh right, I can understand.
0:34:03 > 0:34:08It's sitting on something, and one of them might come along and...
0:34:08 > 0:34:11It's not that you don't like it, but you care for its well-being.
0:34:11 > 0:34:13I like as well.
0:34:13 > 0:34:18Of all the Moorcroft designs, I like it better than any other ones I've seen.
0:34:18 > 0:34:22It's a very distinctive and quite a rare pattern by Moorcroft.
0:34:22 > 0:34:27I have to say I can't remember the name of the pattern.
0:34:27 > 0:34:31But Moorcroft collectors will know exactly what they're looking at.
0:34:31 > 0:34:33But it is one of the rarer patterns,
0:34:33 > 0:34:37which in this instance suits the shape beautifully.
0:34:37 > 0:34:40I think some of their designs suit the shape of the item.
0:34:40 > 0:34:44Some of them don't sit quite so happily, but this is a beautiful
0:34:44 > 0:34:48marriage between colour, design and actually a silhouette of the piece.
0:34:48 > 0:34:54Despite its hard existence with keys etc, the only imperfection I've found
0:34:54 > 0:34:58of any note is slight wear to the inside of the neck.
0:34:58 > 0:35:02But also underneath is a tiny, tiny crack which actually
0:35:02 > 0:35:07is a firing crack, which was done in the kiln at the time of production.
0:35:07 > 0:35:11There is the factory mark of William Moorcroft
0:35:11 > 0:35:15from the early 20th century - the 1920s.
0:35:15 > 0:35:21- Now, it's from the nice early period, as you say. Your parents received it in 1929?- Yes.
0:35:21 > 0:35:25That's in the heyday of the Moorcroft factory and their production.
0:35:25 > 0:35:29To a collector, I think it's a very choice piece to find.
0:35:29 > 0:35:33What do you think it might be worth offered to the market?
0:35:33 > 0:35:37Well, I would have thought it had to be at least on the 150-200,
0:35:37 > 0:35:40but I think it might be more than that.
0:35:40 > 0:35:44Well, it might be, yes. You'd be disappointed if it wasn't a bit more?
0:35:44 > 0:35:47Yes. It might go home.
0:35:47 > 0:35:55I would like to see this sell for between £700 and £1,000.
0:35:55 > 0:35:57- Does that please you?- Yes.
0:35:57 > 0:36:01I think a reserve of £700 would be appropriate.
0:36:01 > 0:36:04It even more has to go then!
0:36:04 > 0:36:06Know any other cats?
0:36:06 > 0:36:11Assuming that that's a nice surprise, is it too early to say,
0:36:11 > 0:36:13how would you spend the money?
0:36:13 > 0:36:17Maybe I'd go on the Austrian holiday that I have been looking at.
0:36:17 > 0:36:21- Oh, how lovely.- One of these train journey ones.- Yes.
0:36:21 > 0:36:23That would be superb.
0:36:23 > 0:36:28Well, we'll take it to auction and we will see how exciting the day will be for you.
0:36:28 > 0:36:30OK, thank you.
0:36:34 > 0:36:37Well, I think Beryl got a bit of a surprise there, don't you?
0:36:37 > 0:36:42Let's hope Elizabeth is on the mark with her valuation as we head off to the saleroom again.
0:36:42 > 0:36:46Joining the Moorcroft, a pair of porcelain figures that survived
0:36:46 > 0:36:51the London Blitz, and a couple of German toy cars from the 1930s.
0:36:51 > 0:36:56Let's see if Will can tell us any more about Beryl's Moorcroft vase.
0:36:58 > 0:37:00- This has got quality written all over it.- Yes.
0:37:00 > 0:37:03A good maker's name. I mean, it is a stunning piece.
0:37:03 > 0:37:07It's one of the nicest pieces of Moorcroft I've seen ever on Flog It!
0:37:07 > 0:37:11It belongs to Beryl, with an estimate of £700 to £1,000
0:37:11 > 0:37:14put on by Elizabeth, who I don't think
0:37:14 > 0:37:17- knew what the pattern was. - You can value them to a certain
0:37:17 > 0:37:20degree on the more general patterns by size and shape.
0:37:20 > 0:37:26- OK.- But yes, I suspect that if she had known the name of the pattern, which is Moonlit Blue,
0:37:26 > 0:37:30I mean, £700 to £1,000, they'd be queuing up with the chequebooks
0:37:30 > 0:37:32- at that sort of estimate. - I would.- Yes.
0:37:32 > 0:37:37We recently sold a smaller version in the same pattern for £1500.
0:37:37 > 0:37:41Wow! So we are looking at £2,000.
0:37:41 > 0:37:43I'd like to think so. It's been well viewed.
0:37:43 > 0:37:46We've worked it into clients that we know are interested.
0:37:46 > 0:37:49Having a piece a few weeks ago, we have got a list of bidders,
0:37:49 > 0:37:53condition reports, telephone bidders - we can just contact them again.
0:37:53 > 0:37:57This is definitely the one to watch. Sit back and watch this.
0:38:05 > 0:38:08What's been going through your mind, Trevor, since the valuation day?
0:38:08 > 0:38:10- Are you looking forward to this? - Absolutely.
0:38:10 > 0:38:12With nervous disposition, I think.
0:38:12 > 0:38:15- I've never been before.- Well, I'd like to see you get the top end.
0:38:15 > 0:38:17I think they're lovely.
0:38:17 > 0:38:20I know Elizabeth wants you to get the top end. The low end is what?
0:38:20 > 0:38:23120. Which I think it's realistic.
0:38:23 > 0:38:25Fingers crossed. A lovely subject.
0:38:25 > 0:38:27I think they're great, they're lovely.
0:38:27 > 0:38:30We need two bidders to fight each other out here and push this one up.
0:38:30 > 0:38:33- Good luck. - Yes, thank you.- This is it.
0:38:33 > 0:38:35There we are being shown, thank you.
0:38:35 > 0:38:40A pair of, make no mistake, start me at what? £100? At £100? 80 then?
0:38:40 > 0:38:42Well, £50 is all I'm bid. At £50.
0:38:42 > 0:38:44£50 is all I'm bid on the figures. At 50...
0:38:44 > 0:38:47£50 I'm bid here. At 50 now...
0:38:47 > 0:38:50- Two for the price of one!- Looks like everybody is sitting on their hands!
0:38:50 > 0:38:54No? At £70, it's still my bid then.
0:38:54 > 0:38:56At £70, against you all, are you sure then? Wave at me now?
0:38:56 > 0:38:58No. At £70...
0:38:58 > 0:39:00All these bidders were sitting on their hands.
0:39:00 > 0:39:03- I guess they just didn't fancy them. - Never mind.
0:39:03 > 0:39:07Trevor, what's the next plan of action? What are you going to do?
0:39:07 > 0:39:11Well, I've got something else here that's coming up later on.
0:39:11 > 0:39:16- So hopefully that'll do better. - Yes.- Will you put these into another sale on another day?
0:39:16 > 0:39:19I think I'll put them in on another day.
0:39:19 > 0:39:21He definitely wants to see them go.
0:39:21 > 0:39:23- Yes, that's right. - Never mind, never mind.
0:39:29 > 0:39:32Well, we're changing gear right here on Flog It,
0:39:32 > 0:39:37but will Steven's Schuco cars go into overdrive at £180 for the pair?
0:39:37 > 0:39:40- We hope so.- A little bit more...
0:39:40 > 0:39:42Lovely little things. These have been played with, though.
0:39:42 > 0:39:46- Yes.- Did you play with them? - On special occasions.
0:39:46 > 0:39:50- On Sundays! - Yes, yes. It wasn't a regular toy.
0:39:50 > 0:39:52Why are you flogging these?
0:39:52 > 0:39:57My father died last year, and he said if I ever wanted to sell them, go ahead and sell them,
0:39:57 > 0:40:00rather than just put them in a box.
0:40:00 > 0:40:02- Yes, at least a collector will appreciate them.- Yes.
0:40:02 > 0:40:06- If you play with them any more, you'll just devalue them.- Yes.
0:40:06 > 0:40:08Top end - that's what we want.
0:40:08 > 0:40:12- Will it do it?- I hope so. We had fun with them on the valuation day.
0:40:12 > 0:40:14Really good fun.
0:40:14 > 0:40:20Well, I don't think it's going to be a pit stop for us. These will certainly do the circuit. Good luck!
0:40:20 > 0:40:24The two vintage Schuco tinplate cars there. I've got interest here.
0:40:24 > 0:40:28Starting on commission at 70, 80, 90. I'm bid 100 here now.
0:40:28 > 0:40:33At £100, I'm bid on commission at £100. 110 if you like.
0:40:33 > 0:40:35£100. Are you bidding sir, £110.
0:40:35 > 0:40:38120, 130. 130, I'm bid.
0:40:38 > 0:40:41You're in now by 10, sir. At 130 in the room...
0:40:41 > 0:40:43At £130, with you, left-handed.
0:40:43 > 0:40:46At £130? The hammer's up, all done at 130?
0:40:46 > 0:40:48The hammer's gone down.
0:40:48 > 0:40:51The chequered flag's gone down - 130. That's all right, isn't it?
0:40:51 > 0:40:54- Yes, thank you.- We'll settle for that.- Yeah, we'll settle for that.
0:40:54 > 0:40:56What are you going to do with the money?
0:40:56 > 0:41:00It's going towards a concert in Paris in October, Status Quo.
0:41:00 > 0:41:01Status Quo!
0:41:01 > 0:41:05- Down down, deeper and down.- Yeah!
0:41:05 > 0:41:07# Down, down, deeper and down
0:41:07 > 0:41:11# Down down, deeper and down... #
0:41:11 > 0:41:13Are you sitting comfortably? Well, you won't be for long
0:41:13 > 0:41:16because this next item is going to get you on the edge of your seat.
0:41:16 > 0:41:19It's Beryl's Moorcroft vase. The lovely blue and green pattern.
0:41:19 > 0:41:23- Yes.- £700 to £1,000.- Yes.
0:41:23 > 0:41:25The auctioneer fell in love with it.
0:41:25 > 0:41:29Elizabeth, I'm going to bring you in on the conversation here.
0:41:29 > 0:41:34- How exciting. - He said he sold one just like it, a lot smaller, for £1,500.
0:41:34 > 0:41:36She doesn't believe it. Well, hopefully...
0:41:36 > 0:41:38No, the reason that it's going
0:41:38 > 0:41:43is because it's too valuable to stay around with the cats.
0:41:43 > 0:41:46It is now, with the cats knocking about!
0:41:46 > 0:41:50It is absolutely beautiful and it's going under the hammer right now.
0:41:50 > 0:41:53The Moonlit Blue vase there.
0:41:53 > 0:41:54There you are, you've seen our estimate.
0:41:54 > 0:42:02I've got interest already. At 500, 550, 600, 650, 700 I'm bid here.
0:42:02 > 0:42:06At 700... 750, 800, 850, 900...
0:42:06 > 0:42:11- It's going! - 1000, 1100, 1200, 1300, 1400...
0:42:11 > 0:42:14They love it, they absolutely love it.
0:42:14 > 0:42:181450... It all helps. 1500.
0:42:18 > 0:42:20And another 50? At 1500 I'm bid here.
0:42:20 > 0:42:22Try me again, sir. At £1500, I'm bid.
0:42:22 > 0:42:25Here at 1500. Who else is in now?
0:42:25 > 0:42:28At 1500 pounds... Are you sure? The hammer is up, make no mistake.
0:42:28 > 0:42:33On commission then at £1500...
0:42:33 > 0:42:37- Sold!- Not bad! In between what you said and what Will said.
0:42:37 > 0:42:39Absolutely, that's good.
0:42:39 > 0:42:41£1500, What are you going to put all that money towards?
0:42:41 > 0:42:44Going on a train journey to Austria.
0:42:44 > 0:42:48- Oh, are you? Oh, how romantic! Are you going by yourself?- Yes.
0:42:48 > 0:42:50Oh, surely there's somebody.
0:42:50 > 0:42:52- Well, maybe.- Take somebody along.
0:42:52 > 0:42:55I'll take you, shall I?
0:42:55 > 0:42:56I'd love to!
0:43:00 > 0:43:03Well, that's it, the auction's over. One moment the sale room's
0:43:03 > 0:43:06jam-packed with bidders, and the next, it's empty.
0:43:06 > 0:43:10But we came here to Cheffins in Cambridge, and we hit the right levels.
0:43:10 > 0:43:13The crystal radio was well received,
0:43:13 > 0:43:16selling for a staggering £220. I just can't believe that.
0:43:16 > 0:43:20But once again, it was quality - that always proves to sell well.
0:43:20 > 0:43:23The Moorcroft vase, selling for a staggering £1,500.
0:43:23 > 0:43:28I hope you've enjoyed the show. See you next time for lots more on Flog It!
0:43:35 > 0:43:40For more information about Flog It, including how the programme was made,
0:43:40 > 0:43:44visit the website at bbc.co.uk/lifestyle.
0:43:47 > 0:43:49Subtitles by Red Bee Media Ltd
0:43:49 > 0:43:52E-mail subtitling@bbc.co.uk