Paisley and Plymouth Flog It!

Today we're travelling the length and breadth of Britain.

We'll be in Devon visiting one of England's historic naval cities,

and travelling nearly 400 miles north to a Scottish town with a fashionable name.

Later on in the show, I'll find out how these beautiful textiles

came to be associated with Paisley.

But first, it's time to Flog It!

Here, just west of Glasgow, at Paisley Civic Hall, the queue is growing fast.

They're all waiting to have their antiques valued inside by me and our experts.

Later, we'll pick the cream of these items and test the valuations by selling them at auction.

We're in for some real surprises.

This is exquisite. It's one of the best things I've seen on the show for a long, long time.

That's not all, later on we'll be in the naval port of Plymouth in Devon,

where the owner of a painting can't believe her luck after it narrowly escaped the bin.

-£600 plus.

-Never!

-Yes!

-Great.

But first let's start the show north of the border.

Paisley has a long and distinguished industrial history, particularly in textile making.

Paisley shawls, with their distinctive teardrop patterns, were made here in their thousands.

These two mills were built from either side of this waterfall, known

as the Hammills to harness the power of water for driving the machinery.

In long, hot Victorian summers, young lads that wanted to prove

their worth swam in those very dangerous rapids.

It's known as Tailing The Linn.

But we've already sorted the men out from the boys here at the Paisley Town Hall.

-So, there's no need for our two experts to prove themselves today, is there chaps?

-No need at all.

It's Adam Partridge and Philip Serrell.

I was very excited about my visit to Paisley and I was hoping to find something Scottish.

Top of the list was Monart glass and thank you, Bobby, for coming along with your piece of Monart glass.

Can you tell me how you came to own this?

-I got it from a lady who was moving house.

-Right.

She moved house about 50 years ago.

I've had it ever since.

I didn't know anything about it until I visited Edinburgh Museum.

-Right.

-There was a display of Monart glass there.

And you thought, "I've got one of them."

They were mostly blues and greens, but there was one like that, half the size of this one.

I thought that must be worth something.

I am waiting for you to tell me.

It is worth something. The blues and greens and purples

you see quite a lot as well, sometimes with little gold specks in them.

You see them in bigger and bolder shapes as well.

If people at home think they might have something similar,

and think, "That's very much like our vase." There's an extra way to check.

They are not signed as such. Some of them still have a paper label on. I've sold some with a label on.

Also, they have this raised circular disc on the bottom, the pontil mark is always raised.

Do you know why it is called Monart?

-No, I haven't.

-It was the Moncrieff Glassworks in Perth.

-Yeah.

There was a Spanish gentleman from Barcelona

by the name of Salvador Ysart.

So Ysart and Moncrieff, Moncrieff meets Ysart to make Monart.

They started in about 1920, 1921 and produced right up until the 1960s, and he had four sons,

one of them was Paul Ysart, a well-known glassmaker and they were also part of the operation.

The main father Salvador Ysart was a master glassmaker.

So you're telling me that's as old as I am.

I wouldn't know that!

I wouldn't know at all. I wouldn't like to guess.

So it's a Scottish, Spanish fusion I suppose.

-I think it's quite a modern colour.

-I do.

You know, with this awful trend for minimalism and modern interior.

I think that would fit in the modern interior very well.

Why I like it is I was born in the winter time and I like bright colours. I like a lot of colour.

So, I would think this is gonna be £60 to £100.

-Yes.

-How does that fit in with your expectations?

More or less.

-About what you thought?

-I actually had it valued a few years ago and they said about £50 at auction.

I think it's a good place to sell it.

-Yes.

-I know the auctioneer at this saleroom and I know she's quite keen on Monart glass.

-Oh, good.

-She's probably got a lot of good customers for it.

Why are you selling it?

I've got um...a little great-grandson

-about to be born.

-Oh, right.

-I have promised to get the cot for them.

Let's hope we get a new world record for a vase of this kind.

-Thank you ever so much for bringing it along.

-Well, thank you.

-It's made my day to see something relatively local.

-I'm glad of that.

-Hello, Stacey, are you all right?

-Very well thank you.

-Is this yours?

-No.

-Whose is it?

-My mum's.

-Your mum's.

What's the story behind this, Stacey?

It was a wedding present. It was my dad's boss said, "Do want an antique or something modern?"

They decided on something antique and they got this.

-You know what this is, don't you?

-I was listening to people talking.

-You shouldn't listen to other people's conversations.

-You should not indeed, Stacey.

Wedgwood and majolica, I heard spoken.

-Majolica.

-Yeah.

Well, you're absolutely spot-on,

because we've got the Wedgwood mark just here.

Majolica, it certainly is.

What's it currently used for?

-A fruit bowl.

-A fruit bowl.

What do you think these are for?

-I don't know. I don't know.

-Well, that's, I think, sugar.

-Right.

That's for cream. If you look at the difference between the two, I'll just take them off again.

If you look at the difference,

that one has a lip,

-that one hasn't. That's for cream and that's for sugar.

-Right.

It's a fruit bowl or occasionally these are

all moulded with strawberries and they are a strawberry dish.

They're really quite collectible.

Dates, I would think, from 1870, 1880.

-Wow!

-Something like that.

-So your mum's told you to just come and sell it, yes?

-Mmm.

-She has no idea what it's worth?

-No.

If we put an auction estimate of £30 to £50, is that going to be all right?

-No, I don't think so.

-You don't think so? Why?

Because Wedgwood maybe, but majolica, no.

-Shall we put £50 to £80 on it, then?

-No.

-No?

-No.

If it's worth that, I'll take it home with me.

What about £100 to £150, then?

-No, maybe a bit more.

-What about 200 to 300?

-Maybe, I can cope with that.

-You can cope with that?

-I can cope with that.

-You're a shrewd judge you.

-Yeah.

-Stacey, I think that we can put an auction estimate on this of £300 to £500.

-I can cope with that.

I can cope with that.

We'll put a fixed reserve of £250.

OK.

It wants to be illustrated in the catalogue.

-Right.

-It's got to be illustrated in the catalogue,

possibly illustrated in the adverts in the antiques trade papers.

I think your mum, when she chose something antique rather than

something new, she was a fairly shrewd cookie, wasn't she?

-Very much so.

-You are happy with that?

-Very.

If that makes £400 to £500, what's your mum going to do?

-Clearly, you'll have your cut, because you brought it.

-I hope so.

-Yeah?

-Yeah.

What will your mum spend the money on?

Probably treat her two daughters and her two son-in-law's

and her husband for a night out, eh, Mum?

-That will do it, will it?

-Yeah.

On that note we'll... Can I come as well?

Maybe if you're nice.

Rena, We are all having a brilliant day,

but my day has just got even better. Look at this.

You know I love my treen.

I love my wood. This is exquisite.

It's one of the best things I've seen on the show for a long, long time.

It's real quality. Tell me its story, how did you come by it?

I think it belonged to my grandfather.

-What did your grandfather do for a living?

-He was a joiner.

-We had a joiners business at that time.

-So, he loved his wood.

He loved his craftsmanship.

-My father was a joiner.

-I bet he was proud of this.

It's a stationery cabinet of the utmost quality.

Before I open it up, just look at the way that waterfall front comes down.

It goes concave and then convex and it's got a snaky, serpentine front.

Every face of this stationery cabinet has the most wonderful grain on it. Look at that as I turn it.

That's craftsmanship. I can tell you why it's also craftsmanship.

When I open up this lovely stationery cabinet,

look at that fitted interior. It's got its maker's name, look at that.

That's been put in there, look, on a little tiny slip of ivory.

That's a sign of quality. It's got its original log.

The lock still works. Look at this, because these normally go missing.

This is to put your stamps in.

All made of Moroccan leather, which has all been hand-tooled and stamped.

Four stamps. Look at that. Isn't that lovely?

I've not seen anything as nice as this for a long, long time.

Pure quality and the condition is absolutely fantastic.

-How about the value?

-I don't know.

What would you think?

-Whatever it makes, I don't know.

-Whatever it makes.

I think we should put this into auction

with a valuation of £200 to £300. A fixed reserve of £200.

It can't go for any less than £200.

Oh, well, that's very nice.

If it doesn't, you're hanging on to it and keeping it.

-Aye.

-Let the grandchildren have it.

-But nobody wants it.

-Nobody wants it!

They will grow into it. As you get older,

your tastes change and you realise the virtue in things.

Let's get excited about it.

-Shall we flog it?

-Of course, yes, flog it.

Of course, you wouldn't have a programme if I said no!

-Hi, Mae.

-Hello.

-How are you doing?

-Fine, thanks.

-You've brought in a lovely little bronze, haven't you?

-Yes.

-This Egyptian lady.

-Yes.

-Where did you get her from?

It's always been in the family.

-Right. Do you know how it came into the family?

-No idea at all.

-It's just always been there from when you were a little girl.

-Yeah.

-Where do you remember it?

-Sitting on the mantelpiece.

-On the mantelpiece?

-Yes.

-Where does it live in your house?

-On the mantelpiece.

-As well, OK.

So you brought her in today to get her identified.

I know nothing about her, nothing at all.

-First of all, it's one of these wonderful surprise bronzes.

-Yes.

-Would you show everybody what happens?

-I'll let you do it.

Very nice, thank you very much. So we press the button.

But you need to open it...

-It needs to open as well.

-The spring's going.

-Look at that. It doesn't get much better than that, does it?

-No.

Beautiful. I've sold some of these before.

-Now, she shouldn't really be painted like that.

-I know.

My dad liked painting things.

-So, your dad painted her.

-Yes.

-Unfortunately, that'll affect the value a little bit because she's not original.

-Yes.

She's a novelty bronze by a well-known Austrian sculpture called Franz Bergman.

If we just close her again, just for a minute.

On the back here,

you can't really see, because this is a new plate that's put to hold it together.

You've got the beginning of a signature there

and the end of the signature there.

The signature will read Namgreb,

N-A-M-G-R-E-B, which is Bergman backwards.

There was his thing, he used to sign them Bergman backwards.

-I hadn't even seen that.

-There was also a bottle mark that you see on some of them, a foundry mark.

With this, it's had a bit of adjustment here, shall we say.

-This base...

-I think my dad put that on.

Perhaps not the original base, as well.

It's a very interesting collectible Bergman cold-painted bronze figure.

-Early 20th century in date, but it has its problems.

-Yes.

Perfect it's worth £1,000, possibly £1,200, even a touch more.

But when these things have been modified it does bring it right down.

-I would suggest an estimate of £300 to £500 on it.

-Yeah.

-It still is probably more than you thought?

-Oh, yes.

-What did you think?

-About £100.

About £100. Well, I think, we're fairly confident with £300 to £500.

At what price would you rather have it back?

We need to put a reserve on it? Would you put £250 on it?

-Mm... Make it £300.

-Make it 300.

-If it doesn't sell,

-I'll take it home.

-At least you'll know what it is.

-Yes.

-I can see lots of people liking this, really.

-I can.

They always have plenty of people after them.

It's just hard to assess with the amount of changes and the repainting.

So, if it makes £300, what would you do with that, any ideas? Any plans?

-Yes.

-Go on tell me.

-I want to get a trike.

-A trike.

A motorised trike?

-Yes.

-Are you into motorbikes?

-Yes.

-Are you?

-Yes.

-Wow! Excellent.

You ride a motorbike at the moment?

-I just go on the back.

-Right.

-And now you want your own trike?

-Yes.

-Brilliant.

I might I fall off a two-wheeler now, so I'll get a three-wheeler.

-So, this lovely exotic, erotic bronze...

-It will go towards it.

-..will go towards funding you a trike.

-Yes.

-Brilliant.

So, let's take another look at the items we've picked to go to auction.

It's nice to see some Scottish heritage.

A stunning Monart vase, just right for today's retro interiors.

All we need are strawberries and cream and a summer's day

to complete Stacey's Wedgwood majolica fruit bowl.

I love the quality of the walnut veneered stationery cabinet.

Certainly something to write home about.

And finally, our saucy Egyptian lady

is sure to raise some eyebrows when she goes under the hammer.

Before heading off to the auction in Glasgow, I've taken a short detour

to find out more about that famous fabric print

that has put Paisley on the international map.

In the Swinging Sixties, Paisley enjoyed a psychedelic revival

and you could find it on just about anything.

But where did it all start?

The town of Paisley is synonymous with this distinctive teardrop shape

that we know today as the paisley pattern.

But it didn't originate in Scotland at all.

It actually is an ancient symbol believed to represent the shoot of a date plant.

The pattern first appeared in Britain on shawls woven in India.

They were brought back as gifts for wives and daughters

in the mid-18th century, and they soon became a must-have fashion accessory.

The long, rectangular shape made an elegant drape for the straight dress of the time.

But the shawls cost around £70 to £100 each,

which meant only the most wealthy women could afford them, really,

so it wasn't long before other weaving centres

started making their own, more affordable versions.

Places like Edinburgh, Norwich and Paisley were among them.

Paisley had been a well-known weaving centre for hundreds of years

and, in the early 1800s, Paisley weavers

were among the highest paid workers in Britain,

because of their high degree of skill.

They were so good at copying the intricate designs from India

that production in the town dramatically increased.

And it's said that they even sent agents from Paisley down to London

to copy the latest cashmere designs as they arrived by sea.

And within a short space of time imitations were being sold all over London for around £12.

In fact, fashionable ladies all over the country

were visiting their local drapers asking for a selection of paisleys.

Which is exactly what we've got here on display in this wonderful converted building.

It is a real gem.

It is the Anchor Mill. It's part of the collection that has been loaned to us today from the Paisley Museum.

And Ellen Farmer from the Old Paisley Society has come to tell us more about them.

Why did they become so popular?

Probably a silly question, because looking at them, they're so gorgeous, aren't they?

-I want one.

-Absolutely.

They're absolutely stunning.

They were the must-have of their day.

They were expensive.

So something that was expensive, even to this day.

It's got the right label on it.

-A status symbol.

-Posh would have a couple of them.

They are massive, aren't they?

Yes, they were worn to keep you warm when you were wearing a crinoline.

Crinolines were massive.

Big, big dresses.

That's right. And the length of that and the width of it meant you could

fold it and it would cover your crinoline and keep you warm.

Do you know what they'd be good for now?

THEY LAUGH

Throwing over the sofa on an old Chesterfield and just

draping it over a sofa and creating the look as a throw.

I think a lot of designers use that now.

-And they do look stunning.

-What were the early ones made of?

Cotton and silk.

The original cashmere were made from cashmere goats.

They even tried in Paisley, they brought

some goats over from Afghanistan to breed, but they made a big mistake.

They brought a dozen over, but they were all females.

-So, there was no chance.

-Learned the hard way!

Yes, so it was mainly cotton and silk.

How were they made exactly?

These ones, this early one down here, were made by hand on draw looms.

The later ones were made on looms but, as you can see, the centre is plain because

the looms were not technically able to do the whole centre of the shawl,

it had to be the outside.

Later on when the Jacquard loom came into being, the whole shawl

could be filled in and you'd get nice, big patterns on it then.

I can see the pattern all the way through the shawl now.

How else have they evolved?

You are now able to fill in the whole of the shawl,

because of the Jacquard looms.

You could start experimenting with other materials, other designs.

Printed shawls would be lighter. You could wear a paisley shawl in the summer, cos it wasn't too heavy.

-And a lot cheaper?

-And a lot cheaper. It meant anyone could buy it if they could print it.

That doesn't do for fashion - that you want anyone to be able to wear it, it must be exclusive.

They were popular for such a long time, well over 100 years.

What was their demise? Why did the ladies stop buying them?

-Bustles.

-Do you know, I never thought of that. The large bustles.

Cos these would hide the bustle, wouldn't they?

Absolutely. And if the bustle was in fashion, you wanted the fashionable garment to show.

So the paisley shawl became unfashionable, because it hid the bustle.

That pattern is iconic and it is going to be around for many more centuries.

For ever, I would say, Paul.

It is just something that never goes completely out of fashion.

You know what they say about fashion, don't they? It goes around in cycles.

-And shawls will become very popular.

-Absolutely. Absolutely.

Ellen, thank you so much for taking time out and talking to us.

I've learnt lots. And a little tip I can give you,

which I picked up from Ellen earlier on -

the most desirable ones for collectors are not the earliest,

they're the ones with the pattern right through the middle.

And if you find one of those in a charity shop,

all I say is, snap it up real quick.

Absolutely! Absolutely.

It's D-Day for our items from Paisley.

We've come to the Great Western Auction Rooms in Glasgow to sell them, but how will they do?

-Adam found something very local.

-I was hoping to find something Scottish.

Top of the list was Monart glass.

Philip picked up this Wedgwood majolica fruit bowl.

'I found this stationery cabinet to die for.

'How about this sexy bronze statue?'

Doesn't get much better than that, does it?

On the rostrum today is Anita Manning.

We should have a lot of local interest with this next lot coming up, shouldn't we, Bobby?

-I hope so.

-The Monart glass.

It's a vase and it's absolutely lovely.

Tell us why you love to be called Bobby, cos that's been your nickname for a long, long time.

Because I was given that nickname many years ago by my brothers

when I had my hair cut in the old bob style,

and I looked neither male nor female.

I was christened Bob, and my brothers took it up as Bobby.

-Ah!

-So I've been Bobby ever since.

-You suit Bobby, don't you?

I prefer it, yes.

OK, let's do our best for you.

327 is our own Monart glass,

Scottish glass from Perthshire. Start me at £50.

50 bid. 60, 70, 80, 90, 100, 110.

We're in the right place to sell this.

£120. Any advance on 120?

All done at 120. 120.

Yes. £120.

That's going to go a long way to buying her mattress, isn't it?

Well, it does, because I've actually priced one at £100.

Bobby's done her homework.

THEY LAUGH

Bobby wasn't born yesterday!

You know, I'm so pleased you brought in that stationery cabinet.

That made my day at the valuation, it really did.

Gosh, it's so tactile.

It looks fantastic over there.

It's got a good maker's name.

And the condition is superb. I think it's got everything going for it.

It's even a good size as well.

A lot of stationery cabinets, we've seen them on the show before

and they're quite big and bulky, and sort of take up the table top if you put them down.

This is cute. Oh, it's tidy, all right, isn't it?

Lot 452 is this superb quality

walnut veneered stationery box by Parkins & Gotto of London.

Start me at 100. 100 bid, sir.

Any advance on £100?

110, 120, 130, 140, 150, 160,

170, 180, 190, 200, 210, 220.

£220.

£220. 230?

Fresh bidder at 230. It's a lovely box.

230. Any advance on £230? Any advance?

All done at 230. 230.

Sold it. Wasn't bad, was it? Nearly mid-estimate.

Very good. 200 was the estimate?

Yeah, two to three.

So we've gone a bit over. That was a lovely little thing.

I so much enjoyed talking about that and touching it and holding it.

-It had a real personality, didn't it?

-It did.

You're going to miss that, aren't you?

Not really. It's a different era.

I'm living in this era.

I like living in the past, personally.

I wish I could all the time.

That's too much in the past.

Thanks so much for coming in and talking to us, and for bringing such a wonderful item in.

-And enjoy spending the money.

-Yes. I will.

Next up, the majolica Wedgwood fruit bowl. It's real quality.

£300 to £500. It belongs to Stacey or, should I say, your mum.

-And your mum's given you permission to flog this.

-Aye, she has.

-Don't you want to inherit it?

-No.

-Don't you like it?

-It's fine,

but I don't have anywhere to display fruit, which is what my mum uses it for.

Ah. OK. I'd love to see this get the top end of this, but that's down to our expert, Philip.

Will we get that £500? Three to five on this.

I'd be really disappointed if it didn't do well. It's a lovely thing.

This majolica stuff, it's gone up a little bit over the last 18 months or so, but it's such a lovely thing.

The Americans were really hot on this. They loved it.

-If it does well, I've got an invite to dinner riding on it.

-Have you?

-I'm hoping it does well.

-If he starts being nice to me,

-he might get an invite.

-Has he been trouble?

-Yes.

She's been awful.

He's caused a domestic.

-We don't want to cause you any more "domestics", do we?

-No.

Right, it's going under the hammer right now. Here we go, Stacey.

Lot 439.

A 19th century Wedgwood majolica strawberry set

with the basket and sugar and cream.

Will you start me at £200? 200 bid.

200 bid. Any advance on 200?

210, 220, 230, 240, 250, 260.

£260.

Any advance on 260 on the majolica? Any advance on 260?

All done at 260. 260.

Yes, she's put the hammer down and she's sold it at 260.

So, we had a reserve of 250.

Cheekily tucked in there, Philip.

But that's still disappointing, isn't it? Mm?

A wee bit. At least, we'll get a night out!

-You'll get a night out!

-You might get a night out,

if you're nice to me.

She's a lovely girl.

-Enjoy your night out.

-Thank you. Thank you.

It's absolutely stunning.

It has created a laugh, we've all had fun with this.

-Good novelty item.

-We had a value put on at £300 to £500.

Which was very sensible considering the damage, but since the valuation day,

-I know you have upped the reserve a bit.

-Just a wee bit.

What is the new reserve?

-400.

-Right.

And we've got a new valuation of 400 to 600.

I bet it's caused a good old laugh in the house, hasn't it?

Yes. Everybody in the family's always handled it.

-Yeah. You can see all the rub marks.

-Yes, Paul, that's right.

But I do know all the money is going towards a trike.

-For you?

-Yes.

-Really?

-Mm-hm.

-Are you into biking?

-Yes.

Do you have a bike at the moment?

No. My partner has, but I don't.

-I can only sit on the back of it.

-OK.

And if I was on two wheels on my own, I'd fall off.

That's exciting, isn't it? Good for you.

See you out on the road one day on your trike.

-I'll wave.

-OK.

It's an Egyptian mummy, ladies and gentlemen.

It's a wonderful piece, ladies and gentlemen, Franz Bergman.

Start me at 400.

£200 then? 200. 200 bid.

-We're in.

-200 bid.

-It's low, but we're in.

-Any advance on 200?

-There's someone on the phone.

-260,

280, 300, 320, 340, 360, 380, 400.

-Coming out the woodwork now, aren't they?

-420, 440, 460, 480.

500. 520, 540, 560, 580, 600.

620. £620 on the floor.

-That's all right, isn't it?

-It's good.

-Any advance on 620?

All done at 620. 620.

-Yes! I'm pleased, very pleased.

-So am I.

That's a lot of money towards a bike, isn't it?

-Or the leathers, maybe.

-I've got my leathers!

You've got your leathers, have you?

That's the last of our lots from Scotland.

What a great final result for Mae, who walks away with £620.

But can we do any better down in Plymouth?

This seafaring city sits on the beautiful Devon coast,

famous for its beaches and holiday resorts.

Later, I'll be taking the strangest trip of my life.

But first, our experts, David Barby and Jethro Mars have already started advising all these people

at the Civic Hall in Plymouth on whether their items are worth taking to auction.

Pat, you were the one responsible for bringing this into your home. How did that happen?

A few years ago, a gentleman moved into our area with no family.

And I became friendly with him through our dogs.

He became ill a couple of years ago.

He asked if I would nurse him as a carer

and that I did, until he passed.

-This was bequeathed to myself.

-These were his father's?

They were, yes.

It is Frederick Ablewhite.

Dick, you have been researching these items. What have you found out?

I have traced them back onto the ST Paul Jackson.

Which is a sailing ship.

And I found that he had been all around Australia with the Paul Jackson.

He has been with P and O, right since he started.

To get the Apprentice's Certificate...

That's what you've got here? This is ordinary apprentice's indenture.

Had to pay 100 guineas.

-So at the end of his term, he had to pay?

-Yes.

-£105?

-£105, yeah.

-That was a lot of money.

It certainly was, yes.

You've got all this documentation and then you have this wonderful midshipman's dirk that he had.

And this is the piece

you've really brought along today. Now, the dirk - it's not the sword, we mustn't call it a sword -

its a dress dirk and it would have been worn on formal occasions, the blade inside the

sheath of the scabbard here, beautiful condition, this leather scabbard, wonderful condition.

The blade, we've got one or two little rust spots but nothing too much of a problem.

This wire bound sharkskin handle, again in lovely condition and the leather outer case as well.

So often, it's all tatty and falling apart.

And here's the gentleman himself - Midshipman Ablewhite.

When do you think that photo might have been taken?

I should imagine about 1920-1923.

And we've also got, I don't know if this is his cap badge.

-I believe it is, yes.

-And you've got the standard service medal.

So, really, as a lot, it's all self-supporting.

It tells us about the man, gives us his life history,

so collectors of this sort of thing are going to be really interested.

You don't want to keep it and carry on

-the interest yourself?

-No.

We would love it to go to somebody who's interested.

I'm not an expert on this sort of militaria, but I've spoken to a colleague and we feel

this is probably going to be worth, as a group,

perhaps £250 - £300.

-It's a little bit less than you were hoping, isn't it?

-I saw a piece

in not as good condition advertised on the internet

for quite a bit more,

-and it did sell.

-It did?

-Yes.

At the end of the day, what we've got to do is have confidence in the auctioneer.

If we say we don't want to put a reserve at less than £250,

of course if they feel they could put more on it, then they will do.

-If we put the reserve at £250, you'd be happy with that?

-Yes.

Let's hope we can find someone who would perhaps pay up to that £300.

-Yes.

-Yeah, let's.

-Thank you.

-Can I call you Babs?

-Of course you can.

Well, Babs, I was hoping something was going to come

into the room today that we could relate to Plymouth

and this is one of those objects that I wanted.

This shows Plymouth and its association with the Navy.

This painting by an artist called Frank Watson-Woods, a local artist

who painted naval vessels.

Anything to do with the Navy.

Here we have HMS Revenge sailing out of Plymouth.

It's such an evocative picture, particularly with this setting sun in the background.

How did this come into your possession?

It was left to my mother's house and when my mother died my sister had it

and then I said to her, "don't get rid of it, I would like it".

And that's how I got it.

What was she going to do with it?

Put it in the dustbin, I'm afraid.

I can't believe it.

Well, she doesn't have no interest in pictures like that.

And I was really enthralled with it.

I think it's lovely.

It's so evocative of a time past.

Although the artist died in 1958, I think that's the date he died,

this one is a much earlier period.

So we are probably looking at '30s, '40s, that sort of date.

-Oh, I see.

-But it is a beautifully well executed watercolour.

Watercolour, is it?

Now why are you selling it?

Well...I've got nobody else to leave it to.

And my daughter is going to put it in a bin bag

-and get rid of it.

-Really?

So, rather than do that, I thought I would bring it along to Flog It!

Babs, it's a story I hear so often where youngsters do not want anything from the past.

-No.

-They reject anything that is old.

-That's right.

-This, I think, is a lovely, lovely picture.

It may well be that the new owner, if it sells at auction...

-If it sells.

-Will want to put it into a more modern mount.

Instead of having this gold, they'll have a white mount put all the way around it.

-I see.

-And in possibly

a simple frame.

So you get the image of that watercolour

and also at that time they could re-back it with acid-free tissue.

-Oh, I see.

-But this one is good because there's no blemish on it at all, there's no foxing.

It is a very, very attractive watercolour in excellent condition.

And because it's Plymouth, it's going to find a market.

Now let's talk about price. How much do you think it's worth?

-Well, I only thought it was worth £20.

-I'll give it you now!

-I wouldn't sell it for £20 because I do hang it, it has been hung in the hallway.

-Are you still married?

I'm still married, yes.

How long have you been married?

-56 years.

-56 years! That's an incredible length of time.

To the same man?

To the same man.

And I've loved him ever since.

And he's in agreement about you selling this?

Well yes, he said, "It's yours. If you want to get rid of it, get rid of it. I'm not worried.

"If you want to sell it, get rid of it."

-I think it's going to do much more than your £20.

-Do you?

I'd like to put £100 in front of it, say £120-200, although it has been

recorded as selling between £200-400.

So we might have a nice surprise at auction.

Let's keep our feet on the ground.

-Yes.

-And put a reserve in the region of about £100.

-Oh lovely. Lovely.

And hopefully we shall find somebody prepared to pay over £200.

Maureen, I've seen these little fellas before.

-So have I.

-I did a valuation on one not so long ago.

-Yes.

And the poor little owl, he had no eyes. Is that the programme you saw?

Yes. I watch it every afternoon.

-A big, big Flog It! fan.

-Very big.

Well, you know that little owl, he was sterling silver, but with no eyes, he sold for over £300.

Just £300 I think it was, yes.

-So, how long have you had this little owl?

-About three months.

Did you buy it purely because you saw it on Flog It!?

-I bought it because I liked it.

-And then you saw Flog It!?

-I saw Flog It!

Prior to that I had seen it in my little book at home.

And how much did you pay for this?

-50p.

-50p! Well I think you've turned a profit if you want to sell this.

-Which means you might be tempted to flog it?

-Well, possibly.

Well, let's pick him up and have a look, shall we?

He is beautifully chased. He is silver.

As you can see by the piercings there, it is a pepper pot.

Now it's got a bayonet fitting. You twist it and pull it.

Very much like putting in a lamp.

-Yes.

-I've inspected both parts.

-There are no hallmarks.

-No.

There were on the other one you sold.

They were on the other one. Yeah, he was an English one.

This is silver but it's continental silver.

And I believe this was made in Germany.

-A lot of them were made in Germany. Circa 1900.

-Getting on a bit then!

He's getting on a bit but he's in very good condition, isn't he?

I haven't tried cleaning it at all.

And I don't blame you, don't clean it.

Look at the plumage, look at the feathers.

It's lovely, isn't it? Each individual little feather.

That's all chased by hand.

I think it's gorgeous, I really do.

But unfortunately, there are no hallmarks which will slightly devalue it.

But it's got to do I would say it around about in between £160-260.

Not far short.

-No, not bad for 50p.

-And not bad for 50 pence either, yeah.

Let's put him into auction with a valuation of £160-260.

-We'll put a reserve of £160.

-That's fine.

Which means the auction it could use a little bit of discretion, 10%.

-OK.

-Yeah?

-Yeah.

Jenny, these are in appalling condition, where have they been?

Well actually I rescued them from a skip.

-A skip?

-A skip. A house clearance.

But you were astute enough to say, don't throw those away.

-No, I quite like them actually.

-I think they're very good.

There's always something very poignant about postcard albums.

-Because you don't know the person that collected these.

-No.

And obviously they meant so much, to preserve pictures like this one.

The HMS Hood. Well that was blown up in the First World War.

These are a complete cavalcade of history at the beginning of the 20th century.

Then you have got the more humorous ones here, particularly Donald McGill and Mabel Lucie Atwell.

These are great names for postcard collectors.

-Really?

-And you've got the place names as well like Clevedon.

Oh and look at this one here, here we have Felix here.

"I am surprised at you, Felix."

There's another pussycat. And you've got other album here.

Oh, these are quite good.

They have been embellished with silk ribbons.

And even with little glass eyes.

-I've never seen that before.

-No, nor have I.

-And those in their own right are collector's items.

-Are they?

Yeah. These albums are full of collector's items.

-There's a huge cacophony of subjects here which are going to appeal.

-Really? That's good.

I think these will surprise you. How much do you think they're worth?

-I've got no idea, really. No idea.

-How long ago did you acquire them?

-10, 11 years.

-10, 11 years ago.

I think if someone's going to throw them away then, OK, 11 years ago...

-Because it's more recent that the postcard market has come to the fore.

-Right.

But even then they'd have had some value.

And you are also including this cigarette cards album, are you not?

-Yes.

-These are quite good from a collector's point of view and I'll tell you why.

Because these cards are all loose.

They're not glued down. In very good condition.

-Yes.

-But they are complete sets, aren't they.

-Yeah, they are.

They are mainly by Players and Wills.

But you've got one interesting set here by Hignett's Cigarettes,

which show various national greetings. "Bonjour", "Salaam",

and other...

Oh, these are quite nice. The colours are beautiful.

So these are interesting cards.

-I reckon these albums could be worth something in the region of about £120 up to £200.

-Really? Gosh.

That will certainly boost it up to the £200 mark. What do you think?

-That's great, yeah.

-Well I think there's going to be loads

of collectors out there fighting to get their hands on these albums.

They're really, really good. Thanks for bringing them along.

Thanks for looking at them.

So let's have a reminder of all the items we found here in Plymouth.

Pat and Richard brought in this collection of naval memorabilia after caring for the owner.

Jenny inherited these albums from a friend who wanted to get rid of them.

I think the bidders will see money in these pages.

Maureen paid just 50p for this silver owl pepper pot

and I think it's worth at least £160.

And Babs rescued this painting by Frank Watson Woods after her sister wanted to throw it out.

While these items go off to auction, I've come down to Bigbury-on-Sea

on the Devon coast to see a real piece of history.

The trouble is, getting there is not going to be easy.

Now what makes this so unique is Burgh Island behind me.

It's 200 metres out to sea and at high tide it is completely

cut off, adding mystery and romance to its very splendid art deco hotel.

Munitions millionaire, Archie Nettlefold started to build what is now the hotel in 1929.

The current owners, Tony Orchard and Deborah Clark just completed a £2 million refit.

It's an absolutely staggering achievement. It is superb in design.

And I think it's the best time to visit now since the 1920s or '30s.

So you come through two sets of double art deco doors. Now that is an architectural delight in itself.

But look at this, look what it brings you to, the original staircase.

It's absolutely magnificent.

It pulls you along, it sweeps you along with these lovely scrolling waves and leads you

into this, the ballroom. How about that?

As soon as you walk into this room it lifts your spirits, it puts a big smile on your face.

But like everything else in the hotel, it is on the bijou scale.

But nonetheless, that is magnificent.

It's easy to imagine the scene in the 1920s and '30s.

The decadent dinner dances with the beautiful people of the day

letting their hair down and getting involved in rather risque goings-on.

Uncle Archie Nettlefold was a great bon vivre.

He got involved with silent film production in the 1920s and was known for his wild parties.

He had the sense of great fun, salvaging the rear end of HMS

Ganges, the last wooden flagship, and using it as a cocktail bar.

Which leads you into the original dining room.

Just take a look at this.

It absolutely oozes nostalgia.

Could you imagine dining here in the evening?

Oh, gosh!

This I love, the original Nettlefold's sign.

Take a look at these radiators.

They run the length of this wall, heavy-duty cast-iron, Art Deco style.

They are virtually like classical columns

but they've got these little jazzy Art Deco hats on at the top there.

This is an original photograph of what the dining room used to look like in its early days.

The hotel is now a mixture of the original furniture and fittings which have been restored.

A few authentic purchases and some fun modern touches which all have the Art Deco feel.

The whole thing gets better and better. I'm now in the Palm Court.

It's a wonderful place to relax. Have a drink.

Look at these stunning panoramic views. That's the Devon coastline all out there.

That's something to soak up, especially sitting underneath

this domed, stained-glass window and it's fashioned like a peacock with all the feathers moving outwards.

It really does take you back to the 1930s.

The only thing that's missing, of course, is a cocktail

but lucky enough for me we have Burgh Island's barman here, Gary...

How do you do? To help me out.

-Pleased to meet you, Paul.

-What can I have?

-We've got Singapore Sling.

-Yes.

-Mermaid's Kiss.

-Sounds very exotic.

What about a classic Burgh Island Martini?

I'm gonna have that because it would be rude not to, Burgh Island Martini, yes please.

Just the job.

There's a lot of gin there.

-Thank you, Gary.

-There you go.

-It looks great.

-Fantastic.

That's strong, that's neat alcohol.

Tell me about Archie Nettlefold's original guests.

The kind of place it is, it always attracted characters, theatricals, dramatic types.

So there was a certain element which, even to this day, you still get that certain type of person.

-They want to escape?

-They want to escape.

They have a really lovely, mild mannered existence in London so they

want to come down here and basically let their hair down and basically get up to all sorts of mischief.

What sort of guests are we talking about?

There's been countless.

You know you are talking about George Formby in the '30s,

Noel Coward came for three days and stayed for three weeks.

-Can you imagine?

-Yes. Because he loved it so much!

Amy Johnson came to open Plymouth airport in 1932.

-Oh yes, the pilot.

-In 1932.

And, of course, Agatha Christie came, she used to come down here with Max, her second husband.

Has it changed much today? Who do get coming along now?

It's still entertainment, actors and these days, pop stars.

-In a way it hasn't changed much at all.

-Long may it live on.

-Thank you very much.

-Pleasure.

Carry on the tradition and I'm going to check out Agatha Christie's hut.

She loved the place so much that she wrote two of her novels on Burgh Island.

Here we are, Agatha Christie's original writing hut.

Look at that, touch wood, some of the original boards

and what a view! Just look at that for inspiration.

Gosh, I feel creative already.

Let's have a look inside.

Once you get inside, it has changed a little.

Obviously it has been kitted out superbly in true Art Deco style.

I must read you something from Agatha Christie's novel,

And Then There Were None, which was actually written in this very room.

Listen to this passage.

"There was something magical about an island.

"The mere words suggest fantasy.

"You lost touch with the world, an island was a world of its own.

"A world perhaps from which you may never return."

We had some great successes earlier in the programme but can we

do any better here at Eldred's, our Plymouth auction house?

Jethro has chosen naval memorabilia while my vote goes to this lovely silver owl pepper pot.

I think he's gorgeous. I really do.

David favoured the cigarette and postcard albums

and what could be better than to see an item that is really local?

Auctioneer, Anthony Eldred is in charge of the selling here

in Plymouth and I think we're going to be in for some real surprises.

It's the naval dirk with all the memorabilia, belongs to Pat and Richard here.

Why are you flogging this?

Well, it's much better to go somewhere where it can be appreciated.

Yes, and what a great place Plymouth is for selling naval memorabilia.

-That's why you've come down from Norfolk, haven't you?

-We have, yes.

That is absolutely sensible, isn't it?

It gives us a good chance of a few days' holiday.

-Let's hope we can send you home exceptionally happy with a great price.

-We hope so.

Lot 87, which is a dirk, naval dirk memorabilia and medals,

all relating to Frederick Ablewhite.

-Several bids on this, I'm bid £260 to start.

-We're away.

260? At £260... 70 if you want it.

-At 260, 270. 80...

-Come on, come on.

290, 300?

At £300 then.

At 300, any more in the room at 300?

-Come on, a bit more please.

-Any more in the room at 300? At £300 then.

Are you all done at 300?

Short and sharp, wasn't it? With 300 quid we're sending you home happy.

-Yes.

-Yes.

-What are you gonna put that towards?

We're gonna have a bid on a little Victorian glass lamp over there.

Oh, are you? That one down there? Well, good luck on that.

-Catch up with you later.

-Thank you very much.

Well it's my turn to be the expert now

and we are gonna have a hoot with this next lot, aren't we, Maureen?

-Hopefully.

-Hopefully, yes, it's that little silver owl.

£160 to £250, he's a continental bird.

We had a chat to the auctioneer earlier.

He said, "Yes, Paul, it's quality, it is gonna sell,"

but he thinks the lower end.

I'm still sticking my neck out for the top end cos, as you know,

we've had some good results on these little birds before, haven't we?

Now, have you changed your mind, do you want to keep him?

I'd like to, but no.

-You want the money?

-Yes.

-OK.

OK, let's flog it, shall we. This is it.

The continental silver owl pepper pot.

There he is and £100, I'll start at £100.

10 if you want it, at 100, 10 anywhere? At £100 only then.

Are you all done at 100, 10, 20 130, 140, 150... Bidding?

At 150 then in the centre here.

At £150, take 5 if you like.

All done at £150 then?

-He's sold it.

-That's all right.

-£150.

-It'll buy some tins of paint.

Just got it away. He was right, actually, wasn't he?

-Yes.

-He got the lower end.

-It wasn't English, was it?

-No, no.

That's gonna buy the paint though.

-Oh yes.

-Cos you're halfway through some DIY.

-I've got quite a bit of painting to do, yes.

-So have I, at home as well.

-It's a chore, isn't it?

-It is.

It's only until you finish all the prep and the rubbing down that you

actually put the colour on and you think, "Oh, it was all worth it."

And when you get to the end you've got to start again.

-Jenny, are you nervous?

-Yes.

-Is this your first auction?

-It is.

Fingers crossed, let's hope it's a lucky day for you.

We've got three albums, two of postcards, one of cigarette cards.

-That's right.

-Anthony, the auctioneer, has decided to split them

-into three separate lots as he feels they'll sell better that way.

-Right.

So each lot now has a new estimate.

This is the first lot going under the hammer right now.

Lot 142, a little collection of postcards there.

Lot 142, several bids... I'm bid...

Two bids. I'm bid exactly £120.

-Oh, fantastic.

-Brilliant.

130, 5, 140, 5?

At 145 now. At 150...

Jenny, we're gonna make lots of money, lots of money.

-Yeah.

-180, 190, 200...

Oh! 210, 220, 230...

Oh, they've spotted something!

260, 270?

At 270 now.

-280?

-It's incredible.

-Oh, my goodness.

-290. 300...

At £300 on my right.

-What a wonderful rescue.

-Are you quite sure, everybody, at £300?

That is superb.

Right, one down, next one, this is it.

Several bids again, I'm bid £70.

Oh wow! This is incredible.

..75, 80, 5, 90, 5...

At the back of the room now, at £95.

-100...

-We've just got 100.

-£100 again on the right.

-110, 120, 130, 140, 150...

-Wow!

-160, 170...

-It pays to be green!

At the very back at £170.

Are you all done, then, at 170?

-Fantastic, phones are going off all around me here.

-Oh my gosh.

Two down and one more to go. This is it.

..20 I'm bid, 5...

30, 5, 40, 5, 50, 5, £55 there by the door then.

At £55. Quite sure at 55?

-What was that total?

-£525!

-525 quid.

-That's great.

-What are you gonna do with that?

-I really don't know yet. I really don't know. I can't believe it.

-Stunners there.

There must have been a couple that the collectors really wanted.

Good for you for spotting them.

I've been looking forward to this, the water colour Frank Watson Wood's lot and lots of local interest.

I've been joined by Barbara and David, our expert.

You've got a lovely smile on your face, Barbara, haven't you?

You've been looking forward to it.

We're gonna make that smile even bigger later on.

You know we had a valuation?

We all saw David put the valuation 120 to 200 on this.

Had a chat to the auctioneer, Anthony, just before the sale

started and he said there's been lots of interest

-and he thinks it's going to go for £600 plus.

-Never!

Yes.

Great!

Fingers crossed.

-And you had it valued for £20.

-Yes.

-Six years ago.

-Yes.

-Barbara, oh, you're looking forward to this now, aren't you?

-I am.

-This is it.

-Next is Lot 5, which is the Frank Watson Wood, HMS Revenge,

a lot of commission bids for this.

I'm bid £450 to start the bids.

-£450?

-500, 50...

-50?

£550, 600 and 50.

-Never.

-700 and 50.

-Never.

Never, a proper job, isn't it?

-800 and 50.

-Great!

At £850, against you all.

900 and 50. Are you finished in the room at 950.

-1,000.

-Fantastic!

At 1,100, still against you all.

-1,200, 1,300...

-They love it.

1,400, 1,500...

At 1,500.

Still against you all in the room at 1,500.

-Oh, great.

-I'm holding you up.

At £1,500 then, it's on the book, against you all at 1,500...

That is a sold sound, £1,500.

-Great!

-What do you think?

-You're trembling.

-Thrilled to bits.

Barbara, where do you live?

-Plymouth.

-Born and bred.

-Yes.

A local lass then, proper job.

They say that in Cornwall. That's across the Tamar.

-That's true.

-What are you gonna put

£1,500 towards?

Well, I'm gonna share some of it with my grandchildren.

-How many have you got?

-Two.

-OK.

Then I'm gonna take my daughter away for a weekend.

I didn't think it would even reach 600 to be honest.

-You'd have been happy with David's 200, wouldn't you?

-Yes.

Well sadly we've come to the end of our show and the end of our journey north and south of the border.

We've seen some wonderful local items like that Monart vase in

Scotland but it's that painting illustrating Plymouth's naval heritage that will stay in my mind.

It's great to be back in the west country and I can't wait to come down to Plymouth again.

Remember, if you've got any antiques and collectibles you want to sell

then we want to know, so until the next time, it's cheerio.

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