0:00:01 > 0:00:05Today we're plundering the treasures in two cathedral cities.
0:00:05 > 0:00:09And we've been stunned by the riches we've uncovered. First in Winchester...
0:00:11 > 0:00:17- I can't believe it.- Nor can I. That is just astonishing. - I am so pleased I was so wrong.
0:00:17 > 0:00:18Then in Worcester...
0:00:18 > 0:00:22You're shaking! It's a wonderful Flog It! moment.
0:00:22 > 0:00:28But which city will turn out to have the antiques that do the best at auction? We'll soon find out.
0:00:28 > 0:00:30Welcome to Flog It!
0:01:00 > 0:01:05Winchester and Worcester are both blessed with stunning cathedrals
0:01:05 > 0:01:08at the heart of their cities and with glorious countryside nearby.
0:01:08 > 0:01:11So it's not surprising that the people who live there
0:01:11 > 0:01:16have found artistic inspiration from their surroundings.
0:01:16 > 0:01:21Later on I'll be getting a taste of art inspired by the great outdoors in Worcestershire
0:01:21 > 0:01:25and by the great indoors in Winchester Cathedral.
0:01:27 > 0:01:33But when it comes to flogging antiques, which of these two venues will get the best results?
0:01:33 > 0:01:37Winchester's queue is already on the move.
0:01:37 > 0:01:40Winchester Guild Hall was built in 1871 and over the years
0:01:40 > 0:01:44it's been home to the city's law courts, a police station, a museum
0:01:44 > 0:01:47and a library, but today it's playing host to Flog It!
0:01:47 > 0:01:50and hopefully it will be brimming with antiques and collectables
0:01:50 > 0:01:52right up to its magnificent ceilings.
0:01:54 > 0:01:59And helping me sort out the weird from the wonderful today are
0:01:59 > 0:02:02our experts, Michael Baggot and Charlie Ross.
0:02:07 > 0:02:12Valerie, I have been waiting for a piece of silver and you've come along
0:02:12 > 0:02:16- on your charger today with this fabulous teapot.- I'm so pleased.
0:02:16 > 0:02:19What can you tell me? What is the family history to it?
0:02:19 > 0:02:22Not much that I can tell you, unfortunately.
0:02:22 > 0:02:28It belonged to my father's mother's side of the family and, really, more than that, I can't tell you.
0:02:28 > 0:02:32Right, it's a super thing and anybody who knows anything about silver
0:02:32 > 0:02:39will be looking at that and saying, "Oooh, that's a beautiful London teapot of about 1830," but...
0:02:39 > 0:02:42HE STRAINS ..the first hint that something's up
0:02:42 > 0:02:45- is that I'm having difficulty lifting it.- Yes.
0:02:45 > 0:02:49- And actually, the second thing is this handle.- Oh, really?
0:02:49 > 0:02:55Because it's horn and English handles are silver with ivory insulators,
0:02:55 > 0:02:59or they're wood, so we're not in England any more.
0:02:59 > 0:03:06Turn it over and, great, that is what we want to see, we've got a series of punches.
0:03:06 > 0:03:09We've got H and C in a rectangular punch,
0:03:09 > 0:03:15then we've got an elephant which is a sign of things, things not English.
0:03:15 > 0:03:18- Not English.- Interestingly we've got a two-handled cup and a little A.
0:03:18 > 0:03:23Now these are the marks that were used by Hamilton and Company
0:03:23 > 0:03:27who were probably the leading silversmiths in Calcutta
0:03:27 > 0:03:34and they produced some of the best quality silver to the latest designs in Calcutta, using native craftsman.
0:03:34 > 0:03:36Oh, my goodness, that's interesting.
0:03:36 > 0:03:38And things were worked to a very heavy gauge.
0:03:38 > 0:03:41So whenever you see something which is very elaborate,
0:03:41 > 0:03:45which is also an Indian taste, and it weighs a ton,
0:03:45 > 0:03:49those are the warning bells that it's going to be a piece of colonial silver.
0:03:49 > 0:03:53We've got a presentation inscription on it, which is a bit worn,
0:03:53 > 0:04:01but it says "Julia, Eliza and Henry Tucker to Frederick Collicott Esq,
0:04:01 > 0:04:05"a grateful token of esteem and regard, Calcutta, 1832."
0:04:05 > 0:04:10I would have dated this, without that inscription, between 1830 and 1835,
0:04:10 > 0:04:14but we've got it spot on, that is contemporary with when it was made.
0:04:14 > 0:04:18It's still not, frustratingly, as valuable as if it were English.
0:04:18 > 0:04:21- Oh, really?- Despite the fact that it's much rarer.
0:04:21 > 0:04:24- Oh.- Perverse, isn't it? - Yes, very perverse.
0:04:24 > 0:04:29At auction it's going to be in the region of about £350 to £550,
0:04:29 > 0:04:32- that's the sort of bracket. - Right, OK.
0:04:32 > 0:04:37If you're happy for us to put it in the auction, we'll do that, we'll put a fixed reserve of 350 on it.
0:04:37 > 0:04:41- OK.- And see how it goes.- All right, well, fingers crossed.
0:04:41 > 0:04:45Both sets of fingers crossed. I'm so glad to see you today.
0:04:45 > 0:04:49- I'm so glad you are so excited about it.- Valerie, you've made my day.
0:04:49 > 0:04:52- Good, I'm pleased about that. - Thank you very much.- You're welcome.
0:04:58 > 0:05:01Mike and Sue, to whom does this belong?
0:05:01 > 0:05:04It's Mike's because it used to belong to his mother.
0:05:04 > 0:05:06Oh, did it? Have you known it all your life?
0:05:06 > 0:05:10- I have, yes.- You have, yeah, any more clues about what it is?
0:05:10 > 0:05:14We think it's from Belgium because Mike's mother was from Belgium
0:05:14 > 0:05:18and she met Mike's father at the end of the war in Brussels
0:05:18 > 0:05:22and they got married and came back to England to live
0:05:22 > 0:05:26and we understood it was given to her for a wedding present,
0:05:26 > 0:05:29but we don't think it was new when she had it.
0:05:29 > 0:05:32- How interesting, and when was the wedding?- 1946.
0:05:32 > 0:05:38It's got a real Deco look to it so it just could have been '30s,
0:05:38 > 0:05:41but I wouldn't be at all surprised if it was new then.
0:05:41 > 0:05:44- Right.- Now, do you know who made it?
0:05:44 > 0:05:48- We did look it up.- It's got a name on it.- Yes, it's Val St Lambert.
0:05:48 > 0:05:54Val St Lambert, who was about the most famous glass manufacturer in Belgium
0:05:54 > 0:05:59and the factory was started in 1826
0:05:59 > 0:06:04and Val St Lambert was the official glass producer
0:06:04 > 0:06:09for the King of Belgium and the factory is still in existence today.
0:06:09 > 0:06:12And what type of things does it make now then? Similar?
0:06:12 > 0:06:14A lot of perfume bottles, things like that.
0:06:14 > 0:06:17I mean, this, as we can see, is a flower arranger, it's a vase,
0:06:17 > 0:06:21it's a bit bigger than most items of Val St Lambert that I've seen
0:06:21 > 0:06:25and it has a decoration to it,
0:06:25 > 0:06:33which is overlaid glass and what happens is they made the initial glass vase,
0:06:33 > 0:06:38and then they put an amber layer of glass over the whole vase.
0:06:38 > 0:06:39- Yes.- OK?- Yes.
0:06:39 > 0:06:45- And then they cut back to the original glass.- Right.
0:06:45 > 0:06:49So you can see everywhere that it's cut in, it's back to the clear glass.
0:06:49 > 0:06:52- It's back, yes. - And it's produced a very heavy,
0:06:52 > 0:06:56very high quality piece of glassware.
0:06:56 > 0:06:59- It isn't, I have to say, considerably valuable.- No, no.
0:06:59 > 0:07:02Would you have an idea, have a little pop at it?
0:07:02 > 0:07:04£100ish perhaps.
0:07:04 > 0:07:07That's a very good valuation.
0:07:07 > 0:07:11I might even be tempted to put the eternal Flog It! valuation on it
0:07:11 > 0:07:16which is the 80 to 120, which you've probably heard time and time again.
0:07:16 > 0:07:23- Yes, yes.- And I try to fight against it but if ever an item was suited to an 80 to 120, I think.
0:07:23 > 0:07:25- It's this one.- I think it's worth about £100.
0:07:25 > 0:07:27- You are happy with us to put it into auction?- Yes.
0:07:27 > 0:07:31- Yes, please.- Well, I think we'll put a reserve on it.
0:07:31 > 0:07:34- Yes.- We don't want to give it away, do we?- No, no.
0:07:34 > 0:07:40A discretionary reserve at 80 which gives the auctioneer a little bit of leeway if it gets close.
0:07:40 > 0:07:43- OK?- Yes, that's fine.- Thank you very much.- Thank you.
0:07:48 > 0:07:51Sylvia, did you bring this in for me?
0:07:51 > 0:07:52I did especially.
0:07:52 > 0:07:55Well, you know I love country furniture, don't you?
0:07:55 > 0:07:58- I'm a bit too big to get in it now, Paul.- Yeah.
0:07:58 > 0:08:00- Was it yours as a child? - No, it was my husband's.
0:08:00 > 0:08:02Was it? Had it been in his family?
0:08:02 > 0:08:06Well, in his family actually for 200 years, we think.
0:08:06 > 0:08:08Gosh! And you want to part with it.
0:08:08 > 0:08:10Yes, we've a lot of stuff, we haven't got room.
0:08:10 > 0:08:15- Your husband doesn't mind?- No, no, no because we bought a small house.
0:08:15 > 0:08:16What can he remember about it?
0:08:16 > 0:08:20He can remember sitting on it and he can remember his uncle mending it.
0:08:20 > 0:08:23How this happened, my husband's no idea.
0:08:23 > 0:08:27Well, I felt that earlier and you know when there's a fresh break, it feels quite sharp.
0:08:27 > 0:08:31- Yeah.- And that's smoothing over the years, isn't it?
0:08:31 > 0:08:35- Children have sat on that for years. - And chaffed the back of their legs.
0:08:35 > 0:08:37- That's right. - So it's been in the loft?
0:08:37 > 0:08:39- Yeah, about 30 years.- Gosh.
0:08:39 > 0:08:42All my children sat on it and all my grandchildren.
0:08:42 > 0:08:46- This has been in your family for 200 years.- Yeah.- Are you sure you want to part with it?
0:08:46 > 0:08:49Well, it's my husband's really and he said yes, do.
0:08:49 > 0:08:53It's known as vernacular furniture - country regional furniture
0:08:53 > 0:08:58- and it's generally known as a stick back chair.- A stick back?
0:08:58 > 0:09:04- Stick back, a Windsor stick back chair, it's got a wonderful colour to it.- It has, hasn't it?
0:09:04 > 0:09:09- And that's what collectors love. - What, this patina?- This patina, yes,
0:09:09 > 0:09:15it's a skin, it's a build-up over the years and this chair dates late 1700s, very early 1800s.
0:09:15 > 0:09:17Ahh, I thought it was pretty old.
0:09:17 > 0:09:20The seat is made of oak and you can see the break
0:09:20 > 0:09:24has broken, that fracture has gone right along the line of the grain.
0:09:24 > 0:09:28Most Windsor chairs, most chairs, are normally made with an elm seat.
0:09:28 > 0:09:35An elm seat has an interlocking, very ambiguous grain
0:09:35 > 0:09:39and because the grain doesn't run in one straight direction,
0:09:39 > 0:09:43it's very strong and it's pliable and it won't break.
0:09:43 > 0:09:47- Now unfortunately this has got an oak seat.- And that will split easy?
0:09:47 > 0:09:51And that will split easy, yes, but it's a gorgeous little piece
0:09:51 > 0:09:55and I love the little turnings, I love this steam bending,
0:09:55 > 0:09:59a lot of chairs you find were made with ash sticks,
0:09:59 > 0:10:04- elm seats and oak arms and oak backs and the wood didn't match.- No, no.
0:10:04 > 0:10:08So they would stain it all or colour it or paint it, but it's only
0:10:08 > 0:10:12a scaled down version of the real thing which you and I would sit on.
0:10:12 > 0:10:15- It is, oh, yeah.- It's beautiful, but it's badly damaged.
0:10:15 > 0:10:18- It is, it's a shame. - If it was in brilliant condition,
0:10:18 > 0:10:21- £300 no problem. - Wow.- But it's not, is it?
0:10:21 > 0:10:25- No.- It's not really repairable. You could do it, but the cost
0:10:25 > 0:10:29of repairing it, moving this front leg forward and patching this section up would cost...
0:10:29 > 0:10:34- Would ruin it.- It would take the character and personality out of the chair.
0:10:34 > 0:10:37- Yes, quite right.- It's going to be worth around £60 to £80,
0:10:37 > 0:10:41that's all in this condition, but on a good day, it might do the £100.
0:10:41 > 0:10:43- Yeah. All right.- Is that all right?
0:10:43 > 0:10:47- Yeah.- Let's put it into auction with a valuation or £80 to £100.
0:10:47 > 0:10:52- OK, Paul, that's fine.- Let the auctioneer use his discretion at the lower end of 80.- All right.
0:10:52 > 0:10:55- OK.- Yeah, thank you very much. - Is that a sad goodbye?
0:10:55 > 0:10:58Yeah, never mind, thank you very much.
0:11:05 > 0:11:08Thank you for coming along today with this watch,
0:11:08 > 0:11:13but you've also brought these photographs as well, so can you tell me where does the watch come from?
0:11:14 > 0:11:20Well, the watch comes from my grandfather who was called Eli Pope and this is his picture there.
0:11:20 > 0:11:26- Oh, right.- And he built this five wheel bicycle and he then also
0:11:26 > 0:11:33raced with it on road and on the old Crystal Palace track and he won, he got this medal for winning a race.
0:11:33 > 0:11:35So rather than a cup,
0:11:35 > 0:11:37- he got a watch.- A gold watch, yes.
0:11:37 > 0:11:40Well, hopefully if we have a look inside,
0:11:40 > 0:11:43we've got an inscription, which is nice.
0:11:43 > 0:11:49It says, "Pilsley Athletic Sports June 1st, 1895.
0:11:49 > 0:11:53- "One mile bicycle handicap, won by E Pope."- Yeah.
0:11:53 > 0:11:58E Pope, it's fantastic to see a watch with a presentation inscription,
0:11:58 > 0:12:04but when you've actually got the picture that relates to someone over 100 years ago, I mean it's fantastic.
0:12:04 > 0:12:10And, I mean we've got a picture of him there on... I don't know the name for a five-seater bicycle!
0:12:10 > 0:12:16- They call it a quinary.- You learn something every day on Flog It!- I've never ever heard it.- Even I do.
0:12:16 > 0:12:23- And, there you've got a picture of, I suppose, teams of them and he's in one of the teams.- Yes, racing.
0:12:23 > 0:12:27- And it seems to be at the Crystal Palace.- Yes, that's right. - And is this the man himself?
0:12:27 > 0:12:30That's the man himself, yes.
0:12:30 > 0:12:33Good Lord. I think he possibly used to carry this around
0:12:33 > 0:12:37- when he was racing because it's got a fair few dents in it. - It's well marked, yes.
0:12:37 > 0:12:43But it's appropriate to a cyclist and someone of its time because it's got a special feature to it.
0:12:43 > 0:12:46- Do you know what the feature is? - I think it's a stop watch.
0:12:46 > 0:12:51It is. If we press the top here, off we go and it records the seconds
0:12:51 > 0:12:55and when you finish recording the amount of time, you press it again
0:12:55 > 0:12:58and you've got the reading there and to reset it,
0:12:58 > 0:13:02you press this side button and then again and it clips back into place.
0:13:02 > 0:13:06- Oh, yes.- Any idea of what the watch is made of or...?
0:13:06 > 0:13:09- I think it's gold plate or something.- Gold plate.- Yes.
0:13:09 > 0:13:14The back plate is plated because for strength, but actually the case
0:13:14 > 0:13:20and the bezel are 18 carat gold and the chain itself, which is beautiful.
0:13:20 > 0:13:26- Very pretty, isn't it? - Victorian chain and that is about 1892, that's 9 carat gold.
0:13:26 > 0:13:28- So it was a worthy thing to win.- Yes.
0:13:28 > 0:13:31And it's marvellous to have the history with it.
0:13:31 > 0:13:32That's really what's quite touching.
0:13:32 > 0:13:36It's very difficult to value this because it's got a little chip to it.
0:13:36 > 0:13:40- Right.- Which knocks the value of the watch per se.
0:13:40 > 0:13:47I think if we put it into auction, we should be in the region of about £150 to £250 on it, would that be?
0:13:47 > 0:13:50Yes, my brother has given me his permission to sell it.
0:13:50 > 0:13:54- He's given you the thumbs up.- Yes. - Hopefully, if the auctioneer catalogues it properly
0:13:54 > 0:14:00and illustrates a couple of the photographs in the catalogue it will do close to the top end of that.
0:14:00 > 0:14:04- Oh, that would be lovely, yes, thank you.- It was a great pleasure to see it.- Thank you very much.
0:14:04 > 0:14:07Well, what a game lot the people of Winchester are.
0:14:07 > 0:14:11Let's have a quick reminder of what's on its way to the auction.
0:14:11 > 0:14:14Michael got steamed up by the quality of this rare teapot from India.
0:14:14 > 0:14:18Let's hope it brews up a storm at auction.
0:14:18 > 0:14:23Next, a piece of Belgian glassware, Charlie hopes its famous name will attract the bidders.
0:14:23 > 0:14:29Sylvia's chair has been in the family for 200 years, I just hope the damage doesn't hold it back.
0:14:29 > 0:14:35This watch belonged to a world record holder. I think it's a real winner.
0:14:35 > 0:14:40Before we find out if the bidders in Winchester will race away with our antiques,
0:14:40 > 0:14:44I'm going to see how contemporary artworks can help to illuminate
0:14:44 > 0:14:47the beautiful, ancient interior of the city's cathedral.
0:14:50 > 0:14:56Winchester Cathedral has been at the heart of the city for more than 900 years.
0:14:56 > 0:15:02Coronations, christening, royal weddings and burials have all taken place under these magnificent,
0:15:02 > 0:15:07soaring ceilings which really do make your eyes lift up and gaze towards the heavens...
0:15:07 > 0:15:11But the cathedral is as much a venue for the new as for the old.
0:15:11 > 0:15:16Today, amongst its gothic arches, you'll see modern works of art.
0:15:16 > 0:15:22Winchester is proud of the fact that it has a living cathedral that embraces contemporary art.
0:15:22 > 0:15:26It not only speaks to today's visitors, it also inspires them.
0:15:26 > 0:15:33My tour starts in the crypt with Canon Keith Walker, he commissions most of the new art work.
0:15:33 > 0:15:39We're here to see a sculpture which has become as renowned as any of the stained glass or stone work.
0:15:39 > 0:15:45Well here we are, it's by Sir Antony Gormley we've featured his work on the show before.
0:15:45 > 0:15:49How did it end up getting in the crypt? It's made of lead, isn't it?
0:15:49 > 0:15:52It is made of lead and it's hollow. TAPPING
0:15:52 > 0:16:00Well, Sir Antony Gormley submitted a possibility for a sculpture in the Lady Chapel.
0:16:00 > 0:16:07It was not accepted but in preparation for it, he wanted to walk round the cathedral.
0:16:07 > 0:16:10And I showed him the way.
0:16:10 > 0:16:14And we walked around on the ground floor and then came down into the crypt.
0:16:14 > 0:16:18Then he suddenly stopped, as if struck by lightning.
0:16:18 > 0:16:23And he said, "This is the very place for my Sound II".
0:16:23 > 0:16:30And he donated it to the cathedral which is an act of great generosity.
0:16:30 > 0:16:37Some winters, I know it floods down here, there's a shallow pool of water which creates a dynamic,
0:16:37 > 0:16:42- gives this thing vitality. - Absolutely right, I think the presence of water,
0:16:42 > 0:16:46is what determined him to let his piece come here.
0:16:46 > 0:16:52In fact, if you look down at the feet, you can see the scales
0:16:52 > 0:16:55that come from water being present.
0:16:55 > 0:16:58And the come up almost to the knees.
0:16:58 > 0:17:02So the amount of water, when it's here, is quite considerable.
0:17:02 > 0:17:05How do people react to this when they first come down to the crypt?
0:17:05 > 0:17:11It's curious because I take many groups round the cathedral, 20 or 30 at a time
0:17:11 > 0:17:18and I always ask people what they think and I tell them to be very honest.
0:17:18 > 0:17:23Predominantly, people react positively. They seem to see the meditative quality of this.
0:17:23 > 0:17:29And when I explain about the water in the cupped hands, they're very impressed.
0:17:29 > 0:17:34So, the idea is water is coming out of the hole, this hollow vessel?
0:17:34 > 0:17:40Yes. It's in the region of the heart, the centre of life.
0:17:40 > 0:17:43It's the inner life coming out, being expressed.
0:17:43 > 0:17:48And much of Antony Gormley's work is interested in crisis points.
0:17:48 > 0:17:54Here, he has suffered some shock and is examining his inner self.
0:17:54 > 0:18:00It is as if the person is saying, "I held my life in my hands".
0:18:00 > 0:18:04Set where it is, Sound II is a deeply moving sculpture
0:18:04 > 0:18:08but not what you might expect to find in a cathedral.
0:18:08 > 0:18:14Other commissioned pieces however, do directly reflect traditional images of Christian art.
0:18:14 > 0:18:19I like this, it's the Mercy Of Mary Towards Her Dead Son.
0:18:19 > 0:18:23- You'd call it a Pieta.- That's right. - Who designed this?
0:18:23 > 0:18:27This was designed and created by Peter Eugene Ball who has done
0:18:27 > 0:18:34a lot of work in cathedrals and churches and follows very much his own kind of inspiration.
0:18:34 > 0:18:40When the Pieta first came into the cathedral, I did wonder if we'd made the right choice.
0:18:40 > 0:18:46No sooner had I thought that than tragically the Clapham rail disaster took place.
0:18:46 > 0:18:51And we literally on TV and in newspaper photographs,
0:18:51 > 0:19:00saw people cradling other people in their arms with all the mark of grief and sorrow which they had.
0:19:00 > 0:19:06Secondly, one noted many people who worked in London lived about here.
0:19:06 > 0:19:13Some of them died in the Clapham rail disaster and for literally a few months...
0:19:13 > 0:19:15people would congregate in this chapel and just look
0:19:15 > 0:19:20at this Pieta. It was really extraordinary.
0:19:20 > 0:19:24There's so much to see in each of these pieces when you know what you're looking at.
0:19:24 > 0:19:27That is certainly true of one of my favourites...
0:19:27 > 0:19:31I like this, the Blue Cross, it's made of glass, isn't it?
0:19:31 > 0:19:36It is. It is Czech glass,
0:19:36 > 0:19:40which for centuries has been renowned for its purity and beauty.
0:19:40 > 0:19:45There's a trick of the eye here. I don't know if you can work it out but there is one, isn't there?
0:19:45 > 0:19:48- Oh, yes.- You can explain it. - Well, I hope!
0:19:48 > 0:19:54It's an optical illusion which pleases an artist and puzzles everyone else.
0:19:54 > 0:20:01You would think the horizontal here, is broader than the horizontal there,
0:20:01 > 0:20:08But these are less in length than the two uprights. It's not so.
0:20:08 > 0:20:13- They are all four pieces of the same length.- Exactly the same size?- Yes.
0:20:13 > 0:20:15It's clever.
0:20:15 > 0:20:18It's very clever and it's neat.
0:20:18 > 0:20:25I think beauty and appropriateness can be in stark, puritanical, minimalist structures
0:20:25 > 0:20:29- as well as in ornate and flowery structures.- Yes.
0:20:35 > 0:20:40This is such a beautiful cathedral and is a unique part of our nation's heritage.
0:20:40 > 0:20:45It's been beautifully restored. Just being inside the fabric of this wonderful building
0:20:45 > 0:20:50gives you an overwhelming sense of peace and history. It's also a wonderful place to come
0:20:50 > 0:20:54to contemplate where the ancient meets the contemporary and they sit in perfect harmony,
0:20:54 > 0:20:58giving us inspiration for the future.
0:21:03 > 0:21:08And we're hoping to inspire the bidders as we put our items to the test at Andrew Smith's saleroom -
0:21:08 > 0:21:10just outside the city.
0:21:12 > 0:21:17How much will they part with for the privilege of owning a rare Indian teapot,
0:21:17 > 0:21:20and for the unusual Art Deco vase picked by Charlie?
0:21:20 > 0:21:24The little child's chair I found deserves to be a winner.
0:21:24 > 0:21:29But will it be pipped at the post by the bike race watch and memorabilia?
0:21:29 > 0:21:33Let's see what happens.
0:21:35 > 0:21:39This is an interesting item, gold pocket watch - that's quality.
0:21:39 > 0:21:42There's a lot of work there and I love the chain
0:21:42 > 0:21:49but there's a great cycling connection and we've got a valuation of 250 to £350 on the collection.
0:21:49 > 0:21:52I think as a watch on its own that would probably be about right,
0:21:52 > 0:21:56it's not in very good condition, it needs quite a lot of work on it.
0:21:56 > 0:22:01But it does have this connection with Mr Pope who I think is on the end of the Goodies bicycle there.
0:22:01 > 0:22:05- The Goodies, yes!- He obviously didn't pass the audition,
0:22:05 > 0:22:12but he went on to do great things in the cycling world and I think he was a member of the Dunlop team.
0:22:12 > 0:22:15Right, so sporting memorabilia really we're looking at now.
0:22:15 > 0:22:20Well, there's the clock and watch people, but there is also the memorabilia people,
0:22:20 > 0:22:26getting international interest as well through the cycling connection, we think this one could fly.
0:22:26 > 0:22:29We're thinking certainly in excess of 500.
0:22:29 > 0:22:32That is what I call pedal power.
0:22:32 > 0:22:34- Fingers crossed.- Watch this space.
0:22:34 > 0:22:39Right now it's time for Andrew to get on the rostrum and weave his magic.
0:22:39 > 0:22:42First up is the Deco vase.
0:22:42 > 0:22:47It's 1930s, it's Belgian and it's art glass and it belongs to Mike and Sue
0:22:47 > 0:22:51- and, in fact, it was your parents' wedding present, wasn't it? - My mother's, yeah.
0:22:51 > 0:22:58Your mother's yeah, 1930s, wow, and you are flogging this now, we're looking at a value of £80 to £120.
0:22:58 > 0:23:00Why are you getting rid of this now?
0:23:00 > 0:23:05It doesn't really mean anything to us any more. His mum's gone and we've got other things
0:23:05 > 0:23:08that we can remember her by, so we just decided this one could go.
0:23:08 > 0:23:10- Bring it along to Flog It!- Yes, yes.
0:23:10 > 0:23:14- Hey, presto, Charlie put the valuation on it.- Which is spot on.
0:23:14 > 0:23:17Yeah, I think so as well. Well, we're going to find out, aren't we?
0:23:17 > 0:23:23Lot 233, this is the Val St Lambert's rose vase.
0:23:23 > 0:23:26Who will start me at £100 on this? £100. £100.
0:23:26 > 0:23:2980 then, £80 surely.
0:23:29 > 0:23:3160 if you like, £60.
0:23:31 > 0:23:33£60 bid, thank you, and 5, 70,
0:23:33 > 0:23:40- and 5, 80, and 5, 90 and 5, 100, and 10, 120.- Steady climb.
0:23:40 > 0:23:44130, 120 seated, is there 30?
0:23:44 > 0:23:49At £120, any more? At £120 for the last time.
0:23:49 > 0:23:52- Yes, the hammer's gone down, spot on Charlie.- Good man.
0:23:52 > 0:23:54We'll take that, top end of that estimate.
0:23:54 > 0:23:58- Yes. Thank you very much.- What are you going to put £120 towards?
0:23:58 > 0:24:02- Well, our daughter is expecting our first grandchild. - Oh, congratulations.
0:24:02 > 0:24:06- We're going to put it in the trust fund with some other money.- Ahhh.
0:24:08 > 0:24:12OK, it's my turn to be the expert. We've got some vernacular furniture
0:24:12 > 0:24:15and it's a lovely bit of country furniture, a child's chair,
0:24:15 > 0:24:20and it belongs to Sylvia here and you've brought along one of your granddaughters.
0:24:20 > 0:24:22- Philippa.- Philippa. Hi, Philippa.
0:24:22 > 0:24:26- Hello.- How many granddaughters have you got?- Four. - How many grandsons have you got?
0:24:26 > 0:24:28- None.- None, so it's all girls.
0:24:28 > 0:24:34- All girls.- Can you remember sitting on this little chair when you were around Granny's?
0:24:34 > 0:24:38Yes, it used to be sat around in the corner of the conservatory and all four of us used to sit on it.
0:24:38 > 0:24:44You've all perched on that little chair? Do you really want to see it go? Bit late now, isn't it?
0:24:44 > 0:24:48A little bit, but it's going towards a laptop for Gran, the money for it,
0:24:48 > 0:24:51- so it's worth it.- Yes, so I understand.- It will keep her happy and quiet.
0:24:51 > 0:24:54- So we need to get maximum money. - Do you think so?
0:24:54 > 0:24:56Oh, yee, pressure's on, isn't it?
0:24:56 > 0:24:58Lot 611.
0:24:58 > 0:25:01We've got a different auctioneer for this because Andrew has taken
0:25:01 > 0:25:04a quick break to rest his voice, so new man on the rostrum.
0:25:04 > 0:25:09£60 can I say? 50 then, I have 50, I'll take 5 on it. At 55, 60 now,
0:25:09 > 0:25:14at £55, anyone else in at 55?
0:25:14 > 0:25:1660 now, and 5, 70, 5, 80.
0:25:16 > 0:25:19I hate these moments where I feel like I'm letting the owners down.
0:25:19 > 0:25:25- £80, anyone else in? At £80, all done.- We're selling!
0:25:25 > 0:25:28- Just did it at £80. - Well done, you. Thank you, Paul.
0:25:28 > 0:25:32- Oh, that's all right, that's OK. - Right on the mark.
0:25:32 > 0:25:35There you go, we've got the money and it's going towards the laptop.
0:25:35 > 0:25:37Get surfing, that's all I can say.
0:25:37 > 0:25:39- Thank you so much. - Thank you.- So kind.
0:25:47 > 0:25:52It's about this time of day that some of you may sneak off to the kitchen and put the kettle on
0:25:52 > 0:25:55and make a cup of tea, but I bet it won't arrive in a teapot
0:25:55 > 0:25:58as gorgeous as Valerie's, because it's absolutely stunning.
0:25:58 > 0:26:05- Silver, made in Calcutta, with a valuation of 350 to 550.- Absolutely.
0:26:05 > 0:26:11Right, well, you don't know this, but Valerie has had a chat to the auctioneer just before the sale.
0:26:11 > 0:26:14- Yes.- And you've upped the reserve
0:26:14 > 0:26:18- to £600, but it's the top end of your estimate, though.- It is.
0:26:18 > 0:26:23All is not lost, because he agrees with Valerie.
0:26:23 > 0:26:27But teapots aren't as collectible as they used to be,
0:26:27 > 0:26:31and Indian colonial silver isn't quite as sought after,
0:26:31 > 0:26:36so I think £600 is what you would pay in a shop for it, absolutely,
0:26:36 > 0:26:41but the trade value of it is more around the £400 mark. So we'll see.
0:26:41 > 0:26:43Do you know what Andrew said?
0:26:43 > 0:26:46He said that he's looking for £1,000 on this.
0:26:46 > 0:26:50- He can look for a long time. - Well, maybe not, who knows?
0:26:50 > 0:26:54- But we want £1,000. - We absolutely do.
0:26:54 > 0:26:58We're going to find out now, because all the talking is over with,
0:26:58 > 0:27:01it's purely academic, it's up to the bidders in this room.
0:27:01 > 0:27:05- Let's see what they think, shall we? OK.- Cross fingers.
0:27:05 > 0:27:08This is the Indian colonial teapot
0:27:08 > 0:27:13- showing in the corner there, we have telephone.- Oh, Lord, telephone bid.
0:27:13 > 0:27:16And a commission bid, we'll start the bidding at 600,
0:27:16 > 0:27:18is there 20 in the room?
0:27:18 > 0:27:24At £600 and selling, is there 20? At £600, then, any more?
0:27:24 > 0:27:25At £600 commission.
0:27:25 > 0:27:28Scared off the telephone bidder.
0:27:28 > 0:27:30Are we all done? At £600, last time.
0:27:30 > 0:27:33Yes, the hammer's gone down. £600.
0:27:33 > 0:27:36I think you were both right on that occasion.
0:27:36 > 0:27:40It touched the upper end. If it had made £1,000, I'd have retired.
0:27:40 > 0:27:44I'd have to be carried out of here on a trolley, foaming at the mouth!
0:27:44 > 0:27:48You really had me scared, but even the phone bidder, when he heard 600, collapsed.
0:27:48 > 0:27:53On the other end of the telephone like that, but it was a fantastic result.
0:27:53 > 0:27:55It's got the top end, that is what you wanted.
0:27:55 > 0:27:57What is the money going to go towards?
0:27:57 > 0:28:01Well, we have just had our 45th wedding anniversary
0:28:01 > 0:28:06and we are trying to get back to South Africa to visit our children and grandchildren,
0:28:06 > 0:28:09so this is going in the pot to start to get the fund up a little bit.
0:28:09 > 0:28:14- Fantastic, the pot is going in the pot. Marvellous. - Yes, the pot is going in the pot.
0:28:14 > 0:28:16Excuse the pun.
0:28:20 > 0:28:24Next up, we've got a gold watch. It's 18 carat, but it's got pedal power.
0:28:24 > 0:28:29There's a lot of memorabilia attached to this, because old Pope was on the back, wasn't he?
0:28:29 > 0:28:33- Riding at Crystal Palace in 1896 or somewhere around there.- '97.
0:28:33 > 0:28:38'97. Sylvia, it is a real gem, who have you brought along with you?
0:28:38 > 0:28:41I've brought my brother along with me, who is called Peter.
0:28:41 > 0:28:44- Right, hi Peter, how do you do? - Pleased to meet you.
0:28:44 > 0:28:48Let's hope, let's hope this breaks all the records, even the one at Crystal Palace.
0:28:48 > 0:28:51We've had a chat to the auctioneer earlier,
0:28:51 > 0:28:53he said there has been loads of interest.
0:28:53 > 0:28:58- Fantastic.- Even from abroad, and he thinks it should do 300 to 500.
0:28:58 > 0:29:00Marvellous, marvellous.
0:29:00 > 0:29:03- Very nice. - Which would be fantastic.
0:29:03 > 0:29:05- Brilliant.- Fingers crossed.
0:29:05 > 0:29:08Why are we flogging it, though, Sylvia, why?
0:29:08 > 0:29:11I don't think we know, it just came out the attic and we thought,
0:29:11 > 0:29:14this is interesting, maybe other people will think so.
0:29:14 > 0:29:17How long has it been in the attic?
0:29:17 > 0:29:1930 or 40 years, I suppose.
0:29:19 > 0:29:23Dig it out and bring it along to valuation day and, hey presto, they are in the auction room
0:29:23 > 0:29:26and they might be going home with...we're going to find out right now.
0:29:26 > 0:29:29Pocket watch, fantastic pocket watch.
0:29:29 > 0:29:31All the cycling history with it,
0:29:31 > 0:29:35- I have got to start the bidding here at £300.- Fantastic.
0:29:35 > 0:29:39£300, 320 can I say?
0:29:39 > 0:29:45Against the room now at £300, 320 on the phone. 340, 360.
0:29:45 > 0:29:46- Sylvia!- It's going up.
0:29:46 > 0:29:51£340, 360 you say, 360, 380, 400...
0:29:51 > 0:29:56£400 and 20, 440, 460.
0:29:56 > 0:29:59- I can't believe it. - That's fantastic.- 500.
0:29:59 > 0:30:04520, yes, 550,
0:30:04 > 0:30:10520 on the phone, 550 now, 580.
0:30:10 > 0:30:12580 on the phone, 600 can I say?
0:30:12 > 0:30:17No, 580 on the phone. At 580, then, have you done?
0:30:17 > 0:30:21- Pedal power, £580.- Wowee!
0:30:21 > 0:30:23I can't believe it.
0:30:23 > 0:30:26Nor can I, that is just astonishing.
0:30:26 > 0:30:27I'm so pleased I was so wrong.
0:30:27 > 0:30:30That is the cycling memorabilia for you, unbelievable.
0:30:30 > 0:30:35Sporting memorabilia is big business, obviously bigger than watch business right now.
0:30:35 > 0:30:40Well, that's it from Winchester, and what a result for Sylvia and Peter
0:30:40 > 0:30:43and their amazing £580 windfall,
0:30:43 > 0:30:47but can we beat that when we go west to visit our rival cathedral city -
0:30:47 > 0:30:49Worcester?
0:30:49 > 0:30:54This city, standing on the River Severn,
0:30:54 > 0:30:58has been famous for the production of fine porcelain since 1751,
0:30:58 > 0:31:02but will any turn up at the Guildhall today?
0:31:02 > 0:31:06I'll need some help to get through this lot to find out!
0:31:06 > 0:31:11Luckily, I've got Davie Barby and James Lewis, today's experts, to help out.
0:31:11 > 0:31:16Come on, stop reading the lonely hearts column! We have work to do!
0:31:17 > 0:31:21'David's already fallen in love with his first item.'
0:31:22 > 0:31:27Michael, why are you letting your mother, Sheila, part with these?
0:31:27 > 0:31:31Well, there's three sons and only two objets d'art.
0:31:31 > 0:31:35It wouldn't be equal anyway, cos they're different sizes.
0:31:35 > 0:31:38- Why are you parting with them? Not for that reason?- Yes.
0:31:38 > 0:31:42- It is, yeah.- I thought you'd say cos you don't like cleaning!
0:31:42 > 0:31:45- That as well!- Ooh, what have I said!
0:31:46 > 0:31:48The trouble is, these are so ornate, aren't they?
0:31:48 > 0:31:52- One is always fearful of damaging or breaking them.- Yes.
0:31:52 > 0:31:56- You know what they're used for? - No.- These are claret jugs.
0:31:56 > 0:32:00- Even the little one?- That would be an individual claret jug.
0:32:00 > 0:32:03- Oh!- So if you were having supper on a tray...
0:32:03 > 0:32:06- I see.- ..you would have a small claret jug.
0:32:06 > 0:32:09These are beautiful. Where did they come from?
0:32:09 > 0:32:13They were my mother's. I don't know where she got them from.
0:32:13 > 0:32:18She liked to buy nice things, second-hand or antique.
0:32:18 > 0:32:23- We called them second-hand then. Not antiques.- Junk shops.- Yes.
0:32:23 > 0:32:25I love these.
0:32:25 > 0:32:29These are French. Date-wise, probably about 1900, 1905.
0:32:29 > 0:32:31They are silver mounts.
0:32:31 > 0:32:35There is a silver mark for France.
0:32:35 > 0:32:40Not only is the glass etched with these wonderful whiplash designs,
0:32:40 > 0:32:42a feature of Continental Art Nouveau,
0:32:42 > 0:32:46but you've also got the repeated designs round the top.
0:32:46 > 0:32:48And also on the lid itself.
0:32:48 > 0:32:51It's absolutely lovely.
0:32:51 > 0:32:54Exquisite. It's the workmanship that's so good.
0:32:54 > 0:32:57When you consider this was all cut by hand.
0:32:57 > 0:33:03The symbols of Art Nouveau, incorporated into the designs,
0:33:03 > 0:33:05were often of an organic nature.
0:33:05 > 0:33:07Here you have seed pods, here.
0:33:08 > 0:33:10- Oh, yes.- A seed pod.
0:33:10 > 0:33:12With this sort of naturalistic detail
0:33:12 > 0:33:15that whips all the way round, so it's called whiplash design.
0:33:15 > 0:33:18Tcha, like that. And the whip goes along.
0:33:18 > 0:33:20I would like to see these polished.
0:33:20 > 0:33:23I'm sure the auction house will polish these up
0:33:23 > 0:33:25to show them off to their best advantage.
0:33:25 > 0:33:28- Where have they been in the house? - In the glass cabinet.
0:33:28 > 0:33:31In the cabinet. They've been there for how long?
0:33:31 > 0:33:35- 40 years.- 40 years. And did you ever use them?
0:33:35 > 0:33:37No! Never.
0:33:37 > 0:33:39What do you think they're worth?
0:33:41 > 0:33:44- Well, I hope they'll be 150. - Michael?
0:33:44 > 0:33:47I'd say more like 350, but I could be well out.
0:33:47 > 0:33:52Anything to do with wine and serving wine is very much in vogue at the moment.
0:33:52 > 0:33:54I would think, if they go up for auction,
0:33:54 > 0:33:57350 is closer to the mark for the two.
0:33:57 > 0:34:02- Right.- 350, £500, that's the sort of price level.
0:34:02 > 0:34:06- So shall we put a fixed reserve of 280 on them?- Yes, that'll be fine.
0:34:06 > 0:34:09- They're very nice. - My mum bought nice things.
0:34:09 > 0:34:11She had good taste. I'm sure you have, too.
0:34:11 > 0:34:14- Hmm...- Well, you've got Michael!
0:34:14 > 0:34:15Say no more! Right.
0:34:22 > 0:34:25I can't believe for one moment you've brought this in to flog.
0:34:25 > 0:34:28I've got nowhere really to put it.
0:34:28 > 0:34:31It doesn't go with my decor. Everyone says that.
0:34:31 > 0:34:34- But that's exactly what it is. - And that's the reason?
0:34:34 > 0:34:37Yes, it's just lying in a bedroom on the floor.
0:34:37 > 0:34:40- Not on a wall even?!- No. - Oh, shame on you!
0:34:40 > 0:34:43This is a Royal Worcester artist.
0:34:43 > 0:34:46- Yes.- Very prolific in the 1930s
0:34:46 > 0:34:50and he's renowned for his roses and other exotic blooms.
0:34:50 > 0:34:53Ah. These are hydrangeas.
0:34:53 > 0:34:56I'm just going to take it off the easel
0:34:56 > 0:34:59and admire it while you're telling me
0:34:59 > 0:35:01the story of how you came by it.
0:35:01 > 0:35:03Well, it belonged to my mother
0:35:03 > 0:35:09and I think she bought it in an auction in the late 1950s.
0:35:09 > 0:35:12She died just over four years ago
0:35:12 > 0:35:15and both my sister and myself wanted it
0:35:15 > 0:35:19so it was suggested by the solicitor
0:35:19 > 0:35:23that we should have a blind bid each.
0:35:23 > 0:35:26- Like a silent auction. - That's right.- OK.
0:35:26 > 0:35:28- You obviously won, then?- Yes, I did.
0:35:28 > 0:35:31- How much did you write down?- £350.
0:35:31 > 0:35:33£350. Right. OK.
0:35:33 > 0:35:37It's a lovely watercolour. It's quite loose, almost impressionistic.
0:35:37 > 0:35:42It's not the fine detail he would have done on the Worcester vessels.
0:35:42 > 0:35:46It's so typically British, that lovely cottage garden feel about it
0:35:46 > 0:35:51with lupins here and foxgloves as you look through the sash window.
0:35:51 > 0:35:55- Yes. It is pretty, but as I say... - Very pretty. Signed WH Austin.
0:35:55 > 0:35:59He had a brother. They both worked at Royal Worcester in the '30s.
0:35:59 > 0:36:03I do think to enhance its value it needs to be reframed
0:36:03 > 0:36:06and mounted. It needs a bit of money spending on it.
0:36:06 > 0:36:10- Whoever buys it will reframe it. - Yeah, I would imagine so.
0:36:10 > 0:36:12I'd love to get you your money back.
0:36:12 > 0:36:15- But no.- I think it's gonna be a bit of a struggle.
0:36:16 > 0:36:20Nevertheless, he is a name and we're in the right place to sell it.
0:36:20 > 0:36:23We're going to the Malvern sale room so we're in the right place.
0:36:23 > 0:36:30- But I'm going to put a valuation of £180 to £280.- Right.
0:36:30 > 0:36:33- That's fine.- How keen are you on keeping it?
0:36:33 > 0:36:38Not really, at all. There's no-one I can pass it on to.
0:36:38 > 0:36:40My children wouldn't want it.
0:36:40 > 0:36:44I think we should let the auctioneer use his discretion on the 180
0:36:44 > 0:36:47so it might go for £150.
0:36:47 > 0:36:50- Worst case.- Yes.- But you know what auctions are like!
0:36:50 > 0:36:54People get carried away. You tried to outbid your sister.
0:36:54 > 0:36:55And I did!
0:36:55 > 0:36:59- Fingers crossed, we get your money back.- Yep.
0:37:03 > 0:37:06John, when I was a boy, my parents used to take me camping
0:37:06 > 0:37:09in a little VW camper van.
0:37:09 > 0:37:11- Is that so? - When it was wet and raining,
0:37:11 > 0:37:13we'd sit in there and play chess,
0:37:13 > 0:37:16a game just like this - but ours was plastic!
0:37:16 > 0:37:18Yours is a little bit better!
0:37:18 > 0:37:21What a fantastic set. Just look at the quality.
0:37:21 > 0:37:23It's very good, isn't it?
0:37:24 > 0:37:28- Chess sets are highly sought after. - Oh, good! I like to hear that!
0:37:28 > 0:37:34We have a good combination here. We have chess, we have good quality.
0:37:34 > 0:37:38- And we've got travelling or campaign.- Uh-huh.
0:37:38 > 0:37:40This really is a travelling chess set.
0:37:40 > 0:37:43But if we put the word "campaign" in,
0:37:43 > 0:37:45it always gets more interest.
0:37:45 > 0:37:50Imagine you're an officer going out to the Boer War, going out to Africa,
0:37:50 > 0:37:55most of your time wasn't spent fighting, it was waiting for instructions.
0:37:55 > 0:37:58So you had these games to amuse you and your fellow officers.
0:37:58 > 0:38:00This one is around turn-of-the-century.
0:38:00 > 0:38:05- It could be late Boer War, First World War, that sort of time.- Yes.
0:38:05 > 0:38:08Campaign stuff is always sought after.
0:38:08 > 0:38:10Just look at the quality of the carving as well.
0:38:10 > 0:38:14Each one of these pieces individually turned and carved.
0:38:14 > 0:38:19- They're in boxwood and ebony. - Is it? I wondered what it was.
0:38:19 > 0:38:23The best name is a firm called Jakes, in chess sets.
0:38:23 > 0:38:26If we find "Jakes" on there,
0:38:26 > 0:38:28then it's good news.
0:38:28 > 0:38:31- I had a look at it earlier and I can't find it!- Oh!
0:38:31 > 0:38:35But it's a really good thing. Did you play with it as a boy?
0:38:35 > 0:38:39No, I haven't. I used to play chess when I was at school,
0:38:39 > 0:38:41but I've never played with that set, no.
0:38:41 > 0:38:46- So where did it come from? - It came from my mother, actually.
0:38:46 > 0:38:47I don't know the origins of it.
0:38:47 > 0:38:51But it's been around for a long time in the family.
0:38:51 > 0:38:54- You don't use it today?- No. - Just want to get rid of it?
0:38:54 > 0:38:58- No, we play Scrabble more than... - Really?- That's our main interest.
0:38:58 > 0:39:01I can never understand Scrabble. I can't spell!
0:39:01 > 0:39:06- I'm not very good at chess, either! But never mind!- Nor was I, really.
0:39:06 > 0:39:10- What do you think it's worth? - Fifty quid?
0:39:10 > 0:39:11I hope it's more than that.
0:39:11 > 0:39:17- If we put 80 to 120 on it.- Fine. - Auctioneers' favourite estimate.
0:39:17 > 0:39:20I think it'll do that and possibly a bit more.
0:39:20 > 0:39:23- Philip Serrell is the auctioneer. - Oh, yes.
0:39:23 > 0:39:26- Yes.- He's a good chap. He'll market it properly.- Yes.
0:39:26 > 0:39:29He'll be online, letting the chess people know.
0:39:29 > 0:39:34- Chess and chess pieces are fashionable. Let's see how it does. - I'm happy with that!
0:39:37 > 0:39:43- I see a piece like this, it sets your heart pounding.- Is that so?
0:39:43 > 0:39:45Because it's so good. It's so good.
0:39:45 > 0:39:48The beauty is it's so early as well.
0:39:48 > 0:39:51William Moorcroft trained at Wedgwood.
0:39:51 > 0:39:55Went on to work with a company called McIntyre
0:39:55 > 0:39:58who made ceramic insulators for the top of telegraph poles.
0:39:58 > 0:40:02So the kilns had to be at a very high fired temperature.
0:40:02 > 0:40:09They'd already started a small art or commercial pottery business within the industrial sector.
0:40:09 > 0:40:11But it was only when Moorcroft came along
0:40:11 > 0:40:15that he introduced the old decorating method of tube lining.
0:40:15 > 0:40:20Tube lining is, you can feel the raised section on this piece.
0:40:20 > 0:40:23That's rather like an icing sugar bag going over the surface.
0:40:23 > 0:40:25That's how they decorate it.
0:40:25 > 0:40:28They created these little reservoirs
0:40:28 > 0:40:31so that when the colour was put in, it wouldn't run.
0:40:31 > 0:40:36But because the temperature was so high, the glazes and the colours ran together.
0:40:36 > 0:40:40So we have this sort of washed-out look on the greens.
0:40:40 > 0:40:44What I love about this piece is the fact that it has a green ground,
0:40:44 > 0:40:48not the normal sort of blue to maroon.
0:40:48 > 0:40:51This has this lovely, almost celadon green effect.
0:40:51 > 0:40:55The design all the way round is called pomegranate.
0:40:55 > 0:40:59But you must know that from all the times this particular design of Moorcroft's
0:40:59 > 0:41:03- has been on television.- I did realise it was pomegranate, yes.
0:41:03 > 0:41:08It's a lovely design. These pieces were never made to be used as vases,
0:41:08 > 0:41:12- with a flower stuck inside! - It wouldn't go!- Wouldn't go.
0:41:12 > 0:41:16These were set on one side, to be put on a shelf and admired.
0:41:16 > 0:41:19You'd look and say, "Oh, the beautiful glazes."
0:41:19 > 0:41:22Exquisite! Now the interest with this particular piece,
0:41:22 > 0:41:26and why it's going to boost the price, is the date on the bottom.
0:41:26 > 0:41:31Now, we have the full signature, from William Moorcroft,
0:41:31 > 0:41:36a pressed-in mark and then this date, 1911.
0:41:36 > 0:41:371911,
0:41:37 > 0:41:41- he was still working at McIntyre & Company.- Yes.
0:41:41 > 0:41:45He didn't establish his factory until 1913.
0:41:45 > 0:41:47So this fabulous piece
0:41:47 > 0:41:51was produced when he was still at McIntyre & Company.
0:41:51 > 0:41:54For a collector, that's a lovely bonus find,
0:41:54 > 0:41:58to have it dated prior to the establishment of his own factory.
0:41:58 > 0:42:00This is fabulous. I love it. Price?
0:42:00 > 0:42:04I'd like to see between 500 and 700.
0:42:04 > 0:42:06Yeah!
0:42:06 > 0:42:08We'll put the reserve at 400.
0:42:10 > 0:42:12Yeah.
0:42:12 > 0:42:13That's a lot of money!
0:42:13 > 0:42:16It is a lot of money to have stuck on your shelf. Now...
0:42:16 > 0:42:21It is. I've had it so long and it's survived such a long time.
0:42:21 > 0:42:25I think I'm pushing my luck if I keep it for my children or grandchildren.
0:42:25 > 0:42:30- What will they say if you part with it? Have you told them?- Yeah. They said, "It's up to you, Mum."
0:42:30 > 0:42:32Tell them to come to the auction.
0:42:32 > 0:42:35They could always buy it!
0:42:35 > 0:42:38Jan, thank you. You've given me a thrill today.
0:42:38 > 0:42:41Thank you very much! I'm glad you were pleased!
0:42:41 > 0:42:45And hopefully, the bidders are going to be out in force for today's sale.
0:42:45 > 0:42:49Sheila's claret jugs can't be equally divided
0:42:49 > 0:42:52between her three sons so she's decided to sell them.
0:42:52 > 0:42:55Pauline's hydrangea painting is by a local artist
0:42:55 > 0:42:57so here's hoping it does really well!
0:42:57 > 0:43:02John's a Scrabble fan, so his campaign chess set no longer gets used.
0:43:02 > 0:43:05And David's certainly excited about Jan's Moorcroft vase.
0:43:05 > 0:43:11It's a very early piece and I think it could fly away.
0:43:15 > 0:43:18'But before we find out how they get on at auction,
0:43:18 > 0:43:20'I'm heading for the hills
0:43:20 > 0:43:23'to see how the local landscape has inspired one artist.'
0:43:23 > 0:43:27This is a seven-mile-long ridge of granite
0:43:27 > 0:43:30separating Worcestershire from Herefordshire.
0:43:30 > 0:43:34You have to agree, it is truly breathtaking.
0:43:34 > 0:43:36For one man, it's truly inspirational.
0:43:39 > 0:43:43Artist David Prentiss has lived in the shadow of the Malvern Hills
0:43:43 > 0:43:44for almost 20 years.
0:43:44 > 0:43:46Ever since he was a small child,
0:43:46 > 0:43:49they've played an important part in his life and work.
0:43:51 > 0:43:55Let's go and meet David and find out why this spectacular place
0:43:55 > 0:43:58has rooted itself so deeply in his heart.
0:44:04 > 0:44:06- David, there you are.- Oh, hi, Paul.
0:44:06 > 0:44:08I hope you don't mind me joining you.
0:44:08 > 0:44:12- No, it's very nice to see you.- What are you sketching at the moment?
0:44:12 > 0:44:15I'm just having a look at this favourite view of mine,
0:44:15 > 0:44:17looking down south down the hills.
0:44:17 > 0:44:21- It's very early days. - When did the love affair start with the Malverns?
0:44:21 > 0:44:25I started... In fact, I was curious about what you're asking.
0:44:25 > 0:44:29I must have been with my father and mother, but I think Gran was with us too.
0:44:29 > 0:44:33There used to be donkeys that brought people up the Malverns.
0:44:33 > 0:44:35I remember her being sat on a donkey,
0:44:35 > 0:44:38"to save her legs", as my dad called it.
0:44:38 > 0:44:42- Nice image.- I was a little boy and I was put on a donkey as well.
0:44:42 > 0:44:43Lovely.
0:44:43 > 0:44:47Malvern has become a kind of homecoming, in a way.
0:44:47 > 0:44:52- A calling.- You know how elderly people go back to their roots.
0:44:52 > 0:44:54I think that's what's happened to me.
0:44:54 > 0:44:57All I know is I come up here and work on the spot,
0:44:57 > 0:45:01get a lot of images into my head and then improvise when I'm in the studio.
0:45:01 > 0:45:04You'd think you'd get tired of it,
0:45:04 > 0:45:08but it's the weather, the changes of conditions and the light.
0:45:08 > 0:45:10It's a fairly overcast day today.
0:45:10 > 0:45:13Then you get days when sun comes through the clouds.
0:45:13 > 0:45:17It gets like searchlights sweeping across the landscape
0:45:17 > 0:45:22and the light follows the form of the trees and the land.
0:45:22 > 0:45:24- I can see. - It's wonderful for painting.
0:45:24 > 0:45:26Can we go to the studio and look at some?
0:45:26 > 0:45:29Of course. I'd be delighted to show you.
0:45:35 > 0:45:38- This is the studio, Paul. - This is where it all happens.
0:45:38 > 0:45:42Love the smell. Turpentine, linseed oil.
0:45:43 > 0:45:45- You don't notice it when you're working in it.- No.
0:45:45 > 0:45:49Everybody says the same thing when they walk in.
0:45:50 > 0:45:52You could bottle it, almost.
0:45:52 > 0:45:56Gosh. I can see two styles straightaway there.
0:45:56 > 0:46:01- Very block abstract in oils, and that one is watercolour.- Yes.
0:46:01 > 0:46:04You wouldn't think they were done by the same artist.
0:46:04 > 0:46:08I have two different fan bases as well!
0:46:08 > 0:46:11- You must have, actually!- I do.
0:46:11 > 0:46:15Some people say, "I don't like your picture-postcard paintings.
0:46:15 > 0:46:18"I like those wild abstracts." And vice-versa.
0:46:18 > 0:46:23When you start an abstract, it's a question I've always wanted to ask an artist,
0:46:23 > 0:46:27Does it ever go wrong? Do you think, "This is not working."
0:46:27 > 0:46:29"Does it ever go wrong?"
0:46:30 > 0:46:35Does it evolve into something that turns into something?
0:46:35 > 0:46:38Yeah, it does. It's an interesting observation.
0:46:38 > 0:46:41I put wrong things into the painting, deliberately.
0:46:41 > 0:46:43I was actually taught that.
0:46:43 > 0:46:47"What you do", he said, "is put a blob of bright red into the painting
0:46:47 > 0:46:50"and leave it there while you do the painting
0:46:50 > 0:46:53"so you've got something to fight against all the time."
0:46:53 > 0:46:56It's almost a principle of the way I work now.
0:46:56 > 0:46:58These paintings are going to Cornwall.
0:46:58 > 0:47:01Each exhibition was 30 paintings.
0:47:01 > 0:47:04You've got to be quite prolific. Is that a year's work?
0:47:04 > 0:47:06About. A bit more than that.
0:47:06 > 0:47:07It's not bad, though, is it?
0:47:07 > 0:47:11Well, I don't have a proper job, you see!
0:47:11 > 0:47:13This is a proper job!
0:47:14 > 0:47:17Talking of proper job, there's one going on here.
0:47:17 > 0:47:19- This is a job in progress.- Yes.
0:47:19 > 0:47:21Is that you, the figure down there?
0:47:21 > 0:47:25The eternal toil, climbing, struggling?
0:47:25 > 0:47:29I wonder, when I put figures in paintings, which I do fairly often,
0:47:29 > 0:47:32whether it isn't a kind of self-portraiture in a sense.
0:47:32 > 0:47:36That's what I'm interested in, being on the hills, is walking them.
0:47:36 > 0:47:38That's so low. It's quite a bold move.
0:47:38 > 0:47:42It takes your eye-line right down to the bottom of the painting.
0:47:42 > 0:47:47What I wanted to do, Paul, it went in quite late, that figure.
0:47:47 > 0:47:51A couple of days ago. I had this sense of height
0:47:51 > 0:47:52and going back
0:47:52 > 0:47:56and I thought it just sort of drops out at the bottom.
0:47:56 > 0:48:00Right. And so in order to make your eyes lift up again,
0:48:00 > 0:48:03- that's what it does. - I wanted it to go down and up.
0:48:03 > 0:48:05I see what you've done. It's really clever.
0:48:05 > 0:48:08I feel like I can walk that path over those three peaks now.
0:48:08 > 0:48:13- Yeah.- Look at that.- It does help. One of the nice things about the Malvern landscape
0:48:13 > 0:48:17is that it does have this sort of journey quality about it.
0:48:17 > 0:48:21- Wherever you look.- The more you look, you see where the journey is.
0:48:21 > 0:48:25You've been painting a long time on the Malverns.
0:48:25 > 0:48:28- Yeah.- Are you carrying on painting in the Malverns?- I am at the moment.
0:48:28 > 0:48:33I've been ill this year, so I've not been out working on the spot
0:48:33 > 0:48:37which is why you're looking mainly at big oil paintings.
0:48:37 > 0:48:39- I'd like to carry on. - The calling is still there.
0:48:39 > 0:48:43Oh, God, yes. It's a wonderful format.
0:48:43 > 0:48:47- It's like having... You know how Monet had his garden?- Yes.
0:48:47 > 0:48:50He painted the water lilies for 20 years, I think.
0:48:50 > 0:48:54It's just like that. I've got this wonderful garden out at the back.
0:48:54 > 0:48:56The hills are right behind the house.
0:48:56 > 0:49:00- It's a stunning place to be. - Long may it continue.
0:49:00 > 0:49:04- Thank you so much for showing me around.- It's been a pleasure.
0:49:04 > 0:49:05Magnificent.
0:49:12 > 0:49:17Well, I hope the fresh air is blowing through the saleroom in Malvern today,
0:49:17 > 0:49:21where our old friend Philip Serrell is auctioning off all our lots.
0:49:21 > 0:49:26We've got these lovely claret jugs looking for a new home.
0:49:26 > 0:49:28I've got my fingers crossed for the hydrangeas.
0:49:28 > 0:49:32James is keen to be champion with his chess set.
0:49:32 > 0:49:37But I can't wait to see what happens when the collectors clap eyes on this unusual Moorcroft find.
0:49:41 > 0:49:44Let's get the benefit of Philip's experience.
0:49:46 > 0:49:49- I fell in love with this. - You did well to spot this.
0:49:49 > 0:49:52- I did.- I'm impressed, Paul. I'm impressed.
0:49:53 > 0:49:56I viewed it on its own merits, really. I like the picture.
0:49:56 > 0:50:00I like the hydrangeas and the fact you're looking through a sash window
0:50:00 > 0:50:05looking at the lupins and foxgloves. It reminds me of my back garden.
0:50:05 > 0:50:08I kind of identified with it before I knew it was by Austin,
0:50:08 > 0:50:09a Royal Worcester artist.
0:50:09 > 0:50:14I've put £180 to £280 on this watercolour.
0:50:14 > 0:50:17I think I would pay that easily for it.
0:50:17 > 0:50:19I think you're right.
0:50:19 > 0:50:22I mean, it's gonna make 200 to 250.
0:50:22 > 0:50:28But these were done, I suppose Reg and Walter were around in the 1940s.
0:50:28 > 0:50:32These watercolours, predominantly by the Austins, were done for beer money!
0:50:32 > 0:50:34They didn't earn a fortune
0:50:34 > 0:50:41so all those people who painted at the factory, like the Austins, Skinton, Harry Davis,
0:50:41 > 0:50:46- they all did watercolours. - To make up the money.- Yeah.
0:50:46 > 0:50:47They're lovely.
0:50:47 > 0:50:50Living in and around Worcester, we see these regularly.
0:50:50 > 0:50:54They come up in auction. We normally have a fair stock of them
0:50:54 > 0:50:56- and we've got some avid collectors. - Great.
0:50:56 > 0:51:00That's what I wanted. Lots of interest. Fantastic.
0:51:00 > 0:51:04First, let's see if there are any wine buffs amongst the bidders.
0:51:04 > 0:51:09We've got the claret jugs. You've been raiding the display cabinet!
0:51:09 > 0:51:13These have been in there for 40 years!
0:51:13 > 0:51:15No interest in them any more?
0:51:15 > 0:51:20- Not really.- Did you realise they were worth 350 to £500?- No.
0:51:21 > 0:51:23What?
0:51:23 > 0:51:25That's a big surprise, isn't it?
0:51:25 > 0:51:27- Well...- It's quality.- It is quality.
0:51:27 > 0:51:31I love the design. Etched glass, that whiplash design.
0:51:31 > 0:51:35- Typical Art Nouveau. - Yes. You couldn't expect more from that period.
0:51:35 > 0:51:38Why two claret jugs? Or is one a claret jug and the other...
0:51:38 > 0:51:40I'm assuming one would be for table serving
0:51:40 > 0:51:43and the smaller one would be for, say, a supper tray.
0:51:43 > 0:51:47- An individual one. - An individual one.- You're right.
0:51:47 > 0:51:50Well, all the talking's over with.
0:51:50 > 0:51:53Let's find out what the bidders of Malvern think.
0:51:53 > 0:51:55Two Continental Art Nouveau claret jugs.
0:51:55 > 0:51:59Bid me for those. 300, someone. Is that a yes?
0:51:59 > 0:52:02300 bid for the claret jugs. At 300.
0:52:02 > 0:52:05- Any more?- We're in at 300.- 320.
0:52:05 > 0:52:10330. 340. Go on! 350.
0:52:10 > 0:52:11360.
0:52:11 > 0:52:15- They like them! - 370. 380. It's only money!
0:52:15 > 0:52:17390. 400.
0:52:17 > 0:52:19410.
0:52:19 > 0:52:22- Your bid, madam, at 410. - Come on, come on!
0:52:22 > 0:52:27At £410, seated. They sell, then, at £410. Done!
0:52:27 > 0:52:31- We'll take that, £410!- That's not bad.- That's not bad, is it?
0:52:31 > 0:52:33Brilliant!
0:52:33 > 0:52:36Not bad at all for something you don't want to clean any more!
0:52:36 > 0:52:40Don't even want to use. What will you do with £410?
0:52:40 > 0:52:43I was going to give it to my three sons,
0:52:43 > 0:52:46but they've told me, "Don't be ridiculous! Keep it."
0:52:46 > 0:52:48- Oh, yes!- Nice boys!- Yes.
0:52:53 > 0:52:55My turn to be the expert right now.
0:52:55 > 0:52:58I don't feel threatened. I've had a chat with Philip Serrell.
0:52:58 > 0:53:02Pauline's lovely watercolour, painted by Austin, a Royal Worcester artist.
0:53:02 > 0:53:06It's going to be a sad moment to sell this for you, really?
0:53:06 > 0:53:09Yes, but I've no place for it at home.
0:53:09 > 0:53:12It doesn't fit in with the decor.
0:53:12 > 0:53:15Hopefully, you'll get lots of money.
0:53:15 > 0:53:17- Hopefully.- We'll find out right now.
0:53:17 > 0:53:22Walter Austin. A watercolour study of hydrangeas. There we are.
0:53:22 > 0:53:26At £50. 50. 60. 70. 80. 90.
0:53:26 > 0:53:31100. 110. 120. 130.
0:53:31 > 0:53:34- It's a slow old climb.- 140. 150.
0:53:34 > 0:53:37160. 170. 180.
0:53:37 > 0:53:41190. 200.
0:53:41 > 0:53:42210. 220.
0:53:42 > 0:53:45230. 240.
0:53:45 > 0:53:48250. And 60 with me on the book. 260.
0:53:48 > 0:53:52- Good.- Any more?- He's coming out at 260.- Any more at all?
0:53:52 > 0:53:57- At £260. I sell at £260... Done.- Brilliant.
0:53:57 > 0:54:01I'm happy with that. Top end of the estimate. Bang on.
0:54:01 > 0:54:02Wonderful.
0:54:02 > 0:54:05What will you put that money towards? £260.
0:54:05 > 0:54:10Um, I'll put it towards some tickets for relatives to join us in our home in Cyprus.
0:54:10 > 0:54:13Oh, lovely.
0:54:13 > 0:54:17- A family reunion.- Yes, it would be.
0:54:21 > 0:54:25I've just been joined by John, ex-Lloyds bank manager!
0:54:25 > 0:54:28From Yorkshire. We're doing battle right now
0:54:28 > 0:54:31because we've got that lovely campaign travelling chess set.
0:54:31 > 0:54:34£80 to £120, James put on it. As soon as I saw it
0:54:34 > 0:54:39I knew James was the valuer. You always fight me for academic toys.
0:54:39 > 0:54:41- We like those!- We love them!
0:54:41 > 0:54:45It's about to go under the hammer. Good luck, John. And James.
0:54:45 > 0:54:51Lot number 240 is the 19th-century mahogany travelling chess set.
0:54:51 > 0:54:53- Bids are on the book. - Bids on the book.
0:54:53 > 0:54:55£20 bid at 20. 30.
0:54:55 > 0:54:5840. 50. 50 bid. At 60. 70.
0:54:58 > 0:55:0180. 90. 100.
0:55:01 > 0:55:04- 110. 120.- This is good.
0:55:04 > 0:55:07Don't say no. Don't put a line through it. At 130. 130.
0:55:07 > 0:55:10It's your bid, sir. At £130, your bid.
0:55:10 > 0:55:13- Yes.- And I sell at 130 and done!
0:55:13 > 0:55:16£130!
0:55:16 > 0:55:18- We'll settle for that!- Yes, indeed.
0:55:18 > 0:55:19What will you put it towards?
0:55:19 > 0:55:25My wife's talking about a cruise, but I don't think it'll go far!
0:55:25 > 0:55:28- Day trip on the Thames, maybe! - Across to the Isle of Wight!
0:55:28 > 0:55:31- Yes!- That would be nice.- Yes.
0:55:33 > 0:55:36Taking the rostrum for our final item is Sophie Hutton,
0:55:36 > 0:55:39a regular behind-the-scenes expert on Flog It.
0:55:39 > 0:55:44We've got quality for you and great condition. Moorcroft, what a name!
0:55:44 > 0:55:46The pomegranate vase belonging to Jan,
0:55:46 > 0:55:49who's flogging the family heirloom.
0:55:49 > 0:55:52We have a valuation of £500 to £700 on it.
0:55:52 > 0:55:54- It could be a "come and buy me". - It was!
0:55:54 > 0:55:57The auctioneer agrees it's gonna fly. This is it!
0:55:57 > 0:56:01Lot 503. The Moorcroft pottery vase. Lots of interest in the book
0:56:01 > 0:56:05and I can go straight in at £900.
0:56:05 > 0:56:06CROWD GASPS
0:56:06 > 0:56:08900 I am bid. 900.
0:56:08 > 0:56:12- Did you hear them in the room?! - At £900. 950.
0:56:12 > 0:56:17£1,000. And 50 with me. 1,100 if you want it.
0:56:17 > 0:56:201,100. And 50. 1,200 now?
0:56:20 > 0:56:231,200. The book's out at 1,200. 1,250?
0:56:23 > 0:56:271,250. 1,300.
0:56:27 > 0:56:29- 1,350?- They seriously want this! - 1,350.
0:56:29 > 0:56:321,400. 1,450?
0:56:32 > 0:56:351,500. 1,550?
0:56:35 > 0:56:38- Excuse me while I faint!- Hold on!
0:56:38 > 0:56:391,600. 1,650?
0:56:39 > 0:56:42- 1,650!- 1,650. 1,700?
0:56:42 > 0:56:43Paul, hold on to me!
0:56:43 > 0:56:46Let's hold on to each other!
0:56:46 > 0:56:491,750. 1,800? 1,800.
0:56:49 > 0:56:511,850? 1,850.
0:56:51 > 0:56:521,900?
0:56:52 > 0:56:55Phones are ringing. Room's buzzing. Electric atmosphere.
0:56:55 > 0:56:58- Two-one.- 2,100!
0:56:58 > 0:57:00Two-two.
0:57:00 > 0:57:02I can't get over it!
0:57:02 > 0:57:03Two-three. Two-four?
0:57:05 > 0:57:06Two-four. Two-five?
0:57:06 > 0:57:07No.
0:57:07 > 0:57:10No? Two-four I have. Two-four I have on the telephone.
0:57:10 > 0:57:13At two-four. Two-five anywhere in the room?
0:57:13 > 0:57:16- It was a "come and buy me"! - At £2,400, then.
0:57:16 > 0:57:182,400!
0:57:18 > 0:57:23Hammer's down. Yes! £2,400 for the pomegranate vase!
0:57:23 > 0:57:24Listen to the room!
0:57:24 > 0:57:26Jan, you're shaking!
0:57:26 > 0:57:29This is a wonderful Flog It moment!
0:57:30 > 0:57:34- You enjoyed it, too?- Yes, that's what it's all about!
0:57:34 > 0:57:39You get such a buzz from something going well over the top.
0:57:39 > 0:57:42- Two people have fallen in love with it.- We had four phone bids!
0:57:42 > 0:57:46- Yes.- Absolutely amazing.- 2,400? - How stunning!
0:57:46 > 0:57:49- Wonderful!- Amazing. - What will you do with that?
0:57:49 > 0:57:52I don't know. It's a large amount of money.
0:57:52 > 0:57:56- Spend it wisely. Put it in the bank to start with.- Yeah.
0:57:56 > 0:58:01That's the end of our tale of two cathedral cities.
0:58:01 > 0:58:03We found some rare and unusual items,
0:58:03 > 0:58:07like the bike race memorabilia in Winchester
0:58:07 > 0:58:12which did so well for Sylvia and Peter, bringing in £580.
0:58:12 > 0:58:15It was in Worcester that the bidders really went in to a frenzy
0:58:15 > 0:58:17over Jan's Moorcroft vase,
0:58:17 > 0:58:23sending the price up to a staggering £2,400.
0:58:23 > 0:58:27What a great surprise. I hope you've enjoyed watching the show.
0:58:27 > 0:58:28We enjoyed making it.
0:58:28 > 0:58:32From Jan and myself, here in Malvern, cheerio till next time!
0:58:32 > 0:58:39For more information about Flog It, including how the programme was made,
0:58:39 > 0:58:43visit the website at bbc.co.uk.