Worcester Flog It!


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If you look on the back of an old £20 note,

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it may give you a clue where we are today.

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Because you have Edward Elgar, who was born in a village not far from here.

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Next to Elgar, there's a cathedral.

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And that's the famous cathedral of Worcester.

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MUSIC: ELGAR'S ENIGMA VARIATIONS

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When I think of Elgar, the first thing that comes into my head

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is the Enigma Variations, possibly his most famous work.

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Each variation is a representation of a different friend.

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He dedicated the piece "To my friends, pictured within."

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Today's two experts are both good friends of mine.

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David Barby and James Lewis.

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They'll be valuing all the items brought in to the Worcester Guild Hall.

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It looks like half of Worcester has turned out to see us today.

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Before they're even seated, David's ready for a nice cup of tea.

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-Is this something you really want to sell?

-It is, yes.

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-Why do you want to sell this?

-I have too much of it.

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It sits in the cupboard and I have better use for the money.

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How much do you think this will go for?

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Anything, really. I'm not bothered what it goes for.

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-Is it something you don't like?

-I do like it,

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but I don't use it.

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-People don't have pretty, pretty china anymore, do they?

-No.

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-They have very plain stylish cups and saucers.

-Yes.

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A lot of youngsters now don't even use cups and saucers.

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They have a mug with a dunking teabag. Horrendous! Still,

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times change.

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This is an interesting set. It's Paragon porcelain.

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Originally it was Star China.

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In the 1930s it became Paragon China.

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They're always renowned for quality porcelain.

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In fact, they even made for the royal family.

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This particular piece - there's a mark on the bottom -

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clearly states "Replica made for Her Majesty the Queen."

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That would have been the Queen Mother, Queen Elizabeth.

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So we're looking at an Art Deco period.

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You can look at this angled grip and see comparisons with Clarice Cliff.

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-But this is porcelain, not pottery.

-Right.

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And also Challeck, particularly.

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The design is vibrant, it's jazz age,

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full of colour, full of life.

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I think this is quite charming. It's rather "refined"!

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Of course!

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-But this is only a fraction of what you've got?

-Yes.

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-So you've got a tea, coffee and fruit service?

-Yes.

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-But there are one or two pieces with hairline cracks.

-Yes.

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-But you want to get rid of the whole lot?

-Yes, please.

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If this goes up for sale, allowing for those bits of damage,

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but it's a comprehensive set.

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I would hope it's going to go for about 150 to 200. That price range.

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But I think the auctioneer may play a bit cautious

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-with the reserve price brought down to about 100.

-100 is fine.

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-Are you content selling to that level?

-That's fine.

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-I'm happy with that.

-You've got a deal!

-Thank you very much.

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Martha, what a fantastic little box! Is it what you keep your jewels in?

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No, it's really been on display at home for many, many years.

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I've always liked the studding on it.

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-And a nice piece of wood. I've adored it.

-Family piece?

-Yes.

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-It was my husband's late mother's.

-OK.

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She lived till 92.

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-I guessed it wasn't your mother, cos you're not from Worcester?

-No.

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-I'm from Vienna in Austria.

-So what brings you to Worcester?

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I knew a long time ago

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that Adolf Hitler was not going to invite my family and myself

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to Berchtesgaden.

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So we left under rather tragic circumstances.

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So when did you leave?

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1939. Just one year after Hitler invaded Austria.

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My goodness.

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And having lost 17 family members...

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-17?!

-..in Auschwitz.

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We felt very fortunate to be allowed to come to this country

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and I've got a great feeling. I'm more pro-British than the British themselves!

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Because they saved our lives!

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-How many of you came over?

-Just my parents and myself.

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-Gosh.

-And then I was fortunate enough to meet a wonderful, charming Yorkshire man.

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And I'm married and very happy.

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-Wonderful!

-That's the end of the story.

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Well, this is as British as you can possibly get.

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And it's probably made locally.

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-Really?

-Originally made around 1820. It's been around a long time.

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And it was, and still is of course, a jewellery box

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with a ridge here where you'd have had a tray.

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There'd be a detachable tray in there.

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It's been lined with green baize much more recently.

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But these bands are satinwood and rosewood.

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The thing that pins this down to a local area

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are these little cut steel additions.

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And the base, really,

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for the cut steel industry was Birmingham.

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There was a chap called Matthew Bolton who made ormolu and metal bits and pieces

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and cut steel. They were used on everything,

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on books, on the studs of bindings, fine bindings,

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on sword hilts, to decorate the swords,

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and they would gleam and so now you've got this wonderful patination.

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When new, they'd have shone like diamonds.

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Bright cut steel.

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The contrast between that and this wonderful striped rosewood

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and the pale satinwood and the mother-of-pearl inlays here.

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What I've always loved is that it's never lost any of these studs.

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The quality of it, the quality of the workmanship is fantastic.

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What's it doing here? Why isn't it still on display?

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Well, my husband and I are both in our 80s.

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We have many, many items, fire screens, this, that and the other,

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it's very pretty, very nice,

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but we're Scrabble fiends, we have many Scrabble trophies on display,

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and this is just one more distraction!

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You'll go on a Scrabble holiday with the proceeds?

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We have been on Scrabble holidays, yes!

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This will do really well. I love it.

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It's not the sort of thing to make big money.

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But if we put 50 to £80 on it, I think that's about it.

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-Happy with that?

-Yes, yes.

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Let's take it and see how we do.

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-Your name is Victor?

-Yes.

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-This is your grandson-in-law?

-Yes.

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-Michael?

-Michael.

-Yes.

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-So who does this belong to?

-Me.

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-And where did you acquire it?

-I won it playing whist.

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-Really?

-At Worcester Porcelain, there used to be 30 or 40 tables every week.

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-Playing whist?

-Yeah.

-At the Worcester Porcelain social club?

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-Yeah.

-I'd imagine you won this about 50 years ago.

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I'd say between 40 and 50 years ago.

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Good. Because that's when this figure was produced.

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-Yes.

-I think round about 1952.

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-Yes.

-And it was designed by an artist called Freda Doughty.

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-Ah.

-And it's called Punch.

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-There is a companion figure, which is called Judy.

-Yes.

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-You haven't got the companion figure?

-No.

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So you've just got Punch.

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-Yes.

-Now, this is a comparatively rare figure.

-Yes.

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It follows in the tradition of porcelain figure production.

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So you think in terms of Doulton,

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Paragon, Worcester,

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Wedgwood,

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all those companies made figures of a similar nature.

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There was a terrific market from the 1920s right through

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to the middle of the '80s producing these figures.

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-This was part and parcel of that tradition.

-Yes.

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-Very few factories now produce figures.

-That's right.

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It's nice to know you went to their social club

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and they actually gave a figure as the whist prize.

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That's lovely.

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But why get rid of it now? You're 92. It's been with you most of your life.

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It's something to do. Something to be interested in, seeing it go.

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-After I kept it all these years.

-It's a day out at the auction.

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A day out at Flog It. Can you afford the time?

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Well, I don't do nothing else!

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-They'll take me.

-Yeah, with pleasure.

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-You could get time off?

-I'll make sure I do, yes.

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Now, this is going up for auction. It's going for auction at Malvern.

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Malvern's got a very good reputation for selling Worcester porcelain.

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I'll put a price range of 150 to 200 on it.

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But I hope, with my fingers crossed, that it should do between three and four.

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-I see.

-Because it's a rare figure.

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There's just something at the back of my mind

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which says that this might be a seconds.

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-That's why it was given as a whist prize.

-I see.

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If so, it'll be in the 150 to 200 range.

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Well, let's hope that we can get a decent figure for this little Punch.

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Helmy, Charlie, what a fantastic object!

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Tell me how you found it, where you found it and why you bought it.

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Well, we were having a holiday in the '70s, I think it was,

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and we were in the south of England.

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And we saw this auction sale, come what have you, along the street,

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-and we saw that and thought, "Oh..."

-It's so unique.

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-You know, it's...

-It's something we hadn't seen.

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I thought, "That's got to be worth something."

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OK. Do you know what it is?

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-No.

-Not really, no.

-OK.

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It's a pewter charger.

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If we turn it over, we have a mark.

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Just in the centre, there.

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In block capitals, it says "Tudric".

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Tudric is the name that Liberty's put on their pewter.

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Underneath we have a four-digit number, 0116.

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That's the design number of this piece.

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The earlier the design number, the more sought-after it is, generally.

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And this is a really early design. They go into many more numbers than that.

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Tudric started in 1902.

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A piece with the number 116

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is going to be 1903, 1905, that sort of period.

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But the most important thing is who designed it.

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Now, there are two main designers that we think about

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when we look at Tudric pewter of this period.

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The first one is Archibald Knox.

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He made pewter designs, silver designs,

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he made flatware, dishes, vases,

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everything. Sometimes you can buy the pewter with enamel.

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He really was a very versatile designer.

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Looking at this, it just doesn't look to me like an Archibald Knox design.

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Then we have to look at the other designers it could be.

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One of those is a chap called Charles Voisey, who worked at Liberty around the same time.

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It does look very similar to Charles Voisey's wallpaper

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where these birds start large, are cut off at the end

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and graduate down to these little ones at the end.

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But today, on a valuation day here,

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without the internet and the right books to do this,

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it's a bit of a guessing game.

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We need to do the research before we get excited because it might not be.

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It could be by another designer.

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-What did it cost you?

-We've got no idea.

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-We wouldn't have paid £50 for it.

-You wouldn't?

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-No.

-No, we wouldn't.

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That's not bad, then.

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It's been rubbed, battered, dented, dropped. It's seen better days.

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-It's been polished. You should never polish pewter.

-We haven't.

-No.

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That just shows you how long it takes

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for pewter to go back to that colour again.

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This has been polished probably 40 years ago and the patination still hasn't come back.

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It probably never will do.

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So, value. I've been trying to avoid this subject!

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It's difficult!

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If you don't know the designer...

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150 to £250.

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It's a bit of a stab in the dark.

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If it is by one of the important designers, it'll make a lot more.

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Well, we did say it would be worth £200 to us because we like it.

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-Put a reserve on it. £200?

-I think so.

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-So it doesn't go below that.

-No.

-OK.

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-We'll see how we do.

-Thank you.

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This is the beautiful setting of the county ground in Worcester

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where, during the summer months, you will frequently hear a quintessential English sound.

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Leather on willow!

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You may think a cricket bat is made of a simple piece of willow

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which has been machine made.

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Well, think again. Up the road from here is a workshop

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where former Worcestershire cricketer Duncan Fearnley

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will show me the true art of hand-crafting a world-class cricket bat.

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Duncan started to make cricket bats over 50 years ago in his native Yorkshire,

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to subsidise the income he got from playing cricket.

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When he retired from playing in 1968,

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he formed his own company which has become one of the most recognised names in cricket,

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supplying bats to world-class players such as Alan Border

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and Ian Botham.

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Duncan, it's great to meet you. You're surrounded by wood, as I expected!

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-They're always made of willow?

-They are.

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This is how it all starts. If you can imagine that's the tree,

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when it's felled, it's felled to 30 inches long,

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which is that length.

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If I can just show you an example of that being like that,

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the bark is then taken off

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and that is one... That will make one cricket bat.

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So in effect, you'd probably get about eight bats out of that tree.

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So these are the blades of the bats. You've cut them into sections. What next?

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Well, we get a situation where we put a face on the blade then.

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At that stage, you could not play cricket with a blade like that.

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Now, here we've got a press behind me

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which the next process, when the blades got to this stage

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will be to press it.

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As you see, I'm hardly hitting that and it's as soft as putty.

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It's dead as a dodo. You couldn't hit a ball with that.

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-OK.

-So we go to another example now

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which I've had for years just to show anybody that does come in,

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we've got the soft piece there

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which is like that, as an example.

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We press it on the press very slowly

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and you can see there how it starts.

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Yes.

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There's a different sound altogether, then.

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To me, that's the most important tool in the business,

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cos if it's not pressed properly, it won't play properly.

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The amount of pressure applied by the press is critical

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as no two pieces of wood are alike, even from the same tree.

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That face will never get touched again until the bat's finished.

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And that now...

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you think about the ball at 90 miles an hour,

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-that's the sort of pressure.

-Yeah.

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-It just marks it.

-There's that recoil back. It'll hit the ball a long way.

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If you do it yourself, you'll feel it kick back. Hold it and it kicks back.

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-Both directions.

-The mallet and the blade.

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That's the secret of good bat making. Good willow and properly pressed.

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The next process involves adding a handle to the blade.

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And this is made of cane

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and has rubber springs running throughout to absorb the shock of the ball.

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So this is the next process, by gluing it and just tapping...

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Just in there and just...

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Then that's glued overnight and it's ready for working tomorrow morning.

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-That's one that's been glued yesterday.

-Yes.

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We've taken the shoulders out and that's ready for hand finishing now.

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A top-class player will come to the bench at that stage.

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The secret of a good bat is to leave as much wood in it as you can

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with the lightest possible pick-up.

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-But what would suit you wouldn't suit me, so you need the player to say it's right.

-Yes.

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Duncan has done this hand-finishing for players such as Viv Richards,

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Clive Lloyd and Sunil Gavascar.

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So I would take it to that stage on the first, where you have your mould.

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And then you can get rid of a lot of material this way.

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But we won't do it all. We'll just take the nose down to whatever the player wants.

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But you leave the eight inches there as big as you can.

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And leave as much on the edge as you can

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with the lightest possible pick up so you alter your balance from here.

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Some players want you to bring the middle back a bit.

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Other players - Graeme Pollock used to like it big and bulky at the bottom.

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Everyone's got their own little way.

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It's what makes it interesting for me, is the manufacturing.

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Yeah.

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Don't you just love the smell of those clean willow shavings?

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That, when it's planed,

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that, all the time,

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-my old willow grower used to have a piece in his mouth all day!

-Sucking it?

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You can actually tie it in a knot, it's so flexible.

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The better the quality, the better you can do that.

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So we get that shape then,

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and then we get to the stage where the bat will be sanded and finished.

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It's ready to go into the shop.

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That is incredible. That is the story of the cricket bat.

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After a busy morning's valuations we're off to the auction.

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Here's what's going under the hammer.

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Like David I love this Paragon porcelain tea set

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containing over 50 pieces.

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This 19th-century jewellery box has beautiful workmanship

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and has a "come and buy me" price of 50 to £80.

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Victor was a sprightly 92 years young

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and won this Worcester porcelain figure playing whist.

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And if I was allowed to, I would buy this stunning Liberty pewter charger.

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I think James has offered a very tempting estimate.

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We've come over to Malvern to our very own Philip Serrell's sale room.

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We're getting two for the price of one. Not just Philip on the rostrum

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but also auctioneer Sophie Hutton.

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Let's have a chat with Sophie to see what she's got to say about my favourite item.

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A lovely couple brought this along -

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Charles and Helmy -

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and they would love to sell it.

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Our expert has put a valuation of 150 to £250.

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It's Liberty's. It's Tudric. It's their version of pewter.

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-Made in 1905.

-Yes.

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We've had a lot of interest in it, because of the name more than anything.

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I did some research to find out the designer, but to no avail.

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But we have had significant interest over the top end of the estimate,

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-so who knows?

-Over the top end, so it could fly!

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-It could fly.

-Much like these birds.

-Definitely.

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-It's very stylistic, isn't it?

-Unusual for a Liberty's piece.

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You don't often see them with this decoration.

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You'd imagine it to have enamel on it. But it's a lovely piece.

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And in pretty good condition. A bit dented round the edges,

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but no splits or repairs.

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-It's got the look, hasn't it?

-It certainly has.

-It has the look.

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What would you like to think this would sell for?

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As I say, we've had interest over the estimate.

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-We have a phone line booked.

-That's a good sign.

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Hopefully, there will be others as well.

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-I'd think 300 to 400.

-Fantastic.

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Well, for our next lot, it certainly is a lot of lot.

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There's 53 different items!

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It belongs to Fred, hopefully not for much longer.

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-It's the Paragon.

-Yes.

-Why are you flogging it? There's a lot of it.

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-I need the space!

-I was gonna say, it takes up a lot of space.

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Who uses these big tea sets now?

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-Will we get that top end?

-It's for purists, that love the Art Deco period.

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-It has the excitement of colour. Yes, we shall do.

-It's under the hammer right now.

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Lot number 465. I start at £160 on the book bid.

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At 160, 160, 170, 180.

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-180. 180. At £180 only.

-£180.

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At £180 only. Any more at all?

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-200 with me. 210 now?

-The top end.

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-210.220.

-220.

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220. 230, is it?

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-Come on.

-230.

-230.

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On the phone at £230.

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-Any more?

-This is good.

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Your bid. At £230, done. Thank you.

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-Sold!

-Sold! The hammer's gone down.

-Great!

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-£230.

-I'm not taking it home!

-No, you're not taking it home!

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-There's a lot to take home, isn't there?

-There is.

-Wow!

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Next up, Martha and her dust catcher!

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That's right, isn't it?

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It's a lovely little jewellery box. We've got 50 to £80 estimated on the value of this.

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Are you selling it cos it catches dust?

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We've got a four-bedroomed house which is already crammed with things.

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Because at the age of 80-plus, one collects so much over the years

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that there's just no more room, even for this!

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Well, it's a lovely little item. James fell in love with it.

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It's not a lot of money, but you never know.

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If two people fall in love with this like you have, it'll push it up.

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There you are. 235.

0:24:040:24:07

The satinwood and rosewood studded jewellery box.

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Give me 50 or £60 to start.

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Well, cheap enough. 30 I'm bid. At 30.

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30 bid. 40. 40 bid. 50, yes?

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50. 50 bid.

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At £50 only. 50. 50 bid.

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You're all being very mean. At £50 only. Any more?

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Surely one more.

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Don't hold that up yet. At £50 and done, then.

0:24:280:24:30

At 50 and done.

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Sold. He sold it at £50. No more dust!

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I don't mind. I only wanted to meet you and come on the show!

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Victor, say goodbye to this little kneeling boy. Royal Worcester.

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A beautiful little thing. Lots of quality. 300 to £400.

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I'm quite excited. David's here.

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-This is a fairly late figure.

-But it's rare.

-It's rare, yes.

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All we're missing is Judy, the little girl. This is the boy.

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-I see.

-This was won at a whist drive?

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-Yes. Yes, yes.

-Yes.

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-Yes.

-So you're a good player, then?

-I'm not now!

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It's going under the hammer right now.

0:25:170:25:19

590. Punch, modelled by Freda Doughty. There you are.

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I'm bid £100 on the book. At 100. 100.

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100. 110. 120.

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130. 140. 150.

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160. 170. 180.

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190. 200.

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It's only money. One more.

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-Come on!

-At 200 with me.

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200. Any more? At 200. 210.

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210. Any more? Telephone bid.

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At 210. 210. 210. Is there any more?

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At £210. And I sell at £210.

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He's not selling it?

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Yes, he's put the hammer down. £210.

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-There was a reserve of 150, Victor, so it has sold.

-Yes.

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Under David's estimate, which is disappointing, since we're in Malvern.

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That's right. Very close to Worcester.

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But it's gone for £210 and I'm very pleased.

0:26:080:26:11

-Yes.

-Happy?

0:26:110:26:12

Yeah, I'm happy.

0:26:120:26:13

I've been waiting for this next lot. I'm getting so excited.

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Helmy and Charles, thanks for joining us.

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This is the Tudric plate, that lovely charger,

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made by Liberty's.

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We've got an estimate of 150 to 250.

0:26:330:26:36

That's a "come and buy me". This could be the sleeper.

0:26:360:26:40

-If it's by Voisey, by somebody like that, it might do really well.

-Good luck.

0:26:400:26:44

Lot 311. The Liberty Tudric pewter charger.

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Lots of interest in this. I can go straight in at £450.

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-Fantastic!

-It's a Voisey.

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£450. Straight in.

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At 450. 450. Any more in the room at 450?

0:26:560:26:59

450. 480 on the phone.

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480. 500. 520 now?

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-I feel faint!

-520. 550.

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580 now?

0:27:090:27:10

-580 I have on the phone. At 580.

-I'm speechless!

0:27:100:27:14

At 580. 580. 600?

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I'm speechless.

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580 I have, then.

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Selling if we're all done at £580.

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Crack! That's a "sold" sound and we love it!

0:27:250:27:27

I knew this one would fly.

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£580!

0:27:290:27:32

-That's a surprise, isn't it?

-It'll pay a few bills, won't it?

0:27:320:27:35

-You'll use it to pay a few bills?

-Of course!

0:27:350:27:39

It's a fact of life. We've all got bills.

0:27:390:27:42

-Treat yourselves, though, surely?

-We do that anyway!

0:27:420:27:46

Thank you so much for giving us such a wonderful surprise and coming in.

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-Thanks for flogging it!

-We have to digest this now.

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-I think we'll have to, as well, James.

-We will. Good result.

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That's it. Sadly, we're coming to the end of our day here

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in Philip Serrell's sale room in Malvern.

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We've had a wonderful day. It was nice to see so many smiling faces from our owners as they left.

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I hope we've put a smile on your face, too.

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So join me for many more surprises the next time on Flog It!

0:28:200:28:24

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