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We're in the home of some Flog It! favourites today. | 0:00:03 | 0:00:06 | |
Moorcroft, Wedgwood, Spode and of course, good old Royal Doulton. | 0:00:06 | 0:00:10 | |
You've guessed it. We've come to the Potteries. | 0:00:10 | 0:00:12 | |
Welcome to Flog It! from Stoke-on-Trent. | 0:00:12 | 0:00:15 | |
Now, the reason this area developed as a world leader in ceramics | 0:00:50 | 0:00:53 | |
is due to what lies beneath my feet. | 0:00:53 | 0:00:55 | |
Underneath all these cobbled stones around here, | 0:00:55 | 0:00:58 | |
and indeed the whole of the local area, lies good, thick, rich clay - | 0:00:58 | 0:01:02 | |
ideal for throwing all sorts of vessels, like pots and vases. | 0:01:02 | 0:01:06 | |
There's also an abundance of lead and salt, which is used in the glazes to decorate the vessels. | 0:01:06 | 0:01:12 | |
And with all the local coal mines, it's no wonder that | 0:01:12 | 0:01:15 | |
when the potteries first opened up, those kilns were kept hot. | 0:01:15 | 0:01:19 | |
Now, that sounds like a fantastic use of local resources. | 0:01:19 | 0:01:22 | |
Well, we've got our own Flog It! resources with us today, | 0:01:24 | 0:01:28 | |
in the shape of experts David Barby and James Lewis. | 0:01:28 | 0:01:31 | |
They're keen to get their hands on some local pottery, and I think they could be lucky. | 0:01:31 | 0:01:37 | |
Well, we've got a great queue here today, loaded with bags and boxes full of treasures, | 0:01:37 | 0:01:42 | |
and if they agree with David and James's valuation, then it's off to the auction room to... | 0:01:42 | 0:01:48 | |
ALL: Flog it! | 0:01:48 | 0:01:50 | |
David's the first expert to the table with a local find. | 0:01:56 | 0:01:59 | |
Elaine, you were telling me a few moments ago that your family | 0:02:00 | 0:02:04 | |
has got some involvement with the Stoke-on-Trent pottery industry. | 0:02:04 | 0:02:08 | |
-Yes, that's right. -And this refers to this particular tile, doesn't it? | 0:02:08 | 0:02:13 | |
Yes. My late husband's father was an engraver. | 0:02:13 | 0:02:18 | |
-Right. -And we presume that's where this came from, | 0:02:18 | 0:02:22 | |
-but he said it was a Minton tile, but no mark. -Did he work for Minton? | 0:02:22 | 0:02:29 | |
No, he was an individual engraver. | 0:02:29 | 0:02:32 | |
He'd got a workshop of his own. | 0:02:32 | 0:02:35 | |
So he would engrave this design... | 0:02:35 | 0:02:37 | |
-I would imagine so, yes. -..for replication on Minton blanks. | 0:02:37 | 0:02:42 | |
-Yes, yes. -That's quite interesting. | 0:02:42 | 0:02:44 | |
What I do find interesting is the whole development of tile industry at Stoke-on-Trent. | 0:02:44 | 0:02:51 | |
It was so important, the industry, in the 19th century. | 0:02:51 | 0:02:54 | |
-Yes. -And Mintons was at the head of it. | 0:02:54 | 0:02:56 | |
-This is an engraving on the top? -Yes. | 0:02:56 | 0:03:00 | |
It's a transfer design, and I note when I look at this, there's a sort of mark all the way round. | 0:03:00 | 0:03:06 | |
-Yes. -Why is that? | 0:03:06 | 0:03:09 | |
It was in a frame, | 0:03:09 | 0:03:10 | |
a wooden frame, which absolutely disintegrated. It was so... | 0:03:10 | 0:03:15 | |
-Woodworm? -I've no idea. | 0:03:15 | 0:03:18 | |
-It just fell apart. -Yes, yes. It was so old, apparently. | 0:03:18 | 0:03:22 | |
This belonged to your father-in-law? | 0:03:22 | 0:03:24 | |
-Yes. -He had it hanging on the wall? -I don't know. I never knew him. | 0:03:24 | 0:03:28 | |
That's interesting. If he'd have done something which he was very proud of, | 0:03:28 | 0:03:32 | |
he would bring an example home | 0:03:32 | 0:03:34 | |
and hang it on the wall and say, "This is my work." | 0:03:34 | 0:03:38 | |
That's right. Yes, that's right. Could well have been. | 0:03:38 | 0:03:41 | |
-I think so. -Could've been. -This type of tile, | 0:03:41 | 0:03:44 | |
the elongated tile, would be put into a fireplace. | 0:03:44 | 0:03:47 | |
-There would be two of them either side of the grate. -Yes. | 0:03:47 | 0:03:50 | |
Then you'd have simple tiles either side of them, so I think | 0:03:50 | 0:03:53 | |
-this is where it came from, or was intended originally as a fireplace tile. -Yes. | 0:03:53 | 0:03:57 | |
The design itself is of a sort of classical inspiration, | 0:03:57 | 0:04:02 | |
rather whimsical, rather fey and not exactly in today's fashion, is it? | 0:04:02 | 0:04:07 | |
-Not at all. Not at all. -It is slightly over the top. | 0:04:07 | 0:04:10 | |
It is, yes. | 0:04:10 | 0:04:11 | |
So the market will be for somebody like ourselves, in that age group... | 0:04:11 | 0:04:16 | |
-Right. -..who would want it as a decorative object on the wall. | 0:04:16 | 0:04:19 | |
-Yes, yes. -Or it will sell to a tile collector. | 0:04:19 | 0:04:22 | |
Now, Elaine, I'm going to suggest that when we put this up for sale | 0:04:22 | 0:04:26 | |
-at the auction house, we're not going to have a reserve. -No. | 0:04:26 | 0:04:29 | |
I think the value is somewhere between £40 and £60, but I think | 0:04:29 | 0:04:33 | |
it's got to run in the sale room, | 0:04:33 | 0:04:35 | |
and hopefully there's going to be somebody there that collects tiles | 0:04:35 | 0:04:39 | |
and wants a tile from the beginning of the 20th century, when this was produced... | 0:04:39 | 0:04:43 | |
-Yes. -..to fill in a blank that he might have in his collection. | 0:04:43 | 0:04:46 | |
-You're happy with that? -Yes, I am. | 0:04:46 | 0:04:48 | |
-Hello. -Hi. -Tell me, are you a nosologist? | 0:04:54 | 0:04:58 | |
No. I don't know anything about snuff at all. | 0:04:58 | 0:05:03 | |
-A nosologist is a snuff-taker. -Yes. | 0:05:03 | 0:05:06 | |
The early name for a snuff-taker. | 0:05:06 | 0:05:08 | |
And of course, what we've got here is a little Georgian snuff shoe. | 0:05:08 | 0:05:12 | |
These were carried by ladies and gentlemen. | 0:05:12 | 0:05:14 | |
But more often, the shoes were table snuff boxes | 0:05:14 | 0:05:18 | |
-because of course, the lids are quite loose and you wouldn't want a pocket full of snuff. -No. | 0:05:18 | 0:05:23 | |
But snuff-taking really has been in fashion in England from the late 1500s, | 0:05:23 | 0:05:27 | |
when snuff-taking started, | 0:05:27 | 0:05:30 | |
and throughout the 1600s and 1700s, very, very popular. | 0:05:30 | 0:05:35 | |
It really died out in the 1920s, but having said that, | 0:05:35 | 0:05:39 | |
snuff-taking is coming back into fashion. | 0:05:39 | 0:05:41 | |
-Aah. -Imagine you're in a pub, and what do you have? | 0:05:41 | 0:05:44 | |
-You have nicotine and a pint in a pub? -Yes. | 0:05:44 | 0:05:46 | |
That's what most people used to have, but you're not allowed any cigarettes. | 0:05:46 | 0:05:50 | |
-Have to go outside. -You wouldn't with this. | 0:05:50 | 0:05:52 | |
You can have your fix of nicotine with a snort of snuff | 0:05:52 | 0:05:55 | |
and a pint of beer, and you don't have to leave the pub. | 0:05:55 | 0:05:58 | |
-Yeah. -So there are still snuff mills around the country, | 0:05:58 | 0:06:03 | |
-and they are showing signs of renewed interest in snuff-taking. -Yes. | 0:06:03 | 0:06:08 | |
This, I suppose, was made around 1780, 1800. | 0:06:08 | 0:06:12 | |
All decorative. | 0:06:12 | 0:06:15 | |
And I suppose this is copying the stitching off the shoe. | 0:06:15 | 0:06:20 | |
You can pretty much date the shoe by the fashion and the design on it. | 0:06:20 | 0:06:24 | |
Also, of course, ladies took them, and ladies had these snuff shoes. | 0:06:24 | 0:06:28 | |
It was as much a lady's habit as it was a gentleman's habit. | 0:06:28 | 0:06:31 | |
George III's wife, Charlotte - Snuffy Charlotte, as she was known - was a great snuff-taker, | 0:06:31 | 0:06:36 | |
and almost 100 years before that, | 0:06:36 | 0:06:38 | |
-Queen Anne was patron of the British snuff-taking society. -Oh, right. | 0:06:38 | 0:06:43 | |
It's always been a controversial subject, but always been something | 0:06:43 | 0:06:46 | |
that has been enjoyed by the working class and the upper class. | 0:06:46 | 0:06:50 | |
-Perhaps I should start the habit again, then. -Have a go! | 0:06:50 | 0:06:53 | |
Where has it been? Where do you keep it? | 0:06:53 | 0:06:55 | |
We've had it for about 15 years now, just in the cupboard. | 0:06:55 | 0:06:58 | |
It was in a skip that my husband was working on the house at the time, | 0:06:58 | 0:07:02 | |
and he brought it home. | 0:07:02 | 0:07:03 | |
-It really wants cleaning now, but it was even dirtier then. -My goodness! | 0:07:03 | 0:07:08 | |
We just wiped it over and just kept it in the cupboard. | 0:07:08 | 0:07:11 | |
-It's amazing what people throw away. -Yeah. | 0:07:11 | 0:07:14 | |
But it's a good thing. I really like it. | 0:07:14 | 0:07:16 | |
And I suppose the value, £50 to £80, something like that, and it'll do well. | 0:07:16 | 0:07:23 | |
-OK. -Definitely want to sell it? | 0:07:23 | 0:07:25 | |
-Yes, yes. -Why not keep it in a little drawer and enjoy it. -No, no. | 0:07:25 | 0:07:28 | |
We'll sell it and put the money towards a holiday. | 0:07:28 | 0:07:31 | |
It doesn't take up much space. | 0:07:31 | 0:07:32 | |
-I'm not convincing you, am I? -I'm sure. I'm sure. | 0:07:32 | 0:07:35 | |
Lorraine, I think this is absolutely fantastic. I love it. | 0:07:44 | 0:07:48 | |
It caught my eye from across the room. | 0:07:48 | 0:07:50 | |
It really is. For me, it's a piece of sculpture now. It's got everything going for it. | 0:07:50 | 0:07:55 | |
It's really tactile and it's incredibly naive. It's a hobby horse in the form of a tricycle. | 0:07:55 | 0:08:01 | |
Late-Victorian, circa 1890, and it's definitely continental. | 0:08:01 | 0:08:06 | |
Where did you get this from? | 0:08:06 | 0:08:08 | |
-I bought it in France. -You did. | 0:08:08 | 0:08:10 | |
Bought it in Lamont, in an antique shop. | 0:08:10 | 0:08:13 | |
How long ago? | 0:08:13 | 0:08:15 | |
About seven years ago. | 0:08:15 | 0:08:16 | |
And I just loved it. I still do. | 0:08:16 | 0:08:18 | |
It's got the look... If this had been restored, it would have lost its naive charm for me. | 0:08:18 | 0:08:23 | |
There's something here that says "heart and soul". | 0:08:23 | 0:08:26 | |
It's got an essence to it, which, well, if you look... | 0:08:26 | 0:08:31 | |
Half its head is missing on this side. | 0:08:31 | 0:08:33 | |
-Yes. -It's had an awful lot of abuse, because this is a chain-driven tricycle. | 0:08:33 | 0:08:38 | |
The chain's round there on the back axle, and it's driven by the handlebars up there. | 0:08:38 | 0:08:44 | |
That's taken a lot of abuse. That's why the horse's neck has fallen off, and that's cast metal. | 0:08:44 | 0:08:48 | |
But for me, | 0:08:48 | 0:08:50 | |
that whole side of the horse looks Picasso-esque. | 0:08:50 | 0:08:54 | |
-Yes. -If you can imagine a Picasso picture or a sculpture, | 0:08:54 | 0:08:59 | |
you start to see something in it, and it just is quite incredible. | 0:08:59 | 0:09:03 | |
I can see beauty in this, and I'm thinking people | 0:09:03 | 0:09:06 | |
could be thinking, "He's gone mad." But there's something here. | 0:09:06 | 0:09:10 | |
If this was in perfect condition, something like this hobby horse, | 0:09:10 | 0:09:14 | |
a Victorian hobby horse like this, | 0:09:14 | 0:09:16 | |
would fetch around £800 to £1,200, but it would have to be in very, very good condition. | 0:09:16 | 0:09:22 | |
For me, this is going to go to a decorator, an interior designer, | 0:09:22 | 0:09:26 | |
and he's going to use it as a prop on the floor in a magazine shot. | 0:09:26 | 0:09:30 | |
Why do you want to sell this? | 0:09:30 | 0:09:32 | |
Because it's so raw. | 0:09:32 | 0:09:35 | |
You haven't had it that long. | 0:09:35 | 0:09:37 | |
It exudes beauty, to me. | 0:09:37 | 0:09:39 | |
I do love it, but it hasn't... | 0:09:39 | 0:09:42 | |
I've got nowhere to actually put it, | 0:09:42 | 0:09:44 | |
and it was actually living out in the barn, which is sacrilege, really. | 0:09:44 | 0:09:48 | |
That's terrible. And I do love it. | 0:09:48 | 0:09:50 | |
I really, really love it, but... | 0:09:50 | 0:09:51 | |
Do you mind me asking how much you paid for it? | 0:09:51 | 0:09:54 | |
-I paid 200. -You paid £200. -So I really liked it. | 0:09:54 | 0:09:59 | |
I think we'll get you your money back. | 0:09:59 | 0:10:01 | |
-OK. -I'm pretty sure we will. | 0:10:01 | 0:10:03 | |
I think we should put this in to auction with a value of £200 to £300. | 0:10:03 | 0:10:08 | |
-You paid £200, so we're going to put a £200 reserve on this. -Right. OK. | 0:10:08 | 0:10:13 | |
-That's got personality and that's what's going to sell it. -Right. | 0:10:13 | 0:10:17 | |
He said! | 0:10:17 | 0:10:19 | |
Rosemary, people at home, looking at this, would not be criticised | 0:10:28 | 0:10:31 | |
for thinking these were pretty modern, because they are so fashionable, aren't they? | 0:10:31 | 0:10:37 | |
They are so contemporary. You can imagine any young lady in the street today wearing something like that. | 0:10:37 | 0:10:43 | |
I love them. They really are good things. But they're not modern. | 0:10:43 | 0:10:46 | |
They're 100 years old, approximately. | 0:10:46 | 0:10:49 | |
They're Art Nouveau in style. | 0:10:49 | 0:10:51 | |
They're in blue, green and yellow, and they're enamelled onto silver. | 0:10:51 | 0:10:55 | |
-Yes. -So 1900 to 1910. Little suspension chains there, | 0:10:55 | 0:11:00 | |
with another silver chain link support there. | 0:11:00 | 0:11:03 | |
They are really very, very nice things. | 0:11:03 | 0:11:07 | |
How did you come to have them? | 0:11:07 | 0:11:09 | |
-I bought them at an antiques fair. -Did you? How long ago? | 0:11:09 | 0:11:12 | |
-About 10 or 12 years. -Do you remember what you paid? -I can't, I'm afraid. | 0:11:12 | 0:11:17 | |
That lets me off the hook, then. | 0:11:17 | 0:11:20 | |
The artist and the silversmith that is most well-known for this sort of work is Charles Horner. | 0:11:20 | 0:11:25 | |
He was working in the Midlands and in London around that sort of time. | 0:11:25 | 0:11:29 | |
But these aren't marked. There isn't a lion, there is no English hallmark on them at all. | 0:11:29 | 0:11:33 | |
I think they are English, although they're not hallmarked. | 0:11:33 | 0:11:36 | |
-So legally, we have to call them silver-coloured metal. -Yes. | 0:11:36 | 0:11:40 | |
But really, there's no value in the silver content of these. | 0:11:40 | 0:11:44 | |
It's purely in how pretty they are as a necklace. | 0:11:44 | 0:11:46 | |
-I see. -Even though they are greatly fashionable things, they don't make a fortune. | 0:11:46 | 0:11:52 | |
-No. -But if we were to put £100 to £150 on the two, would that be OK for you? | 0:11:52 | 0:11:57 | |
-That would be fine. -Lovely, because I think they are super. | 0:11:57 | 0:12:00 | |
Having bought them 12 years ago, why do you want to sell them? | 0:12:00 | 0:12:04 | |
-Well, I've got better jewellery. I like Arts and Crafts. -Oh, do you? | 0:12:04 | 0:12:08 | |
It's a little bit earlier. | 0:12:08 | 0:12:10 | |
Yes. I started by buying a big dresser and went on from there. | 0:12:10 | 0:12:16 | |
-So not just the jewellery, it's the whole... -The whole lot. | 0:12:16 | 0:12:20 | |
With these, they might not be Arts and Crafts, | 0:12:20 | 0:12:22 | |
but if they're not going to be Arts and Crafts, Art Nouveau is the next best thing. | 0:12:22 | 0:12:26 | |
-Yes. -And they're going to do very, very well. -Lovely. | 0:12:26 | 0:12:30 | |
Well, I don't know about you, but I think we've just seen some real gems. | 0:12:38 | 0:12:42 | |
And now it's time to put those valuations to the test. | 0:12:42 | 0:12:45 | |
And our experts normally get it right, don't they? | 0:12:45 | 0:12:48 | |
-ALL: Yes! -But things could go wrong, that's why we go off to auction. | 0:12:48 | 0:12:52 | |
So while we make our way over there, here's a quick rundown of the items we're taking with us. | 0:12:52 | 0:12:57 | |
Elaine's Minton tile is a nice local item made by a family member. | 0:12:59 | 0:13:03 | |
With no reserve on it, it could be a bargain buy. | 0:13:03 | 0:13:06 | |
This snuff box was a lucky find in a skip, so let's hope the bidders sniff it out in the sale room. | 0:13:06 | 0:13:13 | |
I really love the naive look of this hobby horse. | 0:13:13 | 0:13:15 | |
It's just the sort of decorative item I would love to own. | 0:13:15 | 0:13:19 | |
Rosemary prefers Arts and Crafts jewellery to Art Nouveau, so it's time for her pendants to go. | 0:13:19 | 0:13:25 | |
They don't have a hallmark, which may just put the bidders off. | 0:13:25 | 0:13:29 | |
Today our auction comes from Knutsford at Frank Marshalls, | 0:13:34 | 0:13:38 | |
and on the rostrum we've got Flog It! favourite Adam Partridge | 0:13:38 | 0:13:41 | |
hopefully doing us proud and selling all our lots. | 0:13:41 | 0:13:44 | |
Are you a fan of contemporary sculpture? | 0:13:51 | 0:13:53 | |
Why do you ask me that? | 0:13:53 | 0:13:55 | |
Because you're looking at a wonderful piece for only £200. | 0:13:55 | 0:14:00 | |
You're trying to sell it to me? | 0:14:00 | 0:14:02 | |
Do you know, when this came in, I had no trouble | 0:14:02 | 0:14:04 | |
telling who had valued it and who had been attracted to it. | 0:14:04 | 0:14:09 | |
I fell in love with this. I just think it's so naive. | 0:14:09 | 0:14:12 | |
When you look at it, it's so Picasso-esque. | 0:14:12 | 0:14:14 | |
You know, there's something quite raw about it. | 0:14:14 | 0:14:18 | |
It belongs to Lorraine, and she paid £200 for this in an antique shop in France. It is French. | 0:14:18 | 0:14:24 | |
Mid-Victorian, and I think it's... | 0:14:24 | 0:14:27 | |
I think it's got the look and it's worth £200, Adam. | 0:14:27 | 0:14:30 | |
-OK. -OK. -Keep telling yourself that, Paul. | 0:14:30 | 0:14:33 | |
-You know it is. -Yeah. ADAM LAUGHS | 0:14:33 | 0:14:36 | |
-Well, yeah. It's not quite all there, is it? -No. | 0:14:36 | 0:14:39 | |
But it is decorative in a rustic, charming sort of way. | 0:14:39 | 0:14:43 | |
It's got a chance, hasn't it, Paul? | 0:14:43 | 0:14:45 | |
-Because it's got interiors appeal to it. -Yes. | 0:14:45 | 0:14:49 | |
If you're dressing a room with a horse theme - there you go. | 0:14:49 | 0:14:53 | |
But is it two hundred quid's worth, is it? | 0:14:53 | 0:14:55 | |
-Two to three hundred. Yeah! -Yes, OK. | 0:14:55 | 0:14:57 | |
-You're happy with that? -I am. | 0:14:57 | 0:14:59 | |
OK. Well, I hope it proves right. | 0:14:59 | 0:15:02 | |
Something for the ladies right now. | 0:15:08 | 0:15:10 | |
A bit of Art Nouveau jewellery, It's stunning. | 0:15:10 | 0:15:12 | |
Belongs to Rosemary, possibly for not much longer, with a valuation of £100 to £150. | 0:15:12 | 0:15:18 | |
-Who've you brought along? -Richard. | 0:15:18 | 0:15:20 | |
Richard, pleased to meet you. | 0:15:20 | 0:15:21 | |
-What do you think of this piece of jewellery? -Beautiful. -Stunning, isn't it? | 0:15:21 | 0:15:26 | |
It caught James's eye. | 0:15:26 | 0:15:27 | |
-You like that sort of Deco period. -It's got a real style to it. | 0:15:27 | 0:15:31 | |
It appeals to the youth of today too. | 0:15:31 | 0:15:33 | |
Why are you getting rid of them? | 0:15:33 | 0:15:34 | |
They're so fashionable. | 0:15:34 | 0:15:36 | |
Well, I wanted a Flog It! experience. | 0:15:36 | 0:15:39 | |
Ooh, you're getting that, aren't you, in the sale room today? | 0:15:39 | 0:15:43 | |
You've been well looked after, anyway. This is it, we're going under the hammer now. | 0:15:43 | 0:15:47 | |
601 - Art Nouveau Charles Horner-style enamel pendants | 0:15:47 | 0:15:52 | |
and another smaller example. Lot 601. | 0:15:52 | 0:15:55 | |
Lovely things, these, lot 601. | 0:15:55 | 0:15:57 | |
Start me at £100, please. | 0:15:57 | 0:15:59 | |
£100... I need £80, then. | 0:15:59 | 0:16:01 | |
£80 on the Art Nouveau jewellery there. 80 bid. £80, take 5. At 80. | 0:16:01 | 0:16:06 | |
Any more now at 80? All done... 5. | 0:16:06 | 0:16:09 | |
90. 5 now. 95. | 0:16:09 | 0:16:10 | |
Is there 100? At £95, any more? | 0:16:10 | 0:16:13 | |
At 95... 100 online, £100. | 0:16:13 | 0:16:17 | |
110's on the phone. Any more on this lot at 110? | 0:16:17 | 0:16:20 | |
-Yes! £110. -Great! | 0:16:20 | 0:16:22 | |
-It was short and sweet, the Flog It! experience, wasn't it? -Yes! | 0:16:22 | 0:16:25 | |
Blink and you'll miss that one! | 0:16:25 | 0:16:27 | |
MUSIC PLAYS | 0:16:27 | 0:16:32 | |
Next up, Elaine's tile. There's no marks, there's no maker's name, but we do know it's Minton, don't we? | 0:16:34 | 0:16:39 | |
-Yes, we do. -Yes, we do. -Yes. -And it's catalogued at £40 to £60. | 0:16:39 | 0:16:43 | |
-That's right. -Hopefully you get the top end, | 0:16:43 | 0:16:45 | |
we will get the top end of that estimate. | 0:16:45 | 0:16:47 | |
I hope so. What I like about it, it came from Stoke-on-Trent, | 0:16:47 | 0:16:51 | |
this part of this wonderful industry, late 19th, early 20th century, of tile manufacturing. | 0:16:51 | 0:16:55 | |
-Yes, that's right. -And your husband's grandfather was an engraver. -Was an engraver. | 0:16:55 | 0:17:00 | |
-He was a lithographer. He drew onto stone. -Yes. | 0:17:00 | 0:17:03 | |
-That's right. -And then he took the image from the stone. | 0:17:03 | 0:17:05 | |
-Yes, yes. -Great little story. It's a wonderful package, really. | 0:17:05 | 0:17:10 | |
-I think it's excellent. -Yes. -Fingers crossed, OK? | 0:17:10 | 0:17:12 | |
-Yes. -Let's hope we get £60-plus. | 0:17:12 | 0:17:14 | |
-Well, I hope so. -You never know, do you? -No, no. | 0:17:14 | 0:17:17 | |
Next lot, 295, is a pressed dust rectangular tile. | 0:17:17 | 0:17:21 | |
Girl holding flowers. £40. | 0:17:21 | 0:17:24 | |
40. | 0:17:24 | 0:17:26 | |
£40. Start me £40. £30 for the tile. | 0:17:26 | 0:17:30 | |
£30 for the pressed dust tile. Anybody? | 0:17:30 | 0:17:34 | |
£20 for the tile. Don't be surprised. | 0:17:34 | 0:17:38 | |
20 bid. 5 now? 30. £25. | 0:17:38 | 0:17:42 | |
£25. Any further at £25. | 0:17:42 | 0:17:45 | |
Sold it. | 0:17:47 | 0:17:49 | |
-£25. -It's OK. -That'll buy my after-dinner coffees in Menorca. | 0:17:49 | 0:17:54 | |
-Is that where you're off to? -In May, end of May, yes. | 0:17:54 | 0:17:57 | |
-Oh, lovely. -That'll just pay for those. | 0:17:57 | 0:18:00 | |
MUSIC PLAYS | 0:18:00 | 0:18:08 | |
I've been looking forward to this. | 0:18:08 | 0:18:10 | |
I'm feeling slightly nervous because I had a chat to Adam before the sale | 0:18:10 | 0:18:13 | |
and he said, "When this arrived in my sale room, | 0:18:13 | 0:18:16 | |
"I knew who valued it." | 0:18:16 | 0:18:18 | |
He said, "You!" I said, "I know, I'm a big fan of sort of sculpture and that is so Picasso-esque." | 0:18:18 | 0:18:25 | |
-He doesn't rate it. -I don't care, because I still like it. | 0:18:25 | 0:18:29 | |
-I know you do, I know, I know. -It won't make any difference. | 0:18:29 | 0:18:32 | |
You won't be cycling it home - it's too precious. | 0:18:32 | 0:18:36 | |
It's going in the boot of the car. It's going under the hammer now. | 0:18:36 | 0:18:39 | |
Next lot is 171. | 0:18:39 | 0:18:41 | |
Late-Victorian hobby horse. | 0:18:41 | 0:18:43 | |
What a lovely rustic bygone that is. | 0:18:43 | 0:18:46 | |
Lot 171. Who'll start me at a couple of hundred pounds. 200? | 0:18:46 | 0:18:50 | |
£200. | 0:18:50 | 0:18:53 | |
-£100? -My poor horse! | 0:18:53 | 0:18:54 | |
£100 bid. Take 10. At £100 - not all bad, you know. | 0:18:54 | 0:18:57 | |
£100 all bid, all done. Take 10. | 0:18:57 | 0:19:00 | |
-110, 120, 130, 140, 150, 160. -It's going up. | 0:19:00 | 0:19:04 | |
160 in the room now. | 0:19:04 | 0:19:06 | |
160. Any more now? 170. 180... | 0:19:06 | 0:19:08 | |
No... 170. Any more now at 170? At 170. | 0:19:08 | 0:19:11 | |
-Any more at 170. -Come on... Close. | 0:19:11 | 0:19:14 | |
-Yeah. -A couple of bids more. | 0:19:14 | 0:19:15 | |
Well, I'm afraid we can't sell it. | 0:19:15 | 0:19:17 | |
I've got firm instruction not to go any less than 200. | 0:19:17 | 0:19:21 | |
Oh, I'm so sorry. | 0:19:21 | 0:19:23 | |
-Do you know what... -I don't mind. | 0:19:23 | 0:19:25 | |
-It's going back to a loving home. -Yes. -Enjoy it. -Yes. | 0:19:25 | 0:19:29 | |
MUSIC PLAYS | 0:19:29 | 0:19:32 | |
That is a cracking tan you've got. Have you just got home from holiday? | 0:19:36 | 0:19:40 | |
-Yes, last Wednesday. -Where from? -Cape Verde. -Oh, the Canaries. | 0:19:40 | 0:19:44 | |
Look at that tan, James. | 0:19:44 | 0:19:46 | |
-Only sunbathed. -Just sunbathed... I can see that. | 0:19:46 | 0:19:48 | |
Well, at a pinch, at 50 to 80, coming up next is that lovely little snuff shoe. I like the valuation. | 0:19:48 | 0:19:54 | |
It's priced right. | 0:19:54 | 0:19:56 | |
It's not the best we've ever seen, but it's a lovely little item and he is our snuff expert. | 0:19:56 | 0:20:03 | |
He can't resist. Every time. He just can't resist. | 0:20:03 | 0:20:06 | |
Lot 32. The Georgian tree novelty snuff box in the form of a shoe. | 0:20:06 | 0:20:10 | |
What a sweet little item there. I can start with a bid of £45 and take 50. | 0:20:10 | 0:20:15 | |
£45. 50 now. | 0:20:15 | 0:20:17 | |
55, 60, 5, 70, 5, 80, 5, 85 here... | 0:20:17 | 0:20:21 | |
Any more now. £85, you're all done, then. | 0:20:21 | 0:20:24 | |
90? And 5. 100? | 0:20:24 | 0:20:27 | |
I've got 105. 110? 110's on the phone. 120 comes next. | 0:20:27 | 0:20:31 | |
£110 on the phone. Any more on this lot at 110? | 0:20:31 | 0:20:34 | |
All done. 110 on the Georgian snuff shoe, at 110. | 0:20:34 | 0:20:38 | |
-Great. -£110. | 0:20:40 | 0:20:42 | |
-It's a good result, isn't it? Holiday fund? -Yes, definitely. | 0:20:42 | 0:20:47 | |
Top up the tan. | 0:20:47 | 0:20:49 | |
That's right. | 0:20:49 | 0:20:50 | |
This pineapple I'm holding costs a couple of quid today. | 0:21:05 | 0:21:08 | |
But back in the 1700s, this would have set you back the equivalent of £5,000. Yup! | 0:21:08 | 0:21:14 | |
A lot of money, wasn't it? Certainly a rare and expensive commodity. | 0:21:14 | 0:21:18 | |
Brought back on very large sailing vessels | 0:21:18 | 0:21:21 | |
from the Tropics, and they certainly were a status symbol for the rich. | 0:21:21 | 0:21:24 | |
They had large estates and they would employ | 0:21:24 | 0:21:27 | |
teams of gardeners to cultivate things like this under glass. | 0:21:27 | 0:21:30 | |
Pineapples were just one of many plants grown here at Tatton Park Estate. | 0:21:34 | 0:21:38 | |
It's been the home of the Egerton family since 1598, | 0:21:38 | 0:21:42 | |
and as the family fortunes flourished, so did their gardens. | 0:21:42 | 0:21:46 | |
Sam Wood, the gardens manager, is going to tell me more | 0:21:46 | 0:21:49 | |
about the plants and the fruit that were grown here in the expensive glasshouses. | 0:21:49 | 0:21:54 | |
Sam, what a great glasshouse. | 0:21:58 | 0:22:00 | |
It looks and feels brand new. Is it a reconstruction of the original? | 0:22:00 | 0:22:04 | |
It is. It's rebuilt on the original foundations. | 0:22:04 | 0:22:08 | |
And we've taken great care to try and make sure it's authentic. | 0:22:08 | 0:22:12 | |
I can see what you're growing - pineapples. | 0:22:12 | 0:22:15 | |
Yeah. Well, of course, this is what the house was built for | 0:22:15 | 0:22:20 | |
and the plants are planted in pots | 0:22:20 | 0:22:22 | |
and you have to remember that pineapples only fruit every third year. | 0:22:22 | 0:22:26 | |
-Ah, I never knew that. So what year are you looking at? -Year two now. | 0:22:26 | 0:22:31 | |
Obviously, I mean to the family and the growers - | 0:22:31 | 0:22:34 | |
very fashionable and exotic, but what do the outsiders think? | 0:22:34 | 0:22:37 | |
Nobody actually knew what to do with them. They were a bit wary of them. | 0:22:37 | 0:22:40 | |
Some people thought they might be poison. | 0:22:40 | 0:22:44 | |
Other people thought that they were a great status symbol, because if you grow pineapples, | 0:22:44 | 0:22:49 | |
you're obviously somebody who could afford... It's a full-time job growing pineapples. | 0:22:49 | 0:22:54 | |
So they would also take them to dinner parties just as exhibits. | 0:22:54 | 0:22:59 | |
-Never use it, just taking it around, showing it off. -Right. | 0:22:59 | 0:23:03 | |
And there were records of servants being murdered for the pineapple. | 0:23:03 | 0:23:09 | |
And of course, pineapple growers don't have any fingerprints. | 0:23:09 | 0:23:14 | |
-It removes your fingerprints. -That could be very useful, couldn't it? | 0:23:14 | 0:23:19 | |
Because it eats your flesh away. So they are flesh-eating pineapples. | 0:23:19 | 0:23:22 | |
You have to remember that's why we keep them here enclosed. | 0:23:22 | 0:23:26 | |
You've got a tray with a pineapple behind you. | 0:23:26 | 0:23:29 | |
-Are you going to show me something? -Yes. So we can propagate pineapples | 0:23:29 | 0:23:33 | |
-today and they're pretty tough to cut. -Can we do this at home? | 0:23:33 | 0:23:37 | |
Yes, you could. | 0:23:37 | 0:23:39 | |
-So all you do is you'll take the top off your pineapple. -Which you would do anyway. | 0:23:39 | 0:23:43 | |
As you would anyway, and then to trim off all of this stuff around the edge here. | 0:23:43 | 0:23:49 | |
So we've got like a little plug here, and then the next thing is | 0:23:50 | 0:23:55 | |
-you really want to try and get some of these leaves off. -Why? | 0:23:55 | 0:23:58 | |
Because this is where the thing is going to root from, eventually. | 0:23:58 | 0:24:01 | |
-You take it off, strip all this off, and get to the bottom of it. -Is that about...? -That's about right. | 0:24:01 | 0:24:07 | |
And then you finish off by just trimming that down a little bit more. | 0:24:07 | 0:24:10 | |
Yes? And then that will probably do it, you know? | 0:24:10 | 0:24:14 | |
And then all we need to do is get a pot | 0:24:14 | 0:24:17 | |
-and crock it up, and then simply stick it in like that. -Is that compost? | 0:24:17 | 0:24:23 | |
Some compost which is fairly well drained | 0:24:23 | 0:24:25 | |
and it needs to be watered and then just kept moist | 0:24:25 | 0:24:28 | |
and then it will grow. They make a good foliage plant, as well. | 0:24:28 | 0:24:31 | |
-Yes, it's very decorative, isn't it? -Yes. | 0:24:31 | 0:24:35 | |
It wasn't only pineapples that the Egertons liked to show off to their guests. | 0:24:35 | 0:24:41 | |
Orchids were an incredibly popular trend of the time. | 0:24:41 | 0:24:45 | |
Here at Tatton, we had 25 houses just of orchids. I mean, that was the... | 0:24:50 | 0:24:53 | |
But what did they do with them, the family here? | 0:24:53 | 0:24:56 | |
Well, they simply just kept them. They used them to decorate the house. | 0:24:56 | 0:25:00 | |
They used them to impress people. They put them in a show house. | 0:25:00 | 0:25:04 | |
And they were just so popular and I suppose the flower of the aristocracy. | 0:25:04 | 0:25:09 | |
Yes. | 0:25:09 | 0:25:11 | |
One last glasshouse for me to visit is the biggest on the estate. | 0:25:12 | 0:25:17 | |
It was built in 1860 and designed by Joseph Paxton, famous for the Crystal Palace. | 0:25:17 | 0:25:22 | |
It's a very impressive home for an exotic collection of ferns. | 0:25:22 | 0:25:27 | |
Oh, this is spectacular, Sam. | 0:25:32 | 0:25:35 | |
I think you saved the best for last on my list. | 0:25:35 | 0:25:38 | |
So many different shades of green. | 0:25:38 | 0:25:41 | |
There's ferns everywhere. There's a lot of them. Ferns were so popular, weren't they? | 0:25:41 | 0:25:47 | |
They were around that time, yes. A lot of ferneries in the big houses. | 0:25:47 | 0:25:51 | |
Made to impress people. | 0:25:51 | 0:25:53 | |
This is a fantastic piece that was built originally to house | 0:25:53 | 0:25:57 | |
these tree ferns that one of the Egerton family was bringing back. | 0:25:57 | 0:26:01 | |
Randall Egerton was a Royal Naval guy and he brought these ferns back when he was in Australia and New Zealand. | 0:26:01 | 0:26:08 | |
They were only about nine inches high. | 0:26:08 | 0:26:11 | |
And you know, the great visionary as all these people were, | 0:26:11 | 0:26:15 | |
they would never have seen them grow to the height they are now. | 0:26:15 | 0:26:18 | |
And these are still the original plants | 0:26:18 | 0:26:20 | |
and the great thing about tree ferns is that when they grow to the roof, | 0:26:20 | 0:26:24 | |
you simply decide what size you want the next one and saw it off, and put it in the ground and it grows again. | 0:26:24 | 0:26:30 | |
Cos most of the root's on the outside of the stem, so some of these have been to the roof twice. | 0:26:30 | 0:26:34 | |
-Already. -Cut back down, and you've got to remember | 0:26:34 | 0:26:38 | |
that the last Lord Egerton used the space for other things as well. | 0:26:38 | 0:26:44 | |
He was a great collector, so he collected things like tree frogs in here. Poison tree frogs. | 0:26:44 | 0:26:49 | |
And snakes, just wild in here, so it was kind of a real adventure place. | 0:26:49 | 0:26:54 | |
It was an adventure playground, really, for the aristocracy. | 0:26:54 | 0:26:58 | |
What a remarkable achievement. | 0:26:58 | 0:26:59 | |
-And this is your office. -Yes. -So to speak! | 0:26:59 | 0:27:04 | |
-I think you're a lucky man, Sam. -So do I. | 0:27:04 | 0:27:06 | |
I thoroughly enjoyed my little visit to Tatton Park. | 0:27:14 | 0:27:18 | |
And it's inspired me to go out and buy a pineapple and start growing one at home. | 0:27:18 | 0:27:24 | |
Right now, it's straight back to the valuation day. | 0:27:24 | 0:27:27 | |
It's still very busy at the Kings Hall in Stoke-on-Trent, and David has found something he really loves. | 0:27:33 | 0:27:40 | |
Sheila, these are absolutely fabulous. | 0:27:41 | 0:27:44 | |
You think so? | 0:27:44 | 0:27:46 | |
-Yes. Where on earth did you get them from? -Bingley Hall. | 0:27:46 | 0:27:50 | |
Was that an antique fair? | 0:27:50 | 0:27:52 | |
-Yes. -Do you remember how much you paid for them? -I can't remember. | 0:27:52 | 0:27:57 | |
It's a good while ago. | 0:27:57 | 0:27:59 | |
They are beautiful. Why were you first attracted to them? | 0:27:59 | 0:28:02 | |
Because I like pink and green. | 0:28:02 | 0:28:04 | |
-Interesting colour combination. -They're lovely. | 0:28:04 | 0:28:08 | |
They are lovely. What I like about them is the sheer quality. | 0:28:08 | 0:28:12 | |
-And they are Worcester porcelain. -Yes. | 0:28:12 | 0:28:14 | |
When you consider that Worcester, along with Derby, is probably the only factory | 0:28:14 | 0:28:18 | |
that is still in production from when it started in the 18th century, right through to now. | 0:28:18 | 0:28:24 | |
Consistent, consistent quality. | 0:28:24 | 0:28:27 | |
It's the decoration, the pink and green in the form of roses | 0:28:27 | 0:28:31 | |
against that hedgerow background which is absolutely unbelievable. | 0:28:31 | 0:28:37 | |
All painted by hand. | 0:28:37 | 0:28:40 | |
It's like...having a painting | 0:28:40 | 0:28:43 | |
in your house. A still life. | 0:28:43 | 0:28:46 | |
Instead of a thing on a canvas, this is on a porcelain object. | 0:28:46 | 0:28:50 | |
-Yes. -Why on earth are you parting with it? | 0:28:50 | 0:28:53 | |
Because I'm moving home. | 0:28:53 | 0:28:56 | |
-You're downsizing. -Yes. -I've just gone through that. | 0:28:56 | 0:28:59 | |
-It's very, very difficult knowing what to keep and what to part with. -It is, yes. It is. -The date. | 0:28:59 | 0:29:05 | |
The date's 1910. | 0:29:05 | 0:29:08 | |
-I was looking for a signature on these, because it's most important to have a signature. -Yes. | 0:29:08 | 0:29:14 | |
And I found one. | 0:29:14 | 0:29:16 | |
The signature here is not a name that I recognise. | 0:29:16 | 0:29:19 | |
From here, it looks very much like it could be either a G or an S. | 0:29:19 | 0:29:25 | |
T-A-U-N-T. | 0:29:25 | 0:29:28 | |
S or G Taunt. | 0:29:28 | 0:29:30 | |
-The very fact that it's signed puts it into a different category. -I see. | 0:29:30 | 0:29:34 | |
So I think we're looking at round about £240 to £300. | 0:29:34 | 0:29:41 | |
-All right. -How does that sound? | 0:29:41 | 0:29:43 | |
That sounds very good. | 0:29:43 | 0:29:45 | |
-I hope you get that price. -Yes. | 0:29:45 | 0:29:47 | |
The auction house will want to tuck the reserve and we ought to put a reserve on these... | 0:29:47 | 0:29:52 | |
-Right. -..under the estimates. | 0:29:52 | 0:29:54 | |
So I think we should put a reserve of £200. | 0:29:54 | 0:30:00 | |
-Right. -Would that be acceptable? | 0:30:00 | 0:30:01 | |
-Yes, thank you. -I hope the Worcester collectors are looking at them. | 0:30:01 | 0:30:05 | |
I hope so as well. | 0:30:05 | 0:30:07 | |
Liz, Yvonne. Wow, what a thing to find. | 0:30:13 | 0:30:17 | |
They really are great. Tell me about them. | 0:30:17 | 0:30:19 | |
They were my dad's. My dad's passed away. | 0:30:19 | 0:30:22 | |
I have two brothers who both want them and causing a bit of | 0:30:22 | 0:30:27 | |
friction in the family and so my mum decided to put them to auction. | 0:30:27 | 0:30:31 | |
Best way, because if they want them, they can buy them. | 0:30:31 | 0:30:34 | |
-Exactly, yes. -Well, what do you know about the pistols themselves. | 0:30:34 | 0:30:38 | |
-Very much? -Absolutely nothing. | 0:30:38 | 0:30:41 | |
Of course, handguns today are such a controversial subject, but I don't see these as weapons. | 0:30:41 | 0:30:46 | |
I see these as pieces of history. | 0:30:46 | 0:30:49 | |
These go back right to the times of the Napoleonic Wars. | 0:30:49 | 0:30:53 | |
The early 19th century. But these weren't military issue. | 0:30:53 | 0:30:58 | |
These would have been owned by a gentleman of title, somebody of quite important status | 0:30:58 | 0:31:03 | |
because the maker, I don't know if you know anything about him, but if we have a look here, | 0:31:03 | 0:31:09 | |
Franz Ulrich. | 0:31:09 | 0:31:11 | |
He was probably the best gun-maker in Switzerland of the 19th century. | 0:31:11 | 0:31:17 | |
-He was known as the Forgotten Master. -Right. -Fantastic. | 0:31:17 | 0:31:21 | |
What you would have to do to actually fire this pistol | 0:31:21 | 0:31:25 | |
is prime that little pan there, the gold pan, with powder. | 0:31:25 | 0:31:29 | |
And then you would close that down, | 0:31:29 | 0:31:33 | |
you would bring the hammer back and that contains the flint. | 0:31:33 | 0:31:36 | |
The flint, as you pull the trigger, fires, | 0:31:36 | 0:31:40 | |
the steel pan lifts, the spark of the flint hitting the steel pan goes into the air with the gunpowder. | 0:31:40 | 0:31:48 | |
So that's fires and it ignites the gunpowder in there and fires. | 0:31:48 | 0:31:53 | |
And you have to do that every time you fire. | 0:31:53 | 0:31:56 | |
-You could be dead. -You could be dead by then! | 0:31:56 | 0:31:59 | |
-What do you think they're worth? -Haven't got a clue. -What do you think? | 0:31:59 | 0:32:05 | |
-400? -No idea. | 0:32:05 | 0:32:08 | |
-I think we ought to put £1,500 to £2,000. -You're joking! | 0:32:08 | 0:32:13 | |
Lovely. Yes, that's fine. | 0:32:13 | 0:32:16 | |
-That should stop them fighting, shouldn't it? -It will do, yeah. | 0:32:16 | 0:32:19 | |
Now, I think it's important that we protect them with a reserve. | 0:32:19 | 0:32:23 | |
Weapons are quite a specialist market. | 0:32:23 | 0:32:25 | |
With a lot of other things, they'll find their own market. | 0:32:25 | 0:32:29 | |
With these, they're fantastic, so we must protect them. | 0:32:29 | 0:32:32 | |
Just in case the right buyers aren't there on the day. | 0:32:32 | 0:32:35 | |
So let's put a reserve of £1,200, put that firm, and if they don't make that, then have them back. | 0:32:35 | 0:32:42 | |
-Right. That's great. It could be pistols at dawn. -It could be. | 0:32:42 | 0:32:47 | |
Phil, looking at all these used ticket stubs, | 0:32:52 | 0:32:54 | |
you're obviously a big music fan and so am I. | 0:32:54 | 0:32:56 | |
Look, Dr Feelgood, Joe Walsh... | 0:32:56 | 0:32:59 | |
Gosh, everybody's in here, but what has caught my eye | 0:32:59 | 0:33:02 | |
are these two little posters, they're like flyers really. | 0:33:02 | 0:33:05 | |
I guess these would have been used | 0:33:05 | 0:33:07 | |
in shop windows, local stores | 0:33:07 | 0:33:09 | |
around the venue to promote the gig. | 0:33:09 | 0:33:11 | |
Jimi Hendrix, and it says it all because that sums up | 0:33:11 | 0:33:14 | |
the Seventies with that sort of purple haze. | 0:33:14 | 0:33:16 | |
-Psychedelia. -Yeah, exactly. | 0:33:16 | 0:33:19 | |
-There's no date on it. Do you know what date it was? -I think it's 1970. | 0:33:19 | 0:33:22 | |
And he was playing in Oklahoma. | 0:33:22 | 0:33:24 | |
You've got an American accent, | 0:33:24 | 0:33:26 | |
-I guess you grew up in Oklahoma. -That's where I'm from, yeah! | 0:33:26 | 0:33:29 | |
-So what brought you over to the UK then? -My wife. -Your wife? | 0:33:29 | 0:33:33 | |
-You married an English lass? -Yeah. -Aaah! | 0:33:33 | 0:33:35 | |
Did you get to see Led Zeppelin? | 0:33:35 | 0:33:37 | |
-No, I didn't. I was a bit young at the time. -You look a bit young. | 0:33:37 | 0:33:40 | |
I grew up playing the drums and I still listen to John Bonham | 0:33:40 | 0:33:43 | |
and try and copy all his sort of licks and his moves and his sound. | 0:33:43 | 0:33:46 | |
-The question is, were you any good? -No, I was rubbish! | 0:33:46 | 0:33:50 | |
Again, no date. | 0:33:52 | 0:33:54 | |
I think that's also 1970. | 0:33:54 | 0:33:56 | |
Right. Great band, but I don't think our auction is the right one for you. | 0:33:56 | 0:34:01 | |
It's a general antique auction. I think what you've got here, rock | 0:34:01 | 0:34:05 | |
and pop memorabilia, needs to go to a specialist musical memorabilia | 0:34:05 | 0:34:09 | |
sale, where you'll find a bigger audience, and I'm pretty sure | 0:34:09 | 0:34:12 | |
this one is worth around £80 to £150, and so is that one. | 0:34:12 | 0:34:17 | |
So that's not bad, is it? | 0:34:17 | 0:34:19 | |
For flyers that were just sellotaped to the shop window, and what I like | 0:34:19 | 0:34:23 | |
is the fact that you've looked after them, | 0:34:23 | 0:34:25 | |
you've put them behind perspex on a clip frame, | 0:34:25 | 0:34:29 | |
so it's kept them from being bent and screwed up and ripped and torn, | 0:34:29 | 0:34:32 | |
so good for you, because condition is so important. | 0:34:32 | 0:34:36 | |
MUSIC: "Haiti" by Arcade Fire | 0:34:36 | 0:34:38 | |
Bill, Lillian, we've come all the way to Staffordshire, | 0:34:42 | 0:34:45 | |
the heart of the Potteries in England, | 0:34:45 | 0:34:47 | |
and what do we find? Worcester! Anyway, there we go. | 0:34:47 | 0:34:50 | |
A bit of Worcester for us, and, obviously, out of its area, | 0:34:50 | 0:34:53 | |
but one of the most famous factories of all time. | 0:34:53 | 0:34:56 | |
-Indeed. -Are they family pieces? -They were my father's, actually. | 0:34:56 | 0:34:59 | |
My father was a pottery manufacturer and he used to work | 0:34:59 | 0:35:02 | |
as a chief chemist for Wedgwood before the war, and he formed his own collection | 0:35:02 | 0:35:06 | |
of Wedgwood pieces, and also from other companies, | 0:35:06 | 0:35:10 | |
but as I think things have moved on, these tend to not be on display, | 0:35:10 | 0:35:16 | |
and it seems a terrible shame, really. | 0:35:16 | 0:35:18 | |
Worcester is so well known for its fruit-painted porcelain, | 0:35:18 | 0:35:22 | |
and here we've got three very good examples. | 0:35:22 | 0:35:24 | |
Albert Shuck is the artist for these two, and this one, you don't see as | 0:35:24 | 0:35:28 | |
much of this - this is by Bagnall but all around the same sort of period. | 0:35:28 | 0:35:33 | |
Worcester is very easy to date, and if you look at this mark here, | 0:35:33 | 0:35:36 | |
you see three purple circles, | 0:35:36 | 0:35:38 | |
or puce circles, and on either side of that there are a series of dots. | 0:35:38 | 0:35:41 | |
The three interlinked circles were 1932, | 0:35:41 | 0:35:47 | |
and then you add a dot for each year. | 0:35:47 | 0:35:49 | |
You've got nine dots, that's 1941. | 0:35:49 | 0:35:52 | |
That's quite unusual, really, because you wouldn't see British | 0:35:52 | 0:35:56 | |
people buying porcelain in the middle of World War Two, | 0:35:56 | 0:36:00 | |
but we've got a little telltale giveaway here - Buenos Aires. | 0:36:00 | 0:36:04 | |
We've got a Buenos Aires retailer, so this was made in Worcester, | 0:36:04 | 0:36:07 | |
has gone over to Argentina, has been sold in Argentina... | 0:36:07 | 0:36:11 | |
-And come back again! -Back to Stoke! | 0:36:11 | 0:36:14 | |
Well, there we are, so that's got a bit of interesting history about that one. | 0:36:14 | 0:36:18 | |
You do get factories who are transfer-printing these pieces | 0:36:18 | 0:36:21 | |
and then hand-painting little bits over the top, | 0:36:21 | 0:36:24 | |
but these are all hand-painted, so these are very, very sought after. | 0:36:24 | 0:36:28 | |
This one is the best. | 0:36:28 | 0:36:29 | |
The softness of the painting of those wonderful grapes, you could almost | 0:36:29 | 0:36:33 | |
eat them, a real feel to them. | 0:36:33 | 0:36:35 | |
Now, values. Any ideas? | 0:36:35 | 0:36:39 | |
Not really. We've never had them professionally valued. | 0:36:39 | 0:36:43 | |
OK. I'm gonna put them as a group. | 0:36:43 | 0:36:45 | |
-OK. -And that will give the auction room that ability to | 0:36:45 | 0:36:49 | |
split them up if they want to, it depends on their own client base. | 0:36:49 | 0:36:53 | |
We'll say £80 on this one. | 0:36:53 | 0:36:55 | |
The larger one, I think, is worth around £120. | 0:36:55 | 0:37:00 | |
This one, £200 to £300. | 0:37:00 | 0:37:03 | |
-Right. -So, if we say an estimate of £400 to £500 on them, as a three? | 0:37:03 | 0:37:09 | |
That sounds very good. | 0:37:09 | 0:37:11 | |
-Could we put a reserve on them? -Absolutely. | 0:37:11 | 0:37:13 | |
As a group, let's put 400 on them. So what are you gonna do? | 0:37:13 | 0:37:17 | |
Buy a great big piece of fantastic Wedgwood to replace them with? | 0:37:17 | 0:37:20 | |
Oh, I don't think so, actually, | 0:37:20 | 0:37:22 | |
because I'm a model railway enthusiast, so I may very well buy | 0:37:22 | 0:37:25 | |
-something for the collection. -Fantastic. | 0:37:25 | 0:37:28 | |
Well, Worcester is something that we just can't get enough of. | 0:37:28 | 0:37:32 | |
-Yes. -That's good news. -Lovely. | 0:37:32 | 0:37:34 | |
Let's take them along and see how we do. | 0:37:34 | 0:37:36 | |
-Yes, thanks. -Thank you. | 0:37:36 | 0:37:38 | |
-Pam. -Yes. | 0:37:43 | 0:37:45 | |
I can't say I like dolls. | 0:37:45 | 0:37:48 | |
I'm not fascinated by them, but what appeals to me is the way that they're dressed. | 0:37:48 | 0:37:54 | |
If I see a doll that's in the original costume, | 0:37:54 | 0:37:58 | |
then I think it's obviously a great deal more interesting. | 0:37:58 | 0:38:01 | |
-Now, this one dates from the end of the 19th, just turning into the 20th century. -Oh. | 0:38:01 | 0:38:09 | |
Does it have a family history? | 0:38:09 | 0:38:11 | |
Just a little bit. | 0:38:11 | 0:38:13 | |
We actually got this from my mother who was given it by a great auntie, a good many years ago, and as much | 0:38:13 | 0:38:19 | |
as we understand, she was actually given this by the Jessop family that she used to work for. | 0:38:19 | 0:38:24 | |
-The Jessop family is who? -Well, they sort of own | 0:38:24 | 0:38:28 | |
the Jessop stores in Nottingham and my aunt worked for the old Miss Jessop | 0:38:28 | 0:38:32 | |
as a cook and housekeeper for a good many years | 0:38:32 | 0:38:36 | |
and on her retirement, she actually acquired this lovely gift. | 0:38:36 | 0:38:39 | |
It is a beautiful little object. | 0:38:39 | 0:38:41 | |
It's in its original box here, and this label, which says "The Grand Toy Shop" | 0:38:41 | 0:38:47 | |
is an original box, which is very good. Always toys in original boxes is a bonus. | 0:38:47 | 0:38:52 | |
I'm just going to take... | 0:38:52 | 0:38:53 | |
you don't mind...this little girl out so we can have a look at it. | 0:38:53 | 0:38:58 | |
Not only is it the original costume, but when we look at it, also the hair at the back, | 0:38:58 | 0:39:03 | |
which is natural hair | 0:39:03 | 0:39:06 | |
is also dressed in the manner of a young girl round about 1890, 1900. | 0:39:06 | 0:39:13 | |
The costume is decorated with this machine lace | 0:39:13 | 0:39:17 | |
and then we have these little buttons added to the front. | 0:39:17 | 0:39:21 | |
I would imagine her feet were also embellished with the same | 0:39:21 | 0:39:26 | |
-buttons, because there's one there, but it's lost its colour. -Yes. | 0:39:26 | 0:39:29 | |
So that's all she had on her feet. | 0:39:29 | 0:39:31 | |
-Little buttons. -That's all we've ever seen on her feet, yes. | 0:39:31 | 0:39:35 | |
The other detail I like, lovely little glass eyes, | 0:39:35 | 0:39:38 | |
painted feature, typical of a French doll of the late 19th century. | 0:39:38 | 0:39:44 | |
This would have been used possibly as a... | 0:39:44 | 0:39:49 | |
-doll's house occupant. -I was wondering that. | 0:39:49 | 0:39:52 | |
-It's the right size to go inside. -A doll's house. Yes. | 0:39:52 | 0:39:57 | |
-So she would have had miniature furniture, drinking vessels, and she would have been quite at home. -Yes. | 0:39:57 | 0:40:03 | |
But obviously she never got that far, because she was always kept in this little box here. | 0:40:03 | 0:40:08 | |
Lovely element of social history. | 0:40:08 | 0:40:10 | |
First of all, how it was acquired by the Jessop family and then passed on to your great aunt. | 0:40:10 | 0:40:15 | |
-Why are you selling it? -It's just stuck in a drawer. | 0:40:15 | 0:40:18 | |
It is a shame and Mum, before she died last year, | 0:40:18 | 0:40:21 | |
she was actually looking at selling it, so I know that's what she wanted us to do anyway. | 0:40:21 | 0:40:26 | |
-We'd like it to go to somebody who can actually really appreciate it. -And collect dolls. | 0:40:26 | 0:40:30 | |
And who collects dolls, yes. | 0:40:30 | 0:40:33 | |
I think there's going to be a good market for it. Let me think in terms of price. | 0:40:33 | 0:40:37 | |
A minimum of 40. Between £40 and £60, I think, | 0:40:39 | 0:40:43 | |
but you might get a surprise, coming on close to £100, | 0:40:43 | 0:40:47 | |
-so let's just keep our fingers crossed. -Lovely. Thank you. | 0:40:47 | 0:40:51 | |
Now, cast your mind back a few hundred years. | 0:40:58 | 0:41:01 | |
The year is approximately 1610. | 0:41:01 | 0:41:03 | |
James I is on the throne and Sir Walter Raleigh is in the Tower of London, | 0:41:03 | 0:41:06 | |
but here, in Cheshire, work has just finished on the home of one William Moreton III. | 0:41:06 | 0:41:13 | |
Little Moreton Hall is one of the finest examples of Elizabethan | 0:41:18 | 0:41:22 | |
timber-framed manor houses in England. | 0:41:22 | 0:41:25 | |
Work on the house started in the early 16th century | 0:41:25 | 0:41:29 | |
and extended over future generations. | 0:41:29 | 0:41:31 | |
It's a stunning display of medieval craftsmanship. | 0:41:31 | 0:41:35 | |
It's a half-timber-framed house, | 0:41:36 | 0:41:38 | |
built on a stone foundation, and each storey was built | 0:41:38 | 0:41:42 | |
at different stages. The infill of the wood is plaster and lath. | 0:41:42 | 0:41:46 | |
Now, originally this, in Elizabethan times, | 0:41:46 | 0:41:48 | |
would have been a lovely golden ochre colour, quite vibrant. | 0:41:48 | 0:41:51 | |
It was the Victorians that painted everything black and white. | 0:41:51 | 0:41:55 | |
They even painted all the oak beams black! But look at it! | 0:41:55 | 0:41:57 | |
It really is fantastic. | 0:41:57 | 0:41:59 | |
The more wood, the more money you had. | 0:41:59 | 0:42:01 | |
It was something to show off, and all of this is held together | 0:42:01 | 0:42:05 | |
with wooden pegs, massive great big wooden pegs, driven into the mortice | 0:42:05 | 0:42:09 | |
to hold it tight when the wood was still green, in its fresh | 0:42:09 | 0:42:13 | |
state, because all this would have been felled from the local forest. | 0:42:13 | 0:42:17 | |
Here is a typical example of the pegs, look, | 0:42:17 | 0:42:19 | |
that hold the whole thing together. | 0:42:19 | 0:42:22 | |
They're known as "trenails". Treenails. | 0:42:22 | 0:42:25 | |
And when you get into the cobbled internal courtyard, | 0:42:33 | 0:42:37 | |
you get greeted with a 360-degree | 0:42:37 | 0:42:39 | |
panoramic view of architectural delight. Just look at it! | 0:42:39 | 0:42:43 | |
You get wonderful ornamentation all around the doors and windows. | 0:42:43 | 0:42:47 | |
It's so typical of a Cheshire build. | 0:42:47 | 0:42:49 | |
I love the quatrefoils, with hand-carved balustrades. | 0:42:49 | 0:42:53 | |
It's another detail that just catches your eye. | 0:42:53 | 0:42:55 | |
Moving right up, you've got the leaded windows | 0:42:55 | 0:42:58 | |
and these windows must have been so expensive in their day. | 0:42:58 | 0:43:01 | |
It's another way of showing off extreme wealth, | 0:43:01 | 0:43:04 | |
and that takes you up to the eaves, where you | 0:43:04 | 0:43:06 | |
see these great big bulbous drop pendants, all hand-carved again. | 0:43:06 | 0:43:09 | |
Wonderful! | 0:43:09 | 0:43:11 | |
And here, look, the carpenter has even put his name, | 0:43:11 | 0:43:14 | |
"Rycharde Dale, carpeder, made thies windovs by the grac of God," | 0:43:14 | 0:43:18 | |
and the date was 1559, and it's still standing! | 0:43:18 | 0:43:22 | |
They really did know their trade. | 0:43:22 | 0:43:25 | |
The house was acquired by the National Trust in 1938, | 0:43:28 | 0:43:32 | |
and David Watts is the property manager. | 0:43:32 | 0:43:34 | |
He's the chap we need to find to have a quick chat to | 0:43:34 | 0:43:37 | |
about the history of this magnificent house and its lucky owner. | 0:43:37 | 0:43:41 | |
-Hello. -Hi, Paul. -Pleased to meet you. | 0:43:50 | 0:43:53 | |
I've gotta say, absolutely mind-blowing, isn't it? | 0:43:53 | 0:43:56 | |
And I know it sounds corny, but who would live in a house like this? | 0:43:56 | 0:44:00 | |
Well, the Moretons were wealthy landowners | 0:44:00 | 0:44:02 | |
who came into the area, we think, around the 13th century. | 0:44:02 | 0:44:06 | |
The family itself had wealth through corn mills, | 0:44:06 | 0:44:10 | |
ironworks, timberworks, and primarily the land itself, | 0:44:10 | 0:44:16 | |
and they wanted to show their wealth to everybody else, | 0:44:16 | 0:44:20 | |
and each generation wanted to add their special part to the hall. | 0:44:20 | 0:44:23 | |
Fantastic bay windows, magnificent ranges of glass. | 0:44:23 | 0:44:28 | |
It's one of the best examples I think I've ever seen. | 0:44:28 | 0:44:31 | |
It's a beautiful house. | 0:44:31 | 0:44:32 | |
I want to show you another room, with fantastic decoration. | 0:44:32 | 0:44:36 | |
OK, after you. | 0:44:36 | 0:44:37 | |
Take a look at this, Paul. | 0:44:41 | 0:44:43 | |
Gosh, look at that? Tudor wallpaper. | 0:44:43 | 0:44:46 | |
-It's fantastic, isn't it? -Yeah! | 0:44:46 | 0:44:48 | |
It was fashionable in the 1570s | 0:44:48 | 0:44:51 | |
to about 1600 to use painted panels, and here we've got the Moretons, who | 0:44:51 | 0:44:56 | |
really are into fashion and wealth and wanted to express that wealth, | 0:44:56 | 0:45:00 | |
and John Moreton got the panels painted. We think that you'd probably | 0:45:00 | 0:45:06 | |
get travelling craftsmen who would come round and paint the stories | 0:45:06 | 0:45:11 | |
onto the paper, and then, of course, it's pasted onto the wall itself. | 0:45:11 | 0:45:15 | |
Incredible! Have you depicted what the stories are telling? | 0:45:15 | 0:45:18 | |
Is there enough there? | 0:45:18 | 0:45:19 | |
It's the story of Susannah And The Elders. | 0:45:19 | 0:45:22 | |
So, come on, tell me about that. | 0:45:22 | 0:45:25 | |
Susannah was the beautiful wife of a businessman and she was admired, | 0:45:25 | 0:45:31 | |
shall we say, by a couple of elders in the town, | 0:45:31 | 0:45:34 | |
and they went into her garden | 0:45:34 | 0:45:37 | |
and she refused their advances. | 0:45:37 | 0:45:39 | |
She is then actually put on trial and is about to be stoned to death for adultery, | 0:45:39 | 0:45:44 | |
but our hero, who is Daniel, | 0:45:44 | 0:45:45 | |
-who was actually in the far corner... -The chap up there? | 0:45:45 | 0:45:48 | |
That's the chap - steps in and asks them to look again at the evidence, | 0:45:48 | 0:45:54 | |
-and, in fact, it's the two elders who are then put to death. -Wow! | 0:45:54 | 0:45:57 | |
-Look at that! -But it's a fantastic piece of historic wallpaper, | 0:45:57 | 0:46:00 | |
and you get little details, like the wolf's head on the frieze. | 0:46:00 | 0:46:05 | |
That's the Moreton coat of arms. | 0:46:05 | 0:46:09 | |
Now, interestingly, of course, the fashions change. | 0:46:09 | 0:46:12 | |
The fashion becomes, let's put wooden panelling on instead. | 0:46:12 | 0:46:15 | |
And what do the Moretons do? They replace it with that. | 0:46:15 | 0:46:18 | |
By virtue of putting the panelling over that, it has protected it. | 0:46:18 | 0:46:21 | |
-Of course. -Obviously, the condition of that, it's been saved by the panelling, | 0:46:21 | 0:46:25 | |
but, overall, the house is in remarkable condition. | 0:46:25 | 0:46:28 | |
It's a very solid structure. | 0:46:28 | 0:46:31 | |
-It's a wonderful house. -And I like the fact that you've kept it | 0:46:31 | 0:46:34 | |
quite sparse inside because the space has the beauty as well. | 0:46:34 | 0:46:38 | |
It makes you appreciate the architecture. | 0:46:38 | 0:46:40 | |
In many ways, our collection is the building itself. | 0:46:40 | 0:46:44 | |
-Yeah, it's one big antique, isn't it? -It is, it's wonderful. | 0:46:44 | 0:46:48 | |
Well, not only is it a delight to look at, but Little Moreton Hall | 0:46:58 | 0:47:02 | |
is a masterclass in Tudor woodwork and carpentry, | 0:47:02 | 0:47:06 | |
a perfectly preserved piece of medieval history. | 0:47:06 | 0:47:10 | |
It's now that time in the show where we head off to the sale room | 0:47:14 | 0:47:19 | |
and here's what's coming with us. | 0:47:19 | 0:47:22 | |
David loved this pair of Worcester vases. | 0:47:22 | 0:47:23 | |
The fine quality and the pretty hand-painting is bound to catch the eye of a discerning bidder. | 0:47:23 | 0:47:30 | |
Liz is hoping the bidders will stand and deliver a good price when her pistols go up for sale. | 0:47:30 | 0:47:35 | |
This doll has been left in a drawer for years and now it's finally out in the light of day. | 0:47:37 | 0:47:43 | |
I think it could do well for owner, Pam. | 0:47:43 | 0:47:46 | |
And, finally, there's something for everyone with Bill and Lillian's | 0:47:46 | 0:47:49 | |
collection of Worcester. Let's hope the collectors are out in force! | 0:47:49 | 0:47:54 | |
I've been joined by Bill and Lillian. | 0:48:02 | 0:48:04 | |
Now, we've got three lots, haven't we? The first lot, | 0:48:04 | 0:48:07 | |
the smallest one, is £80, the second lot is about £120 and £200. | 0:48:07 | 0:48:10 | |
-£200 to £300 for the pedestal cup. -That's right. | 0:48:10 | 0:48:14 | |
And we've got a total valuation of about £400 to £500 here. | 0:48:14 | 0:48:18 | |
We are selling them separately, but all the money, I just read in | 0:48:18 | 0:48:21 | |
my notes, is going towards the model railway, is it? | 0:48:21 | 0:48:24 | |
-Well, not... -I think he's had second thoughts about that. | 0:48:24 | 0:48:27 | |
Second thoughts! | 0:48:27 | 0:48:29 | |
-You mean you have? -I had a subtle | 0:48:29 | 0:48:31 | |
reminder that it is our 25th wedding anniversary this year. | 0:48:31 | 0:48:34 | |
That's more important than a model railway! | 0:48:34 | 0:48:36 | |
-I think so. -Cracking items these, James? | 0:48:36 | 0:48:38 | |
Yeah, great. | 0:48:38 | 0:48:40 | |
When we took them in on the valuation day we talked about splitting them up | 0:48:40 | 0:48:43 | |
-or putting them together. -We did. | 0:48:43 | 0:48:45 | |
And I thought Adam would split them up. | 0:48:45 | 0:48:46 | |
It's the right thing to do, I think, but, you know, there are | 0:48:46 | 0:48:49 | |
-lots of people here today and they're gonna do very, very well. -Good. | 0:48:49 | 0:48:53 | |
Well, fingers crossed and here's the first going under the hammer. | 0:48:53 | 0:48:56 | |
367 is Royal Worcester bowl painted | 0:48:56 | 0:48:58 | |
with fruits, by Albert Shuck, lot 367, little footed bowl there. £80. | 0:48:58 | 0:49:04 | |
£80. 50, 50 bid, 5 now. | 0:49:04 | 0:49:08 | |
At £50, 5, 60, 5, 65 bid. | 0:49:08 | 0:49:11 | |
Any more now? 65. | 0:49:11 | 0:49:14 | |
70, 5, 80 now, 80 bid. 85. | 0:49:14 | 0:49:19 | |
85 online. Any more on this lot? | 0:49:19 | 0:49:22 | |
85. Any further? The bid's online this time at £85 on the first. | 0:49:22 | 0:49:28 | |
£85. That's good, that's good. | 0:49:28 | 0:49:32 | |
First one down. Here's the next. | 0:49:32 | 0:49:34 | |
Worcester bowl painted by Albert Shuck again. | 0:49:34 | 0:49:36 | |
Lovely bowl, 368. Start me at £100. | 0:49:36 | 0:49:38 | |
80 bid, 5, 90, 5, £95, any more? | 0:49:38 | 0:49:43 | |
£95, 100 bid, 10, 110, take 120 now. | 0:49:43 | 0:49:47 | |
120, online at 120, any more? 130? | 0:49:47 | 0:49:52 | |
-140. At 140. -It's good. -It is. | 0:49:52 | 0:49:55 | |
Are you all done at 140? 150. | 0:49:55 | 0:49:58 | |
Any more at 150? All done? | 0:49:58 | 0:50:00 | |
160, 160, keep going, 160, any more now at 160? | 0:50:00 | 0:50:06 | |
Hammer's up then at 160, we'll sell at 160. 170... | 0:50:06 | 0:50:09 | |
Gosh, that was late in! | 0:50:09 | 0:50:11 | |
-170 bid. -We like it, though! | 0:50:11 | 0:50:14 | |
-We do! -Any more now at 170? 180? | 0:50:14 | 0:50:16 | |
At 180. Last chance. It's now at 180, we're gonna sell... | 0:50:16 | 0:50:19 | |
190. At 190. | 0:50:19 | 0:50:22 | |
Any more at 190? | 0:50:22 | 0:50:24 | |
At 190, 200. 200, any more now? | 0:50:24 | 0:50:27 | |
-Good heavens! -At 200. 210. | 0:50:27 | 0:50:31 | |
LAUGHTER | 0:50:34 | 0:50:36 | |
-210. Are we done at 210? -I think so. | 0:50:36 | 0:50:39 | |
I think we're done at 210. All done at 210 and we sell this one at £210. | 0:50:39 | 0:50:43 | |
How super! Second one down. | 0:50:45 | 0:50:47 | |
That's good news. Here's the last one. | 0:50:47 | 0:50:49 | |
This is the third one, 369, by William Bagnall, painted | 0:50:49 | 0:50:53 | |
with fruits. I'm bid 110. Take 20. | 0:50:53 | 0:50:56 | |
110 only, 120 now, 120. | 0:50:56 | 0:51:00 | |
130, 140, 140. | 0:51:00 | 0:51:03 | |
150, 160, 170. 170 bid. | 0:51:03 | 0:51:05 | |
Any more now? 180. | 0:51:05 | 0:51:07 | |
180 now, 180. 190... We've got the same thing happening again. 190? | 0:51:07 | 0:51:13 | |
-Got a bid. -200? | 0:51:13 | 0:51:15 | |
At 200. Any further now at 200? | 0:51:15 | 0:51:17 | |
Are you all done now? £200, we sell this one... | 0:51:17 | 0:51:19 | |
-210. -210. | 0:51:19 | 0:51:23 | |
All done and selling at 210? | 0:51:23 | 0:51:25 | |
Last chance at £210. | 0:51:25 | 0:51:28 | |
-Yes! -Yes, very good, very good. -Fantastic! That's all three | 0:51:28 | 0:51:33 | |
-sold, that's £505. -Yes, very good, very good. | 0:51:33 | 0:51:38 | |
Well, they were spot on, really, with the £400 to £500, weren't they? | 0:51:38 | 0:51:42 | |
Got the top end of the estimate. | 0:51:42 | 0:51:43 | |
-Yeah. -Very good, James. -And it just shows you, doesn't it, | 0:51:43 | 0:51:46 | |
by varying how people can bid, there's bidding in the room, | 0:51:46 | 0:51:49 | |
there's bidding on the phone andbidding against each other on the internet - fantastic! | 0:51:49 | 0:51:54 | |
-You were dead right, dead right. -Absolutely spot on. | 0:51:54 | 0:51:57 | |
Congratulations to James, and enjoy the wedding anniversary. | 0:51:57 | 0:52:01 | |
-Yes, yes. -I'm sure we will, sure we will. | 0:52:01 | 0:52:03 | |
Well, Sheila is downsizing so they've got to go. | 0:52:11 | 0:52:15 | |
These two Worcester Edwardian vases valued at £240 to £300 are up for sale right now. | 0:52:15 | 0:52:20 | |
David, you did the valuation, you like these. | 0:52:20 | 0:52:23 | |
Yes. They're glamorous, blowsy pieces. I think they're good. | 0:52:23 | 0:52:27 | |
They're the epitome of the Edwardian period. | 0:52:27 | 0:52:30 | |
-Yes, they're very pretty. -Rather beautiful. | 0:52:30 | 0:52:33 | |
Let's hope we get you the top end, because I know you're moving to a smaller place. | 0:52:33 | 0:52:38 | |
It just sort of haemorrhages money, moving. It really does, doesn't it? | 0:52:38 | 0:52:42 | |
-Yes. -Oh, I've just moved. Yes. We downsized. | 0:52:42 | 0:52:46 | |
I might say we've got 40 packing cases still to unpack after a year. | 0:52:46 | 0:52:50 | |
Yes. I've got some boxes from six years ago. | 0:52:50 | 0:52:54 | |
Living in mayhem, I don't know. | 0:52:54 | 0:52:56 | |
Fingers crossed. Let's hope we get 300. | 0:52:56 | 0:53:00 | |
Pair of Royal Worcester quarter length vases. | 0:53:00 | 0:53:03 | |
Painted with roses by Gertie Taunt. | 0:53:03 | 0:53:05 | |
What a lovely name. Gertie Taunt. | 0:53:05 | 0:53:07 | |
I can start with interest at a 200 and 210 bid. Is there 220? | 0:53:07 | 0:53:11 | |
210 is bid. 210 bid. 220, 230, 240, 250, 260, 270, 280, no... | 0:53:11 | 0:53:17 | |
270. Any more now? 270. Any more now? | 0:53:17 | 0:53:19 | |
270. Are you all done? | 0:53:19 | 0:53:23 | |
280, 290. 300. | 0:53:23 | 0:53:25 | |
At 290, 290. Any more now? | 0:53:25 | 0:53:30 | |
At £290. | 0:53:30 | 0:53:32 | |
We're going to settle for that. | 0:53:32 | 0:53:34 | |
Very nice. | 0:53:34 | 0:53:36 | |
-That'll come in very handy. -Lovely, thank you. | 0:53:36 | 0:53:39 | |
-Oh, bless. -What about Paul? -Aw. | 0:53:40 | 0:53:44 | |
We're in for an interesting duel right now, | 0:53:51 | 0:53:54 | |
because it's the pair of little hand pistols belonging to Liz. You brought your mum along. | 0:53:54 | 0:53:59 | |
Hello, Betty, are you OK? You've been looking forward to this? | 0:53:59 | 0:54:03 | |
-Yeah. -Let's hope we can get the top end of James's estimate. | 0:54:03 | 0:54:06 | |
You've got £1,500 to £2,500 riding on this. | 0:54:06 | 0:54:11 | |
This is going to solve the problem, isn't it? With the two boys. Yeah? | 0:54:11 | 0:54:16 | |
-What did you say, Betty? -I'll be glad to get rid of them. | 0:54:16 | 0:54:19 | |
You'll be glad to get rid of them. Do your sons keep saying, "Can I have them, Mum, can I have them?" | 0:54:19 | 0:54:24 | |
-Badgering you. -Lots of banter. -Is there? Are they all happy, though, it's going into auction? | 0:54:24 | 0:54:30 | |
-Yes. -Well, let's hope we get the best price. Shall we? | 0:54:30 | 0:54:34 | |
Fingers crossed. Here we go. | 0:54:34 | 0:54:36 | |
204. Fine pair of pistols | 0:54:36 | 0:54:41 | |
by Ulrich in Bern. Swiss pistols here. | 0:54:41 | 0:54:43 | |
Lot 204. They're lovely. | 0:54:43 | 0:54:45 | |
Who'll start with £1,500? | 0:54:45 | 0:54:48 | |
I'm bid 1,000 and I'll take 50. | 0:54:48 | 0:54:51 | |
£1,000, take 50. | 0:54:51 | 0:54:52 | |
All done then at £1,050. 1,150. 1,250. 1,350. | 0:54:52 | 0:55:00 | |
£1,350, now. 1,450. 1,550. | 0:55:00 | 0:55:04 | |
Your bid of 1,550. I'll take 1,600. | 0:55:04 | 0:55:06 | |
At 1,550 the bid. 1,550. | 0:55:06 | 0:55:10 | |
1,600 and 50? | 0:55:10 | 0:55:11 | |
1,600 in the room now. £1,600 - any more on these? | 0:55:11 | 0:55:15 | |
Any advance now on £1,600? | 0:55:15 | 0:55:18 | |
-Gone. Wow. -Just got away, didn't we? Just over the bottom end. | 0:55:21 | 0:55:26 | |
-Brilliant, thank you. -You're pleased with that? -Yeah. They're gone. | 0:55:26 | 0:55:30 | |
Betty, you've got to treat yourself to a bit of lunch. | 0:55:30 | 0:55:34 | |
-We're going on the Orient Express. -Are you? -Yes. -Oh, that's brilliant! | 0:55:34 | 0:55:39 | |
-Just for a day. -Oh, how lovely. | 0:55:39 | 0:55:41 | |
Next up, we've got a cute little doll with original box and original clothes. | 0:55:47 | 0:55:53 | |
We're looking for around £50 to £60. | 0:55:53 | 0:55:55 | |
It belongs to Pam. Never been played with. | 0:55:55 | 0:55:57 | |
-No. Absolutely not. -The condition is superb. | 0:55:57 | 0:56:00 | |
-It was a gift, wasn't it? -It was. -Why do you want to sell this? -She's sitting in a box, doing nothing. | 0:56:00 | 0:56:07 | |
The box is actually getting crumpled so we thought it was time to sell. | 0:56:07 | 0:56:11 | |
That's what caught David's eye. Is the condition of the box, the original clothes. It sets it apart. | 0:56:11 | 0:56:16 | |
Even down to the hat. Immaculate condition, and the way the hair is dressed is all original. | 0:56:16 | 0:56:21 | |
That'll boost the price. I've confident that the price should exceed what we put on it. | 0:56:21 | 0:56:26 | |
Let's hope we're in for a surprise. Good luck. | 0:56:26 | 0:56:29 | |
155. The French bisque-headed doll with blonde hair. | 0:56:29 | 0:56:32 | |
A small one there. | 0:56:32 | 0:56:33 | |
All bisque in original box. | 0:56:33 | 0:56:35 | |
Let's start with a bid of £50, shall we? £50 is bid. Take 5. | 0:56:35 | 0:56:39 | |
Are you all done at £50? | 0:56:39 | 0:56:41 | |
5, 60, 5, 70, 5, 80. 5. | 0:56:41 | 0:56:45 | |
90. 5, 100, 110, 120, 130, 140, 150, | 0:56:45 | 0:56:48 | |
160, 170, 180, 170... Who's going on? | 0:56:48 | 0:56:52 | |
-170! -180, 190, 200, 210, 220, | 0:56:52 | 0:56:58 | |
230, 240. | 0:56:58 | 0:57:00 | |
Ooh, this was a "come and buy me", David. | 0:57:00 | 0:57:03 | |
260, 270, 280, 290, 300, 320, 340, | 0:57:03 | 0:57:10 | |
360, 380, | 0:57:10 | 0:57:12 | |
400, 420, 440, 460. | 0:57:12 | 0:57:16 | |
460 on this phone. Is there 480 now? | 0:57:16 | 0:57:19 | |
-Goodness me! -480, 500, 520. | 0:57:19 | 0:57:23 | |
What is so special about this? It's not just the condition. | 0:57:23 | 0:57:27 | |
-French doll, perfect condition. -560, 580, | 0:57:27 | 0:57:32 | |
600, 620. | 0:57:32 | 0:57:35 | |
600 on this phone...any further now? | 0:57:35 | 0:57:37 | |
At £600. At 600...any more? | 0:57:37 | 0:57:40 | |
Are you all done then? At £600. | 0:57:40 | 0:57:44 | |
-I feel like applauding. -Fantastic. | 0:57:46 | 0:57:50 | |
£600. What a wonderful surprise! | 0:57:50 | 0:57:53 | |
-Cute little doll we thought would go for 60. -Yes, that's right. | 0:57:53 | 0:57:58 | |
Condition, condition, condition, that's what it's all about. | 0:57:58 | 0:58:02 | |
Bit of commission to pay, but what will you put nearly £600 on. | 0:58:02 | 0:58:06 | |
Well, the doll belonged to my great auntie and she needs | 0:58:06 | 0:58:09 | |
a new memorial stone now, so we always said we'd put the money towards a new one, | 0:58:09 | 0:58:13 | |
so we're very, very pleased at that amount of money. | 0:58:13 | 0:58:16 | |
-Oh, bless you Pam. David, what a special day. -It really is. | 0:58:16 | 0:58:22 | |
Tears in Pam's eyes! She's obviously so happy. That's all for today's show. | 0:58:22 | 0:58:26 | |
We've thoroughly enjoyed being here in Knutsford. | 0:58:26 | 0:58:29 | |
So, until the next time, it's cheerio. | 0:58:29 | 0:58:32 | |
Subtitling by Red Bee Media Ltd | 0:58:40 | 0:58:43 |