Coventry Flog It!


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Today, Flog It has been sent to Coventry. Now, we're all familiar with the phrase, "Sent to Coventry",

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meaning to ostracise, but where does it come from?

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The origin of the phrase, "Sent to Coventry", isn't known for sure.

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But it is thought to originate from the time of the English Civil War.

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During the conflict, captured Royalists were sent to Coventry to be imprisoned

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where the Parliamentarian population refused to speak with them.

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Well, this crowd seem friendlier now. We've got the doors open. We're getting everybody inside.

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Today we're very privileged to be based in what has to be Coventry's most iconic and renowned building,

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the incredible Coventry Cathedral.

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Completing the Flog It team sheet today are Michael Baggott and Will Axon.

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And first up, it's over to Michael.

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June, what a curious collection of different objects we have on the table today.

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-Where did you get them from?

-They used to belong to my mother, who was in business in Coventry from 1929.

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-Oh.

-And she died 30 years ago, sadly. And these are just some of the few things I've got left now.

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What business was your mother in?

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She was in new and second-hand furniture and china and glass.

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And also crocheted tablecloths. And she went to lots of auction sales.

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-So all sorts, really?

-Yes.

-Well, she had a wonderful eye.

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Let's start with this fellow here. And his use becomes apparent when we turn him round.

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He's obviously a nutcracker. It's a type you see in the 19th century.

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The wood... I've been thinking about this. I'm sure it's a fruit wood.

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-Yes.

-It may well be apple or pear. And fruit wood's very close grained,

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-so it doesn't, even though it's got a few cracks, split when you use it and apply pressure.

-I see.

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And I think that's supposed to be Punch.

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-Oh, is it?

-Or a Punch-like figure in his little tricorne hat.

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-They term that as a frilled ruff.

-Yes.

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And it's a very amusing thing.

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-And it would have been carved in about 1850, 1860.

-My goodness!

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They're quite collectable things and still useful.

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Then we've got a tortoiseshell box. And if we open it up - fantastic.

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You've got a little travelling scent bottle set.

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Beautiful hand-blown, faceted, glass vials.

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In date I think that's around about...

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-It's English. And it's about 1765, 1770.

-Oh, wow!

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It's a very early little travelling case. Normally they are a little bit more elaborate than this.

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You can get silver inlay. But it's still a lovely early thing. And this is a little papier mache snuff box.

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-And again that's got some great age to it. It's about 1810, 1820, when these things were fashionable.

-Yes.

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What's really interesting though is that you get all sorts of printed and applied scenes.

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This is a named view of Gibraltar.

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So even though the box itself is a little bit nibbled and distressed,

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having that is really nice.

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-Any idea then of the individual values?

-Well, Michael, I did think about £50 for the nutcracker.

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-Right.

-Maybe 60 for that one...

-Right.

-The perfume.

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And the other one, well, again, I didn't think it was very good at all.

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I can feel myself reaching for my wallet as you speak. The nutcracker, these things are still under-rated.

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But they are lovely, hand-carved treen.

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-That's got to be £70 to £100 of anybody's money.

-Wonderful.

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-This little set, that's £100 to £150.

-Amazing.

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-I think that that is a makeweight.

-Yes.

-So I think we should put them in a lot together at auction

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as they're interesting individually and they'll complement one another.

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And if we put £200 to £300 on them as an estimate and put a reserve a little below that at 170.

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-Yes.

-And we hope that there are three fanatics for those items there and it does really well.

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-But thank you so much for bringing them in.

-My pleasure.

-Thank you.

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Kathleen, good morning. What can you tell me about this infantry helmet you've brought in today?

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Not a lot. At some stage, my mother-in-law had a German lodger

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and it's just come from her house when we cleared it out.

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Well, the German lodger connection is interesting for me

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because you may remember that propaganda image of the German soldier in the Second World War.

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They were nearly always wearing these helmets or Pickelhaube, as they're known.

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And then the spike on top, which actually through the years has got shorter and shorter.

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When they first came out in the mid-19th century, these tended to be a lot taller.

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And occasionally you would also have plumes of horse hair on the top.

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They weren't originally invented for or designed by the Germans.

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They were, in the mid-19th century, designed by the King of Prussia.

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I notice from the badge at the front as well... On first inspection, it looked like the Prussian eagle.

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-But on closer inspection, it's actually a griffin...

-Oh.

-..with a shield and holding a sword.

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The badge at the front usually gives you some idea of where they're from.

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It's usually the emblem of the city they're from.

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-Now, any ideas? Have you come across that emblem before?

-No.

-Well, luckily, I did a bit of research.

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And it's of Baden in Germany, which again ties in nicely with this mysterious,

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-shall I say, German lodger.

-Yes.

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-What can you tell me about him?

-Nothing.

-And your mother-in-law had him as a lodger?

-Apparently.

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Maybe he ran off without paying the rent and he thought this would cover it.

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-Have you any idea of what its value is?

-Someone once offered me £10 for it.

-That sounds a little bit mean.

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-I thought that it was mean cos I'd seen them on programmes before.

-I would say, looking at it,

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we've got issues with condition. You've got shrinkage cracking to the leather cover.

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You've lost a chin-strap. And taking all that into consideration,

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I would say... Now, you say you were offered £10 for it at some stage.

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-I think you could probably put a nought on that.

-Good.

-I would think it's worth about £100.

-That's great.

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-So can we straddle that £100 with an 80-120...

-The usual.

-..estimate? You've seen this programme before!

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-So 80 to 120. And let's reserve it at that bottom figure. Can we give the auctioneer some discretion?

-Yes.

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-But hopefully we won't need it. But I shall see you there.

-Lovely.

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Kathleen, it's so nice to see a good, honest set of chairs ready to go to the kitchen.

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-They're lovely. A set of six.

-Yes.

-We often get the odd chair.

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Or we get a pair of hall chairs.

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But this is a good set of six chairs. So what's the story? Where did they come from?

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-My auntie bought them for my mum and dad when they got married. That's 101 years ago.

-101 years!

-Yes.

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-So these have been in the family for 101 years?

-Yes, for 101 years.

-Gosh.

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-So you used these in the kitchen as a little girl?

-I did.

-Sat on all of them probably?

-Yes, all the time.

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This one's had a little bit of a bash up there. It's been cut. But it's very, very smooth.

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-It's sort of worn.

-Yes, my mum did that.

-What did your mum do? What happened?

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-I think I was 15 months and I put my head through it.

-You got your head stuck in there?

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-Were you playing games?

-I must've been. So she had to hold my head down and got a knife and just...

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-Skimmed a bit off there?

-Yes.

-What a lovely story. They are fantastic.

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They're sort of circa 1820, 1830. All the seats are made of elm,

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which is a great wood. Look at the grain. It's so ambiguous. It never runs in one direction.

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And it's called the wood that never sleeps, so it's always moving. When you sit on them, it gives with you.

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-That's right.

-They're normally called a blade-back. You can see they're sort of shaped like a blade there.

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And they were made as practical kitchen chairs when every family in the country, in the early 1800s,

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-had practical functional chairs like this.

-That's right.

-They were made in their thousands.

-Yes.

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-Have you any idea of the value?

-Not at all.

-Well, you see lots of these in auction rooms

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and they fetch around about £15 a chair, £20 a chair.

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But with a set of six, I think there's a premium on that.

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-And I think we could get over £200 for a set of six.

-That's not bad.

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-We'll put a reserve of £150 on.

-Right.

-I think it's a great set.

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And somebody's going to inherit your love that you gave these.

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It's a shame to have them and not use them, you know. None of the family want them.

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That's sad. I think there's another 100 years left in them.

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I'd like to think so. Yes.

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-Well, Nic, thanks for coming in today.

-OK.

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And when I found out that we were going to do the valuation day in Coventry,

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one of the things I thought we might get a chance of seeing

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were some Stevengraphs and you've brought one in for us,

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-together with another.

-It's a good job I did then!

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-What can you tell me about these?

-They're just family pieces.

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They were inherited.

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-Originally they belonged to my great-grandmother.

-Right.

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It was in a book of old Coventry and that's where we found them.

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They were in the book. And that was passed to my granddad

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and when he died, they passed the book along again...

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-So it's come down the family.

-So it's travelled down. They're family pieces.

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So the Stevens factory

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was originally one of the Coventry silk ribbon manufacturers.

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Oh, right.

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So, really, when we say a Stevengraph, that's what we mean.

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-We mean a silk woven picture.

-OK.

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We've got a nice touch here in that we've got St Michael's Church,

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-which is outside of the window to my left.

-That's right, yeah.

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Not looking quite as grand as it does there

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but nonetheless, you can still recognise the spire, can't you?

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And above that we've got this chap, Rev Widdrington

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and he was the vicar of St Michael's, Coventry.

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-So lovely sort of local touch to those.

-OK.

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Now, you say they've come down through your family.

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-Not something you're interested in keeping?

-Not really.

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We don't collect anything like that as a family

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and we just thought we'd like to pass them on

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and if anybody's interested in that kind of thing or they collect it, it'll come in handy.

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Well, they are collected.

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Because there were so many different subject matters and designs,

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there's a lot there for people to collect,

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-so people tend to like that.

-That's the collectable factor.

-Exactly.

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-So have you had any idea of value?

-Not at all.

-Have you seen similar items sold?

-No, never.

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-Well, they're not hugely valuable.

-No, no.

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I think we're going to estimate them, I would think, at £30-£50.

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-All right.

-How do you feel about that?

-Fine.

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-And would you be happy to go without reserve?

-Yes.

-You would?

-That's fine.

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Well, that suits me. We've got a guaranteed sale, shall we say.

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You've decided to sell them, so they're definitely going to go.

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30 to 50. If they don't make the 30, I might have to make it up myself,

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but I'm confident that we'll get them away for you.

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-That'd be brilliant. Thank you.

-Thanks, Nic.

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Valerie, thank you for bringing this lovely gentleman's watch in. May I ask where you got it from?

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It belonged to my father's father, so that's my grandfather.

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-It's been in the family quite some time. Do you know roughly when it was made?

-I know nothing about it.

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From the outside, I'd say it's not an English watch. It's likely to be French or Swiss.

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But we'll have a little look, pop it open. That's very nice.

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You've got a lovely gold dial with black Arabic numerals to it.

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And we've got some marks there which tell me that the case is Swiss.

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And it's 14-carat gold. If we close that up, the back's similarly beautifully engraved with flowers

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and scrolls on this machine-turned ground. Quite exquisite.

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And we've got the dust cover there

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which says it's "15 Rubis",

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15 jewelled movements.

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And that's probably going to be quite standard. And there's the standard Swiss cylinder movement.

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-It's lovely and thin. It was made for elegance.

-Yes.

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But really if you see how thin that dust cover is, it's more for show than substance.

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It would've been made around 1890, anywhere up to about 1910.

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And it's that typical, showy, Swiss gold engraving that they did terribly well.

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And why have you decided to part with it now?

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It's to de-clutter. I never look at it. I never use it.

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-And so it's...

-It might as well go to somebody who'll appreciate it.

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Unfortunately, I've given this a little shake and there's no ticking.

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So it's not in working order which will make a slight difference to the value.

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-But any idea of what it's worth?

-No idea.

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In running order, it would be about £120 to £180.

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But you've got to take into account someone's going to have to overhaul the movement and do repairs to it.

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So I think at auction we should be putting that in at 80 to 120. We'll put a fixed reserve of £80 on it.

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And hopefully a watch repairer will fall in love with the case and not mind about the movement.

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-But are you happy to put that into auction?

-Yes, I am. Yes.

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So we'll pop it into the sale for you and hope it does really well.

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I hope so.

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Earlier on, we saw Coventry cathedral packed with hundreds of people,

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antiques everywhere, with all of our cameras and lights.

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But I couldn't resist coming back in a quieter moment,

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just to absorb the atmosphere

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and reflect on a lot of the architectural detail.

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For me, it's one of the most successful and inspirational builds

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of its age.

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It captured the mood of the public at one of the most important times

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in British architecture.

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And to understand why, we've got to start outside.

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These are the skeletal remains of the original St Michael's Cathedral,

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which was built during the late 14th and early 15th century.

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It was destroyed during the Coventry blitz

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on November 14th 1940.

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Tens of thousands of other buildings were damaged or destroyed in Coventry

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the same night

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and over 500 people lost their lives.

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The ruined cathedral at once became a very potent symbol

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of the devastation of war.

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The scars caused by aerial bombing

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were clearly visible in many other cities too,

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and the nation mourned.

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But these feelings of despair soon gave way

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to a strong sense of determination

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and the very next day the decision to rebuild the cathedral was made.

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It was most important and monumental of all the postwar buildings

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and it came to represent the hopes and aspirations

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of a war-torn population.

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At the time, the minister for works said,

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"We cannot tell how many people are waiting in this country

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"and abroad for this church to rise

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"and prove that English traditions live again after the blitz."

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200 architects drew up plans and after months of deliberation,

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the winning submission was chosen.

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Basil Spence's design drew him into the media spotlight

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and he became a household name,

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which was unprecedented for an architect.

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But his design came in for a lot of criticism.

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The traditionalists found it too modern

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and the modernists thought it wasn't modern enough.

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Ironically, it is probably this middle ground

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that made this building such a huge success.

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The work took under seven years to complete

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and Her Majesty the Queen attended the consecration

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on 25th May 1962.

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Everybody flocked to see what was dubbed Britain's first space-age cathedral.

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And walking in here today through these glass doors,

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I can only imagine what the public must've felt

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when they were presented with this.

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What a stunning vista. It's so overwhelming.

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These windows were decorated by the artist John Hutton,

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beautifully etched with images of saints and angels.

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Quite stunning.

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But it's that glass wall that you look through

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that gives you an uninterrupted view of the ruins of the old cathedral.

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And radically, Spence left them there in their entirety

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as a constant reminder of the destruction of war.

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It also offers a powerful connection between old and new,

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traditional and modern,

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a sentiment Spence has continued throughout the building.

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The great thing about the design is, wherever you are in the cathedral,

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your view of the altar is never spoiled.

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One of the other key features of the cathedral

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is the use of that most traditional of materials, stained glass.

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In these and other works of art in the building,

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Spence gathered together the foremost artists of the time,

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including John Piper and Graham Sutherland.

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It's a real celebration of British arts and crafts from that period.

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To this day, it remains an important place of pilgrimage

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while continuing to be at the spiritual heart of the community.

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Lay canon Heather Wallace is with me

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to explain why she thinks it's such a special place.

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-Heather, thank you for talking to us today.

-Thank you.

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When was your first connection with the cathedral?

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I came to the area in '58, so the building was going up,

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the staff were being appointed.

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There was a lot of controversy.

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Some people thought it was right, some thought it was wrong,

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-but I think it's all right, it's worked.

-It's done a good job.

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-I think he's done a tremendous job.

-It has worked.

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-There's a wonderful atmosphere, a warmth in here.

-Mm.

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-What do you think everybody's impression is as they walk in?

-If I take a party around,

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I ask them to be quiet and to feel the silence, feel the size.

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And of course they're moved by the ruins very much.

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Yeah, there's a nice dichotomy.

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You come down the steps out of the sadness, if you like,

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into the hope, which is very important.

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That really does work for me, seeing that, seeing the ruins.

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-Yes, yes.

-It's quite a poignant reminder.

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There was a lot of argument about whether they should keep the ruins

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but Basil Spence came up with this idea and it was the right one,

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to have the whole cathedral, part of it ruined and part of it new.

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And we've had people from all over the world come

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and really come to terms with the fact of their own problems with the war

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and you realise that there is always an answer to war,

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there's always an answer to pain

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and you can come in and you can feel that there's hope, really,

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and this is what the new cathedral is, it's hope for the future.

0:21:380:21:41

-Lots of special memories for you?

-Lots of special memories.

0:21:410:21:44

We had a Songs Of Praise with Dresden

0:21:440:21:47

and it was out in the ruins

0:21:470:21:48

and it was a very powerful Songs Of Praise

0:21:480:21:50

when you realise that they were then in East Germany

0:21:500:21:53

and the bombing of Dresden and the bombing of Coventry is very much linked

0:21:530:21:57

and we are very close to Dresden.

0:21:570:21:59

The 50th anniversary of the bombing, when we had the Queen Mother

0:21:590:22:03

and the President of West Germany.

0:22:030:22:05

And the codename for the bombing was Moonlight Sonata,

0:22:050:22:09

this is what the Germans used as a codename.

0:22:090:22:11

Our organist played the Moonlight Sonata

0:22:110:22:14

and we had autumn leaves falling onto the altar...

0:22:140:22:18

-Oh, beautiful.

-..one for every person who had died in the bombings.

0:22:180:22:21

So, yeah, lots of memories and lots of happy times, too. Yeah.

0:22:210:22:25

MUSIC: "Moonlight Sonata" by Beethoven

0:22:270:22:30

Let's see what our first lots will make at auction.

0:22:570:22:59

And here's a reminder of what we're taking. First was June with a trio of trinkets for Michael to value.

0:22:590:23:06

Will they combine to create a great price? Kathleen brought in a German helmet which Will took a look at.

0:23:060:23:12

It's not in mint condition. But these items are very collectable.

0:23:120:23:17

Next up was another Kathleen, whose set of six chairs have been in the family for 101 years.

0:23:170:23:23

But it's time for them to move on to a new owner.

0:23:230:23:27

The Stevengraphs might not be Nic's thing

0:23:280:23:30

but Will thinks the Midlands connection will help them fly.

0:23:300:23:34

And finally, it was back to Michael

0:23:340:23:37

who looked at Valerie's gold watch, Swiss, beautifully decorated, guaranteed to go, you'd think.

0:23:370:23:42

But nothing's certain in the saleroom.

0:23:420:23:46

Today's auction is in Bigwood. Not that big wood, but this Bigwood.

0:23:460:23:51

Bigwood Fine Art Auctioneers is in Tiddington, just outside Stratford-upon-Avon.

0:23:510:23:56

The big names here are auctioneers Chris Ironmonger and Stephen Kaye.

0:23:570:24:02

The sale is about to begin, so time to find out if Michael and Will's valuations strike the right note.

0:24:020:24:10

You certainly wouldn't want to sit down on this lot if somebody left it on a chair, would you, Kathleen?

0:24:100:24:16

-God, it would hurt.

-Comedy moment.

-We've got a German Pickelhaube helmet with a big spike on the top.

0:24:160:24:23

-Yes, it was just a bit misshapen, I think.

-Yes.

-It had a bit of cracking on that leather cover.

0:24:230:24:29

-The chin-strap was missing.

-Yes.

-So how did you come by this anyway?

0:24:290:24:33

I thought that my mother-in-law used to have a German lodger.

0:24:330:24:38

-But my friend who's here says he doesn't remember it.

-The mystery deepens about this German lodger.

0:24:380:24:45

We go to Lot 415, which is the Pickelhaube helmet.

0:24:450:24:51

-I've got some bids here on the book. I can start here at £80.

-That's OK.

0:24:510:24:57

95. 100. And 10. 120. 130. 140. 150.

0:24:570:25:01

160. 170. 180.

0:25:010:25:03

190. I'm out. Anybody give me 200?

0:25:030:25:07

All done at 190.

0:25:070:25:09

-Yes! The hammer's gone down. £190.

-Good.

-Well, result!

0:25:090:25:14

-Bit of a "come and buy me".

-A little bit. It was just the condition.

0:25:140:25:18

-But it was nice and original.

-It's a lovely thing. Don't forget there's commission to pay.

-Of course, yes.

0:25:180:25:25

There's a bit of spending money.

0:25:250:25:27

-Yes.

-Unless the German lodger's watching and asks you for his cash back.

-He's got a point.

0:25:270:25:33

Good luck. Valerie's little gold watch is just about to go under the hammer. It's Swiss, 14-carat.

0:25:380:25:44

-Sounds good, Michael.

-Where can you buy a Swiss, 14-carat gold pocket watch for £80?

0:25:440:25:50

-Well, you can't. But hopefully we'll sell it for 200.

-I hope so.

0:25:500:25:55

Good luck. Hopefully, we'll get the top end of the estimate. It's going under the hammer right now.

0:25:550:26:01

Lot number 100 is the gentleman's hunter cased pocket watch.

0:26:010:26:06

And I can start here on the book at £75.

0:26:060:26:09

Good, we're in, in the room.

0:26:090:26:11

90. 5. 100. And 10.

0:26:110:26:15

-120.

-(120!)

-130. 140. 150?

0:26:150:26:18

-140 with the gentleman at the back.

-That's more like it.

-That's good.

0:26:180:26:22

-All done at 140.

-Yes! £140.

0:26:220:26:27

-That's a good result.

-That's brilliant.

-Well done, Michael.

0:26:270:26:31

-Thank you.

-Well, you're happy. The chap that bought it is smiling. So it's a win-win situation.

0:26:310:26:37

-Valerie's shopping later, so she'll be happy as well. Good luck.

-Thanks.

0:26:370:26:41

I've got 40 here. 45. 50. 55, madam? 55. 60.

0:26:410:26:46

We've got some local interest. The Coventry silks are about to go under the hammer.

0:26:460:26:51

They belong to Nic who unfortunately can't be here

0:26:510:26:54

but we've got our expert, Will - he's put a no reserve on this.

0:26:540:26:57

Another no reserve. Good job Nic's not here.

0:26:570:26:59

They could go for a fiver and she won't tell you off.

0:26:590:27:02

No, I'm confident in these.

0:27:020:27:04

As you say, local interest, with the Coventry connection.

0:27:040:27:07

-£50?

-We've put £30-£50. They've got to be worth 30, they could make 50.

-Yes.

0:27:070:27:12

Lot number 485 are the two Stevengraphs,

0:27:120:27:16

regarding the city of Oxford and Coventry.

0:27:160:27:19

-Erm, I've got some bids here on the book.

-Oh, great.

0:27:190:27:23

-That always helps.

-And I can start at £35.

0:27:230:27:25

I'll take 40 from anybody else.

0:27:250:27:27

I'm on the book at 35. Anyone else?

0:27:270:27:30

All done at £35...

0:27:300:27:33

GAVEL BANGS I'm pleased with that.

0:27:330:27:36

-That's what they're worth.

-Yeah. We'll get on the phone to Nic.

0:27:360:27:40

And 20 and 2... I'm out.

0:27:400:27:43

We've got Kathleen's six chairs just about to go under the hammer. I hope we get you top money today.

0:27:440:27:51

They're just about to go under the hammer. This is it now. Good luck.

0:27:510:27:55

Lot 535 - six late 19th, early 20th-century Windsor kitchen chairs.

0:27:550:28:01

Good solid little chairs there. And I'm bid £100. 110. 120.

0:28:010:28:05

130. Is it 140?

0:28:050:28:08

140. 150, if you like?

0:28:080:28:10

For a set of six, they're no money at all at 140. Do you want 150 now?

0:28:100:28:14

At £140. Are you all sure? All done.

0:28:140:28:18

-I don't know if he's sold.

-No. 150 was...

0:28:190:28:24

-150 was the reserve, wasn't it?

-I don't want to take them back.

-Oh, dear.

0:28:240:28:30

I think we might have to find the underbidder

0:28:300:28:34

and see if the auctioneer can let them go to him at 140.

0:28:340:28:38

'Afterwards Kathleen decided to put the chairs back into Bigwood's next auction

0:28:380:28:44

'with a slightly reduced reserve.'

0:28:440:28:46

-June, £200 to £300 riding on a nice little lot, isn't it?

-Oh, it's so interesting.

-A bit of treen.

0:28:460:28:52

-And a bit of this and that.

-It's the most fascinating little lot.

-A collector will love these.

0:28:520:28:59

-Absolutely.

-You'll just muse over them. There's lots of fascinating stories. Your mum had a good eye.

0:28:590:29:05

-She certainly did.

-Anyway, we're going to flog them. They're going under the hammer now.

0:29:050:29:11

335 is a late Georgian, early Victorian perfume bottle set

0:29:110:29:15

and also the German nutcracker and seal box. 100 for this?

0:29:150:29:20

Get me started at 100? I'm bid 80.

0:29:200:29:22

It's a bit of a low start there.

0:29:220:29:24

110. 120. 120. 130. 140.

0:29:240:29:27

-150. 160.

-It's getting faster.

-170.

0:29:270:29:31

180, is it? It's 170 in the far corner. At 170.

0:29:310:29:35

At 170, I'm going to sell it. Make no mistake. In the far corner at 170.

0:29:350:29:40

-Yes. He's sold it.

-He sold it.

-Just under that.

-Yes, just under that.

0:29:400:29:45

-And someone will really enjoy that lot as well.

-A very tactile lot.

-The nutcrackers in it were fantastic.

0:29:450:29:52

-They were.

-I wanted to get them. I couldn't. But just to polish them.

0:29:520:29:56

-Because once you put a bit of wax on them, they'll just spring to life.

-Thank you for bringing them in.

0:29:560:30:03

-Thank you for looking after me.

-Aw.

-Thank you, Michael.

-You couldn't be the only one to get a kiss, Paul.

0:30:030:30:10

Before we go back to Coventry, I'll take a trip to a picturesque village just down the road in the Cotswolds.

0:30:100:30:17

It's home to a museum I've been wanting to visit for a long time.

0:30:170:30:21

These are the original drawings of one of the most important

0:30:310:30:35

and influential designers of the 20th century. He was a very passionate and talented draughtsman.

0:30:350:30:41

And he had a profound impact on the development of modern furniture and how we relate to design today.

0:30:410:30:48

And his name was Sir Gordon Russell.

0:30:480:30:50

This was his original workshop. It's now a wonderful museum dedicated to his lifetime achievements.

0:30:500:30:57

And it houses the most fabulous collection of furniture designed and championed by him.

0:30:570:31:04

Gordon Russell's furniture and designs tell the story of his life.

0:31:100:31:15

A life that went through distinct and often contrasting phases.

0:31:150:31:20

But throughout his life, he focused on one common goal

0:31:200:31:25

and that was to design, conceive and construct well-made furniture.

0:31:250:31:29

In his own words, "decent furniture for ordinary people". And that would become his mantra.

0:31:290:31:36

To understand Russell's work, we need to travel back to his childhood,

0:31:380:31:44

and how a family move would influence the rest of his life.

0:31:440:31:49

The museum's here in the village of Broadway in the Cotswolds.

0:31:490:31:53

And it was to this very building that the Russell family moved when Gordon was a 12-year-old boy.

0:31:530:31:59

Russell became a weekly boarder at Chipping Campden School.

0:31:590:32:03

And it was there that he got fascinated by local craftsmen and what they made.

0:32:030:32:10

He got a first-hand experience of an artistic and social movement, Arts and Crafts.

0:32:100:32:15

The Arts and Crafts Movement originated towards the end of the 19th century.

0:32:150:32:20

Its focus was on hand crafts and it celebrated the workmanship of design and production.

0:32:200:32:25

It was about simplicity and honesty, taking pleasure from construction as much as the end product.

0:32:250:32:31

The Movement opposed mass production, machine manufacturing and industrialisation.

0:32:310:32:37

When Russell was growing up in the Cotswolds, it was the very centre of the Arts and Crafts Movement.

0:32:370:32:43

This was to have a profound influence on Russell's entire life's work.

0:32:430:32:48

This has got to be my favourite piece in the museum.

0:32:480:32:52

And here is the original stencil that Gordon Russell drew to give to the cabinet-maker

0:32:520:32:58

to use as a template for the inlay.

0:32:580:33:01

He's copied it absolutely beautifully. The more you look at this, the more detail you can see.

0:33:010:33:07

On the stand, you see these lovely octagonal legs.

0:33:070:33:11

Look at these bog oak-inlaid chevrons moving all around the leg.

0:33:110:33:15

That really is a joy to behold, that piece.

0:33:150:33:18

Although Russell was heavily influenced by the ethos of the Arts and Crafts Movement,

0:33:180:33:24

he was also realistic about the cost of his designs and how it limited their mass appeal.

0:33:240:33:30

He wanted everybody to enjoy his furniture and his design.

0:33:300:33:34

The only way to achieve this was to adopt machine-led production,

0:33:370:33:42

something that wholly opposed his Arts and Crafts roots.

0:33:420:33:46

But it didn't deter him though.

0:33:460:33:48

Russell believed that the machine could be tamed and taught manners and work in harmony with Man.

0:33:480:33:55

By the late 1920s, Russell was beginning to realise his dream

0:33:550:33:59

and was in the most productive design phase of his life.

0:33:590:34:03

However, a downturn in the global economy threatened the business.

0:34:030:34:07

A chance phone call would change his fortunes for ever.

0:34:070:34:10

It was from an Irish radio engineer called Frank Murphy.

0:34:100:34:14

Murphy wanted well-made, modern-looking, precisely designed bodies for his new radios

0:34:140:34:19

and Gordon Russell responded immediately.

0:34:190:34:22

Here are a few of the designs. Look at these lovely radios!

0:34:220:34:26

It's no wonder they were an instant success and they moved the company into a new phase of prosperity.

0:34:260:34:33

The radios showed that there was a market for modern, well-built furnishings.

0:34:340:34:39

It also proved to the company that they could successfully engineer in wood,

0:34:390:34:44

producing items for the mass market,

0:34:440:34:47

whilst preserving the design principles the firm was built on.

0:34:470:34:51

Just as the company was expanding,

0:34:530:34:56

Gordon Russell stepped back from its management and suddenly and completely stopped designing.

0:34:560:35:02

He was approaching his 50s and I guess he saw his professional life drawing to a close,

0:35:020:35:07

but little did he know that events on a global scale were about to set his life off on a different course.

0:35:070:35:13

'This is London. You will now hear a statement by the Prime Minister.

0:35:160:35:21

'I have to tell you now this country is at war with Germany.'

0:35:210:35:27

With the outbreak of World War Two, there was a sudden and profound need for general use furniture.

0:35:270:35:34

Many people's possessions were being destroyed and there wasn't the raw materials or technical ability

0:35:340:35:41

to continue general production.

0:35:410:35:43

What was needed was simple, functional, well-built furniture that could be mass-produced.

0:35:430:35:49

To his surprise, Russell was asked to join the team

0:35:490:35:52

overseeing the design and manufacture of utility furniture.

0:35:520:35:56

It was a vital part of the war effort,

0:35:560:35:59

but also a perfect opportunity to continue his lifetime crusade

0:35:590:36:03

to produce decent furniture for ordinary people.

0:36:030:36:07

Russell's role working on utility furniture led to other management positions in the design community.

0:36:070:36:13

However, as the decades passed, Russell was to retreat

0:36:130:36:18

from public life back to his beloved Cotswolds.

0:36:180:36:22

At the ripe old age of 84, Gordon Russell's life came full circle.

0:36:240:36:28

He started to put pen to paper and design again.

0:36:280:36:31

Even though he hadn't drafted a single thing for the last 50 years,

0:36:310:36:35

he still had a far-reaching impact on the design world,

0:36:350:36:39

a profound influence.

0:36:390:36:41

But in his heyday, he just threw himself into the things he loved

0:36:410:36:46

and what inspired him most was the Arts and Crafts Movement.

0:36:460:36:50

This little yew wood occasional table is one of the last things he designed and it was done in 1979.

0:36:500:36:57

Sadly, three years later, he died.

0:36:570:37:00

But what a wonderful legacy he's left! Incredible.

0:37:020:37:06

Welcome back to the valuation day at Coventry Cathedral. Still people are pouring in.

0:37:400:37:46

Everyone who comes to one of our events is guaranteed a valuation, so we should be here for a while.

0:37:460:37:53

Tracy, I don't often get to see a lot of furniture on Flog It because it's not very portable,

0:37:530:37:59

but for me it's a nice change because I specialise in furniture.

0:37:590:38:03

-Where has this come from?

-It's my grandma's and it sat in her hallway for as many years as I can remember.

0:38:030:38:09

Has she got any other bits that are similar dotted around the house?

0:38:090:38:13

No, this is the only piece.

0:38:130:38:15

Originally, it would have been part of a salon suite, as we call it,

0:38:150:38:19

so there would have been a couple of single chairs, a couple of armchairs and this settee.

0:38:190:38:25

-Any idea of how old it is?

-No.

0:38:250:38:28

I would think you're looking at late 19th century, early Edwardian.

0:38:280:38:32

-Of its type, it's actually a nice one.

-Yeah.

0:38:320:38:35

There's a nice bit of carving on the back here.

0:38:350:38:39

We've got these acanthus scrolls that are carved in.

0:38:390:38:42

It shows a bit of quality in the manufacture, shall we say?

0:38:420:38:46

Have you ever been tempted to put it into your home?

0:38:460:38:50

No, never. It's quite sad cos it's just sat there all these years. Nothing's been done with it.

0:38:500:38:55

That's the trouble with these. How do they fit into the modern home?

0:38:550:39:00

They're not exactly primary seating any more.

0:39:000:39:03

You're not gonna put one of these in your sitting room or TV room

0:39:030:39:07

and chuck out the comfy three-seater sofa that you can really relax in,

0:39:070:39:12

so they're a little bit formal and upright for today's living.

0:39:120:39:16

Have you thought about how much it's worth?

0:39:160:39:19

No, it's just sat there. I haven't given it a thought at all.

0:39:190:39:23

It's not gonna be hugely valuable,

0:39:230:39:25

but of its type, it's got just enough detail that just helps lift it up from the norm.

0:39:250:39:30

We've got a little moulding along the edge, then these acanthus-leaf carvings here,

0:39:300:39:35

which again was that sort of Georgian revival of the scrolling acanthus.

0:39:350:39:40

And that's nicely echoed again in the arm supports.

0:39:400:39:45

So it's got just enough that...

0:39:450:39:48

It's obviously taken someone a little bit more effort to make this example

0:39:480:39:53

than one that's just thrown together without any carving and so on.

0:39:530:39:57

So, value-wise, I'm thinking of about 100, that sort of level, 150.

0:39:570:40:02

-Would you be happy with that sort of money?

-Yeah, I'd have thought so.

0:40:020:40:06

-You want a reserve of 100?

-OK.

-You want it back if it doesn't sell?

-No.

0:40:060:40:10

-No reserve then?

-No, put a reserve on it.

-You want a reserve on it, but you don't want it back!

0:40:100:40:16

-We'll put £100 on it with discretion. How's that?

-Definitely.

0:40:160:40:21

-Hopefully, on the day, we'll get it away and someone else can enjoy it.

-I hope so.

0:40:210:40:26

-Shall we see if it's comfy?

-Yeah.

0:40:260:40:28

-It's not bad, actually.

-It's not too bad.

-I could get used to this.

0:40:300:40:34

-Linda...

-Hi.

0:40:420:40:44

I don't think I've ever seen a dog with such a surprised expression before. What have you done to him?

0:40:440:40:50

-It must've been all the tugging around as a child.

-So he was yours as a little girl?

-Hmm.

0:40:500:40:55

-Did he follow you everywhere?

-He did when I was learning to walk.

0:40:550:40:59

-It was more my own dog.

-Where has he been living the past few years?

0:40:590:41:05

-The past few years, he's been in my mum's cupboard.

-Oh, dear. It's no place for a lad like that.

0:41:050:41:11

-No.

-Even with that... Oh, dear me. ..with that expression.

0:41:110:41:15

-Do you know when and where he was made?

-I think Germany. When I was a child, my father was in the forces.

0:41:150:41:22

And my mother bought him. She tried to buy me a dog... a frame to teach me to walk,

0:41:220:41:28

but in Germany at the time, they didn't have any, so she bought me this for Christmas instead.

0:41:280:41:34

So it was the Alsatian or the German shepherd on wheels?

0:41:340:41:38

-That's it.

-You have to look in the ears of these things, especially when you say "Germany".

0:41:380:41:44

And sure enough, we've got the little Steiff button.

0:41:440:41:47

If you need reaffirming that it's all genuine, all of the wheels are marked "Steiff" as well.

0:41:470:41:53

And I think it was probably new or slightly second-hand when you had it.

0:41:530:41:59

It's certainly a dog that would have been produced from 1950 up until the late '60s.

0:41:590:42:05

-It's a bit of fun. This ring does something, doesn't it?

-It barks.

0:42:050:42:09

-Let's give it a go.

-FAINT BARKING SOUND

0:42:090:42:12

-It wouldn't be terribly good as a security dog.

-Not really.

0:42:120:42:16

If you heard that, you'd be encouraged, not put off.

0:42:160:42:19

-The all-important buttoned ear has had a little bit of restoration done to it.

-Yes.

0:42:190:42:25

-Because it's actually on the wrong way round. Any idea of what it's worth?

-I haven't at all, no.

0:42:250:42:32

It's not a fortune, unfortunately.

0:42:320:42:35

Had it been 50 years earlier, it might have been a small fortune.

0:42:350:42:39

-But as it is now, I think at auction, it's £50 to £100.

-Yeah.

0:42:390:42:44

And hopefully, somebody will be looking for a little dog to teach their little one to walk

0:42:440:42:50

-and it will find a good home. Are you happy to sell him now?

-Yes, I'm ready.

0:42:500:42:55

Get him out of the cupboard, give him a new lease of life?

0:42:550:42:58

Let's hope he doesn't bark too loudly and put everybody off!

0:42:580:43:02

-Thanks for bringing him in.

-Thank you.

0:43:020:43:05

Christine, what a menagerie you've brought in for us today!

0:43:100:43:15

Has this come out of a love of all things animal or are you particularly interested in Beswick?

0:43:150:43:21

-Well, we've just got interested in collecting them over the years, you know.

-Yes.

0:43:210:43:27

-Have you bought most of these from fairs or sales?

-No, from Coventry shops, like, you know.

-OK.

0:43:270:43:33

We've seen a lot of Beswick on the programme, Flog It. There's only so much you can say about it.

0:43:330:43:39

-It was established sort of late 19th century.

-Yes.

-That's right.

0:43:390:43:45

Really as a reaction towards the Doulton and Worcester figures

0:43:450:43:50

that were at the top end of the market, shall we say, the Doulton and Worcester figures.

0:43:500:43:56

These were mass-produced. These were produced in large numbers,

0:43:560:44:01

though some models were limited and rarer than others.

0:44:010:44:04

-Rarer, yes.

-Exactly. As special editions or such like and they can command good prices even today.

0:44:040:44:10

I've had a quick look over what you've brought in and I'm not pretending to be a Beswick expert.

0:44:100:44:16

It's not really my field, but a lot of these I have seen before.

0:44:160:44:21

You've got the bird figures which we've seen before, the foxes are quite common.

0:44:210:44:26

The dogs again are quite a popular series of Beswick.

0:44:260:44:30

They are so popular.

0:44:300:44:33

-This chap here's not Beswick, but he's sneaked in.

-Which one?

-The little poodle.

0:44:330:44:37

But why not keep him with the others?

0:44:370:44:40

Then these are rather later, these more matt finishes.

0:44:400:44:44

The market for Beswick is not as strong as it has been.

0:44:440:44:48

I would suggest, just totting it up in my head...

0:44:480:44:51

-I don't want to go over the top on the valuation.

-Oh, no.

0:44:510:44:56

-You've decided to sell.

-Yes.

-Let's put a sensible figure on them.

0:44:560:45:00

I'm thinking of putting a figure on these, as a group, as one lot.

0:45:000:45:04

-The more in the lot, the more interest it's gonna generate.

-Yes.

0:45:040:45:08

I'm thinking of putting £200 on for the lot.

0:45:080:45:12

-That may not sound a lot.

-I think they'd be worth more than that.

0:45:120:45:16

I hope I'm wrong and someone watching is screaming at the TV,

0:45:160:45:20

saying, "That's a rare example, it's worth £100 on its own!"

0:45:200:45:24

I hope that's true. Let's reserve them at 200 to make sure they don't make any less.

0:45:240:45:30

-No, otherwise it wouldn't be worth selling them.

-We'll put 200 fixed reserve on them.

0:45:300:45:36

-Hopefully, the money will go towards collecting something else now?

-No, towards a new carpet.

0:45:360:45:41

-What's happened to the old one?

-It's worn out.

0:45:410:45:45

-Worn out?

-Yes.

-At least we know it's going for a good cause.

0:45:450:45:49

We're going for a new carpet for Christine and we're using the Beswick to raise the cash.

0:45:490:45:55

-£200 minimum, but we hope for more.

-Yes.

0:45:550:45:57

-We'll see you on the day, Christine.

-Thank you very much.

0:45:570:46:00

Karen, you've made my day today

0:46:040:46:08

bringing this little collection along.

0:46:080:46:10

Can you tell me where they've originally come from?

0:46:100:46:13

They came to me via my father and from his father.

0:46:130:46:17

-Right.

-Acquired before 1918, which is when my grandfather died.

0:46:170:46:22

Well, I'd say your grandfather had quite a good eye

0:46:220:46:25

when he was buying these.

0:46:250:46:26

-As you might know, most of these are ivory.

-Yes.

0:46:260:46:30

-They're actually all from Japan.

-Right.

0:46:300:46:33

And the earliest one is this one here

0:46:330:46:36

and funnily enough, he isn't ivory.

0:46:360:46:38

He's bone.

0:46:380:46:41

And you can tell that because you've got that very coarse, open grain.

0:46:410:46:45

And that is a netsuke. If you were a Japanese gentleman,

0:46:450:46:49

-you wore a robe with no pockets...

-Yes.

0:46:490:46:52

-..and a wide sash round your waist.

-Yes.

0:46:520:46:56

So everything you needed was carried in a series of small pouches

0:46:560:47:00

and they're secured by a cord that goes through the sash

0:47:000:47:03

and then to stop it slipping down, you have a toggle or a netsuke.

0:47:030:47:07

After about 1870, Japanese dress was banned,

0:47:070:47:12

so the netsuke carvers thought, "What are we going to do for a living?"

0:47:120:47:16

And they moved on to little carvings like this.

0:47:160:47:18

-Technically, this is still a netsuke.

-Right.

0:47:180:47:21

It's got two carved holes for the cord

0:47:210:47:24

but they're just a vestige of what it used to be.

0:47:240:47:27

It's really a little three-dimensional carving.

0:47:270:47:30

We've got a little turtle or a little devil

0:47:300:47:33

being caught under a cabbage leaf

0:47:330:47:36

and it's beautifully and sensitively carved.

0:47:360:47:39

That's a lovely thing. Going on from that,

0:47:390:47:41

this is really super quality.

0:47:410:47:44

And that's a little chap cutting the divisions in a comb.

0:47:440:47:48

-He's a comb maker. We're left with these four...

-Right.

0:47:480:47:51

..which are little okimono, little carvings,

0:47:510:47:54

but they're of less good quality.

0:47:540:47:56

And I would imagine that we would put all of those together

0:47:560:48:00

in one lot at auction

0:48:000:48:02

whilst we treat these as separate entities.

0:48:020:48:04

-OK.

-So we would say £80-£120 for those,

0:48:040:48:08

-with a fixed reserve of £80.

-Right.

0:48:080:48:11

These are a little more speculative and would be individual lots.

0:48:110:48:15

This, because it's bone, even though it's early, £60-£100

0:48:150:48:20

with a £60 reserve.

0:48:200:48:22

It could do a little bit better.

0:48:220:48:24

These two are the stars for me.

0:48:240:48:26

-The oni grasping the little turtle under the leaf, £150-£250...

-Right.

0:48:260:48:34

-with a fixed reserve of £150.

-OK.

0:48:340:48:37

And this little comb maker,

0:48:370:48:39

even though he's got a slightly broken comb, again...

0:48:390:48:43

Actually, £200-£300 for him,

0:48:430:48:46

with a fixed reserve of £200 because he's so delightful.

0:48:460:48:49

Well, I think.. I normally say I hope these do well at auction,

0:48:490:48:52

I'm sure they will do well at auction

0:48:520:48:54

-and we'll be there to see how well they go.

-Fine.

0:48:540:48:57

-Thank you for bringing them in.

-It's a pleasure.

0:48:570:48:59

That's all from Coventry's splendid cathedral.

0:48:590:49:02

Here's a reminder of what's going under the hammer at the auction.

0:49:020:49:06

Will and Tracy might be getting comfy on her Edwardian-style sofa, but will the price put her at ease?

0:49:060:49:12

Linda's dog's bark might be about as harmless as its bite,

0:49:120:49:16

but that Steiff name alone should warrant some interest.

0:49:160:49:20

Michael's convinced Karen's Japanese carvings

0:49:230:49:26

will race out of the auction room.

0:49:260:49:28

And finally, Will took a look at Christine's Beswick zoo - quality and quantity!

0:49:280:49:33

Let's hope someone has an ark on stand-by to take this lot home.

0:49:330:49:39

Things are moving along nicely. You could say so far, so good.

0:49:390:49:43

-I could say that again - sofa, so good! Tracy...

-Hiya.

0:49:430:49:47

-The Edwardian...?

-I like it.

-Do you like my gag?

-Yes, Paul.

-Took me a long time to think of that!

0:49:470:49:53

We've got £100 to £150, it's Edwardian-looking...

0:49:530:49:57

It's a cracking little seat. If you want a good seat to sit on for £150, that's a bargain.

0:49:570:50:02

We find them in the bedroom, end of the bed, somewhere to throw your clothes at the end of the day...

0:50:020:50:09

-I chuck mine on the floor.

-So do I.

-I'm from the same school as you two!

0:50:090:50:13

-Good luck. Here's the sofa going under the hammer.

-Thank you.

0:50:130:50:16

Lot 520 is a Victorian, Edwardian mahogany parlour settee.

0:50:160:50:20

-I can start this off at £100 with a bid on the book.

-Yes!

0:50:200:50:23

That's good, straight in!

0:50:230:50:25

110. I'm clear. 120 anywhere else?

0:50:250:50:28

At 110. 120. 130. 140, sir?

0:50:280:50:31

-140? 130...

-It's the room against the commission bidder.

0:50:310:50:35

130, I'm gonna sell it. Last chance at 130...

0:50:350:50:38

-Great. Good. Mid-estimate. Are you happy with that?

-Very happy.

0:50:390:50:43

-What will you do with 130 quid? Bit of commission to pay.

-It'll all go towards Grandma's care.

0:50:430:50:49

-Gran's gone into care?

-Yeah.

-So, to look after her?

-Yeah.

0:50:490:50:53

-What's her name?

-Barbara.

-Barbara, I hope you're watching this, and good luck.

0:50:530:50:58

-Good luck to you as well.

-Thank you. I was pleased with that.

-Me too.

0:50:580:51:02

Right now it's time to find out... # How much is that doggie in the saleroom? #

0:51:050:51:10

-It belongs to Linda and he's a good pedigree, isn't he?

-Oh, he is.

0:51:100:51:14

Will you be sad to say goodbye because you've used this little doggie as a walking aid?

0:51:140:51:20

I did. He was lovely to grow up with, but he's been in a cupboard for 30-odd years.

0:51:200:51:25

-A bit of daylight might do him a bit of good.

-As breeds go, he is "best in show".

-He's charming.

0:51:250:51:31

-Top name.

-Top name. The bark almost went on valuation day, but we got it back.

0:51:310:51:36

We did a bit of resuscitation and for £50, it's a piece of Steiff, isn't it?

0:51:360:51:42

-Yeah. Hopefully for 100.

-I hope so.

0:51:420:51:45

Lot 470, this is a pull-along Steiff dog.

0:51:450:51:50

50 quid for the dog?

0:51:500:51:52

Thank you. Anybody give me another fiver? Thank you. And 60?

0:51:520:51:56

-And 5.

-Yes!

-And 70? 65 at the very, very back.

0:51:560:52:00

Anybody give me 70? Are we all done...?

0:52:000:52:03

-£65.

-Super.

-Yes.

0:52:030:52:06

-That's mid-estimate.

-Yeah.

0:52:060:52:08

-And hopefully, it's gonna go to someone who is gonna learn to walk with it.

-Exactly.

0:52:080:52:14

-It would be lovely.

-The ideal finish.

-It would be lovely.

-It would.

0:52:140:52:18

Next up, we have a Beswick zoo for sale.

0:52:220:52:25

Not quite, but it is 31 animals which have been split into a dozen or so lots.

0:52:250:52:30

They belong to Christine. Let's find out what it's all about.

0:52:300:52:34

OK, were you a big collector?

0:52:340:52:37

-Well, my husband started collecting them.

-He started you off.

0:52:370:52:42

-You bought one or two every year and built up a collection?

-That's right, yes.

0:52:420:52:47

-Why are you selling now?

-I want a new carpet for my living room.

0:52:470:52:51

That's a fair exchange. I'd swap my Beswick for a carpet!

0:52:510:52:56

I'd swap my Beswick for a rug!

0:52:560:52:59

Let's hope it doesn't get pulled under our feet today.

0:53:000:53:03

-They have been divided up into lots of different lots. Some figures are more collectable than others.

-Yes.

0:53:030:53:10

At the valuation day, we put it all together as one lot,

0:53:100:53:13

but the auctioneer knows his market and decided to split it up into smaller lots.

0:53:130:53:19

-Let's start off with the first lot. It's a Dalmatian followed by a fox. Ready?

-Yes.

-Let's go.

0:53:190:53:24

15, madam? 15. 20?

0:53:240:53:27

15, lady's bid. I'm gonna sell at £15...

0:53:270:53:30

-Good start, 15.

-25 with me. 28.

0:53:300:53:33

Any advance on £30?

0:53:330:53:36

That's £30. The next is a collection of animals.

0:53:360:53:39

And 307, some more Beswick - the mouse, the donkey, etcetera.

0:53:390:53:44

I've got 35 on my right. At £35, I'm gonna sell it.

0:53:440:53:47

-£35...

-Yes! And now we've got an eagle. Let's watch this one fly!

0:53:470:53:52

Starting at 30 on the book. 5 in the room?

0:53:520:53:55

35. At 35. It's yours, sir.

0:53:550:53:58

309, we've got the Spirit of Fire this time, the grey horse.

0:53:580:54:02

I've got 30 here. 32. 34. Any advance on 34...?

0:54:020:54:06

-Now the horse, the palomino.

-The palomino.

0:54:060:54:09

55. 60. 65. 67. Any advance on 67...?

0:54:090:54:12

Yes! We've got some birds.

0:54:120:54:16

With me on the book at 50. 60. 60. And I'm clear.

0:54:160:54:20

60. 70 now? At £60...

0:54:200:54:23

-That's good.

-I meant to bring a toby jug!

0:54:230:54:27

The kestrel, the song thrush and an owl. 70 with you, sir.

0:54:270:54:31

-5, anywhere? £70, thank you.

-We're in the money!

0:54:310:54:35

We've got the stag family.

0:54:350:54:37

66. 68. 70.

0:54:370:54:40

£70. The lady's bid at 70...

0:54:400:54:43

-So far, so good. We've got a woodpecker, a kingfisher.

-Yes.

0:54:430:54:48

85. 90? 85 it is. By the door here at £85.

0:54:480:54:53

Going at 85. All finished and done...?

0:54:530:54:55

That's the last lot gone. That's brilliant.

0:54:550:54:59

-We've sold absolutely everything.

-Smashing, yes.

0:54:590:55:02

-The collectors were really here today.

-Yeah.

-I make that a total of...

-I make it £501.

0:55:020:55:08

-Just over 500 quid. That's fantastic.

-Smashing.

0:55:080:55:12

-That's a quality carpet.

-Lovely, yes.

0:55:120:55:14

-Thank you so much for bringing them all in.

-Well done.

-Thank you.

0:55:140:55:17

Next up, Karen's netsuke. It is a touch of the Orient.

0:55:250:55:28

Lovely Japanese carvings.

0:55:280:55:30

-The detail is superb on some of these, you've got to agree.

-I do.

0:55:300:55:34

You must've looked at them and mused over them.

0:55:340:55:36

-Unfortunately, they've always been hidden away.

-In a box.

0:55:360:55:40

-They've never been on show.

-You've split them into four lots.

0:55:400:55:44

-Talk us quickly through those.

-The little monkey bone netsuke,

0:55:440:55:47

which you can tell because it's flecked,

0:55:470:55:49

that's the most esoteric of the four and that might struggle.

0:55:490:55:54

But the other three are fine, Japanese ivory carvings.

0:55:540:55:57

I had a chat to the auctioneer before the sale started

0:55:570:56:00

and we both loved the carpenter, the guy with the saw.

0:56:000:56:03

-Yes, the comb maker.

-Oh!

-He's making combs.

0:56:030:56:06

And lot 365 is the carved bone netsuke,

0:56:060:56:09

fashioned as a seated monkey wearing an overcoat.

0:56:090:56:12

40, I'm bid, 40 and 5. 50, is it?

0:56:120:56:14

50 and 5, do I hear? 60.

0:56:140:56:17

And 5. On this phone now, at 60. I'm going to sell it to them.

0:56:170:56:20

All done?

0:56:200:56:21

The first's one sold for 60. Here's the second.

0:56:210:56:24

20th-century Japanese ivory okimono,

0:56:240:56:26

the man with the body of a monkey and three seated figures.

0:56:260:56:29

Who's got 50 for this? 50.

0:56:290:56:32

50, 60, 70. 80?

0:56:320:56:34

70, over there. At 70. Back of the room at 70.

0:56:340:56:37

-Here, 80.

-80 on that phone.

0:56:370:56:39

80. Would you like 90? At 80. On this telephone at £80.

0:56:390:56:43

Last chance. I'm going to sell it at 80.

0:56:430:56:45

-The bid's up here.

-GAVEL BANGS

0:56:450:56:47

-Yes.

-Just made it.

-Here's the third.

0:56:470:56:50

Lot 367, an ivory Japanese carved okimono, an artisan,

0:56:500:56:54

a seated worker with his saw on a block.

0:56:540:56:57

150? 150, I'm bid. 160, is it?

0:56:570:57:00

At £150. At 160. 160, 170. 180?

0:57:000:57:04

180, 190. 190, 200?

0:57:040:57:06

At £190. Are we all finished?

0:57:060:57:09

Are you sure?

0:57:090:57:11

-GAVEL BANGS

-Yes!

-Fourth and final one.

0:57:110:57:15

A little monster pulling a turtle.

0:57:150:57:17

Who's going to start me at £100? Straight off at 100. 110.

0:57:170:57:20

120? 120. 130, now.

0:57:200:57:24

-Come on, come on.

-£130, there.

0:57:240:57:27

-130, 140?

-140? Yes.

0:57:270:57:29

140, 150? 150. 160?

0:57:290:57:32

-Yes.

-160. 170?

0:57:320:57:33

-180?

-Yes.

-180. Will you go 200, madam?

0:57:330:57:36

-200. 220?

-Yes.

-220.

0:57:360:57:38

240? 240.

0:57:380:57:40

-260?

-260? Yes.

-260.

0:57:400:57:44

280? 280. 300?

0:57:440:57:46

-Yes.

-300. 320? 320.

0:57:460:57:49

-340 on the top phone?

-Yes.

-340. 360?

0:57:490:57:51

340. On the top phone at 340. Any further advance on 340?

0:57:510:57:56

GAVEL BANGS

0:57:560:57:57

-Oh, brilliant!

-A fantastic result.

-Thank you.

-I tell you, Karen,

0:57:570:58:01

-you've got £670.

-Brilliant.

-That is fantastic.

0:58:010:58:05

-Quality always sells.

-Yes, that's the mantra.

0:58:050:58:08

Remember that. Quality always sells.

0:58:080:58:10

What a fantastic day we've had at Bigwood's auction rooms.

0:58:100:58:13

I think that was the final act from Stratford-upon-Avon,

0:58:130:58:16

so from all of us here, it's cheerio until the next time.

0:58:160:58:19

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