Browse content similar to Brighton. Check below for episodes and series from the same categories and more!
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Being on the south coast an hour from the capital, no wonder this place is a day-tripper's paradise. | 0:00:03 | 0:00:09 | |
Welcome to Flog It from London-by-the-Sea - sunny Brighton! | 0:00:09 | 0:00:13 | |
Brighton has been a fashionable destination since the Prince Regent brought his mistress here in 1783 | 0:00:46 | 0:00:53 | |
for maybe the first dirty weekend | 0:00:53 | 0:00:56 | |
and the exotic Royal Pavilion which he built was certainly the place to be seen in. | 0:00:56 | 0:01:01 | |
But the most fashionable place to be seen today is outside the Regency Corn Exchange | 0:01:03 | 0:01:09 | |
where looking through the bags and boxes for something in vogue | 0:01:09 | 0:01:13 | |
to take to the saleroom are Catherine Southon and Mark Stacey. | 0:01:13 | 0:01:16 | |
-Hello, Ed. -Hi, Mark. -I always like seeing boxes like this | 0:01:30 | 0:01:35 | |
because you never know what's going to be inside. | 0:01:35 | 0:01:37 | |
And even more interesting, lots of inscriptions. Tell me what you know. | 0:01:37 | 0:01:42 | |
It was offered to me at a reasonable price of £20. | 0:01:42 | 0:01:47 | |
-Good Lord! -I spoke to the lady about it. They were going across to France to live. | 0:01:47 | 0:01:53 | |
I obligingly bought it, opened it up and it appeared to have never been used or seen the light of day. | 0:01:53 | 0:02:00 | |
We'll come on to that in a second. | 0:02:00 | 0:02:03 | |
We have this nice inscription, | 0:02:03 | 0:02:06 | |
which is, "First prize presented by Baron Profumo." | 0:02:06 | 0:02:11 | |
I don't think he would have given it as a personal gift. He was probably the grandee at the event. | 0:02:11 | 0:02:18 | |
It was presented as a prize for something. | 0:02:18 | 0:02:22 | |
It's a very interesting case. | 0:02:22 | 0:02:24 | |
When we open it up, we see exactly what we've got inside - | 0:02:24 | 0:02:28 | |
this very nice little Art Nouveau morning set. | 0:02:28 | 0:02:32 | |
I think these are grapefruit spoons. | 0:02:32 | 0:02:35 | |
We've got a butter knife, sugar tongs | 0:02:35 | 0:02:39 | |
and then preserve spoons for your marmalade and jams. | 0:02:39 | 0:02:43 | |
And a little cruet set which I am going to take out for one moment | 0:02:43 | 0:02:47 | |
because I don't think this was originally part of this set. | 0:02:47 | 0:02:51 | |
Stylistically, it's completely different. | 0:02:51 | 0:02:54 | |
We've got a more angular shape with the stepped section. | 0:02:54 | 0:02:58 | |
On the top I would have expected a similar Art Nouveau motif. | 0:02:58 | 0:03:03 | |
When you look at all those pieces, | 0:03:03 | 0:03:05 | |
they are very, very typical of that sort of 1890 to 1905 period. | 0:03:05 | 0:03:10 | |
Very high Art Nouveau. They are silver plate, rather than silver. | 0:03:10 | 0:03:15 | |
But it's obviously lived in there because it fits very snugly in there to protect it. | 0:03:15 | 0:03:21 | |
We also have this little cut-out of three gentlemen in uniform. | 0:03:21 | 0:03:26 | |
-They look like musicians from a regiment. -They certainly do. | 0:03:26 | 0:03:31 | |
And unfortunately, I didn't get a chance to ask the previous owners what the connection was | 0:03:31 | 0:03:38 | |
because it was laying in the bottom underneath this cruet set. | 0:03:38 | 0:03:42 | |
Well, it's got a date on there, "May 24th, 1900." | 0:03:42 | 0:03:46 | |
So it does tie in a bit with 1906. | 0:03:46 | 0:03:50 | |
I thought he may have been the sportsman who this was presented to. | 0:03:50 | 0:03:55 | |
This is the mystery and what makes antiques so interesting. | 0:03:55 | 0:04:00 | |
You find these clues and if you've got an investigative mind, you see if you can develop it any more. | 0:04:00 | 0:04:06 | |
-Looking at value, you didn't pay very much for it. -That's right. | 0:04:06 | 0:04:11 | |
If we were putting it in for auction, I would suggest maybe 100 to 150 with a 100 reserve. | 0:04:11 | 0:04:18 | |
If two people like it, it could go a bit above that. | 0:04:18 | 0:04:23 | |
But with a 100 reserve, we're not giving it away. | 0:04:23 | 0:04:27 | |
-How do you feel about that? -I feel very happy at a 100 reserve. | 0:04:27 | 0:04:31 | |
-At the auction let's hope it makes a lot of money for you. -I hope so too. | 0:04:31 | 0:04:36 | |
-Thank you. -Thank you for your time. | 0:04:36 | 0:04:39 | |
Stella, welcome to Flog It. Thank you for coming along. | 0:04:46 | 0:04:51 | |
You've brought along some rather nice little pieces here. | 0:04:51 | 0:04:55 | |
-Where did you get them from? -They've come down through the family. | 0:04:55 | 0:05:01 | |
They've been there ever since I can remember. | 0:05:01 | 0:05:04 | |
Although they look like Meissen, I don't think they are. I'm not sure. | 0:05:04 | 0:05:10 | |
If you turn these over, we can see that it's got the mark of "AR". | 0:05:10 | 0:05:16 | |
Do you know "AR"? Do you know what that stands for? | 0:05:16 | 0:05:20 | |
I think it stands for "Augustus Rex", but I don't know much else. | 0:05:20 | 0:05:24 | |
Augustus Rex was involved with the Meissen factory. | 0:05:24 | 0:05:28 | |
These aren't actually Meissen. They are a later reproduction. | 0:05:28 | 0:05:33 | |
They would be early 20th century, up to 1920s. | 0:05:33 | 0:05:38 | |
But obviously of that Meissen style. | 0:05:38 | 0:05:41 | |
They would be by another Dresden factory, so still German, but very late. | 0:05:41 | 0:05:47 | |
This piece really caught my eye, | 0:05:47 | 0:05:50 | |
this lovely little chamber stick here. | 0:05:50 | 0:05:54 | |
You put your finger through the hole and your thumb rests on the top | 0:05:54 | 0:05:58 | |
and you would've carried this as you go up to bed, the candle in here. | 0:05:58 | 0:06:03 | |
-This piece looks much finer. -Yes. | 0:06:03 | 0:06:06 | |
Flowers you can see. Much more intricate. | 0:06:06 | 0:06:09 | |
The colour is a lot finer than on these flowers here. | 0:06:09 | 0:06:14 | |
-If you turn it over, it has got the crossed swords. -Meissen mark? -Yes. | 0:06:14 | 0:06:19 | |
A lot of people have copied this, but I think, | 0:06:19 | 0:06:23 | |
I would put money on it, that this is actually Meissen. | 0:06:23 | 0:06:27 | |
-Good. -Unfortunately, I think it is a late piece and these are all of the same sort of period. | 0:06:27 | 0:06:34 | |
So again, early 20th century, | 0:06:34 | 0:06:37 | |
but I think that, unlike these pieces, is actually Meissen. | 0:06:37 | 0:06:41 | |
Yes, when you see them together, it's so much finer. | 0:06:41 | 0:06:45 | |
These aren't so nicely painted, not such good quality. | 0:06:45 | 0:06:50 | |
So taking that into account, | 0:06:50 | 0:06:52 | |
I would like to put on the whole lot probably £100 to £150. | 0:06:52 | 0:06:58 | |
-OK. -With an £80 reserve. -That sounds fine. -Does that sound OK? -Yes. | 0:06:58 | 0:07:03 | |
-These have been in your family a long time. Why are you selling them? -They're very delicate. | 0:07:03 | 0:07:08 | |
You couldn't use them and I don't want them any more, although they're pretty. | 0:07:08 | 0:07:15 | |
-I've got too many other things to show and I don't want to show those. -The time has come. -Yes. | 0:07:15 | 0:07:22 | |
-Good morning, Peter. -Good morning. -This is a charming watercolour. | 0:07:28 | 0:07:33 | |
-What happened here? -After surviving on Granny's wall for decades, it took a tumble in the back of my car. | 0:07:33 | 0:07:40 | |
I suspect somebody would want to reframe it anyway | 0:07:40 | 0:07:44 | |
-and put a new backing on it. -Yeah. | 0:07:44 | 0:07:47 | |
-You inherited the picture? -Yes, it was one of two or three paintings hanging up in my grandmother's house. | 0:07:47 | 0:07:54 | |
That was the one I always liked, so she gave it to me. | 0:07:54 | 0:07:58 | |
-How long have you had it? -I think probably about 25 years. | 0:07:58 | 0:08:03 | |
-Why have you decided to sell it now? -It's been in the attic for so long and it's not my style of painting. | 0:08:03 | 0:08:10 | |
-I've seen something I'd rather buy. -Something more contemporary? -Yes. | 0:08:10 | 0:08:16 | |
You've kind of hit the nail on the head in some ways. | 0:08:16 | 0:08:20 | |
This type of painting is a little bit out of fashion. | 0:08:20 | 0:08:24 | |
It's dated 1871 by Collier who isn't that well-known. | 0:08:24 | 0:08:28 | |
But it's a rather charming subject. | 0:08:28 | 0:08:31 | |
We've got this nice robin's nest on your side with the eggs inside | 0:08:31 | 0:08:36 | |
and these rather nice wild flowers cut in that very framed setting as a watercolour. | 0:08:36 | 0:08:42 | |
You wouldn't find that in real life. Have you thought of the value? | 0:08:42 | 0:08:47 | |
No, not at all. I just thought I ought to bring it along and investigate further really. | 0:08:47 | 0:08:54 | |
It is slightly out of vogue at the moment and it does need a little bit of cleaning and remounting. | 0:08:54 | 0:09:01 | |
Even if the glass hadn't been broken, I think some people would want to reframe it. | 0:09:01 | 0:09:06 | |
At auction, we'd be looking at around £200 to £300. | 0:09:06 | 0:09:11 | |
-How does that grab you? -That sounds great. -Is that OK? -Yeah. | 0:09:11 | 0:09:15 | |
-Would you want to put a reserve on it? -Yeah, I think probably 175. | 0:09:15 | 0:09:21 | |
-I think that sounds sensible. We'll put a fixed reserve of 175. -Right. | 0:09:21 | 0:09:27 | |
-If we can't get that for it, put it back in the loft and see what happens in a few years. -Good idea. | 0:09:27 | 0:09:34 | |
Ann, thank you for coming along. This jumped out at me in the queue. | 0:09:40 | 0:09:45 | |
-Tell me where you got it from. -It belongs to my mother. | 0:09:45 | 0:09:51 | |
She gave it to me a few weeks ago to have valued and I hadn't done anything about it. | 0:09:51 | 0:09:57 | |
I saw an advertisement in the paper that Flog It was coming here. | 0:09:57 | 0:10:02 | |
I thought, "Let's go along and see what happens." | 0:10:02 | 0:10:06 | |
It belongs to your mother, but where did she get it from? | 0:10:06 | 0:10:10 | |
It's been in the family for three generations, but we think it came from an antiques shop. | 0:10:10 | 0:10:17 | |
One of our ancestors had an antiques shop in Cheltenham. | 0:10:17 | 0:10:21 | |
We used to try and blow it as a horn. | 0:10:21 | 0:10:24 | |
-We now know it's a powder horn. -It's a scrimshaw powder horn. | 0:10:24 | 0:10:30 | |
These things were done by sailors on either whale's teeth or indeed on this wonderful horn | 0:10:30 | 0:10:36 | |
for their sweethearts and loved ones back home. | 0:10:36 | 0:10:40 | |
This has got wonderful sunshine on the back. | 0:10:40 | 0:10:44 | |
It's very naively done, but that's its charm. | 0:10:44 | 0:10:48 | |
On the front of this, this man has engraved "Lucy" and perhaps this is Lucy underneath, the sweetheart. | 0:10:48 | 0:10:55 | |
What's rather nice about it is it's got colour | 0:10:55 | 0:10:59 | |
which is something you don't always find on scrimshaw. | 0:10:59 | 0:11:02 | |
This has got red across the belt and also around the arm of Lucy. | 0:11:02 | 0:11:09 | |
These things are very brittle, so they do damage quite easily. | 0:11:09 | 0:11:14 | |
I often see ones with cracks down them or little parts broken. | 0:11:14 | 0:11:19 | |
We can see that there is a little bit that's been broken off this sort of scalloped edge, | 0:11:19 | 0:11:24 | |
but that's not a major problem. | 0:11:24 | 0:11:27 | |
Is it something you're interested in? | 0:11:27 | 0:11:30 | |
No, I'm not interested in it. It's just the tale that it tells. | 0:11:30 | 0:11:34 | |
Lucy's got a spade and there's a graveyard. | 0:11:34 | 0:11:38 | |
-You turn it over and there are some graves. -There's a fort. | 0:11:38 | 0:11:42 | |
-There's the old Union Jack. -That's also coloured in with this red wax. | 0:11:42 | 0:11:48 | |
-Does your mum not like it? -It's in a cupboard. | 0:11:48 | 0:11:52 | |
It's in a polythene bag in the cupboard, she moves it around and it gets damaged. | 0:11:52 | 0:11:58 | |
-Yes. -And she just thinks it ought to go. | 0:11:58 | 0:12:01 | |
-It's time to go. -Time to go. | 0:12:01 | 0:12:03 | |
What would you think it is worth? What would you like it to be worth? | 0:12:03 | 0:12:08 | |
I'd like it to be worth over £200. | 0:12:08 | 0:12:11 | |
-How does £800 sound? -My word! | 0:12:11 | 0:12:14 | |
-No! -That's what I would like it to fetch at auction. -Wow! | 0:12:14 | 0:12:19 | |
These things are very sought after. | 0:12:19 | 0:12:22 | |
-My goodness me! -It is in lovely condition. -I can't believe it. | 0:12:22 | 0:12:26 | |
It's 1830s, 1840s and it should be worth about £800. | 0:12:26 | 0:12:30 | |
My word! How exciting! | 0:12:30 | 0:12:32 | |
Let's put it in the auction at around £800 to £1,000. | 0:12:32 | 0:12:37 | |
Let's put a reserve on of 650 and let's not let it go for any less. | 0:12:37 | 0:12:42 | |
It's a great piece. You've made my day. | 0:12:42 | 0:12:45 | |
-You've made my day too! -Thank you. | 0:12:45 | 0:12:48 | |
-Hello, Paul. -Hello. | 0:12:56 | 0:12:58 | |
-Thank you for coming to see us in Brighton. -Happy to come. | 0:12:58 | 0:13:00 | |
Before we talk about your Edwardian tantalus, | 0:13:00 | 0:13:03 | |
you've got a little bit of family history about it, haven't you? | 0:13:03 | 0:13:07 | |
Well, it belonged to my great uncle, Uncle Will, who died in the '50s. | 0:13:07 | 0:13:12 | |
And the story is that he won this, as third prize, in a bowls tournament. | 0:13:12 | 0:13:17 | |
And I know this is featured here in the little clipping from the paper. | 0:13:17 | 0:13:21 | |
It dates from 1912 and it states the fact that he won third prize in this tournament. | 0:13:21 | 0:13:27 | |
-And to reinforce that, of course, we've also got a little plaque on the front. -That's right. | 0:13:27 | 0:13:33 | |
-Which mentions him. -His name there, yeah. | 0:13:33 | 0:13:36 | |
Third prize. You don't often find this. | 0:13:36 | 0:13:38 | |
It's really nice to see something like this that ties in. | 0:13:38 | 0:13:42 | |
Now, looking at it, it's a fairly straight forward produced tantalus. | 0:13:42 | 0:13:47 | |
And we've got an oak case, with silver plated mounts. | 0:13:47 | 0:13:51 | |
This is quite nice. This is quite a nice feature, the handle there. | 0:13:51 | 0:13:55 | |
And, of course, it was meant, really, to protect your valuable alcohol. | 0:13:55 | 0:13:59 | |
-Absolutely, yeah. -So, when you went out for the evening, you locked this up. | 0:13:59 | 0:14:03 | |
-That's right. -And the servants | 0:14:03 | 0:14:05 | |
then couldn't get their hands on any of your port or sherry or whiskey. | 0:14:05 | 0:14:10 | |
As you're closer than me there, can you show us the mechanism? | 0:14:10 | 0:14:14 | |
-Yeah, sure. -So, if you open that. -You have a couple of keys here. You simply just turn it, it opens, | 0:14:14 | 0:14:20 | |
-and that allows that to come out. -Absolutely. | 0:14:20 | 0:14:22 | |
But it's so closely fit that once it's closed, you can't do anything about it. It's, you know, secure. | 0:14:22 | 0:14:27 | |
Now, we do see these quite a lot and they're always reasonably popular items. | 0:14:27 | 0:14:33 | |
We know, actually, that it was made around 1912. | 0:14:33 | 0:14:37 | |
I think it was relatively new at the time. | 0:14:37 | 0:14:39 | |
Could be a few years older than that. | 0:14:39 | 0:14:41 | |
It could have been donated as the prize. | 0:14:41 | 0:14:43 | |
In terms of the value, I think we're probably looking at something like £100-£150. Something like that. | 0:14:43 | 0:14:51 | |
It might make a bit more, because we've got the family history there. | 0:14:51 | 0:14:54 | |
-And I think it would sell very well at auction. Are you happy to put it in? -I think so, yes. | 0:14:54 | 0:14:59 | |
Wonderful. | 0:14:59 | 0:15:00 | |
I think a swim in the sea is one of the great pleasures of coming to the seaside. | 0:15:14 | 0:15:18 | |
And it all took off really in the early 18th century, when doctors encouraged their patients | 0:15:18 | 0:15:23 | |
to have a dip in the salt water to improve their health and wellbeing. | 0:15:23 | 0:15:28 | |
Now, early bathers were encouraged to bathe naked. | 0:15:28 | 0:15:31 | |
But that wasn't as straightforward as it sounds. | 0:15:31 | 0:15:34 | |
It wasn't appropriate to have people walking naked along the beach. | 0:15:38 | 0:15:42 | |
So a more discreet solution was needed. | 0:15:42 | 0:15:44 | |
Bathing machines - basically beach huts on wheels - | 0:15:44 | 0:15:48 | |
were invented to provide the occupant with the modesty, | 0:15:48 | 0:15:50 | |
and as a way of getting from the top of the beach down to the water. | 0:15:50 | 0:15:54 | |
But fashions changed and by the turn of the 20th century, | 0:15:54 | 0:15:57 | |
it became acceptable to wear a bathing costume and be seen in it. | 0:15:57 | 0:16:02 | |
But people still needed a place to change in, and the answer was static beach huts. | 0:16:07 | 0:16:12 | |
And these soon became a sought after accessory to any seaside holiday. | 0:16:12 | 0:16:17 | |
And nowadays, these brightly painted beach huts | 0:16:17 | 0:16:20 | |
are an iconic symbol of the great British seaside resort. | 0:16:20 | 0:16:24 | |
We tend to take their presence for granted. | 0:16:24 | 0:16:27 | |
So, I'm here to find out a little bit more. | 0:16:27 | 0:16:30 | |
And the person to tell me is Dr Catherine Ferry, | 0:16:34 | 0:16:37 | |
a seaside historian, who's an expert on beach huts. | 0:16:37 | 0:16:40 | |
Catherine, you're so passionate about beach huts. | 0:16:41 | 0:16:44 | |
-You've even written a book on them. -That's right. -Do you have a beach hut? | 0:16:44 | 0:16:48 | |
Oh, I wish I did! I don't. I feel a bit of a fraud, admitting that. | 0:16:48 | 0:16:52 | |
But there's something that appeals to me about these tiny buildings, on the margin between the land and the sea. | 0:16:52 | 0:16:59 | |
They could get blown away, but they're bright and cheerful. | 0:16:59 | 0:17:02 | |
They do put a smile on your face. | 0:17:02 | 0:17:04 | |
I mean, what a backdrop we've got. Bit of golden sunshine? | 0:17:04 | 0:17:07 | |
-Exactly, exactly. -That keeps you snug. | 0:17:07 | 0:17:10 | |
On some of our summers days, you know, you want to be in there. if the sun doesn't come out. | 0:17:10 | 0:17:14 | |
I think that's why the British love them so much. Cos when the rain comes down, it doesn't matter. | 0:17:14 | 0:17:18 | |
You just go inside and you can make yourself cosy. | 0:17:18 | 0:17:21 | |
And you can see all the other poor people walking in the rain. | 0:17:21 | 0:17:25 | |
But you're, sort of, snug inside your hut. | 0:17:25 | 0:17:27 | |
-Your research has taken you all over the country, studying beach huts. -That's right. Absolutely. | 0:17:27 | 0:17:33 | |
You spent months on the road, going around to, well, virtually a tour of the coast, haven't you? | 0:17:33 | 0:17:38 | |
That's right. I did actually count the beach huts as I went. | 0:17:38 | 0:17:43 | |
OK, come on. Let's, let's hear it. | 0:17:43 | 0:17:45 | |
There were... I counted just over 19,000. | 0:17:45 | 0:17:49 | |
But I think I missed a few... | 0:17:49 | 0:17:52 | |
and, actually, that's quite a surprisingly low number. | 0:17:52 | 0:17:55 | |
There's so much interest in beach huts these days, | 0:17:55 | 0:17:57 | |
-you imagine there'd be hundreds of thousands. -I like the brightly painted ones. -So do I. | 0:17:57 | 0:18:02 | |
They remind you of a stick of rock, kids playing in the sand | 0:18:02 | 0:18:05 | |
-and put a smile on your face. -They do. They're summery, aren't they? | 0:18:05 | 0:18:08 | |
-Even in winter, they look summery. -I think that's what it's all about. | 0:18:08 | 0:18:12 | |
Lots of people do lots of different things in them, don't they? | 0:18:12 | 0:18:15 | |
They do. It depends what your idea of the beach is, I suppose. | 0:18:15 | 0:18:20 | |
I mean, a lot of people use them as a place to relax. | 0:18:20 | 0:18:24 | |
Surfers use them these days. | 0:18:24 | 0:18:26 | |
It's a great place to change into your wetsuit, isn't it? | 0:18:26 | 0:18:29 | |
-Write a book in them? -Well, absolutely. | 0:18:29 | 0:18:31 | |
PD James has a beach hut at Southwold, where she writes her books. | 0:18:31 | 0:18:36 | |
I think, really, most people don't do very much in their huts. | 0:18:36 | 0:18:39 | |
Because they get here with good intentions. | 0:18:39 | 0:18:42 | |
-They bring a book or... -They just want to relax. | 0:18:42 | 0:18:44 | |
Yeah. And you can just... It's the perfect place to watch the world go by, isn't it? | 0:18:44 | 0:18:48 | |
-Look out to sea, and why would you want to do anything? -You wouldn't! | 0:18:48 | 0:18:52 | |
-Yeah. It's... A nice glass of wine. -I'm having this image now... Yeah, I'd have my glass of wine. | 0:18:52 | 0:18:57 | |
Mine would be like a little artist's studio. | 0:18:57 | 0:18:59 | |
I'd do all my painting here and stick it on the walls in there. | 0:18:59 | 0:19:02 | |
-A little gallery space. -A gallery! That would be perfect, yeah. | 0:19:02 | 0:19:06 | |
Beach huts aren't just places to relax in. | 0:19:06 | 0:19:08 | |
They're also highly sought-after pieces of real estate. | 0:19:08 | 0:19:11 | |
Prices have rocketed in recent years, with some | 0:19:11 | 0:19:14 | |
in popular locations now selling for well over £100,000. | 0:19:14 | 0:19:19 | |
So, I'm keen to have a look inside a hut and meet some of the owners. | 0:19:19 | 0:19:22 | |
This is what I like to see. Look, a whole family together enjoying their beach hut. | 0:19:24 | 0:19:27 | |
-Hello, how do you do? -Hi, Paul. | 0:19:27 | 0:19:29 | |
-Is it Paul? -Yeah. -Hello, what's your name? -Sarah. -Sarah. What's his name? | 0:19:29 | 0:19:33 | |
-Alfie. -Even the dog's come along! | 0:19:33 | 0:19:35 | |
Hello, everyone. Can we see what you've done to your beach hut? | 0:19:35 | 0:19:39 | |
Yeah, delighted. Yeah, yeah. | 0:19:39 | 0:19:42 | |
So, what have you managed to do in here? | 0:19:42 | 0:19:44 | |
-I rebuilt it about five years ago. -Yeah. -It was falling to pieces. | 0:19:44 | 0:19:48 | |
And rebuilt it in my garden, assembled it down here, | 0:19:48 | 0:19:51 | |
-and painted it. -You've done a really good job! | 0:19:51 | 0:19:54 | |
How much did you pay for this? | 0:19:54 | 0:19:56 | |
about 12 years ago I paid £300 for it. | 0:19:56 | 0:19:59 | |
I think that was a bargain, don't you? | 0:19:59 | 0:20:01 | |
Best investment I've ever made, considering they're worth between £8,000-£10,000 now. | 0:20:01 | 0:20:05 | |
It's a family heirloom. Hey, you two. | 0:20:05 | 0:20:07 | |
-Yeah. -This is your inheritance here. | 0:20:07 | 0:20:10 | |
Hope you look after it. | 0:20:10 | 0:20:12 | |
-Would you ever sell it? -No, we'd never sell it. | 0:20:12 | 0:20:15 | |
-The idea is to keep it in the family. -Yeah. | 0:20:15 | 0:20:17 | |
Children, grandchildren, forever. This is our bolthole. | 0:20:17 | 0:20:20 | |
Paul, thank you very much for showing me around. Thank you. | 0:20:20 | 0:20:23 | |
Enjoy the rest of the day. Thanks a lot. | 0:20:23 | 0:20:26 | |
Oh, Christine and Ian, this is the life, isn't it? | 0:20:36 | 0:20:39 | |
-Just the business. -Sun shining down on us, outside your own beach hut. | 0:20:39 | 0:20:44 | |
What could be better? Well, apart from a chocolate biscuit. | 0:20:44 | 0:20:47 | |
-There we go. -Do you mind? | 0:20:47 | 0:20:49 | |
So, how long have you had this one? | 0:20:49 | 0:20:52 | |
We've had it six months. We moved to Brighton in October, last October. | 0:20:52 | 0:20:57 | |
And we decided we'd like to retire by the sea. | 0:20:57 | 0:20:59 | |
Can't get any closer to the sea than this, can you! It's just there. | 0:20:59 | 0:21:04 | |
I come down when the weather's nice like this and, if it's windy, then I just sit in the hut. | 0:21:04 | 0:21:08 | |
-Yup. -Just inside, out of the wind. Otherwise, out here. Sandwiches, food, wine. -Oh, lovely. | 0:21:08 | 0:21:13 | |
Champagne. You know, just have a lovely time. | 0:21:13 | 0:21:17 | |
It's no wonder you look so happy. | 0:21:17 | 0:21:19 | |
-It's a good life. -I've got to try some of this. | 0:21:19 | 0:21:22 | |
-I've got to try some of this. -You have to. | 0:21:22 | 0:21:24 | |
Yeah. Slow your ageing process down. | 0:21:24 | 0:21:27 | |
Relax, you know, sit and look at the water shimmering. | 0:21:27 | 0:21:30 | |
That low sunlight coming down on us. So, where's that champagne, then? | 0:21:30 | 0:21:34 | |
-Coming up. -It's chilling down, right now. | 0:21:34 | 0:21:37 | |
Well, I've got to say, this definitely is the life. | 0:21:45 | 0:21:48 | |
I've just had a fascinating insight into what life is like, | 0:21:48 | 0:21:52 | |
owning a beach hut, by a few very, very enthusiastic owners. | 0:21:52 | 0:21:56 | |
And I can honestly say, if I lived anywhere near the coast, I would definitely invest in one of these. | 0:21:56 | 0:22:01 | |
And my dogs? They would absolutely love it. | 0:22:01 | 0:22:05 | |
I'm hoping we're going to be making EVERYBODY'S day at the auction, | 0:22:13 | 0:22:17 | |
so let's see what we're taking with us. | 0:22:17 | 0:22:20 | |
The Art Nouveau morning set should be a winner | 0:22:20 | 0:22:24 | |
as Ed only paid £20 for it. | 0:22:24 | 0:22:27 | |
Of Stella's china, only the chamber stick was Meissen, | 0:22:27 | 0:22:32 | |
but its quality should light up the saleroom. | 0:22:32 | 0:22:35 | |
Peter's granny's watercolour definitely needs reframing now. | 0:22:35 | 0:22:41 | |
It's charming and it should attract interest. | 0:22:41 | 0:22:44 | |
The bidders are bound to be knocked over by this fantastic tantalus, | 0:22:45 | 0:22:48 | |
which Paul's great-uncle won as a prize, at a bowls tournament. | 0:22:48 | 0:22:53 | |
The scrimshaw powder horn was such an exciting find. | 0:22:53 | 0:22:57 | |
I'm certainly feeling very bullish about this one. | 0:22:57 | 0:23:01 | |
Now it's time to put our experts' valuations to the test. Everything is about to go under the hammer. | 0:23:05 | 0:23:12 | |
Today's sale comes from the Worthing Auction Galleries and Scarborough Fine Arts. | 0:23:12 | 0:23:17 | |
I hope this lot will be bidding on all our items. | 0:23:17 | 0:23:21 | |
Today's auctioneer is Nick Hall. | 0:23:21 | 0:23:23 | |
I want to find out what he thinks of the piece of scrimshaw. | 0:23:23 | 0:23:29 | |
-I think this is absolutely stunning. -Yeah, I agree. | 0:23:32 | 0:23:35 | |
One of the best pieces of scrimshaw. | 0:23:35 | 0:23:37 | |
It's been in Ann's family for three generations. It's proper folk art. | 0:23:37 | 0:23:43 | |
Catherine Southon, our expert, has put £800 to £1,000 on this. | 0:23:43 | 0:23:47 | |
You would expect it to make that and more. | 0:23:47 | 0:23:51 | |
Folk art is so popular at the minute. Good, early folk art. | 0:23:51 | 0:23:55 | |
It's so hard to find genuine, quirky pieces. This fits the bill. | 0:23:55 | 0:24:00 | |
We've got the named lady we assume it was made for. It's cow horn, not marine bone. | 0:24:00 | 0:24:07 | |
-It would add value if it was marine bone. -Yes. | 0:24:07 | 0:24:10 | |
It's more tactile to touch cow horn rather than whale bone. | 0:24:10 | 0:24:14 | |
-It's softer and lighter. -There's a little bit of damage around one rim. | 0:24:14 | 0:24:18 | |
But I've got high hopes. Sometimes these things just fly away. | 0:24:18 | 0:24:24 | |
And rightly so. They're wonderful and rare things. | 0:24:24 | 0:24:27 | |
If it made 2,000, 3,000, no-one would be surprised. | 0:24:27 | 0:24:31 | |
-Where will you find another? -On a one-horned cow! | 0:24:31 | 0:24:36 | |
Let's hope the bidders are all in the room. | 0:24:38 | 0:24:42 | |
Before we find out, here comes the boxed morning set. | 0:24:42 | 0:24:45 | |
We'll turn 20 quid hopefully into £150 if we get the top end of Mark's estimate on Ed's morning set. | 0:24:47 | 0:24:53 | |
I'll put a little pressure on you here. | 0:24:53 | 0:24:56 | |
£100, £150 - will we get that top end? | 0:24:56 | 0:24:59 | |
-I don't know. You always want the top end. -Yes. -It is nice quality. | 0:24:59 | 0:25:05 | |
-I love that sinuous Art Nouveau design. -That's your thing. -It is. | 0:25:05 | 0:25:09 | |
-You've got keen eyes to spot this for only £20. -Absolutely, yes. | 0:25:09 | 0:25:14 | |
-Seven months ago? -Seven months ago, I bought that. | 0:25:14 | 0:25:18 | |
People going out the country offered it to me and I snipped it up. | 0:25:18 | 0:25:22 | |
-Knowing you were going to flog it. -Yeah. -It's not your thing. | 0:25:22 | 0:25:27 | |
Certainly not, no, but it's welcome to anyone who is a collector of Art Nouveau. | 0:25:27 | 0:25:34 | |
We've got a change of auctioneer. It's Andrew Scarborough giving us some hammer action. | 0:25:34 | 0:25:40 | |
-Good luck, Ed. -Thank you, Paul. | 0:25:40 | 0:25:42 | |
The Art Nouveau plated, cased breakfast set. | 0:25:42 | 0:25:45 | |
Lovely quality. Shall we start it at 80? | 0:25:45 | 0:25:49 | |
60 then? | 0:25:49 | 0:25:52 | |
50 it is to start. 55. | 0:25:53 | 0:25:55 | |
60. 5. 70. | 0:25:55 | 0:25:58 | |
5. 80. 5. | 0:25:58 | 0:26:00 | |
90 standing in the middle. 5. 100. | 0:26:00 | 0:26:04 | |
Right in the middle at 100. Are we all done at 100 then...? | 0:26:04 | 0:26:08 | |
-We did it, £100. It was touch and go. -What a result! | 0:26:11 | 0:26:15 | |
-We turned £20 into 100. -Not bad. | 0:26:15 | 0:26:18 | |
Next under the hammer, two cups and saucers and a chamber stick belonging to Stella | 0:26:22 | 0:26:28 | |
valued by Catherine at £100 to £150. | 0:26:28 | 0:26:31 | |
-Let's find out what this lot think, Stella. -Yes. | 0:26:31 | 0:26:36 | |
-Why are you flogging these? -They're just going to get broken. | 0:26:36 | 0:26:40 | |
-I've got eight grandchildren, so it's a bit vulnerable. -Time to move them. | 0:26:40 | 0:26:45 | |
I think it is. We should get that top end, shouldn't we? | 0:26:45 | 0:26:49 | |
I would hope so. There's quite a few people here today. It's very pretty. | 0:26:49 | 0:26:55 | |
Yes. I think that's going to get them away. We'll find out now. | 0:26:55 | 0:27:00 | |
Some nice Meissen porcelain, floral chamber stick. Start me at 100? | 0:27:00 | 0:27:05 | |
-£100? 40 I'll take. It's a low start. -That is low. -It's an "in" though. | 0:27:05 | 0:27:11 | |
50. 5. 60. 5. | 0:27:11 | 0:27:13 | |
-70. 80. -We've sold. -90? | 0:27:13 | 0:27:16 | |
80 it is in the front row. 90 behind you. 100 in front. | 0:27:16 | 0:27:21 | |
110. 120. | 0:27:21 | 0:27:23 | |
120 in the front row. 120 I'm bid on this lot. Are you all sure? | 0:27:23 | 0:27:28 | |
At 120 I'm selling... | 0:27:28 | 0:27:31 | |
-Fantastic. -£120. Great result. Well done. -I'm pleased about that. | 0:27:31 | 0:27:37 | |
What are you going to put the money towards? | 0:27:37 | 0:27:40 | |
I'll take my family out for a slap-up meal. | 0:27:40 | 0:27:42 | |
Something for you art lovers - real quality and immense detail. | 0:27:50 | 0:27:54 | |
It's a Victorian watercolour that belongs to Peter and not for much longer, valued at £200 to £300. | 0:27:54 | 0:28:01 | |
It really is there, isn't it? I saw this in the queue. | 0:28:01 | 0:28:04 | |
-It had glass on it. -Bits. -It was cracked on the way in. -It was, yeah. | 0:28:04 | 0:28:10 | |
We've had to take the glass out in the auction room for health and safety reasons. | 0:28:10 | 0:28:15 | |
The auctioneer thinks it might sit at the lower end. | 0:28:15 | 0:28:20 | |
He's probably right, which is why we put a fixed reserve of 175. | 0:28:20 | 0:28:25 | |
It should be worth a lot more. It is nice quality. | 0:28:25 | 0:28:29 | |
But unfortunately, this sort of Victorian genre is out of vogue. | 0:28:29 | 0:28:34 | |
Keep hold of it for another five years, it's back in fashion and worth £400 to £500. | 0:28:34 | 0:28:40 | |
Or you can do what Peter's doing and sell something that isn't being enjoyed and buy something that is. | 0:28:40 | 0:28:47 | |
-You're after a new modern artist? -Yeah, there's an artist in Eastbourne that I like. | 0:28:47 | 0:28:53 | |
-To invest in? -Yes, and just because I enjoy the work. | 0:28:53 | 0:28:57 | |
Good luck. It's going under the hammer right now. | 0:28:57 | 0:29:01 | |
The still life by Collier. | 0:29:01 | 0:29:04 | |
The nest with the eggs and flowers. Pretty little picture. | 0:29:05 | 0:29:09 | |
Shall we say 100 for it? | 0:29:09 | 0:29:11 | |
Thank you, 100. 110. | 0:29:11 | 0:29:14 | |
120. 130. 140. | 0:29:14 | 0:29:17 | |
150. 160. | 0:29:17 | 0:29:20 | |
-170. 180. -We've done it. -We've done it. | 0:29:20 | 0:29:24 | |
190. 200. | 0:29:24 | 0:29:26 | |
-Oh. -On my left at 2... | 0:29:26 | 0:29:28 | |
210. | 0:29:28 | 0:29:31 | |
At 210 at the back. 220. 230... | 0:29:31 | 0:29:35 | |
-Keep going, keep going. -240. -It's creeping up. | 0:29:35 | 0:29:38 | |
250. At £250, right at the back of the room... | 0:29:38 | 0:29:44 | |
-Yes! £250, Peter. -Excellent. -Middle of the estimate. -I'm pleased. | 0:29:46 | 0:29:51 | |
-So am I. -Very pleased with that. -Good valuation. | 0:29:51 | 0:29:54 | |
-That's something towards the picture. -Thank you. | 0:29:54 | 0:29:57 | |
-Thank you for taking part. -It's been good fun. | 0:29:57 | 0:30:01 | |
This is a cracking item and it's turning out to be a family affair | 0:30:04 | 0:30:09 | |
because we've been joined by Ann who we saw at the valuation day | 0:30:09 | 0:30:13 | |
with that beautiful bit of scrimshaw, the carved powder horn. | 0:30:13 | 0:30:18 | |
-But it is Mum's? -Yes. -Who have you brought along? -My mother Ruby. | 0:30:18 | 0:30:22 | |
-Hi, Ruby. This is gorgeous, brilliant. -You think so? -Yes, I do. | 0:30:22 | 0:30:27 | |
-And who's this? -This is Ella, the great-granddaughter. | 0:30:27 | 0:30:31 | |
-How many great-granddaughters do you have? -Eight. Five boys. | 0:30:31 | 0:30:37 | |
The money's all going to be divided up. | 0:30:37 | 0:30:40 | |
That's where the money's going. | 0:30:40 | 0:30:41 | |
We've got a valuation of £800 to £1,000 put on this by Catherine. | 0:30:41 | 0:30:46 | |
I had a chat to Nick the auctioneer and we both waxed lyrical over this. | 0:30:46 | 0:30:51 | |
-It's fabulous. -It's so good. It really is. I just hope it goes well above Catherine's estimate. | 0:30:51 | 0:30:57 | |
-It should do. If it doesn't, don't sell it. -It was only in a cupboard. | 0:30:57 | 0:31:03 | |
All credit to you because you've looked after this, haven't you? | 0:31:03 | 0:31:08 | |
-No. -No? What happened? Tell us the story. | 0:31:08 | 0:31:11 | |
The children used to blow down it and try and get a tune. | 0:31:11 | 0:31:15 | |
Did they? Well, all I can say is... let's watch this. | 0:31:15 | 0:31:20 | |
Lot 270 is the piece of scrimshaw. | 0:31:20 | 0:31:24 | |
Lovely item. Super bit of folk art. | 0:31:24 | 0:31:27 | |
What are we going to say? 700 to start me? | 0:31:27 | 0:31:30 | |
£700? Is that 5? | 0:31:30 | 0:31:33 | |
It's a start. It's 500 I'm bid on the far side. | 0:31:33 | 0:31:38 | |
Any advance on 500? At 500 in the far corner. | 0:31:38 | 0:31:42 | |
510 I'll take, thank you. 520. | 0:31:42 | 0:31:44 | |
530. 540. | 0:31:44 | 0:31:46 | |
-540 on the side. At £540. -It's struggling. -Come on. | 0:31:46 | 0:31:52 | |
Any further bids on 540 quid? It's worth more. | 0:31:52 | 0:31:56 | |
It's not going to go. | 0:31:56 | 0:31:57 | |
Anyone else coming in at 550? At £540... | 0:31:57 | 0:32:02 | |
A little disappointing, this lot. At 540. | 0:32:02 | 0:32:06 | |
Can't let it go. The reserve's higher. | 0:32:06 | 0:32:08 | |
At 540, we're going to pass it. | 0:32:08 | 0:32:10 | |
Unsold, I'm afraid. | 0:32:12 | 0:32:14 | |
-Don't worry. -I can't believe it. | 0:32:14 | 0:32:17 | |
I'm pleased it didn't sell at the lowest end. | 0:32:17 | 0:32:19 | |
-We all think this is worth about £1,500, £1,600, £1,800. -Absolutely. | 0:32:19 | 0:32:24 | |
In the right sale. It's just the wrong day. | 0:32:24 | 0:32:28 | |
It's not worth a few hundred. It's worth a lot more. | 0:32:28 | 0:32:32 | |
-This just means it stays in the family. It didn't want to be sold. -It didn't want to be sold. | 0:32:32 | 0:32:37 | |
But don't use it as a trumpet. It's too fragile. | 0:32:37 | 0:32:42 | |
I'm in the trendy Kemptown area of Brighton and have found an antiques shop with a difference. | 0:32:47 | 0:32:54 | |
It belongs to Alex MacArthur. I could spend hours in this shop. | 0:32:54 | 0:32:58 | |
Alex has created a unique look by mixing traditional antiques with heavy industrial furniture | 0:32:58 | 0:33:05 | |
and many other intriguing items. | 0:33:05 | 0:33:07 | |
Alex's talent is seeing beauty in the unusual. | 0:33:07 | 0:33:12 | |
But it's hard to visualise how some of these pieces would fit in a home, | 0:33:12 | 0:33:17 | |
which is why Alex's house doubles as a showcase where buyers can see the stock at its very best. | 0:33:17 | 0:33:24 | |
Alex, you've got a great eye. | 0:33:27 | 0:33:28 | |
When you walk into your house, it's got the wow factor, as has the shop. | 0:33:28 | 0:33:33 | |
You know how to knit things together but it doesn't work for everybody. | 0:33:33 | 0:33:39 | |
You've got to have a very good eye. | 0:33:39 | 0:33:42 | |
That's what makes it fascinating. It's about balance. | 0:33:42 | 0:33:46 | |
-I don't like it when people think they can put me into a certain category. -Put you in a box. | 0:33:46 | 0:33:52 | |
Then I go, "This is me as well." | 0:33:52 | 0:33:55 | |
Because in a way, it's all about self-expression, expressing all of the facets of who we are. | 0:33:55 | 0:34:02 | |
So I might have my gym equipment and my sports benches and my antlers and my horns. | 0:34:02 | 0:34:09 | |
But I might also have my Little House On The Prairie piece like this piece here. | 0:34:09 | 0:34:15 | |
It's homely, it's authentic, it's simple, it's English. | 0:34:15 | 0:34:20 | |
And that is also part of what I am. | 0:34:20 | 0:34:23 | |
Now, that's nice. That is very me, very traditional. | 0:34:30 | 0:34:34 | |
I love the way you've created symmetry and balanced it up. | 0:34:34 | 0:34:38 | |
I love that and what it says. | 0:34:38 | 0:34:40 | |
"No poisons are used. Family prescriptions prepared daily." | 0:34:40 | 0:34:45 | |
-Pharmaceutical cabinet. -It's so simple. -It is, isn't it? | 0:34:45 | 0:34:50 | |
That chemist was in Bond Street from the late 18th century to the early 20th century. | 0:34:50 | 0:34:56 | |
I think that piece is Georgian. It's very simple. | 0:34:56 | 0:35:00 | |
George IV, yes, it's really nice. | 0:35:00 | 0:35:03 | |
So everything in this room is for sale? | 0:35:09 | 0:35:13 | |
-Absolutely everything except what is already sold. -OK. | 0:35:13 | 0:35:17 | |
And that is the downside of dealing from home. | 0:35:17 | 0:35:22 | |
These two Chesterfields, I had to move the whole house around to accommodate them. | 0:35:22 | 0:35:27 | |
They look like they were meant to be in this room. | 0:35:27 | 0:35:31 | |
It's quite rare, two matching button-back Chesterfields. | 0:35:31 | 0:35:34 | |
They're a lovely colour. And I love things in pairs, in collections. | 0:35:34 | 0:35:40 | |
-Pairs sell so well. -Unfortunately, they're already sold. -Are they? | 0:35:40 | 0:35:45 | |
I sold them last Saturday. | 0:35:45 | 0:35:48 | |
I only had them for two weeks and they made me happy for two weeks. | 0:35:48 | 0:35:53 | |
I was skipping around because I had two lovely Chesterfields. | 0:35:53 | 0:35:57 | |
I can sympathise. I used to deal from home. I had my flat above the shop. | 0:35:57 | 0:36:03 | |
And good clients came up to the flat. At first, it's hard to let go. | 0:36:03 | 0:36:07 | |
You strive for these nice pieces, then someone wants to buy it. It's cash flow. | 0:36:07 | 0:36:14 | |
You need to let go to buy more, but it's a hard principle to follow. | 0:36:14 | 0:36:19 | |
My philosophy is you need to let go and there might be a period of void, | 0:36:19 | 0:36:24 | |
but something equally gorgeous will take its place. You need that faith. | 0:36:24 | 0:36:29 | |
Where do you buy a lot of your stock from? Do you go abroad or search auctions? | 0:36:29 | 0:36:35 | |
I do a little bit of auctions, but mainly I buy in Europe, I buy in France. I'm constantly buying. | 0:36:35 | 0:36:42 | |
-You've got a good gym theme going, lots of leather, old benches. -That comes from Eastern Europe. | 0:36:42 | 0:36:48 | |
I have somebody who sources it for me, but the supplies are running out. | 0:36:48 | 0:36:54 | |
The guy who supplies me used to have 20 or 30 leather gym mats to choose from at a time. | 0:36:54 | 0:37:00 | |
Now he has two or three. | 0:37:00 | 0:37:02 | |
'The gym equipment shows Alex's vision - seeing style, beauty and new uses for obsolete things, | 0:37:02 | 0:37:09 | |
turning old leather benches and mats into chic tables and sofas, which he can then show off at home.' | 0:37:09 | 0:37:15 | |
There's so much space here. You can create themes in different rooms. | 0:37:17 | 0:37:21 | |
That's something I quite enjoy. At the top of the house, there are two smaller rooms. | 0:37:21 | 0:37:28 | |
One of them is a study and the other one is my daughter's bedroom. | 0:37:28 | 0:37:32 | |
-My daughter's bedroom is the girliest... -Pretty pink with '50s mirrored tables | 0:37:32 | 0:37:39 | |
for putting make-up on and things. | 0:37:39 | 0:37:42 | |
And that lovely 19th century, four-poster bed which I couldn't sell. She loves it. | 0:37:42 | 0:37:48 | |
You have to draw the line. You can't take clients up there, your daughter comes home and everything's gone! | 0:37:48 | 0:37:55 | |
I know. I feel guilty because it's quite an insecure lifestyle, | 0:37:55 | 0:37:59 | |
feeling as though the sofa from underneath you might be sold. | 0:37:59 | 0:38:04 | |
-So with certain things, I do have to draw the line. I can't sell my daughter's bed. -No. | 0:38:04 | 0:38:10 | |
It's nice the way you can incorporate a slightly more industrial look in certain rooms. | 0:38:10 | 0:38:16 | |
-Yeah. -Hard-edged metal. -That's right. But it's about finding the balance. | 0:38:16 | 0:38:22 | |
It's a bit like being the conductor of an orchestra | 0:38:22 | 0:38:25 | |
and realising that you have trombones, but also violins. | 0:38:25 | 0:38:30 | |
And if you can see that and accept that, you can get them to play very well together. | 0:38:30 | 0:38:35 | |
I found Alex's taste absolutely fascinating. | 0:38:44 | 0:38:47 | |
It's creative, exciting, pushing boundaries and embracing the avant-garde. | 0:38:47 | 0:38:52 | |
It's so distinctive that you either love it or you hate it, | 0:38:52 | 0:38:56 | |
but there is now an Alex MacArthur look. | 0:38:56 | 0:39:00 | |
There is still plenty to look at back at the valuation day. | 0:39:06 | 0:39:10 | |
Catherine has a piece of jewellery brought in by Sally. | 0:39:10 | 0:39:15 | |
This is a very charming Victorian bracelet. Where did you get it from? | 0:39:15 | 0:39:20 | |
I remember getting it, I think I was a teenager, from my grandmother, | 0:39:20 | 0:39:25 | |
-who is my mother's mother. -Right. | 0:39:25 | 0:39:27 | |
But I've never worn it because I don't wear jewellery at all. | 0:39:27 | 0:39:32 | |
I've always thought it was really pretty, but it was your mother's. | 0:39:32 | 0:39:36 | |
I can remember as a child looking through my mother's bits and pieces | 0:39:36 | 0:39:41 | |
and thinking how pretty that was. | 0:39:41 | 0:39:44 | |
-It was the turquoise that I liked. -Absolutely. | 0:39:44 | 0:39:47 | |
Date-wise, it's from about 1870, so it's been passed through... | 0:39:47 | 0:39:52 | |
-It could have been my mother's mother? -Yes. | 0:39:52 | 0:39:56 | |
I just remember it with my mother. | 0:39:56 | 0:39:58 | |
What I particularly like are these lovely little turquoise stones which are in a criss-cross pattern. | 0:39:58 | 0:40:05 | |
It's going to be 15-carat gold. I've had a good look and I think that's probably what it is. | 0:40:05 | 0:40:12 | |
Unfortunately, here there's one of the links missing which would join the chains together. | 0:40:12 | 0:40:19 | |
That's not a huge problem. I can't believe you want to sell it. | 0:40:19 | 0:40:24 | |
-Why are you selling it? -Just because it's literally shut... | 0:40:24 | 0:40:29 | |
It was in a drawer under the bed. I had to move furniture to get it out. | 0:40:29 | 0:40:33 | |
It's not seeing the light of day. | 0:40:33 | 0:40:37 | |
-Somebody else should enjoy it. -It is quite a chunky piece of jewellery. | 0:40:37 | 0:40:42 | |
It's not everybody's cup of tea. | 0:40:42 | 0:40:45 | |
But I think a lot of people will be interested in the wonderful turquoise stones | 0:40:45 | 0:40:49 | |
and it's a good, collectable piece of Victorian jewellery. | 0:40:49 | 0:40:54 | |
Value-wise, I'd like to see it make £200-plus. | 0:40:54 | 0:40:59 | |
So I'd suggest putting it in the auction at around £150 to £250. | 0:40:59 | 0:41:04 | |
-How does that sound to you? -Yes, I think so. | 0:41:04 | 0:41:09 | |
But as it's been in the family for such a long time, it would be a shame to let it go, | 0:41:09 | 0:41:13 | |
-so maybe put a reserve on of £120? -That would be fine, yes. | 0:41:13 | 0:41:19 | |
Mum looks like she's having second thoughts. | 0:41:19 | 0:41:22 | |
No, I'm not having second thoughts. It's Sally's decision. | 0:41:22 | 0:41:26 | |
It's silly if it's not worn. | 0:41:26 | 0:41:29 | |
It's a piece of jewellery that should be worn and enjoyed. | 0:41:29 | 0:41:34 | |
You're not enjoying it as it's under the bed, so it's time to flog it. | 0:41:34 | 0:41:38 | |
-Thank you very much for coming along. -Thank you. | 0:41:38 | 0:41:43 | |
-Hi, Paul. -Hi. | 0:41:47 | 0:41:48 | |
We won't win any prizes for guessing what's in here. | 0:41:48 | 0:41:52 | |
-It's a concertina. -Yes. -This one is a nice example. | 0:41:52 | 0:41:56 | |
You know it will be good quality because the case is rosewood. | 0:41:56 | 0:42:01 | |
-OK. -Then when we do open it up, | 0:42:01 | 0:42:03 | |
you can see this rosewood concertina inside. I'll pull it out delicately. | 0:42:03 | 0:42:09 | |
It's quite important when you look at these to look at certain features. | 0:42:09 | 0:42:15 | |
Why have you brought it along? | 0:42:15 | 0:42:17 | |
Because it's been sitting in my cupboard for the last ten years since my father died. | 0:42:17 | 0:42:23 | |
He was an open-air missioner who travelled up and down the country preaching the Gospel | 0:42:23 | 0:42:29 | |
to various places like Rhyl, Redcar and during... | 0:42:29 | 0:42:34 | |
-All the exciting places? -Yes. He'd be on the beach preaching to people. | 0:42:34 | 0:42:39 | |
They would have services and my father would play the concertina in order to produce the hymns. | 0:42:39 | 0:42:45 | |
We've been clearing out the house and as Flog It was coming to Brighton, | 0:42:45 | 0:42:51 | |
I thought I could get a valuation and see where we go from there. | 0:42:51 | 0:42:55 | |
We've got this nice pierced top to it | 0:42:55 | 0:42:59 | |
and I'm sure that'll match underneath, which it does. | 0:42:59 | 0:43:02 | |
We've got the nice maker's label, which is a London maker, Wheatstone. | 0:43:03 | 0:43:07 | |
Looking at the type of wood used, | 0:43:07 | 0:43:10 | |
it's towards the end of the Victorian period, the 1890s. | 0:43:10 | 0:43:15 | |
You also have to look for the number of keys. | 0:43:15 | 0:43:18 | |
They can be as low as 14 for quite poor quality ones | 0:43:18 | 0:43:21 | |
and over 30-something for very high quality ones which can make over £1,000. | 0:43:21 | 0:43:28 | |
This one is mid-range. There are 25, I think, here. | 0:43:28 | 0:43:32 | |
Also you must look at the bellows. | 0:43:32 | 0:43:35 | |
You've got a bit of damage on the actual pull-out, so I'll be careful when I open it. | 0:43:35 | 0:43:40 | |
The bellows is in quite good condition and quite decorative. | 0:43:40 | 0:43:46 | |
-So it's time for it to go to a good home? -I think so. | 0:43:46 | 0:43:49 | |
-Somebody that will treasure it. -What would you hope it was worth? | 0:43:49 | 0:43:55 | |
I had a feeling that it could be around maybe £300, £400? | 0:43:55 | 0:44:00 | |
-I think you're spot-on. -Right. | 0:44:00 | 0:44:02 | |
An estimate of £300 to £400 with a 300 reserve would be perfect. | 0:44:02 | 0:44:08 | |
-How would you feel about that? -Entirely happy. | 0:44:08 | 0:44:12 | |
Thank you for bringing it in. I look forward to seeing you at auction. | 0:44:12 | 0:44:17 | |
Let's hope we make sweet music. | 0:44:17 | 0:44:19 | |
Tess, this puts a big smile on my face. I absolutely adore it. | 0:44:27 | 0:44:32 | |
Why have you brought this in to Flog It in order to flog it? Why do you want to do that? | 0:44:32 | 0:44:37 | |
I've got a lot of other paintings and this one doesn't fit in with some of those. | 0:44:37 | 0:44:44 | |
And it's been up in my attic for at least two or three years. | 0:44:44 | 0:44:49 | |
Shame on you. This is gorgeous. Where did you get this from? | 0:44:49 | 0:44:53 | |
I found it in a junk shop in Brighton. I happened to see it and the shop was closed. | 0:44:53 | 0:45:00 | |
I rattled the door and the chap who lived above the shop came down. That was about ten years ago. | 0:45:00 | 0:45:06 | |
-You said, "How much is that?" -It was a time when I didn't have a lot of money. I think I paid £50 for it. | 0:45:06 | 0:45:14 | |
Just because I fell in love with it. | 0:45:16 | 0:45:18 | |
I can see why. I've fallen in love with it as well. | 0:45:18 | 0:45:22 | |
It's very much along the lines of the Newlyn School who copied the French Impressionists. | 0:45:22 | 0:45:28 | |
I've looked up the artist and it's Margaret Sheffield. | 0:45:28 | 0:45:32 | |
And there is a Mary Sheffield, her sister. | 0:45:32 | 0:45:36 | |
They lived in Blackheath in London. | 0:45:36 | 0:45:38 | |
They both flourished around the 1890s with great painters like Stanhope Forbes and Walter Langley. | 0:45:38 | 0:45:45 | |
They went down to Cornwall for the light. Maybe this is Cornwall. | 0:45:45 | 0:45:50 | |
-The cliff range doesn't look high enough. -I thought it might have been East Anglia or Suffolk. | 0:45:50 | 0:45:56 | |
-That's the feeling it gave me. -Low horizons, typical of that area. | 0:45:56 | 0:46:01 | |
I love this character. It looks like his trousers are rolled up. | 0:46:01 | 0:46:06 | |
He's either a fisherman digging for ragworm or he could be an artist. That could be an easel. | 0:46:06 | 0:46:12 | |
-Yes, painting for the day. -Yes. | 0:46:12 | 0:46:15 | |
There's a little bit of damage there, but other than that, the paintwork is very thick, very bold. | 0:46:15 | 0:46:21 | |
If I walked past a gallery in the West End and saw this | 0:46:21 | 0:46:26 | |
and it had a price ticket of £500 on it, | 0:46:26 | 0:46:30 | |
I'd be inclined to buy it and that's my gut feeling. | 0:46:30 | 0:46:34 | |
Obviously, for auction purposes we must pitch it lower than that. | 0:46:34 | 0:46:39 | |
I think if we put it into auction, we've got to be asking around £250 to £350 | 0:46:41 | 0:46:46 | |
-and hope that it tops that £400 mark. -Right. | 0:46:46 | 0:46:50 | |
-Happy? -Sounds good. -Do you really want to sell it? -Yes. | 0:46:50 | 0:46:54 | |
Shall we put a fixed reserve... | 0:46:54 | 0:46:55 | |
-Yeah, I'd like a reserve. -Of £250? -Yeah, 250 would be great. | 0:46:55 | 0:47:02 | |
-I'm pleased you brought this in and I can't wait to see this sell. -I look forward to that. | 0:47:02 | 0:47:08 | |
-Firstly, hello, Margaret. -Hello, Mark. | 0:47:13 | 0:47:15 | |
-Welcome to Brighton Flog It. -Thank you. | 0:47:15 | 0:47:17 | |
-What a wonderful treasure you've brought in. -Yeah. | 0:47:17 | 0:47:20 | |
-It's lovely, isn't it? -Where did you get it from? | 0:47:20 | 0:47:23 | |
Well, it belonged to my father. | 0:47:23 | 0:47:25 | |
But the strange thing was that, we none of us saw it when we were children. We only, unfortunately, | 0:47:25 | 0:47:30 | |
discovered it after he'd died and we were going through his things, to sort through them. | 0:47:30 | 0:47:34 | |
-No! It was hidden away, was it? -Yes, that's right. Bottom of the wardrobe and we'd never seen it before. | 0:47:34 | 0:47:40 | |
He never got it out at Christmas, so all the family could play along? | 0:47:40 | 0:47:44 | |
-No, no. -And what did you think when you first saw it? | 0:47:44 | 0:47:46 | |
I was just amazed, that he'd actually had something. | 0:47:46 | 0:47:49 | |
And we didn't know anything about it. | 0:47:49 | 0:47:51 | |
But yes, I thought it was lovely. So... | 0:47:51 | 0:47:54 | |
And did he have a lot of antiques? | 0:47:54 | 0:47:57 | |
Not... A few things, which are mainly from his father, I think. | 0:47:57 | 0:48:00 | |
-So, this probably would have been passed down the family? -I think so, yeah. | 0:48:00 | 0:48:04 | |
-Your father died when? -1987. | 0:48:04 | 0:48:06 | |
So, about 20 years ago or so? And what was it probated at then? | 0:48:06 | 0:48:10 | |
I think it was £150, if I remember. | 0:48:10 | 0:48:13 | |
-Not a lot of money. -No. | 0:48:13 | 0:48:15 | |
The other nice thing to see, straight away, is the little inset brass plaque here. | 0:48:15 | 0:48:20 | |
-Engraved with the maker's name, which is? -Tourmin and Cale from Cheapside in London. | 0:48:20 | 0:48:26 | |
Well, there's nothing cheap about this box, is there? | 0:48:26 | 0:48:29 | |
-Because the other thing you see immediately is the case is made of rosewood. -Right. | 0:48:29 | 0:48:34 | |
Rosewood is one of those very expensive, exotic woods | 0:48:34 | 0:48:37 | |
that was used only for very good quality pieces. | 0:48:37 | 0:48:41 | |
And you can tell this with that lovely, sort of, black fleck in the graining. | 0:48:41 | 0:48:46 | |
Then, of course, we've laid it out here, just to touch on some of the pieces that are in the set. | 0:48:46 | 0:48:51 | |
We've naturally got a full set of chess. We've got a set of dominos, | 0:48:51 | 0:48:57 | |
a full set of draughts, of course. | 0:48:57 | 0:48:59 | |
-This one I can never remember. -I think it's the cribbage board. | 0:48:59 | 0:49:03 | |
Cribbage, that's the one. Cribbage board. | 0:49:03 | 0:49:05 | |
Then we've got a bezique game, which I never know how to play. | 0:49:05 | 0:49:09 | |
No, I know, no. | 0:49:09 | 0:49:11 | |
But my favourite, I have to say, and I'm not a betting man... | 0:49:11 | 0:49:14 | |
Is the horse racing. | 0:49:14 | 0:49:16 | |
-But I love this horse racing game. -Yes, it's lovely. | 0:49:16 | 0:49:19 | |
We've only put a few horses out there, and a few of the jumps, but there's more fitted inside here. | 0:49:19 | 0:49:24 | |
-There's more there. -And even the, sort of, beakers for shaking the dice. | 0:49:24 | 0:49:27 | |
-It's just absolutely superb. It's wonderful. -It's lovely. | 0:49:27 | 0:49:31 | |
So, we've got to think of a price. | 0:49:31 | 0:49:34 | |
We're quite excited about this. | 0:49:34 | 0:49:36 | |
We've got to think of a price. | 0:49:36 | 0:49:38 | |
If I was putting it into auction, I would put it in with a come and get me estimate. | 0:49:38 | 0:49:42 | |
Which means you're telling people it's private. | 0:49:42 | 0:49:44 | |
-It hasn't been out of the same family for a number of years. -Right. | 0:49:44 | 0:49:48 | |
-And it's to get their taste buds watering, if you like. -Yes. | 0:49:48 | 0:49:52 | |
-So, I would put something like £400-£600 on it. -OK. That's good. | 0:49:52 | 0:49:57 | |
With a £400 fixed reserve. | 0:49:57 | 0:49:59 | |
And I think that will really tempt the bidders in. How do you feel about that? | 0:49:59 | 0:50:03 | |
-I'd be happy with that. -Is that OK? -Yes. | 0:50:03 | 0:50:05 | |
-I wouldn't be surprised if we got a lot more than that. -Really? Yes. | 0:50:05 | 0:50:09 | |
Let's have a final look at what we have to offer the bidders. | 0:50:11 | 0:50:14 | |
The Victorian bracelet is too pretty to keep under the bed. | 0:50:14 | 0:50:19 | |
I'm sure someone is going to snap it up. | 0:50:19 | 0:50:22 | |
Paul's rosewood concertina is in good condition, so Mark hopes it will squeeze the right price! | 0:50:22 | 0:50:29 | |
Mark may not be a gambling man, but my money is on this magnificent games compendium, | 0:50:29 | 0:50:34 | |
which is in superb condition. | 0:50:34 | 0:50:36 | |
Finally, my choice...the Margaret Sheffield oil painting - | 0:50:36 | 0:50:40 | |
I love it and I think others will too! | 0:50:40 | 0:50:42 | |
First up, it's Paul's concertina. | 0:50:45 | 0:50:48 | |
We've got £300 to £400 put on this by our expert Mark | 0:50:48 | 0:50:52 | |
and this is another quality item. It's rosewood. | 0:50:52 | 0:50:56 | |
It pushes all the right buttons. | 0:50:56 | 0:50:58 | |
-Let's hope two people push it higher. -It strikes a chord with me. | 0:50:58 | 0:51:03 | |
-I'm glad we're all singing from the same hymn sheet. -I think we should get on with it. Here we are. | 0:51:05 | 0:51:12 | |
Musical lot, it's the 19th century concertina, by Wheatstone. | 0:51:12 | 0:51:17 | |
Nice fretwork. Rosewood case. 300 anywhere? | 0:51:17 | 0:51:21 | |
-Come on. -250 then? 250 offered. -That's it, we're off. | 0:51:21 | 0:51:25 | |
£250. 250 I'm bid. 260 I'll take. | 0:51:25 | 0:51:28 | |
270. 280. | 0:51:28 | 0:51:30 | |
300 standing. All done? At 300 I'm selling here... | 0:51:30 | 0:51:34 | |
That was short and sweet. £300, on the money. | 0:51:34 | 0:51:38 | |
What are you going to do with the money? | 0:51:38 | 0:51:41 | |
Hopefully, I'm going to get a painting to fit into my lounge. | 0:51:41 | 0:51:45 | |
-What...? -I'm not sure I've seen anything here today. | 0:51:45 | 0:51:49 | |
-Nothing tickles your fancy? -I think that the painting over there, | 0:51:49 | 0:51:55 | |
that's quite a nice little painting. | 0:51:55 | 0:51:58 | |
-Will you be getting a bidding paddle and having a go? -I might do. | 0:51:58 | 0:52:02 | |
Coming up right now is that wonderful gold bracelet. | 0:52:07 | 0:52:11 | |
-We've got Sally here, but not Shirley. Where's Mum? -She's looking after my daughter. | 0:52:11 | 0:52:17 | |
OK. It is a bit of a family affair because the bracelet was Great-grandmother's, wasn't it? | 0:52:17 | 0:52:24 | |
-Yes, I think so. -Not going to your daughters? -No. | 0:52:24 | 0:52:28 | |
It's just too fussy. I don't think it's going to be their cup of tea. | 0:52:28 | 0:52:33 | |
-You don't like it? -I think it's pretty, but not to wear. | 0:52:33 | 0:52:37 | |
I'd prefer to get a photo frame to put a photograph of Grandmother in | 0:52:37 | 0:52:42 | |
and remember her that way. | 0:52:42 | 0:52:45 | |
Rather than have the bracelet put away in a drawer. Optimistic? | 0:52:45 | 0:52:49 | |
It's a nice little piece. It's very pretty. | 0:52:49 | 0:52:52 | |
-I just don't know... -You were looking around there. | 0:52:52 | 0:52:56 | |
-I don't know that the jewellery collectors are here. -We've got a reserve of £120. Here it is now. | 0:52:56 | 0:53:03 | |
The 15-carat gold and turquoise bracelet. There we are showing... | 0:53:03 | 0:53:08 | |
-Shall we say 150? -200, sir. | 0:53:08 | 0:53:11 | |
-2 is a good start. -Oh, that's nice. That's a surprise. | 0:53:11 | 0:53:15 | |
It's always nice to have bidders like that! | 0:53:15 | 0:53:19 | |
At 200 on the book. 210 standing. At 210 at the very back. | 0:53:19 | 0:53:23 | |
Are we all done at 210...? | 0:53:23 | 0:53:25 | |
They're not mucking around here. The hammer's gone down at £210. | 0:53:27 | 0:53:32 | |
That was incredible. The bid came in at 200. | 0:53:32 | 0:53:34 | |
He just shouted out. | 0:53:34 | 0:53:36 | |
-Got to be happy with that. -I am. We can get a nice frame with that. | 0:53:36 | 0:53:42 | |
I think this Margaret Sheffield oil on canvas, which I valued at 250 to 350, should do the business. | 0:53:46 | 0:53:53 | |
-Hopefully. -We just need fingers crossed for the top end of the estimate, | 0:53:53 | 0:53:58 | |
plus a little bit more. | 0:53:58 | 0:54:00 | |
This is the next lot. Good luck. | 0:54:00 | 0:54:03 | |
The Sheffield oil on canvas. | 0:54:03 | 0:54:06 | |
Shall we say 200? | 0:54:07 | 0:54:09 | |
-Yes, please. -2 it is then. Thank you. On the right. | 0:54:09 | 0:54:13 | |
210. 220. 230. | 0:54:13 | 0:54:16 | |
-240. 250. -Sold. -260. | 0:54:16 | 0:54:20 | |
270. 280. | 0:54:20 | 0:54:22 | |
290. 300. | 0:54:22 | 0:54:26 | |
320? Thank you, 320. | 0:54:26 | 0:54:29 | |
340. | 0:54:29 | 0:54:31 | |
At 340 on the commission bid. Are we all done? | 0:54:31 | 0:54:35 | |
-Yes! There's a delayed reaction. -Excellent. -£340, that's great. | 0:54:39 | 0:54:44 | |
Top end of the estimate. You're happy. | 0:54:44 | 0:54:47 | |
Really good. | 0:54:47 | 0:54:48 | |
Did I ask you what you were going to put the money towards? | 0:54:48 | 0:54:52 | |
Probably split. I've got a new granddaughter, Aoife, who is three weeks old. | 0:54:52 | 0:54:59 | |
She's going to get some of it and I'm going to plant a tree for my dad who died, | 0:54:59 | 0:55:04 | |
-so it's going to go between the two of them. -Lovely. | 0:55:04 | 0:55:08 | |
I've been waiting for this moment! | 0:55:16 | 0:55:18 | |
That wonderful rosewood games compendium. It's all there, Margaret. | 0:55:18 | 0:55:23 | |
-£400-£600. It's got to sell. -It's got to. -It's got to sell. | 0:55:23 | 0:55:27 | |
I had a chat to Nick, the auctioneer, just before the sale started. You know what he said. | 0:55:27 | 0:55:31 | |
Agreed with Mark totally. Hopefully we'll get there... | 0:55:31 | 0:55:34 | |
-top end of the estimate. -I hope so. It's worth it. | 0:55:34 | 0:55:37 | |
-That would be nice. -But it's not going for a penny less, is it? | 0:55:37 | 0:55:40 | |
-Nope, absolutely not. -Than £400. | 0:55:40 | 0:55:41 | |
-Nope. -Margaret put her foot down. -Quite rightly so. | 0:55:41 | 0:55:45 | |
It's a lovely... My only, I suppose, slight criticism, | 0:55:45 | 0:55:48 | |
is the box is actually quite plain. It's lovely. | 0:55:48 | 0:55:50 | |
-I mean, a nice rosewood, but it is wonderful to see all those pieces untouched. -Yup. | 0:55:50 | 0:55:55 | |
-It's a real collector's item. -It is. | 0:55:55 | 0:55:57 | |
And it's here to sell right here and right now. This is it. | 0:55:57 | 0:56:01 | |
Lot 240. Nice quality lot this Victorian games compendium. | 0:56:01 | 0:56:06 | |
What we going to say? Start me at £300? 250's a start. | 0:56:06 | 0:56:10 | |
Thank you, sir. A little low, but I'll take it at 250. | 0:56:10 | 0:56:13 | |
Come on, where are all these hands? | 0:56:13 | 0:56:15 | |
260 bid. 280 now, 300, 320 bid. | 0:56:15 | 0:56:19 | |
-340 against you in the room. -We're climbing. | 0:56:19 | 0:56:22 | |
360, 380, 400. With you at £400. | 0:56:22 | 0:56:26 | |
At £400 on commission. 420 the lady. | 0:56:26 | 0:56:30 | |
-440, 460 now, 480. -That's a bit better. -This is better. | 0:56:30 | 0:56:35 | |
500, 520, 540, 560 against you, madam. Are you still in? | 0:56:35 | 0:56:40 | |
580, £580, 600 on my right. | 0:56:40 | 0:56:43 | |
You going 620? 620 with you, thank you. | 0:56:43 | 0:56:46 | |
-This is great. -640. -Doing all right, isn't it? | 0:56:46 | 0:56:49 | |
660 now, 680. 700, 720, 740, | 0:56:49 | 0:56:53 | |
800 offered. Against you at 800. | 0:56:53 | 0:56:55 | |
-800. -820 now. | 0:56:55 | 0:56:58 | |
On the phone still at 850. | 0:56:58 | 0:57:00 | |
At 850, go 860? 860 I'll take. | 0:57:00 | 0:57:03 | |
880 on the phone. At 880 now. | 0:57:03 | 0:57:05 | |
900, 900 seated. Latest bid at £900. | 0:57:05 | 0:57:08 | |
-This is absolutely brilliant. -920 offered, 940 the lady. | 0:57:08 | 0:57:13 | |
At 940 I'm bid. | 0:57:13 | 0:57:15 | |
This is absolutely brilliant. | 0:57:15 | 0:57:17 | |
-940, 960. -Still going, Paul. -Oh, please, let's do a 1,000. | 0:57:17 | 0:57:21 | |
We might get to it. We might get there. | 0:57:21 | 0:57:23 | |
Lady's bid at 980. 1,000. | 0:57:23 | 0:57:25 | |
-1,000! -Yes! Fantastic. | 0:57:25 | 0:57:29 | |
It's £1,000 against you. Lovely lot. Don't let it go. £1,050, thank you. | 0:57:29 | 0:57:33 | |
1,050, I'm bid. I'm looking for 1,100? | 0:57:33 | 0:57:35 | |
-It's 1,050 in the room. -Wow! | 0:57:35 | 0:57:38 | |
Lady seated. At £1,050. | 0:57:38 | 0:57:41 | |
All out at the back? If you're all done, at 1,050 I'm selling. | 0:57:41 | 0:57:45 | |
-How amazing! -Crack! £1,050. | 0:57:45 | 0:57:48 | |
-Margaret, I'm tingling. -Amazing. | 0:57:48 | 0:57:50 | |
I am absolutely tingling all over. | 0:57:50 | 0:57:52 | |
-You must be as well. -Yeah. That's amazing. | 0:57:52 | 0:57:55 | |
What a great feeling that is? That's a surprise, isn't it? | 0:57:55 | 0:57:58 | |
That's more than I thought it was going to be. | 0:57:58 | 0:58:01 | |
Wow. What comes to mind? | 0:58:01 | 0:58:02 | |
What's the first thing that comes to mind? Gosh! | 0:58:02 | 0:58:05 | |
I'm giving it to the children. It would have been their inheritance. | 0:58:05 | 0:58:08 | |
I'm giving it to the children, so they can buy something they like. | 0:58:08 | 0:58:11 | |
-OK, how many children? -Two. -Two. What are their names? | 0:58:11 | 0:58:14 | |
Claire, there, and Antony. | 0:58:14 | 0:58:16 | |
What a lovely present! | 0:58:16 | 0:58:18 | |
I wish I was one of the children. | 0:58:18 | 0:58:20 | |
-Have to adopt you. -Thank you. | 0:58:20 | 0:58:22 | |
That was game on. I certainly hope you've enjoyed today's show. | 0:58:22 | 0:58:26 | |
-We've enjoyed it here, haven't we? -Absolutely. | 0:58:26 | 0:58:29 | |
So, until the next time. Join us again for many more surprises on Flog It. | 0:58:29 | 0:58:33 | |
Subtitles by Red Bee Media Ltd | 0:58:57 | 0:59:00 |