Northampton and Milton Keynes Flog It!


Northampton and Milton Keynes

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Welcome to the home town of Francis Crick on a rather wet and rainy day.

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But that won't dampen your spirits

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when you walk through sculpture like that.

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And it celebrates his incredible genius. Intrigued?

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Well, you should be, so stay tuned and welcome to Flog It!

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from Northampton.

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Some of the antiques that we'll see today

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have been handed down from generation to generation.

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But we all possess one priceless inheritance

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handed down from our ancestors that we cannot see,

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and that is our DNA.

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Northampton's very own Francis Crick, along with James Watson,

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unlocked the future of genetics by cracking the DNA code.

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In 1962, they were jointly awarded the Nobel Prize.

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And on this very rainy day in Northampton,

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investigating some of these treasures that

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have been handed down to you, are our very own prize experts here,

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Mark Stacey and James Lewis.

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Looks like you've both been Tangoed by Blackfriars!

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We're at the Guildhall, and the owners of some of the treasures that you can see

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in the queue behind me are getting rather excited.

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Wondering who is going to be first at the blue Flog It! tablecloth.

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Well, let's go inside and find out.

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Annie, it just would not be Flog It! without a bit of Moorcroft.

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You've saved the day and brought a bit along.

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-Is this a family piece?

-No. It's not.

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My brother used to do odd jobs for an elderly couple,

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look after the house while they were on holiday,

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-and they were throwing two vases away.

-Throwing them away?!

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Yes, and he gave them to me, and the first one, I did like.

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This one, I've never liked.

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It was used as a door stop. It's had the odd flowers in.

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-You used it as a doorstop?

-Yes.

-Oh, my goodness.

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In this day and age, if you watch Flog It!

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or Bargain Hunt or any of the other antiques programmes,

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you must know what a bit of Moorcroft looks like.

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I do now, yes. It is only down to Flog It!

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I realised it was a Moorcroft.

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I have had it for about 15, 20 years.

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OK, well, this is a classic piece of Moorcroft.

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It is one of the most popular designs.

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It is the hibiscus pattern.

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And this was produced from the 1930s onwards.

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It came in different coloured variations.

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You had the orange flowers on the green background, which was done later.

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This is a much nicer colour variation.

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Quite subtle reds and pinks on a pale blue ground. Much, much nicer.

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And it has got a good shape, as well.

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The ovoid shape.

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And that's classic 1930s. Is it something you treasure today?

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-No!

-Obviously not, because you want to flog it.

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The shape's and the colours are not too bad,

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but it's just not my cup of tea.

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It's just I don't like...Moorcroft.

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It's a classic piece.

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And this WM is for William Moorcroft.

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That's his signature in green.

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So there we are, a good vase. What's it worth?

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I honestly haven't a clue.

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Would you sell it for £30?

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-Well, a year ago, I would have given it away!

-Yes?

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It'll make more than that.

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-I reckon it is going to make between £80 and £120.

-Really?!

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Yeah. Auctioneers' favourite estimate, but I think that is what it's worth.

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Oh, blimey!

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-Is that all right for you?

-Yeah!

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Let's put a reserve of £80 on it.

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£80 firm, so there is no discretion.

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If it doesn't make 80, take it home and try another day.

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Yes, fine. That is lovely.

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-I hope somebody enjoys it.

-We'll take it along and see how we do.

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-Hi, Linda. How are you?

-I'm fine, thank you.

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Now, you have brought a wily little fox in to show us today.

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-I have, indeed.

-Tell us about the history.

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I have had it around about nine months.

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I bought it at a small antiques fair, locally.

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I bought it because I liked the red glaze. I like flambe glazes.

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And I liked the shape of it.

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It's quite nicely modelled. It is quite stylised, really.

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It is a stylised pose.

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Whereas a lot of foxes are depicted either sitting or standing.

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This is really crouching and stalking something, isn't it?

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-Yes.

-So it has got quite a fierce look to it,

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particularly with that bright, raw red flambe glaze.

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It is quite effectively done.

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This is made by Royal Doulton.

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And underneath, we have got a full set of marks for Royal Doulton.

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The signature of Noke, which stands for Charles Noke.

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He designed a lot of pieces in the 1920s and '30s for Doulton.

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And we have also got at the end of the toe an impressed number, 298.

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-Yes.

-So all in all, a very nice piece.

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The mark is very faint there.

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We have got the standard mark of a lion above a crown in a circle with the word flambe.

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And that was used, I think, between 1902 and about 1934.

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-Oh, so it is earlier than I thought it might be.

-Yes.

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You do have to be slightly careful with flambe, actually,

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because it was originally brought out in the 1930s.

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But then was brought back again in the 1960s.

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So you have to be careful about that.

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-Yes.

-But all in all, it is quite a nice figure.

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I think we should try it at maybe 100 to 150.

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-Right.

-With a 100 discretionary reserve, so we'll give the auctioneer 10%.

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So, we can sell it for 90 or so.

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-Yes.

-Are you be happy with that?

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Yes, I'd be fine with that, as long as it's got a reserve on, that would be fine. Perfect.

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Are you prone to breaking them?

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Absolutely. I've not got a good record.

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We don't want that bushy tail breaking off, do we?

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-Certainly not.

-Or the ear chipped.

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-The ears are particularly vulnerable, I think.

-They are very vulnerable.

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Thank you very much, and I look forward so seeing you

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at the auction, let's hope we get a good price.

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Chris, if there was an award for bringing the heaviest thing ever

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to Flog It, I think you'd have won it.

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These are incredibly heavy, aren't they? You can hardly lift them.

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The first thing to say is they're clearly cast in solid bronze

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and they're plaques of Gladstone and Victoria and are they family pieces?

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They look as if they've been somewhere dirty.

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They were found in my grandfather's garage.

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-Really.

-18 months ago.

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No idea at all of family history?

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-No.

-How long they've been there, why they were there?

-No.

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Well, they clearly have a value.

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I know this sounds really crude but I think the first thing we need to do is actually weigh them

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and make sure we don't sell them at less than scrap value, but these are too good for that.

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They really are.

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They've survived for 120 years and I'd like to see them survive another 120.

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They're marked on the back. I'm sure you've seen it there.

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It says, cast by D Smith, 28 Clerkenwell Close, London.

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The only thing I can suggest is that having looked on the internet and finding no D Smith at all,

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and no trace of a caster,

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what I believe these are are probably a commission

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to be made as special individual objects,

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which is why we have no trace of them.

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-You bought them along so you obviously want to sell them.

-Yes.

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-Any idea of value?

-None at all.

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When it comes to market value,

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-they aren't the easiest things to place.

-No.

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Who would want a solid bronze plaque of Queen Victoria

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that would actually probably cause incredible damage

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to any piece of furniture it was put on and wouldn't be able to be hung on a wall either?

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-No.

-Gladstone is probably a little bit easier to sell

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because of course there's the political history with Gladstone.

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He was one of the most popular prime ministers of the 19th century

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and actually was Prime Minister for four terms,

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starting in 1868 and eventually out of office in 1894.

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And this plaque is dated 1888 on the back there, as I'm sure you've seen.

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I reckon we ought to put an estimate of £120 to £160 on them

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and if they don't make that, then you might as well keep them.

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-Yes.

-They've got to be worth that for scrap.

-That's right, yeah.

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-Yeah? How do you feel?

-That's fine, yes.

-Brilliant.

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Lynn and Chris, good to see you, and thank you for bringing some

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furniture in, we love to see furniture on the show.

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We don't get a lot of it. How long have you had the Davenport?

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I have had it probably about five, six years now.

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-Did you inherit this?

-It was my grandmother's, and I think it was her mother's.

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Oh, lovely.

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Walnut is the most expensive and the most decorative wood,

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so it has got a bit going for it, anyway.

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Captain Davenport, a sea captain, commissioned Gillow,

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a very famous furniture maker,

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to make him a portable writing desk with a slope

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that he could take on board and off board ship with him.

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Gillow's was so impressed with his drawings

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that they carried on making them, and as a tribute to him,

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they called them Davenport.

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That was the birth of the Davenport, 1790.

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This particular model is late Victorian.

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We are looking at 1880, somewhere around there.

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Here we have got the faux drawers and they don't open.

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But this side,

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you can see they do. And that is very, very handy.

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And they are all beautifully made as well, all dovetailed and lap-jointed.

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I like that. That is a little drawer stop.

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That tells you when the drawer has reached the back.

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So it finishes flush at the front.

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The keys have gone walkabout over the years.

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Yes, and there is a bit of damage to the veneer.

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It is good quality veneering.

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Moroccan tooled leather, I am a big fan of black rather than...

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That is why, years ago, I actually took a liking to it

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when I was younger and that was the bit that set me off.

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I like the black more than the reds and the greens.

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So, let's have a look inside.

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Another veneer finish inside, which is quite nice, birdseye maple.

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It lightens up the whole thing.

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Pigeonhole sections there for stationery, a couple of little drawers.

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It's really quite cute, actually, isn't it?

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I love that you haven't polished it.

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-We haven't touched it.

-No. This will take a polish, and this will glow.

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-I thought it might, but I wasn't sure.

-This will really glow.

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Wonderful golden variegated hues will just burst out of this.

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Brown furniture has dipped quite a bit.

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And I would like to call my valuation 3 - 5.

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But I'm pretty sure it'll make that £400 mark.

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-Are you happy with £300-500?

-Yes.

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A fixed reserve.

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It is not going to sell for anything less than 300.

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-Is that all right?

-That's fine.

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Stephen, what fantastic fun.

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We have taken a real step back into Georgian England here

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with political and royal caricatures of the period.

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These are all dating to the late 18th and early 19th century.

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And we've got some really fantastic and famous names here.

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They are collected widely, and there is a great market for them in the States.

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And there are also very good collectors for them here in the UK.

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Each individual one takes a little bit of time.

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If you're not a specialist, it takes time to do some research.

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And today here in Northampton, we are not going to have the right time to do it properly.

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So before we go down the line of value, I can tell you now,

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I am not going to put a figure on these.

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Because I want to do the research properly.

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For example, here, we have got this chap hanging.

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It is wonderful, the sentiment.

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People obviously don't like this chap.

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We have got a little voice bubble coming up from here,

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"May our heaven-born minister be supported from above."

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What a wonderful bit of fun that is.

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Not for him, obviously.

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This is dated at the bottom here.

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1797, so we are in late 18th century England.

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That's probably going to be William Pitt the Younger.

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Because he is the main political character of the time, he's looking

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young and unpopular, which he was at this period of time.

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Then we've got others.

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We've got here,

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a cartoon by one of the most famous people of the time, and that's George Cruikshank.

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Now, George Cruikshank took over as being the most popular character in about 1811.

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This one is obviously something to do with the English and the Irish.

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We have got the Irishman here saying shillelaghs, but also offering his shoes to the French.

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Offering anything to the French in the 18th century,

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later 18th, early 19th century, wasn't greatly popular.

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Now, having waffled on and told you very little about values,

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tell me how you've come to have them.

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Well, I picked them up at a car boot sale, a local car boot sale.

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Fantastic!

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In the summertime, for £10.

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I had actually been there for about three hours,

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and it was about quarter past one, and I happened to see the folder.

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It's incredible, isn't it.

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It does just show you that bargains can still be had.

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When it comes to these caricatures, they vary in value.

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Some like this that have been torn and ripped and stuck down, will be worth relatively little.

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So, value. I'm going to, as I say, avoid the subject.

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Because they can be worth as little as £5, and as much as £5,000.

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Now, there is nothing here worth £5,000.

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There is nothing of huge value.

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I will take them away do some research, and between us, we will come up with

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a valuation for you and organise a reserve.

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-Is that all right?

-Yeah, that's great.

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-Keep hunting at the car boots, you've got a good eye.

-I certainly will!

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Now, before we go back to valuation day,

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I'm heading to a futuristic landscape, and I haven't had to travel too far.

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These stylish new homes here in Oxley Wood went on the market

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in 2007 adding colour and vitality to this rather leafy suburb.

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They're the result of an unlikely partnership between a building firm

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and a firm of architects that brought us such iconic landmark statements

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as the Millennium Dome in London and the Pompidou Centre in Paris.

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Yet choosing to build 145 houses here in Milton Keynes was no accident.

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Milton Keynes landed on the map in the late 1960s, born out of

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a government initiative to relieve housing congestion in London.

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It dared to be different, designed using modernist principles,

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which put function before decoration.

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The roads were laid out in a grid system.

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Straight lines connected areas designed for living, work and recreation.

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As the largest of the British new towns it has stood the test of time

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far better than most, proving to be flexible and adaptable.

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More than 40 years on, this new development keeps that tradition very much alive

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and this too was also born out of a government initiative,

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but this time the challenge was to build a house

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that tackles the ecological and energy efficient demands of the 21st century.

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As well as meeting these demands,

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the architects also wanted to create homes that were visually striking.

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The modernist principles came into play yet again.

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Function over decoration, using materials that met the demands set,

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but also using a colour palette that makes these homes exciting to the eye,

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like the striking red pyramid on each roof.

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Now, it might look like decoration, but it's actually a new generation of chimney stack,

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efficiently filtering and warming air throughout the home.

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But it's the way it all goes together that is key.

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To meet the brief of eco-friendly, energy efficient homes

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the architects turned to the prefab.

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It's a way of manufacturing houses on a factory production line

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and then assembling them on site,

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and it's an idea that's proved useful before.

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After the Second World War, close to 160,000 cement-panelled

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prefabricated houses came off the factory production line.

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They were bolted together on site to make temporary shelters for the homeless.

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They have survived long beyond their intended ten to 15 years,

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and some, well, they're still in use today.

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Such housing has long suffered from the stigma of uninspired design and shoddy construction.

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But in recent years all that's changed.

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Architects have taken the idea of the flat-pack, and literally

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run with it, creating bold, bespoke homes.

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And there's another really big advantage to these new houses.

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They go together pretty quick, saving on construction costs.

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The main structure is made in the factory in seven days.

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Then it's assembled on site in just two weeks.

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But this is not just a story about the modern prefab.

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These new homes at Oxley Woods might prove very tempting as they reduce carbon emissions by almost 40%

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and could save plenty of money on energy bills. So how do they work?

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It's all about effective insulation,

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utilising natural light as much as possible and, of course,

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using energy-efficient recycled materials.

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Let me just show you a cross-section of the wall here.

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Now, the main construction of the building is made of wood,

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and 90% of all the wood on this project

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is from responsibly managed forests, which means there's an ongoing planting scheme, which is fantastic.

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But just looking at this cross-section of wall here

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you can see you've got an inner cladding of plasterboard which can be emulsioned to any colour.

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This could be your sitting room, let's say.

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And you've got the outer, industrial skin.

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Now, 85% of that is recycled materials.

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It's very easy to clean, it's completely weather resistant and it comes in a variation of colours.

0:19:030:19:09

This one's a sort of off-white but, as you can see behind me, there's a wonderful aubergine colour.

0:19:090:19:14

This cross-section shows the cavity wall

0:19:140:19:17

and it's filled with recycled paper which forms the insulation.

0:19:170:19:22

And, believe it or not, it's recycled telephone directories

0:19:220:19:25

which are pumped in afterwards, so this could be your number!

0:19:250:19:29

And it's all topped off with a new roof. Let me show you this.

0:19:290:19:32

It's made of timber construction, it's quite heavy.

0:19:320:19:34

It's got a sandwich there of foam for your insulation,

0:19:340:19:38

but it's all covered with this pink waterproof membrane

0:19:380:19:41

which is going to last for the rest of our lives, anyway.

0:19:410:19:45

Completely waterproof.

0:19:450:19:46

And this roof doesn't sit flat, it inclines towards the back of the house, as you can see.

0:19:460:19:51

The water runs off and is collected in water butts to be recycled.

0:19:510:19:57

It's quite ingenious really.

0:19:570:20:00

Well, that's all well and good,

0:20:000:20:02

but the proof of the pudding is in the eating.

0:20:020:20:04

So what's it like to live in one?

0:20:040:20:06

So what d'you think of Milton Keynes?

0:20:060:20:08

Well, I like it very much. I came down here about 30-odd years ago.

0:20:080:20:12

-Where from?

-From Sheffield.

0:20:120:20:13

-And what do you do as a profession?

-I'm an architect.

0:20:130:20:16

Oh, well, that's great, your head's in the right space here anyway.

0:20:160:20:19

-Yeah.

-It's an architect's dream.

0:20:190:20:21

-Yeah.

-The first thing I have noticed, it's a wonderful feel here.

0:20:210:20:25

It really is really nice.

0:20:250:20:27

Yes, as soon as I walked into the show house when

0:20:270:20:29

I came to look at the development I thought, wow, this is where I'd love to live when I downsize.

0:20:290:20:34

Has this space forced you to become minimalist?

0:20:340:20:38

Very much so. It has done, yes. I had a much bigger house before

0:20:380:20:41

and I had to get rid of a lot of things, yeah.

0:20:410:20:43

What are the best bits about the house?

0:20:430:20:45

I like the space, the feeling of spaciousness,

0:20:450:20:48

even though it's quite small.

0:20:480:20:50

And the light, I like the fact that it is energy efficient but I haven't actually counted up over the years...

0:20:500:20:54

-Have you had your bills yet?

-I've had some and they haven't been too much of a surprise.

0:20:540:21:00

They've been quite good. And the eco features, the fact that it was built partly

0:21:000:21:04

from sustainable materials, water saving features.

0:21:040:21:08

All those sorts of things, they're all an added bonus to actually liking the design of the house itself.

0:21:080:21:13

Are there any down sides?

0:21:130:21:15

I suppose there is a bit of a lack of storage.

0:21:150:21:18

In this smaller unit, I've got a good space under the stairs,

0:21:180:21:21

but upstairs there isn't a lot of space for wardrobes and things.

0:21:210:21:25

And the house functions as a really good office because upstairs,

0:21:250:21:29

in one of your spare rooms, there's a draughtsman's desk.

0:21:290:21:32

I'm using it in the largest bedroom actually, I'm using that as a study.

0:21:320:21:35

It's great, there's a lovely view. And there's a high-level window

0:21:350:21:40

which, on good days, has a superb view of the sky.

0:21:400:21:43

Every time you walk in, there's virtually a different picture on the wall.

0:21:430:21:47

Now, these homes might not be the answer to all of the questions.

0:21:500:21:54

A lot of people say they're hard-looking,

0:21:540:21:56

they're too far removed from our love affair with bricks and mortar.

0:21:560:22:00

But they're a massive step forward towards environmentally conscious house building.

0:22:000:22:04

Not to mention the fact that there's a bit of colour,

0:22:040:22:07

there's a bit of vitality about the place.

0:22:070:22:09

It puts a smile on your face.

0:22:090:22:11

I think they sit right at home here in Milton Keynes as this place continues

0:22:110:22:15

to develop as a thoroughly modern forward-thinking town.

0:22:150:22:18

We've just crossed over the border into Leicestershire for today's sale

0:22:260:22:30

in the heart of Market Harborough where we find Gilding's Ltd.

0:22:300:22:34

On the rostrum today's auctioneer is Mark Gilding.

0:22:340:22:37

Before we learn the fate of our items,

0:22:370:22:39

here's a reminder of what's up for sale.

0:22:390:22:42

Off the kitchen floor and into the sale room for Anne's Moorcroft vase.

0:22:420:22:46

I'm amazed there's not more damage to it!

0:22:460:22:49

Lynda's little glazed fox caught Mark's eye.

0:22:490:22:52

And he has high hopes for it at the auction.

0:22:520:22:54

How nice to have a bit of furniture on Flog It!

0:22:540:22:57

Especially a Davenport desk.

0:22:570:22:58

Let's hope, like me, the bidders fall in love with it.

0:22:580:23:01

The money is on these bronze plaques winning gold

0:23:010:23:04

and not turning out to be a dead weight.

0:23:040:23:06

And James eventually decided on a value for Stephen's interesting caricatures,

0:23:070:23:11

and they're off to auction with a fixed reserve of £200.

0:23:110:23:15

Good to see you again. Who have you brought?

0:23:190:23:21

-James, my husband.

-Hi, hello there.

0:23:210:23:23

You don't like Moorcroft.

0:23:230:23:25

-No.

-You've been using it as a doorstop?

0:23:250:23:27

-That's right.

-We've heard some odd things on our time in Flog It!

0:23:270:23:30

but I think Moorcroft for a door stop is the first! Well look, good luck.

0:23:300:23:34

I think it's here to sell. We've got a full house.

0:23:340:23:37

Moorcroft is a cracking name.

0:23:370:23:39

And there are lots of other pieces of Moorcroft in this sale.

0:23:390:23:43

If it doesn't sell, it's my fault!

0:23:430:23:45

THEY LAUGH

0:23:450:23:47

-I hope so!

-It's going under the hammer.

0:23:470:23:49

Good luck, both of you.

0:23:490:23:50

Lot number 20. A Moorcroft pottery ovoid vase.

0:23:500:23:53

Commissions start here at £85.

0:23:530:23:55

On commission. 85 I'm bid.

0:23:550:23:57

At 85 here. At 85. At £85. 95.

0:23:570:24:00

You are both out. 100. 10.

0:24:000:24:01

120. 30. 140. 150, if you like.

0:24:010:24:05

Anyone else at 140? 140, it will be sold. At £140.

0:24:050:24:10

-It's a good result.

-Brilliant.

0:24:100:24:13

We had 80 - 120 on that, you've got to be pleased with that.

0:24:130:24:16

It's really good.

0:24:160:24:17

£140. And that was going in the skip, wasn't it?

0:24:170:24:19

A friend gave it to you.

0:24:190:24:21

What do you prop the door open with now?

0:24:210:24:24

We'll have to find something else now!

0:24:240:24:26

Now, remember that flambe - that lovely red fox?

0:24:300:24:33

We've got that little critter, but we don't have Lynda.

0:24:330:24:37

-She can't make it today.

-Oh, what a shame.

0:24:370:24:39

-But we have Mark!

-I'll have to make up for her!

0:24:390:24:41

-I tell you what, we are in hunting territory here.

-We are.

0:24:410:24:44

We are surrounded by...

0:24:440:24:46

Hunting and horse-y things.

0:24:460:24:49

-Should this do well, this little red fox?

-It should.

0:24:490:24:51

Flambe is an interesting market.

0:24:510:24:54

It's by Noke, of course, and it's a lovely little model.

0:24:540:24:57

I think it's captured that sort of fox mid-run.

0:24:570:25:00

-The tail is out, the face is there...

-It's alert.

0:25:000:25:03

And the colour really matches that mood, I think. So, fingers crossed.

0:25:030:25:08

320, then. It's a Royal Doulton flambe model of a fox.

0:25:080:25:10

Signed as Noke. Commission bids start at £100.

0:25:100:25:13

-We're in at 100.

-110.

0:25:130:25:15

120. 130. 140. 150. 155, on commission. 160,

0:25:150:25:20

and I'm out.

0:25:200:25:21

Oh, 160 - perfect.

0:25:210:25:22

£160.

0:25:220:25:24

£160! She will be so excited.

0:25:240:25:28

Get her on the phone.

0:25:280:25:31

Christopher, it's going to be interesting to see

0:25:340:25:37

what the bidders think of these two bronze plaques,

0:25:370:25:40

they're going under the hammer right now.

0:25:400:25:42

We had a chat to the auctioneer earlier. Let me bring James in.

0:25:420:25:45

We agreed with your valuation, it's going to do around about that

0:25:450:25:49

but what do you do with them?

0:25:490:25:50

Do you melt them down, put them in the garden as a bit of garden art?

0:25:500:25:54

It's a shame to melt them down, isn't it?

0:25:540:25:57

But I have to say there's such weight in them, it's possible.

0:25:570:26:01

People are buying copper kettles and things now and scrapping them.

0:26:010:26:04

Yeah. Will the new buyer buy them and put them back in the garage?

0:26:040:26:08

That's where they end up, in the garden shed again, isn't it?

0:26:080:26:11

So these were Grandad's.

0:26:110:26:12

-That's right, yes.

-What did your father think of them?

0:26:120:26:15

He doesn't think a great deal of them.

0:26:150:26:17

That's why he put them in the garage.

0:26:170:26:19

I don't blame you for getting them out because they do need a new home,

0:26:190:26:23

so hopefully they'll find one and they won't get melted down.

0:26:230:26:27

They're going under the hammer.

0:26:270:26:28

140 is a Victorian cast bronze portrait plaque of Gladstone,

0:26:280:26:33

marked cast by D Smith and a similar portrait plaque of Queen Victoria.

0:26:330:26:38

Bids here £55, 55 bid, 65, 75, £80 in the room,

0:26:380:26:44

at £80 at the back, at £80, 85, 90, 95, 100.

0:26:440:26:48

That's OK.

0:26:480:26:50

Your turn, 110, 110, at 110, 120 if you like it.

0:26:500:26:54

110, 110, selling at £110.

0:26:540:26:58

Yes, the hammer's gone down. £110.

0:26:580:27:01

We were thinking along the lines at the lower end, £40 per plaque,

0:27:010:27:05

we'll get them away, so 110 is a bonus.

0:27:050:27:08

Good for you! You found them, hopefully all the money's going to you and not Dad then?

0:27:080:27:12

No, it's going to my children.

0:27:120:27:14

Oh, great!

0:27:140:27:15

I've been joined by Lynn and Chris. And it's my turn to be the expert.

0:27:210:27:24

We've got that fantastic Davenport desk.

0:27:240:27:27

What's going through your mind? "Oh, I'm not sure. Will it sell?"

0:27:270:27:31

I think it will, you know. I had a chat to the auctioneer.

0:27:310:27:34

Three to five - sensible money on that.

0:27:340:27:36

That's a come and buy me at 300. It's quality brown - that's walnut.

0:27:360:27:40

That's not the run-of-the-mill Edwardian mahogany.

0:27:400:27:43

-So...

-Wait and see..

0:27:430:27:45

-It's going to sell! The auctioneer thinks so.

-Does he?

0:27:450:27:48

Yeah. That's just winding you up! But how much for?

0:27:480:27:51

Well, we're going to find out.

0:27:510:27:53

Nice little Davenport there. Some bids. Start me here at £250.

0:27:530:27:57

250 I'm bid. 250, you are all out?

0:27:570:27:59

£250. 250. 260. 270. 280. 290.

0:27:590:28:03

£300. At £300. £300 bid. At £300. 300 now. In the room at £300.

0:28:030:28:06

300 with the lady. 300, and selling now

0:28:060:28:10

at £300.

0:28:100:28:11

It went. They weren't fighting over it.

0:28:110:28:17

Right on the reserve.

0:28:170:28:18

Well, it's gone.

0:28:180:28:19

We said three to five. We're going to stick to our guns.

0:28:190:28:22

-We're happy we got rid of it!

-You got rid of it. Exactly.

0:28:220:28:25

We've got a car boot sale lot here which is valued at what, £10?

0:28:300:28:34

You got it for 10 quid.

0:28:340:28:35

It's good to see you. You brought along a mate with you?

0:28:350:28:38

My friend David.

0:28:380:28:39

Hi, David. It's so good to see young guys interested in antiques.

0:28:390:28:43

It's about getting in the game at a young age and learning the knowledge.

0:28:430:28:47

Because there is money to be made, as we're going to prove right now.

0:28:470:28:50

Because James, you put £200 - £300 on this folio of caricatures.

0:28:500:28:54

Not many people would buy them, but I think they are great.

0:28:540:28:57

I really do. Good for you for picking them up.

0:28:570:29:01

It's one of the most difficult things I've valued on Flog It!

0:29:010:29:04

And really, one or two of these are worth 1,000 individually

0:29:040:29:08

if they had been crisp, perfect, with the margins.

0:29:080:29:12

But there are sections missing. They are faded, they are cut.

0:29:120:29:15

So, fingers crossed.

0:29:150:29:17

I don't care - if they go wildly over my estimate, I'm pleased.

0:29:170:29:21

I'll be more pleased to be wrong.

0:29:210:29:23

-I hope they do sell.

-Good. We find out right now.

0:29:230:29:26

-Good luck, guys.

-A collection of 18th and 19th century caricatures.

0:29:260:29:30

Bids start with me here, I'll say £130.

0:29:300:29:34

130 I'm bid. 140.

0:29:340:29:35

-150. 160. 170.

-That's good. There's interest in the room.

0:29:350:29:39

200. 210. 220.

0:29:390:29:41

-Come on, keep going!

-230. 240.

0:29:410:29:43

250.

0:29:430:29:47

260. 270.

0:29:470:29:51

280.

0:29:510:29:53

290.

0:29:530:29:54

-300.

-Come on!

0:29:560:29:58

This is good news, Stephen, isn't it?

0:29:580:30:00

320 on the telephone.

0:30:010:30:03

£320. 340, back in at 340.

0:30:030:30:06

Telephone too, then, at 340.

0:30:060:30:08

360 on the telephone. At 360.

0:30:080:30:11

360, at 360. Looking round the room again. At 360.

0:30:110:30:14

360 and selling at £360.

0:30:140:30:17

The hammer's going down. £360.

0:30:170:30:21

-Thank you very much.

-That's great.

0:30:210:30:22

-Brilliant.

-Well done.

-Brilliant.

0:30:220:30:25

What will you put that towards?

0:30:250:30:26

Perhaps put it towards a holiday in the summertime.

0:30:260:30:31

I think you should buy James a big drink for that!

0:30:310:30:34

That's fantastic, I'm very pleased. Well done.

0:30:340:30:37

He's done a lot of research to find the buyers for this one.

0:30:370:30:40

Stick half of that into car boot money and invest it.

0:30:400:30:43

-I will do over the summer time.

-Brilliant. Well done.

0:30:430:30:47

It's all out there if you to get up early in the morning to find it.

0:30:470:30:51

Some great results. We are coming back here later on in the show.

0:30:520:30:56

I'm going to take a quick break.

0:30:560:30:58

I'm going to go round the corner and find out what used to be

0:30:580:31:01

the industrial mainstay of Market Harborough back in the 1800s.

0:31:010:31:05

Christian Dior once said, without proper foundations, there can be no fashion.

0:31:110:31:16

That red brick building in the heart of Market Harborough -

0:31:160:31:19

once housed the market leaders in women's foundation garments.

0:31:190:31:24

And they were called R and WH Symingtons.

0:31:240:31:27

In 1835, James and Sarah Symington set up a workshop to make corsets

0:31:290:31:34

for the wealthy women in the area.

0:31:340:31:36

The business grew, particularly with the introduction of the new-fangled sewing machine.

0:31:360:31:41

This magnificent staircase is all that remains of the original building.

0:31:450:31:50

Now, Philip Warren, who now looks after the Symingtons corset collection, is going to show me

0:31:500:31:55

a few examples of what would have run off the production line in the late 19th century.

0:31:550:32:00

What an incredible collection!

0:32:040:32:06

-Philip, there you are.

-Hi.

0:32:060:32:08

Thanks so much for putting this together for us today.

0:32:080:32:11

They look so splendid!

0:32:110:32:13

But my first impressions are -

0:32:130:32:15

very tiny! Is that the standard size?

0:32:150:32:18

-Well, they do appear tiny, don't they?

-Yes!

0:32:180:32:20

For the purposes of the displays, we have to actually have them so that

0:32:200:32:24

the corsets are closed at the back, so laced up very tightly.

0:32:240:32:27

But most women were perfectly sensible about their corset.

0:32:270:32:31

They tended to leave them open slightly at the back.

0:32:310:32:33

Partly because it gave you air to breathe.

0:32:330:32:36

-A bit more breathing space.

-A bit more movement, at least!

0:32:360:32:38

And I think also, there's a little bit about buying a small size

0:32:380:32:42

and then leaving it slightly open at the back, as well.

0:32:420:32:44

Just to make you feel a bit better in the morning!

0:32:440:32:47

They are incredible. They are beautifully made.

0:32:470:32:50

There are amazing. Not just as garments, just as pieces of design,

0:32:500:32:54

but also as feats of engineering, because they are very complicated.

0:32:540:32:58

Lots of different pattern pieces and, obviously, the way that the boning works

0:32:580:33:02

dictates exactly how the finished corset is going to alter and change your body.

0:33:020:33:07

And I guess women would take pride in choosing the right corset?

0:33:070:33:09

It had to look right. It was a fashion statement.

0:33:090:33:12

Absolutely. Most people were sensible.

0:33:120:33:14

You know, they chose the one that was comfortable.

0:33:140:33:16

They chose the one that was obviously going to be beautiful, because, you know, sometimes they were seen.

0:33:160:33:22

And you had to be comfortable.

0:33:220:33:24

There are lots of stories about people who would over lace their corsets

0:33:240:33:27

and that they would pass out or that they'd distort the organs in their body.

0:33:270:33:31

But I think most people were actually quite sort of pragmatic about it.

0:33:310:33:35

And you couldn't actually get dressed without one.

0:33:350:33:38

A dress like this, from the 1890s,

0:33:380:33:40

without a corset underneath it,

0:33:400:33:42

you couldn't have possibly hoped to achieve the shape that you needed to have.

0:33:420:33:48

But these were all corsets that you would buy off the peg.

0:33:480:33:51

These different styles all really relate to the different needs of individuals.

0:33:510:33:57

This American corset, because the Symington collection

0:33:570:34:00

includes different corsets from all over the world.

0:34:000:34:03

They were buying in competitors' work and we presume,

0:34:030:34:05

looking at how they were made and how they could make them cheaply.

0:34:050:34:08

-OK.

-Nothing changes!

0:34:080:34:11

So, this one is actually made... it's supported with preformed steel.

0:34:110:34:15

So were the Symingtons making their corsets with whalebone, or were they using steel?

0:34:150:34:19

Whalebone I think was the ultimate,

0:34:190:34:21

although it was becoming increasingly hard to find and more and more expensive.

0:34:210:34:26

And they liked it because it had that flexibility and give.

0:34:260:34:29

And if you did need to actually launder your corset, which was quite unusual,

0:34:290:34:33

then it didn't rust, obviously.

0:34:330:34:35

Whereas the steels did. So that was one of the major drawbacks.

0:34:350:34:40

There's one hiding behind this. Should I bring this forward?

0:34:400:34:43

Now, this looks slightly simpler.

0:34:430:34:45

Well, I think it's one of the most fascinating garments that's in the Symington collection.

0:34:450:34:50

It's one of their speciality corsets called the "Pretty Housemaid".

0:34:500:34:53

And it evolves in the 1890s.

0:34:530:34:55

As a direct response, really, to Symingtons recognising

0:34:550:34:59

that there's a massive market out there,

0:34:590:35:01

which is working class women who want to have,

0:35:010:35:04

not just a supporting garment that helps keep their body upright

0:35:040:35:08

during incredibly hard and really dull domestic work,

0:35:080:35:11

but also, you know, they want to have a fashionable figure as well.

0:35:110:35:15

And feel more feminine and sexy?

0:35:150:35:17

Absolutely! You know, it's about having a real pride in your appearance,

0:35:170:35:22

as well as doing that whole thing which is to support your body.

0:35:220:35:25

And instead of just saying to the customer, "Here's our cheapest corset,"

0:35:250:35:29

they actually engaged with the customer by saying, we've got something specially for you.

0:35:290:35:35

We called it the "Pretty Housemaid" corset.

0:35:350:35:37

It's got the most beautiful box top.

0:35:370:35:39

-Good branding there.

-Absolutely!

0:35:390:35:42

-And there she is.

-Admiring herself in a mirror with a pinny on!

0:35:420:35:45

Absolutely! She's just stood at the mirror and now she can see herself in all her glory!

0:35:450:35:51

So it wasn't just the wealthy women that wore the corsets.

0:35:520:35:55

There was something for everyone.

0:35:550:35:57

Hard to believe that some of the wealthy women would have changed up to three times a day,

0:35:570:36:02

with different corsets for each outfit.

0:36:020:36:04

What a relief it must have been to take them off at the end of the day.

0:36:040:36:07

These look incredible.

0:36:090:36:11

Obviously, marketing and advertising was quite important.

0:36:110:36:14

Absolutely. They were in competition with every other retailer

0:36:140:36:18

that would have put their goods into a large store, a department store.

0:36:180:36:22

And so it was about capturing the imagination.

0:36:220:36:24

-It was about establishing brand loyalty and it was about handing over that hard earned money.

-Yes!

0:36:240:36:30

A really kind of special moment.

0:36:300:36:31

And I think they were as brand conscious and as image conscious as we are today.

0:36:310:36:36

I think the advertising was just as sensitive and I think it was certainly just as clever.

0:36:360:36:40

They did do one corset where they actually sprayed it with rose water

0:36:400:36:45

before it actually went into its box,

0:36:450:36:47

so there was that whole different sort of senses that came into play when you were buying it as well.

0:36:470:36:52

Not just, did it fit, did it work, but actually, it smelt beautiful too!

0:36:520:36:56

That's a nice touch actually, isn't it? These look slightly different, Philip.

0:36:560:37:00

Can you talk me through these corsets?

0:37:000:37:02

Well, we talked a little bit earlier about each individual woman

0:37:020:37:05

requiring something particular from the corset of her choice.

0:37:050:37:09

So, these two are sports corsets.

0:37:090:37:11

And that was really because at the end of the 1890s,

0:37:110:37:15

you've got a whole mass of women who are wealthy enough

0:37:150:37:19

to have the leisure time, to start playing active sports.

0:37:190:37:23

So you've got the riding, hunting, cycling.

0:37:230:37:25

So, you can see that these are designed to fit lower underneath the arm.

0:37:250:37:29

-They fit higher over the hip.

-There's more freedom, isn't there?

0:37:290:37:32

More freedom of movement and also, there are elements of change in the front of them as well.

0:37:320:37:37

So, you can actually unlace these two sides around the bust.

0:37:370:37:40

So, you can actually get a bit more movement in there.

0:37:400:37:44

And these have got early elasticated panels inset into various different parts of it.

0:37:440:37:49

Unfortunately, the rubber in the elastic has started to degrade and they've gone saggy.

0:37:490:37:54

But it would have meant that your diaphragm could actually expand

0:37:540:37:58

and you could take deep breaths as you were doing exercise.

0:37:580:38:01

So, the average woman would have four or five different types of corset, then?

0:38:010:38:05

Absolutely. You know, if you were wealthy enough to have that sort of lifestyle,

0:38:050:38:08

then certainly, you would have had a corset for the daytime.

0:38:080:38:11

You would have had a corset for the evening, a sports corset,

0:38:110:38:15

and obviously, as we know, in the Victorian period

0:38:150:38:17

you are looking at women having a large number of children,

0:38:170:38:21

you would have had a special corset made for the period that you were pregnant and nursing.

0:38:210:38:25

And that's what this next corset over here is.

0:38:250:38:30

They are all so tiny!

0:38:300:38:32

It seems very strange to us, doesn't it? That idea of wearing a corset when you're pregnant.

0:38:320:38:37

But you can see that the design of it,

0:38:370:38:39

it has these little elasticated lacing sections here.

0:38:390:38:42

Which would allow the corset to open slightly

0:38:420:38:46

and to grow as your pregnancy was developing.

0:38:460:38:50

And of course, it did support your back.

0:38:500:38:52

But it's clever, again, in that it gets women to buy another corset.

0:38:520:38:56

Absolutely.

0:38:560:38:57

And I think it shows the brilliance of the design and manufacturing skills of the Symington factory.

0:38:570:39:02

Well, it's back to the valuation day

0:39:070:39:09

and Mark has found something rather intriguing!

0:39:090:39:12

Marion, you have brought in

0:39:120:39:13

-the most fascinating object today.

-Thank you.

0:39:130:39:16

But before we have a jolly good look at it,

0:39:160:39:19

give us a little bit of the history.

0:39:190:39:21

Well, it was found in my mother-in-law's drawer after my father-in-law died.

0:39:210:39:26

We were searching through, just sorting things out,

0:39:260:39:28

and came across it along with lots of other bits and pieces.

0:39:280:39:31

And I didn't think much of it.

0:39:310:39:33

I thought, perhaps it's gold, and it's sat in the drawer ever since.

0:39:330:39:36

I haven't done anything with it. We opened it up, we know what's inside it.

0:39:360:39:40

So, have you ever had it tested to see if its gold?

0:39:400:39:43

No, we've never had it tested.

0:39:430:39:45

And it's got no marks as far as I can see on it.

0:39:450:39:47

No. Well, it's intriguing.

0:39:470:39:48

Because when you look at it like this, it looks like a locket.

0:39:480:39:52

And indeed, that's what it is. If we look at it here, we can open it up.

0:39:520:39:55

We've got a lovely little interior cover as well,

0:39:550:39:59

with a little dove of peace engraved on it.

0:39:590:40:02

And when you open that up,

0:40:020:40:04

there is a tiny little photograph inside it, which is wonderful.

0:40:040:40:08

But intriguingly, on the other side, when we open that up,

0:40:100:40:14

we've got this lovely little pierced top here for a vinaigrette.

0:40:140:40:18

But, of course, two explanations.

0:40:180:40:21

One explanation is that when you were walking around

0:40:210:40:25

the streets of London 100-200 years ago, the place stank.

0:40:250:40:29

So, of course, sometimes it was so obnoxious

0:40:290:40:31

that you kept a little bit of smelling salts in there

0:40:310:40:34

to keep your pecker up, as it were.

0:40:340:40:36

The other explanation, particularly as this is a ladies' one,

0:40:360:40:39

is that during the Victorian period they wore those really, really tight corsets.

0:40:390:40:44

Oh right, yes.

0:40:440:40:46

And people often fainted because it constricted you so much,

0:40:460:40:49

so this was a way of bringing you back round, as it were.

0:40:490:40:52

And what's very nice about it,

0:40:520:40:55

is if we open the vinaigrette up,

0:40:550:40:57

we've got this lovely little lock of hair

0:40:570:41:00

which I think belongs to the person in the picture.

0:41:000:41:04

Well, the unusual part about it is,

0:41:040:41:06

we don't know who this person in the photograph is,

0:41:060:41:10

or who the lock of hair belonged to.

0:41:100:41:12

It's a lovely little intriguing object.

0:41:120:41:15

I think it's fair to say that it's had a hard life.

0:41:150:41:18

I think it's been well worn, don't you?

0:41:180:41:21

It's been well worn. A lot of the pattern is a bit rubbed and it's had some reinforcement on it.

0:41:210:41:26

But I've never seen the combination of a love token

0:41:260:41:29

in the form of a locket and the little vinaigrette.

0:41:290:41:33

I don't think this is the original chain, of course.

0:41:330:41:36

-No, no.

-But a lovely little object.

0:41:360:41:39

-Would it be First World War?

-Oh, even earlier than that.

-Really?

0:41:390:41:42

Certainly this is a Victorian locket.

0:41:420:41:45

We could be looking as far back as the Crimean War, I suppose.

0:41:450:41:49

-But, of course, coming to harsh practicalities that you've never had it valued before.

-No.

0:41:490:41:55

But I think I'm going to plump for the auctioneer's cliche.

0:41:550:41:58

-Can you guess what it is?

-80 to 120!

0:41:580:42:01

-You've got it. You've got it. With an 80 reserve.

-Yes, definitely.

0:42:010:42:05

And then just see where it turns up. Would you be happy with that?

0:42:050:42:09

Very happy. As I say, just sits in the drawer,

0:42:090:42:11

got no interest in it at all as an object.

0:42:110:42:13

Well, let's leave it to a collector, shall we?

0:42:130:42:15

I'm sure somebody would enjoy it.

0:42:150:42:17

Donald, do you often come out on a Sunday

0:42:210:42:23

with a pocket pistol with you?

0:42:230:42:25

-Not really.

-It's a special Flog It! occasion, is it?

-It is, yes.

0:42:250:42:29

What we have in front of us here are true antiques.

0:42:290:42:33

-These are both what we call percussion pistols.

-I see.

0:42:330:42:37

And this one is a little box lock

0:42:370:42:39

because the lock is in the form of a box.

0:42:390:42:43

And we have a detachable barrel that is rusted solid.

0:42:430:42:46

-It is, that's right.

-We can't see the proof marks there

0:42:460:42:50

but they're likely to be Liege in Belgium.

0:42:500:42:54

Most of these little pocket pistols were made around 1840, 1850.

0:42:540:42:59

-That's a standard little one with a slab-sided grip that we see a lot of.

-Oh, I see.

0:42:590:43:04

It's a nice example but lots of them about.

0:43:040:43:07

-I see.

-This is the one.

0:43:070:43:09

-That's the one, is it?

-Yeah.

0:43:090:43:11

If we pull the trigger back like that,

0:43:110:43:14

there's a little piece there that you push,

0:43:140:43:17

push in, and that's a lock so you can't pull the trigger.

0:43:170:43:21

I see.

0:43:210:43:22

But this is what we call an Over And Under Pistol,

0:43:220:43:25

so you can turn the barrels like that,

0:43:250:43:28

so you can prime both barrels.

0:43:280:43:30

As soon as you've fired one, you pull it back to half-cock again,

0:43:300:43:33

turn it, and you have a second option.

0:43:330:43:37

Now, this would have been carried by a gentleman in a waistcoat pocket

0:43:370:43:41

or maybe a lady while travelling on a stage coach or something like that.

0:43:410:43:45

And they were personal protection pistols rather than something from military issue.

0:43:450:43:49

You can see the name "Pinches" - P-I-N-C-H-E-S.

0:43:490:43:53

And this manufacturer was working in London,

0:43:530:43:57

in Westminster between about 1825 and 1835.

0:43:570:44:02

That is the date of this pistol.

0:44:020:44:04

-Oh, I see.

-Walnut grip and this is chequered so you didn't slip.

-I see.

0:44:040:44:09

And the nice thing about it - fold away trigger.

0:44:090:44:12

Look at that.

0:44:120:44:13

Folds completely flush but then you pull the hammer back

0:44:130:44:18

one little bit and you can see a little bit there,

0:44:180:44:21

all the way and your trigger folds out. Clever, isn't it?

0:44:210:44:24

It is clever.

0:44:240:44:26

So there we are. That is a little work of art, really.

0:44:260:44:30

-That would be quite sought-after.

-I see, yeah.

0:44:300:44:33

And then we've got two powder flasks here

0:44:330:44:35

but we're in trouble with these.

0:44:350:44:37

Are we? Oh dear.

0:44:370:44:39

-Because this contains gunpowder.

-Yeah, black powder.

0:44:390:44:43

-And this contains shot.

-Lead shot.

0:44:430:44:45

Yeah. And what I will always do is hand them over to the local police.

0:44:450:44:49

So, I reckon that these two are worth fairly little,

0:44:490:44:54

probably about £25-30, something like that.

0:44:540:44:58

This one, probably worth again £30, £30-40.

0:44:580:45:03

So, we've got about 70 there.

0:45:030:45:05

This is a good one. This is worth about 150.

0:45:050:45:09

-I see, yeah.

-How do you feel?

0:45:090:45:11

They've just been lying about for such a long time,

0:45:110:45:13

my father had them, grandfather before then.

0:45:130:45:16

Really? Where have you had them, lying in a drawer somewhere?

0:45:160:45:19

They've just been in the cupboard.

0:45:190:45:21

The good thing is, if you've got guns at home,

0:45:210:45:23

it is very, very important to make sure you know what you've got

0:45:230:45:27

because really they're not things to be lying around in drawers

0:45:270:45:30

but this one doesn't need a licence.

0:45:300:45:33

-Oh, I see.

-It is important that if you do have a hand gun lying around

0:45:330:45:36

to get it checked out. But with these, you're fine.

0:45:360:45:38

-Hello, Alan.

-Hello, Mark.

0:45:430:45:45

Now, this is a fascinating item you've brought in to show us, it's really charming, actually.

0:45:450:45:49

I know what it is but I've never handled one before.

0:45:490:45:52

Tell us about the history, where did you get it from?

0:45:520:45:55

-It's from a local Kettering factory that made children's clothes.

-Right.

0:45:550:45:59

The factory's sadly closed down and now's apartments,

0:45:590:46:03

and this is part of the clearance from it.

0:46:030:46:05

-Did you work at the factory?

-No, no, I had a cousin who worked there.

0:46:050:46:09

And they were throwing it out, were they?

0:46:090:46:12

-They were just clearing it out, yes.

-What a shame.

0:46:120:46:14

And what sort of attracted you to it?

0:46:140:46:16

I suppose because it is a nice item but, you know...

0:46:160:46:22

-What do you do with it?

-Exactly.

0:46:220:46:24

Now, I like it because if we look at it now straightaway

0:46:240:46:28

we've got this nice ebonised wooden base with a tripod base,

0:46:280:46:31

the legs are a little bit heavy, but there's some nice turning here.

0:46:310:46:35

Nice turning up here. Nice little fill-in for the arms there.

0:46:350:46:39

So, I guess looking at the type of work on it we're looking at 1900-1910 as a date.

0:46:390:46:45

Then we've got this nice Parisian maker on the front.

0:46:450:46:49

I think it's just a charming item.

0:46:490:46:51

I think if somebody's collecting dolls

0:46:510:46:53

or is interested in collecting period children's clothes,

0:46:530:46:57

or something like this, or just as a nice object

0:46:570:47:00

as a piece of work of art if you like,

0:47:000:47:02

it's nice just sitting in the corner of a room.

0:47:020:47:04

I think it's rather charming.

0:47:040:47:06

So what have you done with it since you acquired it?

0:47:060:47:09

It's been in the attic for many years. So, that's it really.

0:47:090:47:12

That's the reason for bringing it.

0:47:120:47:14

"It's surplus to requirements" as they say,

0:47:140:47:16

like the factory unfortunately.

0:47:160:47:17

-Yes.

-It's a very difficult thing to value

0:47:170:47:20

because it could be something nobody wants at all on the day.

0:47:200:47:24

On the other hand, it could be several interested parties who just like it as an aesthetic object.

0:47:240:47:30

-Yes.

-So I think if we're going to put a value on it, I suppose

0:47:300:47:33

-my gut feeling is maybe £80-100, something like that.

-Right.

0:47:330:47:37

-Are you happy with that?

-More than happy, yes.

0:47:370:47:40

Wonderful. It's difficult with something like this whether to put a reserve or not.

0:47:400:47:44

It depends how much you want it back.

0:47:440:47:46

No, I mean I'm happy to run with it with no reserve.

0:47:460:47:48

You know there's an inherent risk with that

0:47:480:47:51

because if the highest bid on the day is 20 quid,

0:47:510:47:54

it'll go for 20 quid.

0:47:540:47:55

But it's a bit of fun, isn't it?

0:47:550:47:57

So ,I suppose we take a gamble. Dare I ask if we get £80 for it,

0:47:570:48:00

would you go out and buy another one?

0:48:000:48:02

No.

0:48:020:48:04

Sandra, imagine you're in late 19th-century Paris

0:48:150:48:18

in one of those wonderful big townhouses that you would find,

0:48:180:48:23

and you walk into your living room, this is the sort of thing you'd find on the fireplace.

0:48:230:48:27

These are French, these are 1870, and I think they're fantastic.

0:48:270:48:33

Really good quality.

0:48:330:48:35

-Did you find them in France?

-I did not find them in France.

0:48:350:48:39

I found them in Northampton at an antiques and craft fair,

0:48:390:48:43

and two things attracted me - the design on them, which I thought was lovely,

0:48:430:48:47

and I'm curious about them, I've never seen anything like this.

0:48:470:48:52

There was a great fashion in the late 19th century for opalescent glass, glass that's slightly opaque,

0:48:520:48:58

slightly different colour, and it came in browns, beigey colour, like this, blues, greens, pinks -

0:48:580:49:04

every colour you could imagine, and a lot of these pieces

0:49:040:49:08

were made plain and they were then farmed out to cottage industries,

0:49:080:49:12

where people would paint them and then sell them on.

0:49:120:49:15

Whereas these are a far more classy type of vase.

0:49:150:49:20

These are factory-produced,

0:49:200:49:23

decorated by a professional artist, and almost certainly French.

0:49:230:49:28

And the shape is wonderful.

0:49:280:49:31

They're hand-gilded, great scrolling feet on there.

0:49:310:49:34

And the aesthetic movement was inspired by the Japanese,

0:49:340:49:39

and, of course, the Japanese in the 19th century -

0:49:390:49:42

we didn't have trade links with Japan, and Commodore Perry, an American commodore,

0:49:420:49:48

went over to Edo, Tokyo,

0:49:480:49:50

and signed what we now call the Treaty of Edo.

0:49:500:49:54

That allowed trade links to start again between the West and Japan.

0:49:540:49:59

Imagine you go into this great big hall and you see Japanese stuff for the first time.

0:49:590:50:04

So why sell them?

0:50:040:50:07

I'm selling them because my central heating's broke down.

0:50:070:50:10

-Oh no!

-I want to replace it so I need some money.

0:50:100:50:13

And I can't display them anywhere. I'd rather someone enjoyed them.

0:50:130:50:17

We need to raise a bit of money for a full central heating system. I don't think we'll get there.

0:50:170:50:22

I'm nearly there.

0:50:220:50:23

-Just need a top-up?

-Yes.

-OK.

0:50:230:50:25

I reckon they are going to make £70 to £100.

0:50:250:50:32

Is that top-up going to be enough? Not quite, probably.

0:50:320:50:35

-Well, yeah.

-Lovely.

0:50:350:50:38

That's it for the valuation day, but before we go to the auction,

0:50:380:50:41

let's have a quick recap.

0:50:410:50:43

Sandra needs to fix her central heating

0:50:460:50:48

so we hope these Japanese fish vases will be a big catch.

0:50:480:50:52

Marion's locket isn't hallmarked, but it's so unusual

0:50:540:50:56

I think it may attract the bidders.

0:50:560:50:58

Let's hope Donald's percussion pistols fire up some interest in the sale room.

0:51:000:51:05

And well done, Alan, for rescuing this pretty mannequin

0:51:050:51:08

from a lonely life in the attic.

0:51:080:51:10

First under the hammer is Marion's locket.

0:51:110:51:14

This is quite unusual cos it's a vinaigrette, it's a locket,

0:51:140:51:18

not sure if it's gold though.

0:51:180:51:20

Well, we couldn't quite tell on the day.

0:51:200:51:23

It's a very unusual object, to have the combination of both.

0:51:230:51:28

With the locket of hair as well and the photograph.

0:51:280:51:31

-Exactly. It's quite an interesting item, who knows what it'll make?

-Oh. Fingers crossed.

0:51:310:51:35

We're just about find out. Why are you flogging this?

0:51:350:51:39

Well, it was found in a drawer

0:51:390:51:41

when we sorted out my husband's mother's effects.

0:51:410:51:45

Didn't mean anything to us

0:51:450:51:47

so we thought we'd come and see what it was worth and have a go.

0:51:470:51:51

Hey presto, here we are on Flog It! Right, let's do our best for you.

0:51:510:51:54

Vinaigrette with hinged covers, unmarked.

0:51:540:51:57

-I bid here £65. 65.

-Come on.

0:51:570:52:00

75. 80. And I'm out at £80.

0:52:000:52:02

-5.

-90.

0:52:020:52:05

Come on, we need to double that 60, don't we?

0:52:050:52:07

-120.

-Yes.

-130. 140.

0:52:070:52:10

150. 160.

0:52:100:52:12

You're right, Mark, it's so unusual.

0:52:120:52:14

190. 200. And 10.

0:52:140:52:16

-220.

-Very keen bidders.

0:52:160:52:19

Seated at 220 and selling at £220.

0:52:190:52:23

Yes! Fantastic.

0:52:230:52:24

-That was quite hair-raising.

-It must have been gold.

0:52:240:52:28

That was really good. Really, really good.

0:52:280:52:31

What are you going to do with the money?

0:52:310:52:33

We've got some antique fob watches

0:52:330:52:36

and we thought we might get them restored.

0:52:360:52:39

So, it's going to pay for the restoration?

0:52:390:52:42

I think so. You can always have a holiday another day, can't you?

0:52:420:52:46

Right, Sandra, two glass vases just about to go under the hammer.

0:52:550:52:59

£70 to £100 we've got the valuation on.

0:52:590:53:01

I know you've got a very keen eye and you love car booting and all the fairs.

0:53:010:53:05

Yes, and I love auctions.

0:53:050:53:07

Has anything caught your eye here today?

0:53:070:53:10

-Yes.

-Come on, whisper in my ear!

0:53:100:53:13

Behind you, that picture.

0:53:130:53:14

-Right. Are you going to have a bid?

-No.

0:53:140:53:18

-Why not?

-I've got to take it home.

0:53:180:53:21

I have to walk and go by bus.

0:53:210:53:22

-Do you?

-Yes. I just like looking at stuff at the moment.

0:53:220:53:25

I think you could be in for a nice surprise with these vases.

0:53:250:53:29

I'll keep my fingers crossed.

0:53:290:53:31

65 is a pair of opaque glass vases in tapering form

0:53:310:53:34

on gilt scrolled feet.

0:53:340:53:35

Enamel decoration of carp. I start with commission bids here.

0:53:350:53:38

£70 I'm bid.

0:53:380:53:40

Straight in at 70.

0:53:400:53:41

Five, 80. Five, 90.

0:53:410:53:43

Five, 100. 110, 120.

0:53:430:53:46

-Are these my vases?

-Yes, listen!

0:53:460:53:48

160, 170, 180, 190, 200.

0:53:480:53:53

£200 here then, at £200.

0:53:530:53:56

210 I'm looking for. Look around.

0:53:560:53:58

£200. Selling away at £200.

0:53:580:54:01

Yes. That's a good sound, isn't it?

0:54:010:54:05

That hammer going down. £200.

0:54:050:54:07

-I'll have to go back to Norfolk.

-I think you will, do you know that?

0:54:070:54:11

You have got a cracking good eye.

0:54:110:54:13

I'm surprised at that. It's really good.

0:54:130:54:16

They're quality, aren't they? And the condition was bang on.

0:54:160:54:19

I'm going back to Norfolk.

0:54:190:54:22

It's all up there in Norfolk.

0:54:220:54:24

Take aim, we're just about to fire off Donald's pistol.

0:54:290:54:32

Not literally! But I think the auctioneer will soon!

0:54:320:54:35

And you've bought along Dorothy.

0:54:350:54:37

-My neighbour.

-The auctioneer has decided to split the lots.

0:54:370:54:40

We talked about it, didn't we?

0:54:400:54:42

I wasn't 100% sure whether to put them together or split them up.

0:54:420:54:46

Perhaps, 150 to 200 on them.

0:54:460:54:49

It still adds up to James' original valuation of 260-odd pounds. Fingers crossed.

0:54:490:54:54

19th century pistol, percussion cap,

0:54:540:54:56

with a swivel breach, over and under barrels, marked "Pinches, London".

0:54:560:55:00

-Commission bid starting me here at £150.

-Yes! Yes, yes, yes.

0:55:000:55:04

160. 170. 180. 190. 200. 210.

0:55:040:55:08

220. 230. 240. 250.

0:55:080:55:11

260. Will be sold at £260.

0:55:110:55:14

Telephone's out. 260. Sold at 260.

0:55:140:55:18

That's excellent. £260.

0:55:180:55:21

Let's see if we can double up on the £30 for this one.

0:55:210:55:25

19th century pistol, percussion cap, plain handle.

0:55:250:55:29

Bids start here at £45. On commission at 45.

0:55:290:55:31

50's in the room, £50.

0:55:310:55:34

55. 60.

0:55:340:55:37

Your turn. 65. 70, you're bidding.

0:55:370:55:40

-Oh, good.

-Right at the end £70.

0:55:400:55:42

Selling then, fresh bidder, at £70.

0:55:420:55:45

-That's very good.

-That's a good price.

0:55:450:55:47

-Totally different buyer.

-Absolutely.

0:55:470:55:50

One more to go.

0:55:500:55:51

260 is 19th century shot flask,

0:55:510:55:53

embossed with stars and a leather shot flask.

0:55:530:55:55

Have to start here at £30.

0:55:550:55:58

-5, 40 now, £40.

-We're hoping for 60.

0:55:580:56:01

With me at £40. Here at £40. I'll take five if you like?

0:56:010:56:04

And away at £40.

0:56:040:56:06

I'm afraid the powder flasks didn't sell

0:56:080:56:10

but that's not going to dampen our spirits, is it?

0:56:100:56:13

We sold the other two lots.

0:56:130:56:15

-Yes.

-We got £310.

-Yeah.

0:56:150:56:19

-It's quite a bit of money.

-Yeah.

-What are you going to do with that?

0:56:190:56:23

Treat the neighbours?

0:56:230:56:25

Eventually we'll go and see my son in Australia.

0:56:250:56:28

-Oh, brilliant.

-Extra spending money.

0:56:280:56:30

-How long's he been in Australia?

-Just seven months.

0:56:300:56:33

-Has he emigrated then?

-Yes, he has.

-I bet you miss him already.

-I do, yeah.

-Oh!

0:56:330:56:38

Next up, a decorator's dream,

0:56:400:56:42

and it belongs to Alan here, who's brought along Rose.

0:56:420:56:45

I tell you why it's a decorator's dream because if you've got a space that's slightly awkward

0:56:450:56:49

and you can't fill with anything, put one of these little mannequins in it

0:56:490:56:53

and shove a top hat on it or a scarf around it, and you've created a bit of theatre.

0:56:530:56:57

I tell you what, this will sell,

0:56:570:56:59

especially as you've only put £100 on it, £80-100.

0:56:590:57:02

You're quite right about the decorative feature.

0:57:020:57:04

We haven't put in reserve on it

0:57:040:57:06

-so I hope that we get a decent price for it.

-It just looks great.

0:57:060:57:09

It's a charming object. Better then the full-size.

0:57:090:57:12

I think so. You can do more with the child's version.

0:57:120:57:14

Child-size mannequin by Stockman.

0:57:140:57:18

Have to start on commission at £100.

0:57:180:57:21

-Oh.

-On commission here at £100. 110. 120. 130 and I'm out.

0:57:210:57:25

-140. 150.

-The telephone bidder.

0:57:250:57:28

160. 170.

0:57:280:57:30

-I told you it would do well on the day, didn't I?

-Yes, you did.

0:57:300:57:33

200. And 10. 210 in the room.

0:57:330:57:36

-210!

-At £210...

-Yes!

0:57:360:57:41

I honestly thought it wouldn't make your reserve.

0:57:410:57:46

There was no reserve, was there?

0:57:460:57:48

Mark said to me at the valuation day, "Paul, what do you think?"

0:57:480:57:51

And I said, "Decorator's dream." Size, she's beautiful.

0:57:510:57:54

-I had an antiques shop and I'd have paid 150 for that.

-Would you?

0:57:540:57:57

-Yes.

-There was nothing small about that price, was there?

-No, no.

0:57:570:58:00

-Excellent.

-Wonderful.

-Excellent. Thank you very much.

0:58:000:58:03

It's all over, we've come to the end of the show.

0:58:050:58:08

The auction is just about to end.

0:58:080:58:10

We've had a fantastic day here.

0:58:100:58:12

Wonderful contributors and, as you can see, a superb crowd.

0:58:120:58:15

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

0:58:150:58:18

So, until the next time, it's cheerio.

0:58:180:58:21

Subtitles by Red Bee Media Ltd

0:58:280:58:31

Mark Stacey and James Lewis value the family treasures in Northampton while presenter Paul Martin sprints off to Market Harborough to find out about the foundations of the corset industry.


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