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The auction room's filling up and the air is full of anticipation. | 0:00:03 | 0:00:06 | |
Going once, going twice - welcome to Flog It! | 0:00:06 | 0:00:10 | |
I've gone to auctions for years. I still get a thrill | 0:00:41 | 0:00:43 | |
when I enter the sale room. I love the excitement and the atmosphere | 0:00:43 | 0:00:48 | |
just as your lot is coming up. You never know which way the hammer is going to fall. | 0:00:48 | 0:00:53 | |
We've got a great show for you today. | 0:00:53 | 0:00:55 | |
Believe me, you will not want to miss this, | 0:00:55 | 0:00:58 | |
but before we get to the auction, we need some antiques to sell. | 0:00:58 | 0:01:01 | |
We're searching for your antiques and collectables today at the Steam Museum in Swindon. | 0:01:01 | 0:01:07 | |
Experts David Barby and Will Axon will be helping the crowds on their journey. | 0:01:07 | 0:01:11 | |
If they're happy with the valuation and want to flog their item, | 0:01:13 | 0:01:16 | |
then it's off to the auction room in Cirencester, where we'll Flog It! | 0:01:16 | 0:01:21 | |
Chas, you've bought in today something, bearing in mind | 0:01:23 | 0:01:26 | |
that we're in the Steam Museum in Swindon, that really, sort of, | 0:01:26 | 0:01:29 | |
hits the note as far as the locos goes. If I open up this box here, | 0:01:29 | 0:01:35 | |
-this quite splendid array of... How many did you say there were? -50. | 0:01:35 | 0:01:39 | |
-50 silver ingots, sterling silver. -Sterling silver. | 0:01:39 | 0:01:42 | |
-Solid sterling silver ingots, which commemorate a wide variety of locomotives. -Yes. | 0:01:42 | 0:01:47 | |
How did you come by them? | 0:01:47 | 0:01:49 | |
Well, my wife had a second-hand dealership and somebody came in and obviously she was interested. | 0:01:49 | 0:01:56 | |
-What did she pay for them? -Oh, under £100, I think. | 0:01:56 | 0:01:59 | |
-So under £100, which is good going considering the value of silver at the moment. -Yeah. | 0:01:59 | 0:02:04 | |
-Date-wise, they're from the 1970s. -They are. Yeah. | 0:02:04 | 0:02:07 | |
Were these collected over a period of time? | 0:02:07 | 0:02:10 | |
-50 months. One a month. -Right. So it was one a month. 50 months. | 0:02:10 | 0:02:14 | |
-Over four years. -Exactly. If you miss one, you've got to go back... | 0:02:14 | 0:02:18 | |
-That's it. Yeah. -And, we've got here the original receipt. | 0:02:18 | 0:02:21 | |
£11.25. That was each, which I suppose in the '70s was a decent bit of money, wasn't it? | 0:02:21 | 0:02:27 | |
-Quite a bit of money, I'd say. -We've got a bit of literature | 0:02:27 | 0:02:30 | |
saying that it is the National Railway Museum Collection. | 0:02:30 | 0:02:33 | |
-That came with it. -Came with it. | 0:02:33 | 0:02:35 | |
-So these were produced to commemorate the opening of the museum. -Yeah. | 0:02:35 | 0:02:38 | |
We've had a quick look through. There are obviously some, sort of, classics, | 0:02:38 | 0:02:43 | |
-like the Rocket and the Flying Scotsman. -Yeah. | 0:02:43 | 0:02:46 | |
But looking down here, there's one... There it is, the Evening Star. | 0:02:46 | 0:02:50 | |
That's quite poignant, as that was the last steam loco made. | 0:02:50 | 0:02:54 | |
-It was, yes. In here. -In here, in the 1960s. -It was. | 0:02:54 | 0:02:57 | |
So, again, bearing in mind where we are, it really sort of hits the right note. | 0:02:57 | 0:03:02 | |
Now, like I said, with regards to the value, it's tricky because 1970s - | 0:03:02 | 0:03:07 | |
it's not what most people would call an antique - | 0:03:07 | 0:03:09 | |
-but, what it's got going for it is that they are solid sterling. -Yeah. | 0:03:09 | 0:03:14 | |
Have you got any idea of what sort of figure they should be valued at? | 0:03:14 | 0:03:17 | |
Have you thought about it, at all? | 0:03:17 | 0:03:20 | |
Well, scrap price... I mean, probably around £5. | 0:03:20 | 0:03:23 | |
Is it around £5, £6 an ounce? | 0:03:23 | 0:03:25 | |
Yes. Cos I think you said they were an ounce each? | 0:03:25 | 0:03:28 | |
-They're an ounce each. Yep. -So each ingot is an ounce. We've got 50, so 50 ounces, obviously. | 0:03:28 | 0:03:34 | |
-Say a fiver for an ounce. -Yeah. | 0:03:34 | 0:03:37 | |
-And at scrap value, we're looking at around, sort of, 250. -Yeah. Yeah. | 0:03:37 | 0:03:40 | |
But at least then we know it can only go up from there, value-wise. | 0:03:40 | 0:03:44 | |
-Yeah. -So what I would suggest was, if we could value these at perhaps £200 to £300. What do you think? | 0:03:44 | 0:03:50 | |
-That's fine. Yeah. -You think we'll go for that? | 0:03:50 | 0:03:52 | |
-Yeah. -Cos again, people who are viewing the sale | 0:03:52 | 0:03:56 | |
-will be doing their own maths and working out what it is worth scrap. -I understand that. | 0:03:56 | 0:04:01 | |
Well, I'm happy to give these a go at £200 to £300, if you're happy to go with that. | 0:04:01 | 0:04:06 | |
-Sure. -And, reserve it at a couple of hundred, do you think? | 0:04:06 | 0:04:10 | |
-I want to reserve it. Yeah. At least 200. -Reserve at 200? -Yeah. | 0:04:10 | 0:04:13 | |
-OK. Hopefully on the day, we'll get it away for you. -Brilliant. | 0:04:13 | 0:04:16 | |
Sheila, when I saw these from a distance, | 0:04:20 | 0:04:23 | |
I thought, for one moment, they were Moorcroft. | 0:04:23 | 0:04:26 | |
-Oh. -And when I got closer I could see they weren't. | 0:04:26 | 0:04:29 | |
But they're by a company, or produced by a company, | 0:04:29 | 0:04:34 | |
at the same time as Moorcroft were in production, | 0:04:34 | 0:04:37 | |
and this idea of having, sort of, foliage and plant forms, | 0:04:37 | 0:04:43 | |
was prevalent during the earlier part of the 20th century, | 0:04:43 | 0:04:46 | |
-right through the pottery businesses. -Oh, lovely. | 0:04:46 | 0:04:50 | |
So you get a lot of companies like this, which is Hancock and Sons... | 0:04:50 | 0:04:53 | |
Er...Sampson Hancock and Sons... | 0:04:53 | 0:04:57 | |
producing wares, trying to catch on to that market. | 0:04:57 | 0:05:01 | |
So these are not as valuable as Moorcroft. | 0:05:01 | 0:05:04 | |
-Pity. -Indeed so. But people hope that the interest will be there, | 0:05:04 | 0:05:08 | |
and those that couldn't afford Moorcroft could buy these. | 0:05:08 | 0:05:11 | |
-Right. Yeah. -What I do like, however, is the shape. | 0:05:11 | 0:05:16 | |
They have almost like a tulip head at the top there, don't they? | 0:05:16 | 0:05:19 | |
And they're very nice, bulbous pieces. | 0:05:19 | 0:05:21 | |
Are these family heirlooms? | 0:05:21 | 0:05:23 | |
No. They were given to my husband as a gift | 0:05:23 | 0:05:25 | |
-cos he did somebody a good turn. -What was that? | 0:05:25 | 0:05:28 | |
-Decorating or something like that? -Yes. -Ah, well done. Well done. | 0:05:28 | 0:05:32 | |
Why are you selling them? | 0:05:32 | 0:05:34 | |
-Was it the fact that you saw "Flog It!" was coming to Swindon? -Right! | 0:05:34 | 0:05:38 | |
And you thought of these. Have they been on display in the home? | 0:05:38 | 0:05:41 | |
Oh, yes. | 0:05:41 | 0:05:43 | |
But I like the contrast of these bright enamelled colours | 0:05:43 | 0:05:46 | |
against that mottled brown background. | 0:05:46 | 0:05:49 | |
Well, they look quite jolly against the plain units. | 0:05:49 | 0:05:53 | |
That's right. If anybody has a sort of minimalistic room, these are going to stand out | 0:05:53 | 0:05:58 | |
on those low level pieces of furniture, and they'll look super, | 0:05:58 | 0:06:01 | |
cos I don't think you can be devoid in life of ornaments, can you? | 0:06:01 | 0:06:05 | |
-No. -I'm going to lift it up and look at the mark. | 0:06:05 | 0:06:07 | |
Coronaware. | 0:06:07 | 0:06:09 | |
Sampson Hancock and Sons. | 0:06:09 | 0:06:12 | |
Stoke-on-Trent, and they're called Autumn. | 0:06:12 | 0:06:15 | |
And they're all hand-painted by Molly Hancock, Designer. | 0:06:15 | 0:06:20 | |
So these have been hand-painted. | 0:06:20 | 0:06:22 | |
When it says hand-painted, | 0:06:22 | 0:06:24 | |
what it means is there is a transfer design, | 0:06:24 | 0:06:27 | |
which is then in-filled with colour. | 0:06:27 | 0:06:30 | |
So she did the design and then there's numerous workers | 0:06:30 | 0:06:33 | |
who would then fill in with colour. | 0:06:33 | 0:06:36 | |
-I see. -I think they're jolly nice. | 0:06:36 | 0:06:38 | |
What would you be happy with as regards price? | 0:06:38 | 0:06:41 | |
SHE LAUGHS You don't know. | 0:06:41 | 0:06:43 | |
-As much as possible! -As much as possible. -Yeah. | 0:06:43 | 0:06:46 | |
Let me think in terms of a price. If these go up for auction, | 0:06:46 | 0:06:49 | |
it's nice to have a pair, and I think they will have appeal. | 0:06:49 | 0:06:53 | |
-Again, for those people who can't afford Moorcroft. -Ah! | 0:06:53 | 0:06:56 | |
I would think at auction they should realise somewhere between 80 and 120. | 0:06:56 | 0:07:00 | |
-Oh, that's lovely! -That sort of price range. | 0:07:00 | 0:07:03 | |
And when you break it down that's half, | 0:07:03 | 0:07:05 | |
that's 40 to £60 each, so that's not a great deal of money, is it...? | 0:07:05 | 0:07:10 | |
-No. -..for one particular vase? | 0:07:10 | 0:07:12 | |
-And how many of these have survived in a pair? -That's true. | 0:07:12 | 0:07:16 | |
We'll see what happens, and I'll be there at the auction with you. | 0:07:16 | 0:07:20 | |
Oh, lovely. Good. | 0:07:20 | 0:07:22 | |
Pam, thank you for bringing in some furniture. You know it's my passion. | 0:07:27 | 0:07:31 | |
-I do. -I love my wood. I like getting my hands all over it and caressing it. | 0:07:31 | 0:07:35 | |
This is very nice. This is a little adjustable table, | 0:07:35 | 0:07:39 | |
and it sort of works on the principle of a piano stool, | 0:07:39 | 0:07:42 | |
and when you stand back and look at the legs, you can see | 0:07:42 | 0:07:46 | |
it's got that lovely sort of demure sabre leg to it | 0:07:46 | 0:07:50 | |
that you find on a chair front. | 0:07:50 | 0:07:51 | |
And I like that little reeded finish | 0:07:51 | 0:07:54 | |
which you can see on all the legs, running down there. | 0:07:54 | 0:07:57 | |
Now, that says to me early 1800s, 1810, 1815. | 0:07:57 | 0:08:03 | |
I think it's absolutely lovely. It's Cuban mahogany | 0:08:03 | 0:08:06 | |
which is a lovely exotic hardwood brought back from the Americas. | 0:08:06 | 0:08:10 | |
It's a lovely occasional table to have by the chair, put your glass of wine on it, but it is in fact... | 0:08:10 | 0:08:15 | |
Some things aren't what they seem. | 0:08:15 | 0:08:18 | |
-You didn't know this, did you? -No. | 0:08:18 | 0:08:20 | |
But if I turn that over... | 0:08:20 | 0:08:22 | |
..you see there's some ghosting marks there. | 0:08:23 | 0:08:27 | |
There's a bit of build up of dirt and a bit of wax, | 0:08:27 | 0:08:30 | |
-and it hasn't quite aged as well as the rest of the piece, has it? -No. | 0:08:30 | 0:08:33 | |
That's because it's been hidden by a piece of wood | 0:08:33 | 0:08:36 | |
which runs from that edge to that edge. | 0:08:36 | 0:08:40 | |
They stop that table from splitting. Yeah. That was the bracing mechanism | 0:08:40 | 0:08:45 | |
-to hold a square block of wood right in the middle... -Uh-huh. | 0:08:45 | 0:08:49 | |
..which would have allowed the table to swivel on its pedestal base. | 0:08:49 | 0:08:55 | |
-Now, that was a pedestal table. -Ah. | 0:08:55 | 0:08:58 | |
Somebody has lost the base, and they've made use of the top. | 0:08:58 | 0:09:01 | |
This... | 0:09:01 | 0:09:03 | |
is a piano stool. | 0:09:03 | 0:09:04 | |
Now, somebody has taken the padding and the fabric off the top... | 0:09:04 | 0:09:09 | |
It is a marriage of two pieces of furniture. | 0:09:09 | 0:09:11 | |
This table top is circa 1800. | 0:09:11 | 0:09:14 | |
This piano stool is circa 1800, 1810 and they're both made of mahogany, | 0:09:14 | 0:09:20 | |
and they suit each other well, so I think that's quite resourceful, | 0:09:20 | 0:09:24 | |
but unfortunately, we haven't got a very unusual piece of furniture | 0:09:24 | 0:09:28 | |
which has been craftsman made. | 0:09:28 | 0:09:30 | |
-Not quite what we hoped. -No. And I thought, "This will be interesting." | 0:09:30 | 0:09:34 | |
How long have you had it? | 0:09:34 | 0:09:36 | |
About 20 years now. Maybe 25. | 0:09:36 | 0:09:39 | |
-And where did it come from, do you know? -It was my husband's auntie. | 0:09:39 | 0:09:44 | |
All of this thread... | 0:09:44 | 0:09:46 | |
that allows this to go up and down by virtue of turning it | 0:09:46 | 0:09:50 | |
to raise the height or lower it, | 0:09:50 | 0:09:53 | |
has been hand cut with a chisel. | 0:09:53 | 0:09:55 | |
And the colour is absolutely to die for. | 0:09:55 | 0:09:59 | |
And it was a quality table in its day because from that edge to that edge, that's one piece of mahogany. | 0:09:59 | 0:10:05 | |
That's one broad plank of Cuban mahogany. | 0:10:05 | 0:10:08 | |
-Yeah. -Unfortunately, it's split across the grain, and I know why. | 0:10:08 | 0:10:13 | |
Because those two stretcher pieces... | 0:10:13 | 0:10:17 | |
that were originally on it, to hold the tripod base on... | 0:10:17 | 0:10:21 | |
were taken off to make it into this. | 0:10:21 | 0:10:22 | |
That has broken off since, as there's nothing supporting | 0:10:22 | 0:10:26 | |
this wide grain, so what's happened is, there's a crude repair... | 0:10:26 | 0:10:32 | |
done there, with two reverse dovetails | 0:10:32 | 0:10:35 | |
to hold the piece of wood tight together. | 0:10:35 | 0:10:37 | |
-Uh-huh. -So maybe the conversion happened around the early 1900s. | 0:10:37 | 0:10:42 | |
But both pieces of furniture date back to the early 1800s. | 0:10:42 | 0:10:45 | |
It's a long time, isn't it? | 0:10:45 | 0:10:46 | |
Yes. Yeah. Now, value. | 0:10:46 | 0:10:50 | |
It's not worth a lot, | 0:10:50 | 0:10:52 | |
but it's a practical piece of furniture, isn't it? | 0:10:52 | 0:10:54 | |
If you haven't got a lot of money and you want a side table | 0:10:54 | 0:10:58 | |
and you're just setting up home and you can only afford £60, well, hopefully, | 0:10:58 | 0:11:02 | |
-you'll be able to buy it for that. I know it's not a lot of money to you... -No. | 0:11:02 | 0:11:05 | |
-..but it's better than chucking it away. -Oh, yeah. | 0:11:05 | 0:11:08 | |
And I think we should put it in to auction with a value of 60 to £100. | 0:11:08 | 0:11:12 | |
-Right. -It's better than nothing, isn't it? | 0:11:12 | 0:11:14 | |
-It is. -And there's a little story there, you know? | 0:11:14 | 0:11:17 | |
-It's a wonderful little story. -Well, my son told me to throw it away... | 0:11:17 | 0:11:21 | |
There you go. It's a classic bit of recycling, | 0:11:21 | 0:11:23 | |
and this little piece of furniture is going to outlive us... | 0:11:23 | 0:11:26 | |
as long as someone looks after it. | 0:11:26 | 0:11:29 | |
And I think it's got a bit of style. | 0:11:29 | 0:11:31 | |
Now, Anthea, I'm rather excited | 0:11:35 | 0:11:38 | |
when I see these little bits of porcelain in front of me, | 0:11:38 | 0:11:43 | |
because my interest is in porcelain. | 0:11:43 | 0:11:45 | |
-Right. -Particularly the period that this was produced. -OK. | 0:11:45 | 0:11:49 | |
I want to know several things from you before I say anything about them. | 0:11:49 | 0:11:54 | |
Where did you get it from? | 0:11:54 | 0:11:56 | |
Why do you want to sell it? | 0:11:56 | 0:11:58 | |
We got it from my husband's uncle. | 0:11:58 | 0:12:00 | |
-Right. -He died in 2004. | 0:12:00 | 0:12:03 | |
I think he may have either collected it or inherited it. | 0:12:03 | 0:12:07 | |
-We're not quite sure. -Oh, right. -And it went all the way | 0:12:07 | 0:12:10 | |
to Durban in Africa, and it's come all the way back. | 0:12:10 | 0:12:13 | |
-Because I trace accent. -That's right! | 0:12:13 | 0:12:15 | |
-South African accent. And you came back when? -2005. | 0:12:15 | 0:12:19 | |
-2005. -And we settled here then. Yes. | 0:12:19 | 0:12:21 | |
Right. The second question. | 0:12:21 | 0:12:23 | |
Why do you want to sell it? | 0:12:23 | 0:12:25 | |
We don't use it. We're scared to use it. | 0:12:25 | 0:12:27 | |
It's too beautiful and too delicate, so the thought is we could probably | 0:12:27 | 0:12:32 | |
do something with the money that we would appreciate more. | 0:12:32 | 0:12:36 | |
Now, this porcelain service, made by Spode, Josiah Spode, | 0:12:36 | 0:12:42 | |
came up from London, took over an earthenware company and he was | 0:12:42 | 0:12:47 | |
-in the retail shop in London, so he knew what the public wanted. -Right. | 0:12:47 | 0:12:51 | |
Think in terms of the Regency period. | 0:12:51 | 0:12:55 | |
-Think in terms of the Brighton Pavilion. -Yes. -All the excitement. | 0:12:55 | 0:12:58 | |
The Japanese, the Chinese styles, Imari patterns. People wanted colour. | 0:12:58 | 0:13:03 | |
-Right. -And this is the sort of ware that he was producing. | 0:13:03 | 0:13:06 | |
What is exciting... | 0:13:06 | 0:13:08 | |
Spode introduced to the hard paste porcelain, calcinated bone. | 0:13:08 | 0:13:14 | |
-Right. -That's burnt bone, ground down, and he added it to this paste. | 0:13:14 | 0:13:20 | |
-He produced bone china. -Oh, right. | 0:13:20 | 0:13:24 | |
-It is a wonderful boat shape, as we can see on this sucriere. -Beautiful. | 0:13:24 | 0:13:30 | |
A covered sugar basin. | 0:13:30 | 0:13:32 | |
That is a lovely example. | 0:13:32 | 0:13:35 | |
We have the table waste bowl. | 0:13:35 | 0:13:38 | |
Only two cups and saucers. | 0:13:38 | 0:13:40 | |
I have two more. But I don't have six. I'm sorry. | 0:13:40 | 0:13:43 | |
-Will you bring those other...? -Yes. -Are they in a similar condition? | 0:13:43 | 0:13:46 | |
-Exactly. Yes. -So we have four cups, four saucers. Right. | 0:13:46 | 0:13:51 | |
And there's actually extra saucers, but I'm sure you don't need those. | 0:13:51 | 0:13:54 | |
-I'd like any more that you have. -OK. -Because the person that buys this | 0:13:54 | 0:13:58 | |
-might have additional cups in his collection. -Right. OK. | 0:13:58 | 0:14:01 | |
-The other thing is this wonderful sort of helmet shaped... -I know. | 0:14:01 | 0:14:06 | |
..jug and if you turn it upside down, | 0:14:06 | 0:14:08 | |
I notice the mark on the bottom, which is Spode with a pattern number. | 0:14:08 | 0:14:12 | |
-Right. Yes. -The teapot, I love. | 0:14:12 | 0:14:14 | |
-But we have a slight accident, do we not? -Yes. | 0:14:14 | 0:14:17 | |
And the accident has occurred on this particular section here | 0:14:17 | 0:14:22 | |
and it's broken all the way through and then glued together. | 0:14:22 | 0:14:26 | |
And I think it's because as the teapot was tipped, | 0:14:26 | 0:14:30 | |
-they didn't hold the finial and the lid just went off. -Must have. | 0:14:30 | 0:14:35 | |
Now, this decoration, I think done by Daniels, is exquisite. | 0:14:35 | 0:14:41 | |
The gilding is superb. | 0:14:41 | 0:14:43 | |
They were the leaders of porcelain production | 0:14:43 | 0:14:47 | |
at the beginning of the 19th century. | 0:14:47 | 0:14:49 | |
The date of this... 1810, 1815. | 0:14:49 | 0:14:53 | |
Now, let's think in terms of price. | 0:14:53 | 0:14:56 | |
I think we're looking at about | 0:14:56 | 0:14:58 | |
325 up to about 380. | 0:14:58 | 0:15:04 | |
-OK. -If it does more, I shall be absolutely deliriously happy for you. | 0:15:04 | 0:15:08 | |
But I think we've got to, sort of, keep our parameters sensible. | 0:15:08 | 0:15:13 | |
I only hope, at the auction, there are going to be collectors | 0:15:13 | 0:15:16 | |
with the same enthusiasm as myself, | 0:15:16 | 0:15:19 | |
to start bidding on this. And I shall look forward to seeing you. | 0:15:19 | 0:15:22 | |
-Thanks so much. -I'll be there to hold your hand! -Good! | 0:15:22 | 0:15:25 | |
Well, we found some wonderful items and now it's time for our first trip to the auction room. | 0:15:26 | 0:15:31 | |
Let's find out what lots we've got. | 0:15:31 | 0:15:33 | |
Anthea's Spode tea set has some damage, | 0:15:34 | 0:15:36 | |
which I really hope doesn't put the collectors off. | 0:15:36 | 0:15:39 | |
David loved this pair of decorative vases. | 0:15:39 | 0:15:42 | |
I think they're an acquired taste, | 0:15:42 | 0:15:44 | |
so let's see what happens in the auction. | 0:15:44 | 0:15:46 | |
Pam was tempted to throw away this table, | 0:15:46 | 0:15:48 | |
and I'm so glad she didn't, cos I love it, | 0:15:48 | 0:15:51 | |
and I hope somebody else will too. | 0:15:51 | 0:15:53 | |
And lastly, there's Chas's collection | 0:15:53 | 0:15:55 | |
of silver ingot locomotives. | 0:15:55 | 0:15:57 | |
Let's hope they build up a head of steam among the bidders. | 0:15:57 | 0:16:00 | |
Today's auction is at the Cotswold Auction Company in Cirencester. | 0:16:03 | 0:16:07 | |
And in the hot seat is auctioneer Elizabeth Pool. | 0:16:07 | 0:16:11 | |
I'm going to find out what she thinks of our Spode tea set. | 0:16:11 | 0:16:14 | |
Who fancies a cup of tea in style? | 0:16:14 | 0:16:17 | |
Look at that. Doesn't it say it all? | 0:16:17 | 0:16:19 | |
-Mm. Quality. -Spode. Bone china. | 0:16:19 | 0:16:22 | |
-And it just looks divine. -Mm. | 0:16:22 | 0:16:25 | |
It belongs to Anthea. | 0:16:25 | 0:16:27 | |
I don't know why she's selling it. | 0:16:27 | 0:16:29 | |
I wouldn't sell this if I had it in the house. | 0:16:29 | 0:16:31 | |
We've got a fixed reserve on this of £325, | 0:16:31 | 0:16:34 | |
and David's hoping it might make nearly 400, sort of, £380. | 0:16:34 | 0:16:38 | |
As you know, there's damage on the lid, but, my word, | 0:16:38 | 0:16:42 | |
it is early 19th century but it's got such good classical form. | 0:16:42 | 0:16:47 | |
-It's absolutely gorgeous. -Beautiful shapes. | 0:16:47 | 0:16:49 | |
Beautiful painting. Gold still very lustrous. Good condition. | 0:16:49 | 0:16:54 | |
And it is classic Spode, but today's market isn't wonderful, is it? | 0:16:54 | 0:16:58 | |
No, and I tell you what, also. | 0:16:58 | 0:16:59 | |
They're very very fussy, the purists that will buy into bone china. | 0:16:59 | 0:17:04 | |
-They've got to have perfect things. -Yep. | 0:17:04 | 0:17:06 | |
-That's the problem, there is a lot of damage. There's more than this, as you know. -Yeah. | 0:17:06 | 0:17:12 | |
But the lid has been, sort of, | 0:17:12 | 0:17:14 | |
crudely put back together. | 0:17:14 | 0:17:16 | |
At least it's done, sort of, with loving care and it's not | 0:17:16 | 0:17:19 | |
a professional restoration, so you can see it's damaged. | 0:17:19 | 0:17:23 | |
-You can. -That'll hold it back, won't it? | 0:17:23 | 0:17:25 | |
It will. It will make a difference and I think two to five years ago, it would have easily made, | 0:17:25 | 0:17:30 | |
you know, what David was expecting, but I hope we'll get there, | 0:17:30 | 0:17:34 | |
-but we might be pushing it. -This one's going to be quite interesting, isn't it? -It is. | 0:17:34 | 0:17:39 | |
I don't know. Something tells me it just might fly. | 0:17:39 | 0:17:41 | |
Let's hope you're right. | 0:17:41 | 0:17:43 | |
Anthea, it's now time for tea. | 0:17:48 | 0:17:50 | |
No, don't go and put the kettle on. | 0:17:50 | 0:17:52 | |
It's that Spode bone china tea service. | 0:17:52 | 0:17:54 | |
It's real classical quality but with a bit of damage to the lid. | 0:17:54 | 0:17:58 | |
Had a chat to the auctioneer earlier, | 0:17:58 | 0:18:00 | |
and I think she agreed with your valuation but she said it'll get | 0:18:00 | 0:18:04 | |
the lower end because of the damage, | 0:18:04 | 0:18:06 | |
and they're not selling so well at the moment. | 0:18:06 | 0:18:08 | |
I hope there's a collector out there, like me, who adores that period of porcelain. | 0:18:08 | 0:18:13 | |
Or a dealer that will pick this up, split the lot and resell it. | 0:18:13 | 0:18:16 | |
That's what we want. We're going to find out what it's going to do now. | 0:18:16 | 0:18:20 | |
Spode china tea service. Very elegant and very prettily painted. | 0:18:20 | 0:18:25 | |
Lots of interest. Start me at 200. | 0:18:25 | 0:18:27 | |
£200. 220. | 0:18:27 | 0:18:29 | |
240. At 240. At 240. | 0:18:29 | 0:18:31 | |
Are we all finished, then? | 0:18:31 | 0:18:35 | |
-At 240... -No. -No. | 0:18:35 | 0:18:37 | |
Not a chance. Absolutely no chance. | 0:18:37 | 0:18:40 | |
240 in the room. | 0:18:40 | 0:18:41 | |
-Nobody, nobody was here. -That's fine. | 0:18:41 | 0:18:43 | |
-Well, I think you did the right thing. -Yeah. | 0:18:43 | 0:18:45 | |
We do love it so we'll hang on a bit. | 0:18:45 | 0:18:47 | |
Why don't you have a go at using it every now and then? | 0:18:47 | 0:18:50 | |
-No! -Oh, I would. | 0:18:50 | 0:18:52 | |
-No! -I would! -Use it visually, to look at. Yeah. | 0:18:52 | 0:18:56 | |
Sheila's two hand-painted vases, we've got 80 to £120 on these. | 0:18:59 | 0:19:03 | |
The money's going towards a holiday. Where are you going to go? | 0:19:03 | 0:19:06 | |
-Don't know yet. -You don't know yet. Haven't made your mind up! | 0:19:06 | 0:19:10 | |
-This is a reasonable estimate. I'd like to see the top end, though. -So would I. | 0:19:10 | 0:19:14 | |
They're an exciting design but the background is not everyone's favourite, that dark brown. | 0:19:14 | 0:19:19 | |
-Yes. -If you're think of the 1920 houses, | 0:19:19 | 0:19:21 | |
-1930 houses, dark furniture, dark reproduction furniture... -Sits well. -Sits well. Yeah. | 0:19:21 | 0:19:26 | |
Hancock and Sons Coronaware vases. | 0:19:26 | 0:19:29 | |
Start me at 50. At 50, who's going on? Five. | 0:19:29 | 0:19:32 | |
60. Five. | 0:19:32 | 0:19:34 | |
They're worth a lot more. Hand decorated by Molly Hancock. | 0:19:34 | 0:19:37 | |
-Is there any advance? Five. 75 with the lady... -We've sold them. -75. | 0:19:37 | 0:19:42 | |
75, then. Going at 75. All done. | 0:19:42 | 0:19:46 | |
-Yes. -75. -Yes. -Just in. Just in at £75. | 0:19:46 | 0:19:50 | |
-You were happy with that, weren't you? -No. -THEY LAUGH | 0:19:50 | 0:19:54 | |
Oh, dear. You did up the reserve £10, didn't you? I know that. | 0:19:54 | 0:19:59 | |
But, you know, fixed reserve at 70. We got them away at 75. | 0:19:59 | 0:20:03 | |
-Well, that's fine. I don't mind. -You don't mind, do you? | 0:20:03 | 0:20:06 | |
Well, it's my turn to be the expert. Remember Pam's little occasional table? | 0:20:10 | 0:20:15 | |
-The piano stool which had been adapted? -Yep. | 0:20:15 | 0:20:18 | |
-It's a lovely bit of kit and it's quite useful. Now, it came out of your spare bedroom. -It did. | 0:20:18 | 0:20:22 | |
If it doesn't sell today, where will it go? | 0:20:22 | 0:20:25 | |
Back up in the spare bedroom! | 0:20:25 | 0:20:26 | |
£60, you can't go wrong. Bit of discretion. | 0:20:26 | 0:20:30 | |
Go and tell them that. | 0:20:30 | 0:20:32 | |
I will! OK! It's about to go under the hammer. Let's keep our fingers crossed. | 0:20:32 | 0:20:36 | |
Mahogany swivel top coffee table. | 0:20:36 | 0:20:40 | |
Very pretty piece. There we go. | 0:20:40 | 0:20:41 | |
Start me at...£30 to start. | 0:20:41 | 0:20:43 | |
£30 somewhere, put it in. 30. I'm bid at 30. | 0:20:43 | 0:20:46 | |
At 30. Five. | 0:20:46 | 0:20:47 | |
At 35 now. We're all done, then, at 35. | 0:20:47 | 0:20:50 | |
-Oh, come on. -35 doesn't seem a lot. | 0:20:50 | 0:20:52 | |
Are we all finished, then, at 35? | 0:20:52 | 0:20:54 | |
40. 45 anywhere? At £40, are we all done? | 0:20:54 | 0:20:59 | |
-Not sold. -£60. That's a giveaway price. | 0:20:59 | 0:21:02 | |
I'm so pleased that's going back in your spare bedroom. | 0:21:02 | 0:21:05 | |
Yeah. It can go back. Go back where it's been for the last 30 years! | 0:21:05 | 0:21:08 | |
Well, it's better than buying a bit of MDF for 35 quid. | 0:21:08 | 0:21:11 | |
-Yeah. Yeah. -Yeah. Look after it. | 0:21:11 | 0:21:13 | |
-I will. I'll give it a bit extra polish. -Exactly. Touch it. | 0:21:13 | 0:21:16 | |
It's got some energy. It makes you feel good. | 0:21:16 | 0:21:18 | |
This is interesting. 50 silver ingots just about to go under the hammer. | 0:21:21 | 0:21:25 | |
They belong to Chas. He can't be with us right now. | 0:21:25 | 0:21:28 | |
He's at work in Manchester, but we do have Donna, his wife. | 0:21:28 | 0:21:31 | |
200 to £300. What do you think? | 0:21:31 | 0:21:34 | |
On the day...who knows? | 0:21:34 | 0:21:36 | |
-You don't know. -Anything's possible. -we're going to find out now. | 0:21:36 | 0:21:39 | |
We put 200 to 300 on them cos we thought they're worth 200 quid scrap, | 0:21:39 | 0:21:43 | |
so, you know, they should make that money. | 0:21:43 | 0:21:45 | |
They're an ounce a go. 50 of them. Fingers crossed. | 0:21:45 | 0:21:49 | |
Silver ingot collection. 50 in the box. | 0:21:49 | 0:21:51 | |
In a fitted case. Start me at £100. £100 bid. | 0:21:51 | 0:21:54 | |
Thank you. 110. 120. | 0:21:54 | 0:21:56 | |
30. 40. 150. 160. | 0:21:56 | 0:21:59 | |
170. 180. 190. 200. | 0:21:59 | 0:22:01 | |
-210. 220. -They've sold. -They've sold. -230. 240. | 0:22:01 | 0:22:04 | |
250. 260. 280. | 0:22:04 | 0:22:08 | |
-280. -At 290. At 290. | 0:22:08 | 0:22:12 | |
Selling at 290. Gentleman's bid. | 0:22:12 | 0:22:14 | |
Last time at 290. | 0:22:14 | 0:22:16 | |
Yes! £290! That's brilliant, isn't it? You were feeling so nervous! | 0:22:16 | 0:22:20 | |
You got me worried there. | 0:22:20 | 0:22:22 | |
-And me! -But good job the scrap value is worth £200. | 0:22:22 | 0:22:24 | |
Hopefully they won't be scrapped. | 0:22:24 | 0:22:26 | |
-Hopefully someone will keep them as a part of a collection. -They were pretty. | 0:22:26 | 0:22:30 | |
Now I reckon I've been to hundreds of antique auctions in my life. | 0:22:36 | 0:22:40 | |
I know how they work, but today I'm doing something completely different. | 0:22:40 | 0:22:44 | |
I'm going behind the scenes at a livestock auction | 0:22:44 | 0:22:47 | |
to find out what it's like to be a buyer, a seller and an auctioneer. | 0:22:47 | 0:22:52 | |
Cirencester Livestock Market has been going since 2005 | 0:22:57 | 0:23:02 | |
and has twice-weekly sales and most breeds of farm animals. | 0:23:02 | 0:23:06 | |
I'm going to learn how it all works from one of the auctioneers, John Pullen. | 0:23:06 | 0:23:11 | |
-What are these cattle? -These are continental cross cattle. -Yeah. | 0:23:11 | 0:23:16 | |
-They would be beef breeds. These will go into the food chain. -These are for slaughter? -Yes. | 0:23:16 | 0:23:21 | |
Someone's just put dobs of grease on their back. What's that for? | 0:23:21 | 0:23:24 | |
We put lot numbers on the back, as you do in the antiques world. | 0:23:24 | 0:23:28 | |
Keep the lots numbered! Couldn't do that with antiques! | 0:23:28 | 0:23:32 | |
Every beast has a lot number on its back which must match up with a passport. | 0:23:32 | 0:23:36 | |
These are very important in our industry. | 0:23:36 | 0:23:39 | |
You can't move cattle without one of these? | 0:23:39 | 0:23:41 | |
Cannot move or sell without this. This tells us where the beast has come from, where it was born | 0:23:41 | 0:23:46 | |
-and where it's going, ultimately. -You still haven't told me your estimate! | 0:23:46 | 0:23:50 | |
I would expect this beast to make... | 0:23:50 | 0:23:52 | |
I guess she's a good beast, so she's going to be, hopefully, 750 to £800. | 0:23:52 | 0:23:57 | |
-Will you get that today, do you think? -I'd like to hope so. | 0:23:57 | 0:24:00 | |
I hope you do, as well! | 0:24:00 | 0:24:02 | |
-What are your commission charges? -We work on a percentage, | 0:24:02 | 0:24:05 | |
but we're probably going to earn about 15 to £17 for selling that beast today. | 0:24:05 | 0:24:12 | |
-That's not a lot, is it? -No. -I mean, in my world, | 0:24:12 | 0:24:14 | |
in the antiques world, most auction houses are charging 17 to 20% commission to the buyer. | 0:24:14 | 0:24:20 | |
-Yes... -And also to the seller. -Yes. | 0:24:20 | 0:24:23 | |
-They're earning 40%. -We're in the wrong trade. | 0:24:23 | 0:24:26 | |
-You are! -In the wrong trade. -You are, aren't you? -We're working on 2, 2.5%. | 0:24:26 | 0:24:30 | |
-And no buyer's premium. -Gosh! | 0:24:30 | 0:24:33 | |
I've got to say, looking around, I mean, the auction's not far off starting. | 0:24:34 | 0:24:38 | |
I can't see a lot of bidders. | 0:24:38 | 0:24:41 | |
How many people do you expect turning up? | 0:24:41 | 0:24:43 | |
We don't unfortunately get the numbers you get randomly turning up to your antiques. | 0:24:43 | 0:24:48 | |
On average, what do you expect? | 0:24:48 | 0:24:50 | |
-Probably five or six bidders on the sheep. -Is that all? | 0:24:50 | 0:24:53 | |
-And five or six bidders on the cattle. -And that's it? -And that's it. | 0:24:53 | 0:24:57 | |
-Crikey. -We've got our work cut out. -You have! | 0:24:57 | 0:24:59 | |
-So you've got to make them fight amongst each other. -We do regularly. | 0:24:59 | 0:25:03 | |
Which is difficult as they all know each other! | 0:25:03 | 0:25:05 | |
RINGS BELL | 0:25:09 | 0:25:12 | |
It's typical. All the bidders turned up in the nick of time. | 0:25:12 | 0:25:15 | |
I think they were in the cafe all along. That is so typical of auction rooms. | 0:25:15 | 0:25:19 | |
Good morning, ladies and gentlemen. | 0:25:19 | 0:25:21 | |
Welcome to Cirencester. My pleasure to say they're cheaper than normal. | 0:25:21 | 0:25:25 | |
Green lines are farm assured. Blue lines, non-farm assured. Red market today. | 0:25:25 | 0:25:29 | |
On we go, gentlemen, 42 kilos, then. | 0:25:29 | 0:25:31 | |
HE TAKES BIDS VERY RAPIDLY | 0:25:31 | 0:25:34 | |
So quick, I can't even see the bidding going on. | 0:25:39 | 0:25:42 | |
AUCTIONEER CONTINUES TO TAKE BIDS VERY RAPIDLY | 0:25:42 | 0:25:45 | |
He's just sold that pen off. What does that work out per kilo, per sheep and also, per pen? | 0:25:48 | 0:25:54 | |
-Well, about 130 pence a kilo for those lambs in there. -Yeah. | 0:25:54 | 0:25:59 | |
They come to £64 per head. | 0:25:59 | 0:26:01 | |
There was ten in the pen so we've made £640 from that pen of sheep. | 0:26:01 | 0:26:04 | |
OK. £64 per sheep. That's not bad. | 0:26:04 | 0:26:06 | |
I've got mixed feelings, because I'm a vegetarian and I don't eat meat, | 0:26:06 | 0:26:11 | |
but looking at these animals, they have been cared for and loved by the farmers, | 0:26:11 | 0:26:16 | |
and the farmer needs to earn a living and he needs top money. | 0:26:16 | 0:26:19 | |
-Peter, these are yours, aren't they? -Yes. -What are they? | 0:26:23 | 0:26:26 | |
-They're the Belgian Blues. -They're beautiful. | 0:26:26 | 0:26:29 | |
And they're about 25 months old. | 0:26:29 | 0:26:31 | |
-How many of those have you got? -In total, we have 550 in two counties. | 0:26:31 | 0:26:36 | |
They're such an affectionate animal, the Belgian Blue. | 0:26:36 | 0:26:39 | |
And that's why I choose them now to farm, because they're slower in energy. | 0:26:39 | 0:26:44 | |
Whereas the Limousins are a very high energy animal, and I can't run fast enough to keep up with them! | 0:26:44 | 0:26:50 | |
-BELL RINGS -More bells. It's now the sale of the beef cattle | 0:26:59 | 0:27:04 | |
-so they'll be coming in a minute. Is it Chris on the rostrum? -It is. -Chris is coming back on the rostrum. | 0:27:04 | 0:27:09 | |
HE TAKES BIDS VERY RAPIDLY | 0:27:09 | 0:27:12 | |
Do you know, I can't understand him at all! | 0:27:14 | 0:27:17 | |
HE TAKES BIDS VERY RAPIDLY, THEN INHALES DEEPLY | 0:27:17 | 0:27:21 | |
On we go, gentlemen, we move on... | 0:27:21 | 0:27:24 | |
Cor, that was big! | 0:27:24 | 0:27:26 | |
510 kilos, gentlemen. 510 kilos coming in. | 0:27:26 | 0:27:31 | |
Angus bullock... | 0:27:31 | 0:27:32 | |
How many sales a year do you have? | 0:27:32 | 0:27:35 | |
-We're in here twice a week. -Twice a week. -Every week. Two sales a week. | 0:27:35 | 0:27:39 | |
Bar Christmas week. Every other week of the year. | 0:27:39 | 0:27:42 | |
And is it just sheep and cattle, or do you do pigs? | 0:27:42 | 0:27:45 | |
-We do sheep, cattle, pigs. and goats in here. -Yeah. | 0:27:45 | 0:27:48 | |
-What's your favourite bit of the job? -The selling. -The sale. | 0:27:48 | 0:27:51 | |
The adrenalin of a sale. It's a real buzz and we all enjoy that. | 0:27:51 | 0:27:56 | |
Well, the auction's coming to an end and that was an experience, but right now, | 0:28:07 | 0:28:12 | |
I'm looking forward to getting back to the antiques world. | 0:28:12 | 0:28:15 | |
Back at the valuation day, Will's found a piece of railway memorabilia that's really close to home. | 0:28:20 | 0:28:26 | |
-Wendy? -Yes. | 0:28:26 | 0:28:28 | |
What an interesting group of railway memorabilia you've brought in today. | 0:28:28 | 0:28:33 | |
The Swindon Works of the Great Western Railway, which is where we are today. | 0:28:33 | 0:28:38 | |
-That's right. -Now, I've had a look in here and if I open this up, | 0:28:38 | 0:28:42 | |
we've got this wonderful map of the Great Western Railway Swindon Works. | 0:28:42 | 0:28:46 | |
What can you tell me about this? How have you come by it? | 0:28:46 | 0:28:49 | |
Well, it was my father's. He worked in the railway from the age of 16. | 0:28:49 | 0:28:54 | |
-When he came back from the War, he went back into the Western. -He retired here, did he? | 0:28:54 | 0:28:58 | |
-More or less. Yeah. -He worked his whole life here, where we are now. | 0:28:58 | 0:29:02 | |
-Yep. -Looking at this map, we've deduced where we are. | 0:29:02 | 0:29:05 | |
That's St Mark's Church on the other side of the railway, so we're here. | 0:29:05 | 0:29:09 | |
-Yeah. -B. Looking at the key... | 0:29:09 | 0:29:12 | |
the Erectors, Boilermakers, Painters and Tender Shop, which is where we're sitting now. | 0:29:12 | 0:29:17 | |
-Where my dad worked. He was a boilermaker. -A boilermaker? -Yeah. | 0:29:17 | 0:29:21 | |
-We could be sitting... -Where he worked. -Where he worked. What a lovely story. | 0:29:21 | 0:29:25 | |
Moving on to the other items you've brought along today, we've got here | 0:29:25 | 0:29:31 | |
a commemorative plaque for the King George V engine. | 0:29:31 | 0:29:34 | |
-It says here, "478 of a limited edition of 1,000." -Yep. | 0:29:34 | 0:29:39 | |
Now, I suppose this locomotive, the King George V, is here in the Steam Museum, is it? | 0:29:39 | 0:29:44 | |
Yes. We passed it on our way in. | 0:29:44 | 0:29:46 | |
How interesting. So that's another plaque. | 0:29:46 | 0:29:49 | |
-This time limited to 3,000. -Yeah. | 0:29:49 | 0:29:51 | |
And this one is to commemorate | 0:29:51 | 0:29:53 | |
the 150th anniversary of the railway works. | 0:29:53 | 0:29:56 | |
-That's right. Yeah. -And again, a certificate of training. | 0:29:56 | 0:30:00 | |
And this relates to your father. | 0:30:00 | 0:30:02 | |
Yes. He started when he was 16, | 0:30:02 | 0:30:05 | |
-and, erm... Which was 1936, I think he started. Yeah. -It says here 1936. | 0:30:05 | 0:30:11 | |
-"He bears good character, good ability as a workman..." -Yeah! | 0:30:11 | 0:30:14 | |
-"..And has conducted himself in a satisfactory manner." -That's right. | 0:30:14 | 0:30:18 | |
-It's like a school report! -Yeah, yeah. | 0:30:18 | 0:30:20 | |
Now it comes to the point where I have to sort of suggest a value. | 0:30:20 | 0:30:24 | |
-Have you any idea what these pieces are worth? -No. Not at all. | 0:30:24 | 0:30:27 | |
-No. -I didn't really think they'd be worth... | 0:30:27 | 0:30:29 | |
I would suggest perhaps putting a nice wide estimate on them of 50 to £100. | 0:30:29 | 0:30:34 | |
-Yeah. -It's going to be hard to pin it down to more than that, I expect. | 0:30:34 | 0:30:38 | |
Now, was this something that you wanted to include? | 0:30:38 | 0:30:41 | |
I don't think so, it's more sentimental to me, cos my dad's name's on it. | 0:30:41 | 0:30:45 | |
-Let's take that out of the equation. -OK. | 0:30:45 | 0:30:48 | |
How would you feel if I suggested no reserve? Would you be happy with that? | 0:30:48 | 0:30:51 | |
-Yes. I think so. Yeah. -That's what I like. Yes. Well done, Wendy. | 0:30:51 | 0:30:55 | |
We like to live on the edge! Let it make what it makes. | 0:30:55 | 0:30:58 | |
-Yes. -So, we're agreed. 50 to £100 is an estimate. | 0:30:58 | 0:31:01 | |
No reserve. You're keeping the Certificate Of Employment. | 0:31:01 | 0:31:05 | |
-And we'll offer the rest as a lot. -OK. | 0:31:05 | 0:31:07 | |
Well, Diane, this is absolutely devastating. | 0:31:11 | 0:31:16 | |
It's one of the most exciting things that's been brought in today. | 0:31:16 | 0:31:19 | |
-Right. -Do you know what it is? | 0:31:19 | 0:31:22 | |
Well, we've always thought it was a visitor's card case. | 0:31:22 | 0:31:25 | |
That's perfectly correct. Have you seen one like this before? | 0:31:25 | 0:31:28 | |
-Not so much decoration on it. -This is beautiful. | 0:31:28 | 0:31:33 | |
It's not just bright cut, so you get the shiny elements in the decoration, | 0:31:33 | 0:31:38 | |
but it's also raised work, as well. | 0:31:38 | 0:31:40 | |
When you look at all these flower heads and scrolls, | 0:31:40 | 0:31:43 | |
it's all raised. Possibly cast originally then chased away, | 0:31:43 | 0:31:49 | |
so you've got all this lovely open work here on a matt ground. | 0:31:49 | 0:31:53 | |
But what is such a feature | 0:31:53 | 0:31:55 | |
is the decoration in the centre panel here, which is of a house. | 0:31:55 | 0:31:59 | |
Do you know what the house is? | 0:31:59 | 0:32:01 | |
No. No. We would like to know. | 0:32:01 | 0:32:04 | |
That house is important, and the one on the other side's important, | 0:32:04 | 0:32:07 | |
-because it commemorates two major writers of the day. -Oh. | 0:32:07 | 0:32:13 | |
This one is Abbotsford. | 0:32:13 | 0:32:15 | |
-And where's that? -Who lived at Abbotsford? Sir Walter Scott. | 0:32:15 | 0:32:19 | |
-Ah. -On the other side... | 0:32:19 | 0:32:23 | |
we have Newstead Abbey. | 0:32:23 | 0:32:26 | |
Who lived at Newstead Abbey? | 0:32:26 | 0:32:28 | |
-Byron, the poet. -Oh. | 0:32:28 | 0:32:31 | |
So this commemorates | 0:32:31 | 0:32:33 | |
-two major literary figures of the early 19th century. -Oh. | 0:32:33 | 0:32:38 | |
Now, when I say early 19th century, this little box dates from 1836. | 0:32:38 | 0:32:45 | |
-1836? -1836. -Gosh! | 0:32:45 | 0:32:49 | |
-Earlier than we thought. -Yes. | 0:32:49 | 0:32:51 | |
This was made in Birmingham by a company called Taylor and Perry. | 0:32:51 | 0:32:57 | |
Right. | 0:32:57 | 0:32:58 | |
-It's lovely. Now, does this belong to you? -No. It's my father's. | 0:32:58 | 0:33:03 | |
So your father's instructed you to sell this on his behalf? | 0:33:03 | 0:33:06 | |
-Yes. -If the price is right. | 0:33:06 | 0:33:09 | |
-If the price is right. -OK. | 0:33:09 | 0:33:11 | |
How much do you think it's worth yourself? | 0:33:11 | 0:33:14 | |
Erm... Well, he did think, round about 200 to 300. | 0:33:14 | 0:33:19 | |
200 to 300. Well, I think he's got a sensible head on his shoulders. | 0:33:19 | 0:33:23 | |
-Where he is now that you've had to come along? -He's actually on a half world cruise. | 0:33:23 | 0:33:27 | |
Oh! Doesn't really need the money, does he? | 0:33:27 | 0:33:30 | |
Oh, he's working though, on it. | 0:33:30 | 0:33:32 | |
-What does he do? -He's a dance host for Saga. | 0:33:32 | 0:33:35 | |
-Really? -Yes. -What a fascinating way to see the world, isn't it? | 0:33:35 | 0:33:38 | |
Yes. So, he left last week from Southampton to Sydney... | 0:33:38 | 0:33:43 | |
Oh, that's brilliant. Oh, that's brilliant, isn't it? | 0:33:43 | 0:33:46 | |
I reckon that if it goes up for auction | 0:33:46 | 0:33:48 | |
we should get something in the region of about 400, £600. | 0:33:48 | 0:33:52 | |
-Excellent. -That sort of price range. | 0:33:52 | 0:33:54 | |
But the factors are the decoration and the subject matter. | 0:33:54 | 0:34:00 | |
-Right. -So that's Newstead Abbey and Abbotsford. | 0:34:00 | 0:34:02 | |
-Locally made, Birmingham. -Right. | 0:34:02 | 0:34:04 | |
So you've got all the ingredients and the condition is so important, | 0:34:04 | 0:34:08 | |
-and that is in perfect condition. -Yeah. | 0:34:08 | 0:34:10 | |
It is a collector's piece, and I've seen wonderful collections | 0:34:10 | 0:34:13 | |
of card cases, but not as beautiful as this, | 0:34:13 | 0:34:17 | |
so I think it'll make the top end of the price. | 0:34:17 | 0:34:20 | |
-Excellent. -Thank you for bringing it along. | 0:34:20 | 0:34:22 | |
Maureen, I really love this piece you've brought in today. | 0:34:26 | 0:34:30 | |
-Thank you. -A piece of what I would call Art Nouveau. | 0:34:30 | 0:34:32 | |
What can you tell me about it? How did you come by it? | 0:34:32 | 0:34:35 | |
I bought it at a local flea market about seven years ago. | 0:34:35 | 0:34:39 | |
-So some time ago now. -Some time ago. | 0:34:39 | 0:34:41 | |
-Yeah. -Can you tell me what you paid for it? | 0:34:41 | 0:34:43 | |
-No more than £2 or £3, I wouldn't think. -No more than £2 or £3. -No. | 0:34:43 | 0:34:47 | |
-I think you've got yourself a good deal there. -Good. | 0:34:47 | 0:34:50 | |
You're obviously aware of the maker of this piece. | 0:34:50 | 0:34:53 | |
-Yes. -You've had a look over it. | 0:34:53 | 0:34:55 | |
-You pointed out to me it is marked as we both know, WMF. -Yes. Yeah. | 0:34:55 | 0:35:00 | |
Wurttemberg Metalwork Factory in Austria. Art Nouveau period. | 0:35:00 | 0:35:06 | |
We're all aware of the Metro signs in Paris. | 0:35:06 | 0:35:09 | |
-That very, sort of, organic curve... -Flowing. | 0:35:09 | 0:35:12 | |
Exactly. That sort of organic shape. | 0:35:12 | 0:35:15 | |
Well, this, from Austria, also had the influence | 0:35:15 | 0:35:18 | |
of the German Art Nouveau, which actually was a bit more angular, | 0:35:18 | 0:35:22 | |
-a bit more sort of Modernist in its design. -Yeah. | 0:35:22 | 0:35:25 | |
WMF took more of their influence from the French style. | 0:35:25 | 0:35:30 | |
This flowing, organic moulding. | 0:35:30 | 0:35:34 | |
-These flower heads here. -Yep. | 0:35:34 | 0:35:36 | |
Did no-one else see this shining out at them at the flea market? | 0:35:36 | 0:35:39 | |
It wasn't shining when I bought it. It was black. | 0:35:39 | 0:35:42 | |
And it was in with a load of other metal pieces, all black, but I was just attracted to the shape of it. | 0:35:42 | 0:35:47 | |
Is it something that fits in with your scheme? | 0:35:47 | 0:35:50 | |
I think it's lovely. | 0:35:50 | 0:35:51 | |
What's brought you to the decision to bring it along today? | 0:35:51 | 0:35:54 | |
-I've had it for seven years and well, why not change it into a piece of jewellery? -Oh. | 0:35:54 | 0:35:59 | |
Then I can wear it instead of looking at it. | 0:35:59 | 0:36:01 | |
-I was admiring your brooch earlier. -So, yeah. | 0:36:01 | 0:36:04 | |
It's going to be a piece of what I would call commercial Art Nouveau. | 0:36:04 | 0:36:09 | |
-Yeah. -It's something that was produced in large numbers. | 0:36:09 | 0:36:14 | |
-You say you only paid £2 or £3 for it. -Yeah. | 0:36:14 | 0:36:18 | |
I would translate that into an auction estimate today | 0:36:18 | 0:36:20 | |
of perhaps 40 to £60. | 0:36:20 | 0:36:22 | |
Maybe straddle that £50 mark. What do you think? | 0:36:22 | 0:36:25 | |
That's brilliant. That's great. | 0:36:25 | 0:36:27 | |
So, if we go for the auction, 40 to £60, shall we reserve it? | 0:36:27 | 0:36:31 | |
Or do you think it's just going to find its level in the sale? | 0:36:31 | 0:36:34 | |
I would say it will find its own level. | 0:36:34 | 0:36:37 | |
-We like that. -Paying just £2 to £3, I don't think... -Exactly. | 0:36:37 | 0:36:40 | |
-It's not like you're in to lose a lot, is it? -No, no. | 0:36:40 | 0:36:42 | |
I'm confident that 40 to 60 is the right level to pitch it at. | 0:36:42 | 0:36:45 | |
-That's fine. -So if you're happy with that. -Yeah. -No reserve. | 0:36:45 | 0:36:48 | |
-No. -Live dangerously. -Yeah. -And we'll see you on the day | 0:36:48 | 0:36:51 | |
and hopefully we can get it away for you. | 0:36:51 | 0:36:53 | |
Well, that's it for our valuations today, so let's have one last look at what's going off to auction. | 0:36:55 | 0:37:00 | |
Wendy's Great Western Railway memorabilia belonged to her father. | 0:37:00 | 0:37:04 | |
They're of great local interest, but will they steam ahead? | 0:37:04 | 0:37:08 | |
Maureen's only paid a couple of pounds | 0:37:08 | 0:37:10 | |
for the silver plated Art Nouveau tray at a flea market. | 0:37:10 | 0:37:13 | |
I think she should see a good return on her investment. | 0:37:13 | 0:37:17 | |
And last up is a silver card case. | 0:37:17 | 0:37:18 | |
Diane's father has gone on a cruise and told her to Flog It! | 0:37:18 | 0:37:23 | |
Let's hope it sails away at auction. | 0:37:23 | 0:37:25 | |
But first, let's see what auctioneer Elizabeth Pool thinks of the card case. | 0:37:25 | 0:37:29 | |
This is absolutely divine. It's got quality written all over it. | 0:37:29 | 0:37:34 | |
It belongs to Diane. It is her father's. | 0:37:34 | 0:37:36 | |
He can't be with us at the auction. | 0:37:36 | 0:37:38 | |
We've got 400 to £600 on this with a fixed reserve of 350. | 0:37:38 | 0:37:43 | |
Very good. Very realistic, I think. | 0:37:43 | 0:37:46 | |
These are very popular at the moment. | 0:37:46 | 0:37:48 | |
The last one I saw had an engraved castle on it, | 0:37:48 | 0:37:51 | |
which this has a relief decorated... | 0:37:51 | 0:37:54 | |
-It's embossed. -Embossed. Yeah. | 0:37:54 | 0:37:56 | |
And I think that makes it more desirable. | 0:37:56 | 0:37:59 | |
-Has there been much interest? -Definitely. Lots. | 0:37:59 | 0:38:01 | |
Right. So, what would you like to see it do? | 0:38:01 | 0:38:04 | |
-I would like to see it... -A lot more! -Yes. 1,000! | 0:38:04 | 0:38:07 | |
BOTH LAUGH | 0:38:07 | 0:38:09 | |
Whatever you do, don't go away. | 0:38:09 | 0:38:10 | |
Watch this one go under the hammer. | 0:38:10 | 0:38:12 | |
Right. Now, it's Wendy's turn to run the gauntlet of the auctioneer | 0:38:16 | 0:38:19 | |
and this was a classic item we found at the Works in Swindon. | 0:38:19 | 0:38:22 | |
Great Western Railway memorabilia. | 0:38:22 | 0:38:24 | |
-And it was your father's. -Yes. | 0:38:24 | 0:38:26 | |
He worked in the room where we had the valuations. | 0:38:26 | 0:38:29 | |
-He did. Yes. -You can't get any more local, can you, Will? | 0:38:29 | 0:38:32 | |
I thought it really set the day off, didn't it? | 0:38:32 | 0:38:35 | |
Could we get £100 plus? | 0:38:35 | 0:38:37 | |
We got 50 to 100. No reserve. | 0:38:37 | 0:38:40 | |
-No reserve. -You want this to go. | 0:38:40 | 0:38:42 | |
Well, yes, cos my children don't want it. | 0:38:42 | 0:38:44 | |
-Did he twist your arm? -Not really. | 0:38:44 | 0:38:47 | |
-No. -Suggested it, perhaps, rather than twist. | 0:38:47 | 0:38:50 | |
-No. It's fine. -The sale room told us they wanted GWR memorabilia. | 0:38:50 | 0:38:53 | |
It sells well, according to the auctioneers, so, you know, | 0:38:53 | 0:38:57 | |
I've gone with the information that they gave us, and fingers crossed. | 0:38:57 | 0:39:00 | |
OK. Let's see if we're on the right tracks. It's going under the hammer now. | 0:39:00 | 0:39:04 | |
-OK. -Rather nice collection of GWR memorabilia. | 0:39:04 | 0:39:08 | |
Limited edition plaques. | 0:39:08 | 0:39:10 | |
Start me off, £20 to start. Must be some people interested here. | 0:39:10 | 0:39:14 | |
-Yes. -Thank you, at 20. Five. | 0:39:14 | 0:39:17 | |
30, is it, sir? 30. Five. | 0:39:17 | 0:39:19 | |
-At 35. 35. Lady's bid, and selling. -It's going. | 0:39:19 | 0:39:24 | |
-£35. -It's OK. Not bad. | 0:39:24 | 0:39:27 | |
-Is that OK? -Yeah. That's fine. -Will's feeling guilty. | 0:39:27 | 0:39:30 | |
I can feel it. I can feel heat rising from Will's head! | 0:39:30 | 0:39:33 | |
-Well, I think it's worth more than that. -It's fine. | 0:39:33 | 0:39:36 | |
-It's OK. -You know, we took a chance. | 0:39:36 | 0:39:38 | |
-Yeah. It's fine. -No reserve. | 0:39:38 | 0:39:40 | |
Maybe you'll come and buy next time, rather than sell. | 0:39:40 | 0:39:43 | |
It's obviously a good place to come and buy! | 0:39:43 | 0:39:46 | |
This has got to sell, hasn't it, at 40 to £60? Maureen's lovely tray. | 0:39:49 | 0:39:54 | |
A bit of WMF. Great maker's name. You said to me earlier | 0:39:54 | 0:39:58 | |
-the money's going towards more costume jewellery? -Yes. | 0:39:58 | 0:40:02 | |
I see what you're wearing. Our expert, Will, put the valuation on 40 to 60. | 0:40:02 | 0:40:06 | |
-What are you wearing? -I thought it went with the shirt. | 0:40:06 | 0:40:09 | |
I thought I'd borrow one. Rather nice. | 0:40:09 | 0:40:11 | |
-I could get used to this. -Look at this. | 0:40:11 | 0:40:13 | |
-I had a hard choice. -I bet you did! | 0:40:13 | 0:40:16 | |
I think the green would suit me, | 0:40:16 | 0:40:18 | |
-but 40 to £60 should get you another nice piece, shouldn't it? -Yes. | 0:40:18 | 0:40:22 | |
That's all we want here today. | 0:40:22 | 0:40:23 | |
-That's right. -Fingers crossed, Will. -Yeah. Again, no reserve. | 0:40:23 | 0:40:27 | |
-I think I twisted your arm. -Yeah. -Well, I don't think we're going to need a reserve. | 0:40:27 | 0:40:31 | |
Every auctioneer's dream. No reserve! | 0:40:31 | 0:40:34 | |
If it's here to sell, it's here to sell. WMF, good name. Collected. | 0:40:34 | 0:40:39 | |
Good condition. | 0:40:39 | 0:40:40 | |
One step up would have been to have perhaps a female figure on it. | 0:40:40 | 0:40:43 | |
They tend to make lots of money, but easily accommodated, and, I think, commercial. | 0:40:43 | 0:40:48 | |
OK. Just tell us what WMF means, Will, cos I can't pronounce it. | 0:40:48 | 0:40:52 | |
-HE CLEARS HIS THROAT -OK...! | 0:40:52 | 0:40:55 | |
273 is a stylised WMF silver plated oval tray. | 0:40:55 | 0:41:00 | |
Very nice. Very decorative. 20 to start me off. | 0:41:00 | 0:41:02 | |
20. Bid at 20. I have 25. | 0:41:02 | 0:41:06 | |
30. At 30. At 35. At 35. 40. | 0:41:06 | 0:41:09 | |
At £40. Any advance, then, at £40, on my right? | 0:41:09 | 0:41:13 | |
Are you all done? | 0:41:13 | 0:41:15 | |
-We'll settle for that. You wanted 40. -That's fine. | 0:41:15 | 0:41:18 | |
-Thank you. -That'll get you a nice piece. | 0:41:18 | 0:41:20 | |
-I'll get two for that! -Excellent! | 0:41:20 | 0:41:22 | |
Well, you know, no reserve, but it made its money. | 0:41:22 | 0:41:24 | |
-We needed a bit of competition in the room. -Yeah. -One buyer got it. -OK. | 0:41:24 | 0:41:28 | |
Diane, David, good luck. | 0:41:31 | 0:41:33 | |
I know you've been waiting a long time for this one and so have we. | 0:41:33 | 0:41:36 | |
It's that wonderful silver card case. 400 to £600. Beautiful work. | 0:41:36 | 0:41:42 | |
Lovely embossed work. We were musing over it. | 0:41:42 | 0:41:45 | |
The auctioneer and myself were just poring over it. | 0:41:45 | 0:41:47 | |
It's absolutely divine. I hope we get that top end. | 0:41:47 | 0:41:51 | |
It's the best thing in the sale! | 0:41:51 | 0:41:53 | |
-It's unbelievably good. -Yeah. -It really is good. | 0:41:53 | 0:41:56 | |
What will you do with the money? | 0:41:56 | 0:41:58 | |
-Well, it's my dad's. -OK. So what's the money going to? | 0:41:58 | 0:42:00 | |
To him, but I hope he'll give me a commission! | 0:42:00 | 0:42:03 | |
Yeah. Let's hope we get that top end. | 0:42:03 | 0:42:05 | |
I'd like to see the 600. | 0:42:05 | 0:42:06 | |
Victorian silver castle top card case. Very lovely piece here. | 0:42:06 | 0:42:11 | |
Beautifully decorated. 300 to start. | 0:42:11 | 0:42:14 | |
£300. Bid at 300. At 300 near me. | 0:42:14 | 0:42:17 | |
320. 350. 380. | 0:42:17 | 0:42:20 | |
-400. At 400 near me. -Diane, we're selling. | 0:42:20 | 0:42:24 | |
420. 450. 480. | 0:42:24 | 0:42:26 | |
500. 520. 550. | 0:42:26 | 0:42:29 | |
-At 550. -Come on! -At 550, now, are we all done? | 0:42:29 | 0:42:33 | |
At 550 near me, then. | 0:42:33 | 0:42:35 | |
-I feel greedy. Come on...! -At 550... | 0:42:35 | 0:42:39 | |
£550, Diane! | 0:42:39 | 0:42:42 | |
-Excellent. -You've got to be happy. | 0:42:42 | 0:42:44 | |
-David's very happy. -I'm delighted. | 0:42:44 | 0:42:46 | |
-Dad's going to be over the moon, isn't he? -Yeah, when he gets back. | 0:42:46 | 0:42:49 | |
-He's on a cruise at the moment. -Is he? -Yeah. -On his way to Australia. | 0:42:49 | 0:42:53 | |
Sounds like he doesn't need the money! | 0:42:53 | 0:42:55 | |
THEY LAUGH | 0:42:55 | 0:42:57 | |
How about that? What an exciting show, | 0:43:01 | 0:43:04 | |
and a few surprises, but for all the wrong reasons. | 0:43:04 | 0:43:06 | |
It certainly was a mixed day, but that's auctions for you. | 0:43:06 | 0:43:09 | |
You can never predict the result. That's where the fun is. | 0:43:09 | 0:43:12 | |
I hope you've enjoyed watching the show, so from Cirencester, | 0:43:12 | 0:43:15 | |
until next time, it's cheerio. | 0:43:15 | 0:43:17 | |
For more information about "Flog It!" including how the programme was made, | 0:43:17 | 0:43:21 | |
visit the website at bbc.co.uk/lifestyle | 0:43:21 | 0:43:24 | |
Subtitles by Red Bee Media Ltd | 0:43:31 | 0:43:34 | |
Email [email protected] | 0:43:34 | 0:43:37 |