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Hundreds of these structures that you can see behind me | 0:00:02 | 0:00:05 | |
once dominated the landscape around here. | 0:00:05 | 0:00:07 | |
They're bottle kilns and they were used to make some of the world's finest ceramics. | 0:00:07 | 0:00:12 | |
Today, Flog It comes from Stoke-on-Trent. | 0:00:12 | 0:00:15 | |
The modern Stoke-on-Trent is made up of six towns, | 0:00:53 | 0:00:57 | |
which were brought together in 1910 to form a city, | 0:00:57 | 0:01:00 | |
and collectively they're known the world over as the... | 0:01:00 | 0:01:05 | |
ALL: Potteries! | 0:01:05 | 0:01:07 | |
Now, are we gonna find some ceramic gems here today? | 0:01:10 | 0:01:13 | |
Well, we're in the right place, but it is the right time? | 0:01:13 | 0:01:16 | |
That is down to our two experts, Mr David Barby and James Lewis. | 0:01:16 | 0:01:19 | |
-Well, no pressure, guys! -Smile, you're on Candid Camera. | 0:01:19 | 0:01:22 | |
And that's not the only camera here today! | 0:01:24 | 0:01:27 | |
Well, I think it's time to get this massive crowd inside | 0:01:27 | 0:01:30 | |
and see what they've brought along. | 0:01:30 | 0:01:33 | |
And James has already turned up two cheeky-looking chaps. | 0:01:33 | 0:01:37 | |
Keith, these are fantastic. | 0:01:37 | 0:01:38 | |
I love them. | 0:01:38 | 0:01:40 | |
I saw you unpacking them a while ago and I have to say, | 0:01:40 | 0:01:43 | |
as soon as I saw them, I loved them. | 0:01:43 | 0:01:45 | |
They're brilliant fun, | 0:01:45 | 0:01:47 | |
and what we're looking at, of course, are table lighters... A pair of them. | 0:01:47 | 0:01:51 | |
This one, the hinge is fine. | 0:01:51 | 0:01:53 | |
This one, a little bit of damage on the hinge, | 0:01:53 | 0:01:55 | |
but still a really interesting pair of lighters, | 0:01:55 | 0:02:00 | |
and to have a pair as well | 0:02:00 | 0:02:01 | |
makes them a little bit more sought-after, I would imagine. | 0:02:01 | 0:02:05 | |
They're made from spelter and then they've been silvered | 0:02:05 | 0:02:08 | |
on the top of the spelter, but they're great fun. I suppose... | 0:02:08 | 0:02:11 | |
What do you think they're supposed to represent? | 0:02:11 | 0:02:13 | |
Is it "Alas, poor Yorick"? | 0:02:13 | 0:02:15 | |
Do you know, I think it's probably got to be allegorical of evolution, | 0:02:15 | 0:02:20 | |
and what we have is a pair of apes sitting on textbooks... | 0:02:20 | 0:02:24 | |
-So, knowledge. -That makes sense, yes. -..looking at a human skull | 0:02:24 | 0:02:27 | |
and thinking, "Goodness me, surely I can't be related to that!" | 0:02:27 | 0:02:31 | |
And I think it's a comment and a bit of a joke | 0:02:31 | 0:02:33 | |
on the times because it's only... | 0:02:33 | 0:02:35 | |
These were made probably in the 1920s, '30s, | 0:02:35 | 0:02:39 | |
and we're not that far after Darwin, | 0:02:39 | 0:02:41 | |
and it was still quite a controversial subject then, | 0:02:41 | 0:02:43 | |
so I think this monkey is looking at a human and thinking, | 0:02:43 | 0:02:46 | |
"Oh, no, please don't tell me I'm related to one of those!" | 0:02:46 | 0:02:49 | |
But they're great fun, aren't they? | 0:02:49 | 0:02:51 | |
-I think so. -And the key word is "novelty". | 0:02:51 | 0:02:53 | |
Whenever we've got something that's useful, something that's decorative | 0:02:53 | 0:02:57 | |
and the novelty all combined, that's what people are looking for. | 0:02:57 | 0:03:00 | |
-A bit of a problem, they've been damaged at some point. -One has, yeah. -How did that happen? | 0:03:00 | 0:03:05 | |
My son used them as bookends in his bedroom for his school books | 0:03:05 | 0:03:08 | |
and the shelf collapsed! | 0:03:08 | 0:03:10 | |
-OK. -Zoop, straight to the floor. -We've lost an arm. | 0:03:10 | 0:03:13 | |
I repaired the arm. I was going to repair the hinge... | 0:03:13 | 0:03:16 | |
-They've been out in my workshop for three years. -Really? | 0:03:16 | 0:03:20 | |
I do it out there. They've been left out there because the wife didn't want them in the house. | 0:03:20 | 0:03:24 | |
It was taboo. I gave up many, many years ago. | 0:03:24 | 0:03:27 | |
I have to say, I think they're great, I really like them. | 0:03:27 | 0:03:30 | |
-Oh, good. -And I think they're great fun as well. | 0:03:30 | 0:03:32 | |
What are they worth? | 0:03:32 | 0:03:35 | |
I mean, this one being damaged, I suppose, is just a few pounds. | 0:03:35 | 0:03:39 | |
That one has got to be worth £80 to £100, I should think. | 0:03:39 | 0:03:44 | |
-So if we put an estimate of £80 to £120 on the two? -They'll have a reserve. | 0:03:44 | 0:03:48 | |
-Do you want a reserve? -Please. -What would you like? -Up to you. | 0:03:48 | 0:03:51 | |
-80? -Lovely. | 0:03:51 | 0:03:52 | |
-You'll take them at that? -So they don't give them away! | 0:03:52 | 0:03:55 | |
Absolutely, no, I agree. It's Adam Partridge who will be selling them. | 0:03:55 | 0:03:58 | |
He knows what he's doing. | 0:03:58 | 0:04:00 | |
Well, I think a collector would really go for them, wouldn't they? | 0:04:00 | 0:04:03 | |
I love them, I do, I really love them, but as I say... | 0:04:03 | 0:04:06 | |
It kind of looks like Adam Partridge, doesn't it? | 0:04:06 | 0:04:10 | |
-Oh, ooh! Don't tell him that! -Well, that will be me, then! | 0:04:10 | 0:04:14 | |
MUSIC: "Neighborhood #3 (Power Out)" by Arcade Fire | 0:04:14 | 0:04:17 | |
Betty, obviously you can't remember the abdication of Edward VIII... | 0:04:21 | 0:04:26 | |
-No. -Where did this come from? | 0:04:26 | 0:04:28 | |
Has it always been in the family? | 0:04:28 | 0:04:30 | |
Yeah. It's been in the family for as long as I can remember. | 0:04:30 | 0:04:33 | |
Was there a great sort of devotion to King Edward? | 0:04:33 | 0:04:37 | |
-I don't think so! -Don't think so? | 0:04:37 | 0:04:40 | |
But somebody acquired rather an expensive example | 0:04:40 | 0:04:43 | |
of souvenir-ware for the coronation, because this was made by Fieldings - | 0:04:43 | 0:04:48 | |
that's the Crown Devon Company - | 0:04:48 | 0:04:51 | |
who have been producing pottery from about 1897 in Stoke-on-Trent, | 0:04:51 | 0:04:56 | |
and they've always been known for making good-quality pottery, | 0:04:56 | 0:04:59 | |
often sort of copying more expensive designs from the Worcester factory, | 0:04:59 | 0:05:04 | |
and then they started producing these novelty musical movement | 0:05:04 | 0:05:09 | |
tankards, commemorative ones. | 0:05:09 | 0:05:11 | |
I remember buying... | 0:05:11 | 0:05:13 | |
many years ago a tankard for a friend of mine who used to sing "Sally". | 0:05:13 | 0:05:18 | |
-Gracie Fields. -Showing your age! | 0:05:18 | 0:05:21 | |
Thank you! | 0:05:21 | 0:05:22 | |
But this is in the same tradition | 0:05:22 | 0:05:26 | |
of giving a little bit of interest, | 0:05:26 | 0:05:27 | |
a little bit of excitement, so when you lifted the mug, | 0:05:27 | 0:05:30 | |
to drink, it would play a musical tune, | 0:05:30 | 0:05:33 | |
and here we have "God Save The King". | 0:05:33 | 0:05:38 | |
What I find interesting about this | 0:05:38 | 0:05:40 | |
is that it has on the back the legend, | 0:05:40 | 0:05:44 | |
"Abdicated December 10th 1936". | 0:05:44 | 0:05:47 | |
Now, that was an interesting move for the pottery company, wasn't it? | 0:05:47 | 0:05:51 | |
First of all they produced this for the coronation, which didn't take | 0:05:51 | 0:05:55 | |
place, and then, to make certain their sales still went on for these | 0:05:55 | 0:05:59 | |
implements, they put an abdication clause on the back, | 0:05:59 | 0:06:05 | |
so they had one for the coronation and then they sold this as a souvenir | 0:06:05 | 0:06:09 | |
of the abdication, so they covered both sides, didn't they? | 0:06:09 | 0:06:12 | |
I like this. The musical movement is contained halfway down, | 0:06:12 | 0:06:16 | |
and the actual decoration and the cameo portrait, in high relief, | 0:06:16 | 0:06:21 | |
is in such excellent condition. | 0:06:21 | 0:06:23 | |
The handle is decorated with all the symbols of Great Britain. | 0:06:23 | 0:06:27 | |
We have the rose for England, | 0:06:27 | 0:06:29 | |
thistle for Scotland, daffodil for Wales, | 0:06:29 | 0:06:32 | |
and there, the shamrock for Ireland. | 0:06:32 | 0:06:34 | |
It's interesting that people do collect commemorative mugs, | 0:06:34 | 0:06:38 | |
particularly with the musical movement underneath, and I think | 0:06:38 | 0:06:41 | |
if this goes up for auction we should look at around about £60 to £80, | 0:06:41 | 0:06:44 | |
and I think we should put a reserve of £50 on it. | 0:06:44 | 0:06:47 | |
-Would that be agreeable? -Yeah, cool. | 0:06:47 | 0:06:49 | |
-I'll keep my fingers crossed for you. -Good! | 0:06:49 | 0:06:53 | |
Shall we just have a little bit of a play before you say goodbye to it? | 0:06:53 | 0:06:56 | |
MUG PLAYS "God Save The King" | 0:06:56 | 0:07:00 | |
Phil, looking at all these used ticket stubs, | 0:07:17 | 0:07:19 | |
you're obviously a big music fan and so am I. | 0:07:19 | 0:07:21 | |
Look, Dr Feelgood, Joe Walsh... | 0:07:21 | 0:07:23 | |
Gosh, everybody's in here, but what has caught my eye | 0:07:23 | 0:07:26 | |
are these two little posters, they're like flyers really. | 0:07:26 | 0:07:29 | |
I guess these would have been used | 0:07:29 | 0:07:31 | |
in shop windows, local stores | 0:07:31 | 0:07:33 | |
around the venue to promote the gig. | 0:07:33 | 0:07:35 | |
Jimi Hendrix, and it says it all because that sums up | 0:07:35 | 0:07:38 | |
the Seventies with that sort of purple haze. | 0:07:38 | 0:07:40 | |
-Psychedelia. -Yeah, exactly. | 0:07:40 | 0:07:43 | |
-There's no date on it. Do you know what date it was? -I think it's 1970. | 0:07:43 | 0:07:46 | |
And he was playing in Oklahoma. | 0:07:46 | 0:07:48 | |
You've got an American accent, | 0:07:48 | 0:07:50 | |
-I guess you grew up in Oklahoma. -That's where I'm from, yeah! | 0:07:50 | 0:07:53 | |
-So what brought you over to the UK then? -My wife. -Your wife? | 0:07:53 | 0:07:57 | |
-You married an English lass? -Yeah. -Aaah! | 0:07:57 | 0:07:59 | |
Did you get to see Led Zeppelin? | 0:07:59 | 0:08:01 | |
No, I didn't. I was a bit young at the time. | 0:08:01 | 0:08:03 | |
I was gonna say, you look a bit young. | 0:08:03 | 0:08:05 | |
I love that. That is fantastic, | 0:08:05 | 0:08:07 | |
and Led Zeppelin has reformed this year. | 0:08:07 | 0:08:09 | |
I grew up playing the drums and I still listen to John Bonham | 0:08:09 | 0:08:12 | |
and try and copy all his sort of licks and his moves and his sound. | 0:08:12 | 0:08:15 | |
-The question is, were you any good? -No, I was rubbish! | 0:08:15 | 0:08:19 | |
Again, no date. | 0:08:21 | 0:08:23 | |
I think that's also 1970. | 0:08:23 | 0:08:25 | |
Right. Great band, but I don't think our auction is the right one for you. | 0:08:25 | 0:08:29 | |
It's a general antique auction. I think what you've got here, rock | 0:08:29 | 0:08:33 | |
and pop memorabilia, needs to go to a specialist musical memorabilia | 0:08:33 | 0:08:38 | |
sale, where you'll find a bigger audience, and I'm pretty sure | 0:08:38 | 0:08:41 | |
this one is worth around £80 to £150, and so is that one. | 0:08:41 | 0:08:46 | |
So that's not bad, is it? | 0:08:46 | 0:08:48 | |
For flyers that were just sellotaped to the shop window, and what I like | 0:08:48 | 0:08:52 | |
is the fact that you've looked after them, | 0:08:52 | 0:08:54 | |
you've put them behind perspex on a clip frame, | 0:08:54 | 0:08:58 | |
so it's kept them from being bent and screwed up and ripped and torn, | 0:08:58 | 0:09:01 | |
so good for you, because condition is so important. | 0:09:01 | 0:09:04 | |
MUSIC: "Haiti" by Arcade Fire | 0:09:04 | 0:09:07 | |
Pat, I love this period of art. | 0:09:11 | 0:09:17 | |
We're looking at the end of the sort of 19th century, and a period that | 0:09:17 | 0:09:21 | |
we call the "aesthetic movement", | 0:09:21 | 0:09:24 | |
and I associate this with the pre-Raphaelites. | 0:09:24 | 0:09:27 | |
I look at these and I think in terms of slightly, dare I say, | 0:09:27 | 0:09:32 | |
camp Victorian melodramas or Wagnerian operas, | 0:09:32 | 0:09:35 | |
because all the costumes are of that sort of twilight era, | 0:09:35 | 0:09:39 | |
rather like Excalibur, | 0:09:39 | 0:09:41 | |
-and, of course, the subject matter is Arthurian, is it not? -Yes. | 0:09:41 | 0:09:46 | |
-What fascinated you to collect these? -I didn't collect them, | 0:09:46 | 0:09:50 | |
they were my grandmother's. | 0:09:50 | 0:09:51 | |
-They were passed down to me. -She was a collector? | 0:09:51 | 0:09:53 | |
Well, she bought them from a second-hand shop and they were | 0:09:53 | 0:09:56 | |
originally in a wash stand. She must have bought them in the early 1900s. | 0:09:56 | 0:10:01 | |
It would have been a very, very expensive bedroom suite | 0:10:01 | 0:10:05 | |
to have had a wash stand with these Minton tiles installed in the back. | 0:10:05 | 0:10:10 | |
These were all decorated | 0:10:10 | 0:10:12 | |
by one of the leading artists at the Minton factory called Moir Smith, | 0:10:12 | 0:10:17 | |
and each tile would either have its initials or his full name there. | 0:10:17 | 0:10:22 | |
There's Moir Smith there. | 0:10:22 | 0:10:24 | |
So they are recognised, they're sought after, and hopefully | 0:10:24 | 0:10:29 | |
there's going to be tile collectors up at the auction we're going to. | 0:10:29 | 0:10:32 | |
I'm separating these from the subject matter at the back, | 0:10:32 | 0:10:35 | |
because you can understand why. | 0:10:35 | 0:10:37 | |
These are all Arthurian, | 0:10:37 | 0:10:38 | |
and the colour tones are in this sort of beige and dark brown. | 0:10:38 | 0:10:42 | |
-Sepia colours, aren't they? -Sepia-tone colours, yes, | 0:10:42 | 0:10:45 | |
and they're very much in vogue now for collectors. | 0:10:45 | 0:10:48 | |
There are tile collectors. | 0:10:48 | 0:10:51 | |
These are different, these are Shakespearean subjects, | 0:10:51 | 0:10:55 | |
so we have Macbeth and we have Romeo and Juliet - beautiful - | 0:10:55 | 0:11:01 | |
and then we have these Walter Scott tiles at the back. | 0:11:01 | 0:11:05 | |
These would not have come from a wash stand. | 0:11:05 | 0:11:08 | |
These might have come from a piece of furniture, probably insert | 0:11:08 | 0:11:13 | |
into the back of a chair or insert into a wardrobe or maybe a fireplace. | 0:11:13 | 0:11:19 | |
-It's a lovely collection. Why are you selling them? -We don't use them. | 0:11:19 | 0:11:23 | |
We've always been intending to do something with it and never done it. | 0:11:23 | 0:11:27 | |
Right. There was a fabulous sale in Stourbridge, a couple of weeks ago, | 0:11:27 | 0:11:30 | |
where a lot of these came up for sale. | 0:11:30 | 0:11:34 | |
On average, the estimates were around about | 0:11:34 | 0:11:36 | |
£20 each for the Arthurian ones, | 0:11:36 | 0:11:41 | |
and also the Shakespeare ones, and then a little bit more, | 0:11:41 | 0:11:44 | |
probably around about £40 to £60, for the larger tiles, so I think we ought | 0:11:44 | 0:11:49 | |
to put an estimate at between £200 and £300. Would that be agreeable? | 0:11:49 | 0:11:52 | |
-That would be very agreeable. -But they require | 0:11:52 | 0:11:55 | |
a reserve just tucked under, so I would say we put the reserve at £180. | 0:11:55 | 0:11:59 | |
Would that be agreeable? | 0:11:59 | 0:12:01 | |
That would be very agreeable! | 0:12:01 | 0:12:03 | |
-I hope we're gonna get it after all of that! -Yes, I do, too! | 0:12:03 | 0:12:06 | |
Well, how about that lot? You've seen some cracking items, | 0:12:09 | 0:12:12 | |
but right now it's time to put our experts' theories to the test. | 0:12:12 | 0:12:16 | |
It's time for our first visit to the auction rooms, | 0:12:16 | 0:12:18 | |
so while we nip up the motorway to Marshall's, | 0:12:18 | 0:12:21 | |
here's a quick recap of all the items that are going to go under the hammer. | 0:12:21 | 0:12:25 | |
It's time for this pair of cheeky monkeys to come out of the garage | 0:12:25 | 0:12:29 | |
and charm their way into a new home. | 0:12:29 | 0:12:31 | |
Royal memorabilia always attracts the bidders. Betty's Edward VIII | 0:12:31 | 0:12:35 | |
singing mug has it, with bells on. | 0:12:35 | 0:12:37 | |
Every tile tells a story, and I'm sure it will be a happy ending | 0:12:39 | 0:12:42 | |
for this fine collection of Minton. | 0:12:42 | 0:12:45 | |
Our auction today is in Knutsford at Frank Marshall's. | 0:12:48 | 0:12:52 | |
Now, on the rostrum we've got Flog It favourite Adam Partridge, | 0:12:52 | 0:12:55 | |
hopefully doing us proud, but before the sale gets under way, | 0:12:55 | 0:12:59 | |
I'm going to catch up with him and have a quick natter about one of our items. | 0:12:59 | 0:13:03 | |
Now these are a bit of fun. Bookends, really, if you like. | 0:13:07 | 0:13:10 | |
but they're table lighters, they belong to Keith. | 0:13:10 | 0:13:12 | |
I think his son has damaged one of them and they've been using them as bookends. | 0:13:12 | 0:13:17 | |
£80 to £120 was put on these by James. | 0:13:17 | 0:13:19 | |
I like the contemplative look they have while they're | 0:13:19 | 0:13:22 | |
looking at the skulls and I notice that the... | 0:13:22 | 0:13:25 | |
"With compliments of S Murphy." So they're a gift, aren't they? | 0:13:25 | 0:13:30 | |
It's a strange thing to have, isn't it? | 0:13:30 | 0:13:32 | |
-Yeah. They've got the look, though. -They're good fun. | 0:13:32 | 0:13:35 | |
I mean, this one has had his arm off as well on the front there. | 0:13:35 | 0:13:38 | |
-Oh, yes, yes. -So condition isn't brilliant. | 0:13:38 | 0:13:41 | |
80 to 120 should see them sold, | 0:13:41 | 0:13:43 | |
but table lighters, you know, smoking is so popular these days... | 0:13:43 | 0:13:47 | |
-Adam is not going ape about these! -No, I'm not, no! | 0:13:47 | 0:13:51 | |
Well, they're first up in the auction, | 0:13:52 | 0:13:54 | |
so let's see what the bidders think! | 0:13:54 | 0:13:56 | |
-Thank you very much. -We've got £80 to £120 put on by our expert, James. | 0:13:56 | 0:14:01 | |
I had a chat to Adam, just before the sale started. | 0:14:01 | 0:14:04 | |
We kind of agreed, a bit of fun, the damage won't hold them back, | 0:14:04 | 0:14:07 | |
and that's the right price. Why do you want to flog them, though? | 0:14:07 | 0:14:11 | |
Well, we are emigrating to Australia. | 0:14:11 | 0:14:13 | |
Oh, are you? That is a major, major decision. | 0:14:13 | 0:14:16 | |
-How long have you been thinking about doing that? -A year. | 0:14:16 | 0:14:19 | |
-A year? Brave man! -We've got the eldest children out there, established. | 0:14:19 | 0:14:23 | |
So you're going to retire out there? | 0:14:23 | 0:14:25 | |
That's true. They've been out there for years and they've got good jobs. | 0:14:25 | 0:14:29 | |
What a great country to go to. Been there are few times myself. | 0:14:29 | 0:14:32 | |
-I think they should just do a little bit more than 120. -I hope so. | 0:14:32 | 0:14:36 | |
It's just that hinge at the back. | 0:14:36 | 0:14:39 | |
-It can be sorted out, though. -Yeah, it can be. | 0:14:39 | 0:14:41 | |
Let's find out what the bidders in Knutsford think. | 0:14:41 | 0:14:43 | |
-It's going under the hammer now. -Lot 99, a pair of cast-metal novelty | 0:14:43 | 0:14:47 | |
table lighters in the form of an ape contemplating a skull. There we are. | 0:14:47 | 0:14:52 | |
Rather nice, aren't they? | 0:14:52 | 0:14:53 | |
Cheeky little monkeys there, lot 99, £80 the pair. | 0:14:53 | 0:14:57 | |
£80. £50 then. | 0:14:57 | 0:15:00 | |
-50 bid. -We're in. | 0:15:00 | 0:15:01 | |
60, 5, 70, 5, 80, 5, 90, 5, 100. | 0:15:01 | 0:15:08 | |
95 at the back of the room, 95. Is there 100? | 0:15:08 | 0:15:12 | |
-Good. -110, 120, 120, 130, 140. | 0:15:12 | 0:15:17 | |
-It's only money, sir! -It's only money! | 0:15:18 | 0:15:21 | |
130, any more now, 130 and we sell. | 0:15:21 | 0:15:24 | |
All done at £130? | 0:15:24 | 0:15:27 | |
Selling. The hammer's gone down, just above the top end | 0:15:27 | 0:15:30 | |
-of the estimate. We did it, though. Good result. -Very good. | 0:15:30 | 0:15:33 | |
Bit of commission to pay on that, | 0:15:33 | 0:15:35 | |
but it's something towards the trip, isn't it? Congratulations. | 0:15:35 | 0:15:38 | |
-Thank you very much. -Nice move. | 0:15:38 | 0:15:41 | |
Right, now we've got 11 Minton tiles from the 19th century | 0:15:50 | 0:15:53 | |
up for grabs, £200 to £300. | 0:15:53 | 0:15:54 | |
They belong to Pat, and I think these will fly away. | 0:15:54 | 0:15:58 | |
I would hope so, I'd hope so. Very good designer, again, | 0:15:58 | 0:16:01 | |
Arts And Crafts very much in vogue. | 0:16:01 | 0:16:03 | |
These have been wrapped up in the garden shed, | 0:16:03 | 0:16:05 | |
-haven't they, for a long time? -They have, probably 60 years. | 0:16:05 | 0:16:08 | |
We've changed the newspaper now and again! | 0:16:08 | 0:16:12 | |
We're gonna find out what they're worth, right now. This is it. | 0:16:12 | 0:16:15 | |
423 is 11 Minton tiles, designed by John Moir Smith, lot 423. | 0:16:15 | 0:16:19 | |
11 of these, £200 start me, please. | 0:16:19 | 0:16:22 | |
100 then to get on. | 0:16:22 | 0:16:25 | |
100 bid, 10 now, at £100, 110 are you? | 0:16:25 | 0:16:28 | |
110, 120, 130, 140, 50, 160, 70, 180, in the room 180. | 0:16:28 | 0:16:34 | |
-Any more now? Any further on these? -Come on, come on... | 0:16:34 | 0:16:38 | |
At 180, 11 of them at 180. | 0:16:38 | 0:16:40 | |
Let's have a bit more, shall we? At 180. Are you all done at 180? | 0:16:40 | 0:16:44 | |
180, and we sell. | 0:16:44 | 0:16:46 | |
So, 180. Just got them away. | 0:16:46 | 0:16:49 | |
-That was the reserve, so can't grumble. -Can't grumble at that. | 0:16:49 | 0:16:53 | |
-No, no. -What are you gonna do with the money? | 0:16:53 | 0:16:56 | |
We're going to use it for a holiday, towards a holiday, and we're also | 0:16:56 | 0:17:00 | |
going to probably a buy a few things, little extras. | 0:17:00 | 0:17:04 | |
-That sounds very nice. -Yes, very peripatetic! | 0:17:04 | 0:17:07 | |
MUSIC: "Red Alert" by Basement Jaxx | 0:17:07 | 0:17:11 | |
Well, we heard it play God Save The King earlier. | 0:17:15 | 0:17:17 | |
Let's hope Betty's little musical tankard reaches the top end | 0:17:17 | 0:17:20 | |
of the estimate and gets that £80... PLUS in fact. That's what we want. | 0:17:20 | 0:17:24 | |
It is a bit of fun, isn't it? | 0:17:24 | 0:17:25 | |
It's a lovely little piece, yes. Of course, it's the association. | 0:17:25 | 0:17:29 | |
It's King Edward, who abdicated, and how many of these were made? | 0:17:29 | 0:17:33 | |
-How many survived? -We don't know. | 0:17:33 | 0:17:35 | |
And how many that survived are still playing? | 0:17:35 | 0:17:37 | |
Here it is, it's coming under the hammer now. | 0:17:37 | 0:17:40 | |
Crown Devon Edward VIII musical commemorative mug. There we are. | 0:17:40 | 0:17:44 | |
How often do we see Edward VIII items brought to us as rarities? | 0:17:44 | 0:17:47 | |
But this is a nice one, lot 353, and I can start with a bid of £50. | 0:17:47 | 0:17:52 | |
-We're in. -Take five. At £50. £50, 5, 60, 5, 70, 5, 80, 5, 90, 5, 100. | 0:17:52 | 0:17:59 | |
-We're up there. -110 here, 110, anymore? | 0:17:59 | 0:18:01 | |
120, 130, 140, 150, 160. | 0:18:01 | 0:18:04 | |
160, who's going on? 170... | 0:18:04 | 0:18:06 | |
Fantastic! That's fantastic, Betty! | 0:18:06 | 0:18:09 | |
200, 210. | 0:18:09 | 0:18:12 | |
-I'm shaking! -200 in the room. £200. | 0:18:12 | 0:18:15 | |
All done at £200. Selling then. | 0:18:15 | 0:18:18 | |
-Yes! -A whopping £200, Betty! | 0:18:20 | 0:18:23 | |
-That must be a record! -Crikey! | 0:18:23 | 0:18:25 | |
-Yeah, really good. -Condition, condition, condition, | 0:18:25 | 0:18:28 | |
that's what it's all about. Oh, well, a bit of commission to pay on | 0:18:28 | 0:18:31 | |
that, but plenty of money to spend! | 0:18:31 | 0:18:33 | |
-What are you gonna do with that? -Phew! | 0:18:33 | 0:18:35 | |
-You haven't got a clue, have you? -New fence. -You haven't thought about it. New fence. | 0:18:35 | 0:18:40 | |
-A bit of gardening? -Oh, well done! | 0:18:40 | 0:18:42 | |
-That was good, wasn't it? -Wow, wow, wow, wow, yes! | 0:18:42 | 0:18:45 | |
Now, cast your mind back a few hundred years. | 0:18:52 | 0:18:55 | |
The year is approximately 1610. | 0:18:55 | 0:18:57 | |
James I is on the throne and Sir Walter Raleigh is in the Tower of London, | 0:18:57 | 0:19:00 | |
but here, in Cheshire, work has just finished on the home of one William Moreton III. | 0:19:00 | 0:19:07 | |
Little Moreton Hall is one of the finest examples of Elizabethan | 0:19:12 | 0:19:16 | |
timber-framed manor houses in England. | 0:19:16 | 0:19:19 | |
Work on the house started in the early 16th century | 0:19:19 | 0:19:23 | |
and extended over future generations. | 0:19:23 | 0:19:25 | |
It's a stunning display of medieval craftsmanship. | 0:19:25 | 0:19:29 | |
It's a half-timber-framed house, | 0:19:30 | 0:19:32 | |
built on a stone foundation, and each storey was built | 0:19:32 | 0:19:36 | |
at different stages. The infill of the wood is plaster and lath. | 0:19:36 | 0:19:40 | |
Now, originally this, in Elizabethan times, | 0:19:40 | 0:19:42 | |
would have been a lovely golden ochre colour, quite vibrant. | 0:19:42 | 0:19:45 | |
It was the Victorians that painted everything black and white. | 0:19:45 | 0:19:49 | |
They even painted all the oak beams black! But look at it! | 0:19:49 | 0:19:51 | |
It really is fantastic. | 0:19:51 | 0:19:53 | |
The more wood, the more money you had. | 0:19:53 | 0:19:55 | |
It was something to show off, and all of this is held together | 0:19:55 | 0:19:59 | |
with wooden pegs, massive great big wooden pegs, driven into the mortice | 0:19:59 | 0:20:03 | |
to hold it tight when the wood was still green, in its fresh | 0:20:03 | 0:20:07 | |
state, because all this would have been felled from the local forest. | 0:20:07 | 0:20:11 | |
Here is a typical example of the pegs, look, | 0:20:11 | 0:20:13 | |
that hold the whole thing together. | 0:20:13 | 0:20:15 | |
They're known as "trenails". Treenails. | 0:20:15 | 0:20:19 | |
And when you get into the cobbled internal courtyard, | 0:20:27 | 0:20:31 | |
you get greeted with a 360-degree | 0:20:31 | 0:20:33 | |
panoramic view of architectural delight. Just look at it! | 0:20:33 | 0:20:37 | |
You get wonderful ornamentation all around the doors and windows. | 0:20:37 | 0:20:41 | |
It's so typical of a Cheshire build. | 0:20:41 | 0:20:43 | |
I love the quatrefoils, with hand-carved balustrades. | 0:20:43 | 0:20:47 | |
It's another detail that just catches your eye. | 0:20:47 | 0:20:49 | |
Moving right up, you've got the leaded windows | 0:20:49 | 0:20:52 | |
and these windows must have been so expensive in their day. | 0:20:52 | 0:20:55 | |
It's another way of showing off extreme wealth, | 0:20:55 | 0:20:58 | |
and that takes you up to the eaves, where you | 0:20:58 | 0:21:00 | |
see these great big bulbous drop pendants, all hand-carved again. | 0:21:00 | 0:21:03 | |
Wonderful! | 0:21:03 | 0:21:05 | |
And here, look, the carpenter has even put his name, | 0:21:05 | 0:21:08 | |
"Rycharde Dale, carpeder, made thies windovs by the grac of God," | 0:21:08 | 0:21:12 | |
and the date was 1559, and it's still standing! | 0:21:12 | 0:21:16 | |
They really did know their trade. | 0:21:16 | 0:21:19 | |
The house was acquired by the National Trust in 1938, | 0:21:22 | 0:21:26 | |
and David Watts is the property manager. | 0:21:26 | 0:21:28 | |
He's the chap we need to find to have a quick chat to | 0:21:28 | 0:21:31 | |
about the history of this magnificent house and its lucky owner. | 0:21:31 | 0:21:35 | |
-Hello. -Hi, Paul. -Pleased to meet you. | 0:21:44 | 0:21:47 | |
I've gotta say, absolutely mind-blowing, isn't it? | 0:21:47 | 0:21:50 | |
And I know it sounds corny, but who would live in a house like this? | 0:21:50 | 0:21:54 | |
Well, the Moretons were wealthy landowners | 0:21:54 | 0:21:56 | |
who came into the area, we think, around the 13th century. | 0:21:56 | 0:22:00 | |
The family itself had wealth through corn mills, | 0:22:00 | 0:22:04 | |
ironworks, timberworks, and primarily the land itself, | 0:22:04 | 0:22:10 | |
and they wanted to show their wealth to everybody else, | 0:22:10 | 0:22:14 | |
and each generation wanted to add their special part to the hall. | 0:22:14 | 0:22:17 | |
Fantastic bay windows, magnificent ranges of glass. | 0:22:17 | 0:22:22 | |
It's one of the best examples I think I've ever seen. | 0:22:22 | 0:22:25 | |
It's a beautiful house. | 0:22:25 | 0:22:26 | |
I want to show you another room, with fantastic decoration. | 0:22:26 | 0:22:30 | |
OK, after you. | 0:22:30 | 0:22:31 | |
Take a look at this, Paul. | 0:22:35 | 0:22:37 | |
Gosh, look at that? Tudor wallpaper. | 0:22:37 | 0:22:40 | |
-It's fantastic, isn't it? -Yeah! | 0:22:40 | 0:22:42 | |
It was fashionable in the 1570s | 0:22:42 | 0:22:45 | |
to about 1600 to use painted panels, and here we've got the Moretons, who | 0:22:45 | 0:22:50 | |
really are into fashion and wealth and wanted to express that wealth, | 0:22:50 | 0:22:54 | |
and John Moreton got the panels painted. We think that you'd probably | 0:22:54 | 0:23:00 | |
get travelling craftsmen who would come round and paint the stories | 0:23:00 | 0:23:05 | |
onto the paper, and then, of course, it's pasted onto the wall itself. | 0:23:05 | 0:23:09 | |
Incredible! Have you depicted what the stories are telling? | 0:23:09 | 0:23:12 | |
Is there enough there? | 0:23:12 | 0:23:13 | |
It's the story of Susannah And The Elders. | 0:23:13 | 0:23:16 | |
So, come on, tell me about that. | 0:23:16 | 0:23:19 | |
Susannah was the beautiful wife of a businessman and she was admired, | 0:23:19 | 0:23:25 | |
shall we say, by a couple of elders in the town, | 0:23:25 | 0:23:28 | |
and they went into her garden | 0:23:28 | 0:23:31 | |
and she refused their advances. | 0:23:31 | 0:23:33 | |
She is then actually put on trial and is about to be stoned to death for adultery, | 0:23:33 | 0:23:37 | |
but our hero, who is Daniel, | 0:23:37 | 0:23:39 | |
-who was actually in the far corner... -The chap up there? | 0:23:39 | 0:23:42 | |
That's the chap - steps in and asks them to look again at the evidence, | 0:23:42 | 0:23:48 | |
-and, in fact, it's the two elders who are then put to death. -Wow! | 0:23:48 | 0:23:51 | |
-Look at that! -But it's a fantastic piece of historic wallpaper, | 0:23:51 | 0:23:54 | |
and you get little details, like the wolf's head on the frieze. | 0:23:54 | 0:23:59 | |
That's the Moreton coat of arms. | 0:23:59 | 0:24:03 | |
Now, interestingly, of course, the fashions change. | 0:24:03 | 0:24:06 | |
The fashion becomes, let's put wooden panelling on instead. | 0:24:06 | 0:24:09 | |
And what do the Moretons do? They replace it with that. | 0:24:09 | 0:24:12 | |
By virtue of putting the panelling over that, it has protected it. | 0:24:12 | 0:24:15 | |
-Of course. -Obviously, the condition of that, it's been saved by the panelling, | 0:24:15 | 0:24:19 | |
but, overall, the house is in remarkable condition. | 0:24:19 | 0:24:22 | |
It's a very solid structure. | 0:24:22 | 0:24:25 | |
-It's a wonderful house. -And I like the fact that you've kept it | 0:24:25 | 0:24:28 | |
quite sparse inside because the space has the beauty as well. | 0:24:28 | 0:24:32 | |
It makes you appreciate the architecture. | 0:24:32 | 0:24:34 | |
In many ways, our collection is the building itself. | 0:24:34 | 0:24:38 | |
-Yeah, it's one big antique, isn't it? -It is, it's wonderful. | 0:24:38 | 0:24:42 | |
Well, not only is it a delight to look at, but Little Moreton Hall | 0:24:52 | 0:24:56 | |
is a masterclass in Tudor woodwork and carpentry, | 0:24:56 | 0:25:00 | |
a perfectly preserved piece of medieval history. | 0:25:00 | 0:25:04 | |
Phyllis, Ben, I think you might have the award for the youngest person here today. | 0:25:17 | 0:25:21 | |
-How old are you? -11. | 0:25:21 | 0:25:22 | |
11? Are you a collector? | 0:25:22 | 0:25:24 | |
-No. -Why? -I dunno! | 0:25:24 | 0:25:27 | |
Well, you've brought along this fantastic bowl for us, and is this | 0:25:27 | 0:25:30 | |
-something you found yourself, or is it a family piece? -Family. | 0:25:30 | 0:25:33 | |
Is it? Who does it belong to? | 0:25:33 | 0:25:35 | |
My great, great, grandma...two. | 0:25:35 | 0:25:40 | |
-Something you like eating your cereal out of it? -No! | 0:25:41 | 0:25:44 | |
Well, it's actually one of the most famous people ever from the Potteries | 0:25:44 | 0:25:49 | |
has designed this... a chap called Frederick Rhead. | 0:25:49 | 0:25:53 | |
Have you heard of Charlotte Rhead? | 0:25:53 | 0:25:55 | |
-Yeah. -Charlotte Rhead, no? I'll tell you about her. | 0:25:55 | 0:25:57 | |
Charlotte Rhead, in the 1930s, was one of the most famous designers, | 0:25:57 | 0:26:02 | |
but this is a bowl by her father, Frederick, | 0:26:02 | 0:26:06 | |
and he worked in the Potteries, he worked in various factories really. | 0:26:06 | 0:26:10 | |
He worked for Wedgwood, and he also worked for Foley Intarsio. | 0:26:10 | 0:26:14 | |
They had wonderful Art Nouveau designs and that's reflected really in this, | 0:26:14 | 0:26:18 | |
and this is what Frederick Rhead is most famous for. | 0:26:18 | 0:26:24 | |
This is known as tube-lining. Have you ever piped icing on a cake? | 0:26:24 | 0:26:29 | |
Had a go? Well, this is basically the same principle. | 0:26:29 | 0:26:32 | |
Big bag of clay, and you squirt it onto the side of the bowl, | 0:26:32 | 0:26:37 | |
and that's what this is - so it's basically known as tube-lining, | 0:26:37 | 0:26:41 | |
and Frederick Rhead was well-known for reviving the fashion for it. | 0:26:41 | 0:26:47 | |
What is the pattern called? | 0:26:47 | 0:26:49 | |
The actual name, I don't know, but the range is Elers Ware. | 0:26:49 | 0:26:53 | |
Wood & Sons is the factory, | 0:26:53 | 0:26:56 | |
and I know you've done some research? | 0:26:56 | 0:26:57 | |
-Yeah. -Tell me what you found out. | 0:26:57 | 0:26:59 | |
I think it was in about 1907 | 0:26:59 | 0:27:01 | |
that it was Wood & Son, and then it came to "Sons" | 0:27:01 | 0:27:05 | |
-after 1907, and then "Limited" about 1912, something like that... -Absolutely. | 0:27:05 | 0:27:11 | |
-so it's got to be in that range, so it could be 100 years old. -It is. -That's what we're thinking. | 0:27:11 | 0:27:15 | |
Spot on. Whenever we're looking at Art Nouveau, it's in the first | 0:27:15 | 0:27:20 | |
15 years really of the 20th century, sort of 1900 to 1915, | 0:27:20 | 0:27:26 | |
and that ties in perfectly with the mark we have on the base. | 0:27:26 | 0:27:29 | |
OK. Well, having said all that, it's time for a value. What do you think? | 0:27:29 | 0:27:34 | |
-£50. -Yeah. | 0:27:34 | 0:27:37 | |
-Would you sell it to me for 50? -No! -Why? | 0:27:37 | 0:27:40 | |
Because I want money! | 0:27:42 | 0:27:43 | |
I don't blame you! OK, well, I think it's gonna be worth more than that. | 0:27:43 | 0:27:48 | |
I'd put an estimate of £60 to £100 | 0:27:48 | 0:27:51 | |
-on it, hoping it would make around mid estimate. -Yeah, that's fine. | 0:27:51 | 0:27:56 | |
-Is that all right? -Yep. -Let's take it to auction and see how we do. Can you come? | 0:27:56 | 0:27:59 | |
-Maybe. -Maybe. Gotta find out if you can have a day off school. | 0:27:59 | 0:28:03 | |
-But you're definitely gonna come, yes? -Definitely. | 0:28:03 | 0:28:05 | |
-Super. See you. Fingers crossed we'll see you. -Yep. -Lovely. | 0:28:05 | 0:28:10 | |
MUSIC: "Neighborhood #1 (Tunnels)" by Arcade Fire | 0:28:10 | 0:28:12 | |
Isn't this absolutely fascinating, Cath? | 0:28:18 | 0:28:21 | |
-Yes, it is. -It really is. | 0:28:21 | 0:28:23 | |
It's a map of Paris, dated 1780, nine years before the French Revolution. | 0:28:23 | 0:28:29 | |
I can imagine English tourists having this and going to Paris, looking out | 0:28:29 | 0:28:33 | |
the sort of fashionable watering places, going to the shops, seeing | 0:28:33 | 0:28:37 | |
the sights, and at the same time the Scarlet Pimpernel would have needed | 0:28:37 | 0:28:41 | |
-one of these, wouldn't he? -Yes! -During the French Revolution. | 0:28:41 | 0:28:44 | |
This is extraordinary! Where did it come from? | 0:28:44 | 0:28:47 | |
Well, my father left it to me with one or two books. | 0:28:47 | 0:28:50 | |
-Did you have an interest in maps? -Yes. -Right. | 0:28:50 | 0:28:52 | |
Well, this is a beautiful map. It's steel engraving | 0:28:52 | 0:28:55 | |
and then all of this is hand-tinted, and obviously it was never taken out | 0:28:55 | 0:28:59 | |
during the rain because it hasn't got any runs or stains on it. | 0:28:59 | 0:29:04 | |
What I do find absolutely extraordinary is this wonderful | 0:29:04 | 0:29:08 | |
plate here, which is so decorative. | 0:29:08 | 0:29:11 | |
It explains the routes of Paris, and then you've got these | 0:29:11 | 0:29:14 | |
two emblematic figures either side, and the Royal Coat of Arms here. | 0:29:14 | 0:29:19 | |
Lovely, lovely piece, but the item you've brought along, which I find | 0:29:19 | 0:29:24 | |
absolutely fascinating, is the one that this is concealing underneath. | 0:29:24 | 0:29:28 | |
This one here is Bradshaw's Map of Canals. | 0:29:30 | 0:29:34 | |
Now, what do we associate Bradshaw with? | 0:29:34 | 0:29:37 | |
Well, the canals and things like that, surely! | 0:29:37 | 0:29:40 | |
Yes, but also he became famous with his railway maps and timetables. | 0:29:40 | 0:29:43 | |
Oh, yes, of course he did, yes. | 0:29:43 | 0:29:45 | |
That dominated the whole of the 19th century. You could rely on Bradshaw's. | 0:29:45 | 0:29:50 | |
This is fascinating, because where is Stoke? | 0:29:50 | 0:29:54 | |
Oh, there's Stoke, here. Now, this dates back to about 1825, | 0:29:54 | 0:30:00 | |
which is a very, very early map of the area. | 0:30:00 | 0:30:02 | |
What I'm surprised about is I always thought Stoke and all the villages | 0:30:02 | 0:30:08 | |
and the towns would have been crowded out with workers, and yet the number | 0:30:08 | 0:30:11 | |
of houses you see are very few. | 0:30:11 | 0:30:14 | |
-Yes, yeah. -But this, again, is steel engraving, and it's all hand-tinted, | 0:30:14 | 0:30:19 | |
in beautiful condition. | 0:30:19 | 0:30:21 | |
Lovely, lovely maps. | 0:30:21 | 0:30:23 | |
Now, how much are we going to get for these? This is huge. | 0:30:23 | 0:30:26 | |
This is a quarter of a whacking great map. | 0:30:26 | 0:30:30 | |
I could see this framed and glazed in an office, or a study. It would look | 0:30:30 | 0:30:36 | |
terrific on the wall, wouldn't it? Likewise with the Parisian map. | 0:30:36 | 0:30:40 | |
I'd like to see this do certainly over £100, let's say £150. | 0:30:40 | 0:30:46 | |
I think we've got to box very clever. | 0:30:46 | 0:30:48 | |
We've got to put a figure that's going to attract people to bid, | 0:30:48 | 0:30:52 | |
so I'm going to suggest £80 to £120 as the estimate. | 0:30:52 | 0:30:55 | |
-Would you be happy? -Yes, quite happy, yes. -What are you going to do? | 0:30:55 | 0:30:59 | |
-Are you going to invest in more modern maps? -I don't know! | 0:30:59 | 0:31:02 | |
-Or a sat nav? -Oh, no! | 0:31:02 | 0:31:04 | |
-Thank you very much for bringing them along. -Thank you. | 0:31:04 | 0:31:07 | |
Bill, Lillian, we've come all the way to Staffordshire, | 0:31:12 | 0:31:15 | |
the heart of the Potteries in England, | 0:31:15 | 0:31:17 | |
and what do we find? Worcester! Anyway, there we go. | 0:31:17 | 0:31:20 | |
A bit of Worcester for us, and, obviously, out of its area, | 0:31:20 | 0:31:23 | |
but one of the most famous factories of all time. | 0:31:23 | 0:31:26 | |
-Indeed. -Are they family pieces? -They were my father's, actually. | 0:31:26 | 0:31:29 | |
My father was a pottery manufacturer and he used to work | 0:31:29 | 0:31:32 | |
as a chief chemist for Wedgwood before the war, and he formed his own collection | 0:31:32 | 0:31:36 | |
of Wedgwood pieces, and also from other companies, | 0:31:36 | 0:31:40 | |
but as I think things have moved on, these tend to not be on display, | 0:31:40 | 0:31:46 | |
and it seems a terrible shame, really. | 0:31:46 | 0:31:48 | |
Worcester is so well known for its fruit-painted porcelain, | 0:31:48 | 0:31:52 | |
and here we've got three very good examples. | 0:31:52 | 0:31:54 | |
Albert Shuck is the artist for these two, and this one, you don't see as | 0:31:54 | 0:31:58 | |
much of this - this is by Bagnall but all around the same sort of period. | 0:31:58 | 0:32:03 | |
Worcester is very easy to date, and if you look at this mark here, | 0:32:03 | 0:32:06 | |
you see three purple circles, | 0:32:06 | 0:32:08 | |
or puce circles, and on either side of that there are a series of dots. | 0:32:08 | 0:32:11 | |
The three interlinked circles were 1932, | 0:32:11 | 0:32:17 | |
and then you add a dot for each year. | 0:32:17 | 0:32:19 | |
You've got nine dots, that's 1941. | 0:32:19 | 0:32:22 | |
That's quite unusual, really, because you wouldn't see British | 0:32:22 | 0:32:26 | |
people buying porcelain in the middle of World War Two, | 0:32:26 | 0:32:30 | |
but we've got a little telltale giveaway here - Buenos Aires. | 0:32:30 | 0:32:34 | |
We've got a Buenos Aires retailer, so this was made in Worcester, | 0:32:34 | 0:32:37 | |
has gone over to Argentina, has been sold in Argentina... | 0:32:37 | 0:32:41 | |
-And come back again! -Back to Stoke! | 0:32:41 | 0:32:44 | |
Well, there we are, so that's got a bit of interesting history about that one. | 0:32:44 | 0:32:48 | |
You do get factories who are transfer-printing these pieces | 0:32:48 | 0:32:51 | |
and then hand-painting little bits over the top, | 0:32:51 | 0:32:54 | |
but these are all hand-painted, so these are very, very sought after. | 0:32:54 | 0:32:58 | |
This one is the best. | 0:32:58 | 0:32:59 | |
The softness of the painting of those wonderful grapes, you could almost | 0:32:59 | 0:33:03 | |
eat them, a real feel to them. | 0:33:03 | 0:33:05 | |
Now, values. Any ideas? | 0:33:05 | 0:33:09 | |
Not really. We've never had them professionally valued. | 0:33:09 | 0:33:13 | |
OK. I'm gonna put them as a group. | 0:33:13 | 0:33:15 | |
-OK. -And that will give the auction room that ability to | 0:33:15 | 0:33:19 | |
split them up if they want to, it depends on their own client base. | 0:33:19 | 0:33:23 | |
We'll say £80 on this one. | 0:33:23 | 0:33:25 | |
The larger one, I think, is worth around £120. | 0:33:25 | 0:33:30 | |
This one, £200 to £300. | 0:33:30 | 0:33:33 | |
-Right. -So, if we say an estimate of £400 to £500 on them, as a three? | 0:33:33 | 0:33:39 | |
That sounds very good. | 0:33:39 | 0:33:41 | |
-Could we put a reserve on them? -Absolutely. | 0:33:41 | 0:33:43 | |
As a group, let's put 400 on them. So what are you gonna do? | 0:33:43 | 0:33:47 | |
Buy a great big piece of fantastic Wedgwood to replace them with? | 0:33:47 | 0:33:50 | |
Oh, I don't think so, actually, | 0:33:50 | 0:33:52 | |
because I'm a model railway enthusiast, so I may very well buy | 0:33:52 | 0:33:55 | |
-something for the collection. -Fantastic. | 0:33:55 | 0:33:58 | |
Well, Worcester is something that we just can't get enough of. | 0:33:58 | 0:34:02 | |
-Yes. -That's good news. -Lovely. | 0:34:02 | 0:34:04 | |
Let's take them along and see how we do. | 0:34:04 | 0:34:06 | |
-Yes, thanks. -Thank you. | 0:34:06 | 0:34:08 | |
But first, let's have a quick recap of all the items we're taking to the auction room. | 0:34:08 | 0:34:13 | |
I can see why this Frederick Rhead bowl caught James's eye. | 0:34:13 | 0:34:16 | |
It's a classic piece and it's in mint condition. | 0:34:16 | 0:34:20 | |
These extraordinary maps tell a tale of two countries. | 0:34:20 | 0:34:23 | |
Their tip-top condition should guarantee good interest. | 0:34:23 | 0:34:26 | |
And, finally, there's something for everyone with Bill and Lillian's | 0:34:26 | 0:34:30 | |
collection of Worcester. Let's hope the collectors are out in force! | 0:34:30 | 0:34:35 | |
When you talk about studio pottery, Charlotte Rhead is a name to be | 0:34:44 | 0:34:47 | |
reckoned with, but this one is by Frederick Rhead, her father. | 0:34:47 | 0:34:50 | |
It's a lovely little vessel and it belongs to Phyllis and Ben. | 0:34:50 | 0:34:54 | |
I gather... | 0:34:54 | 0:34:56 | |
What's Grandma been up to? She's sort of organised a sweepstake, hasn't she, Ben? | 0:34:56 | 0:35:00 | |
-Yeah. -No, actually, I think it was Ben's idea! | 0:35:00 | 0:35:02 | |
Do you? Was this your idea?! | 0:35:02 | 0:35:04 | |
It was his cunning plan. | 0:35:04 | 0:35:06 | |
Born to gamble! | 0:35:06 | 0:35:08 | |
So what have you come up with, then? | 0:35:08 | 0:35:10 | |
What do you think this is worth? | 0:35:10 | 0:35:12 | |
£70. | 0:35:12 | 0:35:14 | |
£70, OK. And what about Grandma? | 0:35:14 | 0:35:17 | |
-75. -75. And James? | 0:35:17 | 0:35:19 | |
-Ever the optimist, 80. -£80. | 0:35:19 | 0:35:22 | |
-Well, why do you want to sell this, just a bit of fun? -Yeah. | 0:35:22 | 0:35:26 | |
Ben likes to watch the programme, and we thought it was educational, | 0:35:26 | 0:35:30 | |
so the headmaster has put it down as an educational day for him. | 0:35:30 | 0:35:33 | |
-Great! -Because it is, isn't it? -It is so educational because you're always learning. | 0:35:33 | 0:35:38 | |
If you keep watching Flog It, you're gonna learn loads, and knowledge is money in this business, isn't it? | 0:35:38 | 0:35:43 | |
-Absolutely. -Cos you get to spot those bargains. | 0:35:43 | 0:35:46 | |
Well, we're gonna find out exactly what we three think right now. | 0:35:46 | 0:35:49 | |
I expect you've made your own minds up at home, | 0:35:49 | 0:35:51 | |
but it's going under the hammer, right now. | 0:35:51 | 0:35:54 | |
Next one, 325, is the Elers Ware bowl designed by Frederick Rhead, | 0:35:54 | 0:35:57 | |
and I've got 45, 50 and 55 bid. | 0:35:57 | 0:35:59 | |
Is there 60? | 0:35:59 | 0:36:02 | |
At £55. | 0:36:02 | 0:36:06 | |
At this rate, you're all wrong! | 0:36:06 | 0:36:07 | |
£55. Any more at 55? | 0:36:07 | 0:36:09 | |
Well, I was told it had to be | 0:36:09 | 0:36:12 | |
fixed at 60, so I'm afraid I can't sell it, even though I'm bid 55. | 0:36:12 | 0:36:17 | |
No! | 0:36:17 | 0:36:19 | |
Didn't sell! | 0:36:19 | 0:36:21 | |
Would you like to change your mind and take 55, | 0:36:21 | 0:36:23 | |
or do you want to take it out? | 0:36:23 | 0:36:25 | |
-Take it. -Yeah. -Take it. | 0:36:25 | 0:36:26 | |
-Take it. -Take the offer? That doesn't happen in Christie's, you know! | 0:36:26 | 0:36:30 | |
LAUGHTER | 0:36:30 | 0:36:31 | |
There's a little deal going on. | 0:36:31 | 0:36:32 | |
He's just asked if we will reduce it. | 0:36:32 | 0:36:34 | |
You've got a sweepstake on it as well, haven't you?! | 0:36:34 | 0:36:36 | |
So maybe James will make up the fiver difference! | 0:36:36 | 0:36:39 | |
-Yeah, I will! -£55. All done now. | 0:36:39 | 0:36:41 | |
£55, and we sell then. 55. | 0:36:41 | 0:36:43 | |
-Yes. -Well done. | 0:36:43 | 0:36:45 | |
Cor! Well done, Adam, as well. | 0:36:45 | 0:36:47 | |
It's gone. £55. | 0:36:47 | 0:36:49 | |
-That's great. -That's OK, isn't it? | 0:36:49 | 0:36:51 | |
-And Ben won the sweepstake! -Exactly. -We've got to buy teas. -You were closest. | 0:36:51 | 0:36:55 | |
Yeah, the teas are on you! | 0:36:55 | 0:36:56 | |
Teas and coffees on them. No? | 0:36:56 | 0:37:00 | |
-On James. -On James, OK. | 0:37:00 | 0:37:02 | |
He's got all the money, hasn't he? | 0:37:02 | 0:37:03 | |
David and I have just been joined by Cath in the nick of time. | 0:37:10 | 0:37:13 | |
The auction room is jam-packed! It's hard to get through | 0:37:13 | 0:37:16 | |
that door right now. We've got the two maps | 0:37:16 | 0:37:18 | |
in that beautiful little folder you brought in. | 0:37:18 | 0:37:21 | |
One 18th-century of Paris and the other one is Bradshaw's maps of the | 0:37:21 | 0:37:24 | |
canals in Britain and I think it's a lovely little lot, I really do. | 0:37:24 | 0:37:28 | |
£80 to £120. | 0:37:28 | 0:37:30 | |
-I can see this going for a little bit more. -Well, we hope so! | 0:37:30 | 0:37:33 | |
I say double, actually. | 0:37:33 | 0:37:35 | |
-Yes, so would I. -Because they're beautifully presented. | 0:37:35 | 0:37:38 | |
They've hardly been used, and if you look at that map of Paris, you'll go | 0:37:38 | 0:37:41 | |
-to Paris now and probably still see it around. -You probably could, yeah. | 0:37:41 | 0:37:46 | |
It's the one with the canals that fascinates me, though. | 0:37:46 | 0:37:49 | |
I've not seen one before, so... | 0:37:49 | 0:37:51 | |
Well done, I'm kind of partial to that! | 0:37:51 | 0:37:53 | |
Look, this is it. Good luck, both of you. | 0:37:53 | 0:37:56 | |
-Let's hope it gets £150. -We hope so. | 0:37:56 | 0:37:58 | |
The map and the plan of Paris, two in the lot there, | 0:37:58 | 0:38:01 | |
a nice lot. | 0:38:01 | 0:38:03 | |
-We've got some interest here, and I can start at £200. -How lovely! | 0:38:03 | 0:38:08 | |
And I'll take 20... 210, 220, 230, 240, 250, 260, 270, 280, 290, 300, | 0:38:08 | 0:38:14 | |
-320, 340, 360, 380, 400... -No, no. | 0:38:14 | 0:38:17 | |
380 bid. Any more now? 380 bid. | 0:38:17 | 0:38:20 | |
Any more now? 400, 420, 440... | 0:38:20 | 0:38:23 | |
-This is very good! -420 now. £420. | 0:38:23 | 0:38:25 | |
Are you all done then? 420. | 0:38:25 | 0:38:27 | |
Finished at 420. | 0:38:27 | 0:38:31 | |
-That's good! -Gosh, I never expected that! | 0:38:31 | 0:38:34 | |
-Neither was I, and I don't think you were, either! -I said double! | 0:38:34 | 0:38:37 | |
-You did, you did. -I said double. | 0:38:37 | 0:38:39 | |
-Gosh, that's wonderful! -A little bit of commission to pay, but what will you spend all that money on? | 0:38:39 | 0:38:44 | |
We've got our first grandchild on the way at the end of August. | 0:38:44 | 0:38:47 | |
-Aah! -It's going to be Grandma's indulgence, isn't it? | 0:38:47 | 0:38:50 | |
-Oh, rather! -It is, isn't it! | 0:38:50 | 0:38:52 | |
Remember the hand-painted Worcester porcelain? It's just about to sell, | 0:38:57 | 0:39:00 | |
and I've been joined by Bill and Lillian. | 0:39:00 | 0:39:02 | |
Now, we've got three lots, haven't we? The first lot, | 0:39:02 | 0:39:05 | |
the smallest one, is £80, the second lot is about £120 and £200. | 0:39:05 | 0:39:08 | |
-£200 to £300 for the pedestal cup. -That's right. | 0:39:08 | 0:39:12 | |
And we've got a total valuation of about £400 to £500 here. | 0:39:12 | 0:39:16 | |
We are selling them separately, but all the money, I just read in | 0:39:16 | 0:39:19 | |
my notes, is going towards the model railway, is it? | 0:39:19 | 0:39:23 | |
-Well, not... -I think he's had second thoughts about that. | 0:39:23 | 0:39:26 | |
Second thoughts! | 0:39:26 | 0:39:27 | |
-You mean you have? -I had a subtle | 0:39:27 | 0:39:29 | |
reminder that it is our 25th wedding anniversary this year. | 0:39:29 | 0:39:33 | |
That's more important than a model railway! | 0:39:33 | 0:39:35 | |
-I think so. -Cracking items these, James? | 0:39:35 | 0:39:37 | |
Yeah, great. | 0:39:37 | 0:39:38 | |
When we took them in on the valuation day we talked about splitting them up | 0:39:38 | 0:39:41 | |
-or putting them together. -We did. | 0:39:41 | 0:39:43 | |
And I thought Adam would split them up. | 0:39:43 | 0:39:45 | |
It's the right thing to do, I think, but, you know, there are | 0:39:45 | 0:39:47 | |
-lots of people here today and they're gonna do very, very well. -Good. | 0:39:47 | 0:39:51 | |
Well, fingers crossed and here's the first going under the hammer. | 0:39:51 | 0:39:54 | |
367 is Royal Worcester bowl painted | 0:39:54 | 0:39:57 | |
with fruits, by Albert Shuck, lot 367, little footed bowl there. £80. | 0:39:57 | 0:40:02 | |
£80. 50, 50 bid, 5 now. | 0:40:02 | 0:40:06 | |
At £50, 5, 60, 5, 65 bid. | 0:40:06 | 0:40:10 | |
Any more now? 65. | 0:40:10 | 0:40:12 | |
70, 5, 80 now, 80 bid. 85. | 0:40:12 | 0:40:17 | |
85 online. Any more on this lot? | 0:40:17 | 0:40:20 | |
85. Any further? The bid's online this time at £85 on the first. | 0:40:20 | 0:40:27 | |
£85. That's good, that's good. | 0:40:27 | 0:40:30 | |
First one down. Here's the next. | 0:40:30 | 0:40:32 | |
Worcester bowl painted by Albert Shuck again. | 0:40:32 | 0:40:35 | |
Lovely bowl, 368. Start me at £100. | 0:40:35 | 0:40:36 | |
80 bid, 5, 90, 5, £95, any more? | 0:40:36 | 0:40:41 | |
£95, 100 bid, 10, 110, take 120 now. | 0:40:41 | 0:40:46 | |
120, online at 120, any more? 130? | 0:40:46 | 0:40:50 | |
-140. At 140. -It's good. -It is. | 0:40:50 | 0:40:53 | |
Are you all done at 140? 150. | 0:40:53 | 0:40:56 | |
Any more at 150? All done? | 0:40:56 | 0:40:58 | |
160, 160, keep going, 160, any more now at 160? | 0:40:58 | 0:41:04 | |
Hammer's up then at 160, we'll sell at 160. 170... | 0:41:04 | 0:41:08 | |
Gosh, that was late in! | 0:41:08 | 0:41:10 | |
-170 bid. -We like it, though! | 0:41:10 | 0:41:12 | |
-We do! -Any more now at 170? 180? | 0:41:12 | 0:41:14 | |
At 180. Last chance. It's now at 180, we're gonna sell... | 0:41:14 | 0:41:17 | |
190. At 190. | 0:41:17 | 0:41:20 | |
Any more at 190? | 0:41:20 | 0:41:22 | |
At 190, 200. 200, any more now? | 0:41:22 | 0:41:26 | |
-Good heavens! -At 200. 210. | 0:41:26 | 0:41:29 | |
LAUGHTER | 0:41:33 | 0:41:34 | |
-210. Are we done at 210? -I think so. | 0:41:34 | 0:41:37 | |
I think we're done at 210. All done at 210 and we sell this one at £210. | 0:41:37 | 0:41:42 | |
How super! Second one down. | 0:41:43 | 0:41:46 | |
That's good news. Here's the last one. | 0:41:46 | 0:41:47 | |
This is the third one, 369, by William Bagnall, painted | 0:41:47 | 0:41:52 | |
with fruits. I'm bid 110. Take 20. | 0:41:52 | 0:41:55 | |
110 only, 120 now, 120. | 0:41:55 | 0:41:58 | |
130, 140, 140. | 0:41:58 | 0:42:01 | |
150, 160, 170. 170 bid. | 0:42:01 | 0:42:03 | |
Any more now? 180. | 0:42:03 | 0:42:06 | |
180 now, 180. 190... We've got the same thing happening again. 190? | 0:42:06 | 0:42:12 | |
-Got a bid. -200? | 0:42:12 | 0:42:13 | |
At 200. Any further now at 200? | 0:42:13 | 0:42:15 | |
Are you all done now? £200, we sell this one... | 0:42:15 | 0:42:18 | |
-210. -210. | 0:42:18 | 0:42:21 | |
All done and selling at 210? | 0:42:21 | 0:42:23 | |
Last chance at £210. | 0:42:23 | 0:42:27 | |
-Yes! -Yes, very good, very good. -Fantastic! That's all three | 0:42:27 | 0:42:32 | |
-sold, that's £505. -Yes, very good, very good. | 0:42:32 | 0:42:36 | |
Well, they were spot on, really, with the £400 to £500, weren't they? | 0:42:36 | 0:42:40 | |
Got the top end of the estimate. | 0:42:40 | 0:42:42 | |
-Yeah. -Very good, James. -And it just shows you, doesn't it, | 0:42:42 | 0:42:45 | |
by varying how people can bid, there's bidding in the room, | 0:42:45 | 0:42:48 | |
there's bidding on the phone andbidding against each other on the internet - fantastic! | 0:42:48 | 0:42:53 | |
-You were dead right, dead right. -Absolutely spot on. | 0:42:53 | 0:42:56 | |
Congratulations to James, and enjoy the wedding anniversary. | 0:42:56 | 0:42:59 | |
-Yes, yes. -I'm sure we will, sure we will. | 0:42:59 | 0:43:02 | |
Well, that's it, it's all over, and all I can say is what a mixed day, but a thoroughly enjoyable one. | 0:43:06 | 0:43:12 | |
I hope you've enjoyed watching the show. Sadly, | 0:43:12 | 0:43:15 | |
we've run out of time here from Marshall's Auctions in Knutsford, | 0:43:15 | 0:43:18 | |
so until the next time, it's cheerio! | 0:43:18 | 0:43:20 | |
For more information about Flog It, | 0:43:20 | 0:43:23 | |
including how the programme was made, | 0:43:23 | 0:43:25 | |
visit the website at bbc.co.uk/lifestyle | 0:43:25 | 0:43:28 | |
Subtitles by Red Bee Media Ltd | 0:43:28 | 0:43:30 | |
E-mail [email protected] | 0:43:30 | 0:43:32 |