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Edward William Godwin was a Victorian dandy, and at the age of 27, he was let loose on this. | 0:00:02 | 0:00:08 | |
Today, we're going gothic, at the Guildhall in Northampton. | 0:00:08 | 0:00:12 | |
Welcome to Flog It! | 0:00:12 | 0:00:14 | |
Not one to hide his light under a bushel, | 0:00:48 | 0:00:50 | |
Edward unleashed his young talents on the magnificent Guildhall. | 0:00:50 | 0:00:54 | |
The Victorian facade is inspired by medieval architecture, | 0:00:54 | 0:00:57 | |
and it is absolutely breathtaking! | 0:00:57 | 0:01:00 | |
Just look at the wonderful spiralling turrets, | 0:01:00 | 0:01:03 | |
the tiny little statues, the gothic arched windows. | 0:01:03 | 0:01:06 | |
It really is a wonderful achievement for such a young man. | 0:01:06 | 0:01:12 | |
Godwin was a flamboyant character, | 0:01:12 | 0:01:14 | |
who mixed in rather colourful circles. | 0:01:14 | 0:01:16 | |
Writer and wit Oscar Wilde, and James Whistler, the painter, | 0:01:16 | 0:01:19 | |
were amongst his friends, | 0:01:19 | 0:01:21 | |
and he caused a real scandal when he had an affair with | 0:01:21 | 0:01:24 | |
the famous actress Ellen Terry, fathering two illegitimate children. | 0:01:24 | 0:01:28 | |
But today, we're here to value antiques with our very own Whistler and Wilde, | 0:01:30 | 0:01:34 | |
experts Mark Stacey and James Lewis. | 0:01:34 | 0:01:36 | |
-I'm glad I'm Wilde! -I bet you are! -Cos some of us are in the gutter but we're looking at the stars! | 0:01:36 | 0:01:41 | |
Isn't he... What a poet! | 0:01:41 | 0:01:44 | |
-Genius! -Genius! | 0:01:44 | 0:01:47 | |
Everyone is pleased to get out of the rain and into the shelter of Godwin's splendid hall. | 0:01:47 | 0:01:52 | |
James is first at the table, so let's see what he's found. | 0:01:52 | 0:01:55 | |
Glenys, there are a few things over the last few years | 0:01:57 | 0:02:00 | |
that have been a great investment. | 0:02:00 | 0:02:02 | |
One has been postcards, another's been coins, | 0:02:02 | 0:02:05 | |
and militaria, in general, has been a good investment. | 0:02:05 | 0:02:08 | |
So you've got two linked to one here, | 0:02:08 | 0:02:10 | |
because we've got militaria and we've got postcards. | 0:02:10 | 0:02:13 | |
These are wonderful. They're known as silks, and these were | 0:02:13 | 0:02:17 | |
sent back by the troops in the First World War to their loved ones and parents at home. | 0:02:17 | 0:02:23 | |
How did you come to have them? | 0:02:23 | 0:02:26 | |
They were my grandmother's. She collected them for years, I gather. | 0:02:26 | 0:02:30 | |
Everybody that knew her collected them, sent them back, posted them, | 0:02:30 | 0:02:36 | |
and when she died, we found the collection in an old shoe box. | 0:02:36 | 0:02:41 | |
Right. Well, they're interesting. We've got varying designs - | 0:02:41 | 0:02:45 | |
floral ones, ones with little flags on, and some more unusual ones. | 0:02:45 | 0:02:48 | |
We've got the Machine Gun Corps there. | 0:02:48 | 0:02:50 | |
And that's a nice one - 1918. | 0:02:50 | 0:02:53 | |
Of course, 1918 was a happy New Year | 0:02:53 | 0:02:55 | |
because it was the year the war ended. What else have we got in here? | 0:02:55 | 0:02:59 | |
We've got the military theme continuing here. | 0:02:59 | 0:03:02 | |
Logically enough, being in Northampton... | 0:03:02 | 0:03:04 | |
-The Northamptonshire Regiment. -Absolutely. | 0:03:04 | 0:03:07 | |
Ah. The town hall, Northampton. | 0:03:07 | 0:03:09 | |
Yeah. Where we are now. | 0:03:09 | 0:03:12 | |
From what we've already said, they're family cards. | 0:03:12 | 0:03:15 | |
How did you come to have them? | 0:03:15 | 0:03:17 | |
It was just in the house, tucked away in an old shoe box. | 0:03:17 | 0:03:22 | |
Opened it up, and there they were. | 0:03:22 | 0:03:24 | |
I think shoe boxes were made to carry postcards. | 0:03:24 | 0:03:27 | |
I think you'll be amazed about how many people have shoe boxes | 0:03:27 | 0:03:30 | |
full of postcards at home! | 0:03:30 | 0:03:32 | |
And the fun was sorting through them, looking at them, | 0:03:32 | 0:03:35 | |
reading the messages on the back. | 0:03:35 | 0:03:37 | |
-Working out who was who. -Yeah, trying to! | 0:03:37 | 0:03:39 | |
And you can actually uncover secret love affairs as well | 0:03:39 | 0:03:43 | |
with all these postcards! | 0:03:43 | 0:03:45 | |
Oh, so that was what was going on with Granny! | 0:03:45 | 0:03:47 | |
It's amazing when you think you've seen elderly people | 0:03:47 | 0:03:50 | |
and you always think of them as Granny, | 0:03:50 | 0:03:53 | |
but when you see love poems and things that were being written | 0:03:53 | 0:03:57 | |
-80 years ago, it's quite emotive and it brings things home to you. -Yeah. | 0:03:57 | 0:04:02 | |
OK. You've obviously brought them here for a reason. | 0:04:02 | 0:04:05 | |
We've got the postcards, and little lace hankies as well. | 0:04:05 | 0:04:08 | |
They all link in. Silk hankies. We've got this, too. | 0:04:08 | 0:04:11 | |
It's inscribed, "The Territorial Force Association. | 0:04:11 | 0:04:14 | |
"County of Northampton," | 0:04:14 | 0:04:16 | |
again, which is good. | 0:04:16 | 0:04:18 | |
Local history. "The Great War". That's what they called it. | 0:04:18 | 0:04:21 | |
And, of course, that would have been given | 0:04:21 | 0:04:25 | |
along with maybe a commemorative medal or something like that. | 0:04:25 | 0:04:28 | |
So not a lot of value there, but as a package, | 0:04:28 | 0:04:31 | |
I think we've got somewhere between £200 and £300 worth there. | 0:04:31 | 0:04:35 | |
-Lovely. -All right? -Yeah, smashing. | 0:04:35 | 0:04:37 | |
Are you selling them for a reason? | 0:04:37 | 0:04:39 | |
Because if they've been in the family a while, | 0:04:39 | 0:04:41 | |
-there's going to be a reason for selling. -I am. | 0:04:41 | 0:04:44 | |
Go on then, tell me. | 0:04:44 | 0:04:45 | |
My niece emigrated to Australia 20-odd years ago. | 0:04:45 | 0:04:49 | |
She has always said, "I want you to come and see me." | 0:04:49 | 0:04:52 | |
-Yeah. -This year she came over and she said, "You've not kept your promise yet, when are you coming?" | 0:04:52 | 0:04:58 | |
So my eldest daughter then said, "Mum, I'll pay your air fare, you get your spending money." | 0:04:58 | 0:05:03 | |
-So this is what it's for. -Have a wonderful time. | 0:05:03 | 0:05:06 | |
-I will. -Fingers crossed we'll have a wonderful time at the auction first. | 0:05:06 | 0:05:10 | |
-Otherwise you'll not be having a wonderful time! -I know! | 0:05:10 | 0:05:14 | |
Trudy, I'm armed with my art index guide. | 0:05:20 | 0:05:23 | |
So tell me about your watercolour. | 0:05:23 | 0:05:25 | |
It belonged to my great great uncle. | 0:05:25 | 0:05:28 | |
-It was my great grandfather's brother, so I think that's right. -OK. | 0:05:28 | 0:05:33 | |
It was always hanging up in his house, and when he died, it was just one of the things that came to me. | 0:05:33 | 0:05:39 | |
-A family heirloom? -Yeah. -A sunny cornfield. | 0:05:39 | 0:05:42 | |
It is absolutely beautiful. | 0:05:42 | 0:05:45 | |
My great grandad, he worked in the farm, | 0:05:45 | 0:05:47 | |
and my mum said, this is what Great Grandad would have done. | 0:05:47 | 0:05:51 | |
-So it reminds me of him as well. -And have you enjoyed looking at it? | 0:05:51 | 0:05:55 | |
I have, yes. Yeah. | 0:05:55 | 0:05:56 | |
-It does look like a sunny picture. -Let's take a closer look. | 0:05:56 | 0:06:01 | |
Let's take it off its little easel...and have a look. | 0:06:01 | 0:06:04 | |
That's an accomplished hand. Look at the figures, and the women there, | 0:06:04 | 0:06:08 | |
helping bundle up. | 0:06:08 | 0:06:09 | |
These chaps are having a picnic and rest halfway through the day. | 0:06:09 | 0:06:13 | |
Sussex, more than likely, with a red tile roof. | 0:06:13 | 0:06:17 | |
Oh, it's beautiful. It's a proper harvest scene, isn't it? | 0:06:17 | 0:06:21 | |
And it's signed here, look. | 0:06:21 | 0:06:23 | |
"Henry J Kinnard". | 0:06:23 | 0:06:25 | |
And if you look up here, in this book, | 0:06:25 | 0:06:28 | |
of relative works that he would have sold before, if they'd gone through auction, it would all be in here. | 0:06:28 | 0:06:33 | |
I've taken the liberty of finding it, and there it is, look, | 0:06:33 | 0:06:37 | |
It's Henry J Kinnard. Flourishing between 1880 and 1908. | 0:06:37 | 0:06:42 | |
British born, and looking at his folio of works | 0:06:42 | 0:06:47 | |
that have sold through auction, they're all watercolour on paper, | 0:06:47 | 0:06:53 | |
-and they're all painted around the Sussex area. -Oh. | 0:06:53 | 0:06:56 | |
So that's quite nice, | 0:06:56 | 0:06:58 | |
because that's what we've got, a Sussex cornfield. | 0:06:58 | 0:07:01 | |
And that sold in auction for £800. | 0:07:01 | 0:07:04 | |
-Blimey! I'm surprised! -Has that surprised you? -It has, yeah. | 0:07:04 | 0:07:08 | |
-Yes. -He's a sought-after artist. -Really? -Yeah. He really is. | 0:07:08 | 0:07:11 | |
There's a little bit of foxing. | 0:07:11 | 0:07:13 | |
-Yeah, yeah. -That's going to hold it back a bit. -Yeah. | 0:07:13 | 0:07:16 | |
Needs a little bit of conservation, | 0:07:16 | 0:07:18 | |
but it just needs that foxing to be stopped dead in its tracks. | 0:07:18 | 0:07:22 | |
I'm surprised you want to sell this, Trudy. | 0:07:22 | 0:07:24 | |
It's on the wall, you're enjoying it, why not carry on for a few more years? | 0:07:24 | 0:07:29 | |
Well...maybe I will! | 0:07:29 | 0:07:32 | |
THEY LAUGH | 0:07:32 | 0:07:33 | |
No, you can't, this is Flog It! You've come here to flog it! | 0:07:33 | 0:07:38 | |
-No, seriously, I'm not going to twist your arm. -I know. No. | 0:07:38 | 0:07:41 | |
I just think... I do like it. | 0:07:41 | 0:07:45 | |
Erm... | 0:07:45 | 0:07:46 | |
But it's not my favourite picture. | 0:07:46 | 0:07:48 | |
And the money would come in useful? | 0:07:48 | 0:07:50 | |
-Yes, the money would come in handy. -It would be nice to get £400 or £500 for this. -It would. | 0:07:50 | 0:07:55 | |
It would, yeah. | 0:07:55 | 0:07:57 | |
-Would you like to put it in to auction? -Yes, OK. -Are you sure? | 0:07:57 | 0:08:00 | |
-I'm sure. -Let's put it into auction, with a value of £300 to £500. | 0:08:00 | 0:08:06 | |
-OK. I definitely want a reserve on it, though. -Of 300? -300, yeah. | 0:08:06 | 0:08:11 | |
I think 300's fine. | 0:08:11 | 0:08:13 | |
All right, then. Yeah, OK, let's see what happens on the day. | 0:08:13 | 0:08:16 | |
Thank you for bringing it in. It's charming. | 0:08:16 | 0:08:19 | |
Sandra, imagine you're in late 19th-century Paris | 0:08:29 | 0:08:35 | |
in one of those wonderful big townhouses that you would find, | 0:08:35 | 0:08:39 | |
and you walk into your living room, this is the sort of thing you'd find on the fireplace. | 0:08:39 | 0:08:43 | |
These are French, these are 1870, and I think they're fantastic. | 0:08:43 | 0:08:48 | |
Really good quality. | 0:08:48 | 0:08:51 | |
-Did you find them in France? -I did not find them in France. | 0:08:51 | 0:08:54 | |
I found them in Northampton at an antiques and craft fair, | 0:08:54 | 0:08:59 | |
and two things attracted me - the design on them, which I thought was lovely, | 0:08:59 | 0:09:03 | |
and I'm curious about them, I've never seen anything like this. | 0:09:03 | 0:09:07 | |
There was a great fashion in the late 19th century for opalescent glass, glass that's slightly opaque, | 0:09:07 | 0:09:13 | |
slightly different colour, and it came in browns, beigey colour like this, blues, greens, pinks - | 0:09:13 | 0:09:20 | |
every colour you could imagine, and a lot of these pieces | 0:09:20 | 0:09:23 | |
were made plain and they were then farmed out to cottage industries, | 0:09:23 | 0:09:28 | |
where people would paint them and then sell them on. | 0:09:28 | 0:09:31 | |
Whereas these are a far more classy type of vase. | 0:09:31 | 0:09:36 | |
These are factory-produced, | 0:09:36 | 0:09:39 | |
decorate by a professional artist, and almost certainly French. | 0:09:39 | 0:09:44 | |
And the shape is wonderful. | 0:09:44 | 0:09:46 | |
They're hand-gilded, great scrolling feet on there. | 0:09:46 | 0:09:49 | |
And the aesthetic movement was inspired by the Japanese, | 0:09:49 | 0:09:55 | |
and, of course, the Japanese in the 19th century - | 0:09:55 | 0:09:58 | |
we didn't have trade links with Japan, and Commodore Perry, an American commodore, | 0:09:58 | 0:10:03 | |
went over to Edo, or Tokyo, | 0:10:03 | 0:10:06 | |
and signed what we now call the Treaty of Edo. | 0:10:06 | 0:10:10 | |
That allowed trade links to start again between the West and Japan. | 0:10:10 | 0:10:16 | |
The first time a lot of people, mainly in the big cities, | 0:10:16 | 0:10:19 | |
saw anything to do with Japan, were the big exhibitions. | 0:10:19 | 0:10:22 | |
Imagine you go into this great big hall and you see Japanese stuff for the first time. | 0:10:22 | 0:10:27 | |
Absolutely fascinating, and that's what this is. | 0:10:27 | 0:10:32 | |
Were these sold as a pair or were they bought separately? | 0:10:32 | 0:10:35 | |
Vases generally were sold as a pair, just like candlesticks. | 0:10:35 | 0:10:39 | |
Occasionally you would get a very large individual piece | 0:10:39 | 0:10:42 | |
but when they were like this they were sold as a pair and worth more as a pair as well. | 0:10:42 | 0:10:47 | |
-Right. -Obviously you love them, you love the colour. It matches your jumper. -Thank you. | 0:10:47 | 0:10:51 | |
So why sell them? | 0:10:51 | 0:10:54 | |
I'm selling them because my central heating's broke down. | 0:10:54 | 0:10:57 | |
-Oh, no! -I want to replace it, so I need some money. | 0:10:57 | 0:11:00 | |
And I can't display them anywhere. I'd rather someone enjoyed them. | 0:11:00 | 0:11:04 | |
We need to raise a bit of money for a full central heating system. I don't think we'll get there. | 0:11:04 | 0:11:09 | |
I'm nearly there. | 0:11:09 | 0:11:11 | |
-Just need a top-up? -Yes. -OK. | 0:11:11 | 0:11:13 | |
I reckon they are going to make £70 to £100. | 0:11:13 | 0:11:19 | |
Is that top-up going to be enough? Not quite, probably. | 0:11:19 | 0:11:22 | |
Well, yeah. | 0:11:22 | 0:11:25 | |
Lovely. Let's take them along. | 0:11:25 | 0:11:27 | |
-Let them go under the hammer and see how we do. -All right. Thank you very much. | 0:11:27 | 0:11:31 | |
-Hello, Sandra. -Hello. -Hello, June. -Hello. -Very nice to see you. | 0:11:41 | 0:11:45 | |
You've brought an interesting autograph album along today | 0:11:45 | 0:11:48 | |
with lots of stars of screen and theatre in there. | 0:11:48 | 0:11:51 | |
But one in particular caught our attention and I'm going to show that now. | 0:11:51 | 0:11:55 | |
The wonderful Stan Laurel, from Laurel and Hardy. | 0:11:55 | 0:11:59 | |
-Yes. -Fantastic. How did you happen to get it? | 0:11:59 | 0:12:02 | |
It's my gran's autograph book which my mother gave me a few years ago. | 0:12:02 | 0:12:08 | |
She used to work in a restaurant in London. | 0:12:08 | 0:12:10 | |
-Really? -That's how she's got all those autographs. -Wonderful. | 0:12:10 | 0:12:15 | |
We've also got in here some wonderful photographs. | 0:12:15 | 0:12:19 | |
-Gracie Fields, of course. -Yes. | 0:12:19 | 0:12:21 | |
And here we've got two unique photographs of Stan tucking into a nice plate of roast dinner. | 0:12:21 | 0:12:28 | |
And tell me, June, did your mother cook this food? | 0:12:28 | 0:12:31 | |
My mother would have cooked that food and that is in the restaurant | 0:12:31 | 0:12:35 | |
-that she was the chef at in Piccadilly in London. -Fantastic. | 0:12:35 | 0:12:39 | |
That was when? Some time ago. | 0:12:39 | 0:12:41 | |
-Just after the war. -He looks as though he's thoroughly enjoying it. | 0:12:41 | 0:12:46 | |
Your mum must have had a fascinating time in that restaurant. | 0:12:46 | 0:12:50 | |
I think so. She had some very interesting customers | 0:12:50 | 0:12:54 | |
and I did go to the restaurant several times. | 0:12:54 | 0:12:57 | |
I used to go and sit in the kitchen and watch her cook. | 0:12:57 | 0:13:00 | |
She obviously specialised in good, old-fashioned British lunches. | 0:13:00 | 0:13:03 | |
Yes, she was a very good cook. A lady chef. | 0:13:03 | 0:13:06 | |
These are really unique and for a collector, of course, | 0:13:06 | 0:13:09 | |
of Laurel and Hardy memorabilia, to be able to get a photograph | 0:13:09 | 0:13:13 | |
which nobody else has seen, I guess, before, | 0:13:13 | 0:13:16 | |
-would be quite an important acquisition to their collection of memorabilia. -Yes. | 0:13:16 | 0:13:22 | |
We have more modern TV personalities. | 0:13:22 | 0:13:25 | |
We all remember the British actors of the '70s and '80s. | 0:13:25 | 0:13:28 | |
A very young Jim Davidson there, and John Craven, of course, my favourite on Newsround. | 0:13:28 | 0:13:34 | |
Then of course more film stars here. | 0:13:34 | 0:13:36 | |
Wonderful. It goes right up to the present day. | 0:13:36 | 0:13:41 | |
We've got Paul Martin. | 0:13:41 | 0:13:43 | |
-And I've got his autograph. -Yes, but this is the rarer one, it's unsigned! | 0:13:43 | 0:13:48 | |
Now we've got to think of a value on these things. | 0:13:50 | 0:13:53 | |
I think we're probably looking at something like £100 to £150. | 0:13:53 | 0:13:57 | |
We'll sell them together because they belong together, really. | 0:13:57 | 0:14:01 | |
Maybe putting a reserve of 80 so we don't sell them for nothing. | 0:14:01 | 0:14:05 | |
But if two or three collectors are warned through the internet that things like that these are coming up, | 0:14:05 | 0:14:12 | |
-I suspect there will be quite a lot of interest. -Mm. | 0:14:12 | 0:14:15 | |
-Having said that, it will probably buy you lunch for two today, won't it? -Yeah. | 0:14:15 | 0:14:19 | |
Not as good as your mum's, I bet. | 0:14:19 | 0:14:21 | |
Wonderful. I look forward to seeing you at the auction. | 0:14:21 | 0:14:24 | |
I hope this isn't another fine mess you've got us into. | 0:14:24 | 0:14:28 | |
MUSIC: LAUREL AND HARDY THEME | 0:14:28 | 0:14:31 | |
James was excited by Glenys' wonderful collection | 0:14:37 | 0:14:40 | |
of wartime silks and postcards, so we'll meet again at the auction. | 0:14:40 | 0:14:45 | |
I hope Trudi reaps the reward of a family heirloom, | 0:14:45 | 0:14:48 | |
the delicate watercolour of a harvest scene by Henry J Kinnard. | 0:14:48 | 0:14:52 | |
Sandra needs to fix her central heating, | 0:14:53 | 0:14:56 | |
so we need to catch the bidders' eye with these Japanese fish vases. | 0:14:56 | 0:15:00 | |
And another album, but this time full of autographs and photos of the stars. | 0:15:00 | 0:15:05 | |
Let's hope the room isn't silent when these are in the spotlight. | 0:15:05 | 0:15:09 | |
We've just crossed over the border into Leicestershire for today's sale | 0:15:15 | 0:15:19 | |
in the heart of Market Harborough where we find Gilding's Ltd. | 0:15:19 | 0:15:23 | |
On the rostrum today's auctioneer is Mark Gilding. | 0:15:23 | 0:15:26 | |
Let's go inside and find him. | 0:15:26 | 0:15:28 | |
45, you're out. 48, 50. | 0:15:28 | 0:15:31 | |
Glenys, let's see if we can get you to Australia, shall we? | 0:15:31 | 0:15:36 | |
A lot riding on this, with all those silk cards. | 0:15:36 | 0:15:39 | |
There's a lot of them and if you break it down to £2 or £3 a card, that's where our valuation is. | 0:15:39 | 0:15:43 | |
I totally agree with you, James. £200 to £300. | 0:15:43 | 0:15:46 | |
Let's hope we're in for more of a surprise. | 0:15:46 | 0:15:48 | |
-Let's hope so. -Let's do it. | 0:15:48 | 0:15:50 | |
170, a collection of World War I silk postcards, a handkerchief, | 0:15:50 | 0:15:55 | |
and a Northampton Territorial Force certificate, framed. Lot 170. | 0:15:55 | 0:15:59 | |
A low start here, £110 I'm bid. | 0:15:59 | 0:16:00 | |
At 110 for these. 110, 120, 130? | 0:16:00 | 0:16:04 | |
140, 150. 160, 170. | 0:16:04 | 0:16:06 | |
180, 190. £200 bid. | 0:16:06 | 0:16:09 | |
-Hooray! -Right, we're in. | 0:16:09 | 0:16:11 | |
220. 230. | 0:16:11 | 0:16:14 | |
240. 250. | 0:16:14 | 0:16:16 | |
-Come on. -Yes! | 0:16:16 | 0:16:19 | |
270. | 0:16:19 | 0:16:20 | |
-290, £300. -We're going to do it. | 0:16:20 | 0:16:23 | |
320 do I see? 320 back in. | 0:16:23 | 0:16:25 | |
330. 330. At 330 he's out. | 0:16:25 | 0:16:28 | |
At 330. Selling at £330. | 0:16:28 | 0:16:32 | |
We're going to take that. That's sold at £330. | 0:16:32 | 0:16:36 | |
-Brilliant, thank you so much. -That'll get you over there. | 0:16:36 | 0:16:39 | |
I've got the ticket, I just need my spending money. | 0:16:39 | 0:16:43 | |
A few dollars there. | 0:16:43 | 0:16:45 | |
-A few dollars indeed. -Beauty, mate! | 0:16:45 | 0:16:48 | |
Sandra and June, it's good to see you. | 0:16:54 | 0:16:57 | |
Grandma's autograph book is just about to go under the hammer. | 0:16:57 | 0:17:00 | |
Made all the rarer and hopefully the value's gone up with that one signature of you know who. | 0:17:00 | 0:17:05 | |
You never know! | 0:17:05 | 0:17:07 | |
More importantly, it's the Stan Laurel pieces. | 0:17:07 | 0:17:10 | |
-Yes. -That lovely photograph of him tucking into the traditional Sunday lunch | 0:17:10 | 0:17:15 | |
-that of course your mother cooked for him. -Let's flog it, shall we? -Yes. | 0:17:15 | 0:17:20 | |
An autograph book containing various signatures including Stan Laurel | 0:17:20 | 0:17:23 | |
and a photograph album, some signed. | 0:17:23 | 0:17:26 | |
Commission bids start me here at £100. | 0:17:26 | 0:17:29 | |
Oh, straight in at 100. | 0:17:29 | 0:17:31 | |
100 I'm bid. All out at £100? 100. I'll take 10 if you like. | 0:17:31 | 0:17:35 | |
Commissions in at £100. It will be sold, make no mistake. | 0:17:35 | 0:17:38 | |
£100 on commission. | 0:17:38 | 0:17:40 | |
Selling away at £100. | 0:17:40 | 0:17:43 | |
That was quick, wasn't it? Blink and you miss it. | 0:17:43 | 0:17:46 | |
But it has gone. | 0:17:46 | 0:17:48 | |
-That's the main thing. -Yes. -What are you doing with the money? | 0:17:48 | 0:17:51 | |
I'm going to buy a set of nice saucepans. | 0:17:51 | 0:17:54 | |
Are you? Something for the kitchen! | 0:17:54 | 0:17:56 | |
-Yes. -Good for you. I've never heard that before. | 0:17:56 | 0:18:00 | |
It's kind of in the theme | 0:18:00 | 0:18:03 | |
because you sold the kitchen photographs, | 0:18:03 | 0:18:06 | |
and this is something to replace them. Very good. | 0:18:06 | 0:18:09 | |
We've got the Kinnard. It's a lovely watercolour. £300 to £500. | 0:18:16 | 0:18:20 | |
I had a chat with the auctioneer earlier and he agreed with the valuation, so we're spot on. | 0:18:20 | 0:18:25 | |
At least we've got a fixed reserve - if it doesn't sell it's going home. | 0:18:25 | 0:18:28 | |
-I'm happy to take it home. -Are you having second thoughts? -No, I'm happy either way. | 0:18:28 | 0:18:33 | |
I won't be disappointed. | 0:18:33 | 0:18:36 | |
We're going to find out what it's worth right now. | 0:18:36 | 0:18:39 | |
335. A Henry John Kinnard. A sunny cornfield watercolour. | 0:18:39 | 0:18:44 | |
Signed and titled. Nice watercolour, this. | 0:18:44 | 0:18:46 | |
-Come on. -Bids start with me at £210. | 0:18:46 | 0:18:51 | |
210 I'm bid. 220, 230, 240, 250, 270, | 0:18:51 | 0:18:56 | |
-280, 290. -We're going to sell it now. | 0:18:56 | 0:19:00 | |
£300. | 0:19:00 | 0:19:02 | |
In the room at £300. It will be sold. | 0:19:02 | 0:19:05 | |
At £300. | 0:19:05 | 0:19:08 | |
Well, it went. We said three to five, it was within estimate. | 0:19:08 | 0:19:13 | |
-That's good. -Isn't it? Where's the £300 going? | 0:19:13 | 0:19:16 | |
I've got some sash windows that badly need repairing so it might go towards that. | 0:19:16 | 0:19:20 | |
Rattling away and rotting away. | 0:19:20 | 0:19:22 | |
-Good luck. -Thank you. | 0:19:22 | 0:19:23 | |
-Thank you for bringing such a quality piece in as well. -Thanks. | 0:19:23 | 0:19:28 | |
Right, Sandra, two glass vases just about to go under the hammer. | 0:19:36 | 0:19:40 | |
£70 to £100 we've got the valuation on. | 0:19:40 | 0:19:42 | |
I know you've got a very keen eye and you love car booting and all the fairs. | 0:19:42 | 0:19:46 | |
Yes, and I love auctions. | 0:19:46 | 0:19:49 | |
Has anything caught your eye here today? | 0:19:49 | 0:19:51 | |
-Yes. -Come on, whisper in my ear! | 0:19:51 | 0:19:54 | |
Behind you, that picture. | 0:19:54 | 0:19:56 | |
-Right. Are you going to have a bid? -No. | 0:19:56 | 0:20:00 | |
-Why not? -I've got to take it home. | 0:20:00 | 0:20:02 | |
I have to walk and go by bus. | 0:20:02 | 0:20:04 | |
-Do you? -Yes. I just like looking at stuff at the moment. | 0:20:04 | 0:20:07 | |
I think you could be in for a nice surprise with these vases. | 0:20:07 | 0:20:11 | |
I'll keep my fingers crossed. | 0:20:11 | 0:20:12 | |
65 is a pair of opaque glass vases in tapering form | 0:20:12 | 0:20:15 | |
on gilt scrolled feet. | 0:20:15 | 0:20:17 | |
Enamel decoration of carp. I start with commission bids here. | 0:20:17 | 0:20:20 | |
£70 I'm bid. | 0:20:20 | 0:20:21 | |
Straight in at 70. | 0:20:21 | 0:20:23 | |
Five, 80. Five, 90. | 0:20:23 | 0:20:25 | |
Five, 100. 110, 120. | 0:20:25 | 0:20:27 | |
-Are these my vases? -Yes, listen! | 0:20:27 | 0:20:30 | |
160, 170, 180, 190, 200. | 0:20:30 | 0:20:35 | |
£200 here, then, at £200. | 0:20:35 | 0:20:37 | |
210 I'm looking for. Look around. | 0:20:37 | 0:20:39 | |
£200. Selling away at £200. | 0:20:39 | 0:20:42 | |
Yes. That's a good sound, isn't it? | 0:20:42 | 0:20:46 | |
That hammer going down. £200. | 0:20:46 | 0:20:49 | |
-I'll have to go back to Norfolk. -I think you will, do you know that? | 0:20:49 | 0:20:52 | |
You have got a cracking good eye. | 0:20:52 | 0:20:54 | |
I'm surprised at that. It's really good. | 0:20:54 | 0:20:57 | |
They're quality, aren't they? And the condition was bang on. | 0:20:57 | 0:21:01 | |
I'm going back to Norfolk. | 0:21:01 | 0:21:03 | |
It's all up there in Norfolk. | 0:21:03 | 0:21:05 | |
Nestling next to a village church in the rolling countryside of Northamptonshire | 0:21:15 | 0:21:20 | |
we find Lamport Hall, a modest stately home | 0:21:20 | 0:21:23 | |
containing many treasures, all with their stories to tell. | 0:21:23 | 0:21:28 | |
It was the home of the Isham family for over 400 years | 0:21:31 | 0:21:34 | |
and we pick up the tale with Sir Justinian, the second baronet. | 0:21:34 | 0:21:38 | |
A highly educated and cultured gentleman. | 0:21:38 | 0:21:41 | |
Also a very happy chap back in 1656, | 0:21:41 | 0:21:43 | |
because at the age of 47 he fathered his first son, christened Thomas. | 0:21:43 | 0:21:49 | |
Little did he know that Thomas was to turn into a tearaway, with a taste for the finer things in life. | 0:21:51 | 0:21:57 | |
George Drye is here to tell us more about the extravagant life of the third baronet of Lamport. | 0:21:57 | 0:22:03 | |
Am I right in thinking Thomas was the apple of his father's eye? | 0:22:06 | 0:22:10 | |
Traditionally that's the theory, but more researching Thomas, | 0:22:10 | 0:22:15 | |
we wonder whether actually his dad knew that | 0:22:15 | 0:22:17 | |
he had a naughty boy on his hands and wanted to keep him within sight. | 0:22:17 | 0:22:21 | |
But that said, he certainly took the trouble to make sure Thomas was educated thoroughly. | 0:22:21 | 0:22:28 | |
He wasn't going to be the son of the squire who just knew how to hunt and fish, although he did. | 0:22:28 | 0:22:34 | |
And indeed when Thomas was a young boy, he bribed him by paying him | 0:22:34 | 0:22:39 | |
six shillings a year to keep his diary in Latin. | 0:22:39 | 0:22:45 | |
-Right, OK. -He trained him to be quite a sophisticated young man. | 0:22:45 | 0:22:49 | |
So he's obviously a clever chap. He got into university. | 0:22:49 | 0:22:52 | |
What happened then? When did he inherit all this money? | 0:22:52 | 0:22:56 | |
He inherited it surprisingly early in his university career. | 0:22:56 | 0:23:00 | |
His dad took him down to Oxford, dropped him off at Christ College, Oxford, | 0:23:00 | 0:23:04 | |
went off to a local inn and promptly died. | 0:23:04 | 0:23:07 | |
That's really sad. | 0:23:07 | 0:23:09 | |
He was the baronet on his first day at Oxford, extremely wealthy. | 0:23:09 | 0:23:13 | |
His first job was to take his dad's coffin and put it back here. | 0:23:13 | 0:23:17 | |
Worth remembering that Thomas at 18 was in charge of all the family finance, | 0:23:17 | 0:23:22 | |
that's how it worked in those days. | 0:23:22 | 0:23:24 | |
Gosh. Did he ever go back to Oxford? | 0:23:24 | 0:23:27 | |
Yes, he went back. He didn't have a glittering career. | 0:23:27 | 0:23:30 | |
He didn't like Oxford very much. They made him work. | 0:23:30 | 0:23:34 | |
I'm not sure that was much to Thomas' liking. | 0:23:34 | 0:23:37 | |
So, like a lot of students, Thomas decided to go on a 17th-century gap year, | 0:23:40 | 0:23:45 | |
which was then called the Grand Tour, | 0:23:45 | 0:23:47 | |
taking in everywhere from Paris to Rome. | 0:23:47 | 0:23:49 | |
The 20-year-old, armed with his father's fortune, | 0:23:49 | 0:23:53 | |
quickly gained a reputation as one of the first international playboys. | 0:23:53 | 0:23:59 | |
If he was sort of a wild character here, back in England, | 0:24:06 | 0:24:09 | |
what must he have been like in Paris and Florence and places like that? | 0:24:09 | 0:24:14 | |
-I know. -Uncontrollable. | 0:24:14 | 0:24:16 | |
Well, that's a question of opinion. | 0:24:16 | 0:24:19 | |
He certainly had a mistress out there and she's over there, actually, on the painting you see. | 0:24:19 | 0:24:25 | |
Thomas is holding a miniature and that's Gabriella, Gabriella Boncompagni. | 0:24:25 | 0:24:30 | |
He burned all the candles at every end. | 0:24:30 | 0:24:33 | |
You know, any kid on a gap year now with have lots of money to spend would just go wild. | 0:24:33 | 0:24:39 | |
He got through 1.3 million on his gap year. | 0:24:39 | 0:24:42 | |
Oh, gosh! | 0:24:42 | 0:24:43 | |
Not cheap. | 0:24:43 | 0:24:45 | |
That's an awful lot of money. | 0:24:45 | 0:24:48 | |
How many of us if we spent that money would still find that what we bought was being discussed 350 years later? | 0:24:48 | 0:24:54 | |
It's a lot of money. I'd love to go and see, George, what he spent it on. Can we go? | 0:24:54 | 0:24:58 | |
I'd love to show you. | 0:24:58 | 0:25:00 | |
These are some of Thomas' paintings. | 0:25:10 | 0:25:13 | |
Some Salvatore Rosas. | 0:25:14 | 0:25:17 | |
And these are Thomas' on the stairs as well, | 0:25:17 | 0:25:21 | |
-all the way up the stairs as you can see, all brought back by Thomas. -He did have a good eye, didn't he? | 0:25:21 | 0:25:26 | |
Do you think? Your eye is probably better than mine for these things, in fact. | 0:25:26 | 0:25:31 | |
Young Thomas was having a whale of a time and his trip turned into a three-year shopping spree, | 0:25:33 | 0:25:38 | |
in spite of a constant flow of letters from Lamport pleading for his return home. | 0:25:38 | 0:25:43 | |
Instead of Thomas coming home, box after box full of artworks arrived. | 0:25:43 | 0:25:48 | |
Oh, gosh, George, look at these. You didn't tell me about these. | 0:25:51 | 0:25:54 | |
-No, I didn't. -Fine art meets furniture. | 0:25:54 | 0:25:57 | |
My word, that's all painted on glass panel, isn't it? | 0:25:57 | 0:26:00 | |
Yes, in reverse. They're an acquired taste to the English eye. | 0:26:00 | 0:26:03 | |
Yes, they are. That's typically continental. | 0:26:03 | 0:26:06 | |
What must the family have thought when this arrived? They must have thought he'd gone bonkers. | 0:26:06 | 0:26:12 | |
Don't forget, of course, his poor brothers and sisters were here. | 0:26:12 | 0:26:16 | |
His sister depended upon him for her dowry, which he wasn't providing for her, | 0:26:16 | 0:26:20 | |
so she wasn't going to get married in a hurry. Money was going out. | 0:26:20 | 0:26:23 | |
He was getting into debt and these things were coming to the hall, so it must have been fairly tense! | 0:26:23 | 0:26:28 | |
I'd have thought so. What happened? What happened once he got back? | 0:26:28 | 0:26:32 | |
Well, he finally agreed to come back, in part because his favourite sister had died | 0:26:32 | 0:26:39 | |
and his little brother was losing his cool about the whole thing. | 0:26:39 | 0:26:44 | |
Thomas finally pitched up, in debt, | 0:26:44 | 0:26:48 | |
in desperate need of money, | 0:26:48 | 0:26:51 | |
so the family agreed that he had to be married to a rich heiress. | 0:26:51 | 0:26:56 | |
But unfortunately, his reputation by that stage had got ahead of him | 0:26:56 | 0:27:01 | |
and there were two or three girls who took one look, | 0:27:01 | 0:27:05 | |
-or, probably the parents, said not on your life. -Party animal! | 0:27:05 | 0:27:09 | |
Yeah. But in the end they found a very wealthy girl, who was apparently quite pretty, too. | 0:27:09 | 0:27:13 | |
She was the daughter of a Dutch merchant in London | 0:27:13 | 0:27:17 | |
and obviously she'd get the title and her children would become the Baronet | 0:27:17 | 0:27:23 | |
and her dad would settle all of Thomas' debts | 0:27:23 | 0:27:26 | |
and then supply also an extensive dowry on top of that. | 0:27:26 | 0:27:30 | |
All was set up, all agreed, | 0:27:30 | 0:27:32 | |
and then sadly, on the eve of his wedding day, Thomas died. | 0:27:32 | 0:27:36 | |
Oh! | 0:27:36 | 0:27:39 | |
-What age was he? -24. | 0:27:39 | 0:27:41 | |
-What did he die of? -Well, they all died of smallpox. | 0:27:41 | 0:27:43 | |
It was a sort of cancer of the 17th century, really. | 0:27:43 | 0:27:46 | |
When it wasn't plague in the southern parts of Europe, smallpox killed them. | 0:27:46 | 0:27:51 | |
What happened to the estate? | 0:27:51 | 0:27:53 | |
Well, the estate was handed on, went to his younger brother. | 0:27:53 | 0:27:57 | |
But obviously he had no financial help because the marriage didn't take place. | 0:27:57 | 0:28:01 | |
No. The younger brother had to do the best he could. | 0:28:01 | 0:28:04 | |
-Yet nothing's really mentioned about him. -No. We have a portrait of him. | 0:28:04 | 0:28:08 | |
He's tucked in the corner of the drawing room where nobody ever sees him. | 0:28:08 | 0:28:13 | |
20-odd years ago when I came here, this house was pretty derelict | 0:28:13 | 0:28:16 | |
and we spent all that time putting it back together again, getting the contents restored. | 0:28:16 | 0:28:21 | |
My heart goes out to Justinian, the younger brother, for stitching it all back together again, | 0:28:21 | 0:28:26 | |
-but everybody really fancies Thomas. -George, thank you so much for showing me around. | 0:28:26 | 0:28:30 | |
It's well worth a visit, coming here. There's so much to see. | 0:28:30 | 0:28:34 | |
-I'm going to now take another look. -OK. | 0:28:34 | 0:28:36 | |
Back to the valuation day, where Mark has met someone familiar. | 0:28:40 | 0:28:46 | |
-Hello, Anita. -Hello. -Or should I say Joan Rivers? | 0:28:46 | 0:28:49 | |
Because we've all commented on it, you do look like Joan Rivers. | 0:28:49 | 0:28:54 | |
-You're not a relation, are you? -No, I don't tell rude jokes! | 0:28:54 | 0:28:58 | |
Oh, good, neither do I. | 0:28:58 | 0:28:59 | |
Now, moving on to something much more important, | 0:28:59 | 0:29:02 | |
this lovely little butter boat, or cream jug. | 0:29:02 | 0:29:05 | |
-Where did you get it from? -I got it from a table top for 20p. | 0:29:05 | 0:29:09 | |
Now, tell us, what's a table top, like a jumble sale? | 0:29:09 | 0:29:13 | |
-It's a bit upmarket to a jumble sale. -Right. | 0:29:13 | 0:29:17 | |
-This was here in Northampton? -Yes, yes. -For 20p? -Yes. | 0:29:17 | 0:29:22 | |
When was that? | 0:29:22 | 0:29:23 | |
It was about a year ago. | 0:29:23 | 0:29:25 | |
-And can we have the address of the next one? -No! | 0:29:25 | 0:29:29 | |
-You're keeping it a secret, aren't you? -Yes! | 0:29:29 | 0:29:31 | |
Well, did you have any idea what you were buying? | 0:29:31 | 0:29:34 | |
-I thought it was very pretty. -The shape and the flowers. | 0:29:34 | 0:29:37 | |
Yes, the shape. I'd never seen anything like it before. | 0:29:37 | 0:29:41 | |
I thought it's really pretty, so I bought it, because I like pretty things. | 0:29:41 | 0:29:45 | |
-I collect different things. -It's a lovely object. I want to tell you about it. | 0:29:45 | 0:29:49 | |
-It's 18th century. -Really, that old? | 0:29:49 | 0:29:52 | |
Yeah. It's over 200 years old. | 0:29:52 | 0:29:55 | |
-I'm amazed. -It's a wonderful little thing. | 0:29:55 | 0:29:57 | |
It's a little butter boat, for melted butter or a little cream jug, something like that. | 0:29:57 | 0:30:02 | |
It's wonderfully modelled, as a leaf, with these lovely little sprays and sprigs of flowers on it | 0:30:02 | 0:30:09 | |
and this lovely body, moulded with the leaves. | 0:30:09 | 0:30:12 | |
It's got a little bit of a firing fault there, but that's absolutely fine. | 0:30:12 | 0:30:17 | |
Minute damage on it, incredible. | 0:30:17 | 0:30:20 | |
I'd love to be able to tell you the factory but I've been racking my brains | 0:30:20 | 0:30:24 | |
and I've been asking colleagues here. | 0:30:24 | 0:30:26 | |
There's so many different possibilities. | 0:30:26 | 0:30:29 | |
I don't think it's Worcester, but it could be Lowestoft, it could be any number of the Liverpool factories. | 0:30:29 | 0:30:35 | |
It could be any number of Staffordshire factories. | 0:30:35 | 0:30:39 | |
What I've done is taken some digital photographs of it, | 0:30:39 | 0:30:42 | |
and I'll have a word with a few colleagues when I get home | 0:30:42 | 0:30:46 | |
and whatever we find out we'll put it in their catalogue description, and maybe boost it up a bit. | 0:30:46 | 0:30:52 | |
Now, from 20p, how much do you think it's worth? | 0:30:52 | 0:30:57 | |
-No idea. -£20, £50? | 0:30:57 | 0:31:02 | |
Possibly. Possibly. | 0:31:02 | 0:31:04 | |
I think you're going to be quite pleased, actually, because I think we should put it in at £200 to £300. | 0:31:04 | 0:31:09 | |
-£200 to £300? -Yes. | 0:31:09 | 0:31:12 | |
-Really? -200 to 300. -I don't believe that. | 0:31:12 | 0:31:15 | |
We'll put a reserve on it. | 0:31:15 | 0:31:17 | |
-Yes. -Maybe £150. -Really?! | 0:31:17 | 0:31:20 | |
I don't know, if two collectors want it... It's in such lovely condition, I'd love it at home. | 0:31:20 | 0:31:25 | |
It's in such lovely condition it could really fly. | 0:31:25 | 0:31:28 | |
-It's a lovely little object. -Thank you very much. | 0:31:28 | 0:31:31 | |
-What a very good eye you've got. -Yes, I have, actually. | 0:31:31 | 0:31:34 | |
Chris, if there was an award for bringing the heaviest thing ever to Flog It, I think you'd have won it. | 0:31:42 | 0:31:47 | |
These are incredibly heavy, aren't they? You can hardly lift them. | 0:31:47 | 0:31:51 | |
The first thing to say is they're clearly cast in solid bronze | 0:31:51 | 0:31:55 | |
and they're plaques of Gladstone and Victoria and are they family pieces? | 0:31:55 | 0:32:00 | |
They look as if they've been somewhere dirty. | 0:32:00 | 0:32:03 | |
They were found in my grandfather's garage. | 0:32:03 | 0:32:06 | |
-Really? -18 months ago. | 0:32:06 | 0:32:08 | |
No idea at all of family history? | 0:32:08 | 0:32:11 | |
-No. -How long they've been there, why they were there? -No. | 0:32:11 | 0:32:14 | |
Well, they clearly have a value. | 0:32:14 | 0:32:16 | |
I know this sounds really crude but I think the first thing we need to do is actually weigh them | 0:32:16 | 0:32:21 | |
and make sure we don't sell them at less than scrap value, but these are too good for that. | 0:32:21 | 0:32:26 | |
They really are. | 0:32:26 | 0:32:28 | |
They've survived for 120 years and I'd like to see them survive another 120. | 0:32:28 | 0:32:33 | |
They're marked on the back. I'm sure you've seen it there. | 0:32:33 | 0:32:37 | |
It says, "Cast by D Smith, 28 Clerkenwell Close, London." | 0:32:37 | 0:32:44 | |
The only thing I can suggest is that having looked on the internet and finding no D Smith at all, | 0:32:44 | 0:32:52 | |
and no trace of a caster, | 0:32:52 | 0:32:54 | |
what I believe these are are probably a commission | 0:32:54 | 0:32:59 | |
to be made as special individual objects, | 0:32:59 | 0:33:02 | |
which is why we have no trace of them. | 0:33:02 | 0:33:05 | |
-You bought them along so you obviously want to sell them. -Yes. | 0:33:05 | 0:33:08 | |
-Any idea of value? -None at all. | 0:33:08 | 0:33:11 | |
When it comes to market value, | 0:33:11 | 0:33:14 | |
-they aren't the easiest things to place. -No. | 0:33:14 | 0:33:19 | |
Who would want a solid bronze plaque of Queen Victoria | 0:33:19 | 0:33:24 | |
that would actually probably cause incredible damage | 0:33:24 | 0:33:27 | |
to any piece of furniture it was put on and wouldn't be able to be hung on a wall, either? | 0:33:27 | 0:33:32 | |
-No. -Gladstone is probably a little bit easier to sell | 0:33:32 | 0:33:36 | |
because of course there's the political history with Gladstone. | 0:33:36 | 0:33:39 | |
He was one of the most popular prime ministers of the 19th century | 0:33:39 | 0:33:43 | |
and actually was Prime Minister for four terms, | 0:33:43 | 0:33:47 | |
starting in 1868 and eventually out of office in 1894. | 0:33:47 | 0:33:52 | |
And this plaque is dated 1888 on the back there, as I'm sure you've seen. | 0:33:52 | 0:33:56 | |
I reckon we ought to put an estimate of £120 to £160 on them | 0:33:56 | 0:34:02 | |
and if they don't make that, then you might as well keep them. | 0:34:02 | 0:34:06 | |
-Yes. -They've got to be worth that for scrap. -That's right, yeah. | 0:34:06 | 0:34:10 | |
-Yeah? How do you feel? -That's fine, yes. -Brilliant. | 0:34:10 | 0:34:14 | |
-Hello, John. -Hello there. | 0:34:22 | 0:34:24 | |
You've brought this long-case clock. | 0:34:24 | 0:34:26 | |
Can you give us a little bit of the history? | 0:34:26 | 0:34:28 | |
Well, I got it about just under 30 years ago, | 0:34:28 | 0:34:31 | |
when I was rather enthusiastic about clocks | 0:34:31 | 0:34:34 | |
-and one of my ambitions was to have a long-case clock. -Yes. | 0:34:34 | 0:34:38 | |
I saw this in a local furniture shop and decided to buy it. | 0:34:38 | 0:34:44 | |
Can you remember what you paid for it all those years ago? | 0:34:44 | 0:34:48 | |
-Quite a lot of money, actually. -Oh, really? -Yes, yes, for the time. -For the time, yes. | 0:34:48 | 0:34:53 | |
Well, obviously retail prices are retail prices, aren't they? But you've chosen a nice clock. | 0:34:53 | 0:34:58 | |
-It's a very simple clock, a typical weight-driven eight-day long-case clock. -Yes. | 0:34:58 | 0:35:04 | |
It has the nice maker's mark up there, Richard Smith, Newport, | 0:35:04 | 0:35:08 | |
-which we settled on Newport, Isle of Wight, I think. -That's right. | 0:35:08 | 0:35:13 | |
The circular dial with Roman numerals, the seconds dial | 0:35:13 | 0:35:17 | |
and then the little date aperture | 0:35:17 | 0:35:19 | |
and it's a standard inside, a standard weight-driven. | 0:35:19 | 0:35:22 | |
Yes, eight-day. | 0:35:22 | 0:35:24 | |
Eight-day, which is good, rather than 30-hour. | 0:35:24 | 0:35:27 | |
So over 30 years, you've obviously acquired some more long-case clocks. | 0:35:27 | 0:35:31 | |
I've got a lantern clock, which is actually a Victorian reproduction... | 0:35:31 | 0:35:36 | |
Of a 17th century one. | 0:35:36 | 0:35:38 | |
Yes, that's quite a small clock, but it fits in with what I've got. | 0:35:38 | 0:35:43 | |
We've done some changes to our house which means this clock no longer fits in anywhere. | 0:35:43 | 0:35:48 | |
-Where has it been living? -It's been living in a bedroom. | 0:35:48 | 0:35:52 | |
-Not your bedroom? -Not the bedroom I sleep in, no. | 0:35:52 | 0:35:55 | |
Because the ticking would keep you awake all night. | 0:35:55 | 0:35:58 | |
I had one in the hallway once and even that, in the dead of night, you could hear the ticking, | 0:35:58 | 0:36:03 | |
and of course we had to turn the bonging off because you'd be up all night with it. | 0:36:03 | 0:36:08 | |
If you look at the case itself, we've got this nice domed hood here, | 0:36:08 | 0:36:12 | |
this nice simple trunk, an outswept base with a plinth foot on it. | 0:36:12 | 0:36:18 | |
All in all, a nice country piece. | 0:36:18 | 0:36:20 | |
The case is in oak, of course. | 0:36:20 | 0:36:22 | |
Quite a nice colour to it. | 0:36:22 | 0:36:25 | |
When it comes to valuing something like this, the maker is known but isn't a major maker. | 0:36:25 | 0:36:31 | |
It's a nice case but it's not walnut, | 0:36:31 | 0:36:35 | |
it's not mahogany, it's not got any inlay in it, | 0:36:35 | 0:36:39 | |
so it's a typical country clock and the market is realistic at the moment. | 0:36:39 | 0:36:44 | |
-Yes. -Whereas retail I suppose you'd pay upwards of £1,000, £1,200 or so, | 0:36:44 | 0:36:50 | |
at auction I think we're looking nearer £400 to £600 with a 400 reserve. | 0:36:50 | 0:36:56 | |
I would hope, mind you, it'll go towards the top estimate, | 0:36:56 | 0:37:00 | |
and if we're lucky we might get a bit more for it, | 0:37:00 | 0:37:02 | |
because it is, it's not too big, either. | 0:37:02 | 0:37:05 | |
It's got a nice proportion to it. | 0:37:05 | 0:37:08 | |
-Yes. -Are you happy to put it in? | 0:37:08 | 0:37:09 | |
-Yes, yes, that will be fine. -Wonderful. | 0:37:09 | 0:37:12 | |
Will it go towards another long-case clock or something different? | 0:37:12 | 0:37:16 | |
Maybe something different, a different sort of clock. | 0:37:16 | 0:37:19 | |
-Oh, right, OK. Keeping your options open? -Yes, yes, yes. | 0:37:19 | 0:37:22 | |
Time will tell, as they say. | 0:37:22 | 0:37:25 | |
-I look forward to seeing you at the auction and let's hope it chimes up a huge success. -Thank you very much. | 0:37:25 | 0:37:30 | |
Well, let's take another quick look at what our experts have found to take to Market Harborough. | 0:37:32 | 0:37:37 | |
Only 20p for an upmarket table-top sale. | 0:37:37 | 0:37:40 | |
Let's hope that Anita's blue and white butter boat | 0:37:40 | 0:37:43 | |
is the creme de la creme in the sale room. | 0:37:43 | 0:37:45 | |
The money is on these bronze plaques winning gold | 0:37:45 | 0:37:48 | |
and not turning out to be a dead weight. | 0:37:48 | 0:37:50 | |
And it's time for the long-case clock to face the bidders. | 0:37:50 | 0:37:53 | |
Let's hope all hands are raised before the hammer strikes. | 0:37:53 | 0:37:57 | |
Next up, John's long-case clock and I've been looking forward to this. I love my clocks. | 0:38:07 | 0:38:11 | |
This is a good eight-day clock, 18th century, country oak clock | 0:38:11 | 0:38:16 | |
and the movement's good, it's got a really nice bell to it. | 0:38:16 | 0:38:19 | |
Yes. Well, I like long-case clocks. | 0:38:19 | 0:38:21 | |
These days you switch them off because they wake you up in the middle of the night. | 0:38:21 | 0:38:25 | |
Oh, I leave them on. I leave them on. | 0:38:25 | 0:38:28 | |
You get used to it after a while, you don't notice it. | 0:38:28 | 0:38:31 | |
It's quite therapeutic, tick tock. | 0:38:31 | 0:38:33 | |
And you can wake up dead on the hour. | 0:38:33 | 0:38:35 | |
-Yes. -8 o'clock, 7 o'clock in the morning. | 0:38:35 | 0:38:38 | |
If the clock is well balanced, it sounds beautiful. | 0:38:38 | 0:38:41 | |
There's something very traditional about a long-case clock in the home. | 0:38:41 | 0:38:45 | |
Right, well, we've got a value of £400 to £600. | 0:38:45 | 0:38:48 | |
-Yes, we have. -I'd like to see it do the top end. | 0:38:48 | 0:38:50 | |
-Good luck. -Thank you. -Under the hammer. | 0:38:50 | 0:38:53 | |
430 is a longcase clock, the dial sign Richard Smith of Newport, | 0:38:53 | 0:38:57 | |
and bids start with me. | 0:38:57 | 0:38:59 | |
I have to start at £330. | 0:38:59 | 0:39:02 | |
330, at 330? | 0:39:02 | 0:39:04 | |
340, 350, 360, 370, 380, 390. | 0:39:04 | 0:39:08 | |
£400 bid, at 400. | 0:39:08 | 0:39:10 | |
-We've got 400. -Yeah. -£400, 420. | 0:39:10 | 0:39:12 | |
440. | 0:39:12 | 0:39:14 | |
This is better. | 0:39:14 | 0:39:16 | |
440, 460, 480, | 0:39:16 | 0:39:19 | |
500, 520, | 0:39:19 | 0:39:22 | |
540, 540 in the room, at 540, | 0:39:22 | 0:39:26 | |
560 now, 560 on the telephone. | 0:39:26 | 0:39:30 | |
-This might find its way back to the Isle of Wight. -580. | 0:39:30 | 0:39:34 | |
£600 now, £600. | 0:39:34 | 0:39:38 | |
All out in the room, 600, selling at £600. | 0:39:38 | 0:39:43 | |
Yes! The hammer's gone down. £600. | 0:39:43 | 0:39:47 | |
Top end of the estimate. | 0:39:47 | 0:39:48 | |
-That's good. -It's very good. Happy? | 0:39:48 | 0:39:51 | |
Yes, yes, yes. | 0:39:51 | 0:39:53 | |
Christopher, it's going to be interesting to see | 0:39:58 | 0:40:01 | |
what the bidders think of these two bronze plaques. | 0:40:01 | 0:40:04 | |
They're going under the hammer right now. | 0:40:04 | 0:40:06 | |
We had a chat to the auctioneer earlier. Let me bring James in. | 0:40:06 | 0:40:09 | |
We agreed with your valuation, it's going to do around about that | 0:40:09 | 0:40:13 | |
but what do you do with them? | 0:40:13 | 0:40:14 | |
Do you melt them down, put them in the garden as a bit of garden art? | 0:40:14 | 0:40:18 | |
It's a shame to melt them down, isn't it? | 0:40:18 | 0:40:21 | |
But I have to say there's such weight in them, it's possible. | 0:40:21 | 0:40:25 | |
People are buying copper kettles and things now and scrapping them. | 0:40:25 | 0:40:28 | |
Yeah. Will the new buyer buy them and put them back in the garage? | 0:40:28 | 0:40:32 | |
That's where they end up, in the garden shed again, isn't it? | 0:40:32 | 0:40:35 | |
So these were Grandad's. | 0:40:35 | 0:40:36 | |
-That's right, yes. -What did your father think of them? | 0:40:36 | 0:40:39 | |
He doesn't think a great deal of them. | 0:40:39 | 0:40:41 | |
That's why he put them in the garage. | 0:40:41 | 0:40:43 | |
I don't blame you for getting them out because they do need a new home, | 0:40:43 | 0:40:47 | |
so hopefully they'll find one and they won't get melted down. | 0:40:47 | 0:40:50 | |
They're going under the hammer. | 0:40:50 | 0:40:52 | |
140 is a Victorian cast bronze portrait plaque of Gladstone, | 0:40:52 | 0:40:57 | |
marked cast by D Smith and a similar portrait plaque of Queen Victoria. | 0:40:57 | 0:41:02 | |
Bids here £55, 55 bid, 65, 75, £80 in the room, | 0:41:02 | 0:41:08 | |
at £80 at the back, at £80, 85, 90, 95, 100. | 0:41:08 | 0:41:12 | |
That's OK. | 0:41:12 | 0:41:14 | |
Your turn, 110, 110, at 110, 120, if you like it. | 0:41:14 | 0:41:18 | |
110, 110, selling at £110. | 0:41:18 | 0:41:22 | |
Yes, the hammer's gone down. £110. | 0:41:22 | 0:41:25 | |
We were thinking along the lines at the lower end, £40 per plaque, | 0:41:25 | 0:41:29 | |
we'll get them away, so 110 is a bonus. | 0:41:29 | 0:41:32 | |
Good for you! You found them, hopefully all the money's going to you and not Dad, then? | 0:41:32 | 0:41:36 | |
No, it's going to my children. | 0:41:36 | 0:41:38 | |
Oh, great! | 0:41:38 | 0:41:39 | |
How do you turn 20p into £200? | 0:41:45 | 0:41:47 | |
Well, just watch this, because Anita here has just brought along | 0:41:47 | 0:41:51 | |
that lovely little Bow cream jug, we've got £200 to £300 on it. | 0:41:51 | 0:41:56 | |
You bought it for 20p! | 0:41:56 | 0:41:57 | |
-Amazing, isn't it? -I've never had bargains like that. | 0:41:57 | 0:42:00 | |
-Have you? -No, I haven't. I normally spend £200 and it's worth 20p! | 0:42:00 | 0:42:04 | |
THEY LAUGH | 0:42:04 | 0:42:06 | |
I tried to be fair and double our money and offer her 40p for it but she wouldn't take it! | 0:42:06 | 0:42:10 | |
Have you had any other good finds like that? | 0:42:10 | 0:42:14 | |
-Not really. -No. | 0:42:14 | 0:42:16 | |
No. Because I collect things. | 0:42:16 | 0:42:18 | |
-A bit of a one-off, is it? -Yes, really, yes. | 0:42:18 | 0:42:21 | |
Let's see what we can do for you, shall we? 20p into 200, here we go. | 0:42:21 | 0:42:25 | |
185 is an 18th-century porcelain leaf moulded butter boat, | 0:42:25 | 0:42:30 | |
plain leaf handle, unmarked but possibly Bow. | 0:42:30 | 0:42:33 | |
I have to start on commission here at £120. 120, I'm bid here at 120. | 0:42:33 | 0:42:38 | |
-120, 120... -Come on. -120, 130, 140 now, at £140, 140 bid, | 0:42:38 | 0:42:45 | |
150, 160, 170 on the telephone, 180, new bidder. | 0:42:45 | 0:42:49 | |
-At 180, 190 now. £200. -Yes. -At 200. | 0:42:49 | 0:42:53 | |
-210. -It's going on a bit! | 0:42:53 | 0:42:56 | |
220, at 220 now, at 220, 230, at 230 on the telephone. | 0:42:56 | 0:42:59 | |
Don't you love auctions? | 0:42:59 | 0:43:02 | |
The telephone wins, £230, all out in the room, selling at £230. | 0:43:02 | 0:43:06 | |
Yes, made estimate, that's good. | 0:43:06 | 0:43:09 | |
-That's excellent, really. -£230 towards the holiday, Anita. | 0:43:09 | 0:43:13 | |
What place springs to mind? | 0:43:13 | 0:43:15 | |
-Egypt, maybe? -Egypt. | 0:43:15 | 0:43:17 | |
I haven't decided, really. | 0:43:17 | 0:43:19 | |
That's half the fun, isn't it, looking through the brochures? | 0:43:19 | 0:43:22 | |
Well, that's it. | 0:43:25 | 0:43:27 | |
It's all over, sadly. We've come to the end of the show and the auction is just about to end. | 0:43:27 | 0:43:32 | |
We've had a fantastic day here so join me next time on Flog It! for many more surprises. | 0:43:32 | 0:43:36 | |
Until the next time, it's cheerio. | 0:43:36 | 0:43:39 | |
Subtitles by Red Bee Media Ltd | 0:43:48 | 0:43:50 | |
E-mail [email protected] | 0:43:50 | 0:43:53 |