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-Today, we've come up north, and you can tell. -CHEERING | 0:00:02 | 0:00:04 | |
What a brilliant atmosphere! | 0:00:04 | 0:00:06 | |
I'm amongst straightforward talking people, because their town motto is, | 0:00:06 | 0:00:10 | |
"Judge us by our actions." | 0:00:10 | 0:00:11 | |
And today, Flog It! has come to... | 0:00:11 | 0:00:13 | |
-ready? Barnsley! -ALL: Barnsley! | 0:00:13 | 0:00:15 | |
Well, Barnsley's coat of arms... and here it is - | 0:00:55 | 0:00:58 | |
look, right there - together with its motto, | 0:00:58 | 0:01:00 | |
celebrates local traditional industries, | 0:01:00 | 0:01:03 | |
such as coal mining and glass-making, | 0:01:03 | 0:01:05 | |
but sadly, they're not around today. | 0:01:05 | 0:01:07 | |
But there still is a good sense of civic pride, | 0:01:07 | 0:01:09 | |
which should serve us well. | 0:01:09 | 0:01:11 | |
We're here at the Metrodome. | 0:01:11 | 0:01:13 | |
And I've a feeling our experts - Philip Serrell | 0:01:13 | 0:01:17 | |
and Mr Michael Baggott - are going to be judged | 0:01:17 | 0:01:20 | |
by their actions when we get to the sale room. | 0:01:20 | 0:01:22 | |
So, let's hope they get their valuations right. | 0:01:22 | 0:01:25 | |
So, Barry, enjoy a drink? | 0:01:28 | 0:01:30 | |
-Oh, yeah. -Oh, yeah. -Oh, yeah. | 0:01:30 | 0:01:32 | |
What...port, sherry and claret? | 0:01:32 | 0:01:34 | |
All in one glass, yeah. | 0:01:34 | 0:01:36 | |
-Where'd you get these from? -Car boot sale. | 0:01:36 | 0:01:39 | |
How much did you pay for them? | 0:01:39 | 0:01:40 | |
-£6. -You're a man of generosity, aren't you? -Yeah. | 0:01:40 | 0:01:44 | |
He wanted eight actually, but... | 0:01:44 | 0:01:45 | |
-And you beat him down? -Yes, aye. | 0:01:45 | 0:01:47 | |
-How'd you do that? -That's the Yorkshire man in me. | 0:01:47 | 0:01:50 | |
Do you have Horlicks to make you sleep at night? | 0:01:50 | 0:01:52 | |
-Like that advert. -Don't need it. -You don't need it? | 0:01:52 | 0:01:55 | |
I've a wife. | 0:01:55 | 0:01:56 | |
Did you buy them because you thought they were cheap or because they were nice? | 0:01:56 | 0:02:00 | |
-I liked them. -You liked them? -Yeah. | 0:02:00 | 0:02:02 | |
Plus, I knew they were a give-away at £6. | 0:02:02 | 0:02:06 | |
Well, they were at eight as well. Where do you think they were made? | 0:02:06 | 0:02:09 | |
I'd imagine Staffordshire. | 0:02:09 | 0:02:11 | |
I think so. There's something written on the back of this one | 0:02:11 | 0:02:14 | |
that could well be Copeland. | 0:02:14 | 0:02:16 | |
-They're certainly English. What date do you reckon? -1850s? | 0:02:16 | 0:02:19 | |
Spot on. Absolutely spot on, and I think they're great. | 0:02:19 | 0:02:22 | |
They would have been used... probably in a wine merchants. | 0:02:22 | 0:02:25 | |
Possibly even in a big country house, in the wine cellar. | 0:02:25 | 0:02:28 | |
They would have been hanging on the barrels. | 0:02:28 | 0:02:30 | |
And you can just see the remains here, and it is very, very faded. | 0:02:30 | 0:02:33 | |
It would have had... who the shipper was, the year, | 0:02:33 | 0:02:37 | |
which vineyard it came from. | 0:02:37 | 0:02:39 | |
And these would have been annexed to each barrel. | 0:02:39 | 0:02:41 | |
And I think they're really, really collectable. I think... | 0:02:41 | 0:02:45 | |
-that we can put £40-£60 estimate on them all day long. -Yeah. | 0:02:45 | 0:02:51 | |
I think we can reserve them at £30. | 0:02:51 | 0:02:53 | |
-I think that's a real come-buy-me estimate. -It should be. | 0:02:53 | 0:02:56 | |
It's a real come-buy-me estimate. And if you have a bit of luck, | 0:02:56 | 0:03:00 | |
they might just go and make £100. | 0:03:00 | 0:03:02 | |
-Yeah, yeah. -So you'd be pleased with that? | 0:03:02 | 0:03:04 | |
Definitely, yeah. I've a wife and eight kids, so I need some money. | 0:03:04 | 0:03:08 | |
-Eight?! -Aye. -Don't need to ask what your hobby is, then. | 0:03:08 | 0:03:10 | |
I tell you one thing... Don't you get home and get confused | 0:03:10 | 0:03:14 | |
-as to what the difference between port, sherry and claret is? -No. | 0:03:14 | 0:03:17 | |
Valerie, you don't often see things like this, do you? | 0:03:26 | 0:03:30 | |
No, you don't. | 0:03:30 | 0:03:31 | |
Can you tell me where you got it from? | 0:03:31 | 0:03:33 | |
Well, my father-in-law, who's been dead about ten year, | 0:03:33 | 0:03:37 | |
he were a big gardener. | 0:03:37 | 0:03:39 | |
And he had allotment, which is built on now. | 0:03:39 | 0:03:43 | |
And he were digging to put some potatoes in, | 0:03:43 | 0:03:46 | |
and he struck something. And he thinks, "Is it a rock?" | 0:03:46 | 0:03:49 | |
and he's digging around this rock, and it were that, | 0:03:49 | 0:03:52 | |
that come out of ground. | 0:03:52 | 0:03:54 | |
And when he got it home, somebody told him to clean it | 0:03:54 | 0:03:58 | |
with water with lemon in. | 0:03:58 | 0:04:00 | |
And that's the result, and it's not been touched since. | 0:04:00 | 0:04:04 | |
It's been put in a hut and passed from pillar to post. Nobody wanted it. | 0:04:04 | 0:04:10 | |
And I heard Flog It! were coming, | 0:04:10 | 0:04:12 | |
and I said, "I know what I'm going to do." | 0:04:12 | 0:04:15 | |
-Now is the time... -And here we are. | 0:04:15 | 0:04:18 | |
..to get the allotment vase out and see what it is. | 0:04:18 | 0:04:21 | |
And see what it is. | 0:04:21 | 0:04:22 | |
Right. Well, as you rightly say, it is half a vase. | 0:04:22 | 0:04:26 | |
This is all beautiful cast bronze. | 0:04:26 | 0:04:29 | |
Yeah. | 0:04:29 | 0:04:32 | |
That's a bit of cast iron from the hardware shop, | 0:04:32 | 0:04:35 | |
that someone's put it on. | 0:04:35 | 0:04:36 | |
-It's what I would say was a homemade repair...a restoration. -Yes. | 0:04:36 | 0:04:41 | |
Any ideas of how old it is? | 0:04:41 | 0:04:43 | |
Well, I've been told its Grecian. | 0:04:43 | 0:04:46 | |
In our mind, we're thinking it's at least 150 years old. | 0:04:46 | 0:04:52 | |
You're not far off. | 0:04:52 | 0:04:54 | |
If it were Grecian, absolutely a Grecian vase, | 0:04:54 | 0:04:59 | |
-it would be 4,000 years old. What this is, is Greek revival. -Yeah. | 0:04:59 | 0:05:02 | |
And we started to get it in this country and on the continent | 0:05:02 | 0:05:07 | |
in about 1810, 1820. | 0:05:07 | 0:05:09 | |
More so in France, and the revival - the Classical revival at this time - | 0:05:09 | 0:05:13 | |
is rather chunky and hefty and less delicate. | 0:05:13 | 0:05:17 | |
-So we've got these very thick, chunky handles. -Yeah. | 0:05:17 | 0:05:20 | |
And those, to me, are absolutely 1820, 1830. | 0:05:20 | 0:05:25 | |
Apart from saying that it's either English or French, I can't be any more specific than that. | 0:05:25 | 0:05:31 | |
Because what would have had a foundry mark on, | 0:05:31 | 0:05:33 | |
would have been the base. | 0:05:33 | 0:05:35 | |
Which is now probably... | 0:05:35 | 0:05:36 | |
-Still in allotment. -Still in the allotment. | 0:05:36 | 0:05:39 | |
Or under houses. | 0:05:39 | 0:05:40 | |
What it is, as it stands, is half a good vase. | 0:05:40 | 0:05:45 | |
So - value, value... | 0:05:45 | 0:05:47 | |
What's a sack of potatoes now? | 0:05:47 | 0:05:49 | |
-Cos that would have been the alternative. -Yeah, yeah, yeah. | 0:05:49 | 0:05:52 | |
I think we can pop that into auction, | 0:05:52 | 0:05:54 | |
-and it's going to take somebody's eye at maybe £40. -Yeah. | 0:05:54 | 0:05:59 | |
-So, if we put that on as the reserve... -Yeah. | 0:05:59 | 0:06:01 | |
-..at an estimate of £40-£60 and see where it goes. -Yeah. | 0:06:01 | 0:06:05 | |
Who knows? Someone might have dug the foot up a few years later, | 0:06:05 | 0:06:08 | |
and they go, "At last!" | 0:06:08 | 0:06:09 | |
Splendid. Well, we'll put it into the auction and keep our fingers crossed. | 0:06:09 | 0:06:14 | |
Hello, I had to sit next to you, because I've seen plenty of these. | 0:06:23 | 0:06:27 | |
-We've talked about them on Flog It! before. What's your name? -Narina. | 0:06:27 | 0:06:31 | |
-Sorry? Na... -Narina. | 0:06:31 | 0:06:32 | |
-Where's that from? -It's a South African name. | 0:06:32 | 0:06:34 | |
Oh, how beautiful! Narina, very nice. | 0:06:34 | 0:06:37 | |
I've never heard that before. There's always a first on "Flog It!" | 0:06:37 | 0:06:41 | |
Right, look at this little tiny symphonium. | 0:06:41 | 0:06:44 | |
How long have you had this? | 0:06:44 | 0:06:46 | |
We found it in my mother-in-law's house when she passed... | 0:06:46 | 0:06:49 | |
Well, when she passed away. | 0:06:49 | 0:06:51 | |
Gosh, look at this. It's a portable CD player of the day, isn't it? | 0:06:51 | 0:06:54 | |
-Apparently. -18...what, 1880s? 1890? | 0:06:54 | 0:06:58 | |
Isn't it lovely? A table-top one. | 0:06:58 | 0:07:00 | |
You can take it on a picnic, that's what it was all about. | 0:07:00 | 0:07:02 | |
-Does it still work? -Yes. -Go on, wind it up. | 0:07:02 | 0:07:05 | |
All you do is pull this. | 0:07:05 | 0:07:07 | |
SYMPHONIUM PLAYS | 0:07:07 | 0:07:10 | |
-Yes. -How much faster you go... | 0:07:10 | 0:07:12 | |
Yeah. Well, it is clockwork. That just winds it up, doesn't it? | 0:07:12 | 0:07:17 | |
And each disc plays a single tune. So you could buy discs | 0:07:17 | 0:07:20 | |
on these little thin sheets of steel of your favourite tune. | 0:07:20 | 0:07:24 | |
It is! It's just like buying a little record, isn't it? | 0:07:24 | 0:07:27 | |
These are highly collectable. Very, very collectable. | 0:07:27 | 0:07:30 | |
Do you know that? | 0:07:30 | 0:07:31 | |
-I had heard, yes. -The mechanics are perfect. | 0:07:31 | 0:07:35 | |
The box is a bit tatty, but it does say symphonium on it. | 0:07:35 | 0:07:39 | |
Do you know what? I think, if you put that into auction, | 0:07:39 | 0:07:42 | |
you're going to get around about... I'd say, £200-£300. | 0:07:42 | 0:07:45 | |
Hmm, very nice. | 0:07:45 | 0:07:46 | |
-Is that all right? -Yes. -Why do you want to sell it, though? | 0:07:46 | 0:07:49 | |
I don't think the children will want it when we've gone. | 0:07:49 | 0:07:52 | |
We've all sorts in the house. We've got... | 0:07:52 | 0:07:54 | |
Something like this, kids won't want. | 0:07:54 | 0:07:57 | |
But if you were to put it in the back of the wardrobe... | 0:07:57 | 0:07:59 | |
-Where it's been for a long time. -..for safe keeps...yeah, | 0:07:59 | 0:08:02 | |
for another 40-odd years, they might learn to appreciate it. | 0:08:02 | 0:08:05 | |
-Ooh... -Daughter? -Who am I talking to here? | 0:08:05 | 0:08:08 | |
Your daughter? I never knew that. | 0:08:08 | 0:08:10 | |
You didn't tell me that. Can we flog your inheritance? | 0:08:10 | 0:08:13 | |
Yes, if anyone wants it. | 0:08:13 | 0:08:14 | |
-What's your name? -Lindsey. -Lindsey. Now, do you like this? | 0:08:14 | 0:08:17 | |
Probably just the history of it. | 0:08:17 | 0:08:19 | |
-Would you like to keep it? -No, no. | 0:08:19 | 0:08:21 | |
Would you, would you not? We're going to get a sale, are we? | 0:08:21 | 0:08:24 | |
-No, I think she should sell it. -Shall we flog it? -Yes. | 0:08:24 | 0:08:26 | |
Would you like to flog it? Let's do it then. | 0:08:26 | 0:08:29 | |
Let's put this into auction with a value of £200-£300, | 0:08:29 | 0:08:31 | |
-a fixed reserve of £170. -OK. -OK. | 0:08:31 | 0:08:34 | |
It's a deal. Put it there. | 0:08:34 | 0:08:37 | |
Eric, you brought along a bar tariff, which is good for me, hey? | 0:08:45 | 0:08:51 | |
"Lindrick Gold Club, Ryder Cup, September to October, 1957." | 0:08:51 | 0:08:54 | |
Do you know the first thing that interests me on here? | 0:08:54 | 0:08:57 | |
-It's the prize of booze. -Yeah, it's lovely, i'nt it? -Seen this here? | 0:08:57 | 0:09:01 | |
A bottle of Veuve Clicquot champagne - 35 shillings. | 0:09:01 | 0:09:05 | |
-What's that, £1.75? -Yes. | 0:09:05 | 0:09:08 | |
A double whiskey, five shillings - 25 pence. | 0:09:08 | 0:09:11 | |
So presumably, there's something on the back of here, is there, that's... | 0:09:11 | 0:09:14 | |
There is. There's the signatures | 0:09:14 | 0:09:16 | |
of most of both teams for the Ryder Cup that year. | 0:09:16 | 0:09:20 | |
-Are you a golfer? -No, not at all. | 0:09:20 | 0:09:21 | |
Why have you got this, then? | 0:09:21 | 0:09:23 | |
It was given to me by my father. | 0:09:23 | 0:09:25 | |
He was a wine waiter, I believe, or something of that nature, with a company called Porter Rights. | 0:09:25 | 0:09:30 | |
I think they provided the wines | 0:09:30 | 0:09:32 | |
and spirits for that particular event. | 0:09:32 | 0:09:34 | |
And working there, he had the foresight | 0:09:34 | 0:09:37 | |
to get the signatures of the teams. | 0:09:37 | 0:09:39 | |
The names that I recognise on here... | 0:09:39 | 0:09:41 | |
-Peter Alliss clearly is a great golf commentator. -Yes. | 0:09:41 | 0:09:45 | |
Christy O'Connor... | 0:09:45 | 0:09:47 | |
Some great names here. Do you know why | 0:09:47 | 0:09:50 | |
-it was at Lindrick Golf Club? -No, I'm not a golfer, | 0:09:50 | 0:09:53 | |
-so I wouldn't know that. -Sir Stuart Goodwin | 0:09:53 | 0:09:55 | |
was a very wealthy Yorkshire industrialist, | 0:09:55 | 0:09:58 | |
and he financed the Ryder Cup team in 1957, to the tune of £10,000. | 0:09:58 | 0:10:05 | |
-That's like millions of pounds he's given them, in today's terms. -It is. | 0:10:05 | 0:10:09 | |
-It's a lot of money for that. -So he sponsored the British... | 0:10:09 | 0:10:12 | |
which was the British then, not Europe, as it is now... | 0:10:12 | 0:10:15 | |
He sponsored the British Ryder Cup team | 0:10:15 | 0:10:17 | |
to play against the United States, and he chose the venue. | 0:10:17 | 0:10:22 | |
Being a Yorkshire man, he chose Lindrick Golf Club. And Great Britain won that year, | 0:10:22 | 0:10:26 | |
-didn't they? -I believe so, yes. | 0:10:26 | 0:10:27 | |
I think it's a really lovely thing. | 0:10:27 | 0:10:29 | |
You want to know what it's worth, don't you? | 0:10:29 | 0:10:32 | |
-That would be nice, yes, please. -Valuation's a strange thing. | 0:10:32 | 0:10:35 | |
If you've got three of these, | 0:10:35 | 0:10:37 | |
and that one makes a fiver, and that one makes a fiver, | 0:10:37 | 0:10:41 | |
there's a very fair chance that that one's worth a fiver. It's comparison. | 0:10:41 | 0:10:45 | |
I've never seen anything like this at all. | 0:10:45 | 0:10:48 | |
So I'm really flying a bit blind here. I... | 0:10:48 | 0:10:51 | |
-I think we can put an estimate on this of £100-£200. OK? -OK. | 0:10:51 | 0:10:55 | |
OK, with a fixed reserve of £100...you know, | 0:10:55 | 0:10:59 | |
I think, with some of these names on there, | 0:10:59 | 0:11:01 | |
and the story behind it, and the fact that we're in Yorkshire to sell it. | 0:11:01 | 0:11:05 | |
I think all of that adds together, you know, | 0:11:05 | 0:11:07 | |
and I would hope that it would do very, very well. | 0:11:07 | 0:11:10 | |
Let's just hope that they pitch up at the auction and start bidding for it. | 0:11:10 | 0:11:14 | |
-You happy with that? -Very happy. Thank you. -Good man. | 0:11:14 | 0:11:17 | |
Well, that was really interesting, and do you know what? | 0:11:20 | 0:11:23 | |
I can't wait to see what it goes for. | 0:11:23 | 0:11:25 | |
In fact, I don't have to wait any longer. | 0:11:25 | 0:11:27 | |
It's now time to flog it! | 0:11:27 | 0:11:29 | |
'With a wife and eight kids to support, | 0:11:30 | 0:11:32 | |
'let's hope Barry makes the top end of the estimate | 0:11:32 | 0:11:35 | |
'for his wine cellar labels. | 0:11:35 | 0:11:37 | |
'Imagine digging up this bronze vase. | 0:11:37 | 0:11:40 | |
'It's not an antiquity, but it should make more than a bag of spuds | 0:11:40 | 0:11:43 | |
'when it goes under the hammer. | 0:11:43 | 0:11:45 | |
'Another unwanted treasure... Someone at auction must want this symphonium. | 0:11:45 | 0:11:49 | |
'It's such an entertaining item. | 0:11:49 | 0:11:52 | |
'And finally, Eric's signed bar tariff is unique. | 0:11:52 | 0:11:54 | |
'Therefore, any collector of golf memorabilia should snap this one up.' | 0:11:54 | 0:11:59 | |
Well, now it's time for our experts to be judged by their actions, | 0:11:59 | 0:12:03 | |
here at ELR Auction Rooms in the heart of Sheffield. | 0:12:03 | 0:12:06 | |
And the man holding court today, with the gavel, is auctioneer Robert Lee. | 0:12:06 | 0:12:10 | |
But before the sale gets under way, | 0:12:10 | 0:12:11 | |
let's ask him to judge one of our items. | 0:12:11 | 0:12:14 | |
110, 120, 130, 140, | 0:12:14 | 0:12:18 | |
150, 160. | 0:12:18 | 0:12:21 | |
Sold, commission. | 0:12:22 | 0:12:24 | |
This belongs to Eric, and it's a bar tariff, | 0:12:24 | 0:12:26 | |
but it's been signed by the Ryder Cup Team, | 0:12:26 | 0:12:28 | |
for the golf tournament here in Lindrick, | 0:12:28 | 0:12:30 | |
-which is not far away from here. -Just down the road, yeah, not far from Worksop. | 0:12:30 | 0:12:34 | |
And Eric's father was a wine waiter. | 0:12:34 | 0:12:37 | |
-So he was in the right place at the right time. -That's true. | 0:12:37 | 0:12:40 | |
And he's got all the signatures. | 0:12:40 | 0:12:42 | |
We've got a valuation of £100-£200, for this little card. | 0:12:42 | 0:12:46 | |
I think it certainly should be doing 150, £200, no problem. | 0:12:46 | 0:12:52 | |
I'm not a golfer, so I wouldn't know any golf names, | 0:12:52 | 0:12:55 | |
apart from Tiger Woods, cos he's always on the telly at the moment. | 0:12:55 | 0:12:59 | |
But I'm sure... I'm sure | 0:12:59 | 0:13:00 | |
that will get the top end, as you say. | 0:13:00 | 0:13:03 | |
-I'd have thought so. -Golf memorabilia is big business. | 0:13:03 | 0:13:06 | |
They spend a fortune on playing golf. | 0:13:06 | 0:13:08 | |
Golfing history, if you can have a little bit of it... | 0:13:08 | 0:13:10 | |
-That's true. -..it's worth having. -Yeah. | 0:13:10 | 0:13:13 | |
'And first to go under the hammer is Valerie's bronze vase.' | 0:13:13 | 0:13:18 | |
Your husband dug this up, didn't he? Or was it the father-in-law? | 0:13:18 | 0:13:21 | |
-Father-in-law. -In a patch of potatoes. | 0:13:21 | 0:13:23 | |
I think that's a classic find. | 0:13:23 | 0:13:25 | |
Well, it's the cheapest way to acquire antiques, isn't it? | 0:13:25 | 0:13:28 | |
-Dig 'em up. -Yeah. | 0:13:28 | 0:13:31 | |
Will we get the top end? | 0:13:31 | 0:13:32 | |
I don't know. I mean, it's a speculative thing, | 0:13:32 | 0:13:35 | |
because we've got half of it, | 0:13:35 | 0:13:37 | |
and the base is a replacement. | 0:13:37 | 0:13:39 | |
But I think it's perfect if somebody wants it for their garden. | 0:13:39 | 0:13:42 | |
How long have you had this? | 0:13:42 | 0:13:44 | |
-30 years since. -Where's it been, then? | 0:13:44 | 0:13:47 | |
In a hut, in garage... | 0:13:47 | 0:13:50 | |
chucked out, fetched back. | 0:13:50 | 0:13:53 | |
-So this really is time to get rid of, isn't it? -Yeah, yeah. | 0:13:53 | 0:13:56 | |
Well, let's hope we get you the top end of Michael's estimate. Good luck. | 0:13:56 | 0:13:59 | |
Early 19th century, Greek revival bronze urn. | 0:13:59 | 0:14:03 | |
£100 for it? It has all gone quiet. | 0:14:03 | 0:14:05 | |
£50 for it? Let's start at the bottom. | 0:14:05 | 0:14:09 | |
We've got 30, can we see 32? | 0:14:09 | 0:14:12 | |
Can we see £32 in the room? | 0:14:12 | 0:14:15 | |
Any interest? | 0:14:15 | 0:14:17 | |
32, 35, 38, 40, | 0:14:17 | 0:14:22 | |
42, is it? Looking for 45. New bidder, 48? | 0:14:22 | 0:14:27 | |
45 on the phones. | 0:14:27 | 0:14:29 | |
-Telephone bidding. I didn't expect that. -No. -Anybody for 48? | 0:14:29 | 0:14:33 | |
All done at 45? | 0:14:33 | 0:14:37 | |
Sold. | 0:14:37 | 0:14:39 | |
-Yes! -Brilliant. Well done, Michael, spot on. | 0:14:39 | 0:14:41 | |
That is a cracking bit of garden art, actually, | 0:14:41 | 0:14:44 | |
if you wanted to stick it outside. | 0:14:44 | 0:14:46 | |
Yes, I just hope the poor chap on the phone can pick it up. | 0:14:46 | 0:14:48 | |
Cos the postage on it... It weighs a ton! | 0:14:48 | 0:14:51 | |
Going to cost you £300. | 0:14:51 | 0:14:52 | |
-Yeah, it does, yeah. -Well, you got rid of. | 0:14:52 | 0:14:55 | |
That's the best thing, isn't it? | 0:14:55 | 0:14:56 | |
Mum's 80 in February, so it'll do for a do...a birthday do. | 0:14:56 | 0:15:02 | |
Ah, wonderful. A birthday do. | 0:15:02 | 0:15:04 | |
-Yeah. -Proper knees-up for Mum, who's 80 years old. -80, yeah. | 0:15:04 | 0:15:07 | |
And her boyfriend as well, 80. | 0:15:07 | 0:15:10 | |
-Narina and Lindsey, good luck. -Thank you. | 0:15:16 | 0:15:19 | |
Let's make some music, let's get those discs spinning. | 0:15:19 | 0:15:21 | |
We've got that lovely little symphonium - | 0:15:21 | 0:15:24 | |
small size one, £200-£300. | 0:15:24 | 0:15:26 | |
I haven't had a chat to the auctioneer. | 0:15:26 | 0:15:29 | |
So that's kind of a good sign really, | 0:15:29 | 0:15:31 | |
cos he agrees with my valuation. | 0:15:31 | 0:15:33 | |
Otherwise, if I'd undervalued it, he'd have said, "Paul..." | 0:15:33 | 0:15:36 | |
..bring me aside and said, "I think you got it a bit wrong." | 0:15:36 | 0:15:39 | |
In which case, I'd tell you now. But he said nothing. | 0:15:39 | 0:15:41 | |
So fingers crossed, it's on the money, two-three. | 0:15:41 | 0:15:44 | |
-We're going to find out. -Good. | 0:15:44 | 0:15:46 | |
Late 19th-century German symphonium, together with the discs. | 0:15:46 | 0:15:50 | |
Don't forget them. Forced to start the bidding at £200. | 0:15:50 | 0:15:55 | |
-We've sold it... -200 is the opening bid. I'll go 210, | 0:15:55 | 0:15:58 | |
in the room. Let's have 210, discs included. | 0:15:58 | 0:16:02 | |
With me at 200 only. | 0:16:02 | 0:16:04 | |
All done at 200? | 0:16:04 | 0:16:07 | |
Bang, hammer's gone down. What happened was, | 0:16:08 | 0:16:11 | |
he had a commission bid, left on the book | 0:16:11 | 0:16:13 | |
-by somebody that couldn't be in the auction room. -Right. | 0:16:13 | 0:16:16 | |
An absent bid, basically. | 0:16:16 | 0:16:17 | |
Unfortunately, there was nobody in the room to bid against that guy. | 0:16:17 | 0:16:21 | |
He may have left more than 200, in which case someone in the room would have bid him up. | 0:16:21 | 0:16:26 | |
-But nevertheless, it's sold. -That's brilliant, yeah. -£200. | 0:16:26 | 0:16:29 | |
-What are you going to do with that? -A little bit for the grandchildren, | 0:16:29 | 0:16:33 | |
and a little bit for me and my husband. | 0:16:33 | 0:16:35 | |
We've just moved house, so there's things we're still doing there, so... | 0:16:35 | 0:16:38 | |
-What about a little bit this way? -Which way? -All of it this way. | 0:16:38 | 0:16:42 | |
Well, no, grandchildren. | 0:16:42 | 0:16:43 | |
Ah... | 0:16:43 | 0:16:45 | |
-Got it now. -She's had enough. | 0:16:45 | 0:16:46 | |
She's had enough. | 0:16:46 | 0:16:49 | |
Right, here's a one-off for you. How do you put a price on this one? | 0:16:58 | 0:17:01 | |
Well, someone did, and it was our expert, Philip. | 0:17:01 | 0:17:04 | |
£100-£200, I quite agree with it, it belongs to Eric, and your father... | 0:17:04 | 0:17:08 | |
he was in the right place at the right time, wasn't he? | 0:17:08 | 0:17:11 | |
-He was, yes. -He was a wine waiter. | 0:17:11 | 0:17:13 | |
I think there'll be a lot of local interest on this. | 0:17:13 | 0:17:16 | |
It's been properly catalogued. | 0:17:16 | 0:17:17 | |
It's been advertised, and it's on the internet. | 0:17:17 | 0:17:20 | |
Those things will ensure that it finds its level. | 0:17:20 | 0:17:22 | |
If you hadn't had all those things, perhaps ten or 15 years ago, | 0:17:22 | 0:17:26 | |
then you're gambling. I don't see that as being the case. | 0:17:26 | 0:17:29 | |
-It might make hundreds of pounds, but we'll find out. -We're going to. | 0:17:29 | 0:17:32 | |
Golfing memorabilia is big business. We've seen it before on the show. | 0:17:32 | 0:17:36 | |
-Eric, good luck. -Thank you. -Good luck. -Thanks very much. | 0:17:36 | 0:17:39 | |
Lot number 578. 1957 Ryder Cup bar menu from Lindrick Golf Club, | 0:17:39 | 0:17:44 | |
bearing 20 signatures including the team captains, | 0:17:44 | 0:17:49 | |
Peter Alliss, Tommy Bolt, Peter Mills and others. | 0:17:49 | 0:17:54 | |
The bidding has started at £100. | 0:17:54 | 0:17:56 | |
Let's have 110. Let's have 110 for it, let's have 110. | 0:17:56 | 0:18:02 | |
110, 120, 130. | 0:18:02 | 0:18:05 | |
Anybody for 140? I'm out, and I'm too soon to be out. | 0:18:05 | 0:18:08 | |
Must be 140 elsewhere. | 0:18:08 | 0:18:10 | |
Feel like I'm giving this away. Anybody else for 140? 140, 150. | 0:18:10 | 0:18:17 | |
Anybody else for 150? | 0:18:17 | 0:18:20 | |
All done at 140? Hammer's dropping. | 0:18:20 | 0:18:23 | |
You're right. I mean, estimate... great, great valuation. | 0:18:23 | 0:18:26 | |
I tell you what I think, Paul, | 0:18:26 | 0:18:28 | |
if you don't know the value of something when you're unsure, | 0:18:28 | 0:18:31 | |
you put it to auction. | 0:18:31 | 0:18:32 | |
That will tell you what the value is, and we've just witnessed that. | 0:18:32 | 0:18:36 | |
It's properly advertised. Everybody's seen it who wants it, | 0:18:36 | 0:18:39 | |
-and it's made what's it worth. -Yes. -Fine. -Happy with that? | 0:18:39 | 0:18:42 | |
Very happy with that, yes. No problem at all. | 0:18:42 | 0:18:44 | |
OK. What will you put that money towards? | 0:18:44 | 0:18:47 | |
It's a trip towards... | 0:18:47 | 0:18:50 | |
-It's a trip to Nepal for my son, Andrew. -Oh, fantastic. | 0:18:50 | 0:18:54 | |
His school sponsors a children's school in Nepal, | 0:18:54 | 0:18:57 | |
and they do a three-week trip there, | 0:18:57 | 0:18:59 | |
so that'll go towards his trip there. That'll be towards that. | 0:18:59 | 0:19:03 | |
Ah, trip of a lifetime. | 0:19:03 | 0:19:04 | |
Tell him to take a camera. | 0:19:04 | 0:19:06 | |
We could be in for a little surprise now. | 0:19:13 | 0:19:15 | |
Just been joined by Barry - I have Philip, our valuer. | 0:19:15 | 0:19:18 | |
£40-£60 on these five wine labels... | 0:19:18 | 0:19:22 | |
-which you picked up for, how much? Remind us all. -£6. | 0:19:22 | 0:19:25 | |
£6 for the lot. | 0:19:25 | 0:19:28 | |
-A poorly octopus...£6. -I think... Yes... I think, you know... | 0:19:28 | 0:19:32 | |
We could do £150, if there's two buyers that like these right now. | 0:19:32 | 0:19:36 | |
I think if you get two people who are interested in, sort of, wine memorabilia and the like, | 0:19:36 | 0:19:41 | |
-I think... Let's just hope we have some spirited bidding. -Yes. | 0:19:41 | 0:19:45 | |
And I think each little label could be worth £30-£40 each. | 0:19:45 | 0:19:48 | |
-So, add that up... -400. | 0:19:48 | 0:19:50 | |
-Ching, ching. -I think they'll do £100. -Hopefully, hopefully. | 0:19:50 | 0:19:54 | |
There's a good crowd here, a good crowd of people here. | 0:19:54 | 0:19:57 | |
-So they'll make what they're worth. -Yup. I'm hoping for 150. | 0:19:57 | 0:20:00 | |
-You know what Philip wants, let's find out. -We know what I want. | 0:20:00 | 0:20:03 | |
Yeah, more the better. | 0:20:03 | 0:20:04 | |
Let's find out what this lot want. We've got a packed auction room. | 0:20:04 | 0:20:08 | |
Let's see some hands go up in the air. | 0:20:08 | 0:20:10 | |
Three earthenware wine cellar labels, | 0:20:10 | 0:20:12 | |
together with two circular numbered bin discs. | 0:20:12 | 0:20:15 | |
Some nice 19th-century pottery. | 0:20:15 | 0:20:17 | |
Other people like them, | 0:20:17 | 0:20:19 | |
-there's lots of interest on the commissions. -Great. | 0:20:19 | 0:20:22 | |
-I'm forced to start them at 140. -Oh! -Get in there. | 0:20:22 | 0:20:26 | |
I'll take 150, from somebody in the room. 150, is it? | 0:20:26 | 0:20:30 | |
-Come on. -With me at 140, 150. | 0:20:30 | 0:20:35 | |
I'm out. Looking for 160? | 0:20:35 | 0:20:36 | |
150 at the top. Still cheap. | 0:20:36 | 0:20:40 | |
Finally, at 150. Have we finished? | 0:20:40 | 0:20:43 | |
Yes, hammer's gone down. £150. | 0:20:46 | 0:20:48 | |
-You were right. -Well, you've got... | 0:20:48 | 0:20:51 | |
great eyes for spotting a bargain at a car boot sale. | 0:20:51 | 0:20:54 | |
I went to Specsavers. | 0:20:54 | 0:20:56 | |
Over the years, both the great and the good have been immortalised in bronze. | 0:21:09 | 0:21:13 | |
And, traditionally, | 0:21:13 | 0:21:14 | |
figurative sculpture can look serious and austere. | 0:21:14 | 0:21:17 | |
But the man who produced this piece is producing works in a rather different vein. | 0:21:17 | 0:21:22 | |
# Bring me sunshine | 0:21:22 | 0:21:24 | |
# In your smile | 0:21:25 | 0:21:26 | |
# Bring me laughter | 0:21:28 | 0:21:30 | |
# All the while... # | 0:21:30 | 0:21:31 | |
Barnsley-born artist Graham Ibbeson has a great sense of humour | 0:21:31 | 0:21:35 | |
and certainly looks on the funnier side of life. | 0:21:35 | 0:21:37 | |
So I've come here to find out | 0:21:37 | 0:21:39 | |
what makes the man behind these comic sculptures really tick. | 0:21:39 | 0:21:43 | |
# To each brand new bright tomorrow | 0:21:43 | 0:21:46 | |
# Make me happy | 0:21:46 | 0:21:48 | |
# Through the years | 0:21:48 | 0:21:51 | |
# Never bring me | 0:21:51 | 0:21:53 | |
# Any tears... # | 0:21:54 | 0:21:56 | |
Graham, it's so good to meet the man behind the sculpture. | 0:21:56 | 0:21:59 | |
I've seen your work | 0:21:59 | 0:22:00 | |
quite a few times, when we've been filming "Flog It!" | 0:22:00 | 0:22:03 | |
Once in Northampton, one in Perth | 0:22:03 | 0:22:05 | |
and there was one other, which is, of course, this guy, outside Rugby School. | 0:22:05 | 0:22:09 | |
William Webb Ellis, yeah, yeah. Big lad. | 0:22:09 | 0:22:12 | |
Where did it all start? You are a trained artist, aren't you? | 0:22:12 | 0:22:15 | |
I went to art school and I was basically good at drawing. | 0:22:15 | 0:22:19 | |
And this old Polish tutor got me to kind of, make sculpture. | 0:22:19 | 0:22:23 | |
He saw my drawings and just said they looked very three-dimensional. | 0:22:23 | 0:22:27 | |
And he steered me that way. | 0:22:27 | 0:22:29 | |
-What about other sculptors that have inspired you as a young lad? -None. | 0:22:29 | 0:22:33 | |
-None? -I was kind of inspired by comic books. I come from... | 0:22:33 | 0:22:38 | |
My work's almost like illustration. | 0:22:38 | 0:22:41 | |
So, I like the DC Thompson, | 0:22:41 | 0:22:44 | |
Dandy and Beano, Bamford seaside postcards. All that stuff. | 0:22:44 | 0:22:50 | |
So I come from a different angle. | 0:22:50 | 0:22:52 | |
I mean, I really don't know what fine art's about. | 0:22:52 | 0:22:56 | |
-I'd rather people go into a gallery and titter. -Yes. | 0:22:56 | 0:22:59 | |
-Rather than go in the gallery and... -"Oh, what's that all about?" | 0:22:59 | 0:23:04 | |
Yeah, so deep. But my work is accessible. | 0:23:04 | 0:23:06 | |
-Yes. -Because of who sees it. | 0:23:06 | 0:23:09 | |
You know, a kid in the street, or some kind of intellectual. | 0:23:09 | 0:23:13 | |
Everybody can enjoy it, on different levels. | 0:23:13 | 0:23:16 | |
What came first, the comedy or the serious ones? | 0:23:16 | 0:23:19 | |
Well, I had to learn my craft to abuse it. It's a bit like Les Dawson. | 0:23:19 | 0:23:26 | |
Les Dawson looks like he plays the piano badly. | 0:23:26 | 0:23:30 | |
But he is a kind of virtuoso piano player. | 0:23:30 | 0:23:34 | |
So, I had to learn my craft before I can actually take it... | 0:23:34 | 0:23:38 | |
-Yeah, diversify. -..diversify and make caricatures. | 0:23:38 | 0:23:41 | |
One of the little bronzes outside caught my eye. It's the little Buddha with goggles on. | 0:23:41 | 0:23:46 | |
I come from a kind of council house estate. | 0:23:46 | 0:23:48 | |
You know, my dad were a Barnsley miner. Come here, you little... | 0:23:48 | 0:23:52 | |
And I liked the idea of a guardian angel. | 0:23:52 | 0:23:54 | |
So, I made a guardian Buddha, angel, little god. | 0:23:54 | 0:23:58 | |
But he's got an industrial screw on his head, | 0:23:58 | 0:24:01 | |
he's got goggles, he's got medals from his past deeds. | 0:24:01 | 0:24:04 | |
And I've called it The Head Of The Little Barnsley Buddha. | 0:24:04 | 0:24:07 | |
You know, like, "Come here, you little Buddha." | 0:24:07 | 0:24:09 | |
So, there's all that gag, but it's quite serious. | 0:24:09 | 0:24:13 | |
I've used a kind of traditional material, | 0:24:13 | 0:24:15 | |
I've used bronze, I've used, kind of other, other elements. | 0:24:15 | 0:24:19 | |
But it's still a gag. | 0:24:19 | 0:24:21 | |
They really do make you laugh. You just have to stop and admire them. | 0:24:21 | 0:24:24 | |
But when you find out, their titles that you've given them, it's... | 0:24:24 | 0:24:28 | |
You just fall over with laughter. | 0:24:28 | 0:24:30 | |
It's part of the fun of making it. | 0:24:30 | 0:24:32 | |
It's part of the enjoyment of seeing the work. | 0:24:32 | 0:24:34 | |
Seeing the title. I did a girl screaming at a crab | 0:24:34 | 0:24:38 | |
but she doesn't know that she's got a crab hanging from her backside. | 0:24:38 | 0:24:42 | |
You know, she's at the seaside in Bridlington. | 0:24:42 | 0:24:45 | |
I wanted to call it, Girl With Crabs, and my wife said, "You...!" | 0:24:45 | 0:24:50 | |
So, I called it North Sea Nippers. | 0:24:50 | 0:24:52 | |
So, I've got Down To Earth as well, which is a little angel, kind of, | 0:24:54 | 0:24:59 | |
that's got a, kind of, supermarket carrier bag and a little case | 0:24:59 | 0:25:02 | |
and she's been really bad up there, | 0:25:02 | 0:25:04 | |
so Him up there, or Her up there, has sent her back down. | 0:25:04 | 0:25:08 | |
So, she's got the bottom lip. So, it's just Down to Earth. | 0:25:08 | 0:25:11 | |
So, it leads people in, the title's funny. | 0:25:11 | 0:25:15 | |
And I like the innocence of kids. In a way, I'm kind of a naive optimist. | 0:25:15 | 0:25:21 | |
Graham's positive, light-hearted approach to his work is clearly evident. | 0:25:21 | 0:25:26 | |
He even draws inspiration from his own childhood innocence. | 0:25:26 | 0:25:29 | |
There's one called The Grimethorpe Flyer. | 0:25:29 | 0:25:32 | |
Basically, it's a kid with cardboard wings, | 0:25:32 | 0:25:34 | |
Fair Isle jumper, long shorts, S belt. | 0:25:34 | 0:25:37 | |
It's me as a child, trying to escape the village of Grimethorpe. | 0:25:37 | 0:25:40 | |
So, that's very important to me. | 0:25:40 | 0:25:43 | |
Another piece, that's a bit of a departure for me, it's Big Mother. | 0:25:45 | 0:25:50 | |
What it is, is a mincing machine that I've adapted to the shape of a woman. | 0:25:50 | 0:25:55 | |
There's a handle and little babies come popping out. | 0:25:55 | 0:25:59 | |
I had a show in Austria. And this Austrian woman accused... | 0:25:59 | 0:26:03 | |
You know, didn't like the sculpture, | 0:26:03 | 0:26:05 | |
she was heavily pregnant, and I asked her why. | 0:26:05 | 0:26:07 | |
She says well, you know, like, "It's ridiculing pregnant women." | 0:26:07 | 0:26:11 | |
I said, "It's kind of making the men redundant. Don't you like that?" | 0:26:11 | 0:26:15 | |
She says, "Oh, I like that element but it's probably a man who's turning the handle." | 0:26:15 | 0:26:19 | |
In addition to his small quirky pieces, over the years, | 0:26:21 | 0:26:24 | |
Graham has been commissioned to produce various public sculptures, | 0:26:24 | 0:26:28 | |
of famous people. One of the best known, | 0:26:28 | 0:26:30 | |
and possibly most loved, is that of Eric Morecombe. | 0:26:30 | 0:26:33 | |
The original takes pride of place in Morecombe Bay. | 0:26:33 | 0:26:36 | |
It was fifteen years after Eric's death that the sculpture was unveiled. | 0:26:39 | 0:26:44 | |
But I'd been involved for six years. | 0:26:44 | 0:26:46 | |
So, I had to come up with a pose of Eric doing the Sunshine dance. | 0:26:46 | 0:26:49 | |
What I do is try to get the spirit of the man. | 0:26:49 | 0:26:52 | |
When Eric's widow came down here to look at it, I'd been six years. | 0:26:52 | 0:26:56 | |
And this were the one moment I was dreading. | 0:26:56 | 0:26:58 | |
She saw Eric... my sculpture of Eric... | 0:26:58 | 0:27:02 | |
and she says, "That's Eric, Graham." | 0:27:02 | 0:27:05 | |
"Go and get the kettle on." | 0:27:05 | 0:27:07 | |
And I tell you, I just... Unbelievable! | 0:27:07 | 0:27:09 | |
The image is just so right, it's so perfect. | 0:27:09 | 0:27:12 | |
Well, I mean... | 0:27:12 | 0:27:14 | |
The thing is I do all these people that are dead | 0:27:14 | 0:27:17 | |
and my sculpture's about life. | 0:27:17 | 0:27:19 | |
It is really about life. | 0:27:19 | 0:27:21 | |
Are you going to do a living person soon? | 0:27:21 | 0:27:24 | |
Yeah, I am doing Dickie Bird, actually. | 0:27:24 | 0:27:27 | |
He's almost a caricature of himself. So, it's very much like my work, | 0:27:27 | 0:27:31 | |
what I'm doing with the cricket jumpers round and everything else. | 0:27:31 | 0:27:35 | |
So, it's going to be an affectionate portrait. | 0:27:35 | 0:27:37 | |
And he's alive, so I can measure him. | 0:27:37 | 0:27:40 | |
-You can get him here. -I have to be quick, he's 75. | 0:27:40 | 0:27:44 | |
Let's just talk about William Webb Ellis, for a moment. | 0:27:44 | 0:27:48 | |
Imagine you get the commission. What goes through your mind first? | 0:27:48 | 0:27:51 | |
Do you do a sketch or do you do a small study? | 0:27:51 | 0:27:55 | |
Well, this is the kind of maquette. | 0:27:55 | 0:27:58 | |
It's what we call a maquette, which is a three dimensional sketch. | 0:27:58 | 0:28:02 | |
It hasn't got to be seen as a replica. | 0:28:02 | 0:28:05 | |
You know, this is not exactly what the sculpture is going to look like. | 0:28:05 | 0:28:10 | |
It's to work out the pose. | 0:28:10 | 0:28:11 | |
-Just a study really. -It's basically a quick study. | 0:28:11 | 0:28:14 | |
So, from the time you had the idea, and produced the little maquette, | 0:28:14 | 0:28:18 | |
to when you finished that, how long did that take? | 0:28:18 | 0:28:21 | |
Well, not all that long. Maybe two month to make the figure. | 0:28:21 | 0:28:24 | |
I mean, it sounds a long time but... | 0:28:24 | 0:28:26 | |
It's a lot of work though, isn't it? | 0:28:26 | 0:28:29 | |
It's a lot of work, and you've got clients coming up and looking. | 0:28:29 | 0:28:33 | |
It changed several times. | 0:28:33 | 0:28:35 | |
If you're doing a running figure, how do you capture that? | 0:28:35 | 0:28:38 | |
You've got to move it around and make it work for you. | 0:28:38 | 0:28:41 | |
Are you very critical of your work? | 0:28:41 | 0:28:43 | |
Any artist worth their salt should be. | 0:28:43 | 0:28:46 | |
It's a curse and a gift. | 0:28:46 | 0:28:49 | |
I cannot put the modelling tools down. | 0:28:49 | 0:28:51 | |
Don't! Please, don't stop! | 0:28:51 | 0:28:52 | |
You're giving so many thousands out there so much joy and happiness. | 0:28:52 | 0:28:56 | |
-Oh, thanks. -You are bringing them sunshine. Thank you very much. | 0:28:56 | 0:28:59 | |
Back at the valuation day, Philip has found a couple of ladies | 0:29:06 | 0:29:09 | |
who also have something to smile about. | 0:29:09 | 0:29:13 | |
-Judith and Doris, how are you both, all right? -Fine, thanks. | 0:29:13 | 0:29:16 | |
-Fine, thank you. -Local girls? | 0:29:16 | 0:29:17 | |
-Yup. -We are. -Barnsley lasses? -That's right. | 0:29:17 | 0:29:20 | |
Why have two Barnsley lasses | 0:29:20 | 0:29:22 | |
got a watercolour from Surrey, and a watercolour from Hampshire? | 0:29:22 | 0:29:26 | |
Because they're my sister in law's. | 0:29:26 | 0:29:29 | |
-So, you brought them here for her today? -Yes, we have. | 0:29:29 | 0:29:32 | |
Unfortunately she's disabled, so she can't get herself. | 0:29:32 | 0:29:35 | |
They've been handed down | 0:29:35 | 0:29:37 | |
from her grandmother, to her mother, and eventually to her. | 0:29:37 | 0:29:42 | |
So, Janet, your sister-in-law, doesn't like these? | 0:29:42 | 0:29:45 | |
-Oh, she loves them. -She loves them. | 0:29:45 | 0:29:46 | |
She loves them? So, why is she selling them? | 0:29:46 | 0:29:49 | |
Her mother was an antiques dealer. And she's had to go into a home. | 0:29:49 | 0:29:54 | |
Unfortunately, Janet's inherited rather a lot of the antiques. | 0:29:54 | 0:29:58 | |
-So, basically, something's got to go. -Something's got to go. | 0:29:58 | 0:30:02 | |
-Oh, yes, oh, yes. -Do you like them? -I do. I think they're pretty. | 0:30:02 | 0:30:05 | |
They're a bit out of grace and favour at the moment. | 0:30:05 | 0:30:08 | |
Yes, all right. Had the sky been a little bit different, more blue, | 0:30:08 | 0:30:11 | |
-I think it would have been... -More blue? -Yes. | 0:30:11 | 0:30:14 | |
Do you think that's because that's the way it's been painted? | 0:30:14 | 0:30:17 | |
No, I think it's because it's faded. It's been in the sun. | 0:30:17 | 0:30:20 | |
Can't tell you much, Doris, can I, eh? I think you're spot on. | 0:30:20 | 0:30:24 | |
And if you just have a look at this one here, look. | 0:30:24 | 0:30:27 | |
And that looks as though it's been in the damp. | 0:30:27 | 0:30:30 | |
Do you want to come and sit here? | 0:30:30 | 0:30:31 | |
HE CHUCKLES | 0:30:31 | 0:30:33 | |
You're spot on. This has been in the damp. | 0:30:33 | 0:30:36 | |
There's nothing much you can do about that, other than repainting it. | 0:30:36 | 0:30:39 | |
It's affected the paper, you know, | 0:30:39 | 0:30:42 | |
we've got these sort of autumnal themes here, and the clouds are | 0:30:42 | 0:30:46 | |
-almost the same colour as the trees, aren't they? -Yeah, uh-huh. | 0:30:46 | 0:30:49 | |
It's a real shame, because they're lovely pictures. | 0:30:49 | 0:30:52 | |
You've got this shepherd and shepherdess. | 0:30:52 | 0:30:55 | |
It's signed here by the artist, Fred Hines. | 0:30:55 | 0:30:57 | |
Fred Hines was a Victorian artist, who was quite active from about 1875, | 0:30:57 | 0:31:02 | |
through to the first, sort of, ten, 20 years of the 20th century. | 0:31:02 | 0:31:06 | |
And a well recorded artist. But the problem you've got... | 0:31:06 | 0:31:09 | |
-It's quite simple to value something in good order, right? -Yeah. | 0:31:09 | 0:31:12 | |
But when you've got to start valuing something in bad order, right? | 0:31:12 | 0:31:17 | |
And really, I mean, that does just hit you, doesn't it? | 0:31:17 | 0:31:20 | |
Yeah, it does spoil, yes. | 0:31:20 | 0:31:22 | |
So, what you've got to do is you've got to pitch them | 0:31:22 | 0:31:25 | |
at a price that is almost, "Come and buy me." | 0:31:25 | 0:31:28 | |
That makes them attractive to someone in the sale room. | 0:31:28 | 0:31:31 | |
I think that you should estimate them at between £100-£200 for the two. | 0:31:31 | 0:31:36 | |
I think you should put a fixed reserve on the two at £80, all right? | 0:31:36 | 0:31:40 | |
On that basis, do you think Janet would be happy to sell them? | 0:31:40 | 0:31:43 | |
-Yes. -Well, yes, they do want to get them out of the way. | 0:31:43 | 0:31:46 | |
I mean, we've sort of crammed everything in every nook and cranny we could, haven't we? | 0:31:46 | 0:31:52 | |
Let's just hope that the estimate that I put on them, | 0:31:52 | 0:31:54 | |
really does, sort of captivate a bit of interest. | 0:31:54 | 0:31:58 | |
Somebody might say, "Yes, they are pretty, I like them and I'll buy." | 0:31:58 | 0:32:02 | |
Let's keep our fingers crossed and hope they do well. | 0:32:02 | 0:32:05 | |
I'd love them to do well for you. | 0:32:05 | 0:32:07 | |
I've seen these before. | 0:32:11 | 0:32:12 | |
It's majolica, it's from Stoke on Trent, from the potteries. | 0:32:12 | 0:32:15 | |
Caroline, tell me about it? | 0:32:15 | 0:32:17 | |
As far as we know, it's come down through the family. | 0:32:17 | 0:32:20 | |
My grandmother's aunt, originally, we think, bought it new | 0:32:20 | 0:32:23 | |
and passed it down through the family. | 0:32:23 | 0:32:25 | |
-Really? So, you've inherited this? -Yes. -Have you any kids? | 0:32:25 | 0:32:29 | |
I have. One daughter, but being a single parent... | 0:32:29 | 0:32:32 | |
-OK, yeah, it's got to go. You need the money. -Unfortunately, yes. | 0:32:32 | 0:32:36 | |
-Yeah. Do you like it? -I don't like it at all, unfortunately. | 0:32:36 | 0:32:40 | |
It makes it easier to sell if you don't like it, doesn't it? | 0:32:40 | 0:32:43 | |
I can appreciate the works of it, but it wouldn't suit my house. | 0:32:43 | 0:32:47 | |
-Me neither. -It's a strawberry dish, or a strawberry bowl. | 0:32:47 | 0:32:50 | |
-This one dates to around about 1870, 1880. -Really? | 0:32:50 | 0:32:54 | |
Yeah, late Victorian piece, | 0:32:54 | 0:32:56 | |
and so fashionable as a centre piece during the day. | 0:32:56 | 0:32:59 | |
It's so typical of majolica. | 0:32:59 | 0:33:01 | |
It's got that lovely high lustre glaze to it | 0:33:01 | 0:33:03 | |
and those wonderful bright vivid hues of, | 0:33:03 | 0:33:06 | |
as you can see, blues, greens and pinks. | 0:33:06 | 0:33:08 | |
But, the key to the value... | 0:33:08 | 0:33:10 | |
George Jones always initialled his wares. | 0:33:10 | 0:33:14 | |
What he modelled, he initialled, with a G and a J. | 0:33:14 | 0:33:18 | |
Which he would have signed, right up until 1873. | 0:33:18 | 0:33:21 | |
Now, unfortunately, that's not on the base. | 0:33:21 | 0:33:24 | |
-Nevertheless, it still would be catalogued as George Jones. -Right. | 0:33:24 | 0:33:29 | |
-If you could trace those numbers, do you see those serial numbers? -Yes. | 0:33:29 | 0:33:32 | |
That will tell you exactly what month and what year this was made, | 0:33:32 | 0:33:36 | |
and possibly, who by. | 0:33:36 | 0:33:37 | |
-But I'm pretty sure our auctioneer in Sheffield is going to catalogue that as George Jones majolica. -Yup. | 0:33:37 | 0:33:43 | |
Purely because of the detail in the carving, the undercuts, the way the birds... | 0:33:43 | 0:33:47 | |
You can see right through the wing, through the tails, | 0:33:47 | 0:33:50 | |
through the legs and underneath the strawberry leaf. | 0:33:50 | 0:33:53 | |
It's a lovely example of a strawberry bowl. | 0:33:53 | 0:33:55 | |
Value wise, can I... I'm going to upset you now, Caroline. | 0:33:55 | 0:33:59 | |
-No, don't. -Because this has peaked. It peaked a couple of years ago. | 0:33:59 | 0:34:03 | |
If it was absolutely in mint condition, in its heyday, couple of years ago... £3,000. | 0:34:03 | 0:34:08 | |
SHE LAUGHS | 0:34:08 | 0:34:10 | |
But I can point out the damage, look, there's some damage on the foot there. | 0:34:10 | 0:34:14 | |
And look at the wing tips, you see that? | 0:34:14 | 0:34:16 | |
There's only one wing that's survived. | 0:34:16 | 0:34:19 | |
I think, because of the damage, and the lack of interest in majolica at the moment, | 0:34:19 | 0:34:24 | |
we'd be quite safe to say £500-£800. | 0:34:24 | 0:34:26 | |
-Still, in that condition? -Yeah, surprising, isn't it? | 0:34:26 | 0:34:29 | |
Goodness me, yeah, very. That would be fantastic. | 0:34:29 | 0:34:32 | |
-Really, really good. -And the money's going to come in very, very handy. -Very useful, very useful. | 0:34:32 | 0:34:38 | |
Tricia, thank you for bringing this beautiful little ring in. | 0:34:47 | 0:34:50 | |
I mean, it is little. Is it something that you have ever worn? | 0:34:50 | 0:34:55 | |
-I've only put it on my small finger a couple of times, because it is so small. -It's tiny, isn't it? -Tis. | 0:34:55 | 0:35:00 | |
So, where did it come from? | 0:35:00 | 0:35:02 | |
It was passed down to me through my mother's side, by one of her aunts. | 0:35:02 | 0:35:07 | |
-Right, right. -I think it was her engagement ring, | 0:35:07 | 0:35:09 | |
but I'm not sure how old it is, or how much it's worth. | 0:35:09 | 0:35:12 | |
No, well, she must have had the smallest hands in the world. | 0:35:12 | 0:35:16 | |
Well, if we have a look at it, | 0:35:16 | 0:35:17 | |
under the lens... | 0:35:17 | 0:35:20 | |
There is a faint mark on it, which is probably going to be nine or 18 carat. | 0:35:21 | 0:35:26 | |
But that's worn away and there's a little bit of engraving, | 0:35:26 | 0:35:30 | |
which is NK and the date 25. | 0:35:30 | 0:35:34 | |
Which is probably part of an inscription, but unfortunately the rest has worn away. | 0:35:34 | 0:35:39 | |
But the nice thing about it are these three lovely diamonds. | 0:35:39 | 0:35:42 | |
And it's a typical ring that you will find anywhere from about 1910, up to about 1920, 1925. | 0:35:42 | 0:35:49 | |
Where you have five and three stones. It was fashionable for the period. | 0:35:49 | 0:35:54 | |
And even though the ring itself is very small, the diamonds are quite sizeable. | 0:35:54 | 0:35:58 | |
You've got about a quarter of a carat on these two small stones, and the central one's just over. | 0:35:58 | 0:36:04 | |
So, you've got about three quarters of a carat of diamonds. | 0:36:04 | 0:36:07 | |
So, that's quite nice. Have you ever had it valued before? | 0:36:07 | 0:36:10 | |
-No? Well, it's a family thing... -I've had it in a drawer for 30 years. | 0:36:10 | 0:36:15 | |
Well, you know, the small size, isn't it? | 0:36:15 | 0:36:17 | |
There's not a lot you can do with it. Hopefully, if it goes to auction, | 0:36:17 | 0:36:21 | |
someone will size it and it will fit on a larger finger. | 0:36:21 | 0:36:24 | |
But that's always a tricky and expensive process to do. | 0:36:24 | 0:36:27 | |
Good thing is that diamonds are really popular at the moment. | 0:36:27 | 0:36:30 | |
And people don't seem to be able to get enough of it. | 0:36:30 | 0:36:33 | |
I think it's bling, is what they call it. | 0:36:33 | 0:36:36 | |
They have a thing for bling, and this certainly is. | 0:36:36 | 0:36:39 | |
-At auction, I think we'd put it in at £400-£600. -Right. | 0:36:39 | 0:36:44 | |
And we'd probably have a shade of discretion on the reserve, but not a great deal. Probably sort of 10%. | 0:36:44 | 0:36:50 | |
It should do really well because it's flavour of the month at the moment. | 0:36:50 | 0:36:53 | |
If you're happy to put it into auction, we'll do that. | 0:36:53 | 0:36:56 | |
But why have you decided to sell it now? | 0:36:56 | 0:36:59 | |
Well, my daughter's moved to Australia, and I'd love to go and visit her. | 0:36:59 | 0:37:03 | |
She's moved out there, so it would go towards that. | 0:37:03 | 0:37:06 | |
-Which would be more use than sitting in a drawer. -Yes. | 0:37:06 | 0:37:09 | |
Well, I hope we'll get you part of the way to Australia, | 0:37:09 | 0:37:12 | |
-if not all the way to Australia. Thank you so much for bringing it in. -Thank you. | 0:37:12 | 0:37:16 | |
Well, it's time to pay another visit to the auction room. | 0:37:16 | 0:37:19 | |
Will the signed watercolours be let down by the fact that they're not local scenes? | 0:37:19 | 0:37:24 | |
Majolica's not really my thing, but I can certainly appreciate the quality of this piece. | 0:37:24 | 0:37:29 | |
I've a feeling it's going to do great things at the sale. | 0:37:29 | 0:37:32 | |
And finally, another true quality item. | 0:37:32 | 0:37:35 | |
Tricia's diamond ring is a real gem, with an estimate of £400-£600. | 0:37:35 | 0:37:40 | |
Something for all you fine art lovers. | 0:37:49 | 0:37:52 | |
Two watercolours, it's Hampshire and Surrey, brought in by Judith and Doris here. | 0:37:52 | 0:37:57 | |
And, I've got to say, Doris, you look stunning. | 0:37:57 | 0:38:00 | |
-Thank you. -You really do. It's good to see you again. | 0:38:00 | 0:38:03 | |
-Getting excited? -No, it doesn't do. | 0:38:03 | 0:38:05 | |
Oh, it doesn't do, does it? | 0:38:05 | 0:38:07 | |
-I like that. -It doesn't do. -Oh, it doesn't do. | 0:38:07 | 0:38:10 | |
Have to blame Philip. He's roped you in on this. | 0:38:10 | 0:38:12 | |
£100-£200. I like them. | 0:38:12 | 0:38:15 | |
I really like them. They're a long way from home. I wish we were down in Surrey. | 0:38:15 | 0:38:19 | |
You'd make a bit more money. Art travels well, so fingers crossed. | 0:38:19 | 0:38:23 | |
Fred Hines, a pair, signed, quality. | 0:38:23 | 0:38:27 | |
£200 for the pair. | 0:38:27 | 0:38:28 | |
200. | 0:38:28 | 0:38:30 | |
The bidding has started at 60, we'll start at the bottom. | 0:38:30 | 0:38:34 | |
65, 70, 5, 80, 5, must be 90 elsewhere? | 0:38:34 | 0:38:39 | |
Must be 90. 90, 5, 100. | 0:38:39 | 0:38:43 | |
110, 120, 130, 140? | 0:38:43 | 0:38:47 | |
130 central bidder. | 0:38:47 | 0:38:48 | |
Anybody else for 140? | 0:38:48 | 0:38:51 | |
Anybody else for 140? Get your bids in quick. All done at 130. | 0:38:51 | 0:38:56 | |
Bid now or lose them. | 0:38:56 | 0:38:57 | |
Yes! £130, Judith, that is fantastic. | 0:38:59 | 0:39:03 | |
Whose were they, by the way? | 0:39:03 | 0:39:05 | |
-Well, my sister in law's. -OK. | 0:39:05 | 0:39:06 | |
Unfortunately she's wheelchair-bound. | 0:39:06 | 0:39:08 | |
So, we brought them to the auction for her. | 0:39:08 | 0:39:11 | |
-Ah, and what's her name? -Janet. | 0:39:11 | 0:39:13 | |
Janet. Well, Janet, I hope you're watching right now. | 0:39:13 | 0:39:15 | |
There's £130 coming your way. | 0:39:15 | 0:39:18 | |
Right now, something for the ladies. We've got a diamond ring. | 0:39:22 | 0:39:26 | |
It belongs to Tricia - hopefully for not much longer. | 0:39:26 | 0:39:28 | |
But we do need £400-£600. But you rate this, so... | 0:39:28 | 0:39:31 | |
I rate it. It's a nice ring. | 0:39:31 | 0:39:33 | |
If you had to buy it in a shop, it would be £700-£800. | 0:39:33 | 0:39:36 | |
It's good value for somebody and we have got discretion on the reserve. | 0:39:36 | 0:39:40 | |
-So, hopefully, we'll do it. -Tricia, why are you selling this? | 0:39:40 | 0:39:43 | |
-Are you wearing diamonds right now? You are. -I am, yes. | 0:39:43 | 0:39:46 | |
It's just not my style. | 0:39:46 | 0:39:48 | |
It was a great-aunt's, so I didn't... | 0:39:48 | 0:39:50 | |
-It's not really what I would wear. -OK, not a sad moment, then? | 0:39:50 | 0:39:54 | |
-No. -No, just get rid. -Yes. | 0:39:54 | 0:39:57 | |
Lot number 250. | 0:39:57 | 0:39:58 | |
The three-stone diamond ring, | 0:39:58 | 0:40:00 | |
brilliant cut stones in a claw setting. £300 is your start price. | 0:40:00 | 0:40:04 | |
£300, I've got starters. | 0:40:04 | 0:40:07 | |
Anybody fancy 320? 320 I'm looking for. | 0:40:07 | 0:40:11 | |
Lovely ring, 320. | 0:40:11 | 0:40:14 | |
You can alter the size. | 0:40:14 | 0:40:16 | |
320, 340, 360... | 0:40:16 | 0:40:20 | |
360 is it? | 0:40:20 | 0:40:22 | |
345 but I've got to go 350. It's going to be 360 now. | 0:40:22 | 0:40:26 | |
Got to be 360, it's on reserve. | 0:40:26 | 0:40:29 | |
With me at 350. All done with me at 350. | 0:40:29 | 0:40:33 | |
Any more interest anywhere? | 0:40:33 | 0:40:34 | |
All done at 350. | 0:40:34 | 0:40:37 | |
Not quite sold, that one. If you want to see me after... | 0:40:39 | 0:40:42 | |
Oh! What are you going to do? | 0:40:42 | 0:40:43 | |
-Oh, I'll just take it back and... -Try another day? -Definitely. | 0:40:43 | 0:40:47 | |
The person in the room seemed really interested around our reserve figure. | 0:40:47 | 0:40:51 | |
-And just wouldn't go the £10 more. So, possibly... -The auctioneer. | 0:40:51 | 0:40:55 | |
-The auctioneer can do something with him. -OK. | 0:40:55 | 0:40:57 | |
He might come to the auctioneer and say, could you sell it to me for 345? | 0:40:57 | 0:41:01 | |
-And it's as good as selling it for 360. -Exactly, yes. | 0:41:01 | 0:41:05 | |
If he's not interested, don't re-enter it into another sale here. | 0:41:05 | 0:41:09 | |
-No. -Because it's done the rounds. People would have seen it. | 0:41:09 | 0:41:12 | |
Hang onto it for six months, put it in a different saleroom. | 0:41:12 | 0:41:15 | |
This is what's up next. | 0:41:22 | 0:41:24 | |
And it's made the front page of the catalogue, Caroline. | 0:41:24 | 0:41:27 | |
The George Jones majolica strawberry dish. | 0:41:27 | 0:41:29 | |
-I'm feeling a bit nervous, aren't you? -Very. | 0:41:29 | 0:41:32 | |
Starting to wobble, but this is what auctions are all about. | 0:41:32 | 0:41:34 | |
If you've never experienced an auction, you've got to go for the thrill. | 0:41:34 | 0:41:38 | |
-Now, we've got £500-£800 on this. -Yes. -Condition's against it. But some people might not be put off. | 0:41:38 | 0:41:43 | |
The 19th century majolica strawberry dish, by George Jones. | 0:41:43 | 0:41:47 | |
Be aware of the condition but it's still a beauty. | 0:41:47 | 0:41:50 | |
Major interest on the commissions force me to start this lot at £820. | 0:41:50 | 0:41:56 | |
It's got to do four figures now, hasn't it? Come on. | 0:41:56 | 0:42:00 | |
Anybody fancy 850? 850? | 0:42:00 | 0:42:01 | |
850, 880, 900, | 0:42:01 | 0:42:05 | |
920, 950... | 0:42:05 | 0:42:07 | |
I'm out. Anybody else for 980? | 0:42:09 | 0:42:13 | |
980 I'm looking for. | 0:42:13 | 0:42:15 | |
950 on the phone. | 0:42:15 | 0:42:18 | |
All done at 950? | 0:42:18 | 0:42:20 | |
Isn't that a good sound? | 0:42:23 | 0:42:25 | |
Oh, God! | 0:42:25 | 0:42:28 | |
£950. | 0:42:28 | 0:42:31 | |
-Wow. -You shaking? | 0:42:31 | 0:42:33 | |
-Yeah. -So am I, actually. | 0:42:33 | 0:42:36 | |
-It's a nice feeling, isn't it? -Yeah. -It's a nice feeling. -Shocked! | 0:42:36 | 0:42:40 | |
-Who are you with here? Got some moral support? -Yes, my dad and my step mum. | 0:42:40 | 0:42:43 | |
-Where are they, over there? -Yeah, over there. | 0:42:43 | 0:42:46 | |
-Waving like mad. Well, they'll look after you. -Thank you. | 0:42:46 | 0:42:50 | |
What are you going to put £950 towards? | 0:42:50 | 0:42:52 | |
Oh, a holiday for my daughter and then the rest in the bank, I think. | 0:42:52 | 0:42:56 | |
-Sensible. -Yes. -Sensible. | 0:42:56 | 0:42:57 | |
-Thank you so much. -Oh, that's OK. | 0:42:57 | 0:43:00 | |
Thank you. That's what it's all about. | 0:43:00 | 0:43:02 | |
I hope you've enjoyed watching today's show. | 0:43:02 | 0:43:04 | |
We thoroughly enjoyed it. If you have anything to flog, | 0:43:04 | 0:43:07 | |
bring it along to a valuation day and we'll see you on Flog It! | 0:43:07 | 0:43:11 | |
Subtitles by Red Bee Media Ltd | 0:43:17 | 0:43:21 |