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Today's programme is coming from the sunny south-west. | 0:00:05 | 0:00:09 | |
Welcome to Flog It! from glorious Devon. | 0:00:09 | 0:00:11 | |
We're at the historic Pannier Market in the heart of Tavistock today | 0:00:47 | 0:00:51 | |
and all these Devonians are really keen to find out | 0:00:51 | 0:00:54 | |
what all of their items are worth, | 0:00:54 | 0:00:56 | |
so let's find out who's first at the tables. | 0:00:56 | 0:00:59 | |
And scrutinising your family treasures today | 0:01:01 | 0:01:04 | |
are Charlie Ross and Philip Sewell. | 0:01:04 | 0:01:06 | |
First up is Philip, | 0:01:08 | 0:01:10 | |
who has been charmed by an unusual piece of bronze. | 0:01:10 | 0:01:13 | |
-Bill, how are you doing? -Fine. -Where have you come with our little chap? Where's he come from? | 0:01:13 | 0:01:18 | |
Well, it's very hard to say. | 0:01:18 | 0:01:20 | |
It belongs to my... or belonged to my mother and father. | 0:01:20 | 0:01:23 | |
Yes. | 0:01:23 | 0:01:24 | |
And I've certainly known it for 60 odd years. | 0:01:24 | 0:01:29 | |
Don't like it? | 0:01:30 | 0:01:32 | |
I think it's...unusual. | 0:01:32 | 0:01:35 | |
I didn't ask that. I said, do you like it? | 0:01:35 | 0:01:38 | |
Well, yes, he's fun. | 0:01:38 | 0:01:40 | |
What prompted you to consider selling it? | 0:01:40 | 0:01:43 | |
Because I've never seen anything quite like it before. | 0:01:43 | 0:01:46 | |
Well, it's in the style of a man called Bergman. | 0:01:46 | 0:01:49 | |
It's what we call a cold painted bronze | 0:01:49 | 0:01:52 | |
and I think it sort of dates from the turn of the last century, | 0:01:52 | 0:01:56 | |
and he did a lot of these subjects, | 0:01:56 | 0:01:59 | |
Arabic subjects, Eastern subjects, men with carpets, You see quite a lot of these. | 0:01:59 | 0:02:03 | |
If you can imagine an oil painting, the hardest thing to paint are hands and feet. | 0:02:03 | 0:02:08 | |
I imagine that must transcend into modelling, | 0:02:08 | 0:02:10 | |
cos if you look here, I think his hands are a bit out of proportion to the rest of his body. | 0:02:10 | 0:02:16 | |
If you turn it over on the back, we can't see any mark for Bergman, | 0:02:16 | 0:02:19 | |
but I think it's definitely in his style. | 0:02:19 | 0:02:22 | |
You know, it's got his stamp to it. | 0:02:22 | 0:02:24 | |
The other interesting thing is you sell these prayer mats at auction | 0:02:24 | 0:02:27 | |
and this is an example of exactly what a prayer mat does and it's exactly what it looks like. | 0:02:27 | 0:02:33 | |
In terms of value they're quite collectable. | 0:02:33 | 0:02:36 | |
There's a fair demand at the moment for these sort of Eastern topics and subjects | 0:02:36 | 0:02:41 | |
and I would think at auction we can put a sensible estimate of one to two hundred pounds on it. | 0:02:41 | 0:02:47 | |
-Certainly a reserve of no less than £100. -Yes. | 0:02:47 | 0:02:50 | |
-If you have a little luck, it might top that top estimate. How does that sound? -Well, that sounds fine. | 0:02:50 | 0:02:55 | |
Yeah? I'm really glad your curiosity got the better of you. | 0:02:55 | 0:03:00 | |
Mimi and Alan, an interesting mix here. | 0:03:09 | 0:03:11 | |
Perhaps we'll deal with the boxes first because they amuse me and they might amuse the viewers. | 0:03:11 | 0:03:17 | |
-OK. -In so much as they've got BBC stickers all over them, | 0:03:17 | 0:03:21 | |
-and they are sound recordings from programmes. -Yeah, sound effects. | 0:03:21 | 0:03:25 | |
I can only imagine they've been stolen. Where did you get them from? | 0:03:25 | 0:03:28 | |
It wasn't me. | 0:03:28 | 0:03:31 | |
-I bought a box load of records from an auction... -Yeah. | 0:03:31 | 0:03:34 | |
-..a few years ago and they caught my eye because I like quirky things and I thought that was quirky. -Yeah. | 0:03:34 | 0:03:40 | |
-Have you listened to any of them? -I haven't. I don't have a 78 player. | 0:03:40 | 0:03:44 | |
But there was one particular one that took my eye there | 0:03:44 | 0:03:47 | |
-which is sound recordings used on Murder On The Nile. -Yeah. | 0:03:47 | 0:03:51 | |
And I'm just particularly amused by a selection here. | 0:03:51 | 0:03:55 | |
"Arabic noises. | 0:03:55 | 0:03:58 | |
"Anchor chains. | 0:03:58 | 0:04:00 | |
"Ships paddles. | 0:04:00 | 0:04:03 | |
"Rifle shots. | 0:04:03 | 0:04:05 | |
"Beat of Tom-Toms and singing." | 0:04:05 | 0:04:08 | |
-I'd love to hear them. -I can imagine the person there actually making the sounds. | 0:04:08 | 0:04:12 | |
And "Jackal." Anyway, someone's going to really enjoy those. | 0:04:12 | 0:04:15 | |
Perhaps the BBC will buy them back in case they do the programme again. | 0:04:15 | 0:04:19 | |
Leaving those on one side, you've got a tremendous collection of slides here, | 0:04:19 | 0:04:26 | |
actually magic lantern slides, dating I would think from Edwardian times. | 0:04:26 | 0:04:31 | |
-Late Victorian, Edwardian times. 1900, 1910. -OK. | 0:04:31 | 0:04:33 | |
-They are, looking at the boxes here, French. -Mmm hmm. | 0:04:33 | 0:04:37 | |
And they are all sorts of different subjects. | 0:04:37 | 0:04:41 | |
How did you get them? | 0:04:41 | 0:04:43 | |
-Again, a box lot at an auction. -Right. | 0:04:43 | 0:04:46 | |
I was after some magic lantern slides that were of Snow White. | 0:04:46 | 0:04:50 | |
-Yeah? -And they happened to be in this box lot along with the Snow White magic lantern slides. -I see. | 0:04:50 | 0:04:56 | |
-So you kept the Snow White. -Yes. | 0:04:56 | 0:04:57 | |
-And have you got a magic lantern? -No. | 0:04:57 | 0:04:59 | |
-So you just hold them up to the light do you? -Yes. | 0:04:59 | 0:05:02 | |
-Yes. -What's your particular love with Snow White? | 0:05:02 | 0:05:05 | |
-Well, it's to do with sort of early animation stuff. -Yeah? | 0:05:05 | 0:05:10 | |
Walt Disney did Snow White and Mimi happened to see these and knowing about my interest in animation, | 0:05:10 | 0:05:17 | |
she got these and she gave me the Snow White things, but we still had these. | 0:05:17 | 0:05:23 | |
-Right. -And some of these perhaps relate to newspaper cartoon characters | 0:05:23 | 0:05:29 | |
-because in the early years of the century right up until the 1920s... -Yeah. | 0:05:29 | 0:05:34 | |
..every newspaper had these things to encourage the children who would then say to their parents, | 0:05:34 | 0:05:40 | |
-"Please can we have the Daily Whatever to get hold of the cartoon strip." -Yeah, yeah. Interesting. | 0:05:40 | 0:05:46 | |
And I think this is probably one such slide, showing rabbits in various poses. | 0:05:46 | 0:05:53 | |
-There's one particularly interesting one here which is quite obviously First World War battle ships. -Mmm. | 0:05:53 | 0:05:59 | |
I think you alluded to the fact it might be the Battle of Jutland. | 0:05:59 | 0:06:03 | |
-Yes. -Or something like that. There is just great ones. | 0:06:03 | 0:06:06 | |
There's sort of children's cartoons here. | 0:06:06 | 0:06:09 | |
The chap riding a pig and a girl on a bicycle and two chaps having a scrap. | 0:06:09 | 0:06:15 | |
Value. I think those are fantastic fun, | 0:06:15 | 0:06:18 | |
but of no significant value. | 0:06:18 | 0:06:21 | |
If the auctioneers are going to publish an estimate, £50 to £80, something like that. | 0:06:21 | 0:06:26 | |
-Mmm. -Yeah. -Sell without reserve? -I'm happy with that. -Happy? -Yeah. -Then we'll have fun on auction time. | 0:06:26 | 0:06:31 | |
-The great thing, these are going to go to somebody with a projector who's going to love them. -Yes. | 0:06:31 | 0:06:36 | |
Phyllis and Lavinia, you're not sisters are you? | 0:06:44 | 0:06:47 | |
-No. -Sisters-in-law? | 0:06:47 | 0:06:49 | |
-That's right. -Yes. So how come you jointly own all of this Majolica? | 0:06:49 | 0:06:54 | |
Well, they were left to my mother and we split them between us. | 0:06:54 | 0:06:58 | |
So you have one urn with base each. | 0:06:58 | 0:07:01 | |
-Yes. -And one small plaque each. -That's right. | 0:07:01 | 0:07:04 | |
So you've both agreed to sell here today then? | 0:07:04 | 0:07:07 | |
-You want to put them into auction. -We would like to, yes. | 0:07:07 | 0:07:09 | |
So why do you want to get rid of your half? | 0:07:09 | 0:07:12 | |
-Because my children absolutely hate them. -They hate it? | 0:07:12 | 0:07:15 | |
Yes, they do and I'm not very keen. | 0:07:15 | 0:07:19 | |
-And what about you? -The same. -Same? -Yes. | 0:07:19 | 0:07:22 | |
Which one's yours, Phyllis? | 0:07:22 | 0:07:23 | |
-Um that one. -This one. -And this one, yes. | 0:07:23 | 0:07:25 | |
There's a little bit of damage on the lizard's tail here. | 0:07:25 | 0:07:29 | |
Yes, there is. Not made a very good job of it really. | 0:07:29 | 0:07:32 | |
No, but at least it's obvious. | 0:07:32 | 0:07:33 | |
-You're not trying to deceive anybody so that can be done professionally and well hidden. -Yes. | 0:07:33 | 0:07:40 | |
But they are cracking, aren't they? | 0:07:40 | 0:07:43 | |
Well, they are so typical of Majolica. | 0:07:43 | 0:07:46 | |
-That's what you expect to see. -Yes. | 0:07:46 | 0:07:48 | |
It's an earthenware vessel | 0:07:48 | 0:07:50 | |
coloured with so many bright interesting glazes of naturalistic form all over the jug. | 0:07:50 | 0:07:58 | |
You've sort of got pond weed and all kind of algae and moss | 0:07:58 | 0:08:02 | |
which is a great habitat for all of these wonderful creatures, frogs and lizards, newts, bugs. | 0:08:02 | 0:08:09 | |
But just look at those handles. | 0:08:09 | 0:08:12 | |
The modelling is so naturalistic, it's so lifelike. | 0:08:12 | 0:08:17 | |
-And they've even got the lizard's sort of skin. Can you see? -Yes. | 0:08:17 | 0:08:21 | |
They've got little tiny scales put on there. | 0:08:21 | 0:08:24 | |
When the clay was wet they've pushed bits of cloth on there | 0:08:24 | 0:08:27 | |
-and picked up the undulations of the thread. -Yes. -Just to get that texture of scales. | 0:08:27 | 0:08:33 | |
-How did they actually do this? Is it shredded? -No, it's just... | 0:08:33 | 0:08:38 | |
-it's rolled out pieces of clay, and then chopped with a knife, tiny little pieces. -Is it really? | 0:08:38 | 0:08:46 | |
But it's the modelling in the creatures that is so lovely. | 0:08:46 | 0:08:48 | |
I'm going to have a look at the backs a minute. You can see "Portugal"... | 0:08:48 | 0:08:55 | |
-Yes. -..stamped on the back. Now, this indicates to me that it's around 1900, 1910. -Right. | 0:08:55 | 0:09:01 | |
Because the earlier ones weren't stamped Portugal. | 0:09:01 | 0:09:04 | |
Right, let's talk about value. | 0:09:04 | 0:09:06 | |
I'd like to split the two lots. I think the two plaques will sell separately in one lot. | 0:09:06 | 0:09:11 | |
-Right. -With a valuation of two to three hundred pounds. | 0:09:11 | 0:09:15 | |
-Mmm-hmm. -But I can see them doing the 300 quite easily. | 0:09:15 | 0:09:19 | |
-Yeah. -And the two jugs I'd like to put in the sale with a valuation of £300 to £500 | 0:09:19 | 0:09:25 | |
-and I'm hoping they'll easily do the 500. -Yes, that's fine. -We'll put a fixed reserve of £300 for the pair. | 0:09:25 | 0:09:32 | |
-Yeah. -Are you happy with that? -Yes. -Yes. | 0:09:32 | 0:09:35 | |
-And a fixed reserve of £200 for the little plaques. -Right. Yes. | 0:09:35 | 0:09:40 | |
It's a striking collection, absolutely striking, and let's hope they're kept together. | 0:09:40 | 0:09:45 | |
-How are you doing? -Fine, thank you. -Yes. -Terry, this is your powder compact? | 0:09:51 | 0:09:55 | |
Not my powder compact, Philip, no. | 0:09:55 | 0:09:57 | |
It was my grandmother's on my father's side. | 0:09:57 | 0:09:59 | |
-That is a huge relief. -That is with me as well. -Yeah, but this is now yours? -It is. | 0:09:59 | 0:10:04 | |
-And why do you want to sell this? -I no longer use it. | 0:10:04 | 0:10:07 | |
I used it for a while, but then I went onto the compressed powder. | 0:10:07 | 0:10:12 | |
Compressed powder. You'll appreciate I don't use make up that much. | 0:10:12 | 0:10:16 | |
Well, not in public, clearly. | 0:10:16 | 0:10:17 | |
-Why do you both want to sell it? -Well, it's just sitting indoors doing nothing. | 0:10:17 | 0:10:22 | |
It was passed to the daughter. She wouldn't have any use for it or even appreciate it. | 0:10:22 | 0:10:26 | |
-Really? -Not now. Which is a shame. -I think it's lovely. -It is, yeah. | 0:10:26 | 0:10:30 | |
And the thing about it is, you know, that is just pure its time isn't it? | 0:10:30 | 0:10:35 | |
-Yes. -It's pure Deco. -Let's just have a look. It's Mappin & Webb. | 0:10:35 | 0:10:39 | |
-Yeah. -You know, one of the best names there is. | 0:10:39 | 0:10:43 | |
Marked for 1936. Enamelled. | 0:10:43 | 0:10:47 | |
You've got a lovely little compact mirror in here. | 0:10:47 | 0:10:51 | |
-The only problems with it is, you know a lot of people think that porcelain's really fragile. -Mmm. | 0:10:51 | 0:10:57 | |
-But things that are enamelled are really fragile as well. -They are. | 0:10:57 | 0:11:00 | |
-And this has been perhaps dropped. -Dropped. | 0:11:00 | 0:11:03 | |
-In someone's bag. -Yeah. -Or dropped on a table and we've got a chip to the enamel there and another there. | 0:11:03 | 0:11:10 | |
-That one is not that bad because when it's... -You don't notice that. | 0:11:10 | 0:11:13 | |
..closed the clasp covers it, but that nonetheless is going to detract a little bit from its value. | 0:11:13 | 0:11:19 | |
I think these are going to become quite collectable | 0:11:19 | 0:11:22 | |
-and this is where antiques are great value for money because you imagine going to Mappin & Webb today... -Yes. | 0:11:22 | 0:11:29 | |
..and buying a silver enamel compact. | 0:11:29 | 0:11:32 | |
-How many hundreds of pounds would that cost you? -Yes, yeah. -Thousands. | 0:11:32 | 0:11:36 | |
I think this is probably £40 to £60. | 0:11:36 | 0:11:39 | |
-Mmm-hmm. Yeah. -We'll put a fixed reserve on it of £30 for you. -Yeah. | 0:11:39 | 0:11:42 | |
That's what it's worth, but I think whoever gets that at auction will have a real good buy. | 0:11:42 | 0:11:48 | |
-You happy with that? -Yes. -Very happy with that. | 0:11:48 | 0:11:51 | |
-Let's hope it does well. -Thank you. -Thank you very much. | 0:11:51 | 0:11:53 | |
We were hoping for a good start to the day and oh, boy, have we found one? | 0:11:58 | 0:12:02 | |
Philip and Charlie have been working flat out, we've got some cracking items and I don't know about you, | 0:12:02 | 0:12:07 | |
but I can't wait to find out how these do when they go to auction. | 0:12:07 | 0:12:10 | |
I think Philip is right on the money with this unusual piece. | 0:12:10 | 0:12:15 | |
Even if it's not a Bergman, it'll create a lot of interest. | 0:12:15 | 0:12:19 | |
Out of the archive and into the saleroom again for Myral and Alan's ancient vinyl records. | 0:12:19 | 0:12:25 | |
And equally elderly are the slides. | 0:12:25 | 0:12:28 | |
Let's hope the bidders are there. | 0:12:28 | 0:12:30 | |
I know Lavinia and Phyllis thought these pieces of Majolica were hideous, | 0:12:30 | 0:12:35 | |
but I think they're unique and wonderful. I wonder what reception they'll get in the saleroom. | 0:12:35 | 0:12:41 | |
Terence and Ann's compact by Mappin & Webb is a name to conjure with | 0:12:41 | 0:12:45 | |
and it's why I have a feeling it might do rather well. | 0:12:45 | 0:12:49 | |
And we're hoping for the very best prices here today | 0:12:57 | 0:13:00 | |
at Eldreds Auction Rooms just outside of Plymouth. | 0:13:00 | 0:13:03 | |
And on the rostrum today is auctioneer Anthony Eldred | 0:13:05 | 0:13:08 | |
and he's been taking a good look at our Majolica. | 0:13:08 | 0:13:12 | |
I don't know what you think, Anthony, but I love these. The more creepy crawlies, the better. | 0:13:12 | 0:13:18 | |
They belong to Phyllis and Lavinia and I'm going to put them into the sale, | 0:13:18 | 0:13:22 | |
-if that's all right with you, as two lots. -Right. | 0:13:22 | 0:13:26 | |
The wine jugs, the ewers on their own bases, three to five hundred, | 0:13:26 | 0:13:30 | |
and the two little plaques, two to three hundred. | 0:13:30 | 0:13:33 | |
-What do you think of that? -Well, I'm at the opposite end of the scale. I don't like them at all, personally, | 0:13:33 | 0:13:40 | |
but I can appreciate them for what they are | 0:13:40 | 0:13:41 | |
and I think you're absolutely right to put them in as two separate lots. | 0:13:41 | 0:13:45 | |
How can you not like something like that? Look at the handles. | 0:13:45 | 0:13:48 | |
Well, I would say the opposite. How can you possibly like them? | 0:13:48 | 0:13:50 | |
-Really? You just don't like them. -They're grotesque. | 0:13:50 | 0:13:52 | |
No, I can appreciate them, but they're not something I'd want on my sideboard. | 0:13:52 | 0:13:55 | |
But they're very typical of this sort of thing | 0:13:55 | 0:13:59 | |
coming out of Portugal very late in the 19th Century. | 0:13:59 | 0:14:04 | |
Have many people been looking at them on auction preview day? | 0:14:04 | 0:14:07 | |
-Lots of interest? -Well, I'd like to say yes, but not yet. But I'm sure there will be interest. | 0:14:07 | 0:14:13 | |
They'll come out of the woodwork. | 0:14:13 | 0:14:14 | |
-Do you think I'll get the top end of the estimate? -With the ewers, I think you will get the top end. | 0:14:14 | 0:14:21 | |
-The plates, a little bit of damage on them so I think that's going to effect the issue, but maybe. -Yeah. | 0:14:21 | 0:14:27 | |
Well, fingers crossed there's going to be lots of interest later on. | 0:14:27 | 0:14:31 | |
Well, we'll have to wait and see, but I'm sticking to my guns. | 0:14:31 | 0:14:34 | |
Now, how about that bronze? | 0:14:34 | 0:14:36 | |
-We don't know if it is Bergman. We had a good look. -Yeah. -It's the quality though. | 0:14:38 | 0:14:42 | |
It's a great cold painted bronze and it's worth every penny of that one to two hundred. | 0:14:42 | 0:14:47 | |
-Yes. -Might be Bergman's son, you never know, but it is that quality | 0:14:47 | 0:14:51 | |
and I think this could do £250-350. That's what I'm hoping, fingers crossed. | 0:14:51 | 0:14:57 | |
I think that it will make its money. | 0:14:57 | 0:14:59 | |
-Yeah. -And the real thing is, that's the flavour of the month, that's what people want to buy. -Yes. | 0:14:59 | 0:15:05 | |
-The days of the copper warming pan are long gone. -Yes, exactly. | 0:15:05 | 0:15:07 | |
-That's what they want. -It's going under the hammer. Let's hope this astral carpet flies across Dartmoor. | 0:15:07 | 0:15:14 | |
Our next lot - 143. | 0:15:14 | 0:15:17 | |
It's a cold painted bronze figure of an Arab kneeling on a prayer mat. | 0:15:17 | 0:15:22 | |
There is it, and several bidders. | 0:15:22 | 0:15:24 | |
I am bid £120 against you all in the room at 120. | 0:15:24 | 0:15:27 | |
Come on, a bit more than that. | 0:15:27 | 0:15:30 | |
140, 150, | 0:15:30 | 0:15:32 | |
160, 170, 180. | 0:15:32 | 0:15:35 | |
At £180, still against you all. | 0:15:35 | 0:15:37 | |
190, 200. At £200. | 0:15:37 | 0:15:41 | |
Are you done then at £200? | 0:15:41 | 0:15:43 | |
Yes. £200. Top end of the estimate. | 0:15:45 | 0:15:48 | |
-Very good. -You'll take that won't you, Bill? -Yes. | 0:15:48 | 0:15:49 | |
What are you going to put that towards? | 0:15:49 | 0:15:51 | |
-I've got nine grandchildren. -Gosh. -And two christenings coming up. | 0:15:51 | 0:15:56 | |
Wow. | 0:15:56 | 0:15:58 | |
Next up the magic lantern slides. | 0:16:06 | 0:16:08 | |
We've got Alan, but unfortunately the wife, Mimi, where is she? | 0:16:08 | 0:16:11 | |
-She's missing. -Well, yes, she took off. | 0:16:11 | 0:16:13 | |
She's in the States. She's visiting her parents. | 0:16:13 | 0:16:15 | |
OK. I know you're a big fan of animation and this was a present to you, wasn't it? | 0:16:15 | 0:16:20 | |
Yes. It was a surprise for me and she... | 0:16:20 | 0:16:24 | |
It did surprise me as well! | 0:16:24 | 0:16:26 | |
Why do you want to sell them? | 0:16:26 | 0:16:29 | |
Because I've got the best ones. She saved the one or two for me and these are what's left. | 0:16:29 | 0:16:35 | |
Yeah. What are we looking at? £50 to £80? Not a great deal of money. | 0:16:35 | 0:16:39 | |
No. Hopefully, they'll make 80, and goodness knows about the records, the BBC records. | 0:16:39 | 0:16:44 | |
-Yes, the recordings. -I'm not even sure we're allowed to sell them. | 0:16:44 | 0:16:48 | |
We're going to find out. | 0:16:48 | 0:16:50 | |
Next is lot 207. It's some BBC 78rpm records of sound effects | 0:16:50 | 0:16:55 | |
and some magic lantern slides. | 0:16:55 | 0:16:58 | |
There they are and £20 bid for those. Against you all at 20. | 0:16:58 | 0:17:00 | |
5, 30, 5, 40, 5, 48, 50. | 0:17:00 | 0:17:04 | |
At £50 at the very back. At £50. | 0:17:04 | 0:17:08 | |
At 50 then. Are you all done at £50? | 0:17:08 | 0:17:11 | |
Sell at 50. Quite sure at £50? | 0:17:11 | 0:17:14 | |
-Yes. Spot on. £50. -About right. | 0:17:14 | 0:17:17 | |
-Well, well done. -Happy? -Yes. Yes. -£50. -Yes. | 0:17:17 | 0:17:21 | |
It's now Ann and Terry's turn to flog their item off and it's a lovely silver compact. | 0:17:26 | 0:17:31 | |
Great name, Mappin & Webb. We're looking at £40 to £60 on this. | 0:17:31 | 0:17:34 | |
-Right. -It was your mother's. -My grandmother's. -Your grandmother's. | 0:17:34 | 0:17:38 | |
Handed down through the family and I've just spotted a little flag on the lapel there. | 0:17:38 | 0:17:43 | |
-Kernow. That's the flag of Cornwall, isn't it? -Spot on. | 0:17:43 | 0:17:47 | |
Got to do a proper job now. | 0:17:47 | 0:17:49 | |
I feel quite the foreigner here. | 0:17:49 | 0:17:52 | |
-It's nice. A good name. -We'll do well. -I think they'll sell it. | 0:17:53 | 0:17:57 | |
-Let's hope we get that £60. Good luck, you two. -Thank you. | 0:17:57 | 0:17:59 | |
It's going under the hammer now. | 0:17:59 | 0:18:01 | |
Next is lot 452. | 0:18:01 | 0:18:04 | |
It's a Deco-style compact, there it is, and I'm bid £30 for it. | 0:18:04 | 0:18:08 | |
Against you at 32, if you want it. | 0:18:08 | 0:18:10 | |
At 32, 5, 8, 40. 2, 5, 8. At £48. | 0:18:10 | 0:18:15 | |
At 48 then. 50 if you want it. | 0:18:15 | 0:18:18 | |
-Fresh bidding at two. 55, 58. -That's good. | 0:18:18 | 0:18:22 | |
And 60 now. And two. | 0:18:22 | 0:18:24 | |
65, 68. | 0:18:24 | 0:18:27 | |
At £68 then, all done. | 0:18:27 | 0:18:30 | |
-Good. -Good. -I've got to say, well done, Philip. | 0:18:30 | 0:18:33 | |
-That's a good valuation. That's lunch out for you two. -Well done. | 0:18:33 | 0:18:38 | |
-My pleasure. -Thank you very much. | 0:18:38 | 0:18:40 | |
Lavinia and Phyllis, it's great to see you again and I've got to say don't they look absolutely splendid. | 0:18:45 | 0:18:52 | |
We've got the Palissyware just about to go under the hammer. | 0:18:52 | 0:18:55 | |
We've split it into two lots. | 0:18:55 | 0:18:57 | |
-Yes. -And first up is the two little ewers, the wine ewers on separate bases. OK? | 0:18:57 | 0:19:02 | |
So what's going through your minds? Any regrets? | 0:19:02 | 0:19:05 | |
-No. None at all. -Get rid. -Just glad to get rid of them. | 0:19:05 | 0:19:09 | |
OK, OK. Let's just hope we get top end, shall we? It's going under the hammer now. | 0:19:09 | 0:19:13 | |
On next lot - 248. | 0:19:13 | 0:19:15 | |
This is a pair of Palissy style Portuguese lid ewers. There they are. | 0:19:15 | 0:19:19 | |
Several bids for them. I am bid £380. | 0:19:19 | 0:19:24 | |
-Against you all at £380. £380. -Straight in. | 0:19:24 | 0:19:28 | |
390, 400. | 0:19:28 | 0:19:29 | |
And 10. 420, 430, 440, | 0:19:29 | 0:19:32 | |
450, 460, 470, 480, 490, 500. | 0:19:32 | 0:19:38 | |
-And 10, 520, 530 there. -Ah, how brilliant. | 0:19:38 | 0:19:43 | |
540. At £540, fresh bidding. | 0:19:43 | 0:19:46 | |
At £540 then. Quite sure at 540. | 0:19:46 | 0:19:50 | |
-Yes. -That's lovely. | 0:19:50 | 0:19:53 | |
One lot down, one more to go. We've got £540 so far. | 0:19:53 | 0:19:57 | |
Here's the second. | 0:19:57 | 0:19:59 | |
Next is lot 254. | 0:19:59 | 0:20:01 | |
It's two Palissy Portuguese dishes again. | 0:20:01 | 0:20:05 | |
And a lot of bids again. | 0:20:05 | 0:20:08 | |
-I'm bid £230. Against you all at 230. -Right, we're in. | 0:20:08 | 0:20:14 | |
Five if you want them. 35 and 240, 250, 260, 270. | 0:20:14 | 0:20:20 | |
At 270 then, in front of me. At £270. | 0:20:20 | 0:20:24 | |
Are you all done then at £270? | 0:20:24 | 0:20:27 | |
That was short and sweet. | 0:20:29 | 0:20:30 | |
I was a bit frightened for a moment, but we got £270. | 0:20:30 | 0:20:34 | |
So that's not bad. That's nearly the top end of the estimate. | 0:20:34 | 0:20:36 | |
Let's add those together and I make that, what is it, £810. | 0:20:36 | 0:20:42 | |
-Very good. -Not bad, is it? -No, it's very exciting. -Happy? | 0:20:42 | 0:20:46 | |
-Yes, very happy. -Yes. -You've got to be! -Glad to get rid of them. | 0:20:46 | 0:20:50 | |
If you think celebrities are just a modern TV invention, then think again. | 0:21:05 | 0:21:11 | |
I'm in Endsleigh Gardens near Tavistock in Devon. | 0:21:11 | 0:21:16 | |
I'm surrounded by the creation of one of England's trendiest landscape gardeners from almost 200 years ago. | 0:21:16 | 0:21:22 | |
The sixth Duke of Bedford built this marvellous home here in the early 19th Century | 0:21:22 | 0:21:26 | |
and he commissioned architect Sir Jeffrey Wyattville to lay out the surrounding gardens. | 0:21:26 | 0:21:31 | |
The problem was, Sir Jeffrey wasn't really up to the job. | 0:21:31 | 0:21:36 | |
Enter Humphry Repton, self-taught landscape gardener and the darling of the landed aristocracy. | 0:21:38 | 0:21:44 | |
His fashionable picturesque style graced stately homes throughout the country | 0:21:44 | 0:21:49 | |
and the duke now summoned him to sprinkle some horticultural magic over Ainsley. | 0:21:49 | 0:21:56 | |
Repton was only too happy to oblige. | 0:21:56 | 0:21:59 | |
Although Humphry Repton had suffered a carriage accident, he wasn't put off his latest commission. | 0:21:59 | 0:22:05 | |
He'd arrive on site in a wheelchair and set about his work. | 0:22:05 | 0:22:09 | |
Being a practical man, he soon discovered that Wyattville's layout | 0:22:09 | 0:22:13 | |
was a bit too dangerous and rugged for the Duke of Bedford's children to play in. | 0:22:13 | 0:22:19 | |
So Repton went to work. | 0:22:20 | 0:22:23 | |
One of the main problems was the steep drop between the house and the river | 0:22:23 | 0:22:27 | |
so he fenced it off and created a beautiful terrace. | 0:22:27 | 0:22:31 | |
The icing on the cake was this little gem in the corner which was one of Repton's trademarks. | 0:22:31 | 0:22:38 | |
This shell grotto is the reward | 0:22:41 | 0:22:43 | |
that the adults and children alike got when they reached the end of the terrace. What a surprise. | 0:22:43 | 0:22:50 | |
It's built of stone and granite, but it's been clad in seashells, crystals and minerals alike. | 0:22:50 | 0:22:56 | |
Highly exotic for the day and it's also a not-so-subtle reminder | 0:22:56 | 0:23:02 | |
that your hosts are far richer and more worldly travelled than you are. | 0:23:02 | 0:23:08 | |
Another Humphry Repton trademark was his famous red book, | 0:23:15 | 0:23:18 | |
so-called because they were bound in a Moroccan red leather, | 0:23:18 | 0:23:22 | |
each made for a particular client, this one for the Duke of Bedford. | 0:23:22 | 0:23:25 | |
And it is the original brochure for the before and after shot. | 0:23:25 | 0:23:30 | |
If you look at this, you can see what it looked like with Wyattville's designs. | 0:23:30 | 0:23:34 | |
Very precarious and quite dangerous for children to play on that terrace | 0:23:34 | 0:23:38 | |
and you turn this leaf and it shows you what it looks like | 0:23:38 | 0:23:41 | |
with Humphry Repton's design, | 0:23:41 | 0:23:43 | |
a wonderful safe terrace, a promenade to walk along. | 0:23:43 | 0:23:46 | |
And each picture is a work of art within itself. | 0:23:46 | 0:23:50 | |
And packaging his work like this to give to the client certainly was good for business. | 0:23:50 | 0:23:55 | |
Humphry Repton's tastes were for something more eventful, | 0:23:57 | 0:24:01 | |
more rustic, a style called picturesque. | 0:24:01 | 0:24:05 | |
This meant making the most of the natural setting. | 0:24:05 | 0:24:07 | |
For example, by redirecting streams like this, | 0:24:07 | 0:24:10 | |
so they cascaded down the hillside, creating an informal rural idyll. | 0:24:10 | 0:24:16 | |
However, Endsleigh House gardens over the years gradually fell into disrepair | 0:24:18 | 0:24:23 | |
and it is only fairly recently that they have been restored to their former glory. | 0:24:23 | 0:24:28 | |
So what's it like to do the gardening in a place like this? | 0:24:28 | 0:24:31 | |
-Let's find out from head gardener Simon Wood. Hi, Simon. -Hello. | 0:24:31 | 0:24:35 | |
-Thanks for talking to us. -That's OK. | 0:24:35 | 0:24:37 | |
-We're in the rock garden, aren't we? -We are. | 0:24:37 | 0:24:40 | |
-What was it like before you got your hands on this? -Very overgrown. | 0:24:40 | 0:24:44 | |
Everything was still here, you just couldn't see it. | 0:24:44 | 0:24:46 | |
So what makes this unmistakably a Repton garden? | 0:24:46 | 0:24:50 | |
What do you look for in Humphry Repton's designs? | 0:24:50 | 0:24:52 | |
Repton tended to look at the wider landscape | 0:24:52 | 0:24:56 | |
and use the natural beauty that's abundant here. | 0:24:56 | 0:24:59 | |
Incredible. And how do you get the water to sort of this level? | 0:24:59 | 0:25:02 | |
-Is it sort of pumped up? -No, no. Everything is naturally fed through gravity. | 0:25:02 | 0:25:06 | |
-It's taken off the main stream. -Yeah. -It runs into various sediment tanks | 0:25:06 | 0:25:11 | |
and is then channelled throughout the garden into various features that we see today. | 0:25:11 | 0:25:16 | |
-Well, let's wander down there and take a look. -Certainly. | 0:25:16 | 0:25:20 | |
Gosh, look at this. When you think of most rockeries, Simon, | 0:25:20 | 0:25:24 | |
they're normally about knee high, but this is absolutely massive! | 0:25:24 | 0:25:27 | |
-It must have taken a lot of guys back then in Humphry Repton's team to manhandle these. -A huge amount. | 0:25:27 | 0:25:34 | |
-They were all brought in by block and tackle, horse and cart. -Local stone? | 0:25:34 | 0:25:38 | |
Local, but also imported from around the world. | 0:25:38 | 0:25:41 | |
-Yeah. -So a huge amount of work involved in getting them here. -Yeah. | 0:25:41 | 0:25:45 | |
Oh, there is light at the end of the tunnel, Simon. | 0:25:47 | 0:25:50 | |
-And look at the view you get greeted with. My word. -It's beautiful. | 0:25:50 | 0:25:54 | |
-It's absolutely stunning! -It really is beautiful. | 0:25:54 | 0:25:57 | |
-What's that building there with the thatched roof? -The dairy. The old dairy. | 0:25:57 | 0:26:02 | |
'This has never been a working dairy, it was simply constructed | 0:26:04 | 0:26:07 | |
'to fit in with Repton's vision of an informal garden. | 0:26:07 | 0:26:12 | |
'Repton even suggested that a peasant dwelling | 0:26:12 | 0:26:15 | |
'be built on an island in the grounds, | 0:26:15 | 0:26:18 | |
'so that a wisp of smoke from its chimney could animate the scene. | 0:26:18 | 0:26:22 | |
'Nothing was too much for the Duke of Bedford. | 0:26:22 | 0:26:25 | |
'Every morning, when he was in residence, a servant would row over to the island, | 0:26:25 | 0:26:29 | |
'open up the empty cottage and simply light a fire, all for the Duke's delight.' | 0:26:29 | 0:26:34 | |
I'm beginning to understand what Humphry Repton was all about now. | 0:26:35 | 0:26:39 | |
I'm just surrounded by it. | 0:26:39 | 0:26:41 | |
-Well, exactly. I mean, behind us, you can see a perfect example - plenty of moving water. -Mm-hm. | 0:26:41 | 0:26:46 | |
Here at Endsleigh, we've got lovely steep valley sides, | 0:26:46 | 0:26:49 | |
-plenty of bedrock, it was all about the natural feel. -I like the scale of the buildings. | 0:26:49 | 0:26:54 | |
-Like little follies, especially the cottages. -All designed to be viewed and they worked, | 0:26:54 | 0:27:01 | |
but it was just making everything so picturesque. | 0:27:01 | 0:27:04 | |
Endsleigh's been described as the most complete example of picturesque-style planting. | 0:27:04 | 0:27:09 | |
And it was Repton's last major undertaking. | 0:27:09 | 0:27:12 | |
-I'd like to think all he'd learned throughout his... -Is here. -..working career was used here at Endsleigh. | 0:27:12 | 0:27:18 | |
-Yeah, he saved the best for last. -That's it. | 0:27:18 | 0:27:20 | |
Isn't it wonderful that these superb gardens | 0:27:32 | 0:27:34 | |
have now been reinstated to their former glory? | 0:27:34 | 0:27:38 | |
Endsleigh House is a fantastic hotel so you can come here at your leisure | 0:27:38 | 0:27:42 | |
and enjoy these tranquil surroundings, but for us, it's straight back to the valuation day. | 0:27:42 | 0:27:48 | |
It's still busy here in Tavistock and Charles has come up roses. | 0:27:55 | 0:28:00 | |
Shirley, beautiful plates, lovely decoration. | 0:28:00 | 0:28:03 | |
Where did you get them from? | 0:28:03 | 0:28:05 | |
-Um, they were given to me as a Christmas present about ten years ago. -Right. | 0:28:05 | 0:28:09 | |
-They were in a display cabinet. -Yes. | 0:28:09 | 0:28:12 | |
And when I moved house, I didn't have room for the display cabinet. | 0:28:12 | 0:28:16 | |
-Right. -So the plates came out and I don't really want them any more. | 0:28:16 | 0:28:22 | |
There is no point in having this if you can't look at them. | 0:28:22 | 0:28:25 | |
-That's true, yeah. -Do you know who they're made by? | 0:28:25 | 0:28:28 | |
-Cauldon. -Cauldon. And I thought they'd be Coalport or Worcester, | 0:28:28 | 0:28:32 | |
some really top quality manufacturer. | 0:28:32 | 0:28:35 | |
Cauldon is good, but I would say they're sort of the top of league division two. | 0:28:35 | 0:28:40 | |
-Now these are hand painted, these floral scenes. -Right, yeah. | 0:28:40 | 0:28:43 | |
And if you look, there's a signature. | 0:28:43 | 0:28:45 | |
They're all painted by a man called Pope - S Pope. | 0:28:45 | 0:28:49 | |
-Well, I've never actually noticed that before. -Have you not? -No. -No. | 0:28:49 | 0:28:53 | |
-So each plate has a value on its own. -OK. -Not just the fact that you have a collection. | 0:28:53 | 0:28:57 | |
-And very much obviously done for display purposes. -Right. | 0:28:57 | 0:29:01 | |
-You would never dream of putting cod and chips on these. -No. | 0:29:01 | 0:29:04 | |
There's another fascinating thing on the back which you may have looked at and may not have done. | 0:29:04 | 0:29:09 | |
I'll turn mine over, um, and Cauldon, England there, | 0:29:09 | 0:29:13 | |
but have you noticed another name on the back? | 0:29:13 | 0:29:15 | |
Not that I took any notice of it, no. | 0:29:15 | 0:29:18 | |
Marvellous name - Bailey, Banks and Biddle - | 0:29:18 | 0:29:21 | |
sounds like an old firm of London solicitors, but it's not. | 0:29:21 | 0:29:24 | |
-Bailey, Banks and Biddle Company, Philadelphia. -Oh, really? | 0:29:24 | 0:29:27 | |
So these were made on commission for a company in Philadelphia, | 0:29:27 | 0:29:33 | |
exported to Philadelphia and sold there, | 0:29:33 | 0:29:36 | |
then subsequently found their way back to England. | 0:29:36 | 0:29:40 | |
What about age? | 0:29:40 | 0:29:41 | |
-I haven't got a clue. Not a clue. -No. No. | 0:29:41 | 0:29:44 | |
This Cauldon mark would date them from... | 0:29:44 | 0:29:50 | |
1895 to 1920, so let's for the sake of argument call them 1910. | 0:29:50 | 0:29:55 | |
-OK. -Edwardian. -Yeah, yeah. | 0:29:55 | 0:29:57 | |
Um, the only thing I would say against them is they are old-fashioned scenes. | 0:29:57 | 0:30:01 | |
-Oh, I agree, yes. -You know, floral decoration like this is, | 0:30:01 | 0:30:05 | |
although these perhaps aren't quite Victorian, very much have a Victorian flavour. | 0:30:05 | 0:30:10 | |
-Uh-huh. -And we are steering away from the very, very ornate. -Mm-hm. | 0:30:10 | 0:30:16 | |
-Have you ever had them insured? -No. -No. -No. | 0:30:16 | 0:30:20 | |
-Have you got a clue about value? -No. -No clue? -Not at all. | 0:30:20 | 0:30:23 | |
I think they're worth between... | 0:30:23 | 0:30:26 | |
-150 to 250, that sort of order. -Oh, really? | 0:30:26 | 0:30:30 | |
-We ought to put a reserve price on. -Yeah. -We shouldn't give them away. | 0:30:30 | 0:30:33 | |
-No. So what reserve would you put on it? -I think I would say to the auctioneer £150. -OK. | 0:30:33 | 0:30:38 | |
Bit of discretion. If he got within a pitch and a putt of that, let them go. | 0:30:38 | 0:30:42 | |
-Yes. -Happy with that? -I am. | 0:30:42 | 0:30:44 | |
-Jackie, how are you doing? -I'm fine, thank you. -Are you a local lass? | 0:30:50 | 0:30:54 | |
-No. I moved here from Oxford. -From Oxford? -Yes. -Did you buy this down here or bring it with you? | 0:30:54 | 0:30:59 | |
I brought it with me. I bought it at Didcot Railway Station. | 0:30:59 | 0:31:02 | |
-Oh, right. When? -30 years ago. There's a museum at the... | 0:31:02 | 0:31:06 | |
There used to be a museum at the train station and that's where I bought it. | 0:31:06 | 0:31:10 | |
-They reproduce a lot of these signs. -Yes, but they didn't so much then. | 0:31:10 | 0:31:14 | |
I don't think they were quite so sought after. | 0:31:14 | 0:31:17 | |
No. And this is published by British Railways western region. | 0:31:17 | 0:31:22 | |
-I think this is absolutely lovely. -So do I. I still like it. -So... | 0:31:22 | 0:31:26 | |
Let's talk nitty gritty here. | 0:31:26 | 0:31:29 | |
-This is a British Railways poster. -Mmm. -Pretty sure it's an original. | 0:31:29 | 0:31:34 | |
"Teignmouth is Devon", so it's promoting the Devon countryside. | 0:31:34 | 0:31:38 | |
-Travelling by train. -Yeah. | 0:31:38 | 0:31:40 | |
-We've got the artist's name here, but I can't quite work that out. -I've never been able to read that. | 0:31:40 | 0:31:46 | |
And we've got this wonderful scene here of the girl bathers, | 0:31:46 | 0:31:50 | |
of the promenade being lit up. | 0:31:50 | 0:31:53 | |
We've got these wonderful cliffs on the background and I think... | 0:31:53 | 0:31:57 | |
-The colour of the sea. -It's just brilliant. Why did you buy it? | 0:31:57 | 0:32:00 | |
-It's just a lovely scene. -Why do you want to sell it now? | 0:32:00 | 0:32:02 | |
Well, I've had it for 30 years and I just think really it's time for a change. | 0:32:02 | 0:32:07 | |
These things are very, very sought after. | 0:32:07 | 0:32:10 | |
I think this is a great subject, we're in Devon, | 0:32:10 | 0:32:13 | |
-it's going to be sold in Devon, um, I can't think of a better place to sell it. -No, that's right. | 0:32:13 | 0:32:18 | |
-I think we need to put an estimate on it of £100-£200. -Right. | 0:32:18 | 0:32:22 | |
And we'll put a fixed reserve of £100 on it. | 0:32:22 | 0:32:25 | |
-And I would just hope that it does really, really well. -OK. | 0:32:25 | 0:32:28 | |
John, Hillary, lovely to see you | 0:32:37 | 0:32:39 | |
and I am so enthusiastic about this fabulous collection of postcards. | 0:32:39 | 0:32:45 | |
The historical content, the condition, | 0:32:45 | 0:32:48 | |
the numbers and the story behind them. John, enlighten us. | 0:32:48 | 0:32:53 | |
My father's elder brother... | 0:32:53 | 0:32:56 | |
-Yeah? -..who was born in 1888... | 0:32:56 | 0:32:59 | |
-Yeah? -Joined the Royal Navy and while he was | 0:32:59 | 0:33:04 | |
serving on board HMS Lord Raglan must have visited Newfoundland. | 0:33:04 | 0:33:11 | |
Um, he bought them and sent them home to his parents. | 0:33:11 | 0:33:15 | |
Right. I think we've only found one that's actually written in. | 0:33:15 | 0:33:18 | |
-That's right. -So whether he put them in envelopes or whether he took them back, | 0:33:18 | 0:33:22 | |
kept them and then took them when he got home. | 0:33:22 | 0:33:25 | |
-But he had a tragic end, I believe? -Yes, he was, um... | 0:33:25 | 0:33:29 | |
The Lord Raglan was torpedoed. | 0:33:29 | 0:33:32 | |
-Torpedoed? -Yes, in the Bosphorus. | 0:33:32 | 0:33:34 | |
-Right. -And he was killed in 1918. | 0:33:34 | 0:33:38 | |
1918? And he was born in 1888. | 0:33:38 | 0:33:41 | |
-Yes. -So he died at 30. -That's right. | 0:33:41 | 0:33:43 | |
So he really collected these, we can date these postcards, can't we? | 0:33:43 | 0:33:47 | |
-Yes. -Pretty accurately. | 0:33:47 | 0:33:49 | |
Most of these are probably bought between, let us say, 1910 and 1914. | 0:33:49 | 0:33:55 | |
And incidentally, by way of proof, I suppose, | 0:33:55 | 0:33:59 | |
the one we've found that has got writing on it is dated I think 1910. | 0:33:59 | 0:34:03 | |
-That's it. -From Newfoundland. | 0:34:03 | 0:34:05 | |
And it's quite poignant to read the story. | 0:34:05 | 0:34:09 | |
And Swan to Mrs Swan. Are you a Swan? | 0:34:09 | 0:34:12 | |
-Yes. -Yeah. -"Dear mother and father, just to let you know | 0:34:12 | 0:34:16 | |
"that I am getting on all right and I hope you are all the same at home. | 0:34:16 | 0:34:21 | |
"This is a very nice postcard. | 0:34:21 | 0:34:24 | |
"You will see Willy, that's Willy, between two..." | 0:34:24 | 0:34:29 | |
It says coad fish, C-O-A-D. | 0:34:29 | 0:34:31 | |
I thought that means cod fish, but they don't make cod that size. | 0:34:31 | 0:34:35 | |
-I shouldn't think so. -Maybe then. They've all been caught. | 0:34:35 | 0:34:38 | |
You'd have fish and chips for the rest of your life! Amazing. | 0:34:38 | 0:34:42 | |
And the fish either side of him. | 0:34:42 | 0:34:44 | |
"All from your loving son." | 0:34:44 | 0:34:46 | |
And that's, gosh, eight years before he died. | 0:34:46 | 0:34:52 | |
As a matter of interest, we've got people there, | 0:34:52 | 0:34:55 | |
girls from the West Indies, there's somebody I see, | 0:34:55 | 0:34:58 | |
the St Lucian belle and the founders of Newfoundland. | 0:34:58 | 0:35:03 | |
We've got some North American Indians here. | 0:35:03 | 0:35:07 | |
Bear's Tooth, he looks a severe sort of chap. | 0:35:07 | 0:35:09 | |
You wouldn't want to come across him would you? Be instantly scalped. | 0:35:09 | 0:35:14 | |
What made you bring them along to Flog It! today? | 0:35:14 | 0:35:17 | |
-I did. -Oh, you did? -Yes. Well, I suggested it, put it that way. | 0:35:17 | 0:35:21 | |
-Yeah. Well, you wanted it turned into some money? -No, I just... | 0:35:21 | 0:35:25 | |
-Mainly because I get them out about every five years and have a revision of them. -Yes. Yes. | 0:35:25 | 0:35:30 | |
-How many have we got here? -Well, there's 80... -Six albums. -Yes. | 0:35:30 | 0:35:35 | |
And there's 80 per album. | 0:35:35 | 0:35:37 | |
80 per album and they're full. That's 480 cards. | 0:35:37 | 0:35:40 | |
Well, I tell you, I think the collection's worth £400-£600, | 0:35:40 | 0:35:43 | |
and we'll put a reserve of 400. | 0:35:43 | 0:35:46 | |
And if the top bid is 390, well, so be it. | 0:35:46 | 0:35:50 | |
You can take them home again and have your look every five years. | 0:35:50 | 0:35:54 | |
But I'm pretty confident they'll do well. | 0:35:54 | 0:35:56 | |
And before we go off to auction, let's remind ourselves of what we're selling. | 0:35:56 | 0:36:02 | |
Shirley's Edwardian hand-painted plates have travelled from America. | 0:36:02 | 0:36:06 | |
I hope they get a big reception in the auction rooms. | 0:36:06 | 0:36:09 | |
Jackie's found a bit of a bargain with her railway poster. | 0:36:09 | 0:36:13 | |
Given its local interest, this should steam away with a good price in the auction. | 0:36:13 | 0:36:17 | |
John and Hillary's impressive collection of postcards | 0:36:17 | 0:36:20 | |
is a fascinating record of social history from the early 1900s and deserves a more regular airing. | 0:36:20 | 0:36:26 | |
Back at Eldreds, Anthony has taken a shine to the railway poster. | 0:36:36 | 0:36:41 | |
This says it all, "Come to glorious Devon." It belongs to Jackie. | 0:36:41 | 0:36:45 | |
-Now she bought this about 30-odd years ago from a museum in Didcot and paid £10 for it. -£10. | 0:36:45 | 0:36:50 | |
Yes. Philip, our expert, has put a valuation of £100 to £200 on this. | 0:36:50 | 0:36:54 | |
-It's going to breeze that, surely. -Yeah, I think it will. | 0:36:54 | 0:36:58 | |
It's a realistic estimate, um, but we have had conversation | 0:36:58 | 0:37:02 | |
with the vendor since and she's decided to put £200 on it and I don't argue with that. | 0:37:02 | 0:37:08 | |
-No. -I think that's achievable. You know, the estimate has risen now to £200-£300. | 0:37:08 | 0:37:14 | |
-I don't blame her, actually. -Yeah. No, I'd give £200 for it. | 0:37:14 | 0:37:17 | |
-Is this something you like, actually, Anthony? -I do like it. -Would you buy this? | 0:37:17 | 0:37:21 | |
No, I wouldn't, because I think it needs to go into a hotel. | 0:37:21 | 0:37:25 | |
-Yes. -Or a restaurant where it is, in Teignmouth. | 0:37:25 | 0:37:28 | |
Yeah. We're in the right area, plenty of hotels around, | 0:37:28 | 0:37:31 | |
-so I think that'll be quite hot and a lot of people bidding on that. -Yeah, I think they will be. | 0:37:31 | 0:37:36 | |
That sounds promising. Now, about those plates. | 0:37:38 | 0:37:42 | |
-When you think about it, six plates, but it's six pieces of art, isn't it? -That's right. | 0:37:46 | 0:37:51 | |
They are all hand painted by Pope, made for a company in Philadelphia. | 0:37:51 | 0:37:55 | |
-Yeah. -Which is quite unusual. -Mmm. | 0:37:55 | 0:37:58 | |
We've got £150 to £250 on these. If they were something different like Coalport, what would they be like? | 0:37:58 | 0:38:04 | |
If they were Coalport, I think they'd be more £500, I really do. Five or six hundred pounds. | 0:38:04 | 0:38:09 | |
-Well, we're going to find out what they're worth. I think you're right. -Oh, these are them now? | 0:38:09 | 0:38:14 | |
Yeah, they're going under the hammer right now. This is it. | 0:38:14 | 0:38:17 | |
Next, lot 436. | 0:38:17 | 0:38:20 | |
Six Cauldon porcelain plates, | 0:38:20 | 0:38:22 | |
each one differently painted. There they are. | 0:38:22 | 0:38:25 | |
£110 I'm bid for them, against you all at 110. | 0:38:25 | 0:38:28 | |
-At 120, 130, 140, 150, 160, 70, 180. -Oh. -Wow. | 0:38:28 | 0:38:33 | |
At 180 now. All done then at £180 I'll sell them. | 0:38:33 | 0:38:39 | |
-Yes. -That's it. -Blink and you'll miss that. -Gosh. | 0:38:39 | 0:38:42 | |
-He ran that up really quickly! -That was very quick. | 0:38:42 | 0:38:44 | |
-£180, so you were spot on. -Yeah. -Well, I'm pleased with that. | 0:38:44 | 0:38:48 | |
-Happy with that? -Yes, I am. | 0:38:48 | 0:38:49 | |
Jackie, that poster inspired many people to come down here on holiday. | 0:38:55 | 0:38:59 | |
-I'm sure it did. -It's got the look and I know why Philip fell in love with it. | 0:38:59 | 0:39:03 | |
It really is, it just sums up that period, doesn't it? | 0:39:03 | 0:39:06 | |
What I want to know is, why do you want to flog this? | 0:39:06 | 0:39:10 | |
I've had it for 30 years, so I've enjoyed it for a long while really. | 0:39:10 | 0:39:15 | |
-I thought it was time for it to go somewhere else. -Been on the wall? Yes. | 0:39:15 | 0:39:19 | |
I know whose wall it'd like to go on. Philip, you're not allowed to buy. | 0:39:19 | 0:39:22 | |
-It's a really nice thing and that railway memorabilia is collectable from two points of view. -Yes. | 0:39:22 | 0:39:29 | |
One from that, one from the Art Deco period, and I think it'll go really well. | 0:39:29 | 0:39:33 | |
-Well, you originally said at the valuation day £100-£200. -Yeah. | 0:39:33 | 0:39:36 | |
-You've had a chat to Anthony. -Yes. -You've upped the ante. | 0:39:36 | 0:39:39 | |
-I'm afraid so. -He told us before the sale started, we've got a valuation now of £200-£300. | 0:39:39 | 0:39:44 | |
-But I don't blame you, nor does he. -I think it'll make its money. -It's got to. -It'll make its money. | 0:39:44 | 0:39:49 | |
-I thought so. -It'll steam ahead for that £300. It's got to! -It's quite unusual. | 0:39:49 | 0:39:53 | |
-Yes, yes. -It was the steam ahead I was wincing at. | 0:39:53 | 0:39:56 | |
Next is lot 16. | 0:39:56 | 0:39:57 | |
It's a British Railways advertising poster. | 0:39:57 | 0:40:01 | |
There it is, a good local one, Teignmouth in Devon. | 0:40:01 | 0:40:04 | |
A lot of bids again. I'm bid £220. | 0:40:04 | 0:40:07 | |
-Straight in. -Straight in at 220. -At £220. 30 if you want it. | 0:40:07 | 0:40:11 | |
At 220 then. 230, 240. | 0:40:11 | 0:40:14 | |
-This is good. -250, 260, 270, 280, 290, 300. | 0:40:14 | 0:40:19 | |
Can't see you now. At £300 by the door then, at £300. Quite sure then? | 0:40:19 | 0:40:24 | |
At £300, I'll sell it. | 0:40:24 | 0:40:26 | |
-We're on the right tracks there. -Oh, you are awful, Paul. -£300. | 0:40:28 | 0:40:32 | |
That is, that's... | 0:40:32 | 0:40:33 | |
I've got to tell you this. We were looking at it before the sale started | 0:40:33 | 0:40:37 | |
-and Charlie Ross came along and said that man in it's modelled on me. -Yeah, he was wrong. | 0:40:37 | 0:40:42 | |
Hillary and John, what a collection. | 0:40:49 | 0:40:52 | |
We've got six albums with 480 postcards. Lots of social history. | 0:40:52 | 0:40:57 | |
-You've had these for 25 years? You get them out every five years to look at them. -That's it. | 0:40:57 | 0:41:01 | |
-John does. -Thank goodness you got them out to bring them to the valuation day. | 0:41:01 | 0:41:05 | |
-They caught your eye, Charlie. -Yes. -So much social history in them. | 0:41:05 | 0:41:09 | |
-The condition on the Newfoundland ones is pretty spectacular. -Virtually mint condition. | 0:41:09 | 0:41:13 | |
-And I think you're bang on with £400-£600. -Yeah. | 0:41:13 | 0:41:16 | |
I really do. I really do. And I'd like to see the 600-plus mark. | 0:41:16 | 0:41:20 | |
-Well, we would like to, but... -LAUGHTER | 0:41:20 | 0:41:23 | |
-More the merrier. -Why are you getting rid of them? | 0:41:23 | 0:41:26 | |
-Because he only gets the albums out every five years? -I think so. | 0:41:26 | 0:41:29 | |
The thing is, he has so many things that he doesn't want to get rid of. | 0:41:29 | 0:41:33 | |
-He's like a magpie. -Oh, definitely. -He's not Mr Swan, he's a magpie. | 0:41:33 | 0:41:37 | |
Definitely. I'm the opposite. | 0:41:37 | 0:41:40 | |
-Well, good luck, OK. -Thank you. -Going under the hammer now. | 0:41:40 | 0:41:44 | |
Next is lot 74. | 0:41:44 | 0:41:47 | |
It's a collection of approximately 480 postcards. | 0:41:47 | 0:41:51 | |
Topographical, Newfoundland, all sorts there. | 0:41:51 | 0:41:54 | |
America, Australia. Several bids. | 0:41:54 | 0:41:56 | |
-I'm bid £410 for them. -Oh, straight in. | 0:41:56 | 0:41:59 | |
-Well, that's a good start. -420, 430, 440, 450, 460, 470, 480. | 0:41:59 | 0:42:07 | |
-This is more like it. -490, 500. | 0:42:07 | 0:42:09 | |
Lots of interest. There's three or four people after this. | 0:42:09 | 0:42:13 | |
530, 540, 550, 560, 570, | 0:42:13 | 0:42:18 | |
-580, 590, 600. And 20. -Oh. | 0:42:18 | 0:42:23 | |
£620 seated. 640 now. | 0:42:23 | 0:42:26 | |
660, 670, 680, 690 now. | 0:42:26 | 0:42:31 | |
700. And 20. | 0:42:31 | 0:42:34 | |
740 seated here. | 0:42:34 | 0:42:38 | |
At £740, then. Quite sure at 740? | 0:42:38 | 0:42:44 | |
-GAVEL BANGS -Crack. That is a sold sound. £740. | 0:42:44 | 0:42:47 | |
-I just can't believe it. -Hillary, what's going through your mind? | 0:42:47 | 0:42:51 | |
-Pretty good. -I really don't know! | 0:42:51 | 0:42:53 | |
Tell him to get rid of the rest of the stuff he's got. | 0:42:53 | 0:42:56 | |
We have coins, he has coins. Ah, not coins, medals as well. | 0:42:56 | 0:43:00 | |
-What are you going to put that money towards? -Well... -Future holidays. | 0:43:00 | 0:43:04 | |
-Yeah, I don't blame you. -Yes. | 0:43:04 | 0:43:06 | |
I don't blame you. If you've got any postcards like that lying around | 0:43:06 | 0:43:10 | |
just bring them in, because we'll value them, we'll flog them. | 0:43:10 | 0:43:13 | |
-Yeah. -I'm going back into your garage after the sale. | 0:43:13 | 0:43:17 | |
Sadly, we've run out of time from Eldreds in Plymouth. | 0:43:17 | 0:43:20 | |
So until the next time, plenty more surprises to come on Flog It! | 0:43:20 | 0:43:23 | |
For more information about Flog It, including how the programme was made, | 0:43:25 | 0:43:31 | |
visit the website at bbc.co.uk/lifestyle. | 0:43:31 | 0:43:34 | |
Subtitles by Red Bee Media Ltd | 0:43:41 | 0:43:44 |