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This medieval castle overlooks the city of Lancaster's truly eventful history, | 0:00:02 | 0:00:07 | |
through the War of the Roses to the Industrial Revolution | 0:00:07 | 0:00:10 | |
and right now it's about to witness another great historic event, | 0:00:10 | 0:00:14 | |
because today "Flog It!" is in town. | 0:00:14 | 0:00:17 | |
Lancaster made its fortune during the 18th century, when its port was one of the busiest in the country | 0:00:54 | 0:01:00 | |
and its civic buildings certainly show off their wealth and their pride. | 0:01:00 | 0:01:04 | |
Today's venue is the very imposing town hall. | 0:01:04 | 0:01:08 | |
Rummaging through the bags and boxes of this massive queue today, | 0:01:15 | 0:01:19 | |
we've got our two experts, Mr Philip Serrell and Anita Manning. | 0:01:19 | 0:01:23 | |
And Anita's quick to hog today's first item. | 0:01:29 | 0:01:34 | |
Jill, Sarah... | 0:01:34 | 0:01:36 | |
..this is a great laugh. | 0:01:37 | 0:01:39 | |
-It is! -"Flog It!" is so much fun, especially when people bring in a group of very sinister pigs. | 0:01:39 | 0:01:48 | |
-Yeah, they're hideous, aren't they? -Sarah, tell me all about these. | 0:01:48 | 0:01:52 | |
When I was little my mum started a bank account and we got this little piggy first. | 0:01:52 | 0:01:58 | |
And then when you saved a certain amount, you got | 0:01:58 | 0:02:03 | |
another one and another one, until you got the whole set. | 0:02:03 | 0:02:05 | |
-And by the time you got, I suppose, to Dad... -Yeah, you had... | 0:02:05 | 0:02:09 | |
-You were worth a couple of bob? -Well, yeah. | 0:02:09 | 0:02:12 | |
As a child, yeah. 100-odd quid, yeah. It's not bad. | 0:02:12 | 0:02:16 | |
So what happened when your kid got to £100? | 0:02:16 | 0:02:20 | |
We went to an account that gave better interest. | 0:02:20 | 0:02:23 | |
Very good, very good. Wise mum. Always listen to your mum. | 0:02:23 | 0:02:29 | |
Exactly, yes. Will do. | 0:02:29 | 0:02:31 | |
So really what they were was a saving incentive and your darling mum | 0:02:31 | 0:02:39 | |
decided that she would start off | 0:02:39 | 0:02:42 | |
-and get you into saving. Is that right? -Oh, yeah. | 0:02:42 | 0:02:45 | |
And it's worked reasonably well. | 0:02:45 | 0:02:47 | |
-Yeah, relatively. -Did you have them in a row? | 0:02:47 | 0:02:50 | |
Yeah, they were on the shelf in the bedroom, | 0:02:50 | 0:02:53 | |
peering down at us as we played with our little toys. | 0:02:53 | 0:02:58 | |
-To me they look a bit sinister. -Yeah. | 0:02:58 | 0:03:01 | |
-Do they feel like that to you or do you love them? -No. -Do you love them, Sarah? | 0:03:01 | 0:03:06 | |
In a very special way I'm sure, yeah. I mean, you've got the boys | 0:03:06 | 0:03:12 | |
and then you've got Mum and then you've got the funny-looking uncle. | 0:03:12 | 0:03:17 | |
I'm not sure what he is, but I'm not particularly keen on him. | 0:03:17 | 0:03:20 | |
-Is that not the sister? -I don't know! | 0:03:20 | 0:03:22 | |
I think it's supposed to be, but he just looks funny. | 0:03:22 | 0:03:27 | |
Well, they're great fun, they're great fun and they are collectable, they are. | 0:03:28 | 0:03:33 | |
They were doing a little better three or four years ago. | 0:03:33 | 0:03:37 | |
They are made by Wade, who made little animals. | 0:03:37 | 0:03:40 | |
They made little Wade Whimsies which children collected, little humorous objects and so on. | 0:03:40 | 0:03:47 | |
And I think these are in that sort of vein. | 0:03:47 | 0:03:51 | |
Price - I would say that we should put them in | 0:03:51 | 0:03:55 | |
with an estimate of perhaps £50-£80. | 0:03:55 | 0:03:59 | |
They may do better than that, they may do better, but I think that's reasonable enough. | 0:03:59 | 0:04:04 | |
A tenner apiece for all that fun. | 0:04:04 | 0:04:06 | |
Yeah, exactly. | 0:04:06 | 0:04:08 | |
Ladies, shall these little pigs go to market? | 0:04:08 | 0:04:11 | |
-I think they will, yes. -Absolutely. Definitely. -Let's flog them! -OK. | 0:04:11 | 0:04:17 | |
-How are you doing, Richard? -Very well thank you. Very well. | 0:04:24 | 0:04:27 | |
Ever thought about silver polish? | 0:04:27 | 0:04:29 | |
-No. I've never seen 'em for I don't know how long. -What do you mean? | 0:04:29 | 0:04:33 | |
Well, I moved house about 18 years ago and they went up into the loft | 0:04:33 | 0:04:39 | |
and when I saw your advert, I decided to go and dig them out. | 0:04:39 | 0:04:42 | |
So these haven't been cleaned for 18 years? | 0:04:42 | 0:04:45 | |
I'm guessing it's between 16 and 18. | 0:04:45 | 0:04:47 | |
-I'll let you off. -They've been wrapped up. | 0:04:47 | 0:04:49 | |
I think they're nice. They're a 20th-century copy of an 18th-century stick, OK? | 0:04:49 | 0:04:55 | |
If these were 18th century, which they're not, they'd be £1,000, £2,000, right? | 0:04:55 | 0:05:02 | |
These are very much 20th century. If you turn one over, | 0:05:02 | 0:05:08 | |
we can see they're not actually solid silver. This is loaded. | 0:05:08 | 0:05:12 | |
It's almost like a plaster base. | 0:05:12 | 0:05:14 | |
So they are loaded silver, 20th century. What are they worth? | 0:05:14 | 0:05:19 | |
I think in auction we could put an estimate on them of £100-£200. | 0:05:19 | 0:05:24 | |
We'll put a reserve on them of £100. Are you happy with that? | 0:05:24 | 0:05:27 | |
-I'd like a reserve a bit higher perhaps. -What?! | 0:05:27 | 0:05:31 | |
-You said up to £200. -If you have your reserve higher than the estimate, you're breaking the law. | 0:05:31 | 0:05:37 | |
-OK. -So I think 100-200. | 0:05:37 | 0:05:42 | |
I don't mind you putting perhaps 120 on them and then we'll estimate them at 150 to 250. | 0:05:42 | 0:05:46 | |
-OK, put it at 120. -Are you happy with that? | 0:05:46 | 0:05:49 | |
-That's ideal, yeah. -So 120 reserve, 150-250 estimate. | 0:05:49 | 0:05:53 | |
-They might go and make more. -That's OK. | 0:05:53 | 0:05:55 | |
-But the beauty of an auction is that the market will dictate what they're going to make. -Yep. | 0:05:55 | 0:06:02 | |
Because people will bid on them on the day. | 0:06:02 | 0:06:04 | |
They will be catalogued. They'll go on the internet. | 0:06:04 | 0:06:07 | |
And all those things will ensure that they make what they're worth. | 0:06:07 | 0:06:11 | |
-Fine, yeah. -So 18 years ago, why did you put these in the roof? | 0:06:11 | 0:06:16 | |
They're not something that you stick around as an ornament, are they? | 0:06:16 | 0:06:19 | |
-That's just what they are. -I know they're not functional. I'm not going to stick candles in them. | 0:06:19 | 0:06:24 | |
-Did you never have a power cut? -Yeah, but I've never stuck candles in them. | 0:06:24 | 0:06:28 | |
I'm going to let you off for not cleaning them, but let's hope they do well at the auction. | 0:06:28 | 0:06:33 | |
Eileen, this has certainly caught my eye. | 0:06:41 | 0:06:44 | |
For one reason - the little label on the back of this. | 0:06:44 | 0:06:47 | |
So I want you to tell me how you came by this toilet mirror. | 0:06:47 | 0:06:50 | |
I bought it in a local auction warehouse, because I liked it. | 0:06:50 | 0:06:55 | |
-How long ago? -About three years. | 0:06:55 | 0:06:57 | |
-Were you looking for something like this? -No, but I saw it and liked it. | 0:06:57 | 0:07:01 | |
I didn't like these bits on the top especially, but the drawers and just the general look of it. | 0:07:01 | 0:07:06 | |
-It's just a nice mirror. -They're slightly over the top. | 0:07:06 | 0:07:08 | |
Sort of brass, the neo-classical finials. | 0:07:08 | 0:07:11 | |
-Yes. -They don't quite sit that well, do they? | 0:07:11 | 0:07:13 | |
But it is an over-the-top piece. | 0:07:13 | 0:07:15 | |
It's not what I would say is a period piece. | 0:07:15 | 0:07:17 | |
It's not a 17th- or 18th-century piece. | 0:07:17 | 0:07:19 | |
-No. -Unfortunately, this is early 20th century. | 0:07:19 | 0:07:22 | |
So it's going to have all those elements of nouveau riche and over the top about it. | 0:07:22 | 0:07:26 | |
It's got a nice bit of cut, bevelled glass though. That's a bit of quality. | 0:07:26 | 0:07:31 | |
Let's just take the drawers out and have a look. | 0:07:31 | 0:07:34 | |
The whole construction is made of mahogany, which is nice. | 0:07:34 | 0:07:38 | |
That's good. It's an exotic hardwood. This is a Spanish mahogany. | 0:07:38 | 0:07:41 | |
It's not that sort of lovely flamed, figured Cuban mahogany you'd expect from the West Indies. | 0:07:41 | 0:07:46 | |
-So it's a cheaper mahogany. -Right. | 0:07:46 | 0:07:48 | |
But it is quality. Look, it's all dovetailed, as you can see. | 0:07:48 | 0:07:52 | |
-And from a wonderful furniture maker local to this area - Gillows of Lancaster. -Yes. | 0:07:52 | 0:07:58 | |
They later joined forces with a company from Manchester called Waring. | 0:07:58 | 0:08:03 | |
And this is a Waring and Gillows. | 0:08:03 | 0:08:05 | |
But this is circa 1920. | 0:08:05 | 0:08:08 | |
-Right. -It's got the attributes of a George II piece from the 1740s. | 0:08:08 | 0:08:15 | |
It's got those lovely bracket feet. | 0:08:15 | 0:08:18 | |
-Quite over the top. -Yes. -Very architectural. | 0:08:18 | 0:08:21 | |
But unfortunately what lets it down as a piece of furniture is the fact that it's been stripped back. | 0:08:21 | 0:08:27 | |
It's been over-cleaned and varnished. | 0:08:27 | 0:08:29 | |
It's not got original patina. There's nothing you can touch | 0:08:29 | 0:08:34 | |
-that gives it a sense of history, if you know what I mean. -Yes. | 0:08:34 | 0:08:37 | |
I'm just going to look at the back. If I can turn this around, Eileen. | 0:08:37 | 0:08:41 | |
I won't say goodbye. I'll just hide myself. | 0:08:41 | 0:08:44 | |
Yeah, in fact, I'll take that out. | 0:08:44 | 0:08:47 | |
Then I can see you. How about that? | 0:08:47 | 0:08:49 | |
If you hold that. | 0:08:49 | 0:08:51 | |
Right. | 0:08:51 | 0:08:52 | |
And I just do that. Yes, that's the all-important little label. If you clean that up... | 0:08:54 | 0:09:00 | |
It says "Guaranteed, designed and manufactured at our Lancaster factory"... | 0:09:00 | 0:09:06 | |
-Right. -"Waring and Gillows". | 0:09:06 | 0:09:08 | |
So there you go. There's its little tag. | 0:09:08 | 0:09:10 | |
Purely because of that, we hopefully will get your money back. | 0:09:10 | 0:09:14 | |
We've got to put this into auction with a value, I personally believe, | 0:09:14 | 0:09:19 | |
-of £150-£250. -Right. | 0:09:19 | 0:09:23 | |
And if you want to, we can put a reserve on of 150. | 0:09:23 | 0:09:27 | |
-Yes, please. -Protect it a little bit. | 0:09:27 | 0:09:29 | |
-Cos it is useful and I'm sure you use it, do you? -Well, we used to use it, | 0:09:29 | 0:09:33 | |
but we've since moved and don't have so much need for it any more. That's why I want to "Flog It!". | 0:09:33 | 0:09:38 | |
-OK. Well, we'll try our very best for you. -Fine, thank you. -Thank you. | 0:09:39 | 0:09:43 | |
-Are you local lassies? -No. Well, we are... -No, yes, no, yes? | 0:09:48 | 0:09:52 | |
-Come on, make your mind up. -We're from Bolton-le-Sands. | 0:09:52 | 0:09:55 | |
-Bolton-le-Sands. Where's that then? -About four miles down the road. | 0:09:55 | 0:09:59 | |
-That's on the sands then, on the sea, is it? -Yes. -Is it nice? -Very nice. -Bracing walks? | 0:09:59 | 0:10:03 | |
-Lovely. -Tell me about these then. | 0:10:03 | 0:10:05 | |
-They belonged to two old ladies that I... -That's not you two, is it? | 0:10:05 | 0:10:08 | |
-No! -No, I just wanted to establish that. Go on. | 0:10:08 | 0:10:11 | |
..That I'd known for about 30 years. | 0:10:11 | 0:10:13 | |
-Yeah. -I used to go and help them when they had a holiday flat. -Yeah. | 0:10:13 | 0:10:17 | |
-They were two really lovely old ladies. -They clearly liked you, cos they gave you these, didn't they? | 0:10:17 | 0:10:22 | |
Yeah, yeah. | 0:10:22 | 0:10:24 | |
What do you know about them? | 0:10:24 | 0:10:26 | |
Not a lot, except that their father worked for the Leeds Fireclay, which became Burmantofts. | 0:10:26 | 0:10:32 | |
-I thought you said you didn't know very much? -Well, that much. | 0:10:32 | 0:10:35 | |
So if we just turn one of these over, we can just see on the base here, it says "The Leeds Fireclay Company". | 0:10:35 | 0:10:41 | |
-That's right. -And as you so rightly say, they became Burmantofts. | 0:10:41 | 0:10:45 | |
-Yes. -And Burmantofts produced those sort of...what? about 1890, 1900... | 0:10:45 | 0:10:49 | |
those really decorative, big, bold vases in real in-your-face colours | 0:10:49 | 0:10:53 | |
-with dragons and serpents. -Yeah. -Have you got any of that? | 0:10:53 | 0:10:56 | |
-Just a dragon. -You've got a dragon? | 0:10:56 | 0:10:59 | |
-Yes. -Blimey. | 0:10:59 | 0:11:01 | |
-I think that these are in-house paperweights. -Right. | 0:11:01 | 0:11:06 | |
That were almost like advertising for the Leeds Fireclay Company | 0:11:06 | 0:11:13 | |
and I think that these might have been given away or possibly sold. | 0:11:13 | 0:11:17 | |
Their condition leaves a bit to be desired, doesn't it? | 0:11:17 | 0:11:20 | |
-They scrubbed everything, these ladies. -I'm sure they did. -Spring cleaned and everything was scrubbed. | 0:11:20 | 0:11:25 | |
-Yeah? -So I think that's why they were... | 0:11:25 | 0:11:28 | |
They're chipped and nibbled everywhere, but I think they're quite a bit of fun. | 0:11:28 | 0:11:32 | |
-Yeah. -I think you've got to put a £50-£80 estimate on them | 0:11:32 | 0:11:36 | |
-and I think that you put a reserve on them of £40. -Right. -Why do you want to sell 'em? | 0:11:36 | 0:11:40 | |
My son has qualified for the World Triathlon Championships. | 0:11:40 | 0:11:43 | |
-World Triathlon Championships? -Yeah. They take place in June in Vancouver, in Canada. | 0:11:43 | 0:11:48 | |
So he is in the World Championships | 0:11:48 | 0:11:50 | |
-and you want to sell these to go and watch him? -Yeah. | 0:11:50 | 0:11:52 | |
So we've really got to hope then that our little Leeds lions do very well for him. | 0:11:52 | 0:11:57 | |
-I think they will. -I hope so. -Do you not like them? Is it just to raise money? | 0:11:57 | 0:12:01 | |
I like them. We just want to raise some money. I want to help her. | 0:12:01 | 0:12:05 | |
I think that's brilliant and, on the basis of that alone, I hope they make a fortune. | 0:12:05 | 0:12:09 | |
-Oh, I wish they would. -Thank you. | 0:12:09 | 0:12:11 | |
Well, it's time to leave the packed valuation day and head off to the auction. | 0:12:11 | 0:12:16 | |
These Wade money boxes may have been designed as promotional gifts, | 0:12:16 | 0:12:20 | |
but we don't want to give them away today. | 0:12:20 | 0:12:23 | |
They might not have been cleaned for 18 years, | 0:12:23 | 0:12:25 | |
but Richard's hoping his candlesticks will certainly shine in the saleroom. | 0:12:25 | 0:12:29 | |
Eileen's mirror's got a great label, so that should be reflected in a decent sale price. | 0:12:29 | 0:12:34 | |
And I like these paperweight lions, so let's hope for Margaret's sake | 0:12:34 | 0:12:38 | |
they're a roaring success in the sale. | 0:12:38 | 0:12:40 | |
Well, this is what I like to see, a jam-packed, very busy saleroom. | 0:12:44 | 0:12:48 | |
Hopefully, they're going to be bidding on all our owners' lots in just a moment. | 0:12:48 | 0:12:52 | |
Before the sale starts, let's catch up with auctioneer Kevin Kendal | 0:12:52 | 0:12:56 | |
and see what he has to say about some of our owners' items. | 0:12:56 | 0:13:00 | |
Well, we're in Lancaster, so we had to pick an item of Gillows furniture. | 0:13:03 | 0:13:07 | |
This was the closest we got, Gillows and Waring. It belongs to Eileen. | 0:13:07 | 0:13:11 | |
She got this in auction locally three years ago and she paid £200 for it. | 0:13:11 | 0:13:16 | |
She doesn't want it any more, but wants, believe it or not, her money back. | 0:13:16 | 0:13:20 | |
So I've kind of tucked it under the £200 mark, with a reserve of 150. | 0:13:20 | 0:13:25 | |
I think she will struggle. It really is what the market isn't wanting at the moment. | 0:13:25 | 0:13:30 | |
Oh, dear. So do you think she paid too much for it? | 0:13:30 | 0:13:33 | |
A little bit too much for it at the time and the market has come back a bit since then. | 0:13:33 | 0:13:38 | |
Incredible, in three years. What would you put on this? | 0:13:38 | 0:13:41 | |
-80-120? -If you're lucky, really. | 0:13:41 | 0:13:43 | |
Sort of 70-100, yeah. | 0:13:43 | 0:13:45 | |
Well, I think we've got to try and get her her money back. | 0:13:45 | 0:13:48 | |
But I don't think she'll be disappointed if it doesn't sell, cos she doesn't want to lose money. | 0:13:48 | 0:13:54 | |
It's attractive enough. It's just not what's in fashion at the moment. | 0:13:54 | 0:13:57 | |
And if she does sell at £150, she's still got to pay commission on a seller's premium. | 0:13:57 | 0:14:02 | |
-Yeah, unfortunately we have to eat. -Got to eat. That's how you pay your bills. | 0:14:02 | 0:14:06 | |
And Kevin will be joined today on the rostrum by his colleague David Brookes. | 0:14:08 | 0:14:14 | |
Well, I've just been joined by Philip, our expert, along with our owner Richard. | 0:14:14 | 0:14:18 | |
About to go under the hammer - the silver 20th-century candlesticks. | 0:14:18 | 0:14:22 | |
A valuation of £120-£180. Richard, why are you selling these? These have got the look. | 0:14:22 | 0:14:27 | |
They are only ornaments after all, aren't they? | 0:14:27 | 0:14:30 | |
And they just stand there in a display cabinet. | 0:14:30 | 0:14:33 | |
They're doing no good. Somebody else can have the benefit of them. I'll have the money. | 0:14:33 | 0:14:37 | |
I would use them. I would light them - put a candle in and use them at the dinner table. | 0:14:37 | 0:14:42 | |
-I daren't do that. -I would! | 0:14:42 | 0:14:43 | |
The pair of period-style... They are 1960s, but in the period style | 0:14:43 | 0:14:49 | |
and I have interest in these lots | 0:14:49 | 0:14:51 | |
I'm going to start the bidding with me on this one at 130. 130. 130. | 0:14:51 | 0:14:56 | |
Not a lot of silver collectors today. | 0:14:56 | 0:14:58 | |
No, there aren't, Richard, you're right. | 0:14:58 | 0:15:00 | |
130. 40. 150. 150. You're all out in front on this lot. | 0:15:00 | 0:15:04 | |
-We're selling then. Are we all done? -They're going. -At 150! | 0:15:04 | 0:15:07 | |
The hammer's gone done. That was short and sweet. | 0:15:07 | 0:15:10 | |
-I think they've sold well. -They've sold well. | 0:15:10 | 0:15:12 | |
Richard, £150, what are you going to put the money towards? | 0:15:12 | 0:15:17 | |
-It'll have to go towards a holiday. -Where do you fancy going? Saving up for? | 0:15:17 | 0:15:22 | |
-Possibly end up in Majorca or somewhere like that. -Oh, lovely. Little short trip. | 0:15:22 | 0:15:29 | |
-Only a short one. -Well, enjoy it. -Aye. | 0:15:29 | 0:15:31 | |
65. New bid. 32. | 0:15:31 | 0:15:34 | |
We need top money now for Margaret, cos we've got two little Burmantofts lions. | 0:15:36 | 0:15:40 | |
They're paperweights. We're looking at £50-£80. | 0:15:40 | 0:15:43 | |
I love them. The money's going to a great cause, isn't it? | 0:15:43 | 0:15:46 | |
Well, my grandson has won a competition... | 0:15:46 | 0:15:48 | |
He's a triathlete... to go to the World Champion games in Vancouver. | 0:15:48 | 0:15:53 | |
And it's costing a lot of money and I thought anything would help, so that's what the money's going to. | 0:15:53 | 0:15:59 | |
How much do you think he has to raise? A couple of thousand pounds? | 0:15:59 | 0:16:03 | |
Oh, that's just the start. | 0:16:03 | 0:16:04 | |
-Hopefully he can get the £80 for that, at the top end of the estimate. -I bet they don't sell. | 0:16:04 | 0:16:09 | |
Here they go. This is it. | 0:16:09 | 0:16:11 | |
Yeah, the paperweights. Models of Empire lions. | 0:16:11 | 0:16:14 | |
And can I ask £50 for a start? | 0:16:14 | 0:16:16 | |
-50, if you like. 50. -30. | 0:16:16 | 0:16:19 | |
£30. Thank you, sir. £30 bid. 35. | 0:16:19 | 0:16:22 | |
40 now. £40 in the room. 40 bid. | 0:16:22 | 0:16:23 | |
40 bid. 40 bid. | 0:16:23 | 0:16:26 | |
-Five anywhere? -Come on. | 0:16:26 | 0:16:27 | |
£40. Going this time then at 40. | 0:16:27 | 0:16:31 | |
-He sold them at 40. -Yeah. -Yeah. | 0:16:31 | 0:16:34 | |
-Well, every little helps, doesn't it? -A little bit, yeah. | 0:16:34 | 0:16:37 | |
-It really does. -Yeah, it's something. | 0:16:37 | 0:16:39 | |
I hope that's a start and he can raise a bit more locally and get himself to Vancouver. | 0:16:39 | 0:16:44 | |
That's what we want. Thank you. | 0:16:44 | 0:16:46 | |
-You're a good gran, aren't you? -Well! -Top gran! | 0:16:46 | 0:16:50 | |
Well, I've just been joined by Sarah and Jill, mum and daughter. | 0:16:55 | 0:16:59 | |
Hello. You're both looking fabulous. | 0:16:59 | 0:17:01 | |
We've got the Wade money boxes, five of them. | 0:17:01 | 0:17:04 | |
£50-£80. | 0:17:04 | 0:17:06 | |
It's not a lot of money, but it's just about the right money. | 0:17:06 | 0:17:09 | |
£10 apiece. You've got the full set there. | 0:17:09 | 0:17:12 | |
They've gone down a little in price, but I'm sure they should do 50. | 0:17:12 | 0:17:16 | |
And I'm sure they've had a lot more money in them in their day, haven't they? | 0:17:16 | 0:17:21 | |
How much did you manage to save? | 0:17:21 | 0:17:23 | |
Oh, actually a few pennies. | 0:17:23 | 0:17:25 | |
About £100 or something like that. | 0:17:25 | 0:17:27 | |
Well, that's not bad going, is it? | 0:17:27 | 0:17:29 | |
-Yeah! -What did you save up for? Can you remember? | 0:17:29 | 0:17:32 | |
Oh, probably sweets, knowing me. | 0:17:32 | 0:17:34 | |
Well, we're going to find out what the bidders think right now, OK? | 0:17:36 | 0:17:39 | |
Good luck. Let's hope we get the top end of the estimate. Here we go. | 0:17:39 | 0:17:43 | |
Thank you. Lot 280, the five Wade money boxes. NatWest piggies. | 0:17:43 | 0:17:46 | |
Start me for this please. £80. 50. | 0:17:46 | 0:17:50 | |
I'll go with the commissions at £40 now. | 0:17:50 | 0:17:52 | |
40. 45 now at the back of the room. | 0:17:52 | 0:17:55 | |
-50 now with me. 55. -50, we've done it. | 0:17:55 | 0:17:58 | |
In the second row, with the lady at 55. | 0:17:58 | 0:18:01 | |
Little money, but it's going now at £55. | 0:18:01 | 0:18:04 | |
-Yes, sold! That got rid of them, didn't it? -It did. They're gone! | 0:18:04 | 0:18:09 | |
Are you saving for anything now? | 0:18:09 | 0:18:11 | |
I don't know. We'll find something to spend it on I'm sure. | 0:18:11 | 0:18:15 | |
That's nice. You include Mum. | 0:18:15 | 0:18:16 | |
-Mm-hm. -Good luck with the career. I know you're off to do a Masters soon, aren't you? | 0:18:16 | 0:18:21 | |
-I am, yes. -So good luck with that. | 0:18:21 | 0:18:23 | |
Thank you very much. Cheers. | 0:18:23 | 0:18:25 | |
Eileen, I think we need a bit of luck on our side right now. | 0:18:31 | 0:18:34 | |
-Do you think so? -Waring and Gillows, it's a great make. | 0:18:34 | 0:18:38 | |
-Yes. -But is £150-£250 a true reflection on the price of this little toilet mirror? I think it is. | 0:18:38 | 0:18:45 | |
Well, you paid that for it. | 0:18:45 | 0:18:47 | |
You paid 250, didn't you? | 0:18:47 | 0:18:48 | |
-No. Not quite. -200? -Yes. | 0:18:48 | 0:18:50 | |
-But with commission, it was about 230... -Yeah. | 0:18:50 | 0:18:53 | |
..in auction three years ago. | 0:18:53 | 0:18:55 | |
-Had a chat to Kevin the auctioneer before the sale. -Right. | 0:18:55 | 0:18:58 | |
And he said he thinks it's worth somewhere in the region of 60-90. | 0:18:58 | 0:19:02 | |
-Is that all? -I know. -Ooh! | 0:19:02 | 0:19:05 | |
But I don't know. That's his opinion. Obviously, he's an auctioneer. | 0:19:05 | 0:19:09 | |
He knows the local scene, but you bought this not far away | 0:19:09 | 0:19:12 | |
and a different auctioneer had a different opinion, | 0:19:12 | 0:19:15 | |
-because he sold it to you for £200 plus commission. -Yeah. | 0:19:15 | 0:19:20 | |
So where do we stand? Hopefully, somewhere in the middle. | 0:19:20 | 0:19:23 | |
-Yes. -And we've got a valuation of 150-200, fixed reserve at 150. -Mm. | 0:19:23 | 0:19:29 | |
-I hope we get it. -Now lot 500. | 0:19:29 | 0:19:30 | |
It's the early 20th-century, mahogany toilet swing mirror. | 0:19:30 | 0:19:34 | |
It does bear the Waring and Gillow label. What can I ask for it? | 0:19:34 | 0:19:38 | |
Nice little mirror. 200 if you like. 150. | 0:19:38 | 0:19:41 | |
Start me £100, somebody. | 0:19:41 | 0:19:43 | |
100. We'll start at £70 then. | 0:19:43 | 0:19:45 | |
£70 on the bid. 70 bid. 70 bid. | 0:19:45 | 0:19:48 | |
-70 bid. £70... -I can't see anybody bidding. Can you? -No. | 0:19:48 | 0:19:52 | |
-No. -£70. Gone this time at 70. | 0:19:52 | 0:19:55 | |
Sadly, that has a reserve and we can't sell I'm afraid. | 0:19:55 | 0:19:57 | |
Oh, dear. You win some, you lose some, don't you? | 0:19:59 | 0:20:01 | |
It's a great name in cabinet-making. | 0:20:01 | 0:20:04 | |
It doesn't deserve to be sold for 60 quid. | 0:20:04 | 0:20:07 | |
What are you going to do with it? | 0:20:07 | 0:20:09 | |
Just take it home. Perhaps sell it another time. | 0:20:09 | 0:20:13 | |
Well, I'm disappointed. I really thought that name would sell it. | 0:20:16 | 0:20:20 | |
And here's why. | 0:20:20 | 0:20:21 | |
Gillows of Lancaster is one of the most illustrious names in the history of cabinet-making. | 0:20:21 | 0:20:26 | |
Now here at the Judges' Lodgings Museum | 0:20:26 | 0:20:29 | |
they have one of the finest collections of Gillows furniture in the world. | 0:20:29 | 0:20:33 | |
I have hit the jackpot. | 0:20:33 | 0:20:35 | |
The story really begins in 1728, when Robert Gillow | 0:20:44 | 0:20:47 | |
opened his cabinet-making firm right here in the heart of Lancaster. | 0:20:47 | 0:20:52 | |
And through a combination of exceptional craftsmanship, | 0:20:52 | 0:20:56 | |
good business sense and access to exotic hardwoods imported from the Americas | 0:20:56 | 0:21:00 | |
via the port of Lancaster, Gillows rapidly became one of the leading cabinet-making firms of its day. | 0:21:00 | 0:21:08 | |
Robert married Agnes Fell in 1730 and they had two sons, Richard and Robert Junior. | 0:21:08 | 0:21:14 | |
Richard trained as an architect and was made a partner in the firm in 1769, | 0:21:14 | 0:21:19 | |
the same year his brother Robert was. | 0:21:19 | 0:21:21 | |
But he was based down in London, the fashionable capital city and soon, with clients all over the country, | 0:21:21 | 0:21:27 | |
the business rapidly expanded, producing the most exquisite pieces of English, 18th-century furniture. | 0:21:27 | 0:21:34 | |
Now take this stunning example. | 0:21:46 | 0:21:50 | |
It really is the centrepiece of any gentleman's study. | 0:21:50 | 0:21:53 | |
It's a library table and it's meant to be a centrepiece. It's an island. | 0:21:53 | 0:21:57 | |
You're supposed to walk around it and appreciate it from every face, side - | 0:21:57 | 0:22:01 | |
those wonderful serpentine shapes. | 0:22:01 | 0:22:05 | |
This was commissioned by Sir James Ibbetson of Denton Hall and is known as the Denton library table. | 0:22:05 | 0:22:12 | |
Now he originally approached Chippendale, another leading cabinet-maker of the day. | 0:22:12 | 0:22:17 | |
It's from a line drawing from Thomas Chippendale's book, first published in 1754, | 0:22:17 | 0:22:22 | |
but the year is now 1778 and Thomas Chippendale declined to make this. | 0:22:22 | 0:22:30 | |
He felt his styles had moved on. | 0:22:30 | 0:22:32 | |
He was more fashion orientated. | 0:22:32 | 0:22:34 | |
This is where Gillows comes into the frame, because they made this piece, | 0:22:34 | 0:22:39 | |
enhancing their reputation as a cabinet-maker rather than a designer. | 0:22:39 | 0:22:44 | |
And they've copied very closely Chippendale's early 1754 design. | 0:22:44 | 0:22:50 | |
I absolutely adore it. | 0:22:50 | 0:22:52 | |
What I love about it is the fact that the top is so rough. It's not been restored. | 0:22:52 | 0:22:56 | |
I love the fact that leather has a variegated hue with wear and it almost takes on the patina of wood. | 0:22:56 | 0:23:03 | |
That obviously is the front, flanked four drawers on each column with a central drawer. | 0:23:03 | 0:23:08 | |
Here we've got two base cupboards on each column with a central drawer. | 0:23:08 | 0:23:12 | |
This is quite interesting. If I pull the drawer open this way, | 0:23:12 | 0:23:15 | |
it disappears on your side. | 0:23:15 | 0:23:17 | |
And vice versa. | 0:23:17 | 0:23:19 | |
I think that's very, very clever. | 0:23:21 | 0:23:24 | |
They have selected the finest Cuban mahogany possible to build this piece. | 0:23:24 | 0:23:32 | |
And that was just one of the many new materials that had started to come into the country. | 0:23:33 | 0:23:38 | |
The 18th century was the age of discovery and exploration. | 0:23:38 | 0:23:41 | |
Lancaster was a busy port with ships coming and going to the New World. | 0:23:41 | 0:23:46 | |
Gillows were in the right place at the right time. | 0:23:46 | 0:23:49 | |
A perfect example of how the company took advantage | 0:23:53 | 0:23:56 | |
of the growing trade of different exotic imported hardwoods | 0:23:56 | 0:24:00 | |
is shown here in this little lady's workbox. It's absolutely stunning. | 0:24:00 | 0:24:04 | |
There's 72 different variations of wood here, imported from all over the world - | 0:24:04 | 0:24:10 | |
the Americas, the tropics, Australia, the Indian sub-continent, | 0:24:10 | 0:24:14 | |
along with our own woods from the British Isles. | 0:24:14 | 0:24:16 | |
They're all numbered so you can find out exactly what they are. | 0:24:16 | 0:24:20 | |
Now we're all familiar with elms and oaks and yew woods, | 0:24:20 | 0:24:24 | |
but there's some woods on here that I've not come across | 0:24:24 | 0:24:28 | |
and 200 years later, this little box is educating me. | 0:24:28 | 0:24:31 | |
Number 30 here. | 0:24:31 | 0:24:33 | |
Now that's a purple wood. Just look at the grain on that. | 0:24:33 | 0:24:36 | |
That's an exotic hardwood from the Americas, but it's like a volcanic explosion. | 0:24:36 | 0:24:41 | |
It's sort of erupting all over the place. | 0:24:41 | 0:24:43 | |
A very tight, dense and decorative grain. | 0:24:43 | 0:24:45 | |
Here is a classic ebony. We've seen that from the Americas before, used for stringing an inlay detail. | 0:24:45 | 0:24:52 | |
But here's a softer version that I've not come across - | 0:24:52 | 0:24:54 | |
number 26, and that's a green ebony. | 0:24:54 | 0:24:57 | |
You can actually see the grain in this. It's slightly lighter. | 0:24:57 | 0:25:01 | |
What a wonderful box. | 0:25:01 | 0:25:03 | |
It's no wonder Miss Elizabeth Gifford commissioned this to be made by Gillows in 1808. | 0:25:03 | 0:25:09 | |
And if I open it up, it's not just the cabinet-maker's swatch, | 0:25:09 | 0:25:13 | |
so he can show off to clients what woods are available, | 0:25:13 | 0:25:16 | |
it's got a practical use as well, because just look at that. | 0:25:16 | 0:25:20 | |
A lovely fitted interior. Isn't that splendid? | 0:25:20 | 0:25:23 | |
Little compartments, all beautifully dovetailed. | 0:25:23 | 0:25:28 | |
Sliding lids. | 0:25:28 | 0:25:30 | |
And there's the example, look, of the ebony stringing. | 0:25:30 | 0:25:33 | |
Very fashionable. | 0:25:33 | 0:25:35 | |
Everything fits so beautifully. | 0:25:35 | 0:25:39 | |
And here's the all-important thing, the stamp - "Gillows, Lancaster". | 0:25:39 | 0:25:44 | |
Gillows ability to exploit new materials from overseas certainly enhanced the company's reputation | 0:25:49 | 0:25:55 | |
as one of the country's leading cabinet-makers. | 0:25:55 | 0:25:58 | |
But it was its patronage from Lancaster's high society | 0:25:58 | 0:26:01 | |
which really gave the firm a seal of approval amongst social circles. | 0:26:01 | 0:26:06 | |
Now take this lady, for instance. | 0:26:06 | 0:26:07 | |
Mary Rawlinson. Looks very formidable, doesn't she? | 0:26:07 | 0:26:10 | |
But at the time, she was one of Lancaster's most wealthiest women | 0:26:10 | 0:26:14 | |
and her husband made his fortune in the West Indies slave trade. | 0:26:14 | 0:26:18 | |
And he was also Lancaster's biggest importer of mahogany. | 0:26:18 | 0:26:22 | |
Mary commissioned Gillows to make this magnificent bookcase | 0:26:28 | 0:26:32 | |
and it is considered to be one of their finest pieces. It's absolutely stunning. | 0:26:32 | 0:26:36 | |
By now the firm is well established by some 40 years or so | 0:26:36 | 0:26:39 | |
and Gillows spared no expense in making this wonderful piece. | 0:26:39 | 0:26:43 | |
Their top craftsman, brothers Thomas and John Dowbiggin, built this and I've got to say, | 0:26:43 | 0:26:48 | |
just standing back and looking at its architectural proportions, it's mind-blowing, it really is. | 0:26:48 | 0:26:54 | |
The whole carcass is solid Cuban mahogany, but they've used a decorative veneer | 0:26:54 | 0:26:59 | |
laid on the top. Just look at the grain, the way it's curling. | 0:26:59 | 0:27:02 | |
This is called a flamed curl and you can see why. | 0:27:02 | 0:27:06 | |
There's a natural join here, where this piece has been cut from one piece and opened out, | 0:27:06 | 0:27:12 | |
so it's mirrored on this side. | 0:27:12 | 0:27:14 | |
It really has the most wonderful inlay detail up there. | 0:27:14 | 0:27:18 | |
That's inlaid in satinwood. | 0:27:18 | 0:27:20 | |
Now that is a lifetime's experience. | 0:27:20 | 0:27:24 | |
Working your way down, the handles are beautifully silvered | 0:27:24 | 0:27:28 | |
and the quality of the casting is absolutely tremendous. | 0:27:28 | 0:27:31 | |
Very, very crisp. | 0:27:31 | 0:27:32 | |
The bulk of the piece, where the weight is, has been softened architecturally with canted corners. | 0:27:32 | 0:27:37 | |
It doesn't meet at a right angle. It's softened. | 0:27:37 | 0:27:40 | |
And it also gives you a chance to show off more inlay skills, | 0:27:40 | 0:27:43 | |
because it's been decorated with sort of ribbons and swags. | 0:27:43 | 0:27:47 | |
Not too much, not too over the top, because this is a gentleman's piece. | 0:27:47 | 0:27:51 | |
It still retains a sort of masculine feel to it. | 0:27:51 | 0:27:55 | |
And the whole thing stands so proudly on wonderful, over-the-top bracket feet. | 0:27:55 | 0:28:00 | |
Look at the dragooning on the top there, with a little tear. | 0:28:00 | 0:28:03 | |
That's so beautiful. | 0:28:03 | 0:28:06 | |
It's commissions from rich and powerful patrons like this | 0:28:06 | 0:28:09 | |
that have cemented the firm's success, | 0:28:09 | 0:28:12 | |
guaranteeing Gillows of Lancaster a place in English cabinet-making history. | 0:28:12 | 0:28:16 | |
Well, from the sublime to the ridiculous. | 0:28:16 | 0:28:19 | |
It's time for me to go back to the valuation day and join up with our experts. | 0:28:19 | 0:28:23 | |
-Sue. -Hi. | 0:28:33 | 0:28:34 | |
-They say that diamonds are a girl's best friend. -So they say. | 0:28:34 | 0:28:40 | |
And you brought us a diamond. | 0:28:40 | 0:28:42 | |
It's absolutely lovely. | 0:28:42 | 0:28:44 | |
-Good. -Tell me, where did you get it? | 0:28:44 | 0:28:46 | |
I was given it by my great aunt before she passed away, but I don't use it. | 0:28:46 | 0:28:51 | |
How long ago was that? | 0:28:51 | 0:28:53 | |
-Probably about 15 or 16 years, I'd say. -Have you worn it at all? | 0:28:53 | 0:28:58 | |
Only once. I wore it to a wedding on a black dress and it looked lovely. | 0:28:58 | 0:29:01 | |
-But I was afraid of it falling off, cos it is quite big. -Yeah. -And though it's got a safety pin... | 0:29:01 | 0:29:06 | |
-You were frightened of losing it. -Mm, I was. -Ah. Time to sell it. -I think so. | 0:29:06 | 0:29:10 | |
Now, when we look at a diamond, we look at the cut and we look at the size. | 0:29:10 | 0:29:17 | |
-OK. -In this one, it's mounted on 15-carat gold and platinum. -Right. | 0:29:17 | 0:29:24 | |
-It's a brilliant, round-cut... -Right. -And people will like that. -OK. | 0:29:24 | 0:29:30 | |
To size the diamond we need a special tool, | 0:29:30 | 0:29:34 | |
but I would say it's in the region of a quarter of a carat. | 0:29:34 | 0:29:38 | |
-So it's a reasonable size. -OK. -It could be changed into a ring. | 0:29:38 | 0:29:46 | |
I thought about that, but I wondered whether somebody would do it justice. | 0:29:46 | 0:29:49 | |
-You've got to make sure you get the right jeweller who's doing the right job... -Absolutely. | 0:29:49 | 0:29:55 | |
-..and that he's going to look after the stone. -I wouldn't want it spoilt. -Yeah. | 0:29:55 | 0:29:59 | |
-It belonged to your aunt. Did you know her? -Yeah. -Do you think a loved one may have given her that? | 0:29:59 | 0:30:04 | |
-Possibly, although she was never married, but you never know. -She was a maiden lady? | 0:30:04 | 0:30:09 | |
-She was, yeah, she was. -But I mean, if you don't wear it, I always say, pass it on to someone who will. | 0:30:09 | 0:30:15 | |
And what you can do is perhaps to use the money to buy something that you would wear. | 0:30:15 | 0:30:21 | |
-Mm-hm. -And that you would enjoy. | 0:30:21 | 0:30:23 | |
-Or pass it on... -Or pass it on to me. | 0:30:23 | 0:30:26 | |
Sure I could make use of it. | 0:30:26 | 0:30:27 | |
Would you like this diamond brooch to be passed on to you. Is it Ross? | 0:30:27 | 0:30:31 | |
-No, it's Josh. -Joshua. -Josh, yeah. | 0:30:31 | 0:30:33 | |
Well, probably, but only to sell it in the future, so... | 0:30:33 | 0:30:37 | |
It's him and his sister, so, probably the money will be going to them anyway. | 0:30:37 | 0:30:41 | |
Yeah, yeah. Well, estimate... | 0:30:41 | 0:30:45 | |
Have you had it valued before? | 0:30:45 | 0:30:47 | |
A long time ago for insurance. | 0:30:47 | 0:30:49 | |
-And that was about £200. -Yeah, uh-huh. | 0:30:49 | 0:30:52 | |
-I would estimate this brooch in the region of £200-£300. -Right. | 0:30:52 | 0:30:58 | |
-Would you be happy to sell it at that? -I think I would be. | 0:30:58 | 0:31:01 | |
-We'll put a reserve of, say, 180 on it, which means that we can't sell it below that. -OK. | 0:31:01 | 0:31:08 | |
Two to three is a conservative estimate and I think that someone will fall in love with this. | 0:31:08 | 0:31:16 | |
-OK. I hope so. -Thank you so much for bringing it along. -Thank you. | 0:31:16 | 0:31:19 | |
I'll see you at the auction. | 0:31:19 | 0:31:21 | |
-OK. -Thanks a lot. | 0:31:21 | 0:31:23 | |
How long have you owned this? | 0:31:29 | 0:31:31 | |
It's been in the family, I think, for about 60 or 70 years. | 0:31:31 | 0:31:36 | |
And why do you want to sell it? | 0:31:36 | 0:31:38 | |
-Because I don't like it. -Why? | 0:31:38 | 0:31:41 | |
-I think cos the wood's too dark and it's just ugly. -Do you agree, John? | 0:31:41 | 0:31:45 | |
I agree. It's too dark, dour. | 0:31:45 | 0:31:47 | |
-Can I throw my threepenny worth in? -Absolutely. | 0:31:47 | 0:31:50 | |
I think it's horrible. | 0:31:50 | 0:31:52 | |
I think the problem with this is that the key part of this long-case clock | 0:31:52 | 0:31:57 | |
is this really nice brass dial with an eight-day movement by Thomas Lister of Halifax. | 0:31:57 | 0:32:03 | |
-And I would guess he might have been turn of the 1800s, somewhere around there. -Yep. | 0:32:03 | 0:32:09 | |
But your eyes are averted from that by, can I say this, this dreadful case, right? | 0:32:09 | 0:32:16 | |
And you've got an oak case here that may or may not be original for that movement. I suspect it might not be. | 0:32:16 | 0:32:22 | |
But the Victorians got bored very easily. | 0:32:22 | 0:32:25 | |
They had no television and they either bred or they got hold of furniture and they carved it. | 0:32:25 | 0:32:32 | |
And the Victorians got wonderful 18th-century oak bureaus that today might be worth £1,000 | 0:32:32 | 0:32:39 | |
and they turned them into £200 bureaus by carving them. | 0:32:39 | 0:32:43 | |
And this case has all been carved, I would guess 1880-ish, to look Jacobethan, which is a nothing term - | 0:32:43 | 0:32:52 | |
a cross between Elizabethan and Jacobean. | 0:32:52 | 0:32:54 | |
So you've got, in my eyes, a really lovely movement | 0:32:54 | 0:32:59 | |
and this awful case. | 0:32:59 | 0:33:02 | |
And I think it's interesting, cos you've had this in your family for 70 years and it's come down the line. | 0:33:02 | 0:33:09 | |
-I suspect that everybody's thought the same thing. -Probably right. | 0:33:09 | 0:33:12 | |
-I would have thought so. -And you're thinking, "Oh, my Lord! I've got the clock." | 0:33:12 | 0:33:17 | |
You know, but you can't sell it, cos it's a family heirloom. | 0:33:17 | 0:33:21 | |
We've tried to give it to other members of the family, but nobody wants it. | 0:33:21 | 0:33:24 | |
-Which tells you something, really, doesn't it? -Yes. | 0:33:24 | 0:33:27 | |
Now in terms of value, if this clock was in its original state and had a lovely colour | 0:33:27 | 0:33:34 | |
and the movement was absolutely bang on, | 0:33:34 | 0:33:37 | |
you could be talking anywhere perhaps between £1,500 and £2,500. | 0:33:37 | 0:33:42 | |
Now, I think that whoever buys this | 0:33:42 | 0:33:46 | |
will put this movement in a better case. | 0:33:46 | 0:33:50 | |
-What they're going to do with this I don't know. -What would happen to this case? | 0:33:50 | 0:33:54 | |
-Firewood. -No, I didn't say that. | 0:33:54 | 0:33:57 | |
I mean, there are buyers for it, but, in my eyes, you've got to make this a really attractive proposition | 0:33:57 | 0:34:04 | |
to the buyer to sell it and hopefully create a bit of competition, | 0:34:04 | 0:34:08 | |
otherwise, I'm afraid to say, it's coming back home. | 0:34:08 | 0:34:13 | |
No, it's not. | 0:34:13 | 0:34:14 | |
Well, you have to be sensible about this, right? | 0:34:14 | 0:34:18 | |
And my view would be that you put a £400-£600 estimate on it and you put a £300 reserve on it. | 0:34:18 | 0:34:25 | |
-OK. -Now, that still doesn't guarantee that it's going to sell, | 0:34:25 | 0:34:29 | |
but I think you'd be silly to sell it for less than £300. | 0:34:29 | 0:34:34 | |
-That's fair enough. -But that's your call. | 0:34:34 | 0:34:36 | |
-Yes. -Are you happy with that? -We'll go with that. | 0:34:36 | 0:34:38 | |
What will you do with the money? | 0:34:38 | 0:34:40 | |
-Erm... -Buy a new clock. | 0:34:40 | 0:34:42 | |
Buy a new clock! | 0:34:42 | 0:34:44 | |
-David, welcome to "Flog It!". -Hi. | 0:34:50 | 0:34:53 | |
Tell me, is this a family piece? | 0:34:53 | 0:34:55 | |
No, it isn't. We bought it about 15 years ago for our Victorian house that we lived in at the time. | 0:34:55 | 0:35:01 | |
-Uh-huh. Did you use it as a coal box? -No, it was purely ornamental. | 0:35:01 | 0:35:06 | |
It just fitted in nicely with the fireplace. | 0:35:06 | 0:35:08 | |
Did you have a wonderful Victorian fireplace with a copper canopy and your coal box sitting at the side? | 0:35:08 | 0:35:14 | |
Absolutely, yes. | 0:35:14 | 0:35:16 | |
-Absolutely. -OK. | 0:35:16 | 0:35:18 | |
Well, let's look at it closely. | 0:35:18 | 0:35:20 | |
It is a coal box and if we lift the lid here, we can see the compartment, | 0:35:20 | 0:35:27 | |
-complete with liner, and we would keep our coal here. -Right. | 0:35:27 | 0:35:32 | |
We have this handle affair at the back, which in actual fact | 0:35:32 | 0:35:35 | |
is not a handle, but it was the slot that we would put a little shovel in. | 0:35:35 | 0:35:42 | |
-And there would be a matching shovel, so there's something missing for a start. -OK. | 0:35:42 | 0:35:47 | |
Now it's not the best of boxes. | 0:35:47 | 0:35:50 | |
-Right. -But it's not the worst. | 0:35:50 | 0:35:52 | |
-Um-hm. -It's made of oak | 0:35:52 | 0:35:55 | |
-and we have this carved detail here, which is Victorian. -Right. | 0:35:55 | 0:35:59 | |
But this is a little Arts and Crafts going into Art Nouveau motif, | 0:35:59 | 0:36:06 | |
where we have these more flowing lines in the handle and these details here. | 0:36:06 | 0:36:11 | |
Would they come originally with this? | 0:36:11 | 0:36:14 | |
Yes, I believe that it is original. | 0:36:14 | 0:36:16 | |
I mean, as well as being functional objects, they were decorative as well. | 0:36:16 | 0:36:21 | |
This box has no function these days. | 0:36:21 | 0:36:24 | |
People are not using coal fires and they have fallen from favour. | 0:36:24 | 0:36:31 | |
I remember, maybe ten years ago, this would have done perhaps £70 or £80. | 0:36:31 | 0:36:38 | |
-It's not going to do that now. -Right. | 0:36:38 | 0:36:40 | |
They have fallen greatly from favour and this one is not complete. | 0:36:40 | 0:36:47 | |
It doesn't have the shovel, so that's going to affect the price as well. | 0:36:47 | 0:36:51 | |
-Have you moved to a smaller house? -Well, moved to a modern house. | 0:36:51 | 0:36:55 | |
A modern house, uh-huh. | 0:36:55 | 0:36:57 | |
-So it hasn't got any fireplaces at all and it doesn't fit in with the house. -Yeah. | 0:36:57 | 0:37:02 | |
I would, I'm afraid, only estimate this in the region of £25-£40. | 0:37:02 | 0:37:07 | |
Now, are you happy to sell it at that? | 0:37:07 | 0:37:09 | |
-Yes. Yes. -Let's just sell it. Let's just go for it. -See what we get for it. -Yeah. | 0:37:09 | 0:37:14 | |
-We'll put a reserve of £20. If it doesn't do £20, you can take it back and hand it to your charity shop. -OK. | 0:37:14 | 0:37:21 | |
Just before we head back into the auction, here's a quick reminder of our remaining lots. | 0:37:23 | 0:37:28 | |
There's nothing rough about this diamond. | 0:37:28 | 0:37:30 | |
Let's see if today's bidders can spot its potential, so that Joshua can make a bit of money. | 0:37:30 | 0:37:36 | |
Talking of potential, this clock's well and truly hidden behind its ugly Victorian case. | 0:37:36 | 0:37:42 | |
Sue and John really don't want to have to take it home again. | 0:37:42 | 0:37:45 | |
Richard hopes his coal box will stoke up today's bidders and create a bit of heat in the saleroom. | 0:37:45 | 0:37:52 | |
Right. Now going under the hammer is a very handy piece of kit. | 0:37:58 | 0:38:02 | |
It's the little coal bucket and it belongs to David, £25-£40. | 0:38:02 | 0:38:05 | |
It's cute. It doesn't have its shovel. Nevertheless, it should sell. | 0:38:05 | 0:38:10 | |
It's not a lot of money and five, six, seven years ago, this would have made maybe 60, 80, perhaps even 100. | 0:38:10 | 0:38:18 | |
-But they've gone out of fashion... -Yeah. -..a little bit. | 0:38:18 | 0:38:21 | |
But this one has very nice copperized Art Nouveau strapping, so I'm hoping that that will help it along. | 0:38:21 | 0:38:28 | |
It's got the look, hasn't it? It's quite decorative. It's not a boring, carved oak one. | 0:38:28 | 0:38:33 | |
Lot 475 is the late Victorian, probably Edwardian, coal podonium. | 0:38:33 | 0:38:37 | |
The Art Nouveau strapwork decoration. | 0:38:37 | 0:38:40 | |
And I have interest in it. I'm going to start the bidding with me at £30. | 0:38:40 | 0:38:44 | |
-Oh, yes! -It sold straightaway. | 0:38:44 | 0:38:46 | |
35. 40. Five. 50. £50 now. | 0:38:46 | 0:38:50 | |
£50 bid. £50 and we sell away. | 0:38:50 | 0:38:52 | |
No further interest and we sell away then at £50. | 0:38:52 | 0:38:56 | |
-Cracking! Excellent! -That's really good. It did have the look. | 0:38:56 | 0:38:59 | |
Imagine if you had the little shovel with it. | 0:38:59 | 0:39:02 | |
Maybe double your money. But that's fantastic. | 0:39:02 | 0:39:04 | |
-There you go. -Are you surprised? -Thank you. Excellent. | 0:39:04 | 0:39:08 | |
Next up, a family heirloom. It's a wonderful diamond pin. It's belongs to Susan. | 0:39:14 | 0:39:18 | |
-And you've brought Joshua along. Good to see you both again. -Thank you. -Why are you selling this? | 0:39:18 | 0:39:23 | |
Cos I wasn't wearing it really and it was just sitting in a drawer. | 0:39:23 | 0:39:27 | |
Because it was so heavy and I was just frightened of losing it. | 0:39:27 | 0:39:30 | |
It's absolutely gorgeous. | 0:39:30 | 0:39:32 | |
-I mean, it really is. -Very pretty. | 0:39:32 | 0:39:34 | |
Obviously, it's not something Josh is going to want to inherit, | 0:39:34 | 0:39:37 | |
-but I'm sure he could do with the money, couldn't he, Mum? -He could, yeah. | 0:39:37 | 0:39:41 | |
Would you wear this? | 0:39:41 | 0:39:42 | |
It's lovely. Yes. I don't wear a lot of diamonds, you may have noticed. | 0:39:42 | 0:39:46 | |
-Yes. -But I like this one and the auctioneer has measured it. | 0:39:46 | 0:39:50 | |
We have half a carat there. | 0:39:50 | 0:39:52 | |
-That's good. -So that's a substantial size. | 0:39:52 | 0:39:55 | |
-That's good. -And it's in a classic, simple setting. -Right. | 0:39:55 | 0:39:59 | |
So do we get the 300 or the 200? | 0:39:59 | 0:40:02 | |
Well, it should go... | 0:40:02 | 0:40:04 | |
-It's got a sparkle. -Yeah, yeah. | 0:40:04 | 0:40:06 | |
-It should go over, shouldn't it? -It should go mid-estimate. | 0:40:06 | 0:40:09 | |
Oh, right. OK! | 0:40:09 | 0:40:12 | |
-That's you told! -I know. It is, isn't it? | 0:40:12 | 0:40:14 | |
I'm going to stick my neck out and say we want a little bit more. | 0:40:14 | 0:40:17 | |
-We always want a bit more. Good luck. -Thank you. -It's going under the hammer now. | 0:40:17 | 0:40:22 | |
We now come to lot 235. | 0:40:22 | 0:40:25 | |
Yellow metal and diamond bar brooch. | 0:40:25 | 0:40:27 | |
Stamped 15 carats and half a carat. 200 for this please? 200. | 0:40:27 | 0:40:30 | |
Start me £100 then. Thank you. 100. | 0:40:30 | 0:40:33 | |
You bidding, sir? 110. 120. | 0:40:33 | 0:40:35 | |
-Come on. -130. 140. | 0:40:35 | 0:40:37 | |
140 in the pink there. 150. | 0:40:37 | 0:40:40 | |
160. 170. 180. 180 now in the pink. | 0:40:40 | 0:40:44 | |
In the pink, £180. Any advance? | 0:40:44 | 0:40:47 | |
Gentleman in the pink now at £180. It's going. | 0:40:47 | 0:40:51 | |
He's put the hammer down. That is a sold sound. | 0:40:52 | 0:40:54 | |
Right on its fixed reserve, £180. | 0:40:54 | 0:40:57 | |
-It's gone. -Um-hm. | 0:40:57 | 0:40:59 | |
-That's fine. -That's fine. That's a good result. | 0:40:59 | 0:41:01 | |
I was waiting there, weren't you? | 0:41:01 | 0:41:03 | |
-There's me talking it up. You said it was going to do bang on in the middle, but we've sold it. -Yeah. | 0:41:03 | 0:41:08 | |
-We sold it on the reserve. -Yeah. | 0:41:08 | 0:41:10 | |
I don't think the jewellery lovers were here today. | 0:41:10 | 0:41:15 | |
Next up, Sue and John's eight-day, long case clock. | 0:41:22 | 0:41:25 | |
It's a great movement, great dial, shame about the case. | 0:41:25 | 0:41:28 | |
The Victorians got to this one, but we've £400-£600 on it, a reserve of three. | 0:41:28 | 0:41:34 | |
John disowns this clock. You don't like it. | 0:41:34 | 0:41:36 | |
-I don't. Not at all. It's appalling. -He refuses to talk about it even! | 0:41:36 | 0:41:40 | |
Let's hope we get it away for you today... | 0:41:40 | 0:41:42 | |
-I hope so. -..cos you don't want to be putting it back in the car. -No. | 0:41:42 | 0:41:46 | |
We've actually pitched this to sell it | 0:41:46 | 0:41:48 | |
-and if we don't, then it really isn't a good day, is it really? -No. | 0:41:48 | 0:41:51 | |
-It's pitched to sell. -We would like to sell it. | 0:41:51 | 0:41:54 | |
-It's a giveaway price. -We would all like to see it go. -Yes. -Every single one of us. | 0:41:54 | 0:41:58 | |
We come now to lot 463, which is the dark oak, long-case clock. | 0:41:58 | 0:42:03 | |
Heavily carved, rather attractive clock there. | 0:42:03 | 0:42:06 | |
May we say 600 for this, please? Start me 400 then, please. | 0:42:06 | 0:42:09 | |
400 anywhere? We'll take three then. £300. | 0:42:09 | 0:42:12 | |
-Ooh, we're in! We're off to the races. -350. 400. | 0:42:12 | 0:42:15 | |
450. Are you bidding? | 0:42:15 | 0:42:17 | |
-500. -Wow! | 0:42:17 | 0:42:19 | |
500 now on the rail. It's on the rail at £500. | 0:42:19 | 0:42:22 | |
-And selling at 500. -Yes! -Yes! -Here to be sold at £500 now and going. | 0:42:22 | 0:42:27 | |
Hammer's gone down mid-estimate. | 0:42:27 | 0:42:29 | |
£500! We were all being so negative. | 0:42:29 | 0:42:33 | |
-We'll help him load! -Oh, yeah, yeah! -Thank goodness for that. | 0:42:33 | 0:42:36 | |
-That's great. Thank you. -Well done. | 0:42:36 | 0:42:38 | |
£500, less the commission, of course, which is 10% on £500. | 0:42:38 | 0:42:44 | |
-That's fine. -That's fine. -So there you go. | 0:42:44 | 0:42:46 | |
-Thank you very much for that. -Thank you. | 0:42:46 | 0:42:48 | |
He says he wants to leave the case with the vendors! He's only taking the movement. | 0:42:48 | 0:42:53 | |
-Don't blame him. -We'll store it for next winter's firewood. | 0:42:53 | 0:42:56 | |
What a day we've had up here in the Lake District. | 0:43:04 | 0:43:06 | |
All credit to the Kendal Auctions. | 0:43:06 | 0:43:08 | |
They've looked after us and I can't wait to come back. | 0:43:08 | 0:43:11 | |
We've had many surprises today and many happy faces and I hope you've enjoyed the show. | 0:43:11 | 0:43:16 | |
Join us again soon. For now, it's cheerio. | 0:43:16 | 0:43:19 | |
For more information about "Flog It!", including how the programme was made, | 0:43:19 | 0:43:23 | |
visit the website at bbc.co.uk/lifestyle | 0:43:23 | 0:43:26 | |
Subtitles by Red Bee Media Ltd | 0:43:27 | 0:43:30 | |
E-mail [email protected] | 0:43:30 | 0:43:33 |