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This town has witnessed some very dramatic events over the centuries. | 0:00:06 | 0:00:09 | |
It was destroyed by fire, hit by the plague, | 0:00:09 | 0:00:12 | |
and in 1880 there was even a riot. | 0:00:12 | 0:00:14 | |
Well, we're going to be making a bit of commotion of our own | 0:00:14 | 0:00:17 | |
because today Flog It is in Basingstoke. | 0:00:17 | 0:00:20 | |
Basingstoke played a key role in one of the bloodiest battles | 0:00:49 | 0:00:53 | |
of the English Civil War. | 0:00:53 | 0:00:54 | |
It happened here around Basing House, | 0:00:54 | 0:00:57 | |
now a ruin but once a Royalist stronghold. | 0:00:57 | 0:01:00 | |
Oliver Cromwell's army attacked it for over two years. | 0:01:00 | 0:01:03 | |
The final siege of 1645 | 0:01:03 | 0:01:06 | |
saw victory for the Roundheads and the house razed to the ground. | 0:01:06 | 0:01:11 | |
Today we're just a stone's throw away | 0:01:13 | 0:01:16 | |
in the modern heart of Basingstoke. | 0:01:16 | 0:01:18 | |
This massive crowd we've got here seem to be enjoying themselves, | 0:01:27 | 0:01:31 | |
they're about ready to take siege of today's venue, | 0:01:31 | 0:01:35 | |
The Anvil, so let's get the doors open, and let the drama unfold. | 0:01:35 | 0:01:40 | |
And taking centre stage today are our two experts, | 0:01:40 | 0:01:43 | |
Catherine Southon and James Lewis. | 0:01:43 | 0:01:46 | |
It's James who's first in the spotlight | 0:01:48 | 0:01:51 | |
and he's found something Flog It is very familiar with. | 0:01:51 | 0:01:54 | |
Angela, Marilyn, what we have in front of us | 0:01:56 | 0:01:59 | |
everybody at home will know is an old Flog It favourite. | 0:01:59 | 0:02:02 | |
It is of course Clarice Cliff. | 0:02:02 | 0:02:04 | |
And people say, "Oh no, not another piece of Clarice Cliff", | 0:02:04 | 0:02:08 | |
but this is a really interesting piece. | 0:02:08 | 0:02:11 | |
It has everything about Art Deco that you want to see. | 0:02:11 | 0:02:14 | |
It has those wonderful bright colours, | 0:02:14 | 0:02:17 | |
slightly wacky fan-shaped designs, angular designs, | 0:02:17 | 0:02:21 | |
and it just works, and I love it. What do you think to it? | 0:02:21 | 0:02:25 | |
-Yeah, it was a family piece and we love it as well. -Yeah? | 0:02:25 | 0:02:28 | |
But we're too frightened to use it. | 0:02:28 | 0:02:31 | |
I have to say these things aren't really for use any more, | 0:02:31 | 0:02:34 | |
they are far too valuable for use. Tell me its family history. | 0:02:34 | 0:02:37 | |
Well, it was my mother's mum's, my grandmother's, | 0:02:37 | 0:02:41 | |
and Mum says she can remember using it as a child. | 0:02:41 | 0:02:45 | |
So who has it in whose house? | 0:02:45 | 0:02:47 | |
-Mum has it in her house. -OK, so you don't own it? | 0:02:47 | 0:02:50 | |
-No. -No. -No, we're here on her behalf. | 0:02:50 | 0:02:52 | |
-Does she know? -Yes. -Yes. -Sure? | 0:02:52 | 0:02:54 | |
-Yes. -Yes. -Fantastic. | 0:02:54 | 0:02:58 | |
Well, I think she obviously had very, very good taste. | 0:02:58 | 0:03:01 | |
-Do you know the pattern name? -No. | 0:03:01 | 0:03:03 | |
It's known as secrets. | 0:03:03 | 0:03:05 | |
And Secrets came in various designs | 0:03:05 | 0:03:07 | |
and it was well known as being Clarice Cliff's favourite pattern. | 0:03:07 | 0:03:11 | |
The very common versions are in various tones of green and blue. | 0:03:11 | 0:03:17 | |
This one is known as the seven colourway Secrets | 0:03:17 | 0:03:21 | |
for, of course, the simple reason it has seven colours | 0:03:21 | 0:03:24 | |
and this was produced from 1932 onwards. | 0:03:24 | 0:03:28 | |
Different things you need to take into consideration when valuing it, | 0:03:28 | 0:03:32 | |
the first one, no cracks, that sounds fine; | 0:03:32 | 0:03:35 | |
no chips, but we have got a little bit | 0:03:35 | 0:03:38 | |
of oxidation on the blue there, that's common, you often found that. | 0:03:38 | 0:03:43 | |
Devalues it slightly but it's not a massive problem. | 0:03:43 | 0:03:46 | |
Having said all that, what do you think it's worth? | 0:03:46 | 0:03:49 | |
-I know Clarice Cliff is popular but we really have no idea. -No idea. -No? -No. -No. | 0:03:49 | 0:03:53 | |
I would put an auction estimate of £300 to £500. | 0:03:53 | 0:03:59 | |
-Ooh. -Very nice. -Yeah. | 0:03:59 | 0:04:00 | |
-Is that all right? -Yes, lovely. -Good, yes. | 0:04:00 | 0:04:03 | |
Having said that, we need to protect it with a reserve. | 0:04:03 | 0:04:06 | |
If we put £300 on it, I'm sure it will sell. | 0:04:06 | 0:04:10 | |
-The market is so buoyant for it. -Brilliant. -Ooh good. | 0:04:10 | 0:04:13 | |
I'm 100% confident it will sell. | 0:04:13 | 0:04:15 | |
-Very good. -Yes. -All right? -Yes. -Yes. | 0:04:15 | 0:04:16 | |
Caroline, welcome to Flog It. | 0:04:22 | 0:04:25 | |
You brought along this lovely Chitty Chitty Bang Bang car | 0:04:25 | 0:04:28 | |
and it's quite special to me | 0:04:28 | 0:04:29 | |
because it's something that my grandfather has. | 0:04:29 | 0:04:32 | |
My grandfather's got a little one, | 0:04:32 | 0:04:34 | |
but unfortunately his isn't in such beautiful condition, | 0:04:34 | 0:04:37 | |
his is really battered. | 0:04:37 | 0:04:39 | |
Yours is in absolute superb condition, | 0:04:39 | 0:04:42 | |
almost mint and certainly boxed. | 0:04:42 | 0:04:45 | |
Where did you get it from? | 0:04:45 | 0:04:46 | |
My husband had it, I believe, | 0:04:46 | 0:04:50 | |
from his grandparents when he was younger, | 0:04:50 | 0:04:52 | |
that's all I can say, really. | 0:04:52 | 0:04:54 | |
They bought it for a present, birthday present, Christmas present, something like that. | 0:04:54 | 0:04:59 | |
It's amazing to me that a young boy would never have played with this, | 0:04:59 | 0:05:03 | |
especially because it's got lots of little fiddly bits to touch. | 0:05:03 | 0:05:06 | |
I mean, these fantastic wings here, you would have pressed them in, | 0:05:06 | 0:05:10 | |
and then there's a little lever here that you pull forward | 0:05:10 | 0:05:13 | |
and then the wings would fly out. | 0:05:13 | 0:05:16 | |
-Yeah. -I just find that amazing that he just wouldn't touch it. | 0:05:16 | 0:05:19 | |
I mean a child today would have it all out and probably | 0:05:19 | 0:05:22 | |
lots of bits would be broken off. Is it something that you like? | 0:05:22 | 0:05:26 | |
Yeah, we often got it out and had a look at it | 0:05:26 | 0:05:29 | |
but you know, really, we're sort of condensing collections | 0:05:29 | 0:05:34 | |
so we just thought that would be one that would go, really. | 0:05:34 | 0:05:37 | |
-Did you ever see the film? -Yes, quite a few times. | 0:05:37 | 0:05:40 | |
Oh, right, so you're big Chitty Chitty Bang Bang fans. | 0:05:40 | 0:05:43 | |
We've got lovely Dick Van Dyke at the front here waving away, | 0:05:43 | 0:05:47 | |
and they're all having a little wave and great fun in the car. | 0:05:47 | 0:05:50 | |
I think it's a super piece, | 0:05:50 | 0:05:51 | |
do you have any idea of how much this would be worth at auction? | 0:05:51 | 0:05:55 | |
No, not really, no. | 0:05:55 | 0:05:57 | |
Well, my husband, sort of we went to an antique thing years ago | 0:05:57 | 0:06:01 | |
and it was worth something then but, about 200, | 0:06:01 | 0:06:04 | |
-but then that was a long time ago. -Right, OK. | 0:06:04 | 0:06:08 | |
Prices of these have come down slightly | 0:06:08 | 0:06:11 | |
and I would say that 200 is probably quite high, | 0:06:11 | 0:06:15 | |
although that does seem a bit unfair considering it is in immaculate condition. | 0:06:15 | 0:06:20 | |
I would say you would probably ask in the region of £100 to £150... | 0:06:20 | 0:06:24 | |
-Um-hum. -..with a fixed reserve of £80. | 0:06:24 | 0:06:27 | |
-How does that sound to you? -Yes. Yes, fine, that's lovely. | 0:06:27 | 0:06:30 | |
-But I hope it makes the top end and flies away at auction. -Lovely. Thank you. | 0:06:30 | 0:06:34 | |
Keith, tell me a bit about the clock. | 0:06:40 | 0:06:42 | |
I actually inherited it from my grandmother on my father's side, | 0:06:42 | 0:06:46 | |
but it's been staying with my other grandmother in her house, which is a bungalow. | 0:06:46 | 0:06:50 | |
Unfortunately, she passed away last year and we've had to rent out the bungalow | 0:06:50 | 0:06:55 | |
so we haven't got anywhere to store it. | 0:06:55 | 0:06:57 | |
Well, it's a cracking clock | 0:06:57 | 0:06:59 | |
and it's made by James Fell, and it's Kendall. | 0:06:59 | 0:07:02 | |
It's a nice brass dial with a silver chapter ring, good Roman numerals, | 0:07:02 | 0:07:06 | |
a subsidiary dial with a second hand. | 0:07:06 | 0:07:09 | |
The great thing about it is it's an 8-day longcase. | 0:07:09 | 0:07:12 | |
You can tell instantly it's an 8-day longcase | 0:07:12 | 0:07:14 | |
by the two winding movements. | 0:07:14 | 0:07:16 | |
If it was a 30-hour clock you'd just have the one winding movement. | 0:07:16 | 0:07:19 | |
-So the 8 day indicates how long it would keep going... -Yes. | 0:07:19 | 0:07:22 | |
..on its own without being wound. | 0:07:22 | 0:07:24 | |
-Yes, one wind on the seventh or eighth day. -I was curious about what that meant. | 0:07:24 | 0:07:28 | |
Oh, it's lovely, it's a classic case. | 0:07:28 | 0:07:30 | |
-It's nice and narrow, it's not too tall. -Yes. | 0:07:30 | 0:07:32 | |
It has a nice colour to the grain too, | 0:07:32 | 0:07:34 | |
but what I would like to take the hood off and have a look at the movement. | 0:07:34 | 0:07:39 | |
-OK. -Can we do that? | 0:07:39 | 0:07:40 | |
-OK. -You hold the trunk and I'll slide the hood out. -OK. -OK. | 0:07:40 | 0:07:45 | |
-I should put that on the floor. -Right. | 0:07:45 | 0:07:47 | |
And I've just noticed, actually, a little bit of the cornice needs some TLC | 0:07:47 | 0:07:51 | |
-but we've got that bit down there, haven't we? -Yep. | 0:07:51 | 0:07:54 | |
You've got the weights, pendulum, and winder, that's good. | 0:07:54 | 0:07:57 | |
-And that actually sits nicely on the shoulders of the trunk. -Yeah. | 0:08:01 | 0:08:05 | |
So that's a good indication as well. | 0:08:05 | 0:08:07 | |
You can see there's no bits of new pine that's been added | 0:08:07 | 0:08:11 | |
to make a base for this to sit on, you can see that. | 0:08:11 | 0:08:14 | |
So that's totally original. | 0:08:14 | 0:08:16 | |
-Oh, good. -It's so easy to tell and you can see the wear marks here. | 0:08:16 | 0:08:20 | |
-Oh, crikey, yeah. -You see that? -Yeah. | 0:08:20 | 0:08:23 | |
-Over the years, where that's just been dropped into place. -Cool. | 0:08:23 | 0:08:26 | |
That's another good thing to look for, wear. | 0:08:26 | 0:08:29 | |
-There's no additional pieces of wood... -Yeah. | 0:08:29 | 0:08:31 | |
..that's holding this up, so we know the clock is 100% right. | 0:08:31 | 0:08:36 | |
It's a shame we can't get the little flywheel to tick over and hammer the bell. | 0:08:36 | 0:08:41 | |
It does need somebody who specialises in longcase clocks | 0:08:41 | 0:08:45 | |
to actually get this movement cleaned up, get it working properly, | 0:08:45 | 0:08:50 | |
and that will cost around about £300. | 0:08:50 | 0:08:52 | |
-Right. -That's the downside. -Yeah. | 0:08:52 | 0:08:55 | |
A little bit of TLC to the case, not a lot of work, | 0:08:55 | 0:08:59 | |
possibly around about £50 just to put the missing piece of cornice on | 0:08:59 | 0:09:03 | |
and touch up the door there. | 0:09:03 | 0:09:06 | |
But that's what you're looking for for a bit of restoration. | 0:09:06 | 0:09:10 | |
Had you thought about price? | 0:09:10 | 0:09:12 | |
Because it does need the restoration work etc, | 0:09:12 | 0:09:15 | |
-I was thinking 500, maybe 600, at auction. -Yeah. | 0:09:15 | 0:09:18 | |
-And then it's for the dealer to restore. -I think you're spot on. | 0:09:18 | 0:09:21 | |
-If we can put it in to auction with a valuation of £500 to £700... -Yeah. | 0:09:21 | 0:09:26 | |
..a reserve of 500. | 0:09:26 | 0:09:28 | |
-If it goes for that, there's commission, obviously, to pay. -Yeah. | 0:09:28 | 0:09:31 | |
Then there's the restoration costs. | 0:09:31 | 0:09:33 | |
I think there's profit in it for a dealer to buy it and sell it on. | 0:09:33 | 0:09:37 | |
-Right, OK. -OK, happy? | 0:09:37 | 0:09:38 | |
I'm fine with that, yeah. OK. | 0:09:38 | 0:09:40 | |
You know, Clive, of all the things I've ever seen on Flog It, | 0:09:49 | 0:09:52 | |
this has got to be one of the more unusual. | 0:09:52 | 0:09:54 | |
Tell me, where did you come by it? | 0:09:54 | 0:09:56 | |
-Winchester car boot sale a couple of years ago. -Right. How much was it? | 0:09:56 | 0:10:01 | |
Well, I asked the gentleman behind the stall and he said 50p. | 0:10:01 | 0:10:05 | |
-OK. -I had a feeling I knew it was old, very old, | 0:10:05 | 0:10:10 | |
obviously the person selling didn't. | 0:10:10 | 0:10:12 | |
The thing that I love about this is everything really. | 0:10:12 | 0:10:16 | |
It's the fact that it was from a car boot sale for 50p, | 0:10:16 | 0:10:19 | |
the fact that it's the earliest and oldest thing that I've ever seen on Flog It, | 0:10:19 | 0:10:24 | |
and probably my favourite thing as well, | 0:10:24 | 0:10:28 | |
just the feel of it. | 0:10:28 | 0:10:29 | |
-Do you know what it is? -I believe it's Greek. -Yeah. | 0:10:29 | 0:10:34 | |
-I believe it's over 2,000 years old. -It is. | 0:10:34 | 0:10:37 | |
It could be used for oils or... | 0:10:37 | 0:10:40 | |
Aromatic waters, something like that. | 0:10:40 | 0:10:42 | |
It's the classic antique shape, isn't it? | 0:10:42 | 0:10:45 | |
Whenever we're talking about antiquities, that's the shape we're talking about. | 0:10:45 | 0:10:49 | |
Those wonderful excavations at Pompeii and Herculaneum | 0:10:49 | 0:10:53 | |
in the 18th century | 0:10:53 | 0:10:55 | |
brought about this wonderful neoclassical movement in England in the 1770s, 1780s, | 0:10:55 | 0:11:02 | |
in which Robert Adam was doing these wonderful designs of urns, the Wedgwood urn shape, | 0:11:02 | 0:11:08 | |
all of them inspired from this type of thing. | 0:11:08 | 0:11:12 | |
This is sort of a colour-coated ware, we've got a terracotta-type base | 0:11:12 | 0:11:15 | |
and it was probably held by that, dipped into the glaze, | 0:11:15 | 0:11:20 | |
and you can see here where it's missed the glaze on the rim there. | 0:11:20 | 0:11:25 | |
But look at the quality of that turned foot rim | 0:11:25 | 0:11:28 | |
and thinking in terms of 100 BC possibly up to 200 AD, | 0:11:28 | 0:11:34 | |
the quality of that and it survived, you know? | 0:11:34 | 0:11:38 | |
Yeah, that's the amazing thing, isn't it? | 0:11:38 | 0:11:40 | |
We look at these Doulton plates andthings from the 1930s, | 0:11:40 | 0:11:43 | |
and it's stapled or it's cracked, | 0:11:43 | 0:11:45 | |
and here we have the earliest thing ever on Flog It and it's perfect. | 0:11:45 | 0:11:49 | |
So having said how much I love it, | 0:11:49 | 0:11:53 | |
back down to earth. What's it worth? | 0:11:53 | 0:11:55 | |
£50, that's all probably, | 0:11:55 | 0:11:58 | |
50 to 70, something like that. | 0:11:58 | 0:12:01 | |
And a reserve, I think, of £50. | 0:12:01 | 0:12:05 | |
-Yep. -But you know when people say it's old, it's got to be valuable, | 0:12:05 | 0:12:09 | |
-just proves it doesn't. -Not always, no it doesn't. No. | 0:12:09 | 0:12:12 | |
-That to somebody is a piece of history. -Yes. | 0:12:12 | 0:12:15 | |
Well, as you can see, everybody is working flat out down there. | 0:12:23 | 0:12:26 | |
We're now halfway through our day, we've found some fantastic antiques, | 0:12:26 | 0:12:30 | |
so it's time to put those experts' valuations to the test. | 0:12:30 | 0:12:33 | |
While we make our way over to the auction room in Winchester, | 0:12:33 | 0:12:36 | |
here's a recap of what we've found so far. | 0:12:36 | 0:12:38 | |
The pattern on Angela's dish was Clarice Cliff's favourite, | 0:12:38 | 0:12:42 | |
but will it prove just as popular with our bidders? | 0:12:42 | 0:12:45 | |
And this Chitty Chitty Bang Bang toy car is in perfect condition, | 0:12:45 | 0:12:48 | |
so I'm sure it'll fetch a grown-up price. | 0:12:48 | 0:12:51 | |
Keith's grandfather clock is in need of some renovation | 0:12:51 | 0:12:54 | |
but I doubt if it'll put the buyers off. | 0:12:54 | 0:12:56 | |
Clive's Grecian urn is 2,000 years old. | 0:12:56 | 0:12:59 | |
At just 50p what a car boot bargain. | 0:12:59 | 0:13:02 | |
He's bound to see a good return. | 0:13:02 | 0:13:04 | |
Here we are in the auction room, | 0:13:17 | 0:13:18 | |
it's packed full of bidders, all our owners are here with their antiques. | 0:13:18 | 0:13:22 | |
Catherine, our expert, is here. | 0:13:22 | 0:13:24 | |
Unfortunately James, our other expert, cannot be with us today. He's in Derby | 0:13:24 | 0:13:28 | |
but we've got a phone link to him and a camera on him, | 0:13:28 | 0:13:31 | |
so we can hear his opinions. So fingers crossed, | 0:13:31 | 0:13:33 | |
-we'll get a profit today on everything. -We're gonna do well. | 0:13:33 | 0:13:37 | |
The man brandishing the gavel today is Andrew Smith. | 0:13:37 | 0:13:40 | |
It wouldn't be Flog It without Clarice Cliff, would it? | 0:13:42 | 0:13:45 | |
Thankfully, our two lovely sisters, Angela and Marilyn, have brought in a wonderful example. So who owns it? | 0:13:45 | 0:13:51 | |
-Mum. -Mum. | 0:13:51 | 0:13:53 | |
-So where's Mum, then? -She's not able to come, she's disabled. | 0:13:53 | 0:13:57 | |
-Oh, she's watching at home. -Yes. | 0:13:57 | 0:13:59 | |
-Hopefully, yeah. -Mum will get all the money? -No. | 0:13:59 | 0:14:01 | |
-No. -No? Marilyn and Angela. | 0:14:01 | 0:14:03 | |
Ooh. It could be £300 to £500, were you surprised by the valuation? | 0:14:03 | 0:14:07 | |
-We were, actually, yeah. -Yeah? | 0:14:07 | 0:14:09 | |
-James has done you proud. -Yes, he has. | 0:14:09 | 0:14:11 | |
James knows his Clarice Cliff. | 0:14:11 | 0:14:13 | |
I must say, I don't understand it really, | 0:14:13 | 0:14:15 | |
I'm not a big fan of Clarice but I do know it fetches lots and lots of money. | 0:14:15 | 0:14:19 | |
-Yes. -And I hope this pattern is one of the better ones. | 0:14:19 | 0:14:22 | |
-So do we. -It's a nice shape bowl though; it's so big, isn't it? | 0:14:22 | 0:14:25 | |
-Yeah. -The pointed ends are a little like a boat. -Yes, it is. | 0:14:25 | 0:14:29 | |
So why are you flogging it, why's Mum flogging it? | 0:14:29 | 0:14:31 | |
She doesn't use it any more, she's not able to use it any more. | 0:14:31 | 0:14:35 | |
-The easiest thing to do is sell it as you can't divide that up? -No. | 0:14:35 | 0:14:38 | |
What would you do, James? | 0:14:38 | 0:14:40 | |
I have to say my house does not suit Clarice Cliff | 0:14:40 | 0:14:43 | |
so if it was mine, I'd sell it and buy something I like. | 0:14:43 | 0:14:46 | |
Hopefully we'll get the top end of your estimate. | 0:14:46 | 0:14:49 | |
OK, we're gonna find out now then, James. It's here. | 0:14:49 | 0:14:52 | |
Good luck, everybody. Here we go. | 0:14:52 | 0:14:54 | |
Lot 381 is the Clarice Cliff Bizarre, | 0:14:54 | 0:14:59 | |
a lot of interest in this. | 0:14:59 | 0:15:01 | |
We have a commission bid and a telephone up at the back there, | 0:15:01 | 0:15:06 | |
so I'm going to start the bidding at £300. | 0:15:06 | 0:15:12 | |
At £300 and selling... is there a 20? | 0:15:12 | 0:15:15 | |
At £300... any more? At £300... | 0:15:15 | 0:15:18 | |
is there a telephone there? | 0:15:18 | 0:15:20 | |
No. At £300 then, all done at £300. | 0:15:20 | 0:15:24 | |
Last time. | 0:15:24 | 0:15:25 | |
-Oh. -Blink and you'll miss it. | 0:15:25 | 0:15:27 | |
One opening bid of £300, James. | 0:15:27 | 0:15:29 | |
-But it sold. -Yeah, I mean it's not being used at home so... | 0:15:32 | 0:15:35 | |
-I'm happy with that. -Yes, yes. | 0:15:35 | 0:15:36 | |
Well, it was a great film and a fantastic car, | 0:15:42 | 0:15:45 | |
it's Chitty Chitty Bang Bang. | 0:15:45 | 0:15:46 | |
It reminds me of my childhood because I had one of these cars, it belongs to Caroline. | 0:15:46 | 0:15:51 | |
-Who have you brought along here? -My daughter, Susan. -Hi, hello Susan. | 0:15:51 | 0:15:55 | |
Something you wouldn't want to inherit, is it? | 0:15:55 | 0:15:57 | |
-No. -Chitty Chitty Bang Bang? | 0:15:57 | 0:15:59 | |
Honestly, I've got one of these, the wings have bust off, | 0:15:59 | 0:16:02 | |
-nothing works, I chucked the box as soon as I had it. -Yep. | 0:16:02 | 0:16:05 | |
I played with car, rammed it along the carpet, | 0:16:05 | 0:16:07 | |
all the wheels have fallen off, but I've still got it. | 0:16:07 | 0:16:10 | |
Yes, we've got the same. | 0:16:10 | 0:16:12 | |
Ours is the same, the wings they break off so easily and just... | 0:16:12 | 0:16:15 | |
Yeah, yeah. And it's nowhere near worth as much as what we've got on this. | 0:16:15 | 0:16:19 | |
-Hopefully we'll get the top end £150. -Ah this is mint, isn't it? | 0:16:19 | 0:16:23 | |
-It's in mint condition. -Yes. -Well cherished. | 0:16:23 | 0:16:25 | |
Yes, it was my husband's. | 0:16:25 | 0:16:26 | |
-Never really played with then, did he? -No, he never played with. | 0:16:26 | 0:16:30 | |
-A present from his grandparents. -Unbelievable. | 0:16:30 | 0:16:32 | |
-Just left it in the box. -Yes. | 0:16:32 | 0:16:34 | |
Oh, that burning desire. | 0:16:34 | 0:16:37 | |
I would have had to get it out of the box and play with it. | 0:16:37 | 0:16:40 | |
-No. -He's a very restrained chap. | 0:16:40 | 0:16:43 | |
-He's over there. -Oh, is he, right. OK, well good luck. | 0:16:43 | 0:16:46 | |
Good luck, Susan, as well. It's going under the hammer now. | 0:16:46 | 0:16:49 | |
Lot 780, Chitty Chitty Bang Bang, the Corgi model. | 0:16:50 | 0:16:55 | |
So start with £100. £100... | 0:16:55 | 0:16:58 | |
80 then, £80... Start with 50, £50. | 0:16:58 | 0:17:02 | |
Thank you, and 5, at £50. | 0:17:02 | 0:17:04 | |
Come on, we've got a bit of work to do here. | 0:17:04 | 0:17:07 | |
And 5, 70... | 0:17:07 | 0:17:08 | |
at £65, at £65... any more? | 0:17:08 | 0:17:13 | |
At 70... and 5, 80... | 0:17:13 | 0:17:15 | |
and 5, at £80 and we'll sell, at £80, are you done? | 0:17:15 | 0:17:19 | |
At £80... | 0:17:19 | 0:17:21 | |
Last time round at £80. | 0:17:21 | 0:17:24 | |
-Sold it. -Just scraped it. | 0:17:25 | 0:17:27 | |
Just sold it. | 0:17:27 | 0:17:28 | |
-Phew. -I think you're right, there's not that many toys there. | 0:17:28 | 0:17:32 | |
-No. -They haven't got the toys. It's the start, is it? | 0:17:32 | 0:17:35 | |
-He's gradually going to sell? -Maybe. -Hopefully. -You've got no sons? | 0:17:35 | 0:17:41 | |
-No. -Just me. | 0:17:41 | 0:17:43 | |
-You don't want cars, do you? -No. | 0:17:43 | 0:17:45 | |
Andrew's taking a break from the rostrum | 0:17:47 | 0:17:50 | |
so it's up to his colleague Nick Jarrett to sell the clock. | 0:17:50 | 0:17:53 | |
My turn to be the expert, remember that lovely 8-day longcase clock, the oak one? | 0:17:53 | 0:17:57 | |
It's about to go under the hammer, belongs to Keith, he's not here. | 0:17:57 | 0:18:01 | |
He's on holiday in Turkey but we've got Keith's mum and dad here. | 0:18:01 | 0:18:04 | |
-Hi, what's your name? -Robin. | 0:18:04 | 0:18:06 | |
-Robin, and? -Christine. -Christine. | 0:18:06 | 0:18:08 | |
Hi. This clock's been in the family a couple of generations, | 0:18:08 | 0:18:12 | |
-it was your Mum's, wasn't it? -Yes. -Then it was yours, now it's Keith's. | 0:18:12 | 0:18:15 | |
I know Keith's adamant he won't take a penny under £500, will he, | 0:18:15 | 0:18:19 | |
so if it sells in auction he's now put the reserve at 560, | 0:18:19 | 0:18:23 | |
so the auctioneer can use a bit of discretion. | 0:18:23 | 0:18:25 | |
If it sells at 560, you'll still get £500. | 0:18:25 | 0:18:29 | |
Yes, yes. That'll be OK. | 0:18:29 | 0:18:31 | |
Lot 840, the longcase clock at the back of the room. | 0:18:31 | 0:18:36 | |
Now I'm starting you clear bids here at £500, 520 can I say? | 0:18:36 | 0:18:42 | |
At £500... 520? | 0:18:42 | 0:18:45 | |
520... 540, 560... | 0:18:45 | 0:18:48 | |
560 on the phone, 580? | 0:18:48 | 0:18:51 | |
At 560 on the phone, anybody else in? | 0:18:51 | 0:18:54 | |
At £560... anybody going on at 560? | 0:18:54 | 0:18:58 | |
I'll sell it for 560 if you're done. | 0:18:58 | 0:19:02 | |
-Oh, well. -I was right, wasn't I? | 0:19:02 | 0:19:04 | |
-Yeah, dead on. -On the spot. | 0:19:04 | 0:19:07 | |
-It's gone. -At least we don't have to take it home with us. | 0:19:07 | 0:19:10 | |
Exactly, that's the worrying thing | 0:19:10 | 0:19:13 | |
-cos the more you move them, the more you damage them. -Yes. | 0:19:13 | 0:19:16 | |
I did say to Keith whoever takes this on, | 0:19:16 | 0:19:18 | |
there's £300 to spend on the restoration project, really. | 0:19:18 | 0:19:22 | |
I've been looking forward to this. | 0:19:28 | 0:19:30 | |
I think this is a real little gem, it's so cute to look at, isn't it? | 0:19:30 | 0:19:33 | |
I wouldn't be selling it if I was you, Clive. | 0:19:33 | 0:19:36 | |
This is my favourite item in the sale today | 0:19:36 | 0:19:38 | |
and it's the least expensive item out of all our Flog It owners. | 0:19:38 | 0:19:42 | |
We've got £50 to £70 on this. | 0:19:42 | 0:19:44 | |
It's not a lot of money for something that's 100 years BC. | 0:19:44 | 0:19:48 | |
I know why you like this, James, | 0:19:48 | 0:19:50 | |
and I can see this sitting on your bureau at home or something like that. | 0:19:50 | 0:19:54 | |
It's got the look, you know what I mean. | 0:19:54 | 0:19:56 | |
Paul, you know me too well. | 0:19:56 | 0:19:58 | |
For me, this is one of the stars of the show, I love it. | 0:19:58 | 0:20:01 | |
You can forget Clarice Cliff, you can forget Moorcroft, | 0:20:01 | 0:20:05 | |
I'd love to own this. | 0:20:05 | 0:20:06 | |
Whoever buys this, I'm sure they're going to enjoy it, | 0:20:06 | 0:20:09 | |
because it's so tactile. | 0:20:09 | 0:20:10 | |
Fingers crossed we'll get a lot more than £70. | 0:20:10 | 0:20:13 | |
-Hopefully. -It's going under the hammer now. Good luck. | 0:20:13 | 0:20:15 | |
Lot 440, this is an ancient unguent bottle. Start me at £50? | 0:20:15 | 0:20:21 | |
£50... 40 then, £40 surely... | 0:20:21 | 0:20:26 | |
-30 to get it going. -Oh, come on! -£30, thank you... and 2, 32... | 0:20:26 | 0:20:30 | |
35, 37... 40, 42... 45, 47... | 0:20:30 | 0:20:35 | |
At £45, any more? 47... | 0:20:35 | 0:20:38 | |
50, and 5... at £50, any more? | 0:20:38 | 0:20:42 | |
At £50, are you sure? | 0:20:42 | 0:20:44 | |
Last time, at £50 then. | 0:20:44 | 0:20:47 | |
James, was spot on. | 0:20:47 | 0:20:49 | |
You've got a great eye, you found that in a car boot. | 0:20:49 | 0:20:52 | |
Car boot sale for 50p. | 0:20:52 | 0:20:54 | |
That's great profit, isn't it? | 0:20:55 | 0:20:57 | |
I wish we could do that every single day. | 0:20:57 | 0:20:59 | |
Clive, thank you so much. That was a lovely little thing, | 0:20:59 | 0:21:02 | |
-so tactile and a beautiful shape, had so much character. -It did. | 0:21:02 | 0:21:06 | |
When it comes to the world of fashion, | 0:21:17 | 0:21:19 | |
Basingstoke isn't necessarily the first town in this country you think of, is it, let's face it. | 0:21:19 | 0:21:24 | |
But actually this town was the birthplace of one of | 0:21:24 | 0:21:27 | |
Britain's most enduring internationally-renowned designer labels. | 0:21:27 | 0:21:32 | |
The story starts back in the 1850s when thanks to | 0:21:43 | 0:21:47 | |
the ever-expanding railway system, Basingstoke started to thrive. | 0:21:47 | 0:21:51 | |
And it was at that point that a young apprentice draper | 0:21:51 | 0:21:54 | |
moved here from Surrey, keen to set up his own business. | 0:21:54 | 0:21:58 | |
His name was Thomas Burberry, and he was to revolutionise the clothing industry | 0:21:58 | 0:22:02 | |
and tap straight into the hearts of Edwardian society. | 0:22:02 | 0:22:06 | |
To tell us more about this entrepreneur and great British tailor is Sue Washington, | 0:22:06 | 0:22:12 | |
who looks after the Burberry Collection for the Hampshire County Council Museum Service. | 0:22:12 | 0:22:17 | |
So tell me a little bit more about Thomas Burberry. | 0:22:19 | 0:22:22 | |
He must have been very ambitious because by the age of 21 he'd moved to Basingstoke, | 0:22:22 | 0:22:26 | |
which was a thriving market town, and had opened up his own shop by 1856. | 0:22:26 | 0:22:30 | |
The whole community would have been a farming area. | 0:22:30 | 0:22:33 | |
Absolutely, yes, a very agricultural community | 0:22:33 | 0:22:36 | |
and he was influenced by that. | 0:22:36 | 0:22:38 | |
This is a standard agricultural worker's smock and this is where Burberry got his inspiration from. | 0:22:38 | 0:22:43 | |
It's woven from the very close-woven twill weave, | 0:22:43 | 0:22:47 | |
which you can see is very dense. | 0:22:47 | 0:22:49 | |
It's not just the fabric that it's made of but it's also the way it's constructed | 0:22:49 | 0:22:54 | |
with this double fabric over the shoulders, | 0:22:54 | 0:22:56 | |
which would have protected from the rain. | 0:22:56 | 0:22:58 | |
Burberry was obviously influenced by seeing these | 0:22:58 | 0:23:01 | |
-and thought that he could adapt the technology. -Yeah. | 0:23:01 | 0:23:04 | |
You can see where the inspiration comes from. | 0:23:04 | 0:23:07 | |
He was something of a dress reformer, | 0:23:07 | 0:23:09 | |
along with people like Dr Jaeger, in looking at using | 0:23:09 | 0:23:12 | |
natural fibres to allow the body to breathe. | 0:23:12 | 0:23:14 | |
His further invention, not just the close-knit cotton twill, | 0:23:14 | 0:23:19 | |
was to proof the fabric and he did it twice. | 0:23:19 | 0:23:21 | |
He proofed the yarn before it was woven | 0:23:21 | 0:23:23 | |
and he proofed the fabric again after it was finished. | 0:23:23 | 0:23:27 | |
He perfected the technique through the 1870s, | 0:23:27 | 0:23:30 | |
but he didn't patent the name gabardine until 1888. | 0:23:30 | 0:23:34 | |
Gabardine, with its weatherproof properties, | 0:23:34 | 0:23:37 | |
couldn't have come along at a better time. British life was changing. | 0:23:37 | 0:23:41 | |
The rolling fields of Edwardian England were turning into | 0:23:41 | 0:23:44 | |
a playground for the urban elite and Hampshire's well-stocked rivers | 0:23:44 | 0:23:49 | |
and fields of game were an ideal magnet for the country sport set. | 0:23:49 | 0:23:53 | |
Burberry was perfectly placed to exploit this new desire | 0:23:53 | 0:23:56 | |
for outdoor pursuits. | 0:23:56 | 0:23:58 | |
And this, Paul, is an example of an early Burberry motoring coat. | 0:24:01 | 0:24:05 | |
I thought so. When I saw this, I thought it's either | 0:24:05 | 0:24:08 | |
motorcycling or motoring and it's got the look. | 0:24:08 | 0:24:11 | |
It has and Burberry obviously exploited the fact | 0:24:11 | 0:24:15 | |
that there was so much interest in lots of other activities at that time. | 0:24:15 | 0:24:18 | |
He made specialist clothing for mountaineering, | 0:24:18 | 0:24:21 | |
skiing, golfing, you name it. | 0:24:21 | 0:24:22 | |
-Fishing, shooting. -Absolutely. | 0:24:22 | 0:24:25 | |
But the motoring coat was a huge, huge success. | 0:24:25 | 0:24:28 | |
The revolution with the Burberry gabardine | 0:24:28 | 0:24:30 | |
was that it was very lightweight, but it was still waterproof and windproof. | 0:24:30 | 0:24:34 | |
When you're driving along at heady speeds of 4 mph | 0:24:34 | 0:24:38 | |
-on a rainy day, you need it. -With the G-force pushing against you! | 0:24:38 | 0:24:41 | |
-Absolutely. -So by this period, how successful was Burberry? | 0:24:41 | 0:24:45 | |
Hugely successful. Burberry expanded his empire enormously. | 0:24:45 | 0:24:48 | |
-Making lots of money. -Indeed. | 0:24:48 | 0:24:50 | |
In 1891 he opened his famous shop in the Haymarket in London | 0:24:50 | 0:24:55 | |
and then he opened shops in Paris, Berlin, Buenos Aries, Montevideo, even New York. | 0:24:55 | 0:25:00 | |
-Global brand. -Absolutely. | 0:25:00 | 0:25:02 | |
Burberry's clothes were proving their worth | 0:25:05 | 0:25:07 | |
in the glitzy capitals, but the real test was to come | 0:25:07 | 0:25:10 | |
in one of the world's most extreme climates. | 0:25:10 | 0:25:13 | |
Some of the world's most intrepid explorers | 0:25:13 | 0:25:16 | |
of the time were wearing Burberry, and this one is a reproduction | 0:25:16 | 0:25:21 | |
of the Shackleton outrig suit. | 0:25:21 | 0:25:23 | |
Really? Shackleton's Trans-Antarctic expedition? | 0:25:23 | 0:25:26 | |
Yes, 1914. They had also outfitted Amundsen, | 0:25:26 | 0:25:29 | |
-the first man to reach the South Pole in 1911. -I never knew that. | 0:25:29 | 0:25:32 | |
And Scott, all of his expeditions | 0:25:32 | 0:25:34 | |
and it wasn't just the outfits. They also made the tents in the gabardine. | 0:25:34 | 0:25:38 | |
That must have been such a good PR boost for the company | 0:25:38 | 0:25:42 | |
to see Shackleton trudging across the ice in this. | 0:25:42 | 0:25:45 | |
It was, and this period was of course the heyday of the British Empire | 0:25:45 | 0:25:48 | |
and Burberry gabardine was going everywhere in the world. | 0:25:48 | 0:25:52 | |
It wasn't just good for Arctic conditions, | 0:25:52 | 0:25:54 | |
it was just as useful in jungles and veldt. | 0:25:54 | 0:25:57 | |
Burberry published a book called Gabardine In Peace and War, | 0:25:57 | 0:26:00 | |
and it included testimonials from everyone from Baden-Powell to Kitchener, | 0:26:00 | 0:26:04 | |
to the kind of intrepid empire builders who were out there | 0:26:04 | 0:26:08 | |
doing amazing things all over the world wearing their Burberry with pride | 0:26:08 | 0:26:12 | |
and writing in to tell Thomas Burberry | 0:26:12 | 0:26:15 | |
that his gabardine was keeping them dry and warm, | 0:26:15 | 0:26:18 | |
keeping them cool, in one case even protecting them from a tiger attack. | 0:26:18 | 0:26:21 | |
It was keeping them safe as well. | 0:26:21 | 0:26:24 | |
But it would be in the blood-soaked trenches of the First World War | 0:26:25 | 0:26:29 | |
that Burberry would come up with his most famous design, the trench coat. | 0:26:29 | 0:26:34 | |
Burberry received instructions from the War Office to create | 0:26:36 | 0:26:40 | |
a new raincoat for officers | 0:26:40 | 0:26:42 | |
and they came up with a variation of their existing raincoat, the Tielocken. | 0:26:42 | 0:26:47 | |
The differences for war use were the addition of epaulets and D rings, | 0:26:47 | 0:26:51 | |
which of course were used to attach kit. | 0:26:51 | 0:26:53 | |
But again it was the waterproof qualities and the lightweightness | 0:26:53 | 0:26:57 | |
and the fact that you could wear it over kit and wear kit over it | 0:26:57 | 0:27:00 | |
-that made it so popular with everybody. -And you could roll it up. | 0:27:00 | 0:27:04 | |
And it didn't really matter | 0:27:04 | 0:27:06 | |
where the theatre of war was, it was suitable. | 0:27:06 | 0:27:09 | |
The Burberrys were very much for officers' use only. The Edwardian era | 0:27:09 | 0:27:13 | |
was class conscious and the officers were taken from the upper ranks. | 0:27:13 | 0:27:18 | |
But even by the time of the Second World War when this coat | 0:27:18 | 0:27:20 | |
was created, it was still officers only | 0:27:20 | 0:27:23 | |
and there is a label saying that. | 0:27:23 | 0:27:26 | |
Post war, it became a symbol of everything that's British. | 0:27:26 | 0:27:30 | |
This is the style of coat that we see on film stars and what-have-you afterwards, | 0:27:30 | 0:27:34 | |
well removed from the field of battle but very, very stylish. | 0:27:34 | 0:27:38 | |
-It's lovely. -It's beautiful. -It's just so iconic. | 0:27:38 | 0:27:41 | |
The trench coat reflects all of Thomas Burberry's | 0:27:41 | 0:27:44 | |
original objectives of practicality and toughness. | 0:27:44 | 0:27:47 | |
His clothing captured the British way of life in the Edwardian age, | 0:27:47 | 0:27:51 | |
but it's the timeless and broad appeal of the design | 0:27:51 | 0:27:54 | |
that's kept it at the forefront of fashion ever since. | 0:27:54 | 0:27:59 | |
It's time to head back to the valuation day | 0:28:04 | 0:28:06 | |
to see if our experts can find any classic pieces amongst our crowd at the Anvil. | 0:28:06 | 0:28:11 | |
Johanna, what a lovely little box. | 0:28:11 | 0:28:13 | |
Is this something you've had in the family for years? | 0:28:13 | 0:28:15 | |
Yes. It was my mother's, | 0:28:15 | 0:28:17 | |
it was my grandmother's, but it may even go back further down the line. | 0:28:17 | 0:28:23 | |
-That accent, that isn't a Hampshire accent, is it? -No. | 0:28:23 | 0:28:27 | |
-Whereabouts are you from originally? -No, I'm Dutch. I'm from Holland. | 0:28:27 | 0:28:31 | |
OK, and on your father's side or mother's side, or both? | 0:28:31 | 0:28:35 | |
Both, but from my father's side, they date back to Russia. | 0:28:36 | 0:28:42 | |
Oh, really? | 0:28:42 | 0:28:44 | |
Was it a style in Russia or...? | 0:28:44 | 0:28:46 | |
Well, the interesting thing is that | 0:28:46 | 0:28:50 | |
it's not Russian, it's probably not Dutch. | 0:28:50 | 0:28:55 | |
The most likely source for this is English. | 0:28:55 | 0:28:59 | |
-So it's... -So it's back home again. | 0:28:59 | 0:29:02 | |
You've brought it back home. | 0:29:02 | 0:29:04 | |
And this sort of tea caddy was popular from the second quarter | 0:29:04 | 0:29:09 | |
of the 19th century, right the way through until around 1850, 1860. | 0:29:09 | 0:29:16 | |
So this little chap started containing tea almost 200 years ago. | 0:29:16 | 0:29:21 | |
It's lined, if we open it up. | 0:29:21 | 0:29:22 | |
Funny lining, though. | 0:29:22 | 0:29:25 | |
This little lining paper is a little zinc lining | 0:29:25 | 0:29:29 | |
and it's started to degrade over the years. | 0:29:29 | 0:29:32 | |
So you wouldn't want to be scraping that up with your tea leaves today. | 0:29:32 | 0:29:36 | |
It's veneered over the whole surface in mother of pearl. | 0:29:36 | 0:29:40 | |
The most important thing is that we check it for condition | 0:29:40 | 0:29:42 | |
because with these mother of pearl and tortoiseshell tea caddies, | 0:29:42 | 0:29:46 | |
the important thing is to make sure there aren't too many pieces missing. | 0:29:46 | 0:29:49 | |
You've got traces of old glue marks there | 0:29:49 | 0:29:52 | |
where pieces have been off and on. | 0:29:52 | 0:29:54 | |
So what do you think that little box will make at auction? | 0:29:54 | 0:29:58 | |
I haven't got a clue. | 0:29:58 | 0:30:00 | |
No? Well, without the damage, it would obviously be a lot more. | 0:30:00 | 0:30:04 | |
-Yes. -I would think probably 250 to £350 in perfect condition. | 0:30:04 | 0:30:10 | |
With the damage, 100 to £150, something like that. | 0:30:10 | 0:30:15 | |
Now, would you like to put a reserve on it? | 0:30:15 | 0:30:17 | |
You mentioned £200 to 250? | 0:30:17 | 0:30:20 | |
-Oh, 200. -Oh, that's when... Yes. -If it was perfect, 2 to 250. | 0:30:20 | 0:30:24 | |
People remember the highest figures you tell them. | 0:30:24 | 0:30:27 | |
They forget all the information that goes with it | 0:30:27 | 0:30:29 | |
-and just remember the figures. -All right, £100. | 0:30:29 | 0:30:32 | |
£100 - we'll do that. | 0:30:32 | 0:30:34 | |
And I'll see you at the auction. | 0:30:34 | 0:30:36 | |
-Yes, definitely. -OK, well done. | 0:30:36 | 0:30:38 | |
Thank you, James. | 0:30:38 | 0:30:39 | |
Greta, Donald, thank you very much for coming today. | 0:30:45 | 0:30:48 | |
Welcome, and thank you for bringing along | 0:30:48 | 0:30:51 | |
this rather sweet and very small autograph book. | 0:30:51 | 0:30:54 | |
Have you got any interesting autographs in there? | 0:30:54 | 0:30:57 | |
Yes, I've got Laurel and Hardy. | 0:30:57 | 0:30:59 | |
Oh, wonderful, let's take a look then inside | 0:30:59 | 0:31:03 | |
and there we are, we can see there's a wonderful picture of them there. | 0:31:03 | 0:31:07 | |
Looks like a little sticker | 0:31:07 | 0:31:09 | |
of a rather plump Oliver Hardy and a very skinny Stan Laurel. | 0:31:09 | 0:31:14 | |
-Yes. -Then they've put there their signatures, Stan Laurel in ink | 0:31:14 | 0:31:19 | |
and Oliver Hardy, which looks like to be in a little ballpoint pen. | 0:31:19 | 0:31:24 | |
And they've signed underneath "Hello Greta," which is you. | 0:31:24 | 0:31:27 | |
-Isn't that sweet? -Yes. | 0:31:27 | 0:31:28 | |
Now let's just turn the page here | 0:31:28 | 0:31:31 | |
and this... | 0:31:31 | 0:31:33 | |
is what really interests me because there's more information on here. | 0:31:33 | 0:31:37 | |
"Thanks for a nice hair trim, John. Oliver Hardy." | 0:31:37 | 0:31:40 | |
And then at the top, you've got, "Me, too. Stan Laurel." | 0:31:40 | 0:31:45 | |
Tell me a little bit about this. Where did you get this from? | 0:31:45 | 0:31:48 | |
Well, my father was a lady and gents' hairdresser and Laurel and Hardy | 0:31:48 | 0:31:54 | |
came to Dun Laoghaire and they stayed in the Royal Marine Hotel. | 0:31:54 | 0:31:58 | |
My father came home and said they were coming the next day, | 0:31:58 | 0:32:02 | |
so I said to him, "Oh, please, Daddy, get their autograph." | 0:32:02 | 0:32:05 | |
-Oh, that's fantastic. -So he took it along. | 0:32:05 | 0:32:08 | |
He cut their hair in the hotel. | 0:32:08 | 0:32:11 | |
That must have been such a privilege to cut their hair. | 0:32:11 | 0:32:13 | |
It was, absolutely. My father was very, very proud. Very proud. | 0:32:13 | 0:32:18 | |
He said they were a wonderful couple. | 0:32:18 | 0:32:20 | |
-I bet they were great fun as well. -Yes. -Telling lots of jokes. | 0:32:20 | 0:32:24 | |
You must really treasure this. | 0:32:24 | 0:32:26 | |
Well, I did, I still do but the time has come now for... | 0:32:26 | 0:32:30 | |
-My husband and I are retired. -Right. | 0:32:30 | 0:32:32 | |
And we love enjoying ourselves, so... | 0:32:32 | 0:32:35 | |
And what about you, Donald, are you a big fan of Oliver Hardy? | 0:32:35 | 0:32:39 | |
Oh, yes, I've got some of his VHSs left at home. | 0:32:39 | 0:32:44 | |
They were fantastic, weren't they? They were legends, even now. | 0:32:44 | 0:32:48 | |
-You put them on and they still make you tickle. -Absolutely. | 0:32:48 | 0:32:52 | |
It's hard to put a value on these because it's not just one set | 0:32:52 | 0:32:56 | |
-of autographs, it's two. -That's right. | 0:32:56 | 0:32:59 | |
I would suggest probably putting it in with an estimate of 400 to £600, | 0:32:59 | 0:33:03 | |
and perhaps putting a reserve on of about 350. | 0:33:03 | 0:33:07 | |
But I would hope that because there's so much interesting | 0:33:07 | 0:33:11 | |
information here and it's just got a wonderful story, | 0:33:11 | 0:33:15 | |
I would hope that it makes more towards the top estimate. | 0:33:15 | 0:33:17 | |
The signatures are nice and clear. It's not "O Hardy" or "S Laurel", | 0:33:17 | 0:33:22 | |
it's "Stan Laurel". | 0:33:22 | 0:33:24 | |
-Yes. -Good signatures, nice and clear, and I think they should | 0:33:24 | 0:33:28 | |
fetch really good money. They're fantastic. | 0:33:28 | 0:33:30 | |
Thank you very much indeed. | 0:33:30 | 0:33:32 | |
When I first saw these, I thought they were | 0:33:38 | 0:33:40 | |
just a standard string of beads, but they're actually a lot more | 0:33:40 | 0:33:44 | |
interesting than that, aren't they? | 0:33:44 | 0:33:46 | |
Well, so I believe. I've been told that they may be Japanese. | 0:33:46 | 0:33:49 | |
-They are, and do you know what they were used for? -No idea. | 0:33:49 | 0:33:52 | |
OK. Well, in fact, each one of these would never have been anywhere | 0:33:52 | 0:33:56 | |
near the others because they're known as ojime. | 0:33:56 | 0:33:59 | |
They're normally made from bronze and they're part of a Japanese dress, | 0:33:59 | 0:34:04 | |
because, of course, in a kimono you don't have pockets. | 0:34:04 | 0:34:08 | |
So you have what's called an inro, which is a box, | 0:34:08 | 0:34:12 | |
and that box is suspended by a cord. | 0:34:12 | 0:34:16 | |
And that cord is then brought under the belt and then to stop the cord | 0:34:16 | 0:34:19 | |
falling from the belt is a netsuke, which is often carved out of ivory or hardwood. | 0:34:19 | 0:34:26 | |
That stops the inro falling but under the inro | 0:34:26 | 0:34:31 | |
is one of these little ojime, which are little beads to support the inro. | 0:34:31 | 0:34:37 | |
These are all individually cast out of bronze, | 0:34:37 | 0:34:40 | |
some are dark patinated, some have got little silver flowers on them. | 0:34:40 | 0:34:45 | |
This one's wonderful. Little gourd shape here and that one | 0:34:45 | 0:34:51 | |
appears to be a leaf with a crab crawling all over it. | 0:34:51 | 0:34:55 | |
So they're all wonderful little individual works of art. | 0:34:55 | 0:35:00 | |
There we've got a little frog on that one. Super, aren't they? | 0:35:00 | 0:35:04 | |
They're lovely, I love looking at them but I suppose it's time | 0:35:04 | 0:35:08 | |
to start clearing some junk out. | 0:35:08 | 0:35:10 | |
Junk? Throw it my way because I think these are great. | 0:35:10 | 0:35:14 | |
Were they all used as a necklace when you were a child? | 0:35:14 | 0:35:17 | |
We used to string them together for something to do. | 0:35:17 | 0:35:20 | |
And then in later years, my husband wore it to a fancy dress party. | 0:35:20 | 0:35:27 | |
-What did he go as? -A hippy, of course. | 0:35:27 | 0:35:29 | |
A hippy, how brilliant. | 0:35:29 | 0:35:31 | |
I think they're great and I think they'll do very well | 0:35:31 | 0:35:34 | |
at the saleroom. | 0:35:34 | 0:35:35 | |
I've counted them up. There are about 60 here, | 0:35:35 | 0:35:38 | |
and at the fairs, these range from | 0:35:38 | 0:35:41 | |
3 or £4 each up to 50 or £60 for a slightly more unusual one. | 0:35:41 | 0:35:46 | |
So I'm going to put an estimate of | 0:35:46 | 0:35:48 | |
£150 to £250 on them, reserve of £150. | 0:35:48 | 0:35:53 | |
But if anything has the potential to fly at the auction, it's these. | 0:35:53 | 0:35:59 | |
-I think they might do really, really well. -Thank you very much. | 0:35:59 | 0:36:03 | |
Well, it's auction time again and here are our remaining lots. | 0:36:03 | 0:36:08 | |
Johanna was astonished to hear her tea caddy | 0:36:08 | 0:36:10 | |
was English and I hope she's in for another surprise too today. | 0:36:10 | 0:36:14 | |
Bernadette is parting with the autographs of those stars | 0:36:14 | 0:36:17 | |
of the silver screen, Laurel and Hardy. Will they achieve a legendary price? | 0:36:17 | 0:36:22 | |
They've been in a dressing-up box for years | 0:36:22 | 0:36:24 | |
and James has high hopes for Janet's Japanese beads. | 0:36:24 | 0:36:27 | |
Just a quick reminder that James can't be here with us today | 0:36:33 | 0:36:36 | |
but we're getting his reaction from Derby. | 0:36:36 | 0:36:39 | |
I hope we get James' top end of the estimate, £150. | 0:36:43 | 0:36:46 | |
Johanna, it's a gorgeous little thing. | 0:36:46 | 0:36:49 | |
We're talking about the tea caddy. | 0:36:49 | 0:36:51 | |
Probably you can remember James waxing lyrical over this at the valuation day. | 0:36:51 | 0:36:55 | |
He fell in love with it. A nice Victorian piece, | 0:36:55 | 0:36:57 | |
early Victorian, wonderful inlay, the condition's good as well. | 0:36:57 | 0:37:02 | |
So, James, fingers crossed! | 0:37:02 | 0:37:04 | |
It's been a long day here and we need some good results. | 0:37:04 | 0:37:07 | |
This is a great example. It's seen better days, though, | 0:37:07 | 0:37:10 | |
and those bits of veneer that are missing are expensive to repair. | 0:37:10 | 0:37:14 | |
So, 100 to 150. Let's hope it makes towards the £200. | 0:37:14 | 0:37:17 | |
If it does, then that's a great result. | 0:37:17 | 0:37:19 | |
It's going under the hammer right now, good luck to both of you. | 0:37:19 | 0:37:23 | |
Lot 810. This is a Victorian mother of pearl veneered single tea caddy. | 0:37:23 | 0:37:30 | |
We have two commission bids here. I'll start the bidding at 130. | 0:37:30 | 0:37:35 | |
is there 140 in the room? | 0:37:35 | 0:37:37 | |
£130... 140, 150... | 0:37:37 | 0:37:40 | |
160, commission bids out... | 0:37:40 | 0:37:42 | |
160 in the room, is there 170? | 0:37:42 | 0:37:44 | |
At £160 and we are selling, at £160 if you're all done. | 0:37:44 | 0:37:50 | |
For the last time, then. | 0:37:50 | 0:37:51 | |
-Sold. -Absolutely excellent, we got £160. | 0:37:51 | 0:37:55 | |
What are you going to put that towards? | 0:37:55 | 0:37:58 | |
With Christmas around the corner, well, more or less. | 0:37:58 | 0:38:02 | |
-Half a year away. -I think we spend that way. | 0:38:02 | 0:38:06 | |
How would you say "good result" in Dutch? | 0:38:06 | 0:38:09 | |
Sounds pretty similar - goede resultaat. | 0:38:09 | 0:38:12 | |
Oh, it does actually, doesn't it? | 0:38:12 | 0:38:15 | |
Remember the Laurel and Hardy autographs? It's time to put them under the hammer. | 0:38:20 | 0:38:25 | |
We are joined by Catherine, Donald, and Bernadette. | 0:38:25 | 0:38:27 | |
What a fabulous story we've just heard at the valuation day. | 0:38:27 | 0:38:31 | |
Yes, absolutely. One of my favourites. | 0:38:31 | 0:38:33 | |
Your father was a hairdresser? | 0:38:33 | 0:38:36 | |
-Yes, ladies and gents. -Cut their hair. -Yes. | 0:38:36 | 0:38:38 | |
Got their autograph. | 0:38:38 | 0:38:39 | |
-Beautiful story. -He said they joked all the time. | 0:38:39 | 0:38:42 | |
I bet they did. I would have been tempted | 0:38:42 | 0:38:44 | |
to keep one set of autographs myself and sell the other, | 0:38:44 | 0:38:49 | |
-but you didn't want to split the book up. -No. | 0:38:49 | 0:38:52 | |
-I'm pleased we've protected them with a reserve. -Absolutely. | 0:38:52 | 0:38:56 | |
Lots of memories and they're going under the hammer. | 0:38:56 | 0:38:59 | |
Good luck, both of you. | 0:38:59 | 0:39:00 | |
-Thank you. -Here we go. | 0:39:00 | 0:39:02 | |
Lot 825. This is a miniature autograph book | 0:39:02 | 0:39:07 | |
signed by Stan Laurel and Oliver Hardy, so start me at £400. £400? | 0:39:07 | 0:39:15 | |
-350 then... £350. -Come on. | 0:39:15 | 0:39:19 | |
Try 300, £300, thank you... | 0:39:19 | 0:39:21 | |
and 20, 320... 350, at £320... | 0:39:21 | 0:39:26 | |
make it 350, at £320. | 0:39:26 | 0:39:29 | |
-Come on, one more. -We're one bid away. | 0:39:29 | 0:39:31 | |
We are close at £320 but I'm afraid I can't sell at that figure. | 0:39:31 | 0:39:35 | |
One bid away, we were one bid away. | 0:39:38 | 0:39:40 | |
-We were so close. -We've got a reserve of £350. | 0:39:40 | 0:39:44 | |
I'm so disappointed. | 0:39:44 | 0:39:46 | |
It's an absolutely cracking lot, a really super lot. | 0:39:46 | 0:39:49 | |
-Not to worry. -Not to worry. | 0:39:49 | 0:39:51 | |
They're beautiful. | 0:39:51 | 0:39:52 | |
We've got Janet's Japanese beads | 0:40:01 | 0:40:03 | |
just about to go under the hammer. That's a tongue twister, isn't it? | 0:40:03 | 0:40:06 | |
Janet's Japanese beads. | 0:40:06 | 0:40:08 | |
Are you into textiles? | 0:40:08 | 0:40:10 | |
-No, I'm not. -I was going to say you look very colourful | 0:40:10 | 0:40:12 | |
and sort of as if you were. | 0:40:12 | 0:40:14 | |
So how did you come across these beads, | 0:40:14 | 0:40:16 | |
cos they're all from a dress? | 0:40:16 | 0:40:18 | |
Well, they're the little... | 0:40:18 | 0:40:20 | |
like the washer, under a netsuke. | 0:40:20 | 0:40:23 | |
-Yes. -And they were in a dressing-up box. | 0:40:23 | 0:40:27 | |
Were they? Where did you find that? | 0:40:27 | 0:40:29 | |
At my grandmother's house. | 0:40:29 | 0:40:31 | |
Well, James, you've put 150 to £250 on these. You obviously understand | 0:40:31 | 0:40:36 | |
what you're looking at because I wouldn't know how to value these. | 0:40:36 | 0:40:40 | |
Were you surprised at James' valuation? | 0:40:40 | 0:40:42 | |
I had no idea what they'd be worth. I didn't even know what they were. | 0:40:42 | 0:40:45 | |
No, it's so hard to put a price on something like this, | 0:40:45 | 0:40:49 | |
it's quite an academic thing. | 0:40:49 | 0:40:51 | |
How do you do it, James, how do you know about stuff like this? | 0:40:51 | 0:40:54 | |
This is a really difficult subject. | 0:40:54 | 0:40:57 | |
Loads of beads and a couple of them are signed. | 0:40:57 | 0:41:00 | |
Those signatures could make all of the difference. | 0:41:00 | 0:41:03 | |
Unfortunately, I can't read Japanese but there are plenty of people out there that can, | 0:41:03 | 0:41:07 | |
so they might do really well. | 0:41:07 | 0:41:09 | |
OK, I hope you're right. I hope we get the top end. | 0:41:09 | 0:41:12 | |
We're gonna find out. It's packed here, so good luck, both of you. | 0:41:12 | 0:41:15 | |
They're going under the hammer. | 0:41:15 | 0:41:18 | |
Lot 180. This is the Japanese beads. A lot of interest in these. | 0:41:18 | 0:41:23 | |
We have four commission bids and a telephone. | 0:41:23 | 0:41:28 | |
-I shall start the bidding at £450. -Oh! | 0:41:28 | 0:41:34 | |
Is there 470 in the room? At £450... | 0:41:34 | 0:41:37 | |
is there a... 470, commission bids out... | 0:41:37 | 0:41:41 | |
470 in the room... 500, 520... | 0:41:41 | 0:41:47 | |
550, 570... | 0:41:47 | 0:41:51 | |
-600. -It's incredible. | 0:41:51 | 0:41:53 | |
And 20... | 0:41:53 | 0:41:55 | |
650, 670... | 0:41:55 | 0:41:57 | |
700, and 20. | 0:42:00 | 0:42:03 | |
James, it's exceeded your top estimate. | 0:42:03 | 0:42:05 | |
-He said they might fly. -He did, didn't he? | 0:42:05 | 0:42:08 | |
At £720... Is there 750? | 0:42:08 | 0:42:12 | |
-At £720... Any more? -720 quid! | 0:42:14 | 0:42:16 | |
At £720, then, for the very last time. | 0:42:16 | 0:42:21 | |
Bang, that is a big sold sound. | 0:42:21 | 0:42:24 | |
£720, Janet. | 0:42:24 | 0:42:26 | |
-Wonderful. -What are you going to do with all that money? | 0:42:26 | 0:42:29 | |
It'll pay for the piece of jewellery I've already commissioned. | 0:42:29 | 0:42:33 | |
-You've designed a piece of jewellery? -Yes. | 0:42:33 | 0:42:36 | |
-And you're going to get it made. -Yes. | 0:42:36 | 0:42:38 | |
Oh, good for you. Good for you. | 0:42:38 | 0:42:40 | |
-Thank you so much. -If you've got anything like that lying around | 0:42:40 | 0:42:44 | |
at home, do what Janet's done. | 0:42:44 | 0:42:46 | |
Bring it along to one of our valuation days | 0:42:46 | 0:42:48 | |
and hopefully James might be there to value it. | 0:42:48 | 0:42:50 | |
What a lovely moment. | 0:42:50 | 0:42:53 | |
It's a wonderful end to a wonderful day | 0:42:53 | 0:42:56 | |
here in Itchen Stoke just outside Winchester. | 0:42:56 | 0:42:59 | |
Our owners have gone home happy, James has been spot on | 0:42:59 | 0:43:02 | |
with his valuations and so has Catherine. So all credit to our experts, | 0:43:02 | 0:43:06 | |
to the auctioneer, and what a great day we've had. | 0:43:06 | 0:43:08 | |
-See you next time on Flog It. -Thank you. | 0:43:08 | 0:43:11 | |
For more information about Flog It, including how the programme was made, visit the website at bbc.co.uk. | 0:43:11 | 0:43:18 | |
Subtitles by Red Bee Media Ltd | 0:43:23 | 0:43:26 | |
Email [email protected] | 0:43:26 | 0:43:28 |