Browse content similar to Coventry. Check below for episodes and series from the same categories and more!
Line | From | To | |
---|---|---|---|
Today, Flog It has been sent to Coventry. Now, we're all familiar with the phrase, "Sent to Coventry", | 0:00:02 | 0:00:08 | |
meaning to ostracise, but where does it come from? | 0:00:08 | 0:00:11 | |
The origin of the phrase, "Sent to Coventry", isn't known for sure. | 0:00:51 | 0:00:55 | |
But it is thought to originate from the time of the English Civil War. | 0:00:55 | 0:01:00 | |
During the conflict, captured Royalists were sent to Coventry to be imprisoned | 0:01:00 | 0:01:06 | |
where the Parliamentarian population refused to speak with them. | 0:01:06 | 0:01:10 | |
Well, this crowd seem friendlier now. We've got the doors open. We're getting everybody inside. | 0:01:10 | 0:01:17 | |
Today we're very privileged to be based in what has to be Coventry's most iconic and renowned building, | 0:01:25 | 0:01:32 | |
the incredible Coventry Cathedral. | 0:01:32 | 0:01:35 | |
Completing the Flog It team sheet today are Michael Baggott and Will Axon. | 0:01:39 | 0:01:45 | |
And first up, it's over to Michael. | 0:01:45 | 0:01:47 | |
June, what a curious collection of different objects we have on the table today. | 0:01:47 | 0:01:53 | |
-Where did you get them from? -They used to belong to my mother, who was in business in Coventry from 1929. | 0:01:53 | 0:02:01 | |
-Oh. -And she died 30 years ago, sadly. And these are just some of the few things I've got left now. | 0:02:01 | 0:02:08 | |
What business was your mother in? | 0:02:08 | 0:02:10 | |
She was in new and second-hand furniture and china and glass. | 0:02:10 | 0:02:15 | |
And also crocheted tablecloths. And she went to lots of auction sales. | 0:02:15 | 0:02:21 | |
-So all sorts, really? -Yes. -Well, she had a wonderful eye. | 0:02:21 | 0:02:25 | |
Let's start with this fellow here. And his use becomes apparent when we turn him round. | 0:02:25 | 0:02:31 | |
He's obviously a nutcracker. It's a type you see in the 19th century. | 0:02:31 | 0:02:35 | |
The wood... I've been thinking about this. I'm sure it's a fruit wood. | 0:02:35 | 0:02:39 | |
-Yes. -It may well be apple or pear. And fruit wood's very close grained, | 0:02:39 | 0:02:44 | |
-so it doesn't, even though it's got a few cracks, split when you use it and apply pressure. -I see. | 0:02:44 | 0:02:51 | |
And I think that's supposed to be Punch. | 0:02:51 | 0:02:54 | |
-Oh, is it? -Or a Punch-like figure in his little tricorne hat. | 0:02:54 | 0:02:59 | |
-They term that as a frilled ruff. -Yes. | 0:02:59 | 0:03:02 | |
And it's a very amusing thing. | 0:03:02 | 0:03:05 | |
-And it would have been carved in about 1850, 1860. -My goodness! | 0:03:05 | 0:03:10 | |
They're quite collectable things and still useful. | 0:03:10 | 0:03:13 | |
Then we've got a tortoiseshell box. And if we open it up - fantastic. | 0:03:13 | 0:03:18 | |
You've got a little travelling scent bottle set. | 0:03:18 | 0:03:22 | |
Beautiful hand-blown, faceted, glass vials. | 0:03:22 | 0:03:26 | |
In date I think that's around about... | 0:03:26 | 0:03:30 | |
-It's English. And it's about 1765, 1770. -Oh, wow! | 0:03:30 | 0:03:35 | |
It's a very early little travelling case. Normally they are a little bit more elaborate than this. | 0:03:35 | 0:03:41 | |
You can get silver inlay. But it's still a lovely early thing. And this is a little papier mache snuff box. | 0:03:41 | 0:03:48 | |
-And again that's got some great age to it. It's about 1810, 1820, when these things were fashionable. -Yes. | 0:03:48 | 0:03:54 | |
What's really interesting though is that you get all sorts of printed and applied scenes. | 0:03:54 | 0:04:00 | |
This is a named view of Gibraltar. | 0:04:00 | 0:04:02 | |
So even though the box itself is a little bit nibbled and distressed, | 0:04:02 | 0:04:07 | |
having that is really nice. | 0:04:07 | 0:04:09 | |
-Any idea then of the individual values? -Well, Michael, I did think about £50 for the nutcracker. | 0:04:09 | 0:04:17 | |
-Right. -Maybe 60 for that one... -Right. -The perfume. | 0:04:17 | 0:04:22 | |
And the other one, well, again, I didn't think it was very good at all. | 0:04:22 | 0:04:27 | |
I can feel myself reaching for my wallet as you speak. The nutcracker, these things are still under-rated. | 0:04:27 | 0:04:34 | |
But they are lovely, hand-carved treen. | 0:04:34 | 0:04:37 | |
-That's got to be £70 to £100 of anybody's money. -Wonderful. | 0:04:37 | 0:04:42 | |
-This little set, that's £100 to £150. -Amazing. | 0:04:42 | 0:04:46 | |
-I think that that is a makeweight. -Yes. -So I think we should put them in a lot together at auction | 0:04:46 | 0:04:52 | |
as they're interesting individually and they'll complement one another. | 0:04:52 | 0:04:57 | |
And if we put £200 to £300 on them as an estimate and put a reserve a little below that at 170. | 0:04:57 | 0:05:04 | |
-Yes. -And we hope that there are three fanatics for those items there and it does really well. | 0:05:04 | 0:05:10 | |
-But thank you so much for bringing them in. -My pleasure. -Thank you. | 0:05:10 | 0:05:14 | |
Kathleen, good morning. What can you tell me about this infantry helmet you've brought in today? | 0:05:25 | 0:05:32 | |
Not a lot. At some stage, my mother-in-law had a German lodger | 0:05:32 | 0:05:36 | |
and it's just come from her house when we cleared it out. | 0:05:36 | 0:05:40 | |
Well, the German lodger connection is interesting for me | 0:05:40 | 0:05:44 | |
because you may remember that propaganda image of the German soldier in the Second World War. | 0:05:44 | 0:05:50 | |
They were nearly always wearing these helmets or Pickelhaube, as they're known. | 0:05:50 | 0:05:56 | |
And then the spike on top, which actually through the years has got shorter and shorter. | 0:05:56 | 0:06:02 | |
When they first came out in the mid-19th century, these tended to be a lot taller. | 0:06:02 | 0:06:08 | |
And occasionally you would also have plumes of horse hair on the top. | 0:06:08 | 0:06:13 | |
They weren't originally invented for or designed by the Germans. | 0:06:13 | 0:06:18 | |
They were, in the mid-19th century, designed by the King of Prussia. | 0:06:18 | 0:06:24 | |
I notice from the badge at the front as well... On first inspection, it looked like the Prussian eagle. | 0:06:24 | 0:06:30 | |
-But on closer inspection, it's actually a griffin... -Oh. -..with a shield and holding a sword. | 0:06:30 | 0:06:37 | |
The badge at the front usually gives you some idea of where they're from. | 0:06:37 | 0:06:42 | |
It's usually the emblem of the city they're from. | 0:06:42 | 0:06:46 | |
-Now, any ideas? Have you come across that emblem before? -No. -Well, luckily, I did a bit of research. | 0:06:46 | 0:06:52 | |
And it's of Baden in Germany, which again ties in nicely with this mysterious, | 0:06:52 | 0:06:59 | |
-shall I say, German lodger. -Yes. | 0:06:59 | 0:07:01 | |
-What can you tell me about him? -Nothing. -And your mother-in-law had him as a lodger? -Apparently. | 0:07:01 | 0:07:07 | |
Maybe he ran off without paying the rent and he thought this would cover it. | 0:07:07 | 0:07:13 | |
-Have you any idea of what its value is? -Someone once offered me £10 for it. -That sounds a little bit mean. | 0:07:13 | 0:07:19 | |
-I thought that it was mean cos I'd seen them on programmes before. -I would say, looking at it, | 0:07:19 | 0:07:25 | |
we've got issues with condition. You've got shrinkage cracking to the leather cover. | 0:07:25 | 0:07:31 | |
You've lost a chin-strap. And taking all that into consideration, | 0:07:31 | 0:07:35 | |
I would say... Now, you say you were offered £10 for it at some stage. | 0:07:35 | 0:07:40 | |
-I think you could probably put a nought on that. -Good. -I would think it's worth about £100. -That's great. | 0:07:40 | 0:07:47 | |
-So can we straddle that £100 with an 80-120... -The usual. -..estimate? You've seen this programme before! | 0:07:47 | 0:07:54 | |
-So 80 to 120. And let's reserve it at that bottom figure. Can we give the auctioneer some discretion? -Yes. | 0:07:54 | 0:08:01 | |
-But hopefully we won't need it. But I shall see you there. -Lovely. | 0:08:01 | 0:08:06 | |
Kathleen, it's so nice to see a good, honest set of chairs ready to go to the kitchen. | 0:08:12 | 0:08:18 | |
-They're lovely. A set of six. -Yes. -We often get the odd chair. | 0:08:18 | 0:08:22 | |
Or we get a pair of hall chairs. | 0:08:22 | 0:08:25 | |
But this is a good set of six chairs. So what's the story? Where did they come from? | 0:08:25 | 0:08:31 | |
-My auntie bought them for my mum and dad when they got married. That's 101 years ago. -101 years! -Yes. | 0:08:31 | 0:08:38 | |
-So these have been in the family for 101 years? -Yes, for 101 years. -Gosh. | 0:08:38 | 0:08:42 | |
-So you used these in the kitchen as a little girl? -I did. -Sat on all of them probably? -Yes, all the time. | 0:08:42 | 0:08:49 | |
This one's had a little bit of a bash up there. It's been cut. But it's very, very smooth. | 0:08:49 | 0:08:55 | |
-It's sort of worn. -Yes, my mum did that. -What did your mum do? What happened? | 0:08:55 | 0:09:01 | |
-I think I was 15 months and I put my head through it. -You got your head stuck in there? | 0:09:01 | 0:09:06 | |
-Were you playing games? -I must've been. So she had to hold my head down and got a knife and just... | 0:09:06 | 0:09:12 | |
-Skimmed a bit off there? -Yes. -What a lovely story. They are fantastic. | 0:09:12 | 0:09:18 | |
They're sort of circa 1820, 1830. All the seats are made of elm, | 0:09:18 | 0:09:22 | |
which is a great wood. Look at the grain. It's so ambiguous. It never runs in one direction. | 0:09:22 | 0:09:28 | |
And it's called the wood that never sleeps, so it's always moving. When you sit on them, it gives with you. | 0:09:28 | 0:09:35 | |
-That's right. -They're normally called a blade-back. You can see they're sort of shaped like a blade there. | 0:09:35 | 0:09:41 | |
And they were made as practical kitchen chairs when every family in the country, in the early 1800s, | 0:09:41 | 0:09:48 | |
-had practical functional chairs like this. -That's right. -They were made in their thousands. -Yes. | 0:09:48 | 0:09:55 | |
-Have you any idea of the value? -Not at all. -Well, you see lots of these in auction rooms | 0:09:55 | 0:10:02 | |
and they fetch around about £15 a chair, £20 a chair. | 0:10:02 | 0:10:08 | |
But with a set of six, I think there's a premium on that. | 0:10:08 | 0:10:12 | |
-And I think we could get over £200 for a set of six. -That's not bad. | 0:10:12 | 0:10:17 | |
-We'll put a reserve of £150 on. -Right. -I think it's a great set. | 0:10:17 | 0:10:22 | |
And somebody's going to inherit your love that you gave these. | 0:10:22 | 0:10:26 | |
It's a shame to have them and not use them, you know. None of the family want them. | 0:10:26 | 0:10:32 | |
That's sad. I think there's another 100 years left in them. | 0:10:32 | 0:10:37 | |
I'd like to think so. Yes. | 0:10:37 | 0:10:39 | |
Valerie, thank you for bringing this lovely gentleman's watch in. May I ask where you got it from? | 0:10:44 | 0:10:50 | |
It belonged to my father's father, so that's my grandfather. | 0:10:50 | 0:10:55 | |
-It's been in the family quite some time. Do you know roughly when it was made? -I know nothing about it. | 0:10:55 | 0:11:03 | |
From the outside, I'd say it's not an English watch. It's likely to be French or Swiss. | 0:11:03 | 0:11:09 | |
But we'll have a little look, pop it open. That's very nice. | 0:11:09 | 0:11:13 | |
You've got a lovely gold dial with black Arabic numerals to it. | 0:11:13 | 0:11:18 | |
And we've got some marks there which tell me that the case is Swiss. | 0:11:18 | 0:11:23 | |
And it's 14-carat gold. If we close that up, the back's similarly beautifully engraved with flowers | 0:11:23 | 0:11:30 | |
and scrolls on this machine-turned ground. Quite exquisite. | 0:11:30 | 0:11:34 | |
And we've got the dust cover there | 0:11:34 | 0:11:37 | |
which says it's "15 Rubis", | 0:11:37 | 0:11:41 | |
15 jewelled movements. | 0:11:41 | 0:11:43 | |
And that's probably going to be quite standard. And there's the standard Swiss cylinder movement. | 0:11:43 | 0:11:49 | |
-It's lovely and thin. It was made for elegance. -Yes. | 0:11:49 | 0:11:54 | |
But really if you see how thin that dust cover is, it's more for show than substance. | 0:11:54 | 0:12:01 | |
It would've been made around 1890, anywhere up to about 1910. | 0:12:01 | 0:12:06 | |
And it's that typical, showy, Swiss gold engraving that they did terribly well. | 0:12:06 | 0:12:13 | |
And why have you decided to part with it now? | 0:12:13 | 0:12:18 | |
It's to de-clutter. I never look at it. I never use it. | 0:12:18 | 0:12:22 | |
-And so it's... -It might as well go to somebody who'll appreciate it. | 0:12:22 | 0:12:26 | |
Unfortunately, I've given this a little shake and there's no ticking. | 0:12:26 | 0:12:31 | |
So it's not in working order which will make a slight difference to the value. | 0:12:31 | 0:12:36 | |
-But any idea of what it's worth? -No idea. | 0:12:36 | 0:12:40 | |
In running order, it would be about £120 to £180. | 0:12:40 | 0:12:46 | |
But you've got to take into account someone's going to have to overhaul the movement and do repairs to it. | 0:12:46 | 0:12:52 | |
So I think at auction we should be putting that in at 80 to 120. We'll put a fixed reserve of £80 on it. | 0:12:52 | 0:12:59 | |
And hopefully a watch repairer will fall in love with the case and not mind about the movement. | 0:12:59 | 0:13:06 | |
-But are you happy to put that into auction? -Yes, I am. Yes. | 0:13:06 | 0:13:10 | |
-So we'll pop it into the sale for you and hope it does really well. -I hope so. -Thanks for bringing it in. | 0:13:10 | 0:13:17 | |
We'll be back for more valuations later. Now let's see what our first lots will make at auction. | 0:13:17 | 0:13:23 | |
And here's a reminder of what we're taking. First was June with a trio of trinkets for Michael to value. | 0:13:23 | 0:13:29 | |
Will they combine to create a great price? Kathleen brought in a German helmet which Will took a look at. | 0:13:29 | 0:13:35 | |
It's not in mint condition. But these items are very collectable. | 0:13:35 | 0:13:40 | |
Next up was another Kathleen, whose set of six chairs have been in the family for 101 years. | 0:13:40 | 0:13:47 | |
But it's time for them to move on to a new owner. And finally it was back to Michael | 0:13:47 | 0:13:53 | |
who looked at Valerie's gold watch, Swiss, beautifully decorated, guaranteed to go, you'd think. | 0:13:53 | 0:13:59 | |
But nothing's certain in the saleroom. | 0:13:59 | 0:14:03 | |
Today's auction is in Bigwood. Not that big wood, but this Bigwood. | 0:14:03 | 0:14:08 | |
Bigwood Fine Art Auctioneers is in Tiddington, just outside Stratford-upon-Avon. | 0:14:08 | 0:14:13 | |
The big names here are auctioneers Chris Ironmonger and Stephen Kaye. | 0:14:14 | 0:14:19 | |
The sale is about to begin, so time to find out if Michael and Will's valuations strike the right note. | 0:14:19 | 0:14:26 | |
You certainly wouldn't want to sit down on this lot if somebody left it on a chair, would you, Kathleen? | 0:14:26 | 0:14:33 | |
-God, it would hurt. -Comedy moment. -We've got a German Pickelhaube helmet with a big spike on the top. | 0:14:33 | 0:14:39 | |
-Yes, it was just a bit misshapen, I think. -Yes. -It had a bit of cracking on that leather cover. | 0:14:39 | 0:14:45 | |
-The chin-strap was missing. -Yes. -So how did you come by this anyway? | 0:14:45 | 0:14:50 | |
I thought that my mother-in-law used to have a German lodger. | 0:14:50 | 0:14:55 | |
-But my friend who's here says he doesn't remember it. -The mystery deepens about this German lodger. | 0:14:55 | 0:15:02 | |
We go to Lot 415, which is the Pickelhaube helmet. | 0:15:02 | 0:15:07 | |
-I've got some bids here on the book. I can start here at £80. -That's OK. | 0:15:07 | 0:15:13 | |
95. 100. And 10. 120. 130. 140. 150. | 0:15:13 | 0:15:18 | |
160. 170. 180. | 0:15:18 | 0:15:20 | |
190. I'm out. Anybody give me 200? | 0:15:20 | 0:15:23 | |
All done at 190. | 0:15:23 | 0:15:26 | |
-Yes! The hammer's gone down. £190. -Good. -Well, result! | 0:15:26 | 0:15:30 | |
-Bit of a "come and buy me". -A little bit. It was just the condition. | 0:15:30 | 0:15:35 | |
-But it was nice and original. -It's a lovely thing. Don't forget there's commission to pay. -Of course, yes. | 0:15:35 | 0:15:41 | |
There's a bit of spending money. | 0:15:41 | 0:15:43 | |
-Yes. -Unless the German lodger's watching and asks you for his cash back. -He's got a point. | 0:15:43 | 0:15:49 | |
Good luck. Valerie's little gold watch is just about to go under the hammer. It's Swiss, 14-carat. | 0:15:54 | 0:16:00 | |
-Sounds good, Michael. -Where can you buy a Swiss, 14-carat gold pocket watch for £80? | 0:16:00 | 0:16:07 | |
-Well, you can't. But hopefully we'll sell it for 200. -I hope so. | 0:16:07 | 0:16:12 | |
Good luck. Hopefully, we'll get the top end of the estimate. It's going under the hammer right now. | 0:16:12 | 0:16:18 | |
Lot number 100 is the gentleman's hunter cased pocket watch. | 0:16:18 | 0:16:22 | |
And I can start here on the book at £75. | 0:16:22 | 0:16:26 | |
Good, we're in, in the room. | 0:16:26 | 0:16:28 | |
90. 5. 100. And 10. | 0:16:28 | 0:16:31 | |
-120. -(120!) -130. 140. 150? | 0:16:31 | 0:16:34 | |
-140 with the gentleman at the back. -That's more like it. -That's good. | 0:16:34 | 0:16:39 | |
-All done at 140. -Yes! £140. | 0:16:39 | 0:16:43 | |
-That's a good result. -That's brilliant. -Well done, Michael. | 0:16:43 | 0:16:48 | |
-Thank you. -Well, you're happy. The chap that bought it is smiling. So it's a win-win situation. | 0:16:48 | 0:16:54 | |
-Valerie's shopping later, so she'll be happy as well. Good luck. -Thanks. | 0:16:54 | 0:16:58 | |
I've got 40 here. 45. 50. 55, madam? 55. 60. | 0:16:58 | 0:17:02 | |
We've got Kathleen's six chairs just about to go under the hammer. I hope we get you top money today. | 0:17:02 | 0:17:09 | |
They're just about to go under the hammer. This is it now. Good luck. | 0:17:09 | 0:17:13 | |
Lot 535 - six late 19th, early 20th-century Windsor kitchen chairs. | 0:17:13 | 0:17:19 | |
Good solid little chairs there. And I'm bid £100. 110. 120. | 0:17:19 | 0:17:23 | |
130. Is it 140? | 0:17:23 | 0:17:26 | |
140. 150, if you like? | 0:17:26 | 0:17:28 | |
For a set of six, they're no money at all at 140. Do you want 150 now? | 0:17:28 | 0:17:32 | |
At £140. Are you all sure? All done. | 0:17:32 | 0:17:36 | |
-I don't know if he's sold. -No. 150 was... | 0:17:37 | 0:17:42 | |
-150 was the reserve, wasn't it? -I don't want to take them back. -Oh, dear. | 0:17:42 | 0:17:48 | |
I think we might have to find the underbidder | 0:17:48 | 0:17:52 | |
and see if the auctioneer can let them go to him at 140. | 0:17:52 | 0:17:56 | |
'Afterwards Kathleen decided to put the chairs back into Bigwood's next auction | 0:17:56 | 0:18:02 | |
'with a slightly reduced reserve.' | 0:18:02 | 0:18:04 | |
-June, £200 to £300 riding on a nice little lot, isn't it? -Oh, it's so interesting. -A bit of treen. | 0:18:04 | 0:18:10 | |
-And a bit of this and that. -It's the most fascinating little lot. -A collector will love these. | 0:18:10 | 0:18:17 | |
-Absolutely. -You'll just muse over them. There's lots of fascinating stories. Your mum had a good eye. | 0:18:17 | 0:18:23 | |
-She certainly did. -Anyway, we're going to flog them. They're going under the hammer now. | 0:18:23 | 0:18:29 | |
335 is a late Georgian, early Victorian perfume bottle set | 0:18:29 | 0:18:33 | |
and also the German nutcracker and seal box. 100 for this? | 0:18:33 | 0:18:38 | |
Get me started at 100? I'm bid 80. | 0:18:38 | 0:18:40 | |
It's a bit of a low start there. | 0:18:40 | 0:18:42 | |
110. 120. 120. 130. 140. | 0:18:42 | 0:18:45 | |
-150. 160. -It's getting faster. -170. | 0:18:45 | 0:18:49 | |
180, is it? It's 170 in the far corner. At 170. | 0:18:49 | 0:18:53 | |
At 170, I'm going to sell it. Make no mistake. In the far corner at 170. | 0:18:53 | 0:18:58 | |
-Yes. He's sold it. -He sold it. -Just under that. -Yes, just under that. | 0:18:58 | 0:19:03 | |
-And someone will really enjoy that lot as well. -A very tactile lot. -The nutcrackers in it were fantastic. | 0:19:03 | 0:19:10 | |
-They were. -I wanted to get them. I couldn't. But just to polish them. | 0:19:10 | 0:19:14 | |
-Because once you put a bit of wax on them, they'll just spring to life. -Thank you for bringing them in. | 0:19:14 | 0:19:21 | |
-Thank you for looking after me. -Aw. -Thank you, Michael. -You couldn't be the only one to get a kiss, Paul. | 0:19:21 | 0:19:28 | |
Before we go back to Coventry, I'll take a trip to a picturesque village just down the road in the Cotswolds. | 0:19:28 | 0:19:35 | |
It's home to a museum I've been wanting to visit for a long time. | 0:19:35 | 0:19:39 | |
These are the original drawings of one of the most important | 0:19:49 | 0:19:53 | |
and influential designers of the 20th century. He was a very passionate and talented draughtsman. | 0:19:53 | 0:20:00 | |
And he had a profound impact on the development of modern furniture and how we relate to design today. | 0:20:00 | 0:20:06 | |
And his name was Sir Gordon Russell. | 0:20:06 | 0:20:08 | |
This was his original workshop. It's now a wonderful museum dedicated to his lifetime achievements. | 0:20:08 | 0:20:15 | |
And it houses the most fabulous collection of furniture designed and championed by him. | 0:20:15 | 0:20:22 | |
Gordon Russell's furniture and designs tell the story of his life. | 0:20:28 | 0:20:33 | |
A life that went through distinct and often contrasting phases. | 0:20:33 | 0:20:38 | |
But throughout his life, he focused on one common goal | 0:20:38 | 0:20:43 | |
and that was to design, conceive and construct well-made furniture. | 0:20:43 | 0:20:47 | |
In his own words, "decent furniture for ordinary people". And that would become his mantra. | 0:20:47 | 0:20:54 | |
To understand Russell's work, we need to travel back to his childhood, | 0:20:56 | 0:21:03 | |
and how a family move would influence the rest of his life. | 0:21:03 | 0:21:07 | |
The museum's here in the village of Broadway in the Cotswolds. | 0:21:07 | 0:21:11 | |
And it was to this very building that the Russell family moved when Gordon was a 12-year-old boy. | 0:21:11 | 0:21:17 | |
Russell became a weekly boarder at Chipping Campden School. | 0:21:17 | 0:21:22 | |
And it was there that he got fascinated by local craftsmen and what they made. | 0:21:22 | 0:21:28 | |
He got a first-hand experience of an artistic and social movement, Arts and Crafts. | 0:21:28 | 0:21:33 | |
The Arts and Crafts Movement originated towards the end of the 19th century. | 0:21:33 | 0:21:38 | |
Its focus was on hand crafts and it celebrated the workmanship of design and production. | 0:21:38 | 0:21:43 | |
It was about simplicity and honesty, taking pleasure from construction as much as the end product. | 0:21:43 | 0:21:49 | |
The Movement opposed mass production, machine manufacturing and industrialisation. | 0:21:49 | 0:21:55 | |
When Russell was growing up in the Cotswolds, it was the very centre of the Arts and Crafts Movement. | 0:21:55 | 0:22:01 | |
This was to have a profound influence on Russell's entire life's work. | 0:22:01 | 0:22:06 | |
This has got to be my favourite piece in the museum. | 0:22:06 | 0:22:10 | |
It was designed by Gordon Russell in 1924 and it's known as the Paris Cabinet | 0:22:10 | 0:22:15 | |
because it won an award in 1925 at the Paris International Design Fair. | 0:22:15 | 0:22:19 | |
He really was at the top of his genre and this is so unashamedly Arts and Crafts. | 0:22:19 | 0:22:24 | |
And he's not frightened to show it. | 0:22:24 | 0:22:27 | |
It's very subtle as well and quite masculine. | 0:22:27 | 0:22:30 | |
What I want to point out to you are some of the woods he's used and the construction, | 0:22:30 | 0:22:36 | |
the way he's put it together, | 0:22:36 | 0:22:38 | |
because if you look here, you can see some very fine hand-cut dovetails. | 0:22:38 | 0:22:44 | |
That is called a closed dovetail, a stopped dovetail, if you like, | 0:22:44 | 0:22:48 | |
and it stops itself from coming through the face side of this piece of walnut | 0:22:48 | 0:22:53 | |
because it's not the done thing to see the end grain coming through on a face side, | 0:22:53 | 0:22:59 | |
but what I really love is... he's done it here, look at that! | 0:22:59 | 0:23:03 | |
He's put the construction right through the architecturally important piece. | 0:23:03 | 0:23:08 | |
That's so Arts and Crafts. They're not ashamed to show how this is put together. Each joint is hand-cut. | 0:23:08 | 0:23:14 | |
It's unbelievable. This inlay is stunning as well. | 0:23:14 | 0:23:18 | |
That's all hand-cut by chisel and inlaid in. | 0:23:18 | 0:23:21 | |
You've got ebonies, boxwoods, yew woods. It's very decorative. | 0:23:21 | 0:23:25 | |
And here is the original stencil that Gordon Russell drew to give to the cabinet-maker | 0:23:25 | 0:23:31 | |
to use as a template for the inlay. | 0:23:31 | 0:23:34 | |
He's copied it absolutely beautifully. The more you look at this, the more detail you can see. | 0:23:34 | 0:23:40 | |
On the stand, you see these lovely octagonal legs. | 0:23:40 | 0:23:44 | |
Look at these bog oak-inlaid chevrons moving all around the leg. | 0:23:44 | 0:23:48 | |
That really is a joy to behold, that piece. | 0:23:48 | 0:23:51 | |
Although Russell was heavily influenced by the ethos of the Arts and Crafts Movement, | 0:23:51 | 0:23:57 | |
he was also realistic about the cost of his designs and how it limited their mass appeal. | 0:23:57 | 0:24:03 | |
He wanted everybody to enjoy his furniture and his design. | 0:24:03 | 0:24:07 | |
The only way to achieve this was to adopt machine-led production, | 0:24:10 | 0:24:15 | |
something that wholly opposed his Arts and Crafts roots. | 0:24:15 | 0:24:19 | |
But it didn't deter him though. | 0:24:19 | 0:24:21 | |
Russell believed that the machine could be tamed and taught manners and work in harmony with Man. | 0:24:21 | 0:24:28 | |
By the late 1920s, Russell was beginning to realise his dream | 0:24:28 | 0:24:32 | |
and was in the most productive design phase of his life. | 0:24:32 | 0:24:36 | |
However, a downturn in the global economy threatened the business. | 0:24:36 | 0:24:40 | |
A chance phone call would change his fortunes for ever. | 0:24:40 | 0:24:43 | |
It was from an Irish radio engineer called Frank Murphy. | 0:24:43 | 0:24:47 | |
Murphy wanted well-made, modern-looking, precisely designed bodies for his new radios | 0:24:47 | 0:24:52 | |
and Gordon Russell responded immediately. | 0:24:52 | 0:24:55 | |
Here are a few of the designs. Look at these lovely radios! | 0:24:55 | 0:24:59 | |
It's no wonder they were an instant success and they moved the company into a new phase of prosperity. | 0:24:59 | 0:25:06 | |
The radios showed that there was a market for modern, well-built furnishings. | 0:25:07 | 0:25:12 | |
It also proved to the company that they could successfully engineer in wood, | 0:25:12 | 0:25:17 | |
producing items for the mass market, | 0:25:17 | 0:25:20 | |
whilst preserving the design principles the firm was built on. | 0:25:20 | 0:25:24 | |
Just as the company was expanding, | 0:25:26 | 0:25:29 | |
Gordon Russell stepped back from its management and suddenly and completely stopped designing. | 0:25:29 | 0:25:35 | |
He was approaching his 50s and I guess he saw his professional life drawing to a close, | 0:25:35 | 0:25:40 | |
but little did he know that events on a global scale were about to set his life off on a different course. | 0:25:40 | 0:25:46 | |
'This is London. You will now hear a statement by the Prime Minister. | 0:25:49 | 0:25:54 | |
'I have to tell you now this country is at war with Germany.' | 0:25:54 | 0:26:00 | |
With the outbreak of World War Two, there was a sudden and profound need for general use furniture. | 0:26:00 | 0:26:07 | |
Many people's possessions were being destroyed and there wasn't the raw materials or technical ability | 0:26:07 | 0:26:14 | |
to continue general production. | 0:26:14 | 0:26:16 | |
What was needed was simple, functional, well-built furniture that could be mass-produced. | 0:26:16 | 0:26:22 | |
To his surprise, Russell was asked to join the team | 0:26:22 | 0:26:25 | |
overseeing the design and manufacture of utility furniture. | 0:26:25 | 0:26:29 | |
It was a vital part of the war effort, | 0:26:29 | 0:26:32 | |
but also a perfect opportunity to continue his lifetime crusade | 0:26:32 | 0:26:36 | |
to produce decent furniture for ordinary people. | 0:26:36 | 0:26:40 | |
And here's an example, a classic piece of Second World War utility furniture. | 0:26:40 | 0:26:46 | |
Granted, it doesn't look as pretty as the other pieces, but it's practical, it's very functional. | 0:26:46 | 0:26:52 | |
If I look at the construction, machine-cut dovetail, | 0:26:52 | 0:26:56 | |
so definitely built to last. | 0:26:56 | 0:26:58 | |
It is austere, but it's got an understated beauty. | 0:26:58 | 0:27:01 | |
Russell's role working on utility furniture led to other management positions in the design community. | 0:27:01 | 0:27:08 | |
However, as the decades passed, Russell was to retreat | 0:27:08 | 0:27:12 | |
from public life back to his beloved Cotswolds. | 0:27:12 | 0:27:16 | |
At the ripe old age of 84, Gordon Russell's life came full circle. | 0:27:18 | 0:27:22 | |
He started to put pen to paper and design again. | 0:27:22 | 0:27:26 | |
Even though he hadn't drafted a single thing for the last 50 years, | 0:27:26 | 0:27:30 | |
he still had a far-reaching impact on the design world, | 0:27:30 | 0:27:34 | |
a profound influence. | 0:27:34 | 0:27:36 | |
But in his heyday, he just threw himself into the things he loved | 0:27:36 | 0:27:40 | |
and what inspired him most was the Arts and Crafts Movement. | 0:27:40 | 0:27:44 | |
This little yew wood occasional table is one of the last things he designed and it was done in 1979. | 0:27:44 | 0:27:52 | |
Sadly, three years later, he died. | 0:27:52 | 0:27:55 | |
But what a wonderful legacy he's left! Incredible. | 0:27:56 | 0:28:01 | |
Welcome back to the valuation day at Coventry Cathedral. Still people are pouring in. | 0:28:35 | 0:28:41 | |
Everyone who comes to one of our events is guaranteed a valuation, so we should be here for a while. | 0:28:41 | 0:28:47 | |
Tracy, I don't often get to see a lot of furniture on Flog It because it's not very portable, | 0:28:47 | 0:28:54 | |
but for me it's a nice change because I specialise in furniture. | 0:28:54 | 0:28:58 | |
-Where has this come from? -It's my grandma's and it sat in her hallway for as many years as I can remember. | 0:28:58 | 0:29:04 | |
Has she got any other bits that are similar dotted around the house? | 0:29:04 | 0:29:08 | |
No, this is the only piece. | 0:29:08 | 0:29:10 | |
Originally, it would have been part of a salon suite, as we call it, | 0:29:10 | 0:29:14 | |
so there would have been a couple of single chairs, a couple of armchairs and this settee. | 0:29:14 | 0:29:20 | |
-Any idea of how old it is? -No. | 0:29:20 | 0:29:23 | |
I would think you're looking at late 19th century, early Edwardian. | 0:29:23 | 0:29:27 | |
-Of its type, it's actually a nice one. -Yeah. | 0:29:27 | 0:29:30 | |
There's a nice bit of carving on the back here. | 0:29:30 | 0:29:34 | |
We've got these acanthus scrolls that are carved in. | 0:29:34 | 0:29:37 | |
It shows a bit of quality in the manufacture, shall we say? | 0:29:37 | 0:29:41 | |
Have you ever been tempted to put it into your home? | 0:29:41 | 0:29:45 | |
No, never. It's quite sad cos it's just sat there all these years. Nothing's been done with it. | 0:29:45 | 0:29:50 | |
That's the trouble with these. How do they fit into the modern home? | 0:29:50 | 0:29:55 | |
They're not exactly primary seating any more. | 0:29:55 | 0:29:58 | |
You're not gonna put one of these in your sitting room or TV room | 0:29:58 | 0:30:02 | |
and chuck out the comfy three-seater sofa that you can really relax in, | 0:30:02 | 0:30:07 | |
so they're a little bit formal and upright for today's living. | 0:30:07 | 0:30:11 | |
Have you thought about how much it's worth? | 0:30:11 | 0:30:14 | |
No, it's just sat there. I haven't given it a thought at all. | 0:30:14 | 0:30:18 | |
It's not gonna be hugely valuable, | 0:30:18 | 0:30:20 | |
but of its type, it's got just enough detail that just helps lift it up from the norm. | 0:30:20 | 0:30:25 | |
We've got a little moulding along the edge, then these acanthus-leaf carvings here, | 0:30:25 | 0:30:30 | |
which again was that sort of Georgian revival of the scrolling acanthus. | 0:30:30 | 0:30:35 | |
And that's nicely echoed again in the arm supports. | 0:30:35 | 0:30:40 | |
So it's got just enough that... | 0:30:40 | 0:30:43 | |
It's obviously taken someone a little bit more effort to make this example | 0:30:43 | 0:30:48 | |
than one that's just thrown together without any carving and so on. | 0:30:48 | 0:30:52 | |
So, value-wise, I'm thinking of about 100, that sort of level, 150. | 0:30:52 | 0:30:57 | |
-Would you be happy with that sort of money? -Yeah, I'd have thought so. | 0:30:57 | 0:31:01 | |
-You want a reserve of 100? -OK. -You want it back if it doesn't sell? -No. | 0:31:01 | 0:31:05 | |
-No reserve then? -No, put a reserve on it. -You want a reserve on it, but you don't want it back! | 0:31:05 | 0:31:11 | |
-We'll put £100 on it with discretion. How's that? -Definitely. | 0:31:11 | 0:31:16 | |
-Hopefully, on the day, we'll get it away and someone else can enjoy it. -I hope so. | 0:31:16 | 0:31:21 | |
-Shall we see if it's comfy? -Yeah. | 0:31:21 | 0:31:23 | |
-It's not bad, actually. -It's not too bad. -I could get used to this. | 0:31:25 | 0:31:29 | |
-Linda... -Hi. | 0:31:37 | 0:31:39 | |
I don't think I've ever seen a dog with such a surprised expression before. What have you done to him? | 0:31:39 | 0:31:45 | |
-It must've been all the tugging around as a child. -So he was yours as a little girl? -Hmm. | 0:31:45 | 0:31:50 | |
-Did he follow you everywhere? -He did when I was learning to walk. | 0:31:50 | 0:31:54 | |
-It was more my own dog. -Where has he been living the past few years? | 0:31:54 | 0:32:00 | |
-The past few years, he's been in my mum's cupboard. -Oh, dear. It's no place for a lad like that. | 0:32:00 | 0:32:06 | |
-No. -Even with that... Oh, dear me. ..with that expression. | 0:32:06 | 0:32:10 | |
-Do you know when and where he was made? -I think Germany. When I was a child, my father was in the forces. | 0:32:10 | 0:32:17 | |
And my mother bought him. She tried to buy me a dog... a frame to teach me to walk, | 0:32:17 | 0:32:23 | |
but in Germany at the time, they didn't have any, so she bought me this for Christmas instead. | 0:32:23 | 0:32:29 | |
So it was the Alsatian or the German shepherd on wheels? | 0:32:29 | 0:32:33 | |
-That's it. -You have to look in the ears of these things, especially when you say "Germany". | 0:32:33 | 0:32:39 | |
And sure enough, we've got the little Steiff button. | 0:32:39 | 0:32:42 | |
If you need reaffirming that it's all genuine, all of the wheels are marked "Steiff" as well. | 0:32:42 | 0:32:48 | |
And I think it was probably new or slightly second-hand when you had it. | 0:32:48 | 0:32:54 | |
It's certainly a dog that would have been produced from 1950 up until the late '60s. | 0:32:54 | 0:33:00 | |
-It's a bit of fun. This ring does something, doesn't it? -It barks. | 0:33:00 | 0:33:04 | |
-Let's give it a go. -FAINT BARKING SOUND | 0:33:04 | 0:33:07 | |
-It wouldn't be terribly good as a security dog. -Not really. | 0:33:07 | 0:33:11 | |
If you heard that, you'd be encouraged, not put off. | 0:33:11 | 0:33:14 | |
-The all-important buttoned ear has had a little bit of restoration done to it. -Yes. | 0:33:14 | 0:33:20 | |
-Because it's actually on the wrong way round. Any idea of what it's worth? -I haven't at all, no. | 0:33:20 | 0:33:27 | |
It's not a fortune, unfortunately. | 0:33:27 | 0:33:30 | |
Had it been 50 years earlier, it might have been a small fortune. | 0:33:30 | 0:33:34 | |
-But as it is now, I think at auction, it's £50 to £100. -Yeah. | 0:33:34 | 0:33:39 | |
And hopefully, somebody will be looking for a little dog to teach their little one to walk | 0:33:39 | 0:33:45 | |
-and it will find a good home. Are you happy to sell him now? -Yes, I'm ready. | 0:33:45 | 0:33:50 | |
Get him out of the cupboard, give him a new lease of life? | 0:33:50 | 0:33:53 | |
Let's hope he doesn't bark too loudly and put everybody off! | 0:33:53 | 0:33:57 | |
-Thanks for bringing him in. -Thank you. | 0:33:57 | 0:34:00 | |
Christine, what a menagerie you've brought in for us today! | 0:34:05 | 0:34:10 | |
Has this come out of a love of all things animal or are you particularly interested in Beswick? | 0:34:10 | 0:34:16 | |
-Well, we've just got interested in collecting them over the years, you know. -Yes. | 0:34:16 | 0:34:22 | |
-Have you bought most of these from fairs or sales? -No, from Coventry shops, like, you know. -OK. | 0:34:22 | 0:34:28 | |
We've seen a lot of Beswick on the programme, Flog It. There's only so much you can say about it. | 0:34:28 | 0:34:34 | |
-It was established sort of late 19th century. -Yes. -That's right. | 0:34:34 | 0:34:40 | |
Really as a reaction towards the Doulton and Worcester figures | 0:34:40 | 0:34:45 | |
that were at the top end of the market, shall we say, the Doulton and Worcester figures. | 0:34:45 | 0:34:51 | |
These were mass-produced. These were produced in large numbers, | 0:34:51 | 0:34:56 | |
though some models were limited and rarer than others. | 0:34:56 | 0:34:59 | |
-Rarer, yes. -Exactly. As special editions or such like and they can command good prices even today. | 0:34:59 | 0:35:05 | |
I've had a quick look over what you've brought in and I'm not pretending to be a Beswick expert. | 0:35:05 | 0:35:11 | |
It's not really my field, but a lot of these I have seen before. | 0:35:11 | 0:35:16 | |
You've got the bird figures which we've seen before, the foxes are quite common. | 0:35:16 | 0:35:21 | |
The dogs again are quite a popular series of Beswick. | 0:35:21 | 0:35:25 | |
They are so popular. | 0:35:25 | 0:35:28 | |
-This chap here's not Beswick, but he's sneaked in. -Which one? -The little poodle. | 0:35:28 | 0:35:32 | |
But why not keep him with the others? | 0:35:32 | 0:35:35 | |
Then these are rather later, these more matt finishes. | 0:35:35 | 0:35:39 | |
The market for Beswick is not as strong as it has been. | 0:35:39 | 0:35:43 | |
I would suggest, just totting it up in my head... | 0:35:43 | 0:35:46 | |
-I don't want to go over the top on the valuation. -Oh, no. | 0:35:46 | 0:35:51 | |
-You've decided to sell. -Yes. -Let's put a sensible figure on them. | 0:35:51 | 0:35:55 | |
I'm thinking of putting a figure on these, as a group, as one lot. | 0:35:55 | 0:35:59 | |
-The more in the lot, the more interest it's gonna generate. -Yes. | 0:35:59 | 0:36:03 | |
I'm thinking of putting £200 on for the lot. | 0:36:03 | 0:36:07 | |
-That may not sound a lot. -I think they'd be worth more than that. | 0:36:07 | 0:36:11 | |
I hope I'm wrong and someone watching is screaming at the TV, | 0:36:11 | 0:36:15 | |
saying, "That's a rare example, it's worth £100 on its own!" | 0:36:15 | 0:36:19 | |
I hope that's true. Let's reserve them at 200 to make sure they don't make any less. | 0:36:19 | 0:36:25 | |
-No, otherwise it wouldn't be worth selling them. -We'll put 200 fixed reserve on them. | 0:36:25 | 0:36:31 | |
-Hopefully, the money will go towards collecting something else now? -No, towards a new carpet. | 0:36:31 | 0:36:36 | |
-What's happened to the old one? -It's worn out. | 0:36:36 | 0:36:40 | |
-Worn out? -Yes. -At least we know it's going for a good cause. | 0:36:40 | 0:36:44 | |
We're going for a new carpet for Christine and we're using the Beswick to raise the cash. | 0:36:44 | 0:36:50 | |
-£200 minimum, but we hope for more. -Yes. -We'll see you on the day, Christine. -Thank you very much. | 0:36:50 | 0:36:56 | |
That's all from Coventry's splendid cathedral. | 0:36:56 | 0:36:59 | |
Here's a reminder of what's going under the hammer at the auction. | 0:36:59 | 0:37:03 | |
Will and Tracy might be getting comfy on her Edwardian-style sofa, but will the price put her at ease? | 0:37:03 | 0:37:09 | |
Linda's dog's bark might be about as harmless as its bite, | 0:37:09 | 0:37:13 | |
but that Steiff name alone should warrant some interest. | 0:37:13 | 0:37:17 | |
And finally, Will took a look at Christine's Beswick zoo - quality and quantity! | 0:37:17 | 0:37:23 | |
Let's hope someone has an ark on stand-by to take this lot home. | 0:37:23 | 0:37:27 | |
Things are moving along nicely. You could say so far, so good. | 0:37:28 | 0:37:32 | |
-I could say that again - sofa, so good! Tracy... -Hiya. | 0:37:32 | 0:37:36 | |
-The Edwardian...? -I like it. -Do you like my gag? -Yes, Paul. -Took me a long time to think of that! | 0:37:36 | 0:37:42 | |
We've got £100 to £150, it's Edwardian-looking... | 0:37:42 | 0:37:46 | |
It's a cracking little seat. If you want a good seat to sit on for £150, that's a bargain. | 0:37:46 | 0:37:52 | |
We find them in the bedroom, end of the bed, somewhere to throw your clothes at the end of the day... | 0:37:52 | 0:37:58 | |
-I chuck mine on the floor. -So do I. -I'm from the same school as you two! | 0:37:58 | 0:38:02 | |
-Good luck. Here's the sofa going under the hammer. -Thank you. | 0:38:02 | 0:38:06 | |
Lot 520 is a Victorian, Edwardian mahogany parlour settee. | 0:38:06 | 0:38:10 | |
-I can start this off at £100 with a bid on the book. -Yes! | 0:38:10 | 0:38:13 | |
That's good, straight in! | 0:38:13 | 0:38:15 | |
110. I'm clear. 120 anywhere else? | 0:38:15 | 0:38:18 | |
At 110. 120. 130. 140, sir? | 0:38:18 | 0:38:21 | |
-140? 130... -It's the room against the commission bidder. | 0:38:21 | 0:38:25 | |
130, I'm gonna sell it. Last chance at 130... | 0:38:25 | 0:38:28 | |
-Great. Good. Mid-estimate. Are you happy with that? -Very happy. | 0:38:29 | 0:38:33 | |
-What will you do with 130 quid? Bit of commission to pay. -It'll all go towards Grandma's care. | 0:38:33 | 0:38:39 | |
-Gran's gone into care? -Yeah. -So, to look after her? -Yeah. | 0:38:39 | 0:38:43 | |
-What's her name? -Barbara. -Barbara, I hope you're watching this, and good luck. | 0:38:43 | 0:38:48 | |
-Good luck to you as well. -Thank you. I was pleased with that. -Me too. | 0:38:48 | 0:38:52 | |
Right now it's time to find out... # How much is that doggie in the saleroom? # | 0:38:55 | 0:39:00 | |
-It belongs to Linda and he's a good pedigree, isn't he? -Oh, he is. | 0:39:00 | 0:39:04 | |
Will you be sad to say goodbye because you've used this little doggie as a walking aid? | 0:39:04 | 0:39:10 | |
I did. He was lovely to grow up with, but he's been in a cupboard for 30-odd years. | 0:39:10 | 0:39:15 | |
-A bit of daylight might do him a bit of good. -As breeds go, he is "best in show". -He's charming. | 0:39:15 | 0:39:21 | |
-Top name. -Top name. The bark almost went on valuation day, but we got it back. | 0:39:21 | 0:39:26 | |
We did a bit of resuscitation and for £50, it's a piece of Steiff, isn't it? | 0:39:26 | 0:39:32 | |
-Yeah. Hopefully for 100. -I hope so. | 0:39:32 | 0:39:35 | |
Lot 470, this is a pull-along Steiff dog. | 0:39:35 | 0:39:40 | |
50 quid for the dog? | 0:39:40 | 0:39:42 | |
Thank you. Anybody give me another fiver? Thank you. And 60? | 0:39:42 | 0:39:46 | |
-And 5. -Yes! -And 70? 65 at the very, very back. | 0:39:46 | 0:39:50 | |
Anybody give me 70? Are we all done...? | 0:39:50 | 0:39:53 | |
-£65. -Super. -Yes. | 0:39:53 | 0:39:56 | |
-That's mid-estimate. -Yeah. | 0:39:56 | 0:39:58 | |
-And hopefully, it's gonna go to someone who is gonna learn to walk with it. -Exactly. | 0:39:58 | 0:40:04 | |
-It would be lovely. -The ideal finish. -It would be lovely. -It would. | 0:40:04 | 0:40:08 | |
Next up, we have a Beswick zoo for sale. | 0:40:12 | 0:40:15 | |
Not quite, but it is 31 animals which have been split into a dozen or so lots. | 0:40:15 | 0:40:20 | |
They belong to Christine. Let's find out what it's all about. | 0:40:20 | 0:40:24 | |
OK, were you a big collector? | 0:40:24 | 0:40:27 | |
-Well, my husband started collecting them. -He started you off. | 0:40:27 | 0:40:32 | |
-You bought one or two every year and built up a collection? -That's right, yes. | 0:40:32 | 0:40:37 | |
-Why are you selling now? -I want a new carpet for my living room. | 0:40:37 | 0:40:41 | |
That's a fair exchange. I'd swap my Beswick for a carpet! | 0:40:41 | 0:40:46 | |
I'd swap my Beswick for a rug! | 0:40:46 | 0:40:49 | |
Let's hope it doesn't get pulled under our feet today. | 0:40:50 | 0:40:53 | |
-They have been divided up into lots of different lots. Some figures are more collectable than others. -Yes. | 0:40:53 | 0:41:00 | |
At the valuation day, we put it all together as one lot, | 0:41:00 | 0:41:03 | |
but the auctioneer knows his market and decided to split it up into smaller lots. | 0:41:03 | 0:41:09 | |
-Let's start off with the first lot. It's a Dalmatian followed by a fox. Ready? -Yes. -Let's go. | 0:41:09 | 0:41:14 | |
15, madam? 15. 20? | 0:41:14 | 0:41:17 | |
15, lady's bid. I'm gonna sell at £15... | 0:41:17 | 0:41:20 | |
-Good start, 15. -25 with me. 28. | 0:41:20 | 0:41:23 | |
Any advance on £30? | 0:41:23 | 0:41:26 | |
That's £30. The next is a collection of animals. | 0:41:26 | 0:41:29 | |
And 307, some more Beswick - the mouse, the donkey, etcetera. | 0:41:29 | 0:41:34 | |
I've got 35 on my right. At £35, I'm gonna sell it. | 0:41:34 | 0:41:37 | |
-£35... -Yes! And now we've got an eagle. Let's watch this one fly! | 0:41:37 | 0:41:42 | |
Starting at 30 on the book. 5 in the room? | 0:41:42 | 0:41:45 | |
35. At 35. It's yours, sir. | 0:41:45 | 0:41:48 | |
309, we've got the Spirit of Fire this time, the grey horse. | 0:41:48 | 0:41:52 | |
I've got 30 here. 32. 34. Any advance on 34...? | 0:41:52 | 0:41:56 | |
-Now the horse, the palomino. -The palomino. | 0:41:56 | 0:41:59 | |
55. 60. 65. 67. Any advance on 67...? | 0:41:59 | 0:42:02 | |
Yes! We've got some birds. | 0:42:02 | 0:42:06 | |
With me on the book at 50. 60. 60. And I'm clear. | 0:42:06 | 0:42:10 | |
60. 70 now? At £60... | 0:42:10 | 0:42:13 | |
-That's good. -I meant to bring a toby jug! | 0:42:13 | 0:42:17 | |
The kestrel, the song thrush and an owl. 70 with you, sir. | 0:42:17 | 0:42:21 | |
-5, anywhere? £70, thank you. -We're in the money! | 0:42:21 | 0:42:25 | |
We've got the stag family. | 0:42:25 | 0:42:27 | |
66. 68. 70. | 0:42:27 | 0:42:30 | |
£70. The lady's bid at 70... | 0:42:30 | 0:42:33 | |
-So far, so good. We've got a woodpecker, a kingfisher. -Yes. | 0:42:33 | 0:42:38 | |
85. 90? 85 it is. By the door here at £85. | 0:42:38 | 0:42:43 | |
Going at 85. All finished and done...? | 0:42:43 | 0:42:45 | |
That's the last lot gone. That's brilliant. | 0:42:45 | 0:42:49 | |
-We've sold absolutely everything. -Smashing, yes. | 0:42:49 | 0:42:52 | |
-The collectors were really here today. -Yeah. -I make that a total of... -I make it £501. | 0:42:52 | 0:42:58 | |
-Just over 500 quid. That's fantastic. -Smashing. | 0:42:58 | 0:43:02 | |
-That's a quality carpet. -Lovely, yes. -Thank you so much for bringing them all in. -Well done. -Thank you. | 0:43:02 | 0:43:09 | |
Sadly, we're coming to the end of another show, but what a fantastic day we've had here! | 0:43:12 | 0:43:18 | |
Everybody has gone home happy and all credit to our experts. | 0:43:18 | 0:43:22 | |
We've had a wonderful time at Coventry Cathedral and at Bigwoods we've been well looked after. | 0:43:22 | 0:43:28 | |
I can't wait to come back. I hope you've enjoyed today's show. Until next time, cheerio. | 0:43:28 | 0:43:33 | |
Subtitles by Subtext for Red Bee Media Ltd 2009 | 0:43:52 | 0:43:56 | |
Email [email protected] | 0:43:56 | 0:43:59 |