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A New Town, born in the 1960s. | 0:00:04 | 0:00:06 | |
Its ambition? To offer thousands of people a better future. | 0:00:06 | 0:00:10 | |
You're watching Flog It and this is Milton Keynes. | 0:00:10 | 0:00:13 | |
To relieve post-war housing congestion, the government came up with a plan. | 0:00:45 | 0:00:49 | |
A grid system of streets and roads spread from the newly designated centre, | 0:00:49 | 0:00:54 | |
engulfing miles of farmland and several villages into one large town. | 0:00:54 | 0:00:59 | |
Taking its name from one of the villages at the heart of the development, | 0:00:59 | 0:01:03 | |
Milton Keynes became one of Britain's biggest New Towns. | 0:01:03 | 0:01:06 | |
Even today, this metropolis is full of big, bold forms, | 0:01:08 | 0:01:11 | |
angles and impressive lines. | 0:01:11 | 0:01:13 | |
Just like this one outside today's venue, Jurys Inn. | 0:01:13 | 0:01:17 | |
Our experts are an all-girl team, the wonderful Anita Manning and the gorgeous Kate Bateman. | 0:01:19 | 0:01:25 | |
They're gonna be angling to find great antiques to take to auction. | 0:01:25 | 0:01:29 | |
It's time to get started, and keen to put her skills to the test is our new expert, Kate. | 0:01:30 | 0:01:34 | |
She's already spotted an interesting vessel. | 0:01:34 | 0:01:37 | |
You've brought in this rather unusual centrepiece, | 0:01:38 | 0:01:42 | |
what can you tell me about it? | 0:01:42 | 0:01:44 | |
Not a great deal. | 0:01:44 | 0:01:45 | |
It was always known in the family as an Agazi Boat, | 0:01:45 | 0:01:48 | |
presumably come from Italy. | 0:01:48 | 0:01:50 | |
It's been in my mother-in-law's family for quite a number of years. | 0:01:50 | 0:01:56 | |
I used to dust it when she was not very well. | 0:01:56 | 0:02:00 | |
Subsequently she died. | 0:02:00 | 0:02:02 | |
But she inherited it from a lady that she used to do work for. | 0:02:02 | 0:02:06 | |
-Right, and so you got it from her presumably? -Yes. | 0:02:06 | 0:02:09 | |
-What do you think of it? Do you like it? -Frankly, I think it's ugly. | 0:02:09 | 0:02:15 | |
It's rather large to put anywhere in your home. | 0:02:15 | 0:02:18 | |
It's quite grand, isn't it? | 0:02:18 | 0:02:21 | |
-It's a lot of dusting, if you're dusting it. -This is true, yes. -OK. | 0:02:21 | 0:02:25 | |
Well, what I can tell you is, it's not Italian, as you first thought. | 0:02:25 | 0:02:29 | |
It's actually English. | 0:02:29 | 0:02:31 | |
It's made by a company called Branham, Charles Branham, | 0:02:31 | 0:02:34 | |
and it tells us that on the back if we look here. | 0:02:34 | 0:02:37 | |
We're got C H Branham on the bottom, inscribed, and the date, 1901. | 0:02:37 | 0:02:42 | |
So, that tells us it's over 100 years old. | 0:02:42 | 0:02:45 | |
And also on the front of the prow here we've got a little number. | 0:02:45 | 0:02:48 | |
That's the registered number | 0:02:48 | 0:02:50 | |
and that tells us more about when the design was registered. | 0:02:50 | 0:02:54 | |
You can see it's got a bit of damage, | 0:02:54 | 0:02:56 | |
that's the only thing I would say about it. | 0:02:56 | 0:02:59 | |
It's got a little chink off here. | 0:02:59 | 0:03:01 | |
-Right, yes. -So have you dropped it while dusting? -No, no. | 0:03:01 | 0:03:05 | |
-I've looked after it. -OK. -Hidden away in a cupboard. | 0:03:05 | 0:03:08 | |
Well, it's over 100 years old, so it looks pretty good. | 0:03:08 | 0:03:12 | |
-If you're not a big fan, I'm guessing that you wouldn't mind selling it? -No, not at all. | 0:03:12 | 0:03:17 | |
What sort of price would you be happy to get for it? | 0:03:17 | 0:03:20 | |
If someone offered you £20 in a car boot sale, | 0:03:20 | 0:03:23 | |
would you be happy with that? | 0:03:23 | 0:03:25 | |
Not really, I think it's worth a little bit more than that. | 0:03:25 | 0:03:29 | |
I think it is worth a bit more. | 0:03:29 | 0:03:31 | |
-I think probably in an auction you'd put an estimate of £150 to £200 on it. -Oh, that much? | 0:03:31 | 0:03:37 | |
So, what you would normally do is put a reserve slightly lower than the low estimate, maybe £100. | 0:03:37 | 0:03:43 | |
-Right. -Would you be happy to sell it for that? -Yes, yes. | 0:03:43 | 0:03:46 | |
That would be a good result? It would save you dusting it. | 0:03:46 | 0:03:50 | |
It would indeed, yes. | 0:03:50 | 0:03:51 | |
Well, let's put it into a sale | 0:03:51 | 0:03:53 | |
and see if I'm right with my valuation. See you there! | 0:03:53 | 0:03:58 | |
See you there. | 0:03:58 | 0:04:00 | |
-Lynne. -Hello. | 0:04:08 | 0:04:09 | |
I never tire of looking at Clarice Cliff. | 0:04:09 | 0:04:15 | |
Tell me, where did you get this little condiment set? | 0:04:15 | 0:04:19 | |
I bought it at a jumble sale a few weeks ago. | 0:04:19 | 0:04:22 | |
-So, you're one of these mad collectors who go to jumble sales and so on? -Yes, that's right. | 0:04:22 | 0:04:27 | |
Tell me, what do you look for when you go to the jumble sale? | 0:04:27 | 0:04:33 | |
I don't go for anything in particular. If I like something, I'll get it, if I can. | 0:04:33 | 0:04:38 | |
Why are you selling it? | 0:04:38 | 0:04:39 | |
Because I really collect Wade, | 0:04:39 | 0:04:41 | |
so if I sell this I can perhaps put it to some more Wade. | 0:04:41 | 0:04:45 | |
That's what I like to hear. | 0:04:45 | 0:04:47 | |
Sell something and buy something. Tell me, what did you pay for this? | 0:04:47 | 0:04:52 | |
-About 50p. -Oh! | 0:04:52 | 0:04:54 | |
-Did you bargain for it? -No, I didn't. | 0:04:56 | 0:04:58 | |
Ah. Well, very well done. | 0:04:58 | 0:05:01 | |
Very well done, Lynne. | 0:05:01 | 0:05:02 | |
Now, people either love Clarice Cliff or hate it. | 0:05:02 | 0:05:06 | |
I like it. Do you like it? | 0:05:06 | 0:05:09 | |
Not particularly. It's not something I would go out and collect. | 0:05:09 | 0:05:13 | |
Not one of your favourites. | 0:05:13 | 0:05:14 | |
-No. -Did you know that it was Clarice Cliff? | 0:05:14 | 0:05:17 | |
-Yes. -How did you know? | 0:05:17 | 0:05:19 | |
I've seen Flog It! on numerous occasions! | 0:05:19 | 0:05:22 | |
Well, at Flog It! we're always delighted to educate the public | 0:05:22 | 0:05:27 | |
and tell them about the items that we look at. | 0:05:27 | 0:05:31 | |
-Now, this is not a particularly rare pattern. It's from the 1930s. -Yes. | 0:05:31 | 0:05:38 | |
Typical Art Deco period. | 0:05:38 | 0:05:40 | |
Let's first of all have a look at the backstamp. | 0:05:40 | 0:05:43 | |
We have the series, which is Fantasque, Clarice Cliff, | 0:05:43 | 0:05:48 | |
Newport Pottery, and it's Houses and Trees. | 0:05:48 | 0:05:53 | |
And in this range we would have had lots of dinnerware. | 0:05:53 | 0:05:58 | |
We would have had bowls, plates, so you could have had a lovely shelf full of Clarice Cliff. | 0:05:58 | 0:06:02 | |
-The lovely colour of Clarice Cliff. -Yes. -With all these things. | 0:06:02 | 0:06:06 | |
I always say to people, if you have Clarice dinnerware or teaware | 0:06:06 | 0:06:13 | |
-then use it. -Yes. -Don't stick it in a cabinet, use it. -No. | 0:06:13 | 0:06:18 | |
We have to look at the condition always in Clarice. | 0:06:18 | 0:06:22 | |
-Condition always matters when it comes to price. -That's right, yes. | 0:06:22 | 0:06:27 | |
And if we look at this salt pot we can see that there's little nibbles | 0:06:27 | 0:06:32 | |
-or edge chips there and that will affect the price a little bit. -Yes. | 0:06:32 | 0:06:37 | |
I would like to put an estimate of... | 0:06:37 | 0:06:40 | |
maybe 100 to 150. | 0:06:40 | 0:06:42 | |
That sounds fine, lovely. Yes. | 0:06:42 | 0:06:45 | |
Reserve price, really just to protect it, £80. | 0:06:45 | 0:06:48 | |
That's fine, lovely. | 0:06:48 | 0:06:50 | |
That's absolutely fantastic! | 0:06:50 | 0:06:52 | |
Patrick, this is a cracking Victorian hall chair. | 0:06:58 | 0:07:01 | |
What do you know about it? | 0:07:01 | 0:07:03 | |
It belonged to my nan. Unfortunately, she passed away this year. | 0:07:03 | 0:07:07 | |
She left a few items for me, this is one of them. | 0:07:07 | 0:07:11 | |
-We don't really have room for it. -Who's we? -Me and my wife, Heather. | 0:07:11 | 0:07:16 | |
-She doesn't like it? -She doesn't like it. | 0:07:16 | 0:07:18 | |
I think it's a lovely chair. | 0:07:18 | 0:07:20 | |
OK. I think your gran had a very good eye, | 0:07:20 | 0:07:23 | |
and she probably had a lovely house, as well. | 0:07:23 | 0:07:25 | |
This is a classic, early Victorian sort of circa 1860, 1880. | 0:07:25 | 0:07:30 | |
It's a wonderful hall chair. | 0:07:30 | 0:07:33 | |
My first thing I would say is, was there another one? | 0:07:33 | 0:07:36 | |
We've only got the one, I'm afraid. | 0:07:36 | 0:07:38 | |
Cos these things make good money when they're a pair. | 0:07:38 | 0:07:41 | |
You just put them either side of a chest of drawers or a small table | 0:07:41 | 0:07:45 | |
and you create a really nice interior designer look. | 0:07:45 | 0:07:49 | |
It's called a hall chair because, simply, you found many of these, | 0:07:49 | 0:07:54 | |
they would have made possibly 12, 13, 14, 15, to fit a hall. | 0:07:54 | 0:07:59 | |
You'd have six either side of a very big, wide hall. | 0:07:59 | 0:08:03 | |
And the back is very, very straight, | 0:08:03 | 0:08:05 | |
which makes you sit upright when you're sitting on here. | 0:08:05 | 0:08:09 | |
It's not meant to be comfortable. | 0:08:09 | 0:08:11 | |
You're waiting... | 0:08:11 | 0:08:13 | |
with a bit of trepidation, | 0:08:13 | 0:08:14 | |
because you've got to meet the master of the house | 0:08:14 | 0:08:17 | |
and they're quite frightening! | 0:08:17 | 0:08:19 | |
Maybe you were the gardener or somebody coming for a job interview. | 0:08:19 | 0:08:23 | |
It was very threatening. Sitting on these chairs, | 0:08:23 | 0:08:26 | |
they're very hard, they're meant to feel hard. | 0:08:26 | 0:08:28 | |
They didn't have soft cushions. | 0:08:28 | 0:08:30 | |
Many people that came to visit the master of the house were workmen, | 0:08:30 | 0:08:34 | |
they'd have dirty clothes, so these were easy to clean. | 0:08:34 | 0:08:37 | |
-Ah. -They could sit on these without mucking them up. | 0:08:37 | 0:08:40 | |
Which is why you don't buy them to sit on nowadays, you buy them | 0:08:40 | 0:08:44 | |
to look at, put books on, towels. | 0:08:44 | 0:08:46 | |
I think this would be a cracking bathroom chair. | 0:08:46 | 0:08:48 | |
I've seen a pair of chairs, | 0:08:48 | 0:08:50 | |
used like this, either side of a double bed as little bedside tables. | 0:08:50 | 0:08:54 | |
-Oh. -Because look at that lovely back. | 0:08:54 | 0:08:56 | |
That's so Puginesque. That's Gothic revival, Victorian Gothic revival. | 0:08:56 | 0:09:01 | |
This is the kind of thing you will see sitting comfortably | 0:09:01 | 0:09:04 | |
in the Houses of Parliament, or Highclere Castle. | 0:09:04 | 0:09:07 | |
Properties built by Barry or Pugin, the great architects. | 0:09:07 | 0:09:11 | |
I think it's got the look, it's made of English oak. | 0:09:11 | 0:09:14 | |
It's got some lovely grain, it's got good patina. | 0:09:14 | 0:09:17 | |
It's a cracking little chair. Have you any idea of value? | 0:09:17 | 0:09:21 | |
We were talking about this earlier. | 0:09:21 | 0:09:23 | |
I was thinking between £15 and £30? | 0:09:23 | 0:09:26 | |
Well, brown furniture is cheap but it's not that cheap! | 0:09:27 | 0:09:31 | |
I'd give you £20 for it right now. | 0:09:31 | 0:09:33 | |
I'd like to put this in for auction with a value of around about £120. | 0:09:33 | 0:09:39 | |
-That's a lot more than I thought. -I think this will do... | 0:09:39 | 0:09:44 | |
just about that on a good day with two people wanting it, | 0:09:44 | 0:09:47 | |
but I'd like to put a valuation of £80 to £120. | 0:09:47 | 0:09:52 | |
-OK. Fantastic. -OK, with a bit of discretion on the £80. If it only reaches £75, you can sell it. | 0:09:52 | 0:09:57 | |
-Yeah. -Charlie Ross will do us a very good job and I know Charlie will like this chair. | 0:09:57 | 0:10:02 | |
He's going to say, "Brown furniture is struggling" and I'll say, | 0:10:02 | 0:10:05 | |
"I know, but look at the quality." | 0:10:05 | 0:10:07 | |
It's a good hall chair. It's gotta be worth £75 to somebody. | 0:10:07 | 0:10:11 | |
-Don't give this away, OK? -OK. -Hang on to it. | 0:10:11 | 0:10:15 | |
If it doesn't reach £75, you are keeping it. | 0:10:15 | 0:10:17 | |
Holly, I love these Victorian earrings. Where did you get them? | 0:10:24 | 0:10:28 | |
I was left them in my nan's will about 13 years ago | 0:10:28 | 0:10:33 | |
and they were from her husband's first wife. | 0:10:33 | 0:10:36 | |
I see, so they've got a wee bit of history. | 0:10:36 | 0:10:40 | |
They have. Apparently the family was from Wales but that's all I know. | 0:10:40 | 0:10:44 | |
-So, have you worn them? -No. | 0:10:44 | 0:10:46 | |
-Never worn them and they've just been in a cupboard. -Have you tried them on? | 0:10:46 | 0:10:50 | |
-No, never tried them on. -You haven't? -I don't like them. -You don't like them. OK. | 0:10:50 | 0:10:56 | |
I do like them. I can understand that as a young girl | 0:10:56 | 0:11:00 | |
they're maybe not to your taste. | 0:11:00 | 0:11:03 | |
But people do like to collect this type of Victorian item. | 0:11:03 | 0:11:08 | |
Let's pick them up and have a look at them. | 0:11:08 | 0:11:12 | |
Now, what we have here is this lovely acorn shape | 0:11:12 | 0:11:16 | |
with very intricate chased and engraved work on the body. | 0:11:16 | 0:11:23 | |
And this is repeated in this part, which we screw into the ear. | 0:11:23 | 0:11:28 | |
So, it's nice, the Victorians liked big, extravagant, dangling earrings. | 0:11:28 | 0:11:34 | |
-They wore low-cut gowns and this type of earring would have suited that fashion. | 0:11:34 | 0:11:41 | |
-I see. -Now, if it's a family bit, Holly, why are you selling them? | 0:11:41 | 0:11:47 | |
Because they're just in the back of the cupboard in my jewellery box, | 0:11:47 | 0:11:51 | |
I never look at them. | 0:11:51 | 0:11:52 | |
-What about kids, do you have kids? -I've got two boys. | 0:11:52 | 0:11:55 | |
-Well, they're not going to wear them! Not even one each! -No! | 0:11:55 | 0:12:00 | |
So, I think it would be nice for someone who collects them to have some enjoyment out of them. | 0:12:00 | 0:12:07 | |
Now, price. They are in good condition. | 0:12:07 | 0:12:10 | |
I would estimate them 150 to 250. | 0:12:10 | 0:12:15 | |
-Would you be happy to sell them at that price? -Yes. | 0:12:15 | 0:12:18 | |
Let's take them to auction. I think they will be very well fancied. | 0:12:18 | 0:12:23 | |
And, if you like, we'll put a reserve price on them of £150. | 0:12:23 | 0:12:28 | |
-OK, that'd be great. -Thank you for bringing them along. | 0:12:28 | 0:12:32 | |
-I'll see you at the auction. -Lovely, thank you. | 0:12:32 | 0:12:34 | |
Well, things are certainly hotting up in here. | 0:12:38 | 0:12:41 | |
We have found our first items to take to auction so, while we make our way over to Woburn | 0:12:41 | 0:12:46 | |
to put those valuations to the test, here's a quick run-down of all the items we're taking with us. | 0:12:46 | 0:12:51 | |
Eve's not too keen but let's hope the bidders are tempted by the Charles Branham boat vase. | 0:12:51 | 0:12:56 | |
And surely Lynne's condiment set will spice up any Clarice Cliff collection. | 0:12:58 | 0:13:03 | |
It might not be a pair but Patrick's hall chair is definitely a charmer. | 0:13:04 | 0:13:09 | |
And will the room go nutty about Holly's gold acorn earrings? | 0:13:09 | 0:13:14 | |
This is where today's sale is taking place, the old Town Hall in the heart of Woburn. | 0:13:20 | 0:13:24 | |
Once owned by Charlie Ross, but he's recently sold it to auctioneer Jasper Marsh. | 0:13:24 | 0:13:28 | |
But Charlie Ross regularly wields the hammer on the rostrum and he's our auctioneer today. | 0:13:29 | 0:13:34 | |
750 it is. | 0:13:34 | 0:13:36 | |
We always say it wouldn't be Flog It! without Clarice Cliff. Well, we've got a bit right now. | 0:13:37 | 0:13:43 | |
Not one bit, not two bits, but in fact it's a trio. | 0:13:43 | 0:13:45 | |
It belongs to Lynne | 0:13:45 | 0:13:46 | |
and it's a lovely little set purchased for just 50 pence. | 0:13:46 | 0:13:50 | |
-That's right, yes, -A few weeks ago? -Yes. | 0:13:50 | 0:13:53 | |
I can't believe somebody is selling you Clarice Cliff and they didn't know it was worth anything. | 0:13:53 | 0:13:59 | |
-Ridiculous in this day and age. -I bet you had a big smile on your face. -Oh, yes. | 0:13:59 | 0:14:03 | |
-Have you ever been somewhere where you can buy three pieces of Clarice Cliff for 50p? -Unfortunately not. | 0:14:03 | 0:14:08 | |
What's wrong? Aren't you watching Flog It! out there? | 0:14:08 | 0:14:11 | |
You must know Clarice Cliff is worth an absolute fortune by now! | 0:14:11 | 0:14:17 | |
50 pence! Well, how much are we going to get for this, £100? | 0:14:17 | 0:14:20 | |
£100, I mean, it's not the best of patterns or the rarest of patterns, | 0:14:20 | 0:14:25 | |
but we do have three pieces, not too bad condition. | 0:14:25 | 0:14:29 | |
So we should get 100. | 0:14:29 | 0:14:31 | |
50p, here comes £100. This is it. | 0:14:31 | 0:14:34 | |
Our old friend Clarice Cliff. | 0:14:34 | 0:14:37 | |
Three piece condiment. I'm bid 80. | 0:14:37 | 0:14:40 | |
5, anyone? At £80, 5, 90, 5. | 0:14:40 | 0:14:43 | |
110. 120, 130? No. | 0:14:43 | 0:14:46 | |
-120 commission bid. -120 now! | 0:14:46 | 0:14:50 | |
On my left, 130. At £130. | 0:14:50 | 0:14:54 | |
-All finished at 130? -Fantastic. -I'll sell at 130. | 0:14:54 | 0:14:59 | |
-Yes! -Wow. That is incredible. | 0:14:59 | 0:15:02 | |
50p converted into £130. | 0:15:02 | 0:15:06 | |
-That's brilliant. -You see, it is all out there. | 0:15:06 | 0:15:08 | |
You've just got to have eagle eyes like Lynne here. | 0:15:08 | 0:15:11 | |
Gosh! Are you going to do a lot more jumble sales now? | 0:15:11 | 0:15:14 | |
-Yeah, one's in a fortnight so I'll be there. -Get down there quick! | 0:15:14 | 0:15:18 | |
Patrick, fingers crossed, it's a cracking little hall chair. | 0:15:25 | 0:15:28 | |
It's got the Gothic revival look, | 0:15:28 | 0:15:30 | |
I'm just hoping the bidders are gonna like this as much as I do. | 0:15:30 | 0:15:34 | |
I had a quick chat to Charlie and he said, "That's a bit of quality." | 0:15:34 | 0:15:38 | |
He felt the weight of it, he looked at the sabre legs and said, "Very nice, Paul." | 0:15:38 | 0:15:43 | |
I said, "I knew you'd pick that." | 0:15:43 | 0:15:45 | |
-Any regrets? -No. | 0:15:46 | 0:15:48 | |
I think we're gonna say goodbye, you know that. | 0:15:48 | 0:15:50 | |
-We are, but I'm looking forward to the money. -OK. It's gonna come in handy, isn't it? | 0:15:50 | 0:15:54 | |
-It's gonna go towards my daughter's birthday. -This is it. | 0:15:54 | 0:15:57 | |
Lot 685 is a Victoria oak hall chair with a Gothic-style back. | 0:15:57 | 0:16:02 | |
Oh, look at that. | 0:16:02 | 0:16:05 | |
It looks fantastic. | 0:16:05 | 0:16:06 | |
Classic bit of Victorian Gothic furniture. £50 I am bid. £55 anyone? | 0:16:06 | 0:16:11 | |
At 50, five, 60, five? | 0:16:11 | 0:16:15 | |
No. At 60 now. Five anyone? | 0:16:15 | 0:16:18 | |
-Gosh. -At £60. Anybody going at 65? | 0:16:18 | 0:16:20 | |
At 60. | 0:16:20 | 0:16:22 | |
Are there any more bids? 65... | 0:16:22 | 0:16:24 | |
At 65. £70. 75? No. At 70. All done? | 0:16:24 | 0:16:29 | |
I need one more bid. | 0:16:29 | 0:16:32 | |
-75? -Oh, come on. -Go on, sir. | 0:16:32 | 0:16:35 | |
75? | 0:16:36 | 0:16:37 | |
-Well done. Sold! -Yes! | 0:16:38 | 0:16:41 | |
£75. Oh, wow. | 0:16:41 | 0:16:45 | |
That was a cliff-hanger, wasn't it? | 0:16:45 | 0:16:47 | |
I think Charlie's done a fantastic job today. | 0:16:47 | 0:16:50 | |
That was worth its money, I think. | 0:16:50 | 0:16:52 | |
Thank you so much. At least we got it away, we got it away. | 0:16:52 | 0:16:55 | |
It's ugly, Eve is fed up with dusting it, it's gotta go, hasn't it? | 0:16:59 | 0:17:03 | |
-It's gotta go. -We've got to flog this Charles Branham boat vase | 0:17:03 | 0:17:06 | |
and we've got a valuation of £150 to £200 given by Kate. | 0:17:06 | 0:17:11 | |
We're both hoping it's gonna sail away but | 0:17:11 | 0:17:14 | |
it's a hard thing to put a price on, isn't it? | 0:17:14 | 0:17:16 | |
Yeah, it's not everyone's taste, but I think it'll go. | 0:17:16 | 0:17:19 | |
Yeah. We're going to find out what this lot think, | 0:17:19 | 0:17:21 | |
it's going under the hammer right now. Good luck, both of you. | 0:17:21 | 0:17:24 | |
45, the Branham tin-glazed earthenware jardiniere | 0:17:24 | 0:17:28 | |
modelled as a longboat. | 0:17:28 | 0:17:30 | |
And I can start straight in at £100 and I will take ten. At 100. | 0:17:30 | 0:17:36 | |
110 now. £100. £110? | 0:17:36 | 0:17:38 | |
110. Come on. | 0:17:38 | 0:17:39 | |
-And 120, 130... -We're in. It's selling. | 0:17:39 | 0:17:42 | |
-150, 160, 170, 180... | 0:17:42 | 0:17:46 | |
-Wow. -190. -We're gonna get the top end. | 0:17:46 | 0:17:49 | |
Any more? 180. Selling at £180. | 0:17:49 | 0:17:52 | |
-Brilliant. -Wow. -That has sold. | 0:17:52 | 0:17:56 | |
£180. | 0:17:56 | 0:17:58 | |
-You'd rather have the money, wouldn't you? -I would, yes. | 0:17:58 | 0:18:00 | |
-Whatever you do, good luck, OK. -Thank you. | 0:18:00 | 0:18:03 | |
These are a bit of fun. Holly's acorn-shaped Victorian earrings. | 0:18:11 | 0:18:14 | |
We've got a valuation of 150 to 250 put on by our expert Anita. | 0:18:14 | 0:18:19 | |
These you've inherited, Holly. | 0:18:19 | 0:18:21 | |
They were left to me by my Nan when she died, yeah. | 0:18:21 | 0:18:25 | |
-And you've never really worn them, don't really like them. -No, no. | 0:18:25 | 0:18:28 | |
And also there's no-one to pass them on to because you've got two boys | 0:18:28 | 0:18:31 | |
and they certainly don't want acorn-shaped earrings, do they? | 0:18:31 | 0:18:35 | |
-Hopefully not. -So they've got to go and they're going under the hammer today. | 0:18:35 | 0:18:39 | |
Now, the question is, are they fashionable? | 0:18:39 | 0:18:42 | |
We know how fashion dictates this industry and you've got to keep | 0:18:42 | 0:18:45 | |
one step ahead if you want to sell something. | 0:18:45 | 0:18:48 | |
I do have my doubts but I think we'll get them away at the lower end. | 0:18:48 | 0:18:52 | |
-They won't fly. -Fingers crossed, OK? | 0:18:52 | 0:18:54 | |
Fingers crossed. Here we go, Holly. | 0:18:54 | 0:18:56 | |
Lot 300 is pair of gold earrings, fashioned, unusually, as acorns. | 0:18:56 | 0:19:03 | |
Circa 1880 and I can start at £220. | 0:19:03 | 0:19:08 | |
-240 I'll take... -Ooh! | 0:19:08 | 0:19:10 | |
-At 220. -Gosh. -240 now, 220. | 0:19:10 | 0:19:13 | |
From these little acorns we get some mighty pound notes. | 0:19:13 | 0:19:17 | |
260 still with me, you're all out in the room. Commission bid, £260. | 0:19:17 | 0:19:22 | |
-That's incredible. -At 260. | 0:19:22 | 0:19:25 | |
-Sold! -Bang. | 0:19:25 | 0:19:26 | |
That was straight in and straight out, really, wasn't it? | 0:19:26 | 0:19:29 | |
Blink and you'll miss that one. | 0:19:29 | 0:19:31 | |
-That's good! -We were all being a bit negative. Well, I was... | 0:19:31 | 0:19:35 | |
I thought the lower estimate. | 0:19:35 | 0:19:36 | |
I got it wrong there. | 0:19:36 | 0:19:38 | |
You didn't, you were spot on really. Always spot on. | 0:19:38 | 0:19:41 | |
-Happy? -Yeah, really happy. -Wonderful. -That's brilliant. | 0:19:41 | 0:19:45 | |
Now, before we go back to valuation day I'm heading | 0:19:50 | 0:19:51 | |
to a futuristic landscape and I haven't had to travel too far. | 0:19:51 | 0:19:56 | |
These stylish new homes here in Oxley Wood went on the market | 0:19:58 | 0:20:01 | |
in 2007 adding colour and vitality to this rather leafy suburb. | 0:20:01 | 0:20:06 | |
They're the result of an unlikely partnership between a building firm and a firm of architects that bought | 0:20:06 | 0:20:13 | |
us such iconic landmarks statements as the Millennium Dome in London and the Pompidou Centre in Paris. | 0:20:13 | 0:20:19 | |
Yet choosing to build 145 houses here in Milton Keynes was no accident. | 0:20:19 | 0:20:26 | |
Milton Keynes landed on the map in the late 1960s, born out of | 0:20:27 | 0:20:31 | |
a government initiative to relieve housing congestion in London. | 0:20:31 | 0:20:35 | |
It dared to be different, designed using modernist principles, | 0:20:35 | 0:20:39 | |
which put function before decoration. | 0:20:39 | 0:20:42 | |
The roads were laid out in a grid system. | 0:20:42 | 0:20:45 | |
Straight lines connected areas designed for living, work and recreation. | 0:20:45 | 0:20:51 | |
As the largest of the British new towns it has stood the test of time | 0:20:51 | 0:20:55 | |
far better than most, proving to be flexible and adaptable. | 0:20:55 | 0:20:59 | |
More than 40 years on, this new development keeps that tradition very much alive | 0:20:59 | 0:21:04 | |
and this too was also born out of a government initiative, but this time the challenge was to build a house | 0:21:04 | 0:21:10 | |
that tackles the ecological and energy efficient demands of the 21st century. | 0:21:10 | 0:21:16 | |
As well as meeting these demands, the architects also wanted to create homes that were visually striking. | 0:21:19 | 0:21:24 | |
The modernist principles came into play yet again. | 0:21:24 | 0:21:29 | |
Function over decoration, using materials that met the demands set, but also | 0:21:29 | 0:21:35 | |
using a colour palette that makes these homes exciting to the eye, | 0:21:35 | 0:21:40 | |
like the striking red pyramid on each roof. | 0:21:40 | 0:21:43 | |
Now, it might look like decoration, but it's actually a new generation of chimney stack, | 0:21:43 | 0:21:48 | |
efficiently filtering and warming air throughout the home. | 0:21:48 | 0:21:52 | |
But it's the way it all goes together that is key. | 0:21:52 | 0:21:55 | |
To meet the brief of eco-friendly, energy efficient homes the architects turned to the prefab. | 0:21:57 | 0:22:03 | |
It's a way of manufacturing houses on a factory production line and | 0:22:03 | 0:22:07 | |
then assembling them on site, and it's an idea that's proved useful before. | 0:22:07 | 0:22:12 | |
After the Second World War close to 160,000 cement-panelled | 0:22:14 | 0:22:19 | |
prefabricated houses came off the factory production line. | 0:22:19 | 0:22:23 | |
They were bolted together on site to make temporary shelters for the homeless. | 0:22:23 | 0:22:28 | |
They have survived long beyond their intended ten to 15 years, and some, well, they're still in use today. | 0:22:28 | 0:22:34 | |
Such housing has long suffered from the stigma of uninspired design and shoddy construction. | 0:22:34 | 0:22:40 | |
But in recent years all that's changed. | 0:22:40 | 0:22:43 | |
Architects have taken the idea of the flat-pack, and literally | 0:22:43 | 0:22:47 | |
run with it, creating bold, bespoke homes. | 0:22:47 | 0:22:50 | |
And there's another really big advantage to these new houses. | 0:22:50 | 0:22:54 | |
They go together pretty quick, saving on construction costs. | 0:22:54 | 0:22:57 | |
The main structure is made in the factory in seven days. | 0:22:57 | 0:23:01 | |
Then it's assembled on site in just two weeks. | 0:23:01 | 0:23:04 | |
But this is not just a story about the modern prefab. | 0:23:04 | 0:23:08 | |
These new homes at Oxley Woods might prove very tempting as they reduce carbon emissions by almost 40% | 0:23:08 | 0:23:14 | |
and could save plenty of money on energy bills. So how do they work? | 0:23:14 | 0:23:18 | |
It's all about effective insulation, utilising natural light as much as | 0:23:18 | 0:23:24 | |
possible and, of course, using energy efficient recycled materials. | 0:23:24 | 0:23:29 | |
Let me just show you a cross-section of the wall here. | 0:23:29 | 0:23:31 | |
Now, the main construction of the building is made of wood, and 90% of all the wood on this project | 0:23:31 | 0:23:38 | |
is from responsibly managed forests, which means there's an ongoing plating scheme, which is fantastic. | 0:23:38 | 0:23:43 | |
But just looking at this cross-section of wall here | 0:23:43 | 0:23:47 | |
you can see you've got an inner cladding of plasterboard which can be emulsioned to any colour. | 0:23:47 | 0:23:53 | |
This could be your sitting room, let's say. | 0:23:53 | 0:23:55 | |
And you've got the outer, industrial skin. | 0:23:55 | 0:23:58 | |
Now, 85% of that is recycled materials. | 0:23:58 | 0:24:01 | |
It's very easy to clean, it's completely weather resistant and it comes in a variation of colours. | 0:24:01 | 0:24:07 | |
This one's a sort of off-white but, as you can see behind me, there's a wonderful aubergine colour. | 0:24:07 | 0:24:13 | |
This cross-section shows the cavity wall and it's filled with recycled paper which forms the insulation. | 0:24:13 | 0:24:20 | |
And, believe it or not, it's recycled telephone directories | 0:24:20 | 0:24:23 | |
which are pumped in afterwards, so this could be your number! | 0:24:23 | 0:24:27 | |
And it's all topped off with a new roof. Let me show you this. | 0:24:27 | 0:24:30 | |
It's made of timber construction, it's quite heavy. | 0:24:30 | 0:24:33 | |
It's got a sandwich there of foam for your insulation, | 0:24:33 | 0:24:36 | |
but it's all covered with this pink waterproof membrane | 0:24:36 | 0:24:40 | |
which is going to last for the rest of out lives, anyway. Completely waterproof. | 0:24:40 | 0:24:45 | |
And this roof doesn't sit flat, it inclines towards the back of the house, as you can see. | 0:24:45 | 0:24:50 | |
The water runs off and is collected in water butts to be recycled. | 0:24:50 | 0:24:55 | |
It's quite ingenious really. | 0:24:55 | 0:24:58 | |
Well, that's all well and good, but the proof of the pudding is in the eating. | 0:24:58 | 0:25:02 | |
So what's it like to live in one? | 0:25:02 | 0:25:04 | |
So what d'you think of Milton Keynes? | 0:25:04 | 0:25:06 | |
Well, I like it very much. I came down here about 30-odd years ago. | 0:25:06 | 0:25:10 | |
-Where from? -From Sheffield. -And what do you do as a profession? -I'm an architect. | 0:25:10 | 0:25:14 | |
Oh, well, that's great, your head's in the right space here anyway. | 0:25:14 | 0:25:17 | |
-Yeah. -It's an architect's dream. | 0:25:17 | 0:25:19 | |
-Yeah. -The first thing I have noticed, it's a wonderful feel here. It really is really nice. | 0:25:19 | 0:25:25 | |
Yes, as soon as I walked into the show house when | 0:25:25 | 0:25:27 | |
I came to look at the development I thought, wow, this is where I'd love to live when I downsize. | 0:25:27 | 0:25:32 | |
Has this space forced you to become minimalist? | 0:25:32 | 0:25:36 | |
Very much so. It has done, yes. I had a much bigger house before and I had to get rid of a lot of things, yeah. | 0:25:36 | 0:25:41 | |
What are the best bits about the house? | 0:25:41 | 0:25:43 | |
I like the space, the feeling of spaciousness, | 0:25:43 | 0:25:46 | |
even though it's quite small. | 0:25:46 | 0:25:48 | |
And the light, I like the fact that it is energy efficient but I haven't actually counted up over the years... | 0:25:48 | 0:25:53 | |
-Have you had your bills yet? -I've had some and they haven't been too much of a surprise. | 0:25:54 | 0:25:58 | |
They've been quite good. And the eco features, the fact that it was built partly | 0:25:58 | 0:26:02 | |
from sustainable materials, water saving features. | 0:26:02 | 0:26:06 | |
All those sorts of things, they're all an added bonus to actually liking the design of the house itself. | 0:26:06 | 0:26:11 | |
Are there any down sides? | 0:26:11 | 0:26:14 | |
I suppose there is a bit of a lack of storage. | 0:26:14 | 0:26:16 | |
In this smaller unit, I've got a good space under the stairs, | 0:26:16 | 0:26:20 | |
but upstairs there isn't a lot of space for wardrobes and things. | 0:26:20 | 0:26:23 | |
And the house functions as a really good office because upstairs, | 0:26:23 | 0:26:27 | |
in one of your spare rooms, there's a draughtsman's desk. | 0:26:27 | 0:26:30 | |
I'm using it in the largest bedroom actually, I'm using that as a study. | 0:26:30 | 0:26:34 | |
It's great, there's a lovely view. And there's a high-level window | 0:26:34 | 0:26:38 | |
which, on good days, has a superb view of the sky. | 0:26:38 | 0:26:41 | |
Every time you walk in, there's virtually a different picture on the wall. | 0:26:41 | 0:26:45 | |
Now, these homes might not be the answer to all of the questions. | 0:26:49 | 0:26:52 | |
A lot of people say they're hard-looking, | 0:26:52 | 0:26:54 | |
they're too far removed from our love affair with bricks and mortar. | 0:26:54 | 0:26:58 | |
But they're a massive step forward towards environmentally conscious house building. | 0:26:58 | 0:27:03 | |
Not to mention the fact that there's a bit of colour, there's a bit of vitality about the place. | 0:27:03 | 0:27:08 | |
It puts a smile on your face. | 0:27:08 | 0:27:09 | |
I think they sit right at home here in Milton Keynes as this place continues | 0:27:09 | 0:27:13 | |
to develop as a thoroughly modern forward-thinking town. | 0:27:13 | 0:27:17 | |
Let's go straight back to the valuation day. | 0:27:22 | 0:27:25 | |
Sharon's keen to de-clutter, but in a small way. | 0:27:25 | 0:27:28 | |
Sharon, you've brought this pendant. What can you tell me about it? | 0:27:31 | 0:27:35 | |
Well, I can't remember where I bought it. | 0:27:35 | 0:27:37 | |
It's been kicking around in a pot for about the last 15 years. | 0:27:37 | 0:27:40 | |
It's not a family piece. I bought it somewhere and I've taken it out from time to time, | 0:27:40 | 0:27:45 | |
looked at it and thought gosh, that looks interesting. | 0:27:45 | 0:27:48 | |
I've showed it to various people, nobody knew what it was. | 0:27:48 | 0:27:51 | |
And I popped it back again. | 0:27:51 | 0:27:52 | |
Then when Flog It! was in town, I thought I'd find out about it. | 0:27:52 | 0:27:56 | |
"This is my chance to find out!" So you don't wear it, presumably? | 0:27:56 | 0:27:59 | |
-No. I could do I suppose but... -Not your thing? -No, not really. | 0:27:59 | 0:28:02 | |
Well, it's really lovely. What you've got is a silver gilt and enamel pendant. It's really pretty. | 0:28:02 | 0:28:09 | |
Late Victorian. I love the fact that it's an egg shape. | 0:28:09 | 0:28:12 | |
You're supposed to wear it round your neck or maybe off a little fob. | 0:28:12 | 0:28:16 | |
If you open it up, what you've got inside is a hinged little lid | 0:28:16 | 0:28:20 | |
and then this really sweet little pierced grille. | 0:28:20 | 0:28:23 | |
And if you open that up inside... is a tiny little sponge. | 0:28:23 | 0:28:29 | |
-You can smell it. -It's still strong. -It's fantastic. | 0:28:29 | 0:28:33 | |
After all those years. | 0:28:33 | 0:28:35 | |
I'm guessing, if you feel a little faint, because you're a Victorian lady... | 0:28:35 | 0:28:39 | |
-You've got the vapours... -Yeah. If someone's having hysterics... | 0:28:39 | 0:28:42 | |
You can waft that under your nose and be restored to health. | 0:28:42 | 0:28:45 | |
It's a really nice thing. | 0:28:45 | 0:28:47 | |
So, you don't wear it and you didn't inherit it, | 0:28:47 | 0:28:50 | |
-so it doesn't mean anything to you? -No, no. | 0:28:50 | 0:28:52 | |
You want to flog it? | 0:28:52 | 0:28:54 | |
-Yes, please. -For an auction estimate, there's lots of people that collect this kind of thing. | 0:28:54 | 0:28:59 | |
If it only had the initials C F for Carl Faberge on it | 0:28:59 | 0:29:02 | |
we would be writing you a large cheque. | 0:29:02 | 0:29:04 | |
It's gonna be a continental maker, so probably French or Swiss. | 0:29:04 | 0:29:07 | |
It's got a little bit of a chip on the bottom. | 0:29:07 | 0:29:10 | |
Yes, it was like that when I got it. | 0:29:10 | 0:29:13 | |
OK. It's still pretty collectable even with the damage. | 0:29:13 | 0:29:16 | |
I think probably, for an auction estimate, £80 to £120. | 0:29:16 | 0:29:19 | |
-Excellent. -You sound quite pleased with that. -I am. | 0:29:19 | 0:29:22 | |
If you put maybe a reserve of £70, would that be acceptable? | 0:29:22 | 0:29:27 | |
A bit less really, as long as it sells. | 0:29:27 | 0:29:30 | |
Right, so if you put a £50 reserve, if you'd take that? | 0:29:30 | 0:29:33 | |
Yeah, 50 would be great, yeah. | 0:29:33 | 0:29:35 | |
The auctioneer will thank you, that makes it easier to sell. | 0:29:35 | 0:29:38 | |
But hopefully it will go within estimate of 80 to 120. | 0:29:38 | 0:29:41 | |
-I'd pay £80 for it, let's hope somebody else thinks the same. -Let's hope so. | 0:29:41 | 0:29:45 | |
Steve, welcome to Flog It! | 0:29:51 | 0:29:55 | |
-I'm from Glasgow on the River Clyde and I love tug boats. -Right. | 0:29:55 | 0:30:02 | |
Tell me, where did you get this lovely little item? | 0:30:02 | 0:30:05 | |
I got it from a local jumble sale. | 0:30:05 | 0:30:07 | |
A jumble sale story! | 0:30:07 | 0:30:09 | |
How much did you pay for it? | 0:30:09 | 0:30:12 | |
No more than 50p. | 0:30:12 | 0:30:13 | |
-I think you've got a bargain there. -I hope so. | 0:30:13 | 0:30:16 | |
What drew you to this little item? | 0:30:16 | 0:30:19 | |
I thought it was unusual, you know, boats. | 0:30:19 | 0:30:22 | |
-I've got a small collection. -Ah, I see. | 0:30:22 | 0:30:25 | |
So, this would have been the jewel of your collection? | 0:30:25 | 0:30:29 | |
-One of them, yeah. -One of them. | 0:30:29 | 0:30:30 | |
Well, let's look at it a little closely. | 0:30:30 | 0:30:34 | |
Now, the first thing that most people do is probably | 0:30:34 | 0:30:39 | |
to turn it upside down. | 0:30:39 | 0:30:42 | |
And if we look at the backstamp here, | 0:30:42 | 0:30:46 | |
-we can see that it was made by Royal Doulton. -Yep. | 0:30:46 | 0:30:50 | |
Now, Royal Doulton is a good make so you've got a nice little quality item here. | 0:30:50 | 0:30:56 | |
Now, this stamp would date it from the late 1800s, early 1900s. | 0:30:56 | 0:31:04 | |
-It's quite old. -It's a good age. | 0:31:04 | 0:31:06 | |
-It's a stoneware item, not a fine porcelain. -Yep. | 0:31:06 | 0:31:10 | |
It's this lovely sort of toffee colour | 0:31:10 | 0:31:15 | |
and I think that it may have been an advertising item at one point. | 0:31:15 | 0:31:21 | |
The little tug is called the George Livesey. | 0:31:22 | 0:31:27 | |
I believe that George Livesey was an industrialist | 0:31:27 | 0:31:30 | |
-at the turn of the century... -That's interesting. | 0:31:30 | 0:31:33 | |
..who had some connection with Doulton. | 0:31:33 | 0:31:37 | |
If we look at these little funnels here, | 0:31:37 | 0:31:41 | |
they can be detached, | 0:31:41 | 0:31:43 | |
-and I think it's wonderful that they have lasted such a long time. -Yes. | 0:31:43 | 0:31:47 | |
They've not been separated from the main body of the tug. | 0:31:47 | 0:31:53 | |
So we've got a quality item, it's unusual. | 0:31:53 | 0:31:56 | |
-I haven't seen one of them before. -Nor have I. -You haven't seen one? -No. | 0:31:56 | 0:32:01 | |
Let's hope the people at the auction haven't seen one. | 0:32:01 | 0:32:05 | |
So, it fits into that lovely little category of collectables | 0:32:05 | 0:32:10 | |
and the collectable market is vibrant at this time. | 0:32:10 | 0:32:17 | |
That's good. | 0:32:17 | 0:32:18 | |
-Estimate, have you had anyone look at it? -No valuation at all. | 0:32:18 | 0:32:23 | |
-Well, I would like to put an estimate of 80 to 120. -Good improvement. | 0:32:23 | 0:32:31 | |
Now, it may do more than that because it's an unusual little item. | 0:32:32 | 0:32:37 | |
Are you happy to sell it at that? | 0:32:37 | 0:32:39 | |
-Fine, yeah. -Why do you want to sell this one? | 0:32:39 | 0:32:42 | |
We've got to start de-cluttering. | 0:32:42 | 0:32:44 | |
-Have you had your orders from your wife? -Definitely. | 0:32:45 | 0:32:48 | |
-Get rid of that stuff. -Get rid of the junk. | 0:32:48 | 0:32:51 | |
Well, we'll be delighted at Flog It! to help you de-clutter. | 0:32:51 | 0:32:54 | |
Thank you very much. | 0:32:54 | 0:32:56 | |
So, John, you've brought in these two paintings. | 0:33:04 | 0:33:07 | |
What can you tell me about them? | 0:33:07 | 0:33:09 | |
They were my father-in-law's | 0:33:09 | 0:33:11 | |
and he received them in payment for a gardening job he did. | 0:33:11 | 0:33:15 | |
-Do you know what sort of cost that would have been? -No, no idea, no. | 0:33:15 | 0:33:19 | |
Not a huge amount, presumably? | 0:33:19 | 0:33:21 | |
Possibly not, but he was given the choice of various paintings | 0:33:21 | 0:33:24 | |
-and he chose these two. -Do you like them? What do you think of them? | 0:33:24 | 0:33:27 | |
-No. -You're not a big fan? Have you had them hanging up? | 0:33:27 | 0:33:31 | |
-No. Under the bed. -Under the bed?! | 0:33:31 | 0:33:35 | |
That's disgraceful! | 0:33:35 | 0:33:36 | |
That sounds like prime material for selling. They're not great condition. | 0:33:36 | 0:33:41 | |
-I know. -I expect you've noticed that. What happened here for a start? | 0:33:41 | 0:33:45 | |
The cord broke, apparently, and it fell onto a chair. | 0:33:45 | 0:33:48 | |
I think the arm of the chair went through it. | 0:33:48 | 0:33:52 | |
-Oh, dear. Do you know anything about the artist at all? -No. -No? OK. | 0:33:52 | 0:33:55 | |
Well, they're by one of a family | 0:33:55 | 0:33:57 | |
of fairly well known late Victorian, early 20th century painters, | 0:33:57 | 0:34:01 | |
they're the De Breanskis. | 0:34:01 | 0:34:03 | |
There are quite a few of them. The father, Alfred De Breanski, | 0:34:03 | 0:34:07 | |
is the most well known and his things get the most money. | 0:34:07 | 0:34:11 | |
This is actually by one of the other De Breanskis, | 0:34:11 | 0:34:13 | |
you can see here it's signed A F De Breanski, | 0:34:13 | 0:34:16 | |
that's for Alfred Fontville De Breanski. | 0:34:16 | 0:34:20 | |
He's also quite well known as a painter. | 0:34:20 | 0:34:23 | |
Rather helpfully for us, it tells us where this is. | 0:34:23 | 0:34:27 | |
If we look on the back here, | 0:34:27 | 0:34:29 | |
a quick slow look, it says near Sonning-on-Thames. | 0:34:29 | 0:34:33 | |
Which is brilliant because that's clearly a recognisable place, | 0:34:33 | 0:34:36 | |
it's apparently near Reading. | 0:34:36 | 0:34:38 | |
This one is sunset over a wood, it says on the back. | 0:34:38 | 0:34:42 | |
They're both stretched oil on canvases. | 0:34:42 | 0:34:45 | |
They're not very clean, and obviously with the damage | 0:34:45 | 0:34:48 | |
-they would need restoration and a bit of doing-up, let's say. -Yes. | 0:34:48 | 0:34:52 | |
A bit of a clean. But they're very nicely painted. | 0:34:52 | 0:34:54 | |
So you're not that keen on them. | 0:34:54 | 0:34:56 | |
-Not really, no. -They're under the bed. | 0:34:56 | 0:34:59 | |
What would you do with the money if you sold it? | 0:34:59 | 0:35:02 | |
Probably spend it on walking equipment. | 0:35:02 | 0:35:04 | |
Walking equipment? OK. | 0:35:04 | 0:35:06 | |
-Would you go walking in Sonning-on-Thames? -Possibly, you never know. -To remember the painting. | 0:35:06 | 0:35:11 | |
You ought to if you sell it. | 0:35:11 | 0:35:13 | |
How would you react if I said I thought they would make something like £600 to £900 at auction? | 0:35:13 | 0:35:18 | |
-You'd be thrilled. -Definitely. | 0:35:18 | 0:35:20 | |
I think a wise move would be to put a reserve on them so that they're not going to go for | 0:35:20 | 0:35:25 | |
next to nothing if it's a quiet sale day and to protect your interests. | 0:35:25 | 0:35:29 | |
But at the same time you want to sell them so you'd put a reserve slightly lower than that, | 0:35:29 | 0:35:33 | |
something like £300. That way if it doesn't reach £300, you haven't sold it | 0:35:33 | 0:35:37 | |
-and you can have a rethink about what you want to do. -Excellent. -Let's give it a go! | 0:35:37 | 0:35:43 | |
-Certainly! -Let's flog it! | 0:35:43 | 0:35:44 | |
Before we put the experts' final valuations to the test, | 0:35:46 | 0:35:49 | |
here's a reminder of what we're taking to auction. | 0:35:49 | 0:35:52 | |
Will Kate's confidence about Sharon's pendant spread to the bidders? | 0:35:52 | 0:35:56 | |
Anita's also positive that her rare find will tug at the bidders' pockets. | 0:35:57 | 0:36:04 | |
Finally, will anyone be keen to take John's damaged paintings off his hands? | 0:36:04 | 0:36:09 | |
But before our auctioneer, Charlie Ross, lets the hammer fall, | 0:36:10 | 0:36:14 | |
I thought I'd get the expert opinion of the new owner of this saleroom, auctioneer Jasper Marsh. | 0:36:14 | 0:36:20 | |
I'm not sure about these, | 0:36:20 | 0:36:22 | |
we've got a pair of oils on canvas, could be De Breanski, | 0:36:22 | 0:36:27 | |
the condition's really poor on this one. They belong to John. | 0:36:27 | 0:36:31 | |
He definitely wants them to sell. | 0:36:31 | 0:36:33 | |
Our experts have said £600 to £900, that's what they're hoping for | 0:36:33 | 0:36:38 | |
for the pair, but we've got a really low reserve of £300. | 0:36:38 | 0:36:43 | |
I think it's wise to have that low reserve, Paul. | 0:36:43 | 0:36:47 | |
I've catalogued them as attributed to De Breanski | 0:36:47 | 0:36:50 | |
because I'm not sure if the quality's there. | 0:36:50 | 0:36:52 | |
The condition on them is poor | 0:36:52 | 0:36:54 | |
so I'm afraid it's one for the day. A fingers crossed job. | 0:36:54 | 0:36:58 | |
If this came into your room tomorrow would you put three to five on it rather than six to nine? | 0:36:58 | 0:37:06 | |
-I'd probably put one to two on it, to be honest, Paul. -Right, OK. | 0:37:06 | 0:37:10 | |
-And then watch it run. -And then watch it run. | 0:37:10 | 0:37:12 | |
If it does indeed. Any interest? | 0:37:12 | 0:37:14 | |
There was initial interest, we've sent a couple of e-mail images, but they haven't been responded to | 0:37:14 | 0:37:20 | |
-so who knows? They might be here on the day to buy them. -I hope so. | 0:37:20 | 0:37:23 | |
-Let's hope that we get them away. -Fingers crossed. | 0:37:23 | 0:37:26 | |
This is so sweet, this little lot. It opens up, it's a little mini egg, it's like a Faberge egg. | 0:37:31 | 0:37:36 | |
It's a pendant. It belongs to Sharon. | 0:37:36 | 0:37:39 | |
We've got £80 to £120 on it. | 0:37:39 | 0:37:41 | |
Kate absolutely adores this, you're in love with this, aren't you? | 0:37:41 | 0:37:44 | |
I want this, I want this bad. | 0:37:44 | 0:37:46 | |
Your eagle eye might have spotted Sharon on Flog It! before | 0:37:46 | 0:37:49 | |
because it was in Milton Keynes five or six years ago? | 0:37:49 | 0:37:55 | |
Five years ago, yes. | 0:37:55 | 0:37:57 | |
What was it, a vase? A piece of Minton? | 0:37:57 | 0:37:59 | |
A Minton Secessionist vase. It sold here and did very well. | 0:37:59 | 0:38:03 | |
-Yes. -I'm hoping for the same today. | 0:38:03 | 0:38:05 | |
-You've got all the kit in your house! -I have too much stuff in my house, by a long way. | 0:38:05 | 0:38:09 | |
I think we're coming round there to do a whole valuation! | 0:38:09 | 0:38:12 | |
Let's hope all the bidders here in this packed saleroom think the same way as we do. | 0:38:12 | 0:38:18 | |
-This is it. -A red enamel and gilt decorated vinaigrette | 0:38:18 | 0:38:21 | |
circa 1890 of egg-shaped form and I'm bid 35. | 0:38:21 | 0:38:28 | |
And 40, 5, 50, | 0:38:28 | 0:38:30 | |
5, 60, your bid. Top of the stairs. | 0:38:30 | 0:38:33 | |
-5, 70. -It's going. | 0:38:33 | 0:38:35 | |
No. 65 now. The bid's on my left at 65. | 0:38:35 | 0:38:38 | |
Anybody going at 70? | 0:38:38 | 0:38:39 | |
65, left-hand corner. | 0:38:39 | 0:38:41 | |
At 65 I sell. Your bid. | 0:38:41 | 0:38:44 | |
Gosh, that was quick. | 0:38:44 | 0:38:46 | |
-65. -Fast and furious. | 0:38:46 | 0:38:48 | |
-I put a £50 reserve on so... -You did. -So it's sold. -Yeah. | 0:38:48 | 0:38:52 | |
-Brilliant. -We did it. Are you happy? | 0:38:52 | 0:38:54 | |
-I'm happy, yes. -We would've liked a bit more, wouldn't we? | 0:38:54 | 0:38:57 | |
We would. But it's gone, I'm pleased. | 0:38:57 | 0:38:59 | |
Well, this next lot is bound to pull in all the bidders. | 0:39:08 | 0:39:11 | |
It's got to, it's a tug boat and it belongs to Steven, not for much longer. | 0:39:11 | 0:39:15 | |
You fell in love with it. It's a bit of Royal Doulton. | 0:39:15 | 0:39:18 | |
So many people collect Royal Doulton and they won't have a bit of this. | 0:39:18 | 0:39:21 | |
It's rare, it's hot to trot | 0:39:21 | 0:39:23 | |
and it's worth possibly a lot more than £80 to £120. | 0:39:23 | 0:39:27 | |
The market loves the unusual items today. | 0:39:27 | 0:39:31 | |
They're hard to put a price on. So hard to put a price on. | 0:39:31 | 0:39:34 | |
A lot more than 50p, because it was bought at a jumble sale, wasn't it? | 0:39:34 | 0:39:38 | |
Local jumble sale, yeah. | 0:39:38 | 0:39:40 | |
Well, we're gonna find out what this lot in the room think because I had a chat to Jasper, the new owner, | 0:39:40 | 0:39:46 | |
and he said there's been a lot of interest and he hopes it's going to make around £300. | 0:39:46 | 0:39:53 | |
-Very nice. -I think it'll fly away, then. | 0:39:53 | 0:39:56 | |
-Sail away. -Or maybe sail! -I think maybe that's the one, Anita, sail away! | 0:39:56 | 0:40:00 | |
Let's watch it go, here it is. | 0:40:00 | 0:40:02 | |
Interesting lot. A Royal Doulton Lambeth model of a tug boat. | 0:40:02 | 0:40:07 | |
The George Livesey, showing there. | 0:40:07 | 0:40:10 | |
-And I can start at £100. -Yes! | 0:40:10 | 0:40:12 | |
And I'll take 10. | 0:40:12 | 0:40:13 | |
At 100. Opening bid, commission bid. 110, 120, 130, | 0:40:13 | 0:40:18 | |
-140, 150? At 140 with me. -Come on. | 0:40:18 | 0:40:22 | |
-140. -Come on. -150 now? | 0:40:22 | 0:40:24 | |
-150, it's behind me. 150, 160, 170. -It's almost like panto! | 0:40:24 | 0:40:28 | |
180, 190, 200, 220. | 0:40:28 | 0:40:33 | |
This is more like it. | 0:40:33 | 0:40:34 | |
-240 on the telephone? 240, 260. -We could be hitting that £300 mark. | 0:40:34 | 0:40:41 | |
-280, 300. -Yes! | 0:40:41 | 0:40:44 | |
300, 320? | 0:40:44 | 0:40:46 | |
320, 340? | 0:40:46 | 0:40:50 | |
340, 360? 360, 380? | 0:40:50 | 0:40:54 | |
-It's pulling away at a rate of knots! -£360 now. All finished? | 0:40:54 | 0:40:59 | |
360, telephone bid at 360. | 0:40:59 | 0:41:02 | |
-Yes! -That was definitely a sold sound. | 0:41:02 | 0:41:05 | |
Charlie's got a fantastic hammer action. | 0:41:05 | 0:41:08 | |
It's very solid. It's very clear. | 0:41:08 | 0:41:10 | |
£360, you've gotta treat the wife. | 0:41:10 | 0:41:15 | |
I'll have to take her out. | 0:41:15 | 0:41:18 | |
Somewhere very special, maybe away for the weekend. | 0:41:18 | 0:41:21 | |
John, we are gonna find out in just a moment if they are De Breanskis | 0:41:27 | 0:41:32 | |
and if we can get £600 to £900. | 0:41:32 | 0:41:34 | |
-Let's hope so. -Big talking point, Kate, big talking point. | 0:41:34 | 0:41:37 | |
-I hope we get somewhere near what you're hoping for. But we have got a fixed reserve of 300. -Yeah. | 0:41:37 | 0:41:43 | |
I had a chat to Jasper just before the sale and he said that they might struggle | 0:41:43 | 0:41:48 | |
but hopefully we'll do the £300 to £400. | 0:41:48 | 0:41:51 | |
I'm sticking to my guns. I think they're Alfred Fontville De Breanski, | 0:41:51 | 0:41:55 | |
who wasn't the best known of the De Breanski family, | 0:41:55 | 0:41:58 | |
but I still think it is by him, not just a copy. | 0:41:58 | 0:42:00 | |
Let's see what the market thinks. | 0:42:00 | 0:42:02 | |
Lot number 353, attributed to De Breanski, near Sonning-on-Thames. | 0:42:02 | 0:42:08 | |
-One with a bit of damage. And I can start at £350. -Yes! | 0:42:08 | 0:42:14 | |
400 I will take, at 350. 400 now. | 0:42:14 | 0:42:19 | |
-Brilliant. -At 350. All out in the room? 400. 450. | 0:42:19 | 0:42:24 | |
-Great, he's got a bid left on the book. -500. 550. | 0:42:24 | 0:42:27 | |
No. 550, still out. | 0:42:27 | 0:42:30 | |
550 commission bid, | 0:42:30 | 0:42:32 | |
and I sell at £550. All done? | 0:42:32 | 0:42:37 | |
Well done. Yes, well done, Kate. | 0:42:37 | 0:42:40 | |
-That's great. -Result. | 0:42:40 | 0:42:41 | |
What else have you got under your bed? | 0:42:41 | 0:42:44 | |
-I shall have to have a look! -Bring it out. -Well done you, as well. | 0:42:44 | 0:42:47 | |
-It feels good. -It's a good moment, isn't it? | 0:42:47 | 0:42:51 | |
Well, that's it. What a great day we've had here. | 0:42:54 | 0:42:58 | |
The auction's still going on behind me as you can see and I've got to say all credit to Charlie Ross. | 0:42:58 | 0:43:03 | |
He's been magnificent on the rostrum and so have our two experts today. | 0:43:03 | 0:43:07 | |
They've stuck to their guns and they were spot on. | 0:43:07 | 0:43:10 | |
The highlight had to be John's big smile on his face | 0:43:10 | 0:43:13 | |
as he walked out the saleroom with £550 for his De Breanski oil paintings, a great result. | 0:43:13 | 0:43:19 | |
I hope you've enjoyed today's show. | 0:43:19 | 0:43:21 | |
Until the next time, from Woburn, it's cheerio. | 0:43:21 | 0:43:24 | |
For more information about Flog It!, including how the programme was made, visit the website at bbc.co.uk | 0:43:25 | 0:43:32 | |
Subtitles by Red Bee Media Ltd | 0:43:32 | 0:43:35 | |
E-mail [email protected] | 0:43:35 | 0:43:38 |