0:00:04 > 0:00:07Welcome to the home town of Francis Crick on a rather wet and rainy day.
0:00:07 > 0:00:12But that won't dampen your spirits when you walk through a sculpture like that.
0:00:12 > 0:00:15And it celebrates his incredible genius. Intrigued?
0:00:15 > 0:00:19Well, you should be, so stay tuned and welcome to Flog It!
0:00:19 > 0:00:21from Northampton.
0:00:54 > 0:00:56Some of the antiques that we'll see today
0:00:56 > 0:00:59have been handed down from generation to generation.
0:00:59 > 0:01:02But we all possess one priceless inheritance
0:01:02 > 0:01:05handed down from our ancestors that we cannot see,
0:01:05 > 0:01:07and that is our DNA.
0:01:07 > 0:01:11Northampton's very own Francis Crick, along with James Watson,
0:01:11 > 0:01:16unlocked the future of genetics by cracking the DNA code.
0:01:16 > 0:01:20In 1962, they were jointly awarded the Nobel Prize.
0:01:24 > 0:01:26And on this very rainy day in Northampton,
0:01:26 > 0:01:29investigating some of these treasures that
0:01:29 > 0:01:32have been handed down to you, are our very own prize experts here
0:01:32 > 0:01:34Mark Stacey and James Lewis.
0:01:34 > 0:01:37Looks like you've both been Tangoed by Blackfriars!
0:01:40 > 0:01:44We're at the Guildhall, and the owners of some of the treasures that you can see
0:01:44 > 0:01:47in the queue behind me are getting rather excited.
0:01:47 > 0:01:50Wondering who is going to be first at the blue Flog It! tablecloth.
0:01:50 > 0:01:52Well, let's go inside and find out.
0:01:56 > 0:02:00Annie, it just would not be Flog It! without a bit of Moorcroft.
0:02:00 > 0:02:03You've saved the day and brought a bit along.
0:02:03 > 0:02:07- Is this a family piece? - No. It's not.
0:02:07 > 0:02:10My brother used to do odd jobs for an elderly couple,
0:02:10 > 0:02:13look after the house while they were on holiday,
0:02:13 > 0:02:16- and they were throwing two vases away.- Throwing them away?!
0:02:16 > 0:02:20Yes, and he gave them to me, and the first one, I did like.
0:02:20 > 0:02:22This one, I've never liked.
0:02:22 > 0:02:26It was used as a door stop. It's had the odd flowers in.
0:02:26 > 0:02:30- You used it as a doorstop? - Yes.- Oh, my goodness.
0:02:30 > 0:02:33In this day and age, if you watch Flog It!
0:02:33 > 0:02:36or Bargain Hunt or any of the other antiques programmes,
0:02:36 > 0:02:39you must know what a bit of Moorcroft looks like.
0:02:39 > 0:02:41I do now, yes. It is only down to Flog It!
0:02:41 > 0:02:43I realised it was a Moorcroft.
0:02:43 > 0:02:48I have had it for about 15, 20 years.
0:02:48 > 0:02:51OK, well, this is a classic piece of Moorcroft.
0:02:51 > 0:02:53It is one of the most popular designs.
0:02:53 > 0:02:54It is the hibiscus pattern.
0:02:54 > 0:02:57And this was produced from the 1930s onwards.
0:02:57 > 0:03:01It came in different coloured variations.
0:03:01 > 0:03:05You had the orange flowers on the green background, which was done later.
0:03:05 > 0:03:07This is a much nicer colour variation.
0:03:07 > 0:03:11Quite subtle reds and pinks on a pale blue ground. Much, much nicer.
0:03:11 > 0:03:13And it has got a good shape, as well.
0:03:13 > 0:03:14The ovoid shape.
0:03:14 > 0:03:18And that's classic 1930s. Is it something you treasure today?
0:03:18 > 0:03:21- No!- Obviously not, because you want to flog it.
0:03:21 > 0:03:24The shape's and the colours are not too bad,
0:03:24 > 0:03:25but it's just not my cup of tea.
0:03:25 > 0:03:27It's just I don't like...Moorcroft.
0:03:27 > 0:03:29It's a classic piece.
0:03:29 > 0:03:32It's tube lined, a bit like icing a cake.
0:03:32 > 0:03:34So you pipe this decoration on.
0:03:34 > 0:03:37That is the little raised ribs on the outside.
0:03:37 > 0:03:39And you fill the colours in.
0:03:39 > 0:03:43It's a classic, typical 1930s way of decorating.
0:03:43 > 0:03:49If we turn it over, we have seen this many times as well, the Moorcroft mark.
0:03:49 > 0:03:51That would have had a paper label that would have been
0:03:51 > 0:03:55the original paper label when the vase was made.
0:03:55 > 0:03:56- I took the label off.- Oh, no!
0:03:56 > 0:03:58When I was washing it.
0:03:58 > 0:04:01And this WM is for William Moorcroft.
0:04:01 > 0:04:03That's his signature in green.
0:04:03 > 0:04:07So there we are, a good vase. What's it worth?
0:04:07 > 0:04:10I honestly haven't a clue.
0:04:10 > 0:04:11Would you sell it for £30?
0:04:11 > 0:04:15- Well, a year ago, I would have given it away!- Yes?
0:04:15 > 0:04:17It'll make more than that.
0:04:17 > 0:04:20- I reckon it is going to make between £80 and £120.- Really?!
0:04:20 > 0:04:24Yeah. Auctioneers' favourite estimate, but I think that is what it's worth.
0:04:24 > 0:04:26Oh, blimey!
0:04:26 > 0:04:28- Is that all right for you?- Yeah!
0:04:28 > 0:04:29Let's put a reserve of £80 on it.
0:04:29 > 0:04:32£80 firm, so there is no discretion.
0:04:32 > 0:04:34If it doesn't make 80, take it home and try another day.
0:04:34 > 0:04:37Yes, fine. That is lovely.
0:04:37 > 0:04:40- I hope somebody enjoys it.- We'll take it along and see how we do.
0:04:44 > 0:04:47- Hi, Linda. How are you? - I'm fine, thank you.
0:04:47 > 0:04:50Now, you have brought a wily little fox in to show us today.
0:04:50 > 0:04:53- I have, indeed. - Tell us about the history.
0:04:53 > 0:04:56I have had it around about nine months.
0:04:56 > 0:05:00I bought it at a small antiques fair, locally.
0:05:00 > 0:05:03I bought it because I liked the red glaze. I like flambe glazes.
0:05:03 > 0:05:06And I liked the shape of it.
0:05:06 > 0:05:10It's quite nicely modelled. It is quite stylised, really.
0:05:10 > 0:05:12It is a stylised pose.
0:05:12 > 0:05:16Whereas a lot of foxes are depicted either sitting or standing.
0:05:16 > 0:05:19This is really crouching and stalking something, isn't it?
0:05:19 > 0:05:26- Yes.- So it has got quite a fierce look to it, particularly with that bright, raw red flambe glaze.
0:05:26 > 0:05:28It is quite effectively done.
0:05:28 > 0:05:31This is made by Royal Doulton.
0:05:31 > 0:05:34And underneath, we have got a full set of marks for Royal Doulton.
0:05:34 > 0:05:37The signature of Noke, which stands for Charles Noke.
0:05:37 > 0:05:44He designed a lot of pieces in the 1920s and '30s for Doulton.
0:05:44 > 0:05:48And we have also got at the end of the toe an impressed number, 298.
0:05:48 > 0:05:51- Yes.- So all in all, a very nice piece.
0:05:51 > 0:05:53The mark is very faint there.
0:05:53 > 0:05:59We have got the standard mark of a lion above a crown in a circle with the word flambe.
0:05:59 > 0:06:04And that was used, I think, between 1902 and about 1934.
0:06:04 > 0:06:06- Oh, so it is earlier than I thought it might be.- Yes.
0:06:06 > 0:06:10You do have to be slightly careful with flambe, actually,
0:06:10 > 0:06:13because it was originally brought out in the 1930s.
0:06:13 > 0:06:20But then was brought back again in the 1960s. So you have to be careful about that.
0:06:20 > 0:06:23- Yes.- But all in all, it is quite a nice figure.
0:06:23 > 0:06:27I think we should try it at maybe 100 to 150.
0:06:27 > 0:06:31- Right. - With a 100 discretionary reserve, so we'll give the auctioneer 10%.
0:06:31 > 0:06:33So, we can sell it for 90 or so.
0:06:33 > 0:06:35- Yes. - Are you be happy with that?
0:06:35 > 0:06:40Yes, I'd be fine with that, as long as it's got a reserve on, that would be fine. Perfect.
0:06:40 > 0:06:42Are you prone to breaking them?
0:06:42 > 0:06:45Absolutely. I've not got a good record.
0:06:45 > 0:06:48We don't want that bushy tail breaking off, do we?
0:06:48 > 0:06:50- Certainly not.- Or the ear chipped.
0:06:50 > 0:06:54- The ears are particularly vulnerable, I think.- They are very vulnerable.
0:06:54 > 0:06:57Thank you very much, and I look forward so seeing you
0:06:57 > 0:06:59at the auction, let's hope we get a good price.
0:07:04 > 0:07:07Lynn and Chris, good to see you, and thank you for bringing some
0:07:07 > 0:07:10furniture in, we love to see furniture on the show.
0:07:10 > 0:07:13We don't get a lot of it. How long have you had the Davenport?
0:07:13 > 0:07:17I have had it probably about five, six years now.
0:07:17 > 0:07:22- Did you inherit this?- It was my grandmother's, and I think it was her mother's.
0:07:22 > 0:07:23Oh, lovely.
0:07:23 > 0:07:27I think it's been in the family probably somewhere about 100 years.
0:07:27 > 0:07:29Are you feeling guilty now you want to flog it?
0:07:29 > 0:07:32No, we can't do it justice where it's sat.
0:07:32 > 0:07:36- Where's it been in the house? - It is sat in the conservatory.
0:07:36 > 0:07:37That's not good.
0:07:37 > 0:07:40We've kept it covered to stop the sun from getting on it.
0:07:40 > 0:07:41Well, good for you.
0:07:41 > 0:07:43It's out of harm's way.
0:07:43 > 0:07:46We have seen these in oak and mahogany,
0:07:46 > 0:07:49but walnut is the most expensive and the most decorative wood,
0:07:49 > 0:07:51so it has got a bit going for it, anyway.
0:07:51 > 0:07:55Captain Davenport, a sea captain, commissioned Gillow,
0:07:55 > 0:07:56a very famous furniture maker,
0:07:56 > 0:07:59to make him a portable writing desk with a slope
0:07:59 > 0:08:03that he could take on board and off board ship with him.
0:08:03 > 0:08:07Gillow's was so impressed with his drawings that they carried
0:08:07 > 0:08:12on making them, and as a tribute to him, they called them Davenport.
0:08:12 > 0:08:14That was the birth of the Davenport, 1790.
0:08:14 > 0:08:17This particular model is late Victorian.
0:08:17 > 0:08:20We are looking at 1880, somewhere around there.
0:08:20 > 0:08:23Here we have got the faux drawers and they don't open.
0:08:23 > 0:08:26But this side,
0:08:26 > 0:08:29you can see they do. And that is very, very handy.
0:08:29 > 0:08:33And they are all beautifully made as well, all dovetailed and lap-jointed.
0:08:33 > 0:08:35I like that. That is a little drawer stop.
0:08:35 > 0:08:38That tells you when the drawer has reached the back.
0:08:38 > 0:08:42So it finishes flush at the front.
0:08:44 > 0:08:48The keys have gone walkabout over the years.
0:08:48 > 0:08:50Yes, and there is a bit of damage to the veneer.
0:08:50 > 0:08:52It is good quality veneering.
0:08:52 > 0:08:56Moroccan tooled leather, I am a big fan of black rather than...
0:08:56 > 0:08:59That is why, years ago, I actually took a liking to it
0:08:59 > 0:09:02when I was younger and that was the bit that set me off.
0:09:02 > 0:09:06I like the black more than the reds and the greens.
0:09:06 > 0:09:08So, let's have a look inside.
0:09:08 > 0:09:11Another veneer finish inside, which is quite nice, birdseye maple.
0:09:11 > 0:09:13It lightens up the whole thing.
0:09:13 > 0:09:19Pigeonhole sections there for stationery, a couple of little drawers.
0:09:19 > 0:09:22It's really quite cute, actually, isn't it?
0:09:22 > 0:09:24I love that you haven't polished it.
0:09:24 > 0:09:29- We haven't touched it.- No. This will take a polish, and this will glow.
0:09:29 > 0:09:32- I thought it might, but I wasn't sure.- This will really glow.
0:09:32 > 0:09:37Wonderful golden variegated hues will just burst out of this.
0:09:37 > 0:09:40Brown furniture has dipped quite a bit.
0:09:40 > 0:09:43And I would like to call my valuation 3 - 5.
0:09:43 > 0:09:45But I'm pretty sure it'll make that £400 mark.
0:09:45 > 0:09:49- Are you happy with £300-500?- Yes.
0:09:49 > 0:09:51A fixed reserve.
0:09:51 > 0:09:54It is not going to sell for anything less than 300.
0:09:54 > 0:09:56- Is that all right?- That's fine.
0:10:00 > 0:10:02Stephen, what fantastic fun.
0:10:02 > 0:10:06We have taken a real step back into Georgian England here
0:10:06 > 0:10:10with political and royal caricatures of the period.
0:10:10 > 0:10:16These are all dating to the late 18th and early 19th century.
0:10:16 > 0:10:20And we've got some really fantastic and famous names here.
0:10:20 > 0:10:25They are collected widely, and there is a great market for them in the States.
0:10:25 > 0:10:28And there are also very good collectors for them here in the UK.
0:10:28 > 0:10:31Each individual one takes a little bit of time.
0:10:31 > 0:10:34If you're not a specialist, it takes time to do some research.
0:10:34 > 0:10:39And today here in Northampton, we are not going to have the right time to do it properly.
0:10:39 > 0:10:42So before we go down the line of value, I can tell you now,
0:10:42 > 0:10:45I am not going to put a figure on these.
0:10:45 > 0:10:48Because I want to do the research properly.
0:10:48 > 0:10:51For example, here, we have got this chap hanging.
0:10:51 > 0:10:53It is wonderful, the sentiment.
0:10:53 > 0:10:56People obviously don't like this chap.
0:10:56 > 0:10:59We have got a little voice bubble coming up from here,
0:10:59 > 0:11:02"May our heaven-born minister be supported from above."
0:11:02 > 0:11:05What a wonderful bit of fun that is.
0:11:05 > 0:11:07Not for him, obviously.
0:11:07 > 0:11:09This is dated at the bottom here.
0:11:09 > 0:11:141797, so we are in late 18th century England.
0:11:14 > 0:11:16That's probably going to be William Pitt the Younger.
0:11:16 > 0:11:23Because he is the main political character of the time, he's looking
0:11:23 > 0:11:26young and unpopular, which he was at this period of time.
0:11:26 > 0:11:28Then we've got others.
0:11:28 > 0:11:31We've got here,
0:11:31 > 0:11:37a cartoon by one of the most famous people of the time, and that's George Cruikshank.
0:11:37 > 0:11:42Now, George Cruikshank took over as being the most popular character in about 1811.
0:11:42 > 0:11:46This one is obviously something to do with the English and the Irish.
0:11:46 > 0:11:51We have got the Irishman here saying shillelaghs, but also offering his shoes to the French.
0:11:51 > 0:11:54Offering anything to the French in the 18th century,
0:11:54 > 0:11:57later 18th, early 19th century, wasn't greatly popular.
0:11:57 > 0:12:01Now, having waffled on and told you very little about values,
0:12:01 > 0:12:04tell me how you've come to have them.
0:12:04 > 0:12:07Well, I picked them up at a car boot sale, a local car boot sale.
0:12:07 > 0:12:09Fantastic!
0:12:09 > 0:12:12In the summertime, for £10.
0:12:12 > 0:12:15I had actually been there for about three hours,
0:12:15 > 0:12:18and it was about quarter past one, and I happened to see the folder.
0:12:18 > 0:12:20It's incredible, isn't it.
0:12:20 > 0:12:23It does just show you that bargains can still be had.
0:12:23 > 0:12:26When it comes to these caricatures, they vary in value.
0:12:26 > 0:12:32Some like this that have been torn and ripped and stuck down, will be worth relatively little.
0:12:32 > 0:12:36So, value. I'm going to, as I say, avoid the subject.
0:12:36 > 0:12:40Because they can be worth as little as £5, and as much as £5,000.
0:12:40 > 0:12:44Now, there is nothing here worth £5,000.
0:12:44 > 0:12:46There is nothing of huge value.
0:12:46 > 0:12:51I will take them away do some research, and between us, we will come up with
0:12:51 > 0:12:54a valuation for you and organise a reserve.
0:12:54 > 0:12:56- Is that all right? - Yeah, that's great.
0:12:56 > 0:13:00- Keep hunting at the car boots, you've got a good eye. - I certainly will!
0:13:00 > 0:13:02Let's see what's going to auction.
0:13:02 > 0:13:06Of the kitchen floor and into the saleroom, Anne's Moorcroft vase.
0:13:06 > 0:13:09I'm amazed there's not more damage to it.
0:13:09 > 0:13:14Linda's little glazed fox caught Mark's eye, and he has high hopes for it at the auction.
0:13:14 > 0:13:18How nice to have a piece of furniture on Flog It!, especially a Davenport desk.
0:13:18 > 0:13:21Let's hope that bidders fall in love with it.
0:13:21 > 0:13:25And James eventually decided on a value for Stephen's interesting caricatures.
0:13:25 > 0:13:29And they are off to auction with a fixed reserve of £200.
0:13:34 > 0:13:36We are selling all our family heirlooms
0:13:36 > 0:13:40at Gilding's Auction Rooms in Market Harborough in rural Leicestershire.
0:13:40 > 0:13:44And on the rostrum is Mark Gilding, so let's go inside the sale room and find him.
0:13:49 > 0:13:51Now, this is a useful piece of kit.
0:13:51 > 0:13:55It belongs to Chris and Lynn. It has been in their family for around about 100 years.
0:13:55 > 0:14:00They are now selling it, so I have put a valuation of £300-500 on it.
0:14:00 > 0:14:05It has got everything going for it, and I think it is like a tiny little mobile office.
0:14:05 > 0:14:08- If you live in a small flat, this is ideal.- Absolutely.
0:14:08 > 0:14:11Very useful bits of furniture, very interesting design, as well.
0:14:11 > 0:14:14In walnut, which is nice.
0:14:14 > 0:14:16Any interest?
0:14:16 > 0:14:18Yes, there has been some interest.
0:14:18 > 0:14:22The condition isn't great. There are a few bits of a veneer,
0:14:22 > 0:14:24and some bits inside that need working on.
0:14:24 > 0:14:28- But it should sell within estimate. - Three to five is a good price?- Yes.
0:14:28 > 0:14:34Well, you have now heard everybody's opinion, so I think it is about time we started to flog something.
0:14:38 > 0:14:40Good to see you again. Who have you brought?
0:14:40 > 0:14:42- James, my husband.- Hi, hello there.
0:14:42 > 0:14:44You don't like Moorcroft.
0:14:44 > 0:14:46- No. - You've been using it as a doorstop?
0:14:46 > 0:14:49- That's right.- We've heard some odd things on our time in Flog it!
0:14:49 > 0:14:53but I think Moorcroft for a door stop is the first! Well look, good luck.
0:14:53 > 0:14:56I think it's here to sell. We've got a full house.
0:14:56 > 0:14:58Moorcroft is a cracking name.
0:14:58 > 0:15:02- And there are lots of other pieces of Moorcroft in this- sale.
0:15:02 > 0:15:04If it doesn't sell, it's my fault!
0:15:06 > 0:15:08- I hope so! - It's going under the hammer.
0:15:08 > 0:15:09Good luck, both of you.
0:15:09 > 0:15:13Lot number 20. A Moorcroft pottery ovoid vase.
0:15:13 > 0:15:14Commissions start here at £85.
0:15:14 > 0:15:16On commission. 85 I'm bid.
0:15:16 > 0:15:19At 85 here. At 85. At £85. 95.
0:15:19 > 0:15:21You are both out. 100. 10.
0:15:21 > 0:15:24120. 30. 140. 150, if you like.
0:15:24 > 0:15:29Anyone else at 140? 140, it will be sold. At £140.
0:15:29 > 0:15:32- It's a good result.- Brilliant.
0:15:32 > 0:15:35We head 80 - 120 on that, you've got to be pleased with that.
0:15:35 > 0:15:36It's really good.
0:15:36 > 0:15:39£140. And that was going in the skip, wasn't it?
0:15:39 > 0:15:41A friend gave it to you.
0:15:41 > 0:15:43What do you prop the door open with now?
0:15:43 > 0:15:45We'll have to find something else now!
0:15:50 > 0:15:52Now, remember that flambe - that lovely red fox?
0:15:52 > 0:15:56We've got that little critter, but we don't have Lynda.
0:15:56 > 0:15:58- She can't make it today. - Oh, what a shame.
0:15:58 > 0:16:00- But we have Mark! - I'll have to make up for her!
0:16:00 > 0:16:03- I tell you what, we are in hunting territory here.- We are.
0:16:03 > 0:16:05We are surrounded by...
0:16:05 > 0:16:08Hunting and horse-y things.
0:16:08 > 0:16:10- Should this do well, this little red fox?- It should.
0:16:10 > 0:16:13Flambe is an interesting market.
0:16:13 > 0:16:16It's by Noke, of course, and it's a lovely little model.
0:16:16 > 0:16:20I think it's captured that sort of fox mid-run.
0:16:20 > 0:16:23- The tail is out, the face is there...- It's alert.
0:16:23 > 0:16:27And the colour really matches that mood, I think. So, fingers crossed.
0:16:27 > 0:16:30320, then. It's a Royal Doulton flambe model of a fox.
0:16:30 > 0:16:32Signed as Noke. Commission bids start at £100.
0:16:32 > 0:16:34- We're in at 100.- 110.
0:16:34 > 0:16:39120. 130. 140. 150. 155, on commission. 160,
0:16:39 > 0:16:40and I'm out.
0:16:40 > 0:16:41Oh, 160 - perfect.
0:16:41 > 0:16:43£160.
0:16:43 > 0:16:48£160! She will be so excited.
0:16:48 > 0:16:50Get her on the phone.
0:16:53 > 0:16:57I've been joined by Lynn and Chris. And it's my turn to be the expert.
0:16:57 > 0:17:00We've got that fantastic Davenport desk.
0:17:00 > 0:17:04What's going through your mind? "Oh, I'm not sure. Will it sell?"
0:17:04 > 0:17:07I think it will, you know. I had a chat to the auctioneer.
0:17:07 > 0:17:09Three to five - sensible money on that.
0:17:09 > 0:17:13That's a come and buy me at 300. Its quality brown - that's walnut.
0:17:13 > 0:17:16That's not the run-of-the-mill Edwardian mahogany.
0:17:16 > 0:17:18- So...- Wait and see..
0:17:18 > 0:17:21- It's going to sell! The auctioneer thinks so.- Does he?
0:17:21 > 0:17:24Yeah. That's just winding you up! But how much for?
0:17:24 > 0:17:26Well, we're going to find out.
0:17:26 > 0:17:30Nice little Davenport there. Some bits. Start me here at £250.
0:17:30 > 0:17:32250 I'm bid. 250, you are all out?
0:17:32 > 0:17:36£250. 250. 260. 270. 280. 290.
0:17:36 > 0:17:39£300. At £300. £300 bid. At £300. 300 now. In the room at £300.
0:17:39 > 0:17:43300 with the lady. 300, and selling now
0:17:43 > 0:17:44at £300.
0:17:44 > 0:17:50It went. They weren't fighting over it.
0:17:50 > 0:17:51Right on the reserve.
0:17:51 > 0:17:52Well, it's gone.
0:17:52 > 0:17:55We said three to five. We're going to stick to our guns.
0:17:55 > 0:17:58- We're happy we got rid of it! - You got rid of it.
0:18:03 > 0:18:07We've got a car boot sale lot here which is valued at what, £10?
0:18:07 > 0:18:08You got it for 10 quid.
0:18:08 > 0:18:11It's good to see you. You brought along a mate with you?
0:18:11 > 0:18:12My friend David.
0:18:12 > 0:18:16Hi, David. It's so good to see young guys interested in antiques.
0:18:16 > 0:18:20It's about getting in the game at a young age and learning and knowledge.
0:18:20 > 0:18:23Because there is money to be made, as we're going to prove right now.
0:18:23 > 0:18:27Because James, you put £200 - £300 on this folio of caricatures.
0:18:27 > 0:18:30Not many people would buy them, but I think they are great.
0:18:30 > 0:18:34I really do. Good for you for picking them up.
0:18:34 > 0:18:37It's one of the most difficult things I've valued on Flog It!
0:18:37 > 0:18:41And really, one or two of these are worth 1,000 individually
0:18:41 > 0:18:45if they had been crisp, perfect, with the margins.
0:18:45 > 0:18:48But there are sections missing. They are faded, they are cut.
0:18:48 > 0:18:50So, fingers crossed.
0:18:50 > 0:18:54I don't care - if they go wildly over my estimate, I'm pleased.
0:18:54 > 0:18:56I'll be more pleased to be wrong.
0:18:56 > 0:18:59- I hope they do sell. - Good. We find out right now.
0:18:59 > 0:19:03- Good luck, guys.- A collection of 18th and 19th century caricatures.
0:19:03 > 0:19:07Bids start with me here, I'll say £130.
0:19:07 > 0:19:08130 I'm bid. 140.
0:19:08 > 0:19:12- 150. 160. 170.- That's good. There's interest in the room.
0:19:12 > 0:19:14200. 210. 220.
0:19:14 > 0:19:16- Come on, keep going!- 230. 240.
0:19:16 > 0:19:20250.
0:19:20 > 0:19:24260. 270.
0:19:24 > 0:19:26280.
0:19:26 > 0:19:27290.
0:19:29 > 0:19:31- 300.- Come on!
0:19:31 > 0:19:33This is good news Stephen, isn't it?
0:19:34 > 0:19:36320 on the telephone.
0:19:36 > 0:19:39£320. 340, back in at 340.
0:19:39 > 0:19:41Telephone too, then, at 340.
0:19:41 > 0:19:44360 on the telephone. At 360.
0:19:44 > 0:19:47360, at 360. Looking round the room again. At 360.
0:19:47 > 0:19:50360 and selling at £360.
0:19:50 > 0:19:54The hammer's going down. £360.
0:19:54 > 0:19:55- Thank you very much. - That's great.
0:19:55 > 0:19:58- Brilliant.- Well done.- Brilliant.
0:19:58 > 0:19:59What will you put that towards?
0:19:59 > 0:20:04Perhaps put it towards a holiday in the summertime.
0:20:04 > 0:20:07I think you should buy James a big drink for that!
0:20:07 > 0:20:10That's fantastic, I'm very pleased. Well done.
0:20:10 > 0:20:13He's done a lot of research to find the buyers for this one.
0:20:13 > 0:20:16Stick half of that into car boot money and invest it.
0:20:16 > 0:20:20- I will do over the summer time. - Brilliant. Well done.
0:20:20 > 0:20:24It's all out there if you to get up early in the morning to find it.
0:20:25 > 0:20:29Some great results. We are coming back here later on in the show.
0:20:29 > 0:20:31I'm going to take a quick break.
0:20:31 > 0:20:34I'm going to go round the corner and find out what used to be
0:20:34 > 0:20:38the industrial mainstay of Market Harborough back in the 1800s.
0:20:44 > 0:20:49Christian Dior once said, without proper foundations, there can be no fashion.
0:20:49 > 0:20:52That red brick building in the heart of Market Harborough -
0:20:52 > 0:20:57once housed the market leaders in women's foundation garments.
0:20:57 > 0:21:00And they were called R and WH Symingtons.
0:21:02 > 0:21:07In 1835, James and Sarah Symington set up a workshop to make corsets
0:21:07 > 0:21:09for the wealthy women in the area.
0:21:09 > 0:21:14The business grew, particularly with the introduction of the new-fangled sewing machine.
0:21:18 > 0:21:23This magnificent staircase is all that remains of the original building.
0:21:23 > 0:21:28Now, Philip Warren, who now looks after the Symingtons corset collection, is going to show me
0:21:28 > 0:21:33a few examples of what would have run off the production line in the late 19th century.
0:21:37 > 0:21:39What an incredible collection!
0:21:39 > 0:21:41- Philip, there you are.- Hi.
0:21:41 > 0:21:44Thanks so much for putting this together for us today.
0:21:44 > 0:21:46They look so splendid!
0:21:46 > 0:21:48But my first impressions are -
0:21:48 > 0:21:51very tiny! Is that the standard size?
0:21:51 > 0:21:53- Well, they do appear tiny, don't they?- Yes!
0:21:53 > 0:21:57For the purposes of the displays, we have to actually have them so that
0:21:57 > 0:22:00the corsets are closed at the back, so laced up very tightly.
0:22:00 > 0:22:04But most women were perfectly sensible about their corset.
0:22:04 > 0:22:06They tended to leave them open slightly at the back.
0:22:06 > 0:22:09Partly because it gave you air to breathe.
0:22:09 > 0:22:11- A bit more breathing space. - A bit more movement, at least!
0:22:11 > 0:22:15And I think also, there's a little bit about buying a small size
0:22:15 > 0:22:17and then leaving it slightly open at the back, as well.
0:22:17 > 0:22:20Just to make you feel a bit better in the morning!
0:22:20 > 0:22:23They are incredible. They are beautifully made.
0:22:23 > 0:22:27There are amazing. Not just as garments, just as pieces of design,
0:22:27 > 0:22:31but also as feats of engineering, because they are very complicated.
0:22:31 > 0:22:35Lots of different pattern pieces and, obviously, the way that the boning works
0:22:35 > 0:22:40dictates exactly how the finished corset is going to alter and change your body.
0:22:40 > 0:22:42And I guess women would take pride in choosing the right corset?
0:22:42 > 0:22:45It had to look right. It was a fashion statement
0:22:45 > 0:22:47Absolutely. Most people were sensible.
0:22:47 > 0:22:49You know, they chose the one that was comfortable.
0:22:49 > 0:22:55They chose the one that was obviously going to be beautiful, because, you know, sometimes they were seen.
0:22:55 > 0:22:57And you had to be comfortable.
0:22:57 > 0:23:00There are lots of stories about people who would over lace their corsets
0:23:00 > 0:23:04and that they would pass out or that they'd distort the organs in their body.
0:23:04 > 0:23:08But I think most people were actually quite sort of pragmatic about it.
0:23:08 > 0:23:11And you couldn't actually get dressed without one.
0:23:11 > 0:23:13A dress like this, from the 1890s,
0:23:13 > 0:23:15without a corset underneath it,
0:23:15 > 0:23:21you couldn't have possibly hoped to achieve the shape that you needed to have.
0:23:21 > 0:23:24But these were all corsets that you would buy off the peg.
0:23:24 > 0:23:30These different styles all really relate to the different needs of individuals.
0:23:30 > 0:23:33This American corset, because the Symington collection
0:23:33 > 0:23:36includes different corsets from all over the world.
0:23:36 > 0:23:38They were buying in competitors work and we presume,
0:23:38 > 0:23:41looking at how they were made and how they could make them cheaply.
0:23:41 > 0:23:44- OK.- Nothing changes!
0:23:44 > 0:23:48So, this one is actually made... it's supported with preformed steel.
0:23:48 > 0:23:52So were the Symingtons making their corsets with whalebone, or were they using steel?
0:23:52 > 0:23:54Whalebone I think was the ultimate,
0:23:54 > 0:23:59although it was becoming increasingly hard to find and more ,and more expensive.
0:23:59 > 0:24:02And they liked it because it had that flexibility and give.
0:24:02 > 0:24:06And if you did need to actually launder your corset, which was quite unusual,
0:24:06 > 0:24:08then it didn't rust, obviously.
0:24:08 > 0:24:13Whereas the steels did. So that was one of the major drawbacks.
0:24:13 > 0:24:16There's one hiding behind this. Should I bring this forward?
0:24:16 > 0:24:18Now, this looks slightly simpler.
0:24:18 > 0:24:23Well, I think it's one of the most fascinating garments that's in the Symington collection.
0:24:23 > 0:24:26It's one of their speciality corsets called the "Pretty Housemaid".
0:24:26 > 0:24:28And it evolves in the 1890s.
0:24:28 > 0:24:32As a direct response, really, to Symingtons recognising
0:24:32 > 0:24:34that there's a massive market out there,
0:24:34 > 0:24:37which is working class women who want to have,
0:24:37 > 0:24:41not just a supporting garment that helps keep their body upright
0:24:41 > 0:24:44during incredibly hard and really dull domestic work,
0:24:44 > 0:24:48but also, you know, they want to have a fashionable figure as well.
0:24:48 > 0:24:50And feel more feminine and sexy?
0:24:50 > 0:24:55Absolutely! You know, it's about having a real pride in your appearance,
0:24:55 > 0:24:58as well as doing that whole thing which is to support your body.
0:24:58 > 0:25:02And instead of just saying to the customer, "Here's our cheapest corset,"
0:25:02 > 0:25:08they actually engaged with the customer by saying, we've got something specially for you.
0:25:08 > 0:25:10We called it the "Pretty Housemaid" corset.
0:25:10 > 0:25:12It's got the most beautiful box top.
0:25:12 > 0:25:15- Good branding there.- Absolutely!
0:25:15 > 0:25:18- And there she is.- Admiring herself in a mirror with a pinny on!
0:25:18 > 0:25:24Absolutely! She's just stood at the mirror and now she can see herself in all her glory!
0:25:25 > 0:25:28So it wasn't just the wealthy women that wore the corsets.
0:25:28 > 0:25:30There was something for everyone.
0:25:30 > 0:25:35Hard to believe that some of the wealthy women would have changed up to three times a day,
0:25:35 > 0:25:37with different corsets for each outfit.
0:25:37 > 0:25:40What a relief it must have been to take them off at the end of the day.
0:25:42 > 0:25:44These look incredible.
0:25:44 > 0:25:47Obviously, marketing and advertising was quite important.
0:25:47 > 0:25:51Absolutely. They were in competition with every other retailer
0:25:51 > 0:25:55that would have put their goods into a large store, a department store.
0:25:55 > 0:25:57And so it was about capturing the imagination.
0:25:57 > 0:26:03- It was about establishing brand loyalty and it was about handing over that hard earned money.- Yes!
0:26:03 > 0:26:04A really kind of special moment.
0:26:04 > 0:26:09And I think they were as brand conscious and as image conscious as we are today.
0:26:09 > 0:26:13I think the advertising was just as sensitive and I think it was certainly just as clever.
0:26:13 > 0:26:18They did do one corset where they actually sprayed it with rose water
0:26:18 > 0:26:20before it actually went into its box,
0:26:20 > 0:26:25so there was that whole different sort of senses that came into play when you were buying it as well.
0:26:25 > 0:26:29Not just, did it fit, did it work, but actually, it smelt beautiful too!
0:26:29 > 0:26:33That's a nice touch actually, isn't it? These looks likely different, Philip.
0:26:33 > 0:26:35Can you talk me through these corsets?
0:26:35 > 0:26:38Well, we talked a little bit earlier about each individual woman
0:26:38 > 0:26:42requiring something particular from the corset of her choice.
0:26:42 > 0:26:44So, these two are sports corsets.
0:26:44 > 0:26:48And that was really because at the end of the 1890s,
0:26:48 > 0:26:52you've got a whole mass of women who are wealthy enough
0:26:52 > 0:26:56to have the leisure time, to start playing active sports.
0:26:56 > 0:26:58So you've got the riding hunting, cycling.
0:26:58 > 0:27:02So, you can see that these are designed to fit lower underneath the arm.
0:27:02 > 0:27:05- They fit higher over the hip. - There's more freedom, isn't there?
0:27:05 > 0:27:10More freedom of movement and also, there are elements of change in the front of them as well.
0:27:10 > 0:27:13So, you can actually unlace these two sides around the bust.
0:27:13 > 0:27:17So, you can actually get a bit more movement in there.
0:27:17 > 0:27:22And these have got early elasticated panels inset into various different parts of it.
0:27:22 > 0:27:27Unfortunately, the rubber in the elastic has started to degrade and they've gone saggy.
0:27:27 > 0:27:31But it would have meant that your diaphragm could actually expand
0:27:31 > 0:27:34and you could take deep breaths as you were doing exercise.
0:27:34 > 0:27:38So, the average woman would have four or five different types of corset, then?
0:27:38 > 0:27:41Absolutely. You know, if you were wealthy enough to have that sort of lifestyle,
0:27:41 > 0:27:44then certainly, you would have had a corset for the daytime.
0:27:44 > 0:27:48You would have had a corset for the evening, a sports corset,
0:27:48 > 0:27:50and obviously, as we know, in the Victorian period
0:27:50 > 0:27:54you are looking at women having a large number of children,
0:27:54 > 0:27:58you would have had a special corset made for the period that you were pregnant and nursing.
0:27:58 > 0:28:03And that's what this next corset over here is.
0:28:03 > 0:28:05They are all so tiny!
0:28:05 > 0:28:10It seems very strange to us, doesn't it? That idea of wearing a corset when you're pregnant.
0:28:10 > 0:28:12But you can see that the design of it,
0:28:12 > 0:28:15it has these little elasticated lacing sections here.
0:28:15 > 0:28:19Which would allow the corset to open slightly
0:28:19 > 0:28:23and to grow as your pregnancy was developing.
0:28:23 > 0:28:25And of course, it did support your back.
0:28:25 > 0:28:29But it's clever, again, in that it gets women to buy another corset.
0:28:29 > 0:28:30Absolutely.
0:28:30 > 0:28:35And I think it shows the brilliance of the design and manufacturing skills of the Symington factory.
0:28:40 > 0:28:42Well, it's back to the valuation day
0:28:42 > 0:28:45and Mark has found something rather intriguing!
0:28:45 > 0:28:49- Marion, you have brought in at the most fascinating object today.- Thank you.
0:28:49 > 0:28:52But before we have a jolly good look at it,
0:28:52 > 0:28:54give us a little bit of the history.
0:28:54 > 0:28:59Well, it was found in my mother-in-law's drawer after my father-in-law died.
0:28:59 > 0:29:01We were searching through, just sorting things out,
0:29:01 > 0:29:04and came across it along with lots of other bits and pieces.
0:29:04 > 0:29:06And I didn't think much of it.
0:29:06 > 0:29:09I thought, perhaps it's gold, and it's sat in the drawer ever since.
0:29:09 > 0:29:13I haven't done anything with it. We opened it up, we know what's inside it.
0:29:13 > 0:29:16So, have you ever had it tested to see if its gold?
0:29:16 > 0:29:18No, we've never had it tested.
0:29:18 > 0:29:20And it's got no marks as far as I can see on it.
0:29:20 > 0:29:21No. Well, it's intriguing.
0:29:21 > 0:29:25Because when you look at it like this, it looks like a locket.
0:29:25 > 0:29:28And indeed, that's what it is. If we look at it here, we can open it up.
0:29:28 > 0:29:32We've got a lovely little interior cover as well,
0:29:32 > 0:29:35with a little dove of peace engraved on it.
0:29:35 > 0:29:37And when you open that up,
0:29:37 > 0:29:41there is a tiny little photograph inside it, which is wonderful.
0:29:43 > 0:29:47But intriguingly, on the other side, when we open that up,
0:29:47 > 0:29:51we've got this lovely little pierced top here for a vinaigrette.
0:29:51 > 0:29:54But, of course, two explanations.
0:29:54 > 0:29:58One explanation is that when you were walking around
0:29:58 > 0:30:02the streets of London 100-200 years ago, the place stank.
0:30:02 > 0:30:04So, of course, sometimes it was so obnoxious
0:30:04 > 0:30:07that you kept a little bit of smelling salts in there
0:30:07 > 0:30:09to keep your pecker up, as it were.
0:30:09 > 0:30:12The other explanation, particularly as this is a ladies' one,
0:30:12 > 0:30:17is that during the Victorian period they wore those really, really tight corsets.
0:30:17 > 0:30:19Oh right, yes.
0:30:19 > 0:30:22And people often fainted because it constricted you so much,
0:30:22 > 0:30:25so this was a way of bringing you back round, as it were.
0:30:25 > 0:30:28And what's very nice about it,
0:30:28 > 0:30:30is if we open the vinaigrette up,
0:30:30 > 0:30:33we've got this lovely little lock of hair
0:30:33 > 0:30:37which I think belongs to the person in the picture.
0:30:37 > 0:30:39Well, the unusual part about it is,
0:30:39 > 0:30:43we don't know who this person in the photograph is,
0:30:43 > 0:30:45or who the lock of hair belonged to.
0:30:45 > 0:30:48It's a lovely little intriguing object.
0:30:48 > 0:30:51I think it's fair to say that it's had a hard life.
0:30:51 > 0:30:54I think it's been well worn, don't you?
0:30:54 > 0:30:59It's been well worn. A lot of the pattern is a bit rubbed and it's had some reinforcement on it.
0:30:59 > 0:31:02But I've never seen the combination of a love token
0:31:02 > 0:31:06in the form of a locket and the little vinaigrette.
0:31:06 > 0:31:09I don't think this is the original chain, of course.
0:31:09 > 0:31:12- No, no.- But a lovely little object.
0:31:12 > 0:31:15- Would it be First World War? - Oh, even earlier than that.- Really?
0:31:15 > 0:31:18Certainly this is a Victorian locket.
0:31:18 > 0:31:22We could be looking as far back as the Crimean War, I suppose.
0:31:22 > 0:31:28- But, of course, coming to harsh practicalities that you've never had it valued before.- No.
0:31:28 > 0:31:31But I think I'm going to plump for the auctioneer's cliche.
0:31:31 > 0:31:34- Can you guess what it is?- 80 to 120!
0:31:34 > 0:31:38- You've got it. You've got it. With an 80 reserve.- Yes, definitely.
0:31:38 > 0:31:42And then just see where it turns up. Would you be happy with that?
0:31:42 > 0:31:44Very happy. As I say, just sits in the drawer,
0:31:44 > 0:31:46got no interest in it at all as an object.
0:31:46 > 0:31:48Well, let's leave it to a collector, shall we?
0:31:48 > 0:31:50I'm sure somebody would enjoy it.
0:31:54 > 0:31:56Donald, do you often come out on a Sunday
0:31:56 > 0:31:58with a pocket pistol with you?
0:31:58 > 0:32:02- Not really.- It's a special Flog It! occasion, is it?- It is, yes.
0:32:02 > 0:32:06What we have in front of us here are true antiques.
0:32:06 > 0:32:10- These are both what we call percussion pistols.- I see.
0:32:10 > 0:32:12And this one is a little box lock
0:32:12 > 0:32:16because the lock is in the form of a box.
0:32:16 > 0:32:19And we have a detachable barrel that is a rusted solid.
0:32:19 > 0:32:23- It is, that's right. - We can't see the proof marks there
0:32:23 > 0:32:27but they're likely to be Liege in Belgium.
0:32:27 > 0:32:32Most of these little pocket pistols were made around 1840, 1850.
0:32:32 > 0:32:37- That's a standard little one with a slab-sided grip that we see a lot of.- Oh, I see.
0:32:37 > 0:32:40It's a nice example but lots of them about.
0:32:40 > 0:32:42- I see.- This is the one.
0:32:42 > 0:32:44- That's one, is it?- Yeah.
0:32:44 > 0:32:47If we pull the trigger back like that,
0:32:47 > 0:32:50there's a little piece there that you push,
0:32:50 > 0:32:54push in, and that's a lock so you can't pull the trigger.
0:32:54 > 0:32:55I see.
0:32:55 > 0:32:58But this is what we call an Over And Under Pistol,
0:32:58 > 0:33:01so you can turn the barrels like that,
0:33:01 > 0:33:03so you can prime both barrels.
0:33:03 > 0:33:06As soon as you've fired one, you pull it back to half-cock again,
0:33:06 > 0:33:10turn it, and you have a second option.
0:33:10 > 0:33:14Now, this would have been carried by a gentleman in a waistcoat pocket
0:33:14 > 0:33:18or maybe a lady while travelling on a stage coach or something like that.
0:33:18 > 0:33:22And they were personal protection pistols rather than something from military issue.
0:33:22 > 0:33:26You can see the name "Pinches" - P-I-N-C-H-E-S.
0:33:26 > 0:33:30And this manufacturer was working in London,
0:33:30 > 0:33:35in Westminster between about 1825 and 1835.
0:33:35 > 0:33:37That is the date of this pistol.
0:33:37 > 0:33:42- Oh, I see.- Walnut grip and this is chequered so you didn't slip.- I see.
0:33:42 > 0:33:45And the nice thing about it - fold away trigger.
0:33:45 > 0:33:46Look at that.
0:33:46 > 0:33:51Folds completely flush but then you pull the hammer back
0:33:51 > 0:33:54one little bit and you can see a little bit there,
0:33:54 > 0:33:57all the way and your trigger folds out. Clever, isn't it?
0:33:57 > 0:33:59It is clever.
0:33:59 > 0:34:03So there we are. That is a little work of art, really.
0:34:03 > 0:34:06- That would be quite sought-after. - I see, yeah.
0:34:06 > 0:34:08And then we've got two powder flasks here
0:34:08 > 0:34:10but we're in trouble with these.
0:34:10 > 0:34:12Are we? Oh dear.
0:34:12 > 0:34:16- Because this contains gunpowder. - Yeah, black powder.
0:34:16 > 0:34:18- And this contains shot.- Lead shot.
0:34:18 > 0:34:22Yeah. And what I will always do is hand them over to the local police.
0:34:22 > 0:34:27So, I reckon that these two are worth fairly little,
0:34:27 > 0:34:31probably about £25-30, something like that.
0:34:31 > 0:34:36This one, probably worth again £30, £30-40.
0:34:36 > 0:34:38So, we've got about 70 there.
0:34:38 > 0:34:42This is a good one. This is worth about 150.
0:34:42 > 0:34:44- I see, yeah.- How do you feel?
0:34:44 > 0:34:46They've just been lying about for such a long time,
0:34:46 > 0:34:49my father had them, grandfather before then.
0:34:49 > 0:34:52Really? Where have you had them, lying in a drawer somewhere?
0:34:52 > 0:34:54They've just been in the cupboard.
0:34:54 > 0:34:56The good thing is, if you've got guns at home,
0:34:56 > 0:35:00it is very, very important to make sure you know what you've got
0:35:00 > 0:35:03because really they're not things to be lying around in drawers
0:35:03 > 0:35:06but this one doesn't need a licence.
0:35:06 > 0:35:09- Oh, I see.- It is important that if you do have a hand gun lying around
0:35:09 > 0:35:11to get it checked out. But with these, you're fine.
0:35:16 > 0:35:18- Hello, Alan.- Hello, Mark.
0:35:18 > 0:35:22Now, this is a fascinating item you've brought in to show us, it's really charming, actually.
0:35:22 > 0:35:25I know what it is but I've never handled one before.
0:35:25 > 0:35:28Tell us about the history, where did you get it from?
0:35:28 > 0:35:32- It's from a local Kettering factory that made children's clothes.- Right.
0:35:32 > 0:35:36The factory's sadly closed down and now's apartments,
0:35:36 > 0:35:38and this is part of the clearance from it.
0:35:38 > 0:35:42- Did you work at the factory?- No, no, I had a cousin who worked there.
0:35:42 > 0:35:45And they were throwing it out, were they?
0:35:45 > 0:35:47- They were just clearing it out, yes. - What a shame.
0:35:47 > 0:35:49And what sort of attracted you to it?
0:35:49 > 0:35:55I suppose because it is a nice item but, you know...
0:35:55 > 0:35:57- What do you do with it?- Exactly.
0:35:57 > 0:36:01Now, I like it because if we look at it now straightaway
0:36:01 > 0:36:04we've got this nice ebonised wooden base with a tripod base,
0:36:04 > 0:36:08the legs are a little bit heavy, but there's some nice turning here.
0:36:08 > 0:36:12Nice turning up here. Nice little fill-in for the arms there.
0:36:12 > 0:36:18So, I guess looking at the type of work on it we're looking at 1900-1910 as a date.
0:36:18 > 0:36:22Then we've got this nice Parisian maker on the front.
0:36:22 > 0:36:24I think it's just a charming item.
0:36:24 > 0:36:26I think if somebody's collecting dolls
0:36:26 > 0:36:30or is interested in collecting period children's clothes,
0:36:30 > 0:36:33or something like this, or just as a nice object
0:36:33 > 0:36:35as a piece of work of art if you like,
0:36:35 > 0:36:37it's nice just sitting in the corner of a room.
0:36:37 > 0:36:39I think it's rather charming.
0:36:39 > 0:36:42So what have you done with it since you acquired it?
0:36:42 > 0:36:45It's been in the attic for many years. So, that's it really.
0:36:45 > 0:36:47That's the reason for bringing it.
0:36:47 > 0:36:49"It's surplus to requirements" as they say,
0:36:49 > 0:36:50like the factory unfortunately.
0:36:50 > 0:36:53- Yes.- It's a very difficult thing to value
0:36:53 > 0:36:57because it could be something nobody wants at all on the day.
0:36:57 > 0:37:03On the other hand, it could be several interested parties who just like it as an aesthetic object.
0:37:03 > 0:37:06- Yes.- So I think if we're going to put a value on it, I suppose
0:37:06 > 0:37:10- my gut feeling is maybe £80-100, something like that.- Right.
0:37:10 > 0:37:13- Are you happy with that? - More than happy, yes.
0:37:13 > 0:37:17Wonderful. It's difficult with something like this whether to put a reserve or not.
0:37:17 > 0:37:19It depends how much you want it back.
0:37:19 > 0:37:21No, I mean I'm happy to run with it with no reserve.
0:37:21 > 0:37:24You know there's an inherent risk with that
0:37:24 > 0:37:27because if the highest bid on the day is 20 quid,
0:37:27 > 0:37:28it'll go for 20 quid.
0:37:28 > 0:37:30But it's a bit of fun, isn't it?
0:37:30 > 0:37:33So ,I suppose we take a gamble. Dare I ask if we get £80 for it,
0:37:33 > 0:37:35would you go out and buy another one?
0:37:35 > 0:37:37No.
0:37:37 > 0:37:40That's it for the valuation day
0:37:40 > 0:37:43but before we go to the auction, let's have a quick recap.
0:37:45 > 0:37:47Marion's locket isn't hallmarked
0:37:47 > 0:37:50but it's usual but I think it may attract the bidders.
0:37:51 > 0:37:57Let's hope Donald's percussion pistols fire up some interest in the sale room.
0:37:57 > 0:38:00And well done Alan for rescuing this pretty mannequin
0:38:00 > 0:38:02from a lonely life in the attic.
0:38:02 > 0:38:05First under the hammer is Marion's locket.
0:38:05 > 0:38:09This is quite unusual cos it's a vinaigrette, it's a locket,
0:38:09 > 0:38:11not sure if it's gold though.
0:38:11 > 0:38:15Well, we couldn't quite tell on the day.
0:38:15 > 0:38:20It's a very unusual object, to have the combination of both.
0:38:20 > 0:38:22With the locket of hair as well and the photograph.
0:38:22 > 0:38:27- Exactly. It's quite an interesting item, who knows what it'll make? - Oh. Fingers crossed.
0:38:27 > 0:38:30We're just about find out. Why are you flogging this?
0:38:30 > 0:38:33Well, it was found in a drawer
0:38:33 > 0:38:37when we sorted out my husband's mother's effects.
0:38:37 > 0:38:38Didn't mean anything to us
0:38:38 > 0:38:42so we thought we'd come and see what it was worth and have a go.
0:38:42 > 0:38:46Hey presto, here we are on Flog It!. Right, let's do our best for you.
0:38:46 > 0:38:48Vinaigrette with hinged covers, unmarked.
0:38:48 > 0:38:52- I bid here £65. 65.- Come on.
0:38:52 > 0:38:5475. 80. And I'm out at £80.
0:38:54 > 0:38:56- 5.- 90.
0:38:56 > 0:38:59Come on, we need to double that 60, don't we?
0:38:59 > 0:39:01- 120.- Yes.- 130. 140.
0:39:01 > 0:39:03150. 160.
0:39:03 > 0:39:06You're right, Mark, it's so unusual.
0:39:06 > 0:39:08190. 200. And 10.
0:39:08 > 0:39:10- 220.- Very keen bidders.
0:39:10 > 0:39:14Seated at 220 and selling at £220.
0:39:14 > 0:39:16Yes! Fantastic.
0:39:16 > 0:39:19- That was quite hair-raising. - It must have been gold.
0:39:19 > 0:39:22That was really good. Really, really good.
0:39:22 > 0:39:24What are you going to do with the money?
0:39:24 > 0:39:27We've got some antique fob watches
0:39:27 > 0:39:30and we thought we might get them restored.
0:39:30 > 0:39:33So, it's going to pay for the restoration?
0:39:33 > 0:39:37I think so. You can always have a holiday another day, can't you?
0:39:43 > 0:39:46Take aim, we're just about to fire off Donald's pistol.
0:39:46 > 0:39:49Not literally! But I think the auctioneer will soon!
0:39:49 > 0:39:51And you've bought along Dorothy.
0:39:51 > 0:39:54- My neighbour.- The auctioneer has decided to split the lots.
0:39:54 > 0:39:56We talked about it, didn't we?
0:39:56 > 0:40:00I wasn't 100% sure whether to put them together or split them up.
0:40:00 > 0:40:03Perhaps, 150 to 200 on them.
0:40:03 > 0:40:08It still adds up to James' original valuation of 260-odd pounds. Fingers crossed.
0:40:08 > 0:40:1019th century pistol, percussion cap,
0:40:10 > 0:40:14with a swivel breach, over and under barrels, marked "Pinches, London".
0:40:14 > 0:40:18- Commission bid starting me here at £150.- Yes! yes, yes, yes.
0:40:18 > 0:40:22160. 170. 180. 190. 200. 210.
0:40:22 > 0:40:25220. 230. 240. 250.
0:40:25 > 0:40:28260. Will be sold at £260.
0:40:28 > 0:40:32Telephone's out. 260. Sold at 260.
0:40:32 > 0:40:35That's excellent. £260.
0:40:35 > 0:40:39Let's see if we can double up on the £30 for this one.
0:40:39 > 0:40:4319th century pistol, percussion cap, plain handle.
0:40:43 > 0:40:45Bids start here at £45. On commission at 45.
0:40:45 > 0:40:4850's in the room, £50.
0:40:48 > 0:40:5155. 60.
0:40:51 > 0:40:54Your turn. 65. 70, you're bidding.
0:40:54 > 0:40:56- Oh, good.- Right at the end £70.
0:40:56 > 0:40:59Selling then, fresh bidder, at £70.
0:40:59 > 0:41:01- That's very good. - That's a good price.
0:41:01 > 0:41:04- Totally different buyer.- Absolutely.
0:41:04 > 0:41:05One more to go.
0:41:05 > 0:41:07260 is 19th century shot flask,
0:41:07 > 0:41:10embossed with stars and a leather shot flask.
0:41:10 > 0:41:13Have to start here at £30.
0:41:13 > 0:41:15- 5, 40 now, £40- . We're hoping for 60.
0:41:15 > 0:41:18With me at £40. Here at £40. I'll take five if you like?
0:41:18 > 0:41:20And away at £40.
0:41:22 > 0:41:24I'm afraid the powder flasks didn't sell
0:41:24 > 0:41:27but that's not going to dampen our spirits, is it?
0:41:27 > 0:41:30We sold the other two lots.
0:41:30 > 0:41:33- Yes.- We got £310.- Yeah.
0:41:33 > 0:41:37- It's quite a bit of money.- Yeah. - What are you going to do with that?
0:41:37 > 0:41:39Treat the neighbours?
0:41:39 > 0:41:42Eventually we'll go and see my son in Australia.
0:41:42 > 0:41:44- Oh, brilliant.- Extra spending money.
0:41:44 > 0:41:47- How long's he been in Australia? - Just seven months.
0:41:47 > 0:41:52- Has he emigrated then?- Yes, he has. - I bet you miss him already. - I do, yeah.- Oh!
0:41:54 > 0:41:56Next up, a decorator's dream,
0:41:56 > 0:41:59and it belongs to Alan here, who's brought along Rose.
0:41:59 > 0:42:03I tell you why it's a decorator's dream because if you've got a space that's slightly awkward
0:42:03 > 0:42:07and you can't fill with anything, put one of these little mannequins in it
0:42:07 > 0:42:11and shove a top hat on it or a scarf around it, and you've created a bit of theatre.
0:42:11 > 0:42:13I tell you what, this will sell,
0:42:13 > 0:42:16especially as you've only put £100 on it, £80-100.
0:42:16 > 0:42:19You're quite right about the decorative feature.
0:42:19 > 0:42:20We haven't put in reserve on it
0:42:20 > 0:42:23- so I hope that we get a decent price for it.- It just looks great.
0:42:23 > 0:42:26It's a charming object. Better then the full-size.
0:42:26 > 0:42:29I think so. You can do more with the child's version.
0:42:29 > 0:42:32Child-size mannequin by Stockman.
0:42:32 > 0:42:35Have to start on commission at £100.
0:42:35 > 0:42:39- Oh.- On commission here at £100. 110. 120. 130 and I'm out.
0:42:39 > 0:42:42- 140. 150.- The telephone bidder.
0:42:42 > 0:42:44160. 170.
0:42:44 > 0:42:47- I told you it would do well on the day, didn't I?- Yes, you did.
0:42:47 > 0:42:50200. And 10. 210 in the room.
0:42:50 > 0:42:55- 210!- At £210...- Yes!
0:42:55 > 0:43:00I honestly thought it wouldn't make your reserve.
0:43:00 > 0:43:02There was no reserve, was there?
0:43:02 > 0:43:05Mark said to me at the valuation day, "Paul, what do you think?"
0:43:05 > 0:43:08And I said, "Decorator's dream." Size, she's beautiful.
0:43:08 > 0:43:11- I had an antiques shop and I'd have paid 150 for that.- Would you?
0:43:11 > 0:43:14- Yes.- There was nothing small about that price, was there?- No, no.
0:43:14 > 0:43:17- Excellent.- Wonderful. - Excellent. Thank you very much.
0:43:19 > 0:43:22It's all over, we've come to the end of the show.
0:43:22 > 0:43:24The auction is just about to end.
0:43:24 > 0:43:26We've had a fantastic day here.
0:43:26 > 0:43:29Wonderful contributors and, as you can see, a superb crowd.
0:43:29 > 0:43:33So, join me next time on Flog It! for many more surprises.
0:43:33 > 0:43:35So, until the next time, it's cheerio.
0:43:42 > 0:43:45Subtitles by Red Bee Media Ltd
0:43:45 > 0:43:48E-mail subtitling@bbc.co.uk