Browse content similar to Northampton. Check below for episodes and series from the same categories and more!
Line | From | To | |
---|---|---|---|
Welcome to the home town of Francis Crick on a rather wet and rainy day. | 0:00:04 | 0:00:07 | |
But that won't dampen your spirits when you walk through a sculpture like that. | 0:00:07 | 0:00:12 | |
And it celebrates his incredible genius. Intrigued? | 0:00:12 | 0:00:15 | |
Well, you should be, so stay tuned and welcome to Flog It! | 0:00:15 | 0:00:19 | |
from Northampton. | 0:00:19 | 0:00:21 | |
Some of the antiques that we'll see today | 0:00:54 | 0:00:56 | |
have been handed down from generation to generation. | 0:00:56 | 0:00:59 | |
But we all possess one priceless inheritance | 0:00:59 | 0:01:02 | |
handed down from our ancestors that we cannot see, | 0:01:02 | 0:01:05 | |
and that is our DNA. | 0:01:05 | 0:01:07 | |
Northampton's very own Francis Crick, along with James Watson, | 0:01:07 | 0:01:11 | |
unlocked the future of genetics by cracking the DNA code. | 0:01:11 | 0:01:16 | |
In 1962, they were jointly awarded the Nobel Prize. | 0:01:16 | 0:01:20 | |
And on this very rainy day in Northampton, | 0:01:24 | 0:01:26 | |
investigating some of these treasures that | 0:01:26 | 0:01:29 | |
have been handed down to you, are our very own prize experts here | 0:01:29 | 0:01:32 | |
Mark Stacey and James Lewis. | 0:01:32 | 0:01:34 | |
Looks like you've both been Tangoed by Blackfriars! | 0:01:34 | 0:01:37 | |
We're at the Guildhall, and the owners of some of the treasures that you can see | 0:01:40 | 0:01:44 | |
in the queue behind me are getting rather excited. | 0:01:44 | 0:01:47 | |
Wondering who is going to be first at the blue Flog It! tablecloth. | 0:01:47 | 0:01:50 | |
Well, let's go inside and find out. | 0:01:50 | 0:01:52 | |
Annie, it just would not be Flog It! without a bit of Moorcroft. | 0:01:56 | 0:02:00 | |
You've saved the day and brought a bit along. | 0:02:00 | 0:02:03 | |
-Is this a family piece? -No. It's not. | 0:02:03 | 0:02:07 | |
My brother used to do odd jobs for an elderly couple, | 0:02:07 | 0:02:10 | |
look after the house while they were on holiday, | 0:02:10 | 0:02:13 | |
-and they were throwing two vases away. -Throwing them away?! | 0:02:13 | 0:02:16 | |
Yes, and he gave them to me, and the first one, I did like. | 0:02:16 | 0:02:20 | |
This one, I've never liked. | 0:02:20 | 0:02:22 | |
It was used as a door stop. It's had the odd flowers in. | 0:02:22 | 0:02:26 | |
-You used it as a doorstop? -Yes. -Oh, my goodness. | 0:02:26 | 0:02:30 | |
In this day and age, if you watch Flog It! | 0:02:30 | 0:02:33 | |
or Bargain Hunt or any of the other antiques programmes, | 0:02:33 | 0:02:36 | |
you must know what a bit of Moorcroft looks like. | 0:02:36 | 0:02:39 | |
I do now, yes. It is only down to Flog It! | 0:02:39 | 0:02:41 | |
I realised it was a Moorcroft. | 0:02:41 | 0:02:43 | |
I have had it for about 15, 20 years. | 0:02:43 | 0:02:48 | |
OK, well, this is a classic piece of Moorcroft. | 0:02:48 | 0:02:51 | |
It is one of the most popular designs. | 0:02:51 | 0:02:53 | |
It is the hibiscus pattern. | 0:02:53 | 0:02:54 | |
And this was produced from the 1930s onwards. | 0:02:54 | 0:02:57 | |
It came in different coloured variations. | 0:02:57 | 0:03:01 | |
You had the orange flowers on the green background, which was done later. | 0:03:01 | 0:03:05 | |
This is a much nicer colour variation. | 0:03:05 | 0:03:07 | |
Quite subtle reds and pinks on a pale blue ground. Much, much nicer. | 0:03:07 | 0:03:11 | |
And it has got a good shape, as well. | 0:03:11 | 0:03:13 | |
The ovoid shape. | 0:03:13 | 0:03:14 | |
And that's classic 1930s. Is it something you treasure today? | 0:03:14 | 0:03:18 | |
-No! -Obviously not, because you want to flog it. | 0:03:18 | 0:03:21 | |
The shape's and the colours are not too bad, | 0:03:21 | 0:03:24 | |
but it's just not my cup of tea. | 0:03:24 | 0:03:25 | |
It's just I don't like...Moorcroft. | 0:03:25 | 0:03:27 | |
It's a classic piece. | 0:03:27 | 0:03:29 | |
It's tube lined, a bit like icing a cake. | 0:03:29 | 0:03:32 | |
So you pipe this decoration on. | 0:03:32 | 0:03:34 | |
That is the little raised ribs on the outside. | 0:03:34 | 0:03:37 | |
And you fill the colours in. | 0:03:37 | 0:03:39 | |
It's a classic, typical 1930s way of decorating. | 0:03:39 | 0:03:43 | |
If we turn it over, we have seen this many times as well, the Moorcroft mark. | 0:03:43 | 0:03:49 | |
That would have had a paper label that would have been | 0:03:49 | 0:03:51 | |
the original paper label when the vase was made. | 0:03:51 | 0:03:55 | |
-I took the label off. -Oh, no! | 0:03:55 | 0:03:56 | |
When I was washing it. | 0:03:56 | 0:03:58 | |
And this WM is for William Moorcroft. | 0:03:58 | 0:04:01 | |
That's his signature in green. | 0:04:01 | 0:04:03 | |
So there we are, a good vase. What's it worth? | 0:04:03 | 0:04:07 | |
I honestly haven't a clue. | 0:04:07 | 0:04:10 | |
Would you sell it for £30? | 0:04:10 | 0:04:11 | |
-Well, a year ago, I would have given it away! -Yes? | 0:04:11 | 0:04:15 | |
It'll make more than that. | 0:04:15 | 0:04:17 | |
-I reckon it is going to make between £80 and £120. -Really?! | 0:04:17 | 0:04:20 | |
Yeah. Auctioneers' favourite estimate, but I think that is what it's worth. | 0:04:20 | 0:04:24 | |
Oh, blimey! | 0:04:24 | 0:04:26 | |
-Is that all right for you? -Yeah! | 0:04:26 | 0:04:28 | |
Let's put a reserve of £80 on it. | 0:04:28 | 0:04:29 | |
£80 firm, so there is no discretion. | 0:04:29 | 0:04:32 | |
If it doesn't make 80, take it home and try another day. | 0:04:32 | 0:04:34 | |
Yes, fine. That is lovely. | 0:04:34 | 0:04:37 | |
-I hope somebody enjoys it. -We'll take it along and see how we do. | 0:04:37 | 0:04:40 | |
-Hi, Linda. How are you? -I'm fine, thank you. | 0:04:44 | 0:04:47 | |
Now, you have brought a wily little fox in to show us today. | 0:04:47 | 0:04:50 | |
-I have, indeed. -Tell us about the history. | 0:04:50 | 0:04:53 | |
I have had it around about nine months. | 0:04:53 | 0:04:56 | |
I bought it at a small antiques fair, locally. | 0:04:56 | 0:05:00 | |
I bought it because I liked the red glaze. I like flambe glazes. | 0:05:00 | 0:05:03 | |
And I liked the shape of it. | 0:05:03 | 0:05:06 | |
It's quite nicely modelled. It is quite stylised, really. | 0:05:06 | 0:05:10 | |
It is a stylised pose. | 0:05:10 | 0:05:12 | |
Whereas a lot of foxes are depicted either sitting or standing. | 0:05:12 | 0:05:16 | |
This is really crouching and stalking something, isn't it? | 0:05:16 | 0:05:19 | |
-Yes. -So it has got quite a fierce look to it, particularly with that bright, raw red flambe glaze. | 0:05:19 | 0:05:26 | |
It is quite effectively done. | 0:05:26 | 0:05:28 | |
This is made by Royal Doulton. | 0:05:28 | 0:05:31 | |
And underneath, we have got a full set of marks for Royal Doulton. | 0:05:31 | 0:05:34 | |
The signature of Noke, which stands for Charles Noke. | 0:05:34 | 0:05:37 | |
He designed a lot of pieces in the 1920s and '30s for Doulton. | 0:05:37 | 0:05:44 | |
And we have also got at the end of the toe an impressed number, 298. | 0:05:44 | 0:05:48 | |
-Yes. -So all in all, a very nice piece. | 0:05:48 | 0:05:51 | |
The mark is very faint there. | 0:05:51 | 0:05:53 | |
We have got the standard mark of a lion above a crown in a circle with the word flambe. | 0:05:53 | 0:05:59 | |
And that was used, I think, between 1902 and about 1934. | 0:05:59 | 0:06:04 | |
-Oh, so it is earlier than I thought it might be. -Yes. | 0:06:04 | 0:06:06 | |
You do have to be slightly careful with flambe, actually, | 0:06:06 | 0:06:10 | |
because it was originally brought out in the 1930s. | 0:06:10 | 0:06:13 | |
But then was brought back again in the 1960s. So you have to be careful about that. | 0:06:13 | 0:06:20 | |
-Yes. -But all in all, it is quite a nice figure. | 0:06:20 | 0:06:23 | |
I think we should try it at maybe 100 to 150. | 0:06:23 | 0:06:27 | |
-Right. -With a 100 discretionary reserve, so we'll give the auctioneer 10%. | 0:06:27 | 0:06:31 | |
So, we can sell it for 90 or so. | 0:06:31 | 0:06:33 | |
-Yes. -Are you be happy with that? | 0:06:33 | 0:06:35 | |
Yes, I'd be fine with that, as long as it's got a reserve on, that would be fine. Perfect. | 0:06:35 | 0:06:40 | |
Are you prone to breaking them? | 0:06:40 | 0:06:42 | |
Absolutely. I've not got a good record. | 0:06:42 | 0:06:45 | |
We don't want that bushy tail breaking off, do we? | 0:06:45 | 0:06:48 | |
-Certainly not. -Or the ear chipped. | 0:06:48 | 0:06:50 | |
-The ears are particularly vulnerable, I think. -They are very vulnerable. | 0:06:50 | 0:06:54 | |
Thank you very much, and I look forward so seeing you | 0:06:54 | 0:06:57 | |
at the auction, let's hope we get a good price. | 0:06:57 | 0:06:59 | |
Lynn and Chris, good to see you, and thank you for bringing some | 0:07:04 | 0:07:07 | |
furniture in, we love to see furniture on the show. | 0:07:07 | 0:07:10 | |
We don't get a lot of it. How long have you had the Davenport? | 0:07:10 | 0:07:13 | |
I have had it probably about five, six years now. | 0:07:13 | 0:07:17 | |
-Did you inherit this? -It was my grandmother's, and I think it was her mother's. | 0:07:17 | 0:07:22 | |
Oh, lovely. | 0:07:22 | 0:07:23 | |
I think it's been in the family probably somewhere about 100 years. | 0:07:23 | 0:07:27 | |
Are you feeling guilty now you want to flog it? | 0:07:27 | 0:07:29 | |
No, we can't do it justice where it's sat. | 0:07:29 | 0:07:32 | |
-Where's it been in the house? -It is sat in the conservatory. | 0:07:32 | 0:07:36 | |
That's not good. | 0:07:36 | 0:07:37 | |
We've kept it covered to stop the sun from getting on it. | 0:07:37 | 0:07:40 | |
Well, good for you. | 0:07:40 | 0:07:41 | |
It's out of harm's way. | 0:07:41 | 0:07:43 | |
We have seen these in oak and mahogany, | 0:07:43 | 0:07:46 | |
but walnut is the most expensive and the most decorative wood, | 0:07:46 | 0:07:49 | |
so it has got a bit going for it, anyway. | 0:07:49 | 0:07:51 | |
Captain Davenport, a sea captain, commissioned Gillow, | 0:07:51 | 0:07:55 | |
a very famous furniture maker, | 0:07:55 | 0:07:56 | |
to make him a portable writing desk with a slope | 0:07:56 | 0:07:59 | |
that he could take on board and off board ship with him. | 0:07:59 | 0:08:03 | |
Gillow's was so impressed with his drawings that they carried | 0:08:03 | 0:08:07 | |
on making them, and as a tribute to him, they called them Davenport. | 0:08:07 | 0:08:12 | |
That was the birth of the Davenport, 1790. | 0:08:12 | 0:08:14 | |
This particular model is late Victorian. | 0:08:14 | 0:08:17 | |
We are looking at 1880, somewhere around there. | 0:08:17 | 0:08:20 | |
Here we have got the faux drawers and they don't open. | 0:08:20 | 0:08:23 | |
But this side, | 0:08:23 | 0:08:26 | |
you can see they do. And that is very, very handy. | 0:08:26 | 0:08:29 | |
And they are all beautifully made as well, all dovetailed and lap-jointed. | 0:08:29 | 0:08:33 | |
I like that. That is a little drawer stop. | 0:08:33 | 0:08:35 | |
That tells you when the drawer has reached the back. | 0:08:35 | 0:08:38 | |
So it finishes flush at the front. | 0:08:38 | 0:08:42 | |
The keys have gone walkabout over the years. | 0:08:44 | 0:08:48 | |
Yes, and there is a bit of damage to the veneer. | 0:08:48 | 0:08:50 | |
It is good quality veneering. | 0:08:50 | 0:08:52 | |
Moroccan tooled leather, I am a big fan of black rather than... | 0:08:52 | 0:08:56 | |
That is why, years ago, I actually took a liking to it | 0:08:56 | 0:08:59 | |
when I was younger and that was the bit that set me off. | 0:08:59 | 0:09:02 | |
I like the black more than the reds and the greens. | 0:09:02 | 0:09:06 | |
So, let's have a look inside. | 0:09:06 | 0:09:08 | |
Another veneer finish inside, which is quite nice, birdseye maple. | 0:09:08 | 0:09:11 | |
It lightens up the whole thing. | 0:09:11 | 0:09:13 | |
Pigeonhole sections there for stationery, a couple of little drawers. | 0:09:13 | 0:09:19 | |
It's really quite cute, actually, isn't it? | 0:09:19 | 0:09:22 | |
I love that you haven't polished it. | 0:09:22 | 0:09:24 | |
-We haven't touched it. -No. This will take a polish, and this will glow. | 0:09:24 | 0:09:29 | |
-I thought it might, but I wasn't sure. -This will really glow. | 0:09:29 | 0:09:32 | |
Wonderful golden variegated hues will just burst out of this. | 0:09:32 | 0:09:37 | |
Brown furniture has dipped quite a bit. | 0:09:37 | 0:09:40 | |
And I would like to call my valuation 3 - 5. | 0:09:40 | 0:09:43 | |
But I'm pretty sure it'll make that £400 mark. | 0:09:43 | 0:09:45 | |
-Are you happy with £300-500? -Yes. | 0:09:45 | 0:09:49 | |
A fixed reserve. | 0:09:49 | 0:09:51 | |
It is not going to sell for anything less than 300. | 0:09:51 | 0:09:54 | |
-Is that all right? -That's fine. | 0:09:54 | 0:09:56 | |
Stephen, what fantastic fun. | 0:10:00 | 0:10:02 | |
We have taken a real step back into Georgian England here | 0:10:02 | 0:10:06 | |
with political and royal caricatures of the period. | 0:10:06 | 0:10:10 | |
These are all dating to the late 18th and early 19th century. | 0:10:10 | 0:10:16 | |
And we've got some really fantastic and famous names here. | 0:10:16 | 0:10:20 | |
They are collected widely, and there is a great market for them in the States. | 0:10:20 | 0:10:25 | |
And there are also very good collectors for them here in the UK. | 0:10:25 | 0:10:28 | |
Each individual one takes a little bit of time. | 0:10:28 | 0:10:31 | |
If you're not a specialist, it takes time to do some research. | 0:10:31 | 0:10:34 | |
And today here in Northampton, we are not going to have the right time to do it properly. | 0:10:34 | 0:10:39 | |
So before we go down the line of value, I can tell you now, | 0:10:39 | 0:10:42 | |
I am not going to put a figure on these. | 0:10:42 | 0:10:45 | |
Because I want to do the research properly. | 0:10:45 | 0:10:48 | |
For example, here, we have got this chap hanging. | 0:10:48 | 0:10:51 | |
It is wonderful, the sentiment. | 0:10:51 | 0:10:53 | |
People obviously don't like this chap. | 0:10:53 | 0:10:56 | |
We have got a little voice bubble coming up from here, | 0:10:56 | 0:10:59 | |
"May our heaven-born minister be supported from above." | 0:10:59 | 0:11:02 | |
What a wonderful bit of fun that is. | 0:11:02 | 0:11:05 | |
Not for him, obviously. | 0:11:05 | 0:11:07 | |
This is dated at the bottom here. | 0:11:07 | 0:11:09 | |
1797, so we are in late 18th century England. | 0:11:09 | 0:11:14 | |
That's probably going to be William Pitt the Younger. | 0:11:14 | 0:11:16 | |
Because he is the main political character of the time, he's looking | 0:11:16 | 0:11:23 | |
young and unpopular, which he was at this period of time. | 0:11:23 | 0:11:26 | |
Then we've got others. | 0:11:26 | 0:11:28 | |
We've got here, | 0:11:28 | 0:11:31 | |
a cartoon by one of the most famous people of the time, and that's George Cruikshank. | 0:11:31 | 0:11:37 | |
Now, George Cruikshank took over as being the most popular character in about 1811. | 0:11:37 | 0:11:42 | |
This one is obviously something to do with the English and the Irish. | 0:11:42 | 0:11:46 | |
We have got the Irishman here saying shillelaghs, but also offering his shoes to the French. | 0:11:46 | 0:11:51 | |
Offering anything to the French in the 18th century, | 0:11:51 | 0:11:54 | |
later 18th, early 19th century, wasn't greatly popular. | 0:11:54 | 0:11:57 | |
Now, having waffled on and told you very little about values, | 0:11:57 | 0:12:01 | |
tell me how you've come to have them. | 0:12:01 | 0:12:04 | |
Well, I picked them up at a car boot sale, a local car boot sale. | 0:12:04 | 0:12:07 | |
Fantastic! | 0:12:07 | 0:12:09 | |
In the summertime, for £10. | 0:12:09 | 0:12:12 | |
I had actually been there for about three hours, | 0:12:12 | 0:12:15 | |
and it was about quarter past one, and I happened to see the folder. | 0:12:15 | 0:12:18 | |
It's incredible, isn't it. | 0:12:18 | 0:12:20 | |
It does just show you that bargains can still be had. | 0:12:20 | 0:12:23 | |
When it comes to these caricatures, they vary in value. | 0:12:23 | 0:12:26 | |
Some like this that have been torn and ripped and stuck down, will be worth relatively little. | 0:12:26 | 0:12:32 | |
So, value. I'm going to, as I say, avoid the subject. | 0:12:32 | 0:12:36 | |
Because they can be worth as little as £5, and as much as £5,000. | 0:12:36 | 0:12:40 | |
Now, there is nothing here worth £5,000. | 0:12:40 | 0:12:44 | |
There is nothing of huge value. | 0:12:44 | 0:12:46 | |
I will take them away do some research, and between us, we will come up with | 0:12:46 | 0:12:51 | |
a valuation for you and organise a reserve. | 0:12:51 | 0:12:54 | |
-Is that all right? -Yeah, that's great. | 0:12:54 | 0:12:56 | |
-Keep hunting at the car boots, you've got a good eye. -I certainly will! | 0:12:56 | 0:13:00 | |
Let's see what's going to auction. | 0:13:00 | 0:13:02 | |
Of the kitchen floor and into the saleroom, Anne's Moorcroft vase. | 0:13:02 | 0:13:06 | |
I'm amazed there's not more damage to it. | 0:13:06 | 0:13:09 | |
Linda's little glazed fox caught Mark's eye, and he has high hopes for it at the auction. | 0:13:09 | 0:13:14 | |
How nice to have a piece of furniture on Flog It!, especially a Davenport desk. | 0:13:14 | 0:13:18 | |
Let's hope that bidders fall in love with it. | 0:13:18 | 0:13:21 | |
And James eventually decided on a value for Stephen's interesting caricatures. | 0:13:21 | 0:13:25 | |
And they are off to auction with a fixed reserve of £200. | 0:13:25 | 0:13:29 | |
We are selling all our family heirlooms | 0:13:34 | 0:13:36 | |
at Gilding's Auction Rooms in Market Harborough in rural Leicestershire. | 0:13:36 | 0:13:40 | |
And on the rostrum is Mark Gilding, so let's go inside the sale room and find him. | 0:13:40 | 0:13:44 | |
Now, this is a useful piece of kit. | 0:13:49 | 0:13:51 | |
It belongs to Chris and Lynn. It has been in their family for around about 100 years. | 0:13:51 | 0:13:55 | |
They are now selling it, so I have put a valuation of £300-500 on it. | 0:13:55 | 0:14:00 | |
It has got everything going for it, and I think it is like a tiny little mobile office. | 0:14:00 | 0:14:05 | |
-If you live in a small flat, this is ideal. -Absolutely. | 0:14:05 | 0:14:08 | |
Very useful bits of furniture, very interesting design, as well. | 0:14:08 | 0:14:11 | |
In walnut, which is nice. | 0:14:11 | 0:14:14 | |
Any interest? | 0:14:14 | 0:14:16 | |
Yes, there has been some interest. | 0:14:16 | 0:14:18 | |
The condition isn't great. There are a few bits of a veneer, | 0:14:18 | 0:14:22 | |
and some bits inside that need working on. | 0:14:22 | 0:14:24 | |
-But it should sell within estimate. -Three to five is a good price? -Yes. | 0:14:24 | 0:14:28 | |
Well, you have now heard everybody's opinion, so I think it is about time we started to flog something. | 0:14:28 | 0:14:34 | |
Good to see you again. Who have you brought? | 0:14:38 | 0:14:40 | |
-James, my husband. -Hi, hello there. | 0:14:40 | 0:14:42 | |
You don't like Moorcroft. | 0:14:42 | 0:14:44 | |
-No. -You've been using it as a doorstop? | 0:14:44 | 0:14:46 | |
-That's right. -We've heard some odd things on our time in Flog it! | 0:14:46 | 0:14:49 | |
but I think Moorcroft for a door stop is the first! Well look, good luck. | 0:14:49 | 0:14:53 | |
I think it's here to sell. We've got a full house. | 0:14:53 | 0:14:56 | |
Moorcroft is a cracking name. | 0:14:56 | 0:14:58 | |
-And there are lots of other pieces of Moorcroft in this -sale. | 0:14:58 | 0:15:02 | |
If it doesn't sell, it's my fault! | 0:15:02 | 0:15:04 | |
-I hope so! -It's going under the hammer. | 0:15:06 | 0:15:08 | |
Good luck, both of you. | 0:15:08 | 0:15:09 | |
Lot number 20. A Moorcroft pottery ovoid vase. | 0:15:09 | 0:15:13 | |
Commissions start here at £85. | 0:15:13 | 0:15:14 | |
On commission. 85 I'm bid. | 0:15:14 | 0:15:16 | |
At 85 here. At 85. At £85. 95. | 0:15:16 | 0:15:19 | |
You are both out. 100. 10. | 0:15:19 | 0:15:21 | |
120. 30. 140. 150, if you like. | 0:15:21 | 0:15:24 | |
Anyone else at 140? 140, it will be sold. At £140. | 0:15:24 | 0:15:29 | |
-It's a good result. -Brilliant. | 0:15:29 | 0:15:32 | |
We head 80 - 120 on that, you've got to be pleased with that. | 0:15:32 | 0:15:35 | |
It's really good. | 0:15:35 | 0:15:36 | |
£140. And that was going in the skip, wasn't it? | 0:15:36 | 0:15:39 | |
A friend gave it to you. | 0:15:39 | 0:15:41 | |
What do you prop the door open with now? | 0:15:41 | 0:15:43 | |
We'll have to find something else now! | 0:15:43 | 0:15:45 | |
Now, remember that flambe - that lovely red fox? | 0:15:50 | 0:15:52 | |
We've got that little critter, but we don't have Lynda. | 0:15:52 | 0:15:56 | |
-She can't make it today. -Oh, what a shame. | 0:15:56 | 0:15:58 | |
-But we have Mark! -I'll have to make up for her! | 0:15:58 | 0:16:00 | |
-I tell you what, we are in hunting territory here. -We are. | 0:16:00 | 0:16:03 | |
We are surrounded by... | 0:16:03 | 0:16:05 | |
Hunting and horse-y things. | 0:16:05 | 0:16:08 | |
-Should this do well, this little red fox? -It should. | 0:16:08 | 0:16:10 | |
Flambe is an interesting market. | 0:16:10 | 0:16:13 | |
It's by Noke, of course, and it's a lovely little model. | 0:16:13 | 0:16:16 | |
I think it's captured that sort of fox mid-run. | 0:16:16 | 0:16:20 | |
-The tail is out, the face is there... -It's alert. | 0:16:20 | 0:16:23 | |
And the colour really matches that mood, I think. So, fingers crossed. | 0:16:23 | 0:16:27 | |
320, then. It's a Royal Doulton flambe model of a fox. | 0:16:27 | 0:16:30 | |
Signed as Noke. Commission bids start at £100. | 0:16:30 | 0:16:32 | |
-We're in at 100. -110. | 0:16:32 | 0:16:34 | |
120. 130. 140. 150. 155, on commission. 160, | 0:16:34 | 0:16:39 | |
and I'm out. | 0:16:39 | 0:16:40 | |
Oh, 160 - perfect. | 0:16:40 | 0:16:41 | |
£160. | 0:16:41 | 0:16:43 | |
£160! She will be so excited. | 0:16:43 | 0:16:48 | |
Get her on the phone. | 0:16:48 | 0:16:50 | |
I've been joined by Lynn and Chris. And it's my turn to be the expert. | 0:16:53 | 0:16:57 | |
We've got that fantastic Davenport desk. | 0:16:57 | 0:17:00 | |
What's going through your mind? "Oh, I'm not sure. Will it sell?" | 0:17:00 | 0:17:04 | |
I think it will, you know. I had a chat to the auctioneer. | 0:17:04 | 0:17:07 | |
Three to five - sensible money on that. | 0:17:07 | 0:17:09 | |
That's a come and buy me at 300. Its quality brown - that's walnut. | 0:17:09 | 0:17:13 | |
That's not the run-of-the-mill Edwardian mahogany. | 0:17:13 | 0:17:16 | |
-So... -Wait and see.. | 0:17:16 | 0:17:18 | |
-It's going to sell! The auctioneer thinks so. -Does he? | 0:17:18 | 0:17:21 | |
Yeah. That's just winding you up! But how much for? | 0:17:21 | 0:17:24 | |
Well, we're going to find out. | 0:17:24 | 0:17:26 | |
Nice little Davenport there. Some bits. Start me here at £250. | 0:17:26 | 0:17:30 | |
250 I'm bid. 250, you are all out? | 0:17:30 | 0:17:32 | |
£250. 250. 260. 270. 280. 290. | 0:17:32 | 0:17:36 | |
£300. At £300. £300 bid. At £300. 300 now. In the room at £300. | 0:17:36 | 0:17:39 | |
300 with the lady. 300, and selling now | 0:17:39 | 0:17:43 | |
at £300. | 0:17:43 | 0:17:44 | |
It went. They weren't fighting over it. | 0:17:44 | 0:17:50 | |
Right on the reserve. | 0:17:50 | 0:17:51 | |
Well, it's gone. | 0:17:51 | 0:17:52 | |
We said three to five. We're going to stick to our guns. | 0:17:52 | 0:17:55 | |
-We're happy we got rid of it! -You got rid of it. | 0:17:55 | 0:17:58 | |
We've got a car boot sale lot here which is valued at what, £10? | 0:18:03 | 0:18:07 | |
You got it for 10 quid. | 0:18:07 | 0:18:08 | |
It's good to see you. You brought along a mate with you? | 0:18:08 | 0:18:11 | |
My friend David. | 0:18:11 | 0:18:12 | |
Hi, David. It's so good to see young guys interested in antiques. | 0:18:12 | 0:18:16 | |
It's about getting in the game at a young age and learning and knowledge. | 0:18:16 | 0:18:20 | |
Because there is money to be made, as we're going to prove right now. | 0:18:20 | 0:18:23 | |
Because James, you put £200 - £300 on this folio of caricatures. | 0:18:23 | 0:18:27 | |
Not many people would buy them, but I think they are great. | 0:18:27 | 0:18:30 | |
I really do. Good for you for picking them up. | 0:18:30 | 0:18:34 | |
It's one of the most difficult things I've valued on Flog It! | 0:18:34 | 0:18:37 | |
And really, one or two of these are worth 1,000 individually | 0:18:37 | 0:18:41 | |
if they had been crisp, perfect, with the margins. | 0:18:41 | 0:18:45 | |
But there are sections missing. They are faded, they are cut. | 0:18:45 | 0:18:48 | |
So, fingers crossed. | 0:18:48 | 0:18:50 | |
I don't care - if they go wildly over my estimate, I'm pleased. | 0:18:50 | 0:18:54 | |
I'll be more pleased to be wrong. | 0:18:54 | 0:18:56 | |
-I hope they do sell. -Good. We find out right now. | 0:18:56 | 0:18:59 | |
-Good luck, guys. -A collection of 18th and 19th century caricatures. | 0:18:59 | 0:19:03 | |
Bids start with me here, I'll say £130. | 0:19:03 | 0:19:07 | |
130 I'm bid. 140. | 0:19:07 | 0:19:08 | |
-150. 160. 170. -That's good. There's interest in the room. | 0:19:08 | 0:19:12 | |
200. 210. 220. | 0:19:12 | 0:19:14 | |
-Come on, keep going! -230. 240. | 0:19:14 | 0:19:16 | |
250. | 0:19:16 | 0:19:20 | |
260. 270. | 0:19:20 | 0:19:24 | |
280. | 0:19:24 | 0:19:26 | |
290. | 0:19:26 | 0:19:27 | |
-300. -Come on! | 0:19:29 | 0:19:31 | |
This is good news Stephen, isn't it? | 0:19:31 | 0:19:33 | |
320 on the telephone. | 0:19:34 | 0:19:36 | |
£320. 340, back in at 340. | 0:19:36 | 0:19:39 | |
Telephone too, then, at 340. | 0:19:39 | 0:19:41 | |
360 on the telephone. At 360. | 0:19:41 | 0:19:44 | |
360, at 360. Looking round the room again. At 360. | 0:19:44 | 0:19:47 | |
360 and selling at £360. | 0:19:47 | 0:19:50 | |
The hammer's going down. £360. | 0:19:50 | 0:19:54 | |
-Thank you very much. -That's great. | 0:19:54 | 0:19:55 | |
-Brilliant. -Well done. -Brilliant. | 0:19:55 | 0:19:58 | |
What will you put that towards? | 0:19:58 | 0:19:59 | |
Perhaps put it towards a holiday in the summertime. | 0:19:59 | 0:20:04 | |
I think you should buy James a big drink for that! | 0:20:04 | 0:20:07 | |
That's fantastic, I'm very pleased. Well done. | 0:20:07 | 0:20:10 | |
He's done a lot of research to find the buyers for this one. | 0:20:10 | 0:20:13 | |
Stick half of that into car boot money and invest it. | 0:20:13 | 0:20:16 | |
-I will do over the summer time. -Brilliant. Well done. | 0:20:16 | 0:20:20 | |
It's all out there if you to get up early in the morning to find it. | 0:20:20 | 0:20:24 | |
Some great results. We are coming back here later on in the show. | 0:20:25 | 0:20:29 | |
I'm going to take a quick break. | 0:20:29 | 0:20:31 | |
I'm going to go round the corner and find out what used to be | 0:20:31 | 0:20:34 | |
the industrial mainstay of Market Harborough back in the 1800s. | 0:20:34 | 0:20:38 | |
Christian Dior once said, without proper foundations, there can be no fashion. | 0:20:44 | 0:20:49 | |
That red brick building in the heart of Market Harborough - | 0:20:49 | 0:20:52 | |
once housed the market leaders in women's foundation garments. | 0:20:52 | 0:20:57 | |
And they were called R and WH Symingtons. | 0:20:57 | 0:21:00 | |
In 1835, James and Sarah Symington set up a workshop to make corsets | 0:21:02 | 0:21:07 | |
for the wealthy women in the area. | 0:21:07 | 0:21:09 | |
The business grew, particularly with the introduction of the new-fangled sewing machine. | 0:21:09 | 0:21:14 | |
This magnificent staircase is all that remains of the original building. | 0:21:18 | 0:21:23 | |
Now, Philip Warren, who now looks after the Symingtons corset collection, is going to show me | 0:21:23 | 0:21:28 | |
a few examples of what would have run off the production line in the late 19th century. | 0:21:28 | 0:21:33 | |
What an incredible collection! | 0:21:37 | 0:21:39 | |
-Philip, there you are. -Hi. | 0:21:39 | 0:21:41 | |
Thanks so much for putting this together for us today. | 0:21:41 | 0:21:44 | |
They look so splendid! | 0:21:44 | 0:21:46 | |
But my first impressions are - | 0:21:46 | 0:21:48 | |
very tiny! Is that the standard size? | 0:21:48 | 0:21:51 | |
-Well, they do appear tiny, don't they? -Yes! | 0:21:51 | 0:21:53 | |
For the purposes of the displays, we have to actually have them so that | 0:21:53 | 0:21:57 | |
the corsets are closed at the back, so laced up very tightly. | 0:21:57 | 0:22:00 | |
But most women were perfectly sensible about their corset. | 0:22:00 | 0:22:04 | |
They tended to leave them open slightly at the back. | 0:22:04 | 0:22:06 | |
Partly because it gave you air to breathe. | 0:22:06 | 0:22:09 | |
-A bit more breathing space. -A bit more movement, at least! | 0:22:09 | 0:22:11 | |
And I think also, there's a little bit about buying a small size | 0:22:11 | 0:22:15 | |
and then leaving it slightly open at the back, as well. | 0:22:15 | 0:22:17 | |
Just to make you feel a bit better in the morning! | 0:22:17 | 0:22:20 | |
They are incredible. They are beautifully made. | 0:22:20 | 0:22:23 | |
There are amazing. Not just as garments, just as pieces of design, | 0:22:23 | 0:22:27 | |
but also as feats of engineering, because they are very complicated. | 0:22:27 | 0:22:31 | |
Lots of different pattern pieces and, obviously, the way that the boning works | 0:22:31 | 0:22:35 | |
dictates exactly how the finished corset is going to alter and change your body. | 0:22:35 | 0:22:40 | |
And I guess women would take pride in choosing the right corset? | 0:22:40 | 0:22:42 | |
It had to look right. It was a fashion statement | 0:22:42 | 0:22:45 | |
Absolutely. Most people were sensible. | 0:22:45 | 0:22:47 | |
You know, they chose the one that was comfortable. | 0:22:47 | 0:22:49 | |
They chose the one that was obviously going to be beautiful, because, you know, sometimes they were seen. | 0:22:49 | 0:22:55 | |
And you had to be comfortable. | 0:22:55 | 0:22:57 | |
There are lots of stories about people who would over lace their corsets | 0:22:57 | 0:23:00 | |
and that they would pass out or that they'd distort the organs in their body. | 0:23:00 | 0:23:04 | |
But I think most people were actually quite sort of pragmatic about it. | 0:23:04 | 0:23:08 | |
And you couldn't actually get dressed without one. | 0:23:08 | 0:23:11 | |
A dress like this, from the 1890s, | 0:23:11 | 0:23:13 | |
without a corset underneath it, | 0:23:13 | 0:23:15 | |
you couldn't have possibly hoped to achieve the shape that you needed to have. | 0:23:15 | 0:23:21 | |
But these were all corsets that you would buy off the peg. | 0:23:21 | 0:23:24 | |
These different styles all really relate to the different needs of individuals. | 0:23:24 | 0:23:30 | |
This American corset, because the Symington collection | 0:23:30 | 0:23:33 | |
includes different corsets from all over the world. | 0:23:33 | 0:23:36 | |
They were buying in competitors work and we presume, | 0:23:36 | 0:23:38 | |
looking at how they were made and how they could make them cheaply. | 0:23:38 | 0:23:41 | |
-OK. -Nothing changes! | 0:23:41 | 0:23:44 | |
So, this one is actually made... it's supported with preformed steel. | 0:23:44 | 0:23:48 | |
So were the Symingtons making their corsets with whalebone, or were they using steel? | 0:23:48 | 0:23:52 | |
Whalebone I think was the ultimate, | 0:23:52 | 0:23:54 | |
although it was becoming increasingly hard to find and more ,and more expensive. | 0:23:54 | 0:23:59 | |
And they liked it because it had that flexibility and give. | 0:23:59 | 0:24:02 | |
And if you did need to actually launder your corset, which was quite unusual, | 0:24:02 | 0:24:06 | |
then it didn't rust, obviously. | 0:24:06 | 0:24:08 | |
Whereas the steels did. So that was one of the major drawbacks. | 0:24:08 | 0:24:13 | |
There's one hiding behind this. Should I bring this forward? | 0:24:13 | 0:24:16 | |
Now, this looks slightly simpler. | 0:24:16 | 0:24:18 | |
Well, I think it's one of the most fascinating garments that's in the Symington collection. | 0:24:18 | 0:24:23 | |
It's one of their speciality corsets called the "Pretty Housemaid". | 0:24:23 | 0:24:26 | |
And it evolves in the 1890s. | 0:24:26 | 0:24:28 | |
As a direct response, really, to Symingtons recognising | 0:24:28 | 0:24:32 | |
that there's a massive market out there, | 0:24:32 | 0:24:34 | |
which is working class women who want to have, | 0:24:34 | 0:24:37 | |
not just a supporting garment that helps keep their body upright | 0:24:37 | 0:24:41 | |
during incredibly hard and really dull domestic work, | 0:24:41 | 0:24:44 | |
but also, you know, they want to have a fashionable figure as well. | 0:24:44 | 0:24:48 | |
And feel more feminine and sexy? | 0:24:48 | 0:24:50 | |
Absolutely! You know, it's about having a real pride in your appearance, | 0:24:50 | 0:24:55 | |
as well as doing that whole thing which is to support your body. | 0:24:55 | 0:24:58 | |
And instead of just saying to the customer, "Here's our cheapest corset," | 0:24:58 | 0:25:02 | |
they actually engaged with the customer by saying, we've got something specially for you. | 0:25:02 | 0:25:08 | |
We called it the "Pretty Housemaid" corset. | 0:25:08 | 0:25:10 | |
It's got the most beautiful box top. | 0:25:10 | 0:25:12 | |
-Good branding there. -Absolutely! | 0:25:12 | 0:25:15 | |
-And there she is. -Admiring herself in a mirror with a pinny on! | 0:25:15 | 0:25:18 | |
Absolutely! She's just stood at the mirror and now she can see herself in all her glory! | 0:25:18 | 0:25:24 | |
So it wasn't just the wealthy women that wore the corsets. | 0:25:25 | 0:25:28 | |
There was something for everyone. | 0:25:28 | 0:25:30 | |
Hard to believe that some of the wealthy women would have changed up to three times a day, | 0:25:30 | 0:25:35 | |
with different corsets for each outfit. | 0:25:35 | 0:25:37 | |
What a relief it must have been to take them off at the end of the day. | 0:25:37 | 0:25:40 | |
These look incredible. | 0:25:42 | 0:25:44 | |
Obviously, marketing and advertising was quite important. | 0:25:44 | 0:25:47 | |
Absolutely. They were in competition with every other retailer | 0:25:47 | 0:25:51 | |
that would have put their goods into a large store, a department store. | 0:25:51 | 0:25:55 | |
And so it was about capturing the imagination. | 0:25:55 | 0:25:57 | |
-It was about establishing brand loyalty and it was about handing over that hard earned money. -Yes! | 0:25:57 | 0:26:03 | |
A really kind of special moment. | 0:26:03 | 0:26:04 | |
And I think they were as brand conscious and as image conscious as we are today. | 0:26:04 | 0:26:09 | |
I think the advertising was just as sensitive and I think it was certainly just as clever. | 0:26:09 | 0:26:13 | |
They did do one corset where they actually sprayed it with rose water | 0:26:13 | 0:26:18 | |
before it actually went into its box, | 0:26:18 | 0:26:20 | |
so there was that whole different sort of senses that came into play when you were buying it as well. | 0:26:20 | 0:26:25 | |
Not just, did it fit, did it work, but actually, it smelt beautiful too! | 0:26:25 | 0:26:29 | |
That's a nice touch actually, isn't it? These looks likely different, Philip. | 0:26:29 | 0:26:33 | |
Can you talk me through these corsets? | 0:26:33 | 0:26:35 | |
Well, we talked a little bit earlier about each individual woman | 0:26:35 | 0:26:38 | |
requiring something particular from the corset of her choice. | 0:26:38 | 0:26:42 | |
So, these two are sports corsets. | 0:26:42 | 0:26:44 | |
And that was really because at the end of the 1890s, | 0:26:44 | 0:26:48 | |
you've got a whole mass of women who are wealthy enough | 0:26:48 | 0:26:52 | |
to have the leisure time, to start playing active sports. | 0:26:52 | 0:26:56 | |
So you've got the riding hunting, cycling. | 0:26:56 | 0:26:58 | |
So, you can see that these are designed to fit lower underneath the arm. | 0:26:58 | 0:27:02 | |
-They fit higher over the hip. -There's more freedom, isn't there? | 0:27:02 | 0:27:05 | |
More freedom of movement and also, there are elements of change in the front of them as well. | 0:27:05 | 0:27:10 | |
So, you can actually unlace these two sides around the bust. | 0:27:10 | 0:27:13 | |
So, you can actually get a bit more movement in there. | 0:27:13 | 0:27:17 | |
And these have got early elasticated panels inset into various different parts of it. | 0:27:17 | 0:27:22 | |
Unfortunately, the rubber in the elastic has started to degrade and they've gone saggy. | 0:27:22 | 0:27:27 | |
But it would have meant that your diaphragm could actually expand | 0:27:27 | 0:27:31 | |
and you could take deep breaths as you were doing exercise. | 0:27:31 | 0:27:34 | |
So, the average woman would have four or five different types of corset, then? | 0:27:34 | 0:27:38 | |
Absolutely. You know, if you were wealthy enough to have that sort of lifestyle, | 0:27:38 | 0:27:41 | |
then certainly, you would have had a corset for the daytime. | 0:27:41 | 0:27:44 | |
You would have had a corset for the evening, a sports corset, | 0:27:44 | 0:27:48 | |
and obviously, as we know, in the Victorian period | 0:27:48 | 0:27:50 | |
you are looking at women having a large number of children, | 0:27:50 | 0:27:54 | |
you would have had a special corset made for the period that you were pregnant and nursing. | 0:27:54 | 0:27:58 | |
And that's what this next corset over here is. | 0:27:58 | 0:28:03 | |
They are all so tiny! | 0:28:03 | 0:28:05 | |
It seems very strange to us, doesn't it? That idea of wearing a corset when you're pregnant. | 0:28:05 | 0:28:10 | |
But you can see that the design of it, | 0:28:10 | 0:28:12 | |
it has these little elasticated lacing sections here. | 0:28:12 | 0:28:15 | |
Which would allow the corset to open slightly | 0:28:15 | 0:28:19 | |
and to grow as your pregnancy was developing. | 0:28:19 | 0:28:23 | |
And of course, it did support your back. | 0:28:23 | 0:28:25 | |
But it's clever, again, in that it gets women to buy another corset. | 0:28:25 | 0:28:29 | |
Absolutely. | 0:28:29 | 0:28:30 | |
And I think it shows the brilliance of the design and manufacturing skills of the Symington factory. | 0:28:30 | 0:28:35 | |
Well, it's back to the valuation day | 0:28:40 | 0:28:42 | |
and Mark has found something rather intriguing! | 0:28:42 | 0:28:45 | |
-Marion, you have brought in at the most fascinating object today. -Thank you. | 0:28:45 | 0:28:49 | |
But before we have a jolly good look at it, | 0:28:49 | 0:28:52 | |
give us a little bit of the history. | 0:28:52 | 0:28:54 | |
Well, it was found in my mother-in-law's drawer after my father-in-law died. | 0:28:54 | 0:28:59 | |
We were searching through, just sorting things out, | 0:28:59 | 0:29:01 | |
and came across it along with lots of other bits and pieces. | 0:29:01 | 0:29:04 | |
And I didn't think much of it. | 0:29:04 | 0:29:06 | |
I thought, perhaps it's gold, and it's sat in the drawer ever since. | 0:29:06 | 0:29:09 | |
I haven't done anything with it. We opened it up, we know what's inside it. | 0:29:09 | 0:29:13 | |
So, have you ever had it tested to see if its gold? | 0:29:13 | 0:29:16 | |
No, we've never had it tested. | 0:29:16 | 0:29:18 | |
And it's got no marks as far as I can see on it. | 0:29:18 | 0:29:20 | |
No. Well, it's intriguing. | 0:29:20 | 0:29:21 | |
Because when you look at it like this, it looks like a locket. | 0:29:21 | 0:29:25 | |
And indeed, that's what it is. If we look at it here, we can open it up. | 0:29:25 | 0:29:28 | |
We've got a lovely little interior cover as well, | 0:29:28 | 0:29:32 | |
with a little dove of peace engraved on it. | 0:29:32 | 0:29:35 | |
And when you open that up, | 0:29:35 | 0:29:37 | |
there is a tiny little photograph inside it, which is wonderful. | 0:29:37 | 0:29:41 | |
But intriguingly, on the other side, when we open that up, | 0:29:43 | 0:29:47 | |
we've got this lovely little pierced top here for a vinaigrette. | 0:29:47 | 0:29:51 | |
But, of course, two explanations. | 0:29:51 | 0:29:54 | |
One explanation is that when you were walking around | 0:29:54 | 0:29:58 | |
the streets of London 100-200 years ago, the place stank. | 0:29:58 | 0:30:02 | |
So, of course, sometimes it was so obnoxious | 0:30:02 | 0:30:04 | |
that you kept a little bit of smelling salts in there | 0:30:04 | 0:30:07 | |
to keep your pecker up, as it were. | 0:30:07 | 0:30:09 | |
The other explanation, particularly as this is a ladies' one, | 0:30:09 | 0:30:12 | |
is that during the Victorian period they wore those really, really tight corsets. | 0:30:12 | 0:30:17 | |
Oh right, yes. | 0:30:17 | 0:30:19 | |
And people often fainted because it constricted you so much, | 0:30:19 | 0:30:22 | |
so this was a way of bringing you back round, as it were. | 0:30:22 | 0:30:25 | |
And what's very nice about it, | 0:30:25 | 0:30:28 | |
is if we open the vinaigrette up, | 0:30:28 | 0:30:30 | |
we've got this lovely little lock of hair | 0:30:30 | 0:30:33 | |
which I think belongs to the person in the picture. | 0:30:33 | 0:30:37 | |
Well, the unusual part about it is, | 0:30:37 | 0:30:39 | |
we don't know who this person in the photograph is, | 0:30:39 | 0:30:43 | |
or who the lock of hair belonged to. | 0:30:43 | 0:30:45 | |
It's a lovely little intriguing object. | 0:30:45 | 0:30:48 | |
I think it's fair to say that it's had a hard life. | 0:30:48 | 0:30:51 | |
I think it's been well worn, don't you? | 0:30:51 | 0:30:54 | |
It's been well worn. A lot of the pattern is a bit rubbed and it's had some reinforcement on it. | 0:30:54 | 0:30:59 | |
But I've never seen the combination of a love token | 0:30:59 | 0:31:02 | |
in the form of a locket and the little vinaigrette. | 0:31:02 | 0:31:06 | |
I don't think this is the original chain, of course. | 0:31:06 | 0:31:09 | |
-No, no. -But a lovely little object. | 0:31:09 | 0:31:12 | |
-Would it be First World War? -Oh, even earlier than that. -Really? | 0:31:12 | 0:31:15 | |
Certainly this is a Victorian locket. | 0:31:15 | 0:31:18 | |
We could be looking as far back as the Crimean War, I suppose. | 0:31:18 | 0:31:22 | |
-But, of course, coming to harsh practicalities that you've never had it valued before. -No. | 0:31:22 | 0:31:28 | |
But I think I'm going to plump for the auctioneer's cliche. | 0:31:28 | 0:31:31 | |
-Can you guess what it is? -80 to 120! | 0:31:31 | 0:31:34 | |
-You've got it. You've got it. With an 80 reserve. -Yes, definitely. | 0:31:34 | 0:31:38 | |
And then just see where it turns up. Would you be happy with that? | 0:31:38 | 0:31:42 | |
Very happy. As I say, just sits in the drawer, | 0:31:42 | 0:31:44 | |
got no interest in it at all as an object. | 0:31:44 | 0:31:46 | |
Well, let's leave it to a collector, shall we? | 0:31:46 | 0:31:48 | |
I'm sure somebody would enjoy it. | 0:31:48 | 0:31:50 | |
Donald, do you often come out on a Sunday | 0:31:54 | 0:31:56 | |
with a pocket pistol with you? | 0:31:56 | 0:31:58 | |
-Not really. -It's a special Flog It! occasion, is it? -It is, yes. | 0:31:58 | 0:32:02 | |
What we have in front of us here are true antiques. | 0:32:02 | 0:32:06 | |
-These are both what we call percussion pistols. -I see. | 0:32:06 | 0:32:10 | |
And this one is a little box lock | 0:32:10 | 0:32:12 | |
because the lock is in the form of a box. | 0:32:12 | 0:32:16 | |
And we have a detachable barrel that is a rusted solid. | 0:32:16 | 0:32:19 | |
-It is, that's right. -We can't see the proof marks there | 0:32:19 | 0:32:23 | |
but they're likely to be Liege in Belgium. | 0:32:23 | 0:32:27 | |
Most of these little pocket pistols were made around 1840, 1850. | 0:32:27 | 0:32:32 | |
-That's a standard little one with a slab-sided grip that we see a lot of. -Oh, I see. | 0:32:32 | 0:32:37 | |
It's a nice example but lots of them about. | 0:32:37 | 0:32:40 | |
-I see. -This is the one. | 0:32:40 | 0:32:42 | |
-That's one, is it? -Yeah. | 0:32:42 | 0:32:44 | |
If we pull the trigger back like that, | 0:32:44 | 0:32:47 | |
there's a little piece there that you push, | 0:32:47 | 0:32:50 | |
push in, and that's a lock so you can't pull the trigger. | 0:32:50 | 0:32:54 | |
I see. | 0:32:54 | 0:32:55 | |
But this is what we call an Over And Under Pistol, | 0:32:55 | 0:32:58 | |
so you can turn the barrels like that, | 0:32:58 | 0:33:01 | |
so you can prime both barrels. | 0:33:01 | 0:33:03 | |
As soon as you've fired one, you pull it back to half-cock again, | 0:33:03 | 0:33:06 | |
turn it, and you have a second option. | 0:33:06 | 0:33:10 | |
Now, this would have been carried by a gentleman in a waistcoat pocket | 0:33:10 | 0:33:14 | |
or maybe a lady while travelling on a stage coach or something like that. | 0:33:14 | 0:33:18 | |
And they were personal protection pistols rather than something from military issue. | 0:33:18 | 0:33:22 | |
You can see the name "Pinches" - P-I-N-C-H-E-S. | 0:33:22 | 0:33:26 | |
And this manufacturer was working in London, | 0:33:26 | 0:33:30 | |
in Westminster between about 1825 and 1835. | 0:33:30 | 0:33:35 | |
That is the date of this pistol. | 0:33:35 | 0:33:37 | |
-Oh, I see. -Walnut grip and this is chequered so you didn't slip. -I see. | 0:33:37 | 0:33:42 | |
And the nice thing about it - fold away trigger. | 0:33:42 | 0:33:45 | |
Look at that. | 0:33:45 | 0:33:46 | |
Folds completely flush but then you pull the hammer back | 0:33:46 | 0:33:51 | |
one little bit and you can see a little bit there, | 0:33:51 | 0:33:54 | |
all the way and your trigger folds out. Clever, isn't it? | 0:33:54 | 0:33:57 | |
It is clever. | 0:33:57 | 0:33:59 | |
So there we are. That is a little work of art, really. | 0:33:59 | 0:34:03 | |
-That would be quite sought-after. -I see, yeah. | 0:34:03 | 0:34:06 | |
And then we've got two powder flasks here | 0:34:06 | 0:34:08 | |
but we're in trouble with these. | 0:34:08 | 0:34:10 | |
Are we? Oh dear. | 0:34:10 | 0:34:12 | |
-Because this contains gunpowder. -Yeah, black powder. | 0:34:12 | 0:34:16 | |
-And this contains shot. -Lead shot. | 0:34:16 | 0:34:18 | |
Yeah. And what I will always do is hand them over to the local police. | 0:34:18 | 0:34:22 | |
So, I reckon that these two are worth fairly little, | 0:34:22 | 0:34:27 | |
probably about £25-30, something like that. | 0:34:27 | 0:34:31 | |
This one, probably worth again £30, £30-40. | 0:34:31 | 0:34:36 | |
So, we've got about 70 there. | 0:34:36 | 0:34:38 | |
This is a good one. This is worth about 150. | 0:34:38 | 0:34:42 | |
-I see, yeah. -How do you feel? | 0:34:42 | 0:34:44 | |
They've just been lying about for such a long time, | 0:34:44 | 0:34:46 | |
my father had them, grandfather before then. | 0:34:46 | 0:34:49 | |
Really? Where have you had them, lying in a drawer somewhere? | 0:34:49 | 0:34:52 | |
They've just been in the cupboard. | 0:34:52 | 0:34:54 | |
The good thing is, if you've got guns at home, | 0:34:54 | 0:34:56 | |
it is very, very important to make sure you know what you've got | 0:34:56 | 0:35:00 | |
because really they're not things to be lying around in drawers | 0:35:00 | 0:35:03 | |
but this one doesn't need a licence. | 0:35:03 | 0:35:06 | |
-Oh, I see. -It is important that if you do have a hand gun lying around | 0:35:06 | 0:35:09 | |
to get it checked out. But with these, you're fine. | 0:35:09 | 0:35:11 | |
-Hello, Alan. -Hello, Mark. | 0:35:16 | 0:35:18 | |
Now, this is a fascinating item you've brought in to show us, it's really charming, actually. | 0:35:18 | 0:35:22 | |
I know what it is but I've never handled one before. | 0:35:22 | 0:35:25 | |
Tell us about the history, where did you get it from? | 0:35:25 | 0:35:28 | |
-It's from a local Kettering factory that made children's clothes. -Right. | 0:35:28 | 0:35:32 | |
The factory's sadly closed down and now's apartments, | 0:35:32 | 0:35:36 | |
and this is part of the clearance from it. | 0:35:36 | 0:35:38 | |
-Did you work at the factory? -No, no, I had a cousin who worked there. | 0:35:38 | 0:35:42 | |
And they were throwing it out, were they? | 0:35:42 | 0:35:45 | |
-They were just clearing it out, yes. -What a shame. | 0:35:45 | 0:35:47 | |
And what sort of attracted you to it? | 0:35:47 | 0:35:49 | |
I suppose because it is a nice item but, you know... | 0:35:49 | 0:35:55 | |
-What do you do with it? -Exactly. | 0:35:55 | 0:35:57 | |
Now, I like it because if we look at it now straightaway | 0:35:57 | 0:36:01 | |
we've got this nice ebonised wooden base with a tripod base, | 0:36:01 | 0:36:04 | |
the legs are a little bit heavy, but there's some nice turning here. | 0:36:04 | 0:36:08 | |
Nice turning up here. Nice little fill-in for the arms there. | 0:36:08 | 0:36:12 | |
So, I guess looking at the type of work on it we're looking at 1900-1910 as a date. | 0:36:12 | 0:36:18 | |
Then we've got this nice Parisian maker on the front. | 0:36:18 | 0:36:22 | |
I think it's just a charming item. | 0:36:22 | 0:36:24 | |
I think if somebody's collecting dolls | 0:36:24 | 0:36:26 | |
or is interested in collecting period children's clothes, | 0:36:26 | 0:36:30 | |
or something like this, or just as a nice object | 0:36:30 | 0:36:33 | |
as a piece of work of art if you like, | 0:36:33 | 0:36:35 | |
it's nice just sitting in the corner of a room. | 0:36:35 | 0:36:37 | |
I think it's rather charming. | 0:36:37 | 0:36:39 | |
So what have you done with it since you acquired it? | 0:36:39 | 0:36:42 | |
It's been in the attic for many years. So, that's it really. | 0:36:42 | 0:36:45 | |
That's the reason for bringing it. | 0:36:45 | 0:36:47 | |
"It's surplus to requirements" as they say, | 0:36:47 | 0:36:49 | |
like the factory unfortunately. | 0:36:49 | 0:36:50 | |
-Yes. -It's a very difficult thing to value | 0:36:50 | 0:36:53 | |
because it could be something nobody wants at all on the day. | 0:36:53 | 0:36:57 | |
On the other hand, it could be several interested parties who just like it as an aesthetic object. | 0:36:57 | 0:37:03 | |
-Yes. -So I think if we're going to put a value on it, I suppose | 0:37:03 | 0:37:06 | |
-my gut feeling is maybe £80-100, something like that. -Right. | 0:37:06 | 0:37:10 | |
-Are you happy with that? -More than happy, yes. | 0:37:10 | 0:37:13 | |
Wonderful. It's difficult with something like this whether to put a reserve or not. | 0:37:13 | 0:37:17 | |
It depends how much you want it back. | 0:37:17 | 0:37:19 | |
No, I mean I'm happy to run with it with no reserve. | 0:37:19 | 0:37:21 | |
You know there's an inherent risk with that | 0:37:21 | 0:37:24 | |
because if the highest bid on the day is 20 quid, | 0:37:24 | 0:37:27 | |
it'll go for 20 quid. | 0:37:27 | 0:37:28 | |
But it's a bit of fun, isn't it? | 0:37:28 | 0:37:30 | |
So ,I suppose we take a gamble. Dare I ask if we get £80 for it, | 0:37:30 | 0:37:33 | |
would you go out and buy another one? | 0:37:33 | 0:37:35 | |
No. | 0:37:35 | 0:37:37 | |
That's it for the valuation day | 0:37:37 | 0:37:40 | |
but before we go to the auction, let's have a quick recap. | 0:37:40 | 0:37:43 | |
Marion's locket isn't hallmarked | 0:37:45 | 0:37:47 | |
but it's usual but I think it may attract the bidders. | 0:37:47 | 0:37:50 | |
Let's hope Donald's percussion pistols fire up some interest in the sale room. | 0:37:51 | 0:37:57 | |
And well done Alan for rescuing this pretty mannequin | 0:37:57 | 0:38:00 | |
from a lonely life in the attic. | 0:38:00 | 0:38:02 | |
First under the hammer is Marion's locket. | 0:38:02 | 0:38:05 | |
This is quite unusual cos it's a vinaigrette, it's a locket, | 0:38:05 | 0:38:09 | |
not sure if it's gold though. | 0:38:09 | 0:38:11 | |
Well, we couldn't quite tell on the day. | 0:38:11 | 0:38:15 | |
It's a very unusual object, to have the combination of both. | 0:38:15 | 0:38:20 | |
With the locket of hair as well and the photograph. | 0:38:20 | 0:38:22 | |
-Exactly. It's quite an interesting item, who knows what it'll make? -Oh. Fingers crossed. | 0:38:22 | 0:38:27 | |
We're just about find out. Why are you flogging this? | 0:38:27 | 0:38:30 | |
Well, it was found in a drawer | 0:38:30 | 0:38:33 | |
when we sorted out my husband's mother's effects. | 0:38:33 | 0:38:37 | |
Didn't mean anything to us | 0:38:37 | 0:38:38 | |
so we thought we'd come and see what it was worth and have a go. | 0:38:38 | 0:38:42 | |
Hey presto, here we are on Flog It!. Right, let's do our best for you. | 0:38:42 | 0:38:46 | |
Vinaigrette with hinged covers, unmarked. | 0:38:46 | 0:38:48 | |
-I bid here £65. 65. -Come on. | 0:38:48 | 0:38:52 | |
75. 80. And I'm out at £80. | 0:38:52 | 0:38:54 | |
-5. -90. | 0:38:54 | 0:38:56 | |
Come on, we need to double that 60, don't we? | 0:38:56 | 0:38:59 | |
-120. -Yes. -130. 140. | 0:38:59 | 0:39:01 | |
150. 160. | 0:39:01 | 0:39:03 | |
You're right, Mark, it's so unusual. | 0:39:03 | 0:39:06 | |
190. 200. And 10. | 0:39:06 | 0:39:08 | |
-220. -Very keen bidders. | 0:39:08 | 0:39:10 | |
Seated at 220 and selling at £220. | 0:39:10 | 0:39:14 | |
Yes! Fantastic. | 0:39:14 | 0:39:16 | |
-That was quite hair-raising. -It must have been gold. | 0:39:16 | 0:39:19 | |
That was really good. Really, really good. | 0:39:19 | 0:39:22 | |
What are you going to do with the money? | 0:39:22 | 0:39:24 | |
We've got some antique fob watches | 0:39:24 | 0:39:27 | |
and we thought we might get them restored. | 0:39:27 | 0:39:30 | |
So, it's going to pay for the restoration? | 0:39:30 | 0:39:33 | |
I think so. You can always have a holiday another day, can't you? | 0:39:33 | 0:39:37 | |
Take aim, we're just about to fire off Donald's pistol. | 0:39:43 | 0:39:46 | |
Not literally! But I think the auctioneer will soon! | 0:39:46 | 0:39:49 | |
And you've bought along Dorothy. | 0:39:49 | 0:39:51 | |
-My neighbour. -The auctioneer has decided to split the lots. | 0:39:51 | 0:39:54 | |
We talked about it, didn't we? | 0:39:54 | 0:39:56 | |
I wasn't 100% sure whether to put them together or split them up. | 0:39:56 | 0:40:00 | |
Perhaps, 150 to 200 on them. | 0:40:00 | 0:40:03 | |
It still adds up to James' original valuation of 260-odd pounds. Fingers crossed. | 0:40:03 | 0:40:08 | |
19th century pistol, percussion cap, | 0:40:08 | 0:40:10 | |
with a swivel breach, over and under barrels, marked "Pinches, London". | 0:40:10 | 0:40:14 | |
-Commission bid starting me here at £150. -Yes! yes, yes, yes. | 0:40:14 | 0:40:18 | |
160. 170. 180. 190. 200. 210. | 0:40:18 | 0:40:22 | |
220. 230. 240. 250. | 0:40:22 | 0:40:25 | |
260. Will be sold at £260. | 0:40:25 | 0:40:28 | |
Telephone's out. 260. Sold at 260. | 0:40:28 | 0:40:32 | |
That's excellent. £260. | 0:40:32 | 0:40:35 | |
Let's see if we can double up on the £30 for this one. | 0:40:35 | 0:40:39 | |
19th century pistol, percussion cap, plain handle. | 0:40:39 | 0:40:43 | |
Bids start here at £45. On commission at 45. | 0:40:43 | 0:40:45 | |
50's in the room, £50. | 0:40:45 | 0:40:48 | |
55. 60. | 0:40:48 | 0:40:51 | |
Your turn. 65. 70, you're bidding. | 0:40:51 | 0:40:54 | |
-Oh, good. -Right at the end £70. | 0:40:54 | 0:40:56 | |
Selling then, fresh bidder, at £70. | 0:40:56 | 0:40:59 | |
-That's very good. -That's a good price. | 0:40:59 | 0:41:01 | |
-Totally different buyer. -Absolutely. | 0:41:01 | 0:41:04 | |
One more to go. | 0:41:04 | 0:41:05 | |
260 is 19th century shot flask, | 0:41:05 | 0:41:07 | |
embossed with stars and a leather shot flask. | 0:41:07 | 0:41:10 | |
Have to start here at £30. | 0:41:10 | 0:41:13 | |
-5, 40 now, £40 -. We're hoping for 60. | 0:41:13 | 0:41:15 | |
With me at £40. Here at £40. I'll take five if you like? | 0:41:15 | 0:41:18 | |
And away at £40. | 0:41:18 | 0:41:20 | |
I'm afraid the powder flasks didn't sell | 0:41:22 | 0:41:24 | |
but that's not going to dampen our spirits, is it? | 0:41:24 | 0:41:27 | |
We sold the other two lots. | 0:41:27 | 0:41:30 | |
-Yes. -We got £310. -Yeah. | 0:41:30 | 0:41:33 | |
-It's quite a bit of money. -Yeah. -What are you going to do with that? | 0:41:33 | 0:41:37 | |
Treat the neighbours? | 0:41:37 | 0:41:39 | |
Eventually we'll go and see my son in Australia. | 0:41:39 | 0:41:42 | |
-Oh, brilliant. -Extra spending money. | 0:41:42 | 0:41:44 | |
-How long's he been in Australia? -Just seven months. | 0:41:44 | 0:41:47 | |
-Has he emigrated then? -Yes, he has. -I bet you miss him already. -I do, yeah. -Oh! | 0:41:47 | 0:41:52 | |
Next up, a decorator's dream, | 0:41:54 | 0:41:56 | |
and it belongs to Alan here, who's brought along Rose. | 0:41:56 | 0:41:59 | |
I tell you why it's a decorator's dream because if you've got a space that's slightly awkward | 0:41:59 | 0:42:03 | |
and you can't fill with anything, put one of these little mannequins in it | 0:42:03 | 0:42:07 | |
and shove a top hat on it or a scarf around it, and you've created a bit of theatre. | 0:42:07 | 0:42:11 | |
I tell you what, this will sell, | 0:42:11 | 0:42:13 | |
especially as you've only put £100 on it, £80-100. | 0:42:13 | 0:42:16 | |
You're quite right about the decorative feature. | 0:42:16 | 0:42:19 | |
We haven't put in reserve on it | 0:42:19 | 0:42:20 | |
-so I hope that we get a decent price for it. -It just looks great. | 0:42:20 | 0:42:23 | |
It's a charming object. Better then the full-size. | 0:42:23 | 0:42:26 | |
I think so. You can do more with the child's version. | 0:42:26 | 0:42:29 | |
Child-size mannequin by Stockman. | 0:42:29 | 0:42:32 | |
Have to start on commission at £100. | 0:42:32 | 0:42:35 | |
-Oh. -On commission here at £100. 110. 120. 130 and I'm out. | 0:42:35 | 0:42:39 | |
-140. 150. -The telephone bidder. | 0:42:39 | 0:42:42 | |
160. 170. | 0:42:42 | 0:42:44 | |
-I told you it would do well on the day, didn't I? -Yes, you did. | 0:42:44 | 0:42:47 | |
200. And 10. 210 in the room. | 0:42:47 | 0:42:50 | |
-210! -At £210... -Yes! | 0:42:50 | 0:42:55 | |
I honestly thought it wouldn't make your reserve. | 0:42:55 | 0:43:00 | |
There was no reserve, was there? | 0:43:00 | 0:43:02 | |
Mark said to me at the valuation day, "Paul, what do you think?" | 0:43:02 | 0:43:05 | |
And I said, "Decorator's dream." Size, she's beautiful. | 0:43:05 | 0:43:08 | |
-I had an antiques shop and I'd have paid 150 for that. -Would you? | 0:43:08 | 0:43:11 | |
-Yes. -There was nothing small about that price, was there? -No, no. | 0:43:11 | 0:43:14 | |
-Excellent. -Wonderful. -Excellent. Thank you very much. | 0:43:14 | 0:43:17 | |
It's all over, we've come to the end of the show. | 0:43:19 | 0:43:22 | |
The auction is just about to end. | 0:43:22 | 0:43:24 | |
We've had a fantastic day here. | 0:43:24 | 0:43:26 | |
Wonderful contributors and, as you can see, a superb crowd. | 0:43:26 | 0:43:29 | |
So, join me next time on Flog It! for many more surprises. | 0:43:29 | 0:43:33 | |
So, until the next time, it's cheerio. | 0:43:33 | 0:43:35 | |
Subtitles by Red Bee Media Ltd | 0:43:42 | 0:43:45 | |
E-mail [email protected] | 0:43:45 | 0:43:48 |