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I only have to say to you roundabouts and concrete cows | 0:00:08 | 0:00:12 | |
and most of you will know what I'm on about. | 0:00:12 | 0:00:14 | |
Today, Flog It is in Milton Keynes. | 0:00:14 | 0:00:17 | |
Mooo! | 0:00:17 | 0:00:18 | |
It's hotly debated exactly how many roundabouts there are here in Milton Keynes. | 0:00:49 | 0:00:53 | |
Some say there's a mere 300. | 0:00:53 | 0:00:56 | |
Others say it's closer to 1,000. | 0:00:56 | 0:00:59 | |
But whatever way you look at it, you have to look around and see there are loads of them! | 0:00:59 | 0:01:04 | |
As for the concrete cows, | 0:01:04 | 0:01:06 | |
they were a leaving present to Milton Keynes | 0:01:06 | 0:01:09 | |
in 1978 from the American artist Liz Leyh. | 0:01:09 | 0:01:13 | |
For works of art, they've had a rough time. | 0:01:13 | 0:01:16 | |
A couple have been stolen. | 0:01:16 | 0:01:17 | |
Pranksters have painted pyjamas on them, and some have had to be rebuilt | 0:01:17 | 0:01:22 | |
after they were beheaded! | 0:01:22 | 0:01:23 | |
The Mona Lisa didn't have this sort of trouble! | 0:01:23 | 0:01:26 | |
All of these good people have been queuing patiently outside the venue, | 0:01:26 | 0:01:30 | |
the Jurys Inn, in the heart of Milton Keynes. | 0:01:30 | 0:01:33 | |
They're not here to see modern sculpture. | 0:01:33 | 0:01:36 | |
They're here to chew the cud with our antiques experts Anita Manning and Kate Bateman. | 0:01:36 | 0:01:41 | |
It's time to get the doors open | 0:01:41 | 0:01:42 | |
and see what they've got to say. | 0:01:42 | 0:01:44 | |
Everyone, follow me! | 0:01:44 | 0:01:46 | |
Inside we go. | 0:01:46 | 0:01:48 | |
Anita's spotted some plates. But I don't think anybody will be eating off these! | 0:01:56 | 0:02:01 | |
David, Tina, welcome to Flog It. | 0:02:01 | 0:02:04 | |
I'm so happy that you've brought us along these wonderful big plates. | 0:02:04 | 0:02:09 | |
Who do they belong to? | 0:02:09 | 0:02:12 | |
-Me. -All right. Where did you get them, David? | 0:02:12 | 0:02:15 | |
I inherited them from a great aunt. | 0:02:15 | 0:02:17 | |
She lived in Sweden for 40 to 50 years, | 0:02:17 | 0:02:19 | |
having taught English to Swedish schoolchildren | 0:02:19 | 0:02:22 | |
and got the MBE for her services. | 0:02:22 | 0:02:24 | |
-Ah! -So these arrived with me about 11 years ago | 0:02:24 | 0:02:28 | |
in what was a living will. | 0:02:28 | 0:02:30 | |
I imagine they're Swiss/Italian. | 0:02:30 | 0:02:32 | |
Could be from the Zizino region of Switzerland | 0:02:32 | 0:02:35 | |
or northern Italy | 0:02:35 | 0:02:36 | |
or even a bit further south on the Italian Riviera | 0:02:36 | 0:02:40 | |
around Portofino, that area. | 0:02:40 | 0:02:43 | |
-You're very good, David. Are you after my job? -I like the geography of Europe. | 0:02:43 | 0:02:48 | |
-Tina, what did you think of them when they arrived? -I thought they were beautiful. | 0:02:48 | 0:02:53 | |
I still think that. If we had a high enough ceiling | 0:02:53 | 0:02:56 | |
and a big enough room to put them in, then we would keep them. | 0:02:56 | 0:03:01 | |
David, I think you're absolutely right in the geography. | 0:03:01 | 0:03:07 | |
These are Swiss plates. | 0:03:07 | 0:03:10 | |
They're from a Swiss factory. | 0:03:10 | 0:03:12 | |
These would have been the type of items | 0:03:12 | 0:03:15 | |
that would have been bought by people on their Grand Tour. | 0:03:15 | 0:03:18 | |
-Oh, gosh. -They date from the late 1800s to the early 20th century. | 0:03:18 | 0:03:25 | |
They were made over a reasonable period of time. | 0:03:25 | 0:03:28 | |
We have these hand-painted scenes in the centre. | 0:03:29 | 0:03:33 | |
Both different scenes and probably from Switzerland. | 0:03:33 | 0:03:38 | |
We have these high snow-clad mountains, | 0:03:38 | 0:03:42 | |
the beautiful lakes | 0:03:42 | 0:03:44 | |
and we have some little figures in boats. | 0:03:44 | 0:03:47 | |
They are hand-painted. Not signed. | 0:03:47 | 0:03:50 | |
They would have been done by artisans rather than artists. | 0:03:50 | 0:03:54 | |
What I like best about them | 0:03:54 | 0:03:56 | |
is this wonderful border. | 0:03:56 | 0:04:00 | |
With these almost asymmetric bands | 0:04:00 | 0:04:04 | |
of embossed flowers. | 0:04:04 | 0:04:06 | |
They're big, | 0:04:06 | 0:04:08 | |
they're bonny, | 0:04:08 | 0:04:10 | |
they're in good condition. | 0:04:10 | 0:04:11 | |
They were never fine items. They would be made in large quantities | 0:04:11 | 0:04:17 | |
as souvenirs. | 0:04:17 | 0:04:19 | |
-Production-type thing. -Production-type thing, | 0:04:19 | 0:04:22 | |
and they still have more quality | 0:04:22 | 0:04:24 | |
than you would get from production items of today's age. | 0:04:24 | 0:04:30 | |
So I would like to keep the estimate conservative. | 0:04:30 | 0:04:32 | |
-OK. -I would like to put them in | 0:04:32 | 0:04:35 | |
with an estimate of 150 to 250. | 0:04:35 | 0:04:39 | |
-That sounds fine. -I would like to put a firm reserve of 150 on them, | 0:04:39 | 0:04:44 | |
-with no discretion. -Right. | 0:04:44 | 0:04:46 | |
-Now, how do you feel about that? -OK. They're your plates. | 0:04:46 | 0:04:50 | |
-That sounds fine. -Happy? -Yes. -Both of you happy? -Yes! | 0:04:50 | 0:04:54 | |
-Good. Let's go for 'em. Let's flog it. -Thank you. | 0:04:54 | 0:04:58 | |
Next is our new girl, Kate, who's found a glamorous little sparkler. | 0:05:01 | 0:05:06 | |
So, Sadie and Leah, you've brought in this lovely ring. | 0:05:06 | 0:05:10 | |
-What can you tell me about it? -It was my nan's ring. | 0:05:10 | 0:05:12 | |
I just had it in a jewellery box. My little girl, Leah, used to play in the garden with it. | 0:05:12 | 0:05:18 | |
In the garden with it? Just to take it out and pretend it's yours? | 0:05:18 | 0:05:22 | |
Did you ever drop it? | 0:05:22 | 0:05:24 | |
-Lose it? -I dropped it and, um... | 0:05:24 | 0:05:27 | |
-I found it. -In the garden. We had a tub of flowers. -Yeah. | 0:05:27 | 0:05:34 | |
-You are a lucky young lady. So you don't know much about it? -No. -You inherited it. | 0:05:34 | 0:05:40 | |
OK. Well, it's a really nice ring. Art Deco. | 0:05:40 | 0:05:44 | |
Sort of like a dress ring. | 0:05:44 | 0:05:47 | |
It's got lots of diamonds! | 0:05:47 | 0:05:49 | |
Very sparkly, as you can see, and a central oval ruby. | 0:05:49 | 0:05:52 | |
Date-wise it's about 1920s, 1930s. | 0:05:52 | 0:05:55 | |
-Have you ever had it valued? -I took it down to my local jeweller's. | 0:05:55 | 0:06:00 | |
He just gave me a valuation to insure it | 0:06:00 | 0:06:04 | |
between two and three. | 0:06:04 | 0:06:06 | |
But he obviously said | 0:06:06 | 0:06:08 | |
to take it to a proper auctioneer and let them have a look. | 0:06:08 | 0:06:12 | |
-So he wasn't interested in buying it. -No. | 0:06:12 | 0:06:15 | |
Two to three thousand for an insurance valuation is right. | 0:06:15 | 0:06:18 | |
You'd normally insure it at twice the price | 0:06:18 | 0:06:20 | |
-that you'd expect to get at a sale. -Yeah. | 0:06:20 | 0:06:23 | |
-And the problem is not a lot of people are going to be able to wear it. -That's it. | 0:06:23 | 0:06:27 | |
-It's not something you'd pop down to the shops with. -No. | 0:06:27 | 0:06:31 | |
No. Not when I found out it was... I'd assumed it was a dress ring. | 0:06:31 | 0:06:37 | |
I didn't assume it was real diamonds. | 0:06:37 | 0:06:40 | |
It didn't look like that when we first had it. | 0:06:40 | 0:06:43 | |
He cleaned it all up for me. | 0:06:43 | 0:06:45 | |
-OK. So quite surprising to see it shining. -Yes. | 0:06:45 | 0:06:50 | |
That's why you got to play with it! So, | 0:06:50 | 0:06:53 | |
if we were to put it into a sale, | 0:06:53 | 0:06:56 | |
you'd probably expect maybe an estimate of 1,200 to £1,500, something like that. | 0:06:56 | 0:07:01 | |
A reserve somewhere just below that, so £900 as a reserve. | 0:07:01 | 0:07:04 | |
-Is that the sort of figure you'd sell it for? -Yeah, | 0:07:04 | 0:07:07 | |
because it's just sitting in a box. | 0:07:07 | 0:07:10 | |
What would you do with the money? This is your inheritance, if they sell it. | 0:07:10 | 0:07:16 | |
-Don't want to inherit it? Rather get the money? -Yes. | 0:07:16 | 0:07:19 | |
-We'll get another car. -Another car. Fair enough. | 0:07:19 | 0:07:21 | |
-If you're happy, we'll try and get you a new car. We'll flog it. -Lovely. | 0:07:21 | 0:07:25 | |
Cliff, it's great to see a drum on Flog It, | 0:07:32 | 0:07:37 | |
being an ex-drummer. I have a drum kit at home and still love to play, | 0:07:37 | 0:07:40 | |
but wasn't fortunate enough to have a Ringo Starr drum! | 0:07:40 | 0:07:44 | |
-How old were you when you got this? -About nine. | 0:07:44 | 0:07:47 | |
-Mid-'60s. -Mid-'60s. This is definitely '64, '66, somewhere around there. | 0:07:47 | 0:07:52 | |
Did it inspire you to take up drumming? | 0:07:52 | 0:07:54 | |
Afraid not. I was never a Beatles fan. | 0:07:54 | 0:07:57 | |
-Rolling Stones. -Yes. | 0:07:57 | 0:07:59 | |
Either one or the other. The Beatles were the good guys | 0:07:59 | 0:08:02 | |
and the Rolling Stones were the rock'n'roll bad guys, got into trouble. | 0:08:02 | 0:08:06 | |
The only use it really had was me trying to wear out Ringo's face! | 0:08:06 | 0:08:10 | |
I'm pleased you didn't cos this is the original skin. | 0:08:10 | 0:08:13 | |
It's got the Ringo Starr signature with his little face on it, | 0:08:13 | 0:08:16 | |
as you can see. | 0:08:16 | 0:08:18 | |
-These skins are very good, almost like professional skins. -Really? | 0:08:18 | 0:08:24 | |
This is a standard 14-inch snare drum. Although this is made | 0:08:24 | 0:08:27 | |
completely out of plastic, | 0:08:27 | 0:08:30 | |
it is actually modelled on a metal snare drum | 0:08:30 | 0:08:33 | |
which Ringo would have used. This is made by Selco in this country. | 0:08:33 | 0:08:37 | |
Ringo would have used a metal-shelled version, in chrome, | 0:08:37 | 0:08:40 | |
with ten tuning lugs. His drum kit was a Ludwig, an American drum. | 0:08:40 | 0:08:44 | |
Now, what's missing on this | 0:08:44 | 0:08:46 | |
-is a set of snares. -I noticed that. -Wires soldered together on a strap. | 0:08:46 | 0:08:53 | |
There's about 24 of them that run the length of the drum. | 0:08:53 | 0:08:56 | |
They're held on with string which goes into those two holes. | 0:08:56 | 0:09:00 | |
If you do that, it tightens them up | 0:09:00 | 0:09:03 | |
and pulls the snare wires onto the bottom skin | 0:09:03 | 0:09:06 | |
and makes it sound as if it's a marching drum. | 0:09:06 | 0:09:09 | |
Military side drums. It goes... | 0:09:09 | 0:09:11 | |
I wish we had some drum sticks! | 0:09:11 | 0:09:13 | |
Tell you what, we've got some spoons. | 0:09:13 | 0:09:15 | |
I don't know what I can do with spoons, but... | 0:09:15 | 0:09:18 | |
-See? -Very impressive. -You can actually get something out of this | 0:09:24 | 0:09:28 | |
-and I think this is a good starting-off instrument. -It's a bit more than a toy. | 0:09:28 | 0:09:33 | |
It's more than a toy. Now, we've sold Beatles guitars on the show. | 0:09:33 | 0:09:36 | |
I think one achieved around three or four hundred pounds. | 0:09:36 | 0:09:41 | |
-Have you any idea what this is worth? -I was hoping 150 to 200, along those lines. | 0:09:41 | 0:09:45 | |
I could say I think you're bang on! | 0:09:45 | 0:09:48 | |
Pardon the pun! | 0:09:48 | 0:09:50 | |
If this was in mint condition, | 0:09:50 | 0:09:52 | |
if it had the stand and original sticks and those snare wires, | 0:09:52 | 0:09:56 | |
museum condition, you'd be looking for 600 to £700, | 0:09:56 | 0:09:59 | |
-Cos not many have survived. -I can imagine. -They really haven't. | 0:09:59 | 0:10:03 | |
If we put this into auction, we'd put it in with a value of 200 to £400. | 0:10:03 | 0:10:08 | |
A fixed reserve at 200. | 0:10:08 | 0:10:10 | |
-Happy? -Yes, very. Very happy. | 0:10:10 | 0:10:13 | |
I think it's fantastic and a Beatles fan will love this, | 0:10:13 | 0:10:16 | |
especially with Ringo there! | 0:10:16 | 0:10:18 | |
Irene, you've brought in this truncheon. What can you tell me about it? | 0:10:25 | 0:10:30 | |
Just that my mother owned it. | 0:10:30 | 0:10:33 | |
It used to be her uncle's, many years ago. | 0:10:33 | 0:10:36 | |
She just kept it and one day said, "It's something you can have." | 0:10:36 | 0:10:41 | |
-And I thought, "Ooh! Nice!" -You were thrilled to have it | 0:10:41 | 0:10:44 | |
-as a gift. -It was nice. | 0:10:44 | 0:10:47 | |
When you were younger, you never asked questions what it was about. | 0:10:47 | 0:10:52 | |
-Now she's long gone, it would be nice to... -Wish you'd asked. -Yes. | 0:10:52 | 0:10:56 | |
-Was someone in the family a policeman? -Yeah, my mother's uncle. | 0:10:56 | 0:11:00 | |
-OK. And was that fairly locally? -Oh, yes. | 0:11:00 | 0:11:03 | |
-Round Wolverton, which is in Milton Keynes. -OK. | 0:11:03 | 0:11:07 | |
It's a late 19th-century policeman's truncheon. | 0:11:07 | 0:11:11 | |
Have a look here. It's quite nicely decorated. | 0:11:11 | 0:11:15 | |
All these hand-painted things on the front. | 0:11:15 | 0:11:17 | |
You've got a crown | 0:11:17 | 0:11:20 | |
and a VR for Victoria Regis cipher. | 0:11:20 | 0:11:23 | |
And you've got constable, for a police constable, | 0:11:23 | 0:11:26 | |
with a turned fruitwood handle and you have a bit of string here, | 0:11:26 | 0:11:30 | |
but it would have had a leather strap for the wrist strap. | 0:11:30 | 0:11:33 | |
So quite a highly decorative thing, | 0:11:33 | 0:11:36 | |
as well as a highly effective thing if you're gonna hit someone! | 0:11:36 | 0:11:39 | |
-Do you like it? -I think it's nice, but it's in a cupboard in a box. | 0:11:39 | 0:11:43 | |
OK, so it's quite hard to display. | 0:11:43 | 0:11:47 | |
Sometimes they have wording on them like where it comes from. | 0:11:47 | 0:11:51 | |
So you'd have the county or something. This just says constable. | 0:11:51 | 0:11:54 | |
But you've got the VR cipher, so it's Victorian, pre-1910. | 0:11:54 | 0:11:58 | |
-Price-wise for auction, do you have any idea what it would go for? -No. | 0:11:59 | 0:12:03 | |
-No idea? -Not at all. | 0:12:03 | 0:12:05 | |
I would think probably for an auction estimate, you'd put 80 to £120 on it. | 0:12:05 | 0:12:11 | |
-They are quite collectible. -Good. -So you want it to sell. | 0:12:11 | 0:12:14 | |
What would you say to a reserve of £50? | 0:12:14 | 0:12:17 | |
-Why not? -And an estimate of 80 to 120. -Brilliant. -Great. | 0:12:17 | 0:12:20 | |
-We'll see you at the sale. -Will do. | 0:12:20 | 0:12:23 | |
Let's refresh our memories, with a look at the first batch of items | 0:12:23 | 0:12:27 | |
on their way to the auction. | 0:12:27 | 0:12:29 | |
David's hand-painted plates originally came from Switzerland. | 0:12:29 | 0:12:34 | |
They've got to sell today - they're too heavy to carry home! | 0:12:34 | 0:12:37 | |
Even Leah agrees that Kate's exquisite Art Deco diamond ring | 0:12:37 | 0:12:40 | |
is much better off in a sale room than in the garden! | 0:12:40 | 0:12:44 | |
Beatles memorabilia sells well | 0:12:46 | 0:12:48 | |
so no reason for me to bang on any more | 0:12:48 | 0:12:51 | |
about the value of the Ringo Starr drum. | 0:12:51 | 0:12:54 | |
And the decorative Victorian policeman's truncheon | 0:12:54 | 0:12:57 | |
is so beautiful, the bidders are bound to find it arresting! | 0:12:57 | 0:13:00 | |
Today's sale comes from the heart of Woburn | 0:13:01 | 0:13:04 | |
and today's venue is the Old Town Hall. | 0:13:04 | 0:13:06 | |
For years, this has been owned by Flog It favourite Charlie Ross. | 0:13:06 | 0:13:10 | |
It's been taken over recently by Jasper Marsh, also an auctioneer, | 0:13:10 | 0:13:14 | |
but he's using Charlie's talents today on the rostrum. Let's go inside. | 0:13:14 | 0:13:19 | |
While Charlie gets ready on the rostrum, | 0:13:22 | 0:13:25 | |
I'll have a quick chat with Jasper | 0:13:25 | 0:13:27 | |
about the Ringo Starr drum. | 0:13:27 | 0:13:30 | |
I fell in love with this at the valuation. | 0:13:30 | 0:13:32 | |
It belongs to Cliff. It's a Newbeat snare drum. | 0:13:32 | 0:13:35 | |
It's a cracking bit of Beatles memorabilia. | 0:13:35 | 0:13:37 | |
You're thinking I've gone mad! | 0:13:37 | 0:13:39 | |
I think this will sell for around £200, possibly more. | 0:13:39 | 0:13:43 | |
We've sold the Beatles equivalent guitars, | 0:13:43 | 0:13:47 | |
little aubergine and orange guitars, 1960s guitars, on the show before. | 0:13:47 | 0:13:52 | |
If I recall, one went in Cardiff. | 0:13:52 | 0:13:56 | |
I think we put something like £90 on this little guitar. 60 to £90. | 0:13:56 | 0:14:00 | |
And it fetched 200 to 300, around there. | 0:14:00 | 0:14:02 | |
So I'm basing my knowledge on what's gone before on the show. | 0:14:02 | 0:14:07 | |
I haven't seen another one, Paul. It's more your area than mine. | 0:14:07 | 0:14:12 | |
Um, but it's kitschy, it's got a look, | 0:14:12 | 0:14:15 | |
it's been on the internet, | 0:14:15 | 0:14:18 | |
so fingers crossed. | 0:14:18 | 0:14:20 | |
But I'm, um... | 0:14:20 | 0:14:21 | |
PAUL LAUGHS ..dubious! | 0:14:21 | 0:14:24 | |
I don't blame you! All I could do is go by what we've sold before. | 0:14:24 | 0:14:29 | |
We've seen plenty of these on the show, a Victorian police truncheon. | 0:14:36 | 0:14:40 | |
They make cracking money if dated and in great condition. | 0:14:40 | 0:14:44 | |
This one's condition is superb. We've got 80 to £120 on it. | 0:14:44 | 0:14:47 | |
It belongs to Irene here, possibly for not much longer. | 0:14:47 | 0:14:50 | |
-Who have you brought along? -My husband, Ed. -Hi. | 0:14:50 | 0:14:53 | |
Cracking, cracking item. | 0:14:53 | 0:14:55 | |
How did you come across this? | 0:14:55 | 0:14:57 | |
It was my mother's uncle's. | 0:14:57 | 0:15:00 | |
I wonder if someone was in the police force in the family? | 0:15:00 | 0:15:04 | |
-I wish I knew. -Let's hope you're right, Kate. | 0:15:04 | 0:15:07 | |
The condition, as you say, is great. | 0:15:07 | 0:15:10 | |
So it should sell pretty well. | 0:15:10 | 0:15:12 | |
You're right, if it had been dated, or a warrant number on it. | 0:15:12 | 0:15:16 | |
-Or name of a place. -Name of a place. | 0:15:16 | 0:15:18 | |
You could attribute it to a local police station. | 0:15:18 | 0:15:21 | |
-Wow, you're looking at 400 to £500. -And upwards. | 0:15:21 | 0:15:26 | |
Lot 577 is a Victorian constable's truncheon. | 0:15:26 | 0:15:30 | |
Impressed maker's mark, Parker. | 0:15:30 | 0:15:34 | |
In fantastic condition. £50, I'm bid. Five. | 0:15:35 | 0:15:39 | |
60. Five. 70. | 0:15:39 | 0:15:41 | |
Five. 80. | 0:15:41 | 0:15:42 | |
Five. Your bid. 85 on my left. 90. Five. | 0:15:42 | 0:15:46 | |
100. And ten. | 0:15:46 | 0:15:48 | |
120? | 0:15:48 | 0:15:50 | |
120. 130? | 0:15:50 | 0:15:51 | |
120. Your bid in the back, standing. | 0:15:53 | 0:15:56 | |
£120. Selling. | 0:15:56 | 0:15:59 | |
At one hundred... 30. | 0:15:59 | 0:16:01 | |
40. 150? 140 in the back, then. | 0:16:01 | 0:16:04 | |
At £140! | 0:16:04 | 0:16:08 | |
-That was like a game of table tennis! -That's really good. | 0:16:09 | 0:16:12 | |
-Really nice. -What are you going to put the money towards? -A holiday. | 0:16:12 | 0:16:17 | |
-Well, we're going to Norfolk. -We like Norfolk. -Right. | 0:16:17 | 0:16:20 | |
-We take the pets with us! -What have you got? -A border collie and a dog. | 0:16:20 | 0:16:25 | |
-A cat, sorry! -A collie and a cat. "Border collie and a dog"! -Sorry! | 0:16:25 | 0:16:30 | |
Can't take me anywhere! | 0:16:30 | 0:16:32 | |
-Congratulations. -Thank you. -Well done. | 0:16:32 | 0:16:36 | |
You know those moments when I say credit to our experts, they were spot on? | 0:16:41 | 0:16:45 | |
Well, it could go horribly wrong now for us. | 0:16:45 | 0:16:48 | |
We've got Cliff and the Ringo Starr snare drum. | 0:16:48 | 0:16:51 | |
A lovely bit of retro 1960s plastic. | 0:16:51 | 0:16:54 | |
But unfortunately, the auctioneer didn't agree with my valuation. | 0:16:54 | 0:16:58 | |
He didn't know what planet I was on | 0:16:58 | 0:17:01 | |
and he's too young to understand The Beatles. | 0:17:01 | 0:17:04 | |
I'm just hoping the room's full of Beatles fans. Spot any? | 0:17:04 | 0:17:08 | |
There's a lot of bald heads! | 0:17:08 | 0:17:10 | |
The circle Newbeat snare drum. | 0:17:11 | 0:17:15 | |
Circa 1964. | 0:17:17 | 0:17:18 | |
A Beatles promotional drum. There it is. | 0:17:18 | 0:17:22 | |
Ringo Starr. | 0:17:24 | 0:17:26 | |
And I'm bid £110. 120, anywhere? At 110. | 0:17:26 | 0:17:30 | |
And 20. | 0:17:30 | 0:17:32 | |
130. And 40. | 0:17:32 | 0:17:34 | |
150 and 60. No. | 0:17:34 | 0:17:36 | |
£150 now. | 0:17:36 | 0:17:38 | |
160. It's not your bid. | 0:17:38 | 0:17:40 | |
At 150. All done? | 0:17:40 | 0:17:41 | |
At 150. | 0:17:41 | 0:17:44 | |
Any more bids? All done? | 0:17:44 | 0:17:46 | |
At £150. One more? | 0:17:46 | 0:17:49 | |
Come on, one more. | 0:17:49 | 0:17:51 | |
Can't be done, I'm afraid, ladies and gentlemen. We move on. | 0:17:51 | 0:17:54 | |
We got it to 150 in the room. Put it in a specialist music sale. | 0:17:54 | 0:17:58 | |
There were no other instruments here. | 0:17:58 | 0:18:01 | |
-Just a few old violins. -I'll take your advice. | 0:18:01 | 0:18:04 | |
-Smashing. -Thank you. I'm really sorry it didn't sell. | 0:18:04 | 0:18:08 | |
Next up, two beautiful hand-painted plates. | 0:18:11 | 0:18:14 | |
They're quite large, from the 1800s, and belong to Tina and David. | 0:18:14 | 0:18:18 | |
Great to see you. You look absolutely fabulous! | 0:18:18 | 0:18:21 | |
-They've been in the family. They were your aunt's... -Great aunt's. -Lots of memories? | 0:18:21 | 0:18:26 | |
-Yes. -Originally, Anita, we had a valuation of 150 to £200. | 0:18:26 | 0:18:31 | |
Fixed reserve at 150. | 0:18:31 | 0:18:33 | |
We decided that at the valuation day. | 0:18:33 | 0:18:35 | |
Since then, David's done some research. | 0:18:35 | 0:18:39 | |
He's put the reserve up. It's not 150 any more, it's now 250. | 0:18:39 | 0:18:44 | |
These plates may well do 250 or more. | 0:18:44 | 0:18:49 | |
A low estimate doesn't jeopardise the price. | 0:18:49 | 0:18:54 | |
-It's more of a "come and buy me". -It encourages the bidding. | 0:18:54 | 0:18:58 | |
Where did you do your research? How did you come by the price? | 0:18:58 | 0:19:02 | |
Some of these plates, a lot smaller, are selling for 1,500 US dollars. | 0:19:02 | 0:19:08 | |
-They're for sale at 1,500 dollars. -Whether they get that. -Not selling at. | 0:19:08 | 0:19:14 | |
You have to be really very careful. | 0:19:14 | 0:19:16 | |
You think you can do the research on the internet, but it is limited for the private person. | 0:19:16 | 0:19:23 | |
It's going under the hammer. Good luck! | 0:19:23 | 0:19:25 | |
A pair of Swiss earthenware chargers, | 0:19:25 | 0:19:27 | |
each centrally decorated with figures in boats | 0:19:27 | 0:19:30 | |
on a lake with mountains beyond. | 0:19:30 | 0:19:32 | |
Within a broad band of floral panels. | 0:19:32 | 0:19:36 | |
The reverse each signed "Toon". | 0:19:36 | 0:19:40 | |
And I'm bid | 0:19:40 | 0:19:42 | |
220 to clear commissions. | 0:19:42 | 0:19:47 | |
220. | 0:19:47 | 0:19:48 | |
240, now? 220. | 0:19:48 | 0:19:50 | |
240. | 0:19:50 | 0:19:52 | |
240 here. 250. | 0:19:52 | 0:19:54 | |
260. 260. | 0:19:54 | 0:19:56 | |
-Well done. -It's on my right, now. Selling at 260. | 0:19:56 | 0:19:59 | |
270 elsewhere? | 0:19:59 | 0:20:01 | |
£260 to my right. All finished | 0:20:01 | 0:20:05 | |
at £260. Done and selling | 0:20:05 | 0:20:09 | |
at 260. | 0:20:09 | 0:20:11 | |
260. | 0:20:11 | 0:20:12 | |
260. Just over reserve. Well done. | 0:20:12 | 0:20:16 | |
Sadie and Leah, we've been waiting for this for a long time. | 0:20:20 | 0:20:23 | |
Is it exciting? Not only a day off school, but a day in an auction room. | 0:20:23 | 0:20:27 | |
-Have you been in one before? -No. | 0:20:27 | 0:20:29 | |
You can't see a lot at your height, but it's all going on at that end. | 0:20:29 | 0:20:34 | |
Charlie Ross is on the rostrum, selling all our lots. | 0:20:34 | 0:20:37 | |
Hopefully, this little ruby ring - we've got a value of 1,200. | 0:20:37 | 0:20:41 | |
-Yes, just over 1,000. -Just over £1,000 is coming hopefully your way. | 0:20:41 | 0:20:47 | |
Ruby and diamond ring | 0:20:47 | 0:20:50 | |
in an Art Deco mount. | 0:20:50 | 0:20:51 | |
Beautiful lot. | 0:20:51 | 0:20:53 | |
Bid 650, 700. 50. | 0:20:53 | 0:20:56 | |
At 750. 800 now. | 0:20:56 | 0:20:59 | |
At 800. I'll take 20 if it helps you. | 0:20:59 | 0:21:02 | |
Bid's at 800. And 20 now? Say now. | 0:21:02 | 0:21:05 | |
At £800. | 0:21:05 | 0:21:06 | |
You're all out seated at 800. And 20 is it, now? | 0:21:06 | 0:21:10 | |
At £800. Any more bid? | 0:21:10 | 0:21:13 | |
All done at £800. | 0:21:13 | 0:21:15 | |
No more? At 800 it is. | 0:21:15 | 0:21:18 | |
Can't be sold, ladies and gentlemen, at £800. | 0:21:20 | 0:21:22 | |
We had a fixed reserve of 900 and I'm pleased you protected it with that. | 0:21:22 | 0:21:27 | |
-You don't want to give it away. -No. I don't think the jewellery dealers were here. | 0:21:27 | 0:21:32 | |
It's a stand-alone piece in the room. There's no other diamonds or gems here. | 0:21:32 | 0:21:37 | |
-OK, we'll take it home, Leah. -It's got to go home! | 0:21:37 | 0:21:40 | |
-I'm so sorry! -That's OK. Thank you, anyway. | 0:21:40 | 0:21:43 | |
The good news is that, after the auction, | 0:21:43 | 0:21:46 | |
Sadie accepted a private offer of £750. | 0:21:46 | 0:21:50 | |
So she'll be able to buy that much-needed car after all. | 0:21:50 | 0:21:54 | |
Roald Dahl, what a legend! Is there anybody | 0:22:00 | 0:22:04 | |
who has grown up over the last 50 years | 0:22:04 | 0:22:06 | |
who can imagine their childhood without the BFG... | 0:22:06 | 0:22:10 | |
James and the Giant Peach... | 0:22:10 | 0:22:13 | |
..or Matilda? | 0:22:15 | 0:22:17 | |
These are just some of his classic and much-loved children's stories. | 0:22:19 | 0:22:24 | |
And this big blue building here couldn't be anything else but the Roald Dahl Museum and Story Centre. | 0:22:28 | 0:22:34 | |
Amanda Concay runs the Roald Dahl foundation | 0:22:34 | 0:22:36 | |
which is also based here. That's her office by the sign on the first floor. | 0:22:36 | 0:22:41 | |
She can remember him reading her bedtime stories. | 0:22:41 | 0:22:44 | |
Sounds absolutely fascinating, so let's have a chat with her. | 0:22:44 | 0:22:49 | |
Let's hear Amanda tell us her story about Roald Dahl. | 0:22:50 | 0:22:53 | |
I grew up in the village we are now, in Great Missenden, | 0:22:55 | 0:22:58 | |
and this is where Roald Dahl lived and spent most of his adult years | 0:22:58 | 0:23:04 | |
and where he wrote all his children's books. | 0:23:04 | 0:23:07 | |
As a child, our families were friends. | 0:23:07 | 0:23:10 | |
I was in the same class as his second child, Tessa. | 0:23:10 | 0:23:12 | |
Roald did the morning lift to school, my mother did the evening. | 0:23:12 | 0:23:16 | |
We certainly stayed in each other's houses, had sleep-overs, | 0:23:16 | 0:23:20 | |
so our lives were pretty interlinked. | 0:23:20 | 0:23:22 | |
Was he good fun to be with? | 0:23:22 | 0:23:24 | |
Yes, he was very imposing. | 0:23:24 | 0:23:26 | |
He was very tall, six foot five, | 0:23:26 | 0:23:29 | |
so he seemed a giant when you were a child and I think he hoped he was the Big Friendly Giant. | 0:23:29 | 0:23:34 | |
Do you have any fond memories of him? | 0:23:34 | 0:23:36 | |
He always wanted to take that bit of childhood fun a bit further. | 0:23:36 | 0:23:41 | |
So midnight walks are something that children talk about, and fantasise about, | 0:23:41 | 0:23:47 | |
but generally they don't happen. | 0:23:47 | 0:23:49 | |
But he would get us up in our pyjamas and say, "We're going for a walk." | 0:23:49 | 0:23:53 | |
And he would take us down the road to this tunnel | 0:23:53 | 0:23:57 | |
and he would tell a story under there. | 0:23:57 | 0:23:59 | |
It could be about anything, | 0:23:59 | 0:24:01 | |
the stars, witches, foxes, anything. | 0:24:01 | 0:24:05 | |
So that was just completely magical and different. | 0:24:05 | 0:24:09 | |
When Amanda started working at the foundation, | 0:24:09 | 0:24:12 | |
she had no idea what a huge and lasting success | 0:24:12 | 0:24:15 | |
Dahl's children's books would turn out to be. | 0:24:15 | 0:24:18 | |
Roald was the first one where there were signing sessions, | 0:24:18 | 0:24:23 | |
where there were author visits, | 0:24:23 | 0:24:25 | |
and boy, did the kids like to meet him! | 0:24:25 | 0:24:28 | |
You're not frightened of me, are you? | 0:24:28 | 0:24:31 | |
They're all sort of funny and nice. | 0:24:32 | 0:24:34 | |
Better than the other people's books. | 0:24:34 | 0:24:37 | |
The amazing thing is, for example, | 0:24:37 | 0:24:39 | |
Charlie and the Chocolate Factory is Penguin Books' best-selling book of all time. | 0:24:39 | 0:24:45 | |
You're in publishing yourself, | 0:24:45 | 0:24:48 | |
so can you sum up why he was such a successful writer? | 0:24:48 | 0:24:51 | |
It is hard to say what makes somebody take off in this way, | 0:24:51 | 0:24:55 | |
to become part of the popular culture. | 0:24:55 | 0:24:57 | |
There's nothing old-fashioned about Roald Dahl. He's contemporary. | 0:24:57 | 0:25:01 | |
Charlie and the Chocolate Factory was written over 40 years ago, | 0:25:01 | 0:25:06 | |
but it still feels very contemporary. | 0:25:06 | 0:25:10 | |
They're nearly all moral tales, in one way or another. | 0:25:10 | 0:25:13 | |
Um, and the child is generally the hero. | 0:25:13 | 0:25:18 | |
At least the good children win and the bad children get their come-uppance. | 0:25:18 | 0:25:24 | |
Talking of Charlie again, what happens to the horrible children? | 0:25:24 | 0:25:28 | |
They all end up going down the chute. | 0:25:28 | 0:25:30 | |
The Oompa-Loompas get rid of them. | 0:25:30 | 0:25:33 | |
But we know Charlie is a good boy. | 0:25:33 | 0:25:36 | |
Nasty things happen but out of those, people either get punished | 0:25:36 | 0:25:39 | |
-or good people get rewarded. -Yes. | 0:25:39 | 0:25:43 | |
So out of the dark comes good. | 0:25:43 | 0:25:45 | |
It's hard to think of Roald Dahl without thinking of his long-term working partnership | 0:25:46 | 0:25:51 | |
with illustrator Quentin Blake. | 0:25:51 | 0:25:53 | |
I think The Enormous Crocodile just shows how well | 0:25:53 | 0:25:56 | |
the combination of the two talents worked. | 0:25:56 | 0:26:01 | |
-Children can identify with that. -Here is a crocodile that eats children. | 0:26:01 | 0:26:05 | |
But he has huge teeth. | 0:26:05 | 0:26:07 | |
But somehow, they're funny. There's something amazing about the combination. | 0:26:07 | 0:26:13 | |
In this book, Revolting Rhymes, for example, | 0:26:13 | 0:26:16 | |
here's a great thing when the prince chops off Cinderella's sister's head. | 0:26:16 | 0:26:21 | |
"What's all the racket?", Cindy cried. "Mind your own biz", the prince replied. | 0:26:21 | 0:26:27 | |
Poor Cindy's heart was torn to shreds. | 0:26:27 | 0:26:29 | |
"My prince", she thought. | 0:26:29 | 0:26:32 | |
"He chops off heads." | 0:26:32 | 0:26:34 | |
-That is so funny. -This is a great example, isn't it? | 0:26:34 | 0:26:38 | |
-Look at her face. -Yes, her face. It's not ghoulish, it's just funny. | 0:26:38 | 0:26:43 | |
I can have lots of people killed | 0:26:43 | 0:26:46 | |
but they won't be killed in a conventional way. | 0:26:46 | 0:26:49 | |
You can't have them shot | 0:26:49 | 0:26:51 | |
or chopped up or anything like that. It's just straight. | 0:26:51 | 0:26:55 | |
I'm quite prepared to have them killed in the most grizzly possible way, | 0:26:55 | 0:27:01 | |
like having little boys from Eton pulled out of the windows | 0:27:01 | 0:27:05 | |
and eaten by giants. | 0:27:05 | 0:27:07 | |
Bones crunched up and everything. | 0:27:07 | 0:27:10 | |
Or a child falling into a chocolate-making machine | 0:27:10 | 0:27:15 | |
and coming out as fudge. | 0:27:15 | 0:27:17 | |
That's fine, as long as there is a whopping great laugh at the same time. | 0:27:17 | 0:27:22 | |
He always said it's got to be fun. The books have to be funny. | 0:27:22 | 0:27:26 | |
And that came to him naturally. | 0:27:26 | 0:27:29 | |
He had the whizz-popping giant | 0:27:29 | 0:27:32 | |
in George's Marvellous Medicine | 0:27:32 | 0:27:35 | |
where he describes the granny as having a mouth like a dog's bottom. | 0:27:35 | 0:27:41 | |
-That's very creative! -You only have to say that, | 0:27:41 | 0:27:44 | |
you only have to say it and you laugh, but no-one else would write it. But he did. | 0:27:44 | 0:27:49 | |
I understand he said, or he disliked anyway, | 0:27:49 | 0:27:52 | |
beards, museums and speeches. | 0:27:52 | 0:27:57 | |
What would he have made of the museum downstairs? | 0:27:57 | 0:27:59 | |
One has to remember he would have been 92 had he been alive now. | 0:27:59 | 0:28:04 | |
He said those things when museums were quite stuffy places. | 0:28:04 | 0:28:08 | |
The great thing is, we've been able to create the museum and story centre | 0:28:08 | 0:28:14 | |
at a time when museums can be really good fun. | 0:28:14 | 0:28:17 | |
They can be very interactive. I think you'll find when you see the museum | 0:28:17 | 0:28:21 | |
that it really lives up to him and his books | 0:28:21 | 0:28:25 | |
and it's a great fun place. | 0:28:25 | 0:28:26 | |
So that's exactly what I did | 0:28:26 | 0:28:29 | |
and Amanda was right. The children were having a scrumdiddlyumptious time. | 0:28:29 | 0:28:34 | |
But the final word should be left to the great man himself | 0:28:34 | 0:28:37 | |
who'd have been very at home in the museum. | 0:28:37 | 0:28:40 | |
'Most adults have forgotten how children are thinking. | 0:28:42 | 0:28:46 | |
'And I certainly see myself totally on the side of children.' | 0:28:46 | 0:28:52 | |
Back at the valuations, Anita has found some playful Clarice Cliff. | 0:29:01 | 0:29:06 | |
Clare, Clarice Cliff was one of the leading ceramicists of the 20th century. | 0:29:07 | 0:29:15 | |
People either love or hate her work. | 0:29:15 | 0:29:20 | |
-What do you think of it? -These, I think, are hideous, really. | 0:29:20 | 0:29:25 | |
That's a word that my father described them as, "hideous". | 0:29:25 | 0:29:28 | |
Indeed. Tell me, where did you get them from? | 0:29:28 | 0:29:32 | |
They were given to my grandparents as a wedding gift. | 0:29:32 | 0:29:35 | |
I think that was in 1936. | 0:29:35 | 0:29:37 | |
Then my mum's always had them on the shelf in the kitchen. | 0:29:37 | 0:29:41 | |
That's where I remember seeing them. | 0:29:41 | 0:29:44 | |
Then Mum and Dad brought them over this time last year | 0:29:44 | 0:29:47 | |
and said, "Get rid of them. See what you can do with them." | 0:29:47 | 0:29:50 | |
Well, if we turn them up and look at the back stamp, | 0:29:50 | 0:29:54 | |
we see the magic name, Clarice Cliff. | 0:29:54 | 0:29:57 | |
Now, Clarice made a wide range of goods | 0:29:57 | 0:30:02 | |
and some of them are more collectible than others. | 0:30:02 | 0:30:06 | |
We have some very rare patterns that go into the four figures | 0:30:06 | 0:30:11 | |
and are highly sought-after. | 0:30:11 | 0:30:13 | |
Now, these are not the top-of-the-range Clarice Cliff. | 0:30:13 | 0:30:18 | |
They're from the series "My Garden" series. | 0:30:18 | 0:30:22 | |
So-called because you have this wonderful handle | 0:30:22 | 0:30:27 | |
which is a band of flowers. | 0:30:27 | 0:30:30 | |
A fairly common, a fairly ordinary pattern, | 0:30:30 | 0:30:34 | |
it was very popular in its day. | 0:30:34 | 0:30:37 | |
They were made in the 1930s. | 0:30:37 | 0:30:40 | |
Because they were popular, they made a large amount of them. | 0:30:40 | 0:30:45 | |
So they weren't rare, and in today's market, that brings the price down. | 0:30:45 | 0:30:49 | |
-I would estimate them between 100 and £150. -OK. | 0:30:49 | 0:30:56 | |
About £50 each. Now, they might go a little higher | 0:30:56 | 0:31:02 | |
than the bottom estimate, | 0:31:02 | 0:31:03 | |
but you're not going to go to 200, £250. | 0:31:03 | 0:31:07 | |
I would love it to happen! | 0:31:07 | 0:31:09 | |
I think my dad would, also! | 0:31:09 | 0:31:11 | |
-So would you be happy to sell them? -That would be good. | 0:31:11 | 0:31:14 | |
We'll put a reserve of £100 to protect them | 0:31:14 | 0:31:17 | |
and we'll hope they'll be very well fancied on the day. | 0:31:17 | 0:31:22 | |
-I hope so. -Clare, shall we flog them? -Go for it! -Let's go for it! | 0:31:22 | 0:31:27 | |
So, Steve, you've brought in this bizarre, rather large, animal. | 0:31:33 | 0:31:38 | |
It's an elephant and a tiger. What do you think about it? | 0:31:38 | 0:31:41 | |
Um, I like it. It's just gathering dust, really. | 0:31:41 | 0:31:45 | |
I've had it in the loft. I inherited it from my gran, | 0:31:45 | 0:31:48 | |
but I've got nowhere to display it. | 0:31:48 | 0:31:50 | |
And if the little 'un knocks it off, it would be quite upsetting. | 0:31:50 | 0:31:55 | |
Ah, you've got a young child that might break it into pieces. | 0:31:55 | 0:31:58 | |
-Does your wife like it? -Yeah, she likes elephants. | 0:31:58 | 0:32:02 | |
She'll be sad to see it go, but if it gets broken, she'll be even more gutted. | 0:32:02 | 0:32:07 | |
Do you know anything about it? The maker, or...? | 0:32:07 | 0:32:10 | |
It's got on the bottom it's a Beswick. I've nothing else to go on. | 0:32:10 | 0:32:14 | |
I know it's from my gran's cos I've seen it since I was young. | 0:32:14 | 0:32:17 | |
Yes, Beswick is the mark, an English maker. | 0:32:17 | 0:32:20 | |
It's fairly modern, 20th century. | 0:32:20 | 0:32:22 | |
But they make quite a lot of these animal models - cows, sheep and things. | 0:32:22 | 0:32:26 | |
They also do a series of wild animals, of which this is one. | 0:32:26 | 0:32:30 | |
They do this model in various sizes, a small, medium and large, and this is the large. | 0:32:30 | 0:32:35 | |
You've got a big bull elephant being attacked by a tiger. | 0:32:35 | 0:32:39 | |
So quite a violent theme to go on your mantelpiece! | 0:32:39 | 0:32:42 | |
It's really nicely modelled. | 0:32:42 | 0:32:45 | |
You can see the detail in the hide of the elephant, the face on the tiger. | 0:32:45 | 0:32:49 | |
Also, Beswick bits always get broken off. | 0:32:49 | 0:32:52 | |
So whenever I see one, I think, "It'll have a break on the trunk | 0:32:52 | 0:32:56 | |
"or the tusks always come off. | 0:32:56 | 0:32:59 | |
"You get chips on the legs or the ears." | 0:32:59 | 0:33:01 | |
But this is remarkably good condition, | 0:33:01 | 0:33:04 | |
considering it's been kept in the loft! | 0:33:04 | 0:33:06 | |
-It didn't cost you anything. -No. -Any idea as to value? | 0:33:06 | 0:33:09 | |
I've got no idea. As far as I'm concerned, it's more sentimental. | 0:33:09 | 0:33:15 | |
There are lots of Beswick collectors out there. | 0:33:15 | 0:33:18 | |
But it means nothing to them in terms of sentiment. | 0:33:18 | 0:33:21 | |
It's, "Is it one of a number that were produced and how rare is it?" | 0:33:21 | 0:33:24 | |
But the condition's great. For an auction value, you'd put 150 to £250 on it. | 0:33:24 | 0:33:30 | |
-Better than I thought. -More than you thought? | 0:33:30 | 0:33:33 | |
-So for that kind of price, you'd be happy to sell it? -Yes. | 0:33:33 | 0:33:36 | |
The estimate for the catalogue is 150 to 250. | 0:33:36 | 0:33:39 | |
I would suggest a lower reserve of £100. | 0:33:39 | 0:33:42 | |
But you can make that discretionary so the auctioneer has a chance to sell it. | 0:33:42 | 0:33:47 | |
-OK with that? -Yeah. -OK. | 0:33:47 | 0:33:49 | |
-So see you at the auction. -OK. | 0:33:49 | 0:33:51 | |
Jill, welcome to Flog It. | 0:33:54 | 0:33:56 | |
And it's lovely to have that gorgeous piece of Victorian jewellery here. | 0:33:56 | 0:34:02 | |
Tell me, where did you get it? | 0:34:02 | 0:34:04 | |
My grandmother gave it to me when I got engaged in 1974. | 0:34:04 | 0:34:08 | |
-Did you wear it? -I've never worn it. | 0:34:08 | 0:34:10 | |
-Left in a drawer. -Did it belong to your grandmother? | 0:34:10 | 0:34:14 | |
I think so, but I don't know anything about it. | 0:34:14 | 0:34:17 | |
-No pictures of her wearing it? -No, unfortunately. | 0:34:17 | 0:34:20 | |
Why haven't you worn it? Is it not to your taste? | 0:34:20 | 0:34:24 | |
Because I knew it was a mourning locket | 0:34:24 | 0:34:26 | |
and it's big and dark-coloured. Although I knew it was beautifully made. | 0:34:26 | 0:34:30 | |
-So it's a bit sort of sombre. -Mmm. | 0:34:30 | 0:34:33 | |
OK, let's just have a closer look at it. | 0:34:33 | 0:34:36 | |
The case is not marked for gold. | 0:34:38 | 0:34:41 | |
Very often when a piece was made specially for someone, | 0:34:41 | 0:34:47 | |
by a jeweller, if it had been commissioned, | 0:34:47 | 0:34:51 | |
then they would not have hallmarked it. | 0:34:51 | 0:34:54 | |
But the touch of it, the colour of it, the weight of it, | 0:34:54 | 0:34:58 | |
all these things indicate to me that it is gold. | 0:34:58 | 0:35:02 | |
The front of it | 0:35:03 | 0:35:05 | |
has this beautiful banded agate oval on it. | 0:35:05 | 0:35:12 | |
And we have a gold and enamelled starburst here | 0:35:12 | 0:35:16 | |
and a beautiful pearl. | 0:35:16 | 0:35:19 | |
So it's a lovely thing. | 0:35:19 | 0:35:21 | |
It's a quality item. | 0:35:21 | 0:35:23 | |
I like it very, very much. | 0:35:23 | 0:35:25 | |
Let's open it | 0:35:25 | 0:35:27 | |
and have a little look inside. | 0:35:27 | 0:35:31 | |
-Now, do you know who this... -Afraid I don't, no! | 0:35:33 | 0:35:37 | |
-He's quite a sombre looking chap. -He is. | 0:35:37 | 0:35:40 | |
-Could he have been a boyfriend or a fiance? -I just don't know. | 0:35:40 | 0:35:44 | |
-You don't know? -No. | 0:35:44 | 0:35:46 | |
And we have the hair whorl here, | 0:35:46 | 0:35:51 | |
which is typical of mourning jewellery. | 0:35:51 | 0:35:55 | |
When Prince Albert died, Queen Victoria went into mourning. | 0:35:55 | 0:36:02 | |
And mourning became a fashion. | 0:36:02 | 0:36:04 | |
-Right. -I would date it | 0:36:04 | 0:36:06 | |
from about the 1860s, 1870s. | 0:36:06 | 0:36:11 | |
Although these aren't popular as things to wear, | 0:36:11 | 0:36:15 | |
they are collectible. Price-wise, | 0:36:15 | 0:36:18 | |
I would put an estimate of 120 to 180 on this locket. | 0:36:18 | 0:36:24 | |
-Would you be happy with that estimate? -Yes. | 0:36:24 | 0:36:27 | |
Let's put it to sale, Jill, but we'll put a fixed reserve | 0:36:27 | 0:36:30 | |
-of £120. -Yes, that sounds good. | 0:36:30 | 0:36:34 | |
-Shall we sell it at that? -Yes, please. -I'm hoping it will go much higher. -Thank you. | 0:36:34 | 0:36:39 | |
Time to have a final look at what is on the way to the sale room. | 0:36:41 | 0:36:44 | |
Luckily, not everyone shares Clare's low opinion of Clarice Cliff! | 0:36:44 | 0:36:48 | |
I'm sure these jugs will soothe a new owner. | 0:36:48 | 0:36:51 | |
The Beswick collectors will love the condition of Steve's elephant and tiger. | 0:36:54 | 0:36:59 | |
It's going to be a jungle out there! | 0:36:59 | 0:37:01 | |
And the Victorian mourning locket may not be the height of fashion, | 0:37:01 | 0:37:04 | |
but it's quality - and you know what I always say about quality. | 0:37:04 | 0:37:09 | |
First up, those Clarice Cliff jugs. | 0:37:13 | 0:37:15 | |
Clare, good to see you again. | 0:37:15 | 0:37:17 | |
You've brought the kids here? | 0:37:17 | 0:37:19 | |
I've got Joshua. He's four. | 0:37:19 | 0:37:21 | |
And Rachel, who's 16 months. | 0:37:21 | 0:37:23 | |
Wow! First time on TV. Lovely. The jugs, do you... | 0:37:23 | 0:37:26 | |
-No. Hideous. -Do you like them? | 0:37:26 | 0:37:29 | |
I like Clarice Cliff. I think it's very cheering. | 0:37:29 | 0:37:33 | |
-Yes. -It's lovely in a kitchen. | 0:37:33 | 0:37:35 | |
Hopefully, we'll get around 100 to £150. | 0:37:35 | 0:37:37 | |
-You're flogging their inheritance! -Not really! | 0:37:37 | 0:37:41 | |
No? What does Rachel think, I wonder? Hey, Rachel? | 0:37:41 | 0:37:44 | |
Oh, she's bidding. You just bought something! | 0:37:46 | 0:37:49 | |
A pair of 1930s Clarice Cliff jugs | 0:37:49 | 0:37:53 | |
of cylindrical tapering form, | 0:37:53 | 0:37:55 | |
each decorated with streaked orange and grey glaze | 0:37:55 | 0:37:58 | |
with moulded floral loop handle. | 0:37:58 | 0:38:02 | |
Bid 65 to clear commission. 70 I'll take. | 0:38:02 | 0:38:06 | |
At 65 for the pair. 75. 80. | 0:38:06 | 0:38:09 | |
Five. 90. | 0:38:09 | 0:38:10 | |
90 bid. Five now? | 0:38:10 | 0:38:12 | |
At 90. And five. 100. | 0:38:12 | 0:38:14 | |
100 elsewhere? Bid's at 95. May I say 100, sir? | 0:38:16 | 0:38:20 | |
95 is the bid, then. At 95. | 0:38:21 | 0:38:24 | |
All finished at 95? 100 now? | 0:38:24 | 0:38:27 | |
At 95, then. | 0:38:27 | 0:38:29 | |
I'm afraid, ladies and gentlemen, we are one bid away. Not sold. | 0:38:29 | 0:38:33 | |
I just don't believe that. One bid. | 0:38:33 | 0:38:36 | |
We just needed a little prayer there. Rachel, | 0:38:36 | 0:38:39 | |
one bid away. So close! | 0:38:39 | 0:38:42 | |
-So close. -But Mum and Dad set the reserve. -They did, yes. | 0:38:42 | 0:38:45 | |
We've seen plenty of Beswick on the show before, but nothing like this. | 0:38:51 | 0:38:55 | |
A tiger on the back of an elephant. It belongs to Steve, not for much longer. | 0:38:55 | 0:39:00 | |
It's in good company. Have you seen the amount of Beswick in the room? | 0:39:00 | 0:39:04 | |
-There's a lot. -I'd say there's about 300 lots there. -Yeah. | 0:39:04 | 0:39:08 | |
So the collectors are gonna be here. I think they'll snap yours up. | 0:39:08 | 0:39:12 | |
-Do you think it'll get top end? -It'd be nice if it did. | 0:39:12 | 0:39:14 | |
It's unusual, not the normal thing people go for. | 0:39:14 | 0:39:17 | |
But I think so, yeah. | 0:39:17 | 0:39:19 | |
I had a chat with the new owner of the sale room, Jasper. | 0:39:19 | 0:39:22 | |
He kinda liked it. He said he wouldn't give it house room | 0:39:22 | 0:39:26 | |
but it will do mid-estimate. So we're pretty safe. | 0:39:26 | 0:39:28 | |
Lot 65 is a Beswick elephant and tiger. | 0:39:28 | 0:39:33 | |
Large group. 50 bid. Five. 60. Five. | 0:39:33 | 0:39:36 | |
70. Five. | 0:39:36 | 0:39:38 | |
No? At 70. Five now. 75 in two places. 80. | 0:39:38 | 0:39:41 | |
80. 90, may I say? 90. | 0:39:41 | 0:39:44 | |
Your bid at 90. | 0:39:44 | 0:39:46 | |
Make no mistake, I'm selling at 90 in the front row. | 0:39:46 | 0:39:50 | |
Anybody make it 100? And 100 I'm bid. | 0:39:50 | 0:39:52 | |
And ten, sir? Pipped at the post. 110. | 0:39:52 | 0:39:55 | |
120? No? 110 your bid. | 0:39:55 | 0:39:57 | |
Front row. All done at £110. | 0:39:57 | 0:40:00 | |
Yes. Nice work, Charlie Ross. | 0:40:00 | 0:40:03 | |
-£110, Steven. -Not bad. | 0:40:03 | 0:40:04 | |
-Good, isn't it? -Yep. -Better than something collecting dust | 0:40:04 | 0:40:08 | |
and breaking in a few weeks' time. | 0:40:08 | 0:40:11 | |
Who's getting the money? | 0:40:11 | 0:40:12 | |
Um, I dunno, really. | 0:40:12 | 0:40:14 | |
Take the girlfriend out for a meal, I suppose. | 0:40:14 | 0:40:17 | |
-Treat her. Something special. -She'll hold you to that! It's on camera! | 0:40:17 | 0:40:21 | |
Let's hope this isn't a sad moment. It's a Victorian mourning locket. | 0:40:23 | 0:40:27 | |
It's Jill's and has been in the family a while. | 0:40:27 | 0:40:30 | |
But you've decided to sell this now | 0:40:30 | 0:40:33 | |
because you want to put the money towards a new addition. | 0:40:33 | 0:40:36 | |
We've just had our first grandchild, called Isobel. | 0:40:36 | 0:40:40 | |
It's easier to sell it, because this was a special present to you. | 0:40:40 | 0:40:45 | |
When we got engaged, my grandmother gave me this, 33 years ago. | 0:40:45 | 0:40:48 | |
A long time. It's hard to sell things people give you as presents. | 0:40:48 | 0:40:53 | |
But in this case, selling it because of a new addition to the family, I think is wonderful. | 0:40:53 | 0:40:59 | |
It's such a lovely thing and it's in perfect condition. | 0:40:59 | 0:41:02 | |
You haven't worn it. It's been in a drawer. | 0:41:02 | 0:41:06 | |
I think if you don't like it, it's the time to sell it. | 0:41:06 | 0:41:09 | |
I think it might be to today's tastes. It's a big chunky piece. | 0:41:09 | 0:41:15 | |
It's of beautiful quality. | 0:41:15 | 0:41:17 | |
Does that mean we'll get the top end of the estimate? | 0:41:17 | 0:41:20 | |
I don't know, Paul. We'll have to wait and see. | 0:41:20 | 0:41:22 | |
What are you looking for secretly? | 0:41:22 | 0:41:25 | |
120? 50? | 0:41:25 | 0:41:27 | |
150 would be very nice. | 0:41:27 | 0:41:29 | |
But the market will determine. | 0:41:29 | 0:41:32 | |
Fingers crossed. | 0:41:32 | 0:41:34 | |
A gold, pearl and enamel pendant, | 0:41:34 | 0:41:37 | |
circa 1880. Late Victorian pendant. | 0:41:37 | 0:41:40 | |
I can start that at 85. 90. Five. | 0:41:41 | 0:41:44 | |
110. 120. 130. | 0:41:44 | 0:41:47 | |
140. 150. | 0:41:47 | 0:41:49 | |
-160. 170. -This is good. -180. | 0:41:49 | 0:41:52 | |
190. | 0:41:52 | 0:41:53 | |
200. And 20. | 0:41:53 | 0:41:55 | |
240. 260. | 0:41:55 | 0:41:57 | |
280. 300. | 0:41:59 | 0:42:02 | |
320. 340. | 0:42:03 | 0:42:06 | |
-360. -A lot of money! -380. | 0:42:06 | 0:42:08 | |
Are you taking instructions? 380. | 0:42:11 | 0:42:13 | |
400? No. | 0:42:13 | 0:42:15 | |
380. You're out on the stairs. 380 in the middle of the room. | 0:42:15 | 0:42:18 | |
At £380. All done? | 0:42:18 | 0:42:21 | |
Selling at £380. | 0:42:21 | 0:42:24 | |
-Yes! -Excellent! -Now, quality... | 0:42:24 | 0:42:27 | |
-..always sells. -Quality. Condition. | 0:42:27 | 0:42:30 | |
And I was right. I thought that it might be to today's tastes. | 0:42:30 | 0:42:36 | |
-And also... -A big chunky piece. | 0:42:36 | 0:42:38 | |
-And also a "Come and buy me..." -Well. | 0:42:38 | 0:42:41 | |
-"Come and buy me" valuation! -I can be a bit like that. | 0:42:41 | 0:42:44 | |
-Excellent! -Canny lass! | 0:42:44 | 0:42:46 | |
-I'm really pleased. -You've got to be pleased with that! Wow! | 0:42:46 | 0:42:50 | |
I'm feeling hot over that one! | 0:42:50 | 0:42:52 | |
-Lovely. -That's gonna be put towards the christening funds. | 0:42:52 | 0:42:57 | |
-Definitely. -A bank account. -Lovely nest egg, yes. | 0:42:57 | 0:43:00 | |
Fantastic. Thanks for coming in. | 0:43:00 | 0:43:02 | |
-Well done. That was marvellous! -Thank you! | 0:43:02 | 0:43:05 | |
Well done, Anita. What a "come and buy me" that was! | 0:43:05 | 0:43:08 | |
That's it. What a great day we've had here. | 0:43:13 | 0:43:16 | |
The auction's still going on behind me | 0:43:16 | 0:43:18 | |
and all credit to Charlie Ross. | 0:43:18 | 0:43:21 | |
He's been magnificent as have our two experts today. | 0:43:21 | 0:43:24 | |
We've had a great time at Woburn. Until next time, cheerio! | 0:43:24 | 0:43:28 | |
Subtitles by Moira Diamond Red Bee Media Ltd - 2009 | 0:43:52 | 0:43:55 |