0:00:07 > 0:00:09I'm lucky enough to be surrounded by works of art
0:00:09 > 0:00:13by some of Britain's most important 20th-century artists -
0:00:13 > 0:00:17Dame Elisabeth Frink, John Piper, Graham Sutherland.
0:00:17 > 0:00:20And who knows what other treasures might turn up through the door today
0:00:20 > 0:00:23as Flog It is in the spectacular setting
0:00:23 > 0:00:24of Coventry Cathedral.
0:01:03 > 0:01:06What a fantastic crowd we've got today.
0:01:06 > 0:01:09Just look at the queue. It starts up on the cathedral steps
0:01:09 > 0:01:13and it comes all the way around here and just goes on and on and on.
0:01:13 > 0:01:16And all of these people turned up to put their faith in our experts,
0:01:16 > 0:01:18Michael Baggott and Will Axon.
0:01:18 > 0:01:20Well, it's now 9:30.
0:01:20 > 0:01:23- I think we should get the doors open, don't you?- Yes!
0:01:23 > 0:01:25And get the show on the road. Let's do it.
0:01:25 > 0:01:28And it's an item that's a little worse for wear
0:01:28 > 0:01:30that grabs Michael's attention.
0:01:33 > 0:01:39Anne, thank you. I always love to see a bit of silver, erm...
0:01:39 > 0:01:41but not in such a distressed state.
0:01:41 > 0:01:43What's happened to this poor fellow?
0:01:43 > 0:01:49Well, I'm afraid that was me being very rough. It was fine yesterday.
0:01:49 > 0:01:52- Because I was bringing it, I cleaned it...- Oh, no!
0:01:52 > 0:01:56- It bends slightly and I sort of encouraged it back...- Ah.
0:01:56 > 0:01:59- I wrapped it up very well...- Oh.
0:01:59 > 0:02:02..but it was only when I got to the show this morning
0:02:02 > 0:02:05when it had actually completely broken off.
0:02:05 > 0:02:09- Oh, good grief.- So I have to admit I'm guilty on that, Michael.
0:02:09 > 0:02:12- And this was done by polishing it? - By polishing it.
0:02:12 > 0:02:16- You didn't use an angle grinder did you?- I didn't use an angle grinder.
0:02:16 > 0:02:19- You must be the strongest polisher in Coventry.- Definitely.
0:02:19 > 0:02:21- That's frightening.- Yes.
0:02:21 > 0:02:25- But it bent a little and you bent it back?- Yes, it bent a little.
0:02:25 > 0:02:30It goes to demonstrate, actually, one of the things about how these candlesticks are made.
0:02:30 > 0:02:35When I first saw them, I thought wonderful, 18th-century candlesticks.
0:02:35 > 0:02:37But if you look at the bottom...
0:02:38 > 0:02:41we've got a set of hallmarks here for Birmingham
0:02:41 > 0:02:46and we've got the lion passant and the date letter for 1977.
0:02:46 > 0:02:50- Right.- I don't have to look that up to know that's 1977
0:02:50 > 0:02:54because that was the year of the Queen's silver jubilee, wasn't it?
0:02:54 > 0:02:56- Oh, of course, yes.- 25 years
0:02:56 > 0:03:01and at the assay offices, they put this little Queen's head mark,
0:03:01 > 0:03:03which is the jubilee mark.
0:03:03 > 0:03:07So a lot of silver of that year will bear that particular mark,
0:03:07 > 0:03:09- so it told me instantly.- Ah, right.
0:03:09 > 0:03:13And this is a pattern, a very standard 18th-century pattern,
0:03:13 > 0:03:16that we call cast shell and scroll,
0:03:16 > 0:03:21because we've got the shells there and the scroll decoration.
0:03:21 > 0:03:24And they're made, actually, in four pieces.
0:03:25 > 0:03:30So we've got the little sconce here, which is one piece
0:03:30 > 0:03:32and then the stem is cast in two pieces.
0:03:32 > 0:03:36The thing about cast silver is it's very brittle.
0:03:36 > 0:03:39When you hammer a piece of silver and make it,
0:03:39 > 0:03:43- you impart strength to it, almost like a spring.- Mm-hm.
0:03:43 > 0:03:46But when you cast it in its molten form and let it cool,
0:03:46 > 0:03:49especially if there's a slight imperfection,
0:03:49 > 0:03:50it's very brittle.
0:03:50 > 0:03:54So I don't think that was superhuman strength, Anne.
0:03:54 > 0:03:57- SHE LAUGHS - I think that's a little flaw
0:03:57 > 0:04:01that simply has made it come across and then by bending it back,
0:04:01 > 0:04:05- because it's so brittle, it's just gone ping.- Ah, right.
0:04:05 > 0:04:08- Which is a shame.- I don't feel quite so guilty now, then.
0:04:08 > 0:04:10You've nothing to be guilty about.
0:04:10 > 0:04:13On the upside, it's not a big job to have it done.
0:04:13 > 0:04:18A silversmith will repair that for about £25-£30
0:04:18 > 0:04:20and you'll never know that it had been broken.
0:04:20 > 0:04:21So that's the upside.
0:04:21 > 0:04:26Because they're not early... If they were original 1740s
0:04:26 > 0:04:30- they'd be £1000-£1,500 all day long. - Right.
0:04:30 > 0:04:33But being modern replicas makes a big difference,
0:04:33 > 0:04:36and the damage makes a little bit of difference, too.
0:04:36 > 0:04:43- I think we should put them into auction at £250-£350.- OK.
0:04:43 > 0:04:45- And put a fixed reserve of £250 on them.- Right.
0:04:45 > 0:04:48And they'll fall within that estimate.
0:04:48 > 0:04:52- I don't think they'll perform dramatically over that.- No.
0:04:52 > 0:04:56They're a fixed commodity but somebody might want an example of the jubilee mark.
0:04:56 > 0:05:00- Ah, that's a point, yes.- And they're also good useful things.
0:05:00 > 0:05:04- So if you're happy with that? - I'd be very happy with that.
0:05:04 > 0:05:07Splendid. We'll put them into the sale and hope for the best.
0:05:07 > 0:05:09- Thanks for bringing them in, Anne. - Thank you.
0:05:16 > 0:05:21- Steve, you obviously know what this is.- Er, yeah.- It's a tobacco box.
0:05:21 > 0:05:23- Yeah.- You've seen them on Flog It before.
0:05:23 > 0:05:26There was one just like this that James Lewis found and valued.
0:05:26 > 0:05:30So tell me about this one's history and how you came by it.
0:05:30 > 0:05:35Well, I'm an avid car-booter and I bought it in a box of odds.
0:05:35 > 0:05:39I didn't really know what it was but after watching the programme...
0:05:39 > 0:05:44- You got quite excited.- I nearly fell off the sofa, it was so exciting.
0:05:44 > 0:05:47Mind you, that one was a very special one, it was so crisp
0:05:47 > 0:05:49- and it was dated...- Yeah, it was.
0:05:49 > 0:05:54..and it had ownership, the gentlemen's name was on the reverse of the tobacco box.
0:05:54 > 0:05:56But nevertheless, it is period.
0:05:56 > 0:05:59Because sometimes you think, "Oh, it could be a fake."
0:05:59 > 0:06:03- How much did you pay for this? - I paid £14 for four items.
0:06:03 > 0:06:06- And that was one of them?- And that was in the bottom of the box.
0:06:06 > 0:06:08It's wonderful.
0:06:08 > 0:06:13It dates from around 1660 to 1720 and it's spot on. It's not a fake.
0:06:13 > 0:06:17If you had a dozen, you could date them within five years of each other.
0:06:17 > 0:06:19They were sort of in fashion for around 40 years.
0:06:19 > 0:06:21So you could be quite specific about this.
0:06:21 > 0:06:25- All right.- Definitely owned by somebody called IF.
0:06:25 > 0:06:28There's IF there.
0:06:28 > 0:06:31And there's a little tulip there in wriggle work. You see that?
0:06:31 > 0:06:35- That's wriggled into the brass.- Yeah. - And a little heart there.
0:06:35 > 0:06:38They're possibly done in the early 18th century
0:06:38 > 0:06:40but not when this was made.
0:06:40 > 0:06:46And of course, tobacco, prior to sort of 1720, was very expensive.
0:06:46 > 0:06:50- Oh, right.- Hence you had to keep it under lock and key
0:06:50 > 0:06:54and this one, well, obviously there's no escutcheon, there's no key,
0:06:54 > 0:06:56but there's a little code, as you know.
0:06:56 > 0:06:59And if you play around with the half moon,
0:06:59 > 0:07:02play around with these little arrows...
0:07:02 > 0:07:06- And when you get them in the right direction, that opens.- Yeah.
0:07:07 > 0:07:09And there's your vessel for the tobacco.
0:07:09 > 0:07:13- It's a very, very clever little lock. - Yeah, it is.
0:07:13 > 0:07:15The condition of it is worn.
0:07:15 > 0:07:18The one we had on the show a couple of years ago,
0:07:18 > 0:07:21you could see the impress marks in the sun's face and on the moon.
0:07:21 > 0:07:23- It was a little crisper.- Yeah.
0:07:23 > 0:07:25This one is not going to be quite as valuable.
0:07:25 > 0:07:29I think James put something like £400-£600 on that one.
0:07:29 > 0:07:32It sold for around £500, didn't it? Or 580.
0:07:32 > 0:07:35- 640, I think it was.- Oh, was it? Somewhere around there.- Yeah.
0:07:35 > 0:07:39Erm, I think we should put this one into auction
0:07:39 > 0:07:43with a slightly more "come and get me" of 200-300,
0:07:43 > 0:07:45- if you're happy with that. - That's fantastic.
0:07:45 > 0:07:49If you do the 300, it'll topple over that to about 350, 380.
0:07:49 > 0:07:53- That'd be fantastic. - We'll put a reserve on, don't let it go for a penny less
0:07:53 > 0:07:56and hopefully, it'll create a bit of buzz in the sale room.
0:07:56 > 0:07:58- I'd like to see this do the 300 plus. - Yeah.
0:07:58 > 0:08:01- And I shall see you then. - That'd be superb.
0:08:10 > 0:08:14Valerie, thank you for bringing this little treasure along.
0:08:14 > 0:08:17I love spoons and you've brought a cracker along today.
0:08:17 > 0:08:20Can you tell me, where did you get it from?
0:08:20 > 0:08:23My husband bought eleven spoons...
0:08:23 > 0:08:28- and this one was er...- Really? - ..in the lot.
0:08:28 > 0:08:31And he bought them 40 years ago.
0:08:31 > 0:08:35Good grief. Were they a lot money at the time?
0:08:35 > 0:08:40- I think he paid £15 for 11 spoons. - Crikey, crikey.
0:08:40 > 0:08:44- Have you any idea where it was made or when?- I know nothing about it.
0:08:44 > 0:08:47This calls for the eyeglass to come out, now.
0:08:47 > 0:08:51And we've got some marks in the bowl.
0:08:53 > 0:08:55And we've got the standard mark 88,
0:08:55 > 0:09:00which is 88 zolotnik and that tells us that it's Russian.
0:09:00 > 0:09:05And next to that, we've got a small figure of St George on horseback,
0:09:05 > 0:09:07which is the Moscow town mark.
0:09:07 > 0:09:12And then we've got the maker's mark, which is CC.
0:09:12 > 0:09:15Unfortunately, I can't tell you who that is off the cuff
0:09:15 > 0:09:17but I can tell you that it was made in Moscow
0:09:17 > 0:09:21- between about 1880 and 1895. - Oh, that old.
0:09:21 > 0:09:24And it's very typical for a Russian spoon.
0:09:24 > 0:09:27You get two types of decoration, really, on Russian spoons.
0:09:27 > 0:09:31You get niello, which is a black sulphurous material
0:09:31 > 0:09:34which they engrave and rub it in and fire it.
0:09:34 > 0:09:39Or, and to my mind the better and more decorative ones, are enamel.
0:09:39 > 0:09:43And you've got all this wonderful fine enamel decoration.
0:09:43 > 0:09:45This is cloisonne enamel
0:09:45 > 0:09:49and basically all these little cells are made up of fine silver wires
0:09:49 > 0:09:52which have been individually soldered on
0:09:52 > 0:09:53to the body of the spoon.
0:09:53 > 0:09:57- So imagine starting off with a blank spoon...- Mm.
0:09:57 > 0:09:59..and putting each one of those in place.
0:09:59 > 0:10:02It's mind blowing, the amount of work that goes in.
0:10:02 > 0:10:05And then they're filled with different coloured enamels
0:10:05 > 0:10:06and fired in a kiln.
0:10:06 > 0:10:10It's a lovely thing and Russian items have gone up in popularity a great deal
0:10:10 > 0:10:13since your husband bought it 40 years ago.
0:10:13 > 0:10:17But can I ask you now why you've decided to sell it?
0:10:17 > 0:10:23We never look at them. They're away in the safe, so...
0:10:23 > 0:10:26- So what do you do with them? - There's no point, is there?
0:10:26 > 0:10:28- So they might as well go... - Not really.
0:10:28 > 0:10:31Well, if he bought 11 at £40,
0:10:31 > 0:10:35it works out at about, let's say, £4 each.
0:10:35 > 0:10:37It's worth a lot more than £4 now.
0:10:37 > 0:10:41Because the cloisonne's in really super condition,
0:10:41 > 0:10:45I'd be very disappointed if it didn't make £70-£100.
0:10:45 > 0:10:50- And we should certainly put a fixed reserve of £70 on it.- That's fine.
0:10:50 > 0:10:52And if two people really fall in love with it
0:10:52 > 0:10:57and really want a wonderful example of a Russian cloisonne spoon,
0:10:57 > 0:10:59we could do over the 100, maybe 120.
0:10:59 > 0:11:02- So I'll keep my fingers crossed for you.- Thank you.
0:11:02 > 0:11:05- And thank you for bringing me a spoon in.- Thank you.
0:11:11 > 0:11:15- June, this is an interesting selection of pieces.- Yes.
0:11:15 > 0:11:18What can you tell me about them? Are these things you've collected?
0:11:18 > 0:11:21No. These were things that my mother bought
0:11:21 > 0:11:23when she was a dealer in Coventry.
0:11:23 > 0:11:25She came from Oxford with my father
0:11:25 > 0:11:30and my mother pulled back the net curtain of the rented house that they lived in
0:11:30 > 0:11:35and put three items from her wedding presents in the window.
0:11:35 > 0:11:40With the pound that she sold those for, she went to her first auction.
0:11:40 > 0:11:42- Really? And it grew from there. - Yes, it grew from there.
0:11:42 > 0:11:44Let's have a look at these pieces.
0:11:44 > 0:11:48We've got two pairs of hat pins. They're early 20th century.
0:11:48 > 0:11:51- We've seen the date marks - 1908. - Yes.
0:11:51 > 0:11:55Now, they're interesting. You've got the hat-pin market
0:11:55 > 0:11:58- and then you've also got the golfing collectors.- Yes.
0:11:58 > 0:12:00They're a slightly mad lot, I think.
0:12:00 > 0:12:04They say that you either love golf or you hate it.
0:12:04 > 0:12:09So I think that's going to appeal to both of those sectors
0:12:09 > 0:12:10of the market.
0:12:10 > 0:12:13Then we've got this sweet little photograph frame.
0:12:13 > 0:12:16Again, late 19th century, I'd imagine, turn of the century.
0:12:16 > 0:12:20The only trouble with this is we've got a little bit of damage there,
0:12:20 > 0:12:24as you've seen, which does happen with this type of silver
0:12:24 > 0:12:26because it's so very thin when they start with it.
0:12:26 > 0:12:31Which carries us on neatly to this desk blotter or desk folder,
0:12:31 > 0:12:35which is the same technique as the photograph frame
0:12:35 > 0:12:37- but on a larger scale.- Mm.
0:12:37 > 0:12:42And I've had a quick look over it and there doesn't seem to be any damage at all on this,
0:12:42 > 0:12:44which is nice.
0:12:44 > 0:12:47And then we've got this little interesting christening mug,
0:12:47 > 0:12:51which I'm going to ask you, what can you tell me about it?
0:12:51 > 0:12:54It certainly wasn't my christening, I'm afraid.
0:12:54 > 0:12:56I've no idea. I really thought it was Dutch.
0:12:56 > 0:12:59- Maybe I'm wrong. - Well, let's have a look at it.
0:12:59 > 0:13:03If we turn it upside down, we can see the mark underneath.
0:13:03 > 0:13:08- You can just see an AC...- Yes. - ..above another stamp there,
0:13:08 > 0:13:11- which is the stamp for New York. - Oh, wow.- So it's American
0:13:11 > 0:13:15and dates from around the mid 19th century, that sort of period.
0:13:15 > 0:13:18- So it's an interesting piece of American silver.- Yes, yes.
0:13:18 > 0:13:21You don't get to see that much of it, actually.
0:13:21 > 0:13:25- Not hugely valuable, though, but interesting.- But pretty.
0:13:25 > 0:13:28And then we've got these two little scent bottles,
0:13:28 > 0:13:31one which looks as if it's probably continental,
0:13:31 > 0:13:34with a continental silver mount, hence there's no hallmarks,
0:13:34 > 0:13:38which can be common on small pieces of silver from the continent.
0:13:38 > 0:13:43And then this, I suppose it's a Bohemian glass scent bottle.
0:13:43 > 0:13:45I mean, have you had an idea of value?
0:13:45 > 0:13:49- Do you remember what they were marked up for in the shop? - I've no idea.
0:13:49 > 0:13:53- How much do you think?- I suppose if we go through each of them.
0:13:53 > 0:13:55Yes, right.
0:13:55 > 0:14:00- The two pairs of hat pins, they've got to be worth £10-£20 each.- Yes.
0:14:00 > 0:14:04We've got the little photograph frame with the bit of damage.
0:14:04 > 0:14:06- That should be £10.- Yes.
0:14:06 > 0:14:09The two scent bottles that we've mentioned,
0:14:09 > 0:14:13I think again, £10 for the two, that sort of level.
0:14:13 > 0:14:17So we've got 10, 20, 30, 40, 50, 60.
0:14:17 > 0:14:21I would perhaps say 40-60 for the christening,
0:14:21 > 0:14:23so that takes us up to 100.
0:14:23 > 0:14:27- And the blotter's got to be worth 50, 80, maybe £100.- Yes.
0:14:27 > 0:14:32So, I think, as a group, I'd quite like to put an estimate on
0:14:32 > 0:14:35- of £150-£250.- Right. - How do you feel about that?
0:14:35 > 0:14:37Yes, I'd be quite happy with that, I would.
0:14:37 > 0:14:42- Would you like a reserve?- Yes, I would, please.- Yes, very wise.
0:14:42 > 0:14:46- If we set the reserve at £150 with some auctioneer's discretion...- Yes.
0:14:46 > 0:14:48..I'm confident that on the day,
0:14:48 > 0:14:52- we should get the crowd in and get these pieces away.- Very good.
0:14:52 > 0:14:58We'll have to leave this wonderful setting now to see how our items will do at auction.
0:14:58 > 0:15:02Will a last-minute polish have put paid to a good price for Anne's candlesticks?
0:15:02 > 0:15:07At £200-£300, will the bidders see Steve's tobacco box as a pinch?
0:15:08 > 0:15:11It might be little but Valerie's Russian spoon
0:15:11 > 0:15:14is certainly big on style.
0:15:14 > 0:15:16And June's mum had great business acumen
0:15:16 > 0:15:19but will her silver do just as well for her daughter?
0:15:22 > 0:15:25From Coventry, it's just a quick trip down the A46
0:15:25 > 0:15:28to the village of Tiddington, just outside Stratford-upon-Avon,
0:15:28 > 0:15:31where we've come to Bigwood fine art auctioneers.
0:15:31 > 0:15:35Hosting the proceedings today are auctioneers Christopher Ironmonger
0:15:35 > 0:15:37and Stephen Kaye.
0:15:38 > 0:15:41Right, remember those silver candlesticks, the pair?
0:15:41 > 0:15:44How could you forget them? They're just about to go under the hammer.
0:15:44 > 0:15:48We don't have Anne with us today but we've got her daughter, Tracy.
0:15:48 > 0:15:51- Pleased to meet.- You, too. - This is Michael.- Hiya.- Hello.
0:15:51 > 0:15:56Our valuation was 250-350, we've also had a chat to the auctioneer.
0:15:56 > 0:15:58Christopher agreed with the valuation
0:15:58 > 0:16:02but he said you might struggle and if they do go, it's at the lower end.
0:16:02 > 0:16:05- So I take it you've had a word with him.- We did, a little word.
0:16:05 > 0:16:09- You've lowered the reserve. - Oh, that's good news.
0:16:09 > 0:16:13- Usually, the reserves are going up. - What have you changed it to?
0:16:13 > 0:16:15- To 200.- Right, OK.
0:16:15 > 0:16:17Lot number 65 are some candlesticks.
0:16:17 > 0:16:20They're the cast ones.
0:16:20 > 0:16:23I've got a bid here. I can start at £200.
0:16:23 > 0:16:25- Straight in.- That's good.
0:16:26 > 0:16:29On the book at 200. I'm going to sell them.
0:16:29 > 0:16:31Anybody else interested?
0:16:31 > 0:16:34- Straight in and straight out. - Are we all done at £200?
0:16:34 > 0:16:36GAVEL BANGS Blink and you'll miss that one.
0:16:36 > 0:16:40- That was an accurate valuation.- It's a good job we lowered the reserve.
0:16:40 > 0:16:42There was no-one here to bid any higher.
0:16:46 > 0:16:49Right, it's my turn to be the expert. Fingers crossed I get it right.
0:16:49 > 0:16:54- Steve, good to see you again. - Thank you.- We've got that 17th-century brass tobacco box.
0:16:54 > 0:16:58We've seen one on the show before. We've got £200-£300 on this,
0:16:58 > 0:17:02as it has had a bit of extra wriggle work done to it,
0:17:02 > 0:17:05but it's going under the hammer now, so good luck.
0:17:05 > 0:17:10And 560 is the novelty brass tobacco box.
0:17:10 > 0:17:12Interesting little item, this. What am I bid for it?
0:17:12 > 0:17:14A couple of hundred, surely?
0:17:14 > 0:17:17100 for this to get me going.
0:17:17 > 0:17:19100. 100, I'm bid. 120, is it?
0:17:19 > 0:17:22120, 120. 140? 140.
0:17:22 > 0:17:25Will you go 160? At 140 it is.
0:17:25 > 0:17:28- It's not selling.- At 140...
0:17:28 > 0:17:31- Oh, well.- I'm pleased we put a reserve on that.- Yeah.
0:17:31 > 0:17:34- You wouldn't want to let that go at £160, would you?- No.
0:17:39 > 0:17:42Well, stirring things up right now we've got Valerie's spoon.
0:17:42 > 0:17:47I'm joined by Michael, our expert. Your husband has a very good eye.
0:17:47 > 0:17:51I think you could make a healthy profit on this one.
0:17:51 > 0:17:54- Michael's quite confident of £70-£100.- It should do.
0:17:54 > 0:17:57- And you've done some homework. - I promised I'd look up the maker
0:17:57 > 0:18:00and I'm not making it up when I say the maker is Strognanoff.
0:18:00 > 0:18:03- Stroganoff!- Not the meal but the silversmith.
0:18:03 > 0:18:05I promise you it's that one.
0:18:05 > 0:18:08But it's such a pretty spoon, it should do above the high estimate.
0:18:08 > 0:18:11- That's good.- Fingers crossed.
0:18:11 > 0:18:14Lot number 50 is the Russian silver gilt spoon
0:18:14 > 0:18:16with the twist stem.
0:18:16 > 0:18:18Er, 50 quid to kick me off?
0:18:18 > 0:18:21- 50, thank you, 50, I've got. - We're in.
0:18:21 > 0:18:24And 5. 60? And 5? And 70?
0:18:24 > 0:18:27At £65, I've got. Anybody else? At 70 and 5?
0:18:27 > 0:18:31At £70 to the hand. Anybody else?
0:18:31 > 0:18:34Are we all done at £70?
0:18:34 > 0:18:37GAVEL BANGS Well, we got it away. £70.
0:18:37 > 0:18:41- That's brilliant.- That's not bad for a car-boot find all that time ago,
0:18:41 > 0:18:43- for 15-odd pounds.- No, very good.
0:18:43 > 0:18:45- You've got to be happy with that. - Very good.
0:18:51 > 0:18:54Well, it's June's turn now. We've got a mixed bag here, haven't we?
0:18:54 > 0:18:57- We certainly have. - Lovely little lot.
0:18:57 > 0:19:00We need to raise £150-£250, the more the better
0:19:00 > 0:19:03- because you're a bit of a globetrotter, aren't you?- I am.
0:19:03 > 0:19:06- You've just come back from Vancouver. - Yes.
0:19:06 > 0:19:09- Why have you been there? - We have a son there
0:19:09 > 0:19:13- and we have three grandchildren.- Ah. - So we go every year.
0:19:13 > 0:19:15- Oh, fabulous.- It's really wonderful.
0:19:15 > 0:19:20- So you're putting the money towards the trip next year?- Yes.- OK.
0:19:20 > 0:19:23- We certainly are.- Shall we put some pressure on our expert?
0:19:23 > 0:19:27- Thank you very much.- They have been split. We've got £150-£200.
0:19:27 > 0:19:29Yeah, the auctioneer knows his market.
0:19:29 > 0:19:33I think for the later lot he's left the blotter and the christening mug.
0:19:33 > 0:19:37- Yes.- And the earlier lot is the hat pins, the photograph frame
0:19:37 > 0:19:38and the scent bottles.
0:19:38 > 0:19:40Lot number 80.
0:19:40 > 0:19:42Oh, this is a nice mixed lot.
0:19:42 > 0:19:45There's some hat pins fashioned as golf putters,
0:19:45 > 0:19:47unusual sort of thing,
0:19:47 > 0:19:50and there's the little photograph frame
0:19:50 > 0:19:53and other little bits in the lot.
0:19:53 > 0:19:57- I've got some bids.- Ooh, listen. - Is that good?- I'll open at £60.
0:19:57 > 0:19:59- £60.- Yeah. So it's away.- £60.
0:19:59 > 0:20:01Anybody give me 70?
0:20:01 > 0:20:05At 65, 70. And 5?
0:20:05 > 0:20:06At 80? And 5?
0:20:06 > 0:20:0980 down here and I'll take a fiver off anyone else.
0:20:09 > 0:20:12Are we all done at £80?
0:20:13 > 0:20:16- That's OK.- Yeah, that's fine. - That's only the first lot.
0:20:16 > 0:20:18It was estimated at 50, I think.
0:20:18 > 0:20:2185, it's the desk folio.
0:20:21 > 0:20:25Erm, and there's also a mug with it as well.
0:20:25 > 0:20:27How about starting me at 80 quid?
0:20:27 > 0:20:29- 80 quid?- Yeah.
0:20:29 > 0:20:32Thank you. Anybody give me another 5? At 90. And 5?
0:20:32 > 0:20:34And 100? And 10.
0:20:34 > 0:20:36£100 here. 110, 120.
0:20:36 > 0:20:39130? Richard, 140?
0:20:39 > 0:20:41150.
0:20:41 > 0:20:43140 I've got in the front here. Anybody else?
0:20:43 > 0:20:46All done at 140...
0:20:46 > 0:20:48- Yes! £140.- That's good.
0:20:48 > 0:20:50- That's fantastic.- So 220 in all.
0:20:50 > 0:20:52- Happy?- I'm very happy.
0:20:52 > 0:20:56- That was the top end of the estimate. - It was, yes, so I'm happy.
0:20:56 > 0:20:59- I'll get my cased packed. - Get the case packed.- Yes.
0:20:59 > 0:21:02- A bit of shopping in Vancouver. - Of course.
0:21:02 > 0:21:05- If you need someone to carry your bags.- OK, Will.
0:21:05 > 0:21:08- I'm in!- You're in.
0:21:22 > 0:21:25Earlier on, we saw Coventry cathedral packed with hundreds of people,
0:21:25 > 0:21:29antiques everywhere, with all of our cameras and lights.
0:21:29 > 0:21:32But I couldn't resist coming back in a quieter moment,
0:21:32 > 0:21:33just to absorb the atmosphere
0:21:33 > 0:21:36and reflect on a lot of the architectural detail.
0:21:36 > 0:21:41For me, it's one of the most successful and inspirational builds
0:21:41 > 0:21:42of its age.
0:21:42 > 0:21:46It captured the mood of the public at one of the most important times
0:21:46 > 0:21:47in British architecture.
0:21:47 > 0:21:51And to understand why, we've got to start outside.
0:22:05 > 0:22:09These are the skeletal remains of the original St Michael's Cathedral,
0:22:09 > 0:22:12which was built during the late 14th and early 15th century.
0:22:12 > 0:22:15It was destroyed during the Coventry blitz
0:22:15 > 0:22:18on November 14th 1940.
0:22:21 > 0:22:25Tens of thousands of other buildings were damaged or destroyed in Coventry
0:22:25 > 0:22:27the same night
0:22:27 > 0:22:29and over 500 people lost their lives.
0:22:29 > 0:22:34The ruined cathedral at once became a very potent symbol
0:22:34 > 0:22:36of the devastation of war.
0:22:36 > 0:22:38The scars caused by aerial bombing
0:22:38 > 0:22:41were clearly visible in many other cities too,
0:22:41 > 0:22:43and the nation mourned.
0:22:43 > 0:22:45But these feelings of despair soon gave way
0:22:45 > 0:22:48to a strong sense of determination
0:22:48 > 0:22:53and the very next day the decision to rebuild the cathedral was made.
0:22:53 > 0:22:57It was most important and monumental of all the postwar buildings
0:22:57 > 0:23:01and it came to represent the hopes and aspirations
0:23:01 > 0:23:02of a war-torn population.
0:23:04 > 0:23:06At the time, the minister for works said,
0:23:06 > 0:23:10"We cannot tell how many people are waiting in this country
0:23:10 > 0:23:12"and abroad for this church to rise
0:23:12 > 0:23:16"and prove that English traditions live again after the blitz."
0:23:18 > 0:23:23200 architects drew up plans and after months of deliberation,
0:23:23 > 0:23:25the winning submission was chosen.
0:23:26 > 0:23:29Basil Spence's design drew him into the media spotlight
0:23:29 > 0:23:31and he became a household name,
0:23:31 > 0:23:33which was unprecedented for an architect.
0:23:39 > 0:23:42But his design came in for a lot of criticism.
0:23:42 > 0:23:44The traditionalists found it too modern
0:23:44 > 0:23:47and the modernists thought it wasn't modern enough.
0:23:47 > 0:23:49Ironically, it is probably this middle ground
0:23:49 > 0:23:52that made this building such a huge success.
0:23:53 > 0:23:55The work took under seven years to complete
0:23:55 > 0:23:59and Her Majesty the Queen attended the consecration
0:23:59 > 0:24:02on 25th May 1962.
0:24:02 > 0:24:07Everybody flocked to see what was dubbed Britain's first space-age cathedral.
0:24:08 > 0:24:11And walking in here today through these glass doors,
0:24:11 > 0:24:15I can only imagine what the public must've felt
0:24:15 > 0:24:17when they were presented with this.
0:24:17 > 0:24:20What a stunning vista. It's so overwhelming.
0:24:20 > 0:24:24These windows were decorated by the artist John Hutton,
0:24:24 > 0:24:28beautifully etched with images of saints and angels.
0:24:28 > 0:24:29Quite stunning.
0:24:29 > 0:24:33But it's that glass wall that you look through
0:24:33 > 0:24:37that gives you an uninterrupted view of the ruins of the old cathedral.
0:24:37 > 0:24:41And radically, Spence left them there in their entirety
0:24:41 > 0:24:44as a constant reminder of the destruction of war.
0:24:48 > 0:24:52It also offers a powerful connection between old and new,
0:24:52 > 0:24:54traditional and modern,
0:24:54 > 0:24:58a sentiment Spence has continued throughout the building.
0:24:58 > 0:25:02The cathedral is made from sandstone, the same material as the original,
0:25:02 > 0:25:05but whilst the outside is stark and modern,
0:25:05 > 0:25:08the nave has all the proportions and atmosphere
0:25:08 > 0:25:10of a traditional gothic cathedral.
0:25:12 > 0:25:16This gothic style is also reflected in the vaulted ceilings
0:25:16 > 0:25:20but Spence took a thoroughly modern approach to it.
0:25:20 > 0:25:22The folded squares you can see up there
0:25:22 > 0:25:25with the slats of wood that are inset inside them
0:25:25 > 0:25:27aren't actually attached to the roof.
0:25:27 > 0:25:29It's a suspended ceiling, a false ceiling.
0:25:29 > 0:25:34It's very light in structure, which means these stone columns
0:25:34 > 0:25:36aren't actually load bearing
0:25:36 > 0:25:41and I love the way they terminate just off the floor,
0:25:41 > 0:25:44just resting on little tiny brass pins.
0:25:44 > 0:25:48It's so clever. It's almost as if these stone columns are floating.
0:25:48 > 0:25:51But the great thing about the design is,
0:25:51 > 0:25:53wherever you are in the cathedral,
0:25:53 > 0:25:55your view of the altar is never spoiled.
0:25:55 > 0:25:59One of the other key features of the cathedral
0:25:59 > 0:26:03is the use of that most traditional of materials, stained glass.
0:26:03 > 0:26:05In these and other works of art in the building,
0:26:05 > 0:26:08Spence gathered together the foremost artists of the time,
0:26:08 > 0:26:11including John Piper and Graham Sutherland.
0:26:11 > 0:26:15It's a real celebration of British arts and crafts from that period.
0:26:17 > 0:26:20To this day, it remains an important place of pilgrimage
0:26:20 > 0:26:24while continuing to be at the spiritual heart of the community.
0:26:24 > 0:26:26Lay canon Heather Wallace is with me
0:26:26 > 0:26:29to explain why she thinks it's such a special place.
0:26:29 > 0:26:32- Heather, thank you for talking to us today.- Thank you.
0:26:32 > 0:26:34When was your first connection with the cathedral?
0:26:34 > 0:26:39I came to the area in '58, so the building was going up,
0:26:39 > 0:26:40the staff were being appointed.
0:26:40 > 0:26:42There was a lot of controversy.
0:26:42 > 0:26:46Some people thought it was right, some thought it was wrong,
0:26:46 > 0:26:49- but I think it's all right, it's worked.- It's done a good job.
0:26:49 > 0:26:51- I think he's done a tremendous job. - It has worked.
0:26:51 > 0:26:54- There's a wonderful atmosphere, a warmth in here.- Mm.
0:26:54 > 0:26:59- What do you think everybody's impression is as they walk in? - If I take a party around,
0:26:59 > 0:27:03I ask them to be quiet and to feel the silence, feel the size.
0:27:03 > 0:27:05And of course they're moved by the ruins very much.
0:27:05 > 0:27:07Yeah, there's a nice dichotomy.
0:27:07 > 0:27:10You come down the steps out of the sadness, if you like,
0:27:10 > 0:27:13into the hope, which is very important.
0:27:13 > 0:27:17That really does work for me, seeing that, seeing the ruins.
0:27:17 > 0:27:20- Yes, yes. - It's quite a poignant reminder.
0:27:20 > 0:27:23There was a lot of argument about whether they should keep the ruins
0:27:23 > 0:27:27but Basil Spence came up with this idea and it was the right one,
0:27:27 > 0:27:31to have the whole cathedral, part of it ruined and part of it new.
0:27:31 > 0:27:34And we've had people from all over the world come
0:27:34 > 0:27:38and really come to terms with the fact of their own problems with the war
0:27:38 > 0:27:42and you realise that there is always an answer to war,
0:27:42 > 0:27:44there's always an answer to pain
0:27:44 > 0:27:47and you can come in and you can feel that there's hope, really,
0:27:47 > 0:27:51and this is what the new cathedral is, it's hope for the future.
0:27:51 > 0:27:54- Lots of special memories for you? - Lots of special memories.
0:27:54 > 0:27:56We had a Songs Of Praise with Dresden
0:27:56 > 0:27:58and it was out in the ruins
0:27:58 > 0:28:00and it was a very powerful Songs Of Praise
0:28:00 > 0:28:02when you realise that they were then in East Germany
0:28:02 > 0:28:06and the bombing of Dresden and the bombing of Coventry is very much linked
0:28:06 > 0:28:08and we are very close to Dresden.
0:28:08 > 0:28:12The 50th anniversary of the bombing, when we had the Queen Mother
0:28:12 > 0:28:14and the President of West Germany.
0:28:14 > 0:28:18And the codename for the bombing was Moonlight Sonata,
0:28:18 > 0:28:21this is what the Germans used as a codename.
0:28:21 > 0:28:24Our organist played the Moonlight Sonata
0:28:24 > 0:28:27and we had autumn leaves falling onto the altar...
0:28:27 > 0:28:31- Oh, beautiful.- ..one for every person who had died in the bombings.
0:28:31 > 0:28:34So, yeah, lots of memories and lots of happy times, too. Yeah.
0:28:35 > 0:28:38MUSIC: "Moonlight Sonata" by Beethoven
0:29:04 > 0:29:08And what a wonderful privilege to able to hold our valuation day
0:29:08 > 0:29:12in such a remarkable venue, surrounded by the people of Coventry.
0:29:12 > 0:29:13Will is delighted
0:29:13 > 0:29:16when he comes across a piece closely connected to our host city.
0:29:16 > 0:29:20- Well, Nic, thanks for coming in today.- OK.
0:29:20 > 0:29:24And when I found out that we were going to do the valuation day in Coventry,
0:29:24 > 0:29:27one of the things I thought we might get a chance of seeing
0:29:27 > 0:29:30were some Stevengraphs and you've brought one in for us,
0:29:30 > 0:29:32- together with another. - It's a good job I did then!
0:29:32 > 0:29:36- What can you tell me about these? - They're just family pieces.
0:29:36 > 0:29:37They were inherited.
0:29:37 > 0:29:41- Originally they belonged to my great-grandmother.- Right.
0:29:41 > 0:29:45It was in a book of old Coventry and that's where we found them.
0:29:45 > 0:29:48They were in the book. And that was passed to my granddad
0:29:48 > 0:29:51and when he died, they passed the book along again...
0:29:51 > 0:29:55- So it's come down the family. - So it's travelled down. They're family pieces.
0:29:55 > 0:29:57So the Stevens factory
0:29:57 > 0:30:01was originally one of the Coventry silk ribbon manufacturers.
0:30:01 > 0:30:06Now, in the late 1800s, the silk ribbon industry came under pressure
0:30:06 > 0:30:10- from cheap imports coming from outside.- Right.
0:30:10 > 0:30:13So they had to kind of rethink their tack
0:30:13 > 0:30:16and they started producing these woven pictures in silk.
0:30:16 > 0:30:20So they were still using the same technique as weaving silk ribbons
0:30:20 > 0:30:23but instead, they were weaving these pictures in the silk itself.
0:30:23 > 0:30:25Oh, right.
0:30:25 > 0:30:28So, really, when we say a Stevengraph, that's what we mean.
0:30:28 > 0:30:30- We mean a silk woven picture.- OK.
0:30:30 > 0:30:34This one here is what we call a souvenir silk.
0:30:34 > 0:30:37This would originally have been loose, as it is here, or framed.
0:30:37 > 0:30:40These here, there's two here that I think have been stitched together,
0:30:40 > 0:30:43- whether they were always like that, I don't know.- Right.
0:30:43 > 0:30:47We've got a nice touch here in that we've got St Michael's Church,
0:30:47 > 0:30:51- which is outside of the window to my left.- That's right, yeah.
0:30:51 > 0:30:54Not looking quite as grand as it does there
0:30:54 > 0:30:57but nonetheless, you can still recognise the spire, can't you?
0:30:57 > 0:31:00And above that we've got this chap, Rev Widdrington
0:31:00 > 0:31:03and he was the vicar of St Michael's, Coventry.
0:31:03 > 0:31:07- So lovely sort of local touch to those.- OK.
0:31:07 > 0:31:10Now, you say they've come down through your family.
0:31:10 > 0:31:13- Not something you're interested in keeping?- Not really.
0:31:13 > 0:31:15We don't collect anything like that as a family
0:31:15 > 0:31:18and we just thought we'd like to pass them on
0:31:18 > 0:31:23and if anybody's interested in that kind of thing or they collect it, it'll come in handy.
0:31:23 > 0:31:25Well, they are collected.
0:31:25 > 0:31:28Because there were so many different subject matters and designs,
0:31:28 > 0:31:30there's a lot there for people to collect,
0:31:30 > 0:31:35- so people tend to like that.- That's the collectable factor.- Exactly.
0:31:35 > 0:31:40- So have you had any idea of value? - Not at all.- Have you seen similar items sold?- No, never.
0:31:40 > 0:31:43- Well, they're not hugely valuable. - No, no.
0:31:43 > 0:31:48I think we're going to estimate them, I would think, at £30-£50.
0:31:48 > 0:31:50- All right.- How do you feel about that?- Fine.
0:31:50 > 0:31:54- And would you be happy to go without reserve?- Yes.- You would? - That's fine.
0:31:54 > 0:31:58Well, that suits me. We've got a guaranteed sale, shall we say.
0:31:58 > 0:32:02You've decided to sell them, so they're definitely going to go.
0:32:02 > 0:32:0530 to 50. If they don't make the 30, I might have to make it up myself,
0:32:05 > 0:32:09but I'm confident that we'll get them away for you.
0:32:09 > 0:32:11- That'd be brilliant. Thank you. - Thanks, Nic.
0:32:16 > 0:32:18Karen, you've really made my day today,
0:32:18 > 0:32:21bringing this little collection along.
0:32:21 > 0:32:24Can you tell me where they've originally come from?
0:32:24 > 0:32:28They came to me via my father and from his father.
0:32:28 > 0:32:33- Right.- Acquired before 1918, which is when my grandfather died.
0:32:33 > 0:32:36Well, I'd say your grandfather had quite a good eye
0:32:36 > 0:32:37when he was buying these.
0:32:37 > 0:32:41- As you might know, most of these are ivory.- Yes.
0:32:41 > 0:32:45- They're actually all from Japan. - Right.
0:32:45 > 0:32:47And the earliest one is this one here
0:32:47 > 0:32:50and funnily enough, he isn't ivory.
0:32:50 > 0:32:52He's bone.
0:32:52 > 0:32:57And you can tell that because you've got that very coarse, open grain.
0:32:57 > 0:33:01And that is a netsuke. If you were a Japanese gentleman,
0:33:01 > 0:33:03- you wore a robe with no pockets... - Yes.
0:33:03 > 0:33:07- ..and a wide sash round your waist.- Yes.
0:33:07 > 0:33:11So everything you needed was carried in a series of small pouches
0:33:11 > 0:33:15and they're secured by a cord that goes through the sash
0:33:15 > 0:33:19and then to stop it slipping down, you have a toggle or a netsuke.
0:33:19 > 0:33:23After about 1870, Japanese dress was banned,
0:33:23 > 0:33:27so the netsuke carvers thought, "What are we going to do for a living?"
0:33:27 > 0:33:30And they moved on to little carvings like this.
0:33:30 > 0:33:32- Technically, this is still a netsuke.- Right.
0:33:32 > 0:33:35It's got two carved holes for the cord
0:33:35 > 0:33:38but they're just a vestige of what it used to be.
0:33:38 > 0:33:41It's really a little three-dimensional carving.
0:33:41 > 0:33:44We've got a little turtle or a little devil
0:33:44 > 0:33:47being caught under a cabbage leaf
0:33:47 > 0:33:50and it's beautifully and sensitively carved.
0:33:50 > 0:33:53That's a lovely thing. Going on from that,
0:33:53 > 0:33:55this is really super quality.
0:33:55 > 0:33:59And that's a little chap cutting the divisions in a comb.
0:33:59 > 0:34:02- He's a comb maker. We're left with these four...- Right.
0:34:02 > 0:34:05..which are little okimono, little carvings,
0:34:05 > 0:34:08but they're of less good quality.
0:34:08 > 0:34:12And I would imagine that we would put all of those together
0:34:12 > 0:34:13in one lot at auction
0:34:13 > 0:34:16whilst we treat these as separate entities.
0:34:16 > 0:34:19- OK.- So we would say £80-£120 for those,
0:34:19 > 0:34:22- with a fixed reserve of £80.- Right.
0:34:22 > 0:34:26These are a little more speculative and would be individual lots.
0:34:26 > 0:34:32This, because it's bone, even though it's early, £60-£100
0:34:32 > 0:34:33with a £60 reserve.
0:34:33 > 0:34:35It could do a little bit better.
0:34:35 > 0:34:38These two are the stars for me.
0:34:38 > 0:34:46- The oni grasping the little turtle under the leaf, £150-£250...- Right.
0:34:46 > 0:34:48- with a fixed reserve of £150.- OK.
0:34:48 > 0:34:50And this little comb maker,
0:34:50 > 0:34:54even though he's got a slightly broken comb, again...
0:34:54 > 0:34:57Actually, £200-£300 for him,
0:34:57 > 0:35:00with a fixed reserve of £200 because he's so delightful.
0:35:00 > 0:35:04Well, I think.. I normally say I hope these do well at auction,
0:35:04 > 0:35:06I'm sure they will do well at auction
0:35:06 > 0:35:08- and we'll be there to see how well they go.- Fine.
0:35:08 > 0:35:12- Thank you for bringing them in. - It's a pleasure. Thank you.
0:35:23 > 0:35:26Sheila, what an explosion of colour you've brought in.
0:35:26 > 0:35:29I'm glad you like it. It's so misty, though, and soft.
0:35:29 > 0:35:32- Yeah, it really catches the eye. - Yes.
0:35:32 > 0:35:36Anyone who's watching who is aware of this earthenware pottery
0:35:36 > 0:35:40will automatically recognise it as Poole,
0:35:40 > 0:35:43mainly because of this very typical Poole palette,
0:35:43 > 0:35:45where you've got these nice strong colours,
0:35:45 > 0:35:51the design with this strong geometric banding around the vase.
0:35:51 > 0:35:57You've got these geometric, jazzy, stylised leaves and flowers
0:35:57 > 0:35:59and sort of a cloudburst.
0:35:59 > 0:36:03Here we've got the centre bowl, two preserve pots, shall we call them.
0:36:03 > 0:36:06Sugar or marmalade or whatever.
0:36:06 > 0:36:10- It's nice it's still got its wicker handle.- Yes, I rather like that.
0:36:10 > 0:36:11- That's rather nice.- Yes.
0:36:11 > 0:36:13And again, good strong colours,
0:36:13 > 0:36:15that sort of high Art Deco.
0:36:15 > 0:36:19And you must have bought them or did you inherit these pieces?
0:36:19 > 0:36:24No, it was the family, it was in the family when I was little.
0:36:24 > 0:36:27I don't know where my parents got them.
0:36:27 > 0:36:30- So the reason for selling is? - SHE LAUGHS
0:36:30 > 0:36:33- Gas and electricity.- Oh, dear.
0:36:33 > 0:36:36Two words that I'm not keen on, especially with winter on the way.
0:36:36 > 0:36:42I'm not going to say that waffly thing about let somebody else enjoy them.
0:36:42 > 0:36:44- I would like the money. - You want the cash.- Yes.
0:36:44 > 0:36:48- You want the readies. It would be nice to spend it on yourself, though.- Yes.
0:36:48 > 0:36:53- Have you had any idea of value? - Absolutely none at all.
0:36:53 > 0:36:56- None at all.- Never even crossed my mind to think about it.
0:36:56 > 0:36:59Well, I would say these two are the more desirable pieces.
0:36:59 > 0:37:05- Now, they're definitely worth £100-£150 for the two.- Really?
0:37:05 > 0:37:08- That's very good.- And hopefully they'll make a bit more.
0:37:08 > 0:37:10Like I say, they're good strong designs,
0:37:10 > 0:37:12they will be desirable, good shape, as well.
0:37:12 > 0:37:15- This is nice with the twin handles. - Yes, it's a pretty shape.
0:37:15 > 0:37:19Then here, again, you're going to appeal with the preserve pots
0:37:19 > 0:37:22because there are people who collect them.
0:37:22 > 0:37:25I would say you're probably looking at £100-£150 for that lot, also.
0:37:25 > 0:37:27Very nice, very nice.
0:37:27 > 0:37:30So let's split the two. Do you want to put a reserve at 100?
0:37:30 > 0:37:33- I would like a reserve, yes, please. - Very sensible.
0:37:33 > 0:37:35- We'll put 100 on each.- Right. - Yes?- Yes.
0:37:35 > 0:37:41- So £100-£150.- Not bad at all.- So we should get a minimum of £200.- Good.
0:37:41 > 0:37:43- I'll see you there on the day. - Thank you.
0:37:43 > 0:37:46- Fingers crossed we get it away for you.- Keep our fingers crossed.
0:37:46 > 0:37:50Well, let's all keep our fingers crossed as we take our last lots
0:37:50 > 0:37:51to the auction.
0:37:51 > 0:37:54The Stevengraphs might not be Nic's thing
0:37:54 > 0:37:57but Will thinks the Midlands connection will help them fly.
0:37:57 > 0:38:00Michael's convinced Karen's Japanese carvings
0:38:00 > 0:38:02will race out of the auction room.
0:38:02 > 0:38:05And Sheila's hoping the sale of her Poole pottery
0:38:05 > 0:38:07will make a real dent in her fuel bills.
0:38:09 > 0:38:14We've got some local interest. The Coventry silks are about to go under the hammer.
0:38:14 > 0:38:17They belong to Nic who unfortunately can't be here
0:38:17 > 0:38:20but we've got our expert, Will - he's put a no reserve on this.
0:38:20 > 0:38:23Another no reserve. Good job Nic's not here.
0:38:23 > 0:38:26They could go for a fiver and she won't tell you off.
0:38:26 > 0:38:27No, I'm confident in these.
0:38:27 > 0:38:30As you say, local interest, with the Coventry connection.
0:38:30 > 0:38:35- £50?- We've put £30-£50. They've got to be worth 30, they could make 50.- Yes.
0:38:35 > 0:38:40Lot number 485 are the two Stevengraphs,
0:38:40 > 0:38:42regarding the city of Oxford and Coventry.
0:38:42 > 0:38:46- Erm, I've got some bids here on the book.- Oh, great.
0:38:46 > 0:38:49- That always helps. - And I can start at £35.
0:38:49 > 0:38:50I'll take 40 from anybody else.
0:38:50 > 0:38:54I'm on the book at 35. Anyone else?
0:38:54 > 0:38:57All done at £35...
0:38:57 > 0:38:59GAVEL BANGS I'm pleased with that.
0:38:59 > 0:39:03- That's what they're worth.- Yeah. We'll get on the phone to Nic.
0:39:03 > 0:39:06And 20 and 2... I'm out.
0:39:07 > 0:39:11Right, it's now Sheila's turn. We've got some Poole pottery.
0:39:11 > 0:39:14- One large bowl and four little pots, Will?- That's right.
0:39:14 > 0:39:17- We've put a job lot together to keep the value up.- Right.
0:39:17 > 0:39:19- You split them on the day.- Yeah.
0:39:19 > 0:39:21You've got a nice, good-sized bowl there,
0:39:21 > 0:39:24a shallow dish and you've got the other bits as well.
0:39:24 > 0:39:27- It's a lot for your money. - They're pretty.- And practical.
0:39:27 > 0:39:31The first lot, they're nice, slightly earlier ones.
0:39:31 > 0:39:34Nice lot, this. £80 for this one.
0:39:34 > 0:39:4160, then. 60, I'm bid. The bid's there at 65, at 70, 5, 80, 5
0:39:41 > 0:39:4690, 5, is it? At £90, at £90. Are you all finished at £90?
0:39:46 > 0:39:48- Are you all done? All done? - GAVEL BANGS
0:39:48 > 0:39:51- The hammer's gone down but he didn't sell them.- I don't think he did.
0:39:51 > 0:39:55- Didn't he sell it?- We've got a fixed reserve of £100...- Yes.
0:39:55 > 0:39:57- ..as agreed with Will. - Yes, yes.
0:39:57 > 0:39:59Selection of '60s Poole earthenware.
0:39:59 > 0:40:02All as described there. Rather a nice lot, this.
0:40:02 > 0:40:05There we are. Who's got 70 to get me started?
0:40:05 > 0:40:0960, then, come on. 60, I'm bid, 60 and 5, do I hear?
0:40:09 > 0:40:1265, 70, now. 75, 80, is it?
0:40:12 > 0:40:1580, 85. 85. Will you go 90?
0:40:15 > 0:40:17At 85 it is. At £85.
0:40:17 > 0:40:20Are we all finished at £85? All done?
0:40:20 > 0:40:23GAVEL BANGS They were sitting on their hands.
0:40:23 > 0:40:26They've probably got bills to pay as well.
0:40:26 > 0:40:30- Yeah, probably.- They're not buying for the reason that you're selling.
0:40:30 > 0:40:33It's a confusing old world, isn't it?
0:40:37 > 0:40:39Are you sure?
0:40:39 > 0:40:42Next up, Karen's netsuke. It is a touch of the Orient.
0:40:42 > 0:40:44Lovely Japanese carvings.
0:40:44 > 0:40:48- The detail is superb on some of these, you've got to agree.- I do.
0:40:48 > 0:40:51You must've looked at them and mused over them.
0:40:51 > 0:40:54- Unfortunately, they've always been hidden away.- In a box.
0:40:54 > 0:40:58- They've never been on show. - You've split them into four lots.
0:40:58 > 0:41:01- Talk us quickly through those. - The little monkey bone netsuke,
0:41:01 > 0:41:04which you can tell because it's flecked,
0:41:04 > 0:41:08that's the most esoteric of the four and that might struggle.
0:41:08 > 0:41:11But the other three are fine, Japanese ivory carvings.
0:41:11 > 0:41:14I had a chat to the auctioneer before the sale started
0:41:14 > 0:41:17and we both loved the carpenter, the guy with the saw.
0:41:17 > 0:41:20- Yes, the comb maker.- Oh! - He's making combs.
0:41:20 > 0:41:23And lot 365 is the carved bone netsuke,
0:41:23 > 0:41:26fashioned as a seated monkey wearing an overcoat.
0:41:26 > 0:41:2840, I'm bid, 40 and 5. 50, is it?
0:41:28 > 0:41:3150 and 5, do I hear? 60.
0:41:31 > 0:41:34And 5. On this phone now, at 60. I'm going to sell it to them.
0:41:34 > 0:41:36All done?
0:41:36 > 0:41:38The first's one sold for 60. Here's the second.
0:41:38 > 0:41:4020th-century Japanese ivory okimono,
0:41:40 > 0:41:43the man with the body of a monkey and three seated figures.
0:41:43 > 0:41:46Who's got 50 for this? 50.
0:41:46 > 0:41:4950, 60, 70. 80?
0:41:49 > 0:41:5170, over there. At 70. Back of the room at 70.
0:41:51 > 0:41:53- Here, 80.- 80 on that phone.
0:41:53 > 0:41:5780. Would you like 90? At 80. On this telephone at £80.
0:41:57 > 0:41:59Last chance. I'm going to sell it at 80.
0:41:59 > 0:42:01- The bid's up here. - GAVEL BANGS
0:42:01 > 0:42:04- Yes.- Just made it.- Here's the third.
0:42:04 > 0:42:08Lot 367, an ivory Japanese carved okimono, an artisan,
0:42:08 > 0:42:11a seated worker with his saw on a block.
0:42:11 > 0:42:14150? 150, I'm bid. 160, is it?
0:42:14 > 0:42:18At £150. At 160. 160, 170. 180?
0:42:18 > 0:42:20180, 190. 190, 200?
0:42:20 > 0:42:23At £190. Are we all finished?
0:42:23 > 0:42:25Are you sure?
0:42:25 > 0:42:29- GAVEL BANGS - Yes!- Fourth and final one.
0:42:29 > 0:42:31A little monster pulling a turtle.
0:42:31 > 0:42:35Who's going to start me at £100? Straight off at 100. 110.
0:42:35 > 0:42:38120? 120. 130, now.
0:42:38 > 0:42:41- Come on, come on.- £130, there.
0:42:41 > 0:42:44- 130, 140?- 140? Yes.
0:42:44 > 0:42:46140, 150? 150. 160?
0:42:46 > 0:42:47- Yes.- 160. 170?
0:42:47 > 0:42:50- 180?- Yes. - 180. Will you go 200, madam?
0:42:50 > 0:42:52- 200. 220?- Yes.- 220.
0:42:52 > 0:42:54240? 240.
0:42:54 > 0:42:58- 260?- 260? Yes.- 260.
0:42:58 > 0:43:00280? 280. 300?
0:43:00 > 0:43:03- Yes.- 300. 320? 320.
0:43:03 > 0:43:05- 340 on the top phone?- Yes.- 340. 360?
0:43:05 > 0:43:10340. On the top phone at 340. Any further advance on 340?
0:43:10 > 0:43:11GAVEL BANGS
0:43:11 > 0:43:15- Oh, brilliant!- A fantastic result. - Thank you.- I tell you, Karen,
0:43:15 > 0:43:19- you've got £670.- Brilliant. - That is fantastic.
0:43:19 > 0:43:22- Quality always sells. - Yes, that's the mantra.
0:43:22 > 0:43:24Remember that. Quality always sells.
0:43:24 > 0:43:27What a fantastic day we've had at Bigwood's auction rooms.
0:43:27 > 0:43:30I think that was the final act from Stratford-upon-Avon,
0:43:30 > 0:43:33so from all of us here, it's cheerio until the next time.
0:43:56 > 0:43:58Subtitles by Red Bee Media Ltd
0:43:58 > 0:44:00E-mail subtitling@bbc.co.uk