Browse content similar to Blackburn. Check below for episodes and series from the same categories and more!
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This Lancashire town has been home to lots of famous people and played host to many as well, | 0:00:04 | 0:00:11 | |
including Mahatma Gandhi and Italian violinist Nicolo Paganini, | 0:00:11 | 0:00:16 | |
but today it's Flog It's turn. Welcome to Blackburn! | 0:00:16 | 0:00:20 | |
Home-grown talent includes Russell Harty, Superbike champion Carl Fogarty | 0:00:42 | 0:00:48 | |
and fashion designer Wayne Hemingway. And a well-known face was Labour's Barbara Castle, | 0:00:48 | 0:00:55 | |
who was the town's MP for more than 30 years, becoming Baroness Castle of Blackburn in 1990. | 0:00:55 | 0:01:02 | |
I wonder if we'll find any famous names linked to today's antiques. | 0:01:03 | 0:01:08 | |
There's only one way to find out - get along to King George's Hall, our venue for today. | 0:01:08 | 0:01:15 | |
Where I'm joined by Adam Partridge and Michael Baggott, | 0:01:16 | 0:01:21 | |
who are already rummaging through all the bags and boxes in search of some big names. | 0:01:21 | 0:01:28 | |
No prizes for guessing where I am, but what does Accrington have in common with New York? | 0:01:30 | 0:01:36 | |
Well, here's a clue. It involves another famous name. | 0:01:36 | 0:01:41 | |
In fact, it's a German name associated with our first item, as Michael is about to reveal. | 0:01:41 | 0:01:48 | |
-Betty... -Yes. -These wonderful, rather in-your-face copper vases! | 0:01:48 | 0:01:54 | |
-They're not something you'd walk by. -No, they're not. -Are they family things? | 0:01:54 | 0:02:00 | |
-No, just got them yesterday. -You got them yesterday? -Yes. | 0:02:00 | 0:02:04 | |
-How did you get them yesterday? -Each Saturday we go shopping in different towns. | 0:02:04 | 0:02:10 | |
-We got them near Wigan yesterday. -In antique shops...? -A charity shop. | 0:02:10 | 0:02:15 | |
Oh, my word. Charity shops. Still, I say that, | 0:02:15 | 0:02:19 | |
but charity shops now can be quite expensive. | 0:02:19 | 0:02:23 | |
Can I ask the rude question, the one everyone's asking at home? How much? | 0:02:23 | 0:02:28 | |
-£10. -Good grief. They say there are no more bargains, but I think they are out there. | 0:02:28 | 0:02:34 | |
-We found one yesterday. -I think you did. Well, if they were nothing more than a pair of decorative | 0:02:34 | 0:02:40 | |
copper and brass vases, £10 is still too little to pay for them, | 0:02:40 | 0:02:46 | |
but we can see this wonderful Art Nouveau form. | 0:02:46 | 0:02:50 | |
We've got these sensuous, naturalistic whiplash handles, | 0:02:50 | 0:02:55 | |
with all these tendrils going off. | 0:02:55 | 0:02:57 | |
And then we've got, I have to say, a machine-done rather than hand-hammered finish. | 0:02:57 | 0:03:03 | |
And again the foliate stems, | 0:03:03 | 0:03:06 | |
the handles are echoed there. | 0:03:06 | 0:03:10 | |
If we turn them over, we might be lucky. 125. | 0:03:10 | 0:03:15 | |
-That's the pattern number. And we've got a little ostrich in a diamond. Do you know what that means? -No. | 0:03:15 | 0:03:21 | |
-No idea. -Not that they were made in Australia! | 0:03:21 | 0:03:25 | |
-It's an early mark for the WMF factory. The Wurttemberger Metallwaren Fabrik. -Yes. | 0:03:27 | 0:03:33 | |
So they're German. There were made in about 1900, 1910. | 0:03:33 | 0:03:38 | |
The only downside is that everybody loves the highly-polished pewter from WMF. It looks like silver. | 0:03:38 | 0:03:46 | |
The mixed metals, the copper and brass, is not so keenly sought after. | 0:03:46 | 0:03:52 | |
-Oh. -But when you've only paid £10 for them, you haven't got to worry. | 0:03:52 | 0:03:58 | |
I think bearing that in mind, I would put these into auction at... | 0:03:59 | 0:04:04 | |
-£60-£100. -That's lovely. -Let's put a fixed reserve on of £50, so they don't make any less. | 0:04:04 | 0:04:11 | |
-If they go for that, you've quadrupled your money. -Yes. -That's a good return. | 0:04:11 | 0:04:17 | |
I think they should do really well. They've got a lot of style. | 0:04:17 | 0:04:21 | |
-Let's hope on a good day they make £100. -Lovely. Thank you very much. | 0:04:21 | 0:04:27 | |
-Welcome to Flog It, gentlemen. You're... -Sidney. -And... -Will. -Sidney and Will. Are you related? | 0:04:36 | 0:04:42 | |
-Yes, we're brothers. -Excellent. | 0:04:42 | 0:04:45 | |
You've brought in this tea service. A joint inheritance, is it? | 0:04:45 | 0:04:49 | |
-Yes. -Well, it will be. My mum's still alive. | 0:04:49 | 0:04:53 | |
I didn't like to jump the gun. But if you're two brothers with a tea service, it must be a family thing. | 0:04:53 | 0:05:01 | |
-So it's Mum's. -Yes. -OK. And how long has Mum had it? | 0:05:01 | 0:05:05 | |
-70 years. -70 years. How did she get it? | 0:05:05 | 0:05:09 | |
-She was given it by an aunt. -OK. -On her 16th birthday. | 0:05:09 | 0:05:14 | |
Do you know where the aunt got it from? Have you tried to trace it? | 0:05:14 | 0:05:18 | |
Well, my mum's told us the story that it was brought as a gift for the family | 0:05:18 | 0:05:25 | |
by an Irish horse dealer, who came over supplying Liverpool Police with horses. | 0:05:25 | 0:05:32 | |
-Oh, really? -A gift to the family. -That's a very plausible story. | 0:05:32 | 0:05:37 | |
It is Irish porcelain. The Belleek factory. | 0:05:37 | 0:05:42 | |
-Yep. -Famous for its translucent qualities. -It is. | 0:05:42 | 0:05:46 | |
-And that it's easily breakable! I'm not going to demonstrate that... -I hope not! | 0:05:46 | 0:05:52 | |
But the translucence of it. It's really very fine bone china. | 0:05:53 | 0:05:58 | |
-And on the bottom here you've got the Belleek mark. -Yep. | 0:05:58 | 0:06:02 | |
It's the second period black mark. They've evolved through the ages | 0:06:02 | 0:06:07 | |
and turned from black to green. This is post-1891 because they've added Ireland on. | 0:06:07 | 0:06:13 | |
Without Ireland, it's pre-1891. | 0:06:13 | 0:06:15 | |
This is your second period, so it's in the collector's bracket for an old piece there. | 0:06:15 | 0:06:22 | |
-Any idea what it's worth? -Em, well... | 0:06:22 | 0:06:26 | |
-Possibly 300 plus? -Yeah. I think that may be slightly hopeful. | 0:06:26 | 0:06:31 | |
-I was thinking £200-£300. -Right. -I think that's probably a realistic starting point. | 0:06:31 | 0:06:38 | |
-Does that sound all right with you? -Sounds fine, yes. | 0:06:38 | 0:06:42 | |
I do advise a reserve of 200. I think any less than that and it's probably best to... | 0:06:42 | 0:06:49 | |
-My mum wouldn't want it to go too cheap. -Don't upset Mum. -Definitely not. | 0:06:49 | 0:06:54 | |
-Will she do anything specific with the money? -Home improvements. It'll go towards some improvements. | 0:06:54 | 0:07:01 | |
-Well, it's a lovely shape, lovely design. Let's hope it finds a good home at the auction. -I'm sure. | 0:07:01 | 0:07:07 | |
-Thanks for coming. -Thank you. | 0:07:07 | 0:07:11 | |
-Don't you just love him? I've got three sisters here. Help me with the names. -Josie. | 0:07:15 | 0:07:21 | |
-Josie. -Susan. -Susan. | 0:07:21 | 0:07:23 | |
-Pauline. -And Pauline. Three in the family or more? | 0:07:23 | 0:07:27 | |
Five of us altogether. We have another sister and a brother. | 0:07:27 | 0:07:32 | |
-OK. So all five of you played with this bear at some stage. -Albert. | 0:07:32 | 0:07:37 | |
-He's called Albert? -He is. | 0:07:37 | 0:07:39 | |
We've started with Albert's good side. He only has one ear. | 0:07:39 | 0:07:44 | |
We used to ride him as children and we used to use his ears as handlebars, unfortunately. | 0:07:44 | 0:07:50 | |
-So one fell off. -Somewhere along the line, yes. | 0:07:50 | 0:07:55 | |
It's a good job this ear is intact. Because that's the ear with the all-important Steiff stud. | 0:07:55 | 0:08:03 | |
-You know it's there. -Yes. -You pointed it out to me. | 0:08:03 | 0:08:07 | |
It's just inside there. | 0:08:07 | 0:08:09 | |
Where is it? Just there. | 0:08:09 | 0:08:12 | |
And that says Steiff on it. That puts the value up. It's the Rolls Royce of teddy bears. | 0:08:12 | 0:08:17 | |
He's got all the attributes you want of a good Steiff bear. | 0:08:17 | 0:08:21 | |
Good colour, that cinnamon colour. He's got his hump still. | 0:08:21 | 0:08:26 | |
He's got his original glass eyes. He's got a great long nose. | 0:08:26 | 0:08:31 | |
There's one little surprise left. He's still got his growl. | 0:08:31 | 0:08:35 | |
-Yes. -Who wants to pull it for the last time? | 0:08:35 | 0:08:39 | |
For the last time! | 0:08:39 | 0:08:42 | |
-BEAR GROWLS -Maybe you'll get a go in the auction room as well. | 0:08:42 | 0:08:47 | |
Now this is, I would say, 1950s. Would that correlate to when you had it? | 0:08:47 | 0:08:54 | |
-Somewhere around there? -I think so. | 0:08:54 | 0:08:57 | |
Late '40s maybe? '50s? | 0:08:57 | 0:09:00 | |
-He was at Grandma's. -It looks it. The wheels on this | 0:09:00 | 0:09:04 | |
and that H framework look to be typical 1955, somewhere around there. | 0:09:04 | 0:09:11 | |
-I think we'll put him into auction, if it's OK with you, with a value of £200-£300. -Right. | 0:09:11 | 0:09:17 | |
-Hopefully, we'll get that top end. -Yes. -Great. -And all the money will be divided up? | 0:09:17 | 0:09:22 | |
Yes, we'll probably go out and have a nice meal. | 0:09:22 | 0:09:27 | |
-That would be nice. -I'm feeling sorry for him now. You're off to a new home, mate! | 0:09:27 | 0:09:34 | |
If I turn him round, do you feel guilty now? | 0:09:34 | 0:09:38 | |
-Now we've got his bad side. He'll feel grumpy cos he's on camera. -BEAR GROWLS | 0:09:38 | 0:09:44 | |
-Norma, how are you today? -I'm fine, thank you. -Good. Now... | 0:09:49 | 0:09:53 | |
-where did you get this little piggy from? -It belonged to my mother-in-law. | 0:09:53 | 0:09:57 | |
And she bought it at a jumble sale. | 0:09:57 | 0:09:59 | |
-Never! -Mm-hm. -Really? -Yes. | 0:09:59 | 0:10:02 | |
-How long ago? -About four years ago. -No! | 0:10:02 | 0:10:05 | |
How much was it? | 0:10:05 | 0:10:07 | |
-50p. -And she bought it because she liked it or because she knew it was Wemyss Ware? | 0:10:07 | 0:10:12 | |
-Um...because she liked it. -Really? -Mmm. -Well, that's the best reason to buy something, isn't it? -It is. | 0:10:12 | 0:10:17 | |
So...has she passed it onto you, or...? | 0:10:17 | 0:10:19 | |
No, it's still my mother-in-law's. | 0:10:19 | 0:10:21 | |
-OK. Do you know anything about it yourself? -Not really. | 0:10:21 | 0:10:25 | |
So you brought it along to Flog It, | 0:10:25 | 0:10:27 | |
to see if it's owt or nowt. | 0:10:27 | 0:10:29 | |
-Mmm, yes. -OK. | 0:10:29 | 0:10:30 | |
Well...it's owt. | 0:10:30 | 0:10:32 | |
Mmm! THEY CHUCKLE | 0:10:32 | 0:10:34 | |
It's a good thing. It's a Wemyss pig. Made in Scotland. | 0:10:34 | 0:10:37 | |
Wemyss started at the end of the 19th century | 0:10:37 | 0:10:39 | |
and they made loads of pigs, with different, varying designs. | 0:10:39 | 0:10:42 | |
-This one has your shamrock design on it. -Yeah. | 0:10:42 | 0:10:46 | |
-And very collectable things in their own right. -Mmm. | 0:10:46 | 0:10:50 | |
And it's always clearly marked. | 0:10:50 | 0:10:53 | |
There you've got the Wemyss stamp. And this oval | 0:10:53 | 0:10:56 | |
printed mark is the retailers, Thomas Goode and Co, | 0:10:56 | 0:11:00 | |
who were a firm in London that retailed all the Wemyss pottery. | 0:11:00 | 0:11:04 | |
So we've got good right markings on it, and the condition appears to be excellent as well. | 0:11:04 | 0:11:09 | |
Which is also quite unusual, because these are very prone to damage, particularly around the ears. | 0:11:09 | 0:11:14 | |
And the trotters. | 0:11:14 | 0:11:16 | |
-Yeah. -So...she's selling it because...? | 0:11:16 | 0:11:20 | |
Well, she has a lot of pottery and a lot of things, so she's just selling it to... | 0:11:20 | 0:11:24 | |
-So it's just one ornament out of many on the shelf... -Yes, it is. | 0:11:24 | 0:11:28 | |
-So...any idea what it's worth? -I've no idea, really, no. | 0:11:28 | 0:11:32 | |
Well, Wemyss is pretty highly prized at auction. If I was to be very realistic, I'd put £200-300, | 0:11:32 | 0:11:39 | |
but really, I think it'll make more than that. | 0:11:39 | 0:11:42 | |
-Yeah, brilliant. -How does that sound? | 0:11:42 | 0:11:44 | |
-Fantastic. -Yeah? | 0:11:44 | 0:11:45 | |
-Yeah. -Good. She's smiling! | 0:11:45 | 0:11:47 | |
Excellent. I would say we'll put a reserve on it. £200 fixed. | 0:11:47 | 0:11:51 | |
-Whatever happens, it shouldn't sell for less than that. -Right. | 0:11:51 | 0:11:56 | |
D'you think there'll be a little bit for Norma for bringing it along? | 0:11:56 | 0:12:00 | |
-Er, maybe. Maybe. -Let's hope so. Let's hope she's watching. | 0:12:00 | 0:12:03 | |
-What's her name? -Olive. -Hi, Olive! Nice pig, good find. | 0:12:03 | 0:12:06 | |
See you at the auction. | 0:12:06 | 0:12:08 | |
Jo, I suppose I should say, "Stand and deliver!" You've brought this along today. | 0:12:15 | 0:12:21 | |
Can I ask what you are doing with such a gruesome weapon as this? | 0:12:21 | 0:12:26 | |
I found it, after my dad died, in the bottom of his drawer. | 0:12:26 | 0:12:30 | |
Not really sure where he got it from, but it might have been left to him. | 0:12:30 | 0:12:35 | |
-So down through the family. -Could be. We'd never, ever seen it. | 0:12:35 | 0:12:40 | |
-It was never put on show. -Any idea when it was made? Where? | 0:12:40 | 0:12:44 | |
All I know is it's probably an 18th-century officer's pistol. | 0:12:44 | 0:12:49 | |
-That's what I've been told. -Not a bad punt. | 0:12:49 | 0:12:53 | |
The Pirates of the Caribbean have something similar! | 0:12:53 | 0:12:57 | |
We all learn from film and television. It's slightly later than that period. | 0:12:57 | 0:13:02 | |
It's early 19th century. And the reason we can tell | 0:13:02 | 0:13:07 | |
is sometimes we're lucky and the trigger guard is made of silver with a full set of hallmarks. | 0:13:07 | 0:13:13 | |
In this case, all the furniture of the trigger guard, escutcheon plate, housing for the ramrod, | 0:13:13 | 0:13:20 | |
they're all in brass, but all nicely engraved. If we look at that first, | 0:13:20 | 0:13:25 | |
we've got a little sunburst there. And then we've got trophies. | 0:13:25 | 0:13:29 | |
We've got the Union Jack and a drum and trophies of war. | 0:13:29 | 0:13:34 | |
-What's most important, we've got the name HW Mortimer. -Right. | 0:13:34 | 0:13:38 | |
In terms of early 19th century gunmakers, if we compared it to cars today, | 0:13:38 | 0:13:44 | |
-Mortimer were the Ferrari... -Ooh! -..of gunmakers. | 0:13:44 | 0:13:48 | |
He was working at 89 Fleet Street in London. | 0:13:48 | 0:13:54 | |
And he was gunsmith to George III. | 0:13:54 | 0:13:56 | |
So he was pretty much top of the tree. | 0:13:56 | 0:14:00 | |
This, having said that, isn't one of his best pistols. | 0:14:00 | 0:14:05 | |
-It's by a very, very good maker, but... -One of the more basic range. -A basic pistol. | 0:14:05 | 0:14:10 | |
The other thing is it has got quite a lot of faults. We've got quite a bit of corrosion here. | 0:14:10 | 0:14:17 | |
We've got a few knocks and, most importantly, | 0:14:17 | 0:14:21 | |
the bit wot holds the flint, that makes it go bang, isn't there any more. | 0:14:21 | 0:14:27 | |
This is a flint lock pistol that would have fired a flint | 0:14:27 | 0:14:32 | |
-on that strike plate with igniting powder there. -OK. -Any idea what it's worth? | 0:14:32 | 0:14:38 | |
-No. -A ten-pound note? Twenty-pound note? -Probably 50. | 0:14:38 | 0:14:42 | |
-£50. -Because of the heaviness of it. -I've got my wallet... No. | 0:14:42 | 0:14:47 | |
I think we should certainly put it into auction, with that name, | 0:14:47 | 0:14:52 | |
-for £200-£300. -Right. OK. -We should put a fixed reserve of £180 on it. -OK. | 0:14:52 | 0:14:59 | |
-And let's hope it stands and delivers at the auction. -Great. | 0:14:59 | 0:15:03 | |
I think we've found some cracking antiques today. It's time we put our valuations to the test. | 0:15:09 | 0:15:15 | |
So I have left the valuation day and I've walked, on foot, across the border into Yorkshire | 0:15:15 | 0:15:21 | |
and we've found ourselves at the Calder Valley Auction Rooms. | 0:15:21 | 0:15:25 | |
It's an old converted mill house and look - we ARE here today! | 0:15:25 | 0:15:30 | |
On the rostrum is auctioneer Ian Peace. While I get in position, | 0:15:30 | 0:15:35 | |
I'll leave you with a quick rundown of all the items going under the hammer. | 0:15:35 | 0:15:41 | |
Our owners have usually owned their antiques for quite some time, but not Betty's £10 copper vases. | 0:15:41 | 0:15:48 | |
They're not something you'd walk by. Are they family things? | 0:15:48 | 0:15:52 | |
No, I just got them yesterday. | 0:15:52 | 0:15:55 | |
By contrast, brothers William and Sidney's Belleek tea seat has been their mum's for 70 years. | 0:15:55 | 0:16:01 | |
But now she needs the cash. | 0:16:01 | 0:16:03 | |
Adam can't believe that Norma's mother-in-law found this Wemyss pig in such a humble location. | 0:16:05 | 0:16:10 | |
-She bought it at a jumble sale. -Never! -Mmm. | 0:16:10 | 0:16:13 | |
-Really? -Yes. -How long ago? | 0:16:13 | 0:16:15 | |
-About four years ago. -No. | 0:16:15 | 0:16:17 | |
-How much was it? -50p. | 0:16:17 | 0:16:20 | |
Sisters Susan, Josie and Pauline grew up with their bear, Albert. | 0:16:20 | 0:16:24 | |
We used to ride him as children and we used to use his ears as handlebars, unfortunately. | 0:16:24 | 0:16:31 | |
-So one fell off. -Somewhere along the line, yes. | 0:16:31 | 0:16:35 | |
But the vital Steiff tag had survived! | 0:16:35 | 0:16:39 | |
Another great survivor is this early 19th century pistol belonging to Jo, | 0:16:39 | 0:16:43 | |
made by another famous name, HW Mortimer. | 0:16:43 | 0:16:47 | |
If we compared it to cars today, | 0:16:47 | 0:16:50 | |
-Mortimer were the Ferrari... -Ooh! -..of gunmakers. | 0:16:50 | 0:16:55 | |
Let's hope it puts our bidders' wheels in a spin! | 0:16:55 | 0:16:59 | |
First up today is Betty's charity shop find. | 0:16:59 | 0:17:03 | |
It's those two lovely WMF vases, the copper ones. They're stunning. | 0:17:05 | 0:17:10 | |
Michael, you put £100-£200 on these. How much did you get them for? | 0:17:10 | 0:17:14 | |
-£10. -£10! You see, it IS all out there. In Wigan? | 0:17:14 | 0:17:18 | |
-Yes. A charity shop. -Do you go there often? -We go to different towns every Saturday. -Do you? | 0:17:18 | 0:17:24 | |
-To the charity shops? -Yes. -I couldn't get the precise location! -We need the postcode. -We do. | 0:17:24 | 0:17:31 | |
-Can you make much money from doing that? -Well, we usually buy what we like. -Oh, I see. | 0:17:33 | 0:17:40 | |
-And you keep it. -And keep it. -This is the first thing you're selling. | 0:17:40 | 0:17:44 | |
-You got this the day before our valuation day. -Yes. -Let's hope we get that £200 top end. | 0:17:44 | 0:17:50 | |
It's WMF. It's quality. | 0:17:50 | 0:17:52 | |
A pair of Art Nouveau design beaten copper vases. There we are. | 0:17:52 | 0:17:57 | |
Who'll open me at £50? | 0:17:57 | 0:18:00 | |
50 I'm bid. At 50. | 0:18:00 | 0:18:02 | |
55. 60. | 0:18:02 | 0:18:05 | |
And 5. 70. | 0:18:05 | 0:18:07 | |
And 5. 80. And 5. | 0:18:07 | 0:18:10 | |
85. The lady's bid at £85. Have you all done at £85? | 0:18:10 | 0:18:15 | |
-Sold. -Fantastic. All for a tenner. -Did you polish them up like that? | 0:18:16 | 0:18:21 | |
-No, Billy did. -You've got to give him £10 for that. | 0:18:21 | 0:18:25 | |
-They are gleaming. Aren't they? -Stunning. | 0:18:25 | 0:18:29 | |
Look, congratulations, Betty. There is commission to pay, whether you buy or sell. | 0:18:29 | 0:18:36 | |
-But I think that's a nice meal out for you and hubby. -That's true. | 0:18:36 | 0:18:41 | |
I've just been joined by William and Sidney, selling the Belleek. | 0:18:47 | 0:18:51 | |
It's early and we've got £200-£400 on this. Why are you selling this? | 0:18:51 | 0:18:56 | |
We've just moved from a large farmhouse to a house half the size. | 0:18:56 | 0:19:00 | |
-And my mum daren't wash it. -No! You can't wash or clean Belleek! -It's a bit of a liability. | 0:19:00 | 0:19:07 | |
-So we've decided to let someone else enjoy it. -OK. | 0:19:07 | 0:19:11 | |
Lot 603. A Belleek porcelain 15-piece tea service. | 0:19:11 | 0:19:16 | |
Attractive teapot included. Lot 603. | 0:19:16 | 0:19:20 | |
Open this at £100, then. £100. | 0:19:20 | 0:19:23 | |
At 120. I have 140. 160. | 0:19:23 | 0:19:26 | |
180. And 200. | 0:19:26 | 0:19:28 | |
At £200. 10 anywhere? It's going for £200. | 0:19:28 | 0:19:32 | |
At £200. First and last time. | 0:19:32 | 0:19:36 | |
It's gone. That was short and sweet. Straight in and straight out. | 0:19:36 | 0:19:40 | |
-Not a lot of competition, but it's gone. -Someone else can enjoy it. | 0:19:40 | 0:19:45 | |
-And have the problems cleaning it! -That's what you really mean! Be honest. | 0:19:45 | 0:19:51 | |
"I want someone else to enjoy it." You just don't want to take it home! | 0:19:51 | 0:19:56 | |
Now it's my turn to be the expert. We've got two of the three sisters, Josie and Sue. | 0:20:00 | 0:20:06 | |
Unfortunately, Pauline can't be with us. Couldn't get the day off work. | 0:20:06 | 0:20:11 | |
But we do have Albert the Bear! And he's looking stunning. | 0:20:11 | 0:20:16 | |
Oh, dear. This is a sad moment, parting with things like this. | 0:20:16 | 0:20:20 | |
I wouldn't do it, but I know you've got to split the money up, so poor old Albert goes under the hammer. | 0:20:20 | 0:20:26 | |
Right now. | 0:20:26 | 0:20:28 | |
Now we have Albert the Bear, the Steiff push along plush bear. | 0:20:28 | 0:20:33 | |
I'm opening this at £100. At 100. And 10. 120. | 0:20:33 | 0:20:37 | |
130. 140. At 140. 150. | 0:20:37 | 0:20:40 | |
160. At £160. 170. At 170. 180. | 0:20:40 | 0:20:45 | |
190. At 200, do I see? | 0:20:45 | 0:20:47 | |
At £190. At £190. At £200. At £200. | 0:20:47 | 0:20:52 | |
210. At £210. | 0:20:52 | 0:20:55 | |
At the back of the room at 210. Are you all done? | 0:20:55 | 0:20:59 | |
It's selling at £210. First and last time. ALBERT GROWLS | 0:20:59 | 0:21:03 | |
Awww! He growled as he went. Oh, brilliant. | 0:21:03 | 0:21:08 | |
Oh, dear. Isn't that lovely? | 0:21:09 | 0:21:11 | |
Just within estimate. A bit of damage held it back. | 0:21:11 | 0:21:15 | |
-The ear, the tail. But otherwise... -Great. -He did well. | 0:21:15 | 0:21:20 | |
-And I'm sure he's gone to a lovely home. -I hope so. | 0:21:20 | 0:21:24 | |
-Poor old Albert! -I know. -He's off on a new adventure. -Absolutely. | 0:21:24 | 0:21:29 | |
Now we've got the little Wemyss pig going under the hammer, and I've just been joined by Norma and Adam. | 0:21:38 | 0:21:43 | |
We've got £200-300 on this. We've seen Wemyss do well before, and they're an old Flog It favourite. | 0:21:43 | 0:21:50 | |
-So collectable. Especially the pigs. -It's nice with shamrocks. Let's find out what the bidders think. | 0:21:50 | 0:21:55 | |
Here's the Wemyss model of a pig. | 0:21:55 | 0:21:57 | |
I'm opening this at £100. | 0:21:57 | 0:22:00 | |
£100. The Wemyss pig at 100. I have £100. | 0:22:00 | 0:22:03 | |
120, 140. | 0:22:03 | 0:22:06 | |
At £140. | 0:22:06 | 0:22:08 | |
At 140...160. | 0:22:08 | 0:22:10 | |
180 here. | 0:22:10 | 0:22:12 | |
£180. The Wemyss pig at £180. | 0:22:12 | 0:22:15 | |
At £200, the gentleman at the back of the room. | 0:22:15 | 0:22:17 | |
At £200. | 0:22:17 | 0:22:19 | |
We're in the market. 210 if you like. | 0:22:19 | 0:22:21 | |
At £200, the gentleman's bid at the back of the room at 200. | 0:22:21 | 0:22:24 | |
Any further bids for the Wemyss pig? | 0:22:24 | 0:22:27 | |
First and last time. | 0:22:27 | 0:22:29 | |
GAVEL STRIKES | 0:22:29 | 0:22:30 | |
It's gone. £200, Norma. | 0:22:30 | 0:22:33 | |
It was a bit deflated towards the end. | 0:22:33 | 0:22:34 | |
-We were expecting that top end. -Yeah. -But it's gone. | 0:22:34 | 0:22:37 | |
-Good. -I guess there was only one person that wanted a piece of Wemyss here today. | 0:22:37 | 0:22:41 | |
-If somebody else had pushed that bidder, it'd have gone up more. -Yes, it would. | 0:22:41 | 0:22:45 | |
-Got to be happy, though. -Yes. | 0:22:45 | 0:22:48 | |
It's time for the Ferrari of guns to go under Ian's hammer. | 0:22:52 | 0:22:57 | |
In the firing line right now is Josephine with her sights set on £200-£300 with Dad's old pistol. | 0:22:57 | 0:23:04 | |
-It's a nice old find, actually. I know Michael loved this. It's by Mortimer, isn't it? -Yes. | 0:23:04 | 0:23:10 | |
It's by the best maker. A really nice thing. I'm under pressure - if it doesn't go, you have a gun! | 0:23:10 | 0:23:17 | |
-It stands alone here. Fingers crossed it has been spotted. Good luck. -Thank you. -Here we go. | 0:23:17 | 0:23:23 | |
Next we have the antique flint lock pistol by HW Mortimer. | 0:23:23 | 0:23:27 | |
I'll open this at £100. At 110. 120. | 0:23:27 | 0:23:32 | |
130. 140. 150. | 0:23:32 | 0:23:34 | |
160. 170. 180. 190. | 0:23:34 | 0:23:38 | |
200. And 10. 220. | 0:23:38 | 0:23:40 | |
-230. 240. 250. -It's the name. A great name. | 0:23:40 | 0:23:45 | |
280. 290. | 0:23:45 | 0:23:48 | |
-300. And 10. 320. -Well done. -£320 here. | 0:23:48 | 0:23:52 | |
On the phone at £320. Your bid, then. It's selling. | 0:23:52 | 0:23:56 | |
Great maker. One to look out for. | 0:23:56 | 0:24:00 | |
You've got a lot of money now. What will you spend that on? | 0:24:00 | 0:24:04 | |
-I'm at uni, so... -It'll come in handy! What are you studying? -3D design. Jewellery making. | 0:24:04 | 0:24:11 | |
-Wonderful. Good luck with the career afterwards. -Thank you very much. | 0:24:11 | 0:24:15 | |
That's what a great name does for you. Later, Michael's excited by an anonymous hospice donation | 0:24:15 | 0:24:22 | |
with the great Moorcroft name attached. | 0:24:22 | 0:24:26 | |
The shame is these star cracks. | 0:24:26 | 0:24:30 | |
Somebody's used them as a vase, dropped something slightly heavier in and it's just pinged. | 0:24:30 | 0:24:36 | |
Will this pair ping with the bidders or will the cracks put them off? | 0:24:36 | 0:24:40 | |
Later we'll find out. | 0:24:40 | 0:24:43 | |
Remember that puzzle I set you earlier? What does Accrington here have in common with New York? | 0:24:48 | 0:24:55 | |
It's got something to do with this building - the Howarth Museum and Art Gallery - and an umbrella. | 0:24:55 | 0:25:02 | |
What I'm talking about is this - Tiffany glass. It's the largest collection outside of New York. | 0:25:06 | 0:25:12 | |
It's the biggest in Europe, but how did it end up here in Lancashire? | 0:25:12 | 0:25:17 | |
And what's it got to do with an umbrella? All is about to be revealed by curator Jennifer Rennie. | 0:25:17 | 0:25:22 | |
-Hello. Thank you for inviting me. -Thank you for coming. -How did this magnificent collection get here? | 0:25:22 | 0:25:30 | |
It's all down to a young man called Joseph Briggs who was an apprentice designer. | 0:25:30 | 0:25:35 | |
When aged 17, he went off from Accrington to seek his fortune in America, landed in New York. | 0:25:35 | 0:25:41 | |
Briggs was coming out of Tiffany Studios. | 0:25:41 | 0:25:44 | |
Coming from Lancashire, he had his umbrella on him, and it was raining. | 0:25:44 | 0:25:49 | |
Up drew this horse-drawn carriage and out stepped this very well-dressed man of about twice Briggs' age. | 0:25:49 | 0:25:55 | |
So he was able to step forward and offer his umbrella to this gentleman for shelter. | 0:25:55 | 0:26:00 | |
And so they got talking and that's this incredible chance meeting. | 0:26:00 | 0:26:04 | |
-One minute either side, it would never have happened. -It was a complete fluke. | 0:26:04 | 0:26:10 | |
'So if you're going to share your umbrella with anyone, pick a great man like Louis Comfort Tiffany | 0:26:10 | 0:26:16 | |
'when he is looking to expand his business and experiment with glass. | 0:26:16 | 0:26:20 | |
'After this chance meeting, Briggs was given a job by the great man, | 0:26:20 | 0:26:24 | |
'working in the stained-glass workshops. | 0:26:24 | 0:26:27 | |
'Briggs already knew how to draw, having been an apprentice designer in the cotton industry, | 0:26:27 | 0:26:33 | |
'so he used to stay late and make mosaics from bits of leftover glass. | 0:26:33 | 0:26:38 | |
'This impressed Tiffany and Briggs became head of the mosaic shop | 0:26:38 | 0:26:42 | |
'and was made a director when Tiffany retired in 1918.' | 0:26:42 | 0:26:46 | |
-Did Briggs ever come back to Accrington? -Yes, he did. He made one return journey only in 1900. | 0:26:46 | 0:26:53 | |
He brought his family back and, at this point, the owner of Haworth Art Gallery, Hollins Hill... | 0:26:53 | 0:26:59 | |
-This house. -Yes. ..William Haworth, an important cotton manufacturer, | 0:26:59 | 0:27:03 | |
met with Briggs and he at the time was thinking about an art gallery for Accrington | 0:27:03 | 0:27:09 | |
and I'm sure they discussed the Tiffany coming back to Accrington. | 0:27:09 | 0:27:13 | |
-Having a collection brought back here, so everybody could enjoy. -Absolutely. | 0:27:13 | 0:27:18 | |
'Louis Comfort Tiffany was one of the most important and influential American artists | 0:27:18 | 0:27:24 | |
'of the late 19th and early 20th century. | 0:27:24 | 0:27:27 | |
'A leader of the Art Nouveau movement, his work is held in high regard. | 0:27:27 | 0:27:31 | |
'The collection in Accrington consists of tiles, vases, samples and mosaics. | 0:27:31 | 0:27:36 | |
'The company designs all kinds of objects for the home, | 0:27:36 | 0:27:40 | |
'but the popular imagination associates Tiffany particularly with their lamps.' | 0:27:40 | 0:27:45 | |
You've got two beautiful millefiori vases. That's a technique adopted from ancient Venetian glassmakers. | 0:27:45 | 0:27:51 | |
Yes, Tiffany adopted this technique from Venetian makers. | 0:27:51 | 0:27:56 | |
-The paperweight one? -Yes. He very much made it his own. | 0:27:56 | 0:28:00 | |
This is the thing that he did that other glassmakers didn't do, the way he used these techniques. | 0:28:00 | 0:28:06 | |
How do you achieve...? You see on the small vessel, you see the flowers. | 0:28:06 | 0:28:11 | |
They're in layers of glass. | 0:28:11 | 0:28:13 | |
-That's correct. -Two different layers. The white one is even deeper. -Yes. | 0:28:13 | 0:28:17 | |
So how do you get that? | 0:28:17 | 0:28:19 | |
Well, the glassmaker has started off with some orange glass, | 0:28:19 | 0:28:23 | |
then he's dotted the surface with white flowers, | 0:28:23 | 0:28:26 | |
then gone back to the kiln for more orange glass, | 0:28:26 | 0:28:30 | |
then put more white flowers on, all the time blowing a little bit, | 0:28:30 | 0:28:34 | |
going back, putting the white flowers on for the second time... | 0:28:34 | 0:28:38 | |
-You just get one chance at this, don't you? -Absolutely. | 0:28:38 | 0:28:42 | |
There's only so much control you have | 0:28:42 | 0:28:44 | |
because the final shape of the flowers depends on the amount of blowing, the amount of air, | 0:28:44 | 0:28:50 | |
so the ones on the outside are more perfectly formed and are pure white, | 0:28:50 | 0:28:54 | |
whereas the ones inside are a sort of beige colour, | 0:28:54 | 0:28:57 | |
-so it's a good demonstration of the technique. -It's a very good example. | 0:28:57 | 0:29:01 | |
-The larger vessel is the same technique. -Absolutely the same. | 0:29:01 | 0:29:05 | |
-But it's harder. -You don't get the same amount of layering. | 0:29:05 | 0:29:10 | |
In both examples, there's only so much control that the glass blower had. | 0:29:10 | 0:29:14 | |
-That's typical of the Arts and Crafts Movement. -Absolutely. | 0:29:14 | 0:29:18 | |
The idea that the material should play a part does help people understand very clearly | 0:29:18 | 0:29:24 | |
what it is that Tiffany did that's so special, why we rate him so much as a glassmaker. | 0:29:24 | 0:29:30 | |
'Tiffany glass is hard to date. | 0:29:31 | 0:29:34 | |
'All the research and development was done at the beginning and the designs tended to stay the same. | 0:29:34 | 0:29:40 | |
'His hand-made pieces have "Favrile" stamped on them. | 0:29:40 | 0:29:43 | |
'Tiffany patented Favrile glass in 1880 and he derived the word from the French for "hand-crafted".' | 0:29:43 | 0:29:50 | |
This is a cracking example of Tiffany iridescence. Where did he get the idea for the technique? | 0:29:51 | 0:29:58 | |
Well, he was inspired by visits to archaeological sites around Rome | 0:29:58 | 0:30:03 | |
where glass had been buried for thousands of years. It's pitted. | 0:30:03 | 0:30:07 | |
-It has this iridescent effect. -It goes like that. | 0:30:07 | 0:30:10 | |
The surface is damaged slightly and you get this lovely, iridescent effect. | 0:30:10 | 0:30:15 | |
That's the thing that made him want to make glass in the first place. | 0:30:15 | 0:30:20 | |
-That's a lovely effect with the sort of the lava. -Yeah. | 0:30:20 | 0:30:23 | |
The idea with this is that the lava is actually coming out of a volcano | 0:30:23 | 0:30:28 | |
which is a very ambitious idea for what is just a domestic object, and they're very rare. | 0:30:28 | 0:30:33 | |
We're fortunate to have two very fine examples of lava glass vases here. | 0:30:33 | 0:30:38 | |
What's special about this vase, apart from the fact that it's just so incredible | 0:30:44 | 0:30:49 | |
and it does capture the beauty of nature so well? | 0:30:49 | 0:30:53 | |
It's a flower-form vase. There were quite a lot of them made around 1900 | 0:30:53 | 0:30:58 | |
and this particular one is inspired by the convolvulus flower | 0:30:58 | 0:31:02 | |
which, as you know, closes at night in the dark and opens in the morning. | 0:31:02 | 0:31:06 | |
It's marvellous the way that movement is implied in the top of the vase. There's this lovely, irregular... | 0:31:06 | 0:31:12 | |
-It's quite fluid, isn't it? -It's very fluid. | 0:31:12 | 0:31:15 | |
It's very reminiscent of the movement that the actual flower makes. | 0:31:15 | 0:31:20 | |
This is an aquamarine and I'd love you to explain quite simply to me how this is made | 0:31:30 | 0:31:36 | |
because it looks incredibly complicated. | 0:31:36 | 0:31:39 | |
The piece is made in three parts. | 0:31:39 | 0:31:42 | |
There's a central core and round that there's an extra piece of thick glass, like just-roll pastry, | 0:31:42 | 0:31:48 | |
before you roll it out, and the fish are inserted into that and then arranged around the central core. | 0:31:48 | 0:31:54 | |
It's at that point you have problems with temperature control and you get explosions. | 0:31:54 | 0:31:59 | |
It's very, very difficult to make. This was completely unique. | 0:31:59 | 0:32:04 | |
It's very big for an aquamarine. | 0:32:04 | 0:32:06 | |
-And incredibly rare, I would imagine. -Very rare indeed. | 0:32:06 | 0:32:10 | |
One came up in America about three years ago with a slightly longer neck, | 0:32:10 | 0:32:16 | |
so it's not totally unique any more, sadly, but they're very difficult to make. | 0:32:16 | 0:32:21 | |
It's just beautiful. I love the little bubbles. | 0:32:21 | 0:32:24 | |
It's almost as if there's seaweed moving. You can see it in the water. | 0:32:24 | 0:32:28 | |
Yes, it's very lively. Again it's like nature. It's like you're looking at actual water. | 0:32:28 | 0:32:34 | |
Jenny, thank you so much for sharing your knowledge and your passion with me today. | 0:32:38 | 0:32:44 | |
-You've taught me something. -Thank you for coming. | 0:32:44 | 0:32:47 | |
I'll now look at Tiffany glass in a different light. | 0:32:47 | 0:32:50 | |
This is just hand-blown, molten glass using techniques that have been around for thousands of years, | 0:32:50 | 0:32:56 | |
but in the hands of one genius artisan. | 0:32:56 | 0:32:59 | |
Back at our valuation day, Adam is in period with Tiffany with another beautiful Art Nouveau item. | 0:33:04 | 0:33:10 | |
This one is our second find today from Germany. | 0:33:10 | 0:33:14 | |
-Welcome to Flog It, Michael. -Thank you very much. -I love this mirror. | 0:33:16 | 0:33:20 | |
-It's an absolute beauty. Where did you get it from? -A dear friend gave it to me about a year ago. | 0:33:20 | 0:33:27 | |
Why would you want to sell something as nice as this? | 0:33:27 | 0:33:31 | |
-It's basically just to find out if it's worth anything. -OK. -And then go from there, really. | 0:33:31 | 0:33:37 | |
I can tell you a bit about it as this is one of my particular areas of interest. | 0:33:37 | 0:33:42 | |
I nearly said "expertise", but that sounds arrogant. | 0:33:42 | 0:33:46 | |
This is a piece of Art Nouveau metal ware. | 0:33:46 | 0:33:49 | |
The Art Nouveau period was the turn of the century, about 100 years ago, | 0:33:49 | 0:33:53 | |
and this design here is typical stylised designs of the Art Nouveau period. | 0:33:53 | 0:33:58 | |
-Right. -Now, this one was made by a firm known by the initials of WMF. | 0:33:58 | 0:34:05 | |
It's a big firm from Germany that was established in the 19th century. | 0:34:05 | 0:34:09 | |
They made a lot of these wares at the end of the 19th, beginning of the 20th century, in pewter. | 0:34:09 | 0:34:15 | |
In silver plate as well. | 0:34:15 | 0:34:17 | |
They also made cutlery. There was a whole metal ware business. They became a massive business. | 0:34:17 | 0:34:24 | |
-There's a lot of this stuff around on the market and it's quite highly prized. -Right. | 0:34:24 | 0:34:29 | |
-Have you got any idea what it might be worth? -I haven't got a clue, no. | 0:34:29 | 0:34:34 | |
-Now what you've said... -You think it's better than 50 quid? -Maybe. | 0:34:34 | 0:34:38 | |
Yeah, it is better than £50. | 0:34:38 | 0:34:41 | |
I would put a wide range on it. I think it's going to make £200 to £300. | 0:34:41 | 0:34:46 | |
I'm going to put 200 to 400 because it could just go on a bit more than £300. | 0:34:46 | 0:34:51 | |
I've handled a lot of this stuff and sometimes it does pretty well. | 0:34:51 | 0:34:55 | |
I think that's a sensible guide and you shouldn't sell it for less than £200. | 0:34:55 | 0:35:00 | |
Even if it doesn't go in this sale, it doesn't mean it's not worth £200. | 0:35:00 | 0:35:04 | |
It's worth that. We'll put a reserve price on it, so it doesn't go for less. | 0:35:04 | 0:35:09 | |
-Are you happy with that? -Yes. -Let's get on with it. -No problem. -Thanks. | 0:35:09 | 0:35:14 | |
Dawn, you've brought in these two very austere vases today. | 0:35:20 | 0:35:25 | |
Where did you get them from? | 0:35:25 | 0:35:28 | |
I work for East Lancashire Hospice and we were donated them anonymously. | 0:35:28 | 0:35:33 | |
Somebody just walked into the hospice one day and left them for us to do what we want with. | 0:35:33 | 0:35:40 | |
And you thought, "Ah, Flog It is in the area!" | 0:35:40 | 0:35:43 | |
Yeah, we realised that they were worth perhaps a bit more than the average donation. | 0:35:43 | 0:35:49 | |
-Right. -And at the same time, we realised Flog It was in the area, | 0:35:49 | 0:35:53 | |
so it was a good opportunity to see what they were worth. | 0:35:53 | 0:35:57 | |
Anybody that's watched Flog It might be screaming at the screen what these are, | 0:35:57 | 0:36:02 | |
but let's satisfy ourselves and turn it upside down. | 0:36:02 | 0:36:06 | |
There we have the signature - W Moorcroft, designer. | 0:36:06 | 0:36:09 | |
What's very interesting is this Florian Ware mark. | 0:36:09 | 0:36:13 | |
-That's fairly early in his production. -OK. | 0:36:13 | 0:36:17 | |
These are going to date to about 1905, that sort of date? | 0:36:17 | 0:36:22 | |
So, fairly early on. The shame is that they've got these star cracks on the bottom. | 0:36:22 | 0:36:28 | |
Basically, somebody has used them as a vase, dropped something slightly heavier in | 0:36:28 | 0:36:33 | |
and it's just pinged. | 0:36:33 | 0:36:35 | |
They're Honesty pattern because of all the honesty over it. | 0:36:35 | 0:36:40 | |
But what's nice is this very porous, vermiculated finish. | 0:36:40 | 0:36:45 | |
-Yeah. -Which we don't see on much Moorcroft | 0:36:45 | 0:36:48 | |
and it's a sort of early experimental glaze, if you like. | 0:36:48 | 0:36:52 | |
They're decorated in the round and the colour scheme is quite pleasing. | 0:36:52 | 0:36:57 | |
-Do you like the...? -Yeah, it's quite modern. -Yes, quite classic almost, | 0:36:57 | 0:37:01 | |
the sort of dark and light blue. | 0:37:01 | 0:37:04 | |
And it's a very pleasing shape. | 0:37:04 | 0:37:06 | |
So they win, apart from the star cracks, in quite a few areas - | 0:37:06 | 0:37:10 | |
nice and early, unusual pattern, unusual finish. | 0:37:10 | 0:37:14 | |
-Right, OK. -And also we've got a pair. | 0:37:14 | 0:37:17 | |
And to the best of my knowledge, | 0:37:17 | 0:37:19 | |
they haven't been chipped, so they're fairly good. | 0:37:19 | 0:37:23 | |
The only damage is where you can't see. If you're going to have damage, that's where you want it. | 0:37:23 | 0:37:29 | |
When they were dropped off and you said they're worth more than the usual charitable donation, | 0:37:29 | 0:37:34 | |
-did you have any idea what they might be...? -We thought over 100. £100, £150. | 0:37:34 | 0:37:40 | |
Bearing the damage in mind, but they're a large pair, they're early and they're a rare pattern, | 0:37:40 | 0:37:46 | |
let's put them into auction | 0:37:46 | 0:37:49 | |
with £700 to £1,000 on them. | 0:37:49 | 0:37:53 | |
-Right. -Let's give the auctioneer a bit of discretion with the reserve. Let's put the reserve at £600. | 0:37:53 | 0:37:59 | |
-Yeah. -If two people really get behind these, | 0:37:59 | 0:38:03 | |
we could be cracking through the top estimate. | 0:38:03 | 0:38:07 | |
-So, hopefully... -Excellent. | 0:38:08 | 0:38:10 | |
-..for you, for me, today, and for the hospice, we'll do really well. -Absolutely. | 0:38:10 | 0:38:15 | |
-You're happy with that? -Absolutely fantastic. Really happy. | 0:38:15 | 0:38:19 | |
-No pressure on the day then(!) -No, absolutely not. -Thank you for bringing them in. -It's been good. | 0:38:19 | 0:38:30 | |
I gravitated towards this when I saw you. Who am I talking to? | 0:38:30 | 0:38:33 | |
-Mandy. This is my daughter Rebecca. -Hi, Paul. -Hi, Rebecca. | 0:38:33 | 0:38:37 | |
Let's talk about this whale vertebra, because it's great. | 0:38:37 | 0:38:41 | |
-It's a piece of sculpture. -It is. | 0:38:41 | 0:38:43 | |
OK, there's a lot of people thinking, | 0:38:43 | 0:38:47 | |
"I'm not keen on natural history objects, it's cruel," | 0:38:47 | 0:38:51 | |
-but let's face it, that was killed in the 19th century. -Yes. | 0:38:51 | 0:38:54 | |
That's been an educational tool for Victorian families for a long, long time. | 0:38:54 | 0:39:00 | |
So how did you come by it? | 0:39:00 | 0:39:01 | |
-I bought it at a car boot sale. -Recently? -About five years ago. | 0:39:01 | 0:39:05 | |
OK, five years. Can I ask how much you paid for it? | 0:39:05 | 0:39:07 | |
-65. -65. | 0:39:07 | 0:39:09 | |
OK. What do you think of this? | 0:39:09 | 0:39:12 | |
I think it's brilliant. Obviously, people... It's a sort of wow thing. | 0:39:12 | 0:39:16 | |
It's like Marmite, you either love it or hate it. | 0:39:16 | 0:39:20 | |
Exactly. I bet I know where this has been, actually. | 0:39:20 | 0:39:24 | |
If you've got an open fireplace that doesn't work, you put that in the fireplace. | 0:39:24 | 0:39:29 | |
-You do. -It's a good space for it. -It is. | 0:39:29 | 0:39:32 | |
And I think that's fantastic, cos that's what it should be used for. | 0:39:32 | 0:39:36 | |
-It's a piece of sculpture now. -It is, yeah. | 0:39:36 | 0:39:38 | |
But when it's up this high, and you can walk around and view it from every angle, | 0:39:38 | 0:39:43 | |
for me, it's like being in Barbara Hepworth's sculpture garden down in St Ives. | 0:39:43 | 0:39:48 | |
You can understand shape and form. And you can see different things when you look from different angles, | 0:39:48 | 0:39:54 | |
different shadows. That's the quality of good sculpture. This has it. This has it. | 0:39:54 | 0:39:58 | |
Although, you know, nobody made this. God made this animal. | 0:39:58 | 0:40:02 | |
But I love it. I think it's great. | 0:40:02 | 0:40:06 | |
And I know the auctioneer's going to pick me up on this and have a go at me. | 0:40:06 | 0:40:10 | |
He's going to say, "What have you brought to my sale room?!" | 0:40:10 | 0:40:13 | |
But if we put this into auction, I think we put it in with a valuation of... What did you pay for it? | 0:40:13 | 0:40:19 | |
-65. -We put it in at 65, with a valuation of £65-100. | 0:40:19 | 0:40:23 | |
-Right. -We'll get your money back and hopefully, | 0:40:23 | 0:40:27 | |
the top end of my evaluation. | 0:40:27 | 0:40:28 | |
-Excellent. -And a bit more on a good day. | 0:40:28 | 0:40:30 | |
-Fantastic. -Happy with that? -Yes, happy with that. | 0:40:30 | 0:40:33 | |
But I can't wait to see the auctioneer's face! | 0:40:33 | 0:40:37 | |
He'll say, "Wow!" | 0:40:37 | 0:40:38 | |
-Marjory, welcome to Flog It. Hello. -How are you? -Fine, thank you. | 0:40:42 | 0:40:47 | |
You've got a lovely pair of watercolours here by a well-known artist called Rowland Hill. | 0:40:47 | 0:40:53 | |
-Where did you get them and what can you tell me about them? -Not much. | 0:40:53 | 0:40:57 | |
They belonged to my grandmother. | 0:40:57 | 0:40:59 | |
And they were always on the wall in the living room. | 0:40:59 | 0:41:03 | |
-You remember them then? -Yes. I don't know how she got them. | 0:41:03 | 0:41:07 | |
-When you're a child, you don't ask the right questions and then it's too late. -Isn't that always the case? | 0:41:07 | 0:41:14 | |
Lots of people agree with that. So many people you meet, "I wish I'd have asked Grandma this." | 0:41:14 | 0:41:20 | |
-That's right. -Then it's too late and the history's gone. | 0:41:20 | 0:41:24 | |
Rowland Hill - do you know anything about him? | 0:41:24 | 0:41:27 | |
That he was Irish and that he was successful in France, rather than here. | 0:41:27 | 0:41:32 | |
-OK. -I just went into the reference library in Blackburn and looked him up. -Good. | 0:41:32 | 0:41:37 | |
Rowland Hill was born in 1873 | 0:41:37 | 0:41:40 | |
and died in 1952, | 0:41:40 | 0:41:43 | |
so these were sort of later in life perhaps. | 0:41:43 | 0:41:46 | |
-What's that one there? County Antrim, is that Murlough Bay? -That's it. | 0:41:46 | 0:41:51 | |
Then down here we've got Fair Head in Ballycastle. | 0:41:51 | 0:41:55 | |
A very pleasant pair of coastal scenes, both 1936. | 0:41:55 | 0:42:00 | |
And both in pretty good order. | 0:42:00 | 0:42:03 | |
I think we've got a little bit of fading on there | 0:42:03 | 0:42:07 | |
and a little bit of damp, but he's quite a desirable artist. | 0:42:07 | 0:42:11 | |
He appears at auction quite regularly, which makes them quite an easy thing to value | 0:42:11 | 0:42:17 | |
-because it's all about comparing with what they've made before. -Yes. | 0:42:17 | 0:42:21 | |
I think I would say they're probably worth £200 or £300 each, | 0:42:21 | 0:42:26 | |
so I will put £400 to £600 as an estimate on the pair | 0:42:26 | 0:42:30 | |
and they might make a bit more than that. How does that feel to you? | 0:42:30 | 0:42:35 | |
-A very pleasant surprise. -Did you not think they were worth as much as that? -No. | 0:42:35 | 0:42:40 | |
I think that if they don't make £400, you should have them back, | 0:42:40 | 0:42:44 | |
so we'll put a reserve of £400 because I really think they're worth that | 0:42:44 | 0:42:49 | |
and I'm hoping we get a nice little surprise for you and they make a little bit more. | 0:42:49 | 0:42:55 | |
-Thank you for bringing them in and I'll see you at the auction. -Yes. Thank you. | 0:42:55 | 0:43:00 | |
Time for me to take these well-named pieces across the great divide - | 0:43:00 | 0:43:03 | |
the Lancashire/Yorkshire one - | 0:43:03 | 0:43:05 | |
and head back to Calder Valley auctioneers near Halifax. | 0:43:05 | 0:43:09 | |
Right now, I'm going to meet some canines | 0:43:09 | 0:43:12 | |
that have a wonderful, interesting past. Let's check it out. | 0:43:12 | 0:43:17 | |
The British coal industry has certainly had a chequered past. | 0:43:20 | 0:43:24 | |
This colliery here at Astley Green in South Lancashire was once part of a thriving community. | 0:43:24 | 0:43:29 | |
But with changes in demand for British coal, it was inevitable. | 0:43:29 | 0:43:33 | |
This place went to the dogs and closed in 1970. | 0:43:33 | 0:43:37 | |
But today, the dogs are back! | 0:43:37 | 0:43:39 | |
Come on, fellas, come over here! | 0:43:39 | 0:43:41 | |
Here you go. Look at these lovely whippets. | 0:43:41 | 0:43:43 | |
You're probably thinking, what have these dogs | 0:43:43 | 0:43:46 | |
got to do with coal mining? We're about to find out. | 0:43:46 | 0:43:49 | |
Dogs belonging to the greyhound group have often been bred along | 0:43:49 | 0:43:53 | |
pure lines and have been associated with the aristocracy and gentry. | 0:43:53 | 0:43:56 | |
But the one exception is the small English greyhound known as the whippet. | 0:43:56 | 0:44:01 | |
Although some mystery surrounds the origin of the breed, | 0:44:01 | 0:44:04 | |
it's generally accepted that it's a cross between the greyhound | 0:44:04 | 0:44:08 | |
and a terrier, giving the breed a great combination of speed and intelligence. | 0:44:08 | 0:44:13 | |
It was first recognised by the Kennel Club in 1890. | 0:44:13 | 0:44:17 | |
And here's the connection - the whippet became the pet mostly preferred by the working classes - | 0:44:20 | 0:44:25 | |
the mill workers and the miners, who loved to race their dogs in their spare time. | 0:44:25 | 0:44:29 | |
And of course, they could catch the odd rabbit or two. | 0:44:29 | 0:44:32 | |
It's because of this the breed became known as the poor man's greyhound or racehorse. | 0:44:32 | 0:44:37 | |
It's fair to say whippet racing has been on the decline in recent years. | 0:44:37 | 0:44:41 | |
At one point, there were around 70 clubs in the country. Today, there's about 20. This is one of them. | 0:44:41 | 0:44:47 | |
The Astley and Tyldesley Miners' Whippet and Dog Racing Club. | 0:44:47 | 0:44:51 | |
And it's doing rather well. | 0:44:51 | 0:44:53 | |
Keith Woodward is the club chairman. | 0:44:57 | 0:44:59 | |
It's partly down to him that this group is still thriving. | 0:44:59 | 0:45:03 | |
Keith, it's great to meet up with you, and I can't wait to see the dogs later and see what they do. | 0:45:04 | 0:45:09 | |
I bet they're fast! But tell me a little bit about whippet racing, a little bit about the history. | 0:45:09 | 0:45:14 | |
The history goes back to 1860 or so. | 0:45:14 | 0:45:17 | |
Everybody turned up and there might be 10 or 12 dogs in a race. | 0:45:17 | 0:45:21 | |
-The first past the winning post was the winner. They came in all shapes and sizes. -Really? | 0:45:21 | 0:45:25 | |
Everything was called a whippet, even if it was a collie or something else. | 0:45:25 | 0:45:30 | |
And then late '20s, early '30s, with what they called tape racing. | 0:45:30 | 0:45:34 | |
They put five lanes down by elastic tape | 0:45:34 | 0:45:39 | |
with wooden stumps. | 0:45:39 | 0:45:40 | |
-Yeah. -And the dogs had to stay in that lane. | 0:45:40 | 0:45:44 | |
-Right. -If a dog jumped over into the next lane, | 0:45:44 | 0:45:47 | |
it was automatically disqualified. The race was re-run without it. | 0:45:47 | 0:45:50 | |
In the summer, the dogs are raced on a straight grass track of 150 yards. | 0:45:50 | 0:45:55 | |
Whereas in winter, when the ground is too hard, the dogs are raced | 0:45:55 | 0:46:00 | |
on an oval sand track, commonly referred to as racing on the bends. | 0:46:00 | 0:46:05 | |
-Actually, bend racing is a lot quicker. -I think it's fun as well. | 0:46:05 | 0:46:09 | |
You put your dog in the trap, stand behind the trap, the hare comes round, | 0:46:09 | 0:46:13 | |
-the dogs run and they actually near off finish where they started. -Yes, exactly. | 0:46:13 | 0:46:17 | |
240 yards - a good whippet will do in 15 seconds. | 0:46:20 | 0:46:25 | |
Yes, quick, isn't it? | 0:46:25 | 0:46:26 | |
Which do you prefer, racing on the straight or the bend? | 0:46:30 | 0:46:33 | |
Any. Any kind of whippet racing. | 0:46:33 | 0:46:35 | |
Vicky Harper and Mark Warren are great whippet racing fans, having just achieved their 20th champion! | 0:46:35 | 0:46:42 | |
They have an impressive track record. | 0:46:42 | 0:46:44 | |
Vicky and Mark, it's good to meet up with you. | 0:46:44 | 0:46:47 | |
With all those champions you've had in the past and currently, you must be the envy of these people here. | 0:46:47 | 0:46:53 | |
What is it with whippets? How many have you got? | 0:46:53 | 0:46:57 | |
-We've got 12 at home. -Really? -They're just really good pets. | 0:46:57 | 0:47:01 | |
-Do they live in the house? -Yeah. | 0:47:01 | 0:47:04 | |
-Do they come on the bed at night? -Oh, yeah. -Do they?! | 0:47:04 | 0:47:06 | |
-Under the duvet. -Taking turns. -Not all of them! -All at once. | 0:47:06 | 0:47:10 | |
Does it run in the family? | 0:47:10 | 0:47:12 | |
My grandad, he was an ex-miner and he started breeding | 0:47:12 | 0:47:17 | |
-them for racing years ago. -My dad's been doing it from 1967. -Really? | 0:47:17 | 0:47:24 | |
So it's in the blood, they're passing all the tips onto you. | 0:47:24 | 0:47:27 | |
-That's how we both got together as well. -That's how you met. Fantastic. | 0:47:27 | 0:47:31 | |
Lovely story. How many times a month d'you come here? | 0:47:31 | 0:47:34 | |
-All year round? -We come here every week. -We come here every Wednesday during summer. Then during winter, | 0:47:34 | 0:47:40 | |
we go to West Houghton Greyhound Track. And race round the bends. | 0:47:40 | 0:47:43 | |
So this is just straight racing today. | 0:47:43 | 0:47:46 | |
-This is straight racing. -And we're going to see some of that. | 0:47:46 | 0:47:49 | |
Whippet racing is purely for fun. | 0:47:49 | 0:47:51 | |
It's a fun day out, | 0:47:51 | 0:47:52 | |
-unlike greyhound racing, where lots of money changes hands. -Yeah. | 0:47:52 | 0:47:56 | |
I can feel the tension rising. There's lots more people arriving, | 0:47:56 | 0:47:59 | |
we're getting surrounded by dogs, so should we get your two out? | 0:47:59 | 0:48:02 | |
-Yeah. -And we'll meet up with Keith and see what he's got to say about his as well. | 0:48:02 | 0:48:06 | |
When not attending race competitions, Vicky and Mark are often to be found on the edge | 0:48:08 | 0:48:12 | |
of the football field, putting the dogs through their paces. | 0:48:12 | 0:48:16 | |
It's certainly getting exciting now, There's four dogs in this race. | 0:48:37 | 0:48:41 | |
I've got to pick a winner, and the fairest way is to pick one of these bones from this bowl. | 0:48:41 | 0:48:47 | |
Each bone has a name tag relating to one of the dogs. | 0:48:47 | 0:48:50 | |
So it will be a lucky dip for me. | 0:48:50 | 0:48:52 | |
I'll probably go for this one, which is Mebs Rosie. Who's Mebs Rosie? | 0:48:52 | 0:48:57 | |
Right, OK, Keith, this is my choice. Hello! | 0:48:57 | 0:49:01 | |
That's a good start, it's got number one on it. | 0:49:01 | 0:49:05 | |
Right, the dogs are under starters' orders and they're off! | 0:49:14 | 0:49:17 | |
But my dog's not come out of the trap. Oh, my goodness! | 0:49:17 | 0:49:21 | |
What's happened? Here he is! | 0:49:21 | 0:49:23 | |
I don't believe it! | 0:49:29 | 0:49:32 | |
Hey, hey, hey! | 0:49:32 | 0:49:34 | |
Trying to throttle the thing they chased! | 0:49:34 | 0:49:38 | |
Oh, dear! | 0:49:39 | 0:49:41 | |
Oh, I don't know. Guess where I came. | 0:49:41 | 0:49:44 | |
Last. Can't believe it. | 0:49:44 | 0:49:46 | |
Oh...my trap didn't open. | 0:49:46 | 0:49:51 | |
Nevertheless, that was so exciting. | 0:49:51 | 0:49:55 | |
I can see why all these people get together every weekend | 0:49:55 | 0:49:58 | |
to race these dogs, because it is just great fun. | 0:49:58 | 0:50:00 | |
It's time to return to the auction room. | 0:50:04 | 0:50:08 | |
As well as Marjory's beautiful Rowland Hill seascapes, we're taking Dawn's two donated Moorcroft vases. | 0:50:08 | 0:50:16 | |
She thought they might be worth between £100 and £150. | 0:50:16 | 0:50:20 | |
Let's put them into auction | 0:50:21 | 0:50:24 | |
with...£700 to £1,000 on them. | 0:50:24 | 0:50:28 | |
Right. | 0:50:28 | 0:50:30 | |
And this whalebone wasn't found at the bottom of the ocean, but unbelievably at a car boot sale! | 0:50:30 | 0:50:37 | |
And last but not least, Michael's stylish WMF Art Nouveau mirror. | 0:50:37 | 0:50:42 | |
Which item is your money on to bring in the biggest return? | 0:50:42 | 0:50:46 | |
I've just been joined by Michael and Adam, our expert, and we've got a WMF mirror going under the hammer. | 0:50:48 | 0:50:54 | |
-It's got the look, the name, the condition. Ready for this? -I am. | 0:50:54 | 0:50:58 | |
We can't debate about it any more. It's down to this packed saleroom. | 0:50:58 | 0:51:02 | |
Hopefully, someone's going to put their hand up and it will go for £400 maybe. | 0:51:02 | 0:51:08 | |
Good luck, Michael. Here we go. | 0:51:08 | 0:51:10 | |
Lot 440, the Art Nouveau, WMF, | 0:51:10 | 0:51:13 | |
oval frame mirror there being shown. | 0:51:13 | 0:51:17 | |
150, I'm opening. 160. 170. | 0:51:17 | 0:51:19 | |
180. 190 there. At 200 on commission. | 0:51:19 | 0:51:23 | |
210. 220. 230. | 0:51:23 | 0:51:26 | |
240. 250. 260. | 0:51:26 | 0:51:28 | |
-270... -This is more like it. -280. 290. | 0:51:28 | 0:51:31 | |
300. 310. 320. | 0:51:31 | 0:51:34 | |
330. 340. | 0:51:34 | 0:51:36 | |
No? At 340, fourth row. At £340. | 0:51:36 | 0:51:41 | |
We're selling... | 0:51:41 | 0:51:43 | |
-Brilliant. We're happy with that. -Yeah. -Well done. £340! | 0:51:43 | 0:51:47 | |
-That's brilliant. -That's very good. Thank you for bringing that in. | 0:51:47 | 0:51:52 | |
Remember that whale vertebra? It's just about to go under the hammer, | 0:51:56 | 0:52:00 | |
and I've been joined by Mandy, its present owner. | 0:52:00 | 0:52:03 | |
I'm saying present - I'm hoping it's going to sell well today. | 0:52:03 | 0:52:07 | |
I remember saying I can't wait to see the auctioneer's face | 0:52:07 | 0:52:11 | |
when he sees this. Unwraps the bubble wrap and goes... | 0:52:11 | 0:52:14 | |
And he did. Ian's face was a picture when I saw him this morning. | 0:52:14 | 0:52:20 | |
He said, "I knew that was you. I knew you'd pick that." | 0:52:20 | 0:52:23 | |
But he didn't give any clues away. | 0:52:23 | 0:52:26 | |
So fingers crossed. We've pitched it to sell £65-100. | 0:52:26 | 0:52:30 | |
Just wondering what this lot will make of it. | 0:52:30 | 0:52:33 | |
-We'll find out right now. Good luck! -Thank you! | 0:52:33 | 0:52:36 | |
466 is the whalebone vertebra sculpture on stand. There we are. | 0:52:36 | 0:52:44 | |
And I think it looks fab. I really do. | 0:52:44 | 0:52:47 | |
I'm opening this at £40. And five, 50. | 0:52:47 | 0:52:51 | |
And five, 60. | 0:52:51 | 0:52:53 | |
And five. At £65. | 0:52:53 | 0:52:56 | |
At 65 and 70. | 0:52:56 | 0:52:58 | |
And five. 80. | 0:52:58 | 0:53:00 | |
And five. | 0:53:00 | 0:53:02 | |
90 and five. | 0:53:02 | 0:53:04 | |
100 and five. | 0:53:04 | 0:53:07 | |
110. | 0:53:08 | 0:53:10 | |
-110. -Brilliant. -115. -Bit of competition. -£115 on my right. | 0:53:10 | 0:53:13 | |
-115. -GAVEL STRIKES | 0:53:13 | 0:53:17 | |
115. Brilliant! Top end of the estimate. | 0:53:17 | 0:53:20 | |
-Yes. -That's good, isn't it? -It is very good. -Pleased with that? -Yeah. | 0:53:20 | 0:53:23 | |
I was a bit dubious to start with, but hey, it's gone! | 0:53:23 | 0:53:26 | |
'And now something for all you fine art lovers - Marjory's Rowland Hill watercolours of the Irish Sea.' | 0:53:26 | 0:53:32 | |
Our expert put £400 to £600 on this. Why are you selling these? | 0:53:34 | 0:53:38 | |
These should be on your wall at home in the sitting room. | 0:53:38 | 0:53:42 | |
They were, but we've moved from a family-sized home to a tiny bungalow and there isn't space. | 0:53:42 | 0:53:48 | |
I think they'll go to a new home round here. They're going under the hammer now. | 0:53:48 | 0:53:54 | |
Right, Rowland Hill, the two Irish watercolours there. | 0:53:54 | 0:53:58 | |
What am I bid on these? | 0:53:58 | 0:54:01 | |
£200 anywhere? £200. | 0:54:01 | 0:54:04 | |
220. 240. 260. | 0:54:04 | 0:54:07 | |
-At 280. -They're struggling. That's unbelievable. | 0:54:07 | 0:54:10 | |
£300. All done at £300? At 300. | 0:54:10 | 0:54:14 | |
Are you all done, ladies and gentlemen, at 300? | 0:54:14 | 0:54:17 | |
I'm so sorry. At least you protected them with a reserve. | 0:54:18 | 0:54:22 | |
Maybe it's worth getting in touch with a few auction rooms in Ireland. | 0:54:22 | 0:54:26 | |
-Send them some images and see if they want to take them in. -Right. | 0:54:26 | 0:54:30 | |
-At least they've not been undersold. -Exactly. Thank you, Marjory. I'm ever so sorry. -Thank you very much. | 0:54:30 | 0:54:36 | |
'I can't believe those Rowland Hill watercolours didn't sell | 0:54:36 | 0:54:41 | |
'and now everyone's rather nervous about our last lot, namely Dawn's donated pair of vases. | 0:54:41 | 0:54:47 | |
'Although cracked, they are quality items and are inscribed with one of the best names in the business.' | 0:54:47 | 0:54:54 | |
It's Moorcroft. It's a pair of vases. They belong to Dawn. | 0:54:54 | 0:54:58 | |
We've got a valuation of £700 to £1,000 and they're Macintyre period, so they're early 1900s. | 0:54:58 | 0:55:04 | |
That's what the collectors love. All the money's going to charity. Give the charity a plug. | 0:55:04 | 0:55:10 | |
It's East Lancashire Hospice based in Blackburn | 0:55:10 | 0:55:13 | |
and it provides palliative care for Blackburn, Darwen and Ribble Valley. | 0:55:13 | 0:55:17 | |
-Fantastic. We need top money for this. -We've got to do really well. | 0:55:17 | 0:55:21 | |
-But it's the name, isn't it? -Yes. | 0:55:21 | 0:55:24 | |
It's a name that we know and love. We know Moorcroft and we know that size with Moorcroft matters. | 0:55:24 | 0:55:30 | |
If it's a miniature, it's a lot of money, if it's big, it's a lot of money | 0:55:30 | 0:55:34 | |
and it's a wonderful, big pair of vases with an unusual pattern, so it's got everything. | 0:55:34 | 0:55:40 | |
It's got a star crack in the base, but we'll say that in a quiet voice, | 0:55:40 | 0:55:44 | |
so the £600 reserve reflects that. | 0:55:44 | 0:55:47 | |
And hopefully, people will judge for themselves. | 0:55:47 | 0:55:50 | |
We've seen it before. We've been cagey with our pricing and we've seen Moorcroft go through the roof. | 0:55:50 | 0:55:56 | |
Let's hope it happens today. | 0:55:56 | 0:55:58 | |
A fine pair of early 20th century, | 0:55:58 | 0:56:01 | |
Macintyre Moorcroft vases. The Honesty pattern there. | 0:56:01 | 0:56:05 | |
Lovely looking. What am I bid for these? | 0:56:05 | 0:56:08 | |
Do I see £400 to open? 400 I have. | 0:56:08 | 0:56:11 | |
£400. At £400. At 425. | 0:56:11 | 0:56:14 | |
425, 450. 475. | 0:56:14 | 0:56:17 | |
I have 475. 500. And 25. | 0:56:17 | 0:56:20 | |
550. At 550. 575. | 0:56:20 | 0:56:23 | |
At 575. At 600. At £600. Any further bids? | 0:56:23 | 0:56:27 | |
625. 650. | 0:56:27 | 0:56:30 | |
675. 700. And 25. | 0:56:30 | 0:56:33 | |
750. 775. 800. | 0:56:33 | 0:56:36 | |
And 25. 850. | 0:56:36 | 0:56:38 | |
850... 875, a fresh bid. | 0:56:38 | 0:56:41 | |
900. And 25. | 0:56:41 | 0:56:44 | |
950. 975. 1,000. | 0:56:44 | 0:56:48 | |
-We've done 1,000. -1,025. 1,050. | 0:56:48 | 0:56:51 | |
And 75. 1,100. And 25. | 0:56:51 | 0:56:54 | |
1,150. 1,175. | 0:56:54 | 0:56:57 | |
1,200. And 25. | 0:56:57 | 0:56:59 | |
1,250. 1,275. | 0:56:59 | 0:57:01 | |
-1,300. -Wow! -And 25. -Don't you love these moments? | 0:57:01 | 0:57:06 | |
1,375. 1,400. And 25. | 0:57:06 | 0:57:08 | |
At 1,425, central back. | 0:57:08 | 0:57:12 | |
At £1,425. Are we all done? | 0:57:12 | 0:57:14 | |
1,425 at the back there... | 0:57:14 | 0:57:18 | |
-£1,425! Congratulations. -Thank you very much. | 0:57:20 | 0:57:23 | |
All that money is going to the hospice. How do you feel? | 0:57:23 | 0:57:27 | |
-That's really good news. -What's going through your mind? -I can go back to work safely. | 0:57:27 | 0:57:32 | |
Walk in tall and go, "Yes, I've done it!" | 0:57:32 | 0:57:35 | |
Michael whispered in my ear. I said, "What do you think it'll do?" We didn't want to build your hopes up. | 0:57:35 | 0:57:42 | |
-Guess what he said? -1,400. | 0:57:42 | 0:57:45 | |
-Well done. Well done, Michael. -I'm so pleased for you. -Thank you very much. | 0:57:45 | 0:57:50 | |
If you do put these things in attractively, people get excited | 0:57:50 | 0:57:54 | |
and it's a good result at the end. | 0:57:54 | 0:57:57 | |
What a fabulous day we've had in the Calder Valley! Dawn, you're going back to your hospice a proud lady. | 0:57:57 | 0:58:03 | |
-Give us a plug one more time. -East Lancashire Hospice in Blackburn. -Michael, thank you so much. | 0:58:03 | 0:58:09 | |
I hope you've enjoyed today's show. | 0:58:09 | 0:58:11 | |
There'll be plenty more surprises in the future. Keep watching. Cheerio. | 0:58:11 | 0:58:15 | |
Subtitles by Subtext for Red Bee Media Ltd 2010 | 0:58:32 | 0:58:36 |