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You've caught me out, naughty but nice. | 0:00:02 | 0:00:04 | |
These chips are fantastic but there's one thing missing... that's more like it. | 0:00:04 | 0:00:07 | |
I've come to a picturesque market town which owes its name to salt. | 0:00:07 | 0:00:11 | |
Welcome to Flog It from Nantwich in Cheshire. | 0:00:11 | 0:00:15 | |
The actual name Nantwich gives away its long association with the salt | 0:00:35 | 0:00:39 | |
industry, for the suffix of the town, "wich", means brine town. | 0:00:39 | 0:00:43 | |
The salt industry in the town started as long ago as the Roman | 0:00:50 | 0:00:54 | |
period and it thrived for centuries until sadly the last salt house | 0:00:54 | 0:00:58 | |
in Nantwich closed in 1858. | 0:00:58 | 0:01:01 | |
However, its legacy still lives on in the area - it's because of salt production | 0:01:06 | 0:01:10 | |
that other industries have sprung up that rely on salt such as tanning and the making of Cheshire cheese. | 0:01:10 | 0:01:17 | |
Well, perhaps our experts will find something related | 0:01:22 | 0:01:25 | |
to the local industries here, I'm outside the Nantwich Civic Hall and who have we got? | 0:01:25 | 0:01:29 | |
The wonderful Kate Bliss and the equally charming Will Axon and it is | 0:01:29 | 0:01:33 | |
now 9.30, time to get the doors open and get this massive queue inside. | 0:01:33 | 0:01:38 | |
The valuation day is filling up quickly and there are hundreds of people waiting to be seen. | 0:01:38 | 0:01:45 | |
Later in the programme, I will be taking a trip around the world, from Egypt to China. | 0:01:46 | 0:01:53 | |
For now it looks like Kate's got something | 0:01:53 | 0:01:56 | |
that's come from a little closer to home. | 0:01:56 | 0:01:59 | |
This is a really interesting watercolour, | 0:01:59 | 0:02:01 | |
-is this something you've had on the wall? -I've not had it long, only had it few weeks. | 0:02:01 | 0:02:06 | |
I bought it off the internet. | 0:02:06 | 0:02:08 | |
-So is that something that you like to do, buy and sell a bit? -I do, yeah. | 0:02:08 | 0:02:12 | |
What can you tell me about the artist? We've got a clear signature here, do you know anything about him? | 0:02:12 | 0:02:17 | |
-J Horner? -Yes. -I don't know what dates he dates from, | 0:02:17 | 0:02:21 | |
but I think this particular one was painted in Norfolk. | 0:02:21 | 0:02:23 | |
Why do you think it's Norfolk? | 0:02:23 | 0:02:25 | |
Apart from it looks quite flat. | 0:02:25 | 0:02:27 | |
Exactly, yes. Probably one of the reasons. | 0:02:27 | 0:02:29 | |
Well, you could well be right. | 0:02:29 | 0:02:31 | |
-J Horner, signed down here, was actually John Horner. -Right. | 0:02:31 | 0:02:34 | |
And he was really active in his work | 0:02:34 | 0:02:38 | |
sort of about 1876 through to 1890, and the thing I like about this one | 0:02:38 | 0:02:43 | |
is the accuracy of the detail, and it's almost architectural really in the detail that we've got here. | 0:02:43 | 0:02:50 | |
If we look on the buildings here, on the barn and on the farmhouse, | 0:02:50 | 0:02:53 | |
you can almost see the individual tiles on the roof, can't you? | 0:02:53 | 0:02:57 | |
-But what's really fun is this little tableau that's going on down here with the two fishermen. -Right. | 0:02:57 | 0:03:03 | |
Again, the detail is really precise, you can see the creases in his trousers and the light | 0:03:03 | 0:03:09 | |
reflecting off the water on to his face, which really gives it a really crisp finish, doesn't it? | 0:03:09 | 0:03:15 | |
Now the market, which I'm sure you know if you buy and sell a little bit doing pictures, the market for | 0:03:15 | 0:03:20 | |
watercolours particularly of this sort of period isn't that buoyant at the moment. | 0:03:20 | 0:03:25 | |
-No. -But I have to say this is a particularly accomplished work | 0:03:25 | 0:03:29 | |
and I think, even so, this should sell quite well. | 0:03:29 | 0:03:33 | |
I'm going to put a conservative auction estimate of 200 to 300 on it | 0:03:33 | 0:03:36 | |
because I think it is really well executed. | 0:03:36 | 0:03:39 | |
-Would you like to put a reserve on that? -If I possibly could, yeah, probably 200 or so. | 0:03:39 | 0:03:44 | |
That's fair, lower end of the estimate and hopefully get quite a bit more than that. | 0:03:44 | 0:03:48 | |
That's great. I mean, if doesn't sell, I'll keep it anyway. | 0:03:48 | 0:03:51 | |
-Well, that's a great attitude. -Thank you. | 0:03:51 | 0:03:55 | |
Well, Peggy, John, hello there. | 0:03:58 | 0:04:00 | |
-How are you? -I'm very well, and yourself? | 0:04:00 | 0:04:02 | |
I'm well, thank you. | 0:04:02 | 0:04:04 | |
Now look at this, what can you tell me about it? | 0:04:04 | 0:04:07 | |
It's a cigarette case which I bought about 30 years ago... | 0:04:07 | 0:04:11 | |
And did you buy it from a jeweller's perhaps or a dealer, to keep your roll-ups in? | 0:04:11 | 0:04:15 | |
No, I bought it off a bloke that was hard up. | 0:04:15 | 0:04:19 | |
Oh, dear. So he needed a bit of cash. | 0:04:19 | 0:04:21 | |
-Yeah. -He offered it to you, and do you think you paid a good price for it, £90? | 0:04:21 | 0:04:26 | |
Well, I think so on today's prices, yes. | 0:04:26 | 0:04:29 | |
I mean it's a good example here, for example that | 0:04:29 | 0:04:32 | |
not everything to do with antiques and auctions is all about fine art | 0:04:32 | 0:04:36 | |
and something that's been crafted or created from scratch, sometimes, I'm afraid, it's all about just... | 0:04:36 | 0:04:42 | |
I'm gonna say it... scrap value, | 0:04:42 | 0:04:45 | |
especially when it comes to gold. | 0:04:45 | 0:04:47 | |
So what I've done, I've brought along my scales here, have you got any idea | 0:04:47 | 0:04:51 | |
of what you think it's worth, how much it weighs? | 0:04:51 | 0:04:53 | |
Roughly about three ounces. | 0:04:53 | 0:04:56 | |
Three ounces, well that's a decent weight, isn't it? | 0:04:56 | 0:04:58 | |
It almost doesn't feel like three ounces. | 0:04:58 | 0:05:01 | |
-No. -Let's pop it on the scales here, you said around three ounces, we've | 0:05:01 | 0:05:04 | |
got 3.28 ounces, so you weren't far off there, John. I think you knew what you were buying, didn't you? | 0:05:04 | 0:05:10 | |
So now we know how much the cigarette case weighs, we've got to work out or | 0:05:10 | 0:05:15 | |
-find out what carat gold it is, any ideas? -Nine carat. | 0:05:15 | 0:05:20 | |
Well, if we have a look inside here, similar to the silver hallmarking, | 0:05:20 | 0:05:25 | |
you can just see it there, the 9 carat gold mark. | 0:05:25 | 0:05:28 | |
Here you've got the maker's mark, which is the Goldsmith and Silversmith Co. Ltd, of London. | 0:05:28 | 0:05:34 | |
-Right. -Nice quality really, it would've been an expensive item when it was bought. | 0:05:34 | 0:05:39 | |
-So have you any idea what 9-carat gold's at at the moment? -No, I haven't a clue. | 0:05:39 | 0:05:43 | |
Well, as we're filming, it's at about £220 an ounce, times by three, | 0:05:43 | 0:05:49 | |
that makes over £600 in scrap value. | 0:05:49 | 0:05:55 | |
I don't think we should put it in the auction at that £600 level, I think that might | 0:05:55 | 0:06:02 | |
put people off. | 0:06:02 | 0:06:03 | |
What we want is for people... 300 to 500, I mean if you've | 0:06:03 | 0:06:08 | |
got that, if we reserved it at that 300 mark. | 0:06:08 | 0:06:10 | |
That's fine, smashing. Thank you. | 0:06:10 | 0:06:13 | |
Well, I shouldn't really call an elegant basket like this a good | 0:06:21 | 0:06:24 | |
lump of silver, but there's quite a bit of silver in that. | 0:06:24 | 0:06:27 | |
-It is heavy, yes. -Is this a family piece? | 0:06:27 | 0:06:29 | |
-It was given to my father as a gift from two spinster clients. -Right. | 0:06:29 | 0:06:35 | |
And their house was opposite my school, so I used to wave at them every day as I left school. | 0:06:35 | 0:06:42 | |
So I don't know whether I persuaded them to | 0:06:42 | 0:06:45 | |
give him the gift of whether it was because he was such a good manager. | 0:06:45 | 0:06:48 | |
Well, that's a nice story. So you've had it ever since, have you? | 0:06:48 | 0:06:51 | |
Yes, 45 years, and I have polished it every fortnight since then. | 0:06:51 | 0:06:57 | |
-Have you really? -My biggest worry is am I polishing away the centre? | 0:06:57 | 0:07:02 | |
Right. Well, let's have a little look at that because, it's a lovely shape | 0:07:02 | 0:07:06 | |
first of all, isn't it, a beautiful sort of oval shape | 0:07:06 | 0:07:10 | |
echoed in the handle here, and it's got lovely reeded borders around the outside, again on the handle as well, | 0:07:10 | 0:07:18 | |
and what's known as gadrooning around the centre of the basket, and this is reminiscent of | 0:07:18 | 0:07:25 | |
a much earlier Georgian style, if you like, in the neo-classical style. | 0:07:25 | 0:07:31 | |
However, it's not 18th century in date because if | 0:07:31 | 0:07:34 | |
we look at the side here, you can see the silver hallmark, it's marked from | 0:07:34 | 0:07:38 | |
Sheffield and 1897, so it's right towards the end of Victoria's reign, but a good bit of silver. | 0:07:38 | 0:07:45 | |
-Now you say you've been polishing it every fortnight for some 40-odd years? -45 years, yes. | 0:07:45 | 0:07:51 | |
I think the actual reeding and gadrooning is still in nice | 0:07:51 | 0:07:55 | |
condition, and the handle here also, but what has happened is the base has | 0:07:55 | 0:08:00 | |
been pushed down slightly, which may have been done with vigorous polishing over the years, and so you | 0:08:00 | 0:08:07 | |
can just see the outline of where the pedestal is attached on the base and you can see that little oval there. | 0:08:07 | 0:08:14 | |
-Yes, that was my worry. -So a good lump of silver but why do you want to sell it? | 0:08:14 | 0:08:18 | |
I'm downsizing, I will have nowhere to display it, and I | 0:08:18 | 0:08:23 | |
-think my polishing days are over. -I think you've had enough of polishing. | 0:08:23 | 0:08:27 | |
I've had enough of polishing. | 0:08:27 | 0:08:29 | |
I would say even though it's got quite a bit of silver in it, | 0:08:29 | 0:08:32 | |
we're probably looking at around £150 to £200 mark. | 0:08:32 | 0:08:36 | |
-Does that sound reasonable? -It's lower than I'd hoped. | 0:08:36 | 0:08:41 | |
What sort of figure were you... | 0:08:41 | 0:08:42 | |
I was thinking perhaps 200 to 300. | 0:08:42 | 0:08:44 | |
Right, OK. | 0:08:44 | 0:08:46 | |
We could try it at that if you like but I think if we said 150 to 200, | 0:08:46 | 0:08:50 | |
it might get buyers interested and encourage them. | 0:08:50 | 0:08:53 | |
If you would like to put a reserve of 200, we can try that for you. | 0:08:53 | 0:08:56 | |
-Yes, please. -You'd like that? -Yes. | 0:08:56 | 0:08:59 | |
OK, well let's do that. Let's put a reserve of 200 and see how we get on. | 0:08:59 | 0:09:03 | |
I think you've certainly got a chance, but I think at 150 you might just entice people in perhaps | 0:09:03 | 0:09:08 | |
a little bit better, but it's your basket, | 0:09:08 | 0:09:12 | |
-I hope it goes really well. -And if it doesn't, I will go back to polishing. | 0:09:12 | 0:09:17 | |
Thank you very much. | 0:09:17 | 0:09:18 | |
Well, Leslie, they say small is beautiful and personally I'd subscribe to that | 0:09:18 | 0:09:23 | |
because, you know, not being a six-footer, but what have you brought in here for us to look at today? | 0:09:23 | 0:09:27 | |
I've brought a piece of Moorcroft, I believe it's MacIntyre. | 0:09:27 | 0:09:32 | |
That's right. Well, you've in one sentence basically told us all we need to know. | 0:09:32 | 0:09:37 | |
You've got the name Moorcroft and the name MacIntyre, | 0:09:37 | 0:09:40 | |
because what you've got here is indeed a MacIntyre vase... | 0:09:40 | 0:09:43 | |
the company MacIntyre, of which William Moorcroft headed up their art pottery department. | 0:09:43 | 0:09:48 | |
Now we all know Moorcroft nowadays, of course, he's a well-known name, | 0:09:48 | 0:09:52 | |
we've seen plenty of Moorcroft on Flog It and it always sells well. | 0:09:52 | 0:09:55 | |
Now this, we're taking a step further back in time, shall we say, to when William | 0:09:55 | 0:10:00 | |
Moorcroft was experimenting with this tube lining, which you can see here. | 0:10:00 | 0:10:05 | |
Generally, when pieces are made in miniature, they tend to be | 0:10:05 | 0:10:08 | |
-more valuable than the large pieces. -Right. | 0:10:08 | 0:10:11 | |
Is this something that you've bought, do you collect this? | 0:10:11 | 0:10:14 | |
No, I actually found this at a bric-a-brac sale in Llangollen in Wales. | 0:10:14 | 0:10:20 | |
Dare I ask what you paid for it? | 0:10:20 | 0:10:21 | |
-Ten pence. -Get off... 10p? -Ten pence. | 0:10:21 | 0:10:25 | |
-You didn't do that, did you? -Unfortunately that was already on. | 0:10:25 | 0:10:29 | |
Cos unfortunately it has got a small chip on the rim. | 0:10:29 | 0:10:32 | |
I think if it had been perfect, | 0:10:32 | 0:10:34 | |
your 10p investment would have been a very good investment because that does detract from it. | 0:10:34 | 0:10:39 | |
But even so, | 0:10:39 | 0:10:41 | |
I think you've done very well here. | 0:10:41 | 0:10:43 | |
It's in this typical blue | 0:10:43 | 0:10:46 | |
of the MacIntyre, the Florian range is the range, but the actual pattern | 0:10:46 | 0:10:50 | |
-we've got here is called Honesty, because I think you did a little bit of research, didn't you? -Yes. | 0:10:50 | 0:10:54 | |
-You took it to the museum? -The Moorcroft Museum itself, yes. | 0:10:54 | 0:10:57 | |
I know them well, yes. | 0:10:57 | 0:10:59 | |
-They told me it was about 1903. -I mean 10p, what can we say it's worth now? | 0:10:59 | 0:11:03 | |
It's nicely marked, it's signed underneath, like I say, a precursor | 0:11:03 | 0:11:08 | |
of this tube line decoration which Moorcroft made into such a household technique, shall we say. | 0:11:08 | 0:11:14 | |
-I would put it in the auction at about £150 to £250, how do you feel about that? -That's lovely. | 0:11:14 | 0:11:19 | |
Brilliant, I think that's great. | 0:11:19 | 0:11:21 | |
-So we'll see you on the day, £150 and reserved it at that? -Erm... | 0:11:21 | 0:11:26 | |
-yes, we'll go with that. -Reserve it, bit of discretion for the auctioneer, we don't want to struggle. | 0:11:26 | 0:11:31 | |
-I'm confident that it's going to do that, if not more. Brilliant, see you then. -Thank you very much. -Well done. | 0:11:31 | 0:11:37 | |
Malcolm, I've had the pleasure | 0:11:43 | 0:11:46 | |
-of valuing one of these before on Flog It! -Yes? | 0:11:46 | 0:11:49 | |
I think so has Philip Serrell as well. | 0:11:49 | 0:11:52 | |
-We both like our boy's toys. -Yes. | 0:11:52 | 0:11:54 | |
But this is a classic little Schuco car, | 0:11:54 | 0:11:57 | |
typical of tin-plate German toys from the early 1900s. | 0:11:57 | 0:12:01 | |
-But this one has got a gear-shift stick. -Yes. | 0:12:01 | 0:12:04 | |
And you know, as well, how that works, don't you? | 0:12:04 | 0:12:07 | |
-Do you want to wind him up? -OK. | 0:12:07 | 0:12:09 | |
What's the story? How long have you had the cars? | 0:12:09 | 0:12:12 | |
Erm, about 65 years. | 0:12:12 | 0:12:14 | |
-Yeah. -They came to me as presents... -Really? -..in about 1941, '42. | 0:12:14 | 0:12:20 | |
-And it's something you're thinking of selling? -Yes. | 0:12:20 | 0:12:23 | |
Why? They've been with you most of your life. | 0:12:23 | 0:12:26 | |
They've been with me for many years | 0:12:26 | 0:12:28 | |
but my children are not interested in them, children or grandchildren. | 0:12:28 | 0:12:33 | |
-You've never played with that one, have you? -I have but not too often. | 0:12:33 | 0:12:37 | |
Not as much as this one! | 0:12:37 | 0:12:38 | |
-What have you been doing to that one? -That's been in a few crashes. | 0:12:38 | 0:12:43 | |
-Have you got the other front wheels? -No, no. It's a bit sad, really. | 0:12:43 | 0:12:47 | |
Go on, let this one go. Let's watch it work. | 0:12:47 | 0:12:50 | |
-It's incredible. -Yes. | 0:12:51 | 0:12:53 | |
And it's gone into reverse? | 0:12:53 | 0:12:55 | |
Hey presto. Look at that. | 0:12:55 | 0:12:57 | |
-And it's got articulated steering. -Yes. | 0:12:57 | 0:12:59 | |
You can turn the steering wheel. Look at that. Reversing into my pen. | 0:12:59 | 0:13:03 | |
-Handbrake on. -Handbrake on. | 0:13:03 | 0:13:06 | |
Beautiful. | 0:13:06 | 0:13:07 | |
Normally, it's a litho transfer print for the colour. | 0:13:07 | 0:13:10 | |
-This is spray-painted on, which is quite nice. -That's right. | 0:13:10 | 0:13:14 | |
If I turn this over... | 0:13:14 | 0:13:18 | |
you can see the litho print saying Schuco. | 0:13:18 | 0:13:23 | |
It's in such good condition, this little car | 0:13:23 | 0:13:26 | |
-and that's all credit to you... Well... ..for not bashing it about. -Yes. | 0:13:26 | 0:13:31 | |
Any idea of value? | 0:13:32 | 0:13:34 | |
Erm, probably about £100 or thereabouts - 120. | 0:13:34 | 0:13:39 | |
Yes. Definitely. | 0:13:39 | 0:13:40 | |
-And I'm hoping that's the low end. -Oh, good. | 0:13:40 | 0:13:43 | |
-I'd like to put this into auction with an estimate of £100-200. -Right. | 0:13:43 | 0:13:48 | |
This little one will sell in the same lot as this. | 0:13:48 | 0:13:52 | |
That's... That's the value. | 0:13:52 | 0:13:53 | |
-Here is, hopefully, £180 on a good day. -Very nice. | 0:13:53 | 0:13:58 | |
-OK. This one, we'll throw in. -Yes. | 0:13:58 | 0:14:01 | |
If a collector has a lot of these Schuco cars, | 0:14:01 | 0:14:04 | |
he'll use this one to break up and use the spares. | 0:14:04 | 0:14:07 | |
OK. That's fine. | 0:14:07 | 0:14:09 | |
-Well, let's put them into auction, then, at £100-200. -Thank you. | 0:14:09 | 0:14:13 | |
It's time to go to the auction now at Firth. | 0:14:13 | 0:14:17 | |
This is Biddulph Grange Garden in the heart of Staffordshire, | 0:14:26 | 0:14:30 | |
and if you pause for just a moment and listen... | 0:14:30 | 0:14:32 | |
you can hear the sound of silence, albeit a bit of birdsong. | 0:14:32 | 0:14:36 | |
It's so beautiful and peaceful here. | 0:14:36 | 0:14:38 | |
It's not only just a place to come and relax, but taking a trip | 0:14:38 | 0:14:42 | |
around these gardens is like touring the world because it's packed full of beautiful and exotic plants. | 0:14:42 | 0:14:48 | |
When this place was conceived back in the 1840s, it went totally against the popular Victorian trend | 0:14:48 | 0:14:54 | |
of broad expanses of grass and water. | 0:14:54 | 0:14:57 | |
Instead, by contrast, Biddulph Grange Garden broke new ground by employing natural | 0:14:57 | 0:15:02 | |
screens such as yew trees, hedges, and walls, to create informal groups of separate gardens, each with | 0:15:02 | 0:15:10 | |
their own distinctive character and mini-microclimate, many reflecting faraway worlds like China and Egypt. | 0:15:10 | 0:15:18 | |
Visitors were encouraged to navigate their way through | 0:15:18 | 0:15:21 | |
the garden rather than have it revealed to them all at once. | 0:15:21 | 0:15:25 | |
The conception of this rather unusual garden was principally the work of three people, | 0:15:25 | 0:15:30 | |
James Bateman and his wife Maria, and their good friend Edward Cooke. | 0:15:30 | 0:15:35 | |
James Bateman was born in 1811 into a wealthy family that made their money from coalmining. | 0:15:35 | 0:15:40 | |
From a very young age, James was fascinated by orchids, which became the passion of his life. | 0:15:40 | 0:15:46 | |
In 1838, James married Maria Egerton-Warburton. | 0:15:48 | 0:15:52 | |
Now, Maria had rather unusual gardening tastes for the period because she loved | 0:15:52 | 0:15:57 | |
herbaceous plants, as well as having a big passion for lilies, which she was well known for. | 0:15:57 | 0:16:03 | |
The Batemans moved here to Biddulph Grange in 1840, and with the help, a lot of help, from Edward Cooke, | 0:16:03 | 0:16:09 | |
they set about creating Biddulph Grange Garden. | 0:16:09 | 0:16:12 | |
Over the next 20 years, they brought together shrubs such as skimmia reevesiana... | 0:16:12 | 0:16:18 | |
..bamboo, and varieties of rhododendrons | 0:16:19 | 0:16:22 | |
from the Himalayas and China, plus a variety of trees from abroad including the monkey puzzle tree | 0:16:22 | 0:16:28 | |
from Chile and other extraordinary elements from all around the world. | 0:16:28 | 0:16:32 | |
Another fascinating influence on the design of this garden was arguably religion. | 0:16:36 | 0:16:41 | |
You see, James Bateman was a millenarian, he believed | 0:16:41 | 0:16:45 | |
in the second coming of Christ, so when you start your tour, it's that influence you experience first. | 0:16:45 | 0:16:51 | |
And to help us understand this, I've come to have a chat with Paul Baker, | 0:16:51 | 0:16:54 | |
who's the National Trust Property Manager here at Biddulph. | 0:16:54 | 0:16:59 | |
There you are, Paul. Thank you so much for showing me around today. | 0:16:59 | 0:17:02 | |
-It's a pleasure. -Does the tour start here for everybody that visits the gardens? | 0:17:02 | 0:17:06 | |
Do they come through this gallery? | 0:17:06 | 0:17:08 | |
Sadly not any more, but they would have done when | 0:17:08 | 0:17:10 | |
James Bateman had his garden open to the public in the 19th century. | 0:17:10 | 0:17:14 | |
So they would have come in through his geological | 0:17:14 | 0:17:17 | |
gallery, which is where we are now, and they'd have been able to see his | 0:17:17 | 0:17:20 | |
display of fossils and geological specimens which were on the wall to our left here. | 0:17:20 | 0:17:25 | |
How does the rest of it fit in with this? | 0:17:25 | 0:17:27 | |
Well, very interestingly, he believed that a second coming | 0:17:27 | 0:17:31 | |
was due, almost imminently, and all the existing plants and so on | 0:17:31 | 0:17:36 | |
would be swept away and have to be collected all over again. | 0:17:36 | 0:17:38 | |
He also believed certain plants had a very specific role and appeared at specific times in the creation story. | 0:17:38 | 0:17:45 | |
So ferns, which we have quite a lot of in the garden itself now, appeared | 0:17:45 | 0:17:49 | |
quite early because they took the longest time to get turned into coal. | 0:17:49 | 0:17:54 | |
The other great passion he had was orchids, and he believed those only | 0:17:54 | 0:17:58 | |
arrived on the scene when Mankind arrived because they were there to beautify the world for Mankind. | 0:17:58 | 0:18:04 | |
So they wouldn't appear until we get to the end of the gallery. | 0:18:04 | 0:18:07 | |
That's absolutely incredible. | 0:18:07 | 0:18:09 | |
Look at that, it's a little bit of Egypt, surely? | 0:18:16 | 0:18:19 | |
Yes. It's been transformed into Egypt, here we are, the Egyptian court. | 0:18:19 | 0:18:24 | |
Perfect symmetry everywhere. | 0:18:24 | 0:18:27 | |
Who was the creative genius, the driving force? Because I know Edward Cooke was a painter. | 0:18:27 | 0:18:33 | |
Was he the visionary or was James really? | 0:18:33 | 0:18:36 | |
A lot of the actual design work we believe was Edward Cooke, cos although he's | 0:18:36 | 0:18:40 | |
better known as a painter today, he was also well known as landscape designer in Victorian England. | 0:18:40 | 0:18:45 | |
-Yeah. -And Bateman did acknowledge how much debt he owed to Cooke in the design of the garden. | 0:18:45 | 0:18:50 | |
-Can I look in? -Yes, go ahead. | 0:18:50 | 0:18:52 | |
And out into the sunlight. | 0:18:58 | 0:19:00 | |
And into Cheshire in the blink of an eye, if you look behind. | 0:19:00 | 0:19:04 | |
Oh, yes. Look at that, 1856. | 0:19:04 | 0:19:07 | |
The initials James and Maria Bateman above the window. | 0:19:07 | 0:19:10 | |
That's so cute, isn't it? And as quick as that. | 0:19:10 | 0:19:13 | |
-Well, let's go and see some more. -Yes, we're now in the pinetum, | 0:19:13 | 0:19:16 | |
and just coming up on the left here, we've got some monkey puzzle trees. | 0:19:16 | 0:19:21 | |
So where are we now? | 0:19:26 | 0:19:28 | |
-Just coming into the China section of the garden. -So is this symbolic of the Great Wall? | 0:19:28 | 0:19:32 | |
It is, and if you look down to your right... | 0:19:32 | 0:19:35 | |
Ah, what a treat. | 0:19:35 | 0:19:37 | |
-Now that is a visual impact, isn't it, seeing that? -Absolutely. | 0:19:37 | 0:19:41 | |
That little temple in the lake. | 0:19:41 | 0:19:43 | |
-It's all based on willow pattern plates, the iconography you see on a willow pattern plate. -Yes. | 0:19:43 | 0:19:47 | |
So you have the temple, that bridge with the zig-zag fence. | 0:19:47 | 0:19:51 | |
-Can we go and have a look? -Yes, of course. | 0:19:51 | 0:19:53 | |
It looks so inviting. Well, I can see lots of bamboos planted. | 0:19:53 | 0:19:57 | |
Right. There's quite a wide variety of plants from China, we | 0:19:57 | 0:20:01 | |
have some acers, actually from Japan, they're the very deep purple variety. | 0:20:01 | 0:20:05 | |
Oh, gosh. Come autumn, they'll be worth seeing. | 0:20:05 | 0:20:08 | |
They are spectacular in the autumn. | 0:20:08 | 0:20:10 | |
We've also got probably the oldest surviving golden larch in | 0:20:10 | 0:20:15 | |
England growing here, that was also brought back by Robert Fortune from one of his many travels out in China. | 0:20:15 | 0:20:21 | |
-What a visionary. -Oh, he was, and he was also the man who smuggled all the tea plants | 0:20:21 | 0:20:25 | |
out of China into India as well, when he was employed for a while by the British East India Company. | 0:20:25 | 0:20:31 | |
So when you have a cup of tea today, it's obviously due to Robert Fortune in large part. | 0:20:31 | 0:20:37 | |
A complete, leisurely tour of Biddulph would take a few hours. | 0:20:37 | 0:20:41 | |
There are many other areas which I haven't had time to explore today | 0:20:41 | 0:20:44 | |
such as the Glen, which was based on the Scottish rock formations, | 0:20:44 | 0:20:48 | |
and the Italian garden, which was a popular choice of garden during the era. | 0:20:48 | 0:20:52 | |
And it's amazing to think that over 160 years after the first conception | 0:20:52 | 0:20:56 | |
of Biddulph Garden, it remains here today for everybody to enjoy. | 0:20:56 | 0:21:01 | |
Let's have a quick reminder of all the items that are going under the hammer. | 0:21:05 | 0:21:10 | |
The watercolour by John Horner could be a real hit but if not, Paul the owner has a back-up plan. | 0:21:10 | 0:21:16 | |
I mean if it doesn't sell, I'll keep it anyway. | 0:21:16 | 0:21:18 | |
John bought his cigarette case 30 years ago for just £90 | 0:21:18 | 0:21:22 | |
and today, Will thinks it's worth its weight in gold. | 0:21:22 | 0:21:25 | |
For the past 45 years, Jill has lovingly polished | 0:21:27 | 0:21:30 | |
her silver basket and now it's time to see if it will sell. | 0:21:30 | 0:21:34 | |
And if it doesn't, I will go back to polishing. | 0:21:34 | 0:21:37 | |
And when it came to the Moorcroft vase, Will was impressed by Leslie's eye for a bargain. | 0:21:37 | 0:21:42 | |
-Dare I ask what you paid for it? -10 pence. -Get off! 10p! | 0:21:42 | 0:21:47 | |
We're also selling Malcolm's two Schuco cars | 0:21:47 | 0:21:51 | |
which he's had for 65 years. | 0:21:51 | 0:21:52 | |
Will we get a lucky bidder to drive them away? | 0:21:52 | 0:21:55 | |
Well, you've seen all our items and now it's time to put our experts' valuations to the test, | 0:21:56 | 0:22:01 | |
and we're going to do it right here | 0:22:01 | 0:22:02 | |
at Adam Partridge Auctioneers and Valuers at North Rode outside Congleton. | 0:22:02 | 0:22:07 | |
The sale is just about to start. | 0:22:07 | 0:22:09 | |
It's absolutely packed in there, so let's get inside. | 0:22:09 | 0:22:12 | |
Next up, we've got a cracking bit of Victorian silver, a little basket, | 0:22:27 | 0:22:30 | |
and Jill's selling it because you're so fed up with polishing it. | 0:22:30 | 0:22:34 | |
45 years of polishing. | 0:22:34 | 0:22:36 | |
You'll wear it away, won't you? | 0:22:36 | 0:22:38 | |
-You didn't polish it every day though. -Every fortnight. | 0:22:38 | 0:22:41 | |
-Anyway, you want to sell it, don't you, now? -Yes. | 0:22:42 | 0:22:45 | |
-And I know Kate said 150 to 200. -That's right. | 0:22:45 | 0:22:51 | |
And you're angling for that, and I know that you were sort of having a haggle. | 0:22:51 | 0:22:55 | |
-Bit of a haggle. -You were hoping for 200. | 0:22:55 | 0:22:57 | |
-Yes. -You're hoping for Kate's top end. -Yes. | 0:22:57 | 0:23:00 | |
-So now you've actually said, "right, we want £200". -Yes. | 0:23:00 | 0:23:03 | |
Let's hope we can get a bit more so we're all happy. | 0:23:03 | 0:23:06 | |
Yeah. So the reserve is actually 200 now, which is fine, but my feeling is that realistically at auction, it's | 0:23:06 | 0:23:12 | |
-sort of between the two really. -We'll wait and see. -Yeah. | 0:23:12 | 0:23:14 | |
Good luck, anyway, both of you. | 0:23:14 | 0:23:16 | |
And it's Sheffield 1897, another basket here and I'm bid 160. | 0:23:16 | 0:23:21 | |
-170? 170... 180, 190? -Yes, yes. | 0:23:21 | 0:23:24 | |
190, your bid, take 200. | 0:23:24 | 0:23:26 | |
At 190... 200, 210... | 0:23:26 | 0:23:28 | |
-220. -We've sold it. -230? | 0:23:28 | 0:23:30 | |
There you go, that's great. | 0:23:30 | 0:23:32 | |
220 in the crowd here, 220... any more this one now? 220... | 0:23:32 | 0:23:36 | |
all done? At 220... thank you. | 0:23:36 | 0:23:38 | |
-Great. Well, done. -Thank you very much. | 0:23:38 | 0:23:41 | |
Well done, Kate. What are you going to put the money towards? | 0:23:41 | 0:23:44 | |
We've got 15% commission to pay on this, don't forget, Adam's got to earn his wages. | 0:23:44 | 0:23:48 | |
Well, this was an experience, so I'm going to use for another experience. | 0:23:48 | 0:23:52 | |
-What's that? -Perhaps lunch on the Orient Express or tea at the Ritz. | 0:23:52 | 0:23:56 | |
-Classy. -Ooh. -Very nice, I like your style. | 0:23:56 | 0:24:00 | |
-Enjoy it. -Thank you very much. | 0:24:00 | 0:24:02 | |
£50, £50 is bid. 50 I have, 55 now? | 0:24:03 | 0:24:06 | |
It's now my turn to be the expert | 0:24:06 | 0:24:09 | |
and next up it's those two lovely Schuco cars. | 0:24:09 | 0:24:11 | |
One is in incredible condition. | 0:24:11 | 0:24:13 | |
They belong to Malcolm. We've got the cars here but we don't have Malcolm. | 0:24:13 | 0:24:17 | |
He's cruising the Caribbean but we've got his daughter here, Elizabeth. | 0:24:17 | 0:24:20 | |
-Hello. -You can remember these as a little girl, can't you? | 0:24:20 | 0:24:24 | |
I can. I can the remember the little red car, yes. | 0:24:24 | 0:24:28 | |
I had to put it back in the box afterwards. | 0:24:28 | 0:24:30 | |
I don't blame Dad for making you do that, as well. | 0:24:30 | 0:24:33 | |
-That was his pride and joy, wasn't it? -Yes, he loved his cars. | 0:24:33 | 0:24:36 | |
-Do say hello, won't you, and let him know how it's gone. -I will. | 0:24:36 | 0:24:40 | |
-It's going under the hammer now. -OK. | 0:24:40 | 0:24:42 | |
The Schuco 4001 Examico clockwork car | 0:24:42 | 0:24:46 | |
and a Schuco Studio red tinplate racing car, racing number 9. | 0:24:46 | 0:24:50 | |
Two Schucos in the lot, there. | 0:24:50 | 0:24:51 | |
Let's try £100 for the two Schucos. 100? | 0:24:51 | 0:24:54 | |
100? 80? | 0:24:54 | 0:24:56 | |
60 bid. £60. Take 5 now. | 0:24:56 | 0:24:58 | |
At 60. At £60. I have 5. | 0:24:58 | 0:25:01 | |
70 bid. At £70. 5? | 0:25:01 | 0:25:03 | |
80 now. 80 bid. 5, then? 85. | 0:25:03 | 0:25:06 | |
90 bid? 85 we have. | 0:25:06 | 0:25:08 | |
-85 is the bid. Is there 90? -We're close. | 0:25:08 | 0:25:11 | |
At £85... 90. In the room at 90. | 0:25:11 | 0:25:12 | |
At £90. Is there 5 now? | 0:25:12 | 0:25:15 | |
We're selling at 90 in the room. All done at 90? | 0:25:15 | 0:25:18 | |
-He's used discretion, the 10%. -That's fine. -That's OK. | 0:25:18 | 0:25:22 | |
-We just about got them away. -Yeah. Brilliant. | 0:25:22 | 0:25:25 | |
-He'll be happy, he'll be happy. -He will be happy. | 0:25:25 | 0:25:28 | |
Except when I spend his money. | 0:25:28 | 0:25:30 | |
Oh, well don't tell him that, will you? | 0:25:30 | 0:25:32 | |
-And say hi from us, won't you? -I will do. Thank you. -Thank you. | 0:25:32 | 0:25:35 | |
-Peggy and John, it's good to see you. -And you. | 0:25:40 | 0:25:42 | |
-Have you been looking forward to this? -I have, very much. | 0:25:42 | 0:25:45 | |
We're just about to put under the hammer this gold cigarette case, and there's an awful lot of weight here. | 0:25:45 | 0:25:50 | |
You're looking at £300 to £500, you've got a fixed reserve at £300. | 0:25:50 | 0:25:55 | |
-Yes. -It's worth top estimate scrap. -Yeah, exactly. | 0:25:55 | 0:25:58 | |
-So I'm looking to break that top estimate. -Right, here we go. | 0:25:58 | 0:26:01 | |
Around 93 whopping grams we made that, | 0:26:01 | 0:26:05 | |
and commission interest here has to start us at 600 straight in. | 0:26:05 | 0:26:10 | |
-Told you! Straight in at £600. -600 bid. | 0:26:10 | 0:26:12 | |
Are you all done at 600? Not very exciting, is it? | 0:26:12 | 0:26:15 | |
600 bid, at 600... 620, 640... | 0:26:15 | 0:26:18 | |
660, 640 still with me, 640 are you all done on this? | 0:26:18 | 0:26:22 | |
640. | 0:26:22 | 0:26:24 | |
£640, 15% commission to pay here. What will you put the money towards? | 0:26:24 | 0:26:30 | |
It's either going to be a piece of Swarovski or a large flat screen TV. | 0:26:30 | 0:26:35 | |
-Ooh. -You like your glass then? | 0:26:35 | 0:26:38 | |
-I do, and he loves his football. -He loves his footie. | 0:26:38 | 0:26:41 | |
Next up, we've got a lovely little watercolour with a value of £200 to £300, and it was brought in by Paul, | 0:26:47 | 0:26:52 | |
who is playing the game, because you got this on the internet a few weeks ago, didn't you? | 0:26:52 | 0:26:57 | |
-I did. -For £80? -For £80. | 0:26:57 | 0:26:59 | |
-Hopefully we're doubling your money plus, right now. -Hopefully. | 0:26:59 | 0:27:02 | |
So you've got a keen eye. | 0:27:02 | 0:27:03 | |
-I like to think so, yeah. -Do you do a lot of this? -A little bit, but not a great deal. | 0:27:03 | 0:27:08 | |
-And you've had much success? -Erm... | 0:27:08 | 0:27:10 | |
well, a little bit. | 0:27:10 | 0:27:12 | |
Kate, a bit of competition. | 0:27:12 | 0:27:14 | |
-You've been giving me tips. -Has he? -Yeah. | 0:27:14 | 0:27:16 | |
So we've got a value of 200 to 300. | 0:27:16 | 0:27:18 | |
We have. The watercolour market is unpredictable, as I'm | 0:27:18 | 0:27:21 | |
sure Paul knows, so it's either going to do really well or we're going to miss the boat, so one or the other. | 0:27:21 | 0:27:27 | |
-We'll soon find out. -We're going to find out. Here we go. | 0:27:27 | 0:27:30 | |
J Horner, watercolour fishing scene, start me £200 please. | 0:27:30 | 0:27:35 | |
150? | 0:27:35 | 0:27:36 | |
£100? | 0:27:36 | 0:27:39 | |
I'm afraid I'm going to have to pass that one. | 0:27:39 | 0:27:42 | |
-Didn't sail for you. -No. -A punt, a bit of a gamble. -It was, yeah. | 0:27:42 | 0:27:46 | |
I quite like it, I'd sooner take it home anyway. | 0:27:46 | 0:27:48 | |
Put it back on the wall. OK, thank you very much. | 0:27:48 | 0:27:51 | |
That's a shame. Give it a while, stick it in a dark corner, fish it | 0:27:51 | 0:27:56 | |
-out again, because I think the right person just wasn't here. -I will do. | 0:27:56 | 0:27:59 | |
He's got a good track record, that artist, so I think in a different sale you might have some luck. | 0:27:59 | 0:28:04 | |
Smashing. Thank you. | 0:28:04 | 0:28:07 | |
Well, it is all out there if you bother to open your eyes and go and have a look. | 0:28:12 | 0:28:15 | |
-And that's exactly what Leslie did when you were in Wales. -Yes. | 0:28:15 | 0:28:19 | |
-10p this next lot cost at a bric-a-brac sale. -In Llangollen. | 0:28:19 | 0:28:24 | |
It's a bit of Moorcroft and we valued it at £150 to £250. | 0:28:24 | 0:28:30 | |
Not a bad return on 10 pence. | 0:28:30 | 0:28:32 | |
Small is beautiful, but condition is everything with | 0:28:32 | 0:28:35 | |
ceramics, so we've kept the valuation down. | 0:28:35 | 0:28:37 | |
If it was perfect, it would be in the high hundreds, but it's still going to do well. | 0:28:37 | 0:28:41 | |
-Yes. -Well, let's hope it does that 250, we're gonna find out right now. | 0:28:41 | 0:28:45 | |
There we are, the Honesty pattern there on a roughened surface there. | 0:28:45 | 0:28:49 | |
-I'm bid 160 to start, is there 170? -Sold straightaway. -160 bid, at 160. | 0:28:49 | 0:28:52 | |
Any more now on this one? At 160... | 0:28:52 | 0:28:55 | |
All done... 170... 180, 190... | 0:28:55 | 0:28:57 | |
200, 210... 220, 230... 240. | 0:28:57 | 0:29:00 | |
There's a bidder in the room. | 0:29:00 | 0:29:02 | |
-And there's a bidder in the room. -320... 340, 360... 380, | 0:29:02 | 0:29:05 | |
400, 420, 440... 420, am I bid one more if you want? | 0:29:05 | 0:29:08 | |
420... at 420, your bid now 440, we're in the room. | 0:29:08 | 0:29:11 | |
At 440 I'm selling this one, are we all done? At £440. | 0:29:11 | 0:29:17 | |
Thanks very much. | 0:29:17 | 0:29:20 | |
-Thank you! -Excellent. | 0:29:20 | 0:29:22 | |
£440! | 0:29:22 | 0:29:24 | |
That is just incredible! | 0:29:24 | 0:29:28 | |
£420. | 0:29:28 | 0:29:29 | |
That'll divide up nicely, though, there's a lot of children. | 0:29:29 | 0:29:33 | |
-Yes. -We blew the top end away, which is what you like. -Yeah. | 0:29:33 | 0:29:36 | |
Yeah. Leslie, thank you so much for bringing that in. | 0:29:36 | 0:29:38 | |
To find out more about Moorcroft, I've come to the heart of the British pottery industry. | 0:29:52 | 0:29:58 | |
This area is so synonymous with the trade that it is traditionally referred to as the Potteries. | 0:29:58 | 0:30:04 | |
You may know it as Stoke-on-Trent. | 0:30:04 | 0:30:06 | |
Today, Staffordshire boasts some 350 potteries. | 0:30:07 | 0:30:11 | |
Renowned names like Clarice Cliff, Royal Doulton and Moorcroft with its exquisitely vibrant style | 0:30:11 | 0:30:18 | |
were all born and based here, producing everything from the little egg cup | 0:30:18 | 0:30:23 | |
to the most expensive bowls and vases. | 0:30:23 | 0:30:25 | |
They may be all the rage today, but the industry has been around for centuries. | 0:30:25 | 0:30:31 | |
Pottery was established in the West Midlands in the early 1700s, | 0:30:31 | 0:30:35 | |
but it wasn't until 1897 that the world was introduced to a style legend. | 0:30:35 | 0:30:41 | |
William Moorcroft caught the attention of a local pot manufacturer, James Macintyre & Co. | 0:30:41 | 0:30:46 | |
And that moment marked the official birth of an artistic genius. | 0:30:46 | 0:30:51 | |
Young William Moorcroft already had a reputation as a gifted painter, even though just a recent graduate, | 0:30:51 | 0:30:57 | |
and he started working for Macintyre's as a lead designer. | 0:30:57 | 0:31:01 | |
With his vibrant, colourful designs inspired by nature, he soon captured the market | 0:31:01 | 0:31:06 | |
and he even boldly placed his signature on the bottom of every Macintyre pot. | 0:31:06 | 0:31:12 | |
He was a visionary designer and revolutionary in his approach to ceramic art. | 0:31:12 | 0:31:17 | |
Demand for William's work soon exceeded any other designer in the firm. | 0:31:17 | 0:31:22 | |
In 1912, aided by money from Liberty of London, Moorcroft left Macintyre's employment, | 0:31:22 | 0:31:28 | |
taking with him 12 members of staff to start his factory. | 0:31:28 | 0:31:32 | |
They marched 500 metres from the old premises to Moorcroft's factory, | 0:31:32 | 0:31:36 | |
taking with them sketches, designs, pot moulds and tools. | 0:31:36 | 0:31:39 | |
A new age of ceramics had dawned and the iconic Moorcroft was born. | 0:31:39 | 0:31:44 | |
'Today, Moorcroft is a much loved, worldwide brand. Its delicate, | 0:31:44 | 0:31:48 | |
'but intricate detail delights thousands upon thousands, and it's been a bit of a regular on Flog It.' | 0:31:48 | 0:31:54 | |
-How about 150, 250? -Yeah. -Yeah. Definitely. | 0:31:54 | 0:31:58 | |
-They're not worth that. -OK. -They're worth 300 to 500. -You are kidding? -No. | 0:31:58 | 0:32:03 | |
'It doesn't often disappoint us when it comes to selling on at auction.' | 0:32:03 | 0:32:08 | |
-At 2,050. -That is a great Flog It moment. | 0:32:08 | 0:32:12 | |
£2,050! | 0:32:12 | 0:32:14 | |
'So to find out why it's so sought after, | 0:32:14 | 0:32:17 | |
'I've come to the Moorcroft Visitor Centre to meet MD Elise Adams | 0:32:17 | 0:32:22 | |
'and take a look at their stunning collection.' | 0:32:22 | 0:32:26 | |
What an incredible room! Moorcroft is vying for my attention everywhere. | 0:32:27 | 0:32:32 | |
I'm surrounded! What is this room called? | 0:32:32 | 0:32:35 | |
This is the Moorcroft Museum, part of the Moorcroft Heritage Visitor Centre here in Stoke-on-Trent. | 0:32:35 | 0:32:41 | |
-How long have you been working here? -I've been at Moorcroft for 12 years and slowly worked my way up. | 0:32:41 | 0:32:47 | |
Being a living art pottery, there's always something new happening. | 0:32:47 | 0:32:52 | |
-We've got a few pulled out from the cabinets. -I've started with some early pieces. | 0:32:52 | 0:32:57 | |
This is where William started when he worked at Macintyre's, a local firm that was founded in the 1830s. | 0:32:57 | 0:33:03 | |
He started with pieces like this. This is Aurelian Ware. | 0:33:03 | 0:33:07 | |
-It's flat to touch. It's not like the pieces of Moorcroft which have the... -Tube liners. -That's right. | 0:33:07 | 0:33:13 | |
-Where did he get his inspiration? -Very much from his environment. | 0:33:13 | 0:33:17 | |
A lot of British flowers, things that he would see day-to-day. | 0:33:17 | 0:33:21 | |
Then these pieces lead on to other pieces that come forward. | 0:33:21 | 0:33:25 | |
But he was very clever at this stage because, although he was working for Macintyre, | 0:33:25 | 0:33:31 | |
-he was signing all his wares "Moorcroft". How did he get away with that? -He was very canny. | 0:33:31 | 0:33:37 | |
Macintyre's don't seem to have objected. | 0:33:37 | 0:33:41 | |
Pieces like this, it's got the Macintyre backstamp on it, | 0:33:41 | 0:33:45 | |
but then clearly in green is William's signature. | 0:33:45 | 0:33:48 | |
He's branding his own name, he's setting himself up for when he's going to go it alone, | 0:33:48 | 0:33:54 | |
so people are knowing these pieces as Moorcroft when in fact they're Macintyre's. | 0:33:54 | 0:33:59 | |
What's distinctive about this piece? | 0:33:59 | 0:34:02 | |
It's the very first range that William designs when he moves to this new factory in 1913. | 0:34:02 | 0:34:08 | |
This follows in 1914 and it's called Persian Ware. The shape was inspired by Middle Eastern culture. | 0:34:08 | 0:34:14 | |
William starts to work with Liberty & Co in London and they buy pieces of Macintyre Ware. | 0:34:14 | 0:34:20 | |
He then designs specific ranges exclusively for them such as this powder-blue ware | 0:34:20 | 0:34:25 | |
which they used in their Liberty tea rooms. | 0:34:25 | 0:34:28 | |
-Flambe. -Flambe, wonderful. | 0:34:28 | 0:34:30 | |
-From blue to red. -This was his technique, wasn't it? It was his little invention. | 0:34:30 | 0:34:35 | |
This was something he held very close to his heart. | 0:34:35 | 0:34:39 | |
He only passed the recipe on to his son Walter on his death bed in 1945. | 0:34:39 | 0:34:44 | |
He didn't let anyone else fire or load the kilns. | 0:34:44 | 0:34:48 | |
What period are we looking at now? | 0:34:48 | 0:34:50 | |
We're coming forward a little bit in time here to more contemporary pieces | 0:34:50 | 0:34:54 | |
and pieces by William's son Walter who takes over the factory in 1945. | 0:34:54 | 0:34:58 | |
But we do start to get away a little bit from what Moorcroft is all about. | 0:34:58 | 0:35:03 | |
There's very little tube lining on the pieces which is the opposite to what William had devised. | 0:35:03 | 0:35:08 | |
Let's talk about the new designers. Do they have to have a good archive knowledge of previous designs? | 0:35:08 | 0:35:14 | |
They do, but they're very careful to always be moving forward. | 0:35:14 | 0:35:17 | |
But the process of Moorcroft has changed very little. It's tube-lined, painted and dipped by hand. | 0:35:17 | 0:35:24 | |
So, from that point of view, in 112 years, very little has changed. | 0:35:24 | 0:35:29 | |
That's great to see some animals. | 0:35:29 | 0:35:32 | |
It's by Kerry Goodwin, one of the newest members of the design studio. | 0:35:32 | 0:35:36 | |
She works here on our factory and is here today, so if you would like to meet her and have a look round, | 0:35:36 | 0:35:42 | |
-we can see how this kind of piece is made. -That'll be interesting. | 0:35:42 | 0:35:46 | |
The first stage of the process is mould-making. | 0:35:46 | 0:35:49 | |
The craftsman hand-makes each mould with plaster of Paris. | 0:35:49 | 0:35:54 | |
Next, the piece is cast. The mould is filled with liquid clay and then emptied, leaving a wet shell. | 0:36:00 | 0:36:07 | |
When the clay has dried, the mould is removed, revealing the shape. | 0:36:07 | 0:36:11 | |
The vase is then placed in a damp room overnight to harden. | 0:36:11 | 0:36:15 | |
The dried vase needs to be smoothed. It's mounted on a lathe and any seams removed by hand. | 0:36:15 | 0:36:22 | |
That's precision work. | 0:36:22 | 0:36:24 | |
Excess flakes of clay are removed with a sponge, dipped in water | 0:36:24 | 0:36:28 | |
and those familiar stamps are then pressed into the base. | 0:36:28 | 0:36:32 | |
The pattern is inked on to a clear sheet of paper with a special ink mixed at the factory, | 0:36:32 | 0:36:38 | |
then the wet design is pressed on to the pot with the tube liners to follow. | 0:36:38 | 0:36:43 | |
Once the pattern has been pressed on to the pot, | 0:36:44 | 0:36:48 | |
the famous Moorcroft tube lining can begin. | 0:36:48 | 0:36:51 | |
They follow the pattern precisely, laying it on to the pot. | 0:36:51 | 0:36:56 | |
It's a good job my work is being overseen by the designer who created this piece, Kelly Goodwin. | 0:36:56 | 0:37:02 | |
My hands are so thick and clumsy, I'm worried that I might break off what's already been done. | 0:37:02 | 0:37:08 | |
That's hard. That's very difficult. | 0:37:08 | 0:37:11 | |
-It's not going, it's not running. -You're doing quite well. | 0:37:11 | 0:37:16 | |
Come the final glaze, that will be very vibrant like this, won't it? | 0:37:16 | 0:37:20 | |
Yes, the glaze is the main part because the colour soaks into the pot itself. | 0:37:20 | 0:37:25 | |
Once you put the glaze on, it turns into precious jewels. | 0:37:25 | 0:37:29 | |
-All the colours come through. -The whole thing just comes to life. | 0:37:29 | 0:37:34 | |
-Do you want to finish this? -It would take me two days, not three hours. | 0:37:34 | 0:37:38 | |
-Can you finish it off for me? -Yeah, I'll finish it off and send it through the kiln. | 0:37:38 | 0:37:43 | |
Thank you so much. | 0:37:43 | 0:37:44 | |
And thank everybody here because they've shown me the secrets behind Moorcroft. It's alive and kicking! | 0:37:44 | 0:37:50 | |
It's time to head back to the valuation day at Nantwich Civic Hall. | 0:37:53 | 0:37:57 | |
There's no let-up for our experts and with plenty of people still arriving, | 0:37:57 | 0:38:01 | |
who knows what we'll unearth? | 0:38:01 | 0:38:04 | |
Richard, you've brought quite a selection of jewellery. | 0:38:04 | 0:38:06 | |
You don't look like the man who wears a brooch or perhaps | 0:38:06 | 0:38:10 | |
a gold bangle, so tell me where have these come from? | 0:38:10 | 0:38:12 | |
Well, they belonged to my sister, who worked in an antique shop | 0:38:12 | 0:38:16 | |
and she collected quite a lot of quirky things, really. | 0:38:16 | 0:38:19 | |
-And they've been in a drawer ever since. -Let's have a look. | 0:38:19 | 0:38:23 | |
We've obviously got here two watches as well as this, I think, rather impressive mourning brooch. | 0:38:23 | 0:38:29 | |
Obviously. | 0:38:29 | 0:38:30 | |
If I turn it over, we can see on the back we've got a rather nice inscription, haven't we? | 0:38:30 | 0:38:35 | |
-Yes. -In memory of... | 0:38:35 | 0:38:38 | |
-and then the name there, "Esquire", and that's 1861. -Yes. | 0:38:38 | 0:38:43 | |
Then if we move on to this rather nice little bangle wristwatch, for want of a better word. | 0:38:43 | 0:38:49 | |
You've got this rather stylish rectangular face, which is typical of that sort of | 0:38:49 | 0:38:57 | |
Art Deco period when rectangular watches really came into their own. | 0:38:57 | 0:39:02 | |
If we look on the back, we can see that it's cased in 18-carat gold. | 0:39:02 | 0:39:06 | |
And then if we move on further still really into the Deco | 0:39:06 | 0:39:10 | |
period, we've got this rather fine... | 0:39:10 | 0:39:13 | |
I would call it a cocktail watch. | 0:39:13 | 0:39:16 | |
Have you ever had an idea of value, I mean, did your sister ever sort of let on to what she paid for these? | 0:39:16 | 0:39:21 | |
-Not a clue. -I suppose the mourning brooch here, I would have thought | 0:39:21 | 0:39:25 | |
you'll probably be looking at 30 to 50, 40 to 60 perhaps on that. | 0:39:25 | 0:39:30 | |
Then if we move on to the little | 0:39:30 | 0:39:33 | |
brooch glass cocktail watch with the paste settings, I would say on that, | 0:39:33 | 0:39:38 | |
you're probably looking at maybe similar sort of money, maybe 40 to 60, something like that. | 0:39:38 | 0:39:43 | |
Then if we come to the little wristwatch there, | 0:39:43 | 0:39:46 | |
you should be looking at about 120 to 150 mark for the wristwatch. | 0:39:46 | 0:39:52 | |
So if we tot it all up, where does that take us... | 0:39:52 | 0:39:55 | |
sort of 120, 150, so it's going to be between the 150 to 200 mark. What do you think about that? | 0:39:55 | 0:40:02 | |
If we estimated at 150 to 250, would you be happy to see them go at that? | 0:40:02 | 0:40:05 | |
I certainly would, yes. | 0:40:05 | 0:40:07 | |
Are we reserving at the bottom figure? | 0:40:07 | 0:40:09 | |
-No, I would like to get shot really. -Get shot? -Yeah. | 0:40:09 | 0:40:13 | |
-Let them make what they make. I like your approach. -Thank you very much. -Well done. | 0:40:13 | 0:40:17 | |
David, this is a staggering collection of Aboriginal art here | 0:40:24 | 0:40:27 | |
in beautiful Nantwich in Cheshire. | 0:40:27 | 0:40:29 | |
-Indeed it is, that's right. -Most of this is from Darwin, isn't it? | 0:40:29 | 0:40:33 | |
That's right, Northern Territories of Australia, yes, and a bit in Queensland. | 0:40:33 | 0:40:37 | |
How did it get to Nantwich? | 0:40:37 | 0:40:39 | |
Well, it got to Nantwich because I was working for the Department of | 0:40:39 | 0:40:43 | |
Defence in Australia and I was posted into Darwin, and | 0:40:43 | 0:40:48 | |
had the opportunity to travel around the missions and Melville Island, where some of these come from. | 0:40:48 | 0:40:56 | |
Aboriginal art is fetching such good money right now. | 0:40:56 | 0:40:59 | |
Not only are the Australians buying it back, it's their social history. | 0:40:59 | 0:41:03 | |
They want to fill their museums with this wonderful, sort of almost | 0:41:03 | 0:41:07 | |
mosaic work, which is painted with pigments from the earth, | 0:41:07 | 0:41:11 | |
different coloured clays. | 0:41:11 | 0:41:13 | |
-Absolutely, and on bark. -On gum tree bark. | 0:41:13 | 0:41:15 | |
You got these in the '50s. | 0:41:15 | 0:41:17 | |
Yes, well '59, '62, that period. | 0:41:17 | 0:41:21 | |
This is so striking, look at this. | 0:41:21 | 0:41:23 | |
Yes, and this is a very, | 0:41:23 | 0:41:26 | |
in a sense, religious symbol. | 0:41:26 | 0:41:28 | |
You see it in all Aboriginal art from wherever the tribes, you get this circle, | 0:41:28 | 0:41:33 | |
the circle of life, I think is a simple way of putting it. | 0:41:33 | 0:41:37 | |
And this one's signed on the back, it's called Ghost Women, and it's by Wandi-Wandi who's 50-years-old. | 0:41:37 | 0:41:43 | |
Yes. Right. | 0:41:43 | 0:41:45 | |
-Let's look at the three items on the table, start with the didgeridoo. -Yes. | 0:41:45 | 0:41:49 | |
Again, that's a genuine piece in the sense of how they made these. | 0:41:49 | 0:41:54 | |
-This hole was eaten out by ants. -Insects. | 0:41:54 | 0:41:58 | |
White ants, and then they cut off a piece and they decorate it. | 0:41:58 | 0:42:03 | |
-No doubt these were all ceremonial rather than everyday use. -They look ceremonial, actually. | 0:42:03 | 0:42:08 | |
Why are you thinking of selling these, though, today? | 0:42:08 | 0:42:12 | |
Well, I only live in a very small house and I collect, and you move on. | 0:42:12 | 0:42:17 | |
And I still have got six other pieces of this to remind me of | 0:42:17 | 0:42:22 | |
-those times. -Are you interested in art or just Aboriginal? | 0:42:22 | 0:42:25 | |
Not particularly, I'm into Moorcroft now. | 0:42:25 | 0:42:28 | |
-I know it's a dirty word but I've got 250 pieces of it. -Have you? | 0:42:28 | 0:42:31 | |
Oh, yes, it's only down the road. | 0:42:31 | 0:42:33 | |
Crikey! Well, I'm pleased you brought this in rather than Moorcroft. | 0:42:33 | 0:42:36 | |
We've not seen things like this before and it excites me. Right. | 0:42:36 | 0:42:40 | |
Let's get to the valuation, the business end of the conversation. I think | 0:42:40 | 0:42:45 | |
they should go into auction as a collection. | 0:42:45 | 0:42:47 | |
If someone wants to buy this beautiful piece, they're going to want that one and that one. | 0:42:47 | 0:42:52 | |
-There's a lot of Darwin's social history here and it should stay together. -Indeed, indeed. | 0:42:52 | 0:42:58 | |
I'd like to put a value of £300 to £500 on the whole lot. | 0:42:58 | 0:43:02 | |
If we have a lot of excitement pre the sale, Adam can use his discretion and split them up. | 0:43:02 | 0:43:07 | |
-Absolutely. -But this is where it gets exciting. | 0:43:07 | 0:43:10 | |
Whatever you do, don't go away. Let's watch this lot go under the hammer. | 0:43:10 | 0:43:14 | |
Well, Roy, I love what you've brought in to Flog It today. | 0:43:21 | 0:43:24 | |
-A Hornby train, a clockwork train. -Yes. | 0:43:24 | 0:43:28 | |
Now, it looks in remarkable condition, bearing in mind its age. | 0:43:28 | 0:43:32 | |
Has it not been played with or...? | 0:43:32 | 0:43:34 | |
Not been played with since my dad left it to me and I don't think he played with it much. | 0:43:34 | 0:43:38 | |
-So it was your father's? -It was. | 0:43:38 | 0:43:40 | |
-So this is going to date from around that sort of... The late '20s. -I think so, yeah. | 0:43:40 | 0:43:46 | |
-It's possibly early '30s. I think you've done some research, haven't you? -Yes. It was 1929. | 0:43:46 | 0:43:53 | |
Frank Hornby, he brought out this range of toys | 0:43:53 | 0:43:58 | |
under the banner of Hornby | 0:43:58 | 0:44:01 | |
as British toys for British boys. | 0:44:01 | 0:44:04 | |
And we can see that here you've got two rather nice carriages, | 0:44:04 | 0:44:10 | |
each named - Arcadia with the crest, here. | 0:44:10 | 0:44:13 | |
-They look like first-class carriages. -They do, yeah. | 0:44:13 | 0:44:16 | |
-And then you've got this LMS, I suppose it's a... -Horsebox. | 0:44:16 | 0:44:21 | |
-A horsebox, something like that. -Yeah. | 0:44:21 | 0:44:23 | |
-And then this little working crane. -A rig, yeah. | 0:44:23 | 0:44:27 | |
What's nice about them, though, is you've got this original transfer printing | 0:44:27 | 0:44:31 | |
and the original paintwork to the carriages. | 0:44:31 | 0:44:34 | |
-Passed down to you from your father. -Yeah. | 0:44:34 | 0:44:37 | |
No grandchildren? No children you could pass it on to? | 0:44:37 | 0:44:40 | |
-I've got one son and he's never shown any interest. -He might when you tell him what it's worth. | 0:44:40 | 0:44:46 | |
-He might take an interest. -He's had it. It's going to the lounge fund. | 0:44:46 | 0:44:49 | |
-The lounge fund? -Yes. -Nice comfy chair? -New ceiling. | 0:44:49 | 0:44:53 | |
-New ceiling? -And decorating. -Serious work, then. -It is. | 0:44:53 | 0:44:57 | |
Well, I think, you know, estimate wise, let's see if we can get close to your new ceiling. | 0:44:57 | 0:45:02 | |
I would think... I mean, there are some chips and some slight losses. | 0:45:02 | 0:45:06 | |
It has been played with but the basics are there. | 0:45:06 | 0:45:09 | |
I would say you're looking at £200-300. | 0:45:09 | 0:45:12 | |
-I don't know how you feel about that? -Yeah, fine, fine. | 0:45:12 | 0:45:14 | |
You're happy with that? Shall we reserve it at that bottom figure? | 0:45:14 | 0:45:18 | |
Yeah, I think so. 200, yeah. | 0:45:18 | 0:45:20 | |
So let's say 200 with discretion, 10% either way for the auctioneer. | 0:45:20 | 0:45:24 | |
So he'll sell it at £180, that sort of level. | 0:45:24 | 0:45:27 | |
-But I'm confident that on the day, we should get more. -More for it. | 0:45:27 | 0:45:31 | |
-Thanks. -See you on the day. -We will. | 0:45:31 | 0:45:33 | |
-This is a lovely little, what I would call, apprentice piece, chest of drawers. -Yes. | 0:45:39 | 0:45:44 | |
Is it a family piece? | 0:45:44 | 0:45:46 | |
It is, yes. It came from my paternal grandfather's when he passed away | 0:45:46 | 0:45:50 | |
in 1938, and he migrated from | 0:45:50 | 0:45:54 | |
Cornwall in 1860 to Nantwich, when the local malting works down the road was in its full production. | 0:45:54 | 0:46:01 | |
So it's quite feasible it came with him from Cornwall. | 0:46:01 | 0:46:04 | |
-Right. And do you remember this as a boy then? -Yes, I remember it because it came with a big sea chest, yes. | 0:46:04 | 0:46:11 | |
Why have you brought it today? | 0:46:11 | 0:46:13 | |
To get it valued and exactly to see what it is, more than anything. | 0:46:13 | 0:46:18 | |
OK. Well, it's quite intriguing, I think, because we've got quite a lot of different materials here. | 0:46:18 | 0:46:23 | |
I think this was made by a carpenter who was making chests of drawers as | 0:46:23 | 0:46:28 | |
a living, he was making pieces of furniture, and he may well have made this little piece to take round | 0:46:28 | 0:46:35 | |
and show prospective clients, to see what sort of piece they would like him to make for them. | 0:46:35 | 0:46:41 | |
Because what we've got here is a very plain pine carcass. | 0:46:41 | 0:46:46 | |
-Oh, yes, very simple. -A very affordable softwood. | 0:46:46 | 0:46:49 | |
But then on the front we've got veneers of different woods, and at the top here, | 0:46:49 | 0:46:53 | |
these two little drawers have got amboyna, a really exotic rich wood. | 0:46:53 | 0:46:59 | |
If we put that one back and look further down, we've got a polished oak veneer, | 0:46:59 | 0:47:04 | |
hen further down a different wood again, the third drawer | 0:47:04 | 0:47:07 | |
down, and I think that's probably beech, looking at the flecking in it. | 0:47:07 | 0:47:11 | |
It's certainly not oak. And then the last long drawer at the bottom there we've got an oak veneer again. | 0:47:11 | 0:47:17 | |
So I think the cabinetmaker would have taken this little piece along | 0:47:17 | 0:47:21 | |
to prospective clients, and shown it to him and said, | 0:47:21 | 0:47:24 | |
I can make it for you with an amboyna veneer or an oak veneer, and showed him the different examples. | 0:47:24 | 0:47:30 | |
And I think they would probably be different price bandings | 0:47:30 | 0:47:34 | |
accordingly because amboyna would be a very expensive and perhaps the oak and beech less expensive. | 0:47:34 | 0:47:40 | |
-Yes. -And it's standing on these lovely little turned feet, which are rather sweet. | 0:47:40 | 0:47:46 | |
Those little feet together with the moulding on the top makes me think | 0:47:46 | 0:47:50 | |
-that it's around 1860, 1870, so late Victorian in date. -Very good. | 0:47:50 | 0:47:54 | |
So what about value, have you any idea, sir? | 0:47:54 | 0:47:57 | |
No idea whatsoever. | 0:47:57 | 0:47:59 | |
OK. Well, I think if we put this into an auction for you shortly, | 0:47:59 | 0:48:03 | |
I think we'd be looking at anything between £100 and £200. | 0:48:03 | 0:48:06 | |
-Very good. -So I think a fair auction estimate would be 100 to 150, we'll put a reserve of around £100 for you | 0:48:06 | 0:48:13 | |
so it doesn't go for less than that, and I think you might well find some | 0:48:13 | 0:48:16 | |
collectors really bidding against each other to win this little piece. | 0:48:16 | 0:48:20 | |
-Very good. -Thank you very much for bringing it along. | 0:48:20 | 0:48:23 | |
Thank you for explaining to me. | 0:48:23 | 0:48:25 | |
Jeffrey's apprentice piece joins the other items we're taking to auction, | 0:48:25 | 0:48:30 | |
but before we see if they sell well, let's have a chat with Adam about the collection of Aboriginal art. | 0:48:30 | 0:48:36 | |
I'm such a big fan of ethnic art, and when David came into | 0:48:36 | 0:48:39 | |
-the valuation day, I threw myself at this Aboriginal art. -I can imagine it. Yeah. | 0:48:39 | 0:48:44 | |
It was too much to take in, really! | 0:48:44 | 0:48:46 | |
I put £300 to £500 on the whole lot and I said | 0:48:46 | 0:48:50 | |
likely Adam will have a closer look and then decide to split them. | 0:48:50 | 0:48:53 | |
-A sensible estimate. -Good. | 0:48:53 | 0:48:55 | |
We've split them into lots as I think these are the strongest, and I've done these three first. | 0:48:55 | 0:49:00 | |
Hopefully those will make the 300, and then we can... | 0:49:00 | 0:49:03 | |
-Whatever's left will make up the difference. -Yeah. | 0:49:03 | 0:49:05 | |
I would love these three panels to double our estimate, that's what I'm secretly hoping for, and they all go | 0:49:05 | 0:49:12 | |
back to Australia so they can be viewed by young Australians as part of their social heritage. | 0:49:12 | 0:49:19 | |
Absolutely right. I really hope they do very well. | 0:49:19 | 0:49:22 | |
-We've had 30 or 40 emails on them. -They're going back to Australia. | 0:49:22 | 0:49:26 | |
-They are. -How much money? We're going to find out. | 0:49:26 | 0:49:29 | |
Adam's just about to get on the rostrum so whatever you do, don't go away. | 0:49:29 | 0:49:34 | |
Other items we're selling alongside the Aboriginal art are | 0:49:34 | 0:49:37 | |
a collection of two elegant watches and a mourning brooch, | 0:49:37 | 0:49:41 | |
their owner Richard is taking a real gamble with this lot. | 0:49:41 | 0:49:44 | |
Are we reserving at the bottom figure? | 0:49:44 | 0:49:46 | |
No, I would like to get shot of it. | 0:49:46 | 0:49:48 | |
Roy's Hornby train set has been languishing unloved | 0:49:48 | 0:49:51 | |
in the attic, but now it's heading off for a new destination. | 0:49:51 | 0:49:54 | |
And having travelled all the way from Cornwall to Nantwich, | 0:49:57 | 0:50:00 | |
where will Jeffrey's chest of drawers end up after the auction? | 0:50:00 | 0:50:05 | |
Your bid 220... I'll take 230. | 0:50:05 | 0:50:08 | |
This next item is a classic example of something that's been left in the loft for 25 years, | 0:50:08 | 0:50:13 | |
untouched and boxed. | 0:50:13 | 0:50:14 | |
It belongs to Roy, it's a Hornby train set. | 0:50:14 | 0:50:16 | |
-A typical kind of attic thing, isn't it? -It is, yeah. | 0:50:16 | 0:50:20 | |
It's great. If you've stopped playing with it or you don't want to use it, | 0:50:20 | 0:50:23 | |
store it away, it doesn't take up much space, put it in the attic. | 0:50:23 | 0:50:27 | |
25 years later... | 0:50:27 | 0:50:28 | |
-We moved it three attics. -Three attics? -Yes! | 0:50:28 | 0:50:32 | |
Well, 25 years later, it's worth, hopefully, £300, maybe more. | 0:50:32 | 0:50:36 | |
-We've put 200-300 on it, haven't we? -Yeah. | 0:50:36 | 0:50:38 | |
I think the carriages are sort of where the value is. | 0:50:38 | 0:50:41 | |
Nice that it's in its box. | 0:50:41 | 0:50:43 | |
Anyway, it's going under the hammer, Roy. Good luck. | 0:50:43 | 0:50:46 | |
A good Hornby train set, this one and I'll sure you'll agree | 0:50:46 | 0:50:49 | |
and I've got a range of bids again. | 0:50:49 | 0:50:51 | |
And I suppose that means I can start at £280 bid. | 0:50:51 | 0:50:54 | |
-290 now, please. -Fingers crossed. -290, 300, 320. | 0:50:54 | 0:50:58 | |
-Straight in at £280. -..380, 400, 420, 440, | 0:50:58 | 0:51:02 | |
460, 480, 500 and 20. 520 in the room. | 0:51:02 | 0:51:05 | |
520. Can I see 540 now? | 0:51:05 | 0:51:08 | |
At 520. At 520, I like it. | 0:51:08 | 0:51:11 | |
At 520, we're all done and selling at 520. | 0:51:11 | 0:51:14 | |
That's absolutely fantastic. | 0:51:15 | 0:51:17 | |
Don't forget, there's 15% commission to pay here. | 0:51:17 | 0:51:19 | |
That's more money than we all thought. What are you going to spend it on? | 0:51:19 | 0:51:23 | |
-Hopefully, my new ceiling, Paul. -How about that? | 0:51:23 | 0:51:26 | |
-That'll get that, a plasterboard ceiling and a bit of emulsion. -It should. | 0:51:26 | 0:51:29 | |
You could say, we've hit the roof. I like it. Very good. | 0:51:29 | 0:51:32 | |
-Or gone through the roof. -Gone through the roof. | 0:51:32 | 0:51:35 | |
One of my favourite pieces in this sale, a small apprentice | 0:51:41 | 0:51:44 | |
piece, it's a chest of drawers, showing off a young man's skill. | 0:51:44 | 0:51:47 | |
And it belongs to Jeffrey and it was his grandpop's. | 0:51:47 | 0:51:50 | |
Now your grandpop had great skills, he was an apprentice, but not in woodwork. | 0:51:50 | 0:51:54 | |
No, definitely not, no. | 0:51:54 | 0:51:56 | |
It's a family trade cos you've all been in the welding business, haven't you? | 0:51:56 | 0:52:00 | |
All been in the heavy engineering, the local works at Crewe, yes. | 0:52:00 | 0:52:04 | |
But there's history in that chest of drawers. | 0:52:04 | 0:52:06 | |
-Oh, there is, yes. -And I think at 100 to 150, Jeffrey's going to say goodbye to it. | 0:52:06 | 0:52:11 | |
I hope so, it's just a little bit different having that range of veneers on the front there to show | 0:52:11 | 0:52:16 | |
-off what he could make. -Good luck, Jeffrey, | 0:52:16 | 0:52:19 | |
Kate. The little chest of drawers are going under the hammer | 0:52:19 | 0:52:22 | |
right now, let's hope Adam can get the top end of the estimate. | 0:52:22 | 0:52:25 | |
It's the apprentice-made miniature chest, 19th-century with | 0:52:25 | 0:52:28 | |
specimen veneered drawers, amboyna and oak and various timbers there. | 0:52:28 | 0:52:32 | |
I can start with a bid of £100... take 10, £100 is bid... | 0:52:32 | 0:52:35 | |
is there 10 for the miniature chest? | 0:52:35 | 0:52:37 | |
At £100... any more? Come on, it's worth a bit more. | 0:52:37 | 0:52:40 | |
At £100. Are you all done? At £100 for the miniature chest. | 0:52:40 | 0:52:43 | |
It's gone, though. | 0:52:43 | 0:52:45 | |
At £100... you're all finished then at £100? | 0:52:45 | 0:52:47 | |
Short and sweet at £100, we sell then. | 0:52:47 | 0:52:51 | |
It's gone straight in and straight out. £100, Jeffrey. | 0:52:51 | 0:52:55 | |
-Right. -We sold it. | 0:52:55 | 0:52:57 | |
-Yes, it went. -It did. | 0:52:57 | 0:52:59 | |
There is commission to pay, it's 15%, but hopefully there's enough | 0:52:59 | 0:53:02 | |
money left for to treat your wife to supper or something like that. | 0:53:02 | 0:53:06 | |
Yes, I always pass the money on to my wife. | 0:53:06 | 0:53:10 | |
-Always pass the money on to the wife. -Sensible man. | 0:53:10 | 0:53:13 | |
£50... 50 is bid, take five, at 50 I have... 55 now? 55. | 0:53:14 | 0:53:20 | |
Richard, you're playing with fire. | 0:53:20 | 0:53:22 | |
There's no reserve on this lot and it's a mixed lot. | 0:53:22 | 0:53:25 | |
There's a silver watch, a gold watch, some pearls. What's going on, no reserve? | 0:53:25 | 0:53:30 | |
What happens if we only get a £20 bid in the auction room? | 0:53:30 | 0:53:34 | |
Oh, don't say that. No, I'm confident, and today gold and silver's been selling well. | 0:53:34 | 0:53:39 | |
Well, surely this package, these three things put together, | 0:53:39 | 0:53:42 | |
we've got to be looking at around £200 or £150. | 0:53:42 | 0:53:45 | |
Yeah, I think we said sort of round £150, didn't we? | 0:53:45 | 0:53:48 | |
-150 you quoted. -That's right, yes. | 0:53:48 | 0:53:50 | |
How did you let him get away with no reserve? | 0:53:50 | 0:53:53 | |
-Well, he's just got this smiling face. -Yeah, I can turn it on. | 0:53:53 | 0:53:57 | |
Charmer, isn't he? | 0:53:57 | 0:53:58 | |
But things like these find their level, you know? | 0:53:58 | 0:54:01 | |
It's going to sell for what it's worth, fingers crossed, otherwise I am in trouble. | 0:54:01 | 0:54:05 | |
-Personally I've no idea. -No, nor have I. | 0:54:05 | 0:54:07 | |
Me neither. I'll tell you one way to find out. | 0:54:09 | 0:54:12 | |
We are going to find out right now. | 0:54:12 | 0:54:15 | |
Let's hope Adam works some magic. Good luck both of you. | 0:54:15 | 0:54:18 | |
Which is a Victorian 9-carat gold mourning brooch, | 0:54:18 | 0:54:21 | |
an Art Deco 18-carat gold lady's wristwatch, | 0:54:21 | 0:54:25 | |
and an Art Deco marquisette lapel cocktail watch, what do we say for these? | 0:54:25 | 0:54:29 | |
Couple of hundred? | 0:54:29 | 0:54:31 | |
£100 bid... 10 now, at £100... | 0:54:31 | 0:54:34 | |
Come on, some bidding, I want 110... | 0:54:34 | 0:54:36 | |
120, 130... 140, 150... 160, 170... | 0:54:36 | 0:54:40 | |
160 bid... 170, 170... 180, 190... | 0:54:40 | 0:54:43 | |
200, 210... 220, 210 the bid. | 0:54:43 | 0:54:48 | |
At 210 now, 210... any more, are you all done? | 0:54:48 | 0:54:51 | |
At 210. All finished at 210, hammer's up, 210. | 0:54:51 | 0:54:56 | |
Phew, well done. | 0:54:57 | 0:55:00 | |
-Both of you took a gamble, it paid off. -It is. | 0:55:00 | 0:55:04 | |
I'm as pleased as you are that that made mid-estimate on what we said. | 0:55:04 | 0:55:08 | |
She'd be pleased if she was here. | 0:55:08 | 0:55:09 | |
-Brilliant. -Yes, good. You were, really. -Brave man. | 0:55:09 | 0:55:12 | |
I've been looking forward to this, the Aboriginal art. | 0:55:19 | 0:55:22 | |
-We've got a packed house here. -We certainly have. | 0:55:22 | 0:55:25 | |
But I'd like to think there's a few phone lines booked from Australia, lots of internet interest. | 0:55:25 | 0:55:31 | |
I talked to Adam prior to the sale, he has split | 0:55:31 | 0:55:35 | |
the whole lot up now, selling them separately. Good luck, here we go. | 0:55:35 | 0:55:40 | |
Lot no. 80 is the first one, | 0:55:40 | 0:55:42 | |
the bark panel painted with natural earth pigments by Wandi-Wandi. | 0:55:42 | 0:55:46 | |
120 I have... at 120 here, is there 130 now anywhere? At 120... | 0:55:46 | 0:55:51 | |
130 on this phone, is there 140... 140, 150... | 0:55:51 | 0:55:56 | |
160, 170, 180. | 0:55:56 | 0:56:00 | |
This is a good sign, this is a good sign. | 0:56:00 | 0:56:03 | |
170 on this phone here... | 0:56:03 | 0:56:05 | |
all done now 170, we sell at 170. | 0:56:05 | 0:56:07 | |
It's £170, that's the first item, here we go with the second lot. | 0:56:07 | 0:56:12 | |
-Goana and snakes hunting by Wally Puru. -Another phone line. | 0:56:12 | 0:56:17 | |
-Um-hm. -Hopefully that's Darwin at the other end. | 0:56:17 | 0:56:20 | |
At 180, all done now. | 0:56:20 | 0:56:22 | |
-£180. -Oh, lovely, isn't that nice. | 0:56:22 | 0:56:24 | |
-Third one to go. -There we are, the last one, 210. | 0:56:24 | 0:56:27 | |
Fantastic. | 0:56:27 | 0:56:29 | |
220? At 210 with Sue's phone... | 0:56:29 | 0:56:31 | |
At 210, are you all done on this one now? 210. | 0:56:31 | 0:56:36 | |
And the hammer down on 210. | 0:56:36 | 0:56:38 | |
180 on the phone here, 180 for the killing stick. | 0:56:38 | 0:56:40 | |
180, all done at £180. | 0:56:40 | 0:56:44 | |
There's the fourth lot, £180. This is great. | 0:56:44 | 0:56:50 | |
130, 140. 150, 160... | 0:56:50 | 0:56:56 | |
170, 170 on this phone. Same buyer. | 0:56:56 | 0:56:59 | |
That's £170 for the didgeridoo, this is fantastic. | 0:56:59 | 0:57:03 | |
We've sold everything so far, this is the last lot. | 0:57:03 | 0:57:05 | |
And the final one is the wooden spear in the form of a snake, | 0:57:05 | 0:57:08 | |
There we are there, 300... | 0:57:08 | 0:57:10 | |
320, 400 on the spear. | 0:57:10 | 0:57:16 | |
500, 560, 580. | 0:57:16 | 0:57:20 | |
-That's incredible. -Yes. | 0:57:20 | 0:57:22 | |
-600... -£600! | 0:57:22 | 0:57:24 | |
620... 640, yeah? | 0:57:24 | 0:57:28 | |
620 with Sue's phone, £620... | 0:57:28 | 0:57:32 | |
-Anyone in the room want a go now? At 620... -LAUGHTER | 0:57:32 | 0:57:34 | |
All done now at 620, we sell this lot 620. | 0:57:34 | 0:57:39 | |
Yes! Well, the hammer's gone down, £620. | 0:57:39 | 0:57:43 | |
-We've sold all of those lots, David. -APPLAUSE | 0:57:43 | 0:57:47 | |
How fabulous is that? | 0:57:47 | 0:57:49 | |
-That got a round of applause. A grand total of £1,530. -Wow. | 0:57:49 | 0:57:54 | |
-What are you going to do with that? -It's going to be divided into two. | 0:57:54 | 0:57:58 | |
One is to WaterAid and the other is | 0:57:58 | 0:58:01 | |
-to the Salvation Army. -All the money is going to two charities? | 0:58:01 | 0:58:04 | |
-Half each. -That's very generous of you, David. | 0:58:04 | 0:58:06 | |
No, not at all. It's all your work. | 0:58:06 | 0:58:08 | |
-Thank you so much for bringing this in. -My pleasure. | 0:58:08 | 0:58:11 | |
If you've got something like that at home, we want to see you at one of our valuation days. | 0:58:11 | 0:58:15 | |
Check the details in your local press, because we're coming to a place near you soon. | 0:58:15 | 0:58:20 | |
From Cheshire and Adam Partridge's Auction Rooms | 0:58:20 | 0:58:22 | |
-it's goodbye from David and myself. -Bye-bye. | 0:58:22 | 0:58:25 | |
Subtitles by Red Bee Media Ltd | 0:58:34 | 0:58:37 |