Nantwich Flog It!


Nantwich

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You've caught me out, naughty but nice.

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These chips are fantastic but there's one thing missing... that's more like it.

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I've come to a picturesque market town which owes its name to salt.

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Welcome to Flog It from Nantwich in Cheshire.

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The actual name Nantwich gives away its long association with the salt

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industry, for the suffix of the town, "wich", means brine town.

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The salt industry in the town started as long ago as the Roman

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period and it thrived for centuries until sadly the last salt house

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in Nantwich closed in 1858.

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However, its legacy still lives on in the area - it's because of salt production

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that other industries have sprung up that rely on salt such as tanning and the making of Cheshire cheese.

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Well, perhaps our experts will find something related

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to the local industries here, I'm outside the Nantwich Civic Hall and who have we got?

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The wonderful Kate Bliss and the equally charming Will Axon and it is

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now 9.30, time to get the doors open and get this massive queue inside.

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The valuation day is filling up quickly and there are hundreds of people waiting to be seen.

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Later in the programme, I will be taking a trip around the world, from Egypt to China.

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For now it looks like Kate's got something

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that's come from a little closer to home.

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This is a really interesting watercolour,

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-is this something you've had on the wall?

-I've not had it long, only had it few weeks.

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I bought it off the internet.

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-So is that something that you like to do, buy and sell a bit?

-I do, yeah.

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What can you tell me about the artist? We've got a clear signature here, do you know anything about him?

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-J Horner?

-Yes.

-I don't know what dates he dates from,

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but I think this particular one was painted in Norfolk.

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Why do you think it's Norfolk?

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Apart from it looks quite flat.

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Exactly, yes. Probably one of the reasons.

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Well, you could well be right.

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-J Horner, signed down here, was actually John Horner.

-Right.

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And he was really active in his work

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sort of about 1876 through to 1890, and the thing I like about this one

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is the accuracy of the detail, and it's almost architectural really in the detail that we've got here.

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If we look on the buildings here, on the barn and on the farmhouse,

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you can almost see the individual tiles on the roof, can't you?

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-But what's really fun is this little tableau that's going on down here with the two fishermen.

-Right.

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Again, the detail is really precise, you can see the creases in his trousers and the light

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reflecting off the water on to his face, which really gives it a really crisp finish, doesn't it?

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Now the market, which I'm sure you know if you buy and sell a little bit doing pictures, the market for

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watercolours particularly of this sort of period isn't that buoyant at the moment.

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-No.

-But I have to say this is a particularly accomplished work

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and I think, even so, this should sell quite well.

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I'm going to put a conservative auction estimate of 200 to 300 on it

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because I think it is really well executed.

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-Would you like to put a reserve on that?

-If I possibly could, yeah, probably 200 or so.

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That's fair, lower end of the estimate and hopefully get quite a bit more than that.

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That's great. I mean, if doesn't sell, I'll keep it anyway.

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-Well, that's a great attitude.

-Thank you.

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Well, Peggy, John, hello there.

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-How are you?

-I'm very well, and yourself?

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I'm well, thank you.

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Now look at this, what can you tell me about it?

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It's a cigarette case which I bought about 30 years ago...

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And did you buy it from a jeweller's perhaps or a dealer, to keep your roll-ups in?

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No, I bought it off a bloke that was hard up.

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Oh, dear. So he needed a bit of cash.

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-Yeah.

-He offered it to you, and do you think you paid a good price for it, £90?

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Well, I think so on today's prices, yes.

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I mean it's a good example here, for example that

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not everything to do with antiques and auctions is all about fine art

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and something that's been crafted or created from scratch, sometimes, I'm afraid, it's all about just...

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I'm gonna say it... scrap value,

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especially when it comes to gold.

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So what I've done, I've brought along my scales here, have you got any idea

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of what you think it's worth, how much it weighs?

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Roughly about three ounces.

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Three ounces, well that's a decent weight, isn't it?

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It almost doesn't feel like three ounces.

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-No.

-Let's pop it on the scales here, you said around three ounces, we've

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got 3.28 ounces, so you weren't far off there, John. I think you knew what you were buying, didn't you?

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So now we know how much the cigarette case weighs, we've got to work out or

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-find out what carat gold it is, any ideas?

-Nine carat.

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Well, if we have a look inside here, similar to the silver hallmarking,

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you can just see it there, the 9 carat gold mark.

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Here you've got the maker's mark, which is the Goldsmith and Silversmith Co. Ltd, of London.

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-Right.

-Nice quality really, it would've been an expensive item when it was bought.

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-So have you any idea what 9-carat gold's at at the moment?

-No, I haven't a clue.

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Well, as we're filming, it's at about £220 an ounce, times by three,

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that makes over £600 in scrap value.

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I don't think we should put it in the auction at that £600 level, I think that might

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put people off.

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What we want is for people... 300 to 500, I mean if you've

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got that, if we reserved it at that 300 mark.

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That's fine, smashing. Thank you.

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Well, I shouldn't really call an elegant basket like this a good

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lump of silver, but there's quite a bit of silver in that.

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-It is heavy, yes.

-Is this a family piece?

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-It was given to my father as a gift from two spinster clients.

-Right.

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And their house was opposite my school, so I used to wave at them every day as I left school.

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So I don't know whether I persuaded them to

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give him the gift of whether it was because he was such a good manager.

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Well, that's a nice story. So you've had it ever since, have you?

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Yes, 45 years, and I have polished it every fortnight since then.

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-Have you really?

-My biggest worry is am I polishing away the centre?

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Right. Well, let's have a little look at that because, it's a lovely shape

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first of all, isn't it, a beautiful sort of oval shape

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echoed in the handle here, and it's got lovely reeded borders around the outside, again on the handle as well,

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and what's known as gadrooning around the centre of the basket, and this is reminiscent of

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a much earlier Georgian style, if you like, in the neo-classical style.

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However, it's not 18th century in date because if

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we look at the side here, you can see the silver hallmark, it's marked from

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Sheffield and 1897, so it's right towards the end of Victoria's reign, but a good bit of silver.

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-Now you say you've been polishing it every fortnight for some 40-odd years?

-45 years, yes.

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I think the actual reeding and gadrooning is still in nice

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condition, and the handle here also, but what has happened is the base has

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been pushed down slightly, which may have been done with vigorous polishing over the years, and so you

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can just see the outline of where the pedestal is attached on the base and you can see that little oval there.

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-Yes, that was my worry.

-So a good lump of silver but why do you want to sell it?

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I'm downsizing, I will have nowhere to display it, and I

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-think my polishing days are over.

-I think you've had enough of polishing.

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I've had enough of polishing.

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I would say even though it's got quite a bit of silver in it,

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we're probably looking at around £150 to £200 mark.

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-Does that sound reasonable?

-It's lower than I'd hoped.

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What sort of figure were you...

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I was thinking perhaps 200 to 300.

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Right, OK.

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We could try it at that if you like but I think if we said 150 to 200,

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it might get buyers interested and encourage them.

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If you would like to put a reserve of 200, we can try that for you.

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-Yes, please.

-You'd like that?

-Yes.

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OK, well let's do that. Let's put a reserve of 200 and see how we get on.

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I think you've certainly got a chance, but I think at 150 you might just entice people in perhaps

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a little bit better, but it's your basket,

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-I hope it goes really well.

-And if it doesn't, I will go back to polishing.

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Thank you very much.

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Well, Leslie, they say small is beautiful and personally I'd subscribe to that

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because, you know, not being a six-footer, but what have you brought in here for us to look at today?

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I've brought a piece of Moorcroft, I believe it's MacIntyre.

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That's right. Well, you've in one sentence basically told us all we need to know.

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You've got the name Moorcroft and the name MacIntyre,

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because what you've got here is indeed a MacIntyre vase...

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the company MacIntyre, of which William Moorcroft headed up their art pottery department.

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Now we all know Moorcroft nowadays, of course, he's a well-known name,

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we've seen plenty of Moorcroft on Flog It and it always sells well.

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Now this, we're taking a step further back in time, shall we say, to when William

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Moorcroft was experimenting with this tube lining, which you can see here.

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Generally, when pieces are made in miniature, they tend to be

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-more valuable than the large pieces.

-Right.

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Is this something that you've bought, do you collect this?

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No, I actually found this at a bric-a-brac sale in Llangollen in Wales.

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Dare I ask what you paid for it?

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-Ten pence.

-Get off... 10p?

-Ten pence.

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-You didn't do that, did you?

-Unfortunately that was already on.

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Cos unfortunately it has got a small chip on the rim.

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I think if it had been perfect,

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your 10p investment would have been a very good investment because that does detract from it.

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But even so,

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I think you've done very well here.

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It's in this typical blue

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of the MacIntyre, the Florian range is the range, but the actual pattern

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-we've got here is called Honesty, because I think you did a little bit of research, didn't you?

-Yes.

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-You took it to the museum?

-The Moorcroft Museum itself, yes.

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I know them well, yes.

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-They told me it was about 1903.

-I mean 10p, what can we say it's worth now?

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It's nicely marked, it's signed underneath, like I say, a precursor

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of this tube line decoration which Moorcroft made into such a household technique, shall we say.

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-I would put it in the auction at about £150 to £250, how do you feel about that?

-That's lovely.

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Brilliant, I think that's great.

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-So we'll see you on the day, £150 and reserved it at that?

-Erm...

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-yes, we'll go with that.

-Reserve it, bit of discretion for the auctioneer, we don't want to struggle.

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-I'm confident that it's going to do that, if not more. Brilliant, see you then.

-Thank you very much.

-Well done.

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Malcolm, I've had the pleasure

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-of valuing one of these before on Flog It!

-Yes?

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I think so has Philip Serrell as well.

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-We both like our boy's toys.

-Yes.

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But this is a classic little Schuco car,

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typical of tin-plate German toys from the early 1900s.

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-But this one has got a gear-shift stick.

-Yes.

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And you know, as well, how that works, don't you?

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-Do you want to wind him up?

-OK.

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What's the story? How long have you had the cars?

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Erm, about 65 years.

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-Yeah.

-They came to me as presents...

-Really?

-..in about 1941, '42.

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-And it's something you're thinking of selling?

-Yes.

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Why? They've been with you most of your life.

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They've been with me for many years

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but my children are not interested in them, children or grandchildren.

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-You've never played with that one, have you?

-I have but not too often.

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Not as much as this one!

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-What have you been doing to that one?

-That's been in a few crashes.

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-Have you got the other front wheels?

-No, no. It's a bit sad, really.

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Go on, let this one go. Let's watch it work.

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-It's incredible.

-Yes.

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And it's gone into reverse?

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Hey presto. Look at that.

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-And it's got articulated steering.

-Yes.

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You can turn the steering wheel. Look at that. Reversing into my pen.

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-Handbrake on.

-Handbrake on.

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Beautiful.

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Normally, it's a litho transfer print for the colour.

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-This is spray-painted on, which is quite nice.

-That's right.

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If I turn this over...

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you can see the litho print saying Schuco.

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It's in such good condition, this little car

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-and that's all credit to you... Well... ..for not bashing it about.

-Yes.

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Any idea of value?

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Erm, probably about £100 or thereabouts - 120.

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Yes. Definitely.

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-And I'm hoping that's the low end.

-Oh, good.

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-I'd like to put this into auction with an estimate of £100-200.

-Right.

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This little one will sell in the same lot as this.

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That's... That's the value.

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-Here is, hopefully, £180 on a good day.

-Very nice.

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-OK. This one, we'll throw in.

-Yes.

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If a collector has a lot of these Schuco cars,

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he'll use this one to break up and use the spares.

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OK. That's fine.

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-Well, let's put them into auction, then, at £100-200.

-Thank you.

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It's time to go to the auction now at Firth.

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This is Biddulph Grange Garden in the heart of Staffordshire,

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and if you pause for just a moment and listen...

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you can hear the sound of silence, albeit a bit of birdsong.

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It's so beautiful and peaceful here.

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It's not only just a place to come and relax, but taking a trip

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around these gardens is like touring the world because it's packed full of beautiful and exotic plants.

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When this place was conceived back in the 1840s, it went totally against the popular Victorian trend

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of broad expanses of grass and water.

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Instead, by contrast, Biddulph Grange Garden broke new ground by employing natural

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screens such as yew trees, hedges, and walls, to create informal groups of separate gardens, each with

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their own distinctive character and mini-microclimate, many reflecting faraway worlds like China and Egypt.

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Visitors were encouraged to navigate their way through

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the garden rather than have it revealed to them all at once.

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The conception of this rather unusual garden was principally the work of three people,

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James Bateman and his wife Maria, and their good friend Edward Cooke.

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James Bateman was born in 1811 into a wealthy family that made their money from coalmining.

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From a very young age, James was fascinated by orchids, which became the passion of his life.

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In 1838, James married Maria Egerton-Warburton.

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Now, Maria had rather unusual gardening tastes for the period because she loved

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herbaceous plants, as well as having a big passion for lilies, which she was well known for.

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The Batemans moved here to Biddulph Grange in 1840, and with the help, a lot of help, from Edward Cooke,

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they set about creating Biddulph Grange Garden.

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Over the next 20 years, they brought together shrubs such as skimmia reevesiana...

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..bamboo, and varieties of rhododendrons

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from the Himalayas and China, plus a variety of trees from abroad including the monkey puzzle tree

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from Chile and other extraordinary elements from all around the world.

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Another fascinating influence on the design of this garden was arguably religion.

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You see, James Bateman was a millenarian, he believed

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in the second coming of Christ, so when you start your tour, it's that influence you experience first.

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And to help us understand this, I've come to have a chat with Paul Baker,

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who's the National Trust Property Manager here at Biddulph.

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There you are, Paul. Thank you so much for showing me around today.

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-It's a pleasure.

-Does the tour start here for everybody that visits the gardens?

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Do they come through this gallery?

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Sadly not any more, but they would have done when

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James Bateman had his garden open to the public in the 19th century.

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So they would have come in through his geological

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gallery, which is where we are now, and they'd have been able to see his

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display of fossils and geological specimens which were on the wall to our left here.

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How does the rest of it fit in with this?

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Well, very interestingly, he believed that a second coming

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was due, almost imminently, and all the existing plants and so on

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would be swept away and have to be collected all over again.

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He also believed certain plants had a very specific role and appeared at specific times in the creation story.

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So ferns, which we have quite a lot of in the garden itself now, appeared

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quite early because they took the longest time to get turned into coal.

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The other great passion he had was orchids, and he believed those only

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arrived on the scene when Mankind arrived because they were there to beautify the world for Mankind.

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So they wouldn't appear until we get to the end of the gallery.

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That's absolutely incredible.

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Look at that, it's a little bit of Egypt, surely?

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Yes. It's been transformed into Egypt, here we are, the Egyptian court.

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Perfect symmetry everywhere.

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Who was the creative genius, the driving force? Because I know Edward Cooke was a painter.

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Was he the visionary or was James really?

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A lot of the actual design work we believe was Edward Cooke, cos although he's

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better known as a painter today, he was also well known as landscape designer in Victorian England.

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-Yeah.

-And Bateman did acknowledge how much debt he owed to Cooke in the design of the garden.

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-Can I look in?

-Yes, go ahead.

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And out into the sunlight.

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And into Cheshire in the blink of an eye, if you look behind.

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Oh, yes. Look at that, 1856.

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The initials James and Maria Bateman above the window.

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That's so cute, isn't it? And as quick as that.

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-Well, let's go and see some more.

-Yes, we're now in the pinetum,

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and just coming up on the left here, we've got some monkey puzzle trees.

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So where are we now?

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-Just coming into the China section of the garden.

-So is this symbolic of the Great Wall?

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It is, and if you look down to your right...

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Ah, what a treat.

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-Now that is a visual impact, isn't it, seeing that?

-Absolutely.

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That little temple in the lake.

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-It's all based on willow pattern plates, the iconography you see on a willow pattern plate.

-Yes.

0:19:430:19:47

So you have the temple, that bridge with the zig-zag fence.

0:19:470:19:51

-Can we go and have a look?

-Yes, of course.

0:19:510:19:53

It looks so inviting. Well, I can see lots of bamboos planted.

0:19:530:19:57

Right. There's quite a wide variety of plants from China, we

0:19:570:20:01

have some acers, actually from Japan, they're the very deep purple variety.

0:20:010:20:05

Oh, gosh. Come autumn, they'll be worth seeing.

0:20:050:20:08

They are spectacular in the autumn.

0:20:080:20:10

We've also got probably the oldest surviving golden larch in

0:20:100:20:15

England growing here, that was also brought back by Robert Fortune from one of his many travels out in China.

0:20:150:20:21

-What a visionary.

-Oh, he was, and he was also the man who smuggled all the tea plants

0:20:210:20:25

out of China into India as well, when he was employed for a while by the British East India Company.

0:20:250:20:31

So when you have a cup of tea today, it's obviously due to Robert Fortune in large part.

0:20:310:20:37

A complete, leisurely tour of Biddulph would take a few hours.

0:20:370:20:41

There are many other areas which I haven't had time to explore today

0:20:410:20:44

such as the Glen, which was based on the Scottish rock formations,

0:20:440:20:48

and the Italian garden, which was a popular choice of garden during the era.

0:20:480:20:52

And it's amazing to think that over 160 years after the first conception

0:20:520:20:56

of Biddulph Garden, it remains here today for everybody to enjoy.

0:20:560:21:01

Let's have a quick reminder of all the items that are going under the hammer.

0:21:050:21:10

The watercolour by John Horner could be a real hit but if not, Paul the owner has a back-up plan.

0:21:100:21:16

I mean if it doesn't sell, I'll keep it anyway.

0:21:160:21:18

John bought his cigarette case 30 years ago for just £90

0:21:180:21:22

and today, Will thinks it's worth its weight in gold.

0:21:220:21:25

For the past 45 years, Jill has lovingly polished

0:21:270:21:30

her silver basket and now it's time to see if it will sell.

0:21:300:21:34

And if it doesn't, I will go back to polishing.

0:21:340:21:37

And when it came to the Moorcroft vase, Will was impressed by Leslie's eye for a bargain.

0:21:370:21:42

-Dare I ask what you paid for it?

-10 pence.

-Get off! 10p!

0:21:420:21:47

We're also selling Malcolm's two Schuco cars

0:21:470:21:51

which he's had for 65 years.

0:21:510:21:52

Will we get a lucky bidder to drive them away?

0:21:520:21:55

Well, you've seen all our items and now it's time to put our experts' valuations to the test,

0:21:560:22:01

and we're going to do it right here

0:22:010:22:02

at Adam Partridge Auctioneers and Valuers at North Rode outside Congleton.

0:22:020:22:07

The sale is just about to start.

0:22:070:22:09

It's absolutely packed in there, so let's get inside.

0:22:090:22:12

Next up, we've got a cracking bit of Victorian silver, a little basket,

0:22:270:22:30

and Jill's selling it because you're so fed up with polishing it.

0:22:300:22:34

45 years of polishing.

0:22:340:22:36

You'll wear it away, won't you?

0:22:360:22:38

-You didn't polish it every day though.

-Every fortnight.

0:22:380:22:41

-Anyway, you want to sell it, don't you, now?

-Yes.

0:22:420:22:45

-And I know Kate said 150 to 200.

-That's right.

0:22:450:22:51

And you're angling for that, and I know that you were sort of having a haggle.

0:22:510:22:55

-Bit of a haggle.

-You were hoping for 200.

0:22:550:22:57

-Yes.

-You're hoping for Kate's top end.

-Yes.

0:22:570:23:00

-So now you've actually said, "right, we want £200".

-Yes.

0:23:000:23:03

Let's hope we can get a bit more so we're all happy.

0:23:030:23:06

Yeah. So the reserve is actually 200 now, which is fine, but my feeling is that realistically at auction, it's

0:23:060:23:12

-sort of between the two really.

-We'll wait and see.

-Yeah.

0:23:120:23:14

Good luck, anyway, both of you.

0:23:140:23:16

And it's Sheffield 1897, another basket here and I'm bid 160.

0:23:160:23:21

-170? 170... 180, 190?

-Yes, yes.

0:23:210:23:24

190, your bid, take 200.

0:23:240:23:26

At 190... 200, 210...

0:23:260:23:28

-220.

-We've sold it.

-230?

0:23:280:23:30

There you go, that's great.

0:23:300:23:32

220 in the crowd here, 220... any more this one now? 220...

0:23:320:23:36

all done? At 220... thank you.

0:23:360:23:38

-Great. Well, done.

-Thank you very much.

0:23:380:23:41

Well done, Kate. What are you going to put the money towards?

0:23:410:23:44

We've got 15% commission to pay on this, don't forget, Adam's got to earn his wages.

0:23:440:23:48

Well, this was an experience, so I'm going to use for another experience.

0:23:480:23:52

-What's that?

-Perhaps lunch on the Orient Express or tea at the Ritz.

0:23:520:23:56

-Classy.

-Ooh.

-Very nice, I like your style.

0:23:560:24:00

-Enjoy it.

-Thank you very much.

0:24:000:24:02

£50, £50 is bid. 50 I have, 55 now?

0:24:030:24:06

It's now my turn to be the expert

0:24:060:24:09

and next up it's those two lovely Schuco cars.

0:24:090:24:11

One is in incredible condition.

0:24:110:24:13

They belong to Malcolm. We've got the cars here but we don't have Malcolm.

0:24:130:24:17

He's cruising the Caribbean but we've got his daughter here, Elizabeth.

0:24:170:24:20

-Hello.

-You can remember these as a little girl, can't you?

0:24:200:24:24

I can. I can the remember the little red car, yes.

0:24:240:24:28

I had to put it back in the box afterwards.

0:24:280:24:30

I don't blame Dad for making you do that, as well.

0:24:300:24:33

-That was his pride and joy, wasn't it?

-Yes, he loved his cars.

0:24:330:24:36

-Do say hello, won't you, and let him know how it's gone.

-I will.

0:24:360:24:40

-It's going under the hammer now.

-OK.

0:24:400:24:42

The Schuco 4001 Examico clockwork car

0:24:420:24:46

and a Schuco Studio red tinplate racing car, racing number 9.

0:24:460:24:50

Two Schucos in the lot, there.

0:24:500:24:51

Let's try £100 for the two Schucos. 100?

0:24:510:24:54

100? 80?

0:24:540:24:56

60 bid. £60. Take 5 now.

0:24:560:24:58

At 60. At £60. I have 5.

0:24:580:25:01

70 bid. At £70. 5?

0:25:010:25:03

80 now. 80 bid. 5, then? 85.

0:25:030:25:06

90 bid? 85 we have.

0:25:060:25:08

-85 is the bid. Is there 90?

-We're close.

0:25:080:25:11

At £85... 90. In the room at 90.

0:25:110:25:12

At £90. Is there 5 now?

0:25:120:25:15

We're selling at 90 in the room. All done at 90?

0:25:150:25:18

-He's used discretion, the 10%.

-That's fine.

-That's OK.

0:25:180:25:22

-We just about got them away.

-Yeah. Brilliant.

0:25:220:25:25

-He'll be happy, he'll be happy.

-He will be happy.

0:25:250:25:28

Except when I spend his money.

0:25:280:25:30

Oh, well don't tell him that, will you?

0:25:300:25:32

-And say hi from us, won't you?

-I will do. Thank you.

-Thank you.

0:25:320:25:35

-Peggy and John, it's good to see you.

-And you.

0:25:400:25:42

-Have you been looking forward to this?

-I have, very much.

0:25:420:25:45

We're just about to put under the hammer this gold cigarette case, and there's an awful lot of weight here.

0:25:450:25:50

You're looking at £300 to £500, you've got a fixed reserve at £300.

0:25:500:25:55

-Yes.

-It's worth top estimate scrap.

-Yeah, exactly.

0:25:550:25:58

-So I'm looking to break that top estimate.

-Right, here we go.

0:25:580:26:01

Around 93 whopping grams we made that,

0:26:010:26:05

and commission interest here has to start us at 600 straight in.

0:26:050:26:10

-Told you! Straight in at £600.

-600 bid.

0:26:100:26:12

Are you all done at 600? Not very exciting, is it?

0:26:120:26:15

600 bid, at 600... 620, 640...

0:26:150:26:18

660, 640 still with me, 640 are you all done on this?

0:26:180:26:22

640.

0:26:220:26:24

£640, 15% commission to pay here. What will you put the money towards?

0:26:240:26:30

It's either going to be a piece of Swarovski or a large flat screen TV.

0:26:300:26:35

-Ooh.

-You like your glass then?

0:26:350:26:38

-I do, and he loves his football.

-He loves his footie.

0:26:380:26:41

Next up, we've got a lovely little watercolour with a value of £200 to £300, and it was brought in by Paul,

0:26:470:26:52

who is playing the game, because you got this on the internet a few weeks ago, didn't you?

0:26:520:26:57

-I did.

-For £80?

-For £80.

0:26:570:26:59

-Hopefully we're doubling your money plus, right now.

-Hopefully.

0:26:590:27:02

So you've got a keen eye.

0:27:020:27:03

-I like to think so, yeah.

-Do you do a lot of this?

-A little bit, but not a great deal.

0:27:030:27:08

-And you've had much success?

-Erm...

0:27:080:27:10

well, a little bit.

0:27:100:27:12

Kate, a bit of competition.

0:27:120:27:14

-You've been giving me tips.

-Has he?

-Yeah.

0:27:140:27:16

So we've got a value of 200 to 300.

0:27:160:27:18

We have. The watercolour market is unpredictable, as I'm

0:27:180:27:21

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.

0:27:210:27:27

-We'll soon find out.

-We're going to find out. Here we go.

0:27:270:27:30

J Horner, watercolour fishing scene, start me £200 please.

0:27:300:27:35

150?

0:27:350:27:36

£100?

0:27:360:27:39

I'm afraid I'm going to have to pass that one.

0:27:390:27:42

-Didn't sail for you.

-No.

-A punt, a bit of a gamble.

-It was, yeah.

0:27:420:27:46

I quite like it, I'd sooner take it home anyway.

0:27:460:27:48

Put it back on the wall. OK, thank you very much.

0:27:480:27:51

That's a shame. Give it a while, stick it in a dark corner, fish it

0:27:510:27:56

-out again, because I think the right person just wasn't here.

-I will do.

0:27:560:27:59

He's got a good track record, that artist, so I think in a different sale you might have some luck.

0:27:590:28:04

Smashing. Thank you.

0:28:040:28:07

Well, it is all out there if you bother to open your eyes and go and have a look.

0:28:120:28:15

-And that's exactly what Leslie did when you were in Wales.

-Yes.

0:28:150:28:19

-10p this next lot cost at a bric-a-brac sale.

-In Llangollen.

0:28:190:28:24

It's a bit of Moorcroft and we valued it at £150 to £250.

0:28:240:28:30

Not a bad return on 10 pence.

0:28:300:28:32

Small is beautiful, but condition is everything with

0:28:320:28:35

ceramics, so we've kept the valuation down.

0:28:350:28:37

If it was perfect, it would be in the high hundreds, but it's still going to do well.

0:28:370:28:41

-Yes.

-Well, let's hope it does that 250, we're gonna find out right now.

0:28:410:28:45

There we are, the Honesty pattern there on a roughened surface there.

0:28:450:28:49

-I'm bid 160 to start, is there 170?

-Sold straightaway.

-160 bid, at 160.

0:28:490:28:52

Any more now on this one? At 160...

0:28:520:28:55

All done... 170... 180, 190...

0:28:550:28:57

200, 210... 220, 230... 240.

0:28:570:29:00

There's a bidder in the room.

0:29:000:29:02

-And there's a bidder in the room.

-320... 340, 360... 380,

0:29:020:29:05

400, 420, 440... 420, am I bid one more if you want?

0:29:050:29:08

420... at 420, your bid now 440, we're in the room.

0:29:080:29:11

At 440 I'm selling this one, are we all done? At £440.

0:29:110:29:17

Thanks very much.

0:29:170:29:20

-Thank you!

-Excellent.

0:29:200:29:22

£440!

0:29:220:29:24

That is just incredible!

0:29:240:29:28

£420.

0:29:280:29:29

That'll divide up nicely, though, there's a lot of children.

0:29:290:29:33

-Yes.

-We blew the top end away, which is what you like.

-Yeah.

0:29:330:29:36

Yeah. Leslie, thank you so much for bringing that in.

0:29:360:29:38

To find out more about Moorcroft, I've come to the heart of the British pottery industry.

0:29:520:29:58

This area is so synonymous with the trade that it is traditionally referred to as the Potteries.

0:29:580:30:04

You may know it as Stoke-on-Trent.

0:30:040:30:06

Today, Staffordshire boasts some 350 potteries.

0:30:070:30:11

Renowned names like Clarice Cliff, Royal Doulton and Moorcroft with its exquisitely vibrant style

0:30:110:30:18

were all born and based here, producing everything from the little egg cup

0:30:180:30:23

to the most expensive bowls and vases.

0:30:230:30:25

They may be all the rage today, but the industry has been around for centuries.

0:30:250:30:31

Pottery was established in the West Midlands in the early 1700s,

0:30:310:30:35

but it wasn't until 1897 that the world was introduced to a style legend.

0:30:350:30:41

William Moorcroft caught the attention of a local pot manufacturer, James Macintyre & Co.

0:30:410:30:46

And that moment marked the official birth of an artistic genius.

0:30:460:30:51

Young William Moorcroft already had a reputation as a gifted painter, even though just a recent graduate,

0:30:510:30:57

and he started working for Macintyre's as a lead designer.

0:30:570:31:01

With his vibrant, colourful designs inspired by nature, he soon captured the market

0:31:010:31:06

and he even boldly placed his signature on the bottom of every Macintyre pot.

0:31:060:31:12

He was a visionary designer and revolutionary in his approach to ceramic art.

0:31:120:31:17

Demand for William's work soon exceeded any other designer in the firm.

0:31:170:31:22

In 1912, aided by money from Liberty of London, Moorcroft left Macintyre's employment,

0:31:220:31:28

taking with him 12 members of staff to start his factory.

0:31:280:31:32

They marched 500 metres from the old premises to Moorcroft's factory,

0:31:320:31:36

taking with them sketches, designs, pot moulds and tools.

0:31:360:31:39

A new age of ceramics had dawned and the iconic Moorcroft was born.

0:31:390:31:44

'Today, Moorcroft is a much loved, worldwide brand. Its delicate,

0:31:440:31:48

'but intricate detail delights thousands upon thousands, and it's been a bit of a regular on Flog It.'

0:31:480:31:54

-How about 150, 250?

-Yeah.

-Yeah. Definitely.

0:31:540:31:58

-They're not worth that.

-OK.

-They're worth 300 to 500.

-You are kidding?

-No.

0:31:580:32:03

'It doesn't often disappoint us when it comes to selling on at auction.'

0:32:030:32:08

-At 2,050.

-That is a great Flog It moment.

0:32:080:32:12

£2,050!

0:32:120:32:14

'So to find out why it's so sought after,

0:32:140:32:17

'I've come to the Moorcroft Visitor Centre to meet MD Elise Adams

0:32:170:32:22

'and take a look at their stunning collection.'

0:32:220:32:26

What an incredible room! Moorcroft is vying for my attention everywhere.

0:32:270:32:32

I'm surrounded! What is this room called?

0:32:320:32:35

This is the Moorcroft Museum, part of the Moorcroft Heritage Visitor Centre here in Stoke-on-Trent.

0:32:350:32:41

-How long have you been working here?

-I've been at Moorcroft for 12 years and slowly worked my way up.

0:32:410:32:47

Being a living art pottery, there's always something new happening.

0:32:470:32:52

-We've got a few pulled out from the cabinets.

-I've started with some early pieces.

0:32:520:32:57

This is where William started when he worked at Macintyre's, a local firm that was founded in the 1830s.

0:32:570:33:03

He started with pieces like this. This is Aurelian Ware.

0:33:030:33:07

-It's flat to touch. It's not like the pieces of Moorcroft which have the...

-Tube liners.

-That's right.

0:33:070:33:13

-Where did he get his inspiration?

-Very much from his environment.

0:33:130:33:17

A lot of British flowers, things that he would see day-to-day.

0:33:170:33:21

Then these pieces lead on to other pieces that come forward.

0:33:210:33:25

But he was very clever at this stage because, although he was working for Macintyre,

0:33:250:33:31

-he was signing all his wares "Moorcroft". How did he get away with that?

-He was very canny.

0:33:310:33:37

Macintyre's don't seem to have objected.

0:33:370:33:41

Pieces like this, it's got the Macintyre backstamp on it,

0:33:410:33:45

but then clearly in green is William's signature.

0:33:450:33:48

He's branding his own name, he's setting himself up for when he's going to go it alone,

0:33:480:33:54

so people are knowing these pieces as Moorcroft when in fact they're Macintyre's.

0:33:540:33:59

What's distinctive about this piece?

0:33:590:34:02

It's the very first range that William designs when he moves to this new factory in 1913.

0:34:020:34:08

This follows in 1914 and it's called Persian Ware. The shape was inspired by Middle Eastern culture.

0:34:080:34:14

William starts to work with Liberty & Co in London and they buy pieces of Macintyre Ware.

0:34:140:34:20

He then designs specific ranges exclusively for them such as this powder-blue ware

0:34:200:34:25

which they used in their Liberty tea rooms.

0:34:250:34:28

-Flambe.

-Flambe, wonderful.

0:34:280:34:30

-From blue to red.

-This was his technique, wasn't it? It was his little invention.

0:34:300:34:35

This was something he held very close to his heart.

0:34:350:34:39

He only passed the recipe on to his son Walter on his death bed in 1945.

0:34:390:34:44

He didn't let anyone else fire or load the kilns.

0:34:440:34:48

What period are we looking at now?

0:34:480:34:50

We're coming forward a little bit in time here to more contemporary pieces

0:34:500:34:54

and pieces by William's son Walter who takes over the factory in 1945.

0:34:540:34:58

But we do start to get away a little bit from what Moorcroft is all about.

0:34:580:35:03

There's very little tube lining on the pieces which is the opposite to what William had devised.

0:35:030:35:08

Let's talk about the new designers. Do they have to have a good archive knowledge of previous designs?

0:35:080:35:14

They do, but they're very careful to always be moving forward.

0:35:140:35:17

But the process of Moorcroft has changed very little. It's tube-lined, painted and dipped by hand.

0:35:170:35:24

So, from that point of view, in 112 years, very little has changed.

0:35:240:35:29

That's great to see some animals.

0:35:290:35:32

It's by Kerry Goodwin, one of the newest members of the design studio.

0:35:320:35:36

She works here on our factory and is here today, so if you would like to meet her and have a look round,

0:35:360:35:42

-we can see how this kind of piece is made.

-That'll be interesting.

0:35:420:35:46

The first stage of the process is mould-making.

0:35:460:35:49

The craftsman hand-makes each mould with plaster of Paris.

0:35:490:35:54

Next, the piece is cast. The mould is filled with liquid clay and then emptied, leaving a wet shell.

0:36:000:36:07

When the clay has dried, the mould is removed, revealing the shape.

0:36:070:36:11

The vase is then placed in a damp room overnight to harden.

0:36:110:36:15

The dried vase needs to be smoothed. It's mounted on a lathe and any seams removed by hand.

0:36:150:36:22

That's precision work.

0:36:220:36:24

Excess flakes of clay are removed with a sponge, dipped in water

0:36:240:36:28

and those familiar stamps are then pressed into the base.

0:36:280:36:32

The pattern is inked on to a clear sheet of paper with a special ink mixed at the factory,

0:36:320:36:38

then the wet design is pressed on to the pot with the tube liners to follow.

0:36:380:36:43

Once the pattern has been pressed on to the pot,

0:36:440:36:48

the famous Moorcroft tube lining can begin.

0:36:480:36:51

They follow the pattern precisely, laying it on to the pot.

0:36:510:36:56

It's a good job my work is being overseen by the designer who created this piece, Kelly Goodwin.

0:36:560:37:02

My hands are so thick and clumsy, I'm worried that I might break off what's already been done.

0:37:020:37:08

That's hard. That's very difficult.

0:37:080:37:11

-It's not going, it's not running.

-You're doing quite well.

0:37:110:37:16

Come the final glaze, that will be very vibrant like this, won't it?

0:37:160:37:20

Yes, the glaze is the main part because the colour soaks into the pot itself.

0:37:200:37:25

Once you put the glaze on, it turns into precious jewels.

0:37:250:37:29

-All the colours come through.

-The whole thing just comes to life.

0:37:290:37:34

-Do you want to finish this?

-It would take me two days, not three hours.

0:37:340:37:38

-Can you finish it off for me?

-Yeah, I'll finish it off and send it through the kiln.

0:37:380:37:43

Thank you so much.

0:37:430:37:44

And thank everybody here because they've shown me the secrets behind Moorcroft. It's alive and kicking!

0:37:440:37:50

It's time to head back to the valuation day at Nantwich Civic Hall.

0:37:530:37:57

There's no let-up for our experts and with plenty of people still arriving,

0:37:570:38:01

who knows what we'll unearth?

0:38:010:38:04

Richard, you've brought quite a selection of jewellery.

0:38:040:38:06

You don't look like the man who wears a brooch or perhaps

0:38:060:38:10

a gold bangle, so tell me where have these come from?

0:38:100:38:12

Well, they belonged to my sister, who worked in an antique shop

0:38:120:38:16

and she collected quite a lot of quirky things, really.

0:38:160:38:19

-And they've been in a drawer ever since.

-Let's have a look.

0:38:190:38:23

We've obviously got here two watches as well as this, I think, rather impressive mourning brooch.

0:38:230:38:29

Obviously.

0:38:290:38:30

If I turn it over, we can see on the back we've got a rather nice inscription, haven't we?

0:38:300:38:35

-Yes.

-In memory of...

0:38:350:38:38

-and then the name there, "Esquire", and that's 1861.

-Yes.

0:38:380:38:43

Then if we move on to this rather nice little bangle wristwatch, for want of a better word.

0:38:430:38:49

You've got this rather stylish rectangular face, which is typical of that sort of

0:38:490:38:57

Art Deco period when rectangular watches really came into their own.

0:38:570:39:02

If we look on the back, we can see that it's cased in 18-carat gold.

0:39:020:39:06

And then if we move on further still really into the Deco

0:39:060:39:10

period, we've got this rather fine...

0:39:100:39:13

I would call it a cocktail watch.

0:39:130:39:16

Have you ever had an idea of value, I mean, did your sister ever sort of let on to what she paid for these?

0:39:160:39:21

-Not a clue.

-I suppose the mourning brooch here, I would have thought

0:39:210:39:25

you'll probably be looking at 30 to 50, 40 to 60 perhaps on that.

0:39:250:39:30

Then if we move on to the little

0:39:300:39:33

brooch glass cocktail watch with the paste settings, I would say on that,

0:39:330:39:38

you're probably looking at maybe similar sort of money, maybe 40 to 60, something like that.

0:39:380:39:43

Then if we come to the little wristwatch there,

0:39:430:39:46

you should be looking at about 120 to 150 mark for the wristwatch.

0:39:460:39:52

So if we tot it all up, where does that take us...

0:39:520:39:55

sort of 120, 150, so it's going to be between the 150 to 200 mark. What do you think about that?

0:39:550:40:02

If we estimated at 150 to 250, would you be happy to see them go at that?

0:40:020:40:05

I certainly would, yes.

0:40:050:40:07

Are we reserving at the bottom figure?

0:40:070:40:09

-No, I would like to get shot really.

-Get shot?

-Yeah.

0:40:090:40:13

-Let them make what they make. I like your approach.

-Thank you very much.

-Well done.

0:40:130:40:17

David, this is a staggering collection of Aboriginal art here

0:40:240:40:27

in beautiful Nantwich in Cheshire.

0:40:270:40:29

-Indeed it is, that's right.

-Most of this is from Darwin, isn't it?

0:40:290:40:33

That's right, Northern Territories of Australia, yes, and a bit in Queensland.

0:40:330:40:37

How did it get to Nantwich?

0:40:370:40:39

Well, it got to Nantwich because I was working for the Department of

0:40:390:40:43

Defence in Australia and I was posted into Darwin, and

0:40:430:40:48

had the opportunity to travel around the missions and Melville Island, where some of these come from.

0:40:480:40:56

Aboriginal art is fetching such good money right now.

0:40:560:40:59

Not only are the Australians buying it back, it's their social history.

0:40:590:41:03

They want to fill their museums with this wonderful, sort of almost

0:41:030:41:07

mosaic work, which is painted with pigments from the earth,

0:41:070:41:11

different coloured clays.

0:41:110:41:13

-Absolutely, and on bark.

-On gum tree bark.

0:41:130:41:15

You got these in the '50s.

0:41:150:41:17

Yes, well '59, '62, that period.

0:41:170:41:21

This is so striking, look at this.

0:41:210:41:23

Yes, and this is a very,

0:41:230:41:26

in a sense, religious symbol.

0:41:260:41:28

You see it in all Aboriginal art from wherever the tribes, you get this circle,

0:41:280:41:33

the circle of life, I think is a simple way of putting it.

0:41:330:41:37

And this one's signed on the back, it's called Ghost Women, and it's by Wandi-Wandi who's 50-years-old.

0:41:370:41:43

Yes. Right.

0:41:430:41:45

-Let's look at the three items on the table, start with the didgeridoo.

-Yes.

0:41:450:41:49

Again, that's a genuine piece in the sense of how they made these.

0:41:490:41:54

-This hole was eaten out by ants.

-Insects.

0:41:540:41:58

White ants, and then they cut off a piece and they decorate it.

0:41:580:42:03

-No doubt these were all ceremonial rather than everyday use.

-They look ceremonial, actually.

0:42:030:42:08

Why are you thinking of selling these, though, today?

0:42:080:42:12

Well, I only live in a very small house and I collect, and you move on.

0:42:120:42:17

And I still have got six other pieces of this to remind me of

0:42:170:42:22

-those times.

-Are you interested in art or just Aboriginal?

0:42:220:42:25

Not particularly, I'm into Moorcroft now.

0:42:250:42:28

-I know it's a dirty word but I've got 250 pieces of it.

-Have you?

0:42:280:42:31

Oh, yes, it's only down the road.

0:42:310:42:33

Crikey! Well, I'm pleased you brought this in rather than Moorcroft.

0:42:330:42:36

We've not seen things like this before and it excites me. Right.

0:42:360:42:40

Let's get to the valuation, the business end of the conversation. I think

0:42:400:42:45

they should go into auction as a collection.

0:42:450:42:47

If someone wants to buy this beautiful piece, they're going to want that one and that one.

0:42:470:42:52

-There's a lot of Darwin's social history here and it should stay together.

-Indeed, indeed.

0:42:520:42:58

I'd like to put a value of £300 to £500 on the whole lot.

0:42:580:43:02

If we have a lot of excitement pre the sale, Adam can use his discretion and split them up.

0:43:020:43:07

-Absolutely.

-But this is where it gets exciting.

0:43:070:43:10

Whatever you do, don't go away. Let's watch this lot go under the hammer.

0:43:100:43:14

Well, Roy, I love what you've brought in to Flog It today.

0:43:210:43:24

-A Hornby train, a clockwork train.

-Yes.

0:43:240:43:28

Now, it looks in remarkable condition, bearing in mind its age.

0:43:280:43:32

Has it not been played with or...?

0:43:320:43:34

Not been played with since my dad left it to me and I don't think he played with it much.

0:43:340:43:38

-So it was your father's?

-It was.

0:43:380:43:40

-So this is going to date from around that sort of... The late '20s.

-I think so, yeah.

0:43:400:43:46

-It's possibly early '30s. I think you've done some research, haven't you?

-Yes. It was 1929.

0:43:460:43:53

Frank Hornby, he brought out this range of toys

0:43:530:43:58

under the banner of Hornby

0:43:580:44:01

as British toys for British boys.

0:44:010:44:04

And we can see that here you've got two rather nice carriages,

0:44:040:44:10

each named - Arcadia with the crest, here.

0:44:100:44:13

-They look like first-class carriages.

-They do, yeah.

0:44:130:44:16

-And then you've got this LMS, I suppose it's a...

-Horsebox.

0:44:160:44:21

-A horsebox, something like that.

-Yeah.

0:44:210:44:23

-And then this little working crane.

-A rig, yeah.

0:44:230:44:27

What's nice about them, though, is you've got this original transfer printing

0:44:270:44:31

and the original paintwork to the carriages.

0:44:310:44:34

-Passed down to you from your father.

-Yeah.

0:44:340:44:37

No grandchildren? No children you could pass it on to?

0:44:370:44:40

-I've got one son and he's never shown any interest.

-He might when you tell him what it's worth.

0:44:400:44:46

-He might take an interest.

-He's had it. It's going to the lounge fund.

0:44:460:44:49

-The lounge fund?

-Yes.

-Nice comfy chair?

-New ceiling.

0:44:490:44:53

-New ceiling?

-And decorating.

-Serious work, then.

-It is.

0:44:530:44:57

Well, I think, you know, estimate wise, let's see if we can get close to your new ceiling.

0:44:570:45:02

I would think... I mean, there are some chips and some slight losses.

0:45:020:45:06

It has been played with but the basics are there.

0:45:060:45:09

I would say you're looking at £200-300.

0:45:090:45:12

-I don't know how you feel about that?

-Yeah, fine, fine.

0:45:120:45:14

You're happy with that? Shall we reserve it at that bottom figure?

0:45:140:45:18

Yeah, I think so. 200, yeah.

0:45:180:45:20

So let's say 200 with discretion, 10% either way for the auctioneer.

0:45:200:45:24

So he'll sell it at £180, that sort of level.

0:45:240:45:27

-But I'm confident that on the day, we should get more.

-More for it.

0:45:270:45:31

-Thanks.

-See you on the day.

-We will.

0:45:310:45:33

-This is a lovely little, what I would call, apprentice piece, chest of drawers.

-Yes.

0:45:390:45:44

Is it a family piece?

0:45:440:45:46

It is, yes. It came from my paternal grandfather's when he passed away

0:45:460:45:50

in 1938, and he migrated from

0:45:500:45:54

Cornwall in 1860 to Nantwich, when the local malting works down the road was in its full production.

0:45:540:46:01

So it's quite feasible it came with him from Cornwall.

0:46:010:46:04

-Right. And do you remember this as a boy then?

-Yes, I remember it because it came with a big sea chest, yes.

0:46:040:46:11

Why have you brought it today?

0:46:110:46:13

To get it valued and exactly to see what it is, more than anything.

0:46:130:46:18

OK. Well, it's quite intriguing, I think, because we've got quite a lot of different materials here.

0:46:180:46:23

I think this was made by a carpenter who was making chests of drawers as

0:46:230:46:28

a living, he was making pieces of furniture, and he may well have made this little piece to take round

0:46:280:46:35

and show prospective clients, to see what sort of piece they would like him to make for them.

0:46:350:46:41

Because what we've got here is a very plain pine carcass.

0:46:410:46:46

-Oh, yes, very simple.

-A very affordable softwood.

0:46:460:46:49

But then on the front we've got veneers of different woods, and at the top here,

0:46:490:46:53

these two little drawers have got amboyna, a really exotic rich wood.

0:46:530:46:59

If we put that one back and look further down, we've got a polished oak veneer,

0:46:590:47:04

hen further down a different wood again, the third drawer

0:47:040:47:07

down, and I think that's probably beech, looking at the flecking in it.

0:47:070:47:11

It's certainly not oak. And then the last long drawer at the bottom there we've got an oak veneer again.

0:47:110:47:17

So I think the cabinetmaker would have taken this little piece along

0:47:170:47:21

to prospective clients, and shown it to him and said,

0:47:210:47:24

I can make it for you with an amboyna veneer or an oak veneer, and showed him the different examples.

0:47:240:47:30

And I think they would probably be different price bandings

0:47:300:47:34

accordingly because amboyna would be a very expensive and perhaps the oak and beech less expensive.

0:47:340:47:40

-Yes.

-And it's standing on these lovely little turned feet, which are rather sweet.

0:47:400:47:46

Those little feet together with the moulding on the top makes me think

0:47:460:47:50

-that it's around 1860, 1870, so late Victorian in date.

-Very good.

0:47:500:47:54

So what about value, have you any idea, sir?

0:47:540:47:57

No idea whatsoever.

0:47:570:47:59

OK. Well, I think if we put this into an auction for you shortly,

0:47:590:48:03

I think we'd be looking at anything between £100 and £200.

0:48:030:48:06

-Very good.

-So I think a fair auction estimate would be 100 to 150, we'll put a reserve of around £100 for you

0:48:060:48:13

so it doesn't go for less than that, and I think you might well find some

0:48:130:48:16

collectors really bidding against each other to win this little piece.

0:48:160:48:20

-Very good.

-Thank you very much for bringing it along.

0:48:200:48:23

Thank you for explaining to me.

0:48:230:48:25

Jeffrey's apprentice piece joins the other items we're taking to auction,

0:48:250:48:30

but before we see if they sell well, let's have a chat with Adam about the collection of Aboriginal art.

0:48:300:48:36

I'm such a big fan of ethnic art, and when David came into

0:48:360:48:39

-the valuation day, I threw myself at this Aboriginal art.

-I can imagine it. Yeah.

0:48:390:48:44

It was too much to take in, really!

0:48:440:48:46

I put £300 to £500 on the whole lot and I said

0:48:460:48:50

likely Adam will have a closer look and then decide to split them.

0:48:500:48:53

-A sensible estimate.

-Good.

0:48:530:48:55

We've split them into lots as I think these are the strongest, and I've done these three first.

0:48:550:49:00

Hopefully those will make the 300, and then we can...

0:49:000:49:03

-Whatever's left will make up the difference.

-Yeah.

0:49:030:49:05

I would love these three panels to double our estimate, that's what I'm secretly hoping for, and they all go

0:49:050:49:12

back to Australia so they can be viewed by young Australians as part of their social heritage.

0:49:120:49:19

Absolutely right. I really hope they do very well.

0:49:190:49:22

-We've had 30 or 40 emails on them.

-They're going back to Australia.

0:49:220:49:26

-They are.

-How much money? We're going to find out.

0:49:260:49:29

Adam's just about to get on the rostrum so whatever you do, don't go away.

0:49:290:49:34

Other items we're selling alongside the Aboriginal art are

0:49:340:49:37

a collection of two elegant watches and a mourning brooch,

0:49:370:49:41

their owner Richard is taking a real gamble with this lot.

0:49:410:49:44

Are we reserving at the bottom figure?

0:49:440:49:46

No, I would like to get shot of it.

0:49:460:49:48

Roy's Hornby train set has been languishing unloved

0:49:480:49:51

in the attic, but now it's heading off for a new destination.

0:49:510:49:54

And having travelled all the way from Cornwall to Nantwich,

0:49:570:50:00

where will Jeffrey's chest of drawers end up after the auction?

0:50:000:50:05

Your bid 220... I'll take 230.

0:50:050:50:08

This next item is a classic example of something that's been left in the loft for 25 years,

0:50:080:50:13

untouched and boxed.

0:50:130:50:14

It belongs to Roy, it's a Hornby train set.

0:50:140:50:16

-A typical kind of attic thing, isn't it?

-It is, yeah.

0:50:160:50:20

It's great. If you've stopped playing with it or you don't want to use it,

0:50:200:50:23

store it away, it doesn't take up much space, put it in the attic.

0:50:230:50:27

25 years later...

0:50:270:50:28

-We moved it three attics.

-Three attics?

-Yes!

0:50:280:50:32

Well, 25 years later, it's worth, hopefully, £300, maybe more.

0:50:320:50:36

-We've put 200-300 on it, haven't we?

-Yeah.

0:50:360:50:38

I think the carriages are sort of where the value is.

0:50:380:50:41

Nice that it's in its box.

0:50:410:50:43

Anyway, it's going under the hammer, Roy. Good luck.

0:50:430:50:46

A good Hornby train set, this one and I'll sure you'll agree

0:50:460:50:49

and I've got a range of bids again.

0:50:490:50:51

And I suppose that means I can start at £280 bid.

0:50:510:50:54

-290 now, please.

-Fingers crossed.

-290, 300, 320.

0:50:540:50:58

-Straight in at £280.

-..380, 400, 420, 440,

0:50:580:51:02

460, 480, 500 and 20. 520 in the room.

0:51:020:51:05

520. Can I see 540 now?

0:51:050:51:08

At 520. At 520, I like it.

0:51:080:51:11

At 520, we're all done and selling at 520.

0:51:110:51:14

That's absolutely fantastic.

0:51:150:51:17

Don't forget, there's 15% commission to pay here.

0:51:170:51:19

That's more money than we all thought. What are you going to spend it on?

0:51:190:51:23

-Hopefully, my new ceiling, Paul.

-How about that?

0:51:230:51:26

-That'll get that, a plasterboard ceiling and a bit of emulsion.

-It should.

0:51:260:51:29

You could say, we've hit the roof. I like it. Very good.

0:51:290:51:32

-Or gone through the roof.

-Gone through the roof.

0:51:320:51:35

One of my favourite pieces in this sale, a small apprentice

0:51:410:51:44

piece, it's a chest of drawers, showing off a young man's skill.

0:51:440:51:47

And it belongs to Jeffrey and it was his grandpop's.

0:51:470:51:50

Now your grandpop had great skills, he was an apprentice, but not in woodwork.

0:51:500:51:54

No, definitely not, no.

0:51:540:51:56

It's a family trade cos you've all been in the welding business, haven't you?

0:51:560:52:00

All been in the heavy engineering, the local works at Crewe, yes.

0:52:000:52:04

But there's history in that chest of drawers.

0:52:040:52:06

-Oh, there is, yes.

-And I think at 100 to 150, Jeffrey's going to say goodbye to it.

0:52:060:52:11

I hope so, it's just a little bit different having that range of veneers on the front there to show

0:52:110:52:16

-off what he could make.

-Good luck, Jeffrey,

0:52:160:52:19

Kate. The little chest of drawers are going under the hammer

0:52:190:52:22

right now, let's hope Adam can get the top end of the estimate.

0:52:220:52:25

It's the apprentice-made miniature chest, 19th-century with

0:52:250:52:28

specimen veneered drawers, amboyna and oak and various timbers there.

0:52:280:52:32

I can start with a bid of £100... take 10, £100 is bid...

0:52:320:52:35

is there 10 for the miniature chest?

0:52:350:52:37

At £100... any more? Come on, it's worth a bit more.

0:52:370:52:40

At £100. Are you all done? At £100 for the miniature chest.

0:52:400:52:43

It's gone, though.

0:52:430:52:45

At £100... you're all finished then at £100?

0:52:450:52:47

Short and sweet at £100, we sell then.

0:52:470:52:51

It's gone straight in and straight out. £100, Jeffrey.

0:52:510:52:55

-Right.

-We sold it.

0:52:550:52:57

-Yes, it went.

-It did.

0:52:570:52:59

There is commission to pay, it's 15%, but hopefully there's enough

0:52:590:53:02

money left for to treat your wife to supper or something like that.

0:53:020:53:06

Yes, I always pass the money on to my wife.

0:53:060:53:10

-Always pass the money on to the wife.

-Sensible man.

0:53:100:53:13

£50... 50 is bid, take five, at 50 I have... 55 now? 55.

0:53:140:53:20

Richard, you're playing with fire.

0:53:200:53:22

There's no reserve on this lot and it's a mixed lot.

0:53:220:53:25

There's a silver watch, a gold watch, some pearls. What's going on, no reserve?

0:53:250:53:30

What happens if we only get a £20 bid in the auction room?

0:53:300:53:34

Oh, don't say that. No, I'm confident, and today gold and silver's been selling well.

0:53:340:53:39

Well, surely this package, these three things put together,

0:53:390:53:42

we've got to be looking at around £200 or £150.

0:53:420:53:45

Yeah, I think we said sort of round £150, didn't we?

0:53:450:53:48

-150 you quoted.

-That's right, yes.

0:53:480:53:50

How did you let him get away with no reserve?

0:53:500:53:53

-Well, he's just got this smiling face.

-Yeah, I can turn it on.

0:53:530:53:57

Charmer, isn't he?

0:53:570:53:58

But things like these find their level, you know?

0:53:580:54:01

It's going to sell for what it's worth, fingers crossed, otherwise I am in trouble.

0:54:010:54:05

-Personally I've no idea.

-No, nor have I.

0:54:050:54:07

Me neither. I'll tell you one way to find out.

0:54:090:54:12

We are going to find out right now.

0:54:120:54:15

Let's hope Adam works some magic. Good luck both of you.

0:54:150:54:18

Which is a Victorian 9-carat gold mourning brooch,

0:54:180:54:21

an Art Deco 18-carat gold lady's wristwatch,

0:54:210:54:25

and an Art Deco marquisette lapel cocktail watch, what do we say for these?

0:54:250:54:29

Couple of hundred?

0:54:290:54:31

£100 bid... 10 now, at £100...

0:54:310:54:34

Come on, some bidding, I want 110...

0:54:340:54:36

120, 130... 140, 150... 160, 170...

0:54:360:54:40

160 bid... 170, 170... 180, 190...

0:54:400:54:43

200, 210... 220, 210 the bid.

0:54:430:54:48

At 210 now, 210... any more, are you all done?

0:54:480:54:51

At 210. All finished at 210, hammer's up, 210.

0:54:510:54:56

Phew, well done.

0:54:570:55:00

-Both of you took a gamble, it paid off.

-It is.

0:55:000:55:04

I'm as pleased as you are that that made mid-estimate on what we said.

0:55:040:55:08

She'd be pleased if she was here.

0:55:080:55:09

-Brilliant.

-Yes, good. You were, really.

-Brave man.

0:55:090:55:12

I've been looking forward to this, the Aboriginal art.

0:55:190:55:22

-We've got a packed house here.

-We certainly have.

0:55:220:55:25

But I'd like to think there's a few phone lines booked from Australia, lots of internet interest.

0:55:250:55:31

I talked to Adam prior to the sale, he has split

0:55:310:55:35

the whole lot up now, selling them separately. Good luck, here we go.

0:55:350:55:40

Lot no. 80 is the first one,

0:55:400:55:42

the bark panel painted with natural earth pigments by Wandi-Wandi.

0:55:420:55:46

120 I have... at 120 here, is there 130 now anywhere? At 120...

0:55:460:55:51

130 on this phone, is there 140... 140, 150...

0:55:510:55:56

160, 170, 180.

0:55:560:56:00

This is a good sign, this is a good sign.

0:56:000:56:03

170 on this phone here...

0:56:030:56:05

all done now 170, we sell at 170.

0:56:050:56:07

It's £170, that's the first item, here we go with the second lot.

0:56:070:56:12

-Goana and snakes hunting by Wally Puru.

-Another phone line.

0:56:120:56:17

-Um-hm.

-Hopefully that's Darwin at the other end.

0:56:170:56:20

At 180, all done now.

0:56:200:56:22

-£180.

-Oh, lovely, isn't that nice.

0:56:220:56:24

-Third one to go.

-There we are, the last one, 210.

0:56:240:56:27

Fantastic.

0:56:270:56:29

220? At 210 with Sue's phone...

0:56:290:56:31

At 210, are you all done on this one now? 210.

0:56:310:56:36

And the hammer down on 210.

0:56:360:56:38

180 on the phone here, 180 for the killing stick.

0:56:380:56:40

180, all done at £180.

0:56:400:56:44

There's the fourth lot, £180. This is great.

0:56:440:56:50

130, 140. 150, 160...

0:56:500:56:56

170, 170 on this phone. Same buyer.

0:56:560:56:59

That's £170 for the didgeridoo, this is fantastic.

0:56:590:57:03

We've sold everything so far, this is the last lot.

0:57:030:57:05

And the final one is the wooden spear in the form of a snake,

0:57:050:57:08

There we are there, 300...

0:57:080:57:10

320, 400 on the spear.

0:57:100:57:16

500, 560, 580.

0:57:160:57:20

-That's incredible.

-Yes.

0:57:200:57:22

-600...

-£600!

0:57:220:57:24

620... 640, yeah?

0:57:240:57:28

620 with Sue's phone, £620...

0:57:280:57:32

-Anyone in the room want a go now? At 620...

-LAUGHTER

0:57:320:57:34

All done now at 620, we sell this lot 620.

0:57:340:57:39

Yes! Well, the hammer's gone down, £620.

0:57:390:57:43

-We've sold all of those lots, David.

-APPLAUSE

0:57:430:57:47

How fabulous is that?

0:57:470:57:49

-That got a round of applause. A grand total of £1,530.

-Wow.

0:57:490:57:54

-What are you going to do with that?

-It's going to be divided into two.

0:57:540:57:58

One is to WaterAid and the other is

0:57:580:58:01

-to the Salvation Army.

-All the money is going to two charities?

0:58:010:58:04

-Half each.

-That's very generous of you, David.

0:58:040:58:06

No, not at all. It's all your work.

0:58:060:58:08

-Thank you so much for bringing this in.

-My pleasure.

0:58:080:58:11

If you've got something like that at home, we want to see you at one of our valuation days.

0:58:110:58:15

Check the details in your local press, because we're coming to a place near you soon.

0:58:150:58:20

From Cheshire and Adam Partridge's Auction Rooms

0:58:200:58:22

-it's goodbye from David and myself.

-Bye-bye.

0:58:220:58:25

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