0:00:02 > 0:00:04Today, we're in the southwest of bonnie Scotland
0:00:04 > 0:00:07in a town most people associate with a football club.
0:00:07 > 0:00:09Welcome to Flog It! from Kilmarnock!
0:00:32 > 0:00:34We're at the Palace Theatre
0:00:34 > 0:00:36and there is a massive crowd gathering,
0:00:36 > 0:00:38all laden with antiques and collectables.
0:00:38 > 0:00:42- Are they any Kilmarnock supporters here?- Yes!- Yes! That is good news.
0:00:42 > 0:00:45Our experts today are James Lewis and David Fletcher
0:00:45 > 0:00:50and let's hope they're big fans of what this lot have brought along.
0:00:50 > 0:00:53It's now 9:30 and it's time to kick off.
0:00:54 > 0:00:57And before full time, there's plenty of excitement to come.
0:00:59 > 0:01:01We've got girl power at the auction.
0:01:01 > 0:01:05as "Flog It!" favourite Anita Manning and her daughter Lala team up
0:01:05 > 0:01:07with some great results.
0:01:07 > 0:01:10With Lala on the phone at £210.
0:01:10 > 0:01:12Brilliant. We're smashing our targets.
0:01:12 > 0:01:17And I learn the secret techniques of a 100-year-old Scottish tradition.
0:01:17 > 0:01:21- I like the way you use your thumb like that.- To pull the thread back.
0:01:21 > 0:01:24- Otherwise it gets in little knots, doesn't it?- It does, yes.
0:01:24 > 0:01:27- It does sometimes. - It does when I darn my socks.
0:01:28 > 0:01:33So let's get cracking with the first item of the day. James is kicking off.
0:01:33 > 0:01:35LAUGHTER
0:01:37 > 0:01:40Kate, tell me, are you a great snuff-taker?
0:01:40 > 0:01:41- I certainly am not, no!- No?
0:01:41 > 0:01:47- You don't have the brown stains on your upper lip that give it away? - I hope not.
0:01:47 > 0:01:50So what are you doing with a snuff box?
0:01:50 > 0:01:54Well, this snuff box was passed down to me from my parents.
0:01:54 > 0:01:59My memory of it is my mother, who was a very keen floral arranger,
0:01:59 > 0:02:02- making lovely miniature arrangements in it.- Oh, really?- Yes.
0:02:02 > 0:02:06She used to go to rural competitions and things like that
0:02:06 > 0:02:07and always wanted to do well.
0:02:07 > 0:02:11But that's my memory of it and ever since I've had it,
0:02:11 > 0:02:14- it's been sitting in a cabinet doing very little.- Ah.
0:02:14 > 0:02:18I thought, "I'll bring it along, see what you can tell me about it."
0:02:18 > 0:02:21I love it. One of the main reasons why I love it
0:02:21 > 0:02:25- is because it's so plain, so simple. - Yes.
0:02:25 > 0:02:29It's engine-turned in bands, very plain, simple designs.
0:02:29 > 0:02:34And we've got this engine-turning on the sides all the way round
0:02:34 > 0:02:35and underneath.
0:02:35 > 0:02:38And what's slightly unusual is you would normally find
0:02:38 > 0:02:41what we call a cartouche, a little plain area
0:02:41 > 0:02:44where the owner can engrave their initials or their crest
0:02:44 > 0:02:46or their family coat of arms.
0:02:46 > 0:02:50- On this one, there's nowhere for that.- There's nothing like that, no.
0:02:50 > 0:02:54So if we open it up... Lovely. Silver-gilt inside.
0:02:54 > 0:02:59That prevents the acid in the snuff attacking the silver and reacting,
0:02:59 > 0:03:00making the silver turn green.
0:03:00 > 0:03:03We've got a nice, clear set of hallmarks.
0:03:03 > 0:03:05WT for the maker.
0:03:05 > 0:03:08A lion passant, which is the mark for English silver.
0:03:08 > 0:03:11The leopard's head with the crown, which is the mark for London.
0:03:11 > 0:03:16The head of George III, which means the duty or the tax has been paid on the silver,
0:03:16 > 0:03:20and the date letter there, which is the R for 1811, 1812.
0:03:20 > 0:03:22- Oh, right.- A really nice early one.
0:03:22 > 0:03:24I didn't realise it was as old as that.
0:03:24 > 0:03:27- 200 years.- Nearly 200-years-old. - Yes.
0:03:27 > 0:03:32- What do you think it's worth? - Actually, I haven't a clue, really, to be quite honest.
0:03:32 > 0:03:37Obviously it's silver, so would it be about £100?
0:03:37 > 0:03:39Shall we swap seats?
0:03:39 > 0:03:42- You're spot on.- Really?- Yes.
0:03:42 > 0:03:45- Am I?- Yes.- I hadn't a clue. Is that right? Oh, well.
0:03:45 > 0:03:50It's a predictably boring auctioneer's estimate of £80-£120.
0:03:50 > 0:03:55- Is it? Uh-huh.- £100 is spot on. - Well, that sounds very good.
0:03:55 > 0:03:57- Yeah? Is that all right? - Yes. Absolutely.
0:03:57 > 0:04:00- Protect it with a reserve. £80 as a reserve?- That sounds fine.
0:04:00 > 0:04:03If it doesn't make that, you can take it home
0:04:03 > 0:04:06- and do flower arrangements again. - I can't, really.
0:04:06 > 0:04:08You need a bit of training for that.
0:04:13 > 0:04:16- Hello, Alexandra. - Oh, call me Sandra.- Sandra?- Yes.
0:04:16 > 0:04:21- OK. Don't you like Alexandra? - No, that's my Sunday name.
0:04:21 > 0:04:23Your Sunday name, OK.
0:04:23 > 0:04:26- As this isn't Sunday, I'll call you Sandra.- Thank you.
0:04:26 > 0:04:29Welcome. I love this. What can you tell me about it?
0:04:29 > 0:04:32Well, it's a family piece.
0:04:32 > 0:04:35It's been in the family for as long as I can remember
0:04:35 > 0:04:38and it always intrigued me because of its odd shape.
0:04:38 > 0:04:40I always thought it was the "gone-wrong" jug
0:04:40 > 0:04:43because of its back - it wasn't round.
0:04:43 > 0:04:46Yes, you're right. One side has been almost shaved off, hasn't it?
0:04:46 > 0:04:50- Do you know where it was made? - I think it's Royal Worcester.
0:04:50 > 0:04:51Absolutely right.
0:04:51 > 0:04:53- I'm sure you've looked underneath. - Yes.
0:04:53 > 0:04:57You can learn so much about Royal Worcester by doing just that.
0:04:57 > 0:05:00The Royal Worcester mark is a printed mark
0:05:00 > 0:05:02and it has a series of dots.
0:05:02 > 0:05:07The first dot appears in 1892
0:05:07 > 0:05:11and the second dot, 1893 and so on.
0:05:11 > 0:05:16As we can see, this has two dots, so that makes it 1893.
0:05:16 > 0:05:19- Right.- Late Victorian, in other words.
0:05:19 > 0:05:23And what's more, by looking at this, we have the shape,
0:05:23 > 0:05:25we can identify the shape as well.
0:05:25 > 0:05:28- That 1094 is the shape number. - Right.
0:05:28 > 0:05:32That shape number was available in various sizes.
0:05:32 > 0:05:36- It was a very popular shape number. I know you don't like it.- No.
0:05:37 > 0:05:39But the Victorians did.
0:05:39 > 0:05:42The decoration is hand painted
0:05:42 > 0:05:46but it's hand painted over a transfer print
0:05:46 > 0:05:49and it meant that the person who was painting the pattern
0:05:49 > 0:05:51didn't have to be quite as talented
0:05:51 > 0:05:55as they might have had to have been had they been working freehand.
0:05:55 > 0:05:58OK, it's now my job to tell you what I think it might make
0:05:58 > 0:06:05- and I would estimate this at between £50 and £80.- Mm-hm.
0:06:05 > 0:06:08To safeguard it, I think we should put a reserve of £50 on it.
0:06:08 > 0:06:10I'm quite happy with that.
0:06:10 > 0:06:14And let's hope there are more people out there who, unlike you,
0:06:14 > 0:06:18- do like this...- Gone-wrong jug. - ..gone-wrong jug more than you do.
0:06:24 > 0:06:27Look what I've found - some bloomers.
0:06:27 > 0:06:29Ladies' undergarments.
0:06:29 > 0:06:33- They're only 20th century, those ones. They're machine made.- Yeah.
0:06:33 > 0:06:37- You actually make lace, don't you? - I do make lace, yes.
0:06:37 > 0:06:41- How did that come about? - It was a family holiday some years ago
0:06:41 > 0:06:43in Loughborough University.
0:06:43 > 0:06:47They did summer schools and I had a choice between violin making or lace making.
0:06:47 > 0:06:51- I chose the lace making.- Is it a hobby or a profession?- A hobby.
0:06:51 > 0:06:53You can't make money at it, it's just...
0:06:53 > 0:06:57I know the ladies in Bruges, over in Belgium,
0:06:57 > 0:07:01that's the centre of excellence for lace making as far as I'm concerned
0:07:01 > 0:07:05- and you can still see those sweet old ladies sitting outside their cottages.- Oh, yes.
0:07:05 > 0:07:07Tourist pieces but nevertheless.
0:07:07 > 0:07:11I mean, my eye gravitates towards that piece
0:07:11 > 0:07:13because that looks handmade.
0:07:13 > 0:07:16- Yes, that's Brussels lace. - That's Brussels, is it?
0:07:16 > 0:07:19- Any damage?- Yes, there is some. - Oh, is there?- Yes.
0:07:19 > 0:07:22But it's been beautifully repaired at some point.
0:07:22 > 0:07:25- Oh, gosh.- It's quite large, this one. - It is.
0:07:25 > 0:07:27- Yes. I don't know if I can... - Look at that.
0:07:27 > 0:07:31It's been beautifully patched, if I can find it.
0:07:31 > 0:07:34- And that's all handmade, isn't it? - Yes.
0:07:34 > 0:07:39The netting is machine made, I'm almost certain.
0:07:39 > 0:07:43These will be handmade. You can see it's been appliqued onto the net.
0:07:43 > 0:07:46- You can see the netting at the back. - How did you come by this?
0:07:48 > 0:07:50I think it was a collectors' fair.
0:07:50 > 0:07:55I found it in a box and the woman said, "I'm awfully sorry,
0:07:55 > 0:07:57"I'll need to charge you £12 for it."
0:07:57 > 0:07:59And I said, "Yes, please."
0:07:59 > 0:08:03- Yes! You couldn't give her the money fast enough.- No, no.
0:08:03 > 0:08:07This is a late Victorian piece. This is very, very nice.
0:08:07 > 0:08:12- Oh, there's one patch, there. You see how it's been mended?- Oh, yes.
0:08:12 > 0:08:15- Isn't that beautiful? - That's quite skilfully done.
0:08:15 > 0:08:19- I think there's a fair bit of value in that one alone.- That's good.
0:08:19 > 0:08:22- So that's good news, isn't it? - More than my £12.
0:08:22 > 0:08:26- What else have we got? - This is a machine-made shawl,
0:08:26 > 0:08:31- which put the hand-made lace-makers out of work, more or less.- Yeah.
0:08:31 > 0:08:33- You can see it's flatter. - It's busier.
0:08:33 > 0:08:35Yeah, there's a lot more in it.
0:08:35 > 0:08:39It's flatter and it doesn't have the life that the home-made one does.
0:08:39 > 0:08:41There's no lift from the extra thread,
0:08:41 > 0:08:44just the continuous going over
0:08:44 > 0:08:47- and fattening up of certain pieces. - Yeah.
0:08:47 > 0:08:51So we've got the bloomers, we've got a lovely bit of handmade work,
0:08:51 > 0:08:53some machine work, there.
0:08:53 > 0:08:55Any idea of the combined value?
0:08:55 > 0:09:00- I've no idea because it's not something I've bought for... - Investment.- ..investment.
0:09:00 > 0:09:04It's just something I've acquired, mostly.
0:09:04 > 0:09:08- Well, I think that's your key factor...- Uh-huh. Yeah.
0:09:08 > 0:09:10..that handmade shawl, really.
0:09:10 > 0:09:14And that will help get the rest away. There's some fun items.
0:09:14 > 0:09:18How about giving them a value of £75 to £100?
0:09:18 > 0:09:22I'm surprised. That's much more than I would have thought, actually.
0:09:22 > 0:09:26Well, I think there'll be textile dealers and collectors there
0:09:26 > 0:09:28and it's a lot they will be interested in.
0:09:28 > 0:09:30Let's put them in with a value of £75-£100,
0:09:30 > 0:09:33- with 10% discretion on the 75. - That sounds fine to me.
0:09:33 > 0:09:36- There's something for everybody here.- Good.
0:09:38 > 0:09:41- Hello, Edward.- Hello. - What do you do for a living?
0:09:41 > 0:09:44I'm retired now but still do a little bit of house clearing.
0:09:44 > 0:09:47And I guess that's where you came by this?
0:09:47 > 0:09:50- Yes. It was lying tucked away in a cupboard.- Right.
0:09:50 > 0:09:52- So it wasn't hanging on the wall? - No.
0:09:52 > 0:09:58Edward, this is a very attractive subject, typically late Victorian.
0:09:58 > 0:10:03It has all those sentimental elements that the Victorians loved so much.
0:10:03 > 0:10:09You know, a pretty, young mother with a pink bloom on her cheeks,
0:10:09 > 0:10:15a little tubby baby, or toddler, I suppose, a spray of flowers, a pink frock.
0:10:15 > 0:10:19I think it's only fair to say it's not a great picture...
0:10:21 > 0:10:27- although it's a charming composition.- Yes. - Technically, there are flaws.
0:10:27 > 0:10:31I think the mother is lovely,
0:10:31 > 0:10:34she looks terrific.
0:10:34 > 0:10:37Her hands, I must say, are not terribly well painted.
0:10:37 > 0:10:42You can learn a lot from looking at the way an artist paints hands.
0:10:42 > 0:10:46- There is a certain amount of damage here.- Yes.
0:10:46 > 0:10:50Bitumen has taken over and rather...
0:10:50 > 0:10:55corroded the varnish and is actually starting to eat into the canvas a bit.
0:10:55 > 0:10:58Is it the sort of picture you like?
0:10:58 > 0:11:00It's quite attractive. It attracts you to it.
0:11:00 > 0:11:04- Yeah.- And the frame, I think it's a lovely frame.
0:11:04 > 0:11:09The frame, I should mention, I think is period, contemporary with the picture itself.
0:11:09 > 0:11:11- Again, a bit of damage down there. - Yes.
0:11:11 > 0:11:15It's not a connoisseur's picture, for the reasons I just explained -
0:11:15 > 0:11:21the quality just isn't quite there, but I think it's a good decorative image.
0:11:21 > 0:11:28- I would suggest an estimate in the region of £100 to £150.- Yeah?
0:11:28 > 0:11:30- Does that sound OK to you? - Yeah, that sounds all right with me.
0:11:30 > 0:11:35I think a covering reserve would be in order at a bit less than £100.
0:11:35 > 0:11:37- Yes.- Shall we say £80?
0:11:37 > 0:11:40- That'll be fine, yeah.- OK, and what will you spend the money on?
0:11:40 > 0:11:44Well, I'll split it with my son-in-law and probably go out for a meal.
0:11:44 > 0:11:47You'll have to give some proceeds to the person who helped you clear the house.
0:11:47 > 0:11:50- Yes, it was my son-in-law. - It was your son-in-law. OK.
0:11:56 > 0:11:59Frank, tell me, that is a really dainty, feminine watch
0:11:59 > 0:12:01for a bloke like you to have here on "Flog It!"
0:12:01 > 0:12:06- How come you've got it? - Well, I was given it from an aunt and uncle from the States
0:12:06 > 0:12:07about 20, 25 years ago.
0:12:07 > 0:12:11And they're no longer with us
0:12:11 > 0:12:15but that's one of the things they gave me when I visited them over there.
0:12:15 > 0:12:17Ah. Well, it's a lovely quality watch
0:12:17 > 0:12:22and the first thing that strikes me is this wonderful enamelling.
0:12:22 > 0:12:25On the wires we've got swallow-tailed birds.
0:12:25 > 0:12:27They're meant to be swallows
0:12:27 > 0:12:30but they're artist's impressions of swallows, I think,
0:12:30 > 0:12:33resting on their telegraph wires.
0:12:33 > 0:12:38And right in the centre of the swallows
0:12:38 > 0:12:42we've got two old, brilliant-cut stones.
0:12:42 > 0:12:45They're certainly diamonds, beautifully mounted.
0:12:45 > 0:12:48If we open it up... Lovely.
0:12:48 > 0:12:51- You said you brought it back from America. It's an American watch.- Yeah.
0:12:51 > 0:12:56It's by the Elgin watch company, based in Illinois.
0:12:56 > 0:13:01- Elgin were the probably the leading exporters of pocket watches from America...- OK.
0:13:01 > 0:13:05..into Europe in the early part of the 20th century.
0:13:05 > 0:13:09This is a lovely quality one. 14-carat gold, made in America.
0:13:09 > 0:13:12The case is American, as well as the movement.
0:13:12 > 0:13:16One of the good things about Elgin, there were established in 1864
0:13:16 > 0:13:20and one of the things that they did, they numbered every single watch
0:13:20 > 0:13:26and if we look in the back here, we've got the serial number 5714662.
0:13:26 > 0:13:31That will tell us the exact date that this watch was made
0:13:31 > 0:13:35and it's somewhere between 1890 and 1895,
0:13:35 > 0:13:36somewhere around there.
0:13:36 > 0:13:38So it's a very pretty little thing.
0:13:38 > 0:13:41Now, value. Any ideas?
0:13:41 > 0:13:43I've not got a clue.
0:13:43 > 0:13:47- I think the right auction estimate would be £300-£400.- Yeah?
0:13:47 > 0:13:50I think and I hope it will make the top end.
0:13:50 > 0:13:55We need to think about a reserve to protect it. Is 300 OK?
0:13:55 > 0:13:58- Yeah, that's fine.- Yeah? 300 reserve, 300-400 estimate -
0:13:58 > 0:14:01- let's see what it does. - That's great. Thank you.
0:14:05 > 0:14:07We've been working flat out this morning,
0:14:07 > 0:14:09we've found our first few items
0:14:09 > 0:14:11and everybody has enjoyed themselves.
0:14:11 > 0:14:15It's time to go to the auction room, so while we make our way there,
0:14:15 > 0:14:18we'll leave you with a casting list of our star performers.
0:14:19 > 0:14:22This 19th century silver snuff box caught James' eye
0:14:22 > 0:14:25and it looks like he met his match with its owner, Kate.
0:14:25 > 0:14:29- What do you think it's worth? - Would it be about £100?
0:14:29 > 0:14:32Shall we swap seats? It's spot on.
0:14:32 > 0:14:34- Really?- Yeah.
0:14:35 > 0:14:38Let's hope it all goes right with Sandra's gone-wrong jug,
0:14:38 > 0:14:40the oddly shaped piece of Royal Worcester,
0:14:40 > 0:14:42valued at £50-£80.
0:14:43 > 0:14:46I've been checking out Hazel's drawers.
0:14:46 > 0:14:49Look what I've found. Some bloomers.
0:14:49 > 0:14:51Or ladies' undergarments.
0:14:51 > 0:14:54Her drawers full of vintage lace and other textiles, that is,
0:14:54 > 0:14:58and I think she could stitch up £75-£100.
0:14:58 > 0:15:01This charming piece was nearly lost in a house clearance,
0:15:01 > 0:15:07but Eric spotted it and David feels it may bring in a bit of spending money for the dining out fund.
0:15:07 > 0:15:11And James loves Frank's early 20th century hunter watch.
0:15:11 > 0:15:14Let's hope they love it enough at the auction
0:15:14 > 0:15:18to pay his £300-£400 estimate.
0:15:18 > 0:15:20They all could get a flying start
0:15:20 > 0:15:22at Great Western Auctions in Glasgow
0:15:22 > 0:15:26because today we have Anita Manning wielding the gavel.
0:15:26 > 0:15:28200.
0:15:28 > 0:15:30There is around 800 lots in today's sale,
0:15:30 > 0:15:32so we'd better get started.
0:15:40 > 0:15:43Time's up for the gold half hunter pocket watch belonging to Frank,
0:15:43 > 0:15:46who's brought his son Greg along. How old are you, Greg?
0:15:46 > 0:15:49- Are you going to speak? - We've been practising this.
0:15:49 > 0:15:52- Two!- Three.
0:15:52 > 0:15:56- Three!- That did the trick, James. He's three.
0:15:56 > 0:15:58We're looking at £300-£400 for the half hunter.
0:15:58 > 0:16:04- It is quality.- Lovely quality. Great enamel work. A lovely watch.
0:16:04 > 0:16:07It's something that if you pick up, you don't want to put down.
0:16:07 > 0:16:11Hopefully, it's been viewed here, people have been picking it up,
0:16:11 > 0:16:14going, "Ooh, ooh. I might have a go on this. It feels good."
0:16:14 > 0:16:16If it feels good, we've sold it.
0:16:16 > 0:16:18Lot 80, ladies and gentlemen.
0:16:18 > 0:16:21That's the bonniest little fob watch that I've seen in a long time.
0:16:21 > 0:16:24Will you start me at two? 200 bid.
0:16:24 > 0:16:27200, 200. 210?
0:16:27 > 0:16:30With Lala on the phone at £210.
0:16:30 > 0:16:32220, 230.
0:16:32 > 0:16:34240, 250.
0:16:34 > 0:16:36260, 270.
0:16:36 > 0:16:40280, 290, 300.
0:16:41 > 0:16:45300. All done at 300? 300...
0:16:45 > 0:16:48- Hooray. Well done. - Just. £300, Frank.
0:16:48 > 0:16:51- That was your first auction and you sold something.- Yes.
0:16:51 > 0:16:54And you've got a daughter as well. What's her name?
0:16:54 > 0:16:57- Natalie.- Natalie. That's a gorgeous name.
0:16:57 > 0:17:00So are both the kiddies going to have something out of this?
0:17:00 > 0:17:04- Oh, probably, yeah.- And Mum and Dad. - Yes, of course.
0:17:04 > 0:17:08Oh, well, it was a family treasure. Thank you for coming in.
0:17:08 > 0:17:0990, 100.
0:17:09 > 0:17:11110.
0:17:11 > 0:17:13It's the Royal Worcester jug, it belongs to Sandra
0:17:13 > 0:17:17and we've got £50-£80 on this, which is not a great deal of money.
0:17:17 > 0:17:20It's a top name. It's been in the family a long time.
0:17:20 > 0:17:22It was my cousin's and my aunt's before that.
0:17:22 > 0:17:25You've passed it around and had pleasure with it.
0:17:25 > 0:17:28- Why is it time to go now, then? - It doesn't do anything.
0:17:28 > 0:17:30- You don't like it. - I don't dislike it.
0:17:30 > 0:17:35- Whether you like Royal Worcester or not, it is as good as ceramic art gets.- Yes.
0:17:35 > 0:17:37It's beautifully potted, fine quality.
0:17:37 > 0:17:40- Somebody out there will love this. - Hopefully.
0:17:40 > 0:17:43There's always a buyer for something and they will be paying £80.
0:17:43 > 0:17:46It's going now under the hammer now. Good luck.
0:17:46 > 0:17:51Lot 553 is the Royal Worcester, ivory ground, flat-back jug.
0:17:51 > 0:17:54Can we say £100? 100? 80?
0:17:54 > 0:17:5560?
0:17:55 > 0:17:5630?
0:17:56 > 0:18:00£30. 30 bid. 40, 50, 60.
0:18:00 > 0:18:02- £60.- Come on.
0:18:02 > 0:18:0470, fresh bidder.
0:18:04 > 0:18:06- 80. Fresh bidder again.- Yes.
0:18:06 > 0:18:10At £80. With you, sir, at £80.
0:18:10 > 0:18:12Are we all done at £80? At £80...
0:18:12 > 0:18:15Yes! What did I say? 80! Bang on.
0:18:15 > 0:18:18You're a better valuer than me. I said 50 to 80.
0:18:18 > 0:18:21- It was a guess. I just opened my mouth.- You're an optimist.
0:18:21 > 0:18:25- That was a good result.- That wasn't bad.- There is commission to pay.
0:18:25 > 0:18:29- What are you going to put the rest of the money towards?- A willow tree. - A willow tree.
0:18:29 > 0:18:31Ah!
0:18:31 > 0:18:33200, 210, 220.
0:18:35 > 0:18:37220. Any advance on 220?
0:18:37 > 0:18:39230.
0:18:39 > 0:18:43This next lot should be a pinch, shouldn't it, at £80-£120?
0:18:43 > 0:18:45- Kate's solid silver snuff box.- Yes.
0:18:45 > 0:18:47Why are you selling this?
0:18:47 > 0:18:52Well, this snuff box has been sitting in my cabinet in the lounge for many years
0:18:52 > 0:18:56and it's gathering dust, basically, so I think it's time to sell it.
0:18:56 > 0:19:00Well, I know we need top money because at the valuation day, you both discussed
0:19:00 > 0:19:03- that the proceeds were going towards a painting.- That's right.
0:19:03 > 0:19:07So what's this painting? Is it something you're buying in auction?
0:19:07 > 0:19:11No, it's a local artist from Girvan, James Harrigan.
0:19:11 > 0:19:13He does lovely paintings of the West Coast,
0:19:13 > 0:19:17of Arran and Ailsa Craig, so I'm hoping to put it towards that.
0:19:17 > 0:19:22147 is this. Now, it's George III, it's a silver snuff box
0:19:22 > 0:19:26with engine-turned decoration and it's London, 1812.
0:19:26 > 0:19:29Georgian snuff box in mint condition.
0:19:29 > 0:19:33Start me at £100. 100?
0:19:33 > 0:19:3550, then? 50 bid.
0:19:35 > 0:19:3850, 60, 70.
0:19:38 > 0:19:4080, 90.
0:19:40 > 0:19:41- 100.- We're getting there.
0:19:41 > 0:19:43110, 120.
0:19:43 > 0:19:47120 on the floor for the Georgian snuff box.
0:19:47 > 0:19:50Any advance on £120?
0:19:50 > 0:19:52All done at 120? 120.
0:19:53 > 0:19:56- Well, that's great news. There's commission to pay...- Right.
0:19:56 > 0:20:00- ..but it's something towards that painting.- I'm delighted.
0:20:00 > 0:20:03- It's my first auction, so I'm thrilled.- Is it?- Yes, yes.
0:20:03 > 0:20:06- Good for you. Keep coming back. - I certainly will.
0:20:06 > 0:20:09I need to sell some more things to get this painting.
0:20:12 > 0:20:14£90.
0:20:14 > 0:20:161152.
0:20:16 > 0:20:20It's amazing what you can find in a house clearance. This is one of those lots.
0:20:20 > 0:20:23- It belongs to Edward here who did that house clearance.- Yes.
0:20:23 > 0:20:26And this was on the wall, was it, or just lying around?
0:20:26 > 0:20:28- Lying in the loft.- Good for you for picking it up.
0:20:28 > 0:20:33- The builders would have come in and skipped the whole thing.- That's what they do.- Good picture.
0:20:33 > 0:20:35- Yes.- Good luck. This is it.
0:20:35 > 0:20:41Lot 369. Now, this is a 19th-century oil, ladies and gentlemen.
0:20:41 > 0:20:44Can we say £300?
0:20:44 > 0:20:47£300 for the Victorian oil?
0:20:47 > 0:20:48- Bit optimistic, I feel.- 200?
0:20:48 > 0:20:53Will you start me at £100? 100 bid.
0:20:53 > 0:20:57With you, sir, at £100, the Victorian oil, mother and child.
0:20:57 > 0:21:01Any advance on £100?
0:21:01 > 0:21:04Seems cheap at 100.
0:21:04 > 0:21:09Any advance on 100? All done at 100?
0:21:09 > 0:21:11100...
0:21:11 > 0:21:14- Yes, sold it. £100, bottom estimate. - Bottom estimate.
0:21:14 > 0:21:18- That's OK for a house clearance find.- Yes. Better than going in the skip.
0:21:21 > 0:21:24Hopefully Anita can weave some magic on this next lot
0:21:24 > 0:21:27because it's Hazel's textiles, some wonderful items of lace.
0:21:27 > 0:21:30The valuation is £75-£100.
0:21:30 > 0:21:35I don't know how heavily this has been viewed and if it's anybody's cup of tea here
0:21:35 > 0:21:39and Anita hasn't said anything to me, so it's a stab in the dark.
0:21:39 > 0:21:42- But it's a packed auction room, so fingers crossed.- Yeah.
0:21:42 > 0:21:44266, ladies and gentlemen,
0:21:44 > 0:21:50a lot comprising various lace shawls, bonnets, etc.
0:21:50 > 0:21:56It's a super collection of hand-embroidered Victorian clothes.
0:21:56 > 0:21:58Can we say £200?
0:21:58 > 0:22:00£100, surely, ladies and gentlemen?
0:22:00 > 0:22:02£100? 50, then?
0:22:02 > 0:22:0650? 50 bid. Any advance on 50? 60.
0:22:06 > 0:22:0870, 80?
0:22:08 > 0:22:1090. £90.
0:22:10 > 0:22:12Any advance on £90?
0:22:12 > 0:22:14All done at £90. £90...
0:22:15 > 0:22:18It's sold. I got very nervous to start with
0:22:18 > 0:22:22because it's the only textiles here. How will you spend the money?
0:22:22 > 0:22:26I'm going to buy some commemorative bobbins with "I flogged it" on them.
0:22:26 > 0:22:28- Thank you, Hazel. Bye-bye.- Bye.
0:22:28 > 0:22:32Well, that's the end of our first visit to today's auction.
0:22:32 > 0:22:35Later on, there are plenty more antiques to go under the hammer,
0:22:35 > 0:22:37so there are more surprises to come.
0:22:37 > 0:22:39That last lot gave me a great idea.
0:22:39 > 0:22:43I'm going to nip off to Kilmarnock and visit Newmilns.
0:22:43 > 0:22:48Strangely enough, it's the oldest surviving lace-making factory in the world.
0:22:53 > 0:22:58These machines have been making lace for over 100 years.
0:22:58 > 0:23:01They helped established the Irvine valley in Ayrshire
0:23:01 > 0:23:04as the world centre of Nottingham lace.
0:23:04 > 0:23:08And little has changed from the days when thousands of local people
0:23:08 > 0:23:12worked in 39 such factories up and down the valley.
0:23:12 > 0:23:15This company, Morton Young and Borland, was founded
0:23:15 > 0:23:19by three Scots gentlemen in the early 1900s
0:23:19 > 0:23:23and it's the only one of those lace factories still in production.
0:23:23 > 0:23:26These machines run from six o'clock in the morning
0:23:26 > 0:23:29until 10 o'clock at night, turning out lace.
0:23:29 > 0:23:31That's a long shift.
0:23:31 > 0:23:33It's industry working at full tilt.
0:23:33 > 0:23:36It almost takes me back to the industrial revolution,
0:23:36 > 0:23:39when the whole nation is driving forwards.
0:23:39 > 0:23:43And what a racket! Let's get them turned off and have a chat to the boss.
0:23:52 > 0:23:55- Scott.- How are you doing, Paul? - Thank you for talking to me.
0:23:55 > 0:24:00- So your grandmother was in the industry all her life? - She worked as a Madras weaver
0:24:00 > 0:24:04and at that time, they could flit between different factories
0:24:04 > 0:24:08because there were many factories in that line of business.
0:24:08 > 0:24:12Why did Nottingham lace move to Kilmarnock? What was the reason?
0:24:12 > 0:24:15There's always been a tradition of hand-loom weaving in the valley,
0:24:15 > 0:24:18right from the 1700s,
0:24:18 > 0:24:23and then the Nottingham lace-makers had a good industry in Nottingham
0:24:23 > 0:24:25in the 1850s, 1860s.
0:24:25 > 0:24:32So when the power looms started, Alexander Morton brought the first loom to Darvel in 1876
0:24:32 > 0:24:35and since then, the business snowballed.
0:24:35 > 0:24:38So what was the demise over the years, then?
0:24:38 > 0:24:39Why is there only one left?
0:24:39 > 0:24:42The demise has been the introduction of polyester
0:24:42 > 0:24:46and high-speed looms from Germany in the '50s and '60s.
0:24:46 > 0:24:50People's attitude to furnishings changed.
0:24:50 > 0:24:53They wanted a lot more easy-care fabrics for windows.
0:24:53 > 0:24:58With lace, it's very hard to maintain and wash
0:24:58 > 0:24:59and stretch back into shape,
0:24:59 > 0:25:03whereas the polyester, you wash it and hang straight back up.
0:25:03 > 0:25:07- And the future of the company? - The future is looking quite good.
0:25:07 > 0:25:09It's difficult times with the recession
0:25:09 > 0:25:13but hopefully we'll be here in another 100 years' time.
0:25:13 > 0:25:14It's a proud tradition.
0:25:14 > 0:25:17These are thought to be members of the three founding families,
0:25:17 > 0:25:22posing in the early 1900s with outfits made from the company's lace.
0:25:22 > 0:25:26Today, Morton Young and Borland still export lace around the world
0:25:26 > 0:25:32and keep an archive of every one of the 20,000 designs they've produced
0:25:32 > 0:25:34in their 100-year history.
0:25:34 > 0:25:38They employ 65 people and there's plenty of work.
0:25:39 > 0:25:43The larger machines each have 15,000 bobbins feeding them
0:25:43 > 0:25:46and it's a busy job, changing each one by hand.
0:25:48 > 0:25:50And with these machines turning out
0:25:50 > 0:25:52a slow but steady 3.5 metres of lace an hour,
0:25:52 > 0:25:55Ian is kept busy looking for faults.
0:25:55 > 0:25:59After 30 years in the job, no-one knows the machines better.
0:26:00 > 0:26:03If you didn't notice a break
0:26:03 > 0:26:06and for some reason it was going on for about five minutes,
0:26:06 > 0:26:10would all the weave underneath it, that whole length, be wasted?
0:26:10 > 0:26:15It would all open up and it would get steadily worse and worse
0:26:15 > 0:26:18and then eventually it would...
0:26:18 > 0:26:21We wouldn't waste the piece because my wife is a darner.
0:26:21 > 0:26:24- Oh, right. - She would be able to darn it
0:26:24 > 0:26:27but she would not be happy about it.
0:26:29 > 0:26:33- And she's over there? - She's over there, darning, yes.
0:26:33 > 0:26:37- I'll go and have a chat to her, see what goes on there.- Thank you.
0:26:46 > 0:26:49Gosh, what a contrast. It's so quiet in here.
0:26:49 > 0:26:51You could hear a pin drop.
0:26:51 > 0:26:54- OK, who's Janie? Which one of you is Ian's wife?- I am.
0:26:54 > 0:26:55- Pleased to meet you.- Hi.
0:26:55 > 0:26:58I've just been chatting to your husband
0:26:58 > 0:27:01- and he said you rectify a lot of his faults.- Yes, I do.
0:27:01 > 0:27:04- Show me what you're doing.- Right. - How do you go about it?
0:27:04 > 0:27:09Well, here a thread has broken, so it's left a hole there,
0:27:09 > 0:27:12so I'm just pulling all that back in again.
0:27:12 > 0:27:15- And you do all this by hand? - Mm-hm. Yes.
0:27:15 > 0:27:17- I bet you don't do any sewing at home?- No.
0:27:19 > 0:27:21- Not at all.- Look at that. That's brilliant.
0:27:21 > 0:27:24So the red stickers you place down once you've found a fault.
0:27:24 > 0:27:27That will identify a fault, yes.
0:27:27 > 0:27:33It comes off the loom and then we inspect it and find a fault.
0:27:33 > 0:27:37There's a little V missing out of that - just one tiny V.
0:27:37 > 0:27:41- I can see that.- We'll just come along and put that back in.
0:27:42 > 0:27:44- Great work, isn't it?- Oh, yes.
0:27:44 > 0:27:49- I like the way you use your thumb like that.- To pull the thread back.
0:27:49 > 0:27:53- Because otherwise it gets in little knots, doesn't it? - It does sometimes.
0:27:53 > 0:27:55It does when I darn my socks.
0:27:56 > 0:28:00In many respects, little has changed here in 100 years.
0:28:00 > 0:28:03Janie and her colleagues are doing exactly the same work
0:28:03 > 0:28:07their predecessors had done since the early 1900s.
0:28:10 > 0:28:12But some things are changing.
0:28:12 > 0:28:16While most of the lace here is produced from designs
0:28:16 > 0:28:18dictated by patterns punched into thousands of cards,
0:28:18 > 0:28:21the company recently linked up one loom to a computer,
0:28:21 > 0:28:25at a cost of £250,000.
0:28:25 > 0:28:29Who'd have thought? An antique with a 21st century brain.
0:28:30 > 0:28:33And it's not just the machines that are unique, here.
0:28:33 > 0:28:35I'm going to meet Margo Graham,
0:28:35 > 0:28:38who is the world's only Nottingham lace designer.
0:28:40 > 0:28:42- Margo.- Hello, Paul. - Pleased to meet you.
0:28:42 > 0:28:44That's some title, isn't it?
0:28:44 > 0:28:48- The world's only Nottingham lace designer.- Yes, uh-huh.
0:28:48 > 0:28:52But my mother had it before me. She was a lace designer before me.
0:28:52 > 0:28:55You inherited it from the right person, didn't you?
0:28:55 > 0:28:58- Is this work in progress? - Yes, well, it is
0:28:58 > 0:29:03but it was Nottingham lace designed from the '40s and '50s, years ago.
0:29:03 > 0:29:07- So that's on an old punch card?- This is where we punch the cards from.
0:29:07 > 0:29:11Now it has to be put onto the modern computer before it goes onto disk
0:29:11 > 0:29:12and woven on the loom.
0:29:12 > 0:29:15I see, right. I've got what you're doing.
0:29:15 > 0:29:17You're updating and moving it on.
0:29:17 > 0:29:20This is the design that we scanned in to do the wallpapers,
0:29:20 > 0:29:23to develop the wallpapers from.
0:29:23 > 0:29:26I just noticed that. That's a sample of it over there.
0:29:26 > 0:29:27That's really clever, isn't it?
0:29:27 > 0:29:30And I'm working on some lace knickers, as well.
0:29:30 > 0:29:33- Oh, are you? Is that top secret? - Yes.
0:29:33 > 0:29:37Very exquisite lace knickers at £500 a pair.
0:29:37 > 0:29:39- Oh, really?- Yes.
0:29:39 > 0:29:42- Gosh!- So I've never done that before. That's something new.
0:29:42 > 0:29:46- Thank you for talking to me.- You're welcome.- It's been a pleasure.
0:29:46 > 0:29:47Thank you.
0:29:50 > 0:29:53As the looms continue producing lace 16 hours a day,
0:29:53 > 0:29:57I'm sure the original workers of this factory would be pleased
0:29:57 > 0:30:00to see that the machines they tended 100 years ago
0:30:00 > 0:30:03still have a lot of 21st-century relevance.
0:30:11 > 0:30:14Back at the Palace Theatre, people are still flooding in
0:30:14 > 0:30:16with their collectables and antiques.
0:30:16 > 0:30:17Next in line is Janet.
0:30:17 > 0:30:19- Hello, Janet.- Hi.
0:30:19 > 0:30:22She's brought in a trio of delights for David to have a look at.
0:30:22 > 0:30:25What have you brought here for us today?
0:30:25 > 0:30:30Well, that's two Edwardian brooches and a necklace.
0:30:30 > 0:30:34- Do you not wear these?- No, I haven't worn them for a long time.
0:30:34 > 0:30:38Right. It's a shame that people don't wear jewellery like this.
0:30:38 > 0:30:43I think you wouldn't even have gone out to the shops without putting your jewellery on in 1900.
0:30:43 > 0:30:47Of course, today we don't think about doing that.
0:30:47 > 0:30:49We go out to dinner and we leave our jewellery behind.
0:30:49 > 0:30:52Erm... Three charming pieces.
0:30:52 > 0:30:57Stylistically, each one is quite different.
0:30:57 > 0:31:00I think the piece I prefer is this brooch here,
0:31:00 > 0:31:04which is in the, or at least refers to, the Art Nouveau style,
0:31:04 > 0:31:09you know, that style which is characterised by whiplash forms
0:31:09 > 0:31:11and extended tendril forms.
0:31:11 > 0:31:14So this is, broadly speaking, in the Art Nouveau style.
0:31:14 > 0:31:18The star brooch is set with pearls,
0:31:18 > 0:31:21which ascend from the tips of the star up to the centre.
0:31:21 > 0:31:27And this is hallmarked, nine-carat gold.
0:31:27 > 0:31:31And I think most interesting of all is the chain,
0:31:31 > 0:31:36which is fastened by a nine-carat gold clip
0:31:36 > 0:31:39- but which tests as 18-carat gold. - Yes.
0:31:39 > 0:31:43It's hollow gold, so it's actually quite light, as you know.
0:31:43 > 0:31:46And it seems that this started out life as a belcher.
0:31:46 > 0:31:49- Do you know what a belcher is?- No.
0:31:49 > 0:31:53A belcher is a long, decorative chain
0:31:53 > 0:31:56that would have been worn perhaps looped twice round a lady's neck,
0:31:56 > 0:31:59you know, just to give some impact.
0:31:59 > 0:32:03It would have been a most impressive piece of jewellery to be wearing.
0:32:03 > 0:32:05This is a belcher that's been cut down.
0:32:05 > 0:32:09It's been converted to a small necklace.
0:32:09 > 0:32:14Now, as far as values are concerned, the Art Nouveau piece
0:32:14 > 0:32:17with the moonstone and ivory terminals
0:32:17 > 0:32:21- I think is worth between £30 and £50.- Mm-hm.
0:32:21 > 0:32:24The star brooch another £30-£50
0:32:24 > 0:32:29and I would place an estimate of £70-£100
0:32:29 > 0:32:33on the necklace stroke reduced belcher.
0:32:33 > 0:32:36And I think they should be offered as one lot
0:32:36 > 0:32:43- at an estimate of £130 to £200..- OK. - ..with a reserve of £130.
0:32:43 > 0:32:47And with luck and a following wind, they might make a bit more.
0:32:47 > 0:32:50- How does that seem to you? - Yeah, that sounds OK, yeah.
0:32:50 > 0:32:54- Jolly good. We'll go for that, then. OK?- Thank you.- Thank you.
0:33:05 > 0:33:09Elizabeth, I have to say, this brings back so many memories,
0:33:09 > 0:33:13you know, going back 23, 24 years to when I was a student.
0:33:13 > 0:33:16I was training to be a vet at that time
0:33:16 > 0:33:21but I went to a house sale in a place called Bingham where I was having my vet work experience
0:33:21 > 0:33:23and on the mantelpiece of this house sale
0:33:23 > 0:33:27were a pair of vases just like this - Morris Ware -
0:33:27 > 0:33:29and I fell in love with them.
0:33:29 > 0:33:32So is this something that you've loved over the years?
0:33:32 > 0:33:35- Yes, it was my mother's.- Was it?
0:33:35 > 0:33:38And she gave it to us because we liked it
0:33:38 > 0:33:41- but I've got so many ornaments. - Have you really?- Yes.
0:33:41 > 0:33:42Too many.
0:33:42 > 0:33:46Isn't that a great shape? It's sort of a gourd shape, isn't it?
0:33:46 > 0:33:47I love it.
0:33:47 > 0:33:50I guess if you turn it over you've got the mark there.
0:33:50 > 0:33:53Morris Ware, S Hancock and Sons, Stoke-on-Trent
0:33:53 > 0:33:58- and Hancock and Sons became S Hancock and Sons in 1881.- Mm-hm.
0:33:58 > 0:34:02But this type of ware, Morris Ware,
0:34:02 > 0:34:05was designed by a chap called George Cartlidge
0:34:05 > 0:34:08and he was working there from about 1910
0:34:08 > 0:34:11up until the mid 1920s.
0:34:11 > 0:34:13Is it something that you use? Do you keep flowers in it?
0:34:13 > 0:34:18- You can't because, well, there's a slight crack.- A slight crack?
0:34:18 > 0:34:24- Oh, yes.- I don't put water in it. For dried flowers it's all right.
0:34:24 > 0:34:25Dried flowers!
0:34:25 > 0:34:28- You're trying to sell it now, aren't you?- I am.
0:34:28 > 0:34:31- You've ruined it.- You can put beautiful dried flowers in there.
0:34:31 > 0:34:34We've got a crack that comes all the way down the side there.
0:34:34 > 0:34:37- It's always had that, as far as I know.- Yeah.
0:34:37 > 0:34:41Oh. In perfect condition, it would be very, very saleable.
0:34:41 > 0:34:46- Do you have any ideas on value? - Not really, because of the crack.
0:34:46 > 0:34:49I thought, well, obviously it might affect it.
0:34:49 > 0:34:52It will affect it. It will significantly affect it.
0:34:52 > 0:34:55- I think in perfect condition, it's £300-£500.- Mm-hm.
0:34:55 > 0:34:59- With the crack, around 100.- Yeah.
0:34:59 > 0:35:01- 100 to 120, something like that. - Yeah.
0:35:01 > 0:35:05- Shall we put a reserve of 80? - I wouldn't like it to go for less than that.
0:35:05 > 0:35:08- Is that all right? - Yes, no less than that.- Fantastic.
0:35:12 > 0:35:17David, it's very easy to talk about being privileged to see things
0:35:17 > 0:35:22but it is the best collection of Mauchline Ware I've ever seen.
0:35:22 > 0:35:26Did your family have a connection with the Mauchline factory?
0:35:26 > 0:35:31Yes, my father worked there for the first part of his working life.
0:35:31 > 0:35:33And the collection was formed by him?
0:35:33 > 0:35:39- No, it was inherited from his uncle. - OK.- It came to him when he died.
0:35:39 > 0:35:43So in fact, Father inherited it and then I inherited it from my father.
0:35:43 > 0:35:48Just quickly to explain, and we could spend a long time doing this,
0:35:48 > 0:35:53but broadly speaking we have tartan ware, which I think speaks for itself,
0:35:53 > 0:35:58and boxes decorated in some other manner,
0:35:58 > 0:36:00- some with transfer prints.- Yes.
0:36:00 > 0:36:03The Mauchline factory was established
0:36:03 > 0:36:05in the early 19th century
0:36:05 > 0:36:10and in the early days, they hand painted the tartan decoration
0:36:10 > 0:36:12onto the boxes.
0:36:12 > 0:36:17At a later date, a method was invented whereby the tartan pattern
0:36:17 > 0:36:19was transfer printed onto a piece of paper
0:36:19 > 0:36:22and the paper itself was glued to the wood,
0:36:22 > 0:36:26which in every instance, I think, is sycamore.
0:36:26 > 0:36:32In 1933, I think I'm right in saying, production ceased.
0:36:33 > 0:36:37- Well, it didn't cease completely. - No?
0:36:37 > 0:36:42- But it dropped because of the fire there.- There was a fire?
0:36:42 > 0:36:43- There was a fire.- Was there?
0:36:43 > 0:36:46I know that my father got in
0:36:46 > 0:36:49- and got his tools out before... - Did he?- Yeah.
0:36:49 > 0:36:54- Before the fire got too much of a hold.- Right.
0:36:54 > 0:36:58But I was only three at the time, so I can't tell you too much about that.
0:36:58 > 0:37:01So it's partly folklore, as far as you're concerned
0:37:01 > 0:37:06but as I say, the history of the firm runs in your blood,
0:37:06 > 0:37:07by the sounds of it.
0:37:07 > 0:37:09What we've done, David,
0:37:09 > 0:37:11is just think in terms of how we would lot this up.
0:37:13 > 0:37:16I'll quickly go through that with you.
0:37:16 > 0:37:22So I would suggest that these three tulip vases went in one lot.
0:37:22 > 0:37:24This group here formed another lot.
0:37:24 > 0:37:27Another group of smaller items over here.
0:37:27 > 0:37:29Four boxes.
0:37:29 > 0:37:31Two tartan ware boxes here.
0:37:32 > 0:37:34A group of five boxes here
0:37:34 > 0:37:39and we'd finish with this pair of spill vases here,
0:37:39 > 0:37:45keeping back to offer on its own this early box here.
0:37:45 > 0:37:48Having discussed how we would catalogue them,
0:37:48 > 0:37:53I think the maximum estimate would be £1,500,
0:37:53 > 0:37:57the bottom estimate and reserve I think should be £1,000.
0:37:57 > 0:38:00- Are you happy for us to go ahead? - Yes, certainly.- You're a star
0:38:00 > 0:38:03and I'm sure it will do very well.
0:38:07 > 0:38:10Alison and Eileen, tell me who is the owner of this lovely little bag?
0:38:10 > 0:38:15Well, we both own it. We're sisters and this was our grandmother's.
0:38:15 > 0:38:20Was it? Oh, so is it the sort of thing you had in your dressing up box as little girls?
0:38:20 > 0:38:23- Probably was. We're not sure it was. - Played ball gowns and things.
0:38:23 > 0:38:25Yes. I think that would be about it.
0:38:25 > 0:38:28We were allowed to look at it but not touch.
0:38:28 > 0:38:31Oh, really? So it's got lots of childhood memories.
0:38:31 > 0:38:32- Yes, it has.- Yes, it has.
0:38:32 > 0:38:38It's a lovely little bag. I mean, it is so classic of the Art Nouveau period.
0:38:38 > 0:38:44You know, it has these wonderful sinuous lines and stylised flower heads and foliage.
0:38:44 > 0:38:47Art Nouveau basically was a movement totally inspired by nature.
0:38:47 > 0:38:51Although it isn't a true cartouche, that was left plain
0:38:51 > 0:38:57so that you could engrave your owner's initials onto it, and if we open it up,
0:38:57 > 0:39:01there we have little divisions, one for probably a little ivory notelet
0:39:01 > 0:39:05for when you were at your ball, you'd have a little ivory notelet and a pencil
0:39:05 > 0:39:08so you could make sure you knew who your next dance was with,
0:39:08 > 0:39:14a little aide-memoire, and then little sections in the centre for sovereigns and maybe for stamps,
0:39:14 > 0:39:20and a little thing at the end for a bit of paper money if you were feeling flush at the time.
0:39:20 > 0:39:24And the idea of the ring at the top would be that that would be put through the lady's finger
0:39:24 > 0:39:28and when she was dancing she'd be able dance with the purse held high.
0:39:28 > 0:39:30No pockets, of course, in the dresses,
0:39:30 > 0:39:34and she wouldn't have to worry about where she'd left her purse while she was dancing.
0:39:34 > 0:39:39The three very clear marks, the lion passant, which means it's English sterling silver,
0:39:39 > 0:39:43and then we've got the Chester hallmark, there, with the three wheatsheafs
0:39:43 > 0:39:48and the K for about 1910. 1910, 1911.
0:39:48 > 0:39:53Forget Louis Vuitton, a top London store, and paying a couple of hundred pounds for one of those,
0:39:53 > 0:39:54why not buy that?
0:39:54 > 0:39:58- Yes.- And you know none of the other ladies at the ball are going to have one of these.
0:39:58 > 0:40:03- And the little things inside?- Let's have a look. Isn't that lovely?
0:40:03 > 0:40:06A little souvenir from the exhibition of 1901.
0:40:06 > 0:40:09This, of course, was the great time of exhibitions.
0:40:09 > 0:40:11The first one, the first grand one, London 1851,
0:40:11 > 0:40:15and they were every sort of five or ten years all through that period.
0:40:15 > 0:40:19It's gilt brass with a blue enamel front.
0:40:19 > 0:40:21- It's not going to be worth an awful lot.- No.- No.
0:40:21 > 0:40:25- But I think it's quite fun to keep it in the purse, don't you?- Yes.
0:40:25 > 0:40:28- It is.- I bet that's been in there for almost a hundred years.
0:40:28 > 0:40:30- Probably has.- Why sell it?
0:40:30 > 0:40:35- Well, it's been just hidden away. We keep it in a cabinet...- Yeah.
0:40:35 > 0:40:42..so it would be nice for somebody to appreciate, maybe a collector or somebody who could enjoy it.
0:40:42 > 0:40:44OK. I think...
0:40:44 > 0:40:50if we put an estimate of £60 to £100 on it, that's a fair and realistic estimate.
0:40:50 > 0:40:53- I hope it will go towards the upper end of that.- Right.
0:40:53 > 0:40:57So I think we should put a reserve on it of 60, protect it at that,
0:40:57 > 0:41:00we'll take it to the auction, do our best and see what happens, eh?
0:41:00 > 0:41:03- OK.- Well, see you there.- Thank you very much.- Yes. Look forward to it.
0:41:03 > 0:41:06That's the business done here at the Palace Theatre in Kilmarnock.
0:41:06 > 0:41:10We'll be back at auction later but, for now, I'm heading down to London.
0:41:22 > 0:41:26I'm on the trail of a man who took the very same journey that I've just done,
0:41:26 > 0:41:31from Scotland down here to London, but he was only 16-years-old and he had the good fortune
0:41:31 > 0:41:33of being in the right place at the right time.
0:41:33 > 0:41:35And his name was Alexander Fleming.
0:41:37 > 0:41:44Many things that we rely on from day to day were the result of a complete but harmonious accident.
0:41:44 > 0:41:48Velcro, nylon, Teflon. Safety glass, even,
0:41:48 > 0:41:54but can you begin to imagine a world without sugar substitutes?
0:41:54 > 0:41:59What about something that could change the fate of mankind?
0:41:59 > 0:42:00How about medicine?
0:42:00 > 0:42:04Penicillin, a wonder drug, yes.
0:42:04 > 0:42:07The identification of the fungus penicillium chrysogenum
0:42:07 > 0:42:11was one such blissful accident that changed the face of medicine forever
0:42:11 > 0:42:18and it sparked off an antibiotic revolution, saving millions and millions of lives in the process.
0:42:18 > 0:42:23The humble laboratory now, the Fleming Museum at St Mary's Hospital in Paddington
0:42:23 > 0:42:28is where Scotsman Alexander Fleming made his monumental discovery.
0:42:30 > 0:42:34Born to a farming family in Kilmarnock in East Ayrshire in 1881,
0:42:34 > 0:42:41the young Fleming, equipped with his natural desire to learn, arrived in the big city of London.
0:42:41 > 0:42:45After a dismal job as a shipping clerk he set about a career in medicine.
0:42:45 > 0:42:51In 1901, at the age of 21, he began at St Mary's hospital as a medical student
0:42:51 > 0:42:56and then worked there when he was qualified, staying for 49 years.
0:42:58 > 0:43:00Although he had wanted to become a surgeon,
0:43:00 > 0:43:05places were limited, so he began a career as a bacteriologist.
0:43:07 > 0:43:10It was 1928 and, as always, Fleming's desk was awash
0:43:10 > 0:43:14with numerous test tubes, bits of equipment and old petri dishes.
0:43:16 > 0:43:19I'm starting to build a picture of what it must have been like
0:43:19 > 0:43:24when things we take for granted, like sanitation and the NHS, did not exist,
0:43:24 > 0:43:30and, to gain a better understanding of what penicillin has meant for mankind and medicine,
0:43:30 > 0:43:36my journey across London continues. I'm off to speak to GP, Gillian Jenkins.
0:43:39 > 0:43:43- I think we've painted a picture here with the right setting. - I think it's wonderful.
0:43:43 > 0:43:45Tell me about the early part of the 1900s.
0:43:45 > 0:43:49The early part of the 1900s, for most people, still involved
0:43:49 > 0:43:52very little knowledge about nutrition, about sanitation.
0:43:52 > 0:43:56People, on the whole, lived rather sort of messy lives.
0:43:56 > 0:44:01Your average person didn't get the sort of medical treatment we'd expect.
0:44:01 > 0:44:03They hadn't got the money or access to doctors,
0:44:03 > 0:44:07so people lived with a lot of squalor that we wouldn't accept now.
0:44:07 > 0:44:11And the average life span was really only about 50.
0:44:11 > 0:44:14- Really? So young.- So young.
0:44:14 > 0:44:17In general, what were most people dying of?
0:44:17 > 0:44:20On the whole, it was infections that carried a lot of people off.
0:44:20 > 0:44:23There was no real good treatment for them.
0:44:23 > 0:44:28Let's talk about some of the methods used for treating patients. I know some of them are quite horrific.
0:44:28 > 0:44:34Yes. Before modern medicine as we know it, medical care was fairly basic and, yes, fairly...
0:44:34 > 0:44:37- Crude.- ..crude.- To say the least.
0:44:37 > 0:44:43We've got here, all sort of lotions and potions and cure-alls which I dread to think what's in them,
0:44:43 > 0:44:44but things like arsenic were used.
0:44:44 > 0:44:46- You sort of have the very...- Leeches.
0:44:46 > 0:44:52Leeches, blood-letting, and then basic surgery, if you couldn't sort of suck the blood out of it,
0:44:52 > 0:44:55- or paint it over with some toxic lotion, you'd hack it off.- Yeah.
0:44:55 > 0:44:58Often without anaesthetic, or much anaesthetic.
0:44:58 > 0:45:02People didn't understand fully about infection and preventing it.
0:45:02 > 0:45:04How did Fleming go about his work?
0:45:04 > 0:45:08Fleming seemed to live in the typical type of scientist's lab
0:45:08 > 0:45:14but maybe with even less order than, say, some of the other guys he was working with at the same time.
0:45:14 > 0:45:18He would have simple methods, he would have simple equipment,
0:45:18 > 0:45:21he'd have a microscope, he'd have petri dishes,
0:45:21 > 0:45:25he lived in this rather messy environment with things everywhere
0:45:25 > 0:45:32and dust and dirt, and it was the serendipitous way that he made the discovery about penicillin.
0:45:32 > 0:45:34How did that come about, then?
0:45:34 > 0:45:37- Well, Fleming tended to have his lab in a bit of a mess...- Yeah.
0:45:37 > 0:45:42..and he didn't clear up after himself and it benefited him in the simple way that he went away,
0:45:42 > 0:45:44having left petri dishes of this agar,
0:45:44 > 0:45:49trying to culture different bacteria which he was looking at - how bacteria grow.
0:45:49 > 0:45:53When he came back he discovered that the blue-green common mould that we see,
0:45:53 > 0:45:55- that grows on bread... - Bread, cheese and things.
0:45:55 > 0:46:01It landed, because of his open window, some had grown on the agar gel, but not only had it grown there,
0:46:01 > 0:46:05the staphylococcus had been killed off by it.
0:46:05 > 0:46:08So he realised, where perhaps other people hadn't made the link,
0:46:08 > 0:46:14that the mould was producing something that killed bacteria.
0:46:18 > 0:46:20- And it's from there on he worked.- Incredible.
0:46:20 > 0:46:23How does it actually work?
0:46:23 > 0:46:26We know that penicillin works on the cell wall.
0:46:26 > 0:46:34The process involves something called beta-lactam and it breaks down the cell wall of the bacteria
0:46:34 > 0:46:39- so that when it tries to reproduce, or even before then, the cell lyses, it bursts...- OK.
0:46:39 > 0:46:45So it causes the cells to just rupture instead of being able to multiply and continue the infection.
0:46:45 > 0:46:49- Talk about some of the illnesses it can cure.- An awful lot of infections, chest infections...
0:46:49 > 0:46:53- Throat.- Throat, skin, urinary tract infections, kidney infections.
0:46:53 > 0:47:01In particular, certain groups you've got, particularly soldiers in wars where the other,
0:47:01 > 0:47:07the old way of them being treated was so ineffective that most of them either died or needed amputation.
0:47:07 > 0:47:12- It offered them health when they didn't have any option.- Yeah, a new lifeline, basically.- Yes.
0:47:12 > 0:47:17It took another 12 years for penicillin to emerge as the miracle drug.
0:47:17 > 0:47:23Although Fleming's observations did not go unnoticed, nothing substantial came of his findings
0:47:23 > 0:47:29until a team in Oxford took up the research, enabling them to identify a way of purifying the substance.
0:47:32 > 0:47:39By 1939, and the onset of World War II, penicillin was being produced and effectively administered
0:47:39 > 0:47:41and lives were being saved.
0:47:41 > 0:47:47In 1944 Fleming was knighted, his contribution to the world of medicine was acknowledged.
0:47:47 > 0:47:53In 1945 he was awarded, along with two other scientists, the Nobel Prize for medicine.
0:48:01 > 0:48:03From London I'm heading back up north
0:48:03 > 0:48:08to the Great Western Auction Rooms in Glasgow. where we'll be selling all of our items.
0:48:08 > 0:48:11Here's a rundown of what we're taking.
0:48:11 > 0:48:15Janet's Edwardian jewellery doesn't really see the light of day
0:48:15 > 0:48:16as she doesn't wear them.
0:48:16 > 0:48:18David thinks it's time to put them to work
0:48:18 > 0:48:21and earn her £130-£200.
0:48:21 > 0:48:25This gourd-shaped Morris Ware vase has a hidden secret.
0:48:25 > 0:48:31- Do you keep flowers in it?- You can't because, well, a slight crack.
0:48:31 > 0:48:35- A slight crack.- But owner Elizabeth still thinks it has a use.
0:48:35 > 0:48:37- For dried flowers it's all right. - Dried flowers!
0:48:37 > 0:48:40- You're trying to sell it again. - Yes, I am.
0:48:40 > 0:48:4425 items of quintessentially Scottish Mauchline Ware.
0:48:44 > 0:48:46I'll need my calculator ready
0:48:46 > 0:48:50because David is dividing it up into eight lots.
0:48:50 > 0:48:52Two tartanware boxes here...
0:48:54 > 0:48:58And Eileen and Alison's family silver in the shape of a lady's purse,
0:48:58 > 0:49:03complete with souvenir charms from Glasgow's 1901 exhibition.
0:49:03 > 0:49:07But does Anita have different ideas about the Mauchline Ware?
0:49:09 > 0:49:11Now, we've gone with David's division.
0:49:11 > 0:49:14We have divided them into eight lots.
0:49:14 > 0:49:18- And what we have here are two of the best lots.- I think so.
0:49:18 > 0:49:23These wonderful tulip vases don't come up all that often.
0:49:23 > 0:49:26I was about to say that. I've not seen any like this before.
0:49:26 > 0:49:28What sort of value have you put on the tulip vases?
0:49:28 > 0:49:33- We've put £400-£600.- That's the bulk, really, of the estimate.
0:49:33 > 0:49:35What have you put on the little box?
0:49:35 > 0:49:38The little box, again I've estimated conservatively.
0:49:38 > 0:49:44£250-£350. I'm hoping that it will go at least mid-estimate
0:49:44 > 0:49:48and on a good day, it might do the top estimate.
0:49:49 > 0:49:52- I think you're right, there. - It is a beautiful little piece.
0:49:52 > 0:49:58And the Mauchline buyers like to collect the different tartans
0:49:58 > 0:50:01- and there are thousands of them. - Yeah, there must be.
0:50:01 > 0:50:03Is there a tartan in your clan?
0:50:03 > 0:50:07- We're of Irish descent, Paul. - Oh, dear!
0:50:07 > 0:50:09But there might be somewhere.
0:50:09 > 0:50:12Maybe that's a wee bit of research that I can do personally.
0:50:12 > 0:50:16The Mauchline Ware will go under the hammer a little later.
0:50:19 > 0:50:22Next up, a silver purse and two book charms
0:50:22 > 0:50:26- belonging to two very charming sisters, Eileen and Alison. I got that right, didn't I?- You did.
0:50:26 > 0:50:33Did you see this little purse and the book charms as you were growing up as little girls in Mum's house?
0:50:33 > 0:50:38- Yes, we did.- Yes?- I don't quite know when we saw it but we definitely saw them over the years.
0:50:38 > 0:50:41Lots of memories. Lots of memories here, James.
0:50:41 > 0:50:44Yeah, a sweet little thing, and there is lots of silver in the sale.
0:50:44 > 0:50:46- Yes, our dealers are going to be here.- They are.
0:50:46 > 0:50:52Fingers crossed, somebody is going to pick up on this, it'll find a collector and we'll get the top end.
0:50:52 > 0:50:53- OK?- Fingers crossed.- Here we go.
0:50:53 > 0:50:58And a lovely little Art Nouveau embossed silver purse.
0:50:58 > 0:51:04It's Chester 1910 and it has two little book charms,
0:51:04 > 0:51:07one depicting scenes from the Glasgow exhibition of 1901.
0:51:07 > 0:51:09Lovely wee thing there.
0:51:09 > 0:51:11I'm holding bids, ladies and gentlemen,
0:51:11 > 0:51:13I'm holding bids and I can start the bidding...
0:51:13 > 0:51:16- Eileen this is good.- ..at £30.
0:51:16 > 0:51:20It's with me at 30. 40, 50...
0:51:20 > 0:51:22- I've got excited then. - 60, 70. 80, I'm out.
0:51:22 > 0:51:25It's on the floor at £80.
0:51:25 > 0:51:28It's on the floor at 80.
0:51:28 > 0:51:35Any advance on 80? 80, 90, 100, 110, 120.
0:51:35 > 0:51:40£120. It's with you, sir, at 120.
0:51:40 > 0:51:45Any advance on 120? All done at 120? 120.
0:51:45 > 0:51:48- That's a good result. - How exciting.- Top end.
0:51:48 > 0:51:50- Happy, very happy. - Very happy. Very happy.
0:51:50 > 0:51:53Next, it's Janet's beautiful collection of jewellery.
0:51:55 > 0:51:56Why did you decide to sell them?
0:51:58 > 0:52:00Well, I haven't worn them for a while
0:52:00 > 0:52:04and I kind of forgot about them, so I thought, well, sell them.
0:52:04 > 0:52:07The good thing about this lot is that there's something for everyone.
0:52:07 > 0:52:10If your taste is traditional, there's the star brooch.
0:52:10 > 0:52:14If your taste is avant-garde, there's the Art Nouveau brooch.
0:52:14 > 0:52:18If you'd like some gold as an investment, there's that part belcher.
0:52:18 > 0:52:20So it'll appeal to a lot of people.
0:52:20 > 0:52:23But I think right now Janet wants the £200 top end.
0:52:23 > 0:52:26- That's what you'd prefer, isn't it? - Yes.
0:52:26 > 0:52:29We're going to take the money.
0:52:29 > 0:52:33Lot 60, a Victorian sea pearl brooch,
0:52:33 > 0:52:36a lovely wee nine-carat gold brooch
0:52:36 > 0:52:39and a nine-carat gold belcher linked neck chain.
0:52:39 > 0:52:41Start me at £100 for the three.
0:52:41 > 0:52:43£100? £80, then?
0:52:43 > 0:52:47£80? 80 bid. At 90, 100,
0:52:47 > 0:52:49110, 120.
0:52:49 > 0:52:51130, 140.
0:52:51 > 0:52:55£140. 150, fresh bidder.
0:52:55 > 0:52:57160, 170.
0:52:57 > 0:53:00180, 190,
0:53:00 > 0:53:02- 200.- You've got your 200.
0:53:02 > 0:53:06At £200. 210. £210.
0:53:06 > 0:53:09All done at 210? All done at 210?
0:53:09 > 0:53:14£210! What are you going to put the money towards?
0:53:14 > 0:53:19- Help to pay the bills.- Well, it's a fact of life. We've all got them.
0:53:19 > 0:53:23That's good Scottish pragmatism, that is - to pay the bills.
0:53:26 > 0:53:29Next up, the Morris Ware vase. It belongs to Elizabeth
0:53:29 > 0:53:32and it was your mother's - it's been in the family a long time.
0:53:32 > 0:53:35- You've brought another family member along. Who's this?- Siobhan.
0:53:35 > 0:53:38Your grand-daughter. It's lovely to meet you.
0:53:38 > 0:53:42We've got £100-£120 on this vase. It looks like it's worth more.
0:53:42 > 0:53:45- It's cracked.- Oh, is it? Right, OK. - That's why.
0:53:45 > 0:53:49It would be worth so much more. It's a great design, isn't it?
0:53:49 > 0:53:54- Yeah, it's beautiful.- Didn't you know it was cracked?- I didn't.
0:53:54 > 0:54:01538 is the Hancock and Sons, Morris Ware, gourd-shaped vase.
0:54:01 > 0:54:03It's designed by George Cartlidge.
0:54:03 > 0:54:05A wonderful piece of Morris Ware.
0:54:05 > 0:54:07£50?
0:54:07 > 0:54:1050 bid. With you, sir, at 50.
0:54:11 > 0:54:1460, 70, 80,
0:54:14 > 0:54:1790, 100, 110.
0:54:17 > 0:54:20- 120, 130, 140. - Keep going, keep going.
0:54:20 > 0:54:23- More! More money.- £160.
0:54:23 > 0:54:30160. Any advance on 160? All done at 160. 160...
0:54:30 > 0:54:32Well done. That was good.
0:54:32 > 0:54:36- What will you put the money towards? - The kitchen.- A new kitchen?
0:54:36 > 0:54:40- No, just updating what's in the kitchen.- Right, OK,
0:54:40 > 0:54:42- like tiling and doorknobs. - And fridges and freezers.
0:54:42 > 0:54:45Who's going to do all that work?
0:54:45 > 0:54:48- Your grandpa, won't he?- Grandpops. Is he good at that?
0:54:48 > 0:54:51- Sometimes.- If you prod him with a stick he will be.
0:54:51 > 0:54:55110, 120, 130, 140...
0:54:55 > 0:54:57150, 160.
0:54:57 > 0:54:59Well, we've all been waiting for this one.
0:54:59 > 0:55:01It's the 25 pieces of Mauchline Ware,
0:55:01 > 0:55:05lots of local interest, belonging to David, here.
0:55:05 > 0:55:07We've split them into eight lots.
0:55:07 > 0:55:10First up, there's four pieces in this first section.
0:55:10 > 0:55:13The little violin and the egg timer. Here we go.
0:55:13 > 0:55:1650, 60, 70 with me.
0:55:16 > 0:55:19- 100.- Yes, yes, good.
0:55:19 > 0:55:23110 on the phone. 110...
0:55:23 > 0:55:25- Yes, £110.- Good start. - That's a very good start.
0:55:25 > 0:55:27We're on top straight away.
0:55:27 > 0:55:29Six pieces of tartan ware,
0:55:29 > 0:55:31to include three silk winders,
0:55:31 > 0:55:35two Stewart tartan and a Macpherson example.
0:55:35 > 0:55:37170, 180...
0:55:37 > 0:55:42- Great.- 180.- Brilliant. We're smashing our targets.
0:55:42 > 0:55:44At 180. 260, 280.
0:55:44 > 0:55:49290. 290. All done at 290? 290...
0:55:49 > 0:55:52This is such good news and now here's the third lot,
0:55:52 > 0:55:54another mixed bag again.
0:55:54 > 0:55:56It's with me at 100.
0:55:56 > 0:55:59Any advance on...? 110. 120.
0:55:59 > 0:56:02- It's a great collection, David. - It looks like it.
0:56:03 > 0:56:07All done at 210? All done at 210? At 210...
0:56:08 > 0:56:10- We're well above our target now. - We are.
0:56:10 > 0:56:14- Fourth lot to come now.- My maths is terrible, I can't work it out.
0:56:14 > 0:56:16We're way above our target.
0:56:16 > 0:56:19Four Mauchline snuff boxes. 100 on the phone.
0:56:19 > 0:56:23It seems the whole room wants to invest in David's collection,
0:56:23 > 0:56:25which is so good.
0:56:25 > 0:56:27205 with me, Lala.
0:56:27 > 0:56:31With Lala on the phone at £210.
0:56:31 > 0:56:34Any advance on 210? All done at 210? 210...
0:56:35 > 0:56:36Brilliant. £210.
0:56:36 > 0:56:39Next lot is the two snuff boxes.
0:56:39 > 0:56:41..and they both have their original lining,
0:56:41 > 0:56:43again, the very finest of boxes.
0:56:43 > 0:56:46120 with me. 150. I'm out.
0:56:46 > 0:56:47It's on the phone at 150.
0:56:47 > 0:56:50All done at 150? 150?
0:56:50 > 0:56:52Phone bid. £150.
0:56:52 > 0:56:53And now my favourite piece.
0:56:53 > 0:56:58..is the fine Smiths of Mauchline hand-painted snuff box.
0:56:58 > 0:57:00220, 230.
0:57:00 > 0:57:01240, 250.
0:57:01 > 0:57:03This is good.
0:57:03 > 0:57:05360. I'm out.
0:57:05 > 0:57:08Any advance on 360? All done at 360?
0:57:08 > 0:57:10360...
0:57:10 > 0:57:15Getting hot. Next lot, the three tulip vases.
0:57:15 > 0:57:17Estimated at £400-£600.
0:57:17 > 0:57:19900 with me.
0:57:20 > 0:57:21Wow.
0:57:21 > 0:57:24950, 1,000.
0:57:24 > 0:57:271,050. 1,100 with me.
0:57:27 > 0:57:30All done at 1,100? 1,100...
0:57:31 > 0:57:34£1,100 for the three tulip vases.
0:57:35 > 0:57:40And this is the last lot, a pair of tartan vases, Stewart tartan.
0:57:40 > 0:57:42300, 320.
0:57:42 > 0:57:45- 350, 400. - Everyone's getting carried away.
0:57:45 > 0:57:49- Yes, they are. £500?- 500. - 500?!
0:57:49 > 0:57:51520, I'm out.
0:57:51 > 0:57:53Any advance on 520?
0:57:53 > 0:57:57Yes, that's it. It's all over. That's the last lot gone
0:57:57 > 0:58:03- and we're just short, 50 quid short, of £3,000.- £3,000.
0:58:04 > 0:58:07- How do you feel about that, David? - I'm speechless.
0:58:07 > 0:58:11- It's incredible, isn't it?- Yeah. - That was your collection.
0:58:11 > 0:58:13Quality always sells. Unbelievable.
0:58:13 > 0:58:17We doubled the top end of the estimate and it was worth splitting the lots up.
0:58:17 > 0:58:19It will be news in Glasgow next week.
0:58:19 > 0:58:22I think it will be news all over Scotland and the world!
0:58:22 > 0:58:24Thank you for bringing that in.
0:58:24 > 0:58:29Quality always sells. It's the perfect end to a wonderful day here in bonnie Scotland.
0:58:29 > 0:58:31Until the next time, it's cheerio.