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I'm in the oldest part of this bustling Gloucestershire town. | 0:00:02 | 0:00:06 | |
There's been a market in this area from around the 1500s. | 0:00:06 | 0:00:10 | |
Today, it's still named after the buildings that stored the meat - The Shambles. | 0:00:10 | 0:00:15 | |
Welcome to Flog It! from Stroud. | 0:00:15 | 0:00:18 | |
Today, The Shambles forms the centre of Stroud. | 0:00:37 | 0:00:40 | |
It provides a wonderful meeting place | 0:00:40 | 0:00:43 | |
for artists and Bohemian types alike, | 0:00:43 | 0:00:46 | |
who hang out in the many art galleries, cafes and bookshops. | 0:00:46 | 0:00:50 | |
And hoping to be inspired and get their creative juices flowing, | 0:00:50 | 0:00:54 | |
are today's experts Kate Bliss and James Lewis, | 0:00:54 | 0:00:58 | |
who are already working the crowd here at today's venue, the Subscription Rooms. | 0:00:58 | 0:01:03 | |
Later on in the show, I'll find out what part these girls played | 0:01:05 | 0:01:10 | |
in Edward Jenner's plans to end smallpox. | 0:01:10 | 0:01:13 | |
Right now it's back to business at Stroud Subscription Rooms. | 0:01:13 | 0:01:16 | |
This grand building is no stranger to crowds, | 0:01:16 | 0:01:19 | |
built for leisure and entertainment. | 0:01:19 | 0:01:21 | |
It's still doing so after 150 years. | 0:01:21 | 0:01:24 | |
So, as people take their seats, let's head over to Kate, | 0:01:24 | 0:01:27 | |
who's already entertaining the idea of taking something special to auction. | 0:01:27 | 0:01:32 | |
This is a rather splendid teapot, isn't it? | 0:01:32 | 0:01:35 | |
-It's very interesting. It's been in my eyesight for many years. -Has it? | 0:01:35 | 0:01:41 | |
One of my first memories, as a young child, | 0:01:41 | 0:01:45 | |
polishing the silver, and this was one of the items. | 0:01:45 | 0:01:49 | |
It particularly appealed to me | 0:01:49 | 0:01:51 | |
because of the signs of the Zodiac all round the circumference. | 0:01:52 | 0:01:57 | |
As a child, did you recognise those as the signs of the Zodiac? | 0:01:57 | 0:02:01 | |
-I recognise them as being animals - mystical animals. -Yes. | 0:02:01 | 0:02:05 | |
And it's probably pushed me in a direction | 0:02:05 | 0:02:09 | |
of being interested in natural history - animals, plants. | 0:02:09 | 0:02:14 | |
-Right. So, this had quite a bearing on your interests as a boy. -It has, really. -And your life really. | 0:02:14 | 0:02:20 | |
It has really because I've looked at these on many occasions | 0:02:20 | 0:02:26 | |
and realise they're not animals which you'd find in nature | 0:02:26 | 0:02:31 | |
but they are animals which have some mystical value. | 0:02:31 | 0:02:34 | |
If you go through them, here we are. | 0:02:34 | 0:02:37 | |
We have the fish for Pisces. | 0:02:37 | 0:02:40 | |
We have the lion for Leo. | 0:02:40 | 0:02:43 | |
-That is so. -We have the scorpion there for Scorpio. | 0:02:43 | 0:02:47 | |
And they are indeed the signs of the Zodiac. | 0:02:47 | 0:02:50 | |
The date letter, that letter F, is for 1876. | 0:02:50 | 0:02:55 | |
So, why the signs of the Zodiac? | 0:02:55 | 0:02:57 | |
-The Victorians were people of very strict morals. -That's right. -very God-fearing really. | 0:02:57 | 0:03:05 | |
You see, the Victorians also loved the exotic. | 0:03:05 | 0:03:08 | |
They loved the magical and the mystical. | 0:03:08 | 0:03:11 | |
-They loved fairies and goblins. -I can understand. | 0:03:11 | 0:03:15 | |
The signs of the Zodiac work into that very well. | 0:03:15 | 0:03:18 | |
Of course, there was a whole following of reading tea leaves - something a little bit exciting. | 0:03:18 | 0:03:24 | |
Oh yes, I remember as a child, | 0:03:24 | 0:03:26 | |
all my aunts and uncles looking at the bottom of a tea cup. | 0:03:26 | 0:03:31 | |
I think that goes rather well with the signs of the Zodiac here. | 0:03:31 | 0:03:36 | |
It ties into that mystical way of thinking | 0:03:36 | 0:03:39 | |
and gives it almost a sort of magical purpose, if you like. | 0:03:39 | 0:03:42 | |
As you pour out your tea, you're also pouring out | 0:03:42 | 0:03:46 | |
the threads of the life, which may or may not be able to be read. | 0:03:46 | 0:03:50 | |
-What a fun thing! -Indeed, yes. | 0:03:50 | 0:03:52 | |
I'd like to say, conservatively at auction, | 0:03:52 | 0:03:55 | |
we would certainly be looking at £100 to £150 if you want to sell. | 0:03:55 | 0:04:00 | |
I'm sure it will pull in interest from far afield. | 0:04:00 | 0:04:04 | |
-If it could go to someone who's a collector and can enjoy it, so much the better. -Ah, excellent! | 0:04:04 | 0:04:11 | |
Richard, you obviously are | 0:04:19 | 0:04:21 | |
a passionate collector | 0:04:21 | 0:04:22 | |
and you know as much about this as I do, probably. | 0:04:22 | 0:04:24 | |
Go for it. Tell me about what you do and buy and what you love. | 0:04:24 | 0:04:28 | |
I collect a certain piece of porcelain - period of porcelain, | 0:04:28 | 0:04:33 | |
and then after a few years, once I've had my enjoyment out of it, | 0:04:33 | 0:04:37 | |
I sell it on and go on to a different era, | 0:04:37 | 0:04:39 | |
continental porcelain or English and just vary it, | 0:04:39 | 0:04:42 | |
and try to learn about it then sell it on again. | 0:04:42 | 0:04:44 | |
So, how many bits of this have you got? | 0:04:44 | 0:04:46 | |
-When I was at my peak, I probably had close to 80 pieces. -Of Worcester? -Yeah, 80 pieces. | 0:04:46 | 0:04:51 | |
18th century Worcester. How old are you? | 0:04:51 | 0:04:53 | |
23. | 0:04:53 | 0:04:55 | |
I've been dealing in porcelain for about six years. | 0:04:55 | 0:04:58 | |
So, since you were 17. | 0:04:58 | 0:05:00 | |
While your mates were doing their newspaper rounds, you're dealing in porcelain. | 0:05:00 | 0:05:04 | |
Getting round boot sales to find the old bargain. | 0:05:04 | 0:05:07 | |
We're looking at two pieces here that are both Worcester, | 0:05:07 | 0:05:10 | |
both fairly local, and all made around 1770 to 1780. | 0:05:10 | 0:05:15 | |
That is the mark we always associate with Worcester of this period - the crescent mark. | 0:05:15 | 0:05:20 | |
And, er, fence pattern. | 0:05:20 | 0:05:23 | |
Do you know about the Chinese fences, the reason they're twisted? | 0:05:23 | 0:05:26 | |
-No. Enlighten me. -OK. In China if you're being chased by an evil spirit, | 0:05:26 | 0:05:30 | |
the only way you can get away from an evil spirit is to run across a zigzag bridge. | 0:05:30 | 0:05:34 | |
Evil spirits can only run in straight lines. Did you know that? | 0:05:34 | 0:05:38 | |
-No, I didn't. -You've learnt that as well. | 0:05:38 | 0:05:41 | |
But that's the reason why they're in a zigzag. | 0:05:41 | 0:05:43 | |
It's good luck and it's to protect them against evil spirits. | 0:05:43 | 0:05:46 | |
With all this knowledge, are you an auctioneer? | 0:05:46 | 0:05:49 | |
Do you want to be an auctioneer? What do you want to do? | 0:05:49 | 0:05:52 | |
At the moment, I just try and live and be happy. | 0:05:52 | 0:05:54 | |
At the moment, I'm currently playing poker for a living. | 0:05:54 | 0:05:58 | |
Poker! Right. OK. | 0:05:58 | 0:06:02 | |
When I win a lot, I'll invest a third or a half of it into porcelain. | 0:06:02 | 0:06:06 | |
I know it's not going to devalue. | 0:06:06 | 0:06:09 | |
If I ever need the money for any reason, I've got it there. | 0:06:09 | 0:06:12 | |
-What did you pay for them, do you remember? -Not a great deal. | 0:06:12 | 0:06:15 | |
-About £60 to £70 for the two of them. -For the two? -Yeah. | 0:06:15 | 0:06:19 | |
I think you've done well. If you don't make a profit out of that, | 0:06:19 | 0:06:22 | |
there's something seriously wrong. | 0:06:22 | 0:06:24 | |
If they were mine, I'd want to see them put into two different lots, | 0:06:24 | 0:06:29 | |
so the coffee cup and saucer, an estimate of £40 to £60, | 0:06:29 | 0:06:34 | |
and the tea bowl and saucer, £40 to £60 as well. | 0:06:34 | 0:06:36 | |
They've got minor little nicks out of them but very, very minor. | 0:06:36 | 0:06:40 | |
So, 80 to 120 for the two, should show at least the £30 to £40 profit for you. | 0:06:40 | 0:06:45 | |
What'll you put the money towards? | 0:06:45 | 0:06:46 | |
It will probably go to my Chinese collection, which I'm building. | 0:06:46 | 0:06:50 | |
I think the Chinese market, at the moment, | 0:06:50 | 0:06:54 | |
is the most buoyant out of anything. | 0:06:54 | 0:06:55 | |
-Let's and see how we do. -All right, great. | 0:06:55 | 0:06:57 | |
Stephen, a fine pair of oils. | 0:07:03 | 0:07:05 | |
I want to know all about them. | 0:07:05 | 0:07:07 | |
Well, I've owned these oils for about two years, Paul. | 0:07:07 | 0:07:12 | |
They came into my possession when my mum downsized - | 0:07:12 | 0:07:14 | |
moved to live with my sister in Ireland. | 0:07:14 | 0:07:16 | |
I was going to say, this is not a Stroud accent. | 0:07:16 | 0:07:19 | |
-No, that's right. -What part of Ireland? | 0:07:19 | 0:07:21 | |
I lived originally in the north of Ireland, Paul. | 0:07:21 | 0:07:24 | |
That's where these came from. | 0:07:24 | 0:07:25 | |
I can't attribute them to anybody at the moment. | 0:07:25 | 0:07:28 | |
Looking at them stylistically, it's loose, it's impressionistic. | 0:07:28 | 0:07:32 | |
It's almost like the Newlyn School - the late 1880s. | 0:07:32 | 0:07:34 | |
You've got artists like Stanhope Forbes, | 0:07:35 | 0:07:37 | |
painting sort of our vernacular history | 0:07:37 | 0:07:40 | |
with localised clothing, very much like the fishermen's wives. | 0:07:40 | 0:07:44 | |
Hopefully, this is a young girl from Northern Ireland with traditional Irish linen. | 0:07:44 | 0:07:49 | |
I need to do a little bit of research on this. | 0:07:49 | 0:07:52 | |
You didn't paint the frames, did you? | 0:07:52 | 0:07:54 | |
My late father did to match his decor, I'm afraid, | 0:07:54 | 0:07:57 | |
-which may not have been a good decision. -Would they have been an ebonised, sort of black? | 0:07:57 | 0:08:01 | |
I believe they were black originally, Paul. | 0:08:01 | 0:08:04 | |
You can't blame your dad, can you? | 0:08:04 | 0:08:06 | |
It probably seemed like a good idea at the time. | 0:08:06 | 0:08:09 | |
It doesn't matter about the frames. They can be sorted out. They can be reframed and reglazed. | 0:08:09 | 0:08:15 | |
The problem is, there should have been a mount, separating the oil from the glass. | 0:08:15 | 0:08:20 | |
If I show you, I'm taking the weight of the picture underneath the frame. | 0:08:20 | 0:08:24 | |
If I just release my fingers from the back, watch! | 0:08:24 | 0:08:28 | |
-Oh, yes! -Can you see? | 0:08:28 | 0:08:30 | |
It's starting to stick on the glass. | 0:08:30 | 0:08:33 | |
Not just there but if I move up there, there, there, there. | 0:08:33 | 0:08:37 | |
-All over. -So there's some damage really, Paul. | 0:08:37 | 0:08:39 | |
There's a lot of damage on both of them. | 0:08:39 | 0:08:42 | |
I think she's got the look. | 0:08:42 | 0:08:44 | |
-It's a shame. This one's more damaged than that one. -Yes. | 0:08:44 | 0:08:48 | |
-Because it's probably the more attractive painting, isn't it? -Yes. | 0:08:48 | 0:08:51 | |
-If ever you're trying to sell an oil painting or a watercolour, the best subject is always a woman. -Right. | 0:08:51 | 0:08:57 | |
Because when you look up at the wall you want a smile on your face. | 0:08:57 | 0:09:01 | |
You want to enjoy what you're looking at. | 0:09:01 | 0:09:04 | |
Obviously, a beautiful woman | 0:09:04 | 0:09:06 | |
is better to look at than | 0:09:06 | 0:09:09 | |
-a young lad like this with a rather sort of remorse face. -Yes. | 0:09:09 | 0:09:13 | |
If they were in good condition, | 0:09:13 | 0:09:15 | |
-you'd be looking at £400 to £600 for the pair. -Right. | 0:09:15 | 0:09:18 | |
They are in poor condition, they need money spending on them. | 0:09:18 | 0:09:21 | |
It's going to cost a couple of hundred pounds. | 0:09:21 | 0:09:23 | |
-Right. -Therefore, I think, if we put these into auction, | 0:09:23 | 0:09:27 | |
we're going to ask around £200 to £300. | 0:09:27 | 0:09:30 | |
-OK. That's fine. -For the pair. Your mum obviously liked them. | 0:09:30 | 0:09:34 | |
-She's kept them a long time. -She did. She'll really enjoy seeing them on TV. | 0:09:34 | 0:09:39 | |
-What's her name? -Betty. -Betty? -Yes. | 0:09:39 | 0:09:41 | |
-Let's hope we make Betty's day. -Thanks very much. | 0:09:41 | 0:09:45 | |
Now, these rooms where we are today are quite important in the history of your family, aren't they? | 0:09:52 | 0:09:57 | |
-Yes, they are. My grandfather and grandmother met here at a dance. -Did they really? | 0:09:57 | 0:10:01 | |
They then eloped to Reading and now I've come back to live in Stroud area. | 0:10:01 | 0:10:06 | |
-And it all started here? -It started here. Yes | 0:10:06 | 0:10:10 | |
Tell me about this lovely snuff box that you've brought in today. | 0:10:10 | 0:10:14 | |
It always sat on my parent's chest of drawers in the bedroom, | 0:10:14 | 0:10:17 | |
and they kept little knick-knacks, I can't remember exactly the contents, | 0:10:17 | 0:10:22 | |
but it was never snuff, I know that. | 0:10:22 | 0:10:23 | |
-Right. -And I inherited it and it was sitting on my chest of drawers. | 0:10:23 | 0:10:28 | |
And we thought, well, what can we bring to flog and my wife picked it up and said, "What about this?" | 0:10:28 | 0:10:34 | |
-And so we did. -I think it's a charming little box, I have to say. | 0:10:34 | 0:10:39 | |
If we take a look more closely, | 0:10:39 | 0:10:42 | |
the lid fits very neatly on and it is, of course, made of paper mache. | 0:10:42 | 0:10:46 | |
Rather beautifully pressed with this sort of ribbed border here, | 0:10:46 | 0:10:49 | |
on the outside, to frame the painted subject in the centre. | 0:10:49 | 0:10:54 | |
It's a very well-known subject, of course, | 0:10:54 | 0:10:57 | |
the portrait of the woodcutter or the woodman. | 0:10:57 | 0:10:59 | |
There he is, smoking his pipe of tobacco. | 0:10:59 | 0:11:03 | |
This one dates from the late 19th century, I would say it's Victorian. | 0:11:03 | 0:11:08 | |
The history of snuff goes right back to Elizabethan times | 0:11:08 | 0:11:12 | |
and was a very popular thing to snort and chew in the 18th century, | 0:11:12 | 0:11:18 | |
and was only phased out really by tobacco in the 19th century. | 0:11:18 | 0:11:23 | |
It's beautifully painted in a very sort of primitive style, if you like. | 0:11:23 | 0:11:27 | |
And a very collectible object. | 0:11:27 | 0:11:30 | |
Is it a print or a painting? | 0:11:30 | 0:11:32 | |
-It is a painting. -Oh! -It is a painting, yes. | 0:11:32 | 0:11:35 | |
So, what sort of value would you put on it? | 0:11:35 | 0:11:40 | |
We didn't think it was worth anything. We thought we'd bring something down to Flog It. | 0:11:40 | 0:11:44 | |
-You didn't have high hopes. -No, we've not got high hopes. | 0:11:44 | 0:11:47 | |
If it pays for the car park we'll be happy. | 0:11:47 | 0:11:50 | |
Well, I think it might just pay for the car park. | 0:11:50 | 0:11:53 | |
I would put an auction estimate of anything from £60 to 100. | 0:11:53 | 0:11:56 | |
Oh, I see, good Lord! I'm amazed. | 0:11:56 | 0:11:59 | |
You might find a collector who falls in love with that. | 0:11:59 | 0:12:02 | |
-Yes. You've made my day. -Good! -You've made my birthday. | 0:12:02 | 0:12:05 | |
-Your birthday! It's not your birthday today, is it? -I'm afraid so, yes. | 0:12:05 | 0:12:09 | |
Well, very many happy returns. | 0:12:09 | 0:12:11 | |
It's a very well worth it. Thank you very much. | 0:12:11 | 0:12:13 | |
Well, happy birthday, Hugh. | 0:12:13 | 0:12:15 | |
And with your snuff box on board, we have our first four items heading off to auction. | 0:12:15 | 0:12:20 | |
Kate was intrigued by the silver astrological teapot | 0:12:20 | 0:12:23 | |
and she predicted it fetching £100 to £150. | 0:12:24 | 0:12:28 | |
But will the stars foresee a windfall for Bill? | 0:12:28 | 0:12:31 | |
Richard is a budding porcelain dealer. | 0:12:33 | 0:12:36 | |
-What did you pay for it? -Not a great deal. Probably about £60 for the two of them. | 0:12:36 | 0:12:40 | |
For the two! If you don't make a profit out of that, there's something seriously wrong. | 0:12:40 | 0:12:45 | |
So, has he got it right with these two stylish Worcester pieces? | 0:12:45 | 0:12:49 | |
Hugh had low expectations for his snuff box and was so pleased with Kate's £60 to £100 valuation. | 0:12:49 | 0:12:56 | |
And Steven's oils have crossed the Irish Sea from Northern Ireland. | 0:12:56 | 0:13:00 | |
-You didn't paint the frames, did you? -My late father did to match his decor, I'm afraid. | 0:13:00 | 0:13:05 | |
Oh well, you can't blame your dad, can you, really? | 0:13:05 | 0:13:08 | |
Despite his dad's handiwork, fingers crossed they will find fortune at auction for his mum, Betty. | 0:13:08 | 0:13:14 | |
Nestling in the beautiful countryside, just outside of Cirencester, | 0:13:18 | 0:13:22 | |
is today's auction room, Moore, Allen and Innocent, | 0:13:22 | 0:13:25 | |
where the valuations of Kate, James and myself are going to be put to the test. | 0:13:25 | 0:13:30 | |
And the man wielding the gavel is auctioneer, Billy Pullwood. | 0:13:30 | 0:13:34 | |
I haven't got a day job. I'm just an auctioneer. 180 now. | 0:13:34 | 0:13:40 | |
Time for tea, according to Bill, because he's selling his silver teapot. We got £100 to £150 on this. | 0:13:40 | 0:13:46 | |
Why have you decided to sell? | 0:13:46 | 0:13:48 | |
Well, we don't use it and, as a young child, | 0:13:48 | 0:13:52 | |
-I used to have the job of polishing it. -Oh! | 0:13:52 | 0:13:55 | |
And I think now, my wife has polished it enough. | 0:13:55 | 0:13:59 | |
It's a good job she hasn't polished it too much so it's worn. | 0:13:59 | 0:14:03 | |
It's still in lovely condition. | 0:14:03 | 0:14:05 | |
Silver is up in value. People are investing in precious metal. | 0:14:05 | 0:14:08 | |
Hopefully they're going to do it, right here, right now. It's going under the hammer. | 0:14:08 | 0:14:12 | |
-I only wish it was gold. -Oh, yes! | 0:14:12 | 0:14:14 | |
You can't have everything. | 0:14:14 | 0:14:16 | |
Lot number 244. | 0:14:16 | 0:14:18 | |
It's a nice little teapot. | 0:14:18 | 0:14:22 | |
Glasgow, 1876, with the signs of the Zodiac. | 0:14:22 | 0:14:26 | |
And I can start you here at £100. | 0:14:26 | 0:14:30 | |
At 100, I have for it. | 0:14:30 | 0:14:31 | |
Sold straight away. | 0:14:31 | 0:14:32 | |
-Right on the reserve. -110. 120. 130. | 0:14:32 | 0:14:36 | |
140. 150. 160. | 0:14:36 | 0:14:38 | |
170. The book's out at 170. 180 now. | 0:14:38 | 0:14:41 | |
At 180 on my right now. At 180. | 0:14:41 | 0:14:44 | |
190 anywhere? At £180. | 0:14:44 | 0:14:46 | |
All sure then at £180? | 0:14:46 | 0:14:51 | |
It's gone, Bill. | 0:14:51 | 0:14:52 | |
Top end of the estimate | 0:14:52 | 0:14:53 | |
and a little bit more. | 0:14:53 | 0:14:55 | |
-No more cups of tea. -No more cups of tea! | 0:14:55 | 0:14:58 | |
Not many people use a pot any more anyway, not even a china one. | 0:14:58 | 0:15:01 | |
I do. I love my teapot. | 0:15:01 | 0:15:03 | |
I've just been joined by Richard and I think you're going to see him, in future, | 0:15:08 | 0:15:12 | |
on your TV sets as one of our experts, at least on the Antiques Roadshow. | 0:15:12 | 0:15:16 | |
You really do know your porcelain, your Royal Worcester. | 0:15:16 | 0:15:19 | |
And believe it or not, you're selling these items, | 0:15:19 | 0:15:22 | |
which I've now split into two lots, because you want to invest into... | 0:15:22 | 0:15:25 | |
-Chinese, oriental porcelain. -Yep. | 0:15:25 | 0:15:28 | |
-That's a minefield, isn't it? -It is, yeah. | 0:15:28 | 0:15:31 | |
Three days ago, I was in Hong Kong. There's a road called Hollywood Road. | 0:15:31 | 0:15:34 | |
They have all the fine, Chinese porcelain. It is a minefield. | 0:15:34 | 0:15:38 | |
A little birdie said you weren't on porcelain research, | 0:15:38 | 0:15:43 | |
you were there for the Rugby Sevens. | 0:15:43 | 0:15:44 | |
I was there for the Rugby Sevens, absolutely. | 0:15:44 | 0:15:47 | |
Rugby's my main passion, antiques come somewhere behind! | 0:15:47 | 0:15:51 | |
Good luck to both of you. | 0:15:51 | 0:15:53 | |
Here we go. It's going under the hammer now. First lot. | 0:15:53 | 0:15:56 | |
And lot number 120 | 0:15:56 | 0:15:58 | |
is the Worcester blue and white coffee cup and saucer. | 0:15:58 | 0:16:01 | |
Fence pattern there. I can start you on the book here at £30. | 0:16:01 | 0:16:07 | |
-At 30, I have. At £30. -40? | 0:16:07 | 0:16:09 | |
5 anywhere? At £30. | 0:16:09 | 0:16:11 | |
Nice piece of Worcester. At 35. 40. | 0:16:11 | 0:16:15 | |
5. 50. 5. 60. | 0:16:15 | 0:16:18 | |
-This is good. -With me here, at 60. | 0:16:18 | 0:16:20 | |
5 anywhere now? At £60. | 0:16:20 | 0:16:23 | |
Are you all sure? | 0:16:23 | 0:16:25 | |
-Great. -Good result. | 0:16:25 | 0:16:26 | |
£60 for the first lot. | 0:16:26 | 0:16:28 | |
Here's the second. | 0:16:28 | 0:16:29 | |
Lot 130 is the Worcester blue and white tea bowl, | 0:16:29 | 0:16:32 | |
the fence pattern one again. | 0:16:32 | 0:16:34 | |
I can start you here on the book at 35. | 0:16:34 | 0:16:38 | |
At £35 I have for it. | 0:16:38 | 0:16:40 | |
40 now. At £35. 40 anywhere? | 0:16:40 | 0:16:43 | |
At 35. 40. 5. | 0:16:43 | 0:16:46 | |
50. 5. At 55. With me now, 60 now. | 0:16:46 | 0:16:49 | |
At £55. 60 anywhere now then? | 0:16:49 | 0:16:52 | |
At 55. Are you all sure? | 0:16:52 | 0:16:54 | |
It's selling here at £55. | 0:16:54 | 0:16:56 | |
The hammer's gone down. Brilliant. | 0:16:56 | 0:16:59 | |
£55. Great valuation, James. You've got to be happy. | 0:16:59 | 0:17:04 | |
Yeah, I'm pleased, that's good. | 0:17:04 | 0:17:05 | |
We've got £60 to £100 on your snuff box. | 0:17:10 | 0:17:14 | |
I love the naive painting. | 0:17:14 | 0:17:17 | |
That's what's going to sell this. | 0:17:17 | 0:17:19 | |
It's such a nice thing. When you hold them they're so tactile. | 0:17:19 | 0:17:22 | |
-They are, yes. -Where have you had this in the house? | 0:17:22 | 0:17:25 | |
They've been sitting on a chest of drawers. | 0:17:25 | 0:17:27 | |
It was on my parents' and then on my chest of drawers. | 0:17:27 | 0:17:30 | |
We just keep odds and ends in it. | 0:17:30 | 0:17:32 | |
We never thought it was a snuff box. | 0:17:32 | 0:17:34 | |
At least you had it on display and you've cherished it. | 0:17:34 | 0:17:37 | |
That's what it's all about with little items like this. | 0:17:37 | 0:17:40 | |
I love snuff boxes. Love them. Lots of history. | 0:17:40 | 0:17:42 | |
It's really an area of small antiques which has kept its value, I think. | 0:17:42 | 0:17:46 | |
Let's find out what the bidders in Cirencester think, shall we? It's going under the hammer. | 0:17:46 | 0:17:51 | |
Lot number 274 is the papier-mache snuff box, | 0:17:51 | 0:17:54 | |
decorated with the woodsman. | 0:17:54 | 0:17:58 | |
There we go, the woodsman there and who'll start me? | 0:17:58 | 0:18:00 | |
Should be 100 really. Start me 50? | 0:18:00 | 0:18:03 | |
£30. 30 I'm bid. At £30. | 0:18:03 | 0:18:06 | |
5 if you like now. At £30. | 0:18:06 | 0:18:08 | |
At £30, a nice little snuff box. £30 only. | 0:18:08 | 0:18:11 | |
5. 40. 5. | 0:18:11 | 0:18:14 | |
50. At £50. On the book here, at 50. | 0:18:14 | 0:18:17 | |
At £50. It's selling here at £50. | 0:18:17 | 0:18:19 | |
At £50. 5 anywhere? At £50. | 0:18:19 | 0:18:22 | |
You all sure? Selling here on the book. | 0:18:22 | 0:18:24 | |
At £50. Are you all done? | 0:18:24 | 0:18:26 | |
It's gone. | 0:18:26 | 0:18:28 | |
It's a good little treasure, that. | 0:18:28 | 0:18:30 | |
Perhaps I should have kept it. | 0:18:30 | 0:18:33 | |
Next up, something for all you fine art lovers. | 0:18:38 | 0:18:41 | |
It's my turn to be the expert. | 0:18:41 | 0:18:42 | |
It's a pair of oil paintings, possibly Irish. | 0:18:42 | 0:18:46 | |
They belong to Stephen. We've got £200 to £300 on this. | 0:18:46 | 0:18:49 | |
A little bit of damage. The paint's pulling off, sticking to the glass. | 0:18:49 | 0:18:54 | |
-I know Dad, bless him, touched the frames up, didn't he? -Yes. | 0:18:54 | 0:18:58 | |
With paint he found knocking around the house. | 0:18:58 | 0:19:01 | |
-That's the kind of thing we do, isn't it? -That's right. | 0:19:01 | 0:19:04 | |
-Your mum will be pleased, won't she? -She will. | 0:19:04 | 0:19:07 | |
She'll be watching right now. Betty, I hope you're enjoying this moment. | 0:19:07 | 0:19:10 | |
Stephen is flying the flag for you, OK. | 0:19:10 | 0:19:13 | |
They're going under the hammer, right now. | 0:19:13 | 0:19:15 | |
Lot number 322 is the Irish School portraits there | 0:19:15 | 0:19:21 | |
of the young boy and girl. | 0:19:21 | 0:19:23 | |
I can start you at 180. At 180 I have. | 0:19:23 | 0:19:27 | |
That's our fixed reserve. | 0:19:27 | 0:19:29 | |
190 now. At 180, 190. | 0:19:29 | 0:19:30 | |
200. 220. 240. 260. | 0:19:30 | 0:19:35 | |
At 260. 280 now. At 260. | 0:19:35 | 0:19:37 | |
280 on the phone, if you like. | 0:19:37 | 0:19:40 | |
At 280. 300. At 300. 320 to me now. | 0:19:40 | 0:19:45 | |
At 300. 320 on the phone. At 320. | 0:19:45 | 0:19:49 | |
340 now. At 320. It's on the phone. | 0:19:49 | 0:19:53 | |
At 320. 340. In the room again, 340. | 0:19:53 | 0:19:57 | |
360, if you like. | 0:19:57 | 0:19:59 | |
At 340, right in front of me now. | 0:19:59 | 0:20:00 | |
At £340. Are you sure? At 340. | 0:20:00 | 0:20:06 | |
That's good, that's a good result. | 0:20:06 | 0:20:09 | |
-There's a lot of work to do on those. -Sure. | 0:20:09 | 0:20:11 | |
That's good for you. You don't have to do it. | 0:20:11 | 0:20:14 | |
That's good. I'm glad they're going to somebody that'll treasure them. | 0:20:14 | 0:20:18 | |
And I hope mum's enjoyed this moment as well. | 0:20:18 | 0:20:21 | |
The money's going to mum, isn't it? | 0:20:21 | 0:20:22 | |
Yes, yes. We'll be making sure she's taken care of. | 0:20:22 | 0:20:26 | |
Oh, bless! He's a good lad, isn't he? | 0:20:26 | 0:20:30 | |
We'll be back in the auction room for more excitement later on | 0:20:30 | 0:20:33 | |
but first, I'm off to the country to find out about a man | 0:20:33 | 0:20:36 | |
whose discovery changed the face of medicine. | 0:20:36 | 0:20:40 | |
So, why am I standing by a row of cows in Gloucestershire? | 0:20:43 | 0:20:47 | |
Well, back in the 1700s, these animals gave one local man the answer | 0:20:47 | 0:20:52 | |
of how to protect generations of people against one of the most horrific diseases ever - smallpox. | 0:20:52 | 0:20:58 | |
In 18th century England, smallpox was one of the biggest killers. | 0:20:58 | 0:21:04 | |
This incurable disease wiped out large numbers of the world's population. | 0:21:04 | 0:21:08 | |
It started with flu-like symptoms, followed by a rash, | 0:21:08 | 0:21:12 | |
developing into blisters | 0:21:12 | 0:21:13 | |
that covered and disfigured the whole body. | 0:21:13 | 0:21:16 | |
There was no effective treatment once infection had taken hold | 0:21:16 | 0:21:19 | |
and the result was deafness, blindness and almost certain death. | 0:21:19 | 0:21:24 | |
But it was here, at this house in Berkeley, that Edward Jenner, a humble country doctor, | 0:21:30 | 0:21:35 | |
was to discover a breakthrough that could purge the world | 0:21:35 | 0:21:38 | |
of this killer disease and change medical history for good. | 0:21:38 | 0:21:42 | |
All he needed was the world to listen. | 0:21:42 | 0:21:45 | |
To understand why Jenner took on this killer disease, we need to go back to when he was a child. | 0:21:47 | 0:21:53 | |
The way to protect against smallpox back then was to infect the young | 0:21:53 | 0:21:57 | |
with the smallpox virus and hope they developed immunity, if they survived. | 0:21:57 | 0:22:02 | |
I caught up with Sarah Parker, the curator of the Jenner Museum, | 0:22:02 | 0:22:06 | |
to find out more about this strange practice called variolation. | 0:22:06 | 0:22:11 | |
What happened to Jenner and the other children when he was aged eight? | 0:22:14 | 0:22:17 | |
Jenner was orphaned, sadly, | 0:22:17 | 0:22:19 | |
at the age of five, and he was sent to boarding school locally in Wotton-under-Edge. | 0:22:19 | 0:22:24 | |
At the age of eight, he and his other fellow pupils were | 0:22:24 | 0:22:27 | |
locked in a barn and purged, bled and starved, | 0:22:27 | 0:22:32 | |
in preparation for this medical procedure called variolation. | 0:22:32 | 0:22:37 | |
-How long was this for? -It was for around about two weeks. | 0:22:37 | 0:22:40 | |
It was a really horrible procedure but not everybody could afford this technique. | 0:22:40 | 0:22:44 | |
In actual fact, he was one of the lucky ones, believe it or not. | 0:22:44 | 0:22:48 | |
-Psychologically, that's damaging for an eight year-old? -Terrifying. He didn't have his parents. | 0:22:48 | 0:22:53 | |
He was away from home. | 0:22:53 | 0:22:54 | |
He was systematically given this live smallpox from somebody who | 0:22:54 | 0:22:58 | |
got it in the village and then left to see whether it developed. | 0:22:58 | 0:23:02 | |
Even if they had survived, they could have been blinded, | 0:23:02 | 0:23:05 | |
they could have been deaf, had problems with their joints, such as arthritis. | 0:23:05 | 0:23:09 | |
It really was not just a disfiguring disease, potentially fatal, but generally horrific. | 0:23:09 | 0:23:15 | |
-But he was one of the lucky ones. -He was. | 0:23:15 | 0:23:18 | |
He did develop smallpox, which was the intention, but he didn't get it very badly. | 0:23:18 | 0:23:22 | |
He was determined, throughout his life, to come up with a better procedure | 0:23:22 | 0:23:27 | |
so that other children wouldn't have to go through this terrible experience. | 0:23:27 | 0:23:32 | |
After completing his training to be a physician in London, Edward Jenner returned to this house. | 0:23:34 | 0:23:40 | |
It was here that he started the bulk of his research into smallpox. | 0:23:40 | 0:23:46 | |
It was in this study, after years of research, Jenner finally thought | 0:23:46 | 0:23:49 | |
he'd found the answer and it lay right on his rural doorstep. | 0:23:49 | 0:23:54 | |
He had observed that many of the local milkmaids often developed | 0:23:54 | 0:23:58 | |
a non life-threatening disease called cowpox. | 0:23:58 | 0:24:01 | |
He believed there might be some truth in the folklore that cowpox provides some immunity to smallpox. | 0:24:01 | 0:24:07 | |
On 14th May, 1796, Jenner put his theory to the ultimate test. | 0:24:07 | 0:24:14 | |
He infected eight-year-old James Phipps with cowpox and then gave him a dose of smallpox. | 0:24:14 | 0:24:20 | |
The result was, it produced no effect. | 0:24:20 | 0:24:23 | |
Phipps was successfully inoculated. | 0:24:23 | 0:24:26 | |
Jenner knew he was on to something. | 0:24:26 | 0:24:29 | |
Jenner followed up this experiment with many others, which confirmed | 0:24:29 | 0:24:33 | |
his theory, that cowpox did indeed protect against smallpox. | 0:24:33 | 0:24:38 | |
This was the beginning of vaccination. | 0:24:38 | 0:24:41 | |
So we've got a vaccination against the disease. | 0:24:41 | 0:24:44 | |
Why didn't people start to use it? | 0:24:44 | 0:24:46 | |
Well, it's like most things. | 0:24:46 | 0:24:48 | |
People were resistant to change, as they are today. | 0:24:48 | 0:24:52 | |
Edward Jenner strived for 25 years before he actually came up with | 0:24:52 | 0:24:56 | |
his theory and his vaccination experiment. | 0:24:56 | 0:24:59 | |
Variolation, which was the established medical procedure at the time in this country, | 0:24:59 | 0:25:03 | |
was a very lucrative | 0:25:03 | 0:25:06 | |
and also very established procedure. The medical establishment - | 0:25:06 | 0:25:10 | |
the medical elite particularly - were definitely not willing to change. | 0:25:10 | 0:25:15 | |
They weren't particularly receptive to Jenner and his ideas. | 0:25:15 | 0:25:19 | |
He must have been so frustrated. | 0:25:19 | 0:25:21 | |
He was extremely frustrated, yes. | 0:25:21 | 0:25:23 | |
He was a man who just was trying to make a better medical procedure for everybody. | 0:25:23 | 0:25:28 | |
He wasn't trying to make money out of it. | 0:25:28 | 0:25:30 | |
Therefore, trying to get his ideas across against a huge backlash of opinion. | 0:25:30 | 0:25:35 | |
Many people thought that if you were to give somebody an animal derived substance like cowpox, | 0:25:35 | 0:25:42 | |
you would grow horns and udders and other cow-like features, which sounds ridiculous today. | 0:25:42 | 0:25:48 | |
Other people thought that, well, maybe you'd die of another disease. | 0:25:48 | 0:25:52 | |
There would be a population explosion and mass starvation. | 0:25:52 | 0:25:55 | |
The church weren't particularly happy for it to happen. | 0:25:55 | 0:25:58 | |
Everybody was against it. How did he make that break? | 0:25:58 | 0:26:01 | |
-He obviously needed somebody to champion this. -That's right. Yes. | 0:26:01 | 0:26:05 | |
Luckily, he also had a house in Cheltenham which, it was a spa town. It was the 18th century. | 0:26:05 | 0:26:11 | |
-Lots of the elite were there. -Exactly. Because he was a doctor, | 0:26:11 | 0:26:15 | |
he met lots of influential people, who became his friends. | 0:26:15 | 0:26:18 | |
Not least the 5th Earl of Berkeley, at Berkeley Castle. | 0:26:18 | 0:26:23 | |
If it wasn't for his friends, the aristocratic lords and ladies of the day, | 0:26:23 | 0:26:26 | |
he perhaps would never have got his idea off the ground. They really championed him. | 0:26:26 | 0:26:31 | |
Strong support was all Jenner needed for his reputation to be sealed worldwide. | 0:26:31 | 0:26:38 | |
He had succeeded against all the opposition. | 0:26:38 | 0:26:41 | |
In 1853, vaccination with the cowpox virus was made compulsory in this country. | 0:26:41 | 0:26:46 | |
While Jenner's ground-breaking discovery saved millions of lives, | 0:26:49 | 0:26:54 | |
the disease ravaged the poorer communities throughout the world, with 50 million new cases each year. | 0:26:54 | 0:27:00 | |
It wasn't until 1967 that the World Health Organisation instigated a mass vaccination programme. | 0:27:00 | 0:27:07 | |
In 1980, this disease was finally declared dead. | 0:27:07 | 0:27:11 | |
It still remains the only disease to be eradicated from the world in | 0:27:11 | 0:27:15 | |
its entirety, thanks largely to the pioneering work of Edward Jenner. | 0:27:15 | 0:27:20 | |
Despite Jenner's new found fame, he remained working here as a country doctor in Berkeley. | 0:27:24 | 0:27:29 | |
He used this small summerhouse, at the bottom of his back garden, to give free vaccinations to the poor. | 0:27:29 | 0:27:35 | |
It was his way of giving something back to the community that inspired him. | 0:27:35 | 0:27:40 | |
And now it's time to get back to the Subscription Rooms in Stroud | 0:27:52 | 0:27:56 | |
and find the next three items to take off to auction. | 0:27:56 | 0:27:59 | |
I think we may have got one. | 0:27:59 | 0:28:00 | |
Glynn, what a fabulous, impressive tureen that is. Tell me about it. | 0:28:06 | 0:28:11 | |
Basically, I came by it in the mid-'60s. | 0:28:11 | 0:28:15 | |
I bought it at a contents auction. | 0:28:15 | 0:28:17 | |
I paid £40 for it. | 0:28:17 | 0:28:19 | |
I got rather carried away. | 0:28:19 | 0:28:21 | |
-In the mid-'60s. -In the mid-'60s. | 0:28:21 | 0:28:23 | |
-My goodness! -It was a week's wages. | 0:28:23 | 0:28:26 | |
-Was it really? -Yes, it was. It's got no real value to us as such. | 0:28:26 | 0:28:30 | |
It's just a...it's just a pot, | 0:28:30 | 0:28:33 | |
filled with pills and receipts and all that sort of thing and that was about it. | 0:28:33 | 0:28:37 | |
We heard you were coming to Stroud so we thought we'd clean it up and bring it across here. | 0:28:37 | 0:28:42 | |
-It's had a polish specially. -Yes! | 0:28:42 | 0:28:44 | |
Well done. It is so neo-classical in its style. | 0:28:44 | 0:28:46 | |
That urnular shape - very delicate shape - very feminine. | 0:28:46 | 0:28:51 | |
Lots of ovals. There's not a straight line there. | 0:28:51 | 0:28:55 | |
That could only be maybe three or four periods in history. | 0:28:55 | 0:28:59 | |
The neo-classical fashion and movement started around 1770-1780. | 0:28:59 | 0:29:06 | |
It was during those wonderful excavations at Pompeii and Herculaneum | 0:29:06 | 0:29:10 | |
and they were discovering these wonderful shapes that were around 2,000 years earlier. | 0:29:10 | 0:29:15 | |
Any time you see these husks, swags and festoons - these little | 0:29:15 | 0:29:19 | |
oval roundels, known as patera, tied with ribbons at the top. | 0:29:19 | 0:29:23 | |
That's a classic, classic piece of design from this period. | 0:29:23 | 0:29:27 | |
What you would often have in the 18th century was, | 0:29:27 | 0:29:30 | |
services like this in silver and silver plate, actually copying the interior of the dining room. | 0:29:30 | 0:29:35 | |
The decorations and the swags on the walls would be on the ceiling, | 0:29:35 | 0:29:39 | |
on the walls, on the carpet, and then again on the silver service they'd be serving the food from. | 0:29:39 | 0:29:44 | |
-It would have looked fantastic out on the table. -It certainly would. | 0:29:44 | 0:29:48 | |
Now, value. | 0:29:48 | 0:29:51 | |
A week's wage in the 1960s. | 0:29:51 | 0:29:53 | |
I guess a week's wage today is going to be a few hundred pounds - £200, £300, £400. | 0:29:53 | 0:29:59 | |
-It's not going to make that. -No. -So, I'm afraid, investment-wise, it hasn't been a great one. | 0:29:59 | 0:30:04 | |
But you've enjoyed it and it's been useful over the years. | 0:30:04 | 0:30:07 | |
So, I guess today, if we put that into an auction, I'd expect it to make £100 to £150. | 0:30:07 | 0:30:12 | |
-Are you happy with that? -Yes, very happy. -Let's take it along. | 0:30:12 | 0:30:16 | |
Now, I've got a little two-year-old at home that would be rather taken with your pussycat. | 0:30:22 | 0:30:26 | |
Tell me, where did you get her from? | 0:30:26 | 0:30:28 | |
Cheltenham Antiques Fair one Sunday afternoon. | 0:30:28 | 0:30:33 | |
Right. Why did she catch your eye? | 0:30:33 | 0:30:35 | |
Well, I used to foster cats for the Cats Protection League, so I love cats. | 0:30:35 | 0:30:39 | |
-I just thought she was rather cute, yes. -How long ago did you buy her? | 0:30:39 | 0:30:44 | |
Between five and six years ago. | 0:30:44 | 0:30:46 | |
OK, so a little while ago. Can I ask what you paid for her? | 0:30:46 | 0:30:49 | |
-Can you remember? -Well, £40. -£40, OK. | 0:30:49 | 0:30:52 | |
Well, she is, of course - I'm sure you've seen the label - | 0:30:52 | 0:30:55 | |
she is made by the Chiltern factory, a well-known British toy manufacturer. | 0:30:55 | 0:31:01 | |
The factory was started actually in 1908 in Buckinghamshire, and | 0:31:01 | 0:31:06 | |
and the name of the factory was given to it by the Chiltern Hills in the area. | 0:31:06 | 0:31:12 | |
But, it then developed. | 0:31:12 | 0:31:14 | |
At first, they only produced dolls. | 0:31:14 | 0:31:16 | |
Then the first bear was made - the first teddy bear - in 1915, known as Master Teddy. | 0:31:16 | 0:31:22 | |
From then on, it developed small, soft toys and bears. | 0:31:22 | 0:31:27 | |
But a little pussycat, or even a kitten, | 0:31:27 | 0:31:30 | |
maybe, I think. It's just a little bit different, isn't it? | 0:31:30 | 0:31:34 | |
A little bit different from your average bear. | 0:31:34 | 0:31:37 | |
I rather like her. She's got these beautiful, blue, glass eyes. | 0:31:37 | 0:31:42 | |
She's almost got a little bit of a Siamese look to her, hasn't she? | 0:31:42 | 0:31:46 | |
And, I would say, synthetic fur, rather than mohair, | 0:31:46 | 0:31:51 | |
which would have been used in the '20s and '30s, | 0:31:51 | 0:31:55 | |
particularly for the teddy bears and soft toys. | 0:31:55 | 0:31:58 | |
We've just got a few little moth holes there, rather like the silk. | 0:31:58 | 0:32:02 | |
Otherwise, she's in very good order. | 0:32:02 | 0:32:05 | |
She's got that almost startled look that kittens have, which I think is quite charming. | 0:32:05 | 0:32:10 | |
So, you paid £40. | 0:32:10 | 0:32:14 | |
I would say, at auction today, that's probably about fair. | 0:32:14 | 0:32:18 | |
The thing about an auction is that you never know, | 0:32:18 | 0:32:22 | |
if two people rather like her, it can push the price up. | 0:32:22 | 0:32:26 | |
So, my estimate would be £40 to £60. | 0:32:26 | 0:32:29 | |
We could put a £40 reserve on it, if that's all right with you. | 0:32:29 | 0:32:33 | |
-That's fine, yes. -Is that OK? | 0:32:33 | 0:32:34 | |
-That's fine, Kate. -Why do you want to sell her now? | 0:32:34 | 0:32:37 | |
She's wrapped up in some bubble-wrap in an airtight container because I don't want her to deteriorate. | 0:32:37 | 0:32:43 | |
I think, "Well, that's a shame." | 0:32:43 | 0:32:45 | |
What about the grandchildren, won't they like her? | 0:32:45 | 0:32:48 | |
I think they prefer the more modern cuddly toys, really. | 0:32:48 | 0:32:52 | |
That's the thing about antique toys, if you like. Not that she is quite antique but... | 0:32:52 | 0:32:57 | |
I think some of them are a bit scary - the older ones. | 0:32:57 | 0:32:59 | |
That's quite sweet. In a way I shall be sorry. | 0:32:59 | 0:33:03 | |
I think, today, of course, we get worried, | 0:33:03 | 0:33:05 | |
well, I certainly do, with my children, about glass eyes, when you give it to a little one, | 0:33:05 | 0:33:10 | |
-all the safety precautions you have to have these days, which they didn't have then. -No. | 0:33:10 | 0:33:14 | |
-Nevertheless, I think she's super and I'm sure we can find her a good home. -OK, thanks. | 0:33:14 | 0:33:19 | |
Miriam, for me, a day at Flog It wouldn't be a good day without seeing a tea caddy. | 0:33:26 | 0:33:31 | |
I love them. I collect them. | 0:33:31 | 0:33:33 | |
About six years ago, I started writing a book on them | 0:33:33 | 0:33:36 | |
-and I'm still nowhere even near finished. -Really?! | 0:33:36 | 0:33:39 | |
One of the things I love about a caddy like this is you can tell | 0:33:39 | 0:33:42 | |
it's never been through the hands of the trade. | 0:33:42 | 0:33:45 | |
It's never been repolished, it's never been recleaned, it's never been altered. | 0:33:45 | 0:33:49 | |
It was inherited from my father. | 0:33:49 | 0:33:54 | |
He died about seven years ago. | 0:33:54 | 0:33:56 | |
And he probably had it from his second wife, whose name | 0:33:56 | 0:34:00 | |
was Wakefield, because I've found a W on the escutcheon there on the front. | 0:34:00 | 0:34:07 | |
-Oh, yeah. -So, | 0:34:07 | 0:34:08 | |
I suspect with the W that it probably came from my stepmother's family | 0:34:08 | 0:34:14 | |
rather than from my own. | 0:34:14 | 0:34:16 | |
It's a piece that dates back quite a long way. | 0:34:16 | 0:34:19 | |
-So, 1800, 1805, somewhere around there. -Quite early then, yes. | 0:34:19 | 0:34:25 | |
It is. 200 years old. | 0:34:25 | 0:34:27 | |
If we look inside, here we've got one compartment for green tea, one compartment for black tea. | 0:34:27 | 0:34:32 | |
And, if we just open that... | 0:34:32 | 0:34:36 | |
That hasn't been used for tea for a long time, has it? | 0:34:36 | 0:34:40 | |
No. I've never used it for tea and I don't think my father did, either. | 0:34:40 | 0:34:44 | |
When this was made 200 years ago, you wouldn't drink tea just at | 0:34:44 | 0:34:48 | |
the table, out of a mug, it would be fine porcelain. | 0:34:48 | 0:34:51 | |
The servant would bring the tea caddy to the lady of the house, who would unlock it, | 0:34:51 | 0:34:56 | |
blend the tea, lock the tea caddy away again and it would go back. | 0:34:56 | 0:35:00 | |
The whole tea ceremony would be at a table, known as a tea table, especially for tea drinking. | 0:35:00 | 0:35:06 | |
The whole thing was all about the tea. | 0:35:06 | 0:35:09 | |
Of course, if you've been a Flog It watcher, you will know that tea | 0:35:09 | 0:35:13 | |
in the Georgian period is actually more expensive per gram than gold. | 0:35:13 | 0:35:17 | |
-Really?! -It was incredibly expensive. | 0:35:17 | 0:35:21 | |
This sort of caddy, being tortoiseshell, it's had a few problems. | 0:35:21 | 0:35:25 | |
Probably only one problem really, in its lifetime. | 0:35:25 | 0:35:28 | |
It seems to have been dropped on this corner. | 0:35:28 | 0:35:33 | |
And tortoiseshell collectors are very bothered about the panels and the condition of the panel. | 0:35:33 | 0:35:38 | |
I'm very glad to say that you can't buy tortoiseshell today, it's totally illegal. | 0:35:38 | 0:35:43 | |
And, whatever this is repaired with, | 0:35:43 | 0:35:46 | |
will be what we call a breakers piece, | 0:35:46 | 0:35:49 | |
something that is like this but not in such good condition. | 0:35:49 | 0:35:52 | |
So, if they've got another tea caddy with a back panel that is good, | 0:35:52 | 0:35:57 | |
they will take a section out and replace that section. | 0:35:57 | 0:36:00 | |
Of course it's quite an expensive job to replace. | 0:36:00 | 0:36:03 | |
If it was perfect, | 0:36:03 | 0:36:05 | |
I think that would have a hammer price of about £1,000. | 0:36:05 | 0:36:10 | |
I think, to get it repaired and restored, is going to be say, £400. | 0:36:10 | 0:36:15 | |
If we put an auction estimate of £500 to £800, | 0:36:15 | 0:36:19 | |
put a reserve of £500 and don't let it go below that, | 0:36:19 | 0:36:23 | |
-let's hope we can celebrate with something stronger than tea. -A very good idea. | 0:36:23 | 0:36:28 | |
So, now it's time for our final trip to the auction room and here's a reminder of what we're taking. | 0:36:28 | 0:36:34 | |
First, the silver plated tureen that caused Glynn to be a big spender in his youth. | 0:36:34 | 0:36:40 | |
I paid £40 for it. I got rather carried away. | 0:36:40 | 0:36:43 | |
In the mid-'60s? Oh, my goodness. | 0:36:43 | 0:36:46 | |
It was a week's wages. | 0:36:46 | 0:36:47 | |
So he needs to make the top end of James's £100-£150 estimate. | 0:36:47 | 0:36:52 | |
And Rita is very attached to that toy cat, made by the Chiltern factory. | 0:36:52 | 0:36:58 | |
It would have to be a lot more than the £40 she paid for her to part with it. | 0:36:58 | 0:37:03 | |
Finally, that Regency tortoiseshell tea caddy, belonging to Miriam, | 0:37:03 | 0:37:08 | |
that James fell in love with. | 0:37:08 | 0:37:09 | |
Before the sale got under way, I caught up with auctioneer Philip Allwood, | 0:37:09 | 0:37:14 | |
to see if he was an excited about the tea caddy as we were. | 0:37:14 | 0:37:17 | |
I like this a lot - Miriam's tea caddy. Regency, tortoiseshell, as you know. | 0:37:19 | 0:37:24 | |
£500 to £800 put on by James Lewis. | 0:37:24 | 0:37:26 | |
-He is a bit of a tea caddy fanatic. Collects them, I believe. -Does he? | 0:37:26 | 0:37:30 | |
Yeah, and it's been in the family quite a long time. | 0:37:30 | 0:37:33 | |
She's had it seven years. Her father gave it to her. | 0:37:33 | 0:37:36 | |
I wouldn't disagree with anything regarding the attribution or the value. | 0:37:36 | 0:37:41 | |
Good looking example, fairly standard. | 0:37:41 | 0:37:45 | |
Just a couple of things that are wrong with it - a little chip on the ivory there. | 0:37:45 | 0:37:50 | |
It can be sorted out though. | 0:37:50 | 0:37:52 | |
Exactly! Nothing disastrous. | 0:37:52 | 0:37:54 | |
But, a good-looking piece in good colour. | 0:37:54 | 0:37:56 | |
I see no problem getting that sort of money. | 0:37:56 | 0:37:59 | |
I'd like to see this do the top end of the estimate and a little bit more. It's all down to you. | 0:37:59 | 0:38:05 | |
It'll be fine. | 0:38:05 | 0:38:06 | |
Well, we'll soon find out but first, Glynn is hoping to say goodbye to his tureen. | 0:38:06 | 0:38:12 | |
I wish it was silver but it's not solid silver. | 0:38:12 | 0:38:15 | |
That's why we've got a value of £100 to £150. And it's Glynn's and I think this is style. | 0:38:15 | 0:38:21 | |
-If it was real silver, would you be keeping it? -Yes! | 0:38:21 | 0:38:25 | |
I can see what you saw in it. | 0:38:25 | 0:38:27 | |
Hopefully, there are half a dozen people who will think the same. | 0:38:27 | 0:38:31 | |
Good luck. It's going under the hammer now. | 0:38:31 | 0:38:33 | |
Lot 294 is the silver-plated vegetable tureen, | 0:38:33 | 0:38:37 | |
in the Adam manner. | 0:38:37 | 0:38:38 | |
A very classy-looking piece this - good-looking piece. | 0:38:38 | 0:38:41 | |
Where are you going to be for that? I can start you at 110. | 0:38:41 | 0:38:45 | |
At 110 I have. | 0:38:45 | 0:38:46 | |
-A good-looking piece at 110. 120. 130. 140. 150. 160. -It was a looker. | 0:38:46 | 0:38:50 | |
170. 180. The book's out at 180. | 0:38:50 | 0:38:53 | |
190 now. At £180. On my left now. | 0:38:53 | 0:38:57 | |
At 180. 190 anywhere? At 180. | 0:38:57 | 0:39:01 | |
Well, how about that? I knew it would sell. What a looker! | 0:39:01 | 0:39:05 | |
It had everything going for it. | 0:39:05 | 0:39:08 | |
I'm hoping there are lots of cat lovers in the saleroom right now. | 0:39:11 | 0:39:15 | |
I've just been joined by Rita and we've got the little synthetic fur pussycat, | 0:39:15 | 0:39:20 | |
hopefully with the purr-fect valuation put on by Kate. | 0:39:20 | 0:39:23 | |
I know you do like the little cat and we had a reserve of £40 | 0:39:23 | 0:39:26 | |
but Rita has now upped it to 50. | 0:39:26 | 0:39:32 | |
-Well, he's special. -Yes, he is. | 0:39:32 | 0:39:34 | |
-Yeah. -I almost had second thoughts about it. | 0:39:34 | 0:39:37 | |
I don't mind if I take it home. | 0:39:37 | 0:39:39 | |
We're going to find out, aren't we? It's going under the hammer now. | 0:39:39 | 0:39:44 | |
Lot number 217 is the Chilterns Hygienic Toys cat - | 0:39:44 | 0:39:49 | |
the gold plush cat. | 0:39:49 | 0:39:51 | |
Nice little piece there. | 0:39:51 | 0:39:54 | |
Good condition. Where are you going to be for that? Who'll start me? | 0:39:54 | 0:39:57 | |
Start me 50. 30 to get on then. | 0:39:57 | 0:40:00 | |
At 20 I'm bid only, then. At £20. | 0:40:00 | 0:40:03 | |
Five if you like. £20. At five. | 0:40:03 | 0:40:05 | |
At £25 for the cat. At £25. At 30. | 0:40:05 | 0:40:09 | |
Five. At 35. 40 now. | 0:40:09 | 0:40:11 | |
At £35. At £35. 40 anywhere? | 0:40:11 | 0:40:15 | |
At £35. Are you sure now? | 0:40:15 | 0:40:17 | |
At £35. Are you all done at 35? | 0:40:17 | 0:40:21 | |
He's going home, Rita. | 0:40:21 | 0:40:23 | |
There's a big smile on your face. | 0:40:23 | 0:40:25 | |
I think it's ended up quite well, Kate. | 0:40:25 | 0:40:28 | |
-I'm so pleased. -It will be good if all our clients were that pleased if things didn't sell. | 0:40:28 | 0:40:33 | |
I'm really pleased. | 0:40:33 | 0:40:35 | |
-If you do want to sell it in the future... -I don't think I will. | 0:40:35 | 0:40:38 | |
I'll put it down to a Flog It! moment. | 0:40:38 | 0:40:40 | |
Yeah. Give him a name as well. | 0:40:40 | 0:40:42 | |
-I will. -A specialist toy sale is probably the place to get more. | 0:40:42 | 0:40:46 | |
I shan't sell it, I promise you. | 0:40:46 | 0:40:48 | |
-It means too much. -It does now. -Yeah, of course it does. | 0:40:48 | 0:40:51 | |
Miriam, this is definitely the best lot in the sale. | 0:40:57 | 0:41:01 | |
-It's my favourite item. -Really? | 0:41:01 | 0:41:03 | |
Regency tea caddy. We've got £500-£800 riding on this. I had a chat to the auctioneer | 0:41:03 | 0:41:07 | |
and I said, "Come on, top end, plus a little bit more". | 0:41:07 | 0:41:11 | |
He went, "Yes". He didn't put his neck on the block. | 0:41:11 | 0:41:13 | |
So, why do you want to sell this? It's so gorgeous! Why? | 0:41:13 | 0:41:18 | |
Well, I don't know. It was a bit grubby when I first had it, actually. | 0:41:18 | 0:41:21 | |
It wasn't until just recently I cleaned it up. | 0:41:21 | 0:41:24 | |
I must say I thought it looked nicer. | 0:41:24 | 0:41:27 | |
Hopefully we'll get 800 plus. | 0:41:27 | 0:41:29 | |
800 is what I think. I'm hoping it will make 800. | 0:41:29 | 0:41:31 | |
-Really? That's good. -Top end. | 0:41:31 | 0:41:33 | |
-Fingers crossed. -Well, yeah. | 0:41:33 | 0:41:35 | |
-Good luck. Enjoy this moment. -I shall. | 0:41:35 | 0:41:37 | |
We can't talk anymore. This is it. | 0:41:37 | 0:41:39 | |
Lot number 196 is the Regency tortoiseshell tea caddy. | 0:41:39 | 0:41:45 | |
-There we go. Nice little piece there. -Good luck. | 0:41:45 | 0:41:48 | |
Thank you. | 0:41:48 | 0:41:50 | |
Good-looking piece. | 0:41:50 | 0:41:52 | |
I can start here on the book | 0:41:52 | 0:41:55 | |
at £440. At 440. | 0:41:55 | 0:42:01 | |
I'll take 460, if you like now. | 0:42:01 | 0:42:02 | |
At 440. 460. | 0:42:02 | 0:42:04 | |
480. | 0:42:04 | 0:42:07 | |
500. 520. | 0:42:07 | 0:42:10 | |
540. 560. | 0:42:10 | 0:42:12 | |
580. 600. | 0:42:12 | 0:42:16 | |
At 600. 620 now. At £600. | 0:42:16 | 0:42:19 | |
620, can I say anywhere? 620. | 0:42:19 | 0:42:22 | |
640. 660. The book's out at 660. | 0:42:22 | 0:42:24 | |
At £660. 680 anywhere now? At 660. | 0:42:24 | 0:42:32 | |
-Done. -That's OK. | 0:42:32 | 0:42:34 | |
-That's fine. -Well, that's... -It got over mid-estimate. | 0:42:34 | 0:42:37 | |
You've got 15% to pay on top of that so that has made £780. That's fine. | 0:42:37 | 0:42:44 | |
You've got a bit of commission to pay, the odd 15%. | 0:42:44 | 0:42:48 | |
-What are you going to put your money towards? -Well, we're going on a holiday to... | 0:42:48 | 0:42:52 | |
We're going on a cruise up the Baltic to St Petersburg. | 0:42:52 | 0:42:56 | |
-Oh, lovely! -I'm going to put a bit of money towards that. | 0:42:56 | 0:43:02 | |
-That was a gorgeous item. -It was. | 0:43:02 | 0:43:04 | |
-Yeah. -Lovely! My favourite thing. | 0:43:04 | 0:43:06 | |
Well, that's it. It's all over for our owners but the auction's still going - | 0:43:11 | 0:43:15 | |
it's going on outside. | 0:43:15 | 0:43:17 | |
What a cracking day we've had here. Our experts are on the money. | 0:43:17 | 0:43:21 | |
Phillip Allwood did us proud - a great auctioneer. | 0:43:21 | 0:43:24 | |
All I can say is, I can't wait to come back. | 0:43:24 | 0:43:26 | |
So, until the next time, it's cheerio. | 0:43:26 | 0:43:29 | |
Subtitles by Red Bee Media Ltd | 0:43:47 | 0:43:50 | |
E-mail [email protected] | 0:43:50 | 0:43:53 |