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We're in a Scottish town most people associate with a football club. | 0:00:01 | 0:00:05 | |
Welcome to Flog It!, from Kilmarnock! | 0:00:05 | 0:00:07 | |
CHEERING | 0:00:07 | 0:00:09 | |
We're at the Palace Theatre | 0:00:31 | 0:00:33 | |
and there is a massive crowd gathering, | 0:00:33 | 0:00:35 | |
all laden with antiques and collectables. | 0:00:35 | 0:00:38 | |
-Are they any Kilmarnock supporters here? -Yes! -Yes! That is good news. | 0:00:38 | 0:00:41 | |
Our two experts today are James Lewis and David Fletcher, | 0:00:41 | 0:00:44 | |
and let's hope they're big fans of what this lot have brought along. | 0:00:44 | 0:00:48 | |
In fact, we're going to find out when we get inside. | 0:00:48 | 0:00:50 | |
It's now 9:30 and it's time to kick off. | 0:00:50 | 0:00:53 | |
And before full time, there's plenty of excitement to come. | 0:00:53 | 0:00:57 | |
We've got girl power at the auction. | 0:00:58 | 0:01:00 | |
as "Flog It!" favourite Anita Manning and her daughter Lala | 0:01:00 | 0:01:03 | |
team up with some great results. | 0:01:03 | 0:01:07 | |
With Lala on the phone at £210. | 0:01:07 | 0:01:09 | |
Brilliant. We're smashing our targets. | 0:01:09 | 0:01:12 | |
So let's get cracking with the first item of the day, and James is kicking off. | 0:01:12 | 0:01:17 | |
LAUGHTER | 0:01:17 | 0:01:19 | |
Kate, tell me, are you a great snuff-taker? | 0:01:21 | 0:01:24 | |
-I certainly am not, no! -No? | 0:01:24 | 0:01:25 | |
You don't have the brown stains on your upper lip that give it away? | 0:01:25 | 0:01:28 | |
I hope not. | 0:01:28 | 0:01:31 | |
So what are you doing with a snuff box? | 0:01:31 | 0:01:34 | |
Well, this snuff box was passed down to me from my parents. | 0:01:34 | 0:01:38 | |
My memory of it is my mother, who was a very keen floral arranger, | 0:01:38 | 0:01:42 | |
-making lovely miniature arrangements in it. -Oh, really? -Yes. | 0:01:42 | 0:01:46 | |
She used to go to rural competitions and things like that | 0:01:46 | 0:01:49 | |
and always wanted to do well. | 0:01:49 | 0:01:51 | |
But that's my memory of it and ever since I've had it, | 0:01:51 | 0:01:55 | |
-it's been sitting in a cabinet doing very little. -Ah. | 0:01:55 | 0:01:59 | |
I thought, "I'll bring it along, see what you can tell me about it." | 0:01:59 | 0:02:02 | |
I love it. One of the main reasons why I love it | 0:02:02 | 0:02:05 | |
-is because it's so plain, so simple. -Yes. | 0:02:05 | 0:02:08 | |
It's engine-turned in bands, very plain, simple designs. | 0:02:08 | 0:02:13 | |
And we've got this engine-turning on the sides all the way round | 0:02:13 | 0:02:18 | |
and underneath. | 0:02:18 | 0:02:19 | |
And what's slightly unusual is you would normally find | 0:02:19 | 0:02:22 | |
what we call a cartouche, a little plain area | 0:02:22 | 0:02:25 | |
where the owner can engrave their initials or their crest | 0:02:25 | 0:02:28 | |
or their family coat of arms. | 0:02:28 | 0:02:30 | |
-On this one, there's nowhere for that. -There's nothing like that, no. | 0:02:30 | 0:02:34 | |
So if we open it up... | 0:02:34 | 0:02:36 | |
Lovely. Silver-gilt inside. | 0:02:36 | 0:02:38 | |
That prevents the acid in the snuff attacking the silver and reacting, | 0:02:38 | 0:02:43 | |
and making the silver turn green. | 0:02:43 | 0:02:44 | |
We've got a nice, clear set of hallmarks. | 0:02:44 | 0:02:47 | |
WT for the maker, | 0:02:47 | 0:02:49 | |
the lion passant, which is the mark for English silver, | 0:02:49 | 0:02:52 | |
the leopard's head with the crown, which is the mark for London. | 0:02:52 | 0:02:55 | |
The head of George III, which means the duty or the tax has been paid on the silver, | 0:02:55 | 0:03:00 | |
and a date letter there, which is the R for 1811, 1812. | 0:03:00 | 0:03:04 | |
-Oh, right. -A really nice early one. | 0:03:04 | 0:03:06 | |
I didn't realise it was as old as that. | 0:03:06 | 0:03:08 | |
-200 years. -Nearly 200 years old. -Yes. | 0:03:08 | 0:03:11 | |
-What do you think it's worth? -Actually, I haven't a clue, really, to be quite honest. | 0:03:11 | 0:03:15 | |
Obviously it's silver, so would it be about £100? | 0:03:15 | 0:03:21 | |
Shall we swap seats? | 0:03:21 | 0:03:22 | |
-You're spot-on. -Really? -Yes. | 0:03:23 | 0:03:26 | |
-Am I? -Yes. -I hadn't a clue! Is that right? Oh, well. | 0:03:26 | 0:03:29 | |
It's a predictably boring auctioneer's estimate of £80-£120. | 0:03:29 | 0:03:34 | |
-Is it? Uh-huh. -£100 is spot-on. -Well, that sounds very good. | 0:03:34 | 0:03:39 | |
-Yeah? Is that all right? -Yes, absolutely. | 0:03:39 | 0:03:41 | |
-Protect it with a reserve. £80 as a reserve? -That sounds fine. | 0:03:41 | 0:03:44 | |
If it doesn't make that, you can take it home | 0:03:44 | 0:03:47 | |
-and do flower arrangements again. -I can't, really. | 0:03:47 | 0:03:50 | |
You need a bit of training for that. | 0:03:50 | 0:03:52 | |
-Hello, Alexandra. -Oh, call me Sandra. -Sandra? -Yes. | 0:03:57 | 0:04:00 | |
-OK. Don't you like Alexandra? -No, that's my Sunday name. | 0:04:00 | 0:04:05 | |
Your Sunday name, OK. | 0:04:05 | 0:04:07 | |
-As this isn't Sunday, I will call you Sandra. -Thank you. | 0:04:07 | 0:04:10 | |
Welcome. I love this. What can you tell me about it? | 0:04:10 | 0:04:13 | |
Well, it's a family piece. | 0:04:13 | 0:04:16 | |
It's been in the family for as long as I can remember | 0:04:16 | 0:04:19 | |
and it always intrigued me because of its odd shape. | 0:04:19 | 0:04:22 | |
I always thought it was the "gone-wrong" jug | 0:04:22 | 0:04:24 | |
because of its back - it wasn't round. | 0:04:24 | 0:04:27 | |
Yes, you're right. One side has been almost shaved off, hasn't it? | 0:04:27 | 0:04:30 | |
-Do you know where it was made? -I think it was Royal Worcester. | 0:04:30 | 0:04:34 | |
Absolutely right. | 0:04:34 | 0:04:35 | |
-I'm sure you've looked underneath. -Yes. | 0:04:35 | 0:04:37 | |
You can learn so much about Royal Worcester by doing just that. | 0:04:37 | 0:04:41 | |
The Royal Worcester mark is a printed mark | 0:04:41 | 0:04:44 | |
and it has a series of dots. | 0:04:44 | 0:04:46 | |
The first dot appears in 1892 | 0:04:46 | 0:04:51 | |
and the second dot, 1893, and so on. | 0:04:51 | 0:04:55 | |
As we can see, this has two dots, so that makes 1893. | 0:04:55 | 0:05:00 | |
-Right. -Late Victorian, in other words. | 0:05:00 | 0:05:03 | |
And what's more, by looking at this, we have the shape, | 0:05:03 | 0:05:07 | |
we can identify the shape as well. | 0:05:07 | 0:05:09 | |
-That 1094 is the shape number. -Right. | 0:05:09 | 0:05:12 | |
That shape number was available in various sizes. | 0:05:12 | 0:05:16 | |
-It was a very popular shape number. I know you don't like it. -No. | 0:05:16 | 0:05:20 | |
But the Victorians did. | 0:05:21 | 0:05:23 | |
The decoration is hand-painted | 0:05:23 | 0:05:26 | |
but it's hand-painted over a transfer print, | 0:05:26 | 0:05:30 | |
and it meant that the person who was painting the pattern | 0:05:30 | 0:05:33 | |
didn't have to be quite as talented | 0:05:33 | 0:05:35 | |
as they might have had to have been had they been working freehand. | 0:05:35 | 0:05:39 | |
OK, it's now my job to tell you what I think it might make | 0:05:39 | 0:05:42 | |
and I would estimate this at between | 0:05:42 | 0:05:46 | |
-£50 and £80. -Mm-hm. | 0:05:46 | 0:05:49 | |
To safeguard it, I think we should put a reserve of £50 on it. | 0:05:49 | 0:05:52 | |
I'm quite happy with that. | 0:05:52 | 0:05:54 | |
And let's hope there are more people out there who, unlike you, | 0:05:54 | 0:05:58 | |
-do like this... -Gone-wrong jug. -..gone-wrong jug more than you do. | 0:05:58 | 0:06:02 | |
Look what I've found - some bloomers. | 0:06:08 | 0:06:11 | |
Or ladies' undergarments. | 0:06:11 | 0:06:13 | |
-They're early 20th century, those ones. They're machine-made. -Yeah. | 0:06:13 | 0:06:17 | |
-You actually make lace, don't you? -I do make lace, yes. | 0:06:17 | 0:06:21 | |
-How did that come about? -It was a family holiday we took some years ago | 0:06:21 | 0:06:25 | |
in Loughborough University. | 0:06:25 | 0:06:27 | |
They did summer schools and I had a choice between | 0:06:27 | 0:06:29 | |
violin-making or lace-making. | 0:06:29 | 0:06:31 | |
-I chose the lace-making. -Is it a hobby or a profession? -A hobby. | 0:06:31 | 0:06:35 | |
You can't make money at it, it's just... | 0:06:35 | 0:06:37 | |
I know the ladies in Bruges, over in Belgium, | 0:06:37 | 0:06:41 | |
that's the centre of excellence for lace-making, as far as I'm concerned, | 0:06:41 | 0:06:45 | |
-and you can still see those sweet old ladies sitting outside their cottages. -Oh, yes. | 0:06:45 | 0:06:49 | |
Tourist pieces but nevertheless. | 0:06:49 | 0:06:51 | |
I mean, my eye gravitates towards that piece | 0:06:51 | 0:06:55 | |
because that looks handmade. | 0:06:55 | 0:06:57 | |
-Yes, that's Brussels lace. -That's Brussels, is it? | 0:06:57 | 0:07:00 | |
-Any damage? -Yes, there is some. -Oh, is there? -Yes. | 0:07:00 | 0:07:03 | |
But it's been beautifully repaired at some point. | 0:07:03 | 0:07:06 | |
-Oh, gosh. -It's quite large, this one. -It is, yeah. It's quite a big one. | 0:07:06 | 0:07:10 | |
Look at that. | 0:07:10 | 0:07:12 | |
It's been beautifully patched, if I can find it. | 0:07:12 | 0:07:15 | |
-And that's all handmade, isn't it? -Yes. | 0:07:15 | 0:07:18 | |
The netting is machine-made, I'm almost certain. | 0:07:18 | 0:07:23 | |
But these will be handmade. You can see it's been appliqued onto the net. | 0:07:23 | 0:07:27 | |
-You can see the netting at the back. -How did you come by this? | 0:07:27 | 0:07:30 | |
I think it was a collectors' fair. | 0:07:32 | 0:07:34 | |
I found it in a box and the woman said, "I'm awfully sorry, | 0:07:34 | 0:07:39 | |
"I'll need to charge you £12 for it." | 0:07:39 | 0:07:41 | |
And I said, "Yes, please." | 0:07:41 | 0:07:43 | |
-Yes! You couldn't give her the money fast enough. -No, no. | 0:07:43 | 0:07:47 | |
This is a late Victorian piece. This is very, very nice. | 0:07:47 | 0:07:51 | |
-Oh, there's one patch, there. You see how it's been mended? -Oh, yes. | 0:07:51 | 0:07:56 | |
-Isn't that beautiful? -That's quite skilfully done. | 0:07:56 | 0:07:59 | |
-I think there's a fair bit of value in that one alone. -That's good. | 0:07:59 | 0:08:02 | |
-So that's good news, isn't it? -More than my £12. | 0:08:02 | 0:08:06 | |
-What else have we got? -This is a machine-made shawl, | 0:08:06 | 0:08:10 | |
-which put the handmade lace-makers out of work, more or less. -Yeah. | 0:08:10 | 0:08:15 | |
-You can see it's flatter. -It's busier. | 0:08:15 | 0:08:17 | |
Yeah, there's a lot more in it. | 0:08:17 | 0:08:19 | |
It's flatter and it doesn't have the life that the home-made one does. | 0:08:19 | 0:08:23 | |
There's no lift from the extra thread, | 0:08:23 | 0:08:25 | |
just the continuous going over | 0:08:25 | 0:08:28 | |
-and fattening up certain pieces. -Yeah. | 0:08:28 | 0:08:31 | |
So we've got the bloomers, we've got a lovely bit of handmade work, | 0:08:31 | 0:08:35 | |
some machine work, there. | 0:08:35 | 0:08:37 | |
Any idea of the combined value? | 0:08:37 | 0:08:39 | |
I've no idea because it's not something I've bought for... | 0:08:39 | 0:08:43 | |
-Investment. -..investment. | 0:08:43 | 0:08:45 | |
It's just something I've acquired, mostly. | 0:08:45 | 0:08:48 | |
-Well, I think that's your key factor... -Uh-huh. Yeah. | 0:08:48 | 0:08:52 | |
..that handmade shawl, really. | 0:08:52 | 0:08:54 | |
And that will help get the rest away. There's some fun items. | 0:08:54 | 0:08:58 | |
How about giving them a value of £75 to £100? | 0:08:58 | 0:09:02 | |
I'm surprised. That's much more than I would have thought, actually. | 0:09:02 | 0:09:06 | |
Well, I think there'll be textile dealers and collectors there | 0:09:06 | 0:09:10 | |
and it's a lot they will be interested in. | 0:09:10 | 0:09:12 | |
Let's put it in with a value of £75-£100, | 0:09:12 | 0:09:14 | |
-with 10% discretion on the 75. -That sounds fine to me. | 0:09:14 | 0:09:17 | |
-There's something for everybody here. -Good. | 0:09:17 | 0:09:19 | |
Frank, tell me, that is a really dainty, feminine watch | 0:09:25 | 0:09:28 | |
for a bloke like you to have here at Flog It! | 0:09:28 | 0:09:30 | |
-How come you've got it? -Well, I was given it from an aunt and uncle from the States | 0:09:30 | 0:09:35 | |
about 20, 25 years ago. | 0:09:35 | 0:09:36 | |
And they're no longers with me | 0:09:36 | 0:09:40 | |
but that's one of the things they gave me when I visited them over there. | 0:09:40 | 0:09:44 | |
Ah. Well, it's a lovely quality watch | 0:09:44 | 0:09:46 | |
and the first thing that strikes me is this wonderful enamelling | 0:09:46 | 0:09:51 | |
on the wires. We've got swallow-tailed birds. | 0:09:51 | 0:09:54 | |
They're meant to be swallows | 0:09:54 | 0:09:56 | |
but they're artist's impressions of swallows, I think, | 0:09:56 | 0:09:59 | |
resting on their telegraph wires. | 0:09:59 | 0:10:02 | |
And right in the centre of these swallows | 0:10:02 | 0:10:07 | |
we've got two old, brilliant-cut stones. | 0:10:07 | 0:10:11 | |
They're certainly diamonds, beautifully mounted. | 0:10:11 | 0:10:14 | |
If we open it up... Lovely. | 0:10:14 | 0:10:17 | |
-You say you brought it back from America. It's an American watch. -Yeah. | 0:10:17 | 0:10:20 | |
It's by the Elgin watch company, based in Illinois. | 0:10:20 | 0:10:25 | |
Elgin were the probably the leading exporters | 0:10:25 | 0:10:28 | |
-of pocket watches from America... -OK. | 0:10:28 | 0:10:30 | |
..into Europe in the early part of the 20th century. | 0:10:30 | 0:10:34 | |
This is a lovely quality one. 14-carat gold, made in America. | 0:10:34 | 0:10:38 | |
The case is American, as well as the movement. | 0:10:38 | 0:10:41 | |
One of the good things about Elgin, they were established in 1864, | 0:10:41 | 0:10:45 | |
and one of the things that they did, they numbered every single watch | 0:10:45 | 0:10:49 | |
and if we look in the back here, we've got the serial number 5714662. | 0:10:49 | 0:10:55 | |
That will tell us the exact date that this watch was made, | 0:10:55 | 0:11:00 | |
and it's somewhere between 1890 and 1895, | 0:11:00 | 0:11:04 | |
somewhere around there. | 0:11:04 | 0:11:05 | |
So it's a very pretty little thing. | 0:11:05 | 0:11:07 | |
Now, value. Any ideas? | 0:11:07 | 0:11:10 | |
Not got a clue. | 0:11:10 | 0:11:12 | |
-I think the right auction estimate would be 300-400. -Yeah? | 0:11:12 | 0:11:16 | |
I think and I hope it'll make the top end. | 0:11:16 | 0:11:19 | |
We need to think about a reserve to protect it. Is 300 OK? | 0:11:19 | 0:11:24 | |
-Yeah, that's fine. -Yeah? 300 reserve, 300-400 estimate - | 0:11:24 | 0:11:27 | |
-let's see what it does. -That's great. Thank you. | 0:11:27 | 0:11:30 | |
We've been working flat-out this morning, | 0:11:34 | 0:11:36 | |
we've found our first few items | 0:11:36 | 0:11:38 | |
and everybody has enjoyed themselves. | 0:11:38 | 0:11:40 | |
It's time to go to the auction room, so while we make our way there, | 0:11:40 | 0:11:44 | |
we'll leave you with a casting list of our star performers. | 0:11:44 | 0:11:48 | |
This 19th-century silver snuff box caught James' eye | 0:11:48 | 0:11:51 | |
and it looks like he met his match with its owner, Kate. | 0:11:51 | 0:11:54 | |
-What do you think it's worth? -Would it be about £100? | 0:11:54 | 0:11:58 | |
Shall we swap seats? You're spot-on. | 0:11:58 | 0:12:01 | |
-Really? -Yeah. | 0:12:01 | 0:12:04 | |
Let's hope it all goes right with Sandra's gone-wrong jug, | 0:12:04 | 0:12:07 | |
the oddly shaped piece of Royal Worcester, | 0:12:07 | 0:12:09 | |
valued at £50-£80. | 0:12:09 | 0:12:12 | |
I've been checking out Hazel's drawers. | 0:12:12 | 0:12:15 | |
Look what I've found. Some bloomers. | 0:12:15 | 0:12:18 | |
Or ladies' undergarments. | 0:12:18 | 0:12:20 | |
Her drawers full of vintage lace and other textiles, that is, | 0:12:20 | 0:12:23 | |
and I think she could stitch up £75-£100. | 0:12:23 | 0:12:28 | |
And James loves Frank's early 20th-century hunter watch. | 0:12:28 | 0:12:31 | |
Let's hope they love it enough at the auction | 0:12:31 | 0:12:34 | |
to pay his £300-£400 estimate. | 0:12:34 | 0:12:37 | |
All those items could get a flying start | 0:12:37 | 0:12:40 | |
at Great Western Auctions in Glasgow | 0:12:40 | 0:12:42 | |
because today we have Anita Manning wielding the gavel. | 0:12:42 | 0:12:46 | |
200. | 0:12:46 | 0:12:47 | |
There is around about 800 lots in today's sale, | 0:12:47 | 0:12:50 | |
so we'd better get started. | 0:12:50 | 0:12:52 | |
Time's up for the gold half hunter pocket watch belonging to Frank, | 0:12:59 | 0:13:03 | |
who's brought his son Greg along. How old are you, Greg? | 0:13:03 | 0:13:06 | |
-Are you going to speak? -Come on, we've been practising this. | 0:13:06 | 0:13:09 | |
-Two! -Three. | 0:13:09 | 0:13:11 | |
-Three! -Three! That did the trick, James. He's three. | 0:13:11 | 0:13:15 | |
We're looking at £300-£400 for the half hunter. | 0:13:15 | 0:13:18 | |
-It is quality. -Lovely quality, great enamel work. A lovely watch. | 0:13:18 | 0:13:23 | |
It's something that if you pick up, you don't want to put down. | 0:13:23 | 0:13:27 | |
Hopefully, it's been viewed here, people have been picking it up, | 0:13:27 | 0:13:31 | |
going, "Ooh, ooh. I might have a go on this. It feels good." | 0:13:31 | 0:13:34 | |
If it feels good, we've sold it. | 0:13:34 | 0:13:35 | |
Lot 80, ladies and gentlemen. | 0:13:35 | 0:13:37 | |
That's the bonniest little fob watch that I've seen in a long time. | 0:13:37 | 0:13:41 | |
Will you start me at two? 200 bid. | 0:13:41 | 0:13:43 | |
200, 200. 210? | 0:13:43 | 0:13:46 | |
With Lala on the phone at £210. | 0:13:46 | 0:13:49 | |
220, 230. | 0:13:49 | 0:13:51 | |
240, 250. | 0:13:51 | 0:13:53 | |
260, 270. | 0:13:53 | 0:13:56 | |
280, 290. | 0:13:56 | 0:13:58 | |
300. | 0:13:58 | 0:14:00 | |
300. All done at 300? 300... | 0:14:01 | 0:14:05 | |
-Hooray. Well done. -Just. £300, Frank. | 0:14:05 | 0:14:08 | |
-That was your first auction and you sold something. -Yes. | 0:14:08 | 0:14:11 | |
And you've got a daughter as well. What's her name? | 0:14:11 | 0:14:13 | |
-Natalie. -Natalie. That's a gorgeous name. | 0:14:13 | 0:14:16 | |
So are both the kiddies going to have something out of this? | 0:14:16 | 0:14:19 | |
-Oh, probably, yeah. -And Mum and Dad. -Yes, of course. | 0:14:19 | 0:14:24 | |
Ah, well, it was a family treasure. Thank you for coming in. | 0:14:24 | 0:14:27 | |
90, 100. | 0:14:27 | 0:14:29 | |
110. | 0:14:29 | 0:14:30 | |
It's the Royal Worcester jug, belongs to Sandra, | 0:14:30 | 0:14:33 | |
and we've got £50-£80 on this, which is not a great deal of money. | 0:14:33 | 0:14:36 | |
It's a top name. It's been in the family a long time. | 0:14:36 | 0:14:39 | |
I think it was my cousin's and my aunt's before that. | 0:14:39 | 0:14:42 | |
You've all passed it around and had pleasure with it. | 0:14:42 | 0:14:45 | |
-Why is it time to go now, though? -It doesn't do anything. | 0:14:45 | 0:14:48 | |
-You don't like it. -I don't DISLIKE it. | 0:14:48 | 0:14:50 | |
-Whether you like Royal Worcester or not, it is as good as ceramic art gets. -Yes. | 0:14:50 | 0:14:54 | |
It's beautifully potted, lovely, fine quality. | 0:14:54 | 0:14:57 | |
-Somebody out there will love this. -Hopefully. | 0:14:57 | 0:14:59 | |
There's always a buyer for something and they will be paying £80. | 0:14:59 | 0:15:03 | |
It's going now under the hammer now. This is it. Good luck. | 0:15:03 | 0:15:05 | |
Lot 553 is the Royal Worcester, ivory ground, flat-back jug. | 0:15:05 | 0:15:10 | |
Can we say £100? 100? 80? | 0:15:10 | 0:15:13 | |
60? | 0:15:13 | 0:15:15 | |
30? | 0:15:15 | 0:15:16 | |
£30. 30 bid. 40, 50, 60. | 0:15:16 | 0:15:20 | |
-£60. -Come on. | 0:15:20 | 0:15:22 | |
70, fresh bidder. | 0:15:22 | 0:15:24 | |
-80. Fresh bidder again. -Yes. | 0:15:24 | 0:15:26 | |
At £80. With you, sir, at £80. | 0:15:26 | 0:15:29 | |
All done at £80? £80... | 0:15:29 | 0:15:31 | |
Yes! What did I say? 80! It was bang-on. | 0:15:31 | 0:15:35 | |
You're a far better valuer than I am! I just said 50 to 80. | 0:15:35 | 0:15:38 | |
-It was a pure guess. I just opened my mouth. -Honest. | 0:15:38 | 0:15:41 | |
-Hey, that was a good result. -Not bad. -There is commission to pay. | 0:15:41 | 0:15:45 | |
-What are you going to put the rest of the money towards? -A willow tree. | 0:15:45 | 0:15:48 | |
-A willow tree! -Yes. -Ah! | 0:15:48 | 0:15:50 | |
200, 210, 220. | 0:15:50 | 0:15:53 | |
220. Any advance on 220? | 0:15:54 | 0:15:57 | |
230. | 0:15:57 | 0:15:58 | |
This next lot should be a pinch, shouldn't it, at £80-£120? | 0:15:58 | 0:16:02 | |
-Kate's solid silver snuff box. -Yes. | 0:16:02 | 0:16:05 | |
Why are you selling this? | 0:16:05 | 0:16:07 | |
Well, this snuff box has been sitting in my cabinet in the lounge for many years | 0:16:07 | 0:16:12 | |
and it's gathering dust, basically, so I think it's time to sell it. | 0:16:12 | 0:16:15 | |
Well, I know we need top money because at the valuation day, you both discussed | 0:16:15 | 0:16:19 | |
-the proceeds of the sale were going towards a painting. -That's right. | 0:16:19 | 0:16:23 | |
So what's this painting? Is it something you're buying in auction? | 0:16:23 | 0:16:27 | |
No, it's a local artist from Girvan, James Harrigan. | 0:16:27 | 0:16:30 | |
He does lovely paintings of the West Coast, | 0:16:30 | 0:16:33 | |
of Arran and Ailsa Craig, so I'm hoping to put it towards that. | 0:16:33 | 0:16:36 | |
147 is this. Now, it's George III, it's a silver snuff box | 0:16:36 | 0:16:41 | |
with engine-turned decoration, and it's London, 1812. | 0:16:41 | 0:16:46 | |
Georgian snuff box in mint condition. | 0:16:46 | 0:16:49 | |
Start me at £100. 100? | 0:16:49 | 0:16:53 | |
50, then? 50 bid. | 0:16:53 | 0:16:55 | |
50, 60, 70. | 0:16:55 | 0:16:57 | |
80, 90. | 0:16:57 | 0:16:59 | |
-100. -We're getting there. | 0:16:59 | 0:17:01 | |
110, 120. | 0:17:01 | 0:17:03 | |
120 on the floor for the Georgian snuff box. | 0:17:03 | 0:17:07 | |
Any advance on £120? | 0:17:07 | 0:17:10 | |
All done at 120? 120. | 0:17:10 | 0:17:12 | |
-Well, that's great news. There's commission to pay... -Right. | 0:17:12 | 0:17:16 | |
-..but it's something towards that painting. -I'm delighted. | 0:17:16 | 0:17:19 | |
-My first auction experience of an auction so I'm thrilled. -Oh, is it? -Yes, yes! | 0:17:19 | 0:17:23 | |
-Oh, good for you. Keep coming back. -I certainly will. | 0:17:23 | 0:17:26 | |
I need to sell some more things to get this painting. | 0:17:26 | 0:17:28 | |
£90. | 0:17:32 | 0:17:34 | |
1152. | 0:17:34 | 0:17:35 | |
Hopefully Anita can weave some magic on this next lot | 0:17:35 | 0:17:39 | |
because it's Hazel's textiles, some wonderful items of lace, | 0:17:39 | 0:17:42 | |
with a valuation is £75-£100. | 0:17:42 | 0:17:45 | |
I don't know how heavily this has been viewed and if it's anybody's cup of tea here | 0:17:45 | 0:17:50 | |
and Anita hasn't said anything to me, so it's a stab in the dark. | 0:17:50 | 0:17:54 | |
-But it's a packed auction room, so fingers crossed. -Yeah. | 0:17:54 | 0:17:57 | |
266, ladies and gentlemen, | 0:17:57 | 0:17:59 | |
a lot comprising various lace shawls, bonnets, etc. | 0:17:59 | 0:18:04 | |
It's a super collection of hand-embroidered Victorian clothes. | 0:18:04 | 0:18:10 | |
Can we say £200? | 0:18:10 | 0:18:13 | |
£100, surely, ladies and gentlemen? | 0:18:13 | 0:18:15 | |
£100? 50, then? | 0:18:15 | 0:18:18 | |
50? 50 bid. Any advance on 50? 60. | 0:18:18 | 0:18:21 | |
70, 80. | 0:18:21 | 0:18:23 | |
90. £90. | 0:18:23 | 0:18:25 | |
Any advance on £90? | 0:18:25 | 0:18:27 | |
All done at £90. £90... | 0:18:27 | 0:18:30 | |
It's sold. I got very nervous to start with | 0:18:30 | 0:18:33 | |
because it's the only textiles here. How will you spend the money? | 0:18:33 | 0:18:37 | |
I'm going to buy some commemorative bobbins with "I flogged it" on them. | 0:18:37 | 0:18:41 | |
-Thank you, Hazel. Bye-bye. -Bye. | 0:18:41 | 0:18:43 | |
Well, that's the end of our first visit to today's auction. | 0:18:43 | 0:18:47 | |
Later on, there are plenty more antiques to go under the hammer, | 0:18:47 | 0:18:50 | |
so there are more surprises to come. | 0:18:50 | 0:18:52 | |
That last lot gave me a great idea. | 0:18:52 | 0:18:54 | |
I'm going to nip off to Kilmarnock and visit a place called Newmilns. | 0:18:54 | 0:18:58 | |
Strangely enough, it's the oldest surviving lace-making factory in the world. | 0:18:58 | 0:19:03 | |
These machines have been making lace for over 100 years. | 0:19:08 | 0:19:13 | |
They helped established the Irvine valley in Ayrshire | 0:19:13 | 0:19:16 | |
as the world centre of Nottingham lace. | 0:19:16 | 0:19:19 | |
And little has changed from the days when thousands of local people | 0:19:19 | 0:19:23 | |
worked in 39 such factories up and down the valley. | 0:19:23 | 0:19:27 | |
This company, Morton Young & Borland, was founded | 0:19:27 | 0:19:30 | |
by three Scots gentlemen in the early 1900s | 0:19:30 | 0:19:33 | |
and it's the only one of those lace factories still in production. | 0:19:33 | 0:19:38 | |
These machines run from six o'clock in the morning | 0:19:38 | 0:19:41 | |
until ten o'clock at night, turning out lace. | 0:19:41 | 0:19:44 | |
That's a long shift. It's industry working at full tilt. | 0:19:44 | 0:19:48 | |
It almost takes me back to the Industrial Revolution, | 0:19:48 | 0:19:51 | |
where the whole nation is driving forwards. | 0:19:51 | 0:19:54 | |
And what a racket! Let's get them turned off and go and have a chat to the boss. | 0:19:54 | 0:19:58 | |
-Scott. -How are you doing, Paul? -Thank you for talking to me. | 0:20:07 | 0:20:10 | |
So your grandmother was in the industry all her life? | 0:20:10 | 0:20:13 | |
She worked as a Madras weaver for many years in the industry | 0:20:13 | 0:20:16 | |
and at that time, they could flit between different factories | 0:20:16 | 0:20:19 | |
because there were many factories in that line of business. | 0:20:19 | 0:20:23 | |
Why did Nottingham lace move to Kilmarnock? What was the reason? | 0:20:23 | 0:20:26 | |
There's always been a tradition of hand-loom weaving in the valley, | 0:20:26 | 0:20:30 | |
right from the 1700s, | 0:20:30 | 0:20:33 | |
and then the Nottingham lace-makers had a good industry in Nottingham | 0:20:33 | 0:20:38 | |
in the 1850s, 1860s. | 0:20:38 | 0:20:40 | |
So when the power looms started, | 0:20:40 | 0:20:43 | |
Alexander Morton brought the first loom to Darvel in 1876, | 0:20:43 | 0:20:47 | |
and since then, the business just snowballed. | 0:20:47 | 0:20:50 | |
So what was the demise over the years, then? | 0:20:50 | 0:20:52 | |
Why is there only one left? | 0:20:52 | 0:20:54 | |
The demise has been the introduction, possibly, of the polyester | 0:20:54 | 0:20:57 | |
and high-speed looms from Germany in the '50s and '60s. | 0:20:57 | 0:21:01 | |
And then people's attitude to furnishings changed. | 0:21:01 | 0:21:05 | |
They wanted a lot more easy-care fabrics for their windows. | 0:21:05 | 0:21:08 | |
It was a case of, with lace, it's very hard to maintain and wash | 0:21:08 | 0:21:13 | |
and stretch back into shape, | 0:21:13 | 0:21:14 | |
whereas the polyester, you washed it and hang straight back up. | 0:21:14 | 0:21:17 | |
-And the future of the company? -The future is looking quite good. | 0:21:17 | 0:21:22 | |
Obviously it's difficult times with the recession | 0:21:22 | 0:21:24 | |
but hopefully we'll be here in another 100 years' time. | 0:21:24 | 0:21:27 | |
It's a proud tradition. | 0:21:27 | 0:21:29 | |
These are thought to be members of the three founding families, | 0:21:29 | 0:21:32 | |
posing in the early 1900s with outfits made from the company's own lace. | 0:21:32 | 0:21:36 | |
Today, Morton Young & Borland still export lace around the world | 0:21:36 | 0:21:41 | |
and keep an archive of every one of the 20,000 designs they've produced | 0:21:41 | 0:21:46 | |
in their 100-year history. | 0:21:46 | 0:21:48 | |
They employ 65 people and there's plenty of work. | 0:21:48 | 0:21:52 | |
Back at the Palace Theatre, people are still flooding in | 0:22:00 | 0:22:02 | |
with their collectables and antiques. Next in line is Janet. | 0:22:02 | 0:22:06 | |
-Hello, Janet. -Hi. | 0:22:06 | 0:22:08 | |
She's brought in a trio of delights for David to have a look at. | 0:22:08 | 0:22:11 | |
What have you brought here for us today? | 0:22:11 | 0:22:14 | |
Well, that's two Edwardian brooches and a necklace. | 0:22:14 | 0:22:19 | |
-Do you not wear these? -No, I haven't worn them for a long time. | 0:22:19 | 0:22:22 | |
Right. It's a shame that people don't wear jewellery like this. | 0:22:22 | 0:22:27 | |
I think you wouldn't even have gone out to the shops without putting your jewellery on in 1900. | 0:22:27 | 0:22:32 | |
Of course, today we don't think about doing that. | 0:22:32 | 0:22:35 | |
We'll go out to dinner and we'll leave our jewellery behind. | 0:22:35 | 0:22:38 | |
Erm... Three charming pieces. | 0:22:38 | 0:22:41 | |
Stylistically, each one is quite different. | 0:22:41 | 0:22:45 | |
I think the piece I prefer is this brooch here, | 0:22:45 | 0:22:48 | |
which is in the, or at least refers a bit to, the Art Nouveau style. | 0:22:48 | 0:22:52 | |
You know, that style which is characterised by whiplash forms | 0:22:52 | 0:22:57 | |
and extended tendril forms. | 0:22:57 | 0:22:59 | |
So this is, broadly speaking, in the Art Nouveau style. | 0:22:59 | 0:23:03 | |
The star brooch set with pearls, | 0:23:03 | 0:23:06 | |
which ascend from the tips of the star up to the centre. | 0:23:06 | 0:23:10 | |
And this is hallmarked, | 0:23:10 | 0:23:13 | |
nine-carat gold. | 0:23:13 | 0:23:15 | |
And I think most interesting of all is the chain, | 0:23:15 | 0:23:19 | |
which is fastened by a nine-carat gold clip | 0:23:19 | 0:23:24 | |
-but which tests as 18-carat gold. -Yes. | 0:23:24 | 0:23:27 | |
This is hollow gold, so it's actually quite light, as you know. | 0:23:27 | 0:23:30 | |
And it seems that this started out life as a belcher. | 0:23:30 | 0:23:34 | |
-Do you know what a belcher is? -No. | 0:23:34 | 0:23:36 | |
A belcher is a long, decorative chain | 0:23:36 | 0:23:41 | |
that would have been worn perhaps looped twice round a lady's neck, | 0:23:41 | 0:23:44 | |
you know, just to give some impact. | 0:23:44 | 0:23:47 | |
It would have been a most impressive piece of jewellery to be wearing. | 0:23:47 | 0:23:51 | |
This is a belcher that's been cut down. | 0:23:51 | 0:23:53 | |
It's been converted to a small necklace. | 0:23:53 | 0:23:57 | |
Now, as far as values are concerned, the Art Nouveau piece | 0:23:57 | 0:24:01 | |
with the moonstone and ivory terminals | 0:24:01 | 0:24:05 | |
-I think is worth between £30 and £50. -Mm-hm. | 0:24:05 | 0:24:08 | |
The star brooch, another £30-£50, | 0:24:08 | 0:24:12 | |
and I would place an estimate of £70-£100 | 0:24:12 | 0:24:17 | |
on the necklace stroke reduced belcher. | 0:24:17 | 0:24:22 | |
And I think they should be offered as one lot | 0:24:22 | 0:24:25 | |
-at an estimate of £130 to £200... -OK. -..with a reserve of £130. | 0:24:25 | 0:24:31 | |
And with luck and a following wind, they might make a bit more. | 0:24:31 | 0:24:35 | |
-How does that seem to you? -Yeah, that sounds OK, yeah. | 0:24:36 | 0:24:39 | |
-Jolly good. We'll go for that, then. OK? -Thank you. -Thank you. | 0:24:39 | 0:24:43 | |
Elizabeth, I have to say, this brings back so many memories. | 0:24:54 | 0:24:58 | |
You know, going back 23, 24 years when I was a student. | 0:24:58 | 0:25:02 | |
I was actually training to be a vet at that time | 0:25:02 | 0:25:04 | |
but I went to a house sale in a place called Bingham where I was having my vet work experience, | 0:25:04 | 0:25:10 | |
and on the mantelpiece of this house sale | 0:25:10 | 0:25:12 | |
were a pair of vases just like this - Morris ware - | 0:25:12 | 0:25:16 | |
and I fell in love with them. | 0:25:16 | 0:25:18 | |
So, tell me, is this something that you've loved over the years? | 0:25:18 | 0:25:21 | |
-Yes, it was my mother's. -Was it? | 0:25:21 | 0:25:23 | |
And she gave it to us because we liked it | 0:25:23 | 0:25:27 | |
-but I've got so many ornaments. -Have you really? -Yes. | 0:25:27 | 0:25:30 | |
Too many. | 0:25:30 | 0:25:31 | |
Isn't that a great shape? It's sort of a gourd shape, isn't it? | 0:25:31 | 0:25:34 | |
I love it. | 0:25:34 | 0:25:36 | |
I guess if you turn it over you've got the mark there. | 0:25:36 | 0:25:39 | |
Morris ware, S Hancock & Sons, Stoke-on-Trent, | 0:25:39 | 0:25:42 | |
-and Hancock & Sons became S Hancock & Sons in 1881. -Mm-hm. | 0:25:42 | 0:25:47 | |
But this type of ware, Morris ware, | 0:25:47 | 0:25:51 | |
was designed by a chap called George Cartlidge | 0:25:51 | 0:25:54 | |
and he was working there from about 1910 | 0:25:54 | 0:25:57 | |
up until the mid 1920s. | 0:25:57 | 0:25:59 | |
Is it something that you use? Do you keep flowers in it? | 0:25:59 | 0:26:02 | |
-You can't because, well, slight crack. -A slight crack? | 0:26:02 | 0:26:07 | |
-Oh, yes. -I don't use water in it. For dried flowers it's all right. | 0:26:08 | 0:26:13 | |
Dried flowers! | 0:26:13 | 0:26:14 | |
-You're trying to sell it again now, aren't you? -I am. | 0:26:14 | 0:26:16 | |
-You've ruined it now!. -You can put beautiful dried flowers in there. | 0:26:16 | 0:26:20 | |
We've got a crack that comes all the way down the side there. | 0:26:20 | 0:26:23 | |
-It's always had that, as far as I know. -Yeah. | 0:26:23 | 0:26:26 | |
Oh. In perfect condition, it would be very, very saleable. | 0:26:26 | 0:26:30 | |
-Do you have any ideas on value? -Not really, I didn't. | 0:26:30 | 0:26:34 | |
Because of the crack, I thought, well, obviously it might affect it. | 0:26:34 | 0:26:38 | |
It will affect it. It will significantly affect it. | 0:26:38 | 0:26:40 | |
-I think in perfect condition, it's £300-£500. -Mm-hm. | 0:26:40 | 0:26:44 | |
-With the crack, around 100. -Yeah. | 0:26:44 | 0:26:47 | |
-100 to 120, something like that. -Yeah. | 0:26:47 | 0:26:50 | |
-Shall we put a reserve of 80? -I wouldn't like it to go for less than that. | 0:26:50 | 0:26:54 | |
-Is that all right for you? -Yes, no less than that. -Fantastic. | 0:26:54 | 0:26:57 | |
David, it's very easy to talk about being privileged to see things | 0:27:00 | 0:27:05 | |
but it is the best collection of Mauchline ware I've ever seen. | 0:27:05 | 0:27:11 | |
Did your family have a connection with the Mauchline factory? | 0:27:11 | 0:27:14 | |
Yes, my father worked there for the first part of his working life. | 0:27:14 | 0:27:19 | |
And the collection was formed by him? | 0:27:19 | 0:27:22 | |
-No, it was inherited from his uncle. -OK. -It came to him when he died. | 0:27:22 | 0:27:28 | |
So in fact, Father inherited it and then I inherited it from my father. | 0:27:28 | 0:27:32 | |
Just quickly to explain, and we could spend a long time doing this, | 0:27:32 | 0:27:36 | |
but, broadly speaking, we have tartan ware, | 0:27:36 | 0:27:40 | |
which I think speaks for itself, | 0:27:40 | 0:27:42 | |
and boxes decorated in some other manner, | 0:27:42 | 0:27:46 | |
-some with transfer prints. -Yes. | 0:27:46 | 0:27:49 | |
The Mauchline factory was established | 0:27:49 | 0:27:52 | |
in the early 19th century, | 0:27:52 | 0:27:54 | |
and in the early days, they hand-painted the tartan decoration | 0:27:54 | 0:27:59 | |
onto the boxes. | 0:27:59 | 0:28:00 | |
But at a later date, a method was invented whereby the tartan pattern | 0:28:00 | 0:28:06 | |
was transfer-printed onto a piece of paper | 0:28:06 | 0:28:08 | |
and the paper itself was glued to the wood, | 0:28:08 | 0:28:11 | |
which in every instance, I think, is sycamore. | 0:28:11 | 0:28:14 | |
In 1933, I think I'm right in saying, production ceased. | 0:28:14 | 0:28:21 | |
-Well, it didn't cease completely. -No? | 0:28:22 | 0:28:25 | |
-But it dropped because of the fire, yeah. -There was a fire? | 0:28:25 | 0:28:31 | |
-There was a fire. -Was there? | 0:28:31 | 0:28:32 | |
I know that my father got in | 0:28:32 | 0:28:35 | |
-and got his tools out before... -Did he? -Yeah. | 0:28:35 | 0:28:38 | |
-Before the fire got too much of a hold. -Right. | 0:28:38 | 0:28:43 | |
But I was only three at the time, so I can't tell you too much about that. | 0:28:43 | 0:28:47 | |
So it's partly folklore, as far as you're concerned, | 0:28:47 | 0:28:50 | |
but, as I say, the history of the firm runs in your blood, | 0:28:50 | 0:28:55 | |
by the sounds of it. What we've done, David, | 0:28:55 | 0:28:57 | |
is just think in terms of how we would lot this up. | 0:28:57 | 0:29:00 | |
I'll quickly go through that with you. | 0:29:02 | 0:29:05 | |
So I would suggest that these three tulip vases went in one lot. | 0:29:05 | 0:29:10 | |
This group here formed another lot. | 0:29:10 | 0:29:13 | |
Another group of smaller items over here. | 0:29:13 | 0:29:16 | |
Four boxes. | 0:29:16 | 0:29:18 | |
Two tartan ware boxes here. | 0:29:18 | 0:29:20 | |
A group of five boxes here | 0:29:20 | 0:29:23 | |
and we'd finish with this pair of spill vases here, | 0:29:23 | 0:29:28 | |
keeping back to offer on its own this early box here. | 0:29:28 | 0:29:34 | |
Having discussed how we would catalogue them, | 0:29:34 | 0:29:37 | |
I think the maximum estimate would be £1,500, | 0:29:37 | 0:29:41 | |
bottom estimate and reserve, I think, should be £1,000. | 0:29:41 | 0:29:45 | |
-Are you happy for us to go ahead? -Yes, certainly. -You're a star | 0:29:45 | 0:29:49 | |
and I'm sure it will do very well. | 0:29:49 | 0:29:52 | |
That's the business done here at the Palace Theatre in Kilmarnock. | 0:29:52 | 0:29:55 | |
Time to take those items to auction and count the cash. | 0:29:55 | 0:29:58 | |
Here's a run-down of what we're taking. | 0:29:58 | 0:30:01 | |
Janet's Edwardian jewellery doesn't really see the light of day much | 0:30:02 | 0:30:06 | |
as she doesn't wear them. | 0:30:06 | 0:30:07 | |
David thinks it's time to put them to work | 0:30:07 | 0:30:09 | |
and earn her £130-£200. | 0:30:09 | 0:30:12 | |
This gourd-shaped Morris ware vase has a hidden secret. | 0:30:12 | 0:30:17 | |
-Do you keep flowers in it? -You can't cos, well, slight crack. | 0:30:17 | 0:30:22 | |
-Slight crack. -But owner Elizabeth still thinks it has a use. | 0:30:22 | 0:30:25 | |
-For dried flowers it's all right. -Dried flowers! | 0:30:25 | 0:30:28 | |
-You're trying to sell it again now, aren't you? -Yes, I am! | 0:30:28 | 0:30:31 | |
And top of today's valuations, | 0:30:31 | 0:30:33 | |
25 items of quintessentially Scottish Mauchline ware. | 0:30:33 | 0:30:36 | |
I'll need my calculator ready | 0:30:36 | 0:30:38 | |
because David is dividing it up into eight lots. | 0:30:38 | 0:30:41 | |
But does Anita have different ideas about David's valuation? | 0:30:45 | 0:30:48 | |
Now, we've gone with David's division. | 0:30:50 | 0:30:52 | |
We have divided them into eight lots. | 0:30:52 | 0:30:55 | |
-And what we have here are two of the best lots. -I think so. | 0:30:55 | 0:30:59 | |
These wonderful tulip vases don't come up all that often. | 0:30:59 | 0:31:04 | |
I was just about to say that. I've not seen any like this before. | 0:31:04 | 0:31:07 | |
What sort of value have you put on the tulip vases? | 0:31:07 | 0:31:09 | |
-We've put 400-600. -That's the bulk, really, of the estimate, isn't it? | 0:31:09 | 0:31:14 | |
What have you put on the little box? | 0:31:14 | 0:31:16 | |
The little box, again I've estimated conservatively. | 0:31:16 | 0:31:19 | |
250-350. I'm hoping that it will go at least mid-estimate | 0:31:19 | 0:31:25 | |
and on a good day, it might do the top estimate. | 0:31:25 | 0:31:29 | |
-I think you're right, there. -It is a beautiful little piece. | 0:31:30 | 0:31:34 | |
And the Mauchline buyers like to collect the different tartans | 0:31:34 | 0:31:39 | |
-and there are thousands of them. -There must be. | 0:31:39 | 0:31:42 | |
Is there a tartan in your clan? | 0:31:42 | 0:31:43 | |
-We're of Irish descent, Paul. -Oh! | 0:31:45 | 0:31:48 | |
But there might be somewhere. | 0:31:48 | 0:31:50 | |
Maybe that's a wee bit of research that I can do personally. | 0:31:50 | 0:31:53 | |
The Mauchline ware will go under the hammer a little later | 0:31:53 | 0:31:57 | |
but first, it's Janet's beautiful collection of jewellery. | 0:31:57 | 0:32:00 | |
Why did you decide to sell them? | 0:32:01 | 0:32:03 | |
Well, I haven't worn them for a while | 0:32:04 | 0:32:06 | |
and I kind of forgot about them, so I just thought, well, sell them. | 0:32:06 | 0:32:10 | |
The good thing about this lot is there's something for everyone. | 0:32:10 | 0:32:14 | |
If your taste is traditional, there's the star brooch. | 0:32:14 | 0:32:16 | |
If your taste is avant-garde, there's the Art Nouveau brooch. | 0:32:16 | 0:32:19 | |
If you just like a bit of gold to put in your bottom drawer as an investment, | 0:32:19 | 0:32:23 | |
there's that part belcher, so it'll appeal to a lot of people. | 0:32:23 | 0:32:26 | |
But I think right now Janet really wants the £200 top end. | 0:32:26 | 0:32:30 | |
-That's what you'd prefer, wouldn't you? -Yes. | 0:32:30 | 0:32:33 | |
We're going to take the money. | 0:32:33 | 0:32:35 | |
Lot 60, a Victorian seed pearl brooch, | 0:32:35 | 0:32:39 | |
a lovely wee nine-carat gold brooch | 0:32:39 | 0:32:42 | |
and a nine-carat gold belcher linked neck chain. | 0:32:42 | 0:32:45 | |
Start me at £100 for the three. | 0:32:45 | 0:32:47 | |
£100? £80, then? | 0:32:47 | 0:32:49 | |
£80? 80 bid. | 0:32:49 | 0:32:51 | |
At 90, 100. | 0:32:51 | 0:32:54 | |
110, 120. | 0:32:54 | 0:32:55 | |
130, 140. | 0:32:55 | 0:32:57 | |
£140. | 0:32:57 | 0:32:59 | |
150, fresh bidder. | 0:32:59 | 0:33:01 | |
160, 170. | 0:33:01 | 0:33:03 | |
180, 190. | 0:33:03 | 0:33:06 | |
-200. -You've got your 200. | 0:33:06 | 0:33:08 | |
At £200. 210. £210. | 0:33:08 | 0:33:12 | |
All done at 210? All done at 210? | 0:33:12 | 0:33:15 | |
£210! What are you going to put the money towards? | 0:33:15 | 0:33:21 | |
-Help to pay the bills. -Well, it's a fact of life. We've all got them. | 0:33:21 | 0:33:25 | |
That's good Scottish pragmatism, that is - help to pay the bills. | 0:33:25 | 0:33:29 | |
Next up, the Morris ware vase. It belongs to Elizabeth | 0:33:32 | 0:33:35 | |
and it was your mother's - it's been in the family a long time. | 0:33:35 | 0:33:38 | |
-You've brought another family member along. Who's this? -Siobhan. | 0:33:38 | 0:33:41 | |
Siobhan, your grand-daughter. It's lovely to meet you. | 0:33:41 | 0:33:44 | |
We've got £100-£120 on this vase. It looks like it's worth much more. | 0:33:44 | 0:33:48 | |
-It's cracked. -Oh, is it? Right, OK. -That's why. | 0:33:48 | 0:33:52 | |
It would be worth so much more. It's a great design, isn't it? | 0:33:52 | 0:33:56 | |
-Yeah, it's beautiful. -Didn't you know it was cracked? -No, I didn't! | 0:33:56 | 0:34:00 | |
538 is the Hancock & Sons, Morris ware, gourd-shaped vase. | 0:34:00 | 0:34:07 | |
It's designed by George Cartlidge. | 0:34:07 | 0:34:09 | |
A wonderful piece of Morris ware. | 0:34:09 | 0:34:12 | |
£50? | 0:34:12 | 0:34:13 | |
50 bid. With you, sir, at 50. | 0:34:13 | 0:34:16 | |
60, 70, 80. | 0:34:16 | 0:34:19 | |
90, 100, 110. | 0:34:19 | 0:34:22 | |
-120, 130, 140. -(Keep going, keep going.) | 0:34:22 | 0:34:25 | |
More! More money. | 0:34:25 | 0:34:27 | |
£160. | 0:34:27 | 0:34:29 | |
160. | 0:34:29 | 0:34:31 | |
Any advance on 160? All done at 160. 160... | 0:34:31 | 0:34:36 | |
Well done. That was good. | 0:34:36 | 0:34:39 | |
-What will you put the money towards? -The kitchen. -A new kitchen? | 0:34:39 | 0:34:42 | |
-No, just updating what's in the kitchen. -Right, OK, | 0:34:42 | 0:34:46 | |
-like tiling and doorknobs. -And fridges and freezers. | 0:34:46 | 0:34:49 | |
Who's going to do all that work? | 0:34:49 | 0:34:51 | |
-Your grandpa, won't he? -Grandpops. Is he good at that? | 0:34:51 | 0:34:54 | |
-Sometimes. -If you prod him with a stick he will be. | 0:34:54 | 0:34:57 | |
110, 120, 130, 140... | 0:34:57 | 0:35:01 | |
150, 160. | 0:35:01 | 0:35:03 | |
Well, I've been waiting for this one and I expect you have too. | 0:35:03 | 0:35:06 | |
It's the 25 pieces of Mauchline ware, | 0:35:06 | 0:35:08 | |
lots of local interest, belonging to David, here. | 0:35:08 | 0:35:11 | |
And we've split them into eight lots. | 0:35:11 | 0:35:13 | |
First up, there's four pieces in this first section. | 0:35:13 | 0:35:16 | |
Little violin and the egg timer. Here we go. | 0:35:16 | 0:35:19 | |
50, 60, 70 with me. | 0:35:19 | 0:35:22 | |
-100. -Yes, yes, good. | 0:35:22 | 0:35:25 | |
110 on the phone. 110... | 0:35:25 | 0:35:29 | |
-Yes, £110. -Good start. -That's a very good start. | 0:35:29 | 0:35:31 | |
We're on top straightaway. | 0:35:31 | 0:35:33 | |
Six pieces of tartan ware, | 0:35:33 | 0:35:35 | |
to include three silk winders, | 0:35:35 | 0:35:37 | |
two Stewart tartan and a Macpherson example. | 0:35:37 | 0:35:41 | |
170, 180... | 0:35:41 | 0:35:44 | |
-Great. -180. -Brilliant. We're smashing our targets. | 0:35:44 | 0:35:47 | |
On the floor at 180. | 0:35:47 | 0:35:48 | |
260, 280. | 0:35:48 | 0:35:50 | |
290. 290. All done at 290? 290... | 0:35:50 | 0:35:55 | |
This is such good news and now here's the third lot, | 0:35:55 | 0:35:58 | |
another mixed bag again. | 0:35:58 | 0:36:00 | |
It's with me at 100. | 0:36:00 | 0:36:02 | |
Any advance on...? 110. 120. | 0:36:02 | 0:36:05 | |
-It's a great collection, David. -It looks like it. | 0:36:05 | 0:36:09 | |
All done at 210? All done at 210? 210... | 0:36:09 | 0:36:14 | |
-We're well above our target right now. -We are. | 0:36:14 | 0:36:16 | |
-Fourth lot to come now. -My maths is terrible, I can't work it out | 0:36:16 | 0:36:20 | |
but we're way above our target. | 0:36:20 | 0:36:22 | |
Four Mauchline snuff boxes. 100 on the phone. | 0:36:22 | 0:36:26 | |
It seems the whole room wants to invest in David's collection, | 0:36:26 | 0:36:29 | |
which is so good. | 0:36:29 | 0:36:31 | |
205 with me, Lala. | 0:36:31 | 0:36:34 | |
With Lala on the phone at £210. | 0:36:34 | 0:36:37 | |
Any advance on 210? All done at 210? 210... | 0:36:37 | 0:36:41 | |
Brilliant. £210. | 0:36:41 | 0:36:42 | |
Next lot is the two snuff boxes. | 0:36:42 | 0:36:45 | |
..and they both have their original lining, | 0:36:45 | 0:36:47 | |
again, the very finest of boxes. | 0:36:47 | 0:36:49 | |
120 with me. 150. I'm out. | 0:36:49 | 0:36:52 | |
It's on the phone at 150. | 0:36:52 | 0:36:54 | |
All done at 150? 150? | 0:36:54 | 0:36:56 | |
Phone bid. £150. | 0:36:56 | 0:36:58 | |
And now my favourite piece. | 0:36:58 | 0:37:00 | |
..Is the fine Smiths of Mauchline hand-painted snuff box. | 0:37:00 | 0:37:05 | |
220, 230. | 0:37:05 | 0:37:06 | |
240, 250. | 0:37:06 | 0:37:07 | |
This is good. | 0:37:07 | 0:37:09 | |
360, I'm out. | 0:37:09 | 0:37:11 | |
Any advance on 360? All done at 360? | 0:37:11 | 0:37:15 | |
360... | 0:37:15 | 0:37:16 | |
Getting hot. Next lot, the three tulip vases. | 0:37:16 | 0:37:21 | |
Estimated at 400-600. | 0:37:21 | 0:37:23 | |
900 with me. | 0:37:23 | 0:37:25 | |
Wow. | 0:37:25 | 0:37:27 | |
950, 1,000. | 0:37:27 | 0:37:30 | |
1,050. 1,100 with me. | 0:37:30 | 0:37:33 | |
All done at 1,100? 1,100... | 0:37:33 | 0:37:37 | |
£1,100 for the three tulip vases. | 0:37:37 | 0:37:40 | |
And this is the last lot, a pair of tartan vases, Stewart tartan. | 0:37:41 | 0:37:46 | |
300, 320. | 0:37:46 | 0:37:48 | |
-350, 400. -Everyone's getting carried away. | 0:37:48 | 0:37:51 | |
-Yes, they are. £500? -500. -500?! | 0:37:51 | 0:37:55 | |
520, I'm out. | 0:37:55 | 0:37:57 | |
Any advance on 520? | 0:37:57 | 0:37:59 | |
Yes, that's it. It's all over. That's the last lot gone | 0:37:59 | 0:38:03 | |
-and we're just short, 50 quid short, of £3,000. -£3,000. | 0:38:03 | 0:38:09 | |
-How do you feel about that, David? -I'm speechless. | 0:38:10 | 0:38:13 | |
-It's incredible, isn't it? -Yeah. -That was your collection. | 0:38:13 | 0:38:17 | |
Quality always sells. Unbelievable. | 0:38:17 | 0:38:19 | |
We've doubled the top end of the estimate and it was well worth splitting the lots up. | 0:38:19 | 0:38:23 | |
That'll be news in Glasgow next week. | 0:38:23 | 0:38:25 | |
I think it'll be news all over Scotland and the world! | 0:38:25 | 0:38:28 | |
Thank you so much for bringing that in. | 0:38:28 | 0:38:30 | |
Quality always sells. It's the perfect end to a wonderful day here in bonnie Scotland. | 0:38:30 | 0:38:35 | |
Until the next time, it's cheerio. | 0:38:35 | 0:38:37 | |
Subtitles by Red Bee Media Ltd | 0:38:56 | 0:38:59 |