Kilmarnock Flog It!

We're in a Scottish town most people associate with a football club.

Welcome to Flog It!, from Kilmarnock!

CHEERING

We're at the Palace Theatre

and there is a massive crowd gathering,

all laden with antiques and collectables.

-Are they any Kilmarnock supporters here?

-Yes!

-Yes! That is good news.

Our two experts today are James Lewis and David Fletcher,

and let's hope they're big fans of what this lot have brought along.

In fact, we're going to find out when we get inside.

It's now 9:30 and it's time to kick off.

And before full time, there's plenty of excitement to come.

We've got girl power at the auction.

as "Flog It!" favourite Anita Manning and her daughter Lala

team up with some great results.

With Lala on the phone at £210.

Brilliant. We're smashing our targets.

So let's get cracking with the first item of the day, and James is kicking off.

LAUGHTER

Kate, tell me, are you a great snuff-taker?

-I certainly am not, no!

-No?

You don't have the brown stains on your upper lip that give it away?

I hope not.

So what are you doing with a snuff box?

Well, this snuff box was passed down to me from my parents.

My memory of it is my mother, who was a very keen floral arranger,

-making lovely miniature arrangements in it.

-Oh, really?

-Yes.

She used to go to rural competitions and things like that

and always wanted to do well.

But that's my memory of it and ever since I've had it,

-it's been sitting in a cabinet doing very little.

-Ah.

I thought, "I'll bring it along, see what you can tell me about it."

I love it. One of the main reasons why I love it

-is because it's so plain, so simple.

-Yes.

It's engine-turned in bands, very plain, simple designs.

And we've got this engine-turning on the sides all the way round

and underneath.

And what's slightly unusual is you would normally find

what we call a cartouche, a little plain area

where the owner can engrave their initials or their crest

or their family coat of arms.

-On this one, there's nowhere for that.

-There's nothing like that, no.

So if we open it up...

Lovely. Silver-gilt inside.

That prevents the acid in the snuff attacking the silver and reacting,

and making the silver turn green.

We've got a nice, clear set of hallmarks.

WT for the maker,

the lion passant, which is the mark for English silver,

the leopard's head with the crown, which is the mark for London.

The head of George III, which means the duty or the tax has been paid on the silver,

and a date letter there, which is the R for 1811, 1812.

-Oh, right.

-A really nice early one.

I didn't realise it was as old as that.

-200 years.

-Nearly 200 years old.

-Yes.

-What do you think it's worth?

-Actually, I haven't a clue, really, to be quite honest.

Obviously it's silver, so would it be about £100?

Shall we swap seats?

-You're spot-on.

-Really?

-Yes.

-Am I?

-Yes.

-I hadn't a clue! Is that right? Oh, well.

It's a predictably boring auctioneer's estimate of £80-£120.

-Is it? Uh-huh.

-£100 is spot-on.

-Well, that sounds very good.

-Yeah? Is that all right?

-Yes, absolutely.

-Protect it with a reserve. £80 as a reserve?

-That sounds fine.

If it doesn't make that, you can take it home

-and do flower arrangements again.

-I can't, really.

You need a bit of training for that.

-Hello, Alexandra.

-Oh, call me Sandra.

-Sandra?

-Yes.

-OK. Don't you like Alexandra?

-No, that's my Sunday name.

Your Sunday name, OK.

-As this isn't Sunday, I will call you Sandra.

-Thank you.

Welcome. I love this. What can you tell me about it?

Well, it's a family piece.

It's been in the family for as long as I can remember

and it always intrigued me because of its odd shape.

I always thought it was the "gone-wrong" jug

because of its back - it wasn't round.

Yes, you're right. One side has been almost shaved off, hasn't it?

-Do you know where it was made?

-I think it was Royal Worcester.

Absolutely right.

-I'm sure you've looked underneath.

-Yes.

You can learn so much about Royal Worcester by doing just that.

The Royal Worcester mark is a printed mark

and it has a series of dots.

The first dot appears in 1892

and the second dot, 1893, and so on.

As we can see, this has two dots, so that makes 1893.

-Right.

-Late Victorian, in other words.

And what's more, by looking at this, we have the shape,

we can identify the shape as well.

-That 1094 is the shape number.

-Right.

That shape number was available in various sizes.

-It was a very popular shape number. I know you don't like it.

-No.

But the Victorians did.

The decoration is hand-painted

but it's hand-painted over a transfer print,

and it meant that the person who was painting the pattern

didn't have to be quite as talented

as they might have had to have been had they been working freehand.

OK, it's now my job to tell you what I think it might make

and I would estimate this at between

-£50 and £80.

-Mm-hm.

To safeguard it, I think we should put a reserve of £50 on it.

I'm quite happy with that.

And let's hope there are more people out there who, unlike you,

-do like this...

-Gone-wrong jug.

-..gone-wrong jug more than you do.

Look what I've found - some bloomers.

Or ladies' undergarments.

-They're early 20th century, those ones. They're machine-made.

-Yeah.

-You actually make lace, don't you?

-I do make lace, yes.

-How did that come about?

-It was a family holiday we took some years ago

in Loughborough University.

They did summer schools and I had a choice between

violin-making or lace-making.

-I chose the lace-making.

-Is it a hobby or a profession?

-A hobby.

You can't make money at it, it's just...

I know the ladies in Bruges, over in Belgium,

that's the centre of excellence for lace-making, as far as I'm concerned,

-and you can still see those sweet old ladies sitting outside their cottages.

-Oh, yes.

Tourist pieces but nevertheless.

I mean, my eye gravitates towards that piece

because that looks handmade.

-Yes, that's Brussels lace.

-That's Brussels, is it?

-Any damage?

-Yes, there is some.

-Oh, is there?

-Yes.

But it's been beautifully repaired at some point.

-Oh, gosh.

-It's quite large, this one.

-It is, yeah. It's quite a big one.

Look at that.

It's been beautifully patched, if I can find it.

-And that's all handmade, isn't it?

-Yes.

The netting is machine-made, I'm almost certain.

But these will be handmade. You can see it's been appliqued onto the net.

-You can see the netting at the back.

-How did you come by this?

I think it was a collectors' fair.

I found it in a box and the woman said, "I'm awfully sorry,

"I'll need to charge you £12 for it."

And I said, "Yes, please."

-Yes! You couldn't give her the money fast enough.

-No, no.

This is a late Victorian piece. This is very, very nice.

-Oh, there's one patch, there. You see how it's been mended?

-Oh, yes.

-Isn't that beautiful?

-That's quite skilfully done.

-I think there's a fair bit of value in that one alone.

-That's good.

-So that's good news, isn't it?

-More than my £12.

-What else have we got?

-This is a machine-made shawl,

-which put the handmade lace-makers out of work, more or less.

-Yeah.

-You can see it's flatter.

-It's busier.

Yeah, there's a lot more in it.

It's flatter and it doesn't have the life that the home-made one does.

There's no lift from the extra thread,

just the continuous going over

-and fattening up certain pieces.

-Yeah.

So we've got the bloomers, we've got a lovely bit of handmade work,

some machine work, there.

Any idea of the combined value?

I've no idea because it's not something I've bought for...

-Investment.

-..investment.

It's just something I've acquired, mostly.

-Well, I think that's your key factor...

-Uh-huh. Yeah.

..that handmade shawl, really.

And that will help get the rest away. There's some fun items.

How about giving them a value of £75 to £100?

I'm surprised. That's much more than I would have thought, actually.

Well, I think there'll be textile dealers and collectors there

and it's a lot they will be interested in.

Let's put it in with a value of £75-£100,

-with 10% discretion on the 75.

-That sounds fine to me.

-There's something for everybody here.

-Good.

Frank, tell me, that is a really dainty, feminine watch

for a bloke like you to have here at Flog It!

-How come you've got it?

-Well, I was given it from an aunt and uncle from the States

about 20, 25 years ago.

And they're no longers with me

but that's one of the things they gave me when I visited them over there.

Ah. Well, it's a lovely quality watch

and the first thing that strikes me is this wonderful enamelling

on the wires. We've got swallow-tailed birds.

They're meant to be swallows

but they're artist's impressions of swallows, I think,

resting on their telegraph wires.

And right in the centre of these swallows

we've got two old, brilliant-cut stones.

They're certainly diamonds, beautifully mounted.

If we open it up... Lovely.

-You say you brought it back from America. It's an American watch.

-Yeah.

It's by the Elgin watch company, based in Illinois.

Elgin were the probably the leading exporters

-of pocket watches from America...

-OK.

..into Europe in the early part of the 20th century.

This is a lovely quality one. 14-carat gold, made in America.

The case is American, as well as the movement.

One of the good things about Elgin, they were established in 1864,

and one of the things that they did, they numbered every single watch

and if we look in the back here, we've got the serial number 5714662.

That will tell us the exact date that this watch was made,

and it's somewhere between 1890 and 1895,

somewhere around there.

So it's a very pretty little thing.

Now, value. Any ideas?

Not got a clue.

-I think the right auction estimate would be 300-400.

-Yeah?

I think and I hope it'll make the top end.

We need to think about a reserve to protect it. Is 300 OK?

-Yeah, that's fine.

-Yeah? 300 reserve, 300-400 estimate -

-let's see what it does.

-That's great. Thank you.

We've been working flat-out this morning,

we've found our first few items

and everybody has enjoyed themselves.

It's time to go to the auction room, so while we make our way there,

we'll leave you with a casting list of our star performers.

This 19th-century silver snuff box caught James' eye

and it looks like he met his match with its owner, Kate.

-What do you think it's worth?

-Would it be about £100?

Shall we swap seats? You're spot-on.

-Really?

-Yeah.

Let's hope it all goes right with Sandra's gone-wrong jug,

the oddly shaped piece of Royal Worcester,

valued at £50-£80.

I've been checking out Hazel's drawers.

Look what I've found. Some bloomers.

Or ladies' undergarments.

Her drawers full of vintage lace and other textiles, that is,

and I think she could stitch up £75-£100.

And James loves Frank's early 20th-century hunter watch.

Let's hope they love it enough at the auction

to pay his £300-£400 estimate.

All those items could get a flying start

at Great Western Auctions in Glasgow

because today we have Anita Manning wielding the gavel.

200.

There is around about 800 lots in today's sale,

so we'd better get started.

Time's up for the gold half hunter pocket watch belonging to Frank,

who's brought his son Greg along. How old are you, Greg?

-Are you going to speak?

-Come on, we've been practising this.

-Two!

-Three.

-Three!

-Three! That did the trick, James. He's three.

We're looking at £300-£400 for the half hunter.

-It is quality.

-Lovely quality, great enamel work. A lovely watch.

It's something that if you pick up, you don't want to put down.

Hopefully, it's been viewed here, people have been picking it up,

going, "Ooh, ooh. I might have a go on this. It feels good."

If it feels good, we've sold it.

Lot 80, ladies and gentlemen.

That's the bonniest little fob watch that I've seen in a long time.

Will you start me at two? 200 bid.

200, 200. 210?

With Lala on the phone at £210.

220, 230.

240, 250.

260, 270.

280, 290.

300.

300. All done at 300? 300...

-Hooray. Well done.

-Just. £300, Frank.

-That was your first auction and you sold something.

-Yes.

And you've got a daughter as well. What's her name?

-Natalie.

-Natalie. That's a gorgeous name.

So are both the kiddies going to have something out of this?

-Oh, probably, yeah.

-And Mum and Dad.

-Yes, of course.

Ah, well, it was a family treasure. Thank you for coming in.

90, 100.

110.

It's the Royal Worcester jug, belongs to Sandra,

and we've got £50-£80 on this, which is not a great deal of money.

It's a top name. It's been in the family a long time.

I think it was my cousin's and my aunt's before that.

You've all passed it around and had pleasure with it.

-Why is it time to go now, though?

-It doesn't do anything.

-You don't like it.

-I don't DISLIKE it.

-Whether you like Royal Worcester or not, it is as good as ceramic art gets.

-Yes.

It's beautifully potted, lovely, fine quality.

-Somebody out there will love this.

-Hopefully.

There's always a buyer for something and they will be paying £80.

It's going now under the hammer now. This is it. Good luck.

Lot 553 is the Royal Worcester, ivory ground, flat-back jug.

Can we say £100? 100? 80?

60?

30?

£30. 30 bid. 40, 50, 60.

-£60.

-Come on.

70, fresh bidder.

-80. Fresh bidder again.

-Yes.

At £80. With you, sir, at £80.

All done at £80? £80...

Yes! What did I say? 80! It was bang-on.

You're a far better valuer than I am! I just said 50 to 80.

-It was a pure guess. I just opened my mouth.

-Honest.

-Hey, that was a good result.

-Not bad.

-There is commission to pay.

-What are you going to put the rest of the money towards?

-A willow tree.

-A willow tree!

-Yes.

-Ah!

200, 210, 220.

220. Any advance on 220?

230.

This next lot should be a pinch, shouldn't it, at £80-£120?

-Kate's solid silver snuff box.

-Yes.

Why are you selling this?

Well, this snuff box has been sitting in my cabinet in the lounge for many years

and it's gathering dust, basically, so I think it's time to sell it.

Well, I know we need top money because at the valuation day, you both discussed

-the proceeds of the sale were going towards a painting.

-That's right.

So what's this painting? Is it something you're buying in auction?

No, it's a local artist from Girvan, James Harrigan.

He does lovely paintings of the West Coast,

of Arran and Ailsa Craig, so I'm hoping to put it towards that.

147 is this. Now, it's George III, it's a silver snuff box

with engine-turned decoration, and it's London, 1812.

Georgian snuff box in mint condition.

Start me at £100. 100?

50, then? 50 bid.

50, 60, 70.

80, 90.

-100.

-We're getting there.

110, 120.

120 on the floor for the Georgian snuff box.

Any advance on £120?

All done at 120? 120.

-Well, that's great news. There's commission to pay...

-Right.

-..but it's something towards that painting.

-I'm delighted.

-My first auction experience of an auction so I'm thrilled.

-Oh, is it?

-Yes, yes!

-Oh, good for you. Keep coming back.

-I certainly will.

I need to sell some more things to get this painting.

£90.

1152.

Hopefully Anita can weave some magic on this next lot

because it's Hazel's textiles, some wonderful items of lace,

with a valuation is £75-£100.

I don't know how heavily this has been viewed and if it's anybody's cup of tea here

and Anita hasn't said anything to me, so it's a stab in the dark.

-But it's a packed auction room, so fingers crossed.

-Yeah.

266, ladies and gentlemen,

a lot comprising various lace shawls, bonnets, etc.

It's a super collection of hand-embroidered Victorian clothes.

Can we say £200?

£100, surely, ladies and gentlemen?

£100? 50, then?

50? 50 bid. Any advance on 50? 60.

70, 80.

90. £90.

Any advance on £90?

All done at £90. £90...

It's sold. I got very nervous to start with

because it's the only textiles here. How will you spend the money?

I'm going to buy some commemorative bobbins with "I flogged it" on them.

-Thank you, Hazel. Bye-bye.

-Bye.

Well, that's the end of our first visit to today's auction.

Later on, there are plenty more antiques to go under the hammer,

so there are more surprises to come.

That last lot gave me a great idea.

I'm going to nip off to Kilmarnock and visit a place called Newmilns.

Strangely enough, it's the oldest surviving lace-making factory in the world.

These machines have been making lace for over 100 years.

They helped established the Irvine valley in Ayrshire

as the world centre of Nottingham lace.

And little has changed from the days when thousands of local people

worked in 39 such factories up and down the valley.

This company, Morton Young & Borland, was founded

by three Scots gentlemen in the early 1900s

and it's the only one of those lace factories still in production.

These machines run from six o'clock in the morning

until ten o'clock at night, turning out lace.

That's a long shift. It's industry working at full tilt.

It almost takes me back to the Industrial Revolution,

where the whole nation is driving forwards.

And what a racket! Let's get them turned off and go and have a chat to the boss.

-Scott.

-How are you doing, Paul?

-Thank you for talking to me.

So your grandmother was in the industry all her life?

She worked as a Madras weaver for many years in the industry

and at that time, they could flit between different factories

because there were many factories in that line of business.

Why did Nottingham lace move to Kilmarnock? What was the reason?

There's always been a tradition of hand-loom weaving in the valley,

right from the 1700s,

and then the Nottingham lace-makers had a good industry in Nottingham

in the 1850s, 1860s.

So when the power looms started,

Alexander Morton brought the first loom to Darvel in 1876,

and since then, the business just snowballed.

So what was the demise over the years, then?

Why is there only one left?

The demise has been the introduction, possibly, of the polyester

and high-speed looms from Germany in the '50s and '60s.

And then people's attitude to furnishings changed.

They wanted a lot more easy-care fabrics for their windows.

It was a case of, with lace, it's very hard to maintain and wash

and stretch back into shape,

whereas the polyester, you washed it and hang straight back up.

-And the future of the company?

-The future is looking quite good.

Obviously it's difficult times with the recession

but hopefully we'll be here in another 100 years' time.

It's a proud tradition.

These are thought to be members of the three founding families,

posing in the early 1900s with outfits made from the company's own lace.

Today, Morton Young & Borland still export lace around the world

and keep an archive of every one of the 20,000 designs they've produced

in their 100-year history.

They employ 65 people and there's plenty of work.

Back at the Palace Theatre, people are still flooding in

with their collectables and antiques. Next in line is Janet.

-Hello, Janet.

-Hi.

She's brought in a trio of delights for David to have a look at.

What have you brought here for us today?

Well, that's two Edwardian brooches and a necklace.

-Do you not wear these?

-No, I haven't worn them for a long time.

Right. It's a shame that people don't wear jewellery like this.

I think you wouldn't even have gone out to the shops without putting your jewellery on in 1900.

Of course, today we don't think about doing that.

We'll go out to dinner and we'll leave our jewellery behind.

Erm... Three charming pieces.

Stylistically, each one is quite different.

I think the piece I prefer is this brooch here,

which is in the, or at least refers a bit to, the Art Nouveau style.

You know, that style which is characterised by whiplash forms

and extended tendril forms.

So this is, broadly speaking, in the Art Nouveau style.

The star brooch set with pearls,

which ascend from the tips of the star up to the centre.

And this is hallmarked,

nine-carat gold.

And I think most interesting of all is the chain,

which is fastened by a nine-carat gold clip

-but which tests as 18-carat gold.

-Yes.

This is hollow gold, so it's actually quite light, as you know.

And it seems that this started out life as a belcher.

-Do you know what a belcher is?

-No.

A belcher is a long, decorative chain

that would have been worn perhaps looped twice round a lady's neck,

you know, just to give some impact.

It would have been a most impressive piece of jewellery to be wearing.

This is a belcher that's been cut down.

It's been converted to a small necklace.

Now, as far as values are concerned, the Art Nouveau piece

with the moonstone and ivory terminals

-I think is worth between £30 and £50.

-Mm-hm.

The star brooch, another £30-£50,

and I would place an estimate of £70-£100

on the necklace stroke reduced belcher.

And I think they should be offered as one lot

-at an estimate of £130 to £200...

-OK.

-..with a reserve of £130.

And with luck and a following wind, they might make a bit more.

-How does that seem to you?

-Yeah, that sounds OK, yeah.

-Jolly good. We'll go for that, then. OK?

-Thank you.

-Thank you.

Elizabeth, I have to say, this brings back so many memories.

You know, going back 23, 24 years when I was a student.

I was actually training to be a vet at that time

but I went to a house sale in a place called Bingham where I was having my vet work experience,

and on the mantelpiece of this house sale

were a pair of vases just like this - Morris ware -

and I fell in love with them.

So, tell me, is this something that you've loved over the years?

-Yes, it was my mother's.

-Was it?

And she gave it to us because we liked it

-but I've got so many ornaments.

-Have you really?

-Yes.

Too many.

Isn't that a great shape? It's sort of a gourd shape, isn't it?

I love it.

I guess if you turn it over you've got the mark there.

Morris ware, S Hancock & Sons, Stoke-on-Trent,

-and Hancock & Sons became S Hancock & Sons in 1881.

-Mm-hm.

But this type of ware, Morris ware,

was designed by a chap called George Cartlidge

and he was working there from about 1910

up until the mid 1920s.

Is it something that you use? Do you keep flowers in it?

-You can't because, well, slight crack.

-A slight crack?

-Oh, yes.

-I don't use water in it. For dried flowers it's all right.

Dried flowers!

-You're trying to sell it again now, aren't you?

-I am.

-You've ruined it now!.

-You can put beautiful dried flowers in there.

We've got a crack that comes all the way down the side there.

-It's always had that, as far as I know.

-Yeah.

Oh. In perfect condition, it would be very, very saleable.

-Do you have any ideas on value?

-Not really, I didn't.

Because of the crack, I thought, well, obviously it might affect it.

It will affect it. It will significantly affect it.

-I think in perfect condition, it's £300-£500.

-Mm-hm.

-With the crack, around 100.

-Yeah.

-100 to 120, something like that.

-Yeah.

-Shall we put a reserve of 80?

-I wouldn't like it to go for less than that.

-Is that all right for you?

-Yes, no less than that.

-Fantastic.

David, it's very easy to talk about being privileged to see things

but it is the best collection of Mauchline ware I've ever seen.

Did your family have a connection with the Mauchline factory?

Yes, my father worked there for the first part of his working life.

And the collection was formed by him?

-No, it was inherited from his uncle.

-OK.

-It came to him when he died.

So in fact, Father inherited it and then I inherited it from my father.

Just quickly to explain, and we could spend a long time doing this,

but, broadly speaking, we have tartan ware,

which I think speaks for itself,

and boxes decorated in some other manner,

-some with transfer prints.

-Yes.

The Mauchline factory was established

in the early 19th century,

and in the early days, they hand-painted the tartan decoration

onto the boxes.

But at a later date, a method was invented whereby the tartan pattern

was transfer-printed onto a piece of paper

and the paper itself was glued to the wood,

which in every instance, I think, is sycamore.

In 1933, I think I'm right in saying, production ceased.

-Well, it didn't cease completely.

-No?

-But it dropped because of the fire, yeah.

-There was a fire?

-There was a fire.

-Was there?

I know that my father got in

-and got his tools out before...

-Did he?

-Yeah.

-Before the fire got too much of a hold.

-Right.

But I was only three at the time, so I can't tell you too much about that.

So it's partly folklore, as far as you're concerned,

but, as I say, the history of the firm runs in your blood,

by the sounds of it. What we've done, David,

is just think in terms of how we would lot this up.

I'll quickly go through that with you.

So I would suggest that these three tulip vases went in one lot.

This group here formed another lot.

Another group of smaller items over here.

Four boxes.

Two tartan ware boxes here.

A group of five boxes here

and we'd finish with this pair of spill vases here,

keeping back to offer on its own this early box here.

Having discussed how we would catalogue them,

I think the maximum estimate would be £1,500,

bottom estimate and reserve, I think, should be £1,000.

-Are you happy for us to go ahead?

-Yes, certainly.

-You're a star

and I'm sure it will do very well.

That's the business done here at the Palace Theatre in Kilmarnock.

Time to take those items to auction and count the cash.

Here's a run-down of what we're taking.

Janet's Edwardian jewellery doesn't really see the light of day much

as she doesn't wear them.

David thinks it's time to put them to work

and earn her £130-£200.

This gourd-shaped Morris ware vase has a hidden secret.

-Do you keep flowers in it?

-You can't cos, well, slight crack.

-Slight crack.

-But owner Elizabeth still thinks it has a use.

-For dried flowers it's all right.

-Dried flowers!

-You're trying to sell it again now, aren't you?

-Yes, I am!

And top of today's valuations,

25 items of quintessentially Scottish Mauchline ware.

I'll need my calculator ready

because David is dividing it up into eight lots.

But does Anita have different ideas about David's valuation?

Now, we've gone with David's division.

We have divided them into eight lots.

-And what we have here are two of the best lots.

-I think so.

These wonderful tulip vases don't come up all that often.

I was just about to say that. I've not seen any like this before.

What sort of value have you put on the tulip vases?

-We've put 400-600.

-That's the bulk, really, of the estimate, isn't it?

What have you put on the little box?

The little box, again I've estimated conservatively.

250-350. I'm hoping that it will go at least mid-estimate

and on a good day, it might do the top estimate.

-I think you're right, there.

-It is a beautiful little piece.

And the Mauchline buyers like to collect the different tartans

-and there are thousands of them.

-There must be.

Is there a tartan in your clan?

-We're of Irish descent, Paul.

-Oh!

But there might be somewhere.

Maybe that's a wee bit of research that I can do personally.

The Mauchline ware will go under the hammer a little later

but first, it's Janet's beautiful collection of jewellery.

Why did you decide to sell them?

Well, I haven't worn them for a while

and I kind of forgot about them, so I just thought, well, sell them.

The good thing about this lot is there's something for everyone.

If your taste is traditional, there's the star brooch.

If your taste is avant-garde, there's the Art Nouveau brooch.

If you just like a bit of gold to put in your bottom drawer as an investment,

there's that part belcher, so it'll appeal to a lot of people.

But I think right now Janet really wants the £200 top end.

-That's what you'd prefer, wouldn't you?

-Yes.

We're going to take the money.

Lot 60, a Victorian seed pearl brooch,

a lovely wee nine-carat gold brooch

and a nine-carat gold belcher linked neck chain.

Start me at £100 for the three.

£100? £80, then?

£80? 80 bid.

At 90, 100.

110, 120.

130, 140.

£140.

150, fresh bidder.

160, 170.

180, 190.

-200.

-You've got your 200.

At £200. 210. £210.

All done at 210? All done at 210?

£210! What are you going to put the money towards?

-Help to pay the bills.

-Well, it's a fact of life. We've all got them.

That's good Scottish pragmatism, that is - help to pay the bills.

Next up, the Morris ware vase. It belongs to Elizabeth

and it was your mother's - it's been in the family a long time.

-You've brought another family member along. Who's this?

-Siobhan.

Siobhan, your grand-daughter. It's lovely to meet you.

We've got £100-£120 on this vase. It looks like it's worth much more.

-It's cracked.

-Oh, is it? Right, OK.

-That's why.

It would be worth so much more. It's a great design, isn't it?

-Yeah, it's beautiful.

-Didn't you know it was cracked?

-No, I didn't!

538 is the Hancock & Sons, Morris ware, gourd-shaped vase.

It's designed by George Cartlidge.

A wonderful piece of Morris ware.

£50?

50 bid. With you, sir, at 50.

60, 70, 80.

90, 100, 110.

-120, 130, 140.

-(Keep going, keep going.)

More! More money.

£160.

160.

Any advance on 160? All done at 160. 160...

Well done. That was good.

-What will you put the money towards?

-The kitchen.

-A new kitchen?

-No, just updating what's in the kitchen.

-Right, OK,

-like tiling and doorknobs.

-And fridges and freezers.

Who's going to do all that work?

-Your grandpa, won't he?

-Grandpops. Is he good at that?

-Sometimes.

-If you prod him with a stick he will be.

110, 120, 130, 140...

150, 160.

Well, I've been waiting for this one and I expect you have too.

It's the 25 pieces of Mauchline ware,

lots of local interest, belonging to David, here.

And we've split them into eight lots.

First up, there's four pieces in this first section.

Little violin and the egg timer. Here we go.

50, 60, 70 with me.

-100.

-Yes, yes, good.

110 on the phone. 110...

-Yes, £110.

-Good start.

-That's a very good start.

We're on top straightaway.

Six pieces of tartan ware,

to include three silk winders,

two Stewart tartan and a Macpherson example.

170, 180...

-Great.

-180.

-Brilliant. We're smashing our targets.

On the floor at 180.

260, 280.

290. 290. All done at 290? 290...

This is such good news and now here's the third lot,

another mixed bag again.

It's with me at 100.

Any advance on...? 110. 120.

-It's a great collection, David.

-It looks like it.

All done at 210? All done at 210? 210...

-We're well above our target right now.

-We are.

-Fourth lot to come now.

-My maths is terrible, I can't work it out

but we're way above our target.

Four Mauchline snuff boxes. 100 on the phone.

It seems the whole room wants to invest in David's collection,

which is so good.

205 with me, Lala.

With Lala on the phone at £210.

Any advance on 210? All done at 210? 210...

Brilliant. £210.

Next lot is the two snuff boxes.

..and they both have their original lining,

again, the very finest of boxes.

120 with me. 150. I'm out.

It's on the phone at 150.

All done at 150? 150?

Phone bid. £150.

And now my favourite piece.

..Is the fine Smiths of Mauchline hand-painted snuff box.

220, 230.

240, 250.

This is good.

360, I'm out.

Any advance on 360? All done at 360?

360...

Getting hot. Next lot, the three tulip vases.

Estimated at 400-600.

900 with me.

Wow.

950, 1,000.

1,050. 1,100 with me.

All done at 1,100? 1,100...

£1,100 for the three tulip vases.

And this is the last lot, a pair of tartan vases, Stewart tartan.

300, 320.

-350, 400.

-Everyone's getting carried away.

-Yes, they are. £500?

-500.

-500?!

520, I'm out.

Any advance on 520?

Yes, that's it. It's all over. That's the last lot gone

-and we're just short, 50 quid short, of £3,000.

-£3,000.

-How do you feel about that, David?

-I'm speechless.

-It's incredible, isn't it?

-Yeah.

-That was your collection.

Quality always sells. Unbelievable.

We've doubled the top end of the estimate and it was well worth splitting the lots up.

That'll be news in Glasgow next week.

I think it'll be news all over Scotland and the world!

Thank you so much for bringing that in.

Quality always sells. It's the perfect end to a wonderful day here in bonnie Scotland.

Until the next time, it's cheerio.

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