0:00:03 > 0:00:08Today, we're in one of the most thrilling and vibrant cities in the North-West,
0:00:08 > 0:00:11famous for its creativity, comedy and culture.
0:00:11 > 0:00:12Flog It! is in Liverpool.
0:00:32 > 0:00:35MUSIC: "Live And Let Die" by Paul McCartney
0:00:35 > 0:00:40As a city, Liverpool is diverse, energetic and exciting.
0:00:40 > 0:00:45Situated by the River Mersey, the docks are central to Liverpool's history,
0:00:45 > 0:00:47with the best-known being the Albert Dock,
0:00:47 > 0:00:51the largest single collection of Grade I listed buildings in the UK.
0:00:51 > 0:00:57The city's role as a major port in the British Empire means that many of its finest buildings
0:00:57 > 0:00:59were built as headquarters
0:00:59 > 0:01:02for the shipping firms and insurance companies.
0:01:03 > 0:01:07The Pier Head is perhaps one of the most famous iconic images
0:01:07 > 0:01:09on the city's skyline and it's dominated by
0:01:09 > 0:01:13the Royal Liver, the Cunard and the Port of Liverpool buildings.
0:01:13 > 0:01:17Together, there's over a century of heritage between them
0:01:17 > 0:01:19and they're still fully functioning.
0:01:19 > 0:01:22They're known locally as the Three Graces.
0:01:26 > 0:01:29Later on in the programme, we'll be looking at
0:01:29 > 0:01:32Liverpool's fascinating maritime history, but for now,
0:01:32 > 0:01:35it's anchors away and let's get on with the show.
0:01:41 > 0:01:45And gracing us with their presence today are our two experts,
0:01:45 > 0:01:47the fabulous Mark Stacy and the gorgeous Kate Bateman.
0:01:47 > 0:01:52Today's venue is St George's Hall, right in the centre of the city,
0:01:52 > 0:01:55and by George, do we have a fabulous queue here,
0:01:55 > 0:01:57on a gorgeous sunny day.
0:01:57 > 0:01:59I can't wait to find out what's in all those bags and boxes,
0:01:59 > 0:02:03so let's get the doors open and get Flog It! going.
0:02:03 > 0:02:06So, as the crowds rush in to this great hall, let's see what Kate
0:02:06 > 0:02:09has uncovered from this Liverpudlian treasure trove.
0:02:14 > 0:02:20Tony, you've bought in this vase. What do you know about it?
0:02:20 > 0:02:24All I can tell you is that I bought it from a jumble sale,
0:02:24 > 0:02:28approximately about 25 years ago, so when I was about eight.
0:02:28 > 0:02:30A jumble sale. What did you pay for it?
0:02:30 > 0:02:34I paid less than £1 for it. No more than £1.
0:02:34 > 0:02:38It's quite a weird thing for a small boy of eight or so to buy.
0:02:38 > 0:02:42- What attracted you to it? - I've no recollection of buying it.
0:02:42 > 0:02:45I just know at that time, I bought a lot of things,
0:02:45 > 0:02:47spent most of my pocket money on junk.
0:02:47 > 0:02:49- On junk.- On junk.
0:02:49 > 0:02:50- This is an item of junk.- Yeah.
0:02:50 > 0:02:53OK. Do you know anything else about it?
0:02:53 > 0:02:55- I know it's Troika. I know it comes from Cornwall.- Right.
0:02:55 > 0:02:57I know it's featured a lot on Flog It!
0:02:57 > 0:02:59It is a favourite of our Paul Martin.
0:02:59 > 0:03:02I have to say, I disagree with him on this.
0:03:02 > 0:03:05I am not a big fan of Troika.
0:03:05 > 0:03:08It just doesn't float my boat, but you obviously liked it.
0:03:08 > 0:03:10I don't particularly like it, actually.
0:03:10 > 0:03:13I have no feelings about it, at all, actually.
0:03:13 > 0:03:16- Ambiguous on the whole subject of Troika.- Yeah.
0:03:16 > 0:03:19That's probably the best way to be, I think, on Troika.
0:03:19 > 0:03:21So, it's quite highly decorated.
0:03:21 > 0:03:24Obviously, it's Troika and if you didn't know by looking at it,
0:03:24 > 0:03:26it's got all the details on the bottom.
0:03:26 > 0:03:29LT is the initials for Linda Taylor,
0:03:29 > 0:03:32who is one of the artists that works there.
0:03:32 > 0:03:34And, obviously, it's graffito decorated,
0:03:34 > 0:03:37so scratched into the wet clay before it's fired
0:03:37 > 0:03:40and you've got all these different sort of
0:03:40 > 0:03:43highly-painted geometric designs. Quite funky.
0:03:43 > 0:03:45All different on each side.
0:03:45 > 0:03:50Pricewise, £60 to £90 is a fairly normal estimate for something of this size.
0:03:50 > 0:03:53And the condition's good.
0:03:53 > 0:03:56It's obviously quite a mark-up from £1.
0:03:56 > 0:03:58- Yeah. Absolutely. Yeah. - So quite a good investment.- Yes.
0:03:58 > 0:04:01- I want to know what else you've bought.- I'll have to have a look.- Have a rummage.
0:04:01 > 0:04:05- Is that the kind of figure you'd be happy with?- Yeah. Absolutely. Yeah.
0:04:05 > 0:04:09- Reserve-wise, what's the least that you'd take for it?- Maybe about £40.
0:04:09 > 0:04:11What will you do with the money?
0:04:11 > 0:04:13I'm going to spend some of the money on the garden
0:04:13 > 0:04:16and also, I'm going to treat my mum to a bunch of flowers
0:04:16 > 0:04:19because she thinks I gave it her many years ago but I don't remember.
0:04:19 > 0:04:23- You're not going to be tempted to buy more junk, are you?- Absolutely.
0:04:23 > 0:04:26- You'll be at the next car boot, out there with £1.- Yes.
0:04:26 > 0:04:30- You've clearly got a good eye. - Thank you.- Shall we give it a go at the sale?- Yeah. Absolutely.
0:04:30 > 0:04:32- Thanks for bringing it in. - Thanks very much.
0:04:39 > 0:04:42Now it's time for something of a change - a lovely pocket watch.
0:04:42 > 0:04:45Catherine, you've brought this lovely item in. Tell me about it.
0:04:45 > 0:04:47This was my late father's.
0:04:47 > 0:04:50He was an avid watch collector -
0:04:50 > 0:04:52marine chronometers, anything.
0:04:52 > 0:04:55Anything scientific or with a mechanical movement.
0:04:55 > 0:04:57Yes, but it had to be working.
0:04:57 > 0:05:02- If it didn't work, he didn't want it.- Or he spent a lot of money doing it up, I suppose.
0:05:02 > 0:05:04To restore it, he spent £400
0:05:04 > 0:05:08and nearly two years of a man's time to restore the watch.
0:05:08 > 0:05:10He wanted to see it working.
0:05:10 > 0:05:16- Well, he was quite determined, cos £400 is quite a lot of money and that was some time ago.- 1979.
0:05:16 > 0:05:20- Good Lord. Unfortunately, of course, we can't add that on to the value of the watch...- No.
0:05:20 > 0:05:27It doesn't work like that. What I can tell you about it is, it's by a very good maker,
0:05:27 > 0:05:31and it's going to date to the sort of second half of the 18th century,
0:05:31 > 0:05:33so it's a nice George III period piece.
0:05:33 > 0:05:37The case is engraved with this lovely design here.
0:05:37 > 0:05:42The face has got a few cracks in the enamel but it's a very typical face for this maker.
0:05:42 > 0:05:46What I like, also, about it... If we close it up and have a look at it...
0:05:46 > 0:05:49the glass here is bevelled and faceted
0:05:49 > 0:05:52so when you actually look, you get a sort of almost like
0:05:52 > 0:05:56an insect's eye view of the face and it's very nice.
0:05:56 > 0:05:58- And of course, it repeats.- Right.
0:05:58 > 0:06:01So when you press it like that... WATCH DINGS
0:06:03 > 0:06:06Now, what that will tell you when it chimes like that,
0:06:06 > 0:06:08it'll give you the how many quarter pasts...
0:06:08 > 0:06:13- quarter past, half past, quarter to and then the last two are the last hour.- Oh, right.
0:06:13 > 0:06:17So you know that it's, you know, the time is coming up or has just gone.
0:06:17 > 0:06:19That's the first time I've actually heard it.
0:06:19 > 0:06:23- Oh, really? You've never been tempted to squeeze the top?- No. No.
0:06:23 > 0:06:27Well, the thing with these, of course, is the gentleman would put this
0:06:27 > 0:06:33by the side at night on a watch stand, so when he woke up, he maybe didn't want to light his candle,
0:06:33 > 0:06:36so he'd press that and it would at least give you an approximation of the time.
0:06:36 > 0:06:42What I would say to you as well with this, this is the central bit of the pocket watch.
0:06:42 > 0:06:45It would have been enclosed in an outer case...
0:06:45 > 0:06:52either a full case to make it a full hunter, or a glass open face to make it a half hunter.
0:06:52 > 0:06:54So you are missing that bit.
0:06:54 > 0:06:56Now, value.
0:06:56 > 0:07:01£400-600 would be my suggestion to you, with a reserve of 400.
0:07:01 > 0:07:05And, hopefully, it'll knock up a bit on that. How do you feel about that?
0:07:05 > 0:07:08I'd just like the watch if it went to somebody who'd appreciate it.
0:07:08 > 0:07:14Well, it's certainly going to go to either a specialist dealer or a specialist collector,
0:07:14 > 0:07:19so one way or other, it's going to go to somebody who's going to appreciate it slightly more than sitting...
0:07:19 > 0:07:21- ..In a drawer.- ..for 30 years.
0:07:21 > 0:07:27- I look forward to seeing you at the auction and let's hope it chimes the right note at the sale.- Thank you.
0:07:38 > 0:07:43- Wendy, this is a fabulous postcard album.- Yeah. It's very musty.
0:07:43 > 0:07:45I know. It's...
0:07:45 > 0:07:47- It's got that smell.- Yeah.
0:07:47 > 0:07:49Fresh to the trade, they say.
0:07:49 > 0:07:51I think the collectors are going to like this
0:07:51 > 0:07:54because it's not been through the auction rooms or an antique shop before.
0:07:54 > 0:08:00- Never. No.- No, which is great. - And if you read, originally, it came from an old friend of ours.
0:08:00 > 0:08:06- Her name was Mabel and she lived in 150 Great Homer St, Liverpool, which doesn't exist any more.- Oh, really.
0:08:06 > 0:08:11- It's all been bombed down now, pulled down.- This is the beauty of postcards like this from the early 1900s.
0:08:11 > 0:08:14- It captures social history which has been lost.- Yeah.
0:08:14 > 0:08:19- And that's why individual images are so highly sought after...- I see.
0:08:19 > 0:08:21..because these buildings don't exist.
0:08:21 > 0:08:26Well, whoever put this album together has obviously travelled to all the right destinations,
0:08:26 > 0:08:30- sort of towards the end of the 1800s, early 1900s.- Yes.
0:08:30 > 0:08:33So they're topographic scenes you expect to find in a lovely album.
0:08:33 > 0:08:35They've toured all of North Wales, look.
0:08:35 > 0:08:39Going through Snowdonia, Betws-y-Coed,
0:08:39 > 0:08:45- We've got Colwyn Bay.- That must have been the old original pier. - Yes. That's not there now.- No.
0:08:45 > 0:08:52You see what a wonderful document it is of past civic history, can't you?
0:08:52 > 0:08:56You can see why the collectors want things like this.
0:08:56 > 0:08:58They've gone throughout Derbyshire, Shrewsbury, Durham.
0:08:58 > 0:09:03We're going to London, touring Buckingham Palace, Blackpool.
0:09:03 > 0:09:05Oh, look at that one of Southport.
0:09:05 > 0:09:09- Isn't it beautiful?- Now that really does sum up the 1920s.
0:09:09 > 0:09:12Yeah. It's lovely, isn't it?
0:09:12 > 0:09:16Look at that. I think this will do quite well in auction, I really do.
0:09:16 > 0:09:21It's a full comprehensive topographic sort of overview of all the right places
0:09:21 > 0:09:26and I think this should do somewhere in the region of sort of high 300s.
0:09:26 > 0:09:34That's what I'm hoping. Can we put this into auction with a value of £225 to sort of £325...
0:09:34 > 0:09:38- with a reserve on at 225?- Yes. - Can we do that?- Yes. That's fine.
0:09:38 > 0:09:43- Fingers crossed.- Yeah. - Fingers crossed we get that top end. - OK. Thank you very much. Thank you.
0:09:51 > 0:09:57- Andy.- Hi. - Welcome to Flog It. You've brought me these two Doulton figurines in.
0:09:57 > 0:09:59- They're a study of contrasts. - They are.- I think it's fair to say.
0:09:59 > 0:10:02- I know which one's my favourite. - Is it this one, by any chance?
0:10:02 > 0:10:07- Definitely.- Yeah. You've got two very different styles from the same factory,
0:10:07 > 0:10:11so you've got the flower seller's children, here, which is quite an early piece.
0:10:11 > 0:10:14Lovely colours. Probably early 1930s.
0:10:14 > 0:10:16And then you've got Old Father Thames here.
0:10:16 > 0:10:20He looks fairly ancient, but in terms of a model, he's not very old.
0:10:20 > 0:10:23- No.- Probably a 1980s. Some people like this one.- Yeah.
0:10:23 > 0:10:26I think what you've got is much more collectable on the terms of this one.
0:10:26 > 0:10:29We always moan about condition on these things.
0:10:29 > 0:10:34I'm going to play devil's advocate here and have a whinge, and you've got a few bits missing.
0:10:34 > 0:10:38You've got a few little chips and cracks and things on the flowers, which you expect. They all fall off.
0:10:38 > 0:10:41It's in pretty good condition other than that, though. You've got no heads off.
0:10:41 > 0:10:44- No.- Fingers are fine.
0:10:44 > 0:10:46- No.- It's a nice piece. Why would you be selling it?
0:10:46 > 0:10:50I want to take the daughter and the wife down to Great Yarmouth
0:10:50 > 0:10:52to see two good friends of ours who run a hotel down there.
0:10:52 > 0:10:57- And fed up of dusting it.- Well, I don't mind looking at this one.
0:10:57 > 0:10:59I just want this one to go, you know.
0:10:59 > 0:11:03This is a strange piece. I mean, it's not going to be everybody's cup of tea.
0:11:03 > 0:11:07In terms of pricing, I think the best thing to do is put them in two separate lots
0:11:07 > 0:11:10- because they'll appeal to two different kinds of people.- Right.
0:11:10 > 0:11:12And this one is the lower figure.
0:11:12 > 0:11:15- Maybe an estimate of £40-50 on him. - OK.
0:11:15 > 0:11:19- And this one's slightly more collectable, so £100-150.- Right.
0:11:19 > 0:11:22Would you want to set some reserves on them?
0:11:22 > 0:11:25On this one. I wouldn't like to see it go for less than 100.
0:11:25 > 0:11:31OK. So put a fixed reserve of 100, cos, obviously, if it doesn't make that, you can always have it back.
0:11:31 > 0:11:35- Of course.- Brilliant. Well, I'll see you at the auction.- OK. Yeah. - Fingers crossed it will go.
0:11:39 > 0:11:43Let's get the excitement going. We're going to make our way over to the auction room in Mold
0:11:43 > 0:11:48and leave you with a rundown just to jog your memory of the items that are going under the hammer.
0:11:50 > 0:11:52Kate's not a fan of Troika,
0:11:52 > 0:11:58but having paid the price of just one English pound, how will Tony's vase fare under the hammer?
0:11:58 > 0:12:00It is a favourite of our Paul Martin.
0:12:00 > 0:12:05I have to say I disagree with him on this. I am not a big fan of Troika.
0:12:05 > 0:12:11Catherine wants her father's pocket watch to go to a good home. How much will she pocket at auction?
0:12:11 > 0:12:16- You press it like that.- That's the first time I've actually heard it. - Oh, really?
0:12:16 > 0:12:22Will Wendy's album of just over 250 postcards gain a stamp of approval?
0:12:22 > 0:12:26- It's very musty. - I know. It's got that smell.
0:12:26 > 0:12:29Fresh to the trade, they say.
0:12:29 > 0:12:35And Andy is expecting a decent figure for his Royal Doulton figurines, but will he get it?
0:12:42 > 0:12:45And this is where we're putting all our experts' valuations to the test,
0:12:45 > 0:12:48in Dodds Auction Rooms, in the heart of Mold.
0:12:48 > 0:12:53There's an air of excitement and anticipation, all the ingredients you need for a classic auction.
0:12:53 > 0:12:55Who knows what's going to happen, but we're going to find out.
0:12:55 > 0:13:01And the man with the all-important gavel in his hand today is auctioneer Anthony Parry.
0:13:01 > 0:13:05First up, Tony's £1 piece of Troika.
0:13:05 > 0:13:09£60-90. Kate here doesn't really like Troika, do you?
0:13:09 > 0:13:13If I said here's 50 quid, would you go out and spend it on Troika?
0:13:13 > 0:13:15- Not a chance.- Not a chance. - Not a chance. No.
0:13:15 > 0:13:21In fact, there must be insanity in your family cos you're mad to buy something like that. Honestly.
0:13:21 > 0:13:23No. I think Troika is really lovely.
0:13:23 > 0:13:25- It's a matter of taste though really, isn't it?- Well, exactly.
0:13:25 > 0:13:28- And lots of people like it. - I think it's quite ugly.
0:13:28 > 0:13:31- I'm not really a fan of Troika. - A man after my own heart.
0:13:31 > 0:13:34- You're outnumbered.- I know.
0:13:34 > 0:13:36I'm flying the flag here.
0:13:36 > 0:13:38So we're going to find out what the bidders in Mold think.
0:13:38 > 0:13:41It's going under the hammer right now. Fingers crossed.
0:13:41 > 0:13:43Right. Nice little Troika vase.
0:13:43 > 0:13:4930. 40. 50. 60. £60. 60.
0:13:49 > 0:13:54- 60. 60. 70. 80. £80.- Oh, wow.
0:13:54 > 0:13:5780. Going to have 90? No. £80. 80.
0:13:57 > 0:13:5980. Anybody else? £80.
0:13:59 > 0:14:0585. 85. 85. 90. Five, is there?
0:14:05 > 0:14:0790. All done at £90 then?
0:14:07 > 0:14:10We've finished at £90?
0:14:11 > 0:14:13Well done. Well done for you.
0:14:13 > 0:14:16- I had a really nice time.- What next? You can spot the next thing.
0:14:16 > 0:14:20- I'm going to root through the rest of my drawers and see what I've got. - Brilliant.
0:14:22 > 0:14:25160. 160.
0:14:25 > 0:14:31And next under the hammer we've got a silver-cased verge pocket watch belonging to Catherine and Peter.
0:14:31 > 0:14:34We've got a value of 400-600 put on by our expert, Mark Stacey.
0:14:34 > 0:14:38This is real quality, and was it your father...?
0:14:38 > 0:14:40My father bought it. Yes.
0:14:40 > 0:14:46And since then, the watch has just been kept in a little green box in a cupboard.
0:14:46 > 0:14:51Well, that's one of its virtues, really, the fact that you've looked after it. It's not been damaged.
0:14:51 > 0:14:53It's still working. It's in mint condition.
0:14:53 > 0:14:54- This is true.- And it's superb.
0:14:54 > 0:14:56- It's lovely. It's a very good maker. - Yeah.
0:14:56 > 0:14:59- We've looked it up. It's sort of mid to late 18th century.- Exactly.
0:14:59 > 0:15:03- So we've put a sensible estimate on it and we protected it with a reserve.- Good.
0:15:03 > 0:15:06- So fingers crossed. - Something for the purists.
0:15:06 > 0:15:10It's definitely the oldest thing in the sale. Let's hope the bidders fall in love with this. Here we go.
0:15:10 > 0:15:14We've got a very nice Verge pocket watch here to start off with.
0:15:14 > 0:15:17200 I'm bid. £200.
0:15:17 > 0:15:21200. 225. 250. 275. 300.
0:15:21 > 0:15:25£300 up there. 300. 300. 25 is it?
0:15:25 > 0:15:31All done at 300? 325. 350. 375. 375.
0:15:31 > 0:15:36- 375. 375. 400.- Yes. We've got four.- 400.
0:15:36 > 0:15:39400. Take ten up here if you want.
0:15:39 > 0:15:42£400 is there. All done at £400?
0:15:42 > 0:15:45Missed no-one?
0:15:45 > 0:15:46We just did it - £400.
0:15:46 > 0:15:50- That's a good result. - Yes.- It's a good result.
0:15:57 > 0:16:02Right. It's my turn to be the expert today and I've been joined by Wendy, who's looking absolutely fabulous.
0:16:02 > 0:16:05- You really do. Love the scarf. - Thank you very much.
0:16:05 > 0:16:08- Bit of Marilyn Monroe and some other film stars there.- Yeah. Ava Gardner.
0:16:08 > 0:16:12Talking about photographs, we've got lots of photographs and postcards, really...
0:16:12 > 0:16:14- Yeah.- ..just about to go under the hammer with your album.
0:16:14 > 0:16:19- And I think there's about 240 odd in total.- Yeah.
0:16:19 > 0:16:22We've got a value of £225-325.
0:16:22 > 0:16:25Let's hope we can find a new home today. Here we go, Wendy.
0:16:25 > 0:16:27It's going under the hammer.
0:16:27 > 0:16:32Lot 100 now. Lot 100 is the album of 264 photographs.
0:16:32 > 0:16:35- What shall we say for that? Nice album.- Come on.
0:16:35 > 0:16:3850 I'm bid. £50. 50. 60. 70.
0:16:38 > 0:16:4580. 90. 100. And ten. 120. 130. 140.
0:16:45 > 0:16:49150. 150. 150. 160 is it?
0:16:49 > 0:16:53150, not much money, that isn't. 150. 150.
0:16:53 > 0:16:55All done at £150 then?
0:16:55 > 0:16:58We finished?
0:16:58 > 0:17:00It's worth a lot more than that.
0:17:00 > 0:17:02I'm pleased we put a reserve on, that's for sure.
0:17:02 > 0:17:04They're easily worth over £200.
0:17:04 > 0:17:08So I think the best thing you can do is - no-one in the room wants them today -
0:17:08 > 0:17:11take them home, keep them at home for three or four months,
0:17:11 > 0:17:17and if you decide to sell them, then put them in maybe to a different sale.
0:17:17 > 0:17:19- You can definitely come back here if you want.- Yeah.
0:17:19 > 0:17:26Watching other valuers value these postcards and I've done them myself and they've been fetching £300-400,
0:17:26 > 0:17:28so there's no reason why those ones shouldn't.
0:17:34 > 0:17:38Well, I've just been joined by Andy and Kate, our expert here.
0:17:38 > 0:17:40We've got two Doulton figures to go under the hammer.
0:17:40 > 0:17:43We're splitting the lots. The first one is the flower seller.
0:17:43 > 0:17:48- Yes.- Very collectable. We've got £120-150.- Yeah.
0:17:48 > 0:17:51We've upped it slight from that 100.
0:17:51 > 0:17:54- I think that was the wife, wasn't it?- It was the wife.
0:17:54 > 0:17:56- Saying, "Come on, we want a bit more than that."- She must be obeyed.
0:17:56 > 0:17:59- Right. Yeah.- Don't blame you there.
0:17:59 > 0:18:01And the other one for £40-50.
0:18:01 > 0:18:04Less popular. Hardly any colour, just a bit of gilding on that one.
0:18:04 > 0:18:06- This one's Old Father Thames.- Yeah.
0:18:06 > 0:18:10Yeah. Hopefully, we've got the collectors here. It's a great name.
0:18:10 > 0:18:12Let's just hope the price is right.
0:18:12 > 0:18:15- Well, we'll see.- We will... right now. Here we go.
0:18:15 > 0:18:17We come onto the Royal Doulton section now.
0:18:17 > 0:18:21165, the flower seller's children.
0:18:21 > 0:18:25A nice one there. 50. Thank you. £50. 55.
0:18:25 > 0:18:29- 60. Five. 70. Five.- Started low.
0:18:29 > 0:18:3275. 75. This is not much money. 80.
0:18:32 > 0:18:34Five.
0:18:34 > 0:18:3690. Five.
0:18:36 > 0:18:3895.
0:18:38 > 0:18:42£95. 95. Who's following it up? 100.
0:18:42 > 0:18:44And five.
0:18:44 > 0:18:48And ten. 115. 120.
0:18:48 > 0:18:51- This is good. Well done. We've sold it.- 120. And five, is it?
0:18:51 > 0:18:53120. 120's close to me.
0:18:53 > 0:18:56120. Are we missing anybody?
0:18:56 > 0:19:01- 120, it's gone.- Brilliant. First one down. Here's the next one.
0:19:01 > 0:19:03165A. Old Father Thames.
0:19:03 > 0:19:0530 years.
0:19:05 > 0:19:0820. £20. 20. Two. 24.
0:19:08 > 0:19:13£24. 24. 24. Where's six?
0:19:13 > 0:19:1724. 26. 28. Have one more, Michael.
0:19:17 > 0:19:2130. £30. 30. 30. 30. I'm very grateful to you for that.
0:19:21 > 0:19:24£30. 30. Two, is there?
0:19:24 > 0:19:26All done at £30 then?
0:19:26 > 0:19:28- That's not bad, is it?- No.- £150.
0:19:28 > 0:19:31- So I think the wife will be really happy.- Yeah. I hope she is.
0:19:31 > 0:19:34- That's something towards that trip. - Yeah.
0:19:37 > 0:19:41Coming up, we go from minor to major, with Royal Doulton.
0:19:41 > 0:19:48It cost a fortune to post, but can Tam find an over the top price for his vase from down under?
0:19:48 > 0:19:53- It must have cost you a fortune to have it shipped over. - Just over £300.- Good Lord.
0:19:59 > 0:20:04# From Liverpool to Bristol a-roving I went
0:20:04 > 0:20:07# But a stay in that country well, it was my intent
0:20:07 > 0:20:10# For drinking strong whisky like other damn fools
0:20:10 > 0:20:15# So not need transported back to Liverpool... #
0:20:15 > 0:20:20The docks have always been central to Liverpool's rich history
0:20:20 > 0:20:23and the most famous of them all being the Albert Dock here,
0:20:23 > 0:20:27which Queen Victoria's husband, Prince Albert, gave his name to.
0:20:27 > 0:20:30Its heyday was the second half of the 19th century,
0:20:30 > 0:20:36but within a fairly short period of time, it became obsolete, spiralling into decay and disuse.
0:20:39 > 0:20:42Once considered a blot on the landscape, some 30 years later,
0:20:42 > 0:20:47it's now become the jewel in the crown of Liverpool's rejuvenation.
0:20:47 > 0:20:49It's now a global tourist attraction...
0:20:49 > 0:20:56with museums, restaurants, bars, luxury apartments and offices to visit. So, let's go back in time.
0:20:56 > 0:20:59How did it all begin?
0:20:59 > 0:21:04Until the early part of the 18th century, vessels used to unload upon open quaysides,
0:21:04 > 0:21:07but they were at the mercy of thieves and smugglers.
0:21:08 > 0:21:14Ships' contents were taken to around 200 bonded warehouses scattered all over Liverpool
0:21:14 > 0:21:19and, consequently, the government found it very difficult to impose customs' taxes.
0:21:21 > 0:21:25When St Katherine's Dock opened in London, in 1828,
0:21:25 > 0:21:29it was the first enclosed dock with quayside warehouses.
0:21:29 > 0:21:33Ultimately, a much better port system to control tax evasion.
0:21:33 > 0:21:36The Albert Dock was based upon this pioneering design.
0:21:36 > 0:21:43I've come to Liverpool's Maritime Museum to meet Stephen Guy to find out more about this amazing dock.
0:21:43 > 0:21:46Who was behind the design and when was it built?
0:21:46 > 0:21:52Jesse Hartley... he was...an engineer.
0:21:52 > 0:21:59He had no experience, really, of port engineering, but he created this role which he fulfilled in Liverpool,
0:21:59 > 0:22:05and he designed and built this dock and, of course, it worked tremendously well.
0:22:05 > 0:22:10- Yeah.- But, really, if you were going to choose a place to put a port, Liverpool isn't it.
0:22:10 > 0:22:15The engineers had to overcome these problems with the tides and with the docks,
0:22:15 > 0:22:19and he created the template for dock engineering throughout the world.
0:22:22 > 0:22:27By February 1845, the dock was ready to receive its first ships,
0:22:27 > 0:22:32but it was only on the 30th July 1846 that Prince Albert formerly opened the docks.
0:22:33 > 0:22:36It was truly a grand occasion.
0:22:36 > 0:22:40It was the first state visit by a member of the British royal family to Liverpool
0:22:40 > 0:22:44and it was a time to celebrate. After all, Liverpool had arguably the world's first
0:22:44 > 0:22:50fully-enclosed fireproof and theft-proof system of dock warehouses.
0:22:54 > 0:22:59When you look around you, everything you can see, apart from the modern frontages etc,
0:22:59 > 0:23:05is original Victorian engineering at its very best.
0:23:05 > 0:23:11- It really is.- It's incredible because this is the largest group of Grade 1 listed buildings in Britain.
0:23:11 > 0:23:14It's amazing and it's all done by hand.
0:23:14 > 0:23:19You know, look at all those bricks, all laid by hand, all that cast iron,
0:23:19 > 0:23:24granite, sandstone, and it's a great place to be.
0:23:24 > 0:23:27- It is. It feels good, doesn't it? - It does. Yeah.
0:23:27 > 0:23:30Now, is that part of the original mechanical loading system?
0:23:30 > 0:23:33Previously, it was blokes hauling ropes.
0:23:33 > 0:23:39- Pulleys and tackles.- Push and pull, push and pull, labour intensive. - So that really did speed things up.
0:23:39 > 0:23:42The machine changed. I mean, this was the industrial revolution, you know.
0:23:42 > 0:23:48This was a major change, and so, obviously, you could shift cargos so much quicker.
0:23:48 > 0:23:52- What were they unloading? - All sorts of things were brought in from all over the world.
0:23:52 > 0:23:57- It must have been colourful and vibrant and the smells would have been wonderful.- It was.
0:23:57 > 0:24:04In Victorian times, the smells of the spices, the smell of the cotton, the smell of the rum, the tobacco.
0:24:04 > 0:24:09Everything was incredible and the characters, of course, they would have been all round here.
0:24:09 > 0:24:13- Yeah.- You know, tremendous characters, including Jesse Hartley was a great character himself.
0:24:13 > 0:24:17You can imagine him shouting, "Get on with this," you know.
0:24:17 > 0:24:24- He was the ultimate foreman and he either altered or built every dock in Liverpool...- It's incredible.
0:24:24 > 0:24:27..during his time. He was a colossus.
0:24:27 > 0:24:32And I guess it employed in its heyday thousands and thousands of people.
0:24:32 > 0:24:37- This area down here would have been total noise, the clanking of machinery.- A hive of activity.
0:24:37 > 0:24:39Total hive of activity.
0:24:39 > 0:24:44# As I walked out one morning fair down by the Liverpool docks
0:24:44 > 0:24:48# Heave away, me Johnny Heave away! #
0:24:49 > 0:24:54Although the dock prospered hugely, slowly the demands of ships began to change.
0:24:54 > 0:24:59Consequently, a downturn in the life of the Albert Dock was almost inevitable.
0:25:02 > 0:25:05Why did the docks go out of favour? What was their demise?
0:25:05 > 0:25:11Well, you can make all the great plans for a dock, but, really, what happened was the ships got bigger.
0:25:11 > 0:25:14Right. OK. And I guess access is quite tight here.
0:25:14 > 0:25:17Well, you look at the lock gates.
0:25:17 > 0:25:21- Yes.- They weren't able to predict how big ships were going to go.
0:25:21 > 0:25:24They couldn't predict the leviathans of the sea which were coming,
0:25:24 > 0:25:27but a simple thing like the lock gates not being big enough
0:25:27 > 0:25:33really sounded the end for this dock as a major dock in the town.
0:25:33 > 0:25:36What happened in the 20th century then?
0:25:36 > 0:25:40Throughout the '70s, this was a very, very bad area.
0:25:40 > 0:25:44Nothing was happening here and the dock board crashed. It went bust.
0:25:44 > 0:25:51- It went bankrupt. And at about that time, there was an accident here, where a ship rammed the gates.- Here?
0:25:51 > 0:25:56Yeah. Rammed the gates to the Canning Dock and because of the state of the dock board at that time,
0:25:56 > 0:25:58there was no repairs done.
0:25:58 > 0:26:02So what happened was, this area became tidal.
0:26:02 > 0:26:07All the tide came in and it silted up, so if you'd look behind you here,
0:26:07 > 0:26:11you know, 30 years ago, it was just a mass of silt.
0:26:11 > 0:26:17I mean, the Piermaster's House over there, the warehouse round the back there, they were ruined.
0:26:17 > 0:26:20It was a very sad time for Liverpool.
0:26:20 > 0:26:26But it was Michael Heseltine who spearheaded turning around the fortunes of the Albert Dock.
0:26:26 > 0:26:30In the early 1980s, the newly-elected Conservative government
0:26:30 > 0:26:36appointed him Environment Secretary, and under his guidance, the Merseyside Development Corporation
0:26:36 > 0:26:43was set up to take over the responsibility of regenerating and redeveloping Liverpool South Dock.
0:26:43 > 0:26:48Thank goodness it's been preserved cos this is Liverpool's social history, isn't it?
0:26:48 > 0:26:50It's all here. It's a world history.
0:26:50 > 0:26:55- These buildings are really quite symbolic of that.- Yeah.
0:26:56 > 0:27:01And so the transformation slowly began to take place.
0:27:01 > 0:27:05With new plans for leisure usage, the docks had a new lease of life.
0:27:07 > 0:27:12Like a phoenix rising from the ashes, this place has now become a huge tourist attraction,
0:27:12 > 0:27:17giving you a sense of connection to the past to Liverpool's glorious maritime days,
0:27:17 > 0:27:21but also offering the city inspiration for the future.
0:27:28 > 0:27:34Back now to the valuation day at St George's Hall and Mark has his eagle eyes on a collection of silver.
0:27:35 > 0:27:41- What a lovely group of silver and you've brought lots of pieces in to show us which is fantastic.- Yes.
0:27:41 > 0:27:44But we've chosen this little group as a mixed lot
0:27:44 > 0:27:48- because they're all of a type, aren't they?- They are. Yeah.
0:27:48 > 0:27:51The designs are not the same, but very similar.
0:27:51 > 0:27:55Well, a lot of them are quite lightweight silver.
0:27:55 > 0:27:59This is actually quite a good weight, this little bonbon basket, I suppose.
0:27:59 > 0:28:02You know, you'd use it at the end of a table, in a bygone era really,
0:28:02 > 0:28:05when you had maids to do all the silver cleaning for you.
0:28:05 > 0:28:08This one is hallmarked for London, 1895.
0:28:08 > 0:28:12And then this is Chester, 1901, I think, isn't it?
0:28:12 > 0:28:16So they're all from that sort of general late-19th century, early-20th century period.
0:28:16 > 0:28:20And we've got a little mustard pot and two pepperettes there.
0:28:20 > 0:28:24- We've decided to put them in as a group lot and you're happy with that.- Yes.
0:28:24 > 0:28:27Now, they're a nice little group of pieces. Where did you get them from, Michelle?
0:28:27 > 0:28:30- I bought them off the internet. - Off the internet.- Yeah.
0:28:30 > 0:28:32Are you a dabbler on there? Do you like it?
0:28:32 > 0:28:36Well, I had hoped to be a dabbler, but it's not working out.
0:28:36 > 0:28:42Oh, dear. I'm sorry to hear that. You need an awful lot of money you know, these days, to be a dabbler.
0:28:42 > 0:28:46- I found that out.- What did you pay for the group? Can you remember?
0:28:46 > 0:28:51- Probably about £120-130. - Well, that's not too bad.
0:28:51 > 0:28:55I mean, I think I would probably suggest putting them in at 100-150,
0:28:55 > 0:29:00with a reserve of 100. And then, hopefully, they'll drive a little bit towards the upper estimate.
0:29:00 > 0:29:04So you're happy with that then? You're happy if we put £100-150 on it?
0:29:04 > 0:29:06That would be fine. Yeah.
0:29:06 > 0:29:11- And why have you decided to sell them with us now?- I just need the money. - You need the cash.
0:29:11 > 0:29:14- Well, we all do at this credit crunch time, don't we?- We do.
0:29:14 > 0:29:15I wish I had some things to flog.
0:29:23 > 0:29:27Mike, you've bought in this wonderful painting.
0:29:27 > 0:29:29What can you tell me about it?
0:29:29 > 0:29:31- Well, it belonged to my father.- Yeah.
0:29:31 > 0:29:36It hung over his mantelpiece for about 40 years and I've inherited it essentially. Yes.
0:29:36 > 0:29:39Right. There is a little bit of background about this history.
0:29:39 > 0:29:41It's a fairly well-known painting.
0:29:41 > 0:29:45It's a copy of a Rubens, which has got a very long-winded title,
0:29:45 > 0:29:50Night Scene With An Old Lady With A Basket And A Candle. As you can see, you can tell she's uplit
0:29:50 > 0:29:55as if she's got a candle out of the shop here and she's uplit by the light of the candle.
0:29:55 > 0:29:59And it's a very beautifully painted thing. If you've not hung it, do you not like it?
0:29:59 > 0:30:01Well, some people say it's a bit spooky.
0:30:01 > 0:30:08My father was fond of it, but if I can get a fishing rod and reel out of it, I'd rather catch a trout.
0:30:08 > 0:30:12Right. OK. Obviously, we all go on about the subject matter.
0:30:12 > 0:30:17This was part of a large painting that has a young child in the same picture,
0:30:17 > 0:30:19and that's a nice contrast between young girl and old crone.
0:30:19 > 0:30:22But it's still a beautifully painted thing.
0:30:22 > 0:30:25If you look at how well it's done, it's not signed so we don't know who did it
0:30:25 > 0:30:30and it's certainly a copy, a late-18th, early-19th century copy of the original Rubens.
0:30:30 > 0:30:35They've left quite a lot of thick paint, which is known as impasto, here on her forehead you can see.
0:30:35 > 0:30:37And the uplighting's wonderful.
0:30:37 > 0:30:41And all of this darkness is called chiaroscuro which is shadow.
0:30:41 > 0:30:44It's a really dramatic painting. I don't think it's spooky.
0:30:44 > 0:30:46I think it's lovely.
0:30:46 > 0:30:51The original sold at auction recently for £2.4 million.
0:30:51 > 0:30:55- Wow.- I would love to say, "Here it is, another one." - I'd love you to say it, too.
0:30:55 > 0:30:58This painting, actually, this particular one is a known copy
0:30:58 > 0:31:04so it has been catalogued as a known copy of this original. I think...
0:31:04 > 0:31:08a cautious estimate would be £700-900.
0:31:08 > 0:31:13- I mean, would you be happy with that or what do you think?- Well, it'll find its own value, I guess.
0:31:13 > 0:31:16I think what you're saying is probably right and I'd be happy to go with that.
0:31:16 > 0:31:20So maybe if we put a reserve of 700,
0:31:20 > 0:31:24we can put a guide price of maybe straddling the £1,000,
0:31:24 > 0:31:27so maybe 800 to 1,200 as the guide price in the catalogue.
0:31:27 > 0:31:30And then hope it makes about the £1,000 mark.
0:31:30 > 0:31:32- Yeah. Smashing.- Hopefully a new fishing reel for you.
0:31:32 > 0:31:34- Hope so.- Or two.
0:31:41 > 0:31:45- Hello, Tam.- Hello, Mark.- Now, who's this charming young lady with you? - That's my daughter, Keeley.
0:31:45 > 0:31:49- Hello, Keeley.- Hello.- And what did you think of dad's huge pot?
0:31:49 > 0:31:51- Horrible.- Horrible.- Yeah.
0:31:51 > 0:31:55- You don't like it at all. Does it give you nightmares?- No. It's just the horrible colours.
0:31:55 > 0:31:57- The youngsters don't appreciate these things, do they?- No.
0:31:57 > 0:32:00But it is a real corker, isn't it?
0:32:00 > 0:32:04- It's an absolute beauty.- I've never seen a Doulton vase of this size
0:32:04 > 0:32:08- by, of course, the famous Hannah Barlow and Frank Butler. - That's correct.
0:32:08 > 0:32:11I mean, an amazing combination.
0:32:11 > 0:32:14I think we ought to look at it straightaway, really, the quality of it.
0:32:14 > 0:32:19We've got a very typical frieze in the centre of the horses and the cattle.
0:32:19 > 0:32:24And then it's flanked either side, top and bottom, by this wonderful glazing on the top of it,
0:32:24 > 0:32:26the green and the blues, by Frank Butler.
0:32:26 > 0:32:30Again, a top notch Doulton designer, so you've got really two leading names.
0:32:30 > 0:32:36I haven't even had the courage to try and pick it up, but I'm sure it's marked underneath - Doulton.
0:32:36 > 0:32:41And I wouldn't be surprised if it wasn't made for some sort of ceramic exhibition somewhere.
0:32:41 > 0:32:44Now, tell me, where did you get this pot from?
0:32:44 > 0:32:47Actually, I bought it online from an auction in Australia.
0:32:47 > 0:32:49It must have cost you a fortune to have it shipped over.
0:32:49 > 0:32:53It cost just over £300 for shipping.
0:32:53 > 0:32:56- Good Lord.- Yeah. - Now we've got to think about price.
0:32:56 > 0:33:02- We know Keeley wouldn't give her pocket money for it.- No.- But I'm sure she'll be happy to know the value.
0:33:02 > 0:33:08- I would suggest maybe putting it in at a £2,000 to 3,000 estimate, with a 2,000 fixed reserve.- That's fine.
0:33:08 > 0:33:15- But five or six years ago, we probably would have been saying £3,000 to 5,000.- Without doubt.
0:33:15 > 0:33:18But that's the nature of the beast, isn't it? Are you happy with that?
0:33:18 > 0:33:20Yeah. That's fine. That's fine.
0:33:20 > 0:33:24I think I almost saw a smile with Keeley then when she heard the 2,000 figure.
0:33:24 > 0:33:29- Do you like it more now that it's worth that much money, Keeley?- Yeah.
0:33:29 > 0:33:32Thank you very much for bringing it in, Tam.
0:33:32 > 0:33:38Ranging from small to large, here's a quick reminder of all the items heading off to auction.
0:33:38 > 0:33:44Michelle hopes she can polish off a decent profit on her silver collection.
0:33:44 > 0:33:47- Why have you decided to sell all of this now?- I just need the money.
0:33:47 > 0:33:50- Well, we all do in this credit crunch time, don't we?- We do.
0:33:50 > 0:33:52I wish I had some things to flog.
0:33:53 > 0:33:58Can Tam find a giant price for his giant vase?
0:33:58 > 0:34:02We know Keeley wouldn't give her pocket money for it, but I'm sure she'll be happy to know the value.
0:34:02 > 0:34:08And, finally, will Mark's dark, Ruben-style painting brighten up the saleroom?
0:34:11 > 0:34:18And before it goes under the hammer, I've found a few minutes to sit down with Anthony to get his opinion.
0:34:18 > 0:34:22- Now, would you like this on your wall at home?- At home?
0:34:22 > 0:34:24- Not in the sale room. - Not in the sale room.
0:34:24 > 0:34:28No. I wouldn't like it at home. It's a very dull-looking picture.
0:34:28 > 0:34:31I find a lot of Rubens are quite sort of spooky.
0:34:31 > 0:34:33This is after Rubens, obviously.
0:34:33 > 0:34:37- Yes.- It's A Night Scene With An Old Lady Holding A Basket And A Candle.
0:34:37 > 0:34:41It belongs to Michael. He doesn't like it. He keeps it in bubblewrap.
0:34:41 > 0:34:44- Oh, right.- So he wants to sell it to buy a fishing rod and a reel.
0:34:44 > 0:34:48Oh, I think we might manage that, a fishing rod and a reel out of it.
0:34:48 > 0:34:51- But you haven't heard the valuation. - Oh, right.- OK. 800 to 1,200.
0:34:51 > 0:34:53- There has been a fair bit of interest in it.- Has there?
0:34:53 > 0:34:56- Yeah. We've had international interest in it, as well.- Good.
0:34:56 > 0:35:00- So, hopefully, it'll make money. - Fingers crossed.- Fingers crossed.
0:35:00 > 0:35:02- Could we double the top end? - Oh, don't be greedy.
0:35:13 > 0:35:16Fingers crossed, Michelle. We're going to find out and so are you
0:35:16 > 0:35:20because all the silver collection is just about to go under the hammer.
0:35:20 > 0:35:22We're selling it because...
0:35:22 > 0:35:25- got to pay some bills, haven't you? - Got to pay a lot of bills.
0:35:25 > 0:35:29Fact of life, we've all got them and we all have to pay them, Mark.
0:35:29 > 0:35:32- We do.- We've got a top end of the estimate at £150.
0:35:32 > 0:35:36And there's a lot of silver here, bonbon dish, all sorts of things, mustard pot.
0:35:36 > 0:35:39Nice little mixed lot, actually. Should appeal to the trade buyers,
0:35:39 > 0:35:45- cos there's a lot there, or private collectors who want to furnish their little silver cabinets with it.- Yeah.
0:35:45 > 0:35:48All different assay offices so there's something for everybody.
0:35:48 > 0:35:51And I know they've been wrapped up at home ready to go for a long time.
0:35:51 > 0:35:54- Yeah.- Let's hope this is the day, shall we?
0:35:54 > 0:35:57Good luck, both of you. Here we go.
0:35:57 > 0:35:5836. A mixed collection here.
0:35:58 > 0:36:03A mixed collection of silver, a swing-handle basket.
0:36:03 > 0:36:06Three ounces. London hallmark. Bonbon dish. Chester, 1901.
0:36:06 > 0:36:09A pair of pepperettes. Birmingham...
0:36:09 > 0:36:13- It's a long list- It is.- He's getting out of breath describing it.
0:36:13 > 0:36:16Sheffield, 1889. Five items.
0:36:16 > 0:36:19- Have you got them all, Mike?- Yes. - Right. What shall we say for those?
0:36:19 > 0:36:2250. Thank you. £50 the lot. 50.
0:36:22 > 0:36:26Five. 60. Five. 70. Five. 75. 80.
0:36:26 > 0:36:29Five. 85. 90. Five.
0:36:29 > 0:36:34- 100. Five. 110. 115.- Oh, good.
0:36:34 > 0:36:40- 120. 120. 120. 120. 120. 120. - A bit more.- Five, is it?
0:36:40 > 0:36:44All done at 120 then? We finished at 120. Are they gone?
0:36:44 > 0:36:48- 120. That's not bad. - It made estimate.
0:36:48 > 0:36:54- It's going towards those bills, that's for sure.- Absolutely. - You're happy?- I'm relieved.
0:37:01 > 0:37:05It's after Rubens, it's a wonderful oil on canvas and I know you love this.
0:37:05 > 0:37:08- Yes.- And I know you want to sell it.
0:37:08 > 0:37:14- I do.- And I think, I just think, we've got a new home for it somewhere here in Wales.
0:37:14 > 0:37:16I had a chat to Anthony, the auctioneer, before the sale started.
0:37:16 > 0:37:19Well, he said he's had quite a bit of interest.
0:37:19 > 0:37:20There's been a lot of viewings.
0:37:20 > 0:37:24- If you could just find a signature in the bottom right, that would be quite helpful.- Just a bit.
0:37:24 > 0:37:28- No. It's beautifully painted and I love it.- Why do you want to sell it?
0:37:28 > 0:37:33- Well, it's a legacy for my father and it's got to be split three ways. - OK.- It's got to go.
0:37:33 > 0:37:36It's an easy way of dividing up the value then, isn't it, really?
0:37:36 > 0:37:42- Quite.- It's hard to value unless it goes into an auction like this where everyone has the chance to buy it.
0:37:42 > 0:37:46I think the talking's over with, don't you? We can't really say any more about it.
0:37:46 > 0:37:50We all love it and we're going to find out what the bidders here in Mold think of it. Here we go.
0:37:50 > 0:37:52It's going under the hammer.
0:37:52 > 0:37:56After Peter Paul Rubens, I wish it was Peter Paul Rubens.
0:37:56 > 0:38:03The study of the old lady. Part of A Night Scene Of The Old Lady Holding The Basket And The Candle.
0:38:03 > 0:38:09The original was sold, as we've got in the catalogue, for 2.4 million,
0:38:09 > 0:38:13in 2004. So there's a chance for you all now to have a Rubens.
0:38:13 > 0:38:16What shall we say for it?
0:38:16 > 0:38:20We won't ask you for 100,000 to start.
0:38:20 > 0:38:23500. Thank you. £500. 500.
0:38:23 > 0:38:30£500. 500. 500. 550. 550. 550. 550.
0:38:30 > 0:38:34600. £600. 600.
0:38:34 > 0:38:38£600. 600. 600. And 50.
0:38:38 > 0:38:43650. 650. 650. 650.
0:38:43 > 0:38:48£650. 650. 650. Where's 700?
0:38:48 > 0:38:50£650 then. All done at £650?
0:38:50 > 0:38:55- Not enough, is it?- No. - Are we finished at 650?
0:38:55 > 0:38:57I'm really surprised.
0:38:57 > 0:39:00- So am I.- Oh, dear.- Oh, dear.
0:39:00 > 0:39:02- Oh, well.- What a shame. - You're taking it home.
0:39:02 > 0:39:07There was somebody on the phone, wasn't there, as well, but they didn't want to be pushed.
0:39:07 > 0:39:10- That was the highest bid on the phone - 650.- Was it to the phone?
0:39:10 > 0:39:13Yeah. Yeah. If someone was in the room pushing that,
0:39:13 > 0:39:17the phone bidder may have gone 750, 800, which would have just sold it.
0:39:17 > 0:39:20- Yeah.- Which just goes to show you can't get it right all the time.
0:39:20 > 0:39:22- No. That was so close.- It was.
0:39:22 > 0:39:26What I would do if I was you is have a word with the auctioneer after the sale...
0:39:26 > 0:39:29- he'll have the phone number of the phone bidder.- Right.
0:39:29 > 0:39:34They might be able to see if he's prepared to go that one bit extra to get it to the reserve.
0:39:34 > 0:39:37- Yeah.- It's worth trying. - It is.- Ask him. Yeah.- Yeah.
0:39:37 > 0:39:40- Ask him cos it's so close.- Yeah.
0:39:47 > 0:39:50We're looking for £2-3,000, the Royal Doulton.
0:39:50 > 0:39:52It's made by Hannah Barlow.
0:39:52 > 0:39:55It's absolutely gorgeous. It belongs to Tam. Why are you selling this, Tam?
0:39:55 > 0:40:00It's just that it's a big, massive lump and I just really haven't got room for it.
0:40:00 > 0:40:06I've had it about 2½ years now and I think it's just time to sell it and move on to something else.
0:40:06 > 0:40:07- It is big, isn't it?- It's huge.
0:40:07 > 0:40:10- Where's it been at home then? - Stuck in the corner, basically.
0:40:10 > 0:40:12- Stuck in the corner.- Yeah. - What, on the floor?- On the floor.
0:40:12 > 0:40:14- On the floor.- On the floor.
0:40:14 > 0:40:18- Not a good way to display something like that. No.- No.
0:40:18 > 0:40:20But it is kind of the wrong size, isn't it, really?
0:40:20 > 0:40:23That's the only thing it's got its downsides on.
0:40:23 > 0:40:28If you were a collector at a very big house and you had a big jardiniere stand to put it on or something,
0:40:28 > 0:40:32- in the corner of the room, and you really wanted to appreciate it, that's fantastic.- Yes.
0:40:32 > 0:40:38But I love the combination of the Frank Butler border and the Hannah Barlow and I agree with you,
0:40:38 > 0:40:42I think it's an exhibition piece, but it's fingers crossed because it's a specialist market.
0:40:42 > 0:40:45Which means it could be a lot rarer.
0:40:45 > 0:40:48- It's a one-off.- Yes.- How can you do your price comparables? You can't.
0:40:48 > 0:40:52That's what auctions are all about. This is what makes this so exciting.
0:40:52 > 0:40:54Right now, it's going under the hammer.
0:40:54 > 0:40:57- We're going to find its real value. Good luck, both of you.- Thank you.
0:40:57 > 0:41:02181. Are you showing it? You're not even picking it up. 181.
0:41:02 > 0:41:06We've got this heavy jardiniere, the Hannah Barlow decorated one.
0:41:06 > 0:41:10Doulton Lambeth, 1885.
0:41:10 > 0:41:16Never seen one that size before. £500. 500. 500. 600.
0:41:16 > 0:41:19700. 800. 900.
0:41:19 > 0:41:221,000. 1,100. 1,200.
0:41:22 > 0:41:26£1,200 there. 1,200. 1,200.
0:41:26 > 0:41:28- We're a long way off. - Yeah. We are, a bit.
0:41:28 > 0:41:3430. 50. 40. 50. 50. 50. 60.
0:41:34 > 0:41:4150. 70. 50. 80. 50. 90. 50.
0:41:41 > 0:41:43Yes.
0:41:43 > 0:41:44One more.
0:41:44 > 0:41:471975. Was it you?
0:41:47 > 0:41:54Go on. 1,975. 1,975. 1,975.
0:41:54 > 0:41:58- Great year.- Are you going to fill it up for me? 1,975. It's going.
0:41:58 > 0:42:01At 1,975...
0:42:01 > 0:42:03Yes. We've done it.
0:42:03 > 0:42:06I think the auctioneer's going to make up the extra £25
0:42:06 > 0:42:09because it was fixed at £2,000, but what a great result.
0:42:09 > 0:42:13I'm pleased with that, cos I didn't have high hopes, in fairness.
0:42:13 > 0:42:17- I thought it was the wrong sale. - You were getting the wobbles this morning, I could see that.
0:42:17 > 0:42:20I had the cobbles this morning, I can tell you.
0:42:20 > 0:42:22Your reputation was on the line.
0:42:22 > 0:42:26Oh, it's been on the line for some years.
0:42:26 > 0:42:28Naughty boy.
0:42:28 > 0:42:31Look, that's great, isn't it? What are you going to do with the money?
0:42:31 > 0:42:35I'll reinvest it into something nice, another piece of pottery, probably.
0:42:35 > 0:42:40- Something smaller.- Yeah. Definitely. Something lighter.- Yes. Yeah.
0:42:47 > 0:42:51Well, that's it. It's all over and what a cracking day we've had.
0:42:51 > 0:42:56It's wonderful to be back here in Mold. Anthony Parry, on the rostrum, has worked his magic.
0:42:56 > 0:43:00I hope you've enjoyed the show, so until the next time, from Mold, it's cheerio.