Nantwich Flog It!


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Oh, you've caught me out, naughty but nice.

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These chips are fantastic but there's one thing missing... that's more like it.

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I've come to a picturesque market town which owes its name to salt.

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Welcome to Flog It from Nantwich in Cheshire.

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The actual name Nantwich gives away its long association with the salt

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industry, for the suffix of the town, "wich", means brine town.

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The salt industry in the town started as long ago as the Roman

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period and it thrived for centuries until sadly the last salt house

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in Nantwich closed in 1858.

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However, its legacy still lives on in the area - it's because of salt production

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that other industries have sprung up that rely on salt such as tanning and the making of Cheshire cheese.

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Well, perhaps our experts will find something related

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to the local industries here, I'm outside the Nantwich Civic Hall and who have we got?

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The wonderful Kate Bliss and the equally charming Will Axon and it is

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now 9.30, time to get the doors open and get this massive queue inside.

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The valuation day is filling up quickly and there are hundreds of people waiting to be seen.

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Later in the programme, I will be taking a trip around the world, from Egypt to China.

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For now it looks like Kate's got something that's come from a little closer to home.

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This is a really interesting watercolour,

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-is this something you've had on the wall?

-I've not had it long, only had it few weeks.

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I bought it off the internet.

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-So is that something that you like to do, buy and sell a bit?

-I do, yeah.

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What can you tell me about the artist? We've got a clear signature here, do you know anything about him?

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-J Horner?

-Yes.

-I don't know what dates he dates from,

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but I think this particular one was painted in Norfolk.

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Why do you think it's Norfolk?

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Apart from it looks quite flat.

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Exactly, yes. Probably one of the reasons.

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Well, you could well be right.

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-J Horner, signed down here, was actually John Horner.

-Right.

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And he was really active in his work

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sort of about 1876 through to 1890, and the thing I like about this one

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is the accuracy of the detail, and it's almost architectural really in the detail that we've got here.

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If we look on the buildings here, on the barn and on the farmhouse,

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you can almost see the individual tiles on the roof, can't you?

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-But what's really fun is this little tableau that's going on down here with the two fishermen.

-Right.

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Again, the detail is really precise, you can see the creases in his trousers and the light

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reflecting off the water on to his face, which really gives it a really crisp finish, doesn't it?

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Now the market, which I'm sure you know if you buy and sell a little bit doing pictures, the market for

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watercolours particularly of this sort of period isn't that buoyant at the moment.

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-No.

-But I have to say this is a particularly accomplished work

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and I think, even so, this should sell quite well.

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I'm going to put a conservative auction estimate of 200 to 300 on it

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because I think it is really well executed.

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-Would you like to put a reserve on that?

-If I possibly could, yeah, probably 200 or so.

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That's fair, lower end of the estimate and hopefully get quite a bit more than that.

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That's great. I mean, if doesn't sell, I'll keep it anyway.

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-Well, that's a great attitude.

-Thank you.

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Well, Peggy, John, hello there.

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-How are you?

-I'm very well, and yourself?

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I'm well, thank you.

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Now look at this, what can you tell me about it?

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It's a cigarette case which I bought about 30 years ago...

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And did you buy it from a jeweller's perhaps or a dealer, to keep your roll-ups in?

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No, I bought it off a bloke that was hard up.

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Oh, dear. So he needed a bit of cash.

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-Yeah.

-He offered it to you, and do you think you paid a good price for it, £90?

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Well, I think so on today's prices, yes.

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I mean it's a good example here, for example that

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not everything to do with antiques and auctions is all about fine art

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and something that's been crafted or created from scratch, sometimes, I'm afraid, it's all about just...

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I'm gonna say it... scrap value,

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especially when it comes to gold.

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So what I've done, I've brought along my scales here, have you got any idea

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of what you think it's worth, how much it weighs?

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Roughly about three ounces.

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Three ounces, well that's a decent weight, isn't it?

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It almost doesn't feel like three ounces.

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-No.

-Let's pop it on the scales here, you said around three ounces, we've

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got 3.28 ounces, so you weren't far off there, John. I think you knew what you were buying, didn't you?

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So now we know how much the cigarette case weighs, we've got to work out or

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-find out what carat gold it is, any ideas?

-Nine carat.

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Well, if we have a look inside here, similar to the silver hallmarking,

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you can just see it there, the 9 carat gold mark.

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Here you've got the maker's mark, which is the Goldsmith and Silversmith Co. Ltd, of London.

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-Right.

-Nice quality really, it would've been an expensive item when it was bought.

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-So have you any idea what 9-carat gold's at at the moment?

-No, I haven't a clue.

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Well, as we're filming, it's at about £220 an ounce, times by three,

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that makes over £600 in scrap value.

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I don't think we should put it in the auction at that £600 level, I think that might

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put people off.

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What we want is for people... 300 to 500, I mean if you've

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got that, if we reserved it at that 300 mark.

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That's fine, smashing. Thank you.

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Well, I shouldn't really call an elegant basket like this a good

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lump of silver, but there's quite a bit of silver in that.

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-It is heavy, yes.

-Is this a family piece?

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-It was given to my father as a gift from two spinster clients.

-Right.

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And their house was opposite my school, so I used to wave at them every day as I left school.

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So I don't know whether I persuaded them to

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give him the gift of whether it was because he was such a good manager.

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Well, that's a nice story. So you've had it ever since, have you?

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Yes, 45 years, and I have polished it every fortnight since then.

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-Have you really?

-My biggest worry is am I polishing away the centre?

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Right. Well, let's have a little look at that because, it's a lovely shape

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first of all, isn't it, a beautiful sort of oval shape

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echoed in the handle here, and it's got lovely reeded borders around the outside, again on the handle as well,

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and what's known as gadrooning around the centre of the basket, and this is reminiscent of

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a much earlier Georgian style, if you like, in the neo-classical style.

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However, it's not 18th century in date because if

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we look at the side here, you can see the silver hallmark, it's marked from

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Sheffield and 1897, so it's right towards the end of Victoria's reign, but a good bit of silver.

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-Now you say you've been polishing it every fortnight for some 40-odd years?

-45 years, yes.

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I think the actual reeding and gadrooning is still in nice

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condition, and the handle here also, but what has happened is the base has

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been pushed down slightly, which may have been done with vigorous polishing over the years, and so you

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can just see the outline of where the pedestal is attached on the base and you can see that little oval there.

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-Yes, that was my worry.

-So a good lump of silver but why do you want to sell it?

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I'm downsizing, I will have nowhere to display it, and I

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-think my polishing days are over.

-I think you've had enough of polishing.

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I've had enough of polishing.

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I would say even though it's got quite a bit of silver in it,

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we're probably looking at around £150 to £200 mark.

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-Does that sound reasonable?

-It's lower than I'd hoped.

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What sort of figure were you...

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I was thinking perhaps 200 to 300.

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Right, OK.

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We could try it at that if you like but I think if we said 150 to 200,

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it might get buyers interested and encourage them.

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If you would like to put a reserve of 200, we can try that for you.

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-Yes, please.

-You'd like that?

-Yes.

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OK, well let's do that. Let's put a reserve of 200 and see how we get on.

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I think you've certainly got a chance, but I think at 150 you might just entice people in perhaps

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a little bit better, but it's your basket,

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-I hope it goes really well.

-And if it doesn't, I will go back to polishing.

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Thank you very much.

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Well, Leslie, they say small is beautiful and personally I'd subscribe to that

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because, you know, not being a six-footer, but what have you brought in here for us to look at today?

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I've brought a piece of Moorcroft, I believe it's MacIntyre.

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That's right. Well, you've in one sentence basically told us all we need to know.

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You've got the name Moorcroft and the name MacIntyre,

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because what you've got here is indeed a MacIntyre vase...

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the company MacIntyre, of which William Moorcroft headed up their art pottery department.

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Now we all know Moorcroft nowadays, of course, he's a well-known name,

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we've seen plenty of Moorcroft on Flog It and it always sells well.

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Now this, we're taking a step further back in time, shall we say, to when William

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Moorcroft was experimenting with this tube lining, which you can see here.

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Generally, when pieces are made in miniature, they tend to be

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-more valuable than the large pieces.

-Right.

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Is this something that you've bought, do you collect this?

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No, I actually found this at a bric-a-brac sale in Llangollen in Wales.

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Dare I ask what you paid for it?

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-Ten pence.

-Get off... 10p?

-Ten pence.

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-You didn't do that, did you?

-Unfortunately that was already on.

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Cos unfortunately it has got a small chip on the rim.

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I think if it had been perfect,

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your 10p investment would have been a very good investment because that does detract from it.

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But even so,

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I think you've done very well here.

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It's in this typical blue

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of the MacIntyre, the Florian range is the range, but the actual pattern

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-we've got here is called Honesty, because I think you did a little bit of research, didn't you?

-Yes.

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-You took it to the museum?

-The Moorcroft Museum itself, yes.

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I know them well, yes.

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-They told me it was about 1903.

-I mean 10p, what can we say it's worth now?

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It's nicely marked, it's signed underneath, like I say, a precursor

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of this tube line decoration which Moorcroft made into such a household technique, shall we say.

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-I would put it in the auction at about £150 to £250, how do you feel about that?

-That's lovely.

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Brilliant, I think that's great.

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-So we'll see you on the day, £150 and reserved it at that?

-Erm...

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-yes, we'll go with that.

-Reserve it, bit of discretion for the auctioneer, we don't want to struggle,

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-I'm confident that it's going to do that, if not more. Brilliant, see you then.

-Thank you very much.

-Well done.

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It's time to go to the auction now, but we'll be back here

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at Nantwich Civic Hall later as there are still lots of people waiting for valuations.

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But first, let's have a quick reminder of all the items that are going under the hammer.

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The watercolour by John Horner could be a real hit but if not, Paul the owner has a back-up plan.

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I mean if it doesn't sell, I'll keep it anyway.

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John bought his cigarette case 30 years ago for just £90

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and today, Will thinks it's worth its weight in gold.

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For the past 45 years, Jill has lovingly polished

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her silver basket and now it's time to see if it will sell.

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And if it doesn't, I will go back to polishing.

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And when it came to the Moorcroft vase, Will was impressed by Leslie's eye for a bargain.

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For 10p, I think you've done really well. It's just the sort of story that we love on Flog It.

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Well, you've seen all our items and now it's time to put our experts' valuations to the test, and we're

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going to do it right here at Adam Partridge Auctioneers and Valuers at North Rode outside Congleton.

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The sale is just about to start.

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It's absolutely packed in there, so let's get inside.

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Next up, we've got a cracking bit of Victorian silver, a little basket,

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and Jill's selling it because you're so fed up with polishing it.

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45 years of polishing.

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You'll wear it away, won't you?

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-You didn't polish it every day though.

-Every fortnight.

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-Anyway, you want to sell it, don't you, now?

-Yes.

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-And I know Kate said 150 to 200.

-That's right, that's the price.

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And you're angling for that, and I know that you were sort of having a haggle.

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-Bit of a haggle.

-You were hoping for 200.

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-Yes.

-You're hoping for Kate's top end.

-Yes.

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-So now you've actually said, "right, we want £200".

-Yes.

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Let's hope we can get a bit more so we're all happy.

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Yeah. So the reserve is actually 200 now, which is fine, but my feeling is that realistically at auction, it's

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-sort of between the two really.

-We'll wait and see.

-Yeah.

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Good luck, anyway, both of you.

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And it's Sheffield 1897, another basket here and I'm bid 160.

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-170? 170... 180, 190?

-Yes, yes.

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190, your bid, take 200.

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At 190... 200, 210...

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-220.

-We've sold it.

-230?

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There you go, that's great.

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220 in the crowd here, 220... any more this one now? 220...

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all done? At 220... thank you.

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-Great. Well, done.

-Thank you very much.

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Well done, Kate. What are you going to put the money towards?

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We've got 15% commission to pay on this, don't forget, Adam's got to earn his wages.

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Well, this was an experience, so I'm going to use for another experience.

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-What's that?

-Perhaps lunch on the Orient Express or tea at the Ritz.

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-Classy.

-Ooh.

-Very nice, I like your style.

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-Enjoy it.

-Thank you very much.

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-Peggy and John, it's good to see you.

-And you.

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-Have you been looking forward to this?

-I have, very much.

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We're just about to put under the hammer this gold cigarette case, and there's an awful lot of weight here.

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You're looking at £300 to £500, you've got a fixed reserve at £300.

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-Yes.

-It's worth top estimate scrap.

-Yeah, exactly.

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-So I'm looking to break that top estimate.

-Right, here we go.

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Around 93 whopping grams we made that,

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and commission interest here has to start us at 600 straight in.

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Told you! Straight in at £600.

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600 bid... 20 now, please.

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Are you all done at 600? Not very exciting, is it?

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600 bid, at 600... 620, 640...

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660, 640 still with me, 640 are you all done on this?

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640.

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£640, 15% commission to pay here. What will you put the money towards?

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It's either going to be a piece of Swarovski or a large flat screen TV.

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-Ooh.

-You like your glass then?

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-I do, and he loves his football.

-He loves his footie.

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Next up, we've got a lovely little watercolour with a value of £200 to £300, and it was brought in by Paul,

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who is playing the game, because you got this on the internet a few weeks ago, didn't you?

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-I did.

-For £80?

-For £80.

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-Hopefully we're doubling your money plus, right now.

-Hopefully.

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So you've got a keen eye.

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-I like to think so, yeah.

-Do you do a lot of this?

-A little bit, but not a great deal.

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-And you've had much success?

-Erm...

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well, a little bit.

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Kate, a bit of competition.

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-You've been giving me tips.

-Has he?

-Yeah.

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So we've got a value of 200 to 300.

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We have. The watercolour market is unpredictable, as I'm

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sure Paul knows, so it's either going to do really well or we're going to miss the boat, so one or the other.

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-We'll soon find out.

-We're going to find out. Here we go.

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J Horner, watercolour fishing scene, start me £200 please.

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150?

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£100?

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I'm afraid I'm going to have to pass that one.

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-Didn't sail for you.

-No.

-A punt, a bit of a gamble.

-It was, yeah.

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I quite like it, I'd sooner take it home anyway.

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Put it back on the wall. OK, thank you very much.

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That's a shame. Give it a while, stick it in a dark corner, fish it

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-out again, because I think the right person just wasn't here.

-I will do.

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He's got a good track record, that artist, so I think in a different sale you might have some luck.

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Smashing. Thank you.

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Well, it is all out there if you bother to open your eyes and go and have a look.

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-And that's exactly what Leslie did when you were in Wales.

-Yes.

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-10p this next lot cost at a bric-a-brac sale.

-In Llangollen.

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It's a bit of Moorcroft and we valued it at £150 to £250.

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Not a bad return on 10 pence.

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Small is beautiful, but condition is everything with

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ceramics, so we've kept the valuation down.

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If it was perfect, it would be in the high hundreds, but it's still going to do well.

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-Yes.

-Well, let's hope it does that 250, we're gonna find out right now.

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There we are, the Honesty pattern there on a roughened surface there.

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-I'm bid 160 to start, is there 170?

-Sold straightaway.

-160 bid, at 160.

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Any more now on this one? At 160...

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All done... 170... 180, 190...

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200, 210... 220, 230... 240.

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There's a bidder in the room.

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-And there's a bidder in the room.

-320... 340, 360... 380,

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400, 420, 440... 420, am I bid one more if you want?

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420... at 420, your bid now 440, we're in the room.

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At 440 I'm selling this one, are we all done? At £440.

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Thanks very much.

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-Thank you!

-Excellent.

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£440!

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That is just incredible!

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£420.

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That'll divide up nicely, though, there's a lot of children.

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-Yes.

-We blew the top end away, which is what you like.

-Yeah.

0:18:340:18:37

Yeah. Leslie, thank you so much for bringing that in.

0:18:370:18:40

-You're very welcome.

-That's made my day, I hope it's made your day.

0:18:400:18:43

You see it is out there, get out there and get hunting,

0:18:430:18:46

bring it along to Flog It and we'll do the business for you.

0:18:460:18:49

Later at the auction, one of our lots causes a real stir.

0:18:490:18:53

This is Biddulph Grange Garden in the heart of Staffordshire,

0:19:090:19:12

and if you pause for just a moment and listen...

0:19:120:19:15

you can hear the sound of silence, albeit a bit of birdsong.

0:19:150:19:19

It's so beautiful and peaceful here.

0:19:190:19:21

It's not only just a place to come and relax, but taking a trip

0:19:210:19:25

around these gardens is like touring the world because it's packed full of beautiful and exotic plants.

0:19:250:19:31

When this place was conceived back in the 1840s, it went totally against the popular Victorian trend

0:19:310:19:36

of broad expanses of grass and water.

0:19:360:19:40

Instead, by contrast, Biddulph Grange Garden broke new ground by employing natural

0:19:400:19:45

screens such as yew trees, hedges, and walls, to create informal groups of separate gardens, each with

0:19:450:19:52

their own distinctive character and mini-microclimate, many reflecting faraway worlds like China and Egypt.

0:19:520:20:00

Visitors were encouraged to navigate their way through

0:20:000:20:03

the garden rather than have it revealed to them all at once.

0:20:030:20:07

The conception of this rather unusual garden was principally the work of three people,

0:20:070:20:12

James Bateman and his wife Maria, and their good friend Edward Cooke.

0:20:120:20:18

James Bateman was born in 1811 into a wealthy family that made their money from coalmining.

0:20:180:20:23

From a very young age, James was fascinated by orchids, which became the passion of his life.

0:20:230:20:29

In 1838, James married Maria Egerton-Warburton.

0:20:310:20:35

Now, Maria had rather unusual gardening tastes for the period because she loved

0:20:350:20:40

herbaceous plants, as well as having a big passion for lilies, which she was well known for.

0:20:400:20:45

The Batemans moved here to Biddulph Grange in 1840, and with the help, a lot of help, from Edward Cooke,

0:20:450:20:51

they set about creating Biddulph Grange Garden.

0:20:510:20:55

Over the next 20 years, they brought together shrubs such as skimmia reevesiana,

0:20:550:21:00

bamboo, and varieties of rhododendrons

0:21:020:21:05

from the Himalayas and China, plus a variety of trees from abroad including the monkey puzzle tree

0:21:050:21:11

from Chile and other extraordinary elements from all around the world.

0:21:110:21:15

Another fascinating influence on the design of this garden was arguably religion.

0:21:180:21:24

You see, James Bateman was a millenarian, he believed

0:21:240:21:27

in the second coming of Christ, so when you start your tour, it's that influence you experience first.

0:21:270:21:33

And to help us understand this, I've come to have a chat with Paul Baker,

0:21:330:21:37

who's the National Trust Property Manager here at Biddulph.

0:21:370:21:41

There you are, Paul. Thank you so much for showing me around today.

0:21:410:21:45

-It's a pleasure.

-Does the tour start here for everybody that visits the gardens?

0:21:450:21:49

Do they come through this gallery?

0:21:490:21:50

Sadly not any more, but they would have done when

0:21:500:21:53

James Bateman had his garden open to the public in the 19th century.

0:21:530:21:57

So they would have come in through his geological

0:21:570:21:59

gallery, which is where we are now, and they'd have been able to see his

0:21:590:22:03

-display of fossils and geological specimens which were on the wall to our left here.

-Day 1?

0:22:030:22:09

Yes, this is Day 1 of the seven days of creation story that the gallery shows.

0:22:090:22:13

The gallery is laid out to reflect James Bateman's religious beliefs,

0:22:130:22:17

and he was a very ardent believer in the Genesis story.

0:22:170:22:20

But at the same time, we've got lots of developments going on, we're contemporary with Darwin,

0:22:200:22:26

developments in geological science have take place, and what he was seeking to do was

0:22:260:22:30

show how all of these developments could still be easily reconciled with the Genesis story.

0:22:300:22:37

If you just look up, you see we're above Day Three here, and in the Genesis story Day Three

0:22:370:22:42

talks about the creation of the trees and the plants, so all of the fossils

0:22:420:22:45

that were on the wall here related to those which would have been found in

0:22:450:22:50

Day 3 in the creation story, so he's linking the creation story with the geological frieze.

0:22:500:22:56

That's incredible, isn't it? Absolutely incredible.

0:22:560:22:59

It sets you up for an intriguing visit to the gardens.

0:22:590:23:02

How does the rest of it fit in with this?

0:23:020:23:04

Well, very interestingly, he believed that a second coming

0:23:040:23:08

was due, almost imminently, and all the existing plants and so

0:23:080:23:12

on would be swept away and have to be collected all over again.

0:23:120:23:15

He also believed certain plants had a very specific role and appeared at specific times in the creation story.

0:23:150:23:22

So ferns, which we have quite a lot of in the garden itself now, appeared

0:23:220:23:26

quite early because they took the longest time to get turned into coal.

0:23:260:23:31

The other great passion he had was orchids, and he believed those only

0:23:310:23:35

arrived on the scene when Mankind arrived because they were there to beautify the world for Mankind.

0:23:350:23:41

So they wouldn't appear until we get to the end of the gallery.

0:23:410:23:44

That's absolutely incredible.

0:23:440:23:46

Look at that, it's a little bit of Egypt, surely?

0:23:530:23:56

Yes. It's been transformed into Egypt, here we are, the Egyptian court.

0:23:560:24:01

Perfect symmetry everywhere.

0:24:010:24:04

Who was the creative genius, the driving force? Because I know Edward Cooke was a painter.

0:24:040:24:10

Was he the visionary or was James really?

0:24:100:24:13

A lot of the actual design work we believe was Edward Cooke, cos although he's

0:24:130:24:17

better known as a painter today, he was also well known as landscape designer in Victorian England.

0:24:170:24:22

-Yeah.

-And Bateman did acknowledge how much debt he owed to Cooke in the design of the garden.

0:24:220:24:27

-Can I look in?

-Yes, go ahead.

0:24:270:24:29

And out into the sunlight.

0:24:350:24:37

And into Cheshire in the blink of an eye, if you look behind.

0:24:370:24:41

Oh, yes. Look at that, 1856.

0:24:410:24:44

The initials James and Maria Bateman above the window.

0:24:440:24:47

That's so cute, isn't it? And as quick as that.

0:24:470:24:50

-Well, let's go and see some more.

-Yes, we're now in the pinetum,

0:24:500:24:53

and just coming up on the left here, we've got some monkey puzzle trees.

0:24:530:24:58

So where are we now?

0:25:030:25:05

-Just coming into the China section of the garden.

-So is this symbolic of the Great Wall?

0:25:050:25:09

It is, and if you look down to your right...

0:25:090:25:12

Ah, what a treat.

0:25:120:25:14

-Now that is a visual impact, isn't it, seeing that?

-Absolutely.

0:25:140:25:18

That little temple in the lake.

0:25:180:25:19

-It's all based on willow pattern plates, the iconography you see on a willow pattern plate.

-Yes.

0:25:190:25:24

So you have the temple, that bridge with the zig-zag fence.

0:25:240:25:28

-Can we go and have a look?

-Yes, of course.

0:25:280:25:30

It looks so inviting. Well, I can see lots of bamboos planted.

0:25:300:25:34

Right. There's quite a wide variety of plants from China, we

0:25:340:25:38

have some acers, actually from Japan, they're the very deep purple variety.

0:25:380:25:42

Oh, gosh. Come autumn, they'll be worth seeing.

0:25:420:25:45

They are spectacular in the autumn.

0:25:450:25:47

We've also got some skimmia reevesiana,

0:25:470:25:50

we've got some trachycarpus fortunei, which are named after Robert Fortune, the great plant collector.

0:25:500:25:55

And we've also got probably the oldest surviving golden larch in

0:25:550:26:00

England growing here, that was also brought back by Robert Fortune from one of his many travels out in China.

0:26:000:26:07

-What a visionary.

-Oh, he was, and he was also the man who smuggled all the tea plants

0:26:070:26:12

out of China into India as well, when he was employed for a while by the British East India Company.

0:26:120:26:17

So when you have a cup of tea today, it's obviously due to Robert Fortune in large part.

0:26:170:26:23

A complete, leisurely tour of Biddulph would take a few hours.

0:26:230:26:27

There are many other areas which I haven't had time to explore today

0:26:270:26:31

such as the Glen, which was based on the Scottish rock formations,

0:26:310:26:34

and the Italian garden, which was a popular choice of garden during the era.

0:26:340:26:38

And it's amazing to think that over 160 years after the first conception

0:26:380:26:42

of Biddulph Garden, it remains here today for everybody to enjoy.

0:26:420:26:47

It's time to get back to the valuation day now,

0:26:510:26:54

and Will has found a collection that has taken his fancy.

0:26:540:26:58

Richard, you've brought quite a selection of jewellery.

0:26:580:27:01

You don't look like the man who wears a brooch or perhaps a gold

0:27:010:27:05

bangle, so tell me where have these come from?

0:27:050:27:07

Well, they belonged to my sister, who worked in an antique shop

0:27:070:27:11

and she collected quite a lot of quirky things, really.

0:27:110:27:14

-And they've been in a drawer ever since.

-Let's have a look.

0:27:140:27:18

We've obviously got here two watches as well as this, I think, rather impressive mourning brooch.

0:27:180:27:24

Obviously.

0:27:240:27:25

If I turn it over, we can see on the back we've got a rather nice inscription, haven't we?

0:27:250:27:30

-Yes.

-In memory of...

0:27:300:27:33

-and then the name there, "Esquire", and that's 1861.

-Yes.

0:27:330:27:37

Then if we move on to this rather nice little bangle wristwatch, for want of a better word.

0:27:370:27:44

You've got this rather stylish rectangular face, which is typical of that sort of

0:27:440:27:52

Art Deco period when rectangular watches really came into their own.

0:27:520:27:57

If we look on the back, we can see that it's cased in 18-carat gold.

0:27:570:28:01

And then if we move on further still really into the Deco

0:28:010:28:05

period, we've got this rather fine...

0:28:050:28:08

I would call it a cocktail watch.

0:28:080:28:11

Have you ever had an idea of value, I mean, did your sister ever sort of let on to what she paid for these?

0:28:110:28:16

-Not a clue.

-I suppose the mourning brooch here, I would have thought

0:28:160:28:20

you'll probably be looking at 30 to 50, 40 to 60 perhaps on that.

0:28:200:28:25

Then if we move on to the little

0:28:250:28:28

brooch glass cocktail watch with the paste settings, I would say on that,

0:28:280:28:33

you're probably looking at maybe similar sort of money, maybe 40 to 60, something like that.

0:28:330:28:38

Then if we come to the little wristwatch there,

0:28:380:28:41

you should be looking at about 120 to 150 mark for the wristwatch.

0:28:410:28:46

So if we tot it all up, where does that take us...

0:28:460:28:49

sort of 120, 150, so it's going to be between the 150 to 200 mark. What do you think about that?

0:28:490:28:57

If we estimated at 150 to 250, would you be happy to see them go at that?

0:28:570:29:00

I certainly would, yes.

0:29:000:29:02

Are we reserving at the bottom figure?

0:29:020:29:04

-No, I would like to get shot really.

-Get shot?

-Yeah.

0:29:040:29:07

-Let them make what they make. I like your approach.

-Thank you very much.

-Well done.

0:29:070:29:11

David, this is a staggering collection of Aboriginal art here

0:29:180:29:22

in beautiful Nantwich in Cheshire.

0:29:220:29:24

-Indeed it is, that's right.

-Most of this is from Darwin, isn't it?

0:29:240:29:28

That's right, Northern Territories of Australia, yes, and a bit in Queensland.

0:29:280:29:32

How did it get to Nantwich?

0:29:320:29:34

Well, it got to Nantwich because I was working for the Department of

0:29:340:29:38

Defence in Australia and I was posted into Darwin, and

0:29:380:29:42

had the opportunity to travel around the missions and Melville Island, where some of these come from.

0:29:420:29:50

Aboriginal art is fetching such good money right now.

0:29:500:29:54

Not only are the Australians buying it back, it's their social history.

0:29:540:29:58

They want to fill their museums with this wonderful, sort of almost

0:29:580:30:02

mosaic work, which is painted with pigments from the earth,

0:30:020:30:06

different coloured clays.

0:30:060:30:08

-Absolutely, and on bark.

-On gum tree bark.

0:30:080:30:10

You got these in the '50s.

0:30:100:30:12

Yes, well '59, '62, that period.

0:30:120:30:16

This is so striking, look at this.

0:30:160:30:17

Yes, and this is a very,

0:30:170:30:20

in a sense, religious symbol.

0:30:200:30:23

You see it in all Aboriginal art from wherever the tribes, you get this circle,

0:30:230:30:27

the circle of life, I think is a simple way of putting it.

0:30:270:30:32

And this one's signed on the back, it's called Ghost Women, and it's by Wandi-Wandi who's 50 years old.

0:30:320:30:37

Yes. Right.

0:30:370:30:40

-Let's look at the three items on the table, start with the didgeridoo.

-Yes.

0:30:400:30:44

Again, that's a genuine piece in the sense of how they made these.

0:30:440:30:49

-This hole was eaten out by ants.

-Insects.

0:30:490:30:53

White ants, and then they cut off a piece and they decorate it.

0:30:530:30:58

-No doubt these were all ceremonial rather than everyday use.

-They look ceremonial, actually.

0:30:580:31:03

Why are you thinking of selling these, though, today?

0:31:030:31:06

Well, I only live in a very small house and I collect, and you move on.

0:31:060:31:12

And I still have got six other pieces of this to remind me of

0:31:120:31:17

-those times.

-Are you interested in art or just Aboriginal?

0:31:170:31:20

Not particularly, I'm into Moorcroft now.

0:31:200:31:22

-I know it's a dirty word but I've got 250 pieces of it.

-Have you?

0:31:220:31:26

Oh, yes, it's only down the road.

0:31:260:31:28

Crikey! Well, I'm pleased you brought this in rather than Moorcroft.

0:31:280:31:31

We've not seen things like this before and it excites me. Right.

0:31:310:31:35

Let's get to the valuation, the business end of the conversation. I think

0:31:350:31:40

they should go into auction as a collection.

0:31:400:31:42

If someone wants to buy this beautiful piece, they're going to want that one and that one.

0:31:420:31:47

-There's a lot of Darwin's social history here and it should stay together.

-Indeed, indeed.

0:31:470:31:52

I'd like to put a value of £300 to £500 on the whole lot.

0:31:520:31:57

If we have a lot of excitement pre the sale, Adam can use his discretion and split them up.

0:31:570:32:02

-Absolutely.

-But I can see these going back to Australia,

0:32:020:32:05

maybe a museum, and you just don't know what's going to happen.

0:32:050:32:08

-They could be worth well over £1,000.

-But time will tell.

0:32:080:32:11

Anything can happen in auction, this is where it gets exciting.

0:32:110:32:15

Whatever you do, don't go away. Let's watch this lot go under the hammer.

0:32:150:32:21

-This is a lovely little, what I would call, apprentice piece, chest of drawers.

-Yes.

0:32:260:32:30

Is it a family piece?

0:32:300:32:32

It is, yes. It came from my paternal grandfather's when he passed away

0:32:320:32:36

in 1938, and he migrated from

0:32:360:32:40

Cornwall in 1860 to Nantwich, when the local malting works down the road was in its full production.

0:32:400:32:48

So it's quite feasible it came with him from Cornwall.

0:32:480:32:50

-Right. And do you remember this as a boy then?

-Yes, I remember it because it came with a big sea chest, yes.

0:32:500:32:58

Why have you brought it today?

0:32:580:33:00

To get it valued and exactly to see what it is, more than anything.

0:33:000:33:04

OK. Well, it's quite intriguing, I think, because we've got quite a lot of different materials here.

0:33:040:33:10

I think this was made by a carpenter who was making chests of drawers as

0:33:100:33:15

a living, he was making pieces of furniture, and he may well have made this little piece to take round

0:33:150:33:22

and show prospective clients, to see what sort of piece they would like him to make for them.

0:33:220:33:27

Because what we've got here is a very plain pine carcass.

0:33:270:33:33

-Oh, yes, very simple.

-A very affordable softwood.

0:33:330:33:35

But then on the front we've got veneers of different woods, and at the top here,

0:33:350:33:40

these two little drawers have got amboyna, a really exotic rich wood.

0:33:400:33:45

If we put that one back and look further down, we've got a polished oak veneer,

0:33:450:33:50

hen further down a different wood again, the third drawer

0:33:500:33:54

down, and I think that's probably beech, looking at the flecking in it.

0:33:540:33:58

It's certainly not oak. And then the last long drawer at the bottom there we've got an oak veneer again.

0:33:580:34:04

So I think the cabinetmaker would have taken this little piece along

0:34:040:34:08

to prospective clients, and shown it to him and said,

0:34:080:34:11

I can make it for you with an amboyna veneer or an oak veneer, and showed him the different examples.

0:34:110:34:17

And I think they would probably be different price bandings

0:34:170:34:21

accordingly because amboyna would be a very expensive and perhaps the oak and beech less expensive.

0:34:210:34:27

-Yes.

-And it's standing on these lovely little turned feet, which are rather sweet.

0:34:270:34:33

Those little feet together with the moulding on the top makes me think

0:34:330:34:36

-that it's around 1860, 1870, so late Victorian in date.

-Very good.

0:34:360:34:40

So what about value, have you any idea, sir?

0:34:400:34:44

No idea whatsoever.

0:34:440:34:45

OK. Well, I think if we put this into an auction for you shortly,

0:34:450:34:49

I think we'd be looking at anything between £100 and £200.

0:34:490:34:53

-Very good.

-So I think a fair auction estimate would be 100 to 150, we'll put a reserve of around £100 for you

0:34:530:34:59

so it doesn't go for less than that, and I think you might well find some

0:34:590:35:03

collectors really bidding against each other to win this little piece.

0:35:030:35:06

-Very good.

-Thank you very much for bringing it along.

0:35:060:35:09

Thank you for explaining to me.

0:35:090:35:12

Jeffrey's apprentice piece joins the other items we're taking to auction,

0:35:120:35:16

but before we see if they sell well, let's have a chat with Adam about the collection of Aboriginal art.

0:35:160:35:23

I'm such a big fan of ethnic art, and when David came into the

0:35:230:35:26

-valuation day, I threw myself at this Aboriginal art.

-I can imagine it. Yeah.

0:35:260:35:30

It was too much to take in, really!

0:35:300:35:33

I put £300 to £500 on the whole lot and I said

0:35:330:35:36

likely Adam will have a closer look and then decide to split them.

0:35:360:35:40

-A sensible estimate.

-Good.

0:35:400:35:42

We've split them into lots as I think these are the strongest, and I've done these three first.

0:35:420:35:47

Hopefully those will make the 300, and then we can...

0:35:470:35:49

-Whatever's left will make up the difference.

-Yeah.

0:35:490:35:52

I would love these three panels to double our estimate, that's what I'm secretly hoping for, and they all go

0:35:520:35:58

back to Australia so they can be viewed by young Australians as part of their social heritage.

0:35:580:36:06

Absolutely right. I really hope they do very well.

0:36:060:36:09

-We've had 30 or 40 emails on them.

-They're going back to Australia.

0:36:090:36:12

-They're gonna.

-How much money? We're going to find out.

0:36:120:36:15

Adam's just about to get on the rostrum so whatever you do, don't go away.

0:36:150:36:20

Other items we're selling are

0:36:200:36:23

a collection of two elegant watches and a mourning brooch, their owner

0:36:230:36:27

Richard is taking a real gamble with this lot.

0:36:270:36:31

Are we reserving at the bottom figure?

0:36:310:36:33

No, I would like to get shot of it.

0:36:330:36:35

And having travelled all the way from Cornwall to Nantwich,

0:36:350:36:38

where will Jeffrey's chest of drawers end up after the auction?

0:36:380:36:43

Your bid 220... I'll take 230.

0:36:430:36:47

One of my favourite pieces in this sale, a small apprentice

0:36:470:36:50

piece, it's a chest of drawers, showing off a young man's skill.

0:36:500:36:53

And it belongs to Jeffrey and it was his grandpop's.

0:36:530:36:56

Now your grandpop had great skills, he was an apprentice, but not in woodwork.

0:36:560:37:00

No, definitely not, no.

0:37:000:37:02

It's a family trade cos you've all been in the welding business, haven't you?

0:37:020:37:06

All been in the heavy engineering, the local works at Crewe, yes.

0:37:060:37:09

But there's history in that chest of drawers.

0:37:090:37:12

-Oh, there is, yes.

-And I think at 100 to 150, Jeffrey's going to say goodbye to it.

0:37:120:37:17

I hope so, it's just a little bit different having that range of veneers on the front there to show

0:37:170:37:22

-off what he could make.

-Good luck, Jeffrey,

0:37:220:37:24

Kate. The little chest of drawers are going under the hammer

0:37:240:37:27

right now, let's hope Adam can get the top end of the estimate.

0:37:270:37:31

It's the apprentice-made miniature chest, 19th-century with

0:37:310:37:34

specimen veneered drawers, amboyna and oak and various timbers there.

0:37:340:37:37

I can start with a bid of £100... take 10, £100 is bid...

0:37:370:37:40

is there 10 for the miniature chest?

0:37:400:37:42

At £100... any more? Come on, it's worth a bit more.

0:37:420:37:45

At £100. Are you all done? At £100 for the miniature chest.

0:37:450:37:48

It's gone, though.

0:37:480:37:50

At £100... you're all finished then at £100?

0:37:500:37:53

Short and sweet at £100, we sell then.

0:37:530:37:56

It's gone straight in and straight out. £100, Jeffrey.

0:37:560:38:00

-Right.

-We sold it.

0:38:000:38:03

-Yes, it went.

-It did.

0:38:030:38:04

There is commission to pay, it's 15%, but hopefully there's enough

0:38:040:38:08

money left for to treat your wife to supper or something like that.

0:38:080:38:12

Yes, I always pass the money on to my wife.

0:38:120:38:15

-Always pass the money on to the wife.

-Sensible man.

0:38:150:38:19

£50... 50 is bid, take five, at 50 I have... 55 now? 55.

0:38:200:38:25

Richard, you're playing with fire.

0:38:250:38:28

There's no reserve on this lot and it's a mixed lot.

0:38:280:38:30

There's a silver watch, a gold watch, some pearls. What's going on, no reserve?

0:38:300:38:36

What happens if we only get a £20 bid in the auction room?

0:38:360:38:40

Oh, don't say that. No, I'm confident, and today gold and silver's been selling well.

0:38:400:38:44

Well, surely this package, these three things put together,

0:38:440:38:48

we've got to be looking at around £200 or £150.

0:38:480:38:51

Yeah, I think we said sort of round £150, didn't we?

0:38:510:38:53

-150 you quoted.

-That's right, yes.

0:38:530:38:56

How did you let him get away with no reserve?

0:38:560:38:59

-Well, he's just got this smiling face.

-Yeah, I can turn it on.

0:38:590:39:02

Charmer, isn't he?

0:39:020:39:04

But things like these find their level, you know?

0:39:040:39:06

It's going to sell for what it's worth, fingers crossed, otherwise I am in trouble.

0:39:060:39:11

-Personally I've no idea.

-No, nor have I.

0:39:110:39:13

Me neither. I'll tell you one way to find out.

0:39:140:39:17

We are going to find out right now.

0:39:170:39:20

Let's hope Adam works some magic. Good luck both of you.

0:39:200:39:23

Which is a Victorian 9-carat gold mourning brooch,

0:39:230:39:26

an Art Deco 18-carat gold lady's wristwatch, and an

0:39:260:39:31

Art Deco marquisette lapel cocktail watch, what do we say for these?

0:39:310:39:35

Couple of hundred?

0:39:350:39:36

£100 bid... 10 now, at £100...

0:39:360:39:40

Come on, some bidding, I want 110...

0:39:400:39:42

120, 130... 140, 150... 160, 170...

0:39:420:39:45

160 bid... 170, 170... 180, 190...

0:39:450:39:49

200, 210... 220, 210 the bid.

0:39:490:39:54

At 210 now, 210... any more, are you all done?

0:39:540:39:57

At 210. All finished at 210, hammer's up, 210.

0:39:570:40:02

Phew, well done.

0:40:030:40:05

-Both of you took a gamble, it paid off.

-It is.

0:40:050:40:09

I'm as pleased as you are that that made mid-estimate on what we said.

0:40:090:40:13

She'd be pleased if she was here.

0:40:130:40:15

-Brilliant.

-Yes, good. You were, really.

-Brave man.

0:40:150:40:18

I've been looking forward to this, the Aboriginal art.

0:40:240:40:28

-We've got a packed house here.

-We certainly have.

0:40:280:40:31

But I'd like to think there's a few phone lines booked from Australia, lots of Internet interest.

0:40:310:40:36

I talked to Adam prior to the sale, he has split

0:40:360:40:40

the whole lot up now, selling them separately. Good luck, here we go.

0:40:400:40:46

Lot no. 80 is the first one,

0:40:460:40:47

the bark panel painted with natural earth pigments by Wandi-Wandi.

0:40:470:40:52

120 I have... at 120 here, is there 130 now anywhere? At 120...

0:40:520:40:57

130 on this phone, is there 140... 140, 150...

0:40:570:41:02

160, 170, 180.

0:41:020:41:06

This is a good sign, this is a good sign.

0:41:060:41:08

170 on this phone here...

0:41:080:41:10

all done now 170, we sell at 170.

0:41:100:41:13

It's £170, that's the first item, here we go with the second lot.

0:41:130:41:18

-Goana and snakes hunting by Wally Puru.

-Another phone line.

0:41:180:41:22

-Um-hm.

-Hopefully that's Darwin at the other end.

0:41:220:41:25

At 180, all done now.

0:41:250:41:28

-£180.

-Oh, lovely, isn't that nice.

0:41:280:41:30

-Third one to go.

-There we are, the last one, 210.

0:41:300:41:32

Fantastic.

0:41:320:41:34

220? At 210 with Sue's phone...

0:41:340:41:37

At 210, are you all done on this one now? 210.

0:41:370:41:41

And the hammer down on 210.

0:41:410:41:44

180 on the phone here, 180 for the killing stick.

0:41:440:41:46

180, all done at £180.

0:41:460:41:50

There's the fourth lot, £180. This is great.

0:41:500:41:55

130, 140. 150, 160...

0:41:550:42:01

170, 170 on this phone. Same buyer.

0:42:010:42:04

That's £170 for the didgeridoo, this is fantastic.

0:42:040:42:08

We've sold everything so far, this is the last lot.

0:42:080:42:11

And the final one is the wooden spear in the form of a snake,

0:42:110:42:14

There we are there, 300...

0:42:140:42:15

320, 400 on the spear.

0:42:150:42:21

500, 560, 580.

0:42:210:42:25

-That's incredible.

-Yes.

0:42:250:42:28

-600...

-£600!

0:42:280:42:30

620... 640, yeah?

0:42:300:42:34

620 with Sue's phone, £620...

0:42:340:42:37

-Anyone in the room want a go now? At 620...

-LAUGHTER

0:42:370:42:40

All done now at 620, we sell this lot 620.

0:42:400:42:45

Yes! Well, the hammer's gone down, £620.

0:42:450:42:49

-We've sold all of those lots, David.

-APPLAUSE

0:42:490:42:52

How fabulous is that?

0:42:520:42:54

-That got a round of applause. A grand total of £1,530.

-Wow.

0:42:540:43:00

-What are you going to do with that?

-It's going to be divided into two.

0:43:000:43:03

One is to WaterAid and the other is

0:43:030:43:06

-to the Salvation Army.

-All the money is going to two charities?

0:43:060:43:09

-Half each.

-That's very generous of you, David.

0:43:090:43:12

No, not at all. It's all your work.

0:43:120:43:14

-Thank you so much for bringing this in.

-My pleasure.

0:43:140:43:17

If you've got something like that at home, we want to see you at one of our valuation days.

0:43:170:43:21

Check the details in your local press, because we're coming to a place near you soon.

0:43:210:43:25

From Cheshire and Adam Partridge's Auction Rooms

0:43:250:43:28

-it's goodbye from David and myself.

-Bye-bye.

0:43:280:43:30

For more information about Flog It, including how the programme was made, visit the website at bbc.co.uk

0:43:330:43:40

Subtitles by Red Bee Media Ltd

0:43:400:43:43

E-mail [email protected]

0:43:430:43:46

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