Southend Flog It!

Well, all the clues are here -

the deckchairs, the pleasure parks, the beach, the pier -

in fact, the longest pier in the world.

Today Flog It has come to the nearest seaside resort outside of Central London.

Welcome to Southend-on-Sea.

Southend-on-Sea in Essex has to be one of England's most renowned seaside resorts.

Wow, That looks a lot of fun!

Although package holidays and international air travel

has made a dent on visitor numbers, Southend still remains

very popular with day-trippers wanting to escape hectic city life

and, I tell you what, long may it continue!

Inland from the Costa Del Southend is our very fine venue for today,

Southend High School For Boys,

and I've been joined by our experts, Thomas Plant and Will Axon.

We have got a fantastic queue here today.

Just look at that - it disappears right down the end of the car park! Well, it's now 9.30.

It's time to get the doors open and get this massive class inside.

As well as hunting for antiques from here, later in the programme I'll be out and about

and I'll be meeting a lady who can give me an insight into a factory

that not only produced some award-winning designs

but also put Southend on the map.

But right now everybody's safely seated at the blue tablecloths

and it looks like Thomas has already spotted something.

Let's take a closer look.

-Ruth.

-Hello there.

-Thank you for coming to Flog It.

-You're welcome.

You have brought a fantastic album of autographs. How did you get them?

Well, I was a film extra in the '70s and '80s and I collected signatures for my son.

I've got some interesting names in there.

-You have!

-I have, yes.

-I've got it open at a page

-which is rather lovely.

-Yes.

-Christopher Reeve.

-Yes.

-And he's done a Superman!

-He definitely has, yes.

-I heard that he's actually a very nice man.

-He was.

I worked with him on two Superman films and he was a fantastic person. Really friendly.

Then I just turn the page and there's Sean!

-Yes.

-What was he like?

-He was lovely.

-Yeah?

-He was a really nice man.

-A bit flirty but very lovely.

-Was he?

-Yes!

Well, I worked with him on Outlands, a sort of outer-space type thing.

He just knew everybody and he was very friendly as well.

So, it's nice, really.

-And for me especially...

-Yeah.

I've just put my eyeglass chain here so I can sort of turn it over...

-Yes.

-And talk about this one here.

-Yes.

"Follow the force, Mark Hamill." I think that's a rare signature.

-Right, OK.

-My understanding is Mark Hamill is not somebody who likes the limelight now.

-Yes, yes.

-He did three Star Wars films.

-Yes.

-And nothing else, really.

-There must have been a few roles for him.

-Yes.

-Where did you meet him?

I worked on Return Of The Jedi, which was one of the Star Wars, in 1985 or something like that,

and he was also very friendly.

-Was he?

-He was lovely to work with and I just went up,

"Can I have your autograph?" And he obliged and put "Follow the force", which I thought was great.

-That's great, isn't it!

-Yeah.

You've got plenty of other signatures.

-Oh, yes, yes.

-Burt Reynolds I've seen in there.

-Burt Reynolds, yes.

-Was he a big man, big bear?

-Lovely, just lovely.

-Really?

-Yeah, really nice man.

You must have had such a good time!

I did. It was a wonderful time and I did collect some great names.

You did. Why are you selling it?

-Well, I used to collect them for my son.

-Yeah.

He doesn't really want it, so it's a shame and I think somebody who would appreciate those names and signatures

could maybe keep it in their collection.

-What the auctioneers have to do, they'll go through it...

-Yes.

-And list of who's in there.

-Right.

They are not worth huge amounts

-but somebody like Mark Hamill will probably be worth £30-£40.

-Yes, yes.

-Sean Connery, 20-30.

-Yes.

-Christopher Reeve, 40-60.

-Yes.

-We're already at £80.

-Yes.

-All the others on there, I think we've got some quite good signatures here.

-Good.

Now, I think it could make £120-£180.

Oh, that would be wonderful.

-I'd like to fix the reserve at 80 and we've got a good chance of making some money there.

-Good.

-OK.

-Will you be at the auction?

-I will.

Victoria, hi. I love this piece that you've brought in today.

It's right up my street -

just the sort of piece I would go for at an auction. Now, tell me,

is this something you've inherited or you've bought yourself?

It's my mum's and it's come down from her family.

OK. And is she passing it on to you or are you selling it on her behalf?

-I'm taking the money!

-Are you?

-I've been told I can.

-Very nice!

-Well, it's a lovely thing. Any idea what we call this type of bowl?

-Old?

-An old bowl, I like it.

-I'm getting good!

-You could get a job cataloguing!

An old bowl. Well, it's an old piece of English Delft

dating from the 18th century,

probably sort of circa 1770, 1780, something like that

and really it's a nice genuine piece.

Now, Delftware is an earthenware pottery, so it's not porcelain,

it's an earthenware body covered in this tin glaze to try and make it look like porcelain.

Now, it's a lot cheaper and a lot easier to produce than porcelain

and because of that, it found a ready market.

-From the colours used in this piece, as well as the smooth glaze...

-Yeah.

-I can decipher that it is English.

-OK.

-Rather than being Dutch. The Dutch had a much thicker glaze

and it was a little bit pitted, the glaze itself,

and this bluish glaze is more English rather than Dutch.

The decoration itself you might say isn't English at all, it's a sort of chinoiserie decoration.

Now, the Chinese blue and white that was being exported from China,

very popular at the time,

and actually when the imperial kilns in China were out of order,

because of internal fighting,

the Dutch jumped on the opportunity of producing

chinoiserie-decorated Delftwares

to replace the porcelain that wasn't coming out of China.

So I've told you what I know, have you any idea what it might be worth?

Does your mum...?

-Has your mum told you to come down, don't accept anything less than X?

-No. It's up to me.

OK, well, I've had a close look at it for damage.

I do notice here, if I give it a little ring,

you can hear that it doesn't actually ring true, does it?

It's got a hairline crack running into the body. That will affect it.

It won't make as much as one in perfect condition but, even so,

a nice piece like that, I think it's worth between 100 and 200.

100-200, something like that, I think.

If it had been in perfect condition you could double that, or more.

-How do you feel?

-That's really good.

-Is that OK?

-Fine.

Let's reserve it at £100, with discretion for the auctioneer,

and what will the money go towards?

Medical textbooks, as I'm a medical student, so...

-OK, you've got a lot of study ahead!

-Yeah, a lot of study!

See you on the day and hopefully raise some money toward your medical library.

-Thank you very much.

-Thanks, Victoria.

Tony and Linda, great to see you,

and thank you so much for bringing in a maritime connection

-because we are in Southend.

-Yeah. What can you tell me about this?

-It was my uncle's. He was given it by Henry Scott, a friend.

-Really?

What did your uncle do for a living?

-He was a boat builder.

-Say no more.

-Yeah.

-Say no more!

-So that's obviously how he met Henry Scott.

-Through boats, yeah.

He gave it to him as a gift and we didn't really know anything about it until he died this year.

My mum knew about it. When she lived at home he gave it to her.

Why do you think Mum wants to sell this?

I don't think it's something she'd like to have on the wall,

even though she likes boats,

she's got some nice pictures and she'd rather buy something nice to remember her brother by, so...

When you talk about art, there are only a very few marine painters that can capture what Henry Scott can do.

He has a great maritime knowledge and I think he spent months on board

these wonderful great big tea clippers.

-He's got to understand the mechanics and how these vessels move through the water.

-Yeah.

I think something's going on here. He started, it's quite loose,

and that's too impressionistic for him, so that leads me to believe this is a study.

-This is done quite hurriedly, on canvas card...

-Yeah.

Put together and eventually, back in the studio, he would use this to paint something that size.

-Yeah.

-But at least it's signed, which is great.

-Yeah.

-The movement, can you see that swell?

-Yeah, it's lovely, yeah.

-And can the wash off the hull?

-Yeah.

-Can you see that? Yeah. The water sliding back down.

-Yeah.

-Yeah.

-For me, it's just alive. It's just moving.

-Yeah.

It's rolling the waves and that's very hard to do.

-Have you any idea of value?

-No, really.

I've looked on the art price guides and something about four times the size of that is fetching around

-£3,000-£4,000.

-Right.

So let's put it into auction with a valuation of £900-£1,200.

-Right.

-And I'm pretty sure we'll find somewhere in the middle.

-Yeah. OK.

-Or the top end.

-Yeah, that's fine.

-We'll put it in with a fixed reserve at £900.

-Yeah.

-Not a penny less.

-Right.

-OK.

-And see what happens!

Lovely. That way it's tucked in the £1,000 mark.

Ellen, this is a rather attractive brooch you've brought in

-but is this something that you would wear?

-No, no.

I bought it to put in a little frame so that I could have it on the wall.

-That's what I intended to do.

-Yes...

-That's over a year ago!

-And you haven't got round to it?

-No.

-I've got plenty of jobs like that. You think, I know what...

-Yeah, do it later. Yeah.

-Do it later.

So you've bought it from a shop, or at a fair?

-I bought on an auction in... on the internet.

-Oh, on an auction site on the internet?

I see. So you would have hung her on the wall?

-Yeah.

-That's an interesting point because where she's from, which I suspect is Germany...

-Right.

I think she's a German porcelain brooch, Berlin.

-Yeah.

-A well-known factory in Germany was renowned for making these porcelain plaques.

-Oh.

-And they were really instrumental in being a factory

-that treated porcelain as a surface to be painted.

-Oh.

-Like a picture.

-Yeah.

-Now the zenith of their production of plaques

-was around the early 19th century - 1830, 1840.

-Oh, right.

Later in the 19th century, the subject matter became a little less formal, shall we say.

You started getting more scantily-clad maidens, as you have here,

sort of topless young ladies who would really be there, I suspect,

-hanging in the gentleman's study or...

-Yeah.

-Rather than sort of...

-Nicer to look at!

Well, nicer to look at, exactly.

They do say that if you've got young naked ladies, they're commercial.

-Yeah.

-And they sell. And she has been mounted in this brooch frame.

-Yeah.

-Now, I had a quick look and it couldn't see any hallmarks on that.

-No.

-Have you had a look?

-Yeah, I have, but I can't see no marks on it.

-Oh, no.

-No.

-And when you bought it, do you remember if it was listed as in a gold frame or...?

-It said rolled gold.

-OK.

-No, not rolled gold, um...

-Rose gold.

-Rose gold, yeah.

-Yeah.

-Looking at the colour and the quality of the actual painting,

I'm pretty happy that that's going to be a gold frame.

-Now, I've given you my opinion of what it is, where it's from and what it dates from.

-Yeah.

I've got a question to ask you about it now - what did you pay for it?

-I can remember it as about 150.

-OK.

-Somewhere round about that.

-£150.

-Yeah.

-Ideally, if I could have come in without knowing that and given you a value,

-I would have said around £100.

-Oh, right.

-120-150?

-Yeah, that's OK.

-With the reserve at 120?

-Yeah.

-And then at least we've got that 150 in the picture, as it were.

-Yeah.

What will you buy with the money from this?

-I do collect Royal Doulton little dog figurines.

-Yeah, good.

So, Ellen, we'll get the money and put it towards your collection of an eclectic mix, it seems.

Various whatever-you-fancies! That's the good way to collect.

120-150, 120 fixed reserve and I'm pretty confident that

-there will be gentlemen in the crowd on the day.

-Hopefully, yeah.

-Yes. Good.

-OK, thank you. Well done.

With Ellen's pretty brooch on board, we're ready for our first trip to the auction,

so it's time for a run down of what we collected to tempt the bidders.

Firstly, Thomas was seeing stars before his eyes

on the pages of Ruth's autograph book.

-I've got it open at a page which is, you know, rather lovely.

-Yes.

-It's Christopher Reeve.

-Yes.

-And he's done a Superman there!

-He definitely has, yes.

Will this super little collection fly at auction?

And Will's enthusiasm for this English Delftware bowl was just the tonic for Victoria

and she needs to raise funds to put towards her medical career.

The maritime painting by Henry Scott has the best provenance,

as it was given to Tony's uncle by the artist himself.

It now belongs to his mum.

I think she'd just rather have the money and buy something nice to remember her brother by.

I dived in with a £900-£1,200 estimate.

And, finally, Ellen's painted porcelain German brooch.

Will thinks the glamorous lady should catch the eye of a bidder

and valued it at £120-£150.

Well, here we are at today's saleroom - Stacey's Auctioneers And Valuers in Rochford.

Let's get inside and catch up with the action.

But before the sale gets underway,

I want to get some local knowledge about one of Will's valuations.

Right, now it's time for our auctioneer's chat and this is a first

because today we have two auctioneers and they're brothers -

Mark and Paul Stacey.

-So no quibbling and no fighting!

-We'll try not to.

OK, let's start with this lovely 18th-century bowl.

She's putting all the money towards medical books for her university course,

-so you know how much students need the money nowadays.

-I don't think it's a problem.

Great condition. Often with Delftware of this particular period,

mid 18th century, it's in much worse condition

and there's a lot more damage but the condition on this is very, very good

and the colours are very bright.

I personally feel it'll exceed estimate.

-OK, what by?

-I'm going to say exceed estimate by £100.

-Brilliant!

-£100.

-That's what we want to hear.

-Lovely thing.

I've seen people looking at it - no problem.

Yeah. Collectors are really fussy, watch this space.

That's great news. The bowl will be sold shortly

but first it's time to BROACH the subject of Ellen's internet purchase.

Fingers crossed, good luck.

I've just been joined by Ellen and we're selling the brooch.

It's a wonderful little thing, isn't it?

-Yeah.

-Now, you bought this for £150 not long ago.

We've got to try and get you your money back, haven't we?

-At least.

-At least! That's putting pressure on our expert.

Why have you decided to sell it straight away?

I wanted to frame it but it was going to cost me too much to frame it.

OK. I think this is going to go.

Well, I'm glad with a vote of confidence there.

We had a discussion about the reserve.

You were looking for 150, I said 100. We met in the middle, 120.

You know, little rose-gold frame, German porcelain brooch,

hand painted. A lot of work gone into that.

Yeah. And what you're buying is a work of art, let's face it.

That's what you're investing in and I'm pretty sure someone will do that right here, right now.

19th-century German porcelain brooch.

Nice Art Nouveau maiden there. £100 to start.

Straight in for this lot? £100 in? £100? 80, let's get going. £80.

At 85. 90. 95. 100. 110.

Sometimes people bide their time before they bid.

At £120 now, back of the room. Are we all done? I'm selling at £120.

Last time, then. 120.

-Just got it away. That's good news.

-Yeah.

-We got it away.

-Yeah, that's all right.

-Happy?

-That's OK, yeah.

-Good.

-Yeah.

A learning experience. To you it was worth 150,

-in the room here today it was worth 120 to someone - swings and roundabouts.

-Yeah.

-But we all know being a dealer's not easy.

-It's a chance you take.

You don't always make a profit.

I'm looking forward to this lot.

I've been joined by Ruth and we've got that book of autographs.

-There's some great names.

-Yes.

-And we've got £120-£180.

-Yes, we have, yeah.

-Why are you selling? It's been stuck in a drawer for about 11 years,

since I've moved, and I haven't even looked at it, so...

That's the good thing about moving, isn't it?

-You do come across things. You think, oh, I'd forgotten it.

-Yes, lots of memories...

-Yeah.

They're in the book but they're up here as well.

-OK. Which is the favourite?

-I think probably Sean Connery.

-Oh, very suave, very sexy man.

-Good value for money this, Thomas.

-Really good value.

-You've got some wonderful signatures.

-Yes.

You know, it's kind of like an end of an era really, for you, isn't it? All these memories?

It is but they're all up here still, so...

-That's the main thing. You treasure those.

-Yes, exactly.

-You can't sell those.

-No.

The autograph album, as catalogued, plenty of autographs there.

A little bit of interest, commission bids,

I'm clearing the book at £100. The bid's here. Commission is at £100.

Are we all done here with me at 100? 110. 120. 130.

-That's good.

-150. 160.

-Oh, that's very good.

-170 beats me.

-Yes!

-In the room at £170.

Against you on the phone at 170. Are we all done then at £170?

Last time, hammer up and down at £170.

Well, done, auctioneer. Yes, 170!

Good valuation. I'm very happy.

-I've spent half of it already today!

-Have you? On what?

-What, today?

-I've bought a lovely locket.

-Today?

-Yes.

-That's what we like to see, putting money back in the trade!

-Go and visit the antique shops and the fairs.

-Yes, exactly.

-OK?

-Thank you.

-Thank you so much.

-I'm really pleased.

-Thank you.

Right, my turn to be the expert and I fell in love with this little oil on board.

It's by Henry Scott, a great maritime artist.

It's got everything going for it. Value £900-£1,200

and it belongs to Tony and Linda,

but unfortunately Tony can't be here today

-but Linda you are and, of course...

-Tony's mum!

-Tony's mum!

There, introduced herself!

-Well, it's yours really.

-Yes.

-Let's face it.

-Yes, yes.

Really I'd liked to have got this in at around about £700, just to get the ball rolling.

-Oh, I see.

-You know, to generate the bidding frenzy that you get in an auction room.

-800.

-You know what I'm talking about. No, we can't reduce it any more.

It's too late now!

-Oh, is it?

-Yeah.

But fingers crossed, OK? He's a recognised artist and you know his works sell for thousands.

-Oh, yes, yes.

-The big canvases, don't they?

-That's right.

Clipper Homeward Bound signed by Henry Scott. Nice picture, there.

£700 to start straight in. £700. £700 I'm bid, thank you. 720.

740. 760. 780.

800. At £800 now.

Are we all done at £800? Last time then at 800.

-Didn't sell.

-Never mind. I shall take it home.

You take it home and enjoy it.

-Yeah.

-Put it back on that wall.

-That's right.

Victoria, it's great to see you again.

Going now, something for the purist.

It's 18th century, it's a Delft bowl and we've got £100-£200 on this and it's in perfect condition.

I had a chat to the auctioneer. You know what he said, he loved it.

-It could fly through the roof. The collectors will want this.

-OK.

And you're selling this because all the money is going to...?

-Medical textbooks.

-Medical textbooks, OK.

I agree with the valuation. This is almost mint condition. And the colours are so vibrant!

Lovely colours, typical London Delft, so to find a piece in good condition is really nice, you know?

Small dinky size, you know, not too big. A nice piece.

-I'd have it.

-I would as well. It's too late and you can't bid!

-No.

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

London Delftware bowl as catalogued. Interesting lot. Lots of interest.

To clear the book, I must start the bidding at £180.

-180.

-It's here with me, against you all.

-Come on.

-190. 200. 210. 220.

-We're in the room.

-230. 240. 250.

-260. 270.

-It's a nice lot this.

290. 300. At £300 now. Still on the book.

Are we all done at £300?

Yes! £300. Well done. Well done, Will, and well done, you.

Thank you for bringing that in. What a good result, wasn't it?

-Happy?

-Yeah.

We'll be back later to throw some more antiques under the hammer. This could fly through the roof.

-No! Really?

-Shush!

-I think that's a great celebration, don't you?

-Yes.

-Yes, fantastic! Well done, Thomas.

-Thank you. You've got to be pleased.

Excellent. Really pleased. Thank you.

But now time for the story of a 20th-century collectable that was once made here in Southend.

In 1922, Mr EK Cole started a small business making wireless sets, but by the 1950s his

range of EKCO branded products made right here in Southend multiplied.

The company became one of the largest of its kind in the UK, and the town's biggest employer.

EKCO had become a household name.

Sadly, a takeover in the early 70s meant the original factory was

forced to close its doors, but I can still explore Southend's industrial heritage here at the Central Museum,

where many of EKCO's now iconic pieces and memorabilia have been brought together.

In the 1930s, the EKCO factory used high speed presses to produce these cabinets for their early radios,

and they're made of Bakelite, one of the first plastics.

During World War II, the government enlisted factory expertise

to produce military items, including dummy bombs and radar equipment.

After the war, Bakelite was replaced with new plastics, and mass-produced

domestic items and injection-moulded industrial parts for other companies

were flying off the production line

and popping up in almost every home in the UK.

The 1950s saw rationing coming to an end

and Britain was entering a period of increased affluence and freedom.

The American way of life heavily influenced British buying habits.

People now expected to have items once considered a luxury.

EKCO's products poured off the production line to supply this new demand.

By the mid 1950s, the company introduced its Gold Seal domestic wares.

Design was key and these innovative ideas were starting to win awards.

The company was having success after success.

In 1966, chief designer David Harman Powell came up with the novel stackable dinner service

and a few years later this award winning design, known as Novaware, was flying off the production line.

To work at a factory at the forefront of contemporary design must have been pretty exciting,

but what made working at EKCO very special

was the strong sense of community amongst the Southend employees.

They still meet at the EKCO Social Club,

and proud member Minnie is keen to tell me all about factory life.

-Take a seat and let's have a chat.

-Thank you very much.

That's better, isn't it?

Yeah, much better, yes. Yeah, I have got a lot of memories.

I bet you have, and I want to ask you about your first day at work, when was it and how old were you?

-It was in 1934 and I was 14 years of age, and I was only three foot six in height when I left school.

-Were you?

So, they had to make me a little thing so that I could reach some of the benches. I didn't get over that.

You were tiny, weren't you? Yes.

And I was a bit nervous, but we were doing components for radios and I worked my way up to supervisor and

then during the war years I went into plastics and

was working on the biggest machine they had there called Big Bertha.

What was the atmosphere like during the war years?

Oh, we were all happy and we worked together and we enjoyed our life and made the most of it.

-You had to.

-And was it a hard day's work? What time did you start?

-It was. We used to have shift work during the war years, two to ten, six to two and all night.

-Really?

Sometimes 12 hours at weekends.

Did you meet Mr EK Cole? What was he like as a boss?

Yes, I did. He was a very nice man and I met him mainly in the '50s more than what I did before.

He was a good governor. Very good.

He did a lot of work and he didn't take a lot of credit for what he did.

So, how important for Southend was EKCO?

Very important to Southend because if it wasn't for Mr Cole a lot of

people would have had to go elsewhere to look for work and there was one time we got up to 8,000 people.

-It's a lot, isn't it?

-So, it was a lot of people. He did Southend proud. He really was.

What did your colleagues think of the products you were making?

-We thought they were very good. We had a staff shop to buy any of the items...

-A little bit cheaper.

A bit cheaper than what you'd in the shops and we were able to buy blueprints and make your own things.

Well, I bought a blueprint of a television and made my own television and it lasted me for 15 years.

-Does it bring back memories seeing this?

-It does.

I was really, really sad when they pulled the building down because that

would have made a lovely museum, that building that they pulled down.

-A solid marble staircase.

-Wow.

-It was wonderful.

-How long did you work there for?

Well, I worked there until 1966, but I broke service in between because I got...

So, most of your working life.

Yes. I was nearly all my life to work there and I was very happy and I enjoyed every minute of it.

-I wish I could do it today.

-I bet you do! Do you miss it, then?

-I do, very much.

-But it wasn't always all about work, was it? There was a good social club.

There was a very good social club.

We used to have tuppence docked out of our wages to be in the club, like,

and then it was in the canteen, because we never had a proper

clubhouse until Mr Cole presented us with one, July 16, 1951 in the factory at Christmas time.

I put a cardigan over my legs cos I didn't want to show my knickers,

-and did cartwheels and splits all up and moving about.

-Did you?

-Yes.

-Did you get a round of applause?

-Oh, yeah, definitely.

You'd remember that well! Yes.

And now I go down practically every evening, sometimes I have Saturdays off because I like

to watch the telly Saturday, and I do... I call the bingo for them.

You call bingo, do you?

I book the DJs for Thursday and Saturday, ballroom dancing.

-Monday nights we have jazz.

-And all this at the age of 88!

-Yes.

-You're a great example to all of us. You're a good role model to how we should be.

-It's been lovely meeting you.

-Lovely meeting you, too.

The unique company that Mr EK Cole created may have sadly closed its doors, but as well as leaving its

mark on the design world, it's also clearly earned a special

place in the hearts and minds of many people in Southend.

Time to rejoin the action back at Southend High School For Boys.

Patricia has got a lot on her plate and she's brought her daughter

Kim along to see what Thomas thinks of it.

Pat, Kim, thank you very much for coming in, and tell me about this plate.

-Where did it come from?

-I've had it since 19...

About the '60s, 1960, and we had moved into a new council flat.

My mother-in-law came and saw all the lovely white walls, because we

-hadn't decorated, and she said, I've got a lovely plate for you.

-Really?

-And she bought it and we banged it up and put it on the wall.

-Why did you bring it today?

Well, I do like to watch Flog It and the Antiques Roadshow,

not that I've got any, but I'm interested.

But you've brought this!

Oh, yeah,

but that was an odd thing.

But when we knew Flog It was on today and I said,

-"Shall we take that plate?"

-And exciting it is to see.

We just must clarify, it's a Worcester plate and this decoration is called pate-sur-pate,

-French for...

-I've not heard of it.

Layer on layer.

Wet clay is called slip and they painted it on there,

layer and layer and layer, it's been glazed in white, so it feels raised.

-Oh, right. I hadn't noticed that.

-Yeah, along there, how raised it is against the dark blue.

We know it's Worcester and we know the artist is TJ Bott

-and it's dated 1882, it looks like.

-Right.

Very attractive. Do you remember it, Kim?

I remember the plate on the wall when we were small and then when

my mum and dad moved we had it on the wall where they came down here.

Have you told me you've done some work on the artist?

-Well, I did look up TJ Bott and it did find out that he died at a young age, I think it was 41...

-Yeah.

-Of the arsenic poisoning from licking the paint brushes.

-Yeah, absolutely.

And that's when I said, oh, it might be worth something because of

what happened to the artist, and it did say on the internet that he was a favourite of Queen Victoria's.

Right, yeah, absolutely.

-And do you have an idea of value?

-No.

No. And it was that that

livened us up, wasn't it? And we said, well, if that's the case it must be worth something.

-Oh, yeah.

-More than boot sale price.

-Oh, God, yeah.

-We don't know.

-If I said £200 what would you say?

-That's good.

-That's good.

-If I said £300, what would you say?

-Better.

-Yeah. Four?

-Better still.

-Five?

-No.

-Yeah. I reckon I can put this in at £600 at £800.

-Never!

-Oh! Whoo!

-You like that?

-I love it.

-Yeah, well, you know, it...

-Really?

-There are records of his work selling very, very well.

-Oh!

There is a little bit of damage, that's why I haven't gone really, really high.

Where is the damage, then?

Well, a bit of scratching just here.

I think we should put a reserve on it. I think we should fix it at £450 to give the auctioneer a big

bit of discretion, but estimate it at 600 to 800.

You've got a good chance of it doing well.

Well, if you're saying 600 to 800...

-Yeah, and I think...

-Can we put a reserve for the straight 500, then?

I mean, if you offer it at 500 with discretion and...

-That's fine, because it's more than we thought.

-Yeah.

-Unbelievable.

-Yeah, it's a nice thing and it's got an extremely good

-chance of maybe achieving the upper end.

-Well done.

-Right, lovely.

-Thank you very much.

-You'll come along to the auction?

-Oh, yes.

-Both of you?

-Yes.

-Very good.

-Yes.

-Valerie.

-Right, hello.

Thank you for coming today and for bringing in this rather good-looking bronze.

-He is nice.

-He is. What can you tell me about this one?

How have you come by it?

-My son bought it for me at least 20 years ago, because Mum liked pussycats.

-A very nice present.

Obviously you know that the bronze itself is signed Barye, who was Antoine-Louis Barye, a very famous

French sculptor who specialised in these and the animalier bronzes, mainly actually of big cats.

-That's right.

-Because he's got this real sort of skill of capturing the sinewy muscles and the rippling

effect of this animal as they should be in life.

Antoine-Louis Barye was renowned for

not letting bronzes go because he wasn't 100% happy with the detail

perhaps, how crisp they were and, in fact, he got into so much trouble because of this he actually had to

declare himself bankrupt because he wasn't selling any bronzes, he was such a perfectionist.

-Too fussy.

-He was very fussy.

So, to pay for the bankruptcy, the Barye moulds were actually sold on, which is why he lost a bit

of control about what happened to the actual moulds themselves and what was cast of them.

If you have a bronze you can take a mould of the bronze and then cast more.

So, it's very difficult with bronzes, it's really down to various

factors such as the crispness of the piece, because you can

really see the difference between a well worked bronze and one that has just been taken from a flat cast.

So I'll just point out to you, Valerie, the various areas that sort of raise a bit of doubt in my mind.

If I pick him up and we have a look.

His face, for example, it's maybe just a little bit loose, to be...

-I know.

-..an original Barye bronze.

So that's one area that makes the alarm bells go off.

Also, if we just look along his back here, the definition of the muscle, it's not quite naturalistic enough.

Turning him round we've got his signature on the front which is fine,

but doesn't mean anything because that can be taken from the mould to the cast.

This base, the fact you can't take that off and look underneath...

-Yes.

-That makes you a bit suspicious, as well.

Now, I don't mean to sort of come here and you kindly bring

your present from your son and I've basically shot it down in flames!

-No, no.

-But I'd like to explain to you...

-I can see quite clearly exactly what you mean.

I'd like to explain the way I'm thinking so you can understand where I'm coming from.

-So then we get to the all-important valuation.

-Yes.

-Now, you've told me what your son tells you he paid for it, £100.

-I think it is.

-We know that a real 19th-century Barye stamped bronze would be well into four figures.

-Yes.

Even one of the sort of size I would think, so how do you feel about going in at 100 to 150?

-Yes.

-Are you happy with that?

-Yes.

-And we'll reserve it at £100.

-But no less than 100.

-No less. A fixed reserve.

I don't mind a discretion cos it's only about 10%.

-That's right.

-But...

-No, that's good.

I don't want somebody to pay 50 quid for it or something.

No, neither do I, neither do I.

So let's put £100 with discretion, I like it.

-Yes.

-100 to 150 estimate.

You can tell I've watched the programs!

Yes, I think you've done this before! Valerie, a pleasure to meet you.

-And you.

-Thank you for bringing him in and, hopefully, he'll find a new home on the auction.

-Well done.

-Yes. OK, thank you.

-So, have I got a pair of sisters here?

-You have.

Jenny and Susan, thank you very much for coming here, and I want to know all about this Dunhill lighter.

Why and when and who owned it, etc, why did you bring it here today?

We found it in a drawer at my uncle's. It's my uncle's lighter.

-Looking for other things we just came across it and I noticed the Dunhill name, asked him about it...

-Yeah.

And he couldn't really remember how it got there, why it was there.

And he said, if you like it, take it.

-So I said, well, I will and find out more about it for you, which is why we're here.

-Why you're here.

And you've brought it along today, and how old is your uncle?

-Well, Uncle's 86.

-Yeah.

And he's always telling me repeatedly that he gave up smoking 30 years ago.

-Right.

-So probably the lighter found its way into the drawer 30 years ago and hasn't emerged since.

Well, it's a rather nice thing. It's a Dunhill aquarium lighter, made in about the 1950s, and this is a good,

large-sized one, and we've got the two tropical fish on one side and

if we turn it round, the tropical fish swimming upwards, in very nice condition.

We can see that the Dunhill mark is here.

These are very popular in today's market and there's a lot of collectors for them.

It's good that it's got more fish on it, the three fish.

Are they real fish?

-No! No.

-It looks plastic...

-It is.

It's acrylic. It's like an acrylic, like a polished acrylic.

It's what? Something that's been tucked in there and...

They've been reverse painted into the acrylic and then

foiled and decorated and painted and that's what you've got there.

You've got a brief idea what you want for it and I think we can achieve that, but I think if we put

it in at 800-1200 with a fixed reserve of 800, that's what you're thinking about, wasn't it?

-Yes.

-Yeah.

-Yeah.

But I've got a feeling that it could surpass that, but let's keep it at

800-1200 with the reserve at £800 and let's see what happens.

The auctioneer will work his socks off for us, I know that for a fact, and it will be well publicised,

well marketed, on the internet, and I think we'll have some interesting people out there for it.

-Good.

-Thank you for coming.

-You're welcome.

-It's our pleasure.

-It's been fun.

So, Thomas' find completes our final line up heading off to our Rochford saleroom.

This Worcester plate by artist TJ Bott was a surprise housewarming

gift from Patricia's mum, and Thomas has got some more stunning news.

I reckon I can put this in at £600 to £800.

- Never! - Oh! Whoo!

-You like that?

-Oh, I love it!

Well, let's hope the bidders like it as much, too.

And will they go for Valerie's big bronze cat?

Is it by sculptor Antoine Barye?

I'll just point out to you the various areas that sort of raise a bit of doubt in my mind.

His face, for example, it's maybe just a little bit loose.

Will the bidders be more convinced of its Barye pedigree, I wonder?

And, finally, no-one knows the fishy story of how this aquarium lighter

ended up in Susan and Jenny's uncle's drawer.

Let's hope there's a happy ending to this tale at auction.

And it's brother Mark Stacey's turn on the rostrum ready to sell our next lot.

I've been waiting for this one and I expect you have as well.

Yes, it's that Worcester plate.

It's absolutely gorgeous.

It's here to go at £600 to £800 and it belongs to Pat and...

-Kim.

-Kim. I got that right, didn't I?

-Yes.

-What do you think of this Worcester plate?

Well, I'm really surprised. I mean, we liked it, but not that much.

And you didn't think it would be worth it six to eight, did you?

-No way. No.

-Well, let me whisper in your ear a bit of a secret.

-I had a chat to the auctioneer earlier and he said this could fly through the roof.

-No.

-It could do well over £800.

-No! Really?

-Shssh!

So he was right? We didn't believe him!

No, we didn't!

What does Thomas think?

It's a lovely thing. It's so comical.

-Yeah.

-You've got that sort of cherub whipping the other ones...

-Yeah, it's lovely.

And they're turning around saying, oi, stop that! I hope it should do well for you guys, I really do.

-There's only one snag for Kim.

-What?

Well, she's just had her bedroom decorated in blue and she said,

"that plate would have looked nice, wouldn't it?"

THEY LAUGH

The TJ Bott porcelain plaque, Worcester one, very nice one there,

too. Where will I start the bidding?

Let's start the bidding at £400.

£400 I'm bid, thank you. 410.

420. 430. 440.

450. At £450 now. Are we all done?

-Oh, come on.

-At £450. 460. 470.

480. 490.

It's on the phone.

500. Against you.

At £500 now on the telephone.

At £500. Are we all done? Last time, going to sell.

-He's selling.

-At £500 only. 500.

-That's not bad, is it?

-He sold... He sold on the reserve, didn't he?

He sold on the reserve. All right.

-Just got it away.

-Fine.

-Sorry I built that up!

-Yeah, you did. You were very naughty.

He got really excited about it.

No, we're happy with that.

-I'm naughty, aren't I?

-Yeah, yeah.

I'm an optimist, you see? My glass is always half-full.

95. 100 back on the book.

Valerie, I love this little bronze.

Will put a valuation of 100 to 150.

-Yes.

-And I'm pretty sure it'll do quite well.

-I hope so.

So, why are you selling this now, then?

I wanted to get on Flog It and I knew you'd be interested, I'm

decluttering so there's not too much rubbish for my sons to get rid of.

OK. What do you mean? Time's not ticking away for you!

-Oh, yes, it is.

-There's no... There's no rush!

-I'm 80 in the spring.

-You're not, are you?

-I am.

80 years old! Look, 80 years old!

What's the secret? How do you look so fresh?

Good living, laziness!

Will, let's introduce Will here.

Will's 70.

Yeah, don't look bad, do I?

I had to grow this so they serve me in the bars.

I know you're a good liver, you like your champagne, you like

-your nice pieces, you like your fine art.

-That's right.

-That's why I think a discerning eye we've got here, Paul.

-Yes.

So hence the Barye bronze, nice quality, good name.

It's going under the hammer. Good luck.

A good quality bronze, a recumbering lioness on a rocky base.

A bit of interest in this.

-Let's not waste time.

-Ooh, interest!

I've bids on the book and start the bidding at £280.

-Are they we all done, then? It's here with me.

-Sold!

£280. Are we all done, then?

It's on the book and the hammer's up and I'm selling.

£280.

Fantastic!

I think that's a great celebration coming up.

-Yes.

-It'll go towards that.

-Yes.

-Enjoy it, enjoy it.

-We will.

Raise a glass to us and the auctioneer.

-We will do indeed.

-Well done.

Well, we all love this next lot.

Is there a flicker of hope at £800 to £1200?

I think so, Thomas. Susan, Jenny, it's great to see you.

I'm talking about that gorgeous aquarium Dunhill lighter.

We've seen one on Flog It before a few years ago and it sold for £800,

so fingers crossed this will do the same and hopefully a bit more.

-Yes.

-But I love the story.

It was your uncle's, wasn't it?

-Yes, yes, it was.

-He gave up smoking for 30 years.

-Yes.

-Put it in a drawer.

-Yes.

And he hadn't seen it for 30 years.

-Yes.

-Isn't that a great story?

-Wonderful.

Like when you have jeans in a wardrobe you haven't worn for two months

and there's a £20 note folded up in the pocket.

You go to put your hands in your pocket and go, "oh, these jeans fit, oh, look at that!"

But £800 in a drawer we've got! That's just brilliant.

He's got to split with you two.

-Oh, yes, definitely.

-The nieces have to have something, don't they?

-We'll take him to the pub.

-Surely...

-Surely he's going to have most of it, isn't he? Is he?

-He might.

Well, he has it and then he shares it with us!

-Tough cookies.

-We have the Dunhill aquarium table lighter circa 1953.

Lots of interest here. Straight in at £800.

It's here with me at £800.

-Any advances on 800? 820.

-Oh, goodness.

880. 900. At £900 now.

The bid's on the book against you all in the room and the hammer's up

-at £900. 920. 950.

-Oh, come on.

-980. 1,000.

-Yes.

-Someone's on the phone.

-Four figures now.

-Excellent.

At £1,000 now. The bid's on the book.

Make no mistake, the hammer's up and I'm selling at £1,000.

Yes! Fantastic! £1,000.

-Well done, Thomas.

-Thank you.

-You've got to be pleased with that.

- Oh, excellent. Really pleased. - That's good news.

-Thank you, yeah.

-Take him down the pub, buy him a pint and a pie,

but I guess the shoes, the clothes are coming your way, are they?

-They might, a few!

-Thanks so much for coming in. That's real quality.

We've had a fabulous day. I hope you've enjoyed the show.

Join us again for many more surprises next time, but from Rochford, it's cheerio.

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