0:00:02 > 0:00:05Today, we've headed to the north of England for "Flog It!",
0:00:05 > 0:00:10and we're in a sleepy, picturesque Cheshire town. Welcome to Wilmslow.
0:00:37 > 0:00:41Wilmslow has a population of around 30,000 people, and the town is based
0:00:41 > 0:00:4410 miles due south of the city of Manchester.
0:00:44 > 0:00:47It's only three miles from Manchester airport.
0:00:47 > 0:00:50So, fingers crossed, our items will be flying away at auction.
0:00:50 > 0:00:54And later in the programme I'll be taking a trip back in time
0:00:54 > 0:00:58when I find out more about one of my favourite artists, LS Lowry.
0:00:58 > 0:01:03He probably would have been a bit upset by the label "matchstick men".
0:01:03 > 0:01:06To be honest, we've banned the M-word in this gallery!
0:01:06 > 0:01:10He painted so much more than "matchstick" figures.
0:01:16 > 0:01:18But first, we've got to get the valuation day under way.
0:01:18 > 0:01:22And this is where all the action is happening, the Wilmslow Leisure Centre.
0:01:22 > 0:01:27Also taking a star turn today are our two experts, the wonderful Anita Manning, and James Lewis.
0:01:27 > 0:01:30Just about to hit me! Have you found anything wonderful?
0:01:30 > 0:01:32Yes, of course you have. There's lots of goodies here.
0:01:32 > 0:01:36Well, it's now 9:30, it's time to get the show under way.
0:01:36 > 0:01:38- Everyone ready to Flog It?- Yes!
0:01:47 > 0:01:49Well, everybody is now safely seated inside.
0:01:49 > 0:01:53And I think Anita has already spotted something. Let's take a look.
0:01:55 > 0:02:01Clive, James Bond is one of the most iconic figures of the 20th century.
0:02:01 > 0:02:06- That's correct, yes. - And today you've brought us along a first edition by Ian Fleming.
0:02:06 > 0:02:11- And it's entitled "Thunderball". I believe you're a book collector?- Yes.
0:02:11 > 0:02:16So, tell me, in books, what are we looking for?
0:02:16 > 0:02:20Condition is all, really. And a nice wrapper.
0:02:20 > 0:02:22And it's in mint condition.
0:02:22 > 0:02:23Well, it's very close.
0:02:23 > 0:02:27The spine is in good condition, the pages are in good condition.
0:02:27 > 0:02:30- Nice and white, aren't they? - Tell me, Clive, where did you get the book?
0:02:30 > 0:02:36I got it from, I think, a church fete some 20 years ago.
0:02:36 > 0:02:40Did you recognise that it was a rarity, or a thing of quality?
0:02:40 > 0:02:43Yes, at the time, yes, I did do.
0:02:43 > 0:02:47Ian Fleming was starting to be very collected at that stage.
0:02:47 > 0:02:52Another interesting thing I like about it is,
0:02:52 > 0:02:56I absolutely love the design of this cover.
0:02:56 > 0:03:00- That's right.- And, we see this embossed design here,
0:03:00 > 0:03:03of a skeletal hand.
0:03:03 > 0:03:06And, again, that's in perfect condition.
0:03:06 > 0:03:08Why do you want to sell it?
0:03:08 > 0:03:13It's not getting any younger, it's starting to get a little yellowed on the spine there.
0:03:13 > 0:03:17It can only deteriorate from now on, unless it's put in a bank vault.
0:03:17 > 0:03:20Which, obviously, some people might do.
0:03:20 > 0:03:25I can see what you mean. Once they do deteriorate, then the value...
0:03:25 > 0:03:28That's right, it starts to drop.
0:03:28 > 0:03:35Clive, I'd like to put this into auction with an estimate of £150-£250.
0:03:35 > 0:03:37Would you be happy to sell it at that?
0:03:37 > 0:03:41- I'd be happy to sell it at that price.- Shall we put a reserve on it?
0:03:41 > 0:03:47- Yes, because I am quite attached to it.- Well, let's put a reserve of £150.
0:03:47 > 0:03:50- And let's hope it flies. - Let's hope so, yes.
0:03:50 > 0:03:51I love James Bond.
0:03:51 > 0:03:55So, I'm delighted that you've brought this in today. Thank you very much.
0:03:55 > 0:03:57Cheers.
0:04:03 > 0:04:07Well, Faye, when I was looking up and down the lines I was expecting
0:04:07 > 0:04:12to see some really good, fantastic porcelain.
0:04:12 > 0:04:17- But I didn't see you, did I?- No. - You've sneaked in without me seeing you.
0:04:17 > 0:04:21And here are four fantastic pieces of Worcester porcelain.
0:04:21 > 0:04:26Worcester is the factory that most people associate
0:04:26 > 0:04:31with starting porcelain manufacture in England around 1747-1750.
0:04:31 > 0:04:34It had been made in Meissen, about 40 years earlier.
0:04:34 > 0:04:37And, until that point, everything we had on the porcelain side of things
0:04:37 > 0:04:41came from China and the Far East.
0:04:41 > 0:04:43This is known as blush ivory.
0:04:43 > 0:04:48And it's not the traditional porcelain that we associate with Worcester,
0:04:48 > 0:04:53it's known as a Parian Ware. And Parian was invented in the mid-19th century,
0:04:53 > 0:05:00and it was made to copy the Carrara, white-marble busts that the Italians were making.
0:05:00 > 0:05:05But, if you couldn't afford a solid marble one, you could afford the second best, a Parian Ware one.
0:05:05 > 0:05:12So, we've got a pair of shell dishes and the pair of leaf-shaped dishes.
0:05:12 > 0:05:15And the surface decoration here is flowering stems.
0:05:15 > 0:05:20Now, half of this is transfer-printed and half of it is hand-painted.
0:05:20 > 0:05:23So, what I'm going to do...
0:05:23 > 0:05:25- these have been in store for a while, haven't they?- Yes.
0:05:25 > 0:05:27- In one of your cupboards? - Top of the cupboard.
0:05:27 > 0:05:33Let's have a... Nothing worse than the top of a cupboard
0:05:33 > 0:05:36- for causing a little bit of grubby dirt.- They've been there 40 years.
0:05:36 > 0:05:43- They've been on the top... 40 years on the top of your cupboard?- Yes. - Gosh, they're spotless, then.
0:05:43 > 0:05:45First of all, look at that.
0:05:45 > 0:05:49See that white flower there? Look at that coming up.
0:05:49 > 0:05:51- It's coming up white.- It is white!
0:05:53 > 0:05:55- I feel ashamed.- Not at all.
0:05:55 > 0:05:58There we go, look at that coming up.
0:05:58 > 0:06:02- Beautiful. - That is a super hand-painted flower.
0:06:02 > 0:06:09If you hold it in the light, you can just see where the white is raised above the rest of the glaze.
0:06:09 > 0:06:12That's because it's hand-painted. Let's have a look at the date.
0:06:12 > 0:06:17If we turn this one over, we've got the green crown and interlaced Ws,
0:06:17 > 0:06:21with "Royal Worcester England" around the underside.
0:06:21 > 0:06:29Now, above the R of "Royal", and above the D of "England", you can see little dots.
0:06:29 > 0:06:33So, nine dots. The first dot was put on in 1892.
0:06:33 > 0:06:37- Really?- So, 1891 plus nine, 1900.
0:06:37 > 0:06:40So this was made in Worcester in 1900.
0:06:40 > 0:06:43They're nice, I like them.
0:06:43 > 0:06:47I'd say an auction estimate on those... One is chipped.
0:06:47 > 0:06:49£150-£250.
0:06:49 > 0:06:52The pair of shell dishes, £300-£400. Is that all right?
0:06:52 > 0:06:55- That's all right, yes.- Super.
0:06:55 > 0:06:59We ought to put a reserve of £300 on this pair.
0:06:59 > 0:07:04And a reserve of £150 on that pair. Is that OK?
0:07:04 > 0:07:10- Yes, that's fine.- Super. Let's take them along and see how they do. - That would be great. Thank you.
0:07:10 > 0:07:12What a shame about the chip on Faye's leaf bowl.
0:07:12 > 0:07:17I hope the Worcester purists can see past it at the auction.
0:07:17 > 0:07:20- Janet?- Hi.- Thank you so much for bringing this in.
0:07:20 > 0:07:24I'm holding something that's called "Janet" here.
0:07:24 > 0:07:28- It is yours, isn't it? - It is mine.- And I know you might be thinking
0:07:28 > 0:07:31of selling this, and you want a valuation, but you're not sure?
0:07:31 > 0:07:34- Not sure.- It's got something to do with Edward Jenner, hasn't it?
0:07:34 > 0:07:36Because, this is S Jenner.
0:07:36 > 0:07:39Yes, I believe he's Stephen Jenner, Edward Jenner's nephew.
0:07:39 > 0:07:44- And of course, Edward Jenner found the vaccination for smallpox. - That's right.
0:07:44 > 0:07:47It's dated 1872.
0:07:47 > 0:07:49Look, there's Berkeley Castle.
0:07:49 > 0:07:55- How did you come by that? - My husband bought it for me from an antiques shop in Berkeley.
0:07:55 > 0:07:58We were down there on holiday a few years ago now. Because it's me.
0:07:58 > 0:08:02It's you! But, what's the story anyway?
0:08:02 > 0:08:07It says "Sam Cornick and Rachel, the meet".
0:08:07 > 0:08:09And it says, "To Berkeley Castle, one mile".
0:08:09 > 0:08:16And there he is with his little dog. You've got a couple of guys being thrown out of a pub here.
0:08:16 > 0:08:19Then, they're obviously in the village stocks.
0:08:19 > 0:08:21Then they're back in the pub fighting.
0:08:21 > 0:08:24And then they're making merry in the inn.
0:08:24 > 0:08:27Making it all up. And then they're in the butcher's shop.
0:08:27 > 0:08:32And then the final scene is the Dancing Master's Ball.
0:08:33 > 0:08:39It's fascinating. I wonder who Janet was? Maybe Sam and Rachel had a daughter called Janet.
0:08:39 > 0:08:41I have been trying to find out.
0:08:41 > 0:08:44I've been looking at the census returns and things.
0:08:44 > 0:08:48- I know exactly where you could get all the information from.- Right.
0:08:48 > 0:08:53Recently I filmed one of our little "Flog It!" films at the Jenner Museum,
0:08:53 > 0:08:54right next to Berkeley Castle.
0:08:54 > 0:08:58- Really?- It's like an old vicarage where the doctor lived and treated everybody in the village.
0:08:58 > 0:09:02- I'll have to have a trip there, then.- Take this with you.
0:09:02 > 0:09:04- I will.- Let us know, won't you? Please let us know.
0:09:04 > 0:09:08Because then the story will evolve and we can all find out.
0:09:08 > 0:09:10If you decide to sell it, we'll sell it for you.
0:09:10 > 0:09:14- OK.- But, if you don't, take it to the Jenner Museum. - I'll find out about it first.
0:09:14 > 0:09:17- Thank you so much for bringing that in, Janet.- You're welcome.
0:09:25 > 0:09:27Alan, welcome to Flog It!
0:09:27 > 0:09:33And thank you for bringing this delightful little ladies' fob watch along.
0:09:33 > 0:09:40- Can you tell me, where did you get it? - I bought it about 20, 22 years ago
0:09:40 > 0:09:43in a second-hand shop in Colwyn Bay in North Wales.
0:09:43 > 0:09:44How much did you pay for it?
0:09:44 > 0:09:46I paid about £35.
0:09:46 > 0:09:48That's not bad.
0:09:48 > 0:09:52My father used to like mending them and playing about with them,
0:09:52 > 0:09:55just for his own hobby. It's something I've picked up from there.
0:09:55 > 0:09:59- As a wee boy, did you watch your dad...- Yes.- ..footering about
0:09:59 > 0:10:03and playing with all these little mechanisms and so on?
0:10:03 > 0:10:06- That's what really drew me to it. - Did you give that to your dad?
0:10:06 > 0:10:08- My dad looked at it, yes. - Did he want it?
0:10:08 > 0:10:14Not really, no. He just thought I'd bought a nice watch at the time.
0:10:14 > 0:10:17- And it's still working. - It still works now, yes.
0:10:17 > 0:10:21Well, let's have a look at it because it's a nice, clean little watch.
0:10:21 > 0:10:24It would have been worn by a Victorian lady.
0:10:24 > 0:10:27She'd have worn it at the end of a long chain.
0:10:27 > 0:10:30This is a lovely, sweet little one.
0:10:30 > 0:10:34It has a porcelain face, Roman numerals,
0:10:34 > 0:10:38and it was made by Thomas Russell.
0:10:38 > 0:10:45If we look at the back here, we can see this highly embossed back plate.
0:10:45 > 0:10:50And that's lovely, and it's nice and crisp. We can see the hallmarks.
0:10:50 > 0:10:54This is marked 18 carat gold, and that is good.
0:10:54 > 0:10:58It was made in Chester in 1898,
0:10:58 > 0:11:02so nice, little Victorian ladies' fob watch.
0:11:02 > 0:11:05Alan, have you had this watch valued before?
0:11:05 > 0:11:08I had it valued in '91.
0:11:08 > 0:11:12And I had it valued for about £600 for insurance purposes.
0:11:12 > 0:11:15- Of course. That's a high figure.- Yes.
0:11:15 > 0:11:20Even though that was 20-odd years ago,
0:11:20 > 0:11:26the resale valuation that I would make on this little watch
0:11:26 > 0:11:30- is much, much below that.- Yeah.
0:11:30 > 0:11:38Insurance valuation is usually four times, sometimes can be five times the resale value.
0:11:38 > 0:11:43So I would put this watch at, say, £150-£250.
0:11:43 > 0:11:47- Would you be happy to sell it at that price?- I would, yes.
0:11:47 > 0:11:50We'll put a reserve of £150 on it.
0:11:50 > 0:11:53Let's hope that it sails away. I'll see you at the auction.
0:11:53 > 0:11:55- Thanks very much. - Thank you for coming along.
0:12:00 > 0:12:05I'm heading south from Wilmslow now, to the countryside near Congleton.
0:12:05 > 0:12:07Isn't that beautiful?
0:12:07 > 0:12:10The countryside. There's nothing like the calm before the storm.
0:12:10 > 0:12:13In a moment, I'm about to go in there, into the auction room.
0:12:13 > 0:12:17Adam Partridge's. We found some cracking lots this morning, and I'm quite excited about them.
0:12:17 > 0:12:21We're going to put the valuations to the test, so let's go inside and meet our owners.
0:12:24 > 0:12:29It's time for the book collector Clive to part with his first edition of Thunderball.
0:12:29 > 0:12:32Let's hope it leaves our bidders shaken but not stirred.
0:12:34 > 0:12:39Faye's exquisitely decorated Royal Worcester bowls had been festering on top of her cupboard for 40 years.
0:12:39 > 0:12:41So, I'm glad they're now seeing the light of day!
0:12:44 > 0:12:48And finally, will there be a market for Alan's 18-carat gold ladies' fob watch,
0:12:48 > 0:12:52Which he bought for £35, 20 years ago?
0:12:54 > 0:12:58It's now time to find out. The first of our items is going under auctioneer Adam Partridge's hammer.
0:13:01 > 0:13:04I've just been joined by Alan in the nick of time.
0:13:04 > 0:13:08Time being the right word, because we're putting his fob watch under the hammer right now.
0:13:08 > 0:13:12We've got a valuation of £150-£250.
0:13:12 > 0:13:16- I know your dad was a keen watch collector?- Yes, he was.
0:13:16 > 0:13:20- Good luck with this. Hopefully you can reinvest the money.- I will.
0:13:20 > 0:13:23601 is a late Victorian 18-carat gold ladies fob watch
0:13:23 > 0:13:27by Thomas Russell of Liverpool. That's marked for Chester, 1898.
0:13:27 > 0:13:31- I have interest here. Starting me at £160 bid.- Straight in!- Yes!
0:13:31 > 0:13:33210 bid, any more?
0:13:33 > 0:13:37At 210, 210. 210, any more now?
0:13:37 > 0:13:41Anyone else on this lot? 18-carat gold. Are you all done at 210?
0:13:41 > 0:13:45Straight in and straight out.
0:13:45 > 0:13:48- Well done.- Great result. - Blink and you'll miss that.
0:13:48 > 0:13:50- You've got to be happy with that? - Very much so.
0:13:50 > 0:13:53What will you put the money towards?
0:13:53 > 0:13:56That's going to go for a nice long weekend back in Wales.
0:13:56 > 0:14:01- With the wife.- I might look and see if I can find the shop again in Colwyn Bay.- That's nice.
0:14:03 > 0:14:08We're now selling Faye's Royal Worcester bowls as two separate pairs, instead of one job lot.
0:14:08 > 0:14:11Good luck, Faye. Royal Worcester, it's a quality name.
0:14:11 > 0:14:15- Everybody loves it except for Faye. That's why we're flogging it, aren't we?- That's right.
0:14:15 > 0:14:21We've got two lots going under the hammer right now. The first, valued by James, we're looking £150-£250.
0:14:21 > 0:14:26- And the next, hopefully the big figures, around £300. Quality.- Lovely, really nice.
0:14:26 > 0:14:28Royal Worcester doesn't let us down.
0:14:28 > 0:14:32Such great quality. Royal Worcester is always great quality.
0:14:32 > 0:14:36There were lots of factories that made everything from drainpipes to fine things like Doulton.
0:14:36 > 0:14:38- I do love Royal Worcester. - Worcester is always good.
0:14:38 > 0:14:42We're going to find out what the bidders here in Cheshire think.
0:14:42 > 0:14:46- 319. Royal Worcester leaf-shaped bowls. £150 the pair.- Come on.
0:14:46 > 0:14:48£100, then, the pair?
0:14:48 > 0:14:52100 bid. 10 now. At £100 bid?
0:14:52 > 0:14:54At £100, any advance? At 100.
0:14:54 > 0:15:00110, 110 bid. Any more? At £110.
0:15:00 > 0:15:01120, 130.
0:15:01 > 0:15:04It's climbing slowly.
0:15:04 > 0:15:08- Very slowly. - £120 the pair, any more now? 120.
0:15:08 > 0:15:11- It's the damage that kills it. - Didn't sell it, did he?
0:15:11 > 0:15:15- No.- No.- OK. here's the second lot.
0:15:15 > 0:15:18Again, a pair of shell-shaped bowls.
0:15:18 > 0:15:21Worcester again. 1900. Lot 320.
0:15:21 > 0:15:24I'm bid £190 here. 190. Is there 200?
0:15:24 > 0:15:25At 190 the pair.
0:15:25 > 0:15:29- Any advance on these? - These have gone?
0:15:29 > 0:15:33- Hope so.- Over ambitious, I'm afraid.
0:15:33 > 0:15:35- He didn't sell the second lot, either.- No.
0:15:35 > 0:15:38He announced that there was a bit of damage.
0:15:38 > 0:15:40Maybe that just scared off the purist,
0:15:40 > 0:15:44because Royal Worcester collectors are real purists.
0:15:44 > 0:15:47They're so fussy, they have to have it 100% right.
0:15:47 > 0:15:50All I can say is, there's another saleroom on another day.
0:15:50 > 0:15:52You need half a dozen people that want Royal Worcester.
0:15:52 > 0:15:56Maybe there was only one here today with no-one to bid against them.
0:15:56 > 0:15:58- Possibly.- That's the problem.
0:15:58 > 0:16:01So, put them in another auction in maybe six months' time
0:16:01 > 0:16:05if you really don't want to take them home because you're downsizing.
0:16:05 > 0:16:08- I'll give one each to the grandchildren.- You could do that.
0:16:08 > 0:16:12Then they can decide what to do with it, then they stay in the family.
0:16:12 > 0:16:16- Then it's not your decision, is it? - That's right.- Do that, Faye.
0:16:18 > 0:16:20Next up, lot 007!
0:16:20 > 0:16:23But, will Clive's book be licensed to thrill?
0:16:23 > 0:16:26Going under the hammer right now, we've got a first edition.
0:16:26 > 0:16:29Yes, it's the Ian Fleming. It's Thunderball.
0:16:29 > 0:16:31It belongs to Clive, who's a book collector.
0:16:31 > 0:16:34- How many have you got? - A couple of thousand, probably.
0:16:34 > 0:16:38- Gosh, that's a lot. All neatly on shelves?- No, no, no.
0:16:38 > 0:16:42- All boxes and all over the place. - Why are you selling this one?
0:16:42 > 0:16:45Just because it's not getting any younger. It's...
0:16:45 > 0:16:49- Getting a bit tatty around the edges?- It's starting to, yes.
0:16:49 > 0:16:56I had a chat to Adam just before the sale started, he said £150-£250, "bit punchy".
0:16:56 > 0:16:59I know we've got discretion at £150.
0:16:59 > 0:17:04It would have been great if it were signed. But, fingers crossed.
0:17:04 > 0:17:07Hopefully we'll get it away at your lower end, Adam's top end.
0:17:07 > 0:17:10That's kind of what I'm thinking.
0:17:10 > 0:17:13There's a lot of people here, things have been selling.
0:17:13 > 0:17:15- You never know.- Fingers crossed.
0:17:15 > 0:17:16Fingers crossed, yes.
0:17:16 > 0:17:18Here we go, good luck.
0:17:18 > 0:17:22478, which is an Ian Fleming first edition of Thunderball.
0:17:22 > 0:17:28Lot 478, London, 1961. I'm bid £100, starting.
0:17:28 > 0:17:31Take 10. 110, 120, 130, 140, 150?
0:17:31 > 0:17:35140 bid. Any more? £140, are we all done at 140?
0:17:35 > 0:17:40- So we've sold it. - 150, 160, 170?- Yes!
0:17:40 > 0:17:42£160, away, £160.
0:17:42 > 0:17:45All done then, 160 for Thunderball?
0:17:45 > 0:17:48- Brilliant. Well done. - Thank you very much, thank you.
0:17:48 > 0:17:52- And well done Miss Moneypenny.- I'm so pleased with that, so pleased.
0:17:52 > 0:17:56- Miss Moneypenny!- Yes!
0:17:56 > 0:17:58- Good valuation.- I'm glad it sold.
0:17:58 > 0:18:02- So am I. Don't forget, there's 15% commission to pay.- That's right.
0:18:02 > 0:18:05Plenty more books you can go and buy now.
0:18:05 > 0:18:07- Well, that's true. - Especially at £1 each.
0:18:08 > 0:18:10That was a super result for Clive.
0:18:10 > 0:18:15Later on, at the valuation day, I meet a guy who isn't afraid to gamble.
0:18:16 > 0:18:19It doesn't need a reserve. It'll sell to the best person.
0:18:19 > 0:18:22- You said it. No reserve!- That's it!
0:18:22 > 0:18:26- But, will the risk pay off? - Who will bid me £1,000?
0:18:26 > 0:18:29I'm ever so pleased for you.
0:18:42 > 0:18:45I've come to the Salford Quays in Greater Manchester, which is
0:18:45 > 0:18:49just a short drive north from our valuation day in Wilmslow.
0:18:49 > 0:18:52I want to find out a little bit more about a Flog It favourite.
0:18:52 > 0:18:55LS Lowry, one of my favourite painters
0:18:55 > 0:18:58and arguably the greatest artist of the 20th century.
0:18:58 > 0:19:00British artist, that is.
0:19:00 > 0:19:04Every time I think of Lowry I always think of the industrial North West,
0:19:04 > 0:19:08captured as a bleak urban landscape, with either crowds of people
0:19:08 > 0:19:11or the odd lonely figure going about his business.
0:19:11 > 0:19:14Everybody can identify with these figures.
0:19:14 > 0:19:19Every school child will know them as "matchstick men".
0:19:19 > 0:19:25Laurence Stephen Lowry, to give him his full name, was born on 1st November 1887 in Manchester.
0:19:25 > 0:19:29He was the only child of Robert Stephen Lowry and Elizabeth Hobson.
0:19:29 > 0:19:35When Lowry was 22, the family moved to a small house in Station Road, Pendlebury, in Salford.
0:19:35 > 0:19:38Which was right in the middle of an industrial suburb.
0:19:41 > 0:19:44Well, I'm not sure Lowry would recognise Salford today.
0:19:44 > 0:19:49The smoking chimneys have long gone and been replaced with luxury flats, offices and shops,
0:19:49 > 0:19:50down here on the quay at least.
0:19:50 > 0:19:53But here is the flagship architectural delight.
0:19:53 > 0:19:56Look at this. The Lowry, named in commemoration of the great man.
0:19:56 > 0:19:59I'm sure he would approve of this building.
0:19:59 > 0:20:04It's an arts theatre, an exhibition space, a gallery, it's got everything going for it.
0:20:04 > 0:20:08In fact, it boasts the largest collection of Lowrys anywhere in the world.
0:20:08 > 0:20:11So I'm really excited. I can't wait to get inside and hopefully dispel
0:20:11 > 0:20:15some of the myths and find out more about the great man.
0:20:21 > 0:20:26I'm meeting Michael Simpson, Head of Galleries here at the Lowry,
0:20:26 > 0:20:29to gain a little insight into this iconic British artist.
0:20:29 > 0:20:31Thank you for meeting up with me.
0:20:31 > 0:20:34I feel really honoured to be surrounded by so many Lowrys.
0:20:34 > 0:20:38There's no arguing, he is one of Britain's favourite artists.
0:20:41 > 0:20:44The reason why I think he's so popular is that we talk a lot
0:20:44 > 0:20:47about his landscapes but really, for me, he's a painter of people.
0:20:47 > 0:20:49- He understood people.- Yes.
0:20:49 > 0:20:51He understood the working lives of people.
0:20:51 > 0:20:55He understood about what it was like to get up in the morning...
0:20:55 > 0:20:58- And go about their day. - ..and come home again.
0:20:58 > 0:21:04To be honest, I can stand in front of a Lowry with a ten-year-old or a 90-year-old,
0:21:04 > 0:21:08and it's the focus on people that attracts both ends of that spectrum.
0:21:08 > 0:21:14He probably would have been a bit upset by the whole, sort of, label, matchstick men.
0:21:14 > 0:21:18To be honest, we ban the M-word in this gallery, I'll tell you now.
0:21:18 > 0:21:22I think it started as a term of affection but, in a way, it seems
0:21:22 > 0:21:24to have defined his work and nobody looks past that.
0:21:24 > 0:21:27Whereas he painted much more than matchstick figures
0:21:27 > 0:21:29- in terms of landscapes, portraits. - Seascapes.
0:21:29 > 0:21:32Seascapes which are absolutely extraordinary.
0:21:32 > 0:21:36That was just how he chose to represent this huge body
0:21:36 > 0:21:40of humanity, if you like, ebbing and flowing in the city.
0:21:40 > 0:21:42Going into work, coming out of work.
0:21:42 > 0:21:46And rather than try and paint individual people every single time,
0:21:46 > 0:21:51they become almost like motifs that swarm around a picture,
0:21:51 > 0:21:54almost like worker ants or something like that.
0:21:54 > 0:21:57'People often tell me that my fingers are long and thin
0:21:57 > 0:22:02'and my feet are enormous. Well, I say, I suppose my figures may be
0:22:02 > 0:22:06'long and thin, and the boots may be enormous but I'm not concerned.
0:22:06 > 0:22:09'I don't mind it at all. They may be like matchsticks, they may be
0:22:09 > 0:22:13'any way you like but I simply paint the people as I see them.
0:22:13 > 0:22:16'That's all there is to it.'
0:22:16 > 0:22:18I want to know a little bit more about the man.
0:22:18 > 0:22:20Why did he move to Salford?
0:22:20 > 0:22:24He grew up, when he was younger, in a very leafy part of Manchester.
0:22:24 > 0:22:30A leafy suburb. But his father, who was a businessman, experienced some financial difficulties.
0:22:30 > 0:22:35And, almost overnight, they moved to Pendlebury, part of the borough of Salford.
0:22:35 > 0:22:40And instead of all these beautiful trees and country roads, actually,
0:22:40 > 0:22:45it was chimney stacks and factories that formed the landscape around him.
0:22:45 > 0:22:48So, this really was his inspiration from a young lad, then.
0:22:51 > 0:22:54Famously, he says he got off a train one day,
0:22:54 > 0:22:58I think it was knocking-off time. He was coming out of the station
0:22:58 > 0:23:01and suddenly he sees these swarms of people coming at him.
0:23:01 > 0:23:04And he sees the big Acme factory in the background.
0:23:04 > 0:23:08Suddenly it's like a light goes on and he thinks, "This is extraordinary
0:23:08 > 0:23:10"and I want to start painting it."
0:23:11 > 0:23:14He was working as a rent collector for all of his life.
0:23:14 > 0:23:17Why didn't he just concentrate on this kind of thing and sell it?
0:23:17 > 0:23:22Because, as a rent collector, he would walk these streets every single day, virtually.
0:23:22 > 0:23:29He'd see life going on around him and he was a very grounded person.
0:23:29 > 0:23:33He worked for the same company, Pall Mall Property Company, for 42 years
0:23:33 > 0:23:35when he could easily have given it up long ago.
0:23:35 > 0:23:38He wanted to carry on doing it because it kept him grounded.
0:23:38 > 0:23:41It kept him on the streets that he'd grown to love.
0:23:41 > 0:23:43'I really don't know why I paint these streets.
0:23:43 > 0:23:48'What I do feel that the pictures that I like the best are pictures
0:23:48 > 0:23:53'done entirely from, call it imagination, if you like.
0:23:53 > 0:23:57'Building up scenes from the blank canvas.'
0:23:57 > 0:24:00I've taken a closer look at some of these and I didn't realise
0:24:00 > 0:24:04the background, the ground actually on the canvas. Before he started painting,
0:24:04 > 0:24:07there must be seven or eight layers of paint.
0:24:07 > 0:24:12- He obviously didn't like the weave in the canvas.- No, he didn't. He would absolutely plaster it.
0:24:12 > 0:24:15Then he used to, pretty much, concentrate on using five colours.
0:24:15 > 0:24:19- I've noticed that. A very palatable five colours.- Absolutely.
0:24:19 > 0:24:23Vermillion, Prussian blue, yellow ochre, ivory black and flake white.
0:24:23 > 0:24:26They were his colours. But the reds for me...
0:24:26 > 0:24:31I love the odd moments in his pictures where there will be a moment of red.
0:24:31 > 0:24:32A little hot spot.
0:24:32 > 0:24:35You gravitate towards it. You get drawn there.
0:24:37 > 0:24:41It wasn't just the urban industrial landscapes. There were seascapes as well.
0:24:41 > 0:24:43When did he move on to that?
0:24:43 > 0:24:47After the war, I think. The Second World War was quite a pivotal moment for him.
0:24:47 > 0:24:49He became an official war artist, actually
0:24:49 > 0:24:52but that coincided with the death of his mother
0:24:52 > 0:24:56and he became a little bit more inside himself and started painting,
0:24:56 > 0:24:59frankly, quite bleak landscapes to begin with.
0:24:59 > 0:25:02I think this is probably his most personal work.
0:25:08 > 0:25:10He also did a lot of portraits, as well.
0:25:10 > 0:25:15One of them I particularly like is the portrait of Anne who was this
0:25:15 > 0:25:20very interesting figure that features in quite a number of his works
0:25:20 > 0:25:24and there's a great debate about who Anne is.
0:25:24 > 0:25:29If anyone can someday pin down who Anne is, they'll be able to write a book about it.
0:25:29 > 0:25:32Again, it sums up his character.
0:25:32 > 0:25:37He always liked to have this mysterious element to his character and to his life.
0:25:37 > 0:25:42And, in this case, to one of the key figures that features in his paintings.
0:25:45 > 0:25:48Did he paint and draw right up until his death?
0:25:48 > 0:25:50Yes, absolutely. He was always working.
0:25:50 > 0:25:55The irony is he died in 1976, just a couple of months before his major
0:25:55 > 0:25:59retrospective at the Royal Academy. There were queues round the block.
0:25:59 > 0:26:03At the time, I think it was the Royal Academy's biggest-ever exhibition of a British artist.
0:26:03 > 0:26:08And that, in a way, would have been the great pinnacle for him.
0:26:08 > 0:26:13I'm sure it is absolutely a tragedy that he missed it.
0:26:13 > 0:26:16No, right up until his last days, he was still working.
0:26:16 > 0:26:19- Thank you very much for making my day today.- That's quite all right.
0:26:19 > 0:26:24- I'll spend the rest of it looking around and learning more. - Great. Thanks for coming.
0:26:31 > 0:26:34Well, it's still very busy back at the Wilmslow Leisure Centre
0:26:34 > 0:26:37with plenty of people waiting for a Flog It valuation.
0:26:37 > 0:26:41It looks as though something beautiful has grabbed Anita's attention.
0:26:41 > 0:26:46Molly, I am always delighted to see Doulton on Flog It.
0:26:46 > 0:26:48Thank you for bringing these in.
0:26:48 > 0:26:51Where did you get them?
0:26:51 > 0:26:55Well, they were part of my mother's family when she was a child, I believe.
0:26:55 > 0:26:58She inherited them when her mother and father had died
0:26:58 > 0:27:02and she gave one of these to my sister and one to me.
0:27:02 > 0:27:06- We decided they were a better value if they were a pair.- That's right.
0:27:06 > 0:27:09It's always better to keep them in a pair
0:27:09 > 0:27:14because the pair is worth more than double the price of one.
0:27:14 > 0:27:18- That's right.- Well, let's have a closer look at them, Molly.
0:27:18 > 0:27:25If we look at the base of them, we can see here the Royal Doulton back stamp.
0:27:25 > 0:27:28One of the best of the factories.
0:27:28 > 0:27:31The Doulton stoneware, Doulton Lambeth.
0:27:31 > 0:27:35They were made around 1910.
0:27:35 > 0:27:39They are this wonderful colour.
0:27:39 > 0:27:41That's what drew me to them, Molly.
0:27:41 > 0:27:44Yes, I saw you pick them up straight away.
0:27:44 > 0:27:49This wonderful blue and lilac. I think the colours are very appealing.
0:27:49 > 0:27:55Now, I can see them looking towards the art nouveau period which is again an interesting period.
0:27:58 > 0:28:02And a period that people love.
0:28:02 > 0:28:04Now, Molly, price.
0:28:06 > 0:28:09Have you got an idea of price? What you're looking for?
0:28:09 > 0:28:12I have no idea. I'll be guided by you.
0:28:12 > 0:28:19- Thank you. Well, I would put them in at 80 to 120.- Yes.
0:28:19 > 0:28:21Were you hoping for a wee bit more?
0:28:21 > 0:28:24I can see a wee bit of disappointment in your face.
0:28:24 > 0:28:27No, I'm not bothered about the money side of it, really.
0:28:27 > 0:28:30It's just that I don't want to throw them away.
0:28:30 > 0:28:33We have Adam Partridge as our auctioneer.
0:28:33 > 0:28:36They will not be thrown away. They will market them as well as possible.
0:28:36 > 0:28:40And sell them well. They will find the market price for them.
0:28:40 > 0:28:43Because they've not a break or a scratch anywhere.
0:28:43 > 0:28:47They are in mint condition and that's very important as well.
0:28:47 > 0:28:51- We will put a reserve of £80 on them. - Right.
0:28:51 > 0:28:53Are you happy at that?
0:28:53 > 0:28:55Yes, I'm happy at that.
0:28:55 > 0:28:57OK. I'm sure they will do very well.
0:28:57 > 0:29:00And what would you do with the money?
0:29:00 > 0:29:05Mine will go to a charity but I think my sister will be glad of it.
0:29:05 > 0:29:07And they'll go to a collector.
0:29:07 > 0:29:08We'll all be happy.
0:29:08 > 0:29:10- Fingers crossed.- Right.
0:29:10 > 0:29:14See you at the auction and thank you again for bringing them in.
0:29:23 > 0:29:27Is it a Rembrandt? Well, you never know.
0:29:27 > 0:29:30Keith and Ashley, it's great to see you. I know you guys found this.
0:29:30 > 0:29:33We found it on a local tip.
0:29:33 > 0:29:36It's incredible what people throw away, isn't it?
0:29:36 > 0:29:38This is classic recycling.
0:29:38 > 0:29:41That's all I can say. How long have you had this?
0:29:41 > 0:29:44- 15 years.- On the wall? - No, down the cellar.
0:29:45 > 0:29:49So you thought you'd bring it along to Flog It and see what it's worth.
0:29:49 > 0:29:52- See what it is.- I just want to show the viewers. Look at the back.
0:29:52 > 0:29:55I can see it's come from your cellar
0:29:55 > 0:29:59but at least the canvas is in very, very good condition.
0:29:59 > 0:30:02There's no tears, there's no rips. It's not even been patched up.
0:30:03 > 0:30:05But it has been through the wars.
0:30:05 > 0:30:08But that's to be expected if you got it off the skip.
0:30:08 > 0:30:12- Yeah.- Probably was exposed to the elements for a few days before you found it.
0:30:12 > 0:30:16It is an Edwardian portrait of a gentleman but I am not sure who of.
0:30:16 > 0:30:20That's the problem. Generally, the condition is OK. It needs a clean.
0:30:20 > 0:30:21The frame needs...
0:30:21 > 0:30:23well, it needs an awful lot of work.
0:30:23 > 0:30:24But I think...
0:30:24 > 0:30:29if you put it into auction, it's going to have a value of around £100 to £150.
0:30:29 > 0:30:33I think a picture restorer would love to get his hands on this.
0:30:33 > 0:30:36Reframe it, clean it up. Yes?
0:30:36 > 0:30:39It's obviously painted by a competent artist.
0:30:39 > 0:30:41A jobbing portrait artist.
0:30:41 > 0:30:44I think it was meant for a civic building
0:30:44 > 0:30:48because it's a man who's quite dignified, maybe an ex-army officer.
0:30:48 > 0:30:52I wish we knew who he was because we could trace some provenance
0:30:52 > 0:30:56and that would add value to that painting.
0:30:56 > 0:31:00We don't know who it is. I know the artist has left his signature.
0:31:00 > 0:31:02It is a Mr AH Fox.
0:31:02 > 0:31:05We've looked him up but there's nothing on the internet
0:31:05 > 0:31:07and there is nothing in the art index guide to say
0:31:07 > 0:31:10he's got any form or sold anywhere else.
0:31:11 > 0:31:15I'm going on it's sort of decorative value as a furnishing picture.
0:31:15 > 0:31:18And I think this is worth around £100 to £150.
0:31:18 > 0:31:20Super, that.
0:31:20 > 0:31:23I don't think we'll take it into the auction, if that's OK?
0:31:23 > 0:31:25Yeah, not a problem.
0:31:25 > 0:31:28I think it needs a bit of work before you put it in.
0:31:28 > 0:31:30Yes.
0:31:30 > 0:31:32That's being negative, really, isn't it?
0:31:32 > 0:31:34Shall we take it in?
0:31:34 > 0:31:37Shall we take it in and see what happens? Would you like to?
0:31:37 > 0:31:39Shall we give it a punt?
0:31:39 > 0:31:41It'll only go back down to the cellar.
0:31:41 > 0:31:44Yes, let's have a laugh with this. Let me lower the value a bit.
0:31:44 > 0:31:47- What you think, Ashley? - Yes.- Yes. Let's do it.
0:31:47 > 0:31:49Let somebody have the pleasure of it.
0:31:49 > 0:31:54Yes. Let somebody get their hands on it, enjoy it, and bring this character back to life.
0:31:54 > 0:31:56Can we put it in with
0:31:56 > 0:31:57a reserve of £25?
0:31:57 > 0:32:01It doesn't need a reserve. Just let it sell to the best person.
0:32:01 > 0:32:07OK. Let's put it in with a value of around £40 to £60 and see what happens.
0:32:07 > 0:32:09- That's super, that.- Yes?- Yes.
0:32:09 > 0:32:12If you're happy with that I'll shake your hand on that, you two.
0:32:12 > 0:32:15You said it, no reserve.
0:32:15 > 0:32:19'I'll be interested to see how the painting does in the auction.
0:32:19 > 0:32:24'Before that, it seems like the people of Wilmslow have a lot of watches.
0:32:24 > 0:32:27'James has found two more wonderful specimens.'
0:32:27 > 0:32:29Carl and Tony, welcome.
0:32:29 > 0:32:34Lots of people bring father's pocket watch to the Flog It tables for us to have a look at.
0:32:34 > 0:32:39But I have to say, I've never seen a father and son each with a gold pocket watch before.
0:32:39 > 0:32:42So, tell me, whose is whose, and what's the story behind them?
0:32:42 > 0:32:46Well, this one's my mother's father's.
0:32:46 > 0:32:48And this is my dad's father's.
0:32:48 > 0:32:50Lovely.
0:32:50 > 0:32:54- So, do you remember your father wearing this pocket watch?- I do.
0:32:54 > 0:32:56When I was about a 14s year old.
0:32:56 > 0:32:58- Is it this one?- Yes.
0:32:58 > 0:33:06He used to have a waist coat and he used to put it in the pocket each day.
0:33:06 > 0:33:08When he turned the pocket out, it was gold inside.
0:33:08 > 0:33:10Really?
0:33:10 > 0:33:13- With it being 18-carat gold. - So, this used to wear?
0:33:13 > 0:33:18So he got a little case made because his pocket was wearing it.
0:33:18 > 0:33:23This one is a lovely one. It is known as a hunter pocket watch.
0:33:23 > 0:33:25It has a cover on both sides.
0:33:25 > 0:33:28The idea was if you were out riding your horse and you fell off,
0:33:28 > 0:33:31you would have something to protect the glass.
0:33:31 > 0:33:34When we open up and see it's not a standard pocket watch.
0:33:34 > 0:33:37It has a second hand, a sweeping second hand,
0:33:37 > 0:33:41a chronometer stopwatch and it is a good thing.
0:33:41 > 0:33:43The inner case, let's have a look at that.
0:33:43 > 0:33:47Is hallmarked with an 18 for 18 carat gold
0:33:47 > 0:33:53and we've got the Crown and we've got the wheat sheaf mark for Chester.
0:33:53 > 0:33:57And the date letter R for 1900.
0:33:57 > 0:34:01There is one thing that separates, other than the fact it has a cover,
0:34:01 > 0:34:05these two watches when you look at them from a distance.
0:34:05 > 0:34:08- Do you know what that is? - No. Not really.
0:34:08 > 0:34:10This one has got a top winder.
0:34:10 > 0:34:12Oh yes.
0:34:12 > 0:34:13It doesn't have a key, does it?
0:34:13 > 0:34:15Absolutely.
0:34:15 > 0:34:18This one, which is known as an open face pocket watch.
0:34:18 > 0:34:22We've got the subsidiary second style.
0:34:22 > 0:34:24It's inscribed Thomas Russell and Son's.
0:34:24 > 0:34:26Good retailers.
0:34:26 > 0:34:30If we opened the inner cover, we have a hole there to be wound with a key.
0:34:30 > 0:34:32And again, it's 18 carat.
0:34:32 > 0:34:34Again it's Chester.
0:34:34 > 0:34:37It's about 1870 or so. Have you ever looked this one up?
0:34:37 > 0:34:381877.
0:34:38 > 0:34:42I'm glad you're here. I should have brought my pocket hallmark book.
0:34:42 > 0:34:45Nice thing. OK. Values.
0:34:45 > 0:34:50The auction value that I'm going to put on this, £300 to £400.
0:34:50 > 0:34:54This one, it's got less gold, £150 to £250.
0:34:54 > 0:34:58That is what I think they are worth. How do you feel about that?
0:34:58 > 0:35:01- I'm OK with that.- Well, yes.
0:35:01 > 0:35:03Thank you very much for bringing them in.
0:35:03 > 0:35:05I'm sure they will do really well.
0:35:05 > 0:35:07- Thank you.- Thank you very much.
0:35:07 > 0:35:10Now we found our second batch of items,
0:35:10 > 0:35:13it's time for a final trip to the auction room.
0:35:18 > 0:35:21Before we see our items go under the hammer,
0:35:21 > 0:35:23I caught up but Adam Partridge to find if
0:35:23 > 0:35:27he was able to shed any more light on Keith's A H Fox painting.
0:35:27 > 0:35:30This belongs to Keith and Ashley. They found it on a skip.
0:35:30 > 0:35:32It needs a lot of TLC but it is signed, A H Fox.
0:35:32 > 0:35:37I'm afraid I haven't found anything about Mr Fox himself, either.
0:35:37 > 0:35:40I couldn't find any reference in books so I said,
0:35:40 > 0:35:43let's stick it in at £50 and I thought you would like that.
0:35:43 > 0:35:47Yes, well. Do you recognise the subject?
0:35:47 > 0:35:49- Is it a cricketer?- No.
0:35:49 > 0:35:52- Who is it?- I don't know who it is. - Haven't got a clue.
0:35:52 > 0:35:55You could make something up. That's the great thing with a portrait.
0:35:55 > 0:36:00They don't sell very well. Who wants a bearded chap on their wall?
0:36:00 > 0:36:02Exactly. They'd like a pretty lady.
0:36:02 > 0:36:05We'll try to sell him as an instant ancestor.
0:36:05 > 0:36:07At dinner parties you could pretend this is your great uncle.
0:36:07 > 0:36:10This old ancestor up there, looking down on us.
0:36:10 > 0:36:13He won a lot of medals in the war for doing something heroic.
0:36:13 > 0:36:17The uncharitable among us would have said, should have left it in a skip.
0:36:17 > 0:36:20No. Do your best. This deserves to go on a wall. It does.
0:36:20 > 0:36:22Are you trying to sell it to me?
0:36:22 > 0:36:24- I'm doing a very good job.- You are.
0:36:24 > 0:36:27Well, we'll see what the painting sells for shortly.
0:36:27 > 0:36:31At least with no reserve it shouldn't end up back down Keith's cellar.
0:36:33 > 0:36:36Also going under the hammer is Molly's pair of Royal Doulton vases.
0:36:36 > 0:36:41Let's hope they do go top end as she is giving the proceeds to charity.
0:36:43 > 0:36:46And finally, James unearthed two gems with the pocket watches
0:36:46 > 0:36:49belonging to father and son duo, Tony and Carl.
0:36:49 > 0:36:52I hope the watch buyers who bid on Alan's fob watch are still here.
0:36:55 > 0:36:59First up, let's see how the A H Fox painting does.
0:36:59 > 0:37:04My turn to be the expert. Remember that wonderful portrait, that distinguished gentleman.
0:37:04 > 0:37:08Oil on canvas, painted by A H Fox, it's just about to go under the hammer.
0:37:08 > 0:37:12All we need is Keith or his mate Ashley to turn up and they are not in the room right now.
0:37:12 > 0:37:15Maybe they're in the car park, I don't know.
0:37:15 > 0:37:20But I am just hoping they walk-in any moment because it is going under the hammer in just a moment.
0:37:20 > 0:37:24I had a chat to Adam about this and I wanted to tell Keith but he is not here.
0:37:24 > 0:37:27£50, that is a good buy for anybody.
0:37:27 > 0:37:29It's a bit of wallpaper in a hotel or a pub.
0:37:29 > 0:37:33That is what it is all about. Recycle antiques. Here we go.
0:37:33 > 0:37:36It is going under the hammer, let's see what it does.
0:37:36 > 0:37:39771 is an A H Fox oil on canvas.
0:37:39 > 0:37:40A bearded gentleman.
0:37:40 > 0:37:44An instant ancestor this one. 771. Here it is. The bearded gentleman.
0:37:44 > 0:37:46Who'll be to me what £1,000?
0:37:47 > 0:37:49£100?
0:37:49 > 0:37:51I've got 20 bid, take 5.
0:37:51 > 0:37:54It's worth a lot more than 20. Come on. Stick those hands up.
0:37:54 > 0:37:5720. Is there any advance on £20 here?
0:37:57 > 0:37:5925. And 30. And 5.
0:37:59 > 0:38:01No. 30 here.
0:38:01 > 0:38:03£30 here with me at 30. Anyone else?
0:38:03 > 0:38:06I'm expecting Keith to walk in the door any minute.
0:38:06 > 0:38:09£30. And 5. £40 and 5.
0:38:09 > 0:38:12£40, then. Selling at 40.
0:38:12 > 0:38:13All done £40. Anyone else?
0:38:13 > 0:38:15£40? He's in the car park.
0:38:15 > 0:38:17At £40. Are you all done? It is going to be sold.
0:38:17 > 0:38:18There he is.
0:38:18 > 0:38:21At £40, last chance with me at 40.
0:38:21 > 0:38:2340 with T16. Excellent estimate.
0:38:24 > 0:38:28- Where have you been?- Traffic. There has been an accident on the road.
0:38:28 > 0:38:31- I'm sorry. Are you guys OK? You weren't involved in it?- Oh, no.
0:38:31 > 0:38:33Are you ready for this?
0:38:33 > 0:38:35- Yes.- You just missed it.
0:38:35 > 0:38:38- Have we?- It made 40 quid.
0:38:38 > 0:38:40That's 40 quid better than nothing.
0:38:40 > 0:38:41I'm ever so pleased for you.
0:38:48 > 0:38:51Going under the hammer now we have some real quality, Royal Doulton.
0:38:51 > 0:38:53One of the best names in the business.
0:38:53 > 0:38:57Two stoneware vases and thank goodness Molly hadn't fallen out with her sister
0:38:57 > 0:39:00- because you both had one each. - That's right.
0:39:00 > 0:39:03- And she's here today.- Yes. She's here.- Two vases make the pair.
0:39:03 > 0:39:05That's what we like.
0:39:05 > 0:39:06We've got 80 to £120 on these.
0:39:06 > 0:39:09Hopefully, we can get that top end.
0:39:09 > 0:39:12Let's get down to business, shall we? Fingers crossed.
0:39:12 > 0:39:15267 is a pair of Royal Doulton vases.
0:39:15 > 0:39:18Moulded with flowers and foliage by Betty Newbury.
0:39:18 > 0:39:20Start me at £80 for them.
0:39:20 > 0:39:22- 80. £80.- Come on.
0:39:22 > 0:39:23Come on, let's see some hands.
0:39:23 > 0:39:26- I'm not taking 50.- Doulton vases.
0:39:26 > 0:39:29Who's is going to start me off on a bid of £50 on these?
0:39:29 > 0:39:30Thank you.
0:39:30 > 0:39:3350's bid. I'll take 5. £50.
0:39:33 > 0:39:35I'll take 5, then. At £50.
0:39:35 > 0:39:37£50 only bid at 50.
0:39:37 > 0:39:40Any interest online? £50 is only bid on the these.
0:39:40 > 0:39:42- Not selling.- And 60?
0:39:42 > 0:39:44Yes?
0:39:44 > 0:39:4565. And 70?
0:39:45 > 0:39:49One more. 65 only bid. take 70.
0:39:50 > 0:39:5265 only.
0:39:52 > 0:39:5570 and a free catalogue next time.
0:39:55 > 0:40:0070. 70's bid. We'll sell them. At £70 now. Any advance on 70?
0:40:00 > 0:40:03The free catalogue trick works this time.
0:40:03 > 0:40:05At £70?
0:40:05 > 0:40:08I think he's selling, isn't he?
0:40:08 > 0:40:11All done now at £70?
0:40:11 > 0:40:15- He's sold them, £70. - Well, that's all right.
0:40:15 > 0:40:18- That's OK, isn't it?.- Yes.
0:40:18 > 0:40:23He used his discretion, because we had 80 to 120 on it so he's used his discretion.
0:40:23 > 0:40:27Well, that's better than sticking on the shelves and dusting them.
0:40:27 > 0:40:29Yeah. At least all the money is going to charity.
0:40:29 > 0:40:32- Yes.- And what's your sister's name?
0:40:32 > 0:40:34- Doreen.- Doreen and Molly.
0:40:34 > 0:40:37- Thank you so much, both of you. - Thank you.
0:40:44 > 0:40:48OK, so far so good. Right now, we could brighten things up
0:40:48 > 0:40:50because we've got two pocket watches.
0:40:50 > 0:40:53I've been joined by Carl, but we haven't got Dad. Where is he?
0:40:53 > 0:40:55- He's on holiday.- Where's he gone?
0:40:55 > 0:40:57- Blackpool.- Gone to Blackpool.
0:40:57 > 0:40:58It's a good time of year to go.
0:40:58 > 0:41:01Get a good bargain. Who was the watch collector amongst you?
0:41:01 > 0:41:03My father.
0:41:03 > 0:41:06- So you'll be on the phone to him later on.- Yes.
0:41:06 > 0:41:10James has put a valuation of £300 on the first one. Quality, gold's up.
0:41:10 > 0:41:12That's got to sell.
0:41:12 > 0:41:16Good luck anyway and hopefully you'll have some good news for Dad.
0:41:16 > 0:41:18Here we go.
0:41:18 > 0:41:21A late Victorian, 18 carat gold, hunter case pocket watch.
0:41:21 > 0:41:23Marked for Chester 1900.
0:41:23 > 0:41:25And a range of interest here.
0:41:25 > 0:41:29- Goodness me. I'll have to go at £400 bid.- Wey!
0:41:29 > 0:41:34440, 460, 480, 500. Your bid 500 and take 20.
0:41:34 > 0:41:38At £500, any more now? 500. All done and selling now.
0:41:38 > 0:41:40500. Are you all out and done?
0:41:40 > 0:41:42And selling at 500 now.
0:41:42 > 0:41:45Straight in, straight out.
0:41:45 > 0:41:48- First one down. Here's the second lot.- 617...
0:41:48 > 0:41:51He's smiling. 617 is a Victorian 18 carat gold open face.
0:41:51 > 0:41:56This one's Chester 1877. Open face this time.
0:41:56 > 0:41:59I'm bid 230 to start. 240 now?
0:41:59 > 0:42:01Straight in at the top end.
0:42:01 > 0:42:03240, 250, 260, 270, 280,
0:42:03 > 0:42:04290, 300, and 10,
0:42:04 > 0:42:06320, 330, 340, 340 bid.
0:42:06 > 0:42:09You had some real treasure there.
0:42:09 > 0:42:12£340. Are you all done now?
0:42:12 > 0:42:14Away at 340.
0:42:14 > 0:42:16I'm liking that, James. Good job.
0:42:16 > 0:42:18Wasn't that good news?
0:42:18 > 0:42:21- Yes.- Straight in, both at the top end.- Brilliant.
0:42:21 > 0:42:24A total of £840.
0:42:24 > 0:42:26That's very, very good.
0:42:26 > 0:42:29And as James says, it's a really good time to sell gold right now.
0:42:29 > 0:42:34Best time ever to sell gold. It just shows if you sell it in the right place it does really well.
0:42:34 > 0:42:36- You've got to phone Dad now. - I will do, yeah.
0:42:36 > 0:42:38- Will you get some of this money? - Hopefully.
0:42:38 > 0:42:42There's 15% commission to pay, it varies from auction to auction room,
0:42:42 > 0:42:45- but it's 15% here, so bear that in mind.- Will do.
0:42:45 > 0:42:48- Take care. Happy shopping. - Thank you very much.
0:42:56 > 0:42:58Well, that's it, it's all over.
0:42:58 > 0:43:01It brings us to at the end of another great day in a saleroom.
0:43:01 > 0:43:04All our owners have thoroughly enjoyed themselves.
0:43:04 > 0:43:08All credit to our experts, because it's not easy, it's not an exact science.
0:43:08 > 0:43:11It's all down to the bidders, if this lot put their hands up.
0:43:11 > 0:43:13I didn't see any hands going up here.
0:43:13 > 0:43:16Although these are going under the hammer later on today.
0:43:16 > 0:43:20But for now, it's cheerio from Cheshire and see you next time.
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