Paul Martin is joined by experts Mark Stacey and Adam Partridge in the university city of Bangor, north Wales. Mark finds a silver purse and Adam values a French violin.
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Today we're in one of the smallest cities in Britain,
but it's said to have the longest High Street in Wales.
Its pier, Garth Pier is 1,500 ft long and it's Wales's second largest pier.
Where are we? Well, we're in North Wales in the small, but perfectly formed city of Bangor.
Well, for such a small city, I'm delighted to see such a large
crowd gathering here outside Bangor University's Pritchard Jones Hall.
I can't wait to see what's in some of these bags and boxes
because hopefully there'll be something really interesting
that will bring some big results for our owners
when we put them under the hammer later on in the show.
There are surprises in store for some of our owners.
You'd rather have the money than them stuck in a drawer?
-Or stuck in me.
And some of our experts...
Tell me about yourself, first of all, where you come from?
So whose antique knowledge will we be testing here in Bangor?
Heading the team are Adam Partridge, who gave up his studies in Oxford because he found himself more often
in an auction house than a university lecture hall.
If Marks sees that he will be really jealous!
And Mark Stacey, whose enthusiasm for antiques and
thirst for knowledge has given him an expertise now sought after by the very top names in the business.
-You really are a charmer, aren't you?
-I try to be.
-Let's start with Mark who is with Margaret, but he's not giving much away.
You've brought a charming little piece of silver but we don't want to reveal what it is at the moment.
-Where did you get it from?
-From a very elderly lady who was with me when I was born.
No. What do you mean she was with you?
-She was my mother when I was born.
-What was she doing with your mother?
She came in an emergency because she had just done her midwifery.
Did you stay friends all your life?
All our lives.
-Yes, I moved away from this area but I came back and we contacted each other.
And you've ended up back in Bangor?
Yes, back in the promised land.
It is a lovely little piece. I think it is about time we told everybody what it is.
-Silver, of course.
-When we open it,
it's a little purse.
Victorian, is it?
The mark has unfortunately rubbed so we can't see the date mark
but it's got Victoria's Head on there and I think it's around about 1880.
I can't imagine where it came from.
You can imagine, can't you, a fashionable young, Victorian lady going out for the evening...
-To a ball?
-To a ball and there she would have in here maybe a few half sovereigns.
-To pay for her taxicab.
-A horse drawn cab, of course, in those days.
I just love that shape. It's so simple and yet so elegant, isn't it?
Elegant, is the word.
-What do you think it's worth?
-I have no idea whatsoever.
-No, I think a little bit more than that!
That's what they all say! That's what they all say.
I do think it's worth more than that.
I don't think it's hugely valuable.
I don't think I'm going to go sort of the lottery...
I don't think so. I don't think so.
I would put it in because it's such a charming piece.
It would catch on to people.
-I would put it in at an estimate of £60 to £80.
It might go a little higher on the day and I would put a reserve on it. I would put a reserve of £50 on it.
-Would you be happy with that?
I would be very happy with that.
Aren't you just a little bit sad to see it go?
I have a number of other things particularly liked or used when she was alive.
I can see that you're quite a determined lady, Margaret.
Once you've made a decision, that is it.
Yes, that is very true.
I have been like that all my life.
-We have to be, don't we?
-Yes, that is life.
An item like that just brings the Victorian era back to life, for me.
I'm mad about wood so it's hardly surprising
that Sandra's piece of Treen has caught my eye in the queue.
What's the story, how did you come by this?
We had to clear out my mother's house 18 months ago.
I wonder if you can guess what that is, it's a nice bit of turned lignum vitae, it's exceptionally hard wood.
You know what it is, obviously, don't you? Have you used this?
That's where the handle is, look.
There is the mechanism.
That screws back on.
Ready? Is there anything in it?
There's remnants of something inside.
It's all gone over your clothes now.
We thought they were coffee beans.
They would have been coffee beans, yes.
-This is to grind coffee down.
If I had to stick my neck out I would say this is Continental.
-Yeah. Possibly French, around about 1820.
This is a lovely bit of table Treen, it's called Treen because it's made from the tree. Look at
this lovely ambiguous grain.
-It is nice.
I like the knot, there's a knot in the wood.
-And a knot at the bottom there, as well.
-Yeah, lots of heart and soul.
Isn't that lovely? Would you like to put it into the auction?
I think it's worth around about £100 to £150, I don't know what you thought.
I had no idea.
OK. There is a bit of damage to it, just there, but you can see so early, it's softened up.
-It's not as if it was last week.
It's got a brittle edge.
-OK, let's put it into auction with the old auctioneer's cliche, shall we £80 to £120.
-And I'm just rather hoping it'll do the 120 to 150 mark.
-That would be nice.
It's got to feel right and if it feels right somebody in the auction
will pick that up and go, "Oh, that's so tactile, I love that."
Caress it, not want to put it down.
They will want to own that and hopefully they will put their hand up and buy it.
-See you on the day.
What a nice thing, I love early pieces of Treen.
Next Adam's extensive knowledge comes in handy with some mystery objects brought in by Gill.
-Well, Gill, these are fantastic little items you've brought along today.
-Do you know what they are?
-No. No idea.
-Where did you get them from?
Did she live in the countryside?
I think probably they came from her father originally or her grandfather who was in the farming industry.
-Well, that helps, really.
They are Georgian, early 19th Century and they're fleams.
-Fleams, which are blood letting instruments.
-We have a little group of people behind us and I thought we would do a demonstration.
They're blood letting instruments and there are three blades. This one is stamped Borwick.
Borwick was quite a well known fleam maker.
He was in Sheffield, Roger Borwick and he started about 1790 to 1860.
I would think those are early 19 Century, they're horn handles, both similar things.
There are collectors of medical apparatus, medical instruments out there.
But they are more veterinary rather than human?
-I think so. Quality, aren't they?
Nice quality. I think they should make £20 each. Something like that.
-I would be tempted to put an estimate of £30 to £50 to be realistic.
-For the two. 30 to 50 for the two I think would be realistic.
Would you like them back if they didn't make a certain price?
I don't know. No, I don't think so.
Oh, his input there, "No let them go."
Really, it's not a lot of money but they're interesting objects and there will be a lot of people
watching this that have no idea what they are or what they're for.
I didn't know what they were until I brought them today.
Good. I've managed to teach someone something.
Wonderful. Hopefully, some people watching at home
will say, "We've got one! I never knew what it was for!"
So, a quick reminder of the first few items which will be up for sale at auction.
Mark's find was first, the little silver purse. What a glorious reminder of bygone elegance.
The Treen coffee grinder was my choice. The wood is superb and it has a wonderfully warm quality.
It caught my eye and I don't think I'll be the only one.
Adam unravelled the mystery of Gill's fleams, The blood letting
instruments, and once again they give us a glimpse into the past.
These little pieces of history haven't got far to go.
They're being sold at Rogers, Jones & Co, auctioneers and valuers in Colwyn Bay.
It's looking busy, which is always a good sign before the auction starts.
I going to find out what auctioneer, David Rogers Jones, thinks of Sandra's lovely piece of Treen.
I like this little lot, I'm a big fan of Treen. This is a wonderful early 19th Century coffee grinder.
It's made of lignum. What I like about it, it's so tactile.
It's had so much use and you can see the grease and dirt all over it.
I'm hoping this is going to do around the £150 mark but I've put £80 to £120 on it.
It is nice piece, there is a nice feel to it.
Yes, I would have gone along with that, Paul.
The lady who brought it in
was apparently quite happy with the valuation and I think we all would have agreed with her but when she
mentioned it to other members of the family they apparently didn't agree.
Right, basically, they're saying, "Don't sell it." They don't want it to be sold.
-Yeah. There appears to be a bit of dissension.
-Have the family said.
"We want a lot more."
The family has, a member of the family has apparently said that it shouldn't be less than £500 or £600.
-The reserve has been increased.
Its been increased to £600 with some discretion.
Well, you know what that means. They really don't want it to leave the family.
Yes, that might be the reason but I'm not wholly convinced that is the reason.
I think it is a monetary thing. I think a member of the family...
-For the right money?
-For the right money, I'll sell.
-They've got a point, you know.
-It's early Treen, early Treen sells well.
Which is why a few people have already made a beeline to come and see it and look at the catalogue.
I'd like to think this was an absolute high at £600, and if it does fetch £600
I would be ever so happy.
We're kicking off with Jill and her husband Peter with their pair of fleams.
We haven't seen these on the show before.
This is a first for Flog It!, we've got blood letting instruments, fleams, Gill and Peter?
-I hope they were never used.
Well, they were at one time.
-For veterinary use, these.
-So, how did you come across them?
-I found them amongst my mother's things.
-Oh, did you?
-Yes. Not a lot of money there, £30 to £40.
It's the kind of thing that not a lot of people would want to buy.
-At a fair you'd have to give 30 or 40 each.
Sometimes a touch more, so I think we should be about right.
That's positive. Happy?
-You'd rather have the money than have them stuck in a drawer, wouldn't you?
Or stuck in me(!)
Two bone backed three bladed fleams.
One marked Borwick, the other indistinct.
Bid me, £50, for the two fleams.
£30? £20, thank you, sir.
20, I'm bid. 20, 25.
45 I'm bid. Is there 50? At £45.
Everybody done now? Any further?
At £45 and going.
Yes, £45, we nearly did it.
That's not bad, that's a really good result, isn't it? £45, happy?
-Yes, very happy.
-They could easily have been discarded.
That's the great thing about antiques, classic recycling.
-You can't get anything greener than that.
Not bad at all, they almost hit the top end.
Do you remember the 19th Century coffee grinder that I valued at 80 to 120, belonging to Sandra,
well, we've got that going under the hammer right now.
Unfortunately Sandra can't be with us but we do have her daughter, Joanne.
It's good to see you, it really is.
Now, since the valuation day the family have been
in touch with the saleroom and they've put the reserve up to £600.
-A great big quantum leap in value, isn't it?
It says to me, really, that somebody in the family doesn't really want this to go.
Yes, they've done a little bit of research into it.
Like you say, it's sentimental, it was my grandmother's.
It's hard to let things go.
Yeah, it is, isn't it?
Let's find out what happens because it's interesting.
-And this is what auctions are all about.
-That's right, you never know.
-You just never know.
Good luck, Joanne, here we go.
A 19th Century lignum coffee grinder. Bid me 500.
Early piece of Treen.
200 I'm bid at 200. At 200 on the book. Where's 50?
At 200. 50 anywhere?
At £200. Is there 50?
At £200, 50 I'll take.
Everybody done? At £200... I'm afraid this is a non starter.
At £200, everybody done?
-Well, it's good, it's going home.
-It's going home, yes.
It's not meant to be sold, is it?
She's looking down on us and saying, "Don't sell that."
-You've got kids, you've got a little boy.
-That'll be his one day.
Don't ever sell it, really.
-We shouldn't really, should we?
We've all learnt a lesson, haven't we?
Next we have Margaret and her charming Victorian silver purse.
Well we do say condition is everything in this game and this lot has the lot.
It's got the look, it's got the condition.
It belongs to Margaret and it's that lovely Victorian shell shaped purse.
It's not a lot of money and I expect this to fly out of the room.
-Oh, I do. Has it just been in a drawer?
-Not on display, really.
-Not on display.
It's a lovely-looking thing, it caught Mark's eye.
It's a charming little bit of Victoriana Edwardian.
I mean, it's something that nobody would ever use.
You can just imagine a lady going to the ball keeping her sovereign there for the carriage.
The carriage on the way home.
-Yes, that's right.
-Keep her little dance card in there.
It's just wonderful.
-It should sell well.
-Fingers crossed it's going to go to a collector who's right here in this room.
The Victorian silver shell coin purse. It's a little beaut.
It starts with me at 80.
-Oh, that's very good.
-80 on the book.
-It's gorgeous, isn't it?
-80, 90 anywhere? £80 with me.
90, 90 I'm bid. 90, £90 only.
Leave the gate open at 95.
-Is that 100? £100.
-This is good.
I think we'll get it up to £100.
Yes! You see, straight in at 80.
Quality always sells, that's what we keep saying.
If you're gonna invest in antiques, make sure it's in great condition.
-It was lovely, wasn't it?
-It was very nice.
A good result for a good thing. And when we return later Adam has a bright idea
of how antiques could help the financial health of the country.
It's been up in the loft now for 20 odd years.
If we could clear every loft in the land I think we'd solve the economy.
I've crossed the Menai Strait to the Isle of Anglesey to visit
Plas Newydd, one of Britain's superb country houses and like so many of these fine establishments, it was
given over to the National Trust which has maintained it since 1976.
There is plenty of history here, parts of this magnificent house date back to 1470.
Today, I've come to look at something relatively more modern
and that's the 20th century work of artist, Rex Whistler.
In 1936, when the 6th Marquis of Anglesey had architects to remodel the complete wing of this part of
the house, he commissioned Rex Whistler to paint a mural on his recently created dining room wall.
At the time Rex Whistler was an extremely fashionable choice.
He was highly versatile, not only did he paint, but he turned
his hand to book illustration and theatre design.
He was an absolutely delightful chap, very
popular with the country house set in the heady inter-war years.
He became personal friends with many of the families who commissioned his work and today I'm lucky enough
to talk to the present Lord Anglesey who still resides here in this magnificent house, Plas Newydd.
He's going to talk me through the mural and share some of his personal memories of Rex Whistler.
Lord Anglesey, how did the commission come about and what was the brief?
It's very interesting that, because when my father
made this room specially for him, other people asked that.
The answer was, he had just become THE fashionable painter.
Did the family have a say in what was going on in the mural?
Oh, yes. He discussed it with us the whole time.
How old were you when Rex was here painting?
When he first started, I was about 15, 16.
Yes. Did you take a liking to him? Was he a fun, artistic chap to know?
He became, for all of us, including my five sisters, an absolutely adorable friend. He loved children.
-He used to allow us, at all stages when it was just charcoal on canvas, to paint in.
-Have a little scribble.
-He would help us. We learnt a lot.
-Which was your bit?
Well, I tell you, three weeks later somehow it wasn't there any more.
How long did it take him to do?
In good summer weather he would come and stay here, for a fortnight.
The trouble was, as he was a very, very fast worker, if the sun was
-shining we often found him not at it.
-He was sunbathing, was he?
There's a lightness of touch in his work and a great sense of humour.
-Does that reflect the character you knew?
He had a great sense of humour and he was contemplating life generally
-while he was here because he was in love with my elder sister, ten years older than me.
-I gather that.
He had feelings for her. Were you aware of that at the time?
She didn't have much feeling for him.
She liked him but she didn't want to marry them.
This is absolutely beautiful.
Will you walk through the story and tell me how it unfolds?
There, is him as the gardener.
I don't think he'd ever got a weed out of anywhere.
No. Isn't that a wonderful perspective.
-You feel like you can walk right through those arches?
That was what he was a particular master of, was perspective.
He got those arches exactly right.
Show me how the story unfolds.
-Shall we start here.
First of all, here are three dogs and the one on the cushion always wore the best real pearls.
This is my favourite.
This gothic bit here...
Perfect symmetry he's captured, it's almost like the work of an architect, isn't it?
He had this extraordinary memory.
If he had seen that building in reality, 10 years earlier...
He could capture it and remember.
No, but more than that he could tell you exactly how many windows there
were, exactly how many panes there were in the windows and how many doors and everything else.
He could remember it absolutely.
Any young man that you see in this painting is me.
Any older man, like that man and this man, who was at this end, are Rex.
My sister, with whom he was so madly in love, is any girl you see.
There is my sister, Caroline.
She was a beautiful girl, wasn't she?
She was. All my sisters were very good looking.
-One of them is still alive and she's my twin.
The water looks like it's moving.
I remember as he was leaving, he had to leave it unfinished, he said,
"Of course, I should have made this water calm."
Yes, it's in the harbour, isn't it?
He never got around to that.
He was often cutting out bits he painted and said there's too much of this or not enough.
Really? He was his own self critic.
The whole time. I must just tell you one or two things about this.
This was a ship he painted out.
I think you can see it.
I can. You can just see the mast.
Why did he do that?
Because he said one day, "there are too many ships here."
A big brush, out it goes.
Next day, it's finished.
And there's my father's pre- First World War yacht.
-Those were the days when we were rich.
You said with a big smile!
This is very fascinating because one evening we were all rather drunk and about to go to bed and Rex said,
"There's a ship here which I want to take out."
In the morning, we came down and here was this, this wonderful line.
He did that overnight.
He did it overnight and finished it off in the course of that day.
It must have been great for you to get up as a teenager
and come downstairs and wander through here and say, "I wonder what Rex has done next?"
Absolutely right. That happened often.
-The most important historical thing is...
-Look at the footprints.
We've got footprints. Why are they there? Whose are they?
Someone's just come out of the water.
Neptune! You're quite right and there is his crown and his coral sceptre with a golden tip.
Then he was a master of doing this rigging.
My father, who knew about rigging, was amazed.
The detail is very good.
It is as if he spent time at sea to understand it.
He hadn't at all. He'd merely observed when he'd seen them,
as he was always observing, and my father said, "It's incredible you've got them almost exactly right."
-Nice, isn't it?
I don't know who that is but it's probably my twin sister, Kitty.
She's holding a little doll.
Yes, you're right. I've never noticed it before.
Thank you very much.
Here is this great town and its full of all sorts of things.
Here is an amazing
The fair going on there, which is nice, isn't it?
-How about that?
-Look at that as a backdrop.
A wonderful mountain range.
Here is my father
as the creator of all of this.
-Was your father really happy with this mural?
We all were, as you can imagine.
Here we have this wonderful picture of himself which we've already looked at
and here I longed to know what happens up there.
What happened when Rex finished the mural? Did he come back and stay often?
No, because the war came and he didn't finish it, as I've shown.
He then became an officer in the Welsh Guards.
He wanted to go over and fight.
"I want to go and get killed."
He did as well, didn't he, at the age of 39?
He got killed before he saw suspicion of the German.
It was a mortar, wasn't it, in Normandy that got him?
It was, indeed.
I was in Italy at that time. Fighting the Nazis too.
I heard the news and my first reaction was,
"Oh, he was so incompetent at anything except painting and drawing.
"It was too awful."
It's just incredible, isn't it? So much to take in all at once.
You need to spend a day or two looking at it.
Well, I tell you, I spent two years before I was certain and you showed me that doll.
I assumed, you see, and I wasn't certain where everything was.
-Thank you for that.
So, there you are. Rex Whistler's marvellous 18 metre mural.
Wasn't that a real eye-opener?
I just think it acts as a time capsule, really.
It gives us a glimpse into the past in the 1930s, with all the glitz and the glamour that the privileged had.
Living in houses like this. A last flowering of life, if you like,
before it was cruelly swept away forever by the Second World War.
At the Pritchard Jones Hall in Bangor, there's still plenty to be examined.
Our team of experts are at full tilt working their way through the crowd.
Adam is in his element. He's with Edwina and Ivor, and they have a violin case on the table.
-I'm always excited to see a violin case.
It's one of my areas, violins. One of the things I know about.
Tell me about yourselves, first of all.
Where do you come from?
We live in Llanfairpwllgwyngyllgogerychwyrndrob wllllantysiliogogogoch.
-Do you really?
-Yes, we do, yes.
-Can you say that, Edwina?
-I can. Llanfairpwllgwyngyllgogerychwyrndrob wllllantysiliogogogoch.
-And I'm not Welsh!
-You're not Welsh?
You did very well! And you've brought a violin too.
Can't get much better. Now, the case looks a bit tatty.
-Where did you get it from?
It belongs to my son in law Peter.
Does he know you've got it?
Last night he said, "I've got a violin in my attic. Would you like to take that?"
And how has it come to be in his attic?
Well, he doesn't play it.
And neither do the grandchildren.
-So, where did he get it from?
-It belonged to his grandfather.
Peter played this in a youth orchestra.
But he doesn't play it any more.
-Shall we have a look at it?
-Can do, yes.
Well, there we go. Now then.
Let's get the instrument.
That bridge has fallen off, but that's not a major problem.
That can be put back up.
You're lucky that you haven't got all the strings on it, otherwise I'd be playing it.
Then we'd clear that hall pretty quickly!
It's got a one a piece back there. Sometimes they have a two piece back.
-This is a one piece back made from maple.
And on the front there, we call that the table, violin people, rather than the front.
That's made from pine.
Inside, there's a label. I can just glimpse a label.
And it says, "M Costelli, Paris.
"Lucier artistique 1895."
-So it's French?
-She's smart, isn't she?
-Yes, oh yes.
-Now, this Costelli sounds like an Italian name.
And the Italians were very well known for the finest violins.
French violins are also quite highly regarded. And then, usually another
step down to the German violins which were more mass produced.
This is in good condition. People looking will think,
"Ooh, it's no good, it's got no strings."
-But it really doesn't matter.
-It can be restrung.
It can be restrung for £60, something like that.
Not a lot. Under £100 you can get that into a playable condition.
There's no cracks, which is the major thing.
He was obviously quite enthusiastic, granddad, because he's managed to knock a corner off there.
-With the bow?
-That's from really enjoying it with the bow,
and maybe he just caught that, as he's been playing it, you know?
He's really enjoying himself, bang, off goes the corner.
But that's just a cosmetic thing, again, that can be sorted.
We always check the bows, because sometimes it's worth more than the instrument.
Let's have a quick look at that one.
-What's this, horse hair?
-Horse hair, yes, that's right.
So, you haven't got any special individual value with the bows.
-So, what do you think your broken violin and a tatty old case is worth, then?
-Haven't got a clue.
-Not a clue.
-No? We know nothing about violins. No guesses?
-No, not at all.
-Would you take that?
I think it's more than that.
-French violins can make a few hundred pounds.
-The most famous ones can make even more than that. Early thousands.
This Costelli isn't a very well known or highly regarded maker.
So, I'd go on the cautious end, and put £100 to £200 estimate on it.
-And put a reserve of 100.
-It's definitely worth £100 whatever happens.
-Yeah, All day long.
-If it doesn't make £100, it's not worth selling it.
So I'd try that. Put £100 reserve, if it doesn't sell, you'll have to take it up and learn it.
-I could give you some lessons.
-What, at my age?
Nice idea, but I don't think they'll be taking up the violin. I think it'll sell.
-Hello, what's your name?
-Liz, pleased to meet you. Are you local?
-Do you live in Bangor?
-Is that just down the road?
Not far, nine miles away.
-Well, this is nice, it's like a yard rule, isn't it?
I bet this belongs to a seamstress?
-For turning cloth on a large table.
Has this been in the family long?
Yes, it was my father's sister, she was a tailoress.
She'd have been nearly 100 now, and she had it most of her life.
Yeah, I'd put this at early Edwardian, actually.
So it's been around for a little bit of time.
You don't want to sell this though, do you? You're not going to sell this?
Because we've got small grandchildren, and they tend to...
I know what you're going to say! Sword fighting!
It makes a good sword, doesn't it, if you're a little kid?
So just in case. With it being so old.
Look, if you put something like that into auction, it's only going to realise around about £40 to £60.
-I think it's worth an awful lot more
in sentimental value if you hang on to it, I really do.
I really do. Because, by the time you pay commission,
you might not be left with an awful lot of money.
Surely you can find another use for it, not a sword stick?!
-Use it, take up dressmaking!
-Oh, dear me.
Now Mark has a very good question for our next owner.
-Why are you selling such a pretty-looking vase?
-It's only stuck in the cupboard.
Only stuck in the cupboard, is it?
-It's charming, isn't it?
-It is, I like it.
It is lovely colours, really spring colours, actually. These very delicate oranges and greens.
It really took my eye when I saw it.
-It is, and is it a family piece?
-You bought it?
Must be 18 years ago.
-Gosh! And what did you pay for it 18 years ago?
-Half a crown.
Half a crown, that's 25p, isn't it?
-25p now, yes.
-Wow. And is it a bargain, do you think?
And have you used it to put flowers and things in?
I did, yes. And then, when we had the cats and the dog,
-I said, no.
-I think it's lovely. And you've looked after it, you haven't damaged it, which is the main thing.
It's a really nice piece.
I don't need...we will have a look at the mark in a moment, but I won't need to look at the mark.
Because I know who designed this vase.
Very typical of her work, and we've filmed a lot of things of hers on the show.
It's not Clarice Cliff, it's the other well known art deco designer, Charlotte Reid.
And we know her typically, straight away, with this lovely two line decoration.
And I love this sort of shaped, ribbed body.
We will just have a little look at the mark. And there we've got
"C Reid, Crown Ducal,"
which is one of the firms she worked for. And then a shape number as well.
But it really is quite typical of the 1930s, the mottled glaze, and the lovely decoration.
And you've had it a long time. Why have you decided to sell it today?
18 years I think I've had it.
I'm getting older, nobody wants it.
Nobody wants it?
It's a bygone era, isn't it, you see?
Well, I think it's a lovely item.
It's not going to be worth a huge amount, because it's quite a small piece by Charlotte Reid.
The things that make a lot of money are the big decorative chargers.
But I think, if we were putting that vase in for auction, we'd be looking at around £40 to £50.
-Would you be happy with that?
-Ish, and more!
Well, we all want more, don't we, really? But I think we've got to be sensible.
It's a nice little piece, but if we put £40 to £50 on it, we might then hit the £50 or £60 mark.
-And we'll put a reserve of 35 on it, is that all right?
Dora certainly got a bargain there.
Next, Adam has spotted some quality decanters.
-Steve, welcome to Flog It!.
-How are you doing?
-All right, fine.
-Good. You've got a nice thing here.
-Yes, it's very precious.
-I hope so!
-Well, is it precious to you sentimentally?
In a way, yes.
But it's been up in the loft now for 20 odd years, doing nothing. So I might as well...
If we could clear every loft in the land, I think we'd solve the economy.
The amount of stuff people have in the loft.
-Where was it before the loft? How did it come to be in your family's possession?
My grandfather and granny, and my mother, worked
in a hall in Formby.
-So they were in service?
You know, the last of the upstairs/downstairs people.
My granny was the cook, and my grandfather was a butler. And my mother was a maid.
-And where was that?
-That was in Formby Hall.
Excellent. And so, how do you think they got these?
-Do you think they were given then?
-I think they were given them.
-As a sort of thank you gift or retirement gift or something like that?
-Could have been, yes.
Could have been. Well, it's a very posh thing this, really.
Look at the thickness of the wood as well.
It's made out of coromandel, which is an exotic and expensive timber, that was mainly used to make small things.
You don't see much furniture made out of it, it was all boxes and small things like this.
It's fitted with two really nice quality decanters.
-Is it English made, do you think?
-Yes, it is. Definitely English made.
Another sign of quality, you've also got the key, which is quite unusual.
Most things have lost their keys by now.
And you've got this special type of lock on here. Brahma patent lock.
-Now these locks are a special secure lock.
I remember you saying before we started, you said,
"Don't shut it, because it's a terrible thing to open!"
-That's because of this lock, it's a patent lock.
And it's wonderful quality.
Brahma's patent. And you only see it on fine things.
So it's also another sign of quality.
That's why it took us ages to open it!
They used to use that as they were travelling along, carriages and things?
In a carriage, or if you were travelling out, rather than take your liqueur just in a bottle.
The more refined people would take them in decanters in a fitted
coromandel case with a flush brass carrying handle on the top as well.
It's just all lovely quality, really.
Now of course it's, what, 1850s or so?
So it's been around 150 years plus.
150 years plus.
It's had a bit of a hard life in places, hasn't it?
-It's not too bad.
-Little nicks in it.
With these things here, they're always nice on the front and on
-top, but then they were cheaper on the sides and the back.
And if you see on the side there, you've got a bit of damage.
And on the back, it's not nearly as posh as it is on the front.
No, that's right.
So that's often the way with these things. It's a nice thing.
How much do you think it might be worth?
What do you think it's worth?
I don't know, I haven't a clue
-to be honest.
-Realistically, in that order,
because the glass isn't perfect either, there are a few little minor grazes really, aren't there?
But I'd have thought between £100 and £200 is your likely realised price.
-Sounds all right.
-Maybe a touch more.
But I think that's fairly realistic.
I'd put a reserve of 100.
And, if it doesn't make 100, maybe give it 10% leeway just in case, if that's all right with you?
If it doesn't make £90/£100, then keep it.
But, all in all, a good quality object.
If it makes 150 quid, what will you do with it?
Finish my kitchen off.
Now that's a story I've heard before.
Let's remind ourselves of the remaining items to go under the hammer at auction.
I really don't think that Ivor and Edwina's son in law Peter should worry.
There won't be any problem selling his French violin.
And I think Dora will be getting a good return on her half a crown,
when the Charlotte Reid vase goes under the hammer.
Steve needs to get on with that kitchen, so let's hope the sale of the decanters will help fund it.
There's a lively atmosphere at the auction house, so fingers crossed.
First up are Steve's decanters.
His wife Anne has joined him, probably because she's keen to get her kitchen finished too.
Fingers crossed, Anne and Steve. OK?
I know you're feeling a bit nervous, we're just about to sell the decanters.
We're looking for about £100 to £200.
-Happy with that?
-Yeah, I think so.
Confident as ever, cocky as ever.
Yes, he is.
Let's hope we get the top end.
Good luck, it's going under the hammer right now. This is it.
And the very nice Amboina decanter box containing two decanters.
With mushroom stoppers.
Bids all over the book on this one.
-Wow! Straight into...
No, that's the lot number!
You've got to keep alert at auctions, believe me!
70 if you like? At 170.
180, 180 bid. Is there 90? At 180.
90. 190. Level money?
I'd better not fan, I might bid it.
Level money? At 190.
That's a good result.
-Top end of estimate.
We'll settle for that.
I think that's drinks all round, £190. Well done, Madam.
-Happy with that?
-It was our anniversary the other day.
-Was it? I was about to say,
-what would you put the money towards or spend on?
-46 years together, still in love as well. Happy as ever.
Of course they are. Next up, the pretty Charlotte Reid vase.
It's a lovely little vase valued by Mark, our expert.
-It belongs to Dora, and I'm ever so jealous.
-Are you now?
Yes, because Dora lives in Anglesey.
I don't want the Charlotte Reid vase, but I'd love to live in Anglesey. Have you got a sea view?
Yes. All the way from Holyhead to Point Lynas.
And have you lived there all your life?
-No, 30 years.
-Where were you before that?
-Between Nefyn and Pwhelli.
-North Wales born and bred, then?
-What a great part of the world, isn't it?
You look so healthy as well.
That's all that sea air, isn't it?
-All the gardening.
-Do you love gardening?
Look, good luck with the Charlotte Reid vase. Everyone will love this.
I'd had it for years before I found the name on it!
It is rather sweet. The design is very typical.
The auctioneer liked this.
-It'll do well.
-And it's coming under the hammer right now.
Lot 219, the very nice Crown Ducal wide necked vase. Charlotte Reid.
Number 213 to the base.
Start on the book, I've got book bids. Bids start at 70.
Top end, straight in.
At 70, 70 bid. It's a little beaut.
5, 80? 80 bid.
85? 90. £90. Coming back?
90, with me. Anybody else? At £90.
That's not bad, is it, £90?
Final call at £90. Level money would be nice.
-That's very good.
-Make no mistake.
Great result, and good luck.
-Good luck with the garden, I bet all the money is going on some more plants, is it?
-A bit of it.
And a bit of manual labour?
Strong young man in to sort of...?
No? It's all you?
Well, that's the spirit, Dora.
Our final lot is the French violin belonging to Ivor and Edwina's son in law Peter.
Edwina and Ivor, good luck with this one.
Just about to put the violin under the hammer, and it's a good job Adam Partridge was at our valuation,
because he's the only expert that understands violins!
We all go, "This is nice. Unfortunately Adam's not here today."
Because he doesn't do every single one, and we kind of pass the violin around.
Will this do a little more than 150?
It should make 200 or 300 really, I suppose.
But it's got a few condition issues.
Just the corners, cosmetic things, which may put people off.
I think the estimate is about right.
I'd like to see it make a bit more, of course.
That would be nice for everyone.
Good luck. It's going under the hammer now.
Very, very nice violin. I've had a lot of interest in it.
Start me £300.
-Come on, where are the hands?
Opening bid of 100. £100.
-I'm feeling nervous now.
150 bid. 175?
That's what you said.
Is there 200? At 175, 200?
A new bidder. At 200. 25? 225 online.
250 on the phone.
Now it's creeping up. They don't want to lose it.
300 on the phone. 300 I'm bid.
350 on the phone. At 350. 75 online.
400 on the phone.
I'd like to be going 50s now.
425 online. 450.
-500 on the phone.
At £500. 525.
-It's slowed down.
-They haven't seen it!
No second thoughts?
-£525. That ended in a crescendo, didn't it?
-What a wonderful moment, hey?
You can find details of our next valuation days by logging on to the internet.
Click F for "Flog It!" and then follow the links to find a list of towns that we're coming to soon.
Subtitles by Red Bee Media Ltd
E-mail [email protected]
Paul Martin is joined in his search through the local antiques and collectables in the university city of Bangor, north Wales, by a team of experts headed up by Mark Stacey and Adam Partridge. Mark finds a silver purse which brings back a bygone era, and Adam plays to his strengths when valuing a French violin.
Taking a break from the antiques, Paul travels across the Menai Straits to hear Lord Anglesey's memories of Rex Whistler painting the famous mural at Plas Newydd.