Browse content similar to Bangor. Check below for episodes and series from the same categories and more!
Line | From | To | |
---|---|---|---|
Today we're in one of the smallest cities in Britain, | 0:00:03 | 0:00:06 | |
but it's said to have the longest High Street in Wales. | 0:00:06 | 0:00:09 | |
Its pier, Garth Pier is 1,500 ft long and it's Wales's second largest pier. | 0:00:09 | 0:00:15 | |
Where are we? Well, we're in North Wales in the small, but perfectly formed city of Bangor. | 0:00:15 | 0:00:20 | |
Well, for such a small city, I'm delighted to see such a large | 0:00:47 | 0:00:51 | |
crowd gathering here outside Bangor University's Pritchard Jones Hall. | 0:00:51 | 0:00:55 | |
I can't wait to see what's in some of these bags and boxes | 0:00:55 | 0:00:58 | |
because hopefully there'll be something really interesting | 0:00:58 | 0:01:01 | |
that will bring some big results for our owners | 0:01:01 | 0:01:03 | |
when we put them under the hammer later on in the show. | 0:01:03 | 0:01:06 | |
There are surprises in store for some of our owners. | 0:01:07 | 0:01:10 | |
You'd rather have the money than them stuck in a drawer? | 0:01:10 | 0:01:13 | |
-Yes. -Or stuck in me. | 0:01:13 | 0:01:15 | |
And some of our experts... | 0:01:15 | 0:01:16 | |
Tell me about yourself, first of all, where you come from? | 0:01:16 | 0:01:20 | |
Llanfairpwllgwyngyllgogerychwyrndrobw llllantysiliogogogoch. | 0:01:20 | 0:01:24 | |
So whose antique knowledge will we be testing here in Bangor? | 0:01:24 | 0:01:28 | |
Heading the team are Adam Partridge, who gave up his studies in Oxford because he found himself more often | 0:01:28 | 0:01:35 | |
in an auction house than a university lecture hall. | 0:01:35 | 0:01:38 | |
If Marks sees that he will be really jealous! | 0:01:38 | 0:01:41 | |
And Mark Stacey, whose enthusiasm for antiques and | 0:01:43 | 0:01:46 | |
thirst for knowledge has given him an expertise now sought after by the very top names in the business. | 0:01:46 | 0:01:53 | |
-You really are a charmer, aren't you? -I try to be. | 0:01:53 | 0:01:57 | |
-Let's start with Mark who is with Margaret, but he's not giving much away. -Hello. | 0:01:57 | 0:02:01 | |
You've brought a charming little piece of silver but we don't want to reveal what it is at the moment. | 0:02:01 | 0:02:06 | |
-Where did you get it from? -From a very elderly lady who was with me when I was born. | 0:02:06 | 0:02:12 | |
No. What do you mean she was with you? | 0:02:12 | 0:02:14 | |
-She was my mother when I was born. -What was she doing with your mother? | 0:02:14 | 0:02:18 | |
She came in an emergency because she had just done her midwifery. | 0:02:18 | 0:02:24 | |
Did you stay friends all your life? | 0:02:24 | 0:02:26 | |
All our lives. | 0:02:26 | 0:02:28 | |
-Fantastic. -Yes, I moved away from this area but I came back and we contacted each other. | 0:02:28 | 0:02:35 | |
And you've ended up back in Bangor? | 0:02:35 | 0:02:37 | |
Yes, back in the promised land. | 0:02:37 | 0:02:40 | |
It is a lovely little piece. I think it is about time we told everybody what it is. | 0:02:41 | 0:02:45 | |
-Yes. -Silver, of course. | 0:02:45 | 0:02:47 | |
-Yes. -When we open it, | 0:02:47 | 0:02:50 | |
it's a little purse. | 0:02:50 | 0:02:51 | |
-Yes. -It's Victorian? | 0:02:51 | 0:02:53 | |
Victorian, is it? | 0:02:53 | 0:02:55 | |
The mark has unfortunately rubbed so we can't see the date mark | 0:02:55 | 0:02:58 | |
but it's got Victoria's Head on there and I think it's around about 1880. | 0:02:58 | 0:03:03 | |
I can't imagine where it came from. | 0:03:03 | 0:03:04 | |
You can imagine, can't you, a fashionable young, Victorian lady going out for the evening... | 0:03:04 | 0:03:11 | |
-To a ball? -To a ball and there she would have in here maybe a few half sovereigns. | 0:03:11 | 0:03:17 | |
-Yes. -To pay for her taxicab. | 0:03:17 | 0:03:19 | |
-Or whatever. -A horse drawn cab, of course, in those days. | 0:03:19 | 0:03:24 | |
I just love that shape. It's so simple and yet so elegant, isn't it? | 0:03:24 | 0:03:27 | |
Elegant, is the word. | 0:03:27 | 0:03:29 | |
-What do you think it's worth? -I have no idea whatsoever. | 0:03:29 | 0:03:33 | |
-£10, £20? -No, I think a little bit more than that! | 0:03:33 | 0:03:37 | |
That's what they all say! That's what they all say. | 0:03:37 | 0:03:40 | |
I do think it's worth more than that. | 0:03:40 | 0:03:42 | |
I don't think it's hugely valuable. | 0:03:42 | 0:03:44 | |
I don't think I'm going to go sort of the lottery... | 0:03:44 | 0:03:48 | |
I don't think so. I don't think so. | 0:03:48 | 0:03:50 | |
I would put it in because it's such a charming piece. | 0:03:50 | 0:03:53 | |
It would catch on to people. | 0:03:53 | 0:03:54 | |
-I would put it in at an estimate of £60 to £80. -Yes. | 0:03:54 | 0:03:58 | |
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. | 0:03:58 | 0:04:04 | |
-Yes. -Would you be happy with that? | 0:04:04 | 0:04:06 | |
I would be very happy with that. | 0:04:06 | 0:04:08 | |
Aren't you just a little bit sad to see it go? | 0:04:08 | 0:04:10 | |
I have a number of other things particularly liked or used when she was alive. | 0:04:10 | 0:04:17 | |
I can see that you're quite a determined lady, Margaret. | 0:04:17 | 0:04:20 | |
Once you've made a decision, that is it. | 0:04:20 | 0:04:22 | |
Yes, that is very true. | 0:04:22 | 0:04:24 | |
I have been like that all my life. | 0:04:24 | 0:04:26 | |
-We have to be, don't we? -Yes, that is life. | 0:04:26 | 0:04:30 | |
An item like that just brings the Victorian era back to life, for me. | 0:04:32 | 0:04:37 | |
I'm mad about wood so it's hardly surprising | 0:04:37 | 0:04:40 | |
that Sandra's piece of Treen has caught my eye in the queue. | 0:04:40 | 0:04:43 | |
What's the story, how did you come by this? | 0:04:43 | 0:04:46 | |
We had to clear out my mother's house 18 months ago. | 0:04:46 | 0:04:50 | |
I wonder if you can guess what that is, it's a nice bit of turned lignum vitae, it's exceptionally hard wood. | 0:04:50 | 0:04:57 | |
You know what it is, obviously, don't you? Have you used this? | 0:04:57 | 0:05:01 | |
That's where the handle is, look. | 0:05:01 | 0:05:03 | |
There is the mechanism. | 0:05:03 | 0:05:05 | |
That screws back on. | 0:05:05 | 0:05:07 | |
Ready? Is there anything in it? | 0:05:10 | 0:05:13 | |
There's remnants of something inside. | 0:05:13 | 0:05:16 | |
It's all gone over your clothes now. | 0:05:16 | 0:05:19 | |
We thought they were coffee beans. | 0:05:19 | 0:05:22 | |
They would have been coffee beans, yes. | 0:05:22 | 0:05:24 | |
-This is to grind coffee down. -It is? | 0:05:24 | 0:05:26 | |
If I had to stick my neck out I would say this is Continental. | 0:05:26 | 0:05:30 | |
-Really? -Yeah. Possibly French, around about 1820. -Really? | 0:05:30 | 0:05:34 | |
This is a lovely bit of table Treen, it's called Treen because it's made from the tree. Look at | 0:05:34 | 0:05:39 | |
this lovely ambiguous grain. | 0:05:39 | 0:05:41 | |
-It is nice. -Beautiful. | 0:05:41 | 0:05:43 | |
Absolutely beautiful. | 0:05:43 | 0:05:45 | |
I like the knot, there's a knot in the wood. | 0:05:45 | 0:05:47 | |
-Yeah, there. -And a knot at the bottom there, as well. | 0:05:47 | 0:05:50 | |
-Yeah, lots of heart and soul. -Yes. | 0:05:50 | 0:05:52 | |
Isn't that lovely? Would you like to put it into the auction? | 0:05:52 | 0:05:55 | |
I think it's worth around about £100 to £150, I don't know what you thought. | 0:05:55 | 0:05:59 | |
I had no idea. | 0:05:59 | 0:06:01 | |
OK. There is a bit of damage to it, just there, but you can see so early, it's softened up. | 0:06:01 | 0:06:06 | |
-It's not as if it was last week. -No, indeed. | 0:06:06 | 0:06:08 | |
It's got a brittle edge. | 0:06:08 | 0:06:10 | |
-OK, let's put it into auction with the old auctioneer's cliche, shall we £80 to £120. -OK. | 0:06:10 | 0:06:17 | |
-Happy? -Yes. -And I'm just rather hoping it'll do the 120 to 150 mark. | 0:06:17 | 0:06:22 | |
-That would be nice. -Yeah? -Yeah, lovely. | 0:06:22 | 0:06:25 | |
It's got to feel right and if it feels right somebody in the auction | 0:06:25 | 0:06:28 | |
will pick that up and go, "Oh, that's so tactile, I love that." | 0:06:28 | 0:06:32 | |
Caress it, not want to put it down. | 0:06:32 | 0:06:34 | |
They will want to own that and hopefully they will put their hand up and buy it. | 0:06:34 | 0:06:37 | |
-See you on the day. -Lovely. | 0:06:37 | 0:06:40 | |
What a nice thing, I love early pieces of Treen. | 0:06:40 | 0:06:44 | |
Next Adam's extensive knowledge comes in handy with some mystery objects brought in by Gill. | 0:06:44 | 0:06:51 | |
-Well, Gill, these are fantastic little items you've brought along today. -Thank you. | 0:06:51 | 0:06:57 | |
-Do you know what they are? -No. No idea. | 0:06:57 | 0:06:58 | |
-Where did you get them from? -My mum. | 0:06:58 | 0:07:01 | |
Did she live in the countryside? | 0:07:01 | 0:07:03 | |
I think probably they came from her father originally or her grandfather who was in the farming industry. | 0:07:03 | 0:07:09 | |
-Well, that helps, really. -Yes. | 0:07:09 | 0:07:11 | |
They are Georgian, early 19th Century and they're fleams. | 0:07:11 | 0:07:15 | |
-Fleams... -Fleams, which are blood letting instruments. | 0:07:15 | 0:07:18 | |
-Right. -We have a little group of people behind us and I thought we would do a demonstration. | 0:07:18 | 0:07:25 | |
They're blood letting instruments and there are three blades. This one is stamped Borwick. | 0:07:25 | 0:07:30 | |
Borwick was quite a well known fleam maker. | 0:07:30 | 0:07:33 | |
He was in Sheffield, Roger Borwick and he started about 1790 to 1860. | 0:07:33 | 0:07:38 | |
I would think those are early 19 Century, they're horn handles, both similar things. | 0:07:38 | 0:07:42 | |
There are collectors of medical apparatus, medical instruments out there. | 0:07:42 | 0:07:46 | |
But they are more veterinary rather than human? | 0:07:46 | 0:07:48 | |
-I think so. Quality, aren't they? -Yes. | 0:07:48 | 0:07:51 | |
Nice quality. I think they should make £20 each. Something like that. | 0:07:51 | 0:07:54 | |
-I would be tempted to put an estimate of £30 to £50 to be realistic. -Yes, each? | 0:07:54 | 0:07:58 | |
-For the two. 30 to 50 for the two I think would be realistic. -Yes, OK. | 0:07:58 | 0:08:02 | |
Would you like them back if they didn't make a certain price? | 0:08:02 | 0:08:05 | |
I don't know. No, I don't think so. | 0:08:05 | 0:08:08 | |
Oh, his input there, "No let them go." | 0:08:08 | 0:08:10 | |
Really, it's not a lot of money but they're interesting objects and there will be a lot of people | 0:08:10 | 0:08:16 | |
watching this that have no idea what they are or what they're for. | 0:08:16 | 0:08:19 | |
I didn't know what they were until I brought them today. | 0:08:19 | 0:08:22 | |
Good. I've managed to teach someone something. | 0:08:22 | 0:08:25 | |
Wonderful. Hopefully, some people watching at home | 0:08:25 | 0:08:28 | |
will say, "We've got one! I never knew what it was for!" | 0:08:28 | 0:08:30 | |
So, a quick reminder of the first few items which will be up for sale at auction. | 0:08:34 | 0:08:38 | |
Mark's find was first, the little silver purse. What a glorious reminder of bygone elegance. | 0:08:38 | 0:08:45 | |
The Treen coffee grinder was my choice. The wood is superb and it has a wonderfully warm quality. | 0:08:45 | 0:08:50 | |
It caught my eye and I don't think I'll be the only one. | 0:08:50 | 0:08:55 | |
Adam unravelled the mystery of Gill's fleams, The blood letting | 0:08:55 | 0:08:59 | |
instruments, and once again they give us a glimpse into the past. | 0:08:59 | 0:09:03 | |
These little pieces of history haven't got far to go. | 0:09:04 | 0:09:08 | |
They're being sold at Rogers, Jones & Co, auctioneers and valuers in Colwyn Bay. | 0:09:08 | 0:09:12 | |
It's looking busy, which is always a good sign before the auction starts. | 0:09:14 | 0:09:18 | |
I going to find out what auctioneer, David Rogers Jones, thinks of Sandra's lovely piece of Treen. | 0:09:18 | 0:09:24 | |
I like this little lot, I'm a big fan of Treen. This is a wonderful early 19th Century coffee grinder. | 0:09:24 | 0:09:29 | |
It's made of lignum. What I like about it, it's so tactile. | 0:09:29 | 0:09:33 | |
It's had so much use and you can see the grease and dirt all over it. | 0:09:33 | 0:09:36 | |
I'm hoping this is going to do around the £150 mark but I've put £80 to £120 on it. | 0:09:36 | 0:09:41 | |
It is nice piece, there is a nice feel to it. | 0:09:41 | 0:09:44 | |
Yes, I would have gone along with that, Paul. | 0:09:44 | 0:09:46 | |
The lady who brought it in | 0:09:46 | 0:09:50 | |
was apparently quite happy with the valuation and I think we all would have agreed with her but when she | 0:09:50 | 0:09:57 | |
mentioned it to other members of the family they apparently didn't agree. | 0:09:57 | 0:10:02 | |
Right, basically, they're saying, "Don't sell it." They don't want it to be sold. | 0:10:02 | 0:10:06 | |
-Yeah. There appears to be a bit of dissension. -Have the family said. | 0:10:06 | 0:10:10 | |
"We want a lot more." | 0:10:10 | 0:10:11 | |
The family has, a member of the family has apparently said that it shouldn't be less than £500 or £600. | 0:10:11 | 0:10:16 | |
-The reserve has been increased. -To what? | 0:10:16 | 0:10:19 | |
Its been increased to £600 with some discretion. | 0:10:19 | 0:10:22 | |
Well, you know what that means. They really don't want it to leave the family. | 0:10:22 | 0:10:26 | |
Yes, that might be the reason but I'm not wholly convinced that is the reason. | 0:10:26 | 0:10:30 | |
I think it is a monetary thing. I think a member of the family... | 0:10:30 | 0:10:34 | |
-For the right money? -For the right money, I'll sell. | 0:10:34 | 0:10:37 | |
-Yes. -They've got a point, you know. -It's early Treen, early Treen sells well. -It does. | 0:10:37 | 0:10:42 | |
Which is why a few people have already made a beeline to come and see it and look at the catalogue. | 0:10:42 | 0:10:47 | |
I'd like to think this was an absolute high at £600, and if it does fetch £600 | 0:10:47 | 0:10:53 | |
I would be ever so happy. | 0:10:53 | 0:10:55 | |
We're kicking off with Jill and her husband Peter with their pair of fleams. | 0:10:55 | 0:11:00 | |
We haven't seen these on the show before. | 0:11:00 | 0:11:02 | |
This is a first for Flog It!, we've got blood letting instruments, fleams, Gill and Peter? | 0:11:02 | 0:11:07 | |
-Yes. -I hope they were never used. | 0:11:07 | 0:11:09 | |
Well, they were at one time. | 0:11:09 | 0:11:11 | |
-For veterinary use, these. -Yes. -So, how did you come across them? | 0:11:11 | 0:11:15 | |
-I found them amongst my mother's things. -Oh, did you? | 0:11:15 | 0:11:18 | |
-Yes. Not a lot of money there, £30 to £40. -No. | 0:11:18 | 0:11:20 | |
It's the kind of thing that not a lot of people would want to buy. | 0:11:20 | 0:11:24 | |
-At a fair you'd have to give 30 or 40 each. -Would you? | 0:11:24 | 0:11:26 | |
Sometimes a touch more, so I think we should be about right. | 0:11:26 | 0:11:30 | |
That's positive. Happy? | 0:11:30 | 0:11:32 | |
-Yes! -You'd rather have the money than have them stuck in a drawer, wouldn't you? | 0:11:32 | 0:11:36 | |
Or stuck in me(!) | 0:11:36 | 0:11:37 | |
Two bone backed three bladed fleams. | 0:11:39 | 0:11:41 | |
One marked Borwick, the other indistinct. | 0:11:41 | 0:11:44 | |
Bid me, £50, for the two fleams. | 0:11:44 | 0:11:47 | |
£30? £20, thank you, sir. | 0:11:47 | 0:11:50 | |
20, I'm bid. 20, 25. | 0:11:50 | 0:11:54 | |
30, 35. | 0:11:54 | 0:11:57 | |
40, 45. | 0:11:57 | 0:11:59 | |
45 I'm bid. Is there 50? At £45. | 0:11:59 | 0:12:02 | |
Everybody done now? Any further? | 0:12:02 | 0:12:06 | |
At £45 and going. | 0:12:06 | 0:12:08 | |
Yes, £45, we nearly did it. | 0:12:08 | 0:12:11 | |
That's not bad, that's a really good result, isn't it? £45, happy? | 0:12:11 | 0:12:14 | |
-Yes, very happy. -They could easily have been discarded. -Oh, yes. | 0:12:14 | 0:12:18 | |
That's the great thing about antiques, classic recycling. | 0:12:18 | 0:12:21 | |
-You can't get anything greener than that. -Absolutely! | 0:12:21 | 0:12:25 | |
Not bad at all, they almost hit the top end. | 0:12:25 | 0:12:27 | |
Do you remember the 19th Century coffee grinder that I valued at 80 to 120, belonging to Sandra, | 0:12:29 | 0:12:35 | |
well, we've got that going under the hammer right now. | 0:12:35 | 0:12:37 | |
Unfortunately Sandra can't be with us but we do have her daughter, Joanne. | 0:12:37 | 0:12:41 | |
It's good to see you, it really is. | 0:12:41 | 0:12:43 | |
Now, since the valuation day the family have been | 0:12:43 | 0:12:46 | |
in touch with the saleroom and they've put the reserve up to £600. | 0:12:46 | 0:12:51 | |
-A great big quantum leap in value, isn't it? -It is. | 0:12:51 | 0:12:55 | |
It says to me, really, that somebody in the family doesn't really want this to go. | 0:12:55 | 0:13:01 | |
Yes, they've done a little bit of research into it. | 0:13:01 | 0:13:04 | |
Like you say, it's sentimental, it was my grandmother's. | 0:13:04 | 0:13:06 | |
It's hard to let things go. | 0:13:06 | 0:13:08 | |
Yeah, it is, isn't it? | 0:13:08 | 0:13:10 | |
Let's find out what happens because it's interesting. | 0:13:10 | 0:13:13 | |
-It is. -And this is what auctions are all about. | 0:13:13 | 0:13:16 | |
-That's right, you never know. -You just never know. | 0:13:16 | 0:13:18 | |
Good luck, Joanne, here we go. | 0:13:18 | 0:13:20 | |
A 19th Century lignum coffee grinder. Bid me 500. | 0:13:20 | 0:13:25 | |
Early piece of Treen. | 0:13:25 | 0:13:27 | |
400? | 0:13:27 | 0:13:30 | |
200 I'm bid at 200. At 200 on the book. Where's 50? | 0:13:30 | 0:13:34 | |
At 200. 50 anywhere? | 0:13:34 | 0:13:37 | |
At £200. Is there 50? | 0:13:37 | 0:13:39 | |
At £200, 50 I'll take. | 0:13:39 | 0:13:42 | |
Everybody done? At £200... I'm afraid this is a non starter. | 0:13:42 | 0:13:46 | |
At £200, everybody done? | 0:13:46 | 0:13:49 | |
-Well, it's good, it's going home. -It's going home, yes. | 0:13:49 | 0:13:52 | |
It's not meant to be sold, is it? | 0:13:52 | 0:13:54 | |
She's looking down on us and saying, "Don't sell that." | 0:13:54 | 0:13:57 | |
-You've got kids, you've got a little boy. -I have. -That'll be his one day. | 0:13:57 | 0:14:02 | |
You're right. | 0:14:02 | 0:14:03 | |
Don't ever sell it, really. | 0:14:03 | 0:14:05 | |
-We shouldn't really, should we? -No. | 0:14:05 | 0:14:07 | |
We've all learnt a lesson, haven't we? | 0:14:07 | 0:14:09 | |
Next we have Margaret and her charming Victorian silver purse. | 0:14:11 | 0:14:15 | |
Well we do say condition is everything in this game and this lot has the lot. | 0:14:15 | 0:14:20 | |
It's got the look, it's got the condition. | 0:14:20 | 0:14:22 | |
It belongs to Margaret and it's that lovely Victorian shell shaped purse. | 0:14:22 | 0:14:26 | |
It's not a lot of money and I expect this to fly out of the room. | 0:14:26 | 0:14:29 | |
-Oh, I do. Has it just been in a drawer? -Yes. | 0:14:29 | 0:14:32 | |
-Not on display, really. -Not on display. | 0:14:32 | 0:14:34 | |
It's a lovely-looking thing, it caught Mark's eye. | 0:14:34 | 0:14:36 | |
It's a charming little bit of Victoriana Edwardian. | 0:14:36 | 0:14:39 | |
I mean, it's something that nobody would ever use. | 0:14:39 | 0:14:42 | |
You can just imagine a lady going to the ball keeping her sovereign there for the carriage. | 0:14:42 | 0:14:47 | |
The carriage on the way home. | 0:14:47 | 0:14:49 | |
-Yes, that's right. -Keep her little dance card in there. | 0:14:49 | 0:14:51 | |
It's just wonderful. | 0:14:51 | 0:14:53 | |
-It should sell well. -Fingers crossed it's going to go to a collector who's right here in this room. | 0:14:53 | 0:14:57 | |
The Victorian silver shell coin purse. It's a little beaut. | 0:14:57 | 0:15:02 | |
It starts with me at 80. | 0:15:02 | 0:15:04 | |
-Oh, that's very good. -80 on the book. | 0:15:04 | 0:15:07 | |
-It's gorgeous, isn't it? -80, 90 anywhere? £80 with me. | 0:15:07 | 0:15:11 | |
90, 90 I'm bid. 90, £90 only. | 0:15:11 | 0:15:15 | |
Leave the gate open at 95. | 0:15:15 | 0:15:17 | |
-Is that 100? £100. -Yes. | 0:15:17 | 0:15:20 | |
-Oh, 100. -This is good. | 0:15:20 | 0:15:22 | |
I think we'll get it up to £100. | 0:15:22 | 0:15:24 | |
Yes! You see, straight in at 80. | 0:15:24 | 0:15:27 | |
Quality always sells, that's what we keep saying. | 0:15:27 | 0:15:31 | |
If you're gonna invest in antiques, make sure it's in great condition. | 0:15:31 | 0:15:34 | |
-It was lovely, wasn't it? -It was very nice. | 0:15:34 | 0:15:38 | |
A good result for a good thing. And when we return later Adam has a bright idea | 0:15:38 | 0:15:42 | |
of how antiques could help the financial health of the country. | 0:15:42 | 0:15:45 | |
It's been up in the loft now for 20 odd years. | 0:15:45 | 0:15:50 | |
If we could clear every loft in the land I think we'd solve the economy. | 0:15:50 | 0:15:53 | |
I've crossed the Menai Strait to the Isle of Anglesey to visit | 0:16:02 | 0:16:05 | |
Plas Newydd, one of Britain's superb country houses and like so many of these fine establishments, it was | 0:16:05 | 0:16:12 | |
given over to the National Trust which has maintained it since 1976. | 0:16:12 | 0:16:18 | |
There is plenty of history here, parts of this magnificent house date back to 1470. | 0:16:18 | 0:16:24 | |
Today, I've come to look at something relatively more modern | 0:16:24 | 0:16:26 | |
and that's the 20th century work of artist, Rex Whistler. | 0:16:26 | 0:16:30 | |
In 1936, when the 6th Marquis of Anglesey had architects to remodel the complete wing of this part of | 0:16:30 | 0:16:36 | |
the house, he commissioned Rex Whistler to paint a mural on his recently created dining room wall. | 0:16:36 | 0:16:42 | |
At the time Rex Whistler was an extremely fashionable choice. | 0:16:44 | 0:16:48 | |
He was highly versatile, not only did he paint, but he turned | 0:16:48 | 0:16:51 | |
his hand to book illustration and theatre design. | 0:16:51 | 0:16:55 | |
He was an absolutely delightful chap, very | 0:16:58 | 0:17:01 | |
popular with the country house set in the heady inter-war years. | 0:17:01 | 0:17:04 | |
He became personal friends with many of the families who commissioned his work and today I'm lucky enough | 0:17:04 | 0:17:10 | |
to talk to the present Lord Anglesey who still resides here in this magnificent house, Plas Newydd. | 0:17:10 | 0:17:15 | |
He's going to talk me through the mural and share some of his personal memories of Rex Whistler. | 0:17:15 | 0:17:21 | |
Lord Anglesey, how did the commission come about and what was the brief? | 0:17:26 | 0:17:31 | |
It's very interesting that, because when my father | 0:17:31 | 0:17:35 | |
made this room specially for him, other people asked that. | 0:17:35 | 0:17:41 | |
The answer was, he had just become THE fashionable painter. | 0:17:41 | 0:17:46 | |
Did the family have a say in what was going on in the mural? | 0:17:46 | 0:17:49 | |
Oh, yes. He discussed it with us the whole time. | 0:17:49 | 0:17:52 | |
How old were you when Rex was here painting? | 0:17:52 | 0:17:54 | |
When he first started, I was about 15, 16. | 0:17:54 | 0:17:59 | |
Yes. Did you take a liking to him? Was he a fun, artistic chap to know? | 0:17:59 | 0:18:04 | |
He became, for all of us, including my five sisters, an absolutely adorable friend. He loved children. | 0:18:04 | 0:18:11 | |
-He used to allow us, at all stages when it was just charcoal on canvas, to paint in. -Have a little scribble. | 0:18:11 | 0:18:19 | |
-He would help us. We learnt a lot. -Which was your bit? | 0:18:19 | 0:18:23 | |
Well, I tell you, three weeks later somehow it wasn't there any more. | 0:18:23 | 0:18:27 | |
Oh, really? | 0:18:27 | 0:18:29 | |
How long did it take him to do? | 0:18:29 | 0:18:31 | |
In good summer weather he would come and stay here, for a fortnight. | 0:18:31 | 0:18:37 | |
The trouble was, as he was a very, very fast worker, if the sun was | 0:18:37 | 0:18:42 | |
-shining we often found him not at it. -Oh really? | 0:18:42 | 0:18:45 | |
-He was sunbathing, was he? -Sunbathing, yes. | 0:18:45 | 0:18:49 | |
There's a lightness of touch in his work and a great sense of humour. | 0:18:49 | 0:18:52 | |
-Does that reflect the character you knew? -Yes, certainly. | 0:18:52 | 0:18:55 | |
He had a great sense of humour and he was contemplating life generally | 0:18:55 | 0:19:00 | |
-while he was here because he was in love with my elder sister, ten years older than me. -I gather that. | 0:19:00 | 0:19:06 | |
He had feelings for her. Were you aware of that at the time? | 0:19:06 | 0:19:08 | |
She didn't have much feeling for him. | 0:19:08 | 0:19:10 | |
She liked him but she didn't want to marry them. | 0:19:10 | 0:19:14 | |
This is absolutely beautiful. | 0:19:14 | 0:19:16 | |
Will you walk through the story and tell me how it unfolds? | 0:19:16 | 0:19:20 | |
There, is him as the gardener. | 0:19:20 | 0:19:22 | |
I don't think he'd ever got a weed out of anywhere. | 0:19:22 | 0:19:25 | |
No. Isn't that a wonderful perspective. | 0:19:25 | 0:19:27 | |
-You feel like you can walk right through those arches? -Absolutely. | 0:19:27 | 0:19:31 | |
That was what he was a particular master of, was perspective. | 0:19:31 | 0:19:34 | |
He got those arches exactly right. | 0:19:34 | 0:19:37 | |
That's perfect. | 0:19:37 | 0:19:39 | |
Show me how the story unfolds. | 0:19:39 | 0:19:42 | |
-Shall we start here. -OK. | 0:19:42 | 0:19:44 | |
First of all, here are three dogs and the one on the cushion always wore the best real pearls. | 0:19:44 | 0:19:52 | |
-Really? -Very spoilt. | 0:19:52 | 0:19:55 | |
This is my favourite. | 0:19:55 | 0:19:57 | |
This gothic bit here... | 0:19:57 | 0:20:00 | |
Perfect symmetry he's captured, it's almost like the work of an architect, isn't it? | 0:20:00 | 0:20:04 | |
He had this extraordinary memory. | 0:20:04 | 0:20:07 | |
If he had seen that building in reality, 10 years earlier... | 0:20:07 | 0:20:12 | |
He could capture it and remember. | 0:20:12 | 0:20:13 | |
No, but more than that he could tell you exactly how many windows there | 0:20:13 | 0:20:17 | |
were, exactly how many panes there were in the windows and how many doors and everything else. | 0:20:17 | 0:20:23 | |
He could remember it absolutely. | 0:20:23 | 0:20:25 | |
Any young man that you see in this painting is me. | 0:20:25 | 0:20:30 | |
Any older man, like that man and this man, who was at this end, are Rex. | 0:20:30 | 0:20:38 | |
My sister, with whom he was so madly in love, is any girl you see. | 0:20:38 | 0:20:44 | |
There is my sister, Caroline. | 0:20:44 | 0:20:47 | |
She was a beautiful girl, wasn't she? | 0:20:47 | 0:20:50 | |
She was. All my sisters were very good looking. | 0:20:50 | 0:20:53 | |
-One of them is still alive and she's my twin. -Oh, really? | 0:20:53 | 0:20:58 | |
The water looks like it's moving. | 0:20:58 | 0:21:01 | |
Yes, absolutely. | 0:21:01 | 0:21:02 | |
I remember as he was leaving, he had to leave it unfinished, he said, | 0:21:02 | 0:21:07 | |
"Of course, I should have made this water calm." | 0:21:07 | 0:21:11 | |
Yes, it's in the harbour, isn't it? | 0:21:11 | 0:21:13 | |
He never got around to that. | 0:21:13 | 0:21:16 | |
He was often cutting out bits he painted and said there's too much of this or not enough. | 0:21:16 | 0:21:21 | |
Really? He was his own self critic. | 0:21:21 | 0:21:23 | |
The whole time. I must just tell you one or two things about this. | 0:21:23 | 0:21:28 | |
This was a ship he painted out. | 0:21:28 | 0:21:30 | |
I think you can see it. | 0:21:30 | 0:21:32 | |
I can. You can just see the mast. | 0:21:32 | 0:21:34 | |
Why did he do that? | 0:21:34 | 0:21:36 | |
Because he said one day, "there are too many ships here." | 0:21:36 | 0:21:39 | |
A big brush, out it goes. | 0:21:39 | 0:21:41 | |
Next day, it's finished. | 0:21:41 | 0:21:43 | |
Amazing speed. | 0:21:43 | 0:21:45 | |
And there's my father's pre- First World War yacht. | 0:21:45 | 0:21:49 | |
-Yes. -Those were the days when we were rich. | 0:21:49 | 0:21:53 | |
You said with a big smile! | 0:21:53 | 0:21:55 | |
This is very fascinating because one evening we were all rather drunk and about to go to bed and Rex said, | 0:21:56 | 0:22:04 | |
"There's a ship here which I want to take out." | 0:22:04 | 0:22:08 | |
In the morning, we came down and here was this, this wonderful line. | 0:22:08 | 0:22:14 | |
He did that overnight. | 0:22:14 | 0:22:16 | |
He did it overnight and finished it off in the course of that day. | 0:22:16 | 0:22:20 | |
It must have been great for you to get up as a teenager | 0:22:20 | 0:22:23 | |
and come downstairs and wander through here and say, "I wonder what Rex has done next?" | 0:22:23 | 0:22:28 | |
Absolutely right. That happened often. | 0:22:28 | 0:22:30 | |
-The most important historical thing is... -Look at the footprints. | 0:22:30 | 0:22:34 | |
We've got footprints. Why are they there? Whose are they? | 0:22:34 | 0:22:37 | |
Someone's just come out of the water. | 0:22:37 | 0:22:40 | |
Like Neptune. | 0:22:40 | 0:22:41 | |
Neptune! You're quite right and there is his crown and his coral sceptre with a golden tip. | 0:22:41 | 0:22:48 | |
Then he was a master of doing this rigging. | 0:22:48 | 0:22:53 | |
My father, who knew about rigging, was amazed. | 0:22:53 | 0:22:57 | |
The detail is very good. | 0:22:57 | 0:22:59 | |
It is as if he spent time at sea to understand it. | 0:22:59 | 0:23:01 | |
He hadn't at all. He'd merely observed when he'd seen them, | 0:23:01 | 0:23:05 | |
as he was always observing, and my father said, "It's incredible you've got them almost exactly right." | 0:23:05 | 0:23:11 | |
-Nice, isn't it? -Yes. | 0:23:11 | 0:23:15 | |
I don't know who that is but it's probably my twin sister, Kitty. | 0:23:15 | 0:23:19 | |
She's holding a little doll. | 0:23:19 | 0:23:22 | |
Yes, you're right. I've never noticed it before. | 0:23:22 | 0:23:25 | |
Thank you very much. | 0:23:25 | 0:23:26 | |
Thank you. | 0:23:26 | 0:23:28 | |
Here is this great town and its full of all sorts of things. | 0:23:28 | 0:23:35 | |
Here is an amazing | 0:23:35 | 0:23:37 | |
helter skelter. | 0:23:37 | 0:23:40 | |
The fair going on there, which is nice, isn't it? | 0:23:40 | 0:23:44 | |
-How about that? -Look at that as a backdrop. | 0:23:44 | 0:23:47 | |
A wonderful mountain range. | 0:23:47 | 0:23:49 | |
Here is my father | 0:23:49 | 0:23:51 | |
as the creator of all of this. | 0:23:51 | 0:23:54 | |
-Was your father really happy with this mural? -Amazingly happy. | 0:23:54 | 0:23:58 | |
We all were, as you can imagine. | 0:23:58 | 0:24:00 | |
Here we have this wonderful picture of himself which we've already looked at | 0:24:00 | 0:24:07 | |
and here I longed to know what happens up there. | 0:24:07 | 0:24:10 | |
What happened when Rex finished the mural? Did he come back and stay often? | 0:24:12 | 0:24:17 | |
No, because the war came and he didn't finish it, as I've shown. | 0:24:17 | 0:24:22 | |
He then became an officer in the Welsh Guards. | 0:24:22 | 0:24:25 | |
He wanted to go over and fight. | 0:24:25 | 0:24:27 | |
"I want to go and get killed." | 0:24:27 | 0:24:28 | |
He did as well, didn't he, at the age of 39? | 0:24:28 | 0:24:30 | |
He got killed before he saw suspicion of the German. | 0:24:30 | 0:24:34 | |
It was a mortar, wasn't it, in Normandy that got him? | 0:24:34 | 0:24:37 | |
It was, indeed. | 0:24:37 | 0:24:40 | |
Tragic. | 0:24:40 | 0:24:41 | |
I was in Italy at that time. Fighting the Nazis too. | 0:24:41 | 0:24:44 | |
I heard the news and my first reaction was, | 0:24:46 | 0:24:51 | |
"Oh, he was so incompetent at anything except painting and drawing. | 0:24:51 | 0:24:58 | |
"It was too awful." | 0:24:58 | 0:24:59 | |
It's just incredible, isn't it? So much to take in all at once. | 0:25:05 | 0:25:08 | |
You need to spend a day or two looking at it. | 0:25:08 | 0:25:10 | |
Well, I tell you, I spent two years before I was certain and you showed me that doll. | 0:25:10 | 0:25:15 | |
I assumed, you see, and I wasn't certain where everything was. | 0:25:15 | 0:25:19 | |
-Thank you for that. -That's OK. | 0:25:21 | 0:25:23 | |
So, there you are. Rex Whistler's marvellous 18 metre mural. | 0:25:26 | 0:25:30 | |
Wasn't that a real eye-opener? | 0:25:30 | 0:25:32 | |
I just think it acts as a time capsule, really. | 0:25:32 | 0:25:35 | |
It gives us a glimpse into the past in the 1930s, with all the glitz and the glamour that the privileged had. | 0:25:35 | 0:25:41 | |
Living in houses like this. A last flowering of life, if you like, | 0:25:41 | 0:25:46 | |
before it was cruelly swept away forever by the Second World War. | 0:25:46 | 0:25:49 | |
At the Pritchard Jones Hall in Bangor, there's still plenty to be examined. | 0:25:56 | 0:25:59 | |
Our team of experts are at full tilt working their way through the crowd. | 0:25:59 | 0:26:04 | |
Adam is in his element. He's with Edwina and Ivor, and they have a violin case on the table. | 0:26:04 | 0:26:10 | |
-I'm always excited to see a violin case. -Oh, right. | 0:26:10 | 0:26:13 | |
It's one of my areas, violins. One of the things I know about. | 0:26:13 | 0:26:15 | |
Tell me about yourselves, first of all. | 0:26:15 | 0:26:17 | |
Where do you come from? | 0:26:17 | 0:26:19 | |
We live in Llanfairpwllgwyngyllgogerychwyrndrob wllllantysiliogogogoch. | 0:26:21 | 0:26:25 | |
-Do you really? -Yes, we do, yes. -Can you say that, Edwina? | 0:26:25 | 0:26:29 | |
-I can. Llanfairpwllgwyngyllgogerychwyrndrob wllllantysiliogogogoch. -OK. | 0:26:29 | 0:26:34 | |
-And I'm not Welsh! -You're not Welsh? | 0:26:34 | 0:26:36 | |
You did very well! And you've brought a violin too. | 0:26:36 | 0:26:38 | |
Can't get much better. Now, the case looks a bit tatty. | 0:26:38 | 0:26:41 | |
-It does. -Where did you get it from? | 0:26:41 | 0:26:43 | |
It belongs to my son in law Peter. | 0:26:43 | 0:26:45 | |
Does he know you've got it? | 0:26:45 | 0:26:46 | |
He does. | 0:26:46 | 0:26:48 | |
Last night he said, "I've got a violin in my attic. Would you like to take that?" | 0:26:48 | 0:26:51 | |
And how has it come to be in his attic? | 0:26:51 | 0:26:55 | |
Well, he doesn't play it. | 0:26:55 | 0:26:56 | |
And neither do the grandchildren. | 0:26:56 | 0:26:58 | |
-So, where did he get it from? -It belonged to his grandfather. | 0:26:58 | 0:27:01 | |
Right. | 0:27:01 | 0:27:03 | |
Peter played this in a youth orchestra. | 0:27:03 | 0:27:05 | |
But he doesn't play it any more. | 0:27:05 | 0:27:07 | |
-Shall we have a look at it? -Can do, yes. | 0:27:07 | 0:27:09 | |
Well, there we go. Now then. | 0:27:11 | 0:27:13 | |
Let's get the instrument. | 0:27:13 | 0:27:15 | |
That bridge has fallen off, but that's not a major problem. | 0:27:15 | 0:27:18 | |
That can be put back up. | 0:27:18 | 0:27:19 | |
You're lucky that you haven't got all the strings on it, otherwise I'd be playing it. | 0:27:19 | 0:27:23 | |
Then we'd clear that hall pretty quickly! | 0:27:23 | 0:27:26 | |
It's got a one a piece back there. Sometimes they have a two piece back. | 0:27:26 | 0:27:30 | |
-Oh, right. -This is a one piece back made from maple. | 0:27:30 | 0:27:34 | |
And on the front there, we call that the table, violin people, rather than the front. | 0:27:34 | 0:27:38 | |
That's made from pine. | 0:27:38 | 0:27:40 | |
Inside, there's a label. I can just glimpse a label. | 0:27:40 | 0:27:43 | |
And it says, "M Costelli, Paris. | 0:27:43 | 0:27:47 | |
"Lucier artistique 1895." | 0:27:47 | 0:27:50 | |
-So it's French? -It's French. -Oh, right. | 0:27:50 | 0:27:52 | |
-She's smart, isn't she? -Yes, oh yes. | 0:27:52 | 0:27:56 | |
-Now, this Costelli sounds like an Italian name. -It does. | 0:27:56 | 0:27:59 | |
And the Italians were very well known for the finest violins. | 0:27:59 | 0:28:04 | |
French violins are also quite highly regarded. And then, usually another | 0:28:04 | 0:28:07 | |
step down to the German violins which were more mass produced. | 0:28:07 | 0:28:11 | |
This is in good condition. People looking will think, | 0:28:11 | 0:28:14 | |
"Ooh, it's no good, it's got no strings." | 0:28:14 | 0:28:16 | |
-But it really doesn't matter. -It can be restrung. | 0:28:16 | 0:28:18 | |
It can be restrung for £60, something like that. | 0:28:18 | 0:28:21 | |
Not a lot. Under £100 you can get that into a playable condition. | 0:28:21 | 0:28:25 | |
There's no cracks, which is the major thing. | 0:28:25 | 0:28:27 | |
He was obviously quite enthusiastic, granddad, because he's managed to knock a corner off there. | 0:28:27 | 0:28:32 | |
-With the bow? -That's from really enjoying it with the bow, | 0:28:32 | 0:28:35 | |
and maybe he just caught that, as he's been playing it, you know? | 0:28:35 | 0:28:39 | |
He's really enjoying himself, bang, off goes the corner. | 0:28:39 | 0:28:42 | |
But that's just a cosmetic thing, again, that can be sorted. | 0:28:42 | 0:28:45 | |
We always check the bows, because sometimes it's worth more than the instrument. | 0:28:45 | 0:28:49 | |
Oh, right. | 0:28:49 | 0:28:51 | |
Let's have a quick look at that one. | 0:28:51 | 0:28:53 | |
-What's this, horse hair? -Horse hair, yes, that's right. | 0:28:53 | 0:28:56 | |
So, you haven't got any special individual value with the bows. | 0:28:56 | 0:28:59 | |
-So, what do you think your broken violin and a tatty old case is worth, then? -Haven't got a clue. | 0:28:59 | 0:29:06 | |
-Not a clue. -No? We know nothing about violins. No guesses? | 0:29:06 | 0:29:09 | |
-No, not at all. -50 quid? -No idea. | 0:29:09 | 0:29:11 | |
-Would you take that? -No idea. | 0:29:11 | 0:29:13 | |
I think it's more than that. | 0:29:13 | 0:29:14 | |
-French violins can make a few hundred pounds. -Can they? | 0:29:14 | 0:29:17 | |
-The most famous ones can make even more than that. Early thousands. -Oh, right. | 0:29:17 | 0:29:21 | |
This Costelli isn't a very well known or highly regarded maker. | 0:29:21 | 0:29:25 | |
So, I'd go on the cautious end, and put £100 to £200 estimate on it. | 0:29:25 | 0:29:29 | |
-Right. -And put a reserve of 100. | 0:29:29 | 0:29:31 | |
-It's definitely worth £100 whatever happens. -Is it? -Yeah, All day long. | 0:29:31 | 0:29:35 | |
-Oh, right. -If it doesn't make £100, it's not worth selling it. -No. | 0:29:35 | 0:29:38 | |
So I'd try that. Put £100 reserve, if it doesn't sell, you'll have to take it up and learn it. | 0:29:38 | 0:29:44 | |
-I could give you some lessons. -What, at my age? | 0:29:44 | 0:29:47 | |
Nice idea, but I don't think they'll be taking up the violin. I think it'll sell. | 0:29:49 | 0:29:53 | |
-Hello, what's your name? -Liz. -Liz, pleased to meet you. Are you local? | 0:29:55 | 0:29:59 | |
-Yes. -Do you live in Bangor? | 0:29:59 | 0:30:00 | |
-No, Llanberis. -Is that just down the road? | 0:30:00 | 0:30:03 | |
Not far, nine miles away. | 0:30:03 | 0:30:04 | |
-Well, this is nice, it's like a yard rule, isn't it? -It is. | 0:30:04 | 0:30:07 | |
I bet this belongs to a seamstress? | 0:30:07 | 0:30:08 | |
-Yes. -For turning cloth on a large table. | 0:30:08 | 0:30:13 | |
Has this been in the family long? | 0:30:13 | 0:30:14 | |
Yes, it was my father's sister, she was a tailoress. | 0:30:14 | 0:30:18 | |
She'd have been nearly 100 now, and she had it most of her life. | 0:30:18 | 0:30:21 | |
Yeah, I'd put this at early Edwardian, actually. | 0:30:21 | 0:30:24 | |
So it's been around for a little bit of time. | 0:30:24 | 0:30:26 | |
You don't want to sell this though, do you? You're not going to sell this? | 0:30:26 | 0:30:30 | |
Because we've got small grandchildren, and they tend to... | 0:30:30 | 0:30:33 | |
I know what you're going to say! Sword fighting! | 0:30:33 | 0:30:36 | |
It makes a good sword, doesn't it, if you're a little kid? | 0:30:36 | 0:30:39 | |
So just in case. With it being so old. | 0:30:39 | 0:30:41 | |
Look, if you put something like that into auction, it's only going to realise around about £40 to £60. | 0:30:41 | 0:30:46 | |
-Uh-huh. -I think it's worth an awful lot more | 0:30:46 | 0:30:50 | |
in sentimental value if you hang on to it, I really do. | 0:30:50 | 0:30:53 | |
I really do. Because, by the time you pay commission, | 0:30:53 | 0:30:57 | |
you might not be left with an awful lot of money. | 0:30:57 | 0:31:00 | |
Surely you can find another use for it, not a sword stick?! | 0:31:00 | 0:31:04 | |
-Use it, take up dressmaking! -Oh, dear me. | 0:31:04 | 0:31:07 | |
Now Mark has a very good question for our next owner. | 0:31:10 | 0:31:14 | |
Dora. | 0:31:14 | 0:31:15 | |
-Why are you selling such a pretty-looking vase? -It's only stuck in the cupboard. | 0:31:15 | 0:31:19 | |
Only stuck in the cupboard, is it? | 0:31:19 | 0:31:22 | |
-It's charming, isn't it? -It is, I like it. | 0:31:22 | 0:31:24 | |
It is lovely colours, really spring colours, actually. These very delicate oranges and greens. | 0:31:24 | 0:31:29 | |
It really took my eye when I saw it. | 0:31:29 | 0:31:31 | |
-It is, and is it a family piece? -No. | 0:31:31 | 0:31:33 | |
-You bought it? -Yes. -When? | 0:31:33 | 0:31:36 | |
Must be 18 years ago. | 0:31:36 | 0:31:37 | |
-Gosh! And what did you pay for it 18 years ago? -Half a crown. | 0:31:37 | 0:31:41 | |
Half a crown, that's 25p, isn't it? | 0:31:41 | 0:31:42 | |
-25p now, yes. -Wow. And is it a bargain, do you think? | 0:31:42 | 0:31:45 | |
Oh, yes. | 0:31:45 | 0:31:47 | |
And have you used it to put flowers and things in? | 0:31:47 | 0:31:49 | |
I did, yes. And then, when we had the cats and the dog, | 0:31:49 | 0:31:53 | |
-I said, no. -I think it's lovely. And you've looked after it, you haven't damaged it, which is the main thing. | 0:31:53 | 0:31:58 | |
It's a really nice piece. | 0:31:58 | 0:31:59 | |
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. | 0:31:59 | 0:32:04 | |
Because I know who designed this vase. | 0:32:04 | 0:32:06 | |
Very typical of her work, and we've filmed a lot of things of hers on the show. | 0:32:06 | 0:32:10 | |
It's not Clarice Cliff, it's the other well known art deco designer, Charlotte Reid. | 0:32:10 | 0:32:15 | |
And we know her typically, straight away, with this lovely two line decoration. | 0:32:15 | 0:32:19 | |
And I love this sort of shaped, ribbed body. | 0:32:19 | 0:32:22 | |
We will just have a little look at the mark. And there we've got | 0:32:22 | 0:32:25 | |
"C Reid, Crown Ducal," | 0:32:25 | 0:32:28 | |
which is one of the firms she worked for. And then a shape number as well. | 0:32:28 | 0:32:31 | |
But it really is quite typical of the 1930s, the mottled glaze, and the lovely decoration. | 0:32:31 | 0:32:38 | |
And you've had it a long time. Why have you decided to sell it today? | 0:32:38 | 0:32:42 | |
18 years I think I've had it. | 0:32:42 | 0:32:46 | |
I'm getting older, nobody wants it. | 0:32:46 | 0:32:47 | |
Nobody wants it? | 0:32:47 | 0:32:50 | |
It's a bygone era, isn't it, you see? | 0:32:50 | 0:32:52 | |
Well, I think it's a lovely item. | 0:32:52 | 0:32:54 | |
It's not going to be worth a huge amount, because it's quite a small piece by Charlotte Reid. | 0:32:54 | 0:32:59 | |
The things that make a lot of money are the big decorative chargers. | 0:32:59 | 0:33:03 | |
But I think, if we were putting that vase in for auction, we'd be looking at around £40 to £50. | 0:33:03 | 0:33:08 | |
-Would you be happy with that? -Yes. | 0:33:08 | 0:33:11 | |
-Ish. -Ish, and more! | 0:33:11 | 0:33:13 | |
Well, we all want more, don't we, really? But I think we've got to be sensible. | 0:33:13 | 0:33:17 | |
It's a nice little piece, but if we put £40 to £50 on it, we might then hit the £50 or £60 mark. | 0:33:17 | 0:33:23 | |
-And we'll put a reserve of 35 on it, is that all right? -Yes. -Fantastic. | 0:33:23 | 0:33:27 | |
Dora certainly got a bargain there. | 0:33:29 | 0:33:32 | |
Next, Adam has spotted some quality decanters. | 0:33:32 | 0:33:36 | |
-Steve, welcome to Flog It!. -Thank you. | 0:33:36 | 0:33:38 | |
-How are you doing? -All right, fine. -Good. You've got a nice thing here. | 0:33:38 | 0:33:43 | |
-Yes, it's very precious. -Is it? | 0:33:43 | 0:33:44 | |
-I hope so! -Well, is it precious to you sentimentally? | 0:33:44 | 0:33:48 | |
In a way, yes. | 0:33:48 | 0:33:49 | |
But it's been up in the loft now for 20 odd years, doing nothing. So I might as well... | 0:33:49 | 0:33:54 | |
If we could clear every loft in the land, I think we'd solve the economy. | 0:33:54 | 0:33:59 | |
The amount of stuff people have in the loft. | 0:34:01 | 0:34:03 | |
-Yeah. -Where was it before the loft? How did it come to be in your family's possession? | 0:34:03 | 0:34:07 | |
My grandfather and granny, and my mother, worked | 0:34:07 | 0:34:11 | |
in a hall in Formby. | 0:34:11 | 0:34:12 | |
-So they were in service? -Yes, service. | 0:34:12 | 0:34:14 | |
You know, the last of the upstairs/downstairs people. | 0:34:14 | 0:34:17 | |
My granny was the cook, and my grandfather was a butler. And my mother was a maid. | 0:34:17 | 0:34:21 | |
-And where was that? -That was in Formby Hall. | 0:34:21 | 0:34:25 | |
-OK, Merseyside? -Yes, Merseyside. | 0:34:25 | 0:34:27 | |
Excellent. And so, how do you think they got these? | 0:34:27 | 0:34:30 | |
-Do you think they were given then? -I think they were given them. | 0:34:30 | 0:34:34 | |
-As a sort of thank you gift or retirement gift or something like that? -Could have been, yes. | 0:34:34 | 0:34:38 | |
Could have been. Well, it's a very posh thing this, really. | 0:34:38 | 0:34:41 | |
Look at the thickness of the wood as well. | 0:34:41 | 0:34:43 | |
It's made out of coromandel, which is an exotic and expensive timber, that was mainly used to make small things. | 0:34:43 | 0:34:49 | |
You don't see much furniture made out of it, it was all boxes and small things like this. | 0:34:49 | 0:34:55 | |
It's fitted with two really nice quality decanters. | 0:34:55 | 0:34:58 | |
-Is it English made, do you think? -Yes, it is. Definitely English made. | 0:34:58 | 0:35:02 | |
Another sign of quality, you've also got the key, which is quite unusual. | 0:35:02 | 0:35:05 | |
Most things have lost their keys by now. | 0:35:05 | 0:35:08 | |
And you've got this special type of lock on here. Brahma patent lock. | 0:35:08 | 0:35:13 | |
-Oh, yes. -Now these locks are a special secure lock. | 0:35:13 | 0:35:17 | |
I remember you saying before we started, you said, | 0:35:17 | 0:35:20 | |
"Don't shut it, because it's a terrible thing to open!" | 0:35:20 | 0:35:22 | |
-Yes. -That's because of this lock, it's a patent lock. | 0:35:22 | 0:35:25 | |
And it's wonderful quality. | 0:35:25 | 0:35:27 | |
Brahma's patent. And you only see it on fine things. | 0:35:27 | 0:35:30 | |
So it's also another sign of quality. | 0:35:30 | 0:35:32 | |
That's why it took us ages to open it! | 0:35:32 | 0:35:35 | |
They used to use that as they were travelling along, carriages and things? | 0:35:35 | 0:35:39 | |
In a carriage, or if you were travelling out, rather than take your liqueur just in a bottle. | 0:35:39 | 0:35:45 | |
The more refined people would take them in decanters in a fitted | 0:35:45 | 0:35:48 | |
coromandel case with a flush brass carrying handle on the top as well. | 0:35:48 | 0:35:53 | |
It's just all lovely quality, really. | 0:35:53 | 0:35:55 | |
Now of course it's, what, 1850s or so? | 0:35:55 | 0:35:58 | |
So it's been around 150 years plus. | 0:35:58 | 0:36:00 | |
150 years plus. | 0:36:00 | 0:36:02 | |
It's had a bit of a hard life in places, hasn't it? | 0:36:02 | 0:36:05 | |
-It's not too bad. -Little nicks in it. | 0:36:05 | 0:36:07 | |
With these things here, they're always nice on the front and on | 0:36:07 | 0:36:10 | |
-top, but then they were cheaper on the sides and the back. -Yeah. | 0:36:10 | 0:36:14 | |
And if you see on the side there, you've got a bit of damage. | 0:36:14 | 0:36:18 | |
And on the back, it's not nearly as posh as it is on the front. | 0:36:18 | 0:36:21 | |
No, that's right. | 0:36:21 | 0:36:22 | |
So that's often the way with these things. It's a nice thing. | 0:36:22 | 0:36:25 | |
How much do you think it might be worth? | 0:36:25 | 0:36:28 | |
What do you think it's worth? | 0:36:28 | 0:36:29 | |
I don't know, I haven't a clue | 0:36:29 | 0:36:31 | |
-to be honest. -Realistically, in that order, | 0:36:31 | 0:36:33 | |
because the glass isn't perfect either, there are a few little minor grazes really, aren't there? | 0:36:33 | 0:36:39 | |
But I'd have thought between £100 and £200 is your likely realised price. | 0:36:39 | 0:36:43 | |
-Sounds all right. -Maybe a touch more. | 0:36:43 | 0:36:45 | |
But I think that's fairly realistic. | 0:36:45 | 0:36:47 | |
I'd put a reserve of 100. | 0:36:47 | 0:36:49 | |
And, if it doesn't make 100, maybe give it 10% leeway just in case, if that's all right with you? | 0:36:49 | 0:36:54 | |
If it doesn't make £90/£100, then keep it. | 0:36:54 | 0:36:57 | |
But, all in all, a good quality object. | 0:36:57 | 0:36:59 | |
If it makes 150 quid, what will you do with it? | 0:36:59 | 0:37:02 | |
Finish my kitchen off. | 0:37:02 | 0:37:04 | |
Really? | 0:37:04 | 0:37:05 | |
Now that's a story I've heard before. | 0:37:05 | 0:37:08 | |
Let's remind ourselves of the remaining items to go under the hammer at auction. | 0:37:08 | 0:37:13 | |
I really don't think that Ivor and Edwina's son in law Peter should worry. | 0:37:15 | 0:37:18 | |
There won't be any problem selling his French violin. | 0:37:18 | 0:37:22 | |
And I think Dora will be getting a good return on her half a crown, | 0:37:23 | 0:37:27 | |
when the Charlotte Reid vase goes under the hammer. | 0:37:27 | 0:37:30 | |
Steve needs to get on with that kitchen, so let's hope the sale of the decanters will help fund it. | 0:37:30 | 0:37:35 | |
There's a lively atmosphere at the auction house, so fingers crossed. | 0:37:39 | 0:37:42 | |
First up are Steve's decanters. | 0:37:42 | 0:37:45 | |
His wife Anne has joined him, probably because she's keen to get her kitchen finished too. | 0:37:45 | 0:37:50 | |
Fingers crossed, Anne and Steve. OK? | 0:37:50 | 0:37:52 | |
I know you're feeling a bit nervous, we're just about to sell the decanters. | 0:37:52 | 0:37:56 | |
We're looking for about £100 to £200. | 0:37:56 | 0:37:58 | |
-Happy with that? -Yeah, I think so. | 0:37:58 | 0:38:01 | |
Confident as ever, cocky as ever. | 0:38:01 | 0:38:02 | |
Yes, he is. | 0:38:02 | 0:38:04 | |
Let's hope we get the top end. | 0:38:04 | 0:38:05 | |
Good luck, it's going under the hammer right now. This is it. | 0:38:05 | 0:38:08 | |
And the very nice Amboina decanter box containing two decanters. | 0:38:10 | 0:38:15 | |
With mushroom stoppers. | 0:38:15 | 0:38:18 | |
Bids all over the book on this one. | 0:38:18 | 0:38:20 | |
-453. -Wow! Straight into... | 0:38:20 | 0:38:23 | |
No, that's the lot number! | 0:38:23 | 0:38:25 | |
You've got to keep alert at auctions, believe me! | 0:38:27 | 0:38:30 | |
70 if you like? At 170. | 0:38:30 | 0:38:32 | |
180, 180 bid. Is there 90? At 180. | 0:38:32 | 0:38:36 | |
90. 190. Level money? | 0:38:36 | 0:38:40 | |
I'd better not fan, I might bid it. | 0:38:40 | 0:38:42 | |
Level money? At 190. | 0:38:42 | 0:38:44 | |
That's a good result. | 0:38:44 | 0:38:46 | |
-Top end of estimate. -At £190. | 0:38:46 | 0:38:49 | |
We'll settle for that. | 0:38:49 | 0:38:50 | |
I think that's drinks all round, £190. Well done, Madam. | 0:38:50 | 0:38:54 | |
-Happy with that? -Yes, yes. | 0:38:54 | 0:38:56 | |
-It was our anniversary the other day. -Was it? I was about to say, | 0:38:56 | 0:38:59 | |
-what would you put the money towards or spend on? -46 years. | 0:38:59 | 0:39:02 | |
-46 years together, still in love as well. Happy as ever. -Just about! | 0:39:02 | 0:39:06 | |
Of course they are. Next up, the pretty Charlotte Reid vase. | 0:39:07 | 0:39:11 | |
It's a lovely little vase valued by Mark, our expert. | 0:39:13 | 0:39:15 | |
-It belongs to Dora, and I'm ever so jealous. -Are you now? | 0:39:15 | 0:39:18 | |
Yes, because Dora lives in Anglesey. | 0:39:18 | 0:39:20 | |
I don't want the Charlotte Reid vase, but I'd love to live in Anglesey. Have you got a sea view? | 0:39:20 | 0:39:24 | |
Yes. All the way from Holyhead to Point Lynas. | 0:39:24 | 0:39:28 | |
And have you lived there all your life? | 0:39:28 | 0:39:31 | |
-No, 30 years. -30 years. | 0:39:31 | 0:39:33 | |
-Where were you before that? -Near Pwhelli. | 0:39:33 | 0:39:36 | |
-Between Nefyn and Pwhelli. -North Wales born and bred, then? | 0:39:36 | 0:39:39 | |
-Yes. -What a great part of the world, isn't it? | 0:39:39 | 0:39:41 | |
You look so healthy as well. | 0:39:41 | 0:39:43 | |
That's all that sea air, isn't it? | 0:39:43 | 0:39:45 | |
-All the gardening. -Do you love gardening? -I do. | 0:39:45 | 0:39:48 | |
Look, good luck with the Charlotte Reid vase. Everyone will love this. | 0:39:48 | 0:39:52 | |
I'd had it for years before I found the name on it! | 0:39:52 | 0:39:55 | |
It is rather sweet. The design is very typical. | 0:39:55 | 0:39:58 | |
The auctioneer liked this. | 0:39:58 | 0:40:00 | |
-It'll do well. -Oh, good. -And it's coming under the hammer right now. | 0:40:00 | 0:40:03 | |
Lot 219, the very nice Crown Ducal wide necked vase. Charlotte Reid. | 0:40:04 | 0:40:10 | |
Number 213 to the base. | 0:40:10 | 0:40:12 | |
Start on the book, I've got book bids. Bids start at 70. | 0:40:12 | 0:40:15 | |
Top end, straight in. | 0:40:15 | 0:40:17 | |
At 70, 70 bid. It's a little beaut. | 0:40:17 | 0:40:21 | |
5, 80? 80 bid. | 0:40:21 | 0:40:24 | |
85? 90. £90. Coming back? | 0:40:24 | 0:40:28 | |
90, with me. Anybody else? At £90. | 0:40:28 | 0:40:32 | |
That's not bad, is it, £90? | 0:40:32 | 0:40:34 | |
Final call at £90. Level money would be nice. | 0:40:34 | 0:40:36 | |
-That's very good. -Make no mistake. | 0:40:36 | 0:40:39 | |
Great result, and good luck. | 0:40:39 | 0:40:41 | |
-Good luck with the garden, I bet all the money is going on some more plants, is it? -A bit of it. | 0:40:41 | 0:40:46 | |
And a bit of manual labour? | 0:40:46 | 0:40:48 | |
Strong young man in to sort of...? | 0:40:48 | 0:40:50 | |
No? It's all you? | 0:40:50 | 0:40:52 | |
Well, that's the spirit, Dora. | 0:40:55 | 0:40:57 | |
Our final lot is the French violin belonging to Ivor and Edwina's son in law Peter. | 0:40:57 | 0:41:02 | |
Edwina and Ivor, good luck with this one. | 0:41:04 | 0:41:07 | |
Just about to put the violin under the hammer, and it's a good job Adam Partridge was at our valuation, | 0:41:07 | 0:41:12 | |
because he's the only expert that understands violins! | 0:41:12 | 0:41:15 | |
We all go, "This is nice. Unfortunately Adam's not here today." | 0:41:15 | 0:41:19 | |
Because he doesn't do every single one, and we kind of pass the violin around. | 0:41:19 | 0:41:23 | |
Will this do a little more than 150? | 0:41:23 | 0:41:26 | |
It should make 200 or 300 really, I suppose. | 0:41:26 | 0:41:28 | |
But it's got a few condition issues. | 0:41:28 | 0:41:30 | |
Just the corners, cosmetic things, which may put people off. | 0:41:30 | 0:41:33 | |
I think the estimate is about right. | 0:41:33 | 0:41:35 | |
I'd like to see it make a bit more, of course. | 0:41:35 | 0:41:37 | |
That would be nice for everyone. | 0:41:37 | 0:41:39 | |
Good luck. It's going under the hammer now. | 0:41:39 | 0:41:41 | |
Very, very nice violin. I've had a lot of interest in it. | 0:41:41 | 0:41:45 | |
Start me £300. | 0:41:45 | 0:41:46 | |
Deathly silence. | 0:41:46 | 0:41:48 | |
-200? -Come on, where are the hands? | 0:41:48 | 0:41:50 | |
Opening bid of 100. £100. | 0:41:50 | 0:41:53 | |
-I'm feeling nervous now. -100 bid. | 0:41:53 | 0:41:55 | |
125, 150? | 0:41:55 | 0:41:57 | |
150? | 0:41:57 | 0:42:00 | |
150 bid. 175? | 0:42:00 | 0:42:02 | |
That's what you said. | 0:42:02 | 0:42:04 | |
Is there 200? At 175, 200? | 0:42:04 | 0:42:06 | |
A new bidder. At 200. 25? 225 online. | 0:42:06 | 0:42:12 | |
250 on the phone. | 0:42:12 | 0:42:14 | |
Now it's creeping up. They don't want to lose it. | 0:42:14 | 0:42:17 | |
275 online. | 0:42:17 | 0:42:19 | |
300 on the phone. 300 I'm bid. | 0:42:19 | 0:42:21 | |
25 online. | 0:42:21 | 0:42:23 | |
350 on the phone. At 350. 75 online. | 0:42:23 | 0:42:30 | |
400 on the phone. | 0:42:30 | 0:42:32 | |
I'd like to be going 50s now. | 0:42:32 | 0:42:33 | |
425 online. 450. | 0:42:33 | 0:42:38 | |
475 online. | 0:42:38 | 0:42:41 | |
-475! -500 on the phone. | 0:42:41 | 0:42:44 | |
At £500. 525. | 0:42:45 | 0:42:49 | |
525 online. | 0:42:49 | 0:42:52 | |
Final call. | 0:42:52 | 0:42:54 | |
-It's slowed down. -They haven't seen it! | 0:42:54 | 0:42:56 | |
All done? | 0:42:56 | 0:42:58 | |
No second thoughts? | 0:42:58 | 0:43:00 | |
-£525. That ended in a crescendo, didn't it? -It did. | 0:43:00 | 0:43:07 | |
-What a wonderful moment, hey? -Fantastic. | 0:43:07 | 0:43:10 | |
You can find details of our next valuation days by logging on to the internet. | 0:43:12 | 0:43:17 | |
Click F for "Flog It!" and then follow the links to find a list of towns that we're coming to soon. | 0:43:20 | 0:43:25 | |
Subtitles by Red Bee Media Ltd | 0:43:25 | 0:43:28 | |
E-mail [email protected] | 0:43:28 | 0:43:30 |