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Welcome to Flog It, the show that values antiques and collectables | 0:00:02 | 0:00:06 | |
then puts them under the hammer at auction. | 0:00:06 | 0:00:09 | |
We're in the far northwest corner of Wales, the city of Bangor. | 0:00:09 | 0:00:13 | |
'The BBC has a long association with Bangor. | 0:00:35 | 0:00:39 | |
'As bombs dropped on London during the War, | 0:00:39 | 0:00:42 | |
'BBC Light Entertainment moved here. | 0:00:42 | 0:00:44 | |
'Popular radio programmes from the '40s such as It's That Man Again | 0:00:44 | 0:00:49 | |
'were broadcast live from the County Theatre, now Penrhyn Hall.' | 0:00:49 | 0:00:55 | |
Ladies and gentlemen, ITMA! | 0:00:55 | 0:00:57 | |
'ITMA, as it was known, was listened to by up to half the population - | 0:00:57 | 0:01:02 | |
'about 20 million people - the most popular comedy show on radio. | 0:01:02 | 0:01:07 | |
'It provided essential relief from the horrors of the Second World War.' | 0:01:07 | 0:01:13 | |
We're keeping up the tradition of providing entertainment from Bangor. | 0:01:15 | 0:01:19 | |
Flog It has come to town. | 0:01:19 | 0:01:22 | |
'We have a show full of surprises. | 0:01:27 | 0:01:29 | |
'Pamela and Glyn bring in an item which is not what it seems.' | 0:01:29 | 0:01:34 | |
I thought it was a candlestick until we looked at it. | 0:01:34 | 0:01:39 | |
There's a hole in the top and a hole on the side. | 0:01:39 | 0:01:44 | |
'Mark sounds confident about Derek's sextant.' | 0:01:44 | 0:01:47 | |
It's a specialist collecting area. | 0:01:47 | 0:01:49 | |
Anything to do with marine items are quite keenly sought after... | 0:01:49 | 0:01:55 | |
'I'm excited about Alwyn's painting.' | 0:01:55 | 0:01:59 | |
He's very well sought after. You're looking at about £4,000 to £6,000. | 0:01:59 | 0:02:04 | |
'But is it a fake?' | 0:02:04 | 0:02:06 | |
David Cox's works are highly forged. | 0:02:06 | 0:02:09 | |
'Find out later what happens at auction. | 0:02:09 | 0:02:12 | |
'Leading our team of valuers are Mark Stacey and Adam Partridge. | 0:02:12 | 0:02:18 | |
'Mark grew up in Wales and should feel at home in Bangor.' | 0:02:20 | 0:02:24 | |
-You really are a charmer. -I try to be! | 0:02:24 | 0:02:29 | |
'After a lifetime in the business, | 0:02:29 | 0:02:31 | |
'Adam is regarded as a safe pair of hands - well, usually. | 0:02:31 | 0:02:37 | |
'Right, on to our first item, and a colourful number | 0:02:38 | 0:02:42 | |
'brought in by Pamela and Glyn has Mark's attention.' | 0:02:42 | 0:02:46 | |
-What a wonderful decorative object. -Thank you. | 0:02:46 | 0:02:50 | |
-Why have you brought it in? -We thought we might sell it. | 0:02:50 | 0:02:55 | |
Is it something you bought or inherited? | 0:02:55 | 0:02:58 | |
-We bought it at an auction. -Where did you buy it? -Anglesey. | 0:02:58 | 0:03:02 | |
-That was about five years ago. -Gosh. And what did you pay for it? | 0:03:02 | 0:03:07 | |
I'm afraid we can't remember. | 0:03:07 | 0:03:10 | |
£20 or something? | 0:03:10 | 0:03:13 | |
We have a book where we've written things down but can't find it. | 0:03:13 | 0:03:18 | |
It's in your secret place. I hide something in a secret place and can't remember where. | 0:03:18 | 0:03:25 | |
It's quite an interesting object. | 0:03:25 | 0:03:28 | |
It was made by Minton's Art Pottery towards the end of the 19th century, | 0:03:28 | 0:03:34 | |
when Minton's opened up studios by the artists | 0:03:34 | 0:03:38 | |
to produce avant-garde designs. | 0:03:38 | 0:03:40 | |
This is very much modelled on the German movement called secessionism. | 0:03:40 | 0:03:46 | |
You get these angular shapes and stylised designs. | 0:03:46 | 0:03:51 | |
Here we've got poppies with the seeds in there. | 0:03:51 | 0:03:55 | |
You've got these wonderful colours, drip glazes. | 0:03:55 | 0:03:59 | |
What's unusual is we see a lot of vases and jardinieres, | 0:03:59 | 0:04:03 | |
but I don't come across candlesticks often. | 0:04:03 | 0:04:06 | |
What is puzzling me with this | 0:04:06 | 0:04:08 | |
is I thought it was a candlestick until we've looked at it. | 0:04:08 | 0:04:13 | |
We realise there's a hole in the top and a hole on the side. | 0:04:13 | 0:04:18 | |
It's made in the manufacture cos the glaze is dripped into it. | 0:04:18 | 0:04:24 | |
The only reason I can think that's there | 0:04:24 | 0:04:28 | |
is for conversion into electricity, | 0:04:28 | 0:04:31 | |
to make it a little bedside lamp. | 0:04:31 | 0:04:35 | |
It makes it more unusual and I love that decorative shape of it. | 0:04:35 | 0:04:40 | |
When we turn it over, we can see the lovely Minton No 1. | 0:04:40 | 0:04:46 | |
I'm intrigued. | 0:04:46 | 0:04:48 | |
You bought it at auction. Were you going to collect things like this or was it an impulse buy? | 0:04:48 | 0:04:56 | |
We were looking at things to collect and maybe sell on. | 0:04:56 | 0:05:00 | |
It's difficult. You buy things that you like and then you don't stop. | 0:05:00 | 0:05:05 | |
-And sometimes you've overpaid for things that you like. -Quite. | 0:05:05 | 0:05:11 | |
-What do you think it's worth today? -I've absolutely no idea. Have you? | 0:05:11 | 0:05:16 | |
About 70 to 80, maybe? | 0:05:16 | 0:05:19 | |
I would be tempted to put a bit higher on it. | 0:05:19 | 0:05:22 | |
I would put an estimate of 100 to 150 on it. | 0:05:22 | 0:05:26 | |
It's such a nice unusual shape. | 0:05:26 | 0:05:28 | |
I think a collector would really like this | 0:05:28 | 0:05:32 | |
as an example for their collection. | 0:05:32 | 0:05:35 | |
So I think we put 100 to 150 on it, with 100 discretionary reserve. | 0:05:35 | 0:05:40 | |
Then let's see what it makes on the day. | 0:05:40 | 0:05:44 | |
-Are you happy with that? -Yes. Very good. -Fine, thank you. | 0:05:44 | 0:05:49 | |
'Pamela and Glyn did well to buy a quality item by a known maker. | 0:05:49 | 0:05:53 | |
'It can be hard for the untrained eye to tell a genuine antique from a reproduction.' | 0:05:53 | 0:06:00 | |
There's something I spotted earlier, a rush light. Come over here. | 0:06:00 | 0:06:05 | |
Hi. What's your name? Margaret, pleased to meet you. | 0:06:06 | 0:06:10 | |
I said I'd bring the cameras. | 0:06:10 | 0:06:12 | |
These were popular in the 17th and 18th century, nibbed rush lights. | 0:06:12 | 0:06:17 | |
This ball acts as a counterbalance | 0:06:17 | 0:06:21 | |
to help those pincers shut tight and grip something. | 0:06:21 | 0:06:25 | |
It's called a rush light because it holds a reed or a rush. | 0:06:25 | 0:06:29 | |
So this would be dipped in goose fat or duck fat and left to dry, | 0:06:29 | 0:06:34 | |
and then pinched in there. | 0:06:34 | 0:06:36 | |
Then you'd set light to that reed and it would be your candlelight. | 0:06:36 | 0:06:40 | |
Very popular during the 17th and 18th centuries but, unfortunately, | 0:06:40 | 0:06:45 | |
this one is a reproduction. | 0:06:45 | 0:06:47 | |
The real McCoy, anything from £400 to £1,200. | 0:06:47 | 0:06:52 | |
-My goodness! -OK? -OK, thank you. | 0:06:52 | 0:06:56 | |
'It's still an interesting curio, | 0:06:56 | 0:06:59 | |
'but there's no doubting the provenance of a box brought in by Ann and Steve.' | 0:06:59 | 0:07:05 | |
-Hiya, Steve. I'm Adam. -We see you on telly. | 0:07:05 | 0:07:09 | |
-Do you? You watch it? -Yeah. -And whose is the box? | 0:07:09 | 0:07:14 | |
It belonged to me mum. | 0:07:14 | 0:07:16 | |
We've not done anything with it. It's just been in the loft. | 0:07:16 | 0:07:21 | |
-Where did your mum get it? -It's connected with Formby Hall. | 0:07:21 | 0:07:25 | |
-The big house on Merseyside? -Yeah. | 0:07:25 | 0:07:28 | |
-Your mum lived at Formby Hall? -She worked there with my gramp and my grandmother. | 0:07:28 | 0:07:36 | |
Butler, cook and maid. | 0:07:36 | 0:07:39 | |
It's a sign of an age gone by. | 0:07:39 | 0:07:42 | |
It is. Upstairs And Downstairs. | 0:07:42 | 0:07:45 | |
-Obviously, you want to get rid of it. Do you like it, Ann? -Not really. | 0:07:45 | 0:07:51 | |
-I would never use it. -That's the thing. | 0:07:51 | 0:07:55 | |
It's something a collector would buy because people like boxes. | 0:07:55 | 0:08:00 | |
It's Victorian, made from walnut. It's a travelling vanity case. | 0:08:00 | 0:08:07 | |
It's fitted with these little bottles with silver plated tops. | 0:08:07 | 0:08:12 | |
With an initial on. Intertwined FJ. | 0:08:12 | 0:08:15 | |
-FJ. That's, er... -Formby? -John Formby. | 0:08:15 | 0:08:21 | |
-He must have given this away. -As far as I know, to me granny. | 0:08:21 | 0:08:26 | |
Sometimes you see them in silver mounts. They're quite valuable. | 0:08:26 | 0:08:31 | |
A nice feature is that spring-loaded side drawer. | 0:08:31 | 0:08:35 | |
Pop! Nice quality. | 0:08:35 | 0:08:37 | |
And the secret drawer comes out there. | 0:08:37 | 0:08:40 | |
-Doesn't look like it's been used. -Doesn't look heavily used. | 0:08:40 | 0:08:45 | |
I'll shut the lid, have a look at the top. | 0:08:45 | 0:08:48 | |
FJ with the mother-of-pearl on top, | 0:08:48 | 0:08:51 | |
a mother-of-pearl escutcheon and the key, which is quite unusual. | 0:08:51 | 0:08:57 | |
-I don't think it works. -Don't you? | 0:08:57 | 0:09:00 | |
It's a bit stiff but it works. | 0:09:00 | 0:09:03 | |
You're a bit down on this, Ann. You don't like it, do you? | 0:09:03 | 0:09:08 | |
-What do you think someone would give for it? -You're the auctioneer. | 0:09:08 | 0:09:12 | |
-Well... -50? -Yeah, good. | 0:09:12 | 0:09:15 | |
She didn't need me. 50 is a good prediction. | 0:09:15 | 0:09:19 | |
50 to 80, I'd put estimate. And at what price would you like it back? | 0:09:19 | 0:09:24 | |
-Do you want to let it go whatever it makes or...? -Not below 50. | 0:09:24 | 0:09:29 | |
No. | 0:09:29 | 0:09:31 | |
If it made £100 would you tell him to spend it on something specific? | 0:09:31 | 0:09:36 | |
Um, I think the house needs doing up badly. | 0:09:36 | 0:09:40 | |
-Our bedroom needs papering. -Does it? Are you listening? -I'm listening. | 0:09:40 | 0:09:45 | |
-Anything else need doing? -A lot. | 0:09:45 | 0:09:48 | |
Let's hope it does a few quid! | 0:09:48 | 0:09:51 | |
Boxes are always popular. | 0:09:51 | 0:09:53 | |
I think we're pretty safe with 50 to 80. | 0:09:53 | 0:09:57 | |
-Thanks for coming. -Thanks very much. | 0:09:57 | 0:10:00 | |
'No love lost there! Ann can't wait to see the back of her box. | 0:10:00 | 0:10:05 | |
'Carol and Rodney have more respect for their painting.' | 0:10:05 | 0:10:09 | |
What a fantastic horsey picture. Any history to it? | 0:10:09 | 0:10:14 | |
Not especially. I bought it about 45 years ago. | 0:10:14 | 0:10:19 | |
-In Bond Street. -What did you like about it? | 0:10:19 | 0:10:22 | |
-Are you particularly into horses? -No. | 0:10:22 | 0:10:26 | |
Some horses don't look right in pictures. | 0:10:26 | 0:10:28 | |
This one seems to look natural. | 0:10:28 | 0:10:31 | |
This is very much a correct study of a horse. | 0:10:31 | 0:10:35 | |
Wonderful muscular tones. The light and shade are very good. | 0:10:35 | 0:10:39 | |
-Almost like a photograph of its day. -A nice background, too. | 0:10:39 | 0:10:44 | |
I love that summer's day with the blue sky. | 0:10:44 | 0:10:48 | |
He looks very stately there, very regal. | 0:10:48 | 0:10:51 | |
It's by quite a well known artist, | 0:10:51 | 0:10:54 | |
BC Norton - Benjamin Cam Norton - and dated 1866. | 0:10:54 | 0:10:59 | |
He specialised in animal subjects, particularly equestrian subjects. | 0:10:59 | 0:11:05 | |
This is a prime example of his work. | 0:11:05 | 0:11:08 | |
You've had it for 45 years. Why have you decided to sell it? | 0:11:08 | 0:11:12 | |
-Well... -Old age, probably. | 0:11:12 | 0:11:14 | |
Were you going to say something? | 0:11:14 | 0:11:18 | |
It's on the bedroom wall for so many years. | 0:11:18 | 0:11:21 | |
-First thing we see when we get up. -You'll have to redecorate. | 0:11:21 | 0:11:25 | |
Find something to go in its place. No, we take it down, sometimes. | 0:11:25 | 0:11:31 | |
-It's time for it to go. -Have you thought about value? | 0:11:31 | 0:11:35 | |
-It's a nice painting, a Victorian painting. -Yes. | 0:11:35 | 0:11:39 | |
We thought that maybe it would fetch towards 1,000. | 0:11:39 | 0:11:44 | |
-We would put a valuation of 700. -I think you've hit it on the mark. | 0:11:44 | 0:11:51 | |
I would be happy to put 700 to 1,000 on it with a 700 reserve. | 0:11:51 | 0:11:56 | |
The market does fluctuate and artists go in and out of fashion. | 0:11:56 | 0:12:02 | |
I think because of the quality, somebody's going to have a nibble. | 0:12:02 | 0:12:08 | |
If we put that estimate on, who knows? We might even get to £1,000. | 0:12:08 | 0:12:12 | |
This is a very pleasant subject. I could live with it. | 0:12:12 | 0:12:16 | |
'We've collected three items to take to auction, | 0:12:16 | 0:12:20 | |
'which is at Rogers Jones and Co in Colwyn Bay. | 0:12:20 | 0:12:23 | |
'Auctioneer David Rogers Jones isn't so sure about the horse painting.' | 0:12:23 | 0:12:29 | |
Lovely little oil. Belongs to Carol and Rodney. | 0:12:29 | 0:12:32 | |
Mark put a valuation of £700 to £1,000 on this horse. | 0:12:32 | 0:12:37 | |
-What do you think? -It is good quality. | 0:12:37 | 0:12:40 | |
It's super quality. I do have a theory about this type of painting. | 0:12:40 | 0:12:45 | |
When you've got a horse painting that isn't painted | 0:12:45 | 0:12:49 | |
by a famous horse portraitist, | 0:12:49 | 0:12:52 | |
it's a bit like a personal painting of your Aunt Edna. | 0:12:52 | 0:12:56 | |
-It's personal... -It's your horse. | 0:12:56 | 0:12:59 | |
That's right. | 0:12:59 | 0:13:01 | |
Who else wants to buy a picture of your horse? | 0:13:01 | 0:13:05 | |
That's what's holding me back. | 0:13:05 | 0:13:07 | |
It's not a thing I'd put on my wall. It's not loose enough. | 0:13:07 | 0:13:11 | |
Yes. It's going back to the personal portrait thing. | 0:13:11 | 0:13:15 | |
If you liken it to a portrait of Aunt Edna, | 0:13:15 | 0:13:18 | |
-it's a bit "sat" and... -Lifeless. | 0:13:18 | 0:13:21 | |
Lifeless, yeah. A bit posed. | 0:13:21 | 0:13:24 | |
My gut feeling is it might struggle. | 0:13:24 | 0:13:27 | |
-I see where the valuation's coming from, Paul. -The quality. -Absolutely. | 0:13:27 | 0:13:32 | |
I'm just a bit worried about the narrow market. | 0:13:32 | 0:13:36 | |
'We'll be keeping our fingers crossed anyway. | 0:13:36 | 0:13:39 | |
'Anything can happen in the auction. | 0:13:39 | 0:13:42 | |
'Also under the hammer, Pamela and Glyn's Minton candlestick holder | 0:13:42 | 0:13:47 | |
'and Ann and Steve's unloved travelling box. | 0:13:47 | 0:13:50 | |
'First up, it's the box. | 0:13:50 | 0:13:52 | |
'I hope the bidders don't feel the same way about it as Ann and Steve.' | 0:13:52 | 0:13:57 | |
-Why are you selling the travelling box? -Well, it's been... | 0:13:57 | 0:14:01 | |
-Been in the loft for years. -Flog It was in town. Bring it along? | 0:14:01 | 0:14:06 | |
-Yeah. -Declutter, basically. | 0:14:06 | 0:14:09 | |
-We've got loads! -You've got loads up there, have you? -Yeah. | 0:14:09 | 0:14:13 | |
-Everyone has. -The tip of the iceberg. | 0:14:13 | 0:14:16 | |
Let's find out what the bidders think. | 0:14:16 | 0:14:20 | |
AUCTIONEER: The lady's walnut travelling box. | 0:14:20 | 0:14:24 | |
Seven containers, white metal tops, et cetera. | 0:14:24 | 0:14:28 | |
Bid me. What do you say? 120? | 0:14:28 | 0:14:31 | |
100? | 0:14:33 | 0:14:35 | |
80? 60, I'm bid. At 60. 60 bid. | 0:14:39 | 0:14:43 | |
70. 80. | 0:14:43 | 0:14:46 | |
80 bid. 90. 100. | 0:14:46 | 0:14:48 | |
Against you, sir. 10. | 0:14:48 | 0:14:51 | |
And 20. 120. 130. | 0:14:51 | 0:14:54 | |
130 in the room. At £130. Is there 40? | 0:14:54 | 0:14:58 | |
Everybody done at £130? | 0:14:58 | 0:15:03 | |
Anybody coming in? 130 in the saleroom. Final call. | 0:15:03 | 0:15:08 | |
-£130 for the vanity case. A good result. -Yeah. | 0:15:09 | 0:15:13 | |
Well done. | 0:15:13 | 0:15:15 | |
'Somebody in the saleroom liked it more than Ann and Steve. | 0:15:15 | 0:15:19 | |
'Next, Carol and Rodney's painting. Are the bidders in the room?' | 0:15:19 | 0:15:24 | |
Great to see you again. | 0:15:24 | 0:15:26 | |
We're putting Mark's valuation of £700 to £1,000 to the test. | 0:15:26 | 0:15:31 | |
It's a nice image. You got this in Bond Street 45 years ago. | 0:15:31 | 0:15:36 | |
Expensive place to buy. Hopefully, we'll get your money back. | 0:15:36 | 0:15:40 | |
Whether or not it suits the Welsh market, we'll find out. | 0:15:40 | 0:15:45 | |
I hope so. It is rather charming. | 0:15:45 | 0:15:47 | |
They have got some nice paintings from a private estate, so who knows? | 0:15:47 | 0:15:52 | |
Art is selling really well today. It's flying out the door. | 0:15:52 | 0:15:56 | |
Fingers crossed, the dealers are here. Here we go now. | 0:15:56 | 0:16:00 | |
AUCTIONEER: Lot 102. | 0:16:00 | 0:16:02 | |
The very nice oil on board BC Norton thoroughbred horse by a gate. | 0:16:02 | 0:16:08 | |
Lovely painting. Superb quality. | 0:16:08 | 0:16:11 | |
Bid me £1,000. | 0:16:11 | 0:16:13 | |
Start me at 800. | 0:16:13 | 0:16:16 | |
As you say. 400 I'm bid. At £400. | 0:16:16 | 0:16:19 | |
450 on the book. 500. 550? 550? | 0:16:19 | 0:16:24 | |
550 bid. At 550. | 0:16:24 | 0:16:28 | |
600 anywhere? At 550. 550. | 0:16:28 | 0:16:31 | |
Everybody done? 600. | 0:16:31 | 0:16:34 | |
Against us both at 600. | 0:16:34 | 0:16:37 | |
650. 650. Is there level money? | 0:16:37 | 0:16:41 | |
£650. | 0:16:41 | 0:16:43 | |
Coming in? At 650. | 0:16:43 | 0:16:46 | |
I'll take 700 quickly. At 650. | 0:16:46 | 0:16:49 | |
Everybody done? Final call at £650. | 0:16:49 | 0:16:53 | |
What are you going to do? We leave that there, I'm sorry, at 650. | 0:16:53 | 0:16:58 | |
-That didn't sell. -That's all right. -One bid away. -We were. | 0:16:58 | 0:17:03 | |
-One of those things. -Sorry about that. | 0:17:03 | 0:17:06 | |
-Go back on the bedroom wall. -Another auction on another day. | 0:17:06 | 0:17:10 | |
Maybe a sporting sale where there's more horsey type... | 0:17:10 | 0:17:14 | |
-An equestrian sale. -Exactly. -Newmarket. -In the shires. | 0:17:14 | 0:17:18 | |
They might not be "shire" of bidding! | 0:17:20 | 0:17:23 | |
'Carol and Rodney's horse didn't bolt. | 0:17:23 | 0:17:26 | |
'At least that firm reserve protected it from going for less. | 0:17:26 | 0:17:30 | |
'Next, Pamela and Glyn's Minton candlestick holder.' | 0:17:30 | 0:17:34 | |
I've been joined by Pamela and Glyn in the nick of time. | 0:17:34 | 0:17:38 | |
Your lot is just about to go under the hammer. | 0:17:38 | 0:17:42 | |
I like this a lot. It's got style. | 0:17:42 | 0:17:46 | |
We like things from all periods and this is a distinctive pattern. | 0:17:46 | 0:17:51 | |
-I've never seen a candlestick like this. -Nor have I. | 0:17:51 | 0:17:56 | |
-It should make £80 all day long. -But on a good day 120? 130? | 0:17:56 | 0:18:00 | |
Absolutely. The decorative arts are still quite strong. | 0:18:00 | 0:18:04 | |
Fingers crossed, that's what we're going to get. | 0:18:04 | 0:18:08 | |
It's going under the hammer right now. | 0:18:08 | 0:18:11 | |
AUCTIONEER: Very nice Minton secessionist candle holder bowl. | 0:18:12 | 0:18:17 | |
Bid me. £100? | 0:18:17 | 0:18:20 | |
Very nice piece. Classic Minton. Just what you want. 70 to start. | 0:18:22 | 0:18:27 | |
£70 I'm bid. 70 on the book. 80 anywhere? | 0:18:27 | 0:18:31 | |
At 70. £70. 70. Is there 80? | 0:18:31 | 0:18:34 | |
At 70. 80. 80 online. 90 bid... | 0:18:34 | 0:18:39 | |
-90 bid. Come on. A bit more. -..Everybody done? 100. | 0:18:39 | 0:18:44 | |
£100. Lot 132 at £100. | 0:18:44 | 0:18:48 | |
Anybody in the room? You're all out. The bid is live. £100. Ten anybody? | 0:18:48 | 0:18:54 | |
Final call. Ten. 110. Another live one... | 0:18:54 | 0:18:58 | |
-There's a battle on the internet. -That's good. | 0:18:58 | 0:19:02 | |
..120? 120 bid. | 0:19:02 | 0:19:04 | |
120. 30 now? At 120. | 0:19:04 | 0:19:07 | |
All done? Anyone else coming in? 120. Final final call. All done now? | 0:19:07 | 0:19:13 | |
We'll take that! 120 is better than 80! I hope you paid less than 120. | 0:19:13 | 0:19:18 | |
-Yes. Something like 60. -Oh, well done. | 0:19:18 | 0:19:22 | |
Even after commission, a jolly healthy profit. | 0:19:22 | 0:19:26 | |
Don't forget there's commission. | 0:19:26 | 0:19:29 | |
-Are you going to collect anything else? -We do collect quite a lot. | 0:19:29 | 0:19:34 | |
A lot of junk, really. | 0:19:34 | 0:19:37 | |
'Pamela may have a lot of junk but Minton is such a good name | 0:19:37 | 0:19:41 | |
'it should always do well. | 0:19:41 | 0:19:44 | |
'Just over a mile from the valuation day is the Menai suspension bridge, | 0:19:50 | 0:19:54 | |
'built by Thomas Telford in the 19th century. | 0:19:54 | 0:19:58 | |
'It was, at the time, the longest suspension bridge in the world. | 0:19:58 | 0:20:02 | |
'Telford is considered to be "the man who built Britain". | 0:20:02 | 0:20:06 | |
He revolutionised Britain's transport network, building roads, | 0:20:06 | 0:20:12 | |
'canals and, most famously, bridges. | 0:20:12 | 0:20:15 | |
'The bridge across the Menai Strait was his greatest achievement.' | 0:20:15 | 0:20:21 | |
The Menai Strait is a stretch which Lord Nelson described as one of the most treacherous in the world. | 0:20:21 | 0:20:28 | |
He said, "If you can sail these waters you can sail anywhere." | 0:20:28 | 0:20:32 | |
If you wanted to sail to Dublin, you had to cross the Menai Strait. | 0:20:32 | 0:20:37 | |
The Menai Strait is the treacherous stretch of water | 0:20:37 | 0:20:41 | |
that separates Anglesey from Wales. | 0:20:41 | 0:20:44 | |
For thousands of years, crossing it was a matter of life and death. | 0:20:44 | 0:20:49 | |
This narrow stretch of tidal water is 15 miles long. | 0:20:51 | 0:20:56 | |
The problem is powerful currents race in from both ends at different times, | 0:20:56 | 0:21:02 | |
creating strong whirlpools and exceptionally powerful tides. | 0:21:02 | 0:21:07 | |
The location of the bridge is also one of the most dangerous areas. | 0:21:07 | 0:21:12 | |
Even as late as 1953, it was claiming some pretty big prizes. | 0:21:12 | 0:21:18 | |
HMS Conway ran aground as it tried to pass. | 0:21:18 | 0:21:21 | |
It remained for over six years. | 0:21:21 | 0:21:23 | |
About 30 foot in that direction... | 0:21:28 | 0:21:31 | |
We dare not get closer cos there's a big rock down there. | 0:21:31 | 0:21:35 | |
That's known as the platters, where HMS Conway ran aground. | 0:21:35 | 0:21:39 | |
And the tugs, well they just couldn't pull her off. | 0:21:39 | 0:21:44 | |
Building a bridge across such dangerous waters seemed impossible. | 0:21:44 | 0:21:48 | |
In 1815, one man thought he could do it - Thomas Telford. | 0:21:48 | 0:21:53 | |
It was the biggest engineering project of the age. | 0:21:54 | 0:21:58 | |
Although Telford oversaw every detail of construction, | 0:21:58 | 0:22:02 | |
not even he knew if it would stay up once it was built. | 0:22:02 | 0:22:06 | |
Construction on the bridge began in 1819 | 0:22:08 | 0:22:12 | |
and it took seven years to complete. | 0:22:12 | 0:22:15 | |
When it opened in 1826, Thomas Telford was nearly 70 years old. | 0:22:15 | 0:22:20 | |
But this bridge, together with the improvements to the road to London, | 0:22:20 | 0:22:25 | |
meant that the journey time from Holyhead was cut down from 41 hours | 0:22:25 | 0:22:30 | |
to just 27 hours. | 0:22:30 | 0:22:32 | |
It also eliminated, well, the risk of drowning. | 0:22:32 | 0:22:36 | |
'Almost 200 years later, the bridge is still standing. | 0:22:36 | 0:22:40 | |
'As a testament to its incredible strength, | 0:22:40 | 0:22:43 | |
'it's perfectly capable of handling even today's heavy traffic. | 0:22:43 | 0:22:49 | |
'Civil engineer Bob Damond is a trustee of the Menai Bridge Community Heritage Trust. | 0:22:49 | 0:22:54 | |
'I've come to find out more about Thomas Telford's achievement.' | 0:22:54 | 0:22:59 | |
You can see how strong the currents are. | 0:22:59 | 0:23:01 | |
It varies across the width because of the shape and the depth. | 0:23:01 | 0:23:07 | |
Had there been attempts to build a bridge? | 0:23:07 | 0:23:10 | |
People referred to problems the Romans had crossing the strait. | 0:23:10 | 0:23:14 | |
Edward I built a pontoon bridge by lashing boats together. | 0:23:14 | 0:23:18 | |
-Back in the 13th century? -Yes. And the Welsh set fire to the boats at this end so that didn't work. | 0:23:18 | 0:23:24 | |
Various engineers had done designs | 0:23:24 | 0:23:27 | |
but there hadn't been an attempt to build one | 0:23:27 | 0:23:30 | |
-until Telford started the suspension bridge. -It is absolutely superb. | 0:23:30 | 0:23:36 | |
A lot of people said you couldn't span that width | 0:23:36 | 0:23:40 | |
without supporting it in the middle. | 0:23:40 | 0:23:42 | |
The big problem was that not only | 0:23:42 | 0:23:45 | |
was it by far the biggest span of a suspension bridge at that time, | 0:23:45 | 0:23:49 | |
the Admiralty insisted on a 100-foot clearance above high water. | 0:23:49 | 0:23:54 | |
Sailing ships had tall masts. | 0:23:54 | 0:23:56 | |
So they had to find a way of getting the chains across a gap of 579 feet | 0:23:56 | 0:24:02 | |
and 100 feet above the water. | 0:24:02 | 0:24:05 | |
They did that with ropes and pulleys and 150 men winding two capstans to lift something like 24 tons. | 0:24:05 | 0:24:13 | |
The first chain they did in an hour and 37 minutes. | 0:24:13 | 0:24:18 | |
Which is about a 24-tons lift. | 0:24:18 | 0:24:20 | |
They had to do that 16 times for the 16 chains in the original bridge. | 0:24:20 | 0:24:26 | |
Gosh! | 0:24:26 | 0:24:28 | |
When the first chain was in, two men walked across to the other side. | 0:24:28 | 0:24:32 | |
When Telford heard, he was annoyed because of the safety aspect. | 0:24:32 | 0:24:38 | |
There must have been a wonderful celebration when this opened. | 0:24:38 | 0:24:42 | |
It was in the middle of the night when the first coach went through. | 0:24:42 | 0:24:48 | |
It was a bad night, a bit like this, and not many people hung around. | 0:24:48 | 0:24:53 | |
But the next day thousands of people crossed. | 0:24:53 | 0:24:56 | |
They had to pay a penny to walk across. More to take a horse. | 0:24:56 | 0:25:00 | |
-Some of them crossed and re-crossed. -It was so enjoyable! An experience! | 0:25:00 | 0:25:05 | |
It really is, when you look at this, the work of a genius, isn't it? | 0:25:09 | 0:25:14 | |
A ground-breaking bridge, and it set the mark | 0:25:14 | 0:25:18 | |
of suspension bridges being the best way to cross large spans. | 0:25:18 | 0:25:23 | |
'Telford made much of the Industrial Revolution possible. | 0:25:23 | 0:25:28 | |
'The world around us couldn't have been built | 0:25:28 | 0:25:31 | |
'were it not for the singular vision of just one man. | 0:25:31 | 0:25:35 | |
'The Menai bridge still stands as Telford's crowning achievement. | 0:25:35 | 0:25:40 | |
'At the University of Wales, Bangor, | 0:25:46 | 0:25:48 | |
'there are still crowds queuing up to have their antiques valued.' | 0:25:48 | 0:25:53 | |
Looks like a watercolour. | 0:25:53 | 0:25:55 | |
'Patricia's thimble collection has intrigued Adam.' | 0:25:55 | 0:25:59 | |
I remember a lady came in many years ago and brought in a gold thimble. | 0:25:59 | 0:26:04 | |
I said, "Why are you selling it?" And she said, "I'm downsizing." | 0:26:04 | 0:26:09 | |
-Don't tell me you're downsizing. -No. -You'd have to be moving to Lilliput! | 0:26:09 | 0:26:14 | |
So, firstly, where did you get them from? | 0:26:14 | 0:26:17 | |
-From my aunt, who was a seamstress. -That explains the quantity | 0:26:17 | 0:26:23 | |
Do you know much about your aunt? | 0:26:23 | 0:26:25 | |
Yes. We all lived together, my family, for years and years. | 0:26:25 | 0:26:31 | |
-Did you pick up any skills in that department? -Unfortunately not. | 0:26:31 | 0:26:35 | |
-You've never had occasion to use these? -No. | 0:26:35 | 0:26:38 | |
I've divided them a little bit. | 0:26:38 | 0:26:41 | |
People are probably wondering what this is. | 0:26:41 | 0:26:44 | |
This one here is an advertising thimble for Dr Lovelace's soap. | 0:26:44 | 0:26:49 | |
-"Use Dr Lovelace's soap." Have you heard of Dr Lovelace's soap? -No. | 0:26:49 | 0:26:54 | |
Here we have a Victorian bar of soap, the real soap. | 0:26:54 | 0:26:59 | |
-And it still smells. -Still smells like coal tar. | 0:26:59 | 0:27:03 | |
We won't be including that in the auction. You can take that home. | 0:27:03 | 0:27:08 | |
An advertising one. | 0:27:08 | 0:27:09 | |
Four of these ones we'd call white metal. They're not stamped silver. | 0:27:09 | 0:27:14 | |
The silver ones here. Not the best material. It's too soft. | 0:27:14 | 0:27:20 | |
A man called Charles Horner invented a method | 0:27:20 | 0:27:24 | |
where he made a steel thimble and coated it in silver. | 0:27:24 | 0:27:27 | |
You could still have the posh silver thimble! | 0:27:27 | 0:27:31 | |
One of these is by Charles Horner. | 0:27:31 | 0:27:34 | |
He was a famous hat pin maker. | 0:27:34 | 0:27:37 | |
His thimbles are slightly more collected. I think it's that one. | 0:27:37 | 0:27:43 | |
A Chester hallmark as well. That's probably your most collectable. | 0:27:43 | 0:27:48 | |
Apart from this little one which is delightful in its own little case, | 0:27:48 | 0:27:53 | |
velvet covered embroidered case, and what a pretty thimble! | 0:27:53 | 0:27:57 | |
It's Continental silver. All that enamelling round the side. | 0:27:57 | 0:28:02 | |
Sadly, enamelling's very vulnerable and you've got a little chip. | 0:28:02 | 0:28:07 | |
I would think, value wise, these are about £10 each. | 0:28:07 | 0:28:13 | |
-Really? -So that's 40 there. | 0:28:13 | 0:28:16 | |
Then maybe another 20 for all of those. | 0:28:16 | 0:28:20 | |
-£60 to £100. -Sounds good. | 0:28:20 | 0:28:23 | |
-Put a reserve at 60? -Yes. -Fix it at 60, I think. | 0:28:23 | 0:28:26 | |
-Hopefully, we'll have a good result. -Definitely flog it! -Excellent. | 0:28:26 | 0:28:32 | |
'Patricia's thimbles should sell well. | 0:28:32 | 0:28:35 | |
'A painting I spotted brought in by Alwyn may not sell at all.' | 0:28:35 | 0:28:40 | |
It's a pleasure to meet you. Alwyn Jones, you've got to be Welsh. | 0:28:40 | 0:28:45 | |
-Yes. -What part of Wales are you from? -From Anglesey. | 0:28:45 | 0:28:49 | |
From the village with a very long name of llanfairpwllgwyngyllgoge ychwyrndrobwllllantysiliogogogoch. | 0:28:49 | 0:28:55 | |
I have been there. I think you live in the most wonderful part of the world. | 0:28:55 | 0:29:00 | |
-So, how did you come by this? -It was given to me ten years ago. | 0:29:00 | 0:29:06 | |
By a friend who had lost her mother. | 0:29:06 | 0:29:10 | |
Unfortunately, my wife is not very keen on it. | 0:29:10 | 0:29:14 | |
So we decided to maybe sell it and buy another painting we both like. | 0:29:14 | 0:29:20 | |
-Have you researched David Cox? -My wife looked it up on the internet. | 0:29:20 | 0:29:25 | |
She found that he's done many paintings of Highland scenes | 0:29:25 | 0:29:29 | |
and some in north Wales. | 0:29:29 | 0:29:32 | |
David Cox is a renowned English landscape artist. | 0:29:32 | 0:29:36 | |
He was born in Birmingham in 1783, I think, off the top of my head, and died in 1859. | 0:29:36 | 0:29:42 | |
This is a Scottish Highland scene. | 0:29:42 | 0:29:45 | |
I've done some comparables, looked him up on our art index guides, | 0:29:45 | 0:29:49 | |
what works have sold for in this medium on paper this size. | 0:29:49 | 0:29:53 | |
He's very well sought after. | 0:29:53 | 0:29:55 | |
You're looking in the region of £4,000 to £6,000. | 0:29:55 | 0:30:00 | |
Looking at this image, I don't think, | 0:30:00 | 0:30:03 | |
speaking from my heart, I don't think...it's that good | 0:30:03 | 0:30:10 | |
if it's by David Cox. | 0:30:10 | 0:30:12 | |
-I see. Yeah. -I have seen some of his works. | 0:30:12 | 0:30:16 | |
For me, the photographic representation is a lot better | 0:30:16 | 0:30:20 | |
-than what's going on here. -I see. | 0:30:20 | 0:30:23 | |
This is a tad too loose for him. | 0:30:23 | 0:30:28 | |
My gut feeling tells me it's a copy. | 0:30:28 | 0:30:32 | |
-OK. -What you probably don't know is David Cox works are highly forged. | 0:30:32 | 0:30:38 | |
It's really difficult to tell if this is a copy. | 0:30:38 | 0:30:42 | |
We can put this into auction with a guide of £3,000 to £4,000, | 0:30:42 | 0:30:46 | |
if it is David Cox, because there is some foxing. | 0:30:46 | 0:30:49 | |
-There is some damage. If it's a copy... -Yeah. | 0:30:49 | 0:30:54 | |
-Much less. -£200 to £300. | 0:30:54 | 0:30:57 | |
Yeah. | 0:30:57 | 0:30:59 | |
OK. | 0:30:59 | 0:31:01 | |
Um... Well... | 0:31:01 | 0:31:03 | |
-If it's £200 to £300, I'd keep it. -Course you would. | 0:31:03 | 0:31:08 | |
The best thing to do here is get a second opinion from the auctioneer. | 0:31:08 | 0:31:13 | |
They can do a lot of research, have some picture specialists come in. | 0:31:13 | 0:31:18 | |
We'll let the auctioneer decide this. | 0:31:18 | 0:31:21 | |
My gut feeling is it's not right but I want it to be right for you, you want £3,000 to £4,000. | 0:31:21 | 0:31:28 | |
-If possible. -We'll put it into auction with what you think it is. | 0:31:28 | 0:31:33 | |
We'll let the auctioneer say it might be a copy. | 0:31:33 | 0:31:37 | |
In which case, you can withdraw it. | 0:31:37 | 0:31:39 | |
-We'll let him do the hard work. -OK. -I'm sorry if I've let you down. -No! | 0:31:39 | 0:31:45 | |
'The auction will be the place we'll find out the true value. | 0:31:45 | 0:31:50 | |
'More of that later. | 0:31:50 | 0:31:52 | |
'Next, Derek's brought in an early example of satellite navigation.' | 0:31:55 | 0:32:00 | |
We've got a wonderful precision engineered piece of equipment here. | 0:32:00 | 0:32:04 | |
-Give us a bit of the background. -The instrument, which is a sextant, | 0:32:04 | 0:32:09 | |
was given to me 50 years ago by an old sea captain from Anglesey. | 0:32:09 | 0:32:15 | |
-Oh. -He used it all his working life, but now GPS superceded sextants! | 0:32:15 | 0:32:20 | |
Press a button, it tells you where you are so it's of no practical use. | 0:32:20 | 0:32:25 | |
It's just in the back of the cupboard. | 0:32:25 | 0:32:28 | |
Those GPS systems are nothing as beautiful as this. | 0:32:28 | 0:32:32 | |
-Talk us through how it works. -To find out where you are, latitude, | 0:32:32 | 0:32:37 | |
you look through any of these telescopes, depending on conditions, | 0:32:37 | 0:32:42 | |
which fits in there. | 0:32:42 | 0:32:44 | |
You sight on the sun and you sight on the horizon. | 0:32:44 | 0:32:48 | |
You adjust this lever here, | 0:32:48 | 0:32:51 | |
so the sun is in the mirror, | 0:32:51 | 0:32:53 | |
and it brings the sun down so it's just touching the horizon. | 0:32:53 | 0:32:57 | |
If you do it at midday, by a series of calculations, you can work out | 0:32:57 | 0:33:02 | |
-how far you are between the North and South Pole. -Good lord! | 0:33:02 | 0:33:07 | |
-How old do you think it is? -I would say 1850, 1860. | 0:33:07 | 0:33:11 | |
I think it might even be a bit earlier, | 0:33:11 | 0:33:14 | |
with that turned mahogany handle, which has that lovely texture. | 0:33:14 | 0:33:18 | |
Hundreds of people with greasy hands being on it | 0:33:18 | 0:33:22 | |
has given it a lovely mellow colour. | 0:33:22 | 0:33:25 | |
We've got a maker's name, James Morton, Sunderland & South Shields. | 0:33:25 | 0:33:30 | |
Nice to have a maker's name. I can't find any record of James Morton. | 0:33:30 | 0:33:36 | |
Anything from London tends to be more valuable. | 0:33:36 | 0:33:39 | |
Or the bigger cities. So you've had it at home. | 0:33:39 | 0:33:42 | |
-You haven't used it? -I haven't used it at all. | 0:33:42 | 0:33:47 | |
Why have you decided to sell it? | 0:33:47 | 0:33:49 | |
It would be nice if it could go to somebody who appreciated it. | 0:33:49 | 0:33:54 | |
It's a very specialist collecting area. | 0:33:54 | 0:33:57 | |
Anything to do with marine items are quite keenly sought after. | 0:33:57 | 0:34:02 | |
This is actually a very nice piece. | 0:34:02 | 0:34:05 | |
-This is in very good condition. -Yes. | 0:34:05 | 0:34:08 | |
It's perfect auction room condition. You haven't over-cleaned it. | 0:34:08 | 0:34:13 | |
It's got a lot of nice feelings about it. | 0:34:13 | 0:34:17 | |
We've got to think about an estimate. | 0:34:17 | 0:34:19 | |
-Yes. -Now, my feeling is around 200 to 300. | 0:34:19 | 0:34:23 | |
-What's your feeling? -I wouldn't like to see it go for less than 300. | 0:34:23 | 0:34:28 | |
It's not impossible. | 0:34:28 | 0:34:30 | |
I think if it's catalogued properly, two or three people | 0:34:30 | 0:34:34 | |
need to raise their hands a couple of times and we'll get up there. | 0:34:34 | 0:34:39 | |
-So I'm willing to give it a try. An estimate of 300 to 400, a reserve at 300. -That would be fair. | 0:34:39 | 0:34:46 | |
-A fixed reserve at 300. -On your head be it. | 0:34:46 | 0:34:49 | |
If I don't get 300 I get the sextant back. | 0:34:49 | 0:34:52 | |
'Those are our last items to take off to auction. | 0:34:52 | 0:34:55 | |
'Auctioneer David Rogers Jones has looked at Alwyn's painting, | 0:34:55 | 0:35:00 | |
'which may or may not be genuine, and he's got some interesting news.' | 0:35:00 | 0:35:05 | |
If it was an early piece of oak, I'd be really confident! | 0:35:05 | 0:35:09 | |
I just don't know. | 0:35:09 | 0:35:11 | |
I think, Paul, that it's got many of David Cox senior's attributes. | 0:35:11 | 0:35:16 | |
-OK. -The figures and the animals smack Cox for me. | 0:35:16 | 0:35:21 | |
What about the sky? | 0:35:21 | 0:35:23 | |
Well, yeah. One always looks for "Cox clouds". | 0:35:23 | 0:35:27 | |
-But it isn't in the best condition. -No. It's got foxing. | 0:35:27 | 0:35:31 | |
A lot of foxing and, I think, if you eliminated the foxing, | 0:35:31 | 0:35:35 | |
I think, probably, the clouds would come out. | 0:35:35 | 0:35:39 | |
-What was your gut feeling? -That it was OK. -Good. | 0:35:39 | 0:35:43 | |
I like the figures. I like the animals. | 0:35:43 | 0:35:46 | |
It has the Cox windswept feel that his paintings have. | 0:35:46 | 0:35:50 | |
My gut feeling was it may be a fake. | 0:35:50 | 0:35:53 | |
It's disappointing to tell the owner and now it's the real McCoy, | 0:35:53 | 0:35:57 | |
will this do £3,000 to £4,000? | 0:35:57 | 0:35:59 | |
The people we've sent images to are good in the field of Cox. | 0:35:59 | 0:36:05 | |
-Yeah. -And they seem to be fairly happy. | 0:36:05 | 0:36:09 | |
-They're interested? -I think they're interested so I'm fairly hopeful. | 0:36:09 | 0:36:14 | |
'That is good news, but we won't know for sure until it goes under the hammer. | 0:36:14 | 0:36:21 | |
'Here's a quick recap of the other items going under the hammer. | 0:36:21 | 0:36:26 | |
'Patricia's collection of thimbles and Derek's quality sextant.' | 0:36:26 | 0:36:31 | |
They say small is beautiful. | 0:36:31 | 0:36:33 | |
Let's see if small is worth a lot of money! | 0:36:33 | 0:36:36 | |
We're joined by Patricia and we've got 11 thimbles going under the hammer with a value of £60 to £100. | 0:36:36 | 0:36:43 | |
I'd love to get that top end. | 0:36:43 | 0:36:46 | |
I know you like your small things. Why are you selling the thimbles? | 0:36:46 | 0:36:51 | |
They belonged to my aunt and they've been in a tiny drawer in a tiny cupboard. Nobody sees them. | 0:36:51 | 0:36:57 | |
-I put you down as having a vitrine with all your little silver things. -I do have lots of things on show. | 0:36:57 | 0:37:05 | |
-But you've decided you want to sell the thimbles. -Yes. | 0:37:05 | 0:37:10 | |
Adam, you put £60 to £100 on them. A great valuation. | 0:37:10 | 0:37:14 | |
-I'd like to see the top end. -£5 or £10 each isn't much. -Nothing! No. | 0:37:14 | 0:37:19 | |
I just hope... There's a lot of ladies here. | 0:37:19 | 0:37:23 | |
I find there's a lot of interest in sewing collectables. | 0:37:23 | 0:37:29 | |
Needle cases, thimbles, small silvers. | 0:37:29 | 0:37:32 | |
Investing in your social history, a nice talking point to have on display rather than in the drawer! | 0:37:32 | 0:37:39 | |
-Good luck. -Hidden away. -It's going under the hammer. | 0:37:39 | 0:37:43 | |
AUCTIONEER: Lovely little lot here, lot 364. | 0:37:43 | 0:37:47 | |
No fewer than 11 silver and other sewing thimbles. | 0:37:47 | 0:37:53 | |
There's one in a leather case and one in a fabric case. | 0:37:53 | 0:37:57 | |
Lovely little parcel. £80? | 0:37:57 | 0:37:59 | |
Silver thimbles. Come on. I usually sell these at 15 each... | 0:37:59 | 0:38:03 | |
It's all down to the bidders in the room. | 0:38:03 | 0:38:07 | |
I'm bid at 50. 50 bid, lot 364. | 0:38:07 | 0:38:09 | |
At 50. 50 bid. 60 anybody? | 0:38:09 | 0:38:13 | |
-At 50. 60... -Got 60. | 0:38:13 | 0:38:16 | |
..70. £70. Out right at the back, sir? | 0:38:16 | 0:38:19 | |
Five if it helps you. At 70. 70 bid. | 0:38:19 | 0:38:22 | |
£70 only. | 0:38:22 | 0:38:25 | |
Five at the back, if you like. | 0:38:25 | 0:38:28 | |
Five I'll take. Everybody done? At £70. | 0:38:28 | 0:38:31 | |
Five if you wish. 75. | 0:38:31 | 0:38:34 | |
75. 80. 80 I'm bid... | 0:38:34 | 0:38:36 | |
Fresh legs! Someone's just come in. | 0:38:36 | 0:38:39 | |
..At £80 only. Everybody done? Final call at 80. | 0:38:39 | 0:38:44 | |
-That's a sold sound. Well done Adam. -Mid estimate. | 0:38:45 | 0:38:48 | |
-Happy. -Happy with that? -Yes. Very happy. | 0:38:48 | 0:38:52 | |
'A great result for Patricia, and now it's Derek's turn. | 0:38:52 | 0:38:56 | |
'His sextant is in mint condition. I hope the right people are here.' | 0:38:56 | 0:39:02 | |
I've been joined by Derek and the next item is this wonderful sextant. | 0:39:02 | 0:39:06 | |
You'd expect to see it here in Colwyn Bay, right by the sea. | 0:39:06 | 0:39:11 | |
Maritime memorabilia does fetch good money. We're in the right place. | 0:39:11 | 0:39:16 | |
We're looking for £300 to £400, by our expert Mark. | 0:39:16 | 0:39:20 | |
-Why are you selling it? -It's been superceded by GPS! | 0:39:20 | 0:39:24 | |
I suppose it has, in a way! | 0:39:24 | 0:39:26 | |
It might as well go to somebody who'll appreciate it. | 0:39:26 | 0:39:30 | |
-I love the engineering quality. -So do I. | 0:39:30 | 0:39:34 | |
Let's find out what the bidders think. | 0:39:34 | 0:39:37 | |
AUCTIONEER: 447, the ship's sextant | 0:39:37 | 0:39:40 | |
by James Morton, Sunderland & South Shields. | 0:39:40 | 0:39:44 | |
Cased. Bid me. Start me at 350. | 0:39:44 | 0:39:47 | |
300? | 0:39:48 | 0:39:50 | |
The cased sextant by a Sunderland & South Shields maker. Bid me. | 0:39:50 | 0:39:57 | |
250? | 0:39:57 | 0:40:00 | |
I'm bid at 150. 150 bid. | 0:40:00 | 0:40:03 | |
At 150. 180? 180 bid. | 0:40:03 | 0:40:06 | |
-200? 200 bid... -We're climbing. A little bit more. | 0:40:06 | 0:40:11 | |
..240. Is there 60? At 240. | 0:40:11 | 0:40:13 | |
240 bid. Everybody done? | 0:40:13 | 0:40:15 | |
260. 280? | 0:40:15 | 0:40:18 | |
280 bid. 280. 280. And again now. | 0:40:18 | 0:40:23 | |
At 280. 300. 300 bid. | 0:40:23 | 0:40:26 | |
-And again... -Getting there. | 0:40:26 | 0:40:28 | |
..How many on there? At £300. | 0:40:28 | 0:40:31 | |
Online at £300. Everybody done? | 0:40:31 | 0:40:34 | |
All finished? At £300 and going. | 0:40:34 | 0:40:39 | |
-That was close. -I thought we'd sink without trace. | 0:40:40 | 0:40:44 | |
-Well done. -We came back. -£300. | 0:40:44 | 0:40:46 | |
'What a relief. It looks like quality shone through. | 0:40:46 | 0:40:51 | |
'It's the moment of truth. | 0:40:51 | 0:40:53 | |
'Will Alwyn's painting sink or swim? It's up to the bidders to decide.' | 0:40:53 | 0:40:58 | |
I had a chat with the auctioneer before the sale. He said it's right. | 0:40:58 | 0:41:03 | |
-Good. I'm pleased. -I'm pleased it's that way, not the other way. | 0:41:03 | 0:41:08 | |
I'm so pleased I didn't say, "Yes! His works sell for thousands!" | 0:41:08 | 0:41:13 | |
And get here on the day and find out it's a copy. | 0:41:13 | 0:41:17 | |
So that's good news. We've still got £3,000 to £4,000. | 0:41:17 | 0:41:21 | |
He agreed with the valuation, because of the foxing. | 0:41:21 | 0:41:26 | |
It's now down to this lot. Let's find out what happens. | 0:41:26 | 0:41:30 | |
AUCTIONEER: David Cox. Expansive landscape. | 0:41:30 | 0:41:34 | |
Five Scottish figures, two on horseback, tending a herd of cattle. | 0:41:34 | 0:41:40 | |
Well signed and I think it's got the features of David Cox. | 0:41:40 | 0:41:43 | |
The men, the animals, it's got the lot. | 0:41:43 | 0:41:46 | |
OK, there's a bit of restoration to be done. | 0:41:46 | 0:41:50 | |
That can be done easily. | 0:41:50 | 0:41:52 | |
You've got a really good painting and it's a good big'un! Bid me. | 0:41:52 | 0:41:56 | |
Two and a half thou to start? | 0:41:56 | 0:42:00 | |
2,500? | 0:42:00 | 0:42:03 | |
2,000? | 0:42:03 | 0:42:06 | |
1,800 I'm bid. At £1,800. | 0:42:06 | 0:42:08 | |
-At £1,800... -We're in. | 0:42:08 | 0:42:11 | |
..at 1,800. £2,000. | 0:42:11 | 0:42:16 | |
2,200. 2,200. | 0:42:16 | 0:42:18 | |
2,400. 2,400... | 0:42:18 | 0:42:20 | |
We've got a phone bid. This is great. | 0:42:20 | 0:42:24 | |
..2,600. | 0:42:24 | 0:42:27 | |
2,800. | 0:42:27 | 0:42:30 | |
£2,800, David Cox. Are you coming in, Mike? | 0:42:30 | 0:42:34 | |
£2,800. | 0:42:34 | 0:42:36 | |
Bid's here on the telephone. At £2,800. | 0:42:36 | 0:42:42 | |
3,000, I'd like. I'll open the gate at 2,900, if you want to. | 0:42:42 | 0:42:47 | |
£2,800 final call. | 0:42:47 | 0:42:50 | |
On the telephone. Everybody done? | 0:42:51 | 0:42:54 | |
£2,800 all done? | 0:42:54 | 0:42:56 | |
He's sold it. £2,800. That's fabulous! | 0:42:56 | 0:43:01 | |
-It is. -Congratulations. -Really pleased. Thank you. | 0:43:01 | 0:43:05 | |
'The auctioneer used discretion and sold for just under the reserve. | 0:43:05 | 0:43:09 | |
'Alwyn is over the moon.' | 0:43:09 | 0:43:13 | |
I told you there would be one or two surprises! Sadly, we've run out of time in Colwyn Bay. | 0:43:13 | 0:43:19 | |
There'll be many more surprises to come on Flog It but, for now, cheerio. | 0:43:19 | 0:43:25 | |
Subtitles by Red Bee Media Ltd | 0:43:43 | 0:43:46 |