Browse content similar to Cirencester. Check below for episodes and series from the same categories and more!
Line | From | To | |
---|---|---|---|
Today, we're in Cirencester, the capital of the Cotswolds, | 0:00:07 | 0:00:11 | |
an area that brought us one of the most important movements in international design. | 0:00:11 | 0:00:16 | |
The bells are ringing out and Flog It is in town. | 0:00:16 | 0:00:20 | |
The Cotswolds became an important centre for Arts and Crafts around the turn of the 20th century. | 0:00:39 | 0:00:45 | |
Leading practitioners were drawn here by its rich craft tradition | 0:00:45 | 0:00:48 | |
and its accessibility to London and Oxford. | 0:00:48 | 0:00:52 | |
Many also followed William Morris who lived nearby at Kelmscott. | 0:00:52 | 0:00:56 | |
'I'll be visiting his Gloucestershire home later in the show.' | 0:00:56 | 0:01:00 | |
We've got a crowd of people outside the Corn Hall in Cirencester, | 0:01:02 | 0:01:06 | |
eager to find out if they have any treasures in these bags and boxes. | 0:01:06 | 0:01:10 | |
-If you have, what will you do? -Flog it! -Flog it! | 0:01:10 | 0:01:14 | |
'Helping them discover if they are carrying around a small fortune are our experts | 0:01:14 | 0:01:19 | |
'headed up by Thomas Plant and Michael Baggott. | 0:01:19 | 0:01:23 | |
'Thomas owns his auction business, but one of his passions is fencing. | 0:01:23 | 0:01:27 | |
'Will he be able to score a hit in today's crowd? | 0:01:27 | 0:01:31 | |
'Michael's interest in antiques began at a very early age. | 0:01:31 | 0:01:34 | |
'He's ashamed to admit that at primary school, | 0:01:34 | 0:01:38 | |
'he persuaded a friend to give him his grandfather's First World War medal for three felt-tip pens. | 0:01:38 | 0:01:45 | |
'I hope our crowd get rather more if they take their items to auction.' | 0:01:45 | 0:01:49 | |
It is now 9.30. It's time to get the doors open and get this massive queue inside. | 0:01:49 | 0:01:55 | |
'Here's just a couple of treats coming up on today's programme. | 0:01:55 | 0:02:00 | |
'Auctioneer Philip Allwood is really impressed with one of our finds.' | 0:02:00 | 0:02:04 | |
Medal collectors are not going for the bit of metal. They're going for owning a bit of that soldier. | 0:02:04 | 0:02:10 | |
-This has got oodles of that. -'And the auction brings some surprising results.' | 0:02:10 | 0:02:15 | |
-What's going through your mind right now? -I can't believe it! -Money! | 0:02:15 | 0:02:20 | |
'Time to get started and Michael's excavation of Audrey's box | 0:02:20 | 0:02:24 | |
'has revealed an interesting mix of artefacts.' | 0:02:24 | 0:02:28 | |
Audrey, thank you. I feel like I'm on an edition of Time Team | 0:02:28 | 0:02:33 | |
with these wonderful archaeological specimens. | 0:02:33 | 0:02:36 | |
There must be a wonderful story about how you got these. | 0:02:36 | 0:02:40 | |
My husband and I used to own the Talbot Hotel in Tetbury. | 0:02:40 | 0:02:43 | |
-Right. -And in the cellar where he kept the spirits, | 0:02:43 | 0:02:47 | |
there was a sort of flagstone. | 0:02:47 | 0:02:50 | |
And he was intrigued and wondered what was underneath. | 0:02:50 | 0:02:53 | |
And they found, eventually, that it was a well that had been capped. | 0:02:53 | 0:02:58 | |
Good grief! | 0:02:58 | 0:03:00 | |
And so they started to take all the gunge and mud out, | 0:03:00 | 0:03:04 | |
and apparently in the olden days, the landlord would just sweep everything | 0:03:04 | 0:03:08 | |
-off the floor down... -Down the well. | 0:03:08 | 0:03:11 | |
That was one of the first things that came out, this bottle. | 0:03:11 | 0:03:15 | |
-That must have been a joy to come out complete. -I rinsed it under the tap and then all this appeared. | 0:03:15 | 0:03:21 | |
And then gradually, bits and pieces came out. | 0:03:21 | 0:03:24 | |
I said to Peter who was doing a lot of it... He used to take buckets home... | 0:03:24 | 0:03:29 | |
-Go through the gunge. -I said, "I wish you could find a coin." | 0:03:29 | 0:03:34 | |
He rang one night and said, "I've found something valuable," and it was this, like a cuff link. | 0:03:34 | 0:03:40 | |
-Then about ten days later, he phoned and he had found the other one. -No? | 0:03:40 | 0:03:44 | |
-Found the matching one ten days later? -Yeah. -That's fantastic. -I had them checked and they are silver. | 0:03:44 | 0:03:50 | |
-My automatic silver detector in my finger is going off. -Really? -There's no doubt about that. | 0:03:50 | 0:03:56 | |
-What about the little mug? -Peter Wain, who used to have a business in Tetbury in ceramics, | 0:03:56 | 0:04:02 | |
he got all the bits and pieces and he was able to reassemble that. | 0:04:02 | 0:04:06 | |
-Oh, that's wonderful. -Yes. -And the tap? -That was down there as well. | 0:04:06 | 0:04:12 | |
The tap is interesting because whenever you get this faceted spout, | 0:04:12 | 0:04:17 | |
that tends to be quite an early date. | 0:04:17 | 0:04:21 | |
And this would be bronze. | 0:04:21 | 0:04:23 | |
-Hmm. -And I would date it at between about 1550 and about 1620. | 0:04:23 | 0:04:29 | |
-Really? -So that's a good, early... -Good heavens! -..late Tudor, early Stuart tap. | 0:04:29 | 0:04:35 | |
-This little fellow, I mean, this would be wonderful if that would have come out whole. -Yes. | 0:04:35 | 0:04:41 | |
But that's too much to ask. | 0:04:41 | 0:04:43 | |
It's lead-glazed pottery of a type that was domestic ware in England | 0:04:43 | 0:04:49 | |
throughout the end of the late 17th century. | 0:04:49 | 0:04:53 | |
These little fellows... You would call them cuff links today, | 0:04:53 | 0:04:57 | |
but at the time, they were called sleeve links. | 0:04:57 | 0:05:01 | |
Funnily enough, they're fairly common. They were made of fairly light gauge silver. | 0:05:01 | 0:05:07 | |
A lot of them were made in Holland along with buttons and imported into this country, | 0:05:07 | 0:05:13 | |
so whilst they are silver and they certainly date to about 1680, | 0:05:13 | 0:05:18 | |
in excavated condition, they're not dramatically valuable. | 0:05:18 | 0:05:22 | |
-No, no. -In fact, at auction, I would consider the jug, | 0:05:22 | 0:05:26 | |
the tap, the sleeve links, the broken pieces, | 0:05:26 | 0:05:29 | |
along with some of the clay pipes and items that you haven't shown us on the table today, | 0:05:29 | 0:05:36 | |
would probably go into auction and be possibly £200 or £300. | 0:05:36 | 0:05:41 | |
The prize, however, was on the top, as it often is, | 0:05:41 | 0:05:44 | |
which is this fantastic, early wine bottle, | 0:05:44 | 0:05:48 | |
around 1680, 1690. | 0:05:48 | 0:05:51 | |
This would have been bright green glass when it was new, | 0:05:51 | 0:05:55 | |
but it's just a wonderful thing | 0:05:55 | 0:05:58 | |
and the fact that it's been buried for nigh on 300, 350 years | 0:05:58 | 0:06:04 | |
has completely changed the nature of it, | 0:06:04 | 0:06:07 | |
so we have this marvellous iridescence, thick calcification all over it, | 0:06:07 | 0:06:12 | |
which makes it almost a work of art. | 0:06:12 | 0:06:14 | |
-There are many, many collectors of early wine bottles. -Hmm. | 0:06:14 | 0:06:19 | |
They're incredibly popular and very much sought after. | 0:06:19 | 0:06:23 | |
You've got the provenance with it. We've even got a picture of the hotel. | 0:06:23 | 0:06:28 | |
I think we should be conservative and put between £300 and £500 on it | 0:06:28 | 0:06:33 | |
-and put a fixed reserve of £300. -That would be wonderful. | 0:06:33 | 0:06:38 | |
I wouldn't be surprised if it went possibly very much more than that. | 0:06:38 | 0:06:43 | |
-Really? -If you're happy with that... -I'm more than delighted with that. | 0:06:43 | 0:06:47 | |
-We'll put a discretionary reserve of 180 on these. -Yes. | 0:06:47 | 0:06:52 | |
But a fixed reserve of £300 on this, which may be woefully inadequate. | 0:06:52 | 0:06:56 | |
-I hope so. And wait for them to take off on the auction day. -Wonderful. | 0:06:56 | 0:07:00 | |
What a fantastic collection! It's amazing what you can find if you dig around. | 0:07:02 | 0:07:07 | |
Not only have we got a room full of antiques, it's awash with bright colours. | 0:07:07 | 0:07:12 | |
-I love the colour of that dress. What's your name? -Emily. | 0:07:12 | 0:07:16 | |
-What have you brought along? -This picture. We'd like to find out more about it. -Hopefully, you will later. | 0:07:16 | 0:07:22 | |
-Hello. -Hello, Paul. -I love the glasses. -Thank you. | 0:07:22 | 0:07:26 | |
Thomas has found a spectacular book brought in by Gemma and her partner Nick. | 0:07:26 | 0:07:31 | |
You've brought along this very fine book. Where did you get it from? | 0:07:31 | 0:07:36 | |
-My nan. -Yes? -My nan passed away just before Christmas. | 0:07:36 | 0:07:40 | |
-I am sorry. -And my dad found it in the house. | 0:07:40 | 0:07:45 | |
The first thing we open is on to this marbled paper page. Do you know what that's called there? | 0:07:45 | 0:07:51 | |
-Is it a crest? -These are called bookplates. -Ah! | 0:07:51 | 0:07:54 | |
This is from a library of Henry Drummond. That's his family crest, so you got the crest thing right. | 0:07:54 | 0:08:00 | |
-Yeah. -If you have a bookplate, you normally have quite an extensive library. | 0:08:00 | 0:08:06 | |
The book has had a bit of butchery done to it. It is the History Of Italian Design. That's on the spine. | 0:08:06 | 0:08:12 | |
"Of original drawings by the most eminent painters and sculptors of Italy. 1823." | 0:08:12 | 0:08:17 | |
Tell me about this here. What's happened here? | 0:08:17 | 0:08:21 | |
Oh, well, my nan was very arty and made cards and I think she decided to cut it out. | 0:08:21 | 0:08:27 | |
-Right. Do you know how she got this? -I really, really don't know. | 0:08:27 | 0:08:32 | |
-You'd never seen it when you'd gone round? -No. -It was very cluttered. She did have a lot of stuff. | 0:08:32 | 0:08:38 | |
-We've all heard of Michelangelo, haven't we? -Yeah. | 0:08:38 | 0:08:41 | |
This is a fantastic picture by Michelangelo. It's a sketch, a drawing of a youth. | 0:08:41 | 0:08:47 | |
Here - this is obviously a design for the fresco of the vault of the Sistine Chapel. | 0:08:47 | 0:08:52 | |
This might be a man checking out your sins, making sure you behaved yourself. | 0:08:52 | 0:08:58 | |
This is really interesting. This is St Bartholomew in the celebrated fresco of the Last Judgment. | 0:08:58 | 0:09:04 | |
You've got this print as well, but I don't know why this is in here. | 0:09:04 | 0:09:08 | |
It's not an etching. Is it just a print of the actual item itself? | 0:09:08 | 0:09:14 | |
Why is this loose? I'm slightly confused about this. | 0:09:14 | 0:09:18 | |
We've got similar examples as we go through the book. | 0:09:18 | 0:09:22 | |
This book, dating from 1823, | 0:09:22 | 0:09:24 | |
-it's going to be between £500 and £700 at auction. -Yeah. | 0:09:24 | 0:09:29 | |
-Would you be interested in selling it at that level? -Yeah. | 0:09:29 | 0:09:33 | |
-What do you think about that figure? -Because I didn't know much about it, I didn't really have a figure. | 0:09:33 | 0:09:39 | |
I don't think it's about the money. | 0:09:39 | 0:09:42 | |
-Obviously, it needs to go to a better home to people that would... -Cos it is such an amazing book. | 0:09:42 | 0:09:48 | |
-Maybe you should sell the book and, with the money, go to Italy and have a look at it. -Very good idea. | 0:09:48 | 0:09:54 | |
If we wanted to put a reserve on it, I think we'll probably put that round about sort of £300. | 0:09:54 | 0:10:00 | |
-Yeah. -Yeah. -So it doesn't sell below that. | 0:10:00 | 0:10:03 | |
-Yeah. -We'll put it in and we'll see what happens. You'll come along to the auction? -Definitely. | 0:10:03 | 0:10:09 | |
This is Foxy, the Jack Russell. You're having a good day, Foxy. | 0:10:10 | 0:10:14 | |
We'll get you a glass of water or a bowl of water. Hello, Emily. | 0:10:14 | 0:10:18 | |
-Hello. -Hello, Mum. What's going on? What have you found out about the picture? | 0:10:18 | 0:10:23 | |
-It's by David Bates. -I'm attributing it to David Bates. It's not signed. | 0:10:23 | 0:10:28 | |
What we have here is an oil that's been ruined by over-restoration. | 0:10:28 | 0:10:33 | |
It's been cleaned, over-cleaned and then re-painted, | 0:10:33 | 0:10:37 | |
which brings that value right down in today's market to probably £100, £150. | 0:10:37 | 0:10:43 | |
-Is it going back on the wall? -Yes. -Good. Enjoy it. -Thank you. | 0:10:43 | 0:10:47 | |
I'd better take this little thing back to its owner. | 0:10:47 | 0:10:50 | |
Sadly, not everyone gets to hear the great news they had hoped for. | 0:10:50 | 0:10:55 | |
We see quite a few medals at our valuation days, | 0:10:55 | 0:10:59 | |
but Michael has discovered some that pay tribute to a truly dedicated soldier. | 0:10:59 | 0:11:04 | |
Patrick, thank you for bringing this wonderful collection of medals in. | 0:11:04 | 0:11:09 | |
The fact that you've got First and Second World War medals, you must know something about them. | 0:11:09 | 0:11:15 | |
-Tell me how you got these. -They were handed down to me from my grandfather when I was a young boy. | 0:11:15 | 0:11:21 | |
He said to me, "If you can find them, you can keep them." | 0:11:21 | 0:11:25 | |
I went into the outdoor shed, rummaged around and they were lying in an old tin pot. | 0:11:25 | 0:11:31 | |
-As a young boy, I can't think of anything much more exciting to find than your grandfather's medals. -Yes. | 0:11:31 | 0:11:38 | |
-I was 10 or 12. -Fantastic. | 0:11:38 | 0:11:40 | |
We've got the standard First World War medals here, | 0:11:40 | 0:11:43 | |
ones that are euphemistically called Pip, Squeak and Wilfred. They're all named. | 0:11:43 | 0:11:49 | |
If we turn this one over, | 0:11:49 | 0:11:51 | |
-we've got there "G Cockell". -That's right. | 0:11:51 | 0:11:55 | |
-Then we've got these Second World War medals, so he served in both wars. -Oh, yes. | 0:11:55 | 0:12:00 | |
-And survived. -Amazing. -We've got his military buttons and cap insignia. | 0:12:00 | 0:12:04 | |
-What's very interesting is we've got his Soldier's Service and Pay Book. -That's right. | 0:12:04 | 0:12:09 | |
-And at the back here, his discharge papers. -That's correct. | 0:12:09 | 0:12:13 | |
There we have... "31st March, 1931, | 0:12:13 | 0:12:17 | |
"discharge certificate for No.11239, | 0:12:17 | 0:12:21 | |
"Corporal George Cockell, King's Own Yorkshire Light Infantry." | 0:12:21 | 0:12:26 | |
-That's magic. -That's brilliant. -"Enlisted 12th August, 1914." | 0:12:26 | 0:12:30 | |
-My word, he was eager! -Yeah, he did his bit for Queen and country. -He did indeed. | 0:12:30 | 0:12:35 | |
"Discharged 5th November, 1919. Medals..." Here. | 0:12:35 | 0:12:40 | |
"1914-15 Star. British War and Victory Medal." | 0:12:40 | 0:12:44 | |
So they're named in this and what's wonderful | 0:12:44 | 0:12:48 | |
-is we've got under "character", which must make you proud... -Yes. | 0:12:48 | 0:12:52 | |
"Good, honest, sober, intelligent and industrious," which is just magic. | 0:12:52 | 0:12:58 | |
And to have all of this extra documentation with a set of medals makes a huge difference. | 0:12:58 | 0:13:05 | |
The people that collect medals, they're not buying the medal, | 0:13:05 | 0:13:09 | |
they're buying the story and the history attached with it. | 0:13:09 | 0:13:13 | |
Can I ask you, cos these must be immensely sentimental to you, | 0:13:13 | 0:13:18 | |
why have you decided to part with them now? | 0:13:18 | 0:13:21 | |
They are sentimental, but if I were to sell them, the memory sticks in my brain. | 0:13:21 | 0:13:26 | |
-Your grandfather's in here and here. -Always in my brain, in my heart. I'll never forget him. | 0:13:26 | 0:13:31 | |
I'd rather they could go in a collection, so people could see them, like the British War Museum. | 0:13:31 | 0:13:38 | |
10 or 15 years ago, that group of three medals was making £20 or £30. | 0:13:38 | 0:13:42 | |
But since then, people have realised that they're getting rarer | 0:13:42 | 0:13:46 | |
and scarcer and prices have rocketed, | 0:13:46 | 0:13:50 | |
so I think we could put these into auction at £200 to £300, | 0:13:50 | 0:13:55 | |
-put a fixed reserve of £180 on them, keep our fingers crossed and Grandad's medals may fly. -I hope so. | 0:13:55 | 0:14:03 | |
-Patrick, thank you so much for bringing these in. -That's all right. | 0:14:03 | 0:14:08 | |
Michael is convinced these medals will appeal to collectors, | 0:14:08 | 0:14:12 | |
but will they be at the auction? It's time to find out. | 0:14:12 | 0:14:15 | |
Well, here we are. My driver didn't turn up this morning, so I've had to make do. | 0:14:17 | 0:14:22 | |
This is where our items are going under the hammer - Moore, Allen & Innocent just outside Cirencester. | 0:14:22 | 0:14:28 | |
I'm running a bit late and the auction is just about to start. | 0:14:28 | 0:14:32 | |
I'll catch up with our owners, make sure they're OK cos I know they're feeling really nervous. | 0:14:32 | 0:14:38 | |
We'll leave you with a quick rundown of all the items going under the hammer. | 0:14:38 | 0:14:43 | |
'The first three items are the objects extracted from the old well in Audrey's cellar. | 0:14:46 | 0:14:52 | |
'The prize is a 17th century bottle, but there are plenty other things, | 0:14:52 | 0:14:56 | |
'including what could be a Tudor tap. | 0:14:56 | 0:14:59 | |
'That spectacular book of Italian art, still mostly intact, | 0:14:59 | 0:15:03 | |
'despite Gemma's nan's fondness for scissors. | 0:15:03 | 0:15:07 | |
'And Patrick's grandfather's medals. | 0:15:07 | 0:15:11 | |
'I wasn't running so short of time at the preview and managed | 0:15:13 | 0:15:17 | |
'to speak to auctioneer Philip Allwood about the medals.' | 0:15:17 | 0:15:21 | |
Wonderful collection of medals. Great story. | 0:15:21 | 0:15:24 | |
They belong to George Cockell. First World War and Second World War. | 0:15:24 | 0:15:28 | |
-We've got £200 to £300 on these medals. -Yeah. | 0:15:28 | 0:15:31 | |
They're being sold by the grandson. | 0:15:31 | 0:15:34 | |
Are they? Well, he must be a very proud grandson. | 0:15:34 | 0:15:37 | |
Obviously, Grandfather went through the First, into the Second, | 0:15:37 | 0:15:42 | |
looking at the discharge papers, was retired from the army early or discharged. | 0:15:42 | 0:15:48 | |
-Exemplary report on here. -I've never seen one of those before and that's quite interesting. | 0:15:48 | 0:15:54 | |
-Individually, these medals, not worth a lot. -OK. -Lots of them about. | 0:15:54 | 0:15:58 | |
A lot of people came back from the First with these fairly standard medals. Same with the Second. | 0:15:58 | 0:16:05 | |
But put that all together with the history, who won them, what they were doing where and when | 0:16:05 | 0:16:11 | |
and it suddenly gets the collectors' collecting juices flowing. | 0:16:11 | 0:16:15 | |
-You've got provenance. That's where the value is. -Medal collectors are not going for the bit of metal. | 0:16:15 | 0:16:21 | |
They're going for owning a bit of that soldier and what he did. | 0:16:21 | 0:16:26 | |
-And this has got oodles of that. -Will it get the top end? -I wouldn't be surprised. | 0:16:26 | 0:16:32 | |
200 to 300? I could have easily gone with that estimate and expected to see getting on for the top estimate. | 0:16:32 | 0:16:39 | |
-Wonderful thing. Good luck with these. -They should do fine. | 0:16:39 | 0:16:43 | |
'We both think these medals will march right out of the auction room, | 0:16:43 | 0:16:48 | |
'but we'll have to wait and see because first to discover their fate is Audrey. | 0:16:48 | 0:16:53 | |
'Buyers and sellers at today's auction | 0:16:53 | 0:16:55 | |
'are subject to a commission of 15% plus VAT.' | 0:16:55 | 0:17:00 | |
This next lot is totally fascinating, picked by our expert, Michael Baggott. | 0:17:00 | 0:17:05 | |
It's been dug up out of the ground from the Talbot Hotel in Tetbury. | 0:17:05 | 0:17:09 | |
'Michael split the lot into two parts. The first is a real mixed bag.' | 0:17:09 | 0:17:14 | |
There's this wonderful manganese, treacle-glazed jug, some churchwarden pipes and...? | 0:17:14 | 0:17:20 | |
Little silver shirt links. | 0:17:20 | 0:17:22 | |
-But do you know what's going to make me laugh? -And a tap. -A tap. What's that all about, Michael? | 0:17:22 | 0:17:28 | |
That is a bronze Tudor tap. It's a rare thing. For 180 quid... | 0:17:28 | 0:17:32 | |
-It's a funny old lot. It really is. -I've heard that before! | 0:17:32 | 0:17:36 | |
Valuing it is like playing "pin the tail on the donkey". You never know where it's going to go. | 0:17:36 | 0:17:42 | |
-That's sensible. -Let's see what the bidders think. | 0:17:42 | 0:17:45 | |
The 18th century, manganese, treacle-glazed pottery jug. | 0:17:45 | 0:17:50 | |
Should be 200 or 300, really. Start me. | 0:17:50 | 0:17:54 | |
150 then? | 0:17:54 | 0:17:56 | |
-Start me, 100? £100 for the lot? -He's going in the wrong direction. | 0:17:56 | 0:18:00 | |
£50? At £50. A bid there at 50. At £50. | 0:18:00 | 0:18:04 | |
5 if you like now? At £50. | 0:18:04 | 0:18:06 | |
At £50. 5. 60. 5. | 0:18:06 | 0:18:10 | |
-70. 5... -The churchwarden pipes are worth that. | 0:18:10 | 0:18:13 | |
..5. 90. 5. | 0:18:13 | 0:18:15 | |
100. And 10 if you like? And 10. | 0:18:15 | 0:18:19 | |
At 110. 120 now? | 0:18:19 | 0:18:21 | |
At 110. At £110. | 0:18:21 | 0:18:24 | |
Are you all sure now then? At £110, are you all done? | 0:18:24 | 0:18:28 | |
They didn't understand. | 0:18:29 | 0:18:32 | |
Well, they didn't want it today. | 0:18:32 | 0:18:34 | |
-No. -Maybe they'll want it in a week's time. | 0:18:34 | 0:18:37 | |
-I'll put it out for the dustmen, I think. -No, you won't. -Don't do that! | 0:18:37 | 0:18:42 | |
'What a shame! Let's hope we do better with the second lot from the collection, that superb bottle.' | 0:18:43 | 0:18:49 | |
It's a wonderful period piece, | 0:18:49 | 0:18:52 | |
but what makes it extra special is we know where the object was found. | 0:18:52 | 0:18:56 | |
-Yeah. -We know where it was discarded in the 17th century. | 0:18:56 | 0:19:00 | |
And that lovely iridescent colour that you only get from burial over the years and it's been dug up. | 0:19:00 | 0:19:05 | |
It's just got those colours that every collector wants. | 0:19:05 | 0:19:09 | |
-Do you think so? -Oh, it's got the look and the condition. | 0:19:09 | 0:19:13 | |
Collectors want history with their objects, ideally. And that's got it all. | 0:19:13 | 0:19:19 | |
200 to get on? At 200, thank you. | 0:19:20 | 0:19:22 | |
At 200. At 200. | 0:19:22 | 0:19:24 | |
210 now if you like? At £200. At 210. | 0:19:24 | 0:19:27 | |
220. 230. | 0:19:27 | 0:19:30 | |
At 230. 240. 250. | 0:19:30 | 0:19:33 | |
At £250. 260 anywhere? | 0:19:33 | 0:19:36 | |
At £250. 260 anywhere now for it? | 0:19:36 | 0:19:39 | |
At £250. Are you sure now? | 0:19:39 | 0:19:41 | |
-Oh, come on! -At 250... | 0:19:41 | 0:19:44 | |
I'm absolutely shocked. | 0:19:45 | 0:19:47 | |
That bottle was worth every penny of £300 to £500, if not more. | 0:19:47 | 0:19:51 | |
-If I were you, I'd be relieved I hadn't sold it. -I would as well. -I'm so sorry, Audrey. | 0:19:51 | 0:19:57 | |
'Well, it looks like the artefacts are going home with Audrey. | 0:19:57 | 0:20:01 | |
'Perhaps the Italian art will appeal more to the bidders.' | 0:20:01 | 0:20:05 | |
Wonderful, wonderful book. We're looking at £300 to £500, fingers crossed. On a good day. | 0:20:05 | 0:20:11 | |
-On a good day. -It's all there. Condition is good. | 0:20:11 | 0:20:14 | |
I just hope it doesn't get Stanley-knifed up and sold separately. | 0:20:14 | 0:20:19 | |
You say the condition is good, but Gemma's grandma had a bit of a Stanley knife fetish | 0:20:19 | 0:20:25 | |
-and cut a few letters out, but the pictures are all fine. -That's where the value is. -Yeah, absolutely. | 0:20:25 | 0:20:31 | |
-Fingers crossed. It's been a long wait, hasn't it? -It has, yeah. | 0:20:31 | 0:20:35 | |
-Have you been tempted to buy anything? -Yes, I saw a little kid's trike outside. | 0:20:35 | 0:20:40 | |
-It looks like it needs restoring. -I know the one. I rode here on it! | 0:20:40 | 0:20:45 | |
Oh, right. | 0:20:45 | 0:20:46 | |
The Italian School of Design, 1823. Some lovely images in this. | 0:20:46 | 0:20:52 | |
Start me. Should be 500. Start me, 3? | 0:20:52 | 0:20:55 | |
200 to get on then? At 200, thank you. At £200. | 0:20:56 | 0:21:00 | |
At 220. 240. | 0:21:00 | 0:21:02 | |
260. 270 then. | 0:21:02 | 0:21:04 | |
280. 300. | 0:21:04 | 0:21:06 | |
320 if you like? At 300 here. 320 now? | 0:21:06 | 0:21:09 | |
At £300. I thought it might have made a little more. At 300. | 0:21:09 | 0:21:13 | |
At £300. It's on my right. | 0:21:15 | 0:21:17 | |
Are you all sure now then at 300...? | 0:21:17 | 0:21:20 | |
-Brilliant. -Just. -Sold. -Just on estimate. | 0:21:21 | 0:21:25 | |
There was a pause there. I wasn't sure if he was calling for 300. | 0:21:25 | 0:21:29 | |
-No, he had 300, but I think with that bit of damage, that took off the edge. -Of course. | 0:21:29 | 0:21:34 | |
-But you should be very pleased - £300. -Happy? -Yeah. -What will you put the money towards? -Going on holiday. | 0:21:34 | 0:21:41 | |
-Where do you fancy going? -Probably Italy, just to see where it all came from. -The School of Design. | 0:21:41 | 0:21:47 | |
-It makes sense, doesn't it? -It does. -Go to Rome. -Payback for it. Yes, go to Rome. | 0:21:47 | 0:21:52 | |
Good for them. I do hope they get to see those works of art for real. | 0:21:52 | 0:21:57 | |
Last up, we've got Patrick's grandfather's medals. | 0:21:57 | 0:22:02 | |
A classic set of medals from WWI, WWII and discharge papers. | 0:22:02 | 0:22:06 | |
-Michael, you fell in love with these. -It's the whole story. | 0:22:06 | 0:22:11 | |
-Is it hard to sell these? -They've been stuck in a drawer, not appreciated. | 0:22:11 | 0:22:17 | |
-I think it's time for them to go. -OK, let's hope they go to a good collector or end up in a museum. | 0:22:17 | 0:22:23 | |
I can start you here at 130 on the book. 130. | 0:22:23 | 0:22:28 | |
At 130. 140. 150. 160. | 0:22:28 | 0:22:31 | |
170. 180. The book's out at 180. 190 now. | 0:22:31 | 0:22:35 | |
190. 200. 210. | 0:22:35 | 0:22:38 | |
220. 230. 240. 250. | 0:22:38 | 0:22:41 | |
260. At 260 on my left now. At 260. 270 now, then. | 0:22:41 | 0:22:47 | |
At £260. It's on my left. At 260. | 0:22:47 | 0:22:51 | |
-Super result. The hammer's gone down. -I'm very happy. -I am. | 0:22:53 | 0:22:57 | |
-That was well contested. That was his last battle. -It was! | 0:22:57 | 0:23:02 | |
It suddenly shot up. Very pleased. | 0:23:02 | 0:23:06 | |
I knew the collectors wouldn't be able to resist that lot. A brilliant result and plenty more to come. | 0:23:07 | 0:23:13 | |
'Bernice has decided it's time to rescue this beautiful Art Nouveau tray | 0:23:13 | 0:23:17 | |
'out of the grasp of little hands.' | 0:23:17 | 0:23:20 | |
-Where does it live? -Well, it sits on the coffee table in the sitting room and it gets knocked around. | 0:23:20 | 0:23:27 | |
'Phyllis is trying to wean herself off of her Wemyss addiction, but some things are hard to resist.' | 0:23:27 | 0:23:34 | |
If that one special Wemyss pig came along, would you buy it still? | 0:23:34 | 0:23:38 | |
-Oh...maybe. -Maybe. | 0:23:38 | 0:23:41 | |
'And we discover a bracelet bearing the name of one of the world's greatest fashion designers.' | 0:23:41 | 0:23:48 | |
On the 16th of May in 1871, the successful writer, designer and socialist William Morris | 0:23:59 | 0:24:05 | |
set foot in the Cotswold village of Kelmscott for the first time. | 0:24:05 | 0:24:09 | |
He came here looking for a house for the summer months, | 0:24:09 | 0:24:13 | |
but when he came down this lane and looked down that garden path and saw that handsome farmhouse, | 0:24:13 | 0:24:19 | |
he knew his search was over. No wonder he stopped looking. | 0:24:19 | 0:24:24 | |
For Morris it was the start of a love affair that would stay with him for life, bringing him inspiration | 0:24:28 | 0:24:34 | |
and pleasure, but as with all great romances, there were also moments of disappointment and betrayal. | 0:24:34 | 0:24:42 | |
In fact, despite his immediate and deep affection for the place, | 0:24:45 | 0:24:49 | |
it would be three years before Morris could bring himself to spend any time here. | 0:24:49 | 0:24:55 | |
Instead, he stayed away while his wife Jane and their two daughters spent their summers here | 0:24:55 | 0:25:01 | |
with painter and poet Gabriel Rossetti, Morris's friend and business partner. | 0:25:01 | 0:25:06 | |
Rossetti and Jane had been having an affair for five years. | 0:25:06 | 0:25:10 | |
Morris was aware that it was starting to attract attention and could damage his business. | 0:25:10 | 0:25:16 | |
The lease on Kelmscott was taken out jointly with Rossetti, so they could conduct their affair | 0:25:16 | 0:25:22 | |
away from prying eyes. | 0:25:22 | 0:25:25 | |
Over the following years, Rossetti would suffer a mental breakdown. | 0:25:25 | 0:25:29 | |
He spent prolonged periods of time here at Kelmscott, forcing Morris to stay away. | 0:25:29 | 0:25:35 | |
It wasn't until Rossetti moved out in 1874 that Morris could actually enjoy his beloved Kelmscott. | 0:25:35 | 0:25:42 | |
This place became a kind of utopia for him, | 0:25:42 | 0:25:46 | |
somewhere where he could escape from the modern world, which he despised. | 0:25:46 | 0:25:51 | |
The Arts and Craft movement was driven by a dislike for Victorian industrialisation | 0:25:55 | 0:26:00 | |
and the fear that mechanisation and mass production would result in blandness and conformity. | 0:26:00 | 0:26:07 | |
Kelmscott was the antithesis of that. | 0:26:07 | 0:26:11 | |
He saw this magnificent house as a true work of craftsmanship built with local materials. | 0:26:12 | 0:26:18 | |
He just loved its vernacular style and it sits in perfect harmony with the rest of the village. | 0:26:18 | 0:26:24 | |
You could say this handsome house represents all the ideals of the Arts and Crafts movement. | 0:26:33 | 0:26:39 | |
It was built in the year 1600 and was added to in 1665. | 0:26:39 | 0:26:43 | |
Look at the lovely hand-cut roof tiles, all made of stone. | 0:26:43 | 0:26:47 | |
They graduate down - they start smaller and as they come down they get slightly larger. | 0:26:47 | 0:26:53 | |
Morris described that as looking at the scales interlocking on a fish or maybe the feathers on a bird. | 0:26:53 | 0:27:00 | |
It really is so organic. | 0:27:00 | 0:27:02 | |
On the inside, as on the outside, William Morris just loved the simplicity of this house. | 0:27:05 | 0:27:12 | |
He chose to change it very little from the way he first acquired it from the family who had it built. | 0:27:12 | 0:27:19 | |
His dream was to live here as simply as possible | 0:27:19 | 0:27:23 | |
and he described the house as "the loveliest haunt of ancient peace". | 0:27:23 | 0:27:29 | |
As you look around, you get a real sense of Morris the man, | 0:27:29 | 0:27:33 | |
from his passion for collecting traditional hand-made objects | 0:27:33 | 0:27:37 | |
to wonderful examples of his own company's furniture and furnishings. | 0:27:37 | 0:27:41 | |
The garden and surrounding countryside | 0:27:44 | 0:27:48 | |
would also provide endless inspiration for his designs. | 0:27:48 | 0:27:52 | |
It's said that the idea for Strawberry Thief, one of his most popular designs, came about | 0:27:52 | 0:27:58 | |
as he noticed thrushes stealing wild berries from his kitchen garden. | 0:27:58 | 0:28:03 | |
And according to his daughter May, the idea for his foliage pattern Willow Bough, 1887, | 0:28:05 | 0:28:11 | |
came from the willow trees growing on the banks of the Thames nearby. | 0:28:11 | 0:28:16 | |
Oh, this is a nice room. Spacious, light, airy. | 0:28:18 | 0:28:21 | |
In fact, there's a nice, tranquil feel about this. | 0:28:21 | 0:28:25 | |
It's known as the White Room. Morris is known for his colours. He loves reds and golds and greens | 0:28:25 | 0:28:32 | |
and repetitive patterns everywhere. Yet the family chose to paint the walls off-white. | 0:28:32 | 0:28:38 | |
In fact, towards the end of his life he admitted he preferred simpler colour schemes and plainer rooms. | 0:28:38 | 0:28:46 | |
The whole house, in fact, is so understated. | 0:28:46 | 0:28:50 | |
The decor is quite simple and it sits beautifully with the outside. | 0:28:50 | 0:28:54 | |
It's just so calm. | 0:28:54 | 0:28:56 | |
William Morris remains to this day a major force to be reckoned with in the world of design. | 0:29:00 | 0:29:05 | |
His legacy of work is endless, really. He was a writer, publisher, social campaigner, designer, | 0:29:05 | 0:29:12 | |
craftsman, illustrator, painter. It just goes on and on and on. | 0:29:12 | 0:29:16 | |
No wonder that towards the end of his life a doctor proclaimed | 0:29:16 | 0:29:20 | |
he suffered from the disease of being William Morris, working 18 hours a day. | 0:29:20 | 0:29:25 | |
That's why, for me, it's so special to come to a place like Kelmscott, | 0:29:25 | 0:29:30 | |
so you can understand the peace he must have had here. | 0:29:30 | 0:29:34 | |
William Morris, for me, will always remain a great source of inspiration. | 0:29:34 | 0:29:41 | |
Back at our valuation day in Cirencester, we've got a packed house. | 0:29:50 | 0:29:56 | |
Michael - a serious silver fanatic - couldn't resist this striking tray. | 0:29:56 | 0:30:01 | |
-You've brought this beautiful tray. -You like it? -I love it. | 0:30:01 | 0:30:05 | |
-Where does it live in your house? -It sits on the coffee table and gets knocked around by the grandchildren, | 0:30:05 | 0:30:12 | |
so I just thought I'd bring it to you and see if you liked it. | 0:30:12 | 0:30:16 | |
-Do you use it for anything? -No. I couldn't understand why it was a tray. | 0:30:16 | 0:30:22 | |
-You couldn't stand anything on it. -It's all knobbly, isn't it? -It is. | 0:30:22 | 0:30:28 | |
-A cup would fall off it. -Unless you live in a bungalow, you've got it on the wrong floor. | 0:30:28 | 0:30:34 | |
-Oh, right. -This belongs in the bedroom. -Oh! Oh, really? | 0:30:34 | 0:30:38 | |
This is a dressing table tray. | 0:30:38 | 0:30:41 | |
And you can't put a glass or a cup on this, but if you think of upturned brushes, | 0:30:41 | 0:30:47 | |
which would sit quite happily along with combs on that, that's exactly what it was designed for. | 0:30:47 | 0:30:54 | |
-I didn't know that. -Any idea about how old it is? -Erm... | 0:30:54 | 0:30:58 | |
Judging by the design, I thought Art Nouveau. | 0:30:58 | 0:31:02 | |
It shrieks Art Nouveau! | 0:31:02 | 0:31:04 | |
This wonderful whiplash foliate order. | 0:31:04 | 0:31:07 | |
And then we've got this typically naturalistic scene. | 0:31:07 | 0:31:11 | |
I'm not sure what these birds are. My ornithological knowledge does not stretch | 0:31:11 | 0:31:18 | |
-to the lengths of my silver knowledge. Cranes or herons. -I thought they were herons. | 0:31:18 | 0:31:24 | |
We'll go with herons. I'll bow to your knowledge. With bulrushes. | 0:31:24 | 0:31:29 | |
It's a mirror image, very organic and very naturalistic. Exactly what Art Nouveau was about. | 0:31:29 | 0:31:36 | |
First, we've got the maker's mark there, which is WA. That's for William Aitken. | 0:31:36 | 0:31:42 | |
He wasn't a very distinguished maker, but he produced on a large scale in Birmingham. | 0:31:42 | 0:31:48 | |
We've got the date - 1909. The height of Art Nouveau in England. | 0:31:48 | 0:31:53 | |
And you've got these domestic wares being produced in that style. | 0:31:53 | 0:31:58 | |
-The sad thing is, it is one part of a very large set. -Oh, really? | 0:31:58 | 0:32:03 | |
There would be brushes and combs and hair tidies | 0:32:03 | 0:32:08 | |
and scent bottles and mirrors, so...any idea where the rest is? | 0:32:08 | 0:32:14 | |
No, I inherited it with a house. | 0:32:14 | 0:32:18 | |
-Oh. -From dear Uncle Joe. He was ill and I decided to nurse him. | 0:32:18 | 0:32:24 | |
-And, erm, he changed his will in the last three weeks of his life and left it all to me. -Crikey. | 0:32:24 | 0:32:31 | |
So it was really lucky. And I got divorced after 40 years, so I had this house to go to. | 0:32:31 | 0:32:37 | |
-It's just been a godsend. He's up there looking after me. -Smiling down at you. -Must have been. | 0:32:37 | 0:32:44 | |
Well, it's a nice thing to come with a tray! Better than a mirror! | 0:32:44 | 0:32:48 | |
-So I've got no idea where he had it from. -It's the sort of thing that's very commercial at the moment. | 0:32:48 | 0:32:54 | |
-It never really falls out of fashion. Let's put it into auction with £100-£150 on it. -Really? | 0:32:54 | 0:33:00 | |
-Gosh. -Let's put a reserve of £90 on, fixed. -Oh, amazing. -And let's see how it goes. | 0:33:00 | 0:33:06 | |
If there are two people that love Art Nouveau, and there's a good chance, it could do a little more. | 0:33:06 | 0:33:14 | |
-Gosh, that's amazing. -It could fly. | 0:33:14 | 0:33:16 | |
-Oh, thank you. -Just like the herons. -Or whatever they are! -Or the cranes or the ibises! | 0:33:16 | 0:33:22 | |
Michael may not know his birds, but he knows his silver and I'm sure this will do well. | 0:33:22 | 0:33:28 | |
But can our crowd identify this next lot? | 0:33:28 | 0:33:32 | |
This belongs to Phyllis. We've seen a lot of this on the show before. | 0:33:32 | 0:33:36 | |
-Do you know what this is? -No. My friend does. -You know what it is. | 0:33:36 | 0:33:41 | |
-How about you guys? Pottery enthusiasts? -No, no. | 0:33:41 | 0:33:45 | |
-Wemyss. -That's not bad. Three out of six. | 0:33:45 | 0:33:48 | |
-It is Wemyss, yes, you're right. You're a bit of a Wemyss collector. -I am a Wemyss collector. | 0:33:48 | 0:33:55 | |
-How many pieces have you got? -Between 50 and 100. -Really? How long have you been collecting? | 0:33:55 | 0:34:00 | |
-Since the '70s. -So why are you selling this particular one? | 0:34:00 | 0:34:06 | |
I'm downsizing, need space and that one has to go, I'm afraid. | 0:34:06 | 0:34:10 | |
If that one special Wemyss pig came along, would you buy it still? | 0:34:10 | 0:34:15 | |
-Oh...maybe. -Maybe. Maybe sell five other pieces to buy it with. -Yes. | 0:34:15 | 0:34:20 | |
That's what everybody wants - Wemyss pigs. They're big ones like that. | 0:34:20 | 0:34:24 | |
This is a sponge bowl with the strainer. That's nice. | 0:34:24 | 0:34:28 | |
The strainers did get broken. And also the sponge bowls, the most delicate parts are the handles. | 0:34:28 | 0:34:35 | |
They used to get chipped and knocked, but they're very good. | 0:34:35 | 0:34:40 | |
-They are. -I like the decoration of this. Soft. -Beautiful soft roses. | 0:34:40 | 0:34:45 | |
Lovely soft roses. Almost translucent. | 0:34:45 | 0:34:49 | |
It's sought-after Scottish pottery. | 0:34:49 | 0:34:52 | |
-Well sought-after. And I still classify this as country pottery. -It is. -I'm struggling with value. | 0:34:52 | 0:34:59 | |
I think it's worth an awful lot more than £150, but I don't know what you paid for that. | 0:34:59 | 0:35:05 | |
-80. -80. How long ago? | 0:35:06 | 0:35:08 | |
-In '95. -'95, OK. | 0:35:08 | 0:35:11 | |
-Let's call it £100 with a reserve at £100 and see what happens. -Absolutely. | 0:35:11 | 0:35:16 | |
-And hopefully we'll get that 120, 150. -Absolutely. | 0:35:16 | 0:35:20 | |
-On a good day, we will. -I think it's a unique piece. If we find a collector... | 0:35:20 | 0:35:26 | |
The artwork on this particular one is very good. | 0:35:26 | 0:35:29 | |
-This I'd date to around 1900, 1910. -Beautiful. -In great condition. | 0:35:29 | 0:35:34 | |
-Will I see you at the auction? -No, my youngest son's coming. -Is he? | 0:35:34 | 0:35:38 | |
-What does he think about Wemyss? -Not a lot! -We'll find out! | 0:35:38 | 0:35:43 | |
And fingers crossed there will be at least two people in the room who appreciate it more than that. | 0:35:43 | 0:35:49 | |
Next, Thomas is looking at a particularly glamorous bracelet with Angie. | 0:35:49 | 0:35:55 | |
-Tell me how it came to your possession. -My grandmother gave it to me when I was about 10. | 0:35:55 | 0:36:01 | |
I've had it ever since. I don't know a lot more, but it's Christian Dior. | 0:36:01 | 0:36:05 | |
-Absolutely. It is. So your grandmother had stopped wearing it? -I don't think she ever wore it. | 0:36:05 | 0:36:12 | |
It's not the sort of thing she'd have bought. I think it would be a gift. | 0:36:12 | 0:36:16 | |
She was a housekeeper for wealthy families and was often given things by guests who stayed regularly. | 0:36:16 | 0:36:22 | |
I think she was given it as a gift. | 0:36:22 | 0:36:25 | |
-Did you like it because it was pink? -Yes! And I used to dress up and wear it, high heels and handbags. | 0:36:25 | 0:36:32 | |
I used to wear it then. But now I have to say I haven't worn it since. | 0:36:32 | 0:36:38 | |
I find it a bit garish, actually! | 0:36:38 | 0:36:40 | |
-Really? -Yeah. -It is Christian Dior. | 0:36:40 | 0:36:42 | |
We can see it from here, the mark there. | 0:36:42 | 0:36:46 | |
That conjures up all these wonderful fashion items | 0:36:46 | 0:36:50 | |
and high-end jewellery, but this is Christian Dior the costume jeweller here. | 0:36:50 | 0:36:56 | |
It was developed in the post-war period when the jewellery at the time, worn by Hollywood stars, | 0:36:56 | 0:37:03 | |
was all gem-set. These would have been rubies and opals, et cetera. | 0:37:03 | 0:37:08 | |
With fashion wanting to copy that, they decided to make jewellery like this, | 0:37:08 | 0:37:14 | |
so it would reflect the Hollywood style. It is costume jewellery, we should explain that. | 0:37:14 | 0:37:20 | |
You've got the mauve stones and the pink. This is glass and diamante or paste, on a base metal. | 0:37:20 | 0:37:27 | |
What would this go for in a provincial saleroom like where we're going to go? | 0:37:27 | 0:37:33 | |
It would probably make over £50, but I should have the estimate at £70-£100. | 0:37:33 | 0:37:40 | |
-OK. -I also think we should fix the reserve at that sort of £60. -OK. -How about that? -That's fine. | 0:37:40 | 0:37:48 | |
-Then with the commission taken off, you'll end up with 50. -OK. | 0:37:48 | 0:37:53 | |
-So see you at the auction? -OK, yes, you will! | 0:37:53 | 0:37:57 | |
'That completes our final lots.' | 0:37:59 | 0:38:02 | |
'Michael's hoping for a great result with Bernice's Art Nouveau tray.' | 0:38:02 | 0:38:06 | |
'There's the Wemyss sponge bowl and strainer, but will it clean up? | 0:38:09 | 0:38:14 | |
'Finally, we've Angie's grandmother's Christian Dior bracelet.' | 0:38:14 | 0:38:18 | |
'We're selling them at Moore, Allen & Innocent. | 0:38:20 | 0:38:23 | |
'It's a busy day and silver is selling well, | 0:38:23 | 0:38:28 | |
'so what will they make of the tray?' | 0:38:28 | 0:38:30 | |
-Good luck. The tension's building. -It's very exciting. -We're about to sell a silver dressing table tray. | 0:38:30 | 0:38:36 | |
-Art Nouveau flavour, beautifully decorated. -It is. | 0:38:36 | 0:38:40 | |
-Hasn't been on the dressing table. -No, it's been on the coffee table and the kids have knocked it. | 0:38:40 | 0:38:47 | |
-Now it's going. I bet the kids are upset. -I don't think they noticed! | 0:38:47 | 0:38:52 | |
You don't want your children knocking your silver about! | 0:38:52 | 0:38:56 | |
-It's good because it's a good display piece. -Yes. -Sometimes bowls are difficult to display. | 0:38:56 | 0:39:02 | |
Put that on an easel and you get the full impact of it. | 0:39:02 | 0:39:07 | |
-That's a nice way of displaying it. There's a tip. Good luck. -Thank you. -It's going under the hammer. | 0:39:07 | 0:39:13 | |
Who'll start me? Should be 100. | 0:39:15 | 0:39:17 | |
100? 80? | 0:39:17 | 0:39:19 | |
At £80. A bid there. At £80. 5 anywhere now? | 0:39:19 | 0:39:23 | |
At £80. 5. 90. 5. | 0:39:23 | 0:39:26 | |
-Brilliant! -Silver's selling well here today. -I hope Uncle Joe's watching. -I bet he is! | 0:39:26 | 0:39:32 | |
140. 150 now? | 0:39:32 | 0:39:34 | |
- Good heavens. - All out in front? | 0:39:34 | 0:39:38 | |
At 140. | 0:39:38 | 0:39:41 | |
-Well done! -Top end! -He knows his onions. -Exactly. | 0:39:41 | 0:39:45 | |
-That'll pay for my art now. -What sort of art? Classes? -Yes. | 0:39:45 | 0:39:49 | |
I'm just going on some art courses and the next one was £140. | 0:39:49 | 0:39:54 | |
-It was meant to be! -Exactly. | 0:39:54 | 0:39:56 | |
How perfect! Who knows? We could be selling one of her paintings at auction in the future! | 0:39:57 | 0:40:04 | |
OK, it's my turn to be the expert. I'm feeling nervous. Unfortunately, we don't have Phyllis, | 0:40:04 | 0:40:12 | |
-but we have her son, Paul. Hi. -Hi. -Good to see you. | 0:40:12 | 0:40:16 | |
-You've grown up with your mum's collection. -Yes, filling the house. | 0:40:16 | 0:40:20 | |
Ever since she got a little pig, she's been collecting ever since. | 0:40:20 | 0:40:24 | |
-Every time I go back there, there's another cupboard of Wemyss! -This could be your inheritance! | 0:40:24 | 0:40:30 | |
I'm a bit unsure about selling it! Why is that happening? | 0:40:30 | 0:40:35 | |
-This is it. -Start me at 100 to get on. 100. | 0:40:35 | 0:40:40 | |
-For the Wemyss ware. -Oh, come on. -50, then. | 0:40:40 | 0:40:43 | |
-£50, thank you. -I'm so nervous! | 0:40:43 | 0:40:47 | |
At £50. 5. 60. 5. 70. | 0:40:47 | 0:40:50 | |
5. At 75. 80 now? | 0:40:50 | 0:40:53 | |
-At 75. 80. 5. 90. 5. -He's sold it. -100. | 0:40:53 | 0:40:57 | |
On my left at 100. 110 now? At £100. Are you sure? | 0:40:57 | 0:41:01 | |
It's on my left, then, at 100. | 0:41:01 | 0:41:04 | |
-Yes. Made estimate. -Oh, good. Well done on the estimate. | 0:41:04 | 0:41:09 | |
-I think she'll be pleased. -I had a note saying, "Take it home." | 0:41:10 | 0:41:15 | |
-Hopefully she's had a wonderful holiday. -And a good bit of news when she comes home as well. | 0:41:15 | 0:41:21 | |
-She'll be happy with that. -Give her my regards. | 0:41:21 | 0:41:25 | |
Well, the Wemyss went down well, but what will the auction room make of Angie's costume jewellery? | 0:41:25 | 0:41:31 | |
-It's going under the hammer. £70-£100. This was given to you by your grandmother? -22 years ago. | 0:41:31 | 0:41:37 | |
-It's been in a drawer ever since. -You don't wear it? -No. -Fair enough. | 0:41:37 | 0:41:42 | |
-So I want to buy something to wear. -Fair enough. | 0:41:42 | 0:41:46 | |
-Will it sell well? -I don't know. | 0:41:46 | 0:41:49 | |
It'll be a tough call today, I think, if it does sell at all. | 0:41:49 | 0:41:53 | |
It's quite a difficult subject to sell in a traditional sale room, | 0:41:53 | 0:41:57 | |
-but we're going to give it a go. -Here we go. Fingers crossed. | 0:41:57 | 0:42:01 | |
You never know what's going to happen at an auction. | 0:42:01 | 0:42:05 | |
We have a phone. It's the Christian Dior bracelet. | 0:42:05 | 0:42:10 | |
Phone! | 0:42:10 | 0:42:12 | |
Dated 1958. Should be over 100. | 0:42:12 | 0:42:15 | |
80? At £80, thank you. £80 the bid. At £80. 5. 90. | 0:42:15 | 0:42:21 | |
5. 100. 110. 120. | 0:42:21 | 0:42:24 | |
130. 140. 150. 160. | 0:42:24 | 0:42:28 | |
-At 160. -Gosh! -Lady's bid. | 0:42:28 | 0:42:30 | |
170 now? At 160. At 160. 170 on the phone. | 0:42:30 | 0:42:35 | |
180. 190 if you like. 190. | 0:42:35 | 0:42:38 | |
-200. -They absolutely love it. -They do know it's paste? | 0:42:38 | 0:42:43 | |
220. 230. 240. | 0:42:43 | 0:42:46 | |
250. 260. | 0:42:46 | 0:42:49 | |
270. 280. 290. | 0:42:50 | 0:42:54 | |
300. 320? | 0:42:54 | 0:42:56 | |
320. 340. | 0:42:56 | 0:42:58 | |
-I am flabbergasted. -Di you miss something? -380. | 0:42:58 | 0:43:03 | |
400. 420. | 0:43:03 | 0:43:05 | |
-440. -Do they know something we don't know? | 0:43:07 | 0:43:11 | |
-Oh, I can't believe it! -Money! -Good old Nana. | 0:43:11 | 0:43:15 | |
All sure now, then? It's on the phone at 440. | 0:43:15 | 0:43:20 | |
Incredible! £440. Angie, that is wonderful. | 0:43:20 | 0:43:24 | |
-Thank you so much! -Good old Nana. -I can get something really nice. | 0:43:24 | 0:43:29 | |
-I am flabbergasted. -That's the beauty of auctions. | 0:43:29 | 0:43:33 | |
Sadly, it brings us to the end of another wonderful show. | 0:43:33 | 0:43:37 | |
Join us again soon for many, many more surprises, but for now, from Cirencester, it's cheerio. | 0:43:37 | 0:43:44 | |
Subtitles by Subtext for Red Bee Media Ltd - 2010 | 0:43:55 | 0:43:59 | |
Email [email protected] | 0:44:00 | 0:44:02 |